founded upon that of the original eight-stringed European lute, to which the highest and lowest notes had, in course of time, been added. A later addition was the
also on the finger-board, and bass strings, double or single, known as diapasons, which, descending to the deep C of the violoncello, were not stopped with the fingers. The diapasons were tuned as the key of the piece of music required. Fig. 2 represents an Italian instrument made by one of the most celebrated lute makers, Venere of Padua, in 1600; it is 3 ft. 6 in. high, and has six pairs of unisons and eight single diapasons. The finger-board, divided into approximately equal half tones by the frets, as a rule eight in number, was often further divided on the higher notes, for ten, eleven, or, as in the woodcut, even twelve, semitones. The head, bearing the tuning pegs, was placed at an obtuse or a right angle to the neck, to increase the bearing of the strings upon the nut, and be convenient for sudden requirements of tuning during performance, the trouble of keeping a lute in tune being proverbial.
The lute was in general use during the 16th and 17th centuries. In the 18th it declined; still J. S. Bach wrote a “partita” for it. The latest date we have met with of an engraved publication for the lute is 1760.
The large double-necked lute, with two sets of tuning pegs, the lower for the finger-board, the higher for the diapason strings, was known as the theorbo; also, and especially in England, as the arch-lute; and, in a special form, the neck being then very long, as the chitarrone. Theorbo and chitarrone appear together at the close of the 16th century, and their introduction was synchronous with the rise of accompanied monody in music, that is, of the oratorio and the opera. Peri, Caccini and Monteverde used theorbos to accompany their newly-devised recitative, the invention of which in Florence, from the impulse of the Renaissance, is well known. The height of a theorbo varied from 3 ft. 6 in. to 5 ft., the Paduan being always the largest, excepting the Roman 6-ft. long chitarrone. These large lutes had very deep notes, and doubtless great liberties were allowed in tuning, but the strings on the finger-board followed the lute accordance already given, or another quoted by Baron (Untersuchung des Instruments der Lauten, Nuremberg, 1727) as the old theorbo or “violway” (see Mace, Musick’s Monument, London, 1676):—
We find again both these accordances varied and transposed a tone higher, perhaps with thinner strings, or to accommodate local differences of pitch. Praetorius recommends the chanterelles of theorbos being tuned an octave lower on account of the great strain. By such a change, another authority, the Englishman Thomas Mace, says, the life and spruceness of airy lessons were quite lost. The theorbo or arch-lute had at last to give way to the violoncello and double bass, which are still used to accompany the “recitativo secco” in oratorios and operas. Handel wrote a part for a theorbo in Esther (1720); after that date it appears no more in orchestral scores, but remained in private use until nearly the end of the century.
The lute and the organ share the distinction of being the first instruments for which the oldest instrumental compositions we possess were written. For the lute, however, they were not written in our present notation, but in tablature, “lyrawise,” a system by which as many lines were drawn horizontally as there were pairs of strings on the finger-board, the frets, distributed at intervals of a semitone, being distinguished by the letters of the alphabet, repeated from A, representing the open string, for each line. This was the English and French manner; the Italian was by numbers instead of letters. The signs of time were placed over the stave, and were not repeated unless the mensural values changed.
(A. J. H.; K. S.)