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 2008, Lot 55. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000091 (2009 - b&w). 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, copper engraving by Abraham Bloemaert (1564-1651) after Dirck van Baburen (1594/5-1624). Location unknown: sold Paul Botte, Paris. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000106 (2009 - b&w). 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.
• 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); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000115 (2009 - b&w). 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 Adriaensz. Backer

• Shepherd with Wreath and Flute (ca 1637), panel, 52 × 41 cm, Jacob Adriaensz. 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 Adriansz. 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 Adriansz. 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.

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). 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 (1786), print, 22.2 × 19.5 cm, Isak Bager (1768-1797). Frankfurt: Städelsches Kunstinstitut: Städtische Galerie, Print Collection, 1359. Ref. Munich RIdIM (1999: Fsm 104). A young lad with a torn coat and hat 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. Web-site: 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 Web Gallery of Art (2009-col.) 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); Website: Stedelijk 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), tempera on panel, 285 × 231 cm, Hans Baldung (ca 1480-1545). Freiburg im Breisgau: Cathedral. Ref. Archiv Moeck; Rowland-Jones (2000c: fig. 1-5 – b&w; front cover – col.); RIdM Munich (2009, FRa 41). The centre-panel of the high altar of Freiburg Cathedral. The Virgn 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 Hearing, Hendrik I van Balen (1574-1632). Ref. Web site: greatbassviol.com (2009 – 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). Detail. 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). 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.).

Gerolamo Bassano

• Annunciation to the Shepherds, oil on canvas, 61.5 × 93 cm, Gerolamo Bassano (1566-1621). Kassel: Staatliche Museum, Inv. GK 857. Ref. Munich RIdIM (2009, Ksg - 2). Three shepherds and three shepherdesses with their sheep and cows. A shepherd lying on the left plays a recorder or shawm. Two of the shepherds look in amazement at the brightly lit sky. (In the Inv. In 1749 under Leandro Bassano). Not seen.

Jacopo Bassano [Jacopo or Giacomo da Ponte]

• Annunciation to the Shepherds (ca 1558), oil on canvas, Jacopo Bassano (ca 1510-1592). Leicestershire: Belvoir Castle. Ref. Bum (1930: 243, fig. 254); Marle (1935: 400); Arslan (1960: 327); Paris RIdIM (2000); Web Gallery of Art (2009). 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). Ref. Alex Wengraf Ltd, 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.
• [Shepherd] (1701-1800), sketch 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). Detail 1; Detail 2. 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, oil on canvas, Peter Baumgartner (1834-1911). 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 one off-set 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 pipe (probably a 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 across the sky. On the earth below an amorous couple embrace. On either side, a couple play music: one couple sing, another couple play lute and viol; a man plays a harp, and a man plays a cylindrical recorder from the side of his mouth! Holes are shown by the fingers, including one for the lower (right) hand little finger. In the background, musicians on a balcony play trombone, drum and transverse flute.

Hans Sebald Beham

• Parable of the Prodigal Son (ca 1530), woodcut, Hans Sebald Beham (1500-1550). London: British Library. Ref. Landau & Parshall (1994: 232, pl. 237). A case hangs on the wall at the back of the picture containing three instruments of three different lengths, the bell ends protruding upwards. These bell-ends are of 'Virdung' recorder style, so the instruments could be alto, tenor and basset recorders. There is also a tenor viol on the wall, and another played by a man, with a singer below (Anthony Rowland-Jones, pers. comm.)
• The Fountain of Youth (ca 1530), woodcut, Hans Sebald Beham (1500-1550). Detail. Copenhagen. Ref. Salmen (1976: 102); Thomson & Rowland-Jones (1995: 33, pl. 10B-b&w); Hijmans (2005: 217). Printed longways in four blocks. Whilst all about are enjoying an orgy, a wistful young lad standing an a parapet holds a flared-bell recorder: a spare prick at a wedding!
• The Fountain of Youth (ca 1530), woodcut, Hans Sebald Beham (1500-1550). Oxford University: Ashmolean Museum. Ref. Landau & Parshall (1994: 233, pl. 238-b&w). Whilst all about are enjoying an orgy, a wistful young lad standing an a parapet holds a flared-bell recorder: A spare prick at a wedding!
• The Children of Venus, engraving from The Seven Planets series, Hans Sebald Beham (1500-1550), or Georg Pencz. Ref. Mirimonde (?date-4: 268, fig. 5); Early Music 23(1): 119, detail (1995); Dejiny, Kulturne Historicka Revue 6: rear cover (1996 – col.); Paris RIdIM (1999). Venus (in a chariot pulled by doves) chases Cupid across the sky. On the earth below an amorous couple embrace. On either side, a couple play music: one couple sing, another couple play lute and viol; a man plays a harp, and a man plays a cylindrical recorder from the side of his mouth! Holes are shown by the fingers, including one for the lower (right) hand little finger. In the background, musicians play trombone, drum and transverse flute. Apparently copied from his brother Barthel's design (see above). Copied with modifications by Gabrielle Giolito de Ferrari (1553).
• The Children of Venus (1533), Gabrele Giolito de Ferrare, engraving after Hans Sebald Beham (1500-1550), or Georg Pencz. Paris: Bibliothéque Nationale, Département des Estampes et de la Photographie. Ref. Mirimonde (?date-4: 268, fig. 6); Mirimonde (1977: 132-3, fig. 73); Paris RIdIM (1999). Inspired by Beham (see above). Venus (in a chariot pulled by doves) chases Cupid across the sky. On the earth below, three amorous couples are entertained by three musicians: a man plays a harp, a woman plays the lute, and a man holds a recorder, the window/labium and the paired holes for the lowermost finger clearly visible.
• Mercury, 7.3 × 4.6 cm, engraving by Jan Theodor de Bry (1561-1623), after Hans Sebald Beham (1500-1550). Los Angeles: County Art Museum, M.88.91.461f. Ref. Los Angeles County Art Museum (2003). From The Seven Planets series. Mercury stands in the clouds with his caduceus in one hand and blowing a flared-bell pipe (possibly a duct-flute) held in the other. He wears a winged helmet. At his feet sit a gorgon holding a flower (presumably Mercurialis) and two putti.
• The First Patriarchs and their Familes, Series 10: Lamech und seine weyber [Lamech and his Wives], woodcut, Hans Sebald Beham (1500-1550). Detail. Ref. Bartsch (1854-1870, 8: 232/82); Geisberg-Strauss (1974: 170, no. 82-I); Munich RIdIM (1999). Lamech stands with his two wives, daughter (Naamah) and three sons (Jabal, Jubal and Tubal). One of the latter, who represents Jubal (the inventor of music), plays a flared-bell recorder. On the ground lie a harp, an organetto and a bell on the rim of which can be seen the initials A.H.S.P (reversed). Another of the boys, who represents Tubal (the first smith), holds a hammer and points to the bell.
• Three Soldiers (1525), Hans Sebald Beham (1502-1550). Location unknown. Ref. Bartsch (VIII, 105.50, P. 54 II); Warburg Institute, London. One soldier plays the side-drum, another holds a long cylindrical pipe, possibly a recorder since it has a clear window/labium and what appears to be a hole for the little finger of the lowermost hand. In front of them a solider with an elaborate feathered helmet holds a furled flag.

Nicolas Belin [Nicolo/Nicoletto] (da Modena) (op. 1533-1534), Italian

• Pan Deus Arcadie, Nicolas Belin (op. 1533-1534). Ref. Frings (1999: 23, pl. 23 – b&w). Pan, with pointed ears and cloven hoofs, leans against a tree playing his pipe one-handed. The windway and enough finger-holes are visible to identify the instrument as a recorder. A putto and a goat provide an audience. Above is a trophy comprising a syrinx crossed with two cylindrical recorders.

Stefano [Stéphano] Della Bella [Étienne de la Belle]

• Le bateleur du Pont-Neuf, Steffano Della Bella (1610-1664). Paris: Musée Carnavalet. Ref. Mirimonde (1975: pl. 105). 'Le bateleur' plays a guitar whilst at his feet lie many instruments, including a cylindrical recorder which appears to be carefully distinguished from two flutes.
• Mercury and Argus, Steffano Della Bella (1610-1664). Ref. Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000). Watched by Io (as a heifer), Mercury leans towards the sleeping Argus, his pipe (possibly a recorder) in his left hand, his right lifting his sword. A verse in French summarises the story.

John Bellany

• Coel Na Mara, oil on canvas, 213.3 × 172.7 cm, John Bellany (1942-). Private Collection. Ref. Bridgeman Art Library (2001: Images FAA 151242). On the deck of a boat at sea three men sit around a table on which is a dish with a fish surrounded by playing cards. One of the men holds a model yaught, a second plays a recorder, the third holds two playing cards (one the Ace of Clubs) to his chest. In the background is another boat.

Jan Bellegambe

• Glorification of the Saints of the Trinity, Jan Bellegambe (1470-1534). Douai: Musée des Beaux-Arts. Ref. Paris RIdIM (1999 – detail). From a balcony, angel musicians play lute, triangle, a strangely shaped hurdy-gurdy, and a recorder, the window/labium of which is just visible.
• Triptych: Le Cellier Altarpiece, oil on wood, shaped top: central panel 101.6 × 61 cm, left wing 95.9 × 25.4 cm, right wing 95.3 × 24.1 cm, Jan Bellegambe (1470-1534). New York: Metropolitan Museum of Art, 32.100.102. Ref. Baldassare (? date, 2); Metropolitan Museum of Art (2002 - col.); Constance Old (via Amanda Pond, pers. comm. (2002). "Saint Bernard, a reformer of the Cistercian order and a fervent proponent of the cult of Mary, gathers with his family around the throne of the Virgin. This triptych was commissioned by Jeanne de Boubais, abbess of the Cistercian convent of Flines; she is shown at the right in the guise of Saint Bernard's sister, Humbeline, and for this reason wears the black Benedictine habit. Represented on the exterior wings is Bernard's vision of the Virgin, who, it is said, miraculously wet the saint's lips with her milk" (Metropolitan Museum of Art, loc. cit.) On the pediment beneath the throne three putti sit singing from a sheet of music. At each of the upper corners of the two side-panels an angel plays a conical pipe (left) and a diamond-shaped viol (right).

Giovanni Bellini

• Triptych: Virgin and Child with Sts Mark, Benedict, Nicholas, and Peter (1488), Giovanni Bellini (1426-1516). Detail. Venice: Chiesa de Santa Maria Gloriosa dei Frari. Ref. Zaniol (1984, November: 5); Ardo, Venice: postcard (detail-col.); Hijmans (2005: 222). The triptych portrays the Madonna and Child Enthroned (in the centre), Saints Nicholas and Peter (on the left) and Saints Mark and Benedict (on the right). The painting's wooden frame is probably designed by Bellini himself in perfect spatial harmony with the painting. Its pilaster strips illusorily support the ceiling of the open space at sides in which the saints are placed. In the centre, the Virgin, raised aloft by the throne, has a lighted golden apsidiole behind her. On the mosaic that covers it a Latin invocation can be read: IANUA CERTA POLI DUC MENTEM DIRIGE VITAM: QUAE PERAGAM COMISSA TUAE SINT OMNIA CURAE (Secure gateway to Heaven, guide my mind, lead my life, may everything I do be entrusted to your care). Beneath the central figure of the Madonna and Child, a winged putto plays a very slender, cylindrical duct-flute (flageolet or recorder). His companion on the left plays a lute.
• Triptych: Virgin and Child with Sts Mark, Benedict, Nicholas, and Peter, copy by August Wolf (1842-1915) after Giovanni Bellini (1426-1516). Munich: Bayerische Staatsgemäldesammlung, Inv. 11504. An excellent copy of the original in the Chiesa de Saint Maria Gloriosa dei Frari, Venice. Beneath the central figure of the Madonna and Child, an angelic youth plays a very slender, cylindrical duct-flute (flageolet or recorder). His companion on the left plays a lute.
• Madonna and Child with St Frances, Giovanni Bellini (1426-1516). San Marino: Museo Pinacoteca di San Francesco. Ref. Cesare Negri (ed. Pietro Verardo): Le grazie d'amore, per flauto dolce contralto e liuto (cembalo o pianoforte), Ricordi 132148 (1974: front cover, detail); Paris RIdIM (1999). The Virgin and Child enthroned are flanked by Christ and St Frances. In front of them are a priest and a woman. Sitting on a plinth, at the Virgin's feet a putto watched by a kitten, gazes skyward playing a mandora; another, sitting on the floor in the foreground, plays a cylindrical recorder held in one hand, a piece of music spread across his knees. "It is very unusual for a recorder player to have music to play from. It must have been vocal music" (Anthony Rowland-Jones, pers. comm.)
• Feast of the Gods (1514), oil on canvas, 170.2 × 188 cm, Giovanni Bellini (1426-1516). Washington: National Gallery of Art, Inv. 1942.9.1. The Gods, waited on hand and foot, are seen in various states of satiety. One drinks a cup of wine with one hand and holds a vielle in the other. Somewhat apart from the others, to the back of the group, a naked God seen in profile sits playing a pipe (possibly a duct-flute, even a recorder) with one hand. The landscape was designed by Titian.
• Allegory, Giovanni Bellini (1430-1516). Venice: Galleria della Accademia, Cat. 595. A woman in a boat touches a large sphere. A putto plays two identical flared-bell pipes, the window just visible on the further (soprano-sized) one. Each instrument is at the side of his mouth, not joined. Note by Anthony Rowland-Jones (pers. comm.)

Pietro Bellotti

• Young Boy with a Flute, oil on canvas, Pietro Bellotti (1627-1700). Ref. Gabrius Data Bank (2002 - col.) A young boy plays a near cylindrical duct-flute with a very short windway, the foot out of frame. Five finger-holes are visible and the first finger of each hand appears to be down, thus this is likely to represent a recorder.

Bernardo (Michiel) Bellotto [Belotto, Canaletto]

• View of Warsaw with the Majoratspalais (1772), Bernard Bellotto (1721-1780). Warsaw: National Museum. Ref. Postcard: Verlag Aurel Bongers, Recklinghuasen, Nr. 674 – col.; Walter Bergmann ex Anthony Rowland-Jones (pers. comm., 2003). Before the city wall are a group of shepherds, shepherdesses and their animals. One of the shepherds is playing a cylindrical pipe held with two fingers of the lowermost (right) hand below the instrument suggesting that this might be a flageolet rather than a recorder as such.

Antonio Bellucci

• Music (1704), fresco, Antonio Bellucci (1654-1726). Vienna: Palais Liechtenstein, staircase walls. Ref. Archiv Moeck. A man plays a soprano flared-bell recorder.
• Allegory of Music Antonio Bellucci (1654-1726). Munich: Bayerische Staatsgemäldesammlunge, Ansbach Art Gallery, 4715 (old), 312 (new). Ref. Munich RIdIM (1999: Mstag 43). Under the direction of a bearded(!) angel acccompanied by two putti, a woman plays a regal, a man plays theorbo, and another plays a strongly flared alto recorder. The window/labium of the latter is clear as is the flared bore at the bell end. The sixth finger-hole is visible under the right hand and two upper holes are also visible; the little finger of the lowermost (right) hand is covering its hole. Notes (in part) by Anthony Rowland-Jones (pers. comm., 1999).

Robert Benard

• Plate VIII: Suite des instruments à vent [Wind instruments], from the Encyclopedia of Denis Diderot & Jean le Rond d'Alembert (1751-1772), engraving, Robert Benard (1734 – p. 1785). Detail. Ref. Tullberg, H. & Davies, T. (1975: pl. viii); Bridgeman Art Library (2001: Image STC 84219); Bolton (2009). Depicts fifes and flutes, flageolets, bird-flageolets, double duct-flute, oboes, clarinet, chalameau, tuning pipe and two baroque alto recorders (one in pieces). fig. 3 on this page depicts a 6-holed pipe in the form of a fife, blown through a hole in the side of the head, but with the window/labium clearly visible.
• Plate IX: Suite des instruments à vent [Wind instruments], from the Encyclopedia of Denis Diderot & Jean le Rond d'Alembert (1751-1772), engraving, Robert Benard (1734 – p. 1785). Detail. Ref. Tullberg, H. & Davies, T. (1975: pl. ix); Bolton (2009). Depicts transverse flutes, bassoons and a recorder in the form of a flute. This instrument is not a flute, but a recorder, made in four pieces, which can be played by placing the lips around the hole (a) and blowing directly into it, while holding the instrument on the side like a flute. The windway in the head joint sends the air stream towards the labium (b). The text specifies that the fingerings are the same as on a recorder, but indicates a little further that the fourth part DE is equipped with a key opened by the little finger of the right hand, as on the flute, which suggests that it does in fact have flute fingerings , with a d# key (8) and an octave hole (1) opened by pressing the upper key. The picture seems to confirm this point. The instrument may have been an attempt to keep the recorder "alive" at a time when it was going out of fashion, like Thomas Stanesby Junior's 'True Concert Flute'.

Francesco Bencovich (? dates), ? Croatian (Dalmatian)

• Adoration of the Shepherds, Francesco Bencovich. Verona: Museo di Castelvechio, [12835 2B 306]. Ref. Foto Umberto Tombo: postcard A0200 (ca 1998). Mary lifts the swaddling around the sleeping infant whilst the shepherds admire and worship him. In the background to the right of the picture two young lads play music, one on a small pipe (possibly a recorder), the bell of which is flared. Anthony Rowland-Jones (pers. comm.)

Simon Bening

• Da Costa Hours: Music Making in a Boat (ca 1515), illumination, 16.9 × 12.2 cm, workshop of Simon Bening (1483-1561). New York: Pierpont Morgan Library, Ms M 399, fol. 6v. Ref. Pierpont Morgan Library (1957: no. 41, pl. 33); Connoisseur 140 (1957: 106, fig.); Early Music America 2 (1966, Spring: front cover – col.); Bowles (1977: 105); Bowles (1983: pl. 111); Early Music 13 (1986, November: front cover – col.); Ford (1988: #1041); Musical Times: Early Music Calendar (1993: May – col.); Visual Collection, Fine Arts Library, Harvard University, N489 ML.399.f.a; Rasmussen (1999b); Hijmans (2005: 219). Three musicians play in a boat: a lady sings, another in a red hat plays the lute, a youth plays an ambiguous cylindrical pipe (possibly a duct-flute). Note the branches of new leaves decorating the boat which celebrate the regeneration of Spring. Cf. the very similar Boating Party by Simon Bening (1483-1561) in the Bibliothèque Royale, Brussels (see Moeck 1996: back cover), which shows a transverse flute accompanied by a lute and possibly a singer.
• Da Costa Hours: Music Making in a Boat (ca 1515), illumination, 16.9 × 12.2 cm, workshop of Simon Bening (1483-1561). New York: Pierpont Morgan Library, M399, fol. 119v (lower border). Ref. Ford (1988: #1042). "On a boat, a man plays a recorder(?); a woman plays a lute. The instruments (and the scene as a whole) are very similar to that on fol. 6v [see above], except that here the wind instrument is shown more clearly, the oarsman appears to be from a lower social class, and the lady is hidden by a golden canopy. The main illustration is St Mark in His Study" (Ford, loc. cit.)
• A May Boating Party with Musicians from The Golf Book (ca 1520), workshop of Simon Bening (1483-1561). London: British Library, Add. MS 24098 f.22v. Ref. Thomson & Rowland-Jones (1995: 8, fig. 4); Museums & Galleries Collection, London: card KGB903 (1995). A boat passes under a bridge. Two of the passengers, a man and a women, play recorder and lute respecitvely whilst a second woman listens. The recorder has a slightly flared bell and the little finger of the lowermost (right) hand is covering its hole. The branches of new leaves decorating the boat celebrate the regeneration of spring. Cf. the very similar Boating Party by Simon Bening in the Bibliothèque Royale, Brussels (see Moeck 1996: back cover), which shows a transverse flute accompanied by a lute and possibly a singer.
• From a calendar from a Book of Hours, Simon Bening (1483-1561). Location unknown, formerly Ellis and White, London. Ref. Aachener Kunstblätter 46 (1975: 45); Rasmussen (1999b). "In a boat a woman plays a lute and a man plays a recorder" (Rasmussen, loc. cit.)

Johann Peter Benkert

• The Shepherd God Pan pursuing the Nymph, Syrinx, boxwood carving, 28 cm high, Johann Peter Benkert (1709-1769). Berlin: Staatliche Museen Preussischer Kulturbesitz, M 144. Ref. Munich RIdIM (1999: Bsg 119 1-3). A bozzetto (small model) for a porcelain garden sculpture. On the right hand side sits a Satyr playing a syrinx. Nearby, a little Knabe holds a recorder in his hand. Not seen.

Thomas Bennett (18th century), English

• The Complete Flute Master . . . (ca 1760), Thomas Bennett. Vinquist (1974: 60, 233-234). A recorder player is shown seated in front of a mirror.

Guillaume Benson

• Birth of Christ (ca 1550), panel, 25.7 × 38.9 cm, Guillaume Benson (fl. 1544-1574). Detail. Hampton Court Palace, Inv. 1214. Ref. Marlier (1957: no. 200, pl. lxxviii); Martens (1998-col.) Mary and Joseph kneel in prayer before their infant; angels hover above bearing a banner reading "Gloria in excelis deo. &quot. An angel on the left of the child plays a lute. Another, on the right, plays a narrowly flared duct-flute, almost certainly a recorder since the lower finger of the bottom hand is clearly covering its hole.

Giovanni Battista Benvenuti, called Ortolano Ferrarese

• Madonna and Child with Angel Musicians (1513), panel, 40 × 33 cm, Giovanni Battista Benvenuti (1487-1527). Bologna: Pinacoteca Nazionale. Ref. Emiliani (1969: 124); Villa I Tatti N2520E41967; Paolo Biordi (pers. comm., 2000). The Madonna and Child are surrounded by angel musicians, one of whom plays a rather roughly painted cylindrical pipe (possibly a duct-flute) of tenor or alto length, held right hand uppermost. The fingering positions suggest a recorder. Other instruments include a lute (or two), two viols, and timbrel, all well depicted. Notes by Anthony Rowland-Jones (pers. comm.) There is also a violin.

Nicolaes [or Claes] Pietersz. Berchem

• Shepherd playing the Flute, drawing in red on white paper, 23.8 × 19 cm, after Nicolaes Pietersz. Berchem (1620-1683). Marseille: Grobet-Labadié Museum, Inv. 1936. Ref. Joconde Website. A shepherd plays a duct-flute (flageolet or recorder). Not seen.
• Shepherd playing a Chalumeau, drawing, lead pencil on white paper, 19 × 29.7 cm, school of Nicolaes Pietersz. Berchem (1620-1683). Marseille: Musée Grobet-Labadié, Inv. 1937. Ref. Joconde Website A shepherd playing a pipe (chalumeau, duct-flute) guards his cows and sheep. Not seen.
• Rendezvous at the Column, oil on canvas, 108.5 × 102.8 cm, Nicolaes Pietersz. Berchem (1620-1683). Valenciennes: Musée des Beaux Artes, Inv. P.46.1.312 Ref. Joconde Website. Amidst a rural landsape in Italy with a stream, tree, column, ruins, fountain, cow, ass, donkey, goat and sheep, a young shepherd plays a duct-flute (flageolet or recorder) and a woman with a tambourine dances. Not seen. There is a similar engraving by A.P. Coulet, but of much smaller dimensions, in the Hermitage.

Pierre Berchet [or Berchett] (1659-1720), English

• Frontispiece to Apollo's Feast … London, J. Walsh & J. Hare: Apollo Symbolising Music (1726), engraving by Hendrik Hulsberg (? – 1729) after Pierre Berchet (1659-1720). Ref. Paris RIdIM (1999). The sun streaming behind him, Apollo seated on a cloud and holding his lyre on his lap, gestures towards Music who lies beneath atop two kettle drums leaning against a harpsichord from underneath which a trumpet pokes its bell. Music in turn gestures towards three putti: one sings from a book, another plays viol, and a third sits on the floor holding a baroque-style soprano recorder in one hand.

Job (Andrianz.) Berckheyde

• Self-portrait in the Atelier (1675), oil on wood, 30 × 35 cm, Job Berckheyde (1630-1693). Florence: Galleria degli Uffizi, Catalogo Generale 09/0009894. Ref. Telefunken SAWT 9545: Blockflüte auf Originalinstrumenten II (1969 – col.); Griffioen (1988: 438-439); Tibia 1/96 (1996, cover-col.); Anthony Rowland-Jones (pers. comm., 2002); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a table beside the artist are a wine-glass, statue (bust), papers, a tobacco pipe, and an an alto flared-bell recorder, the maker's mark clearly visible, two decorative incised rings close together near the bell, and the lowermost finger-hole offset to the player's left. A violin and bow hang on the wall at top right; a portrait at the top left. This might almost be a companion-piece for Metsu's Inspiration. The artist is making the point that he is no mere tradesman, but a person with the accomplishments of a gentleman.
• [Portrait of a Musician], 40 × 32.4 cm, Job Berckheyde (1630-1693). Location unknown: auctioned Christies, London, 14 December 1984, No. 181. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). In a room, a man (possibly the artist himself) plays a bass viol. Beside him a draped table is covered in books of music, a bust, a violin and a tenor-sized flared-bell pipe, probably a recorder.
• [Portrait of a Musician], 68.8 × 54 cm, Job Berckheyde (1630-1693). Schwerin: Staatlichen Museum. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). In an alcove, a man (possibly the artist himself) stands holding a jug in one hand and a glass in the other. On a draped table beside him lie a trumpet and some sheet music. On the side of the arch hangs a violin. On a ledge in front lie piles of music books, a cittern and a perfectly depicted hand-fluyt the bell of which is decorated with incised rings.

Christian Berentz

• Still-life, oil on canvas, 104 × 72.3 cm, follower of Christian Berentz (1658-1722). London: Christie's, Old Master Pictures, 31 October, 2001, Lot 226 Ref. Gabrius Data Bank (2002 – col.); Artfact (2004). A vase of flowers with a pigeon, a jug, a silver tray with pomegranates, porcelain dishes and a perfectly depicted baroque recorder of alto/tenor size on a draped ledge. This was attributed to Maximilian Pfeiler (op. 1683-1719) and auctioned by Christie's, London 24 April 2001.

Matthys van den Bergh

• Last Vision of Blessed Lidwine of Schiedam (ca 1649), canvas, 161 × 132.4 cm, Matthys van den Bergh (ca 1617-1687). Brussels: Convent of the Discalced Carmelite, St Giles. Ref. Leppert (1977: fig 14-b&w). Angels play various instruments including organ, harp, lute, violin, cornett, and a narrow flared-bell recorder.

Josef [Joseph] Bergler, the younger

• The Travelling Virtuoso and My Poodle, Vulcan (1807), etching, ? Joesf Bergler (1753-1829). Washington DC.: Library of Congress, Dayton C. Miller Flute Collection. Ref. Jan Lancaster ex Robert Bigio (pers. comm., 2007). In a kitchen, a young man in a long coat and fur hat plays a tenor-sized recorder with a fontanelle and an absurdly large bell. A poodle sniffs disdainfully at the bell; a bird pecks agressively at the player's boots. The recorder seems to presage the Trichterflöten or "bell recorders" made by the firm Adler-Heinrich until recently.

Bergognone [Ambrogio di Stefano da Fossano]

• The Assumption of the Virgin (early 16th century), oil and gold on wood, 242.3 × 108 cm, Bergognone (ca 1453-1522). New York: Metropolitan Museum of Art, Fletcher Fund, 1926 (27.39.1). Ref. Visual Collection, Fine Arts Library, Harvard University, 372.B649.31As[a]; Rasmussen (1999b); Baldassare (?date, 1); Constance Ord (ex Amanda Pond, 2002-b&w); Website: Metropolitan Museum of Art (2007). Mary ascends to heaven surrounded by musical angels. Angels on the left play rebec and lute; above them. Angels on the right play harp and a slender flared-bell pipe which could easily be a recorder. Above the instrumentalists, angels sing from a scroll. Angels on the lower right play straight trumpets. At the very bottom of the picture the heads of the saints and donors can be seen.

Adam Bernardt

• Vanitas Still-life (1664), Adam Bernardt. Location unknown: auctioned Sotheby's, London, 15 June 1939, Lot. 152. Ref. Jongh (1986: 203, fig. 40e); Griffioen (1988: 438-439). On a draped table stand two globes, a purse, two watches, two necklaces, papers, one closed and three open books (one open at a chapter entitled MACHOMET) a lute, and a small hand-fluyt with a metal-sheathed beak.

Pedro Berruguete [Pedro España, Pedro Spagnuolo]

• Reredos: David, Pedro Berruguete (ca 1450-1504). Paredes de Nava (Palencia Province): Church of Santa Eualia, high altar reredos (retablo). Refs: Centre for Music Documentation (C.M.D.) in Madrid; Anthony Rowland-Jones (pers. comm., 2001). A duct-flute rests on a ledge underneath the figure of David. It has a perfectly drawn and very clear window/labium with a mouthpiece above it in a black ?wood material. The cylindrical body of the recorder has six large finger-holes spaced two, three, and the sixth close to the bell end. The bell end is also in black wood; it is short and expanding and appears to be fitted over a tenon (in this respect it resembles the "Dordrecht" recorder, which perhaps also had its fitted mouthpiece and bell end made of black wood). The artist shows the grain of the softer wood of the body of the instrument.

Pierre Bert (16th century), French

• Carved wood organ case with Renaissance trophy/emblem designs separating groups of pipes (1529-1535), Pierre Bert (16th century). Le Mans: Cathedral of St Julien, organ case. Ref. Postcard: Valoire – Blois, B.P.45 – 41260 La Chaussee-Saint-Victor (col.) On the right border of the upper central pipes, third emblem from the bottom, are three wind instruments, possibly recorders, two side by side, the other crossing. All are of the same size, but the single recorder is rather fatter. All have beaked mouthpieces and the single recorder has a window/labium and a slightly wider bell flare. The other two have very little bell flare. The large recorder has finger-holes, but the instrument's height, small size, and the lack of contrast in the wood carving all make them impossible to count, even with binoculars; there are probably four or five visible. On the left border of the central lage pipes, slightly higher than the recorders, is what could be a double pipe, the window labium and some finger-holes of which show. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Jean-Victor Bertin

• l'Ivresse de Silene [The Drunkenness of Silenus], oil on canvas, 39 × 33 cm, attributed to Jean Victor Bertin (1775-1842). Location unknown: sold at Palais des Congrès (17 February 1974) by Mes Martin, Versailles. Ref. Sale Catalogue (1974: No. 40); Paris RIdIM (2000). Silenus (the drunken attendant and nurse of Bacchus), plays one-handed on a flared-bell pipe (possibly a recorder) whilst three nymphs drink his health, one minding the infant Bacchus who reaches for a goblet of wine himself. Even a small dog sitting at Silenus' feet looks a bit spaced out!

Alonso González de Berruguete – see joint work with Filippino Lippi

Bartolomeo [or Bartholomeo] Bettera

• Still-life with Musical Instruments, Bartolomeo Bettera (1639 – after 1687, before 1700). Italy: Sammlung Silvano Lodi, Sophie-R. Gnamum Arthek. Ref. J.S. Bach, Brandenburg Concerto 1, 2 & 3, Orchestral Suite BWV 1066, Archiv CD 447 287-2 (cover); Milesi (1993). Shows a flared-bell recorder with lutes, guitar, cello, trumpet, violin, still-life.
• Still-life with Musical Instruments, canvas, 92.2 × 120.7 cm), Bartolomeo Bettera (1639 – after 1687, before 1700). Sarasota: John & Mary Ringling Museum of Art. Ref. Tomory (1976, p. 46-47, pl. 39-b&w). A carpet-covered table is littered with a casket, a writing case, some books, a music score and musical instruments including guitar, lute, violin and a pipe. The latter looks very much like a duct-flute (probably a recorder), although only the lower half is shown peeping out from under the casket.
• Strumenti musicali, libri ed un astrolabio, sopra un tavolo, 72 × 95 cm, oil on canvas, Bartolomeo Bettera (1639 – after 1687, before 1700). Bergamo: Accademia Carrara – Pinacoteca di Arte Antica, Inv. 760. Ref. Archiv Moeck; Bayer (2000: 37, fig. 19 – b&w). On a table are an astrolabe, some music, a theorbo, a viol, a small lute (mandora), a violin and a flared bell recorder only the body and foot of which are visible – the finger holes are clearly shown including paired holes for the lowermost finger. This painting has a pendant in the Accademia Carrara, Inv. 761, entitled Strumenti musicali, sopra un tavolo.
• Musical Instruments, Bartolomeo Bettera (1639 – after 1687, before 1700). Milan: Pinacoteca Ambrosiana. Below a tasseled curtain can be seen the back of a 'cello and bow, a vihuela across the centre, with music book, violin and bow below. On a table cloth are two books, the end of a shawm and a small ? recorder showing the mouthpiece and flared bell end, but positioned so that no window or finger-holes are shown. Formerly attributed to Evaristo Baschenis. Notes by Anthony Rowland-Jones (pers. comm.)
• Still-life, school of Bartolomeo Bettera (1639 -- after 1687, before 1700). Vienna: Kunsthisorisches Museum. Ref. Paris RIdIM (1999). Beneath some elaborate fringed and tasselled drapes lie a decorated writing cabinet (on top of which stand a large conch shell and a smaller casket), a globe, a lemon, some manuscript, some books, and musical instruments, including two lutes, violin and bow, spinet, and a small flared-bell recorder beautifully depicted showing its lowermost paired finger-holes, beak and window/labium very clearly.
• Still-life with Musical Instruments, school of Bartolomeo Bettera (1639 – after 1687, before 1700). Trieste: Collection Count Segè-Sartorio. Ref. Paris RIdIM (1999). Beneath some tasselled drapes lie a globe, some music, a viol, a lute, a violin, a guitar and a flared-bell recorder showing details of beak, window/labium and holes for seven fingers, including paired holes (for the lowermost finger).
• Still-life with Musical Instruments, oil on canvas, 103 × 147 cm, Bartolomeo Bettera (1639 – after 1687, before 1700). Private Collection. Ref. Francone et al. (1996: 254-255, pl. 52-col.) On a table beneath some richly embroidered and tasselled drapes lie some music, a decorated writing cabinet (on top of which lies a trumpet), a theorbo, a vihuela, a violin (leaning against a mirror) and bow, an unusual viola (with only a single pair of corners at the waist and a rose as well as f-shaped sound holes), and a flared-bell recorder (only the foot and body of which are visible).
• Musical Instruments, oil on canvas, 120 × 125 cm, Bartolomeo Bettera (1639 – after 1687, before 1700). Private Collection. Ref. Francone et al. (1996: 266-267, pl. 56-col.) On a table beneath some richly embroidered and tasselled drapes lie three musical scores, a candlestick and candle, a viol, a cello and bow, a violin and bow, a theorbo, a trumpet, a mandola, a vihuela, and a slender flared-bell recorder.
• Still-life with Musical Instruments, Bartolomeo Bettera (1639 – after 1687, before 1700). Munich: Bayerische Staatgemäldesammlungen. Ref. Munich RIdIM (1999: Mstag 48). A collection of stringed instruments on a table, together with a trombone, and a small ? recorder lying on a book, with its bell end facing the viewer. The bell is flared with wood thickening, but little or ono bore expansion, its seems. Notes by Anthony Rowland-Jones (pers. comm. 1999).
• Still-life with Musical Instruments, oil on canvas, 73.5 × 96.5 cm, Bartolomeo Bettera (1639 – after 1687, before 1700). Kassel: Schloss Wilhelmshöhe, Gemäldegalerie Alte Meister, GK 1012. Ref. Paris RIdIM (2000); Munich RIdIM (2009, Kksg - 84). There are two other versions of this painting in Boston (Anthony Rowland-Jones, pers. comm. 2000). Beneath some richly embroidered and tasselled drapes, on a table covered with an embroidered carpet lie some music, a letter, a spinet, three lutes (one an arch-lute), a violin and a recorder the beak, window/labium and first four finger-holes of which are clearly visible.
• Still-life with Musical Instruments, oil on canvas, Bartolomeo Bettera (1639 – after 1687, before 1700). Ref. Gabrius Data Bank (2001 – col.) On a table beneath some embroidered drapes are books, sheet music, a globe, a casket, a lute, a guitar, a violin, a ? shawm (only the bell is visible) and a small soprano renaissance-style recorder, the beak, window/labium and finger-holes of which are clearly depicted.
• Still-life of Musical Instruments and Books all Resting on a Table, painting, School of Bartolomeo Bettera (1639 – after 1687, before 1700). Location unknown: auctioned 07/12/2004 (sold). Ref. Gabrius Databank (2007 – col.) On a table beneath some embroidered drapes with a tassel are books, a casket, papers, music, a spinet, lute, guitar, violin, viola, viol and soprano recorder. Only the lower part of the recorder is visible, the rest hidden beneath the viola.
• Musical Instruments with Glass balls and a Male Bust, oil on canvas, 96 × 100 cm, Bartolomeo Bettera (1639 – after 1687, before 1700). Paris: Galerie Canesso (2008). Ref. TEFAF, Maastricht, March 2008; Constance Scholten ex Anthony Rowland-Jones (pers. comm., 2008). To the right there is a small recorder with paired holes for the lowermost finger.
• Still-life, oil on canvas, 140 × 72 cm, Bartolomeo Bettera (1639 – after 1687, before 1700). Vienna: Dorotheum, Old Masters , 15 April 2008, No. 21. One of a pendant pair. On a draped table beneath a hanging drape lie a globe, books, an apple, sheet music, cello, trumpet, violin, guitar, and a one-piece recorder the head and body visible but the foot occluded.

Bonaventura Bettera (active late 17th to early 18th centuries), Italian

• Still-life with Musical Instruments, Bonaventura Bettera (active late 17th to early 18th centuries). Moscow: Pushkin Museum of Fine Art. A table is covered with a globe, some books, music and a number of instruments including a viol, a guitar, a violin, a trumpet, a lute, and a small tapered recorder.
• Still-life, oil on canvas, Bonaventura Bettera (active late 17th to early 18th centuries). Ref. Gabrius Data Bank (2001 – col.) On a table covered with an orange tapestry are books, a lemon, a pair of calipers, a bell, an inkwell and quill, two small lutes, and a strongly flared renaissance-style recorder viewed from the end and in side profile.
• Still-life, oil on canvas, Bonaventura Bettera (active late 17th to early 18th centuries). Ref. Gabrius Data Bank (2001 – col.) Beneath a heavy, tasselled curtain on a table draped with carpet are scattered a globe, a statue, a book, papers, sheet music and musical instruments, including a cello, four lutes, guitar, trumpet, violin, and a flared-bell renaissance-style recorder viewed end on, the window/labium and finger-holes of which are clearly depicted.

Bernardino di Betto = Pinturicchio

Hermann Bever

• The Unmusical Dachshund (1885), wood engraving, after an original painting by Hermann Bever (1845-1912). Published in Illustrierten Zeitung (1885). Ref. Archiv Moeck. A girl sits on a bench holding a dachshund who seems most unwilling to listen to her brother seated before them on a tree stump piping away at a soprano duct-flute (flageolet or recorder).
• The Well-Known Genius (Munich, 1893), print, after an original painting by Hermann Bever (1845-1912). Ref. Archiv Moeck. An old lady discovers her grandson in a shed seated on a pile of leaves piping away to himself on a flageolet (only six holes are visible).

J.C. William Beyer

• Recorder Player (ca 1763), porcelain model, J.C. William Beyer (fl. 1765-1770). Stuttgart: Württenbergisches Landesmuseum, Inv. 12611. Ref. Early Music 11 (2): 283 (1983-b&w); Munich RIdIM (2003: Slm – 39). A youth sits cross-legged on a tree stump playing an alto recorder of cylindrical construction with many finger-holes; a dog sits growling at his feet.

Abraham (Hendricksz.) van Beyeren [Beheren, Beijeren]

• Ornamental Still-life (1650-1669), 98 × 76 cm, Abraham van Beyeren (1620/1621-1690). The Hague: Maritshuis, Galerij Prins Willem V, Inv. # 665. Ref. Mauritshuis Catalogue (1977: No. 665); Mauritshuis: Postcard; Rijksbureau voor Kunsthistorische Documentatie 327 (2001); Anthony Rowland-Jones (pers. comm., 2001); Ruth van Baak Griffioen (pers. comm., 2003). A soprano recorder rampant with a twist of lemon, grapes, peaches, a bread bun, metal bowls, a compass, and crumpled napkins. The recorder has a brass sheath covering the beak; six inline finger-holes, paired holes for the little finger of the lowermost hand, and part of the bell are visible.
• Still-life, Abraham van Beyeren (1620/1621-1690). The Hague: Maritshuis, Galerij Prins Willem V. Ref. Rose 114; Griffioen (1988: 438-439); Anthony Rowland-Jones (pers. comm., 2001). Similar to the above, but the recorder has smaller finger-holes and a stronger bell flare.
• Still-life (1650-1670), ? Abraham van Beyeren (1620/1621-1690). Munich: Private Collection Ref. Rijksbureau voor Kunsthistorische Documentatie 199 (2001); Anthony Rowland-Jones (pers. comm., 2001). Still-life with fruit, silver and glasswork, a crab and wineglasses on a dark tablecloth with a white napkin. In an alcove are a music-book, a recorder, and a glass plate. Only the head of the recorder is visible; it is of alto size with a brass sheath covering the beak, and two finger-holes can be seen.
• Still-life (1650-1669), Abraham van Beyeren (1620/1621-1690). Private Collection; formerly New York: Knoedler & Co. Ref. Rijksbureau voor Kunsthistorische Documentatie 237 (2001); Anthony Rowland-Jones (pers. comm., 2001). Still-life with grapes, a crab, a ham and a nautilus shell on a dark tablecloth with a white napkin. Tucked under a music book is an alto recorder with a brass sheath covering the beak; only one finger-hole visible. In the background is a landscape.
• Still-life (1650-1669), Abraham van Beyeren (1620/1621-1690). Johannesburg: J.H. Tresfon. Ref. Rijksbureau voor Kunsthistorische Documentatie 322 (2001); Anthony Rowland-Jones (pers. comm., 2001). Still-life with fruit, oyster, one rummer and glass- and silver-ware on a dark tablecloth with a white napkin; In an alcove are a music book, a recorder and a glass plate. The recorder, under the music book, has a brass sheath covering the beak, but only the head is visible to just below the window/labium.
• Still-life (1650-1669), Abraham van Beyeren (1620/1621-1690). Johannesburg: J.H. Tresfon. Ref. Rijksbureau voor Kunsthistorische Documentatie 7506 (2001); Anthony Rowland-Jones (pers. comm., 2001). Pronk still-life with nautilus shell, dinner-ware, crab, fruit and roast meat on a dark tablecloth with a white napkin. In an alcove are a music book and a recorder. The recorder, under the music book, has a brass sheath covering the beak, but only the head and one finger-hole are visible.
• Still-life (1650-1669), Abraham van Beyeren (1620/1621-1690). Private Collection; formerly Amsterdam: P. de Boer (dealer). Ref. Rijksbureau voor Kunsthistorische Documentatie 12199 (2001); Anthony Rowland-Jones (pers. comm., 2001). Pronk still-life with a beaked pitcher, a goblet, fruit and roast beef. In an alcove are a music-book, a glass and a recorder, only the head of which is visible. The recorder's beak is sheathed in brass.
• Still-life (1655), 66.5 × 77 cm, Abraham van Beyeren (1620/1621-1690). Location unknown: Beeldende Kunst, September 1922, afb. 10, no. 73; Amsterdam: Ksth. D. Komter, 1922. Ref. Rijksbureau voor Kunsthistorische Documentatie (RKD), The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped bench lie a vase of flowers, a skull, a globe, an inkwell and plume, a purse, papers, a document with several seals, a violin and a hand-fluyt, the foot of which is hidden underneath the purse.

Pietro (i) Bianchi [il Creatura di Baciccia]

• Bacchus and Ariadne, ink, watercolour & gouache, 14 × 14.2 cm, Petro Bianchi (1694-1740). Düsseldorf: Kunstmuseum, Inv. FP 1006. Ref. Munich RIdIM (1999: DÜk 169). Bacchus crowned by Thyrsus, Ariadne seated on a rock beside him. At the top right of Cupid shoots an arrow on the wing. In the lower right foreground young fauns play a large tambourine, syrinx and a small duct-flute, probably a recorder, but the drawing is not meticulous. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Neri di Bicci (1419-1491?) – see Neri

George Bickham, the elder

• Title Page: The Musical Entertainer, Vol. I. (18th century), engraving by George Bickham. Ref. Archiv Moeck. Above and below a decorative frame, musicians hold a flute, a lyre, a cello and a small turned three-piece baroque recorder.
• Tanto tanto, from The Musical Entertainer, Vol. I (18th century), engraving, George Bickham. Ref. Archiv Moeck. An illustration at the head of the music shows a fête champêtre in which one member of the group plays the guitar whilst his female companion holds a small pipe (probably a recorder). The song has an obligato "for the Flute" (ie recorder).

Carlo Biffi

• Portrait of Francesco Gabrielli (1630), Carlo Biffi. Milan: Bibliotecca Ambroisiana. Ref. Boydell (1982: 273 – pl. LVI). A trophy of musical instruments to the left of the portrait includes an ornate viol, tympani, timbrel, the foot of a crumhorn, and the head of a baroque-style recorder.

Vittorio (Maria) Bigari

• Meeting of Jephtha with his Daughter, Vittorio Bigari (1692-1776). Rimini: Chiesa di S. Agostino. Ref. Fabbri (1952, 2: 211); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Jephtha greets his daughter behind whom stand a young woman and a young man playing a duct-flute (probably a recorder, though only the head and window/labium are visible).

Felipe Bigarny [Vigarny]

• David and Musicians (1507-1512), woodcarving, Felipe Bigarny (ca 1470-1543). Burgos: Cathedral, choir stalls. Ref. Centre for Music Documentation (CMD), Madrid (2001); Anthony Rowland-Jones (pers. comm., 2001). “Three men are shown playing lute, harp and a largish tenor recorder, which is partly hidden by the harp. The window/labium is clearly depicted but no finger-holes show, partly because this section of the instrument is hidden, and partly because the lower, left, hand is in a perfect playing position for a recorder, all fingers down with the little finger outstretched as if to cover an offset hole. The slight bell flare ends in beautifully worked turned decoration” (Rowland-Jones, loc. cit.)

Jan (Hermansz.) van Bijlert [Bylert]

• Girl with a Flute, (ca 1630), oil on canvas, 108 × 85.8 cm, Jan van Bijlert (1597/8-1671). Sydney: Art Gallery of New South Wales. Ref. Middelkoop (1997: 94-95, col.); Art Gallery of New South Wales. A young woman smiles directly at the viewer while she indicates a music book lying open on her lap; in her right hand she holds a flared bell recorder of alto size. Her scanty clothing and her enticing attitude seem to suggest there is more at stake than a musical tête-a-tête.

  There is a companion-piece to this entitled Man Tuning a Lute (ca 1625-1630) which was present in Zurich in 1944 but the current whereabouts of which is unknown (see Middlelkoop 1997: 94, b&w). The lutenist gazes out of the frame with an expression no less merry than that of his girl-friend in the antipodes. There are unsigned versions of both works in the Pushkin Museum of Fine Arts, Moscow, suggesting that they are a pendant pair.

• Flute Player, canvas, 100 × 95 cm, attributed to Jan van Bijlert (1598-1671). Moscow: Pushkin Museum of Fine Arts. Ref. Burlington Magazine 107: 428, fig. 53 (1965); Griffioen (1988: 438-439). Identical to Bijlert's Girl with a Flute in the Art Gallery of New South Wales, Sydney (see above) and the Master of the Stockholm Musicians Young Woman with Rose and Recorder in a private collection.
• Shepherd with a Flute, oil on panel, 27.3 × 21.6 cm, Jan van Bijlert (1598-1671). Barnard Castle, County Durham, Ireland: Bowes Museum. Ref. The Recorder & Music Magazine 8(12): front cover (1986); Bridgeman Art Library (2002: Image ID BWM 152544). Similar to the painting of the same title in the Centraalmuseum, Utrecht, (see below) although the shepherd seems more gaunt, and other details differ. A man in a feathered cap holds a small, more or less cylindrical recorder, left hand lowermost with the little finger crooked to cover the hole.
• Shepherd with a Flute (1639), oil on canvas, 77.4 × 63.7 cm, Jan van Bijlert (1598-1671). Utrecht: Centraalmuseum, Inv. No. 6730. Ref. Nicolson (1979: fig. 228); Kettering (1983: fig. 10); Griffioen (1988: 438-439); Paris RIdIM (1999); Website: Centraalmuseum, Utrecht (2001); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000307 (2009 - b&w). A man in a buttoned hat decorated with a rose holds a small more or less cylindrical recorder with a flared bell left hand lowermost with the little finger crooked to cover the hole. The instrument's beak is very short and the left hand seems very close to the top. Replica of a smaller painting in a private collection in Wiesbaden, possibly that offered for sale in 2002 (see below)
• Shepherd with a Flute, oil on canvas, Jan van Bijlert (1598-1671). Private Collection: auctioned 3 December 2002 (sold). Ref. Gabrius Data Bank (2002 – col.); Web Gallery of Art (2007 – col.) A man in a buttoned hat decorated with a rose holds a small more or less cylindrical recorder with a flared bell left hand lowermost with the little finger crooked to cover the hole. The instrument's beak is very short and the left hand seems very close to the top. Identical to a painting with the same title in the Centraalmuseum, Utrecht (see above).
• Flute-playing Shepherd, 76 × 62 cm, Jan van Bijlert (1598-1671). New York: Julius Weitzner. Ref. Nicolson (1979: fig. 227); Griffioen (1988: 438-439). A shepherd wearing a feathered cap and a loose cloak gestures with his left index finger for someone out of frame to approach. In his right hand he holds a flared-bell recorder.
• Family making Music, Jan van Bijlert (1598-1671). Location unknown. Ref. Johngh (1986: 43, fig. 29); Griffioen (1988: 438-439). A family make music around a table. The instruments include lute, cello, harp and an alto-sized flared-bell recorder played left hand uppermost. The window/labium of the recorder is clearly visible.
• Musical Company, 75 × 89 cm, Jan van Bijlert (1598-1671). Location unknown. Ref. Kettering (1983: fig. 25); Griffioen (1988: 438-439). A woman tunes a violin held vertically in her lap, bowing it back-handed like a viol; at her shoulder, a child gazes out of frame. A second woman seems to be playing a lute; beside her, a child looks heavenwards. A third, with her back to us, plays a soprano-siezed flared-bell duct-flute, probably a recorder.
• The Concert (1635-40), Jan van Bijlert (1598-1671). Private Collection. Ref. Buijsen & Grijp (1993); Web-site: greatbassviol.com (2009). Two seductive looking young women (courtesans, perhaps) with feathers in their hair play lute and viol. Between them is a singer. Behind them a man holds a pipe to his lips, probably a small recorder.
• Concert, oil on canvas, 103 × 144 cm, attributed to Jan van Bijlert (1598-1671). Warsaw: National Museum. Ref. Paris RIdIM (1999); Bridgeman Art Library (2003: GIR 203224 – col.) A group of musicians sing and play around a table. A man in a plumed hat plays the lute; opposite him a young woman plays a small viol; behind her stands a singer conducting the others with his hand; in the centre a young boy plays a small cylindrical recorder.
• Musical Company, panel, 68 × 95.5 cm, Jan van Bijlert (1598-1671). The Hague: Gemeentemuseum, Music Department. Ref. Buijsen & Grijp (1993); Bridgeman Art Library (2003: Image HGM 79817 -col.); Badiarov (2005: – col.) A group sit around a table playing their instruments including violin, cittern, viol, and a young boy plays a pipe (possibly a duct-flute); a lute lies on the floor.
• Untitled, mezotint engraving by John Smith (? p. 1654-1742) after Jan van Bijlert (1597/8-1671). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). "A man (not identified as a shepherd) holds a cylindrical alto duct-flute (very probably a recorder) in his left hand. The foot of the instrument is off the picture. The mouthpieces is slightly beaked and the window/labium is visible. There is a single offset hole for the lowermost little finger at the very edge of the picture. The other holes are not visible as they are in shadow with heavy print" (Rowland-Jones, loc. cit.)
• Flute Playing Shepherd (ca 1625), painting, Jan van Bijlert (1597/8-1671). Poughkeepsie (New York): Frances Lehman Loeb Art Center, Accn. 1966.23.10. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000301 (2009 - b&w). A shepherd wearing a leafy wreath holds a flared-bell soprano recorder, right hand uppermost.
• Shepherd with a Flute, Pointing, painting, copy after Jan van Bijlert (1597/8-1671). Location unknown. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000285 (2009 - b&w). A shepherd wearing a feathered cap points with his right hand and holds a flared-bell soprano recorder in his left hand.
• Shepherd with a Flute, Beckoning, painting, ? Jan van Bijlert (1597/8-1671). Location unknown. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000289 (2009 - b&w). A shepherd wearing a feathered cap beckons with his left hand and holds a flared-bell soprano recorder in his right hand.
• Shepherd[ess] with Staff and Flute, painting, Location unknown; sold Christie's, London. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000280 (2009 - b&w). Despite the title, a shepherdess with a flower in her hair, holds a staff in her left hand and a flared-bell soprano recorder in her right hand.
• Flute Playing Shepherd, painting, attributed to Jan van Bijlert (1597/8-1671). Location unknown. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0000271 (2009 - b&w). A shepherd wearing a leafy wreath plays a slender pipe, his fingers well-deployed for recorder-playing. The beak is of a markedly lighter colour than the body of the instrument, but no details of the window/labium are visible.

Giovanni Pietro [Giampietrino] Birago

• Sforza Book of Hours: Assumption of the Virgin (Obsecro te) (ca 1490), illumination, Giovanni Pietro Birago (15th century). London: British Library. Ref. Evans (1992: pl. 38 – col.) Watched by praying Saints the Virgin ascends surrounded by angel musicians playing lute and (fretted) rebec, and two groups of three putti playing straight trumpets, lyre, double pipes, cymbals, and a long slightly flared pipe (possibly a recorder).
  
  One of the finest surviving Renaissance manuscripts, the Sforza Book of Hours, or personal prayer book, was originally owned by the widow of the Duke of Milan. The decoration was completed in two stages, as a substantial part of the original work by artist Giovanni Pietro Birago was stolen. Thirty years later, the Flemish artist Gerard Horenbout painted 16 additional miniatures to complement Birago's work.

Birger

• Decorated harpsichord lid (1759), painted wood, Birger. Rome: Museo degli Strumenti Musicali. Ref. Anthony Rowland-Jones (pers. comm., 2002). A couple dance amongst classical ruins to music provided by a seated singer accompanied by a pipe, violin, harpsichord and cello. The pipe has a mouthpiece too broad to be an oboe; the player's lips are relaxed; the fingering shows fingers of the upper (left) hand down and four in the lower (right) hand down; and there are no keys. Thus this is likely to be a recorder.

Bartolomeo Bismantova (17th century), Italian

• Recorder (1677), Bartolomeo Bismantova Compendium musicale (MS, Ferrara, revised 1694), Bartolomeo Bismantova. Ref. Heyghen (1995: 27), Legêne (1995: 107). Shows a three-piece baroque style recorder in g'.

Cornelis Bisschop

• Women Musicians, Cornelis Bisschop (1630-1674). Location unknown; sold Fischer, Lucerne (June 1961), Lot 1954. Ref. Warburg Institute, London; Paris RIdIM (1999). Standing in front of some elaborate drapes, two women sing from a single score accompanied by three others on cello, violin and a duct-flute, probably a recorder. A fifth woman sits thoughtfully in their midst her hand to her mouth.
• Argus and Io, oil on canvas, 99.4 × 126.5 cm, Cornelis Bisschop (1630-1674). Dordrecht: Museum (City Art Gallery). Ref. Anthony Rowland-Jones (pers. comm., 2001). Mercury dressed as a shepherd draws his sword while the naked Argus sleeps. On the ground is a wave-profile flared-bell recorder of soprano/alto size with six inline finger-holes and the seventh offset. The mouthpiece and window/labium are in shadow.

Jan de Bisschop

• The Lovers (1667), drawing, Jan de Bisschop (1628-1671), after Titian. Amsterdam: Rijksmuseum, Print Room. Ref. Rijksbureau voor Kunsthistorische Documentatie 32320 (2001); Anthony Rowland-Jones (pers. comm., 2001). The lovers, from Titian's Three Ages of Man, done against the background of a baroque fountain. All three soprano recorders in the original are reproduced, but with slightly more flared bells.

Giambattista Bissoni (? – 1636), Italian

• A Glory of Angels, Giambattista Bissoni (? – 1636). Padua: Church of Santa Maria dei Servi. Ref. German Institute, Florence; Paulo Biordi (pers. comm.) Angels sing and play vielle, dulcian, viol, and a narrowly tapering duct-flute, the window/labium and offset hole for the lowermost finger of which are just visible.

William Blake

• The Book of Job (1823-1826), plate 21: Job and his Family Restored to Prosperity ("Great and marvelous are thy works, Lord"), watercolour, 23.4 × 28 cm, William Blake (1757-1827). Washington: National Gallery of Art, 1943.3.9018; Melbourne: National Gallery of Victoria, Invl 49b; Auckland; London: Tate Gallery; Ref. Ford (1986: 139). Job plays harp and nine men and women play double pipe, two folded trumpets, two coiled horns, two lutes, lyre, and a long slender recorder with a strongly flared bell. Two women hold scrolls of music. An audience of sheep sit listening contendly in the foreground. The beak and window/labium of the recorder are clearly depicted.
• The River of Life, pen and watercolour, 30.5 × 33.6 cm, Wiliam Blake (1757-1827). London: Tate Gallery, Art, N.05887/B525. Ref. Roger-Marx (1962: 35, fig.). A female figure with two infants at her side float down a wide street, watched by the inhabitants of classical-style buildings on either side. In the foreground another female figure scoops something up. Either side two standing female figures play pipes, their backs to us. That on the right appears to be playing a cylindrical transverse flute. The one on the left plays a flared bell pipe which could easily be a recorder. Anthony Rowland-Jones (pers. comm.) comments: "Blake's symbolism here is that endowing an inanimate flute or recorder (he shows both, though the flautist plays to her left!) with a stream of breath recreates in its music the life (or soul) of the wood. This ancient belief parallels the idea that playing an instrument made from an animal's bone or horn (e.g. a shepherds pipe made from a sheep's bone) gives utterance to the spirit of the dead animal. The stream of breath is, as it were, the river of life."
• Frontispiece, Songs of Innocence: Piping down the valleys wild (1794/ca 1825), relief etching and watercolour, Wiliam Blake (1757-1827). London: Tate Gallery; New York: Metropolitan Museum of Art. Looking up at at putto flying on a cloud above him, a man in what looks like a body-suit walks in front of a flock of sheep through the trees. He is holding an ambiguous slender pipe with a flared bell.

Thomas Blanchet

• Study of a Faun and Fauness, Thomas Blanchet (1614-1689). Paris: Louvre, Drawing Collection, Inv. 23788. Ref. Paris RIdIM (1999). A sleepy faun reclines with a syrinx in his hand; a fauness reclines with a small cylindrical duct-flute (flageolet or recorder) in her hand, the outline of the beak and a number of finger-holes clearly shown.

Gerbrand van Blanckenburgh (17th century), Dutch

• [Recorder] (1654), from Onderwyzinge Hoemen alle de Toonen in halve Toonen, die meest gebruyckelyck zyn op de Handt-fluyt,, Gerbrand van Blanckenburgh. Published by Matthysz. Ref. Morgan (1984).; Legêne (1995: 110-114, pl. 5c). Included with some copies of Jacob van Eyck's Der Fluyten Lust-hof (1649).

Henri Joseph van Blarenberghe (18th century), France

• Masked Ball (late 18th century), oil on canvas, 122 × 109 cm, Henri Joseph van Blarenberghe (18th century). Lille: Musée des Beaux Artes, Inv. P 934. Ref. Joconde Website (1999). At a masked ball in a salon, musicians play violin, cello and duct-flute (flageolet or recorder); there are servants, a dog, and a couple in polite conversation. Not seen.

Johann Blaubirer

• From Johannes Vintler's Buch der Tugend [Book of Virtue], Augsburg (1486): King and a Fool with a Recorder, Johann Blaubirer (op. 1486). Ref. Schramm (1943: 698); Wiese (1988: fig. 43); Archiv Moeck.; Card, Musica Pretiosa, Vilsbiburg (2004). A fool holds a recorder whilst a king appears to be telling him how to play it.

Gerrit Claesz. Bleker (op. 1625 – m. 1656), Dutch

• The Cowherd (1638), Gerrit Claesz. Bleker (op. 1625 – m. 1656). Ref. Bartsch (1854-1870, 4: 110/6). A cowherd sites with his four cows, playing a pipe (? duct-flute), left-hand lowermost, six fingers down. No finger-holes or window/labium are visible. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Shepherd and Shepherdess, Gerrit Claesz. Bleker (op. 1625 – m. 1656). Private Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001, artist as "Jerrit Claude Bleker"); Anthony Rowland-Jones (pers. comm., 2001). The shepherd holds a perfectly depicted soprano hand fluyt with both hands. His right hand is lowermost but three finger-holes and the offset little finger-hole are visible.

Abraham Bloemaert

• Boy with a Flute, Abraham Bloemaert (1564-1651). Brodie Castle, Scotland. Ref. Recorder & Music 14(2): front cover (1994-col.); Hersom (1994). A young lad in a feathered cap and a jerkin with slashed sleeves holds a flared-bell recorder.
• A Boy Playing the Flute, oil on canvas, 79 × 61 cm, Abraham Bloemaert (1564-1651). Location unknown: offered for sale by Paul Brandt, Amsterdam, April 1975, Lot 49. Ref. Gabrius Data Bank (2002 – col.); Constance Scholten (2009). A youth wearing a feathered cap holds a flared-bell soprano recorder which he is about to play. The rather large window/labium is clearly visible, and the lad is fingering an f''. There seems to be no hole for the little finger of the lowermost (left) hand, but this may be hidden in shadow. Formerly attributed to Hendrick Bloemaert (ca 1601-1672).
• Shepherd and Shepherdess (1627), oil on canvas, 60 × 74.5 cm, Abraham Bloemaert (1564-1651). Hannover: Nidersächsiches Landesmuseum. Ref. Kunstkartendruch, Vontobel: postcard; Bernt (1969, 1: 122); Kettering (1983: fig. 108); Sutton (1984: pl. 42); Griffioen (1988: 438-439); Buijsen & Grijp (1993:227, footnote 13). At the foot of a hillside, beneath a tree, watched by a sheep, a shepherd is pushing a duct-flute (probably a recorder) up under his protesting companion's skirts. Rembrandt was to use this motif in one of his etchings from 1642.
• Shepherd with a Flute , 73.5 × 64 cm, Abraham Bloemaert (1564-1651). Bratislava: Slovenské národné múzeum. Ref. Kettering (1983: fig 13); Griffioen (1988: 438-439). A youthful shepherd in a wide-brimmed hat and loose cloak holds an alto-sized recorder in his left fist.
• Shepherdess Reading a Poem (1628), 104 × 75 cm, Abraham Bloemaert (1564-1651). Toledo, Ohio: Museum of Art. Ref. Kettering (1983: jacket & fig. 107); Griffioen (1988: 438-439). A young shepherdess in a plumed hat with a rose pinned to it, her crook over her shoulder, reads a poem. Beside her, a young shepherd (the author, perhaps) looks intently at her, holding a soprano recorder the head of which is hidden behind the letter. The lowermost finger-hole of the recorder is characteristically offset from the other two which are visible.
• Pastoral Scene (1630), 27 × 38 cm, Abraham Bloemaert (1564-1651). Location unknown; formerly Jozef Cremer Collection, Dortmund. Ref. Kettering (1983: fig. 110); Griffioen (1988: 438-439). Two shepherdesses are camped beneath a tree with their beasts. One is quite naked, lying with her back to us (she must be sunbathing); the other sits playing a flared-bell pipe (probably a recorder) of soprano/alto size.
• Ian Pattagie, engraving by Frederick de Widt, after Abraham Bloemaert (1564-1651). Ref. Archiv Moeck. A young man in an elaborate hat and a loose robe holds an alto recorder of peculiar construction. The windway entrance is under the labium/window level! The engraving illustrates the following verse:

  Al ben ick vreemt en vies fatsoen
  Soo kant myn fluytien braesies doen
  Want als ick daer op tierelier
  Van lachen souje barsten schier.

• Mercury, Argus and Io (ca 1592), oil on canvas, 63.5 × 81.3 cm, Abraham Bloemaert (1564-1651). Utrecht: Centraalmuseum, Inv. No. 22657. Ref. Centraalmuseum, Utrecht (2001); Anthony Rowland-Jones (pers. comm., 2001). Mercury sits astride a boulder, his caduceus at his feet, playing a cylindrical pipe one-handed to a very sleepy Argus. Mercury's lowermost (right-hand) little finger is too near the bell for a shawm, so his instrument possibly represents a recorder, though no detail is given of the window/labium or finger-holes. In the background Io (as a white heifer) looks back at the scene wistfully. This work is said to be the earliest representation of this theme in Dutch art (Centraalmuseum, Utrecht, loc. cit.)
• Mercury and Argus (ca 1635), Abraham Bloemaert (1564-1651). Location unknown. Ref. Paris RIdIM (1999). Playing a large, slender, flared-bell duct-flute (probably a recorder), Mercury lulls Argus to sleep beneath a spreading tree on the edge of a forest, watched by Io, priestess of Juno, whom Jupiter has transformed into a white heifer. The figure of Argus is very similar to the 1645 painting of the same subject (see below) but in reverse, and here Mercury has a winged hat and boots.
• Mercury, Argus and Io (1645), Abraham Bloemaert (1564-1651). Vienna: Gallerie Liechtenstein. Ref. Website: Bernard Huyvaert, Dutch 17th Century; Anthony Rowland-Jones (pers. comm., 2007). Playing a large, slender, flared-bell duct-flute (probably a recorder), Mercury lulls Argus to sleep beneath a spreading tree on the edge of a forest, watched patiently by Io, priestess of Juno, whom Jupiter has transformed into a white heifer. All fingers of Mercury's lowermost (left) hand appear to be in use, the first finger lifted. The figure of Argus is very similar to the 1645 painting of the same subject (see above) but in reverse, and here although in disguise wearing a blue cloak, floppy felt hat and bare feet, he rather incautiously hides his caduceus behind his back.
• Mercury and Argus, sketch, Abraham Bloemaert (1564-1651). Location unknown: auctioned 05 November 2002 (unsold). Ref. Gabrius Data Bank (2007 – col.) Mercury plays a pipe with a large bell to Argus who is slumped drowsily beside him.

Hendrik Bloemaert

• Mercury and Argus, Hendrik Bloemaert (ca 1601-1672). Ref. University of London, Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000). Mercury plays a rather conical pipe (very small at the mouth), left hand lowermost, two lower finger-holes visible, possibly a recorder. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Maximilian Bloemart [Blommaerdt]

• Family Portrait, Maximilian Bloemart. Private Collection. Ref. Mirimonde (? date: 231, fig. 35). A family are gathered around a table on a terrace; a man holds a cello, and a young lad plays a turned, 3-piece baroque recorder
• The Concert, Maximilian Bloemart. Ref. Web site: Joele Morton, greatbassviol.com (2004 – col.) A couple seated at a table play lute, cello, and a pipe (possibly a recorder). Beside them stands a statue and a man (? servant). A dog plays in the foreground, and music and a number of instruments are littered on the ground, including two lutes, a small harp, and a long wind instrument (probably a bassoon).

Jan-Frans van Bloemen [Orizzonte]

• Landscape, copper, 20 × 28 cm, Jan-Frans van Bloemen (1662-1749). Location unknown; offered for sale by Robert Finck Gallery, Brussels, Cat. No. 57 (1976). Ref. Paris RIdIM (1999). A young woman on a swing between two trees chats to a male companion; opposite, sit two couples; one of the young women plays a baroque-style tenor recorder with turned joints and foot; in the background, across a pasture with some sheep, is a village at the foot of a mountain.

Pieter van Bloemen [Blommen; Bloms]

• A Landscape with a Herdsman Playing the Flute, oil on canvas, Pieter van Bloemen (1680 – ca 1745). Ref. Gabrius Data Bank (2002 – col.) A herdsman sits on a rock before a stable playing a flared-bell pipe (possibly a recorder) to a horse and a goat.
• Argus and Io, oil on canvas, Pieter van Bloemen (1680 – ca 1745). Ref. Gabrius Data Bank (2000 - col.) Beneath a tree, Mercury plays on a conical, flared-bell pipe to Argus who stands beside him, leaning on his staff. In the foreground, beasts graze amongst some ruins, with them Io (as a white heifer). The pipe is played left-hand uppermost and all fingers of the lowermost (left) hand are deployed, the first raised, the rest covering their holes, so this may represent a recorder, though a shawm seems more likely.

Reyer Jacobz. van Blommendael (op.1662 – m.1675), Dutch

• [Shepherds Making Music], 95 × 71 cm, Reyer van Blommendael (op.1662 – m.1675). Location unknown: auctioned by J. Dupont, Paris. Ref. Hoyer (1992: 30-31, no. 30); Rijksbureau voor Kunsthistorische Doucmentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). Two shepherdesses and a shephed make music in the shade of hillside, their fields and sheep in the distance. One shepherdess sings, another plays a lute. The shepherd, wearing a leafy crown, plays an alto-sized hand-fluyt.

Jacques François Blondel & Marie-Michelle Blondel

• Musical Trophy, engraving after Jacques Dumont (le Romain), by Jacques François & Marie Michelle Blondel (1705-1774). Ref. Fitz-Gerald (1973: 41, pl. 40-b&aw). This trophy includes an open book of music, trumpet, oboe, guitar, sistrum, flute, pan-pipe, tambourine (with jingle rings), anvil, triangle (with jingle rings) and beater, cornett, and a baroque recorder the head and upper body of which are visible.

Pieter de Bloot

• Peasants in an Inn, oil on panel, 42 × 61 cm, Pieter de Bloot (ca 1601-1658). Cologne: Wallraf-Richartz-Museum, Inv. 1453. Ref. Munich RIdIM (1999: KNwr - 15). A group of lads drink, smoke, sing and play recorder. One of the singers reads from a score. In the corner opposite them is a clutter of pots and pans, a birdcage, a cat drinking from a bowl. An old man with a walking stick is coming in the door at the back of the room. The window/labium of the recorder is absolutely clear; there is a single incised ring at the bell end; there is a hint of a hole for the little finger of the lowermost hand. Notes (in part) by Anthony Rowland-Jones (pers. comm., 1999).
• The Sense of Hearing: Peasants Music-Making in a Barn, oil on canvas, Pieter de Bloot (ca 1601-1658). Ref. Gabrius Data Bank (2002 – col.) Three peasants make music in a barn. One, standing holding a sheet of music (or words) sings; a second, seated, plays the violin and sings; a third, also seated, plays a flared-bell recorder. The beak is hinted at, and the player's hands and fingers are well postioned for recorder playing, including the little finger of the lowermost (right) hand which appears to be covering its hole. In the foreground right and spread out on the floor is a pile of kitchen utensils.

Tim Bobbin – See John Collier

Pedro Atanasio Bocanegra

• The Vision of St Bernard, Pedro Atanasio Bocanegra (1635/8-1689). Granada: Cathedral, on wall to the right of hte Sanctuary arch, facing the nave. Ref. Anthony Rowland-Jones (pers. comm., 2000). St Bernard looks up to the Vigin with the Christ-child on her lap, surrounded by a heavenly host, amongst them angel-musicians. The latter include a singer, and players of alto cornett, guitar, harp and a probable tenor recorder. The latter is fingered but not actually played. No window/labium or finger-holes are visible, but the right-hand little finger is lifted as if for action and the playing position is recorder-like. The beaked mouthpiece is absolutely clear.

Boccaccio Boccaccino

• Concert, Boccaccio Boccaccino (before 1466-1525). Milan: Pinacoteca Ambrosiana. Ref. Burlington Magazine (1998). Includes two recorders.

Faustino Bocchi

• Village Fête, canvas, 71 × 100 cm, Faustino Bocchi (1659 – 1742). Location unknown; sold Palais Galliéra, 14 March 1970. Ref. Sale Catalogue (1970: No. 7, photo.); RIdIM (2000). The villagers (all of whom appear to be dwarfs) gather around a makeshift stage on which musicians (including animals), conducted by one of their number waving a roll of paper, sing (a child and two birds) and play cello (monkey), lute (a child), harp (cat), and a pipe (mole), possibly a recorder. Above them children play on a flying fox attached at one end to the tall building behind the stage and at the other to the base of a nearby tree against which leans a man on stilts. Pandemonium reigns throughout.
• The Orchestra, canvas, 47 × 83 cm, studio of Faustino Bocchi (1659 – 1742). Rouen: Musée des Beaux Artes, Inv. G 54-6. Ref. Paris RIdIM (1999); Joconde Website (1999). One of a pendant pair. "Tiny men clamber all over an enormous cello. Three of them attempt to drag the bow across the strings. One perches on the tailpiece of the cello, blowing a huge recorder, his little hand at the side of the window/labium area. Lower down, beyond his reach extends a line of nine finger-holes, but two other men (seen from above) hold up the foot end: one trying (presumably) to reach up as far as the bottom holes (not visible), the other helping by blowing air into the open bore end!" Notes by Anthony Rowland-Jones, (pers. comm.)
• The Concert, oil on canvas, Faustino Bocchi (1659 – 1742). Location unknown. Ref. Gabrius Data Bank (2001 – col.) Very similar to the above, although the recorder player seems to have only a single helper at the foot end, and a full-size cat is taking a decided interest in proceedings!
• An Old Peasant Couple Dancing to a Tambourine and a Lute, oil on canvas, Faustino Bocchi (1659 – 1742). Location unknown. Ref. Gabrius Data Bank (2001 – col.) On the left of the dancing couple a man plays a tambourine; on the right, a man in a bird-like mask plays a lute. The dancing man plays a flared-bell pipe, almost certainly a recorder. Both dancers wear spectacles!

Godfriedt van Bochoutt [or Bochoudt]

• Still-life (1659), oil on wood 51 × 64 cm, Godfriedt van Bochoutt (fl. 1659-1656). Munich: Kunsthandel. Ref. Bernt (1970: fig. 142); Mirimonde (1971: 265, #60); Archiv Moeck; Paris RIdIM (1999); Rijksbureau voor Kunsthistorische Documentatie 12172 (2001); Anthony Rowland-Jones (pers. comm., 2001). On a table a number of objects are scattered including books, beads, some flowers, some music, and a cylindrical, wide recorder, with a slight bell-flare and only six finger-holes visible.

Hans Bock [Boek), the Elder (1550-1624)

• The Bath at Leuk and the Galant Meal (1597), Hans Bock (1550-1624). Basel: Öffentliche Kunstsammlung. Ref. Gazette des Beaux-Arts (1967, 69: 339); Lesure (1968, English: pl. 40; 1966/1968, German: pl. 46); Mirimonde 1 (1977: 153, pl. 90); Rasmussen (2002, Lute). Men and women desport themselves in a public bath, amongst them two musicians, one playing a crumhorn (or bladder pipe), the other a cylindrical recorder; and there are singers. Some eat and drink, and passers-by lean over a fence, pointing and oggling at the goings on.

Arnold Böcklin

• Nymph with a Flute (1891), oil on wood, 80 × 54.8 cm, Arnold Böcklin (1827-1901). Darmstadt: Landesmuseum. Ref. Krimmel (1977: 215, pl. 95). A nymph holding a narrow flared pipe, probably a duct-flute (flageolet).
• Sirens (1827), oil on canvas, 46 × 31 cm, Arnold Böcklin (1827-1901). Berlin: Staatliche Museen, Inv. No. A I 754. Ref. Bildarchiv Foto Marburg (2002: DISKUS-Objekt-Dokument 02530586 – col.) Two sirens do their best to lure a passing sailboat onto their island. The sirens are depicted as chimeras, half woman, half ostrich. A pile of human skulls lies at their feet. One of the sirens plays a slender, conical pipe, probaby a duct-flute (possibly a recorder – a hole for the little finger of the lowermost (right) hand is clearly depicted.

Louis-Leopold Boilly (1761-1845)

• Les Aveugles [The Blind] (1825), lithograph by François de Delpech (1778-1825) after Louis-Leopold Boilly (1761-1845). Paris: Collection Prouté Ref. Paris RIdIM (1999). Two shabby blind musicians play fiddle and what looks like a cross between a recorder and a clarinet, and a young beggar boy holds out his hat. The wind instrument has the beak and what looks like the window/labium of a recorder, but there is a block-mounted key on the front just under the window, and there is no sign of a reed ligature. I am inclined to think this is a chalumeau rather than a recorder, though a csakan remains a possibility.
• Untitled (ca 1820), lithograph by François de Delpech (1778-1825) after Louis-Leopold Boilly (1761-1845). London: Martin Randall Collection. Ref. Anthony Rowland-Jones (pers. comm., 2001). A lady and four gentlemen, all well past their prime, engage with considerable gusto in music-making, closely grouped together and shown in half-length. The lady (ecstatically) and a gentleman (very vigorously) at the front sing from music. At the back, a man with tousled hair plays a one-keyed traverso, and in the middle a bald gentleman with very distended cheeks and bulging eyes sounds a horn. At the left, side on, a gentleman with a crooked nose concentrates on playing a duct-flute (recorder, flageolet or csakan), only the beak and window/labium of which are visible. Notes by Rowland-Jones (loc. cit.)

Ferdinand Bol (1616-1680), Dutch.

• Gaius Fabricius Luscinus' Intrepidity in Pyrrhus' Camp (1656), 485 × 350 cm, Ferdinand Bol (1616-1680). Amsterdam: Koninklijk Paleis. Ref. Haak (1984/1996: 360, fig. 760); Griffioen (1988: 438-9). Fabricius Luscinus (ie one-eyed) was a Roman commander and statesman whose incorruptibility and austerity were frequently regarded as models of the early Roman virtues. After the defeat of the Romans by Pyrrhus at Heraclea (280), Fabriciuss was sent to treat for the ransom and exchange of the prisoners. All attempts to bribe him were unsuccessful, and Pyrrhus is said to have been so impressed that he released the prisoners without ransom. In this paitning he stands on the steps with Pyrrhus who is protected by his guard. A man and two children tumble down the steps at their feet, the smallest holding a tiny duct-flute (possibly a recorder) with a distinct beak and foot.
• Woman with a Lyra da Gamba, Ferdinand Bol (1616-1680). Vienna: Kunsthistorisches Museum, Inv. GG 9056. Ref. Paolo Biordi (pers. comm., 2000); Anthony Rowland-Jones (pers. comm., 2007). A beautifully dressed woman wearing a cap plays a tenor-sized lyra viol which stands on a table before her. Underneath the vol is a sheet of music; to the right lies a tapering one-piece recorder of soprano size.

Hans Bol

• Feast in a Garden Pavilion / The Parable of the Prodigal Son (1559), engraving (from two plates), Bartholomeus de Momper after Hans Bol (1534-1593). ? Location. Ref. Hollstein (1949-: 53, no. 218); Gitarre & Laute 1980, II/3: 28-29); Rasmussen (2002, Lute; 2004, Bagpipes). "The principal scene depicts the Prodigal Son among the whores. Outside the pavilion a woman plays a lute. On the ground beside her there are a lute case (open), a flute case, a flute and a recorder. Inside the pavilion a woman plays a virginal and men play flute and shawm" (Rasmussen, loc. cit.) Not seen.
• Banqueting Scene in a Garden / The Parable of the Prodigal Son (1570), drawing, Hans Bol (1534-1593). Location unknown. Ref. Slim (1976: 12); Rasmussen (2002, Lute). "The foreground scene represents the Prodigal Son among the whores and includes a woman playing a lute and a man playing a flute. On the ground there are a lute case (open) lying on top of a flute case, a generic woodwind instrument (probably intended to represent a recorder) and an open music book" (Rasmussen, loc. cit.) Not seen.

Schelte [Schelderic] (Adamsz.) (à) Bolswert (ca 1581-1659)

• Shepherds and Shepherdesses in a Rainbow Landscape, engraving after Rubens, Schelte Bolswert (ca 1581-1659). New York: Metropolitan Museum of Art. Ref. Cafritz et al. (1988: 117, fig. 107). The group by a tree are very similar to those depicted by Rubens (Hermitage version) with a recorder in the hands of a shepherd who looks up from playing to see a rainbow (Rowland-Jones, pers comm.)
• See also Jordaens.

Filippo Bonanni

• Cabinetto Armonico (1716, 1723, 1776): Flute à bec (1716, 1723, 1776): Plate 19, Flauto, Filippo Bonanni (1658 – ?). Ref. Bonanni (1716/1964: pl. 19, b&w). An old man kneels beside a stream and plays a one-piece cylindrical recorder with a slightly flared bell.
• Cabinetto Armonico (1716, 1723, 1776): Psalm CL, Filippo Bonanni (1658 – ?). Ref. Bonanni (1716/1964: frontispiece, b&w). Around a plinth, many instruments lie scattered, including two flared-bell recorders and two ambiguous pipes which may be also be intended to represent recorders. Above, the words of Psalm 60 are written in Latin: Laudate cum in sono Tuba …

Giotto di Bondone = Giotto

Bonifazio [Bonifacio] de'Pitati [Bonifazio Veneziano; Bonifazio Veronese]

• Gardens of a Villa in the Veneto, Bonifazio de'Pitati (1487-1553). Private Collection. Ref. Visual Collection, Fine Arts Library, Harvard University, 372.P681.8Ve; Rasmussen (1999b); Rowland-Jones (2003: 9, fig. 5 – b&w). Detail from a long panel painting. "In the center foreground a musical ensemble with men playing viola da braccio, bass viol and recorder(?) and a woman playing a lute. A man with a music book presumably sings" (Rasmussen, loc. cit.) In fact there is no recorder here. "A woman sings and keeps time, and another woman strums or plucks a small lute (mandora). A man plays a bass viol and another man a cornett, the lower part of which is hidden by the table so that it could be eitehr an alto or a tenor (lysarden) … They all play and sing from part books … " (Rowland-Jones, loc. cit.)
• The Parable of the Rich Man's Feast (Dives and Lazarus), Bonifazio de'Pitati (1487-1553). Venice: Galleria della Accademia. Ref. Langdon & Norwich (1991: pl. 12 – col., detail); Ref. Anthony Rowland-Jones (pers. comm., 2002). Oblivious to the pleas of a beggar kneeling before them, the wealthy Dives and his two female companions are seated at a table listening to three musicians playing lute, viol and a duct-flute (flageolet or recorder) who all bend forward to concentrate on the open music-book held for them by a negro boy servant. Bonifazio has chosen to make the musicians the centre-piece for his composition, thereby completely disassociating Dives from the begging Lazarus.
• Musical Party, oval painting, painting, Circle of Bonifazio de'Pitati (1487-1553). Location unknown: auctioned 22/10/2003. Ref. Gabrius Databank (2007 – col.) A copy of part of Bonifazio's The Parable of the Rich Man's Feast showing the musicians and the listening woman at the end of the table engrossed in the performance.
• Adoration of the Shepherds (ca 1525), oil on panel, 118.1 × 152.4 cm, Bonifazio de'Pitati (1487-1553). Birmingham: City Museum and Art Gallery, P 101'55. On the far right, a rather doubtful young man looks on the central scene holding a duct-flute (flageolet or recorder) of which only the head is visible. There are 11 versions of this painting, all different (Rowland-Jones, pers com.)
• The Finding of Moses: Moses Brought Before Pharoah's Daughter, oil on panel, 26.2 × 76.6 cm, studio of Bonifazio de'Pitati (1487-1553). Detail. Sydney: Art Gallery of New South Wales 1149. To the left of the central scene three musicians play lute, viol and an ambiguous pipe which, judging by the puffed cheeks, the placement of the mouthpiece to one side of the mouth, and the absence of a windway is most likely a straight or mute cornett. However, the bell appears to be flared, like that of a recorder.
• The Finding of Moses (ca 1540-1550), studio of Bonifazio de'Pitati (1487-1553). Vienna: Gemäldergalerie der Akademie der bildenden Künste. Ref. Rowland-Jones (2002, in press). A reworking of an original by Bonifazio in the Palatine Gallery, Palazzo Pitti, Florence. The baby Moses in a cradle is handed to a patriarch-like figure, with six personages grouped side by side on the same level in the manner of a sacra conversazione. At the right, beyond a tree-trunk wihch divides the composition, musicians sing and play lute, viola and a recorder watched by a turbaned man.
• The Finding of Moses, studio of Bonifazio de'Pitati (1487-1553). Frankfurt: Collection of Dr F. Dreyfuss. Ref. Rowland-Jones (2002, in press). Musicians to the left of the central group play viol, lute and an ambiguous pipe which might be a recorder.
• The Finding of Moses, studio of Bonifazio de'Pitati (1487-1553). Location unknown: Auctioned Sotheby's, July 1983. Ref. Rowland-Jones (2002, in press). Musicians play lute, viol, and an alto recorder. All three musicians, seated or courcing, play form two music-books on a low table.
• Adoration of the Shepherds (ca 1523), Bonifazio de'Pitati (1487-1553). Madrid: Museo del Prado, 269. Ref. Anthony Rowland-Jones (pers. comm., 2001). The head ends of two duct-flutes, each clearly showing the beaked mouth-piece and window/labium, emerge from the panier of a young shepherd in conversation with Joseph.
• Concerto, ink sketch, 17.5 × 26.9 cm, Bonifazio de'Pitati (1487-1553). Florence: Galleria degli Uffizi, Gabinetto Disegni e Stampe, No. 1454 E. Ref. Anthony Rowland-Jones (pers. comm., 2001, 2002). A group of musicians with a small keyboard instrument (harpsichord or clavichord), a lute, two singers holding a music book, and a man playing what could be a cylindrical recorder of alto or smaller size, with a medium bell flare (mainly wood thickening) which is held right-hand lowermost. At the bottom of the sheet is a small sketch of a woman (?) playing a transverse flute. On the right is a standing figure, probably a woman, holding a sheet of ? music, probably in the act of listening to the performance. Notes by Rowland-Jones (loc. cit.)
• The Gardens of a Villa in the Veneto, studio of Bonifazio de'Pitati (1487-1553). Melbourne, Derbyshire: Melbourne Hall, Kerr Collection. Ref. Anthony Rowland-Jones (pers. comm., 2002). Seated around a table musicians sing and play a small lia da braccio, lute, recorder and bass viol.
• Concert champêtre (16th-century), studio of Bonifazio de'Pitati (1487-1553). Bourges: Musée du Berry o Bourges (Hôtel Lallemant,). Ref. Zaniol (1984, November: 7, footnote 13); Thomson & Rowland-Jones (1995: 12, fig. 6B); American Recorder 38(1): cover – col. (1997); Lesure (1966/1968: pl. 10); Paolo Biordi (pers. comm., 2000); Rowland-Jones (pers. comm., 2002). In a beautiful garden against a backdrop of mountains, woman plays a cylindrical recorder accompanied by a man on lute and two other women on virginals, and a cello. The window/labium of the recorder is quite clearly shown, though all fingers of both hands seem to be employed covering the vents.

Henri Bonnart (1642-1711), French

• La Musique, engraving, Henri Bonnart (1642-1711). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie, Oa 71, pet. fol. Ref. Pottier (1992: 37, pl. XXIII); Mirimonde (1995: fig. 68); Pottier (1995: 132, pl. 5); Archiv Moeck. Depicts a female singer at whose feet lie a viol and a one-piece, cylindrical recorder, the window/labium and seven finger-holes of which are clearly visible.
• Euterpe, engraving, Henri Bonnart (1642-1711). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie, Oa 71, pet. fol. Ref. Pottier (1988: 42, pl. XXVIII); Pottier (1992: 41, pl. XXVII); Pottier (1995: 133, pl. 6); Archiv Moeck. Euterpe is seated at the organ; at her feet lie a badly depicted recorder and oboe; the recorder is small, one-piece, conically shaped, with a single ferrule at the foot.
• L'Air, engraving, Henri Bonnart (1642-1711). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie, Oa 52-56, pet. fol. Ref. Pottier (1992: 37, pl. XXI & XXII). Not seen.

Nicolas Bonnart (?1637-1718), French

• L'Air, engraving, Nicolas Bonnart (?1637-1718). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie, Oa 56, pet. fol. Ref. Pottier (1992: 33, pl. XX); Pottier (1995: 130, pl. 4); Archiv Moeck. A child plays a one-piece, conically shaped, flared-bell recorder, sitting at the feet of a female organist.
• Joueur de flûte ou de haubois [Flautist or oboist], engraving, Nicolas Bonnart (?1637-1718). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie, est ED 113 t2. Ref. Pottier (1992: 51, pl. XXXVII). Not seen.

Robert Bonnart (1652 – ca 1729), French

• Euterpe, engraving, Robert Bonnart (1652 – ca 1729). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie Oa 72 pet. fol. Ref. Mirimonde (1975: fig. 68); Pottier (1992: 43, pl. XXXIX); Pottier (1995: 133, pl. 7); Mirimonde (1975: 1, pl. XXXIV, fig. 68); Archiv Moeck. Euterpe holds an alto baroque recorder with turned mounts. At her feet lie a lyre, a shawm, a curtal, and a triangle with rings.

Sebastiaen Bonnecroy

• Vanitas, painting, school of Sebastiaen Bonnecory (op. 1650-1676). Location unknown: auctioned 04/11/2003 (sold). Ref. Gabrius Databank (2007 – col.) On a ledge lie a watch, a candlestick, a letter, a music score, a bottle and a renaissance-style recorder only the head and body of which are visible. Bubbles float above.

Jaspar van der Borcht

• Shepherds, tapestry, 264 × 199 cm, Jaspar van der Borcht (1703-1742). Munich: Bayerisches Nationalmuseum, Inv. T 3941. Ref. Munich RIdIM Mbnm-119 (ex Anthony Rowland-Jones, 2003). Sitting on a hillock in a clearing on a forested hillside, surrounded by his sheep and atched by an older shepherd. a young shepherd plays a flared-bell pipe (possibly a recorder, given that the little finger of his lowermost (right) hand is covering its hole, though no sign of a window/labium is present.

Pieter van der Borcht

• P. Ovidii Nasonis Metamorphoses Expositae: Mercury and Argus (Antwerp, 1591), woodcut, Pieter. van der Borcht (1545-1608). Ref. University of Virginia (2003). Argus sits on a rock at the foot of a hill, dozing as Mercury pipes to him on a curved pipe with a flared bell. Io (as a heifer) grazes in the background. Above, Mercury can be seen flying from the heavens on a cloud.

Paris Paschalinus Bordone [or Bordon]

• Shepherd and a Nymph crowned by a Cupid, canvas 100 × 35 cm, Paris Paschalinus Bordone (1500-1571). Location unknown; sold by Galerie G. Petit, Paris, 2 June (1914). Ref. Sale Catalogue No. 10; RIdIM (2000). A naked shepherd leaning against a tree unclothes a nymph who reaches across as if to grasp the cylindrical duct-flute (flageolet or recorder, the window/labium and at least four finger-holes clearly visible) he holds beside him in his hand. Above them flies Cupid, about to crown them with a wreath.

Abraham Borm

• Young Man with a Fortune Teller, oil on panel, 43.5 cm × 33.7 cm, Abraham Borm (op. 1653 - m. 1668). Middelburg: Zeeuwsmuseum, Inv. M02-001. Ref. Sotheby's New York, Sale NY7313: Important Old Master Paintings, 28 May 1999, Lot 122 (sold); Website: Zeeuwsmuseum (2007 - col.) A young man in a hooded cloak consults a fortune-teller who holds an open book with one hand, and points with her other hand to an alcove on the wall which contains vanitas objects, including a book, a bottle, a jar and a clearly depicted hand-fluyt. In the foreground is an astronomical globe, shrouded with a crimson cloth.

Johannes Borman (ca 1630-1670), Dutch

• Vanitas Still Life with a Skull, Flowers in a Terracotta Vase, 62.2 × 47.3 cm, Johannes Borman (ca 1630-1670). London: Rafael Valls, auctioned 2004. Ref. Catalogue Recent Acquisitions, Rafael Valls Ltd (2004 – col.); Gabrius Data Bank (2007 – col.) On a shelf are a terracotta vase of flowers, a pau shell, and the upper part of a skull underneath which are some crumpled pages from a book and a hand-fluyt, only the head of which is visible. A maker's mark shows clearly below the window/labium.

Helmut Bornefeld

• Balkenspiel [Playframe] (October 1962), collage of coloured wood veneer on pasteboard, Helmut Bornefeld (1906-1990). Stuttgart: Württembergischen Landesbibliothek, Stuttgart. Ref. Braun (2006). Included because it is by a prominent recorder player and composer for the instrument. An abstract work, possibly depicting a playground climbing frame.

Lluis Borrassá

• Angeles músicos a la izquierda de al Virgen, Lluis Borrassá (fl. 1383-1424). Barcelona: Catalonian National Museum of Art. Ref. Rowland-Jones (1997: 11, fig. 9B). Shows an angel musician playing a small duct-flute (flageolet or recorder) whilst others play harp a, fiddle, etc. Borrassá has a very distinctive style.
• Madre de la Divina Gracia (early 15th century), attributed to Lluis Borassà (fl. 1383-1424). Barcelona: Museu Diocesà de Barcelona, Cat. 47. Ref. Gudiol (1986: 398). Shows cylindrical duct-flute (flageolet or recorder), "clearly a recorder" according to Rowland-Jones (1997: 15).

Loek Bos (contemporary), Netherlands

• Toontje (1984), statuette, Loek Bos (contemporary). The Hague. Ref. Recorder Magazine 19(3): front cover (1999 -col.) 'Toontje' is a pun on the diminutive of 'Anthony' which also means 'a short note'. A small boy sits on a wall holding a soprano recorder of modern design.

Pieter van den Bos (1613-1663), Netherlands

• Recorder Player in a Kitchen, oil on panel, 23.5 × 21 cm. Bâle: Musée des Beaux Artes, Inv. G.1958.12. Ref. Paris RIdIM (1999). In a kitchen, a tall man leaning on a staff and a young child watch and listen as woman plays a slightly flared recorder. Two dead fowls lie on a metal dish in her lap – a sad comment on her playing, perhaps!

Hiëronymous Bosch (Hiëronymous/Jerome van Aken/Aeken/Aquen, Jheronimus Bos, Jeroen Anthoniszoon)

• The Garden of Earthly Delights: Hell ( inner-right wing of the triptych), Hieronymous/Jerome Bosch (ca 1450-1516). Detail. Madrid: Museo del Prado 2823. Ref. Ibañez & Gallego (1972: 63 - col.) If, as the Book of Revelations has it, pipers are to be heard no more in Babylon, they are certainly to be heard in other places. The fellow holding up the giant shawm (to the right of the hurdy gurdy) plays what can only be a duct-flute (flageolet or recorder) in a most unusual manner. Doubtless he is sounding a bum note or two! Perhaps he is a music critic! In the event, this vulgar instrument is cylindrical and only two finger holes are visible, the rest being 'hidden' (or to follow)!
• The Seven Deadly Sins: Lust and Paradise (ca 1480), panel, 120 × 150 cm, Hieronymous/Jerome Bosch (ca 1450-1516). Madrid: Museo del Prado 2822. Ref. Mirimonde (1977: 192, pl. 120); Ibañez & Gallego (1972: 58 – col. & 59 – col.); Paris RIdIM (1999, 2000); Web Gallery of Art (2009). In Lust a man in a tent caresses a woman. In the front, another couple indulge themselves. On a table a fine meal is prepared, with an apple, a peach, and a plate of cherries; beside it is a flagon of wine. To their right, two fools jest. In the foreground lie a harp, a small drum, and a flared-bell recorder. To the far right a nun gestures towards a portrait of Christ.

  The recorder has a very clear window/labium, and the mouthpiece is in a much darker material than the rest of the instrument. The left hand little finger double hole is slightly lower down the instrument than that for the right hand. There is a very slight bell-flare to what is an otherwise cylindrical instument. It is of about alto size. Additionally, in the roundel at the right of the picture representing Paradise, three angels play a rectangular psaltery, a harp similar to the one in Lust and a small wind instrument which could be a recorder. It has a black mouthpiece similar to the one in Lust.

• Concert in an Egg (ca 1561), oil on canvas, 108.5 × 126.5 cm, after Hieronymous/Jerome Bosch (ca 1450-1516). Lille: Musée des Beaux Artes, Inv. P 816. Ref. Fischer (1972: 14 & 36); Joconde Website (1999); Bridgeman Art Library (2002: Image ID LIL 16717 – col.) Copy of a lost original by Bosch. Similar to an engraving by Hieronymus Cock. A satirical scene depicting alchemy and anthropomorphism which includes an egg containing a singer (with a musical score setting the words 'Toutes les nuits que sans vous je me couche … ', 'Every night that I sleep without you … '), a monk, and female musicians playing a pipe and harp. The mouth-piece shape and the upper hand position of the pipe show that a straight cornett is intended, although the lower part of the instrument is hidden (Anthony Rowland-Jones, pers. comm., 1999).
• Triptych: The Last Judgement (1550s): oil and grisaille on panel, Hieronymous/Jerome Bosch (ca 1450-1516). Vienna: Akademie der bildenden Künste. Ref. Anthony Rowland-Jones (pers. comm., 2007); Web Gallery of Art (2007 - col.) The outer wings (in grisaill) depict St James the Greater (left) and St Bavo (right). The right wing depicts Hell. The left wing depicts Paradise.
  
  Amongst the many punishments depicted in Hell a small scene shows three dreadful black devils, on of whom, with a red skull-cap, forces an emaciated naked woman to sing from a music-book; she had, one supposes, devoted her life to music rather than to God. So beware! A second devil bends over with a bagpipe chanter in one hand and a instrument resembling an alto, cylindrical, slightly flared recorder in the other. As in The Garden of Earthly Delights, the body part used for blowing this instrument is somewhat unconventional.
  
  In the central panel representing The Last Judgement itself, on the flat roof of a house, an ape plays a lute which lies on his head, and a long-haired naked woman is being oggled by an appalling black dragon. Behind her, to the left, a creature in boots but with an egg-shaped blue body has a swan-like neck and a head like a crane's, but the beak (still all blue) turns into a tenor recorder! The fingering is again, very recorder-like, except that this character only has three fingers (and a thumb) on each hand. The lower (left) hand is far too near the start of the bell-flare for this to give the impression of representing a shawm – but with Bosch, who knows?
• Het scheren van de zot [The Cutting of the Cobblestones], engraving by Pieter van der Heyden (ca 1530 – p.1572), after Hieronymous/Jerome Bosch (ca 1450-1516). Ref. Kockelbergh (1994: 128, no. 83); Rasmussen (2004: Bells). Published by Hieronymous Cock. "Includes a fool with a fiddle leaning on the chair beside him and with a pellet bell on his costume. A child holds a recorder" (Rasmussen, loc. cit.) Not seen.
• Triptych: Adoration of the Magi (1510-1520), oil on panel, 85.5 × 133.6 cm, follower of Hieronymous/Jerome Bosch (ca 1450-1516). Detail. s'Hertogenbosch (Den Bosch): Noordbrabants Museum. Ref. Anthony Rowland-Jones (pers. comm, 2004). The left panel shows two shepherds arriving at the manger, with ox and ass in the background, and the shepherds' dog. One shepherd points with his foreinger of the left hand to the Nativity in the main panel, clutching his pipe in the same hand. It is shaped as a soprano hand-fluyt with a medium to strong bell-flare. The beaked end and the window/labium are absolutely clear, but only four finger-holes are shown, one above his thumb (which crosses the instrument and could cover another finger-hole) and three below.

Balthasar van den Bossche

• Elegant Company Making Music on a Terrace, oil on canvas, Balthasar van den Bossche (1681-1715). Location unknown: Auctioned by Christie's, 17 November 1994 (unsold). Ref. Gabrius Data Bank (2002 - b&w.) Two women and a man are seated on a terrace, an open music book at their feet. One of the women plays a theorbo. A man seated opposite plays a narrowly conical pipe, possibly a recorder: the first finger of his upper (left) hand is raised and all four fingers of his lower (right) hand seem to be covering their holes. The bell is hidden behind the lutenist's sleeve. Behind them another woman appears to listenting intently. A spaniel fusses at the hem of the man's cloak. To the group's right is a bust. On a wall opposite is a bird.

Abraham Bosse (1602-1675)

• Les navires d'Enée poursuivis par Polyphème, Abraham Bosse (1602-1675). Detail. Paris: Bibliothèque Nationale, Print Collection, Cliché BN 20 680. Ref. Pottier (1992: 64, pl. L); Archiv Moeck. Polyphemus strides through the water holding a pine tree in one hand, a giant-sized flared-bell recorder slung around his neck, chasing a number of boats rowing as fast as they can out to sea.
• From La Rhétorique des Dieux by Denis Gaultier (S. 79): Under the Phrygian Mode (1655), engraving, Abraham Bosse (1602-1675), Robert Nanteuil (1623-1678) & Eustache Le Sueur (1617-1655). Berlin: Staatliche Museen Preußischer Kulturbesitz, Kuperferstichkabinett (West). Ref. Fabbri (1952, 2); Munich RIdIM (1999: Bkk 785); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). A winged putto sits on top of an ornate column labelled "Joys Phrygien" strumming a lyre. On either side stand winged putti, that on the right dressed as a soldier. Scattered against and around the column are musical instruments including four viols, harp, lute, sistrum, lyre and three flared-bell duct-flutes. Although the latter have too few finger-holes (and one of them no thumb-hole) they may be intended to represent recorders as this was not the shape of the French flageolet at the time. Notes (in part) by Anthony Rowland-Jones (pers. comm., 1999, 2000).

Materno Bossi

• Stucco decorations, Materno Bossi (op. 1778-1791). Ebrach Abbey (Northern Bavaria): under and on lower part of West organ, on gallery over entrance to Nave. Ref. Anthony Rowland-Jones (pers. comm., 1999). Deep relief stucco decorations which show musical instruments in excellent detail, in swags with ribbon scroll work, including portative organ, harp, bassoon, two oboes, triangles with flares and two recorder-like small pipes. Under the gallery, on the ceiling are two equal-sized crossed instruments, one a clear duct-flute with well-shaped beak, and clear labium. Three finger-holes are visible (others occluded). There are six moulded decorative rings at points along the instrument, including the bell. The instrument is roughly cylindrical but its internal bore widens at the bell end. The other instrument is of the same proportions, but it shows what appears to be a thumb-hole and could thus represent a second recorder seen from underneath as a neighbouring boss decoration has two crossed oboes.

Jan Both (ca 1618-1652), Dutch

• Mercury and Argus, oil on canvas, Jan Both (ca 1618-1652). Ref. Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000). In his right hand, Mercury holds his pipe near Argus' ear. The instrument is too small to identify. Io (as a white heifer) looks on as Argus falls asleep.
• Mercury and Argus, oil on canvas, Jan Both (ca 1618-1652). Location unknown: auctioned 21 March 2002 (unsold). Ref. Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000); Gabrius Data Bank (2001 – col. & 2002 – col.) In his left hand, Mercury (in a red cloak, his helmet on the ground behind him) holds his pipe near Argus' ear. The instrument is too small to identify. Io (as a white heifer) looks on as Argus falls asleep. Auctioned 16 April 1999 (unsold).
• Hermes and Argus (ca 1650), Jan Both (ca 1618-1652) & Nikolaus Knüpfer (1603-1655). Vienna: Künsthistorische Museum 9031. Ref. Greek Mythology Link: Catalogue of Images, by Carlos Parada (2002). Creeping towards him, Mercury (naked, apart from his winged helmet) plays (one-handed) a flared-bell pipe (possibly a recorder) into the drowsy Argus ear. Io (as a heiffer) wanders away from them.
• Mercury Lulls Argus into Sleep by Making Music, painting, Jan Both (ca 1618-1652). Location unknown. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0023082 (2009 - col.) Before a ruined temple, Argus leans drowsily against a piece of broken column whilst mercury plays his narrow cylindrical pipe. The instrument's window/labium can be seen and the fingers are deployed appropriately for recorder-playing. Io (as a white heifer) looks on, other cattle browse, and a dog lies sleeping.

Sandro Botticelli [born Alessandro Filipepi]

• Coronation of the Virgin Sandro Botticelli (1445-1510). Florence: Conservatory of the Quieti. Ref. Paris RIdIM (1999). The Virgin is crowned by Christ (who wears a triple crown), to a blaze of music by angels playing straight trumpets, fiddle, harp, organetto, lute, psaltery, nakers, and a perfectly depicted cylindrical recorder (the paired holes for the lowermost finger clearly shown).
• St Francis, Sandro Botticelli (ca 1445-1510). Detail. London: National Gallery. Ref. National Gallery Publications, London: card (1995, col.); Rowland-Jones (1995: 45, footnote 8); Paris RIdIM (1999 – detail); Guardian Unlimited, 1 March (2003); Hijmans (2005: 222). A small devotional panel which shows St Francis holding the cross, which he is examining closely, in adoration. On either side of him are beautiful music-making angels, one of whom plays a small flared recorder with paired holes for the little finger of his lowest hand and with a mouthpiece of contrasting (darker) material. Other instruments include psaltery, large fiddle, mandore, harp, tambourine, ? mute cornett, and small ? drum or another tambourine. This painting was formerly thought variously to be by Filippino Lippi or by a follower of Botticelli, but its attribution to the master himself has recently been confirmed.
• Virgin and Child (ca 1490), tempera on wood, 88.9 × 55.9 cm, studio of Sandro Botticelli (ca 1445-1510). Cambridge, Massachusetts: Fogg Art Museum, Accession No. 1943.104. Ref. Lightbrown (1978: 122); Belozerskaya (2002: 265-166); Nuttall (2004: 206-207); Anthony Rowland Jones (pers. comm., 2007). The Christ Child holds a pomegranate, a fruit whose red seeds foreshadow the crucifixion. However, examination of this painting using infrared light reveals that the artist originally sketched the child holding a recorder. This panel is one of many renditions of this composition created by members of Botticelli's workshop and was created by a recognizable hand within it. The northern-inspired landscape and buildings betray the cultural interchange between Florence and northwest Europe in the fifteenth century. Notes from wall label, Fogg Art Museum.

Francesco Botticini

• S. Gerolamo Altarpiece: St Jerome in Penitence with Saints and Donors (ca 1490), Francesco Botticini (ca 1446-1497). Detail. London: National Gallery, NG 227. Ref. Anthony Rowland-Jones, pers com. (1998). Six prominent angels, each playing a musical instrument, are depicted in the upper corners of the painting. The instruments are two trumpets, a lute, a fiddle, a psaltery, and an ambiguous woodwind instrument of tenor size. The latter is slightly conical with a flared bell and a narrow mouthpiece with a shadowy blur where the window of a duct-flute would be found. Thus it probably represents a recorder, even though it has rather too many finger-holes. Rowland-Jones (pers. comm.) has suggested that Botticini deliberately showed more finger-holes than the recorder actually has to suggest a super-human, angelic, and even more glorious instrument.
• Seven Musical Angels (ca 1475-1497), tempera on panel, 36 × 121 cm, Francesco Botticini (1446-1497) & Raffaelo Botticini (op. 1474-1520). Detail. Empoli: Museo della Collegiata di Sant' Andrea. Ref. Visual Collection, Fine Arts Library, Harvard University 372.B 658.36[a]; Rasmussen (2002, Horn); Bridgeman Art Library (2003: Image ACI 64871-4 – col.) Seven musical angels play oliphant, bagpipe, triangle, tambourine, fiddle, duct-flute (probably a recorder), lute. The recorder is slender with a slightly flared bell. The window/labium is visible and the instrument is played left hand lowermost.

Samuel Bottschild (1641-1706), German

• Concert of the Muses, sketch, pencil on paper, 20.5 × 33 cm, Samuel Bottschild (1641-1706). Cologne: Wallraf-Richartz-Muzeum, Z 2672. Ref. Munich RIdIM (1999: KNwr - 315). Seated on a cloud, Apollo plays his lyre accompanied by the Muses who sing and play viol, transverse flute, lute, lyre. A large instrument with an ornate head and a bocal, possibly a bass recorder, is held by Euterpe. In the bottom RH corner is a globe.

Edme Bouchardon (1698-1762) OR Jacques Philipe Bouchardon (1711-1753), French

• Three Music-making Cherubs, drawing, 21 × 26 cm, by Guillaume Thomas Raphael Taraval (1701-1750) after ? Bouchardon. Uppsala: Universitet, Bibliotek, Davidsson 5349b, H992. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). Two cherubs play tambourine and cylindrical recorder. The window/labium of the latter is clearly depicted; all fingers are down, an there is no bell flare. A third cherub has put his straight trumpet down. Anthony Rowland-Jones (loc. cit.)

François Boucher

• The Enjoyable Lesson (1748), oil on canvas, 92.7 × 76.9 cm (oval), François Boucher (1703-1770). Melbourne: National Gallery of Victoria, EI-1982. Ref. Hoff (1983: cover-col.) Boucher painted seven works based on the play Les Vendanges de Tempé by Charles-Simon Favart. It is the love story of the shepherdess Lisette and the 'Little Shepherd', centred around the trials that their relationship endured before they gained parental consent for their marriage. The Enjoyable Lesson is from Scene Five, in which the Little Shepherd is teaching Lisette how to play the flute. The erotic overtones of the scene are clearly not ignored by Boucher who posed the figures in an intimate and blatantly suggestive way.
  
  A gently flared pipe is played jointly by the Little Shepherd (who fingers the instrument) and Lisette (who blows it). There is a sphinx on the LHS behind the figures, sheep and a goat in the LHS foreground, and a basket of flowers on the RHS foreground. Though ambiguous, the pipe is played with the little finger in the correct position for a recorder, and a window/labium is depicted, albeit simply.
  
  Porcelain figurines based on this painting are held by the National Gallery of Victoria, Art Gallery of Western Australia, Victoria & Albert Museum, London, Museum of Fine Arts, Boston, and the Bayerischen Nationalmuseum, Munich; an engraving after it is in the State Gallery, Stuttgart.
• The Flute Lesson, painting, François Boucher (1703-1770). London: Phillips. Ref. Bridgeman Art Library (2003: Image PFA 13911 – col.) A seemingly perfect copy of The Enjoyable Lesson in the National Gallery of Victoria, Melbourne (see above).
• The Enjoyable Lesson, engraving, François Boucher (1703-1770). Stuttgart: Staatsgalerie. Ref. Wiese (1988: fig. 85); Archiv Moeck. A gently flared recorder is played jointly by a shepherd (who fingers the instrument) and a shepherdess (who blows it). There is a sphinx on the LHS, a tree behind, sheep and a basket of flowers on the RHS.

  Based on the painting in the National Gallery of Victoria, Melbourne. Dedicated to Monsieur Le Comte de Coigny.

• The Enjoyable Lesson, engraving by Johannes Esaias Nilson (1721–1788) after an original painting by François Boucher (1703-1770). Ref. Storck (1910: 310, fig. 301); Archiv Moeck. A gently flared recorder is played jointly by a shepherd (who fingers the instrument) and a shepherdess (who blows it). There is a sphinx on the LHS, a tree behind, sheep and a basket of flowers on the RHS.
• Fontaine de la Verité [Fountain of Truth] / A Shepherd Teaching a Shepherdess to Play the Flute, oil on canvas, circle of François Boucher (1703-1770). Location unknown: 13 December 200 (unsold); auctioned 11 July 2003 (unsold) Ref. Gabrius Data Bank (2007 – col.) A mirror image of The Enjoyable Lesson with a few minor differences.
• Bacchante playing a Pipe, François Boucher (1703-1770). Detail. Moscow: Pushkin Museum of Fine Arts, #41. Ref. USSR Old Master Paintings (1979: 27-col.; 114-115-b&w). A most seductively arranged Bacchante plays a small cylindrical duct-flute (flageolet or recorder); a tambourine lies beside her and four putti gambol in the background.
• Sleeping Shepherd, attributed to François Boucher (1703-1770), French. Chartres: Bishop's Palace Museum (stolen in 1996). Includes a recorder (Rowland-Jones, pers com.)
• Allegory of Music (1764), oil on canvas, 10.35 × 13.00 cm, François Boucher, French (1703 – 1770). Detail. Washington: National Gallery of Art, Samuel H. Kress Collection 1946.7.2. Ref. Mirimonde (1975: pl. XV, fig. 27 – b&w); Ford (1986: #146); Pottier (1992: 46, pl. XXXII-b&w); Dynamic Classical Catalogue 1996 – a CD catalogue from Italy); Archiv Moeck.; Paris RIdIM (1999). This exquisite painting shows a personification of Music surrounded by doves and cherubs one of whom plays a lyre while he proffers her a cylindrical recorder, the beak, window/labium and seven finger-holes clearly visible. A straight trumpet lies beneath Music's knee, an open music book by her elbow.
• Allegory of Music (1764), pen and brown ink with red wash on laid paper, oval, 16.7 × 23.0 cm, François Boucher (1703 – 1770). Detail. Washington: National Gallery of Art, Ailsa Mellon Bruce Fund 1979.15.1. Detail shows what looks like a baroque recorder lying across an open music book; a cherub in Music's lap strums a lyre.
• La Musique, engraving after François Boucher, French (1703 – 1770). Location unknown. Ref. Bibliothèque Forny (photocopy); Pottier (1992: 46, pl. XXXII). Not seen.
• Venus and Cupid, painted ivory, 55 × 78 mm, after François Boucher, French (1703 – 1770). London: Wallace Collection. Ref. Pottier (1992: 45, pl. XXXI). Not seen.
• Seated Nymph with Flutes (1752), oil on canvas 96 × 140 cm, workshop of François Boucher (1703 – 1770). London: Wallace Collection, Inv. P481. Ref. Summary Illustrated Catalogue of Pictures (1979: 28, P481-b&w); Pearson (1998: 39 – col.) A nymph plays a slender duct-flute (flageolet or recorder) and a putto plays a timbrel for Cupid. Another cupid offers her a wreath. Since the 'nymph' has cast her crook (as well as her clothes) aside she is probably a shepherdess.
• Reclining Nymph Playing the Flute with Putti, painting, François Boucher (1703 – 1770). Location unknown: auctioned 6 July 2005 (sold). Ref. Gabrius Data Bank (2007 – col.) Another version of the Seated Nymph with Flutes in the Wallace Collection, London (see above). A nymph plays a slender duct-flute (flageolet or recorder) and a putto plays a timbrel for Cupid. Another cupid offers her a wreath. Since the 'nymph' has cast her crook (as well as her clothes) aside she is probably a shepherdess.
• La Poésie pastorale, engraving after François Boucher (1703 – 1770), Duflos. Location unknown. Ref. Pottier (1992: 47, pl. XXXIII); Archiv Moeck. A young woman sits beneath a tree beside a stream playing a slender, cylindrical pipe (possibly a recorder).
• The Flute Players, tapestry, 294 × 268 cm, after cartoons by François Boucher (1703 – 1770). Hursley Park (Hampshire). Ref. Royal Academy, Winter Exhibition: France in the Eighteenth Century, No. 1033 (1968); Archiv Moeck. One of a set of Beauvais tapestries, Nobel Pastorale (1755), designed in 1755 and woven between 1758 and 1778. There is another copy in the Cleveland Museum of Art, USA. Three couples desport themselves amongst a garden. One couple share the playing of a cylindrical duct-flute with a prominent beak (probably a flageolet but possibly a recorder), he fingering and she blowing. They are watched by one of the other couples from behind a hedge: the girl points at the with a somewhat alarmed look on her face whilst the young man, with a particularly lascivious gleam in his eye, offers her his own flute. The third couple gaze rapturously at the first, as does a shepherd boy with his dog.
• The Flute Players (1758-1778), wool & silk tapestry, 363 × 376 cm, designed by François Boucher (1703-1770). Cleveland: Museum of Art, 42.822. Ref. Ford (1991: #204, fig.) One of a set of Beauvais tapestries, Les beaux pastorales, designed in 1755 and woven between 1758 and 1778. There is another copy at Hursley Park, Hampshire, UK. Three couples desport themselves amongst a garden. One couple share the playing of a cylindrical duct-flute with a prominent beak (probably a flageolet but possibly a recorder), he fingering and she blowing. They are watched by one of the other couples from behind a hedge: the girl points with a somewhat alarmed look on her face whilst the young man, with a particularly lascivious gleam in his eye, offers her his own flute. The third couple gaze rapturously at the first, as does a shepherd boy with his dog.
• Bacchantes (ca 1745), oval, 117.3 × 97 cm, François Boucher (1703 – 1770). San Francisco: de Young Museum (currently removed to Palace of the Legion of Honour). Ref. Paris RIdIM (1999); Nash et al. (1999: 99 – col.) The pendant of Diane et Callisto. A woman sits beneath a tree playing a slender cylindrical pipe (possibly a duct-flute) accompanied by a second scantily clad woman on a tambourine with pellet bells and jingle rings. The window/labium of the pipe may be represented by a shadow; the little finger of the player's lower (right) hand is poised above its finger-hole; there are two holes between the hands, and although finger 3 of the right hand is underneath the instrument there is actually a hole for it. Thus a recorder remains a possibility.
• Cupid Musicians, François Boucher (1703 -- 1770). San Francisco: Californian Palace of the Legion of Honour. Ref. Mirimonde (?date-4: 329, fig. 19). Three pretty putti rest on clouds – one writes music with a quill pen (there are three books of open music spread around this picture). One above holds a roll of paper; the third, above further, leans forward playing a short cylindrical pipe with his left hand lowermost. The latter could possibly be a recorder. At the left, a fourth putto blows a small straight trumpet. Notes by Anthony Rowland-Jones, pers. comm. (1999).
• Pastorale, oil on canvas, 87 × 70 ml, after François Boucher (1703-1770). Beaune: Musée des Beaux-Arts et Musée Marey, Inv. 866.2.1. Ref. Joconde Website (1999). Copy of an original by Boucher. A scene in which a couple guard their sheep, one playing on a duct-flute (flageolet or recorder), near a fountain, surrounded by flowers. Not seen.
• The clever Rabbit, oil on canvas, 24 × 25, attributed to François Boucher (1703-1770). Marseille: Musée des Beaux Artes, Inv. 816 000PE013616. Ref. Joconde Website (1999). A girl, a boy with a duct-flute (flageolet or recorder), an erect rabbit and a fountain. Not seen.
• The Flageolet Player (1766), oil, 55.5 × 44.5 cm, François Boucher (1703-1770). Düsseldorf: Kunstmuseum, D 6/1970. Ref. Munich RIdIM (1999: DÜk 11). A beautiful young woman reclines in a garden, a basket of flowers on a wall behind her, a dog at her feet. Beside her, a young man plays a cylindrical duct-flute, probably a flageolet (as the title suggests) given the position of the thumb of the uppermost hand.
• Arcadian Scene with Couple Dancing, ? pencil drawing, François Boucher (1703-1770). Paris: Unknown collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). A seated shepherd plays a pipe for the dancers. His instrument is of alto size and is played right hand lowermost.
• Pastoral Scene, François Boucher (1703-1770). Germany: Private Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). A young shepherd holds a small pipe (possibly a recorder) in his right hand to his lips. No details of the instrument are visible beyond the presence of the beak characteristic of duct-flutes and an angular, short flare at the foot. A passing shepherdess with a rake over her shoulder listens to the music.
• The Lonely Shepherd, François Boucher (1703-1770). Paris: Private Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). A shepherd sits at the foot of a tree with his pipe and what appears to be sheet music. His instrument is cylindrical and of soprano/alto size. Five finger-holes are visible, the upper ones hidden by the music. The foot joint is of a lighter material attached with a strong decorated ring, and there is a small tuning hole in the side of the bell.
• The Flute Lesson (1751), oil on canvas, 63.2 × 101 cm, François Boucher (1703-1770). Zurich: Rau Collection. Ref. Exhibition: La Collezione Rau, Sei secoli di Pittura Europea, Accademia Carrara, Bergamo (2002). To pass the time while minding their sheep, two children amuse themselves by playing on a narrow cylindrical duct-flute. Sitting beneath a tree, He fingers the instrument whilst she blows. Their dog looks on.
• Lyric Poetry, black chalk on cream paper, 27.3 × 25.7 cm, François Boucher (1703-1770). New York: Frick Collection, 67.3.100. Ref. Ford (1987b: #26, fig.) "A child in a landscape writes on a scroll. A wind instrument, a lyre, and two small recorders lie on the ground in front of him. (This work was probably a design for an engraving, done subsequent to the painting entitled Poetry …)" (Ford, loc. cit.) The 'recorders' could just as well be flageolets. Their characteristic beaks are visible as are the window/labium and several finger-holes of one of them. On the ground there are also a tambourine and a shawm (or possibly a straight trumpet).
• The Arts and Sciences: Poetry; Music (1750-1752), oil on canvas, lined and mounted on wood, 217.2 × 96.5 cm, François Boucher (1703-1770). New York: Frick Collection, 16.1.14. Ref. Mirimonde (1975: pl. X – b&w); Ford (1987b: #27, fig.); Frick Collection (2001). "In the upper scene (Poetry) a small boy in a landscape writes on a scroll. A wind instrument and a lyre lie on the ground in front of him. Two small recorders, lying with these instruments have been painted over, but are visible by means of infared photography. (See the previous entry.) In the lower scene (Music) a similar child in a landscape plays a pipe and reads from a music book (which has visible but nonlegible notation). A violin rests on the ground" (Ford, loc. cit.) The wind-instrument has a markedly flared bell and seems to be blown with a cup mouthpiece, but his hand position is suggestive of a recorder. "It seems likely that they [ie these panels] once decorated an octagonal library adjoining Madame de Pompadour’s bedroom in the Château de Crécy, near Chartres, the first property the Marquise acquired after her official recognition as royal mistress in 1745 … Tapestries were woven after them by Neilson at the Gobelins manufactory in the Spring of 1752; they were upholstered to furniture frames delivered to Bellevue, another of Madame de Pompadour’s residences at the time, and examples of them have survived" (Frick Collection, loc. cit).
• The Flageolet Player (1766), oil on canvas, 55.3 × 44.5 cm (oval), François Boucher (1703-1770). Location unknown: Sotheby's Sale NO7871, Important Old Master Paintings including European Works of Art, 23 January 2003, Lot 90 (sold). Ref. Catalogue, Sotheby's Sale NO7871 (2003: Lot 90 – col.); Gabrius Data Bank (2007 – col.) Boucher painted seven works based on the play Les Vendanges de Tempé by Charles-Simon Favart. It is the love story of the shepherdess Lisette and the 'Little Shepherd', centred around the trials that their relationship endured before they gained parental consent for their marriage. The Flageolet Player is from Scene Five, in which the Little Shepherd is teaching Lisette how to play the flute. At the bottom of a garden a young man sits beneath a tree playing a cylindrical duct-flute (flageolet or recorder) to a beautiful young girl, a dog at their feet. This work fetched a price of US $904,000! Formerly in the collection of Baron Heinrich Thyssen-Bornemisza.
• Allegory of Autumn (1753), oil on canvas (irregular, more or less oval), 113.7 × 161.9 cm, François Boucher (1703-1770) & workshop. New York: Metropolitan Museum of Art, 69.155.1 Ref. Baldassare (?date: 2); Metropolitan Museum of Art (2002 – b&w); Constance Old (ex Amanda Pond, pers. comm., 2002). Three putti gambol on a cloud strewn with flowers, fruit, a tambourine (with jingles) and a slender cylindrical pipe (transverse or duct-flute) with four finger-holes but no other details visible. This painting has a pendant of the same date, size and shape is entitled Allegory of Lyric Poetry
• Shepherd Couple (1765), wool & silk tapestry on settee, 55.9 × 87.5 cm, design after François Boucher (1703-1770). New York: Frick Collection, 18.5.48. Ref. Ford (1987b: #31). "A young shepherd couple sits in a landscape. The man holds an alto recorder" (Ford, loc. cit.)
• Apollo and Clytie (1747-1767), tapestry weave (wool & silk) design by François Boucher (1703-1770). Minneapolis: Institute of Arts, Inv. 42.16. Ref. MInneapolis Institute of Arts (2003 – col.) From The Loves of the Gods, a series of tapestries made by the Royal Beauvais Manufactory under André-Charlemagne Charron. Apollo and Clytie float on a cloud. Beneath, are two nymphs: one plays a duct-flute (possibly a recorder); the other looks up, leaning on a ewer from which water flows, holding what looks like a small duct-flute in her left hand.
• Study of a Young Boy Playing a Recorder, black, red & white chalk, 169 × 157 mm, follower of François Boucher (1703-1770. New York: Sotheby's, Old Master Drawings, 20 May 1994, Lot 166. Ref. Artfact (2003). Not seen.

Bon Boullogne

• Justice, ceiling panel, paint on wood, Bon Boullogne (1649-1717). Paris: Musée Carnavalet. Ref. Anthony Rowland-Jones (pers. comm., 2004). The subject of this large panel is 'Justice assuring the maintenance of Peace and the protection of the Arts'. Music is represented by two young men (naked) playing a 5-sting instrument with no frets which looks like a cello, and a perfect baroque design alto recorder. He has his right-hand lowermost, but it only obscures two finger-holes, so four upper holes are visible and below the hand one further hole in-line and one off-set to the right. The ceiling was originally in the eleventh Chamber of Petitions in the French Parlement building. Notes by Rowland-Jones (loc. cit.)
• Jephtha's Daughter, Bon Boullogne (1649-1717) St Petersburg: Hermitage. Ref. Exhibition: Russia! Guggenheim Museum, New York(2005); Anita Randolfi (pers. comm., 2005); Rowland-Jones (2009: 242, fig. 9-col.) For the promise of victory over the Ammonites, Jephtha had vowed to God to sacrifice the first creature that would come out of the door of his house to meet him when he returned. It was, of course, his young daughter whose death is symbolized by the clearly depicted recorder held by a maidservant. Montéclair used recorders in his cantata Jephtha of 1732). Recorders feature frequently as symbols of death in Vanitas paintings, such as those by Simon Renard de St André, which were popular in Paris during Lully's time.

Genevieve Boullogne

• Still-life, oil on canvas, Genevieve Boullogne (1645-1708). Ref. Gabrius Data Bank (2002-col.) Musical instruments, scores, a dead grebe, a peacock, a macaw parrot perched on a chair, before a classical urn and other objects on a terrace. The musical instruments include violin, guitar, two lutes, and what seems to be a wide cylindrical recorder, the head and upper body of which project from in between the guitar and an old ? rocking-horse. The characteristic beak of the recorder can be seen and a number of finger-holes.

Louis Boullogne [called Boullogne the Younger]

• Love holding a Flute (1675-1715), black crayon on white paper, 19.7 × 18 cm, Louis Boullogne (1654-1733). Paris: Louvre, Inv. 24869. Ref. Joconde Website (1999); Paris RIdIM (1999). A naked putto holds a three-piece turned baroque recorder.
• Tityrus and Meliboeus (1675-1715), pencil and white crown on blue paper, 27.9 × 27.2 cm, Louis Boullogne (1654-1733). Paris: Louvre, Inv. 24931. Ref. Joconde Website (1999); Paris RIdIM (1999). Tityrus (a shepherd) sits beneath a tree playing a large baroque style recorder. His companion, Meliboeus, points to the cows in the clearing nearby. A cartoon below reads "Non patrame fugimus tu titire lintus in ombra formosame resonare doseae omelibe deus nobis nec osia fecit" (from the First Eclogue of Virgil).
• Minerva, Protector of the Arts, sketch, Louis Boullogne (1654-1733). Paris: Louvre. Ref. Lallement (1997). Sketch for circular ceiling painting of the Cabinet des Beaux-Arts of Charles Perrault. Includes a duct-flute. Not seen.
• Bacchus and Ariadne, 65 × 81 cm, follower of Louis Boulogne (1654-1733). Location unknown; offered for sale by Étude Tajan, Paris (March 2001). Ref. Étude Tajan, Sale Catalogue (29 March 2001: 32, pl.); Anthony Rowland-Jones (pers. comm., 2001). Bacchus discovers Ariadne surrounded by putti. In the foreground lie an assortment of objects including the foot of a recorder which projects from beneath Ariadne's train. The offset hole for the little finger of the lowermost hand, and a brass ring at the bell can be seen, but the rest of the instrument is obscured.

Jean de Boullogne

• Concert, oil on canvas, 175 × 214 cm, Jean de Boullogne (1594-1632). Paris: Louvre. Ref. Daudy (1967: 21, pl.); Liesbeth van der Sluis (pers. comm., 2001). Four people sit at a table: two women, a man and, at the centre, a boy playing a small duct-flute, probably a recorder since three fingers of his uppermost (left) hand and all four finger of his lowermost (right) hand are covering their holes. The others listen; the man pours wine; one woman eats something, and the other has a glass of wine in her hand, looking at the boy.

Jean de Boullogne (1594-1632) & Moïse Valentin (ca 1591-1632)

• A Young Shepherd Wearing a Crown of Laurel Leaves and Holding a Recorder, oil on canvas, 75.7 × 60.5 cm, Jean de Boullogne (1594-1632) & Moïse Valentin (ca 1591-1632). Milan: Private collection (1958); Monaco: Christie's, 19 June 1988, Lot 53; London: Sotheby's, 6 July 1994, Lot 56; Ref. Longhi (1958: 61, 66 & fig. 5); Nicholson (1979: 1990: 204); Simon (1988: 86 & fig. 3); Mojana (1989: 244, no. 157); Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones, pers. comm., 2001); Gabrius Data Bank (2001 – col.); Artfact (2009). One of a number of versions of the composition, others being in a private collection, New York (formerly in the collection of Carlasten Guntreb, Germany), the Museé du Perigord, the Volpe Collection, Bologna, and sold Monte Carlo, Sothebys, 20-22 February 1988, Lot 17. Apart from the present picture, the New York version is the only other one which has claims to be considered an autograph original by Valentin, although Mojana (loc. cit.: 202-3, 244-5, nos 75, 155, 156, 158) is inclined to classify all the known versions of the composition as copies after a lost original (Artfact, loc. cit.)
  
  A young shepherd in a red shirt and leather jacket holds a perfectly depicted cylindrical recorder with a flared bell, with four holes for the fingers of the lowermost (right) hand clearly visible. This work was auctioned 6 July 1994. This work has been attributed to Nicolas Régnier (1590-1667). It appears to be based on Valentin de Boulogne's Apollo Dressed as a Shepherd, although the original had more angular features (see below).

Valentin de Boulogne (Boullogne or Boullongne) [called Valentin or Le Valentin]

• Reunion dans un cabaret (ca 1625), oil on canvas, 96 × 133 cm, Valentin de Boulogne (1594-1632). Paris: Louvre, Inv. 8255. Ref. Lallement (1997: 209-210); Joconde Website (1999); Paris RIdIM (1999). Seated around a table, a man pours some wine into a glass from a cane-covered pitcher; a dark-skinned woman holds her full wine-glass aloft; a fair-complexioned woman looks on, as a young boy plays a small flageolet rather than a recorder since only six fingers are covering their holes with the little finger of hte lowermost hand beneath the instrument.
• Hermione amongst the Shepherds, Valentin de Boulogne (1594-1632). Munich: Bayerische Staatsgemäldesammlungen, 937 (4812). Ref. Munich RIdIM (1999: Mstag 677). Hermione talks with the shepherds, her horse's reins in one hand, gesticulating with the other. A small shepherd boy (bottom left-hand corner) holds a cylindrical recorder with seven finger-holes (the lowermost offset) and a decorated bell.
• Figures in an Inn / Musicians and Soldiers, Valentin de Boulogne (1594-1632). Strasbourg: Musée des Beaux-Arts. Ref. Harrison & Rimmer (1964: no. 119); Boyden et al. (1984: 773, pl. 10 – b&w); Rasmussen (1999c). A young man plays a violin violin/viola; to his right a ? woman plays a tambourine with jingle rings in two rows; to his left another man plays a small, cylindrical recorder.
• Figures with Musicians, oil on canvas, 122 × 93 cm, Valentin de Boulogne (1594-1632). Vienna: Kunsthistorisches Museum, Inv. No. 7761. Ref. Salmen (1969: 57); Mirimonde (1975-1977, 1: fig. 124); Rasmussen (1999c; 2002, Lute); RIdIM Innsbruck 596 (2001); Prof. Tilman Seebass (pers. comm., 2001); Strinati (2000: 25); Ferino-Pagden (2001: 273, no. v.11 – col., as after Le Valentin). "Men play violin, lute and recorder (held). A woman plays a tambourine. Probably an allegory of some sort" (Rasmussen 1999c). "A youth plays a violin, a cavalier plays a lute, an old man has a recorder and a woman plays a tambourine" (Rasmussen 2002).
• Men Making Music, Valentin de Boulogne (1594-1632). Chatsworth Hall: Devonshire Collection. Ref. Anthony Rowland-Jones (pers. comm., 2003). A group of men drink, sing and play their instruments. One has a guitar and another what seems to be a Dutch-style hand-fluyt of sopranino size, almost too small for his big hands (right-hand lowermost). Only the shape of the instrument can be discerned.
• Musical Company, oil on canvas, Valentin de Boulogne (1594-1632). Location unknown: Auctioned Sotheby's, 8 October 1993 (sold). Ref. Burlington Magazine 102 (1960, June supplement: pl. IX); Gabrius Data Bank (2002 - b&w); Rasmussen (2002, Lute). Identical to Figures with Musicians, Kunsthistorisches Museum, Vienna. Around a table a man plays a violin, a woman plays a tambourine, a man (with his back to us) plays lute, another seems to be singing with a score in his hand, and an old man with a beard and a hat holds a small duct-flute (probably a recorder, though only the head and body with six fingers down can be seen). A man wearing a cuirass drinks a glass of wine.
• Musical Company (ca 1600-1625), engraving by J.J. Huber (18th century) after Valentin de Boulogne (1594-1632). Vienna: Kunsthistorisches Museum. Ref. Walls (1998: 54: 9, fig. 4, detail – b&w). Around a table a man plays a violin, a woman plays a tambourine, a man (with his back to us) plays lute, another seems to be singing with a score in his hand, and an old man with a beard and a hat holds a small duct-flute (probably a recorder, though only the head and body with six fingers down can be seen). But here, the man wearing a cuirass dabs his eye, perhaps in response to the music! A most remarkable transformation.
• Apollo Dressed as a Shepherd, oil on canvas, Valentin de Boulogne (1594-1632). Ref. Gabrius Data Bank, OMP (2001 – col.) A young shepherd in a red shirt and leather jacket holds a perfectly depicted cylindrical recorder with a flared bell, with four holes for the fingers of the lowermost (right) hand clearly visible. Sold 11 May 1997; auctioned 11 December 2000 (unsold). Doubtfully the original on which Jean de Boullogne & Moïse Valentin's A Young Shepherd Wearing a Crown of Laurel Leaves and Holding a Recorder was based, although their shepherd has softer features.
• Flute Player, attributed to Valentin de Boulogne (1594-1632). Location unknown. Ref. Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0007364 (2009 - b&w). A man holds a soprano-sized recorder right hand uppermost.

Sebastian Bourdon

• Portrait of an Artist, painting, school of Sebastien Bourdon (1616-1671). Location unknown: auctioned 31/10/2003 (sold) Ref. Gabrius Data Bank (2007 – col.) A moustachioed sculptor holds a hammer and chisel before an intaglio oval portrait bust of a classical figure. On a table are a pot of chisels and a pipe. The latter is small and in two parts with metal ferrules at the joint. The foot is hidden and a hole could represent either the embouchure hole of a transverse flute or the window/labium of a recorder.

Jean de Bourgogne I (fl. 1496 – ca 1533), Flemish

• Assumption of the Virgin, Jean de Bourgogne I (fl. 1496 – ca 1533). Toledo: Cathedral. Ref. Paris RIdIM (1999). The Virgin ascends into heaven from her tomb watched by the praying disciples and greeted by a heavenly host of angels to the music of singing and instruments, including rebec, lute, shawms, and a flared-bell recorder of tenor size.