The British Museum Citole: New Perspectives
ABSTRACTS
The
Science behind the Art
Susan La
Niece and Caroline Cartwright
The British Museum’s citole was scientifically
examined prior to and
during the conservation work which was carried out to prepare it for
display in
the new Medieval Europe gallery. Radiography was used to reveal
features of the
original construction and later alterations. The metal elements
were
identified by X-ray fluorescence analysis and microscopical analysis
enabled
the identification of the wooden components. The results of these
examinations are presented with the aim of establishing the factual
evidence on
which interpretations of the history of this musical instrument can be
based.
Preparing
the Citole for Display in the New Medieval Gallery
Philip Kevin
The
recent refurbishment of the medieval galleries at the museum allowed an
ideal
opportunity to re-evaluate past treatments and investigate alterations
and
modifications to better enable us to understand the different stages of
the
citoles history.
The
citole underwent its first major alteration when it was gifted to
Elisabeth by
Robert Dudley. It is believed that it was at this point altered from
the citole
(possibly outdated) into the more favourable and fashionable instrument
of the
day, the violin. The modification meant the instrument lost its
original
soundboard which would have been flat or perhaps even slightly curved
with a
large fretwork round rose and without f
holes. Throughout its history the instrument, as is expected with all
musical
instruments being working and playing objects, has undergone continual
repair
which have included the replacement of soundboards, strings and perhaps
even
tuning pegs. The presence of a bass bar and absence of a sound post was
also
confirmed. Close inspection of components during conservation has
revealed
detail of previously suspected alterations to pegbox and fingerboard as
well as
new revelations of modifications to the tailpiece and trefoil.
Understanding
past restorations and modifications allowed curator and conservators to
make
more informed decisions about conservation treatments. These treatments
were to
involve the removal of older repairs many of which could be seen as
both
crudely executed and therefore poor repairs, but also incorrect in
style for
the period of either an early violin or indeed earlier citole. In some
cases
these repairs were deemed damaging and/or potentially damaging to
preservation
of the instrument for future study, interpretation and aesthetic
appreciation.
Head to Tail: three
discoveries about the age, history and function of the citole
Chris Egerton
Among the significant discoveries
made during recent conservation work, three observations reinforce our
ideas
about the age, history and use of the BM citole. The magnificent dragon
headpiece was identified by its correct mythological species the
Wyvern,
predating English dragons of popular renown. The tree-of-life
‘trefoil’, which
has been modified and later restored, suggests how the instrument was
held and
played after its early metamorphic conversion and the (now-modified)
tailpiece
is possibly the earliest example of its type in existence.
The British Museum citole: Iconography and the horror
vacui
Ann Marie Glasscock
The horror vacui,
total visual impact or
literally fear of the void, is a widespread artistic conviction.
Commonly used
to describe illuminated manuscripts of the Middle Ages, the term can
also
easily be applied to the complex carving on the British Museum citole.
No other
extant medieval musical instrument exhibits the horror
vacui like that of the citole. This carving exemplifies the
piece past the point of being purely a musical instrument and brings it
into
the realm of the decorative arts. The elaborate relief work rendered on
the
side panels, headstock, and pegbox is a visual explosion of scenery.
Images
ranging from the common Labours of the Months, the naturalistic
exploration of
the foliage, and the medieval artisans imaginative depictions of
wyverns and
hybrid creatures fill the senses. It is precisely this decoration, and
its
royal associations, that have led the citole to survive up to the
present day.
However, the
context of the instrument has changed dramatically since the fourteenth
century. In its contemporary setting it would have been admired for
both its
beauty and sound by select members of
society and fellow musicians. Now, treasured visually for its fine
craftsmanship, the position of the citole within the museum has
introduced it
and other medieval decorative arts to a new strata and a vast audience.
Seen by
the common visitor but also examined specifically by scientists,
conservators,
instrumentalists, and art historians, the difference is considerable.
In conclusion,
the British Museum citole will be examined from an art historical
standpoint
with focus on the intricacy of the decorative elements. Other objects
will be
discussed for stylistic purposes and comparisons shall include
illuminated
manuscripts, architecture, boxwood carvings, and preserved instruments
of the
period that also fit into the realm of the objet
d’art. Reference to other instruments that express the horror vacui will be noted to further integrate and
emphasize their
importance not only within the field of musicology but also in the art
historical world.
The Citole in English Medieval Art
Mary Remnant
The medieval guitar-type
instruments
were for many years known to English-speaking organologists by the name
gittern. The word citole was applied
to an instrument of a more rounded shape, and,
like the gittern, it normally had a flat or almost flat back, in
contrast to
the deep bellies of the lute family which included the smaller and more
pear-shaped mandora.
However, in 1977 Dr. Laurence
Wright’s article ‘Gittern and Citole: A Case of Mistaken
Identity’ said that
what had been called gittern should now be a citole and what had been mandora
should now be gittern. For
convenience I shall now use the
expression medieval guitar, bearing
in mind that there were so many different types.
Plucked instruments with a neck
and
approximately flat back were known on the Continent much earlier than
in
England, prominent examples including those in the Carolingian
Stuttgart
Psalter.
This paper traces their history
in
English art from the early 13th century to c.1400, allowing
for
artistic error, the assumed destruction of numerous examples during the
Reformation and later inaccurate repairs.
There were two main types. One was shaped like a holly leaf and the
other, although having corners at the upper end of the body, was
rounded at the
bottom. Some of them, particularly the
latter kind, had a deep neck containing
a hole through which the thumb could support the instrument. Frets on the neck were not always shown. The strings, which were about four in number,
could be attached in different ways at the bottom and often ended in a
carved
animal head at the top. They were
plucked by a plectrum of wood, quill or possibly ivory.
Bearing in mind that Jerome of Moravia gave
three different tunings for the viella,
it would seem natural that the mediaeval guitar could also be tuned
according
to the needs of the minstrel. Soundholes
were normally, but not always, round.
The arrival of the guitar in
early
13th-century England coincided with the appearance in
churches of
prominent angel musicians, several of which played that new instrument. These include details from the north transept
of Westminster Abbey (c.1250), the Angel Choir at Lincoln Cathedral
(c.1280)
and the mid 14th-century examples from the Minstrel’s
Gallery at
Exeter Cathedral, besides roof bosses from Gloucester Cathedral and
Tewkesbury
Abbey from the same period. Opus
Anglicanum vestments include the
Bologna Cops of c.1300, where twelve angel musicians appear in
spandrels
between scenes from the life of Christ.
At the end of the period a row of twelve minute angel musicians
appears
in the Sherborne Missal (c.1400), which contains one of the very last
English
representations of the guitar before it finally gave way to the lute
family.
Large groups, however, symbolize
the praising of God and are not evidence of normal performance practice
(although
here should be mentioned the Feast of Westminster in 1306 when over 100
minstrels were present but unfortunately we do not know how or what
they
performed). Smaller items such as
misericords and cloister roof bosses as at Norwich Cathedral shown more
realistic signs of human music-making.
Such scenes are found more often
in
illuminated manuscripts, particularly those of the East Anglian School. They can tell us not only about the
instruments themselves but which ones were played together, such as the
guitar
and fiddle. This appears so often,
particularly for dancing, that it must not be dismissed as worthless if
the
performers are angels. In such a duet it
would be reasonable for the strings of the two instruments to be tuned
the same
way to allow for the ubiquitous medieval drones.
‘Alioquin
Deficeret Hic
Instrumentum Illud Multum Vulgare’:
A brief overview of citoles in art and literature
c.1200-1400
Alice Margerum
This survey of the citole in
literature and art will offer some basic background information about
the
instrument type across Europe. Contemporaneous texts and images
indicate where
and when citoles were popular and help to offer context for the British
Museum’s fine, although much altered, exemplar. Due to the large
number of available
sources this will necessarily be a brief overview.
More than five dozen literary
works, in a variety of languages, mention the citole in manuscripts
dating from
before 1400. Vernacular texts
include citole-related nomenclature in a wide range of literary forms,
both
courtly (epics, romances, and chansons de geste) and popular (patriotic
epics,
hagiographies, fabliaux,
fable, didactic, and rhetorical), as well as in translations of Latin
biblical
and classical works. The discussion of literary sources here
will
categorize them by the function which the term ‘citole’
serves in the text, not
by genre.
The images of instruments
preserved
in medieval sculpture, painting, stained glass, textile and manuscript
illumination are even more numerous. It has been commented that
depictions of
non-human musicians can be unreliable. It will be demonstrated that the
form of
the citole in imagery remains relatively consistent regardless of the
species
of the player, although in fantastic situations the instrumental
groupings
might be contrary to contemporaneous performance practice. The
discussion of
iconography will focus on the morphology of the citoles depicted, and
the
regional variations shown, as well the sorts of
situations in which the instrument type appears.
Maps will be used to demonstrate
which regions were the most strongly associated with the citole. Sculptures in situ will be shown as discreet
points on the map; manuscript production will be charted by region.
Since a
single word in a manuscript can be easily altered, the literary
references
included will be classified by the date and region of surviving
manuscripts
known to contain the citole references. Separate maps will be used to
record
manuscripts which use citole-related terms and those which contain
depictions
of plucked instruments with non-oval body outlines.
Strings and theories of stringing in the times of the
citole and early cittern
John Koster
The several aspects of stringing,
including materials, their tensile strength and elasticity, and the
relationship of dimensions to pitch, are important factors in the
design and
use of musical instruments. Although Renaissance citterns were strung
with iron
and brass wire, as attested by Johannes Tinctoris already in the 1480s,
there
is no definitive evidence about the their presumed predecessor, the
citole.
(Jehan de Brie’s listing of the cythole
among instruments with sheep-gut strings in his 1379 treatise on ovine
husbandry was perhaps merely promotional.) Conjecture about citole
stringing
should be based on a broad consideration of string-making technologies,
the
stringing of other instruments, and early acoustical theory. Various
materials,
including gut, other organic materials, and several metals, were
available in
the period of the British Museum citole. Metal strings were first
attested in a
treatise attributed to Adelbold (died 1026), and there is considerable
documentary and archaeological evidence of wire-drawing throughout
northern
Europe, including Britain. Metal strings were commonly used for
Irish/Scottish
harps, psalteries, and perhaps for lyres. While gold and silver wire
might have
been used for instruments as precious as the British Museum citole,
copper
alloys and iron were probably more frequent. Analysis of the scaling of
the earliest
existing wire-strung harps and keyboard instruments
(fifteenth-sixteenth
century) suggests that instruments like citoles could be strung in
plain wire
if their open strings were no more than an octave apart in pitch. The
Pythagorean theory that the cross-sectional areas of strings
(correctly, its
diameter) are, in effect, inversely
proportional to frequency, led (as also attested in Islamic and Chinese
sources
as well as by the strings of Finnish bowed lyres collected in the
nineteenth
century) to the use of strings sounding, e.g., a fourth apart, composed
of
strands of silk, gut, or hair in the ratio 4:3 (not the 16:9 ratio
giving equal
tension). Similar results could be attained by weighing metal strings.
The
development of the clavichord by the mid-fourteenth century suggests
the
origins of specialized music-wire production before documentation of
the trade
around the end of the fourteenth century, perhaps even as early as the
period
of the British Museum citole. Michael Praetorius’s 1619
description of the
stringing of the English Zitterlein
includes the earliest known reference to standard wire-gauge numbers,
which
might have facilitated calculations for equal-tension stringing. Such
gauge
numbers, arising from the wire-drawing process, might have been in use
since
the establishment of the trade.
The Cithara of Mercury: A
well-tuned cetula
Crawford Young
My paper discusses three aspects
of
the history of the citole, (1) Italian citoles? a re-consideration of
sources
including Tinctoris (2) a re-examination of historical plucked-family
terminology and geographical distribution and (3) a closer look at
so-called
“second bridge” citoles.
To understand the question of the
citole in Italy and Tinctoris’ cetula tuning, the arliest
apparent re-entrant
tuning for a plucked instrument in historical sources, it is necessary
to
examine similar instruments in Italian iconography and to consider
thirteenth-century Parisian music theory. Does Tinctoris go back to
Boethius,
and to his discussion of the so-called “Cithara of
Mercury”? The
fourteenth-century Parisian Berkeley Manuscript provides an important
clue to
the music-theoretical transmission of Boethius in terms of contemporary
medieval instruments. Equally, Tinctoris’ De
inventione et usu musicae must be re-examined to fine-tune our
understanding of the musical function of the cetula.
The Berkeley manuscript, together
with a number of other fourteenth- and fifteenth century sources (such
as a
passage in Eschecs amoureuse) also
provide hitherto unnoticed information concerning the name-types guitarra latina -guitarra moresca. A
careful study of these sources allows an
emendation of Laurence Wright’s influential 1977 study The
Medieval Gittern and
Citole: ACase of Mistaken Identity, to identify more closely the
medieval logic
behind names for the gittern and citole.
The last section of the paper
deals
with a common type of citole which thus far seems to have eluded
acknowledgement in print - the “choral citole”, that is, a
kind of string-drum
or chorus which apparently functioned
in ritual music as an essential aural - and to some extent, visual -
attribute
of ceremony and ceremonial-liturgical music. These instruments may be
recognized by the presence of a second bridge at approximately half the
string
length. An attempt will be made to identify types within this
subcategory,
including citoles which were not used to play melodies (a somewhat
provocative
idea for modern musicians!).
The discussion of the points
listed
above will hopefully allow a formulation or provisional list of
remaining
“unanswered questions” about citole types, terminology,
evolution and musical
usage, as a stimulus to future research efforts.
Li autres la
citole mainne:
Towards a reconstruction of the citole’s performance
practice
Mauricio Molina
Romanesque and gothic art and
literature reveal that the citole was widely played in Western Europe
during
the thirteenth and fourteenth centuries. The sources divulge that the
instrument was performed by jongleurs, Parisian university students,
and
probably clerics, and that it was often paired with the vielle in
the
performance of dance music. Although scholars have done intense
research on the
citole’s structural developments, origins, and denominatives,
little has been
done to reconstruct its performance practice mainly because of the lack
of any
precise information on the subject. The reconstruction of elements of
this
practice, nonetheless, can be attempted by studying: a) some of the
instrument’s structural elements; b) adjectives used to qualify
the citole in
the literature; c) the social context and performance space in which
the
instrument was played; d) the type of music performed with it; and e)
the
citole’s function in its pairing with the vielle
using models such as the bagpipe-pipe and tabor pair. This type of
study can
provide information on subjects such as the citole’s technical
needs for sound
production and projection, and its melodic, rhythmic, and harmonic role
in
ensemble playing. Furthermore, this investigation will also help to
inform us
about the possible impact that a fretted instrument might have had in
the music
of the period.
Techniques for the
unaccompanied performance of medieval estampies
on a
reproduction of the British Museum citole:
a lecture-demonstration
Mark Rimple
Upon first playing Kate
McWilliams-Buehler’s reconstruction of the British Museum Citole,
I was
immediately curious about how a jongleur or minstrel might have used
the
instrument in a virtuosic manner. Many
of its peculiar aspects – a pinched, high register, a seemingly
less-than
ergonomic carrying position and restricted left hand mobility, the
initial
difficulty of achieving sustain, and a stiff resistance to the plectrum
– at
first seemed to work against the demands of rapid execution and
phrasing. In particular, the high bridge,
similar to
that of a vielle, presents a tension most unlike that of a lute or
harp, both
of which require little force and offer much sustain.
Soon, however, I was able to
prepare two estampies quite ably on the instrument, informed by the
very
features that seemed at first to hinder musical execution. The citole
offers
several distinct advantages, including an effective use of drones and a
penetrating, percussive timbre. These and
other features create an unexpected acoustic profile that might easily
rise
above the ambient noise of a variety of public spaces and social
situations.
In my presentation, I will be
using
one of Ms. McWilliams’ more recent reconstructions to explore the
technical and
musical possibilities available for a solo performance of selected
thirteenth-century French estampies from the Chansonnier
du Roi (BN fonds française 844c). I
will address the use of the instrument in
this repertoire based on iconography and performance practice, focusing
on the
application of this learning to a specific, modern instrument.
Musical historic
instruments from Poland: 15th century Gittern from
Elbląg
Dorota Popławska
In 1986 during archaeological
excavation on the territory of The Republic of Poland there was
discovered a
gittern. This chordophone was found in The Old Town area in Elbląg (northern Poland). The
discovered gittern was dated to the middle of 15th
century..
We
know the name of the owner of premises from this time. It was Gerke
Schonehoff. Historically in XIII century The
Teutonic Knights built a defense castle on the bank of the Elblag
River. In XIV
century Elblag belonged to the Hanseatic League. In those days city was
an
important Baltic port town and a centre of commerce particularly
inhabited by
Germans, Dutchmen, Englishmen and Scotchmen. However, since 1466 Elblag has been part the
Kingdom of Poland.
Excellent conditions of this excavated item
enabled searchers to conduct detailed investigations and to describe
this
artifact.
All
gittern’s elements were skilfully
constructed. The total length of the instrument was 548 mm. The body
with the
neck finished by pegbox of eight
pegs was
carved from the same block of wood (probably lime-tree). A
soundboard
with an oval-shaped sound hole was
polished from two-pieces of
spruce. The
pegbox was covered by very basic
sculpture presenting a bust of woman in a lace cap. At the same
location
archaeologists also found the bridge of this instrument with some
grooves for strings. Number of
hollows is bigger than
the number of stakes what tell us now, that musicians tried to find the best placing for strings on the
instrument. The number of strings could not be always identical and it
varied
from 4 to 6 (8?).
During many tests in tuning and way of playing
performed on the Elblag’s gittern researchers revealed a couple
of methods in
tuning, fixing strings and playing techniques.
Bourgeois house – place
where the
exhibit was found, shows that the instrument was used by the ordinary
people
during their day-to-day
activities.
Gitterns were known from Polish iconography
sources dated from 13th to 15th century. The
gitterns
were mentioned more often in Western Europe iconography. On
that base we
can presume that the gittern from Elblag shows distinguishing features
of
English and French instruments.
According to the author’s best knowledge the gittern from Elbląg
is the
unique one in the whole Europe which was found during archaeological
excavation
works. However there is another gittern built by Hans Ott in 1450,
belonging to
Wartburg Collection in Eisenach, Germany.
Citolers
in late medieval English households
Richard Rastall
This paper
considers
those minstrels known to be citolers in the English royal households of
the
14th and 15th centuries, together with visiting citolers. Their
work-conditions
are examined, and conclusions drawn about the conditions in which they
performed.
The principal
sources of
information are the Wardrobe books and Chamber accounts of the royal
households, which record wages, gifts and special payments to royal
servants
and visitors to court; additional information is given by household
ordinances.
Although the players of particular bas instruments tend to be subsumed
under a
general heading of ‘minstrels’, it is possible both to
follow the broad
outlines of the careers of some citolers and to reach tentative
conclusions
about the incidence of royal citolers over these two centuries.
Heroes and Villains: The medieval “Guitarist”
in the Middle Ages
and modern parallels
Carey Fleiner
Along with their wandering
entertainer brethren, string-players and their instruments were scorned
from
Antiquity to the Late Middle Ages as the lowliest members of the
society; they
are depicted frequently as men of vulgar disposition who are prone to
criminal
behavior, perpetrators of immoral and scandalous actions, and in
communion with
the Devil – stealing the virtue of maidens (and quite possibly
the silverware)
before vanishing down the drainpipe to begin anew in the next village.
Such a
naughty, yet alluring, reputation made the instrument and its
performers all
the more dangerous as their audience were in peril of falling under the
musicians’ spell, leading to the corruption of their own
reputations, if not
their immortal souls. In this paper, I will discuss this reputation of
stringed
instruments and their masters primarily as seen in the High Middle Ages
(12th
to 14th centuries) and how this reputation persists into the
twenty-first century, as modern guitarists, notably performers of the
blues,
folk, and rock and roll, remain both idolised and suspected
simultaneously as
heroes and villains. Among the topics considered include what the
‘bad-boy’
image of the citole/string player was, its origins, and possible
real-life
counterparts; why an itinerant musician was viewed with distrust and
suspicion
even as they were readily and repeatedly hired to perform at secular
and church
functions; why intellectuals viewed certain types of music –
namely, polyphony
-- as dangerous to the souls of the
common man; and finally, why there be dragons – our citole and
others like it
in several manuscripts have dragon headstocks – what connotations
could such a
creature have had, an icon that survives in modern times among rock and
roll
enthusiasts. Overall I hope to showcase the seedier side of the citole
player’s
art, to try to determine whence comes this characterisation of the
cheeky,
oversexed rogue which has persisted in Western popular culture from
Chaucer to
The Rolling Stones, a source of vulgar behaviour and of warnings from
the
pulpit, beloved by groupies, hated by (church) fathers, and enduringly
popular
with the masses.
“Citole
i ot”: The courtly associations
of the fourteenth-century citole
Andrew Taylor
The British
Museum citole poses a major conundrum. Here is a sumptuous instrument
whose
early provenance seems to be entirely unknown. The suggested date of
1300-1330
seems reasonably well established, but efforts to narrow down the
provenance
have so far not moved beyond Kathryn Buehler-McWilliams’s
tentative suggestion
that the work may be East Anglian. Such splendid carving on an
instrument is
very rare and the citole must have been expensive, but that in itself
does not
necessarily make it a royal or even an aristocratic commission. The one
thing
we do seem to know is that the instrument was made to be played. As
Buehler-McWilliams
notes in her article in JAMIS, the great care taken in its construction
to
produce thin and uniform walls and ribs, combining strength and
lightness,
suggest that “it was created to be a performing instrument, or at
least that it
was built by a craftsman who was a master citole builder as well as a
master
carver” (34).
In an
effort to recapture something of the world in which the instrument
sounded, I
would like to consider the case for two general categories of possible
patrons,
minstrels and courtly amateurs. The first possibility, suggested to me
as a
speculative conjecture by Alice Margerum, is that the citole might have
been
intended for one of Edward II’s citolers, a kingly instrument for
a king’s
minstrel. As Richard Rastall has shown, minstrels could become symbolic
representatives of their lord and Edward II did employ at least two
citolers
for a long period. But Edward II’s harpers seem to have been of
higher dignity.
William de Morley, for example, became Roy de North, one of the king of
minstrels or heralds (the terms being used synonymously), whose chief
duty was
the regulation of coats of arms.
An amateur who wished to accompany
himself or herself while singing love songs seems a more likely
possibility.
The literary references collected by Alice Margerum (“La geste
Blancheflour e
de Florence,” Confessio Amantis, Sir
Degrevant) suggest that the citole
was regarded as particularly well suited for gentle folk, both men and
women,
who wished to demonstrate their cultural sophistication. In attempting
to
recapture the status of the citole in this courtly culture, the
similarity
between the decorative carving on the British Museum citole and the
bas-de-page
grotesques in contemporary Psalters may also be suggestive. The
widespread image
of David as God’s jongleur, his cithara
represented by a gittern or citole, makes an initial link between the
citole
and the Psalter. While the carvings in the British Museum citole, with
their
stress on the labours of the months, are emphatically not erotic, the
Psalter
often was, playing a crucial role in courtly flirtation as it does in
the
thirteenth-century romance Flamenca.
Sixteenth-century
additions to the British Museum citole: their extent and their
importance
Benjamin Hebbert
The
conversion of the BM citole in order to be used as a violin in –
and around –
1578 is, in some respects a tragedy in terms of the loss of essential
information about the original nature of the instrument. However, the
‘new’
parts of the instrument are of exceptional historical importance in
their own
right. The objective of this paper is to report on the re-examination
and
contextualising of the belly and the fittings, to demonstrate that
(with the
exception of the bridge and tuning pegs), they all date to the 1578
period and
have demonstrable concordances with other works made in London around
the same
time. The work is important because these are some of the earliest
dated relics
of stringed instrument making in England, but also because they
demonstrate the
communication and influences from Northern Italy that formed an
important part
of Early English instrument making.
‘Sometime singing
like an angel, sometime playing like Orpheus’:
Queen Elizabeth I and the politics of musical performance
Katherine Butler
This paper examines the wider use
of intimate music-making in the fashioning of political relationships
within
which Dudley’s gift of the modified citole to Queen Elizabeth I
can be
understood. Examining the evidence of ambassadors’ reports,
personal memoirs
and courtiers’ letters, I analyse both performances by Elizabeth
to foreign
ambassadors or visitors and intimate songs performed or commissioned by
courtiers for the queen to consider their political functions.
Queen Elizabeth I’s musical
talents
are widely acknowledged and in this regard she was unexceptional among
royal
women. Royal and noble women of the sixteenth century were commonly
educated in
music to become the eloquent, attractive centrepieces of Renaissance
courts
with a duty to charm and entertain foreign ambassadors, and to attract
a
suitable husband. However, when Elizabeth became queen her musical
performances
took on a new significance, which is still little understood. She used
the
intimacy of musical performance throughout her reign to manipulate
diplomatic
relations, marriage negotiations, her royal image of eternal youth and
her
rapport with favourite courtiers. Comparison with other royal women
including
Mary Queen of Scots (her cousin), and Mary I (her sister) demonstrates
that
while it was not unusual for royal women to perform for men, the
political
significance of Elizabeth’s performances was greater than for
other queens.
Courtiers too understood how
music
could enhance their influence at court through enabling them to
establish an
intimate relationship with the queen. I examine instances in which Sir
Walter
Ralegh, Robert Devereux, the Earl of Essex, and Robert Cecil presented
songs as
gifts to Elizabeth. These performances, with their appearance of
spontaneity
and playful character, enabled a favoured courtier to manage his
rapport with
the queen: making his company pleasing, flattering her with constant
assurances
of love and loyalty, competing with rivals for her attentions or
restoring
himself to favour if he had caused offence.
For both Elizabeth and her
courtiers, music became a tool for political manoeuvring. Music’s
multiple
connotations of eloquence, love, marriage, youth and favour made it
flexible
and often usefully ambiguous in meaning, while the intimacy of music
enabled
the fashioning and manipulation of close courtly and diplomatic
relationships.
An intimate view of Queen
Elizabeth I as a musician: sources in context
Annett Richter
The uncovering of strategies
Queen
Elizabeth I (1533-1603) used to display a cult of female monarchy
reveals how
Renaissance women in positions of power had to construct carefully
images of
self-representation. In an age when women were regarded as the inferior
sex,
Elizabeth I shrewdly exploited the functions of music in public and in
private
to protect her sole rulership over England. Through her own
performances on the lute, Queen Elizabeth I politicized music to
challenge
prescribed rules of social conduct.
As research by Andrew Ashbee
suggests, Elizabeth
I was a multi-faceted musician. Over the course of her reign, she
received
nineteen songbooks, one collection of virginal music, four lutes, two
virginals, two cornets, one cittern, one orpharion (reputedly made for
her),
one viol, one sackbut – most of them as New Year’s gifts
from her court
musicians and instrument makers. The number of lutes and boxes of lute
strings
Elizabeth received on various New Year’s Days and that she
acquired through
purchase imply that she was a practicing lutenist from at least 1551,
several
years before she became Queen, until at least 1598, if not until her
the end of
her life in 1603. A miniature portrait of Elizabeth I, located at Berkeley Castle in Gloucestershire, England,
and painted around 1580 by Nicholas Hilliard, shows the Queen playing a
lute.
In 1559 and 1565, she reportedly performed on this instrument for
Caspar von
Breuner and Adam von Zwetkovich, two Austrian ambassadors at the
English court.
Critical readings of this painting and of the correspondence by these
foreign
diplomats reveal that Elizabeth
I presented her skills on the lute as part of her political agenda
during her
marriage negotiations with Archduke Charles from Austria.
Revisiting Linda Austern’s
discussion of music and femininity in Renaissance thought, this paper
offers a
new understanding of the manipulative tactics Elizabeth I employed when
playing
the lute in front of men.
In conclusion, Queen Elizabeth I
deliberately exploited the rules of aristocratic conduct in order to
place
herself on an intellectual level of men. Not only did she use lute
music to
expose her listeners to pleasing sounds that reflected spiritual
harmony, but
the lute also served for her a practical purpose. Performing music in
front of
members of the opposite sex and in situations typically closed to women
allowed
Elizabeth I to exhibit androgynous strengths and to exploit the doubly
enchanting effects of music. These strategies in turn enabled the Queen
to
underscore her authority in a male-dominated realm and to pursue goals
in a
patriarchal society.
Dudley’s Penance: The gift of a musical
instrument at Elizabeth’s court
Kate
Buehler-McWilliams
This paper will
contextualize the
British Museum citole at the court of Elizabeth I. As one of the
few extant musical instruments of the Middle Ages, the British Museum
citole offers valuable insights into the
social
customs of the Tudor court. It bears decorative silverwork which is
dated 1578
and embossed with the coats of arms of Elizabeth I and Robert Dudley,
her court
favourite.
In 1578 Dudley chose to secretly
marry Lettice Knollys, thus jeopardizing his position as Queen’s
favourite. There is no convincing
contemporary account of how Elizabeth discovered and reacted to this
breach of
faith, but the view generally accepted by modern scholars, suggested by
Derek
Wilson in Sweet Robin, is that Dudley
told her in a private meeting mentioned by the Spanish ambassador. It is my theory that the citole, with
modifications dated to 1578, was another actor in this private exchange. As a gift from Dudley to Elizabeth, it
demonstrated his humility and devotion to her.
A modernized antique, it symbolized the value of their
long-standing
relationship, while at the same time reassuring that Dudley’s
devotion would
continue despite the new relationship in his life.
This paper will review aspects of
the relationship between Elizabeth and Dudley in 1578 and other
important times
of their lives. It will also consider
the role that the citole, as an exquisite piece of medieval
craftsmanship
modernized into a violin, would play in Elizabeth’s court. It will examine other the social custom of
gift-giving, and show how the citole would be an appropriate
penitential gift
to Elizabeth from Dudley. Finally, it
will also consider issues of provenance, tracing how the citole could
have
gotten to Dudley, and where it went after Elizabeth’s death.