ConNext-2021

74 Multidimensional curvature, intricate marquetry, exquisite manufacturing Examination of the manufacturing technique and experi ‐ mental reconstruction of a baroque guitar by Joachim Tielke KEYWORDS: baroque guitar, Joachim Tielke, marquetry, wood-bending, manufacturing technique. The baroque guitar, currently part of the collection of Nuremberg's Germanisches Nationalmuseum (inv. MI 57), was made around 1684. Due to its stylistic and constructive characteristics, it can be attributed to the Hamburg instrument maker Joachim Tielke (1641-1719). The marquetry of the frame and bottom with its multidimensional curvature was glued and bent without a carrier material. This unusual fact led to closer discussion and examination of the manufacturing techniques 1 . These considerations were tested in an experimental reconstruction of the guitar. Until today, 174 instruments have been attributed to Joachim Tielke’s workshop. His use of elaborate inlay and marquetry, finest materials and exquisite workmanship on the diverse array of his creations place him among the greatest master instrument makers of the late 17 th century. The discussed instrument has two defining characteristics, which sets it apart from the other 26 known guitars of Tielke’s workshop. It is the only instrument with decorations not made from precious materials such as ebony, ivory or tortoiseshell. With this guitar, Tielke kept using only two different woods for the body. Additionally, the marquetry on the guitar's bottom is curved longitudinally and transversely – a shape only seen on a few other guitars of his manufacture. The inner layer of the body marquetry consists of only a layer of linen glued to the bottom and frame. This technique of shaping, without the use of a carrier material, is not documented in historical sources, making the experimental reconstruction of the guitar necessary to test the aforementioned considerations of his manufacturing techniques. The insights and knowledge gained from the experimental reconstruction go beyond the previous theoretical examinations and even CAT scans/Computed Tomography. Furthermore, the nature of the manufacturing techniques applied in the reconstructions led to a second guitar body, the contre partie , and how it may have looked like. kaja.schoenfelder1[at ]gmx.de 1 Kirsch, Sebastian: Eine Gitarre von Joachim Tielke. Überlegungen zur Herstellungstechnik. In: Hellwig, Friedemann; Hellwig, Barbara: Joachim Tielke. Neue Funde zu Werk und Wirkung, Berlin/München 2020, S. 49- 57.