From Musick's Monument, Thomas Mace (1676), pp.65-68:

The first and chief thing is, to be carefull to get good strings, which would be of three sorts, viz. Minikins, Venice-Catlins, and Lyons, (for basses: ) There is another sort of strings, which they call Pistoy basses, which I conceive are none other than thick Venice-Catlins, which are commonly dyed, with a deep dark red colour.

They are indeed the very best, for the basses, being smooth and well-twisted strings, but are hard to come by; however out of a good parcel of Lyon strings, you may (with care) pick those which will serve very well.

And out of these three sorts, first, chuse for your trebles, 2ds, 3ds, and some of your small octaves, (especially the sixth) out of your Minikins.

Then out of your Venice-Catlins, for your 4ths, 5ths, and most of your other octaves.

Your Pistoys, or Lyons, only for the great basses.

There is a small sort of Lyons, which many use, for the octaves; but I care not for them, they being constantly rotten, and good for little, but to make frets of.

Now that you may know, all these strings, and also how to know good, from bad, take these following observations.

First know, that Minikins are made up always, in long-thin-small knots, and 60 are to be in a bundle.

Venice-Catlins are made up, in short double knots,and 30 doubles in a bundle.

Both which, are (generally) at the same price, and the signs of goodness, both the same; which are, first the clearness of the string to the eye, the smoothness, and stiffness to the finger, and if they have those two qualities, dispute their goodness no further.

The Lyon string, is made up in a double knot; but as long as the Minikin.

They are sold (commonly) by the dozens, and not made up into bundles. Their goodness may be perceiv'd, as were the other: but they are much more inferiour strings than the other.

I have sometimes seen strings of a yellowish colour, very good; yet, but seldom; for that colour is a general sign of rottenness, or of the decay of the string.

There are several sorts of coloured strings, very good; but the best (to my observation) was always the clear blue; the red, commonly rotten; sometimes green, very good.

As concerning the keeping of your strings, you must know, there ought to be a choice care taken; for they may be very good when you buy them, but spoiled in a quarter of an hours time, if they take any wet, or moist air. Therefore your best way is, to wrap them up close, either in an oyl'd paper, a bladder, or a piece of sear-cloth, such as often comes with them, which you may (haply) procure, of them who sell your strings: yet they are not very willing to part with it, except they sell a good quantity of strings together.

Which, when you have thus done, keep them in some close box, or cupboard; but not amongst linen, (for that gives moisture;) and let them be in a room where there is, or useth to be, a fire often: and when at any time you open them for your use, take heed, they lye not too long open, nor in a dark window, or moist place: for moisture is the worst enemy to your strings.

Forget not, to tye, or bind them close, or hard together.

I will now begin to help you to string your lute, and the first thing I would have you take notice of, is to know how to pull out a string well; for I have seen many a good string spoil'd for wantof the best way, and care in this particular: and thus it is;

Your Minikins and Venice-Catlins, will generally run quite out, after you begin to pull them at the right end.

In your Minikin, observe to find the running end.

Then take it either with your fingers, or your teeth, (holding the contrary end fast with your finger and thumb, to keep it from ruffling, or running upon cross twists) so may you draw it quite out, to the twisted place; the which you must be careful to untwist, otherwise you will draw it into a knot, and so lose a good, (or it may be the best) part of your string.

Thus will most strings run out easily; yet sometimes they will run a-cross, and not come out well, without your farther care; which must be, to find out the other twisted end,and so with a pin, or some such thing, open that twist, by which means you will save your string, otherwise (if you force it) you spoil, or break it.

Secondly, when your string is well open, and you find it smooth, and free from knots, try its strength, by taking it at one end in both hands, pulling it so hard, till you perceive it strong, or rotten; and if it be a right good strong string, it will many times endanger the cutting into your flesh, rather than it will break, yea, although it be a small treble-minikin string: but your Venice-Catlins will scarcely be broken, by a mans (reasonable) strength.

Thirdly, when you are thus far satisfied concerning the fitness of your choice, both for strength and size, then endeavour to find, a true length of that string, for your purpose, (the which is both a pritty curiosity to do, and also necessary;) and thus 'tis done.

First, draw out a length, or more, then take the end, and measure the length it must be of, within an inch or two, (for it will stretch so much at least, in the winding up) and hold that length in both hands, extended to a reasonable stiffness; then with one of your fingers strike it, giving it so much liberty, in slackness,as you may see it vibrate, or open it self; which if it be true, it will appear to the eye, just as if there were two strings; but if it shews more than two, it is false, and will sound unpleasantly, upon your instrument; nor will it ever be well in tune, either stopt or open, but snarle.