Cardano, Girolamo, De subtilitate, 1663

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              <s id="s.011158">
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              no, & trishemitonio, ditonum fugiens. </s>
              <s id="s.011159">At
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              hæc parua ſunt interualla, ſed minora ſunt
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              Enarmonici dieſibus diſtincta, & ob id dul­
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              cior chromatico harmonia. </s>
              <s id="s.011160">Vt verò exem­
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              plum eius habeas in elymis, vt in quinto
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              muſicæ docuimus, tremula vox parum aper­
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              to foramine, hemitoniorum, minimè autem
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              tonorum dieſim efficit: quæ perpetuò fu­
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              giens in ſingulis vocibus incredibilem affert
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              ſuauitatem. </s>
              <s id="s.011161">Aliud in cheli ( poſtquam Or­
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              gana huius non ſunt capacia ) ſumamus,
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              exemplum. </s>
              <s id="s.011162">Scis interualla in cheli hemito­
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              nio ſingula diſtingui: ſentis tremulas voces,
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              quæ dimidium tantùm vocis interualli ſupe­
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                <figure id="id.016.01.250.1.jpg" xlink:href="016/01/250/1.jpg" number="109"/>
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              rant, atque ideò dieſim quantam dulcedinem
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              retineant: finge modò ſingulis currentis ma­
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              nus ictibus tremulas voces interſeri, & cogi­
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              ta, quàm incredibilem harmoniam ſis audi­
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              turus. </s>
              <s id="s.011163">Sed in cheli vnus non poterit ſe ex­
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              plicare. </s>
              <s id="s.011164">Commodior lyra eſt, quia etiam ma­
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              gis retinet voces. </s>
              <s id="s.011165">Sed antiqui inſtrumenta
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              ad hoc apta conficiebant, inter quorum
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              chordas interualla dieſum erant conſtituta.
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              </s>
              <s id="s.011166">Extremæ verò eiſdem locis, quæ conſonan­
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              tiam efficiunt, neceſſariò in omni diateſſaro
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              reponuntur. </s>
              <s id="s.011167">Verùm in Diatonico duos ad­
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              didimus neruos, alterum ſub imo, reliquum
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              ſupra ſupremum, vt humitoniorum ratio
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              conſtaret. </s>
              <s id="s.011168">Nuper Nicolaus Vincentius Mo­
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              nochordium conſtruxit per dieſes diuiſum,
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              vt tonos ſingulos in quinque ſemitonia mi­
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              nora in duo diuideret. </s>
              <s id="s.011169">Sunt autem in com­
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              muni inſtrumento claui triginta candidi, to­
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              ni ergo viginti, & vnus: ſemitonia 8. minora
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              in inferiore ordine. </s>
              <s id="s.011170">In ſuperiore nigri claui,
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              viginti, ſemitonia autem 49. Ergo Chroma­
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              ticum hoc habet claues quinquaginta, in­
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              terualla quadraginta nouem. </s>
              <s id="s.011171">Semitonia ma­
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              iora viginti, minora viginti octo, tonos vi­
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              ginti vnum. </s>
              <s id="s.011172">Exiſtimat ergo in quatuor illis
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              ordinibus, quorum duo ſunt ſuperiores, duo
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              candidorum clauorum, totidem nigrorum,
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              diuiſis minoribus tonis in duas dieſes, vt
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              fiant quinquaginta ſex: maioribus in tres,
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              vt fiant ſexaginta: vt ſint omnes centum ac
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              ſexdecim, claui verò centum ac decem &
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              ſeptem, inde pro indiuiſo (de quo dixi) tono
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              dieſes quinque totidémque claui conſtare.
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              </s>
              <s id="s.011173">Enarmonicum monochordium vocibus cen­
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              tum ac viginti vna, clauis autem vno plus.
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              </s>
              <s id="s.011174">Certè ad commodum non inutilis ratio, ſed
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              non omninò exquiſita. </s>
              <s id="s.011175">Lucretia quoque
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              Todeſcha Bononienſis puella, in cheli addi­
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              dit ſex chordas, vt eſſent decem & ſeptem
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              ternæ in ſuperioribus quinque ordinibus.
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              </s>
              <s id="s.011176">Nete autem, quæ ſingularis eſſet geminata.
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              </s>
              <s id="s.011177">Quæ Hypates obtinuit locum duas ſuperio­
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              res habuit vniſonas, tertiam diapaſon inter­
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              uallo: quatuor medij ordines vniſonum
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              trium fidium concentum retinuerunt. </s>
              <s id="s.011178">Du­
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              plex habet incommodum hæc conſtructio:
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              ſpaciorum anguſtiam, vt niſi digiti ſint gra­
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              ciles admodum longi chorauléſque
                <expan abbr="præſtãs">præſtans</expan>
              ,
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              qualis illa erat, quæ cum decimum
                <expan abbr="ſeptimũ">ſeptimum</expan>
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              ageret annum, nemini poſt haberi poſſet
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              difficultatem, & confuſionem non leuem ſit
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              paritura: tantúſque numerus fidium è neruis
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              vix poſſit in certa contentione diu manere.
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              </s>
              <s id="s.011179">Cæterùm illi difficultas addidit decorem: &
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              ob artis præſtantiam, ſuauitatem mirabilem.
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              </s>
              <s id="s.011180">Cùm verò duo ſint extrema, &
                <expan abbr="mediũ">medium</expan>
              , quod
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              vocant Tenorem, in diuerſis vocibus (nam
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              quæ de diateſſaro dicta ſunt, ad
                <expan abbr="vnã">vnam</expan>
              tantùm
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              referuntur) vox quarta Altus adiecta eſt, quę
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              quòd vacua repleat, cæteris ſuauitate præ­
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              ſtat: cùm enim rei iam perfectæ aliquid addi­
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              tur artificiosè, ad ornatum plurimùm con­
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              ducere ſolet. </s>
              <s id="s.011181">Ob id omnibus vocibus hæc mi­
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              ra arte conuenit. </s>
              <s id="s.011182">Obſeruat hæc vnicè graui­
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              tonam, contra quam ſæpè in ſupremum ſe
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              attollit: modò quaſi in grauitonam mutata,
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              in profundum ſe mergit, ſublimiorem har­
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              moniæ totius vocem contrario motu obſer­
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              uans. </s>
              <s id="s.011183">Plerunque circa mediam ſpatia com­
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              plendo ludit. </s>
              <s id="s.011184">Quo fit vt cùm nobiliſſima ſit,
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              præclaram etiam exigat cantatoris naturam,
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              & ingenium: quibus fit deſtituatur, nulla
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              prorſus euadit. </s>
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              <s id="s.011185">
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              Chromatici
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              Enarmonici
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              Diateſſari
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              inuentio.</s>
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              <s id="s.011186">
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              Altus vox
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              nobiliſſima.</s>
            </p>
            <p type="main">
              <s id="s.011187">Porrò facilis eſt notarum cantus: notas
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              vocamus, Vt, Re, Mi, Fa, Sol, La: ſed
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              proferre verba, difficilius. </s>
              <s id="s.011188">Ideò cùm notas
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              prius diſcant pueri, ad verba ſæpè cum dif­
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              ficultate non leui transferuntur. </s>
              <s id="s.011189">Fit autem
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              hæc tranſlatio tribus modis. </s>
              <s id="s.011190">Primus eſt, vt
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              quia diapente, diapaſon, diateſſaron, &
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              cæteras medias conſonantias, itémque ſe­
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              ptimam, & nonam, & ſecundam aure diſ­
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              cat, & proferre voce, atque ita ſub illa
                <expan abbr="vocũ">vocum</expan>
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              magnitudine verba ac ſyllabas potiùs pro­
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              ferat, quod arduum ſanè eſt, quoniam ſex­
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              ta, & tertia duplices ſunt, nec licet eas
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              proferre ſine imaginatione notarum atque
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              ita ſi alteram pro altera ſuppoſueris, ſemito­
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              nio diſcordabis à reliquis vocibus. </s>
              <s id="s.011191">Secundus
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              modus eſt, vt mente concipias quocunque
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              ſpatio ac linea, quæ vox & quanta eſſe </s>
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