The Lute Society: Building Lute Original Methods. Building a Renaissance Lute using original methods - a project report by Andrew Atkinson. Originally a series of lectures given at meetings of the Lute Society, and published in Lute News issues 7. I attended the London International Early Music Exhibition a few years ago and having seen lutes there, decided I would like to build one. I bought some plans, and was told I would need tools including masking tape, aluminum for a rib template and PVA glue to build a lute. So I started wondering how they would have built a lute in the past, and having long been interested in "bygone" crafts, began to research this question. I had already completed a course in modern fretted instrument making at the London Guildhall University, and applied to do a part- time postgraduate course, with the aim (initially) of reconstructing a stringed- instrument maker"s workshop of around 1. Dowland was playing and composing. I hesitate to use the word "authentic" of such a workshop because the more deeply I go into this question the more I realise all one can talk about is possibilities and probabilities as to how things were done. I am coming to this from the point of view of a collector of and enthusiast for historic woodworking tools, and would welcome comment and criticism. So where do we begin? Nope, I won’t be using this procedure. It’s still some weirdo product going on my nails. I will remain natural. Need help in the kitchen? eHow offers quick and easy recipe ideas and cooking techniques for everyday meals as well as holidays and other celebrations. There are some written sources, and some iconography, though not too much from before the time of the 1.French encyclopaedists. . Written and pictorial sources. Fix damaged walls with these DIY repairs you can do. Don't melt down if a doorknob, misguided chair or an impromptu hockey game knocks a big hole in your dr. Shopping for a crib? Read about types, features, and other must-know topics in our crib buying guide to make an informed choice. This first picture many readers will have seen before, that is the picture of a lutemaker from Jost Amman"s Book of Trades, dating from the 1. Dover reprint) and showing a lute maker in his workshop, with some of his tools. This is in fact the only surviving picture of a lutemaker"s workshop as such. The verse below describes bending wood over a form. We can see two planes, two chisels, a mallet, a gluepot, a bench and a rather nice ax and block. A lute back sits on the bench, and a mould (perhaps?) for a bowed instrument hangs on the wall next to a completed lute. The other early guide is Henri Arnault of Zwolle"s lute design, from his manuscript of c. David van Edwards has recently discussed this plan, including an explanation of why the shape seems slightly different from those we actually see in late- mediaeval pictures of lutes, in Lute News 6. The manuscript gives some useful information, including the use of a mould, the use of a hot iron, and the use of glue and paper strips to reinforce the back of the lute. A third useful source is Marin Mersenne"s Harmonie Universelle (1. A fourth source is Thomas Mace, Musick"s Monument (1.Interestingly, more than two centuries after Arnault of Zwolle, he too mentions the use of a hot gluing iron and glued paper strips, suggesting a very good deal of continuity in methods of lute making.Finally Diderot"s Encyclopedie (1.The written sources then are helpful, but are few and scattered, and in any case I think one can be sure that, as today, different lutemakers and different workshops must have used different methods to achieve the same end, making it harder still to talk with confidence about "authenticity", let alone one definitively authentic type of lutemaker"s workshop.Moreover, each craftsman would have made many of his own woodworking tools, giving rise to further diversity. Microsoft Lifecam 3000 Special Effects Downloads For Mac . Besides these sources specifically pertaining to lutherie, there are many more general sources. Fortunately for our purposes both Joseph, father of Jesus, and Noah (when he had to build the ark) practiced carpentry. I think it is perfectly reasonable to assume that lutemakers would have used the general woodworking tools of their day—as of course lutemakers do today —so we can look to paintings of general carpentry for information. I think also that paintings of carpenters and carpentry tools must be accurate, because painters must have worked closely with woodworkers, for painters did not only paint fine art paintings on canvas or panels in the renaissance. For instance, the artists Francesco and Giacopo Bassano, painted not only paintings, but bedsteads, murals, the town clock, and so on (so I have read) working alongside the woodworkers who made these items, and many painters painted panels on carved wooden altarpieces, so I think we can assume real familiarity with woodworking tools. Incidentally there is painting of Noah building the ark, by Leonardo Bassano, but too dark to reproduce here). A very useful source is Hieronymus Wierix"s The Childhood of Christ. Wierix lived from 1. Antwerp. On the title page, notice the bench, without a vice but with a bench stop, some sort of marking gauge lying on the bench, frame saw, planes, chisels, ruler, and (behind the two- handed saw on the right) a long saw looking rather like a sword. Title page from Hieromymus Wierix "The Childhood of Jesus" (c. In this picture Jesus, guarded by guardian angels, is blowing bubbles, a childlike activity, but also evoking symbolism of the transience of human life, while Mary works on a piece of cloth. Note the rack of chisels on the wall, and the frame, compasses, and a plane on the shelf. Tools shown in a 1. Illustration of joiner's tools from Joseph Moxon Mechanics Exercises (1. This source includes a small curved item on the bench, a "holdfast" (Top right of the above image) which, fitting into a hole in the bench, was used to hold a piece of wood in place, the British- style coffin- shaped smoothing plane, and the Continental- style planes with shepherd"s- crook handles (this print seems to have copied from a French source). The screw clamp on the side of the bench, and the handsaw, something like a modern one, were just beginning to come in at this period—the late 1. Jost Amman"s Book of Trades shows a joiner"s workshop as well as a lutemaker"s, with a frame saw, some sort of marking gauge, wooden squares, and planes—the planing being done against a bench stop. He also shows carpenters at work outdoors hewing beams and making a timber frame for a building. Amman also has a picture of coopers, and I think this is of interest because a barrel is a little like the back of a lute, made of ribs, curved and beveled. Amman"s picture of a bookbinder shows the use of a draw knife; also the bookbinders frame, just the same as hand- bookbinders use today, and a tool called the bookbinder"s plough used to trim off the edge of the paper. Throughout, the degree of continuity between crafts, and over time, is striking. His picture of a crossbowmaker (not such a common trade today!) shows a three- legged glue pot, and gouges. A great many of the tools are immediately recognisable today, but there are interesting differences. For instance the saws are mostly frame saws, or saws slightly curved and shaped like a sword. They did not have the technology 4. These saws were still popular until quite recently on the Continent, though the wide- bladed handsaw popular in Britain and America has really now taken over.)Another big difference is in the techniques for holding wood. Until the 1. 8th century woodworkers did not generally use vices for holding wood, instead using bench stops (when a piece of wood is being planed the forward movement of the plane simply holds the wood in place against the bench stop) or a bench dog, or the holdfast, noted above. Craftsmen often give their tools animal names: shaving horse, saw horse, bench dogs—holding tools especially, which is why I regard myself as in search of the lutemaker"s donkey . However, I have come across an illustration from 1. Why was the vice not more widely used by woodworkers, for even primitive vices are not thought to have been widely used by carpenters until the mid or late 1. I think there are several reasons. Other ways of wood may have been regarded as perfectly adequate; also the productivity of the workshop was important and it is much quicker to simply put a piece of wood against a bench stop if you wish to plane it, than to spend time winding and unwinding a vice. Significantly, Jost Amman does show a vice in his Book of Trades, but in a cutler"s (Messerschmidt) workshop. Metalworkers had the skills and materials to make a metal vice, and more to the point, needed vices, because there are some metalworking operations which cannot really be performed without one. They would have been prepared to go the trouble and expense of making or buying in a vice (and spending time winding and unwinding it). Iso Workshop 3 6 Setup Keygen Generator .
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