Like most modern reconstruction clavichords, the instrument is not painted. This is based on the sometimes controversial view that owners of clavichords were professional musicians who would not have the resource to decorate it. The clavichord was mostly used as a practice instrument by organists: after all before the convenience of modern electricity, all organs needed to be pumped by apprentices. The lack of decorations or paintings of modern reproduction clavichords also came from the popularity of modern reproductions of German and Swedish late Baroque/Classical era clavichords, which were historically usually not painted.
I hold the view of another group of scholars who believe that wealthy people do use clavichords. I believe this is especially true during the early Renaissance as clavichords were the more popular instruments than the mechnically more complicated harpsichords. Keyboard instruments in private homes meant the clavichord.
The clavichord was originally owned by my friend Scott. Maria and I decided to make this clavichord more interesting by painting it. This is not as easy as one thinks, for we need to do a lot of research into Proto-Renaissance French and Burgundian Art, and also Siennese style painting which was popular throughout Europe at the time. The right color, the right patterns, the right subjects, the right inscription, and the right fonts. For example, do you know that there was no true red before 1500, and all red was actually red-orange or shades or orange? Dye that enabled us to have true red did not become available until materials began to be imported from the New World to Europe after Columbus' discovery.
Maria is the one who does the design and the main painting, while I help out working on various parts of the instruments (including repairs, restringing and revoicing) and also some minor painting work.
We decide to keep a photo journal here to illustrate the progress of this transformation. Click on the pictures to see a larger version.
