chitarrino Giovani Smit 1646 Vienna

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Comment by Robert Barto on April 5, 2015 at 23:28

Monica, no need to be sorry. I'm looking forward to the discussion.

What I was most struck by in the article, was how many times I've seen these pictures myself and never noticed the extra space at the fourth course, however it can be explained. Given that these two clear examples, the Smits guitar and Carlo Cantù, are much later than the Leroy and Morlaye books, they may very well have nothing to do with the practice in the 1550s.