The body of this instrument is built up of ivory; the back of the peg-box and neck is also of ivory, and is delicately engraved with a view of Venice, showing vessels engaged in firing, and spearmen advancing. Incised dancing and fencing figures adorn the lower neck; there is a garden scene with numerous figures upon the upper neck. By the pegs we find the instrument had eight bass notes or diapasons; a single string to each note, and that there were on the finger-board five double strings and one, the highest, single--the chanterelle or melody string. In the true theorbo, the Paduan according to Baron (_Untersuchung des Instruments der Lauten_, Nuremberg, 1727, p. 131),--the diapasons were single strings. When the diapasons were in pairs of strings the instrument was, according to Mersenne (_Harmonie Universelle_, Paris, 1636), called (French) "Luth téorbé" or (Italian) "Liuto attiorbato," a theorboed lute. It must, however, be admitted that Mersenne's rule is not of strict application. The single strings introduced, in the first instance, for basses, at last became general throughout, and banished the double stringing in lutes, theorboes and guitars. The lutes were, however, by this time nearly out of use. The name Archlute is given by different authorities to both Theorbo and Chitarrone (Plate XXI.). The early use of only one string for the highest or melody string may be seen in representations of lutes by Quattro Cento painters. The theorbo, however, was not introduced until nearly the end of the sixteenth century. A very accurate and beautiful painting of one may be observed in a picture by Terburg in the London National Gallery (formerly in the Peel Collection), which is erroneously named in the printed catalogue in use in 1887 "The Guitar Lesson." Evelyn was well acquainted with the theorbo, and took lessons upon it in Rome and Padua. There is frequent mention of it in his Diary. It remained in use until nearly the end of the last century. The extreme length of this specimen is 3 feet 5 inches; the body is 1 foot 3-1/2 inches by nearly 11 inches. [Illustration: XVII] PLATE XVII. DULCIMER. We derive "Dulcimer" from the Spanish "Dulcemele" as the only etymology to be offered with any show of certainty. The Provençal "Lai" was in the Latin of the period "Dulcis Cantus,"--"Dulcemele" (Lat. _Dulce Melos_) has a kindred ring, and by the change of a liquid "Dulcimer" has become an accepted name.