1

FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS

BULLETIN and COMMUNICATIONS JANUARY 1970

CONTENTS
page

Bulletin no. 2 2
NRI Design Service 6
Comm. no 5. The Geometric Description and Analysis of Instrument
Shapes. D. Abbott and E. Segerman. 7
C o m m . no. 6. Some Thoughts on a File of Musical Instruments.
E . Segerman and D. Abbott. 14
Comm. no. 7. Sources of Information on Authentic Lute Construction.
D. Abbott and E. Segerman. 15
Comm. no. 8. Some Manuscripts in the British Library with Musical
Instruments and a few other Sources. J. Montagu. 19
Comm. no 9. Comments on the Catalogue of the Victoria and Albert
Museum Travelling Exhibition of 1973. J . Montagu. 23
 FEILCWSTI? of i-AXiuhS and I^STO?JffiS of HISTORICAL JCJSTRUI^TS

ruUctin no.2 January, 1976

Gbserv.ent members will note a slight change in the above title. It

was pointed cut to us that Historical was better and more accurate
than historic, so with apologies to anyone elce whe didn't like it, we
have c:.:.r, g.-i it.
L'.'i . . ..A.- z ..'/•! liPllLL: V;e nave found that there is a nrinted matter
posta -o ra'.c- io Europe and although, this mean3 surface mail rather
than air mail, it seems to take very little longer. The Fellows have
therefore decided that we can reduce the European subscription to the
sr.\ c rate ?.s the U.K. {L2 instead of £4). I would be grateful, to
save got tin* forma! -:u-.k of England permission to send money abroad,
if European ctmhers would be kind enough to consider that they have
paid two yeurs1 :;uLccri ption; if any would prefer a refund, please
write rr.d cay so e... i I'll coal with it. If any such members feel that
they would prefer to got our lulletins a couple of days earlier and
want air mailing to continue, a ;ain please let me know but remember
that the subscription rate will then have to stay at £4.
because of this alteration we have had to produce a new membership
form and we enclose a cogy of this because each of you must know at
leact one person involved in mu.ical instruments who is not yet a
member; please give thorn this form and suggest that they join. If
ycu :.now several people, xerox it for them or send me a list of names
an i ad drc-s_' es.
r-^-.'.-jfnS: V.hen I wrote Bulletin no.l, wo had 30 members; today we have
114 (don't count up the Lint of Members; I sh.-n't type that till tomor-
row or tne next uay and a few more will .come in between now and then).
This suggests that .any people arc seeking the sort of information
that we hope to provide, but we can only put out what we get in; see
the note below about Communications.
The Fellows have unanimously elected an Honorary Fellow. Anthony
E'iincs, aether of Woodwind Instruments and their history, of European
and American I-.usicvl Instruments (an invaluable museum of instruments
between the covers of a be ok as it was once described), editor of
husioal Inctru: cnts through the A.;es and for many years of The Galpin
Society Journal, has acne rather more than most people to assist the
increase of knowledge about instruments, and is continuing to do so at
th-j ...usic Faculty in Oxford where he is Curator of the Bate Collection
of . isical Instruments (orchestral woodwind originally and now with
brass also, including much of the riorley Pegge Collection). We thought
t; a'. we wculd like- him no a Fellow of r'o.iuil and we thought also that
ve would like to show our appreciation of all that he has done and we
are glad "to say that he has dene us the honour of accepting our invi-
tation.
You v/ill find ncioscd herewith the first List of iicr.bers. I hope that
it is accurate, but deuce let me know as soon as possible of any er-
rors, nlr.-e oi' any addition-1 information. I have no postcode for a
r.i;.. _or of r.emlors and trie Post Office does ask us to include this and
threatens soon to insist upon it. Also I neve no information as to
what instruments some members are interested in (this is particularly
true of seme wi.o joined before the first circulation as the original
;•'.:;!.orship form had no space for this). Anything else you want to have
inciuaed, let me know. And let me know if you don't like this format.

- z-
If I list all the instruments ai'ter each member the list will be very
bulky, so 1 thought I'd try it iik.- this ana see if people find it use
ful. Your reactions and opinions will be welcomed.

CQ;irJi:iCATIOr:S: The next batch are also enclosed. If you find tec
many of tnc authors are the same cs last time, it's .cur fault. *e
cannot issue Communications t.nat we der.'t receive, and wo Laiiy :e-:d
more. They should be typed, in normal size type (one c:" the first
batch was typed on so call a fuce that it could net be furir.er re-urc
and so hod tc be done oo a separate sheet ir.ctesu cf in with the restN
on A4 paper (llV4 x 8 ~/4 inches; 2?.7 x 21 cm) with ore inch ( o mm)
margins all round (l 'was the worst offender last tire wit:, the _eilet:n)
/•
If the only paper you've got is larger than this, keep t. e text witr.ir.
these sizes end v/e can trim it; if your paper is smaller, it'll cc.re
out viith more white round it and waste space. . e have volunteers who
can translate into a.nd out of -trench, if that's any help nr.d we here
to accumulate other languages (please volunteer if ycu c:in help,.
Communications should be posted either to me or better tc igilla Abbott
(18 iloorfield Hoad, rianchester K20 6UY) and please post t-.em :iat
betv/een cards - otherwise they have to be ironed bei'cro t.uey -zsi be
photo-copied.
V/e would also like shorter notes, for instance like John Downing's note
on instruments illustrated in the Ashmolean which I've typed en the end
of my Communication on instruments in manuscripts as it's a similar
subject.
In particular we would like Source Lists and Biblio-raphies. Ycu can
save your colleagues a lot of time by typing an annotated list of cuch
books and other sources that you've consulted. My list of mi_nuscrirts
is simply a spin-off from research for illustrations fcr a b.ok; it is
not meant to be complete, but these are the manuscripts *:.at •*• leeked
at and it may help r.mcbcdy else. It took me three or four weeks to
look through these and publishing the list may allow sememe else to
do the same thing in three or four days, which is worth while.
Similarly reviews can heln people. If there is a book that you think
you could usefully review, let me knew and I'll try and get it. If
there is a subject en which you think you could review b;oks, a r.in
let me know and I'll build up a file.
b'JLSChl PflOhS: At the present rate of Co municatior.e, it lecks as
though we may have set these too high, though it depends a!! so on what
exorbitant increases the Post Office has in rind. The Fellows have
decided that we should see how we go this year anc then set next year's
figure accordingly. Unless something unexpected happens, ycu can as-
sume that you have paid initially for five circulations, last Catcher's
and four in 1976.
SblLii^ COknoa L>\;~R V;C01)-i:.Li FiAXIl.'G: I've had a long and interesting
letter from our member ..eiter -lermann Sella Tar (A-1050 Vienna, kculir.g-
gasse 42) about the courses he runs at Schloss Lreiten.eich. -res-
include, July 4 - 18> 'teed and Staple inking for double r.-el instruments,
taught by himself and David Skulski; July 18 - August 1, Ir.troiusticn
to the basic techniques of Woodwind Instrument rrakin.-:, taumt by Jchn
hanchet (with lathee for loth, cenical a::d cylindrical lore instruments);
August 29 - September 12, early Woodwind raking and restcraticn, 2 -air.
with John hanchet, a.-.d introduction to manufacture and repair cf '. m_;s
and metal parts of instruments, taught by noy '..igpir.s. There ere sim-

3-
ultroneous courses in ensemble playing of various sorts and various
lectures, museum visits end so on. The course is v/ell equipped with
five Arundel lathes, several historic lathes, incluuing a fully equipped
Holzapfel (con rT.ybody help Mr.Sallagar find some volumes cf liolzanfel's
bocue that he is lacking? I have a set but no duplicates) and one that
belc ••-•e. to .a.xL:;::li''-n I, and ether tools and weeds and so on. Anyone
interested is invited to write to him for more information.
kg- J ; ^..,l'IC.:S: It :;as been suggested that wo should correct errors of
fact that we hove found in either publications. If you think that this
is a good idea, ..eon an eye open .-"id send me notes when you come across
anything; tr.is 1 eed not be- confined to newly published material. To
st::'. off, 'rnyccuy who read iioracc Fitzpatrick's article on The iledie-
val . coruer in .airly ».usic for October 1973 may be interested to know
that iiit.cu will be a.n article on the Dordrocht recorder by nainer Weber
in t:.e next Sali-in -ocitty Journal. 1 have seen reconstructions of
this recorder by both autnors anu 1 think i-ir.Weber's article v/ill be
worth reading.
It has also teen suggested tnat we might list instruments which we know
are in peril in one way or another, with a note of the peril and, if
possible, suggestions for relief or cure. If you agree, please send
me lists. To start with:
1, Aito Se.ckL.ut by .iichael iiagel, dated 1663, in the Horniman museum,
London, tnc oleest sackbut known in Lritain. The metal of the bell is
crazed and perished and tue instrument appears to be held together by
a coating oi" lacquer.
2, lassethorn in tne Pitt hivers Huseum, Oxford. The bell is rotting
away end tnio a -:in is one of the earliest instruments of the type in
Lritain. There is no known cure for brass rot and we badly need one.
3» ^'ihuela in tne i-iucee Jacquemart-Andre, Paris (see ilichael Prynne
in GSJ 16 and figs.27o-280 in A.C.Laines Luropean & American i'iusical
Instruments). This i u said to be disintegrating under repeated hand-
ling and for lack of a proper case, and it is of course unique. J'.'aish
Weisman has a set of plans (he has made a reproduction) and is deposi-
tin ; these with lull; if you can make do with these instead of the ori-
ginal instrument, it will help to preserve it.
It hue also bee:! oug. octed that we should run a complaints conciliation
service; perhaps, we can mediate between a customer who won't pay and
the raker or restorer, between customer and ma..er who won't deliver al-
triCugr he has t; ken a de; csit, anu between, customer and :.uker/restorer
over unsatJsfact.ry work, It has also been suggested that wc might
publish in the bulletin that there has been a disput between A and B
so t.et Be. S'.. -s may note tnat eitner may be awlrward to deal with.
Personally, I'm rather a-:ir.sL tnis, partly because it loor.s like in-
volving a lot oi work but chiefly because it looks like a quick road
to libel actions. Let me Itnow what you think ana if there is a real
demand for it, we'll think and talk about it.
iSwlk. . .q.jA: 77..: Ltechen 'lag.,art recommends .ir.D.Arundel of :iills Drive,
Farnuyn head, i.ewurk, nottir.ghamshire as a maker of excellent woodworking
lathes, very well . ace and most reasonably priced (since he has five
of them, we can assume tnat I'ir.Sallagar would second this). He is a
highly skilled er Ti^:f-cr and will undertake cc:..micsions for unusual tools
sue;. '.•:; lor.g-trj j o r re-'imiurs, e t c .

1 would as.-: ether me? bees to follow i.r.'-nggart's example and report any
Other g od sources of tools and ouch lake.

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WALTS: (for addresses, see List of Members)
the «• r~.
Ann Griffiths wants scmeone to maxe her a harp with lea M..-.
and horsehair strings, according to her deductions fr^m .els.-, manus-
cripts; there is no iccnographic evidence available.
G.it.hirrs asks if there is any authentic repertoire fcr tr.e crwth ar.i
for the tromba marina, he alec asks wuc-ther the crwth belly • . s •-. :• ~ r
fiat and whether the shorter strings t.-.at iraetcrius shews en :•:.' .r:mu:
marina are drones or sympathetic strings. * w„uld tc interci'.•:: in
copies cf any resiles.
Arthur Findleton is lecking fcr a -ocd case rai:er fcr lutes- end wc Id
be glad cf offers cr recommendations.
U.S.Scalding w-nts details of the insides of the portative rr.er. in tr.e
Brussels Conservatoire nuseum (Italian, 1608) or cf any similar original
instrument.
Ian '.'atchom is hoping tc visit Europe in January 1977 to phrtemrerh
and draw old lutes, he knews of abcut 40 and would like : -.-.-estiens
of more (and presumably of some that .-embers may know are nee worth
the trouble), particularly of private collections. Ac he is in Austra-
lia, I would pass on any s ;ggestions to save postage if members prefer.
If so, please try to get ss ..estions to me by i-iarch 15th.
Carl Willetts seeks sources of supply ef synthetic ivory. .-••. is also
interested in obtaining measurements of early 16th century flutes,
especially by istsnesby, and in illustrations of shawms in early manus-
cripts.
Laurence Wright asks if anyone can provide him with measurements of a
tenor shawm, any Penaissance recorders and crumherns.
Fc.id:I (either to me or to Djilda Abbott) would like lists of plena
etc. available from ..useums, especially up ts uate complete lists and
catalogues; if you have any, we'd be grateful fcr xerexos e; that we
can help enquirers such rs the above. »'e wcsTci also liee r:-c mm end a-
tions of museums tnat held good stocks cf pcetcards. both cf instrument:
(the Gemeente in the Hague and the Conservatoire in -ruscel- ere both
excellent) and of paintings etc. which show instruments (tne /ritish
liuseum is ' uite good). We would also welcome any volunteers to cot
as museum monitors, people who would drop in to a museum fret: ~. ime to
time and keep us up t_ date on tilings like the above a-d en whether
they have got anything new.
OFrlIRS: (addresses in List cf Members)
John lartin Cummins offers limited practical help in tone adjustment
and general setting up of stringed instruments. Also recd-rueing
aria cr.enter setting up on small-pipes.
Julian Drake has X-radio raphs of the ccmetts in the vcr. rs-isch.es
Lationalmuscum, L'drciberg arid has made sc::er_atic drawings cf those,
he can translate any thin;; from i'rcneh into -nglish frcm I?«.C cr.. ana
ia", iish ts i'rench prcvided that it is not to cccinical or ren.cte ires.
his own knowledge| which is mainly abcut -..•ins. instruments.
h.S.Spalding ofhers help with techniques cf i;orking in weei eu.i metal
and says that he can make dyeline prints up to Al ir. size.
I"T; v.r.tehom cifers lists of the desi TIS end pi.et -r--p.ns cf lutes that
he has already obtained (see w m t e nuove? nr d is w:llir, • t: -nke. t: ese
available to colleagues.
 Laurence Wrigr.t has a care index of illustrations of psalteries in
the _ritish Library, he also offers help with French translations and
historical pinnuie ation fund advice en finding and interpreting mediae-
val literary rcfei'onces tc music, especially French pre-l;;CO.
i.' 1---3: i.-ie draft rules have been sent to all members with the receipt
for the pubecripticn. t/nly one ember has commented r.pon them, waich
::J gests tnat cvi rybody approves them (he liked them). They have not
y.t been vctec on bee: use trier, ere le.-e.l difficulties, eat unless I
hear to t.ec c.ntr::-y x will am-ur. e that everybody does en-rove nsevided
t;.':t t .0 lu'.ry r s 1 :.••: them ciesihn,: much the same as they do in the
craft, one snu • se - s to be tr.o .''act that cur policy is not to be
tvciled by voton at a meeting, but this X think is essential with a
wi >;Jy ay'••'.•: red ;-ib'v..h:p. '.;? used to get complaints, when x W H S
;•'.u'.r-'-.r./ wecruJ.ary, t.hat the Ga'lpin society was run by a local clique,
.-.:• inevitably with a L.nucn-basod committee it w-^s, and this I want to
avoid with Fo---:i. Lote tnat tr.e uuies do not prohibit meetings as
sssri, provide-i the:. thi.y con't commit absent members to anything, and
:••-•:• j tr.e next p«',ragr«pii.
ML./JII.' J3: The List of i.embers shows that there are already local groups
cf :•::.• s in ::o;:e areas, i-.ost cf us like to ges.rip with our colleagues
so i s sggest m a t you look through tne list, see if there are enough
!i'.e;-!Lers in your area and tnen arrange a get-together, dither do it
yo':rs:»:f by pr .re i-r letter or let Me know and I'll put a note in the
r..,xL iulletin, which X shf.il be writing in mid-April.
To start the ball rolling, members within reach of south-east London
are invited here on Sunday, i-iarch 7th at 8 p.m. (ie eat first; light
reireohmon be will La available but bring come of ycur own beer, please).
iecst of the more visible instruments (the heavy percussion lives in the
attic) 'ire wind with some strings, rather more ethno- than euro- but
od many of b th. If your ' acuse' ie interested, they're welcome
a so, as use n. ri-r.ro liber friends w.io nignt join. '-he aduress is
below; it's on the London street maps, south of Cnnberwell Green and
east of hrixten.

Jeremy i-.ontagu
7 Pickwick Hoad
Dulwich Village
* London, Si&l 7JK.

N.R.I. DESIGN SERVICE

The response from scholars to contribute designs has been about as slow as
their r e s p o n s e to write for FoMRHI. Because of t h i s , and because of the time
needed to negotiate with the museums that hold the original i n s t r u m e n t s , the first
Design Service Catalogue is very thin. It contains two designs from NRI: a bandora
based on P r a e t o r i u s and a 15th century mandora taken from a painting by van der
Wevdcn, and also live drawings of wind instruments donated by a m e m b e r , Capt. J .
Haynes: 2 flageolets, 2 tabor pipes and a Bafshorn.

Capt. Haynes would lil<e to buy a flageolet. Can anyone help?

The Design Service Catalogue also lists Canadian Sitka Spruce . The supply
of figured s y c a m o r e is still being negotiated.

Members of the Design Service will receive the Catalogue very soon.

Djilda Abbott
18, Moorfield Road, Manchester M20 8UY

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THE GEOMETRIC DESCRIPTION AND ANALYSIS OF INSTRUMENT SHAPES
Djilda Abbott and Ephraim Segerman

INTRODUCTION
The construction of the Hartung lute belly shape given by David Edwards (Lute
Soc. J . 15 (1973) 48) is an approach long used with respect to violins. Bessaraboff
(Ancient European Musical Instruments (1941), 305) gave what he called "a complete
geometrical analysis of the outline of the Amati model violin''. Heron-Allen (Violin
Making - as it was and is (1885), 137) had e a r l i e r presented his "method of drawing
an outline mathematically on a given graduated straight line". All of these constructions
involve circular a r c s which join up to form the outline of an instrument.
Any outline can be similarly represented by a s e r i e s of c i r c u l a r a r c s , with
perhaps some straight portions. We know that early instrument m a k e r s worked with
compasses and straight edges as part of their standard equipment, and thus it s e e m s
highly reasonable, as Edwards implies, that the early instrument shapes were generated
by some such m e a n s .
Bessaraboff did not explain the construction he published. On p. 376 he mentioned
a book he was writing explaining the method, but we a r e not aware of its appearance.
His violin analysis seems to involve generating the a r c - c e n t r e s and radii by geometric
construction from a basic rectangle without recourse to a graduated s c a l e . This is more
elegant than Heron-Allen's approach which gives the arc centres essentially as
co-ordinates in a rectangular co-ordinate system and gives the radii numerically.
Let us call Heron-Allen's approach a "geometrical description' and Bessaraboff's
approach a "geometrical analysis". We have no data strongly indicating which of
these methods early instrument designers used, or whether they used a combination
of them or some other system.
T h e r e is some value in making a geometrical description or analysis of an
instrument's shape beyond the intellectual exercise which this offers. Generation
of the shape by geometrical construction is both quicker and neater than freehand
drawing. It also allows better extrapolation when the shape is incomplete, as occurs
for example when a lute neck has been widened to take extra c o u r s e s , and part of the
original belly outline is hidden by the new neck. Another practical advantage is that
once we have found a geometrical analysis of a shape, it can be copied without r e c o u r s e
to tracing paper, and is often easier than the traditional method ci" copying by pricking
through the original onto the copy with a pin, at close intervals. Also, by changing
the basic dimension, .we can easily scale the shape to any other size we like.
We can never be s u r e , when we make a geometrical description of an
instrument's shape, that we have exactly matched the designer's intention because
of the question of accuracy. As evidenced by the diiferences between both sides of
a shape that was presumably intended to be s y m m e t r i c , it is obvious that the final
shape of an instrument could well have been different in some details from its
original design. If the shape is one of a surviving instrument ( r a t h e r than, say , an
instrument in a painting) there is also the question of what might have happened to
the shape during the instrument's history, either because of the anisotropic effect
of time on wood dimensions or because of accidents and r e p a i r s . Nevertheless it
is often worth doing a geometrical description and perhaps a geometrical analysis
for the reasons stated above. Also, if the analysis comes out with simple p.nremeters
it is highly probable that that is what the maker did. Comparing the analyses of

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different instruments by the same maker could lead to constructive speculations
about his methods, besides giving hints as to how complicated analyses could be the
results of distortions from basic simpler ones.

THE METHOD
When working out a s e r i e s of a r c s of c i r c l e s that circumduct a shape, it is
important to note that for the curve to be continuous at the point between two circular
a r c s , that point and the two centres of the a r c s must be on one straight line. Thus,
to continue to fit a curve past the point where the previous a r c stops following it,
the centre of the new a r c can be found by exploration along the line defined by that
point and the centre of the previous a r c . If a shape is symmetrical and has a curve,
which is continuous as it c r o s s e s the symmetry line this as a good place to start
finding the a r c s because this part of the curve has its a r c - c e n t r e on the symmetry
line.
If an instrument has a c o r n e r , we a r e forced at that point to explore without
knowing that the a r c - c e n t r e lies on a certain line. It is often useful, and in this case
especially so , to overlay the shape witli transparentxeo-ordinate paper. One moves
the paper till the relevant piece of curve matches one of the c i r c l e s on the paper
and then the centre is given by the centre of the polar co-ordinate paper. We are
preparing some paper of this type which will reach to a radius of about 2 metres
(available from NRI).
It is possible that geometrical descriptions and geometrical analyses will
be made on many early stringed instruments, and so some efficient means of
communicating this work should be available. T h e r e is no problem with geometrical
descriptions since a list of the co-ordinates of the centres of a r c s and values of
radii, in sequence going around the shape would suffice. Geometrical analysis
involves the description of a s e r i e s of geometrical comstructions, and since this
can get very wordy, a shorthand notation that is unambiguous could be quite useful.
We therefore propose the following system for notation of geometrical analyses.

1. BASIC DI MFNSION of the instrument can be specified either as an absolute

length, eg. 150 mm, or as a basic p a r a m e t e r of the instrument, eg. the maximum .
width of the soundboard.
2. SIZE OF THE SHEET needed for the drawing is specified as "Sheet so much
a c r o s s and so much up", expressed either as absolute lengths or as multiples of the
basic parameter of the instrument.
3. Next a STARTING LINE is defined by the two points A and B on it, by one of
the following:-
3.1. STARTING LINE FOR A SYMMETRIC INSTRUMENT (eg. lute, violin).
Symmetric instruments a r e , by convention, always drawn upright with the neck
pointing upwards. The statement: "Symmetric, A so much up, so much"
means: ' T h e instrument is s y m m e t r i c . Draw a vertical symmetry line down the
middle of the sheet. Mark point A on this line at the stated distance up from the
bottom. Draw a horizontal line through A and on it mark point B to the right of
A making AB the stated length.
3.2. STARTING LINE FOR A NON-SYMMETRIC INSTRUMENT (eg.harpsichord,
side view of a pegbox and s c r o l l ) . The statements: " A so much a c r o s s , so much
up. B so much a c r o s s , s o much u p . " define the starting line AB.

-?•
4. CONSTRUCTION OF THE SHAPE. We now define a notation for lines, c i r c l e s
and a r c s , where U, V, W, X, Y and Z a r e general points, and f represents a
number or ratio expressed as such.

4.1. WAYS TO GENERATE LINES, CIRCLES AND ARCS.

y
XY defines a line segment between points X and Y. ^-^^*

XYY defines a line between X and Y extended in the Y direction

WiiXY or WplXY defines a line parallel to the line XY going

through the point W.

W 1 X Y or WprXY defines a line perpendicular to the line XY

going through the point W.

UoV and UoW both define the same circle centred on point U
going through point V. UoV denotes following the circle
round in a clockwise direction starting at V, and Uo'V
denotes an anticlockwise direction. The reason for the
difference will become obvious later when we discuss
intersections.

UaV and UaW similarly denote a r c s (not complete circles) centred

on U and starting at V; UaV denoting clockwise direction
and U a V anticlockwise.
7
(Complete circles rather than a r c s a r e useful if another part of the c i r c l e will be
wanted later in the construction. )

Uo(XY) defines a circle centred on U whose radius is the same as

the line segment XY. The bracket around "XY" denotes that
it is this length and not the actual line segment that is meant.

(As there is no starting-point on the circumference we do not distinguish between

clockwise and anticlockwise directions h e r e . )

In this notation the (XY) can be replaced by either:

a multiple of (XY), eg. Uo(^XY) Q

the basic p a r a m e t e r or a multiple of it, eg. Uo(w)

an absolute length, eg. Uo(10cm)

WtUoV denotes a line through W which is tangent to the circle

UoV. Of the two possible such tangents the first one to
be encountered in following the c i r c l e round clockwise
starting from V is the one that is meant.

WtUoW denotes the other tangent.

WtUaV and WtUaW a r e obvious by analogy.

4.2 WAYS TO GENERATE A POINT
4 . 2 . 1 TO GENERATE A POINT BY INTERSECTION. A general statement
in the form: " Z = line or c i r c l e or a r c . another line or c i r c l e or a r c " means:
The point Z is the intersection of the first line or c i r c l e or arc with the
other line or c i r c l e or a r c . Where two such intersections e^ist, point Z is the
first of the two to be encountered while following around the c i r c l e or arc that comes
alter the dot in the statement.

Examples: Z = VW.XY * £ * Z = UplVW.XY

Z = XY.UoV

4 . 2 . 2 TO GENERATE A POINT BY CONSTRUCTION ALONG A LINE A general

statement of the form: " Z = XY(length) " or " Z = XYY(length) " or " Z = XXY(length)"
means:
The point Z lies on the line XY or XYY or XXY at the specified distance
from the first-mentioned point X. This distance, which appears in brackets, can be
in t e r m s of either a line segment or multiple thereof, or the basic parameter or
multiple of it, or an absolute length.

Examples: Z = XY(w) Z = XYY(2w) Z = XXY(2w)

%I*J

5. DESCRIBING THE SHAPE. When one has completed the construction (stage 4)
it merely remains to show where the instrument shape is among all the lines and arcs.
This is done by listing all the points along the outline where one a r c or line-segment
stops and the next begins. With a r c s we also give, in between the points for its ends
and in a bracket, the centre of the a r c .

Example: Shape WX(U)Y(V)Z

IN THE CONSTRUCTION OF A SYMMETRIC SHAPE most operations a r e done

twice over, once for the left side of the shape and once for the right. For every
point to the right of the symmetry line (eg. X) we call the symmetry-related point
on the left side X', and each drawing instruction implies also the symmetrical
operation on the opposite side. (This does not apply to points on the symmetry
line, which a r c of course unique.)

- 10 -
 J>
AN EXAMPLE ILLUSTRATING THE METHOD /
Lute Belly by LAUX MALER, Nurnberg No. M . I . 5 4 . /
Assumed s y m m e t r i c . The basic dimension /
is w, the maximum width of the belly. w = Z96mm/

Sheet 3w a c r o s s , 2w up /
S y m m e t r i c , A 0.6 w up, AB = §\v /
R = AprAB.Ao'B /
(R is the centre of the r o s e . ) / •
C = ABB.(l^w) /
D = ARR.CaB' /
E = RprRA.C'a'B /
F = B'E.Ao'B £Y R \e
G i RAA.AoB /\\f>^^' 1\
H -GF.E'AA ^^^L^/ \
I = rfini.B'an
J = RHII.Hal
K - RAA.RaJ
Shape D(C')B(B')I(II)J(R)K.
• B
3

l\ ^"—""~—n\ iV*~~~^~~-—~-- 1
" 77]r
I

1 \

J
r K '
 .F

r'/ c \e

fl \ 6 ^XD

a Q

H'\ 1 \ /^ H

J •

EXAMPLE: PEARL-SHAPED LUTE

Late 10th century lute body (converted to 18th century theorbo) in our possession.

= 3"IOrt\r>m
Assumed s y m m e t r i c . The basic dimension is w, the width of the body
Sheet l | w a c r o s s , l£w up
S y m m e t r i c , A \\\ up, AB = ^w
C = ABBOiw)
D = ABF(BC)
E = CplAB.D'a'B
F - ACC.D'a'B
R = AC.D'E
G - F a B .B ' aC
H = AGG.Aa
I = RGG.Gall
J - RAA.Ral
Shape F(D')B(A)H(G)I(R)J.

-12-
 These examples both fit the symmetrized shape more accurately than each
half does, and a r e simple enough to encourage us to believe that the method of
generation may well have been similar to what was originally used. This requirement
for accuracy is necessary for trustworthy communication, but to maintain it, some
shapes need rather m o r e a r c s and constructional steps than we can imagine the
maker using, since quite nearby points could have been generated much mere
simply. Following is an analysis of one such shape, of the large bass lute (M.1.44)
in Nurnberg. In spite of its overall complexity, certain features, such as the rose
centre, come out so easily that it is hard to believe that the maker could have
generated them in any other way. The analysis is as follows:
Basic dimension w = maximum width of the body = 434 m m .
Sheet 3w a c r o s s , 2w up
Symmetric, A | w up, AB = | w
C = BBA(w)
D' = BoA.CaB'
R = CD*.CD
E = RAA.AoB
F = AoB.Bo'A
G = CR.Ao'B
H = EG.FR
1= B'HH.B'aB
J = AGG. BoA
K = BC.BoA
L = KDD.F'RR
M = JK.CR
N= M'L'L'.M'aT)
O = ARR.LaN'
P = AHH.Hal
Q = HP.F'M
S = OQQ.Q.aP
T = AE.OaS
Shape 0(L')N(M')D(C f )B(B')I(H)P(Q)S(0)T
In the next FoMRHI issue we will present analyses of other lutes and of the
Praetorius bandora. We expect other FoMRHI m e m b e r s as well as us will be
making such contributions regularly. We find this a r a t h e r fun game to play -
and more constructive than c r o s s w o r d s .

- 13-
X
SOME THOUGHTS ON A FILE OF MUSICAL INSTRUMENTS
Ephraim Segerman and Djilda Abbott

Brown and Lascelle (Musical Iconography 1972) made an excellent step in

the direction of cataloguing iconographical information on musical instruments.
Though appreciating the value of this contribution, we feel that few people are in
a position to compile a large inventory single-handed. Some major problems with
Brown and Las cello's system a r c : the duplication of effort where each person (or
local group) compiles his own index, the wear and tear on artefacts through repeated
examination, and the fact that c r o s s referencing is laborious and becomes
increasingly inflexible as the index g r o w s .
Wo propose that FoMRHI set out to collect, reproduce and distribute
iconographical information on a worldwide co-operative basis in the form of a
card lilc. The system could be general enough to include surviving instruments
as well as representations.
Several people have said they would be willing to work on compiling a file.
Its usefulness will depend on co-operation from people collecting the data, and
contributions will not be made unless the contributors as well as others can all
have up-to-date copies. Further essential c r i t e r i a (as we s e e it) are:~
1.) The compiler of the file has a c c e s s to inexpensive duplicating facilities.
If he does not have access also to computing facilities , a co-compiler with such
facilities is essential.
2.) The index should be organized in such a way that updating does not involve a
lot of sorting either by the compiler or by recipients of copies, but this should not
impair ease of information-retrieval. Thus the sequence of entry in the file should
c o r r e l a t e strongly with the order in which information is collected. Since collectors
would normally record the contents of one collection (or part thereof) at a time, a
system of rcferencing-by-location is called for.
The collection and distribution of information might run something like this:
Information cards on each artefact studied a r e duplicated and distributed to
s u b s c r i b e r s at regular intervals. An Index Book containing computer-sorted
lists of cards which fall into certain classifications decided by the Fellows, is
distributed at longer intervals. Every so often a Cumulative Index Book is compiled
and distributed. The categories for classification will be reviewed before each
Index is compiled.
As much as possible of the information that is collected should be coded in
computer-rctrcivable form so that computer-sorting can always be done on new
c r i t e r i a . Special sortings, for particular r e s e a r c h projects that a r e not of general
interest, could be arranged as well. Whenever this is done the fact will be
communicated to all s u b s c r i b e r s who would be able to order copies.
First we need to re-formulate Brown and Lascelle's table of "Names for
Instruments" in a way that does not use n a m e s . Names a r e to be avoided since
meanings can vary with time or location, and also the association of names with
instruments may bo shown to be wrong by subsequent scholarship. Instead, a
computer-rctreivablc code should be assigned to each characteristic of the instrument,
including how it is held and other details of context.
Ideally the person collecting information should be thoroughly experienced in
that sort of artefact, but often the proper description of a source may require a
combination of experience that the r e s e a r c h e r does not have. We suggest that cards
should indicate what possible things the collector has not been able to interpret,
for example texts or titles associated with a representation, or its context.

- Ik -
 To work well the system needs to be thoroughly thought out first. What
it needs at this stage is for " e x p e r t s " on all types of instruments to draw up lists
of characteristics as mentioned above, and these should be as explicit and
v
unambiguous as possible. The list should encourage the collector to record
what he s e e s , and not what he guesses about what he s e e s .
People who a r e willing to construct lists of characteristics should contact the
Hon. Sec. since some co-ordination of effort is desirable. Volunteers to do
compiling, computing and distribution, though not needed to do anything at p r e s e n t ,
will be much appreciated. The knowledge that you a r e there and willing will be a
spur to us all.

SOURCES OF INFORMATION ON AUTHENTIC LUTE CONSTRUCTION

Djilda Abbott and Ephraim Segerman

We get innumerable enquiries from beginning and somewhat experienced

makers of lutes concerning the question of authenticity in lute construction. We t r y
to handle small numbers of specific questions as best we can (and suggest other
lute scholars when our knowledge is inadequate) but when the questions a r e of general
nature the answers require writing a book. Such a book needs to be written, and
perhaps the one promised for next year by Lyn Elder could be it, but till then the
best we can do is to provide the following list of sources of information available
mostly in English for our correspondent's self-education. No attempt at
completeness has been made, and we hope that other FoMRHI m e m b e r s will add
to this list, perhaps making it more useful.
We have learned much from other s c h o l a r s , particularly Michael Lowe,
Stephen Gottlieb and Ian Harwood, all of whom have examined many m o r e surviving
instruments than we have. A thorough digestion of all the references given here
will not provide enough information for a maker to fully design an authentic lute.
In spite of these inadequacies we include this.list h e r e not only for additions
by lute s c h o l a r s , but also to help FoMRHI m e m b e r s whose expertise is elsewhere,
to broaden their knowledge about the lute.
This communication wa6 reproduced from a Xerox of overlapping file c a r d s .
This is a very quick way of getting the information together for duplicating, and we
hope other m e m b e r s will do the s a m e in their own fields.

- 15"-
 ABBOTT, Djilda and SEGERMAN, Ephraim (1974) Strings in the COOPER, Robert S. (1983) Lute Construction. X
16th and 17th Centuries. GSJ XXVII, 48-73. Corrections CSJ
How to make a modern lute. Donald GILL'S c r i t i c i s m s in his
XXVIII, 154.
review, LSJ V, (1963), 57-60, a r e as valid today as they were
The relationship between string length and pitch is essential to then.
authentic lute design. The consequences of some of the theory
a r e more clearly presented in our paper on Gut Strings.

DART, Thurston (1958) Miss Mary BURWELL'S Instruction

ABBOTT, Djilda and SEGERMAN, Ephraim (1975) Cut Strings. Book for the Lute. G . S . J . XI, 3-62.
FoMRHI Comm. 3 .
Transcription of a m s . c . 1660's which includes the following
Implications of authentic gut strings on instrument design, setting-up sections:
and playing. Ch. II: "Of the increase of the lute and its shape", a comparison
of lute-making traditions,
Ch. IV: "Of the Strings of the Lute, and stringing thereof and of the
frets and tuning of the lute", just that, including notes on graded
, ABBOTT, Djilda and SEGERMAN, Ephraim (1975) The Cittern in frets and t h e importance of tuning a lute "in his right pitch" in
£. England before 1700. LSJ (to be published). relation to s i z e .
Section: ' T h e sizes of lutes used in broken c o n s o r t s " . Also modem reproduction with Intro, by R. SPENCER (1974)
The Burwell Lute T u t o r , Boethius P r e s s .

ABBOTT, Djilda and SEGERMAN, Ephraim (1975) On the sound of

early 16th century lutes. EM vol 3 , no 4, p 417. DOWLAND, Robert (1610) Varietie of Lute L e s s o n s . BM K . 2 . 1 .
Lithographic F a c s . ed E. HUNT (1958) Schott: "Other Necessarl
Observations Belonging to the Lute by John DOWLAND".
Lute s t r i n g s , and fret positions and ^thicknesses.
ANONYMOUS note (1964) Lute Heads. LSJ VI, 25-6.

EDWARDS, David (1973) A Geometrical Construction for a Lute

Profile. LSJ XV, 4 8 - 9 .
ANON (1975) The medieval, renaissance and baroque lute In pictures.
EM vol 3 , no 2, p . 137. An interesting approach, developed further by Djilda ABBOTT
and Ephraim SEGERMAN (1976): The geometric description
and analysis of Instrument s h a p e s . FoMRHI Comm S
 JOURNAL of the LUTE SOCIETY of AMERICA.
HARWOOD, Ian (1960) A Fifteenth Century Lute Design. LSJ.H,
3-8. Various artioles of interest.
The Ms. by Henri ARNAULT of Zwolle c. 1450; instructions on
how to make a lute. A better print of Arnault's drawing appears
in L. DE LA LAURENCIE (1928) Les Luthistes. Renouard, Paris. KOTTICK, Edward L. (1973) Building a 15th Century Lute. GSJ
XXVI, 72-83.
Ian HARWOOD»S comments (GSJ XXVII, (1974>, 158-60) are mor
HARWOOD, Ian, (1975) A Brief History of the Lute. Lute Soc, useful.

LUTE SOCIETY PICTURE COLLECTION

HELLWTG, Friedemann (1968) On the Construction of the Lute Reproductions of lutes in paintings, prints and sculptures, and
Belly. GSJXXI, 129-145. photographs of existing instruments.
Indispensable raw data. Full scale drawings of the bellies shown
in this article, including thickness measurements are obtainable
MACE, Thomas (1676) Musick's Monument. Facs. CNRS (1958).
from: Germanisches Nationalmuseum, 8500 Nurnberg, 111-
Postiach 9301, West Germany. The form and construction of a lute, maintenance and repair,
strings and frets.

HELLW1G, Friedemann (1970) An Example of Lute Restoration.

GSJ XXIII, 64-8. Corrections GSJ XXIV, 126. POHLMANN, Ernst (1968, 2/1971) Laute, Theorbe, Chittarrone
Bremen.
Brief dimensional Information on most of the surviving old lutes,
HELLWIG, Friedemann (1974) Lute Construction in the Renaissance and where they are located. Beware of silly e r r o r s . A new
and the Baroque. GSJ XXVII, 21-30. edition with corrections is forthcoming.
Useful rundown on design and materials.

PRAETORTUS, Michael (1619) Syntagma Muslcum, II De

HELLWIG, Friedemann (1974) Lute-Making in the 15th and 16th Organographla. Facs, (1964).
Century. LSJ XVI, 24-38. Tunings of different sizes. Dimensioned picture.
Information on design and materials, and on luto-makera.
 ROTTMAN, Kurt (1973) Historical Lute Bellies from the Standpoint
PRYNNE, Michael (1919) An Unrecorded Lute by HANS FREI.
of Modern Statics and Acoustics. GSJ XXVI, 25-8.
GSJ II, 4 7 - 5 1 . rebuilt c . 1680
Notes giving dimensions and materials of a lute c. 1550Anow at A load of rubbish.
Warwick Museum (no longer in playing condition and not on display).
A photo Bhowing the inside of this lute: Baincs (1961) Musical SEGERMAN, Ephraim and ABBOTT, Djilda (1975) On early
Instruments plate 13b. 16th century lute barring and bridge placement. FoMRHI Comm 1.
A tentative suggestion based on 2 surviving l u t e s .
PRYNNE, Michael (1959) Some Remarks on Old Lutes. LSJ I, 19-22.
On alterations and falsifications of surviving instruments.
SEGERMAN, Ephraim and ABBOTT, Djilda (1975) On lute bridges
and f r e t s . EM vol 3 no 3 p. 295.

PRYNNE, Michael (1961) James Talbot's Manuscript: IV - Plucked Relationship between the string tension, the static forces on the
Strings - The Lute Family. GSJ XIV, 52-68. soundboard and the instrument's action.

Dimensions and other constructional data recorded shortly after

1685.
WILLIAMS, W.G. (1975) Lute Construction and Playing. E.M.
vol. 3 no. 2, 177-9.
PRYNNE, Michael (1961) ' T h e Lute" in Baines (1961) Musical Some misconceptions. HARWOOD'S rep'y following is constructive.
Instruments, p. 157-65.
A short introduction.

PRYNNE, Michael (1963) The Old Bologna Lute Makers. LSJ V,

18-31.

PRYNNE, Michael (1964) Lute Bellies and Barring. LSJ VI, 7-12.
Good advice for beginning lute m a k e r s .
 Some Manuscripts in the British Library with ffcisical Lnotrum .nte
and a few oiher cources that I have fcuni

Arundel 83. Conflation of two Lr.-lie:. Puiltcrs. -act An "lie.. c.LJIO.

The second half is known, as the de Liele Psalter, deed source.
Includes: long trumpets, harpy, gittem, bagpipe, tells, fic.ic.
portative, psaltery, cur.t flute, pipe tc tabor.
Cotton, Tib.C.vi. Pcaltcr, aid Iltk c. f.;j is well kr.:"n: the ':-ct
is the usual Bocthius iTrroonbili tics of the p^ricd.
L'gerton 1159- Queen .''eliscandcr's Peel-„cr, Latin Kingdom of J-ru-.-lcr.,
C.114C. Tire only instrument ie a gecu harp for Beatus «'ir, a.-iii-
ablc as a poctca.ru.
Harley 2804. German Eible, 11^5. f.3 has a not very rs:c~ Savid c-r.i
musicians.
Harley 442p. La Porr.an de la iiose, pre l>iO. 2 folios w.'tr rrusic :arties.
Royal 2.A.xvi. Psalter time cf henry 7111, with ar.no tat lens by h.n.
Harp, pipe & tabor, short trunpet, dulcimer, luter-'ztin - in t.st
Henry is one of the musicians, but the Jnstrur. ents tire not vegy
clear.
Royal 2.A.xxii. The Westminster Psnlter, late 12th c. David with harp
and bells (postcard e.vailable), another harp. Interneetin " m that
Westminster Abbey has a very similar hemispherical bell in tne
Undercroft exhibition room.
Royal 2.B.vii. The Queen Mary Fsnlter, Lnrlish early Igt.n c. '.:11
known source with a lot of material, but. none cnite as .-cr? and
clear as in other iast Anglian Psalters [eq. Gorlestor and L^-.erell).
A few unique instrur.er.tr:, eg. harmonic flute, hawking bells.
Royal lO.F.iv. The ^"ithfield Lecretais, eecoud c-jarter I4*h c. Icn.T
trumpets, hawking bells and drum (which night be a geng), aerelat.
Royal 13.E.viii. Girnldu3 Carrbrensis, IJth c. Wolf with a bell reur.i
its neck, bell, good psaltery, horns.
Royal 19-D.iii. French Bible, 1/111. Good source: harps, pellet bells,
rebec, S-shaped trumpet, shawm, long trumpet, duct flute, nakers,
fiddles, psalteries, lutes, horn, portative organ, chert trum-;tc,
wide trumpets (this sort of description seers Letter than :s:i m -
ing controversial terms such as 'clarions' to seme cf -.hero: the
instruments are listed here and elsewhere in order 7y folic).
Sloane 3985- Dut<"h Astrological treatise, early 14th c. excellent
source which gives names for instruments in Latin: harps, shawms,
timbrels, fiddles^ r.andcre/citcie, huruy-. ~-Lriy, 'lamina', psalteries,
sistrum (?), cymbals, rebec, rebab, git tern.
Stowe 17. Dutch Pock of hours, 13/l4th c. '.'cry crabl fcr: at and full
of instruments: cvai fiddles, portative organs, ta.~.ip-3s with ar.i
without drone , harps, git terns with lor." and with turn ;d ": ae'.:
necks, long trumpets, pipes f< triers, animal bells, hunting ...r.ns.
psalteries, triangle, short trumpets, positive organ, tixbrel, hell
in a church tewer, drum.
Additional 11695- beatus Apocalypse, ..czaravic Spain, C.IIC9. deed
source for its time and place: oval fiudles plucked and ccwed,
wide trumpets, shawm. Two postcards available. f.So is plats
58 in Seebass ^see belcw).

- /<? _
 BL mss p.2

Additional 12228. Arthurian Romance, South Italian, mid 14th c. The

miniatures differ in date and some are 15th c. Quite good source:
horns, long trumpets, church, bells, dcgs with bells, bagpipe,
psalteries, lutes, pipes & tabors.
Additional 15/126. Psalter, Tonrerloo, Flanders, 1522. 'ihe miniatures
err- impressionistic rather than realistic.
Additional 170o0. Psalter, iaris(?), second half 13th c. Hostly too
unclear tc be useful.
Additional 10b:,0. 'Tne i-'odford hours, Anglo-French, c.1425. Excellent
course: harps, long trumpets, church organ, positive organ, psal-
teries, harps with broker, neoks, fidules, pellet bells, bagpipe,
hell c:.im«j, sinuous trumpets, curved trumpets, portatives, shawms,
h e m s , cymbals.
Additional ItiB'jl. The Isabella breviary, Flemish, 15/l6th c. At least
two artisis. 'icou source: bagpipes, lutes, pipe & tabor, lira,
triangles, harps, horns, oval fiddles, long trumpets, recorders,
portative organs, shawms, dulcimer, psalteries, cymbals, clappers.
Additional 19352. The St.basil Psalter (Theodore Psalter), Caesarea,
1C66. Almost all the miniatures are captioned in scribbled Greek;
many are badly rubbed, so it is now not as good a source as it once
was: harps of various shapes, horns, trumpets, side blown trumpet,
transverse flute, fiddle, drum.
Additional 22315* Joannis Gallici treatise on music, 15th c. f.15 shows
a late drawing of the original clavichord, a monochord with tan-
gents and keyboard (Smits van Vaesbcrghe illustrates part of the
folio in ..usikcrzichung).
Additional 25og6. French book of Hours, late 15th c. Not reliable.
Additional 29453* hours of Paris Use, French, early 15th c. Very pretty
manuscript, but some instruments are more pretty than reliable;
there are a lot of them, though: curved metal horns, pellet bells,
hot tie-bell shawm, psaltery, bagpipes, mandores, long trumpets, •
handbells, harps, pipe & tabor, tabors alone, triangles, fiddles,
hooked trumpets, shawms, lutes, hunting horns, cymbals, whistling,
pestles and r.ortars, nakers, helical horns, portative organ,
hurdy-.- urdy.
Additional y7oi$. Italian Hymnarium, 1415- Lot a wonderful source:
shawms, pipes and tabcrs, nakers, bagpipe, long trumpets, psalteries
cf different cnapes, fiddles, double pipes, timbrels, hurdy-gurdies,
nor. lore.
Adaitional yOOdJ. French Psalter, late 13th c. An useful set of pic-
tures, but few are detailed enough to be publishable: bagpipes
with and v/ithout drone, harp, handbells, mandore/citole, pellet
bells, shawms, long trumpets, gittern, waioted fiddle, bell chime,
t.-'bor, pestle «nd mortar.
Additional 42130. Tne Luttrell Psalter, ^ast Anglia, c.lj>40. Superb
source: h'irps, bagpipes, shawms, pipes & tabors, long trumpets,
bells, animal bolls, h-.mti.ng h o m e , handbells, whistling arrow,
positive organ, nakers, timbrel, hurdy-^airdy, double pipes, psal-
tery, rebec, hawking drum (or gong), double shawm, portative organ,
pestle and mortar.

10
 "** *•>
.- • ^

Additional 49622. The Goriestcn Psalter, Last Anglia, C.1J25. Lver.

better source, and very entertaining wij.ii a lot of rabbit tr.i
monkey musicians: hares, long trumpets, waisted f idcles, tabcr,
bagpipes with and without drone, duct flutes, s.-.crt horns, shawms,
whistling arrow, positive ergons, shcrt trumpets, r-ir- c •" taltrs.
pnalteries, portative organs, gitter.n, timbrels, har.u: 2llc. "r.awm
& tabor.
Additional 54180. French bible perapurr.se, c.1275. huite -rood but
not many instruments: curved metal horns, hunting morn, r a m ,
leper's clappers.

Manuscripts from other sources

Westminster Abbey, The Litlington Missal, Junglish 1364. Cgjite s geca

source: harps, nakers (seme cress-snared), double trumpets, mar.icres,
fiddles, straight trumpets, barpipes, shawm, plucked fiddle,
bowed gxttem.
Utrecht Psalter, probably 9th c , probably French, •'•here is a facsimile
in the Manuscript rtoom of the British Library, ioccellemt source:
harps, lyres large and small, necked kithara, tcng cyrbals,
waisted drums, trumpets, hydraulic orr?ns, etc.
Madrid, Lscorial T.j.l. Lac Cantigas de Santa .'btria del bey Alfonso Fl
Sabio. Tnere are photographs cf all the miniatures of this ms. in
Jose Guerrero Lovillo, Las Cantigas, .•iadrid, 1949. The rs.dates
from the second half of the 13th c. -xcelient source: fidele, vbnu-
ela (?), church bells, long trumpets, rebab, lute, psalteries of
four different shapes, cymbals, harness bells, rimpani (';).
Madrid, Lscorial J.b.2. Les Cantigas, etc., similar date, -"here is a
reduced size facsimile edited by iiiginio Angles, Barcelona 1964,
vol.3. badly dene and many miniatures murk on murk (lb iress mark
Ac.138 da, vcl.3). -here are better pnetc.- cf the miniatures ir.
J.Ribera, La i.usica de las Ca.nti -as etc, .adrid, 1922 V1L 1I/.SD.
i.12, again vol.3 1 think). Superb source: oval fiedies. waisted
.guitars, oval .guitars, lutes, psalteries cf five different sha:es,
rebecs, re nab, hurdy-gurdies, bell chimes, cymbals, portative er-
gons, zummara, bladder pipes straight end curved, trcr.cverse flutes.
bagpipes, finger-hole horns, complex shawm, rhawms, l^r. - trumpets.
clappers, pipes h tabors, harps, -his is tne tec: kr.owr. of tne
Cantigas mss. and seme cf the miniatures are very familiar.

Paris, Libliothccue Lational, n.s.fr. 9152. Francois l-.-.riin I- Jacques

Cellier, Recherche de Plusieurs Singularites, c.l;:"5- -f OLJ X,
p.88 and GSJ XIII, p.26. Some drawings fr c this rs. r.:e replica-
ted in PL Additional ms.50342. occellent seurce: r -v;.g--.:r.ry,
frencn cittern, harp, triangle, shawms, eornetts, rr.vil etc, ruitar,
psaltery, clavichord, orgar; and r e a l , lyre, cnr_licr. v:.- ;*..'.-.
mandore, arums, transverse flutes, viol, m.: :et, .c • .--?, viclir.,
pellet bells, lute, panpipes, iurkish tonb..r.
Paris, EI.', ms.lat.7255. Arnault de Zvclle and others, raes: or - _
tion by d.lc Ccrf & irJ.k.Loler.de, Instruments de hv.sigue ru xve
siecle: les traites a'benri-Arr.au t de ^wcile et je bivrcet: c-.-.e-
nymes, iaric, l';32, of w.:ic". e.nere is a facsimile vy ."r.:r.g.r,
cf GSJ V. Tne rs. antes from c.l'bJ. Ir.cc.r payable . -. : J -: ?_--,-.
c.nord, harpsichord, chekker, dv.lce melon, iu'.e, or--.-:. 77 .::':
not only tho instruments, drawn tc scolc, Lat nice cc s"e e;_' :rz.'.
details, such as the tarring.

- 7 I -
X

Useful check-lists of manuscript sources, more complete than the above

j ut without comments, have been published by Fciitel member Fdmund A.
bowles ir. botes, the Journal of the i-Iusic Library Association:
Vol.29 no.4 (1975/ 15tn Century iionuscricts at the British Museum
Vol.30 no.3 (1974) 15th Century Panuscrints at the Bibliothecue National
/0I.5O no.4 (1974) I.th Century lanuscripts at the Pierpont Morgan
Li Lrarv.

An excellent recent source book on manuscript illustrations, with

r.L•nil-ty of : Lotograchs, mainly i'rcm 9th to 1.3th centuries, with a few
enrlior and later, is Tilman Seebass, irusikdarstellung und Psalter-
illustration im fr'iheren Mittelalter, Iranckc Vcrlag, Berne, 1975-
excellent bibiio xaphv and source lists. One volume is text and the
other is plntes. i'i.v mem.ry is that 1 paid about iL15 a year or so ago,
but the pound has dropped against the franc since then.

Cther Iconogranhic Sources

The reauchar.p Chapel, St Fary's Church, Warwick, built 1442-1464? the

contract fcr the stained glass windows which include many instruments
is dated 1447. Fxcellent source; ycu will need a good binocular as
they are hi.-h on the wall. I have not yet succeeded in getting photo-
em p.:S that ere gooa enough to publish properly. Lorth windows:
bass shawm, trorr.ba marina held up over shoulder as in Kemlinc, timbrel,
recorders ^V), cavichord, bagpipe with drone and double chanter,
harpsichord, portative organ, triangle, single and double pibcorn,
treble shawr-s, tenor shawms, diskant shawms, double pibcorn. South
windows: pine & tabor, piper and tabor player (ie tv/o players), rebecs
towed with wooden caw, psaltery, positive organ, set of resting bells,
harps, crwtnau (the bow strings are laid like rope), lutes, mandores
or treble lutes. ir»otographs of the harpsichord and clavichord will
ie found in iadmund Bowles's article A Checklist of 15th Century Repre-
sentations of Stringed keyboard Instruments in keyboard Instruments,
ed.^uwin Kip-in, luiinburgh University, 1971 •

Another Fo.bbil member, John Downing, hes sent the following list of
pictures in the Ashnolean Museum, Oxford:
Portrait of a Musician (Claudio I.onteverdi ? ) : a poor viol. Fox Strang-
ways Gallery.
Gallery 21: no.42, Virgin <3c Child, Florentine c.1400: fiddle, back-view,
no.51, Arion riding on a dolphin by Giroiamo llocetto, 1^50-
1931, Venetian: rebec.
no.329. Annunciation, Florentine c.1425: trumpets, nakers,
shawms.
Gallery 25: no.160, A man with Recorder, by Lodovicus Finsonius, 1580-
1617.
Gallery JO: plaquette no.22, St Cecilia by Andrea Broscio, 1470-1532:
portative orran, lute, fiddle, harp,
plaqoette no.51, 1'he Genius of i-iusic, c.1500, Lorth Italy:
trumpet, horn, pipes, lyre, fiddle, recorders,
trembu rarina, cymbals.
plaquette no.79. Orpheus charming the animals by O.riodemi,
1460-1528, Padua: viol.
watch by Abraham bribe]in, 1589-1671, Orpheus playing to
animals: harp, lute, violin.
Jeremy Montagu

-22 -
 Many FoMRHI members will, I hope, have bought the Catalmmue
of the Victoria & Albert Museum Travelling Fxhibiticn cf 1973 entitled
Lighteenth Century Musical Instruments: France and I r; tain. fhis vr.s
(and still is, for copies are still available) excellent value at £^.50"
fcr each exhibit is illustrated. *-'.nfcrt :n?tely, the Caralcgre is
bedevilled with r.u-ero.rs errors, both type-rag.icol -and textual. I
wrote a review of it for the Galvia Society "cumal w: Lea, :':r lack of
space, coulc not be induced ?n GSJ XX7III; it may still aotcar. i:
the cditcr consicers it still to be sufficiently topical, in XXIX, but
it was not, of course, possible to list ail these errcrs in a review.
Tne following is in no sense a review, but is simply a list, ccmstimes
with justification, of such errors es 1 have spotted ir. :..e ucps tr.at
such a list will be of use tc our ncmbers. J. wculd sirens tnat the
publication of sucn a list is intended as a compliment tc tne au-.r.r.rs
and publisher of tne Gaialogue; if it were net sucn an useful comriint-
ion, there would be no point in producing this list. As it :.s, with,
these ana pcrnaps ctner corrections, it may fulfil the aim rxfrcceei
in the Foreword by the then Director of the V I A , cf teco_r.ir.-g " a
standard work of reference".

p.xiii, no.19, English text: fcr Lefleur, read Lafleur

p.xx (unless otherwise stated, all remarks refer tc the English text):
the bass transverse flute was haruly new in the 16th century.
p.xxii, end: "Precise details" are only obtainable frcm the lending
institutions; there are more instruments from private collectors,
who are anonymous, than from any one institution. In a few cases,
comparison with other exhibition catalogues allows us to ciecrr.u-r
who the lenders are.
p.4 There is no reference from the Catalc-ue entries to the eclcur
plates; this instrument is on colour plate II.
p.6 Russell (V<5_A keyboard Catalogue p.54/ says that the case is cf
mahogany and not of walnut. There are nc cross-references frcm this
Catalogue to those of the V&A but of course far mere denaMl will be
found in the V«A catalogues (Vol. I Key ..cards by i-aymcr.d :-ruccelI and
Vol.11 everything else by A.C.be.ines - excluding, that is, the con-
siderable and important collections of ncn--burcp-:an instruments;.
There is thus a cross-check on all the instruments from the YoA but
not, unfortunately, on many of tnese frcm trie Paris Ccr.servutcire,
the only catalogue of which is very out of cnte. or the Hcrr.imor.
save for the Carse Catalogue, which was fairly summary, and the re-
cent handbook which is no more than a list.
p.10 See colour plate III opposite page 1.
p.12 See colour plate IV opposite pa--e 90- Considering the cost of
plates, it seems a great pity to duplicate plates in eclour and in
monochrome; if tnere is a eclour plate, why not give a different
view in monochrome? There are a number of c mme-.nts cr. this entry.
para.3 It is not true that "the_only difference /between this inst-
rument, no.5, and the next, nc.6/ is in the cases". 5 "-2.S one redai
6 has two. 6 has the Hnrp on the upper :.anuai; has 5? 6 hes a
machine; 5 has not. 6 is J & A Kirckman; 5. despite the mealing at
the top of the page, is Jacob alone. The two instruments rre abcut
as different as two examples of the same model could b-:.

-23
r<

p.12 continued, last para.,7 lines from bottom: for serviced read,
presumably, furthest.
three lines from bottom: for These read There. In fact, as already
stated, 5 has only one pedal whereas 6 has two; this entry was copied
frcm the V«tA Keyboard Catalogue which refers only to 6.
two lines from bottom: for "chromatic but with FF#" read without FF#.
This is a repetition of a misprint in the V&A Keyboard Catalogue;
Puucell die- before that volume appeared and the odd misprint is
therefore excusable; tc repeat it, particularly when it makes non-
s nse of the text, ie not.
p.17 There ie a cross-reference to the colour plate on the cover here,
which again ma.-:ee one wonder why there are none to those in the text.
p.22 bne wonders how justifiable it is to say that the tenor violin
was replaced by Lhe vioia and the 'cello. Indeed, with reference to
tne French text on p..c5» can taille be taken always to mean tenor
violin?
p.2il para.2, penultimate line: for bottom road button,
plate 9d dotJ not snow the tilt of the neck.
p.27 The entry describes the maker rather than the instrument; being
a privately owned instrument, one cannot seek information from the
evner.
p.23 Despite t.nis viola being in "almost original state" it is appa-
rent that it has a new neck, new fingerboard, new bridge; one may
hope in these circumstances that it also has the appropriate modifi-
cations inside, though these are not apparent.
p.30 penultimate line: for guitar read violin.
p.32 no.16 According to Laines (V&A Catalogue Vol.11 p.22) this kit
is binglish and ie made of sycamore.
p.33 no.18 Surely this is too small (length 250 mm, less than 10 inches)
even for a kit; it looks like a prop for a fancy dress party.
p.35 if the tuning machines are original, this is a 19th century
double bass.
p.38 There is considerable confusion in this introductory page to the
viols. The first sentence ("After the death of Louis XIV, the pres-
tige of the viola da gamba....was very great") presumably does not
intend to suggest cause and effect, l.'either the French nor the
Lnglich texts seem very clear on nomenclature and there is confusion
between alto, 'counter-tenor' and haute-cont.re. The authors seem
net to have heard of the division viol. In addition, viol is English;
viola da g..n':a is Itelian; viol da gamba is neither. So far as the
final paragraph is concerned, see Eric Halfpenny, A Note on the-
Genealogy of the Double .uass in GSJ I, 1948.
p.40 The text does not state why this pardessus de viole "is remar-
kable" The fact that Jean Louvet brands his instruments LCUVET,
w.nereas his brother crands P.biUVET, sug nests that it was Jean,
rather t.nan Pierre, tnat was the more important maker in the esti-
mation of his own time at least.

p.41 If the 1 nngth given for this pardessus is correct, it cannot be

a pardessus; it is the same as the treble on the following page,
p.43 For See no.16, read bee no. 17.

- 24 -
p.44 The label of this instrument reads, according to _air.es. VLA
Catalogue Vol.11 p.5i "Gasparo da Salo in krescia" and, cr. a second
label "Fred.Hintz/fecit / London 1760". At a length of 1220 mm.
this is surely a large division viol and not a true bars. Mne
quotation frcm Mortimer's Directory is taken from uoir.es. c• r.cit.
and for Guittar-maker read Guitar-maker (but guittars in the next
line is correct); for V:ola de 1'amour reed viols e'e 1'Amour. If
one cuotes, one s.nouid quote.
p.46 for zither-viola read zither-viol.
p.49 penultimate line: fcr nut reac s.->ddle(or tail-piece rest).
p.52 Since the final sentence is not a aircct quote frcm the Dublin
directories (as it'is in Paines, or.cit. p.49), 'colters' should be
translated to culcimers, as it is in the *rcnch text.
p.93 The tromba carina is presumably included among the instrue-nts
with sympathetic strings because the VoA tromba marina r.as £.".pa-
thetic strings; unfortunately, the tromba marina catalogued here
does not have sympathetic strings, which were by no means a standard
feature of the instrument, ana taerefore it should not te included
in this section. It is a very odd tromba marina, with frets set
into the fingerboard at non-harmonic positions and in the area
where the player should be bowing and not fingering. Acccrcing tc
the text "the tromba marina owed its survival after the French Revo-
lution to one of the elements of its technique, the "position cf
the thumb", used by 'cellists." An interesting thecry, that the
revolutionaries spared only those instruments on which 'cellists
might use the thumb position!
p.54 line 2: for inwards read straight.
line 3 : for played with a violin bow read played with two small
violin bows, one held in each nand. To those whom this correction
puzzles, the instrument is nail-violin. Kail-fiddle is a better name.
p.56 The introaucticn to the Bows mentions all tne important inno-
vators, but the exhibition included no specimens of their work, net
even a Tourte or a Dodd. What the introduction dees net say is tnat
the bows exhibited, in the main, belong to the instruments exhibited.
There are no cross-references, but seme can be hazarded.
p.59 presumably the bow of no.11.
p.60 presumably the bow of no.12.
p.61 presumably the bew cf r.0.13.
p.62 no.35 presumably tne bow of no.15.
no.37 presumably the bow of no.19-
p.63 presumably the bow of no.21.
p.64 presumably net associated with any instrument exhibited.
p.65 presumably not associated with any instrument exhibited.
p.67 certainly the bow of no.29. Though if the similar bow in the
Germanisches Nationalmuseum, Pumberg (MI 2) is anything to go by,
the bow is a ccuple of centuries older than the instrument.
p.70 line 6 for belly roan back. The fair round belly wit.u good capes
lined is a human characteristic: the belly of an instrument is flat
and otherwise known ns the sou.nd-kc.ard, and it is the . - ck cf the
lute and the hurdy-gurdy that is roundea.

-2S -
X
p.74 It is interesting, en passant, that this Pierre Louvet hurdy-
gurdy is marked in only one place whereas the very similar instru-
ment by the came maker in the V.oA (baines, op.cit., p.25) is marked
in seven places.
p.75 The obvic-c way of telling whether this hurdy-gurdy was a maker'6
masterpiece cr whether it was a child's instrument is to see whether
it shews si. nn of use.
p.77 -i.ere is a full description of this instrument in Baines, op.cit.
p.26; there is none here.
p.78 lines 4 i 5= for jacks reau tangents.
There arc presumably also tangents for the fourth string, which is
a drone wboce pitch can be altered, but they do not appear in the
picture, nor does the description make clear how they work.
i':ie text cut rests that this may be "the reduced model of a hurdy-
,urdy made to fit in a case" but the pictures strongly suggest that
this is an organ-builder's attempt to improve the hurdy-gurdy.
p.60 The description of this instrument suggests that only the vielle
crgnnisre had the four drones; they were, of course, standard on
O L I normal hurdy-gurdies.
For Tire ran.;e is twenty-four notes, read twenty-five; there must be
an open .string pitch as wellAtne twenty-four produced by the keys.
There are o.nly 24 organ pip?:s, though; can anyone tell me whether
the vrelle nrnriisee had an organ drone as well as string drcne?
p.84 first seven lines: the authors seem surprised that dance music and
other 16th century publications for guitar had "a plain melodic line
with hardly any ornamentation"; the player was expected to be reaso-
nably musical aril to provide his or her own ornamentation.
para.2: "fhc cittern or English Ouitar was a great favourite in the
sixteenth c-jntury". Unfortunately, the tnglish Ouitar was invented
in the luth century. The two instruments are distinct and should
not be confused; the necks are different, the body shape is diffe-
rent (especially in orofile) and the tuning is different. One could
say tnat the use of the instruments v/as similar, but so one could of
the Albert Hall ergon and the harmonium.
para.4: for guitarra Portuguese read guitarra. 'The Spanish guitar
is called viola (ci'.vihuela) in Portuguese and guitarra can only
mean the instrument like the .-nglish guitar.
para.5: It is difkicult to pin-point any false statement, but this
oesorjption of the history of the harp scm-ehow gives the wrong im-
pression.
p.86 line 4: for tone read key (French ten dees not mean English tone).
p.91 bescribed an"a hybrid,rather than a real mandolin", this is a
perfectly normal Milanese mandolin. The authors appear only to have
heard of trie Neapolitan type. Belly and back ore confused a^ain (see
note for p.70 atove/.
p.92 "Only the decoration of the back enables one to date it in
the loth century." There is a label with maker's name.
p.93 See colour plate VI opposite page 114.
i'here is a roblem, according to the text, about the stringing, which
one would think couid be immediately solved by reference to the holes
piercing tn. bx ..-•;. bnfortunately, both the colour and the monochrome
plate show an identical back view and tne front is not illustrated.

- 26 -
p.47 I must apologise: I over-ran this one. See eclour plate /
opposite page 99-
p.98 The V&A Catalogue number should read: V7-I919.
For sixteen brass frets read fourteen full frets and two half frets.
The ur.usua.lly high bricge is net noted in the text.

Baines, oo.cit. p.49, notes that the rose is missing; it was net
originally an open sound-hole.

p.99 The instrument:: from the V.vA ana those from the i.^rr.Lz::: ail nave
their own catalogue numbers listed. Lone cf these from the i-rr.s
Conservatoire do and or" wonders why not? However. *:.: z - r • : ~'..-. tr=
appears also in Baines 1 .crept an and American Ir.rrtr urn* n : 3 ,:. .c.c
and is there s.-.own as C.260.

p.101 The length given (19OC mm) is tire height of tht fore-pillar only
and not that of the instrument.
Merely to say "tuned chromatically" is misleading with tne triple
harp, ror this instrument, and fcr the triple harp in ...neral, see
Joan Rjmmer, The Morphology of the Triple harp in GbJ X/ill, iri5.
See also Baines European and American instruments, no.3,4.
p.104 We usually use Be'cuilles in English also, rather than "crutch"'.
p.106 "Ln the past crwths were mostly plucked and it is fcr this reason
that it is here classified ameng tne various plucked stringsa instru-
ments." Words pretty nearly fail me. "..hen trie cr«th -.%ns tl-ck=d,'
so was the instrument that became the fidnle. but one Joes r.ot clas-
sify violins, viols and guitars togetaer for that reason. -he crwth
as we know it, with a central fingerboard one sc en, was always
bowed, was built to be bowed in fact and cuite cicorig was ccried
from the viclin; there is ne surviving cr-.;th with central reck cr
fingerboard of pre-violin type (thcugn the -barter house of ••est-
minster Abbey and the windows cf the beaucr.a.mp ohapel ••orwick are
evidence that such did exist), ror that matter, how c-.:. the crwth
have been "mostly plucked" if it was the "V.elsn oeccindont cf toe
ncrdic bewed lyre"? There is untold confusion on this page.

The bridge is misplaced in the photo; it should run approximately

parallel to the upper edge of the tail-piece.

According to lowerth Peate (MAN, 1947:17, p.23) this instrument is

a post-1372 copy of the crwth made by Richard i.vans of l.or,fi..angel
Bachellaeth in 1742, which is ntw in the »'elsh Folk ..us-.um at bt.
Pagans, Cardiff, Tne copies now in the V&A and ether museums were
made by Chanot of Wardour Street, The original instrument bee the
maker's name in it. headers are referred to this article lor fur-
ther information en the crwth.

p.lC7 no.65 According to Baines, European and American Instruments

no.359> this epinette aes V'cr.ges is lyth century.
no.66 •'•he functien cf the lid is tc allow the sash cf a window
to be closed onto the instrument without touching tne strings, net
to deflect the air ontc the strings.
p.110 For these who are not organ schclars, for fifteenths read double-
octaves, (on line 4 )
para.2 line 4. For It read 'ihe uulc:mer.

p.112 See colour plate VII oi.cesite page 115>-

Note that the two longest strings ore full length; tbgv are not divi-
ded by the aliquot briege. The right-hand bridges seem tc be in
rather randcm positions.

- 27 -
-y
p.113 As the text makes clear, the bell harp is plucked with plectra;
this instrument should therefore be in the previous section with the
other plucked strings and net here, with the struck strings. The
text does net say that an essential part of the playing technique
was S'./ir.ging the instrument.
p.114 For 99 (at the head of the page) read 69.
lent line: insert at the beminning of the line: the pitch of two of
facing p.115 The plate of the musette de Cour is reversed; the mono-
chrome nrint of the same plate en p.loO is correct.
p.12 5 i'ne catc given fcr this instrument (18th century) is pure specu-
lation: tne instrument is still used in this form.
line 4: for ;layer's body read player's shoulder.
p.120 it is questienable whether makers' marks on woodwinds should be
c-iiled "brand" as here or Stamp or Mark. Brand implies the use of
heat.
Full details of the two Stanesby recorders on this page(no.71 by
Senior; no.72 by Punior) will be found in zric Halfpenny's article
'Tne ongiish baroque "reble Recorder, GSJ IX, 1956.
The following page should be numbered 121, not 12.
p.125 bote the flute-shaped foot, not mentioned in the text. There is
also no mention of the hole in the cap, probably for a buzzing mem-
brane, as baines suggests in V&A Catalogue Vol.11, p.85-
p.126 'Tne crook is probably net original. Bespite the suggestion in
the text that tne two holes for the crook are not both original (one
ir. the vertex of trie head, the other at the side), comparison with
the ivory bass recorder in Budapest (Montagu, ihe Society's First
Foreign Tour, GSJ XXI, 1968, p.8) suggests that these may have been •
original alternatives.
p.127 The crock is certainly not original, nor is the key; see Eric
Halfpenny, Ihe bass Recorders of Prescan, GSJ VIII, 1955» particu-'
lerly his plate /I on which the instrument still retained the ivory
mouthpiece w.nich now seems to be lost.
The length given is without the crook.
line 2: for peg read strut. As Halfpenny established (op.cit.),
the strut is an essential part of the acoustical system, being a
tube dosi.med to resonate and fill-out the bottom notes; the fact
trrat it cutiv rtS the instrument en the floor, when the player is
seated, is a secondary and incidental advantage.
p.12k line 1: for "galoubet" read tabor pipe.
Cne did not, in English-, call this "in the Middle Ages a two-fingered
flute", nor is it ncuknown, in English,"as a three-holed flute",
m i s is, of course, a translation cf the French text v/hich is ccrrect,
but French and Erwlich usage differed.
...:• second tabor pipe on this page, no.80, is unusual in that it
o pears to be jointed.
p. 129 more- seems no evidence tnat these two French flageolets are bird
pipes; they look to be normal flageolets cf their period. Ko.81 was
stood on its hc-a 1 to be photographed, as the shadow at the top of
tne plate indicates.

- 23
p.130 No.83, line 2: pitch pipes were not used solely when"singing
metrical psalms".
p.132 para.3: I am open tc ccrrection, tut surely Mozart did net
write his concertos for the one-key flute. Apart fr. m ar.y other
considerations, the Flute <5c ..arp Concerto (K.299) demands b fiat
and middle C (bars 151/2, 1st movement and bar 3^9» finale' and
the chromaticisms of the 0 major Concerto (X.;14) rtrc.nglg imply
the presence of 4 keys - interestingly, tne C atcve mi dele is seldom
naturalled, the C naturals usually being an octave higher, vu.cn
suggests that the fifth key, the upper C natural, was not used.
p.134 no.85'- If the length quoted (335 mm) is cerrect, thir carrot be
a normal piccolo; on .the other hand, it is sr.crt for a B flat fiute.
no.86 is listed in Baines, European b American Instruments (no.4"0)
as "coll. G. i'hibault". He dates it to c.1770 and Lor.jvill (index of
Wind-instrument Makers, 4th edn.) tcc.1750.
p.135 no.87: This flute by Hotteterre has every appearance cf being a
modern copy of that in the Berlin Collection (no.2e70); if it is not
a copy, it has been cleaned to within an inch of its life.
no.88 The length given (555 T-m) is that from emboucnure to feet (see
Baines, V&A Catalogue Vol.11, p.89); the overall length is 615 mm.
Full details of the instrument will be found in Halfpenny. Pwo Rare
Transverse Flutes (Treble Flute d'Allemagne by P-J bressan), GSJ XIII,
I960.
In the text here, line 1: for Square silver key read Wedge-shaped.
p.I36 It is worth remarking that these two flutes are of different woods
(the gold-mounted one i3 satinwod, according to baines i-uropean &.
American Instruments, no.472) and that the ivory mounts are so dif-
ferent that were it net for the maker's stamp one would doubt that
they were of the same make. Accoruing to Carse (uurniman 14-5-47 is
the number of the whole Carse Collection; numbers within the Collec-
tion follow the / ) , the owner was Louis XV.
p.138 no.92: Tne "Graduated tuning slides" were patented as the regis-
ter, ihe date of tnis instrument is probably ccmewnat earlier tnon
indicated.
p.140 This is not a five-key flute in any real sense. Eei"g a boss
flute, with holes further apart than the fingers can manage unaided,
there are four open-stonaing keys which are 2nc order levers wnich
allow the index and ring fingers cf each hand to cover tr.eir respec-
tive holes, ihere is one closed key, the usual Ibg and this should
be catalogued as a true one-key flute with four auxiliary op--n-stan-
ding keys. One of the auxiliaries, incidentally, is missing in the
photograph.
p.142 line 1: for oboe read shawm. ihe French h.-.utbois can mean either
and shawm appears to be the intended meaning mere.
line 5 is misleading; what seems to be intended is that the bcre was
conical and not that the upper tart of the bore was narrower en the
new oboe while the lower part was wider than it hai been. cr. tne shawm.
p.144 no.95 line 1: this is almost certainly stained box, net maple.
no.96 For full details see Halfpenny, Tne ^n^iish 2- and 3-keyed
Hautboy, GSJ II, 1949, no.6 on tiie chart.
p.146 This is a straight cor anglais in F with the crook missing.

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p.147 x his is a true tenor oboe and the comments on the workmanship ..
are nonsense, it is a characteristic of the tenor, or vox humana,
that it woe always very Dlainly made; see Baines, V&A Catalogue, Vol.
II, p.95.
Reference to Baines also reveals that the length given excludes the
crook and is thus neither the physical nor the acoustic length of
tne instrument.
it is also worth commenting that the finger holes on the upper joint
are bored en the slant; hence their narrowness (see text, lines 2/3).
p.146 penultimate sentence: It is not true that Stanesby junior inven-
ted the cjr. tra-tassoon. Octave-, quint- and quart-fagott are known
from earlier periods (at least from Praetorius onwards) and Bumey's
reference to 'Stainsby' (sic) without qualification in 1727 is more
likely to refer to senior tnan to junior, bach had scored for contra
over a cecaie earlier. See Lnngwill, Bassoon 5-. Contra-bassoon, pp.
114/5-
p.150 no.101: Tne length cited, 1222 mm, is the height, not the length.
line 2: for two brass keys read four brass keys.
no.102 line 3 : Tor small finger read little finger.
p.151 'Tne length cited, 1249 mm, is again the height.
One may presume that this is true also of 102 on the previous page,
but I have not the figures to confirm the presumption.
p.154 no.105: the upper foot joint is twisted in the photograph to such
a position that the fingers could not reach the hole or the key.
p.159 line 1: if the bore of the chanter is conical, as stated here,
this is not a Northumbrian pipe.
p.160 last line: for Drones read Shuttle.
p.162 para 2: after "(e.g. Zoffany" insert 's painting of the Sharp
family on the Tnames at Fulhain. As it stands, the text suggests •
that Zoffany was a piece of secular music.
p.164 no.110: for collars read ferrules. Note that finger holes are
bushed.
no.Ill: according to R.Morley Pegge (personal communication which
was transmitted to the Horniman) this serpent, is certainly not
r-nglish (it is a typical serpent d'eglise) and may be by Eaudouin.
p.166 four lines from the bottom: whole tones as well as semitones are
prouueed by the hand in the bell. It would probably be best to say:
for semitones read non-harmonic pitches.
p.168 no.112: According to Baines, European & American Instruments,
no.695, this is 17th century rather than 16th.
no. 113: t'his is the only coiled or folded instrument for which L
means tube length rather than vertical length (or in this case
diametric).
plate 112/113: To print two photographs, taken at different distances
and thus at different scales, inside one another is grossly mislead-
ing, if thi» reader can imagine that 115, the outer instrument, is
some six tc ten feet further from him than 112, he will have some
vague perception of the true proportions.
p.lo9 captions: English text: for French Horn read Hunting Horn.
French text: for Cor read Tromne a. u-ouze Tours.

- 3C =
p.l69 continued: The instrument is in E flat at modem pitch (I nave
blown it). R.Morley Pegge dated it to c.I705.
p.170 maker's mark: for FAUICUR read FAUXFCb'B (see plate llpa).
p.176 Label: after FERRY insert MAI .'RE hubbi-P; 3rd line, after cgg-eure
insert a; for Saint reac St. . It is rae.n to misquote a label en
one page and tc print a legible photograph cf it en the crtcsite
page.
p.178 The case is veneered in satinwood and mounted in ormolu \cf.
Russell, V«oA Catalogue Vol.I p.69 (Austin Liiar.d's appendix)).
plate 118a is reversed: compare plate 44 A in rOissell and note tne
positions of the various knobs in plate 118 here.
p. 180 line 1: for galubet read galoubet.
line 9 : for army drum read military drum.
para.3: It is misleading to say "Cymbals, rarely found in the 16th
century"; they were a standard feature of Turkish Music and cf tne
military band; they are rare, it is true, in such small portion cf
18th century music that survives in the orchestral repertoire today,
but they were common enough in the 16th century.
final para.: It is not customary to regard dulcimers and piano-
fortes as percussion instruments.
p.182 line 3 : for rings read buffs.
To describe this instrument as a"Small Brum" is misleading, if true.
Only the tambourin Provencal hac. these proportions, of all the tatcrs
of Europe, and this diminutive instrument (height 320 mm) must be a
miniature made for some aristocratic, pernaps even royal, and fortu-
nate child.
p. 183 plate 120: It is regrettable that this tambourine has been headed
with a modern side-drum head, complete with flesh heop. *he skin
should, of course, be glued or nailed directly tc the shell.
p.184 It is not true to say that these ivory castanets are "cf exactly
the same pattern and size as those shown by .lersenne"; P.erser.r.e
gives no indication of size. The pattern is not "exactly the same"
either; I have a pair which are closer to Mersenne's illustration.
p.188 Note the careful scaling of these panpipes.
p.191 ff. I have not the reference books to check all these Mo-:ers,
but if the lists for Keyboards, Strings and Organs are comparable
with those for Wind Instruments, which I c^n easily check, they are
too unreliable to be of any use. In addition, there ie no extinc-
tion made between makers, which all purport to be, and cealers, which
some certainly are.
pp.20.5-7 This list of wind instrument makers a pears to be lifted frcm
Langwill's Index, without acknowledgement and with the introduction
of a few new errors. For example, tne entry for aod-nbostel cites
him as a maker of slide trumpets; Lar.gwill includes slide trumpets
among his instruments because, although this was a 19th century in-
vention, several Pcdentostel trumpets were converted into tr.is form.
Tnus the entry is accurate in nangwill, who is-covering all ;eriods,
and inaccurate here, where only the lath Centura' is coneornea.
/

pp.203-7 continued: There are a number of other evidences of borrowing

from Langwill without due thought, and a number of other errors, but
since no serious student will use these lists there is little point
in citin.m them, cave perhaps for saying for M0N3AKI read MOKZANI.

This list of cc.-.ments does not pretend to be exhaustive: it is confined

to those points that i happened to notice when reauing the Catalogue
fcr review, com:ined with a very few observations (eg that for p.135.
no.67/ made at tne Exhibition. Other Fc.-utKI members may be interested
tw communicate their own comments; if they nre fewer than these from
each member but from a number of members, we can moke up a Joint Commu-
nication. I think that thiu is worthwhile, because the low price for
such a Catalogue combined with the fact that every exhibit is illus-
tr-.t-.i, rr:>r.y or. nor- tr.n-n one plaLe, makes this Catalogue an essential
part of every crganologists, library, but one that can only be really
useful as a research and reference tool if it is accurate.
With that in mind, -L claim no copyright in this Communication and in-
vite members to make cceiec of it for their friends who may not be mem-
berr of Fcrdil tut w.no possess copies of the Catalogue; for their cus-
tomers ".lso, if they are in business. They mifht encourage them to join
Fo-buil while doing so!

If members fine this Communication useful, they might bear in mind that
it ie my practice to make such aetailed comments in all books that I
review; I would be willing to publish others as Communications also if
there were demand, bo review can accomodate such detail, particularly
if ^'n^ took n.n n whole i3 rood and one does not want to give a false
impression by picking up small details of inaccuracy or controversial
points.

Jeremy Montagu
November, 1975

Since writing the above, I have heard that the review upon which it was
based will not appear in the GSJ because of lapse of time and also
because of the lamented death of one of the authors of the Catalogue,
Mme la Comtesse de Chambure. The following information may therefore
be useful in aciition to the above.
The instrument:- concerned were drown from private collections which are,
with one execution mentioned above, anonymous (42) and from the collec-
tions of the 1 •.scum of the Paris Conservatoire of Music (39), the Horni-
man Museum (26: 13 art frons the Carse Collection and described in tne
old Catalef:ue cf that Collection) and the Victoria and Albert Museum
(15, all of which are properly catalogued in the two published Catalogues
oi' Uiat Mus:cu::i). One instrument, the r.ottctere flute (see entry under
"p.155" at-ove), comes fr^m another Museum.

JM

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