Medium Artwork: Woodcut
City Barcelona | Region Catalonia | Old kingdom Aragon
|Body Waisted||Strings 5 strings||Neck Long||Pegbox None|
|Bridge Fixed||Frets Yes||Back Flat||Pegs None|
|Technique Plucked fingers thumb out|
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 clearly based on the one depicted in the Vocabolari Catalan of 1502 [16-113].
Depiucted with five strings, it is easier to group this instrument into the generic family of vihuelas rather than to attempt to distinguish it as either a vihuela or a guitar. It is typical of depictions from the first half of the q6th century.
The vihuelist appears to be accompanying a lady who is depicted with her mouth open, singing. The composition of the print, however, shows that each of the two figures is a separate block, and may not have been intended originally to be placed together. The vihuelist is clothed as a gentleman with a hat with a plume, and a long cape over a tunic. The pegbox of the vihuela is not shown. The vihuela appears to be flatbacked, and shallow. Its two bouts are approximately equal width, abd has a fixed bridge and a rosette placed above the centre of the upper bout. The neck is long and incomplete.
Corona-Alcalde, Antonio. “L’organologie de la vihuela”. Aux origines de la guitare: la vihuela de mano. Ed. Joël Dugot. Paris: Musée de la Musique, 2004. 16-28.
Rodríguez-Moñino, Antonio. Diccionario bibliográfico de pliegos sueltos poéticos (siglo XVI). Madrid: Castalia, 1970.
Fiorentino Giuseppe. “Unwritten Music and Oral Traditions at the Time of Ferdinand and Isabel”. Companion to music in the age of the Catholic monarchs, ed. Tess Knighton. Boston; Leiden: Brill, 2016. 504-548.