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Number Instrument Century Old Kingdom Description
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
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
15-213 vihuela 15cent/2/mid Castile ARTWORK Portada del Nacimiento, Seville catedral. The doorway is located on the western facade, at the right end . The sculpture is made of baked clay and polychrome, painted in ochre in 1792 and restored in 1912. Current condition is poor condition as a
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
15-313 vihuela de arco 15cent/3/late Castile ARTWORK "La Resurrecciôn". A miniature in a Pasionario from the late 15th century in Gothic style, produced in the Monasterio de Guadalupe (Extremadura). The “Passio Domini Nostri Iesuchristi” was made in the Guadalupe workshop at the end of the 15th cen
15-314 vihuela de arco 15cent/3/late Castile Only very few details are available concerning this Vihuela de arco, described cursorily as a (alvarez1982, 1083) waisted vihuela de arco with corners (escotaduras), short neck and circular pegbox. The painting is very small and no further details are vis
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
15-326 vihuela de arco 15cent/3/late 16cent/1/early ARTWORK Female figure playing vihuela de arco‘The Assumption of the Virgin’ El Maestro de Osma. Castilian School. Dated ca 1500. INSTRUMENT The body of the instrument is very shallow with gently incurved waists, 4 small intarsia decorations on the shoul
15-327a vihuela de mano 15cent/3/late 16cent/1/early Aragon ARTWORK ‘Coronation of the Virgin’ by a painter of the Valencian School. 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,
15-327b vihuela de arco 15cent/3/late 16cent/1/early Aragon ARTWORK Female figure playing vihuela. Detail from an anonymous ‘Coronation of the Virgin’ by a painter of the Valencian School, perhaps by the Maestro de San Lázaro. Woodfield suggests it as early 16th century; Bordas suggests late 15th-century by Bordas
15-330 vihuela 15cent/3/late 16cent/1/early Aragon ARTWORK “La Virgen de la Gracia” [Our Lady of Grace] by Paolo de Sancto Leocadio, Enguera (Valencia), Iglesia de San Miguel. Painted on wood panel, 1482-1484. The painting is noted for the Italian influence coming into Valencian painting at this time. San
15-330a vihuela de mano 15cent/3/late Aragon ARTWORK See 15-300 INSTRUMENT Vihuela with unusual bell-shaped body, round at the bottom = lower half is cornered, upper half is incurved. The bridge is close to bottom with an oval, carved rose in centre of body. Two star decorate the belly on the upper
15-330b vihuela de arco 15cent/3/late 16cent/1/early Aragon ARTWORK See 15-300 INSTRUMENT Vihuela de arco has gently incurved waists, a raised bridge, and 4 strings attached to a tailpiece. The body has two c-holes and 4 intarsia designs on the upper and lower shoulders. The fingerboard is striped along its lengt
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
15-339a vihuela de arco 15cent/3/late Ferrara ARTWORK One of two detailed viola da arco players in the painting Madonna con Bambino in trono tra sant'Agostino, san Giovanni Evangelista, san Posidonio e san Francesco d'Assisi. Altarpiece 220 x 140 cm. Chiesa di S. Giovanni in Monte, Bologna. Full deta
15-339b vihuela de arco 15cent/3/late Ferrara ARTWORK One of two detailed viola da arco players in the painting Madonna con Bambino in trono tra sant'Agostino, san Giovanni Evangelista, san Posidonio e san Francesco d'Assisi. Altarpiece 220 x 140 cm. Chiesa di S. Giovanni in Monte, Bologna. Full deta
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. Ballester reports that the contract for the work was signed in 1472 (Med-Ren, Brussels 2015) . The w
15-350 vihuela de mano 15cent/3/late Aragon ARTWORK Angel musician playing the vihuela, one of the figures depicted on the Portal of the Church of Santa María de Requena (Valencia). c.1480. This portico was declared a National Monument in 1931. The façade depicts the Annunciation, as seen in the ty
15-350a vihuela de mano 15cent/3/late Aragon ARTWORK Main portal of the church of Santa María, Requena (Valencia). The church was originally built in the late 15th century but has been subsequently altered. See 15-350 INSTRUMENT Sculpture of a Vihuela de mano being played by an angel on one of the
15-350c vihuela de mano 15cent/3/late ARTWORK Main portal of the church of Santa María, Requena (Valencia). The church was originally built in the late 15th century but has been subsequently altered. See 15-350 INSTRUMENT This vihuela from the portal of the Church of Santa María, Requena, i
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.
15-358 viola da mano (vihuela) 15cent Venice ARTWORK Enameled glass bowl. Late 15th century Venetian. Cleveland Museum of Art. Formerly from the collection of Baron Maurice von Rothchild. This item does not currently appear in the on-line catalogue of the Cleveland Museum [accessed 27/09/2014]. The
15-359a vihuela de arco 15cent/3/late Castile ARTWORK One of the Frescos of angels in the dome of the choir in the Monastery of Guadalupe, a fresco attributed to Juan de Flandes (c.1460-1519), apparently dating from the last years of the 15th century. Alvarez (alvarez1965) documents payments to someo
15-359b lute 15cent/3/late Castile ARTWORK One of the Frescos of angels in the dome of the choir in the Monastery of Guadalupe, a fresco attributed to Juan de Flandes (c.1460-1519), apparently dating from the last years of the 15th century. Alvarez (alvarez1965) documents payments to someo
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
15-361 vihuela 15cent/3/late ARTWORK An illustration in Paris, Bibliothèque nationale de France, Fonds Esp.39, fol.14v. (colophon dated18 November 1477). The allegorical figure of Music holds a vihuela in an illustration of the Seven Liberal Arts. The work is
15-363 viola da mano (vihuela) 15cent/3/late Italy INSTRUMENT The detail shoiwn here is from an anonymous Italian drawing of Orpheus enchanting the animals. The instrument appers to be an unwaisted viola da mano. Its proportions are typical of the instrument and although it is not possible to judge with c
15-364 lute 15cent/3/late ARTWORK Aparición de la Virgen a una comunidad de dominicos. Oil on wood 130 x 86 cm, painted 1493-1499. Now in the Prado in Madrid (catalogue no P000615), originally painted for the Monastery of Santo Tomás in Ávila. The commentary on the Prado website
15-365 viola da mano (vihuela) 15cent/3/late Ferrara ARTWORK Painting attributed to Giovanni Battista Cavalletto, Bologna, Italy, 1490-1500. Tempera on wood, 42.3 x 62.5 cm Muzeul National de Arta, Bucharest, inv. 7990/24. The musicians are placed at the bottom left of the painting, dressed in garb all’anti
16-100 vihuela de mano / lute 16cent Castile ARTWORK Polychrome wooden sculpture of the Madonna and Child (La Virgen con el niño), the central piece of the Retablo Mayor in Toledo Cathedral. The Virgin is flanked on the left by an angel playing a vihuela (16-100a), and to the right another angel pla
16-100a (none) 16cent Castile ARTWORK Sculpture of an angel playing the vihuela. Part of the “Madonna and Child” [La Virgen con el Niño] in the centre of the altarpiece of the Capilla Mayor, Toledo Cathedral, This figure stands on the left of the virgin (on the virgin’s right). On the
16-100b lute 16cent Castile ARTWORK Sculpture of an angel playing the vihuela. Part of the “Madonna and Child” [La Virgen con el Niño] in the centre of the altarpiece of the Capilla Mayor, Toledo Cathedral, This figure stands on the right of the virgin (on the virgin’s left). On the
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.
16-103 viola da mano (vihuela) 16cent/1/early Italy ARTWORK "The Virgin, the Child and St Anne", Girolamo dai Libri, oil on canvas, painted between 1510 and 1518 for S. Maria della Scala, Verona. 158.1 x 94 cm. Bought by the National Gallery, London in 1864, catalogue no: NG748. This is one of two known
16-105a vihuela de arco 16cent/1/early Aragon ARTWORK Anonymous ‘Coronation of the Virgin’. Majorcan or Valencian School. Dated early 16th century. This painting is reproduced by Woodfield from old photgraphs. His plate 41 gives the context of the painting and claims the painting to be in the Museo d
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
16-116a viola da mano (vihuela) 16cent/1/early Ferrara ARTWORK A pair of angel vihuelists from the “Coronation of the Virgin with angel concert”, anon. (Ludovico Mazzolino or Michele Coltellini?). Painted between 1502 and 1505. Fresco, Santa Maria della Consolazione in Ferrara, apse. Godt (godt1989) reports
16-116b vihuela de arco 16cent/1/early Ferrara ARTWORK A pair of angel vihuelists from the “Coronation of the Virgin with angel concert”, anon. (Ludovico Mazzolino or Michele Coltellini?). Painted between 1502 and 1505. Fresco, Santa Maria della Consolazione in Ferrara, apse. Godt (godt1989) reports
16-117a vihuela de mano 16cent/1/early France ARTWORK Angel playing vihuela de mano. Church of St Peter and St Paul, Gonesse (Val d’Oise), approx. 15km north of Paris. Tempera on wood, painted on panels that decorate a curved area below the organ case, dating c.1508. Twelve angel musicians are depi
16-117b vihuela de arco 16cent/1/early France ARTWORK Angel playing vihuela de arco. Tempera on wood. Church of St Peter and St Paul, Gonesse (Val d’Oise) about 15km north of Paris. Painted on wood panels that decorate a curved area below the organ case dating c.1508. Twelve angel musicians are depic
16-120 vihuela de mano 16cent/1/early Aragon? ARTWORK Frontispiece of an anonymous, undated broadsheet (pliego suelto) estimated to have been published c. 1520, intitled Chistes de muchas maneras nuevamente compuestos: con un villancico al cabo que dize: no me demandes carillo. ca 1520. The work is d
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
16-126 viola da mano (vihuela) 16cent/1/early Italy ARTWORK “Madonna and child with saints” by Girolamo dai Libri, c.1520. New York, The Metropolitan Museum of Art, Painting originally located in Cartieri. Accession Number: 20.92. Painted in about 1520 for the Augustinian church of San Leonardo nel Monte
16-128 vihuela de mano 16cent/1/early Aragon ARTWORK Woodcut on the title page of Libro en el qual se contienen cincuenta romances con sus villancicos y desechas, Barcelona c. 1525. The same woodcut was used on a broadsheet printed by Carles Amorós, Barcelona, n.d. [c.1525]. The vihuela is clearl
16-141 viola da mano (vihuela) 16cent/1/early Bologna ARTWORK Madonna and Child surrounded by St John the Baptist and St Sebastian and two patrons. Painted by Antonio Giovanni Boltraffio (1466-1516), a student of Leonardo. It was painted in 1500 for the Casio chapel of Santa Maria della Misericordia, near Bo
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
16-144 vihuela de mano 16cent/1/early Castile ARTWORK Anonymous Coronation of the Virgin. In the same painting, a second angel plays a similar instrument, with the neck and, in part, the body behind and above the Virgin. Located by Pepe Rey and discussed by him in a lecture (Madrid, 25 March 1998). P
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
16-155 vihuela de mano / guitarra 16cent/1/early Castile ARTWORK Polychrome wooden vihuela being supported by an angel on the retablo of the Cathedral in Lugo. It was carved by Cornelio de Holanda in 1531. INSTRUMENT The instrument is of the vihuela family but may be a guitar if the number of strings is taken
16-160 viola da mano (vihuela) 16cent/1/early Ferrara ARTWORK Painting attributed to Lorenzo Costa (1460-1535) on the basis of a signature. “Suonatrice di liuto” by Lorenzo Costa, oil painting on wood, 63.8 x 54.5 cm, dated 1500-1535. Currently located in Bologna, having formerly been in private collections
16-163 vihuela de mano 16cent/1/early Castile ARTWORK Diego del Puerto, Portus Musice correctus seu emendatus in quo nemo periclitabitur, Salamanca, 1504. This early book of music theory was published as indicated, in Salamanca in 1504. Despite its Latin title, the text of the book is in Spanish. The
16-164a vihuela de mano 16cent/1/early Aragon ARTWORK Painting of Nuestra Señora de la Santa Esperanza, attributed to the Maestro de Alforja, identified by some scholars as Francesc Ribes. 214 x 104cm. Possibly dates from the 1520s or 1530s. The only known date concerning the activity of Francesc Rib
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. The Reyes Católicos promulgated the first laws for the
16-168 vihuela de mano 16cent/1/early Sweden ARTWORK Painting in the Edebo Church in Uppland, dated c. 1514, according to Kenneth Sparr. The Wikipedia entry for this church says that the frescoes are from the 16th century and that they were restored when the church was renoavted in 1911-1913 (https:
16-170 viola da mano (vihuela) 16cent/1/early Italy ARTWORK This is one of a group of frescos on the walls of the courtyard of a residence at 112 Via Pignolo, in Bergamo. These instruments were discovered by German artist and journalist Gennady Kuznetsov who posted some intial information on Facebook on 30
16-171 vihuela de arco 16cent/1/early Italy ARTWORK Oil on wood, 90.5 x 90.5 cm. Philadelphia Museum of Art, Philadelphia (PA), inv. 234, John G. Johnson Collection The full painting shows an ensemble of musicians playing together: one or two singers, 2 treble recorders, lute and vihuela de arco.
16-172 vihuela de mano 16cent Castile ARTWORK Fresco on the triumphal arch of the Iglesia Mayor, Castronuño (Valladolid). 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 app
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
16-203 viola da mano (vihuela) 16cent/2/mid Italy ARTWORK Fresco on the interior of the dome of the church of S. Sigismondo de Cremona, 1570. The sketch for this painting is 16-214. INSTRUMENT A large viola da mano with cornered waists and a central rosette. Fretted neck with six strings visible. The en
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
16-207 vihuela de mano 16cent/2/mid Castile ARTWORK This stone carving of an Angel playing a vihuela is located above the Portada de San Gregorio Magno, a doorway in the south-eastern corner of the Claustro de Reyes at the Convento de S. Esteban in Salamanca, and dates from 1551. The sculptor is un
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.
16-212 vihuela de mano 16cent/2/mid Aragon ARTWORK This angel playing a vihuela is a detail from the painting known as “La Virgen y el niño entre San Juan Bautista y Santiago” [The Virgin and Chold between St John the Baptist and St James] painted by Juan Macip, known as Juan de Juanes, c. 1565, a
16-214 viola da mano (vihuela) 16cent/2/mid Italy ARTWORK Study by Bernardo Campi for a painting on the cupola of the church of S. Sigismondo de Cremona, 1570. Held in the Drawing collection of the Uffizi, Florence. The photographic reproduction is credited to the Uffizi, Florence. The finished painting
16-215 vihuela de mano 16cent/2/mid Aragon ARTWORK This is the vihuela depicted in the prefatory material of El Maestro. It has the pitches of the open strings drawn onto the strings which are part of the author’s explanation of the instrument’s tuning. INSTRUMENT An elegantly proportioned vihu
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,
16-217 (none) 16cent/2/mid Castile ARTWORK Woodcut of a gentleman playing a vihuela published in Luys de Castillo, Canción hecha por luys de castillo con su glosa. (Medina del Campo, 1535). It is described in ward1953, 14. The version here is a more refined version of the same design use
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
16-225 vihuela de mano 16cent/2/mid Portugal ARTWORK Natividad. by the Maestro de Abrantes (active 1540 -1578), Igreja da Misericordia, Abrantes (Portugal). The church was built in 1548. The painting is estimated to date from the 1550s or 1560s. INSTRUMENT A six course vihuela: 5x2; 1x1 strings, Wa
16-228 vihuela de mano 16cent/2/mid France ARTWORK Apollon et les Muses au Parnasse. Nicolo dell'Abbate d’après Primatice, after 1550. Fresco, Château de Fontainebleau, Ballroom. The decoration of the ballroom at Fontainebleau was realised in the 1550s by a team lead by Niccolò dell’Abbate (Modena
16-230 vihuela de mano 16cent/2/mid Castile ARTWORK One of two lecterns (facistol) in the choir of Toledo Cathedral with cast bronze figures of vihuelists. The other (16-231) depicts a player of a bowed vihuela de arco. These are the work of Nicolás de Vergara, el mozo (1540-1606). INSTRUMENT This
16-231 vihuela de arco 16cent/2/mid Castile ARTWORK Probably by Nicolás de Vergara, el mozo (1540-1606).One of two lecterns in the choir (Facistol de coro) of Toledo Cathedral with cast bronze figures of vihuelists. The other (➞16-230) depicts a player of a vihuela de mano. These are the work of N
16-236 vihuela de mano 16cent/2/mid Castile ARTWORK Sculpture in the Hostal San Marcos, León. Currently a Parador Nacional, formerly the Convento de San Marcos, built between 1515 and 1541. (see: http://es.wikipedia.org/wiki/Convento_de_San_Marcos_(León). It is one of the leading monuments of Spani
16-237 vihuela de mano 16cent/2/mid Castile ARTWORK The Real Colegiata Basilica de San Isidoro in Léon is a leading example of romanesque art in Spain, dating from the 11th and 12th centuries. Expansion was begun in 1513 by Juan de Badajoz el Viejo, and continued by his son Juan de Badajoz el Mozo.
16-238 vihuela de mano 16cent/2/mid America ARTWORK Angel playing a vihuela, stone sculpture, ca 1560. Facade of the chapel, of the former monastery of San Agustín, Acolman de Nezahualcóyotl, Estado de México, Mexico. The monastery, now a national monument, was built between 1539 and 1580. The vihu
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
16-242 vihuela de mano 16cent/2/mid Castile ARTWORK The Ermita de San Segundo dates from the 13th century but was significanty remodelled in the 16th century. This cherub is one of a number of cherubs painted on the half-dome on the rear wall of this Gothic church, above the main altar. In the phot
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,
16-246 vihuela de mano 16cent/2/mid Portugal ARTWORK Nossa Senhora das Neves com doador. (Virgin of the Snow with donor) Oil on wood by an anonymous painter, Portuguese school, 1540-1550. 1655/1660 x 1100 mm. Purchased at auction in Porto in 2000 by present owner Álvaro Sequeira Pinto, in Porto. Tho
16-247 vihuela de mano 16cent/2/mid Portugal ARTWORK This angel musician is a detail from an anonymous Assumption of the Virgin, c. 1560, now in a private collection in Portugal but original from the private chapel of the Solar [Manor] dos Marqueses de Pancas, Alpedrinha. More details on this locati
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
16-251 vihuela de mano 16cent/2/mid Castile These are the details of the examination of violeros published in the Recopilación de las ordenanzas de la muy noble y muy leal ciudad de Sevilla (1527). These are the oldest printed Ordenanzas for the guild of violeros in Spain. The original ordenanzas
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
16-253 vihuela de mano 16cent/2/mid America SOURCE Bartolomé de las Casas, Apologética historia sumaria. 1527-1550. INFORMATION In Mexico (City), the author describes seeing an Indian slave in leg irons who had three or four large vihuelas [tres o cuatro vigüelas muy buenas y grandes] with beautif
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
16-309 vihuela de mano 16cent/3/late Lowcountries ARTWORK Apollo and the Muses. Carved painted and gilt oak Panel, ca.1580. London, Victoria and Albert Museum, Museum no. A.12-1924. Height: 121.28 x Width: 178.18. According the details on the V&A website, the work is probably Engish and is said to have
16-313 vihuela de mano 16cent Castile ARTWORK Angel con vihuela de mano. Polychrome relief on the dome of the presbytery of the Cathedral of Córdoba. Dome by Juan de Ochoa, c. 1600. Instrument from a photo by Carlos González that was included in his “Calendario de iconografía musical 2007” I
16-314 vihuela de mano 16cent/2/mid America ARTWORK Stone sculpture on the facade of the Cathedral of Yuriria (Guanajuato, Mexico) in the central highlands of Mexico. The colonisation in Guanajuato began in the 1520s and the Cathedral was built in the period 1550-1558. See: http://en.wikipedia.org/
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
16-316 vihuela de arco 16cent/3/late Castile SOURCE Juan de Horozco y Covarrubias, Emblemas morales. Segovia: Juan de la Cuesta, 1589. Emblema 30, lib. 2, fol. 59. The same woodcut is used in the 1591 reprint. INSTRUMENT A mermaid playing a vihuela de arco. The istrument has a large body, curved br
16-316a vihuela de arco 16cent/3/late Castile SOURCE Juan de Horozco y Covarrubias, Emblemas morales. Zaragoza: Alonso Rodríguez, 1604. Emblema 30, lib. 2, fol. 59. INSTRUMENT A mermaid playing a vihuela de arco. This is a new version of the print in the 1589 original edition (see 16-316)
16-317 guitarra 16cent/3/late Castile SOURCE From Juan de Horozco y Covarrubias, Emblemas morales. Segovia: Juan de la Cuesta, 1589. The same woodcut was used in the 1591 reprint. A new woodcut woodcut was used in the 1604 edition. This illustration is at the opening of Emblema 31, on fol. 61
16-317a guitarra 16cent/3/late Castile SOURCE From the 1604 edition of Juan de Horozco y Covarrubias, Emblemas morales. originally issued in 1589 (see 16-317). A new woodcut woodcut was used in this edition. This illustration is at the opening of Emblema 31, on fol. 61. Other details are in t
16-318 lute 16cent/3/late Castile SOURCE From Juan de Horozco y Covarrubias, Emblemas morales. Segovia: Juan de la Cuesta, 1589. The same woodcut was used in the 1591 reprint. A new woodcut woodcut was used in the 1604 edition. This illustration is at the opening of Emblema 34, on fol. 67
16-318a lute 16cent/3/late Castile SOURCE Juan de Horozco y Covarrubias, Emblemas morales, Zaragoza, 1604. fol. 67. INSTRUMENT This is a new version of the woodcut that was used in the 1st edition of this book in 1589. The drawing has been reversed. In this new version (compare with 16-31
16-324 vihuela de mano 16cent/3/late Portugal ARTWORK Sagrada Família, Santa Ana e Anjos” or “Fuga para o Egipto” Francisco Venegas (fl. 1582-1591). Capela-do-mor, Igreja da Nossa Senhora da Luz. Carnide (Lisbon), built between 1575 and 1596. The original church was destroyed in the earthquake of 17
16-325 guitarra 16cent/3/late Italy ARTWORK “Joyeux duo” is a painting attributed to Caravaggio. The painting was sold in Amsterdam 1952-03-18 and its present whereabouts are unknown. This photograph of the painting is held by the Bibliothèque nationale de France, département Musique, VM PH
16-327 vihuela de arco 16cent/2/mid Castile ARTWORK Ceiling of the Library in the Palace of El Escorial. The painter, Niccolò Granello was a member of the team that commenced the artworks in El Escorial in 1581, commencing the work in the library in February 1591. He died in late 1593. INSTRUME
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
16-330 (none) 16cent/3/late Castile In 1584, the ordinances for the examination of violeros in Madrid were reformed so that candidates were now required to make "a simple vihuela and a harp and a viola de gamba imitating the foreign ones". (Document 1010).
16-331 (none) 16cent/3/late Castile These details are from the inventory of the possessions of don Rodrigo Sarmiento de la Cerda and Villandrando, Count of Salinas and Count of Ribadeo (1580) This is an inventory of a fine collection of musical instruments and accessories. See the complete
16-332 vihuela de mano / guitarra 16cent/3/late Castile To become a master violero in Madrid in 1578, Juan Rodríguez was required among other things to make “una viguela con lazo hondo y una guitarra de la misma manera.” i.e. guitar and vihuela, each with a deepset rose (bordas1995, 52). For details, ➞ Documen
16-333 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]
16-334 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
16-335 vihuela de mano / guitarra 16cent/3/late Castile See DOCUMENTS for complete information. The instruments with descriptions of their physical properties are a vihuela and a guitar. From Kenyon de Pascual [kenyon1996, 199-200]: una biuela de hevano laudada con caxa y llave 5 duc (=1870 mrs) otra guit
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
17-112 vihuela de mano 17cent/1/early Aragon ARTWORK Angel playing the vihuela from Martirio de San Félix. By Pere Cuquet (†1666) Detail from the Retablo mayor (1636) of the church of San Feliu de Codines (Cataluña). Detail on artist from: http://es.wikipedia.org/wiki/Pere_Cuquet [consulted 17/01/20
17-116 vihuela de mano 17cent/1/early Castile SOURCE Sebastián de Covarrubias Orozco, Emblemas morales. Madrid: Luis Sanchez, 1610, fol. 131, emblem 31 INSTRUMENT Characteristic of a 16th-century vihuela. Incurved waists, flat bridge and circular soundhole halfway along the body length. Some details
17-117 guitarra 17cent/1/early Castile SOURCE Sebastián de Covarrubias Orozco, Emblemas morales. Madrid: Luis Sanchez, 1610, fol. 276, centuria 3, emblema 76 INSTRUMENT THE GUITAR IS CHAR This instrument is characteristic of guitars and vihuelas of the 16th century. It is more accurately depi
17-118 lute 17cent/1/early Castile SOURCE Sebastián de Covarrubias Orozco, Emblemas morales. Madrid: Luis Sanchez, 1610, fol. 150, centuria II, emblema 50. INSTRUMENT A lute that appears more figuartive than a copy of a real instrument. It has a small oval body and a very long neck. Other
17-119 (none) 17cent/1/early Castile SOURCE Sebastián de Covarrubias Orozco, Emblemas morales. Madrid: Luis Sanchez, 1610, fol. 154, centuria 2, emblema 54. INSTRUMENT Quite a good representation of a lute, with some inaccuracies possible due to the size of the woodcut and perhaps the lack
17-120 vihuela de arco 17cent/1/early Castile SOURCE Sebastián de Covarrubias Orozco, Emblemas morales. Madrid: Luis Sanchez, 1610, fol. 218, centuria 3, emblema 18. INSTRUMENT An accurate representation of a vihuela de arco with an exceptional leaf-sha[ed pegpox. The instrument has cornered waists.
17-124 [ensemble] 17cent/1/early Castile ARTWORK “Virgen de los Ángeles”. Oil on Canvas. Diego Valentín Díaz ((Valladolid 1586-Valladolid 1660). 246 x 206 cm. Iglesia de San Miguel y San Julián (Valladolid). The extensive commentary on the artwork by Juan José Martín González and Rosario Alvarez
17-124a vihuela de mano 17cent/1/early Castile ARTWORK “Virgen de los Ángeles”. Oil on Canvas. Diego Valentín Díaz ((Valladolid 1586-Valladolid 1660). 246 x 206 cm. Iglesia de San Miguel y San Julián (Valladolid). One of the five bowed and plucked stringed instruments in the painting. The full paintin
17-124b vihuela de arco 16cent Castile ARTWORK “Virgen de los Ángeles”. Oil on Canvas. Diego Valentín Díaz ((Valladolid 1586-Valladolid 1660). 246 x 206 cm. Iglesia de San Miguel y San Julián (Valladolid). One of the five bowed and plucked stringed instruments in the painting. The full paintin
17-124c lute 16cent Castile ARTWORK “Virgen de los Ángeles”. Oil on Canvas. Diego Valentín Díaz ((Valladolid 1586-Valladolid 1660). 246 x 206 cm. Iglesia de San Miguel y San Julián (Valladolid). One of the five bowed and plucked stringed instruments in the painting. The full paintin
17-124d lute 16cent Castile ARTWORK “Virgen de los Ángeles”. Oil on Canvas. Diego Valentín Díaz ((Valladolid 1586-Valladolid 1660). 246 x 206 cm. Iglesia de San Miguel y San Julián (Valladolid). One of the five bowed and plucked stringed instruments in the painting. The full paintin
17-124e vihuela de arco 16cent Castile ARTWORK “Virgen de los Ángeles”. Oil on Canvas. Diego Valentín Díaz ((Valladolid 1586-Valladolid 1660). 246 x 206 cm. Iglesia de San Miguel y San Julián (Valladolid). One of the five bowed and plucked stringed instruments in the painting. The full paintin
17-125 vihuela de mano 17cent/1/early Castile ARTWORK Concierto Celestial: Nuestra Señora de los Angeles, by Bartolomé González (Valladolid, 1564 - Madrid, 1627). Oil on canvas, h: 210 cm x w: 142 cm. Held in the Museo Cerralbo, Madrid, inventory no. 04593. Description from the museum catalogue: “Pi
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
17-133 vihuela de mano / guitarra 17cent/1/early Aragon ARTWORK Virgin and Child surrounded by Angels. Drawing of the altarpiece painting “Virgen of Portacaeli” for the Carthusian Monastery of Porta Coeli in Serra (comarca de Tiuria, Valencia) painted by Juan Ribalta between 1625 and 1627. The catalogue entry
17-134 vihuela de mano / guitarra 17cent/1/early Aragon ARTWORK “Virgen of Portacaeli”, altarpiece painting for the Carthusian Monastery of Porta Coeli in Serra (comarca de Tiuria, Valencia). The painting depicts the Virgin and Child surrounded by a large group of Angels and cherubs. Painted by Juan Ribalta be
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
17-205 vihuela de mano 17cent/3/late Castile ARTWORK Engraving of a prince playing a vihuela (guitar) in L. Anneo Seneca, ilustrado en blasones politicos, y morales, y su impugnador impugnado de si mismo. Al Serenissimo Señor el Señor D. van de Austria by Don Juan Baños de Velasco y Acebedo. Madrid:
17-206 vihuela de mano 17cent/2/mid Lowcountries ARTWORK Jan Gerritsz van Bronckhorst, Muzikaal gezelschap aan een balustrade. The date of the painting and its current location are not known. Oxford Art Online (Benezit Dictionary of Artists) lists the painting as being in a collection in Brunswick. INS
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
17-213 vihuela de mano 16cent Portugal ARTWORK The Palace of the Marqueses de Fronteira was built in Lisbon in 1671-1672. The dining room was decorated with Dutch ceramic tiles and portraits of Portuguese nobility. See: http://pt.wikipedia.org/wiki/Palácio_dos_Marqueses_de_Fronteira INSTRUMEN
17-214 vihuela de mano 17cent/2/mid SOURCE Don Antonio de los Caramancheles, La pastora de Mançanares y desdichas de Pánfilo. is a long poem of some 7000 or more verses written sometime in that years 1630-1660, kept in the Biblioteca Nacional in Madrid (E-Mn, MSS 189) and published for the
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
17-303a vihuela de mano 17cent/3/late ARTWORK Scultpure by Isidre Espinalt (1658-1737), an angel playing a vihuela or Guitar (Vihuela) on the left of the sagrarium, together with another playing a lute adorning the Sagrarium behind the high altar in Tarragona Cathedral. Alabaster and Black ma
17-994 vihuela de mano 17cent Asia ARTWORK Panel of a painted Chinese screen (namban byōbu) in the Japanese Jesuit tradition, thought to have been painted in the 17th or 18th century, but based on earlier model. The illustration is on the fourth of the eight paels that constitute the scree
20-214 vihuela de mano 20cent INSTRUMENT A vihuela made by Donald Warnock (1919-1997), one of the pioneer American builders of historical stringed instruments. The instrument’s handwritten label reads: “Vihuela de mano/ en sol/ [in different ink: #1]/ made June 1964 by/ Donald Warnock
20-215 vihuela de mano 20cent America INSTRUMENT This vihuela built in 1974 is claimed to be the first modern vihuela built in Chile. This instrument was built with advice from renowned Chilean guitarist Luis López, supposedly according to historical principles but is an example of the way th