1600;" with the head turned backwards; twenty strings. This lute is of one of the most celebrated Italian lute-makers, and is in a well-preserved and playable condition, notwithstanding its high age. An English lute with a double neck (Testudo theorbata) made about 1650. A theorbo, Italian, seventeenth century. It has twenty-four catgut strings, which are arranged in pairs tuned in unison, except the highest two which are single strings. It was the custom to have the highest string, called
chanterelle, single; it principally served for playing the melody. Sometimes, as in the present instance, two
chanterelles were used. The twenty-four open strings, therefore, produce thirteen different tones. The frets are of catgut. A French theorbo, made about the year 1700. An archlute; Italian, about 1700; a large instrument, with eighteen strings, ten of which are for the upper set of tuning-pegs, belonging to the bass strings which are at the side of the finger-board. The ten bass strings produce five tones with their octaves, each tone having two strings tuned in an octave. The archlute, or bass-theorbo, is the largest sized kind of the theorbo, or lute with a double neck. An Italian archlute, inscribed: "Matheus Bucchenberg, Roma, 1619." From Signor Mario's museum. Bucchenberg, or Bueckenberg as he was more generally called, was one of the most celebrated lute-makers in Italy, and a German by birth. The present archlute has three ornamented sound-holes. It is provided with a mechanism by means of which any one of the bass strings by the side of the finger-board can be raised a semitone in pitch at the pleasure of the performer. This ingenious contrivance, which renders the bass strings more useful in compositions having modulations into distant major or minor keys, occurs also on a French theorbo dating from about the year 1700, which is in my collection. But on this French theorbo, the mechanism acts upon all the strings beside the finger-board simultaneously, while on the archlute just noticed it is contrived so that any single string may be altered in pitch independently of others. As the mechanism is evidently not a later addition, but was made with the instrument in 1619, it is suggestive to musical antiquarians, inasmuch as it reveals a higher degree of progress in the construction of the lute than is generally supposed to have been attained about the beginning of the seventeenth century. An Italian theorbino, or the smallest kind of theorbo, seventeenth century; with sixteen strings, six of which run beside the finger-board. A chitarrone, or large Roman theorbo; Italian. Inscription: "Vitus de Angelis, Bonon, 1609." It is about six feet long, and has twenty-one strings. The chitarrone was formerly called Roman theorbo, because it was principally used at Rome. There was a similar instrument popular at Padua, somewhat smaller in size. The present specimen was made in Bologna. The chitarrone was used in the orchestra, assisting at dramatic performances as well as in church music. It was often strung with wire instead of catgut; the same was the case with the common theorbo of Germany and England. A chitarrone, with marquetry and three ornamented sound-holes; made by M. Bueckenberg, in Rome, anno 1614. From Signor Mario's collection. An Irish harp (clarseth), strung with wire; made by Egan, in Dublin, in the beginning of the present century. An arpanetta (German, Spitzharfe), English, seventeenth century; with one hundred steel wire-strings and thirty-five brass wire-strings. A bûche (German, Scheidholt), from Val d'Ajol, in the Vosges mountains, in France; made in the beginning of the present century. An English specimen of the
hummel, probably made during the eighteenth century; with twelve wire strings. It resembles the bûche, and may be regarded as an antiquated species of our present horizontal cither. A bell-harp, made by John Simcock, in Bath, about the year 1700: length, 20 in. It has sixteen tones. Each tone is produced by three thin brass wire-strings tuned in unison. The strings are twanged with two little plectra, or quills, of which the performer fastens one to the thumb of each hand. The two wooden handles, one on each side of the instrument, are for holding while swinging it during the performance, to produce the effect of a distant bell. A bell-harp; English, about 1700. Inscribed: "Bath, John Simcock, inventor and maker." This instrument has twenty-four tones produced by thin brass wire-strings. The highest tones have each four strings tuned in unison, the others have three, except the deepest, which is produced by a single string covered with wire. The instrument is in its old case. Dulcimer; English, with movable bridges. Inscribed: "Old Weston, Huntingdonshire, 1846." Dulcimer; English, beginning of the present century; of mahogany, the sound-board of pine, being painted green, and gilt. Sixteen sets of wire-strings, each set consisting of three strings tuned in unison. Salterio, Italian dulcimer, made by Antonio Bertefice, at Florence, in the year 1745. Salterio; Italian dulcimer; a small specimen, inscribed at the back: "Antonius Berri fecit, Anno 1722." From Signor Mario's museum. Echelette; French, eighteenth century. It has twenty-two slabs of a hard and sonorous wood, which are sounded by being struck with two little mallets. A sordino, or boat-shaped pochette; English, seventeenth century. An Italian sordino, dating from about the year 1600. The body is of tortoise-shell, inlaid with silver; the tuning-pegs are of ivory; with a carved head of wood and ivory. The entire length of this sordino is only 14 inches. A kit, or pochette, in the shape of the violin; Italian, about 1600. Violetta piccola, the smallest kind of the old viol instruments, shaped with a slanting neck like the viola da gamba. This small species of treble viol was called by the French
haute-contre. Italian, seventeenth century. A five-stringed viol, called by the French
quinton. Inscription "Antonius Gragnani fecit, Anno 1741." A small six-stringed viol, called by the French
dessus-de-viole; French, seventeenth century. A six-stringed viol, called by the French
pardessus; French, seventeenth century. A treble viol, with a carved head; English, about 1700. Its neck has catgut frets, and its six strings were tuned like those of the bass-viol, or viola da gamba, but an octave higher. A countertenor-viol; English, seventeenth century. Inside is the inscription: "Henry Jay, in Southwarke, 1667." The scroll is finely carved. The belly has, besides the usual two sound-holes, an oval sound-hole in the middle, with an ornamental rose. The back has a peculiar curve towards the end; probably, the instrument was intended to rest on the left shoulder when played. Like the viola da gamba, it has six strings and catgut frets. It was tuned a fifth higher than the viola da gamba. A tenor-viol; English, about 1620. This small species of viola da gamba is now very scarce. It was tuned a fourth higher than the larger viola da gamba, or bass-viol. Viola da gamba, inlaid with mythological representations and other ornamentation in ivory, mother-of-pearl, tortoise-shell, and precious stones. Made about the year 1580, probably by Joachim Tielke in Hamburg; a splendid instrument. Viola da gamba; English, seventeenth century; with a finely-carved head representing the bust of a girl. Inside is the inscription: "Richard Meares, without Bishopsgate, near to Sir Paul Pinder's, London, Fecit 1677." In the
Post Boy of the 9th of July, 1720, we find the following advertisement: "This is to give notice to all gentlemen and ladies, lovers of musick, that the most celebrated new opera of 'Radamistus,' composed by Mr. Handell, is now engraving finely upon copper-plates by Richard Meares, musical instrument maker and music printer, at the Golden Viol. To make this work more acceptable, the author has been prevailed upon to correct the whole." The Golden Viol was the sign of a music-shop in St. Paul's Churchyard, where Richard Meares, the publisher of Handel's opera, lived. But, to judge from a notice of this publisher given in Hawkins's 'History of Music' (Vol. V., p. 109), it appears that he was the son of the maker of the present viola da gamba. At any rate, when Handel came to England this instrument was no longer a new one; for it was made before Handel was born. The bow belonging to it is of the old-fashioned kind known as the Corelli bow. And it may be here mentioned that with most of the viols before enumerated curious bows are placed which have long since gone out of use. Viola da gamba; Italian, about 1600; with a finely-carved head. The finger-board is inlaid with designs of flowers, etc., in tortoise-shell and ivory. This fine-toned bass-viol is supposed to have been made by Gaspar di Salo. At all events, it is a valuable specimen by some early Italian maker. Viola da gamba; English, about 1700. The instrument resembles a small violoncello, since its body does not slant towards the neck. An illustration of this kind of viola da gamba is given in 'The Division-Violist, by Christopher Simpson, London, 1659.' Its body is remarkably flat, and its quality of sound is consequently very clear. Like the common viola da gamba, the instrument is six-stringed, and has catgut frets. A seven-stringed viola da gamba; probably Italian; towards the end of the seventeenth century. The addition of a seventh string to the viola da gamba is said to have been first resorted to by the French
virtuoso Maria Marais, towards the end of the seventeenth century. The string added is the lowest, and is tuned a minor third lower than the C string on the violoncello. The innovation evidently did not find much favour with gamba players in general; and it is seldom that one still meets with a seven-stringed gamba. A four-stringed viola da gamba; made by John Baker in Oxford, anno 1688. Four-stringed gambas
