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It is fitted with six strings which supply the melody, and a series of wire strings at the back, which are either plucked with the left thumb or allowed to vibrate freely as the instrument is played. \r\n\r\nThis example is dated 1686, and was made by Joachim Tielke (1641-1719) of Hamburg,  who made a large number of stringed instruments, highly sought after by royalty and nobility. The most famous baryton composer was Josef Haydn (1732-1809) who wrote a large number of pieces for his patron, Prince Nikolaus Esterházy (1714-1790), a Hungarian nobleman and an enthusiastic baryton player.\r\n\r\n","physicalDescription":"Belly of pine, with 'flame' holes and with double purfling forming small decorative knots at the indentations between the bottom lobes of the festooned body. The fingerboard is made of ebony. Two-piece back with signs of a wax seal. At the base, a ferrule for resting the instrument on the floor, and a hook-bar. The pegbox is carved on the back with figures in relief. A carved triple lion's head forms the finial. On the treble side of the pegbox is a narrow cavity accommodating the boxwood pegs of the six playing strings, which run to a tailpiece in the shape of two figures in feathered aprons and with headdresses (perhaps representing north Africans), carved in wood stained black and partly gilt, with red stones for the eyes. The twenty-five wire sympathetic strings run from wrest pins in the main width of the pegbox, thence behind a pierced and carved neck and under a black-stained wooden frame (probably added around 1800) across which is stretched light blue silk material, to their attachment on a fixed bridge glued obliquely to the belly. Some old holes into the pegbox show that this arrangement has been altered at some time. \n\nThe instrument is furnished with two bows and also a shaped cardboard box which can be fitted exactly into the hollow behing the neck; this box contains eight spools of brass wire of various gauges, and manuscript sheets and cards giving the gauges and tunings of the sympathetic strings. The corresponding gauges are marked in ink alongside the appropriate wrest pins on the instrument itself. (The spools of wire were measured with a vernier gauge in 1989.)\n\n\n<u>Ivory</u>\nThere is an ivory decorative element on the tailpiece (probably elephant). The tuning pegs have small ivory decorative knobs (probably elephant). The two associated bows have ivory tips, (probably elephant).\n\n<u>Modifications (taken from Friedemann &amp; Barbara Hellwig,<i> Joachim Tielke - Kunstvolle  Musikinstrumente des Barock,</i> Berlin 2011)</u>\nIn 1842, Schilling lists the aforementioned early owners and refers to the changes made to the instrument: the current metal tuning pegs for the aliquot strings, as Güntier Hellwig and Pamplin quite rightly assume, were installed by Johann Augustin Straube (1725-1802), a piano maker in Berlin, mentioned by Schilling. The type of cloth-covered frame above the attachment of the aliquot strings to the soundboard also suggests the work of a piano maker.\r\n\n\n<u>Iconography\n</u>The pegbox is carved in low relief on the back with a scene of a chariot drawn by stags, driven by a reclining goddess with bow and arrows (with a crescent moon motif indicating Diana, not Venus as generally described), accompanied by a winged putto. The scene (which appears on various instruments by the same maker) derives from an engraving by Cornelis (I) Danckerts, Nouveau Livre des Dieux et Deeßes, de la Marine de l’jnventio[n] de Henri de Caiser / Bouckje van Zeegoden en Godinnen geinve[n]teert door Hendrik d’Caiser – 12 Kupferstiche, Amsterdam o.J., c.1620-56\n\r\nThe finial is formed by a triple head of a large lion head flanked by two smaller heads, (dragon or perhaps a foo dog) with a horn on its nose and a narrow, flat wing at the side, over which a lock of hair extends. Similar carved heads (though not apparently tripled as on the V&amp;A instrument) are found on various instruments by the same maker.\r\n","artistMakerPerson":[{"name":{"text":"Tielke, Joachim","id":"A7160"},"association":{"text":"maker","id":"AAT251917"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"ebony","id":"AAT12055"},{"text":"maple","id":"AAT12236"},{"text":"burr maple","id":"x37635"},{"text":"pine","id":"AAT12620"},{"text":"silk (textile)","id":"AAT243428"},{"text":"gold leaf","id":"x33207"},{"text":"ivory","id":"AAT11857"}],"techniques":[{"text":"carving","id":"AAT53149"},{"text":"piercing","id":"AAT231153"},{"text":"purfling","id":"x37774"},{"text":"staining","id":"AAT53058"},{"text":"gilding","id":"AAT53789"}],"materialsAndTechniques":"Carved pine pegbox, pine top and burr maple sides and back, ebony fingerboard, with gilt and stained tailpiece; carved and pierced maple board running parallel to neck","categories":[{"text":"Musical instruments","id":"THES48919"}],"styles":[],"collectionCode":{"text":"FWK","id":"THES48597"},"images":["2010EC7900","2006AU4790","2011EM5516","2011EM5517","2011EM5518","2011EM5519","2011EM5520","2011EM5521","2011EM5522","2011EM5523","2011EM5524","2011EM5525","2011EM5526","2011EM5527","2007BN4986","2006AH5003","2019MA7722","2019MA7720","2020MN1420","2020MN1421","2020MN1422"],"imageResolution":"high","galleryLocations":[{"current":{"text":"CNFR","id":"THES49206"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"CNFR","id":"THES49206"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"CNFR","id":"THES49206"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"001","id":"THES299386"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"007","id":"THES379901"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"002","id":"THES299387"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"002","id":"THES299387"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"002","id":"THES299387"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"002","id":"THES299387"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"CNFR","id":"THES49206"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"Baryton","id":""}],[{"text":"bow (chordophone component)","id":""}],[{"text":"bow (chordophone component)","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Baryton string","id":""}],[{"text":"Box","id":""}],[{"text":"Lid","id":""}],[{"text":"Instruction sheet","id":""}],[{"text":"Instruction sheet","id":""}],[{"text":"Instruction sheet","id":""}],[{"text":"Instruction sheet","id":""}],[{"text":"Frame","id":"CIT286071"}]],"contentWarnings":[{"apprise":"No","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Hamburg","id":"x28900"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1686","earliest":"1686-01-01","latest":"1686-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Length","value":"149","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"total","note":""},{"dimension":"Length","value":"69","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"body","note":""},{"dimension":"Width","value":"42","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"widest bout","note":""},{"dimension":"Depth","value":"23.9","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"Measured by NB 2/20: 1490mm  x 239mm x 420mm","marksAndInscriptions":[{"content":"JOACHIM TIELKE/ IN HAMBURG FECIT/ ANNO 1686","inscriber":{"name":{"text":"Tielke","id":"A7160"},"association":{"text":"","id":""}},"date":{"text":"1686","earliest":"1686-01-01","latest":"1686-12-31"},"description":"","interpretation":"","language":"Latin","medium":"ink","method":"","position":"Beneathe pierced and carved board running alongside the neck of the instrument","script":"Capital","translation":"Jopachim Tielke made [this instrument] in Hamburg 1686","transliteration":"","type":"1) Makers's mark 2) Signature","note":"1) Makers's mark 2) Signature; Latin; Capital; Beneathe pierced and carved board running alongside the neck of the instrument; ink; Tielke; 1686"}],"objectHistory":"Bought from M. Baur, Paris, £40. 0. 0.\r\n\r\n'Viola da Bardone (see C. Engels Print catalogue). The finger board carved in open fret-work termnating in three lions' heads; above the bridge are two figures of negroes; carved and gilt. German, dated 1686'\n\nPrevious owners: \nElector Carl Theodor of the Palatinate (1724-1799), Mannheim. \nKing Maximilian I of Bavaria (1756-1825), Munich. \nSebastian Ludwig Friede (1768-1857), cello virtuoso and member of the Berlin Court Orchestra. \nAcquired on March 15, 1865, by the South Kensington Museum from M. Baur in Paris for 40 florins.\n\nConserved 1968 by Reg Dee (V&amp;A Conservation dept.)\n\nLent in 1980 to the exhibition <i>Joachim Tielke</i> at the Museum für Eünst und Gewerbe, Hamburg","historicalContext":"Friedemann and Barbara Hellwig, <i>Joachim Tielke: Kunstvolle  Musikinstrumente des Barock</i> (Berlin, 2011),  p.381 ff., lists two other barytons by Tielke: c.1685 Priv. coll. UK (fragmentary); 1687(?), converted to a cello, Horniman Museum (UK) inv. No. 1826A\n\nSee also: \nCarol A. Gartrell, 'Towards an Inventory of Antique Barytons',  The Galpin Society Journal, Vol. 56 (Jun., 2003), pp. 116-131 \n\nTerence M. Pamplin, 'The Baroque Baryton The Origin And Development In The 17th Century Of A Solo, Self-Accompanying, Bowed And Plucked Instrument Played From Tablature' (Thesis Submitted In Partial Fulfilment Of The Requirements Of Kingston University For The Degree Of Doctor Of Philosophy, October 2000)","briefDescription":"German (Hamburg) 1686. Joachim Tielke and box for strings","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"London, Victoria & Albert Museum: Catalogue of Musical Instruments in the Victoria & Albert Museum. Part II, Anthony Baines: <i>Non-keyboard instruments</i> (London, 1998), p 12, cat. 2/6\n\n[p9]\r\nThe baryton is a larger instrument, about equal to a bass viol in size. It appeared a little earlier than the viola d'amore—not long after the middle of the seventeenth century. It has six playing strings and a very variable number of wire sympathetic strings which in some cases were tuned to a chromatic scale. The instrument is constructed with an open neck comprising two parallel arms with a broad space between them which is covered by a decorated plate with the fingerboard running to one side. Behind this plate the wires are exposed and can therefore be struck with the left thumb from behind to produce touches of accompaniment and 'lute' effects, in addition to discharging their sympathetic function. Most barytons have a festooned outline of some kind, and sound holes of paired 'commas' are characteristic. The only composer of note for the baryton is Haydn, his patron, the Duke of Esterhazy, having been for a time a lover of the instrument.\r\n\r\n[p.12] 2/6 BARYTON by Joachim Tielke. Hamburg; 1686. Fig. 14.\r\nInscription painted alongside the fingerboard: Joachim Tielke / in Hamburg fecit / Anno. 1646. Also a printed label inside which reads the same.\r\nBelly of pine, with 'flame' holes and with double purfling forming small decorative knots at the indentations between the bottom lobes of the festooned body. Two-piece back with signs of a wax seal. At the base, a ferrule for resting the instrument on the floor, and a hook-bar. The pegbox is carved on the back with figures in relief (Venus in her chariot similar to those in ivory marquetry found on bass viol 1/10. A splendid carved triple lion's head forms the finial. On the treble side of the peg-box is a narrow cavity accommodating the boxwood pegs of the six playing strings, which run to a tailpiece in the shape of two savages, carved in wood stained black and partly gilt. The twenty-five wire sympathetic strings run from wrest pins in the main width of the pegbox, thence behind a pierced and carved neck and under a frame, across which is stretched some silk material, to their attachment on a fixed bridge glued obliquely to the belly. Some old holes in the pegbox show that this arrangement has been altered at some time.\r\nDimensions: Length total 13 5 ; belly 69. Depth 13. Width of bouts 36, 28.5, 42. String length about 67.\r\nMuseum No.: 115-1865.\r\nThe instrument is furnished with two bows and also a shaped cardboard box which can be fitted exactly into the hollow behind the neck; this box contains eight spools of brass wire of various gauges, and manuscript sheets and cards giving the gauges and tunings of the sympathetic strings. The corresponding gauges are marked in ink alongside the appropriate wrest pins on the instrument itself.\r\nHellwig's list of surviving instruments by Tielke, mentioned in the notes to bass viol 1/ 10, gives no other baryton by this famous maker.\r\n"},{"reference":{"text":"","id":""},"details":"","free":"Friedemann and Barbara Hellwig, Joachim Tielke: Kunstvolle Musikinstrumente des Barock (Berlin: Deutscher Kunstverlag, 2011), pp.383-87. ISBN  978-3-422-07078-3"},{"reference":{"text":"","id":""},"details":"","free":"HELLWIG, Günther: Joachim Tielke: Ein Hamburger Lauten- und Violenmacher der Barockzeit.\r\n(Frankfurt, Musikinstrumentmuseum, 1980), cat. no. 38, pp.186-89"},{"reference":{"text":"","id":""},"details":"","free":"THORNTON, Peter: Musical Instruments as Works of Art. (London, V &amp; A, 1982), Fig. 28-28a, p. 23\n'Figures 28 and 28a. In constrast to the Cremonese violin mentioned above, this sumptuously decorated instrument displays the Baroque love of full-blooded ornament, which instrument-makers at the time were accustomed to apply. This baryton, an instrument rather larger than a cello, lent itself particularly well to such treatment. <i>Baryton by Joachim Tielke, Hamburg, 1686; Museum No.115-1865</i>.'"},{"reference":{"text":"","id":""},"details":"","free":"Musical Instruments as Works of Art (H.M.S.O., 1968), Fig. 31-32\n'Figures 31 and 32 Details of the handsomely carved neck and peg-box of a German baryton -a large relative of the <i>viola d'amore</i>. It comes from the workshops of the famous Hamburg musical instrument-maker, Joachim Tielke, and is dated 1686 (No.115-1865)'"},{"reference":{"text":"","id":""},"details":"","free":"<i>A Descriptive Catalogue of Musical Instruments in the South Kensington Museum by Carl Engel,</i> London, Science and Art Department, 1874, pp. 264-6\n\n'115,115 a, b c. '65. VIOLA di Bardone. Also called <i>viola di bordone</i>, and baryton. The finger-board is carved in open fret-work terminating in three lions' heads; above the bridge are two figures of negroes, carved and gilt. At one side of the finger-board is the inscription \"Joachim Tielke in Hamburg fecit, Anno,  1686.\" <i>German (Hamburg)</i>. By J. Tielke. Signed and dated 1686. L. 4 ft. 6 in., W. 1 ft. 4½ in. Also two bows, and a wrest, or tuning key of metal. (Bought, 40/.) Fig. 131\n\nThis instrument has six strings of catgut, which are tuned by means of wooden pegs, and are played with a bow; and beneath these it has twenty-two metal strings, which serve as sympathetic strings, like those described, page 204. The sympathetic strings are wound round iron tuning-pegs placed near the top of the neck; and they run down, partly under the finger-board and partly at its side, extending to the bridge, where they are fastened to little pins placed in an oblique line beneath the bridge. The body of the instrument has at each side two indentations, and is flat at the back. The two sound-holes are remarkable for their old-fashioned shape.\r\nThe <i>viola di bardone</i> was often mounted with seven catgut strings, instead of six; and they were tuned as follows:- [Fig.] \n\r\nThe number of metal strings likewise varied.\tSome old writers mention from sixteen to twenty, and others as many as forty-four. These stirings were arranged in a diatonic succeffion, the lowest of them emitting the tone [fig.] \n\r\nThey served, however, not only as sympathetic strings, but were occasionally twanged with the thumb of the left hand, to produce effects resembling those of the lute. The most accomplished performers on the <i>viola di bardone</i> were Anton Lidl of Vienna (to whom is sometimes erroneously ascribed the invention of this instrument) and Karl Franz, a musician of the band of Prince Esterhazy, about the middle of the last century. Lidl played on the <i>viola di bardone</i> in concerts in England during the year 1776. Joachim Tielke of Hamburg, the manufacturer of the specimen in the Museum, of which an illustration is here given, was an instrument maker whose lutes were much esteemed on account of their fine tone, and their elegant ornamentation. He made them of ebony inlaid with ivory, mother-of-pearl, silver, and gold. A small <i>viola di bardone</i> by Tielke, dated 1687, which some years ago was exhibited at the Society of Antiquaries in London, had six catgut strings, and only eleven wire strings.\n\r\nJoseph Haydn wrote sixty-three compositions for the <i>viola di bardone</i> by order of Prince Esterhazy, who was himself a performer on this instrument, and who admired it greatly.  Its tone is soft and very expressive, but rather tremulous; owing to this quality, probably, it was also called <i>viola di fagotto</i>. It never became very popular, since its rather complicated construction offered too many difficulties in its treatment.  In Germany it was generally called <i>baryton</i>.'\r\n\r\n\r\n"}],"production":"","productionType":{"text":"Unique","id":"THES48864"},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Venus","id":"N25"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"lion","id":"x30150"},{"text":"Indians","id":"x37775"}],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"BARYTON by Joachim Tielke, Hamburg. 1686, inscribed Joachim Tielke/ in Hamburg fecit/ Anno. 1686. Pine top, maple back and sides, stained maple bridge, maple neck and tuning head, ebony finger board. The tailpiece is decorated with Indians. \r\nThe instrument has six strings over the finger board and twenty-two sympathetic ones underneath.  \r\n \r\nMuseum No.: 115-1865 \r\nNon-Keyboard Catalogue No.: 2/6 \r\n \r\nThe baryton was most frequently played in Central Europe from about 1640 until about 1800. Joseph Haydn composed a large number of baryton pieces for his patron, Prince Nikolaus Esterhazy, an enthusiastic player of this instrument. The upper strings were tuned like a bass viol (D-G-c-e-a-d') and played with a bow. The sympathetic strings were either played with the left thumb or allowed to vibrate freely. \r\n \r\nJoachim Tielke (1641 - 1719) settled in Hamburg in 1667,  \r\nwhere he made fine instruments, of which nearly a hundred still survive.","date":{"text":"pre September 2000","earliest":null,"latest":"2000-08-31"}}],"partNumbers":["115-1865","115A-1865","115B-1865","115D-1865","115E-1865","115F-1865","115G-1865","115H-1865","115I-1865","115J-1865","115K-1865","115L-1865","115M-1865","115N-1865","115O-1865","115P-1865","115Q-1865","115C-1865"],"accessionNumberNum":"115","accessionNumberPrefix":"","accessionYear":1865,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE","Baryton","bow (chordophone component) [1]","bow (chordophone component) [2]","Baryton string [1]","Baryton string [2]","Baryton string [3]","Baryton string [4]","Baryton string [5]","Baryton string [6]","Baryton string [7]","Baryton string [8]","Box","Lid","Instruction sheet [1]","Instruction sheet [2]","Instruction sheet [3]","Instruction sheet [4]"],"assets":[],"recordModificationDate":"2026-06-03","recordCreationDate":"2001-05-16","availableToBook":false}}