In Cremona, the early makers glued the saddle onto the surface of the rib, extending it directly upwards through the top. These saddles are all gone, but once in a while, as on this beautiful Carlo Bergonzi violin, one gets to see the shadow of what originally was there,
Traces of a Cremonese Saddle Read More »
Laser scans of the top and back of a Brothers Amati violin reveal its entire arching. View still shots and a short video.
Laser Scans of a Brothers Amati Arching Read More »
Almost invariably, the thickness of the unworn edge on a Cremonese violin (in the upper and lower bouts, not the corners and c-bouts, which run by different rules) is equal to or slightly less than the distance from the edge to the purfling. They seem to have been set with the same tool.
Corners and Edgework Read More »
Here are two examples of Cremonese varnish texture. The featured image above is an Andrea Guarneri viola detail. The “Messiah” image below is courtesy of Claudio Rampini.
Cremonese Varnish Texture Read More »
