{"id":2902,"date":"2024-06-04T12:05:42","date_gmt":"2024-06-04T10:05:42","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=2902"},"modified":"2025-02-10T13:21:39","modified_gmt":"2025-02-10T12:21:39","slug":"mdwp003-le-mani-di-cecilia","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-le-mani-di-cecilia\/","title":{"rendered":"Le mani di Cecilia"},"content":{"rendered":"<h2 class=\"subtitle\">Hand Position and Fingering on Keyboards in Italian Iconographical Sources of the Renaissance<\/h2>\n<h3 class=\"author\"><em>Maria Luisa Baldassari<\/em><\/h3>\n<p>(Musical examples by Maria Luisa Baldassari and Augusta Campagne)<\/p>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        blockquote.tsquotation p em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\n        figure {\n            margin: 0;\n        }\n        audio {\n            margin-top: 0.5em;\n        }\n        video {\n            margin-top: 0.5em;\n            margin-bottom: -1.5em;\n    margin-left: auto;\n    margin-right: auto;\n    display: block\n        }\n    <\/style>\n<p><\/head><br \/>\n<\/p>\n<p style=\"text-align: left;\"><div class=\"one_half\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-performance-practice-antico\" style=\"color:#000000 !important;\">Previous chapter<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-lisbon-shewa-goa\" style=\"color:#000000 !important;\">Next chapter<\/a><\/span><\/div><div class=\"clear-fix\"><\/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\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-c13c4b516a661fa71a24e6a7f1776a55\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">4511395<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{4511395:D36M5J8X}<\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_INCLUSIVE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_STYLE 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ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%22D36M5J8X%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Baldassari%22%2C%22parsedDate%22%3A%222024%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BBaldassari%2C%20Maria%20Luisa.%202024.%20%26%23x201C%3BLe%20Mani%20Di%20Cecilia%3A%20Hand%20Position%20and%20Fingering%20on%20Keyboards%20in%20Italian%20Iconographical%20Sources%20of%20the%20Renaissance.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3B%26%23x2018%3BUniversum%20Rei%20Harmonicae%20Concentum%20Absolvunt%26%23x2019%3B.%20The%20Harpsichord%20in%20the%20Sixteenth%20Century%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Augusta%20Campagne%20and%20Markus%20Grassl.%20mdwPress.%20%26lt%3Ba%20class%3D%26%23039%3Bzp-ItemURL%26%23039%3B%20href%3D%26%23039%3Bhttps%3A%5C%2F%5C%2Fdx.doi.org%5C%2F10.21939%5C%2Fharpsichord-16c-08%26%23039%3B%26gt%3Bhttps%3A%5C%2F%5C%2Fdx.doi.org%5C%2F10.21939%5C%2Fharpsichord-16c-08%26lt%3B%5C%2Fa%26gt%3B.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3DD36M5J8X%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Le%20mani%20di%20Cecilia%3A%20Hand%20Position%20and%20Fingering%20on%20Keyboards%20in%20Italian%20Iconographical%20Sources%20of%20the%20Renaissance%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Maria%20Luisa%22%2C%22lastName%22%3A%22Baldassari%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Augusta%22%2C%22lastName%22%3A%22Campagne%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Markus%22%2C%22lastName%22%3A%22Grassl%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22%5Cu2018Universum%20rei%20harmonicae%20concentum%20absolvunt%5Cu2019.%20The%20Harpsichord%20in%20the%20Sixteenth%20Century%22%2C%22date%22%3A%222024%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22https%3A%5C%2F%5C%2Fdx.doi.org%5C%2F10.21939%5C%2Fharpsichord-16c-08%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en-GB%22%2C%22collections%22%3A%5B%22UUBXGTMU%22%5D%2C%22dateModified%22%3A%222024-10-24T11%3A05%3A03Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-2902-4511395-D36M5J8X\" data-zp-author-date='Baldassari-2024' data-zp-date-author='2024-Baldassari' data-zp-date='2024' data-zp-year='2024' 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\">Baldassari, Maria Luisa. 2024. \u201cLe Mani Di Cecilia: Hand Position and Fingering on Keyboards in Italian Iconographical Sources of the Renaissance.\u201d In <i>\u2018Universum Rei Harmonicae Concentum Absolvunt\u2019. The Harpsichord in the Sixteenth Century<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-08'>https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-08<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=D36M5J8X' 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\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nThis paper presents the conclusions of an experimental study on fingering and hand position guided by Renaissance portraits of keyboard players as well as contemporary theoretical writings on keyboard technique. The author investigates the relationship between theoretical statements and representations in art, comparing and analyzing the different positions of fingers, hands and wrists in both type of sources.<br \/>\nParticular attention is paid to a subject that began to appear in the first years of the 16th century and became fully fashionable from the beginning of the 17th century onwards: St. Cecilia at the keyboard. The representations of Cecilia dramatically increased after the \u2018discovery\u2019 of the saint\u2019s body in 1599, and they offer a vast repository of images of keyboard players.<br \/>\nThe results of these investigations are presented in their practical application through images and videos recorded by Maria Luisa Baldassari and Augusta Campagne; the study finishes with a comprehensive reference guide that summarizes the rules for fingering and hand position of the most important treatises.<br \/>\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\">About the Author<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><div class=\"toggle-content\"><p>\n<strong>Maria Luisa Baldassari<\/strong> graduated in piano, harpsichord and musicology. She has played in European festivals, in the USA and Canada and has founded <em>Les Nations<\/em>, a group made up of well-known Italian specialists in early music. The ensemble has recorded seven CDs of Italian music. M. Luisa Baldassari has recorded for many record companies; her solo CDs are devoted to A. Antico and F. Durante. She teaches harpsichord at the Bologna Conservatoire, holds performance masterclasses in Italy and abroad and is president of the association Collegium Musicum Classense. As a musicologist she specialises in Renaissance keyboard music and vocal music of the 17th century. She has published articles in musicological journals, critical editions for \u2018Ut Orpheus\u2019 and has been invited to speak at international conferences.<br \/>\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=\"#0\">Article<\/a><br \/>\n<a href=\"#1\">Appendix<\/a><br \/>\n<a href=\"#2\">&nbsp; Tomas Luis de Santa Mar\u00eda, <em>Arte de ta\u00f1er fantas\u00eda<\/em><\/a><br \/>\n<a href=\"#3\">&nbsp; Girolamo Diruta, <em>Il Transilvano<\/em><\/a><br \/>\n<a href=\"#4\">&nbsp; Adriano Banchieri, <em>Conclusioni nel suono dell\u2019organo<\/em><\/a><br \/>\n<a href=\"#5\">&nbsp; Galeazzo Sabbatini, <em>Regola facile e breve<\/em><\/a><br \/>\n<a href=\"#6\">&nbsp; Giovanni Gentile d\u2019Olevano, <em>Porta musicale<\/em><\/a><br \/>\n<a href=\"#7\">&nbsp; Lorenzo Penna, <em>Li primi albori<\/em><\/a><br \/>\n<a href=\"#8\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/pub.mdw.ac.at\/pubmdw\/publication\/0e971e5c-19a5-4323-93de-c63cdbd417e3\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">Chapter PDF<\/a><\/span>\n<p id=\"0\">The subject of fingering and hand position in Renaissance and Baroque keyboard music has been debated for many years, and the few extant theoretical and practical sources have been thoroughly studied and discussed. Important contributions came from Mark Lindley,<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> Isolde Ahlgrimm,<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> Maria Boxall,<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> Ludger Lohmann,<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> Bernard Brauchli<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a> and others: primarily those scholars who have studied the treatises mentioning fingering, hand movements and position. The iconographical sources, however, are less frequently taken into consideration, following the (partially correct) reasoning that the representations rarely focus on music-making and that they are subject to extra-musical criteria such as the pictorial style in different eras and places, the destination of the painting, and the behavioural conventions. Scholars who deal with musical iconography, like Mariagrazia Carlone,<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> clearly state the caveats that one must bear in mind when approaching a representation regarding music: the actual level of verisimilitude, the general context of each representation, the degree of musical knowledge of the painter (if knowable), and so on.<\/p>\n<p>We must, however, not completely discard the information that these pictures give us and that can help us reconstruct the data we lack today: the physical results of fingerings and hand positions and their practical consequences on keyboard technique and interpretation. Iconographical sources present the performer\u2019s body and consequently provide us with further suggestions on how to apply the indications of the treatises.<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> The numerous representations of musicians at the keyboard differ in detail and setting: some of the paintings show people in the act of playing where it is even possible to see which fingers are in use. In others, especially the oldest ones, the hands rest on the keyboard in a position that is only suggestive of movement: the musicians seem to have either just stopped playing or are about to begin.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a> All these situations can tell us something about the approach to the keyboard; the most important information regards hand and wrist position.<\/p>\n<p>This field of study is quite vast and includes very diverse eras and styles. I have limited my research to the Italian paintings of the 16th and early 17th centuries, a period when portraits of musicians (and portraits in general) became increasingly frequent: the new role of music-making in aristocratic culture and practice as explained, for example, by Baldassare Castiglione,<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a> allowed painters to pull angelic players down from the sky and transform them into gentlemen and ladies proudly standing in front of a keyboard. My research has taken in consideration around 100\u00a0paintings by artists such as Tiziano Vecellio, Sofonisba Anguissola, Lavinia Fontana, Antiveduto Grammatica, Bernardino Licinio, Carlo Sellitto and others, from both northern and southern Italy.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> I have mainly selected portraits, since hands and arms are more clearly visible. Representations of musical ensembles, quite a common subject, seldom show enough detail to draw in-depth conclusions.<\/p>\n<p>The theoretical background in keyboard technique required for the analysis of the selected pictures comes from the most important Spanish and Italian treatises and writings dealing with fingering and hand position:<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> <em>Arte de ta\u0148er fantas\u00eda<\/em> by Santa Mar\u00eda, <em>Il<\/em> <em>Transilvano<\/em> by Diruta, <em>Conclusioni<\/em> by Banchieri, <em>Regola<\/em> by Sabbatini, <em>Porta Musicale<\/em> by Gentile d\u2019Olevano, and <em>Li primi albori<\/em> by Penna.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/p>\n<p>The techniques proposed by these writers are quite different: some of them base a correct fingering on the concept of \u2018good fingers\u2019, to be used on \u2018good\u2019 notes (identified according to the rules of counterpoint). This principle differs greatly from the modern technique for the piano, which aims to attain a perfect equality in strength and function for all the fingers. Two main systems are in use: Diruta, for example, proposes even fingers, 2<sup>nd<\/sup> and 4th, as good; on the contrary, Banchieri a few years later suggests using the 3<sup>rd<\/sup> finger on good notes. Santa Mar\u00eda and, generally speaking, the Spanish writers agree on a \u2018good\u2019 3<sup>rd<\/sup> finger but have a more varied approach. The book that dedicates the most pages to technique, the <em>Arte de ta\u00f1er fantas\u00eda<\/em>, goes into detail showing different musical figures and solutions for all of them, at times using three or four consecutive fingers and thus disregarding a regular connection between notes and fingers.<\/p>\n<p>Some treatises also offer hints concerning hand and arm position and the way the fingers should press the keys. Taking into consideration both the books and the portraits, three main types of approach seem to emerge:<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/p>\n<ol type=\"1\">\n<li>\n<p>\u2018Santa Mar\u00eda\u2019 position: low wrist, fingers higher than the hand, bent at the tip and with a hollow between fingers and hand: the so called \u2018cat\u2019s paw\u2019. Fingers should hit (<em>herir<\/em>) the keys and should not be held too far away from them. The instructions refer to all the <em>instrumentos de tecla<\/em> and to the vihuela.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/p>\n<\/li>\n<li>\n<p>\u2018Diruta\u2019 position: hand and wrist at the same height, fingers rounded (<em>incoppate<\/em>); the fingers should rest on the keys and press them without too much strength. Diruta criticizes a conduct of the hand similar to the one described by Santa Mar\u00eda, as unsuitable for the organ and its repertoire. However, he says that when playing dance music on the harpsichord the fingers must actually hit the keys, thus establishing a distinction between the technique for the harpsichord and the organ.<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/p>\n<\/li>\n<li>\n<p>\u2018Cecilia\u2019 position: high or very high wrist, straight fingers. Quite common in St.\u00a0Cecilia depictions from the late 16th century until the end of the 17th,<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a> this position finds theoretical confirmation around 1670 in the treatise by Lorenzo Penna that speaks of <em>dita distese<\/em> (straight fingers).<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a> Penna suggests one should avoid keeping the wrist low and the fingers high (possibly a reference to a practice born in an earlier period). The paintings show the same position for both the organ and for different quilled instruments.<\/p>\n<\/li>\n<\/ol>\n<p>The choice of focusing on Italian music and paintings of the Renaissance and early Baroque reflects my personal musical interests but also aims towards a different perspective on early fingering and hand position. The best known studies on early keyboard technique often have the French and German literature of the 18th century as a point of departure, especially C.Ph.E. Bach\u2019s description of his father\u2019s way of playing,<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a> and sometimes performers try to adapt their hand to this description even when using a fingering chart from an earlier period or a different country. Hand position and fingering must be considered together for a better understanding of the treatises\u2019 instructions. This is where portraits and paintings can provide us with relevant information, even when what they show us seems unlikely to modern eyes.<\/p>\n<p>16th-century Italian portraits follow new and specific principles governing proportions for the human body, they present a certain amount of realism, and they reflect the physical bearing of the subject, as suggested in writings like <em>Il Cortegiano<\/em>. People in the portraits of musicians are depicted in an upright, open and relaxed position, arms and elbows are close to the body, the angle between them almost 90\u00b0 with the hand in a relaxed position on the keyboard: an image of grace and simplicity which is a far cry from late gothic models. This new idea of the dignity and gracefulness of the human body had consequences affecting the representation of musicians and their hands.<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/p>\n<p>The connection between technique and beauty is summarized in the words <em>leggiadria e bellezza<\/em> (gracefulness and beauty) that occur frequently in treatises dealing with keyboard playing: Diruta praises the <em>gravit\u00e0 e leggiadria<\/em> (composure and gracefulness) in an organist,<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a> Penna, more specifically, the <em>bella<\/em> <em>mano<\/em> (the lovely hand),<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a> a position deriving from correct fingering that makes the hand beautiful to see for the audience. Musicians in the Renaissance and Baroque were required to show a mixture of musical ability and grace, and this same idea guided the way they were portrayed, although this idea changed according to the different concepts of beauty in each era. This also means that grace in playing was not a characteristic separate and independent from technique, but rather a part of it and an integral component of being a musician.<\/p>\n<p>It is uncommon to find representations in early Renaissance Italy of players turning their hands in the direction of the musical line as suggested by Santa Mar\u00eda, and I wonder if this depends on the Renaissance ideals of composure and dignity that required the avoidance of inelegant movements. There are no Italian representations that resemble the famous engraving of St.\u00a0Cecilia by Hendrick Goltzius that inspired the front page of <em>Parthenia<\/em><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a>, where the saint\u2019s fingers \u2018jump\u2019 in every direction.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>The detailed representation of a keyboard player, together with a singer and a viola player, in Tiziano Vecellio\u2019s so-called <em>Concerto<\/em> or <em>The three ages<\/em> (painted c.\u00a01507\/08) presents us with a substantial amount of information (Fig.\u00a01).<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.1_.jpg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 1:<\/b> Tiziano Vecellio, <em>Concerto o le tre et\u00e0<\/em> (c.\u00a01507\/08), Florence, Galleria Palatina, inv. Palatina n.\u00a0185, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Tiziano_Vecellio_(Pieve_di_Cadore_1490_ca_-_Venezia_1576)_-_Il_Concerto_-_185_-_Galleria_Palatina.jpg#file\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023).<\/span><\/p>\n<p>The man at the spinet has his hands on the keyboard and seems to be about to play (or maybe has just played some notes) when the viola player stops him by putting a hand on his shoulder.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a> The player\u2019s hand position is reminiscent of the description by Tom\u00e1s de Santa Mar\u00eda: the hands are parallel to the keys, with low wrists, high fingers (even if the player is apparently standing) with a hollow between hand and fingers, the right thumb slightly bent inside.<\/p>\n<p>Angels in Flemish paintings playing the portative organ with a very low wrist are often considered as the perfect representation of the Santa Mar\u00eda technique.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a> In my opinion, the hand and wrist position in this portrait, where the hand is not hanging as in Flemish pictures, but rather rests on the keys, are closer to the instructions of Santa Mar\u00eda, who had in mind not only (positive) organs and quilled instruments but also the clavichord; in my experience, such a position is particularly effective when playing such an instrument. This painting comes from the Veneto, the region where Venice is located, and we can see it as proof that Diruta (who lived in Venice) criticized a way of playing that was actually in use. The wrist and hand positions are similar in a later portrait of an anonymous player attributed to Francesco Traballesi (Fig.\u00a02), and also (for the wrist position) in the frontispiece of Andrea Antico\u2019s <em>Frottole intabulate<\/em> (Fig.\u00a03).<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.2_.jpg\" alt=\"\" style=\"height: 500px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 2:<\/b> Francesco Traballesi (attr.), <em>Uomo alla spinetta<\/em> (c.\u00a01570), Amsterdam, Rijksmuseum, Inv.\u00a0n. KS-a-503, CC0 1.0, &lt;<a href=\"http:\/\/hdl.handle.net\/10934\/RM0001.COLLECT.6605\">http:\/\/hdl.handle.net\/10934\/RM0001.COLLECT.6605<\/a>&gt; (accessed 17\u00a0July 2023).<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.3_.jpg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 3:<\/b> Andrea Antico, <em>Frottole intabulate per sonare organi<\/em>, Frontispiece (Rome, 1517), personal picture, with permission of the National Library of Prag (N\u00e1rodn\u00ed knihovna \u010cesk\u00e9 republiky).<\/span><\/p>\n<p>It\u2019s difficult to say which sort of fingering is in use in these three representations: there is no sign of turning of the hand in the paintings, and it is unclear in Antico, even if in this woodcut Antico\u2019s hands are shown in full movement (maybe less composure was required from an artisan such as Andrea Antico?).<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>Four pictures showing women at the keyboard present a somewhat different position of the hand; three of them are self-portraits by two famous painters, Sofonisba Anguissola and Lavinia Fontana (Figs.\u00a04, 6, 7). Anguissola and Fontana were both proud of their profession and their self-portraits show their proficiency in various arts.<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a> Fontana was probably inspired by the older artist for her depiction at the spinet, where we can also see a painter\u2019s easel in the distance: this, a wedding portrait, summarizes the artistic qualities and the domestic virtues of the cultivated bride.<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/p>\n<p>The general composition and the player\u2019s position are similar in all pictures: a woman standing (or seated, in the case of Fontana) in front of the spinet. The hands are relaxed in at least two of the pictures, but the wrist is higher than in the ones considered before; the position more closely recalls Diruta\u2019s description, where he suggests keeping the hand at the same height as the wrist. We can guess which fingers are playing: in Anguissola\u2019s later portrait (c.\u00a01559) (Fig.\u00a04) the left hand plays a fifth or a sixth on diatonic keys with 5th and 2<sup>nd<\/sup> finger, the right hand probably a single key with 3<sup>rd<\/sup>, with the thumb off the keyboard. The unknown woman in the painting by an unidentified artist, probably from the Venetian mainland, the <em>terraferma<\/em>, (c.\u00a01545) (Fig.\u00a05)<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a> seems to be playing two notes with 3<sup>rd<\/sup> (or maybe 5th) and 1<sup>st<\/sup> finger of the left hand while she bends the 2<sup>nd<\/sup> inwards in a funny position: the video examples will show that this position is actually possible and even useful in some circumstances. The right hand has the three last fingers on the keyboard and the thumb off.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.4_.jpg\" alt=\"\" style=\"height: 500px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 4:<\/b> Sofonisba Anguissola, <em>Autoritratto alla spinetta<\/em> (c.\u00a01559), Althorp, Earl of Spencer Collection, CC0 1.0, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Sofonisba_Anguissola_btv1b8433945h.jpg#file\">Wikimedia Commons<\/a>, photo: Biblioth\u00e8que Nationale de France (accessed 12\u00a0February 2022).<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.5_.png\" alt=\"\" style=\"height: 500px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 5:<\/b> Anonymous, 16th century, <em>Portrait of a Lady Playing the Harpsichord<\/em>, location unknown, Courtesy of the Frick Art Reference Library, <a href=\"https:\/\/digitalcollections.frick.org\/digico\/#\/details\/bibRecordNumber\/b11308989\/Photoarchive\">Frick Digital Collections<\/a> (accessed 29\u00a0July 2023). I thank Max Bergmann of mdwPress for directing me to the source of this picture.<\/span><\/p>\n<p>A reference to Diruta\u2019s described (but not recommended) harpsichord technique comes from the older portrait by Sofonisba Anguissola (1554\/55) (Fig.\u00a06) and the one by Lavinia Fontana (1577) (Fig.\u00a07): the right hand fingers of Anguissola are not relaxed, but raised and bent as if they were about to \u2018hit\u2019 the keys, just as in Diruta\u2019s description of the way the <em>sonatori da balli<\/em> play on quilled instruments. A similar position can be seen in the left hand in Lavinia Fontana. This portrait mirrors the preceding picture: left hand active, right hand relaxed. In both situations the right hand thumb is not on the keyboard.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.6_.jpg\" alt=\"\" style=\"height: 500px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 6:<\/b> Sofonisba Anguissola, <em>Autoritratto alla spinetta<\/em> (1554\/55), Naples, Museo di Capodimonte, Inv.\u00a0n. Q358, CC BY-SA 4.0, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Autoritratto_alla_spinetta,_Sofonisba_Anguissola_001.JPG#file\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023).<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.7_.jpg\" alt=\"\" style=\"height: 500px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 7:<\/b> Lavinia Fontana, <em>Autoritratto alla spinetta<\/em> (1577), Rome, Accademia di S.\u00a0Luca, Inv.\u00a0n. 743, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Self-portrait_at_the_Clavichord_with_a_Servant_by_Lavinia_Fontana.jpg#file\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023).<\/span><\/p>\n<p>Traballesi\u2019s portrait (Fig.\u00a02) shows a finger position that is very similar to the one in Anguissola\u2019s later portrait, even if the hand position is quite different. This portrait belongs to the same period as Fontana and Anguissola, though it might have been painted a bit later: proof that many different hand positions coexisted at the same time. Images of players with low wrists are still to be found at the beginning of the 17th century and even later, as can be seen in the St.\u00a0Cecilia by Antiveduto Grammatica (Fig.\u00a08). A big change in hand position will only take place in the 18th century with the gradual introduction of the passage of the thumb under the other fingers and the great flowering of keyboard technique manuals that prescribe a position similar to the one approved of by C.Ph.E. Bach.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.8_.jpg\" alt=\"\" style=\"height: 500px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 8:<\/b> Antiveduto Grammatica (attr.), <em>S.\u00a0Cecilia<\/em> (post 1611), Madrid, Museo Nacional del Prado, Inv.\u00a0n. P000353, <a href=\"https:\/\/www.museodelprado.es\/en\/the-collection\/art-work\/saint-cecilia\/36c70d55-0c95-44c3-a0ad-33a1890ca493\" rel=\"noopener\" target=\"_blank\">Prado Photographic Archive<\/a> (\u00a9 Photographic Archive Museo Nacional del Prado) (accessed 17\u00a0July 2023).<\/span><\/p>\n<p>The painting by Grammatica introduces a new important pictorial subject emerging between the late 16th and the beginning of the 17th century: Saint Cecilia. This saint had been increasingly associated with music, but the \u2018discovery\u2019 of her body in Rome in 1599 led to an outburst of representations of Cecilias, usually playing an instrument that is, in most cases (but not always), an organ or sometimes a harpsichord. The saint\u2019s figure sums up many ideals, allegorical figures and actual practices: music as praise to the Lord, \u2018lady music\u2019 as incarnation of musical art, women making music at home, and so on.<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a> The representations of Cecilia at the keyboard, more or less faithful and precise, are a great repository for images of keyboard players.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.9_.png\" alt=\"\" style=\"height: 500px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 9:<\/b> Ludovico Carracci, <em>S.\u00a0Cecilia<\/em> (c.\u00a01607), Roma, Pinacoteca Capitolina, Inv.\u00a0n. PC\u00a0257, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Santa_Cecilia_-_Ludovico_Carracci.png#file\" rel=\"noopener\" target=\"_blank\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023)<\/span><\/p>\n<p>Some of the Cecilia\u2019s painted from the end of the 16th century onwards show a peculiar position of the hand: a high wrist (sometimes very high) and hand with straight fingers or a little depression between fingers and hand (Fig.\u00a09).<\/p>\n<p>A similar position of the wrist, quite far from any modern keyboard technique, is suggested and investigated in its practical and artistic consequences by Mark Lindley in his study of German Renaissance technique.<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a> The position does not change regardless of whether Cecilia is playing an organ or a quilled instrument, or if she is standing or seated at whatever height. Orazio Gentileschi shows this position in three of his Cecilias (Figs.\u00a010\u201312).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.10.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 10:<\/b> Orazio Gentileschi, <em>S.\u00a0Cecilia<\/em> (1615\u201320), Perugia, Galleria Nazionale dell\u2019Umbria, Inv.\u00a0n. 1083, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Orazio_Gentileschi_-_Saint_Cecilia_Playing_the_Spinnet.png#file\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023). The so called \u2018spinetta\u2019 might also be a regal.<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.11.jpg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 11:<\/b>  Orazio Gentileschi\/Giovanni Lanfranco, <em>S.\u00a0Cecilia<\/em> (1617\u201327), Washington DC, National Gallery, Accession\u00a0n. 1961.9.73, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Orazio_Gentileschi_%26_Giovanni_Lanfranco_-_Santa_Cecilia_con_un_angelo_(National_Gallery_of_Art).jpg#file\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023).<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.12.jpg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 12:<\/b> Orazio Gentileschi, \u2018S.\u00a0Cecilia\u2019, detail from <em>Circoncisione di Ges\u00f9<\/em> (c.\u00a01607), Ancona, Pinacoteca Civica F. Podesti, Identification\u00a0n. 1100034669, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Circoncisione_di_Ges%C3%B9_-_O._Gentileschi.png#file\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023).<\/span><\/p>\n<p>The model for the angel playing the organ in the fresco seems to have been Artemisia, Gentileschi\u2019s daughter.<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a> Besides being a famous painter, she was also a musician, as we know from her self-portrait with a lute;<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a> it is possible, therefore, to suppose that the hand position in these paintings is not something totally invented, but instead an actual manner of playing. A further verification of the likelihood of this position comes from the S.\u00a0Cecilia by the Neapolitan painter Carlo Sellitto (Fig.\u00a013).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.13.jpg\" alt=\"\" style=\"height: 600px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 13:<\/b> Carlo Sellitto, <em>S.\u00a0Cecilia<\/em> (1613), Naples, Museo di Capodimonte, Inv.\u00a0n. Q\u00a0313, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Santa_Cecilia_all%27organo_-_Sellitto.jpg#file\">Wikimedia Commons<\/a> (accessed 17\u00a0July 2023).<\/span><\/p>\n<p>This painting was commissioned by the musicians of the Royal Chapel in Naples, that counted the famous organist Giovanni Maria Trabaci among its members at the time. It seems unlikely that the patron saint of music, painted for a musical chapel by a follower of Caravaggio, would adopt an unreal hand position.<a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/p>\n<p>A partial confirmation of this position of the hand, as well as an allusion to a new concept of gracefulness and <em>bella mano<\/em>, comes some years later from Lorenzo Penna: in the treatise cited above he speaks of <em>dita<\/em> <em>distese<\/em>, straight fingers (the opposite of Diruta\u2019s <em>mano incoppata<\/em>, rounded hand), and warns against keeping the hand low.<a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a><\/p>\n<p>To conclude this discussion of gentlemen, ladies and saints, we go back in time to a Cecilia painted by Anguissola\u2019s teacher, Bernardino Campi (Fig.\u00a014). This painting is one of the few that actually shows the movement of the hand: here we can finally see clearly the most common type of finger-crossing in use before the 19th century: 3<sup>rd<\/sup> finger over 4th, the right hand turned slightly upward and the left hand visibly turned in the direction of the music, as according to Santa Mar\u00eda\u2019s instructions.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.14.jpg\" alt=\"\" style=\"height: 600px; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><b>Fig. 14:<\/b> Bernardino Campi, <em>S.\u00a0Cecilia e S.\u00a0Caterina d\u2019Alessandria<\/em> (1566), Cremona, Chiesa di S.\u00a0Sigismondo, Public Domain, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Bernardino_campi.JPG#file\">Wikimedia Commons<\/a> (accessed 24\u00a0July 2023).<\/span><\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>As mentioned at the beginning of this article, the most important observations that we can derive from an analysis of the paintings concern the position of the hand and fingers. This element is treated only briefly in theoretical writings, and only in a few cases are the consequences of each position explained. Trying out \u2018in the field\u2019 the different positions observed in the paintings and combining them with different fingering solutions proposed by the theorists can help us to understand the consequences which each position has on performance and artistic results.<\/p>\n<p>In this practical part of the research I have been assisted by Augusta Campagne, who kindly volunteered to add her experiments to mine: different hands can bring different solutions and this cooperation has led to an enrichment of our knowledge. We confronted fingering, repertoire, impressions and feelings resulting from these experiments, which can be seen in the attached videos.<\/p>\n<p>The common feature in the majority of the portraits is that the right thumb is kept off of the keyboard, while the left one is often on. In the paintings taken in consideration for this study the exceptions to this position are rare, and in those cases the musician is merely resting his hand on the keyboard, not playing. The position matches the indications of the treatises, which usually suggest fingers from 2<sup>nd<\/sup> to 5th for the right hand and 4th\/3<sup>rd<\/sup> to 1<sup>st<\/sup> for the left one, at least in <em>passaggi.<\/em> According to the writers the reason for this choice lies in the weakness of the left hand and especially of the 4th finger, but the reasoning behind the use of the thumb in this hand may also be found in Renaissance repertoire, where the left hand often holds chords with octaves while the right hand plays <em>passaggi<\/em> and diminutions. Moreover, one must remember that the keys in Renaissance instruments could be quite short and keeping the thumb on them could be more of a hindrance than a help, especially for scales and <em>passaggi<\/em>.<\/p>\n<p>The position in Anguissola\u2019s later portrait, the \u2018Diruta\u2019, is the nearest to the one Augusta Campagne and I grew up with, but we discovered great advantages and interesting results and consequences using the other two. A low wrist (as in Tiziano and Traballesi), gives incredible strength to the fingers and perfect contact with the keys. In addition, the contact between finger and key involves the pad of the finger more, and this allows for a better control of the pressure, exactly as described by Santa Mar\u00eda. This approach gives interesting results on the harpsichord and is a really good technique for the clavichord (see Video\u00a01). Trills, for example, can be played more slowly but with more intensity and direction. The general touch is, however, \u2018harder\u2019, which brings to mind Diruta\u2019s remark about the <em>sonatori da balli<\/em>.<a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a> Anguissola\u2019s older portrait shows a relatively low right hand and fingers ready to hit the keys. This technique enhances the rhythm of the dance (see Video\u00a05a).<\/p>\n<p><video controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(1).mp4\" style=\"width: 55%; align-items: center;\"><\/video><\/p>\n<p><strong>Video\u00a01:<\/strong> Anonymous, Magnificat (part), ed. in: <em>Keyboard music at Castell\u2019Arquato<\/em>, ed. H. Colin Slim, 3\u00a0vols., CMM 37 (Neuhausen\/Stuttgart, 1975\u20131991), ii, 20.<br \/> Maria Luisa Baldassari, \u2018Santa Mar\u00eda\u2019 position, fingerings inspired by Spanish sources (CC BY-NC 4.0).<\/p>\n<p>A very high wrist, on the contrary (Video\u00a02), gives less strength but greater freedom and relaxation to the fingers: the tip of the finger is more involved than the pad, and the contact with the keyboard is a bit less secure in comparison to the preceding technique because of the lack of weight. But this position facilitates the use of Diruta\u2019s fingering, with the 2<sup>nd<\/sup> and 4th fingers as the good ones, since it makes it easier to pass the 4th finger over the 3<sup>rd<\/sup>; it also better suits the attention given to the 3<sup>rd<\/sup> finger, the longer one.<a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a> Quick trills, especially with the 3<sup>rd<\/sup> and 4th fingers, and <em>passaggi<\/em> become easier and smoother. The right hand thumb always stays off the keyboard, but this technique may have made its movements easier and thus prepared its shifting under the other fingers in a later period, as is the case with the fingerings written by Alessandro Scarlatti for his toccatas. The high wrist position can also explain why many treatises suggest using the 5th and 2<sup>nd<\/sup> fingers for the fifths, and 2<sup>nd<\/sup> with 3<sup>rd<\/sup> or 3<sup>rd<\/sup> with 4th for the thirds: it is easier to use long fingers for these chords instead of moving the thumb inside the keyboard, and straight fingers can stretch better than bent ones. Depending on the repertoire, the wrist of the left hand can be lower than the right one: in pieces like <em>Chi la dirra<\/em> (<em>Qui la dira<\/em>) by Antonio Valente (Video\u00a03) the left hand very often plays chords that include octaves, which are more difficult to play with a high wrist.<\/p>\n<p><video src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(2).mp4\" style=\"width: 100%;\" controls><\/video><\/p>\n<p><strong>Video\u00a02:<\/strong> Ascanio Mayone (c.\u00a01560\u201327), \u2018Ancidetemi pur\u2019, in: <em>Primo Libro di diversi capricci per sonare<\/em> (Naples: Costantino Vitale, 1603), ed. in: Ascanio Mayone, <em>Diversi Capricci per sonare I (Naples 1603)<\/em>, ed. Christopher Stembridge (Padua, 1981), 24\u20135.<br \/> Maria Luisa Baldassari, \u2018Cecilia\u2019 position, Diruta fingerings (CC BY-NC 4.0).<\/p>\n<p><video src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(3).mp4\" style=\"width: 100%;\" controls><\/video><\/p>\n<p><strong>Video\u00a03:<\/strong> Antonio Valente, \u2018Chi la dirra\u2019, in<em>: Intavolatura de cimbalo<\/em> [\u2026] (Naples: Giuseppe Cacchio dall\u2019Aquila, [1575\/76]), ed. in: Valente, <em>Intavolatura de Cimbalo (Napoli 1576)<\/em>, ed. Maria Luisa Baldassari (Bologna, 2021), 44\u20137.<br \/> Augusta Campagne, \u2018Cecilia\u2019 position, slightly lower wrist in left hand. Banchieri fingerings (video by Martin Rainer, CC BY-NC 4.0).<\/p>\n<p>The \u2018middle\u2019 position is actually midway between the other two in all aspects: strength, weight, freedom of the fingers, control of the keys. According to our experiments, this position works very well with a finger system where the 3<sup>rd<\/sup> finger is the good one. However, this position is also recommended by Diruta, who prefers even fingers (Video\u00a04). A system using odd fingers (3<sup>rd<\/sup> as the main finger) was used mainly by northern European players, but is also briefly described by Adriano Banchieri<a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a> and was probably a real alternative to Diruta\u2019s fingering in Italy too.<\/p>\n<p><video src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(4).mp4\" style=\"width: 100%;\" controls><\/video><\/p>\n<p><strong>Video\u00a04:<\/strong> Ercole Pasquini (c.\u00a01560\u2013c.\u00a01620), \u2018Ancor che col partire\u2019, ed. in: Ercole Pasquini, <em>Raccolta completa delle composizioni note per strumento a tastiera<\/em>, ed. Marco Ghirotti (Padua, 2012).<br \/> Maria Luisa Baldassari, \u2018Diruta\u2019 position and fingerings (CC BY-NC 4.0).<\/p>\n<p>The players show different hand positions regardless of whether they are in front of an organ, spinet or harpsichord; players at the clavichord more frequently show a low wrist, but this is not a rule. As suggested before, repertoire could have influenced the choice of hand position: unfortunately, the pictures don\u2019t show any readable music. While sitting high or standing helps in adopting the \u2018Cecilia\u2019 position, the portraits also present this position in players sitting relatively low, or show the \u2018Diruta\u2019 and \u2018Santa Mar\u00eda\u2019 positions in people standing (Fig.\u00a015\u201317).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.15.jpg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 15:<\/b> \u2018Santa Mar\u00eda\u2019 position [\u00a9 photography: Ivan\u00a0Kitanovi\u0107].<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.16.jpeg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 16:<\/b> \u2018Diruta\u2019 position (with straight wrists) [\u00a9 photography: Ivan\u00a0Kitanovi\u0107].<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.17.jpg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 17:<\/b> \u2018Cecilia\u2019 position [\u00a9 photography: Ivan\u00a0Kitanovi\u0107].<\/span><\/p>\n<p>Starting from the idea that many different positions and techniques could coexist at the same time, Augusta Campagne and I decided to present a video of the same piece played in the three different positions in order to make more evident the differences between the different approaches (Video\u00a05a, b, c).<\/p>\n<p><strong>Video\u00a05a, b, c:<\/strong> Marco Facoli (c.\u00a01540\u2013c.\u00a01585), \u2018Aria della Signora Cinthia\u2019, in: <em>Il secondo libro d\u2019intavolatura, di balli d\u2019arpichordo<\/em> [\u2026] (Venice: Angelo Gardano, 1588), transcription from the original by Augusta Campagne.<br \/>Augusta Campagne (videos by Ivan Kitanovi\u0107, all licensed under CC BY-NC 4.0).<\/p>\n<p> a) \u2018Santa Mar\u00eda\u2019 position (low hands)<br \/>\n<video src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(5a).mp4\" style=\"width: 100%;\" controls><\/video><\/p>\n<p> b) \u2018Cecilia\u2019 position (higher hands)<br \/>\n<video src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(5b).mp4\" style=\"width: 100%;\" controls><\/video><\/p>\n<p> c) \u2018Diruta\u2019 position (middle). \u2018Diruta\u2019 fingerings<br \/>\n<video src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(5c).mp4\" style=\"width: 100%;\" controls><\/video><\/p>\n<p>&nbsp;<\/p>\n<p>Portraits can suggest positions that are quite far from our technique: playing a typical 16th-century Italian dance, the <em>Aria della Comedia<\/em> by Marco Facoli, Augusta Campagne has observed that some left-hand chords, like <em>B\u00a0flat<\/em>&#8211;<em>f<\/em>&#8211;<em>b\u00a0flat<\/em> (octave with a fifth in the middle) are absolutely not playable on the spinettino due to the shortness of the keys and the position of the balance point. Augusta, however, found an unexpected solution: if one bends the central finger touching the <em>f<\/em> with the third knuckle instead of the fingertip, playing this chord becomes possible (Fig.\u00a018, Video\u00a06).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Baldassari_fig.18.jpg\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Fig. 18:<\/b> Bent second finger [\u00a9 photography: Ivan\u00a0Kitanovi\u0107].<\/span><\/p>\n<p><video src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/video\/data\/Baldassari-Video%20(6).mp4\" style=\"width: 100%;\" controls><\/video><\/p>\n<p><strong>Video\u00a06:<\/strong> Marco Facoli (c.\u00a01540\u2013c.\u00a01585), \u2018Aria della Comedia\u2019, in: <em>Il secondo libro d\u2019intavolatura, di balli d\u2019arpichordo<\/em> [\u2026] (Venice: Angelo Gardano, 1588), transcription from the original by Augusta Campagne.<br \/> Augusta Campagne, \u2018Diruta\u2019 harpsichord position and fingerings (video by Ivan Kitanovi\u0107, CC BY-NC 4.0).<\/p>\n<p>This \u2018revolutionary\u2019 and totally uncommon position finds confirmation in a picture that had previously puzzled me: the left hand of the unknown woman in the portrait from Venetian <em>terraferma<\/em> (Fig.\u00a05) shows the 2<sup>nd<\/sup> finger bent exactly in the position required to play the central <em>f<\/em> according to Augusta\u2019s experiment.<\/p>\n<p>Musical portraits can offer the modern performer multiple suggestions, not only in terms of instrumental technique but also regarding the role of music and music performers in society during different periods. Trying to understand and embody the positions depicted in the paintings can help us to deepen our knowledge of the music and its underlying aesthetics.<\/p>\n<div id=\"1\">\n<h4>Appendix<\/h4>\n<\/div>\n<p>Summary of the treatises:<a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a><\/p>\n<div id=\"2\">\n<h4>Tomas Luis de Santa Mar\u00eda, <em>Arte de ta\u00f1er fantas\u00eda<\/em><\/h4>\n<\/div>\n<p>Rich in suggestions on style and technique, the <em>Arte<\/em> devotes many pages to different possibilities for fingering and to the description of the hand position.<\/p>\n<p>Santa Mar\u00eda suggests a hand position with low wrist, middle fingers bent at the tip, thumb and little finger slightly bent inside. Keys must be hit by the fingertip with enough force to obtain a clear pronunciation, fingers should stay near to the keys. When moving up or down, the hand can turn in the direction of the movement.<br \/> \u2018Good\u2019 finger: 3<sup>rd<\/sup>.<\/p>\n<table>\n<colgroup>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/> <\/colgroup>\n<tr>\n<th style=\"text-transform: none; text-align: left;\"><strong>Direction<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales r.h., fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales l.h., fingering<\/strong><\/th>\n<\/tr>\n<tbody>\n<tr class=\"odd\">\n<td>up<\/td>\n<td>3434<\/td>\n<td>3232<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>down<\/td>\n<td>3232<\/td>\n<td>3434<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Quick notes can be played with consecutive fingers, and in this case the correspondence between good fingers and notes is not observed.<\/p>\n<div id=\"3\">\n<h4>Girolamo Diruta, <em>Il Transilvano<\/em><\/h4>\n<\/div>\n<p>Providing one of the most detailed descriptions of fingering and hand position, this treatise gives information on both technique and style of playing. The hand must be kept in the same direction as the arm and be guided by arm and wrist; hand and wrist must be at the same height, fingers slightly bent (\u2018incoppate\u2019) and at the same level of the keys.<\/p>\n<p>Diruta suggests that the player avoids keeping the wrist too low and the fingers hooked. He also defines the difference between <em>musici<\/em> that play organ and <em>sonatori da balli<\/em> playing the harpsichord: the former touch the keys with a light and relaxed hand, while the latter must hit them to mark dance rhythms and make the instrument play properly.<br \/> \u2018Good\u2019 fingers: 2<sup>nd<\/sup> and 4th.<\/p>\n<table>\n<colgroup>\n<col style=\"width: 14%\" \/>\n<col style=\"width: 28%\" \/>\n<col style=\"width: 26%\" \/>\n<col style=\"width: 30%\" \/>\n    <\/colgroup>\n<tr>\n<th style=\"text-transform: none; text-align: left;\"><strong>Direction<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales r.h., fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales l.h., fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales l.h., not recommended<\/strong><\/th>\n<\/tr>\n<tbody>\n<tr class=\"odd\">\n<td>Up<\/td>\n<td>23434<\/td>\n<td>43232<\/td>\n<td>2121<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>Down<\/td>\n<td>43232<\/td>\n<td>23234<\/td>\n<td>3434<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"4\">\n<h4>Adriano Banchieri, <em>Conclusioni nel suono dell\u2019organo<\/em><\/h4>\n<\/div>\n<p>This manual gives a few hints regarding the fingers both for scales and chords.<br \/> \u2018Good\u2019 finger: 3<sup>rd<\/sup>.<\/p>\n<table>\n<colgroup>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/> <\/colgroup>\n<tr>\n<th style=\"text-transform: none; text-align: left;\"><strong>Direction<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales r.h., fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales l.h., fingering<\/strong><\/th>\n<\/tr>\n<tbody>\n<tr class=\"odd\">\n<td>up<\/td>\n<td>3434<\/td>\n<td>3232<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>down<\/td>\n<td>3232<\/td>\n<td>3434<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table>\n<colgroup>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/> <\/colgroup>\n<tr>\n<th style=\"text-transform: none; text-align: left;\"><strong>Chords and intervals<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>r.h. fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>l.h. fingering<\/strong><\/th>\n<\/tr>\n<tbody>\n<tr class=\"even\">\n<td>Second<\/td>\n<td>2-4<\/td>\n<td>4-2<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td>Third<\/td>\n<td>2-4<\/td>\n<td>4-2<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>Fourth<\/td>\n<td>2-4<\/td>\n<td>4-2<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td>Fifth<\/td>\n<td>2-5; with a third 2-4-5<\/td>\n<td>5-2, with a third 5-4-2<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>Sixt<\/td>\n<td>2-5; with a third 2-3-5<\/td>\n<td>5-2, with a third 5-4-2<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td>Seventh<\/td>\n<td>Not in use<\/td>\n<td>5-1 (see trills)<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>Octave<\/td>\n<td>1-5; with a fifth 1-3-5<\/td>\n<td>5-1; with a fifth 1-2-5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"5\">\n<h4>Galeazzo Sabbatini, <em>Regola facile e breve<\/em><\/h4>\n<\/div>\n<p>This source only gives information on two-note intervals\/chords.<\/p>\n<table>\n<colgroup>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/> <\/colgroup>\n<tr>\n<th style=\"text-transform: none; text-align: left;\"><strong>Chords and intervals<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>r.h. fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>l.h. fingering<\/strong><\/th>\n<\/tr>\n<tbody>\n<tr class=\"odd\">\n<td>Third<\/td>\n<td>2-4<\/td>\n<td>4-2<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>Fifth<\/td>\n<td>2-5<\/td>\n<td>4-1<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td>Octave<\/td>\n<td>1-5<\/td>\n<td>5-1<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"6\">\n<h4>Giovanni Gentile d\u2019Olevano, <em>Porta musicale<\/em><\/h4>\n<\/div>\n<p>The main principle of this manuscript seems to be that most notes are to be played with central fingers: it is not clear whether there is a preferred finger, since scales begin with the 3<sup>rd<\/sup> finger for the right hand and with the 4th for the left hand.<\/p>\n<p>Gentile devotes a lot of space to the fingers for the chords and intervals in the left hand; his suggestions are similar to those of Banchieri but he gives more possibilities for each chord.<\/p>\n<table>\n<colgroup>\n<col style=\"width: 34%\" \/>\n<col style=\"width: 37%\" \/>\n<col style=\"width: 28%\" \/> <\/colgroup>\n<tr>\n<th style=\"text-transform: none; text-align: left;\"><strong>Chords and intervals<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>r.h. fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>l.h. fingering<\/strong><\/th>\n<\/tr>\n<tbody>\n<tr class=\"odd\">\n<td>Third<\/td>\n<td>2-4<\/td>\n<td>2-1; 3-2; 4-3; 5-3<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>Fifth<\/td>\n<td>2-5<\/td>\n<td>5-2; 4-1<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td>Sixt<\/td>\n<td>2-5<\/td>\n<td>4-1; 5-2; 5-1<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>Octave<\/td>\n<td>1-5<\/td>\n<td>1-5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"7\">\n<h4>Lorenzo Penna, <em>Li primi albori<\/em><\/h4>\n<\/div>\n<p>The fingers must be extended and not too high, the hand must not be lower than the fingers.<br \/> \u2018Good\u2019 finger: 3<sup>rd<\/sup>.<\/p>\n<table>\n<colgroup>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/> <\/colgroup>\n<tr>\n<th style=\"text-transform: none; text-align: left;\"><strong>Direction<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales r.h., fingering<\/strong><\/th>\n<th style=\"text-transform: none; text-align: left;\"><strong>Scales l.h., fingering<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"odd\">\n<td>up<\/td>\n<td>3434<\/td>\n<td>3232<\/td>\n<\/tr>\n<tr class=\"even\">\n<td>down<\/td>\n<td>3232<\/td>\n<td>3434<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h4>Endnotes<\/h4>\n<aside id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>The contributions of Mark Lindley to this subject are many: among others, the entry \u02bbFingering\u2019 for keyboard music up to 1750 in Mark Lindley et al., \u2018Fingering\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049<\/a>&gt; (accessed 24\u00a0February 2022); \u2018Early Fingering: Some Editing Problems and Some New Readings for J.S.\u00a0Bach and John Bull\u2019, in: <em>EM<\/em> 17 (1989), 60\u20139; <em>Ars Ludendi: early German keyboard fingerings c.\u00a01525 \u2013 c.\u00a01625<\/em> (Neuhof, 1993).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Isolde Ahlgrimm, <em>Manuale der Orgel- und Cembalotechnik: Finger\u00fcbungen und Et\u00fcden, 1571\u20131760<\/em> (Vienna\/Munich, 1982).<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Maria Boxall, \u2018Incy wincy spider\u2019, in: <em>The English Harpsichord Magazine<\/em> 1, no.\u00a04 (April 1975), &lt;<a href=\"https:\/\/www.harpsichord.org.uk\/ehm-archive\/\">https:\/\/www.harpsichord.org.uk\/ehm-archive\/<\/a>&gt; (accessed 4\u00a0December 2021). Lindley and Boxall have published a selection of keyboard compositions with original fingering: <em>Early keyboard fingerings: A comprehensive guide<\/em> (London, s.d.).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Ludger Lohmann, <em>Die Artikulation auf Tasteninstrumenten des 16.\u201318.\u00a0Jahrhunderts<\/em> (Regensburg, 1990).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Bernard Brauchli, \u2018Hand and finger positions, as seen in early treatises and iconographical documents\u2019, in: Bernard Brauchli, <em>The Clavichord<\/em> (Cambridge, 1998), 253\u201367. In the same volume: \u2018Appendix 1. A comprehensive list of iconographical documents on the clavichord \u2013 Sixteenth century\u2019, 283\u201387.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>The contributions of Carlone are particularly relevant because of her studies of portraits of musicians and their position in playing: see, for example, the articles \u2018Portraits of Lutenists\u2019, in: <em>Music in Art<\/em> 29 (2004), 64\u201376; \u2018Copies, Replicas, and Variations in Paintings with a Musical Subject\u2019, in: <em>Music in Art<\/em> 26 (2001), 58\u201374; \u2018Tastar de corde\u2019, in: <em>La musica al tempo di Caravaggio. Atti del Convegno Internazionale di Studi, Milano, Biblioteca Ambrosiana, 29\u00a0settembre 2010<\/em>, ed. Stefania Macioce and Enrico De Pascale (Rome, 2012), 105\u201313. A more general survey of research guidelines for musical iconography can be found, for example, in Antonio Baldassarre, \u2018Music Iconography: What is it all about? Some remarks and considerations with a selected bibliography\u2019, in: <em>Ictus: Peri\u00f3dico do Programa de P\u00f3s-Gradua\u00e7\u00e3o em M\u00fasica da UFBA<\/em> 9, no.\u00a02 (2008), 69\u2013114.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Similar research focusing on the early piano was conducted by Anne-No\u00eblle Bailly, starting from studies by Florence G\u00e9treau. The results were presented in a paper entitled <em>Piano Postures at the Beginning of the 19th Century in France: Consistency between Instruction and Depiction<\/em>, at the conference \u2018The Musical Body: Gesture, Representation and Ergonomics in Musical Performance\u2019, London, Royal College 22\u201324\u00a0April 2009.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>See Anguissola\u2019s later portrait (Fig.\u00a04) and Traballesi\u2019s painting (Fig.\u00a02).<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Baldassare Castiglione, <em>Il libro del cortegiano<\/em> (Venice: Romano e Asola, 1528). Castiglione describes the qualities and knowledge as required of an accomplished courtier: music, both on the theoretical and practical side, is among the most important. For more information on Castiglione and music see Stefano Lorenzetti, \u2018La parte della musica nella costruzione del gentiluomo\u2019, in: <em>Studi musicali<\/em> 25 (1996), 17\u201340; Stefano Lorenzetti, <em>Musica e identit\u00e0 nobiliare nell\u2019Italia del Rinascimento: educazione, mentalit\u00e0, immaginario<\/em> (Florence, 2003).<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>I consulted two main repositories in tracking down the pictures: the photo collection at the Fondazione Federico Zeri, &lt;<u><a href=\"https:\/\/fondazionezeri.unibo.it\/it\/fototeca\/archivio-fotografico\/il-database-online\">https:\/\/fondazionezeri.unibo.it\/it\/fototeca\/archivio-fotografico\/il-database-online<\/a>&gt;<\/u> (accessed 21\u00a0January 2022) and the RIdIM, &lt;<a href=\"https:\/\/ridim.org\/\"><u>https:\/\/ridim.org\/<\/u><\/a>&gt; (accessed 24\u00a0December 2021). But simple research on the internet has brought to light other images, such as paintings appearing at auctions or on the art market, without a permanent location in a collection.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>In the 17th century southern Italy, as well as parts of the North, were under the political influence and\/or control of different reigns: the Roman Empire held by the Habsburgs, France and, for the longest period, the Spanish kingdom. Spanish musicians travelled to Naples and southern Italy and their works were sometimes published there, as in the case of Diego Ortiz\u2019s <em>Tratado de glosas<\/em> (Rome: Valerio &amp; Luigi Dorico, 1553), printed in both Spanish and Italian. It is assumed that Ascanio Mayone, whose <em>Ancidetemi pur<\/em> is presented in the videos, was likely of Spanish ancestry (Dinko Fabris, \u2018Ascanio Majone\u2019, in: <em>Dizionario biografico degli italiani<\/em>, vol.\u00a067 [Roma, 2006]; online: &lt;<a href=\"https:\/\/www.treccani.it\/enciclopedia\/ascanio-majone_%28Dizionario-Biografico%29\/\">https:\/\/www.treccani.it\/enciclopedia\/ascanio-majone_%28Dizionario-Biografico%29\/<\/a>&gt; [accessed 21\u00a0January 2022]). There are many studies on fingering in Spanish sources: a general survey is in Robert Parkins, \u2018Keyboard Fingering in Early Spanish Sources\u2019, in: <em>EM<\/em> 11 (1983), 323\u201331.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Tom\u00e1s de Santa Mar\u00eda, <em>Libro llamado arte de ta\u0148er fantas\u00eda<\/em> (Valladolid: Francisco Fern\u00e1ndez de Cordova, 1565), 37\u201345, online: &lt;<a href=\"http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000158382\">http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000158382<\/a>&gt;; Girolamo Diruta, <em>Il Transilvano<\/em> <em>Dialogo sopra il vero modo di sonar organi, &amp; istromenti da penna<\/em> \/ <em>Seconda parte del Transilvano<\/em> (Venice: Giacomo Vincenti 1593 and 1609), 10\u20134, online (book of 1593): &lt;<a href=\"https:\/\/www.loc.gov\/resource\/muspre1800.100422\/?st=gallery\">https:\/\/www.loc.gov\/resource\/muspre1800.100422\/?st=gallery<\/a>&gt; (book of 1609:) &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/a>&gt; (accessed 5\u00a0September 2022); Adriano Banchieri, <em>Conclusioni nel suono dell\u2019organo<\/em> (Bologna: Heredi di Giovanni Rossi, 1609), see the appendix <em>Copia d\u2019una lettera di D. Adriano Banchieri, che risponde a un Giovane Virtuoso Organista<\/em> [\u2026], 61\u20133, online: &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/115414\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/115414<\/a>&gt; (accessed 5\u00a0September 2022); <em>L\u2019organo suonarino<\/em> (Venice: Giacomo Vincenti, 1611), 42, online: &lt;<a href=\"https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/6\/67\/IMSLP408196-PMLP248070-banchieri_organo_suonarino_1611.pdf\">https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/6\/67\/IMSLP408196-PMLP248070-banchieri_organo_suonarino_1611.pdf<\/a>&gt; (accessed 21\u00a0July 2023); Galeazzo Sabbatini, <em>Regola facile e breve per sonare sopra il basso continuo<\/em> (Venice: Salvadori, 1628),10\u20131, online: &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/759421\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/759421<\/a>&gt; (accessed 5\u00a0September 2022); Giovanni Gentile d\u2019Olevano, <em>Porta musicale<\/em> (I-Rc, ms.\u00a02491), fol.\u00a0106<sup>v<\/sup>\u2013112<sup>r<\/sup>; Gentile was working in Rome around 1640. Lorenzo Penna, <em>Li primi albori musicali per li principianti della musica figurata<\/em> (Bologna: Giacomo Monti, 1672), 152 and 197, online (edition of 1679): &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb10527657\">https:\/\/mdz-nbn-resolving.de\/details:bsb10527657<\/a>&gt;. These last three books deal mainly with playing consonances.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>The main features and fingerings of each book are summarized in the Appendix.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Tom\u00e1s de Santa Mar\u00eda, <em>Libro llamado arte de ta\u00f1er fantas\u00eda. Primera parte<\/em>, fol.\u00a037<sup>r<\/sup>\u201338<sup>r<\/sup>.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Diruta, <em>Il Transilvano<\/em> (1593) (see n. 12).<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Later examples of \u2018Cecilia position\u2019 can be seen in Francesco Guarino\u2019s <em>Santa Cecilia al cembalo<\/em> (c.\u00a01640\u201345), Geneva, Valerio Collection, and in Lorenzo Pasinelli\u2019s <em>Santa Cecilia<\/em> (c.\u00a01650\u201399), Bologna, Pinacoteca Nazionale.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Penna, <em>Li primi albori<\/em> (see n.\u00a012), 197.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Carl Philipp Emanuel Bach, <em>Versuch \u00fcber die wahre Art das Klavier zu spielen<\/em>, part\u00a01 (Berlin: Christian Friedrich Henning, 1753), 15\u201350, see in particular 17.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>The representation of the human body and the significance of body position and gestures are described in the famous <em>Trattato dell\u2019arte della pittura<\/em> by Giovan Paolo Lomazzo (Milan: P.G.\u00a0Pontio, 1584). See also an interesting study written by Francesca Gualandri, <em>Affetti, passioni, vizi e virt\u00f9. La retorica del gesto nel teatro del \u2018600<\/em> (Milan, 2001).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Diruta, <em>Il Transilvano<\/em> (1593) (see n.\u00a012), 11.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Penna, <em>Li primi albori<\/em> (see n.\u00a012), 197.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p><em>Parthenia, or the Maydenhead of the first music that ever was printed for the Virginalls<\/em> (London: William Hole, [1613]) (RISM 1646<sup>13<\/sup>), online: &lt;<a href=\"https:\/\/imslp.org\/wiki\/Parthenia_(Various\"><u>https:\/\/imslp.org\/wiki\/Parthenia_(Various<\/u><\/a>)&gt; (accessed 25\u00a0February 2022). See the modern edition of <em>Parthenia<\/em> by John Baxendale and Francis Knights in the Lyrebird edition (Tynset, 2021) for a detailed description of the frontispiece.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>On the significance of musical groups that represent men of different ages, see Patricia Egan, \u2018\u201cConcert\u201d Scenes in Musical Paintings of the Italian Renaissance\u2019, in: <em>JAMS<\/em> 14 (1961) 183\u201395, and Jane Hatter, \u2018<em>Col tempo<\/em>: musical time, aging and sexuality in 16th-century Venetian paintings\u2019, in: <em>EM<\/em> 39 (2011), 3\u201314.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>A similar situation is also represented in <em>Venere e il musicista<\/em> (Venus and the musician), a subject that Tiziano painted several times with minor differences: three times including a keyboard player and twice a lute player. What distracts the player in these paintings is, understandably, the sight of Venus.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>See Boxall, \u2018Incy wincy spider\u2019 (see n.\u00a03), 3.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p><em>Frottole intabulate da sonare organi, libro primo<\/em> (Rome: Andrea Antico, 1517). Antico was a musician, but his main job was to prepare the woodcuts for the print. He is responsible for both the music and the printing in the <em>Frottole intabulate<\/em>.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>The three self-portraits mentioned above are not the only ones we have by these painters: Anguissola painted three, two playing and one painting, and Fontana painted two, one whilst playing and another with a pen in her hand. Marietta Robusti, painter, musician and daughter of Tintoretto, represented herself in front of a spinet with music in her hand. On the self-portraits of Anguissola and Fontana see Linda Phyllis Austern, \u2018Portrait of the Artist as (Female) Musician\u2019, in: <em>Musical Voices of Early Modern Women<\/em>, ed. Thomasin LaMay (Ashgate, 2007), 15\u201359.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>On this portrait and its social and artistic <em>milieu<\/em> see Katherine A. McIver, \u2018Lavinia Fontana\u2019s Self-Portrait Making Music\u2019, in: <em>Woman\u2019s Art Journal<\/em> 19 (1998), 3\u20138. Babette Bohn, \u2018Female self-portraiture in early modern Bologna\u2019, in: <em>Renaissance Studies<\/em> 18 (2004), 239\u201386; Stefano Lorenzetti, \u2018Public behavior, music and the construction of feminine identity in the Italian Renaissance\u2019, in: <em>Recercare<\/em> 23 (2011), 7\u201334.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>My thanks to Isabella Chiappara, teacher of History of Fashion and Costume at the Accademia di Belle Arti in Rome for identifying period and provenance of this painting.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>The different meanings attributed to the figure of Cecilia and their transformation over the centuries are described by Nico Staiti in <em>Le metamorfosi di santa Cecilia. L\u2019immagine e la musica<\/em> (Lucca, 2002), and by John A. Rice, <em>Saint Cecilia in the Renaissance: The Emergence of a Musical Icon<\/em> (Chicago\/London 2022).<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Lindley, <em>Ars Ludendi<\/em> (see n.\u00a01).<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>See <em>La luce e i silenzi. Orazio Gentileschi e la pittura caravaggesca nelle Marche del Seicento<\/em>, [catalogue of an exhibition held at the Pinacoteca civica \u2018Bruno Molajoli\u2019, Fabriano, Italy, 2\u00a0August\u2013 8\u00a0December 2019], ed. Annamaria Ambrosini Massari and Alessandro Delpriori ([Ancona], 2019).<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p><em>Self-portrait as a lute player<\/em>, c.\u00a01615\u201317, now in Minneapolis, Curtis Galleries, &lt;<a href=\"https:\/\/it.wikipedia.org\/wiki\/Autoritratto_come_suonatrice_di_liuto#\/media\/File:Artemisia_Gentileschi_-_Self-Portrait_as_a_Lute_Player.JPG\"><u>https:\/\/it.wikipedia.org\/wiki\/Autoritratto_come_suonatrice_di_liuto#\/media\/File:Artemisia_Gentileschi_-_Self-Portrait_as_a_Lute_Player.JPG<\/u><\/a>&gt; (accessed 20\u00a0February 2022). See also <em>S.\u00a0Cecilia<\/em> (self-portrait), c.\u00a01620 (Rome, Galleria Spada), &lt;<a href=\"https:\/\/it.wikipedia.org\/wiki\/Santa_Cecilia_(Artemisia_Gentileschi)#\/media\/File:Saint_Cecilia_by_Artemisia_Gentileschi.jpg\">https:\/\/it.wikipedia.org\/wiki\/Santa_Cecilia_(Artemisia_Gentileschi)#\/media\/File:Saint_Cecilia_by_Artemisia_Gentileschi.jpg<\/a>&gt; (accessed 20\u00a0February 2022).<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p><em>Carlo Sellitto: primo caravaggesco napoletano<\/em> [catalogue of the exhibition, Naples, Museo e Gallerie nazionali di Capodimonte, 1977], ed. Ferdinando Bologna and Raffaello Causa (Naples, 1977), 73\u20136.<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Penna, <em>Li primi albori<\/em> (see n.\u00a012) 197: \u2018Tanto la Mano sinistra, quanto la destra non stijno \u00e0 basso, e le dita ad alto, ad alto, ma stijno, e le Mani, e le Dita, distese, che formino bella Mano\u2019 (Do not keep the left and right hands low and fingers high, but have hand and fingers outstretched, so they form a nice hand). The complete phrase appears only in the 1684 edition (Bologna: Giacomo Monti, 1684, same pagination): earlier issues stop after \u2018alto\u2019.<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>Diruta, <em>Il Transilvano<\/em> (1593) (see n.\u00a012), 11\u20132.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>Although Diruta indicates the 2<sup>nd<\/sup> and 4th fingers as \u2018good\u2019, he stresses the fact that the 3<sup>rd<\/sup> is the most fatigued one, being involved in all figures.<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Banchieri, <em>Conclusioni<\/em> (see n.\u00a012), 62.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>See n.\u00a012 for the treatises\u2019 bibliographical details.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<\/aside>\n<div id=\"8\">\n<h4>Bibliography<\/h4>\n<\/div>\n<p><\/p>\n<p class=\"bibliography\">Isolde Ahlgrimm, <em>Manuale der Orgel- und Cembalotechnik: Finger\u00fcbungen und Et\u00fcden, 1571\u20131760<\/em> (Vienna\/Munich, 1982)<\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate per sonare organi<\/em> (Rome: Andrea Antico, 1517)<\/p>\n<p class=\"bibliography\">Linda Phyllis Austern, \u2018Portrait of the Artist as (Female) Musician\u2019, in: <em>Musical Voices of Early Modern Women<\/em>, ed. Thomasin LaMay (Ashgate, 2007), 15\u201359<\/p>\n<p class=\"bibliography\">Carl Philipp Emanuel Bach, <em>Versuch \u00fcber die wahre Art das Klavier zu spielen<\/em>, part\u00a01 (Berlin: Christian Friedrich Henning, 1753)<\/p>\n<p class=\"bibliography\">Antonio Baldassarre, \u2018Music Iconography: What is it all about? Some remarks and considerations with a selected bibliography\u2019, in: <em>Ictus: Peri\u00f3dico do Programa de P\u00f3s-Gradua\u00e7\u00e3o em M\u00fasica da UFBA<\/em> 9, no.\u00a02 (2008), 69\u2013114<\/p>\n<p class=\"bibliography\">Adriano Banchieri, <em>Conclusioni nel suono dell\u2019organo<\/em> (Bologna: Heredi di Giovanni Rossi, 1609), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/115414\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/115414<\/a>&gt;<\/p>\n<p class=\"bibliography\">Adriano Banchieri, <em>L\u2019organo suonarino<\/em> (Venice: Giacomo Vincenti, 1611), &lt;<a href=\"https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/6\/67\/IMSLP408196-PMLP248070-banchieri_organo_suonarino_1611.pdf\">https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/6\/67\/IMSLP408196-PMLP248070-banchieri_organo_suonarino_1611.pdf<\/a>&gt;<\/p>\n<p class=\"bibliography\">Babette Bohn, \u2018Female self-portraiture in early modern Bologna\u2019, in: <em>Renaissance Studies<\/em> 18 (2004), 239\u201386<\/p>\n<p class=\"bibliography\">Maria Boxall, \u2018Incy wincy spider\u2019, in: <em>The English Harpsichord Magazine<\/em> 1, no.\u00a04 (April 1975), &lt;<a href=\"https:\/\/www.harpsichord.org.uk\/ehm-archive\/\">https:\/\/www.harpsichord.org.uk\/ehm-archive\/<\/a>&gt;<\/p>\n<p class=\"bibliography\">Maria Boxall and Mark Lindley, <em>Early keyboard fingerings: A comprehensive guide<\/em> (London, s.d.)<\/p>\n<p class=\"bibliography\">Bernard Brauchli, <em>The Clavichord<\/em> (Cambridge, 1998)<\/p>\n<p class=\"bibliography\"><em>Carlo Sellitto: primo caravaggesco napoletano<\/em> [catalogue of the exhibition, Naples, Museo e Gallerie nazionali di Capodimonte, 1977], ed. Ferdinando Bologna and Raffaello Causa (Naples, 1977)<\/p>\n<p class=\"bibliography\">Mariagrazia Carlone, \u2018Copies, Replicas, and Variations in Paintings with a Musical Subject\u2019, in: <em>Music in Art<\/em> 26 (2001), 58\u201374<\/p>\n<p class=\"bibliography\">Mariagrazia Carlone, \u2018Portraits of Lutenists\u2019, in: <em>Music in Art<\/em> 29 (2004), 64\u201376<\/p>\n<p class=\"bibliography\">Mariagrazia Carlone, \u2018Tastar de corde\u2019, in: <em>La musica al tempo di Caravaggio. Atti del Convegno Internazionale di Studi, Milano, Biblioteca Ambrosiana, 29\u00a0settembre 2010<\/em>, ed. Stefania Macioce and Enrico De Pascale (Rome, 2012), 105\u201313<\/p>\n<p class=\"bibliography\">Baldassare Castiglione, <em>Il libro del cortegiano<\/em> (Venice: Romano e Asola, 1528)<\/p>\n<p class=\"bibliography\">Girolamo Diruta, <em>Il Transilvano<\/em> <em>Dialogo sopra il vero modo di sonar organi, &amp; istromenti da penna<\/em> \/ <em>Seconda parte del Transilvano<\/em> (Venice: Giacomo Vincenti 1593 and 1609), 10\u20134, &lt;<a href=\"https:\/\/www.loc.gov\/resource\/muspre1800.100422\/?st=gallery\">https:\/\/www.loc.gov\/resource\/muspre1800.100422\/?st=gallery<\/a>&gt; (book of 1593), &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/a>&gt; (book of 1609)<\/p>\n<p class=\"bibliography\">Patricia Egan, \u2018\u201cConcert\u201d Scenes in Musical Paintings of the Italian Renaissance\u2019, in: <em>JAMS<\/em> 14 (1961) 183\u201395<\/p>\n<p class=\"bibliography\">Dinko Fabris, \u2018Ascanio Majone\u2019, in: <em>Dizionario biografico degli italiani<\/em>, vol.\u00a067 [Roma, 2006], online: &lt;<a href=\"https:\/\/www.treccani.it\/enciclopedia\/ascanio-majone_%28Dizionario-Biografico%29\/\">https:\/\/www.treccani.it\/enciclopedia\/ascanio-majone_%28Dizionario-Biografico%29\/<\/a>&gt;<\/p>\n<p class=\"bibliography\">Francesca Gualandri, <em>Affetti, passioni, vizi e virt\u00f9. La retorica del gesto nel teatro del \u2018600<\/em> (Milan, 2001)<\/p>\n<p class=\"bibliography\">Jane Hatter, \u2018<em>Col tempo<\/em>: musical time, aging and sexuality in 16th-century Venetian paintings\u2019, in: <em>EM<\/em> 39 (2011), 3\u201314<\/p>\n<p class=\"bibliography\">Mark Lindley, \u2018Early Fingering: Some Editing Problems and Some New Readings for J.S.\u00a0Bach and John Bull\u2019, in: <em>EM<\/em> 17 (1989), 60\u20139<\/p>\n<p class=\"bibliography\">Mark Lindley, <em>Ars Ludendi: early German keyboard fingerings c.\u00a01525 \u2013 c.\u00a01625<\/em> (Neuhof, 1993)<\/p>\n<p class=\"bibliography\">Mark Lindley et al. \u2018Fingering\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049<\/a>&gt;<\/p>\n<p class=\"bibliography\">Ludger Lohmann, <em>Die Artikulation auf Tasteninstrumenten des 16.\u201318.\u00a0Jahrhunderts<\/em> (Regensburg, 1990)<\/p>\n<p class=\"bibliography\">Giovan Paolo Lomazzo, <em>Trattato dell\u2019arte della pittura<\/em> (Milan: P.G.\u00a0Pontio, 1584)<\/p>\n<p class=\"bibliography\">Stefano Lorenzetti, \u2018La parte della musica nella costruzione del gentiluomo\u2019, in: <em>Studi musicali<\/em> 25 (1996), 17\u201340<\/p>\n<p class=\"bibliography\">Stefano Lorenzetti, <em>Musica e identit\u00e0 nobiliare nell\u2019Italia del Rinascimento: educazione, mentalit\u00e0, immaginario<\/em> (Florence, 2003)<\/p>\n<p class=\"bibliography\">Stefano Lorenzetti, \u2018Public behavior, music and the construction of feminine identity in the Italian Renaissance\u2019, in: <em>Recercare<\/em> 23 (2011), 7\u201334<\/p>\n<p class=\"bibliography\"><em>La luce e i silenzi. Orazio Gentileschi e la pittura caravaggesca nelle Marche del Seicento<\/em>, [catalogue of an exhibition held at the Pinacoteca civica \u2018Bruno Molajoli\u2019, Fabriano, Italy, 2\u00a0August\u2013 8\u00a0December 2019], ed. Annamaria Ambrosini Massari and Alessandro Delpriori ([Ancona], 2019)<\/p>\n<p class=\"bibliography\">Katherine A. McIver, \u2018Lavinia Fontana\u2019s Self-Portrait Making Music\u2019, in: <em>Woman\u2019s Art Journal<\/em> 19 (1998), 3\u20138<\/p>\n<p class=\"bibliography\">Giovanni Gentile d\u2019Olevano, <em>Porta musicale<\/em> (I-Rc, ms.\u00a02491)<\/p>\n<p class=\"bibliography\">Robert Parkins, \u2018Keyboard Fingering in Early Spanish Sources\u2019, in: <em>EM<\/em> 11 (1983), 323\u201331<\/p>\n<p class=\"bibliography\"><em>Parthenia, or the Maydenhead of the first music that ever was printed for the Virginalls<\/em>, ed. John Baxendale and Francis Knights (Tynset, 2021)<\/p>\n<p class=\"bibliography\">Lorenzo Penna, <em>Li primi albori musicali per li principianti della musica figurata<\/em> (Bologna: Giacomo Monti, 1672), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb10527657\">https:\/\/mdz-nbn-resolving.de\/details:bsb10527657<\/a>&gt; (edition of 1679)<\/p>\n<p class=\"bibliography\">John A. Rice, <em>Saint Cecilia in the Renaissance: The Emergence of a Musical Icon<\/em> (Chicago\/London 2022)<\/p>\n<p class=\"bibliography\">Galeazzo Sabbatini, <em>Regola facile e breve per sonare sopra il basso continuo<\/em> (Venice: Salvadori, 1628), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/759421\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/759421<\/a>&gt;<\/p>\n<p class=\"bibliography\">Tom\u00e1s de Santa Mar\u00eda, <em>Libro llamado arte de ta\u0148er fantas\u00eda<\/em> (Valladolid: Francisco Fernandez de Cordova, 1565), 37\u201345, &lt;<a href=\"http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000158382\">http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000158382<\/a>&gt;<\/p>\n<p class=\"bibliography\">Nico Staiti, <em>Le metamorfosi di santa Cecilia. L\u2019immagine e la musica<\/em> (Lucca, 2002)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Hand Position and Fingering on Keyboards in Italian Iconographical Sources of the Renaissance Maria Luisa Baldassari (Musical examples by Maria Luisa Baldassari and Augusta Campagne) The subject of fingering and hand position in Renaissance and Baroque keyboard music has been debated for many years, and the few extant theoretical and practical sources have been thoroughly &hellip;<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[114],"tags":[],"class_list":["post-2902","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le mani di Cecilia &#8211; 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