Fourths tuning was the older mandola/mandolin standard. This is generally true of plucked instruments along the Silk Road. Trebles change the least, and basses vary greatly in number and tuning.
If you can play two strings a fourth apart, you can pick up most any plucked string instrument from China to Italy.
All these instruments with flat finials instead of violin style scrolls (see those in the top right of the chart) can be traced back to the Central Asian/Greater Iranian barbat. I can hypothesize this because that same decorative pattern is found on lutes that have traveled outward from there: the Chinese pipa and Japanese biwa, the Yemeni qanbus, the East African gabbus/gabusi, the older styles of Italian mandolin, mandola, and colascione, and several varieties of cittern including the guitara portuguesa and the 18th century English guittar [sic].
Here is a baroque mandolino (Anglophone historical performance specialists have taken to appending the italian -o to the baroque mandolin to distinguish it from modern ones. This is stupid). It is in fourths tuning, though I believe the lowest sounding two courses are a major third apart (which aligns the outer courses at two octaves).
Gut strings on gut frets. Less clangy than post-industrial revolution steel wire.
N.B. the accompanying lutenist is playing an historically inaccurate archlute with single courses on the fingerboard, instead of the historically ubiquitous (as far as we know) double courses. This is all the rage in Europe, much to the blogger's dismay.