This is the Simplicio copy again and the bridge is just as complicated as the rosette and the headstock. Shaping the pieces of pearl takes time and then positioning them without the inlay in place has its challenges too. We can do all sorts of things with wood but other materials require some study. The mitres at the corners are hard enough to do so I am grateful that he decided to include a strip of wood between the central piece and the frame.

One of the old guitars I got a chance to see this year was a 1928 Francisco Simplicio. I think it was coincidence that at about that time I got an order and the client wanted a copy of Simplicio. Having seen a few of his guitars is not always enough so I enlisted some help. Francisco Jimenez did some careful study of the 1928 and I ordered the Simplicio book from La Stanza della Musica in Rome. I have got a good start on the guitar with the headstock carving done and the rosette and purflings ready to install.

Herman Schamp is another frequent visitor to Granada who fell in love with the city a long time ago. This love is obvious throughout his treatment of the city in black and white photographs. The presentation of his book was on Monday at the Reciclaje bookshop and I ran into a few colleagues there. You see part of Herman’s fascination with Granada are the guitar workshops found in Granada. I know he has learned from some of us, bought guitars from others and enjoyed philosophical and practical conversations. Francisco Manuel Díaz was there, his son Francisco, José Luis Vigil, Alberto Cuéllar, Marcus Toscano and a few other people I know. Marcus played a few pieces on his Sobrinos de Esteso 1974. That reminds me of an idea for a post about the importance of quality in guitar-making.