een around
for
so
long that there will be dead links for years bouncing toward
Wayne's
old computers. I am less interested in the pictures because David
van
Edwards has done a lot with pictures for the ELS. I have never
looked
at his treatises - aga
Martin is right, this is just the standard
English way of writing C in all sorts of contexts
not just lute tablature.
To illustrate I've uploaded a small section of an
English will from 1574 which reads "mercy to
receive" and in it you can see the normal form of
the R as well as the C and
source of information.
Best wishes
Monica
On 17 July 2020 at 19:20 David Van Edwards wrote:
Dear Monica,
There are two separate issues here, the lute and pegbox itself are
rather odd and dubious and I suspect Watteau didn't really care.
The position of the hand is a separate matter
arm. Normally
you would be plucking the string to hear if it were in tune.
Monica
On 17 July 2020 at 12:12 David Van Edwards wrote:
Dear Monica,
There's another related Watteau painting in the Wallace collection
(Pour nous prouver que cette belle) showing the same hand in much
more
Dear Monica,
There's another related Watteau painting in the Wallace collection
(Pour nous prouver que cette belle) showing the same hand in much
more detail. Different instrument so the pegbox is a bit narrower and
that maybe makes the hand more possible. But the brushwork here shows
that
According to the LSA database:
labelled: Johannes Hieber und Andreas Pfanzelt //.
Repair label: Louvet/ m (ai) tre luthier de paris
à avignon/ mai 1778 pur Mr. Carpentraz//
David
At 13:27 +0200 19/6/20, Mathias Rösel wrote:
On a side note, the names of the luthiers who
built the tiorbino
Dear Andreas,
Yes I'm sorry, you are right, 5 courses on the
petit jeu is not what Castaldi calls for. I must
change my notes which I made many years ago!
But the relative length of the extension on this
instrument does make it _look_ more like the
pictures which Castaldi engraved himself
Dear Martin,
It's up on Cleveland's website with lots of good
photos at
https://www.clevelandart.org/art/1918.368
Almost all original but according to my notes it
has new bridge and nuts so we will never know for
sure but they have it strung as 8 single strings
in on the extension. Rather
I have three possibles listed:
the Hieber Pfanzelt in Geneva, 490 & 760 mm, 1x1, 5x2 + 5x1
MH in Brussels No.1578, 538 & 1069mm, currently
9x1+ 8x1 but the bridge is not original so I
suspect it was originally a 13 course tiorbino
with 1x1, 4x2 in lower pegbox. This is what
Castaldi calls
The other problem is the tendency of 19th century
museums and collectors to "preserve" their
instruments by giving them a nice coat of wax
polish.
There used to be a saying in the British Navy "If
it moves, salute it; if it doesn't move, paint it
white." Something of the sort seems to have
Dear Jörg,
I cover this towards the end of this essay on a related matter.
https://www.vanedwards.co.uk/month/nov00/month.htm
Best wishes,
David
Dear collected wisdom,
there are quite a lot of different ideas of how
to vanish lute tops (or not). How was it with
the old instruments? Were
Dear Susan,
I can't help with the actual drawing but there's a large photo of it
in the big book on the Hoffmanns by Eszter Fontana, Veit Heller and
Klaus Martius p.303.
I scanned it from the book at high resolution a few years ago and it
might be enough to work from. But the image is too big to
Dear Jaroslaw,
Yes, it's actually quite a good wood for ribs tonally and
structurally and bends well. The surface pores are quite open so
getting a sophisticated finish is harder. The bright red colour tones
down quite rapidly into a nice orange brown.
David
At 10:29 +0100 27/11/19,
Dear Rainer,
What a very good initiative! I think there's lots of information out
there in various places and people's heads and it would be very good
to have such a place to pull a lot of it together.
To start with there are 18 images from the Lute Society database
To: David Van Edwards
Cc: Tristan von Neumann ;
lute@cs.dartmouth.edu
Sent: Mon, Nov 11, 2019 8:59 am
Subject: [LUTE] Re: Melchior Newsidler's portrait, again
At 12:48 +0100 11/11/19, Joachim Lɬºdtke wrote:
Well, in winter 1565, while his lute books were set
, in deep snow and at freezing temperature. Some piece of
hard-frozen snow or ice may have hit him during the passage ;)
Joachim
dler's portrait, again
Datum: 2019-11-11T12:02:50+0100
Von: "David Van Edwards"
An: "Tristan von Neumann"
Even
Even the museum don't say it is German, the artists suggested are Italian
http://samling.nasjonalmuseet.no/en/object/NG.M.01341#
But Melchior did visit Italy in 1565, 9 years
before his undoubted portrait by Stimmer. And the
resemblance is possible but slight. The main
difference is the top
Thank you Wayne,
Strangely I found it did come through in Arthur's
first posting with a broken icon but when
clicked, it downloaded successfully! Slipped
through the net!!
It's also up on the museum's website in a large downloadable version at
commissioned by MN's patrons, the Fuggers. Maybe I can post
it to Facebook.
I forgot about Wayne's prohibition of attachments. Sorry Wayne!
Arthur.
-Original Message-
On 31.10.19 12:43, David Van Edwards wrote:
> To answer the second part of your question:
>
>
To answer the second part of your question:
Possibly:
Melchior Newsidler 1574
https://lute-images.myjetbrains.com/youtrack/issue/LI-3
Sebastian Ochsenkhun 1588
https://lute-images.myjetbrains.com/youtrack/issue/LI-183
Sixtus Kargel (1540-1600)
Dear Tristan,
It seems unlikely as he's wearing some VERY fancy
armour. It looks more like a portrait of Charles
IX of France, the Roi under whose privilege the
book was printed. He has the same very
conspicuous long straight nose.
Best wishes,
David
At 10:22 +0100 31/10/19, Tristan von
Yes, there is sometimes that sort of issue with
Chinese firms. I was once contacted by a Chinese
firm offering to sell cheap baroque bows and the
image they used was one of my own bows which
they'd scraped off my website!
I think there is also a similar parallel trade in
the Pakistani lutes
ember correctly) and of course attributes the idea to S. L. Weiss.
Despite what some lutemakers seem to like, I wouldn't define the swan
neck baroque lute as a "theorbo": it introduces much confusion in a
field where we do not need to add more, I believe.
Attivato Sun, 18 A
it was
then intended as an angelique.Neither are what we
would nowadays call a theorbo, though of course
the term was in use then for such instuments.
Best wishes,
David
At 13:37 -0700 18/8/19, howard posner wrote:
> On Aug 18, 2019, at 10:22 AM, David Van
Edwards wr
ught to be more than the music of
>the early 17th century ), I feel happy to leave those few notes out or
>play them at a higher octave.
>It is not to be taken lightly, the feeling of playing Monteverdi in big
>spaces on a big theorbo with the long strings commencing from the 7
2019 20:21:21 +0200 David Van Edwards
ha scritto
Dear Luca,
I forgot to add: is there any other info you'd like? I have a few
more photos. It is indeed on display in Rome at the Museo Nazionale
degli Strumenti Musicali, and the catalogue number is 976. Luisa
Cervelli: La
Dear Luca,
I forgot to add: is there any other info you'd like? I have a few
more photos. It is indeed on display in Rome at the Museo Nazionale
degli Strumenti Musicali, and the catalogue number is 976. Luisa
Cervelli: La Galleria Armonica, Catalogo del Museo degli strumenti
musicali di
Dear Luca,
Here you are! A very nice looking theorbo. Pohlmann says date is 1655
and Toffolo says it's c.1640 (St. Toffolo: Antichi Strumenti
Veneziani. Venezia 1987, pp. 57, 221) who knows where the 1702 date
comes from in the LSA list, but as there's no label it's all a guess.
Best wishes,
Almost exactly the same reason that Lord Herbert of Cherbury gave!
"my learning of Musicke was for this end that I might entertaine my
selfe at home and together refresh my mynde after my studyes
to which I was exceedingly inclined, and that I might not neede
the company of younge men in whome I
And not to forget Stefan Lundgren's chamber opera on that very incident.
https://www.youtube.com/watch?v=EMkbZ3tfFjs
Best wishes,
David
At 19:18 +0200 23/7/19, Lex van Sante wrote:
The name of the violinist was Petit, who thought that his host
(Weiss) had spoken against him when he was
doras, say) or are there two seperate nuts?
The bridge looks quite long - do you know what string disposition its
holes suggest? ie number of courses
regards
Martyn
On Friday, 12 July 2019, 12:13:30 BST, David Van Edwards
wrote:
Dear Both,
Indeed very interesting, I hadn'
Dear Both,
Indeed very interesting, I hadn't regarded that one as it's in the
Museum not the Music Conservatory and I didn't know the van der Meer
conjecture. For info I've put a photo of the sad remnants on display
up on my site at https://www.vanedwards.co.uk/Frei%20in%20bologna.htm
David
Dear Martyn,
Maybe one of the two archlutes by Venere and
Sellas in the Bologna, Museo Civico Medievale
Inv. Nos 1748 and 1749?
Both have been restored by the GNM in Nürnberg
but it's probably the much copied little one by
Sellas 640 + 1340, which I believe is in playing
order. I have no
on and how
many were sympathetic?
Nancy
Better still, the Bandura old style with a similar curved bridge and all.
Cheers,
Lex
Op 27 dec. 2018, om 21:35 heeft David Van
Edwards het volgende
geschreven:
It's just occurred to me that the arrangement
of strings on the Poliphant seems
:
Looks like the polyphant on this page:
https://earlymusicmuse.com/bandora-orpharion/
Rainer
On 27.12.2018 21:19, David Van Edwards wrote:
Dear Ed and Arthur and Rainer,
Here is a link to a page I've put together
showing the Randle Holme description and sketch
of the Poliphant. His Academy
It's just occurred to me that the arrangement of
strings on the Poliphant seems remarkably like
that on a torban.
David
Dear Ed and Arthur and Rainer,
Here is a link to a page I've put together
showing the Randle Holme description and sketch
of the Poliphant. His Academy of Armory is an
Dear Ed and Arthur and Rainer,
Here is a link to a page I've put together
showing the Randle Holme description and sketch
of the Poliphant. His Academy of Armory is an
unbelievably confusing but comprehensive
descriptive list of objects from seventeenth
century English life. Just above the
I should have said, since images don't get transmitted, that it was a
9 course 1x1, 8x2 and that any treble rider was out of sight in that
photo, but I have another which shows that there was no treble rider
and shows the correct number of pegs for the 9 course as above.
Weirdly Dolmetsch
Well here it is before the surgery!!
Best wishes,
David
At 19:50 +0200 21/10/18, Martin Shepherd wrote:
>Dear All,
>
>Does anyone have any information/drawings etc of the Harton lute
>(dated 1598) in the Folger Shakespeare Library?
>
>The photos I have suggest the original was an 8c lute, with
Dear Martin,
Ah yes, Jakob Lindberg has a very clever, light but complex, stand
made of [I think] foam boards covered with a black cloth which takes
quite a bit of setting up. He was giving a recital here in a small
medieval room in Norwich and at the last minute, just as Jakob was
advancing
Dear Rainer,
Now all is revealed, I've long loved this reading
of the Mark Twain essay of the same name and now
I see that it is read by one Rainer! Could it be
you?
https://librivox.org/the-awful-german-language-by-mark-twain/
Best wishes,
David
At 15:05 +0200 9/9/18, Rainer wrote:
Well yes I fear so!
Out of my searchable database of (now) 2060 images which I've been
collecting for years there are just 49 with a lute strap in use! And
most of those are archlutes or theorbos. I think this is indeed a
serious question.
An initial part of this database has been uploaded
Dear Ron,
Well it would be nice to be sure about the playing technique but to
be honest I can't see a plectrum in either hand. There is just the
faintest shadow that might be a remnant of plectrum over the first
finger of the left hand lutenist but I wouldn't swear to it. Though
of course
Yes this one is well known and it does indeed look as if they have
sunken roses like those of Gerard David but the painting has been
"cleaned" to within an inch of its life, certainly the strings did
not survive!
Your earlier one by circle of Caporali was unknown to me so thank you
very much
the German words - but I
cannot judge, if it is good English.
Probably it would be better to exchange the order of the words:
Against stupidity Gods themselves fight in vain - or (another try):
Against stupidity even Gods fight in vain
Best regards
Markus
Am 16.02.2018 um 22:18 schrieb David V
Dear Rainer,
Interestingly Google translate offers the following for your subject
line. In some ways it's a more subtle concept than the proper
translation!
"Against stupidity Gods fight themselves in vain"
Best wishes,
David
At 19:11 +0100 16/2/18, Rainer wrote:
Dear lute netters,
A
Dear Howard,
You are absolutely right, we need constantly to remember that.
At the conclusion of a piece I wrote about the timber trade for
lutemakers I put the following totally unscientific guesstimate. This
is in the context of just 826 surviving lutes of all periods including
The Paston Treasure: Microcosm of the Known World
The Paston Treasure, a huge painting from Norwich Castle, England,
showing part of the collection of Robert Paston the Earl of Yarmouth
c.1665 features a prominent life-size image of a 12 course lute and
less prominently
___
From: David Van Edwards <da...@vanedwards.co.uk>
To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Cc: Luca Manassero <l...@manassero.net>; baroque-lute
<baroque-lute@cs.dartmouth.edu>
Sent: Tuesday, 13 February 2018, 14:21
Subject: [BAROQUE-LU
I forgot that this list doesn't show images so here's a link instead
to the monster. Beware!
http://www.vanedwards.co.uk/Hoffmann.htm
David
At 14:21 + 13/2/18, David Van Edwards wrote:
--_-693590822==_ma===Content-Type: text/plain;
charset="us-ascii" ; form
--_-693590822==_ma===Content-Type: text/plain;
charset="us-ascii" ; format="flowed"
Nothing like this monster though. Body width 335 Depth 233
David
At 12:21 + 13/2/18, Martyn Hodgson wrote:
>Two other well known lutes by Johann Christian in the Brussels
>
I measured it many years ago.
handwritten label: Joh: Christ: Hoffmann //
Königl. Poln: und Churfl. // Sächs. Jnstrument //
und Lautenmacher. // Leipzig, 1720. //. plus a
repair label by Hoffmann dated 1732 Therefore
conceivable that the swan neck was added then,
but Hoffmann is usually
Dear Markus,
I'm glad the differences weren't greater!
I've taken mine from either my own measurements
or the various paper plans issued. Michael
Fleming did an interesting comparison of
different measurements from different
professional makers of the same viols and found
significant
the nut and
the first fret. A double fret for mean tone perhaps; or maybe just a
blob of paint! The ribs seem to be quite deeply scalloped don't you
think?
Best,
Matthew
On 04/10/2017 14:19, David Van Edwards wrote:
There's an interesting painting showing the back and part of the
lower pegbox
There's an interesting painting showing the back and part of the
lower pegbox of a French theorbo with its distinctive pierced
fretwoork pegbox and chanterelle slot. It is coming up for auction in
Vienna on 17/10/17 and can be seen here:
It was shown and played at a recent Lute Society meeting
https://www.facebook.com/events/386004838221612
Antonio Dattis http://www.antoniodattis.it/lutherie/ has produced a
working drawing of the instrument.
Best wishes,
David
At 06:40 + 3/9/17, Anthony Hart wrote:
--
Dear Rainer,
Just to check, this is using the normal Mac
keystrokes for diacriticals, I wonder if it will
be mangled by the Lute Net software?
Ü Ä Ö ä ö ü é â è
Best wishes,
David
At 14:20 +0200 29/7/17, Rainer wrote:
I have sent this mail with utf-8 encoding and everything looks OK.
Dear All,
This year I might again be doing an international summer workshop in
Norwich, as the Lute Society has need of another theorbo for hire to
members. If we do, it is likely to be in late July or early August. To
get a flavour of what is involved have a look at this webpage:
You might also like the original painting on which the engraving was based:
http://artuk.org/discover/artworks/mrs-arabella-hunt-16621705-playing-a-lute-28603
Best wishes,
David
At 16:02 -0400 10/6/16, theoj89...@new-old-mail.cs.dartmouth.edu wrote:
I have recently become fascinated by
Indeed what a resource, thank you!
I originally bought the CD from the Lute Society but had to send it
back because it didn't work on a Mac, so it had more problems than
were quite justifiable right from the start.
BTW have you noticed the heretical drawing of a *lute* player on the
Dear Christian,
"Affordable" and "carbon" don't go together!
If you or a friend have the time and inclination, this is certainly
both very affordable and very lightweight.
http://www.lutesociety.org/pages/catalogue#m (The second item in the list.)
Any questions, do ask me.
Best wishes,
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Andreas,
On your Hidalgo question, as people have been pointing out it is a
treatise on perspective not on fretting. So he even has the division
of the stringlength wrong for fretting purposes. He says divide the
stringlength into 16 parts whereas the the nearest whole number
Dear Martin and Sterling,
I happened to have a copy of Barley to hand and have checked and his
two woodcuts of lutes don't show octaves on any of the six courses.
Also a quick glance through his version of Le Roy's rules doesn't
show any reference to octaves at all, though I may have missed
Van Edwards wrote:
However I think the painting I discussed was simply copying the prop[s]
from Eglon van der Neer's works! The physical impossibility of holding
such a lute in such a position without grossly disturbing the diapason
strings makes me think that the painting has
Dear All,
My Lute of the Month series has dwindled to lute of the Year these
days! It's because I've mainly been writng them for the Lute Society's
newsletter, Lute News, now it has a nice full colour cover.
But here is the latest, as it were more public, example up on the web
Dear Luke,
I use clear polypropylene tape from Rajapack, a French firm who deal
via the internet but in Europe only.
http://www.rajapack.co.uk/packaging-tape-strapping/packaging-tape/28-micron-polypropylene-tape-clear-25mmx66m-pack-of-72_P25C.html
I see they make a stronger 35 micron tape but
I know nothing about guitars but from lutemaking
experence it is perfectly possible to glue the
thin piece of rosewood onto an unvarnished spruce
top and then to remove it again without any
damage at all to the spruce..so long as you
use hide glue. Which of course would have been
the
Dear All,
The variation in historical models is very wide.
You might be interested in these examples.
Players should choose for their own comfort.
BRUNER, Martin 1764Prague 152
BURKHOLZER, Hanns 1596Vienna KHM 44 / 4056 / NE 48
Dear All,
Some of you might be interested in the Summer/Fall lutemaking
workshop being run in Duluth next year. A couple of lutes will be
made in nine days, one renaissance and one baroque, to be donated to
the Lute Society of America for use as hire instruments to introduce
people to the
Dear All,
Just a small shameless plug on behalf of Thea Abbott who has just
published her biography of the lute pioneer, Diana Poulton, who
founded the Lute Society and taught most of the major players of
today.
Diana Poulton is best known as one of the 20th century's pioneers of
early
Dear Bill,
Thanks very much for alerting us to that. No, I don't know the
picture at all and I notice that the first question in the comments
section is asking where it is. No answer as yet, maybe he will
respond later.
There is also the conjecture which Lynda Sayce put forward that his
luthiers, and
so we get this wonderful variety in the iconography.
Kind regards,
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Sunday, 28 July 2013, 12:26
Subject
Dear Luca,
Yes there are 8 surviving lutes that I know of with gilded roses.
1. The 16th century lute by Wolfgang Wolf
currently in Füssen Museum has a gilded rose.
Impossible to say if it is original as it has
certainly been roughly gilded since then.
2.Lute by Jakob Langenwalder [Füssen
If so, it was restored by Nico van de Waals and
there are nice photos of it inside and out(!) in
Andreas Schlegel's book Die Laute in Europa 2 on
page 97
Best wishes,
David
At 14:15 + 12/4/13, Braig, Eugene wrote:
I'm guessing this is the Laurentius Greiff
(1610) lute that appears on
Dear Bill,
Casein glue was certainly used extensively in the middle ages by
painters to join the boards of their painting panels before preparing
with gesso etc. In fact quite a common recorded item in the invoices
they submitted to their commissioning patrons was for the cheese
needed to
Dear Bill,
Margaret beat me to it with the detailed quotes from Cennini and
Thompson but while I was looking at the Cennini I noticed that his
recipe for fish glue says that it was used for lute mending, It sounds
from the word leaf as if it is isinglass:
HOW FISH
Dear Alan,
Therefore he collected music for the whole gamut of renaissance lutes!
the six course lute is rather a different instrument from the 10 course
and different again from the 12 course. See this brief history of the
lute http://www.vanedwards.co.uk/history1.htm for some
Dear Mthias,
Well clapping as a way of showing appreciation at the end of a play is
thought to be referred to in the closing speech of Prospero in The
Tempest. In bold here, and presumably some sort of cheering is meant by
the following couplet.
EPILOGUE
SPOKEN BY PROSPERO
into it, as in
'bowing
and scraping'. Both words also apply to what people do to
members
of the violin family.
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: Mathias Roesel mathias.roe...@t-online.de
Cc: lute@cs.dartmouth.edu
Sent
Yes, as far as I have observed no lutes were made using support
blocks, however obvious it would be to give strength. In fact one of
the commonest problems with amateur made instruments is the tendency
to make things too strong. It is a maxim to bear in mind that lutes
sound best when right on
I jest of course, but in some ways it IS nerve-wracking for just that reason!
David
Yikes! How do professional lute makers manage to sleep at night, with
their products ready to go 'pop' at any moment?
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson
Dear Bill,
I assume one of these.
http://www.vanedwards.co.uk/93.tif
Sixtus Rauwolf Augsburg 1599 now in Copenhagen No. 93
This is the sole survivor of this type that Molenaer made famous. But
your painting has the lower strings offset in in a strange, rather
excessive, manner. Maybe a case
Dear Stephen,
No, rare as hens teeth! A little while ago I put together a page
about their apparent lack of use here:
http://www.vanedwards.co.uk/straps.htm
I must add this new picture to the collection.
Best wishes,
DAvid
At 07:32 -0800 4/2/13, Stephen Fryer wrote:
On 04/02/2013 5:54 AM,
, hitherto unknown
lute type.
Best regards,
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Monday, 4 February 2013, 15:07
Subject: Re: [LUTE] Lute painting
Dear
to the painting by J.G. Platzer; an apparently non-offset
theorbo neck extension.
-Original Message-
From: William Samson willsam...@yahoo.co.uk
To: David Van Edwards da...@vanedwards.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Mon, Feb 4, 2013 1:53 pm
Subject: [LUTE] Re: Lute painting
Hi
and David,
Here's a pdf scan of three not very good and now
discoloured photographs I took at the time I
made the drawing of M255 in 1983.
Maybe they can help a little bit.
Best wishes,
Paul
www.paulrans.com
On 31 Jan 2013, at 17:35, David Van Edwards wrote:
Dear Julien,
The best I have
photographs I took at the time I made the drawing of M255 in 1983.
Maybe they can help a little bit.
Best wishes,
Paul
www.paulrans.com
On 31 Jan 2013, at 17:35, David Van Edwards wrote:
Dear Julien,
The best I have is now up on the website at
http
Dear Martin,
One of the best is Klassiskgitar at:
http://www.klassiskgitar.net/imagesmain.html
Also Alfonso Marin's
http://www.lutevoice.com/luteiconography/Page%201.html
Best wishes,
David
At 17:29 +0100 31/1/13, Martin Shepherd wrote:
Hi All,
Can someone remind me of the best sources
Dear Julien,
The best I have is now up on the website at
http://www.vanedwards.co.uk/bridge255.jpg
The treble side is clearly a bit damaged but the
bass end shows it to be a sort of arrow head on
the end of standard curly arm. A bit like the end
of the Devil's tail?
Best wishes,
David
appears to me to be unison stringing from the 6th course down-
octaves only on 7 8. Anybody else notice this?
-Dan
On 1/31/2013 9:24 AM, David Van Edwards wrote:
Dear Martin,
One of the best is Klassiskgitar at:
http://www.klassiskgitar.net/imagesmain.html
Also Alfonso Marin's
http
Dear All,
I have just re-worked one of my old lute of the month essays to
include some corrections and some new information from a nice
exhibition about the life of Prince Henry at the National Portrait
Gallery as well as some new scans of the main pictures.
Dear Jaroslaw,
That's fascinating, I'd never looked for a high res image and had never
noticed.
I'm sure you're right that the coloured strings imply octave stringing,
rare up as far as the 3rd course though it is.
The empty nut grooves for 2 top strings are a bit more of a
Sorry, correction, I miscounted the diapasons it's 12 course
instrument, even odder.
Though, if she was given to wholesale restringing, it could imply a
restrung theorbo (or more likely archlute given the apparent size) with
the normal 8 single diapasons becoming here four octave
Dear Richard,
Last year I put a small hook on Lynda Sayce's theorbo case to take
these wheels and it has been a great success.
http://www.kcstrings.com/bass-buggie It is much better than using
skateboard wheels and deals with rough ground easily. Can be taken on
and off as needed and is light
,
David
At 23:07 +0200 18/6/12, David van Ooijen wrote:
I saw those wheels in action on double basses. Love them and indeed
they are better than my skate board wheels. A hook on the theorbo case
would be enough? Great idea!
David
On 18 June 2012 17:55, David Van Edwards da...@vanedwards.co.uk
Dear Andreas,
A wonderful resource! Thank you. And thank you Zürich!
It is of course an illustration of a concept
rather than a plausible device. Consider the
palaver involved in actually taking the
successive measurements. But a very nice lute.
Also have a look at page 100 with its
This seems a good moment to wheel out the piece from several years ago
that still alas applies!
Best wishes,
David
From the LS newsletter, November 1993:
Buying a lute, 1551 ===
Good morrow, Master Laux; I wish to buy a lute.
Good morrow, kind Sir; here
Dear Philip,
There is a very good page of advice about travelling by air with lute
written by Lynda Sayce on her website at:
http://www.theorbo.com/Writings/Flying.htm
She has a lot of experience and her advice is detailed, practical and sensible.
Good luck with your trip.
David
At 19:50
Dear Paul,
As it happens you can see stages in the process in the lute I'm
building at the moment.
https://picasaweb.google.com/113751643198470818818/WhatIAmBuildingAtTheMoment?authuser=0feat=embedwebsite
I do work the inlay flat and then bend it.
The full instructions on how to bend veneer
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