Ventura di Fran / Linarol in Venetia / 1604 [handwritten in ink on inside of back]
No. of Strings:
Martius 2006; Martius 1999, p. 51; PT visits 6/77 & 9/78
Pio 2011, p. 177; Beuting 2007, p. 192; Martius 2006; Herzog 2003, IT-40; Martius 1999, p. 51; Edmunds 1994, p. 25; Huber 1989, p. 79; van der Meer 3/1982, p. 9
On museum’s website (FB+S, head side [color]); Pio 2011, p. 192 (F [color]); Beuting 2007, p. 192 (front 3/4 [color]); Martius 2006, pp. 86-89, 94 (front 3/4, side, pegbox B+S, underside of table, back inside, label); van der Meer 1983, p. 53 (F+S); [www.rimab.ch: FB+S, head FB+S, bass soundhole, signature, etc. (color; seen 5/13)]
On loan since 1980s from Städtische Kunstsammlungen Augsburg (their no. 3023). Tourin: 2-piece table; ribs very shallow at neck joint; fingerboard narrow at nut. Edmunds 1994: pointed corners, shoulders nearly square; has end pin. Martius 1999: dendrochronology gives date of 1525 for youngest growth ring on table [P. Klein 1990; cf. M. Beuting 2007, p. 192]; dimensions 73.1, 37.0/27.4/47.7, 13.8, 72.9. Martius 2006: dimensions 73.4, 37.3/28.4/48.1, 13.7, 72.0; single purfling on front and back; unusually long and steep back slope; body outline unaltered. Originally had integral bass bar in carved table and probably no crossbars on back, also no soundpost. Top block (with horizontal growth rings) original, neck old but not original (nail holes do not continue) and drastically altered to fit here, so uncertain if originally made as viol or cello; remains of an earlier fingerboard under the current one. 4 pegs original; tailpiece (attached to metal ring) and bridge from 1969 restoration [or by T. Mace in late 1970s, per himself?]. Pio 2011, p. 177: “the most beautiful amongst all the instruments ascribed to the Linarolos ... the product of an evolved and mature degree of mastery.” Drawing available from museum. [www.rimab.ch dimensions: 72.8, 37.0/27.4/47.7, 13.8, 72.9.