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which five instruments was Grocheio referring? Viella and psalterium are unproblematic, ‘vielle’ and ‘psaltery.’ Both lyra and cithara are more generic and uncertain in reference to a specific instrument type. In three 14th-century manuscript illustrations, /zva meant ‘harp’ (for one example see PI. 8a), which seems to have been the more common meaning for lia, as confirmed in another 14th-century French text by Nicole Oresme, lira, ce est harpe.* The same author wrote Source 1. Johannes de Grocheio discussed the practice of music in Paris around 1300 in his treatise De musica, in which he named the common string instruments of his time:

Figure 1 which five instruments was Grocheio referring? Viella and psalterium are unproblematic, ‘vielle’ and ‘psaltery.’ Both lyra and cithara are more generic and uncertain in reference to a specific instrument type. In three 14th-century manuscript illustrations, /zva meant ‘harp’ (for one example see PI. 8a), which seems to have been the more common meaning for lia, as confirmed in another 14th-century French text by Nicole Oresme, lira, ce est harpe.* The same author wrote Source 1. Johannes de Grocheio discussed the practice of music in Paris around 1300 in his treatise De musica, in which he named the common string instruments of his time:

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Plate 1 Francis Galpin, O/d English Instrument of Music, London, 1910 (repr. 1965), pl. 7: detail showing an angel playing a citole in British Library, MS Arundel 83, f. 134v (upper photo) and a photograph of the citole owned by the British Museum (lower photo)
Plate 1 Francis Galpin, O/d English Instrument of Music, London, 1910 (repr. 1965), pl. 7: detail showing an angel playing a citole in British Library, MS Arundel 83, f. 134v (upper photo) and a photograph of the citole owned by the British Museum (lower photo)
Machaut is the only source for the term morache, which might suggest itself as an abbreviation of gudterne moresche. If morache was Machaut’s name for what others called guzterne moresche, then this leaves his gutterne to presumably be what others called guzterne latine. It seems more logical, however, Sources 2-3. As Wright pointed out, the John Duke of Normandy minstrel references (sources 2a—b) and the instrument references found in Machaut (sources 3a—b) could possibly be related, as Machaut was in the service of the duke’s wife Bonne of Luxembourg from c. 1332 until her death in 1349, and bot h of his works listed above are connected with her (Remede was probably written specifically for her, and Prise contains a direct reference to her).” Among her husband’s minstre latine, and Richard La s were Jehan Hautemer, de la guiterne bbé, de la guiterne moresche. Both turn up later as minstrels for John’s successor as king, Charles V.
Machaut is the only source for the term morache, which might suggest itself as an abbreviation of gudterne moresche. If morache was Machaut’s name for what others called guzterne moresche, then this leaves his gutterne to presumably be what others called guzterne latine. It seems more logical, however, Sources 2-3. As Wright pointed out, the John Duke of Normandy minstrel references (sources 2a—b) and the instrument references found in Machaut (sources 3a—b) could possibly be related, as Machaut was in the service of the duke’s wife Bonne of Luxembourg from c. 1332 until her death in 1349, and bot h of his works listed above are connected with her (Remede was probably written specifically for her, and Prise contains a direct reference to her).” Among her husband’s minstre latine, and Richard La s were Jehan Hautemer, de la guiterne bbé, de la guiterne moresche. Both turn up later as minstrels for John’s successor as king, Charles V.
commentary by the same author, the Livre des echecs amoureux moralisés, found in seven manuscripts including five in the Bibliothéque nationale in Paris. De Conty lived in Paris and was a physician to Charles V. His commentary contains a large section discussing music as the seventh liberal art.” Following an explanation of the division of the monochord, string instruments are described as being of two different types: those with a different length for each string (harp etc.) and those with strings of the same length which can be stopped to produce different pitches (vielle etc.). How a finger is used to stop a string 1s then described, followed by: ‘Et pour ce sont aucuns telx instrumens signés en pluseurs lieux de cordes au travers en gardant la mesure dessusdite et les proporcions du monocorde pour savoir ou le doy doit touchier sy come nous veons es guyternes mouresques’ (f. Gov, line 17 — ‘and for this some like instruments are marked across [by frets] in many places of the strings while guarding the measure[d intervals] mentioned above and the proportions of the monochord for to know where the finger must touch the string, as we see on guyternes mouresques ).* Plate g shows the details of a depiction c. 1218 of a fret on an servant and of blacks persecuting Christ existed in Gothic art, in the early fourteenth century this iconography remained unusual.” Further, two mid-13th-century images of this type of chordophone from Moorish Spain (Pls 7- 8) are strongly suggestive of a skin top and fretless fingerboard, perhaps with a rounded back constructed from a gourd, although this is conjecture. Both are features associated with Arabic instruments, making this 14th-century French chordophone at least a viable candidate for a morache.
commentary by the same author, the Livre des echecs amoureux moralisés, found in seven manuscripts including five in the Bibliothéque nationale in Paris. De Conty lived in Paris and was a physician to Charles V. His commentary contains a large section discussing music as the seventh liberal art.” Following an explanation of the division of the monochord, string instruments are described as being of two different types: those with a different length for each string (harp etc.) and those with strings of the same length which can be stopped to produce different pitches (vielle etc.). How a finger is used to stop a string 1s then described, followed by: ‘Et pour ce sont aucuns telx instrumens signés en pluseurs lieux de cordes au travers en gardant la mesure dessusdite et les proporcions du monocorde pour savoir ou le doy doit touchier sy come nous veons es guyternes mouresques’ (f. Gov, line 17 — ‘and for this some like instruments are marked across [by frets] in many places of the strings while guarding the measure[d intervals] mentioned above and the proportions of the monochord for to know where the finger must touch the string, as we see on guyternes mouresques ).* Plate g shows the details of a depiction c. 1218 of a fret on an servant and of blacks persecuting Christ existed in Gothic art, in the early fourteenth century this iconography remained unusual.” Further, two mid-13th-century images of this type of chordophone from Moorish Spain (Pls 7- 8) are strongly suggestive of a skin top and fretless fingerboard, perhaps with a rounded back constructed from a gourd, although this is conjecture. Both are features associated with Arabic instruments, making this 14th-century French chordophone at least a viable candidate for a morache.
Plate 9 Fresco by Pietro da Rimini, Basilica di San Nicola, Tolentino
Plate 9 Fresco by Pietro da Rimini, Basilica di San Nicola, Tolentino
Plate 10 University of California Music Library, Berkeley, MS 744, p. 52
Plate 10 University of California Music Library, Berkeley, MS 744, p. 52
Plate 11 Giotto workshop, Elder of the Apocalypse, Basilica Inferiore di San Francesco, Assisi
Plate 11 Giotto workshop, Elder of the Apocalypse, Basilica Inferiore di San Francesco, Assisi
Plate 12a—b left (a), Bibliotheque nationale, Paris, MS lat. 7378A, f. 45v, right b) Bibliotheque nationale, Paris, MS lat. 7378A, f. 45v (author’s reconstruction of detail) configuration, and they show no consistent difference in size from their French counterparts. Further, why would an instrument be labeled ‘Italian’ in France c. 1310-20, when there are relatively few late 13th-century iconographical sources in evidence in Italy itself?
Plate 12a—b left (a), Bibliotheque nationale, Paris, MS lat. 7378A, f. 45v, right b) Bibliotheque nationale, Paris, MS lat. 7378A, f. 45v (author’s reconstruction of detail) configuration, and they show no consistent difference in size from their French counterparts. Further, why would an instrument be labeled ‘Italian’ in France c. 1310-20, when there are relatively few late 13th-century iconographical sources in evidence in Italy itself?
gutterne moresche, with Plate 14 illustrating another instrument with the characteristics just described —a plausible guzterne latine. Magister Theodoricus, court painter to Holy Roman Emperor Karl IV, decorated the Chapel of the Holy Cross at Karlstejn Castle near Prague. In this Apocalypse fresco painted in the 1360’s, Theodoricus’ style displays the influence of “the art of Bruges, or, more generally, Franco-Flemish art,” according to Barbara Drake Boehm:3+
gutterne moresche, with Plate 14 illustrating another instrument with the characteristics just described —a plausible guzterne latine. Magister Theodoricus, court painter to Holy Roman Emperor Karl IV, decorated the Chapel of the Holy Cross at Karlstejn Castle near Prague. In this Apocalypse fresco painted in the 1360’s, Theodoricus’ style displays the influence of “the art of Bruges, or, more generally, Franco-Flemish art,” according to Barbara Drake Boehm:3+
In addition to phialam, a second kind of common container (water bucket), also used in Christian liturgy sinc the Carolingian, Ottonian and Romanesque periods, was the szwla. An intrinsic feature of a setuda is that it has a form which that facilitates carrying it, i.e., a handle.** If ceramically constructed, this meant either one handle spanning the opposite edges of the mouth of the vessel, or
In addition to phialam, a second kind of common container (water bucket), also used in Christian liturgy sinc the Carolingian, Ottonian and Romanesque periods, was the szwla. An intrinsic feature of a setuda is that it has a form which that facilitates carrying it, i.e., a handle.** If ceramically constructed, this meant either one handle spanning the opposite edges of the mouth of the vessel, or
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Music Iconography
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