See also:

• BARBITON, or BARBITOS (Gr. /3ap13irov or 06.p0iros; Lat. barbitus; Pers. barbat, barbud)

BARBITON, or BARBITOS (Gr. /3ap13irov or 06.p0iros; See also:

• LAT

Lat. barbitus; Pers. barbat, barbud)  , an See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient stringed See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument known to us from the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek and See also:

• ROMAN

Roman See also:

• CLASSICS

classics, but derived from See also:

• PERSIA

Persia . See also:

• THEOCRITUS

Theocritus (xvi . 45), the Sicilian poet, calls it an instrument of many strings, i.e. more than seven, which was by the Hellenes accounted the perfect number, as in the See also:

• CITHARA (Assyrian chetarah; Gr. KcOhpa; Lat, cithara; perhaps Heb. kinura, kinnor)

cithara of the best See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . See also:

• ANACREON

Anacreon' (a native of Teos in See also:

• ASIA

Asia See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

Minor) sings .that his barbitos only gives out erotic tones . See also:

• POLLUX, JULIUS
• POLLUX, or POLLUCITE

Pollux (Onomasticon iv. See also:

• CHAP

chap . 8, § 59) calls the instrument See also:

• BARBITON, or BARBITOS (Gr. /3ap13irov or 06.p0iros; Lat. barbitus; Pers. barbat, barbud)

barbiton or barymite (from /3apbs, heavy and giros, a See also:

• STRING

string), an instrument producing deep sounds; the strings were twice as See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long as those of the pectis and sounded an See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave See also:

• LOWER

lower . See also:

• PINDAR (Gr. HivSapos, c. 522–443 B.c.)

Pindar (in Athen. xiv. p . 635), in the same See also:

• LINE

line wherein he attributes the introduction of the instrument into See also:

• GREECE

Greece to See also:

• TERPANDER

Terpander, tells us one could magadize, i.e. See also:

• PLAY

play in two parts at an See also:

• INTERVAL

interval of an octave on the two See also:

• INSTRUMENTS

instruments . The word barbiton was frequently used for the See also:

• LYRE (Gr. Xupa)

lyre itself . Although in use in Asia Minor, See also:

• ITALY
• ITALY (Italia)

Italy, ' See See also:

• BERGK, THEODOR (1812—1881)

Bergk's Poetae Lyrici Graeci (4th ed., 1882), p . 291, fr . 143 [113]; and p .

311, 23 [i], 3; and 14 [9], 34, p . 306 . See also:

• SICILY (Ital. Sicilia)

Sicily, and Greece, it is evident that the barbiton never won for itself a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the affections of the Greeks of Hellas; it was regarded as a See also:

• BARBARIAN (Gr. fap/3apos)

barbarian instrument affected by those only whose tastes in matters of See also:

• ART

art were unorthodox . It had fallen into disuse in the days of See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle,' but reappeared under the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans . In spite of the few meagre shreds of See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information extant concerning this somewhat elusive instrument, it is possible nevertheless to identify the barbiton as it was known among the Greeks and Romans . From the Greek writers we know that it was an instrument having some feature or features in See also:

• COMMON

common with the lyre, which warranted See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification with it . From the Persians and See also:

• ARABS

Arabs we learn that it was a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

• REBAB, or RABAB (Persian rubab;2 Arabic rebab, rababa;3 Sp. rave, rabe,' rabel, arrabel, arrabil;s Fr. rubebe; It. rubeba)

rebab or See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

lute, or a See also:

• CHELYS (Gr. x Xvs, tortoise; Lat. testudo)

chelys-lyre,2 first introduced into See also:

• EUROPE

Europe through Asia Minor by way of Greece, and centuries later into See also:

• SPAIN
• SPAIN (Espana)

Spain by the See also:

• MOORS (Lat. Mauri; Gr. Mavpot, dark men)
• MOORS, KABYLES, MZABITES

Moors, amongst whom it was in the 14th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century known as al-See also:

• BARBEL (Barbus vulgaris)

barbel.' There is a stringed instrument, as yet unidentified by name, of which there are at least four different representations in See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture,' which combines the characteristics of both lyre and rebab, having the vaulted back and See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual narrowing to See also:

• FORM (Lat. forma)

form a See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck which are typical of the rebab and the stringing of the lyre . In outline it resembles a large lute with a wide neck, and the seven strings of the lyre of the best period, or sometimes nine, following the decadent lyre . Most authors in reproducing these sculptures showing the barbiton represent the instrument as See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat-shaped and without a neck, as, for instance, Carl See also:

• ENGEL, ERNST (1821-1896)
• ENGEL, JOHANN JAKOB (1741-1802)

Engel . This is due to the fact that the See also:

• PART

part of the instrument where neck joins See also:

• BODY

body is in deep See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

shadow, so that the correct out-line can hardly be distinguished, being almost hidden by See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand on one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side and drapery on the other . The barbiton, as pictured here, had probably undergone considerable modification at the hands of the Greeks and had diverged from the archetype . The barbiton, however, although it underwent many changes, retained until the end the characteristics of the instruments of the Greek lyre whose strings were plucked, whereas the rebab was sounded by means of the See also:

• BOW (pronounced " bo ")

bow at the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of its introduction into Europe .

At some period not yet determined, which we can but conjecture, the barbat approximated to the form of the large lute (q.v.) . An instrument called barbiton was known in the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early part of the 16th' and during the 17th century . It was a kind of ' Polit. viii . (v.), 6, ed . Susemihl-See also:

• HICKS, ELIAS (1748-1830)
• HICKS, HENRY (1837-1899)
• HICKS, WILLIAM (1830-1883)

Hicks (1894), pp . 604 (=1341a 4o) and 632 ; Daremberg and Saglio, See also:

• DIET

Diet. d'See also:

• ANT
• ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u

ant. gr. et rom., See also:

• ARTICLE (from Lat. articulus, a joint)

article " Lyre," p . 145o, for a few more references to the classics . 2 See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson's See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian-Arabic-See also:

• ENGLISH

English See also:

• DICTIONARY

dictionary: barbat, a See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

harp or lute, barbatzan, player upon lute, pl. barabit; G . W . See also:

• FREYTAG, GEORG
• FREYTAG, GUSTAV (1816–1895)

Freytag, See also:

• LEXICON

Lexicon Arabico-Latinum, i. p . 102: barbat (Persian and Arabic), barbitus, enus testudinis, plerumque See also:

• SEX (Lat. sexes; possibly connected with secure, to cut)

sex septemve chordis instructum (grotundam habet formam in See also:

• AFRICA
• AFRICA, ROMAN

Africa) ; Lexicon Aegidii See also:

• FORCELLINI, EGIDIO (1688-1768)

Forcellini (See also:

• PRATO

Prato, 1858) ; " Barbito aurataque chely ac doctis fidibus personare " (Martianus See also:

• CAPELLA, MARTIANUS MINNEUS FELIX

Capella i . 36) ; G .

B . Doni, See also:

• LYRA (" The Harp ")

Lyra Barberina, ii. See also:

• INDEX

index . ' Enumeration of Arab Musical Instruments, xiv. c . ' (a) See C . Clarac, Musee du Louvre, vol. i. pl . 202, No . 261 . (b) Accompanying See also:

• ILLUSTRATION

illustration . See also Kathleen Schlesinger, Orchestral Instruments, part ii., Precursors of the See also:

• VIOLIN

Violin See also:

• FAMILY

Family," fig . 108 and p . 23, pp . 106-107, fig .

144 and appendix . (c) See also:

• SARCOPHAGUS (Gr. vapsorg yos, literally " flesh-eating," from vapt, flesh, ¢ayeiv, to eat)

Sarcophagus in the See also:

• CATHEDRAL

cathedral of See also:

• GIRGENTI (anc. Agrigent'um, q.v.)

Girgenti in Sicily, illustrated by Carl Engel, Early See also:

• HISTORY

History of the Violin Family, p . 112 . A See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast is preserved in the sepulchral See also:

• BASEMENT

basement at the See also:

• BRITISH

British Museum . Domenico, Lo Faso Pietra-See also:

• SANTA

Santa, le antichit¢ See also:

• DELTA (from the shape of the Gr. letter A, delta, originally used of the mouth of the Nile)

delta Sicilia (See also:

• PALERMO (Greek, Havopuos; Latin, Panhormus, Panormus)

Palermo, 1834), vol . 3, pl . 45 (2), See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text p . 89 . (d) G . Zoega, Antike Basreliefe von Rom (See also:

• GIESSEN

Giessen, 1812), See also:

• ATLAS

atlas, pl . 98, sarcophagus representing a See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of See also:

• HIPPOLYTUS
• HIPPOLYTUS, THE CANONS OF

Hippolytus and See also:

• PHAEDRA

Phaedra . In See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob Locher's Navis Stultifera (See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel, 1506), titulus 7, is an illustration of a small harp and lute with the See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend nec cytharam tangit nec barbiton.See also:

• THEORBO

theorbo or See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass-lute, but with one neck only, See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent back at right angles to form the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head .

See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• FLUDD, or FLUD, ROBERT [ROBERTUS DE FLUCTIBUS] (1574-1637)

Fludd s gives a detailed description of it with an illustration:—" Inter quas instrumenta non nulla barbito simillima effinxerunt cujus modi aunt ilia quae vulgo appellantur theorba, quae sonos graviores reddunt chordasque nervosas habent." The See also:

• PEOPLE

people called it theorbo, but the See also:

• SCHOLAR, SCHOLARSHIP

scholar having identified it with the instrument of classic Greece and See also:

• ROME
• ROME (Roma)

Rome called it barbiton . The barbiton had nine pairs of gut strings, each pair being in unison . Dictionaries of the 18th century support Fludd's use of the name barbiton . G . B . Doni 7 mentions the barbiton, defining it in his index as Barbitos seu See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major chelys italice tiorba, and deriving it from lyre and cithara in common with testudines, tiorbas and all See also:

• TORTOISESHELL

tortoiseshell instruments . See also:

• CLAUDE, JEAN (1619-1687)

Claude See also:

• PERRAULT, CHARLES (1628-1703)

Perrault,$ See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in the 18th century, states that " See also:

• LES

les modernes appellent notre luth barbiton " (the moderns See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call our lute barbiton) . Constantijn See also:

• HUYGENS, CHRISTIAAN (1629-1695)
• HUYGENS, SIR CONSTANTIJN (1596-1687)

Huygens 9 declares that he learnt to play the barbiton in a few See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks, but took two years to learn the See also:

• CITTERN (also CITHERN, CITHRON, CYTHREN, CITIIAREN, &C.; Fr. titre, cistre, cishre, guitare allemande or anglaise; Ger. Cither, Zither (mit Hals, with neck); Ital. cetera, tetra)

cittern . The barbat was a variety of rebab (q.v.), a bass instrument, differing only in See also:

• SIZE

size and number of strings . This is quite in accordance with what we know of the nomenclature of musical instruments among Persians and Arabs, with whom a slight deviation in the construction of an instrument called for a new name.10 The word barbud applied to the barbiton is said to be derived" from a famous musician living at the time of See also:

• CHOSROES

Chosroes II . (A.D . 590-628), who excelled in playing upon the instrument .

From a later See also:

• TRANSLATION

translation of part of the same authority into German12 we obtain the following reference to Persian musical instruments: " See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die See also:

• SANGER, JOHN (1816–1889)

Sanger stehen bei seinem Gastmahl; in ihrer Hand Barbiton('.) and Leyer'"•) and Laute('"•) and Flote`j''.) and Deff (Handpauke)." Mr See also:

• ELLIS (originally SHARPE), ALEXANDER JOHN (1814-189o)
• ELLIS, GEORGE (1753-1815)
• ELLIS, ROBINSON (1834- )
• ELLIS, SIR HENRY (1777-1869)
• ELLIS, WILLIAM (1794 – 1872)

Ellis, of the See also:

• ORIENTAL

Oriental See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

Department of the British Museum, has kindly supplied the See also:

• ORIGINAL

original Persian names translated above, i.e . (i.) barbut, -(ii.) chang, (iii.) rubab, (iv.) See also:

• NEI

nei . The barbut and rubab thus were different instruments as See also:

• LATE

late as the 19th century in Persia . There were but slight See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences if any between the archetypes of the See also:

• PEAR (Pyrus communis)

pear-shaped rehab and of the lute before the application of the bow to the former—both had vaulted backs, body and neck in one, and gut strings plucked by the fingers . (K .