On 22/01/2013 19:24, Pieter Van Tichelen wrote:
Hi Martyn,
All right, point made. I'm new to this list and might not be alerted
enough to everyone's background yet. ;-) Sorry if I've written
something obvious and well-known.
About gittern/guitar sources: as always, nothing is ever easy when
concerning early plucked instruments, and especially their
nomenclature. I've tried to condense some thoughts about identifying
16th century guitar/gittern sources (written, name only) - as I might
type too much of an epistle if I let myself really go.
Well I would be interested to read more of what you have found out!
First of all, prior to the 16th century, as pointed out by others
already, there is no issue as there was only the "lute-like" gittern.
If someone can ever point me to a source that has the guitar (figure-8
shaped) outside of Spain prior to the 16th century... that would be
quite stunning as I've been researching the gittern for some time now
and never found a trace pointing to that direction so far.
Much depends on the time and place of the source.
Starting at the 1530s and 1540s the confusion begins,
Yes indeed...I find this very interesting. Why call figure-of-eight
instruments, gitterns (or similar spellings)?
mainly in France
- where some publications do point out the term "guiterne" with the
figure-8 shaped instrument (such as the title page of Morlaye).
However, other contempary French sources use the same name for the
lute-like instrument too. (For example, Pierre Belon observes in 1553 a
certain lute-like instrument from Eastern Europe which he compares to
the "guiterne", thereby showing some characteristics that point to the
lute-shaped instrument, even pointing out it's made from one piece of
wood.
An inventory at the death of Philippe de la Canessiere in 1551
mentions "trois guiternes dont une `a unze cordes et les deux aultres
petites" - 3 gitterns of which one with 11 strings and the other two
small; once more hinting that the old gittern hadn't vanished just yet.
I don't follow this last bit, Pieter.
Even in 1571, Maurice de la Porte still claims "la guiterne est comme
un diminutif du luth" - the gittern is a small lute.) If the source is
French and from after 1540, be careful as it might be either for
"guitar" or "gittern". Interestingly enough, some inventories of
instrument makers like the Denis builders seem to have tried to make a
distinction between a "guitarne" and a "guiterne" (where the guiterne
has "fondz de lut" or a lute back). I therefore would place it that a
source putting an "a" guitar(n)e in France in the second half of the
16th century is not referring to the lute-like instrument. This however
doesn't discount that there are numerous cases where the figure-8
shaped instrument was called guiterne in French sources of the same
period. It can however be a good guideline if come across that
particular spelling with an "a". However in some cases even this rule
can't be followed, the inventory of yet another instrument builder,
Pierre Aubry in 1596, has "viels lucs de guitarne" - suggesting the old
lute-like gittern. After 1600, the interest in the gittern seems to
have taken a low as I can't find as much sources in France anymore that
point to the old gittern. (In contrast, mandores are build abundantly.)
This is really interesting. I thought that the mandore of the 1580s and
later WAS the gittern. Do any of the sources you have found suggest
method of play on the 'late' gittern (fingerstyle or plectrum...or the
strange mandore technique of plectrum somehow attached to a finger!)
Another thing that might throw some confusion and to which I have
dedicated some of research time is the origin of the British "gittern",
a form of cittern which seems to have been introduced (or rather
imported) to England around 1550.
I thought Ward argued that the small cittern=gittern was second half of
17th C?
If you want to read up on that
particular instrument, J. M. Ward's publication "Sprightly & Cheerful
Musick: Notes on the Cittern, Gittern and Guitar in 16th and 17th
century England" from the Lute Society Journal are a good starting
point. So tread very carefully if a written source or manuscript
mentioning "gittern" comes from Great Britain after 1550. However, I
found some interesting mainland sources pointing towards a soprano
cittern that show this instrument wasn't isolated to Great Britain and
actually has some links with the ancient gittern. (I won't pursue this
matter here as it's probably more suitable for the cittern mailing
list. :) )
The cittern list has fallen out of use. Do tell us how the 'soprano'
cittern' (? the little English one without the back that Praetorius
mentions?) relates to the ancient gittern?
The sources of Sebastian Virdung, Martin Agricola and Nachtgall need
hardly recalling when looking at the German-speaking countries.
Interistingly enough Nachtgall's latinisation of the "quiterna" is
"lutina". But as late as 1571, Roth's Woerterbuch mentions "Quintern:
ein lauten mit neun saiten, welche den gross bumbart mit seiner octaf
nit hat" (gittern: a lute with 9 strings, missing the bass string with
its octave).
For Italy, I have still to start further research, but most indications
I already have collected show some popularity continued right until the
end of the 15th century. (I already mentioned Tinctoris - and Monica
kindly quoted his passage on the instrument. Some of the more important
lute players from the 15th century are linked to the gittern (noted in
court records as gittern players or even having the nickname of "dal
chitarino" in the case of Pietrobono).) I have yet to start looking for
gittern sources in the 16th century but some of the bibliographical
links given by other people pointed out to me that I might not be lone
in my quest. ;)
Monica already pointed out Bermudo's "guitar" on which I've little to
add. I think it unlikely the gittern still existed in Spain in the 16th
century - though I've made little effort so far to pursue such
research. The bandurria however seems to come very close to the
original form of the gittern; it's as though history repeated itself.
As a final thought: the "lute-like gittern" as well as the
"cittern-like gittern" continued to exist well into the 18th century
and can cause lots of headaches when looking at more recent sources as
well as old, 16th century ones. (And I'm sure you all know about the
"English guitar" cittern from after the 1750s.)
I understand what you mean by the "lute-like gittern" (and, again, how
is that different from the mandore?) but not what you mean by
"cittern-like gittern"? And finally, on the face of of it, English
guitars seem very distant from the gittern tradition (which is usually
thought of as pretty much extinct by the early 1750s when the English
pops up).
Lots of new ideas to me, anyway, Pieter
Stuart
Kind regards
Pieter
_______________________________________________________________________
From: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Sent: 22 January 2013 10:05
To: pie...@vantichelen.name
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de StrAmbotto
Dear Pieter,
Thanks for this: however I think most of us know what a mandore and
mandora is.
But the problem here is rather different: in short it's that when a 4
course guitar is specified whether the instrument expected is in the
figure-of-eight (guitar) shape or in the mandore (lute) shape.
Martyn
--- On Tue, 22/1/13, Pieter Van Tichelen <pie...@vantichelen.name>
wrote:
From: Pieter Van Tichelen <pie...@vantichelen.name>
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
To: "WALSH STUART" <s.wa...@ntlworld.com>, "Andreas Schlegel"
<lute.cor...@sunrise.ch>
Cc: "Monica Hall" <mjlh...@tiscali.co.uk>, "Gary R. Boye"
<boy...@appstate.edu>, "Lutelist" <lute@cs.dartmouth.edu>
Date: Tuesday, 22 January, 2013, 7:01
Hi Stuart and Andreas,
It's very complex if only have a name to go on; I think we all
agree.
But if you've got tablature or a tuning chart it's a completely
different story.
The French baroque mandolin called mandore has a tuning which has
fifths and fourths (most notably the c'-g'-c"-g" tuning, with two
common deviations on the chanterelle: c'-g'-c"-f" and c'-g'-c"-e",
though there are others and sometimes the whole tuning is a fourth
or
fifth lower). This instrument was plucked with a plectrum or
fingerstyle (usually only one), some description even lists binding
the
quill to a finger.
The mandora seems always to have had a tuning close to the vieil ton
((D-E)-F-G-c-f-a-d' most commonly found for "mandora"). As far as I
know this instrument is played fingerstyle. Besides tablature where
the
instrument is easily identified, I found some treatise preserved in
Brno for the instrument where the full alfabeto chart was explained
as
well (see folio 1r, Smetanova 14, Moravske zemske muzeum, Brno,
facsimile online see:
[1][1]http://www.manuscriptorium.com/apps/main/en/index.php?request=
show_t
ei_digidoc&docId=set20070824_2_4). Interesting regarding the tuning
is
fol. 3v which shows note names on a drawing of a mandora
fingerboard.
Iconographical sources are also easily distinguished; the mandore is
really small instrument (about an arm's length as the full
instrument
length). The mandora is quite a big lute. However, it might become
difficult to distinguish with other lutes - though the somewhat
different peg box can be a clue (usually sickle-shaped or swan-like,
I've never come accross a mandora with a straight peg box or one at
a
steep angle towards the neck).
Please note that some museums (Germanisches Nationalmuseum in
Nuremberg, Kunsthistorische Museum in Vienna) seem keen to use the
term
"pandurina", only found in Praetorius as one of the names for the
mandore. (Some of these items are badly labeled in any case, I know
some Cremonese mandolins in the GNM in Nuremberg are labelled
"pandurina"...)
Kind regards,
Pieter
____________________________________________________________________
___
From: "WALSH STUART" <[2]s.wa...@ntlworld.com>
Sent: 21 January 2013 20:26
To: "Andreas Schlegel" <[3]lute.cor...@sunrise.ch>
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
On 21/01/2013 18:20, Andreas Schlegel wrote:
> To avoid misunderstandings I suggest to use the terms for
instruments
in the language of the most important region in which they were
used.
So I say "Mandore" to the small 16/17 c. instrument because the main
sources are in France. See
>
[4]http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore.html
>
[5]http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore_Inst
rument
e/Mandore_Instrumente.html
>
[6]http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore_Musi
k/Mand
ore_Musik.html
> (not completely finished - and only in German for the moment)
> The "Mandora" is a German instrument.
>
> Translations are so dangerous! What is a theorbo? In England, in
France, in Italy, in Germany? They are different instruments.
Nowadays
we need a clear definition for all instruments in all centuries -
not
only the contemporary ones. And so the use of the adequate language
can
give an important information - perhaps with the prefix "French",
"Italian"...
>
> Best,
>
> Andreas
I agree with Andreas about using 'mandore' for the earlier, little
instrument and 'mandora' for the later, larger one.
Of course, sources aren't consistent. The Tree Edtion of the
Leipziger
Mandora Handschrift ca.1730 clearly says: 'Tonstuecke fuer die
Mandore
um das jahre 1730' and 'Accord de la mandore' (Unless this is late
music for the little French mandore - it's different from other
mandora
music I've seen). And Tyler quotes Valentin Strobel (mid 17th C,
when
the little mandore was still popular): 'Concert fuer Mandora und 3
Lauten.' And the Skene MS refers to it as 'mandor'! (And Praetorius
has
several more names for it.)
Stuart
> Am 21.01.2013 um 19:01 schrieb Monica Hall:
>
>> Interesting list. Most of them are late and do the sources
actually
say that the pieces are for guitar? In most cases it may just be
that
the tablature is 4 lines and the tuning matches.
>>
>> Tyler says of the first one that the pieces were probably copied
in
1570s - but how does he know that?
>>
>> I have actually seen the manuscript in the Royal Academy of Music
-
in fact
>> I have a copy of it. It is 17th century rather than 16th and it
belonged to Robert Spencer.
>>
>> The 4-course music in Concerto Vago
>> is for the chitarrino a quatro corde alla
>> napolitana which may be a small lute or mandora.
>>
>> And as for Boetischer - well he is very unreliable - deliberately
misrepresented things because he was a Nazi and anti-semitic. I have
just been reading an article about Neusidler and he disparaged him
for
that reason.
>>
>> Best
>>
>> Monica
>>
>> ----- Original Message ----- From: "Gary R. Boye"
<[7]boy...@appstate.edu>
>> To: "Monica Hall" <[8]mjlh...@tiscali.co.uk>
>> Cc: "Martyn Hodgson" <[9]hodgsonmar...@yahoo.co.uk>; "Lutelist"
>> <[10]lute@cs.dartmouth.edu>
>> Sent: Monday, January 21, 2013 5:26 PM
>> Subject: Re: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
>>
>>
>>> Dear Monica,
>>>
>>> I have a few more sources listed for 4-course guitar with at
least
Italian
>>> tablature, although possibly not all Italian:
>>>
>>> B-Bc MS LIt. XY no. 24135 [1570-1580 (tablature section)]
>>> (Italy?) [not in RISM; see TYLER p. 31]
>>> 4-course guitar in Italian tablature
>>>
>>> GB-Lam Ms. 645 [1625 and 1650]
>>> "Italian manuscript in tablature for 4-course chitarra (ca.1625)
and
>>> single line tablature (?for violin)" (Italy) [not in RISM; see
TYLER p.
>>> 83]
>>> 4-course guitar in Italian tablature
>>>
>>> Thomassini 1645
>>> Thomassini, Filippo, publisher. Conserto vago di balletti,
volte,
>>> corrente, et gagliarde, con la loro canzone alla franzese
nuovamente posti
>>> in luce per sonare con liuto, tiorba, et *chitarrino a quatro
corde
alla
>>> napolitana* insieme, o soli ad arbitrio, e diletto de' virtuosi,
et
nobili
>>> professori, o studiosi dei questo instromento (Rome, [Italy]:
Filippo
>>> Thomassini)
>>> 8-course lute in Italian tablature
>>> 11-course theorbo in Italian tablature
>>> 4-course guitar in Italian tablature
>>>
>>> I-Fn Ms. Magliabechiano, classe XIX, codice 28 [1667-1700]
>>> [RISM B/VII p. 107]
>>> 4-course guitar in Italian tablature
>>>
>>> I-Fn Ms. Magliabechiano, classe XIX, codice 29 [1667-1700]
>>> [RISM B/VII p. 108]
>>> 4-course guitar in Italian tablature
>>> ***
>>>
>>> These last two depend on Boetticher for the instrumentation--and
I
fully
>>> realize how dangerous that is! I assume he merely counted the
number of
>>> courses required in the tablature, but somehow he was unable to
do
even
>>> that in other circumstances. And perhaps the others are not the
"real" 4c
>>> guitar?
>>>
>>> Gary
>>>
>>> On 1/21/2013 8:54 AM, Monica Hall wrote:
>>>> Well - obviously the 4-course guitar was played in Spain
although
the
>>>> extent to which it was played in the contrapuntal manner
suggested
by
>>>> the few surviving pieces in Mudarra and Fuenllana is unknown.
>>>>
>>>> The point which Meucci makes about Barberiis is that it is a
bit
odd
>>>> that a printed collection of lute music should include just
four
pieces
>>>> for an instrument of a different type. There are references to
the
>>>> "chitarra" which clearly imply (if that's not a contradiction)
that it
>>>> was a small lute.
>>>>
>>>> The safest thing to say is that there is no surviving Italian
repertoire
>>>> for the 4-course guitar.
>>>>
>>>> Monica
>>>>
>>>>
>>>> ----- Original Message ----- From: "Martyn Hodgson"
>>>> <[11]hodgsonmar...@yahoo.co.uk>
>>>> To: "Monica Hall" <[12]mjlh...@tiscali.co.uk>
>>>> Cc: "Lutelist" <[13]lute@cs.dartmouth.edu>
>>>> Sent: Monday, January 21, 2013 11:28 AM
>>>> Subject: [LUTE] 4 course guitar in Italy - was Calata de
StrAmbotto
>>>>
>>>>
>>>>> Dear Monica,
>>>>>
>>>>> You write 'There('s) no hard evidence that the 4-course guitar
was
>>>>> played in Italy' and, of course, you're quite right.
>>>>>
>>>>> But it was played in Spain, then a major influence in all
Hapsburg
>>>>> lands and in some Italian states as well as Naples. So I don't
see it
>>>>> being played in the leading maritime centre of Venice as
particularly
>>>>> far-fetched. And I'm referring to the figure of eight shaped
>>>>> instrument
>>>>> - I think we're in danger of going a bit too far down the
invisible
>>>>> path of supposing a mandora shaped guitar was the default.
>>>>>
>>>>> regards
>>>>>
>>>>> Martyn
>>>>>
>>>>> --- On Mon, 21/1/13, Monica Hall <[14]mjlh...@tiscali.co.uk>
wrote:
>>>>>
>>>>> From: Monica Hall <[15]mjlh...@tiscali.co.uk>
>>>>> Subject: [LUTE] Re: Calata de StrAmbotto
>>>>> To: "Sean Smith" <[16]lutesm...@mac.com>
>>>>> Cc: "Lutelist" <[17]lute@cs.dartmouth.edu>
>>>>> Date: Monday, 21 January, 2013, 10:38
>>>>>
>>>>> I am afraid the pieces in Barberiis are probably not for the
4-course
>>>>> guitar
>>>>> but - as Stuart has kindly pointed out with the appropriate
>>>>> reference -
>>>>> for
>>>>> a small 4-course lute or mandora.
>>>>> Renato Meucci, Da 'chitarra italiana' a 'chitarrone': una
nuova
>>>>> interpretazione; in Enrico Radesca da Foggia e il suo tempo
Atti
del
>>>>> Convegno di studi, Foggia 7-8 Aprile 2000, pp. 30 - 57.
>>>>> There is a case to be made that this music by Bareriis isn't
for
>>>>> figure-of-eight 'normal'-if-tiny 'Spanish guitar but for a
small
>>>>> gittern/mandore-type instrument.
>>>>> There no hard evidence that the 4-course guitar was played in
Italy.
>>>>> Monica
>>>>> ----- Original Message -----
>>>>> From: "Sean Smith" <[1][18]lutesm...@mac.com>
>>>>> To: "lute" <[2][19]lute@cs.dartmouth.edu>
>>>>> Sent: Sunday, January 20, 2013 10:51 PM
>>>>> Subject: [LUTE] Re: Calata de StrAmbotto
>>>>> >
>>>>> > Thanks for the reminder, Arthur. I knew about these but had
>>>>> forgotten
>>>>> them
>>>>> > (too). It is more support that the little guitar was being
played
>>>>> and
>>>>> even
>>>>> > written for.
>>>>> >
>>>>> > Sean
>>>>> >
>>>>> >
>>>>> > On Jan 20, 2013, at 2:32 PM, Arthur Ness wrote:
>>>>> >
>>>>> > The link is at the very bttom.
>>>>> > ----- Original Message ----- From: "Arthur Ness"
>>>>> <[3][20]arthurjn...@verizon.net>
>>>>> > To: "Monica Hall" <[4][21]mjlh...@tiscali.co.uk>; "Sean
Smith"
>>>>> > <[5][22]lutesm...@mac.com>
>>>>> > Cc: "Lutelist" <[6][23]lute@cs.dartmouth.edu>
>>>>> > Sent: Sunday, January 20, 2013 5:21 PM
>>>>> > Subject: [LUTE] Re: Calata de StrAmbotto
>>>>> >
>>>>> >
>>>>> >> Monica surely has simply forgotten about these Italian
guitar
>>>>> pieces.
>>>>> >> Just four pieces in a century is virtually the same as
saying
>>>>> there
>>>>> are
>>>>> >> no pieces.<g>:
>>>>> >> See [1][7][24]http://purl.org/rism/BI/1549/39 Sigs,
Gg24v-Hh1v
(last
>>>>> two
>>>>> >> pages)<<<snip>>>
>>>>> >> References
>>>>> >> 1. [8][25]http://purl.org/rism/BI/1549/39
>>>>> >> 2. mailto:[9][26]mjlh...@tiscali.co.uk
>>>>> >> 3. mailto:[10][27]lutesm...@mac.com
>>>>> >> 4. mailto:[11][28]lute@cs.dartmouth.edu
>>>>> >> 5. mailto:[12][29]lutesm...@mac.com
>>>>> >> 6. mailto:[13][30]lute@cs.dartmouth.edu
>>>>> >> 7. mailto:[14][31]lutesm...@mac.com
>>>>> >> 8. mailto:[15][32]lute@cs.dartmouth.edu
>>>>> >> 9.
[16][33]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>> >>
>>>>> >
>>>>> >
>>>>> >
>>>>> > To get on or off this list see list information at
>>>>> >
[17][34]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>> >
>>>>> >
>>>>>
>>>>> --
>>>>>
>>>>> References
>>>>>
>>>>> 1.
[35]http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
>>>>> 2.
[36]http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.e
du
>>>>> 3.
>>>>>
[37]http://us.mc817.mail.yahoo.com/mc/compose?to=arthurjness@verizon
.net
>>>>> 4.
[38]http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.
uk
>>>>> 5.
[39]http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
>>>>> 6.
[40]http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.e
du
>>>>> 7. [41]http://purl.org/rism/BI/1549/39
>>>>> 8. [42]http://purl.org/rism/BI/1549/39
>>>>> 9.
[43]http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.
uk
>>>>> 10.
[44]http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
>>>>> 11.
[45]http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.e
du
>>>>> 12.
[46]http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
>>>>> 13.
[47]http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.e
du
>>>>> 14.
[48]http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
>>>>> 15.
[49]http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.e
du
>>>>> 16. [50]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>> 17. [51]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>>
>>>>
>>> --
>>> Dr. Gary R. Boye
>>> Professor and Music Librarian
>>> Appalachian State University
>>
>
>
>
--
References
1.
[52]http://www.manuscriptorium.com/apps/main/en/index.php?request=show_
tei_digidoc&docId=set20070824_2_4
--
References
1. http://www.manuscriptorium.com/apps/main/en/index.php?request=show_t
2. http://us.mc817.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
3. http://us.mc817.mail.yahoo.com/mc/compose?to=lute.cor...@sunrise.ch
4. http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore.html
5.
http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore_Instrument
6.
http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore_Musik/Mand
7. http://us.mc817.mail.yahoo.com/mc/compose?to=boy...@appstate.edu
8. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
9.
http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
10. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
11.
http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
12. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
13. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
14. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
15. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
16. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
17. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
18. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
19. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
20.
http://us.mc817.mail.yahoo.com/mc/compose?to=arthurjn...@verizon.net
21. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
22. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
23. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
24. http://purl.org/rism/BI/1549/39
25. http://purl.org/rism/BI/1549/39
26. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
27. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
28. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
29. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
30. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
31. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
32. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
33. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
34. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
35. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
36. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
37.
http://us.mc817.mail.yahoo.com/mc/compose?to=arthurjn...@verizon.net
38. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
39. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
40. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
41. http://purl.org/rism/BI/1549/39
42. http://purl.org/rism/BI/1549/39
43. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
44. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
45. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
46. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
47. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
48. http://us.mc817.mail.yahoo.com/mc/compose?to=lutesm...@mac.com
49. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
50. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
51. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
52.
http://www.manuscriptorium.com/apps/main/en/index.php?request=show_tei_
digidoc&docId=set20070824_2_4 --
