Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

B

Dirck (Jaspersz.) van Baburen

• Recorder Player, oil on canvas, 73.1 × 62 cm, follower of Dirck van Baburen London: Sotheby's (New Bond Street), Sale L08030: Old Master Paintings, 12 Feb 08, Lot 55. Ref. Sotheby's Offered for sale as Portrait of the Artist, this painting bears a signature on the upper left, namely 'HBrugghen' – possibly referring to Hendrick ter Brughhen (1588-1629). A somewhat crude 17th-century copy after a lost original by Baburen (dated 1625) which is now known through an engraving in reverse by Cornelis Bloemaert (Nicolson & Vertova 1990, 1: 55, cat. no. 1060), reproduced vol. III, plate 1060). A head and shoulders portrait of a man facing right who turns to face the viewer. He wears a cap and has a fur collar on his coat or cloak. He holds a renaissance style recorder, right hand uppermost. His recorder lacks the darker (? metal-sheathed) beak seen in other copies of Baburen's portrait and the head is strangely square-cut.
• Recorder Player, copper engraving by Abraham Bloemaert (1564-1651) after Dirck van Baburen (1594/5-1624). Location unknown. Ref. Archiv Moeck (2001); Anthony Rowland-Jones (pers. comm., 2001). A copy of a lost original painting by Baburen. Slatkes (loc. cit.) gives details of other engraved and painted copies of this work, variously attributed to Cornelis van Dalen, A. Conraets, Anonymous, Abram van Waefberghen, J.B. Dusillon / Le Blond, and Gerrit van Honthorst. A head and shoulders portrait of a man facing left who turns to face the viewer. He wears a cap and has a fur collar on his coat or cloak. He holds a renaissance style recorder in his left hand. The beak is of a darker material than the rest of the instrument, probably indicating that it is metal-sheathed. This same darkening of the beak is seen in a copy of Laughing Recorder Player after Buburen in the University Art Collection, Uppsala. The lower half of the instrument is off the picture. The player's left hand holds the head of the instrument of which the beak and window/labium are clear, though no finger-holes are marked. A motto in Dutch beneath reads:
  
  

  de Fluyt gaat zoet, 't Galuyt in Eeel, maar och hoe klinkt, een out weyfs keel.

  [ The flute sounds sweet, the sound is fine But, Lord, how an old woman's throat sounds. ]

• Recorder Player (1625), 18.1 × 11.1 cm, copper engraving by Cornelis Bloemaert the younger (ca 1603-1680), after Dirck van Baburen (1594/5-1624). Amsterdam: Rijkmuseum; Washington: Library of Congress, Dayton Miller Collection. Ref. Nicolson (1962: 540 & 542 – fig. 36); Slatkes (1965: 135-136 & fig. 39); Nicolson & Vertova 1990, 1: 55, cat. no. 1060 & 3: pl. 1060); Archiv Moeck (2001); Jan Lancaster (pers. comm., 2007). A copy of a lost original painting by Baburen. Slatkes (loc. cit.) gives details of other engraved and painted copies of this work, variously attributed to Cornelis van Dalen, A. Conraets, Anonymous, Abram van Waefberghen, J.B. Dusillon / Le Blond, and Gerrit van Honthorst. A head and shoulders portrait of a man facing left whose face is inclined towards the viewer. He wears a cap and has a fur collar on his coat or cloak. He holds a renaissance style recorder in his left hand. The beak is of a darker material than the rest of the instrument, probably indicating that it is metal-sheathed. This same darkening of the beak is seen in a copy of Laughing Recorder Player after Buburen in the University Art Collection, Uppsala. The lower half of the instrument is off the picture. The player's left hand holds the head of the instrument of which the beak and window/labium are clear, though no finger-holes are marked. Jan Lancaster (loc. cit.) reports that this engraving is signed with the monogram 'CD', and that a conservator has transcribed this on the back as van Daden', probably in error for Cornelis van Dalen the elder (1602-1665), or his son, Cornelis van Dalen the younger (1638-1664). It seems likely that the original plate by Bloemaert was used and his name replaced with the 'CD' monogram. A motto in Dutch beneath reads:
  
  

  [de Fluyt gaat zoet, 't Galuyt in Eeel, maar och hoe klinkt, een out weyfs keel.

  [ The flute sounds sweet, the sound is fine But, Lord, how an old woman's throat sounds. ]

  The Washington copy of this print has been trimmed to the platemark, perhaps just inside the platemark at the top and bottom, and is now 16.0 × 11.1 cm.
• Recorder Player (18th century), engraving, by Cornelis van Dalen, after Dirck van Baburen (1594/5-1624). Location unknown. Ref. Slatkes (1965: 135-136); Jan Lancaster (pers. comm., 2007). A copy of an engraving by Cornelis Bloemaert (the elder or the younger) of a lost original painting by Baburen. Slatkes (loc. cit.) gives details of other engraved and painted copies of this work, variously attributed to Cornelis van Dalen, A. Conraets, Anonymous, Abram van Waefberghen, J.B. Dusillon / Le Blond, and Gerrit van Honthorst. A head and shoulders portrait of a man facing right whose face is inclined towards the viewer. He wears a cap and has a fur collar on his coat or cloak. He holds a holds a renaissance style recorder in his right hand. The beak is of a darker material than the rest of the instrument, probably indicating that it is metal-sheathed. This same darkening of the beak is seen in a copy of Laughing Recorder Player after Buburen in the University Art Collection, Uppsala. The lower half of the instrument is off the picture. The player's right hand holds the head of the instrument of which the beak and window/labium are clear, though no finger-holes are marked.
• Man with a Recorder (18th century), engraving, probably by Abram van Waefberghen, after Dirck van Baburen (1594/5-1624). Amsterdam: Rijksmuseum; The Hague: Gemeentemuseum. Ref. Slatkes (1965: 135-136 – fig.); Archiv Moeck (2001); Anthony Rowland-Jones (pers. comm., 2001); Jan Lancaster (pers. comm., 2007). A copy of a lost original painting by Baburen. Slatkes (loc. cit.) gives details of other engraved and painted copies of this work, variously attributed to Cornelis van Dalen, A. Conraets, Anonymous, Abram van Waefberghen, J.B. Dusillon / Le Blond, and Gerrit van Honthorst. A head and shoulders portrait of a man facing right who inclines his face towards the viewer. He wears a cap and has a fur collar on his coat or cloak. He holds a holds a renaissance style recorder in his right hand. The beak is of a darker material than the rest of the instrument, probably indicating that it is metal-sheathed. This same darkening of the beak is seen in a copy of Laughing Recorder Player after Buburen in the University Art Collection, Uppsala. The lower half of the instrument is off the picture. The player's right hand holds the head of the instrument of which the beak and window/labium are clear, though no finger-holes are marked. A motto in Dutch beneath reads:
  
  

  de Fluyt Gaat Zoet, 't Geluyt is Eel maar och hoe klinkt, een out weyfs keel.

  [ The flute sounds sweet, the sound is fine But, Lord, how an old woman's throat sounds.]

  Note that this print is the reverse of those described above.
• The Piper (ca 1683-1729), mezzotint, 14 × 13 cm, by John Smith (p. 1654-1742), after Dirck van Baburen (1594/5-1624). London: National Portrait Gallery, NPG D11819. Ref. Web-site: National Portrait Gallery (2007). A late copy of a lost original painting by Baburen. Slatkes (loc. cit.) gives details of other engraved and painted copies of this work, variously attributed to Cornelis van Dalen, A. Conraets, Anonymous, Abram van Waefberghen, J.B. Dusillon / Le Blond, and Gerrit van Honthorst. A head and shoulders portrait of a man facing left who inclines his face towards the viewer. He wears a cap and has a fur collar on his coat or cloak. He holds a renaissance style recorder in his left hand. The beak is of a darker material than the rest of the instrument, probably indicating that it is metal-sheathed. This same darkening of the beak is seen in a copy of Laughing Recorder Player after Buburen in the University Art Collection, Uppsala. The lower half of the instrument is off the picture. The player's left hand holds the head of the instrument of which the beak and window/labium are clear, though no finger-holes are marked.
• Laughing Recorder Player, copy after Dirck van Baburen (ca 1594/5-1624). Uppsala: Universitet, Konstsamlingarna, UU 86. Ref. Anthony Rowland-Jones (pers. comm., 2000). The whole of the mouthpiece above the window/labium is black, the rest is made of paler wood. Only the upper part of the instrument is visible; the other half is hidden by the player's right hand, three fingers of which are down. Notes by Rowland-Jones (loc. cit.) This same darkening of the beak is seen in a copy by Bloemaert of Baburen's Recorder Player.
• Man with a Flute (17th century), 78 × 62 cm, follower of Dirck van Baburen (ca 1594/5-1624). Location unknown: formerly P. de Boer, Amsterdam (before 1945). Ref. Kettering (1983: fig. 20); Griffioen (1988: 438-439); Rijksbureau voor Kunsthistorische Documentatie, The Hague, photo no. L34200. A bearded shepherd in a loose cloak holds a hand-fluyt, the foot of which is out of frame.

Karl Otto Bachmann

• Musical Harlequin (1944), Karl Otto Bachmann (1915-1996). Location unknown. Ref. Website: Klassiskgitar.net (2007 - col.) A harlequin plays a stylised lute, a woman in a black jumpsuit plays a slender stylised pipe (possibly a recorder), other figures dance.

Adriaen Backer

• Anthony de Bordes and his Son Anthony (1673), Adriaen Backer (ca 1635-1684). Amsterdam, Antwerp, Ghent & Haarlem: Exhibition (2000-2001). Ref. Bedaux & Ekkart (2000: 281, pl. 80); Anthony Rowland-Jones (pers. comm., 2001). On a table at the left, the foot end of a flared-bell pipe is visible. The end-bore appears to be flared and there are paired holes for the lowermost finger. The rest of the instrument is obscured.

Jacob Adriaenz. Backer

• Shepherd with Wreath and Flute (ca 1637), panel, 52 × 41 cm, Jacob Adriaenz. Backer (1608-1651). The Hague: Mauritshuis, Inv. 1057. Ref. Kettering (1983: fig. 101); Sumowski (1983[-94], I: 239, fig. 36); Griffioen (1988: 438-439); Rijksbureau voor Kunsthistorische Documentatie, The Hague, L11245 & 11470; Anthony Rowland-Jones (pers. comm., 2001). Possibly a self-portrait. A man in a fur coat and ivy in his hair holds clasped in his left hand a duct-flute (probably a recorder) with a metal sheath covering the beak. The instrument is viewed from below and only half of it is clearly visible. The windway and plug are very clear.
• Shepherd with a Flute, 65 × 53 cm, Jacob Adrianz. Backer (1608-1651). Leeuwarden: Fries Museum. Ref. Kettering (1983: fig. 102); Griffioen (1988: 438-439); Rijksbureau voor Kunsthistorische Documentatie, The Hague, negative L11243 & L6g195. Possibly a self-portrait. A shepherd in a loose cloak holds a soprano-sized duct-flute (probably a recorder) with a metal-sheathed beak. It is clasped in the left hand, beneath which only four in-line finger-holes are visible.
• Musical Shepherdesses [Pastorale], 199 × 240 cm, Jacob Adrianz. Backer (1608-1651). The Hague: Dienst Verspriede Rijkscollecties, Nederlands Kunstbezit-collectie, Inv. 2875 (1950). Ref. Kettering (1983: fig. 130); Griffioen (1988: 438-439); Rasmussen (1999c); Rijksbureau voor Kunsthistorische Documentatie, The Hague, negative RKD 1092, 7007, & 14547. On the edge of a forest, five female figures, sing and play a hand-fluyt and tambourine. One points to a dog who has returned with a hare one of the party has shot – a quiver and arrows and a curved horn lie in the foreground. The women look far too well-dressed to be mere shepherdesses. This is clearly a hunting party of some kind. Possibly the ladies are distracting themselves with music whilst their menfolk are playing at being cave-men.

Jaime (Jocomart) Baco [called Master Jocomart] (ca 1413-1461), Spanish

• A Faun (or Paris or Adonis), sculpture, attributed to the circle of Baco. Madrid: Museo del Prado E224. Ref. Anthony Rowland-Jones (pers. comm., 2001). This sculpture was created from fragments of classical marbles in the 17th century. The faun may have held a duct-flute in his hand but this is badly damaged. The remaining portion, the bell end, is strongly flared and clutched by the faun.

Sisto Badalocchio [Amidano Giulio Cesare]

• Polyphemus following Acis and Galatea, engraving, 29.6 × 54.5 cm (image), by Giovanni Girolamo Frezza (1659-1741), after Pietro da Pietri after Sisto Badalocchio (1704). San Francisco: de Young Museum, 5050161212780030 A005033. Playing a slender, cylindrical pipe (possibly a recorder), the one-eyed giant, Polyphemus, sits awkwardly on a rock by the sea whilst in the distance Galatea escapes in a shell born on the waves by a whale, and a triton abducts a nereid.

Johan(nes) Baeck (op. 1610-1655), Dutch

• Shepherd playing the Flute, oil on canvas, 76 × 63 cm, Johan(nes) Baeck (op. 1610-1655). Location unknown; sold by Galerie de Jonckheere, Paris. Ref. Rijksbureau voor Kunsthistorische Documentatie 23725 (2001); Anthony Rowland-Jones (pers. comm., 2000, 2001); Gabrius Data Bank, OMP (2002 – col.) "A young shepherd with his crook tucked under his left arm plays a tenor-sized cylindrical recorder. No bore flare is apparent, but there is a slight thickening at the bell end, possibly due to a metal band. The left hand is uppermost, with the little finger supporting the side of the instrument. The right-hand fingers cover holes four and five, but six is just visible and the nearside offset seven is very clear as the right-hand little finger is lifted. The beak is slight and the window/labium position is indistinct as there is quite a short windway. This 'shepherd' has delicate hands and fingers and a large hat covered with Arcadian flowers. He looks posed, but his finger and hand position is that of a person who knows how to play the recorder." Notes by Anthony Rowland-Jones (loc. cit.) This work was resold in 1998 (Gabrius, loc. cit.)
• Merry Company, oil on canvas, Johan(nes) Baeck (op. 1610-1655). Ref. Gabrius Data Bank (2001 – col.) An interior (possibly a brothel) in which a woman plays a lute to accompany a somewhat disheveled man who stands on a table singing. Another woman tends to a man seated at the table, children amuse themselves in the background, one blindfolded. A third woman sits at the table (opposite the seated man) holds what looks like an alto-sized recorder, the beak of which is covered in a metal sleeve. The above reproduction lacks sufficient detail. This work was offered for sale in 1999 (Gabrius, loc. cit.)

Jan Baegert

• Coronation of the Virgin (ca 1520), oil on wood, 92.2 × 70.5 cm, Jan Baegert (op. ca 1500 – ca 1525). London: National Gallery, NG263. Ref. Oyen (1972: 352, pl. XI); National Gallery (1986, 2: 365); Rasmussen (1999b). One of a series illustrating the life of the Virgin. An angel at the top left centre plays a recorder which is clearly depicted. A dove hovers in front of the player, opposite whom a second angel (on the right) plays lute. Beneath them, the Virgin kneels in prayer as she is crowned. The recorder is cylindrical or possibly very slightly outwardly conical. It's beak and window/labium are clear, but both hands clutch the body of the instrument (left hand lowermost) concealing all finger-holes, except that for the bottom left-hand finger which is slightly offset to the right in relation to the position of the the window/labiium. The panel is belongs to a group of eight panels forming a series about Christ's Passion and after. The majority are in the Landesmuseum, Münster. They came from the Klosterkirche in Liesborn or Marienfeld and appear to have formed the shutters of the Liesborn altarpiece.
• Coronation of the Virgin (ca 1520), oil on wood, 92.2 × 70.5 cm, Jan Baegert (op. ca 1500 – ca 1525). Münster: Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Inv. 280. Ref. Oyen (1972: 352, pl. XI); Rasmussen (1999b); Munich RIdIM (2002:, MÜlm-50). One of a series illustrating the life of the Virgin. An angel at the top left centre plays a conical tenor-sized recorder which is clearly depicted. A dove hovers in front of the player, opposite whom a second angel plays lute. Beneath them, the Virgin kneels in prayer as she is crowned.

Jan de Baen

• Pastoral Scene, canvas, 123 × 154 cm, Jan de Baen (1633-1702). Detail. Private Collection. Ref. Buijsen & Grijp (1993); Archiv Moeck. A group portrait in which a family with their two dogs sit at the foot of a wooded hillside: a woman, her two daughters and two men. All have what look like shepherds crooks. One of the men in the background holds a slender, cylindrical pipe (probably a duct-flute).

Isak Bager (1768-1797), German

• Savoyard Children, print, Isak Bager (1768-1797). Frankfurt: Städelsches Kunstinstitut: Städtische Galerie, Print Collection, 605. Ref. Munich RIdIM (1999: Rsm 104). A young lad stands, drinking from an enormous wooden beer mug, a three-piece alto baroque recorder tucked under his arm. His companion dozes at the table beside him.

Giovanni Baglione [Sordo del Barezzo]

• The Resurrection of Christ (1603), Giovanni Baglione (1571-1643). Paris: Louvre. Ref. The Age of Caravaggio (1985: 92-93); Lallement & Christ (1996). Includes a duct-flute (flageolet or recorder). Not seen.
  
• Euterpe (ca 1620), canvas, 195 × 150 cm, Giovanni Baglione (1571-1643). Paris: Louvre, Inv. 347 (Fine Art Museum, Arras). Ref. Rowland-Jones (1992, frontispiece); Lallement & Devaux (1996: 253). Euterpe holds two large (?tenor) near-cylindrical ("wide-bore") recorders; another recorder and a sackbut lie beside.
  
• Group of Musicians, pen and brown ink and brown wash over traces of black chalk on laid paper mounted to heavier sheet, 106 × 130 mm, Giovanni Baglione (1571-1643). San Francisco: Achenbach Foundation for Graphic Arts, 1963.24.157 Ref. Fine Arts Museums of San Francisco. Musicians play organ, lutes, and a highly stylized pipe which may be a recorder.

David Bailly

• Self-portrait with Vanitas Symbols (1651), oil on panel, 89.5 × 122 cm, David Bailly (1584-1657). Another image from Carol Gerten-Jackson. Leiden: Stedelijk Museum de Lakenhal, Inv. No. S 1351. Ref. Bergstrøm (1956: 159, fig. 135); Stedelijk Museum de Lakenhal (1970); Haak (1984/1996:128, fig. 252); Griffioen (1988: 438-439); tedelijk Museum de Lakenhal (1996); Postcard, Stedelijk Museum de Lakenhal (2001 – col.) The artist sits beside a table littered with still-life objects including three portraits (presumably from his own hand), a bust, statuette, candlestick and candle, vase of flowers, coins, knife, clay smoking pipe, books, papers, skull, hourglass, glass goblet, jewellery, and a soprano flared-bell recorder of which only the foot with its offset hole for the lowermost finger is visible! A portrait of a lutenist is pinned on the wall. Bubbles float above. A ticket in the lower right-hand corner reads VANITAS VANITUM ET OMNIA VANITAS.
  
  This work has been parodied in a photoshop collage depicting news personality Tom Brokaw entitled Brokaw's Vanitas Vanitatis, by 'Bb', an anonymous contributor to the 7th round of the Worth 1000 Intramural Team Tournament.
• Self-portrait with Vanitas Symbols (1651), David Bailly (1584-1657). Caen: Musée des Beaux-Arts. The artist sits beside a table littered with still-life objects including skull, jewellery, bubbles and a soprano flared-bell recorder of which only the foot is visible! A portrait of a lutenist is pinned on the wall. A copy of the above painting (Anthony Rowland-Jones, pers. comm.)

Ludolf Bakhuysen [Bakhuzen, Bakhuyzen, Bakhuisen or Bakhuizen)

• The Artist in his Studio, Ludolf Bakhuysen (1631-1708). Ref. Finlay (1953: 58, note 57); Griffioen (1991: 388, footnote 20). Shows a bass recorder. Not seen.

Baccio [Bartolommeo] Baldini

Italian goldsmith and engraver active in Ferrara, his designs incorporate figures and motifs derived from Botticelli, Piero Pollaiuolo and also German printmakers, such as the Master E.S. and Martin Schongauer, but particularly from Finiguerra; born ? 1436, buried Florence (1487).

The origin of the designs of the so-called "Tarocchi Cards of Mantegna", is controversial. It has long been thought that they are derived from designs by a Ferrara painter, possibly Baccio Baldini (op. 1460-1485), for use in the Ducal court. However, Kenneth Clark (see McClean, 1983) has attributed the designs to Parrasio Michele (1516-1578), Master of the School of Ferrara. More recently, Prinke (1990) has argued that the designs were, in fact, by Mantegna himself.

These prints are not Tarocchi as such, but seem to form a sort of instructive game for youth, if not a mere picture-book of popular designs, the subjects represented in the fifty cards of five suits comprising the sorts and conditions of men, Apollo and the Muses, the arts and sciences, the genii and the virtues, the planets and spheres. There are two different sets of prints, the one engraved with much greater precision and finish, in which Nos. L-X. are lettered E, the other to a large extent in reverse and executed in a more careless technique, with Nos. L-X. lettered S.

• "Tarocchi of Mantegna": MVSICHA XXVI, (1465), after Baccio Baldini (op. 1460-1485). Ref. Limberg (62), see Tibia 2: 92. A personification of Music plays a recorder (between alto and soprano in size); left hand down; window/labium and finger-holes clear, including offset little-finger-hole; cylindrical in shape with incised ring decoration near bell end. At her feet are a small portative organ, two lutes, and a tenor-sized wind instrument with a slightly flared bell, the mouthpiece hidden (probably a shawm). This bears a close resemblance to other drawings of Musica after Baldini (ca 1470), Capella (1532), and Schlick (1512).
• "Tarocchi of Mantegna": MUSICA (ca 1470), after Baccio Baldini (op. 1460-1485). Paris: Bibliothèque Nationale. Ref. Hass (1929: 74); Peter (1958: 44); Paris RIdIM (1999). " … depicts Musica playing a recorder; on the ground at her feet are a lute, a harp, a double recorder, small fiddle and a regal" (Peter, loc. cit.)
  
  A personification of Music sits on a curved bench, a large swan standing beside her. The recorder is of the Dordrecht kind, the paired holes for the lowermost finger clearly shown and a small raised turning above the foot. The second lute is actually a rebec. Apart from the swan, this work bears a close resemblance to other illustrations of Music after Baldini (ca 1465), Schlick (1512) and in an edition Martianus Capella's De Nuptiis Philologiae et Mercurii (1532).
• "Tarocchi of Mantegna": Poetry (ca 1465-1467), engraving with applied gilding; sheet 16.6 × 8.9 cm, Italian (Ferrarese School). New York: Metropolitan Museum of Art, 59.570.32. Ref. Website: Metropolitan Museum of Art, New York. Poetry is shown seated in front of Parnassus, playing a recorder (one-handed) – symbol of eloquence – as she irrigates the earth with the inspirational waters of the Castalian spring. The soprano-sized recorder has a clearly depicted window/labium and paired holes for the little finger of the lowermost hand.
• "Tarocchi of Mantegna": Euterpe (ca 1465-1467), engraving, Italian (Ferrarese School). New York: Metropolitan Museum of Art, 19.52.18. Ref. Anita Randolfi (pers. comm., ex Anthony Rowland-Jones 2005). Includes a recorder.
• "Tarocchi of Mantegna": Euterpe (ca 1465-1467), engraving, after Baccio Baldini (op. 1460-1485). Paris: Bibliothèque Nationale, Estampes, Lame du tarot sé E et S, XVIII. Ref. Pottier (1992: 41: pl. 27). Not seen.
• "Tarocchi of Mantegna": POESIA XXVII (15th century), after Baccio Baldini (op. 1460-1485). Paris: Bibliothèque Nationale, Lame du tarot série E et S, XVIII. Ref. Mirimonde (?date-4: 280, fig. 26); Pottier (1992: 48, pl. XXXIV); Paris RIdIM (1999). Poetry is shown seated in front of Parnassus, playing a recorder (one-handed) – symbol of eloquence – as she irrigates the earth with the inspirational waters of the Castalian spring. The recorder is cylindrical and slightly flared and shows paired holes for the little finger of the lowermost hand.
• "Tarocchi of Mantegna": POESIA XXVII, from The Arts and Sciences (ca 1465), engraving, 18 × 10 cm, after Baccio Baldini (op. 1460-1485). Boston: Museum of Fine Arts ; British Museum London. H.E.I. 27a. Ref. Wiese (188: fig. 51b); Archiv Moeck; Salomon (1972: 218 – b&w); Frings (1999: 167, pl. 8 – b&w). Poetry is shown seated in front of Parnassus, playing a recorder (one-handed) – symbol of eloquence – as she irrigates the earth with the inspirational waters of the Castalian spring. The recorder is cylindrical and slightly flared and shows paired holes for the little finger of the lowermost hand.
• "Tarocchi of Mantegna": MVSICHA XXVI & POESIA XXVII (early 17th century), tarot cards (wrongly attributed to design by Mantegna), after Baccio Baldini (op. 1460-1485). Ref. Guidobaldi (1990: 41-68). A personification of Music plays a recorder, seated at a bench with a swan. [Cesare Ripa says: "The wind moves the feathers of these birds – they never sing unless Zephyr is blowing."] The instrument is near-cylindrical, with holes, clearly including the low paired holes, and the window is visible. Music has a portative organ, lute, bow and ?rebec on the ground at her feet. Poesia plays a cylindrical duct-flute but with one hand, centrally, three fingers down, little finger beneath, but with a hole showing immediately above.
• "Tarocchi of Mantegna": EVTERPE XVIII (15th century), after Baccio Baldini (op. 1460-1485). Ref. Fideler (2003). Euterpe leans against a tree playing double pipes (duct-flutes). However, each pipe has seven finger-holes, the lowermost offset. Thus these would seem to be recorders.
• "Tarocchi of Mantegna": MERCVRIO XXXXII (ca 1460 or later), after Baccio Baldini (op. 1460-1485). Ref. Vasselin (1988: 71); Rowland-Jones (2000c, fig. 2). Facing right, Mercury holds the caduceus in his right hand, a cylindrical duct-flute (the beak evident) in his left hand. Between his winged feet lies the severed head of Argus, the many eyes clearly depicted. In front of him stands a cockerel. A mark at the foot of the recorder may represent an ornamental bead or the offset lower finger-hole of a recorder.
• "Tarocchi of Mantegna": MERCVRIO XXXXII (early 17th century), after Baccio Baldini (op. 1460-1485). Ref. Bartsch (1854-1870, 9 Supplement, Pass. 4: 145, 32-41). Facing left, Mercury holds the caduceus in his right hand, a cylindrical duct-flute (four lower holes in line), in his left hand with little finger down, others raised. Between his winged feet lies the severed head of Argus, the many eyes clearly depicted. In front of him stands a cockerel. Notes (in part) by Anthony Rowland-Jones (pers. comm., 2000).
• "Tarocchi of Mantegna": MERCURIO XXXXII (contemporary), heat-printed silver, 6 × 12 cm, Atanas Atanassov after Baccio Baldini (op. 1460-1485). Turin: Lo Scarabeo (publisher). Ref. Little (2001 – col.) From a modern version of these cards published by Lo Scarabeo, faithful to the originals in all the details of symbolism, pose, etc. Coloured with pastels and careful cross-hatched shading on a silver background.
• "Tarocchi of Mantegna": EUTERPE XVIII (contemporary), heat-printed silver, 6 × 12 cm, Atanas Atanassov after Baccio Baldini (op. 1460-1485). Turin: Lo Scarabeo (publisher). Ref. Little (2001 – col.); Wicce's Tarot Collection (2001 – col.) From a modern version of these cards published by Lo Scarabeo, faithful to the originals in all the details of symbolism, pose, etc. Coloured with pastels and careful cross-hatched shading on a silver background.
• "Tarocchi of Mantegna": POESIA XXVII (contemporary), heat-printed silver, 6 × 12 cm, Atanas Atanassov after Baccio Baldini (op. 1460-1485). Turin: Lo Scarabeo (publisher). Ref. Learning the Tarot (2003 – col.) From a modern version of these cards published by Lo Scarabeo, faithful to the originals in all the details of symbolism, pose, etc. Coloured with pastels and careful cross-hatched shading on a silver background.

Hans Baldung [Grien or Grun]

• Altarpiece, central panel: Coronation of the Virgin (1512-1517), Hans Baldung (ca 1480-1545). Freiburg im Breisgau: Cathedral. Ref. Archiv Moeck; Rowland-Jones (2000c: fig. 1-5 – b&w; front cover – col.) The Virgin is surrounded by angels, most of them playing musical instruments or singing. Those above God the Son at the Virgin's right play loud instruments representing her glory – a sackbut, a crumhorn and shawms. Above God the Father at her left (the feminine side), angels play soft instruments representing her meekness. These include a large harp, a lute, a flute, and a recorder. On the same side of the picture an angel plays what could also be a duct-flute. Lower down, an angel plays a pipe which could be a recorder. Underneath him, a boy angel with a small recorder tucked under his arm, attempts to play a basset recorder which is clearly far too big for him. His fingers will never reach the holes, let alone the bottom key ('butterfly' type to suit either hand, and protected by a fontanelle). A group at the bottom right of the picture, supported by clouds, probably represents a recorder trio. The matching groups of angels on the opposite side of the picture play stringed instruments and sing. Notes by Anthony Rowland-Jones (loc. cit).

Hendrik I van Balen

• Banquet of the Gods (1608-1615), Hendrik I van Balen (1574-1632). Angers: Musée des Beaux-Arts. Ref. GBA LXII (1964: 153, 29); Leppert (1977: 8). In Parnassus, the gods desport themselves, entertained by eight Muses who sing and play instruments including lutes, fiddle, viol, flute, cornett, rebec, tambourine and pipe (possibly a recorder).
• Apollo and the Muses, Hendrik I van Balen (1574-1632). Location unknown. Ref. Web-site: Cipher (2005 – col.) Apollo is entertained by the Muses, two of whom sing and others play vielle, lute, theorbo, and a cylindrical pipe (possibly a recorder). On the ground lie cornetts, sackbut, tambourine, shawm, lute, curtal and a small viol.
• Triptych (two wings): Angel Concert, wood, each 181 × 56 cm, Hendrik I van Balen (1574-1632). Antwerp: Royal Museum of Fine Art, 361, 363. Ref. Leppert (1977: 8). Seven angels sing and play instruments including harp, lute, violin, cello, and pipe (possibly a recorder).
• Bacchanal, oil on panel, Hendrik I van Balen (1574-1632). Ref. Gabrius Data Bank (2001 – col.) Six putti gambol on the edge of a forest to music played by a seventh putto on a flared-bell pipe (possibly a recorder).
• The Judgement of Midas, oil on panel, 36.2 × 51.5 cm, Hendrik I van Balen (1574-1632). Kassel: Gemäldegalerie Alte Meister, GK 1043. Ref. Munich RIdIM (2002: Kksg-558); Anthony Rowland-Jones (pers. comm, 2002). Includes a violin, syrinx, recorder, and bagpipe.
• Allegory of Music, Hendrik I van Balen (1574-1632). Ref. Web site: The Great Bass Viol (2004 – col.) Watched by a stag, on the edge of a forest, a personification of Music sits beneath a tree tuning her lute. Beside her stand a viol and a pommer. On the ground are music books, a lyre, bagpipe, folded trumpet, cittern, and a case comprising a number of tubes to hold recorders or flutes.

Antonio Balestre [Balestra]

• Adoration of the Shepherds, Antonio Balestre (1666-1740). Venice: Chiesa di San Zaccaria. Ref. Postcard: Italacards, Bologna. Around the crib, angels hover and admiring shepherds are amazed by the sight of the Christ-child in his mother's arms. One of the shepherds plays a slender, flared-bell recorder of which paired holes for the lowermost finger are visible; a finger-hole immediately above, by the third finger of the player's right hand, can also be seen. Three upper holes are also visible, one of them just under the first finger of the left hand. The window/labium is just visible in the shadows. The bell end shows a very shadowy bore exit, indicating about half of the flare is wood thickening. Notes by Anthony Rowland-Jones (pers. comm. 2000).

Maso di Banco

• Coronation of the Virgin (14th century), tempera 51.2 × 51.7 cm, Maso di Banco (op. 1320-1353) Budapest: Szépmüvészeti Múzeum. Mary is crowned before an audience of angels to music played on double pipes, rebec, organetto, lute, tambourine and a cylindrical pipe (possibly a duct-flute).

John Bannister (17th century), English

• Frontispiece: The Most Pleasant Companion . . . (1681), John Bannister. Ref. Vinquist (1974: 58, 156-157). A seated gentlemen leaning against the back of his chair plays the recorder.

Gian Giovanni Barbello [Barbelli]

• Allegrezza, fresco, Gian Giovanni Barbello (p. 1604-1656). Bergamo: Palazzo Moroni. Ref. Tintori (1985: 112). A male figure with his back to us plays a xylophone whilst two women and a man dance. One of the women plays a tambourine; the dancing man plays a slender pipe of which no details are visible.

I.H. Barckhuijsen

• Vanitas (1756), mother-of-pearl, 7.5 × 6 cm, I.H. Barckhuijsen. Amsterdam: Christie's, Silver, Judaica, Russian Works of ARt and Objects of Vertu, 13 November 2001, Lot 320. Ref. Artfact (2004). A rectangular mother-of-pearl plaque carved with two boys in a landscape by an obelisk inscribed SIC TRANS IT GLORIA MUNDI with a skull and bones above, behind the obelisk a standing skeleton representing Death; an angel above blowing bubbles; in the foreground a globe, bust, skull, recorder, musical scores and paper with year 1756, at the left background a crown and scepter, all symbols of transitoriness. Not seen.

Pietro Bardellino

• A Young Shepherd, oil on canvas, Pietro Bardellino (1728-1819). London: Christie's, 10 July 1998, Lot. 79 (sold). Ref. Gabrius Data Bank (2002- col.); Artfact (2004). In the first painting a young shepherd lounging on what looks like a rumpled bed holding his recorder, his dog in the background, whilst an old crone gestures meaningfully with her thumb towards a young woman as if to say where his duty lies. The recorder is of soprano-size and cylindrical, the beak and labium clearly depicted. Note that the young shepherd and the crone are the subject of the first of a pendant pair, A Young Couple with an Old Crone and a Dog and A Youthful Couple Admonished by a Priest (see below).
• A Young Couple with an Old Crone and a Dog and A Youthful Couple Admonished by a Priest, oil on canvas, both oval, Pietro Bardellino (1728-1819). London: Christie's, 10 July 1998, Lot. 79 (sold). Ref. Gabrius Data Bank (2002 – col.); Artfact (2004). A pendant pair offered for sale together. In the first painting a young shepherd lounging on what looks like a rumpled bed holding his recorder, his dog in the background, whilst an old crone gestures meaningfully with her thumb towards a young woman as if to say where his duty lies. The recorder is of soprano-size and cylindrical, the beak and labium clearly depicted. Note that the young shepherd and the crone are the subject of a The Young Shepherd (see above). In the pendant, a young man points towards a young woman at his side whilst he himself is admonished by a priest.
• A Young Shepherd, oil on canvas, 31.2 × 24.2 cm, studio of Pietro Bardellino (1728-1819). London: Christie's, Old Master Pictures, 14 April 1999, Lot 100. Ref. Artfact (2004). A young shepherd with a recorder, a dog and an old crone at his side oil on canvas. This relates directly to one of a pair of pictures by Bardellino offered by Christie's, London, 10 July 1998, lot 79 (see above).
• Children Making Music, oil on canvas, Pietro Bardellino (1728-1819) after Boucher. Location unknown: Auctioned by Christie's, 13 December 1996 (sold). Ref. Gabrius Data Bank, OMP (2002 – col.) Four putti sing and play instruments to a fifth seated on a step with a dog. The singer holds a sheet of music in one hand; the others play cittern and two cylindrical duct-flutes (possibly recorders) respectively.

Ernst Barlach (1870-1938), German

• Der Flötenspieler / The Fluteplayer (1936), woodcarving, Ernst Barlach. Schloss Gottorf: Schloss Gottorf: Das Landesmuseum für Kunst und Kulturgeschichte, Die Galerie der Klassischen Moderne/Stiftung Rolf Horn. Ref. Photograph, Walter Bergmann ex Anthony Rowland-Jones (pers. comm., 2005 – b&w). A man in a cloak and helmet plays a cylindrical pipe with a marked flare at the bell, all fingers of both hands down. No window/labium or finger-holes are visible on the instrument but, given the title, this must be intended to represent a duct-flute of some kind, quite possibly a recorder.

Ambrogio Federico [or Federigo] Barocci [or Baroccio, called 'Le Baroche' or 'Fiore da Urbino']

• Study of the Shoulders and Arm of a Man seen from behind (before 1590), drawing in black chalk and red pastel over white gouache on blue and white paper, 25.3 × 19.1 cm, Ambrogio Federico Barocci (ca 1535-1612). Rennes: Musée des Beaux-Arts, Inv. 794.1.2519. Ref. Burlington Magazine (February 1992: 128, #49): Joconde Website (1999). The figure of a man with a pipe thrust through his belt. Its lowermost holes are doubled, but near the head-joint is a prominent bulge in the turning more suggestive of the stock of a bagpipe chanter rather than a recorder. Over his shoulder he holds one of the bagipe drones.

Carl Barth (20th century), German

• Still-life with Instruments (1943), oil, 90 × 110 cm, Carl Barth (20th century). Düsseldorf, Kunstmuseum, 4830. Ref. Munich RIdIM (1999: DÜk 3). On a table lie a violin with bow in its case, a glass, a table music-stand with a leaf of music showing the words "Seb. Bach", and a baroque-style recorder with a single finger-hole in the foot joint. The other finger-holes and the window/labium are not visible because of the position of the instrument which is made of dark wood, with a very much lighter block. The upper part of the mouthpiece curves slightly downwards at the lip end, in the manner of recorders by Hotteterre. In the background hangs a painting of The Three Kings and the Holy Family.

Fra Bartolommeo [born Baccio della Porta, also known as Bartolommeo da San Marco]

• Madonna con Bambino, Sant'Anna e altri Santi [St Anne Altarpiece] (ca 1510-1512), Fra Bartolommeo (1472-1517). Florence: Museo di San Marco. Ref. Burckhardt (1988: 129, pl. 101)Hunfrey, P. (1993: 270, fig. 256-b&w); Hijmans (2005: 222). Four angel musicians fly in a semi-cupola above, playing instruments including viola da braccia, lute and duct-flutes with angels holding open a book in the centre. One angel on the right holds two duct-flutes, one in each hand. That in the right hand has a decorated 'Virdung' design bell ends and a beaked mouthpiece, but no other identifying features: it could be a recorder. The other instrument shows part of one finger-hole but is otherwise unrecognizable (Rowland-Jones, pers com. 1999, 2000, 2001).
• Ascension of Christ, drawing, Fra Bartolommeo (1472-1517). Florence: Galleria degli Uffizi, no. 1237r. Ref. Gabelentz (1922, II: no. 175, pl. 17); Rasmussen (1999b). "All the musical instruments are rather vague. Angels at the left play fiddle and lute. Angels at the right play lute and recorder. Two others play straight trumpets" (Rasmussen, loc. cit.)

Evaristo Baschenis

• Strumenti musicali [Still-life with Musical Instruments] (1667-1677), oil on canvas, 108 × 153 cm, Evaristo Baschenis (1617-1677). Detail. Venice: Gallerie della Accademia, Inv. 1047. Ref. Landon & Norwich (1991: 67, pl. 20-col.); Francone et al. (1996: 204-205, pl. 33-col.; 206-207, pl.-col.); Bayer (2000: 110-113, pls. – col.) On a draped table and beneath richly embroidered hangings lie a globe, a carnation, a decorated writing cabinet, sheet music and a music book, a folded letter, two lutes, a violin, and a small flared-bell recorder. The beak and foot of the latter are inscribed with decorative rings, and holes for seven fingers are clearly visible, including paired holes for the lowermost finger.
• Strumenti musicali (1667-1677), oil on canvas, 60 × 88 cm, Evaristo Baschenis (1617-1677). Milan: Pinacoteca di Brera, Inv. 782. Ref. Francone et al. (1996: 146-147, pl. 7 – col.); Brera Art Gallery, Milan: postcard (col.); Bayer (2000: 44, fig. 30 – b&w); Austern (2003: 297, fig. 13.4 – b&w). On a table beneath richly embroidered drapes lie books, two peaches, a book of music, an oval box, an oboe, a lute, a violin and a recorder only the head and body of which are visible and the beak of which has decorative inscribed rings. Another version in a private collection, Bergamo.
• Strumenti musicali, oil on canvas, 54 × 68 cm, Evaristo Baschenis (1617-1677). Bergamo: Private Collection. Ref. Francone et al. (1996: 42, fig. 3); CD cover: Cantata da Camera – Bononcini, Porsile, Scarlatti, Vox Temporis Productions CD 92 042 (1999: detail-col.) On a table beneath richly embroidered drapes lie books, two peaches, a book of music, an oval box, an oboe, a lute, a violin and a duct-flute (probably a recorder, though only six finger-holes are depicted), only the head and body of which are visible and the beak of which has decorative inscribed rings. Another version in the Brera Gallery, Milan.
• Strumenti musicali, oil on canvas, 65.5 × 87.5 cm, Evaristo Baschenis (1617-1677). Venice: Palazzo Pisani Moretta. Ref. Francone et al. (1996: 150, pl. 8-col.); Bayer (2000: 44, fig. 31 – b&w; 82-85, pl – col.) Similar to the two paintings above. On a table beneath richly embroidered drapes lie books, two peaches, a book of music, an oval box, two circular containers, an oboe, a lute, a violin and a duct-flute (probably a recorder, though only six finger-holes are visible) only the head and body of which are visible and the beak of which has decorative inscribed rings. One of the lutes is streaked with dust, emphasizing the trompe-l'oeil effect sought by the artist and possibly pointing to a vanitas component, "all are of the dust, and all turn to dust again" (Ecclesiastes, 3:20).
• Strumenti musicali con spartiti, calamaio, libri e mele (1660-1670), oil on canvas, 95 × 128 cm, Evaristo Baschenis (1617-1677). Another image from Carol Gerten-Jackson. Bergamo: Accademia Carrara – Pinacoteca di Arte Antica, Inv. D34. Ref. Milesi (1993); Francone et al. (1996: 202-203, pl. 32-col.); Bayer (2000: 106-109, pl. – col.) On a table beneath richly embroidered drapes lie two apples, two books, a music book, a sheet of music, a small oval box, a harpsichord, an oboe, a cello and bow, a cittern, a theorbo, and a flared-bell duct-flute (possibly a recorder, though only six finger-holes are depicted).
• Strumenti musicali, oil on canvas, 96 × 140 cm, Evaristo Baschenis (1617-1677). Rome: Private Collection. Ref. Milesi (1993); Francone et al. (1996: 246-247, pl. 49-col.) On a table beneath richly embroidered hangings lie a decorated writing cabinet on top of which is a small bust and some books, two glasses, two musical scores a lute, a trumpet, a violin, a vihuela, and a flared-bell recorder.
• Strumenti musicali, Evaristo Baschenis (1617-1677). Carrara, Bergamo: Private Collection. Ref. Milesi (1993). Shows flared bell, soprano recorder with theorbo, lute, vihuela, violin, cello.
• Strumenti musicali, oil on canvas, 94.5 × 117.5 cm, studio of Evaristo Baschenis (1617-1677). Image from Carol Gerten-Jackson. Cologne: Wallraf-Richartz-Museum, Inv. No. WRM 2614. Ref. Munich RIdIM (1999: KNwr 6); Bildarchiv Foto Marburg (2002: DISKUS-Objekt-Dokument 05011548 – col.) Shows a soprano flared bell recorder with harp, lutes (one is merely the shell), spinet, shawm, violin, vihuela, globe. The soprano recorder lies rather precariously on two books which are standing upright. The instrument is too much in shade for finger-holes to be apparent, but the ends are clear, one showing slight bell-flare both externally and at the bore opening, the other strongly beak-shaped.
• [Title unknown], Evaristo Baschenis (1617-1677). Bergamo: Accademia Carrara. Ref. Rowland-Jones (1997b: 13). Shows a case containing a consort of what may be recorders.
• Still-life with Musical Instruments (2nd half of 17th century), by a follower of Evaristo Baschenis (1617-1677). Cremona: Museo Civico "Ala Ponzone". The instruments include arch lute, guitar, viola, violin, and (at the left) a cylindrical recorder (the beak and six finger-holes are shown) partly hidden by a lute and some music. Notes by Anthony Rowland-Jones (pers. comm.)
• Strumenti musicali, oil on canvas, 80 × 100 cm, studio of Evaristo Baschenis (1617-1677). Bergamo: Galleria Casa Bonomi. Ref. Francone et al. (1996: 44, fig. 4). Against a background of drapes are books, two open music scores, a harpsichord, a lute, a vihuela, a cello (only the neck of which is visible), a violin, and a flared-bell recorder only the foot and lower body of which are visible.
• Strumenti musicali, oil on canvas, 51 × 66 cm, Evaristo Baschenis (1617-1677). Florence: Galleria degli Uffizi, Inv. 5801. Ref. Francone et al. (1996: 46, fig. 7). On a draped table lie a decorated writing cabinet, some pages of music, two lutes, two violins, a vihuela, a trumpet, and a small flared-bell recorder only the foot and lower body of which are visible.
• Strumenti musicali, oil on canvas, 109 × 152 cm, Evaristo Baschenis (1617-1677). Bergamo: Private Collection. Ref. Francone et al. (1996: 91, fig. 3). On a draped table are a harpsichord, two lutes, a vihuela, a cello (only the neck of which is visible), a violin and bow, and a small flared-bell recorder only the foot and lower body of which are visible.
• Strumenti musicali con scrigno intarsiato, oil on canvas, 113 × 160 cm, Evaristo Baschenis (1617-1677). Milan: Private Collection. Ref. Francone et al. (1996: 96, fig. 12). On a draped table beneath richly embroidered hangings lie a letter, page of music, a globe, a decorated writing cabinet, two lutes, a violin, an oboe, and a small flared-bell recorder with decorative rings inscribed on the beak.
• Strumenti musicali, oil on canvas, 108 × 147 cm, Evaristo Baschenis (1607-1677). Private Collection. Ref. Francone et al. (1996: 160-161, pl. 13-col.) On a draped table beneath richly embroidered hangings lie a book with an apple on top, several books piled on top of each other, two music books, three lutes, a vihuela, a harpsichord, a violin and bow, a cello (only the neck and back of which are visible), and a flared-bell recorder only the foot and lower body of which are visible. There are other versions in the Galleria Sabauda, Torino, and in private collections; and a version with a fig replacing the apple in a private collection.
• Strumenti musicali, oil on canvas, 100 × 143 cm, Evaristo Baschenis (1617-1677). Torino: Galleria Sabauda, Inv. 584. Ref. Francone et al. (1996: 162-163, pl. 14-col.) On a draped table beneath richly embroidered hangings lie a book with an apple on top, several books piled on top of each other, two music books, three lutes, a vihuela, a harpsichord, a violin and bow, a cello (only the neck and back of which are visible), and a flared-bell recorder only the foot and lower body of which are visible. There are other versions in a private collections; and a version with a fig replacing the apple in a private collection.
• Strumenti musicali, oil on canvas, 103 × 144 cm, Evaristo Baschenis (1617-1677). Private Collection. Ref. Francone et al. (1996: 164-165, pl. 15-col.) On a draped table beneath richly embroidered hangings lie a book with a fig on top, two music books, several books piled on top of each other, three lutes, a vihuela, a harpsichord, a violin and bow, a cello (only the neck and back of which are visible), and a flared-bell recorder only the foot and lower body of which are visible. Versions of the same composition but with an apple replacing the fig are in private collections and in the Galleria Sabauda, Torino.
• Strumenti musicali, oil on canvas, 103 × 144 cm, Evaristo Baschenis (1617-1677). Private Collection. Ref. Francone et al. (1996: 192-193, pl. 27-col.) On a table lie an apple, a cello and bow, two lutes, a folded letter, an ornate writing cabinet on top of which is a globe, some papers and a recorder viewed end-on from the beak downwards. There is another version, also in a private collection.
• Strumenti musicali, oil on canvas, 90 × 105 cm, Evaristo Baschenis (1617-1677). Private Collection. Ref. Francone et al. (1996: 194-195, pl. 28-col.) On a table lie an apple, a cello and bow, two lutes, a folded letter, an ornate writing cabinet on top of which is a globe, some papers and a recorder viewed end-on (from the beak downwards). There is another version, also in a private collection.
• Strumenti musicali (1660), oil on canvas, 115 × 160 cm, Evaristo Baschenis (1617-1677). Bergamo: Accademia Carrara – Pinacoteca di Arte Antica, Inv. 1389. Ref. Francone et al. (1996: 214-215, pl. 36-col.); Bayer (2000: 114-117, pls – col.); Postcard: Accademia Carrara (2003 – col.) On a draped table beneath plain hangings lie music scores, three lutes, a violin and bow, a flared -bell recorder (with holes for seven fingers, including paired holes for the lowermost finger), and a writing cabinet on top of which is a vihuela on top of which lie two books and an pear. A cello leans against the back of the table.
• Strumenti musicali con ritratto, oil on canvas, 115 × 146 cm, Evaristo Baschenis (1601-1677) & Salomon Adler (ca 1630-1709). Milan: Accademia di Brera. Ref. Francone et al. (1996: 222-223, pl. 40-col.); Bayer (2000: 120-123, pls - col.) On a draped table beneath richly embroidered hangings lie some books, a pine box, two lutes, a violin and bow, a cello and bow, a vihuela, and a flared-bell recorder. Behind the table a man in a hat strums a guitar. The head is the work of Adler.
• Strumenti musicali, oil on canvas, 75 × 99 cm, Evaristo Baschenis (1617-1677). Private Collection. Ref. Francone et al. (1996: 236-237, pl. 44-col.); Bayer (2000: 126-127, pl. – col.); Programme: I solisti Veneti, Concerto straordinario a favore del Fondo per L'Ambiente Italiano (FAI), 8 October 2003, Teatro Donizetti, Bergamo (2003 – col.); Charles Rowland-Jones (pers. comm., 2003). On a draped table beneath plain hangings lie a music score, a folded letter, some books, a lute, a theorbo, a violin and bow, a vihuela, and a flared-bell recorder with holes for seven fingers clearly depicted including paired holes for the lowermost finger. There are a number of copies of this (see below)
• Still-life with Musical instruments, 17th century, oil on canvas, Evaristo Baschenis (1667-1677). Location unknown. Ref. Gabrius Data Bank (2001 – col.) On a table beneath a tasselled curtain lie a book, a letter, a musical score, a theorbo, a lute, a violin and a small flared-bell soprano recorder. Similar to another work by Baschenis in a private collection (Bayer 2000: 126-127, see above) which lacks the tasselled curtain. A copy of this has also been auctioned recently (see below).
• Still-life with Musical instruments, 17th century, oil on canvas, Bergamo School after Evaristo Baschenis (1667-1677). Location unknown. Ref. Gabrius Data Bank (2001 – col.) On a table beneath a tasselled curtain lie a book, a letter, a muscial score, a theorbo, a lute, a violin and a small flared-bell soprano recorder. This appears to be a copy of an original by Baschenis (see above)
• Strumenti musicali, oil on canvas, 72 × 95 cm, Evaristo Baschenis (1617-1677). Bergamo: Accademia Carrara – Pinacoteca di Arte Antica, Inv. 761. Ref. Francone et al. (1996: 252-253, pl. 44-col.) On a draped table beneath richly embroidered hangings lie a book, an astrolabe, a decorated writing cabinet, a sheet of music, a lute, a violin, a theorbo, a cello, and a flared-bell recorder with holes for seven fingers clearly depicted including paired holes for the lowermost finger.
• Still-life with Musical Instruments, Evaristo Baschenis (1617-1677). The Hague: Maritshuis, Galerij Prins Willem V. Ref. Anthony Rowland-Jones (pers. comm., 2001). The instruments include a cello, violin, mandora, lute and guitar. There is an orange prominently in the centre. Underneath the lute, on a book, lies a pipe, the head end of which is compltely obscured. But it has the appearance of a 'wave profile' recorder with medium bell and bore flare. No finger-holes are visible.
• Still-life with Musical Instruments, oil on canvas, Evaristo Baschenis (1667-1677). Ref. Gabrius Data Bank (2001 – col.) On an ornately carved table, underneath a draped curtain, lie two books, an apple, a folded letter, a small globe, a casket, and musical instruments including a curved-back guitar or vihuela, a violin, a cello and bow, a lute, and a small, one-piece, flared-bell recorder the window/labium and finger-holes of which are clearly depicted.
• Strumenti musicali, oil on canvas, 100 × 120 cm, Anonymous, after Evaristo Baschenis (1617-1677). Clusone: Museo Santandrea. Ref. Francone et al. (1996: 268-269, pl. 57-col.); Badiarov (2005 – col.) On a table beneath richly embroidered and tasselled drapes lie two apples, two books (one titled Manuale de Giardine), a harpsichord, a theorbo, a cittern, a shawm (only the foot of which is visible), a cello and bow, and a flared-bell recorder. One of a pendant pair.
• Strumenti musicali, oil on canvas, 100 × 120 cm, Anonymous, after Evaristo Baschenis (1617-1677). Clusone: Museo Santadrea. Ref. Francone et al. (1996: 270-271, pl. 58-col.); Badiarov (2005 – col.) On a table beneath richly embroidered and tasselled drapes lie a decorated writing cabinet, two books (one titled Alfonso Longhi), a lemon, a folded letter, a lute, a violin, a theorbo, a cello and bow, and a flared-bell recorder. One of a pendant pair.
• A Girl with a Still-life, 96 × 143 cm, Evaristo Baschenis (1617-1677). London: Private Collection. Ref. Gabrius Data Bank (2001 – col.); Bott (1997: pl. 5 – col.) Although attributed to (Gabrius Data Bank, loc. cit) this work is signed by Evaristo Baschenis (Bott,loc. cit.) A young girl stands behind and to the left of a table with a dark cloth on which are scattered musical scores, a violin and bow, and a magnificent bass recorder with one key and a fontanelle at the foot. What are probably two more recorders lean amongst the folds of a heavy fringed and tasselled drape which partly covers the table, but only their centre-parts are visible.
• Still-life with Musical Instruments, 110 × 170 cm, Bartolomeo Bettera (1639 – after 1687, before 1700) OR Evaristo Baschenis Rome: Private Collection. Ref. Bott (1997: pl. 36 – b&w). Includes a lute, trumpet, vihuela, soprano hand-fluyt, and a bust of Christ on a cabinet.
• Strumenti musicali, oil on canvas, 87 × 115 cm, Anonymous after Evaristo Baschenis (1617-1677). Bergamo: Accademia Carrara – Pinacoteca di Arte Antica, Inv. 1391. Ref. Francone et al. (1996: 272-273, pl. 59-col.); Bayer (2000: 40, fig. 26 – b&w); Badiarov (2005 – col.) On a draped table beneath richly embroidered hangings lie a book with an apple on top, several books piled on top of each other, two music books, three lutes, a vihuela, a harpsichord, a violin and bow, and a flared-bell recorder only the foot and lower body of which are visible.
• Still-life, Anonymous, after Evaristo Baschenis (1617-1677). Florence: Galleria Palatina (Pitti Palace Gallery), Music Museum; on loan from Galleria della Accademia, Inv. (1890) 5781. Ref. Anthony Rowland-Jones (pers. comm., 2002). Includes a curtain, coffer, books, fruit, globe, guitar, violin, cello with bow, lute, mandola and a soprano recorder of the hand fluyt kind.
• Strumenti musicali, Evaristo Baschenis (1617-1677). Italy: Private Collection. Ref. Francone et al. (1996: col.) On a draped table beneath a richly embroidered and lined hanging is a rectangular spinet on top of which lie an apple, a book, some music, a mandora, two lutes, a violin, a guitar and a recorder of which only the foot is visible. A cello leans against the end of the table, only its neck visible.
• Strumenti musicali, Evaristo Baschenis (1617-1677). Italy: Private Collection. Ref. Francone et al. (1996: col.) On a draped table beneath a richly embroidered and lined hanging is a rectangular spinet on top of which lie a fig, a book, some music, a mandora, two lutes, a violin, a guitar and a recorder of which only the foot is visible. A cello leans against the end of the table, only its neck visible.
• Strumenti musicali, Evaristo Baschenis (1617-1677). Italy: Private Collection. Ref. Francone et al. (1996: col.) On a table beneath an embroidered hanging lie books, papers, a globe, a small shawm, a viola da braccio, a lute, a violin, and a small writing cabinet on top of which are a mandora and a small recorder only the foot of which is visible.
• Strumenti musicali, Evaristo Baschenis (1617-1677). Italy: Private Collection. Ref. Francone et al. (1996: col.) On a table beneath an embroidered hanging lie a box, a shawm (viewed end on), a lute, a violin, music, and a small cabinet on top of which are a peach, a book with a second peach on top, two smaller books, and a recorder.
• Still Life of Musical Instruments, with a Female Figure, circle of Evaristo Baschenis (1607-77) London: Rafael Valls Gallery. Ref. Bridgeman Art Library (2003: Image RAF 52838 – col.) Musical instruments lie piled on a table, amongst the lute, guitar, violin and a small pipe (almost certainly a recorder, though its beak and window/labium are hidden). Next to the table stands a woman (a personification of music, perhaps) holding a lute. Behind her is a wall with a painting of a semi-naked woman. On the table are papers and music, and there is a large ewer.

Ferrer [Ferrarius] Bassa [de Baco]

• Nativity (1346), oil and tempera fresco, Ferrer Bassa (op. 1324-1348). Barcelona: Monasterio de Pedralbes. Ref. Trens (1936); Guarro (2005: 24, pl. 9-col.); Jordi Ballester (ex Anthony Rowland-Jones, 2005). One of a series of paintings located in the cloister of the abbey of Pedralbes in St Michael's Chapel, which served as the day-cell for Francesca Saportella, the second abbess and niece of Queen Elisenda, the abbey's founder. This scene is one of over two dozen painted by Bassa in the same chapel. It is in two parts: Nativity, and Annunciation to the Shepherds. In the former Joseph dozes, leaning on his elbow whilst Mary kneels in prayer before the crib, watched over by a cow and a donkey. In the Annunciation a shepherd in a snood stands on a rock holding a cylindrical object in his right hand suggestive of a pipe, possibly a duct-flute.

Francesco Bassano, the Younger [Francesco da Ponte, the Younger]

• Shepherd Boy with Flute, oil on canvas, 26 × 21 cm, Francesco Bassano, (1549/50-1592). Bergamo: Galleria Carrara. Ref. Gerola (1910: 25, fig. 632 – b&w); Paulo Biordi (pers. comm., 2000); flautotraverso.it (2003 – col.). The "flute" of the title is a recorder (Rowland-Jones, pers. comm.) Only the head and window/labium are depicted. Beneath them, a maker's mark is visible just below – a shield or possibly a bunch of grapes.
• The Flute Player, canvas, 62 × 52 cm, Francesco Bassano, (1549/50-1592). Location unknown; sold by Finarte, Milan (15/16 May 1962), Cat. No. 5. Ref. Paris RIdiM (2000). A young man plays an alto-sized cylindrical duct-flute (probably a recorder) of which the beak and two finger-holes are clearly visible.
• Boy with a Flute (1580-1585), Francesco Bassano (1549/50-1592). Vienna: Kunsthistorisches Museum. Ref. Archiv Moeck (attributed to J. Bassano, in error); Website: Early Music Gallery (2005 – col.) A young boy with a leafy wreath on his head plays a wide, cylindrical recorder, the bell of which is hidden in shadow. Probably the original of which a number of copies and engravings are known (see below).
• [Shepherd Boy with Pipe], ?19th-century copy of an original painting by Francesco Bassano, (1549/50-1592). Oxford: University, Bate Collection of Musical Instruments. Presented, along with his instruments, by French recorder player and teacher Jean Henry (Rowland-Jones, pers. comm. 2000). A young boy with a leafy wreath on his head plays a wide, cylindrical recorder, the bell of which is hidden in shadow. Probably based on an original in the Kunsthistorisches Museum, Vienna. The resemblance of this painting to the engraving by Troÿen (see below), an anonymous painting in Carbisdale Castle Youth Hostel (see below), and to one of the paintings depicted in The Gallery of Archduke Leopold in Brussels (1640) by Teniers II is remarkable, though the details of the recorder differ somewhat in each case.
• [Shepherd Boy with Pipe] (ca 1610 – p. 1666), engraving by I. Troÿen after Francesco Bassano, (1549/50-1592) but attributed in error to "Bassant Jr." Washington DC: Library of Congress, Dayton C. Miller Flute Collection. Ref. Recorder & Music 7(3): cover (1981). Published in David II Teniers' (1610-1690) Theatrum Pictorium (1673). A young boy with a leafy wreath on his head plays a narrow recorder with a greatly flared bell. Probably based on an original in the Kunsthistorisches Museum, Vienna. The resemblance of this engraving to the anonymous copy of an original oil painting by Francesco Bassano (see above), an anonymous painting in Carbisdale Castle Youth Hostel (see below), and to one of the paintings depicted in The Gallery of Archduke Leopold in Brussels (1640) by Teniers II is remarkable, though the details of the recorder differ somewhat in each case.
• The Flautist, anonymous copy after Francesco Bassano, (1549/50-1592). Culrean, Sutherland, Scotland: Carbisdale Youth Hostel. Ref. Jeanette Hipsey to Anthony Rowland-Jones (2002, pers. comm.). A young boy with a leafy wreath on his head plays a narrow recorder with a greatly flared bell. Probably based on an original in the Kunsthistorisches Museum, Vienna. The resemblance of this engraving to the anonymous copy of an original oil painting by Francesco Bassano (see above), an engraving by I. Troÿen, and to one of the paintings depicted in The Gallery of Archduke Leopold in Brussels (1640) by Teniers II is remarkable, though the details of the recorder differ somewhat in each case.
• Annunciation to the Shepherds, Francesco Bassano, (1549/50-1592). Venice: Palazzo Ducale. A shepherd in the foreground holds with his left hand the lower part of an alto-sized duct-flute which he has at his mouth. The window/labium area is clearly depicted, and five finger-holes are visible at the lower half of the instrument which is slightly conical with a very short bell flare. Notes by Anthony Rowland-Jones (pers. comm.)
• Nativity, Francesco Bassano, (1549/50-1592). Venice: Tempio del SS. Redentore. Ref. Postcard: Edizioni G. Deganello, Padova. The Holy Family are surrounded by animals and visitors, including two angels how hover above the scene. A young boy sitting in the bottom right hand corner plays a slender pipe with a flared bell. Three fingers of his upper (left) hand and four of the lower (right) hand are covering their holes, so it is highly likely that the instrument represents a recorder.
• Feast at the Marriage at Cana, Francesco Bassano, (1549/50-1592). Madrid: Museo del Prado. Ref. Anthony Rowland-Jones (pers. comm., 2001). This is accompanied by a lutenist with other instruments around him, including a violin, a viol and two shawms crossed and tied together with a third instrument, possibly a recorder. Only the bell-end of the instrument is visible, emerging in shadow from under a low wooden table beside the viol bow. No holes can be seen. Notes by Anthony Rowland-Jones (loc. cit.).

Jacopo Bassano [Jacopo or Giacomo da Ponte]

• Annunciation to the Shepherds (ca 1558), oil on canvas, Jacopo Bassano (ca 1510-1592). Image from Web Gallery of Art. Another image from Carol Gerten-Jackson. Leicestershire: Belvoir Castle. Ref. Bum (1930: 243, fig. 254); Marle (1935: 400); Arslan (1960: 327); Paris RIdIM (2000). One of the shepherds lolls at the bottom right of the picture holding in his right hand the lower part of a pipe (quite possibly a duct-flute) with sharply flared, decorated bell, showing three upper finger-holes. No window is visible, but the beak of the instrument (shown in profile) rests on the players lips. The details of this painting, and particularly of the piper, are very similar to Leandro Bassano's treatment of the same theme (see below). This is now considered to be the primary version of this composition.
• Annunciation to the Shepherds (1533), oil on canvas, 127.5 × 118.8 cm, Jacopo Bassano (ca 1510-1592). Image from Alex Wengraf Limited, London. One of the shepherds lolls at the bottom right of the picture holding in his right hand the lower part of a pipe (quite possibly a duct-flute) with sharply flared, decorated bell, showing three upper finger-holes. No window is visible, but the beak of the instrument (shown in profile) rests on the players lips. The details of this painting, and particularly of the piper, are very similar to Leandro Bassano's treatment of the same theme (see below). One of several versions of this composition painted in Jacopo's studio.
• Annunciation to the Shepherds, (1555/1560), oil on canvas, 106.1 × 82.6 cm, Jacopo Bassano (ca 1510-1592). Washington: National Gallery of Art, Samuel H. Kress Collection 1939.1.126. Ref. National Gallery of Art, Washington (2002 – col.) One of the shepherds lolls at the bottom right of the picture holding in his right hand the lower part of a pipe (quite possibly a duct-flute) with sharply flared, decorated bell, showing three upper finger-holes. No window is visible, but the beak of the instrument (shown in profile) rests on the players lips. The details of this painting, and particularly of the piper, are very similar to Leandro Bassano's treatment of the same theme (see below). There is another version in the Galleria dell'Accademia de S. Luca, Rome (Munich RIdIM (1999: KNwr 344). One of several versions of this composition painted in Jacopo's studio, this canvas is universally recognized as being largely by Jacopo himself.
• Annunciation to the Shepherds, (1555/1560), oil on canvas, 131 × 97.5 cm, Jacopo Bassano (ca 1510-1592). Oxford: Ashmolean Museum, A905. Ref. National Gallery of Art, Washington (2002 – col.); Harrison et al. (2004 – col.) One of the shepherds lolls at the bottom left of the picture holding in his left hand the lower part of a pipe (quite possibly a duct-flute) with sharply flared, decorated bell, showing three upper finger-holes. No window is visible, but the beak of the instrument (shown in profile) rests on the players lips. The details of this painting, and particularly of the piper, are very similar to Leandro Bassano's treatment of the same theme (see below). There is another version in the Galleria dell'Accademia de S. Luca, Rome (Munich RIdIM (1999: KNwr 344). One of several versions of this composition painted in Jacopo's studio, this canvas is universally recognized as being largely by Jacopo himself.
• Sketch (1701-1800) after Jacopo Bassano (ca 1510-1592). Cologne: Wallraf-Richartz-Museum, Z 3951. Ref. Munich RIdIM (1999: KNwr 344). A bearded shepherd in rags and a floppy hat lolls on one arm play playing a flared-bell duct-flute held in the other. Only the upper four finger-holes of the instrument are visible but it is clearly a recorder. Copied from Bassano's Annunciation to the Shepherds.
• The Wedding at Cana, 152 × 214 cm, Jacopo Bassano (ca 1510-1592). Paris: Louvre, Inv. 431. Ref. Paris RIdIM (1999 – detail). A man plays a lute supported by the corner of a table. On a stool beside the table lie two flared-bell pipes each with its reed and pirouette and a tone hole near the bell clearly showing and thus probably representing shawms rather than recorders. Under the same stool projects the lower part of a third pipe of which four finger-holes and the bell are visible: this may be a recorder (Anthony Rowland Jones, pers. comm. 1999). Against the stool lies a violin and a cello with its bow. There is another version of this in the Collection of Dr José Branger, Caraca, Venezuela.

Leandro Bassano [Leandro da Ponte]

• Annunciation to the Shepherds, Leandro Bassano (1557-1622). Padua: Museo Civico. One of the shepherd lolls at the bottom right of the picture holding in his right hand the lower part of a duct-flute (flageolet or recorder) with a sharp flared and decorated bell, showing three upper finger-holes. No window is visible, but the beak of the instrument (shown in profile) rests on the players lips. Notes by Anthony Rowland-Jones (pers. comm.) The details of this painting, and particularly of the piper, are very similar to Jacopo Bassano's treatment of the same theme (see above).
• Annunciation to the Shepherds, Leandro da Ponte called Leandro Bassano (1557-1622). ?Location. A copy of the original at the Museo Civico, Padua. One of the shepherd lolls at the bottom right of the picture holding in his right hand the lower part of a duct-flute (flageolet or recorder) with a sharp flared and decorated bell, showing three upper finger-holes. No window is visible, but the beak of the instrument (shown in profile) rests on the players lips. The details of this painting, and particularly of the piper, are very similar to Jacopo Bassano's treatment of the same theme (see above). "The instrument depicted here is more like a recorder, showing a clear window/labium and five finger-holes before the shepherd's right hand, and a marked bell flare with no decoration" (Anthony Rowland-Jones, pers. comm. 1999).
• Annunciation to the Shepherds, oil on canvas, 87 × 70 cm, Leandro Bassano (1557-1622). Bordeaux: Museum of Fine Arts, Inv. BXE 101, BXM 5692. Ref. Joconde Website (1999). One of the shepherd lolls at the bottom right of the picture holding in his right hand the lower part of a duct flute (flageolet or recorder) with a sharply flared and decorated bell, showing three upper finger-holes. No window is visible, but the beak of the instrument (shown in profile) rests on the players lips. The details of this painting, and particularly of the piper, are very similar to Jacopo Bassano's treatment of the same theme (see above).
• Marriage at Cana, Leandro Bassano (1557-1622). Vicenza: Museo Civico. At the bottom left of the picture a young woman tunes a lute. Other instruments lie scattered on a bench and on the floor in front of her, including a viol, two bows, a violin, two shawms, and (under the bench) a ? tenor recorder which has a short bell-flare (only the bottom part is visible). Notes by Anthony Rowland-Jones (pers. comm.)

Bassant Jr – see Francesco Bassano

Willem Basse

• Peasants making Music, etching, 16.7 × 14 cm, after Adriaen Brouwer, by Willem Basse (1613/14 – 1672). Amsterdam: Rijksmuseum, Print Room. Ref. Lammertse (1998: 112, fig. 2 – b&w). Three rustic musicians sit before a fireplace, a jug to hand. One sings, one plays the violin, the third plays a slender flared-bell pipe of alto/tenor size. Although the window/labium is not visible, the fingers are covering all the holes in perfect recorder-playing position. Another copy is curently for sale by Martinez D. (see below).
• The Music Party, etching, 16.7 × 15.3 cm, after Adriaen Brouwer, by Willem Basse (1613/14-1672). Location unknown; offered for sale by Martinez, Paris. Ref. Hollstein (? date: 36); Martinez D. (loc. cit, 2000). Three rustic musicians sit before a fireplace, a jug to hand. One sings, one plays the violin, the third plays a slender flared-bell pipe of alto/tenor size. Although the window/labium is not visible, the fingers are covering all the holes in perfect recorder-playing position. Another copy is in the Rijksmuseum, Amsterdam (see above).

Lapparo Bastiani

• Coronation of the Virgin, Lapparo Bastiani (ca 1425-1512). Milan: Museo Poldi Pezzoli. On the left of the picture are a lute, a small trumpet, and a possible duct-flute (largely hidden). On the right side are a fiddle, long trumpet (not being played), and another possible duct-flute (the upper part of which is visible) played right hand uppermost with four fingers covering their holes. Notes by Anthony Rowland-Jones (pers. comm.)

Giovanni Battista [see Cima da Conegliano]

Peter Baumgartner

• The Rehearsal, Peter Baumgartner (b. 1834). Hamm-Rhynern: Josef Mensing Gallery. Ref. Bridgeman Art Library (2001: image BAL 39351). A group of people around a table in a darkened room, play and listening to music. The instruments include violin, flute, horn, double bass, and a small recorder played by a young boy.

Jan-Pieter Baurscheit (1669-1728), Flemish

• Untitled woodcarvings (1718-1722), Jan-Pieter Baurscheit (1669-1728). Antwerp: St Carolus Borromeus, organ case. Ref. Peeters & Vente (1984: 184, 234); Arnold den Teuling to Anthony Rowland-Jones (pers. comm., 2002). Depicts a number of wind-instruments amongst which are at least two alto baroque-style recorders.

Therèse Bavouin von Turkheim (18-19th century), German

• From series: Scenes from Peasant Life (1802), pastel, Therèse Bavouin von Turkheim (18-19th century). Frankfurt am Main: Goethehaus und Frankfurter Goethe-Museum, 1956: 66. Ref. Munich RIdIM (1999: Fgm 28). A family sit around a table. An old woman feeds a very old man from a bowl, though he seems quite capable of handling his own wine-glass! A young woman holds a distaff in her hand, pointing to the old woman with her other. A young man leans attentively over the old woman's shoulder. In the garden beyond a boy plays an alto-sized conical duct-flute (flageolet or recorder) the window/labium of which is clearly depicted.

Charles T. Baxter

• Flute Player, oil on canvas, 57.2 × 55.9 cm, Charles Baxter (1809-1879). Location unknown: auctioned 27/10/2004 (sold) Ref. Gabrius Data Bank (2007 – col.) A portrait of an elegant young woman seated in a garden holding in her lap a narrowly conical pipe which could be taken for a recorder. No window/labium is discernable, but several finger-holes can be seen includng oneoffset for the little-fnger.

Mary Beale

• Self Portrait of the Artist as a Shepherdess with her Son Charles in Attendance (ca 1664-1668, oil on canvas, 53.3 × 45.7 cm, Mary Beale (1632-1699). Location: Private Collection Ref. Bridgeman Art Library (2003: Image MOU 115111 – col.); Website: Art Prints-on-demand.com (2007 – col.) Mary Beale as a shepherdess sits in a tafetta dress holding a crook. Beside stands her son playing a slender cylindrical pipe with a very slightly flared bell, probably a recorder since all the fingers of his lowermost (left) hand are covering their holes.

Vincent de Beauvais (15th century), French

• St Cecilia with a Group of Minstrels, painting, Vincent de Beauvais (15th century). Ref. Bowles (1983: pl. 76). The patroness of music is shown with an ensemble of secular musicians in a bed chamber playing an ambiguous pipe, lute and portitive organ. The large, narrow, flared-bell pipe could be a recorder since it has to be soft enough for a conversation to take place (Anthony Rowland-Jones, pers. comm.)

Antonio Beccadelli

• Boy with a Flute and Music & Girl with a Bird in a Cage, painting, Antonio Beccadelli (1718-1803). Location unknown: auctioned 07/06/2006 (unsold). Ref. Gabrius Databank (2007 – col.) A pendant pair. On the left, a young boy sits at a desk, his left hand holding a soprano/alto sized recorder, his right hand lying across an open book of music. On the right, a young woman leans on a cushion with her left arm and on a bird cage with her right on which a bird is perched.

Domenico (di Giacomo di Pace) Beccafumi [Mecarino, Mecherino]

• Musical Angels, Domenico Beccafumi (1484-1551). Private Collection. Ref. Visual Collection, Fine Arts Library, Harvard University, 372.B3891.36; Rasmussen (1999b). "One plays a fiddle (botch), the other, a lute. Not played: shawm, recorder and small corno torto" (Rasmussen, loc. cit.) Not seen.

Luigi Bechi

• Boy with a Recorder, 36 × 24 cm, Luigi Bechi (1830-1919). Private Collection. Ref. Website: Ocean's Bridge (2007 – col.) A young boy sits playing a small flared-bell pipe, but definitely not a recorder. The instrument has a reed and the boys lips and cheeks are suitably pinched.

Jacob Samuel Beck

• Hausmusik, Jacob Samuel Beck (1715-1773). Ref. Fulbourne: Walter Bergmann Slide WB 33; Anthony Rowland-Jones (pers. comm., 2002). Five musicians, four men and two women, stand and sit around a table singing. One of the company. A seated man at the far left front conducts; a man standing at the back (with staring eyes) holds a recorder. An old man seated at the far right plays a violin.

Max Beckmann

• Triptych: The Argonauts (1949-50), oil on canvas, 184.1 x 85.1 cm, 205.8 x 122 cm & 185.4 x 85 cm , Max Beckmannn (1884-1950). Washington, DC: National Gallery of Art, 1975.96.1.a,b,c. Ref. Graff (2002); Anthony Rowland-Jones (pers. comm., 2003). Originally titled The Artists, the painting's title may allude to a group of poets and painters with whom Beckmann associated during his years in Amsterdam, 1937-47, who called themselves 'the Argonauts'. It is the ninth of the monumental triptychs that distinguish Beckmann's mature career. The center panel depicts the Argonauts' voyage to the Black Sea. The young heroes Orpheus and Jason are shown embarking on their search for the Golden Fleece. Orpheus, by his song, has calmed the wild sea and has put down his lyre on the sand. The ancient sea-god Glaucus emerges from the waves to prophesy the fate of the bold travelers; their magic ship, the Argo, will carry them safely to the mist-darkened kingdom of Colchis where they will 'liberate' not only the Golden Fleece but also the king's daughter, Medea. Beckmann, to heighten the portent of the sea-god's prophecy, shows sun and moon darkened by a miraculous eclipse and new planets being born. The cosmic menace does not distract the keen youths from their purpose, and the ancient prophet points the way to their heroic, and finally tragic, pursuit. Accept your fate, he seems to admonish them, fulfill your task. The left wing represents painting. The right wing is devoted to music and has been interpreted as a devotion to Beckmann's second wife Quappi, who was a gifted violinist, depicted showing her back in the upper part. There is also a reminiscence of his first wife Minna Tube, a noted singer. Other figures play harp, guitar, bass and an ambiguous wind instrument. Anthony Rowland-Jones (loc. cit.) notes that given the hausmusik of the period it is conceivable that the latter was intended to be a recorder; it is neither a clarinet nor an oboe – the lower (right) hand is too near the bell.
• Blind Man's Buff, oil on canvas, 206.4 × 439.4 cm (overall), Max Beckmannn (1884-1950). Minneapolis: Institute of Arts 55.27a-c. Ref. Website: Minneapolis Institute of Arts (2003 – col.) One of five triptychs created by Max Beckmann while exiled in Holland between 1937-1947. "Like much of his art, Blindman's Buff is allusive and symbolic, inviting explication yet resisting explicit interpretation. Yet, the artist's use of the three-paneled format that was traditional to Medieval and Renaissance altarpieces evokes religious associations. Beckmann also drew upon classical sources, calling the figures at center "the gods" and the animal-headed man the "minotaur". Throughout the triptych, figures engage in sensual pleasures in a place where time, represented by a clock without XII or I, has no beginning or end. In sharp contrast on each wing are the blindfolded man and kneeling woman who, like prayerful donors in a Renaissance altarpiece, turn their backs to the confusion behind them" (Minneapolis Institute of Arts (loc. cit.) In the central panel semi-clad musicians play tom-tom, harp and two ambiguous pipes. One of the latter, played by a reclining man in the foreground, is narrowly conical with rather more holes than fingers; no window/labium or beak is visible, but it might just be meant to represent a recorder. Behind the harp, a woman reclining in an armchair plays a much longer pipe of similar form.

Jan [Jean] de Beer [Master of the Milan Adoration]

• Altarpiece (1510), central panel: Adoration of the Shepherds, oak, 73 x 56 cm (central panel), Jan [Jean] de Beer (ca 1475 – before 1536). Cologne: Wallraf-Richartz Museum, Cat. No. 480. Ref. Förster (1961: pl. 99); Friedländer (1967, XI, no. 22, pl. 17); Hiller and H. Fey (1969: pl. 16, 19); Paris RIdIM (1999); Web Gallery of Art (2001); Rasmussen (2002, Bagpipe). One of the shepherds points to the Christ-child grasping a bagpipe with his other hand; a second holds what might be a hurdy-gurdy under his arm; a third (a young boy) plays a pipe with a bulging head-joint which could be a bagpipe practice chanter with an enclosed reed (rarely shown in iconography) or a recorder, since it has paired holes for the lowermost finger.

Cornelis Petersz. Bega

• Woman Playing a Lute (1664-65), oil on wood, 36 × 32 cm, Cornelis Petersz. Bega (1620-1664). Florence: Galleria degli Uffizi. Ref. Web Gallery of Art (2001). A young woman plays a small lute amidst a disarray of books, an hourglass, papers and musical instruments, including a second lute, an oboe (only the foot of which is visible), an ambiguous woodwind (only the body of which is visible on the table beside the lutenist) and, on the floor in the bottom left-hand corner, a recorder (only the head and first two finger-holes of which are visible).
• Figures in an Interior, oil on canvas, Cornelis Peterz. Bega (1620-1664). Ref. Gabrius Data Bank (2002 – col.) In a tavern two men are seated at a table. One holds a glass of beer; the other plays a small cylindrical pipe. They are attended by a serving woman. No details of the pipe are visible, but it is likely to represent a soprano recorder.

Barthel Beham

• The Children of Venus, engraving from The Seven Planets series, Barthel Beham (1502-1540) or his brother Hans Sebald Beham (1500-1550). Boston: Museum of Fine Arts, 53.127, p. 908; Paris: Louvre; London: British Museum. Ref. Hoyt (1954: fig. 3); Brown & Lascelle (1972: 90-91). Venus (in a chariot pulled by doves) chases Cupid acro