[1] _Uber den Bau der Bogeninstrumente_ (Jena, 1828), pp. 94 and 95.
[2] See Pietro Millioni, _Vero e facil modo d' imparare a sonare et
accordare da se medesimo la chitarra spagnola_, with illustration
(Rome, 1637).
[3] _Declaracion de instrumentos musicales_ (Ossuna, 1555), fol.
xciii. _b_ and fol. xci. _a_. See also illustration of _vihuela da
mano_.
[4] See also G. G. Kapsperger, _Libro primo di Villanelle con l'
infavolutura del chitarone et alfabeto per la chitarra spagnola_
(three books, Rome, 1610-1623).
[5] See Kathleen Schlesinger, _The Instruments of the Orchestra_,
part ii. "Precursors of the Violin Family," pp. 230-248.
[6] See Denon's _Voyage in Egypt_ (London, 1807, pl. 55).
[7] Illustrated from a drawing in Perrot and Chipiez, "Judee
Sardaigne, Syrie, Cappadoce." Vol. iv. of _Hist. de l'art dans
l'antiquite_, Paris, 1887, p. 670. Also see plate from a photograph
by Prof. John Garstang, in Kathleen Schlesinger, _op. cit._
[8] See Biernath, _Die Guitarre_ (1908).
[9] See also Luys Milan, _Libro de musica de vihuela da mano,
Intitulado Il Maestro_, where the accordance is D, G, C, E, A, D from
bass to treble.
[10] Mariano Soriano, _Fuertes Historia de la musica espanola_
(Madrid, 1855), i. 105, and iv. 208, &c.
[11] _De natura deorum_, ii. 8, 22.
[12] See _Etymologiarium_, lib. iii., cap. 21.
[13] See British Museum, Harleian MS. 1419, fol. 200.
[14] The literature of the Utrecht Psalter embraces a large number of
books and pamphlets in many languages of which the principal are here
given: Professor J. O. Westwood, _Facsimiles of the Miniatures and
Ornaments of Anglo-Saxon and Irish MSS._ (London, 1868); Sir Thos.
Duffus-Hardy, _Report on the Athanasian Creed in connection with the
Utrecht Psalter_ (London, 1872); _Report on the Utrecht Psalter_,
addressed to the Trustees of the British Museum (London, 1874); Sir
Thomas Duffus-Hardy, _Further Report on the Utrecht Psalter_ (London,
1874); Walter de Gray Birch, _The History, Art and Palaeography of
the MS. styled the Utrecht Psalter_ (London, 1876); Anton Springer,
"Die Psalterillustrationen im fruhen Mittelalter mit besonderer
Rucksicht auf den Utrecht Psalter," _Abhandlungen der kgl. sachs.
Ges. d. Wissenschaften, phil.-hist. Klasse_, Bd. viii. pp. 187-296,
with 10 facsimile plates in autotype from the MS.; Adolf Goldschmidt,
"Der Utrecht Psalter," in _Repertorium fur Kunstwissenschaft_, Bd.
xv. (Stuttgart, 1892), pp. 156-166; Franz Friedrich Leitschuh,
_Geschichte der karolingischen Malerei, ihr Bilderkreis und seine
Quellen_ (Berlin, 1894), pp. 321-330; Adolf Goldschmidt, _Der Albani
Psalter in Hildesheim_, &c. (Berlin, 1895); Paul Durrieu, _L'Origine
du MS. celebre dit le Psaultier d'Utrecht_ (Paris, 1895); Hans
Graeven, "Die Vorlage des Utrecht Psalters," paper read before the
XI. International Oriental Congress, Paris, 1897. See also
_Repertorium fur Kunstwissenschaft_ (Stuttgart, 1898), Bd. xxi. pp.
28-35; J. J. Tikkanen, _Abendlandische Psalter-Illustration im
Mittelalter_, part iii. "Der Utrecht Psalter" (Helsingfors, 1900),
320 pp. and 77 ills. (Professor Tikkanen now accepts the Greek or
Syrian origin of the Utrecht Psalter); Georg Swarzenski, "Die
karolingische Malerei und Plastik in Reims." in _Jahrbuch d. kgl.
preussischen Kunstsammlungen_, Bd. xxiii. (Berlin, 1902), pp. 81-100;
Ormonde M. Dalton, "The Crystal of Lothair," in _Archaologie_, vol.
lix. (1904); Kathleen Schlesinger, _The Instruments of the
Orchestra_, part ii. "The Precursors of the Violin Family," chap.
viii. "The Question of the Origin of the Utrecht Psalter," pp.
352-382 (with illustrations), where all the foregoing are summarized.
[15] Reproduced in Hubert Janitschek's _Geschichte der deutschen
Malerei_, Bd. iii. of _Gesch. der deutschen Kunst_ (Berlin, 1890), p.
118.
[16] _Harmonie universelle_ (Paris, 1636), livre ii. prop. xiv.
[17] See C. F. Becker, _Darstellung der musik. Literatur_ (Leipzig,
1836); and Wilhelm Tappert, "Zur Geschichte der Guitarre," in
_Monatshefte fur Musikgeschichte_ (Berlin, 1882), No. 5. pp. 77-85.
GUITAR FIDDLE (_Troubadour Fiddle_), a modern name bestowed
retrospectively upon certain precursors of the violin possessing
characteristics of both guitar and fiddle. The name "guitar fiddle" is
intended to emphasize the fact that the instrument in the shape of the
guitar, which during the middle ages represented the most perfect
principle of construction for stringed instruments with necks, adopted
at a certain period the use of the bow from instruments of a less
perfect type, the rebab and its hybrids. The use of the bow with the
guitar entailed certain constructive changes in the instrument: the
large central rose sound-hole was replaced by lateral holes of various
shapes; the flat bridge, suitable for instruments whose strings were
plucked, gave place to the arched bridge required in order to enable the
bow to vibrate each string separately; the arched bridge, by raising the
strings higher above the soundboard, made the stopping of strings on the
neck extremely difficult if not impossible; this matter was adjusted by
the addition of a finger-board of suitable shape and dimensions (fig.
1). At this stage the guitar fiddle possesses the essential features of
the violin, and may justly claim to be its immediate predecessor[1] not
so much through the viols which were the outcome of the Minnesinger
fiddle with sloping shoulders, as through the intermediary of the
Italian _lyra_, a guitar-shaped bowed instrument with from 7 to 12
strings.
[Illustration: From Ruhlmann's _Geschichte der Bogeninstrumente_.