Actually the Colson wasn't as bad as the others. From my notes I see that
it needed a few tangents and touchpieces for the keys and the keys in the
upper register were very floppy in the key slots. I was surprised to find
the wheel only very, very slightly warped and ran true and the shaft had no
discernible endfloat or lateral movement. To get this working again wouldn't
mean losing any original features, just replacing the odd key touchpiece,
tangent and the chien. I suppose a very small amount would be lost truing
the wheel..........................
But then, as Graham said, they conserve not restore, which of course makes
it much easier for people like me to come along and study an original
unrestored item. This conservation / restoration dilemma is a difficult nut
to crack!
Mike
www.hurdygurdy.biz
----- Original Message -----
From: "Colin" <[EMAIL PROTECTED]>
To: <[email protected]>
Sent: Monday, June 02, 2008 10:35 PM
Subject: Re: [HG] Hurdy Gurdies in museums information
Yes, it's a shame that these instruments are, in effect, left to a shadow
of their former selves.
The usual reason, of course, is "George Washington's axe syndrome
(original but it's had two new blades and three new handles).
Still. it's a shame that restoration cannot be done - they restored the
Last Supper in the Sistine chapel after all!
Ah, maybe the Hgs are more important than that - of course.
Colin Hill
----- Original Message -----
From: "Billy Horne" <[EMAIL PROTECTED]>
To: <[email protected]>
Sent: Monday, June 02, 2008 8:11 PM
Subject: Re: [HG] Hurdy Gurdies in museums information
Thanks everyone that replied.
It seems that museums world wide have a similar situation, conserve but
no laying on of hands! You must have been lucky or blessed Mike to have
had that opportunity.It is sad that instruments that are created to be
played and heard, are condemend to be gazed at and left silent.
Billy Horne
