As an ardent enthusiast of the lute, that impossible instrument, Peter Decleyn has had the privilege for several years now, almost every day, of spending some time between the sounds of the sixteenth and seventeenth centuries. A few months ago, by chance, an idea grew into a small project in his ceramics studio, which he conveniently called ‘testudo’: a number of free associations born of the lute, its shape and the often so mysterious titles of the repertoire.
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