Thanks to all of you, for your comments.
Billy, I'm a lot like you. I'm into classicals, but I enjoy craftsmanship in any form, even if it is in a well executed b***o.
Dave, I am closer, but soon, I get to the place where I have to cut into a perfectly good guitar to install bindings and such. I'll be apoplectic.
Thanks Colin, I had everything poised for the attack. I had also spent a lot of time thinking about the process. Putting in the dentellones took me about 3 hours, maybe a little more, but I held the ones in the lower bout for at least 30 seconds each. In the upper bout, where there was no stress from bowing, I only held them for about 15 seconds. It went well in my opinion. I was lucky. Fortunately, I had cut the dentellones and had them in jars, ready to go.
Chuck, thanks, I guarantee that I can find anything I put down in my shop in, lets say, 2 - 3 HOURS, most of the time. I'm not calculating when I'll be done. There are too many details yet to be attacked, and yes, I am using HHG. I have a lot of fun with my "band", if you can call it that.
Jim, thanks for explaining the dentellone/kerfed lining issue. I suppose you could install kerfed lining in sections, and hold it in place. Might speed the process up. I could see doing that in about 30 minutes, instead of 3 hours. Might be worth a try. You could also use fish glue, and, sort of, feed it to the lining as you go along. Might be messy, due to the harder clean-up.
Marc, it's hard to see, but it slopes up toward the tail-block. I tried to keep it in line with where the radius of the back braces will be. If it's too low, there are always pieces of mahogany to glue on and re-work it.
Thanks, Bill, I have now, kind of, gotten into the photographic journal of the build. I take lousy notes, and this will help me remember things.
J, I don't know if it's patience, or if I'm just a glutton for punishment.
Michael, I thought long and hard about that neck joint. I have never seen one, and if it weren't for this forum, I wouldn't know about the double wedge. I had seen the single wedge, Romanillos' old version of the joint (though he says it is from early instruments that he got the process, apparently), before, but had only read Shawn's explanation of the double wedge, which just made good sense to me. Now, if I ever need to take the neck off, all you have to do is chisel out the wedges, and no damage is done to any other parts, since there is no glue on the outside surface of the ribs.
Onward and upward!
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good job buddy. you are making great progress and are doing a fine job.
