There is scant historical information concerning the rosin used on 16th and 17th century string instruments. We rely essentially on Hans Gerle’s treatise (‘Musica Teusch’, Nuremberg,1532) and Marin Mersenne’s (‘Harmonie Universelle’, Paris, 1636). These documents refer to the use of colophony in its pure state, i.e. not mixed with other resinous components and not subjected to specific technological treatments.
Before the mid 18th century we find recipes that give precise details of the delicate (and often laborious) processes for making the finest rosin: i.e. those best suited to contemporary instruments (which generally had higher working tensions than we find today).
Field of application
For those convinced that authentic criteria should be adopted where possible, this is rosin that scrupulously follows the indications of an Italian-recipe dating to the mid 18th century.
It functions well in all climatic conditions and its characteristics are such that it can be used on most stringed instruments. Players have found that it works particularly well for mid range instruments.