|
|
13-201 |
vihuela de péñola |
13cent |
Castile |
ARTWORK
Late 13th century fresco attributed to Antonio Sánchez de Segovia in the old cathedral in Salmanca, in the Capilla de San Martín, also known as the Capilla de Aceite.
INSTRUMENT
This is one of the few illustrations from before 1400 that show an i |
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|
15-126 |
rabel |
15cent |
Aragon |
ARTWORK
Book of Hours of the Bishop Juan Rodríguez de Fonseca (1451-1524). The Manuscript is of 15th-century Flemish provenance and belongs to the Real Seminario de San Carlos Borromeo (Zaragoza). There is a full-colour reproduction published by Siloé. Th |
|
|
15-201a |
vihuela de arco |
15cent/2/mid |
Castile |
ARTWORK
In this portico of the church of San Martin (Noia, La Coruña), completed in 1434, 9 of the 13 elders have musical instruments. They are all stringed instruments: 4 vihuelas, 2 psalteries, 2 harps and a rabel. Of the four vihuelas, three are held d |
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|
15-301a |
vihuela de mano |
15cent/3/late |
Aragon |
ARTWORK
Tempera and oil on wood with gold background. Dates from before 1492. The vihuelist is one of six large and three small angel musicians who surround the Madonna and Child that forms the central panel of the Retablo di Castelsardo, in the Cattedral |
|
|
15-302 |
viola da mano (vihuela) |
15cent/3/late |
Papal States |
ARTWORK
“Music” from the monumental fresco “Quadrivium” painted by Bernardino Pinturicchio’s workshop, ca 1493, located in the Borgia Apartments of the Vatican, Rome. Comissioned by Alexander VI, soon after his election to the Papacy in 1492. The player o |
|
|
15-324b |
vihuela de mano |
15cent/3/late
16cent/1/early |
Aragon |
ARTWORK
Tempera and oil on wood with gold background. Dated after 1492. Size of remaining fragments 389 x 272 cm. The figure playing the vihuela is a male angel, and is one of six intrumentalists who probably flanked the central panel of the retablo. More |
|
|
15-327a |
vihuela de mano |
15cent/3/late
16cent/1/early |
Aragon |
ARTWORK
Regarded as anonymous by some writers, some art historians have attributed the painting that includes this angel to be the work of the Maestro of San Lázaro. This is not confirmed, however. Woodfield dated the painting as early 16th century (wood |
|
|
15-334 |
vihuela de mano |
15cent/3/late |
Aragon |
ARTWORK
The “Madonna and Child” featuring this vihuela-playing angel is a Hispano-Flemish work of the Aragonese school, dated late in the 15th century. It was a section of the altarpiece Retablo de Santa Ana, formerly in the Collegiate church in Játiva bu |
|
|
15-345 |
vihuela de mano |
15cent/3/late |
Florence |
ARTWORK
Les Noces de Thétis et Pelée [The marriage of Thetis and Peleus] (c.1490-1501) [R. F. 1346] is a painting by Bartolomeo di Giovanni, active in Florence 1488-1501. The painting was originally a panel of a marriage chest, possibly together the Corté |
|
|
15-349a |
vihuela de mano |
15cent/3/late |
Aragon |
ARTWORK
This fresco was discovered in June 2004 during restoration of the Cathedral. It had been hidden above a baroque ceiling superimposed on top of it. The works were commissioned by Cardenal Rodrigo Borgia on 21 May 1496 and were realised by Paolo de |
|
|
15-354a |
lute |
15cent/2/mid |
Aragon |
ARTWORK
The on-line catalogue of the Museu Nacional d’Art de Catalunya suggests that this painting may have been the central compartment of an altarpiece dedicated to the Virgin, and affirms it as one of Pedro García de Benabarre's most successful works. |
|
|
15-354b |
lute |
15cent/2/mid |
Aragon |
ARTWORK
The on-line catalogue of the Museu Nacional d’Art de Catalunya suggests that this painting may have been the central compartment of an altarpiece dedicated to the Virgin, and affirms it as one of Pedro García de Benabarre's most successful works. |
|
|
15-360 |
vihuela de mano |
15cent/3/late |
Italy |
ARTWORK
From the Retablo of the church of San Pietro, Tuili, Sardinia. Oil on wood, 5.50 x 3.50 m. Painted by the Master of Castelsardo.The retablo was originally located in the presbytery. It was commissioned by Giovanni and Violante Santa Cruz, lords o |
|
|
16-004 |
vihuela de mano |
16cent |
Castile |
Although the only photograph consulted so far (shown here) is not detailed, it depicts to be of an angel playing a vihuela de mano. From the photo here, the instrument appears to be a vihuela de mano, plucked rather than bowed as described by Angel de la |
|
|
16-101 |
vihuela de mano |
16cent/1/early |
Aragon |
ARTWORK
Anonymous, painting. Oil on wood, presumably from the early 16th century. Barcelona Cathedral.
INSTRUMENT
Angel musician plays a vihuela that is consistent with many other Spanish vihuela illustrations in its shape, size, and many of it features. |
|
|
16-109 |
vihuela de mano |
16cent/1/early |
Aragon |
ARTWORK
Wood panel. Fragment of the altarpiece of Iglesia de Santa María, parish church, Tamarite de Litera (Huesca), formerly a collegiate church. The altarpiece was commissioned in 1500 and completed in 1503. The commission was to Miguel Ximénez and his |
|
|
16-110 |
viola da mano (vihuela) |
16cent/1/early |
Papal States (?) |
ARTWORK
Angel playing a viola da mano in the “Coronation of the Elect in the Earthly Paradise” south wall • Luca Signorelli, fresco executed between 1499 and 1505. Minamino explains that the scene closely resemble’s Dante’s description (minamino2004-2, 18 |
|
|
16-112 |
vihuela de mano |
16cent/1/early |
Castile |
ARTWORK
Oil painting (on wood?) by Andrés López and Antonio de Vega, Iglesia de la Santísima Trinidad, Plaza de la Trinidad, Segovia. 100 x 80 cm. Angel vihuelist, one of a group of angels surrounding the virgin in this account of the Coronation of the v |
|
|
16-113 |
vihuela de mano / guitarra |
16cent/1/early |
Aragon |
PRINT
Woodcut on the title page of Vocabularii molt profitos per aprendre lo Catalan Alamany y lo Alamany Catalan (Perpignan: Johan Rosembach, 1502). A type of Catalan-German dictionary. Unique copy: Barcelona, Biblioteca de Catalunya.
INSTRUMENT
5-stri |
|
|
16-114 |
vihuela de mano |
16cent/1/early |
Castile |
ARTWORK
The choir stalls in Burgos Cathedral were built between 1505 and 1512 by the Burgundian sculptor Felipe Vigarny, probably in association with the expert wood craftsman Andrés de Nájera. The work was oresumably finished by 1512 as the old choir sta |
|
|
16-115 |
vihuela de mano |
16cent/1/early |
Aragon |
ARTWORK
The altarpiece or retablo in the Iglesia de Nuestra Señora de Jesús on the town of Santa Eulalia (Ibiza) is usually called simply the “Retablo de Jesús” but has been called different names in the literature n the vihuela such as ‘La Virgen de los |
|
|
16-124 |
vihuela de mano |
16cent |
Castile |
The oldest surviving vihuela, this instrument could date from the early 16th century.
6-course vihuela. Detailed measurements and description in Bordás 1991 33ff. Length 1123 mm; two bridge positions indicating mensurs of 757 and 798mm.
The bass side of |
|
|
16-143 |
vihuela de mano |
16cent/1/early |
Castile |
ARTWORK
The portal of the Colegiata de Santa María in Calatayud was added in the 16th century and features the alabaster decorations made by Juan de Talavera and Esteban de Oloray. Their work was completed in 1525. At the top of the arched entrance to eit |
|
|
16-145 |
vihuela de mano / guitarra |
16cent |
Castile |
LOCATION
Polychromed wood sculpture of an angel with 4-course guitar. Originally made for the altar of the Cathedral in Avila but now in the Museo catedralicio, vitrina 10, no 141.
DESCRIPTION
Similar shape to 6-course vihuelas. Characteristics include a |
|
|
16-146 |
vihuela de mano |
16cent/1/early |
Castile |
ARTWORK
This pince carving originally from the palace of Pedro Fajardo y Chacón, first Marqués de Vélez Blanco, Vélez Blanco (Almería). is based on the print by Jacopo da Strasbourg of 1503. Current location: Musée des Arts Décoratifs, Paris. Carlos Gon |
|
|
16-147 |
vihuela de mano |
16cent/1/early |
Italy |
ARTWORK
Woodcut print in Jacopo da Strasbourg, Trivmphvs Caesaris (Venice, 1503). This illustration was the model used for the frises made for the Palace of the Marquis of Vélez Blanco (16-146).
INSTRUMENTS
The two vihuelas, variations on the same model |
|
|
16-166 |
vihuela de arco |
16cent/1/early |
Castile |
ARTWORK
This painting is tempera and gold on wood, attributed to the Maestro de Osma (fl. 1503-1516).
The provenance and current location of this painting are still unknown
INSTRUMENT
A finely painted vihuela de arco with small cornered waists in an othe |
|
|
16-167 |
vihuela |
16cent/1/early |
Castile |
The first set of regulations promulgated in Spain to regulate the activity of violeros. See document D0358. Mostly, it sets out the way that violeros were examined and whatthey were required to know. |
|
|
16-201 |
vihuela de mano |
16cent/2/mid |
Castile |
ARTWORK
The frontispiece of Narváez’s vihuela book, Los seys libros del Delphin, features a woodcut that shows the mythical figure Arion seated on the back of a dolphin playing the vihuela. It depicts the legend of the shipwrecked Arion being rescued by t |
|
|
16-202 |
vihuela de mano |
16cent/2/mid |
Aragon |
ARTWORK
This figure is the central figure of three saint musicians adorning the Convent of Santa Clara in Gandía (Valencia). A harpist stands to the left, a recorder player to the right. It is a panel from a larger painting, La Trinidad con querubines y á |
|
|
16-204 |
vihuela de mano / guitarra |
16cent/2/mid |
Castile |
ARTWORK
Woodcut included in Alonso Mudarra, Tres Libros de Musica, 1546, Libro III, fol [58], frame 221 of the Biblioteca Digital Hispana digital reproduction. It depicts a character named Psaltes kneeling while playing and singing. Unusually the vihuel |
|
|
16-208 |
vihuela de mano / guitarra |
16cent/2/mid |
Castile |
ARTWORK
Detail from the frontispiece of Francisco Guerrero, Sacrae Cantiones (1555).
INSTRUMENT
The instrument depicted here appears to be a 4-course guitar. It is shape and features are typical of many early to mid-sixteenth century vihuelas and guitars |
|
|
16-209 |
vihuela de mano |
16cent/2/mid |
Castile |
ARTWORK
Woodcut print from Bermudo, Declaración de Instrumentos musicales, 1555, fol. 110. (frame 237 of the digital copy on Biblioteca Digital Hispana (E-Mn).
INSTRUMENT
On of the few depictions of a seven-course vihuela. The instrument is drawn with s |
|
|
16-210 |
vihuela de mano |
16cent/2/mid |
Castile |
In his Libro de cifra nueva, Venegas de Henestrosa includes this woodcut of the upper half of a vihuela for the primary purpose of showing the location of the notes in relation to the numerical system of the “cifra nueva” that he was seeking to promote. |
|
|
16-215 |
vihuela de mano |
16cent/2/mid |
Aragon |
INSTRUMENT
An elegantly proportioned vihuela de mano with taracea decorations on the soundboard. It is depicted with six strings but twelve pegs on the pegbox. This is one of the best known images of the vihuela and has been reproduced many times in many |
|
|
16-216 |
vihuela de mano |
16cent/2/mid |
Aragon |
ARTWORK
Frontsipiece of Luis Milán El Maestro, Valencia, 1536. It is not known if the print was intended in any way to be a portrait of Milán. It depicts the legendary Orpheus, surrounded by awe-struck birds and animals. He is dressed in a Grecian tunic, |
|
|
16-218 |
vihuela de mano |
16cent/2/mid |
Castile |
ARTWORK
Bas-relief, by Etienne Chamet (b. ca 1515) known in Spain as Esteban Jamete or Chamete, on the main portal of the Iglesia de San Salvador, in Úbeda, (Jaén). This is the church commissioned by the Comendador Mayor de León, Francisco de los Cobos, t |
|
|
16-241 |
vihuela de mano |
16cent/2/mid |
Aragon |
ARTWORK
This woodcut of a courtier playing the vihuela is used 12 times in Luis Milán’s tiny book (approx. 110x80mm.) Libro de motes de damas y caualleros: intitulado el juego de mandar. Valencia : Francisco Díaz Romano, 1535. It appears on the following |
|
|
16-244 |
vihuela de mano / guitarra |
16cent/2/mid |
Portugal |
ARTWORK
The old cathedral in Coimbra dates from the 12th century, but the Capilla del Santísimo Sacramento was built on the right hand side of the nave by Jean de Rouen in 1566. The chapel is designed with Christ and the Apostles on high as if in Council, |
|
|
16-249 |
lute |
16cent/2/mid |
Castile |
ARTWORK
This pen and ink drawing is found on the title page of the copy of Mudarra’s Tres libros de música held by the Biblioteca Nacional de España in Madrid. It must have been added at some stage by an owner of the book. The figure appears to represent |
|
|
16-250 |
vihuela de mano |
16cent/3/late |
Castile |
Antiguas Ordenanzas de la Ciudad y Campos, Archivo Histórico de Málaga. Examined by Eusebio Rioja (rioja1990-1). Based on the Ordenanzas published in Seville in 1527, these first regulations for the examination of violeros in Málaga was published in a ver |
|
|
16-252 |
vihuela de mano |
16cent/2/mid |
|
ARTWORK
The Museum’s catalogue describes this work as anonymous and dates it to the first half of the 16th century. Elsewhere it is described as a Spanish “mannerist” work which would date it more likely 1530-1580. It depicts “The Virgin with Child and Sa |
|
|
16-302 |
vihuela de mano |
16cent/3/late |
Castile |
ARTWORK
One of the pen and ink, and watercolour portraits in Francsico Pacheco’s Libro de descripción. It is placed at the beginning of the eulogy of the virtues of this gentleman musician.
INSTRUMENT
The vihuela is only partially illustrated. It seems |
|
|
16-303 |
vihuela de mano |
16cent/3/late |
|
ARTWORK
Painted on paper glued to cloth. There seem to be more than one copy of this painting. The one shown here is from the Kobe Municipal Museum, given to me by David Irving on 23 July 2001, sent to him by Isaku Ogawa, and attributed to Nobukata. Anot |
|
|
16-303a |
vihuela de mano |
16cent/3/late |
|
A photo reproduced from omata1977 suggests that the picture has been restored (see reproduction at http://www.vihuelademano.com/rcmdias.htm) [Batov] This same site gives also another version of the same painting in which the Japanese vihuelist is observed |
|
|
16-304 |
vihuela de mano |
16cent/3/late |
|
INSTRUMENT
Vihuela, later 16th century. Maker, place and date unknown. Paris, Musée de la Musique, (E.0748). The instrument has no indication of its provenance.
Description: Vaulted back of 7 fluted ribs. It has quite a wide body for its length. Soundboa |
|
|
16-305 |
vihuela de mano |
16cent/3/late |
Castile |
ARTWORK
A pastoral figure playing a vihuela from a scene described by Corona-Alcalde (corona2004-1, 23, n. 31) as an “Allegory of Music, by Nicholas Granello, who was active at El Escorial in the decoration of the building from 1581-1591.
INSTRUMENT
The |
|
|
16-306 |
vihuela de mano |
16cent/3/late |
Portugal |
INSTRUMENT
This instrument, a vihuela or guitar, built in Lisbon in 1581 by Belchior Dieas, is held in the collection of the Royal College of Music, London, inventory number RCM0171
With an outline tht shows clear evidence of having been designed using p |
|
|
16-315 |
vihuela de mano |
16cent/3/late
17cent/1/early |
Castile |
INSTRUMENT
Whether this instrument should be called a vihuela or a guitar is disputed. One of the oldest surviving Spanish instruments, possibly from the late 16th or early 17th centuries. Originally it could have been either a five-course or six-course i |
|
|
16-329 |
vihuela de mano |
16cent/3/late |
Castile |
In one of the two inventories complied in 1587 of the possessions of the recently deceased Valladolid patrician Doctor Diego de Tovar is a large ebony vihuela “Una viguela grande de éuano” – a large ebony vihuela [document D1044]. From a second inventory |
|
|
16-340 |
vihuela de mano |
16cent/3/late |
Castile |
The first regulations for the examination of violeros in Madrid were promulgated by 1578 and augmented in 1698. [Document D0380] |
|
|
16-341 |
vihuela de mano |
16cent/2/mid |
Portugal |
The is the first regulations for the examination of violeros in Lisbon, promulgated by 1572. The text describes various features of the construction technique. Apprentices were required to “make a vihuela of six courses with ribs of black or red wood [=r |
|
|
17-103 |
vihuela de mano |
17cent/1/early |
America |
INSTRUMENT
Vihuela, early 17th century (?). Quito, Iglesia de Nuestra Señora de Loreto (de la Compañía de Jesús), belonged to Santa Mariana de Jesús (1618-1645).
6-course vihuela. Built probably early in the seventeenth century in Latin America mixing t |
|
|
17-132 |
vihuela de mano / guitarra |
17cent/1/early |
Italy |
ARTWORK
El tañedor de vihuela, painted by Jan Miel, in Rome probably between 1630 and 1650. Oil on canvas measuring 67 x 50 cm. Provenance is the Colección Real.
INSTRUMENT
Housed in the Prado, this painting is called El tañedor de vihuela but, if it we |
|
|
17-201 |
guitarra |
17cent/2/mid |
Castile |
ARTWORK
Oil on canvas, 100 x 162 cm, c.1650, by Pedro de Camprobín (c. 1605-1674). Some historians suggest that the painting dates from c.1650, although some references such as the Manrique edition [manriquePOESIAS] indcate 1634. This latter date seems to |
|
|
17-207 |
guitarra |
16cent/3/late |
Aragon |
The earliest treatise on playing the 5-course guitar, an instrument described by the book’s author as being of five courses: 1st - single; 2nd & 3rd courses = unison; 4th and 5th courses = octaves. The book appears first to have been published in 1596, a |
|
|
17-211 |
vihuela de mano |
17cent/2/mid |
Persia |
ARTWORK
Persian painting of a Persian man dressed as a European, seated on the ground playing a vihuela.
INSTRUMENT
The vihuela has a long almond-shaped elongated body with cornered waists, quite anachronistic at the time the painting was executed, thoug |
|
|
17-212 |
guitarra |
17cent/1/early |
France |
ARTWORK
Etching on fol. 95v of Mersenne’s treatise showing the guitar and the various forms of chord notation: French and Italian tablature, alfabetto symbols, and Spanish tablature numbers
INSTRUMENT
The guitar has five double courses, completely paralle |
|
|
17-302 |
vihuela de mano / guitarra |
17cent? |
America |
ARTWORK
This painting formed part of the decoration of the dome of the Iglesia de la Compañía de Jesús (Córdoba, Argentina), which was destroyed by fire in 1967. The inside of the dome is blackened with smoke, and the picture is no longer visible. The chu |
|
|
20-220 |
vihuela de mano |
20cent |
|
INSTRUMENT
Two-piece back and ribs of pearwood. Multi-piece belly of fine-grain spruce with binding of paduak (?) and inlays of holly (?) and cedar (?) diamond patterns. Separate carved rose of wood in geometrical pattern. Neck of rosewood. Headstock of n |
