Abstract
This article identifies ten fragments, used as reinforcements in the sounding boxes of three instruments made by Antonio Stradivari (Cremona, ca. 1648–1737), which are now kept in the Ashmolean Museum in Oxford (the ‘Cipriani Potter’ violin, 1683, and the ‘Hill’ guitar, 1688) and the musée de la Musique in Paris (the ‘Vuillaume’ guitar). The fragments appear to come from a single book of hours, made in Italy no later than the mid-fifteenth century. This identification allows the documentation of the use of parchment fragments in the making process of Stradivari. The authors discuss what the common origin of parchment fragments found in three distinct instruments implies for the authenticity and relative dating of their making. Finally, this study sheds light on the potential of documenting reused parchment fragments, which are widely present in many string musical instruments produced in the sixteenth to eighteenth centuries.
Highlights
Gilroy, Andrew Honey, Philippe Bruguière, Sebastian Kirsch, John Milnes, Oulfa Belhadj, and Marie Radepont for the fruitful discussions in the course of this research
This work benefited from the support of Constant Vétillart for the acquisition of endoscopic photographs of the ‘Vuillaume’ guitar, Alexandre Gillon for their processing, and of Oulfa Belhadj and Marie Radepont for the XRF acquisitions
1 Organology is the discipline studying the history of musical instruments, of their making techniques and of their makers
Summary
Fragmentology is an international, peer-reviewed Open Access journal, dedicated to publishing scholarly articles and reviews concerning medieval manuscript fragments. Fragmentology welcomes submissions, both articles and research notes, on any aspect pertaining to Latin and Greek manuscript fragments in the Middle Ages. Identifying Medieval Fragments in Three Musical Instruments Made by Antonio Stradivari
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