Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture.

Studies of medieval musical instruments draw upon written testimony, iconography (manuscript art, painting, drawing, sculpture and stained glass windows) and surviving instruments to describe their characteristics and the way they developed over time. In my search for evidence about medieval plectrums, I was surprised to find not one dedicated paper, book chapter or webpage. This article is an attempt to bring the written, iconographical and material evidence together and present some new research, focussing on the characteristics of plectrums used to play the gittern, lute, psaltery, citole and cetra, made from quills, gut strings, metal, bone, and ivory.

This is a revised version of the article originally published in January 2023, now with more information, extra illustrations, and a new illustrative video: La Uitime estampie Real (The Eighth Royal estampie), c. 1300, played on citole and gittern with plectrums of antler, horn and gut string.

In the second article, we survey the evidence for plectrum playing technique, with practical applications for modern players of medieval music; and evaluate whether all medieval plucked instruments were played with plectrums.   

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How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

Our chief source of information for medieval musical instruments is iconography, meaning the art of manuscripts, paintings, and sculptures. That this art must be viewed critically is a commonplace understanding. Due to its highly stylised nature, some argue that all medieval iconography is suspect and of no value for gleaning real-world information. This series of articles argues that this conclusion is a mistake: if we come to iconography with an historically-informed approach, medieval art has much to teach us about historical musical instruments.

How do we judge medieval symbolism, artistic conventions and the limitations of the medium (manuscript, stone, paint) so as to gather information valuable to a luthier, a music historian and a modern player of medieval instruments? That is what this article sets out to describe, outlining 10 principles when viewing iconography for practical musical purposes.  

The first article introduced the topic by outlining the characteristics of medieval art. The third and final part puts the 10 principles of the present article into practice with the recreation of a gittern painted by Simone Martini in 1312-18.    

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