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But it is a sine qua non of Stradivari, and of all Cremonese making. So Stradivari contented himself with tucking it half-under the purfling, leaving a little semicircle still visible.

But if you make the hole too near the edge, it will come through the fragile rib on the other side, rather than into the block itself. Stradivari tried to hide it underneath the purfling. But the Brothers Amati began to move it as close as possible to the purfl ing, presumably to make it less obvious. Andrea Amati placed it well inside the purfling, plain to see. A nail will hold things together perfectly well until final assembly, when a little wooden pin will fill the hole. It’s very useful to have an accurate location point, so that the whole assembly fits together in exactly the same way each time.Įver since the days of Andrea Amati and Gasparo da Salò, the accepted method has been to drill a tiny hole near the edge straight into the blocks. If you make an instrument on a Cremonese-type mould, you are often offering up the plates to the ribs and mould, and also removing them. It seems de rigueur to use them in modern making, since they are an observed feature of Stradivari’s work. I don’t know geometry, but for me, pins still have a fair fascination. Learned articles have been written about the geometrical significance of these ‘piercings’ at either end of the back plate. They are the tiny tapered dowels, no bigger than the tip of a toothpick, pricked through the back and front, which are the pivot on which many a certificate and expert opinion turns. The pins I’m thinking of are possibly the violin’s smallest wonders.

Use the roughing gouge and spindle gouge to create the handles, the pin itself. This article is from the November 2013 issue of The Strad Into the kitchen this week for a great skill building woodturning rolling pin.