Practicum Eighteen:Installing the Nut, Frets, and Strings

Photo 1. The lute nutismade fronbone, ebon), olother hard m aterial. Iloryhrd been thc materialofchoìce since the end oflhe 16th century, but is notnormallyan acceptablc choice tod,ìy. Markand cut thenutblanklo length. ForRcnaissance lutes the roughblank shoÙld bc approximately 5À,lM x5MÌvlx80ríM.

Photo 2. Flatten lwo sides with I flat sandìng boatd orfile and see that it iìls tjghth into the nut rebate

Photo 3. Trace the shape of the fingerboarcl onto lhenut using a 1.2\4Ìú shim or spacel.

Photo 4. File or sand the nut down to this traccdllneand rouîd over- Thc nul shoulLl bc as close to ar cxaclquartcr roundsectionaspossible. Thisheìpsthestr'ingssìide olcr it. The finallì1c strokes shouldbe along thelength ol the blank.

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Photo 5. Sand thc blank with 22i:ì gdt urúil snoorh.The ends sh ould bc rounded slightli' and also sandcdsmooth. Then sand the enlire nut wirh dry4ll0 gdr.

Photo 6. Polish tbe nutwith a har.l cottonbullìng$heel aùd lire compound. Poìish off ary Nbbingconr pound resi.lu e with a clean rag.

Photo 7. Using"voùnut spacing tcÌnplate. markrhcnnngspacingonlo thc nut at the aporofdre radius,N here ths srooves \\,ill be filed. Thc grooves of a lulcnul. unlikc those for agrirar orviolin, do not erirend Iorhe break ovef poìnt olthe string, but arejust shallo$notches midwayin the curved suúììce ofrhe nur_ Thee\heme peghead îneìe ofthc lute makes a dccp notchon the top of lhe nut un neccssaÌ.r'.

Photo 8. Wilh averyfine mouserailiìle, cut short,jhallow sroves into the nul. Iuse nythumb as a gridehefeto make lhcgrovesmatch the templatc cxacdv.hecause e1€n sligbt distanccs_ which one ùìighr notnolice, can significantly alterrhe fring spacing.

Photos 9 and 10. Polish the grooves wilh a fine lirenthread and iìne polishing compound. Wax rhe nut withn icrocll,slalline wa\ and ir is finishcd. The lute nut isnotglued onto place b ul held wirh slrirgpressure onlv.

Photo 11. Using the fretdistancc construction orthefret faclolsbelow, make a charl oî the fiet distances.Lay out thedistances on the fiÍgerboard and markthesclocationswith a tily pin prick. Ever illhe lutenist playsin mean-tone temperamcnt theywill be grîtefillbrthese reièrcnce points.

Photo 12. Markwithasoft lead pencil tlìelocalions ofthe bod], frets if uscd. Using the ruler erìge as a guide,place the outside màrh lo locate the exact positioD oftheend ofeach fteL thcrcby assuring alignment. Thesen1arks, although alhcmaticallt' co rrect, will ùsually ìr.-lbund a little sho Í of their tonally coÍect position. lnorder not to soundflat, the body frets lvilÌ needcorrectedpositions locatcd by ear.

Determìning Fret Positions

The neck ofthc Renaìssance luteis, ifproperÌyproportioned, long enough to be tíe.lwith eight iietsp l - c e L l . . e m i o n r i n r c n r l . . O t e r ' h e c e r t t t t i . .t r < r c h - \ e h e e n | " r \ l ' , r m u d . r n d m ( . l n d ' e i \ e lfor laying ou! frets on lutes and guilars, aÌl involvingmu\ rbl( l rJrs mrLle l r^r . \ , ' r I p i(ces ùfgul . l r i rgtied around theneck. S ince they werc not îi\ed,they couldbe sljd a little up ordown the necktochange the tenrperament ofthe insÍument. Theauthors olsomc tutors, as in Robert Dowland'sl/aietie oÍ Lute Lessotls (London, 1610), and somecomposers such asHans Gerlcinhist-va ren,n sÀeJ'ldinsî lic h s Lauîenbuch, (Nìrremberg, 1552) givespecific iDstruclions on the placing of some or all ofthe frets. Of à morc scientìfic nature are theinstructions by Juan Bermúdo in Dcckración deInstrumentes Musicales, (Osuna, 1549, 1550). Themodern tempered scale makes any totally accurate+ r P r n l r . e m - n i i m n , ì . . i h ì P

Surely the most elegant ofthe ancient methodsfo1 detemining ftet location is "The Rule ofEighteen." -lb construct ùis, onc draws the Iine AB,lhe length ofwhich is the opcn srjng length ofthelute. ,Aperyendicular is constructed at A which will

be the nut position. An arc, with a radius 1is of ABis drawn from 4 and will intersect AB at D nnd tlrepcryendicularat C. AD is thc dislance from the nutto the iìrst ÍÌet. Lìne BC isthen drawn creatingtriangleABC. Construct DE perpendicular to AB.An arcis dftwn fiom Dwith a radius equal to DE.Thiswill interscclAB at F,which is the positior ofthesecondlrcl. This confruction is repeaicd untilthe numbcroilietpositions neecled are madc

The fbllowing ftet factors for equal temperamentare given by Stanle], Buclens in hìs excellent arhcle"On Frctling a Lute,"/LS,4 III, 1970, pp.53 63. Touse this methoLl, shlply multiply the stringlength b)( î c \ a c t n r t , a r r i \ ( : , t c : r . h f i e l p o \ t i o n . T \ esemitoneswill, in all probabiiiry, be alittle sharp. Adescription of what is happ€ning an d suggestions tora d j r . r i n g r h ( . . . r . a . c u r J i - g 1 i . e n e t L 1 F t t g . n eDombois in his article"CoÍect and Easy FrelPlacement "l|.S:M,1973, pp.30 32.

1) .05613 7).3325E 13) .52806 19) .666292).10910 8).37004 1,r) .ss45s 20) .68s023).15910 9) .40539 1s) .5795s 21) .70270,r) .20630 10) .43876 16) .6iì3i5 22) .71e385) .2s084 11) .47027 1',7) .62542 23) .135146) .29289 12) .s0000 18) .64615 24) .75000

The eight frets on a Rcnaissance lute are gencÌallvarranged so thal they descend in diameter towards thebody. I would qpicallyuse the follolviDg diamereÍsl

i) 1.00NrÌvi2) .90Mr{i) .85MM,l) .82MNr

5).79NrM6).76NiM7).73NrM8 ) . 7 0 M M

I lolvever, gú1vades, so don'tworry abo tbeingrea11ye\act. Themiinpointsto considcr are thafthe Ist i icrsho!ìld be large, the 2ndfretshould drop considerablv indìameter, and oach ofthe rest shoukl be about.03NlMsn1allerthan thcprecedìng-

lf the lutehas avery high action, that is, if thc hoightofthc strirgs above the fingcrboard at theneckòorlyjoin is,lbr eÌample, ìn tlìe vicinity of 5N[,! then itwouldbe better to tie onlìetsofa more constant size or cvcnrhe saùìe size. lI. or the other hand, the action is low.then a larger 1l fret together$'iú a bigger dropbetween liets and endingwith a.66MM might help.

The ultm-sirìple fret knot I use was shown to úe byJacob\an dc Geest, who presumablyfirst used it.

Photo l3. tseginbyburning the cnd ofthe piece ofgurshich you intend for thc lst liet. This fuscs rhe stran dsof sut together so they won tuntwist, and swells up theend so the knotwoÍ'l slip. Iuse a soldcring ifon but amatchor alcoholf lamowil l a lsowork. Trf a 1.10M\a forthe 1l iict.

Photo 14. With thc lute standing on irs trebìe sidefacing away frcm you, pass thebumed end ol rhe iierùnder the sldngs (if it has stdngs on it) and pull it freeofthe neck. Tie an overhand knor (sinply rhc iilsr halfoi a "gran , knoC' or a "square knor") and run the knotout to near tho erd of the ùel cut. Pass ihe olhcr end ofîhe length ol f rct g t throughthcoverhandknot.

Photos l5 and 16. Slidetheîrer to theplaceor rhc neckshere the next higher fret will bc. Pinch rhe frer lighrtyto the neck and pull down on thc length ofgur unril rheknot t ightens up. Cont inue topul lunt i lyou thinkthegut mjght bÌeîk and rhen release it. lt shoukl.lrawslightll, back th rough the knot. C lip rhc extra lenglh otcùt olllcavinp a stub abouttwo diancters in lergth.

229

Photo 17. Bur'Ìl the little stub ends until lhcy swell upand are brown. Thiswill prevent the end iiom slippingback lhrough the knot.

Phofo 18. w}ìen they are cool, about rwominutes, theliets can be slidinto thcircorrect positions.

Photo 19. Anachronific thoughtheybe. bodyftets ateusually requested by contempoÌaryllrtenists. Tòcomplete the octave in aRenaissance lute would requirelbur. If used, these ftcts should be n arrow and tlin andmade ofavery hardwood such as ebony or boxwood.

Photo 20. Begin by planing a piece ofebony to.68MMthick. Then. holding it in the benchvise, plane oneedge Íuc, thatis,flatand sqLrare.

Photo 21. Using a kdfe an.l straightedge. cut offa stripabout l.5N{Mwidc. Replane the edgc aùd cut anotherstrip. Continue until a dozen orso stdps are made-

230

Photo 22. llind that itworks best to cul lhlj srippartialry'.with the kdfe. say two or three cuts. and thon!o break il thc rest of the way off- The cul cdec tcnds rc)be straightcl tlis wal'.

Photo 23. Holcl the stdps cdgewise in ashallovcroovesalvn into a srxx)th, hardmapÌe board. Thc groovemrìstbe eriactly 1.20MN{ dcep and.70\4Nr u'ide. One ofthe ebonystrips isplaccd in the groove. cut side úp.Plane it dowll until theplînejust glides over the block.

Photo 24. Thenlile il to cxactly l.20NrM.

Phofo 25. Bevel the end with i'our knife and cut the iiclio length.

Photo 26. tsevelthe olhcr cnLìand then,with avensharp scraper, round the lop edgc ofthe fret.

Photo 27. Prepare all the iiclsÌou are going to use. Idecrease the lengthftol11 sixcourseswide at the 9thlicldown tojust lhrce courseswide at the 12thlìct. Thesehìgherfretsaremost often neededîorthci iÉtrwo

231

Photo 28. Hold each iier in place and rrl, it, with rhechantrelle tuned up topitch, to ch eck lhe intonation.A J ' u h e ̂ . J ( . u I r n t r r k T ] ì c n . u . i r q .thinnrier as a gúide lbrìocation and to ensurestr.ìightness, glue the ftets down to lhebelly. Hold thcfret firmlv agairstthe ruler and down onto thebcllylorabout fifteen seconds.

Photo 29. Then lift the ruler ancl, placing ir over theliet, press down for an a dditional fift-v to si\ty seconds.

Photo 30. Immediately cìean offtheglue squeeze-oulwith the end ofthc ruler.

Photo 31. Thelinishedfreh shoukìbe relarivelv orderhlookingandmoreorlessf lat . Someheightadjustmenlor leveling to eliminate anybuzzing is to be cripected inthe final adjustments atìer lhe lute hasbecn strung upandtuned.

l'Ìn sure T don't need to tcllyou thathistorìcallLrtes were oricinalì! strung wirhgut Strings- From arcient aîdmcdievaìtimes up urtjlthe Rcrîissancc periftl thecompass of strirged instrumerì!s was ljmitedto five oi si\courses, ànd you canbe surethat thc last ìrass course couldn'thîr,esouùdcLìàswell as the othe^l During thoLatc Renaissance period scveral techniqueslvere tried to make lhcweak sound ofrhebass strjngs stronger. Plain gul. cven highÍristgul, which is a little nore llc\ible fori ts cl iamelcr than low twist , jusl docsn,twofk r€rJ wcll by oLLt srandards.

Catlines are conjcctured 10 have beensonc lhing of an answe r. 'Iòd ay. rhese ar cìnàdebytwisting three (somerimes two orn)url separatc wer gut srdngs togelher intoa ropelikc string$'hiclì can el]d Lrpwirhquite largcdiameters. Theyseem to havebeen used beginn lng lare in lhe 1órlì cenrùry.lor. as example, the 1581Venele 7 coursehas lring boìesvhich woukl acceprcat l incs ( i t is. ofcourse, possibìe rhal lhestring holcswere ddllcd out largcr ataliìler date). Dudrìgthe earlyBaroque oÌ ìryLó1iì 1620 allcasr, catlincs wefe certainl) ìn1rvor. ancl espociallyir FraÌrce. renlained sourtil the end oflute plaling there.

Clurre nt research byVlimlno Perutlo(Aquila US^ PO. Box8276l. Ponland. OR97282) suggcsrs thar "loaded lrrings mighralso have bcon a possibilit_!. Finl used ìn rhelate l6th orearly 17thcentul1. these loadc.lfrinqs hale been chsmicalh rcared !obchea\'jer (a net gahh nìass). ftììs rs donebIioakrre them in a bath of lerw meralrrhìrions \!lìich would atach nólccularlvlorhe prolcin fibers. Thjs acldilion at .r\, eiÈh t(massperunitlcngth) would alkrw rhc sameLli.rÌnete r slrircs to be 1une.1ìo$rer.

By thc middle ofthe l7ú century,insÌÍumcnts wero being built with srringlenglh and conlpîss combin!rions \\,hjchrolrld onll solrnd using ovclspun st ngs.Ihese ncw stliìgs rvould lìarc been nrado

wilh a core ofsilk fbss overspun wjth iinecoPpcr, srh€r. oÌ gold$irc. Theseovefspun stftngs rernaincd rhe tavorite oflì1ost stringplavers unlil and including theprcsent time. Usualll,.lhe core l1l:rterialotnodorn strings is nvlon floss ard tlìeco! crìnp $, ire is silver,plared coppcr.

Ihcre is consid erable controversrcoùcerning the use ofsul\,crsus pla;tic1n)'.lor) strir gs or histoticaìli'-basedinfluments which. uniìfiLrnately, oftenovorshadows the real prob len which is thc\,arying Decds ofdi crent playcrs playing irdivel1se siluations. Conve. rionLìt $ isdonr

Dcrcrmi ing Srring TensionThe following formula lion Dr. I lclmut Hemrinshaus is useflrl. d e n r I i g r l ì e ( n . i . . r . , t T t " . I n \ , , r , g r ' . - , , r .

r t . c , r . . n b ' ' c t e r . r ^ ) . t , r e r . p u . l r i - j . i . . r . , , r f l ( \mathematicaì operatiù andwill rotbe coYcred lere.)

f x l x d = c x l Èc=constant (1or gutuse 49 and for nylon use 54)f=frequeùc,- in Hefiz (H,l=vibrating lengrh olstring in mclers (N,r)d=diametcr ofstr ìng i r mi l l imerers (À,rNr)k=ten\ion' of str ing in kihgrams (KG)

E-Ìamplc: What $ould be the con.ed dianeter of a nvlonc ' 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 proposecl rension of.l.0Kct

fx lxd = c: ':1,rk

392x.62!, : ì = 54: ra?

a = 1s+' '],r+1 - 1:lzx o:y

'l'he iollowing tàctors. alsoiìom Dr. I{ermirghaus. areuscful

lbr deterntining tension clìrnges\then pìtch crargc! arc maoe.

Intenallìrst

mìl1or thirdmajor th i rdlouúh

lncrease Decr€ase1.000 1.0001.122 .8911.26L793l .415 .701r.-5EE .6301.780

Example: A sfiùg has a tension of p=2.000K.r ar D'. What isthe tcDsion ìlthe pitch ìs raised ro f'? As rhe tore F is a mjnorthird higher thàn rhe torìc D', the tìctor. according to tho tableabovc, is 1. :115.

Pr - 2.000((;Ì ' , = 1.000r(cx1.415 = 2.t i0(c

E-\ample: The tension ofrhe entire stringirg is 6[ìKG. What isthe increase in tcùsion if thc runine is raised by a se itone?

Pr = 60(.ìP. = 6f)KGxl.222 = 67.300r.c

.\ìother rNclul formula lionl t|c good Dr. Herminglìaus tejlsus lhe changc ìn tension when rhc st ng length changcs.

P . = P : ( L . 1 L r ) l

Eranplc: Wha! is the change in tersion ofar idcnricatsring\\'hrch at a length of62.iNr (.62M) has a tension of2.000KG?

P , = P r ! ( . r j s \ J 1 . ó 2 M ) l

P. = 2.00[ìKGx 1.2 -- ].,100Kc

The tension has increasecl i.om 2.000KG to 2.400KG with thcchange in strìng lcngrh to 6.qcNr (.68Àr).

\ I i . , ,

the senetul "tu5inrleÒll( l,res AdÍ.|

:33

sa_!s that lutes sound berrer\\,hcn slnrng and pl:ì.-ed withgut slrirgs, and nrost luten ists $ ould. I believe. agteewjth this. There are. ofcourse, exceptions to thisrulcb 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 using or1,! sut fri gs. Cul sldùgs ercexpensive. Theycan be hlo to three times the costofplain nllon strings (or more). and callincs cofant$,here ftoln $111o S38 caclìl Ar a rule, gut stringsdoù'1 lasl as Ìong. crcepting fbr c:ìtiine\, u'lich don'tcverseem to lose their nusìcal qutllitics. lrcccntNheard some catìines I rade in l9lJl which haru ouerconstantl,\, in tulìe ard regularly playctl, ami horvcverursightly thet mìght be. the-r'fìll sound Lrcat. .Also. $tsldrìgs arc leLT susceptible to changes in lempcralurcand humidlt\. making thcn 1ìr more .lifiìcult to keep in

Thc choìcc ofstings for lute! is toda], greatcr than itlìas ìreen for perhaps the lasi llì0lcar. Cood overspunstings rre nrade br Savarezhon1 f ncc(Savarez,B.P4356.69212Llon Cedex.+. Frincc) and Pyramid ffonlCcrlnan! (Saìten uîd StìnlmpieilLnidbrik JungelCmbH. PO. Box 6. Il-910ltE BÌtbcmcuthErlangen.German]).

I use La Bella L te nyìon trebles whìch arc larsuperiortu anvotherl 've 11ic. l anLl lcss expensive toolThe La Bella o!cÍpun bas\es Ifind ratherinfcrior tothe S.r larczrnd P\ ' r 'amid anddon'trecom cnd thcm.

Asample ofstr ingingfor a 22rV (ói .9c\t 8 courselute alA=:1.10H2. would be as lòllorl,s. Thisis,rmedium hìgh tÈnsionwhìch is the lension I plrn ior$'hen I dcsign my ìutes:

l ) q2) rl', rl'3) alir1) 1115 )c i c6) Gis

8 ) C rC

Photos 32 and 33. I beginby ty ing al lof the sldrgsonto the lute brìdgc. Make the pegboxasncatîspos\ible, and be ccrtain tlìLìt none ofthe strirgs overt:rfanv of th e olhers. Cu t off rhe lefrover sting

îrne the lute about a lìLìlfstep low for thc ti$r fe\\lìours or so- then bdng it up to full rension. I lind thfuthis l i t t le perìod ol lower tensroIr helps thc lute f jnd i l t!îice soorer than it otherwisewoukl.

La BcllîLa BellaLîBel laPr-ramidryramPyramidryramì.1T\ ramìd

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c)05 x lt(x)i i5 x 2r0l_5I EllgAlL0l8 i 1011A11028 i 9075

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Robet Lundbergt91B-2001

Erlangen Series Lute PlansThc lollowirìg scvcù lule plans wcre dmwnbyRoberl

Lundberg to accompany the "Historical LuteClonstruction" serìes when it nn inAnaican Lutheie.Each ofthese plans is avaiiabìe fron the GuildofAùcricaÍ Lulhic$ as a Iull sizc blacklhe pinl. Conlaclthe CAL ollìcc or wcb pagc lbr lull inibrnation.

Thcsc dÌawings do notncccssadly dcpict any( \ n I r É I r \ r r u n i r r . L \ i , . r l \ . ú - p J r ( r r . ' n i . . ' n f

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thc original instrumcnls may be projccted ùom availablcevidence. Some latitude has bee n taken t(r make thempract ical ,workable instrumentss i tabletomodernplayers- Pìease alsonote tlattle drawjngsare ootpresented here at anyparlicular scalc,

Theseplans are designe.l to be ùsed in connectron$'ith the inftÌnation contained in thisbook. Eachdrarving presents the essential informaf ion needed tomake a particular nodcl oÎ lu lc. A nunbcr of detailswill not appear on the drawings, because the]' aredevelope.tfi on principles and relationshipswhich areerplaine.l in the text. Some ofthese missirg deiails are:the out l ine ofthe cap, thejuncture ofthe r ibs and cap.thewa], the ribs flow togeiher at the neck, the pattern ofthe rosette, details ofthe treble and bass bals, finepoints of bdclge construction. pegs, consructionoffbrlìls, mat€Ìials- thicknesses, and finishes.

23',7

6-cs Renaissance Lute, H. Freica.1530GAL Instrument Plan #17Erlangen Lecture Series Plan #1

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6-cs Descant Lute, Venere ca.1580GAL lnstrument Plan #18Erlangen Lecture Series Plan#2

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8-cs Bass Lute, Dieffopruchar ca.1600GAL Instrument Plan #19Erlangen Lecture Series Plan #3 fi1

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10-cs Ren. Lute, Dieffopruchar 1612GAL lnstrument Plan #20Erlangen Lecture Series Plan #4

7-cs RenaissanceAlto Lute, Venere 1592GAL Instrument Plan #21Erlangen Lecture Series Plan #5

13-cs Baroque Lute, Dieffopruchar ca.1600GAL Instrument Plan #22Erlangen Lecture Series Plan #6

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14-csArchlute, M. Sellas 1639GAL lnstrument Plan #23Erlangen Lecture Series Plan#7

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Ancient Lute MakersLauxBoss (Bosch): Arelativeof LauxMaler. Heworked in Maler's shop in Bologna about 1530, butapparently later returned to Schongau, near Fùssen.Several (altered) lutes by him survive; he is mentionedin the Fugger inventory.

Magno Dieffopruchar (Magnus Tieffenbrucker) :Venice, flourished in the second half of the 16thcentury. Dated instruments range from L516 to 1670.The first known luthier named Magnus Tieffenbruckersettled in Venice in 1519 and died there in 1560. Hisluthier son Magno died in Venice in1576. At least oneother Magno Dieffopruchar headed the famousworkshop early in the l7thcentury. Many other familymembers by different names (for instance Paolo, the sonof Magno junior, and Moisé, brother of Magno junior)also worked in the shop but their instruments appear tohave been made and sold with the "MasnoDieffopruchar"label.

Josephus Joachimus Edlinger: Son and successor toThomas Edlinger II. He trained as aviolin maker inItaly, and rebuilt Renaissance lutes in the Weiss style ashis father had done.

Thomas Edlinger lI: d.1729. Aviolin maker in Praguewho was perhaps the most important converter of fineRenaissance lutes to 13-course configuration. He likelywas inspired by the lutenist Silvius Leopold Weiss tocreate the bass-rider box for the 12th and 13th coursesof strings, and probablybuilt the first example for Weissin 1718.

Hans Frei: Bologna, flourished in the middle of the16th century. Known from several extant instrumentsand various authors including John Evelyn in hisfamous diary. Recent archival documents (summary inthe recent book by Pasqual andRegazzi, Le radici delsuccesso della liuteria a Bologna) reveal him to be aGerman whom the Bolognese called Giovanni Franchi.His two sons took over his shop after his death andmade Frei lutes, as well as guitars and theorboes, wellinto the 17th century.

Georg Gerle: Innsbruck, flourished from 1569 to 1589.His single extant instrument is signed (in German),"Georg Gerle, His Royal Highness'Accountant inInnsbruck." Court records show he built severalinstruments while in Innsbruck.

Magno Graill: Apprenticedwith Roman luthierMagnus Buchenberg and took over the workshop whenthe elder luthier died after 1600. Several very fine, largeRoman theorboes byboth makers survive.

Michielle Harton (Michael Hartung): Padua, flourishedat the end of the 16th century. Several wonderful lutesin original condition survive. Tiained in Venice byLeonardo Tieffenbrucker, the father of WendelinusTieffenbrucker.

Johann ChrÍstian Hoffmann: b. 1683 Leipzig, d. 1750.One of the most importantviolin makers of his time.Builder to J.S. Bach. Violins and lutes.

Martin Hoffmann (father of Johann Christian):b. 1653 Leipzig, d.1719. Maker of violins, gambas, andlutes. \

Hans Jordan: Markneukirchen, Saxony. The mostprominent 20th-century German lute maker before therevival of lute making according to historical principlesin the 1970s.

Laux Maler (Luca Maler, Laux Maller, Lucas Mahler):Alute makerworking in Bologna beginning ca. 1518,who died there June 5th,1552. One of the most famousand important lute makers of all time. Built 9-ribbedlutes on the "pearl mold" shape. Formed an associationof masters and pupils in 1530 which built well over athousand instruments.

Matteo Sellas (Mathàus Seelos): Venice, flourishedduring the first half of the 17th century. Manyextravagant instruments survive, built of ivory, or ivoryand ebony, or snakewoodwith inlaid necks andpegboxes. Theorbos, archlutes, and guitars survive fromthis very active workshop or association.

Leonardo Tiefenbrucker: Brother of MagnusTieffenbrucker senior, father of Wendelin (VendelioVenere), and founder ofthe great Paduan Venereworkshop.

Joachim Tielke: Hamburg, b. L64L, d. l7 79. Maker ofviolins, gambas, lutes, and guitars. Many of his extantinstruments are made of precious materials such as ivoryand are lavishly inlaid.

Marx Unverdorben: Venice, flourished first half of the16th century. Teacher and relative of Laux Maler.Several beautiful lute bodies by him survive, particularlyin London and Barcelona.

Wendelio Venere (Wendelin Tieffenbrucker) : Padua,flourished from 1560 îo 1620. The first WendelinTieffenbrucker -whose name the Italians apparentlycould not pronounce and thus became Vendelio Venere- probably apprenticed and eventually took over hisfather Leonardo's shop in Padua in the middle of the

245

century. He died before 1591, but the Venere labelcontinued to appear in lutes made by his successors (hisnephew Christophoro Eberle and great-nephewWendelin Eberle) until at least 1611. More lutessurvive from this workshop than any other, with manyexamples in fine original condition; also theorbos andbowed instruments were made. An association ofseveral masters and pupils.

A Note on the Spelling of Makers' Names

The text contains a number of inconsistencies inthe spelling of ancient maker's names. There arereferences to Leonardo Tiefenbrucker andWendelio Venere, but there is also a facsimile of alabel (p. 28) which says Vvendelio Venere deLeonardo Tiefembrucker, plus there is a VendelinusTieffenbrucker, and a Magno Dieffopruchar. Theauthor mentions aVenere association severaltimes, and alludes to the possibility of there beingthree Magno Dieffopurchars. What's going on?Since we could not consult Mr. Lundberg, we askedhis friend and fellow lute historian Douglas Smithto help us through this tangle. Here is some ofwhat he had to say.

Some makers were not consistent in spellinstheir own names. and this is complicated'by archivaldocuments where another individual, perhaps froma different country, refers to the lute maker with adifferent spelling (or misspelling), or a differentname altogether. It was also common for the lutesof a particular shop or association to carry the nameof the founder of that shop regardless ofwhichbuilder or builders made them. The reason isprobably that the founder's name, like Henry Ford's,had established the image of the workshop, and itmay have made good economic sense to continueusing the name long after the founder died.Furthermore, a typical shop mayhave had at leastone apprentice or family member working alongsidethe master, doing less-skilled work such as turningpegs or making cases, and in some documented cases(Venere and Maler) there were four or more, somany lutes were likely to have been the result of acollaborative rather than a solo effort.

Our examples above are the luthiers of theTieffenbrucker family. Leonardo and MagnusTieffenbrucker I were brothers, sons of UlrichTieffenbruckerwho emigrated from Fússen to

Venice in 1519. Magnus stayed in Venice, probablytaking over dad's shop - he was probably the olderson - and Leonardo went to Padua, which wasruled by Venice.

Over a period of about a century @a. 7520-1620),there were at least three different MasnoDieffopruchars in Venice who would have calledthemselves Magnus Tieffenbrucker in a Germanenvironment. The Italians couldn't pronounceTieffenbrucker so they created Dieffopruchar.Mang is the German name (there's a monastery ofSaint Mang, the patron saint of Fùssen, by the castleon the hill at the top of the town). Magnus is theLatinversion often used by Germans, and Magno isthe Italian version. As noted in Lundbers's list ofancient lute makers, other luthiers probaÉly builtunder this label as well.

As for the Tieffenbruckers who lived and workedin Padua, Wendelin Tiefenbrucker, son ofLeonardo, appears in one place in the text, with aLatin version of his first name, as VendelinusTieffenbrucker. The Paduans created a differentname for him altogether, Vendelio Venere. (Thisrenaming phenomenon was not uncommon. InBologna, for instance, archival records show HansFrei to have become Giovanni Franchi.) Lundbergrenders Vendelio Venere as Wendelio Venere, forthe most part, but there is also Vvendelio Venere,and the labelwhich reads "Vvendelio Venere deLeonardo Tiefembrucker." As it turns out, all ofthese refer to one builder, and to an association, orschool, of makerswho produced instrumentsbearing his name.

Rather than trying to tidy up an inherentlymessy orthographic situationwe have decided, forthe most part, to use the names and versions ofnames as theywere presented in the originalAm e ic an L ut h eri e articles.

246

Tht foÌlot,u1g litt wa\ Roheù Lutldbet!s catalogofrhcantiquelutes that h(: hdtl traminù (or m a few cases v,asttwt,lt ofbuî hadnot)at àamineà)os ofSeptembet /988.Siru:e thit tima somc oÍ tllem hare bcen mowd to newinsîifinions (most of Ìha Pais insînmenLt arc nowontolitlated in fhe eu Musée da la Musique, Ioli , y o n . . I n J , , . 1 t l o - . . t t n t \ 1 , , o t . . h o E . Ì h , . .ìnt ct1îott s,Nstems arc u4ated, bltt to awid potenîía Iconlltsion we haw lel! lrc lo<:atío arul uuseum&talogstL!lu\ a\ ltet werewhtn th( auîhor conpiledthe l]'lt. Oulsalfce ws a dotmutrít pinîout îhat sonrtinles [ailed(lea jj k) recorclnumben or lctÌen. Funhe\ originallabelsh museum i$înmoús are oJîen |ery àíflicull to decù|rc];so Lu .lbery's ofthograplry should be cons|lercd únpry his

besî inîcryrctatiot1. Detpite a fetr possibb fkr,.! tÀir lrrl ironeolthe nnst (:ompleîe und signiÎicont publtshed llts aîmuselotl hú6, d lasîíng laÍ<acy thttt LunàhergíouLl lnrewishedÍot othe^ îo subs,:quentl): imprct'e upon 1duntptìh.

The tuúl( of rcntenîs wtrll which nth cntalog begins isa bit confu sing at îist gktncu. Museun\ and colle(tia sarc lisîeà ín alphabelicúl otll.ro the nghî, and the RL#(Rohe LuttrlbetY nutnber, his ov,n idoiitry sequence,presuìnabll refenìn:< rough l\ to the oftler in $hic h hce n ( ounteftrl f h a inshu ma nts ). w ù h tr h i clt ea ( h @ Llectio n' Ienîry begitls, ít onthe le[l. In the catulog th( insrrumentlurc list lìnlrcî RL# sequenîe.

l he E.liîots

218

t - \1 t ^ ' r - ruatalog oI Ànclent Luropean LutesSeptember 1988

RL#

19596'76

275199I l 31335ó29030712531955952118421315108903ó18011210712 t119I5 l ì153201129136t44|], lt6217, 72l 0 l141r-ì5112411,1119

Bachh aus, EisenachBîrceìora, Museo MunicipalBayerisches National Musetrn, MunichBerlin, Musìkinslrumenten MuseùmBoomkampCollectìonBoSton MuseuÌì ofFine Arts, Bostontsrescia, Clonsenatorio VentudBrussels, Brùselles MuscumCarl Claudius Colicction, CopenhagenCopenhagen, Musikhistorische MuseuÌllDolmetsche ClollectionEdinburgh Univeft iq' Collection, EdinburghFentor House. LonclonFolger Librar], Washington, D.Cl.Frciberg Do m, FreibergGemeente Museum, îre HagueCcnìanischesNationalmuseum,NlrembergHîndelHauses, Hal1cHaNard Univemity, BostonHessisches LandsmuseumKunsthistorisches Museum, ViennaLeipzig, Museun dcr Karl-Marl UnielsitateLundberg, Robert, Rrrtlandlvletropolitrìr Mlrseum of Art, New York CityMilan. Museo del Clonsen alo oMilan, Pdvate CollectionMusée de ClunyMusée des AÍs Decoratii!Musóe Instrxmental du conscr',atoire de PalisMuseo Bardini, FlorenceMuseo Civico, BolograMuseo Degli Stlumenti Musicalli, RomeMuseo Llel ConseÍatodo Lùigi Cherubinì, Flore n ceNaÌîdiri Museum, PragueRoyal College ofMusic, LondonSmithsonian Institulc, Washington. DCSpenser, Robert, LondonSteîrns Coìlection,'Al1n ArìrorVictoria and Albcrl, LondonWarwick MuseumWitten, Lally, SouthportYale Universiq, Colìection, New Haven

This is a listing of all the lute famiìy inskumentsúat I have personally seen and measured.Additioral instrumentswhich lhave onlyseen oran aware ofare marked with "I" after the RL#.Instnrmentsseen on mote Lhanoneoccasion orbvothor'S mav have the obsen'alions combined.

Kcy:

E - eal{r

M = m l d

L = latc

C = convertcd

M = modiiìcd

\'íctoria and Alberf Ùluseum, London

I ANON. FlTc, l tal ian2 Laux Maler, r,l6c, Bologna3 MaÌri Unverdorben.ìrI6c, Venice,1 Matteo Sellas, 1637, VeDice5 Christopher Choco. rf17c, Vcnic!6 ANON7 Michacl Rauche. 1762. London8 J.H. Goldt, 1734. Hambwg9 ANON

1O ANON1l Matteo B echenberg, 1619. RoùcL2 lvfatteo tsuech errberg, 1614. Rone13 AndrcaTàus, 1ó21, Sicna11 ANON, ?1626,I tal ian15 VvenLleln) Ve nere, 1592, Padua16 ANON

Royal College of Music, London

17 Vverdelio Venere, 1600, PaduîVTT I M..€î ' Di . |"p .r( . . 1,108. Vp_rce

19 Domenìco Seììas,v i7c. Venice20 Adam Ulman, Nr16c, Venice

.Also see #12 and #73 below

Gcrmanisches Nationalmuseum, Nuremberg

21 Michiel le Harton. 1599, Padua22 Michielle Harton, E17c, Padu:r23 Pietro Railich. 16,14, Venice2,1 Martinus &Agustinus Kejser, 1737, Dùsseldod15 Ma lthiàs .AÌban, 1704, Bozen' o J o l - : r f r B l a . i u . \ \ e r g , f l . l - ' n . | ' 1 l27 MartìrìHoffnann, 1692, Leipzìg2lj Joachim Tielke, 1696. Hanburg' q I h . s t l ' p r c r H u . h . . c . \ e r ì i . e3tì SympertNiggelì, 1754, Fússen3 1 Sebastian Sch ele, 1721, Nuremberg3 2 Sebastian Schelle, 1744. Nurernberg

VII 33 LeopoldWidhaln. lT55,Nurcmberg34 Laux Maler. F l6c. Bologna35 Michielle Harton, l6[ì2. Padua

Kunsthistorisches Muserm, !ienna

CCCMM

l lcs htehte backlute back14cs archlute1,lcs archlutelheoúo

l2cs theoúol4cstheorbol2cslhcoÌbo

Swedishthcoròo

l4cs theorboGerlbo

11cs Ger dn)I lcs luteI lcs luteI :lcs thcorbol lcs lulcl3cs Ccr tboI ics lulcllcs Ccr lbo

l3cs Ger tbo13cs Ger tbolutebodyscs Oct bass

I lcs lutel lcs lute11cs lule6cs lute

13cs lutel3cs lute

7cs lutcl3cs lule13cs

11cs lute

1125 1869194 1882193 1882

1126 18697756 1862

196- t8t29-1871

4274 1856231,1882324,1935218-1882190-18E2

5980-185i)7755 1862v,t6,1940212- r8t2

RC]M 203RCM 26

Ì??

MI 56MIR iJ99

MI 45N,IIR 897MIR 911MIR 898

M I 2,15MI 394MI 55

MtR 895MIR 902

Mt 46MtR 903

MI 54MI 14

Ccl

C'CC

CC

CCC

MC

MCC

TIII

IVllI

I I I

36 "Laux Mal leî , '116c. I tal ian37 Hans Frei,E16c. Bologna38 RL? Hans Frei,El6c. Bologna39 RL? George C crÌe, Ll6c, Innsbruck40 Leonhardl Pradter, 1689, Prague,11 Hans Burkhollzcr, 1596, Fùssen42 Venere Shop, r . lóc.Padua43 RL Venere Shop,Ll6c.Padua4,1RL Wendelio Vencre, 1582, Padua45 "Magno Diciiirpruchîr" lJ.J. Edlirger. l7i2,Praguel46 Vvcndelio Venere. 1587, Padua47 RL Vcnere Shop, Li6c. Padua,lli Vcndelinus Venere, 1 ó26, Venicc

28 8433 C3229 8433 C3330 8434 C3431 4075 A35

45 101r NE4914 4056 NE48

35 8438 C3936 8439 C4032 8435 C36

(AR) 969GdMNR.5637 8440 C4l

(AR) 616

Fenton House, London, EngLìnd

55 Marx Unverdorben, N.r16c, Vcnicc

Musée Instrumental ConseNatoiÌe Royal d€Mnsiqu€ de Bruxelles

Magno Dleffopruchar. r 1lc. VeniceVvcndclio Venere. 161 1, Padua"Magno Dieffopruchar" lT Edlirgcr. 1728, PraguelVendelinus Tieffenbrucker. 116c. PaduîMatthias Fur. 1685, WeirCius. Langenwalcler. 1625. Fùsscrì

Maleu Holmans, l605, Arvers"Sel las' shop?, \r17c. I tal ianJ.C.HoffnannMatteo Scllas, vl7c. VeniceClaudc.Allard, 169 iJ.C. Hoftmann, 1716, LeipzigVvcndelio Venere. 1 619, PaduaMartino Kaiser, r I7c, VeniccANON [Venere shop], Ll6c.ItalianPietro Raìlich. Nrl7c, PaduaMatteo Scllas, Nr17c, VenìceGiouane Hieber, Ll6c, VenicePìetro Railich. M l7c, Verice (?)Malhcus Buechen berg, 161iì. Rome

ANON??

Royal College ofMusic, London

Venere lopen in collection ]VendelìnoTieilcDbrxcker

Robeú Spencer, London (Private Collection)

505 l5253

5657585960

VII 6I6263

65

616iJ6970'71

I I I1415

'76'71

787980818283

l4cs theorbo

13cs lúe13cs Iúe13cs lutel4cstheorbo

13cs Ger lbo

9cs lutel4cs archlute13cs lutel4cstheorboTcsmandora

ics lhcorbolcs lulclcs lulc

l5cstheorbol4cs theorbo7cs hte

l4cs theorbol4cs thcorboI7cs angeliquel2cs archlute

4t 8444 C45:li 84,15 C17

On LoanOn LoanOn Loan

GdMNR.59

r-55615643188

2553179155915631560

1562

l56 l159615 70

541

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Pics ofBreglian Vcnice (b^ss) thi\ is itl little sloppy húndwnnngVvendelio Vencre, 1584, PaduaVvendcÌio Venere, 1585, Padua

CC

cCC

lutelics Ger tbo

Bayerisches Nationalmus€um! Munich

Matteo Sellas. 1640, Venicc.loaclim Ticlke. 1678, HamburgJacqres Hollhan den Jonghen,rlTcLeonhardtPradter??. L1ócANON, lTc,I tal ian??Grcgorj Wenger. 1757JacobWeiss. l741,SalzburgRudolph Hoess. 170!1, ??

G€m€ente Museum, D€n Hààg

11cs luteI3cs Ger tboI lcs lutelurebelly

5cs?nandora

#295

#16

8185

Hessisches Landesmuseum! Darmstadt

90 Georgius Crcif, 1590, Fússen91 Magmrs HelÌmcr. 16[ì9. Fùssena 2 V ' e r J c i u v r n . r ( , l ú 0 1 P J r d u .93 Pic[o Railich, 1655, Padua94 Mark s Weis, ?1666, ?lccÌrìlan]

Folger Library Washington, D.C,

95 Michi€llc HaÍon, 1598. Padua

Mus€o Nlunicipat de Musica, Barcelona

96I Matteo SeÌlas, 1641, VeÌice4 | \4apno Dieffofnh hb-. v l - . . Ven'ce981 llans Ilovb Muler. 16c.lta1ian99I MaIx Unvcrdorbcn,116c, Venicel00I Matteus Bucchcnbcl g, l ó13, Rome

Smithsonian Institution,Washington, D.C.

l 0 U ì r i c h D i e m ' f - u r d r . a ( . V c n i . r102 ?Uldch Dieffopruchar?, M16c, Venice103 GiuseppeMascotto,Rore,1631104 Martino lndelang, 1639, Genoa

Stearns Collection, University of Michigan, Ann Arbor

105 Wendelio Venere. l60t), Padua106 Michielle Harton, 1602, Padua

M€tropolitan Mlrseum ofÀrt, New York City

107 "Hans Fr. . . ," lanon L17cl

Harvard Univ€rsity, Boston

loc \ , lan Ur\ e-d, ' rqen, r 6c,Venice109 Vvendelio Venere?,116c, Padua110 Vvendelio Venere, 1599, Padua111 ANON, l?c, German

Rob€rt Lundber€, Portland (Private collection)

112 Magno Graill,1635, Rone

Boston Museum ofFineArts, Boston

l l l M - g n ù D i . Ú b p r u . h . . r . 1 5 8 ( ì . V ( r i . (

Laurcncc Witten, Soutàport, Conn. (Priv,ìte co ection). Housed at:

l11 "Master D.G.," ? l , l l115 Andreallarton, E17c, Vcniccl l - M . . f l ( . \ c l l . . s . . L , ì t . \ e n i c e ( R l i l c r . ' )118 Magno Dieftbprxchar, El7c, Venice

c l

i 2cs ìute10cs luteI2cs arch?

14cs lheorbo

M llics Ìute n.n.

CcC]

MMM

CC

Kg 67:103Kg 67:104Kg 67:106Kg 67:107Kg 67:108

l4cs archlutc17cs archìute10cs lute7cs lrJte

1[ìcs lulc

tute

mandora

60 .134160.134395.30765.592

#403#404#107#408#409

10441045

M lc

CcC

C l l cs iute

12cs theorbo??bodv

Ì3cs lute13cs lute15cs theorbo1,lcs theorbo

5cs lutel0cs basshte14cs archhte14cs theorbo

89.4.1008

I4cs theorbo

M l3cs theorbo #262

#19 or #8#11

33813381338333821283

The Shrine to Music Museum,yermillion, South Dakota. The instrument numìrers are theirs.

\'IM

vllM

Yale University, N€w Haven, Conn.

VII 120 Vvendelio Vcnere, 1592, Padua121 ANON, M17c, Venice122 ANON123 Sebastian Schel1e, 1726, Nuremìrerg

Wanrickshire Museum,Warwick

124 Hans Fiei, r16c, Bologna

Dolmetsch Collection, H:rslem€re (Private Collection)

125 FranciscoPresbles.lT60.MilaD126 Vvendelio Verere,1609, Paduil

Meseo del Conservatorio di Milàno, Milan

127 ANON,lTc??,I lal iaÌr128 ANON,r.16c?, l tal ian

Museo Bardini, Florence

129 Magno crailì, 1627. Rome130 GiovanniTèsle1, 1621, Anconal.1l \4:rgno Di( l l , , f r ,chat lDUu. \LI cr132 Matheus Buechenberg, 1608, Rome

Consenatorio "A. Venturi," Brescià

I . l M J g n o D i r l l , , p r L c h î r . r l l . . V c - r . \

Conservatorio di mìrsicà Luigi Cherubini, Florence

134I Stefano Francho. 1 692, Florencc ll . ì5T \ \enJ.I o V(n(re. hn , Padu-

Musro Civico, Bolognà

136 Matteo Sellas, 1639, Venìce137 Mîgno Steghel, Vcnicel l e \ 4 1 g n o D < l l , , p r - c h a r . l L , l 2 . \ < r , ( r139 Michielle Harton,1599, PaduaI40 'Hans Frei," laie 16c,Ilalian111 Otavio Snidt, 16I2, Pama142 ANoN,ltalian143 Giorgio Sthoas, l1c, Bologna

Mlrseo Degli Strumenti Musicali! Rom€

144 Magno Grai l l ,1631, Romel,l-5 Magno Graill,1628, Rome146 Vcndelinuslieffenbrucker141 M athcus Buechenberg, 16l T, Rome148 Mareo Sellas, 1636, Venice149 Malteo Sellas, 1649, Vcnice

C I lcs lute 67/r965

M lTcs French theorbol3cs archlute

13cs lúe

lute| 2cs tàeorbo?

I 2cs theorbo3cscolasciore

#256

#260

#8

# 262# 263

# 154# 144# 142

# 23',7#1226

MC

MC?

CM

MM

MM

14c theorbo

scsmandora # 81scsmandora # 82

14cs theorbolutclute

I4cs theorbol0csbass7cs lute8cs lute

lutcbodylutebodylutebodylutebody

l4cstheorbol3cstheorbo

lutc

#1',748

#1806??2

#1813#181,t

Musée de Chrn$ Paris

150151152

Matteo Sellas, 1654, VeniceLaux Boss, E I 6c, Schoenga*Magno Dieffopluchar, 1600, Venice

CC

MC

12cs archlute4cs toy lutc

#7688#1642#2092

Musée des Arts Decoratits, Paris

Jacob Hcs, 1586, Vcnicc"Wendelinus Tiel'fenbIucker Venere" ? Mltic. ?VeniceJohann Blasius Weigert. 1743, LjnzDavid tsuchstetter, 1746, RegensburgDavid Tecchler, 1707, Rome"Perou," lanon, Ll6cyew body]ANON. f l9c ivory lutelANON, U9civoryharplANON, [19civoÌ] rebecl

Narodni Muz€um, Pragu€

15315415515615',7158t59161ì161

40381

32032403823266',723460

n.n.n,n,

7cs lute13cs lutescs ??lute

5cs lute

16216316416516616',7168169l'70l'71l'72173111t'75t'761',7717lJ

LauxMaler, 116c, BolognaLaux Maler, 116c, BolognaMarcus U nverdorben, À116c, VeniceMagno Diellbryruchar. M16c, VeùiceMagn o D iefforpruch ar. 1604, VeniceVvendelìo Venere, 116c, Padu aVvendelb Venere, Ll6c. Pa,:luaJ ?? kamer, 1641, ViennaANON ?l6c?,I tal ianThoÌnas EdliDger, 1700, PragueThomas Edlinger', 1728, PragueJ-M. Guettler, 1709. WroclavJ.O. Eberle, 1745, PÉgueTO. Hulinskt, 175,1, PregueC.E Pard, 1770, ViennaM. Stoss, n.d., ViennaM. Brunncr, 1764. Olomouc

vvendelio Venere, ??1551, PaduaVvcndclio Venere, 1613, PaduaMagno Dieffopruchar, 116c, VeniceMichele Attore, 1620, VenìceMatteo Seìlas, vL7c, VeniceJonas Ste . d. . m,1596,AlgcnlBarl. Ebel spachcr. L16c, FlorenceJoachin Tielke, 1676. HanburgTobia Fischer, 1710, SiennaJ.C. Hoffmann, 1720, LeìpzigThomas Edlinger. E18c, PragueThomas Edlinger, E l8c, PragueA-n Mal'er, 1735, Saltzburg?Ì Thonas Edlinger ??

CC

CC

lùtelùtelutelutelute

lutelutelutelulc

lutelule

r 93i E1408 E110iJ E1187 E1409 E1303 E635 E

1522 E439 E

151 I E11',76 E1173 E1185 El IB2E710 E607 E,150 E

1923357

512513495

,198196502506497

3319504

Private Collection, Nlilatr. U985 Br€scian Exlibitionl

1'79 Vvendelio Venere,r16C, Padua

Musikinsf rumenten Museum derKarl-Mall-Unilersity, I-eipzig

180181182183184185186tBl188189190191192t93

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l3cs lutel4cs Ger tbol4cslhcoùo

1,lcs archlute12cs Flemishl2cs Ger tbolutebody12cs archlute14cs Ger tbo13cs lute13cs lute5c Lute

ìutebody

Bachhaus, Eisenach

1 9 51 9 6t91198

J.J. Lindner, 1697. DrcrlenJohann Co berg. 17,11, DanzigA.S. Posch, 1749. Viema^ndreas J auch, 1751, Dresden

lcan Desmoulins, 1644, Paris CJeanNicolasLantbe, 1765. ParisANON llabel. Vcrrlelinus Tieffenbruckerl

E16c, ?IlalianMatteo Scllas, 1640, VeniceMa$o Stcghor,É17c, VenìceMagno Dicfibpnrchar, 158 . , VeniceANON. v17c.ItaìianMatheus Buechenberg, 1604. RomeJacob Sladlcr. 1613, NaplesVvendelio VeDere. E17c, PaduaGiorgio Sellas, 1626, VeniceANON,M17c,Vc ce?Matteo SeÌlas. Nfl7c, VeniceChrietoloro Clochs, 1654, VeniceANON,Nrl7c, VcniccMartinus Kaiser. I609, Venice, ?ÌANON, rul8c, GermanCeorg Aman, 1739, AugsburgJ.C. Hoffmann, 1720. Leipzig

MCCC

11cs lutelutebodylutobody13cs Gerlbo

l4cs archlutelutebody

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Carel ian Leeuwen Boomkamp Collection, Bussun, lPrivate]

Matteo Sellas. 1637, VeDiceSebastian Schclle. 1735, Nru emberg

Musée lnstrumentàl du Conservatoire National SuDerieur de Music. PaúsLe\. col lecl ion Gener i ( \e Tl ibault de Chambure I

199200

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2712',722',73214

21627',1278279280

gcs lute6csmandolin

bod!12cs archl( ìcs lutel3cs Ger tbo13cs archl3cstheorbo

l4cstheorbol5cs arch1scs theorbol4cstheorboI4cs archl4sctheorbo

theorbobody13cs Ger tbo

I 1cs ìute13cs Ger tbo8cs lutescs ìute

5cs alto lute5cs alto lute5cs alto lute5cs alto l te

tàcorbotllcorbo13cs Ger tbo

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214215216211218219

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220 to 230 other"Chanburc" luîes

23r232

231

ANON, Ml7c,ltalianMathijs Hoîntan, 1619, Ou{lenLaLxBoss, E16c, SchongawJean des Nloulins, 16,11, Paris

CCcC

235 to 270 othcr "Co$eNatoire" lutes

Beera(bni\ l ,apel lede. FreibergerDom, Freiberg! DDR

Jorge Klel11, Ll6c, RancleckJorge Klen, Ll6c, RandeckJo1gcKlem,Ll6c, RandeckANON,L16c, ?? Randeck

Musik InstmmenteD Museum Berlin, Berlin

Christoft Koch, 1650, VeniceGeorg Amaq 1707. AugsburgJ.Cl.IIollmann, 1? 17, LeipzigJohann Andreas Kaembl, 1757, Munich

MC

281282283284285286287

Pfarrer Krause, Aumà, DDR [Priiate coll€ction]

337 Domenico Spt'lma, 15... Venice

Càrl Claudius' Samling, Copenhngen

290r29 l I2921293r294r295I296r291r299r300I301I302I303t301r305r306I

307308309310311312313314

HansFre]'?, 1478?,BolognaCaspar Duiffopruchaf, M16c, Lyon'J oanes Florcnus Gua eri," I590?Sixtus Ra!1volf, 1599, ArgsbuîgVvcDdelio Venere, 116c. PaduaMatteo Sellas, Ml7c, VeniceCbistofolo Cocho. Ml7c, Venìce?Antonio Siciliano?, Ven iceMath. Griesser, 1756. lnnsbruckSimon Schocl]lcr, 1762, PassauAndrea Harton, F17c. VeniceMagno Dieîîopruchar, 15fì4, Ven ice?Michael Hartug?, ?? ??Aadreas B. CÌaetz?, 1734, ??SamuelDcmor, Kloster Noufift, IBrixenl 17,t1Jacob Bossharl, 1629, Augsb rg

CCC?MMM

MM

MMM

Cc

CM?C

5cs aìto12cs lule

1ocs ìutelule1ocs lutel(ìcs lute6cs mandora?6csmandora?

13cs Ger tbo13cs Ger tbo????bodylocs Ger tbo?13cs Ger tbo I

l4cstheorbo

luteback7cs lutel3cs Ger tbocolascione

#r 598

e l ( le l )91A(7',70 )

e2 (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 )

302 (Cr90 )

Tcsllute

| 2cs Ger tbo

MusikhistorischeNluseum, Copenhagen

Magno Dieffopruchar, 1616, VeÌiceParlus Alletsee, 1714. MuniclìAndreas J aisz, 1743, ToclzANON, T I6c, l tal ianGaìrriel David Buchstetter, Rcgcnsburg, 1750, ??ANON. ltalian, 18cANON, ?? ??Josepbus Riss, I719, Bamburg

Haendel-Hauses,Halle. DDR

303 (304 (

c68c '7'7c44c7 tc32c15c46

305306307308311

Edinburgh Unirersity Collection, Edinburgh

Johan Ambrosius Weiss, 1621, tsaselJohann Ardreas Kaembl, 17.. , Munichkendelio Venerc, Ll6c, PaduaANON, Ll6c,Italian?

Martinus Harz, 1665, Rome??ANON??. ??, ??Anon, ??17c, ??

31531631',7318

16-5t61r68170

MSMSMSMS

319320321

l4c # 300#1051

GlossaryArchlute: a lutewith a second pegbox carrying dorÌble-stringbass courseswhich are usually halfagain as longas the fretted co urses,

gars (barring, struts, bracing): smallpieces ofwoodg ì u e d t o r h e , r n d e r . i d i . r h e L e l h r . a J d \ o n - estructuraì r ig idi t )- ' to the lùte and to control the tore.

Bass bar: î heatbent- J-shaped asymmetrìcal bar usedto contro I the bass response.

B€lh (1op): the rNndìroard ofthe lute.

Bodyfr€ts: non-moveable wooden frets glued to thebell) to extend the frettir g range througl the octave.

Bowl (shell, back): the complete unitwhich forms thebackside of the lute. n1ade up ofthe ribs. spacen, cap,counlel cap and Ììcckblock.

Bridger the piccc 1{r lvhich the strings are fastene.l thatis glucd to tlìe belly.

Cap (capping fr ip, end clasp): athin str ip oÌthe samemalcliàl as the libswhichwraps around the lo\ver end olI ' L b o J ' ì r J ì p i g , , b - , ì r ì ì . i J . , ' I r h e - r \ r . g e r h e - .and augmentingthe gluing sudace lorthe be1lv.

Chantrelle: lhe highct trcblc stdng.

Chantrelle peg rideri a sirìglc string pegbon holding thepegfor the highesl11ebic strirìg. OrigiÌral\r set into lhepegbox ofolder lutes as a$ay lo add a couÉe wrthoutseriouslymodiÙing the pcgbox or'ncck. the chantrelleriderbecall1c a standîrdfeature duringthe late Uaroqueperiod. Larger riderswere also used to add bass coulscs.

C o u n l r r c a p ( r . i ì . r r i p . i " , ì . I i f . , , s . r i n c k ) : a t i e c eofsprucc glucd to theinsi.le ofthe bowl, opposìte thecap.Io helpbird the ends ofthe ribs together.

Course (choir): a sctofone ortwo frings tlrned andplayed as a unit- Strirgs jn a course are tuned rn unrson

Diàp€r patternt a $'oven pattem ofsmall, corstantlyrepeated f igures, as diamonds.

Fingerboard (fietboard): a thin piece ofhard\looclgÌued to thc topside ofthe neckwhich isplayeduponwhen stopping the strings.

lbrln (mold): thewooden appliance, represerting theinterior air space of lhc lurc, over $hicb the ribs areattached to eacholhelone atatime to make the bowl.

ftets: s allpieces ofgut stdng tied around the neck\\,hich sene to stop theviblating fdng al tl givcnpointwhcn that stdrg ìs presscd agaiNt the fingerboard.Sirce thet,were tie.ìthe,vcould be slidùp and down theneckto change the temperanent ol theinsllumcnt,

Half-binding (purfling. binding.lacc): a thin strip ofwood inlaid into the outsidc cdgc ol thc bclly onc half ofits thickness.

Lab€L î small slip of pape r glued to the inside of thelute. usuallvunder the rosette. with the mater's nal11c.pÌaceanddate,

Linings (db reiilbrccncnt): pîper or $metimes veUunsllipsglucd lo thc dbjoirts insìde the bowl to rernlorcethejoints.

N{aker's mark (brand): a small bumed mark from a hotimn, usually onboth thebelly and the borvì, identiÍingthe maker or workshop. The use ofmakcÉ'marksbeganin the early 150[ìs aÌìd was discontinued ìrytheend oîthe îansilion pcdod.

Nlultiribbed lutes: luloswitlì lììary nanowribs, usually

Nail: the jo int between the neck and neck block, andthe joint between the pegbox and ncckwere usuallyreinforced. clanped.and aligncd with rails.

Neck (handle): piecewhich caÍics rhc strings overthebelì,v, aroundwhich lhe frets are tied. Usually ofsoftwoodveneeredwith a harder onc. or sometimes i aidwjlhwoods or ilory-

Neck block(uppcrblock, top block, front bìock): apieceofwood lo which the ends ofthe ibs andthe narrowendoflhcbelÌ) are glued. and torvhich the reck isglued and naiÌcd or screlved-

NuÍ asmallqualtcr round piece ofivory- bone. ebony,orolhcrhard Ìnrìterialwhich holds the strings at thepegboxendofthe neck-

Peg(s) (turingpeg.lute pilì): adcvice towhich thestrjng is tìed an d woun d. used lc) taisc aùd loweÌ thepitch ofthe string.

Pègbo! (peghead, head): tlìe device that holds thctuÌìing pegs, which in the case ofthe theorbo andarchlute are greath prolongated.

Periods ofthe lute!s d€velopment although thecontplcx hislory ofthe lute across three centuries and

259

several geoÌìrusical areas m akes precise dìvisionsimpossibìe, th e following pcdods àre considered ir this

Pre-Renaissànce

LateRenaissanceTiansitionBaroquc

up to 14901490 to 15501550 to 16201620 to 16601660 to 1750

Points (beards): two smallpointed pieces ofwoodwhichextend thefingerboard oDto the frontblock. Pointswere originally arcpair device- but developed into asqrLìsticfeature.

Ribs (staves)r lhc indivirlual pieceswlich make up themajorpartof lutebowì.

Rosette (rose, knot,slar): decorative soun dh o1e caflingwhich, on alistorical lute, is carved into the soundboarditself.

Scooping: a relief in sidc ribs between the bddge andthe neck to provid e extra clearance below thc sldngs,and 1(r prestress and stabilize the bclly against string

Shaded yew: refers to the bicolor effect ofusingyewwood widr both the hearlwood, which is a darkbrown,and Lhc sap wood, which ìs a medium cream-yellow, toattectvisual definition in the ribs.

Spacers: th in strips of hardwood or ivory which areplaced in the joinls between the ribs, usually olacontrastingcolor-

Theorbo: - lut ( $ i r ' : r .econJ oegbù\ c. .rr l i r ìg eig\ lbasseswhich arc single-string coùrses about twÌce thelenglh of the tìettcd counes.

Treble bàrs: one, two, or morc small údially-pìaced barswhiclì are glued under the tleble side of the bddge tocontrol treble response.

Venetiar incù (V'): the unit of meàsurementapparen tly used by early lute m akers in Venice andPadua, it is aboul equal to 27.4M\a, which iswithin 107,ofastandard inclì. Examining ancient instruments inviewof this unit and its major fractions reveals muchabout the ancient makers'sense ofproportion andpr ̂ c|icaliq (s ee lbru@rd ).

260

Practic[m One: Constructing the ForÌn7ó ' Clopy belly outline. longitudinal section, and cross

scclions olcxlanllulc. orwork iìom plan.> Develop teùplateflombelly outliÌre.

77 > Make base pìate in shape oftemplate-> M ake center piece ìn shape oflongitudinal

> Cùt out inierior ofcentelpjece to create mortiset . - h o l d n g . r i c ( n r m . u n , î g f o Ì n a \ i . e .Usewaste matcíal fron cuioul to makc holdinglick.

> Glue center piece tobase plate.78 > Arrange ard glue roughly-shapedwood blocks to

base plate andcenterpiece.> Pefectshape olform to match base plate

^ u r l i r c . c e n e r . p e . ( . h d t e . d n J . r o c . . e , l i o ntemplates.

> Fhcet mold ùeaiing accuntc shapcs and anglcs 1òrintcrded numberofribs. Create exîct shape andangle ofneck-joining surface (Preface, p. i{).

79 ' Dctcrminc size ofneckblock. Saw correspondingsize and shapefrom neck endof form to allowfor placement of neck block. Drillhvo holes inthe forn so neck block can be screwed to for .

> Vrmishform.

Practícum lìvo: Constructing the Bowl80 > Clean and wax form.

' Screw rough ncck block to lorm, and plane top ofblock (bclly gluing surface) flushwith bîse plate.

.9J > Transtèr ccnlcrlhc ofmold to block- Usetemplale to crtcnd bslly outline onto ìrlock, andtrace shape oîmokl onloblock.

82 ' Remove Íeck block. sa,'v to rough sbîpe.' R ( r u r n I ( ( \ ì J ì , \ 1 , r , f , , r m . , r d e . . a l - ì i . h g ì u ' r g

surface for n eckrbody joint.83 ' Cutdb littirg surface oîneckbbckto final

shapc. oarefully extendingfacets from moìd tocnd ofblock.

8l > Bond centerrib, and attachtoform.> Shapecentcrrib.

8J > Bcnd and lìtsecon{l rib to centerrib-> Bcnd and fitspîcer (ifused).> Glue rib and spacer to centerrib and neck b1ock.

When glue is dry. run parting lool undcr ribjoirtto free ribsfrom iotm.

8ó > Repeat rib fittjng and gluing on allcrnatiÌìg sidcsofthecenter rib untilall dbs are assembled.

9-l > ]iiÌll and file ribsflush with baseplate and end ofncckblock. Remove screw from cenlerdb,scrape entire bowìsmooth, and tape dbjoints.

> ConstÌxct and fit cap for lower end ofÌulc.93 ' Adjust surface of bowl îor joint witlì cap.

' Glue and clamp capinpositi(nl. When gìue is dryp l " 1 c . J g ( o l . d p l . . s r \ ' r h h - . e f j l | e .

Pràcticum'fhr€e: Constructingthe Belly9f > Seìect andpìane bookmatched bell),wood to

slarting thickncss.9-i > Preparc and join tlvo halves oltop.97 > Plane what rvill be the outside surface ofbelly.

Sandandscrapes ooth.> (ìt bellytorough outlìne. andplane insrdc

surface untìlthe bellyis rough lv th ickn essed.Scrape rosette areato about L0MM.

98 ' Scrape insicle sufacc to achicvc opfinumflexibility.

Rosette99 > Determine position ofrosette. and glue rosellc

patten to inside sudaceofbelly.' Use a compass to m€asúre radius of pa ttcrn,

Scrjbe a circle with a corrcspondhgccnter pointand radius onthe oulsidcofbclly. Otherborderlincs arc also scribcd with compass.

/r, > Use sharp knife to cut olrt open areas ofrosette.1 r l ' T u r n h ( l l v . \ ( r

" r . l c l < " n u p r n i t r . . l . . . ' u r g .> Do chipcaNingto create inteft\\,ined ìook.' Dee \ n and Le\el l ,^rJfr l i ì ( . . D^. hip cr \ ng

between borderlines.> Seal completed rosetle lvith shellac (J1 var'Ìish.Bracing

/02 > Tiace outline ofbowl (still on lòIm) onlouÍderside of bclly.

l0-l > Màrk locations ofrransverse ìrars onbelìy.> Splitbar stock. Plane bal1sto thickness and

height, sq aring up edges. Cut to rough lenglh.l r l > Gluebars to bel ly.

> Ghre reinforcing bars to unde rside of rosette.> Plotpositions oftreble bars and bass bar.

i ró > Bend bassbar.' Glue bass bar andtreblebals tobeilv.

rractlcum )ummary

107

108

> Plarìe tansvcÉcba$ toheight, shîpe theirtops,and cut their ends to match the tracedoulliùc.

> 'liim edge of belly to abLr ut 2Nrv oversizc.' C i v e b . * 1 Î d u ( b l ( b a r . . . p r ( I I n . n . l ì : r p ' n g .

Practicum Four: The Bridge7-10 ' llane bddge stockto pleliminary shapc.-l12 ' Mark stlillg positions and drill stdng holes.ll-l > Plane lÌont surlacc to proper undercut angìe.

> Makc reliefcuts in frcnt and back sùfaces.> Draw shapes of scrolh on ends of bridge.> Shaposcrolls.> Cut dccorativeparel(s) on bridge.> Brand (J1 slamp sldng cou$ernaÌkels.> Algle ends o[rclicfcuts.> Clolorbridgewithblackvarnish or sheìlac.,App\r

clcar cort(s) of vamish.

l t 4lt5l t 7118

119 > Pk)tbidge position, and glue bridge to be1ly.

27r

Practicum Fiv€: Tuning the Belly/22 > Find andmark "sweetspot."/2.1 > Holding bell!' al s\\,ccl spol.lap onbddge 1ìom

end to cnd sclcraÌ iirlcs, carefully listeÌing toresponse al cach lappingPosition.

/2? > Tiim treble. bass, and bddgc ba$ in a syslenuticorder, adjusling bars gradu ally iD height,lengtlì,and shape, and checking for changes in tapresponse after each adjustm ent until desiredresults are achieved,

Practicum Sixi Compl€ting Bowl and Fitting N€ck/3, > Drill neckblockforncck attaclurent screw.

> Pefeclneck joìnl sudacc ol block./.1/ ' Fit neckblanl{ to Deck block.1J2 > Removelutebowl from form-

> Attach neck blank to neck block lvilh scrc$ andglue. Spot glue a ncck blank which will later beremoYed tobc vcnccrcd. Colllpletell'glue a neckblank lo1 an unvcnccred neck.

1.1-? > Prepare bowl 1lr rcccive counter cap.> Beîd,fit, and gluc countercap.

/.14 ' Planc upper edge ofcounter cap flush with ribs.lji > Do final scraping inside ofbowl.glue in papcr

stdps to leinforce dbjoints,.ìnd install labeì.

Practicum Seven: Fitfing the Bellyand Plaringthe Neckl-ló > Mark centerljîe on neckblock ard cdge ofcap.1J7 > Plane offoverhang ofneckblanl( at rcckblock.

> EÍend boc\r's centerlìn e onto loP suriàco of neckìrlank. Aìign beuy with cenlerlinc, and clanp andtape belly temporarily in position.

1.1.9 > Check lit oî ends of all transverse bals to side dbs.' Tiim orshimbarends tofit the side dbs pedècl1)r.

Ribs lllust conform to traced outline onbelhr./ ?a ' pt . n( s iuup nt, , . ide r ih.110 ' Wilhbcllytaped and clanìped in place, measure

to delerÌÌine how nuch materialneeds to beplancd lìom top surface ofneck to achieve properstnngactlon.

-11l > Remove belly. Planc top suúace ofthe necktoconectalignment.

Pructicum Eight: Shaping! Venc€ring, Attaching Neck/42 ' Clampand tapebellyin position, narkposrtion

of fint string onto neck at neck/bodyjoinl.14-t ' Plotstring ìength. neckwidth. neckccntcrline,

nut dimensions, and thichìcss ofneck veneeronto top surface oîneck,

14-i > Tì ace shape of bowl oùto end of neck blank atneck/b()dy-joinlend.

> Removeneckùomncckblock.l4ó > Saw and plane sìdes ol neck to exact wiclth of

linished neck, minus veneer thickncss.> Prcpare underforn forneckshaping.> Tàck glue neckblank to undcúbnn.

147 > Shapeneckblank.148 > Cut veneer slightl), oversize, andbendto shape.719 > Gluevenccr to shaped neck blank.

212

/5, > Cut and file venccr flush with neck6od],-joining

l5J > Renìoveveneered neckfrom underfom. trimve neer overh angs fl ush with lictboard gluingsurface. an!:lscrape away papet and glueresiclue.

152 > Check f i t ofreckjoint.1-5-? > Ghe neckto bowl.

Pr.rcticumNin€: Attaching th€ Bel ly15ó > Tape and cìanp bellt'ìn place and double-check

neck alignment and flt of lransvcrse braces toside ribs. Make adjustùlcnls esÌrecessary.

7-i8 > Glue ore side ofbelly to bowl at a time, workirgfrom neckjoint toward cap.

' Spreadholglue a 1èwinches at a time, aÌìd clampimmediately. Use cìamps and clamp \!ood ovelfingerboard;use tape for clamping cve4 vhereeìse. Preheal, rehcat, and retape areas asneedcd.

/59 > Glue and clamp bîr ends to side ribs as you go,using sn1all blocks un.ler tape to pllsh ribs againstbarends,

/ó0 > Preheal and glue the cap areî last. Tùrn lulcupside downwhile glue dries.

Pràcticum Tcn: Installing the Points and FingcrboardJ ó2 > Establ i!h in side cor ners oî thc neckr/bodl joint.

> Seìect fingerboard material. CutblanksforpoiÌìtstiom onc cnd ofiirgerboard blank.

7ó.1 > Clamp blanks lorpoints together. Shapebolharthe same trme lo assurcsymmetry.

/ól > Positionthe points, and draworscribe theirshapcs onto the bellv.

> Make clrtolús iì belll' for points.Jó-5 > Glue an d clamp poilts in place.

lnstalling fingerboard on an unveneer€d neck7óó > Plane fin gerboard 10 roughthickness.

> Mark end of belly and points perpendicular toneckcenter l i Ì ìe.

> Saw beìly and points to lcngth- removewastewilhchìsel, and clean neckbìank and end oîbclly andpoints with fiìe.

/ ó 7 > Fit end of fingerboard blank to bell]'/points join I> Cut fingerboard to rough length.

/óE > Hold 1ìngcrboard in pìace and mark bass edge ofneck onlo it. Saw andplane edge ol tìngerboardto this l ine.

' Holdfingeúoard inposition again andrnarkreblccdge. Saw and plane fingeúoard rofinal

> Spread glue. Pound tacks in Íeckblank to pushfìngerboard against the belly/point joint-

' C d - p f i r o e r h o . f d i ì p l d c . ( S c ( P r c t : , c e . f . r rior notes or the lack oÌa descîiption for theshaping ofan uDveneered neck.)

Insfallingfingerboard on a veneered neck-ló9 ' Fit fingerboard to bell]'/points joinl.

> Cut fingerboard to mughlength.> Use neck as aguide to Ìl1ark firgerboard's shape.> Sawfirgerboard to rough shape.

' Spreadglue. Usc tacks to pushfingerboardagainsl belly/point joint.

' Use clamping cauls to clamp fingerboaîd to neck.' Turn ìL e utsde dnsn $hi e g u( d e.' Repeît necklayoutproce.lure on fi ngeúoard.

Make necessary adjustments if neck-edge lìn es donot accurateìy coincìde wìth actual edges of ncck.

> Re m ove fingerboard overhang. Blcndf ingerboard and ncckveneeÌ -

770 ' Mark dnal lergth offingerboard.' Saw iingerboard to final le ngth - Remove

ihgerboîrd waste from neckwith chisel. Fjnishcxposed suIf aces with file.

' Malk *idth ofDut onto end of neck. Sarvorpl nereck to final length. Smoothwith fì1c.

> Plane firgerboard llush with points and belly.> Check fingerboardshapewith straightedge.

/ 7/ ' PlaÍc and/or scrape fìngerboard to create coúectclcararces lbr strings. arìd to create slightcuNature m cross sectlon.

' Radius edSes of finCerboard.

Practicum Eleven: Installing the Hàlf -biúding17J > Trim bell]''s overharìg $i1h side ùbs and cap.

C orrcct slight irregularities in outline ofbelly.> Correct inconsistencies inbcl1]'s thickness atits

edges$,ith scrapcl.774 > Make cuts iòrwidlh ofhalfbindnìg rebate in

tnree ortoufpasscs.' f j I i . h r h e . e c L , \ n ( . . t , n r . $ i t l k n L .> Cut rebate ior hali bindirg in several passes wirh

half bindingplàne./75 ' Cloùplete rebîte near points$,ìth a chisel.

' Snooth rebatewith file.' Prepare and be nd fivo half-binding stlips., F | .d b,n.ì ,nf , in. ì . iorn tor ea.h s| p.

/7ó ' Cluc one half-binding strip in place. Bcgin atpoinl, wolk in short sections torvard cap. Clanpwilh tape. presswith rolìer as you go.

> Gìue second half-binding sLrip.> Fìt joint wilh first stip Glue. tape. androll.

177 ' Allow glue to dry. Carefullyrenovc tape.

Pracficumlìr€|ler Nf nking the Pcgbox178 ' Arsemble cheeks ofpegbox, sans ebonyveneer./79 ' Saw ard planecheeksto l ìnalheighl.18ú ' Clue eMnyveneer to top edge olcach clìeek.

> Tiim veneer overhangs l1ush.> Clamppegbox folLtowolkboard. Assemble

cheeksonto forl11.181 > Prepare and install block in lower en d of pegbox.182 > Prepare an d intall vcneered ìrlock in ùpperend

ofpegbox.> Adjust height ofcheeks ifneccssarJ.

l,9J > Laminatetwo-plybackplatelrombecchwoodandebonyveneer.

l8l > Gìue backplate 10 chcek ard-block asse m bli'.> Plane backplatc ovcrhang flush with cheeks.

7,95 > Prepare and glue ebonvveneers !o outside chcok

> Plane ch eek ven eer overhangs llush.> Scrapc all ebon], sudaces smooth.

18ó > Cutst ng-clearance reìiefs in cheeks.> Mark ends ofpegboxwith sliding Tbevel.> Saw offsmall end. Clean up saw narks with fìle.

187 > Lamiìate eìronyveneer on snallend ofpegbox.> Tiiln and fileveneer overhangs flush.> Mark and dr i l lpegholes.

/86 > Ream holes to lough súe, ch:rnfèr edges ofholesin cheeks- and cut awa]' ìoose fibers inside chceks

189 > Scrapepegìror and beve I corners wìth lìle.> Vanìish inside s rfacesofpegbox.

PracticunThife€n: Making the P€gs191 > Selectpegtenpìate, and securc inproperly

align ed position on la thc.> Preparc lumiìgbiarks.> Mount turningblank on lathe.

-192 > 'Iìùrough shape.> 'Iìrr pee collar.> 'Iìrrpegshaft andfile it smooth.> 'Iìrr ìrulb.

I 9J > 'Iìrn area that will be pip to firal ,:liîmeter.' Sandpcg,avoidingdamagetof inedeta s.>' I ì rn andlìghtìysandpip.

/9+ > Remove pcgftom lathe. Sawoffends.' Shapcbulb on.lrum sander.

l9-t ' Roundpipwith file ard sand lìghllv.' Scrapc bulìr smooth amd bevel comers.> Pol ishwit l ìbee swax, then buff . (Note onp. 212:

this is done aftershafts are shapedtofinal |aper.)

Practicum FouÍeeni Prcp,Finish, and Rub Out Bolrl79ó > Resolve neck/bodl joirt ard smooth neckwilhllc796 > Smooth and clcan odge ofhalf-bindingwitl file.

> Scrape away lìlc marks around neck{o-bodi'join1.799 > Perform lìnal scraping of bowl.2r, > Burnish bowl wjth nylon nctting.

> Maskneckveneer.2rl > Brush on scaler coat ofshellac. Sandlightly

when dÌ1,. Repeat if necessary.2r2 ' Apply vamish witlì artist's brush around edgcs oî

cap lvhcrc French-polishing pad will not rcech.2rJ ' Flcnchpolish one rib at a time until entircbowl

ispolishcd. thenhang lute to dry.2r4 > Wipe bowl's sudace clean. Lightlysand.

' RepeatFrcrch polishing procedure as necessanr,Ìightl) sanLling between coats.

> Hang lute untilfinìsh is hard enough to polish-.2ri > Polishbowl.

PracticumFifteen: Installingthe Pegbox2ró ' MaÍk anglc of joining surface onto fiont, back.

and chccksofpegbor..' Saw off excess m aterial. File surlaccsmooth.

2r7 > Measure heìghtsofcheeks and tlìnslèrmeasùrements onlo ncck.

> Ifaîstèr n1easúcmcrr of m:uimun Í,ìdlh olpegbox onl o cnd of Deck.

)71

> Connect markson necktoplot rebate for pegbox.> Cutrcbatc with saw, chìsel-

2rE ' Perf(cl f i r o p(gtú\r \ ' rhJhaìì .JrJi i l -2rq > Do dry run ofpegboxglLring.

> Do fhal glÙing.

Practicum SiIte€n: Fittingthe PegsShapingpegs

211 ' Soapshaftofpeg.> Using a peg shaperwith the proper taper, begin

shîping in the largesthole in which the peg doesnot .Ìuite fit.

> Resoappeg. Usingappropriateshaperhole,gradually shape shaft until collar ofpeg contactsshaper'sblade, and a shaving the tullwidth of thetrlade isproduced.

' Resoap pcg, and úape small end ofshalt uÌrtilbì . , ' ( j . . t t 'arcì ! t egir . r i , cur i \ e I i re ìen!rh.

.?/ .1 ; shJp< p<gs in gfúLp. út t . rrr ̂ r t i ' e ̂ f \ame.i /e.' Polish pegbulbs, collars, and approximately I0N,rM

ofshatì . (See p.195.)Fittiq p€gs

212 > Fit krngest peg in hoìe n earest fingerboard first.Soap reaner. clean holc wìlh a twistortwo, anclcheck tìt oîpeg.

> Ream hole until about 10MM of shaft is lefterposed.

2/J ' Bumish holc by tuning reamerbackward.' Fit rcmaining pcgs, workiDg toward small end of

pegDox.2ll ' Mark pegs lor cutting to firal length.-21-5 ' Mark shafts for string h oìes.

> Removepegs, keep ìn order.> Bevel edges of holes.> Saw pegs tolength.

27ó > Dri l ìstr ing holes inpegs.> Fjnish ends ofpegs with tìile aÍd sandpapcr.> Countersink edges of string holes in pcgs.

.217 > Set pegs aside in order for laler installation.

Practicum S€venteen: FínishingtheBelly and NeckWaxingthebelly

2/8 > Wash bel1y aÍd rcmovc aryglueìesidue. Allowbelly to dry thoroughlt.

' Scrapebelly.279 > Burnish bellywith nylon netting.

' Apply wa.{ to be1ly. Bumish with netting.22, ' Polish bclly with solt clean cloth.

' Rcmovewò\residue aroundbridge androsette.' Repeatw:xing. Three coatsworkswell.Oilingtheffngerboard

221 ' Do fiÌìal check offingerboard shape and aLignncrt.Adjust asDecessary.

2.22 > Do finalscnping offingerboard.' Apply oil lo tingcrboard. Sand oiìed surface with

60i:ì grit paper.' Wipe off ercess oiì. Poìish fingerboard wilh clcan

cloth.> Burnish fingerboardwìlh nylon rcttiDg.> Repeatoilingasneccssary.

2',71

oiling the neck and pegbox22J > File anLl scrape to adjust pegbox/neckjoint as

necessary. Remove any glue orwatermarks.> Scrape back of n eck.

224 ' Apply oilto neck and pegbox. Rub inwellwith1 ngers.

' Sand oiled neckwith 600 g1itsandpapcr.> Thoroughly wipe away anyoilresidue. .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 .

> Wax bo$'I, neck, tingerboald, and pcgbox withthrce light coats of nicrodlstalline waxthinnedwith mineral spidts. Buflbctwccn coats.

PracticumEighteen: Nut, Fr€ts, and StringingMaking the nut

22ó > Mark and cut nut blank to length.' Fit nut to rebalc.' Tiace iingerboard shape ontonut-' Shapenul.

227 ' Polish nut.' Mark stdng positions on nut.> File st ng groo\€s.> Polish string grooves.

Insfalling fiets and stringing the lute228 > Plot ftet positions. Markpositions on

fingerboard with tiny pin pricks: on belly marlexact positions oftreble end ofeach fretwithsoft-leadpencil.

229 ' Bum onc cnd ofa length ofgut.> Tie first fìet tightìy next topegbox. Gutlbr fiets

should getprogrcssively snallerin diameter asfrets get closer to thebody.

> CIip extlalength.' Reoe"r burning gur. r) mg Lr(rs. -nLlcl ipf i g

excess length. Eachùelis ticd one fret spacelowerthan its final position.

2:ì0 ' Burn clipped ends oftied liets. Allow to cool.and push each fret up into position.

> Preparebodyfrets.2J2 > Glue bod!' frcts.

' String up Ìute.

Index of Erlangen LecturesA mass distribution. See BowlAllard, Claude, 42, 12, 67, 67Al'ud, 3,26,30,53Alto lure, 8, 10, 57, 72

poem accompanying lutemakerwoodcut, 70, 7]Arabic influences, 3,26, 30, 53

in rosettes, 40. 42, 12, 43, 43 , 44, 44Archlute

Tiansition, 5shape, 5, 21anoÍymous, with 1]pical featurcs, 12, 12as distjnguished ftom tleoúo, 15tlpical belly thickÍess patterns, .14, 35, 38, 38bridge, 52fingerboard, 61plan, Sellas, 1639, 244definition, 59

Amault, Henri of Zwolle, 2-4Prc-Renaissance lute construction diagmm, e 4,30Dutch manuscript of, 3bowl shape and cross section, 5,19counter cap, 26proportions, 30, 30, 32neck, 53fhgerboard, 53formforbowl,70

Baroque perioll lure.. 2. 2f . See al!? Bjidg..Fhgerboad; Neck; Pegbox and pegs

bowl shape aÌld cross sectìo[, 5 ,27,22DieffopruchaÌ, modfied, 1t 15charactedsticsol, 15, 17conve$ìons ftom Renaissance lutes, 15-17Hofftnannwith laterBamque conversion, 74 17tone quality ()1, 17Holimarn example,27, 21 ,22, 22airmass distribution, 22woods used for bowl, 23cap, uspacers, 25countercap,2Tpaper lining stdps, 27parchrnent, 27labels and maker's marks, 28,28borrowed concepts fromviolin making, 38belìy barring Iayout and thickness patterns, 38, 38,

39,39Dieftbpmchar\rith Barcque conversion belly, 39, J9rosettes, examples 01, 40, 4 l , 42, 12;

cut from outside, 45plan, Dieffopruchar, ca. 1600, 213

BaIIìng, 30 34layout, 2,30-33,30 39,35,3'7 39proportionconcepts, 3, 30MeIsenne's geometical model, 31, 3J, 32, 32, 33,,13q,picìl Late Renaissance and Tfansition, 34, 35, .t5Rdlìch belly, ca. 1600, 35,3ó, 37Railich belly, 1644, 38, J8Hotrmann belly, 38,38, 39Dieffopmchar with Baroque belly, 39,J9woods used for, 40definition, 259

Baschenis, Evaristo paintings, 48, ó9Bass bar, 33, 40, 259. ,tee a/.îo BaringBass lute, 7, 9, 10, 21, J2.33, 33,35,44,51,51, 57,58, %0Belly, 30-4'7. .tee aho BaÍing;Rosette

barring layout, 2,30 33,30 39,35,3'7-'rrtone qualit, 30sustain, 30pfoportions, 30,35thickness graduations of, 3l -19Mersenne's geometrjcalmodel, 32,33woods used for, 40

Bibìiogaphy, 261-270art icles,26l-269histodcal books, 269modembooks, 270

Block. See Neck blockBody. ,tee BowlBoethius, 5Bologna. S'ee Boss, LaÙx; Frci, Hans; Maler, LauxBoss, I-au\, 5, ó,24,245Bourgoin, J.

drawings oflute rosette pattems, 40,40"Star ofDavid" pattem, 40, 4,Le: Eltments de fatt arube: le traít des entrclacs, 40rosettepattem,hte ocking rings, 42, 42

Bowl, 18 29Anault's diagram, 2,2, -lr, 70shape and cross section, 2, 5, 6,'7, 8, 9, 10 -12. 15,

15 22,1', l-22, '70air mass distribution, 18, 18,19, 19, 21,21,22,22,'70longitudinal sectioll 22, 22dbs, woodsusedfor, 6,7, 12, 15,23; s;z;r'tg of,22:,

shaping of, 23Mersenne, "Îalsebelly''concept, 23cap, 24, 21spaceîs, U 25,21neck hlock, 25, 25, 26, 26corunrer cap, 26,2'7,27lhìngs, 27paper lining stdps, 27parchment, 27labels and maker's marks, 28,28Merse leon useof fotmlor, 70delinition, 259

2',75

Bracing. ,Se? BaÍingBidge, 48-52

iconography for identifying, ,18Pre-RenaissanceandRenaissance,cerle, 48,49earliest surviving, 18. 49, 19Late Renaissance origin a1s. 49, 19, 50, 50stars or course narkeIson,49,49woods used tbr, 49,51,52Latc RenaissaDce stdng holes andspacing, 50,J/typical Transition bridge conve$ion, 51,-51cap of ivory and ebon]', -51,-tl.52,52for archlùte, 52Baroque (Edlinger/Hoffnaní). 52, 52defiìition, 259

Burkholtzer, Hans

conversions of: neck, 59, 59; fingerboard, 621pegbox, 65. ó5,66;pegs, 68, 68

Cap, bowl 24, 21, 259Cap, bridge, 51. 5 1, 52, 52Catrìlog of An cient European Lutes 24fì 256Celtic knot influcnce in Ì osette design, 44Centerline concept, 19,,{0, 57.70Chantrelle

tuning, mosl common, 8, 10beconles landard lèatùre, ,lEdrawing ol, 6lconversions wilh. 65design considerations with, 72, 73definilion, 259

Chitarone. .See TheorboConstnction sequerce, 70, 71Cosmological models of the univelse

Pythagoras, 4Plato, 4Boethius, 5Pacioli, 5

Counter cap, 26. 21, 27, 259

De Divina Proportione (Pacioli)- 5Descant lùte, 8, 10, 42, 12, 239Dicffopruchar, Magno

bowl shape and cross sectloí, 5, 79. I 9, 20, 21, 2 ltypical oflate Renaissancc, 6,7, 7modified by Edlinger, 15,75consistencvof crosssectionoverninetyyears, 21,21ivorybow1. cap,spaceÌs, 24, 24ìabel andmakcr's mark, 28, 28bell]' thichess Pattern, 33, -i.lDew belly (Bamquc) for, 39,-19msette pattern, 40, 1l , 13, 13b dgebyEdl inger, 54 i2neck dimensions, 53neck inlal,s, floralpattern, 56,5ófingerboardby Edlinger, 62, ó2, 63pegbox, 64, ó4plan, bass, ca. 1600, 24,

plan, Rcnaissance, ca. 1612,24lplan, Baroque, ca. 1600, 213bio, 215note on n ame var:iations. 246

Drawjng. see dÀo PlansArnault's construction diagram, Z J0design for making a lute, 70,72, 73slrings as starting point for , 10,12, 72considerations for. 72expìodedview ol lute with labeled parts, 258

Ebony- See Wood,lbr bowl: Deck;bridge; fingerboardrpegbox

Edlingel Josephus Joachimus, 28, 28, J0. 52, 52, 245Edlinger,Thomas

neck, fingerboard, pcgbox, bridge on D ieffopruchar.15, 15,62,62,63

useofspaccls,25label, 28,28conYelsionof Burkholtzer, 59,.t9, 60, 62bio, 245

'lFalsebclly," Mersenne. 23Familv oflutes

concept of, 2, 10, 15Renaissance iamily, 8, 9Fugger invenlory, seven sizes, l0in Praetorius. l[ìTransition theoúo famil],, l2- l5

Fillets. See SpacersFingcùoard. .tee alro Neck

woods used for, 54, -54,59,61gut for frets, 6lPre'Renaissance and Rcnaissance, 6lLate Renaissance, 61Points oD, 61, ó/' I iansi t i ( ]n,61

Baroque conversions, 62, ó2,63Baroquc, 63def ini t ion,259

F i r , 2 6 , 4 0 , 5 9 , 6 0Form, 259; See rho BowlFrei,Hans

Renaissance lute example, 5,6, óbowlshape and cross sect ion, 5.7, 18,18, 19label, 28,28one of earliest sur,,iving, 31.31bddge conversion, 50,.t0,51, -5-lneckconversion, 58, J8Renaissance plan, ca. 153[ì, 2J8bio, 2,15note on namevariations, 246

Flets. See FingeùoardFrgger, Rayrond, 10, 2,1

276

GaHeo, 10Geomusicalareas

concept o1, 2, 3, 11Baroque bddges vary in, 52necks vary ìn, 58,59fingerboards varyin, 6l

Gerle,Ceorgreplica of antique lure, 4.4,6rosette, 40,47bridge, 48,49rech s3, Í, 58pegbox, 63, óJbio, 245

Glossaryolterms, 258-260Cutfrets, 6t

Half binding, 27,259Hamlonie UnivetreLle, Menenne, 23, 3lHarton,Andrea, 25,44,4iHarton, Michielle

Late Renajssance bowl shape, 5, 21, 21in Padua, 7tenorlute, 9bass lute, 9arr mass disldbution, 21no sp.ìcen on shadedyewbowls, 25bass lute balring and thickness pattem. -12 J-1,35coniormity with Mersenne, 32,J2,33. J-lrosette, 40,11, 41,41Drroge, JU, Jlneck, 54,55,56,5ó,58lingerboard and points, 61,61bio, 245

Holfinann, J.C.Baroque lute, original, 17,j2bowl shape and cross section l't,21,21,22,22bely balling layour and rhickrìess paÍems, 38, jq 39, -19rcsette pattem, 40, 4lbridge, 52, -t2neck, 60, ól]linge$oard, ó3bio, 245

Hoffinann, Martinexample ofmodifications over time, 2Baroque bowl shape, j, t5Baroque conve$ion 1() theotboed lute, 16,66,66,6.1

bio, 245

Iconogmphy used to determine historical desìgns, 3, J,4,48,53, 60,61,65, ó9

Ivory. .tee abo, Wood1vory dbs, bowl, 6, 7, 24, .24veneer for neck and pegbox efension, i2,15spacers, 24lining strips used on bowls of, 27parchmentreinforcementonbowlsof, 27bddge cap trim, 51, 5 1, 52, 52

d e c o r r l i \ e . t r i p e p l e r n n n n e c l , a n r l p e g b , , r . 5 5 . 5 oo i c i r r q r r \ J o r x l p r I e m ú ì n ( c L a n d p c g h ^ \ . 5 0 , J o1ìngerboard inlaid with, 61,6l

Label 28,28, 259Late Renaissancc period lutes, 2,260. .te,r a/so Bridge;

Furge.b^ar. l : \ecl : Pegbo\ and peg\. Ro:e. ( -

chdrdctefisti(\ of, 2, o-1Ubowl shape and cross sectioí, 5, 18 27,19.21Dieffopruchar, cxample fpical ofperiod, ó,7, Zlone quali6/ of, 7proportions, 7woods used for, 7, 23lute famiÌy, 8, 9, t0Praetorius as source for, 10ai| mass disrriburion, 19, t9càp, 24,24sp.ìcers, 24, 25cornter cap, 26, 2'7 , 27paper lining strips, 27Ìabels and maker's marks, 28,28Alnault's ideas exprcssed, 31Ver.enne s ideas e{nres.cd. I t . J. . J_' , J.r , . ìJt lp ical bÉì\ tu.kness Da| l( . n. . J. t . J.s. J-)plan, descant Venere, ca. 1580. 2j9

Lautenmacher de4 woodcut andpoeÌn, 7lLiepzig. ,tee Hoffmann, J.C.; Hoffnann. MarrinLillines, 27,259Lute family. See Family of lutesLutemakers

woodcutandpoem, 70, 7/list ofancient, 245 246

Lúe plan, 70,12,72,73.73. See atso plans of turesLutes, cala.log ofancient, 248 256

Maker's marks, 28, 28. 29, 25gMaler, Laux, 2, 5, 6, 17, 3 1, 31, 245Mandora

lutes converted t(r, 2, 67Mcple. Jcc WooLl for bL,wl: neck; legbdxMctteson. Johann, {r8Measuremerrslstems, (onceptof

Neu Brunswrckîoot, ln, 7lVenetìan inch, l0

Mcmling,Hansdel" i l f roru Pre-Rqndi*anre prmring J ì

Mersenne, Madn, 23, 31, 32, 33,'t0Museums, list of, 2,19"Music ofthe Spheres," 4

"Naru-a mona. Ba.chcnis p.r int ingsrf le. . 4E ouNc(k, 5l hl

in Memling painling, J,53radiograph of block/neck jofiìt, 25, 25, 26Pre-Renaissance and Ren aissance, Gerle 53, jJDieffopruchar, 53,56. jó

Ncck(continued)woods used for, including veneers, 54, 54, 55, 5)-, 5 6,

57, 59, 60Venere, 54, -t4.57, -i7Harton, 54, 5i 56, JóLate Renaissance, earliest surviving, 51,54, 55.55;

dimensions. 57,58decoratcd,withsr ipcs, 5J,56,5ó;with{ loral

pattems, 56,5ó; method used, 56,57tiìt towards bass. 57,59, 6lTransit ion, 58,58,59Baroque, 59,.t9, 60, ó0, 61def ini t ion.259

Neck block, 25,26radiograph ofblocllneck joinl, 25, 2)-, 2óScllas, 26 2ócutawalr, 26, 2ódef ini t ion,259

Octave l te, 8, 10,57,57Organizat ions,25T

Pacioli, 5Padua. \ ,1 H:r11ún, \y ' ì r ic l le;Tiei ' fer5-ucker,

Vendelinus; Venere, WendelioPaper lining strips, 2'7. See aLto Bo]'rlParchment, 27. ,tee r/so BowlPearwood. ,t€€ Wood for bridge; peebox; pegsPegbox and pegs- 62-68

woodsused for, 54 56, - tO 61,64 6ó,6ódecorated with stripes ard lloral paltcrìs, 55, 56,56, 57angles ol, ó2closedback, 63Gerle as examplc oI Pre Renàissance, 63,ó3Renaissance and Latc Rcnaissance, 64. ó,1dimensions, 63.64, ó4, 65coùversions ovcl lime, including chantrelles, ó4, 65-

66, 66' I iansi t ion,65

Bamquc, 65, ó5, 66pegwoods and proportions, 68, ó6dcfhition, 259

Perjods of lutc conshuction aÌrd developmentSee Baroquepedod luies: Liìte ReÌìaissancepedod lutes: Prc-Renaissance period ìutes;Renrìissance pe od lutes; îansition period lutes

Philosophical considerationsof proportion,symbolism, hamony, 4, 30of Plato, 4ofPythagoras, 1,8,I0ofPacioli, 5

Plan, deveÌoping youl own, '70,'72,72, /3,73PÌans ofÌules. Erlargen Seies, 23'7-244

6 cs Renaiss.ìÌìce, Frei, ca. 1530, 2.186-cs Descant, Venere, ca. 1580, 2J98-cs Bass, D ieffopruchar , ca. 16u0, 21010-cs Renaissance, Diellbpruchar, c.ì. 1612, 2477-cs Renaissance alto, Verr'ere,7592. 242

2',78

13 cs Baroque, Dieffbpruchar, ca. 1600, 243l4-cs Archlute, Sellas, 1639, 2?4

Points, bridge, 50, 51, 5 1, 52, 52Points, fingerboard, 48, 61, ó-1,260. See..,Ào FingerboardPoplar. See Spacen, wood used lor;Wood, fbr neck:

Wood, for neck blockPracticum,slep by stcps mmary oî,271 274Prrdter, LeoDhardt, 42, 42Praetorius, Michael, 10, 11Pre-Renaissance pedodlutcs, 2,260. Seu dho Bridge;

Fingerboardt Ncck; Pcgbox and pegs; RosetteArnaull's diagraù, a J,ch aracteristics oi. 3 5Memling painthg detail, -lpropoÍìons, 3, 3, 4, 1.30. 30Gerle built as replica, 4,?bowlshape, icounter cap- 26lone qua.litl,, 30bclly design, 30, J,

Publications list, 257. Sd€ dlso BibliographyPythagoms

"Music ofthe Spheres," 4rythagorcan

proportions, 8, l0tu ng, 8, 10

Railich. Pictrotansition archlute bowl shape, 5counter cap, 26, .27Late Renaissance theoúo belly thichess pattern,

35,36,37Tiansitioú archlute belÌy baIIing layout and

thick-ness pattem 38, 38Ren ajssance pcriod lutes, 2,260. .tre dlso Bridge;

Fingerboard; Neck; Pegbox and pegs; Rosettebowlshape andc1oss section, -1, 18,18, 19charactedstics ()1, 6Frei example, 6-ówoods used for dbs, 6,23pmporlrons, blute lanily, 8, 9, l0cap, 24counter cap, 26paper lining stlips, 27labels and maker's marks, 28,2E. 29belly barring layout and thickncss patlern, 31plan, Frei, ca. 1530, 238plan, Dieffopruchar, ca.1612, 241plan, alto, Venelc,1592, 242

Ribs. .lee dLro Bowlrationale for sizing. 22, 23shaping ("scooping"), 23, 260woodsusedfor,23definitun, 260

Rosette- 40-47Venerepattems. 40. 42, 43, 40-15"Star of David," most comnon pattern, 40,4f,Valiations on "Star of David" pattem, 40, 11, 42, 12

Bo rgoin pattens- 40.10,12.12Cerlc pattern, ,10.4/Harton pattern, 40, I l, 14, 41Hoffmînn pattern, 40,71Sellas pattern ir theorbo. :l(ì,4/Dieftbpnrchar, 40,11 .13, 13.Allard pattern, 42,42Pradter patten. 42. 42Tieffenbrucker. 43.43hcxagon pattern, 43, 4.1"Knot ofLeonardo" paiten. 44. 4?Burkholtzer pattern, 44, 4fHarlon triple, ,14, 45culling tcchniques, 45, 4-5chip car"'ing, 45patternsto copy and use, 46,47definitlon, 260

Roservood. Sce Woocl for bowl; neck; fingerboard; pegboxRoyal Collcotion of Cur josities, ,l

"Scooping" rìbs concept. 23,260Sellîs,Matteo

Tiansition archlulc shape, -iarclì1ute, school ofSeììas, 72theorbos, J2 14, 15neck block, 2órosette pattcm, ,llplan, archlulc, 1639, 241bio, 2,{5

Sides. Se. Ribs;BowlSnakcwood. .tec Wood for bowl; neck îingerboard: pegboxSoundboard. .See Barringt Beily; RoscltcSpacers

purpose of, 24wood and ivory used for, 24,24,25def ini t ìon,260

Spruce, 26,40, 59, 60"Star ofDavid" rosette pattem, 40,40Stegher, Magno. 51,51Sldng leùgtlì. .tcz dho Strings

Amaùlt igrores pdmarylclationúip, 4tunings oîchanÍe1lc, 8. l0Pythagorean relationships, 10, 30compared in New Brunswickinches, Venetiar

inches, and centimetets, 10Tiansition, greatesl divcÉit\r in, 10in differenl geomusical areas, I I , I 2shorter onbass side, 57rclalionship to neck dilnensions. 57,58slarfing poirt for drawin g desigr. 70, 72, 72. 73

Strings. Seu also String lengthhow atlachcd onal'Ld, 3terìsion ot, 12, 23, 38, 54only straight things on a lute, 19, 57, 70holesforcourscs onbddge, 49-52. 19 52gur ,52ovcÉpun,52catliDes, 52

Sfntagna Muticum , DeOry nogaphia.10

Tenor lute, 8, 9, 10, 12,41, 57Theorbo

Lalc Renaissarcc, withfl atte.Ìed bowl shape. 7Transilion, 12 15ScÌlas cxaùplcs. 1J, -14as dìslinguishcd liom archlute, 15theorboed B roque lute, 1óìrowl slupe andcross section, 2llining strips on bowl. 27lypical bclly thiclness pattern, 34,35Railich bclly barring layout and thickness pattern,

35,36,37Scllas roscttc on. 40, l-ifingerboard, óltheorboed pegbox, 66, óódef ini t ion,260

Tiefenbrucker, LeoÍard o. '7 , 23, 49 ,245 ,246

Ticlfcnbrucker, Venrlelinus, 43, 73, 245, 246.Sce r',ho Diefiòpmchar, Magno;Venere, Wendelio

Ticlke, Joachir4 5. 15,245Timc periods of lute developm en t, 2. .See aÀo Baroqu e

period lÙtes; Late Renaissance period 1útes;Pre-Renaissanceperiod lutes; Rcnaissance periodlutes; Tiansition peÌio,:l futes;

Tinctoris, 5Tone quaiity, 3t)

incrcasc in sustîiD overtime, 3,30Rcnaissance, 6Latc Rcnaissance, 6, 7TlaÍsilion, ll, 12Baroque, 17

ftp. .tec Barring; Belly; RosetteTortoise shell, inlav on necks, ól'lian sition period lutcs, 2,260. .Sre dlso Bridger

Fjngerboard: Neck; Pegbox and pegs; Rosettebowl shape and ùoss section, 5, 1 9, 2 Icharacteristics ol, 10 15archlute, eÌample rypical ofperiorì, 12,72woods used fbr, 12, 15- 23Scllas theorbos, 12, I 3. I 1, 1 5c:àp,24spacers, 25countcr cilp, 27paper lning strips, 27labcls ard maker's nìarks, 2B,28Me$enne as source for, 31, 32bclly barring layout and thickness patterns, J4 J8.

35, 38pìan, archlure, Sellas, 1ó39, 244

Tùning. Se€ allo String length St ngsRen aissance and Lale Renaissance, 8chantrelle. 8, ltìPythagorean relationships, 8, l0in clifferent geomusical areas, 11with overspun strings, 52pegs, 68Mattheson on, ó8Consiclerations lbr drawjng design- 70,72

Unverdorben, Marx, 5, 6, 15,245

Veneer. Sde Wood for bddge; Íeck; fingerboard; pegboxVenere Association. See Venere, WendelioVenere, Wendelio- See a/so Dietlbpruchar, Magro;

Tieffenbrucker, Vendelirusbowl shape and cross section, 5,'1,20,21,21association of maken,'7,2I,25, 28, 49, 54, 64,245,

246Ìute familt 8use ofspacers, a5labels and maker's marks, 28,28,29rcsette panerhs, 40, 41, 42, 12, 44, 41bndge,49,19,50,50rcck, 54, 54, 57 , 57pegbox, 64, 64pÌan, descant, ca. 1580, 239pÌan, Renaissance alto, 1592, 242bio,245,u6note on name vadations, 24ó

Venetiari iìch, mrcept of 10,260Venice. See Dieffopruchar; HaÍor! Railich; Sellas;

Tiefenbrucker; Unvetdorben; Venere

Woodlbr bowl, 6,7, 15,23for neck block, 25, 26Îot cnr']ùter cap, 27 , 27ibr bely and baring, 40îor bidge, 49, 19, 5L, 5 1, 52, 52forneck, 54 5'7, 54. 55, 59, 60for îingeúoard, 54, 51, 59, 61for pegbox, 54-56, 54 61,64-66,6óforpegs,68,ó8

Woodcuts, 11,70, 71

Yew See abo Bowltone qualities of, 7in Dieffopruchar lutes, 7,2ú,21shaded, ir Sellas (schoolo0 archlute, 12,12shaded, in Sellas theorbo îaÍtrly, 1Z 13, 14,15in M. Hafion lute, 21preferred Late Renaissance wood for bowls, 23whereitgrows,23other uses, 23dbsleîtthickerthanfotharderwoodsorivory, 23used as and with space$, 25shaded yew inpaintirys byBaschenis, 48, ó9shaded yewdefinitioÍ, 260