reasonably expect him to be have been concerned about the precise
> depiction of his (sole?) means of income.
>
> regards
>
> Martyn
> --- On Fri, 20/7/12, JarosAA'aw Lipski wrote:
>
> From: JarosAA'aw Lipski
> Subject: [LUTE] Re: Eleonore vo
een concerned about the precise
> depiction of his (sole?) means of income.
>
> regards
>
> Martyn
> --- On Fri, 20/7/12, JarosAA'aw Lipski wrote:
>
> From: JarosAA'aw Lipski
> Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten
> To:
Luis,
We live in very different times. In past people were accustomed to things that
we wouldn't tolerate. As far as I know many people were portrait with real
instruments, otherwise we could say that all iconography is rubbish. Is
portrait of Moutton just a rubbish? Was he holding a prop? A ve
Jaroslaw,
Just conjecture, but I would not use a working instrument to pose for
many hours for a painting of this detail. I keep mine in a case at all
times it is not being played to help keep it in tune. Do you think she
would tolerate a lute of her own that dirty? In that dress?
> of the museum.
>
> Wayne
>
> Begin forwarded message:
>
>> From: Jarosław Lipski
>> Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten
>> Date: July 20, 2012 1:04:43 PM EDT
>> To: lute@cs.dartmouth.edu
>>
>> Thank you Martyn,
>>
>>
Begin forwarded message:
> From: Jarosław Lipski
> Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten
> Date: July 20, 2012 1:04:43 PM EDT
> To: lute@cs.dartmouth.edu
>
> Thank you Martyn,
>
> Sorry, I've pushed the button too early by mistake.
> No, I am so
nt(s) Eleonore actually played at these little concerts?
>
> Martyn
>
>
>
> --- On Fri, 20/7/12, Jaros³aw Lipski wrote:
>
> From: Jaros³aw Lipski
> Subject: Re: [LUTE] Re: Eleonore von Schlieben-Sanditten
> To: "Martyn Hodgson"
> Date: Fri
d two Ladies made music on regular basis.' - is there any record
> of what instrument(s) Eleonore actually played at these little concerts?
>
> Martyn
>
>
>
> --- On Fri, 20/7/12, Jaros³aw Lipski wrote:
>
> From: Jaros³aw Lipski
> Subject: Re: [LUTE] Re: El
20/7/12, JarosAA'aw Lipski wrote:
>
> From: JarosAA'aw Lipski
> Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten
> To: lute@cs.dartmouth.edu
> Date: Friday, 20 July, 2012, 12:52
>
> Dear Martyn,
> It may look very incorrect howeve
Jarislow,
Certain things do stand out as accurate:
1) Lay a ruler down the edge of the fingerboard on both sides,
these coincide with edges of the bridge. The neck was originally a
baroque lute with a bent neck. The artist does not bother to correct
the un-esthetic crossi
ter this might be a dud lute being used as a sort of
> stage prop.
>
> Martyn
> --- On Fri, 20/7/12, JarosAA'aw Lipski wrote:
>
> From: JarosAA'aw Lipski
> Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten
> To: lute@cs.dartmouth.edu
> Date: Fr
>Let us suppose, for a moment, that the two missing strings are replaced
>- Assuming that they are two single strings, that would give 10 courses
>on the first pegbox. That seems rather a lot to me - I'm not aware of
>any instrument of this kind (archlute, theorbo, swan-neck) that
> PS I love puzzles like this!
>
> From: Jaros³aw Lipski
> To: lute@cs.dartmouth.edu
> Sent: Friday, 20 July 2012, 12:52
> Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten
>
> Dear Martyn,
>
> It may look very incorrect however we have to keep in mind that a p
e? If the latter this might be a dud lute being used as a sort of
stage prop.
Martyn
--- On Fri, 20/7/12, JarosAA'aw Lipski wrote:
From: JarosAA'aw Lipski
Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten
To: lute@cs.dartmouth.edu
Date: Friday, 20 Ju
ject: [LUTE] Re: Eleonore von Schlieben-Sanditten
Dear Martyn,
It may look very incorrect however we have to keep in mind that a
painting is not a photograph. A painter has other goals to achieve. We
can examine some interesting details of paintings, but coming into
direct conclusions is
Yes, I agree more or less. The only thing that I am not sure of is whether 2
first grooves on the nut are far apart because this is how they were in
reality, or Pesne didn't bother to depict a proper spacing. So it could be
either swan neck 13c (14c?) modified for continuo, or a German d-minor
Dear Martyn,
It may look very incorrect however we have to keep in mind that a painting is
not a photograph. A painter has other goals to achieve. We can examine some
interesting details of paintings, but coming into direct conclusions is another
matter.
First of all, Antoine Pesne who was the
Dear Jaroslaw,
It may be some sort of sport (in a modern biological sense), but I
suspect either the painter didn't quite get it right - see how the
first string is fastened not to the to the body of the bridge but to
the treble point! - or the neck is indeed incorrectly set (maybe
Bill,
This portrait was painted by Antoine Pesne (1683-1757)
http://en.wikipedia.org/wiki/Antoine_Pesne
Symbolism in art was used since ancient times. Baroque period is no exception,
however if a painter intended some kind of an allegory it would be more
pronaunced and it wouldn't concern just
Dear David,
Indeed it looks like 8+4 setting. The 1st string runs almost to the edge of
the bridge, but when examined on a big screen it's difficult to say if there is
any hole left on the bridge (treble side).
As for a ribbon stripe attached to the neck block button it could be that this
kind
>removed one or two top courses. It's ended up as an 11 course
>instrument and there is a fair amount of 11 course music intended for
>liuto attiorbato,
I count four double courses on the extension and eight double course over
the fret-board, totalling twelve courses. The coloured str
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 st
According to Peter Greenaway all baroque painting is pure symbolism.
RT
On 7/19/2012 4:32 PM, William Samson wrote:
Looks like eight double courses on the petit jeu and another four
double diapasons. The red (loaded?) strings start at the third course,
suggesting that it had a low p
Looks like eight double courses on the petit jeu and another four
double diapasons. The red (loaded?) strings start at the third course,
suggesting that it had a low pitch.
The first course seems to start some distance away from the edge of the
fingerboard at the nut, but passes c
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 puz
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