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Seven course lute after Venere – a case study

One problem lutemakers have is that although there is an expectation that they will make “copies” of original instruments, those original instruments have survived in a state which is very far from their original conception.  So when there are some instruments which seem to have survived in close to their original layout (number of courses, string length, and so on) we pay them special attention and tend to regard these few specimens as representative of their type and worthy of copying.

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