In Parts 2 and 3, I derived a generalised series of equations for constructing the body and the corners of a violin soundboard, based off the works of Kevin Kelly. In this section, I will superimpose this generalised framework onto the works of Nicolò Amati, Antonio Stradivari, and Guiseppe Guarneri, and analyse the trends visible in their designs.
I add here that the purpose of this is not to reduce the works of these luthiers to mathematical equations, nor am I suggesting that this is the construction method used by any of them. I am simply trying to observe, over a cross-section of the “Golden Age” of Cremonese luthiery, what patterns, if any, are visible by superimposing my generalised model.