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Pietro Guarneri


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Speaking from the standpoint of an ex-commercial artist, I don't care for the fleurs. As Andres noted, they don't integrate well with the overall line. They completely overload two of the corners, already crowded by the proximity of the f-hole eyes, and are visually unmotivated.

The Brescian ornamentation on the other hand is airy, very traditional (interlacings are one of the oldest decoration forms), and "fits" to the shape of the fiddle rather than interrupting it or looking stuck-on.

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I used casien and ebony dust on the Cappa copy that is pictured on my web site. You need to use a really black ebony as a fine dust for it to work well. Use a fine file not sandpaper because the abrasive dust from the sandpaper will blunt your scrappers. Also don't use black pigment because it will bleed into the end grain and make a fuzzy edge. The casien mix cuts and scrapes up well. In case anyone is wondering the Cappa purfling was made so that the blacks are light gray in the middle as Cappa made them. Each has the look of a tiny train track on either side of the central white.

Thanks for the explanation, Roger. I did notice and admire the purfling. How the heck you did it, I've no idea!

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