Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

A

Hans [Johann; Joan] von Aachen [Aach; Ach; Acha]

German Mannerist painter and draughtsman, active also in Italy and Bohemia; one of the foremost painters of the circle gathered at the Prague court of Emperor Rudolf II; his portraits, mythological subjects, genre pictures and allegories display an eclectic mixture of Italian and Netherlandish influences; born Colgone (1552), died Prague (1615).

A Man with a Raised Tazza and a Woman Playing a Lute, preliminary drawing, Hans von Aachen (1552-1615). Private collection. A painting with this title was auctioned by Christie's, London, 8 July (1927), no. 103, attributed to Andrea Schiavone (ca 1510-1563). Ref. Wallraf-Richartz Jahrbuch (1971, 33: 123); Heiden (1979, 49: 452-453); Rasmussen (2002, Lute). "He seems to tap on a music book with his index finger as he raises the tazza. There are prominent grapes. The man is considered a self-portrait. Painted in Rome … In the drawing there is also an unplayed recorder, which in the painting is replaced by a bunch of grapes" (Rasmussen, loc. cit.)

Masséot Abaquesne

French ceramicist who was the first grand-master of the glazed pottery at Sotteville-lès-Rouen where he worked between 1535 and 1557; he was the maker of the remarkable paving in the Chateau de Ecouen, which has been attributed both to Luca della Robbia and Palissy; he also made a large number of pharmacy jars; died Cherbourg (1564).

Tiles, from the chapel of the Château de la Bastie d'Urfé, Rouen (1557), Masséot Abaquesne (fl. 1526-1564). Paris: Louvre. Ref. Chastel (1995: 42-43); Anthony Rowland-Jones (pers. comm., 2001). Two of the tiles shown have musical trophies. On the left is a drum; protruding above are the lower parts of three wind instruments. The latter have slightly flared bells with a crenellated design; the finger-holes are not in line, which could indicate double holes near the bell end; there are 4-5 holes on each instrument. To the lower right of the drum, a duct-flute protrudes with the head end showing (window/labium is visible). It is not in line with the instruments protruding above. On the right, a tile shows a hurdy-gurdy as its main design. At the top right there protrudes what looks like the end of a duct-flute, with a slight bell flare and two holes in line. Notes by Anthony Rowland-Jones (loc. cit.)

Niccolò [Nicolò] Dell'Abbate [Abate]

Italian painter of the Bolognese school who, along with others, introduced the post-Renaissance Italian style of painting known as Mannerism to France and helped to inspire the French classical school of landscape painting; born Modena (1509-12), died ? Fontainebleau (1571).

[Untitled] (before 1540), cartoons, Niccolò Dell'Abbate (1509-1571). Windsor: Windsor Castle. Ref. Popham & Wilde (1949: n. 46, fig. 17); Béguin (1969: 56). Preliminary sketches for a ceiling fresco in the Gabinetto dell' Eneide in the Rocca di Scandiano, near Modena, Italy (see below). A musician (? Giulio Acanio Boiardo) plays a wide-bore, cylindrical recorder.
Concerto (1540), octagonal fresco, 84 × 84 cm, Niccolò Dell'Abbate (1509-1571). Modena: Galleria Estense, Inv. 493. Ref. Besseler (1931: 285); Béguin (1969: 53-56, pl. 4); Archiv Moeck; Cosetta (1985, 1: pl. 11); Rowland-Jones (2003b: 37, fig. 2 - col.) Originally part of the ceiling in the Gabinetto dell' Eneide in the Rocca di Scandiano, near Modena. Singers, musicians and dancers peer down at their audience below. One of the musicians, a bearded man with a conical hat, holds a lute; another plays a wide-bore, cylindrical recorder; one plays a bass viol; two sing. The performers represent members of the Boiardo family.
La suonatrice di flauto (1540), fresco (spandrel), 98 × 74 cm, Niccolò Dell'Abbate (1509-1571). Modena: Galleria Estense, Inv. 2781. Ref. Béguin (1969: 61-63, pl. 14); Niccolò Dell'Abate, Mostra di affreschi restaurati (1970); Cosetta (1985, 1: pl. 31); Paris RIdIM (1999); Bridgeman Art Library (2001: Image AII 78645-col.) A young girl plays a near-cylindrical recorder which has double finger-holes at the partially closed bell end; part of a score is in front of her. Originally part of the ceiling in a room of the Rocca di Scandiano, near Modena.

"The bell end fitting seems to be a sort of foot-joint" (Anthony Rowland-Jones, pers. comm. 2000).

"In my opinion this recorder could have two venting holes instead of the common bottom one; in other words it could be a partially closed instrument, a type of recorder documented in the Middle Ages (see the Würzburg fragment) and also in present times in the folklore of many countries" (Angelo Zaniol, pers. comm. 2003).
Cavalieri e dame che suonano, Niccolò Dell'Abbate (1509-1571). Bologna: Pinacoteca Nazionale. Ref. Fabbri (?date, 1: 211); Anthony Rowland-Jones (pers. comm, 2000); Angelo Zaniol (pers. comm., 2003). A woman plays a harp, a man a lute, and another man a small pipe (possibly a recorder, though only the head is visible) to three listening ladies.
Il Parnaso, 29.9 × 29.9 cm, Niccolò Dell'Abbate (1509-1571). Paris: Ecole National Supérieure des Beaux Arts. Ref. Villa I Tatti, ND 623 A24 B4 (1969); Beguin (1969: fig. 58 - b&w); Paolo Biordi (pers. comm., 2000). Apollo plays his viol, accompanied by the Muses who sing and play lute, cornett, tambourine, tabor, harp, ? straight trumpet, and pipe (possibly a flageolet or recorder), whilst Pegasus gallops out of the picture.
Concerto, Niccolò Dell'Abbate (1509-1571). UK: Collection R. Cosway. Ref. Villa I Tatti, ND 623 A24 G63 (1976); Godi (1976: fig. 4 - b&w); Paolo Biordi (pers. comm., 2000). A woman plays the virginals to accompany three men who play cello (or viol), and two pipes, one of which appears to be a duct-flute (the window/labium and several finger-holes clearly depicted), the other of which is ambiguous but very possibly represents another recorder.
Concerto, oil painting, Niccolò Dell'Abbate (1509-1571). Ref. Gabrius Data Bank, OMP (2001 - b&w). A woman with her back to us plays a spinet, another facing us plays a lute, and a man with his back to us plays a viola da braccio. Behind them, an older man plays a duct-flute (probably a recorder) only the head of which is visible (the remainder hidden behind the lutenist's shoulder). This work is currently for sale.
Recorder Player (1540), fresco (transferred to canvas), Niccolò Dell'Abbate (1509-1571). Modena: Galleria Estense. Ref. Cosetta (1985, 1: pl. 26); Anthony Rowland-Jones (pers. comm., 2001). A man with a huge beard within a floral surround plays a bulky cylindrical tenor recorder, right hand uppermost. The window/labium is clearly depicted, and there are three large finger-holes showing, one above the right hand, and two between the hands. The third and fourth fingers of the lower (left) hand reach just within the edge of a massive barrel-shaped fontanelle with extruding decorative rings at top and bottom. The reproduction is not clear, but it seems that the bell-end opening is at the foot of the fontanelle. Notes by Rowland-Jones (loc. cit.)

Herbert von Achternbusch (contemporary), Austria

Contemporary German filmaker, dramatist, director and artist who lives and works in Vienna.

Musik des Marsyas: Marsyas findet die Flöte, ? watercolour on Nepalese paper, Herbert von Achternbusch (contemporary). Vienna: Galerie Fichtegasse (2005). Marsyas picks up an ambiguous cylindrical pipe on which can be seen five finger-holes, not in line. In another painting in this series, Marsyas übt Flöte, Marsyas is seen playing a double pipe (aulos).
Musik des Marsyas: Athena wirft die von ihr erfundene Flöte weg (2004), watercolour on Nepalese paper, 240 × 280 cm, Herbert von Achternbusch (contemporary). Vienna: Galerie Fichtegasse (2005). Marsyas picks up an ambiguous cylindrical pipe on which can be seen five finger-holes, not in line. He is watched by Athene who seems to be throwing another two similar pipes in the air. In another painting in this series, Marsyas übt Flöte, Marsyas is seen playing a double pipe (auolos).

Michel Victor Acier

French-born sculptor who, from 1764, worked alongside Kaendler as Chief Moddeler in the Meissen porcelain factory where he instigated the neo-classical style adopted there; born Versailles (1736), died Dresden (1795).

Musical Children (ca 1750), porcelain figurine, 27. 5cm high, modelled by Michel Victor Acier (1736-1795). Hamburg: Museum für Kunst und Gewerbe, Inv. 1922.362. Ref. RIdM Munich (2009, Hmkg - 166). A group of 2 boys and 2 girls on a multi-part base. At the top a boy blows a hunting horn, holding a roll of music in his hand. In the middle another boy plays flute and a girl plays guitar. At the base are a violin bow, a recorder or oboe, and some closed note books. Not seen.

Arnold George Adam

Still-life, oil on canvas, Arnold George Adam. Ref. Gabrius Data Bank, OMP (2001 - col.); Website: greatbassviol.com On a harpsichord lie a candlestick, a goblet, a viola, a lute, and a baroque recorder with ivory beak and mid-joint, only the head and first two finger-holes visible. To the left is a bass viol. To the right is a desk on which various objects are arranged including a globe, a clock, a platter of fruit, a shell, a portrait, papers, and a jar.

François-Gaspard-Balthazar Adam

French sculptor employed by Frederic the Great at Sans Souci, Potsdam, where he executed numerous sculptures for the decoration of the park; his work, though unoriginal, helped to spread the French Rococo style in northern Europe; born Nancy (1710), died Paris (1761).

Venus, Apollo and Three Musicians, sculpture, white Carrara marble, François-Gaspard-Balthazar Adam (1710-1761). Potsdam: Sans Souci Palace, Marble Room, above the architrave (facing the terrace). Ref. Postcard: Rainer Gaertner, Berlin P. 207 (2001 - col.); Anthony Rowland-Jones (pers. comm., 2001). A monumental group in which musicians play theorbo, organ and – inevitably – a transverse flute. Other instruments protrude below them, including a trombone and a late baroque alto recorder, correct in all details.

Robert Adam

Scottish architect and designer who, with his brother James, transformed Palladian Neoclassicism in England into the airy, light elegant style that bears their name; born Kirkcaldy, Fife, Scotland (1728), died London (1792).

Garland (1774-1780), stone carving, Robert Adam (1728-1792). Bury St Edmunds, Suffolk, England: Top left panel at SW corner of the facade of the Town Hall. A garland with a mask surrounded by musical instruments, including baroque-style recorders.

Aelteste Volkstedter

Aelteste Volkstedter has been making traditional German porcelain monkey band figures for well over 100 years now. Like the Italian Comedy figures, porcelain monkey band figures are extremely collectible today and remain as popular now as they were when they were introduced in the mid-18th Century. Also clown bands, dwarf bands, vagabond bands, moorish bands, animal band, cat band, frog band, etc.

Monkey Musician (21st century), figurine, Meissen porcelain, Aelteste Volkstedter (contemporary) Ref. Website: The Best Things (2007 - col.) A standing monkey plays a pipe which may be a duct-flute, possibly a recorder.

Jorge Affonso

Portuguese painter of church banners and altarpieces who held a key position in Portuguese art of the first half of the 16th century; born (?1470-1475), died Lisbon (1540).

Adoration of the Shepherds (1515), attributed to Jorge Afonso (?1470-1540). Detail. Lisbon: Convento da Madre de Deus. Ref. Recorder Magazine 18(4): front cover (1999, col.); Rowland-Jones (1999: 127-128, fig. 2 – b&w); Vilardell (2007: 12). Surrounded by hovering angels singing and playing viol, pipe and tambour, and lute, the shepherds pay homage to the holy infant. In the foreground, in front of one of the kneeling shepherds, is a basket of eggs on top of which is a small cylindrical duct-flute (quite possibly a recorder).

Agostino [di Antonio] di Duccio

Italian sculptor and architect; the most original if not the greatest sculptor of his time, and the only 15th century sculptor born in Florence who owed little to Donatello or Ghiberti; his fresh and lively style was linear and graceful with distinctive swirling draperies; born Florence (1418), died ? Perugia (p.1481).

Glory of St Bernardino, sculpture and bas-relief, Agostino di Duccio (1418-p.1481). Perugia: Oratorio di San Bernardino, facade. Ref. La Rassegua Musicale 5 (July 1928); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000); Della Porta & Genovesi (2000: 145, pl. 6 - b&w & pl. 32 - b&w); Jenny & Christopher Maguire (ex Rowland-Jones 2006); Website: Anges Musiciens (2010-col.) The sculptures depict the life of St Bernadino who brought good government of the previously feuding city of Perugia – one of the scenes is a Bonfire of the Vanities in which St Bernardino, ringed by fire, is surrounded by seraphim and musical angels. The musical angels are in two identical series on the left and right of the typanum. In each series, one angel plays a duct-flute probably intended to represent a recorder: it's profile is conical, the window/labium is clearly visible, and the lowermost finger-hole is offset. The other angels in each series sing and play bagpipe and ?shawm.

On each of the two columns beneath the typanum there are six angels, beautifully carved, in graceful positions and with swirling drapery, as multi-cloured marble and terracotta bas-reliefs. Not all of the latter have instruments, though on the right two on one panel play nakers and triangle, the two below play vielle and psaltery, and the bottom pair play lute and tambourine. Our interest is in the second down of the three outward-facing panels on the left (North) shaft with two angels, two of whom seem to be singing. The one on the left beats a small frame-drum with the fingers of the right hand. The other holds a tambourine in her right hand and a soprano-sized duct-flute (window/labium visible) in her left, held gracefuly between the first and third fingers. The instrument is slightly outwardly conical with no bell flare, but the sculptor shows the open end of a wide-ish bore. The angel's second finger lies along where one would expect the lower finger-holes but reveals what appears to be a lowermost finger-hole, offset to the player's right. In this position it would not be possible to see a corresponding paired little-finger-hole if there were one (as we would expect). Agostino seems to have intended this to be a recorder. Some of his instruments, such as the vielle, are very carefully shown. As the sculptured angels are in marble they probably have never needed retouching by restorers.
Musica, relief, Agostino di Duccio (1418-p.1481). Rimini: Tempio Malatestiano (San Francesco), Cappella delle Arti Liberali. Ref. Winternitz (1979: 44-46, pl. 5a). "She [Music] is singing and holding two instruments, one a flute à bec and the other … a cetra" (Winternitz, loc. cit.) Even Homer nods! The wind instrument here is narrowly conical and has a strangely offset finger-hole second from the end. However, no window/labium or beak are depicted. Indeed, there seems to be a very clearly illustrated reed (without a pirouette), making this a shawm rather than a duct-flute.
Angels with Tambourine and Recorder, marble relief, Agostino di Duccio (1418-p.1481). Rimini: Tempio Malatestiano (San Francesco), Chapel of Isotta degli Atti. Ref. Della Porta & Genovesi (2000: 145, pl. 6 - b&w); Bridgeman Art Library (2003: Image BEN 85125 - col.) A standing angel plays a tambourine (with jingle rings) and a putto plays a slender, flared-bell pipe, quite possibly a recorder. Another putto seated in the foreground has picked a flower.
Putti on a barge (ca 1454), relief, Agostino di Duccio (1418-p.1481). Rimini: Tempio Malatestiano (San Francesco), Chapel of the Infants. Ref. Della Porta & Genovesi (2000: 149, pl. 16 - b&w). Three putti on a barge play tambourine and small and large duct-flutes respectively. Although that on the left is held in the little player's left hand only, 7 finger-holes are visible the lowermost of which is offset indicating that this is a recorder. In the foreground two putti stradle rocks, holding on to some reeds for dear life. A couple of ducks swim in front of them. The Chapel was completed in 1454.
Putti playing pipes, relief, Agostino di Duccio (1418-p.1481). Rimini: Tempio Malatestiano (San Francesco), Chapel of the Infants. Ref. Della Porta & Genovesi (2000: 148, pl. 15 - b&w). Three winged putti stand on a sarcophagus. One, with his back to us, plays a triangle; the other two play slender pipes, possible duct-flutes.

Agostino Veneziano [Agostino dei Musi] (1490-1540), Italian

The Old Shepherd, Agostino Veneziano (1490-1540). Ref. Bartsch (1854-1870, 14: 307/408). Landscape with a bearded shepherd lying playing a slender duct-flute (described as a petit flageolet by Bartsch (loc. cit.), the window/labium and ? five holes showing. Notes by Anthony Rowland-Jones (pers. com., 2000).
The Old Shepherd, Agostino Veneziano (1490-1540). Ref. Bartsch (1854-1870, 14: 308/409). Landscape with a bearded shepherd lying playing a slender duct-flute (described as a petit flageolet by Bartsch (loc. cit.), the window/labium and ? five holes showing. Notes by Anthony Rowland-Jones (pers. com., 2000).

Martin Agricola, originally Martin Sore, or Sohr

German composer, teacher, and writer on music; born Schwiebus, Silesia [now in Poland] (1486), died Magdeburg, Archbishopric of Magdeburg [Germany] (1556).

[Recorder Quartet] (1529 & 1545), from Musica Instrumentalis Deudsch, Martin Agricola (1486-1556). Published in Wittenberg in 1529 and again in 1545. Ref. Linde (1962/1974: 53); Hettrick (1980-1983). Shows a very similar quartet to that of Virdung (see below).
[Recorder Duo] (1529 & 1545), from Musica Instrumentalis Deudsch, Martin Agricola (1486-1556). Published in Wittenberg in 1529 and again in 1545. Ref. Hettrick (1980-1983).
[Fingering Chart for Recorders and Crumhorns] (1529 & 1545), from Musica Instrumentalis Deudsch, Martin Agricola (1486-1556). Published in Wittenberg in 1529 and again in 1545. Ref. Hettrick (1980-1983).

Francesco Albani (1578-1660), Italian

Italian painter and draughtsman; distinguished artist of the Bolognese school, deeply influenced by Annibale Carracci’s classicism, painting altarpieces, frescoes and and cabinet pictures; his fame rests on his idyllic landscapes and small mythological pictures, the lyrical qualities of which earned him the soubriquet 'the Anacreon of painters'; born Bologna (1578), died Bologna (1660).

Landscape with Adoration of the Shepherds, Francesco Albani (1578-1660). Rome: Galleria Doria Pamphili, Cat. i27. Ref. Anthony Rowland-Jones (pers. comm., 2002). A commmission of Carraci's, completed after his death by Albani. At the top of the picture is a very small semicircle of seated musical angels singing and playing lute, two small pipes, and ?violin. The pipes, each played by an angel, are of the same length and held in a recorder-playing position. Both play left-hand uppermost with the right hand (visible on one of the pipes) fairly close to the foot, which has a slight flare.
Assumption of the Virgin, attributed to Francesco Albani (1578-1660). Toledo: Cathedral. Ref. Ibañez & Gallego (1972: 203). "The cathedral of Toledo has an Albani, attributed by Perez Sanchez, that depicts the Assumption of the Virgin, the angel musicians of which echo those in works by Reni (1610) and Lanfranco. "In the Toledo Assumption, two angels of the first play lute and viol, and … other musicians play viola da braccio and duct-flute, all of them perfectly in accord with those of Reni" (translated from Ibañez & Gallego, loc. cit.)
A Woman Listening to a Satyr Piping, oil on panel, 19.4 × 29.2 cm, in the style of Francesco Albani (1578-1660). Her Majesty Queen Elizabeth II: Royal Collection, Inv. RCIN 403005. A naked woman leans dreamily on her elbow listening to a satyr who plays a conical pipe, possibly a recorder. Behind the satyr, a putto seems to be falling out of a tree.

Antonio Alberti [Alberti da Ferrara, Antonio di Guido]

Italian painter and frescoist who worked in Ferrara, Montone, Bologna, Urbino, and Carpi; born ? Ferrara (ca 1395), died a. 1449.

The Madonna of Humility with Music-making Angels and a Male Donor, tempera on gold ground panel, 31.7 × 31.7 cm, Antonio Alberti (ca 1395 - a. 1449). Location unknown: auctioned Christie's (New York), Sale 1194, Old Master Paintings, 24 January 2003, Lot 26 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) A donor offers praise to the Madonna and Child above whom angels sing and play lute and an ambiguous pipe with a flared bell. Formerly attributed to the Venetian artist Jacobello del Fiori (1370-1439.

Alessandro & Giovanni Alberti

Italian brothers, both painters. Alessandro is credited with painting the long walls of the Galleria degli Antichi, Palazzo del Te, Sabbioneta with a fictive architectural scheme supporting decorative motifs derived from his studies in Rome; born Borgo San Sepolcro, now Sansepolcro (1525), died 1598; brother of Cherubino (1553-1615)and Giovanni Alberti. Giovanni is credited with the design of the architectural perspectives in the fresco decorations he painted in collaboration with his brothers; also painted putti and ornamental figures; he painted the fictive colonnades on the end walls of the Galleria degli Antichi; born Borgo San Sepolcro (1558), died Rome (1601); brother of Alessandro and Cherubino (1553-1615) Alberti.

Trophy (1584-1586), fresco, Alessandro Alberti (1525-1598) & Giovanni Alberti (1558-1601) and assistants. Sabbioneta: Palazzo del Giardino, Galleria degli Antichi, near North end of the West side. Ref. Charles Rowland-Jones (ex Anthony Rowland-Jones, pers. comm. 2006). A trophy of musical instruments with a slender duct-flute, rather like the one in Titian's Concert Champêtre in the Louvre, with little or (more likely) no bell flare. The central part of the instrument, which lies right across the trophy at the angle of a clock's hands at twenty-past-nine, is obscured by the other instruments but three, perhaps four, finger-holes are visible in the upper part of the body, despite the mêlée.
Trophy, (1584-1586), fresco, Alessandro Alberti (1525-1598) & Giovanni Alberti (1558-1601) and assistants. Sabbioneta: Palazzo del Giardino, Galleria degli Antichi, ca half way along the West side. Ref. Charles Rowland-Jones (ex Anthony Rowland-Jones, pers. comm. 2006). A trophy of musical instruments based primarily on a wind-instrument case, long enough to hold tenor instruments and spacious enough to hold up to six of them. It is roughly rectangular – it is viewed horizontally but nevertheless one sees the openings at the top – and apparently made of unstained leather. Out of the top protrude some four or five instruments, probably straight cornetts. However, the sixth instrument on the left-hand side is clearly a duct-flute, sticking out about 3-4 inches if it were an alto recorder, at an angle not quite face-on so that you can see the inner curve of the mouthpiece up to the windway entrance. This may be a portable case belonging to a member of the town waits who played alto or tenor parts. During the day, waits played cornetts and sackbuts, but in the still hours of night they moderated their signal playing by switching to recorders.

Mariotto [di Biagio di Bindo] Albertinelli

Italian painter associated with Fra Bartolomeo, and an artist whose style upheld the principles of the High Renaissance in Florence a decade after its leading exponents had moved to Rome; born Florence (1474), died Florence (1515).

Annunciation to the Virgin (1510), wood, 335 × 230 cm, Mariotto Albertinelli (1474-1515). Florence: Galleria dell' Academia, Inv. (1890) 8643. Ref. Freedberg (1961: fig. 259); Burlington Magazine 113 (1971: 363); Borgo (1976, cat 1, 20: pl. 29); Humfrey & Kemp (1990: 132, pl. 71); Bonsanti (1992: 9-col.); Visual Collection, Fine Arts Library, Harvard University, 372.Al14.31A; Rasmussen (1999b, 1999c); Rowland-Jones (pers. comm., 2002). From the Company of San Zanobi in the Chapter House of Santa Maria del Fiore, Florence. Commissioned and begun 1506; delivered and dated 1510; has been drastically cleaned. Christ appears over the central scene with angel musicians playing harp, lute, viola da braccia, tambourine, and (in centre place) a tenor-sized cylindrical duct-flute. The mouthpiece of the latter is beaked, a shadow represents the window/labium area, possibly three finger-holes are visible on the lower part, and there is a slight flare at the bell, so this is very likely a recorder. Notes (in part) by Anthony Rowland-Jones (pers. comm, 2000).

Pictor Albertus [Albert the Painter]

Sweden's most renowned medieval artist to whom have been linked over 30 large and densely populated painting sequences of biblical scenes – some signed, but most identified through his distinctively luxuriant style and rich range of colours; also a liturgical embroiderer and organist; he was the head of a workshop and had many collaborators; he was possibly of German origin; active 1440/45 - 1509.

The Wheel of Fortune (ca 1470), fresco, Pictor Albertus (op. 1440/45-1509). Härkeberga, Uppland (Sweden): Kyrka, star vault (ceiling). Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). Fortune's wheel crushes members of the nobility to an accompaniment provided by a musician who plays a drum with one hand and a cylindrical duct-flute (flageolet or recorder) with six finger-holes in the other (Anthony Rowland-Jones (loc. cit.) Other instruments depicted elsewhere in this ceiling fresco include lute, fiddle and bagpipe. The Church was built in the 14th century. The porch and three star vaults were added in the late 15th century, both decorated by Albertus Pictor. These paintings are considered to be among the most important and best preserved late-medieval plaster-paintings in Sweden.

Alessandro Albini

Italian painter, pupil of Annibal Lodovico Agostino Carracci; born 1580, died 1646.

St Cecilia, engraving, Domenico Maria Fratta (1696-1763) & Giovanni Fabbri (op. 1736 - m. 1777) after Alessandro Albini (1580-1646). Ref. Negro & Pirondini (1994, 1: 39); Rasmussen (2002, Lute). "She holds a portative organ (upside-down, a la Raphael). At her feet are a lute (rendered in deep perspective), a recorder, and perhaps a slender flute. Angels above play lute, flute (tapering a bit like a straight trumpet) and tambourine" (Rasmussen, loc. cit.) Not seen.

Balthazar Augustin Albrecht

German painter and administrator; his works are mostly of sacred subjects, including many schurch frescoes; born Berg am Starnberger (1687), died Munich (1756).

Dancing Children, Balthazar Augustin Albrecht (1687-1756). Munich: Alte Pinakothek, Schloß Schleissheim, Inv. 1731. Ref. Anthony Rowland-Jones (pers. comm., 2002). "A child seated in the centre of a ring of children, some naked, dancing with raised joined hands, plays a soprano/alto sized recorder. His cheeks and lips are relaxed; the fingers of his upper (right) hand are all down; fingers 1 and 4 of the left hand ar raised, and the hole shows under the little finger. The instrument is cylindrical, perhaps narrowing slightly by the little finger before a short bell flare. This is one of a pair of overdoor painings which, with many others, were part of the original palace decoration – in this case for the Yellow Room in the Electress' Appartments. The other is of children playing at dice and shuttlecock – and quarrelling" (Rowland-Jones, loc. cit.)

Juan Alemàn (15th century), Spanish

Door of the Lions: Angel Musicians (1452-1465), Juan Alemàn (15th century). Toledo: Cathedral, South entrance. Ref. Anthony Rowland-Jones (pers. comm., 2001). “The doorway itself was designed by Master Hanequin of Brussels and built from 1452-1465. There are three courses of angel musicians on small plinths within the Gothic framework of the portal. Four include possible recorders.

“One group has a hurdy-gurdy, a damaged instrument which looks like a lute, and a single pipe held vertically but with no detailing visible. Another group has two seated angels, one with a triangle (with beater) and two ring snares, another with what looks like a small portative organ. Behind them a standing angel plays a pipe in the shape of a recorder, with a Virdung-type bell.

“A group of two angels, in the middle course near the point of the arch, play a single pipe and a double pipe. The single pipe shows three finger-holes before the hands, which are close together. The bell end may be damaged. A mark near the mouthpiece is almost certainly a window/labium.

“A group of two angels at lower right play two larger wind instruments, one with a fontanelle which looks like a shawm as the bell end is very extended and flared. The other angel plays a long pipe with the slightly flared bell end at mid-thigh level, and both hands centrally placed. There is no sign of a window/labium and the whole of the blowing end appears to be in the angel's mouth. Of the four, this is the least likely to be a recorder” (Rowland-Jones, loc. cit.)

Antonio Aleotti

Italan artist born and educated artistically in the Ferrara area; active from 1494, died ca 1530.

Virgin and Child, Antonio Aleotti (op. 1494 - m. ca 1530). Argenta: Museo Civico, Pinacoteca e Museo Archeologico. Ref. Baltramelli (1905: 91); Mezzetti (1964, fig. 15); Rasmussen (1999b). A putto on the left of the central figures plays a lute and one on the right plays a slender cylindrical pipe, probably a duct-flute (possibly a recorder).

David Allan Jr

The "Scottish Hogarth", painter and book illustrator, famous for his studies of science and people both in Italy, where he travelled, and Edinburgh, where he settled in 1780; illustrator of Burns's work, for Ramsay's The Gentle Shepherd, and for an edition of James Thomson's Seasons (the latter never published), he excelled in his handling of peasant life and costume, and is much admired for the truth with which he delineated nature, and the characteristic humour which distinguished his pictures, drawings, and etchings; born Alloa (1744), died Edinburgh (1796).

Portrait of the Artist's Father (1760), pen and ink drawing, 20 × 15 cm, David Allan (1744-1796). Edinburgh: National Gallery of Modern Art. Ref. Smith (1969); Recorder Magazine 27(2): front cover - b&w (2007); Galbriath (2007 - b&w). Depicts the artist's father, also David Allen, holding a baroque alto recorder with ivory mounts during leisure time as shore-master in the small harbour of Alloa, Central Scotland. Until the nineteenth century the sketch was accompanied by the recorder shown in the drawing. Unfortunately, the instrument no longer exists due to woodworm damage.

Alessandro Allori [Alessandro Bronzino, Alessandro di Cristofano di Lorenzo Allori]

Italian painter of the Florentine school; one of the last notable exponents of Mannerism, painting in a style that had become outmoded by the time of his death; born Florence (1535), died Florence (1607); father of the painter Cristofano Allori (1577-1621).

Allegorical Portrait of a Young Man in the Guise of Mercury Slaying Argus, oil on panel, 144.78 cm × 88.9 cm, Alessandro Allori (1535-1607). Cambridge (USA): Fogg Art Museum, 2000.272. Ref. Gabrius Data Bank, OMP (2000 - col.) As Argus lies sleeping on the ground, watched by Io (as a heifer), a triumphant Mercury does a victory dance with his caduceus in one hand and his recorder in the other. The recorder is clearly recognizable by its beak, window/labium and gently conical body. Several finger-holes are visible, but the foot is out of frame.

J. Alsina (op. 1900), French

Children Listen to a Shepherd Playing a Flute, oil on canvas, 69.6 × 60.5 cm, J. Alsina (op. 1900). Private Collection. Bridgeman Art Library (2002: Image ID BAL 98638 - col.) Two young children and their older sister sit beside a path in the middle of a field listing to an elderly bearded shepherd playing a pipe (probably a flageolet, but possibly a recorder.

Albrecht Altdorfer [Altdorffer]

German painter and graphic artist, the leading exponent of the so-called Danube School; born ca 1480, died Regensburg (1538).

The Rest on the Flight into Egypt (1510), oil on wood, 57 × 38 cm, Albrecht Altdorfer (ca 1480-1538). Berlin: Picture Gallery, No. 638B. Ref. Walter Bergman, Slide Collection (ex Anthony Rowland-Jones, pers. comm. 2005 - col.); Klessmann (1971: 94-95, pl.-col.); Staatliche Museen Preussischer Kulturbesitz (1968: 11, pl. 11-b&w). The Virgin rests on a throne-lke chair by a richly ornate fountain, while Joseph proffers a basket of cherries. Two putti perch on the rim of the fountain's basin playing a small rebec and a cylindrical duct-flute (flageolet or recorder) and the child Jesus tries to reach into the water. Beyond the fountain the shores of a lake stretch far away, shores crowded with gateways, roads and towers, houses, ruins and decaying roofs.

Sunol Alvar

Contemporary Spanish (Catalan) painter, draughtsman, print-maker and sculptor living and working in Tiana, near Barcelona; known largely for his lithography; Barcelona, Paris, now Tiana; exhibited throughout the world; unique and distinctive style in which textures are superimposed on upon images and images upon other images to create illusions of translucency and immateriality; many of his works depict angel-women, virgin-muses, celestial musicians and poets in idyllic scenes; born Montgat (1935),

Figures with Dove, lithograph, Sunol Alvar (1935 –). East Lansing, Michigan: Saper Galleries. One person holds a dove on her shoulder whilst another plays a slender pipe with a flared bell. The bent thumb of the left hand and the use of all four fingers of the right hand to cover their holes suggests a recorder. Identical to Flute and Muse (see below), but here the overall tone is cyan.
Flute and Muse, lithograph, 23.5 × 30.5 cm,, Sunol Alvar (1935 –). USA: Intrinsic Values Fine Art (2007 - col.) Identical to Figure with Dove (see above), but here the overall tone is violet.
Violin and Flute, lithograph, Sunol Alvar (1935 –) East Lansing, Michigan: Saper Galleries. One person plays a violin and another a slender pipe with a flared bell. The disposition of the fingers and thumb suggests a recorder.
Imatges de Varema, embossed lithograph with hand-watercolored panoramic tableau, 63.5 × 36.2 cm, Sunol Alvar (1935 –). East Lansing, Michigan: Saper Galleries. Two lovers stand on a wall, one holding a bunch of flowers. A mother and child gaze up at them. A figure at a table plays a narrowly cylindrical pipe, possibly a recorder.
Blue Sinfonia, embossed lithograph with water-colored border, 50.8 × 73.7 cm, Sunol Alvar (1935 –). East Lansing, Michigan: Saper Galleries. A woman places a leafy branchlet on a large sheet of paper (as if to preparing a herbarium specimen). She is serenaded by musicians playing a mandolin and a slender pipe with a flared bell, possibly a recorder.
Dawn Concert, embossed lithograph in 14 colors with watercolored panel, 80 × 60 cm, Sunol Alvar (1935 –). East Lansing, Michigan: Saper Galleries. In a field of tulips, a woman greets the dawn, her arms upstretched. Floating above a town, three musicians sing and play violin and a narrowly cylindrical pipe, possibly a recorder.
Noon Concert, embossed lithograph in 14 colors with watercolored panel, 60 × 80", Sunol Alvar (1935 –). East Lansing, Michigan: Saper Galleries. A figure places a dove on a table on which is a vase of flowers. Musicians play cello and a slender pipe with a flared bell, possibly a recorder.
Red Concert, oil on board, 35.6 × 45.8 cm, Sunol Alvar (1935 –). East Lansing, Michigan: Saper Galleries. Against a red background, musicians play mandolin and a slender pipe with a flared bell, possibly a recorder.
Concert for Fruits, painting, Sunol Alvar (1935 –) Nevada: ArtBrokerage.com (2007). A figure plays a cylindrical pipe (possibly a recorder), watched by a second figure standing before a table on which is placed a bowl of fruit.
Night Concert, embossed lithograph in 14 colors Paper size: 56.5 × 48.3 cm, Sunol Alvar (1935–). East Lansing: Saper Galleries (2007 - col.) Two panels. On the left, one person embraces another playing a narrowly cylindrical pipe (possibly a recorder), a town with a church in the background. On the right, a pianist plays from an open score of music by Chopin, a second figure looking over the player's shoulder.
Figures with Flute and Fruit, drawing, 26.7 × 35.9 cm, Sunol Alvar (1935–). East Lansing: Saper Galleries (2007 - col.) A figure plays a slender pipe with a flared bell, a second figure looks over the player's shoulder. On a shelf behind them is a slice of melon, and other fruit.
Trio, from Lyric Suite, embossed lithograph, 24.5 × 32 cm, Sunol Alvar (1935–). East Lansing: Saper Galleries (2007 - col.) Three musicans play piano, violin, and a slender, flared-bell pipe (possibly a recorder).
Two Ladies with Flute and Dove, 60 × 60 cm, Sunol Alvar (1935–). Scotsdale, California: S R Brennen Galleries (2003 - col.) Depicts three ladies: one holds a dove, another plays a narrowly cylindrical pipe (possibly a recorder, judging by the disposition of the fingers). The 'dove' looks more like a dog with a blue head!
Peace Concert, 66 × 60 cm, Sunol Alvar (1935–). Scotsdale, California: S R Brennen Galleries (2003 - col.) Depicts three ladies: one holds a dove, one plays a narrowly cylindrical pipe (possibly a recorder), a third plays the cello.
Two People with Flute and Violin, drawing, 28 × 25.4 cm, Sunol Alvar (1935–). Scotsdale, California: S R Brennen Galleries (2003 - b&w). One figure plays the violin, another a narrowly cylindrical pipe (possibly a recorder).

Carlo Amalfi

Italian painter working in Sorrento; his works include sacred and secular themes as well as portraits; born Vico (1707), died 1787.

Musical Gathering (ca 1725), Carlo Amalfi (1707-1787). Detail. Milan: Sforza Castle, Picture Gallery. Ref. Lindley (1971: 208 - b&w); Moeck (1983: July, col.); Moeck, Celle: TIBIA, – Musikbilder auf Postkarten, Series (2), Moeck Nr. 1101 (col.). A group of beautifully attired male and female musicians pose around their harpsichord holding their instruments which include mandora, guitar, cittern, violin and a baroque three-piece alto recorder. Several of the women appear to be singers. This has also been attributed to an unknown Neapolitan master. There is another version in Naples.
Musical Gathering (ca 1725), canvas, 180 x 240 cm, Carlo Amalfi (early 18th century). Naples: Museum of Ancient Art (donation from Carolina Buschini, 1929). Ref. Paris RIdIM (1999). A group of beautifully attired male and female musicians pose around their harpsichord holding their instruments which include mandora, guitar, cittern, violin and a baroque three-piece alto recorder. Several of the women appear to be singers. This has also been attributed to an unknown Neapolitan master. There is another version in Milan.

Pomponio Amalteo

Italian artist; born Motta di Livenza, Treviso (1505), died S. Vittore al Tagliamento (1588).

Angel Musicians (ca 1538), fresco, Pomponio Amalteo (1505-1588). Prodolone, Friuli: S. Vito al Tagliamento, cupola. Ref. Cohen (1975: 64-67); Paolo Biordi (pers. comm., 2002). One putto plays a transverse flute. To his right another holds a cylindrical pipe with a slight flare towards the foot, possibly a duct-flute. To the flautist's left a third putto sits with his back to us.
Angel Musicians (ca 1538), preparatory design, Pomponio Amalteo (1505-1588). UK: Private Collection. Ref. Cohen (1975: 64-67); Paolo Biordi (pers. comm., 2002). Preparatory design for Chiesa di S. Maria delle Grazie, Prodolone, S. Vito al Tagliamento. One putto plays a pipe and tabor and two play long, slightly conical pipes. No details of the latter or visible, but all four fingers of one of one of the player's lowermost hands are covering their holes, so these may represent recorders.

Pietro di Giovanni d'Ambrogio – see Pietro

Pseudo Ambrogio di Baldese (15th century), Italian (Florentine)

Coronation of the Virgin, tempera on panel, 56 × 40 cm, attributed to Pseudo Ambrogio di Baldese (early 15th century). Rome: Pinacoteca Capitolina, PC 349. Possibly part of a polyptych. The style is late Tuscan medieval with much gold. Angels look on as the Virgin is crowned. On each side of the throne two angels play cylindrical pipes with prominently flared bells. One is an alto played right hand lowermost with seven finger-holes visible, and three fingers of the left hand lifted. The second is a tenor decorated with a complex diamond-shaped pattern; it is played left hand lowermost with six finger-holes in line visible, plus a seventh offset to the player's right, and two fingers of the righ-hand lifted. A third angel standing behind a kneeling angel in the bottom right foreground, also plays a pipe, of which only the mouthpiece and a small part below are visible. A recorder trio is clearly a possibility here. As the instruments are in profile, the artist does not show the window/labium with any clarity, if at all.

Irving Amen

American artist genre, still-life, religious works, producing murals, paintings, woodcuts, etchings, sculpture, stained glass, silk-screen prints; A positive attitude, love of mankind, and religious background emanate from his work; born New York (1918). Artists Home Page.

Musicians, oil, 61 × 76 cm, Irving Amen (1918-). A young girl listens to a boy playing a red guitar, another playing a neo-baroque alto recorder, a girl playing an ambiguous pipe (possibly a second recorder).
Flute Player and Dog, woodcut, 86 × 46 cm, Irving Amen (1918-). Ref. PicassoMio (2005). A young girl walks beside her dog, playing a slender, cylindrical duct-flute (probably meant to be a recorder).
Flutist (ca 1970), silk-screen print, Irving Amen (1918-). Ref. Art of the Print (2005). A young boy plays a slender, cylindrical duct-flute (probably meant to be a recorder, though there are rather more holes than fingers).

Jacopo [Giacomo] Amigoni [Amiconi]

Italian Rococo painter and etcher active in Venice, Bavaria, England, Flanders, France and Spain; for a time was court painter to Ferdinand VI of Spain; his works include portraits, decorative frescoes for churches and palaces, historical and mythological subjects; many were reproduced in prints, and these served as models for tapestries and for the decoration of clocks, wardrobes and porcelain; born Naples (1675), died Madrid (1752).

Three Putti-Angels (? 1736-9), framed painting over a door, Jacopo Amigoni (1675-1752). Richmond: Hampton Court Palace, The Queen's Bedroom. Two of the putti hold a sheep and the third (at right) plays a short soprano pipe. The finger-position suggests a recorder, but the window/labium area is in shadow. The instrument is slightly outwardly conical. The right hand is held lowermost. There is no flare or decoration at the bell. All the angels are shown with the same chubby cheeks, as if puffed.
Fête in a Garden, Jacopo Amigoni (1675-1752). Madrid: Prado, Inv. 2477. Ref. Ibañez & Gallego (1972: 245 & pl. - col.); Paris RIdIM (1999). Four gentleman musicians two of whom play horn, one the cello and another a flared-bell pipe of alto/tenor size (oboe or recorder). The musicians are said to include portraits of Farinelli and Domenico Scarlatti. Notes by Anthony Rowland-Jones (pers. comm., 2001).
Mercury and Argus, Jacopo Amigoni (1675-1752). Dresden: Stadtmuseum. Detail. Leaning against a dead tree, Mercury pipes to Argus who sits in front of a white heifer (Io). Mercury's pipe is an alto-size duct-flute with a beak and a small window/labium, but no finger-holes visible. The lower right-hand is fairly high up the instrument, so one would expect finger-holes to be visible. There is a short but sharp bell flare. A recorder seems more likely than a large flageolet (Rowland-Jones, loc. cit.)
Mercury and Argus (1729-1736), mural, Jacopo Amigoni (1675-1752). Detail. Moor Park (Heartfordshire): Entrance Hall, opposite main entrance. Ref. Anthony Rowland-Jones (pers. comm., 2007). Moor Park as built from 1720 for Benjamin Styles who was advised by Sir James Thornhill. However, the actual architect was more probably Giacomo Leoni who also built Lyme Park. The Entrance Hall is the main room, going up the full height of the house, with a balcony all round at first-floor level. It has four large oil paintings by Giacomo (or Jacopo) Amigoni, who lived in Engalnd from 1729 to 1736), illustrating the story of Io, from Ovid. In this mural Mercury plays a pipe as Argus watches. The pipe is alto-sized, fairly slender, but with an expanding bell. The playing position is as if for a recorder.
Putti Making Music, painting, Jacopo Amigoni (1647-1752). Location unknown: auctioned 10 December 2004 (unsold). Ref. Gabrius Databank (2007 - col.) A winged putto plays tambourine (with jingle rings); another (wingless) holds a pipe covering the head with his left hand leaving only the body and four finger-holes clearly visible.
Hearing (1764), faience tiles, 220 × 142 cm (total of 187 tiles, each tile side length of 13 cm) after an engraving by Jacopo Amigoni (1647-1752). Hamburg: Museum für Kunst und Gewerbe, Inv. 1874.86a. Ref. RIdM Munich (2009, Hmkg - 21). One of 4 painted designs from Rotterdam after engravings by Amigoni forming a sequence of the Five Senses. In the foreground is a gallant scene in the park of a castle. A standing man at the right plays a recorder; a couple sing from a music book; and a sitting couple, the man holding a small recorder (galoubet) in his hand. Not seen.

Jost Amann [Amman]

Swiss draughtsman, woodcutter, engraver, etcher and painter, perhaps the most prolific book illustrator of his day; valued for his depictions of everyday life, including a wealth of evidence on contemporary crafts and techniques; born Zurich (1539), died 1591.

Title Page of Zinkfeisen Kirchen Gesäng … by Eucharias, published by Sigmund Feyerabend, Frankfurt im Main (1584): David Dancing before the Ark / Transporting the Ark of the Covenant (1584), woodcut, Jost Amman (1539-1591). Ref. Fraenkel (1968: pl. 48); Early Music 2 (1974, January: front cover); Rice (1992: fig. 1.3); Archiv Moeck; Paris RIdIM (1999); Rasmussen (2002, Lute). The highly ornamented border includes a window at the bottom in which David plays his harp accompanied by musicians playing lute, viola da braccio, buisines, cornetts, trumpets and kettledrums. A young woman kneeling plays a cylindrical pipe (possibly a recorder); a man standing plays a flared bell recorder with the right hand lowermost and the window/labium clearly shown.
Musica (1579), print by Jost Amman (1539-1591) from a household book of Bernhard Ketzler (Mainz). Nuremberg: Germanisches Nationalmuseum, Inv. HS 140 350. Ref. Catalogue, German National Museum, Nuremberg (?date: HS 140 350); Munich RIdIM (1999: Ngm 700). Music plays a portative organ, below which are a shawm and a conical duct-flute with 5 finger-holes, possibly intended to represent a recorder. The same image appears in editions dated 1589 and 1750.

Antonio (Mercurio) Amorosi

Italian painter and fresoist; primarily a genre painter, but also provided altarpieces for Roman churches; born Comunanza, near Ascoli Piceno (1660), died (1738).

Boy Playing a Flute (a. 1710, oil on canvas, 36 × 26 cm, Antonio Amorosi (ca 1660 - p. 1736). Nancy: Musée des Beaux-Arts. Against a black background, a small boy with a distinctive "widow's peak" and wearing a jacket tied across the chest plays a cylindrical duct-flute (flageolet or recorder), possibly a recorder given that the little finger of the lowermost (left) hand is shown covering its hole.
Boy Playing a Flute, oil on canvas, 35.6 × 25.4 cm, Antonio Amorosi (ca 1660 - p. 1736). Location unknown: exhibited Gallery Lasson, London, May-July 1968. Ref. Gabrius Data Bank, OMP (2002 - col.) Against a landscape background, a small boy with a distinctive "widow's peak" and wearing a jacket completely open at the chest plays a cylindrical duct-flute (flageolet or recorder), possibly a recorder given that the little finger of the lowermost (left) hand is shown covering its hole.
An Old Shepherd Playing a Flute to a Young Shepherd, oil on canvas Antonio Amorosi (ca 1660 - p. 1736). Location unknown: Auctioned by Christie's, 4 December 1991 (unsold). Ref. Gabrius Data Bank, OMP (2002 - col.) Beneath a rocky overhang, an old man sits on a ledge playing a small flared-bell pipe to a young lad sitting opposite him leaning on a basket. In the background can be seen a town. The piper's hand and finger-positions are perfect for recorder playing and the little finger of his lowermost (left) hand is covering its hole, so this may well represent a recorder.

Alexander Anderson

US American painter, draughtsman, and engraver; pioneer of wood engraving in America; born New York City (1775); died Jersey City (1870).

[Lovers under a tree], wood engraving, 7.8 × 6.1 cm (image), Alexander Anderson (1775-1870). San Francisco: de Young Museum, Inv. 1963.30.25969. A woman dances, watched by a man who sits beneath a tree holding a walking stick and a small flared-bell pipe, possibly a recorder.

Philip Anderson (contemporary), USA

Cover: American Recorder 38(2): Untitled (1994), Philip Anderson (contemporary). A stylised girl plays a stylised recorder wreathed by a stylised cat under a stylised tree.

Sophie Anderson

French-born Pre-Raphaelite painter who lived and worked in America, England and Capri; her works include genre paintings, landscapes and portraits; born Paris (1823), died Falmouth (1903); wife of English artist Walter Anderson.

Shepherd Piper (1881), oil on canvas, 30.5 × 35.90 cm, Sophie Anderson (1823-1903). London: Fine Art Society (2001). Ref. Gabrius Data Bank, OMP (2002 - col.) A young boy sits on a hillside playing a crudely made recorder. All three fingers of the upper (right) hand cover their holes, and the little finger is touching the instrument. The first finger of the lower (left) hand is raised above its hole; fingers two and three cover their holes, and the little finger is raised awkwardly, the lowermost hole clearly visible. This painting is currently for sale.

Thor Andersson (1896-1941), Swedish

Musician, drypoint, 25 × 17 cm, Thor Andersson (1896-1941). Stockholm: Museum of Modern Art, NM G 170/1959. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 200). An old man in his suit begs at the roadside, playing an ambiguous pipe (6-holed pipe, recorder), his hat on the ground before him. Notes by Rowland-Jones (loc. cit.)

Andrea del Sarto [Andrea d'Agnolo di Francesco]

Italian painter whose epithet 'del sarto' (of the tailor) is derived from his father's profession, he excelled at fresco and painted superb altar-pieces; held to be one of the greatest masters of his time, his works are characterised by grandeur, gracefulness and a feeling for colour and atmosphere; born Florence (1486), died Florence (1530).

The Holy Family with St John the Baptist, St Elizabeth and two Angels, Andrea del Sarto (1486-1530). Munich: Bayerische Staatsgemäldesammlung 501 (4150). Ref. Munich RIdIM (1999: Mstag 571); Anthony Rowland-Jones (pers. comm., 1999); Paris RIdIM (2000, colour postcard). Mary has her arm protectively around the infant Jesus as he is introduced to a John. Behind Mary, a third child looking heavenward, holds a small cylindrical recorder of which the window/labium is clear with one finger-hole next to the little finger of the upper (left) hand, and despite two right-hand fingers down their finger-holes are visible beside them, and three more can be seen below.

Hendrik [Manke Heyn] Andriessen

Flemish artist; born Antwerp (1607), died Zeeland (1655).

Vanitas (1635), oil on canvas, 59 × 76 cm; Hendrik Andriessen (1607-1655). Munich: Weinmüller auction, 7 May 1958, Lot 319. Ref. Bernt (1948-1980, 4: pl. 2); Griffioen (1988: 438-9); Ruth van Baak Griffioen (pers. comm., 2001); Rijksbureau voor Kunsthistorische Documentatie 11356 (2010-b&w). On a table lie scattered a crown, a vase of flowers, a skull (upper part only), a candlestick, a sword, a watch, a purse, a nautilus shell, some stems of wheat, flowers, a violin, and a renaissance-style recorder. Of the latter, only the upper body and head can be seen, with its distinctive beak and window/labium, and the maker's mark. Bubbles float above.
Vanitas Still-life with Portrait / Still-life with Negro (ca 1650), oil on canvas, 95 × 116 cm, Hendrik Andriessen (1607-1655). Ithaca: Cornell University, Herbert F. Johnson Museum of Art, 88.6; auctioned Colnaghi, London (1985); formerly London: Muensterberger Collection; formerly Brasted, Kent: Cohe (? private collection). Ref. Museum de Lakenhal (1970: cover & #13); Pictura, Maastricht (1985 - pl.); Griffioen (1988: 440-441); Legêne (1995: 120, pl. 8 - b&w); Anthony Rowland-Jones (pers. comm., 2001); Rijksbureau voor Kunsthistorische Documentatie 11370 (2010-b&w), The Hague ex Ruth van Baak Griffioen (pers. comm., 2003); Debra Pring (pers. comm., 2006). Formerly attributed to Jacques de Gheyn III (ca 1596-1641) and David Bailly (1584-1657). On a round table are the upper part of a skull, books, papers, dice, an artist's palatte, an hourglass, smoking equipment, a watch, a candlestick, a statue of a dancing cherub, and a perfectly depicted hand-fluyt. Behind, on the right, a moorish boy holds an oval miniature portrait of the patron up for us to see. Soap bubbles float above.

Giuseppe Angeli

Italian painter of the late baroque, active mainly in Venice; born 1710, died 1798.

Shepherd Lad with a Flute, oil on canvas, 71 × 53 cm, Giuseppe Angeli (1710-1798) OR Domenico-Fedeli Maggiotto (1713-1794). Stockholm: Stockholms Universitet, No. 64. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). A shepherd leans on his left elbow holding a late-baroque alto recorder in his right hand cradled in the crook of his left elbow. The lower end of the recorder is out of frame.
Recorder Player, oil on canvas, 480 × 570 cm, Giuseppe Angeli (1710-1798). Venice: Galleria Civica di arte Medievale, Moderna e Contemporanea Vittorio Emanuele II, Inv. 488. A boy in a brown cap leans slightly backwards holding a small baroque-style recorder in his left hand.

Shirley Venit Anger (contemporary), USA

Shirley Venit Anger won her first award in 1978. After receiving many awards and honors in the years thereafter, her name was entered into the International Who's Who of Contemporary Art in 1985, Cambridgeshire, England. Her latest achievements were the First Prize winners at the Fiber [sic.], Pen and Brush Club for 1990, 1992, 1993 and 1995. Shirley Venit Anger graduated at Cooper Union Art School in New York and gained her B.S. degree in Art Education from New York University. She also taught at the Brooklyn Museum Art School for six years.

Recorder Player (1999), batik on silk, 26 × 34 cm, Shirley Venit Anger (contemporary). Ref. Web-site: Sarah's Gifts (no longer available). A young girl plays a stylised, flared-bell recorder.

Christof [Christoph] Angermair

German ivory-carver and sculptor, the first in a line of 17th-century south German ivory-carvers who served the taste of princely and aristocratic patrons for small-scale carvings for their Kunstkammern; his works reveal a high degree of virtuosity in which minute details are worked with a precision reminiscent of the goldsmith’s art; born Weilheim, Bavaria (ca 1580), died Munich (1633).

Pan making Music with Shepherds, ivory relief carving from the coin cabinet of Elizabeth of Lorraine (made 1618-1624), 18 x 13 cm, Christof Angermair (17th century). Detail 1 (columnar bass recorder), detail 2 (small flared-bell recorder). Munich: Bayerische Staatsgemäldesammlung, Inv. R 4909. Ref. Munrow (1976: 39-b&w); Early Music 22 (3): 449 – b&w (1994); Lêgene (2005: 343, pl. 9 - b&w); Munich RIdIM (2009, Mbnm - 205 a). Pan, the shepherd's god, takes part in a pastoral concert, playing his syrinx. On the left in the foreground are a curved cornett, racket and bass recorder (of columnar design); on the right a trombone and a small flared-bell recorder. In the background are a small shawm, a flute and a crumhorn (played without a windcap). A small child in the foreground beats time.

Cornelis Anthonisz. [Cornelis Teunissen, Teunisz. or Theunissen]

Netherlandish painter, etcher, designer of woodcuts, and cartographer who experimented with anamorphosis (an ingenious perspective technique used to give a distorted image of the subject represented in a picture when seen from the usual viewpoint, but so executed that if viewed from a particular angle, or reflected in a curved mirror, the distortion disappears and the image in the picture appears normal); also painted group portraits; born ca 1499, died Amsterdam (1553); maternal grandson of Jacob Cornelisz. van Ootsanen.

De bras penning maal tijd (1533), oil on panel, 130 × 206.5 cm, Cornelis Anthonisz. (ca 1499 - 1553). Amsterdam: Rijksmuseum. Ref. Fischer (1982: 42-43). Group portrait of a company of crossbowmen, around a table. Whilst the man seated at the top right-hand corner of the table is taking what looks like a recorder out of its case, the man two his immediate right has the Discantus part of the song In mijnen sin in his hand.

Apollonio di Giovanni (di Tomaso) [Dido Master; Master of the Jarves Cassoni; Virgil Master; Compagno di Pesellino]

Italian painter and illuminator influenced by Filippo Lippi, Lorenzo Ghiberti and Paolo Uccello; for much of his working life, from ca 1446 to 1458 and perhaps later, he was in partnership with Marco del Buono di Marco (?1403–p.1480); specialized in secular work, painting cassoni (rich and showy chests, which may be inlaid or carved, prepared with gesso ground then painted and gilded, usually given to a bride on her marriage), deschi da parto (birth trays), spalliere (panels attached to furniture or set into wall panelling), images for private devotion and other furnishings, as well as illuminating manuscripts; born Florence (ca 1416), died Florence (1465).

The Banquet of Dido and Aeneas, cassone, attributed to Apollonio di Giovanni (ca 1416-1465). Hannover: Niedersächsisches Landesmuseum. Ref. Anthony Rowland-Jones (pers. comm., 2001). To the right of a table with three diners set on a dais (eight other diners are at two tables on each side of the steps up to the dais), two musicians play a small lute and an alto-sized recorder. The latter is held with all fingers on, left hand lowermost with the little finger extended. The instrument itself is not clearly depicted but seems to be cylindrical with a short, slight bell-flare, possibly with an ornamental ring at the end. Notes by Rowland-Jones (loc. cit.)

Frank Applegate

Early modernist American art-teacher, painter, sculptor, ceramicist; in 1921 he moved to Santa Fe where he was immediately drawn into the art of the Native American and Hispanic cultures and became a moving force in the Santa Fe art scene; his output includes figure and landscape paintings and wood carvings, many depicting Pueblo Indian life; born Atlanta, Illinois (1881), died Santa Fe, New Mexico (1931).

Penitentes (ca 1930), cottonwood sculpture, 33.8 × 52 cm, Frank Applegate (1881-1931). Santa Fe: Montez Gallery. Ref. GuestLife New Mexico (1999/2000: 86a - col.) Two Indian figures approach a standing cross. The first prays; the second plays a narrow flared pipe; the third portrays Christ bearing a cross. Whilst the pipe almost certainly depicts an American Indian love-flute (with which Applegate, as a cultural preservationist, would have been well familiar), there is no trace of the external windway characteristic of that instrument which thus just might represent an internal duct-flute of European or native American origin.

Thomas van Apshoven

Flemish painter specialising in rural scenes; born Antwerp (1622), died 1643.

Landscape, oil on canvas, Thomas van Apshoven (1622-1643). Ref. Gabrius Data Bank, OMP (2002 - col.) A rocky landscape with cattle and sheep resting in a gorge, watched by a shepherd playing a flared-bell pipe (possibly a recorder), and by another with a mule.

Francesco Faraone Aquila

Italian line-engraver; born Palermo (1676), died Rome (1740); nephew and pupil of famous engraver Pietro Aquila.

Frontispiece: Pietro-Jacobo Martello, Opere: della Tragedia Antica e Moderna dialogo; Teatro; Versi e Prose, published by L. Dall Volpe in seven volumes (1723-1735), print, Francesco Faraone Aquila (1676-1740). Location unknown: sold by Maggs Bros Ltd, London, October 1968. Ref. Sale Catalogue 913 (1968: No. 130); Paris RIdIM (2000). A female figure stands beneath tasselled drapes between two walls before a garden. In the foreground, musicians play harpsichord, violin, lute and two similar-looking slender pipes one of which is completely visible, the other only partly so. The partially visible pipe could be a transverse flute (although the embouchure hole is not visible, the player appears to be blowing across the instrument), but the other seems to be held between the lips and thus may represent a recorder since all fingers of the lowermost hand seem to be occupied in covering their holes. It must be said that there are rather more finger-holes than digits to cover them.

Louis Arnould d'Arondeau

French artist born into a family that worked for the Manufacture des Gobelins, Paris; he worked as Haut Lissier, eventually becoming a Maître Tapissier; with his young brother François, he was introduced to the Court of the Prince Elector of Munich in 1718 where they were joined by Jean-François Petitjean and François Carré to form the group known as "The Four French Tapestry Makers".

Bavarian Coat of Arms with Captured Turks and Military Trophies (1724), tapestry, Louis Arnould d'Arondeau. Munich: Bayerische Staatsgemäldesammlungen, Inv. T 3818. Ref. Munich RIdIM (2002: Mbnm - 98); Anthony Rowland-Jones (pers. comm., 2002). Two bound Turks sit uncomfortably amonst a litter of weapons and military supplies in front of a plinth on which is carved a warlike scene. The plinth is surmounted by two female figures one (? Peace) holding a straight trumpet, the other (? Victory) a sword. A trophy to the left of the trumpeter comprises a folded trumpet, an oboe and a recorder crossed and tied with a tassel. The recorder is a three-piece baroque-style instrument of alto size, only the head and foot are visible. To the right of the swordswomen is a trophy in which a horn, an oboe and a sword are crossed. An ornamental border includes a number of musical instruments including a second baroque recorder, only the head of which is visible. Elsewhere are flutes, straight trumpets and a side drum. The association of the recorder with war here is a curious one; but both instruments are on the side of ? Peace. This is not the modern Bavarian coat of arms.

Jacques d'Arthois [or Artois]

Flemish landscape painter, draughtsman and collector specialising in large wooded landscapes with figures often added by other artists; made tapestry cartoon designer of the city of Brussels in 1655; born Brussels (1613), died Brussels (1686).

Landscape, canvas 114 × 187 cm, Jacques d'Arthois (1613-1686). Brussels: Musées Royaux des Beaux-Arts de Belgique, 990. Ref. Leppert (1977: 6). A rustic country scene in which a shepherd plays a duct-flute, (possibly a recorder).

Jacques d'Arthois & Gonzales Coque

Flemish genre and portrait painter Gonzales Coque, known as the 'little van Dyck'; a student of Pieter II Bruegel, the younger; born Antwerp 1618 (or less likely 1614), died 1684.

Picnic, Jacques d'Arthois (Brussels, 1613-1686) & Gonzales Coques (1614/1618-1684). Private Collection. Ref. BMRBA XVI (1967: 196, fig. 23); Leppert (1977: 7). At a bourgeois picnic, children play a small recorder, violin, viol & guitar.

David Adolf Constant Artz

Dutch collector and painter; member of the Hague School (1860-1890), a group of artists (including Vincent van Gogh and Piet Mondrian) who rejected traditional views and the 'history' painting style that dominated art academies of the day – instead of idealizing their subjects, they tried to imbue their paintings with a realistic representation of what they saw; worked in Paris (1886-1874); born 1837, died 1890.

Idylle: a Happy Tune (19th century), oil on canvas, 111 × 81 cm, David Adolf Constant Aratz (1837-1890). Loc. Unknown, auctioned Christie's (Amsterdam), 25 April 2007, Lot 124. Ref. Auction Catalogue: Sale 2740, 19th-century European Art (2007); Constance Scholten ex Anthony Rowland Jones (pers. comm., 2009). A shepherd boy plays a small slender pipe but with his hands in a position almost perfect for recorder playing. Some cows graze in the background.

Cosmas (or Kosmas) Damian Asam

German (Bavarian) architect, decorator, and fresco painter who developed further the dramatic effects of lights of Italian illusionism; worked mainly on large commissions, painting and sometimes also acting as architect, sometimes collaborating with his brother Egid Quirin; born Benediktbeuren (1686), died Munich (1739); son of Hans Georg Asam (1649-1711), brother of Egid Quirin Asam (1692-1750).

[Nativity], ceiling fresco, Cosmas Damian Asam (1686-1739). Weingarten: Monastery (near Lake Constance, South Germany). Ref. Anthony Rowland-Jones (pers. comm., 1999). An angel at the right holds a small turned baroque soprano recorder in his right hand. All the instrument is visible with the exception of the foot-joint. Another angel plays a bass viol and a the left behind the shepherds an angel plays an oboe. Above the recorder player on the right an angel plays a lute held vertically.
Nativity (1717), fresco, Cosmas Damian Asam (1686-1739). Michelfeld: Langhaus (Orgeljoch). Ref. Hanfstaengl (1939: pl. 2); Rupprecht (1980); Bushart & Rupprecht (1986: pl. 10- col.); Rasmussen (1999). A shepherd blows an alphorn. Others play bagpipe and shawm. Angels play cello, lute, two recorders (?) and tambourine.

Cosmas (or Kosmas) Damian Asam & Egid Quirin [Aegidius Quirinus] Asam

Decoration on organ shutters (?1692-1750), Cosmas Damian Asam (1686-1739) & Egid Quirin Asam (1692-1750). Freising (near Munich): St Maria und St Korbinian Domkirche. Ref. Anthony Rowland-Jones (pers. comm., 1999). The shutters on each side are decorated with many musical instruments. On the right hand side, above the main group of instrumentalists, an angel dressed in blue looks down from a cloud playing a slender, slightly outwardly conical pipe. The lip and hand positions are correct for a recorder, but no finger-holes or window/labium are visible. The bottom of the instrument is hidden by cloud. The building itself dates from 1624; new additions, (possibly including the organ shutters) were undertaken from 1692-1750.

Egid Quirin [Aegidius Quirinus] Asam

Egid Quirin Asam was a German (Bavarian) architect, decorator, sculptor, painter and stuccoist; born 1692, died 1750; son of Hans Georg Asam (1649-1711), brother of Cosmas Damian Asam (1686-1739).

[Musical Angel] (1721), stuccowork, Egid Quirin Asam (1692-1750). Innsbruck: Domkirche zu St Jakob, side of window above Emperor's gallery. Ref. Prof. Wolfram Köberl, Innsbruck ex Anthony Rowland-Jones (pers. comm, 2002). "The Emperor's gallery was orginally in the Palace Chapel, so this part of the stuccowork is not visible from floor level. An angel plays a beautifully modelled late alto recorder of late baroque design, left hand lowermost, in perfect playing position with all fingers down.

Denis van Asloot

Flemish artist; born Malines (1570), died Brussels (1628).

Triumph of the Archduchess Isabella in the Brussels Ommeganck, Denis van Asloot (1570-1628). Detail. London: Victoria and Albert Museum. Ref. CD cover, The King's Noyse (director D. Douglass), Mascharada, Harmonia Mundi (? date); Paolo Biordi (pers. comm., 2000). Musicians play from a balcony overlooking a triumphal barge. Instruments include harps, tambourine (with jingles), triangle (with jingle rings), lutes, rebec, cello, and a cylindrical pipe, possibly a recorder.

Rachid Assaiev

Russian painter who studied under I. Korolev at the Institute of Fine Arts, Moscow; many of his works are ultra-realistic in style; born Astrakan (1947).

Allegory of Music (1985), oil on canvas, 182 & 151 cm, Rachid Assaiev (1947-). Location unknown. Ref. Sale catalogue (? date: lot 72); Paris RIdIM (2000). A pipe organ is forced into a corner of a room by a grand piano. Other instruments are piled upon them and litter the floor, including double bass, cello, horn, trumpet, saxaphone, drums, mandoline, cymbals and two small recorders (on the floor, bottom right. The beaks of both of the latter are clearly visible, and the nearest has seven finger-holes in line. A large drape hangs behind the organ, and sheet music is littered everywhere and even stuck on the walls.

Gioacchino Assereto

Italian artist known for his depictions of religious and classical subjects and his vivid narrative painting; born Genoa (1600), died Genoa (1649).

The Duet, oil on canvas, 101.7 × 90.7 cm, attributed to Giocchino Assereto (1600-1649). Location unknown: offered for sale by Bonham's (London), 9-10 July 2003, Lot 336. Ref. Sale Catalogue: Old Master Paintings, Bonhams, London (2003: 187 - col.); Constance Scholten (pers. comm., 2005). An old woman sings from a sheeet of music conducting a young child playing a slender ? soprano one-piece recorder, the beak and window/labium clearly depicted and the little finger of the lowermost (right) hand covering its hole.

Michael Astrapas and Eutychios

Macedonian artists, possibly recruited from Thessalonika, who were court painters to the Serbian King Uros II Milutin (reigned 1282-1321); their dramatic expressiveness was the basis for the new trend in Byzantine art from this epoch, called "The Renaissance of the Paleologues".

Ecce Homo: The Mocking of Jesus (1315-1317/1318), fresco, Michael Astrapas and Eutychios. Detail. Staro Nagoricino (village E of Kumanova, Macedonia): Church of Sveti Djordje [St George], North wall. Ref. Djuric (1976: pl. 33 - col.); Bärenreiter, Musica Calendar (1986-col.); Archiv Moeck; Marjanovic (1995); Pejovic (1995); Rowland-Jones (1999a: 129 – b&w); Rowland-Jones (1999c: 14, fig. 5 – b&w); Bridgeman Art Library (2002: Image ID JB 140730 - col.); Rowland-Jones (2006: 13-15 & fig. 13a-b - col.) The painting of the church was commenced in 1315. Michael and Eutychios began to decorate the church in 1315, after Milutin's defeat of the Turks. Christ is not only mocked but tormented by a crew of evil looking musicians: two blow enormous curved trumpets, one bangs on a huge snare drum, and a youth with a sly grin tweets away on a duct-flute (quite possibly a recorder). Four young boys parody a dance of homage in a hypocritically submissive posture at Jesus' feet, one of them clashing cymbals at the same time. The window/labium of the duct-flute is clearly visible and there is an open finger-hole for the little finger of the lowermost hand. Rowland-Jones (1999c: 129) doubts that the artist here has shown us the first recorder, arguing that "the length of the instrument between the lower hole to the bell-end, however, although there is no flare, is characteristic of shawms." Later, Rowland-Jones (2006: 15) writes: "The instrument may be an early version of the short cylindrical six-holed frula, the most popular of present-day Serbian duct-flutes. The position of the player’s right thumb makes it unlikely that the instrument has a thumb-hole; there are no paired little-finger-holes, and the hole very close to the bell-end is probably for tuning as it is out of reach of the player’s left little finger. " In my estimation, a recorder remains a possibility here.

This fresco is very different from the sterotyped frescos of this period found elsewhere in the region, and it is possible that it records a theatrical performance of the time (see Marjanovic 1995).

Matthias Grunewald's (1470/80-1528) Mocking of Christ (Alte Pinakothek, Munich) includes a pipe-and-tabor player amongst his torturers.

Margaret Alison Atkins

English artist and illustrator; born Fulham (1878), died 1919.

Listen to My Sweet Pipings pen and ink and watercolour over pencil on drawing board, 26.1 × 14.3 cm, Margaret Alison Atkins (1878-1919). York: City Art Gallery. Ref. Bridgeman Art Gallery (2005: image 135533). A pixie-like girl sits beneath a floweing tree playing a slender, slightly flared pipe. In the foreground are foxgloves. A banner in the bottom r-h corner give the title, and beneath is a strain of music.

Benoit Audran

French engraver, from a family of distinguished French artists; his works comprise more than 200 prints, amongst them reproductions of paintings by such artists as Le Brun, François Verdier, Eustache Le Sueur and Pierre Mignard, but also numerous vignettes for books, among them a famous series (1718) for the Greek myth Daphnis et Chloé after compositions by the Regent, Philippe II, Duc d'Orléans; born Lyon (1661), died Louzouer, Loiret (1721).

Chloé calls the cattle and rescues Daphnis by playing the flute (late 18th century), ink on rose paper, 20 × 15.7 cm, Benoit Audran (1661-1721). Chantilly: Musée Condé, Inv. DE 451. Ref. Joconde (2007 - col.) Chloé stands beneath a tree playing an alto-sized pipe with a flared bell, possibly a recorder. In front of her, Daphnis is carried ashore holding on to the horns of two bulls.

Baron von Aufsess (18th century), German

Untitled (1784), Baron von Aufsess (18th century). Regensburg: Thurn und Taxis Zentralarchiv und Hofbibliothek, Inv. B VIII d.3. Ref. Munich RIdIM (1999: Rtt 48). A rather naive picture of a street procession following a wedding. The people are in Croatian dress. The instruments being played are eight lutes, a violin and a recorder. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Geoffroy Augustin & Jean-Pierre Pelissier

French stone masons working in Visan (Vaucluse), late 18th century.

Trophy, carved stone boss (1778), Geoffroy Augustin & Jean-Pierre Pelissier, both from Visan. Visan (Vaucluse): Chapelle Notre-Dame des vignes, on the second span. Ref. Iconographie de la cornamuse (2009). Depicts lyre, violin, recorder, flute, horn, trumpet, bagpipes, triangle, tambourine and a score.

John Austin (18th century), English

Recorders and Music (1703-1705), carved wooden trophies by ?John Austin. Cambridge: Christ's College, organ case. Ref. Thomson & Rowland-Jones (1995: front cover, 150, fig. 35B). Two wooden recorders in each of two trophies at either side of the front of the organ case. In front of the crossed recorders are part-books of music. The trophy on the left of the console is headed Sinphony Flauto Primo; that on the right Sinphony Flauto Secundo. The music is possibly by Lord William Biron who composed some Symphonys for 2 Flutes, or by Charles Quarles, Organist of Trinity College and of Christ's College who was responsible for the installation of the new organ in 1705.

Antoine Avernier, Arnould Bourlin & Alexandre Huet

French wood-carvers whose 16th-century gothic-style work is considered the finest of its kind.

Nativity (1508-1519), wood-carving, Antoine Avernier, Arnould Boulin & Alexandre Huet. Amiens: Cathédrale Notre Dame, choir stalls. Ref. Macrez (2006); Gilloire & Gense (2007); Anthony Rowland-Jones (pers. comm., 2007). The carvings on these choir stalls comprise some 400 biblical and every-day life scenes, with several thousand figures, all full of character. Only two panels have musical angels, both on opposite sides of the stalls end-panels by the entrance to the choir from the nave. The south-side end panel has a Nativity scene with eight musical angels hovering above, playing nakers, bagpipes, portative organ (very clear in tiny detail), harp, lute, vielle (damaged) and two pipes. Both pipes are held with the hands close together towards the lower part of the instruments which are cylindrical but with marked bell flare. The pipe-player to the left has an alto-siezed instrument, played slightly from the side of the mouth, but the face is relaxed. The pipe towards the right is the same length but is held at the top and appears to be a basset recorder with the upper part broken away. Interestingly, its angel player is represented as older than the alto pipe player. The context and the choice of instruments strongly suggests that the pipes represent recorders. It is all far too small for any detailing such as window/labium or finger-holes. The two angel musicians on the opposite bench panel are not playing pipes.

Avi

Acclaimed US children's book writer; born New York (1937).

Inside cover illustration: Crispin: The Cross of Lead, Avi (2002). Published by Hyperion, New York. Ref. Patrick O'Malley (ex Anthony Rowland-Jones, pers. comm. 2003). Illustration for a story set in 14th century Italy. The inside cover depicts Crispin holding a recorder. Not seen.