Part 4

There are in this instrument fifty quilled jacks (plectra). The natural keys, thirty in number, are of ebony with gold arcaded fronts, and the compass is of four octaves and apparently a semitone, from B to C. But the lowest natural key was tuned G when the instrument was in use. The semitone keys, twenty in number, begin apparently as C[sharp], but this was tuned A to continue the "short octave" arrangement. They are very elaborate, being inlaid with silver, ivory, and different woods, each consisting, it is said, of about two hundred and fifty pieces. The painting of the case of the instrument is done upon gold with carmine and ultramarine, the metal ornaments being minutely engraved. The outer case is of cedar, covered with crimson Genoa velvet, and lined inside with yellow tabby silk. There are three gilt locks, finely engraved. The entire case is five feet long, sixteen inches wide, and seven inches deep. Queen Elizabeth's Virginal was bought, at Lord Spencer Chichester's sale at Fisherwick in 1803, by Mr. Jonas Child, a painter at Dudley. The Rev. J.M. Gresley acquired it in 1840. It has since (1887) been obtained from the Rev. Nigel Gresley, for South Kensington Museum.

PLATE IX.

QUEEN ELIZABETH'S LUTE.

Stringed instruments with a finger-board, touched with the fingers or a plectrum, may be divided, as stated in the Introduction, into two principal types: the lute and the guitar, the former with a rounded back, the latter with a flat back. Both are derived from the East. According to this division, the beautiful instrument called Queen Elizabeth's Lute must resign the name of lute and be considered a Guitar. As a wire-strung instrument it belongs to that species of guitar known as Cither, and from the incurvations of the ribs, but that the bridge is not set obliquely, I should be disposed to specialize the instrument as a Pandore or Penorcon. Praetorius regarded the Pandore and its varieties, the Orpheoreon and Penorcon, as of English invention. This instrument, the property of Lord Tollemache, was made in London by John Rose, as the label bears witness:--

Johannes Rosa, Londini fecit, In Bridwell, the 27th of July, 1580.

It is infinitely more graceful than any Pandore, and is perhaps best described by the maker's designation, "Cymbalum Decachordum," carved on the ribs. It had, as this name indicates, ten strings, which were of wire, to be tuned in five pairs of unisons, and played with a plectrum.

The carving is surpassingly lovely, and bears comparison with contemporary Italian work. The jewelled centre of the rose in the sound-hole is so beautiful that an enlarged drawing of it has been made to show it to advantage. The shell at the back is a characteristic feature deserving attention.

The extreme length of this instrument is 2 feet 11 inches. The length of the body is 1 foot 4 inches. The extreme breadth, beneath the rose and near the string-holder, is 12 inches. The breadth, measuring across the centre of the rose, is 10 inches. The depth of the ribs varies from 1-1/2 to 3 inches, the greatest depth being near the finger-board.

The traditions that attach themselves to instruments of this character require to be carefully tested. Queen Mary's Harp, for instance, could not have been the gift to Beatrix Gardyn from Mary Stuart of Scots, although her portrait and coat of arms are said to have, at one time, adorned it. The attribution to Queen Elizabeth also of a spinet or virginal rests entirely upon such evidence as can be gathered from the instrument itself. This so-called lute has no doubt the support of a family tradition, and the story is thus told in Burke's _Peerage_ ("Lineage of the Dysart Family," 1884): "Sir Lionel Tollemache, of Helmingham, high sheriff of Norfolk and Suffolk in 1567. In 1561 Queen Elizabeth honoured Helmingham with her presence, and remained there from the 14th to the 18th of August inclusive, being most hospitably and sumptuously entertained. During Her Majesty's visit she stood sponsor to Sir Lionel's son, and presented the child's mother with her lute, which is still preserved at Helmingham Hall, county Suffolk, the seat of Lord Tollemache of Helmingham." Unfortunately the dates do not fit. John Rose's Lute, made in 1580, although it might possibly have belonged to Queen Elizabeth, could not have been the lute given in 1561. It is the tradition, however, that may have gone astray, and a fault in it does not do away entirely with a plausible attribution.

PLATE X.

THE RIZZIO GUITAR.

This beautiful Guitar of tortoiseshell, combined with ivory, mother-o'-pearl, and ebony (the property of Mr. George Donaldson, London), has ten pegs representing fleur-de-lys, and the ornament round the rose is formed with the same emblematic flower. To this, no doubt, it owes its romantic reputation of having belonged to David Rizzio. The apparent age of the Guitar would agree with a supposed gift of it from Mary Stuart to Rizzio, and the fleur-de-lys might connect it with the French or Scotch Royal Families; but this slender suggestion of the fleur-de-lys, to which the guitar owes its special interest, unsupported by other evidence, is scarcely sufficient to uphold the fascinating attribution. Mr. Donaldson, however, informs me that this instrument was bought in Scotland, nearly forty years ago, from an old family that had possessed it for generations with this tradition of its former ownership.

This Guitar had ten strings, forming five notes, in pairs of unisons, instead of six single strings, as in the modern guitar, giving six notes. It is the lowest note E that is here wanting. The instrument is 3 feet 1 inch in extreme length; the body being 18-3/4 inches in length, and 10 inches across. The ribs are 3-3/4 inches deep.

This Spanish guitar may have first come to England in the reign of Henry VIII., as there is occasional mention, at that time, of the Spanish viol, a bowed instrument which may have been accompanied by the true Spanish guitar. There is no doubt, however, about the Spanish guitar having been here in the reign of Elizabeth, and it might have been brought by attendants of Philip II. when he married Mary Tudor. In the latter half of the sixteenth century it was already known, valued, and highly decorated in Venice; and it was also known in France, so that, as an instrument, it would not be strange to Mary Stuart, or Rizzio either. The lute, however, was the most in vogue at that time, excepting perhaps in Spain. The character of the design of this so-called Rizzio guitar is undoubtedly Moorish.

PLATE XI.

POSITIVE ORGAN.

A chamber Organ formerly in the Tolbecque Collection, and belonging to the epoch of Louis XIII. The Positive Organ, as the name implies, was intended to remain in a fixed place, while the smaller portable organ (orgue portatif) was made to be carried about. The disposition of the pipes was usually the same in both organs,--what may be called the natural order,--ascending from the longest pipe in the bass to the shortest in the treble, but some positive organs had the pipes arranged in a circular disposition, perhaps for a more equal distribution of the weight upon what is known as the sound-board. The instrument admits of more than one register. There are authentic representations of positives in several old pictures, one of the best known being that in the St. Cecilia panel, by Hubert Van Eyck, in the famous altar-piece of the Adoration of the Lamb at Ghent. The original St. Cecilia panel, now at Berlin, was not painted later than 1426, but the panel at Ghent is a good copy. Another St. Cecilia panel (date about 1484), with a positive organ, by an unknown painter, is not of such universal fame, but is nevertheless of very great merit. It is in the palace of Holyrood, Edinburgh, and is of equal value with the Van Eyck panel as a faithful representation of the instrument, and of the chromatic arrangement of the keys, thus early introduced.

The Positive Organ drawn in this volume has been intended for chamber, not choir, use. It has three registers, and the drawstops which control them project at the right-hand side of the case the same as in the old Flemish harpsichords. The principal register, that of the show pipes of gilt tin, is called the Montre; and the compass of it is from the E below, to the third C above, middle C--three octaves and a sixth. The second register, also of tin, is an octave higher in pitch, but extends only from the first E below, to the second C above, middle C; the remainder of the key-board compass is borrowed from the Montre. The third register is the Bourdon--wooden pipes stopped at the upper ends, an octave lower in pitch than the Montre. The Bourdon extends in compass from E an octave and sixth below, to the second C above, middle C. The three registers in this instrument are consequently at octave distances, but Praetorius (1619) describes an old positive in which the registers were in the relation of the fifth and octave to the lowest!--a combination the modern musical ear rejects. The boxwood natural keys with gilded paper fronts, as seen in this specimen, were common to the earliest known key-board instruments. The dimensions of this Positive Organ, including the stand, are--height, 6 feet 4 inches; width, 2 feet 6 inches; and depth, 1 foot 4 inches. The paintings inside the doors are, to the left, St. Cecilia playing upon a positive organ, while three angels sing and a fourth blows the bellows; to the right, a warrior crowned with laurel is in the attitude of listening; outside the doors there are panels with paintings of a woman playing on an instrument of the viol kind, and another playing a flute. There is a crowing cock upon the apex of the cornice. This Positive Organ is the property of the Conservatoire Royal, Brussels.

PLATE XII.

REGAL.

The Regal here drawn is the prototype of the modern harmonium, but with "beating" not "free" reeds. The beating reed is usually employed in the organ, and it derives its appellation from the reeds touching the sides of their frames. The beating reed was introduced in the fifteenth century, but whether in the simple regal first, or as part of an organ, is not known. In England, the word "regal" has been also used to denote a portable organ, as is shown by Sir John Hawkins's suggestion that the stage direction to the players' scene in Hamlet, "Enter a duke and a duchess with regal coronets," should be "with regals and cornets." The oldest German authorities, as Virdung (1511) and Praetorius (1619), separate them and describe the regal as a reed instrument with key-board exactly like this one, a kind of positive and not a portable organ. This Regal, which was in the Tolbecque Collection, is attributed in date to the end of the sixteenth century. It came from the Abbey of Freuenfeld in Switzerland, and now belongs to the Brussels Conservatoire. Mr. Victor Mahillon, the curator of the museum of that institution, records another fine specimen of this very rare instrument in the possession of the Community of Lady Canonesses of the order of St. Augustine, at Brussels, to which body it was presented, by the founder of the Order, in 1625. The regal is said to have been much used in convents to accompany the singing of the nuns. The Belgian Government kindly allowed a selection of the Conservatoire instruments, of which the Regal here drawn was one, to be played in the Historic Concerts given in July 1885, in the Music Room of the Inventions Exhibition. This instrument, when on its stand, measures 2 feet 8 inches in height, the width is the same, and the length is 4 feet 2 inches. The case is of finely-carved walnut. The compass of the key-board is from the second E below, to the second A above, middle C--about the extent of the human voice, and the frequent compass of old organs.

The word "regal" has been derived from the inventor having made a present of the first one to a king, or to kings having had in their establishments special regal-makers. Rigabello, a now unknown instrument which is said to have preceded the organ in Venice, is also quoted as the origin of the name. I have elsewhere (_Encyclopædia Britannica_, article Pianoforte) suggested that "regal" may have come from "regula," a rule, the idea of gradation being inherent in a key-board. The wooden harmonicon, when made to play by a key-board, was at one time called regal (régale en bois).

PLATE XIII.

PORTABLE ORGAN AND BIBLE REGAL.

The Portable Organ (orgue portatif, also nimfali) was a processional instrument slung by a strap over the player's shoulder, so as to allow the bellows at the back of the instrument to be worked by the player's left hand, while the keys were touched with the fingers of the right hand. From the high pitch of the pipes, the limited number of keys, and one hand only being used for touching them, it is possible that only one voice, or part, was played. The same remarks may be made of the early large organs, except that, with them, each key made several pipes of various lengths speak at the same time, so as to give the octave, twelfth, and super-octave, and still higher accordant intervals,--in point of fact, the large organ was, with the exception of the front pipes, a large mixture stop. The positive and portable organs were smaller editions of the principal or front pipe part of the large organ. From Orcagna and Fra Angelico, in the fourteenth century, to D.G. Rossetti and E. Burne Jones, in the nineteenth, the portable organ has been a favourite musical instrument for delineation by the painter of religious subjects, and from the fourteenth to the seventeenth centuries no musical instrument was more in favour in religious establishments. Notwithstanding this fact, I know of only two as now existing, and they are both of late date, being of the seventeenth century. The one, here drawn, belongs to the Museum of the Brussels Conservatoire, while the other, belonging to His Grace the Duke of Athole, is preserved at Blair Athole in Scotland.

The Brussels Portable Organ has twenty-six metal pipes arranged in two rows, and has as many keys, in a compass extending from the first E to the third F above middle C. On the case are engravings upon wood and ivory, representing a youth playing upon a harp while three boys dance, and a woman playing upon a portable organ while a girl and two boys sing. A woodcut of the harp-player is on the title-page of this volume. There is a conventional lion on each key-block. The dimensions are--height, 2 feet 6 inches; width, 2 feet; and depth, 8 inches.

The Bible Regal, drawn in the same Plate, is of the same kind as the beating reed Regal. The pipes which enclose the reeds are so cut down as to practically do little more than cover them. The instrument is so constructed that it can be folded up, and, when closed, looks like a book--whence the name Bible Regal. The key-board, hinged in the middle, is extended for performance. In the instrument drawn it is of four octaves and a fourth compass. The bellows are found by reversing the book cover. The Bible Regal is said to have been invented about the middle of the sixteenth century, by George Voll, an organ-builder of Nuremberg. It is extremely rare; I only know of two, one belonging to Mr. Wyndham Portal of Malshanger, Basingstoke, and this instrument, the property of Mrs. Frederick Pagden and her sister Miss Ferrari.

PLATE XIV.

CETERA.

The instrument, in Italian "Cetera," is in French called "Cistre," and in English "Cither," sometimes English Guitar. It belongs to the guitar kind because it has a flat back, but all cithers are strung with wire, and the sounds are elicited, like those of the lute-shaped mandoline, by means of a plectrum. This exquisitely beautiful instrument of the early sixteenth century is attributed to the Brescian School. Formerly the property of the Biblioteca Estense at Modena, it has since been acquired by Mr. George Donaldson, London. It will be observed in the drawing that a carving of a woman's head surmounts the peg-box and resolves itself into a lizard, which serves as a handle wherewith to hold the instrument. A mermaid is seen below the finger-board, and there are two in the carving of the back. The ribs are also carved. To show this exquisite carving upon a larger scale enlargements are given of the finger-board mermaid and the rose in the sound-hole. The extreme length of the instrument is 3 feet; and that of the body measured to the neck, 19-1/2 inches; the number of strings is thirteen. Praetorius gives the tuning of such an instrument as follows: [Music] the highest being the single melody string.

This Cetera should be compared with that of Mr. Alard in Plate XXVIII.--an instrument made by the famous violin-maker, Antonio Stradivari.

PLATE XV.

LUTE.

A fine old Italian Lute, with the label "1600, IN PADOVA Vvendelio Venere." It is not only rare, but a special interest is attached to it from its having been the favourite musical instrument of the late Carl Engel. When he disposed of his collection he reserved this instrument for his own use, and probably his last performance upon it was Handel's "Lascia ch'io pianga," which he played to the present writer, who now owns the instrument.

It is a large lute, being 42 inches in length. The greatest width of the body is 14-1/2 inches, with an extreme depth of 8 inches. The body is 21 inches from the base to the shoulders; from thence to the nut is 10-3/4 inches, and it is 13-1/2 inches from the nut to the extremity of the head, the angle of the peg-box being obtuse. The mean width of the finger-board is 4 inches. It is furnished with twenty strings, which are divided into six pairs of unisons, and eight single strings for basses. Engel tuned it in the D minor tuning, an accordance introduced according to Herr Oscar Fleischer in the first half of the seventeenth century, by the great French lutenist, Denis Gaultier. This accordance ultimately prevailed not only in France and England but in Germany; the same writer informs us that Joseph Haydn used it. This lute, when so tuned, is thus arranged--

[Music]

but the old Lute tuning was, in chamber pitch--

[Music]

Mersenne (_Harmonie Universelle_, Paris, 1636) places this finger-board scale a tone higher, with the Chanterelle on A. This change really infers the use of a lower pitch. By Gaultier's tuning the strain is taken off the highest note--a relief of much importance, when the high chamber pitch then customary, nearly a whole tone above the normal French pitch, is considered. By the twelve frets upon the finger-board for the highest notes, the melody strings could be raised chromatically one octave, thus making the extreme compass of the instrument four octaves and a note, from the third F below, to the second G above, middle C. Before the year 1600 the lute was played, as the old tablatures or lute notations show us, in single notes with occasional chords, a practice derived from lute-playing frequently found in modern pianoforte music. There were attempts at counterpoint, but these were limited, owing to one hand only being available for stopping. Certain graces were used, especially the _vibrato_, but there is reason to believe they were used for some time by the players before the composers thought fit to indicate them. With the growing favour for simple chords, which were developed into the Continuo or Thorough Bass accompaniment, the bass strings--diapasons, as they were called--were added beneath the finger-board accordance to be tuned for basses as the player required. At last they were attached by the contrivance of a double neck to a higher peg-box, by which the Lute became a Theorbo. Both varieties were superseded early in the eighteenth century by the guitar, which was easier to play, and the immensely popular spinet, which permitted the performance of a complete counterpoint, by the freedom it gave to use both hands upon the key-board. A reflection might here be made on the masterly way in which contemporary painters drew hands and lutes. I need only name those masters of the Dutch school, Frans Hals, Jan Steen, and Terburg, especially Steen, whose truthful precision compels admiration. Of another school, there is a lute-player drawn by Albrecht Dürer, that is a miracle of skill and accuracy of observation.

A considerable literature of the lute exists belonging to the sixteenth, seventeenth, and eighteenth centuries. Thomas Mace (1676) writes very amusingly about it. He accounts Venice lutes as commonly good, but gives the highest place to Laux Maler of Bologna. Evelyn, in his Diary, also quotes Bologna as famous for lutes, especially those of the old masters, Mollen, Hans Frey, and Nicholas Sconvelt (_sic_), who were Germans. The first-named is probably intended for Maler. In Evelyn's time, lutes by these makers were fetching extraordinary prices. The most interesting modern works of information about the lute, as well as of contemporary music generally, are _La Musique aux Pays Bas_, Edmond Vander Straeten (Brussels, 1867-85), from a future volume of which a monograph has been published in anticipation, entitled _Jacques de Saint-Luc, Luthiste Athois du xviie. siècle_ (Mayence, 1887); _Musique et Musiciens au xviie. siècle_, a publication of the "Société pour l'Histoire Musicale des Pays-Bas," edited by W.J.A. Jonckbloet and J.P.N. Land, and containing the musical correspondence of the astronomer Constantin Huygens (Leyden, 1882); and a monograph upon the famous Parisian lutenist, Denis Gaultier, by Oscar Fleischer, published in the _Vierteljahrschrift für Musikwissenschaft_ for January and April 1886 (Leipsic, Breitkopf and Härtel). The first three-quarters of the seventeenth century was a period remarkable for a refined amateur cultivation of instrumental music. Shakspeare's appreciation of the lute, and his graceful tribute of admiration for the performance of his friend, the lutenist Dowland, are well known.

PLATE XVI.

THE ORBO.

The instrument here drawn was made by Giovanni Krebar of Padua in 1629, and now belongs to Mr. George Donaldson, London.

The body of this instrument is built up of ivory; the back of the peg-box and neck is also of ivory, and is delicately engraved with a view of Venice, showing vessels engaged in firing, and spearmen advancing. Incised dancing and fencing figures adorn the lower neck; there is a garden scene with numerous figures upon the upper neck. By the pegs we find the instrument had eight bass notes or diapasons; a single string to each note, and that there were on the finger-board five double strings and one, the highest, single--the chanterelle or melody string. In the true theorbo, the Paduan according to Baron (_Untersuchung des Instruments der Lauten_, Nuremberg, 1727, p. 131),--the diapasons were single strings. When the diapasons were in pairs of strings the instrument was, according to Mersenne (_Harmonie Universelle_, Paris, 1636), called (French) "Luth téorbé" or (Italian) "Liuto attiorbato," a theorboed lute. It must, however, be admitted that Mersenne's rule is not of strict application. The single strings introduced, in the first instance, for basses, at last became general throughout, and banished the double stringing in lutes, theorboes and guitars. The lutes were, however, by this time nearly out of use. The name Archlute is given by different authorities to both Theorbo and Chitarrone (Plate XXI.).