The Secret of the Violin Headstock

The violin is an exquisite work of art, and by appreciating its various parts, one can gain insight into different styles of violins, the artistic understanding and craftsmanship of the violin maker, and the pursuit of aesthetics, among other aspects. Among these, the most expressive elements are the F-holes and the scroll.

Just like the scroll, the F-holes reveal the distinct artistic styles of different violin makers in subtle ways. If you wish to learn about the F-holes of the violin, you can read my previous article titled "F-holes of the violin." In today's article, however, I primarily focus on my understanding of the violin scroll, inviting you to discover the secrets behind the violin scroll.

What does the violin headstock refer to？

The headstock of a violin refers to the upper part of the violin's neck, above which lies the scroll and peg box. They are carved from a single piece of maple wood, displaying beautiful curves and grain patterns.

When appreciating a violin, the headstock can be divided into four surfaces: the front, back, and two sides. Among them, the curves of the side surfaces are the most extensively studied and reflect the personality of the maker.

Most Common Headstock Type: Spiral

The side curve of the headstock can be divided into two sections. The lower section corresponds to the side of the peg box, which can also be seen as the body curve of the headstock. The uppermost section represents the side of the scroll, which can also be viewed as the scroll's side curve or the spiral unfolding line of the headstock.

Initially, when I first started learning about the violin, I felt that violins had similar shapes, and I believe most beginners share the same perception. However, as I delved deeper into the world of violins and violin culture, I gradually began to appreciate the unique characteristics of each violin.

For the violin, the headstock is like a person's face, and by observing the headstock, you can discern the emotions and character of the violin. The most common type nowadays is the scroll-shaped headstock, which is both the simplest and the most challenging to craft. Its design is deceptively simple, being just a spiral that resembles a volute. The difficulty lies in seamlessly integrating the artist's stylistic choices and pursuit of beauty into the simple lines and curves. The angle of the curves, the curvature of the bends, the depth of the spiral, symmetry, and other such details can reveal different artistic concepts.

Everyone has their understanding and perception of beauty. For me, the ideal violin headstock would possess the following qualities: a naturally flowing curve, impeccable craftsmanship without visible carving marks, warm and rich variations in color, subtle and harmonious whirls without appearing forced, and a proportionate and balanced side profile. 

Perhaps words alone cannot fully convey these qualities, but once you have sufficient knowledge about violins, encountering a headstock that resonates with your preferences will make you want to hold it in your hands and truly feel its nuances.

Why is there a spiral headstock pattern?

I have researched extensively, but there is no clear indication of who invented the scroll-shaped violin headstock. However, its origin may be attributed to several factors.

1、Influenced by the Renaissance: 

The development of the violin was a lengthy process, but it underwent significant improvements and advancements in the 17th century, solidifying the basic design and construction of the modern violin. The renowned center of violin making at that time was Cremona, Italy, where master violin makers were influenced by the cultural impact of the Renaissance period. The Renaissance was characterized by a study and emulation of ancient Greek and Roman cultures, seeking to recreate symmetry, proportion, and classical beauty. In Roman architectural history, there existed a pattern named after Marcus Vitruvius Pollio, a Roman historian of architecture from the 1st century BC. Its shape resembled the scroll of a violin, both featuring a spiral form.

2、Imitating the shape of a rolled manuscript: 

Prior to the 1st century AD, many documents in Europe were rolled and stored as single or double cylinders since books were not yet common. It was only after the appearance of books in the 1st century AD that this method of storing documents gradually faded away. However, if you look at it from the side, this unique storage method bears a striking resemblance to the scroll of a violin, hence the origin of the term "scroll" for this part of the violin.

3、Influenced by maritime civilizations: 

The geographical characteristics of Europe, being surrounded by the Atlantic Ocean and the Mediterranean Sea, along with numerous inland rivers and maritime ports, have fostered a close connection between European nations and the sea throughout history. The spiral-shaped violin scroll bears a striking resemblance to the shape of waves, suggesting a possible connection between them.

Headstock spiral designs for Amati, Stradivari, and Guarneri

The spiral design of the scroll on the Amati violin head

Nicolò Amati was a violin maker who pursued perfection and harmony, and his scroll design reflects his quest for smoothness and roundness. In his work from 1675, the scroll of the violin head exhibits the following characteristics: the curves of the lines are smooth and uniform, closely resembling an equiangular spiral. If we rotate 30 degrees downward from the center of the eye, using it as an axis, and observe along this horizontal line, we can see that the starting and ending points of the spiral intersect with this line. This design creates a visually harmonious and fluid appearance for the entire spiral.

The spiral design of the scroll on Antonio Stradivari's violin head

As a student of Nicolò Amati, Antonio Stradivari initially had many similarities with Amati's works in his early creations. However, as he gradually broke away from Amati's influence and made improvements to the violin's design, he developed his own unique style and entered the golden period of his career around 1700.

In Antonio Stradivari's work from 1699, the design of the scroll's spiral has some distinctive features. Compared to Nicolò Amati, Stradivari's scroll spiral also follows a straight line at a 30-degree angle downward from the end of the eye, and using this line as the major axis, it exhibits an elongated tendency in an elliptical shape. This design brings variation to the curve of his scroll, no longer maintaining a uniform and stable appearance, but showcasing a certain sense of rhythm. This balanced dynamic imparts a sense of conflict and charm to the scroll.

The scroll design of Guarneri del Gesù's violin head

Guarneri del Gesù had a highly distinctive working style. He approached his craft with freedom and without strict adherence to traditional styles of intricate and precise carving. His scrolls exhibit clear marks and visible chisel marks.

His violin-making career can be divided into four distinct phases, each characterized by unique features. There are indications that Guarneri del Gesù's methods evolved and changed over time.

In the first phase, from 1726 to 1730, he displayed the skills of a trained artist, which can be seen as a tribute to the education he received from his father. His scroll style during this period bore similarities to that of his father.

In the second phase, from 1730 to 1735, he showcased a mature and distinctive approach to violin making: the proportions of the instrument's body elongated, the f-holes became slender, and the final touches on the edges, corners, and scroll were impeccably executed. When observed from different angles, the two sides of the scroll rotated symmetrically, but an interesting fact is that when viewed separately, the shapes on each side appear quite different.

In the third phase, from 1735 to 1740, his style became freer, and the methods of craftsmanship lost some control. His scrolls sometimes exaggerated the dignified concept of his predecessors but exhibited more personality.

In the final phase, from 1740 to 1744, Guarneri del Gesù's works deviated from widely accepted standards of craftsmanship, and some critics even expressed distaste for his hasty approach.

In Guarneri del Gesù's works, there is often an element of immediacy and originality, never becoming stale or conventional.

Regarding the design of the scroll's spiral from his 1733 violin, it possesses the following characteristics: the direction of the lines is uneven, creating a sense of conflict. There is an elongated tendency in an elliptical shape along the straight line axis at a 30-degree angle, similar to Stradivari's scroll. The eye at the final turn is pushed downward, elongating the major axis of the inner circle, while the end of the eye is raised upwards, exceeding even a 45-degree angle. The scroll is slightly wider in the lower front area. The top of the scroll is slightly more forward and tapers toward the back.

These features give Guarneri del Gesù's scroll a unique appearance and charm, showcasing his personal creativity and uniqueness. However, other makers cannot replicate his spontaneity as they do not possess his genius.

Unique Violin Scrolls

In addition to the commonly seen spiral-shaped scrolls, some violin heads are carved into different shapes such as animals, flowers, or figures. Although these distinctive shapes exhibit exquisite craftsmanship and lifelike details, I still prefer the spiral-shaped scroll. It seems to blend harmoniously with the overall lines of the violin, creating a more lively and natural rhythm.

What is your opinion on violin scrolls? If you have your own viewpoint, please leave a message. Welcome to discuss together.