> > > I guess that's why I'm stuck spending time on all this old, outdated > stuff rather than pick up my guitar and play some money into my pocket. > > Even a humble little thing like this catalogue has so many intriguing > questions to ask and so many stories to tell - often stories that don't > quite fit History As We Know It. > > All those lovely violin models for example. How come everybody today > seem to be playing Stradivarius copies when there are so many alternatives? > > How about the viola d'amours mentioned on page 13? The beginning of the > early music revival or remains of a coninious tradition? > > In the guitar section, take a look at that pesky bridge/tailpiece combo > they sometimes had to use to force a guitar that would have been happier > with gut strings to handle cold steel. > > How about those short scale tenor guitars? Why are they there instead of > the cuatros? > > And that Mexican guitar - looks just like another name for the modern > steel-stringed guitar to me. Does that imply something every US conutry > picker would hate to hear? > > Those almost-but-not-quite-twelve-string-guitars - what do they imply? > > What on earth are the *ouds* doing in prewar Latin America??? > > It seems "Portuguese mandolins" and "flat (German) mandolins" are > considered as two different kinds of instruments. Hmmmm... > > How come there are more ukes than you can shake a stick at and not a > single charango? > > Why are there so few wind instruments? Surely they had marching bands in > outh America too. > > Etc,, etc., etc. > > But I suppose I'm way off topic for this list! > > Hope you enjoy those scans! > > Great scans. Really interesting.
Frank, they're huge files. I think you'd only get to see them if you have broadband. On the other hand you can zoom right into the pics and the definition is superb. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
