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MONOGRAM FROM THE 1208 ROTA OF HENRY KIETLICZ, ARCHBISHOP OF GNIEZNO (Monogram z roty arcybiskupa gnieznienskiego Henryka Kietlicza z 1208 roku)

100%
Strozyk P.
Roczniki Historyczne
|
2011
|
vol. 77
169-181
EN
The article deals with a monogram of Henry Kietlicz, archbishop of Gniezno (1199-1219). It is known only from the rota on a document of Henry the Bearded of 1208. In literature the monogram was rendered as hEnRIC(US) but the present article shows a possibbility of a different reading, namely PETRC(US). The monogram PETRC(US) may have been inspired by the monogram PETRUS, known from the iconography of St. Peter. This PETRC(US) monogram and other symbols used by the archibishop may indicate that Henry Kietlicz was forming his own image imitating that of the pope (imitatio papae).
2
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THE ROTE. COMMENTS ON THE MEDIEVAL HARP-PSALTERY

100%
Kozak L.
Muzyka
|
2005
|
vol. 50
|
issue 4(199)
45-66
EN
There has been much controversy surrounding the Latin name of the instrument called rota and its vernacular equivalents (rotta, rote, rotte, rothe, rocta, etc.), which were in use in sources dating from between the sixth and fifteenth centuries. The term was regarded as a model example of medieval organological polysemy and was applied to practically all types of chordophones. However, a thorough analysis of source material, and a comparison of written sources with iconography, allow one to identify precisely the designate of the name rota as the triangular zither with strings on both sides of the resonator. This type of instrument, because of its unusual construction and performance technique has been defined in the literature of the subject as a harp-psaltery or harp-zither. Although the instrument has been ignored by the majority of works on medieval music, sources confirm the presence of the rote in the musical culture of Western Europe, Byzantium and a part of the Muslim world, certainly from the ninth century; moreover, the rote appears to be one of the most popular instruments in twelfth-century court culture. The many depictions of the rote in the iconography provide information which supplements the cursory references to the instrument's structure and performance technique, as well as the rote's position in the musical culture of the Middle Ages.
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