Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

F

Barent Fabritius

Dutch painter of portraits and of biblical, mythological, and historical scenes, most of which have been lost; born Midden-Beemster, near Hoorn (1624), died Amsterdam (1673); a teacher of Vermeer; son of Pieter Carlesz. Fabritius (1598-1653), brother of Carel Fabritius (1622-1654), both artists.

Shepherd with Flute and Ring (1660), oil on canvas, 72.4 × 63.5 cm, Barent Fabritius (1624-1673). Private collection. Ref. Sumowski (1983[-94], II: 965, pl. 587); Brown (1981: fig. 43 – b&w); Griffioen (1988: 438-439); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003); Gabrius Data Bank, OMP (2002 - col.); Alfred Bader Fine Arts #2650 (2005 - col.); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0049523 (2009 - b&w). A tronie in which a flamboyantly dressed man in a plumed, wide-brimmed hat with flowers and a weighted fringe (reminiscent of an Australian bushman's hat with corks to keep the flies at bay), an open short-sleeved cloak, a jerkin with a V-neck and slashed sleeves, and a cravat holds a ring between the index finger and thumb of his right hand of which the remaining fingers grasp a soprano recorder with a flared, turned bell. The lowermost finger-hole is clearly offset. In his right hand there appears to be a second, larger recorder or flute held across his lap. Auctioned by Alfred Bader (sold). This may be a self-portrait (Gabrius, loc. cit.)
Young Huntsman playing Recorder to Girl in Landscape, painting, 121 × 98 cm, Barent Fabritius (1622-1673). London: Sotheby's: 10 December 1980, Lot 198. Ref. Getty Research Institute for the History of Art and the Humanities: Photostudy Collection (1999); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). A young lad plays a perfectly depicted hand-fluyt (even the maker's mark is visible) to a young girl. Between them lies a cocked pistol!

Giovanni Battista da Faenza [also called Giovanni Battista Bertucci and 'Utile']

Italian painter whose style appears to have been influenced by Costa and Perugino; he has been confused with the painter now identified as Biagio di Antonio of Florence; active 1495 – 1516.

Virgin and Child in Glory (? 1512-1516), oil on wood, 179.1 × 81.3 cm, Giovanni Battista da Faenza (op. 1495-1516). London: National Gallery, NG282. This altarpiece may have been the one painted in five sections by Giovanni between 1512 and 1516 for the Chapel of Saint Thomas Aquinas in S. Andrea, Faenza. Existing panels showing St John the Evangelist (Blaffer Foundation Collection, Rice University) and Thomas Aquinas can be associated with the picture as side panels. The Virgin and Child float on a cloud. Above and beside them, putti abound, the latter standing guard with lances. Below, two children sit on plinths playing rebec (left) and a prominently flared-bell duct-flute the window/labium of which is clearly depicted and which shows quite enough holes to be a recorder. In the background are a church and some hills.

Joseph Fagnani

Fashionable Italian portraitist who worked in Naples, Vienna and Madrid before emigrating to the USA; he is well-known for his many paintings of distinguished people from both sides of the Atlantic, amongst them President Zachary Taylor (on his deathbed), President Millard Fillmore, Maria Christina of Spain, Sir Henry Bulwer, Garibaldi, Victor Emanuel, Lord Byron, the Empress Eugenie; his realistic but characterless portrait style is that which flourished everywhere in the mid-19th century – he has been described as having the unique distinction of being socially a sophisticate, historically a pioneer, and artistically a primitive; born Naples (1819), died New York (1873).

The Nine Muses, or American Beauty Personified: Euterpe (1869), oil on canvas, 110.5 × 83.8 cm, Joseph Fagnani (1819-1873). New York: Metropolitan Museum of Art, Inv. 74.46 Ref. Constance Old (ex Amanda Pond, pers. comm., 2002 - b&w). One of a series of paintings depicting the Nine Muses which drew much attention as well-known American belles had served as models, painted to support the argument that American women were more beautiful than their European sisters. Euterpe, modelled by Miss Minnie Parker, stands holding in her upraised left hand two duct-flutes of equal size. The beak, window/labium, and 5 finger-holes of each are clearly depicted. It seems reasonable to assume that her hand covers a further 2 finger-holes on each instrument, in which case they are very likely to represent recorders. A nameless New York poet wrote of the Muses:
And not less lustrous than the stars which gleam
On thy proud flag, America! behold
Thy peerless daughters on the canvas beam,
By the rare power of far-famed art extolled;
And of the Nine, if some rude critic deem
One of the pleiad worthy to uphold
Above her rivals, say that none outshine
A constellation which is all divine.

Pieter van der Faes = Sir Pieter Lely

Michael Faraday

English chemist and physicist known for his pioneering experiments in electricity and magnetism; born Newington, near London (1791); died 1867.

Untitled, pen & ink on paper, Michael Faraday (1791-1867). London: The Royal Institution. Ref. Bridgeman Art Library (2002: Image ID TRI 168568 - col.) A drawing from Michael Faraday's scrapbook. A trophy comprising a triangle (with jingle rings), a post-horn, and a duct-flute (flageolet or recorder).

Casimir Farley

Contemporary Candian artist and book illustrator living and working in Pacé, France, where he runs an art center in an 11th-century monastery. Farley calls his works geiger counters of the human nervous system. His drawings are primarily portraits of people. His paintings have a broad range of subjects – myth, man in nature, abstractions, the structure of space and time.

[Recorder Player], pen drawing, Casimir Farley. Ref. Early Music 4(1): 55 (1976). A man plays a highly stylised (fat, conical) recorder from a book open on the table in front of him.

Giovanni Antonio Fasolo

Italian artist; initially a pupil of Paolo Veronese, he subsequently had a short but successful career as a frescoist and portrait painter in and around Vicenza; produced stage designs for the Accademia Olimpica, Vicenza, and executed frescoes at several country villas which are characterized by their contemporary air and informality; born Mandello del Lario, Como (1530), died Vicenza (1572).

Concert (1569), fresco, Giovanni Antonio Fasolo (1530-1572). Vicenza, Albettone: Palazzo Negri Dè Salvi. Ref. ? Author (1993: 97 – col.); Paolo Biordi (pers. comm., 2000). Two men and two women sit around a table playing music. On the left a man plays a viol; on the right a woman plays the harpsichord; between them a woman (? singer) reads a score and a man holds a tenor-sized cylindrical recorder which he is about to play, all but the second finger of his lowermost hand covering their holes.

Carl Heinrich Jacob Fehling

Teofane (1719), Antonio Lotti, Royal Opera House, Dresden (1719), copperplate engraving, Carl Heinrich Jacob Fehling. Detail. Dresden: Staatliche Kunstsammlungen – Gemäldegalerie Alte Meister. Ref. Smith (1980: 49); Simpson (1995: 96, pl. 26); Thomson & Rowland-Jones (1995: 86, fig. 26); Archiv Moeck; Munich RIdIM (1999: Ngm 982); Carpena (2007: fig. 1.13); Website: Die Deutsche Geschichte in Dokumenten und Bildern (2010). Depicts the first performance of Antonio Lotti's opera Teofane in the new Dresden Opera House at the 'Zwinger' with musicians (in an enclosure at the foot of the stage), and audience. Amongst the musicians are three alto recorder players, two playing and one resting, possibly also two basset recorders.

R. Feillet (early 18th century), French

The Violin, R. Feillet (early 18th century). Strasbourg: Musée des Beaux Arts. Ref. Archiv Moeck. A still-life in which a violin rests on top of some music on a table with an alto recorder with ivory mounts and foot.
Still-life, oil on panel, R. Feillet (early 18th century). Ref. Gabrius Data Bank, OMP (2001 - col.) On a table lie a plate with nuts, playing dice, playing cards, two castanets, a jew's harp, a violin and bow, and a recorder. The latter is in one piece with a flared bell, two turned beads between the holes for fingers six and seven, and details of the window/labium, and all seven finger-holes (in line) very clearly depicted. Auctioned 14 May 1994, unsold (Gabrius, loc. cit.)

Grace Feldman

USAmerican viol player/teacher and artist living and working in New Haven CT.

Laughing Dragon (2006), pencil & ink drawing, Grace Feldman (contemporary). Ref. American Recorder 46(1): front cover (2006 - col.) A jolly dancing dragon breathing fire and with his tail wrapped around his rear right leg holds a stylised neo-baroque recorder.

Matteo Felice

Italian illuminator who commanded a sizeable patronage at the Aragonese court and among religious institutions of the Kingdom of Naples-Sicily; his colourful miniatures are eclectic with characteristic boldly outlined, child-like figures, fl. 1467-1493.

Psalter: Psalm 80: David with Musicians and Dancing Children, historiated initial 'C' on vellum (c.1465-1470), 5.5 × 5.5 cm, Matteo Felice (15th century) . The Hague: Museum Meermanno and Koninklijke Bibliotheek (KB) 131 F 18, fol. 86v. Ref. Website: Medieval & Renaissance Material Culture (2010-col.) Possibly made for a member of the family d´Avalos. King David, playing a porcine psaltery, is surrounded by musicians singing and playing organetto, lute, rebec, and a conical pipe which may be a recorder. Before him a group of young men are dancing.

Conrad Felixmüller [Felix Müller]

German painter and printmaker; much of his graphic work was published in various magazines devoted to Expressionist art and literature; born Dresden 1897), died W. Berlin (1977).

The Artist's Son, Titus (1930), painting, Conrad Felixmüller (1897-1977). Regensburg: Museum Ostdeutsche Galerie, Inv. O. nr Slg Mock. Ref. Munich RIdIM (1999: Rog 501). Titus is shown in profile, with a soprano recorder. Notes by Anthony Rowland-Jones (pers. comm., 1999).
Flute Song (1930), print on paper, 14.8 × 15.2 cm, Conrad Felixmüller (20th century). Düsseldorf: Kunstmuseum, FM 1986/209. Ref. Munich RIdIM (1999: DÜk 701). A youth in profile plays a soprano, neo-baroque recorder.
Flute Sonata (1935), print on paper, 61 × 48.5 cm, Conrad Felixmüller (1897-1977). Düsseldorf: Kunstmuseum, FM 1986/231. Ref. Munich RIdIM (1999: Dük 702). Two young men in an apartment stand before a music stand on which is a copy of a C.P.E. Bach Andante. One plays a keyed transverse flute; the other holds a flared-bell wind-instrument only the foot of which is visible. The latter appears to be an oboe or clarinet, but they would show keys near the bell end. A recorder remains a possibility.

Francesco Fernandi [Ferrando] = Franceso d'Imperiali

Gabriele Giolito de Ferrare (16th century), Italian

The Children of Venus (1533), engraving, Gabriele Giolito de Ferrare (16th century). Ref. Trottein (1993: 174, fig. 77 – b&w). In a wooded garden, amorous couples desport themselves whilst musicians play harp and lute, an old bearded man holds a cylindrical duct-flute (probably recorder), and a younger man behind blows what may be another recorder. Above them, on a cloud, Venus is drawn in a chariot by two doves directed by a winged Cupid with his bow and arrow.

Defendente Ferrari [de Ferrari, Deferrari] (di Chivasso)

Italian artist who dominated painting in western Piedmont for some 30 years; work includes altarpieces and miniatures of religious subjects; born Chivasso, near Turin (ca 1490), died (1535).

St Anne, Virgin and Christ, Defendente Ferrari (ca 1490-1535). Amsterdam: Rijkmuseum. On each side of the central group angels play a vielle and a narrow, flared-bell recorder respectively. The window of the recorder is clearly shown as is the hole for the little finger of the lowermost hand. The bell is decorated.

Gaudenzio Ferrari

Sixteenth-century Italian sculptor and frescoist who left his most important works to the community of Varallo, Santa Maria delle Grazie, and the sanctuary consisting of the Church of the Assunta and 45 chapels, with some 6,000 fresco figures (mostly by Ferrari); born Valduggia, near Vercelli (1470), died Milan (1546).

Assumption of the Virgin Mary (1535), cupola fresco, Gaudenzio Ferrari (1470-1546). Detail. Saronno: Santuario della Beata Vergine dei Miracoli, cupola. Ref. Recorder Magazine 15(4): front cover; Franco Speroni (pers. comm., 2002); Bridgeman Art Library (2002: Image ID BEN 175762 - col., 175763 - col., 175764, 175776 - col.); Dearling (1996: 6, col.); Allposters (2006-col.) 140 angels sing and play musical instruments of many kinds. Some of them are European instruments (flutes, cornets, bombardas, viols, portative organs, etc.); some are of South American derivation (Gaudenzio painted this fresco in 1535, 46 years after Christopher Columbus' discovery of the Americas); others are fanciful and humorous parodies – there is an angel playing a bagpipe in the form of two large female breasts … a contribution to theories on the gender of angels, perhaps (Speroni, loc. cit.) Amongst the musicians are two pipe-playing angels with what may be flared-bell recorders, though both hold their lower little fingers beneath their instruments.

Ferrer de Bacco = Ferrer Bassa

Jaume [Jaime] Ferrer II (fl. 1437-1467), Spanish

Adoration of the Shepherds, Jaume Ferrer II (fl. 1437-1467). Vic (Spain): Museu Diocesà. Ref. Gudiol (1986: 730); Recorder Magazine 16(4): cover (col.), 155 (detail, b&w) (1996); Rowland-Jones (1996: 155 – detail, b&w); Rowland-Jones (1997: 15); Ballester (2001: 11, fig. 1 - b&w). Panel from an altar-piece in the church of Verdú, Spain. One of the shepherds has a bagpipe slung over his arm; another plays (with one hand) a long, very slender, slightly flared recorder, with paired holes for the little finger of the lowermost hand visible (Rowland-Jones, loc. cit.)

Giuseppe M. Ferrero di Roccaferrera

Italian artist who seems to have made something of a speciality of still-lifes with early musical instruments; born 1912, died 1999.

1731 German Blockflöte (Recorder), oil on canvasboard, 27.7 × 32.2 cm, Giuseppe M. Ferrero di Roccaferrera (1912-1999). Location unknown: auctioned in Philadelphia, Samuel T. Freeman & Co., Sale 1092A, Lot 11 (2001). Ref. Website: Artfact (2007). A baroque alto recorder lies across an oval table with some books, a flask, and an apple.
Ivory German Blockflöte (Recorder) of the 17th Century, painting, Giuseppe M. Ferrero di Roccaferrera (1912-1999). Location unknown: auctioned in Philadelphia, Samuel T. Freeman & Co., Sale 1092A, Lot 27 (2001). Ref. Website: Artfact (2007). An ivory recorder lies across a table with an oven dish, a goblet, an apple, an open book, a document, etc.

Domenico Feti [or Fetti]

Italian painter, whose characteristic works are of religious themes turned into genre scenes of contemporary life; also a portraitist; born Rome (ca 1589), died Venice (1624).

Man with a Recorder, painting, Domenico Feti (ca 1589-1624). Location unknown; sold London: Bonhams, Marshall Sale, 28 March 1974, Lot 112. Ref. Sale Catalogue, (1974: pl. 112); Warburg Institute, London. A man with a moustache in a slashed jacket wearing a magnificent feathered hat and seated in a chair holds a flared bell (? Ganassi-style) recorder of alto size. A splendid portrait!

Igusto Fiammingo

Fiammingo ('Flemming') was a name given to, or adopted by, a number of Flemish artists working in Italy.

Madonna (ca 1450), Igusto Fiammingo. Location unknown. Ref. Besseler (1931: pl. 13). The Madonna and Child are serenaded by angel musicians. Three on the left sing from an open book of music. Three on the right play fiddle, lute and a cylindrical duct-flute (flageolet or recorder) with a long window, the beak shaped rather like an American Indian love-flute, played right-hand uppermost, the upper four fingers on, the next finger-hole showing , the rest of the instrument hidden. Two angels hover overhead with a wreath.

Paolo Fiammingo = Pauwels Frank

Ingenium Lechleitner Figaral (18th century)

[Angel Musician], gilded and coloured wood-carving, Ingenium Lechleitner Figaral (18th century). Innsbruck: Jakobus Cathedral, organ at West end. Ref. Anthony Rowland-Jones (pers. comm. 2002). "At the top right side of the console, where there is a large thick book of music, angels hold lute, trumpet, and a perfectly modelled late baroque design alto recorder, with window/labium and all finger-holes clearly shown. The recorder has baroque decorative turnery at both joints. The angel (not setting a good example to recorder players generally) holds the recorder by its foot-joint. On the other side of the organ an angel plays viol, and two others, holding music, sing" (Rowland-Jones, loc. cit.)

Rosso Fiorentino [Giovanni Battista di Jacopo Rosso, called 'Il Rosso']

Italian artist, an exponent of the expressive style that is often called early or Florentine Mannerism, and one of the founders of the Fontainebleau school; his principal surviving work is the decoration of the Galerie François I at the palace of Fontainebleau (ca 1534-37), where, in collaboration with Francesco Primaticcio, he developed an ornamental style whose influence was felt throughout northern Europe; his numerous designs for engravings also exercised a wide influence on the decorative arts both in Italy and in northern Europe; born Florence (1494), died Paris (?1540).

Assumption (1513-1514), fresco, 385 × 395 cm, Rosso Fiorentino (1494 - ?1540). Florence: Santissima Annunziata, West Front. Ref. Anthony Rowland-Jones (pers. comm., 2002). One of a series of frescoes of the life of the Virgin, weathered, but recently carefully restored. Several artists are represented. The Virgin appears amidst a glory of angels, one of whom holds a long pipe with a slightly flared bell. No window/labium is clear, but in other respects this is identifiable as a recorder of soprano/alto size. The mouthpiece is beaked, there are eight finger-holes, and there is a slight contraction before the flare. Another of the angels plays lute, and two more sing. Beneath, the Apostles gaze upwards in amazement, their animated figures contrasting with the swirling movement of the angels above, almost like a caricature of realism.

Leonhardt Flegel (1602- ?), German

Allegory of a Woman's Talents – Painting, Architecture, Etching and Music (1621), ink & watercolour on paper, 12 × 15.8 cm, Leonhardt Flegel (1602- ?). Frankfurt: Städesches Kunstinstitut und Städtische Galerie. Ref. Munich RIdIM (1999: Fsm 165). A female personification of Arts and Sciences stands with arms outstretched. In her right hand she holds a pair of calipers, in her left an artist's palatte, brushes and a rapier. On the wall behind her are another pair of calipers, a book (possibly of music), and a flared-bell duct-flute (probably a recorder though there are too few finger-holes). On the floor in front of her are a globe, a vase of flowers, various rulers, T-squares and set squares, calipers, and a palette-knife.

Govert Tuenisz. Flinck

Dutch Baroque painter of portraits, genre, and narrative subjects; one of Rembrandt's most accomplished followers; born Cleves (1615), died Amsterdam (1660); father of Nicolaes Anthonis Flinck, also an artist.

Portrait of ? Rembrandt as a Shepherd with Staff and Flute (ca 1636), oil on canvas, 74.5 × 64 cm, Govert Tuenisz. Flinck (1615-1660). Amsterdam: Rijksmuseum, SK-A-3451. Ref. Brown et al. (1991: 318-319, pl. 61 – col.); Kettering (1983: fig. 89); Sumowski (1983[-94], II: 1087, fig. 655); Griffioen (1988: 440-441); Thomson & Rowland-Jones (1995: 78, fig. 21-b&w); Bouterse (1995: 86); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0036649 (2009 - b&w). The subject holds a flared-bell, soprano recorder. This painting has a partner at the Brunswick Art Gallery, Germany, by the same artist entitled Saskia as a Shepherdess, also painted in 1636. Together they seem to have been intended as a pendant pair illustrating the motto 'A sorrow shared is a sorrow halved'. The traditional identification of the models as Rembrandt and his wife Saskia has been questioned (see Brown et al., loc. cit.)
Wreath-weaving Shepherdess (1654), 138.5 × 170 cm, Govert Tuenisz. Flinck (1615-1660). The Hague: Smeulers Collection. Ref. Mirimonde (1977: 148, pl. 85-b&w); Sumowski (1983[-94], II: 1067, pl. 635); Griffioen (1988: 440-441); Sotheby's Auction Catalogue: Old Master Paintings, Sale AM1027, 8 May 2007, Amsterdam, Lot 73. The only large-scale multi-figured pastoral subject by the artist, painted in the fashionable Flemish-like academic style of the period. On a leafy bank, a shepherdess makes to crown her companion with a floral wreath whilst he pipes away on his near-cylindrical recorder, his thumb and fingers perfectly placed. In the background, sheep graze amongst wooded hills. Currently offered for sale.
Shepherd, Govert Tuenisz. Flinck (1615-1660). Location unknown: formerly, J.F. Kapp Collection, New York. Ref. Kettering (1983: fig. 18); Griffioen (1988: 440-441). A smiling shepherd holds a soprano hand-fluyt right hand uppermost, his crook under his arm.
Shepherds, 606 × 77 cm, Govert Tuenisz. Flinck (1615-1660). Stuttgart: Private Collection (? Rosenfeld). Ref. Marburg Index 99 (2001 - b& w). A shepherd and shepherdess stand on the edge of a forest, their animals nearby. She holds a crook; he holds a perfectly depicted hand fluyt with paired offset holes for the little finger of the lowermost (right) hand.
Solomon Praying for Wisdom (1658), Govert Tuenisz. Flinck (1615-1660). Amsterdam: Stadhuis (Town Hall), formerly Koninklijk Paleis (Royal Palace), north wall of the Council Chamber. Ref. Goosens (1996: pl. XIX - col.); Liesbeth van der Sluis (pers. comm., 2003). Surrounded by his subjects and retainers, Solomon kneels in prayer before a host of Angels and putti, many of whom play musical instruments including shofar, harp, tambourine, lute, cittern, violin, viol, organ, and a flared-bell recorder.

Frans Floris I [de Vriendt]

Dutch painter, draughtsman and etcher; a leading exponent of Romanism in Antwerp, his history painting influenced a generation of Flemish artists; largely responsible for the introduction of studios organized in the Italian manner, with skilled assistants, a practice subsequently adopted by other Netherlandish artists, most notably Rubens; born Antwerp (1519-1520), died Antwerp (1570); brother of Cornelis Floris II (ca 1513-1575).

The Story of Mercury and Argus, 61 × 61 cm, Frans Floris I (ca 1513-1575). Richmond: Hampton Court Palace, Cat. No. 653. Ref. Catalogue (1929: No. 653); Warburg Institute, London; Netherlands Art Institute, Leiden, No. 17806; Anthony Rowland-Jones (pers. comm., 2000). In the foreground, Mercury pipes Argus to sleep playing a long flared-bell pipe in his right hand, probably a tabor pipe although there are three finger-holes beneath the one Mercury covers with his index finger. Beside them lies Io (as a heifer), and some sheep. In the background, other scenes from the story are enacted. We see Mercury beheading Argus, Juno setting the eyes of Argus on the peacock's tail, and Jupiter making love to Io who is half human and half heifer. Above, Mercury flies with his caduceus in one hand and his pipe in another. Jupiter presides over all.
Athena Visits the Muses, Frans Floris I (ca 1513-1575). Condé-sur-l'Escaut: Museum. Ref. Flammand (1965: 86); Liesberth van der Sluijs (pers. comm, 2001). In a clearing in the forest nine women amuse themselves with musical instruments (trumpet, lute, guitar (?), cittern) and songbooks, sitting around a table. On the left, Athena with helmet and red plumes holds a long staff. On the table, lie a recorder and a crumhorn, crossed. There is a little fluffy grey dog in the foreground left. Above left, in the sky, is Pegasus.
Mankind Before the Flood (Matthew 24: 37), engraving, Anonymous after Frans Floris I (ca 1513-1575). Ref. Velde (1975: 156, cat. P3); Rasmussen (2002, Lute). "Includes a woman singing and men playing lute and recorder" (Rasmussen, loc. cit.) Not seen.
Musica, engraving by Monogrammist HIV, after Frans Floris I (1519/20-1570). Ref. Hollstein (1949-, iv: 184, no. 52, as Hieronymus Cock after Vos, probably 1550 or 1551); Velde (1975: 257, cat. P111); Moens & Kockelbergh (1994: 55, no. 4); Rasmussen (2002, Lute). "From a Liberal Arts series. The personification plays a lute. There are several unplayed musical instruments. She is really ugly. There are a number of unplayed musical instruments around her feet: viol (and bow), harp, flute, flute case with flutes, recorder, tiny shawm plus music books and sheet" (Rasmussen, loc. cit.) Not seen
Auditus [Hearing] (1561), engraving, 21.2 × 27.4 cm, by Cornelius Cort (1533 – before 1578), after Frans Floris I (ca 1519-1570). Antwerp: National Print Collection, cat. III/C. 522; Vienna: Albertina. Ref. Bartsch (1843-1876, 52: 266, no. 232); Bierends-de-Haan (1948: 222, 232); Hollstein V (?date: 59, 231-235); Hollstein VI (?date: 255, 70-74); van de Velde (1970: 269, nr P77); Velde (1975: cat. P136, Afb. 289); Riggs (1977: 231, 83); Muller et al. (1978, 68, cat. no. 10b); Strauss (1978, 52: 266, no. 266); Muziek 16, Brussels (1985); Evanston (1993: 9); Moens & Kockelbergh (1994: 59, no. 8); Archiv Moeck; Paris RIdIM (2000); Rasmussen (2002, Bagpipe); Web-site: Ikonographie der Renaissanceflöte (2009). One of a series depicting the Five Senses published by Hieronymus Cock. The personification of hearing sits beneath a tree tuning his lute, watched by a stag, and surrounded by musical instruments including organ, drum, trumpet, cello (with frets), bagpipe, cornetts, violin, a case of flutes, and a cylindrical recorder (with paired holes for the lowermost finger clearly shown) lying under the fingerboard of a violin (obscuring two finger-holes) with a brief but marked bell flare. A legend reads:
AVDITVUS SENSORIUM EXTERIUS EST AURIS ET CRASSUS QUIDAM IN EA AER INTERIUS VERO NERVI AB AURIBUS AD CEREBRUM PERTINENTE.
A lunette (panel) in the Pillar Chamber at Bolsover Castle, Derbyshire (ca 1615), appears to be derived from the same source.
Musica (1550-1551), engraving, 29.6 × 20.1 cm, by Hieronymous Cock (ca. 1510-1570) after a painting by Frans Floris I (1519/20-1570). Antwerp: State Print Collection, Cat. III/ C. 616. Ref. Moens & Kockelbergh (1994: fig. 4); Paris RIdIM (2000); Web-site: Ikonographie der Renaissanceflöte (2009). A personification of Music, standing, plays a lute against a background of mountains, a river and a bridge. At her feet lie some music, including a part-book labelled Bassus and a number of musical instruments including a small harp, a viol of curious shape, a flute, a small shawm, a case with five tubes for wind instruments with the lid off partly revealling three ? flutes, a small flared-bell duct-flute (flageolet or recorder), the beak, window/labium and six finger-holes (in line) can be seen. A legend reads:
VIS MEA ET HUMANAS MENTEIS ET NUMINA RAPTAT.

Musica, engraving, 22.5 × 28.0 cm, by Cornelius Cort (1533/6-1578) after a painting by Frans Floris I (ca 1519-1570). Amsterdam: National Print Collection; Antwerp: National Print Collection, Cat. III/C. 511; Den Haag: Gemeentesmuseum, Music Department. Ref. Hass (1931: 132); ?Author, Kunstschrift 98 (6): 12, fig. 4 (?date); Ripin (1971/1977: pl. 58); Musiek & Grafiek, Antwerp (1994: fig. 6); Paris RIdIM (2000); Anthony Rowland-Jones (pers. comm., 2001). Music sits at a table playing the virginals surrounded by musicians singing and playing lutes. On the wall behind hang a sackbut, bagpipes, flutes and trumpet. On the ground are scattered various instruments including harp, shawm, hurdy-gurdy, violins, cittern, cornett and a cylindrical duct-flute (flageolet or recorder) of which only the head and first four finger-holes are visible. A legend reads:

Concentum inter se, et discrimina grata sonorum aure erudita deprehendit musica.

Peter Flötner [or Flettner]

German sculptor, medallist, cabinetmaker, woodcutter and designer; the arabesques of combined acanthus leaves and vine leaves extending into grotesque figures or dolphins found on much of his decorative work, are derived from Lombard architecture, such as the portals of the Certosa di Pavia; born Thurgau (1485-1496), died Nuremberg (1546).

Euterpe (1530-1540), stone plaquette, 6.8 × 4.5 cm, Peter Flötner (ca 1485-1546), Munich: Bayerisches Nationalmuseum, Inv. M58, 2. Ref. Weber (1975: 58, 2); Munich RIdIM (1999: Mbnm - 322); Anthony Rowland-Jones (pers. comm., 2002). One of a series depicting the Muses. Euterpe, looking decidedly pregnant in a flowing gown, plays on an alto- or tenor-sized recorder. On the ground before her is a portative organ.
Euterpe, metal plaquette, 8 × 5.9 cm, Peter Flötner (ca 1485-1546). Berlin: Staatliche Museen Preußischer Kulturbesitz, Inv. 92 D 42 2. Ref. Munich RIdIM (1999: MBnm 322; Bsg 85). One of a series depicting the Muses. Euterpe, looking decidedly pregnant in a flowing gown, plays on an alto- or tenor-sized recorder. On the ground before her is a portative organ.

Musical Angel (1402-1407), carved stone corbel, French. Avioth, Lorraine: Basilique Notre-Dame, corbel supporting a statue of St Andrew. Ref. Website: Anges Musiciens (2010-col.) The bust of an angel playing a conical pipe with a wide foot. There is no sign of a beak or window/labium, but several finger-holes are visible. This may represent a duct-flute, but a shawm is a distinct possibility. Other corbels in this church are in the form of angels playing fiddle, bagpipe, and citole. The gothic basilica was built between 1250 and 1400. The statues were presented to the church by Louis d'Orléans when he was governor of Luxembourg from 1402-1407.

Bernard Flower

English glazier, a native of the Netherlands and glazier to Henry VII and Henry VIII; died 1517.

Angel Musician (1497-1517), stained glass, Barnard Flower (m.1517). Fairford, Gloucestershire: Parish Church of St Mary, South clerestory windows. Ref. Website: Anges musicians (2010-col.) An angel with long curly hair plays a cylindrical duct-flute, the window-labium clearly depicted. Angels in other stained glass windows along this wall sing and play shawm, bagpipe, organetto, harp, triangle, rebec, and citole; one appears to be conducting. Saint Mary's, built in the late 1490s, is renowned for the most complete set of late mediaeval stained glass windows in the country and its structure and details remains unaltered since originally built. Many of the glaziers and glass painters who worked on the project were Dutch, which shows in the styling of the windows. Since 1988, nearly all the windows have been beautifully cleaned, restored, re-leaded and protected by the Barley Studio in York.

Marcello Fogolino

Italian painter and printmaker; born Vicenza (1483-1488), died (after 1548); son of Francisco, a painter from Friuli.

Concerto campestre [Musicians in a Landscape] (1524-1525), oil on canvas, Marcello Fogolino (1483/8-1548). Vicenza: Museo Civico di Palazzo Chiericati. Ref. Barbieri (1962: 134); Arte veneta 15 (1961: 227); Brugnolo & Cevese (1993: 42 - b&w); Rasmussen (1999b); Paolo Biordi (2002, pers. comm.) Three draped women play fiddle (kneeling), lute (seated) and recorder (standing). The beak, window/labium and a number of finger-holes are clearly depicted, including paired holes for the little finger of the lowermost (left) hand.
Madonna delle stelle [Madonna of the Stars] (ca 1520), oil on canvas, Marcello Fogolino (1483/8-1548). Vicencza: Chiesa di S. Corona. Ref. Brugnolo & Cevese (1993: 26 - col.); Paolo Biordi (2002, pers. comm.) Three winged angels play lute, fiddle and a cylindrical pipe, possibly a duct-flute.

Charles-Auguste [Charles Augustin] Fonson

Flemish sculptor known only from his extensive contribution to the furnishing of the church of St Nicolas en Havré at Mons; born Mons (1706), died Mons (1788).

Putto with a Recorder (1755), carved-oak statue, Charles-Auguste Fonson (1706-1788). Mons: Eglise Saint-Nicolas en Havré. Ref. Institute Royal du Patrimonie Artistique / Koninklijk Instituut voor hef Kunstpatrimonium (IRPA/KIK), Brussels (2007). One of 14 statues depicting putti playing musical instruments – violin, harp, bassoon, lyre, flute, etc. Here a putto holds a perfectly depicted baroque recorder which has an unusually long foot.

Lavinia Fontana

Italian artist considered the first woman painter to have had a successful artistic career; her works include portraits, still lifes, small and large scale biblical and mythological works with many figures, and large public altarpieces; born Bologna (1552), died Rome (1614); daughter of Prospero Fontana.

Allegory of Music, drawing, Lavinia Fontana (1552-1614). Chatsworth: The Devonshire Collection. Ref. Florence: Villa i Tatti NC255J24 (1994); Jaffe (1994: 130, fig.) A woman plays the virginals opposite two men who play lutes and a third who sings from a score shared with a youth. On the floor in the foreground lie cittern, viol, hurdy gurdy, harp, viola da braccio, cornett and a tapering recorder of alto size, the beak, window/labium and seven finger-holes of which are clearly depicted.

Prospero Fontana

Italian mannerist painter and influential teacher; he studied closely the work of important masters including Michelangelo, Raphael and Parmigiannino, and assisted a number of decorative masters, including Vasari; born Bologna (1509/10), died 1597; father of Lavinia Fontana

The Holy Family with two Holy Women, Prospero Fontana (1512-1597). Dresden: Staatliche Kunstsammlungen – Gemäldegalerie Alte Meister. Ref. Anthony Rowland-Jones (pers. comm., 2001). At the Virgin's feet in the bottom right-hand corner lies a cylindrical duct-flute (probably a recorder) the block of which is missing. One of the Holy Women has an organetto.

Francesco Fontebasso

Italian painter, printmaker and draughtsman; one of the most prolific and well-known followers of Sebastiano Ricci, with whom he had his earliest training, and particularly of Giambattista Tiepolo; born Venice (1707), died Venice (1769).

Brindisi di Biove in Olimpo, Francesco Fontebasso (1709-1769), Italian (Venetian). Vercelli: Museo Civico Borgogno. Possibly a design for a ceiling fresco. Includes two harpists who accompany a satyr playing a flared-bell pipe. It is difficult to distinguish between a possible shawm pirouette, or the player's lips. But it is a bit late for shawms, and the use of harps suggests a recorder. Notes by Anthony Rowland-Jones (pers. comm.)

Karel de Fonteyn [Carel Le Fontijni] (17th century), Flemish

Vanitas (1665), oil on canvas, 90 × 106 cm, Karel de Fonteyn (17th century). Private Collection: auctioned Galerie Philippe Heim, Paris (1964). Ref. Paris RIdIM (1999); Rijksbureau voor Kunsthistorische Documentatie 17602 (2010-b&w); Anthony Rowland-Jones (pers. comm., 2001). On a table, a vase of beautiful flowers is surrounded by a litter of objects, including books, documents and papers, an open score, a skull, an hour-glass, a shell, a plate, a candlestick (the candle worn down), a kit (dancing master's fiddle) and an alto hand fluyt, tapered with a flared bell.
Vanitas, Karel de Fonteyn (17th century). Antwerp: Private Collection. Ref. Museum Antwerpen (1965 – detail). A still-life with a table covered in various objects including a vase of flowers, a skull, a candlestick, sheet music, books, a little tobacco, and a cylindrical recorder.

Pieter Fontijn – see David Teniers II

Dutch portraitist and landscape painter; born Dordrecht 1773, died Dordrecht 1839.

Jacob de Formentrou

Flemish artist, born 1620-1625, died p. 1659.

A Cabinet of Pictures (ca 1650), oil on canvas, 75.3 × 112.1 cm, Jacob de Formentrou (1620-1625 – p. 1659). Her Majesty Queen Elizabeth II: Royal Collection, Inv. RCIN 404084. Ref. Riksbureau voor Kunsthistoriche Documentatie 116518 (2010-b&w). In the middle of a room displaying a collection of artworks a man crouches down to look at a vanitas with a military theme propped up against an easel. On the easel is a portrait of a Tarzan-like figure. Various paintings adorn the walls including a landscape by Gaspar de Witte, and a vanitas by Hendrick Andriessen. A tall woman stands in a doorway looking into the room, holding the hand of a young girl. Opposite them, on the other side of the room, the owner, hands on hips, surveys the works on the easel whilst his friends discuss their merits around a table on which there is a lute. Are these new purchases? A dog sniffs the air, perhaps offended by the smell of oil paints. What interests us here is the still-life by Andriessen which contains a skull and other vanitas objects, including a hand-fluyt.

Ambrogio di Stefano da Fossano – see Bergognone

Ed Fotheringham

Contemporary Australian artist, resident in Seattle; has published illustration in the New Yorker, and assignments for Rolling Stone, Warner Brothers, Neiman Marcus and GQ; sometime rock singer with The Throw Ups.

Recorder Cityscapes (1998), Ed Fotheringham (contemporary). Ref. American Recorder 39 (4): front cover - col. (1998). Recorder skyscrapers tower above little cars hurrying about their business.

Jean Fouquet [Foccare]

Preeminent French painter of the 15th century who created a new style, combining the experiments of Italian painting with the exquisite precision of characterization and detail of Flemish art; known for his miniatures, and for his portraits; active in Tours and Paris; born Tours (ca 1420), died Tours (ca 1481).

Book of Hours (1450-60): St Stephan and Estienne Chevalier Chevalier, illuminated miniature, Jean Fouquet (ca 1447-1480). Chantilly: Musée Condée. Ref. Sauerlandt (1922: 9); Peter (1958: 43). St Stephan and Estienne Chevalier (Treasurer of France and Fouquet's patron) are surrounded by a host of angel musicians playing lute, psaltery, and three slightly flared recorders.
Book of Hours (Hours of Simon de Varie; use of Paris), Maître François, workshop of the Bedford-master, Master of the Dunois Hours (illuminators): Prayer to the Virgin Mary sitting on the ground, reads to the Christ-child (1455), illuminated miniature on vellum, 5.2 × 3.5 cm, Tours, Jean Fouquet (ca 1447-1480) Detail. The Hague: Koninklijke Bibliotheek, KB, 74 G 37, Fol. 12r: full-page min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Mary sits beneath a canopy reading a book to the Christ-child, who turns the pages for her. On either side are musical angels who play lute and a cylindrical pipe, possibly a recorder since all fingers of the lowermost (left) hand seem to be in play. The highly decorated margin includes angels playing lute and organetto.

Jean-Honoré Fragonard

French painter, draughtsman, printmaker and museum official; the most brilliant and versatile artist in 18th-century France, he wielded brush, chalk and etcher’s needle with extraordinary virtuosity, effortlessly varying his touch as he produced a succession of consummate masterpieces on themes from religion, mythology, genre and landscape; born Grasse (1732), died Paris (1806); his son, Théophile Fragonard (1806-1876) worked as a painter for Sèvres.

Psyche showing her Sisters her Gifts from Cupid (1753), oil on canvas, 168.3 × 192.4 cm, Jean Honoré Fragonard (1732-1806). London: National Gallery, NG 6445. Ref. Website: National Gallery (2002); Anthony Rowland-Jones (pers. comm., 2002). A scene from the classical myth of Cupid and Psyche, which was originally told by Apuleius in his Golden Ass. Fragonard's work is probably based on La Fontaine's version of the fable. After falling in love with Psyche, Cupid had visited her only at night, forbidding her to look upon him. In the painting, Psyche shows her two sisters the gifts she has received from her lover, and moved by jealousy – a Fury appears in the sky above the sisters – they persuade her to uncover Cupid's identity and thus wreck her happiness. At the bottom right is a tambour and a small cylindrical duct-flute with six finger-holes of different sizes and not quite in line, and there may be one further hole, offset to the right where one could imagine a little-finger-hole might be. There is no bell flare.
Flute Player (18th century), oil on canvas and wood, 29 × 1 cm, school of Jean Honoré Fragonard (1732-1806). Bordeaux: Musée des Beaux Arts, Inv. BXE 1069 283, BXM 7047. Ref. Joconde Website (1999). A three-quarter bust of a man with a duct-flute (flageolet or recorder). Not seen.
Personifications of Music, Sculpture, Painting and Literature, oil on canvas, school of Jean Honoré Fragonard (1732-1806). Ref. Gabrius Data Bank, OMP (2001 - col.) Music is personified by an almost naked young woman reading a score. Behind her is a lute; before her a trophy of two wind instruments tied together with a ribbon. The instruments are flared-bell pipes which may have been intended to represent recorders. Auctioned 23 May 2000, sold (Gabrius, loc. cit.)
The Musical Contest (1754), oil on canvas, 62 × 74 cm, Jean Honoré Fragonard (1732-1806). London: Wallace Collection, Inv. P471. Ref. flautotraverso.it (2003 - col.) Two earnest young musicians compete for the attention of a young woman with a parasol. One of the musicians sits on the ground playing a musette; the other, holding a small recorder in one hand, is on his knees, imploring the woman who is awarding her wreath to the bagpiper.

Sir George (James) Frampton

Influental English sculptor and decorative artist; his conception of late Pre-Raphaelite imagery culminated in his ethereal and idealized sculptures; born London (1860), died London (1928).

Peter Pan, cast lead sculpture, after Sir George Frampton (1860-1900). Adelaide: Veale Gardens, Conservatory. Ref. South Australian Government, Adelaide, Media Release: Councillor issues plea for Peter Pan to be returned from Never Never Land (8 August 2000); Adelaide City Council: Public Civic Collection Listing (accessed 2004). A cast lead replica (said to be based on the sculpture of Peter Pan by Sir George Frampton erected in London's Kensington Gardens in 1912) was donated to the City of Adelaide by Alderman Robert Clampett following his term as Lord Mayor from 1973 to 1975. The first statue of the "boy who never grew up" disappeared from Veale Gardens in 1987. Its replacement was cast in London (by Crowther of Syon Lodge, Ltd) and shipped to Adelaide in the same year. It, too, went missing in August 2000. In the event, it looks not one jot like the charming original! Here, Peter Pan is bent over a single, long, slender, somewhat bent pipe with what seems to be recorder fingering, though no identifying details are visible. In Frampton's original sculpture and authentic copies of it in the Tate Gallery (London, UK), Bowring Park (St John's, Newfoundland), Queen's Gardens (Perth, Western Australia), Camden (New Jersey, USA), Sefton Park (Liverpool, UK), Toronto (Canada), Brussels (Belgium), and elsewhere, Peter Pan plays a triple pipe one-handed, his arms and instrument outstretched.

Pietro Francavilla [Francheville, Francqueville, Pierre de; Belgicus]

Flemish sculptor active in Italy, representative of the classicising tendency of the second Mannerist school; became a partner of Giambologna in Florence; works include marble statues of mythical subjects; born Cambrai (1548), died Paris (1615).

Mercury (1604), sculpture, Pietro Francavilla (1548-1615). Florence: Galleria Palatina, Sculpture Gallery. Ref. Anthony Rowland-Jones (pers. comm., 2002). As well as his snake-entwined caduceus, Mercury holds a conical duct-flute. The beaked mouthpiece and the window/labium with a marked chamfer are clearly shown, with three finger-holes visible above Mercury's hand and two below. The bell end, quite broad, has a slightly raised protective ring. The holes are in line and equally spaced, suggesting seven in total, the lowest being quite close to the bell.

Baldassare Franceschini [il Volterrano]

Italian painter and draughtsman; considered to be the initiator and most important representative of the Baroque style in Tuscany; born Pisa, Volterra (1611), died Florence (1690); son of Guasparri Franceschini, a sculptor in alabaster.

[Youth with a Recorder], drawing, Baldassare Franceschini (1611-1689). Florence: Uffizi Gallery. Ref. Archiv Moeck. A naked youth sits on a plinth holding a tenor recorder of tapering form with a slightly flared bell.
Musical Angels (1644), fresco, Baldassare Franceschini (1611-1690). Florence: Chiesa Santissima Annunziata, Cappella Grazzi. Ref. Gregori (1990: 66-70); Paolo Biordi (pers. comm., 2002); Web-site: Ikonographie der Renaissanceflöte (2009 - col.) Musical angels with their instruments above an ornate arch. One holds a shawm upside down. One holds a perfectly depicted one-piece recorder with a flared bell, the beak, window/labium and bottom five finger-holes clearly visible, the lowermost offset. Another plays a near cylindrical one-piece recorder, the window/labium clearly depicted, the first two fingers of the uppermost (right) hand and the first three fingers of the lowermost hand covering their holes, the lowermost little finger lifted above its hole which is visible. A kneeling angel on the left holds a nautilus shell; a seated angel on the right holds an open book of music. Above a coat of arms opposite, a trio of older angels, seated, play cornett, cello and flute.
Boy with Flute and Trumpet, painting, oval, Baldassare Franceschini (1611-1690). Location unknown. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0005386 (2009 - b&w). A young boy with a trumpet slung over his bare shoulder holds a soprano flared-bell recorder in his right hand. The instrument is perfectly depicted.

Marcantonio Franceschini

Italian painter and draughtsman; worked in Genoa, Modena, and Rome as well as in his native Bologna, and had patrons in Austria and Germany; made director of the Clementina Academy in Bologna in 1721; painted altarpieces and cabinet pictures and was exceptionally skilled at large-scale fresco decoration; born Bologna (1648), died Bologna (1729).

Saint Cecilia, Marcantonio Franceschini (1648-1729). Montbrun les Bains (Provence): Church. Ref. Angelo Zaniol (pers. comm., 2004). St Cecilia plays the organ, surrounded by musical angels who sing and play violin and a duct-flute, almost certainly a recorder, although only the head is visible.
Bacchus and Ariadne (1772), soft-ground etching & stipple in sanguine, 29.0 × 26.5 cm, Captain William Baillie 1723 - 1810), after a drawing by Marcantonio Franceschini (1648 - 1729). London: Grosvenor Prints (2010). Bacchus and Ariadne are transported upwards on a cloud by three figures, one playing a pipe, another a tambourine, the third holding a crown of stars above Ariadne's head. The pipe has a flared bell and may well represent a recorder. Currently for sale at £230.

Vicenzo Franceschini (1680-1740), Italian.

Carlo Broschi, engraving, Vicenzo Franceschini (1680-1740). A bust of the famous castrato Farinelli. A trophy of musical instruments above and beside the portrait depicting a violin, several oboes, a mandola, a harp and the head of a baroque recorder. Recorders feature in Handelian opera. Notes by Anthony Rowland-Jones (pers. comm.)

Pieter [Peeter] Franchoys

Dutch painter of portraits and religious subjects; born Mechelen (1606), died Mechelen (1654); brother of the painter Lucas Franchoys II (1616-1681).

Portrait of a Musician, oil on canvas 112.5 × 91.5 cm, Peeter Franchoys (1606-1654). The Hague: Gemeentemuseum. Ref. Buijsen & Grijp (1993); Bridgeman Art Library (2002: Image ID HGM 81096 - col.) A lutenist accompanies another man playing the flute. On a table before the lutenist is an open music book across which lies a cylindrical pipe, possibly a recorder.

Franciabigio [Francesco di Cristofano]

Italian painter; a minor master of the High Renaissance style who collaborated with Andrea del Sarto (on the frescoes in the Annunziata church in Florence), who was the dominant influence on his style; his best works are generally considered to be his introspective portraits; born Florence (ca 1482), died Florence (1525).

A Hand pointing and a Hand holding a Woodwind Instrument, drawing, Franciabigio (ca 1482-1525). Florence: Uffizi, no. 6441F. Ref. McKellop (1974: fig. 52); Rasmussen (2005, Flute). "Recorder or flute" (Rasmussen (loc. cit.) Not seen.

Frans Friedrich Franck (1627-1687), German

Vanitas (1663), oil on canvas, 95 × 125 cm, Frans Friedrich Franck (1627-1687). Augsburg: Städtische Kunstsammlungen, Inv. 6131. Ref. Munich RIdIM (1999: Ask 9). On a table covered in an embroidered cloth are scattered books, music and a number of musical instruments including sackbut, and a case with space for five different sized recorders. Four recorders are visible. At the left, the lower part of an alto is visible, with three finger-holes and two little finger-hole, and a slight flare at the the bell end. The recorder at the right has a fontanelle with a butterfly key and four finger-holes showing; there is a marked flare, but the end of the bore is not visible. The end of a smaller recorder with a slight flare and bell expansion is visible immediately below. Under the case rests another instrument with a brass ring. This could be part of a basset recorder. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Pauwels Franck [Paul Franchoys or Paolo Fiammingo or dei Franceshi]

Netherlandish painter and draughtsman; active in Italy from 1573 where he worked as an assistant in Tintoretto's workshop, specializing in landscape backgrounds; he remained based in Venice where he eventually opened a successful studio which produced landscape and figure compositions; although he painted many religious pictures, his reputation was based on a particular type of mythological fantasy derived from the example of Giorgione; born Antwerp (1540), died 1596.

Allegory of Hearing or Allegory of Music, Pauwels Franck (1540-1596). Location unknown: Auctioned by Dorotheum 15 October 1996 (unsold), 10 June 1997 (unsold), 9 June 1999 (sold). Ref. Rijksbureau voor Kunsthistorische Documentatie 18288 (2001); Anthony Rowland-Jones (pers. comm. 2001); Gabrius Data Bank, OMP (2002 - col.) Watched by Music and her handmaiden who read from a music book, the Gods Apollo, Mercury, Pan and Sirens make music in Parnassus. On an islet, in the middle of a lake, Apollo plays his lyre. On the shore to the left Pan plays a syrinx and Mercury plays a slender flared-bell tenor recorder, the paired lowermost finger-holes clearly visible. On the shores of the lake Sirens and possibly Muses sing and play lutes, harps, viols, trumpets and other instruments. At Music's feet instruments lie scattered, including lute, viol, cornett, and three recorders. Two recorders lie crossed; one has a characteristic flared foot; the other shows the beak and what looks like the beginings of a fontanelle partly hidden beneath the lute. A third lies crossed beneath the cornett, it's window/labium just visible near Music's sandal.
The Five Senses (1582), Pauwels Frank (ca 1540-1596). Dordrecht: Museum (City Art Gallery). Ref. Anthony Rowland-Jones (pers. comm., 2001). A personification of Hearing has her foot on a soprano recorder with a flute crossing it, a lute and cornett beside it. She holds a lyre. The recorder has a clearly depicted window/labium, but only its two lowermost finger-holes, the foot, and the flared bore of the bell are visible as the rest of the instrument is obscured.

Erica Franke [Erica Barton Franke; Erica Barton Haba]

Contemporary USAmerican artist who lives and works in Monterey, California; her series of 88 Monterey Christmas Angels were fashioned after the somewhat primitive style used by the priests in California missions to teach Christianity to Indians; These angels had brightly colored clothing, dark skin and sombre expressions. They were restored in 1970 and ten new ones were commissioned in 1999. They have become something of a Monterey tradition. A number of them are shown holding musical instruments, including cello, cymbals, horn, drum, guitar, harp, lute, lyre, trumpet, violin, and a possible recorder. Photos of the angels by Miriam Grebe are sold as posters and Christmas Cards, and they have been reproduced in needlepoint.

Angel with Recorder (1956 or 1971), painted wooden panels, ca 200 cm high, Erica Francke (contemporary). Monterey: City Council. Ref. Website: Monterey Christmas Cards (2007 - col.) An angel with butterfly wings and elaborate garment plays a conical pipe which looks more like a shawm than a recorder. The photographic card is marketted by Miriam Grebe as Angel with Recorder.

Frans I Francken

Flemish painter of large-scale commissions of religious subjects; also painted portraits and small-scale cabinet pictures; born Herentals (1542), died Antwerp (1616); father of Frans II Francken (1581-1642) and Hieronymous Francken (1578-1623), both artists.

Adoration of the Shepherds, wood, ? × 165 cm, Frans I Francken (1542-1616). Mons: Église Sainte-Waudru. Ref. Leppert (1977: 49). Two shepherds hold bagpipes and a duct-flute (no finger-holes visible).

Frans II Francken [Franck]

Flemish painter, the most important member of the Francken family; works include altarpieces, painted furniture panels, and small cabinet pictures with historical, mythological or allegorical themes; his early paintings of ‘monkeys’ kitchens’ (allegorical scenes of human vice, such as smoking and gluttony, enacted by monkeys) set the direction for Jan van Kessel and Teniers; born Antwerp (1581), died Antwerp (1642); son of Frans Francken I (1542-1616).

Earthly goods are the cause of mankind's sin, print, Frans II Francken (1581-1642). Munich: Staatliche Graphische Sammlung, Inv. 10 601. Ref. Bernt (1948-1962, 4: 238); Munich RIdIM (1999: Mgs 832). Shows two wind instruments which could be either straight cornetts or recorders (no window/labium showing).
Concert of the Muses, painting, Frans II Francken (1581-1642). Location unknown. Ref. Website: klassiskgitar.net (2007 - col.) Sitting on a rock playing his violin, Apollo presides over the Muses who play various instruments, including organ, violin, flutes, lute, cello, and a slenderly flared pipe (probably a duct-flute, possibly a recorder given the disposition of the player's fingers). In the foreground lie a globe, music books, a shawm, a lute, and what may be another recorder only the foot and lower body of which is visible. Pegasus flies above.

Hieronymus [Jerome] Francken [Franck] I

Member of a Flemish dynasty of artists; worked mainly in Antwerp in a classicist style; born Antwerp (ca 1540), died Antwerp (1610); brother of Frans Francken I (ca 1542–1616), father of Frans Francken II (1581-1642).

The Marriage Feast at Cana Hieronymus Francken I (1540-1610). Dublin: National Gallery of Ireland. Ref. Boydell (1985: 49, fig. 39). In a large banquet room, the guests sit at a long dining table. At one end sits Christ turning jugs of water brought to him by a servant into wine. From a gallery at the other end of the table a musician sings from an open book, three play lutes, and a fourth plays a slender duct-flute, probably a recorder to judge by the cross-fingering employed.

Hieronymus [Jerome] Francken [Franck] II

Member of a Flemish dynasty of artists; worked in Antwerp and Paris, born Antwerp (1578), died Antwerp (1623); son of Frans Francken I (ca 1542–1616).

Scène de Bal, painting, Hieronymous Francken II (1578-1623). Troyes: Musée des Beaux-Arts (part of the Musée St Loup, previously an abbey). Ref. Christina Rowland-Jones (pers. comm., 2005). In a room at the centre of which two people dance, others are seated. The band comprises two lutes, a harp and an alto-sized slender cylindrical pipe (possibly a recorder) played by a youngish man, all fingers down so no holes show (the first finger may be lifted). There is some bell flare, but within it the bore stays quite narrow. The player's lips and cheeks are relaxed. No window/labium is visible.

Anne François

French artist; born Troyes (1787), died Troyes (1846).

Warrior in Roman Costume … (early 19th century), pencil drawing on card, 20.1 × 18.5 cm, Anne François (1787-1846). Troyes: Musée des Beaux Arts, Inv. D.45.7.603 Ref. Joconde Website (1999). Probably represents Louis XII on the field of battle, a study of one of the windows by Linard Gonthier made for L'Hotel de l'Arquebuse. Depicts a group of figures, including a soldier in antique armour. Musicians play duct-flute (? three-holed pipe) and drum. Not seen.

Niccolo Frangipane

Italian painter, documented in Venice and Rimini; born 1555, died 1600.

Young Man with a Recorder, oil on canvas, Niccolo Frangipane (1555-1600). Auxerre: Musée des Beaux Arts. Ref. Limberg (1992: 123, fig. 10 – b&w); Bridgeman Art Library (2003: Image GIR 201695 - col.) An ermine-coated, hatted man with ringlets holds a flared-bell recorder with a bow tied around its decorated foot.
Shepherd with Recorder (ca 1509-1510), Niccolo Frangipane (1555-1600). Charlecote Park, Warwick: Collection of Sir Montgomery Fairfax-Lucy. Ref. Frings (1999: 186, pl. 31 – b&w). A bearded, ermine-coated, rather gaunt-looking man holds a cylindrical recorder, only the head and upper body of which is visible. There is an almost identical picture by Giovanni Giraolamo Savoldo (ca 1480 – after 1548) at Bowood House, Wiltshire, but Frangipane's musician wears a fine necklace, and the window of his recorder is politely turned away from us.
A Young Bearded Man with a Flute, oil on canvas, school of Niccolo Frangipane (1555-1600). Ref. Gabrius Data Bank, OMP (2001 - col.) A bearded, ermine-coated young man wearning a fine necklace holds what has been taken to be a long cylindrical pipe in his right hand pointing forward with his right hand. However, no details of beak or finger-holes are visible, and this seems much more likely to be walking stick. Auctioned 17 April 1996 (Gabrius, loc. cit.)

Jean-Pierre Freillon-Poncein

French oboist active in the Dauphinè region of France around 1700.

La véritable manière d'apprendre à jouer en perfection du hautbois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d'instrumens [The true way to learn to play with perfection the oboe, recorder, and flageolet, with the principles of music for the voice and all kinds of instruments], table of fingerings (1700), Jean-Pierre Freillon-Poncein (fl. ca 1700) Published by Jacques Collombat, Paris. Ref. Minkoff Reprint, Geneava (1972); Möhlmeier & Thouvenot (2002). Stylised representation of a 3-piece baroque recorder.

Giovanni Girolamo Frezza (1659-1741) – see Sisto Badalocchio

Hans Fries

Swiss painter and draughtsman; the most important painter of religious art in early Renaissance Switzerland, he was a product of the late 15th-century school of the so-called Bernese Carnation Masters; known for his sly humour; born Freiburg (1460-1462), died Berne (after 1518).

Triptych: centre panel, Virgin Feeding the Child in a Glory of Angels (early 16th century), Hans Fries (1460/1462 – p. 1518). Venice: Civico Museo Correr. Outer ring of angel musicians include harp, cittern, three recorders, fiddle, portative organ, bladder pipe (or crumhorn), two trombones, tromba marina and eight singers. The recorder trio is at the top in prime position! The lowest hand and bell are obscured by by the golden rays of the Gloria, except for two fingers of the lower (left) hand of the first angel. The position of the hands and thickness of the instruments suggests soprano/alto/tenor (or basset) recorders. The window/labium is clearly depicted in all three. Notes by Anthony Rowland-Jones (pers. comm.)

Jacob Andreas Fridich, the Elder (1684-1751), German

Title page of Gottlieb Muffat, Componimenti Musicali per il Cembalo, Augsburg, engraving, Johann Christian Leopold (1736- ?) Ref. Fraenkel (No. 141); Rasmussen (1999a). Putti in the lower right play bagpipe, hurdy-gurdy and a small, ribbed alphorn (in contrast to putti on the left playing guitar, violin, cello and recorder [?]). The frieze of musical instruments across the top incudes a 1½ circle coiled horn" (Rasmussen, loc. cit.)

Alfred Downing Fripp

British artist who studied at The British Museum and The Royal Academy Schools from 1840 and began to exhibit from 1842 at the old watercolour society; born 1822, died 1895.

The Piping Shepherd (1870-1889), watercolour, Alfred Downing Fripp (1822-1895). London: Victoria & Albert Museum, Inv. 198-1886. Ref. Postcard: G 061462, Woodmansterne, Watford, WD1 8YW, England (1998-col.) On a chalk cliff-top before a lake a boy holds a small (soprano) recorder as if to play it. His dog looks enthusiastically up at him. There is no doubt about the recorder which is of turned baroque design, and played right hand uppermost, the thumb in 'pinching' position and the lowermost hole covered. At this date some British shepherd boys still wore traditional smocks, but they were of a greyish-brown colour known as drab, and would not have had matching hats. The boys made their pipes from whatever materials were to hand in the pastures, such as the hollow stems of reeds. The green smock and the Baroque recorder in this painting owe more to the Aesthetic Movement, which was prominent at the time and which emphasised beauty, especially in historical form.

Jan [Johannes] Fris (1627/8 - a. 1708), Dutch

Vanitas Still-life (1670), painting, Jan Fris (1627/8 - a. 1708). Location unknown: auctioned Sotheby's (London), 12 December 1984. Ref. Burlington Magazine (1986, 128: advert. p. ix - col.); Gemar-Koeltzsch (1995: 360, no. 129/6); Rasmussen (2002, Trumpet). "Includes a violin, recorder, trumpet and frame drum" (Rasmussen, loc cit.)
Still-life (1667), On a table are a globe, an hourglass, papers, pamphlets, a clay smoking pipe, a watch, and a recorder only the flared foot of which can be seen sticking out from underneath some of the papers. Jan Fris (1627/8 - a. 1708). Location unknown: auctioned Berlin. Ref. Bernt (1969, 1: no. 291); Vroom (1980: no. 253); Rijksbureau voor Kunsthistorische Documentatie ex Ruth van Baak Griffioen (pers. comm., 2003).

Issac Fuller the younger

English painter and engraver, active 1678-1709.

Sapienza humana: HUMANE WISDOM (1709), Issac Fuller (17-18th century). Iconologia or Moral Emblems by Cæsar Ripa … I. Fuller delin et fecit. Peirce Tempest excudit. Printed by Benj. Motte. MDCCIX. (1709: 67: fig. 267). Ref. Pennsylvania State University: The English Emblem Book Project: Iconologia or Moral Emblems by Cæsar Ripa. The accompanying text reads:
FIG. 267. Sapienza humana: HUMANE WISDOM.
A youth with four Hands, and four Ears; A Quiver by his Side, a Recorder in his right Hand, and a Lyre in the other, sacred to Apollo.
The Hands denote Use and Practice, necessary to get Wisdom, beside Contemplation. The Ears, that to hear others is requisite. The Flute and Quiver, that one should not be too much taken in hearing Encomiums of oneself, nor unprovided, in case of Offense.
The recorder is an alto of baroque style with a flared bell.

The Iconologia of Cesare Ripa (Roma, per gli heredi di Gio. Gigliotti, 1593) was conceived as a guide to the symbolism in emblem books. It was very influential in the 17th century and went through a number of editions. There were nine Italian editions – 1593, 1603, 1611, 1613, 1618, 1625, 1630, 1645, 1764-7 and eight non-Italian editions in other languages, 1644 French, 1644 Dutch, 1699 Dutch, 1704 German, 1709 English, 1760 German, 1766 French and 1779 English. Both the text and the emblems included in these editions varies greatly, and later editions use Ripa's idea, rather than following his text.
Scandalo: SCANDAL (1709), Issac Fuller (17-18th century). Iconologia or Moral Emblems by Cæsar Ripa … I. Fuller delin et fecit. Peirce Tempest excudit. Printed by Benj. Motte. MDCCIX. (1709: 67: fig. 267). Ref. Pennsylvania State University: The English Emblem Book Project: Iconologia or Moral Emblems by Cæsar Ripa. The accompanying text reads:
FIG. 268. Scandalo: SCANDAL.
An old Man with open Mouth; a grey Beard, and his Hair finely curl'd; a Pack of Cards in his right Hand, and a Lute in the left; a Hautboy and a Music-book at his feet.
Old Age denotes the more heinous Offence; open mouth, that he occasions Scandal, not only in Deeds but in Words. The Cards expos'd to every one's Views is a manifest Scandal in an old Man especially, who should not give ill Examples to Youth.
On examination, the "Hautboy" depicted is clearly a baroque recorder with "curved-over" beak and flared bell.

The Iconologia of Cesare Ripa (Roma, per gli heredi di Gio. Gigliotti, 1593) was conceived as a guide to the symbolism in emblem books. It was very influential in the 17th century and went through a number of editions. There were nine Italian editions – 1593, 1603, 1611, 1613, 1618, 1625, 1630, 1645, 1764-7 and eight non-Italian editions in other languages, 1644 French, 1644 Dutch, 1699 Dutch, 1704 German, 1709 English, 1760 German, 1766 French and 1779 English. Both the text and the emblems included in these editions varies greatly, and later editions use Ripa's idea, rather than following his text.

Bernardino Fungai

Italian painter; his works are characterized by the docility of the figures, a keen decorative sensibility in the use of colour and the treatment of drapery and landscape, and a pleasantly engaging narrative skill; born Siena (ca 1460), died Siena (1516).

Nativity, Bernardino Fungai (ca 1460-1516). Chiusi: Duomo. Ref. Bargagli-Petrucci (1932: 116); Visual Collection, Fine Arts Library, Harvard University, 372.F963.22N[c]; Rasmussen (1999b). "Angels play harp, lute, two woodwinds (recorder?, cornett?) and tambourine" (Rasmussen, loc. cit.) Not seen.
Coronation of the Virgin, Bernardino Fungai (ca 1460-1516). Siena: Santa Maria dei Servi. Ref. Bacci (1947: after p. 94, pl. 11); Jacobsen (1910: pl. 1/2); Visual Collection, Fine Arts Library, Harvard University, 372.F963.31C1; Rasmussen (1999b). "Angels play lute, harp, recorder (?) and cornett (?). Putti play tambourine and cymbals" (Rasmussen, loc. cit.) Not seen.
Assumption of the Virgin, Bernardino Fungai (ca 1460-1516). Siena: Pinacoteca Nazionale. Ref. Bacci (1947: pl. 2); Jacobsen (1910: pl. III/1); Visual Collection, Fine Arts Library, Harvard University, 372.F963.34[a]; Rasmussen (1999b); Anthony Rowland-Jones (pers. comm., 2002). Musical angels cross the picture on each side of the Virgin. At the left they play harp, triangle and fiddle; at the right are two ? recorders, tambour and mandola. The ? recorders are both alto-sized and slightly outwardly conical. The mouthpieces are well between the player's relaxed mouths; there is no sign of a window/labium. Both angels play left hand uppermost but finger-holes are visible under or between the fingers. The first has 7 finger-holes, and the left thumb can be seen under the instrument. The second shows 8 finger-holes! It also has an incised ring just above the foot, which has no flare.

Sebastian Furck

German engraver and portraitist; born Kastellaun/Hunsrück (ca 1600), died Frankfurt (1655).

Portrait of Johann Andreas Herbst (1635), engraving, Sebastian Furck (ca 1600-1655). Published in Musica Poetica (1643). Ref. Fabbri (1952, 2: 461); Blume (1949-1963, 6: pl. 12); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). A decorative border around the oval-shaped portrait with festoons of musical instruments comprising lute, violin, cello, cornetts, trumpet, sackbut, harp, and cylindrical recorders of various sizes including a basset with a bocal.

Francesco Furini

Italian artist, amongst the leading Florentine painters of his day; famous for the ambiguous sensuality and sfumato effects of his many paintings of female nudes, but also painted religious subjects; born Florence (1604), died Florence (1646).

A Young Flautist, oil on canvas, 79 × 58 cm, oval, attributed to Francesco Furini (1604-1646). Auctioned: Old Master Paintings, Dorotheum, Vienna, 10-22 March 2001, Lot 11. Ref. Website: International Auctioneers (2006 - col.) A rather sensual-looking youth in side profile holds a slender, ambiguous, flared-bell pipe as if about to play it. No details of finger-holes, beak or window/labium can be discerned. From the title it is probably meant to represent a duct-flute, possibly a recorder.

Jan [Johannes] Fyt [Fijt]

Flemish painter, draughtsman and etcher; worked in Paris and Venice; born Antwerp (1611), died Antwerp (1661).

[Amorous Shepherds] (1626-1661), oil on panel, 106 × 74 cm, Jan Fyt (1611-1661). Brussels: Giroux 3-5 May 1927, Lot 344. Ref. Rijksbureau voor Kunsthistorische Documentatie 17410 (2010-b&w); Anthony Rowland-Jones (pers. comm., 2001). The wreathed shepherd may be holding a pipe (possibly a recorder) while he kisses his companion.