{"id":1342,"date":"2024-07-23T06:30:30","date_gmt":"2024-07-23T05:30:30","guid":{"rendered":"https:\/\/blog.performanceware.com.br\/?p=1342"},"modified":"2024-12-11T04:37:34","modified_gmt":"2024-12-11T04:37:34","slug":"thinking-on-the-rib-corner-joints","status":"publish","type":"post","link":"https:\/\/riccardo964.techster.uk\/index.php\/2024\/07\/23\/thinking-on-the-rib-corner-joints\/","title":{"rendered":"Thinking on the rib corner joints"},"content":{"rendered":"\n

The usual process to follow is to start with the c-bout and then fit the upper and lower ribs.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Note the resulting angle <\/strong><\/em>at the end of the rib. Now, add the other ribs:<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

This picture also show that the C-bout lining is morticed<\/strong> into the block, for additional security and preventing from “unglueing”. Is this strictly necessary? I don’t know, I’ve seen violin makers not bothering at all to this.<\/p>\n\n\n\n

More examples:<\/p>\n\n\n\n

\n
\"\"
(1)<\/figcaption><\/figure>\n\n\n\n
\"\"
(2)<\/figcaption><\/figure>\n\n\n\n
\"\"
(3)<\/figcaption><\/figure>\n
(1) A morticed lining within the corner block.
(2) Another design for morticing it (by Schweitzer).
(3) A Mittenwald style<\/em> way of morticing the lining.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Observe the next figure (sourced from Making The Violin<\/a>):<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Finishing it:<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\n\n\n\n

What we are describing here is (so called) “cornerblockology”<\/em> then (see Maestronet Forum discussion on French related discussion<\/a>).<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Rodolfo Fredi<\/a> took the approach of having the linings running over the blocks (in this 1920 violin):<\/p>\n\n\n\n

\n
\n
\n
\"\"<\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
\"\"
Marvellous label for Rodolfo Fredi.<\/figcaption><\/figure>\n\n\n\n

This one follows this pattern:<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\n\n\n\n

A ‘no-block’ (blockless<\/em>?) approach (or just something out of a repair phase):<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Or with just a small piece to sustain the structure:<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Take a closer look:<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

With just a ‘rough’ piece of wood (oh, the horror <\/strong>that this is):<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

In Mittenwald\/Germany, sometimes the rib corner joints were on the C bout sides.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Sometimes, they would joint it evenly (I particularly dislike the lack of skill whilst joining the ribs on this one though):<\/p>\n\n\n\n

\n
\"\"<\/figure>\n<\/figure>\n\n\n\n

Note the tenons in the rib block.<\/p>\n\n\n\n

In this one, it is a combination of both ideas:<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

This is the final product:<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

One can see how the c-bout gets inside the upper and lower ribs.<\/p>\n\n\n\n

\n\n\n\n

Well, you could always avoid all this trouble and go cornerless<\/em> (1718’s Stradivari Chanot-Chardon<\/a> – more information on the “Archivio della Liuteria Cremonese”<\/a><\/em>):<\/p>\n\n\n\n

\"\"
“The Chanot-Chardon cornerless Strad was, according to the cozio archive<\/a>, originally a violino d’amore, which is, I believe, a different instrument from a viola d’amore<\/a>“.<\/em><\/figcaption><\/figure>\n\n\n\n

Or this Peter Seman<\/a>‘s 5-string, a more modern one:<\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

The usual process to follow is to start with the c-bout and then fit the upper and lower ribs. Note the resulting angle at the end of the rib. Now, add the other ribs: This picture also show that the C-bout lining is morticed into the block, for additional security and preventing from “unglueing”. Is […]<\/p>\n","protected":false},"author":2,"featured_media":1391,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[102],"tags":[100,101],"class_list":["post-1342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ribs","tag-corner-blocks","tag-ribs"],"yoast_head":"\nThinking on the rib corner joints - Riccardo Soffitari Liutaio<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riccardo964.techster.uk\/index.php\/2024\/07\/23\/thinking-on-the-rib-corner-joints\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Thinking on the rib corner joints - Riccardo Soffitari Liutaio\" \/>\n<meta property=\"og:description\" content=\"The usual process to follow is to start with the c-bout and then fit the upper and lower ribs. Note the resulting angle at the end of the rib. Now, add the other ribs: This picture also show that the C-bout lining is morticed into the block, for additional security and preventing from “unglueing”. 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