[LUTE] Re: The golden rose
I suppose, Leonard, if any effect, it would be more like loading, so possibly more damping than brightening. Although, it would probably be too thin to make an audible difference. Just my intuition. Regards Anthony Sent from my iPhone On 23 juin 2013, at 01:13, Leonard Williams arc...@verizon.net wrote: How would a gilded rose affect the sound of the instrument? Though the gilding would surely be thin, wouldn't that extra mass affect harmonic responses, the way a wire affects a string in gimped gut? Leonard On 6/22/13 7:27 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: Dear David, You are probably right - forget the papal rose line. Though perhaps the rose reference is some personal link known to those around G at the time. But perhaps a gilded rose is likely - I'm just cautious about proceeding from speculation to certainty It does sound, tho', as if the thing had been nicked! regards Martyn __ From: David Van Edwards da...@vanedwards.co.uk To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Sent: Saturday, 22 June 2013, 10:30 Subject: [LUTE] Re: The golden rose Dear Martyn, Thank you very much for the reference, it would have taken me ages to find starting from the beginning!! But apropos your ideas of The Golden Rose Lute referring to the Papal golden rose there are these words following the Gaultier piece quoted: The first part of the lesson representeth the enquiry after the lute, and kind promises for those that shall give any notice of it; the second part representeth first the trouble and hurly-burly of the seeking after the lute; and the conclusion is a complaint of the loss of the lute that can not be found. Which does sound to me rather specific to an instrument. Of course it could be symbolic in some obscure way but the references to the papal golden rose you sent do not contain any idea of loss, rather the reverse, since the rose itself seems to refer to the resurrection and the blessings that follow. Any loss of those would rather undermine the whole edifice of Christianity! Best wishes, David Dear David, The piece appears in Chapter XV (f.69-87) of the MS 'Concerning the art of setting Lessons uppon the Lute'. I'm not sure if you'll find anything to elaborate on what precisely was meant by the 'golden rose' lute (ie an actual gilded rose or possibly some other association), since it says nothing about the 'Golden Rose Lute' itself but merely precedes the relevant piece with the words: 'The loss of the golden rose lute; a lesson of Old Gaultier upon the goat's tuning' Incidentally, you may find Dart's modern transcription (which is accurate as far as I can see) easier to read; it appeared in the 1958 Galpin Soc journal. regards Martyn __ From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Lute Dmth lute@cs.dartmouth.edu Sent: Friday, 21 June 2013, 16:37 Subject: [LUTE] Re: The golden rose - Forwarded Message - From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk To: David Van Edwards [2]da...@vanedwards.co.uk Cc: 'LuteNet list' [3]lute@cs.dartmouth.edu Sent: Friday, 21 June 2013, 8:16 Subject: Re: [LUTE] Re: The golden rose Dear David, I was under the, perhaps wholly mistaken, impression that 'The loss of the golden rose lute' found in the Burwell MS was some other association rather then the actual gilding of the lute rose. For example it could be linked to the papal rose of the name, see [1][4]http://www.newadvent.org/cathen/06629a.htm or [2][5]http://en.wikipedia.org/wiki/Golden_Rose Or maybe other associations from antiquity. Just a thought... regards Martyn __ From: David Van Edwards [6]da...@vanedwards.co.uk To: Luca Manassero [7]l...@manassero.net Cc: 'LuteNet list' [8]lute@cs.dartmouth.edu Sent: Thursday, 20 June 2013, 20:13 Subject: [LUTE] Re: The golden rose Dear Luca, Yes there are 8 surviving lutes that I know of with gilded roses. 1. The 16th century lute by Wolfgang Wolf currently in Fuessen Museum has a gilded rose. Impossible to say if it is original as it has certainly been roughly gilded since then. 2.Lute by Jakob Langenwalder [Fuessen 1627] in Kremsmuenster, Benediktinerstift 3.Lute by Georg Greiff [Fuessen 1590] in Darmstadt, Hessisches Landesmuseum Kg 67: 103 (Orig M.I. 29) 4.
[LUTE] Re: The golden rose
I think with a thickness of 1/9000 mm of the gold foil there is not much mass added when the rose is gilded.. Am 23.06.2013 01:13, schrieb Leonard Williams: How would a gilded rose affect the sound of the instrument? Though the gilding would surely be thin, wouldn't that extra mass affect harmonic responses, the way a wire affects a string in gimped gut? Leonard On 6/22/13 7:27 AM, Martyn Hodgsonhodgsonmar...@yahoo.co.uk wrote: Dear David, You are probably right - forget the papal rose line. Though perhaps the rose reference is some personal link known to those around G at the time. But perhaps a gilded rose is likely - I'm just cautious about proceeding from speculation to certainty It does sound, tho', as if the thing had been nicked! regards Martyn __ From: David Van Edwardsda...@vanedwards.co.uk To: Martyn Hodgsonhodgsonmar...@yahoo.co.uk Sent: Saturday, 22 June 2013, 10:30 Subject: [LUTE] Re: The golden rose Dear Martyn, Thank you very much for the reference, it would have taken me ages to find starting from the beginning!! But apropos your ideas of The Golden Rose Lute referring to the Papal golden rose there are these words following the Gaultier piece quoted: The first part of the lesson representeth the enquiry after the lute, and kind promises for those that shall give any notice of it; the second part representeth first the trouble and hurly-burly of the seeking after the lute; and the conclusion is a complaint of the loss of the lute that can not be found. Which does sound to me rather specific to an instrument. Of course it could be symbolic in some obscure way but the references to the papal golden rose you sent do not contain any idea of loss, rather the reverse, since the rose itself seems to refer to the resurrection and the blessings that follow. Any loss of those would rather undermine the whole edifice of Christianity! Best wishes, David Dear David, The piece appears in Chapter XV (f.69-87) of the MS 'Concerning the art of setting Lessons uppon the Lute'. I'm not sure if you'll find anything to elaborate on what precisely was meant by the 'golden rose' lute (ie an actual gilded rose or possibly some other association), since it says nothing about the 'Golden Rose Lute' itself but merely precedes the relevant piece with the words: 'The loss of the golden rose lute; a lesson of Old Gaultier upon the goat's tuning' Incidentally, you may find Dart's modern transcription (which is accurate as far as I can see) easier to read; it appeared in the 1958 Galpin Soc journal. regards Martyn __ From: Martyn Hodgsonhodgsonmar...@yahoo.co.uk To: Lute Dmthlute@cs.dartmouth.edu Sent: Friday, 21 June 2013, 16:37 Subject: [LUTE] Re: The golden rose - Forwarded Message - From: Martyn Hodgson[1]hodgsonmar...@yahoo.co.uk To: David Van Edwards[2]da...@vanedwards.co.uk Cc: 'LuteNet list'[3]lute@cs.dartmouth.edu Sent: Friday, 21 June 2013, 8:16 Subject: Re: [LUTE] Re: The golden rose Dear David, I was under the, perhaps wholly mistaken, impression that 'The loss of the golden rose lute' found in the Burwell MS was some other association rather then the actual gilding of the lute rose. For example it could be linked to the papal rose of the name, see [1][4]http://www.newadvent.org/cathen/06629a.htm or [2][5]http://en.wikipedia.org/wiki/Golden_Rose Or maybe other associations from antiquity. Just a thought... regards Martyn __ From: David Van Edwards[6]da...@vanedwards.co.uk To: Luca Manassero[7]l...@manassero.net Cc: 'LuteNet list'[8]lute@cs.dartmouth.edu Sent: Thursday, 20 June 2013, 20:13 Subject: [LUTE] Re: The golden rose Dear Luca, Yes there are 8 surviving lutes that I know of with gilded roses. 1. The 16th century lute by Wolfgang Wolf currently in Fuessen Museum has a gilded rose. Impossible to say if it is original as it has certainly been roughly gilded since then. 2.Lute by Jakob Langenwalder [Fuessen 1627] in Kremsmuenster, Benediktinerstift 3.Lute by Georg Greiff [Fuessen 1590] in Darmstadt, Hessisches Landesmuseum Kg 67: 103
[LUTE] Re: The golden rose
On Sun, 23 Jun 2013 09:17:31 +0200, Anthony Hind wrote I suppose, Leonard, if any effect, it would be more like loading, so possibly more damping than brightening. Although, it would probably be too thin to make an audible difference. Just my intuition. Regards Anthony While the mass of the gold is neglectable, depending on the gilding technique used, the application of a mixture of hide glue, plaster and chalk used in traditional gilding might stiffen the rose. But that depends on whether the roses where polished or not. Cheers, Ralf Mattes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The golden rose
Golden rose is likely a simple metaphor meaning, the lute with the perfect sound. Today we (in America at least) refer to a radio announcer with a deep, resonant voice as having a golden throat. Obviously we don't mean it literally. Similar metaphors exist in olden time. St. John Chrysostom, famed for his preaching, literally means John Golden Mouth. (A thread will now open on this list that will endeavor to speculate on the beneficial effects that gilding has on the physiology of the mouth and larynx, providing supporting evidence that we do, in fact, mean it literally.) Although we are continually hoping to find it, the search for the Platonic Ideal of Lutes is ultimately futile, therefore lost before it has begun. Chris Dr. Christopher Wilke D.M.A. Eastman School of Music Lutenist, Guitarist and Composer www.christopherwilke.com __ From: R. Mattes r...@mh-freiburg.de To: Anthony Hind agno3ph...@yahoo.com; Leonard Williams arc...@verizon.net Cc: Lute List lute@cs.dartmouth.edu Sent: Sunday, June 23, 2013 4:52 AM Subject: [LUTE] Re: The golden rose On Sun, 23 Jun 2013 09:17:31 +0200, Anthony Hind wrote I suppose, Leonard, if any effect, it would be more like loading, so possibly more damping than brightening. Although, it would probably be too thin to make an audible difference. Just my intuition. Regards Anthony While the mass of the gold is neglectable, depending on the gilding technique used, the application of a mixture of hide glue, plaster and chalk used in traditional gilding might stiffen the rose. But that depends on whether the roses where polished or not. Cheers, Ralf Mattes To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The golden rose
Footballer David Beckham is also known as 'golden balls'. I won't speculate on whether is literally true or not. Mind you, judging by his highish voice, there may be an element of 'loss' involved here too . . . Bill From: Christopher Wilke chriswi...@yahoo.com To: R. Mattes r...@mh-freiburg.de; Anthony Hind agno3ph...@yahoo.com; Leonard Williams arc...@verizon.net Cc: Lute List lute@cs.dartmouth.edu Sent: Sunday, 23 June 2013, 13:57 Subject: [LUTE] Re: The golden rose Golden rose is likely a simple metaphor meaning, the lute with the perfect sound. Today we (in America at least) refer to a radio announcer with a deep, resonant voice as having a golden throat. Obviously we don't mean it literally. Similar metaphors exist in olden time. St. John Chrysostom, famed for his preaching, literally means John Golden Mouth. (A thread will now open on this list that will endeavor to speculate on the beneficial effects that gilding has on the physiology of the mouth and larynx, providing supporting evidence that we do, in fact, mean it literally.) Although we are continually hoping to find it, the search for the Platonic Ideal of Lutes is ultimately futile, therefore lost before it has begun. Chris Dr. Christopher Wilke D.M.A. Eastman School of Music Lutenist, Guitarist and Composer www.christopherwilke.com __ From: R. Mattes [1]r...@mh-freiburg.de To: Anthony Hind [2]agno3ph...@yahoo.com; Leonard Williams [3]arc...@verizon.net Cc: Lute List [4]lute@cs.dartmouth.edu Sent: Sunday, June 23, 2013 4:52 AM Subject: [LUTE] Re: The golden rose On Sun, 23 Jun 2013 09:17:31 +0200, Anthony Hind wrote I suppose, Leonard, if any effect, it would be more like loading, so possibly more damping than brightening. Although, it would probably be too thin to make an audible difference. Just my intuition. Regards Anthony While the mass of the gold is neglectable, depending on the gilding technique used, the application of a mixture of hide glue, plaster and chalk used in traditional gilding might stiffen the rose. But that depends on whether the roses where polished or not. Cheers, Ralf Mattes To get on or off this list see list information at [1][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:r...@mh-freiburg.de 2. mailto:agno3ph...@yahoo.com 3. mailto:arc...@verizon.net 4. mailto:lute@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute in North America
On 6/21/13 7:32 AM, Brad Walton gtung.wal...@utoronto.ca wrote: It was interesting to read of records concerning lutes in . New England. What records are you referring to? Are there records, i.e. documents, that mention a lute in present day New England, or in any of the British colonies? I was once told that lutes were mentioned in a few probate records in colonial Mass.. But that's so vague, and I have never found any detailed information, like a name or date, or probate record book and page number, for such records. Does anyone know a specific reference to documents that mention a lute in the probate (or other) records of colonial Mass. (or any other colony)? I'd really like to read these records for myself. I've been doing my own research into colonial records for a few years now and have been on the lookout for any mention of musical instruments. I've found a few, but nothing for any lute family instruments. I have found records, mostly in estate inventories, of fiddles/violins, flutes, tin trumpets, a dulcimer, citterns, a hautboy - but nothing like a lute. Just for fun, here's an on-line reference to two court cases involving citterns in 1670's Maryland. If you want to read the full text of the court cases, there's a search box in the upper right corner where you can search on the page number or words. http://aomol.net/01/60/html/am60p--50.html C.Etter To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Dancing Dowland
John Dowland Seven Songs and A Galliard Melanie Poser, Dance Stefan Olof Lundgren, Theorbo Complete online in HD quality http://www.youtube.com/watch?v=EQfBPLXY9t8feature=youtu.be The music is arrangements of John Dowlands songs as well as the famous Galliard for two to play upon one lute. The arrangements you can find here: www.luteonline.se. The titles: Come Again My Lord Chamberline His Galliard 5.35 Flow my teares 7.53 Wilt thou unkind thus reave me 12.31 Fine knacks for ladies 17.10 I saw my lady weepe 20.08 Come heavy sleepe 23,43 In darknesse let me dwell 28.12 Hellish jarring sounds 32.48 Stefan about the music The arrangements have different degrees of complexity. Come and Sleepe shows two extrems: in Come, the lutesong by Dowland can only be recognized for a short while in the opening and at the end of the piece. In between, it's more like a written down free improvisation. In Sleepe, on the other hand, the lutesong is intabulated with almost no changes. Between these extremes you will find more or less farreaching variations over the original lutesongs by John Dowland. One can say that every new verse get a new accompaniment. For example: Unkind and Ladies. In Darkness and Hellish Jarring Sounds both extrems mentioned earlier can be heard. In Darkness, a strict intabulation of the whole song, of course including the idiomatic theorbostyle. However, in Hellish Jarring Sounds the suggestive title inspired the re-composer to more or less hellish jarring sounds but still not leaving the original lyric and form. Melanie about the dances For these eight pieces there was no choerografy confirmed. It was the nature, trees, and the sea, and wind and once a seagull to provide the movemens of dance or sometimes only gestures. Come: A dance to show how beautiful the woods could be. The trees teach how to move, epecially a big root with its knobby arms and fingers. Galliard: Just listen to the sounds of the roots. Do they come from themselves or do they come from the lute. Or is the lute a transformation of the roots? Teares: The plants drink from the tears of the sky. Just relax and enjoy the precious raindrops. Unkind: Its a dialouge between movements and a seagull and the wind from the sea. Ladies: The finest knacks you ever can see are those that bejewel the flowers on a madow. Weepe: If you are sad and you are a weeping lady, just go into a summer forest, the swaying trees in the sun spend solace. Sleepe: Dead trees and scythed forest make sad. There is a griever between the dead woods. Darkness: A person in a coffin escapes from its grave. There are some invisible pursuer, but the person escapes through the hole of a hedge wich is the border into the land of the living. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Summary intavolations 32
Hi, there are new Lute Intavolations on IMSLP Enjoy them Anton for 3 Lutes - Unisono Pallavicino, Benedetto Occhi leggiadri e belli http://imslp.org/wiki/II_primo_libro_de_madrigali_a_sei_voci_(Pallavicino,_Benedetto) Woodson, LeonardIn Nomine I http://imslp.org/wiki/In_Nomine_I_a5_(Woodson,_Leonard) for 2 Lutes - Unisono Coelho, Manuel RodriguesSusanne un jour III http://imslp.org/wiki/Susanne_un_jour_III_(Coelho,_Manuel_Rodrigues) for 4 Lutes - Unisono Pallavicino, Benedetto Viva sempre scolpita http://imslp.org/wiki/Madrigali_a_5_voci,_Libro_8_(Pallavicino,_Benedetto)#IMSLP285759 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute in North America
William Brewster, a minister and elder of the Separatist Church of England came to America on the Mayflower and his baggage included many books, as well as a lute (or two?) and Richard Alison's *The Psalmes of David in Metre* (1599). He lived for many years with other exiles in Leiden, a center of lute music in Holland (where fellow preacher Adrian Smout of the Thysius Lute Book lived as a student). By the way, Alison is a lutenist-composer whose harmonically intense works deserve attention. The solo works are available in an edition by John H. Robinson with fresh biographical notes by Bob Spencer. Publ. Lute Society (UK). There is a very extensive list of musical instruments in New England in Colonial Society of Massachusetts, publ., *Music in Colonial Massachusetts, 1630-1820* 2 vols. (Boston 1980/1985), about 1200 pages. The census is drawn from probate and annual tax records of the day. (Some are reproduced in facsimile.) Personal property was inventoried annually and taxes assessed on that property. I recall as a child of a similar practice in the county where I lived. By far the most popular instrument was cittern, more popular than harpsichord or flute or violin. Perhaps this is a euphemism for English guitar. Citterns were often stored with the linens. A practice observed in England. Of plucked instruments, I count 24 citterns, 2 lutes, 2 gittorne and 2 guittawur. And 20 viols. Often cittern owners also owned viols for consort performances. There is similar book on colonial music in Virginia, but I have never seen it. In a small county museum in Virginia (?) is said to be Thomas Jefferson's lute, but someone who examined it says it is an English guitar. His daughter and a granddaughter played English guitar. The Green Mountain Boy Ethan Allen's bride Fanny took an English guitar on their honeymoon. Arthur - Original Message - From: cetter [1]cet...@centurylink.net To: Brad Walton [2]gtung.wal...@utoronto.ca; Lute List [3]lute@cs.dartmouth.edu Sent: Sunday, June 23, 2013 12:01 PM Subject: [LUTE] Re: Lute in North America On 6/21/13 7:32 AM, Brad Walton [4]gtung.wal...@utoronto.ca wrote: It was interesting to read of records concerning lutes in . New England. What records are you referring to? Are there records, i.e. documents, that mention a lute in present day New England, or in any of the British colonies? I was once told that lutes were mentioned in a few probate records in colonial Mass.. But that's so vague, and I have never found any detailed information, like a name or date, or probate record book and page number, for such records. Does anyone know a specific reference to documents that mention a lute in the probate (or other) records of colonial Mass. (or any other colony)? I'd really like to read these records for myself. I've been doing my own research into colonial records for a few years now and have been on the lookout for any mention of musical instruments. I've found a few, but nothing for any lute family instruments. I have found records, mostly in estate inventories, of fiddles/violins, flutes, tin trumpets, a dulcimer, citterns, a hautboy - but nothing like a lute. Just for fun, here's an on-line reference to two court cases involving citterns in 1670's Maryland. If you want to read the full text of the court cases, there's a search box in the upper right corner where you can search on the page number or words. [5]http://aomol.net/01/60/html/am60p--50.html C.Etter To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:cet...@centurylink.net 2. mailto:gtung.wal...@utoronto.ca 3. mailto:lute@cs.dartmouth.edu 4. mailto:gtung.wal...@utoronto.ca 5. http://aomol.net/01/60/html/am60p--50.html 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute in North America
Further to the cittern, you might try to access any work done by David Hildebrand. He lectures and and performs on it (as it relates to the colonial period) mostly around the east coast and particularly Maryland. Sean On Jun 23, 2013, at 1:34 PM, Arthur Ness wrote: William Brewster, a minister and elder of the Separatist Church of England came to America on the Mayflower and his baggage included many books, as well as a lute (or two?) and Richard Alison's *The Psalmes of David in Metre* (1599). He lived for many years with other exiles in Leiden, a center of lute music in Holland (where fellow preacher Adrian Smout of the Thysius Lute Book lived as a student). By the way, Alison is a lutenist-composer whose harmonically intense works deserve attention. The solo works are available in an edition by John H. Robinson with fresh biographical notes by Bob Spencer. Publ. Lute Society (UK). There is a very extensive list of musical instruments in New England in Colonial Society of Massachusetts, publ., *Music in Colonial Massachusetts, 1630-1820* 2 vols. (Boston 1980/1985), about 1200 pages. The census is drawn from probate and annual tax records of the day. (Some are reproduced in facsimile.) Personal property was inventoried annually and taxes assessed on that property. I recall as a child of a similar practice in the county where I lived. By far the most popular instrument was cittern, more popular than harpsichord or flute or violin. Perhaps this is a euphemism for English guitar. Citterns were often stored with the linens. A practice observed in England. Of plucked instruments, I count 24 citterns, 2 lutes, 2 gittorne and 2 guittawur. And 20 viols. Often cittern owners also owned viols for consort performances. There is similar book on colonial music in Virginia, but I have never seen it. In a small county museum in Virginia (?) is said to be Thomas Jefferson's lute, but someone who examined it says it is an English guitar. His daughter and a granddaughter played English guitar. The Green Mountain Boy Ethan Allen's bride Fanny took an English guitar on their honeymoon. Arthur - Original Message - From: cetter [1]cet...@centurylink.net To: Brad Walton [2]gtung.wal...@utoronto.ca; Lute List [3]lute@cs.dartmouth.edu Sent: Sunday, June 23, 2013 12:01 PM Subject: [LUTE] Re: Lute in North America On 6/21/13 7:32 AM, Brad Walton [4]gtung.wal...@utoronto.ca wrote: It was interesting to read of records concerning lutes in . New England. What records are you referring to? Are there records, i.e. documents, that mention a lute in present day New England, or in any of the British colonies? I was once told that lutes were mentioned in a few probate records in colonial Mass.. But that's so vague, and I have never found any detailed information, like a name or date, or probate record book and page number, for such records. Does anyone know a specific reference to documents that mention a lute in the probate (or other) records of colonial Mass. (or any other colony)? I'd really like to read these records for myself. I've been doing my own research into colonial records for a few years now and have been on the lookout for any mention of musical instruments. I've found a few, but nothing for any lute family instruments. I have found records, mostly in estate inventories, of fiddles/violins, flutes, tin trumpets, a dulcimer, citterns, a hautboy - but nothing like a lute. Just for fun, here's an on-line reference to two court cases involving citterns in 1670's Maryland. If you want to read the full text of the court cases, there's a search box in the upper right corner where you can search on the page number or words. [5]http://aomol.net/01/60/html/am60p--50.html C.Etter To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:cet...@centurylink.net 2. mailto:gtung.wal...@utoronto.ca 3. mailto:lute@cs.dartmouth.edu 4. mailto:gtung.wal...@utoronto.ca 5. http://aomol.net/01/60/html/am60p--50.html 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
