Archlute公司 - 美国大都会艺术博物馆展品查阅

品名（中）	Archlute公司
品名（英）	Archlute
入馆年号	1988年，1988.87
策展部门	乐器（Musical Instruments）
创作者	David Tecchler【1666 至 1747】【奥地利人，活跃于意大利】
创作年份	公元 1725
创作地区	意大利, 罗马（Italy, Rome）
分类	长笛拨弦（Chordophone-Lute-plucked）
尺寸	高: 70 3/4 英寸 (179.7 厘米)
介绍（中）	1585年左右，在佛罗伦萨发明chitarrone（"大kithara"）后的一段时间，各种当地形式的长颈木犀被开发出来。十六世纪末出现在罗马的一种变体，被称为罗马拱形鲁特琴，它容纳了未经解冻的全音阶低音弦，并被调到约386赫兹的音高标准（比现代音高标准低整整一步），并在许多教堂中使用。目前只知道十种这样的乐器，其中这个例子是最新的，也是最美丽的之一。到了十八世纪中叶，低音提琴进入全低音时期，大琵琶已经成为管弦乐队不可或缺的乐器这个例子是由十八世纪初最著名的罗马制琴师David Tecchler建造的，他出生于德国，1698年从奥格斯堡搬到罗马，在那里一直生活到去世。特奇勒以小提琴，尤其是大提琴而闻名，他偶尔也会制作弹拨乐器；然而，这把漂亮的乐器，在决赛的象牙牌匾上签有Dav:Tecchler/fecit Roma（公元1725年），并在琴身上贴上类似的标签，似乎是他现存唯一的大琴。它的碗是由四分之一薄的乌木棒组成的，用象牙双条纹隔开。脖子前后饰有龟甲，上面覆盖着一层薄薄的金箔。六对琴弦在肠纹指板上方延伸，而八根低音弦被固定在第二个延伸的弹匣中。脆弱的音板目前状况极佳，音孔中装饰着一个雕刻复杂的玫瑰花结，珍珠母镶嵌，并用骨头和龟甲蕾丝勾勒轮廓。脖子后面的夹子和尾部的按钮固定了一条带子，用来支撑这台近六英尺长的乐器。
介绍（英）	Sometime after the invention of the chitarrone ("large kithara") in Florence around 1585, various local forms of long-necked lutes were developed. One variant appearing in Rome at the end of the sixteenth century, dubbed the Roman arch lute, accommodated unfretted diatonic bass strings and was tuned to a pitch standard of about 386 hertz (a full step below the modern pitch standard), and was used in many churches. Only ten such instruments are known today, of which this example is the latest and one of the most beautiful. By the end of the through bass period, in the middle of the eighteenth century, the arch lute had become an indispensable instrument of the orchestra. This example was built by the most prominent Roman luthier of the early eighteenth century, David Tecchler, who was born in Germany and moved from Augsburg to Rome in 1698 where he lived until his death. Renowned for his violins, and especially, his ‘cellos, Tecchler also occasionally made plucked instruments; however, this handsome instrument, signed Dav: Tecchler/fecit Roma AD 1725 on an ivory plaque on the final and similarly labeled within the body, seems to be his only extant archlute. Its bowl is comprised of fourtheen thin ebony staves separated by ivory double striping. The neck is veneered front and back with tortoiseshell over a thin layer of gold leaf. Six pairs of strings extend above the gut-fretted fingerboard, while eight single bass strings are fastened into a second extended pegbox. The fragile soundboard—currently in remarkably fine condition—is ornamented with an intricately carved rosette in the soundhole, mother-of-pearl inlays, and outlined with a bone and tortoiseshell lace. A clip on the back of the neck and a button at the tail secured a strap that supported this nearly six-foot-long instrument.