Talk:Silvio de Lellis

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Untitled[edit]

The surname is rather Silvio than Sylvio. One could say that de Lellis was the origin of most of Quebec's contemporary lutherie, with his short lived school of lutherie in Quebec City. For that reason I believe that the paper is relevant. Most information can be verified either through the Ministère des Affaires Culturelles of Quebec, the Conservatoire de Musique. I, Michel Proulx, luthier and bowmaker in Montpellier, France, am the prime author of the article, for having known personnally the person.

Moved from article to talk[edit]

(This is too detailed and not in WP's encyclopedic format so I moved it to talk for reference. RJFJR (talk) 21:13, 11 June 2011 (UTC) )

An undated bass by de Lellis, circa mid-1970s: [citation needed]

Most luthiers glue a small label of paper inside, listing name, date, location etc., but de Lellis apparently didn't follow this practice, instead using a heated brand with his name in scripted font. This bass carries at least two such brands, one on the inside of the upper spruce block, the other on the lower block, both about 3 cm up from the back. From the current (3rd) owner, it is known that this was the only bass made by de Lellis, who otherwise specialised in violin and viola making and repairs.

The workmanship in general is of high standard, plainly the result of considerable experience with violin-family instruments. The oil varnish shows some signs of friability, but is generally in good condition, and a dark yellow to light orange/amber colour. A fine crackling is notable everywhere. The arching of the belly is very deep and full, being about 60 mm at the centre and rising immediately from the very deep purfling (edge inlay) channel, with no scooping. The impression is one of 'fatness' more than anything else. The back arch is considerably more conservative, and the channel around the edge less deep by a little. The belly edge is thin, only about 5 mm at the peak, with the purfling more than 2 mm below this, leaving less than 3 mm from the surface to the ribs beneath - an unorthodox approach, and in this case one which has led to several broken-off edges having to be re-glued.

This is a 7/8ths size bass with a 43" scale. The wood is of fine quality, being European in origin for both the spruce belly and the maple body and neck. The neck heel is massive. The body pattern is violin-like, with Stradivari-influenced f-holes, though cut widely and spaced far apart (19 cm between the upper holes). The rib corners were accented with strips of ebony, as were the rib ends on both sides of the neck joint. A strip of rosewood fills the lower-rib joint. Overall, the work impresses as being quite good, if a bit eccentric, as though de Lellis were forging in his own direction.