Page:Pratt - The history of music (1907).djvu/159

 awakening of a taste for true instrumental composition is obvious, but its mechanical limitations were such that gradually it was supplanted by the viol, though it continued in some vogue till the l8th century.

54.—Italian Lute.

Its essential features were an oval or pear-shaped body, flat in front and vaulted behind, strengthened within by a soundpost under the bridge and by one or more longitudinal sound-bars, the belly being pierced by 1-3 carefully shaped and located soundholes and bearing the bridge (usually placed obliquely and to one side) to which the lower ends of the strings were fastened; a neck of varying width and length, with a fretted fingerboard, and a head, either flat, curved or bent sharply back, containing the tuning-pegs; usually about 13 strings of gut or wire, of which the uppermost or chanterelle was single, but the others tuned in pairs, the lower pairs being sometimes carried off at the side of the fingerboard and used without stopping. The customary sizes varied greatly, from the little 'chiterna,' with but 4 strings, up to the big 'theorbo,' 'archlute' and 'chitarrone', all properly with a double or extended neck and head and 20-24 strings. The accordatura or method of tuning varied somewhat, with a range of 3-4 octaves or even more. The tone, produced by twanging with the finger-tips, was incisive and slightly nasal, but was capable of fine gradations in skillful hands. Dexterous players got good effects in melodies with accompaniment, in chord-sequences and even in polyphonic passages. (The modern derivatives of the lute are the guitar and the mandolin, the latter most resembling it in shape.)

The viol was not yet as much valued as the lute, chiefly because incapable of concerted effects, but its unique singing-tone was appreciated and its possibilities were being diligently studied. Late in the century several varieties had become distinct, including the true violin. Brescia and Cremona in Lombardy were already the headquarters of the best manufacture. But the full development of viol music was delayed until the 17th century (see secs. 110-112).

The recognition of instrumental music as distinct from vocal was one of the striking advances of the 16th century. Previously, true accompaniments and all independent writing for