strings. A French bijuga cither of the eighteenth century, inlaid with mother-of-pearl, ivory and ebony. A fine specimen. An English bijuga cither, eighteenth century. A German bijuga cither (or Grosszither, as it used to be called in Germany), sixteenth century. With seventeen wire-strings. This old instrument is very beautiful in shape, and has a remarkably picturesque rose in the middle of the sound-board. Two Neapolitan mandolinos, inlaid with designs in mother-of-pearl tortoise-shell and ivory. One of these handsome instruments bears the inscription "Januarius Vinaccio fecit, Neapoli, in Rio Catalana, A. Domini 1776." A beautiful Neapolitan mandolino in its old Italian case. Inside the instrument is the inscription "Vincentius Vinaccio fecit, Neapoli, Sito Nella Calata de Spitalletto, AD 1785." A Milanese mandolino, dating from about the year 1700. Rosewood, inlaid with mother-of-pearl, tortoise-shell, and ivory. Silver frets. In front, a figure of Apollo under a canopy and other embellishments in mother-of-pearl. An ornamented sound-hole, the rose being covered with glass. A figure, made of mother-of-pearl, inlaid near the bridge, contains the engraved initials "A. G.," which may be those of the maker of this elegant instrument—possibly Andreas Guarnerius. This mandolino, the handsomest I ever saw, is of the kind called by some musicians "mandurina." It has twelve wire-strings which are arranged in pairs, and therefore produce six tones; while the more common Neapolitan mandolino has eight strings constituting four pairs. A French mandoline, made by Eulry-Clement, in Mirecourt, Vosges, beginning of the present century; the back inlaid with strips of different woods. Eight strings arranged in four pairs. A mandola; Italian, seventeenth century. This scarce instrument may be most briefly described as a huge Neapolitan mandolino. It has the shape of the mandolino, but the size of a large lute; sixteen wire-strings, placed in pairs, produce eight tones of the open strings. The sound is remarkably full and fine. A mandola, similar to the preceding one, inscribed "Gio. Battista, Neapoli, AD 1701." Length, 2 ft. 11 in.; depth of body, 10 in. The mandola was played with a quill like the mandolino and the cither. Pandura, two specimens, made in Italy about the year 1700. Bandurria; Spanish, eighteenth century; played with a plectrum usually made of tortoise-shell. Pandore; English, seventeenth century; played with a quill. It is also called chiterna. Pandurina; Italian, about 1700; its nine catgut and wire strings are arranged in pairs tuned in unison, except the lowest, which is single. The open strings, therefore, produce five tones. The neck is provided with catgut frets. The pandurina, which in shape resembles a diminutive lute, even smaller than the Neapolitan mandoline, was usually played with the fingers, but occasionally also with a quill. On the Continent, gentlemen used to carry it under their mantle when they went to musical parties, or for serenading. Pandurina, twelve-stringed. Inscription: "Carlo Steffani fece. L'Anno 1712, in Mantova." Pandurina, in its old Italian case, with brass ornamentation. The back made of strips of ebony and ivory; length, 20 in. Ivory frets; twelve metal strings. Inscription in the inside: "Joseph Molinari, Venetus, Anno, 1737." Quinterna, Italian, seventeenth century. A species of guitar somewhat resembling a violin in shape, with frets made of catgut. Mounted with eight catgut-strings which produce five tones, as they are arranged in three pairs and two single ones. A five-stringed guitar inlaid with mother-of-pearl and tortoise-shell. Italian, eighteenth century. A French guitar, made by Vobeam, a celebrated lute-maker of the time of Louis XIV. The strings are arranged in pairs tuned in unison. An English guitar, made in the beginning of the present century; the back and sides of the body are of rosewood; the sides have several indentations. Machine head. Portuguese guitar, made about the year 1600, with three sound-holes. The head is bent backwards somewhat like that of the lute; the frets are of catgut, as they used likewise to be on the lute. Not only the belly, but the entire body is made of thin pine-wood. The strings, twelve in number, are arranged so that the higher six are in sets of two, and the lower six in sets of three. As the strings of each set are tuned in unison, five tones are produced by the open strings. An inscription in the inside of this guitar, now greatly obliterated, runs as follows: "Manoel Correa de Almda Uileiro da Rainha, N. S., morador na Ruadireita la Esperança LXa." It would, therefore, appear that the guitar was made by Manoel Correa of Almeida in the province of Beira, Portugal, and that the maker had the title of manufacturer of musical instruments to the Queen. The Portuguese musician, Manoel Correa, born in the year 1590, at Lisbon, and engaged about the year 1620 as chapelmaster at the Cathedral in Saragossa, was probably of the same family as the maker of this instrument. A guitar of the Portuguese peasants, made in Lisbon, eighteenth century; oval shape with indentations at the side; six strings. Inside is a label with the inscription: "Joze Terreira Coelho a fez em, Lisboa, ao Poco los Negros, a Cruz da Esperança." Machête, a small guitar with four strings; Portuguese, eighteenth century. Harp-guitar; English, about 1800. On the finger-board is the inscription: "Clementi and Co., London;" painted with flowers, etc.; eight strings. The pianist and composer Clementi gave his name to a firm of music-sellers in the year 1800. Harp-guitar; English, about 1800; seven strings. The harp-guitar was manufactured with the intention of producing a sort of guitar with a superior quality of sound, by adopting the body of the harp. Lyre-guitare; French, period of Louis XV.; a guitar in the form of Apollo's lyre, with the addition of a finger-board in the middle. Lyre-guitare; French, said to have belonged to Queen Marie-Antoinette; carved and gilt. Guitar-lyre; English, made by R. Wornum, Wigmore Street, London, about 1770. The English guitar-lyre is in its construction almost identical with the French lyre-guitare. Harp-lute; English, about 1800; painted green, with gilt ornamentation of flowers, and other designs. Dital harp; English. An improved harp-lute, recorded to have been invented by Edward Light, London, about the year 1800. Harp-ventura; English, invented at the beginning of the present century by Angelo Benedetto Ventura, in London. This gorgeously-ornamented instrument resembles the dital harp and the harp-lute in construction. Harp-theorbo; English, made by Walker, about 1800. Lute, the back inlaid with ivory and various woods. From an inscription in the inside, now greatly obliterated, it would appear that this lute was made by Magnus Tieffenbruker, in Venice, about 1580. Lute, by Laux Maler, in Bologna, fifteenth century. Brass and ivory screws have been substituted for the original tuning-pegs. This contrivance, as well as a painting of flowers on the sound-board, is probably not older than a hundred years. The places where some of the ancient tuning-pegs were fixed are still discernible. The cracks on its pear-shaped body rather contribute to its dignity, and might be likened to the wrinkles of a venerable grandsire. The sound of this old lute is very fine. A German lute, made by Jacobus Heinrich Goldt, in Hamburg, anno 1712. According to an inscription in the inside, it was altered in the year 1753. A French lute of the seventeenth century. An Italian lute; inscription: "Vvendelio Venere in Padova, 1600;" with the head turned backwards; twenty strings. This lute is of one of the most celebrated Italian lute-makers, and is in a well-preserved and playable condition, notwithstanding its high age. An English lute with a double neck (Testudo theorbata) made about 1650. A theorbo, Italian, seventeenth century. It has twenty-four catgut strings, which are arranged in pairs tuned in unison, except the highest two which are single strings. It was the custom to have the highest string, called chanterelle, single; it principally served for playing the melody. Sometimes, as in the present instance, two chanterelles were used. The twenty-four open strings, therefore, produce thirteen different tones. The frets are of catgut. A French theorbo, made about the year 1700. An archlute; Italian, about 1700; a large instrument, with eighteen strings, ten of which are for the upper set of tuning-pegs, belonging to the bass strings which are at the side of the finger-board. The ten bass strings produce five tones with their octaves, each tone having two strings tuned in an octave. The archlute, or bass-theorbo, is the largest sized kind of the theorbo, or lute with a double neck. An Italian archlute, inscribed: "Matheus Bucchenberg, Roma, 1619." From Signor Mario's museum. Bucchenberg, or Bueckenberg as he was more generally called, was one of the most celebrated lute-makers in Italy, and a German by birth. The present archlute has three ornamented sound-holes. It is provided with a mechanism by means of which any one of the bass strings by the side of the finger-board can be raised a semitone in pitch at the pleasure of the performer. This ingenious contrivance, which renders the bass strings more useful in compositions having modulations into distant major or minor keys, occurs also on a French theorbo dating from about the year 1700, which is in my collection. But on this French theorbo, the mechanism acts upon all the strings beside the finger-board simultaneously, while on the archlute just noticed it is contrived so that any single string may be altered in pitch independently of others. As the mechanism is evidently not a later addition, but was made with the instrument in 1619, it is suggestive to musical antiquarians, inasmuch as it reveals a higher degree of progress in the construction
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