Page 57 - The Strad (February 2020)
P. 57

MICHEL COLLICHON


           from the block and transfer it to where it was needed to
           complete the full depth of heel and block ( gure 3).
              e viols of 1683 and 1691 both show another intriguing
           aspect of Collichon’s construction. On all of his viols he
           always uses linen and/or parchment strips as reinforcement
           on the corner joints, back joint and back/rib joints. In some
           cases the reinforcing strip between back and ribs continues
           underneath the top-block, as can be seen on the 1693 bass
           ( gure 4).  is means that the integral neck/top-block was
           ƒtted after assembly of the rib/back structure.  is dramatically
           increases the complexity of his method of assembly.  ere is
           evidence that the rib/top-block joint was, in some cases, not
           ideal and it was necessary that it be ‘packed out’ with thin
           wedges of wood to correct the curve in the rib.  is is
           particularly visible on the 1693 bass shown in ƒgure 4, where
           the added wooden wedges on the remaining portion of the   FIGURE 3 Diagram showing how an extra piece of wood
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           block are very visible.

           CARVED HEADS
           While original English viols came with carved heads and scrolls
           in equal measure, in France the carved head was the norm.  e
           majority of carved viol heads (and indeed some violin scrolls)
           on instruments by Parisian makers during the late 17th century
           and into the 18th were carved by an individual called Laƒlle.
            ese heads are very recognisable and can be seen on cellos,
           pardessus, hurdy-gurdies, violas d’amore and so on. Many are
           characterised by the heads bearing a ‘ru’’ with faces following
           a similar pattern: rounded features with a dimpled chin and
           rather small pouted lips; thinly closed eyes and arched
           eyebrows. But Collichon’s carved heads show an entirely
           di’erent style, suggesting he employed an alternative carver
           or may even have carved them himself.  e heads on the 1691
           and 1693 viols show many similarities. Both are ‘pirate-like’
           with acanthus decoration and the rather odd pointed ears on
           the 1693 are again testament to the peculiarity of Collichon’s
           work, whereas the 1683 ‘cherub’ is distinctly di’erent in style   FIGURE 4  ,' ;36f#£3$0 3( ;,'  ¤   #!99 =-3£ 9,3>9
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                                                                                                 FEBRUARY 2020  THE STRAD    55
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