Thanks, Edward. In my opinion, considering the body of the instrument and the lenght of the lutenist's forearm and fingers, he had no other way to play, because keeping his hand toward the rose would have meant to have his shoulder and wrist in such a position to suffer from pain in thirty minutes playing... I 've just checked the painting of Gabbiani of a baroque lutenist ( on my site http://web.tiscali.it/awebd ), and he's apparently resting after having struck the last chord, nevertheless the right hand is in the very same position, the little finger still resting on the table, and in this case his arm and e fingers are very long. I suspect this position was good for back, wrist and shoulders, and it is the same position - I mean the one in Gabbiani- Aldo Minella ( guitarist, one of the "4" pupils of Segovia ) uses and teaches. I've used it for years on the guitar and I found it very convenient, even after 8 hours practising.
Both pictures remind me someway of Paolo Cherici, but I don't know whether there are still pictures of him on his site, there used to be some.. Donatella ----- Original Message ----- From: "David Van Edwards" <[EMAIL PROTECTED]> To: <[email protected]> Sent: Saturday, November 05, 2005 6:43 PM Subject: [LUTE] french baroque lute painting > Dear Taco, > > The picture is an anonymous French School painting in Hamburg > Kunsthalle and was featured on the front cover of Early Music > magazine in October 1982. The whole picture makes it clear that it's > mostly a perspective problem, since the bridge also is on at an > impossible [and opposite] angle. > > The rose is set grossly to one side as well. But the whole painting > is magnificent and gives very much the spirit of the instrument, > which looks like a converted Italian yew-wood lute with a French > style silver lace round the edge. > > It may well be that the player did have his frets on at various > angles as many players do today to adjust intonation. > > What is noticeable from the whole painting is that the player has his > little finger resting BEHIND the bridge in a postion where lots of > surviving museum instruments have wear marks. Thus he is playing very > close to the bridge. This may have influenced Bob's choice of > picture, since he has been talking a lot of late about the evidence > of playing close to the bridge. But from the CD section one can't > tell this of course! > > The red strings are interesting and are not that illogical since they > are on the bass side of each course from the fifth downwards. A > perfect example of loaded strings and very bright red. > > In case anyone is interested in seeing the whole painting I'll put it > up on my site at http://www.vanedwards.co.uk/hamburg.htm > > Best wishes, > > David > > hi all, > I was just looking at the picture on the latest Barto-Weiss CD showing a > > luteplayer with a french baroque lute. Looks quite normal until you look > more > careful. Two interesting things: > 1. There are 6 red strings indicating loaded gut for strings where > normally > normal gut would be sufficient. > 2. A very strange position of the pegbox. If you look at the white bone > part > which forms the bridge for the strings from fingerboard to pegbox, you > notice > that it's not parallel to the frets. The distance between the bone and > first > fret is smaller for the topstrings than for the bass strings. This could > be a > mistake by the painter having difficulties with drawing the angle of the > > pegbox, but it could also be a design to give more length to the bass > strings. I think the latter is more logical. Never seen something like > that > on other paintings or modern copies. > Taco > > -- > The Smokehouse, > 6 Whitwell Road, > Norwich, NR1 4HB > England. > > Telephone: + 44 (0)1603 629899 > Website: http://www.vanedwards.co.uk > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
