456 Mele
those depicted in a miniature of the Cantigas de Santa María.86 However, this
topic remains to be studied in a way that compares the historical and ethno-
musicological fields.
The type of music that was played in the Sardinian courts and castles is also
unknown. There is, however, news of a certain Pino de Nello, an Aragonese mil-
itary minstrel in Bonaria (Cagliari), as well as musicians and jesters (tubicina-
tores sive trompadors et alii mimmi) at the palace of the giudice Marianus IV of
Arborea in the fourteenth century.87 They performed before and after the sover-
eign’s meals in imitation of the “Ordinances of the Court” of the king of Aragon,
Peter IV (Peter the Ceremonious).88 Not long ago, during the excavations at the
castle of Serravalle in Bosa, archaeologists revealed a bone flute dating from
the first half of the fourteenth century.89 Some very rare miniatures with mu-
sical instruments,90 as well as sumptuous retables dating from the fifteenth-
sixteenth centuries, offer interesting elements of musical iconography. Together
with some sculptures from the late sixteenth and seventeenth centuries,91 a
86 Mele, “Le launeddas,” pp. 233–234, figs. 2–3: El Escorial, Biblioteca del Real Monasterio, cod.
B. I. 2, 134/4 century, fol. 79v. On the Cantigas de Santa María, see Higinio [Hygini] Anglés,
La Música de las Cantigas de Santa María del Rey Alfonso el Sabio, 4 vols (Barcelona, 1943–
1964); José M. Llorens, “El ritmo musical de las Cantigas: estado presente de la cuestión,”
Anuario Musical 41 (1986), pp. 47–61; José M. Llorens, “El ritmo de las Cantigas de Santa
María,” in Studies on the “Cantigas de Santa María”: Art, Music, and Poetry (Madison, 1987),
pp. 203–222; Gómez Muntané, La música medieval, pp. 180–188, 206–212.
87 On Pino de Nello see Barcelona, Archivo de la Corona de Aragón, Cancilleria, reg. 1938, fols.
121v–122r; Giampaolo Mele, “La musica catalana nella Sardegna medievale,” in I Catalani
in Sardegna, ed. Jordi Carbonell and Francesco Manconi (Barcelona, 1984), pp. 188 and
190; on the tubicinatores see ibidem. On the jesters, see Edmond Faral, Les jongleurs en
France au Moyen Age (Paris, 1910); Ramón Menéndez Pidal, Poesía juglaresca y origines de
las literaturas románicas. Problemas de Historia literaria y cultural (Madrid, 1957 [1924]);
Giampaolo Mele, “I Giullari. Musica e mestieri nel Medio Evo (secoli XI–XIV). Cenni
storici,” in Arte y vida cotidiana en la época medieval, ed. María del Carmen Lacarra Ducay
(Zaragoza, 2008).
88 Mele, “La musica catalana,” p. 188.
89 The fourteenth-century bone flute was found during the 2012 Summer School, organized
by the Department of History, University of Sassari, and led by professor Guido Milanese.
See Alessandro Farina, “Scavi al castello, c’è un flauto osseo,” La Nuova Sardegna: http://
lanuovasardegna.gelocal.it/oristano/cronaca/2012/08/18/news/scavi-al-castello-c-e-un-
flauto-osseo-1.5561203 [consulted 28 August 2012].
90 For example Aula Capitolare della Cattedrale di Oristano, MS P. VIII, antifonary, 134/4 cen-
tury, fol. 53v; Mele, “Catalogo analitico,” p. 283, fig. 4; Baroffio and Kim, “Liturgia e musica,”
p. 91, fig. 26.
91 See examples in Mele, “La musica catalana,” p. 191, figs. 170–171: Padria (Sassari), church
of Santa Giulia, sixteenth century: musicians in the archstones of the vault; p. 191, fig. 172:
Cossoine (Sassari), church of Santa Clara, seventeenth century: two dancers dancing