An edition of Traité de Lutherie: The Violin and the Art of Measurements
(2006)
Traité de Lutherie
The Violin and the Art of Measurements
by François Denis
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Last edited by Stephen Churchill
September 23, 2010 | History
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Book Details
Table of Contents
Contents.
Preface.
11-14
Introduction.
17-18
PART I MEASURE AND INSTRUMENT MAKING BEFORE THE 18th century.
I-1 Preliminary remarks.
The role of resources in creation.
23-24
I-2 Concepts connected with the notion of measurement.
2.1 Unit and number.
25
Continuous and discrete quantity.
25-26
2.2 What is a difference ratio and a measurement of magnitude?.
26-27
2.3 Proportionality.
28
Means.
28-29
Arithmetic proportion.
30
Geometric proportion.
30-31
Harmonic proportion.
31
2.4 Proportional sections.
31-33
2.5 The symmetrical properties of proportional sections.
34-37
I-3 The measurement of magnitudes in past recipes.
3.1 Three examples of recipes from Vitruvius, Henri-Arnaut de Zwolle and Mathias Roriczer.
38-41
3.2 The myth of the Golden Number.
41
3.3 Proportional geometric drawings and their approximations by number.
42-43
3.6 Approximations and the construction of sequences of converging ratios.
43-45
The geometric progression.
The harmonic progression.
The subharmonic progression.
3.7 The analogical principle and the substitution of measurements.
45-47
I-4 Analysis of measurements in a 15th century technical drawing.
4.1 Henri-Arnaut de Zwolle's lute.
48-50
4.2 Drawing the outline: first proportional relations.
50-52
4.3 How proportion generates measurements.
52-53
4.4 The position of the soundhole.
54-55
4.5 The relative nature of the plan.
56
PART II DESIGN AND OUTLINE OF THE FORMS OF THE VIOLIN FAMILY.
II-1 Preliminary remarks: The difficulties of analysing measurements.
41
II-2 Antonio Stradivari's violin moulds.
2.1 Relations between the main dimensions of the forms.
62
2.2 Vertical relations.
65-68
2.3 Horizontal relations.
68-72
2.4 Height relations.
72-73
2.5 The length of the neck, the position of the bridge, the length of the string.
73-77
2.6 Relations between the three dimensions.
77-79
II-3 The proportional archetypes of the violin family.
3.1 The square and the organic conception of form.
80-81
3.2 Definition and organisation of the surface.
81-83
3.3 Analogical measurements and an archetypal division in Vitruvius.
84-86
3.4 Some examples of frameworks.
86-100
II-4 Drawing with a compass.
4.1 Drawing curves and the principle of the section.
101-103
4.2 Scotia and the reverse curve.
103-104
Drawing a scotia.
104-105
Drawing a reverse curve.
105-106
4.3 Three problems and their solutions.
106-111
4.4 The characteristics of violin curves.
112-113
II-5 Seven models.
5.1 Outline of a violin form by Andrea Amati.
114-129
5.2 Andrea Amati violin outline: analysis and commentary.
130-138
5.3 Form of a violin by the Amati brothers.
139-147
5.4 Amati brothers outline: analysis and commentary.
148-151
5.5 Form of an alto viola by Giacomo Gennaro.
152-161
5.6 Form of an alto viola by Andrea Guarneri.
162-171
5.7 Form of a tenor viola by Andrea Guarneri.
172-181
5.8 Form of a cello by Joseph filius Andrea Guarneri.
182-191
5.9 Form of a cello by Domenico Montagnana.
192-202
PART III Late-period applications of proportionality.
III-1 Preliminary remarks Of arms and legs.
207-208
III-2 Stradivari's inheritance and particularities.
2.1 Production of forms and changes in ways of taking measurements.
209-216
2.2 The Turn of the Scroll.
217-220
2.3 Stradivari's proportional principles for placing f-holes.
221-223
2.4 How to draw Stradivari's forms.
224-231
2.4.1 Mould MS 1 MB.
232-233
2.4.2 Mould MS 2 S.
234-235
2.4.3 Mould MS 28 SL.
236-237
2.4.4 Mould MS 21 PG.
238-239
2.4.5 Mould MS 49 G.
240-241
Conclusion.
245-246
Glossary.
249-251
List of subscribers.
252-253
Selected bibliography.
254-255
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| September 23, 2010 | Edited by Stephen Churchill | Added cover |
| September 23, 2010 | Edited by Stephen Churchill | inital entry |
| September 23, 2010 | Created by 70.25.66.228 | Added new book. |