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Chitarrone, Theorbo

ROBERT SPENCER
and Arch lute
Defining the differences between the chitarrone,
theorbo and archlute has always been difficult.
Mersenne (1637) was confused, and few readers of his
book on instruments seem to have noticed that he
renamed his theorbe, arciliuto. Many modern writers
have given definitions as though they applied in any
country at any date. It is easy to forget that poor and
slow communications allowed regional character to
develop. This attempt to distinguish instruments of the
lute family with more than one peg box is based on a
study of surviving instruments, music written for them,
and contemporary comment, not forgetting much-
appreciated discussion with Michael Lowe, James
Tyler, Ian Harwood, Nigel North, Tim Crawford, and
Anthony Bailes.

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Chitarrone
The chitarrone was most probably evolved c. 1580 by a
member of the Camerata of Florence, as a necessary
adjunct of the new style of song writing, musica
recitativa. It supplied simple harmonic support for the
voice, often being played by the singer himself.
Malvezzi (1591) tells us that Peri sang to his own chitar-
rone accompaniment in the Ib^feste.1 Piccinini (1623)
says that chitarroni were developed from bass lutes,
whose strings were raised in pitch (I suggest from D to
G) when used for song accompaniment. Owing to die
long string-length of the bass lutes the top two courses
had to be lowered an octave. He adds that Caccini
used such an instrument to accompany himself before
1594.2 Note that he says nothing about long un-
stopped bass strings, which Piccinini says he invented
for the arciliuto in 1594. I suggest that before 1594 the
chitarrone may have been exactly what Piccinini says:
bass lutes restrung at higher pitch with the top two
courses lowered an octave, but without very long
contrabassi. Such an instrument is shown in Fig. 1.
In 1600 the preface to Cavalieri's Rappresentatione di
anima e di Corpo listed 'a chitarrone or theorbo, as it is
called' Cun Chitarone, 6 Tiorba che si dica'). That is,
by 1600 the words chitarrone and tiorba were con-
sidered synonymous, a fact later confirmed by Agazzari
(1606),3 Piccinini (1623)4 and Kapsberger (1640).3 We
must therefore consider why there were two names for
the same instrument.
Three possibilities suggest themselves. First, similar
instruments with different names mav have been in-
10 Overleaf:
Lady with a Theorbo (C.167O>) byJoknMtchael Wnght (1617-fl7OO)
Columbus Gallery of Fine Arts, Ohio, U.S.A.
408
Detailfrom The Duet (c. 1630) by Jan Molenaer (1609/10-68),
Seattle Art Museum.
The lowest 4 courses of this 10-course instrument are housed in a second
peg-box. The same instrument is depicted in Molenaer's A Young Man and
Woman Making Music (c. 1630) in The National Gallery, London, and a
similar second peg-box housing the two lowest courses of an S-course
instrument is shown in St Cecilia and the Angel (c. 1610) in the Galleria
Nazionale, Rome (illustrated in M. Pincherle, An Illustrated History of
Music, London, 1962, p 84).
vented simultaneously in different parts of Italy, a sup-
position backed by the nomenclature of Praetorius
(1620): Paduanische Theorba and Lang Romanische
Theorba: Chitarron} Second, if my suggestion is correct
that the earliest chitarrone was only a restrung bass lute,
a new name (the tiorba) would have been required for
an instrument, which although tuned in a similar
manner, had additional long contrabassi strings. By
1600 (S. Rossi, // primo libro de madrigali) this modi-
fication was adopted by the chitarrone. And thirdly, one
instrument could have been strung with gut, the other
with metal. Both Praetorius and Piccinini mentioned
the optional use of metal strings, but neither said that
they were exclusive to the chitarrone. Praetorius illus-
trated both instruments as being single-strung. His
chitarron had fourteen courses of which 6 were on the
fingerboard, his Paduanische Theorba sixteen courses
with eight fingered. His chitarron had a smaller body
but longer overall lengdi than his theorba (Fig. 2). Apart
from these distinctions, which anyway are not con-
firmed by some large-bodied and double-strung
instruments by Buechenberg of Rome, the present
state of research does not enable us to state with cer-
tainty any difference between chitarrone and tiorba after
c.1600.
Caccini (1602) said that 'the chitarrone is better suited
to accompany the voice, especially the tenor, than any
other instrument'.7 More dian 60 books of songs
printed 1600-41 name it for accompaniment." In these
the player had to improvise a simple chordal accom-
paniment from a bass line, frequently unfigured,
diough a few books (Rossi 1600; Kapsberger 1610,
1612, 1619; Corradi 1616) have a tablature accom-
paniment which gives a precise indication of style. It
accompanied the voice without a bowed bass.
Banchieri* gave this tuning for a chittarrone:

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'come piace' i- e. whichever octave you prefer for siring 1

MI \amvi4iiit TticotW: Chiurrou

He did not say whether it was double- or single-
strung, nor how many courses were fingered. Note that
course 1 could be, and course 2 was at lute pitch, it- •

which implies either that the stopped string-length was -t

short, or that Banchieri was unsure of his facts.
Praetorius (1619) also gave a G tuning for his
Theorba with 6 stopped strings, which corresponds with
his illustration of a chilarron: 7li»tb4. 4>.ff m (9i i|f mil
*^e

Lang Romanische Theorba: Chitarron (detailfrom plate V) and

)— Stopped strinps - - Unstopped strings -
Notice that courses 1 and 2 are lowered the octave and
that it is single-strung. However, the tablature song
accompaniments of Rossi, Kapsberger and Corradi
indicate a tuning a tone higher, in A. This higher
tuning was adopted possibly because a continuo part
could be played with greater facility in the much used
key of A, as well as those of C, D, E, F and G. Also the
instrument would sound better at a higher pitch.
Despite the octave displacement of the first two
courses, solo music in tablature was printed for the
• op. at., p 5S.
Paduanische Theorba (detailfrom plate XVI) with their scales marked in
Brunswickfret:fromM. Praetorius Theatrum Instnimentorum
(WoLfenbuttel, 1620). One Brunswickfoot equals 11.235 inches or
28. ">36cm (N. Bessaraboff, Ancient European Musical Instruments
(Boston, 1941,p313). TuningsfromM. Praetorius, Syntagma Musicum,
Tomus 2: De Organographia (Wolfenbiiltel, 1619), p 27.
chitarrone by Kapsberger in 1604, 1616, 1626, 1640, and
by Piccinini in 1623. Kapsberger wrote for a 19-course
chitarrone in his 1640 book, but courses 15-19 only
supply the accidentals missing between courses 6 and
13. Both composers wrote instructions for playing
technique, and Piccinini recommended playing with
right-hand nails. The Archivo di Stato of Modena has
a chitarrone tablature dating from c. 1614—19: (MS
Musica 4). The word chitarrone, bearing in mind that
the instrument was invented by the humanist
409

Chitarrone (? or tiorbaj by Magno diejfopruchar (Venice, 1608), overall
length 195cm: 6'4j". London, Royal College of Music, no. 26.
Camerata, probably means large kithara, the instru-
ment played by the classical Greek poets. The word
was last used in printed music in Fontana and Laurenzi
1641 and Cazzati 1653, being gradually replaced
during the 1630s by the twrba.
A measured drawing by Ian Harwood of the chitar-
rone (or tiorba) illustrated (Fig. 3) can be obtained from
the Instrument Museum of the Royal College of
Music, London. This chitarrone has six double courses
on the fingerboard with a stopped string-length of
93.3 cm, and eight single unstopped basses measuring
170.7 cm.
Tiorba
The word tiorba first appears in print, to my know-
ledge, in 1598, when John Florio included it in his
Italian-English dictionary, A Worlde of Wordes. Some
modern books quote its inclusion in the 1544 inven-
tory of the Accademia Filarmonica, Verona, though I
suspect Una tiorba was added at the end of the century.
410
(Short of going to Verona and examining the manu-
script I can see no way of resolving my doubts.) Cer-
tainly there seems to be no musical need for a tiorba
until at least the mid-1570s, when the Camerata were
experimenting with their nuove musiche. Mersenne
(1637) says that it was invented in Florence 'thirty or
forty years ago' by le Bardella,9 i.e. Antonio Naldi,
whom Caccini also praised for his continuo
realizations.10 From c. 1600 the tiorba was considered
synonymous with the chitarrone. It is named in printed
music from 1600 until the 18th century. Solo music in
tablature was printed by Meli in 1614, 1620; and by
Castaldi in 1622. This latter book contains a portrait of
Castaldi (Fig. 4) playing his tiorba, which is seen to be
single-strung and to have a single rose in the sound-
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board, a possible distinction from the chitarrone also
depicted by Praetorius (1620). An instrument of this
type in original condition is to be found in the Vienna
collection (Fig. 5). It has six double courses on the
fingerboard with a stopped string length of 75.7 cm
and eight single unstopped basses measuring 121.2
cm. However, Fig. 6 shows a large-bodied instrument
with a triple rose, six stopped courses doubled in
unison except for the first which is single, and nine
single contrabassi. The page of Italian tablature on the
left is inscribed corente per la Tiorba, thus confirming
that this instrument is also a tiorba. Fig. 7 depicts,
presumably, yet another variation of tiorba, on which
the contrabassi appear to be taken over their nut to be
housed in a second peg-box open at the back of the
extension-neck. A similar arrangement is shown in two
other paintings—The Education of Marie de Medicis
(c. 1622) by P.P. Rubens in The Louvre, Paris, and
Amor Vincit Omnia (c. 1640?) by Jan van den Hoeke in
the Kunsthistorisches Museum (no. 3554), Vienna.
Pittoni added a figured bass for organ or clavicem-
balo in his sonatas for 14-course tiorba, 1669. But the
tiorba was used mainly to accompany songs, taking
over from the chitarrone as the most named instrument
in the 1630s. Mersenne gave the tuning of the 'Tuorbe
pratique a Rome'" as:
He added the correction that his engraving of a tuorbe
(Fig. 16) should be called arciliuto, and that the tiorbe
was larger and single-strung. Castaldi wrote duets for
the tiorba to play with the tiorbino, tuned an octave
higher; and in 1645 was printed the anonymous
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5 6
Left: Bellerofonte Casuldi with his tiorbafrom his Capricci a Due Stromenti (Modena, 1622) p 28" "
Centre: Tiorba (f or chitarronej by Wendelio Venere (Padua, 1611) overall length 140cm: 4'7j". Vienna, Kunsthistorisches Museum, no. SAM 43.
Right: Geronimo Valeriani, lutenist to the Duke of Modena by Lodovico Lana (1597-1646). Photo courtesy ofSotheby, Parke Bemet & Co.

Conserto Vaga for 11-course tiorba, liuto and chitarrino.
Both these works were written out in tablature.
Starting with the trio sonatas of Cazzati in 1656, the
tiorba was used for the following thirty years as an
alternative to the violone, reading from bass clef. The
tiorba would play the bass and add harmony to that of
the organo part. From the 1680s the arciliuto gradually
replaced the tiorba, probably because the upper two
courses, being at lute pitch, gave the arciliuto greater
range for the bass, and allowed room for harmony
above that bass. The tiorba was used on its own to
accompany a solo voice in opera (Legrenzi, Eleocle,
1675)'2 and church music. From 1614 St Mark's,
Venice employed singers who doubled as theorbists,"
the last theorbist there dying in 1748.14 Schtitz marked
a section of 'Veni dilecte mi' in Symphoniae Sacrae
(Venice, 1629) voce con la Tiorba, and Cavalli's Ave Maris
Stella has a separate part for tiorba written out in
Cavalli's autograph. As late as 1717 motets were
printed with a part for violone 6 Tiorba."
ary, A Worlde of Wordes (1598), when he translated
Tiorba as 'a kind of musicall instrument used among
countrie people'. Both that definition and that of the
1611 edition, 'a musical instrument that blind men
play upon called a Theorba', show that the instru-
ment was unknown in England at that time. Dr Plume
noted that Inigo Jones first brought the theorbo into
England circa 1605." Angelo Notari came to England
c. 1610 and published a book of songs con la tiorba in
7
Detailfrom A Musical Company by Gysbert van der Kuyl (d.l67J).
Photo courtesy ofSotheby Parkt Bemet & Co.

Theorbo
The theorbo (or theorbo-lute: Mace used the terms
interchangeably for the same instrument)16 is first
referred to in John Florio's Italian-English diction-
411
 On 9 October 1661 he wrote, 'put my theorbo out to
be mended'. On 25 October, 'saw my lute, which is
now almost done, it being to have a new neck to it and
to be made to double strings'. On 28 October, 'my
Theorbo done . . . . and costs me 26s. to the altering.
But he now tells me it is as good a lute as any is in
England, and is wordi well £10.' On die subject of
value, dieorbos cost about £15 right dirough die 17 th
century.22 Pepys wrote on 15 November 1667, 'we did
play, he [Pelham Humfrey, lately returned from
France] on die theorbo, Mr Caesar on his French lute,
and I on die viol, but made but mean musique, nor do
I see diat this 'Frenchman' do so much wonders on the
dieorbo'.
Thomas Mace (1676) gave instructions for playing

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solo and continuo on a dieorbo tuned thus:

At least 7 courses were on die fingerboard. He added

diat some players lower die second course an octave if
the theorbo is very large, and diat smaller dieorbos
should be tuned a tone higher, in A.23 His engraving
(Fig. 9) of The Lute Dyphone shows the distinctive peg-
box peculiar to some English theorbos, which allowed
basses to increase in lengdi as diey lowered in pitch. I
know of no surviving instrument of diis type, but see
Lady with a theorbo (Fig. 10) painted by J. M. Wright
c. 1680. This dieorbo seems to have 11 courses, of
Detail from Mary Sidney, Lady Wroth, holding a theorbo (c. 1620)
which 4 are unstopped. All are double, except the first.
attributed to John de Critz (1555-1641). Penshurst Place, Kent.
James Talbot (c. 1700) gave this tuning for an 'English
Double Theorboe':
London in 1613. He may well have introduced the
dieorbo. Michael Drayton (1613) implied that the
Stopped strings 5 nuts giving strings lengths of
dieorbo was wire-strung." In The Maske of Flowers Slopped string length 88.5 cm 105.5. 110.7. 118.4. 127.0. 135.9 cm
(1614) a song was 'sung to Lutes and Theorboes'." In (\ 0
die well-known portrait (c. 1620) of Mary Sidney (Fig.
8) she is holding a 13-course single-strung theorbo
closely resembling that illustrated by Praetorius.
Walter Porter's Madrigales (1632) call for 'Theorbos',
followed by Child's (1639) and Wilson's (1657) Psalms.
A number of manuscript collections of songs with and diis tuning for an 'English Single Theorboe':
tablature for theorbo have also survived.20 In 1652
John Playford printed the first of his collections of
Ayres 'to sing to the Theorbo'. Almost every song book
until die end of die century called for the 'theorbo' or
0 Ciulnppc

'dieorbo-lute'. 21 Samuel Pepys the diarist played die

theorbo, calling it interchangeably 'dieorbo' or 'lute'.
412

The theorbo half ofThe Lute Dyphone. T Mace, Musick's Monument
'London, 1676) p 32.
He said both could have either 9 or 10 frets on the
neck, and gave many variants of octave or unison
double-stringing.24
Returning to music for the theorbo, about 1650
Theorbe
The theorbe (tuorbe) was probably introduced into
France c. 1650 by Nicholas Hautman (Fig. 11), who
died in 1663.30 There is mention of its use in Mauduit's
concerts of c. 1610,31 but dien nodiing until Mersenne
(1637). Presumably the theorbe was rare in France at
diat time because Mersenne's well-known picture (Fig.
16) is in fact of an arciliuto, as he took pains to point
out later in die book. In die text he described die
Tuorbe pratique a Rome as having 14 courses singly
strung in A, widi the first two courses tuned down an
octave. In 1647 Constantijn Huygens sent die manu-
script of his Pathodia Sacra et Profana to Ballard die
printer in Paris. The songs then had a tablature
accompaniment for dieorbo, but Ballard persuaded

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John Wilson wrote out solos in every key for a 12- Huygens to replace diis widi a figured bass diat could
course instrument with only the first course tuned to be used by keyboard players.32 Presumably diere were
the lower octave. Of die tablature song accompani- few dieorbists in France dien. Part of his own theorbo
ments in the same manuscript, 36 indicate a theorbo can be seen in a portrait of Huygens dated 1627 (Fig.
tuned in G, and only 5 in A." Perhaps Henry Lawes 12).
was referring to the outlandish keys of the solos when From 1660 a number of continuo tutors were
he wrote: printed.33 In 1668 B. de Bacilly had printed his Trois
That thou hast gone, in Musick, unknown wayes, Livres d'airs widi a figured bass 'pour le Theorbe'. Six
Hast cut a path where there was none before, important tablature manuscripts of solo music sur-
Like Magellan traced an unknown shore.26
11
Nicolas Hautman (d.!66J), engraving by Samuel Bernard (161b -81 j .
Thomas Mace printed a long Fancy-Praelude, or
Voluntary; Sufficient Alone to make a Good Hand, Fit for All
manner of Play, or Use. About the mid 1680s the theorbo
was gradually replaced for song accompaniment by the
harpsichord, probably because it could not cope as
well with the new melodic importance given to the bass
by composers like Purcell. The advertisement which
appeared in the Flying Post of 8 February 1701—J.
Hare offers for sale 'a large Consort Theorbo
Lute'27—was perhaps indicative of the disuse into
which the theorbo had fallen. However, in 1707 Walsh
printed A Complete Method for . . . Thorough Bass upon . ..
Theorbo-Lute, by . . . Godfrey Keller, though in a later
edition 'Theorbo-Lute' was replaced by 'Arch Lute'.
In the same year Francesco Conti played 'upon his
Great Theorbo' in London.21 Handel wrote parts for
teorba or theorba in his London productions of Giulio
Cesare (1724), Partenope (1730), Esther (1732), and Saul
(1739).
One silent musical use of the theorbo was recorded
in the Burwell Lute Tutor (c. 1660-72): 'in a Consort
one beates it [time] with die motion of me necke of the
Theorbo, and every one must have die eye upon it and
follow in playing his motion and keepe die same time
llaitlmjn exct!lltrtit toumr de VTiolle
widi die odier players'.29
413
vive for theorbe.3* This solo music may have been played
on a smaller instrument than that used for continue
Talbot gave details of two sizes of'French Theorboe'.35
First was the normal accompanying instrument, tuned
as Mersenne's, to which were attached the names
Crevecoeur and Dupre, who supplied Talbot with his
information and instruments to measure. Unfortun-
ately he gave no measurements for this theorbo, but
we do know that in 1703 a 'Mr Dupre, Lute Master has
set up a School . . . [in London] where he teaches to
play . . . the Theorbo in Consort', and there was a
benefit concert for him the following year.36 A 12-
course instrument of this type is shown in Puget's
painting of 1687 (see cover). Of the fingered courses
the first is single, and six are double in unison. The five
It is likely that the theorbe was taken to Germany and
Prague from France, along with the French lute, so the
use of the theorbe in those countries will be considered
here. Silvius Leopold Weiss, more famous for his
playing of the solo French lute, also played an equiva-
lent of the theorbo. He said in a letter from Dresden
dated 1723 that he had accommodated one of his
instruments for accompaniment in the orchestra and
in church. This had the size, length, power and
sonority of a theorbo but was tuned differently.40
Baron (1727) said that Weiss played thorough-bass
exceptionally well on lute or tiorba, and that the Theorba
of his day often employed die neue Lauten-Stimmung (D
minor tuning) with double-strung fingered courses but
single basses.41 Weiss, in the same letter, confirmed

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diapasons are doubled at the octave. The second of Mace's statement that the theorbo was played with
Talbot's instruments is called 'lesser French Theorbo right-hand nails. The tiorba was used in Vienna, Prague
for Lessons' and he gave a tuning a 4th higher than and Berlin during the 18th century.42 When giving his
that for playing thorough-bass: seating plan of an orchestra (1752), Quantz wrote that
the theorbist should sit behind the second harpsi-
chord, between two cellists.43. Baron was the theorbist
Quantz worked with in Berlin from 1741 to 1760.
0 As late as 1780 La Borde distinguished between the
Theorbe de pieces and the Theorbe d'accompagnement. He
wrote that the first was monte a la quarte (i.e. in D?), and
that the second was au ton naturel (in A?) and had a
larger body; his theorbe had 14 strings, 6 fingered and
8 basses, and 10 frets.44
He added that a 'French Theorboe may have 10 Frets'
and that Crevecoeur told him that the 'Fr. single Liuto attiorbato
[strung] Theorboe . . . [is] fitter for Thorough Bass The liuto attiorbato was a lute of 7 or 8 double courses of
than Arch Lute, its Trebles being neither below the stopped strings, with 6 or 7 single or double courses of
voice nor Instrs in Consort, as Arch Lute'. I confess I unstopped diapasons. This instrument was used
can make little sense of this, since the archlute was principally for solo music, but was also called for (as
tuned only one tone lower than the thorough-bass liuto) to provide continuo. Courses 1 and 2 were at
theorbo, and its first two courses were not lowered the correct lute pitch, not lowered an octave as on the
octave. Perhaps Crevecoeur was recommending the tiorba or chitarrone. This implies an instrument with a
lesser French theorbo (tuned in D) for continuo work, smallish body and a stopped string-length no longer
and Talbot failed to grasp the distinction. Or, more than that of a normal lute. Many instruments made by
likely, he has muddled the reason for preferring the Matteo Sellas in the 1630s seem to have the right pro-
theorbo. In 1701 Sauveur gave the standard A tuning portions for a liuto attiorbato. (Fig. 13).
for a 14-course Theorbe, the first two courses down the Piccinini (1623) says he invented this type of instru-
octave, adding that pour les Pieces (solos) the theorbe ment in Padua in 1594. He calls it arciliuto because the
should have 10 frets, but only 9 pourjouer la Basse con- name liuto attiorbato suggests that it was derived from
tinue.31 On further reflection I think the instrument in the tiorba which he knows to be untrue because he in-
Watteau's Charmes de la Vie, c. 1719 (Early Music, April vented it.43 His book also gives very full instructions on
1976, p. 166) is probably a theorbe pour les pieces. In 1716 the technique of playing the liuto attiorbato, including
De Visee printed many of his theorbe pieces en partition, recommending the use of right-hand nails.46 Graces
dessus et Basse for harpsichord or violin and bass-viol, are explained in Meli (1614) and Piccinini (1623). The
because he said so few could read tablature.38 In the liuto attiorbato is named in printed music between 1614
same year Campion the theorbist called tablature and 1623 only: but after about 1611 (Kapsberger's
pernicieuse in his Traite d'Accompagnement.39 Intavolatura di lauto, which is for 10-course lute) liuto
414
means with few exceptions liuto attiorbato in Italy. The
old G tuning was carried right through the 17th into
the 18 th century while other European countries
experimented with new tunings, culminating in the D
minor and 'Flat French' tunings.
Solo music in tablature was printed by Saracini in
1614 (14 courses); Meli in 1614, 1616, and 1620 (13
courses); Piccinini in 1623, 1639 (13 courses); and
Gianoncelli in 1650 (14 courses). L. Theorbato is called
for in a manuscript of Italian tablature in the Biblio-
theque Nationale, Paris (Res 1108). Eleven courses are
used on f. 14V—15, and 12 on f.42. Other manuscripts of Z)f(ai/o/Constantijn Huygens (1627) by Thomas de Keyser (1596/7-
Italian tablature for 11 or 12-course Liuto are: 16671. London. Xational Gallen, no. 212.
Nuremberg, Staatsbibl., Mus. MS. 271/3; Florence,
Bibl. Naz. Cen., Mus. Codex. XIX.105 (dated 1635); were made of metal. An instrument of this type sur-

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Venice, Bibl. Naz. Marciana, Codex l.IV. 1793 (dated
1657-8). The anonymous Conserto Vaga (Rome, 1645)
for tiorba, liuto and chitarrino implies that the liuto is
tuned in A, but only 8 courses are used.
Praetorius (1620) illustrated a haute mit Abziigem
[extension] oder Testudo Theorbata (Fig. 14). This shows
an instrument smaller than his Paduanische Theorba,
with strings taken over or through die bridge to the
capping strip, which would only be necessary if mey
vives in the Paris Conservatoire Musee (Fig. 15), on
which the soundboard is 'bent' to withstand die
tension of metal strings. Praetorius (1619) is speaking
of the testudo theorbata when he says that the lute of his
day has seven or eight double courses on the finger-
board and six single diapasons alongside.*7. His theorba
differs from it in having single strings throughout and
courses 1 and 2 lowered an octave. He gave this tuning
for Lautte mit eim langen Kragen [long neck] :4*

Left: ? Liuto Attiorbato by Matteo Sellas (Venice, 1638). 7 double stopped courses 58.8cm, 7 double cofttrabassitf-fJem, overall length 112cm: 3'8j"
Paris Conservatoire, Musee Instrumental, no. E 1028 C 1052.
Centre: Testudo Theorbata (detail from plate XVI) with its scale in Brunswick feet, from M. Praetorius Theatnim Instrumentorum (Wdfenbiittel,
1620). Its tuningfrom M. Praetorius Syntagma Musicum, Tomus 2: De Organographia (Wolfenbiittel, 1619)p27.
Right: ? Liuto Attiorbato (anon, undated). There are 8 holes in the capping-stripfor hitch-pins. 7 slopped courses (13 strings) 54.7cm, 5 contrabassi
courses (8 strings) 84.0cm, but the neck has probably been shortened. Paris Conservatoire, Musee Instrumental, no. E 528 C 229.

13

Jy.

.0
UK
»J>lv- g L_

415
 tiorba. Secondly, Corelli and his contemporaries were
writing wide-ranging bass lines diat stretched the
dieorbist: bodi his fingers, and the upper register of
his instrument, so diat he had no higher strings for die
harmony above die bass. Or if he did try to play har-
mony on die upper two strings, it sounded below die
bass because of their octave transposition. The ardliuto
Arciliuto solved bodi diese problems. It carried on die tuning of
As mentioned above, Piccinini preferred the word die liuto attiorbato widi die upper strings at lute pitch,
ardlitUo to liuto attiorbato because the latter implied a thus enabling die bass to rise higher and still have at
relation to the tiorba which he, the inventor, denied. least one string left for a harmony note above it. And
Mersenne (1637) was confused between tiorba and ar- die shorter stopped string-lengdi (say, 67 instead of
dliuto, which perhaps indicates only that neither was 90cm) made it feasible to play widi greater facility.
common in Paris at that time. In the text he called this Corelli named die ardleuto as a possible alternative to
instrument (Fig. 16) Tuorbe, but in his errata he wrote the violone in his trio sonatas from 1681. It would have

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that the Italians called it Arciliuto though he would played die bass line and added harmony to that of die
have preferred Luth a. double manche. He gave this
tuning for the 11 courses, though in the text he
implied diat others tuned the arciliuto a tone lower :•"
- Stopped strings - GO— Diapasons—Qj)
However, the word ardliuto did not gain universal ac-
ceptance until the 1680s, by which time two impor-
tant new factors called for a continuo instrument to
replace the tiorba. First, covered strings had been in-
vented in the middle of die century (first mentioned in
50
print in 1664) which enabled a fuller sound to be
produced on a string length shorter than that of the
organo. Many odier composeres, e.g. Sammartini,
Vitali and Veracini, named the ardliuto in this way.31
I suggest diat the instrument by M. Harz of Rome
dated 1665 (Fig. 17) is an ardliuto. It has 6x2 stopped
strings measuring 67cm and 8x1 diapasons of
143.7cm. This stopped string-lengdi does not seem
long enough for a dieorbo, diat is, diere is no need to
lower die top courses an octave, and die chitarrone is
last named in printed music in 1641 and 1653.
In planche [3] of his Prindpes d'Acoustique Joseph
Sauveur confirmed the distinctions between theorbe and
archiluth, and diat die latter had 14 courses tuned in G
with die top courses at lute pitch. In 1703 Brossard
said that when a theorbe is double-strung, widi dia-
pasons in octaves, the stopped strings unison and die
first course single, it is dien called Archileuto or
Archiliuto by die Italians, and Archiluth by die French."
G. Bononcini wrote a part for ardliuto in his opera //

16
Arciliuio and in tuning, detail pom the engraving in M. Mersenne Seconde Panie de L'Harmonie Universelle: Livre Premier des lnstrumens
(Paris, 1631)p 46.

416
Xerse, written in 1694 in Rome, and A. Scarlatti scored
for leuto in his opera // Prigioniero Fortunato (Naples,
1698)." In 1708 Handel scored for arciliuto solo in his
Resurrezione, and gave a fully written out part for
arciliuto in the aria 'Come la Rondinella' from his
cantata Clori, Tirsi e Fileno. A cantata (1738) by G.
Bonno includes the aria 'Qual sara l'anima' for bass
with a written out part in staff notation for arciliuto
solo.54 I have in my own library an anonymous Italian
manuscript, written c. 1720, containing two Concertini
Per Cammera Con Arciliuto obligato, Violini e Basso and a
Sinfonia a solo di Arciliuto. The arciliuto part is written in
staff notation on one stave transposed up an octave (as
guitar today), alternating between solo sections and
figured bass (Fig. 18). These compositions illustrate the

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advantage of arciliuto over tiorba for continuo, in that
solo sections are possible if die top strings are at lute
pitch. There is a painting by Johann Georg Platzer
(1702-60) in The Hermitage, Leningrad, in which an
arciliuto is being played widi violin, cello, transverse
flute and cembalo to accompany a singer.

Archlute
The archlute largely replaced die dieorbo in England at
the beginning of die 18di century. About 1700 James
Talbot measured an 'Arch Lute' with this tuning:53

trebles, ? Arciliuto by Marlinui Han (Rome, 1665) with its original case. Overall
measuring 68.5 cm basses, measuring I 52.7 cm
length 167cm: i'if". Edinburgh University, Collection of Musical
Instruments.

lowing year John Weldon specified the 'arch-lute' to

provide continuo for his anthems in Dixrine Harmony,
Notice how close die stringing and measurements are
and die lutenist can be seen in die frontispiece view of
to die Harz instrument illustrated above. A manu-
die Chapel. Handel wrote a figured bass part for
script of c 1680 contains on fl l v -20 v Italian songs with
'archilute' in 'Gentle Airs' from Athalia (Oxford,
tablature accompaniment for eidier archlute or
1733),62 but its range and style is indistinguishable
dieorbo. The two solo 'Menuetts' on fl6 v seem to call
from his teorbe parts (London, 1724-39). It is possible
for die upper strings to be at die upper octave. If so,
that his choice of instrument was governed by die
diis would be a very early use of die archlute in
availability of particular players and die instruments
England.3* Between 1703 and 1708 Thomas Dean
they played. After Shore's deadi in 1752 the archlute is
advertised London concerts in which he played die
mentioned only in histories (Hawkins, 1776) and
archlute to accompany in turn die violin, die German
dictionaries (Hoyle, 1791), but diese merely repeat
flute and die voice.57 John Blow scored for 'lute' (pro-
earlier writers.
bably intending archlute) in an andiem to celebrate the
Batde of Blenheim (17O4).3' John Walsh die publisher
listed die archlute for continuo in nine of his music Postscript: lutes with
books 1703—17.*' In 1715 a 'lutanist' was appointed to
die Chapel Royal.60 This was John Shore die two heads
trumpeter, whose archlute Talbot had measured some 1. The Two-headed lute
years earlier, and who, according to Hawkins, in- The type of lute shown in die illustration (Fig. 19) is
vented the tuning fork 'to tune his lute by'.41 In die fol- sometimes called a dieorboed-lute or dieorbo-lute. I
417

Musicfor arcWiulo, figured bass changing to solo,from Concertino Per
Caramera Con Arciliuto obligato, Violini e Basso (c.1720) oumedby
R Spencer.
think this is mistaken. Mace (1676) made it clear that
his theorbo-lute was synonymous with his theorbo*2a
(Fig. 7), not a different instrument. The other half of
his Lute Dyphone he called 'French lute' (Fig. 20) and
on p 50 referred to its 'two heads'. Mace's 'Flat-
French' tuning can be deduced by reading p 50, 83,
115, and 190:
©- - Slopped strings - 00 0 0 — hasses — (n)
The Burwell Lute Tutor reads 'English Gaultier . ..
hath caused twoe heads to be made to the Lute. All
England hath accepted that Augmentation, and
Fraunce at first; but soon after that alteracon hath
beene condemned by all the french Masters who are
returned to theire own fashion.'62b The engraving (Fig.
The French Lute (with two heads) half of The Lute Dyphone. T. Mace's
Musick's Monument (London, 1676)p 32.
21) of Jacques 'English' Gaultier, made by Jan Lievens
c. 1630-33, shows him holding a two-headed lute.
James Talbot (c. 1700) called this type of lute 'English
Two Headed Lute' and noted many details about it.63
'It has four small Nutts bearing off obliquely (as
Theorboe) which carry each two single strings viz 1
bass and its octave string. . . . The 8 Basses have their
upper head lying straight as the Theorboe: the 15
Trebles have the (lower) head bearing back as the
French Lute of which this seems to be an improve-
ment.' He gave this tuning:
418
63.5 lo 81.6 cm
(fj) (q) in lour steps n
-trebles. 59.7 cm-
-o o-
Notice the short stopped string-length, making it quite
obvious that the instrument is intended for solo music.
The large number of paintings which depict the two-
headed lute indicate its wide popularity, but very few
instruments have survived, and none of these looks
wholly convincing:64 some could have been renecked
less than a century ago to sell to collectors.
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2. The German baroque lute
(? or theorbo)
It is difficult to decide whether the type of lute shown
in the illustration (Fig. 21) should be called a lute or a
theorbo. Whatever its name, I'm sure it was strung in
the normal D minor tuning used for solo music:
(T) Stopped strings (js) © li;resvs (Jj)
So the lutenist could play solo music on this instru-
ment. But, did he?
The French lute at the end of the 17th century had
11 courses, tuned as above down to the 11 th course,
with the pegs housed in a single peg-box. Such an
instrument can be seen in the portrait (c 1690) of
Charles Mouton." When the centre of lute activity
shifted from France to Germany towards the end of
die century, the new composers wrote for a 13-course
instrument. Many existing 11-course lutes were
adapted by the addition of a bass rider to house the
four extra pegs, or new instruments were made incor-
porating diis second peg-box.6* About the same time a
new design was evolved (as in Fig. 22), which gave
greater length to the five lowest courses. The earliest
instrument of this form that I have noted is dated
1692.67 I have called it the German baroque lute in
order to distinguish it from the 11 -course French lute
and because it appears to have been developed in
Leipzig to play German music. There is no historical
justification for this, but it seems desirable to have a
distinguishing name for ease of reference. An argu-
ment in favour of considering these instruments

Detailfrom The Lute-Player (1661) by Hendrik Martensz Sorgh
1/611-70). Amsterdam, Rijksmuseum, no. 221J.
theorbos is that the basses would ring on too long for
solo music, whereas this added resonance would be
lost in an ensemble. Secondly, Baron (1727) said that:
'Today the theorbo (Paduanischen Theorben) com-
monly has the new lute tuning, which our own lute still
has, because it was too much trouble for the lutenist to
have to suddenly rethink everything when he picked up
die old theorbo. Today the theorboes also have double
courses except for the basses which are stretched freely
to the second peg-box. From this Herr Mattheson can
see first diat the theorbo and lute have never differed
except widi respect to their size and range, and second-
ly that die lute, because of its delicacy, serves well in
trios or other chamber music with few participants.
The theorbo, because of its power, serves best in
groups of thirty to forty musicians, as in churches and
operas.'6* Already we see arguments here for con-
sidering the instrument under discussion a lute. The
basses are double, and Schelle himself did make
dieorbos of traditional 17di-century design with single
basses," though the string-lengdi of 88.0 cm would
have precluded die D minor tuning suggested by
Baron. And die long basses would not have been over-
bearing if diey were on the 'lute' Baron mentions for
die new style of 'trios or other chamber music'. In fact
the lengdi would have been necessary to supply die
volume required by die new. extrovert 'galant' style
employed in solo music.
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Detail q/Jacques Gaultier, engraving (c. 1630-3)) by Jan Lievens.
We have reversed the print left to right because the original engraving shows
the lute with the bass strings on the treble side.
Another piece of evidence should be considered
(Fig. 23). I diink it more likely diat Falkenhagen would
have wished to be depicted as a soloist radier dian as
an accompanist. His music paper is ruled widi six lines
for solo tablature, not five lines for continuo bass. A
portrait of Christian Gottlieb Scheidler dated
1811-1370 shows him playing a similar instrument.
Perhaps it will be possible to categorize diese instru-
ments definitely lutes or theorbos after furdier dis-
cussion, but I take comfort from Praetorius who said
when considering die theorbo: 'Since constant changes
take place in these various matters, nothing very
definite may be stated about diem here.'71
FOOTNOTES
1
C. Malvezzi, Intermedii (Venice, 1591) libro nono, p 12. 'Quesio
Ecco fu cantato da Jacopo Peri .. . con maravigliosa arte sopra del
chitarone'. Elsewhere spelt chitarrone: no mention of Uorba, but 'Due
Leuti grossi, due piccoli'.
2
A. Piccinini, Intavolalura di liuto, el di chUarrone; libro primo
(Bologna, 1623: facsimile ed. 1962), p 5. Cap. XXVIII: 'DelPOrigine
del chitarrone . . . che la prima corda, non potendo arriuare cosi alta
vi posero in vece di quella vn' altra corda grossa accordandola vn'
ottaua piu bassa •. . questi Liuti grandi, per esser cosi dolci, fossero
molto a proposito d'vno, che canta, per accompagnamento; ma
trouandoli molto piii bassi del bisogno loro, furno necessitati for-
nirli di corde piu sottili tirandoli in mono comraodo alia voce. E
perche le seconde non poteuano arriuare con l'cssempio dell'altra
corda le accordomo vn'ottaua piu bassa; 8c cosi hebbero il loro
intento e questo fu il principio della Tiorba, 6 vero Chitarrone; e di
poco tempo inanzi ch'io facessi fare la tratta a i contrabassi, era
venuto a Ferrara, il Signor giulio Cacrini . . . il quale haueua vn
419
Chitarrone d'Auorio accomodate in quella maniera medisima ch'io
ho detto di sopra, della qualle si seruiua, per accompagnamento
della voce; fuori poi dell' occasione del catare nissuno suo suonaua
di Chitarrone. ..."
I
quoted in A. Banchieri, Conclusion net mono dell' organo (Bologna,
1609: facsimile ed. Milan, 1934), p 69: '11 Chittarrone, 6 Tiorba, che
dire la vogliamo'.
4
Piccinini, op. cit.
' libro quarto d'involatum di chitarrone (Rome, 1640), p 2: 'Accordo del
Chitarone ouer Tiorba 19 Ordini.'
' Theatrum Instrumentorum (Wolfenbuttel, 1620), places XVI and V.
7
G. Caccini, Le Nuove Musiche (Florence, 1602), sig. C2V 'Ai Lettori
. . . del Chitarrone . .. essendo questo strumento piu atto ad accom-
pagnare la voce, e particolarmente quella del Tenore, che qualunque
altro.'
* see E. Pohlmann, Laute, Thtorbe, Chitarrone (2nd ed. Bremen, 1972),
pp 187-8,
' M. Mersenne, Secande Partie de I'Harmonie Univenelle: livre septiesme
des instrument (Paris, 1637), p 77: 'Page 45 Sc 46 &c j'ay nomme la
seconde figure a main droit Tuorbe, que les Italiens appellent Ar-

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dliuto, & qui doit plustost estre appelle Luth a double manche, parce
qu'outre que le Tiorbe est beacoup plus grand, il n'a qu'une chorde
a chaque rang, & n'y a que trente ou quarante ans que le Bardella
l'inuenta a Florence.'
10
G. Caccini, op. cit. sig. C2V.
" Mersenne, op. cit., Livre premier des instrumens, p 88.
12
D. Arnold and N. Fortune, The Monteverdi Companion (London,
1968), p 292.
15
E. Selfridge-Field, 'Bassano and the orchestra of St Mark's', Early
Music, April 1976, p 157.
14
E. Selfridge-Field, 'Annotated membership lists of the Venetian
Instrumentalists' Guild 1672-1727', R.M.A. Research Chronicle, no. 9
(1971), p 15.
1!
P. C. Albergati, Motetti, op. 12 (Bologna, 1717).
16
T. Mace, Muskk's Monument (London, 1676),p2O7.
v
" Maldon, Essex. Plume's Library, pocket book no. 25, f.92 : 'Inigo
Jones first br. ye Theorbo in. Engl. circa an 605. at Dover it w.
thought sm Engn br. fro Pop. cuntris to destr. ye K & He 8c it sent up
to Cn. Tabl'.
II
M. Drayton, Poly-olbion (London, 1613), p 63:
'Some that delight to touch the sterner wyerie Chord,
The Cythron, the Pandore, and the Theorbo Strike.'
" The Maske of Flowers (London, 1614), sig. C2.
20
a. London, B.L. E.g. 2013 (?c 1650). Songs with 11-course
theorbo tuned in both A and G: 7th course fingered.
b. London, B.L. Add MS. 38,539, f.l (?c 1630). Thorough-bass
exercises for theorbo (?) tuned in G: only 10 courses used.
c. London, Lambeth Palace, MS. 1041. Ann Blount's song book
(?c 1640). English, French and Italian songs with 13-course
theorbo tuned in both A and G. At end a table of cadences for
theorbo tuned in A: only 10 courses used.
d. Oxford, Bodleian, mus. sch. F.575 (? c 1660) songs with 10-
course theorbo tuned in both A and G.
e. Oxford, Bodleian. MS. Don. c.57 (?c 1640). Songs with 11-
course theorbo tuned in G. f.91v: 'Steps upon the Theorbo':
10 courses used.
f. Glasgow University Library, MS. Euing 25 (formerly R.d.43),
f.50, 135—154V. Thorough-bass exercises for dieorbo(?) tuned
in G: only 10 courses used U 1699).
g. Tokyo, Nanki MS. n-4/42 (c 1680). Songs with 13-course
theorbo (or archlute?) tuned in G.
h. New Haven, U.S.A. Yale University. Filmer MS. A. 14 Miss
Wallis's song book (?c 1640). Italian, French and English songs
with 10-course theorbo tuned in A.
21
A full list will be found in C. Day and E. Murrie, EngUsh Song Books
16}1-1702 (London, 1940).
22
H. C. de Lafontaine, The King's Musick (London, 1902), p 80 (1632)
£15; p 83 (1633) £15; p 253 (1673) £15; p 257 (1673) £6 (on which to
teach children of the Chapel Royal); p 343 (1679) £ H .
420
Adam Falkenhagen (1697-C.1765), engraving (c. 17}}) from the life by
,/. W. Star of Nuremberg.
23
Mace, op. cit., pp 207-30.
24
M. Prynne, 'James Talbot's Manuscript: IV Plucked Strings The
Lute Family', Galpin Society Journal XIV (1961) pp 59-60.
2!
Oxford, Bodleian, MS. mus.b.l.
26
J. Wilson, Psalterium Carolinum (London, 1657), sig.av.
27
M. Tilmouth, 'A Calendar of references to music in newspapers
published in London and the provinces, 1660-1719,' R.M.A. Research
Chronicle no. 1(1961), p 36.
u
Tilmouth, op. cit., p 68 (1 April).
29
The Burwell Lute Tutor, f.4I (facsimile ed. Boethius Press, Leeds,
1974).
30
S. de Brossard, Dictionaire de Musique (Paris, 1703). 'Theorbo: .. .
depuis environ 50 ou 60 ans a succede au Luth pour jouer les Basses-
Continues. . . . On pretend que c'est le Sieur Hotteman . .. qui en a
ete L'Inventeur en France.'
31
A. Cohen, 'A study of Instrumental ensemble practice in 17th-
century France', Galpin SocietyJournalXV (1962), pp 4, 6.
32
C. Huygens, Pathodia (Paris, 1647); modern edition by F. Noske
(Amsterdam, 1957): preface, p viii.
33
a. N. Fleury, Method/ pour apprendre ... le Theorbe (Paris, 1660);
facsimile ed. MinkofflGeneva, 1972). 14-course M/orif in A.
b. H. Grenerin, Livre de Theorbe (Paris, 1668). 11-course theorbe
in A.
c. A. M. Bartolomi, Table pour apprendre . . . le Theorbe (Paris,
1669). 14-course theorbe tuned in A.
d. D. Delair, Traite d'Accompagnement pour It Theorbe (Paris, 1690);
facsimile ed. Minkoff (Geneva, 1972). 14-course theorbe tuned
in A.
34
a. New York. Pierpont Morgan MS. 17,524. Tablature for 14-
course theorbe, by Hurel.
b. Paris, Bibl. Nat. Res 1106. Tablature for 14-course theorbe by
De Visee, Du But, Couperin, Lully.
c. Paris Bibl. Nat. Vm 7-6265. Tablature for 14-course theorbe by
De Visee, Lully, Marais, Le Moine. This seems to be a rough draft
from which b. was copied.
d. Besancpn. Bibl. de la Ville MS.279152. Manuscript written by
de Saizenay in 1699 of theorbe tablature by De Visee, Le Moyne,
etc.
e. Vienna. Oster. Nat-Bibl. Mus. MS. 17,706. Includes tablature
for 14-course theorbe.
f. Paris. Bibl. de Mme de Chambure ms for theorbe by De Visee.
3S
Prynne, op. at., pp 58-9.
" Tilmouth, op. cit., p50(10June).
31
J. Sauveur, Principes d'acoustique (Paris, 1701), planche [3].
" R. De Visee, Pieces de Tkeorbe et de Luth, n i u en partition, deans et
Basse (Paris, 1716). 'Avertissement... le nombre de ceux qui enten-
dent la tablature esc si petit . .. le but de cette impression est le
clavesin, la viole et le violon...."
" F. Campion, Traite d'Accompagnement, op.2 (Paris, 1716), p 24. 'Je
dirae id que l'usage de la Tablature d'abc, est pernicieuse pour ceux
qui veulent fair quelque progres sur le Theorbe. ..." He also noted
on p 7, '11 y a une maniere toute particuliere de faire ces octaves sur
le Theorbe .. . qui est de l'invention de seu M.de Maltot mon Pre-
decesseur en l'Academie Royale de Musique'.
40
J. M a t t h e s o n , Der neue gtittingsche .. . Ephorus. Lauten-Memorial
(Hamburg, 1727), p 117f. English translation by D. A. Smith. Baron
and Weiss contra Mattheson, in Journal of the Lute Society of America VI
(1973), pp 60-62, where however arciliuto is mistranslated chitarrone.
41
E. G. Baron, Untersuchung des Instruments der Lauten (Nuremberg,
1727), p p 78, 1 3 1 ; t r a n s l . D . A . Smith ( R e d o n d o Beach, 1976), p p 7 1 ,
110.

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42
J . J . Fux, Orfeo edEuridice (Vienna, 1715), Costanza (Prague, 1723);
C. H . Graun. Montezuma (Berlin, 1755).
4J
J . J . Quantz, Versuch einer Anweisung die FlSte (Berlin, 1752); transl.
E. R. Reilly (London, 1966), p. 212.
44
J. B. de La Borde, Essai sur la musique I (Paris, 1780), pp 304-5.
45
Piccinini, op. cit., p 8 Cap XXX1I11 'Dell'Arciliuto, e dell' Inuen-
tore d'esso: Doue ho nominate il Liuto, ho voluto intendere ancor
dell' Arciliuto per non dire, come molti dicono, Liuto Attiorbato,
come se l'inuentione fosse cauata dalla Tiorba, 6 Chitarrone, per dir
meglio, il che e falso, e lo so io, come quello, che sono stato 1'Inuen-
tore di questi Arciliuti . .. io l'Anno MDLXXXXI1II .. . andai a
Padoua alia Bottega di Christofano Heberle . . . 8c li feci fare per
proua un liuto . . . tal che ne feci far'un* altro con la Tratta al
manico'.
H
English translation by S. Buetens, The Instructions of Alessandro
Piccinini,' in the Journal of the Lute Society of America II (1969), pp
6-17. German baroque lute (? or theorbo) by Sebastian Schetle (Nuremberg, 1721).
47
M. Praetorius, Syntagma Musicum II: De OrganograpHa (Wolfen-
Overall length 118cm: J'lOf". Nuremberg, Germanisches Nationalmuseum,
biittel, 1619; facsimile Kassel, 1968), p 50. English translation by H.
Blumenfeld (Barenreiter, New York, 1962), p 50. no. MIR 902.
" Praetorius, op. cit., p 27. 'Awake, utter a Song'. Blow also used the lute in die anthem 'Let the
49
Mersenne, op. cit., p 48. 'Ou il faut remarquer que ie n'ay pas mis Righteous be glad' ibid, f.21-29 v . I am grateful to Dr Watkins Shaw
le G re sol sur la 6 chorde, comme sont plusieurs.' for these references.
M
J. Playford, A brief Introduction to the Skill of Mustek 4th edition " Listed in W. C. Smith, A Bibliography of the musical works published by
(London, 1664), 2nd pagination, p 45V: There is a late invention of John Walsh during the years 1695-1720 (London, 1948).
strings for the Basses of . . . Lutes, which sound much better and " E. F. Rimbault, The Old Cheque-Book . . . of the Chapel Royal
lowder then the common Gut String, either under the Bow or (London, 1872), p 28: 'Aug. 8 1715 . .. there were added in King
Finger. It is small Wire twisted or gimp'd upon a gut string or upon George's establishment... a second composer . . . Mr John Welldon
Silk. I [i.e. John Playford, 1623-86] have made tryal of both, but . . . A Lutanist, which place Mr John Shore was sworn and admitted
those upon Silk do hold best and give as good a sound.. ..' to.'
51 61
Pohlmann, op. cit., p 190. J. Hawkins, A General History of Music (London, 1776); new edi-
" Brossard, op. cit. Toutes ces Chordes sont ordinairment simples, tion. (London 1875), p 752.
mais il y a en a qui doublent les Basses d'une petite Octave, Sc les " London, British Library: RM. 20. h. 1. f21. autograph score.
Chordes du petit Jeu d'un unisson, a la reserve de la Chanterelle; & "* Mace, op. cit., p 207.
pour lors, comme il a beaucoup plus de rapport an Luth que le " b op. cit. f68.
Theorbe a 1'ordinaire; les Italiens le nomment Archileuto ou ArchUiuto, " Prynne, op. cit., pp 55-7.
64
& les Francois Archiluth'. a. Luzern-Treibschen. Wagner Museum, no. 2. lute by M.
» London, British Library, Add. MS. 22, 102;Add.MS. 16, 126. Tieffenbrucker, 1610. see Pohlmann. op. cit., p 377 and photo
14
Vienna, Oster. Nat-Bib!, Mus. MS. 18,290. 'Festa di Camera per after p 29 7.
Musica: la Pieta di Numa'. b The Hague, Gemeentemuseum. no. Ec. 556-1933 lute by P.
" Prynne, op. cit., pp 60-61. Massaini, 1570. Photo in A. Baines. European and American Musical
" Tokyo, Japan. Ohki collection of Nanki Music Library. N-4/42. Instruments (London, 1966) no. 172. Neither a. nor b. have the
The manuscript could have been written out possibly by Cesare basses stepped as shown in 17th-century paintings.
Morelli who spent some time in Rome before coming to England in c. Leipzig. Musikinstnunentenmuseum der Karl Marx Univ. no.
1675. He was employed by Samuel Pepys the diarist, so comparison 494. ivory lute renecked with two heads.
with his music manuscripts in the Pepys Library at Magdalene " by F. de Troy, engraved by G. Edelinck, illustrated in Early Musk,
College Cambridge should resolve this possibility. October 1975, p 354.
57 M
Tilmouth, loc. cit. Leipzig, Musikinstrumentenmuseum der Karl Marx Univ. no. 497
'• Cambridge, Fitzwilliam Museum, Music MS. 240 I31.H.1) f. 9-19 v 'Thomas Edlinger' Augsburg, before 8 Oct. 1690, when he died, lute
421
 Castaldi, B. 1622 Capricci a Due Stromenti (Modena)
Cazzati, M. 1653 Messa e Salmi, op. 14 (Venice)
1656 Sonate a Due Violin* col.. . I'Organo et. . . Tiorba,
op. 18 (Venice)
Child, W. 1639 The First Set of Psalm . . . with .. . Theorbo
(London)
Conserto 1645 Anon Consnto Vago con liuto Tiorba el
Chitanino ( R o m e )
C o r r a d i , F. 1 6 1 6 Le Stravaganza d'Amore ... Chitarrone
(Venice)
Fontana, G. B. 1641 Sonate . . . per ... Violino Chitarrone
(Venice)
Gianoncelli, B. 1650 // Liuto (Venice)
Kapsberger, 1604 Libra Pritno ... di CHlarone (Venice)
G. G. 1 6 1 0 Libro Primo di VillanelU . . . con . . . Chitarone
(Rome)
1 6 1 2 Libro Primo di Arie Passeggiale . . . con ...
Chitarone ( R o m e )
1 6 1 6 libra Secondo . . . di Chitarone ( R o m e )
1 6 1 9 Libro Terzo di Villanelle .. . con . .. Chitarone

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B. Castatdi, Capricci a due stromenti (Modena, 1622), p 72 (detail) (Rome)
1626 Libra Terzo. .. di Chitarone (Rome)
with 2x I, 9x2 stopped strings measuring 77.8cm. 2x2 basses housed 1640 Libro Quarto . .. di Chitarone (Rome)
in bass rider, 82.2cm. Laurenzi, F. 1641 Concerti. .. con . . . Chitarrone (Venice)
" Nuremberg, Germanisches Nationalmuseum, no. Ml 245 'Martin Mace, T. 1676 Musick's Monument (London)
Hoffmann . . . Leipzig 1692', 2x1, 6x2 stopped strings measuring Meli, P. P. 1614 Intavolatura di Liuto Attiorbato, Libro 2° (Venice)
69.5cm. 5x2 basses measuring 97.5cm. 1616 Intavolatura di Liuto Attiorbato, Libro J" (Venice)
" Baron, op. dt., pp 71, 110. 1616 Intavolatura di Liuto Attiorbato, Libro 4° (Venice)
w
Nuremberg, collection F. Hellwig. Theorba by Sebastian Schelle of 1620 Intavolatura di Liuto Attiorbato e di Tiorba, Libro 5"
Nuremberg, 1728, with 7 double stopped courses measuring 88.0cm (Venice)
and 8 single basses of 16S.0cm. The soundboard measures Mersenne, M. 1637 Seconde Partie de L'Harmonie Univenelle (Paris)
67.8x40.5cm and has a single rose. Notari, A. 1613 Prime Musiche Nuove . .. con la Tiorba (London)
™ by Johann Xeller. In Frankfurt a. M. Historischen Museum, illus- Piccinini, A. 1623 Intavolatura di Liuto et di Chitarrone, Libro 1°
trated in W. Tappert. Sang und klang aus alter int (Berlin, 1906). (Bologna)
" Praetorius(1619), op. cit. 1639 Intavolatura di liuto [Libro 2°1 (Bologna)
Pittoni, G. 1669 Intavolatura di Tiorba, op. 1", Sonate da Ctutsa
Acknowledgements (Bologna)
I am grateful to Dr Patrick Corran for supplying me with a trans- Intavolatura di Tiorba, op. 2°, Sonate da Camera
lation by Miss Karen Viton of Caps XXVIII and XXXIIII (f.n. 2); to (Bologna)
David Nutter for drawing my attention to Conclusion nel sumo dell' Praetorius, M. 1619 Syntagma Musicum, Tomus 2: De Organographia
organo (f.n. 3); to Daniel Fournier for drawing my attention to Prin- (WolfenbQttel)
cipes d'acoustique (f.n. 37). 1620 Theatrum Instrumentorum (Wolfenbuttel)
Rossi, S. 1600 // Primo Libro de Madrigali a 5 con . . . Chitarrone
Abbreviations (Venice)
Agazzari, A. 1606 Letter printed in A. Banchieri, Conclusion nel Saracini, C. 1614 Le Musiche [Libra 1°J (Venice)
Suono dell'Organo, op. 20 (Bologna, 1609), Wilson, J. 1 6 5 7 Psalterium Carolinum . . . set to . . . Theorbo
p 68-70 (London)

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