Above: Rear edge of the Quito vihuela bridge showing signs of wear in the areas of the first (single), second, third and, to a lesser degree, forth courses. There is very little, if any, noticeable wear of the edge in the areas of the fifth and sixth courses. A V- shaped upper edge of the slots (from the second to six courses) could well be designed with the intention of helping to spread individual strings in courses next to the sides of the slots. Note that the rounded corners of the slots for the fourth, fifth and sixth courses have greater radii than those of the second course. It almost seems that they were shaped to accept larger and smaller string diameters accordingly.

Below: Comparison of carved decorations in the shape of stylized animal's head of the Quito vihuela and Juan Pages guitar, Cádiz 1803 (collection of James Westbrook, Brighton).

Peg heads of the Quito (left) and an anonymous E. 0748 ‘Chambure’ vihuela (right) reveal an obvious resemblance in design patterns. This fact was first brought to attention, back in 1998, by Joël Dugot in his article Un nouvel exemplaire de vihuela au musée de la musique (in Luths and Luthyistes en Occident, Actes du colloque 13-15 mai 1998, Cité de la Musique, Paris 1999), pp 307-317.