{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O58905"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O58905/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2010EC7900/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2010EC7900/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2010EC7900","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AU4790","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5516","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5517","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5518","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5519","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5520","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5521","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5522","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5523","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5524","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5525","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5526","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2011EM5527","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2007BN4986","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AH5003","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2019MA7722","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2019MA7720","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2020MN1420","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2020MN1421","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2020MN1422","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O58905/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O58905","accessionNumber":"115 to B, D to Q-1865","objectType":"Baryton","titles":[],"summaryDescription":"The baryton is a stringed instrument, played with a bow like a cello. 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. 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 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 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>Iconography\n</u>\r\nThe 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"}],"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, with gilt and stained tailpiece; carved and pierced maple board running parallel to ivory 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":""}],"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 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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'Viola da Bardone (see C. Engels Print catalogue)'\n\nConserved 1968 by Reg Dee (V&amp;A Conservation dept.)\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)'"}],"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"],"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":"2026-04-24","recordCreationDate":"2001-05-16","availableToBook":false}}