The “Four Circles” of the Violin: Analysing Historic Violins

In <a href="https://eu-u6.medium.com/the-four-circles-of-the-violin-the-body-equations-ca41046389ca" rel="noopener">Parts 2</a> and <a href="https://eu-u6.medium.com/the-four-circles-of-the-violin-the-corner-equations-5142367ca7cd" rel="noopener">3</a>, I derived a generalised series of equations for constructing the body and the corners of a violin soundboard, based off the works of <a href="http://www.kellyviolins.com/design-page.html" rel="noopener ugc nofollow" target="_blank">Kevin Kelly</a>. 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. <a href="https://eu-u6.medium.com/the-four-circles-of-the-violin-analysing-historic-violins-d2195fdbf1aa">Click Here</a>