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 nameMeaningCategoryNotesDate of 1st usepeak periodDate of last useMatching instrumentsTypical body length (1)Typical form length (2)Upper bout width
(moule)
Center bout width
(moule)
Lower bout width
(moule)
Andrea Guarneri
Conte Vitale 1676N/AN/AA popular form of viola, vey elegant and average size. Representative of Andrea Guarneri’s style, strongly influenced by Amati.N/AN/AN/AConte Vitale 1676415406.5187.4129.4233.4
Antonio Stradivari
P(B) (MS6)«Prima» or «Piccola»Big PatternStradivari'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 The original mould is heavily worn and has been replaced by the P (MS44), very similar but slightly longer.1667St Vallier 1699
Voicu 1702
353346161.2101.6199
S (MS2)«Seconda»Small PatternSimilar to Amati’s Small Pattern16681677-901729Tullaye 1669
Q (MS16)«Quarta»SmallThe smallest of Stradivari’s full size violins. Noawadays it would be categorized as a 7/8 size.16831683Cipriani Potter 1683
PG (MS21)«Prima Grande»Big PatternDimensions 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.16831714-241729Viotti 1709 (ex Bruce)
Baron Knoop 1715
Messiah 1716
354.9347.9161.2102.4200.2
P (MS44)Replacement of the P(B) (MS6) formProbably 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.tr16831699-17281734Betts 1704
Titian 1715
Cessole 1716
354.9347.9161.3102200.2
B (MS33)Long PatternRather unusual experimental shape, representative of the "Longuets" widely produced in the 1690s. Suitable for tall players due to its significant length.16921692-991724Goetz 1695
SL (MS28)Seconda LungaSmall PatternThis 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.16941694-981698Fetzer 1694356.2349.2154.499.2194
S (MS39)Replacement of the S (MS2) formSmall PatternSimilar 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)GrandeBig PatternThe 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.17081708-211729Havemeyer-Lyall 1708
Soil 1714
Cremonese 1715
Colossus 1716
357351161.7103.3201
MB (MS1)«Modello Buono»SmallVery similar to the B form (MS33) but with a shorter and narrower lower bout than the B(MS38). Could possibly come from Amati.17191719Monasterio 1719
B (MS38)Small PatternShortened version of the B (MS33).17251725Smith, Barrett, Fuchs 1728
T (MS11)TerzaSmallDimensions and proportions similar to Andrea Amati's Small PatternAranyi 1667
MS 55ViolaA particularly wide viola shapeMahler 1672410.4402186.6124241
MS 205ViolaStrad‘s most popular viola shapePaganini1731
Archinto 1696*
410.4402177118233
Forme BVioloncelleProbably 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
756.5746.5334222429
Guarneri Del Gesu
Plowden 1735N/AN/AUndoubtedly 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/AN/AN/APlowden 1735350.25344158.4104198.5
Lord Wilton 1742N/AN/AQuite 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/AN/AN/ALord Wilton 1742352345.6161.6105.6199.6
Domenico Montagnana
Sleeping beauty 1739N/AN/ALe 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/AN/AN/ASleeping Beauty 1739743733350249434.7

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)

The given mould length includes the end blocks once cut to a profile that perfectly complies to the outline design rules. From there, it is possible to significantly vary the final length and shape of the violin body. In particular, it seems that Guarneri Del Gesu liked to experiment cutting the blocks with different shapes from on instrument to another, or even stuffing certain areas of its moulds. There is also the possibility to distort the rib garland before tracing the back and top plates outlines. These two techniques, completed by the possibility to alter the hangout of the edge can lead to a great variety of violin shapes and dimensions which characterized Del Gesu's production, whereas he possibly used only 2 or 3 moulds. For this reason, Del Gesu’s work is not classified by moulds name but by instrument.