Dear Alexander,
I certainly did not mean to give the impression that you had suggested
the Tenier picture had anything to do with Italian guitars of the
period - it was purely my mistake which I tried to correct. But clearly
clumsily and I'm sorry for not making it clearer.
But I do like the pilaster representation - thank you again for it.
regards
Martyn
--- On Tue, 29/1/13, Alexander Batov
<alexander.ba...@vihuelademano.com> wrote:
From: Alexander Batov <alexander.ba...@vihuelademano.com>
Subject: [LUTE] Re: 4 course guitar in Italy
To: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Cc: "Lute Dmth" <lute@cs.dartmouth.edu>
Date: Tuesday, 29 January, 2013, 13:15
Hello Martyn,
I understand perfectly well that the Tenier's picture has nothing to do
with the 'Italian representation', and I'd never meant to represent it
that way. That particular set of the pictures, as well as the other one
further down the page ('anjo com viola' from Abrantes, Portugal), are
only (mostly!) there just to illustrate how widespread such
organological feature as asymmetrical arrangement of pegs was from
country to country. So, in a way, it serves the opposite purpose to
what you tried to extract from it! Perhaps you've got confused by my
wording "in the context" next to the second link that I gave, which was
supposed to mean "in the context of the article" describing that
particular feature, not in the topic of our discussion, sorry about
that.
Alexander
On 29/01/2013 10:56, Martyn Hodgson wrote:
> Further to the below, on reflection I may be mistaken to describe
the
> Teniers picture as an Italian representation - whilst he worked
mainly
> in a part of the Hapsburg dominions I think a link to Italy is a
bit
> too speculative. But the pilaster representation is very clearly
> Italian
>
> regards,
>
> Martyn
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