>
> =====================
> HARPSICHORD DRAWINGS
> =====================
>
> Here is a list of plan drawings for harpsichords, clavichords, and early
> pianos offered by museums (and other sources) around the world. It is by
> no means complete. I know I've probably missed a few places and
> mislabeled a few instruments; I am inviting all to suggest additions and
> changes. Most of the places where I'm unsure are marked with a "(*)".
>
> After mulling things over a while, I decided that it would be good to
> also include descriptive things like compass, disposition, catalog
> numbers, etc. I've already begun these additions for a few of the
> entries in this list.
>
> --Mike Fitz | [log in to unmask]
> | [log in to unmask]
>
> =========================================================================
>
> Revision History:
> 5-Oct-94 Initial document
>
> 14-Oct-94 Added Barnes data, compass & disposition data
> where available, cosmetic changes, NOTES section.
>
> 21-Oct-94 Added Bates, Boston, Yale, Gemeentemuseum data,
> CONTRIBUTORS Section. More Cosmetic Changes.
>
> 29-Nov-94 Added catalog, disposition data where known.
>
> =========================================================================
>
> NOTE: It cannot be overemphasized to the prospective harpsichord
> do-it-yourselfer that most museum drawings generally only reflect the
> CURRENT OR PRESERVED STATE OF THE INSTRUMENT. It is not incumbent upon
> the museum or the researcher who executed the drawing to presuppose the
> original state of the instrument. Museum drawings usually do not
> provide complete enough information to build an instrument; some
> understanding of harpsichord building is assumed.
>
> DIY'ers in need of real working drawings would be wise to contact R.K.
> Lee, who produces several drawing packages that are based on historical
> instruments. He can provide these drawings on dimensionally stable
> media.
>
>
> Unless otherwise indicated, the drawings below are of instruments in
> current or preserved state.
>
> ITALIAN SCHOOL
> ---------------
> Single-manual Harpsichords
>
> Anonymous 1693, #326,904 SMI
> GG-c3 no GG#, 8'8' handstops
>
> Johannes Perticis 1681(?) (Private Collection) RKL
> C/E-c3, 8'8'
>
> Giovanni Baffo, Venice 1574, #6007-1859 VAL
> GG/BB-c3 8'8' was C/E-f3 8'4'
>
> Jerome of Bologna("Hieronymus Bonosiensis"), Rome 1521, #226-1879 VAL
> C/E-c3, 8'8'; was probably F-f3, 8'
>
> Alessandro Trasuntino 1531, #2, RCM
> GG/BB-c3, 8'8'; was C/E-f3, 8'4'
>
> Anonymous c.1575, #175, RCM
> C-d3 (no C#), 8'8'; was C/E-c3, 8'
>
> J. Salodiensis, Venice 1559, #630, KHM
>
> Octave-Harpsichord, Anonymous ca.1650, #MINe 50, GNM
> c/e-c4, 4'4'
>
> G. B. Giusti, Lucca 1681, #MINe 78, GNM
> C/E-c3, 8'8'(false inner-outer)
>
> Carlo Grimaldi, Messina 1697, #MIR 1075, GNM
> GG-c3, 8'8'
>
> Roberto and Frederigo Cresci, Livorno 1778, #MIR 1077, GNM
> FF-g3 no FF#
>
> Clavemusicum omnitonum (31 div/octave), V. de Trasuntini, Venice 1606
> C-c3, 8' (Museo Civico Medievale Bologna #1766/1767), GNM
>
> Gregori 172(?)6, JBA
> (Owned Barnes, drawn Edward Turner)
>
> Anonymous ca. 1650, MFB
>
> Giovanni Celestini, Venice 1605, HGM
>
> Giacomo Ridolfi, 1665, #332,173 SMI
> C/E-c3 8'8' (Shortridge article; 1/8 scale)
>
>
>
> Two-Manual Harpsichords
>
> Anonymous 17th. C., #MIR 1078, GNM
> C/E-c3, 4'/8'8'
>
>
> Virginals
>
> Arpicordo, Johannes Perticis 1681, (private collection) RKL
>
> Arpicordo, Anonymous, Venice c.1570, #19-1887, VAL
> GG/BB-c3, was C-d3 no C#, was C/E-f3 ("Queen Elizabeth's")
>
> Spinetta, Domenicus Pisaurensis, Venice 1540, MIR 1081, GNM
>
> Arpicordo, Anonymous 17th C. #303,544 SMI
> C/E-f3 (Shortridge article; 1/8 scale)
>
>
> Spinets
>
> B. Floriani 1571, #33 LEI
>
> Ottavino, Anonymous ca.16-17th C., #121, KHM
>
>
> Clavichords
>
> Fretted, Onesto Tosi (attributed), Genoa 1568, MFB
>
>
>
> FLEMISH SCHOOL
> ---------------
> Single-Manual Harpsichords
>
> Andreas Ruckers, Antwerp 1644, #VH 2137, VLE
> C-c3 8'8' was C/E-c3 8'4' (Boalch #112)
>
> Jan Couchet, Antwerp 1645, #7, RUS (Original State)
> C-c3 8'4', was AA-f3 8'8'4', was C/E-c3, 8'4'
> Drawn by Edward Turner
>
> Andreas Ruckers, Antwerp 1637, #MIR 1073, GNM
> C/E-c3, 8'4' (Boalch #105)
>
> J.D. Dulcken, ca. 1740, JBA
> (Boalch #12)
> (Owned Barnes, drawn by Richard Ireland & William Bright)
>
> Andreas Ruckers, Antwerp 1640, #4878.60, YUC
> C-d3 was C/E-c3 8'4' (Boalch #109)
>
> Andreas Ruckers, Antwerp 1639, #EC544-1933, HGM
> C/E-c3 8'4' was GG-d3 8'8'4' was C/E-c3 8'4' (Boalch #108)
>
> Folding Harpsichord, Rijk van Arkel, Gouda 1768 HGM
>
>
>
> Double-manual Harpsichords
>
> J. D. Dulcken 1745, #315,758, SMI
> FF-f3, 8'/4'8', lute
>
> J. D. Dulcken 1755, #M1608 CRM
> Drawn by Jean Tournay
>
> J. D. Dulcken 1747, VLE
>
> J. van den Elsche 1763, VLE
>
> J. P. Bull 1779, VLE
>
> Transposing, I. Ruckers, Antwerp 1638, #6, RUS
> (Boalch #61) Drawn by Edward Turner
>
> Petrus or Joseph Couchet, Antwerp 1680, MFB
> (was a single, turned into double by Blanchet, 1758; modified by
> Taskin, 1781 (Fourth register) )
> FF-f3 8'/4'8' shove coupler, p.d.b. was probably FF, GG, AA-d3
> 8'8'(?)
>
>
> Virginals (6-voet unless otherwise indicated)
>
> Spinett, Quint-pitch, (4-voet) A. Ruckers, Antwerp 1620, #303,543 SMI
> C/E-c3, (Boalch #85)
>
> Muselar, Andreas Ruckers, Antwerp 1620, #M1597, CRM
> C-c3, was C/E-c3 (also available from RUS) (Boalch #86)
> drawn by Kurt and Susanne Wittmayer 1982
>
> Child (2-voet), Andreas Ruckers, Antwerp c. 1626, #S2623, CRM
> C,D-c3 was C/E-c3 4'
> Drawn by Geert Vermeiren
>
> Muselar, Jan Couchet, Antwerp 1650, #VH67.6, VLE
> C/E-c3 (Boalch #9)
>
> Spinett, Cornelius Hagaerts ca. 1630, VLE
>
> Spinett, Quart-pitch (4-1/2 voet), I. Ruckers, Antwerp 1629
> (Brussels #2511), RUS
> C/E-d3 (Boalch #49)
> Drawn by Edward Turner
>
> Spinett, Artus Gheerdinck, Amsterdam 1605, #MINe 95, GNM
>
> Muselar,(5-voet) Andreas Ruckers, Antwerp 1643, HGM
> C-c3, was C/E-c3, (Boalch #111)
>
>
> FRENCH SCHOOL
> -------------
> Single-manual harpsichords
>
> Clavicytherium, Albert Delin, Tournai 18th C., RKL
> GG-g3 (extended from e3), 8' 8'
>
> Clavicytherium, Albert Delin, Tournai 1760, HGM
>
> Traveling Harpsichord, J. Marius 1713, #83 LEI
>
>
> Double-Manual Harpsichords
>
> Benoist Stehlin, Paris 1760, #66.521 SMI
> FF-f3 8'/4'8', shove coupler, buff
>
> Jean-Antoine Vaudry, Paris 1681, #W12-1974, VAL
> GG/BB-c3, 8'/4'8', shove coupler
>
> Pascal Taskin, Paris 1769, #15, RUS
> FF-f3 8'/4'8' shove coupler
> Drawn by Grant O'Brien
>
> Goermans / Taskin 1764/1783, #29, RUS
> FF-f3, 8'/4'8' p.d.b., knee levers
>
> Henri Hemsch, Paris 1736(?), MFB
>
> Anonymous, 1667, MFB
>
> Joannes Goermans, Paris 1750, BCO
>
>
> Spinets
>
> Albert Delin 1770, #M273, CRM
> Drawn by Jean Tournay & Veronique DeWilde
>
>
> ENGLISH SCHOOL
> ---------------
> Single-manual Harpsichords
>
> William Smith, London 1720, BCO
>
>
> Double-manual harpsichords
>
> Thomas Hitchcock, London 1725, #126-1890, VAL
> GG-g3 8'/8'4' lute, dogleg
> (Earliest extant English double; mentioned in Hubbard)
>
> Jacob and Abraham Kirckman, London 1786, JBA
> (Boalch #74) (owned Barnes, drawn Richard Ireland)
>
>
> Spinets
>
> Thomas Hitchcock, London ca.1710, #62.382 SMI
> GG-g3
>
> Anonymous 1708, #3, RCM
> GG/BB-d3, split sharps in bass
>
> Thomas Hitchcock, London ca.1730, #10, RUS
> Drawn by John Raymond
>
> Keene and Brackley, London, c1715, JBA
> (Boalch #22) (Owned Barnes, drawn by Richard Ireland, John and
> Sheila Barnes) (These drawings are the companions to Barnes'
> book "Making A Spinet by Traditional Methods")
>
>
>
> Virginals
>
> Thomas White, London 1642, #W11-1933, VAL
> C-c3
>
> S. Keene 1668, #8, RUS
> FF-d3, no FF#
> Drawn by Edward Turner
>
>
> Pianos
>
> Square, Johannes Pohlemann, London 1773, #OPH158-1949, VAL
> FF-f3, buff stop, Zumpe ("English") action
>
>
> GERMAN SCHOOL
> --------------
> (includes Austrian)
>
> Single-manual Harpsichords
>
> Clavicytherium, Anonymous ca.1480, #1, RCM
> E-g2, 8'(?) was E, E#, F, G-g2, drawn by William Debenham
> (presumed original condition)
>
> Clavicytherium, Anonymous 17th C., #MIR 1080, GNM
> C/E-f3, 8',4',8' (Action Only)
>
> Christian Vater, Hannover 1738, #MI 449, GNM
> GG/BB-e3, 8'8'
>
>
> Fretted Clavichords
>
> Anonymous 18th C. #60.1394 SMI
>
> Anonymous ca.1700, #21, RUS
> C/E-c3, triple fretted
>
> Anonymous ca.1735, #MIR 1047, GNM
> C-c3, hexagonal
>
> Christian Gottlob Hubert, Ansbach 1789, #MIR 1058, GNM
> C-g3
>
> Anonymous 18th C. #89.4.1215, MMA
>
> Christian Gottlob Hubert, Ansbach 1784, JBA
> (Boalch #11)(Owned Russell Collection, drawn Richard Loucks when
> privately held previously by Sir Donald Tovey) (double fretted
> except for A's and D's)
>
> Anonymous, German or Flemish ca. 1620, JBA
> a "gemein" clavichord as illustrated by Praetorius. Triple fretted.
> (Owned Dr Roger Mirrey, London)
>
> Anonymous 17th C. YUC
> Inscribed "D. O. M. 1652"
>
> Anonymous, ca. 1780 "#1" HGM
>
> Anonymous, ca. 1780 "#2" HGM
>
>
>
>
> Unfretted Clavichords
>
> Barthold Fritz, Brunswick 1751, #339-1882, VAL
> FF-a3, 4' strings in bass
>
> J. J. Donat 1700, #12 LEI
>
> G. Silbermann ca.1740, LEI
>
> Anton Roemer, Graz 1774, #740, KHM
>
> Anonymous, Austria ca. 1750, #817, KHM
>
> J. A. Hass, Hamburg 1763, #22, RUS
> FF-f3, 4' strings in bass
> Drawn by Richard Loucks
>
> J. H. Silbermann, Strassburg ca.1770, #MIR 1061, GNM
> FF-f3
>
> Johann Adolf Hass, Hamburg 1761, JBA
> (Boalch #17) (Owned Christopher Hogwood, drawn Christopher Clarke,
> revised John and Sheila Barnes)
>
> (*) Jean Antrie Stein, Augsburg 1787, HGM
>
> J. C. G. Schiedmayer, Neustadt 1796, MFB
>
>
>
> Pianos
>
> Grand, J. L. Dulcken 1790, #303,537 SMI
>
> Hammerfluegel, G. Silbermann, Freiberg 1749, #MI 86, GNM
> FF-e3
>
> Hammerfluegel, A. Walter, Vienna ca.1795, #MINe 109, GNM
> FF-g3
>
> Hammerfluegel, J. D. Schiedmayer, Erlangen 1794, #MIR 1102, GNM
> FF-f3
>
> Hammerfluegel, Johann Schmidt, Salzburg 1790, MINe 100, GNM
> (Action only)
>
>
>
> Virginals & Spinets
>
> Ottavino, J. Gellinger 1677, #52 LEI
>
> Virginal, Anonymous 17th C., #49 LEI
>
> Spinet, J. H. Silbermann, Strassburg 1767, #MINe 90, GNM
> FF-c3
>
>
>
> MUSEUM & SOURCE KEY
> ===================
>
> SMI- National Museum of American History
> Division of Musical Instruments
> Smithsonian Institution
> Washington D.C. 20560
>
> VAL- Victoria & Albert Museum
> V&A Enterprises Ltd.
> Cromwell Road
> South Kensington
> London, SW7 2RL
> England, UK
>
> RCM- Museum of Instruments
> Royal College of Music
> Prince Consort Road
> South Kensington
> London, SW7 2BS
> England, UK
>
> LEI- Universitaet Leipzig
> Musikinstrumenten-Museum
> Taeubchenweg 2c
> Leipzig 7010, Germany
>
> VLE- Museum Vleeshuis
> Vleeshouwersstraat 40
> B-2000
> Antwerp, Belgium
>
> CRM- Conservatoire Royale de Musique
> Musee Instrumental
> 17, Petit-Sablon
> Bruxelles, Belgium
>
> KHM- Kunsthistorisches Museum
> Sammlung Alter Musikinstrumente
> A-1010 Wien, Neue Berg
> Republic of Austria
>
> RUS- The Russell Collection of Early Keyboard Instruments
> University of Edinburgh
> St. Cecilia's Hall,
> Cowgate,
> Edinburgh EH1 1LJ
> Scotland UK
>
> GNM- Germanisches Nationalmuseum
> Postfach 9580
> D-8500 Nuernberg 11
> Germany
>
> MMA- Metropolitan Museum of Art
> Department of Musical Instruments
> Fifth Avenue at 82nd Street
> New York, NY 10028
>
> HGM- Haags Gementemuseum
> Stadhouderslaan
> P. O. Box 72
> 2501 CB
> The Hague
> Netherlands
>
> MFB- Museum of Fine Arts Boston
> 465 Huntington Avenue
> Boston, Massachusetts 02115
>
> YUC- Yale University Collection of Musical Instruments
> 15 Hillhouse Avenue
> P. O. Box 2117 Yale Station
> New Haven, Connecticut 06520
>
> BCO- Bate Collection of Musical Instruments
> Oxford University
> Oxford OX1 1DB
> England UK
>
> RKL- R. K. Lee
> 353 School St.
> Watertown, Massachusetts 02172
>
> JBA- John Barnes
> 3 East Castle Road
> Edinburgh EH10 5AP
> Scotland UK
>
> =================================================================
>
> NOTES
> =====
>
> Most drawing packages from the Russell Collection and the V & A
> include photographs.
>
> The V & A is currently the only museum that accepts plastic as
> payment for plan drawings. You can order and pay for plans at the main
> gift-shop, but you must have them shipped home.
>
> The Division of Musical Instruments at the Smithsonian will not deal
> with you in person for plans. When you visit the museum they will
> gladly come out and hand you the list of plans and photos and ordering
> information; however they require that all transactions be made through
> the mail.
>
> Most of the plan drawings published by The Royal College of Music are
> for the presumed original state of the instruments, from which the
> museum hopes people will undertake to build copies. The museum sells
> photographs to illustrate the preserved state. Preserved state
> drawings have been made of some of the instruments; these drawings are
> available for view at the museum office.
>
> I have also included in this list the two instruments from John
> Shortridge's monograph that are drawn to scale in plan view. This
> document is out of print, but should be available from most large
> libraries.
>
> I have placed anything by Delin in the "French" section; I know that
> Tournai, where he worked, was in Flanders, but his instruments are more
> French than Flemish.
>
> I have left French ravalements of Flemish instruments in the
> "Flemish" section.
>
> On my recent visit to the Russell Collection, I noticed a new plan
> being drawn up for one of the early English single-manual harpsichords.
> Unfortunately, I don't remenber which it was. If anyone has any
> late-breaking news on the availability of this drawing, please tell me.
>
>
> CONTRIBUTORS
> =============
>
> Rob Potter ([log in to unmask])
> Peter S. O'Donnell ([log in to unmask])
>
>
>
>
>
|
