"It is some time since I last made a guitar, and I am not a guitarist, but I think that some of the notes that I collected together as an article in FoMRHI Quarterly 48, July 1987- 17th c. Guitar Woodwork, p 47 - are still relevant. My…"
"I couldn't find this image by googling Manfredi or Rombouts. From Artothek's site I discovered that it is in Bayer: Staatsgemaidesammlungen (translation from German? somebody please!), and that they attribute it to Manfredi.…"
"I ought to know this but don't, although I'm sure somebody else will also recognise the painting. I found it
on at least two Biagio Marini recording covers by googling, which may explain the attribution."
"This could be useful, however the Chanterelle facsimile does have the (original?) owner's script list of contents before each title page - legible only partially to me, at least! According to Jim Tyler's preface a complete list is in…"
"That is fascinating, Peter... it implies that (in that time in these circles) women and men guitarists would sound differently because they struck the string at a different point, because of the different playing positions! That never occurred to me…"
"On baroque guitars the back buttons are small and seem to be for a gut line between them, possibly with subsidiary loops, which could be hung from coat buttons. A 17th c. lute in the ex-V&A collection has such a loop (and it was present when…"
"I haven't been able to find a good picture of the nut, however there is another photo ("Guitares", Eurydice, Paris, 1980) which shows the top course single, remainder double. So probably just a string which has become misplaced at the…"
"Two of the first little guitars that I made were used for recordings in the 70s. Unfortunately I can't give details because I have just presented my copies of the LPs to the Lute Society. The second was by James Tyler's group…"
"I was originally frustrated by the difficulties of using a spirit varnish on a complex arrangement of surfaces like a cittern, and slower drying oil varnish seemed to have possibilities. Through FoMRHI I heard of William Fulton's use of…"
"Yes. Pine resin with linseed or walnut oil. I'm now ageing fast and making less so may now have enough varnish to see me out! I find I've spent a day, sometimes two, making it about every five years. At current prices…"
"I'm afraid so! The 1988 article followed a talk AND demonstration (described as"a breath of fresh air"!) at the Violin Conference a year or two earlier, and I've been making and using only my own oil varnish ever since.…"
I saw your pics, which drew my attention to you, I hope to make something from that period too but I'm gearing up to do some other projects first so it wont be till late next year before I look at anything else
thank you very much for accepting my request! I feel honored to have the opportunity to own your marvellous renaissance guitar. I know that a good instrument doesn't only sound good, but also teaches you how to play the instrument properly. There is no doubt that your guitar is of that kind. The absense of scalloped sides doesn't matter at all!
Ah but you had an unfair advantage, you knew who the subject in the photo was.
Anyways, thanks for taking the time to reply Peter, it's good to have the one that knows clear things up. I at first thought it was a cittern but decided against it because of the numbers of strings. Now I know ro look for other things as well.