File:Testudinis Compendiatce quae et Mandora dicitur, Musurgia Universalis (1650).jpg

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Latina: Testudinis Compendiatce quae et Mandora dicitur, Musurgia Universalis (1650)
English: Compendiatce tortoise, and which is said Mandora, Musurgia Universal (1650)

References

  • Athanasius Kircher (Neufville) (1650) Musurgia Universalis: sive ars magna consoni et dissoni in X libros digesta. Tomus I., Rome: Ex typographia haeredum Francisci Corbelletti, p. 477
  • Stewart Pollens (2010) "The mandola and mandolino" in Stradivari, Cambridge University Press, p. 192 ISBN: 978-0-521-87304-8. "However, Praetorius states that the lute was originally made with four double courses, ... Four- and five-course lutes were used in the fifteenth century, and the six course was introduced around the beginning of the sixteenth century; thus, a Medieval or early Renaissance small octave lute or four or five courses might have been indistinguishable from a mandora of the early seventeenth century, though a small octave lute of Praetorius's day wood have differed from a contemporary mandora by having one or two more courses of strings. In Marin Mersenne's Harmonie universelle, the mandore is described as having four strings, but he adds that it also could be fitted with six or even a greater number of courses. ... Arthanasius Kircher's Musurgia universalis (Rome, 1650) indicates that the mandora had four, five, or six courses of strings and gives three tuning systems for the four-course mandora: c', g', c, e; c', g', c, d; c', g', c, c; Thus, seventeenth-century German, French, and Italian publications provide conflicting descriptions of the mandora or mandore with regard to size, number of strings, and tuning."
  • Tim Eggington (2004/2007) Athanasius Kircher, Musurgia universalis, 1650: Special Collections featured item for November 2004, University of Reading Library "Sometimes referred to as the last Renaissance man the wide range of ircher's interests typifies an era predating the strict boundaries maintained between different disciplines today. ... Kircher produced not only one of the most important musical texts of the 17th century, but a testament to wider philosophies indicative of how the world was understood in his day. Not a musician himself, Kircher held the essentially medieval view that the cosmos was revealed in musical ratios and that musical harmony mirrored God's harmony. In this approach Kircher drew upon scholasticism of ancients such as Pythagoras albeit in accordance with Catholic orthodoxy. ..."
  • Liam Devlin (2002-11). Athanasius Kircher, Musurgia Universalis, Rome: 1650, Sp Coll Ferguson Af-x.9 & Af-x.10. Book of the Month, November 2002. Glasgow University Library, Special Collection Department. "Our copy is outstanding for its finely hand coloured illustrations. ... See the Athanasius Kircher on the web site for further biographical details and other links of interest."
Date
Source This file was derived from: Instrumenta polychorda.gif: 
: Musurgia Universalis, book VI, chapter II, plate 7, between pages 476 and 477
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This is a retouched picture, which means that it has been digitally altered from its original version. Modifications: clipped Mandora;. The original can be viewed here: Instrumenta polychorda.gif: . Modifications made by Clusternote.

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This image is a derivative work of the following images:

  • File:Instrumenta polychorda.gif licensed with PD-old
    • 2006-07-10T23:54 Iustinus 1886×2740 (205510 Bytes) {{Information |Description=Plucked string instruments of 17th century Europe, labeled in Latin. |Source=Musurgia Universalis'', book VI, chapter II, plate between pages 476-477 |Date=1650 |Author=[[Athanasius Kircher]] |Permission= |other_versions= }} [[

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