In the fall of 1969, my father commissioned master violinmaker Vila Kuzel of Brno to build a concert instrument for my mother, a professional violinist. As a Czech patriot, my father wished to commemorate the identity of the Czech people during the August 1968 invasion of Czechoslovakia by Warsaw Pact troops. For that purpose, he requested the Czech national symbol, a celebrated image of the Charles Bridge against a backdrop of the Castle Hradcany, to be created by the master Kuzel on the back of the violin.
The Castle Hradcany Image
In opposite to the method of carving, when a pointed chisel works out the decoration in raised form by carving the surface of the wood, master Kuzel opted for a different technique in order to safeguard the quality of the violin’s sound. He used a method in the production of raised design in imitation of carving in wood that was improved by George William Ley of Croydon,
England. In 1870, George William Ley was granted a patent No. 1159 for his method by The Office of the Commissioners of Patents for Inventions in London.
Mr. Kuzel’s Creative Process
In the creation of the Castle Hradcany image on the back of the violin, first, Mr. Kuzel prepared a two piece of Balkan maples. Next, he placed the die—the actual design of the image—over the two pieces and a thin metal foil or other tough material between the two. Then, he placed a backing of comparatively soft material below the two pieces and he subjected the whole to pressure in a powerful press. By using this process, Mr. Kuzel avoided any impact of the Charles Bridge and Hradcany image on superiority of the violin back piece.
England. In 1870, George William Ley was granted a patent No. 1159 for his method by The Office of the Commissioners of Patents for Inventions in London.
Mr. Kuzel’s Creative Process
In the creation of the Castle Hradcany image on the back of the violin, first, Mr. Kuzel prepared a two piece of Balkan maples. Next, he placed the die—the actual design of the image—over the two pieces and a thin metal foil or other tough material between the two. Then, he placed a backing of comparatively soft material below the two pieces and he subjected the whole to pressure in a powerful press. By using this process, Mr. Kuzel avoided any impact of the Charles Bridge and Hradcany image on superiority of the violin back piece.