Beruflich Dokumente
Kultur Dokumente
Ben Hebbert
Authors note: The subject of viol geometry is quite a
large one, and although it was pleasing to describe broad
aspects of it in general terms at the Dartington
Conference, a literal transcription would be of very
little use to the reader, and would appear to show flaws
in places where the discussion did not permit a fuller
explanation. Moreover this is a subject that continues to
develop and I hope to be able to produce a more definitive
work at some point in the future. Therefore in lieu of a
literal transcription, I have provided some general points
and a few nice pictures as a taste of things to come.
In presenting this edited version of my Dartington talk, I
should
first
like
to
express
my
appreciation
to
the
Metropolitan Museum of Art. Although I have been studying
English viols since the middle of the 1990s, and have been
scribbling circles and lines over photographs for at least the
last eight years, the museums award of a curatorial fellowship
within the department of Musical Instruments in 2005-2006
allowed me the facilities and time to be able to research this
subject to the fullness that it deserves.
The origins of this project are as an offshoot of my doctoral
thesis at Oxford University (which was still being finished at
the time of the conference), entitled The London Music Trade
1500-1725. This is neither the time nor place to discuss this
research in detail, except to say that much of the work led to
a re-evaluation of the status of early instrument makers, from
the popular mythologies that characterises them as humble
artisans working for an obstinate love of a particular art
form, to regarding them both as craftsmen integrated into the
sophisticated systems of court and aristocratic patronage and,
in the late seventeenth century, as manufacturers of luxury
goods whose power as entrepreneurs allowed them to maintain
workshops and retail outlets in the most sought after locations
in London.
There are other studies of geometry that I should give credit
to. Michael Heale published a short paper on the geometry of
English viols in the Galpin Society Journal in 1989, in which
he used systems of circles and rectangles in order to
illustrate some rudimentary properties of some of the viols
that he had restored. He had already realised some of the
design mechanisms that are fundamental to this interpretation
of geometry, and I was privileged to enjoy many long
discussions about his ideas, covering his kitchen table with
photographs and drawings in the few years before he passed
away.
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1696:2
1718:3
1703:1
1697:3
1713:2
1713:3
1699:1
1718:2
1711:1
1718:1
1714:1
1713:1
1712:1
1702:1
1700:1
1723:1
1712:2
1693:1
1689:1
1692:1
1692:2
1696:5
1696:1
1697:2
1698:1
1697:1
560
In
figure
2.4
the
rectangle
controlling the sound holes is rotated
by 90 and positioned at the end of
the
line
controlling
the
bottom
corners.
The rectangle is bisected vertically,
and horizontally by the ratio 2:3 (as
in
the
previous
example).
This
provides the framework for the cbouts.