Making a decorative fleur-de-lys

A method to add a striking decoration to the back of a Baroque instrument

Makers reveal their special techniques

When designing a fleur-de-lys decoration, the first step is always to decide on a design that works for you and best fits the instrument you are working on. For the double bass shown in this article, I based the pattern on the fleur-de-lys of the c.1609 Gasparo da Salò viola housed in the National Music Museum in Vermillion, SD, US. Having settled on that pattern, I extrapolated the rough placement of the decorations from those of the c.1580 Gasparo da Salò double bass (as featured on one of The Strad ’s posters).

The template glued on the wood

ALL PHOTOS EVAN DAVENPORT

1 I prefer to glue my paper template directly on to the wood using a thick hide glue. I avoid thin hide glues as they have been known to soak into the wood, which can cause bleach spots during the varnishing stages.

Once I have allowed my template to dry fully, I begin drawing in the lines that will connect the fleur-de-lys to the rest of the instrument’s purfling.

Scoring the lines

2 When I am satisfied, I begin scoring either the outside or the inside line of purfling, following whichever line I feel is more important. Once I have carved the first score deeply enough, I come back and score the second line. At this stage I typically ignore the paper template and focus on keeping an equal distance from my first score.

The channels are cut out

3 Once I have established two equally deep grooves, I come through with a small chisel and carefully cut out the channel.

Adding the purfling

The first part is completed

4 After I have excavated every channel, I begin installing the purfling. I use a soldering iron with a variable temperature control as my bending iron for the tight radiuses of the purfling. I’ve found this to be the best tool for this job. I try to install the mitres in pairs, and allow the purfling to overhang areas that will cross underneath other purfling runs.

Once these are glued in, I come through with a knife and clean up any overlap, slowly working my way through the entire fleur-de-lys.

Purfling installed and scrubbed with hot water

5 I usually try to install all the purfling that will run ‘underneath’ first. If I can manage this, it will mean not having to do tight butt joints, which can often disrupt the line.

After slowly working through the design and adding all the purfling, I scrub the entire fleurde-lys with hot water to remove any residual glue that was left behind during the installation process. I always wait to do this at the end of the procedure, otherwise there’s a chance that the purfling channel might swell shut, preventing me from installing the purfling there. I then leave the fleur-de-lys overnight to let it dry fully.

The purfling trimmed down with a gouge

The fleurs-de-lys after scraping

6 Now for the best part. I come through with a gouge, and carefully trim down the purfling until it is just proud of the surface level of the plate. Finally I’ll go over the whole design again with a scraper, and give the entire fleur-de-lys a final scrape. I scrape the area pretty heavily to ensure I have removed all glue residue.

I like to leave the paper template on the instrument until I am completely finished, as it helps keep fragile corners in place. If I do lose small chunks from the channel, I tend to leave them be. All this will be part of the style of the fleur-de-lys: if they are too clean, they have a tendency to look too factory-produced. This is why I allow some looseness in my lines.