I happened to stumble across the following document in the course of my research into the influence of Henry VI on the linguistics of personal correspondence. I at once recognized its importance to those who study the traditional music of the British Isles, and so, after translation by Teresa Nielsen Hayden, I hasten to share it.
Honored Sir: We have fulfilled your commission to the best of our abilities, as witness the accompanying parcel. I must confess, however, that we are not entirely satisfied with the result. I beg to submit that the problem lies, not in the quality of our work, but in the instrument itself. To speak to the particulars.
Primus: You should be aware that the resonant qualities of breastbone are significantly inferior to the timbre, sustain, and richness of tone that are characteristic of spruce, walnut, cherry, &c.
Secundus: Perhaps the original luthier naively failed to realize that harps customarily use strings of varying thickness? The strings supplied, while quite an attractive color, are of identical gauge, which means they require drastically different degrees of tension to produce notes covering the desired range. This is especially troublesome in light of the next problem.
Tertius: Fingerbones are far too brittle & irregular to make effective tuning pegs. We have strengthened the bones with several coats of resin & some Sugru(tm), but precise tuning is not to be had from them.
In sum, while the instrument should be playable, I fear it will have a very limited repertoire. Still, we have done our best, & can only hope that you are satisfied. We are returning the instrument in a wood & leathern case, at no additional cost to you, in hopes that the harp will be less temperamental if it is protected from the dreadful wind & the rain.
Messrs Corby & Corby, Luthiers