Moulds data
The moulds and layouts available on this site come from the below list of famous forms that have made the history of violin making. However, if you think of other models that would deserve to be included, do not hesitate to let me know using the Contact form, I will do my best to complete it.
Mould name | Meaning | Category | Notes | Date of 1st use | peak period | Date of last use | Matching instruments | Typical body length (1) | Typical form length (2) | Upper bout width (moule) | Center bout width (moule) | Lower bout width (moule) |
---|---|---|---|---|---|---|---|---|---|---|---|---|
Andrea Guarneri | ||||||||||||
Conte Vitale 1676 | N/A | N/A | A popular form of viola, vey elegant and average size. Representative of Andrea Guarneri’s style, strongly influenced by Amati. | N/A | N/A | N/A | Conte Vitale 1676 | 415 | 406.5 | 187.4 | 129.4 | 233.4 |
Antonio Stradivari | ||||||||||||
P(B) (MS6) | «Prima» or «Piccola» | Big Pattern | Stradivari's first Grand Pattern mould, which shows a gradual detachment from Amati's line. The original mould is heavily worn and has been replaced by the P (MS44), very similar but slightly longer. | 1667 | St Vallier 1699 Voicu 1702 | 353 | 346 | 161.2 | 101.6 | 199 | ||
S (MS2) | «Seconda» | Small Pattern | Similar to Amati’s Small Pattern | 1668 | 1677-90 | 1729 | Tullaye 1669 | |||||
Q (MS16) | «Quarta» | Small | The smallest of Stradivari’s full size violins. Noawadays it would be categorized as a 7/8 size. | 1683 | 1683 | Cipriani Potter 1683 | ||||||
PG (MS21) | «Prima Grande» | Big Pattern | Dimensions identical to the P (MS44) but with a more squarish outline, which increases the surface of the plates in all areas. Totally representative of Stradivari's style, it features all the changes he made to the sketching method. | 1683 | 1714-24 | 1729 | Viotti 1709 (ex Bruce) Baron Knoop 1715 Messiah 1716 | 354.9 | 347.9 | 161.2 | 102.4 | 200.2 |
P (MS44) | Replacement of the P(B) (MS6) form | Probably the most used of the Stradivari forms, perfectly representative of the golden period. Its shapes inspired from Amati are still rounded and soft although slithly more squarish, but not as much as those of the PG (MS21) and the G (MS49) of the same period.tr | 1683 | 1699-1728 | 1734 | Betts 1704 Titian 1715 Cessole 1716 | 354.9 | 347.9 | 161.3 | 102 | 200.2 | |
B (MS33) | Long Pattern | Rather unusual experimental shape, representative of the "Longuets" widely produced in the 1690s. Suitable for tall players due to its significant length. | 1692 | 1692-99 | 1724 | Goetz 1695 | ||||||
SL (MS28) | Seconda Lunga | Small Pattern | This mold is in a way the synthesis between the "small Pattern" S and the "Long pattern" B. It embodies the narrow and harmonious shape of the long pattern but with a fairly standard length suitable for medium-sized violinists. Its rounded and very progressive outline as well as the tricks and proportions of its archetype give it an undeniable elegance. | 1694 | 1694-98 | 1698 | Fetzer 1694 | 356.2 | 349.2 | 154.4 | 99.2 | 194 |
S (MS39) | Replacement of the S (MS2) form | Small Pattern | Similar to the S form (MS2) which it replaces, but noticeably wider at the top and center. Proportions close to “Del Gesu's” but a little bigger. | Viotti 1704 | ||||||||
G (MS49) | Grande | Big Pattern | The largest of the "Grand Patterns" of the golden period. Its sketching technic incorporates the improvements of the PG but with a particularly massive lower part. Appreciated by tall players. | 1708 | 1708-21 | 1729 | Havemeyer-Lyall 1708 Soil 1714 Cremonese 1715 Colossus 1716 | 357 | 351 | 161.7 | 103.3 | 201 |
MB (MS1) | «Modello Buono» | Small | Very similar to the B form (MS33) but with a shorter and narrower lower bout than the B(MS38). Could possibly come from Amati. | 1719 | 1719 | Monasterio 1719 | ||||||
B (MS38) | Small Pattern | Shortened version of the B (MS33). | 1725 | 1725 | Smith, Barrett, Fuchs 1728 | |||||||
T (MS11) | Terza | Small | Dimensions and proportions similar to Andrea Amati's Small Pattern | Aranyi 1667 | ||||||||
MS 55 | Viola | A particularly wide viola shape | Mahler 1672 | 410.4 | 402 | 186.6 | 124 | 241 | ||||
MS 205 | Viola | Strad‘s most popular viola shape | Paganini1731 Archinto 1696* | 410.4 | 402 | 177 | 118 | 233 | ||||
Forme B | Violoncelle | Probably the most common form of cello. Imitated and copied with more or less relevance. The form that I propose is a synthesis of the 8 instruments identified. I tried to minimize the stop length (often problematic on this model) and the body length while keeping generous widths and the true character of the Forma B. | Baron Rothschild, Gore-Booth 1710 Mara 1711 Duport 1711 Davidov 1712 Bass of Spain, Adam 1713 Batta 1714 Amaryllis, Fleming 1717 Bonamy Dobrée, Suggia 1717 | 756.5 | 746.5 | 334 | 222 | 429 | ||||
Guarneri Del Gesu | ||||||||||||
Plowden 1735 | N/A | N/A | Undoubtedly one of Del Gesu's most beautiful instruments, perfectly representative of his middle period. With a robust, harmonious and balanced appearance, it perfectly embodies the very particular style that made the reputation of this great Cremonese master with a very wide central part, short corners and very rounded Cs. Del Gesu was known for making very asymmetrical instruments and the Plowden is no exception. | N/A | N/A | N/A | Plowden 1735 | 350.25 | 344 | 158.4 | 104 | 198.5 |
Lord Wilton 1742 | N/A | N/A | Quite similar to the Plowden but with slightly more generous dimensions. It is recognized as one of Del Gesu's most powerful violins, with a very homogeneous sound throughout the range. | N/A | N/A | N/A | Lord Wilton 1742 | 352 | 345.6 | 161.6 | 105.6 | 199.6 |
Domenico Montagnana | ||||||||||||
Sleeping beauty 1739 | N/A | N/A | Le sleeping beauty est l’un des modèles le plus reproduit de Montagnana et offre une alternative intéressante à la forme B de Stradivari avec sa longueur réduite mais des largeurs plus généreuses. | N/A | N/A | N/A | Sleeping Beauty 1739 | 743 | 733 | 350 | 249 | 434.7 |
Notes
(1)
In principle, the body length is obtained by adding to the mould length:
- 2 x the rib thickness, that is between 2 x 1 and 2 x 1.3 mm
- 2 x the soundboard or back hangout, that is between 2 x 2.2 and 2 x 2.5 mm
Typically: body length = mould length + 7 mm
The figure in this column gives a rough estimation of the corresponding body length but, it is important to keep in mind that this length is not constant and absolute because it depends on other construction steps (see note 2).
(2)