Part 3

Until recently the existence of these ancient stringed instruments was presumed on the evidence of the early medieval European instruments and of the meagre writings extant, such as those of Farabi.[1] But a chain of plastic evidence can now be offered, beginning with the Greek post-Mycenaean age (c. 1000 B.C.). A statuette of a female musician playing upon a large lute with only an embryonic neck, on which nevertheless the left hand is stopping strings, was unearthed in Egypt in a tomb of the XXth Dynasty in the cemetery of Goshen by the members of the British School of Archaeology in Egypt,[2] under the direction of Professor Flinders Petrie, to whose courtesy we owe the photograph (fig. 1) here reproduced. It is difficult to form a conclusive opinion as to the number of strings the artist intended to represent, owing to the decorative figures following the direction of the strings, but, judging from the position of the right hand plucking a string, there may have been seven. Among a number of terra-cotta figures of musicians, brought to light during the excavations in a Tell at Suza and dating from the 8th century B.C.,[3] although there is no instrument that might be identified with the alto lute, the treble lute or tanbur is represented with a long, curved neck and a head bent back to increase the tension, and there is also an instrument having a smaller and more elongated body than the lute. On one of the friezes from Afghanistan presented to the British Museum by Major-General Cunningham, which formed the risers of steps leading to the tope at Jumal Garhi, dating from the 1st century A.D. are represented scenes of music and dancing. Here the archetype of the lute appears several times; it had four strings, and the head was bent back at right angles to the neck. In the 6th century A.D. illustrations of this early lute are no longer rare, more especially on Persian silver-work of the Sassanian period[4] and in the paintings of the Buddhist cave-temples of Ajanta.[5] Several representations of the barbiton are extant from the classical Roman period.

The modern Egyptian 'ud is the direct descendant of the Arabic lute, and, according to Lane, is strung with seven pairs of catgut strings played by a plectrum. A specimen in the Victoria and Albert Museum, given by the khedive, has four pairs only, which appears to have been the old stringing of the instrument. When frets (cross-lines dividing the neck or finger-board to show the fingering) are employed they are of catgut disposed according to the Arabic scale of seventeen intervals in the octave, consisting of twelve limmas, an interval rather less than our equal semitone, and five commas, which are very small but quite recognizable differences of pitch.

The lute family is separated from the guitars, also of Eastern origin, by the formation of the sound body, which is in all lutes pear-shaped, without the sides or ribs necessary to the structure of the flat-backed guitar and cither. Observing this distinction, we include with the lute the little Neapolitan mandoline of 2 ft. long and the large double-necked Roman chitarrone, not infrequently 6 ft. long. Mandolines are partly strung with wire, and are played with a plectrum, indispensable for metal or short strings. Perhaps the earliest lutes were so played, but the large lutes and theorbos strung with catgut have been invariably touched by the fingers only, the length permitting this more sympathetic means of producing the tone.

Praetorius,[6] writing when the lute was in universal favour, mentions seven varieties distinguished by size and tuning. The smallest would be larger than a mandoline, and the melody string, the "chanterelle," often a single string, lower in pitch. Praetorius calls this an octave lute, with the chanterelle C or D. The two discant lutes have respectively B and A, the alto G, the tenor E, the bass D, and the great octave bass G, an octave below the alto lute which may be taken as the model lute cultivated by the amateurs of the time. The bass lutes were theorbos, that is, double-necked lutes, as described below. The accordance of an alto lute was [musical notes] founded upon that of the original eight-stringed European lute, to which the highest and lowest notes had, in course of time, been added. A later addition was the [musical notes] also on the finger-board, and bass strings, double or single, known as diapasons, which, descending to the deep C of the violoncello, were not stopped with the fingers. The diapasons were tuned as the key of the piece of music required. Fig. 2 represents an Italian instrument made by one of the most celebrated lute makers, Venere of Padua, in 1600; it is 3 ft. 6 in. high, and has six pairs of unisons and eight single diapasons. The finger-board, divided into approximately equal half tones by the frets, as a rule eight in number, was often further divided on the higher notes, for ten, eleven, or, as in the woodcut, even twelve, semitones. The head, bearing the tuning pegs, was placed at an obtuse or a right angle to the neck, to increase the bearing of the strings upon the nut, and be convenient for sudden requirements of tuning during performance, the trouble of keeping a lute in tune being proverbial.

The lute was in general use during the 16th and 17th centuries. In the 18th it declined; still J. S. Bach wrote a "partita" for it. The latest date we have met with of an engraved publication for the lute is 1760.

[Illustration: FIG. 2.--Lute, by Venere of Padua.]

The large double-necked lute, with two sets of tuning pegs, the lower for the finger-board, the higher for the diapason strings, was known as the theorbo; also, and especially in England, as the arch-lute; and, in a special form, the neck being then very long, as the chitarrone. Theorbo and chitarrone appear together at the close of the 16th century, and their introduction was synchronous with the rise of accompanied monody in music, that is, of the oratorio and the opera. Peri, Caccini and Monteverde used theorbos to accompany their newly-devised recitative, the invention of which in Florence, from the impulse of the Renaissance, is well known. The height of a theorbo varied from 3 ft. 6 in. to 5 ft., the Paduan being always the largest, excepting the Roman 6-ft. long chitarrone. These large lutes had very deep notes, and doubtless great liberties were allowed in tuning, but the strings on the finger-board followed the lute accordance already given, or another quoted by Baron (_Untersuchung des Instruments der Lauten_, Nuremberg, 1727) as the old theorbo or "violway" (see Mace, _Musick's Monument_, London, 1676):--

[Illustration]

We find again both these accordances varied and transposed a tone higher, perhaps with thinner strings, or to accommodate local differences of pitch. Praetorius recommends the chanterelles of theorbos being tuned an octave lower on account of the great strain. By such a change, another authority, the Englishman Thomas Mace, says, the life and spruceness of airy lessons were quite lost. The theorbo or arch-lute had at last to give way to the violoncello and double bass, which are still used to accompany the "recitativo secco" in oratorios and operas. Handel wrote a part for a theorbo in _Esther_ (1720); after that date it appears no more in orchestral scores, but remained in private use until nearly the end of the century.

The lute and the organ share the distinction of being the first instruments for which the oldest instrumental compositions we possess were written. For the lute, however, they were not written in our present notation, but in tablature, "lyrawise," a system by which as many lines were drawn horizontally as there were pairs of strings on the finger-board, the frets, distributed at intervals of a semitone, being distinguished by the letters of the alphabet, repeated from A, representing the open string, for each line. This was the English and French manner; the Italian was by numbers instead of letters. The signs of time were placed over the stave, and were not repeated unless the mensural values changed. (A. J. H.; K. S.)

FOOTNOTES:

[1] See Latin translation by J. G. L. Kosegarten, _Alii Ispahenensis Liber ... Arabice editur adjectaque translatione adnotationibusque illustratus_ (Greifswald, 1840).

[2] See _Hyksos and Israelite Cities_, by W. M. Flinders Petrie and J. Garrow Duncan, 1906 (double volume), Brit. Sch. of Arch.

[3] J. de Morgan, _Délégation en Perse_ (Paris, 1900), vol. i. pl. viii. Nos. 8, 7 and 9.

[4] See "The Treasures of the Oxus," catalogue of the Franks Bequest to the British Museum by Ormonde M. Dalton (London, 1905), pl; xxvi. No. 190; see also J. R. Aspelin, "Les antiquités du nord," No. 608; also for further references, Kathleen Schlesinger, "Precursors of the Violin Family," pt. ii. of _The Instruments of the Orchestra_, pp. 407-408, and appendix B, pp. 492-493; and _Gazette archéologique_ (Paris, 1886), vol. xi. pl. x. and p. 70.

[5] By John Griffiths (London, 1896), vol. ii. pl. 105, cave I. 10, e.

[6] _Syntagm. Music._ pt. ii., "Organographie" (Wolfenbüttel, 1618), pp. 30 and 58-61.

LUTHARDT, CHRISTOPH ERNST (1823-1902), German Lutheran theologian, was born at Maroldsweisach, Bavaria, on the 22nd of March 1823. He studied theology at Erlangen and Berlin, and in 1856 became professor ordinarius of systematic theology and New Testament exegesis at Leipzig. In 1865 he was made a counsellor to the consistory, in 1871 canon of Meissen cathedral, and in 1887 a privy councillor to the church. He died at Leipzig on the 21st of September 1902. A strictly orthodox theologian, and a clear writer, though not a very profound scholar, Luthardt became widely appreciated as the author of apologetic lectures. These were collected under the title _Apologie des Christentums_ (vol. i., 1864, 14th ed. 1896; vol. ii. 7th ed., 1901; vol. iii. 7th ed., 1898; vol. iv. 2nd ed., 1880), a work of which the first three volumes have been translated into English. In 1868 he founded and edited the _Allgemeine evang.-lutherische Kirchenzeitung_, with its supplement the _Theologisches Litteraturblatt_, and in 1880 became editor of the _Zeitschrift für kirchl. Wissenschaft und kirchl. Leben._

His other works include _Das Johanneische Evangelium ... erklärt_ (1852-1853; 2nd ed. in 2 vols., 1875-1876), _Offenbarung Johannis erklärt_ (1861), _Lehre von den letzten Dingen_ (1861; 3rd ed. 1885); _Kompendium der Dogmatik_ (1865; 9th ed., 1893), _Geschichte der christlichen Ethik_ (2 vols., 1888-1893), _Gnade und Wahrheit_ (1874), _Das Wort des Lebens_ (1877) and _Gnade und Frieden_ (1880). His autobiography was published with the title _Erinnerungen aus vergangenen Tagen_ (1889; 2nd ed., 1891).

LUTHER, MARTIN (1483-1546), the great German religious reformer, was born at Eisleben on the 10th of November 1483. His father, Hans Luther (Lyder, Luder, Ludher), a peasant from the township of Möhra in Thuringia, after his marriage with Margarethe Ziegler, had settled in Mansfeld, attracted by the prospects of work in the mines there. The counts of Mansfeld, who, many years before, had started the mining industry, made a practice of building and letting out for hire small furnaces for smelting the ore. Hans Luther soon leased one, then three. In 1491 he became one of the four elected members of the village council (_vier Herren von der Gemeinde_); and we are told that the counts of Mansfeld held him in esteem. The boy grew up amid the poor, coarse surroundings of the German peasant life, imbibing its simple beliefs. He was taught that the Emperor protected the poor people against the Turk, that the Church was the "Pope's House," wherein the Bishop of Rome had all the rights of the house-father. He shared the common superstitions of the time and some of them never left him.

Young Martin went to the village school at Mansfeld; to a school at Magdeburg kept by the Brethren of the Common Lot; then to the well-known St George's school at Eisenach. At Magdeburg and Eisenach Luther was "a poor student," i.e. a boy who was received into a hospice where he lived rent-free, attended school without paying fees, and had the privilege of begging for his bread at the house-doors of the town; in return for which he sang as a chorister in the church to which the school was attached. Luther was never a "wandering student"; his parents were too careful of their child to permit him to lead the life of wandering licence which marked these pests of medieval German scholastic life. At Eisenach he attracted the notice of the wife of a wealthy merchant of Eisenach, whom his biographers usually identify as Frau Cotta.

After three happy years at Eisenach, Luther entered the university of Erfurt (1501), then the most famous in Germany. Hans Luther had been prospering, and was more than ever resolved to make his son a lawyer. Young Luther entered his name on the matriculation book in letters which can still be read "Martinus Ludher ex Mansfelt," a free student, no longer embarrassed by great poverty. In Luther's time Erfurt was the intellectual centre of Germany and its students were exposed to a variety of influences which could not fail to stimulate young men of mental ability.

Its theology was, of course, scholastic, but of what was then called the modern type, the Scotist; its philosophy was the nominalist system of William of Occam, whose great disciple, Gabriel Biel (d. 1495), had been one of its most famous professors; Nicholas de Lyra's (d. 1340) system of biblical interpretation had been long taught there by a succession of able teachers; Humanism had won an early entrance to the university; the anti-clerical teaching of John of Wessel, who had himself taught at Erfurt for fifteen years (1445-1460), had left its mark on the place and was not forgotten. Hussite propagandists, even in Luther's time, secretly visited the town and whispered among the students their anti-clerical Christian socialism. Papal legates to Germany seldom failed to visit the university and by their magnificence bore witness to the majesty of the Roman church.

A study of the scholastic philosophy was then the preliminary training for a course of law, and Luther worked so hard at the prescribed studies that he had little leisure, he said, for classical learning. He attended none of the Humanist lectures, but he read a good many of the Latin authors and also learned a little Greek. He never was a member of the Humanist circle; he was too much in earnest about religious questions and of too practical a turn of mind. The young Humanists would have gladly welcomed him into their select band. They dubbed him the "philosopher," the "musician," recalled in after days his fine social disposition, his skill in playing the lute, and his ready power in debate. He took the various degrees in an unusually brief time. He was bachelor in 1502 and master in 1505. His father, proud of his son's steady application and success, sent him the costly present of a _Corpus Juris_. He may have begun to study law. Suddenly he plunged into the Erfurt Convent of the Augustinian Eremites and after due noviciate became a monk.

The action was so unexpected that his contemporaries felt bound to give all manner of explanations which have been woven into accounts which are legendary. Nothing is known about the cause of the sudden plunge but what Luther has himself revealed. He has told us that he entered the monastery because he doubted of himself, and that his action was sudden because he knew that his father would have disapproved of his intention.

The word "doubt" has made historians think of intellectual difficulties--of the "theological scepticism" taught by Occam and Biel, of the disintegrating criticism of Humanism. But there is no trace of any theological difficulties in Luther's mind in the struggles which sent him into the convent and distracted him there. He was driven to do what he did by the pressure of a practical religious need, the desire to save his soul. The fires of hell and the shades of purgatory, which are the constant background of Dante's "Paradiso," were present to Luther from childhood.

Luther was the greatest religious genius which the 16th century produced, and the roots of the movement in which he was the central figure must be sought for in the popular religious life of the last decades of the 15th and opening decades of the 16th centuries--a field which has been neglected by almost all his biographers. When it is explored traces of at least five different types of religious sentiment can be discovered. Pious parents, whether among the burghers or peasants, seem to have taught their children a simple evangelical faith. Martin Luther and thousands of children like him were trained at home to know the creed, the ten commandments, the Lord's prayer, and such simple hymns as _Ein Kindelein so lobelich_, _Nun bitten wir den Heiligen Geist_ and _Crist ist erstanden_; and they were taught to believe that God for Christ's sake freely pardons sin. They learned that simple faith which Luther afterwards expounded in his _Small Catechism_ and called the _Kinderlehre_. When lads trained like himself entered school and college they came in contact with that religious revival which characterized the last half of the 15th century. Fear seemed to brood over the peoples of Western Europe. The plague devastated the badly drained towns, new diseases spread death, the fear of the Turks was permanent. All this went to feed revival, which, founded on fear, refused to see in Jesus Christ anything but a stern judge, and made the Virgin Mother and Anna the "grandmother" the intercessors; which found consolation in pilgrimages from shrine to shrine; which believed in crude miracles, and in the thought that God could be best served within convent walls. Luther's mind was caught in this current of feeling. He records how it was burnt into him by pictures which filled his boyish imagination. Jesus in the painted window of Mansfeld church, stern of face, sword in hand, sitting on a rainbow, coming to judge; an altar-piece at Magdeburg, in which a ship with its crew was sailing on to heaven, carrying no layman on board; the deeds of St Elizabeth emblazoned on the window of St George's parish church at Eisenach; the living pictures of a young nobleman who had turned monk to save his soul, of a monk, the holiest man Luther had ever known, who was aged far beyond his years by his maceration; and many others of the same kind.

Alongside this we can trace the growth of another religious movement of a different kind. We can see a sturdy common-sense religion taking possession of multitudes in Germany, which insisted that laymen might rule in many departments supposed to belong exclusively to the clergy. The _jus episcopale_ which Luther afterwards claimed for the secular authorities had been practically exercised in Saxony and Brandenburg; cities and districts had framed police regulations which set aside ecclesiastical decrees about holidays and begging; the supervision of charity was passing from the hands of the church into those of laymen; and religious confraternities which did not take their guidance from the clergy were increasing. Lastly, the medieval Brethren were engaged in printing and distributing tracts, mystical, anti-clerical, sometimes socialist. All these influences abounded as Luther was growing to manhood and laid their marks upon him. It was the momentary power of the second which drove him into the convent, and he selected the monastic order which represented all that was best in the revival of the latter half of the 15th century--the Augustinian Eremites.

In the convent Luther set himself to find salvation. The last word of that Scotist theology which ruled at the close of the middle ages was that man must work out his own salvation, and Luther tried to do so in the most approved later medieval fashion by the strictest asceticism. He fasted and scourged himself; he practised all the ordinary forms of maceration and invented new ones, all to no purpose. His theological studies, part of the convent education, told him that pardon could be had through the Sacrament of Penance, and that the first part of the sacrament was sorrow for sin. The older theology declared that such sorrow must be based on love to God. Had he this love? God always appeared to him as an implacable judge, threatening punishment for breaking a law which it was impossible to keep. He confessed to himself that he often hated this arbitrary Will which Scotist theology called God. The later theology, taught in the convent by John of Palz and John Nathin, said that sorrow might be based on a meaner motive provided the Sacrament of Penance was continually resorted to. Luther wearied his superiors with his attendance at the confessional. He was looked upon as a young saint, and his reputation extended throughout the convents of his order. The young saint felt himself to be no nearer the pardon of God; he thought that he was "gallows-ripe." At last his superiors seemed to discover his real difficulties. Partly by their help, partly by study of the scriptures, he came to understand that God's pardon was to be won by trusting to His promises. Thus after two years of indescribable mental conflicts Luther found peace. The struggle marked him for life. His victory gave him a sense of freedom, and the feeling that life was given by God to be enjoyed. In all external things he remained unchanged. He was a faithful son of the medieval church, with its doctrines, ceremonies and usages.

Soon after he had attained inward peace, Luther was ordained. He continued his studies in theology, devoting himself to the more "experimental" portions of Augustine, Bernard and Gerson. He showed himself a good man of business and was advanced in his order. In 1508 he was sent with some other monks to Wittenberg to assist the small university which had been opened there in 1502 by Frederick the Wise, elector of Saxony. It was there that Luther began to preach, first in a small chapel to the monks of his order; later taking the place of one of the town's clergy who was in ill-health. From Wittenberg he was sent by the chiefs of the German Augustinian Eremites to Rome on a mission concerning the organization of the order. He went up with the feelings of the medieval pilgrim rather than with the intoxication of the ardent Humanist. On his return (1512) he was sent by Staupitz, his vicar-general, to Erfurt to take the necessary steps for higher graduation in theology, in order to succeed Staupitz himself as professor of theology in Wittenberg. He graduated as Doctor of the Holy Scripture, took the Wittenberg doctor's oath to defend the evangelical truth vigorously (_viriliter_), became a member of the Wittenberg Senate, and three weeks later succeeded Staupitz as professor of theology.