Exploring lost cello making practices 4: the top plate

Around 2009, research was started on the life, instruments and working methods of the violin maker Benoit Joseph Boussu (1703-1773). As a first step, his previously unknown biography was disclosed in detail, demonstrating that Boussu first practised as a notary in the north of France until 1748, before working as luthier in respectively Liege (1749), Brussels (c1750-c1762) and Amsterdam (c1767-1772). The biographical results were published in the Galpin Society Journal of 2013 and updated in Early Music journal (November 2016). These investigations are part of the PhD project of violin maker/researcher Geerten Verberkmoes, initiator of the Boussu research project.
Next, many surviving original instruments by Boussu were studied, amongst these a violin and a cello in unaltered mid-18th century state from the collection of the Musical Instruments Museum in Brussels. The unaltered violin was CT-scanned and analysed in cooperation with dr. Anne-Emmanuelle Ceulemans (MIM Brussels), prof. dr. Danielle Balériaux (Erasmus hospital) and dr. Berend Stoel. The results of this study were published in the Galpin Society Journal of 2016. In a later stage, the unaltered Boussu cello was CT-scanned in the St. Luc hospital in Brussels under the guidance of professors Danse and Coche and their team.
Based on the CT-scan of the violin, two replicas were built in parallel between spring and fall of 2017 by Verberkmoes, using construction methods most likely employed by Boussu. These practices include an assembling process without the use of an inside mould. The replication process was captured entirely on video and is presented here as a series of videos. After finishing the violins, a cello replica was made in a similar way, during the end of 2017 and early 2018. Videos of the cello making process are presented as well on this channel.
In the final stage of the study, the three replicas are played by the newly formed 'Ensemble Boussu' (dr. Ann Cnop, Shiho Ono and Mathilde Wolfs), to perform Brussels court music from the times of Boussu. The musicians perform the trio sonata repertoire using solely bowed stringed instruments, a nowadays abandoned practice, but apparently a more common fashion in the middle of the 18th century. Examples of these performances can also be found on this channel.
The PhD project 'Boussu Inside Out' is supervised by prof. dr. Francis Maes (Gent University), dr. Geert Dhondt (School of Arts Gent) and dr. Anne-Emmanuelle Ceulemans (Musical Instruments Museum Brussels).
Enjoy watching and listening!

[@danielantoniocolmenarezvar4136]

Buenas tardes, desde Venezuela me gusta tu trabajo

[@Boussu_Inside_Out]

Good day, Daniel. Thank you for your kind comment, that's much appreciated. Greetings from the Netherlands!

[@simonecamplani2430]

Some methods are really smart

[@Boussu_Inside_Out]

Thanks Simone!

[@happycampersminnesota7526]

Where are you located?

[@Boussu_Inside_Out]

Belgium/The Netherlands

[@happycampersminnesota7526]

how thick is a top and back prior to carving?

[@Boussu_Inside_Out]

Hi, thank you for your reply! Do you mean the the maximum thickness of the plate before any hollowing of the underside?

[@happycampersminnesota7526]

Yes! Thanks. Just wondering if I can use 1” rough cut lumber?

[@Boussu_Inside_Out]

Maximum height for top and back is around 17 mm. For most other violins a bit lower (15-16 mm). So, yes you can use 1 inch planks, but it has to be quarter-sawn wood, especially for the top.