The Making of a Matteo Goffriller Cello Circa. 1720

Matteo Goffriller was an Italian maker living in Venice Italy (1659-1742). This cello is being built to the pattern of one of his most desired models of 1720. It is a slender model that delivers a full and projecting sound. I have chosen the top wood of “Bear Claw” spruce, a much sought after  wood that delivers a very nice blend of overtones when played. The back, sides and scroll are of finely flamed maple. All woods are well aged and stable. I am just beginning this instrument and will be sharing progress shots along the way. This instrument will take approx. 400 hrs to complete. Progress is slow at first but, over time you will see the instrument unfold into a beautiful work of art. Check back often for my latest postings. Let the wood chips start flying!

Thank you for visiting with me and my shop. Scott.

End and corner blocks are carefull selected and cut from well aged basswood. End grain placement is very important at this stage.
A large band saw is used to cut the basswood blocks to their proper dimensions.
Blocks are marked for sizes and are noted in milimeters.

More of the same, corner blocks being cut to size.
Assembeling the proper aged woods and matching ribs to the back and scroll require a good eye and feel for the woods. Here are the critical pieces stacked ready to begin the making process.
Since I have used this 3-piece mold many times, there is no need to make a new one. Molds can be used for many years if constructed properly. Here the corner & end blocks are awaiting attachment to the mold.

Cutting down the corner blocks for proper fit.
Cutting down the width of end blocks to fit into the mold.
Pre-drilling the corner and end blocks for screw placement and attachment.

The corner blocks are now screwed in place.
After the mold is back together the acetate pattern is placed over the mold and the corner and end blocks are marked with a pencil.
All blocks are marked. Both sides of the mold are marked using the acetate pattern.

A look inside the makers den with the cello molds blocks in place.
Marking the center lines of the corners of each corner block.
Checking the blocks for alignment and size.

Begin the splitting process well outside the line at first. If the grain direction begins to go into the block too fast, turn the mold over and begin carving the block from the other side.
A chisel is used to rough out the shape of the corner and end blocks. Observe the grain "split" direction carefully.
A look at one of the roughtd-in corner blocks.

More of the roughing in process.
Working the corner blocks down to the pattern lines drawn earlier. Care must be taken to observe the grain "split" direction so that the wood does not start spliting into the block beyond the pencil line. If spliting begins, turn the mold over and cut from the other side of the block.

Marking the cello ribs for the proper bending length.
Once the ribs are thicknessed and cut for proper bending length, I use "Red" for right side of the instrument and "Green" for the left. This aids in the bending and placement process.
Preparing the bending iron. Setting is on high and clamped well onto the bench.

The ribs have been well soaked for 1/2 hour prior to bending. A metal strap is used to bend the hard turns. Here I am touching up the center of the "C" bout.
A spray bottle of water is used to re-soak areas that need further bending.
After all ribs are bent I mark them for trimming the ends.

Photo showing the rib layout.
Here I am forcing the corner blocks to confirm to their shape prior to glueing. The rib is sprayed w/ water and clamped into place.

 

scott-viewing-violin

Hershey Violins

11 West Main Street
Mechanicsburg, Pa 17055
717.697.6341

Shop Hours:

Tue. thru Fri: 11am – 5pm
Saturday: Noon until 3pm
Other hours by appointment
call: 717. 697. 6341