This is the view from our room in the Pension Avalon Tara on Havelska across the roof tops of the Old Town toward Saint Vitus Cathedral and Prague Castle. Thomas Edlinger's workshop is out of sight below and to the left of St. Vitus. Over the last several years I have examined lutes by Edlinger in New York, Vermillion South Dakota, Leipzig and Prague. There are a number of features that make these lutes intriguing. Edlinger utilized bowls, bellies and roses from older lutes as well as building entirely new lutes. This was common practice in the 18th century. Many of the bowls can be identified as the work of major 17th century makers and therefore the inventory of older lutes is usefully expanded. Edlinger was a master at constructing lutes that were comfortable to play. All of the fingerboards and necks of the instruments I examined were thoughtfully and carefully, though quickly, made. His designs for the chantrelle and bass riders are attractive and functional. Naturally, I incorporate these designs in the construction of my models of his instruments. The difficulty with modeling baroque lutes directly from his examples is that they are all large; with fretted string lengths of 77 – 80 centimeters. I use NMM 10213 in Vermillion (National Music Museum) as a model for both a large baroque lute and a small theorbo. The museum's companion to this instrument, NMM 10214, has an 80 centimeter fretted string length and is constructed with a 21 rib shaded yew bowl. I use this lute as the inspiration for a smaller baroque lute constructed on an appropriately sized multi-rib bowl.