Musical Instruments in An Inventory by Andrea Mantova PDF

Musical Instruments in an Inventory by Andrea Mantova Benavides, Padua 1696
Author(s): Gerhard Stradner

Source: The Galpin Society Journal, Vol. 55 (Apr., 2002), pp. 62-103
Published by: Galpin Society
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GERHARD STRADNER
Musical Instruments in an
Inventory by Andrea Mantova
Benavides, Padua 1696
THE DISCOVERY OF THE INVENTORY
A nton RudolfMalecek indicates as early as 1930, in his

hence relatively unknown dissertation' that the so
encister', i.e. the harp-cittern by Wendelin Venere, Padu
67)2 in the Kunsthistorisches Museum, Vienna, occurs in
1695 of the Mantova family of Padua. He refers to an 1839
A. Valsecchi3 in which the inventory is mentioned, and han
by G. Gennari,4 in which parts of the inventory5 are tr
improved type-written transcription of the inventory was
G. Gottardi." Irene Favaretto7 has been studying the Man
family since the nineteen seventies and suspects a connectio
house. Since apparently parts of the Este collection in Schl
up in the Kunsthistorisches Museum in Vienna, she c
Wegerer. He has studied this particular inventory since 19
in handwritten notes, that another three instruments of th
were mentioned - the cittern by Giovanni Paolo Maggin
Anton Rudolf Malecek, ')cr Paduaner Lautenineister Antonio

Wicn, 1930, p.58; Peter Kiraly, 'Some New Facts about Vendelio
in The Lute 1994', in: The Lute vol XXXV, 1995, pp. 73-75.
2 Julius Schlosser, Die Saniinlunng alter Musikinstrntuente
Kunsthistorisches Museum Wien, Publikationen aus den Sammlulnc;nc
Kunstqgewerbe, publisher: Julius Schlosser, Bd. III, p.62. In the p
current inventory numbers with the prefix SAM are used. The inv
given in brackets are the ones introduced by Schlosser. The letter '
the instrument comes from castle Catajo. The old four-digit ide
Saiimnlurngen fiir Plastik und Kunstgeuwerbe are used only on rare

article.
' A.Valsecchi, Elogio di Marco Mantova Benavides, Padova: 1839
Favaretto, Andrea Mantova Benavides, Inventario delle Antichitf
Benavides 1695, Padova: 1978, p.11, p.47; also in Bollettino del
Padova, Annata LXI, 1972, n. 1-2.
S G. Gennari, Memorie degli scrittori padovani e della storia di P
Archivo di Stato di Padova, MS. BP 116, vol. II, p.748 ff., also
Favaretto, fn.3, p.11 and p.33.
62
57 (C 62), the great bass viol by Ventura Linarol, Padua 1585, SAM 73 (C
78), as well as the violin also by Ventura Linarol, Venice 1581, SAM 91 (C
96). He suspects that further instruments of the Benavides inventory could
be identified in the Vienna collection. In 1978 Irene Favaretto9 published
a fundamental essay about the inventory. In this she refers to the four
instruments in Vienna SAM 62, SAM 57, SAM 73, in particular the violin
by Linarol SAM 91 as one of the best-preserved violins of the 16th centry. "'
Apart from the history of the Mantova-Benavides house and further
literature, she also provided a transcript of the original italian text.
In order to write this article, the present author has compared the
handwritten inventory'" with the transcript, using micro-film, while
translation errors have been removed, and the original Italian text12 (see
Appendix 1) has been translated into English. The inventory has then been
further interpreted and commented on.
This is followed by an attempt to identify those instruments which still
exist, using visual characteristics, and taking into account the grouping of
existing instruments. The analysis of errors which occurred during the
construction of the inventory proves to be useful for this process. Finally,
thoughts regarding the pitch and relationship between the different
instrument sizes, i.e. their lowest notes and playing practice which assist in
identification of the instruments are discussed. But first it is useful to
examine the history" of the collection.
THE HISTORY OF THE MANTOVA BENAVIDES ART

COLLECTION
The history of the collection begins with Marco Benav

from 1489 until 1582 in the Palazzo Mantova Benav
SArchivo di Stato di Padova, archivo Abriani busta 5, I. Favar

"Biblioteca del Museo Civico di Padua, ms. BP 5018. I. Favar
I. Favaretto, fn.3.
I. Favaretto, fih.3, p.10.
I. Favaretto, fin.3.
D" I. Favaretto, fn.3, p.32.
'' Karin Zeleny, Vienna, assisted with all the reading and tran
the Italian manuscript. I was also helped with the interpretation
terms by Renato Meucci, Milan, Alfons Huber and Giinther
would like to thank them for their assistance.
12 The author reported the most important aspects of this study at the annual
conference of the American Musical Instrument Society on 19 May 2000 in Lisle,
near Chicago, Illinois, USA.
13 I. Favaretto, fn.3, pp. 1-32.
14 I. Favoretto, fn.3, p.5 ff. There is also the supposition, which has not been
verified until now, that 'Benavides' is a Jewish name from Spain. The waves of
Sephardic emigration from Spain and Portugal, following the expulsion after 1492
also lead to Northern Italy. EncyclopaediaJuzdaica. Vol. 14, Jerusalem, pp. 1165-1168,
'Sephardim'.
63
building which remains much as it was in the sixteenth century. In the final
year of his life he wanted to sell the collection, through the intermediacy of
a third party, in order to pay off the debts of his nephew Giovanni. It is
unclear, however, whether any parts of the collection were ever sold.
Certainly, the majority of the instruments remained in the possession of the
family and became the property of Marco's nephew, Pietro. When Pietro
died, his son Claudio inherited the collection, and he in turn passed it on to
his son Gaspare, whose son, Andrea, a music-lover, lived from 1632 until
1711.16 It is this Andrea who was the author of the inventory. A valuation
of the items in the Palazzo in 1652 also mentions musical instruments.17
There are, however, far fewer such instruments than those mentioned in
1696. When Andrea died in 1711, his son, Gaspare, began the sale of the
collection. After Gaspare's death in 1762, the Palazzo was sold by Andrea's
daughters, resulting in years of quarrels. Part of the natural history
collection was bought by the physician and biologist, Antonio Vallesnieri,
from Padua. His son, Antonio, donated it after his death in 1730 to the
University of Padua, where it still forms an important part of today's
Museums Scienze archeologiche e d'Arte dell' Ateneo Patavino. Other
natural history objects ended up in different Universities. The art objects
were partly moved to the cloister of San Giovanni di Verdara. From
there, bronzes, coins and medals were transferred to the Biblioteca
Marciana di Venezia, whence, in turn, the majority of all the objects were
moved to the Ca' d'Oro. It seems that parts of the musical instrument
collection ended up in the Este collection'" in Catajo castle'' near Padua.
This probably happened sometime after 1711 but before 1769. The Este
collection was based on instruments collected by the Obizzi family20 who
lived at Catajo castle. Parts of the Este-collection2' today represent one of
the two main divisions22 of the Collection of Ancient Muscial Instruments
in the Kunsthistorisches Museum, Vienna. Irene Favaretto also suspects
there are instruments from the former Benavides collection in the Museo
Civico at Padua." This, however, is not confirmed by the stocks held there
today. The following explanation shows that there were apparently
' Today inhabited by the Protti-family and can be found at: Piazza Eremitani 18,
I 35121 Padova.
1" A. Valsecchi, fn.3, p.27. See also: I. Favaretto, fn.3, p.22.
17 I. Favaretto, fn.3, p.7.
' Leo Planiscig, Die Estensische Kunstsamnnlung, Bd. 1, Wien: 1919, p.V ff. J
Schlosser, fn.2, p.14 f.
'I I. Favaretto, fn.3, p.10.
2 Leo Planiscig, fn.18, p.V, ff.
2' The main parts of this article can also be found in: Gerhard Stradner, 'Zu
Herkunft einiger Musikinstrumente der Estenischen Sammlung', in: Jahrbuch d
Kimsthistorischel IMuseums, Bd. 4, Mainz, 2002.
2' The second main division comes from Ambras castle where the majority o
the collection can be traced back to 1596. J. Schlosser, fn.2, p.11 ff.
21 I. Favaretto, fn.3, p.10.
64
contacts with the Benavides family not only with the Este estate but also
with the Correr family of Venice in whose collection instruments from the
Benavides collection were to appear later.
The Benavides collection existed since the early 16th century, certainly
from 1582 and remained in their family for five generations.24 The
inventory apparently describes the contents of the collection as it existed at
the time when it was sold after 1711.
Andrea Mantova Benavides began the inventory25 with the list of his art-
treasures in 1695, but the final pages" were written in 1696 and it is these
which are concerned exclusively with musical instruments and other
objects which are connected with music.
A literal English translation is difficult to provide. Changes which
emphasise parts of the text or address inaccuracies are explained in the
commentary. When the translation of an Italian term is not clear, the word
appears in italics.
AN ENGLISH TRANSLATION OF THE INVENTORY
Addendum 12 September 1696
What follows is an inventory of all musical instruments, the vio

kinds of antique musical instruments. They are described accor
and where they are stored in a large walnut cabinet [Number
ground floor organ room, where in past centuries many vir
together to make music; and this practice continues even today
In this cabinet there are viols; they are at this time all well-pr
stored (thanks to the mercy of our Lord God and the holy Anto
by good and great makers of the past century, and are labelled o
of each instrument as indicated below.
There are 12 instruments, including the violone. Together they comprise

a consort. First:
The first viol hanging on the right hand side is by Ventura [Linarol] 1582,
as marked on the inside of the body by the maker.
Number 1
The second viol in this row is by Ventura, son of Francesco Linarol in

Venice 1602, as is noted on the inside
Number 2
24 The collection was sold by the sixth generation.

25 The entire inventory can be found in: I. Favaretto, fn.3, p.35 - 123.
2 I. Favaretto, fn.3, p.119 ff.
65
A [third] viol in the same row by the aforementioned Ventura Linarol from
the same year 1582 Number 3
[Fourth] a small violoto, also in the same first row below the [Ventura
Linarol Number 4
[Fifth] a bass violone in the centre of

of Francesco Linarol in Padua and is m
Number 5
[Sixth] a violetta of medium size in another row at the top. The maker is
Ventura [Linarol] in Venice 1582
Number 6
[Seventh] another violetta in this second row by the same author [Ventura
Linarol] 1582 Number 7
[Eighth] another violetta - this is one of two small ones -

the said Ventura [Linarol] from Venice 1582
Number 8
[Ninth] a violetta - the other of the two small ones - in the centre by the
said author [Ventura Linarol] 1582
Number 9
[Tenth] a violetta the fourth in the centre by the same author mentioned
above [Ventura Linarol] 1582
Number 10
[Eleventh] a violetta in the same row as above, this one too by the said
Ventura Linarol in Padua 1585
Number 11
[Twelfth] a violetta - this is the last one in the top row - by the same author
IVentura Linarol] see above
Number 12
There are as [mentioned] above all in all twelve viols with their bows,
including the one for the violone
[Number 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72]
Furthermore there is in this cabinet in the upper row at the end a perfect
violin by [Ventura, son of] Francesco Linarol from Venice 1581 as
indicated on the inside
Number 13
66
Item: in this last top row there is a mute by the said Ventura [Linarol] 1599
Number 14
Item: a small lute with a body made of snake-wood and strips of ivory by
Magno Dieffoprucar [=Magnus Tiefenbrucker] 1616 in Venice
Number 15
Item: another lute with short neck by Wendelin Venere

Number 16
Item: another small lute with short neck, a sister-instrument by the above
manufacturer [Wendelin Venere]
Number 17
Item a mandolin made of ivory and ebony by an outstanding maker

Number 18
Item: Further a particularly small lute by the said Wendelin Venere

Number 19
Item: an extraordinary and wonderful instrument which combines three

instruments in one: namely a lute, a harp and a cittern, the work of
Wendelin Venere, son of Leonhard Tiefenbrucker in Padua
Number 20
14 lutes with short bent neck , 4 itemsI
Item: a lute with short and bent neck and a large body by Wendelin Venere
1576 from Padua Number 21
Item: another lute, a small sister-instrument to the

medium-large body by Michael Hartung from Padua
Number 22
Item: another similar lute with short bent neck by Wendelin [at first:
VendelioVenere, son of Leonhard] Tiefenbrucker in Padua
Number 23
Item: another lute by Wendelin Venere 1591

Number 24
Item: a guitar with a large white body, without varnish but with strips of
silver by Dorian Spilman 1590
Number 25
67
Item: a large theorbo with a neck made of ebony by Matthaus Buchenberg
in Rome 1615, which is stored on the right-hand-side of the cabinet
Number 26
{ Two lutes}
Item: a broken lute with long neck, on the left hand side of the cabinet by
Thomas Spilman in Padua 1584, as is noted on the inside
Number 27
Item: another similar lute with long neck by Wendelin Venere

Number 28
Item: a cittern marked Gi[ov]an[ni] Paolo Maggin[i] from Bovalo in

Brescia Number 29
{seven trombones or bassoons}
Item: trombones or bassoons, all in

[Number 30, 31, 32, 33, 34], which
tube-like pipes which are installed o
[Number 35, 36] without these crook
the instruments in this cabinet are h
the bottom part of the cabinet on th
{3 recorders in a leather case }

Item: a consort of four pipes or reco
leather [Number 37]. One of these i
were made by an outstanding and f
his insignia !!. Only three instrumen
[Numbers 38, 39, 40].
112 Instruments }
Item: On the floor in the bottom p

examples of pipes: recorders, flutes a
Namely one of the above mentioned
part of the cabinet placed on the ba
[already mentioned, approx.
Item: recorders or pipes: large, mediu

[Numbers 41, 42, 43, 44]
Item: flutes a total of 5

[Numbers 45, 46, 47, 48, 4
68
And finally, two cornetts: a bent and a straight one, 2
[Numbers 50, 51]
And finally, a timpanumn or cimbalo., an old instrument which was used in

triumphal marches particularly the ones for Bacchus.2' They are stored
hanging below the trombones
[Number 52]
{ A particularly sweet-sounding organ of olivewood)
Item: In the same chamber stands a particularly sweet and well-sounding

organ. All external pipes are made of olive-wood, the internal ones from
cypress-wood from Crete. It is decorated on the outside with graceful and
beautiful inlaid work, both even and in relief, all gold-plated and nicely
arranged in between the subdividions of great architecture which decorate
it on the outside. This old masterpiece is by a very important author and has
two registers on the right hand side, namely a principal and a flute register
at the octave. It has a Tremulant, the stop knob of which protrudes on the
left hand side. Initially, it had a keyboard with a bass-octave and in 1650 it
was converted to chorton pitch in order to make it more convenient when
accompanying singers, and also when playing it. It has been in this house
for 150 years, and I hope that this costly joy will be continue to be taken
care of by my successors until its end.
[Number 53]
{two old harpsichords in the organ room of the house }
Item: On the right hand side of this organ is a short harpsichord the work
of Marcantonio Irnioni in Padua 1589, a very good chorton instrument.
[Number 54]
Item: On the left wall is another harpsichord of the same size by Vito
Transuntino 1570, a very good chorton instrument.
[Number 55]
{a harpsichord by Celestini, which after my death should not be sold for

less than 100 gold pieces }
In the upper room is another long and large harpsichord which was bought
by me from the famour maker Giovanni Celestini from Venice which due
to its sweetness and divine harmony could truly be regarded as a heavenly
instrument. I was offered 100 gold pieces by a foreign prince for this
instrument, a price which can only be regarded as far too low for the rarity
of this jewel of divine harmony. It has two registers, initially had one with
27 The use of the plural indicates that the instrument consists of at least two parts.
69
a second at the octave and [later] both registers were tuned in unison at
chorton pitch - it is signed with the name ofJOHANNES CELESTINI
VENEDIG 1584.
[Number 56]
{A cabinet with music-books}
Item: In the small room with three steps next to the aforementioned room
with the organ - decorated entirely with frescoes by the outstanding and
wonderful paintbrush ofDomenico Campagnola - is an old walnut cabinet
which has the top and all other parts, as well as the feet on both sides inlaid
with poplar-wood. It is full of many books with rare musical works of the
predominant famous counter-point composers and masters of the music of
the previous centuries as well as the present century who have been to this
house.
[Number 57]
Near the old steps that lead to the upper gallery, there are three very
beautiful portraits of the most famous composers and masters of the music
of the previous centuries, such as Claudio [Monteverdi] by [Antonio]
Correggio [Number 58], to the right of the aforementioned three steps
Gianetto da Palestina [= Giovanni Pierluigi Palestrinal] Number 59], and
opposite the small door with the three steps a particularly beautiful painting
of Luca Marenzio, who was the Director of Music in San Marco in Venice
1580, painted by the famous paintbrush of the great Venetian [Jacopo]
Tintoretto within a gilded and inlaid frame [Number 601.
ENI)
Praise the best and greatest lord
INTERIPRETATION AND COMMENTARY

Two aspects of the above description stand out:
1. As an owner and music-lover, Andrea Mantova knew the qual
instruments. His enthusiasm and pride of ownership are expresse
of the descriptions, particularly when speaking of their tonal qu
2. Many observations correspond to modern cataloguing practi
descriptions of labels and makers' names." The generally corr
informative details given in the Benavides inventory have hel
search for those instruments which still survive. In this connection, a
28 This is the main difference between this inventory and the only-10-years-
younger inventory by the Wiener Hofmusikkappelle of 1706, which too was
written in the Italian language. Its author, Georg Reutter, was primarily thinking as
a practising musician and gave the maker (Anton Posch) in only one case out of the
total of 314 instruments. Gerhard Stradner, 'Die Blasinstrumente in einem Inventar
70
questionnaire was sent to a large number of museums and private
collectors,29 and those which produced successful responses are covered in
the following notes:
Figure 1: Cupboardfor housing the instruments, by Bartolomeo Ammannati,

Padua, c. 1550 = BEN 73. Photograph by permission of the
Museo Civico di Padova.
BEN 73:30
It is likely that BEN 73 corresponds to the showpiece cabinet (Figure.

the influential florentine sculptor and architect Bartolomeo Ammann
which can now be found in the Museo Civico in Padua. It was made
between 1544 and 1550 and has the dimensions:32 length 7480mm, height
2300mm, depth 600mm, which made it possible to store the large number
of instruments.33
BEN 1 to 12:
The twelve viols are, in fact, viola-da-gambas, whose different sizes a
indicated by the terms used (viola, violoto, violeta, violetta and violone as
as their additional size descriptors). They all come from the worksho
der Wiener Hofmusikkapelle von 1706' in: Studien zur Musikwissenschaft, Bd.
publ. Von Othmar Wessely, Tutzing: 1987, pp.53 - 63; also, 'Der Instru
mentenfundus der Wiener Hofkapelle von 1706' in: Festschrift Christoph-Hellm
Mahling zum 65. Geburtstag, publ. Von. Axel Beer, Kristina Pfarr und Wolfg
Ruf, Bd. 2, Tutzing: 1997 = Mainzer Studien zur Musikwissenschaft, Bd
pp.1361-1377.
29 I would like to thank my many colleagues who have responded to m
questionnaire. Obviously, not all collections could be covered and consequen
we can expect further 'discoveries'. A positive identification can never be achie
with 100% certainty. Every single case will hence - even in the future - have to
verified.
30 In all that follows, the siglum BEN will be used for the inventory of Andrea
Mantova Benavides 1696.
31L. Polacco, 'I1 Museo di Marco Mantova Benavides e la sua Formatione' in:
71
Ventura Linarol. Either Venice or Padau are given as their place of origin.
Seven viols were produced, in 1582, one in 1585, one in 1602 and the
violone in 1585. This implies that the majority of these instruments, which
were made in five or six sizes, were ordered by Marco Mantova Benavides.
The great bass viola da gamba by Ventura Linarol, Padua 1585, SAM 73
(C 78)34 (Figure 2) in the Kunsthistorisches Museum in Vienna with a body
length of 1000mm according to its description and the wording of its label
corresponds to BEN 5.
Figure 2: Violone by Ventura Linarol, Figure 3: Viol by Ventura Linarol,

Padua 1585 SAM 73 = BEN 5 - Venice 1582
front view.Photograph by permission ofVermillion 33 77 = BEN 1 or 3, 6-10

the Kunst-historisches Museum, Vienna
-front view. Photograph by permission of
America's Shrine to Music Museum,
Vermillion.
Arte in Europa, Scritti in onore di Edoardo Arslan, Milan: 1966, pp.665 - 673;
Giovanna Tosi, 'La Scanzia Rinascimentale' in: Marco Mantova Benavides - II Suo
Museo e la Cultura Padovana del Cinquecento, Padova: 1984, pp.209-218.
32 In this article all measurements are given in mm.
33 Since 62 instruments or musical objects had to be stored in this cabinet, they
were probably tightly packed.
34 J. Schlosser, op. cit, fn.2, pp.64, 132, 136; Kunsthistorisches Museum Wien,
Prag um 1600 - Kunst und Kultur am Hofe Kaiser Rudolf I., Bd. 2, Freren 1988, p.
275f., Nr. 766.
72
" -- ?1 ~-N L.;
O
rl ??s
??
..
;-i?je
5~-~t~i~ 'i~
Figure 4: Viol by Ventura Linarol, Venice 1582, Vermil

BEN 1 or 3, 6- 10, inscription on the inside of the back. Photogra
America's Shrine to Music Museum, Vermillion.
The most recent year-ring35 of its case dates fro

instrument has not been changed and since today's co
to its condition in 1696, all doubts regarding the aut
instrument can be regarded as unfounded. It is the la
instrument that is mentioned in the inventory. Accordin
(see Figure 4), this viola da gamba by Ventura Linarol
337737 (Figure 3) in the Collection of America's Shrin
Vermillion, South Dakota, USA, with a body len
probably corresponds to one of the instruments BEN 1
late 19th century, this gamba was in the Correr coll
suggesting possible contacts between the Benavid
families. The form and execution of this viol indicate tha
same master as the great bass viol, SAM 73.
A further stringed instrument of the Este collecti
linked to the Benavides collection. Julius Schlosser
108)38 (fig. 5) as a tenor viola by Ventura Linarol, V
body length of 475mm which - due to the present form
in his opinion originally was a lira da braccio. The f-
'of this instrument show the primitive form characteri
The year 1580 given by Schlosser should, howeve
inscription in ink on the bottom which does not belon
turns out to be incorrect and is probably due to Tom
Padua. It corresponds mostly in its style to the forged i
of his collector inside the violin SAM 92 (C 97).39
35 Dendrochronological researches on instruments SAM

Peter Klein, Hamburg.
36 Karel Moens, 'Authenticiteisproblemen bij oude strij
Musica Antiqua, Jaargang 3, nr.4, November 1986, pp. 105-1
37 For detailed information I would like to thank Andre La
38J. Schlosser, fn.2, p. 68 ff.; Stefano Toffolo, Antichi strum
1987, p. 128. In 1892 the stated year is 1583. Internationale Aus
Theaterwesen, Fach-Katalog der Musikhistorischen Abteilung
Osterreich-Ungarn, Wien: 1892, pp. 83-88, especially p. 87, N
39J. Schlosser, fn.2, pp. 66, 137. The repair note of 1769 of t
the violin SAM 94 (C101).J. Schlosser, fn.2, pp. 67, 137.
73
Figure 5: Tenor viola by Ventura Linarol, Venice 1582,
SAM 101 convertedfrom BEN 1, or 3, 4, 6-10.
Photograph by permission of the Kunsthistorisches Museum, Vienna.
Both instruments SAM 92 and 101 were apparently built up using parts of
available string-instruments. The backs, which are shaped out offanshaped
strips, which possibly come from a cittern or a chitarra battente indicate
this. Tomaso degli Obizzi had available to him at least as a sample the
violone, SAM 73. The fact that he chose the year 1582 for his inscription
leads to the conclusion that he converted one of the available viols by
Linarol dated with the year 1582 into a tenor viola. In the process, the table
of one of the Linarol gambas, BEN 1, 3, 4, 6, 7, 8, 9 or 10, was reduced in
size and used as the table of today's tenor viola, SAM 101, which has 1566
as the most recent year-ring. This conversion probably took place in the
second half of the 18th century.
BEN 61 - 72:
The 12 viols were made by Ventura Linarol. We can also assume tha
bows were produced in his workshop. It is possible, that some of
viol bows are contained in the collection of the 13 gamba bows, SA
(C 79) to SAM 86 (C 91) in Vienna.40 The bow BEN 72 belongs
violone BEN 5 and seems to correspond to SAM 86. Its round stick i
of snake wood, has a length of 684mm and was possibly produ
Ventura Linarol, or in his workshop. It seems, that in this case for t
time a great bass viol of the 16th century together with its bow
survived.
40J. Schlosser, fn.2, p.64; RudolfHopfner, Streichbogen- Katalog- Sammlung alter

Musikinstrumente und Sammlungen der Gesellschaft der Musikfreunde in Wien, Tutzing:
1998, pp. 48-69.
74
Front View Back View Side View
Figure 6: Violin by Francesco Linarol, Venice
Photographs by permission of the Kunsthistori
BEN 13:
The description BEN 13 corresponds to the violin by Ventura Lin

Venice, 1581, SAM 91 (C 96)41 (Figure. 6) with a body length of 3
The forged label states 'Ventura di Frencesco I Linarolo in Venetia.
Andrea Benavides forgot to add the two words 'Ventura di.'The sus
that the instrument was not authentic (due to the fact that the body
of a wood similar to palisander, the excellent state of preservation
way it was made) which the author of this article voiced as early
1950s, has been proved correct for at least the table, exhibits tre
dating from as late as 1645.42 It may therefore be the case that in 1
instrument existed as it does today, and that it was produced betwe
years 1645 and 1696. The notes in the Benavides inventory do noth
remove the doubts43 regarding the authenticity of the violin, SA
Apart from the violin BEN 13 which was added after 1645, as well
incorrect label 'Sordino' BEN 14, the Benavides inventory d
contain any further instruments of the braccio family such as v
violoncello, lira da braccio or da gamba.
41 J. Schosser, fn.2, pp.66, 132, 137; S. Toffolo fn.38, p. 41; Gerhard St

Fiar Aug'und Ohr - Musik in Kunst- und Wunderkammern, Wien 1999, p.14
45.
42 Dendrochronological research by Peter Klein, Hamburg.
43 Karel Moens, op.cit., fn.36; c.f., 'Der friihe Geigenbau in Siiddeutsch
Studia Organologica - Festschrift fiirJohn Henry van der Meer zu seinem fiinfundse
Geburtstag, Friedemann Hellwig, Tutzing: 1987, pp.349-388; c.f., 'Prob
Authenticity of Sixteenth Century Stringed Instruments', in: CIMCIM Ne
XIV, 1989, pp.41-49.
75
front back
Figure 7. Small octave lute b

Photographs by permission of
BEN 14:
The label 'Sordino' and the description 'Ventu[r]a 1599' is most p
a second mistake on the part of Andrea Benavides. It is more likely
octave lute SAM 34 (C 38)44 (Figure 7) with a body length of 130m
to the extraordinary small size of the instrument (total length 23
was probably mistaken for a small bowed - string-instrument. It c
ivory plaque inscribed 'M.L.1599'. The small rosette makes more
the deciphering45 of the label inside: 'Mangno [sic!] Longo in
1599'of which apparently only the letter 'L'and the year '1599' w
correctly and were interpreted as 'Ventura Linarol 1599'.
BEN 16:
The terms 'manico storto' or 'corto' occuring below are interpreted
'bent neck', since the translation as 'fretboard' make little sense. The
lute BEN 16 probably corresponds to the descant lute, SAM 35 (C 3
with the brand stamps 'W.E.' and 'anchor.' It has a body length of 32
and was made by Wendelin Venere II.
44J. Schlosser, fn.2, pp.55, 132; G. Stradner, FiirAug'und Ohr, fn.41, p.161
76.
4 In those times only sunlight or the flame of a candle, an oil-lamp or a

were available.
4(1J. Schlosser, fn.2, p.55; see fn.48.
76
BEN 17:
This sister instrument to BEN 16 probably also corresponds to the

lute SAM 36 (C 40)47 (Figure 8), which is similarly equipped and h
same markings. Today we know that the brands 'W.E.' and 'anchor
be interpreted as Wendelin II (1576-1643), son of Christoph E
There are still two different makers: his uncle Wendelin Venere I
(c.1526-c.1591), son of Leonard Tiefenbrucker, whose brand ma
W.T.48 Even until 1892 the lute was labelled as the work of Wendelin
Venere.49 The incorrect attribution to Wendelin Tiefenbrucker appeared
in'print perhaps for the first time in Julius Schlosser's Catalogue of 1920.5"
Figure 8. Small lute by Wendelin Figure 9. Back of Mandora,

Venere II, Padua, SAM 36 = BEN 17. SAM 39 = BEN 18.
Photographs by permission of the Kunsthistorisches Museum, Vienna.
BEN 18:
So far, Andrea Mantova Benavides was always able to give the

facturer of an instrument, simply because this was obviously visible.
case this is not so, and he labels it as the work of an outstanding mak
lack of such information and any other information make it highl
47 J. Schlosser, fn.2, p.55; Friedemann Hellwig, 'Makers' Marks on P

Instruments of the 16th and 17th Centuries', in GSJXXIV, 1971, p.22 - 32,
No. 10 on p.26; Prag um 1600, fn.34, p. 269 f., Nr. 753.
48 Peter Kirily, 'Some new Facts about Vendelio Venere', in: The Lute, J
of The Lute Society, vol. XXXIV 1994, p.26 - 32; c.f., fn.1.
49 Internationale Ausstellungfiir Musik- und Theaterwesen, fn.38, especially p
78.
50J. Schlosser, fn.2, p.55 ff. Compare with the explanations in the comm
to BEN 23.
77
that this mandolin corresponds to the mandora (Pandurina, Mandiirchen)
SAM 39 (C 43)51 (Figure 9) with a body length of 260mm.
BEN 19:
This particularly small lute is identical to the small descant or octa

SAM 37 (C 41) with a body length of 215mm. The signature 'W.E
'anchor' again refer to Wendelin Venere II. It becomes apparent th
obvious sequence BEN 14, 16, 17, and 19 corresponds to the neighb
SAM 34, 35, 36 and 37.52 Since it is rather unlikely that this is rando
can assume that an older inventory with the labels of the Benav
inventory was used in the construction of the Este inventory.
BEN 20:
As early as 1930()53 it was mentioned that this instrument is indentical

lute-harp-cittern by Wendelin Venere SAM 62 (C 67)"4 (Figures 1
12) with a body length of 600nmm. Today's state of preservation prob
corresponds to that of 1696. Based on stylistic characteristics and the o
state of preservation the author however comes to the conclusion that
instrument shares the same fate as the Linarol violin SAM 91 in that
not manufactured in 1590 as indicated by Julius Schlosser, but nmuch
in the 17th century.
BEN 23:
Here we probably have a third mistake: Andrea Mantova apparently

entered 'Vendelio Venere de Leonardo in Padlovia' in his inventory
then changed this to 'Vendelino', removed the words 'Vener
Leonardo' and replaced themn instead with 'Tieffenbrucher' since
recognised a spelling mistake but did not find the space to insert the m
word."' If this could be used as an explanation for an apparent correcti
Andrea Mantua Benavides, then BEN 23 could correspond to the lu
''J. Schlosscr, fin.2, p.56.

52 In the Kaltaloi der Irntcrnatiouall'il Musik- und Tihelteraisstellu4,?, Vienna: 189
three lute instruments have the numbers 76, 77, 78 and 79. c.f. fin.38, p.85.
also appear consecutively in older handwritten inventories which are stored
Kunsthistorisches Museum.
" R. Malecek, fn.1, p.58.
4'J. Schlosser, fin.2, pp.62, 132. The label points at Wendelin Venere I, the brand
mark 'anchor' to Wendelin Venere II, but the brand 'W.T.' at Wendelin
Ticfenbrucker. F. Hellwig, fn.52, p.29, Nr.25.
" To clarify which words were written initially instead of 'Tieffenbrucher', one
could use palimpsest photography. See Brockhaus Eizyklot)idic, Bd. 14,

Wiesbaden: 1972, p.145, 'Palimpsest'. It is unlikely thatJulius Schlosser who always
equates Wendelin Venere with Wendelin Tiefenbrucker knew of this part in a
transcription of the Benavides inventory. If he did, the origin of many instruments
of the Este-collection would have been obvious, something he would have pointed
out in his catalogue (fn 2).
78
Figure 11. Large rose
from SAM 62= BEN 20.
Figure 12. Small rosefrom SAM

62 = BEN 20.
Figure 10. Lute-harp-cittern by Wendelin

Venere I, II(?), Padua, SAM 62 = BEN 20.
Figure 14. Lute by Wendelin Venere I,

Padua, SAM 32 = BEN 23 - rose.
Figure 13. Lute by Wendelin Venere,

Padua, SAM 32 = BEN 23 -front view.
Photographs in Figures 10- 14 by permission of the Kunsthistorisches Museum, Vie
79
SAM 32 (C 36)56 (Figures 13, 14) with the label 'Padova Wvendelino
Venere/de Leonardo Tiefenbrucker/ 1582' and body length 510mm. This
would point once again to the year 1582,which is obviously an important
year for the Benavides collection: in this year seven viols had already been
made by Ventura Linarol (BEN 1, 3, 6, 7, 8, 9, 10). BEN 24 was made by
Wendelin Venere I. Wendelin Venere II was only 15 years old at this date.
BEN: 25:
It remains unclear whether the chitara57 is a chitarra latina, or a large or
guitar or a chitarra battente. An interpretation as a chitarra tedesca, or a
cittern is not very likely, since this type was referred to as citarra in th
of BEN 20 and to Cittaretta in the case of BEN 29.
BEN 26: This large theorbo may well - in a shape changed th

reconstruction - simply be the lute 324951 with a body length of 5
now in the Edinburgh University Collection of Historic Mu
Instruments. This instrument carries a handwritten note '16.. / Ma
Buchenberg / Roma'.
BEN 28: This lute with a long neck probably corresponds as well
instrument SAM 43 (C 47)5'' with the brand marks 'W.E.' and 'an
and body length 565mm in the Vienna collection. This however stil
carries a second note with the year 1611 and therefore was made
Wendelin Venere II. BEN 28 may also still exist in the form of the ar
156361 with a body length of 510mm in the Musee Instrumen
Brussels, which carries the label 'In Padova Vendelio Venere'.
instrument came from the collection of Count Pietro Correr of Veni
BEN 29:
This cittern undoubtably corresponds to the cittern by Giovanni

Maggini, Brescia SAM 57 (C 62)"' (Figures 13, 14, 15). Of partic
interest is the note 'dal Bovalo', which possibly represents a more de
reference to 'Botticino di sera' near Brescia.'2 The inscription on t
instrument itself reads: 'Gio. I)aulo Maggini in Brescia'. This cittern i
last of the stringed-instruments mentioned in the inventory which is p
with the fingers. No harps are mentioned.
"'J. Schlosser, fn.2, p.55.

:7 Curt Sachs, Reallexikon der Musikinstrumentc, Berlin: 1913, p.78.
s I would like to thank Arnold Myers for his extensive response.
"J. Schlosser, fn 2, p.56; F. Hellwig, fn.45, p.26, Nr.9.
" Victor-Charles Mahillon, Catalogue descriptf & analytiquce du Muisc' Instrum
idu ... Bruxelles, Bd. 3, Briissel: 1978, p.142 f.
(' J. Schlosser, fn.2, p.61; F. Hellwig, fn.47, p.25, Nr.3; Pra uin 1600, f
p.273f., Nr. 761.
('2 Willibald Leo Frh. V. Liitgendorff, Die Geigen- und Lautenmnacher voin Mitte
his -zur Gegenwart, 2. Band, Frankfurt am Main: 1922, p.310 f.
80
Front and side view Back
Figure 15. Cittern by Giovanni Paolo Maggini, Br

Photographs by permission of the Kunsthistorisches
BEN 30 to 36:
The note 'Tromboni sive Fagotti' turns out to be incorrect. Next to t
incorrect labelling of BEN 14 and the supposed correction of BEN 23,
is the fourth occasion we would today consider a mistake. This occur
when a particular type of instrument is referred to by different designati
We are dealing here - as we will see - exclusively with woodwi
probably double-reed, instruments and/or very large recorders.
presence of crooks indicates that BEN 30 to 34 are probably curt
sorduns,63 or Bassanelli, or large recorders with brass crooks, which may
be found in the extant curtals SAM 184 to 190 (C 195 to 201)64 and t
recorders SAM 166 to 169 (C 177 to 180).65 Three of these existing curt
or recorders, carry the brand HIER. S. or. HIE. S.,66 and were hence m
by Hieronymus, Jacomo or Santo Bassano in Venice. Here we have th
first evidence of wind-instruments from the Bassano family: under Fag
one could imagine Bassanelli67 as well, which were also manufactured
63 The sorduns SAM 215 to 218 (A 226 to 228) cannot be considered matc
since they come from collection of Archduke Ferdinand of Castle Ambras. So
there are no connections between the Este and the Benavides collection.
64 J. Schlosser, fn.2, p.82.
66 Maggie LyndonJones, 'A Checklist of Woodwind Instruments marked !!', in:
GSJ LII, April 1999, pp.243-280, especially 259 f. and 263. The SAM numbers
used in this article are not correct in some cases. Nicholas Mitchell, 'Pitch in Viols
and Harpsichords in the Renaissance', in: GSJ LIV 2001, pp.97-115, especially
p.102.
67 As we shall see later in the case of BEN 37 to 40 there are a number of
instruments amongst the wind-instruments which were manufactured by the
Bassano family. It is possible that Bassanelli existed as well, of which Michael
81
the Bassano workshop. The previously mentioned five crooks of BEN 30
to 34 may be part of the twelve crooks of the curtals, SAM 191 to 202 (C
202 to 213),68, but may also be part of the crooks of the curtals SAM 166 to
169. Two further instruments BEN 35,36 are similar to Subioti.69 This
term, which occurs four times, probably denotes round wooden pipes and
is best translated as pipes which (generally) do not have any S-shaped
crooks, as is the case with recorders, transverse flutes and cornetts, all
referred to by the same name. Consequently, this could be a reference to
schalmei or shawms which may still exist today amongst the shawms SAM
177 to 179 (C 188 to 190), SAM 181, 182 (C 192, 193).7' The clover-
shaped71 branded trade-mark common to these instruments refers to the
crumhorns made by the Rauch family, which were contained in the Este-
collection though probably not in the Benavides collection - with their
unusual shape they would almost certainly have been mentioned.
Based on thoughts in the section below on pitches, relationship of voices
and playing practice and instrumental families it seems rather likely that the
five wooden wind-instruments mentioned here are large recorders with
crooks which may correspond to four of the Este collection: BEN 30 =
SAM 169 (C 180) with length 1830 mm, BEN 31 = SAM 166 (C 177),
BEN 32 = SAM 167 (C 178), BEN 33 = SAM 168 (C 179)7", all three with
a length of 1240mm. One without brass crook, e.g. BEN 35 probably
corresponds to the recorder SAM 159 (C 170) or SAM 160() (C171)73 with
length 820mm(i (Figure 16). All of them carry the-brand HIE. S. indicating
that they were made in the workshop of the Bassanos in Venice. As late as
189271 the great-bass recorder SAM 169 is referred to as Grof-Doppelt-
Quint-Pommer, i.e. Great-Bass-Double-Shawm. Julius Schlosser75
corrected this mistake7'1 in 1920.
Praetorius writes: 'Bassanelli get their name from their master, who invented them
(Iohann Bassano, a noble instrument maker and composer from Venice)'. See.
Michael Praetorius, Sy)ntagiia musicum, De Organographia,Wolfcnbiittel: 1619
Basel, London, New York: 1968, p.41.
'"J. Schlosser, fni.2, p.83.
'" Vocalolario della lingua italiana, compilato da Nicola Zinger(elli, Bologna: 1950,
p. 1555, Art. Subbio. The term denotes fashioned round wooden parts.
7"J. Schlosser fni.2, p.81.
' William Waterhouse, The Netv Langwill Index, London, 1993, p.320.
72J. Schlosser, fn.2, p.79; Bob Marvin, 'Recorders & English Flutes in European
Collections', in: GSJ XXV 1972, pp.30-57, especially p.31, Vienna No. 8554,
8551-8553. The old style four letter inventory numbers of the Sammlung fiir
Plastik und Kunstgewerbe in the Kunsthistorischen Museum, Vienna are only
given here in connection with the article by Bob Marvin in order to facilitate
identification.
7 J. Schlosser, fn.2, p.79; B. Marvin, fn.72, p.31, Vienna No. 8547, 8548.
"7 Internationale Ausstellungf4ir Musik und Theaterwesen, fn.38, p.83, Nr. 1.
7( Some museum inventories of the 19th century list recorders, which at that
82
These large recorders will be described hereafter as Set III. It also makes
sense to combine BEN 36 and the bassett-recorder SAM 164 (C175)77
having a length of 940mm and the brand!!. It is possible that all the numbers
BEN 30 - 36 were large recorders, and that no double reed instruments
existed in the Benavides collection.
Figure 16 Recorder cases - SAM 171 = BEN 36, a case by a member of the Bassano
family is the second objectfrom the right.
BEN 37 to 40
Of the four recorder cases from the Este collection, the description of BE
37 matches exactly the leather case SAM 171 (C 82)78 (Figure 16),
which today only the leather cover and parts of the wooden body remain
carrying the !! brand. Julius Schlosser provided (in 1920) the dimensions
its tubes as 275mm, twice 430mm, and 620mm. The following recorde
with the same trade mark brand fit into this case: SAM 135 (C 146),79 th
so-called Ganassi recorder with a total length of 425mm, which served
many instrument makers as an example of a Renaissance solo-recorder,
well as SAM 149 (C 160)," a tenor recorder of length 625mm. This result
in the following situation: the smallest recorder for the case-length 620mm
time were no longer known as clarinets. Gerhard Stradner, Musikinstrumente i

Landesmuseum fir Kdrnten in Klagenfurt, Klagenfurt, in preparation.
77J. Schlosser, fn.2, p.79; B. Marvin, fn.72, p.31, Vienna Nr. 4027; G. Stradne
Fir Aug' und Ohr, fn.41, p.119f., Nr. 19.
78J. Schlosser, fn.2, p.80.
79J. Schlosser, fn.2, p.77; B. Marvin, fn.72, p.32, Vienna Nr. 8522.
8" J. Schlosser, fn.2, p.78; B. Marvin, fn.72, p.31, Vienna Nr. 8536. Th
determined pitch of these recorders depends on many parameters. The instrumen
can be played between a' = 460 Hz and a' = 466 Hz. For some reasons the value
= 466 Hz will be stated.
83
was missing as early as 1696 and hence today it is still missing. Of the two
medium sized recorders BEN 38 and 39 the instrument SAM 135 survived,
and may be identified as BEN 39. For the largest recorder BEN 40, the
instrument SAM 149 may well be a candidate. The case - as well as all
recorders - carry the !! brand81 and correspond to the type A brand given
by Maggie Lyndon Jones. A member of the Bassano family in the period
1530-1560 could be a possible maker. The inventory by Andrea Benavides
probably contains the first mention as well as a drawing of the !! harefoot
brand. It is a possibility that Marco Benavides ordered this set of recorders
for making music in his own palace.
Because these recorders represent pitch reference standards, their pitch
of a'= 466 Hz probably applied to making music in the Palazzo Benavides
during the 16th century and - as we shall see later - until about 1650.
Today, when it has become cutomary to regard the recorder SAM 135 as a
Ganassi flute, it should be noted that it can be used as a descant recorder in
g' (a' = 466 Hz), but it really represents an alto-tenor-instrument in c' of a
recorder quartet, which sounded a fifth higher (a' = 699 Hz) than the pitch
a = 466 Hz (466 x 3/2=699).82 The missing small recorder had the lowest
note g' (a' = 699 Hz) or d' (a' = 466 Hz), BEN 38 or 39 c' (a' = 699 Hz)
or g' (a' = 466 Hz) and the largest BEN 40 f (a' = 699 Hz) or c' (a' = 466
Hz). The four-part recorder ensemble belonging to the case BEN 37 is
given (by me) the designation Set I and corresponds to a quint-instrument,
as, for example a quint harpsichord.
BEN 38 or 39, 40 and 41, which will be dealt with later and BEN 36,
which has already been mentioned, is the classical ensemble of recorders in
g', c' and ffor the pitch a' = 466 Hz. It will be called Set II.
BEN 41 to 44:
Of the four large, medium and small recorders, BEN 41 proba

corresponds to the tenor-recorder SAM 150 (C 161)8" with a length
623mm, carrying the !! brand. The remaining insruments may
contained in the following recorders of the Este-collection: SAM 126
134 (C 136 to 145), SAM 136 to 148 (C 147 to 159), SAM 157 to 163 (
168 to 174)." In the case of these instruments of length 260mm to 850
"' Andrea Benavides drew the brand mark with a quill on the paper of
manuscript. Unfortunately, today the writing on the back of the sheet is visibl
such an extent that reproduction does not seem prudent, as this makes
impression rather unclear. The brand consists of two dots and, emanating f
them and pointing downwards two curves which curve outwards left and right
the bottom. Compared to today's way of reading and interpreting the brand,
drawing is upside down, implying that Andrea Mantova, just like a music
regarded the brand from above. See in this context M. Lyndon Jones, fn.66,
ff.
S2 M. LyndonJones, fn.66, p.246.

"J. Schlosser, fn.2, p.78; B. Marvin, fn.72, p.31, Vienna, Nr. 8537.
"4J. Schlosser, fn.2, p.76 ff.
84
Figure 17. Large Recorders by a member of the Bassano family. From Left to right: SAM
169 = BEN 30, SAM 168 = BEN 33, SAM 167 = BEN 32, SAM 166 = BEN 31.
The instrument on the right, SAM164 = BEN 36.
the brands HIE.S.,85 HIER.S. and !! occur, indicating again the Bassano
workshop. On a bassett flute86 from the Contarini-Correr collection in
Brussels the brand AA87 can be found, indicating Sigmund or Arsazius
Schnitzer. Since the particularly large recorders were listed previously, the
terms 'large, medium and small' are to be understood as absolute, as it was
for the instruments of the case BEN 37.
BEN 45 to 49:
Two of the five transverse flutes listed by Benavides may be conta

the following instruments: SAM 175 (C 186)88 with a length of 670
well as a fragment of a bass transverse flute, SAM 207 (C 218).89
BEN 50: The curved cornetts may correspond to one of the fol
instruments from Catajo: SAM 232 to 236 (C 243 to 247).90 Here t
!! brand occurs, indicating the Bassano workshop. The lowest note
8 M. LyndonJones, fn.66, p.260 ff.
6 J. Schlosser, fn.2, p.78, SAM 152 (C 163).
87 William Waterhouse, The New Langwill Index, London 1993, p.359, fn
8 J. Schlosser, fn.2, p.80; Filadelfio Puglisi, The Renaissance Transverse Fl
Italy, Firenze, 1995, p.95.
'9 J. Schlosser, fn.2, p.84. Schlosser erroneously regards this fragm
Bassanello.
9o J. Schlosser, fn.2, p.90; Edward H. Tarr, 'Ein Katalog erhaltener Zinken', in
BaslerJahrbuch fiir Historische Musikpraxis,V, Basel, 1981, pp.255-257.
85
stands for all of the mentioned cornetts at about a' = 466 Hz. Trombones
or sackbuts, which one would have expected together with the cornetts are
not described in the inventory. Neither are there any references to
trumpets or kettledrums.
BEN 51:
The straight (probably mute) cornetts may correspond to one
following five cornetts from Catajo: SAM 226 to 229 (C 237 to 240
of these cornetts come from the Bassano workshop, and have the
note g (a1 = 466 Hz).
BEN 52: Timpano which normally means a kettle-drum or Cimbalo

probably refers to an idiophone. This instrument probably correspo
the pair of Sistra SAM 276 , 277 (C 288, 289)92 (Figure 18) of the E
collection., which was labelled 'Sistrum und altigypti
Rasselinstrument' 93 in 1892. Andrea Mantova Benavides used the sin
in the initial description, but then changed to the plural, ind
multiple parts.
Figure 18. Pair ofsistra. SAM 276, 277 = BEN 52

91J. Schlosser, fn.2, p.89; E. Tarr, fn.90, pp.253-255.

92J. Schlosser, fn 2, p.98. Gerhard Stradner, 'Musik in Mantua', in: Fiirstenh
Renaissance - Giulio Romano und die Klassische Tradition, Vienna: 1990, pp.2
particularly p.258 f.
93 Internatione Ausstellungfiir Musik und Theaterwesen..., fn.38, p.84, Nr. 6
86
BEN 53:
This splendid organ, an 'organo di legno' was possibly made by Cos

Antegnati or one of his sons.94 It had an 8' principal stop, a 4' flute s
well as a Tremulant. We can assume that it was initially tuned to the
punto of the wind-instruments, i.e. c.a1 = 466 Hz. This is the only p
in the inventory where singing is mentioned. The change in 1650 r
in a shift of the pitch by a whole tone down to the tono corista.
chorton-pitch95 was then approx. a' = 415 Hz.
BEN 54:
The instrument maker Marcantonio Irnione96 from Padua is

unknown. The only harpsichord, SAM 123 (C 130)"7 (Figure 19) in
Vienna collection that came from Catajo is relatively short (2100m
has external decoration from the period from approximately 1600
second half of the 18th century. It initially had one 8' and one 4' regis
was later changed to two 8' registers. Today, the original namebo
which probably showed the maker's name, is missing. Denzil Wra
observed somne years ago that on the basis of the moulding profi
instrument can be identified with the builder Antonius Patavinus,"
whose workshop nine other instruments have survived. It seems pl
to identify the harpsichord SAM 123 with BEN 54. This would me
for SAM 123 the manufacturer is Marcantonio Irnione, its origin is
and the year of manufacture is 1589. Additionally the real name
Antonius Patavinus would then appear to be Marcantonio Irnione
likely - but not proven - that the instrument was built in 1589 with
pitch a' = 466 Hz. This would then be the first known case
instrument built at this pitch. It is also possibly an indication that the
ensemble performed with the harpsichord at a certain pitch. Howev
do not know when the change of pitch of the harpsichord was carr
in relation to the removal of the 4' register, but by 1696 it was tu
chorton pitch.
94 Riematn l MtIsiklexikoil, Persoleotcil A - K, Mainz 1959, p.41 f.

5 Bruce Haynes, 'Pitch in northern Italy in the sixteenth and seventeenth
centuries', in: Recercare, VI, 1994, pp.41-58, particularly p.55; c.f. 'Pitch Standards
in the baroque and classical periods', Phil. Diss. University of Montreal 1995,
pp.56-67.
' I1 would like to thank Denzil Wraight, Cilbe, Germany, for all his information
regarding Marcantonio Irnione and the harpsichord SAM 123.
" Ralph Denzil Wraight, 'The Stringing of Italian Keyboard Instruments c. 1500
- c.1650', Phil. Diss., University of Belfast, Ann Arbor, 1977, pp.43 - 48,
particularly. p.44, W 336.
87
Figure 19. Harpsichord by Marcantonio Irnione, Padua, 1589, SAM 123 = BEN 54.
Photograph y permission of the Kunsthistorisches Museum, Vienna.
BEN 55:
The equally short harpsichord by Vito Trasuntino 1570 was also at ch
pitch in 1696.
BEN 56:
Benavides was well aware of the wordplay linking Celestini and
(celestial) or Heavenly Harmony. This harpsichord too initially had
and one 4' register, which was changed to two 8' registers and ret
the lower chorton pitch. All four keyboard instruments mention
Benavides inventory had been lowered to chorton pitch by 16
indicates that of the four keyboard instruments mentioned in the in
the organ BEN 53 and the harpsichord BEN 56 had had the
lowered by about 1650. In the case of the two harpsichords BEN 5
it seems likely that the same can be assumed. This is due to their s
lengths, which suggest an initially high pitch. The inventory do
contain any spinets.
BEN 57:
The Campaniola frescos"9 in the organ chamber depict the trium

Julius Cesar in Africa.m' Possibly they correspond to the surviving
in the Museo Civico in Padua. The Austrian National Library in V
holds the music-books and related material of the Este (or O
99 Domenico Campagnola (Venedig 1500 - Padua 1564). Grove, The Di

ofArt, London 1996, Vol. 5, p.536.
""' I. Favaretto, fn.3, p.22.
88
collection.""' It is very unlikely though that music-books or sheet-music
from the music-cabinet BEN 57 are amongst these stocks.
BEN 58:
The whereabouts of this portrait of Claudio Monteverdi"'2 by An

Correggio""' is no longer known today.
BEN 59:
This painting of Giovanni Pierluigi Palestrina"" also probably is no l

in existence.
BEN 60:
This portrait of Luca Marenzio1'5 is no longer to be found among

paintings byJacopo Tintoretto."06
W" Robert Haas, Die esteisischcn AIusikalicii, Regensburg 1927, p.7 - 9.

W"- Riematlam M Aisiklexikoll, PersoIIcteil, L - Z, London, New York, Paris
p.244 - 249.
103 Antonio Correggio (Correggio 1489 - Correggio 1534). Grovc, fni.99, B
pp.885 - 893.
D4 Riemnann Musiklexikon, fin. 102, p.362 - 364.
R'" Riemann Musiklexikon, fn. 102, p. 150 f.
'( Jacopo Tintoretto (Venedig 1518 - Venedig 1594); Grove, fn.99, Bd. 3
- 8; Paola Rossi,Jocopo Tiutoretto - I Ritratti, Venezia 1974. The oil portrait of
Marenzio currently exhibited in the Collection of Ancient Musical Instrume
the Kunsthistorisches Museum is very unlikely to correspond to BEN 60
painting can be found in the instrument chamber of the Innsbrucker Hofb
early as 1665. Walter Senn, MAisik umid TIheater alt Hofzi IihIIsbrliick, Innsbruck
p.345, Nr. 21; G. Stradner, Fier Aius'unid Ohr, fni. 41, p. 148f., N. 61.
89
Table 1. Present-day location of the Benavides instruments
Benavides Collection, Padua 1696 Present location (where known)
12 viols by Ventura Llnarol, Padua or Venice, 7: 1582, 2:
1585, 1: 1602, 2: undated.
Viol 1582, BEN 1 or 3, 6 to 10 = 10 America's Shrine to Music,
Vermillion 3377
Viol, BEN 1 or 3, 4, 6 to 10 = SAM 101

Viol 1602, BEN 2 Not known
Great bass viol 1585, BEN 5 = SAM 73
Viol 1585, BEN 11 Not known
Viol, BEN 12 Not known
12 viol bows
Great bass viol bow BEN 72 SAM 86
11 viol bows, BEN 61 to 71 < I'" SAM 74 to 85

Viola da braccio
Violin, Ventura Linarol, 1581, BEN 13 = SAM 91

16 lutes, Mandoras, Citterns or Guitars
Small octave lute, Magno Longo, 1599, BEN 14 = SAM 34
Lute, Magnus Tiefenbrucker, 1616, BEN 15 Not known
Small lute, Wendelin Venere, BEN 16 = SAM 35
Small lute, Wendelin Venere, BEN 17 = SAM 36
Mandora, BEN 18 = SAM 39
Octave lute, Wendelin Venere, BEN 19 = SAM 37
Lute-harp-cittern, Wendelin Venere, BEN 20 = SAM 62
Lute, Wendelin Venere, 1576, BEN 21 Not known
Lute, Michael Hartung, 1591, BEN 22 Not known
Lute, Wendelin Venere, BEN 23 = SAM 32
Lute, Wendelin Venere, 1591, BEN 24 Not known
(Guitar, Dorian Spilmnan, 1590, BEN 25 Not known
Theorbo, Mathius Buchenberg, 1615, BEN 26 = Edinburgh 3249
Chitarrone, Thonias Spiliman, 1584, BEN 27 Not known
Chitarrone, Wendelin Venere, BEN 28 = SAM 43 or Brussels 1563
Cittern, Giovanni Paolo Maggini, BEN 29 = SAM 57
7 large woodwind instruments
Great bass recorder, 13EN 30 = SAM 169
Bass recorder, BEN 31 = SAM 166
Large recorder or Curtal, 13EN 34 Not known or > SAM 184 to 202
Bassett recorder, BEN 35 = SAM 159 or 160
Bassett recorder or Shawm, BEN 36 SAM 164 or > SAM 177 to 179, 181, 182
7 recorders
Recorder case, BEN 37 = SAM 171

Alto recorder, BEN 38 Not known
Alto recorder, BEN 39 = SAM 135
Tenor recorder, BEN 40 = SAM 149
Tenor recorder, BEN 41 = SAM 150
Three recorders, BEN 42 - 44 Not known or> SAM 126-134, 136 -
148, 151, 152, 157-163
5 flutes, BEN 45 - 49 > SAM 175, 207
2 cornetts
Curved cornett, BEN 50 > SAM 232 - 236

Mute cornett, BEN 51 > SAM 226 - 229
Pair of sistra, BEN 52 = SAM 276 and 277
Organ BEN 53 Not known
3 harpsichords
90
Harpsichord by Marcantonio Irnioni, 1589, BEN 54 = SAM 123
Harpsichord by Vito Trasuntino, 1570, BEN 55 Not known
Harpsichord byJohannes Celestini, 1584, BEN 56 Not known
2 cupboards
Instrument cupboard, BEN 73 = Padua Museum
Sheet music cupboard, BEN 57 Not known
3 portraits
Claudio Monteverdi, Antonio Correggio, BEN 58 Not known
Giovanni Perluigi Palestrina, BEN 59 Not known
Luca Marenzio, Jacopo Tintoretto, BEN 60 Not known
SUMMARY OF THE OBJECTS IN THE COLLECTION.

In the Benavides Collection there are 73 objects related to music, of which
67 are musical instruments. There are also 1 recorder case, 1 cabinet for
music instruments, 1 cabinet for sheet music and three paintings.
Of the 67 instruments there are:

12 viols with their bows,
1 violin, (no violas, violoncellos, lire da braccio or da gamba)
16 plucked-string instruments (lutes, mnandoras, guitars, citterns, but no
harps)
1 large recorder with crook or 1 curtal
1 large recorder without crook or 1 shawm (no crumhorns)
13 recorders (of which one from 1696 is missing)
5 flutes
1 mute cornett
1 curved cornett (no trombones, sackbuts, trumpets or kettle drums)

1 organ
3 harpsichords (no spinets or virginals)
1 pair of sistra
LIST OF THE INSTRUMENT MAKERS AND ARTISTS WITH

THEIR WORKS
Fanily name First name(s) BEN (collection number)
Animannati Bartolomeo 73
Antegnati Costanzo 53 (?)
Bassano Marked !! (Mark A) 37, 39 to 41
Marked !! (repeated and
other forms) 36, 42 (?) to 44 (?), 50(?),
Marke HIE.S. 30 to 33, 35
Buechenberg Matteo 26
Dieffoprucar Magno 15
Campagnola Domenico after 56
Celestim Giovanni 56
Correggio Antonio 58
Harton Michielle 22
Irnione Marc Antonio 54
Linarol(o) Francesco 13 (error!), see 2, 5

Linarol(o) Ventura 1 to 12, 13 (?), 14 (error!), 72 (?)
D17 The equals-sign denotes - probably identical to:
91
Longo (Lang) Magno (Magnus) 14
Maggin Gian Paolo 29
Spilmnan Dorian 25
Spilman Tomaso 27
Tiefenbrucher Leonardo see 20, 23
Tieffenbrucher Vendelino 20 (?), 23 (probably error!)
Tintoretto Jacopo 60
Transuntino Vito 55
Venere I Vuendeho, Vendelio 20 (?)21, 23 (?), 24
Venere II Vuendelio 16, 17, 19, 20 (?), 28
PITCHES; RELATIONHIP OF VOICES AND PLAYING

PRACTICE.
Four of the keyboard instruments in the inventory, BEN 53

and 55 indicate that in the Palazzo Mantova Benavides, mu
initially in mezzo punto, i.e. approximately a' = 466 Hz an
1650 in chorton (tutto punto), i.e. approximately a'
Essentially, the instruments in the inventory can be div
classes, bowed- and plucked-strings, woodwinds and keyb
the as yet unproven assumption that the three classes of in
used together before and after the change of pitch by a ton
the following possibilities:
Keyboard-instrrllnelIts
a) In the case of the organ, BEN 53, the pipes could be m
a full note, meaning that the now missing lowest o
manufactured and the two highest ones were then redund
b) The harpsichords BEN 54-56 were changed to the

shortening the scale, and the use of brass-strings. While it
the change from an eight-foot and a four-foot register to
registers occured at the same time it is not necessarily the c
c) The keyboard instruments BEN 53 - 56 were first tu

punto a' = 466 Hz. To play at a' = 699 Hz, i.e. a quint high
key-sign had to be taken into account. To play at a' = 415
transposition by a full tone down and two additional flat
approx. 165() the keyboard instruments were adjusted 'p
cantare e suonare' to chorton (tutto punto) a' = 415 Hz. W
mezzo punto, the fingering has to be adjusted a full tone up
"" The 'greater than' sign denotes - may be identical to one of

in this collection:
"1' See N. Mitchell, fn.66, p.100 - 102; Ephraim Segerman, 'A Survey of Pitch
Standards before the Nineteenth Century', in GSJ LIV 2001, p.200 - 218,
particularly p.208 : Here also can be found the information relevant to the
B3cnavides inventory 'P plus 1 semitone, Venetian woodwinds. P minus 1
semitone, chamber organs in Padua.'
92
keysigns have to be taken into account. Music was unlikely to be have been
played at a' = 699 Hz pitch since this would involve transposition upwards
by a large sixth, and using three additional sharp keysigns. This agrees with
experiences regarding common registers. In the 16th century the sound of
the ensemble was higher, in the 17th century preferences shifted towards a
rather lower sound.
Bowed- and Plucked-String Instruments

In the case of the stringed instruments (viol, violin, lute, mandora, cittern
and guitar) BEN 1 to 29 the change to the new pitch could be achieved
three ways:
a) Either by keeping the tuning and changing the fingering by a whole
tone lower. This then corresponds to the use of the term G-lute in the high
voice and A-lute in the low voice for one and the same instrument.
b) The use of thicker strings is likely, possibly including the use of
overspun strings,'"' thus allowing the usual fingering for the new lower
pitch.
c) In some cases the necks were made longer,"'' as a result of which the
same string-material could be used under the same tension and the same
tone and timnbre was retained. The lengthening of the vibrating string by an
eigth results in a tuning of a full tone lower due to the ratio 8:9. The great
bass gamba BEN 5 still has the original and unchanged neck, was hence not
re-tuned using this method.
1Wooditnd Instrlulnenlts
The woodwind instruments (those with double reeds, recorders, transverse
flutes and cornetts BEN 30 to 51) which presumably all had the same pitch
are the least flexible. As the remaining samples show, they are pitched at
high mezzo punto, but they could be used after 1650 by using one of the
following methods:
a) They could be adjusted to the low chorton-pitch by a fingering that is

a whole tone lower. Due to this, the relative tuning of each class of
instrument size changes as follows: great bass from F to G, bass from c to d,
bassett from f to g, tenor from c' to d', alto from g' to a' and descant from
d2to e2. " Instead of a transposition by a whole tone down, two additional
"" Spun strings were mentioned as early as 1619 by Michael Praetorius. M.

Praetorius, fn.67, p.47 and 54. Overspun strings are mentioned in 1644 by John
Playford in his, Introductio to the Skill ofMliisick, London: 1664.
.' Sonme larger string instruments of the 16th and 17th century such as e.g. the
violoncello and string bass today have a later extension which was inserted
approxiniately into the rniddle of the original neck.
'12 We need to bear in mind that recorders sound an octave higher than the music
written for themn. This is dealt with below in section (c).
93
flat key signs could be taken into account when reading the music"3 in a
different key or with an additional key. A further disadvantage is the lack of
the lowest note.
b) The bassett-recorders BEN 35 in g (a' = 466 Hz) and BEN 36 in f (a'

= 466 Hz) differ a whole tone. Therefore BEN 36 could be used in g (a' =
415 Hz) with the same fingering instead of BEN 35. Also the curved and
mute cornetts differ by a whole tone. The longer mute cornett BEN 51
could be played in a (a' = 415 Hz) with the same fingering as that of the
curved cornett BEN 50 in a (a' = 466 Hz). BEN 51 originally was used at
the high pitch a' = 466 Hz in g.
c) A further possibility for changing to a tuning a full tone lower is offered

by all instrument-families which consist of at least three quint-related sizes.
In the Benavides inventory, this is true for the case of the recorder Sets I and
II. Related instruments differ by a fifth, the next but one differs by a ninth.
Should a musician use the next but one larger instrument, the result would
be an octave plus a tone lower than the previous instrument. This can be
seen by changing the following recorders: the smallest recorder in the case,
BEN 37 in d2 (a' = 466 Hz) to the next but one larger tenor recorder, BEN
40 in c' (a' = 466 Hz) = d' (a' = 415 Hz). Also BEN 38 (or BEN 39) in g'
(a' = 466 Hz) to the bassett recorder BEN 36 in f(a' = 466 Hz) = g (a' =
415 Hz). If thus a piece had previously been played at 8ft pitch, moving to
the next but one larger instrument would give a pitch of 16ft plus a tone
lower. By this means the change to chorton could be made, allowing the
use of the same fingering, albeit an octave (2/3 x 2/3 x 2 = - 8/9; 466 Hz x
8/9 = approx. 415 Hz).
In the new pitch, the recorder ensemble now sounded an octave lower,
producing a change from 4ft pitch to 8ft pitch, and fromn 8ft pitch to 16ft
pitch respectively, depending on how the actual effect of the recorder
sound"4 was judged. The 'none-relationship' of each next but one size of
"- Regarding the correct transposition see. (Gerhard Stradner, Spielpraxis und
Ilstrunlcltariun 1n 1500, dar?estellt an S'clastialu Virduntv's 'Musica getntscht' (Basel
1511) = Forschungen zur Alteren Musikgeschichte, Bd. 4/1, publ. Othmar
Wessely und Franz Fadermayer, Wien 1983, p.6() ff.; c.f., Zur Ausbildung
verschiedener Instrumentengr6len, in: Musik ind Tanz :zur Zcit Kaiser Maximilian
I. = Innsbrucker Beitrige zur Musikwissenschaft Bd. 15, publ. Walter Salmen,
Innsbruck 1992, p.177 - 182; c.f., Zur Entstchung von Instrumentenfamilien, in:
Die Wiener Hofinusikkapelle I- Georg Slatkonia und die Wiener Hofilnsikkapelle, publ.
Thcophil Antonicek, Elisabeth Hilscher und Hartmut Krones, Wien, K61n,
Weinar 1999, p.151 - 160.
.'' Amongst the wind instruments in the Palazzo Benavides, the recorders
constituted the largest instrument family. Since they sound an octave higher than
they are written, recorders do not sound particularly low when played an octave
lower than usual - but rather like a standard instrument at 8ft pitch. Michael
Practorius writes about the tenor recorder with lowest note c': 'Diese F16te / so
94
recorders really only led to a 'secondary relationship', and made possible
the change in pitch by a whole tone.
Obviously this process only works for large families, such as recorders. For
the curtal and shawm this practice cannot be used, since they only exist in
two sizes.
Playing instruments at 16ft pitch extended the range of u

towards the lower end of the instrument. From the Benavid
we know that the change towards the lower chorton occurr
1650. In fact, the harpsichord by Giuseppe Boni of Cortona,'
the earliest demonstrable short G-bass-octave, dates fro
transition from the C-octave to the G-octave implies an exte
bass by a quart, or a quint when taking into account the pitch w
tone lower. Possibly this was done in order to be able to keep
overall rather bass-orientated sound of the ensemble. It is also p
this extension towards the bass gave more weight to the bass
and the resulting emphasis of the bass line favourably infl
creation of the general bass.
d) But it is also quite possible that the woodwind instrumen

cases kept their high pitch at mezzo punto and that this forced
of other instruments to transpose a whole tone higher (or
different or additional key and to take into account two fu
signs).'1" In the case of the stringed instruments without fre
strings, the rise by a whole tone could be achieved by the u
affecting "' all strings above the second fret.
wohl auch die Querpfeiffe in diesem Ton / kann nicht allein zum di
es alhier eingesetzt / sondern auch zum Tenor ein Oktav drunter
werden. Wie es dann in gemein von etlichen Instrumentisten daftir
/ daB dieser Art Plock= und Querfl6ten / ein rechter Tenor am Laut
und derselben unterster Clavis, den Clavem c oder d im Tenor und a
auffvier FueB Thon (nach Orgelmacher Mensur,) von sich gebe.' M
fn.67, p.21, footnote N.B.
115 R. Wraight, fn.98, p.84 f., W.470; G. Stradner, F4irAug'ud d Ohr
f., Nr. 63.
1"' Experience shows that it is easier to transpose up, rather than down, by a
whole tone.
117 This corresponds to the use of the capotasto with e.g. a guitar or a fretted
stringed instrument in the 18th century.
95
INSTRUMENTS AND THEIR PITCHES
Instruments Pitches
Recorders, Set II and III a' = 466 Hz = mezz
Curved cornett
Mute cornett
Organ
3 harpsichords
Recorders, Set I a' = 699 Hz
Organ (after about 1650) a' = 415 Hz = tutto punto = tono co
3 harpsichords.
l)ifferent sizes of woodwinds in the Benavides collection

existed only for the recorders. In relation to the pitch a' = 466
the following notes: d2, g', c', g, f, c and F. This results in thr
III of at least four members in three sizes. Each instrument di
neighbour in its set by a fifth.
The first Set I marked!! is formed by the smallest record
BEN 37 in d2 (a' = 466 Hz) which by 1696 was already mis
and BEN 39 in g' (a' - 466 Hz) and BEN 40 in c' (a'= 466Hz)
it could be played at the pitch a' = 699 Hz in g', c' and f(466
The most important seems to be Set II marked!!: BEN 38 or
40 and 41 in c' and BEN 36 in f forin the classical set of re
466 Hz.
The large recorders form a third Set III, which is marked HIE.S. and
exactly one octave lower than Set II: bassett recorder BEN 35 in g, b
recorders BEN 31, 32 and 33 and greatbass recorder BEN 30 in F, all at
= 466 Hz.
The existence of these three sets of recorders now opens new
possibilities on aspects of performance practice. The question is whe
the use suggested here was a matter of fact. The simultaneous use of S
and III results in the sound of two tones in octaves for each note,
comparable with the sound of a lute with double strings in octaves or the
sound of the organ or harpsichords with two registers at 8' and 4'. By using
all three sets together each note sounded in its first three harmonics in a =
466 Hz, which can be compared with the simultaneous use of three
registers 8' and 4' and 22/3' of an organ.
Can similar statements also be assumed for the second large ensemble in
the house Benavides, the family of lute-instruments? Until now, of the 16
instruments possibly 10 can be identified. Using the string length, it may be
possible at some point to identify (via proportion) related instruments of a
set and hence their musical function. The lute family had a compass of
approximately four octaves.
Of the 12 viols which form an armonico concerto, so far only three instru-
lments have been identified. It is therefore hardly possible to make
statements about the the function(ality) of the individual sizes. The
compass of the viol family was also about four octaves.
96
SUMMARY OF THE RESULTS AND CONCLUSIONS
The Benavides inventory of 1696 describes the content o
instruments in a northern-Italian Palazzo in the 16th and 17th
this case the instruments were used mainly to make music and
aside were they considered collectors' items. They were built
and early 17th century by important northern-Italian instrumen
some were presumably made as copies in the 17th century.
The following methods proved useful for identifying instrum
Benavides inventory in collections which still exist today: com
optical/visual features, the analysis of errors, the matching and
existing instruments, the agreement of pitch and the presence o
ship of the pitches, sizes or lowest notes of the instruments in th
ensembles.
Of the 67 instruments, 23 can most likely be found in the
Kunsthistorisches Museum in Vienna and one in the The Shrine to Music
Museum in Vermillion. Two further ones may be present in museums in
Brussels, Edinburgh and Vienna. In the case of others it is likely that they
are currently in the Este collection in Vienna, having come from Castle
Catajo, and in other collections, although no direct identification can be
made. As a result of the recent publication of the Benavides inventory of
1696 one can hope that further instruments mentioned in the inventory
can be shown to be still in existence. High chances of discovering other
existing instruments of the Benavides collection exist in the case of the
collections of the former Correr collection which today can be found in
Brussels, Paris, Venice, Vermillion and also other instrument museums as
well as private collections.
It seems that for the first time a certain great bass viol of the 16' century
together with its bow has survived.
The inventory apparently for the first time contains references to and
drawings of the hares foot brand mnark of the Bassano family shown here as
!!. The so-called 'Ganassi flute' SAM 135 of the Viennese instrument
collection is of mediumn size and part of a set of four recorders .
Of the fifteen recorders in seven sizes from the Palazzo Benavides, at least
nine specimens in six different sizes are thought to be in Vienna. They al
originated in the Bassano workshop in Venice. Sets I and II show the brand
mnark!! and set III HIE.S. It seems that there were no double ree
woodwinds.
The harpsichord maker Marcantonio Irnione from Padua was
previously unknown. He is apparently identical to Antonius Patavinus.
The harpsichord SAM 123 in the Kunsthistorisches Museum in Vienna
can be assigned to Marcantonio Irnione, with a date of 1589. Thi
harpsichord is probably the first to have been built at a pitch ofa' = 466 Hz
The keyboard instruments in the Palazzo Benavides were probably tuned
to mezzo punto (a' = 466 Hz) until 1650 when they were retuned by a fu
tone down to chorton (tutto punto - a' = 415 Hz).
97
The complete set of instruments, of which many still exist, consists of
string-instruments, woodwind instruments and keyboard instruments.
Instrumental families exist in the case of the viols, lutes and recorders. Each
of these families had approximately a four-octave compass, which agrees
with the range of the keyboard instruments. One can consider different
performance related situations in which Italian music of the 16th and 17th
century was played in the Palazzo Mantova Benavides in three different
pitches. The earlier were a' = 466 Hz and maybe also a fifth higher a' = 699
Hz. The later was used from about 1650 and was one whole tone lower at
a' = 415Hz.
Amongst the works sung and played in the Palazzo Benavides us

instruments mentioned, were compositions most probably b
Marenzio, Claudio Monteverdi and Giovanni Pierluigi Palestrina
because they were among the 'excellent famous counter-point com
and masters of the music of the previous and the present century', a
popularity is indicated by the presence of their portaits in the colle
Further additional information can be expected as a result of the an
the valuation list of the musical instruments from the Palazzo Benav
1652.
Appendix 1. The original Italian text of the Inventory.
Adi [ectio]''" 12 7bre 1696.
Segue l'inventario de tutti gl' Instrume[n]ti Musicali de Viole, et Altre sorti

d'instrume[nJti Antichi, descritti come qui sotto esistenti nell'Armaro
grandissimo di nogara [numero 73] posto nel Camarone terreno
dall'Organo, dove gia nei Secoli pass[a]ti e presente venivano fatte
radunanze de molti Virtuosi Musici, che facevano frequenti Accademie. Et
plri]ma
In d[i]to Armaro vi sono Viole tutte ben tenute e hora conservate (per
Gratia del Siglno]r Dio e S[an]to Antonio) fatte da buoni prestantiss[i]mi
Autori: Cioe: del Secolo passato: descritte ut infra et sono n[umer]o Dodeci
compreso il Violone [violone] de mezo: formando tutt'insieme Armonico
Concerto; et p[ri]ma
'" Completions of the various abbreviations and added numbers are shown here
in square brackets.
98
La p[ri]ma Viola [viola] parte drita appesa e ii Ventura in Vene[ti]a 1582
come appare entro il Corpo notato dallo stesso Autto[r]e
n[umer]o 1
Viola in d[it]ta fila di Ventura di Franc[esc]o Linarolo in Vene[ti]a 1602 -

ut intus notato
n[umer]o 2
Viola del sod[ett]o Ventura Linarolo di d[it]to Anno 1582

n[umer]o 3
Violoto pur in d[it]ta p[ri]ma fila a basso del sod[itt]o pur Linarolo
n[umer]o 4
II Violone Basso posto nel mezo delle sud[it]e pur di Ventura di Fran[cesc]o
Linarolo di Pad[ov]a ut intus notato 1585
n[urmer]o 5
Viole[tt]a mezana Altra Fila di sop[r]a appesa di Ventura Ven[eti]a 1582

n[umer]o 6
Altra Violetta in d[it]ta 2da fila dello stesso Autto[r]e 1582

n[umer]o 7
Altra Viole[tt]a a delle 2 piciole nel mnezo del d[it]to Ventura Ven[eti]a
1582
n[umer]o 8
Violetta d'esse 2 piciole nel mezo del med[esini]o Auttore 1582

n[umer]o 9
Violeta delle 4 del mezo del d[it]to Auttor ut sup[r]a 1582

n[umer]o 10
Violetta di d[it]te pur di del d[it]to Ventu[r]a Linarol[o] in Pad[ov]a 1585

n[umer]o 11
Violetta et Ulti[nm]a d'essa ulti[m]a fila di sop[r]a del sud[it]to ut sup[r]a

n[umer]o 12
Sono ut sup[r]a in tu[tt]e Viole n[umer]o Dodeci con suoi Archi compreso
anco il Violone [violone].
[numnero 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72]
99
Item: pur in d[it]to Armaro: appesco di sop[r]a ulti[m]a fila un Violino
perfetiss[i]mo di [Ventura di]"'9 Franc[cesc]o Linarolo di Venetia 1581 ut
intus val[et]
n[umer]o 13
Item: Segue in d[it]ta ulti[m]a fi[1]a di sop[r]a Un Sordino [mute] del d[it]to
Ventu[r]a 1599
[numero] 14
Item: Un Lautin il Corpo legno serpentino stricato d'Avorio di Magno

Dieffoprucar 1616 in Ven[eti]a val[et]
n[umer]o 15
Item: Altro Lautin manico storto di Vuendelio Venere

n[umer]o 16
Item: Altro pur Lautin mani[c]o storto compagno del sud[it]to d[it]to
Auttor
n[umer]o 17
Item Un Mandolin d'Avuorio et Hebbano d'ecc[ellen]te Auttor

n[umer]o 18
Item: Altro Lautin picolo del d[it]to Vuendelio Venere

n[umer]o 19
Item: Un stravagante e marviglioso Instrumnlen]to del 3 insieme in un solo:

Cioe: Lautto: Arpa: e Cittara opra di Vuendelio Venere di Leonardo
Tiefenbrucher Pad[ovja vallet]
n[umer]o 2()
{Liuti 4 manilclo corto scavezzo n[umeroj4} '12

Item: un Liuto con mani[c]o corto storto di corpo grande di Vuendelio
Venere 1576 Pad[ov]a
n[umer]o 21
Item: Pur Altro Liuto ut sup[r]a compagno corto mezano corpo di

Michielle Harton in Padova 1591
n[umer]o 22
Item: Altro Liuto simile man[ic]o scavezzo corto di Vendelino [at first:
Vendelio Venere di Leonardo]12' Tieffenbrucher in Pad[ov]a
n[umer]o 23
1" See notes in the commentary above.
)" The marginal headings are given in curly brackets.
'21 See notes in the commentary above.
1()()00
Item: Altro pur Liuto di Vuendelio Venere 1591
n[umer]o 24
Item: Una Chitara di corpo grande bianco senza vernize con righe
d'Argento di Dorian Spilman 1590
n[umer]o 25
Item: Una Tiorba grande con manico d'hebbano di Matteo

Buechenberg'22 in Roma 1615 appesa per fianco desso Armaro a parte
destra val[et]
n[umer]o 26
{Liuti n[umer]o 2}
Item: Un Liuto con mani[c]o lungho rotto per fianco d'esso Arma[r]o a
mano sinistra di Tomaso Spilman in Pad[ov]a 1584 ut intus notat val[et]
n[umer]o 27
Item: Altro pur Liuto simile mani[c]o lungho di Vuendelio Venere val[et]
n[umer]o 28
Item: Una Cittaretta di Gi[ov]an[ni] Paolo Magginm12 dal Bovalo in Brescia

marcata val[et]
n[umer]o 29
{ Tromboni seu fagotti n[umer]o 7}

Item: Tromboni sive Fagotti in tutti n[umer]o sette: cioe 5 de grandi
[numero 30, 31, 32, 33, 34] che si suonano con sue pive storte seu canelle
d'ottone [numero 30, 31, 32, 33, 34] che li sono attacate, et Altri due senza
d[it]te pive sono come li Subioti sive Flauti de quali [numero 35, 36]: Sei
sono appesi abbasso al d[it]to Armaro sop[r]a rastri et uno a terra sul fondo
d'esso Armaro.
{ Flauti n[umer]o 3 in Busta cuorame}

Item: Un Concerto de 4 Subioti seu Flauti tutti posti in una Busta di
currame nero [numero 37] de quali manca uno il piciolo: tutti di prestante
celebre Auttore marcato segno suo ji. Son restati n[umer]o 3.
[numero 38, 39, 40]
{n[umer]o 12}
Item: pur sul fondo a terra d'esso Armaro sop [r]a un picolo tapedo vi sono
Dodeci Corpi de Subioti: Flauti: Traverse: et Cornetti.
122 Favaretto has this incorrectly as 'Buchemberg'. I. Favaretto, fn.3, p. 121.

123 Favaretto has this incorrectly as 'Maggia'. I. Favaretto, fn.3, p.121.
101
Cioe: Uno delle soprad[it]ti 2 Fagoti posto al fondo d'esso Arma[r]o sul
Tapedo val[et] n[umero] 1
[= numero 30]
Item: Flauti sive Subioti: Grandi: mezani e pico[1]i n[umer]o 4

[numero 41, 42, 43, 44]
Item: Traverse in tutte n[umer]o Cinque val[et] n[umer]o 5

[numeri 45, 46, 47, 48, 49]
Et finalme[n]te Due Cornetti: uno storto et Altro Drito val[et] n[umer]o 2

[numero 50, 51]
Et Finalme[n]te Un Timpano seu Cimbalo anti[c]o Instrum[en]to usato

nelli Trionfi: particolarme[n]te di Bacco Appeso sotto li sud[it]ti
Tromboni.
[numero 52]
{ Organo d'Olivo Soavissi[m]o }

Item: nel d[it]to Camarone: vi e ii soavissimo e sonoro Ogano tutte le
canne al di fuori di legno d'Olivo, et di dentro di Creticho Cipresso:
hornato et arichito esteriorme[n]te di gentili bellissimi Intagli di basso, et
mezo rillevo tutti dorati, e vagame[n]te disposti tra li partime[n]ti di buona
Architectura che esteriorme[n]te l'adorna. E'Antichiss[i]mo fatto da Inclito
prestanti[ssi]mo Auttore, con Due Registri alla parte destra; Cioe:
Principale: et Ottavina con Flautini; et Con il suo Tremolo a parte sinistra
che s'alza; Era nel p[r]imo suo essere con la Tastatu[r]a all'Ottava basssa et
dell'Anno 1650: fu trasportato in Tuono Corista per commodo di Cantare,
e suonare; sono pii d'Anni 150 che e in Casa, c spero verra anco conservato
per sempre si preciosa G(;ioia da miei Posteri usque ad consumationem.
[numero 531
{ Clavicemblalli Due Antichi di Casa nel Caiero[n]e dal l'Organo}

Item: a mano destra d'esso Organo vi C' Un clavecembalo corto opra di
Marc' Antonio Irnione Padovano 1589 buonissimo corrista
[numero 541
Item: pur all'altra Par[e]te sinis[tr]a vi & Altro Clavecembalo pur compagno
di Grandezza di Vito Transuntino 1570 buoniss[i]mo Corrista
[numero 551
{ Clavicemba[1]o del Celestini il quale doppo la mia morte lascio non sia
dato per me de cent' Ongari}
Nelle Salla di sop[r]a Un Altro Clavicembalo lungho e grande da me
Acquistato dell'inclito stimatiss[i]mo Auttore Giovanni Celestini Ven[et]o
che in vero si puo dire opra di mano realme[n]te Celeste: per a soavita et
102
Armonia divina; del quale mi fu offerto per un Principe Forestie[r]e
Zechini n[umer]o Cento; prezzo puo dirsi inferiore alla rariti di tal Gemma
di Celeste Armonia; ha Due registri era p[ri]ma coll'Ottavina, fu
trasportato unissono in Tuon Corrista, con sua Tabella sol prop [ri]o Nome:
IOANNIS CELESTINI VENETI 1584.
[numero 56]
{Arma[r]o de Libri de Musica}

Item:Nel Camarino abbasso dalli tre scalini contiguo al sud[
dall'Organo: tutto dipinto a fresco dall' Egreggio maravigli
Domeni[c]o Campagnola; vi e Un Armaro Anticho nogara
in piover a tutte due le parti, et con piedi d'intaglio: il quale
de molti buoni Libri d'opre rare Musicali de pit principali
Contrapuntisti e Maestri di Musica delli Secoli passat
attrovandosi pure in Casa [numero 57]: appesi tra la Scalla an
alla Galeria di sop[r]a tre bellissimi Ritratti delli piti Eccel
Maestri di Musica del Secolo andato: Cioe: Claudio da Corr
58] a mano dritta al patto ulti[m]o delli tre sud[it]ti scalini: et
Palestina [numero 59]: et in Facia alle Portesina d'essi 3
Ritratto beliss[im]o di Luca Marentio fu Maes[tr]o di Cape
Marco di Ven[eti]a 1580. Fatto dal raro Pennello del gran Tin
Vene[t]o con sua Soazza anticha d'intaglio dorata
[numero 60].
FINIS
L [aus] D [eo] O[ptimo] M[aximo]
ADDENDUM
After finishing this article, some new evidence concernin

recorders has come to light:
(a) BEN 34 probably had no crook, and possibly is the sam
recorder SAM 159 (C 170) HIE.S., 827mm long, in g;
(b) BEN 35 seems to be identical to the bassett recorder
171);
(c) BEN 36 corresponds to the bassett recorder SAM 164 (C 175) !!,
940rmm long in f;
(d) BEN 42 is equivalent to the tenor recorder SAM 151 (C 162) !!,
623mm long in cl;
(e) BEN 43 must be a descant recorder !! in gI and is not known;
(f) The last recorder, BEN 44, with the brand !! is either not known, or
may be one of the following instruments: recorder SAM 138 (C 149),
478mm long in fl; tenor recorder Brussels 1025, 630mm long in cl or
bassett recorder SAM 163 (C 174), 853mm long in g (J. Schlosser, fn.2,
pp.77-79; V.Mahillon, fn.60, Bd. 2, 1909, p.286; G. Stradner, fn.21).
103

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Musical Instruments in an Inventory by Andrea Mantova Benavides, Padua 1696

Author(s): Gerhard Stradner

THE DISCOVERY OF THE INVENTORY

A nton RudolfMalecek indicates as early as 1930, in his

Anton Rudolf Malecek, ')cr Paduaner Lautenineister Antonio

Saiimnlurngen fiir Plastik und Kunstgeuwerbe are used only on rare

THE HISTORY OF THE MANTOVA BENAVIDES ART

The history of the collection begins with Marco Benav

SArchivo di Stato di Padova, archivo Abriani busta 5, I. Favar

AN ENGLISH TRANSLATION OF THE INVENTORY

Addendum 12 September 1696

What follows is an inventory of all musical instruments, the vio

There are 12 instruments, including the violone. Together they comprise

The second viol in this row is by Ventura, son of Francesco Linarol in

24 The collection was sold by the sixth generation.

[Fifth] a bass violone in the centre of

[Eighth] another violetta - this is one of two small ones -

Item: another lute with short neck by Wendelin Venere

Item a mandolin made of ivory and ebony by an outstanding maker

Item: Further a particularly small lute by the said Wendelin Venere

Item: an extraordinary and wonderful instrument which combines three

14 lutes with short bent neck , 4 itemsI

Item: another lute, a small sister-instrument to the

Item: another lute by Wendelin Venere 1591

Item: another similar lute with long neck by Wendelin Venere

Item: a cittern marked Gi[ov]an[ni] Paolo Maggin[i] from Bovalo in

{seven trombones or bassoons}

Item: trombones or bassoons, all in

{3 recorders in a leather case }

Item: On the floor in the bottom p

Item: recorders or pipes: large, mediu

Item: flutes a total of 5

And finally, a timpanumn or cimbalo., an old instrument which was used in

{ A particularly sweet-sounding organ of olivewood)

Item: In the same chamber stands a particularly sweet and well-sounding

{two old harpsichords in the organ room of the house }

{a harpsichord by Celestini, which after my death should not be sold for

{A cabinet with music-books}

Praise the best and greatest lord

INTERIPRETATION AND COMMENTARY

Figure 1: Cupboardfor housing the instruments, by Bartolomeo Ammannati,

It is likely that BEN 73 corresponds to the showpiece cabinet (Figure.

Figure 2: Violone by Ventura Linarol, Figure 3: Viol by Ventura Linarol,

front view.Photograph by permission ofVermillion 33 77 = BEN 1 or 3, 6-10

Figure 4: Viol by Ventura Linarol, Venice 1582, Vermil

The most recent year-ring35 of its case dates fro

35 Dendrochronological researches on instruments SAM

40J. Schlosser, fn.2, p.64; RudolfHopfner, Streichbogen- Katalog- Sammlung alter

The description BEN 13 corresponds to the violin by Ventura Lin

41 J. Schosser, fn.2, pp.66, 132, 137; S. Toffolo fn.38, p. 41; Gerhard St

Figure 7. Small octave lute b

4 In those times only sunlight or the flame of a candle, an oil-lamp or a

This sister instrument to BEN 16 probably also corresponds to the

Figure 8. Small lute by Wendelin Figure 9. Back of Mandora,

Photographs by permission of the Kunsthistorisches Museum, Vienna.

So far, Andrea Mantova Benavides was always able to give the

47 J. Schlosser, fn.2, p.55; Friedemann Hellwig, 'Makers' Marks on P

This particularly small lute is identical to the small descant or octa

As early as 1930()53 it was mentioned that this instrument is indentical

Here we probably have a third mistake: Andrea Mantova apparently

''J. Schlosscr, fin.2, p.56.

could use palimpsest photography. See Brockhaus Eizyklot)idic, Bd. 14,

Figure 12. Small rosefrom SAM