Dear Monica, Yes - I suspect it's a misprint. C below the bass clef is quite low enough for gut strings of such modest length.
I also don't think it right to call it an arch-cittern: Jordan probably called it a lute (she is described playing 'the lute' in contemporary reports as Peter's paper points out). The instrument depicted is similar to the large number of these extant theorboed type of instruments which were invented (especially in France, as well as England) during the final decades of the 18th century and continued into the first few of the 19th primarily for Drawing Room use. Many of these have the same basic characteristics: single strings, strings of gut, typically 7 fingered strings - as Jordan's, varying nos of basses from 4 to 14 eg see Baines Nos 326, 332, 334. Baines calls them by various names including arch-guitar and harp guitar. And, of course, by around 1800 the whole thing had degenerated into things like the Harp-lute-guitar (most famously in England associated with Light and Ventura - but other makers cashed in on the fad). Baines thinks the early instruments (say 1770 1800) were tuned like the English guitar with first six strings in a chord (of C) and this makes sense, but I also think we tend to underestimate the importance of these sort of instruments in continental, especially pre-revolutionary French (and Flanders), culture and they might have also tuned the highest courses in a chord but at a lower nominal pitch (say in A like the contemporary French cistre which, of course did have metal strings and double strings to each course and many also had free bases see Baines again). I think by c 1800 in France (and England) more of these were being tuned like the newly popular guitar and, indeed, much music says it is for lute or guitar. I think the best modern name for them is lute-guitar combining the early notion of 'antick' instruments and the modern style of play in a guitar fashion. For the latter see the example of 'The Blue Bells of Scotland' which employs simple and typical guitar arpeggios for a piece labelled as for 'GUITAR or LUTE'. By chance I had a communication only yesterday with someone else on the same sort of subject which is why, I guess, I'm writing at length. One thing is clear: it took someone quite outside the lute and guitar world to look at these instruments with a fresh eye - a good area for a post grad paper with v little competition. A later instrument, often called the 'bass guitar' is not really the same at all (tho superficially similar and thus a good candidate to confuse museum curators) since it developed from the 6 string guitar in the 1820s through works of people like Mertz, Coste, Dubez et al.......... Finally can you spot anything about Dorothy Jordan from the painting? - she is painted with her mouth closed ( as so many people were historically). I suspect this might be because she had few upper teeth - see her upper lip line....... but she was not alone.... rgds Martyn --- On Fri, 18/2/11, Monica Hall <mjlh...@tiscali.co.uk> wrote: From: Monica Hall <mjlh...@tiscali.co.uk> Subject: [VIHUELA] Arch-cittern To: "Vihuelalist" <vihuela@cs.dartmouth.edu> Date: Friday, 18 February, 2011, 11:52 Those of you who belong to the Lute Society will have received the latest number of Lute News. (Apologies to those of you who aren't members). This has a reproduction of the portrait of the actress Dorothy Jordan playing an arch-cittern - which looks a bit like an English guitar with additional diapasons. There is a commentary by Peter Holman. There are one or two things which I think experts on these instruments might be able to clarify for me. The first of these is where he mentions the possibility that the colour coded strings are harp strings and then says "this would mean that Jordan tuned them in a diatonic sequence rising from CC. According to both the Oxford Concise and Harvard Dictionaries there is no such thing as CC. C alone would indicate that the lowest diapason was tuned to the note C below the bass clef - i.e. with 2 leger lines. C1 is an octave below that which seems a bit unlikely. So what is the lowest note? Is "CC" a misprint for "C". The other question is about the music on p.7. I'm assuming that both parts are supposed to be played on a single instrument. If so the notes on the lower stave will occasionally overlap with those on the upper stave. Are we supposed to read the lower stave an octave lower? Hope I have made myself clear. Monica -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html