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During the afternoon of the second in Florence we had the honour of visiting the workshop of Paolo Vettori and his sons. This business is the only one of its kind in Italy, where three generations of violin makers have practiced their craft for 78 years without a break in the tradition. Here is a view of the outside of the workshop where we waited for the family to arrive. Meet Dario II in his workshop, who carries on the tradition of his family business. Dario II is very proud of his work which he should be. Dario 1 was his grandfather and became known as "The Violin-Maker of the Mountain". His grandfather made 156 violins 37, violas, 2 violoncellos and 2 quartets before he died in 1973. Dario 1's sons, Paolo and Carlo continued the art. Dario II told us he makes around 6 violins a year. He works with his father, Paola, sister Sofia and his brother Lapo. Meet baby Dante, the next generation of violin makers. Meet Paola Vettori, the fifth-eldest son of Dario who started working in his father's workshop at a very early age. Here he is holding his grandson. Dante is clearly showing his fascination with the family business at a very young age. Eventually we moved downstairs to where different tasks were performed. It was fascinating watching Dario working at his craft. It was easy to see that he was a perfectionist and loved his work. For the construction of the instruments, the family uses molds and models that have been used in the family's business for years, some inherited from other famous violin makers. Dario mainly uses local and Bosnian maple (some of which were left by his grandfather), Italian poplar, willow, cherry and pear wood as well as the traditional violin-making spruce from northern Italy. The final result is clearly a masterpiece.

It isn't often that you hear of a small community having a replica working hull made to celebrate not only the working traditions of the local seafarers but also those of the craftsmen that enabled them to take to the water. The 28ft Huon pine whaleboat is being built for the local Port Fairy Heritage Boat Group. The builder Garry Stewart says 'working with me on construction is Rob Whitehead who is a member of the group, all timber is huon pine, fastenings copper and bronze, planking is lapstrake, and the design is what was used for off beach whaling at Port Fairy in the early 1800s'. This pile of Huon Pine is a rare thing now. Like so many wonderful species in the Southern Hemisphere, the huge scale of their availability and their wonderful working qualities fooled our forebears into thinking that the supply was endless. I'm thinking Huon, in Tasmania, Australian Red Cedar in New South Wales, Kauri in New Zealand, and Jarrah in Western Australia- but there are plenty of others that grew aplenty in our neck of the woods. For some, their use is very political and it can be difficult now for good craftsmen to source the timbers that have always served so well. While in some stands of forest 'clear felling' is still allowed, exposing soils to invasion by weeds and depleted by erosion, in other situations supply of particular species has been very restricted if not banned. Huon is a marvellous timber to work. It planes like butter and has an incredible aroma that wafts off the blade and fills a workshop. It is resinous and very resistant to rot. These trees need time and space, so their use should be carefully considered. I would argue that traditional crafts that depend upon them should be prioritised.