ABSTRACT
In recent years medieval iconography and literary sources have been used increasingly for information about instrumental practices in the later Middle Ages. But many vital questions remain unanswered, for these types of evidence have considerable (and as yet not clearly defined) limitations. Prior to the last few years of the fifteenth century the purpose of paintings, carvings and written descriptions of minstrelsy was never description in the photographic, representational sense: nor did they deal with day-to-day minstrelsy, but usually with the celebration of special occasions and events. Until this evidence is better understood by musicians, it will often lead modern performers astray in matters of instrumental usage. 1
