{"id":8060,"date":"2026-07-06T15:14:41","date_gmt":"2026-07-06T13:14:41","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8060"},"modified":"2026-07-06T16:07:18","modified_gmt":"2026-07-06T14:07:18","slug":"mdwp017-006","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp017-006\/","title":{"rendered":"Alessandro Fabri and his Pupils"},"content":{"rendered":"<h2 class=\"subtitle\">Protagonists of the Art of the \u2018Zimbararo\u2019 in Naples<\/h2>\n<h3 class=\"author\"><em>Francesco Nocerino<\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n.tsquotation {\n line-height: 1.4 !important;   \n}\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      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id=\"zp-ID-8060-4511395-MVQZ7AX2\" data-zp-author-date='Nocerino-2026' data-zp-date-author='2026-Nocerino' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Nocerino, Francesco. 2026. \u201cAlessandro Fabri and His Pupils: Protagonists of the Art of the \u2018Zimbararo\u2019 in Naples.\u201d In <i>\u2018Per Aures Ad Animum\u2019. The Harpsichord in the Sixteenth Century II: Italy<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.21939\/harpsichord-italy-16c'>https:\/\/doi.org\/10.21939\/harpsichord-italy-16c<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=MVQZ7AX2' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Appendix A: Fabri&#8217;s Workshop<\/a><br \/>\n<a href=\"#2\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<div class=\"motto\">\n<p style=\"font-family: sans-serif; text-align: right; margin-bottom: 1.2cm;\">Homines dum docent discunt.<br \/>\n(L.A.&#160;Seneca)<\/p>\n<\/div>\n<p>Born in the second half of the 16th century, Alessandro Fabri lived in an era that witnessed the flourishing of important musical personalities in our culture, and through a combination of rationality and passion, he gave life to masterpieces that still amaze today. He was one of the masters of the art of harpsichord and organ-making in Naples, as confirmed by new archival documents.<\/p>\n<p>Thanks to his craftsmanship, Fabri\u2019s harpsichord and organ workshop became a point of reference for the production and commerce of high-quality keyboard instruments which were admired by musicians and noble patrons and contributed to the spread of refined musical culture in Naples. Indeed, many representatives of important noble Neapolitan families at the time, together with high prelates of the Church, were prominent figures among Fabri\u2019s vast clientele, and they contributed to fostering a rich and lively market that attracted apprentices and labourers to Naples from many parts of Europe.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span><\/p>\n<p>Alessandro Fabri<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> was the son of Ercole Fabri, a Florentine organ-builder already in Naples from 1567.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span> From a young age, Alessandro was initiated into the art of making musical instruments at his father\u2019s workshop, and soon showed great talent as well as business skills. In 1579, he sold a used clavichord<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> to the bishop of Pozzuoli, Giovan Matteo Castaldo, and signed a contract of <em>locatio personae<\/em> for one of his collaborators, Luca Dernofio, despite the fact that Alessandro was still under the <em>patria potestas <\/em>of his father Ercole, owner of the workshop. The <em>emancipatio pro Alexandro Fabri<\/em>, a formal act that freed him to exercise his profession without constraint, arrived on 25&#160;January 1582,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> and from that moment on, Alessandro was able to run the workshop on his own, signing contracts and performing other legal acts independently.<\/p>\n<p>Alessandro Fabri, a contemporary of notable musicians, was court organ builder in Naples during the period when Jean de Macque, Giovanni Maria Trabaci and Ascanio Mayone<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/span><\/span> were active. From 1591 he received payments for work on the organs of the royal chapel,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span> and from 1609<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> he officially appears as palace organ builder, remaining in office until at least 1624.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span><\/p>\n<p>Although he owned real estate,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span> Fabri lived in a rented house in the densely populated Carit\u00e0 district<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span> where he carried out his activities. Certainly before June 1593, he married Belluccia Mennardo,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span> sister of the Flemish painter Ottavio Mennardo.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/span> They very probably had no children, a fact suggested by the restitution of part of his late wife\u2019s dowry in 1632.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span><\/p>\n<p>Despite periods of economic fluctuation, Alessandro Fabri enjoyed an intense commercial activity, as evidenced by the numerous monetary transactions on his banking records. These movements include purchases, sales, loans, rentals, and annuities.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span> The same bank records also reveal that this skilled organ-builder customarily granted loans at interest,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span> a practice of investing one\u2019s assets that was quite common among craftsmen and artists of the time.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span><\/p>\n<p>Substantial archival documentation confirms that numerous instruments came out of Fabri\u2019s workshop: organs, harpsichords, <em>claviorgani<\/em>. Unfortunately, only two of his precious instruments have come down to us. One is the spinet in the Tagliavini Collection, signed and dated \u2018OPUS ALEXANDRI FABRI NEAPOLITANI MDXCVIII\u2019,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> of which the lid of the outer case is attributed to Belisario Corenzio.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/span><\/span> The other, though considerably altered, is the organ in the Church of Sant\u2019Anna dei Lombardi in Naples (Monteoliveto).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/span><\/span> Both fine works demonstrate the competent and careful craftsmanship of this skilled maker of musical instruments.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-scaled.jpeg\" alt=\"A rectangular spinet built by Alessandro Fabri in Naples in 1598. The instrument is made of warm-toned wood, with an elegant keyboard featuring alternating light and dark keys. The inside of the lid is beautifully painted with a pastoral landscape and a seated Fig., likely an allegorical or religious subject. Decorative motifs and a heraldic shield adorn the upper panel, reflecting late Renaissance artistry.\" width=\"2560\" height=\"1665\" class=\"alignnone size-full wp-image-8062\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-scaled.jpeg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-300x195.jpeg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-1024x666.jpeg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-150x98.jpeg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-768x499.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-1536x999.jpeg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-2048x1332.jpeg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-850x553.jpeg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;1:<\/b> Alessandro Fabri, <em>Rectangular Spinet<\/em> (Naples, 1598), Tagliavini Collection, Bologna (Photo: Catalina Vicens, @Museo di San Colombano \u2013 Collezione Tagliavini, Genus Bononiae).<\/span><\/p>\n<p>Information referring to the 16th-century Neapolitan spinet can be found in the catalogue of musical instruments in the Tagliavini Collection in San Colombano. Concerning the important and imposing organ of Monteoliveto in Naples, built by Alessandro Fabri and situated in the church behind what used to be Piazza Carit\u00e0, it must be said that very little was previously known, and the scant information available referred mainly to a reworking carried out in 1697 by the organ builder Cesare Catarinozzi.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/span><\/span> Thanks, however, to old payments and notarial documents from 1607, not only can we now confirm that the organ in Sant\u2019Anna dei Lombardi was built by Alessandro Fabri, but we also know the names of other craftsmen who took part in the construction of the instrument. The complex design of the case, one of the richest and most beautiful Italian organ facades, was the work of Mario Cartaro and his son Bartolomeo.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/span><\/span> The carvings were made by Giovan Domenico Saccataro while the gilders were Giacomo de Martino, Bartolomeo Magliocca and Giovan Tommaso Smiraglia.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/span><\/p>\n<p>Fabri, taking as his point of reference the organ situated at that time in the Chiesa dei Girolomini in Naples, was entirely responsible for the sound producing part of the instrument.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/span> The 61&#160;facade-pipes made of tin, partly obtained from the pipes of an earlier organ, are still today divided into five compartments and arranged in a pyramid shape in each section (15-11-9-11-15), as indicated in the descriptions of 1607, which also mention the dummy pipes still present in the upper part of the facade. The facade-pipes all corresponded to the <em>Principal<\/em>, and it is very likely that the instrument\u2019s manual, with ivory and ebony keys and an extended octave, would have consisted of 61&#160;keys with a full five octave range (<em>C-c<\/em><span class=\"ts_italic_Hochgestellt\">4<\/span>).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/span><\/span> There is no mention of a pedalboard. We also know that Fabri\u2019s organ had nine stops activated by a draw-stop action (\u2018tirante \u00e0 balestra\u2019) with a walnut spring chest. Finally, the windchest consisted of four bellows. As payment for the entire sounding part, 400&#160;ducats were agreed upon, using \u2018only the pipes of the old organ\u2019. Fabri committed to building the instrument in six months. Today, the original tonal design is unfortunately completely compromised by the numerous renovations and restorations undergone over time, and we can now only admire the aesthetic magnificence that has survived from Fabri\u2019s day.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1.jpg\" alt=\"The grand organ in the Church of Monteoliveto, featuring an opulent gilded wooden facade richly carved with Renaissance motifs. The organ case is divided into three main sections with ornate columns, statues, and intricate reliefs, framing the silver organ pipes. Behind it, a vivid fresco decorates the upper wall, enhancing the architectural splendour of the church interior.\" width=\"1654\" height=\"1258\" class=\"alignnone size-full wp-image-8063\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1-300x228.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1-1024x779.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1-150x114.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1-768x584.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1-1536x1168.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2_1-850x646.jpg 850w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;2:<\/b> Church of Monteoliveto, <em>Organ<\/em>, prospect of the facade, 1607, Naples (Photo: F.&#160;Nocerino).<\/span><\/p>\n<p>Alessandro Fabri was referred to as a nobleman as early as 1589, and he is mentioned as a <em>cavaliere<\/em> (knight) in various documents. The document concerning the organ in the Church of Sant\u2019Anna dei Lombardi confirms that Fabri indeed held this honour: it specifies that he was a <em>Cavaliere dello Speron d\u2019Oro<\/em> (Knight of the Golden Spur), a pontifical knightly order whose members included famous musicians such as Orlando di Lasso, Pomponio Nenna, Alessandro Scarlatti, Wolfgang Amad\u00e9 Mozart and Niccol\u00f2 Paganini. An unedited document, dated 1609, confirms that Alessandro Fabri was also baron of Moyo (now Moio della Civitella [Salerno]), a hamlet in the ancient province of Principato Citra (see Fig.&#160;3).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3.jpg\" alt=\"A handwritten legal document from the 16th century, written in dense Italian cursive script with dark ink on light paper, and showing the elegant but intricate handwriting typical of Renaissance notarial records.\" width=\"1951\" height=\"1352\" class=\"alignnone size-full wp-image-8064\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3.jpg 1951w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-300x208.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-1024x710.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-150x104.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-768x532.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-1536x1064.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-850x589.jpg 850w\" sizes=\"auto, (max-width: 1951px) 100vw, 1951px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;3:<\/b> ASN, Notai del Cinquecento, scheda 437 (notaio Lutio Capezzuto), protocollo 24, 10&#160;febbraio 1609, fol&#160;102<span class=\"Hochgestellt\">v<\/span>\u2013104<span class=\"Hochgestellt\">r<\/span>.<\/span><\/p>\n<p>The last records of Alessandro Fabri\u2019s life date back to 1632.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/span><\/span> Although the precise date of his death is not yet known, starting with the earliest document of 1579, his activity as an instrument maker is attested to for no fewer than 53&#160;years.<\/p>\n<p>The papers examined consist principally of documents relating to payments for acquisitions, sales and maintenance, but also testimonies in matrimonial proceedings and various parish certificates. From them, valuable information emerges concerning the typical organisation of a craftsman\u2019s workshop and the working relationships between owner and employees. Fabri\u2019s reputation as a skilled craftsman, already well known thanks to his construction of instruments of exquisite workmanship, is enhanced by the fundamental role he played in the training of numerous artisans who enlivened the Neapolitan musical scene of his time.<\/p>\n<p>Generally speaking, at the top of the hierarchy of a workshop, which was often the residence of the head craftsman, was the <em>mastro<\/em> (<em>maestro<\/em>, teacher), who possessed the so-called \u2018secrets of the trade\u2019 (the techniques of production), who directed the work and represented the heart of the activity. Alongside him were various collaborators, sometimes linked by kinship (brothers, sons, nephews), who were divided into workers and apprentices. The contract that regulated the relationship between the collaborators and themaster, most often drawn up by a notary, was the <em>locatio operarum <\/em>or <em>locatio servitiorum<\/em> in the case of the workers, i.e., more or less specialised labourers who received remuneration and who usually attained this status after a period of apprenticeship. For the apprentices, who were usually youngsters or even children as young as six or seven, the <em>locatio personae<\/em>, an actual contract of apprenticeship, was used. In exchange for the workers\u2019 commitment, the master took responsibility for their training, not only passing on to them the knowledge and techniques of the trade, but also providing them with food, lodging and clothing. This system was based on learning by imitation and correction. The apprentices observed the master\u2019s work and imitated him, being corrected and directed when necessary. At the same time, they performed simple tasks commensurate with their abilities, thus contributing to the workshop\u2019s production. This apprenticeship unquestionably re&#173;presented a path of growth and emancipation for the youths who, through hard work and dedication, could acquire a valuable profession that would allow them to enter the job market as independent craftsmen. And alongside the aspect of training, one should not overlook the social value of apprenticeships, considering that the young workers were welcomed into the master\u2019s family, learning not only a trade, but also the principles of morality and respect that regulated daily life.<\/p>\n<p>Lastly, it must be remembered that the contracts of <em>locatio personae<\/em> often involved young adults from towns outside the city walls. This occurred because such a contract was the easiest way for a young craftsman to enter a workshop, enabling him to get to know the demands of a new market and the preferences of a different clientele. The contract of <em>locatio personae<\/em> was also profitable for the master of the workshop, who thus obtained qualified collaboration at a very low cost.<\/p>\n<p>In the instrument-maker\u2019s workshop, other figures also contributed to production in the advanced stages. Organ and harpsichord makers, in particular, made use of the valuable collaboration of other artisans and artists. Above all, these included the gilder, carver, painter and sculptor, but also the carpenter and tinsmith, each of whom contributed with his personal expertise to the production of the finished instrument. These craftsmen did not limit themselves to simple manual tasks, but instead elevated the construction of the organ to a true work of art. By means of complex and exquisite workmanship, and thanks to a careful synergy within the workshop, these artisans created an instrument that was not only a masterpiece of sound, but also a marvel for the eyes.<\/p>\n<p>We possess information concerning two of Alessandro Fabri\u2019s disciples. The first, Luca Dernofio, came to Naples from his native city of Bologna to learn the art of making instruments.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/span><\/span> Paolo Gentile, born in 1577 and originally from Caserta, worked first in Fabri\u2019s workshop before going to Filippo Zuccaloni in Rome, and finally returning to Fabri in Naples.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/span><\/span> In addition to these two men, the pupils of the \u2018noble\u2019 Fabri also included renowned craftsmen with whom we are already familiar,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/span><\/span> such as Francesco Beghini, Crisostomo Noci and Giuseppe Pesce. The testimonies found in the documents of the time offer precious details regarding the master-pupil relationship that bound Fabri to his disciples. Francesco Beghini, from Lucca, declared that he learnt the art from Fabri during an apprenticeship that began when he was around fourteen years old.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a><\/span><\/span> Similarly, Crisostomo Noci, an organist and craftsman of Roman origin, attested to having been a pupil of the Neapolitan master. Giuseppe Pesce, a harpsichord and organ builder from Catania, also recognised Fabri as his mentor, from whom he learnt the art from about the age of six. It was in his master\u2019s workshop that he met Francesco Beghini during the period in which he completed his apprenticeship. The climate of collaboration and mutual support in the activities of the <em>cavaliere<\/em>\u2019s workshop is particularly interesting, especially in light of the new family relations that resulted from the marriage between Francesco Beghini and Vittoria Frezzarola. Vittoria, originally from Lauro, was Fabri\u2019s niece and the cousin of Crisostomo Noci\u2019s wife. These relationships not only strengthened the ties within the workshop between master and pupils, but also certainly contributed to creating an environment of mutual support and cooperation that led to the success and growth of the business.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a><\/span><\/span><\/p>\n<p>Also mentioned in the documents are Giovan Domenico Rizzo<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a><\/span><\/span> and Geronimo d\u2019Amato,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/span><\/span> certainly collaborators of Fabri, though an actual apprenticeship, while probable, is unconfirmed.<\/p>\n<p>Finally, an examination of the documents allows us to confirm that Alessandro Fabri\u2019s legacy lived on through the work of Beghini\u2019s pupil, Giulio Cesare Molinaro. Beghini himself, in fact, acknowledged that he had passed on the teachings of Fabri, emphasising the fundamental role that his master played in the training of Molinaro, who served as court harpsichord maker until 1656.<\/p>\n<p>In that same year, a terrible epidemic of the plague swept through Naples, decimating around two thirds of the entire population. This event constituted a veritable sea change separating many Neapolitan activities into a time \u2018before\u2019 and \u2018after\u2019. Even in the sphere of musical instrument making, the year 1656 marked the end of a generation, represented by Alessandro Fabri and his pupils, and the advent of a new generation, comprised of the Neapolitan Onofrio Guarracino (who survived the plague) as well as various other makers not native to Naples such as Andrea Basso, Gian Gualberto Ferreri, Giovanni Natale Boccalari and Antonio Sabatino. The latter, active in Naples, built new instruments in the second half of the 17th century.<\/p>\n<p>To conclude this brief overview of information regarding keyboard instruments built and the biographical data of the builders, it is evident that Alessandro Fabri was not only a protagonist and point of reference, but also a true leader in the art of harpsichord and organ building between the 16th and 17th centuries in Naples.<\/p>\n<h4 id=\"1\">Appendix A: Fabri\u2019s Workshop<\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4.png\" alt=\"A diagram showing the network of people associated with Alessandro Fabri\u2019s workshop. At the center is an oval labeled \u201cAlessandro Fabri.\u201d Connected to it are rectangular nodes representing individuals linked to him: on the left, Ercole Fabri; and on the right, Luca Dernofio, Paolo Gentile, Francesco Beghini (connected further to Giulio Cesare Molinaro), Crisostomo Noci, and Giuseppe Pesce. The diagram is blue with white text and connecting lines.\" width=\"1420\" height=\"882\" class=\"alignnone size-full wp-image-8065\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4.png 1420w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-300x186.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-1024x636.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-150x93.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-768x477.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-850x528.png 850w\" sizes=\"auto, (max-width: 1420px) 100vw, 1420px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;4:<\/b> Persons in Fabri\u2019s workshop. Image: Francesco Nocerino.<\/span>\t\t<\/p>\n<h6><span class=\"Kapitaelchen\">Beghini, Francesco<\/span><\/h6>\n<p>Born in 1568 in Lucca, Beghini moved to Naples in around 1580. He was an apprentice in the workshop of the court harpsichord and organ builder, Alessandro Fabri. Hitherto best known as the builder of the <em>Sambuca Lincea<\/em> described by the member of the Accademia dei Lincei, Fabio Colonna,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a><\/span><\/span> Francesco Beghini was an esteemed craftsman and the master of Giulio Cesare Molinaro, the court harpsichord maker until 1656. His activity is documented until at least 1621.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5.jpg\" alt=\"An antique diagram of a stringed musical instrument, with labeled measurements and Italian text featuring its components and proportions.\" width=\"1840\" height=\"2322\" class=\"alignnone size-full wp-image-8066\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5.jpg 1840w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-238x300.jpg 238w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-811x1024.jpg 811w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-119x150.jpg 119w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-768x969.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-1217x1536.jpg 1217w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-1623x2048.jpg 1623w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-850x1073.jpg 850w\" sizes=\"auto, (max-width: 1840px) 100vw, 1840px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;5:<\/b> Construction diagram of the <em>Sambuca lincea<\/em>; Fabio Colonna, <em>La sambuca lincea, overo dell\u2019istromento musico perfetto lib. III<\/em> (Naples: Vitali, 1618), p.&#160;77, &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb10162265\">https:\/\/mdz-nbn-resolving.de\/details:bsb10162265<\/a>&gt; (accessed on 17&#160;July 2024).<\/span><\/p>\n<h6><span class=\"Kapitaelchen\">Dernofio, Luca<\/span><\/h6>\n<p>Very little information exists concerning the biography of this first apprentice of Alessandro Fabri. Luca Dernofio, born in 1561, of Bolognese origin, arrived in Naples at the age of 18 and from 1579 was tied to Alessandro Fabri, \u2018organistro e cimbararo\u2019, through a contract of <em>locatio personae<\/em> for six years for the purpose of learning the \u2018artem predictam organistrj et cimbali\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a><\/span><\/span><\/p>\n<p>At present, no instruments have come down to us by either Luca Dernofio or Paolo Gentile, nor do we know whether Dernofio ever started his own business.<\/p>\n<h6><span class=\"Kapitaelchen\">Gentile, Paolo<\/span><\/h6>\n<p>Paolo Gentile, born in 1577, son of the late Marino Gentile of Caserta, began his apprenticeship at the age of 14 as a keyboard instrument maker in the Neapolitan workshop of Alessandro Fabri, remaining there for about eight years.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a><\/span><\/span> In 1597, we find him in Rome in the service of the harpsichord maker Filippo Zuccaloni, who hired him \u2018ad usum artis conficiendi ut dicitur li gravicimboli\u2019. Zuccaloni undertook to keep him in his workshop for four years (1597\u20131600), in order to teach him the trade and, in the last year, to pay him 1.20&#160;<em>scudi<\/em> per month.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a><\/span><\/span> In reality, the arrangement was an example of a <em>locatio personae<\/em>, simply providing the master of the workshop with cheap skilled labour and the \u2018apprentice\u2019 a rapid access to the job market. In December 1600, Paolo Gentile returned to Naples as Fabri\u2019s collaborator, probably with a contract of <em>locatio servitiorum<\/em>.<\/p>\n<p>To the best of our current knowledge, no instruments built directly by Paolo Gentile have surfaced, nor is it known whether this craftsman ever had his own workshop.<\/p>\n<h6><span class=\"Kapitaelchen\">Molinaro, Giulio Cesare<\/span><\/h6>\n<p>Born in 1594 in Vallo de Novi, present-day Vallo della Lucania (in the province of Salerno), Molinaro arrived in Naples in 1609, where he began to learn the art of harpsichord building in the workshop of Francesco Beghini. From June 1639, we find him as court harpsichord maker. He was in the service of the Cappella Palatina until 1656, the year of his death due to the terrible epidemic of the plague.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a><\/span><\/span><\/p>\n<h6><span class=\"Kapitaelchen\">Noci, Crisostomo (Romano)<\/span><\/h6>\n<p>Born in 1575, the organ and harpsichord maker Crisostomo Noci (also called \u2018Romano\u2019 for his Roman origins) was active in his native city until November 1596.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a><\/span><\/span> A few years later in 1603, we find him in Naples,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a><\/span><\/span> frequenting the workshop of Alessandro Fabri (of whom he claimed to be a pupil). He still had ties to Rome in 1604 where, as Fabri\u2019s collaborator, he delivered an organ to be inserted into an ebony desk.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a><\/span><\/span> Noci\u2019s activity is attested in Naples until July 1621<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a><\/span><\/span> (the date on which he received payment for a \u2018large four-register harpsichord\u2019 and a very rare \u2018spinet together with the <em>zimbalo<\/em>\u2019. This document would seem to confirm the production in Naples of a type of instrument known particularly in the area of Flanders.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a><\/span><\/span><\/p>\n<h6><span class=\"Kapitaelchen\">Pesce, Giuseppe<\/span><\/h6>\n<p>Giuseppe Pesce, originally from Catania, was born around 1585. He was a pupil and collaborator in Naples of Alessandro Fabri in whose service we find him already in 1595.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a><\/span><\/span> In the <em>cavaliere<\/em>\u2019s workshop, he met Francesco Beghini and Crisostomo Noci. His kinship with Orazio Pesce has not been proven.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a><\/span><\/span> He had his own workshop in the piazza of Monteoliveto and his activity in Naples as organ and harpsichord maker is documented until at least 1636.<\/p>\n<h4 class=\"2\">Appendix B: Documents<\/h4>\n<p>In the transcription of the documents, certain editorial decisions have been made to improve legibility. Some abbreviated words have been written out (e.g.: d=<em>don<\/em>; xbre=<em>dicembre<\/em>); the alternation of upper\/lower case, accentuation and punctuation have been brought into line with current usage; the letters<em> j<\/em> and <em>y<\/em> have been replaced by <em>i<\/em> and <em>ii<\/em>; ducats are indicated by the letter \u2018<em>d<\/em>.\u2019 followed by the amount in numbers (e.g.: <em>ducati venti<\/em> = d.20).<\/p>\n<p>The documents contain numerous grammatical and lexical errors, often originating from the common use of the Neapolitan dialect or from jargon used by local craftsmen. In these cases, editorial interventions, additions, corrections and cuts have been indicated in square brackets. Unless otherwise indicated, the location of archives, churches and monasteries is the city of Naples.<\/p>\n<p>Finally, it is worth mentioning that in Naples in the period between the 16th and 18th centuries:<\/p>\n<ul>\n<li class=\"Normal_Aufz\">for monetary values, one <em>ducato<\/em> was divided into 5&#160;<em>tar\u00ec<\/em>, one <em>tar\u00ec<\/em> into 2&#160;<em>carlini<\/em>, one <em>carlino<\/em> into 10&#160;<em>grana<\/em>;<\/li>\n<li class=\"Normal_Aufz\">for measurements of length, one <em>canna<\/em> was equivalent to 8&#160;<em>palmi<\/em> (m.&#160;2.109) and one <em>palmo<\/em> (cm 26.36) was divided into 12&#160;<em>once<\/em> (1&#160;<em>oncia<\/em> = cm 2.19);<\/li>\n<li class=\"Normal_Aufz\">for measurements of weight, one <em>cantaro<\/em> was equivalent to 100&#160;<em>rotoli<\/em> (kg 89.09), one <em>rotolo<\/em> was divided into 1000&#160;<em>trappesi<\/em>, and one <em>libbra<\/em> into 360&#160;<em>trappesi<\/em>.<br \/>\n<\/p>\n<table id=\"table004\" class=\"au_tabelle\">\n<colgroup>\n<col \/>\n<col \/>\n<col \/><\/colgroup>\n<tbody>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Kopf\">\n<p class=\"Tabelle\"><b>doc.<\/b><\/p>\n<\/td>\n<td class=\"au_tabelle Kopf\">\n<p class=\"Tabelle\"><b>year<\/b><\/p>\n<\/td>\n<td class=\"au_tabelle Kopf\">\n<p class=\"Tabelle\"><b>Text<\/b><\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n1.\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1567<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Maurizio della Quadra d.5. E per lui a mastro Ercole Fabri fiorentino a compimento di d.250 che il detto mastro Ercole doveva avere da lui per la vendita di uno istrumento di musica de pi\u00f9 registri da lui comprato per detto prezzo con dichiararsi che li restanti d.245 glieli ha pagati in pi\u00f9 e diverse partite in contanti et a compimento ancora di qualsivoglia negozio tra di loro sino a questo d\u00ec.<\/em> (ASN, Banchieri antichi, giornale di cassa 39, 23&#160;aprile 1567).<\/p>\n<p class=\"Tabelle\">[Maurizio della Quadra buys for 250&#160;<em>ducati<\/em> a musical instrument with multiple registers from Ercole Fabri, Florentine].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">2.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1579<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al reverendissimo vescovo de Pezuolo <\/em>[= Pozzuoli]<em> d.10, et per lui ad Alesandro Fabri dissero per prezzo d\u2019uno gravicordio usato che le ha venduto. A lui contanti<\/em> (ASN, Banchieri antichi, giornale di cassa 73, 18&#160;maggio 1579).<\/p>\n<p class=\"Tabelle\">[The bishop of Pozzuoli buys for 10&#160;<em>ducati<\/em> a clavichord Alessandro Fabri].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">3.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1588<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Tiberio del Pezzo d.100 et per lui al magnifico Alessandro Fabri dissero sono per compimento del prezzo de uno organo de dece <\/em>[= dieci]<em> palmi a tre registri con una spinetta che li have venduto che lo restante ngelo <\/em>[= glielo]<em> have pagato con altri registri et istromenti che li have consignato et detto organo resta in potere suo da consignarlo adovi <\/em>[= dove]<em> da lui sar\u00e0 ordinato.<\/em> (ASN, Banchieri antichi, giornale di cassa 94, 20&#160;ottobre 1588).<\/p>\n<p class=\"Tabelle\">[Tiberio del Pezzo buys for 100&#160;<em>ducati<\/em> an organ joined with a spinet from Alessandro Fabri].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">4.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1592<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Pietro Villanova d.43 et per lui ad Alessandro Fabri dissero seli pagano per il prezzo d\u2019uno Cimbalo di due registri et Cinquanta tasti che li ha venduto, et consignato con obligo che facendo alcun motivo per mancamento del detto Istromento sia obligato detto Alessantro a rifare il danno al detto Pietro<\/em> (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;4, 2&#160;dicembre 1592, fol.&#160;800).<\/p>\n<p class=\"Tabelle\">[Pietro Villanova pays 43&#160;<em>ducati<\/em> for a harpsichord with two registers and 50&#160;keys from Alessandro Fabri]. <\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">5.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1592<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alessandro Fabri d.32 et per lui a Marco Romano dissero se li pagano per il prezzo d\u2019un Zimbalo a due registri, che li ha venduto et consignato<\/em> (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;4, 15&#160;dicembre 1592, fol.&#160;835).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri buys a harpsichord with two registers from Marco Romano].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">6.<\/li>\n<\/ol>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1592<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Sansonetto Moschetto d.13.2.10 et per lui ad Alessandro Fabri dissero se li pagano in conto di d.27 per una casa dietro il palazzo de Monsignor Nunzio consistente in uno bascio due cammere, et una saletta atteso li restanti d. 13.2.10 disse pagarseli alla mit\u00e0 di luglio prossimo venturo mediante cautela per notare Aniello Rosanova alla quale se habbia relatione<\/em> (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;4, 15&#160;apri\u00cce 1592, fol.&#160;245).<\/p>\n<p class=\"Tabelle\">[Sansonetto Moschetto pays 13 and a half <em>ducati<\/em> to Alessandro Fabri for a house on the ground floor consisting of two bedrooms and a parlour, located behind the palace of the Apostolic Nunzio].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">7.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1592<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Sansonetto Moschetto d.12 et per lui ad Alessandro Fabri dissero se li pagano per l\u2019uscita della Casa a luj locata havendoli pagata l\u2019lntrata nel principio che detto Sansonetto cominci\u00f2 ad Habitare come per poliza in questo banco per ci\u00f2 che se li pagassero quando havea prestato fede di notare Aniello Rosanova di haverli cassata l\u2019obbliganza di detta locazione notata nelli margini con declaratione di essere integranente sodisfatto per causa di tal locazione in dorso della qual poliza vi \u00e8 fede di detto notare Aniello come il predetto Alessandro per detti d.12 ha fatto quietanza al detto Sansonetto, et cassatoli detta obliganza conforme alla supradetta poliza mediante Instrumento fatto per lui notato nell\u2019Immargine di detto obliganza<\/em>. (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;4, 4&#160;agosto 1592, fol.&#160;499).<\/p>\n<p class=\"Tabelle\">[see doc.&#160;no.&#160;6].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">8.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1593<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alessandro Fabri d.100 et per lui a Giovan Battista Della Porta, dissero se li pagano per final Conto fatto tra di loro di denari, et resto che ha recevuto da lui in conto d\u2019uno organo, che il detto Giovan Battista con uno Zimmalo con la Cascia di noce et restano saldi insieme e in sino a questo presente d\u00ec 22 stante di tutti i Conti fatti tra di loro<\/em> (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;7, 22&#160;marzo 1593, fol.&#160;229).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri purchases for 100&#160;<em>ducati<\/em> a harpsichord from the philosopher and scientist, Giovan Battista della Porta].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">9.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1593<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al magnifico Alessandro Fabri d.6 et per lui al magnifico Giovanni Antonio Mari dissero sono per una spinetta da esso venduta, a lui contanti<\/em> (ASBN, Banco dello Spirito Santo, giornale, matr.&#160;6, 16&#160;settembre 1593, fol.&#160;213).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri buys for 6&#160;<em>ducati<\/em> a spinet from Giovanni Antonio Mari].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">10.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1593<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Ottavio Mennardo <\/em>[sic = Ottavio Menhart, pittore] <em>d.50 e per lui ad Alessandro Fabri suo cognato, detti celi Impronta gratis per quindici d\u00ec da questo presente giorno dodici stante delli quali ne lo ha Cautelato per instrumento per notare Oratio Griffo<\/em> (ASBN, Banco dello Spinto Santo, giornale di banco, matr.&#160;7, 12&#160;giugno 1593, fol.&#160;468).<\/p>\n<p class=\"Tabelle\">[Ottavio Mennardo lends 50&#160;<em>ducati<\/em> to his brother-in-law, Alessandro Fabri].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">11.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1593<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al magnifico Alessandro Fabri d.5 et per lui al magnifico Massentio Sabatino dissero a complimento di d.12<\/em>,<em> atteso li altri li ha ricevuti per questo banco et contanti, quali d.12 sono per l\u2019integra peggione d\u2019uno anno finiendo all\u2019ultimo d\u2019aprile1594 d\u2019una camera con dispensa et astraco tiene da lui locata per uno anno finiendo ut supra a ragione di d. 12 l\u2019anno sita alla carit\u00e0 dove al presente detto Alessandro habita del qual peggione gi\u00e0 ne l\u2019ha quietato come per obbliganza fatta a 30 di luglio prossimo passato per notar Fabritio Coppola alla quale se refere <\/em>[\u2026]. (ASBN, Banco dello Spirito Santo, giornale matr.&#160;5, 9&#160;agosto 1593, fol.&#160;1357).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 12&#160;<em>ducati<\/em> a year to Massenzio Sabatino for the rental of a house in the Carit\u00e0 quarter where he lives].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">12.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1593<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al magnifico Alessandro Fabri d.3 e per lui a Mario Tartaglia dissero se li pagano a complimento di d.10 atteso li altri ducati 7 gliene ha dato un ronzino morello et consignatolo in poter di detto Martio quali d.10 sono per una annata anticipata finienda a la met\u00e0 d\u2019agosto 1594 d\u2019un censo li rende ogni anno per rendita territorio l\u2019ha censuato alli Virgini dove se dice Lanzato mediante instrumento per notare Pietro Vincenzo Mirella al quale se refere a lui contanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;6, 11&#160;settembre 1593, fol.&#160;177).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 3&#160;<em>ducati<\/em> and a horse worth 7&#160;<em>ducati<\/em> to Mario Tartaglia for the annuity of a piece of land].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">13.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1593<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al magnifico Alessandro Fabri d.2 et per lui al magnifico Giovanni Scalabrino Procuratore del magnifico Giovanni Andrea d\u2019Aponte et di Cesare d\u2019Aponte dissero se li pagano per final pagamento della parte della parte <\/em>[sic]<em> del formale <\/em>[= scolo di acque]<em> che dovea pagare alli predicti d\u2019una casa contigua alla sua alle pedamentina di S. Martino, a lui contanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;6, 3&#160;dicembre 1593, fol.&#160;694).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays his own share of 2&#160;<em>ducati<\/em> for the repairs on a house].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">14.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1593<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al magnifico Alessandro Fabri d.2 e per lui a Paolo Gentile dissero sono per altritanti a lui contanti<\/em> (ASBN Banco dello Spirito Santo, gionale matr.&#160;6, 26&#160;agosto 1593, fol.&#160;59).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 2&#160;<em>ducati<\/em> to his collaborator, Paolo Gentile].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">15.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1595<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al magnifico Alessandro Fabri d.2 et per lui a Gioseppe Pesce disse ce li paga per final pagamento di suoi servitii in sin al presente d\u00ec a lui contanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;10, 5&#160;maggio 1595, fol.&#160;623).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 2&#160;<em>ducati<\/em> to his collaborator, Giuseppe Pesce].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">16.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1597<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Giovanni Piccolo de Martina d.20 et per lui a Alexandro Fabri dissero se li pagano in Conto delli d.150 se li deveno per uno organo c\u2019ha da consignare in Martina como appare per cautela fra di loro<\/em> (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;15, 8&#160;agosto 1597, fol.&#160;314).<\/p>\n<p class=\"Tabelle\">[Giovanni Piccolo de Martina purchases an organ for 150&#160;<em>ducati<\/em> from Alessandro Fabri].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">17.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1597<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alesandro Fabri ducati 2.1, e per lui a fra Ludovico de Curbello dissero sono per uno rifonno <\/em>[sic = rifusione]<em> d\u2019un menacordio, venduto a fra Giovanni Debabi a lui contanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;14, 21&#160;agosto 1597, fol.&#160;917).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 2.1&#160;<em>ducati<\/em> to Friar Ludovico de Curbello for the reimbursement of a clavichord].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">18.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1597<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alesandro Fabri d.4, et per lui a cesare vellano mettetoro d\u2019oro <\/em>[sic = Cesare Villano, indoratore]<em> dissero per Compimento del pagamento dellanauratura <\/em>[sic = dell\u2019indoratura] <em>del organetto de S. Jesu Maria a lui contanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;14, 1&#160;settembre 1597, fol.&#160;955).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 4&#160;<em>ducati<\/em> to the gilder Cesare Villano for the gilding of the organ built for the Chiesa di Ges\u00f9 e Maria].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">19.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1599<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Alesandro Fabri d.20 et per lui a Geronimo d\u2019Amato disse per tanto lavoro che li ha fatto et consegnato come per obbliganza appare<\/em> (ASBN, Banco di S.Maria del Popolo, giornale matr.&#160;22, 6&#160;ottobre 1599, fol.&#160;333).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 20&#160;<em>ducati<\/em> to his collaborator, Geronimo d\u2019Amato].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">20.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1599<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alesandro Fabri d. 4 et per lui a Gio Antonio de Marino <\/em>[sic = Giovanni Antonio de Martino, intagliatore] <em>disse ad complimento di ducati sedici atteso li altri li have recevuti da lui in contanti et disse sono per li tagli che ha fatti nel organo di piedimonte<\/em> (ASBN, Banco di S. Maria del Popolo, giornale matr.&#160;22, 22&#160;ottobre 1599, fol.&#160;460).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 4&#160;<em>ducati<\/em> to the carver Giovanni Antonio de Martino for the carvings on the organ of Piedimonte].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">21.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1599<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alexandro fabri d.16, et per lui a mastro cesare villano <\/em>[sic = Cesare Villano, indoratore] <em>disse a complimento di ducati trenta quattro atteso li altri d.18 li have recevuti da lui di contanti quale sono in conto della nauratura <\/em>[sic = dell\u2019indoratura] <em>che fa<\/em> <em>nel organo di Piedimonte<\/em> (ASBN, Banco di S. Maria del Popolo, giornale matr.&#160;22, 23&#160;ottobre 1599, fol.&#160;469).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 16&#160;<em>ducati<\/em> to the gilder Cesare Villano for the gilding on the organ built for the church of Piedimonte].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">22.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1600<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Ascanio Pignatello d.100 et per lui a Alexandro Fabro et sono per prezzo d\u2019un organetto di X palmi <\/em>[= unito] <em>con uno spinetto che l\u2019have venduto et consignato d\u2019accordio per lo prezzo<\/em> (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;23, 24&#160;gennaio 1600, fol.&#160;58).<\/p>\n<p class=\"Tabelle\">[Ascanio Pignatelli pays 100&#160;<em>ducati<\/em> to Alessandro Fabri for an organ joined with a spinet].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">23.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1600<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alessando Fabri d.4 et per lui a Paolo Gentile dissero per spese di casa a lui contanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;25, 12&#160;dicembre 1600, fol.&#160;457).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 2&#160;<em>ducati<\/em> to his collaborator, Paolo Gentile].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">24.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1601<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Carlo Carrafa d.46 et per lui al Cavalier Alexandro Fabro e sono per compimento de ducati ottanta per lo prezzo d\u2019un organo vendutili<\/em> (ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;28, 6&#160;settembre 1601, fol.&#160;591).<\/p>\n<p class=\"Tabelle\">[Ascanio Pignatelli buys for 80&#160;<em>ducati<\/em> an organ from Alessandro Fabri].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">25.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1601<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Damiano e Francesco Pallavicino d.6 et per essi a Alexandro Fabro e sono per conto del organo c\u2019ha dato alli preiti <\/em>[sic = preti]<em> di Santa Maria d\u2019ogni <\/em>[bene]<em> elimosinaliter (<\/em>ASBN, Banco dello Spirito Santo, giornale di banco, matr.&#160;28, 6&#160;settembre 1601, fol.&#160;592).<\/p>\n<p class=\"Tabelle\">[Damiano and Francesco Pallavicino give 6&#160;<em>ducati<\/em> in advance payment for an organ to Alessandro Fabri].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">26.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1607<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al Cavaliere Alessandro Fabri d. 80 e per esso a Carlo de Roggieri, disse sono per due Cantare de stagno a lui venduti e Consignati e per esso a Matteo e Cesare de Roggieri per altritanti<\/em> (ASBN, Banco di S.Giacomo, giornale di banco, matr.&#160;13, 13&#160;novembre 1607, fol.&#160;155<span class=\"Hochgestellt\">v<\/span>).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 80&#160;<em>ducati<\/em> to Carlo de Roggieri for a quantity of tin].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">27.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1607<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A don Benedetto de Napoli Monastero de Monte Oliveto d. 14 e per esso al Signor Cavaliero Alessandro Fabri disse sono per scudi 200 di Moneta papale de 10 giulij per scudo che con sua poliza in Roma fece pagare don Gaspar de Salerno il quale li ha consignati di contanti al Molto Reverendo Padre don Geronimo de Verona, procuratore generale de Monte Oliveto a conto de quello che deve questo nostro Monasterio allo presente<\/em> (ASBN, Banco di S.Giacomo, giornale di banco, matr.&#160;13, 5&#160;novembre 1607, fol.&#160;142).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri receives 200&#160;<em>scudi<\/em> from the monks of the monastery of Monte Oliveto].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">28.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1607<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Promissio pro monasterio Montis Oliveti cum Alexandro Fabri per l\u2019organo.<\/em><\/p>\n<p class=\"Tabelle\"><em>Die vigesimo mensis Martii quinte indictionis 1607, Neapoli, in nostri monasterio Montis Oliveti in nostri presentia constitutus Alexander Fabri de Neapoli eques de spironi d\u2019oro devenit ad infrascrittam conventionem cum admodum reverendo padre don Carolo de Neapoli, abbate dicti monasterii, presente et infrascritta recipiente et stipulante nomine et pro parte dicti monasterii, in vulgari sermone loquendo pro faciliori intelligentia, videlicet:<\/em><\/p>\n<p class=\"Tabelle\"><em>che esso cavaliero Alexandro promette al detto molto reverendo padre abbate quo supra nomine presente de fare uno organo compito per servitio dela chiesa di detto monasterio, con le qualit\u00e0 infrascritte, videlicet de diece palmi choristo et con l\u2019octava stesa conforme <\/em>[130<span class=\"Hochgestellt\">v<\/span>]<em> all\u2019organo dela chiesa dell\u2019Oratorio deli Gelormini de questa citt\u00e0, con la medesima tastame, fuor che de\u2019 cromatici et tromboni, et li tasti tutti de avorio et d\u2019ebano, con nove registri a balestra et quattro mantici, et lo banchone tutto de noce ad vento di quella stessa bellezza et manifactura, et con tutte le sexant\u2019uno canne de stagno novo in faccia chiamato il principale, et tante altre quante bisognaranno dala parte di dietro che manchassero (oltra le canne vecchie che se li consegnaranno ut infra) ad fare un organo compito che sia bello, buono, musicale, giusto et sonoro, con le canne de proportionata misura, intonate, chiare, spiccanti et che piglino subito il vento con quella sonorosit\u00e0 et proportione che ricerca l\u2019arte ad giuditio di experti tanto dele supraditte cose quanto dele eruditioni <\/em>[= riduttioni] <em>vaghe, ferri, piombo, chiodi, legni et ogn\u2019altra cosa necessaria etc.<\/em><\/p>\n<p class=\"Tabelle\"><em>In tanto che mancando alcuna dele cose predette, anchor che minima, sia sempre tenuto et obligato ad rifarlo et accomodarlo a sue spese, cio\u00e8 s\u2019habia ad intendere quello solo che concerne il sonare di detto organo, di modo che circa il casamento et ornamento di legno esso cavaliero Alexandro non sia <\/em>[131<span class=\"Hochgestellt\">r<\/span>]<em> obligato a cosa alcuna, avertendo che, se ci haveranno da fare doi altri ordini de canne di stagno morte, tre per banda, conforme al disegno facto da Mario Cartaro, nel quale disegno de\u2019 cinque ordini come si vede dover\u00e0 fare fare in mezo nove canne grosse, undici dale parti et quindici dall\u2019altra, che in tutto saranno sessant\u2019una, tutte nove di stagno, che tutte le sessant\u2019una sonino et si dir\u00e0 il principale, come si dice, et tante altre canne per compimento de tutto l\u2019organo quante saranno necessarie per fare un organo compito come di sopra, al quale il monasterio predetto sar\u00e0 tenuto de dare tutte le canne solamente dell\u2019organo vecchio di detto monasterio et non altro, quali egli dover\u00e0 agiustare et accomodare talmente che senza una minima dissonanza sonino coss\u00ec bene le vecchie come le nove di equal conserto et di tal forma et misura che vadino tutte, coss\u00ec le vecchie come le nove, proportionate al disegno sudecto che se li \u00e8 mostrato et exhibito et subscritto di sua mano et di mano del detto molto reverendo padre abbate. Et dopo tutte queste conditioni si obbliga et promecte de farlo tanto meglio et di magiore eccellentia quanto ha facto tutte le altre cose sue, et non facendolo, il monasterio possa farlo fare da altro a spese, danni et interesse di esso cavaliero Alexandro. <\/em><\/p>\n<p class=\"Tabelle\"><em>De pi\u00f9 promecte darlo fornito di tutto punto infra sei mesi da hoggi avante numerandi, et facendolo del modo con tutte le conditioni supradette quando che haver\u00e0 fornita tutta <\/em>[131<span class=\"Hochgestellt\">v<\/span>]<em> l\u2019opera et posta di tutto punto. Il monasterio sia tenuto coss\u00ec come detto molto reverendo padre promecte darli nomine quo supra darli et pagarli per decta opera ducati quattrocento, con fare esso Alexandro tutta la spesa come di sopra<\/em> et <em>volendo stare nel monasterio mentre si fa detta opera, il detto monasterio sia obligato darli da magnare<\/em> [<em>sic<\/em>] <em>et stanza per la persona sua con tutto, et acci\u00f2 che possa detto cavaliero Alexandro dare fernita<\/em> [= finita] <em>detta opera per lo termino predetto sia tenuto il monasterio darli il casamento fatto per tutto il mese de Agosto in pace ut supra<\/em> <em>et preinde partes ipse dicti nominibusque obligaverunt se ipsas no inique quibusque ut supra et quae libet ipsasque dictisque monasterium ac dicti monasterii et dicti equitis Alexandri heredes successores et bona ordo una pars alteri et aliae alii dictis nobisque presentibusque sub pena et ad pena duplis medietates cum potes capiendis constome gratiis et rendis et iuraverunt ut supra dicta almodum Reverendo Abbas in pectore more religgiosore et dicto eques Alexander iste in pectore supra verum modum equitum et voluerunt.<\/em><span class=\"Hochgestellt_footnote\"><span><a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a><\/span><\/span><\/p>\n<p class=\"Tabelle\"><em>Presentibus iudice Io: Baptista Bracale notario ad contractus<\/em><\/p>\n<p class=\"Tabelle\"><em>Angelo Salviano de Calitro<\/em><\/p>\n<p class=\"Tabelle\"><em>Mario Cartaro de Neapoli<\/em><\/p>\n<p class=\"Tabelle\"><em>Petro Bigonio de Neapoli<\/em><\/p>\n<p class=\"Tabelle\"><em>Et Io: Domenico Saccataro de Neapoli, squatrator de lignami<\/em>.<\/p>\n<p class=\"Tabelle\">(ASN, <em>Notai del Cinquecento<\/em>, scheda 276 (notaio Marco de Mauro), protocollo 58, 20&#160;marzo 1607, fols.&#160;130<span class=\"Hochgestellt\">r<\/span>\u2013132<span class=\"Hochgestellt\">v<\/span>).<\/p>\n<p class=\"Tabelle\">[Complete document of the contract stipulated between Alessandro Fabri and the monks of Monte Oliveto for the organ in the church of S. Anna dei Lombardi. Among the witnesses: Mario Cartaro, who made the design, together with his son Bartolomeo; Pietro Bigonio, plasterer; and, finally, Giovanni Domenico Saccataro, maker of the wooden carvings].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">29.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1608<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Francisco Antonio Ametrano d.10 et per lui a Christofaro<\/em> [sic]<em> Noce, dissero a compimento de d.30 per l\u2019organo ha da fare per servitio dela Congregatione del Gies\u00fa delli Nobili che li altri d.20 li ha ricevuti contanti, con sua firma a lui d. 10<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;48, 30&#160;gennaio 1608; D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;8).<\/p>\n<p class=\"Tabelle\">[Francesco Antonio Ametrano purchases for 30&#160;<em>ducati<\/em> an organ from Crisostomo Noci].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">30.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1610<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Banco della Nunziata pagate a Horatio Settimio Falconieri d. 70 con i quali li pago per tanti che alli mesi passati mi paghorno <\/em>[sic = pagarono]<em> i loro Horatio e Settimio Falconieri per il banco del Monte, e ponete a conto, In Napoli il d\u00ec 14&#160;Agosto 1610. Alesandro Fabri<\/em> (ASBN, Banco dell\u2019Annunziata, Volume Bancali 375, Polizza di ducati 60 estinta il 21&#160;agosto 1610).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 70&#160;<em>ducati<\/em> to Orazio and Settimio Falconieri].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">31.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1610<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alessandro Fabri d.2.2.10 e per lui a Giovanni Domenico Rizzo<\/em> <em>disse pagarglieli per final pagamento di tre registri di canne di piummo <\/em>[sic = piombo]<em> ad esso consegnate a lui contanti (<\/em>ASBN, Banco dell\u2019Annunziata, giornale matr.&#160;54, 4&#160;settembre 1610, fol.&#160;448<span class=\"Hochgestellt\">v<\/span>).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 2 and a half <em>ducati<\/em> to Giovanni Domenico Rizzo for three lead organ pipes].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">32.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1610<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Alexandro Fabri d.10 e per lui a Fabio Spartari disse pagarceli a Compimento di d.30 che li deve in Virt\u00f9 di obliganza per mano seu in curia di Notar Lutio Capezuto atteso li altri d.20 li ha ricevuti contanti d.10 et altri d.10 per il banco di S. Giacomo restando con questo pagamento integramente sodisfatto da esso dando per rotta e cassata obliganza; e per esso a Giuseppe Pesce disse a compimento di d.28 atteso li altri 18 li ha ricevuti da esso contanti quali sono in conto di un organo che li ha da fare conforme all\u2019albarano che \u00e8 tra essi;<\/em> [\u2026]. (ASBN, Banco dell\u2019Annunziata, giornale matr.&#160;54, 30&#160;agosto 1610; Nocerino, \u2018Arte cembalaria a Napoli\u2019 [see bibl.], 99).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 30&#160;<em>ducati<\/em> to Fabio Spartari as payment of a debt. Spartari then turns over payment to the organ builder Giuseppe Pesce for an organ].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">33.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1612<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Giovan Battista Mollica d. 8, polisa de 15&#160;settembre 1612, e per esso a Francesco Beghini e sono per altrettanti riceuti da esso, e per esso al signor Giovanni Villano marchese della Polla a compimento di d. 18 per la entrata prossima finita di una bottega con camera e cantina che tiene locata da detto signore sotto il suo palazzo, dichiarando d\u2019essere contento e sodisfatto per tutto il tempo passato, e con firma ed in credito del sudetto marchese della Polla<\/em> (ASBN, Banco della Piet\u00e0, giornale di banco, matr.&#160;27, 17&#160;settembre 1612).<\/p>\n<p class=\"Tabelle\">[Francesco Beghini turns over payment of 8&#160;<em>ducati<\/em> received from Giovan Battista Mollica to the Marquis of Polla, owner of his workshop].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">34.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1612<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Banco del Monte della Piet\u00e0 pagate per me<\/em> [Carlo Sellitto, pittore] a <em>Crisostimo Noce d.8, et sono a complimento di d. 40 che li altri le arreciputi<\/em> [sic= ha ricevuti] <em>di contanti et sono in conto di d. 70 per la fattura di uno organo che detto Crisostimo \u00e0 da fare<\/em> <em>a me Carlo Sillitta<\/em> [<em>sic<\/em>], <em>et detto organo \u00e0 di esse di tono di palmi diece di lingname<\/em> [<em>sic<\/em>] <em>de tre registri, cio\u00e8 principale quinta decima et visegesema secunda con una spenetta sopra attono di l\u2019organo fatto come quello della cappella di Palazzo fatto per mano di Alessandro Fabri e detto organo mello<\/em> [sic= me lo]<em> habia a consegnare per la met\u00e0 di aprile prossimo venturo et ponesi a conto di casa a d\u00ed 7&#160;febraro 1612.<\/em><\/p>\n<p class=\"Tabelle\"><em>Docati 8&#160;contanti<\/em><\/p>\n<p class=\"Tabelle\"><em>Carlo Selitto<\/em><\/p>\n<p class=\"Tabelle\">[verso] <em>Io Crisostimo Noce mano propria<\/em>.<\/p>\n<p class=\"Tabelle\">(ASBN, Banco della Piet\u00e0, filza di bancalimatr.&#160;14, 9&#160;febbraio 1612; D\u2019Alessandro,\u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;483; cf. Porzio, <em>Carlo Sellitto<\/em> [see bibl.], 273).<\/p>\n<p class=\"Tabelle\">[Payment from Carlo Sellitto to Crisostomo Noci for an organ joined to a spinet]\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">35.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1612<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Carlo Sellitto d.9 et per lui a Crisostimo Noce, disse a compimento di d.100 atteso l\u2019altri li have ricevuti in pi\u00f9 partite, et sono per il prezzo di uno organo di tono di due palmi con una spinetta sopra con tre registri quale l\u2019have consignate, et per esso a Melchionne Loti per altritanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;72, 21&#160;maggio 1612; D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;487; cf. Porzio, <em>Carlo Sellitto<\/em> [see bibl.], 273).<\/p>\n<p class=\"Tabelle\">[See document no.&#160;34. The total amount will be 100&#160;<em>ducati<\/em>].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">36.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1612<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A donna Maria Ruffo principessa di Scilla d.25 et per lei a Crisostomo Noce a compimento di d.55, quali sono a conto di d.95 per lo integro prezzo d\u2019uno organo con uno spinetto dentro che l\u2019ha da fare e consignare con quattro registri con le canne di legne et lo principale habia da essere longo diece palmi stappata et l\u2019ottava e la quinta, decima et vigesimaseconda cos\u00ed come corre con detto principale con doi oceletti <\/em>[sic = due uccelliere]<em>, quale l\u2019havr\u00e0 da consignare finito per tutto giugno primo venturo e lo cascione da fare habia da essere tutto di noce e resta obligato consignarcelo di tutta bont\u00e0 e perfettione a sua sodisfatione, con patto ancora che resta obligato per uno anno continuo succedendo che detto organo facesse alcuno mutivo sia obligato accomodarlo tutte a sue spese atteso coss\u00ed sono restati d\u2019accordo che li restanti d.30 l\u2019ha recevuti per prezzo d\u2019uno organetto et uno cimbalo con sua firma<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;73, 27&#160;marzo 1612; D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019[see bibl.], doc.&#160;273).<\/p>\n<p class=\"Tabelle\">[The princess Maria Ruffo purchases from Crisostomo Noci an organ joined with a spinet].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">37<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1613<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Ottavio Brancaccio d.10 e per esso a Giuseppe Pesce, quali disse esserno in conto del prezzo dell\u2019organo dal medesimo ad esso girante venduto. Poliza de 28&#160;Gennaro 1613<\/em> (ASBN, Banco della Piet\u00e0, giornale matr.&#160;31, 29&#160;gennaio 1613; Nocerino, \u2018Arte cembalaria a Napoli\u2019 [see bibl.], 99).<\/p>\n<p class=\"Tabelle\">[Ottavio Brancaccio purchases an organ from Giuseppe Pesce].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">38.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1614<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Ottavio Casarano di Pietro Antonio d.6. E per lui a Mastro Crisostomo Romano cimbalaro <\/em>[sic = Crisostomo Noci, cembalaro]<em>. E sono a compimento di ducati nove. Atteso gli altri d.3 l\u2019ha riceuti contanti, quali d.9 li paga ad esso girante di suoi proprii danari per l\u2019ultimo e final pagamento di un Cimbalo che l\u2019ha venduto per mandarlo in Gaeta al Padre Don Marcello Patrizio che l\u2019have scritto da Gaeta che havesse comprato detto Cimbalo con patto fra essi che quanto al detto Padre Marcello in ogni futuro tempo non li piacesse sia obligato il detto Crisostomo di tornarselo a pigliare e tornarli subito li detti d.9 senza replica alcuna a semplice parola di esso girante. E per lui a Gasparre di Giorgio <\/em>[cembalaro]<em> per altritanti poliza de detto die<\/em> (ASBN, Banco della Piet\u00e0, giornale matr.&#160;60, 14&#160;novembre 1614; Nocerino, \u2018Arte cembalaria a Napoli\u2019 [see bibl.], 99).<\/p>\n<p class=\"Tabelle\">[Ottavio Casarano purchases a harpsichord from Crisostomo Noci in order to send it to Gaeta].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">39.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1616<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Vincenzo Recco d.16.80. E per esso a Alessandro Fabri che concia l\u2019organo a compimento di d.18 per la loro congregazione<\/em> (ASBN, Banco del Popolo, Giornale matr.&#160;110, 26&#160;febbraio 1616).<\/p>\n<p class=\"Tabelle\">[Payment on the part of Vincenzo Recco, procurator of the Royal Chapel, to Alessandro Fabri for the maintenance of the organ].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">40.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1616<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Eugenia de Muro d. 19.40. E per lei a Mario Guidi. E per lui al cavalier Alessandro Fabri in conto di che li deve. Et per lui a Geronimo d\u2019Amato a compimento di d. 40 per il prezzo di un organo di legno con il cascione di noce.<\/em> (ASBN, Banco dei Poveri, Giornale matr.&#160;15, 18&#160;maggio 1616).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays 40&#160;<em>ducati<\/em> to Geronimo d\u2019Amato for an organ].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">41.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1619<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Luyse Caracciolo d. 12 et per lui a mastro Francesco Beghini cimbalaro, disse in conto del zimbalo che ha da fare et per esso a Gioan Battista Mollica, disse in conto del pesone <\/em>[=pigione]<em> d\u2019una bottega quale tiene locata da esso, et per esso a Gioan Domenico Mollica<\/em> (ASBN, Banco di San Giacomo, giornale matr.&#160;51, 9&#160;agosto 1619).<\/p>\n<p class=\"Tabelle\">[Luigi Caracciolo pays an advance of 12&#160;<em>ducati<\/em> for a harpsichord to Francesco Beghini, who turns over the payment as rent to the owner of his workshop].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">42.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1620<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Aniello de Bellis d.17.0.70. E per esso a Alessandro Fabri conciatore di organi a compimento di d.18<\/em> (ASBN, Banco di San Giacomo, Giornale matricola 59, 1&#160;aprile 1620).<\/p>\n<p class=\"Tabelle\">[Aniello de Bellis pays Alessandro Fabri for the maintenance of an organ].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">43.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1620<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Aniballe Falese d.14.2.10 e per lui a Francesco Beghini dissero per lo prezzo di un Cimbalo a levatore di Cascia che ha venduto e consignato per servizio della Duchessa di Vietri<\/em> (ASBN, Banco della Piet\u00e0, giornale matr.&#160;107, 8&#160;agosto 1620, fol.&#160;419).<\/p>\n<p class=\"Tabelle\">[Annibale Falese pays an advance of 12&#160;<em>ducati<\/em> to Francesco Beghini for a harpsichord <em>\u2018a levatore di cassa\u2019<\/em> (inner-outer case) for the Duchess of Vietri]\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">44.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1620<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Gio. Maria Trabacce <\/em>[sic<em> = <\/em>Giovanni Maria Trabaci]<em> d. 5 et per lui a Grisostomo Noci quale ce li paga per caparro et in conto di d. 27 della quale summa ce li ha da fare uno organetto di detto di legno acorest\u00f2 <\/em>[sic = a corista]<em> a tono di palmi 10 con tre registri cio\u00e8 uno principale, una quinta decima et una vigesima seconda, il quale organo ci sia la tasteatura d\u2019avolio, con le sue porte dietro et davanti, con li mantici dentro la sua cascia, con l\u2019aste et correo, con li soi piedi sotto de detto organetto che sia in ogni cosa di nuovo et li promette dare sudetto organo per tutti li 9 di novembre prossimo venturo et non dandolo a detto tempo non serve pi\u00fa et li debbia tornarceli soi dinari<\/em> (ASBN, Banco del Popolo, giornale matr.&#160;151, 28&#160;settembre 1620; D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;555).<\/p>\n<p class=\"Tabelle\">[Giovanni Maria Trabaci purchases a small organ from Crisostomo Noci].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">45.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1621<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Jacovo Pera e Francesco Derinaldi d. 20. Et per essi a don Giovanni Gaetano per altritanti. E per esso a Francesco Beghini in conto di d. 60 per prezzo fra essi convenuto di un cimbalo et enormania <\/em>[sic = enarmonia; cf. D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;560]<em> a cinque ordini del modo che appare per una poliza privata fattali da detto Francesco Beghini quale sta in suo potere alla quale si refere<\/em> (ASBN, Banco della Piet\u00e0, giornale matr.&#160;119, 5&#160;ottobre 1621).<\/p>\n<p class=\"Tabelle\">[Jacovo Pera and Francesco Derinaldi purchase an enharmonic harpsichord from Francesco Beghini].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">46.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1621<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Cesare Lubrano d.8 et per lui a Crisostamo di Noce <\/em>[sic<em> = <\/em>Crisostomo Noci]<em> disse sono accompimento di d.36 che l\u2019altri l\u2019have ricevuti contanti e sono per il prezzo di uno cimbalo grande a quattro registri et una spinetta insieme con il zimbalo che l\u2019ha venduto e consignato nulleo <\/em>[sic = annullato]<em> de accordi proprio prezzo et con detto pagamento resta integramente sodisfatto e non resta ad havere cosa alcuna<\/em> (ASBN, Banco di Sant\u2019Eligio, giornale matr.&#160;115, 5&#160;luglio 1621; D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;557).<\/p>\n<p class=\"Tabelle\">[Cesare Lubrano purchases from Crisostomo Noci a harpsichord joined with a spinet].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">47.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1621<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Gio. Marea Trabace <\/em>[sic<em> = <\/em>Giovanni Maria Trabaci]<em> d.2 et per lui a Grisostomo Noce disse ad compimento di d.27 per final pagamento de uno organo de legname fattoli et consignatoli che li altri li have recevuti parte contanti et parte per lo medesimo banco <\/em>[see doc.&#160;44]<em> declarando che detto organo si \u00e8 defettato declarando che li tasti restati sia oblegato conciarli, altronde lo far\u00e0 acconciare a suo danno interamente et sia oblegato accomodarli il 3\u00b0 registro che da che celo have consegnato non sta accordato et per lui a Gioseppe Satornino per altritanti<\/em> (ASBN, Banco del Popolo, giornale matr.&#160;153, 26&#160;marzo 1621; D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;556).<\/p>\n<p class=\"Tabelle\">[Giovanni Maria Trabaci (<em>maestro di cappella<\/em> of the Royal Chapel in Naples) pays Crisostomo Noci for an organ (see doc.&#160;44), saying that he must, however, repair the third register which is not tuned].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">48.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1624<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Aniello de Bellis d.17.0.70. E per lui ad Alessandro Fabri conciatore d\u2019organo di Palazzo per lo semestre finito a maggio passato a ducati 3 il mese<\/em> (ASBN, Banco di Sant\u2019Eligio, giornale matricola 128, 18&#160;novembre 1624).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri is paid for the maintenance of the organs in the Royal Palace].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">49.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1629<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Al Signor Diego Lambiasi scudi n.6, e per esso al signor Giuseppe Pesce a compimento di d.80 per fattura di un organo e cassa<\/em> (ASBN, Banco della Piet\u00e0, 23&#160;febbraio 1629; Nocerino, \u2018Arte cembalaria a Napoli\u2019 [see bibl.], 99).<\/p>\n<p class=\"Tabelle\">[Giuseppe Pesce receives payment for an organ from Diego Lambiase].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">50.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1630<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Giovani Battista Maggio d.5 Poliza de 13&#160;maggio 1630. E per esso a Mastro Giuseppe Pesce, e sono per lo prezzo d\u2019un Cembalo che l\u2019ha da fare per servizio suo<\/em> (ASBN, Banco della Piet\u00e0, giornale matr.&#160;223, 13&#160;maggio 1630)<\/p>\n<p class=\"Tabelle\">[Giuseppe Pesce receives payment for a harpsichord from Giovan Battista Maggio].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">51.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1630<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Giovan Battista Maggio d.4 tar\u00ec 4. Poliza de 12&#160;giugno 1630. E per esso a Mastro Giuseppe Pesce, e sono a compimento di d. 9 e tar\u00ec 4 ed in conto di d. 25. per lo prezzo d\u2019un Cembalo che ha da fare per servizio suo. E con firma del Suddetto Giuseppe Pesce<\/em> (ASBN, Banco della Piet\u00e0, giornale matr.225, 12&#160;giugno 1630; questo documento e il precedente si riferiscono allo stesso strumento: Nocerino, \u2018Arte cembalaria a Napoli\u2019 [see bibl.], 99).<\/p>\n<p class=\"Tabelle\">[see doc.&#160;50].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">52.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1632<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alesandro Fabri doppie numero 11 e per lui a Giovanni Antonio Trabalzo per altritanti d.33 li quali ne li presta gratis ad ogni sua requesta e per esso a Michele Noto per altritanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;243, 27&#160;gennaio 1632, fol.&#160;23).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri lends money to Giovanni Antonio Trabalzo].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">53.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1632<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alesandro Fabri d.10 e per lui a Giovanni Francesco Califano disse ce l\u2019impronta gratis ad ogni sua requesta e per lui a Don Giuseppe de Tigliola per altritanti<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;243, 27&#160;gennaio 1632, fol.&#160;23).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri lends money to Giovanni Francesco Califano].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">54.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1632<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Ad Alessandro Fabri d.19 e per lui a Pascale Buonocore a complimento de d.42 Annui se li pagano come olim marito di Belluccia Mennardo <\/em>[sic = Belluccia Menhart, wife of Alessandro Fabri]<em> per la sua dote di Capitale di d.600 declarando essere sodisfatto per tutte l\u2019annate passate per Insino al presente anno 1632 citra pregiudizio di qualsivoglia ragione li spettasse contro l\u2019heredi et l\u2019heredit\u00e0 d\u2019Ottavio Mennardo <\/em>[sic = Ottavio Menhart, painter]<em> come appare per poliza del sopradetto<\/em> (ASBN, Banco dello Spirito Santo, giornale matr.&#160;243, 19&#160;ottobre 1632, fol.&#160;418).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri pays for the restitution of money on the dowry of his wife, Belluccia Menhart].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">55.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1635<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Giuseppe Pesce d. 8 e per lui a Marc\u2019Antonio Vallone in conto di d. 19 per prezzo di due casse d\u2019organo di pioppo di Cervinara una alta undici palmi e larga cinque tt 2.10<\/em> [sic = cinque e mezzo]<em> e l\u2019altra alta otto palmi e mezzo, larga quattro con due colonne lo terzo Intagliato la Capitello con l\u2019archetti e strafure <\/em>[sic = fretwork and carvings]<em> quali promette d\u2019averceli finiti cio\u00e8 la Grande per la fine di settembre seguente e l\u2019altra per li 20 d\u2019Ottobre prossimo d\u2019ogni bont\u00e0 e perfettione e non consegnandoli per detto tempo se sia lecito farli fare da altri danni et spese d\u2019esso Marco Antonio (<\/em>ASBN, Banco dello Spirito Santo, giornale matr.&#160;266, 24&#160;agosto 1635).<\/p>\n<p class=\"Tabelle\">[Giuseppe Pesce pays Marc\u2019Antonio Vallone for two poplar organ cases].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">56.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1636<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Gioseppe Pesce d.10 e per lui a Domenico Zampieri <\/em>[=Pittore bolognese, detto \u201c<em>il Dominichino\u201d<\/em>]<em> et disse ce li paga per ordine et decreto della Gran Corte della Vicaria per la Causa et atti nella banca d\u2019Agostino a Relatione del Giudice Corcione declarando che con questo Pagamento resta Integramente sodisfatto, et detti atti si diano per Cassi et non possa servirsene pi\u00f9, e per esso a Francesco Raspantini per altritanti (<\/em>ASBN, Banco dello Spirito Santo, giornale matr.&#160;269, 8&#160;febbraio 1636).<\/p>\n<p class=\"Tabelle\">[Giuseppe Pesce pays 10&#160;<em>ducati<\/em> to the Bolognese painter Domenico Zampieri for an unspecified legal matter].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">57.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1645<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A don Carlo Fons d.1.2.4 e per esso a mastro Giulio Molinaro cembalaro della Regia Cappella di Palazzo a compimento de d.1.2.10, atteso le altre grana seie <\/em>[=6]<em> sono per la rata che li spetta del relascio che si \u00e8 fatto a Francesco de Fusco e li sudetti se li pagano per una mesata in conto del suo soldo a ragione de carlini 15 lo mese, con dechiaratione che il sudetto per tutto novembre 1644 non resta a consequire altro che mesate cinque grana 17, e questo pagamento lo fa come mastro e thesoriero della sudetta Regia Cappella e per ordine dello illustrissimo signor cappellano maggiore<\/em> (ASBN, Banco di S. Giacomo, giornale matr.&#160;208, 13&#160;ottobre 1645; D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019 [see bibl.], doc.&#160;392].<\/p>\n<p class=\"Tabelle\">[Giulio Cesare Molinaro receives payment as harpsichord maker of the Royal Palace].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">58.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1649<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>A Giulio Cesare Molinaro d.5.3.10 e per lui a Diego Bernardo y Mendoza disse<\/em> <em>a compimento di d.23 a causa <\/em>dell\u2019affitto<em> della poteca et camera dove al presente habbita, del peggione maturato a 4 di maggio passato <\/em>[\u2026]. (ASBN, Banco dei Poveri, giornale di banco, matr.&#160;272, 7&#160;luglio 1649).<\/p>\n<p class=\"Tabelle\">[Giulio Cesare Molinaro pays rent for the workshop and house in which he lives].<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">59.<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1609<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Eodem die decimo mensis febraij 7 Indictionis 1609 Neapoli coram nobis constitus Alexander Fabro Cavalerius de spron doro Baro Casalis dicti Moyo province Principatus Citra, <\/em>[sic = Cavaliere dello Speron d\u2019oro, Barone del Casale detto Moyo della Provincia di Principato Citra (oggi Moio della Civitella, in provincia di Salerno)]<em> sponte affictavit Laurentio Longo delle pellare <\/em>[Pellare \u00e8 oggi una frazione di Moio della Civitella]<em> presenti la jurisdictione civile del detto casale con la mastrodactia et la recognictione delle predette cariche con tutte quelle di guita, honori gagii emolumenti iurisdictioni et altro che ad essa iurisdictione civile specta et pu\u00f2 spectare con tutti quelli renditi che ad essa iurisdictione spectano coss\u00ec come l\u2019altri per decessioni <\/em>[fol.&#160;103<span class=\"Hochgestellt\">r<\/span>] <em>si hanno soluto havere e questi per anni quattro da hoggi avante numerandi per prossimi dodice per qualsivoglia anno durante detto afficto; li quali pti dodice esso Lorenzo promette pagarli ad esso Alexandro in fine de qualsivoglia anno cuy <\/em>[sic = qui<em>] in Napoli o vero in detto casale ad electione di esso Alexandro <\/em>[\u2026]<em>. <\/em>(ASN, Notai del Cinquecento, scheda 437 (notaio Lutio Capezzuto), protocollo 24, 10&#160;febbraio 1609, fol&#160;102<span class=\"Hochgestellt\">v<\/span>\u2013104<span class=\"Hochgestellt\">r<\/span>; inedito).<\/p>\n<p class=\"Tabelle\">[Alessandro Fabri, Knight of the Golden Spur and Baron of Moyo, hamlet in the province of Principato Citra, leases the civil jurisdiction of the hamlet to Lorenzo Longo of Pellare].<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/li>\n<\/ul>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>Keith A. Larson, \u2018Condizione sociale dei musicisti e dei loro committenti nella Napoli del Cinque e Seicento\u2019, in: <em>Musica e cultura a Napoli dal XV al XIX secolo<\/em>, ed. Lorenzo Bianconi and Renato Bossa (Florence, 1983), 61\u201377; Enrica Donisi, \u2018\u201cLa deve essere stata una bella, et non mai pi\u00f9 udita musica\u201d. Gli organisti, i nobili e le accademie culturali a Napoli dalla met\u00e0 del Cinquecento alla met\u00e0 del Seicento\u2019, in: <em>Napoli e l\u2019Europa: gli strumenti, i costruttori e la musica per organo dal XV al XX secolo<\/em>, ed. Luigi Sisto and Emanuele Cardi (Battipaglia [SA], 2005), 177\u201391; <span class=\"Emphasis\">Francesco Nocerino, \u2018Gli strumenti musicali a Napoli\u2019, in:<\/span><em> Storia della musica e dello spettacolo a Napoli. Il Seicento<\/em>, ed. Francesco Cotticelli and Paologiovanni Maione, 2&#160;vols. (Naples, 2019), ii, 1767\u2013814.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>The surname Fabri, in addition to Ercole and Alessandro, respectively father and son, also includes the harpsichord makers Francesco and his nephew Filippo, both active in Rome in the 17th century and originally from Senigallia. Cf. Patrizio Barbieri, \u2018Cembalaro, organaro chitarraro e fabbricatore di corde armoniche nella Polyanthea di Pinaroli (1718\u201332)\u2019, in: <em>Recercare<\/em> 1 (1989), 123\u2013209, at 150\u20131; Donald Boalch, <em>Makers of the Harpsichord and Clavichord 1440\u20131840<\/em>, 3rd ed., ed. by Charles Mould (Oxford, 1995), 56. There is still no known relationship between the two Fabris active in Rome and those active in Naples.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>App. B, doc.&#160;1.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>App. B, doc.&#160;2.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Archivio di Stato di Napoli<span class=\"Kapitaelchen\"> [=&#160;ASN]<\/span>, <em>Notai del Cinquecento<\/em>, <em>scheda<\/em> 369 (notary Cesare Rosanova), protocollo&#160;1, fols.&#160;66<span class=\"Hochgestellt\">r<\/span>\u201367<span class=\"Hochgestellt\">r<\/span>; cf. Panayotis K. Ioannou, \u2018Documenti inediti sulle arti a Napoli tra Cinque e Seicento (seconda parte)\u2019, in: <em>Ricerche sul \u2018600 napoletano. Saggi e documenti 2002 <\/em>(Naples, 2003), 135\u201346, at 140.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Cf. Ulisse Prota-Giurleo, \u2018Giovanni Maria Trabaci e gli organisti della Real Cappella di Palazzo di Napoli\u2019, in: <em>L\u2019Organo<\/em> 1 (1960), no.&#160;2, 185\u201395; Domenico Antonio D\u2019Alessandro,\u2018Giovanni de Macque e i musici della Real Cappella napoletana. Nuovi documenti, precisazioni biografiche e una fonte musicale ritrovata\u2019, in: <em>La musica del Principe. Studi e prospettive per Carlo Gesualdo<\/em>, ed. Luisa Curinga (Lucca, 2008), 21\u2013156.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Nunzio Faraglia, \u2018Bilanzo per arbitrio del real patrimonio de questo regno del Anno V. e Indictionis 1591 et 1592\u2019, in: <em>Archivio storico per le provincie napoletane<\/em> 1 (1876), fasc.&#160;iii, 409.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Ulisse Prota-Giurleo, \u2018Organari napoletani del XVII e XVIII secolo\u2019, in: <em>L\u2019Organo<\/em> 2 (1961), no.&#160;2, 109\u201328, at 121.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>App.&#160;B, doc.&#160;48.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>App.&#160;B, docs.&#160;6, 7.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>App.&#160;B, doc.&#160;11.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>App.&#160;B, docs.&#160;10, 54.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Panayotis K. Ioannou, \u2018Documenti inediti sulle arti a Napoli tra Cinque e Seicento (terza parte)\u2019, in: <em>Ricerche sul \u2018600 napoletano. Saggi e documenti 2009 <\/em>(Naples, 2010), 79\u201386, at 80\u20131. The Flemish surname Menhart in ancient Neapolitan documents appears altered in many ways, including Minardo, Menardi, Mendardo and, indeed, Mennardo.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>App.&#160;B, docs.&#160;10, 54.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>App.&#160;B, passim.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>App.&#160;B, docs.&#160;52, 53.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>He shared this practice with the well-known harpsichord maker Onofrio Guarracino. Cf. Francesco Nocerino, \u2018Arte cembalaria a Napoli. Documenti e notizie su costruttori e &#173;strumenti napoletani\u2019, in: <em>Ricerche sul \u2018600 napoletano. Saggi e documenti 1996\u20131997<\/em> (Naples, 1998), 85\u2013109, at 95\u20138.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p><em>Clavicembali e spinette dal XVI al XIX secolo<\/em>, ed. Luigi Ferdinando Tagliavini and John Henry van der Meer (Bologna, <span class=\"Hochgestellt\">2<\/span>1987), 150\u20135; <em>Collezione Tagliavini. Catalogo degli strumenti musicali<\/em>, ed. John Henry van der Meer and Luigi Ferdinando Tagliavini, 2&#160;vols. (Bologna, 2007\/08), i, 322\u20139, &lt;<a href=\"https:\/\/digital.fondazionecarisbo.it\/artwork\/collezione-tagliavini-catalogo-degli-strumenti-musicali-3\"><span class=\"Hyperlink\">https:\/\/digital.fondazionecarisbo.it\/artwork\/collezione-tagliavini-catalogo-degli-strumenti-musicali-3<\/span><\/a>&gt; (accessed 2&#160;Nov. 2024).<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Cf. Pierluigi Leone de Castris, <em>Pittura del Cinquecento a Napoli<\/em> (Naples, 1991), 203.<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Cf. Stefano Romano, <em>L\u2019arte organaria a Napoli<\/em>, vol.&#160;1 (Naples 1979), 117\u201320. An article about the last restoration carried out in 2012 by Giuseppe Fontana is in Vincenzo Pica, <em>L\u2019organo di Sant\u2019Anna dei Lombardi a Napoli un atto d\u2019amore: il ripristino dell\u2019anno 2012<\/em> (Naples, 2012), 43\u201361.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Furio Luccichenti, \u2018I Caterinozzi, famiglia di organari\u2019, in: <em>Recercare<\/em> 9 (1997), 243\u201360, at 254.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Michela Tarallo, \u2018Santa Maria di Monteoliveto a Napoli, dalla fondazione (1411) alla soppressione monastica: topografia e allestimenti liturgici\u2019, tesi di dottorato in Scienzearcheologiche e storico-artistiche, Universit\u00e0 degli Studi di Napoli Federico&#160;II, 2013\/14, 172.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Ibid., 172\u20137, 414\u201317.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>App.&#160;B, docs.&#160;26, 27, 28. Cf. Tarallo, \u2018Santa Maria di Monteoliveto a Napoli\u2019, 413\u201314.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>This range of 61&#160;keys is documented, and still present today on the 17th-century De Franco organ of 1650 in the Chiesa del Ges\u00f9 Nuovo in Naples, cf. Stefano Romano, <em>L\u2019organo restaurato nella chiesa del Ges\u00f9 Nuovo<\/em> (Naples, 1986).<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>App.&#160;B, doc.&#160;59.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>App.&#160;B, doc.&#160;54.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Cf. Ioannou, \u2018Documenti inediti\u2019 (see n.&#160;5), 140\u20131.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p><span class=\"Emphasis\">Francesco Nocerino, \u2018Indocta manus noli me tangere. Cembalari a Napoli nel secolo della meraviglia\u2019, in:<\/span><em> Informazione Organistica e Organologica<\/em> 33 (2021), no.&#160;48, serie&#160;iii, 93\u2013139, at 114\u201315.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>See App.&#160;A.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>ASN, <em>Processetti matrimoniali<\/em>, 1608, letter F, n.&#160;280. I thank the scholar and friend, Domenico Antonio D\u2019Alessandro, for pointing me to this document as well as the subsequent one found by him.<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p><span class=\"Emphasis\">Nocerino, \u2018Indocta manus noli me tangere\u2019 (see n.&#160;29),<\/span>105\u20136.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>App.&#160;B, doc.&#160;31.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>App.&#160;B, docs.&#160;19, 40. Geronimo D\u2019Amato, active between 1599 and 1624, was the organ builder of the church of the Concezione degli Spagnoli, the Annunziata and the Naples Cathedral (cf. Prota-Giurleo, \u2018Organari napoletani\u2019 [see n.&#160;8], 112, and Roberto di Stefano, <em>La Cattedrale di Napoli<\/em> [Naples, 1974], 35). His instruments are documented at the Cathedral of Nola, the Chiesa Maggiore of Morrone in Molise and the Chiesa di San Domenico in Nicastro, now Lamezia Terme (Catanzaro). Cf. Franco Strazzullo, \u2018Inediti per la storia della musica a Napoli\u2019, in: <em>Il Fuidoro. Cronache napolitane<\/em> 2 (1955), no.&#160;3\u20134, 106\u20138, at 108, and Vincenzo Rizzo, \u2018Documenti\u2019, in: Stefano Romano, <em>L\u2019arte organaria a Napoli<\/em>, vol.&#160;2 (Naples, 1990), 185\u201396, at 195. For the organ in Nicastro see also the file in Giorgio Ceraudo (ed.), <em>Capolavori di arte organaria restaurati in Calabria<\/em> (Soveria Mannelli, 1995), 15\u201317.<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Fabio Colonna, <em>La sambuca lincea, overo dell\u2019istromento musico perfetto lib. III<\/em> (Naples: Vitali, 1618), p.&#160;76, &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb10162265\"><span class=\"Hyperlink\">https:\/\/mdz-nbn-resolving.de\/details:bsb10162265<\/span><\/a>&gt; (accessed 18&#160;July 2024).<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>App.&#160;B, doc.&#160;45.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>Ioannou, \u2018Documenti inediti\u2019 (see n.&#160;5), 140; ASN, Notaio Cesare Rosanova, 319\/1, 2&#160;March 1579, fols.&#160;66<span class=\"Hochgestellt\">r<\/span>\u201367<span class=\"Hochgestellt\">r<\/span>.<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Francesco Nocerino, \u2018L\u2019attivit\u00e0 cembalaria e organaria di Alessandro Fabri\u2019, in: <em>Quaderni dell\u2019Archivio Storico \/ Istituto Banco di Napoli Fondazione<\/em>, 2005\/2006, 179\u201393, at 184.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>Patrizio Barbieri, \u2018Harpsichord-Makers in Late Renaissance and Early Baroque Rome\u2019, in: <em>Informazione organistica<\/em> 29, no.&#160;2 (Dec. 2017), 187\u2013215, at 200 and 208\u20139.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>Salvatore di Giacomo, \u2018La casa della Musica\u2019, in: <em>Napoli Nobilissima<\/em>, nuova serie, vol.&#160;2 (Jan.\/Feb. 1921), 132\u20136, at 136; cf. Prota-Giurleo, \u2018Organari napoletani\u2019 (see n.&#160;8), 123; Dinko Fabris, \u2018Strumenti di corde, musici e congregazioni a Napoli alla met\u00e0 del Seicento\u2019, in: <em>Note d\u2019Archivio per la Storia Musicale<\/em>, nuova serie 1 (1983), 63\u2013110, at 80, 85, tab.&#160;I and II).<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>Barbieri, \u2018Harpsichord-Makers\u2019 (see n.&#160;39), 208.<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>Giuseppe Ceci, \u2018Maestri organari nell\u2019Italia meridionale\u2019, in: <em>Samnium. Rivista storica trimestrale<\/em> 5 (1932), no.&#160;2, 112\u201329, at 122; Prota-Giurleo, \u2018Organari napoletani\u2019 (see n.&#160;8), 123\u20134; Nocerino, \u2018Arte cembalaria a Napoli\u2019 (see n.&#160;17), 99.<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>Barbieri, \u2018Harpsichord-Makers\u2019 (see n.&#160;39), 72.<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>App.&#160;B, doc.&#160;46.<a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>Francesco Nocerino, \u2018Evidence for Italian Mother-and-Child Virginals: an Important Document Signed by Onofrio Guarracino\u2019, in: <em>GSJ<\/em> 53 (2000), 317\u201321.<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>App.&#160;B, doc.&#160;15.<a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p><span class=\"Emphasis\">Nocerino, \u2018Indocta manus noli me tangere\u2019 (see n.&#160;29), at <\/span>127.<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn48\">\n<p>Notarial formulas of ritual in Latin.<a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"2\">Bibliography<\/h4>\n<p class=\"bibliography\">Patrizio Barbieri, \u2018Cembalaro, organaro chitarraro e fabbricatore di corde armoniche nella Polyanthea di Pinaroli (1718\u201332)\u2019, in: <em>Recercare<\/em> 1 (1989), 123\u2013209<\/p>\n<p class=\"bibliography\">Patrizio Barbieri, \u2018Harpsichord-Makers in Late Renaissance and Early Baroque Rome\u2019, in: <em>Informazione organistica<\/em> 29, no.&#160;2 (Dec. 2017), 187\u2013215<\/p>\n<p class=\"bibliography\">Patrizio Barbieri, \u2018La sambuca lincea di Fabio Colonna e il tricembalo di Scipione Stella. Con notizie sugli strumenti armonici del Domenichino\u2019, in: <em>La musica a Napoli durante il Seicento. Atti del convegno internazionale di Studi. Napoli, 11-14 aprile 1985<\/em>, ed. Domenico Antonio D\u2019Alessandro and Agostino Ziino (Rome, 1987), 167\u2013216<\/p>\n<p class=\"bibliography\">Donald Boalch, <em>Makers of the Harpsichord and Clavichord 1440\u20131840<\/em>, 3rd ed., ed. by Charles Mould (Oxford, 1995)<\/p>\n<p class=\"bibliography\">Giuseppe Ceci, \u2018Maestri organari a Napoli dal XV al XVIII secolo\u2019, in: <em>Scritti storici per le nozze Cortese De Cicco<\/em> (Naples, 1931), 1\u201311<\/p>\n<p class=\"bibliography\">Giuseppe Ceci, \u2018Maestri organari nell\u2019Italia meridionale\u2019, in: <em>Samnium. Rivista storica trimestrale<\/em> 5 (1932), no.&#160;2, 112\u201329<\/p>\n<p class=\"bibliography\">Carlo Celano, <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli per i signori forastieri date dal canonico Carlo Celano napoletano, divise in dieci giornate. Giornata terza. <\/em>(Naples: Giacomo Raillard, 1692); modern edition: <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli<\/em> [\u2026] <em>Giornata Terza<\/em>, ed. Paola Coniglio and Riccardo Prencipe (Naples, 2010), &lt;https:\/\/www.memofonte.it\/ricerche\/napoli\/ &#8211; carlo-celano&gt; (accessed on 10&#160;Oct. 2025)<\/p>\n<p class=\"bibliography\">Giorgio Ceraudo (ed.), <em>Capolavori di arte organaria restaurati in Calabria<\/em> (Soveria Mannelli, 1995)<\/p>\n<p class=\"bibliography\">Fabio Colonna, <em>La sambuca lincea, overo dell\u2019istromento musico perfetto lib. III<\/em> (Naples: Vitali, 1618), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb10162265\">https:\/\/mdz-nbn-resolving.de\/details:bsb10162265<\/a>&gt;<\/p>\n<p class=\"bibliography\">Domenico Antonio D\u2019Alessandro, \u2018Appendice documentaria in cd-rom\u2019, in: <em>Storia della musica e dello spettacolo a Napoli. Il Seicento\u2019<\/em>, ed. Francesco Cotticelli and Paologiovanni Maione, 2&#160;vols. (Naples, 2019)<\/p>\n<p class=\"bibliography\">Domenico Antonio D\u2019Alessandro,\u2018Giovanni de Macque e i musici della Real Cappella napoletana. Nuovi documenti, precisazioni biografiche e una fonte musicale ritrovata\u2019, in: <em>La musica del Principe. Studi e prospettive per Carlo Gesualdo<\/em>, ed. Luisa Curinga (Lucca, 2008), 21\u2013156<\/p>\n<p class=\"bibliography\">Stefano De Mieri, <em>Splendori di un\u2019isola: opere d\u2019arte nelle chiese di Procida dal XIV al XIX secolo<\/em> (Naples, 2016)<\/p>\n<p class=\"bibliography\">Stefano De Mieri and Letizia Gaeta, <em>Intagliatori incisori scultori sodalizi e societ\u00e0 nella Napoli dei vicer\u00e9. Ritorno all\u2019Annunziata<\/em> (Naples, 2015)<\/p>\n<p class=\"bibliography\">Salvatore di Giacomo, \u2018La casa della Musica\u2019, in: <em>Napoli Nobilissima<\/em>, nuova serie, vol.&#160;2 (Jan.\/Feb. 1921), 132\u20136<\/p>\n<p class=\"bibliography\">Roberto di Stefano, <em>La Cattedrale di Napoli<\/em> (Naples, 1974)<\/p>\n<p class=\"bibliography\">Enrica Donisi, \u2018\u201cLa deve essere stata una bella, et non mai pi\u00f9 udita musica\u201d. 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Documenti e ricerche<\/em>, ed. Nicola Spinola (Naples, 1979), 249\u201350<\/p>\n<p class=\"bibliography\">Stefano Romano, <em>L\u2019arte organaria a Napoli<\/em>, vol.&#160;1 (Naples 1979)<\/p>\n<p class=\"bibliography\">Stefano Romano, <em>L\u2019arte organaria a Napoli<\/em>, vol.&#160;2 (Naples, 1990)<\/p>\n<p class=\"bibliography\">Stefano Romano, <em>L\u2019organo restaurato nella chiesa del Ges\u00f9 Nuovo<\/em> (Naples, 1986)<\/p>\n<p class=\"bibliography\">Franco Strazzullo, \u2018Inediti per la storia della musica a Napoli\u2019, in: <em>Il Fuidoro. Cronache napolitane<\/em> 2 (1955), no.&#160;3\u20134, 106\u20138<\/p>\n<p class=\"bibliography\">Luigi Ferdinando Tagliavini and John Henry van der Meer (ed.), <em>Clavicembali e spinette dal XVI al XIX secolo<\/em> (Bologna, <span class=\"Hochgestellt\">2<\/span>1987)<\/p>\n<p class=\"bibliography\">Michela Tarallo, \u2018Santa Maria di Monteoliveto a Napoli, dalla fondazione (1411) alla soppressione monastica: topografia e allestimenti liturgici\u2019, tesi di dottorato in Scienzearcheologiche e storico-artistiche, Universit\u00e0 degli Studi di Napoli Federico&#160;II, 2013\/14<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Protagonists of the Art of the \u2018Zimbararo\u2019 in Naples Francesco Nocerino &nbsp; Homines dum docent discunt. (L.A.&#160;Seneca) Born in the second half of the 16th century, Alessandro Fabri lived in an era that witnessed the flourishing of important musical personalities in our culture, and through a combination of rationality and passion, he gave life to &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[271],"tags":[],"class_list":["post-8060","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century-2-italy"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Alessandro Fabri and his Pupils &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-006\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alessandro Fabri and his Pupils &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Protagonists of the Art of the \u2018Zimbararo\u2019 in Naples Francesco Nocerino &nbsp; Homines dum docent discunt. 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