Page 54 - The Strad (February 2020)

using maple, possibly in response to the rise in popularity
of violin-family instruments. But Collichon is unique in
what could be described as the apparent randomness of his
wood choice, as well as his continued use of fruitwoods
in odd combinations.

CONSTRUCTION
Collichon’s construction methods remain generally
consistent throughout this ten-year period. Like his
wood choices, many of these methods are at odds with
general working practices of the time and do not have
an obvious origin. Nor do we see any subsequent maker
following in his footsteps in employing such methods.
Nicolas Bertrand, often regarded as his alumnus, shows
little of Collichon’s inuence in his viols, most obviously
in his use of carved soundboards.

FIGURE 1 The ‘slipper heel’ design of the
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Collichon invariably used an integral neck/top-block
construction. is method is often referred to as being in
a ‘northern Alpine’ tradition but in truth there is little
evidence that it was as widespread as the term suggests.
In all of his viols retaining original necks (or parts thereof),
the neck and top-block are cut from one piece of wood.
e internal work on the block is always the same; from
the inside, the neck/top-block curves away from the
soundboard to the back in the manner of a ‘pointed toe’.
is design is commonly known as a ‘slipper heel’ on
account of its similarity to a slippered foot. e manner
TOP ROGHT PHOTO JOHN TOPHAM. ALL OTHER PHOTOS SEHEM MACKEY in which the block is shaped, with sweeping transverse cuts
is a consistent feature on many of Collichon’s viols and
would appear to be unique to him. Top-blocks cut in this
way are found on the 1683, 1691, 1693 and ‘Plan de Paris’
viols ( gure 1).
On many of his viols there is a very visible joint on the
heel of the neck, where a separate piece of wood has been
added. is joint appears on the 1683, 1687, 1689, 1691
(remaining block portion) and on the ‘Plan de Paris’
( gure 2). e appearance of this joint on so many of his
viols would suggest that Collichon sourced the wood for
these necks as square billets of just under three Paris inches. FIGURE 2 3-2;9 32 ;,' 2'$0 ,''£ 3( ;,' l$£3$0>-9' (831 ;36 £'đm ¤¥ T ¤¥ T
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portion of the heel and, more importantly, the plunging
inner block. It was then necessary to cut a section of wood

COLLICHON IS UNIQUE
IN WHAT COULD BE

DESCRIBED AS THE
APPARENT RANDOMNESS
OF HIS WOOD CHOICE

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52 THE STRAD FEBRUARY 2020 www.thestrad.com