Chrēstos Terzēs - The Daphnē Harp

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7/27/2019 Chrēstos Terzēs - The Daphnē Harp http://slidepdf.com/reader/full/chrestos-terzes-the-daphne-harp 1/27 © Konnkljke Brll NV, Leden, DOI: 10.1163/22129758-12341240 Greek and Roman Muscal Studes 1  2013  ) 123-149 brll.com/grms The Daphnē Harp Chrēstos Terzēs Department o Musc Studes, Secton o Hstorcal & Systematc Muscology, School o Phlosophy, Unversty o Athens, Zōgraphou, Athens, Hellas [email protected]  Abstract The present paper ocuses on the trgōnon retreved rom Grave II. Only the sound box and one arm (the pllar) o the nstrument have survved. In the organologcal study whch ollows, the find s evaluated n the lght o the avalable conography and lterature, and o ancent and modern ethnologcal parallels. A replca was constructed n order to test the results o the analyss. Il testo qu presentato s concentra sul trgōnon rtrovato nella Tomba II. Dello strumento s sono conservat soltanto la cassa d rsonanza e un bracco (l sostegno prncpale). Nello studo organologco che segue, l reperto è valutato alla luce sa dellconografia e della letteratura dsponbl, sa d parallel etnologc antch e modern. Inoltre per spermentare rsultat dellanals s è proceduto a costrure una replca dello strumento antco. Keywords Harp, trgōnon, organology, Ancent Greek 1. Introducton The remans o the harp, together wth the other two muscal nstruments ound n the same grave, were transerred to the Archaeologcal Museum o  I would lke to express my sncere thanks to Proessor Stelos Psaroudakēs or kndly ncludng me n ths research project and or the rutul collaboraton thereater. The dentficaton o the wooden remans ound n Grave II as beng parts o a ‘harp appears or the first tme n the Natonal Archaeologcal Museum, Athens (NAM) Bronze Collecton Inventory compled by archaeologst Theodōros Hēlopoulos n June-July under the numbers: (large ragment o sound box); (slender rod—two smaller ragments glued together); (small, trangular ragment o the sound box); (one ragment o the arm); (another ragment o the arm—three smaller ragments glued together); (large

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copy Konnkljke Brll NV Leden DOI 10116322129758-12341240

Greek and Roman Muscal Studes 1 ( 2013 ) 123-149 brllcomgrms

The Daphnē Harp

Chrēstos TerzēsDepartment o Musc Studes Secton o Hstorcal amp Systematc Muscology

School o Phlosophy Unversty o Athens Zōgraphou Athens Hellas

hrterzsmuscuoagr

Abstract

The present paper ocuses on the trgōnon retreved rom Grave II Only the sound box and onearm (the pllar) o the nstrument have survved In the organologcal study whch ollows the finds evaluated n the lght o the avalable conography and lterature and o ancent and modernethnologcal parallels A replca was constructed n order to test the results o the analyss

Il testo qu presentato s concentra sul trgōnon rtrovato nella Tomba II Dello strumento ssono conservat soltanto la cassa d rsonanza e un bracco (l sostegno prncpale) Nello studo

organologco che segue l reperto egrave valutato alla luce sa dellconografia e della letteraturadsponbl sa d parallel etnologc antch e modern Inoltre per spermentare rsultatdellanals s egrave proceduto a costrure una replca dello strumento antco

Keywords

Harp trgōnon organology Ancent Greek

1 Introducton

The remans o the harp together wth the other two muscal nstrumentsound n the same grave were transerred to the Archaeologcal Museum o

I would lke to express my sncere thanks to Proessor Stelos Psaroudakēs or kndly ncludng me n ths research project and or the rutul collaboraton thereater

The dentficaton o the wooden remans ound n Grave II as beng parts o a lsquoharpappears or the first tme n the Natonal Archaeologcal Museum Athens (NAM) BronzeCollecton Inventory compled by archaeologst Theodōros Hēlopoulos n June-July underthe numbers (large ragment o sound box) (slender rodmdashtwo smaller ragmentsglued together) (small trangular ragment o the sound box) (one ragment o thearm) (another ragment o the armmdashthree smaller ragments glued together) (large

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Peraas as soon as they were retreved rom the Grave on the th o May A week later they were transerred to the Natonal Archaeologcal Museum

Athens (NAM) together wth all the other finds rom the two Daphnē graves(except the papyrus whch had gone there rom the start) The remans o the harp that s the wooden sound box (three ragments) one wooden arm(two ragments) and a slender wooden rod (two ragments) were treatedor stablzaton by mpregnaton n a movlth-acetone-toluole solu-ton Some parts were glued together by the use o the same soluton rcher nmovlth The ragments o the harp together wth all the other finds rom thetwo Daphnē graves were returned to the Archaeologcal Museum o Peraason (see Pl VI a) The ragments underwent urther treatment somematchng parts were glued together the sound box was nternally supportedat places by applyng to ts walls thn layers o fiberglass gauze the gaps werefilled n by specal coloured wax and finally the parts were assembled (undera new nventory number ΜΠ ) as seen today n the Peraas Museum Exh-bton (see Pl VI b)

2 IdentficatonmdashDatng

The shape and sze o the sound box lead us to the sae concluson that thepresent harp s o the trangular type undoubtedly the trgōnon o the textsThe term trgōnos-on appled to a muscal nstrument s first attested n thelterature o the th century BC n a dstch rom Aeschylus Thalamopoo ἀλrsquo ὁ

μέν τις Λέσβιον φατνώματι κῦμrsquo ἐν τριγώνοις ἐκπεραινέτω ῥυθμοῖς Besdes Sopho-cles Arstophanes and Eupols all poets o the th century seem to know the

ragment o bronze decoratve lamella) (one end o bronze decoratve lamella n the shapeo a palmette and another sx small lamella ragments)

NAM file ldquoDaphnē Excavaton by A Lankouras Grave o muscanrdquo Document no sgned K Asēmenos

NAM file ldquoDaphnē Excavaton by A Lankouras Grave o muscanrdquo Document sgned A Lankouras amp A Lempesē

Peraas Archaeologcal Museum Restoraton Dary by Tatana Panagopoulou NAM file ldquoDaphnē Excavaton by A Lankouras Grave o muscanrdquo Document sgned

E Zerboudakē and NAM Bronze Collecton Inventory Book Peraas Archaeologcal Museum Restoraton Dary by Tatana Panagopoulou Pollux Onomastkon -

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trgōnon an nstrument whch had already been wthdrawn rom use by thend century BC

The trgōnon eatures on five Athenan vases o the second hal o theth century (see Pl VI ) on three lebētes gamko (W W W) and one

pyxs (W) all our attrbuted to the Washng Panter (- BC) and on a pelkē (M) by the Medas Panter (- BC) Beyond that date the trgōnon does not appear n the conography any more Although conography mustalways be treated wth cauton as a source o normaton especally on organo-logcal matters an assessment o the data oered by the five depctons o thetrgōnon mentoned above s deemed necessary or the Daphnē nstrument sunque and every pece o evdence may contrbute to the present quest

The common eatures o the examned depctons are ) the rght-angle tr-angular shape ) the spndle-shaped sound box ) the total coverage o thesound box wth skn ) the placement o the nstrument n relaton to the body o the player where the pllar s always uprght and n contact wth the letarm o the harpst the sound box ar away rom the body and the head o themuscan lookng down onto the strngs rom the rght and ) the heght o the nstrument whch goes beyond the top o the head o the player

In the our depctons by the Washng Panter (W-) the yoke meets the

sound box at a pont urther out rom the knee o the harpst gvng the mpres-son that the yoke s rather longer than the pllar whle on the contrary nthe case o the Medas Panter depcton (M) t s the pllar whch seems tobe substantally longer than the yoke snce the yoke-sound box juncton doesnot extend beyond the knee Another common eature o the our nstrumentsexecuted by the Washng Panter (W-) s the presence o five (W) or more

Athenaeus e- Μνημονεύει δὲ τοῦ τριγώνου τούτου καὶ Σοφοκλῆς ἐν μὲν Μυσοῖς οὕτωςπολὺς δὲ Φρὺξ τρίγωνος ἀντίσπαστά τε Λυδῆς ἐφυμνεῖ πηκτίδος συγχορδίᾳ καὶ ἐν Θαμύρᾳ Ἀριστοφάνηςδrsquo ἐν Δαιταλεῦσι καὶ Θεόπομπος ἐν Πηνελόπῃ Εὔπολις δrsquo ἐν Βάπταις φησίν ὃς καλῶς μὲν τυμπανίζει καὶδιαψάει τριγώνοις

Athenaeus Ἀποόδωρος δrsquo ἐν τῇ πρὸς τὴν Ἀριστοκλέους ἐπιστολὴν ἀντιγραφῇ laquoὃ νῦνφησὶν ἡμεῖς λέγομεν ψαλτήριον τοῦτrsquo εἶναι μάγαδιν ὁ δὲ κλεψίαμβος κληθεὶς ἔτι δὲ ὁ τρίγωνος καὶ ὁἔλυμος καὶ τὸ ἐννεάχορδον ἀμαυρότερα τῇ χρείᾳ καθέστηκεraquo

Images n Plate VI drawn rom Bundrck fig (W) H n Paquette (W)H n Paquette (W) H n Paquette (W) Maas amp Snyder fig (M)

NAM c pl n Kaumann-Samaras Bundrck fig Metropoltan Museum o Art New York c Rchter and Hall pl West

pl Bundrck fig Metropoltan Museum o Art New York c Rchter and Hall pl Martn von Wagner Museum Unversty o Wuumlrzburg L c Passet fig Metropoltan Museum o Art New York c Bundrck fig

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(W ) parallel lnes across the sound box a eature whch ponts towards thepossble use o thongs concevably assocated wth the fixng o the skn onto

the sound boxIn W W and W a clearly arched-shaped lne runs along the best part o

the sound box probably a slender exble wooden rod possbly connected wth the tghtenng o the skn or smply a decoratve mot panted onto theskn lke some other such mots all over the sound box profile

Fnally n all five depctons the number o strngs o the trgōnon s fiteenor over (W = W W M gt W = ) In W W and M the strngs runparallel to the pllar as they stretch rom the sound box to the yoke wth thelongest strng next to the pllar and the shortest ar away rom t Surprsnglyn W and W the longest strng s stuated n the mddle o the sound box

whle two smlar sets o strngs stretch across the rame one to the uprght pl-lar and the other to the horzontal yoke In ths way the pllar becomes tsel asecond yoke The act that both types o strngng have been gven by the samepanter (the Washng Panter) does not allow us to dsregard the possblty o the exstence o two varetes one wth all strngs attached to the horzontal

yoke and another wth two sets o strngs each set endng to a derent armo the nstrument

The examnaton o the dscussed conography despte the observed ds-smlartes suggests at least that the trgōnon ) had the shape o a rght-angletrangle ) had a spndle-shaped sound box ) had a skn or a sound boardstretched all over the sound box ) rested wth ts yoke along the let thgh o the player and ) had a large number o strngs fiteen or more

As regards the temporal range o the exstence o the trgōnon n general onthe one hand the extant lterature on t provdes us wth the span early th toend o rd century BC (Aeschylus Apollodorus) whle on the other the extantconography on t gves a more narrow stretch rom to BC (Washng

Panter Medas Panter) Thus the date o the Daphnē burals based on the whte-ground lēkytho o Grave I (- BC) alls ncely wthn the tem-poral lmts establshed by the lterature and conography on the trgōnon (- BC)

C Herbg Contra Herbg See the paper o Erka Smon and Irma Wehgartner above

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3 DescrptonmdashInterpretaton

For easy reerence to the varous parts o the nstrument symbols are herentroduced whch correspond to both the numbers gven to tems by the exca- vator (see pl I) and the nventory numbers gven to them by NAM (tablebelow)

ΝAM excavator(sound box) S = S+S + (arm) A = A+A + +(rod) R = R+R [](lamella) L = L+L+L []++ []

S corresponds to the sound box (wth S and S beng the two major ragmentso t) A s the survvng arm (A and A beng the two ragments o t) R reersto the strng holder (R and R beng the two survvng parts o t) L stands orthe bronze lamella along the lsquokeel o the sound box (L L L beng the threemajor peces o t) An expected second arm has not survved Whether themssng arm was the yoke or the pllar o the harp wll be nvestgated below

a The Sound Box

The sound box (see Pl VI a) was undoubtedly made by hollowng out a longpece o wood It has a boat-lke shape wth a at lsquospne runnng downts entre length on the outsde upon whch s naled the decoratve bronzelamella Ths spne (see Pl VI b) mantans ts top wdth (cm) down tothe th cm o ts length (cm) and rom there on t begns to wane gently down to the bottom end o the sound box ( at cm at cm)There seems to be no urther reducton n the wdth o the spne beyond that

pont and over the last cm the lsquotal o the sound box The overall length

Numbers n square brackets n the excavator column allocate tems to the specfied groupnumbers n the Grave Sketch

Herbg (-) ollowed by Wegner ( -) and West ( and ) callsthe nstrument a Spndelhare (spndle-harp) on the grounds o the shape o ts sound box wdern the mddle wanng along ts ends Although ths observaton s ndeed correct accordng to theconography the sound box o the Daphnē nstrument s straght along ts lsquokeel and the upperpart o ts nternal sde narrowng only below the mddle pont o the nternal sde Hence t wouldnot be approprate to apply the term spndle-harp to the Daphnē nstrument It s concevablethereore that the lsquospndle shape gven by the two panters s not a realstc renderng o theactual sound box In addton statc problems mght occur the endsmdashespecally the top junctonmdashwere as slender as those n the depctons

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o the sound box rom the pont t touches the arm (A) to the end o the lsquotals cm A trangular pece o sold wood (see Pl VI c) seems to have been

let uncarved at the top end o the sound box undoubtedly to create a socket-and-spgot juncton wth arm A Although the spgot has pershed (see Pl VId) the rectangular socket cut nto the arm s ntact Nne small nals survvngon ether sde o arm A all along the lne o contact between the arm and thesound box (see Pl II b amp VI c) must have prevented the arm rom splttngIt s nterestng that the socket was opened at rght angles to the arm and notn the drecton o the axs o the sound box ths was probably done to coun-teract the slppage due to the pullng orces o the strngs

The sdes o the sound box (see Pl VI b) n ther present state do not haveexactly the same shape and dmensons Ths s surely due to the warpng andtorson whch the sound box has undergone The sde whch lay on the ground

was aected most by the dampness o the oor and the pressure o the weghto the sound box above t There s no doubt the sound box was orgnally sym-metrcal about ts longtudnal axs The best survvng sde should be our guden our reconstructon o the sound box The wdth o the best sde s about cmat ts juncton wth arm A (see Pl VI a) then stays constant to about cmdown the rm rom there gradually dmnshng untl t reaches cm at cm

down the spne Beyond that pont the wood breaks n a way that does notallow us to orm an exact pcture o the remanng part However the otherlsquobad sde despte ts poor condton mantans ts rm down to ts lower endsupplyng us wth the much desred normaton lackng rom the other sde

We can thereore project the decreasng rate o the wdth o the lsquobad sde tothe lsquogood sde somethng that wll enable us to reconstruct the ntal shapeand sze o the whole sound box

Along the rms o both sdes o the sound box p-shaped notches have beencut out nsde whch have been placed small pegs (see Pl VI a) Along the

good sde there are sx ntact notches wth ther pegs n place and a relabletrace o a seventh notch Two o the pegs are complete (the th and the throm above) the rest beng ragmentary Along the poorly preserved sde thereare eght notches seven stll carryng ther pegs All seven pegs are ragmentary on ths sde It s very lkely that a nnth peg where the wall o the bad sde haspershed exsted Smlarly at the lower end two more pegs must be assumedat the end o the good sde n accordance wth those on the other sde

Pl VI b s a drawng n scale o the plan vew o the sound box as t s today wth notches and pegs n ther places It s obvous rom ths drawng that

the first peg o the bad sde s mssng and that another two pegs are mssng

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rom the lower part o the good sde All n all there were orgnally nne pegsalong the bad sde and eght pegs along the good sde (see Pl VI c) It should

be ponted out that the pegs do not brdge the openng o the sound box butextend a lttle beyond the spne Also they are not placed acng each otherbut alternate at rregular ntervals the pegs nearer the ends are close to eachother whle those near the centre are urther apart It s very probable thatthe pegs near the tal o the sound box were a lttle shorter than those at thecentre as the sound box narrows down at the lower end There seems to be alogc behnd the placement o the pegs a central one on the bad sde (No )s anked by our pars o lsquoacng pegs on each sde o t The pars are sym-metrcally arranged about the central peg There s only one dscrepancy thesecond peg on the bad sde should have been to the let o ts counterpart onthe good sde The problem most probably has arsen because o the warp-ng o the sound box caused by the loss o materal at the upper end o thebad sde We could correct ths aw by dsplacng the bad sde a lttle n thedrecton o ts orgnal poston untl the problematc peg assumes a postonsmlar to the correspondng peg on the other sde o the sound box Once thssht takes place the lsquocentral peg moves a lttle towards the upper sde o thesound box so that t stands at equal dstances rom the outer pars o pegs

(see Pl VI d)The pegs undoubtedly supported the strng holder somehow the way n whch they are fixed to the walls o the sound box nsde the notches suggestsths knd o uncton The pullng orce (F) o the strng holder on each pegcould be thought o as analyzed nto two perpendcular components one nthe drecton o the longtudnal axs o the sound box (F) and another comngout o the openng o the sound box (F) (see Pl VI e) The first component sbalanced by the upward reacton o the sound box wall (-F) and the seconds counterbalanced by the reacton o the upper sde o the notch (-F) Thus

the outward pull on the peg whch would have caused t to slp out o the notch(F) s counteracted by the resstance provded by the upper wall o the notchThe upwardly curved desgn o the pegs s ntended to transmt the orces romthe pont o contact wth the strng holder to ts base nsde the wall o thesound box The tght connecton between pegs and sound box ensures an opt-mum transer o vbraton rom the strng holder to ts rms whether the strngholder les above or below the pegs Also the overall orce o the strng holderonto the pegs due to the tenson o the strngs tends to open up the soundboard counteractng the undesrable closng up o the sound box caused by

the tenson o the leather soundboard

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

Page 2: Chrēstos Terzēs - The Daphnē Harp

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Peraas as soon as they were retreved rom the Grave on the th o May A week later they were transerred to the Natonal Archaeologcal Museum

Athens (NAM) together wth all the other finds rom the two Daphnē graves(except the papyrus whch had gone there rom the start) The remans o the harp that s the wooden sound box (three ragments) one wooden arm(two ragments) and a slender wooden rod (two ragments) were treatedor stablzaton by mpregnaton n a movlth-acetone-toluole solu-ton Some parts were glued together by the use o the same soluton rcher nmovlth The ragments o the harp together wth all the other finds rom thetwo Daphnē graves were returned to the Archaeologcal Museum o Peraason (see Pl VI a) The ragments underwent urther treatment somematchng parts were glued together the sound box was nternally supportedat places by applyng to ts walls thn layers o fiberglass gauze the gaps werefilled n by specal coloured wax and finally the parts were assembled (undera new nventory number ΜΠ ) as seen today n the Peraas Museum Exh-bton (see Pl VI b)

2 IdentficatonmdashDatng

The shape and sze o the sound box lead us to the sae concluson that thepresent harp s o the trangular type undoubtedly the trgōnon o the textsThe term trgōnos-on appled to a muscal nstrument s first attested n thelterature o the th century BC n a dstch rom Aeschylus Thalamopoo ἀλrsquo ὁ

μέν τις Λέσβιον φατνώματι κῦμrsquo ἐν τριγώνοις ἐκπεραινέτω ῥυθμοῖς Besdes Sopho-cles Arstophanes and Eupols all poets o the th century seem to know the

ragment o bronze decoratve lamella) (one end o bronze decoratve lamella n the shapeo a palmette and another sx small lamella ragments)

NAM file ldquoDaphnē Excavaton by A Lankouras Grave o muscanrdquo Document no sgned K Asēmenos

NAM file ldquoDaphnē Excavaton by A Lankouras Grave o muscanrdquo Document sgned A Lankouras amp A Lempesē

Peraas Archaeologcal Museum Restoraton Dary by Tatana Panagopoulou NAM file ldquoDaphnē Excavaton by A Lankouras Grave o muscanrdquo Document sgned

E Zerboudakē and NAM Bronze Collecton Inventory Book Peraas Archaeologcal Museum Restoraton Dary by Tatana Panagopoulou Pollux Onomastkon -

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trgōnon an nstrument whch had already been wthdrawn rom use by thend century BC

The trgōnon eatures on five Athenan vases o the second hal o theth century (see Pl VI ) on three lebētes gamko (W W W) and one

pyxs (W) all our attrbuted to the Washng Panter (- BC) and on a pelkē (M) by the Medas Panter (- BC) Beyond that date the trgōnon does not appear n the conography any more Although conography mustalways be treated wth cauton as a source o normaton especally on organo-logcal matters an assessment o the data oered by the five depctons o thetrgōnon mentoned above s deemed necessary or the Daphnē nstrument sunque and every pece o evdence may contrbute to the present quest

The common eatures o the examned depctons are ) the rght-angle tr-angular shape ) the spndle-shaped sound box ) the total coverage o thesound box wth skn ) the placement o the nstrument n relaton to the body o the player where the pllar s always uprght and n contact wth the letarm o the harpst the sound box ar away rom the body and the head o themuscan lookng down onto the strngs rom the rght and ) the heght o the nstrument whch goes beyond the top o the head o the player

In the our depctons by the Washng Panter (W-) the yoke meets the

sound box at a pont urther out rom the knee o the harpst gvng the mpres-son that the yoke s rather longer than the pllar whle on the contrary nthe case o the Medas Panter depcton (M) t s the pllar whch seems tobe substantally longer than the yoke snce the yoke-sound box juncton doesnot extend beyond the knee Another common eature o the our nstrumentsexecuted by the Washng Panter (W-) s the presence o five (W) or more

Athenaeus e- Μνημονεύει δὲ τοῦ τριγώνου τούτου καὶ Σοφοκλῆς ἐν μὲν Μυσοῖς οὕτωςπολὺς δὲ Φρὺξ τρίγωνος ἀντίσπαστά τε Λυδῆς ἐφυμνεῖ πηκτίδος συγχορδίᾳ καὶ ἐν Θαμύρᾳ Ἀριστοφάνηςδrsquo ἐν Δαιταλεῦσι καὶ Θεόπομπος ἐν Πηνελόπῃ Εὔπολις δrsquo ἐν Βάπταις φησίν ὃς καλῶς μὲν τυμπανίζει καὶδιαψάει τριγώνοις

Athenaeus Ἀποόδωρος δrsquo ἐν τῇ πρὸς τὴν Ἀριστοκλέους ἐπιστολὴν ἀντιγραφῇ laquoὃ νῦνφησὶν ἡμεῖς λέγομεν ψαλτήριον τοῦτrsquo εἶναι μάγαδιν ὁ δὲ κλεψίαμβος κληθεὶς ἔτι δὲ ὁ τρίγωνος καὶ ὁἔλυμος καὶ τὸ ἐννεάχορδον ἀμαυρότερα τῇ χρείᾳ καθέστηκεraquo

Images n Plate VI drawn rom Bundrck fig (W) H n Paquette (W)H n Paquette (W) H n Paquette (W) Maas amp Snyder fig (M)

NAM c pl n Kaumann-Samaras Bundrck fig Metropoltan Museum o Art New York c Rchter and Hall pl West

pl Bundrck fig Metropoltan Museum o Art New York c Rchter and Hall pl Martn von Wagner Museum Unversty o Wuumlrzburg L c Passet fig Metropoltan Museum o Art New York c Bundrck fig

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(W ) parallel lnes across the sound box a eature whch ponts towards thepossble use o thongs concevably assocated wth the fixng o the skn onto

the sound boxIn W W and W a clearly arched-shaped lne runs along the best part o

the sound box probably a slender exble wooden rod possbly connected wth the tghtenng o the skn or smply a decoratve mot panted onto theskn lke some other such mots all over the sound box profile

Fnally n all five depctons the number o strngs o the trgōnon s fiteenor over (W = W W M gt W = ) In W W and M the strngs runparallel to the pllar as they stretch rom the sound box to the yoke wth thelongest strng next to the pllar and the shortest ar away rom t Surprsnglyn W and W the longest strng s stuated n the mddle o the sound box

whle two smlar sets o strngs stretch across the rame one to the uprght pl-lar and the other to the horzontal yoke In ths way the pllar becomes tsel asecond yoke The act that both types o strngng have been gven by the samepanter (the Washng Panter) does not allow us to dsregard the possblty o the exstence o two varetes one wth all strngs attached to the horzontal

yoke and another wth two sets o strngs each set endng to a derent armo the nstrument

The examnaton o the dscussed conography despte the observed ds-smlartes suggests at least that the trgōnon ) had the shape o a rght-angletrangle ) had a spndle-shaped sound box ) had a skn or a sound boardstretched all over the sound box ) rested wth ts yoke along the let thgh o the player and ) had a large number o strngs fiteen or more

As regards the temporal range o the exstence o the trgōnon n general onthe one hand the extant lterature on t provdes us wth the span early th toend o rd century BC (Aeschylus Apollodorus) whle on the other the extantconography on t gves a more narrow stretch rom to BC (Washng

Panter Medas Panter) Thus the date o the Daphnē burals based on the whte-ground lēkytho o Grave I (- BC) alls ncely wthn the tem-poral lmts establshed by the lterature and conography on the trgōnon (- BC)

C Herbg Contra Herbg See the paper o Erka Smon and Irma Wehgartner above

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3 DescrptonmdashInterpretaton

For easy reerence to the varous parts o the nstrument symbols are herentroduced whch correspond to both the numbers gven to tems by the exca- vator (see pl I) and the nventory numbers gven to them by NAM (tablebelow)

ΝAM excavator(sound box) S = S+S + (arm) A = A+A + +(rod) R = R+R [](lamella) L = L+L+L []++ []

S corresponds to the sound box (wth S and S beng the two major ragmentso t) A s the survvng arm (A and A beng the two ragments o t) R reersto the strng holder (R and R beng the two survvng parts o t) L stands orthe bronze lamella along the lsquokeel o the sound box (L L L beng the threemajor peces o t) An expected second arm has not survved Whether themssng arm was the yoke or the pllar o the harp wll be nvestgated below

a The Sound Box

The sound box (see Pl VI a) was undoubtedly made by hollowng out a longpece o wood It has a boat-lke shape wth a at lsquospne runnng downts entre length on the outsde upon whch s naled the decoratve bronzelamella Ths spne (see Pl VI b) mantans ts top wdth (cm) down tothe th cm o ts length (cm) and rom there on t begns to wane gently down to the bottom end o the sound box ( at cm at cm)There seems to be no urther reducton n the wdth o the spne beyond that

pont and over the last cm the lsquotal o the sound box The overall length

Numbers n square brackets n the excavator column allocate tems to the specfied groupnumbers n the Grave Sketch

Herbg (-) ollowed by Wegner ( -) and West ( and ) callsthe nstrument a Spndelhare (spndle-harp) on the grounds o the shape o ts sound box wdern the mddle wanng along ts ends Although ths observaton s ndeed correct accordng to theconography the sound box o the Daphnē nstrument s straght along ts lsquokeel and the upperpart o ts nternal sde narrowng only below the mddle pont o the nternal sde Hence t wouldnot be approprate to apply the term spndle-harp to the Daphnē nstrument It s concevablethereore that the lsquospndle shape gven by the two panters s not a realstc renderng o theactual sound box In addton statc problems mght occur the endsmdashespecally the top junctonmdashwere as slender as those n the depctons

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o the sound box rom the pont t touches the arm (A) to the end o the lsquotals cm A trangular pece o sold wood (see Pl VI c) seems to have been

let uncarved at the top end o the sound box undoubtedly to create a socket-and-spgot juncton wth arm A Although the spgot has pershed (see Pl VId) the rectangular socket cut nto the arm s ntact Nne small nals survvngon ether sde o arm A all along the lne o contact between the arm and thesound box (see Pl II b amp VI c) must have prevented the arm rom splttngIt s nterestng that the socket was opened at rght angles to the arm and notn the drecton o the axs o the sound box ths was probably done to coun-teract the slppage due to the pullng orces o the strngs

The sdes o the sound box (see Pl VI b) n ther present state do not haveexactly the same shape and dmensons Ths s surely due to the warpng andtorson whch the sound box has undergone The sde whch lay on the ground

was aected most by the dampness o the oor and the pressure o the weghto the sound box above t There s no doubt the sound box was orgnally sym-metrcal about ts longtudnal axs The best survvng sde should be our guden our reconstructon o the sound box The wdth o the best sde s about cmat ts juncton wth arm A (see Pl VI a) then stays constant to about cmdown the rm rom there gradually dmnshng untl t reaches cm at cm

down the spne Beyond that pont the wood breaks n a way that does notallow us to orm an exact pcture o the remanng part However the otherlsquobad sde despte ts poor condton mantans ts rm down to ts lower endsupplyng us wth the much desred normaton lackng rom the other sde

We can thereore project the decreasng rate o the wdth o the lsquobad sde tothe lsquogood sde somethng that wll enable us to reconstruct the ntal shapeand sze o the whole sound box

Along the rms o both sdes o the sound box p-shaped notches have beencut out nsde whch have been placed small pegs (see Pl VI a) Along the

good sde there are sx ntact notches wth ther pegs n place and a relabletrace o a seventh notch Two o the pegs are complete (the th and the throm above) the rest beng ragmentary Along the poorly preserved sde thereare eght notches seven stll carryng ther pegs All seven pegs are ragmentary on ths sde It s very lkely that a nnth peg where the wall o the bad sde haspershed exsted Smlarly at the lower end two more pegs must be assumedat the end o the good sde n accordance wth those on the other sde

Pl VI b s a drawng n scale o the plan vew o the sound box as t s today wth notches and pegs n ther places It s obvous rom ths drawng that

the first peg o the bad sde s mssng and that another two pegs are mssng

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rom the lower part o the good sde All n all there were orgnally nne pegsalong the bad sde and eght pegs along the good sde (see Pl VI c) It should

be ponted out that the pegs do not brdge the openng o the sound box butextend a lttle beyond the spne Also they are not placed acng each otherbut alternate at rregular ntervals the pegs nearer the ends are close to eachother whle those near the centre are urther apart It s very probable thatthe pegs near the tal o the sound box were a lttle shorter than those at thecentre as the sound box narrows down at the lower end There seems to be alogc behnd the placement o the pegs a central one on the bad sde (No )s anked by our pars o lsquoacng pegs on each sde o t The pars are sym-metrcally arranged about the central peg There s only one dscrepancy thesecond peg on the bad sde should have been to the let o ts counterpart onthe good sde The problem most probably has arsen because o the warp-ng o the sound box caused by the loss o materal at the upper end o thebad sde We could correct ths aw by dsplacng the bad sde a lttle n thedrecton o ts orgnal poston untl the problematc peg assumes a postonsmlar to the correspondng peg on the other sde o the sound box Once thssht takes place the lsquocentral peg moves a lttle towards the upper sde o thesound box so that t stands at equal dstances rom the outer pars o pegs

(see Pl VI d)The pegs undoubtedly supported the strng holder somehow the way n whch they are fixed to the walls o the sound box nsde the notches suggestsths knd o uncton The pullng orce (F) o the strng holder on each pegcould be thought o as analyzed nto two perpendcular components one nthe drecton o the longtudnal axs o the sound box (F) and another comngout o the openng o the sound box (F) (see Pl VI e) The first component sbalanced by the upward reacton o the sound box wall (-F) and the seconds counterbalanced by the reacton o the upper sde o the notch (-F) Thus

the outward pull on the peg whch would have caused t to slp out o the notch(F) s counteracted by the resstance provded by the upper wall o the notchThe upwardly curved desgn o the pegs s ntended to transmt the orces romthe pont o contact wth the strng holder to ts base nsde the wall o thesound box The tght connecton between pegs and sound box ensures an opt-mum transer o vbraton rom the strng holder to ts rms whether the strngholder les above or below the pegs Also the overall orce o the strng holderonto the pegs due to the tenson o the strngs tends to open up the soundboard counteractng the undesrable closng up o the sound box caused by

the tenson o the leather soundboard

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

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trgōnon an nstrument whch had already been wthdrawn rom use by thend century BC

The trgōnon eatures on five Athenan vases o the second hal o theth century (see Pl VI ) on three lebētes gamko (W W W) and one

pyxs (W) all our attrbuted to the Washng Panter (- BC) and on a pelkē (M) by the Medas Panter (- BC) Beyond that date the trgōnon does not appear n the conography any more Although conography mustalways be treated wth cauton as a source o normaton especally on organo-logcal matters an assessment o the data oered by the five depctons o thetrgōnon mentoned above s deemed necessary or the Daphnē nstrument sunque and every pece o evdence may contrbute to the present quest

The common eatures o the examned depctons are ) the rght-angle tr-angular shape ) the spndle-shaped sound box ) the total coverage o thesound box wth skn ) the placement o the nstrument n relaton to the body o the player where the pllar s always uprght and n contact wth the letarm o the harpst the sound box ar away rom the body and the head o themuscan lookng down onto the strngs rom the rght and ) the heght o the nstrument whch goes beyond the top o the head o the player

In the our depctons by the Washng Panter (W-) the yoke meets the

sound box at a pont urther out rom the knee o the harpst gvng the mpres-son that the yoke s rather longer than the pllar whle on the contrary nthe case o the Medas Panter depcton (M) t s the pllar whch seems tobe substantally longer than the yoke snce the yoke-sound box juncton doesnot extend beyond the knee Another common eature o the our nstrumentsexecuted by the Washng Panter (W-) s the presence o five (W) or more

Athenaeus e- Μνημονεύει δὲ τοῦ τριγώνου τούτου καὶ Σοφοκλῆς ἐν μὲν Μυσοῖς οὕτωςπολὺς δὲ Φρὺξ τρίγωνος ἀντίσπαστά τε Λυδῆς ἐφυμνεῖ πηκτίδος συγχορδίᾳ καὶ ἐν Θαμύρᾳ Ἀριστοφάνηςδrsquo ἐν Δαιταλεῦσι καὶ Θεόπομπος ἐν Πηνελόπῃ Εὔπολις δrsquo ἐν Βάπταις φησίν ὃς καλῶς μὲν τυμπανίζει καὶδιαψάει τριγώνοις

Athenaeus Ἀποόδωρος δrsquo ἐν τῇ πρὸς τὴν Ἀριστοκλέους ἐπιστολὴν ἀντιγραφῇ laquoὃ νῦνφησὶν ἡμεῖς λέγομεν ψαλτήριον τοῦτrsquo εἶναι μάγαδιν ὁ δὲ κλεψίαμβος κληθεὶς ἔτι δὲ ὁ τρίγωνος καὶ ὁἔλυμος καὶ τὸ ἐννεάχορδον ἀμαυρότερα τῇ χρείᾳ καθέστηκεraquo

Images n Plate VI drawn rom Bundrck fig (W) H n Paquette (W)H n Paquette (W) H n Paquette (W) Maas amp Snyder fig (M)

NAM c pl n Kaumann-Samaras Bundrck fig Metropoltan Museum o Art New York c Rchter and Hall pl West

pl Bundrck fig Metropoltan Museum o Art New York c Rchter and Hall pl Martn von Wagner Museum Unversty o Wuumlrzburg L c Passet fig Metropoltan Museum o Art New York c Bundrck fig

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(W ) parallel lnes across the sound box a eature whch ponts towards thepossble use o thongs concevably assocated wth the fixng o the skn onto

the sound boxIn W W and W a clearly arched-shaped lne runs along the best part o

the sound box probably a slender exble wooden rod possbly connected wth the tghtenng o the skn or smply a decoratve mot panted onto theskn lke some other such mots all over the sound box profile

Fnally n all five depctons the number o strngs o the trgōnon s fiteenor over (W = W W M gt W = ) In W W and M the strngs runparallel to the pllar as they stretch rom the sound box to the yoke wth thelongest strng next to the pllar and the shortest ar away rom t Surprsnglyn W and W the longest strng s stuated n the mddle o the sound box

whle two smlar sets o strngs stretch across the rame one to the uprght pl-lar and the other to the horzontal yoke In ths way the pllar becomes tsel asecond yoke The act that both types o strngng have been gven by the samepanter (the Washng Panter) does not allow us to dsregard the possblty o the exstence o two varetes one wth all strngs attached to the horzontal

yoke and another wth two sets o strngs each set endng to a derent armo the nstrument

The examnaton o the dscussed conography despte the observed ds-smlartes suggests at least that the trgōnon ) had the shape o a rght-angletrangle ) had a spndle-shaped sound box ) had a skn or a sound boardstretched all over the sound box ) rested wth ts yoke along the let thgh o the player and ) had a large number o strngs fiteen or more

As regards the temporal range o the exstence o the trgōnon n general onthe one hand the extant lterature on t provdes us wth the span early th toend o rd century BC (Aeschylus Apollodorus) whle on the other the extantconography on t gves a more narrow stretch rom to BC (Washng

Panter Medas Panter) Thus the date o the Daphnē burals based on the whte-ground lēkytho o Grave I (- BC) alls ncely wthn the tem-poral lmts establshed by the lterature and conography on the trgōnon (- BC)

C Herbg Contra Herbg See the paper o Erka Smon and Irma Wehgartner above

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3 DescrptonmdashInterpretaton

For easy reerence to the varous parts o the nstrument symbols are herentroduced whch correspond to both the numbers gven to tems by the exca- vator (see pl I) and the nventory numbers gven to them by NAM (tablebelow)

ΝAM excavator(sound box) S = S+S + (arm) A = A+A + +(rod) R = R+R [](lamella) L = L+L+L []++ []

S corresponds to the sound box (wth S and S beng the two major ragmentso t) A s the survvng arm (A and A beng the two ragments o t) R reersto the strng holder (R and R beng the two survvng parts o t) L stands orthe bronze lamella along the lsquokeel o the sound box (L L L beng the threemajor peces o t) An expected second arm has not survved Whether themssng arm was the yoke or the pllar o the harp wll be nvestgated below

a The Sound Box

The sound box (see Pl VI a) was undoubtedly made by hollowng out a longpece o wood It has a boat-lke shape wth a at lsquospne runnng downts entre length on the outsde upon whch s naled the decoratve bronzelamella Ths spne (see Pl VI b) mantans ts top wdth (cm) down tothe th cm o ts length (cm) and rom there on t begns to wane gently down to the bottom end o the sound box ( at cm at cm)There seems to be no urther reducton n the wdth o the spne beyond that

pont and over the last cm the lsquotal o the sound box The overall length

Numbers n square brackets n the excavator column allocate tems to the specfied groupnumbers n the Grave Sketch

Herbg (-) ollowed by Wegner ( -) and West ( and ) callsthe nstrument a Spndelhare (spndle-harp) on the grounds o the shape o ts sound box wdern the mddle wanng along ts ends Although ths observaton s ndeed correct accordng to theconography the sound box o the Daphnē nstrument s straght along ts lsquokeel and the upperpart o ts nternal sde narrowng only below the mddle pont o the nternal sde Hence t wouldnot be approprate to apply the term spndle-harp to the Daphnē nstrument It s concevablethereore that the lsquospndle shape gven by the two panters s not a realstc renderng o theactual sound box In addton statc problems mght occur the endsmdashespecally the top junctonmdashwere as slender as those n the depctons

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o the sound box rom the pont t touches the arm (A) to the end o the lsquotals cm A trangular pece o sold wood (see Pl VI c) seems to have been

let uncarved at the top end o the sound box undoubtedly to create a socket-and-spgot juncton wth arm A Although the spgot has pershed (see Pl VId) the rectangular socket cut nto the arm s ntact Nne small nals survvngon ether sde o arm A all along the lne o contact between the arm and thesound box (see Pl II b amp VI c) must have prevented the arm rom splttngIt s nterestng that the socket was opened at rght angles to the arm and notn the drecton o the axs o the sound box ths was probably done to coun-teract the slppage due to the pullng orces o the strngs

The sdes o the sound box (see Pl VI b) n ther present state do not haveexactly the same shape and dmensons Ths s surely due to the warpng andtorson whch the sound box has undergone The sde whch lay on the ground

was aected most by the dampness o the oor and the pressure o the weghto the sound box above t There s no doubt the sound box was orgnally sym-metrcal about ts longtudnal axs The best survvng sde should be our guden our reconstructon o the sound box The wdth o the best sde s about cmat ts juncton wth arm A (see Pl VI a) then stays constant to about cmdown the rm rom there gradually dmnshng untl t reaches cm at cm

down the spne Beyond that pont the wood breaks n a way that does notallow us to orm an exact pcture o the remanng part However the otherlsquobad sde despte ts poor condton mantans ts rm down to ts lower endsupplyng us wth the much desred normaton lackng rom the other sde

We can thereore project the decreasng rate o the wdth o the lsquobad sde tothe lsquogood sde somethng that wll enable us to reconstruct the ntal shapeand sze o the whole sound box

Along the rms o both sdes o the sound box p-shaped notches have beencut out nsde whch have been placed small pegs (see Pl VI a) Along the

good sde there are sx ntact notches wth ther pegs n place and a relabletrace o a seventh notch Two o the pegs are complete (the th and the throm above) the rest beng ragmentary Along the poorly preserved sde thereare eght notches seven stll carryng ther pegs All seven pegs are ragmentary on ths sde It s very lkely that a nnth peg where the wall o the bad sde haspershed exsted Smlarly at the lower end two more pegs must be assumedat the end o the good sde n accordance wth those on the other sde

Pl VI b s a drawng n scale o the plan vew o the sound box as t s today wth notches and pegs n ther places It s obvous rom ths drawng that

the first peg o the bad sde s mssng and that another two pegs are mssng

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rom the lower part o the good sde All n all there were orgnally nne pegsalong the bad sde and eght pegs along the good sde (see Pl VI c) It should

be ponted out that the pegs do not brdge the openng o the sound box butextend a lttle beyond the spne Also they are not placed acng each otherbut alternate at rregular ntervals the pegs nearer the ends are close to eachother whle those near the centre are urther apart It s very probable thatthe pegs near the tal o the sound box were a lttle shorter than those at thecentre as the sound box narrows down at the lower end There seems to be alogc behnd the placement o the pegs a central one on the bad sde (No )s anked by our pars o lsquoacng pegs on each sde o t The pars are sym-metrcally arranged about the central peg There s only one dscrepancy thesecond peg on the bad sde should have been to the let o ts counterpart onthe good sde The problem most probably has arsen because o the warp-ng o the sound box caused by the loss o materal at the upper end o thebad sde We could correct ths aw by dsplacng the bad sde a lttle n thedrecton o ts orgnal poston untl the problematc peg assumes a postonsmlar to the correspondng peg on the other sde o the sound box Once thssht takes place the lsquocentral peg moves a lttle towards the upper sde o thesound box so that t stands at equal dstances rom the outer pars o pegs

(see Pl VI d)The pegs undoubtedly supported the strng holder somehow the way n whch they are fixed to the walls o the sound box nsde the notches suggestsths knd o uncton The pullng orce (F) o the strng holder on each pegcould be thought o as analyzed nto two perpendcular components one nthe drecton o the longtudnal axs o the sound box (F) and another comngout o the openng o the sound box (F) (see Pl VI e) The first component sbalanced by the upward reacton o the sound box wall (-F) and the seconds counterbalanced by the reacton o the upper sde o the notch (-F) Thus

the outward pull on the peg whch would have caused t to slp out o the notch(F) s counteracted by the resstance provded by the upper wall o the notchThe upwardly curved desgn o the pegs s ntended to transmt the orces romthe pont o contact wth the strng holder to ts base nsde the wall o thesound box The tght connecton between pegs and sound box ensures an opt-mum transer o vbraton rom the strng holder to ts rms whether the strngholder les above or below the pegs Also the overall orce o the strng holderonto the pegs due to the tenson o the strngs tends to open up the soundboard counteractng the undesrable closng up o the sound box caused by

the tenson o the leather soundboard

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

Page 4: Chrēstos Terzēs - The Daphnē Harp

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(W ) parallel lnes across the sound box a eature whch ponts towards thepossble use o thongs concevably assocated wth the fixng o the skn onto

the sound boxIn W W and W a clearly arched-shaped lne runs along the best part o

the sound box probably a slender exble wooden rod possbly connected wth the tghtenng o the skn or smply a decoratve mot panted onto theskn lke some other such mots all over the sound box profile

Fnally n all five depctons the number o strngs o the trgōnon s fiteenor over (W = W W M gt W = ) In W W and M the strngs runparallel to the pllar as they stretch rom the sound box to the yoke wth thelongest strng next to the pllar and the shortest ar away rom t Surprsnglyn W and W the longest strng s stuated n the mddle o the sound box

whle two smlar sets o strngs stretch across the rame one to the uprght pl-lar and the other to the horzontal yoke In ths way the pllar becomes tsel asecond yoke The act that both types o strngng have been gven by the samepanter (the Washng Panter) does not allow us to dsregard the possblty o the exstence o two varetes one wth all strngs attached to the horzontal

yoke and another wth two sets o strngs each set endng to a derent armo the nstrument

The examnaton o the dscussed conography despte the observed ds-smlartes suggests at least that the trgōnon ) had the shape o a rght-angletrangle ) had a spndle-shaped sound box ) had a skn or a sound boardstretched all over the sound box ) rested wth ts yoke along the let thgh o the player and ) had a large number o strngs fiteen or more

As regards the temporal range o the exstence o the trgōnon n general onthe one hand the extant lterature on t provdes us wth the span early th toend o rd century BC (Aeschylus Apollodorus) whle on the other the extantconography on t gves a more narrow stretch rom to BC (Washng

Panter Medas Panter) Thus the date o the Daphnē burals based on the whte-ground lēkytho o Grave I (- BC) alls ncely wthn the tem-poral lmts establshed by the lterature and conography on the trgōnon (- BC)

C Herbg Contra Herbg See the paper o Erka Smon and Irma Wehgartner above

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3 DescrptonmdashInterpretaton

For easy reerence to the varous parts o the nstrument symbols are herentroduced whch correspond to both the numbers gven to tems by the exca- vator (see pl I) and the nventory numbers gven to them by NAM (tablebelow)

ΝAM excavator(sound box) S = S+S + (arm) A = A+A + +(rod) R = R+R [](lamella) L = L+L+L []++ []

S corresponds to the sound box (wth S and S beng the two major ragmentso t) A s the survvng arm (A and A beng the two ragments o t) R reersto the strng holder (R and R beng the two survvng parts o t) L stands orthe bronze lamella along the lsquokeel o the sound box (L L L beng the threemajor peces o t) An expected second arm has not survved Whether themssng arm was the yoke or the pllar o the harp wll be nvestgated below

a The Sound Box

The sound box (see Pl VI a) was undoubtedly made by hollowng out a longpece o wood It has a boat-lke shape wth a at lsquospne runnng downts entre length on the outsde upon whch s naled the decoratve bronzelamella Ths spne (see Pl VI b) mantans ts top wdth (cm) down tothe th cm o ts length (cm) and rom there on t begns to wane gently down to the bottom end o the sound box ( at cm at cm)There seems to be no urther reducton n the wdth o the spne beyond that

pont and over the last cm the lsquotal o the sound box The overall length

Numbers n square brackets n the excavator column allocate tems to the specfied groupnumbers n the Grave Sketch

Herbg (-) ollowed by Wegner ( -) and West ( and ) callsthe nstrument a Spndelhare (spndle-harp) on the grounds o the shape o ts sound box wdern the mddle wanng along ts ends Although ths observaton s ndeed correct accordng to theconography the sound box o the Daphnē nstrument s straght along ts lsquokeel and the upperpart o ts nternal sde narrowng only below the mddle pont o the nternal sde Hence t wouldnot be approprate to apply the term spndle-harp to the Daphnē nstrument It s concevablethereore that the lsquospndle shape gven by the two panters s not a realstc renderng o theactual sound box In addton statc problems mght occur the endsmdashespecally the top junctonmdashwere as slender as those n the depctons

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o the sound box rom the pont t touches the arm (A) to the end o the lsquotals cm A trangular pece o sold wood (see Pl VI c) seems to have been

let uncarved at the top end o the sound box undoubtedly to create a socket-and-spgot juncton wth arm A Although the spgot has pershed (see Pl VId) the rectangular socket cut nto the arm s ntact Nne small nals survvngon ether sde o arm A all along the lne o contact between the arm and thesound box (see Pl II b amp VI c) must have prevented the arm rom splttngIt s nterestng that the socket was opened at rght angles to the arm and notn the drecton o the axs o the sound box ths was probably done to coun-teract the slppage due to the pullng orces o the strngs

The sdes o the sound box (see Pl VI b) n ther present state do not haveexactly the same shape and dmensons Ths s surely due to the warpng andtorson whch the sound box has undergone The sde whch lay on the ground

was aected most by the dampness o the oor and the pressure o the weghto the sound box above t There s no doubt the sound box was orgnally sym-metrcal about ts longtudnal axs The best survvng sde should be our guden our reconstructon o the sound box The wdth o the best sde s about cmat ts juncton wth arm A (see Pl VI a) then stays constant to about cmdown the rm rom there gradually dmnshng untl t reaches cm at cm

down the spne Beyond that pont the wood breaks n a way that does notallow us to orm an exact pcture o the remanng part However the otherlsquobad sde despte ts poor condton mantans ts rm down to ts lower endsupplyng us wth the much desred normaton lackng rom the other sde

We can thereore project the decreasng rate o the wdth o the lsquobad sde tothe lsquogood sde somethng that wll enable us to reconstruct the ntal shapeand sze o the whole sound box

Along the rms o both sdes o the sound box p-shaped notches have beencut out nsde whch have been placed small pegs (see Pl VI a) Along the

good sde there are sx ntact notches wth ther pegs n place and a relabletrace o a seventh notch Two o the pegs are complete (the th and the throm above) the rest beng ragmentary Along the poorly preserved sde thereare eght notches seven stll carryng ther pegs All seven pegs are ragmentary on ths sde It s very lkely that a nnth peg where the wall o the bad sde haspershed exsted Smlarly at the lower end two more pegs must be assumedat the end o the good sde n accordance wth those on the other sde

Pl VI b s a drawng n scale o the plan vew o the sound box as t s today wth notches and pegs n ther places It s obvous rom ths drawng that

the first peg o the bad sde s mssng and that another two pegs are mssng

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rom the lower part o the good sde All n all there were orgnally nne pegsalong the bad sde and eght pegs along the good sde (see Pl VI c) It should

be ponted out that the pegs do not brdge the openng o the sound box butextend a lttle beyond the spne Also they are not placed acng each otherbut alternate at rregular ntervals the pegs nearer the ends are close to eachother whle those near the centre are urther apart It s very probable thatthe pegs near the tal o the sound box were a lttle shorter than those at thecentre as the sound box narrows down at the lower end There seems to be alogc behnd the placement o the pegs a central one on the bad sde (No )s anked by our pars o lsquoacng pegs on each sde o t The pars are sym-metrcally arranged about the central peg There s only one dscrepancy thesecond peg on the bad sde should have been to the let o ts counterpart onthe good sde The problem most probably has arsen because o the warp-ng o the sound box caused by the loss o materal at the upper end o thebad sde We could correct ths aw by dsplacng the bad sde a lttle n thedrecton o ts orgnal poston untl the problematc peg assumes a postonsmlar to the correspondng peg on the other sde o the sound box Once thssht takes place the lsquocentral peg moves a lttle towards the upper sde o thesound box so that t stands at equal dstances rom the outer pars o pegs

(see Pl VI d)The pegs undoubtedly supported the strng holder somehow the way n whch they are fixed to the walls o the sound box nsde the notches suggestsths knd o uncton The pullng orce (F) o the strng holder on each pegcould be thought o as analyzed nto two perpendcular components one nthe drecton o the longtudnal axs o the sound box (F) and another comngout o the openng o the sound box (F) (see Pl VI e) The first component sbalanced by the upward reacton o the sound box wall (-F) and the seconds counterbalanced by the reacton o the upper sde o the notch (-F) Thus

the outward pull on the peg whch would have caused t to slp out o the notch(F) s counteracted by the resstance provded by the upper wall o the notchThe upwardly curved desgn o the pegs s ntended to transmt the orces romthe pont o contact wth the strng holder to ts base nsde the wall o thesound box The tght connecton between pegs and sound box ensures an opt-mum transer o vbraton rom the strng holder to ts rms whether the strngholder les above or below the pegs Also the overall orce o the strng holderonto the pegs due to the tenson o the strngs tends to open up the soundboard counteractng the undesrable closng up o the sound box caused by

the tenson o the leather soundboard

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

Page 5: Chrēstos Terzēs - The Daphnē Harp

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3 DescrptonmdashInterpretaton

For easy reerence to the varous parts o the nstrument symbols are herentroduced whch correspond to both the numbers gven to tems by the exca- vator (see pl I) and the nventory numbers gven to them by NAM (tablebelow)

ΝAM excavator(sound box) S = S+S + (arm) A = A+A + +(rod) R = R+R [](lamella) L = L+L+L []++ []

S corresponds to the sound box (wth S and S beng the two major ragmentso t) A s the survvng arm (A and A beng the two ragments o t) R reersto the strng holder (R and R beng the two survvng parts o t) L stands orthe bronze lamella along the lsquokeel o the sound box (L L L beng the threemajor peces o t) An expected second arm has not survved Whether themssng arm was the yoke or the pllar o the harp wll be nvestgated below

a The Sound Box

The sound box (see Pl VI a) was undoubtedly made by hollowng out a longpece o wood It has a boat-lke shape wth a at lsquospne runnng downts entre length on the outsde upon whch s naled the decoratve bronzelamella Ths spne (see Pl VI b) mantans ts top wdth (cm) down tothe th cm o ts length (cm) and rom there on t begns to wane gently down to the bottom end o the sound box ( at cm at cm)There seems to be no urther reducton n the wdth o the spne beyond that

pont and over the last cm the lsquotal o the sound box The overall length

Numbers n square brackets n the excavator column allocate tems to the specfied groupnumbers n the Grave Sketch

Herbg (-) ollowed by Wegner ( -) and West ( and ) callsthe nstrument a Spndelhare (spndle-harp) on the grounds o the shape o ts sound box wdern the mddle wanng along ts ends Although ths observaton s ndeed correct accordng to theconography the sound box o the Daphnē nstrument s straght along ts lsquokeel and the upperpart o ts nternal sde narrowng only below the mddle pont o the nternal sde Hence t wouldnot be approprate to apply the term spndle-harp to the Daphnē nstrument It s concevablethereore that the lsquospndle shape gven by the two panters s not a realstc renderng o theactual sound box In addton statc problems mght occur the endsmdashespecally the top junctonmdashwere as slender as those n the depctons

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o the sound box rom the pont t touches the arm (A) to the end o the lsquotals cm A trangular pece o sold wood (see Pl VI c) seems to have been

let uncarved at the top end o the sound box undoubtedly to create a socket-and-spgot juncton wth arm A Although the spgot has pershed (see Pl VId) the rectangular socket cut nto the arm s ntact Nne small nals survvngon ether sde o arm A all along the lne o contact between the arm and thesound box (see Pl II b amp VI c) must have prevented the arm rom splttngIt s nterestng that the socket was opened at rght angles to the arm and notn the drecton o the axs o the sound box ths was probably done to coun-teract the slppage due to the pullng orces o the strngs

The sdes o the sound box (see Pl VI b) n ther present state do not haveexactly the same shape and dmensons Ths s surely due to the warpng andtorson whch the sound box has undergone The sde whch lay on the ground

was aected most by the dampness o the oor and the pressure o the weghto the sound box above t There s no doubt the sound box was orgnally sym-metrcal about ts longtudnal axs The best survvng sde should be our guden our reconstructon o the sound box The wdth o the best sde s about cmat ts juncton wth arm A (see Pl VI a) then stays constant to about cmdown the rm rom there gradually dmnshng untl t reaches cm at cm

down the spne Beyond that pont the wood breaks n a way that does notallow us to orm an exact pcture o the remanng part However the otherlsquobad sde despte ts poor condton mantans ts rm down to ts lower endsupplyng us wth the much desred normaton lackng rom the other sde

We can thereore project the decreasng rate o the wdth o the lsquobad sde tothe lsquogood sde somethng that wll enable us to reconstruct the ntal shapeand sze o the whole sound box

Along the rms o both sdes o the sound box p-shaped notches have beencut out nsde whch have been placed small pegs (see Pl VI a) Along the

good sde there are sx ntact notches wth ther pegs n place and a relabletrace o a seventh notch Two o the pegs are complete (the th and the throm above) the rest beng ragmentary Along the poorly preserved sde thereare eght notches seven stll carryng ther pegs All seven pegs are ragmentary on ths sde It s very lkely that a nnth peg where the wall o the bad sde haspershed exsted Smlarly at the lower end two more pegs must be assumedat the end o the good sde n accordance wth those on the other sde

Pl VI b s a drawng n scale o the plan vew o the sound box as t s today wth notches and pegs n ther places It s obvous rom ths drawng that

the first peg o the bad sde s mssng and that another two pegs are mssng

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rom the lower part o the good sde All n all there were orgnally nne pegsalong the bad sde and eght pegs along the good sde (see Pl VI c) It should

be ponted out that the pegs do not brdge the openng o the sound box butextend a lttle beyond the spne Also they are not placed acng each otherbut alternate at rregular ntervals the pegs nearer the ends are close to eachother whle those near the centre are urther apart It s very probable thatthe pegs near the tal o the sound box were a lttle shorter than those at thecentre as the sound box narrows down at the lower end There seems to be alogc behnd the placement o the pegs a central one on the bad sde (No )s anked by our pars o lsquoacng pegs on each sde o t The pars are sym-metrcally arranged about the central peg There s only one dscrepancy thesecond peg on the bad sde should have been to the let o ts counterpart onthe good sde The problem most probably has arsen because o the warp-ng o the sound box caused by the loss o materal at the upper end o thebad sde We could correct ths aw by dsplacng the bad sde a lttle n thedrecton o ts orgnal poston untl the problematc peg assumes a postonsmlar to the correspondng peg on the other sde o the sound box Once thssht takes place the lsquocentral peg moves a lttle towards the upper sde o thesound box so that t stands at equal dstances rom the outer pars o pegs

(see Pl VI d)The pegs undoubtedly supported the strng holder somehow the way n whch they are fixed to the walls o the sound box nsde the notches suggestsths knd o uncton The pullng orce (F) o the strng holder on each pegcould be thought o as analyzed nto two perpendcular components one nthe drecton o the longtudnal axs o the sound box (F) and another comngout o the openng o the sound box (F) (see Pl VI e) The first component sbalanced by the upward reacton o the sound box wall (-F) and the seconds counterbalanced by the reacton o the upper sde o the notch (-F) Thus

the outward pull on the peg whch would have caused t to slp out o the notch(F) s counteracted by the resstance provded by the upper wall o the notchThe upwardly curved desgn o the pegs s ntended to transmt the orces romthe pont o contact wth the strng holder to ts base nsde the wall o thesound box The tght connecton between pegs and sound box ensures an opt-mum transer o vbraton rom the strng holder to ts rms whether the strngholder les above or below the pegs Also the overall orce o the strng holderonto the pegs due to the tenson o the strngs tends to open up the soundboard counteractng the undesrable closng up o the sound box caused by

the tenson o the leather soundboard

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

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o the sound box rom the pont t touches the arm (A) to the end o the lsquotals cm A trangular pece o sold wood (see Pl VI c) seems to have been

let uncarved at the top end o the sound box undoubtedly to create a socket-and-spgot juncton wth arm A Although the spgot has pershed (see Pl VId) the rectangular socket cut nto the arm s ntact Nne small nals survvngon ether sde o arm A all along the lne o contact between the arm and thesound box (see Pl II b amp VI c) must have prevented the arm rom splttngIt s nterestng that the socket was opened at rght angles to the arm and notn the drecton o the axs o the sound box ths was probably done to coun-teract the slppage due to the pullng orces o the strngs

The sdes o the sound box (see Pl VI b) n ther present state do not haveexactly the same shape and dmensons Ths s surely due to the warpng andtorson whch the sound box has undergone The sde whch lay on the ground

was aected most by the dampness o the oor and the pressure o the weghto the sound box above t There s no doubt the sound box was orgnally sym-metrcal about ts longtudnal axs The best survvng sde should be our guden our reconstructon o the sound box The wdth o the best sde s about cmat ts juncton wth arm A (see Pl VI a) then stays constant to about cmdown the rm rom there gradually dmnshng untl t reaches cm at cm

down the spne Beyond that pont the wood breaks n a way that does notallow us to orm an exact pcture o the remanng part However the otherlsquobad sde despte ts poor condton mantans ts rm down to ts lower endsupplyng us wth the much desred normaton lackng rom the other sde

We can thereore project the decreasng rate o the wdth o the lsquobad sde tothe lsquogood sde somethng that wll enable us to reconstruct the ntal shapeand sze o the whole sound box

Along the rms o both sdes o the sound box p-shaped notches have beencut out nsde whch have been placed small pegs (see Pl VI a) Along the

good sde there are sx ntact notches wth ther pegs n place and a relabletrace o a seventh notch Two o the pegs are complete (the th and the throm above) the rest beng ragmentary Along the poorly preserved sde thereare eght notches seven stll carryng ther pegs All seven pegs are ragmentary on ths sde It s very lkely that a nnth peg where the wall o the bad sde haspershed exsted Smlarly at the lower end two more pegs must be assumedat the end o the good sde n accordance wth those on the other sde

Pl VI b s a drawng n scale o the plan vew o the sound box as t s today wth notches and pegs n ther places It s obvous rom ths drawng that

the first peg o the bad sde s mssng and that another two pegs are mssng

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rom the lower part o the good sde All n all there were orgnally nne pegsalong the bad sde and eght pegs along the good sde (see Pl VI c) It should

be ponted out that the pegs do not brdge the openng o the sound box butextend a lttle beyond the spne Also they are not placed acng each otherbut alternate at rregular ntervals the pegs nearer the ends are close to eachother whle those near the centre are urther apart It s very probable thatthe pegs near the tal o the sound box were a lttle shorter than those at thecentre as the sound box narrows down at the lower end There seems to be alogc behnd the placement o the pegs a central one on the bad sde (No )s anked by our pars o lsquoacng pegs on each sde o t The pars are sym-metrcally arranged about the central peg There s only one dscrepancy thesecond peg on the bad sde should have been to the let o ts counterpart onthe good sde The problem most probably has arsen because o the warp-ng o the sound box caused by the loss o materal at the upper end o thebad sde We could correct ths aw by dsplacng the bad sde a lttle n thedrecton o ts orgnal poston untl the problematc peg assumes a postonsmlar to the correspondng peg on the other sde o the sound box Once thssht takes place the lsquocentral peg moves a lttle towards the upper sde o thesound box so that t stands at equal dstances rom the outer pars o pegs

(see Pl VI d)The pegs undoubtedly supported the strng holder somehow the way n whch they are fixed to the walls o the sound box nsde the notches suggestsths knd o uncton The pullng orce (F) o the strng holder on each pegcould be thought o as analyzed nto two perpendcular components one nthe drecton o the longtudnal axs o the sound box (F) and another comngout o the openng o the sound box (F) (see Pl VI e) The first component sbalanced by the upward reacton o the sound box wall (-F) and the seconds counterbalanced by the reacton o the upper sde o the notch (-F) Thus

the outward pull on the peg whch would have caused t to slp out o the notch(F) s counteracted by the resstance provded by the upper wall o the notchThe upwardly curved desgn o the pegs s ntended to transmt the orces romthe pont o contact wth the strng holder to ts base nsde the wall o thesound box The tght connecton between pegs and sound box ensures an opt-mum transer o vbraton rom the strng holder to ts rms whether the strngholder les above or below the pegs Also the overall orce o the strng holderonto the pegs due to the tenson o the strngs tends to open up the soundboard counteractng the undesrable closng up o the sound box caused by

the tenson o the leather soundboard

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

Page 7: Chrēstos Terzēs - The Daphnē Harp

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rom the lower part o the good sde All n all there were orgnally nne pegsalong the bad sde and eght pegs along the good sde (see Pl VI c) It should

be ponted out that the pegs do not brdge the openng o the sound box butextend a lttle beyond the spne Also they are not placed acng each otherbut alternate at rregular ntervals the pegs nearer the ends are close to eachother whle those near the centre are urther apart It s very probable thatthe pegs near the tal o the sound box were a lttle shorter than those at thecentre as the sound box narrows down at the lower end There seems to be alogc behnd the placement o the pegs a central one on the bad sde (No )s anked by our pars o lsquoacng pegs on each sde o t The pars are sym-metrcally arranged about the central peg There s only one dscrepancy thesecond peg on the bad sde should have been to the let o ts counterpart onthe good sde The problem most probably has arsen because o the warp-ng o the sound box caused by the loss o materal at the upper end o thebad sde We could correct ths aw by dsplacng the bad sde a lttle n thedrecton o ts orgnal poston untl the problematc peg assumes a postonsmlar to the correspondng peg on the other sde o the sound box Once thssht takes place the lsquocentral peg moves a lttle towards the upper sde o thesound box so that t stands at equal dstances rom the outer pars o pegs

(see Pl VI d)The pegs undoubtedly supported the strng holder somehow the way n whch they are fixed to the walls o the sound box nsde the notches suggestsths knd o uncton The pullng orce (F) o the strng holder on each pegcould be thought o as analyzed nto two perpendcular components one nthe drecton o the longtudnal axs o the sound box (F) and another comngout o the openng o the sound box (F) (see Pl VI e) The first component sbalanced by the upward reacton o the sound box wall (-F) and the seconds counterbalanced by the reacton o the upper sde o the notch (-F) Thus

the outward pull on the peg whch would have caused t to slp out o the notch(F) s counteracted by the resstance provded by the upper wall o the notchThe upwardly curved desgn o the pegs s ntended to transmt the orces romthe pont o contact wth the strng holder to ts base nsde the wall o thesound box The tght connecton between pegs and sound box ensures an opt-mum transer o vbraton rom the strng holder to ts rms whether the strngholder les above or below the pegs Also the overall orce o the strng holderonto the pegs due to the tenson o the strngs tends to open up the soundboard counteractng the undesrable closng up o the sound box caused by

the tenson o the leather soundboard

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

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b The Strng Holder

The long slender wooden prsmatc rod seemngly wder at one end was nodoubt the strng holder o the nstrument (see Pl II c VI b) The act that t snot shown n the grave plan suggests that t lay nsde the sound box at the tmeo dscovery The rod has suered both torson and warpng The wder endtrangular n cross secton s orgnal There s a small shallow hole n the md-dle o ts ace The other narrower end s most probably not the orgnal endsnce t does not preserve ts ntal ace It s concevable thereore that somepart o t s mssng It wll later be argued that there are statc reasons why thestrng holder should be longer n a structure o ths knd The survvng length

o the rod s cm made up by two peces saely joned together one cm andanother cm long There are twenty-sx small holes along ts length at near-equal dstances (mean value cm) all o the same dameter (mm) andstuated on the peak sde o the prsmatc rod Most probably the rod ollowedthe curvature o the rm o the sound box and t s assumed that t was fixed tothe pegs n some way and along the axs o the sound box The hole nearer the

wde end stands at a dstance o cm away rom t and the hole nearer theother end s at a dstance o cm away rom t Obvously there were no urtherholes or strngs beyond the twenty-sxth as the remanng dstance (cm) s

larger than the average nter-hole dstance (cm) The most lkely postonor the strng holder s or t to be brought n contact wth the top nternal wallo the sound box at the pont where the sound box meets the pllar the reasonbeng that a hgher poston o the strng holder wll gve as a result a longertop strng or there would be no reason to waste valuable workng space aval-able on the nstrument

The sgnficant queston arses where exactly nsde the sound box shouldthe strng holder be placed Two possbltes present themselves as the only realstc scenaros ) the strng holder les above the pegs (lsquosts on them so tospeak) or ) the strng holder s attached to the pegs rom below (lsquohangs romthem) In what ollows the pros and cons o each poston wll be evaluated

The strng holder above the pegs Whchever the way the rod s fixed to thepegs n ths configuraton care must be taken to ensure that the pegs do notnterere wth the strngs n any way because ths would be destructve o both

C the vew expressed by the compler o the NAM Bronze Collecton Inventory BookTheodōros Hēlopoulos under tem πιθανὴ ἀρχικὴ θέση τῆς ράβδου κατὰ μῆκος τοῦ ἀνοιχτοῦμέρους τοῦ ἠχείου τῆς ἅρπας στηριζομένης ἴσως ἐπὶ τῶν συνεχῶν ἐγκαρσίων μικρῶν ραβδίσκων

Interestngly one daktylosmdashone sxteenth o the pous (an ancent Hellenc unt o length)mdashcorresponds to cm

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

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strng materal and sound qualty takng nto account that the holes n the rodare equdstant at cm rom each other Ths however turns out to be mpos-

sble snce n the cases o at least three holes the strngs would come nto con-tact wth the pegs (see Pl VI a) A structure o ths knd would o courseproduce a firm attachment o the rod to the pegs wth the result o havng agood transmsson o vbratons to the sound box but leaves out o account thenvolvement o the (leather) sound board n the amplficaton o the soundthere s no drect physcal contact between the board and the rod Thus thesound board assumes a more decoratve role rather than a unctonal one A thrd problem wth ths scenaro s that replacng a broken strng would requreopenng up the leather sound board a rather unattractve task The way n

whch the leather pece was astened to the sound box should o course bedecded beore a final nterpretaton s made o the whole structure However

we shall postpone a dscusson o the soundboard or later The strng holder below the pegs In ths case (see Pl VI b) the strng

holder s attached to the pegs above t by thongs and a close contact wththe pegs s ensured by tghtenng the thongs as much as possble The apex o the prsmatc rod s n ths set up acng downwards and presses down onto theleather board The strngs o the nstrument pass through holes opened nto

the lsquosandwched rod and are ted onto t n the usual harp manner The asset o ths configuraton s that there s no obstructon n the way o the strngs butmost mportantly the strng vbratons pass straght to the leather board androm there to the sound box A replacement o a broken strng can be easly done externally wthout havng to loosen up the leather Obvously ths s thebest soluton the strng holder lyng between the pegs and the sound board

c The Sound Board

We must now deal wth the problem o astenng the leather board onto thesound box As no secure marks o any knd are observed by the naked eye onthe wooden walls o the sound box and the avalable conographc evdence onthe trgōnon s not conclusve on ths matter alternatve methods wll be sug-gested and ther eect evaluated Usually the leather was ether cut aroundthe edges o the sound box and ted around ts perphery (Pharaonc lute andHellenc chelys) or embraced the sound box completely (Egyptan harps)The two alternatves are assessed below

See Mannche pl or a tortoseshell Pharaonc lute o the Frst Kngdom n the BrtshMuseum () pl or a well preserved th Dynasty Pharaonc arched harp n the BrtshMuseum () and pl or a Pharaonc angular harp o the Late Perod n the Louvre ()

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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Plate VI Iconography on the Trgōnon

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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Plate VI c Components o Arm A

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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Plate VI c Trgōnon restored (drawng to scale)

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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Plate VI b Daphnē Trgōnon replca overall vew

Page 10: Chrēstos Terzēs - The Daphnē Harp

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Leather over the rm I the lyre style astenng s assumed wth the leathercoverng only the rm ths mght not perhaps be enough to secure a good and

constant tghtenng o the leather over the openng o a long box especally across t external thongs would have been requred whch would pass overthe keel o the sound box and counteract the tendency o the tght leather tocompress the openng o the box Although conography seems to suggest theuse o such leather supports (see Pl VI ) no observable traces o such thongsare let on the sdes o the sound box or even more sgnficantly along theedges o the keel o the nstrument the edges are square cut and are survvngn excellent condton As there s a naled metallc element along the spne o the sound box the thongs must be thought o as gong over t a choce whchmght not be regarded as aesthetcally vable

Leather embracng the sound box Alternatvely the leather covered the whole o the sound box the metallc element along the spne could be thoughto not only as a decoraton but manly as a means o securng the leather ontothe sound box the lamella runs over the lne o contact o the edges o the twosdes o the leather provdng thus n an aesthetc way a cover up o a poten-tally mperect lsquoseam In ths set up no supportve thongs are requred as theleather s satsactorly tght and the lamella s not aesthetcally downgraded by

been overrdden by thongs The queston o course remans what are the par-allel lnes across the sound box whch appear n the avalable conography

d The Nature o the Survvng Arm ( A )

Peces A and A have been thought o n the present reconstructon as belong-ng to the same arm (A) Indeed the two ragments do seem to belong togetheras ther cross secton (timescm see Pl II a amp VI c) and other ormal detalsare the same most characterstcally a seres o alternatng dark and lght par-allel lnes cuttng across ther wdth whch seems to be a unyng actor Thesgnficant queston s to whch o the two sdes o the trgōnon does arm A correspond the vertcal pllar or the horzontal yoke

Had t been the yoke that s the arm recevng the strngs at rght angles andcarryng the tunng mechansms (kollopes) the large tenson o the twenty sx strngs would have created an excessve moment about the A-S juncton tend-ng to dslodge the spgot on S rom ts socket on A whle the (lost) pllar andts juncton wth the delcate end o the sound box would have suered very hgh tensons leadng to racture and collapse o the rame In addton the

See Secton above

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rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI Iconography on the Trgōnon

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

Page 11: Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

rectangular cross-secton o (yoke) A would not have been o a sutable shapeor the rotatonal movements o the tunng rngs

Had arm A been the pllar the strngs would run parallel to t on ther way to the (lost) yoke In ths case the overall moment o the strngs about the

A-S juncton would have secured the juncton and would have held the threemembers o the trangular rame n a statcally sound state The rectangularcross-secton o the pllar would not then be a problem Thereore there s nodoubt that the survvng member A s the uprght pllar o the nstrument

There s no reason to beleve that part o the length o A has been lost desptethe absence o the orgnal ace at ts lower end The gap let between A and

A n the Exhbton layout s also not necessary snce the survvng length o A (cm) together wth the survvng length o S (cm) and the known anglebetween them () create a trangle wth a angle at the A-B juncton Thsresult s n accord wth the conographc evdence on the trgōnon

e The ( Mssng ) Yoke

It has already been establshed that the survvng member A s the pllar andnot the yoke o the nstrument The pertnent queston then s why has noteven a trace o the yoke survved On the assumpton that the harp was lad

nsde the grave ntact wth ts yoke n place the absence o the yoke mustsomehow be explaned There s no reason to beleve that the nstrument wasnot placed wth ts yoke n a horzontal poston much n the way t wouldhave been held by a lvng harpst It s reasonable to assume that beng nclose contact wth the damp oor o the grave t was the part o the nstrument

whch deterorated first The ollowng scenaro s most plausbleThe junctons at the extremtes o the yoke deterorate and cannot wth-

stand the weght o the structure (A+S) above them the orces exerted on therame (weght the oor vertcal reacton and the horzontal wall reacton)create moments whch set up stresses nsde the members o the structurecausng racture at the weakest pont o t as the sound box s the most pro-tected (covered by skn) and elastc (hollow) member o the structure and the

A-S juncton s firm (spgot-socket and nals) the pont whch s most lkely to yeld under the acton o the exerted orces s where A actually broke whch

The lsquooor vertcal reacton s caused by the part o the weght o the trangle exerted on thepllar-yoke juncton A-B Its drecton s vertcal (rom the ground to the top o the grave) Thelsquohorzontal wall reacton s caused by the part o the weght o the trangle whch s exerted atthe pont where the A-S juncton meets the sde wall o the grave Its drecton s horzontal (romone sde wall to the other)

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI Iconography on the Trgōnon

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

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Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

Page 12: Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

happens to be the thnnest part o A the compresson o A under the weghto the sound box causes a orward (towards the body) movement o the lower

part o A (A) whch s as a result ejected across the body n the place wheret was ound at the same tme the sound box wth the top part o A (A) stllfixed to t drops rom some heght to the ground rather orceully on top o the

yoke due to the weght o the sound box wth ts open end acng the wall thetop part o A (A) reed rom ts attachment to the sound box rotates about tsaxs towards the body by and alls next to the sound box wth ts socketacng away rom the wall n the way t was ound the sound box takes tsfinal poston

The scenaro descrbed above that the nstrument was placed nsde thegrave wth ts yoke on the oor s hghly credble because ) t explans thesurvval and the poston o the pllar (A) ) t explans the loss o the yoke

whch lsquosacrficed tsel so to speak n order or the sound box to be savedmdashhence ts loss and ) t explans the orentaton o both sound box and the toppart o A (A)

Despte the loss o the yoke ts orgnal length can be estmated becausethe lengths o the other two members o the (orthogonal) trgōnon are knownI y a s are the lengths o the yoke the pllar and the sound box respectvely

then by applyng the Pythagorean theorem

y s a= minus the length o the yoke(y) s ound to be cm Also the angle between the yoke and the sound box can be calculated because the other two angles o the trangle are known thatbetween pllar and sound box (deg) and that between pllar and yoke (deg) Asthe sum o the three angles o any trangle s deg the angle between the yokeand the sound box s ound to be deg

The structure o the survvng lower end o the sound box suggests that the yoke nested nsde t between the lsquoaps o the sound box on ether sde o tthe lsquoaps would prevent any lateral dsplacement o the yoke whle the lsquoguls

cut nto the sound box would not allow any slppage o the yoke out o the juncton (see Pl VI a) Undoubtedly the lower end o the strng holder wouldhave gone nto the yoke to some lttle extent n order to prevent any down-

ward slppage o t caused by the excessve pull o the strngs Thereore theorgnal length o the strng holder must have been greater than the survvngcm a length o cm s needed n order or the strng holder to be fixed atboth ends (top o pllar and end o yoke) The survvng strng holder s there-ore shorter than the orgnal by cm

y ( ) ( ) cm= + minus + = minus = cong

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI Iconography on the Trgōnon

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Most probably the cross secton o the yoke at ts connecton pont wtharm A must have been rectangular (see Pl VI b) n order to ensure a better fit

between the two members wth the yoke lyng below the pllar so that the pullo the strngs strengthens the jont However along the rest o ts length the

yoke must have been cylndrcal t were to uncton as a lsquoyoke wth rotatngleather kollopes As leather tunng rngs provde a good grp on the yoke t s

very unlkely that ther rubbng aganst the thgh o the muscan durng play-ng o the nstrument would cause slppage o the rngs on the yoke thus aect-ng the tunng At the same tme the leather rngs would prevent the wholenstrument rom slppng down the lap o the player

4 The Trigōnon Assemblng the Parts

As has already been shown the rame o the harp can be reconstructed n tsorgnal orm and sze (external dmensons) sound box cm pllar cm

yoke cm angle between pllar and sound box angle between pllar and yoke angle between sound box and yoke The nternal dmensons o the rame can be ound by subtractng the wdths o the wooden members romthe respectve external dmensons Ths s necessary n order or the strng

lengths to be calculated Gven that the strng holder was placed at the very topo the sound box and that the first strng hole s at cm down the rod andhavng establshed that the th strng hole s at cm down the rod we candefine the magnary trapezodal area wthn whch the strngs were located Its a logcal assumpton that the strngs were vertcal meetng the yoke at rghtangles (see Pl VI c)

It ollows that the theoretcal length o the longest strng s cm and aseach successve reducton n the length o the remanng strngs s cm theshortest strng s ound to be cm The dstance between the strngs s oundto be cm a value whch alls perectly wthn the strng spacng range ( tocm) we encounter n modern harps Perhaps cm s an optmum value sothat on the one hand the strngs can be as near the fingers o the harpst aspossble whle on the other there s enough space on the yoke or accommo-datng ndvdual leather tunng rngs

An attempt was made to buld a replca based on the results o the analyssabove (see Pl VI a) The sound box the pllar and the pegs were carved out o peces o lme wood chosen or ts relatve sotness For the strng holder and

the yoke the harder pnk Angola mahogany was preerred The strng holder was ted to the pegs wth strong waxed strng n order to ensure the best

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI Iconography on the Trgōnon

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

Page 14: Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

possble contact o t wth the pegs and also n order to provde a downwardpull to the pegs whch n turn would tend to open up the edges o the sound

box Ths acton would counteract the tenson o the stretched skn over thesound box whch would tend to close up the edges o t The skn covered theentre sound box as was done n ancent Egyptan harps t was stretched whlestll wet and held n poston wth strong clps and a small amount o dluted

wood glue For the sound board a Greek goat skn was used Plan gut strngso mm dameter were stretched across the rame and fixed to the yoke by leather thongs n the way t s done n our contemporary Myanmar (Burmese)harp saugraveng-gauk The strngs were ted onto the strng holder by percngthe skn on ether sde o the strng holder at the postons o the holes Fnallya bronze lamella was naled all along the seam o the two sdes o the leatherrunnng down the lsquokeel o the sound box (See Pl VI b)

The theoretcally estmated strng lengths above are modfied n practcesnce n practce the thckness o the leather (mm) the upper strng knot(mm) and the lower tunng rng (mm) reduce the strng lengths by about cmThereore the longest strng o the replca s cm and the shortest cm

Bblography Bundrck S Musc and Image n Classcal Athens (Cambrdge)Guttormsen S Rngve Museum Trondhem (Trondhem)Herbg R Grechsche Haren Athensche Mttelungen - plus tablesKaumann-Samaras A laquoἩ μουσικὴ στὸ γάμο τῆς ἀρχαίας Ἑάδαςraquo Ἀρχαιοογία -Maas M Snyder JM Strnged Instruments o Ancent Greece (New Haven and London)Mannche L Musc and muscans n ancent Egypt (London)Paquette D Lrsquo nstrument de musque dans la ceacuteramque de la Gregravece antque eacutetudes

drsquoorganologe (Pars)Pasett A Non arguta sonant tenu psaltera corda Lrsquoarpa dallrsquoantchtagrave preclassca allrsquoalto

Medoevo (Bologna)Rchter GMA Red-figure Athenan Vases n the Metropoltan Museum o Art (New Haven) Wegner M Das Muskleben der Grechen (Berln) West ML Ancent Greek Musc (London)mdashmdash When s a harp a panppe The meanng o πηκτίς CQ -

For a good photograph o the saugraveng-gauk see Guttormsen

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI Iconography on the Trgōnon

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2027

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

Page 15: Chrēstos Terzēs - The Daphnē Harp

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Fragments o the harp beore restoraton

Plate VI b Fnds rom thelsquoTomb o the Poet as exhbted at PeraasMuseum

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI Iconography on the Trgōnon

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 1827

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2027

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI Iconography on the Trgōnon

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Sde vew o the sound box

Plate VI b Exploded vew o the three sdes o the sound box

Plate VI c The top sold top o the sound box

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI d Rectangular socket on arm A (pllar)

Plate VI e Forces exerted on each peg

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 a

S i d e o f t h e s o

u n d b o x d r a w i n g t o s c a l e

P l a t e V I

4 b

P l a n v i e w o f t h e s o u n d

b o x a s i t i s t o d a y ( d r a w i n g

t o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

P l a t e V I 4 c

P e g s r e s t o r e d i n t h e i r p l a c e s ( d r a w i n g t o s c a l e )

P l a t e V

I 4 d

P e g s l o c a t e d i n t h e i r o

r i g i n a l p o s i t i o n s ( d r a w i n g t

o s c a l e )

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Pegs attached to the rms o the sound box

Plate VI b The strng holder

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Strng holder lyng above the pegs (drawng to scale)

Plate VI b Strng holder tghtened below the pegs (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2627

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2727

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Components o Arm A

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2627

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2727

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a The sound box-yoke juncton (drawng to scale)

Plate VI b The pllar-yoke juncton (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2627

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

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7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI c Trgōnon restored (drawng to scale)

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2727

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

Page 26: Chrēstos Terzēs - The Daphnē Harp

7272019 Chrēstos Terzēs - The Daphnē Harp

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C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI a Daphnē Trgōnon replca wooden rame wth strng holder nposton

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2727

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew

Page 27: Chrēstos Terzēs - The Daphnē Harp

7272019 Chrēstos Terzēs - The Daphnē Harp

httpslidepdfcomreaderfullchrestos-terzes-the-daphne-harp 2727

C Terzēs Greek and Roman Muscal Studes 1 ( 2013 ) 123-149

Plate VI b Daphnē Trgōnon replca overall vew