Ron1

Don,

 

I think I see what you mean.  If I imagine squeezing the C bout from East to West, (as some advise doing while adjusting a sound post) I can "see" the Fs widening as the arches bulge.  Thus, a tight SP might put the treble F into tension.  I think I can also imagine a shear stress that goes from the lower eye to the C under the same circumstances.  

 

If wing cracks started at the edge, one would expect that they would follow a grain line until they came to somewhere in the F.  My impression is, though, that they always end up in the eye.  That makes is seem more like they started there. 

 

Mac

 

 

The eye is the weakest/nearest point- so represents the 'path of least resistance' for a crack to develop.  I would think these cracks happen all at once, rather than starting or ending at either end- sort of like a lightening strike- some say they actually start at the ground...

Pearwood is easier to carve and often chosen for aesthetic consideration as well, but these are not the only reasons for it's use, and grafting onto (usually) maple necks.

Possibly someone's method of re-graduating an instrument?

No one else would expect your first violin build to sound good, but yes, you should.

John-  I'm curious as to why you posed this question.  I don't have the answer, but I wonder if  you are able to produce the consistancy you asked about, with the carver you have built?