Makers' Marks on Plucked Instruments of the 16th and 17th Centuries

Author(s): Friedemann Hellwig

Source: The Galpin Society Journal, Vol. 24 (Jul., 1971), pp. 22-32
Published by: Galpin Society
Stable URL: https://www.jstor.org/stable/842005
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 FRIEDEMANN HELLWIG

Makers' Marks on Plucked

Instruments of the I6th and
17th Centuries
ARLY plucked instruments are to be counted amongst the most
precious treasures of any collection. Yet it is a disturbing fact that
many a cittern, lute, and guitar remains without a maker's name
attached to it. This is due partly to the high artistic level found in all
specimens from the late 16th and early 17th centuries, partly to the
scarcity of instruments with individual ornaments, thus not enabling
us to recognize personal styles. The most decorative detail, the rose,
also cannot serve for an attribution, as identical patterns were used by
makers of different places and at different periods.
In the past little use has been made of a small and simple detail found
on a number of instruments, espccially if unaltered, i.e. makers' marks
stamped onto them. Few catalogues of instrument collections or
dictionaries of makers describe them, and it was only quite recently
that Luisa Cervelli' mentioned them more systematically. It is the aim
of this paper to contribute to our knowledge of this fascinating little
section of early instrument making. The present writer is aware that
his list of thirty marks is incomplete and needs a lot more research (he
has knowledge of a few more marks that he cannot list here). So, any
corrections, contributive criticisms, and mention of marks unknown
to him will be much appreciated.
The purpose and the social background of marking are still unex-
plored. The mark doubtless originated as a visible guarantee of
authenticity and value. On works of art this was often certified by
authorities like the towns or the guilds. A very interesting example of
this kind is found on an automatic virginal by Samuel Bidermann Jr.
of c.164o in the Germanisches Nationalmuseum, Niirnberg.2 It shows
the cone of a stone-pine as the town mark of Augsburg, and as the
second mark the word EBEN, for Ebenholz (ebony), to certify that
this piece is made of true ebony (not of pearwood stained black).3s The
search for the town mark of Antwerp (a hand) in harpsichords of the
Ruckers family and others has to my knowledge been unsuccessful.
Regular appearance of marks on early keyboard instruments has not

.2.2

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been observed, whereas they are frequently found on woodwind. Up
to now it has proved impossible to attribute more than perhaps two
of the Renaissance marks to individual makers. Some of them occas-
ionally appear in combination with initials or abbreviated names
(e.g. HIER.S.)4 so that one might suppose that they were guild marks
(not town marks). Individual maker's marks only, on the contrary,
are found on early plucked instruments. With the little knowledge
we have of guild regulations for instrument makers we cannot deter-
mine whether marking was an imposition by either the towns or the
guilds, or whether it was free to all makers with a workshop of their
own.

For marking, a steel stamp, appropriately tooled, is

burnt into the wood. For making a clearer mark, it i
sooty flame and then punched onto the wood, thus de
in accordance with the stamp. No such stamp of an e
to have survived, yet there are many more recent on
instrument makers to mark violin bridges, etc.
The majority of marks are found on instruments of
stamped onto the upper end of the belly just below t
and/or onto the lace. Guitars have their marks in sim
the upper end of the belly and/or on the ribs at the
Citterns are mostly marked at the upper end of the ba
wise stated, the marks quoted below are found in the
groups of marks have been observed:
I. Round marks giving the maker's full name and th
activity along the edges. The centre is often occup
animal or occasionally by a coat of arms (4). This kin
to be restricted to citterns (1-7).
2. Marks with the maker's initials and in many case
initials always have the Christian name in the first pl
in the second. The symbol sometimes refers to the in
sign as quoted on the printed or written labels inside
(18 and 23). Another example (8) shows a literal repre
maker's name. In a few cases initials and symbol are su
oval (18), an octagonal frame (16), or a ring of leav
this group have been found on lutes, guitars, and also
3. Marks with a symbol only. They occur on both lu
(26-30).
The use of marks on early plucked instruments seems to be almost
exclusively an Italian feature. There is only one mark originating from
Antwerp (28) and one from Augsburg (30), the latter being different
in style from the Italian examples. Yet not all instruments made in

23

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Italy were built by native Italians. In fact, the total production of lutes,
and at least partly that of guitars, seems to have been in the hands of
German immigrants. On the other hand, marked citterns appear to be
exclusively of Italian make. Thus the totally different character of
marks on citterns on the one hand, and on lutes and guitars on the
other may be explained as phenomena based on different traditions of
instrument making.
Marks appear to have been used from during the second half of the
I6th century, our earliest example dating from 1574 (4). Possibly this
impression is due to the exceedingly low number of instruments pre-
served from before the 158os. In the following years the frequency of
marks rapidly increases in accordance with the larger number of
instruments still existing. Towards the middle of the i7th century the
number of marks observed decreases as the lute loses its dominant place
in musical life in favour of other instruments. The latest example dates
from 1692 (12).

LIST OF MARKS

The marks are arranged in the following order: round mark

names; marks with initials (in alphabetical order of the second
first letter of surname); marks consisting ofsymibols only. The
(Plates II-IV) give the original sizes of the marks and are pro
if the marks are not illustrated in collection catalogues. Ph
of partly illegible marks are also included in order to allow c
with resembling marks. No attempt has been made to lis
marks on further examples of the same maker.

1. Round mark. Between the inner and the outer circles: GI

CANPI [sic] ... In the centre a heraldic animal (?). Diameter,
(Pl. II).
This mark is found on an archcittern in the Musco Bardini, Florence
(No. 137). The label inside reads Gieronimo Capi fe . . . /Innocenti

Peretti il luch .. f. .. to Inuento ... This instrument, of a rare type,

should be dated about I60o.
Gicronimo Campi, Italy, c. J6oo.

2. Round mark with inscription around the edge: GASPAR" DE

SALLO IN BRESA ". In the middle a nereid (?). Diameter, 29 mm.
This mark is stamped onto a cittern (otherwise obviously unsigned)
of the Hill Collection in the Ashmolcan Muscum, Oxford. A photo-
graph is in the catalogue of the collcction.5
Gasparo da Sal6, Brescia, b. J540 (?), d. 16o9.6
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 1 5

6 7

PLATE II

Maker's Marks on Plucked Instruments

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 8 9 10 11 13

14 15 16 18

19

PLATE III

Maker's Marks on Plucked Instruments

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 21 23 24 25

27

26 28 29 30

PLATE IV

Maker's Marks on Plucked Instruments

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3. Round mark. Along the edge: GIO. PAOLO. MAGGINI. IN.
BRESCIA+. In the centre a snail with three stars above it. Diameter
about 24 mm.
The instrument on which this mark is found is an otherwise unsigned
cittern belonging to the Kunsthistorisches Museum, Vienna. The mark,
stamped onto the front of the pegboard, is illustrated in Schlosser.7
Giovanni Paolo Maggini, Brescia, I58o-c.1632.8

4. Round mark. Around the edge: HIERONIMU[S] BRIXIENSIS.

In the middle, a coat of arms with an eagle (?) in the upper half and
oblique stripes in the lower. On both sides of it the initials I V.
Diameter, about 25 mm.
This mark is found on the front side of the pegboard of the famous
cittern, dated 1574, in the Vienna collection. A photograph of the
mark is in Schlosser.9
Girolamo de Virchis, Brescia, c.I523-after 1573.10

5. Round mark. Between two circles: MAR TINO . . . EI IN

... OVA. Diameter, 24,5 mm. (P1. II).
This mark is stamped onto a cittern in the Vienna collection." It is
only partly legible. No suggestion can be made concerning the maker's
name. As to the place of his activity one would certainly think first of
Padua (Padova).
Unidentified maker, Italy, I6th or early I7th century.

6. Round mark. Along the edge: ... ANI A NOLL ... Diameter,
24 mm. (P1. II).
A cittern in the possession of the Musical Instrument Museum of
the Karl-Marx-University, Leipzig, carries this mark.'2
Unidentified maker, Italy, 16th or early 17th century.

7. Round mark. Arranged in a circle the inscription: ... IEL PFA ...
(?). In the centre a horse (?). Diameter, about 25 mm. (P1. II).
This mark is found on the ribs at the bottom block of a guitar in
private possession. The instrument is on loan to the Collection of the
Galpin Society in Edinburgh. Even the few letters of the name are
not clearly legible. The letters PFA ... could suggest a member of the
family of Pfanzelt working in Rome. Certainly the instrument is of
Italian workmanship dating from c.I6oo.
Unidentified maker, Italy, c.i6oo.

8. Initials MB. Between and above the letters the trunk and top of a
tree resting on a triple mountain. Height, 16,5 mm. (P1. III).
This mark is found on a chitarrone in the Museo Bardini at Florence

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(No. 142). It is signed on a handwritten label Matheus Buechenberg /
Rorna 16o8. The mark is especially interesting for its literal representa-
tion of the maker's German name, Buechenberg, 'beech mountain'.
Matheus Buechenberg, fl. Rome from before I591, d. 1628.13

9. Initials WE with an anchor underneath. Height, 15,5 mm. (P1. III).

The photograph shows the mark of a small chitarrone in the Vienna
collection, inscribed 1611 / [IN] PADOVA Vvendelio Venere.'4 For
further comment see below, 25.
Wendelin Tieffenbrucker (?), Padua, c.16oo.

lo. Initials WE. Almost identical to 9, only the anchor is altered in

this slightly smaller mark. Height, 13.5 mm. (P1. III).
The plate shows the stamp of an unsigned treble lute of the Vienna
collection.'5 This mark is also discussed under 25.
Wendclin Tieffenbrucker?

11. Initials GF or EF. Above them, a lion with a club. Height, 16 mnm.
(Pl. III).
The mark comes from an unsigned lute in the Musikhistorisk
Museum, Copenhagen.16 The constructional details suggest a date for
the instrument shortly after 16oo.
Unidentified maker probably of German origin, Italy, early i7th
century.
12. Initials SF.
The above letters are marked on the belly of a lute in the Conserva-
torio Luigi Cherubini, Florence.'7 The instrument is labelled Stefano
Francho / Fece Lanno 1692.
Stefano Franco, Florence, second half of 17th century.'8

13. Initials MG attached by two rays to an aureole with a lion's head

(?). Height, 17 mm. (P1. III).
The mark reproduced is found on a chitarrone in the Museo Bardini,
Florence (No. 143), signed 1627 / [Ma]gno Graill in Romna. Unfortun-
ately the author was not able to get a clearer example of the mark
from one of the other known instruments by this maker.
Magno Graill, b. Augsburg 1572, d. Rome 1642. Active in Rome
from 1603, possibly before. Pupil of Matheus Bucclhenberg.19

14. Initials BH, above it a sun with a face. Total width, 19,5 mln.
(Pl. III).
A theorbo with the above mark is in the possession of the Gesellschaft
der Musikfreunde, now on loan to the Kunsthistorisches Museum,
Vienna. It carries the following label: Bassiano ... / Liuttaro i[n] Ronma
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 / 1666. In the catalogue of the Gesellschaft der Musikfreunde20 the
label is quoted as 'Bassiano liuttavo . . .', leaving no space for the maker's
surname. Consequently, only the Christian name Bassiano is found in
dictionaries of instrument makers.21 According to the stamp the last
name begins with an H. Taking into consideration this fact, the
maker's place of activity, and the date on the label, the instrument'can
only be attributed to Sebastian Haim, his Christian name being
italianized to Bassiano. The short name of Haim would fit very well
into the label, which has little space for the maker's surname.
Sebastian Haim (attributed), b. Fiissen 1630, d. Rome before 1695.22

15. Initials MH, between the letters a cross. Height, 14 mm. (P1. III).
This mark is found on a large octave bass lute in the Germanisches
Nationalmuseum, Niirnberg (No. MI 44). Its label reads IN PADOVA,
Michielle Harton / 16o2.
Michael Hartung (italianizcd to Michiclle Harton), Padua, fl. 1594-
1624?23

16. Initials MH and an animal (lion?) in octagonal double frame.

Width, 15 mam. (P1. III).
This mark appears twice on an unsigned theorbo (not an angelica
as stated by Mahillon) in the Brussels Conservatoire.24 An identification
of the maker has proved impossible. The instrument dates from the
17th century.
Unidentified maker, Italy?, 17th century.
17. Initials SH.
The inventory of the Mediccan Court in Florence of the year 170025
mentions '. . . una tiorba doppia ... con un polizzino stampato ...
che dice: Stefano Hindelang in Roma 1644, e con questa marca:
S.H. . . .'. No instrument of his seems to have survived.
Stcfan Hindelang (italianized to Indelanch, Inglan), b. c.I6oo, d.
after 165o in Rome.26

18. Initials CK and a double-headed eagle with a crown, both sur-

rounded by an oval. Height, 22,5 amm. (P1. III).
This mark is found on a thcorbo (originally a lute?) in the German-
isches Nationalmnuscum, N iirnbcrg (No. MI 55), carrying the following
label: Cristoffolo Hoch Lauter alla insegna / dell'aquila doro in Venetia.
The eagle in the mark obviously refers to the insegna, the shop-sign,
nmentioned in the label: 'dell'aquila doro'. An unsolved riddle concerns
the maker's surname. The label clearly gives it with an initial H,
while the mark has a K. It seems unlikely that the one should be an
italianizcd form of the other. In a chitarrone of 165027 the name is

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Christoff Koch, and there are italianized and other forms of it like
Christopher Cocks,28 Christofolo Choc,29 or Christofolo Cocho.30
As they all begin with a letter sounding 'K', it might be suggested
that the spelling of the label in the Niirnberg instrument is an excep-
tion.

Christoff Koch, Venice, middle of I7th century.

19. Initials GM, between the letters a sun with a human face. Total
width, 27,5 mm. (Pl. III).
This mark is found on a harp of the I6th century and of Italian
origin, forming part of the Collection of the Kunsthistorisches
Museum in Vienna.31 It is stamped three times onto the inner side of
the front column.
Unidentified maker, Italy, i6th century.

20. Initials NP.

The inventory of the Florentine Court of 170032 describes an
unsigned theorbo with this mark stamped twice onto it.
Unidentified maker, Italy, i6th or i7th century.

21. Initials GR (?) and a cross, surrounded by a ring of leaves (?).

Diameter, 17,5 mm. (PI. IV).
This mark is found twice on an otherwise obviously unsigned
guitar in the Germanisches Nationalmuseum, Niirnberg (No. MI 58).
The instrument appears to be of Italian origin and dates from the first
half of the 17th century. The mark near the lower end of the finger-
board is hardly legible. A possible suggestion as to the maker's name
is Giovanni Railich, Padua.
Unidentified maker, Italy, first half of I7th century.

22. Initials PR with a cross above, and surrounded by a ring of leaves.

Diameter, 15 mm.
This mark occurs on a theorbo in the Brussels Conservatoire
Museum and is illustrated in the catalogue of this collection.33 Cervelli
discovered an identical mark on another instrument signed Pietro
Railich / al Santo in Padova / 1635.34
Pictro Railich, Padua/Venice, fl. c.1644-1670.35

23. Initials MS with a crown above. Total height, 13,5 m1m. (Pl. IV).
This mark is taken from a guitar with an arched back in the Vienna
collection.36 It is signed MA TTEO SELLAS ALLA / CORONA IN
V/ENETIA with a crown above. This is another case where the
shop-sign, the insegna 'alla corona', is made a part of the mark.
Matteo Sellas, Venice, first half of i7th century.37
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24. Initials GT and an anchor underneath. Height, 14 mm. (Pl. IV).
This mark is found on a theorbo (originally a lute?) in the Museo
Bardini, Florence.38 Its label reads Giovanni Tesler in Ancona 1621.
Giovanni Tesler, Ancona, first quarter of 17th century.39

25. Initials WT with an anchor underneath. Height, 16 mm. (Pl. IV).

This stamp is reproduced from the 'harp-cittern' in the Kunst-
historisches Museum, Vienna.40 It has a label reading IN PADOVA
Vvendelio Venere / de Leonardo Tiefembrucker. Luisa Cervelli4" was the
first who vigorously drew the attention to the unsolved puzzle con-
cerning Vvendelio Venere's use of various marks. In fact, besides the
mark WT we find two other marks (Cervelli observed only one),
both making use of the initials WE (9 and 1o). All three have an
anchor with it, the upper end of which resembles a lily. Cervelli's
very interesting and noteworthy hypothesis tries to follow each step
of the development of both the labels and the marks observed by her.
One can certainly agree with her that WT and WE are different
makers, an assumption which, moreover, is supported by the fact
that one maker could hardly have worked from 155I to 1611, the
years of the earliest and latest dated instruments known.42 But the
present writer feels that in details her remarks suffer somehow from
the fact that a good deal of the information extracted from catalogues
etc. is neither complete nor reliable. A new approach to the problem
would certainly have to be based on the observation that the WT
mark combines with the various kinds of the full label (as quoted
above)43 while the WE marks have labels with their bottom lines cut
away.4 Furthermore, all WT instruments appear to be of an earlier
date than those with the WE marks. Much more research will certainly
be needed, not only in the field of instruments, but also in Italian
archives.
Wendelin Tcffenbrucker, Padua, second half of 16th century.

26. Double-headed eagle with a crown above. Height, 18,5 mm.

(Pl. IV).
The instrument, the mark of which is reproduced, is a chitarrone
with the printed label Magno Dieffopruchar a venetia, in the Kunst-
historisches Museum, Vienna.45 This mark is not the Venetian town
mark.
Magno Tieffenbrucker, Venice, fl. c.I580-I62i.46

27. Double-headed eagle with a crown above. Height, 18,5 mm.

(Pl. IV).
This mark is found three times on the belly and once on the front

29

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of the head of a colascione in the Vienna collection.47 The instrument
carries no label. Its belly possibly formed part of a larger instrument
at an earlier date, as suggested by the two lower eagles. The marks of
this instrument appear clearly distinguishable from that of 26.
Unidentified maker, Italy, I7th century.

28. Anchor. Height, Ii,5 mm. (Pl. IV).

The Brussels Conservatoire48 preserves a small octave lute (No.
1556) with the above mark. It is signed Mateit Hofinans le plhies anne
en anverb 16o5. The mark is not the town mark of Antwerp.
Mateu Hofmans, Antwerp, early 17th century.

29. Oval mark with a naked woman holding a bow and arrow
(Diana?). Width, 16,5 mm. (Pl. IV).
This mark is found on an unsigned guitar in the Niirnbcrg collection
(No. MI 66). It is stamped onto both sides of the centre line between
the bottom ribs at the bottom block. There seem to be no letters in
the mark.
Unidentified maker, probably Italy, 17th century.

30. Mark of gothic style (monogram?). Height, 15 mm. (Pl. IV).

A lute with this mark is in the Claudius Collection in Copcnhagen.49
It is signed Sixtus RavwolfAugustanius 1599.
This mark is different in style from all the others. It has some
resemblance to medieval stone-masons' marks and probably belongs
to the type of the 'house mark'.
Sixt Rauwolf, Augsburg, c.i556-after 161J9.5

NOTES
I want to thank all those who readily contributed to the completion
paper by giving permission to examine the cited instruments under th
I am also grateful to Dr.J. H. van der Mccer, Curator of the Niirnbcrg co
and to Mr C. Clarke of Edinburgh, at present working in the rest
workshop for musical instruments of the same museum, for their h
language problems.
I Luisa Cervelli, 'Brevi noti sui liutai tedcschi attivi in Italia dal
XVI0 al XVIII0', in Studien zur Italienisch-Deutschen Musikqeschicht
Lippmann, V. K6ln-Graz, 1968, pp. 299-337.
2 Riick collection, MIR 1223.
3 Heinrich Krciscl, Die Kinst des deutschen Miibels, I. Miinchen, 1968,
4 L. G. Langwill, An Index of Musical Wind-Instrument Makers. Edin
1962, p. 170o.
5 David D. Boyden, Cataloque of the Hill Collection of Musical Instrum
London, 1969, no. 31.

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 6 W. L. von Liitgendorff, Die Geigen- und Lauitentnacher, II. Frankfurt am
Main, 1922, p. 43.
7 Julius Schlosser, Die Sammilung alter AMusikinstrunente. Vienna, 1920, no.
62, pp. 61, 136.
8 Liitgendorff, p. 310. Ren6 Vannes, Dictionnaire Universel des Luthiers,
Brussels, 1951, p. 221.
9 Schlosser, no. 61, pp. 60, 136.
io Liitgendorff, p. 538.
Ii Schlosser, no. 63, p. 61.
12 Georg Kinsky, Musikhistorisches Museum von Wilhehn Heyer, Katalog, II.
K61n, 1912, no. 612, p. 184.
13 Friedrich Noack, Das Deutschtun in Romn, Freiburg, 1927, I, p. 83, II,
p. III.
14 Schlosser, no. 47, p. 56, where the label is quoted incorrectly.
15 Schlosser, no. 40, p. 55.
16 No. C 44. Angul Hammerich, Musikhistorisches Museumn. Copenhagen
1911, p. 67, no. 305.
17 Vinicio Gai, Gli Strumenti Musicali della Corte Medicea e il Museo del
Conservatorio 'Luigi Cherubini' di Firenze. Florence, 1969, no. 81, p. 151. Se
also Kinsky (note 12), II, no. 520, p. i18.
18 Liitgendorff, p. 146.
19 F. Noack (note 13), I, p. 89, II, p. 215.
20 Eusebius Mandyczewski, Geschichte der K.K. Gesellschaft der Musikfreund
in Wien. Zusatzband, Vienna, 1912, p. 161, no. 60.
21 Ltitgendorff, p. 33. Vannes, p. 21.
22 Noack, I, p. 237, II, p. 233.
23 The dates of his activities are rather uncertain. The earliest source is a
instrument in Freiburg/Breisgau (in private possession) dated 1594. As th
latest mention we can only refer to Ernst Gottlieb Baron, Untersuchung d
Instruments der Lauten, Niirnberg, 1727, p. 95, since the often-quoted instru
nient of 1640 (Copenhagen, Claudius Coll. ro4) cannot be considered a
authentic work by Hartung.
24 Victor-Charles Mahillon, Catalogue descriptif et analytique, III. Ghen
1900oo, p. 50o, no. 1578.
25 Gai (note 17), p. 14.
26 LUitgendorff, p. 242 ('Indelanch'). Noack, I, p. 90, II, p. 291 ('Inglan
Vannes, p. 172 ('Inglan', 'Indelanch').
27 Berlin, Musikinstrumentenmuseum, 3581.
28 Paris, Musec du Conservatoire, C. 233.
29 London, Victoria & Albert Museum, 7756/1862.
30 Carl Claudius' Samling af Gamle Musikinstrunenter. Copenhagen, 193
p. to4, no. 96A.
31 Schlosser, p. 57, no. 5i.
32 Gai, p. I5.
33 Mahillon, III, p. 146, no. 1569.
34 L. Cervelli (note I), p. 323, referring to a chitarrone in the Raccolt

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Statale di strumenti musicali-Fondo Evan Gorga, Rome, no. Io.
35 Litgendorff, p. 401.
36 Schlosser, no. 51, p. 57.
37 Adolf Layer, article 'Seelos' in Musik in Geschichte und Gegenwart,
Kassel, 1949--, XII, col. 457.
38 No. 154. Luisa Cervelli's reproduction of this mark appears to be
incomplete.
39 Of this hitherto unrecorded maker only one more instrument, which
is in the same collection (136), seems to exist. It is dated 1611.
40 Schlosser, p. 62, no. 67.
41 Cervelli (note I), pp. 332-335.
42 Cervelli, p. 334.
43 Examples: Kunsthistorisches Museum, Vienna, C 36, A 46, C 67.
44 Examples: Stockholm, 547, Vienna, C 47, Rome, 1227.
45 Schlosser, p. 56, no. 45.
46 Adolf Layer, article 'Tieffenbrucker' in MGG, XIII, col. 401.
47 Schlosser, p. 56, no. 44.
48 Mahillon, p. 138, no. i556.
49 Claudius, p. Too, no. 93.
5o Liitgendorff, p. 405.

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