See also:

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

LUTE (Arabic al'ud, " the See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood "; Fr. luth; Ital. liuto; Span. See also:

• LAUD (Lat. laws)
• LAUD, WILLIAM (1573-1645)

laud; Ger. Laute; Dut. luit)  , an See also:

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

ancient stringed musical See also:

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

instrument, derived in See also:

• FORM (Lat. forma)

form as well as name from the See also:

• ARABS

Arabs . The See also:

• COMPLETE

complete See also:

• FAMILY

family consisted of the See also:

• PANDURA

pandura, tanbur or See also:

• MANDOLINE (Fr. mandoline; Ger. Mandoline; It. mandolina)

mandoline as See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble, the See also:

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

lute as See also:

• ALTO (Ital. for " high ")

alto or See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor, the See also:

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

barbiton or See also:

• THEORBO

theorbo as See also:

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

bass, and the chitarrone as See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double bass . The Arab instrument, with See also:

• CONVEX

convex See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound-See also:

• BODY

body, pointing to the resonance See also:

• BOARD (O. Eng. bord)

board or membrane having been originally placed upon a See also:

• GOURD

gourd, was strung with See also:

• SILK

silk and played with a plectrum of See also:

• SHELL
• SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)

shell or See also:

• QUILL

quill . It was adopted by the Arabs from See also:

• PERSIA

Persia . See also:

• INSTRUMENTS

Instruments with vaulted backs are all undoubtedly of Eastern origin; the distinct type, resembling the See also:

• LONGITUDINAL

longitudinal See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section of a See also:

• PEAR (Pyrus communis)

pear, is more specially traced in ancient See also:

• INDIA
• INDIA, FRENCH

India, Persia and the countries influenced by their See also:

• CIVILIZATION

civilization . This type of instrument includes many families which became known during the See also:

• MIDDLE

middle ages of western See also:

• EUROPE

Europe, being introduced into See also:

• SOUTHERN

southern Europe and See also:

• SPAIN
• SPAIN (Espana)

Spain by the See also:

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

Moors, into southern See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia by the Persians of the See also:

• SASSANIAN

Sassanian See also:

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

period, into See also:

• GREECE

Greece from the confines of the See also:

• BYZANTINE

Byzantine See also:

• EMPIRE

Empire . As See also:

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

long as the strings were plucked by fingers or plectrum the large pear-shaped instrument may be identified as the archetype of the lute . When the See also:

• BOW (pronounced " bo ")

bow, obtained from Persia, was applied to the instrument by the Arabs, a fresh family was formed, which was afterwards known Europe as See also:

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

rebab and later See also:

• REBEC, or REBECK (Med. Fr. rubebe, rebelle, rebec, gigue; Ger. Rubeba, Rebek, Geige, Lyra ; Ital. ribeba, ribeca, lyra; Sp. rabel, rabeca, rave, rabe)

rebec . The largest member of the ancient lute family—the bass lute or theorbo—has been identified with the barbiton . Until recently the existence of these ancient stringed instruments was presumed on the See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of the See also:

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

early See also:

• MEDIEVAL

medieval See also:

• EUROPEAN

European instruments and of the meagre writings extant, such as those of See also:

• FARABI [Abu Na*r Muhammad ibn Tarkhan ul-Farabi] (ca. 870-950)

Farabi.' But a See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain of plastic evidence can now be offered, beginning with the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• POST

post-Mycenaean See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age (c. moo B.c.) . A statuette of a See also:

• FEMALE

female musician playing upon a large lute with only an embryonic 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, on which nevertheless the See also:

• LEFT

left See also:

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

hand is stopping strings, was unearthed in See also:

• EGYPT

Egypt in a See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb of the XXth See also:

• DYNASTY (Gr. &vvaareta, sovereignty, the position of a hevnori7r, lord, ruler, from SuvaaBay to be able, Suvaµas, power)

Dynasty in the See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery of See also:

• GOSHEN

Goshen by the members of th See also:

• BRITISH

British School of See also:

• ARCHAEOLOGY (from Gr. &pxa1a, ancient things, and Xoyos, theory or science)

Archaeology in Egypt' under the direction of See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor See also:

• FLINDERS, MATTHEW (1774-1814)

Flinders See also:

• PETRIE, GEORGE (179o-1866)
• PETRIE, WILLIAM MATTHEW FLINDERS (1853– )

Petrie, to whose See also:

• COURTESY (O. Fr. curtesie, later courtoisie)

courtesy we owe the photo-graph (fig . I) here reproduced .

It is difficult to form a conclusive See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion as to the number of strings the artist intended to represent, owing to the decorative figures following the direction of the strings, but, judging from the position of the right hand plucking a See also:

• STRING

string, there may have been seven . Among a number of terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta figures of musicians, brought to See also:

• LIGHT

light during the excavations in a Tell at Suza and dating from the 8th See also:

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

century B.c.,3 although there is no instrument that might be identified with the alto lute, the treble lute or tanbur is represented See also:

• AFGHANISTAN

Afghanistan presented to the British Museum by See also:

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

Major-See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

General See also:

• CUNNINGHAM, ALEXANDER (c.1655-173o)
• CUNNINGHAM, ALLAN (1784-1842)
• CUNNINGHAM, WILLIAM (1805-1861)

Cunningham, which formed the risers of steps leading to the tope at Jumal Garhi, dating from the 1st century A.D are represented scenes of See also:

• MUSIC

music and dancing . Here the archetype of the lute appears several times; it had four strings, and 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 was See also:

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

bent back at right angles to the neck . In the 6th century A.D. illustrations of this early lute are no longer rare, more especially on See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian See also:

• SILVER

silver-See also:

• WORK

work of the Sassanian period' and in See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua . accompany their newly-devised recitative, the invention of which in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, from the impulse of the See also:

• RENAISSANCE, THE

Renaissance, is well known . The height of a theorbo varied from 3 ft . 6 in. to 5 ft., the Paduan being always the largest, excepting the See also:

• ROMAN

Roman 6-ft. long chitarrone . These large lutes had very deep notes, and doubtless See also:

• GREAT

great liberties were allowed in tuning, but the strings on the See also:

• FINGER

finger-board followed the lute accordance already given, or another quoted by See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron (Untersuchung See also:

• DES

des Instruments der Lauten, See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg, 1727) as the old theorbo or " violway " (see See also:

• MACE (Fr. masse, O. Fr. mace, connected with Lat.'ntateola, a mallet)

Mace, Musick's See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

Monument, See also:

• LONDON

London, 1676): We find again both these accordances varied and transposed a See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone higher, perhaps with thinner strings, or to accommodate See also:

• LOCAL

local See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences of See also:

• PITCH
• PITCH, MUSICAL

pitch . See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius recommends the chanterelles of theorbos being tuned an See also:

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

octave See also:

• LOWER

lower on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the great See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain . By such a See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change, another authority, the Englishman See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas Mace, says, the See also:

• LIFE

life and spruceness of See also:

• AIRY, SIR GEORGE BIDDELL (1801-1892)

airy lessons were quite lost . The theorbo or archlute had at last to give way to the See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello and double bass, which are still used to accompany the " recitativo secco " in oratorios and operas . See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel wrote a See also:

• PART

part for a theorbo in See also:

• ESTHER

Esther (1720); after that date it appears no more in orchestral scores, but remained in private use until nearly the end of the century .

The lute and the See also:

• ORGAN

organ See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share the distinction of being the first instruments for which the See also:

• OLDEST

oldest instrumental compositions we possess were written . For the lute, however, they were not written in our See also:

• PRESENT

present notation, but in tablature, " lyrawise," a See also:

• SYSTEM

system by which as many lines were See also:

• DRAWN

drawn horizontally as there were pairs of strings on the finger-board, the frets, distributed at intervals of a semitone, being distinguished by the letters of the See also:

• ALPHABET (see also WRITING)

alphabet, repeated from A, representing the open string, for each See also:

• LINE

line . This was the See also:

• ENGLISH

English and See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French manner; the See also:

• ITALIAN

Italian was by See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers instead of letters . The signs of 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 were placed over the stave, and were not repeated unless the mensural values changed . (A . J . H.; K .