(1:12 袖珍) after 1538年 or 1572年 (Andrea Amati) 安德列.阿瑪悌 大提琴 "The king"

                                        

真實的最早的小提琴Andrea Amati1551,

他也曾為法皇 查理九世 Charles IX 做的樂器

義大利的安德烈‧阿瑪悌(Andrea Amati, 1505~1577) 為史上首位著名的大提琴製作家，

其中最有名的一把大提琴「國王阿瑪悌」(“King”Amati)為教皇皮烏斯五世(Pope Pius V)向他所訂製

「國王阿瑪悌」不僅外型相當細緻華麗，更有著厚實有力的聲音，

但當時的大提琴尺寸皆比現在要大一些

1560-1574 共38把樂器包含12把大型小提琴,

12把小型小提琴, 6 中提琴及8把大提琴, 是最早的提琴訂單.

這些樂器很多都毀於1789年巴士底監獄動亂 目前世界是僅四家博物館有此琴.

這把The king 大提琴也是留存下來的其中之一

這次我做2個版本 一個是琴現在的樣子 (有缺損圖案)

一個是400多年前它剛完成時的樣子  (完整的圖案)

當時的配件與現今不同 我依照當時常用的配件將它還原

至於是否終於原味就無從考據了

1:12 阿瑪悌 大提琴 The king 製作全紀錄

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參考資料集

這把 THE KING 大提琴是現存年代最早的大提琴

關於此琴介紹

http://www.youtube.com/v/UlglpppukSw?fs=1&hl=zh_TW=&autoplay=1&loop=1"application/x-shockwave-flash

 

 

2010 .05 .04 新增平面圖

The oldest cellos known to exist came from the hands of Andrea Amati, born about 1511. He lived in Cremona, Italy. It is not known how many cellos he made, but we know of only three.

The cello pictured here is called "The King," and is historically the most famous of all cellos. It was exhibited in 1968 at the Rockefeller University for the Conference on Scientific Aspects of Musical Instruments with the following information: "Violoncello by Andrea Amati, Cremona, not after 1574, body length 75.5 cm (reduced from larger dimensions). Neck and fittings modern. Painted and gilded with the arms, devices, and mottoes of Charles IX, King of France. Label probably a facsimile, dated 1572."

 

Charles IX of France had ordered 38 instruments from Andrea Amati, including 8 "basses," and this instrument is thought to be one of them. The paintings are on the back and the sides, and there are decorations on the peg box as well (the peg box and scroll on this cello are original). On the centre of the back can be seen a crown over the remaining outline of the royal coat of arms, on either side of which is a figure. To the right is a figure of a woman and further to the right, a column, with a crown on top, and still another crown near the bottom of the instrument. On the left side, the figure is no longer visible, and only a portion of the column remains. The figures stand for Piety and Justice.

On the sides of the cello were the words "Pietate" and "Justicia." On the bass side only the letters ETA remain visible from the word "Pietate;" "Justicia" was on the treble side. Above the "K" which stands for Charles (Karolus) is a crown, surrounded by other decorative figures on the middle bout.

In each of the four corners of the back is a fleur-de-lis, the symbol of the royal family of France. There is also a fleur-de-lis at the back of the peg box.

On the peg box is a fifth peg hole that may or may not have been there originally. (There were five-stringed cellos up to the middle of the eighteenth century.) The instrument has obviously been knocked about a little, but it has been beautifully repaired and is in a healthy condition today. The overall colour is of amber.

The voice of this cello is remarkable. It possesses a beautiful, full-throated sound, vigorous enought to be heard in a concerto. The cello is basically the same as a modern cello, although it has been cut down. In every other respect than size, Andrea Amati made cellos as they are known today. For 200 years Andrea Amati and his descendents made these wonderful instruments.

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It was in the workshop of Andrea Amati (ca. 1505-1577) in Cremona, Italy, in the middle of the 16th century that the form of the instruments of the violin family as we know them today first crystallized. The King, as it is now called, is the earliest bass instrument of the violin family known to survive, built perhaps as early as 1538, originally with only three strings. About 1560, it was painted to serve as one of a set of 38 stringed instruments built by Andrea Amati that were painted and gilded for the French court of King Charles IX (d. 1574) - his mother was Catherine de' Medici, a member of the Italian family that directed the destiny of Florence (and, after 1569, of Tuscany) from the fifteenth century to 1737 - with the King's emblems and mottoes. The set was used until it was dispersed during the French Revolution (1789). Only a few instruments from the set have survived.

The King was cut down in size--looking closely at the paintings on the back, one can see that wood was removed down the center, leaving the woman, representing "Justice," without a waist or left arm--and "modernized" by Sébastian Renault, a Parisian luthier, in 1801.

Note: Click on any area of the bass side of the cello to see a close-up of that area.

The letters on the bass side spell the word, "PIETATE" (Latin for piety). The letter, "K," in the center rib stands for "Karolus" (King Charles IX of France).

The cello's neck was replaced in 1801, but the original scroll and pegbox were kept, retaining not only the original decoration, but also preserving the evidence that the instrument once had only three strings.

Treble Side of 'Cello

 

Note: Click on any area of the treble side of the cello to see a close-up of that area.

The letters on the treble side spell the word "IVSTICIA" (or "JUSTICIA," Latin for justice). The letter, "K," in the center rib stands for "Karolus" (King Charles IX of France).

The King was exhibited in London in 1872 and 1904, and in New York in 1968.  In 1982, it was featured in an exhibition mounted for the Ente Triennale Internazionale degli Strumenti ad Arco at the Palazzo Comunale di Cremona, October 9-18.   See: Andrea Mosconi and Laurence C. Witten, Capolavori di Andrea Amati (Cremona: Ente Triennale Internazionale degli Strumenti ad Arco, 1984), pp. 53-58 and 69. According to Charles Beare, the prominent London violin expert who heard the 'cello played in 1982, "I think the sound that came out of that instrument was perhaps the greatest

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尺寸參考

Label: probably a facsimile, dated 1572 Ribs: of wood similar to back Table: of medium-grained spruce Varnish: Orange-brown on a golden background Upper Bout: 34.3 cm. Lower Bout: 44.2 cm. Back: Two-piece with a slight irregular curl Scroll: of wood similar to back Neck: modern Body Length: 75.5 cm. Center Bout: 23.6 cm.

"Neck and fittings modern. Painted and gilded with the arms, devices, and mottoes of Charles IX, King of France. Label probably a facsimile, dated 1572. Charles IX of France had ordered 38 instruments from Andrea Amati, including 8 "basses," and this instrument is thought to be one of them. The paintings are on the back and the sides, and there are decorations on the peg box as well (the peg box and scroll on this cello are original). On the centre of the back can be seen a crown over the remaining outline of the royal coat of arms, on either side of which is a figure. To the right is a figure of a woman and further to the right, a column, with a crown on top, and still another crown near the bottom of the instrument. On the left side, the figure is no longer visible, and only a portion of the column remains. The figures stand for Piety and Justice. On the sides of the cello were the words 'Pietate' and 'Justicia.' On the bass side only the letters ETA remain visible from the word 'Pietate;' 'Justicia' was on the treble side. Above the 'K' which stands for Charles (Karolus) is a crown, surrounded by other decorative figures on the middle bout.

In each of the four corners of the back is a fleur-de-lis, the symbol of the royal family of France. There is also a fleur-de-lis at the back of the peg box. On the peg box is a fifth peg hole that may or may not have been there originally. (There were five-stringed cellos up to the middle of the eighteenth century.) The instrument has obviously been knocked about a little, but it has been beautifully repaired and is in a healthy condition today. The overall colour is of amber.

The voice of this cello is remarkable. It possesses a beautiful, full-throated sound, vigorous Cowling, B. T. Batsford Ltd., London, 1975.
"This [cello] is known as the 'Bridge's viollo.' Its history is romantic, it having been presented by Pope Pius V. to Charles IX. of France, and surnamed the 'King.'"
Old Violins, H. R. Haweis, John Grant, Edinburgh, 1910.
"The King, as it is now called, is the earliest bass instrument of the violin family known to survive, built perhaps as early as 1538, originally with only three strings. About 1560, it was painted to serve as one of a set of 38 stringed instruments built by Andrea Amati that were painted and gilded for the French court of King Charles IX (d. 1574) - his mother was Catherine de' Medici, a member of the Italian family that directed the destiny of Florence (and, after 1569, of Tuscany) from the fifteenth century to 1737 - with the King's emblems and mottoes. The set was used until it was dispersed during the French Revolution (1789). Only a few instruments from the set have survived.

The King was cut down in size--looking closely at the paintings on the back, one can see that wood was removed down the center, leaving the woman, representing 'Justice,' without a waist or left arm--and 'modernized' by Sébastian Renault, a Parisian luthier, in 1801.

The letters on the bass side spell the word, 'PIETATE' (Latin for piety). The letter, 'K,' in the center rib stands for 'Karolus' (King Charles IX of France)." enough to be heard in a concerto. The cello is basically the same as a modern cello, although it has been cut down. In every other respect than size, Andrea Amati made cellos as they are known today."
The Cello, Elizabeth

原始網址

http://orgs.usd.edu/nmm/Cellos/Amati/Amaticello.html