The British Museum’s citole (1963,1002.1) is one of Britain’s earliest extant stringed instruments. Dating from around 1300–1330, its survival can be attributed to three factors: the quality of craftsmanship with its richly carved decorative elements, its association with Elizabeth I of England (1558–1603) and her favourite Robert Dudley, Earl of Leicester, and its modification to keep pace with changing musical fashion...Much more information at the link and at this British Museum webpage. And a hat tip to the via post at Uncertain Times.
A virtuoso example of the Medieval woodcarver’s craft, it is one of perhaps only four stringed instruments of comparable quality to have survived from the Medieval period. It is, however, a confusing hybrid. Part citole, part violin, it was described as a gittern by Francis Galpin in 1910...
The British Museum citole dates from the period around 1300–1330 and is the earliest of the four survivals. Abundant representations of citoles in the visual arts show that the instrument was in use from the late twelfth century in Spain and Italy and from the thirteenth century in northern Europe. The gradual movement of the instrument from south to north may well reflect the influence of Islamic musical instruments on the development of the citole...
By the time that Eleanor of Castille married Edward I in 1254, the citole was probably well established in England...
It was designed to be plucked with a plectrum and most of the depictions show it being played in this way, although other illustrations show it being strummed without a plectrum. Undoubtedly capable of carrying a tune, as modern replicas of the British Museum citole have demonstrated, citoles may have performed a limited repertoire and were probably used mainly to keep time by playing the same few notes repeatedly. This understanding is supported by representations of musicians playing citoles, the majority of which show the player’s hand coming up from under the centre of the instrument. This approach would allow adequate movement only to play the drone chords satisfactorily. It is not surprising, therefore, that the citole is usually depicted with other instruments, principally fiddles.
The gifting of the citole between Elizabeth and Dudley and its conversion to a violin demonstrate how the instrument was held in high regard some 250 years after it was made. The value placed on it was not inspired by the expense of the raw material nor by its virtue as a musical instrument (the citole was distinctly out of date by about 1400) but by the extraordinary richness and quality of the carving that covers its neck and sides.
*"probably a French diminutive form of cithara, and not from Latin cista, a box."
Splendid crafting indeed and strange looking instrument.
ReplyDeleteAbout the way it was used, I wonder why there's a bridge if you were supposed to play without pressing on the chords.