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Do you build Bergonzi?


joerobson
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Since I am controversial,  I will say that I prefer this outline to many Strads.  I don't like the squarish bouts of some Strads,  and the curves of the Bergonzi are well ...  more curvey.

A circle gives only curvature.   I believe a good outline has continuously changing curvatures.  Of course,  you can use a LOT of circle to do this.  (It is like the many many cycloids used before Newton proved the elipse in planet orbits.)  

I made my own viola patterns after many repetitions.  One can block out areas with circles or even rectangles to get the basic proportions right.  Then it is free-hand to make the final shapes.   

I dare say that in finishing an arch,  most people rub their hands over the surface to find discontinuities in curvature.   The hand can feel these,  and the idea is to eliminate sudden changes in curvature (analogous tor trying to mate up tangent circles.)  Has anyone found evidence that any Cremona makers stricktly stuck to any kind of geometric drawing involving only circles?

 

 

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Does anyone have the actual length of the MS1060 Bergonzi form?

The measurements in the Reuning book don't seem to correlate with the images.  
The scale next to the image isn't helpful at all and yields a much smaller form (340mm length).
The system of expanding a 67% reduced image by 150% yields a longer form by 2.4mm

It's possible that the image has been stretched in the printing process or that 
there was a mistake in measuring. 

Given measurements..
Upper bout- 157.2
Lower bout- 196.8
Length- 342.6 (corner of upper block opening to corner of lower block opening)

150% x image size
Upper bout- 157.5
Lower bout- 196.5
Length- 345

The instruments made on this form are around 352 in length.
If you subtract 1mm for ribs and 3mm overhang that leaves 344.

Any insights?

 

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