PracticumEighteen: Installingthe Nut, Frets,and Strings
Photo1. The lute nutismade fronbone, ebon),ol other hard m aterial. Iloryhrd beenthc materialof choìcesincethe end oflhe 16thcentury,but is not normallyanacceptablcchoicetod,ìy.Markand cut the nutblanklo length. ForRcnaissancelutesthe rough x5MÌvlx80ríM. blank shoÙldbc approximately5À,lM Photo2. Flattenlwo sideswith I flat sandìngboatd or file and seethat it iìls tjghth into the nut rebate
Photo3. Tracethe shapeof the fingerboarclonto lhe nut usinga 1.2\4Ìúshim or spacel. Photo4. File or sandthe nut down to this traccdllne and rouîd over- Thc nul shoulLlbc ascloseto ar cxacl quartcr roundsectionaspossible.Thisheìpsthestr'ings sìideolcr it. The finallì1cstrokesshouldbealongthe lengthol the blank. 226
Photo5. Sandthc blank with 22i:ìgdt urúil snoorh. The endsshould bc roundedslightli'and alsosandcd smooth. Then sandthe enlire nut wirh dry4ll0 gdr. Photo6. Polishtbe nutwith a har.l cottonbullìng $heel aùdlire compound.Poìishoff ary Nbbing conrpoundresi.lue with a cleanrag. Photo7. Using"voùnutspacing tcÌnplate. markrhc nnngspacingonlo thc nut at the aporofdre radius, Nhereths srooves\\,illbe filed. Thc groovesof a lulc nul. unlikc thosefor agrirar orviolin, do not erirendIo rhebreak ovef poìnt olthe string,but arejust shallo$ notchesmidwayin the curvedsuúììceofrhe nur_The e\hemepegheadîneìe ofthc lute makesa dccp notch on the top of lhe nut unneccssaÌ.r'. Photo8. Wilh averyfine mouserailiìle,cut short, jhallow srovesinto the nul. Iuse nythumb asa gride hefeto makelhcgrovesmatchthe templatccxacdv. hecausee1€nsligbtdistanccs_ which one ùìighrnot nolice,cansignificantlyalterrhe fring spacing. Photos9 and 10. Polishthe grooveswilh a fine liren threadand iìne polishingcompound.Waxrhe nut with n icrocll,slallinewa\ and ir is finishcd. The lute nut is notgluedonto placeb ul held wirh slrirgpressureonlv.
Photo11. Using the fretdistanccconstructionorthe fret faclolsbelow,makea charl oî the fiet distances. Lay out thedistanceson the fiÍgerboard and markthesc locationswitha tily pin prick. Ever illhe lutenistplays in mean-tonetemperamcnttheywill be grîtefillbr thesereièrcncepoints.
Photo 12. Markwithasoft leadpenciltlìelocalionsof the bod],fretsif uscd. Using the ruler erìgeasa guide, placethe outsidemàrh lo locatethe exactpositioDofthe end ofeach fteL thcrcbyassuringalignment.These n1arks,although alhcmaticallt'correct,will ùsuallyìr.lbund a little shoÍ of their tonally coÍect position. ln order not to soundflat,the bodyfretslvilÌ need locatcdby ear. correctedpositions
Determìning Fret Positions luteis, ifproperÌy The neckofthc Renaìssance proportioned,long enoughto be tíe.lwith eightiiets p l - c e L l .. e m io n r i n r c n r l . .O t e r ' h ec e r t t ti t. . t r < r ch - \ e h e e n| " r \ l ' , r m ud . r n d m ( . l n d ' e i \ e l for layingou! fretson lutesand guilars,aÌl involving mu\rbl( lrJrsmrLlelr^r .\, 'rI pi(cesùfgul .l rirg tied aroundtheneck. Sincetheywerc not îi\ed, theycouldbe sljd a little up ordown the neckto changethe tenrperamentofthe insÍument. The authorsolsomc tutors,asin RobertDowland's l/aietie oÍ Lute Lessotls(London, 1610),and some composerssuchasHansGerlcinhist-va ren,n sÀeJ' ldinsîlichsLauîenbuch,(Nìrremberg,1552)give specificiDstruclionson the placingof someor all of the frets. Of à morc scientìficnatureare the instructionsby Juan Bermúdoin Dcckraciónde Instrumentes Musicales,(Osuna,1549,1550).The moderntemperedscalemakesanytotallyaccurate +rPrnl r.em-niimn,ì..ihìP
Surelythe mostelegantofthe ancientmethods fo1detemining ftet locationis "The Ruleof -lb Eighteen." constructùis, onc drawsthe IineAB, lhe lengthofwhich is the opcn srjng lengthofthe lute. ,Aperyendicularis constructedat A whichwill
be the nut position.An arc,with a radius1is of AB is drawnfrom 4 andwill intersectAB at D nndtlre pcryendicularatC. AD is thc dislancefrom the nut to the iìrst ÍÌet. Lìne BC isthen drawncreating triangleABC. ConstructDE perpendicularto AB. An arcis dftwn fiom Dwith a radiusequalto DE. Thiswill interscclAB at F,whichis the positior of thesecondlrcl. This confruction is repeaicduntil the numbcroilietpositions neecledaremadc The fbllowingftet factorsfor equaltemperament are givenby Stanle],Buclensin hìsexcellentarhcle "On Frctling a Lute,"/LS,4 III, 1970,pp.53 63. To usethis methoLl,shlply multiply the stringlengthb) ( î c \ a c t n rt , a r r i \ ( : , ct : r . hf i e lp o \ t i o n .T \ e semitoneswill,in all probabiiiry,be alittle sharp. A tor descriptionof what is happ€ningand suggestions i . L 1 F t t g . n e a d j r . r i n rgh ( . . . r . a . c u r J i - g e n e t 1 Domboisin his article"CoÍect and EasyFrel Placement"l|.S:M,1973, pp.30 32. 1) .05613 7).3325E
13) .52806 19) .66629
2).10910 3).15910 ,r) .20630 5) .2s084 6) .29289
1,r).ss45s 1s).5795s 16) .6iì3i5 1',7) .62542 18) .64615
8).37004 9) .40539 10) .43876 11) .47027 12) .s0000
20).68s02 21).70270 22) .71e38 23) .13514 24) .75000
The eightfrets on a Rcnaissance lute are gencÌallv arrangedso thal theydescendin diametertowardsthe body. I would qpicallyusethe follolviDgdiamereÍsl i) 1.00NrÌvi 2) .90Mr{ i) .85MM ,l).82MNr
5).79NrM 6).76NiM 7).73NrM 8).70MM
I lolvever,gú1vades,so don'tworry abo tbeingrea11y e\act.ThemiinpointstoconsidcrarethaftheIstiicr sho!ìldbe large,the 2ndfretshould drop considerablvin dìameter,and oachofthe restshouklbe about.03NlM sn1allerthan thcprecedìnglf the lutehas avery high action,that is, if thc hoight ofthc strirgsabovethe fingcrboardat theneckòorly join is,lbr eÌample,ìn tlìe vicinityof 5N[,! then itwould be better to tie onlìetsofa more constantsizeor cvcn rhesaùìesize.lI. or the other hand,the actionis low. thena larger1l fret together$'iú a biggerdrop betweenliets and endingwitha.66MMmight help. The ultm-sirìplefret knot I usewasshownto úe by Jacob\andc Geest,who presumablyfirstusedit. Photo l3. tseginbyburningthe cnd ofthe pieceofgur shich you intend for thc lst liet. This fuscsrhe strands of sut togetherso theywon tuntwist, and swellsup the end so the knotwoÍ'l slip. Iuse a soldcringifon but a matchoralcoholflamowill alsowork.Trf a 1.10M\a for the 1l iict. Photo14. With thc lute standingon irs trebìeside facingawayfrcm you,passthebumed end ol rhe iier ùnderthe sldngs(if it hasstdngson it) and pull it free ofthe neck. Tie an overhandknor (sinply rhc iilsr half oi a "gran , knoC'or a "squareknor") and run the knot out to near tho erd of the ùel cut. Passihe olhcr end of îhelengthol frct g tthroughthcoverhandknot.
Photosl5 and 16. Slidetheîrerto theplaceor rhcneck shere the nexthigherfret will bc. Pinch rhe frer lighrty to the neckand pull down on thc lengthofgur unril rhe knottightensup. Continuetopulluntilyou thinkthe gut mjght bÌeîk and rhenreleaseit. lt shoukl.lraw slightll,backth rough the knot. Clip rhc extra lenglhot cùt olllcavinp a stub abouttwo diancters in lergth. 229
Photo 17. Bur'Ìlthe little stub endsuntil lhcy swellup and are brown. Thiswill preventthe end iiom slipping backlhroughthe knot. Phofo18. w}ìen they are cool,about rwominutes,the liets canbe slidinto thcircorrect positions.
Photo19. Anachronific thoughtheybe.bodyftetsate usuallyrequestedby contempoÌaryllrtenists. Tò completethe octavein aRenaissance lute wouldrequire lbur. If used,theseftcts shouldbe narrow and tlin and madeofavery hardwoodsuchasebonyor boxwood. Photo20. Beginby planinga pieceofebony to.68MM thick. Then. holding it in the benchvise,planeone edgeÍuc, thatis,flatand sqLrare. Photo21. Using a kdfe an.l straightedge. cut offa strip about l.5N{Mwidc.Replanethe edgcaùdcut another strip. Continueuntil a dozenorso stdpsare made-
230
Photo22. llind that itworks bestto cul lhlj srip partialry'.with the kdfe. saytwo or threecuts.and thon !o breakil thc restof the wayoff- The cul cdec tcndsrc) be straightcltlis wal'. Photo23. Holcl the stdpscdgewisein ashallovcroove salvninto a srxx)th, hardmapÌeboard. Thc groove mrìstbeeriactly1.20MN{ dcep and.70\4Nr u'ide. One of the ebonystripsisplaccdin the groove.cut sideúp. Planeit dowll until theplînejust glidesover the block. Photo24. Thenlile il to cxactlyl.20NrM.
Phofo25. Bevelthe end with i'our knife and cut the iicl io length. Photo26. tseveltheolhcr cnLìandthen,withaven sharpscraper,round the lop edgcofthe fret. Photo27. Prepareall the iiclsÌou are goingto use. I decrease the lengthftol11sixcourseswideat the 9thlicl downtojust lhrce courseswideat the 12thlìct. These hìgherfretsaremost oftenneededîorthciiÉtrwo
231
Photo28. Hold eachiier in placeand rrl, it, with rhe chantrelletuned up topitch, to checklhe intonation. AJ'u he ^.J(.uIrntrrk T ] ì c n u. . i rq . thinnrier asa gúidelbrìocation and to ensure str.ìightness, glue the ftets down to lhebelly. Hold thc fret firmlv agairsttheruler and downonto thebcllylor aboutfifteenseconds. Photo29. Then lift the ruler ancl,placingir overthe liet, pressdownfor an additionalfift-vto si\ty seconds.
Photo30. Immediatelycìeanofftheglue squeeze-oul with the end ofthc ruler.
Photo31. Thelinishedfreh shoukìberelarivelvorderh lookingandmoreorlessflat. Someheightadjustmenl or levelingto eliminateanybuzzingis to be cripectedin the final adjustmentsatìer lhe lute hasbecnstrungup andtuned.
l'Ìn sureTdon't needto tcllyou that historìcallLrtes wereoricinalì! strungwirh gut Strings-From arcient aîdmcdievaì timesup urtjlthe Rcrîissanccperiftl the compassof strirgedinstrumerì!s wasljmited to five oi si\courses,àndyou canbe sure that thc lastìrasscoursecouldn'thîr,e souùdcLìàswell asthe othe^l During tho Latc Renaissance periodscveraltechniques lveretried to makelhcweak soundofrhe bassstrjngsstronger.Plain gul. cvenhigh Íristgul, which is a little nore llc\ible for itscliamelcr thanlow twist,jusldocsn,t wofk r€rJ wcll by oLLtsrandards. Catlinesare conjcctured10havebeen sonc lhing of an answer. 'Iòday.rhesearc ìnàdebytwistingthree(somerimestwo or n)url separatcwer gut srdngstogelherinto a ropelikc string$'hiclìcanel]d Lrpwirh quitelargcdiameters. Theyseem to have beenusedbeginnlnglarein lhe 1órlìcenrùry. lor. asexample, the 1581Venele 7 course haslring boìesvhichwoukl accepr catlincs (it is.ofcourse, possibìe rhallhe stringholcswereddllcd out largcrata liìler date). Dudrìgthe earlyBaroqueoÌ ìry Ló1iì 1620allcasr,catlincswefecertainl)ìn 1rvor.anclespociallyirFraÌrce.renlainedso urtil the end oflute plaling there. Clurrent researchbyVlimlno Perutlo (AquilaUS^ PO. Box8276l.Ponland.OR 97282)suggcsrs thar"loadedlrrings mighr alsohavebcona possibilit_!. Finl usedìn rhe late l6th orearly 17thcentul1.theseloadc.l frinqs hale beenchsmicalhrcared !obc hea\'jer(a net gahh nìass).ftììs rsdonebI ioakrrethemin a bathoflerw meral rrhìrions\!lìichwouldatach nólccularlvlo rheprolcin fibers. Thjs acldilionat .r\, eiÈht (massperunitlcngth) wouldalkrwrhcsame Lli.rÌnete r slrircs to be 1une.1ìo$rer. By thc middleofthe l7ú century, insÌÍumcntswerobeingbuilt with srring lenglhandconlpîsscombin!rions\\,hjch rolrld onll solrndusingovclspunst ngs. Ihesencw stliìgs rvouldlìarc beennrado wilh a coreofsilk fbss overspunwjth iine coPpcr,srh€r.oÌ gold$irc. These ovefspunstftngsrernaincdrhe tavoriteof lì1oststringplaversunlil and includingthe prcsenttime. Usualll,.lhecorel1l:rterialot nodorn stringsis nvlonflossard tlìe co! crìnp$,ire is silver,plaredcoppcr. Ihcre is considerablecontroversr coùcerningthe useofsul\,crsus pla;tic 1n)'.lor)strir gsor histoticaìli'-based influments which.uniìfiLrnately,often ovorshadows the realproblen which is thc \,aryingDecdsofdi crentplaycrsplayingir divel1se siluations.Conve.rionLìt $ isdonr
Dcrcrmi ing Srring Tension Thefollowingformulalion Dr. I lclmut Hemrinshausis useflrl t t".In\,,r, gr' .-,,r. . de nr Ii grlìe(n.i..r.,T rt. c,r. .nb''cter.r^).t,rer.pu .lri-j.i..r.,,rfl(\ mathematicaìoperatiù andwill rotbe coYcredlere.) fxlxd=cxlÈ c=constant(1orgutuse 49 and for nylon use54) f=frequeùc,-in Hefiz (H, l=vibratinglengrholstring in mclers (N,r) d=diametcr ofstrìngir millimerers (À,rNr) k=ten\ion' of string in kihgrams (KG) E-Ìamplc:What $ould be the con.eddianeter of a nvlon c ' r " - r . . v l ì i c -r \ t . \ e l ! - ( ! r , , c t . . ' 2 r . . . u l r q l r i . h . , . à stmg lensù of62.Nr(.62ju)and a proposeclrensionof.l.0Kct fx lxd = c: ':1,rk 392x.62!,:ì= 54: ra?
- 1:lzxo:y a =1s+''],r+1
'l'he iollowingtàctors.alsoiìom Dr. I{ermirghaus.areuscful lbr deterntiningtensionclìrnges\thenpìtchcrargc! arc maoe.
Intenal lìrst mìl1or third majorthird louúh
lncrease 1.000 1.122 1.26L793 l.415 r.-5EE 1.780
Decr€ase 1.000 .891 .701 .630
Example:A sfiùg hasa tensionof p=2.000K.r ar D'. What is the tcDsionìlthe pitch ìs raisedro f'? As rhe tore F is a mjnor third higherthànrhe torìcD', the tìctor. accordingto tho table abovc,is 1.:115. Pr - 2.000((; = 2.ti0(c Ì', = 1.000r(cx1.415 E-\ample:The tensionofrhe entire stringirg is 6[ìKG.What is the increasein tcùsionif thc runineis raisedby a se itone? Pr = 60(.ì = 67.300r.c P. = 6f)KGxl.222 .\ìother rNclul formulalionl t|c good Dr. Herminglìaustejls us lhe changcìn tensionwhenrhc st ng lengthchangcs. P.= P:(L.1Lr)l Eranplc: Wha! is the changein tersion ofar idcnricatsring \\'hrchat a lengthof62.iNr(.62M)hasa tensionof2.000KG? P,=Pr!(.rjs\J1.ó2M)l P. = 2.00[ìKGx 1.2-- ].,100Kc The tensionhasincreasecl i.om 2.000KG to 2.400KG with thc changein strìnglcngrhto 6.qcNr (.68Àr). \
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sa_!s that lutessoundberrer\\,hcnslnrngandpl:ì.-edwith gut slrirgs, and nrostlutenists$ ould. I believe.agtee wjth this. There are.ofcourse,exceptionsto thisrulc b r r e \ e r - . r c n ì ^ r r . n r h . r h (e e . r \ c . a l _ . . u l drawìracks to usingor1,!sut fri gs. Cul sldùgserc expensive.Theycanbe hlo to threetimesthe costof plain nllon strings(or more).and callincscof ant$,hereftoln $111oS38caclìl Ar a rule, gut strings doù'1lasl asÌong.crceptingfbr c:ìtiine\,u'lich don't cverseemto losetheir nusìcal qutllitics.lrcccntN heardsomecatìinesI radein l9lJl whichharu ouer constantl,\, in tulìe ard regularlyplayctl,ami horvcver ursightlythet mìght be.the-r'fìll soundLrcat. .Also.$t sldrìgsarc leLTsusceptible to changesin lempcralurc and humidlt\. makingthcn 1ìr more .lifiìcult to keep in Thc choìccofstings for lute! is toda],greatcrthanit lìasìreenfor perhapsthe lasillì0lcar. Cood overspun stings rre nradebr Savarezhon1 f ncc(Savarez,B.P 4356.69212LlonCedex.+.Frincc) and Pyramidffonl Ccrlnan! (Saìtenuîd StìnlmpieilLnidbrikJungel CmbH. PO. Box 6. Il-910ltEBÌtbcmcuthErlangen. German]). I useLa Bella L te nyìontrebleswhìcharc lar superiortuanvotherl've11ic.l anLllcss expensive tool The La Bella o!cÍpun bas\esIfind ratherinfcrior to theS.rlarczrnd P\'r'amid anddon'trecom cndthcm. Asampleofstringingfora 22rV (ói.9c\t 8 course lute alA=:1.10H2. would be aslòllorl,s.Thisis,r medium hìgh tÈnsionwhìchis the lensionI plrn ior $'henI dcsignmy ìutes: l)
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Photos32 and33. I beginbytyingallofthe sldrgs ontothe lutebrìdgc.Makethepegboxasncatîs pos\ible,and be ccrtaintlìLìtnone ofthe strirgsovert:rf anvof the olhers. Cut off rhe lefroversting îrne the lute abouta lìLìlfsteplow for thc ti$r fe\\ lìoursor so-then bdng it up to full rension. I lind thfu thislittleperìodollowertensroIr helpsthc lutefjnd ilt !îice soorer than it otherwisewoukl.
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ErlangenSeriesLute Plans Thc lollowirìgscvcùlule planswcre dmwnbyRoberl Lundbergto accompanythe "Historical Lute serìeswhen it nn inAnaican Lutheie. Clonstruction" Eachofthese plansis avaiiabìefron the Guildof AùcricaÍ Lulhic$ asa Iull sizcblacklhe pinl. Conlacl the CAL ollìcc or wcb pagclbr lull inibrnation. ThcscdÌawingsdo notncccssadlydcpictany ( \ n I r É I r \ r r un i r r . L \ i , . r l \. ú - p J r ( r r . ' n i . . ' n f' n thc originalinstrumcnlsmaybe projcctedùom availablc evidence.Somelatitudehasbeen takent(r makethem practical,workable instrumentssitabletomodern players-Pìeasealsonotetlattle drawjngsareoot presentedhereat anyparlicularscalc,
Theseplansare designe.lto be ùsedin connectron $'ith the inftÌnation containedin thisbook. Each drarvingpresentsthe essentialinformafion neededto makea particularnodcl oÎ lu lc. A nunbcr of details will not appearon the drawings,becausethe]'are develope.tfion principlesandrelationshipswhich are erplaine.lin the text. Someofthesemissirgdeiailsare: the outlineofthe cap,thejunctureofthe ribsandcap. thewa],the ribs flow togeiherat the neck,the patternof the rosette,detailsofthe treble andbassbals,fine pointsof bdclgeconstruction.pegs,consructionof fbrlìls,mat€Ìials-thicknesses, andfinishes.
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8-csBassLute,Dieffopruchar ca.1600 GALInstrumentPlan#19 ErlangenLectureSeriesPlan#3
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10-csRen.Lute, Dieffopruchar1612 GAL lnstrumentPlan#20 ErlangenLectureSeriesPlan#4
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7-csRenaissanceAlto Lute,Venere1592 GALInstrumentPlan#21 ErlangenLectureSeriesPlan#5
13-csBaroqueLute,Dieffopruchar ca.1600 GAL InstrumentPlan#22 ErlangenLectureSeriesPlan#6
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14-csArchlute, M.Sellas1639 GAL lnstrumentPlan#23 ErlangenLectureSeriesPlan#7
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AncientLute Makers LauxBoss(Bosch):Arelativeof LauxMaler. He workedin Maler'sshopin Bolognaabout 1530,but nearFùssen. apparentlylater returnedto Schongau, Several(altered) lutesby him survive;he is mentioned in the Fuggerinventory.
MichielleHarton (MichaelHartung): Padua,flourished at the end of the 16th century. Severalwonderful lutes in original condition survive. Tiained in Veniceby Leonardo Tieffenbrucker,the father of Wendelinus Tieffenbrucker.
Magno Dieffopruchar (MagnusTieffenbrucker): Venice,flourishedin the secondhalf of the 16th century.Dated instrumentsrangefrom L516to 1670. The first known luthier namedMagnusTieffenbrucker settledin Venicein 1519and died there in 1560.His luthier sonMagno died in Venicein1576. At leastone other Magno Dieffopruchar headedthe famous workshopearly in the l7thcentury. Many other family membersby different names(for instancePaolo,the son of Magnojunior, and Moisé,brother of Magnojunior) alsoworked in the shopbut their instrumentsappearto havebeenmadeand soldwith the "Masno Dieffopruchar"label.
Johann ChrÍstian Hoffmann: b. 1683Leipzig, d. 1750. One of the mostimportantviolinmakersof his time. Builder to J.S.Bach. Violins and lutes.
to JosephusJoachimusEdlinger: Sonand successor ThomasEdlingerII. He trainedasaviolin makerin Italy, and rebuilt Renaissancelutes in the Weissstyleas hisfatherhaddone. ThomasEdlingerlI: d.1729. Aviolin makerin Prague who wasperhapsthe most important converterof fine Renaissance lutesto 13-courseconfiguration.He likely wasinspiredby the lutenist SilviusLeopold Weissto createthe bass-riderbox for the 12th and 13th courses of strings,and probablybuilt the first examplefor Weiss in 1718. Hans Frei: Bologna,flourished in the middle of the 16thcentury. Known from severalextant instruments and various authorsincluding John Evelyn in his famousdiary. Recentarchivaldocuments(summaryin the recentbook by PasqualandRegazzi,Le radici del dellaliuteria a Bologna)revealhim to be a successo Germanwhom the Bolognesecalled Giovanni Franchi. His two sonstook over his shopafter his death and madeFrei lutes,aswell asguitarsand theorboes,well into the 17th century.
Martin Hoffmann (father of Johann Christian): b. 1653Leipzig,d.1719. Maker of violins,gambas,and lutes. \ Hans Jordan: Markneukirchen,Saxony.The most prominent 20th-centuryGerman lute maker before the revival of lute making accordingto historicalprinciples in the 1970s. Laux Maler (Luca Maler, Laux Maller, LucasMahler): Alute makerworkingin Bolognabeginningca. 1518, who died thereJune 5th,1552.One of the mostfamous and important lute makersof all time. Built 9-ribbed luteson the "pearl mold" shape.Formedan association of mastersand pupils in 1530which built well over a thousandinstruments. Matteo Sellas(MathàusSeelos):Venice,flourished during the first half of the 17th century. Many extravagantinstrumentssurvive,built of ivory, or ivory and ebony,or snakewoodwithinlaid necksand pegboxes.Theorbos,archlutes,and guitarssurvivefrom this very activeworkshopor association. LeonardoTiefenbrucker: Brother of Magnus Tieffenbruckersenior,father of Wendelin (Vendelio Venere),andfounderofthe greatPaduanVenere workshop. JoachimTielke: Hamburg,b. L64L,d. l7 79. Maker of violins, gambas,lutes, and guitars. Many of his extant instrumentsare made of preciousmaterialssuchasivory and are lavishlyinlaid.
GeorgGerle: Innsbruck,flourishedfrom 1569to 1589. His singleextant instrument is signed(in German), "Georg Gerle,His RoyalHighness'Accountant in Innsbruck." Court recordsshowhe built several instrumentswhile in Innsbruck.
Marx Unverdorben: Venice,flourished first half of the 16thcentury. Teacherand relative of Laux Maler. Severalbeautiful lute bodiesby him survive,particularly in London andBarcelona.
Magno Graill: ApprenticedwithRomanluthier MagnusBuchenbergand took over the workshopwhen the elderluthier died after 1600.Severalvery fine, large Romantheorboesbyboth makerssurvive.
WendelioVenere(WendelinTieffenbrucker): Padua, flourished from 1560îo 1620. The first Wendelin Tieffenbrucker-whose namethe Italians apparently couldnot pronounceandthusbecameVendelioVenere - probablyapprenticedand eventuallytook over his fatherLeonardo'sshopin Paduain the middle of the 245
century.He died before1591,but the Venerelabel continuedto appearin lutesmadeby his successors (his nephewChristophoroEberleandgreat-nephew WendelinEberle) until at least1611.More lutes survivefrom this workshop than any other, with many examplesin fine originalcondition;alsotheorbosand bowedinstrumentswere made. An associationof severalmastersandpupils.
A Noteon the Spellingof Makers'Names The text containsa numberof inconsistencies in the spellingof ancientmaker'snames.There are referencesto LeonardoTiefenbruckerand WendelioVenere,but there is alsoa facsimileof a label (p. 28) which saysVvendelio Venerede Leonardo Tiefembrucker,plus there is a Vendelinus Tieffenbrucker,and a Magno Dieffopruchar. The authormentionsaVenere associationseveral times,and alludesto the possibilityof therebeing three Magno Dieffopurchars.What'sgoingon? Sincewe couldnot consultMr. Lundberg,we asked his friend and fellow lute historian DouglasSmith to help us through this tangle. Here is someof what he had to say. Somemakerswerenot consistentin spellins theirownnames.and thisis complicated'by archival documentswhere anotherindividual,perhapsfrom a different country,refers to the lute maker with a different spelling(or misspelling),or a different name altogether. It wasalsocommonfor the lutes of a particular shopor associationto carry the name of the founderof that shopregardlessofwhich builderor buildersmadethem. The reasonis probablythat the founder'sname,like Henry Ford's, had establishedthe imageof the workshop,and it mayhavemadegoodeconomicsenseto continue usingthe namelong after the founderdied. Furthermore,a typicalshopmayhavehad at least one apprenticeor family memberworking alongside the master,doingless-skilled work suchasturning pegsor makingcases,andin somedocumentedcases (VenereandMaler) therewerefour or more,so many luteswere likely to havebeen the result of a collaborativerather than a solo effort. Our examplesaboveare the luthiers of the Tieffenbruckerfamily. Leonardo and Magnus Tieffenbrucker I were brothers,sonsof Ulrich Tieffenbruckerwho emigratedfrom Fússento
246
Venicein 1519.Magnusstayedin Venice,probably takingoverdad'sshop- he wasprobablythe older son- and Leonardowent to Padua,whichwas ruled by Venice. Over a periodof abouta
[email protected]), therewere at leastthree different Masno Dieffoprucharsin Venicewho would havecalled themselvesMagnusTieffenbrucker in a German environment. The Italians couldn't pronounce Tieffenbruckersothey createdDieffopruchar. Mang is the Germanname(there'sa monasteryof SaintMang,the patron saintof Fùssen,by the castle on the hill at the top of the town). Magnusis the Latinversionoften usedby Germans,and Magno is the Italian version. As noted in Lundbers'slist of ancientlute makers,other luthiersprobaÉlybuilt under this labelaswell. As for the Tieffenbruckerswho lived and worked in Padua,WendelinTiefenbrucker,son of Leonardo, appearsin one placein the text,with a Latin version of his first name,asVendelinus Tieffenbrucker. The Paduanscreateda different namefor him altogether,VendelioVenere. (This renamingphenomenonwasnot uncommon.In Bologna,for instance,archivalrecordsshowHans Frei to havebecomeGiovanni Franchi.) Lundberg rendersVendelioVenereasWendelioVenere,for the mostpart,but thereis alsoVvendelioVenere, andthe labelwhichreads"VvendelioVenerede Leonardo Tiefembrucker." As it turns out, all of theserefer to one builder,and to an association, or school,of makerswhoproducedinstruments bearinghis name. Rather than trying to tidy up an inherently messyorthographicsituationwehavedecided,for the most part, to usethe namesand versionsof namesastheywerepresentedin the original Am eic an L utherie articles.
Tht foÌlot,u1glitt wa\ RoheùLutldbet!s catalogofrhc antiquelutesthath(:hdtl traminù (or m a few casesv,as ttwt,lt ofbuî hadnot)at àamineà)os ofSeptembet/988. Siru:ethit timasomcoÍ tllemhare bcenmowd to new insîifinions(mostof ÌhaPais insînmenLtarc now ontolitlated in fhe eu Muséeda la Musique,Iol
i , y o n . . I n J , , . 1 t l o - . . t t n t1\ , , o t .. h o E . Ì h , . . ìnt ct1îotts,Nstems arc u4ated, bltt to awid potenîíaI conlltsion we haw lel! lrc lo<:atío arul uuseum&talog stL!lu\a\ ltet werewhtn th( auîhor conpiledthe l]'lt. Oul salfce ws a dotmutrít pinîout îhat sonrtinles [ailed (lea jj k) recorclnumben or lctÌen. Funhe\ originallabels h museum i$înmoús are oJîen |ery àíflicull to decù|rc];
soLu .lbery's ofthograplry shouldbecons|lercd únpryhis
218
besîinîcryrctatiot1. Detpite a fetr possibb fkr,.! tÀir lrrl ir publtshedllts aî oneolthe nnst (:ompleîe und signiÎicont muselotlhú6, d lasîínglaÍ
t-\1t^'r-r
uatalogoI Ànclent LuropeanLutes September 1988 This is a listingof all the lutefamiìyinskuments úat I havepersonallyseenand measured. Additioral instrumentswhichlhave onlyseenor an awareofare markedwith "I" after the RL#. Instnrmentsseen on mote Lhanoneoccasion orbv othor'S mavhavethe obsen'alionscombined.
Kcy: E - eal{r M=mld L = latc
C = convertcd M = modiiìcd
RL# 195 Bachhaus,Eisenach 96 Bîrceìora, MuseoMunicipal '76 Bayerisches
NationalMusetrn, Munich
275 Berlin, MusìkinslrumentenMuseùm 199 BoomkampCollectìon I l 3 BoStonMuseuÌì ofFine Arts,Boston 1 3 3 tsrescia,ClonsenatorioVentud 5ó Brussels,BrùsellesMuscum 290 Carl ClaudiusColicction,Copenhagen 307 Copenhagen, Musikhistorische MuseuÌll 125 DolmetscheClollection 3 1 9 EdinburghUniveftiq' Collection,Edinburgh 55 Fentor House.Lonclon 95 FolgerLibrar], Washington,D.Cl. 211 FrcibergDo m,Freiberg 84 GemeenteMuseum,îre Hague 21 CcnìanischesNationalmuseum,Nlremberg 3 1 5 HîndelHauses,Hal1c 108 HaNard Univemity,Boston 90 Hessisches Landsmuseum 3ó Kunsthistorisches Museum,Vienna 180 Leipzig,Museun dcr Karl-Marl Unielsitate 112 Lundberg,Robert,Rrrtland 1 0 7 lvletropolitrìr Mlrseum of Art, New York City 1 2 t Milan. Museodel Clonsenalo o 119 Milan, PdvateCollection I 5 l ì Muséede Cluny 1 5 3 MuséedesAÍs Decoratii! 201 MusóeInstrxmentaldu conscr',atoirede Palis 129 MuseoBardini,Florence 136 MuseoCivico,Bologra t44 MuseoDegli StlumentiMusicalli,Rome |],l MuseoLlelConseÍatodo Lùigi Cherubinì,Florence t62 NaÌîdiri Museum,Prague 17,72 RoyalCollegeofMusic,London l0l 14
SmithsonianInstitulc,Washington.DC Spenser, Robert,London 1r-ì5 SteîrnsCoìlection,'Al1n Arìror 1 VictoriaandAlbcrl, London 124 WarwickMuseum 11,1 Witten,Lally, Southport 1 1 9 YaleUniversiq,Colìection,New Haven
\'íctoria and Alberf Ùluseum,London I 2 3 ,1 5 6 7 8 9 1O 1l L2 13 11 15 16
ANON. FlTc,ltalian Laux Maler,r,l6c,Bologna MaÌri Unverdorben.ìrI6c, Venice Matteo Sellas,1637,VeDice ChristopherChoco.rf17c,Vcnic! ANON Michacl Rauche.1762.London J.H. Goldt, 1734.Hambwg ANON ANON Matteo B echenberg,1619.Roùc lvfatteotsuecherrberg,1614.Rone AndrcaTàus,1ó21,Sicna ANON, ?1626,Italian VvenLleln) Venere,1592,Padua ANON
C C C M M
l lcs hte hte back lute back 14csarchlute 1,lcsarchlute lheoúo
l2cstheoúo l4cstheorbo l2cslhcoÌbo
Swedishthcoròo
11251869 1941882 1931882 11261869 77561862 196-t8t2 9-1871 42741856 231,1882 324,1935 218-1882 190-18E2 5980-185i) 77551862 v,t6,1940 212-r8t2
RoyalCollegeof Music, London 17 VTT I 19 20
Vverdelio Venere,1600,Paduî Vp_rce M..€î ' Di.|"p .r( . . 1,108. DomenìcoSeììas,vi7c.Venice Adam Ulman,Nr16c, Venice .Alsosee#12 and #73 below
C cl
l4cstheorbo Gerlbo
RC]M203 RCM 26 Ì??
Gcrmanisches Nationalmuseum, Nuremberg 21 22 23 2,1 15 'o 27 2lj 'q 3tì 31 32 VII 33 34 35
MichielleHarton.1599,Padua Michielle Harton,E17c,Padu:r PietroRailich. 16,14, Venice Martinus&AgustinusKejser, 1737,Dùsseldod Ma lthiàs.AÌban,1704,Bozen J o l - : r rf B l a . i u . \ \ e r gf l, . l - ' n . | ' 1 l MartìrìHoffnann, 1692,Leipzìg JoachimTielke, 1696.Hanburg I h . s t l ' p r c rH u . h . . c . \ e r ì i . e SympertNiggelì,1754,Fússen Sebastian Schele,1721,Nuremberg Sebastian Schelle,1744.Nurernberg LeopoldWidhaln.lT55,Nurcmberg Laux Maler. Fl6c. Bologna Michielle Harton, l6[ì2.Padua
C' C C
C C
11csGer dn) I lcs lute I lcs lute I :lcsthcorbo l lcs lulc l3cs Ccr tbo I ics lulc llcs Ccr lbo
l3csGer tbo 13csGer tbo lutebody scsOct bass
MI 56 MIR iJ99 MI 45 N,IIR897 M I R9 1 1 MIR 898 M I 2,15 MI 394 MI55 MtR 895 MIR 902 Mt 46 MtR 903 MI 54 MI 14
Kunsthistorisches Muserm, !ienna
T III
IV llI
III
36 37 38 RL? 39 RL? 40 ,11 42 43 RL 4,1RL 45 46 47 RL ,lli
"LauxMalleî,'116c. Italian Hans Frei,E16c.Bologna HansFrei,El6c.Bologna GeorgeC crÌe,Ll6c, Innsbruck LeonhardlPradter,1689,Prague Hans Burkhollzcr,1596,Fùssen VenereShop,r.lóc.Padua VenereShop,Ll6c.Padua Wendelio Vencre,1582,Padua "MagnoDiciiirpruchîr" lJ.J.Edlirger. l7i2,Praguel VvcndelioVenere.1587,Padua VcnereShop,Li6c. Padua VcndelinusVenere,1ó26,Venicc
C C C M C
I lcs lute llcs lute 11cslule 6cslute 13cslute l3cslute
M C C
7cslutc l3cslule 13cs 11cslute
28 8433C32 29 8433C33 30 8434C34 314075A35 45 101rNE49 144056NE48 35 8438C39 36 8439C40 32 8435C36 (AR) 969 GdMNR.56 378440C4l (AR) 616
50 5l 52 53
MagnoDleffopruchar.r 1lc. Venice VvcndclioVenere.1611, Padua "Magno Dieffopruchar"lT Edlirgcr. 1728,Praguel VendelinusTieffenbrucker.116c.Paduî MatthiasFur. 1685,Weir Cius.Langenwalcler. 1625.Fùsscrì
l4cstheorbo
cl C M M
13cslúe 13csIúe 13cslute l4cstheorbo
4t 8444C45 :li 84,15C17 On Loan On Loan On Loan GdMNR.59
FentonHouse,London,EngLìnd 55
Marx Unverdorben,N.r16c, Vcnicc
13csGer lbo
MuséeInstrumentalConseNatoiÌeRoyald€Mnsiqu€de Bruxelles
56 57 58 59 60 VII 6I 62 63 65 61 6iJ 69 70 '71
Maleu Holmans,l605, Arvers "Sellas'shop?, \r17c.Italian J.C.Hoffnann Matteo Scllas,vl7c. Venice Claudc.Allard,169i J.C.Hoftmann, 1716,Leipzig VvcndelioVenere.1619,Padua Martino Kaiser,r I7c, Venicc ANON [Venereshop],Ll6c.Italian PietroRaìlich.Nrl7c,Padua Matteo Scllas,Nr17c, Venìce GiouaneHieber,Ll6c, Venice PìetroRailich.Ml7c, Verice (?) MalhcusBuechenberg,161iì.Rome
9cslute l4csarchlute 13cslute l4cstheorbo Tcsmandora M M C M
ANON??
ics lhcorbo lcs lulc lcs lulc l5cstheorbo l4cstheorbo 7cshte l4cs theorbo l4csthcorbo I7csangelique l2cs archlute
r-556 1564 3188 255 3179 1559 1563 1560 1562 l56l 1596 1570 541
RoyalCollegeofMusic, London
72 73
Venerelopenin collection] VendelìnoTieilcDbrxcker
???
RobeúSpencer,London (PrivateCollection)
III 14 15
PicsofBreglian Vcnice(b^ss)thi\ is itl littlesloppyhúndwnnng VvendelioVencre,1584,Padua C lute VvendcÌioVenere,1585,Padua C lics Ger tbo
Bayerisches Nationalmus€um! Munich
'76 '71 78 79 80 81 82 83
MatteoSellas.1640,Venicc .loaclim Ticlke. 1678,Hamburg JacqresHollhan denJonghen,rlTc LeonhardtPradter??. L1óc ANON, lTc,Italian?? Grcgorj Wenger.1757 JacobWeiss.l741,Salzburg Rudolph Hoess.170!1, ??
G€m€ente Museum,D€nHààg
81 85
c C C
11cslute I3csGer tbo I lcs lute lurebelly
5cs?nandora
#295 #16
Darmstadt Hessisches Landesmuseum! 90 91 a2 93 94
GeorgiusCrcif, 1590,Fússen MagmrsHelÌmcr. 16[ì9.Fùssen V ' e r J c i u v r n . r ( , l ú 0 1P J r d u . Pic[o Railich, 1655,Padua Mark sWeis,?1666,?lccÌrìlan]
C C]
i 2csìute 10cslute I2csarch?
cl
14cslheorbo
M
llics Ìute
M M M
l4csarchlutc 17csarchìute 10cslute 7cslrJte 1[ìcslulc
C C
tute
c
Kg 67:103 Kg 67:104 Kg 67:106 Kg 67:107 Kg 67:108
FolgerLibrary Washington,D.C, 95
Michi€llc HaÍon, 1598.Padua
n.n.
Mus€oNlunicipatde Musica,Barcelona 96I 4 | 981 99I l00I
Matteo SeÌlas,1641,VeÌice \4apnoDieffofnhhb-.v l-.. Ven'ce llans Ilovb Muler. 16c.lta1ian MaIx Unvcrdorbcn,116c, Venice MatteusBucchcnbclg, l ó13,Rome
#403 #404 #107 #408 #409
SmithsonianInstitution,Washington,D.C. l0 102 103 104
U ì r i c hD i e m' f - u r d r . a ( . V c n i . r ?Uldch Dieffopruchar?,M16c,Venice GiuseppeMascotto,Rore,1631 Martino lndelang,1639,Genoa
mandora
60.1341 60.1343 95.307 65.592
StearnsCollection,Universityof Michigan,Ann Arbor 105 106
Wendelio Venere.l60t),Padua MichielleHarton, 1602,Padua
c
Ml
12cstheorbo ??bodv
C
ll cs iute
C
Ì3cslute 13cslute 15cs theorbo 1,lcstheorbo
1044 1045
M€tropolitan Mlrseum ofÀrt, NewYork City 107
"HansFr...,"lanonL17cl
89.4.1008
Harvard Univ€rsity,Boston loc 109 110 111
\,lan Ur\ e-d,'rqen,r 6c,Venice VvendelioVenere?,116c, Padua VvendelioVenere,1599,Padua ANON, l?c,German
c C
#19 or #8 #11
Rob€rtLundber€,Portland(Privatecollection) 112
Magno Graill,1635,Rone
I4cstheorbo
BostonMuseumofFineArts, Boston l ll
M - g n ù D i . Ú b p r u . h .1. r5. 8 ( ì . V ( r i . (
M
l3cstheorbo
#262
LaurcnccWitten,Soutàport,Conn.(Priv,ìteco ection). Housedat: The Shrineto Music Museum,yermillion,SouthDakota.The instrumentnumìrersare theirs. \'I
vll
l11 115 ll118
"MasterD.G.,"? l, ll Andreallarton, E17c,Vcnicc M . . f l ( .\ c l l . . s..L ì, t . \ e n i c e( R l i l c r . ' ) MagnoDieftbprxchar,El7c,Venice
M M
5cslute l0cs basshte 14csarchhte 14cstheorbo
3381 3381 3383 3382 1283
YaleUniversity,N€wHaven,Conn. VII
120 121 122 123
VvendelioVcnere,1592,Padua ANON, M17c,Venice ANON Sebastian Schel1e, 1726,Nuremìrerg
M
lTcsFrenchtheorbo l3cs archlute
#256
13cslúe
#260
C
I lcs lute
67/r965
M C
lute | 2cstàeorbo?
WanrickshireMuseum,Warwick 124
HansFiei, r16c,Bologna
DolmetschCollection,H:rslem€re(PrivateCollection) 125 126
FranciscoPresbles.lT60.MilaD VvendelioVerere,1609,Paduil
#8
Meseodel Conservatoriodi Milàno, Milan 127 128
ANON,lTc??,IlaliaÌr ANON,r.16c?,ltalian
I 2cstheorbo 3cscolasciore
# 262 # 263
MuseoBardini, Florence 129 130 l.1l 132
Magno crailì, 1627.Rome GiovanniTèsle1, 1621,Ancona \4:rgnoDi(ll,,fr,chat lDUu.\LI cr MatheusBuechenberg, 1608,Rome
M C?
14cstheorbo lutc lute
14c
theorbo
C M
scsmandora scsmandora
# 154 # 144 # 142
Consenatorio"A. Venturi," Brescià I.l
M J g n o D i r l l , , p r L c h îlrl..r. V c - r . \
Conservatoriodi mìrsicàLuigi Cherubini,Florence 134I l.ì5T
StefanoFrancho.1692,Florenccl \ \enJ.I o V(n(re. hn , Padu-
# 81 # 82
Musro Civico,Bolognà 136 137 lle 139 I40 111 142 143
Matteo Sellas,1639,Venìce Mîgno Steghel,Vcnice \41gno D < l l , , p r - c h al rL., l 2\.< r ,( r MichielleHarton,1599,Padua 'HansFrei," laie 16c,Ilalian OtavioSnidt, 16I2, Pama ANoN,ltalian GiorgioSthoas,l1c, Bologna
M M
I4cstheorbo l0csbass 7cslute 8cslute lutcbody lutebody lutebody lutebody
#1',748 #1806 ??2 #1813 #181,t
MlrseoDegliStrumentiMusicali!Rom€ 144 l,l-5 146 141 148 149
MagnoGraill,1631, Rome Magno Graill,1628,Rome Vcndelinuslieffenbrucker M athcusBuechenberg, 16l T,Rome Mareo Sellas,1636,Venice Malteo Sellas,1649,Vcnice
M M
l4cstheorbo l3cstheorbo lutc
# 23',7 #1226
Muséede Chrn$ Paris
150 151 152
Matteo Sellas,1654,Venice Laux Boss,EI 6c,Schoenga* MagnoDieffopluchar,1600,Venice
C C
12csarchlute 4cstoy lutc
#7688 #1642 #2092
MuséedesArts Decoratits,Paris
153 154 155 156 15',7 158 t59 161ì 161
JacobHcs, 1586,Vcnicc M "WendelinusTiel'fenbIuckerVenere"? Mltic.?Venice C JohannBlasiusWeigert.1743,Ljnz David tsuchstetter, 1746,Regensburg David Tecchler,1707,Rome "Perou,"lanon,Ll6cyewbody] ANON. f l9c ivory lutel
7cslute 13cslute scs ??lute
5cslute
ANON,U9civoryharpl
40381 32032 40382 3266',7 23460 n.n. n,n,
ANON, [19civoÌ] rebecl
Narodni Muz€um,Pragu€
162 LauxMaler, 116c,Bologna 1 6 3 Laux Maler, 116c,Bologna 164 MarcusU nverdorben,À116c, Venice 165 MagnoDiellbryruchar.M16c,Veùice 1 6 6 Magno D iefforpruchar. 1604,Venice 16',7 VvendelìoVenere,116c,Padua 1 6 8 Vvendelb Venere,Ll6c.Pa,:lua 1 6 9 J ?? kamer, 1641,Vienna l'70 ANON ?l6c?,Italian l'71 ThoÌnasEdliDger,1700,Prague l'72 ThomasEdlinger',1728,Prague 173 J-M. Guettler, 1709.Wroclav 1 1 1 J.O.Eberle,1745,PÉgue t'75 TO. Hulinskt, 175,1, Pregue t'76 C.E Pard, 1770,Vienna 1',77 M. Stoss,n.d.,Vienna 17lJ M. Brunncr, 1764.Olomouc
C C
lùte lùte lute lute lute
C C lute lute lute lulc lute lule
r 93i E 1408E 110iJE 1187 E 1409E 1303E 635E 1522E 439E 151 IE 11',76 E 1173E 118E 5 lIB2E 7 1 0E 607E ,150E
PrivateCollection, Nlilatr.U985Br€scian Exlibitionl 1'79
VvendelioVenere,r16C, Padua
Musikinsfrumenten MuseumderKarl-Mall-Unilersity, I-eipzig 180 181 182 183 184 185 186 tBl 188 189 190 191 192 t93
vvendelioVenere,??1551, Padua VvcndclioVenere,1613,Padua MagnoDieffopruchar,116c,Venice MicheleAttore, 1620,Venìce Matteo Seìlas,vL7c,Venice JonasSte. d.. m,1596,Algcnl Barl. Ebelspachcr.L16c,Florence Joachin Tielke, 1676.Hanburg TobiaFischer,1710,Sienna J.C.Hoffmann, 1720,Leìpzig ThomasEdlinger.E18c,Prague ThomasEdlinger,El8c, Prague A-n Mal'er,1735,Saltzburg ?Ì Thonas Edlinger ??
C C M
C C C
C C
l3cslute l4csGer tbo l4cslhcoùo 1,lcsarchlute 12csFlemish l2cs Ger tbo lutebody 12csarchlute 14csGer tbo 13cslute 13cslute 5c Lute ìutebody
192 3357 512 513 495 ,198 196 502 506 497 3319 504
Bachhaus,Eisenach 195 196 t91 198
J.J.Lindner, 1697.Drcrlen JohannCo berg.17,11, Danzig A.S.Posch,1749.Viema ^ndreasJauch,1751,Dresden
M C C C
11cslute lutebody lutobody 13csGerlbo
Carelian LeeuwenBoomkampCollection,Bussun, lPrivate] 199 200
Matteo Sellas.1637,VeDice Sebastian Schclle.1735,Nruemberg
l4cs archlute lutebody
Muséelnstrumentàldu ConservatoireNationalSuDerieurde Music. Paús Generi(\e Tlibault deChambure Le\.colleclion I
201 202 203 201 205 206 207 2tì8 209 210 211 212 214 215 216 211 218 219
lcan Desmoulins,1644,Paris JeanNicolasLantbe,1765.Paris ANON llabel.VcrrlelinusTieffenbruckerl E16c,?Ilalian Matteo Scllas,1640,Venice Ma$o Stcghor,É17c, Venìce MagnoDicfibpnrchar,158. , Venice ANON. v17c.Itaìian MatheusBuechenberg,1604.Rome JacobSladlcr.1613,Naples VvendelioVeDere.E17c,Padua Giorgio Sellas,1626,Venice ANON,M17c,Vcce? MatteoSeÌlas.Nfl7c,Venice ChrietoloroClochs, 1654,Venice ANON,Nrl7c,Vcnicc MartinusKaiser. I609,Venice,?Ì ANON, rul8c,German CeorgAman, 1739,Augsburg J.C.Hoffmann, 1720.Leipzig
C
gcslute 6csmandolin
C M C C
bod! 12csarch l(ìcslute l3csGer tbo 13csarch l3cstheorbo
M C C] M
l4cstheorbo l5cs arch 1scstheorbo l4cstheorbo I4cs arch l4sctheorbo theorbobody 13csGer tbo
E.9',79.2.54 E. 979.2.5ó E. 180.2.320 E. 980.2.375 E. 980.2.332 E. 980.2.321 E . 2 5 ?. ? E . 1 5 5 7?.? E . 2 6 ?. ? E.548.?? E . 1 5 5 6?.? E. 528.?l E.5,17. ?? E.5,16. ?? E.514.?? E . 2 4 t. 1 E. 118,1. ?? E.234.?1 E . 5 2 9?. ?
220to 230other"Chanburc" luîes
23r 232 231
ANON, Ml7c,ltalian Mathijs Hoîntan,1619,Ou{len LaLxBoss,E16c,Schongaw JeandesNloulins,16,11, Paris
C C
c C
I 1csìute 13csGer tbo 8cslute scsìute
989.2.0 980.2.0 9',79.2.69
235to 270othcr "Co$eNatoire" lutes Beera(bni\l,apellede. FreibergerDom, Freiberg! DDR
271 2',72 2',73 214
JorgeKlel11, Ll6c, Rancleck JorgeKlen, Ll6c, Randeck Jo1gcKlem,Ll6c,Randeck ANON,L16c,?? Randeck
5csalto lute 5csalto lute 5csalto lute 5csalto l te
Musik InstmmenteDMuseumBerlin,Berlin ChristoftKoch, 1650,Venice
216 GeorgAmaq 1707.Augsburg 27',1 J.Cl.IIollmann,1?17,Leipzig 278 JohannAndreasKaembl,1757,Munich 279 280
M C
tàcorbo tllcorbo 13csGer tbo
3581 1661 129 4529
281 282 283 284 285 286 287 PfarrerKrause,Aumà,DDR[Priiatecoll€ction] 337
DomenicoSpt'lma,15... Venice
l4cstheorbo
CàrlClaudius'Samling, Copenhngen
290r HansFre]'?,1478?,Bologna 29lI 2921
293r 294r 295I 296r 291r 299r 300I 301I 302I 303t 301r 305r 306I
CasparDuiffopruchaf,M16c,Lyon 'J oanesFlorcnusGua eri," I590? SixtusRa!1volf,1599,Argsbuîg VvcDdelioVenere,116c.Padua Matteo Sellas,Ml7c,Venice Cbistofolo Cocho.Ml7c,Venìce ?AntonioSiciliano?,Venice Math. Griesser,1756.lnnsbruck SimonSchocl]lcr,1762,Passau Andrea Harton, F17c.Venice MagnoDieîîopruchar,15fì4,Venice ?MichaelHartug?,???? AadreasB. CÌaetz?,1734,?? SamuelDcmor,KlosterNoufift, IBrixenl 17,t1 JacobBossharl,1629,Augsb rg
5csaìto 12cslule C C C? M M M M M M M M
1ocsìute lule
1ocslute l(ìcslute 6csmandora? 6csmandora? 13csGertbo 13csGertbo ????body locsGertbo? 13csGertboI
el (lel) 91A(7',70 )
e 2( 2 )
e3(3) e4(1) e6(1) 964 ( 769 )
ee(1) eeA( 771)
1rì0( 28fl) t02A(712) 103(13) 10,r( 602) 10,14( 778) 1054(779) 108A( 773)
MusikhistorischeNluseum, Copenhagen
307 308 309 310 311 312 313 314
Magno Dieffopruchar,1616,VeÌice ParlusAlletsee,1714.Municlì AndreasJaisz,1743,Toclz ANON, TI6c,ltalian GaìrrielDavid Buchstetter,Rcgcnsburg,1750,?? ANON. ltalian, 18c ANON, ?? ?? Josepbus Riss,I719,Bamburg
C
c Tcsllute
| 2csGer tbo
302(Cr90) 303( c 6 8 304( c '7'7 305 c 4 4 306 c 7 t 307 c32 308 c 1 5 311 c46
Haendel-Hauses,Halle. DDR
315 316 31',7 318
JohanAmbrosiusWeiss,1621,tsasel JohannArdreasKaembl,17.., Munich kendelio Venerc,Ll6c, Padua ANON, Ll6c,Italian?
C M? C
luteback 7cslute l3csGer tbo colascione
MS MS MS MS
16-5 t61 r68 170
EdinburghUnirersityCollection,Edinburgh
319 320 321
MartinusHarz,1665,Rome ??ANON??. ??,?? Anon,??17c, ??
# 300 #1051
l4c
#r598
Glossary Archlute: a lutewith a secondpegboxcarryingdorÌblestringbasscourseswhichare usuallyhalfagainaslong asthe fretted courses, gars (barring,struts,bracing):smallpiecesofwood g ì u e dt o r h e , r n d e r . i d i r. h e L e l hr . a J d \ o n - e structuraì rigidit)-'to the lùteandto controlthetore. Bassbar: î heatbent-J-shapedasymmetrìcal bar used to controI the bassresponse. B€lh (1op):the rNndìroard ofthe lute. Bodyfr€ts: non-moveable woodenfretsgluedto the bell) to extendthe frettir g rangethrougl the octave. Bowl (shell,back): the completeunitwhich forms the backsideof the lute.n1adeup ofthe ribs.spacen,cap, counlel capandÌìcckblock. Bridger the piccc 1{rlvhichthe stringsare fastene.lthat is glucd to tlìe belly. Cap(capping frip, endclasp):athin stripoÌthe same malcliàl asthe libswhichwrapsaroundthe lo\verend ol I ' L b o J ' ì r J ì p ig , , b - , ì r ì ì . i J . , ' I r h e - r \ r . g e r h e - . and augmentingthegluingsudacelorthe be1lv.
ftets: s allpiecesofgut stdng tied aroundthe neck \\,hichsene to stoptheviblating fdng al tl givcnpoint whcn that stdrg ìs presscdagaiNt the fingerboard. Sirce thet,weretie.ìthe,vcouldbe slidùp and downthe neckto changethe temperanentol theinsllumcnt, Half-binding (purfling.binding.lacc): a thin strip of wood inlaid into the outsidccdgcol thc bclly onc half of its thickness. Lab€L î smallslip of paper gluedto the insideof the lute.usuallvunderthe rosette.with the mater'snal11c. pÌaceanddate, Linings (db reiilbrccncnt): pîper or $metimes veUun sllipsglucd lo thc dbjoirts insìdethe bowl to rernlorce thejoints. N{aker'smark (brand): a smallbumed mark from a hot imn, usuallyonboth thebelly and the borvì,identiÍing the makeror workshop.The useofmakcÉ'marks beganin the early 150[ìsaÌìdwasdiscontinuedìrythe endoîthe îansilion pcdod. Nlultiribbedlutes: luloswitlì lììary nanowribs, usually
Chantrelle: lhe highct trcblc stdng.
Nail: the jo int betweenthe neckandneckblock,and the joint betweenthe pegboxandncckwereusually reinforced.clanped.andaligncdwith rails.
Chantrellepegrideri a sirìglcstringpegbonholdingthe pegfor the highesl11ebic strirìg. OrigiÌral\rsetinto lhe pegboxofolder lutesasa$ay lo add a couÉewrthout seriouslymodiÙingthe pcgboxor'ncck.the chantrelle riderbecall1ca standîrdfeatureduringthe late Uaroque period. Larger riderswerealsousedto addbasscoulscs.
Neck(handle): piecewhichcaÍics rhc stringsoverthe belì,v,aroundwhichlhe fretsare tied. Usuallyofsoft woodveneeredwitha harderonc.or sometimesi aid wjlhwoods or ilory-
C o u n l r rc a p( r .i ì . r ri p .i " , ì . I i f . , , s . r i n c k ) : a t i e c e ofspruccglucdto theinsi.leofthe bowl,opposìtethe cap.Io helpbird the endsofthe ribs together.
Neckblock(uppcrblock,top block,front bìock): apiece ofwood lo which the endsofthe ibs andthe narrow endoflhcbelÌ) are glued.and torvhichthe reck is gluedandnaiÌcdor screlved-
Course(choir): a sctofone ortwo frings tlrnedand playedasa unit- Strirgs jn a courseare tuned rn unrson
NuÍ asmallqualtcr round pieceofivory- bone.ebony, orolhcrhard Ìnrìterialwhichholdsthe stringsat the pegboxendoftheneck-
Diàp€r patternt a $'ovenpattem ofsmall, corstantly repeatedf igures,asdiamonds.
Peg(s)(turingpeg.lute pilì): adcvicetowhich the strjngis tìed and wound. usedlc)taisc aùdloweÌ the pitch ofthe string.
Fingerboard(fietboard): a thin pieceofhard\loocl gÌuedto thc topside ofthe neckwhichisplayedupon whenstoppingthe strings. lbrln (mold): thewoodenappliance,represertingthe interior air spaceof lhc lurc, over$hicb the ribs are attachedto eacholhelone atatime to makethe bowl.
Pègbo!(peghead,head): tlìe devicethat holdsthc tuÌìingpegs,which in the caseofthe theorboand archlutearegreathprolongated. Periodsofthe lute!sd€velopmentalthoughthe contplcxhisloryofthe lute acrossthreecenturiesand 259
severalgeoÌìrusical areasm akesprecisedìvisions impossibìe,the followingpcdodsàreconsideredir this
up to 1490 1490to 1550 LateRenaissance 1550to 1620 Tiansition 1620to 1660 Baroquc 1660 to 1750 Pre-Renaissànce
Points(beards):two smallpointedpiecesofwoodwhich extendthefingerboardoDtothe frontblock. Points wereoriginallyarcpair device-but developedinto a sqrLìsticfeature. Ribs (staves)rlhc indivirlualpieceswlichmake up the majorpartof lutebowì. Rosette(rose,knot,slar): decorativesoundho1ecafling which,on alistorical lute, is carvedinto the soundboard itself. Scooping:a relief in sidcribsbetweenthe bddge and the neckto provide extraclearancebelowthc sldngs, and 1(rprestressand stabilizethe bclly againststring Shadedyew: refersto the bicolor effectofusingyew woodwidr both the hearlwood,whichis a darkbrown, andLhcsapwood,whichìs a mediumcream-yellow, to attectvisualdefinition in the ribs. Spacers:th in stripsof hardwoodor ivorywhich are placedin the joinls betweenthe ribs,usuallyola contrastingcolorTheorbo:- lut( $ ir':r .econJoegbù\c..rrlirìgeig\l basseswhich arc single-stringcoùrsesabouttwÌcethe lenglhof the tìettcd counes. Treblebàrs: one,two,or morc smallúdially-pìacedbars whiclì are gluedunder the tleble sideof the bddgeto controltrebleresponse. Venetiarincù (V'): the unit of meàsurement apparently usedby earlylute m akersin Veniceand Padua,it is aboul equalto 27.4M\a, which iswithin 107, ofastandard inclì. Examiningancientinstrumentsin viewof thisunit and its major fractionsrevealsmuch aboutthe ancientmakers'sense ofproportion and pr ^c|icaliq (seelbru@rd ).
260
rractlcum)ummary Practic[m One: Constructingthe ForÌn 7ó ' Clopybellyoutline.longitudinalsection,and cross scclionsolcxlanllulc. orwork iìom plan. > Developteùplateflombelly outliÌre. 77 > Make basepìatein shapeoftemplate> M akecenterpieceìn shapeoflongitudinal > Cùt out inierior ofcentelpjeceto createmortise t . - h o l dn g . r i c ( n r m . u n , î g f o Ì n a \ i . e . Usewastematcíal fron cuioul to makc holding lick. > Glue centerpiecetobaseplate. 78 > Arrangeard glueroughly-shapedwood blocksto baseplateandcenterpiece. > Pefectshapeolform to matchbaseplate ^ u r l i rc .c e ne r . pe . ( . h d te .d n J .r o c .. e , l i o n templates. > Fhcetmold ùeaiing accuntc shapcsand anglcs1òr intcrded numberofribs. Createexîct shapeand angleofneck-joiningsurface(Preface,p. i{). 79 ' Dctcrminc sizeofneckblock. Sawcorresponding sizeandshapefromneckendof form to allow for placementof neckblock. Drillhvo holesin the forn so neckblockcanbe screwedto for . > Vrmishform. Practícumlìvo: Constructingthe Bowl 80 > Cleanandwaxform. ' Screwroughncckblockto lorm, andplanetop of block (bclly gluingsurface)flushwith bîse plate. .9J > Transtèrccnlcrlhc ofmold to block- Use templaleto crtcnd bslly outline onto ìrlock,and traceshapeoîmokl onloblock. 82 ' RemoveÍeck block.sa,'vto roughsbîpe. ' R ( r u r nI ( ( \ ì J ì , \ 1 r, , f , , r m . , r d e . . a l - ì i .ghì u ' r g surfacefor neckrbodyjoint. 83 ' Cutdb littirg surfaceoîneckbbckto final shapc.oarefullyextendingfacets from moìd to cnd ofblock. 8l > Bond centerrib,andattachtoform. > Shapecentcrrib. 8J > Bcnd andlìtsecon{lrib to centerrib> Bcnd andfitspîcer (ifused). > Glue rib and spacerto centerrib andneckb1ock. When glue is dry. run parting lool undcr ribjoirt to free ribsfrom iotm. 8ó > Repeatrib fittjng and gluingon allcrnatiÌìgsidcs ofthecenter rib untilall dbs are assembled. 9-l > ]iiÌll andfile ribsflushwith baseplateand end of ncckblock. Removescrewfrom cenlerdb, scrapeentirebowìsmooth,andtapedbjoints. > ConstÌxctandfit capfor lower endofÌulc. 93 ' Adjustsurfaceof bowl îor joint witlì cap. ' Glue and clampcapinpositi(nl. When gìueis dry p l " 1 c .J g ( o l . d p l . . s r \ ' r h h - . e f j l | e .
Pràcticum'fhr€e:ConstructingtheBelly 9f > Seìectandpìanebookmatchedbell),woodto slartingthickncss. 9-i > Preparcandjoin tlvo halvesoltop. 97 > Planewhat rvill be the outsidesurfaceofbelly. Sandandscrapesooth. > (ìt bellytorough outlìne.andplaneinsrdc surfaceuntìlthe bellyis roughlv th icknessed. Scraperosetteareato about L0MM. 98 ' Scrapeinsiclesufacc to achicvcopfinum flexibility. Rosette 99 > Determinepositionofrosette.andgluerosellc patten to insidesudaceofbelly. ' Usea compassto m€asúreradiusof pattcrn, Scrjbea circlewith a corrcspondhgccnterpoint and radiusonthe oulsidcofbclly. Otherborder lincsarc alsoscribcdwith compass. /r, > Use sharpknife to cut olrt openareasofrosette. 1 r l ' T u r nh ( l l v . \ ( r u p r n i t r ....l. ' u r g . "r.lcl<"n > Do chipcaNingto createinteft\\,inedìook. ' Dee \ n andLe\ell,^rJfr li ì(.. D^. hipcr \ ng betweenborderlines. > Sealcompletedrosetlelvith shellac(J1var'Ìish. Bracing /02 > Tiaceoutline ofbowl (still on lòIm) onlo uÍdersideof bclly. l0-l > Màrk locationsofrransverseìrarsonbelìy. > Splitbar stock.Planebal1stothicknessand height,sq aringup edges.Cut to rough lenglh. lrl > Gluebarsto belly. > Ghrereinforcingbarsto undersideof rosette. > Plotpositionsoftreble barsand bassbar. iró > Bendbassbar. ' Glue bassbar andtreblebalstobeilv. 107 > PlarìetansvcÉcba$ toheight, shîpe theirtops, and cut their endsto matchthe tracedoulliùc. 108 > 'liim edgeof bellyto abLrut 2Nrvoversizc. ' C i v eb . * 1 Î d u ( b l ( b a r . . p. r ( I I n . n . l ì : r p ' n g . PracticumFour: The Bridge 7-10' llane bddgestockto pleliminaryshapc. -l12 ' Mark stlillg positionsanddrill stdngholes. ll-l > PlanelÌont surlaccto properundercutangìe. > Makc reliefcutsin frcnt and backsùfaces. l t 4 > Draw shapesof scrolhon endsof bridge. lt5 > Shaposcrolls. l t 7 > Cut dccorativeparel(s)on bridge. 1 1 8> Brand(J1slampsldng cou$ernaÌkels. > Algle endso[rclicfcuts. > Clolorbridgewithblackvarnishor sheìlac.,App\r clcarcort(s) of vamish. 119 > Pk)tbidge position,andgluebridgeto be1ly.
27r
PracticumFiv€: Tuningthe Belly /22 > Find andmark "sweetspot." /2.1 > Holdingbell!'al s\\,cclspol.lap onbddge 1ìom end to cnd sclcraÌ iirlcs, carefullylisteÌing to responseal cachlappingPosition. /2? > Tiim treble.bass,andbddgc ba$ in a syslenutic order,adjuslingbarsgradually iDheight,lengtlì, and shape,and checkingfor changesin tap responseaftereachadjustment until desired resultsareachieved, PracticumSixi Compl€tingBowl and Fitting N€ck /3, > Drill neckblockforncck attaclurentscrew. > Pefeclneck joìnl sudaccol block. /.1/ ' Fit neckblanl{to Deckblock. 1J2 > Removelutebowlfrom form> Attach neckblankto neckblocklvilh scrc$and glue. Spotglue a ncckblank whichwill laterbe remoYedtobc vcnccrcd.Colllpletell'gluea neck blanklo1 an unvcnccredneck. 1.1-?> Preparebowl 1lrrcccivecountercap. > Beîd,fit, and gluc countercap. /.14 ' Plancupperedgeofcounter capflush with ribs. lji > Do final scrapinginsideofbowl.glue in papcr stdpsto leinforcedbjoints,.ìnd installlabeì. PracticumSeven:Fitfingthe BellyandPlaringthe Neck l-ló > Mark centerljîeon neckblockard cdgeofcap. 1J7 > Planeoffoverhangofneckblanl( at rcckblock. > EÍend boc\r'scenterlìne onto loP suriàcoof neck ìrlank. Aìign beuywith cenlerlinc,and clanp and tapebellytemporarilyin position. 1.1.9> Checklit oî endsof all transverse balsto sidedbs. ' Tiim orshimbarends tofit the sidedbs pedècl1)r. Ribslllust conformto tracedoutline onbelhr. / ?a ' pt. n( siuup nt,,.iderih. 110 ' Wilhbcllytaped andclanìpedin place,measure to delerÌÌine how nuch materialneedsto be plancdlìom top surfaceofneck to achieveproper stnngactlon. -11l > Removebelly. Planctop suúaceofthe neckto conectalignment. PructicumEight: Shaping!Venc€ring,AttachingNeck /42 ' Clampandtapebellyin position,narkposrtion of fint stringonto neckat neck/bodyjoinl. 14-t ' Plotstring ìength.neckwidth.neckccntcrline, nut dimensions,and thichìcssofneck veneer onto top surfaceoîneck, 14-i > Tìaceshapeof bowl oùto end of neckblank at neck/b()dy-joinlend. > Removeneckùomncckblock. l4ó > Sawandplanesìdesol neckto exactwiclthof linishedneck,minusveneerthickncss. > Prcpareunderforn forneckshaping. > Tàckglueneckblankto undcúbnn. 147 > Shapeneckblank. 148 > Cut veneerslightl),oversize,andbendto shape. 719 > Gluevenccrto shapedneckblank.
212
/5, > Cut and file venccrflushwith neck6od],-joining l5J > Renìoveveneered neckfromunderfom. trim veneeroverhangsfl ushwith lictboard gluing surface.an!:lscrape awaypapetandglueresiclue. 152 > Checkfit ofreckjoint. > Ghe neckto bowl. 1-5-? Pr.rcticumNin€:Attachingth€ Belly 15ó > Tapeandcìanp bellt'ìnplaceanddouble-check neckalignmentandflt of lransvcrsebracesto sideribs. Make adjustùlcnlsesÌrecessary. 7-i8 > Glue ore sideofbelly to bowl at a time,workirg from neckjoint towardcap. ' Spreadholgluea 1èwinchesat a time, aÌìdclamp immediately.Use cìampsandclamp\!ood ovel fingerboard;usetapefor clampingcve4 vhere eìse.Preheal,rehcat,andretapeareasasneedcd. /59 > Glue andclampbîr endsto sideribs asyou go, usingsn1allblocksun.ler tapeto pllshribs against barends, /ó0 > Prehealand gluethe capareî last. Tùrn lulc upsidedownwhilegluedries. PràcticumTcn: Installing the Pointsand Fingcrboard Jó2 > Establi!h insidecornersoî thc neckr/bodljoint. > Seìectfingerboardmaterial.Cutblanksfor poiÌìtstiom onc cnd ofiirgerboard blank. 7ó.1> Clampblankslorpoints together.Shapebolhar the sametrmelo assurcsymmetry. /ól > Positionthepoints,and draworscribetheir shapcsonto the bellv. > Make clrtolúsiì belll'for points. Jó-5> Glue and clamppoilts in place. lnstalling fingerboardon an unveneer€d neck 7óó > Planefin gerboard10roughthickness. > Mark end of belly andpointsperpendicularto neckcenterliÌìe. > Sawbeìlyandpointsto lcngth-removewastewilh chìsel,and cleanneckbìankand end oîbclly and pointswith fiìe. / ó7 > Fit endof fingerboardblank to bell]'/pointsjoinI > Cut fingerboardto rough length. /óE > Hold 1ìngcrboardin pìaceandmark bassedgeof neckonlo it. Sawandplaneedgeol tìngerboard to thisline. ' Holdfingeúoard inpositionagainandrnark reblccdge. Sawandplanefingeúoard rofinal > Spreadglue. Poundtacksin Íeckblank to push fìngerboardagainstthe belly/pointjoint' C d - p f i r o e r h of.d i ì p l d c . ( S c ( P r c t : , c e r. fr . ior notesor the lackoÌa descîiptionfor the shapingofan uDveneered neck.) Insfallingfingerboardon a veneeredneck -ló9 ' Fit fingerboardto bell]'/pointsjoinl. > Cut fingerboardto mughlength. > Use neckasaguideto Ìl1arkfirgerboard'sshape. > Sawfirgerboardto roughshape.
' Spreadglue.Usc tacksto pushfingerboard againslbelly/pointjoint. ' Use clampingcaulsto clampfingerboaîdto neck. ' TurnìL e utsde dnsn $hi e g u( d e. ' Repeît necklayoutproce.lureon fi ngeúoard. Make necessary adjustmentsif neck-edgelìnesdo not accurateìycoincìdewìth actualedgesof ncck. > Removefingerboardoverhang.Blcnd f ingerboardandncckveneeÌ770 ' Mark dnal lergth offingerboard. ' Sawiingerboardto final length- Remove ihgerboîrd wastefrom neckwith chisel. Fjnish cxposedsuIfaceswith file. ' Malk *idth ofDut onto end of neck. Sarvor pl nereck to final length.Smoothwithfì1c. > Planefirgerboardllushwith pointsandbelly. > Checkfingerboardshapewith straightedge. / 7/ ' PlaÍc and/orscrapefìngerboardto createcoúect clcararceslbr strings.arìdto createslight cuNaturem crosssectlon. ' RadiusedSesof finCerboard. PracticumEleven:Installing the Hàlf -biúding 17J > Trim bell]''soverharìg$i1h sideùbs andcap. Corrcct slightirregularitiesin outline ofbelly. > Correct inconsistencies inbcl1]'sthicknessatits edges$,ithscrapcl. 774 > Make cutsiòrwidlh ofhalfbindnìg rebatein tnreeortoufpasscs. ' f j I i . h r h e . ec L , \n ( . . t , n r . $ i t l k n L . > Cut rebateior hali bindirg in severalpasses wirh half bindingplàne. /75 ' Cloùpleterebîte nearpoints$,ìtha chisel. ' Snooth rebatewithfile. ' Prepareandbend fivo half-bindingstlips. , F | .d b,n.ì,nf,in.ì . iorn tor ea.hs| p. /7ó ' Cluc one half-bindingstrip in place. Bcgin at poinl, wolk in shortsectionstorvardcap. Clanp wilh tape.presswithrolìer asyou go. > Gìue secondhalf-bindingsLrip. > Fìt joint wilh first stip Glue. tape.androll. 177 ' Allow glueto dry. Carefullyrenovc tape. Pracficumlìr€|ler Nfnkingthe Pcgbox 178 ' Arsemblecheeksofpegbox,sansebonyveneer. /79 ' Saward planecheeksto lìnalheighl. 18ú ' Clue eMnyveneerto top edgeolcach clìeek. > Tiim veneeroverhangsl1ush. > ClamppegboxfolLtowolkboard. Assemble cheeksontoforl11. 181 > Prepareandinstallblockin lower end of pegbox. 182 > Prepareand intall vcneeredìrlockin ùpperend ofpegbox. > Adjust heightofcheeksifneccssarJ. l,9J > Laminatetwo-plybackplatelrombecchwoodand ebonyveneer. l8l > Gìuebackplate10chcek ard-blockassembli'. > Planebackplatcovcrhangflushwith cheeks. 7,95> Prepareandglue ebonvveneers !o outsidechcok
18ó
187
/86 189
> Planecheekveneer overhangsllush. > Scrapcall ebon],sudacessmooth. > Cutst ng-clearance reìiefsin cheeks. > Mark endsofpegboxwithslidingTbevel. > Sawoffsmall end. Cleanup sawnarks with fìle. > Lamiìate eìronyveneeron snallend ofpegbox. > Tiiln andfileveneeroverhangsflush. > Mark anddrillpegholes. > Reamholesto lough súe,ch:rnfèr edgesofholes in cheeks-andcut awa]'ìoosefibersinsidechceks > Scrapepegìror andbeveI cornerswìth lìle. > Vanìishinsides rfacesofpegbox.
PracticunThife€n: Making the P€gs 191 > Selectpegtenpìate,andsecurcinproperly aligned positionon lathc. > Preparclumiìgbiarks. > Mountturningblankon lathe. 'Iìùrough -192> shape. > 'Iìrr peecollar. > 'Iìrrpegshaft andfile it smooth. > 'Iìrr ìrulb. 'Iìrn I 9J > areathat will be pip to firal ,:liîmeter. ' Sandpcg,avoidingdamagetofinedeta s. >'Iìrn andlìghtìysandpip. /9+ > Removepcgftom lathe. Sawoffends. ' Shapcbulbon.lrum sander. l9-t ' Roundpipwith file ard sandlìghllv. ' Scrapcbulìrsmoothamdbevelcomers. > Polishwitlìbee swax,thenbuff. (Noteonp. 212: thisis done aftershaftsare shapedtofinal|aper.) PracticumFouÍeeni Prcp,Finish,and Rub Out Bolrl 79ó > Resolveneck/bodljoirt ard smoothneckwilhllc 796 > Smoothandclcanodgeofhalf-bindingwitl file. > Scrapeawaylìlc marksaroundneck{o-bodi'join1. 799 > Performlìnal scrapingof bowl. 2r, > Burnishbowl wjth nylon nctting. > Maskneckveneer. 2rl > Brushon scalercoatofshellac. Sandlightly whendÌ1,.Repeatif necessary. 2r2 ' Apply vamishwitlì artist'sbrusharoundedgcsoî padwill not rcech. caplvhcrcFrench-polishing 2rJ ' Flcnchpolishone rib at a time until entircbowl ispolishcd.thenhanglute to dry. 2r4 > Wipe bowl'ssudaceclean.Lightlysand. ' RepeatFrcrchpolishingprocedureasnecessanr, Ìightl) sanLling betweencoats. > Hang lute untilfinìsh is hard enoughto polish.2ri > Polishbowl.
PracticumFifteen:Installingthe Pegbox 2ró ' MaÍk anglcof joining surfaceonto fiont, back. andchccksofpegbor.. ' Sawoff excessm aterial.File surlaccsmooth. 2r7 > Measureheìghtsofcheeksand tlìnslèr measùrements onlo ncck. > Ifaîstèr n1easúcmcrrof m:uimun Í,ìdlh ol pegboxonlo cnd of Deck. )71
> Connectmarksonnecktoplot rebatefor pegbox. > Cutrcbatc with saw,chìsel2rE ' Perf(clfir o p(gtú\r\'rhJhaìì.JrJiil2rq > Do dry run ofpegboxglLring. > Do fhal glÙing. PracticumSiIte€n: Fittingthe Pegs Shapingpegs 211 ' Soapshaftofpeg. > Using a pegshaperwiththe propertaper,begin shîpingin the largestholein which the peg does not .Ìuitefit. > Resoappeg.Usingappropriateshaperhole, graduallyshapeshaftuntil collarofpeg contacts shaper'sblade, and a shavingthe tullwidth of the trladeisproduced. ' Resoappcg, andúape smallendofshalt uÌrtil bì.,'( j. .t t'arcì!t egir. ri, cur i \ e I ire ìen!rh. ; .?/.1 shJp Fit krngestpeg in hoìenearestfingerboardfirst. Soapreaner. cleanholc wìlh a twistortwo, ancl checktìt oîpeg. > Reamhole until about 10MMof shaftis left erposed. 2/J ' Bumishholc by tuning reamerbackward. ' Fit rcmainingpcgs,workiDgtowardsmallendof pegDox. 2ll ' Mark pegslor cuttingto firal length. -21-5' Mark shaftsfor stringhoìes. > Removepegs, keepìn order. > Beveledgesof holes. > Sawpegstolength. 27ó > Drilìstringholesinpegs. > Fjnishendsofpegswith tìileaÍd sandpapcr. > Countersinkedgesof stringholesin pcgs. .217> Setpegsasidein orderfor laler installation. PracticumS€venteen: FínishingtheBellyand Neck Waxingthebelly 2/8 > Washbel1yaÍd rcmovc aryglueìesidue. Allow bellyto dry thoroughlt. ' Scrapebelly. 279 > Burnishbellywith nylon netting. ' Apply wa.{to be1ly.Bumishwith netting. 22, ' Polishbclly with solt cleancloth. ' Rcmovewò\residuearoundbridgeandrosette. ' Repeatw:xing.Threecoatsworkswell. Oilingtheffngerboard 221 ' Do fiÌìal checkoffingerboard shapeand aLignncrt. Adjust asDecessary. 2.22> Do finalscnping offingerboard. ' Apply oil lo tingcrboard.Sandoiìedsurfacewith 60i:ìgrit paper. ' Wipe off ercessoiì. Poìishfingerboardwilh clcan cloth. > BurnishfingerboardwìlhnylonrcttiDg. > Repeatoilingasneccssary. 2',71
oiling the neck and pegbox 22J > File anLlscrapeto adjustpegbox/neckjointas necessary. Removeanyglueorwatermarks. > Scrapebackof neck. 224 ' Apply oilto neckandpegbox. Rub inwellwith 1 ngers. ' Sandoiled neckwith 600 g1itsandpapcr. > Thoroughlywipe awayanyoilresidue..Allowoil todry. " j ' B u -ì i . ì n e c k r n d p e g b o \ \ i l h n \ l ù n n J u m g . > Waxbo$'I,neck,tingerboald,andpcgboxwith thrce light coatsof nicrodlstalline waxthinned with mineralspidts. Buflbctwccn coats. PracticumEighteen:Nut, Fr€ts,and Stringing Making the nut 22ó > Mark and cut nut blank to length. ' Fit nut to rebalc. ' Tiaceiingerboardshapeontonut' Shapenul. 227 ' Polishnut. ' Mark stdngpositionson nut. > File st ng groo\€s. > Polishstringgrooves. Insfalling fiets and stringingthe lute 228 > Plot ftet positions.Markpositionson fingerboardwith tiny pin pricks:on bellymarl exactpositionsoftreble end ofeachfretwith soft-leadpencil. 229 ' Bum onc cnd ofa lengthofgut. > Tie first fìet tightìynexttopegbox. Gutlbr fiets shouldgetprogrcssively snallerin diameteras fretsgetcloserto thebody. > CIip extlalength. ' Reoe"rburninggur.r)mg Lr(rs.-nLlclipfi g excesslength. Eachùelis ticd onefret space lowerthan its final position. 2:ì0 ' Burn clippedendsoftied liets. Allow to cool. andpusheachfret up into position. > Preparebodyfrets. 2J2 > Glue bod!'frcts. ' Stringup Ìute.
Indexof ErlangenLectures A massdistribution.SeeBowl Allard, Claude,42,12, 67,67 Al'ud, 3,26,30,53 Alto lure, 8, 10,57,72 poemaccompanying lutemakerwoodcut,70,7] Arabicinfluences, 3,26,30,53 in rosettes,40.42,12, 43,43, 44,44 Archlute Tiansition,5 shape,5, 21 anoÍymous,with 1]picalfeaturcs, 12,12 asdistjnguished ftom tleoúo, 15 tlpical bellythickÍesspatterns,.14,35,38,38 bridge,52 fingerboard, 61 plan,Sellas, 1639,244 definition, 59 Amault,Henriof Zwolle,2-4 Prc-Renaissance luteconstruction diagmm,e 4,30 Dutch manuscriptof, 3 bowlshapeandcrosssection,5,19 countercap,26 proportions,30,30,32 neck, 53 fhgerboard, 53 formforbowl,70 Baroqueperiolllure.. 2.2f . Seeal!? Bjidg.. Fhgerboad; Neck;Pegboxandpegs bowlshapeaÌldcrosssectìo[,5,27,22 DieffopruchaÌ, modfied,1t 15 charactedsticsol, 15,17 conve$ìonsftom Renaissance lutes, 15-17 HofftnannwithlaterBamqueconversion, 74 17 tone quality()1,17 Holimarn example,27,21,22, 22 airmassdistribution,22 woodsusedfor bowl, 23 cap, u spacers, 25 countercap,2T paperliningstdps,27 parchrnent, 27 labelsandmaker's marks,28,28 borrowedconceptsfromviolin making,38 belìybarringIayoutandthickness patterns,38,38, 39,39 Dieftbpmchar\rith Barcqueconversionbelly, 39,J9 rosettes,examples01, 40,4l , 42,12; cut from outside, 45 plan,Dieffopruchar, ca.1600,213
BaIIìng,30 34 layout,2,30-33,30 39,35,3'739 proportionconcepts, 3,30 geometicalmodel,31,3J,32,32,33,,13 MeIsenne's q,picìl Late Renaissance andTfansition,34,35,.t5 Rdlìchbelly,ca.1600,35,3ó,37 Railichbelly,1644,38,J8 Hotrmannbelly,38,38,39 Dieffopmchar withBaroquebelly,39,J9 woodsusedfor, 40 definition, 259 Baschenis, Evaristopaintings,48,ó9 Bassbar, 33,40,259.,teea/.îoBaring Basslute,7,9, 10,21,J2.33,33,35,44,51,51, 57,58,%0 Belly, 30-4'7. .teeaho BaÍing;Rosette barringlayout,2,30 33,30 39,35,3'7-'rr tonequalit, 30 sustain,30 pfoportions,30,35 thicknessgraduationsof, 3l -19 geometrjcalmodel, Mersenne's 32,33 woodsusedfor, 40 Bibìiogaphy,261-270 articles,26l-269 histodcalbooks,269 modembooks, 270 Block.SeeNeckblock Body. ,teeBowl Boethius,5 Bologna.S'eeBoss,LaÙx;Frci, Hans;Maler,Laux Boss,I-au\, 5, ó,24,245 Bourgoin,J. drawings ofluterosettepattems,40,40 "StarofDavid"pattem,40,4, Le: Eltmentsdefatt arube:le traítdesentrclacs,40 rosettepattem,hteockingrings,42,42 Bowl, 18 29 Anault'sdiagram,2,2,-lr, 70 shapeandcrosssection,2, 5, 6,'7,8, 9, 10-12. 15, 15 22,1',l-22,'70 air massdistribution,18,18,19, 19,21,21,22,22,'70 longitudinalsectioll 22,22 dbs,woodsusedfor,6,7, 12,15,23;s;z;r'tg of,22:, shapingof, 23 "Îalsebelly''concept, Mersenne, 23 cap, 24,21 spaceîs,U 25,21 neckhlock, 25,25, 26,26 corunrer cap,26,2'7,27 lhìngs, 27 paperliningstdps,27 parchment, 27 labelsandmaker's marks,28,28 Merse leon useoffotmlor, 70 delinition, 259 2',75
Bracing. ,Se?BaÍing Bidge, 48-52 iconographyfor identifying,,18 Pre-RenaissanceandRenaissance,cerle, 48,49 earliestsurviving,18.49, 19 Late Renaissance origina1s.49,19, 50,50 starsor coursenarkeIson,49,49 woodsusedtbr, 49,51,52 Latc RenaissaDce stdngholesandspacing,50,J/ typicalTransitionbridgeconve$ion, 51,-51 capof ivory and ebon]',-51,-tl.52,52 for archlùte, 52 Baroque(Edlinger/Hoffnaní). 52,52 defiìition, 259 Burkholtzer,Hans conversions of: neck, 59,59; fingerboard,621 pegbox,65.ó5,66;pegs,68,68 Cap, bowl 24,21, 259 Cap,bridge, 51.51, 52,52 Catrìlogof AncientEuropeanLutes 24fì 256 Celtic knot influcncein Ì osettedesign,44 Centerlineconcept, 19,,{0,57.70 Chantrelle tuning,mosl common, 8, 10 beconleslandard lèatùre,,lE drawingol, 6l conversions wilh. 65 designconsiderations with, 72, 73 definilion, 259 Chitarone. .See Theorbo Constnction sequerce,70,71 Cosmologicalmodelsof the univelse Pythagoras,4 Plato, 4 Boethius,5 Pacioli, 5 Countercap, 26.21,27, 259
De Divina Proportione(Pacioli)-5 Descantlùte, 8, 10,42,12, 239 Dicffopruchar,Magno bowl shapeand crosssectloí, 5, 79.I 9, 20, 21,2l typicaloflate Renaissancc,6,7, 7 modifiedby Edlinger, 15,75 consistencvofcrosssectionoverninetyyears, 21,21 ivorybow1.cap,spaceÌs,24,24 ìabelandmakcr'smark, 28,28 bell]' thichess Pattern, 33,-i.l Dewbelly(Bamquc) for, 39,-19 msettepattern, 40,1l , 13,13 b dgebyEdlinger, 54 i2 neck dimensions,53 neck inlal,s,floralpattern, 56,5ó fingerboardbyEdlinger, 62,ó2, 63 pegbox,64,ó4 plan,bass,ca. 1600,24, 276
plan,Rcnaissance, ca. 1612,24l plan,Baroque,ca. 1600,213 bio, 215 note on namevar:iations.246 Drawjng. seedÀo Plans Arnault'sconstructiondiagram,Z J0 designfor makinga lute, 70,72, 73 slringsasstartingpoint for , 10,12, 72 considerations for. 72 expìodedviewol lute with labeledparts, 258 Ebony- SeeWood,lbr bowl:Deck;bridge;fingerboardr pegbox Edlingel JosephusJoachimus,28,28,J0. 52,52, 245 Edlinger,Thomas neck,fingerboard,pcgbox,bridgeon D ieffopruchar. 15,15,62,62,63 useofspaccls,25 label,28,28 conYelsionofBurkholtzer, 59,.t9,60,62 bio, 245 'lFalsebclly,"Mersenne.23 Familvoflutes conceptof, 2, 10,15 Renaissance iamily, 8, 9 Fuggerinvenlory,sevensizes,l0 in Praetorius.l[ì Transitiontheoúo famil],,l2- l5 Fillets. SeeSpacers Fingcùoard. .teealro Neck woodsusedfor, 54,-54,59,61 gut for frets, 6l Pre'Renaissance and Rcnaissance, 6l Late Renaissance, 61 oD, 61,ó/ Points 'Iiansiti(]n,61 Baroqueconversions,62,ó2,63 Baroquc, 63 definition,259 Fir, 26,40,59,60 Form, 259; Seerho Bowl Frei,Hans Renaissance lute example,5,6, ó bowlshape andcrosssection,5.7, 18,18,19 label,28,28 one of earliestsur,,iving,31.31 bddge conversion,50,.t0,51,-5-l neckconversion,58,J8 plan, ca. 153[ì,2J8 Renaissance bio, 2,15 note on namevariations,246 Flets. SeeFingeùoard Frgger, Rayrond, 10,2,1
GaHeo, 10 Geomusicalareas concepto1, 2, 3, 11 Baroquebddgesvaryin, 52 necksvaryìn, 58,59 fingerboards varyin,6l Gerle,Ceorg replicaof antiquelure,4.4,6 rosette,40,47 bridge,48,49 rech s3,Í, 58 pegbox,63,óJ bio, 245 Glossaryolterms, 258-260 Cutfrets,6t Half binding,27,259 HamlonieUnivetreLle, Menenne, 23,3l Harton,Andrea, 25,44,4i Harton,Michielle LateRenajssance bowlshape,5, 21,21 in Padua,7 tenorlute,9 basslute, 9 arrmassdisldbution,21 nosp.ìcenonshadedyewbowls, 25 basslutebalringandthickness pattem.-12 J-1,35 coniormitywithMersenne,32,J2,33.J-l rosette,40,11,41,41 Drroge, JU, Jl
neck,54,55,56,5ó,58 lingerboardandpoints, 61,61 bio, 245 Holfinann, J.C. Baroquelute,original, 17,j2 bowl shapeand crosssection l't,21,21,22,22 bely balling layourandrhickrìesspaÍems, 38,jq 39,-19 rcsettepattem, 40,4l bridge, 52,-t2 neck, 60,ól] linge$oard, ó3 bio, 245 Hoffinann, Martin exampleofmodificationsovertime, 2 Baroquebowl shape,j, t5 Baroqueconve$ion1()theotboedlute, 16,66,66,6.1 bio, 245 Iconogmphyusedto determinehistoricaldesìgns,3, J, 4,48,53,60,61,65,ó9 Ivory. .teeabo, Wood 1vorydbs, bowl, 6, 7, 24, .24 veneerfor neckandpegboxefension, i2,15 spacers,24 lining stripsusedon bowlsof, 27 parchmentreinforcementonbowlsof,27 bddgecaptrim, 51,51, 52,52
d e c o r r l i \ e . t r i p e pl e r n n nn e c l , a n r l p e g b 5, ,5r . 5 o o i c i r r q r r \ Jo r x l p r I e m ú ì n ( c L a n d p c g h ^5\ .0 , J o 1ìngerboardinlaidwith, 61,6l Label 28,28, 259 Late Renaissancc period lutes, 2,260. .te,ra/soBridge; Furge.b^ar.l: \ecl: Pegbo\andpeg\.Ro:e.( chdrdctefisti(\of, 2,o-1U bowl shapeand crosssectioí, 5, 18 27,19.21 Dieffopruchar,cxamplefpical ofperiod, ó,7, Z lone quali6/of, 7 proportions,7 woodsusedfor, 7, 23 lute famiÌy, 8, 9, t0 Praetoriusassourcefor, 10 ai| massdisrriburion,19,t9 càp, 24,24 sp.ìcers, 24, 25 cornter cap, 26, 2'7, 27 paper lining strips, 27 Ìabelsandmaker'smarks, 28,28 Alnault's ideasexprcssed,31 Ver.ennes idease{nres.cd.I t . J.. J_',J.r,.ìJ tlpicalbÉì\ tu.kness Da|l(.n.. J.t.J.s.J-) plan,descantVenere,ca. 1580.2j9 Lautenmacherde4woodcutandpoeÌn, 7l Liepzig. ,teeHoffmann,J.C.;Hoffnann. Marrin Lillines, 27,259 Lute family. SeeFamily of lutes Lutemakers woodcutandpoem, 70,7/ list ofancient, 245 246 Lúe plan, 70,12,72,73.73. Seeatso plansof tures Lutes,cala.logofancient, 248 256 Maker's marks, 28, 28. 29, 25g Maler, Laux, 2, 5, 6, 17,3 1, 31, 245 Mandora lutesconvertedt(r, 2, 67 Mcple. Jcc WooLlfor bL,wl:neck;legbdx Mctteson.Johann, {r8 Measuremerrslstems, (onceptof Neu Brunswrckîoot, ln, 7l Venetìaninch, l0 Mcmling,Hans del"il froruPre-Rqndi*anre prmring J ì Mersenne,Madn, 23,31, 32,33,'t0 Museums,list of, 2,19 "Music ofthe Spheres,"4 p.rintingsrfle.. 4E ou "Naru-a mona. Ba.chcnis Nc(k, 5l hl in Memling painling, J,53 radiograph of block/neck jofiìt, 25,25, 26 Pre-Renaissance andRenaissance, Gerle 53,jJ Dieffopruchar, 53,56.jó
Ncck(continued) woodsusedfor, includingveneers,54,54, 55,5)-,56, 57, 59, 60 Venere, 54,-t4.57,-i7 Harton, 54, 5i 56,Jó Late Renaissance, earliestsurviving,51,54,55.55; dimensions.57,58 decoratcd,withsripcs, 5J,56,5ó;with{loral pattems, 56,5ó; methodused, 56,57 tiìt towardsbass.57,59,6l Transition,58,58,59 Baroque,59,.t9,60,ó0, 61 definition.259 Neckblock,25,26 radiographofblocllneck joinl, 25,2)-,2ó Scllas,26 2ó cutawalr, 26, 2ó definition,259
Octavel te, 8, 10,57,57 Organizations,25T
Pacioli, 5 \y'ì riclle;Tiei'fer5-ucker, Padua.\,1 H:r11ún, Vendelinus;Venere,Wendelio Paper lining strips, 2'7. SeeaLtoBo]'rl Parchment,27. ,teer/so Bowl Pearwood.,t€€Woodfor bridge;peebox;pegs Pegboxandpegs-62-68 woodsused for, 54 56,-tO61,64 6ó,6ó decoratedwith stripes ard lloral paltcrìs, 55,56,56,57 anglesol, ó2 closedback,63 Gerle asexamplcoI Pre Renàissance, 63,ó3 Renaissance andLatc Rcnaissance,64.ó,1 dimensions, 63.64,ó4,65 coùversions ovcl lime, includingchantrelles,ó4,6566,66 'Iiansition,65 Bamquc, 65,ó5,66 pegwoodsandproportions,68,ó6 dcfhition, 259 Perjodsof lutc conshuctionaÌrddevelopment SeeBaroquepedodluies:Liìte ReÌìaissance pedod lutes:Prc-Renaissance periodìutes; pe od lutes;îansition periodlutes Renrìissance Philosophical considerations of proportion,symbolism, hamony, 4, 30 of Plato, 4 ofPythagoras, 1,8,I0 ofPacioli, 5 Plan,deveÌopingyoul own, '70,'72,72,/3,73 PÌansofÌules. Erlargen Seies, 23'7-244 6 csRenaiss.ìÌìce, Frei, ca. 1530,2.18 6-csDescant,Venere,ca. 1580,2J9 8-csBass,D ieffopruchar , ca. 16u0, 210 10-csRenaissance, Diellbpruchar,c.ì.1612,247 7-csRenaissance alto,Verr'ere,7592. 242 2',78
13 csBaroque,Dieffbpruchar,ca. 1600,243 l4-cs Archlute,Sellas,1639,2?4 Points,bridge, 50, 51,51, 52,52 Points,fingerboard,48,61,ó-1,260. See..,Ào Fingerboard Poplar.SeeSpacen,wood usedlor;Wood, fbr neck: Wood, for neck block Practicum,slepby stcps mmaryoî,271 274 Prrdter, LeoDhardt,42,42 Praetorius,Michael, 10,11 pedodlutcs, 2,260. Seudho Bridge; Pre-Renaissance FingerboardtNcck;Pcgboxandpegs;Rosette Arnaull'sdiagraù, a J, characteristics oi. 3 5 Memlingpainthg detail, -l propoÍìons, 3, 3, 4, 1.30. 30 Gerle built as replica, 4,? bowlshape,i countercap- 26 lone qua.litl,,30 bclly design,30,J, Publicationslist, 257. Sd€dlsoBibliography Pythagoms "Musicofthe Spheres,"4 rythagorcan proportions, 8, l0 tu ng, 8, 10
Railich. Pictro tansition archlutebowl shape,5 countercap, 26,.27 Late Renaissance theoúo bellythichess pattern, 35,36,37 TiansitioúarchlutebelÌybaIIing layoutand pattem 38,38 thick-ness Renajssance pcriod lutes, 2,260. .tre dlsoBridge; Fingerboard;Neck;Pegboxandpegs;Rosette bowlshapeandc1osssection,-1,18,18,19 ()1,6 charactedstics Frei example,6-ó woodsusedfor dbs, 6,23 pmporlrons,b lute lanily, 8, 9, l0 cap, 24 countercap, 26 paper lining stlips, 27 labelsand maker'smarks, 28,2E.29 bellybarring layoutand thickncsspatlern, 31 plan,Frei, ca. 1530,238 plan,Dieffopruchar,ca.1612,241 plan, alto, Venelc,1592,242 Ribs. .leedLroBowl rationalefor sizing.22,23 shaping("scooping"),23,260 woodsusedfor,23 definitun, 260 Rosette-40-47 Venerepattems. 40.42,43,40-15 "Starof David," most comnon pattern, 40,4f, Valiationson "Starof David" pattem, 40,11, 42,12
Bo rgoin pattens- 40.10,12.12 Cerlc pattern, ,10.4/ Harton pattern, 40,I l, 14,41 Hoffmînn pattern, 40,71 Sellaspatternir theorbo. :l(ì,4/ Dieftbpnrchar, 40,11.13, 13 .Allardpattern, 42,42 Pradterpatten. 42.42 Tieffenbrucker.43.43 hcxagonpattern, 43,4.1 "Knot ofLeonardo" paiten. 44.4? Burkholtzerpattern,44,4f Harlon triple, ,14,45 culling tcchniques,45,4-5 chip car"'ing,45 patternstocopyand use, 46,47 definitlon, 260 Roservood.SceWooclfor bowl; neck;fingerboard;pegbox RoyalCollcotionof Curjosities,,l
"Scooping" rìbsconcept.23,260 Sellîs,Matteo Tiansitionarchlulcshape,-i arclì1ute, schoolofSeììas,72 theorbos,J2 14, 15 neckblock, 2ó rosettepattcm, ,ll plan, archlulc,1639, 241 bio, 2,{5 Sides.Se. Ribs;Bowl Snakcwood..tecWood for bowl; neck îingerboard:pegbox Soundboard..See BarringtBeily;Roscltc Spacers purposeof, 24 wood and ivoryusedfor, 24,24,25 definitìon,260 Spruce,26,40,59, 60 "StarofDavid" rosettepattem, 40,40 Stegher,Magno. 51,51 Sldng leùgtlì. .tczdho Strings Amaùlt igrorespdmarylclationúip, 4 tuningsoîchanÍe1lc, 8. l0 Pythagorean relationships,10,30 comparedin New Brunswickinches, Venetiar inches,and centimetets,10 Tiansition,greatesldivcÉit\rin, 10 in differenl geomusicalareas, I I , I 2 shorteronbassside, 57 rclalionshipto neckdilnensions.57,58 slarfing poirt for drawin g desigr. 70, 72, 72. 73 Strings.SeualsoStringlength how atlachcdonal'Ld, 3 terìsionot, 12,23, 38,54 only straightthingson a lute, 19,57,70 holesforcourscsonbddge, 49-52. 19 52
gur,52
ovcÉpun,52 catliDes,52 SfntagnaMuticum , DeOry nogaphia.10
Tenor lute, 8, 9, 10,12,41,57 Theorbo Lalc Renaissarcc,withfl atte.Ìedbowl shape.7 Transilion,12 15 ScÌlascxaùplcs. 1J,-14 asdìslinguishcdliom archlute,15 theorboedB roquelute, 1ó ìrowlslupe andcrosssection,2l lining stripson bowl. 27 lypicalbclly thiclnesspattern, 34,35 Railichbclly barringlayoutandthicknesspattern, 35,36,37 Scllasroscttcon. 40,l-i fingerboard,ól theorboedpegbox,66,óó definition,260 '7 Tiefenbrucker,LeoÍard o. , 23,49,245,246 Ticlfcnbrucker,Venrlelinus,43,73, 245,246. Scer',hoDiefiòpmchar,Magno;Venere,Wendelio Ticlke, Joachir4 5. 15,245 Timc periodsof lute development, 2. .See aÀo Baroque periodlÙtes;Late Renaissance period1útes; Pre-Renaissanceperiod period lutes;Rcnaissance lutes;TiansitionpeÌio,:lfutes; Tinctoris, 5 Tone quaiity, 3t) incrcascin sustîiDovertime, 3,30 Rcnaissance,6 Latc Rcnaissance,6, 7 TlaÍsilion, ll, 12 Baroque,17 ftp. .tec Barring;Belly;Rosette Tortoiseshell,inlavon necks, ól 'lian sitionperiod lutcs, 2,260. .SredlsoBridger Fjngerboard:Neck;Pegboxandpegs;Rosette bowl shapeand ùoss section, 5, 19, 2 I characteristics ol, 10 15 archlute,eÌamplerypicalofperiorì, 12,72 woodsusedfbr, 12,15-23 Scllastheorbos,12, I 3. I 1, 15 c:àp,24 spacers,25 countcrcilp, 27 paperlning strips, 27 labclsard maker'snìarks,2B,28 Me$enne assourcefor, 31,32 bclly barringlayoutand thicknesspatterns,J4 J8. 35,38 pìan,archlure,Sellas,1ó39,244 Tùning. Se€allo Stringlength St ngs Renaissance andLale Renaissance, 8 chantrelle.8, ltì Pythagoreanrelationships,8, l0 in clifferentgeomusicalareas,11 with overspunstrings,52 pegs, 68 Matthesonon, ó8 Consiclerations lbr drawjngdesign-70,72
Unverdorben, Marx, 5, 6, 15,245 Veneer. SdeWoodfor bddge;Íeck; fingerboard;pegbox VenereAssociation.SeeVenere,Wendelio Venere,Wendelio-Seea/soDietlbpruchar,Magro; Tieffenbrucker,Vendelirus bowlshapeandcrosssection,5,'1,20,21,21 association of maken,'7,2I,25,28,49,54,64,245, 246 Ìute familt 8 useofspacers, a5 labelsandmaker's marks,28,28,29 rcsettepanerhs,40,41,42,12, 44,41 bndge,49,19,50,50 rcck, 54,54, 57, 57 pegbox,64,64 pÌan,descant,ca.1580,239 pÌan,Renaissance alto, 1592,242 bio,245,u6 noteon namevadations,24ó Venetiariiìch, mrcept of 10,260 Venice.SeeDieffopruchar;HaÍor! Railich;Sellas; Tiefenbrucker;Unvetdorben;Venere Wood lbr bowl,6,7,15,23 for neckblock,25,26 Îot cnr']ùtercap,27, 27 ibr bely andbaring, 40 îor bidge, 49,19, 5L,51, 52,52 forneck, 54 5'7,54. 55,59,60 for îingeúoard, 54,51, 59,61 for pegbox,54-56,54 61,64-66,6ó forpegs,68,ó8 Woodcuts,11,70,71 Yew Seeabo Bowl tonequalitiesof, 7 in Dieffopruchar lutes,7,2ú,21 shaded, ir Sellas(schoolo0archlute,12,12 shaded, in SellastheorboîaÍtrly,1Z 13,14,15 in M. Hafion lute, 21 preferredLateRenaissance woodfor bowls,23 whereitgrows,23 other uses,23 dbsleîtthickerthanfotharderwoodsorivory, 23 usedasandwith space$, 25 shadedyewinpaintirys byBaschenis,48,ó9 shadedyewdefinitioÍ, 260
