WILL’S BOW Part 8. The head.

With the stick round, the final carving of the head takes place and the mortise for the hair is cut. As we mentioned earlier, we have chosen a particular height for this head to compliment our concept for the bow’s relative flexibility and the actual transition where the head meets stick has an effect on the bow’s sensitivity. In addition the overall mass of the head effects the bow’s distribution of weight.

The head is also the most sculptural element of the bow and here the bowmaker’s personal style manifests itself strongly. While the throat of the frog is also a sculptural element it is bounded on three sides by the frog itself. The head is a three dimensional form that could manifest itself in many ways and still function to hold the hair. The sketch illustrates some of the variables the bowmaker works with in developing a style. Is the ‘dessous cou’ or back of the head turning sharply or roundly from the stick. How is it angled, forward or back? How does the base or line of the tip plate relate to the curve of the stick? Is it relatively flat or strongly curved? How delicate is the ‘bec’ and how far does it extend from the rest of the head? How does the ‘arete’ or ridge along the front of the head relate to the curve at the back of the head. Does the head appear wide above or bell shaped? Finally how sharp or rounded is the curve from the arête to the top of the stick? And how does that curve relate to the curve between the back of the head and the underpart of the stick? A sharp curve in front and back gives the head a hatchet-like appearance. However Eury very effectively used a very rounded front contrasting with a very angular ‘dessous cou’. These are things bowmakers and connoisseurs notice but any player will appreciate the overall elegance of a beautifully conceived head.

Another strong stylistic element is the ‘chanfrein’ or chamfer, a bevel cut at the angle between the sides and back of the head. It can be cut in many shapes and nowhere else is the signature of the bowmaker more evident. On earlier 19^th century bows the chamfer is a pure unpolished stroke of the maker’s knife that brings to mind the calligraphic nature of Sumi painting. Later in the 19^th century the knife marks were usually cleaned up with a file but the chamfer still had the stamp of the bow’s maker.