With the old bridge removed, the new bridge must be carved from an ebony blank.

First, I glued the two parts of the old bridge together, so I could have an accurate shape.  After sanding the ebony block to have flat and square sides, I drew a plan view of the bridge onto the blank.

When making a new bridge for a guitar, it is always important to make it a tiny amount larger, so as to cover any sign on the finish or surface of the wood left by the old bridge.

With the shape drawn on, I could then cut it out.  I chose to leave the tapering sides until after most of the carving and shaping had been complete, so as to ensure they didn't break off.  The bridge was constantly checked against the guitar, to ensure that it was the correct size, and was lining up with the two inlaid dots at the extremities of the bridge.

The next step is to drill the bridge pin holes while the bridge still has a flat surface on both sides.  The measurements at this point are extremely important, as the positioning of these holes defines the string spacing, and should also line up with the holes left in the top of the guitar from the previous bridge.

Now the curvature and shape of the bridge can be carved.  The original bridge used a fret as a crown point for the strings, instead of a saddle, so a slot for the fret tang was cut, rather than routing out a saddle slot.

With the bridge carved to shape, I then lined it up with a couple of bridge pins, to fine tune the shape and fit it to the guitar.

Since there was no finish left on the top of the guitar, many scratches and scuff marks had built up on the top of the guitar.  I sanded these out, and applied a few coats of tung oil, and a coat of wax, to protect the delicate spruce top.  I was then able to fit the bridge.

With the bridge glued, I inlaid a piece of mother-of-pearl into the detail at the end of the treble side of the bridge.  Finally, a bit of lemon oil and a polish and it looked as good as new.