Mandora by Gregori Ferdinand Wenger (1726) | BrightrootA finely crafted lute made from pale, golden-hued maple. The wood gleams with a soft, honey-like warmth, and the grain flows in gentle, wave-like patterns across its surface. Though simple in design, the instrument carries a quiet charm, bright and welcoming in both appearance and sound.
Its shape is well-balanced, with a slender neck that rests comfortably in the hands. Around the soundhole, faint carvings circle the edge; subtle curves that resemble leaves or flowing ribbons, worn smooth by time and touch.
The strings, evenly spaced and carefully tuned, produce a clear, cheerful tone. Each note carries easily through the air, crisp and light, as if meant to be played beneath open skies or beside a morning hearth. This lute does not boast, but it invites. It speaks of songs played from memory, stories shared among friends, and the kind of music that stays in the heart long after it fades from the ear. For safekeeping, it is always wrapped with great care in a yellow-hued soft fabric. |
Cittern, 34cm mensur, possibly English, circa 1600 | NaraThe instrument is clearly well cared for, its body made from dark chestnut wood with a rich, polished finish. The grain runs deep and warm, showing soft ripples of red and brown beneath the smooth surface.
The neck is decorated with care. A few faded bands of soft fabric wrap around it, each dyed in muted colors like green, blue, and red. Between them, simple patterns have been applied with dark dye; small lines and shapes that hint at personal meaning rather than decoration.
Though it carries no jewels or fancy carvings (with the exception of one carbing on the bottom of the soundbox), the guitar has a quiet charm. It feels like the kind of instrument that has traveled far, played often, and holds more than one memory in its strings. It is often seen wrapped in a paster orange fabric made from soft material. |
 | Silent BeatA round wooden tambourine with a well-worn frame, its light oak surface smooth from years of handling. The wood has taken on a soft, golden sheen with age, and faint marks hint at countless performances across dusty roads and busy markets.
Small metal jingles are set evenly around its edge, their tone bright but not harsh. A few bear tiny dents or slight warping, signs of use rather than neglect. The drumhead is stretched tight and firm, made from treated hide, lightly stained with faded dye in a sunburst pattern that once burned bright but now rests in gentle earth tones.
Tied through one of the frame holes hangs a narrow ribbon, frayed at the ends and dyed deep red. Whether a keepsake or simply a personal touch, it moves with every shake, adding a flicker of color to the rhythm.
For storage, she wraps the tambourine in a soft fabric of light red hue. Though simple, this tambourine carries a life of its own. It hums with energy, ready to keep pace with a dancer’s footfall, a fireside chant, or a tale brought to life with song and beat. |
 | AlphonseA beautiful instrument, though clearly not of a set with the bow. The soundboard is crafted from pale spruce, its light grain smooth and tight, while the neck and back are shaped from rich, dark maple that glows warmly beneath layers of careful polish.
Though modest in detail, it is unmistakably well-loved. Every inch of wood gleams with care, and the strings remain clean and free of rust. Signs of frequent use are softened by the attention given to them; this is not just an instrument, but a companion.
It is often kept wrapped in soft blue fabric, the cloth worn smooth at the edges. Whether for protection or sentiment, the gesture suggests a musician who knows the value of what they carry. |
 | Love's EndA beautiful and clearly cherished violin bow, crafted from dark, polished cedar that catches the light with a warm, reddish sheen. It is clearly not a set with the violin. The bow hair is fine, but strong and well-kept, still holding tension as if it remembers every note it ever helped sing.
At its tip, a small crimson stone is set into the wood. Though modest in size, it gleams with quiet elegance; a subtle touch of something precious.
Near the base of the bow, two sets of initials are inscribed in careful calligraphy. The first reads C.C.R., the carving neat and deliberate, likely made when the bow was first hers. Beneath it, added later with steadier hands and even greater precision, is another inscription: M.C. The style is slightly different, more refined; perhaps reverent.
Though simple in design, the bow holds more than craftsmanship. It carries memory, loss, and the echo of music once shared.
It is often seen wrapped in a deep crimson soft fabric, placed and retrieved from her bag with great care and tenderness. |
