1592 Inventory Reveals Musical Instruments Owned by Italian Nobleman

Musical Instruments in a 1592 Inventory of the Marquis Ferdinando d'Alaron Author(s): Alberto Mammarella and Lisa Navach Source:
The Galpin Society Journal, Vol. 59 (May, 2006), pp. 187-205 Published by: Galpin Society Stable URL: http://www.jstor.org/stable/25163866 . Accessed: 24/05/2013 18:36
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Galpin Society is collaborating with JSTOR to digitize, preserve and extend access to The Galpin Society Journal.
http://www.jstor.org
This content downloaded from 146.155.94.33 on Fri, 24 May 2013 18:36:49 PM All use subject to JSTOR Terms and Conditions
ALBERTOMAMMARELLA
Musical
Instruments
in a 1592
Inventory
of
theMarquis
Ferdinando
d'Alargon
Francesco Venice dedicated Valle
de} Madrigali
d'Alarcon,2 Marquis Siciliana. The d'Alarcons3 were an aristocratic
to Ferdinando
da Celano's1 Primo Libro a cinque voci was printed in in 1567 by Claudio da Correggio and of the
Orso
Lodovico Antinori4 described him as 'one of Charles
('nobilissima') Spanish family that probably settled in Italy at the time of don Ferdinando Ruiz d'Alarcon.
V's most distinguished generals, who lead the Spanish infantrywith great valour and courage during the
1 one He da Francesco is discussed Orso da Celano was born in Celano of 1550s.
Imperial army in the Italian war against France. He was commander in chief of the first army in the battle of Pavia (1525) and was in charge of taking Francis I
in the 1540s we have and died in Naples after 1578. He was about him.
general and as a royal advisor to Pedro de Toledo,6 proved to be one of themost valuable elements of the
him; among other privileges, he received from the Emperor the seigniory ofthe Valle Siciliana'.5 Don Ferdinando, who was highly esteemed as
Italian war; Francis I and Clement VII's soldiers fell into the Imperial hands and gave themselves up to
(AQ), Abruzzo,
of the most
the sixteenth Celano,
composers progressive in: Henry W. Kaufmann, IX century', Studi Musicali cromatici
Unfortunately 'Francesco Orso da Celano, (1980)
little biographical
information
(Venice: Claudio da Correggio, 1567), RISM 134; NV 2069. See also the critical edition of his book ofmadrigals:
Francesco York-London: Orso, ilPrimo Garland, Libro 1996); di Madrigali Alberto Mammarella, (...) con due madrigali Francesco cromatici Orso da nel fine, Celano edited by Jessie Ann Owens, e i suoi cromatici, Madrigali (New degree
con due madrigali
nel fine,
a neapolitan of the second half of madrigalist 77 Primo Libro de Madrigali di don Francesco Orso 1, pp. 215-265; nuovamente a cinque in luce da Claudio da Correggio, voci, posto
of Chieti, A.A, dissertation, 1999-2000). (University 2 IV d'Alarcon. Ferdinando I. See the family tree in Appendix 3 can Information about the d'Alarcon in: be found Filonico Vite di alcune Alicarnasseo, family cc. 232-33; del secolo XVI, ms. X. B. 67, in the Biblioteca Nazionale 'Vittorio Emanuele III* of Naples, Discorsi delle famiglie nobili Comentarios de los Hechos 1665), pp. 442-451; casa La del Regno del Senor Antonio De Mendoza valle Siciliana di Risparmio Siciliana, (L'Aquila, di Napoli, Alarcon, Ludovico vol. nei sotto (Naples: Marquez Antinori, 42, suoi coll. sedici Honofrio de Saulo, 1654), pp. 389-393; y Renda, la Valle Siciliana, storica (Madrid:
persone Carlo De Diaz
illustri Lellis, de la
Juan Suarez Diego
De Alarcon,
Carrera,
Corografia 41-45,
Abruzzese Deputazione Luciano La Moricca, 1952); Adelmo Marino, dell'Orto,
di Storia
Patria,
i Mendoza, 1983),
cit., pp. 223-226; rami principali, studi araldico (Rome: Centro genealogico, o del Mavone, in La Valle Siciliana edited by Luisa Franchi (Documenti Aprutino, dell'Abruzzo Bellante, teramano, 1992), I), pp. 55-66. Gabriele pp. 49-78. and epigrapher pp. 458-460. of Teramo, Pietracamela in
facsimile degli Abruzzi, 52, 57, 60; Henry W. Kaufmann, op.
edition,
L'Aquila,
(Teramo:
Cassa
di Teramo, (Centro 1704-1778) italiani,
Di Cesare, Attraverso 4 Antonio Ludovico of Abruzzo; 5 Antonio the valley
la Valle Antinori
Culturale was
Edigrafital,
the most Istituto
important
eighteenth
century italiana, within
historian 1960) vol.1,
see Dizionario Ludovico ofthe
biografico and
degli
(Rome:
dell'enciclopedia Siciliana Castelli, is situated
Antinori,
op. cit., vol. 42, col. includes the villages V
57. The Valle of Tossicia,
the province Colledara,
river Vomano
Isola del Gran
Sasso,
and Pretara. 6 Pedro di Toledo the Spanish
was
viceroy
of Charles
in the Kingdom
of Naples
in 1532-53,
and was
responsible
for aspects
of
rule of Naples.
187
188 The Galpin Society Journal
.-/2J___iiiL_^ _^BSal__________________?^^ ^_^^^___a_???????????????????????????????_???_li^_ 1. Wfesterw Wew o/v/*z Chiaia Figure
A&&xt&lLi_>*?&?g?ai__ ____________W_^_B__M_y_B__B_e_H_S8B6gs^_a tMffiffBlllffl^ ri5>??v^ in the eighteenth century: in the middle, the tower of Palazzo d'Alarcon.
to Spain as a prisoner. He had no male heirs, but his only daughter, Isabella Ruiz d'Alarcon, married Pietro Gonzales Hurtado deMendoza. He established the right of primogeniture
descendants, so that his
for Isabella and Pietro's

possessions and rank
- that every male first-born receiving the inheritance should be - creates named after don Ferdinando d'Alarcon would not be lost.7 The sole condition
great confusion
name,
to coast of Chiaia, at build a palace on the Neapolitan that time often exposed to barbarian incursions.12 Palazzo Chiaia, with itswatch tower, was the most ancient and impressive palace on the coast. During the mid-eighteenth century, it was described as a great art collection and gardens full of having flowers and rare plants.13 At that time, theMarquis lost the palace because a member of the Mendoza family married don Giuseppe Castellar, and their daughter later married the prince of Torella who belonged to the Caracciolos. This short
of Francesco Orso's book ofmadrigals.11 Ferdinando d'Alarcon was the first nobleman
Ferdinandos. Appendix I shows the family tree of the d'Alarcon family from 1532 up to 1630.8
today,
because
there
are
so many
Among other privileges, in 1532 don Ferdinando I received from Charles V a palace. Itwas in Naples
Porta Donnorso,9 next to
near
Pietro a Maiella, French Enrico
65, during the restoration and extension of the palace, don Ferdinando met Francesco Orso who
was then prior
and had once belonged to the pro Pandone. Probably around 1563
the monastery
of S.
outline indicates the political wealth and fame ofthe Marquises ofthe importance, Valle and their rise as feudal lords ofthe Kingdom of Naples. Their risewas connected to humanistic ideas and characterized by 'an intimate relationship that had to be established between virtues and nobility, so that the latter would not shape its rights of
supremacy as a simple chain of abuses'.14 However, the
identified the Marquis of the Valle as Pietro Gonzales de Mendoza,10 fourthMarquis ofthe Valle has Siciliana. Therefore, Ferdinando IV is the dedicatee
of the monastery
nearby.
Kaufmann
noble class stood foremost inmid-sixteenth
century
7 Carlo De Lellis, op. cit., p. 394. 8 For Appendix I, see below, p.204. 9 Tl Palazzo Antonio dei Colombo, 185-190. 10 Henry W. Kaufmann, 11 Aurelio Della Faya's Venice Don The on in 1570, was Giovan dedication also
Principi
di Conca',
Napoli
nobilissima,
9, (1900),
fasc.
IX, pp.
129-132,
172-175,
op.
cit., pp. 224-225. Libro de Madrigali to Ferdinando IV
a cinque in Gardano voci, published posthumously by Angelo In this case, the dedication was written two of his by 'disciples' e Aurelio Battista Bolsi on the composer's Pittore di Lanciano who this edition behalf. supervised as maestro informs us that 'Father Aurelio la Faia when active in Lanciano di cappella intent and Secondo dedicated to Your musica n.705. Illustrious italiana Lordship'. vocale profana See Emil pubblicata Vogel, dal Alfred 1500 al
Einstein,
it difficult to present found famous, becoming something Francois Claudio della Lesure, Sartori, Bibliografia
1700, (Pomezia-Geneve: Staderini-Minkoff, 1977), pp. 463-464, 12 e del curioso della Carlo Celano, del bello, dell'antico Notizie Salvatore 8 (1900), an article 13 Fabio Colonna
e Cortigiani, 1520-1750, (Naples: Electa, 1993).

Fabio Colonna di Stigliano, Saur, L'idea op. 1992). in Italia. London-New 14 Claudio Lafeudalita York-Paris: Donati,
citta di Napoli in died giornate, (...) divise (Naples: T palazzi di della Riviera', Napoli Palermo, IX, p. 267; 1692), giornata nobilissima, Stigliano, fasc. Ill, pp. 33-37, fasc. IX, pp. 129-133; I palazzi Gino Doria, edited by Giovanni with Aloisio, napoletani, di Napoli, Banco Storie di Nobili Labrot, Naples, 1986, p. 163; Gerard Labrot, Palazzi by Gerard napoletani. cit., p. 130; Gerard Collections inNaples
Labrot,
of Paintings
1600-1780,
(Munich
di nobilta
Secoli
XIV-XVIII, pp.
(Rome-Bari: 115-121, 137-160.
Laterza,
1988),
pp. 52-150;
Renata
Ago,
in eta moderna,
(Rome-Bari:
Laterza,
1998),
Mammarella? Italian life, especially during the years of 'growing stability' (1545-63) that followed the 1530-40s. The study of the dynastic events of the d'Alarcons and
1592 Inventory 189 musicians

are players trombone,
according to the instrument played; there

of lute, organ, and viol, seven-course guitar, shawm, cornett.
of power, the expression of the political

early modern Italy'.15
their local policies within a broader political context is an important step in the historical analysis of 'the society and its representation, the manifold aspects
After musicians
Ferdinando I settled in Naples many were enrolled into the service of the
thought in
each part-book describes themusical education and interests ofthe Marquis ofthe Valle.16 The dedication points out that theMarquis was able to singwell and
to play several instruments, as well as having such
In Francesco Orso da Celano's book ofmadrigals, the dedication printed on the verso ofthe title-page of
d'Alarc,on family. Recent research into documents of the Sanseverino family, particularly of both the prince of Salerno and Bisignano, confirms that the d'Alarr;ons took on trumpet players (trombetti) after 1539 to supplement their own musicians
celebrations and ceremonies.19
for special
occasions,
The prestige the documents

such as cornetts,
a good knowledge of music history and theory that he deserves the title of 'prince and true professor of music' (prencipe e di vero professore della musica).
to musicians active in the d'Alarcon entourage,
trumpets and the large number of treble instruments,

trumpets and trombones listed
of the d'Alarôns together with the proving 'regular' presence of
Significantly, 'his professors' (i professori suoi) refers usually enrolled as

teachers.
in the inventory raise the possibility that there was a permanent band of shawms in the service of this family and it is possible there was a true alta cappella.20 This is supported by the presence in the shawms.21 Itwas
inventory of a bass-trombone, as used in bands of
musicians' probably those 'family

performers or as
di Festa, Ghiselin Dankerts, Orlando are some Lasso and Giaches de Wert of the only most famous 'familymusicians' in sixteenth century
Naples.17
Costanzo
singing
and
instrumental
the habit of honourable gentlemen to recruit at least a few trombetti players.22A much studied case is that of the Este family in Ferrara.23 Many fifteenth- and sixteenth-century chronicles report the varied activities of bands of shawms and
They were used for ceremonial music,
by Scipione Cerreto.
musica vocale et
in sixteenth The presence of excellent musicians is in detail confirmed and described century Naples In his treatise Della
he
trombones.
prattica and
and also for court dances at special occasions such as weddings or celebrations welcoming special
guests.24 Even without specific documents, as in our case,
strumentale,18
lists musicians
active
in Naples,
divided
into composers
15 Le dinastie nella prima italiane Spagnoletti, Angelantonio 16 The dedication in II. is transcribed Appendix 17 Keith A. Larson, Condizione sociale del musicisti del Cinque Bianconi and Renato secolo, edited by Lorenzo Bossa, (Florence: life of aristocratic in Napoli circles in sixteenthand seventeenth-century Basile', vocale Rivista et strumentale, musicale 18 Cerreto, Scipione 19 Cesare Corsi, Le nella prima meta al tempo Della carte di Giambattista pratica musica Nuovi in Fonti
eta moderna,
(Bologna: in Musica
II mulino,
2003).
e Seicento, Olschki, Naples,
e societd Elena II/l
1983), see
pp. 61-77. also:
a Napoli For an outline Barassi,
dalXValXIX ofthe musical e pratica
'Costume pp. 74-111. pp.
italiana
di musicologia (Naples: della Giacomo musicale musica
(1967),
Carlino, a Napoli e dello 1-40:
1601),
153-160. meridionale tra XVI e
Sanseverino.
documenti d'archivio per
sul mecenatismo la storia
e nellltalia a Napoli
del Cinquecento,
spettacolo 30.
XVIII Editoriale secolo, edited by Paologiovanni Maione, scientifica, (Naples, 20 see: Peter On the alta cappella and the band of shawms, Problems Downey, in the 15th Century in Antwerp Printing Alta and Capella, Europe inMusic Fragments and Manuscripts in the 16th Century:
2001,
pp.
of Form, Instrumentation in the Low Countries; Alta Biezen Alamire,
and Function Capella; pp. Music
edited 23-25.08.1995, Antwerpen by Eugeen Lorenz Welker, Wind in the Renaissance, ensemble Knighton and David Fallows, (Oxford: Oxford
Alden colloquium proceedings Henri Schreurs, Vanhulst, (Leuven-Peer: in Companion Press, toMedieval 1997), pp. 146-153;
23.06.1995, 1997), music, McGee, J.
24.06.1995, 147-167; by Tess edited
& Renaissance Timothy pp.
University
the case ofthe "Adamiri Wedding Cassone"', iconography: 21 see the For further details inventory, entry [148]. 22 A typical late-mediaeval custom that persisted during onwards, in Italy, as well as in Europe, every town used as heralds worked and 23 Lewis Lockwood, 178-182. 24 Maurizio for ceremonies La musica or popular
Imago Musicae
IX-X,
(1992-1995)
'Misleading 139-157:147-155.
the sixteenth
to have
century. From in its service a certain
the end ofthe number
thirteenth
of trumpet
players,
century who
celebrations. (Bologna: Musica II Mulino, 1987), pp. 26-28, 83-86, 128-129,
a Ferrara
nel Rinascimento,
Padovan,
Dalpoggio
alpie
del ballo,
in Strumenti,
e ricerca,
Atti
del Convegno
internazionale,
190 The Galpin Society Journal one can easily imagine that the number and type of instruments changed according to the occasion and circumstances. Shawms and trumpets were definitely
employed for ceremonies and open-air use. performances,
Although
missing, room full of all sorts ofmusical
while shawms only (with the occasional

trumpet) were more for private
addition of a not
instruments ('tutte le sorte di instrumenti musicali'). This evokes thoughts of all the instruments in use in the second half of
the sixteenth century (lutes, cornetts, recorders
a complete list of all the instruments is the compiler Serafino Razzi talks about a
tell us was instruments d'Alarcon able which Ferdinando are some to play and which ones he owned, but there Dominican from the father Serafino suggestions in 1574-77, Razzi in 1575. During a trip inAbruzzo Francesco Orso's dedication does Razzi reports his stay in Tossicia25 on 24 July,1575:
Later we remounted so living of Don of our horses and continued land venomous This is the three miles, Tossicia, snakes land Marquis following because called in the walls Fernando the Valle the rivers of the noble for of
and flutes, viols, trumpets). If the music library and of collection in the summer palace of theMarquis the Valle Siciliana was so rich, one can suppose that in his palace at Naples the library and collection were even richer. This speculation has finally been supported by the recent discovery of the Inventory of the objectsfound in the cabinet leftby the late Marquis of the Valle on the last day of September 1592. This inventory is preserved in the State Archive inNaples (section 'Notai') and consists of twelve numbered folios, inserted between f. 328v-329r of document
of the many of its citadel. Alrcone
Siciliana,
captain who fought the battle of Pavia and took the

of France lives most courteous, Catholic As many say, he is prisoner. people and spiritual enjoys things.26 but sometimes, of the time in Naples,
illustrious [sic], son of the great
King He
in his the summer, he settles during especially he has a rich library, with many where marquisate, Since he enjoys music, secular books, finely bound. we saw in one of both vocal and instrumental music, his rooms also saw almost all sorts of musical highly decorated, and the organ: instruments. there were We the chapel a rich altar full of sacred also
family were named Ferdinando. The first part of De Forte's document dated 29 July 1594 is quite useful:
332/12 ofthe notary Damiano De Forte.28 The dynastic history of the d'Alarcon family is complex, not least because all the male heirs of the
[c. 328v] 29 ofthe seventh indiction in 1594, in On July Naples,

in Posillipo in the exactly our presence, the illustrious Capizio trustee d'Alarcon us, of his Don Alvaro spot called Tomacello, in don Federico gentleman at present of Chiusano, don Ferdinando in front [omissis] not present, of by [omissis] received
objects,
as that his father received vestments, royal and papal a after the sack of Rome, VII, gift by Pope Clement a for having fought here as good Christian.27
Tomacello, Marquis of the illustrious gentleman Mendoza, own accord, de Mendoza, confessed that he
at the moment
24 (continued) Cremona
28-29
October
1994,
edited
by Elena
Ferrari
Barassi,
Marco
Fracassi,
Gianpaolo
Gregori,
Ente triennale ad arco, 2000), internazionale pp. 147-162. (Cremona: degli strumenti 25 in the province within the Valle Siciliana of Teramo, A small village 5). (see above, footnote 26 can probably of Aurelio della Faya's with the opening madrigal be connected d'Alarcon This aspect ofthe Marquis a on the text by Francesco Beccuti called Locar based book of madrigals, secondo sopra gli abissi, spiritual madrigal a cinque voci con sei madrigali in his Primo Tudino libro de madrigali set to music il Coppetta. by Cesare Already Della before 1626. Marco Sciucca, sopra gli abissi was used by several musicians 1564), Locar (Roma, Dorico, spirituali e invenzione, at the seventeenth read Cesare d'Atri: Tradizione di Tudino I madrigali paper unpublished spirituali Leuven Mencie of the International International Instituut, Mgr. Society, (Belgium), Musicological Congress at am indebted his paper 2 August to Marco for having 2002.1 Della Universiteit Katholieke Sciucca, Leuven, placed my disposal. 27 'Dopo detta deH'ill.mo si trovo cortese volta libreria, alia rimontando Tossicia, signor presa e cattolico, ancora, di a cavallo dal tossico ci stendemmo e dalle della molte tre miglia serpi Siciliana, e che Don secondando nelle i due fiumi rocca che di fuori della terra la
nobile, terra che molto alcuna bella
piu avanti, si trovano Fernando
marchese del
re di Francia e si diletta
e massimamente
gran capitano re in custodia. come dicono, E questo il detto signore, gli fu dato Et del la Stanza delle cose spirituali. molto per tempo a Napoli. parte maggior a questo suo marchesato. si tiene una costuma Onde di venirsene la estate a Pavia;
Valle
della muraglie Alrcone [sic], figlio
lei. E questa
di quel
di voci e e signorilmente della musica, diletta detto libri per lo piu volgari, signore legati. E perche ancora la Vedemmo musicali. in una sua stanza di tutte le sorte di instrumenti di suoni, vedemmo cappella quasi e con paramenti et organo: ricco altare et adorna dir si possa, cotanto bella sacre,con regii, quanto ripiena di cose e si il sacco di Roma al quale VII dopo e papali da papa Clemente di questo marchese, havuti dal padre egli si trovo un in Diario in di con esso La nel vita Abruzzo Serafino christianamente Razzi, viaggio Cinquecento. papa'. porto 1990), pp. 49-50. particularly to: Dr. Carmelina Belli and
Abruzzo Polla, 1574-1577, (Cerchio (AQ): Adelmo negli anni 28 I am grateful to many people who helped me in the present
research,
Mammarella?
and once tutor of the illustrious be
1592 Inventory 191

Chiaia that are listed here in the inventory drawn The person. up by unknown the present notarial deed was on notary, document: Bonocore was the same July 29, day 1594. inventory left to me, being part of the aforesaid up of this
Valle
the following valuable

ie. ... It should
(jocalia)29 furniture
inserted [omissis] all
Marquis
of
the
[omissis],
the possessions described as left to me have been how this property was
ofthe Valle Siciliana himself and assigned to him by the Sacred Council and by decree of the illustrious
Charles Fenicio...30
in the following inventory are this is they preserved; over to the Marquis handed
of the drawing to
therefore
empowered
receive
all
This
document
Ferdinando Mendoza31
reveals which properties IV acquired, and also that don Alvaro de was one of his tutors and housefathers.
listed, except for those in the second part of the document and listed at the end of the Notamento under the heading 'Robe della casa di the possessions
Chiaia'.
This is probably don Ferdinando,32 his nephew who died very young and unmarried. As a result, the title of don Ferdinando was acquired by his brother don Pietro Gonzales de Mendoza, who become the Marquis reports
'special'
Notamento aliena'
comprises to musical
Having established itshistorical and family context we can finally describe and discuss the inventory. to the notary Damiano De Forte, the According delle robe was compiled 'scripto mano (by a foreign hand). The inventory which
12 unnumbered folios, enumerates
of the Valle
ofthe
Siciliana.
the appointment
A marginal note as of Giulio Bonocore
253 items, 49 of which

instruments
directly or indirectly refer

or are connected with
proxy musical objects. Although little marquis. o: information about the dimensions, construction [c. 328v] On May 24 of the seventh indiction in 1595, in makers of the instruments, it reveals the stunning in our the gentleman Giulio presence, Naples, contents of one ofthe most important South-Italian to the notarial drawn deed according in the present year 1595 by the notary Scipione of Naples for the illustrious Castaldo gentleman Bonocore, up of of all the Valle the Siciliana, assets. declared Giulio to proxy Buonocore
the inventory has
musical
century.
collections
Almost every
at the end of the sixteenth

entry has a double cross, as
Marquis confessed following
stand
following own accord all the that he received for those Palazzo of possessions except of his
twice, but some entries have only one cross, probably because the item was lost or had deteriorated between one survey and the next.34 The if checked
anonymous compiler was not alone while drawing
28 (continued) ?>r Raffaele in Chieti. Archive 29 The archaic 'Jocalia',
Della
Vecchia
of the State Archive
in Naples,
as well
as Dr. Annamaria
De
Cecco
of the State
term
'jocalia'
is used
here
to underline Latina,
the great edited
value
of the
items
in the (Naples:
in: Vocabolario
universale 1831), vol.
della
Lingua
by Nicola
Comerci,
inventory. See the entry Stabilimento letterario
dell'Ateneo, tipografico 30 'Die Vigesimonono in nostri Tomancello Chisanj ad presens
II, p. 534. Iuli et proprie Federicus a posillipo in loco detto del marchio Tomacellus Capituis et de Mendoza Marchionis Vallis Sicule
1594: Neapoli Indictionis septime Illustrissimus constitutus Dominus Don presentia curator Domini Don Illustrissimi Ferdinandi de Alarcon
mensis
sese coram nobis se ipsum recepisse ab Illustrissimo Domino Don Alvaro de [omissis] qui sponte confexus [omissis] et tutore eiusdem Mendoza absente olim balio Domini Marchionis Vallis bona mobilia [omissis] infrascripta jocalia et sese ... videlicet: Inseratur omnia bona descripta in sequenti ut iacent mihi inventario [omissis] per ipsas consignato sic recepta sunt presenti Dominis bona Marchionis fuisse sibi assignata ordine Sacri Vallis, partes: que quidem illaque et mediante Consilii decreto 31 Son of Don Ferdinando interposto II (Pedro per Gonzales illustrissimum de Mendoza) Carolum and Fenicium Isabella Ruiz ...' d'Alarcon. See Appendix I, as well as:
Carlo De Lellis, op. cit., p. 395. 32 III and donna Son of don Ferdinando Eleonora Sanseverino. See Appendix I, and Carlo De Lellis, op. cit., p. 396. 33 'Die Vigesimoquarto mensis in nostri presentia Indictionis constitutus 1595, Neapoli septime Maj, magnificus de Neapolis ut dixit mediante ad infrascripta Julius Bonocore procurator per procuratione signanter stipulata anno notarium Castaldi de Neapoli de presenti 1595. Domini Illustrissimi Marchionis Vallis Scipione magnificum est coram nobis et [c. 329r] recepisse [omissis] sponte confessus [...] habuisse scriptum infrascripta contenta et descripta mano in infrascripto inventario et in aliena instrumento existenti scripto protocollo notaro fuit stipulata et sub infrascripta Die 29 Iuli quo mihique tempore predicto consignato quetatio infrascripta 1594 ad unguem ut jacent preterquae in Domo bona existentia videlicet'. The list drawn after the document of Chiaje Sicule [omissis] bona omnia the
34 Ofthe musical instruments,these itemshave only one cross: [160], [182], [189], [190], [191], [201].
'Robe della
casa
di Chiaia'
includes
a limited
number
of entries.
192 The Galpin Society Journal up this inventory: four entries35 report the expression
che dice Romano... (as Romano a clarino a or trumpet (uno conserto followed
detailed
well. This would

descriptions,
description. No doubt Romano was close to the Marquis of the Valle, he was probably in of the collection36 and knew all the objects charge explain
as
says...)
by
dentro la cascia delle storte, due veste di Bottafoco, uno chiarino seu trombetta), all of which reveal musical
Let us
di frauti...posti
knowledge.
focus our attention on the items concerning
the precision
in the item
the
musical further
instruments and music remarks in the
such
a consort
of recorders...in
books, providing footnotes and in the
crumhorn case, two cloth bags for the Buttafuoco, leftby the lateMarquis ofthe Valle on the last ultimo day of September 1592
[140] A large small and case large of recorders containing sixteen [recorders] large large and case small of case small recorders of grande recorders Inventory of the objects found in the cabinet
commentary which follows the inventory.37

Notamento delle robe che si trovano nella Guardaroba
che lascio il quondam SignorMarchese de Settembre 15923S

Una cascia difrauti grande co[n] sidici pezi
della Valle a
tra
defrauti
etpiccoli Unaltra pezi cascia de frauti tra grandi de frauti similmente etpiccoli grande co dudici pezi de frauti grande co unite tre
[141]
Another containing
similar three
[recorders] containing
defrauti cascia etpiccoli cascia
[142]
Another twelve
large large and
Unaltra grandi
[recorders] containing piccoli containing eight
[143]
Another
large large and small small
case
of recorders
Unaltra
defrauti
grande
de pezi
otto
tra grandi
et
[recorders39] case
[144]
Another eleven
large and small large and case
of large recorders small [recorders] case of recorders
Unaltra grandi
cascietta etpiccoli cascietta
di frauti
grande
di pezi
undid
tra
[145]
Another seven
containing piccoli three large
Unaltra
di frauti
di pezi
sette
tra grandi
et
small
[recorders] containing
[146]
large
of recorders
Una
cascia
di frauti
grandi
di
tre pezi
grandi
[recorders] [147] A case of recorders containing five large and Una cascia de frauti de cinque pezi tra grandi et piccoli
small
[recorders]
[148] A large trombone of biffali flutes [149] A small case of six

[150] [151] [152] [153] 35 case (Una Another A case case of seven flutes Unaltra Una cornetts four intact drones of five mute case cornetts
Un trombonede biffali grande Una cascietta di traverzidi pezi seie

cascia cascia Unaltra Una di traverzi di pezzi dipezi sette cinque quattro sani di cornetti muti
Another A case
of four mute containing
cascia
di cornetti muti
dipezi
of drones
cascia
di bordoni
con quattro
bordoni
These similar cascia
entries,
all
to a locked ferrata
non-musical concerning that according casket de scrigno piccolo
items, to Romano serrata
are:
[121], holds
[133], relics, dice
[225] of which
and
[250]. reliquie
For
the Marquis
in modo
che Romano
che vi sono
entry [121]: a example, to him the keys handed et la chiave la diede al Sr
Marchese). 36 one ofthe d'Alarcon's servants had specific responsibility for the music We have not been able to establish whether ? ? one in court in service Medicean Florence. See to of the the musica the della cabinet comparable guardaroba Note in sconosciuti del due inventari strumenti musicali medicea 'La collezione Mario seicento', Fabbri, primo degli e sconosciuti nuovi documenti 'Strumenti musicali alia corte medicea: I (1983), pp. 51-62; Piero Gargiulo, d'archivio, inventari
strumentimusicali: gli inventari ineditidel 1670 e 1691, inStudi in onore di Giulio Cattin, edited by Francesco Luisi,
1990), pp. 227-265. (Rome: Torre d'Orfeo, 37 in the inventory concerning The entries scholars that we will non-musical items are omitted here; they are the subject of research by
(1553-1609)',
Note
d'archivio,
III
(1985),
pp.
55-71;
Pierluigi
Ferrari,
Ancora
sulla
collezione
medicea
di
hope Neapolitan 38 in a different hand: This inventory of twelve iswritten the top right of the same folio, the following On inscription at present as it is in the notarial Mr. Don Alvaro de Federico deed drawn folios has to be inserted Tomacello, by a copy of it. ('Questo De Forte, on 29 July 94 and Imade the notary Damiano thus it has been given to me, Mendoza; Tomacello al Signor Don dal Signor Federico ut iacet se inserisca dentro la quietanza inventario de carte dudeci fatta de Mendoza Alvaro presente 39 is another marginal There cossi note estata consegnata a me notaro Damiano De Forte Die (ne manca 29 Iuli uno). 94 et ita data copia). in a different 'one ismissing'
be published.
handwriting:
Mammarella? [154] A case of eight crumhorns

[155] [156] Another A consort case of ten crumhorns recorders in the case of seven
1592 Inventory 193 cascia de stortedi ottopezi
Una
Unaltra of the Uno dele Sette
cascia consierto storte traverzi
de storte di pezzi di frauti di pezzi
dicie sette posti dentro la cascia
crumhorns [157] Seven large and small size flutes in the same
di frauti
tragrande
etpiccoli
posti
dentro
la
case medesimo [158] A large cornett and three small cornetts Uno
cascia storto et tre cornetti storti piccoli
cornettone
[159] Two large recorders [160] A small recorder [161] Two bifari
A mute A
Due Uno
frauti frauto
grandi piccolo Uno frauto de noce d'lndia

Una cornetta conserto muta co la sua ad arco vesta di pezzi cinque sensa corde
Due bifari
and its cloth
[162] A recorder of Indian walnut [wood]

[163] [164] cornett bag strings, le Una strings with its cloth four of consort of five viols new bass viol without
Uno
di viole nove
which [165] [166] An A old very
[are] almost and broken large
quattro viola Uno
quasi
ad arco
detto
bascio sensa
rotta corde
et vechia co la sua vesta
lute without
liuto grandiss[im]o
_bag_ [167] Four large and small harps without strings Quattro arpe tra grande etpiccole sensa corde
[168] A lutewith two necks and itscloth bag

[169] Three small [170] A lutes, ebony two of which lute, with vihuela normal [size], and one their cases Una
Uno liuto ad dui manichi co la sua vesta

Tre liuti dui ordinarij et uno piccolo de ebano co le cascie
large broken
viola
ad mano
grande
et rotta
[171] A small broken

[172] Four cases [173] Another old case broken vihuela cases
lute
and
Uno
three broken lute Quatro
liutopiccolo rotto
cascie de viola e tre de liuto rotte
of a vihuela
Unaltra
cascia
vecchia
de viola
ad mano.
with strings [175] A cittern
Una
cetola
con corde
[182] A bag of pegs and other music items of yellow Una sacha di piruli et altri per just[amentji de musicha di tela gialla cloth
[187] Two
bag fortwo flutes
Buttafuoco
cloth
bags
and
another
cloth
Due
veste di Bottafoco
et unaltra
vesta
di dui
traversi
[188]
Four viol bows without hair
Quattro
[189] A trombone of old Cypriot copper

[190] [191] [192] Four A old broken trumpets of the same material clarino or trumpet of the same material pieces for playing
archi di viole sensa pili Uno trombonedi ramo cipro vecchio

Quattro Uno Novi trombette seu ramo vecchie trombetta cipro per rotte del del sonar Istesso chiarino pezi de istesso frauti
Nine
Cypriot recorders books
copper
[197] [198]
Four music Another
with wood book with
covers red wood covers
Quattro Un altro
libri de M[usic]a libro de M[usic]a
co le coperte co la
di tavole coperta rosso sopra
m[usic]
tavole [199] [200] Eight Two large songbooks other songbooks with made leather covers Octo Due libri de altri cantare grandi co le coperte Hale di carta di coiro
of 'Royal paper'
libri de cantare
decarta
[201] A group of unbound motets [202]

[203] authors Several - some with, sheets and
mazo de mottetti no ligati Two hundred and fifteensongbooks by different Librettida cantare de diversi autori n?ducento etquindice Uno
some without scattered covers alcune co coperte et altre sensa sciolti de cantare et alcune quinternions sing to Diverse some - Historie Sette carte et quinterni
et orationi veste de panno giallo de cornetti
[207]
Seven
yellow
cloth
bags
for cornetts
194 The Galpin Society Journal The document

following
is often vague
on some
and inaccurate. The

of the more complex
-p-ereduce
to
-b-
is normal,
comments
and connected
to -aatonic is
with
vowels
lenition. The
with vocalic the by
especially
if intervocalic
entries are discussed
in the order they appear in the inventory.Unfortunately, the entire d'Alarcon music collection is now lost, so it is sometimes impossible to know which of the possible interpretations
correct.
passage
tendency
from
to
connected
is
as Targe' (grande) is particularly interesting. Compared with the later entry [189] which describes 'A trombone of old Cypriot copper The description
strengthening.43
[148] A This
entry is particularly interesting because of the expression 'de biffali grande', is previously unknown. 'Biffali' probably corresponds to pifferi,
ali grande) biff
large trombone of biffali (Un trombone de
(un trombone de ramo cipro vecchio), there is a clear intention to differentiate the sizes of the two
trombones, though the compiler provides no further information which identifies different sizes. In Syntagma Musicum,
and 'double Octav trombone and or
Praetorius
the at low
defines
octave';
Quart-posaun major' one
posaun
'trombone
referring to the family of shawms, predecessors of the modern oboe. In De organographia, chapter X
'Pommern' and 'Bombardoni',
our Targe trombone of biffalV probably belongs

of these two sizes.44
to
concerning
Praetorius
defines only the treble size (Discant) of the trombone with the Italian word 'Biffaro' (and while in the Tuning them indistinctly
with the German Table
Schalmeye), in chapter IV he calls In Pommern, Pifferi, Schalmeyen.^ Bombyces, his Della Pratica musica, Book Three, Scipione Cerreto is even more precise when discussing the ofthe Chromatic
among which
[153] A case of drones with four intact drones (Una cascia di bordoni con quattro bordoni sani) The term bordoni is quite puzzling. There is no evidence
of other instruments called bordoni, so of sordone, i.e. sordun. this may be a misspelling a instrument made of is wind This double-reed two or three small parallel bores joined together and ending in a hole on the side. Both Lodovico Zacconi (Pratica di musica, Praetorius and 1592) report (Syntagma musicum) that there were five sizes: treble, alto, tenor, bass and great bass.45 In my opinion we are dealing with a wooden pillar with low-pitched instruments. The augmentative
-oni clearly refers to a large instrument. We
meaning
instruments,
Genre
and listing many

instruments:
the wind
Biffali, Tromboni, Cornetti & altri simili.^1 This passage confirms that biffali was actually a wind instrument used in late sixteenth-century Naples. Therefore a large trombone of biffali could indicate a bass trombone used in a band of shawms. It iswell known that a band of shawms often included many sorts of wind instruments.42 The correspondence Biffali-Piffari
of the inventory,
ending
cannot
is etymologically
a transformation
sound. At the time

from -1to -r
was quite normal in South Italy; in the Neapolitan dialect it is connected with the last syllable of proparoxytone words. Although it isnot particularly frequent
40 De
in South
Italy, the transformation
of
discount the possibility that the compiler used the word bordoni with reference to the bagpipe's single note reed pipes. Sixteenth-century bagpipes had a variable number of drones, according to their tuning. Praetorius listed four type of bagpipes, each with a different number and tuning of the drones: Grosse Bock, Schaperpfeiff,Hummelchen, Dudey.46
See Michael
Praetorius, pp. 36-37 Cerreto,
organographia, 41 See Scipione 42 See Eleanor
Syntagma and cap.
Musicum, IV pag. 175-176. 22.
facsimile
edited
by Arno
Forchet,
(Kassel:
Barenreiter,
2001),
vol.
II
op. cit., pp.
Selfridge-Field, op. cit. pp.
La musica Lorenz
strumentale Welker,
a Venezia
da Gabrieli
a Vivaldi,
(Turin:
ERI,
1980),
pp. 21-22;
Peter Downey,
43See Gerard Rohlfs,Grammatica storica della lingua italiana e dei suoi dialetti, (Turin: Einaudi, 1966), (Manuali di
filologia e linguistica, 3), vol. 1, pp. 220, 308-10.1 am grateful Klaus to Danilo issue. Winkler, bis zum und zu Die Posaune und ihr Repertoire: inMusikgeographie: Brockmeyer, (Blankenburg p. 218. Costantini and Marcello Maria De the above-mentioned plate vom VI, VIII;
147-167;
op. cit., pp.
146-153.
letteratura,
for all the useful suggestions Giovanni concerning 44 See Michael Praetorius, op. cit., p. 32-33, Wechselbeziehungen und geistliche Weltliche 1990), pp. zwischen Musik umd Umwelt Blasermusik und
15. Jahrhundert zueinander Akustik,
18. Jahrhundert, ihrer Umwelt, by Monika Girolamo played
in ihren Beziehungen Geschichte,
(Bochum: Lustig,
17-55; Posaunen
Trompeten:
Spieltechnik,
edited
am Harz: Konferenzberichte, 60). 2000) (Michaelsteiner Stiftung Kloster Michaelstein, 45 Pratica di musica, Michael Zacconi, Praetorius, (Venice: op. cit., p. 39, plate X; Ludovico 46 Michael Staiti, Simultaneously IV, XI, XIII; Nico Praetorius, op. cit., p. 42-43, plate
Polo,
1592),
multi-pipe
wind
Mammarella? [156] A consort of seven recorders in the case of the crumhorns (Uno consierto di frauti di pezzi sette posti dentro la cascia dele storte) It is likely that the term consierto indicates a set
of instruments,
1592 Inventory 195

as the sonorization to -b-. As of the -pand above,51 its consequent although not mentioned
passage
in South Italian phonetics, this passage is connected with the intervocalic position of-p-, here the term bifero could derive frompiffero.52The term bifaro could also be considered etymologically as
referring to the vowels of the word due. Moreover,
common
a different size most

Renaissance,
in Praetorius,47 or likely treble, alto, tenor and bass. During the as described
of consorts recorders, and others of
probably
recorders,
each
one
of
viols, were registers

music.48 were kept
the first consorts and play

quite
to match
that these
the vocal polyphonic

recorders instruments
unaccompanied
anomalous case as
It appears
the fusion of the Latin word bifer with theMiddle Latin pifer.53 But bifaro could also refer to a popular instrument, probably made of two parts (suggested by bi-5*), such as the Calabrian double recorder. This idea is plausible because on 30 June 1532 Ferdinando d'Alarcon was rewarded forhis services to Charles V
in a crumhorn
there did not normally play together. However, could be other reasons, such as the decrepitude of
the recorder case. were Consorts usually of recorders, cornetts cases or crumhorns supplied in special
which were often decorated
and valuable.49
[158] A large cornett and three small cornetts (Uno cornettone storto et tre cornetti stortipiccoli)
Cornettone storto refers to the tenor cornett.
Typically in an elongated S shape, itwas pitched a fifthbelow the common curved cornett and had a key for the little finger.According toMunrow, the tenor cornett in C was so long that the bore had a double curve instead of single. Because of this, in England was called lysarden.50 it
easier to hold with the teeth) and big holes on the back or frontwhich are used to tune the two pipes to each other. This instrument exists in two types, of which the first ismore common: 1) a paro - pipes of the same length and diameter, usually held close and parallel to each other; 2) a mezza chiave diverging pipes of different length and diameter. The double recorder is common inCalabria; it closely resembles bagpipe
repertory
by the gift of Rende and other estates inNorth and South Calabria.55 The Calabrian double recorder is characterized by protruding beaks (which make it
chanters and shares with

of pastoral songs and
them the same
tarantelle.56
[161] Two bifari(Due bifari)

As in the case of drones, we can
An alternative hypothesis is that the term bifaro corresponds to what is now called bifara or pifara. This double-reed wind instrument has a slightly cone
the term bifari. Itmay be a misspelling of the term piffero in its generic meaning of shawm. The relation bifaroIpifaro (piffaro) can be linguistically explained
46 (continued) [mtruments vol. 9, pp. 66-86; Roberto
only
speculate
about
shaped pipe terminating with an accentuated bell, eight front holes, the thumbhole and two windholes on the bell. A sort of lip disc at the base ofthe reed is placed on the copper duct. The first references to this
in Sicily, Leydi
in Studia Febo
Instrumentorum Le zampogne
Musicae in Italia,
Popularis, (Milan:
(Stockholm: Ricordi,
Musikmuseet, Strumenti
1989), musicali
Guizzi,
1985),
in Italia, 1. popolari 47 Michael Praetorius, op. cit., pp. 33-34, plate IX. 48 in theMiddle Howard The recorder Brown, Mayer edited M. by J.
Ages
and
the Renaissance,
in The Cambridge pp.
companion 1-25.
to the
recorder, Thomson, Press, 1995), (New York, Cambridge: University Cambridge 49 case containing For example, the precious six late-sixteenth century crumhorns preserved of Musical Instruments. 50 Michael Instruments David Munrow, Praetorius, op. cit., p. 35-36, plate VIII; of theMiddle Press, 1976), pp. 69-70. (London: Oxford University 51 item [148]. See inventory 52 Francesco Nuovo vocabolario dialettale D'Ascoli, the transformation 53 Pifer derives vol. XIII, italiana, of-einto -a-, see above, and has 1986), footnote
at the Brussels
Museum
Ages
and
Renaissance,
napoletano, 43.
(Naples:
Adriano
Gallina
editore,
1993),
p. 113. For
from pfeiffen (Turin: UTET,
an onomatopoeic p. 440; Battaglia
Salvatore Grande della dizionario origin. Battaglia, mentions the following variants term piffero: ofthe
lingua pefaro,
pifaro, pifero,piffano,piffaro. 54 Bifer is composed oibi (two,double) and/er derivinghorn few (to take).
55 Carlo De 56 Antonello Lellis, Ricci op. cit., p. 394. and Roberta 'Sulla Tucci, 'Folk musical del doppio instruments flauto in Calabria', Galpin Society XXII, Journal (1994), XLI, (1988),
pp.36-58;
Roberta
Tucci,
classificazione
in Calabria',
Studi Musicali
2, pp. 395-411.
196 The Galpin Society Journal instrument date from the seventeenth century,when itwas played during religious and civil ceremonies and processions, often accompanied by a tabor. The bifara was well known in Calabria and Sicily, thus - for the reasons mentioned above- its explaining
presence in the d'Alarcon collection.
[164] A consort of five viols without strings, four of which almost new (Uno conserto di viole ad arco di pezzi cinque sensa corde le quattro These quasi nove) are probably viola-da-gambas, although the term could refer also to violins. The first hypothesis is more the instruments in the likely, because
In this case, the compiler probably focuses on the in order to emphasise its 'exotic' quality wood it is Italian walnut. However, compared with difficult to understand what the compiler meant by Indian walnut. It could be the American walnut57 that reached Europe after the discovery of America through the Spanish and Portoguese commercial routes. But it could also refer to the Indian walnut, i.e. the Indian Albizzia,58 used for fine carpentry, furniture and boats. Coconut was also called Indian
walnut or Nux Indica.59 Nux Indica was
[162] A recorder of Indian walnut noce dTndia)
(Uno frauto de
inventory were used probably by their illustrious amateur owner; therefore violins, generally played at the time by professional musicians, are less likely. The term conserto does not help us to identify the sizes of the five instruments. Silvestro Ganassi only three sizes of the viol in Regola Rubertina and Lettione seconda (1542-3). Woodfield has shown that the viol consort in sixteenth century Italywas typically comprised of bass and tenor viols. describes
wider range was required, other instruments flute,
Such consorts had quite a limited range, but when a recorder or treble viol - could be added later for the soprano parts.Woodfield confirms that at the end of the sixteenth century many sizes of viol were in use,
the date of this inventory and the Spanish origin of the family suggests that this wood is the American walnut and that the reference to 'Indian' is simply a consequence of itsgeographical
origin.
during the fourteenth century, and was described inArabian texts;60 it is included in a drug and in a Swiss treatise list by Saladin of Asculos known dated 1479. However,
already
ranging from double-bass to treble.61 In his Libro del Cortegiano, Baldassarre Castiglione reports for the first time that viol consorts were suitable for upper
class amateurs. In Book II, Gaspare Pallavicino asks
Federico
Fregoso which type of music a nobleman should play. Fregoso answers that he should sing,
[163] A mute cornett and its cloth bag (Una cornetta

muta co la sua vesta)
The absence from this inventory of any functional bows suggests that either the bowed instruments
were not in constant use, or it was normal to keep
sing and 'recitar' with the viol, play all fretted instruments, 'and also themusic of four viols, which is very gentle and artificial'.62
Vesta
and
refers to the cloth covering used

the instrument.
to contain
protect
their strings and ancilliary equipment, only bringing them into a working state
instruments without
57
The American than, oltre 4200 1983),
walnut
less valuable sopra
Italian
specie p. 699.
as Black Walnut, is a ductile wood, similar to, though (Juglans nigra L.), better known con notizie / del mondo: walnut. dizionario Giordano, enciclopedico legnami Gugliemo di termini e significati ad uso di studiosi, economici, tecnici, operatori (Rome: legnose completo
II Ceriolo,
58This is the Albizzia Lebbek Benth and for theAlbizzia Xanthoxylon, belonging to the family popular name for
and Burma. or Gugliemo historie Giordano, op. cit., pp. 384, Gathered apothecarye 992-993. master in chirurgerie of London Adam (London: Islip, Joice Norton generall Johnson by Thomas ofplantes. citizen and by John Gernade of London,
of India, Ceylon leguminosae 59 The Herball John Gerard, very enlarged 60 Nux and amended
and RichardWhitakers, 1636).

indie or Nucula Indica, Nucis Indiae, or Indian Nut zu medicaminum'. Pharmaziehistorische untersuchungen in English and Neregil einer alemannischen inArabic. drogenkunde Hans Minner, 'Thesaurus des spaetmittelarters,
edited byUrsula Schmitz, (Wiirzburg: Jal-Verlag,1974), (Quellen und Studien zur Geschichte der Parmazie, Bd. 13),
p. 163. 61 For da gamba further dalle information, origini see: Michael Praetorius, edizione op. cit., p. 44-46, edited plate XX Renato Meucci, by a cura and XXI; (Turin: Ian Woodfield, EDT, 1997), pp. La viola
al Rinascimento,
italiana
136-158,
207-218. 62 Baldassarre p. 115:
Castiglione, diletta
// libro del la musica delle
cortigiano, quattro
edizione viole
critica
di A. Quondam,
(Milano:
Mondadori,
2002),
'e non meno
de arco,
la qual
e soavissima
ed artificiosa'.
Mammarella? when they were required. This could also apply to other instruments in the inventory (e.g. [166], [167]) but itdoes seems unlikely. [167] Four large and small harps without strings (Quattro arpe tra grande et piccole sensa corde) is The presence of the harp in this collection consistent with
in sixteenth-
1592 Inventory 197 The inventory does not reveal what kind of harps they had, only that there were at least two
different sizes.69
on Naples.
[168] A
the popularity
of this instrument
Naples. In
history ofthe origin ofthe theorbo and chitarrone.70 Renato Meucci established that 157871 was the
terminus ante quern the chitarrone was invented,
liuto ad dui manichi This entry represents an
lute with two necks and its cloth bag (Uno co la sua vesta) important point in the
and
seventeenth-century
Della
Scipione Cerreto describes the harp, particularly the harp with a double row of strings, and lists the most excellent harpists in musica, The instrument Cerreto describes is the
Pratica
and
considers
Alessandro
Naples.63
was, however, invented by typical Neapolitan harp; it Giovan Battista Giacometti known as 'del Violino',
from known Brescia.64 Giovan Leonardo Italian dell'Arpa, harp a well virtuoso, sixteenth-century The was also
the extended neck in 1594.72 It is therefore interesting that in 1592 the Marquis of the Valle already although described as 'a lute with two necks'. The compiler notes that it is a lute,which would be well understood, and its defining feature of two necks, without clarifying whether itwas a chitarrone or a theorbo. As chitarrones bass lutes with additional normally appear to be strings tied to a second
possessed an instrument similar to the chitarrone,
'definitively reliable' the words of Piccinini declaring he was the inventor of
was
responsible of 'introducing the double harp in

harp popular in sixteenth
century Spain, as shown by the treatises of Alonso Mudarra66 and Juan Bermudo67 and by the harpist
Francisco Martinez, a contemporary of Bermudo,
Naples'.65
who
probably played the harp with additional chromatic strings.68 The Neapolitan passion for the harp, ofwhich the d'Alarcon and Mendoza family is a clear example, is probably due to the Spanish rule
63 64 Scipione Giovan de' Cerreto, Battista suoi op. cit., p. 158. Giacometti (1628), 1903), called (Lucca: p. 124; del Violino (Brescia,
pegbox extending upwards from the main one, the instrument described in the inventory is probably a chitarrone. On the other hand, in his Musurgia Universalis, Athanasius Kircher affirmed that 'the
theorbo was named after a
that was one of the first to develop
Neapolitan
vagrant
the fingerboard
c. 1550 edition
?); see Vincenzo in: Angelo L'arpa Solerti,
Giustiniani, Le origini
Discorso
sopra
la
musica (Turin:
tempi Bocca,
Giusti, Elio
1878), modern and Anna
del melodramma, SPES, 1982),
Fratelli
Durante
Martelletti,
di Laura,
(Florence:
pp. 19-21, 39-41, 73-108. 65 Elio Durante and Anna Martelletti, op. cit., p. 21. 66 en cifras para Alonso de Tre libros musica Mudarra, Editions Canterelle, 1980). 67 Declaracion de instrumentos musical, Juan Bermudo, Barenreiter, 68 Robert 69 Michael 1957). Stevenson, Praetorius, Juan Bermudo, op. (The Hague:
vihuela,
Siviglia, 1555,
1546,
facsimile
edited
by J.Tyler,
(Monaco:
Osuna,
facsimile
edited
by M.
S. Kastner,
(Kassel-Basel:
Martinus
Nijhoff,
1960),
pp. 58-59.
Dinko cit., p. 59, plate XVIII, XIX; Cerreto, Fabris, L'arpa op. cit., pp. 154-160; Scipione e coscienza di uno strumento simbolismo estetico-sonoro musicale del primo in: Modernitd Seicento, napoletana, a edited by F. Canizza, Dinko estetica, moderni, 211-262; Fabris, L'arpa 1986), pp. (Naples: Tempi Napoli nell'epoca en honor al in De musica et aliis: misceldnea S.J., en su 65? hispana Spagnolo, Prof Dr. Jose Lopez-Calo, Universitas de Compostela: de Santiago de Compostela, Dinko Fabris, 1990), vol. 1, pp. 241-262; cumpleanos, (Santiago inNaples, inHistorische zur Theorie The harp und Praxis historischer Harfen, 1500-1700, (Dornach: Harfen: Beitrage Internationales The Baroque double Harfen-Zentrum, Devaere, 1991), pp. 43-59; Hannelore harp inKingdom ofNaples, voor Muziekhistorische (Utrecht: Stichting Uitvoeringsprakijk, 70 see On this issue, the recent article by Renato Meucci, Da e il suo tempo. Atti del in Enrico Radesca di Foggia Convegno 1994), 'chitarra pp. 13-80. 'chitarrone': 7-8 April 2000, una nuova interpretazione, Seller, italiana'a
del Viceregno
di studi, Foggia,
edited
by Francesca
italiana, 2001), pp. 37-57. (Lucca: Libreria musicale 71 The date of the inventory of the workshop of the Neapolitan makers Martino. Francesco 'La bottega dei 'violari' napoletani Albanese Nocerino, musica Liuteria, 72 Alessandro e cultura, Piccinini, (1999-2000), Intavolatura pp. 3-9. di liuto et di chitarrone, (Bologna,
Orazio eMartino
Albanese in un
and Giovanni inventario inedito
Tommaso del 1578',
1623), modern
edition
with
preface
by O.
Cristoforetti, (Bologna: SPES, 1983), p. [IX].
198 The Galpin Society Journal of the lute and to add several bass strings'.73 This could lead us to suppose that the 'lute with two
necks' was
or theorbo, this instrument confirms theMarquis' interest in the full modern range of musical styles
and practices; as a result, his musical collection was
actually
theorbo.
Whether
chitarrone
evidence
exact
large broken vihuela (Una viola ad mano grande et rotta) This entry refers obviously to the vihuela de mano interestingly described here as Targe' (grande), i.e. a clear indication of a specific size; however there is no [170] A that enables us to know this instrument's
In De invenzione et usu musicae,75 size.
and supplements recent studies which have revealed how crucial was the last decade of the sixteenth century in the evolution of the lute.
continually updated Newly built instruments would convey the idea of a nobleman a It is currently impossible to describe this la page. instrument more precisely, but this entry supports
and modernized.
Tinctoris
in the Kingdom of well established Aragon and particularly inValencia, was introduced to Italy through Rome and Naples,76 in the towns ruled by the Borgia family and the states ruled by which theAragonese. The presence of the vihuela in Rome, and later in the Papal states, follows the elections of popes Callistus III77 and Alexander VI,78 both of whom belonging to the Borgia family, the most
attibutes the origin of the vihuela tomid fifteenth century Spain, although he does not offer a precise date. According to the vihuela, Woodfield, was
[169] Three lutes, two of which are normal [size], and a small ebony lute,with their cases (Tre liuti dui ordinarij et uno piccolo de ebano co These and medium sized lutes, but no is there information about the unfortunately crucial matter of the number of courses. The le cascie) are small
of the instrument inventory of the workshop and Giovanni Tommaso makers Orazio Albanese Martino,
Nocerino,
recently
mentions
discovered
a 'seven stringed
by
Francesco
In 1536 Francesco 'el magnanimo'. (Canova) da Milano his Intavolatura per viola over published liuto.79 In 1558 Bartolomeo Lieto's Dialogo quarto...
per intavolare... con viola da mano over liuto80
influential family in Valencia. The first books of vihuela music appeared in Naples (which had been under Aragonese rule since 1441) under Alfonso V
and a 'seven stringed small lute (liutello) ofNaples', neither ofwhich instruments have previously been known. Unfortunately our inventory does not do
lute of Naples'
provides the notation for this instrument. However, at the end ofthe century, the vihuela was superseded by the guitar. [175] A cittern with strings (Una cetola con corde) The cittern (cetola) has a flat pear-shaped body, a crooked pegbox and metal strings. Also called citola,
justice to the exceptional variety of instruments built during the sixteenth century by satisfying our hunger for detail.74
73 Athanasius 74 Francesco 75 Anthony
Kircher, Musurgia Nocerino, Baines,
universalis,
(Rome:
Grignani
Ludovico,
1650),
p. 108. et usu musicae"',
op. cit., pp. 3-9. 'Fifteenth-century 19-26: op. 22. cit., 'Viola Stefano Lorenzetti, 93-113, 207-217; pp. 46-70, Liuteria nel Cortegiano (1528) di Baldassar Castiglione', e identita del Rinascimento. nell'Italia Musica nobiliare cultores. and Biblioteca), and pp. 85-90: solo or for consort da mano musica 'Viola e viola e cultura, da mano'e da arco: (1996), 'Viola Lute: Instruments in Tinctoris's "De inventione Galpin Society
III, (1950), pp. Journal 76 Ian Woodfield, See Testimonianze pp. 2-22. Stefano
terminologiche Lorenzetti,
Educazione,
mentalita, see: Antonio
immaginario, da arco'. On Corona-Alcalde, 77 Alonso
musicae Olschki, (Historiae 2003), (Florence: for vocal the use of the vihuela accompaniment 'The viola da mano and the vihuela:
Evidence
suggestions
performances, about their construction',
Journal ofthe Lute Society XXIV/1, (1984), pp. 3-32.

countrymen 78 Alexander was of Valencia Borgia, bishop court. to work at the papal VI, in the world Rodrigo elected pope was in 1445 with the name of Calistius III. He brought many of his
Borgia,
the nephew
of Callistus
III, who
designated
him
bishop
of
in 1458. Valencia 79 da Milano's Francesco were N. interchangeable. See
virtuoso Francesco
musical
lute and vihuela the early sixteenth that during reveals century practice a preface overo with facsimile viola Intavolatura da Milano, lauto, per by Mattio facsimile edited by Patrizio
d'Arthur, (Geneva: 80 See Bartolomeo (Lucca:
Minkoff, Lieto,
1988). quarto Italiana, di musica, 1993). (Naples: Cancer, 1559),
Dialogo
Barbieri,
Libreria
Musicale
Mammarella?
% dlfcv_______?/i'^\,'i '-"te-ik _yiiil'
1592 Inventory 199

t.H _tf_i_K -_ * * *=i^?|yp __^WrJ__|______|___M_i
"" "' ?J * jmj JE^ÎIIiBMiîBiB^BB^^^MMR -'îJBjJBisSiB rrft -' iiiiiiiSf^''' HP^slKBvaHMli^''''j_*-' '-wBjiijiiiwP1^*"^. ^*_f? '***
* ^S*?!' *?(_>_i._l_pv^ ^*^^_i_l^_?___ ^____%jm!1S ' -_wtIIptMK
_____EkK_____K_HP^?^
f_tt__HWJsM!fl___HH_[_Hii TBWMMBhi^BMffHNyfifJBrn__8wP^
:i*?^^M_
^^^^^^k'%
^^n~~ j?P^HM^M_BPCT|ip^ jfefaa^!*''
'.'-j-
--.-||wiii.
I_____________wV":'*^l___B3_%^^________i
a detail 2. Buttafuoco: S. Maria (left) Roma, sopra Minerva, of The Assumption 1488-93. crib, Altamura, Cathedral, (middle) anonymous Lippi, sixteenth-century 1534. Altobello Persio and Sannazaro d'Alessano, Figure cetera, and citara, cetrola, cithara and cetra in sixteenth sources, the
ofthe
Virgin, fresco
(right) Matera,
Cathedral,
by Filippino crib by
However,
cittern is commonly associated with popular and amateur use because of its undemanding technique and low cost. Its inclusion in the collection of the Marquis disagrees with Scipione Cerreto's statement: "This instrument appears to be perfect because it can be used for any type of composition; however, inNaples it is not used by aristocracy'.81 This entry
gives years evidence before of a non-popular than Cerreto's use ofthe cittern, ten years statement. Twenty
seventeenth-century
Neapolitan
less than 50 years later, the cittern was in decline, as Giovan Battista Doni reported: 'Anyway, the Cittern ... is in the hands of the lower class, hosts and peasants: because of a fatal succession of
human things, what was once most esteemed is now
contrarily vile and despicable'.83 Alternatively, the entry could simply refer to a bowl (ciotolalcetola) full of strings. [182] A bag
were
important builders of citterns. Vincenzo Galilei asserted that 'the cittern was first used by the English and on the island the best instruments
earlier, a completely different situation obtained in Brescia, where the cittern was used and appreciated by noblemen and by members of the Virchi family, the most
Piruli
adjust their tension in order to tune them.
of pegs and other music items of et cloth di sacha altri (Una per piruli yellow de musicha di tela just[ament]i gialla) are the pegs used to hold the strings and to
built; but nowadays those most reputed by the English are built in Brescia; nevertheless the cittern is used and appreciated by aristocracy'.82
81
[187] Two cloth bags of a Buttafuoco and another cloth bag for two flutes (Due veste di Bottafoco et unaltra vesta di dui traversi) This entry is particularly interesting because it mentions two buttafuoco, even ifdealing only with
in quello tutte le voci atte a sonare nobile nella nostra Citta di Napoli'. p. 37. (Florence: Isola con Giorgio Marescotti, si lavoravano gia in eccellenza; e adoperata Fabris, Seicento, Rosa Paolo Virchi 1581), p. 147: dai e la 'fu la oggi nobili'.
'tale strumento si bene
non questo
armonico,
alcuna, patisce imperfettione non e essercitato strumento Giovanni della Battista antica
per essere da gente 1608),
qualsivoglia Scipione
Canto Cerreto,
Dell'arbore musicale, 82 Vincenzo Galilei, cetera le piu 83 degli usata prima da
(Naples:
Sottile, et della nella
Dialogo tra gli Inglesi
musica
moderna, quale
che da altre nazioni, che si lavorano
quantunque
reputate See Giovan strumenti
loro, siano Battista
quelle
in Brescia; (Ms. cl640)
tutto questo by Dinko tra Cinque Teresa erano
ed apprezzata atti del di persone
Doni,
a Corda,
Lyra Barberina e musica in Liuteria
strumentale
quoted a Brescia e Maria
tradizione sessione come oggi Fondazione Osti per il
convegno, basse,
1990, a cura di Rosa Cafiero Said, 7 October musicologia, Bresciana Annali 'La Cetera Civilta 5/II, 1992), pp. 65-93: e Contadini: una cose fatale delle umane, per disposizione contrario siano vili e abiette'.
Barezzani,
(Brescia: in stima,
comunque che quelle
... e in potere
maggiormente
200 The Galpin Society Journal
Figure 3. Depiction of a buttafuoco in Manfredo Settala's Milanese

ms. Compori yH 1.22, c. 34.)
collection (Modena, Biblioteca Estense, on the island of Cyprus

and trombones were
can admire an angel playing a pipe with the lefthand while striking an instrument with a stick held in the right hand. In the cathedral's sixteenth century crib ofAltamura, as well as in Matera, an angel is playing a pipe and striking an instrument. Another example is in the Este Library inModena where a drawing by Carlo da Sole (Milan, 1650) depicts a buttafuoco
a pipe is played by the other hand; these appear in many iconographical sources (see Figure 2). In Filippino Lippi's frescoes in the Carafa Chapel of the Church of S. Maria sopra Minerva in Rome, one
their cases. The buttafuoco has generally been identified as a stringed instrument like a kind of cither whose strings are struck by one hand, while
extracted
times.
since Roman
commonly
made
of silver, gold-plated silver, or brass, but not of copper. During the sixteenth century, the brass normally used to make trumpets and trombones contained
Trumpets
Alternatively, one might imagine a special polish or other finish that produced a colour more similar to
copper than to brass.85
63-65% copper; but we can suppose that this instrument was built using brass with a higher proportion of copper, and therefore more reddish in colour; because of this, the compiler of the could have inventory thought itwas simply copper.
to Manfredo that belongs Settala's Milanese collection (see Figure 3). This instrument has a body with curved, hollowed-out ribs. The buttafuoco is often mentioned in Medicean inventories and in literature, from seventeenth-century Neapolitan Giulio Cesare Cortese and Bartolomeo Zito up to Giambattista Basile.84
Four old broken trumpets (Quattro trombette vecchie rotte del Istesso) This entry obviously concerns trumpets, the term [190]
'trombetta' often appearing music. in sixteenthused and the seventeenth-century rechte Praetorius
term as a synonym of small trombone

Posaun).86
(Gemeine
de biffali grande it is said to be [148]. Although made of Cypriot copper, this should be understood as brass. Brass is an alloy of copper and zinc, but during the sixteenth century pure copper was not always distinguished clearly from its alloys. Ramo cipro refers to the fact that much copper had been
84 van John Henry I'intavolatura der Meer, per Alcune considerazioni
[189] A trombone of old Cypriot copper (Uno trombone di ramo cipro vecchio) This trombone is surely smaller than the trombone
opening Toccata, expressly written for trumpets, where Monterverdi specifies 'un clarino con tre trombe sordine'.87 This entry shows that the compiler of the inventorywas either musically knowledgeable
al buttafuoco, facsimile
[191] A clarino or trumpet (Uno chiarino seu trombetta del istesso) Chiarino refers to the clarino trumpet normally used to play themelody and its virtuoso embellishments. One ofthe most famous examples of itsuse isOrfeo's
in Giovanni Lorenzo Libro per Baldano, an of the manuscript with introductory van der Meer, Giovanni Associazione delle Fonti Tarrini, Farris, John Henry essay by Maurizio per la Ricerca Ligure van der Meer, in Festschrift Editrice Das Musicali, (Savona: John Henry 1995), pp. 203-220; Liguria, Buttafuoco, an der Saale: Rainer Weber, Italian cribs Stenkovics, artium, (Halle 1999), 1), p. 121. For South sculptural (Scripta see Dinko con in scultorei strumenti with musical musicali del instruments, Fabris, 'Presepi Cinquecento Puglia', e RidlM-RCMI Gelao Bianca II presepe Arte Newsletter XXV/1, (1991), pp. 8-20, Clara Tragni, pugliese. folklore scriver sonar sopra le sordelline (Savona 1600),
attorno
(Bari:Adda, 1992).
85 I am grateful 'di rame to Elena cipro' Ferrari (Cypriot op. Barassi, copper). Gabriele Cassone and Christian Bosch for all their suggestions about the expression 86 Michael
87 Claudio Monteverdi, L'Orfeo, (Venice: Ricciardo Amadino, 1609), facsimile with an introduction byWolfgang
(Kassel: Barenreiter, 1998).
Praetorius,
cit., p. 32, plate XIII.
Osthoff,
Mammarella? or was helped by someone with musical expertise.
1592 Inventory 201

sizes were called papale, mezzano and commune
for playing [192] Nine Cypriot copper pieces ramo recorders (Novi pezi de cipro per sonar frauti) These consist of S-shaped brass ducts which are used tomake it easier to blow the air in the larger sizes of
recorders.
respectively. The latter terms persisted in Rome and Naples until the eighteenth century.88 [202] Two hundred
authors
and
-
fifteen song books

some with, some without
by
different
covers
altre
(Libretti da
et quindice be
cantare de diversi autori

alcune co coperte et
n? ducento sensa) to
[197] Four music books with wood covers (Quattro co le coperte di tavole) libri deM[usic]a
Book covers were sometimes made of wood.
They
seem
sixteenth-century
part-books, use.
in
accordance
with
[198] Another m[usic]book with red wood covers co la coperta rosso (Un altro libro deM[usic]a sopra tavole) Compared with the following entries, music books clearly consist of books containing instrumental
music. In this case, the book covers are made of red
Item Recorders Flutes_20 Bifari 2 Crumhorns Trombones_2 Trumpets Clarino Drones Mute 1 4 cornetts 4
Quantity 76
Instruments
coloured wood
or covered with red paper or cloth.
(in cases or without cases)
18
di coir6) These eight books
[199] Eight song books with leather covers (Octo libri de cantare grandi co le coperte di carta have
leather covers, a typical Italian binding. The term 'coiro' stands for leather (from the Latin corium) and is often found as an
for corame.
10
Cornetts Viols_6 Vihuelas Lutes Harps Broken cases Vihuelas Lutes 3 6 4
alternative
Western
[200] Two other song books made of royal paper (Due altri libri de cantare decarta Hale) 'Royal paper' (carta reale) refers to a sheet of paper 615 x 445 mm. of specific size, approximately
Citterns 1 5 of instruments89 Cases and bags
paper sizes changed after the introduction of watermarks and from the fourteenth century onwards were ratified in paper mills' charters. Sheet sizes and names varied between the different regions,
there were some elements in common. In although
(Buttafuoco) (Flute)~ ~ l90 ~7Z (Cornett) 7 Books ofmusic

of musical items
(not containing instruments) Music

Table 1. Summary
Bologna paper mills, the paper sizes were imperiale reale (615x445), medio (740x500), (515x345), x and rezzuto (450 315), starting in the fourteenth
century. sizes were In sixteenth imperiale, century grande, Fabriano, reale, tondo, the piano paper and
230+
in the inventory.
fino, while
88 Cfr. Ezio
in Tuscany
Ornato
the grande,
Paola Busonero
tondo and piano

per
It is interesting to compare thiswith other inventories from around the same time (see Table 2).91
Maria Libro,
Paola
F. Munafo del
medioevo,
paleografia manoscritto. 89 The description
(Rome: e codicologia Introduzione
Istituto
Centrale greca, alia
(Vatican codicologia,
la Patologia City: Scuola (Rome: who
2001),
Speranza vol.
Storace, II, pp. n.d.), 2004),
La
carta
occidentale Canart, Luisa .
nel Lezioni
tardo di 77 libro
267-431; 103-106
Paul
Vaticana
di Paleografia,
p. 66; Maria pp. are empty
Agati, cases,
L'erma wrote
di Bretschneider, the inventory
by the anonymous
compiler
suggests
these
broken
but
it
is impossible to establish or not. for certain whether instruments they contained 90 was two This cloth bag for flutes. 91 The comparative data is from Pierluigi 'Una collezione di strumenti musicali Ferrari, Lo studio di musica di Luigi Baldi', Liuteria, musica e cultura, (1993), pp. 15-21.
verso
la fine del Cinquecento.
202 The Galpin Society Journal Collection Fugger_ Kassel, Court chapel Medici Graz, Verona Verona Medici Raimund 1566 1573 84 collection 1577 183 1580 1585 collection 134 134 1587 90 1574 109 392 Date Total instruments
I, Francesco de Medici's instrumentenkammer I, accademia II, accademia filarmonica filarmonica
II, Ferdinando de Medici's
Luigi Balbi_1588_82_ Ferdinando d'Alarcon_1592_15992 Maurizio Bevilacqua Ambras Ambras I,Kunstkammer II, instrumentkammer II's collection in Ruhelust
1593 1596 1596 1598
78 34 226 41
Ferrara, Alfonso Madrid,
Royal Palace_1602_183_
Table 2. Numbers of instruments in comparable inventories.
The tables above show how large and valuable was Ferdinando d'Alarcon's collection, but at the same time point out a strange gap. It is quite unusual to look through such an inventory that mentions no keyboard instruments; there are no harpsichords, clavichords or organs. This is even stranger if one
instruments were an essential part ofthe gentleman's daily routine. The treatises of that time established the principles the nobleman should follow in his personal choices. For this reason many wind Musical
instruments such as
considers that gravicembali, together with viols and lutes,were the only instruments that late sixteenth century theorists prescribed for people's pleasure (l'huomo si dilettasse).93 The absence of keyboard instruments from the inventory can be explained
bagpipes, trombones, and so on' were forbidden for noblemen to use, because they 'wear out breath and distort the face, preventing the state of grace'. There
were rebecs also and reservations so on', because about they 'harps, were lyras, too citterns, and simple
'trumpets,
shawms,
recorders,
'forwhich different and varied consorts cannot be easily formed'. However,

for the nobleman's
partly because the family chapel94 and the palace were treated separately, so the inventory does not include items belonging
that
the instruments forbidden

use were acceptable
in the chapel.
absence
But one
to their
personal
for visual musicians were

varij
cannot
exclude
their
is due
condition at the time of the inventory; theymay have been badly preserved, broken or unusable, but the
such mentions inventory a condition. Unfortunately, numerous other instruments in
pleasure, also when played by expert who joined the noblemen to play in the
at court
concerti
selected
contrapuntal
for different a celebration or solo
depending on their harmonic and capabilities and on their flexible use

places or the and contexts of a the clamour as well of as silence salon,
or at the palace.95
Instruments
the
entire
d'Alarcon
music
collection
changing of the family, and partly because of normal events which can impact musical instruments, including
wear from use, damage, obsolescence, changes of
is now lost, probably partly because ofthe interest in music of successive members
consort
performance.
The Marquis' exceptional music library, consisting ofmore than 230 books, scattered motets and several sheets of music and quinternions, would be the clearest evidence of the music played at the palace. We regret not knowing the content of those books,
ownership, theft and destruction.

92 93 This total does not include cases. 176-181. in Tossicia, and
Stefano
Lorenzetti, describes
94 Razzi (con sacre, 95 tutte con Stefano
op. cit., pp. house
d'Alarcon
le sorte di strumenti ricco altare
musicali) Serafino
instruments' the room 'with all sorts of musical mentioning separately a rich altar and the organ' the chapel 'full of sacred objects, (ripiena di cose op. cit., pp. 49-50.
et organo).
Razzi,
Lorenzetti,
op. cit., pp.
176-181.
Mammarella? musicians
lute or
1592 Inventory 203 able to sing and play different instruments but, as
mentioned above, musical instruments were also
but we can easily imagine the nobleman or one of his intenton singing accompanied by the harp,
'the viol'.96 The scattered motets were sung,
as well as probably played also by the instruments

(sonar mottetti), as was common practice from the
late fifteenth century.97
Ricordi documents
'many houses different and taste. musical monochords, some others recorders, on. I greatly instruments Plato from
objects to enjoy through both ears and eyes, precious ornamental elements connected with a noble's identity. Sabba Castiglione's considered
their palaces... like to adorn... people and above all their rooms and studies things, according is why some This instruments, harps, with
as valuable
The inventory hints at the importance of music in nobles' lives, including two particular points in their daily routine: banquets during which
punctuated the succession of courses, and
this aspect, underlining how:
and
with
music
afternoons which were officially devoted to pleasure, when music was intertwined with philosophical d'Alarcon, as for disputations.98 For the Marquis any other gentleman, these contributed to his status as a musical patron. The value of his instrumental collection, themusical
for pleasure or edifying
to each mind person's adorn them with people such as organs, harpsichord, so on, while and dolcemeli, lutes, viols, violins, lyras, and so these soul to
cornetts, cause says
trombones, bagpipes... because this custom, appreciate both that souls the ear and the remember
events he organized
reasons,
(whether
or
for ceremonies
rejoice. derived
the circulation
feasts), and his rich library were all elements that contributed to his identity as a nobleman, and to his status in society.99 It is likely that Palazzo Chiaia
accommodated one ofthe most active cultural circles
the same way the eye enjoys created This makers'. they are skilfully by excellent to ornate affect led nobles their palaces fascinating with 'ogni sorta di strumenti'.101
the harmony In of heavenly bodies. when these instruments
inNaples and was a landmark for both Spanish and and poets. The palace probably Italian musicians welcomed the excellent composers and virtuosi of lute, viol, trombone, cornett and harp mentioned by
Scipione Cerreto.100
The
inventory of Ferdinando d'Alarcon's musical collection casts new light on Neapolitan music once history, and again Naples is shown to be one of the most important and active musical centres between the mid-sixteenth and early seventeenth
centuries.102
Finally, a short remark on the status and use of instruments. Ferdinando d'Alarcon was musical
(translated by Lisa Navach)
Stefano 97 Kamper 98 Stefano 99 On the Stefano
96
Lorenzetti, Dietrich, Lorenzetti, nobles'
op. cit., pp 83-85: La musica strumentale 164-173.
'Cantarealia
viola. (Turin: ERI, 1976), pp. 65-66.
nel Rinascimento,
op. cit., pp. and cit.; Claudio
identity op.
the patrons' Annibaldi,
social
status,
that would a theory
require
further
Lorenzetti,
'Towards
of patronage
and deeper in the Renaissance
investigation, and Baroque:
see: the
e il mondo. Mecenatismo from anthropology and semiotica', Recercare La musica X, (1998), pp. 173-182; perspective e committenza e Settecento, in Italia tra Quattrocento musicale edited Claudio II Mulino, Annibaldi, by (Bologna: 100 Scipione concert held his Secondo
1993).
Cerreto, in Naples discorso
et strumentale, musica Delia vocale The report by Luigi Dentice of a pp. 154-160. pratica in the palace of Giovanna is quite of Aragon The report represents the opening of interesting. names. della Musica and includes also performers and audience's See Luigi Dentice, Duo dialoghi edition edited by Patrizio Barbieri, et massime onde baldose come (Lucca: Libereria musicale italiana, 1988). a adornare... de' loro le camere che et i studij varij, et diversi ornamenti, secondo come alcuni li adorna musicali d'instrumenti e chi assai liuti, viole, perche questi violini, lire, flauti, cornetti, dilettano nasce da i la qual d'eccellenti discorsi p. 112. of this article. tali instrumenti
della Musica, facsimile 101 'molti si dilettano la varieta organi, cornamuse molto moti et diversita clavicembali,
case, palazzi... et fantasie: ingegni arpe, dolcemeli,
avviene, et altri
monocordi,
simili,
[...] tromboni circoli Sabba celesti:
all'orecchio, delli
et altri tali: quali ornamento et ricreano molto i quali gli animi, ancora
io certo
commendo Platone, sono
diceva quanto
si ricordano
dell'armonia e per mano e cristiani 1575), a draft
lavorati'.
Castiglione,
assai all'occhio, piacciono ovvero ammaestramenti Ricordi
diligentemente con prudenti (...) nei quali (Venice: for having Giovanni read and
maestri di
si ragiona
tutte le materie a un ver gentil'huomo, onorate che si ricercano 102 I am grateful to Elena Ferrari Barassi and Renato Meucci
Griffo, revised
204 The Galpin Society Journal APPENDIX 1.
THE D'ALARgON FAMILYTREE
(from information given by Carlo De Lellis and Juan Suarez De Alarcon)
^^*BH_Br
^^
Figure 4. The d'Alarcon andMendoza
arms.
don Ferdinando
Ruiz
d'Alarcon
(I) (Palomared
de Heute,
1444 - Naples,
1540) + donna Costanca
Lison
Isabella
Ruiz d'Alarcon
(d. 1551) + Pietro
Gonzales
di Mendoza
(don Ferdinando
II)
Ferdinando e d'Alarcon
di Mendoza (III)
(d. before 1551) + Eleonora
Sanseverino103
Giovanni
Alvaro
Rodrigo104
Diego
Anna
Caterina
Ferdinando
(1544-1563)
Pietro
Gonzales
di Mendoza
( Ferdinando
IV)
(d. after 1558) + Lucrezia
Tomacella
Isabella
+ Isabella Mendoza104
Francesco
(Ferdinando
V)
+ Lucrezia
Coscia
Eleonora
Andrea
Diego
r\
Eleonora
Claudia
Antonia
103 The wedding between Ferdinando 104 He ismentioned only by Suarez Siciliana, y Rendu, 105 The daughter p. 449. of Diego, Ferdinando
III and Eleonora de Alarcon,
Sanseverino de
was
celebrated
in 1542
or 1543. Marquez de la Valle
Comentarios
los Hechos
del Senor
Alarcon,
Ill's brother.
Mammarella? APPENDIX Dedication II. Dedication
1592 Inventory 205 a cinque voci by Francesco Orso da Celano106 a Cinque
to the Primo Libro di Madrigali a Cinque
to the Primo Libro diMadrigali Voci by Francesco Orso da Celano To the Illustrious Gentlemen
Dedicatoria
del Primo Libro di Madrigali Voci di Francesco Orso da Celano SIG.RE E
Gentleman
and my Master, Don Ferdinando D'Alarcon, Marquis the Valle Siciliana Fame my illustrious master the world for his magnanimity,
drove me to become your
the ALLTLLUSTRISS.MO of OSSERVANDISS. D'ALARCON
/ PADRON
MIO
/ IL SIG. DON Marchese /
HERNANDO
della Valle Siciliana.
The
enjoys all over courtesy and

servant and I
LaFAMA,
cortesia,
illustrissimosignormio, cheonoratamente empie Vorecchie di tutto ilmondo della grandezza,

e virtu di V. S. illustriss. aveva di maniera
virtues
was only waiting a good occasion to show you my affection and obligation. Since I have discovered
that virtues and are even
inchinatigli desideri miei verso ilservizio di quella,

ch'io non aspettavo altro, chalcuna occasioneper
con segni evidenti Vaffezzione, your poter greater qualities e la servitu mia. Poi avendo trovato molto piu in a new to than added said, spur was commonly the previous desire, that of looking fervently for effetto le virtu, e qualita sue di quel, che la fama to serve you. As I haven't found predicava, al desiderio, ch'io avevo, si e aggionto every occasion dimostrare chance,
yet another
un sprone, a cercar I dedicate to you my music il quale ardentemente m'incita to occasione illustrious di servirla. Ne for altra ears) per your offerendomisi (although unworthy prove to everybody my readiness and will to serve ora; ho voluto co'l dedicarle quest'opere mie di
you. I'm so doing more willingly also because, as musica (ancor cWindegne del purgato orecchio di everybody knows, among all the living gentlemen V. S. illustrissima) dimostrar a tutti Vanimo mio non suo servizio. E che inchinato ad ogni today, nobody is able as you to sing sweetly, to play pronto,
many embellish instruments, it; moreover, to appreciate you treat music your and musicians to
well. For all these reasons, nobody but you can bear the title of prince ofmusic and excellent performer. Therefore, send you my compositions, as a I did not and tribute to you. Nevertheless, I will
tantopiu volentieri ilfo; quanto che chiaramente si conosce, comefra tutti gli illustri, ch'oggi sono, non e chi piii di lei, non solo canti soavemente, e suoni varij istrumenti; ma abbi piii purgato giudizio
conoscere le composizioni, ed ornamento di quella,
in
nome: non per che ella le difenda da gli invidi, e da' weak and cowardly enemies. If these compositions e cost do not satisfy you, please appreciate my good will. malevoli: scudo cost forte, percioche prezioso non I will kiss hands to Your Illustrious Lordship, to cost deboli, e cosi contra deve nemici adoprarsi whom I heartily commend myself. Naples, June 25 1567. Don Francesco Orso da Celano, perpetual vili: ma in testimonio de Vobligo, e del desiderio mio.
dunque a gli la supplico, suoi, che, almen se Vopre prenda non meriti Umilmente corrispondono
ne che piii giovi, efavorisca gli professori suoi: tal homage do this, so that you could defend my music from che non saprei a chi piii veramente cWa lei dar envious and evil tongues; a shield so strong and si possa il titolo di prencipe, e di vero professore as not be used against such della musica. Le invio dunque sotto il suo onorato valuable you should
servant of Your Illustrious Lordship.
in
grado bascio
la mia huona volontd. Et a V. S. illustrissima
infinitamente lemani, e con tutto il core mi raccomando. Di Napoli A 25 digiugno 1567. /Di V. servitore
/ don Francesco
S. illustrissima / obligatissimo, eperpetuo Orso da Celano.
106
ji pr(mo
Madrigali...,
Libro de' Madrigali op. cit., p. XL
di don Francesco
Orso
da Celano...,
op. cit., p.
Iv; Francesco
Orso,
il Primo
Libro
di

1592 Inventory Reveals Musical Instruments Owned by Italian Nobleman

Diunggah oleh

Informasi Dokumen

Deskripsi Asli:

Judul Asli

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

1592 Inventory Reveals Musical Instruments Owned by Italian Nobleman

Diunggah oleh

Hak Cipta:

Format Tersedia

Musical Instruments in a 1592 Inventory of the Marquis Ferdinando d'Alaron Author(s): Alberto Mammarella and Lisa Navach Source:

Francesco Venice dedicated Valle

d'Alarcon,2 Marquis Siciliana. The d'Alarcons3 were an aristocratic

Lodovico Antinori4 described him as 'one of Charles

the sixteenth Celano,

composers progressive in: Henry W. Kaufmann, IX century', Studi Musicali cromatici

Unfortunately 'Francesco Orso da Celano, (1980)

con due madrigali

persone Carlo De Diaz

Juan Suarez Diego

Abruzzese Deputazione Luciano La Moricca, 1952); Adelmo Marino, dell'Orto,

facsimile degli Abruzzi, 52, 57, 60; Henry W. Kaufmann, op.

di Teramo, (Centro 1704-1778) italiani,

Di Cesare, Attraverso 4 Antonio Ludovico of Abruzzo; 5 Antonio the valley

the most Istituto

century italiana, within

historian 1960) vol.1,

see Dizionario Ludovico ofthe

dell'enciclopedia Siciliana Castelli, is situated

op. cit., vol. 42, col. includes the villages V

57. The Valle of Tossicia,

the province Colledara,

Isola del Gran

and Pretara. 6 Pedro di Toledo the Spanish

188 The Galpin Society Journal

.-/2J___iiiL_^ _^BSal__________________?^^ ^_^^^___a_???????????????????????????????_???_li^_ 1. Wfesterw Wew o/v/*z Chiaia Figure

for Isabella and Pietro's

Pietro a Maiella, French Enrico

noble class stood foremost inmid-sixteenth

cit., pp. 224-225. Libro de Madrigali to Ferdinando IV

e Cortigiani, 1520-1750, (Naples: Electa, 1993).

(Rome-Bari: 115-121, 137-160.

1592 Inventory 189 musicians

according to the instrument played; there

of power, the expression of the political

The prestige the documents

trumpets and the large number of treble instruments,

of the d'Alar^ons together with the proving 'regular' presence of

Significantly, 'his professors' (i professori suoi) refers usually enrolled as

musicians' probably those 'family

e Seicento, Olschki, Naples,

e societd Elena II/l

pp. 61-77. also:

a Napoli For an outline Barassi,

dalXValXIX ofthe musical e pratica

'Costume pp. 74-111. pp.

di musicologia (Naples: della Giacomo musicale musica

Carlino, a Napoli e dello 1-40:

153-160. meridionale tra XVI e

documenti d'archivio per

sul mecenatismo la storia

of Form, Instrumentation in the Low Countries; Alta Biezen Alamire,

and Function Capella; pp. Music

23.06.1995, 1997), music, McGee, J.

24.06.1995, 147-167; by Tess edited

& Renaissance Timothy pp.

century. From in its service a certain

the end ofthe number

celebrations. (Bologna: Musica II Mulino, 1987), pp. 26-28, 83-86, 128-129,

missing, room full of all sorts ofmusical

while shawms only (with the occasional

of the many of its citadel. Alrcone