Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

M

Jan Mabuse (original name Jan Gossaert or Jenni Gossart, also called Jan Malbodius)

• Malvagna Triptych, altarpiece, centre panel (recto): Virgin and Child, 44.5 × 35 cm, Jan Mabuse (ca 1478-ca 1532). Palermo: Galleria Regionale della Sicilia Palazzo Abatellis. Ref. Glück (1928: 307); Wallraf-Richartz Jahrbuch 32 (1970: 101); Friedländer (1967-, VIII: no.2, pl. 4-5); Thomson (1968: 74 & plate op. p. 32 – b&w); Visual Collection, Fine Arts Library, Harvard University, 371.G698.34[a]); Rasmussen (1999b). The Virgin and Child are enthroned in a window surrounded by gothic tracery of exquisite design. In the background are the buildings and gardens of a palace. In the foreground, three putti sing and others play lute and a cylindrical duct-flute (flageolet or recorder), probably a recorder since all fingers of the player's lowermost (left) hand seem to be covering their holes. There is a single turned bead on the foot-piece.
• Virgin and Child, oil on panel, 90.8 × 62.8cm, Jan Mabuse (ca 1478-ca 1532). Location unknown: formerly in the collection of Freiherr von Hövel; sold by Sotheby's Parke Bernet, 16 June 1977, Lot 151; auctioned by Bonham's New York, "Old Master Paintings", Sale 13698, 27 January 2006, Lot 215. Ref. Friedländer (1967-, VIII: pl. 7/2a); Rasmussen (1999b); Website: Bonhams (2006 - col.) A copy of the centre-panel of Mabuse's Malvagna Triptych which has the same group at the left (a right-handed lute player and three singers). It also has the recorder player at the right. See above. The little recorder player seems to have got the fingers and thumb of his uppermost (left) hand in quite a muddle!
• Virgin and Child, Jan Mabuse (ca 1478-ca 1532). Location unknown: formerly in the collection of Lord Northbrook. Ref. Friedländer (1967-, VIII: pl. 7/2b); Rasmussen (1999b). A copy of the centre-panel of Mabuse's Malvagna Triptych See above. Not seen.
• Virgin and Child, copy by Adriaen Isenbrandt (op. 1510 - m. 1551) after Jan Mabuse (ca 1478-ca 1532). Location unknown. Ref. Friedländer (1967-, XI: no. 134, pl. 112); Rasmussen (1999b). A copy of the centre-panel of Mabuse's Malvagna Triptych See above. Not seen.
• Virgin and Child, Jan Mabuse (ca 1478-ca 1532). Location unknown; sold, New York (1988). Ref. Burlington Magazine 130 (1988, p. xvii-col.); Rasmussen (1999b); Gabrius Data Bank, OMP (2002- col.); Himjans (2005: 219). A copy of the centre-panel of Mabuse's Malvagna Triptych which has the same group at the left (a lute player and three singers), but the lute player is left handed! It also has the recorder player at the right. See above.
• Virgin and Child, copy by Adriaen Isenbrandt (op. 1510 - m. 1551) after Jan Mabuse (ca 1478-ca 1532). Ref. Burlington Magazine 121 (1979, September supplement, unnumbered page - col.); Die Weltkunst 51 (1981: 1517); Rasmussen (1999b). A copy of the centre-panel of Mabuse's Malvagna Triptych which has a lute player and two singers at the left and a bladder pipe replacing the recorder at the right. See above. Not seen.
• The Adoration of the Kings (?1506), oil on wood, 177.2 × 161.3 cm, Jan Mabuse (ca 1478-ca 1532). London: National Gallery, Inv. 2790. Ref. National Gallery, London: Postcard 811861-col. The kings pay homage to Mary and the infant Jesus surrounded by their retinue whilst angels hover above. In the foreground, a dog worries a bone, watched by a second hound. An alto recorder is held by one of the ?shepherds visible between the brickwork immediately behind the kneeling king. The instrument has a longish beak and a very clearly depicted window/labium. No finger-holes are visible because of the shadow on the instrument and its being clutched in the man's right hand, but the bell end and bore opening are very clear, the latter seemingly expanding at its lower end. Notes after Anthony Rowland-Jones (pers. comm., 1999).
• Triptych, central panel: The Family of Saints, St Barbara and St Catherine, 50 × 31 cm, Jan Mabuse (ca 1478-ca 1532). Lisbon: Museo de Arte Antigua, Inv. 1479. Ref. Paris RIdIM (1999); Liesbeth van der Sluijs (pers. comm., 2001). Two winged angels to the right of the Holy Family play a small lute and a long, cylindrical flared-bell recorder. The characteristic beak and window/labium of the latter are clearly depicted, and the players hands are perfectly positioned for a recorder. To the left of the picture winged angels play rebec and an obscure instrument.

Cyrillo Volkmar [Cirillo Wolkmar] Machado

• Mercury about to Kill the Sleeping Argus with his Sword, pen & ink drawing from an original print, Cyrillo Volkmar Machado (1748-1823). Exhibited Fitzwilliam Museum, Cambridge (2000). Ref. Anthony Rowland-Jones (pers. comm. 2000). After an original print in the collection of the Museu de Arte Antigua, Lisbon. Probably intended as a tile (azuelo) design. A possible recorder lies on the ground. It has a clearly beaked mouth-piece and window/labium but only five finger-holes, in line and equally spaced, are shown (no part of the instrument is occluded). The bell end has no flare. It could be a flageolet or shepherd's pipe, slightly carelessly depicted. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Jacopo di Zanobi Machiavelli [Macchiavello]

• Coronation of the Virgin (1479), ca 170 × 170 cm, Zanobi Machiavelli (ca 1418-1479). Dijon: Musée des Beaux-Arts, Cat. 1883, No. 81; Ref. Mirimonde (1965: pl. IV); Winternitz (1979: 142-144, pl. 68 - b&w; 1982: 61- & pl. 49); Wiese (1988: fig. 10 – b&w); Archiv Moeck; Anthony Rowland-Jones (pers. comm., 2001 & 2003; 2007a: 40 & fig. 2 - col.) The Virgin is crowned by Jesus surrounded by angel musicians. In a group of four angels one sings, one plays lute, one fiddle and one recorder. The latter has a pale mouthpiece end with a clear window labium, but a darker body. It is cylindrical and cantus/alto size. Played right hand upper, and both hands have all fingers on, except the second finger of the right hand which is raised. However, three holes show between the fingers, together with double holes at the bottom just below the left hand. The bell end has no flare, but shows quite a large bore opening. In the catalogue (no. 28), reference is made to an inscription on the picture – OPUS CENOBII DEMACHIAVELLIS. MCCCLXXIIII (i.e. 1479). The group with the recorder is in the lower part of the ranks of angel musicians in this picture. Above, around the throne, are angels with cornamuse [ie bagpipe], pipe and tabor, trumpets, triangle, cymbals and a basque drum” (Rowland-Jones, loc. cit.)

James McArdell

• Benjamin Hallet (1743-1765), engraving by Thomas Jenkins (ca 1720-1798) after a painting by James McArdell (1728/9-1765). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001); Website: Historische Portraits bedeutender Persönlichkeiten (2009). The whereabouts of the painting on which this engraving is based is unknown. It illustrates the five-year old Benjamin Hallet (wearing a dress) playing the cello. Beneath it says:

  A Child not yet five Years Old, who under the tuition of Oswald, Performed on the flute at Drury Lane Theatre an^o 1748 for 50 Nights with extraordinary Skill & Applause, and in the following year was able to play his part in any Concert on the Violincello.

  "The child plays at a desk on which there is a music-book and a wind instrument. It could be an alto recorder with a long mouthpiece, and ivory rings at the head/body joint, and half-way down the body. The instrument is seen mainly from beneath so no window/labium is shown, but three or four finger-holes can just be made out. In the under part of the head end are what seem to be two holes close together. This could be transverse flute" (Rowland-Jones, loc. cit.)

Adam McCauley

• Cover: American Recorder 41(2): Snake Charmer (2000), Adam McCauley (contemporary). A leptomorphic snake-charmer, surrounded by smiling reptiles, plays his neo-baroque recorder.

MacRegol

"Macregol illuminated these gospels. Whoever reads and understands this narration, pray for Macreguil the scribe."

"Macriagoil Ua Magleni, Scribe, Abbot, Bishop of Birr, died."

• Decoration, from the Rushworth Gospels (2nd half of the 8th century), MacRegol (d. 822). Oxford: Bodleian Library, MS. Auct. D.2.19. Ref. Westwood & Zaczek (1996: 114-115, pl. 44-col.); Buckley (1991: 182, fig. 47). A bearded man with an elaborate hat plays a small pipe, possibly a duct-flute; his thumb is held up in the air.

Macrino d'Alba [Gian Giacomo de Alladio or Fava; il 'Macrino']

• Virgin and Child with Saints and Angels, Macrino d'Alba (ca 1465/70 – a 1528). Turin: Galleria Sabauda. Ref. Toesca (1911: 50); Viale (1939: pl. 88); d'Ancona & Gengaro (1953: 320 – fig.); Piana (1962: pl. IX-col.); Catalog (1971: fig. 204, pl. 89); Humfrey & Kemp. (1990: 139); Visual Collection, Fine Arts Library, Harvard University, 372.M259.34[b]; Rasmussen (1999b, 2000). "Mannerist angels play rebec and lute. The Virgin's throne levitates. The angels are in what would be the conventional position below the throne, if it were there. There are also a couple of musical putti, one holding a recorder (?), the other blowing a crumhorn" (Rasmussen 1999b). Not seen.
• Translation of Saint Demeure (1490), wood, 154 × 146 cm, Macrino d'Alba (ca 1465/70--a1528). Location unknown: Sold Hôtel Rameau, Versailles, 1 February 1970. Ref. Hôtel Rameau, Sale Catalogue No. 59 (1 February 1970), Paris RIdIM (2000). The Virgin and Child enthroned levitate above a church accompanied by angel putti some of whom play musical instruments including a lute and a pipe (possibly a recorder). Two figures stand either side, presumably the Saints before and after their beatification since that on the left has a halo.

Paul Madeline (1863-1920), French

• Recorder Player, oil painting, 38.1 × 17.8 cm, Paul Madeline (1863-1920). Brussels: Horta, 8 December 1997, Lot 170 . Ref. Artfact (2004). Not seen.

Madonna Master (early 14th century), French

• Psalter of Robert de Lisle: Scenes from the Childhood of Christ: Annunciation to the Shepherds (ca 1310), Madonna Master. British Library, Arundel MSS83 part II f. 124r. Ref. Sandler (1999); British Library: Images Online (2005). Six scenes from the childhood of Christ. Nativity; Annunciation to the Shepherds; Circumcision; Adoration of the Magi; Presentation of Christ in the Temple, with Joseph carrying the offering of turtle doves; Flight into Egypt. In the latter, an idol topples from a pagan altar as Christ passes. The Annunciation to the Shepherds depicts Gabriel holding a banner bearing the words "Gloria in Excelis Deo", above three shepherds with their sheep. Two of the shepherds gesture upwards. One plays a slender cylindrical pipe with the hint of a window/labium and thus probably a duct-flute.

Mariano di Maella (1739-1819)

• Ceiling fresco, attributed to Mariano di Maella (1739-1819). Madrid: Palacio Real, Royal Libarary, now the musical instruments museum (in the room next to the Stradivarius Room). Ref. Anthony Rowland-Jones (pers. comm., 2001). “Three women musicians, one a singer with music on a table nearby, another holds what seems to be a small recorder in right hand. The beak and window/labium are clear, but there is no more detailing” (Rowland-Jones, loc. cit.)

Girolamo di Francesco Magagni [ditto Giomo del Sodoma or Girolamo da Siena]

• Glory of angels (1550), Girolamo di Francesco Magagni (1507-1562). Detail. Siena: Museo dell'Opera del Duomo. Ref. 'Encicloppedia di storia dell'arte Bolaffi' (pl.-b&w); Paolo Biordi (2002, pers. comm.) On each side of a central angel seated on a cloud reading from a banner, two angel musicians sing and play long cylindrical tenor-sized recorders. The one on the right is particularly well depicted and the beak, window/labium, finger-holes and slightly flared bell are clearly visible.

Domenico-Fedeli Maggiotto [or Majotto]

• Flageolet Player, 57.5 × 45.5 cm, Domenico-Fedeli Maggiotto (1712-1794), Private Collection. Ref. ? Sale Catalogue; Paris RIdIM (2000). A young, rather petulant looking boy holds in his right hand a small duct-flute (probably a flageolet, as the title suggests) with a long beak and a turned and flared bell. Only two finger-holes are visible.
• Boy with a Recorder (ca 1740), oil on canvas, 72 × 57 cm, Domenico-Fedeli Maggiotto (1712-1794). Venice: Ca' Rezzonico, Museo del Settecento Veneziano. Ref. Giambattista Piazzetta: il suo tempo, la sua scuola (1983: 157, item. 63). A young boy with a tassle over his left shoulder holds a small turned baroque recorder. Modelled on an original by Piazzetta.
• Mandolin Player and Flute Player, oil on canvas, Domenico-Fedeli Maggiotto (1712-1794). Location unknown: Auctioned by Finarte, 9 December 1999 (sold). Ref. Gabrius Data Bank, OMP (2002 - b&w). A young boy holds a soprano, flared-bell recorder over his right shoulder. The beak, window/labium and four finger-holes are visible (the others are hidden underneath his hand, the lowermost of which is slightly offset to the player's left). Modelled on an original by Piazzetta. Offered for sale with a pendant entitled Mandolin Player in which a buxom lass plays a mandola.
• Boy with a Flute, oil on canvas, Domenico-Fideli Maggiotto (1712-1794). Location unknown: Auctioned by Finarte, 24 November 1999 (unsold); auctioned by Dorotheum, Vienna, 21 March 2002. Ref. Gabrius Data Bank, OMP (2002 - col.); Dorotheum, auction catalogue (2002 - col.) A young boy holds a soprano, flared-bell recorder over his right shoulder. The beak, window/labium and four finger-holes are visible (the others are hidden underneath his hand, the lowermost of which is slightly offset to the player's left). Modelled on an original by Piazzetta.
• Boy with a Recorder (ca 1740), oil on canvas, 59.7 × 45.7 cm, Domenico-Fedeli Maggiotto (1712-1794). New York: Sotheby's, 3 October 1996, Lot 1003. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001); Gabrius Data Bank, OMP (2002 - col.); Artfact (2003). A young boy holds a soprano, flared-bell recorder over his right shoulder. The beak, window/labium and five finger-holes are visible (the others are hidden underneath his hand, the lowermost of which is slightly offset to the player's left). Auctioned with another work by the same artist (a pendant) entitled Girl with a Tambourine.
• A Sheperdess with a Gourd and a Peasant Boy playing a Pipe, oil on canvas, Domenico-Fedeli Maggiotto (1712-1794). Location unknown. Ref. Gabrius Data Bank, OMP (2002 - col.) A young woman leans on her elbow holding a gourd and a stave in the crook of her left arm. Beside and slightly behind her, a younger boy plays a pipe the details of which are obscure, but his fingers are well disposed for recorder playing an the little finger of his lowermost (left) hand is outstretched to cover its hole. Reminiscent of Piazzetta' style.
• Shepherd Lad with a Flute, oil on canvas, 71 × 53 cm, Domenico-Fedeli Maggiotto (1712-1794) OR Giuseppe Angeli (1710-1798). Stockholm: Universitet, No. 64. Ref. RIdIM Stockholm (2001); Anthony Rowland-Jones (pers. comm., 2001). A shepherd leans on his left elbow holding an alto late-baroque recorder in his right hand cradled in the crook of his left elbow. The lower end of the recorder is out of frame.
• Loving Couple, 83 × 59 cm, Domenico-Fedeli Maggiotto (1712-1794). Location unknown: offered for sale by Siegfried Kuhnke - Gallerie Hofmarkmühle, Pähl am Ammersee, 1994. Ref. Weltkunst 64: 22 - col. (1994); Constance Scholten (pers. comm., 2005). A young man holding a rather thick one-piece baroque-style recorder with a widely flared bell leans towards his buxom female companion.
• A Young Man Holding a Flute, with a Young Woman Beyond, oil on canvas, 54.5. × 43 cm, Domenico-Fedeli Maggiotto (1712-1794). Location unknown: Sotheby's (New York), Sale N08282, "Important Old Master Paintings and European Works of Art", Lot 196, 26 January 2007 (sold). Ref. Sale Catalogue (2007 - col.) A young man grips a renaissance-style recorder fiercely in one hand gazing intently at a young woman at his shoulder whose look is equally intense.

Alessandro Magnasco [Il Lissandrino]

• The Concert, Alessandro Magnasco Bergamo: Private Collection. Ref. Abbiati (1939 - b&w); Angelo Zaniol (pers. comm., 2003). On a terrace musicians play a long-necked lute with a series of unfretted strings above the trebles, a rectangular harpsichord and a viol. The harpsichordist also sings, as does a child beside him. A figure with a floral crown standing behind the pandora player mimics him. Another person stands behind the harpsichord, drumming his fingers on the lid on which a bird is perched. On the floor in the middle of the picture a small child bangs a tambourine. A cat runs towards a slender, conical pipe (possibly a recorder) which lies on the floor beside the child.

Carlo Magnone (17th century), Italian

• Lute Player (1642), Carlo Magnone. Rome: Palazzo Barberini. Ref. Thomson & Rowland-Jones (1995: 42, pl. 15a, inset 2 – b&w); Greetings Card: Closerie #5064 (1996-col.); CD Cover: Sonate per Flauto e Basso Continuo, Poema Harmonico, Lindoro MPC-0702, Sevilla (1998, detail-col.) A variant copy of the original by Caravaggio. A young woman plays a lute, her music books on a table in front of her with a flared-bell recorder (with paired holes for the lowermost finger), violin, and miniature spinet.

Gian Francesco de' Mainieri (op. 1491-1505), Italian

• The Virgin and Child Enthroned between a Soldier Saint and St John the Baptist, oil and egg tempera on wood, 247 × 163.8 cm, Gian Francesco de' Mainieri (op. 1491-1505) & Lorenzo Costa (ca 1459/60 - 1535). London: National Gallery NG1119. Ref. Rowland-Jones (1999d: 124, fig. 1 – b&w). This work was painted for the high altar of the Oratory of the Conception, Ferrara (attached to the church of S. Francesco) and was probably commissioned by Carlo and Camillo Strozzi. At the base of the Virgin's throne near the bottom of this large altarpiece is a predella with five scenes from the life of Christ which were painted by Gian Francesco de' Mainieri who began the picture – it was finished by Lorenzo Costa. Three of the five scenes are partly obscured by the legs of the two standing saints. The scene on the far right depicts the Nativity in which one of the shepherds appears to be playing a pipe. At this size, features of the instrument are not apparent; indeed it is just possible that we are looking at the end of a shepherd's staff, but the position of the chin makes this unlikely. If it is an instrument, it is likely to be a duct-flute.

Hans Johann der Maler

• The Ten Commandments: Thou shalt not commit adultery (1528/9), tempera on pinewood, Hans Johann der Maler (born 1544-1550 - ?). Dresden: Historical Museum; formerly in the Kreuzkirche, Dresden. Ref. Archiv Moeck; Rowland-Jones (1999b: 6-7, fig. 5 – b&w). A gentleman with cloak, ornate hat, sword and pointed shoes, serenades his mistress in the balcony above with the help of three musicians playing a mute cornett, a slightly flared recorder, and a lute. The lutenist has his back to us. Oddly, the woman has her hands on her companion's shoulders. He points at the scene below, perhaps reminding her of his own marriage vows. There is also a small dog, symbolic of loyalty.

Cornelis de Man

• Chess Players, 98 × 85 cm, Cornelis de Man (17th century). Budapest: Szépmüvészeti Múzeum, No. 320 (464). Ref. Berni (1969, 2: #723); Paris RIdIM (1999). Watched by their cat, a couple play chess at a table seated on ornate chairs. On the wall behind them hangs a cittern. On the floor in front of the fire are a cat, a bellows and some sticks of wood. One of the latter resembles the beak and window/labium of a duct-flute, for which it has been mistaken.

Jacobus Sibrandi Mancadan

• Landscape, Jacobus Sibrandi Mancadan (1602-1680). Leeuwarden: Private Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie 21634 (2001); Anthony Rowland-Jones (pers. comm., 2001). A pastoral scene with cattle and a woman with garlands. In the foreground, next to a pitcher and a shepherd's crook, is a soprano size duct-flute with a very slight bell-flare, six finger-holes in line, and an offset hole for the little finger of the lowermost hand.

Francesco Mancini

• Nativity, Francesco Mancini (1679-1758). Rome: Santa Maria Maggiore. Ref. Postcard (2002: col.) The Christ-child is admired by shepherds and other visitors. Overhead angels hover, one playing a lute, another a slender, flared, tenor-sized pipe, possibly a recorder.

Charles [or Karel] van Mander

• The Times of Day: Midday or The Passage of Phoebus (1621), See print by Jacob Matham (1571-1631).
• Serenade, trompe l'oeil ceiling painting, Karel van Mander (1547-1606). Amalienborg: Palace, Christian VII's Mansion. Ref. Lassen et al. (1973: opp. p. 184); Rasmussen (2002, Bagpipe). "'Peasants' peering down 'through the ceiling' sing and play two bagpipes, flute, nine whistles or tiny recorders, and perhaps a jew's harp. It must have been quite a serenade" (Rasmussen, loc. cit.) Not seen.

Emmanuel Mané-Katz

• Hassidic Flute Player, Emmanuel Mané-Katz (1894-1962). Location unknown. Ref. Gabrius Data Bank, 20th Century (2002 - b&w). A man in a long coat leans backwards playing a vertical (? duct-) flute, quite possibly a recorder.
• Flute Player, bronze figure, 36 cm high, Emmanuel Mané-Katz (1894-1962). Location unknown: Currently offered for sale by Matsa for Public Auctions (2002). Ref. Matsa for Public Auctions (2002 - col.) A man in a hat plays a vertical (? duct-) flute, quite possibly a recorder, with all fingers of the lowermost (right) hand covering their holes.

Bartolomeo Manfredi

• Figures Making Music Around a Table, oil on canvas, attributed to Bartolomeo Manfredi (1582-p.1622). Location unknown: Autioned by Sotheby's (Amsterdam), 8 May 2001 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) Similar but not quite identical to Theodoor Rombouts' A Musical Party (Auctioned by Sotheby's, 19 April 2002). Sitting at a table, a theorbist and a recorder player accompany a singer who stands between them. A serving man brings them wine. On the table are open music books, a lute, a cittern and an unusual flute which appears to be made of ivory with a wooden insert in the head joint. The recorder is a near-cylindrical tenor with a one-keyed foot-joint and fontanelle.

Lisa Manning

• Recorder Onstage (1994), Lisa Manning (contemporary). Ref. American Recorder 25(3): cover (1994). A stylised figure plays a flared-bell recorder on a stage.

Giovanni di Niccolo Mansueti (op. 1485-1527), Italian

• Coronation of the Virgin, canvas, 146 × 118 cm, Giovanni di Niccolo Mansueti (op. 1485-1527). Location unknown; sold Galerie Crespi, 2 June 1914, Cat.37; sold Galerie G. Petit, Paris. Ref. Paris RIdIM. The Virgin is crowned by Christ whilst both are embraced by God the Father. Above, two angels play fiddle and rebec; below, two putti play lute and a flared-bell pipe which could be recorder.

Andrea Mantegna (1431-1506)

Italian painter, one of the great stylistic innovators whose influence on the whole practice of painting was immense; his works are characterised by the sculptural modelling of his figures, his incisive line, his treatment of landscape in geological layers, his stressed gestures, and his tragic use of colour; active mainly in Padua and Mantua, briefly in Verona, Florence and Rome; born Isola di Carturo, near Vicenza (1431), died Mantua (1506).

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. In this catalogue data on this cards is listed under Baldini.

• Allegory of Vice and Virtue, pen & pencil (brown, black, red and white), Andrea Mantegna (1431-1506). London: British Museum. Ref. Tietze-Conrat (1956); Archiv Moeck. One of the vices (a winged faun with serrate ears, goat's feet, and a conspicuous cod-piece) plays a pipe (possibly a recorder, though it is sightly curved in the manner of a cornett).

Pietro Marascalchi [da Feltre](16th century), Italian

• Madonna and Child with Saints Girolamo and Vittore (ca 1560), oil on canvas, Pietro Marascalchi (16th century). Ref. Villa i Tatti ND 621 BG P58 (2000); Conte (1998: 127-128, fig. - b&w); Paolo Biordi (pers. comm., 2000). The Madonna and Child are seated on a throne on either side of which stand the two Saints. At their feet, a winged putto plays a flared-bell pipe, possibly a recorder.

Carlo Maratta [Maratti] (1625-1713), Italian (Rome)

• Assumption of the Virgin, oil on canvas, Carlo Maratta (1625-1713). Toledo: ? Cathedral. Ref. Anthony Rowland-Jones (pers. comm., 2001). "A cello, viola, lute and recorder are played by unwinged angels The recorder is held close to the angel's mouth, in a perfect playing position, all fingers on with right hand lower; part of finger-holes three and five may show beside the fingers. Alto size with slight bell flare and one incised ring close to bell. The mouthpiece and window/labium are in shade" (Rowland-Jones, loc. cit.)
• Virgin with Angels, painting, Carlo Maratta (1625-1713). Location unknown. Ref. Website: klassiskgitar.net (2007 - col.) The Virgin reads from a small book surrounded by angels one of whom also reads from a book, another holds a gothic harp, and a third holds a very tiny pipe (probably a duct-flute, possibly a recorder), the details of which are obscure.

Miguel March

• Autumn (ca 1655), oil on canvas, 67.5 × 90 cm, Miguel March (ca 1633-1670). San Pio, Valencia: Museo de Belles Artes San Pío V, Inv. 3601. Ref. Pintura y Musica en el Museo San Pío [Valencia, Spain] (1995: 85); Frechina (1998: 209, fig. 143), Escalas (1998 - col.); Anthony Rowland-Jones (pers. comm., 2003). One of a series of paintings representing Autumn, Winter, Time and The Miser. It is possible that there were additional works representing Spring and Summer. A young man in a feathered hat plays a cylindrical duct-flute (probably a flageolet since there are only two holes for each hand) to an appreciative parrot who perches above a table on which are scattered grapes and peaches. Behind the bird, a carved panel depicts a woman carrying what looks like a sack of farm produce, thus emphasising the pastoral associations of this painting. The foot of the instrument is slightly flared, and the third finger of the lower (left) hand touches the rim of the bell as if to indicate where the sound comes from.

Girolamo Marchesi da Cotignola (ca 1471/5 – ca 1540/1550), Italian

• Enthroned Virgin and Saints / Sacra conversazione, Girolamo Marchesi da Cotignola (1471 - ca 1540). San Marino: La Pinacoteca di San Francesco, Museo. Ref. Ricci (1903: 39); Ricci (1906: 39); Rasmussen (1999b); Hijmans (2005: 222). On either side of the enthroned Virgin and Child stand the Saints. St Giovanni indicates Jesus and Mary to a young St Marino who stands at the bottom left. At their feet sit two putti, one playing a lute, the other a cylindrical recorder. In the background is Mt Titano.

Gerhard Marcks

• Orpheus in the Underworld (1947/1948), woodcut 32.1 × 36.1 cm (image), Gerhard Marcks (1889-1981). Bremen: Gerhard Marcks Haus H180-8; San Francisco: de Young Museum; Ann Arbor: University of Michigan Museum of Art 1964/1.112 Ref. Gerhard Marcks Haus (2001); University of Michigan Museum of Art (2000). The sixth of ten woodcuts in the Orpheus series. A naked Orpheus gazes at a demure-looking Euridice whilst a black male figure, a coat over his shoulders, plays a long flared-bell pipe which could represent a recorder.
• Trude Jalowetz, preliminary sketch (1932), drawing, 39 × 25 cm, Gerhard Marcks (1889-1991). Bremen: Gerhard Marcks Haus, D123. Ref. Gerhard Marcks Haus (2001). Trude Jalowetz (an artist's model, died 1977) stands playing a slender cylindrical pipe of tenor size. There is just a hint of a window/labium, so this may represent a recorder.
• Flute Player (1932), sculpture, bronze, 54 cm high, Gerhard Marcks (1889-1991). Private Collection. Ref. Website: Gerhard Marcks Haus. A young woman stands playing a narrowly conic pipe of tenor size. All fingers of both hands seem to be employed, and there is no trace of beak, window/labium or reed. Nonetheless, this may represent a recorder.
• Greek Flute Player (1933), statue, Gerhard Marcks (1889-1991). Karlsruhe: Badischen Landesmuseum. A man with a cape over his head plays a duct-flute (possibly a recorder).

Rocco Marconi (op. 1504 - m. 1529), Italian

• Transfigured Christ with St Peter and St Andrew (ca 1524), Rocco Marconi (op. 1504 – m. 1529). Venice: Basilica dei Santi Giovanni e Paolo. Ref. Boccazzi (1965: 165); Burlington Magazine Burlington 116 (1974: 390); Humfrey (1993: 70, pl. 63); Rasmussen (2005). "Sitting comfortably on a cumulus cloud, three angel-putti look down on Christ. On the right, one plays a soprano/alto recorder (left hand lower, a shadowy area possibly representing a window/labium is rather high up leaving space for only a short windway). Three lower finger-holes are visible, the missing one hidden by or under one of the left-hand fingers of the angel-putto player. The profile is cylindrical with a gradual bell expansion to fairly wide at the end with not much impression of wood thickening" (Anthony Rowland-Jones, pers. comm., 2000).

Hans von Marées

• Flute Player, charcoal on paper, 29.2 × 13.3 cm, Hans von Marées (1837-1887). Munich: Staatliche Graphische Sammlung, Inv. 1913: 32. Ref. Munich RIdIM (1999, Mgs - 405). A naked young man leaning against a tree plays a duct-flute, possibly a recorder, but it is not clear. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Maretz (17th century), France

• Frontispiece, Discours sur les Arch Trimphaux dressés en la ville d'Aix, à l'hereuse arrivée de … Louys XIII. roy de France & de Navarre, by Chasteuil Galup, published by Tholosan, Aix-en-Provence (1624): Troubadour (1624), engraving by Maretz. Copy offered for sale by Otto Haas, London (1959). Ref. Otto Haas, Sale Catalogue 37, A Selection of rare Music from Boethius to Webern, London, (1959); Paris RIdIM (1999). "An interesting and rare work describing and illustrating triumphal arches erected in honour of Louis XIII on the occasion of his visit to Aix in 1624. This book would have no place in a music catalogue, were it not for the Troubadour reproduced on the cover of this catalogue" (Haas, loc. cit.) "L'habit est celuy e son siècle. Sa main soutient un sceptre de Laurier. On void auprés de luy une trompette, une lyre, & quelques autres instruments de musique. Les roses, les oeillets, les violettes naissent, dessours ses pas … " It represents the survival of a medieval ideal in an age of classicism. In addition to the trumpet and violin are a cornett and a small flared-bell recorder.

Giovanni Marino (18th century), Italy

• St Benedict (1728), low relief sculpture, Giovanni Marino (18th century). Monreale: Duomo, Cappella di San Benedetto, altar. Ref. Schiro (1996: 115 - col.); Charles Rowland-Jones (pers. comm., 2007). In the central panel, St Benedict is lifted to heaven by angels. At the top left an angel plays a violin, and top right another playes recorder. The violin bow, the recorder itself and St Benedict's bishop's crozier are all represetned in gold against the white marble of this fine bas-relief. The recorder is alto-sized or a little larger, and it is a perfect representation of a baroque instrument. The angel plays right hand lowermost, with all his fingers on the instrument, although the sculptor has placed the hands rather too close together.

Simon Marmion

• Triptych, centre panel: Virgin and Child in a Landscape with a Trompe L'oeil Frame (late 15th century), oil on panel 50.2 × 36.8 cm, circle of Simon Marmion (op. 1425-1489). New York: Sotheby's, Old Masters 2000 and A Celebration of the Still Life, 28 January 2000, Lot 9. The left wing of the triptych is the National Gallery, London; the right wing was sold by Sotheby's, New York, in 1992. The artist has conjoined town and country, urban and rustic in a decidedly Rogerian manner. Courtiers can be seen playing recorders and dancing, others on horseback or sitting on the grass in the hills and along the banks of a river which flows across the background of the triptych. The painter is thought to be either a Flemish artist working in France or a French artist working in the north (along the present Belgian border).

Jacob Marrel [Marrell, Marzell, Morrel or Morsel]

• Still-life, oil on canvas, 127.7 × 185.2 cm, Jacob Marrel (1614-1681). New York: Sotheby's, Old Master Paintings, 17 December 1998, Lot 38. Ref. Gabrius Data Bank, OMP (2002 - col.); Artfact (2003). Probably a late work by the artist. On a table beneath a velvet drape are a musical score, violin, pipe (?flute, ?recorder), a ham on a plate, a shell, a glass goblet, melon, grapes, peaches, a fig and plums on a silver tazza, cherries, pomegranates, melons, lemons, shells. A glass roemer stands on a small cabinet behind. A macaw perches on a chair. The body of the pipe is hidden beneath the music book, its head beneath the violin; but the foot is visible and this seems to be cylindrical, so a flute seems more probable.
• Vanitas Still-life (1637), Jacob Marrel (1614-1681). Ref. Gemar-Koelzsch (1995: 169, pl.); Rowland-Jones, pers. comm., 2004). A large vase full of flowers, and a beautifully painted violin leaning at the right. Bubbles above, books, smoking pipes, etc. below, and at the very bottom sticking out from what looks like a small sheet of music in the right corner the slightly flared bell of a small pipe, showing a quite wide bore and a finger- or tuning-hole near to it. This could just possibly be a recorder, but is most dubious.

Giovanni Martinelli

• Music, Giovanni Martinelli (ca 1600-1659). Florence: Galleria Corsini (1922). Ref. Archiv Moeck. A personification of Music holds a cylindrical recorder, only the head and upper body of which is visible. The beak appears to be encased in a metal sleeve.
• Music, painting (oval), Giovanni Martinelli (ca 1600-1659). Location unknown: auctioned 06/07/2005 (sold). Ref. Gabrius Databank (2007 - col.) A copy of the original in the Galleria Corsini, Florence. A personification of Music holds a cylindrical recorder, only the head and upper body of which is visible. The beak appears to be encased in a metal sleeve.
• Music, painting (oval), Giovanni Martinelli (ca 1600-1659). Martinelli (ca 1610-1659). Location unknown: auctioned 06/12/2005 (sold). Ref. Gabrius Databank (2007 - col.) A small copy of the original in the Galleria Corsini, Florence. A personification of Music holds a cylindrical recorder, only the head and upper body of which is visible. The beak appears to be encased in a metal sleeve.

Ben Martinez (contemporary), USA

• The past is now; the future was then! (1991), Ben Martinez (contemporary). Ref. American Recorder 32(2): cover-col. (1991). A mock-Elizabethan couple: he plays harpsichord; she plays a wind synthesizer!
• Untitled (1992), Ben Martinez (contemporary) Ref. American Recorder 33 (3): cover-col. (1992). A seated youth plays an alto recorder of modern design to a girl sitting at his feet who holds open a book of music.
• Wired for Sound, Ben Martinez (contemporary) Ref. American Recorder.

Bernat [Bernardo] Martorell

• Coronation of the Virgin (1427-1452), Bernat Martorell. Barcelona: Colección Viñas. Ref. Gudiol (1986: 654); Rowland-Jones (1997: 13-14). Three angels play duct-flutes (probably recorders); others play rebec, lute and harp.

Félix Mas (contemporary), Spanish

• Flauta de pico alto, oil on canvas, 61 × 46 cm, Félix Mas Madrid: Galería de Arte Castello 120, Exhibition 30 October – 14 November 2001. Ref. Galería de Arte Castello 120 (2003). A young woman wearing a hat made of leaves, her eyes closed, holds a slender baroque style recorder.

Henri Leopold Masson

• Recorder Player, oil on masonite, 20.3 × cm, Henri Leopold Masson (1907-1996). Location unknown; sold by Galerie d'Art Vincent, Ottawa Ref. Website: Galerie d'Art Vincent (2005 - col.) A young woman in a white gown plays an alto recorder.
• Recorder Player, pastel on board, 30.4 × 20.3 cm, Henri Leopold Masson (1907-1996). Location unknown, sold by Red Kettle, Victoria BC. Ref. Website: Red Kettle Art & Collectibles (2006). A young woman seated plays a recorder, another woman standing by her side listens.

Master of 1416 (early 15th century), Italian (Florentine)

• A Contest between the Shepherds Alcesto and Acaten (1410), verso of a marriage salver, tempera on wood, 12-sided, 53.7 × 56.2 cm, Master of 1416 (early 15th century). New York: Metroplitan Museum of Art. Ref. Website: Metropolitan Museum of Art. Like its companion piece (26.287.2), the reverse of this marriage salver illustrates an episode from Boccaccio's Comedia delle Ninfe Fiorentine, written in about 1342. The hunter Ameto and two nymphs judge a musical competition between the shepherds Alcesto and Acaten. The contestant on the left plays a pipe, quite possibly a duct-flute (flageolet or recorder). The escutcheon at the right appears to be that of the Di Lupo Parra family of Pisa.

Master of the Aachen Altarpiece [Master of the Aix-la-Chapelle Altarpiece]

• Virgin and Child with Angelic Musicians (ca 1480), oil on panel, 52.5 × 46.3 cm, Master of the Aachen Altarpiece (op. ca 1460-1520). Munich: Alte Pinakothek, Inv. 10756. Ref. Buchner (1960: pl. 26-col.); Stange (1934-: V, no. 241); Ragghianti (1969: 31, pl.-col.); Rasmussen (1999a); Website: klassiskgitar.net (2007 - col.) On each side of the Virgin and Child are trios of musical angels. On the left are two singers and a lutenist reading from a large score. On the right are a singer, an organist and a duct-flute (probably a recorder) player. The duct-flute is cylindrical and the window/labium is clearly depicted.

Master of S. Agostino (early 14th century), Italy

• Life of St John the Evangelist: The Journey to Ephesus, St John on Patmos (early 14th century), Master of S. Agostino (early 14th century). Rimini: Chiesa di S. Agostino. Ref. Berenson (1968, 1: 359); Fratelli Alinari, S. p. A., Florence: photographs 30417-30418; Marcheselli (1972; pl. III & 4); van Marle (? date: 4: 308-310 & fig. 157); Volpe (1965: 31-35, 77, & figs 144-148); Brown (1985: 270 & pl. 325b-b&w). "On the journey to Ephesus, one figure in the boat plays a shawm or recorder, and another plays pipe and tabor" (Brown, loc. cit.) The "recorder" is clearly a shawm, judging by the expansion and tuning hole at the bell end; the lowest holes are almost half-way up the instrument, which is played with puffed cheeks (Rowland-Jones, pers com.)

Master of the Abbey of Afflighem = Master of the Joseph Sequence

Master of the Aix Annunciation [? Jean Boyer (French)] (15th century), French

• The Marriage of Jacob and Rachel, canvas on wood, 178 × 256 cm, Master of the Aix Annunciation (15th century). Aix-en-Provence: Musáe Granet. Ref. Lallement & Devaux (1996: 256). Includes a recorder. Not seen.

Master of the Aix-la-Chapelle Altarpiece = Master of the Aachen Altarpiece

Master of the Acquavella Still-life (op. ca 1610-1620), Italian (Rome)

• Still-life with a Violinist (ca 1620), oil on canvas, 83 × 118 cm, Master of the Acquavella Still-life (op. ca 1610-1620). Private Collection. Ref. Postcard: Royal Academy of Arts, London (2001); Exhibited Royal Academy of Arts: The Genius of Rome, 1592-1623), Brown (2001); Anthony Rowland-Jones (2001: 13-16, fig.-b&w); Heyghen 2005: 313). A young man in a feathered cap plays a violin in front of a bench on which there is an enormous bowl of fruit (grapes, pomegranites, apples, pumpkins, pears, apples and pears), two music books and three cylindrical recorders. Of the latter only the head of one is visible (showing beak and window/labium), the body and foot of another (showing holes for six fingers, including paired holes for the lowermost finger), and the body of a third much bigger recorder (no details). One of the music books is an open canto part-book with the music of Cipriano De Rore's madrigal Anchor che col partire. Heyghen (loc. cit.) suggests that the two recorders in the foreground are a tenor and 'discant' respectively and that the 'discant' is of "Ganassi" style.

Master of Archbishop Don Sancho Rojas (15th century), Spanish

• Altarpiece showing the Virgin and Child with Angels, Dominican Saints and Two Donors, Master of Archbishop Don Sancho Rojas (15th century). Madrid: Museo del Prado. Ref. Bridgeman Art Library (2003: Image SCP 36934 - col.) The Virgin and Christ-child are surrounded by angel musicans singing and playing three small cylindrical pipes, probably duct-flutes, possibly recorders.

Master of Arguis (15th century), Spanish

• Altar-piece dedicated to St Ana: Meeting of St Ana and St Joaquin, Master of Arguis (15th century). Alquezar (Huesca): Iglesia Parroquial. Ref. Ballester (2001: 14, fig. 5a-b&w; 15, fig. 5b-b&w). Depicts the marriage of the parents of Mary. To the right of the Saints stands a musician holding a flared-bell recorder with an incised decorative ring on the beak and seven finger-holes visible, the lowermost offset.

Master of Astorga (early 16th century) Spanish

• Altar-piece (in part): Shepherd Dancing, Master of Astorga (early 16th century). Madrid: Museo Lázaro Galdiano. Ref. Ruck (1926-1927, 2: 499, no. 1023); Sartori (1963-1964: fig. 277); Salmen (1976: 64-65, fig. 14); Thomson (1968/1974: op. p. 33-b&w); Visual Collection, Fine Arts Library, Harvard University 376.As86.22N (2002); Rasmussen (2002, Bagpipe). Shows three shepherds, one of whom plays a duct-flute (left hand down, right thumb stretched as if covering a hole), another plays the bagpipes, and the third dances.

Master of the Barbarigo Altarpiece (early 16th century), Italian

• Assumption of the Virgin, bronze reliefs, Master of the Barbarigo Altarpiece (16th century). Venice: Santa Maria della Carita, on the funerary monument of the Doges Marco and Agostino Barbarigo. Two angels lift the Virgin from below. Between them a third angel-putto plays a slender, flared-bell soprano recorder (left hand lowermost). Beside the Virgin, two other angels play rebec and fiddle. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Coronation of the Virgin, bronze relief, Master of the Barbarigo Altarpiece (16th century). Venice: Santa Maria della Carita, on the funerary monument of the Doges Marco and Agostino Barbarigo. Angels at the upper left and right play trumpets; those on the lower part play lute, ?crumhorn, rebec, portative organ, and what may be a small recorder. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Master of the St Bartholomew Altarpiece [Master of the St Thomas Altarpiece] (op. 1470-1510), German

• Virgin and Child with Musical Angels, Master of the St Bartholomew Altarpiece (op. 1470-1510). London: National Gallery. Ref. Langmuir (1999: 17, pl. 13 – col.); Website: klassiskgitar.net (2007 - col.) The Virgin and Child enthroned are surrounded by angel musicians who sing and play instruments incluidng psaltery, fiddle, lute, harp and a small conical pipe with a flared bell, convincing neither as a recorder nor as a shawm in soft music of this kind. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Master known as 'BB', from the studio of Evaristo Baschenis

• Still-life with Musical Instruments (ca 1650), Master known as 'BB', from the studio of Evaristo Baschenis (1607-1677). Kassel: Schloss Wilhelmshöhe, Gemäldegalerie Alte Meister. Ref. Archiv. Moeck. A spinet sits on a table with three lutes, a violin and the head of a cylindrical duct-flute (probably a recorder).
• Strumenti musicali, oil on canvas, 87 × 115 cm, Master known as 'BB', from the studio of Evaristo Baschenis (1607-1677). Bergamo: Collegio Vescovile Sant'Alessandro. Ref. Francone et al. (1996: 278-279, pl. 61-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.

Master of the Béguins

• The Tavern, canvas, 93 × 117 cm, Master of the Béguins (op. ca 1650-1670). Paris: Louvre, Inv. 6839. Ref. Lallement (1997: 200). Men, women and children with a shepherd and sheep, a still-life of vegetables, against a landscape with ruins. A small boy plays on a pipe (possibly a flageolet).

Master of the Berlin Passion

• Ornament with a Couple playing Chess, engraving, 10.5 × 14.5 cm, Master of the Berlin Passion (fl. 1450-1470). Oxford: Ashmolean Museum. Ref. Ashmolean Museum: postcard. Shows a couple playing chess, surrounded by plants, animals and their keepers, a hunter, and two musicians. One of the latter plays a straight trumpet, the other a cylindrical duct-flute (flageolet or recorder).

Master of the Prayer Book of 1500

• Book of Hours: Virgin and Child (1490-1500), illumination, ca 17.7 × 10 cm, Master of the Prayer Book of 1500. Paris: Musée Marmottan Monet: Wildenstein Collection, No. 152, M.6307. Ref. Anthony Rowland-Jones (pers. comm., 2004). The fifth of 10 illuminations from a Book of Hours published in Bruges. The Virgin suckles the Holy Child. Facing her are two musical angels, one playing a clearly depicted tenor recorder, left hand lowermost, all fingers on, and the right thumb flatly covering its hole underneath. The mouthpiece is beaked and the window/labium is clear.

Master of the Brussels Initials, Master of Egon, & the Third Painter

• The Hours of Charles the Noble, King of Navarre (1361-1425), Compline: Coronation of the Virgin (1404-1405), ink, tempera, and gold on vellum, 19.4 × 13.7 cm, Master of the Brussels Initials, the Egon Master and the Third Painter. Cleveland: Museum of Art, 1964.40, folio 96 recto. Ref. Ford (1991: 8: 3, #63 & #78); Anthony Rowland-Jones (2006: 4). Behind the main scene, four angels play musical instruments. At left, an angel plays a fiddle (5 pegs); another a lute. At the right, another angel plays a vertical pipe (recorder?), another a harp. The figures are all minute so there are no details shown on the pipe. It is cylindrical, of soprano or alto length, and played right hand uppermsot, three fingers down. The lower (left) hand shows only two fingers. The upper wrist is very low, suggesting a thumb-hole.

Master of the Burnham Collection – see Bonanal Zaortiga

Master of Canapost [Master of Seu d Urgell]

• Retaule de la Mare de Deu de la Llet (ca 1470), oil on wood, Master of Canapost. Girona: Museo d'Art. Ref. Museum of Art, Girona: postcard No. 25 (detail, col.); Gudiol (1986: 1002); Rowland-Jones (1997c: 10); Vicens amp; Barral (?date - col.) Originally the altarpiece of the Virgin from S Esteve, Canapost, near Girona. The Virgin and Child are entertained by angel musicians playing vielle and a narrow, cylindrical duct-flute (flageolet or recorder).

Master of Cappenberg – See Jan Baegert

Master of Castelsardo

• Virgin Enthroned (a. 1492), tempera and oil on panel, Master of Castelsardo (late 15th century). Castelsardo (near Sassari): Duomo di Sant'Antonio Abate. Ref. Angelo Zaniol (pers. comm., 2003). One of four polyptych elements painted before 1492 using a combination of tempera and oil on wood with a background of gold depicting the Madonna with Child and angelic musicians, the Trinity with cherubim and tetramorph, the Arcangel Michael and in the two compartments of the predella, the Apostles Philip, Bartholomew, Mathias and Matthew. Here, the rather grim-looking musical angels surrounding the the Virgin and Child play vielle (fretted), lute, harp, vihuela de mano, jingle ring, and a cylindrical recorder the paired holes for the lowermost finger clearly depicted. On top of the back of the throne two cherubim play similar cylindrical recorders and a third plays a bagpipe. From this it would appear that the vihuela de mano was known not only in Spain but perhaps in Sardinia as early as the second half of the 15th century.

Master of the Champion des Dames, French

• The Nine Muses (1441-1442), from Martin le Franc (1410-1461), Le Champion des Dames, Master of the Champion des Dames (late 15th century). Grenoble: Bibliothèque Municipale de Grenoble, Ms 875, fol. 365. Ref. Buchner (1961: fig. 136); Hindley (1971: 90 - b&w); Bowles (1983: pl. 12); Moeck (1984: August – col.); Zaniol (1984, November: 5); Rowland-Jones (1999b: 32-33); Hijmans (2005: 220). The nine Muses sing and play organetto, symphony, pipe & tabor, shawm, psaltery, straight trumpet, mandora and a cylindrical recorder of the Dordrecht kind.
• Francvouloir and Malebouche [Freethinker and Evil Tongue], (1441-1442), from Martin le Franc (1410-1461), Le Champion des Dames, Master of the Champion des Dames (late 15th century). Grenoble: Bibliothèque Municipale de Grenoble, Ms 352 Res. Ref. Buchner (1961: fig. 136); Moeck (1984: August – col.); Rowland-Jones (1999b: 32-33). A girl sits by a pool playing a cylindrical recorder of the Dordrecht kind. Beside her, Freethinker and Evil Tongue argue about her virtue!
• The Nine Muses (1451), from Martin le Franc (1410-1461), Le Champion des Dames, Master of the Champion des Dames (late 15th century). MS Fr. 12476, fol. 109v. Ref. Spruit (1969: 28); Alamire, Postcard C2 BEF200 (1996); Rowland-Jones (1999b: 32-33); Hijmans (2005: 220). Shows a small cylindrical recorder played by Polyhymnia and a large flared-bell recorder played by Euterpe, with harp, double pipes, organetto, slide trumpet, rebec, and triangle.

Master of the Cité des Dames

• From L'Epître d'Othéa: Midas Judging the Contest between Pan and Apollo, from Christine de Pisan: Oeuvres (1410-1411), illumination, attributed to the Master of the Cité des Dames and his workshop, French. London: British Library, MS Harley 4431, fol. 108. Ref. Archiv Moeck; Boragno (1998: 13 - b&w); Rowland-Jones (2006: 6 & fig. 4 - col.) King Midas gets donkey's ears by making a false judgement between Phoebus Apollo, playing a harp, and Pan, playing a cylindrical duct-flute (probably a recorder). In the text, the latter is called frestel and flaiol, and the harp is called a lyre. Boragno (loc. cit.) gives the date as ca 1450 and may thus refer to a later edition such as that edited by Jan Miélot (Flemish, after 1460).

Master of Cologne (15th century), German

• The Virgin Mary (ca 1410-1420), Master of Colgone (15th century). Ref. Sauerlandt (1922: 2); Peter (1958: 42). Mary is surrounded by angels playing various instruments, including recorder, psaltery and fife alongside violins, lutes, harp and regal.

Master of the Death of the Virgin – see Joos van Cleve

Master of the David Scenes

• Triumph of David, from the Breviary of Cardinal Grimani, attributed to the Master of the David Scenes in the Grimani Breviary (late 15th century). Venice: Biblioteca San Marco, fol. 288v. Ref. Grimani Breviary (1972: 46); Rasmussen (1999b). "The Welcoming Women play rebec, harp, lute and woodwind (tabor pipe or recorder)" (Rasmusen, loc. cit.) Not seen.
• May, from the Hours of Joanna of Castile, attributed to Master of the David Scenes in the Grimani Breviary (late 15th century). London: British Library, Ms Add. 18852, fol. 5v. Ref. Kren (1983: 62); Rasmussen (1999b). "In a boat women sing and play a lute and a man holds a recorder" (Rasmussen, loc. cit.)

Master of Delft (op. ca 1470-1520), Netherlandish

• Triptych, central panel: Nativity (op. ca 1490 - 1520), Master of Delft (op. ca 1510), Netherlandish. Utrecht: Museum Catharijneconvent. Ref. Anthony Rowland-Jones (pers. comm., 2001). to the right of the Virgin are three musical angels. One plays bagpipes, one sings from music, and a third plays a slender cylindrical recorder. The window/labium is clear, the left hand is held lowermost with the middle and little fingers lifted, the other two down. All fingers of the upper (right) hand are down.
• Virgin and Child with Saints and Angels (1505-1515), 84.5 × 68 cm, Master of Delft (op. ca 1470-1520). Amsterdam: Rijksmuseum, Inv. SK-A-3141. Ref. Friedländer (1967, X: no. 62, pl. 47); Visual Collection, Fine Arts Library, Harvard University, 374.M3926.34[a]; Rassmussen (2002, Bagpipe); Arnold den Teuling (pers. comm., 2008). The central panel of a triptych. The Virgin sits in a garden, the Child on her lap. Before her are two Sybills, one with a book, the other with a flower. To her right is Joseph. Background music is provied by three musical angel, to her right. One of the latter plays bagpipes, one sings from music, and a third plays a slender cylindrical recorder. There is a hint of a window/labium, the left hand is held lowermost with the middle and little fingers lifted, the other two down. All fingers of the upper (right) hand are down. Similar to the above, or perhaps one and the same.

Master known as 'DS' (16th century), German.

• Typus Musice from Gregor Reisch Margarita philosophica [Pearls of Wisdom] (1503, Johanne Schottus, Freiburg im Breisgau), woodcut, Master known as 'DS', German. Cambridge: Harvard University, Houghton Library (1508 edn); Erfurt: Angermuseum (1515 edn), Amplonius Library (1516 edn); London: Science Museum (1535 edn); Vienna: Die Österreichische Nationalbibliothek. Ref. Hass (1928: 106); Peter (1958: 43); Leichtentritt (1956: cover); Becker (1970: cover); Archiv Moeck; Anthony Rowland-Jones (pers. comm, 2002); Schmid (1994: 247-260, figs 1 & 2). A personification of Music is surrounded by players of harp, lute, organ and recorder who seem to be being conducted by a man with a long stick. The recorder is cylindrical and played right-hand down (including the little-finger). To the right, a man holds a pair of scales. The 1516 edition spells the author's name as 'Reiss'. "The illustration is exactly the same; presumably the appearance of a man [Phythagoras] with the scales in it is a [visual] pun!" (Rowland-Jones, loc. cit.) An adaptation of this woodcut appears in a 16th-century Italian miniature, probably from an Italian edition. A rather different illustration of Typus Musices (sic.) by an anonymous artist, also including a recorder player, appeared in the Grüninger edition (Strassburg, 1504) and the fourth edition (1517).
• Untitled, from Gregor Reisch's Margarita philosophica [Pearls of Wisdom] (1508, Strassburg), woodcut, Master known as' DS', German. Ref. Bock (1924, #21); Wiese (1988: fig. 36); Becker (1970: cover); Archiv Moeck. A man and two women frolic on a patio beside a culvert. They are entertained by two naked musicans one of whom sings whilst the other plays a slightly flared recorder (all fingers of the lowermost hand cover holes). In the distance boats lie offshore and birds fly overhead.

Master of Egerton 1070

• Book of Hours: Tree of Jesse (ca 1430), Master of Egerton 1070. New York: Pierpont Morgan Library, M. 919, folio 23. Detail. Ref. Ford & Green (1988: #539 & cover illustration); Rowland-Jones (2006: 7 & fig. 5c). Illustration for 'Liber generationis Jesu Christi', Book of Matthew. "Seven kings play instruments: a fiddle, lute, recorder, harp, gittern and portative organ. David plays a harp (right border)" (Ford & Green, loc. cit.)The pipe is of tenor size, slender and cylindrical, and the hands are placed as if for a recorder, but a third of the instrument is below the player's lower hand, and the detailing at his mouth is unclear. There could be a tuning hole at the bell end, a characteristic associated with the shawm, although the ring decoration and the slightness of the flare at the bell suggest that it might be a recorder, which would be more appropriate than a shawm to appear amongst the bas instruments played by all the other kings in this particular band.

Master of Egon – see Master of the Brussels Initials

Master of the Fiesole Epiphany [Maestro dell'Epifania di Fiesole] (late 15th century), Italian

• Coronation of the Virgin (late 15th century), Master of the Fiesole Epiphany (late 15th century). Florence: Galleria della Accademia, Inv. (1890) 496. Ref. Anthony Rowland-Jones (pers. comm., 2002). Angels play psaltery, tambourine, two shawms (one player, the other held near the mouth, showing its reed), and two cylindrical ? recorders (but puffed cheeks, and window/labium in shadow or not indicated – ? underneath). One of the recorders is of alto/tenor size, with a key and fontanelle for the little finger; the other is of soprano size, played left hand uppermost, but showing eight finger-holes in line and paired holes for the little finger of the lowermost hand.

Master of [Maestro de] Fonollosa (15th century), Spanish

• Altar-piece, centre panel: [Virgin and Child] (1410), Master of Fonollosa (15th century). Barcelona: Museu Nacional d'Art de Catalunya. Ref. Rowland-Jones (1997: p. 11, fig 9A); Rowland-Jones (1997f, 38 (5): fig. 8A-b&w; 2006: 20-21 & fig. 20-b&w). Originally from Centelles (Osona), near Zaragosa, which, like Valencia, was one of the centres of music-making of the Aragonese court away from its principal location in Barcelona. The Virgin and Child are surrounded by angel musicians playing vielle, harp and two duct-flutes (flageolet or recorder), one small and one large.

Master [Maestro] Francesco [Master of the Teaching Christ]

• Madonna and Child Enthroned (ca 1400), wood panel, 138 × 68 cm, Master Francesco (late 14th - early 15th century). Florence: Foundling Hospital, Art Collection, Inv. AFS 236505. Ref. Anthony Rowland-Jones (pers. comm., 2002). The Madonna and Child are surrounded by angels one of whom plays a narrowly conical pipe. the instrument has a very narrow mouthpiece and there is no sign of a window/labium. The outstretched thumb of the upper hand may indicate the presence of a thumbhole. This and the low wrists and careful placing of the fingers, including that of little finger of the lowermost hand offset may indicate that a recorder was intended, and the context of the subject calls for soft music. If it were a recorder it would be the earliest reprsentation in Italian art.

Master of Frankfurt

• Holy Family with Music-Making Angels, panel, Master of Frankfurt (op. 1460-1520). Liverpool: Walker Art Gallery. Ref. Sale Catalogue, Sotheby's, London, 3 February (1954: No. 101); Friedländer (1967-, VII: cat. no. 131, pl. 104); Rasmussen (1999b). The Virgin feeds the Christ Child whilst she is being read to by a Joseph. They are serenaded by angels playing harp, rebec, lute and a slender flared pipe. The little finger of the lowermost hand is covering its hole, so this may have been intended to represent a recorder rather than a shawm, which would be far too loud in this context. In the foreground is a monkey. The composition of the Walker's panel is similar to works painted by other artists, in particular a picture now in a Lisbon museum. During the 15th and early 16th centuries it was quite common for artists to borrow whole compositions as well as details from other artists. It is thought that both the painter of the Lisbon picture and The Master of Frankfurt took their composition from an unidentified earlier picture by another artist – possibly Joos van Cleve, one of the major Antwerp artists at this time.

Master of the Glorification of Mary (fl. 1460-1480)

• Glorification of Mary (1470), tempera on oak panel, 108.7 × 93.4 cm, Master of the Glorification of Mary (op. 1460-1480). Worms: Kunsthaus Heylshof, Inv. Nr. 2. Ref. Linde (1962: 69 - b&w); Angelo Zaniol (pers. comm, 2003). The Virgin and Holy-Child surrounded by a glory of angels, many of whom play musical instruments including fiddle, lute, organ, psaltery, harp, hurdy-gurdy, and three duct-flutes (possibly recorders).

Master of Gysbrecht van Brederode

• Hours of Gysbrecht van Brederode: Coronation of the Vigin, illlumination, 10.5 × 7 cm, Master of Gysbrecht van Brederode (fl. ca 1450-1475). Liège: Université de Liège, Bibliothèque, MS Wittert 13, ff. 13v-14r). Ref. Website: Université de Liège, Bibliothèques; Brassinne (1924). The Virgin and Child surrounded by a mandorla are crowned by two angels. Amongst the marginal decorations are a bird, the head of a man with glasses, and musical angels playing harp, rebec, pipe and tabor, lute and a cylindrical recorder. The window/labium of the recorder are clearly depicted.

Master known as 'HB' = Hans Brosamer

Master of the Holy Blood [Maître du Saint-Sang]

• [Untitled] (ca 1500-1520), Master of the Holy Blood (op. ca 1530). Private Collection. Rijksbureau voor Kunsthistorische Documentatie 21322 (2001). An angel on the right plays a short duct-flute held in the left hand, right hand lower, but obscured. The mouthpiece and window/labium are very clearly depicted.

Master known as 'HL'

• Coronation of the Virgin (1526), wooden sculpture, Master HL (op. 1515-1526). Breisgau: St Stephensmünster. Ref. Walter Bergmann (ex Anthony Rowland-Jones, pers. comm., 2003 - b&w). Two hands hold an elaborate crown surmounted by a dove above the Virgin's head. The crown itself is richly carved with angel musicians playing organetto, lute, gittern, and a slender flared pipe (possibly a duct-flute). On the far left-hand side a fifth angel can be seen playing a pipe with a much wider flare.

Master of the Holy Night (op. early 16th century), Germany

• Holy Family, Master of the Holy Night (op. early 16th century). Bonn: Provinzial Museum. Ref. Catalog, Provinzial Museum (1927: pl. 33); Rasmussen (1999b). Angels play fiddle, harp, lute and recorder. "Cf. sale, Sotheby's, 26 June 1964, lot 8. Similar to an early 16th century German painting in Madrid, Monasterio de las Descalzas Reales" (Rasmussen, loc. cit.)

Master of the Housebook [Master of the Amsterdam Cabinet]

• An Old Woman and a Dancing Fool (ca 1480), engraving, Master of the Housebook (1430/5 - op. 1480). Ref. Lehrs & Mayor (1969: no. 549); Hutchinson (1972: 175); Fildelt Kok (1985: no. 107); Rasmussen (2004: Bells). The fool has a recorder in his sock and two large pellet bells on his jacket (Rasmussen, loc. cit.) Fildelt Kok (loc. cit) suggests that they represent the fool Marcolf and his old wife Polikana. Not seen.
• From Venus and Mars, fol. 14r: Apollo (The Sun) and his Children (ca 1480), Master of the Housebook (1430/5 - op. 1480). Schloss Wolfegg, near Ravensburg; Berlin: Gemäldegalerie; Paris: Bibliothèque National, Print Collection. Ref. Graul (1934: pl. 6); Wolfegg (1480/1997: 35, pl. 18); Mirimonde (1977: 210, fig. 133); Welker (1983: 121); Moeck (1984: September - b&w); Paris RIdIM (1999); Anthony Rowland-Jones (pers. comm., 2001); Blazekovic (2003: fig. 12.4a); Hijmans (2005: 216). An illustration in a medieval house-book. Children play in and around a walled garden; some sing and play musical instruments, including two shawms, trumpet, and bagpipe; one lad holds a lute under his arm and a small tabor in the other hand. A young couple feed a falcon on a table watched by another couple. In a chapel, a priest prays, and a woman gives alms to a cripple seated on the porch. A jester figure leans over a small wall and pipes along with the singers on a cylindrical duct-flute (flageolet or recorder) with window/labium and four finger-holes visible. Both his hands are on the upper part of the instrument. Behind, youths play various games including wrestling and jousting. Above, Apollo rides across the sky on a magnificent steed, a sceptre in one hand, a banner on a spear in the other.
  
  Venus and Mars contains illustrations of the planets, gardens of love and jousting tournaments, medicinal and household remedies, as well as chapters on mining and the art of war. Completed around 1480, this unique book is particularly famous for its meticulous draftsmanship. Active in the Middle Rhine region, the illustrator, who portrayed his world with sensitivity and wit, exercised a considerable influence on his younger contemporary, Albert Dürer. The identity of the artist and his patrons, however, still remain a mystery, though some of the illustrations are thought to be by the Master of the Amsterdam Cabinet. For over 300 years this world-renowned manuscript has been kept in the collection of the Princes of Waldburg Wolfegg at Schloss Wolfegg near Ravensburg, Germany.

Master known as 'J.H.' (op. 1647-1666)

• Bacchic Procession of Putti, Master known as 'J.H.' (op. 1647-1666). Disley: Lyme Hall, Great Staircase, South wall. Ref. Anthony Rowland-Jones (pers. comm., 2003). A long landscape-shaped composition of great merit. A putto at centre left plays what could be a soprano duct-flute, perhaps a recorder. It is not at all clearly painted. Note by Rowland-Jones (loc. cit.)

Master Jocomart – See Jaime Baco

Master of the Joseph Sequence

• Joseph Sold to the Ismaelites, Master of the Joseph Sequence (op. 1490-1500). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemäldergalerie. Ref. Anthony Rowland-Jones (pers. comm., 2001). At the top of the painting, a group of shepherds sit on a grassy knoll having a picnic lunch. One of their member stands behind them, apparently playing a pipe, though this is obscure.

Master of Lanaja = Blasco de Grañen

Master of the Leafy Embroidery [Master of the Embroidered Foliage]

• Triptych, panel: Virgin with Child and Three Angel Musicians, Master of the Leafy Embroidery (op. ca 1495-1500). Palermo (Sicily): Private Collection. Ref. Friedländer (1967-, IV: cat. supp. 129, pl. 111); Paris RIdIM (1999); Rasmussen (1999b). Part of an altarpiece in the style of Memling, to whom this work has been attributed. The Virgin reads a book to the Christ-child whilst on one side angels sing, and on the other play lute and a cylindrical duct-flute (flageolet or recorder). The bell of the latter instrument is hidden and the window/labium is quite clear, but the disposition of the fingers seems haphazard. Rasmussen (loc. cit.) gives the location of this work as "Polizzi Generosa, Chiesa Madre".
• Virgin and Child, Master of the Leafy Embroidery (op. ca 1495-1500). Private Collection. Ref. Gábrici (1924/25: 145-161); Bessler (1931: pl. XIII); Pirro (1940: opp. p. 80); van den Borren & Colsson (1950: 56); Sale catalogue: Charpentier, Paris, 7 December 1951; Friedländer (1967-, IV: cat. 88, pl. 83); Lambotte (? date: pl. 17); Rasmussen (1999b). "Three angels at the left sing (one offers the choir book to the Christ-child). The motet is Walter Frye's Ave Regina coelorum, Mater Regis angelorum. Angels at the right play fiddle, lute and recorder (?)" (Rasmussen, loc. cit.) There is a replica (with only lute- and recorder-playing angels at the right) in an Italian collection (Pirro, loc. cit).
• Coronation of the Virgin, Master of the Leafy Embroidery (op. ca 1495-1500). Paris: Louvre, Inv. RF 1973-35. Ref. Fischer (1972: 13); Paris RIdIM (1999). In front of an embroidered screen, the Virgin with the Christ-child on her lap is crowned by two flying angels. On her right, angel musicians sing from a book a motet by the English composer Walter Frye (fl. 1450-1475), illustrated by this painting; on her left, angels play lute, fiddle, and a small cylindrical duct-flute (flageolet or recorder). The bell of the latter instrument is hidden and the window/labium is quite clear, but the disposition of the fingers seems haphazard.
• Madonna with Angel Musicians, Master of the Leafy Embroidery (op. ca 1495-1500). Paris: Collection Féral. Ref. Wiese (1988: fig. 16 – b&w); Archiv Moeck. Mary and the Christ-child are surrounded by angel musicians singing and playing lute, vielle and a small, cylindrical duct-flute (flageolet or recorder).

Master of the Legend of St George

• Altarpiece: Nativity, Master of the Legend of St George (op. 1460-1490). Cologne: Wallraf-Richartz-Museum, 117. Ref. Munich RIdIM (1999: KNwr 113). Mary prays before the Christ-child; Joseph holds a candle; beasts eat from a trough in the barn behind. A choir of miniature angels sing, and two others parade with censor and mitre rather officiously. In the background, are shepherds and their dogs in a field of sheep. One of the shepherds stands cross-legged playing a duct-flute with a clear window/labium, three holes showing beneath the player's hand, and a Virdung-style bell end. An angel hovers above but, unlike the other shepherds and the dogs, the recorder-player doesn't notice. In the foreground is a procession of visitors, including a man and two nuns. There are two shields bearing coats of arms at the bottom of the painting.

Master of the Life of Mary (fl 1460-1480), German

• The Glorification of Mary, Master of the Life of Mary (fl. 1460-1480). Munich: Alte Pinakothek. Ref. Linde (1962/1974: p. 69 – b&w). Depicts a heavenly choir with angels playing various instruments including shawm, organetto, psaltery and a cylindrical duct-flute (flageolet or recorder).

Master of Longares = Enrique de Essencop

Master of the Louvre Nativity (late 15th century), Italian (Florentine)

• Altar-piece, centre panel: Nativity, ? oil/tempera/ wood, 166.5 × 166.5 cm, Master of the Louvre Nativity (late 15th century). Detail. Paris: Louvre, Inv. 338. Ref. Joconde Website (1999). Intended for the church of Santa Margherita de Prato. The Holy Family is shown before a ruined barn; animals look on; angels hover overhead; a shepherd sits amongst his sheep playing his pipe, probably a duct-flute (possibly a recorder); in the distance are a river and a walled town.

Master of the St Lucy Legend (a.1480-1489), Flemish

• Mary Queen of Heaven (ca 1485), oil on panel, 199.2 × 161.8 cm (panel: 201.5 × 163.8 cm), Master of the St Lucy Legend (a.1480-1489). Washington: National Gallery of Art, Samuel H. Kress Collection 1952.2.13. Ref. Canfalonieri, in Fabbri (?date, 1: 103 – detail); Remnant (1981: 116, pl. 96 – b&w); Ford (1986: 36). Mary is supported by angels and surrounded by a host of angel musicians singing and playing three shawms, folded trumpet, vielle, two harps, dulcimer, two lutes, positive organ and a trio of flared-bell recorders.

Master of the Lyversberg Passion

• Coronation of the Virgin (ca 1463), Master of the Lyversberg Passion (op. 1460-1490). Detail 1. Detail 2. Munich: Alte Pinakothek. Ref. TIBIA - Musikbilder auf Postkarten, Series 3, Nr 1 – Ed. Moeck Nr 11103 (1987-col.) Thomson & Rowland-Jones (1995: 14, fig. 7); Card Aid, London: postcard 41746, Angeli Musicali; CD Cover: A Christmas Tapestry, The Dolmetsch Ensemble, Fidelis (Harmonia Mundi) FIDCD 103; CD Cover: Lucente Stella, Pierre Hamon, Opus 111, OPS 30-122; Rowland-Jones (1999b: 13); Hijmans (2005: 216). Shows what appear to be three large cylindrical recorders accompanied by mandoras and harps. However, the lower hand of each player is occluded by the angels in front.

Master of the Mailänd Offertory (16th century)

• Holy Family with Priest and Angel Musicians, Master of the Mailänd Offertory (16th century). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie. Ref. Wiese (1988: fig. 20 – b&w). A man reads from a book to a boy whilst angel musicians play lute, vielle and a slender pipe (possibly a recorder).

Master of the Manassei Chapel (late 14th century), Italian (Florentine)

• Virgin and Child with Saints and Angels, Master of the Manassei Chapel (late 14th century). São Paulo, Brasil: Museo d'Arte. Ref. Boskovits (1975: 241, fig. 420); Brown (1985: 266, #315 – b&w). "Two angels play shawms or recorders" (Brown, loc. cit.) The reproduction is very indistinct: there is no bell flare, but too much of the instrument is below the lower hand to suggest a recorder. Shawms or single duct-flutes would be my suggestion here" (Rowland-Jones, pers com.)

Master of Maria am Gestade (op. ca 1460), Austrian.

• Altar-piece: Coronation of Maria, 202 × 161 cm, Master of Maria am Gestade. Vienna: Redemptoristenkloster. Ref. Pächt (1929: 19); Liesbeth van der Sluijs (pers. comm., 2001). Against a Gothic balcony, God the Father (centre right) crowns the kneeling Maria (center left). Small female angels arrange Maria's cloak. At the bottom right, three small female angels sing from a book. On the balcony, is an orchestra of small angels who play before church windows. To the right are players of ? tenor recorder, triangle, shawm, cornett, and singers. To the left players of lute, harp, vielle, and singers. In the middle are an organist, a lutenist, and four singers This composition is cruciform and symmetric, and the figures are light and lively. Notes by Liesbeth van der Sluijs (loc., cit.)

Master of the Mazarine Manuscript (fl. 1410-1415), French.

• Book of Hours: Annunciation to the Shepherds (1410-1415), illumination on parchment, 24.8 × 17.4 cm, French. Paris: Bibliothèque Mazarine, ms. 0469, f. 056v. Ref. Liber Floridus (2005 - col.) Long attributed to Maître de Boucicaut, but now to Maître de la Mazarine, named after this manuscript. A scene in the centre of a page illustrates Luke 2,9 depicing the Annunciation to the Shepherds. Three shepherds seated on the ground look upwards at three angels, one of whom holds a banner reading [G]loria in [altissimis] deo" (Luke 2,14). Their sheep graze, a dog looks back at its master. One of the shepherds holds a duct-flute in his left hand. A number of finger-holes are visible and their is a hint of a windway/labium.
  
  In the lower left corner, a scene illustrating Luke 2,8 depicts Shepherds Watching their Sheep. One shepherd sits beneath a tree leaning on his hand; the other leans over a rock playing a duct-flute with a slightly flared bell, his dog curled up in front of him. There is the hint of a window/labium and a number of finger-holes are visible.

Master of the Milan Adoration – See Jan de Beer

Master of Olot [?Miquel Torell] (15th century), Spanish

• Altarpiece dedicated to Saint Eulàlia: Virgin and Child (1470-1487), Master of Olot (15th century). Rigardà: La iglesia paroissiale Sainte Eulalie et Sainte Julie. Ref. Guidiol (? date: 900); Rowland-Jones (1997: 14, fig. 12-b&w, detail); Recorder Magazine 25(4): (2005: 142 & front cover - col.) Originally from a nearby monastery which escaped the destruction of the French Revolution. Restored 40 years ago, but most of the work was to preserve the wood, especially the panel joins, with not much pictorial touching up. Between two angel musicians, the Holy Child sits on Mary's lap reading from a book. The angel on the left plays a lute; that on the right plays a flared tenor-sized recorder with double holes for the little finger of the lowermost hand which looks almost too good to be true.

Master of Ottobeuren, German (Memmingen)

• Christ being Crowned with Thorns (ca 1510-1515), Master of Ottobeuren (possibly Hans Thomas), German. Hamburg: Museum für Kunst und Gewerbe. Ref. Rowland-Jones (1999: 129, fig. 6 - b&w). “With great force two men beat the crown of thorns deep upon Christ's head, while a curly-haired younger man kneels beside Christ and puts in his hand what at first looks like a short stick or baton. It could be the 'reed in his right hand' mentioned in Matthew ch. 27, v. 29, but the object is here being put into Christ's left hand which may have symbolic intent. Moreover, the upper end is shaped roughly conically as if it were the beak of a duct-flute and the bottom end is bored out some way up, which suggests that the 'gift' might be a pipe of some kind. The face of the man is badly damaged around his nose and mouth, but his eyes seem to express hate. Christ bows his head in anguish, hardly noticing the insult which would be implied by a pipe. His eyes are closed” (Rowland-Jones, loc. cit.)

Master of the Ovile Madonna ['Ugolino Lorenzetti'] or possibly Bartolomeo Bulgarini (fl. 1320-1378)

• Assumption of the Virgin (1320-1378), panel painting, Master of the Ovile Madonna, Italian. Siena: Pinacoteca Nazionale, Inv. No. 61. Ref. Foto Grassi; Brown (1985: #316 - b&w); Beenken (1928/9:75); Berenson (1968, 1: 436); Carli (1981: 218, fig. 252); DeWald (1923: passim, fig. 30); van Marle (?date, 2: 330, fig. 216); Torriti (1980: 138f, pls 142-143); van Os (1969: passim); Brown (1985: 316); Anthony Rowland-Jones (pers. comm., 2002). A typically Siennese ring of angel musicians, many singing and playing instruments. Brown (1985) attempts to identify all 16 instruments, including 'recorder(?)'. The instruments include drum, mandola, harp, shawm, portative organ, psaltery (played with a quill), ? rebec and, at bottom (as in later versions), a double pipe on the left and, facing from right, a single pipe. This is of soprano size and cylindrical (possibly with a very slight flare). The pipe player's left hand is uppermost, but the right hand is very close to it, so 4 finger-holes (perhaps 5) are visible – the fingers could hide another, and there is a clear little finger-hole offset to the left. The painting is very rubbed (probably never restored) so it is uncertain whether a mark to the bottom right of the instrument is the corresponding little-finger-hole. There is no clear evidence of a window/labium which could be confused within the gold of the angel's halo. The angel player has relaxed lips. Notes by Rowland-Jones (loc. cit.)
  
  There is a striking similarity between this painting, an Anonymous Sienese Assumption in Munich (ca 1340) and another in Berlin (dated early 15th century, possibly in error).

Master of [Maestro de] Perea (late 15th century), Spanish

• Altar-piece of Santa Ana, panel: Anunciation to St Joaquin, Master of Perea (late 15th century). Xàtiva: College. Ref. Ballester (2001: 13, fig. 4-b&w). Depicts the appearance of an Angel who inform the Saint that that his wife will give birth to a daughter of whom the Messiah will be born. According to legend, San Joaquin dedicated himself to the care of his flocks and was indeed in the fields when the Angel appeared to him, so it is not surprising that that the artist represents his companions as shepherds. Thus, in the foreground beneath the Saint, stand two shepherds; another kneels, a flared-bell pipe (possibly a duct-flute) stuck through his belt.

Master of the Pollinger pictures (15th century), Bavarian

• Birth of Christ (1444), Master of the Polling Panels (15th century). Munich: Bayerische Staatsgemäldesammlungen 814 (formerly German National Museum, Inv. 4565). Ref. Weihnacht (1950: 48); Peter (1958: 43); Munich RIdIM (1999, Mstag - 814). Altarpiece dedicated to the Virgin Mary, from St Augustine's Church, Pollinger, Nuremberg. " … a group of angels is gathered around the crib. Some of them are kneeling in a circle round the Christ-child in adoration; a little to one side, at the head of the crib, there stands a group of angels making music. Three of them are singing from an open Codex, whilst three others are accompanying the singers on a treble recorder, a regal and a harp" (Peter, loc. cit.) Another group of musical angels at the bottom right of the painting sing to the accompaniment of lute and vielle. The recorder is cylindrical perfectly depicted, the window/labium clear and the fingers all covering their holes correctly.

Master of the Prayer Books (ca 1500), Flemish

• Roman de la Rose: Dance of Mirth (ca 1490-1500), Master of the Prayer Books of ca 1500, ? Bruges. 394 × 292 mm, London: British Library, Harley MS 4425, f. 14v. Ref. The Museums & Galleries Collection: postcard KGB90 (1995); Brassy (1999). Musicians play pipe & tabor, harp, and a flared-bell recorder with the window/labium area and a hole for the little finger of the lowermost (right) hand clearly shown

Master of the Putti [Maestro dei Putti] (op. 1680-1690), Italian

• [Faun], sculpture, Master of the Putti (op. 1680-1690). Vicenza: Palazzo Leoni Montanari, Sala dei Fauni. Ref. Brugnolo & Cevese (1993: 75 - col.); Paulo Biordi (pers. comm, 2002). Watched by a bust of a woman with elaborately coiffured hair, a young satyr plays a conical duct-flute (probably a recorder). The windway/labium and five finger-holes are clearly visible, the lowermost not offset. Although wide, the bell has very thick walls indicating that the bore is not particularly flared.

Master of the Saluces Hours (15th century), French

• Mary with the Child and Angel Musicians, from the Saluces (Savoy) Book of Hours (ca 1460), illumination, Master of the Saluces Book of Hours. London: British Library, MS. Add. 27697, fol. 105 v. Ref. Calendar: Musica 1970 (Bärenreiter); Archiv Moeck; Paris RIdIM (1999); Walter Bergmann (ex Anthony Rowland-Jones, pers. comm., 2003). The Virgin and Holy Child, enthroned, are surrounded by musical angels. Those on the left play tambour, psaltery, nakers, shawms and a duct-flute (possibly a recorder) the beak and window/labium of which are clearly visible. Those on the right play lutes, harp, organetto, triangle, pipe and tabor. Three angels appear to be singers.

Master of Seu d Urgell – See Master of Canapost

Master of the St Thomas Altarpiece – See Master of the St Bartholomew Altarpiece

Master of La Secuita (15th century), Spanish

• Altarpiece of the Virgin (1425-1440), Master of La Secuita. Tarragona: Museu Diocesà. Ref. Gudiol (1986: 574); Rowland-Jones (1997: 11, fig. 7 – b&w); Rowland-Jones (1999b: 33). The central panel depicts the Virgin and Child surrounded by four angel musicians playing lute, harp, psaltery, and a duct-flute with rather more holes than fingers. The lowermost finger-hole of the latter is clearly doubled, which makes it quite likely that this represents a recorder.

Master of the Stockholm Musicans (17th century), Dutch

• [Shepherd with a Recorder], 78 × 62 cm, Master of the Stockholm Musicians (17th century). Location unknown: auctioned P. de Boer, Amsterdam (1945), attributed to Dirk van Baburen. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague, Negative L34200; Ruth van Baak Griffioen (pers. comm., 2003). A man in a loose-fitting shirt holds a hand-fluyt, the foot of which is out of frame.
• Young Woman with a Recorder, after Jan van Bijlert (1598-1671) by the Master of the Stockholm Musicians (17th century). Private Collection; auctioned by Sotheby's, London (9 December 1981), Lot. 78. Ref. Sotheby's, Sale Catalogue; Buijsen & Grijp (1993: 224-227, fig. – b&w); Wind (1997: vol.2, cover – col.) Attributed to Gerrit van Honthorst (1590-1656) by Sotheby's (loc. cit). Identical to Bijlert's Girl with a Flute in the Art Gallery of New South Wales (see above), Sydney and an unsigned version in the Pushkin Museum of Fine Arts, Moscow.

Master of the Teaching Christ Master = Master Francesco

Master of Trapani (early 15th century), Italian

• Virgin with Child and Angels, painting by Master of Trapani (early 15th century). Palermo: Galleria Regionale della Sicilia Palazzo Abatellis, Inv. 18. Ref. Brown (1980); Brown 1986: #540 – b&w); Thomson & Rowland-Jones (1995: 4, pl. 2B); Anthony Rowland-Jones (pers. comm., 2000; 2006: 15 & fig. 14-col.) From the monastery of S. Martino alle Scale, Palermo. Formerly attributed to Turino Vanni (fl. 1390-1427), Italian (Sicilian). The Virgin and Child are surrounded by six angels. An angel on the lower left-hand corner of the painting plays a double pipe. Another on the lower right-hand corner plays a duct-flute which may be a flageolet or a recorder. The instrument, with its beaded foot piece, is strikingly suggestive of the Dordrecht recorder, the lower tenon of which had provision for just such a foot-piece. However, the fingers are deployed in a 'four-plus-two' fingering suggestive of flageolet playing. Since the photograph reproduced in Thomson & Rowland-Jones (loc. cit) was taken, this painting has been allowed to deteriorate considerably but has recently been restored, minus the angel's little finger on each hand and with the halo is partially obliterated. Also there are slight signs of a little finger-hole, probably added by the restorer who assumed the instrument to be a recorder rather than a flageolet (perhaps he was an admirer of Howard Mayer Brown). Anyone now looking at the picture would assume it is a recorder, despite earlier evidence to the contrary (Anthony Rowland-Jones, pers. comm., 2000).
• Coronation of the Virgin with Saints Peter and St Paul, painting, Master of Trapani (early 15th century). Detail. Palermo: Galleria Regionale della Sicilia Palazzo Abatellis, Inv. 24. Ref. Anthony Rowland-Jones (pers. comm., 2000); California State University Systems: World of Art Web Kiosk (2002 - col.). From the Church of St Pietro la Bagliata, Palermo. The Virgin is crowned by Christ. A panel to the left depicts St Peter; that on the right St Paul. Beneath the Virgin, angel musicians play straight trumpets, organetto, fiddle, harp and lute, and two play identical cylindrical pipes. On the pipe on the left, three finger-holes for the upper (left) hand are clearly visible, and although only three fingers of the right hand seem to be used the index finger seems to be operating two holes. On the pipe on the right only one finger of each hand is covering its hole, but there are a further two holes visible above and a further two below the lower (left hand). Thus these instruments very possibly represent recorders, though there is no window/labium visible on either.

Master of the van Morrison Triptych (15th century)

Master of the Vitae Imperatorum

• Pontifical (1433 to 1438), illumination on parchment, 350 × 255 mm, Master of the Vitae Imperatorum (1431-1459). Cambridge: Fitzwilliam Museum, MS 28 Surrounded by birds of various kinds, two putto sit on either side of the papal coat of arms, one playing a small lute, the other playing a flared-bell pipe, possibly intended to represent a recorder.

Master of the Vraie cronicque descoce

• Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem Vrelant (illuminator), Bruges: Flute-playing contest between Menalcas and Dametas with Palemon as judge (ca 1450-1475), illuminated miniature on vellum, 10.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. 20r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Surrounded by sheep and a pert looking cow, Palemon leans on his staff listening as Menalcas and Dametas play their recorders. One shepherd has a further three recorders in a bag suspended from his waist; the other has two more in a sling around his side. The instruments are cylindrical and of plain profile; the window/labium and the characteristic paired holes for the little finger of the lowermost hand are clearly depicted.
• Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem Vrelant (illuminator), Bruges: Mopsus and Menalcas about to play a song eulogizing Daphnis, the ideal shepherd (ca 1450-1475), miniature on vellum, 9.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. 25r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). The two shepherds meet each other in a hilly pasture, recorders at the ready, their sheep following. The beak, and window/labium of each cylindrical instrument are clearly visible. On one the paired holes for the little finger of the lowermost hand are clearly depicted, but no other finger-holes are visible. On the other the three uppermost finger-holes are visible but the lower ones are covered by the player's hand.
• Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem Vrelant (illuminator), Bruges: Damon complains to Alphesibeus about his unrequited love (ca 1450-1475), miniature on vellum, 9.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. 32r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Two shepherds seem to be having a discussion about recorders: one has a recorder in a sling at his side, the other holds his up as if to make a point. A woman reads from a book at a podium. Beside her another shepherd plays his recorder earnestly. The characteristic window/labium and paired holes for the little finger of the lowermost hand are clearly visible in each instrument. In the background a bride and groom stand either side of a priest at the door of a church. In the center of the picture Damon clasps his hands beseechingly.
• Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem Vrelant (illuminator), Bruges: Meris, Virgil's tenant, brings goats to Lyadas, the new owner of Virgil's estate (ca 1450-1475), miniature on vellum, 8.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. 35r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002); Recorder Magazine 23(3): front cover (2003: detail - col.) Meris drives his sheep (not goats) up the road leading to a castle. On the grass beside the road two shepherds sit playing their recorders, two more beside them on the ground. All four instruments are cylindrical, their window/labium and finger-holes clearly depicted. One of the recorders on the ground has holes for 7 fingers, the lowermost paired.
• Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem Vrelant (illuminator), Bruges: The shepherds commiserate with Gallus, because Lycoris has left him (ca 1450-1475), miniature on vellum, 8.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. 37r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Gallus, lying prostrate on the grass is surrounded by his friends leaning on their staves, and their sheep. Two of the shepherds have record in slings around their waists. Another shepherd sits on a rocky ledge nearby playing his recorder. All the instruments are cylindrical, their window/labium and finger-holes clearly visible.
• Virgil, Opera omnia, Volume 2: Georgics, follower of Willem Vrelant (illuminator), Bruges: Farmers and their livestock (ca 1450-1475), miniature on vellum, 7.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. 28r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Two farmers stand amidst their sheep, pigs, cows and donkeys, a number of which are copulating. Behind them a shepherd sits on the grass playing a cylindrical pipe (probably a recorder) to some sheep.
• Virgil, Opera omnia, Volume 2: Georgics, follower of Willem Vrelant (illuminator), Bruges: Flute-playing contest between Corydon and Thyrsis with Daphnis as judge (ca 1450-1475), miniature on vellum, 9.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. Fol. 30r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Daphnis sits beneath a tree, a recorder on the ground at his side. Corydon and Thyrsis stand beside him playing their recorders. One of the contestants has a second recorder tucked in a sling around his waist. The beak, window/labium and finger-holes of each instrument are clearly depicted.

Master of the Västerås Triptych (op. Antwerp, ca 1515-1520), Flemish

• Virgin and Child, Master of the Västerås Triptych (op. Antwerp, ca. 1515-1520). Location unknown; sold Milan (1996). Ref. Burlington Magazine 138 (1996 - col.); Die Weltkunst (1984, 54: 3485); Rasmussen (1999b). “Three angels at the left sing and one plays a harp. Angels at the right play fiddle, lute and recorder” (Rasmussen, loc. cit.) Die Weltkunst (loc. cit.), ie Munich art market, attrributes this to Jacob Cornelisz van Amsterdam; Rasmussen asserts that it is not. Not seen.

Master of Viella (late 15th century), Spanish

• Altarpiece: The Decapitation of Saint John the Baptist and the Feast of Herod, tempera, Master of Viella (late 15th century). Blanes (Barcelona): Private Collection. Ref. RIdIM/RCMI Newsletter 20 (1): 35 (1995). From the Retaule de Sant Joan Baptista. "On the right, Salome offers Saint John the Baptist's severed head to Herodias, in front of Herod and a servant. On the left, the executioner sheathes his sword beside Saint John's beheaded body. In the background, two minstrels playing two recorders."

Master known as 'WR' (16th century), German.

• Musical Instruments (1524), Master known as 'WR', German. Erlangen: Universitätsbibliothek, Ms. B 200, fol. 128 r. Ref. Lutze (1936: S. 58 u. 69 f.); Scharenberg (1993); Archiv Moeck. Includes copies of illustrations from Virdung (1511) including trumpets, drums, kettledrums, and a pair of recorders.

Master XXX with an L (op. ca 1559), Dutch

• Vanitas (1559), engraving, Master XXX with an L (op. ca 1559). Ref. Hollstein (1949-, 13: 104, nos 1-2); Rasmussen (2002, Lute). "A man and a woman seated beside a table. Among the objects on the table are a lute and two ? recorders" (Rasmussen, loc. cit.)

Master of Zweder van Culemborg precursor, Dutch

• Book of Hours (use of Utrecht): Hours of the Holy Spirit: Sext: An angel making music, illuminated initial and border decoration on vellum (ca 1425), 30 x 35 cm, Master of Zweder van Culemborg, precursor (illuminator), Utrecht. Detail. The Hague: Koninklijke Bibliotheek, KB, 133 M 131, Fol. 116v: hist. in. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). A kneeling angel plays a cylindrical duct-flute, possibly a recorder, the window/labium clearly depicted.
• Book of Hours (use of Utrecht): Hours of the Holy Spirit: None: An angel making music, illuminated initial and border decoration on vellum (ca 1425), 30 x 35 cm, Master of Zweder van Culemborg, precursor (illuminator), Utrecht. Detail. The Hague: Koninklijke Bibliotheek, KB, 133 M 131, Fol. 119r: hist. in. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). A seated angel plays a cylindrical pipe, probably a duct-flute, possibly a recorder since the little finger of the lowermost (left) hand covers its hole.
• Book of Hours (use of Utrecht): Hours of the Holy Spirit: Compline: An angel making music, illuminated initial and border decoration on vellum (ca 1425), 30 x 35 cm, Master of Zweder van Culemborg, precursor (illuminator), Utrecht. Detail. The Hague: Koninklijke Bibliotheek, KB, 133 M 131, Fol. 126r: hist. in. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). A seated angel plays a cylindrical pipe, probably a duct-flute, possibly a recorder since the little finger of the lowermost (left) hand covers its hole.

Theodor [or Dirk] Matham

• Vanitas (1622), engraving, Theodor Matham (1605/6-1676). Haarlem: Gemeinde Archiv. Ref. Fischer (1972: 85-91). Through a double window-frame can be seen a room situated higher and further away in which a richly-clad company is banqueting, raising galsses to the accompaniment of music played by a group of musicians sitting on a balcony. Beneath the window is a cartouche with a skull and the title 'Vanitas'. In the foreground is a table on which are a tray with glass goblets, a pewter wine flask with a long neck, a two-part song-book with music and four couplets by the priest-musician Jan Albert Ban, a cittern, lute, five-stringed cello and a wind instrument all but the flared bell of which is hidden behind the lute. The flared bell of the wind instrument, described by Fischer (loc. cit) as a 'flute', may belong to a recorder. There is also an open chest with gold coins and jewels and, on a cupboard, a cup with a cherub's head. The complex symbolism of this work and its relationship to a number of sources are discussed at length by Fischer (loc. cit.)

Jacob Matham

• Proclamation to the Shepherds (1621), print after Veronese by Jacob Matham (1571-1631). Ref. Bartsch (1854-1870,4: 1309.206); Munich RIdIM (1999). One of the shepherds has a recorder in his belt.
• The Times of Day (series): Meridies [Midday] or The Passage of Phoebus, (1621), print after Karel van Mander by Jacob Matham (1571-1631). Ref. Bartsch (1854-1870, ?vol., 3: 174, 177); Munich RIdIM (1999). The four times of day were Matin (Aurora), Midi (Phoebus), Soir (Venus), Nuit (Morpheus). Labourers in the field stop for lunch. One carries a bagpipe and a pipe with a sharp bell-end which could be a bagpipe chanter, shawm or recorder. The beak and windway of the latter are clearly depicted, side-on. Two finger-holes are visible beneath the hand holding the instrument. Apollo (surprisingly) plays a hurdy-gurdy. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Satyr admiring Sleeping Venus, print after Hans Rottenhammer the Elder (1564-1625) by Jacob Matham (1571-1631). Ref. Bartsch (1854-1870, 4: 193.180); Munich RIdIM (1999). The Satyr holds a recorder.

Jacques Matham (? 17th century), ? Dutch

• Rest on the Flight to Egypt (1610), engraving by Jacques Matham (17th century), after Bartholomaeus Spranger (1546-1611) Ref. Bartsch (1854-1870, 4: 183/202); Rowland-Jones (2000a: 165 – figs - b&w). Mary holding the Holy Infant in one hand and the arm of the young St John the Baptist in the other as they stroll out of the picture to the right. Behind them, Joseph assisted by an angel and two putti tethers the horse, watched by a dog. A basket on the ground beside the dog contains Jospeph's carpenter's tools and a very likely 'Virdung'-type recorder. The latter has a beaked mouthpiece and, although no finger-holes are shown, the window/labium is clear. The foot has a marked turned bead above a strong but short bell flare. Is this one of the nativity shepherds' gifts, or did Joseph make it himself? There could be a second, smaller recorder in the basket. Notes (in part) by Anthony Rowland-Jones (pers. comm., 2000).

Stomer Mathaus

• A Lute Player and a Flute Player Making Music by Candlelight, painting, circle of Stomer Mathaus Location unknown: auctioned 10 May 2006 (sold). Ref. Gabrius Data Bank (2007 - col.) A man in a feathered cap playing a small lute accompanies another in a red cap playing a soprano-sized cylindrical recorder, the disposition of the fingers well-suited to that instrument.

Pieter Matthijsz. (17th century), Netherlands

• Swag of Musical Instruments (1641), wood carving, ? Pieter Matthijsz. (17th century). Alkmaar: Grote Sing Laurenskerk, Van Hagerbeer/Schnitger organ, between shutters of the Rugpositief and the main chest. Ref. Bouterse (2009 - pers. comm.) One of two swags of musical instruments; one depicts harp, horn, flute, lute, ? oboe, tambourine (with jingle rings and pellet bells), and triangle; the other depicts horns, trumpet, violin, and a baroque recorder. Despite the date, the mouthpiece of the recorder looks very baroque, the rest (especially the foot rings) are more 'transitional'. The case of the main organ was designed by the painter/architect Jacob van Campen (1595-1657). The case of the Rugpositief organ was made in the workshop of Van Hagerbeer in Leiden. Although the organ has undergone many repairs and rennovations over the years, the orginal casework has been retained. Frank van Wijk, the current organist at the Laurenskerk in Alkmaar, confirms that the woodcarvings are from 1641 by Pieter Matthijsz. whose name and the year appear on the panels. More information about the organ and its history can be found here.

Paolo de Matteis

• Child Holding a Mirror and a Flute, painting, Paolo de Matteis (1662-1728). Location unknown: auctioned 05/06/2002 (unsold) Ref. Gabrius Data Bank (2007 - col.) A naked child reclines on a large orange cushion holding a mirror in his left hand and a slender, cylindrical duct-flute in the right. The beak of the duct-flute is clearly depicted but it could represent a flageolet or recorder. Possibly allegorical.

Taco Iwashima Matthews

• [Recorder Player] (2001), Taco Iwashima Matthews (20-21st century). Ref. Chopin (2001); Taco. One of a series of illustrations of girls playing musical instruments. In this a slender girl walks off stage left, holding her neo-baroque recorder in one hand, a score in the other. Chopin is a magazine introducing American compositions, musicians, and schools to Japanese readers.

Matteo di Giovanni di Bartolo [Matteo da Siena]

• Assumption of the Virgin (1474), tempera on wood, 33.8 × 171.3 cm, Matteo di Giovanni di Bartolo (ca 1430? -1495). London: National Gallery, No. 1155B. Ref. Howard (1946: 6-7, pl. 2-col.); Website: klassiskgitar.net (2007 0- col.) The Virgin is surrounded by musical angels, six each side and eight beneath. To her right, one angel plays a pipe, probably a recorder as at least seven finger-holes and the window/labium are shown. The mouthpiece of the instrument is of a different material (white) to the body; there are no double holes. An angle centre left plays a double duct-flute. Other angels sing and play lute, tambourine (with jingles), nakers, sackbut (with bell over the shoudler), vielle, harp, and cymbals. Next to the harpist is a second recorder player whose instrument is largely hidden but the bell-end is visible with the players third and little right-hand finger on their holes.

Paulus Matthysz (17th century), Dutch

• 'Vertoninge Onderwyzinge op de Hand-fluit': Recorder (1649), Paulus Matthysz (17th century). Ref. Morgan (1984); Legêne (1995: 110-114); Thiemo Wind (2006, pers. comm.) Part of part of the anthology 't Uitnemend Kabinet. Shows a recorder with an externally cylindrical profile. This illustration is identical to that published by Gerbrandt van Blanckenburgh (ca 1656).

Christoph Maurer (1558-1614), Swiss

• XLI Emblemata miscella nova, published Zürich (1622): XXXIX, The Choice of Hercules, etching Christoph Maurer (1558-1614). Ref. Panofsky (1930, 46: pl. 25); Gazette des Beaux-Arts (1967, 69: 336); Rasmussen (2002, Lute). "Includes a treble viol or violin and a recorder on the ground and a woman (Voluptas) holding a lute in one hand and raising a tazza with the other. She is on the right side of the composition, the side that leads to the 'via mortis'" (Rasmussen, loc. cit.)

Moshe Maurer (1891-1971)

• Street Music in Warsaw (1964), Moshe Maurer (1891-1971). Locality unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). Two old Jews in the ghetto play a violin and what could be a flared-bell soprano recorder, although the instrument is unclear.

Lodovico [Ludovico] Mazzanti

• Mercury and Argus, oil on canvas, Lodovico Mazzanti (1679-1775). Ref. Gabrius Data Bank, OMP (2000 - b&w). Watched by Io (as a heifer), Mercury lulls Argus to sleep by playing on a slender, flared-bell pipe (possibly a recorder). Offered for sale with a pendant entitled Zephyr and Flora.

Girolamo Mazzola Bedoli

• Nativity, Girolamo Mazzola Bedoli (ca 1505 - ca 1569/70). Parma: S. Maria della Steccata. Ref. Tesori d'arte cristiana (1966-1968, 4: 347); Exhibition: Viadana, Sodalizio Amici dell'Arte, Disgeni di Girolamo Mazzola Bedoli (1971: no. 50); Milan Universita Cattolica … (1972: pl. CXXVIII); Visual Collection, Fine Arts Library, Harvard University, 372.M4597.22N[a]; Rasmussen (2002, Bagpipe). "Shepherds play recorder (pausing) and bagpipe" (Rasmussen, loc. cit.)

Girolamo Francesco Maria Mazzola [Mazzuoli] = Parmigianino

Angelo Mazzoleni

• Suonatrice di Flauto, oil on canvas, 70 × 60 cm, Angelo Mazzoleni (1952-). A woman in a red cap plays a selnder conical pipe with one hand. There are far more holes than fingers!
• Sunoatoro di Flauto, oil on canvas, 90 × 50 cm, Angelo Mazzoleni (1952-). A man in a top hat wearing a checked jacket, shirt and pants and red shoes plays a slender, conical pipe. There are far more holes than fingers.
• Le tre Musiche, oil on canvas, 80 × 100 cm, Angelo Mazzoleni (1952-). Three naked women play rebec, keyboard and a slender, concial pipe. The pipe has far more holes than fingers.

Lodovico Mazzolino [Mazzuoli, Manzulin or Mazzuoli da Ferrara] (ca 1480-p. 1530), Italian

• Pharaoh and his Host Overwhelmed in the Red Sea (1521), Lodovico Mazzolinio (ca 1480-p. 1530). Dublin: National Gallery of Ireland. Ref. Boydell (1985: 48, fig. 38). Amidst the confusion of Israelites on the right hand side of the painting, two men play slender duct-flutes (flageolets or recorders) and another the drum.

Richard Meares (English)

• Frontispiece, A Compleat Method for Attaining to Play a Through Bass upon either Organ, Harpsichord or Theorbo Lute (1717), by Godfry Keller, published by Richard Meares, London, England. London: British Museum. Ref. Mirimonde (1974: 55, fig. 39); Paris RIdIM (1999). St Cecilia sits at a chamber organ surrounded by garlands of musical instruments. That on the right includes a trumpet, violin, oboe and turned baroque recorder.

Israhel & J. van Meckenem

• The Dancing Fool, 75 × 52, print, Israhel & J. van Meckenem (op. 1450-1503). Vienna. Ref. Strauss (1978, 23: 95, no. 13); Archiv Moeck; Rasmussen (2002, Horn). A fool dances, making music by scraping a brush on a cow's jawbone. A curved horn hangs from his arm and, beneath his feet, lies a recorder of which the paired holes for the lowermost finger are clearly shown.
• Der Narr [The Jester], 75 × 52, print, Israhel & J. van Meckenem (op. 1450-1503). Ref. Munich RIdIM (1999); Bartsch (1854-1870, 9: 236); Rasmussen (2002-2004: Bagpipe). A fool with bagipes and a recorder tucked into his belt, bells on his cap and sleeve and a bagppe on the ground between his feet.

Reinier Megan [Meganck or Meganet] (1637-1690), Flemish

• Vanitas, Reinier Megan (1637-1690). Location unknown: Private Collection. Ref. Grijp (1998: 40, fig. 75). On a draped marble bench are a candlestick and lighted candle (almost burnt down), a skull, some books, a goblet, a rebec and bow, an hour-glass, a pocket watch, an open music book and an ivory duct-flute only the head and first two finger-holes of which are visible.

Johann Caspar [Kaspar] Meglinger (1595 – ca 1670), Swiss

• Dance of Death, painting, Johann Caspar Meglinger (1595 – ca 1670). Lucerne: Le Pont des Moulins, one of 16 pictures. Ref. Paris RIdIM (2000). A triangular painting at the base of which are a coats of arms and a couplet either side reading:

  Leg him Bildhauer dein mensur Ein Todstreich hat geschlagen d'Uhr	Ein Todtenlopf dein werk nachtracht Truk d augen zu so ist er gmacht.
  Sculptor, thy chisel lay aside, For now thy doom doth thee betide.	Close but thine eyes: thy work is done – A Death's head stands where yet was none.

  The figure of Death (with a skull-like head) stabs to death a sculptor who fights back in vain with the chisel of his trade. On a balcony in the background between colonades, a woman clad in a dress with a low-neckline and a halter, also with a death's head, plays a flared-bell pipe (a reed pipe or duct-flute, possibly a recorder); beside her a man plays a keyboard instrument.

Meissen Porcelain

• [Musicians], porcelain figurines, 26 cm & 25 cm high, Meissen Porcelain (19th century). Jersey: Bonhams Sale 15317 - The Channel Islands Sale, 5 November 2007, Lot 5. Modelled as a gentleman playing bagpipes, a dog and sheep at his feet, his lady companion playing a baroque-style alto recorder, a sheep at her feet, both wearing detailed 18th-century costume, crossed swords mark, incised No. 3. The characteristic beak and window/labium of the recorder are clearly depicted. The foot-piece seems to have fallen off, and the player's left hand clasps the head rather than the body of the instrument.
• Boy musician (c. 1780-1790), porcelain figurine, 11 cm high Meissen Porcelain. Knowles: Bonham's Sale 16292 - European Ceramics, Glass & Asian Art, 8 July 2008, Lot 377. A boy standing and playing a pipe, wearing a light blue coat over black breeches, a puce scarf tied around his waist, on a square base with moulded border, crossed swords and star mark used during the Marcolini period of Meissen production. The bulbous beak of the instrument would seem to indicate a recorder; the foot is missing.

Johann Peter Melchior

• Musical Goup: Woman Playing with Children, porcelain figurine, 21.6 cm high, Johann Peter Melchior (a. 1747 - 1825). Heidelberg: Kurpfälzisches Museum, Inv. Po 10. Ref. Munich RIdIM (2002, HDkm - 59); Rowland-Jones (pers. comm., 2002). The woman sits holding a ductflute in one hand, a roll of music in the other, a small boy on either side of her.

Andrea Meldolla = Andrea Schiavone

Altobello dei Meloni (fl. 1497-1530), Italian (Cremona)

• The Madonna in Glory with Angels, Altobello dei Meloni (fl. 1497-1530). Cremona: Chiesa de S. Abbondio. Ref. Signori (1928: 59); Campi (1938: 184); Paris RIdIM (1999); Rasmussen (1999b). The Virgin holding the Christ-child is surrounded by angels some of whom play musical instruments. Below her, three angels play two violas da braccio and lute; two flanking angels on each side play long cylindrical recorders with flared bells, their windows quite clearly shown.

Elif Memisoglu (contemporary), USAmerican

• Untitled (2008), cover illustration, Elif Memisoglu (contemporary). Ref. American Recorder Journal 49(3): front cover (2008 - col.) A stylised girl sits on a park bench a recorder in her lap, an earthworm beside her, and flowers, trees and butterflies around.

Hans Memling

• Triptych of the Mystical Marriage of St Catherine: right panel: St John the Baptist and the Evangelist (1479), painting, Hans Memling (ca 1430/35-1494). Detail. Bruges: State Museum. Ref. AVM, Marconistraat 5, B-8400 Ostende: postcard; Peter (1958: 43); Hindley (1971: pl. 11 - col.); Hijmans (2005: 218). Legend has it that St John the Evangelist, while exiled on the isle of Pathmos in the Aegean Sea, wrote down several letters and visions. These were compiled as the Revelation of St John. Here he is seen looking from his book to see Christ enthroned surrounded by king-musicians who sing and play various instruments. One king tootles on a small cylindrical pipe, but seems to have no idea of what to do with his fingers (Rowland-Jones, pers com.)! The pipe is a duct-flute (flageolet or recorder), with the labium/window very clearly shown. The left panel of the triptych shows the beheading of John the Baptist; the centre panel depicts the mystic marriage of St Catherine.
• Triptych: central panel: Virgin and Child (15th century), copy after Hans Memling (ca 1430/35-1494). Madrid: Colección Adanaro. Ref. Paris RIdIM (1999). The Virgin holds the Christ-child out to a young angel on her left. To her right, a second angel plays a long slender cylindrical pipe, possibly a recorder.

Anton Raffael [Raphael] Mengs

• Parnassus (1761), ceiling fresco, Anton Raffael Mengs (1728-1779). Rome: Villa Albani. Ref. Levey (1959: 203, pl. 105). Apollo stands amidst the Muses who variously admire, write, sing, play and dance. ? Euterpe holds two flared-bell pipes, one longer and more slender than the other, The shorter one seems to have a window/labium and probably represents a duct-flute, though only three finger-holes are visible. The other may reprsent a mute cornett.
• The Apotheosis of Trajan (1764), ceiling fresco, Anton Raffael Mengs (1728-1779). Madrid: Palacio Real, Gasparini Drawing Room. Ref. Anthony Rowland-Jones (pers. comm., 2000). “Includes a group of women and putti, with a winged Father Time. The musicians include a singer with a lyre and a player of a small trumpet or cornett, together with a young woman who blows one pipe in her right hand and holds another exactly parallel in her left. This may have been intended to refer to marriage symbolism. The pipes are of soprano/alto size, but the detailing is insufficient for identification” (Rowland-Jones, loc. cit.)

Philip [Philippe, Pierre-Philippe] Mercier

• Children Making Music, oil on canvas, Philip Mercier (1689-1760). Location unknown: Auctioned 5 July 2000 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) An elegantly dressed young woman plays a guitar, a young man holds a violin to his shoulder pointing with his bow to a score held over a table by one of two children in front of him. The other child holds a turned baroque recorder of soprano/alto size. On the table are a cushion and a lute, face down. Another lad peeps out from behind a drape in the background. An almost identical painting auctioned on 3 October 2001 by Dorotheum, Vienna, with the title Musizierende Gesellschaft [Musical Gathering] was attributed to Johann Heinrich Tischbein I (1722-1789), and very similar paintings have been attributed to Jean Raoux (1677-1734) and other unknown imitators of that artist.
• Lady Preparing for a Masked Ball, oil on canvas, 119 × 96 cm, Philip Mercier (1689-1760). Location unknown: Auctioned by Dorotheum, Vienna, 15 October 1996, Lot 122. Ref. Sale Catalogue, Dodrotheum, Vienna (1996: 122). A room full of bustling characters each looking wildly in a different direction! The central figure is a woman holding a mask in one hand and her little boy's hand in the other. In the top left hand corner a man in a red jacket plays a clearly depicted baroque recorder of alto/tenor size, riht hand uppermost.

Marin Mersenne (17th century), French

• Recorders (1636), engraving from Harmonie Universelle III: 237, 239, Marin Mersenne 1588-1648). Published by Sébastien Cramoisy, Paris. Ref. Pottier (1995: 136, pl. 11). Depicts more or less cylindrical, flared-bell recorders of various sizes.

Gabriel Metsu (also spelled Metzu)

• The Concert, 55.5 × 48 cm, Gabriel Metsu (1629-1667). Location unknown: formerly C. Benedict Collection, Paris. Ref. Robinson (1974: 209, fig. 181); Griffioen (1988: 440-441). a woman sits playing the virginals on a table. Seated on on end of the palyer a man plays a lute. Seated to the side and behind him another man plays a flared-bell recorder of alto size. Behind the virginals and to the right sits a woman, possibly a singer.
• Inspiration, painting, Gabriel Metsu (1629-1667). Roermond: Private Collection. Ref. Bouterse (1995: 85-86); Moeck, Celle: TIBIA – Musikbilder auf Postkarten, Series 2(4), No. 11102 (col.) The painter himself as a young man plays an early baroque style recorder of simple design with flared, ornamented bell. He reads from music on a table supported by a small statue and an artist's palette. This might almost be a companion piece for Berkheyde's Self-portrait.
• Young Artist Playing a Recorder, painting, 18.8 × 16.9 cm, Gabriel Metsu (1629-1667). Amsterdam: Sotheby, Mak van Waay, 9 June (1977), Lot 21. Ref. Getty Research Institute: Study Photo Collection (1999). Not seen. Is this the painting referred to as Inspiration above?
• [Unknown], Gabriel Metsu (1629-1667). Whereabouts unknown. A woman plays a viol with a recorder and the same statue as above also depicted (Rowland-Jones, pers. comm. )

Quentin Metsys

• Triptych La Conferie de Sainte Anne: left panel, Quentin Metsys (ca 1465/6-1530). Brussels: Koninklijke Musea voor Schone Kunsten van België, Cat. MA 299. Ref. Paris RIdIM (1999). From an open window in a tower beside a village a figure looks out over the moat and across a pasture to a shepherd who is blowing a cylindrical flared-bell recorder. All fingers of the lower (left) hand are employed covering holes, and the shadow of the window/labium is clearly visible.
• Nativity, School of Quentin Metsys (ca 1465/6-1530). Santa Barbara: Museum of Art. Ref. Gazette des Beaux-Arts 69 (1967); February: La chronique des arts, no. 1176, p. 68); Rasmussen (1999b). "Angels play lute and recorder" (Rasmussen, loc. cit.)

Johann Georg Mettel (18th century), German

• Woman with a Flute watched by an old Man (1760), drawing on paper, 30.6 × 22.9 cm, Johann Georg Mettel (18th century). Darmstadt: Hessiches Landesmuseum, Inv. H2 AE 337. Ref. Munich RIdIM (1999, DAhl - 149). A rather sallow-looking woman holds a turned baroque alto recorder in her right hand; in her lap is a musical score; behind her a sly looking bearded old man peers at her lasciviously. The woman, her posture, her music and her recorder bear a strong resemblance to N. Mettelli's Flautist (Frankfurt am Main). The similarity between the artists names must be signficant.

N. Metteli (18th century), Italian.

• Flautist, engraving after Franciscus von der Majn, by N. Mettelli (18th century). ? Milan. Ref. Angelo Zaniol (pers. comm., 2003); Il Laboratorio (1988). A woman holds a turned alto recorder in her right hand; in her lap is a musical score. The woman, her posture, her music and her recorder bear a strong resemblance to Johann Georg Mettel's Woman with a Flute watched by an Old Man (Hessiches Landesmuseum, Darmstadt). The similarity between the artists names must be signficant.

Christian Wilhelm Meyer

• Boys emblematic of the Senses (ca 1769-1770), 2 Berlin porcelain figurines, 11.5 cm high, modelled by Christian Wilhelm Meyer (1761-1788). London: Christie's, A Century of Berlin Porcelain: The Dr K.H. Wadsack Collection, 8 October 2002, Lot 204. Ref. Artfact (2004). Blue sceptre marks to undersides of bases. Hearing in a grey hat, pale-pink jacket over a white shirt, orange breeches supported by brown braces, holding the bagpipes and a bell. Smell in a beige jacket, white apron and shirt and lilac breeches, with a basket and posy of flowers, standing before a draped pot-pourri vase. Both supported by tree-stumps on triangular scroll-moulded bases enriched in gilding (the first with restoration to hat, bagpipes, bell, recorder in his pocket and with minute chipping to bows at knees, the second with damage and restoration to head and hat, left arm extensively damaged and restored and with restoration to basket, flowers and posy, some minute chipping to base).

Michael & Eutychios = Michael & Eutychios Astrapas

Théobald Michau

• Landscape with Dancing Peasants, Théobald Michau (1676-1765). Location unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie 32446 (2001); Anthony Rowland-Jones (pers. comm., 2001). A young man by a tree plays a soprano sized pipe with a medium bell-flare, left hand lowermost. The details are not clear, but the instrument is held in recorder playing position.

Claude Michel, called 'Clodion'

• Poetry and Music (ca 1774-1778), marble sculpture, 117.5 × 88.9 × 60 cm, Claude Michel (1738-1814). Detail. Washington, National Gallery of Art, Samuel H. Kress Collection, 1952.5.98. Ref. Ford (1986: #163). One of four representations of the arts and sciences commissioned by Louis XV's finance minister, Abbé Terray, to decorate the dining room of his Parisian mansion, celebrating his appointment as Director of the Royal Buildings in 1774. Ford (loc. cit.) notes the presence of a recorder in this sculpture. A standing putto (Music) plucks a viol; his companion (Poetry), seated, holds a note-book in his lap and a stylus in the other. On the ground before them in a wreath lie a trumpet and a slender cylindrical object the tip of which is cut obliquely and might represent the back of the beak of a duct-flute with its characteristic block. A featureless cylindrical object projecting from beneath a drape in between the violist's feet appears to be a scroll of paper rather than a wind instrument.
• Model for Poetry and Music (1774), terra cotta sculpture, 27 × 23.3 × 15.6 cm, Claude Michel (1738-1814). Detail Washington, National Gallery of Art, Loula D. Lasker Fund 1976.10.1) In this model the standing putto (Music) plucks a lute his companion (Poetry), seated, holds a note-book in his lap, his right hand raised to his brow. On the ground before them in a wreath lie a trumpet and a slender cylindrical object the tip of which is cut obliquely and might represent the back of the beak of a duct-flute with its characteristic block. What may be a recorder projects from beneath a drape in between the violist's feet, namely the upper part of a cylindrical pipe the (unusually truncate) block and first three finger-holes of which are visible but no details of a window/labium. It seems categorically different from the paper scroll in the model (see above), but could just as well represent a transverse flute.

Jean Michelin

• Citizens, canvas, 60.5 × 75 cm, Jean Michelin (1623-1696). Location unknown; offered for sale by Hein Gallery, Paris (1958). Ref. Paris RIdIM (1999). An old woman with a basket of wood on her backs sits on a stone in front of a stone building. A young boy plays on a tiny duct-flute (flageolet or recorder) watched by two smaller girls. A bearded man leans on his stick.
• Coronation of the Rosary, canvas, 87 × 117 cm, Jean Michelin (1623-1696). Location unknown; offered for sale by Drouot-Richelieu, Paris, 24 February (1992), Cat. No. 25. Ref. Paris RIdIM (1999). Two men and seven women sit around a long table served by two waiters. At the far end of the table one of the women is wearing a garland in her hair. To the side a man plays a violin and a small boy plays a tiny duct-flute (flageolet or recorder). Through a doorway the kitchen can be seen.

Jan Miel

• The Flute Player, oil on panel, 23 × 19 cm, Jan Miel (1589-1663). Location unknown; sold at Doullens (between Paris and Amiens), 27 November (1994). Ref. Paris RIdIM (1999). A man holds a slightly flared pipe which is blown by an old crone sitting on a step. There is insufficient detail to tell if a shawm or recorder is intended.

Hans Mielich

• The Bavarian Court Chapel (ca 1570), illumination, Hans Mielich. From a publication of Psalms by Orlando di Lassus. Detail. Munich: Bayerisches Staatsbibliothek, MS A11 f.187. Ref. Salmen (1976 : 156-157, pl. 106); Boydell (1978); Meer (1983: pl. 126-col.); Langdon & Norwich (1991: pl. 4-col.); Alamire M13 (1996). A contemporary painting of the Munich court orchestra which shows Orlando Lassus standing on the extreme left and an ensemble of musicians depicted in realistic detail. Salmen identifies among the many instruments a basset recorder and a ? tenor recorder. The basset recorder with its distinctive bocal and window is very clear, though only the upper section is visible; in addition there actually appear to be at least two other duct-flutes, possibly an alto and tenor recorder, immediately to the left of the basset recorder player. Boydell (1978) has argued that the instrument immediately behind the seated viol player is a windcap instrument rather than a recorder.
• The Banquet (1548), Hans Mielich. Detail. Hartford: Wadsworth Atheneum. Ref. Wollitz (1991: 125, detail – b&w). Musicians (both male and female) play all kinds of instruments including harpsichord, trombone, viol, lute, transverse flute, and a long pipe with a flared bell (probably a tenor recorder, judging by the position of the lower hand which shows the little finger covering its hole).

Frans van Mieris the Elder

• Boys Playing Flute and Drum, oil on panel, 18.5 × 14 cm, follower of Frans van Meris (1635-1681). Ref. Sotheby's (New York), Sale NO8166: Old Master and 19th Century European Art, 28 January 2006, Lot 81; Bonham's (Knightsbridge), Sale 13502 - Old Master Paintings, 14 June 2006, Lot 198. Beneath a small bird-cage, a boy in a soft hat with a feather beats a drum which he leans on a bench beside him. In the background, another boy plays a duct-flute (flageolet or recorder), only the head of which is visible. One of a pair of paintings auctioned together, the other depicting a man leaning against a table with a large roemer in his right hand. The present whereabouts of the original paintings by van Mieris is unknown.

Pierre Mignard

• St Cecilia Playing the Harp (1691), oil on canvas, 74 × 56 cm, Pierre Mignard (1610-1695). Paris: Louvre, Inv. 6641. Ref. Dalla Corte (1936, 2: 179); Mirimonde (1974: 179, pl. 139); Mirimonde (1975: fig 91 - b&w); Haynes (1988: 32, fig. 17 – b&w); Sadie (1990: pl. 26 – b&w); Pottier (1992: 49, pl. XXXV – b&w); Pottier (1995: 134, pl. 8-b&w); Lallement (1997: 200, 202, pl. 15 - b&w); Louvre (1974: no. 572); Joconde Website (1999); Visual Collection, Fine Arts Library, Harvard University, 375.M585.38C; Rasmussen (1999c); Magni (?date: 548); Paolo Biordi (pers. comm., 2000); Burgess & Haynes (2004: pl. 19 - col.); Rowland-Jones (2007: 7 & fig. 3-b&w). Looking heavenward, St Cecilia plays the double harp; a cherub at her side sings from a music book. Leaning against a table beside her is a viol; on the floor lie an oboe, a timbrel, and a baroque alto recorder with ivory mounts. Elements of this work found their way into the frontispiece of Handel's Alexander (1726) engraved by John Cluer (?-1728) and again for the title page of Handel's Admeto (1727). Eva Legêne (cited in Rowland-Jones, loc. cit.) believes this to be 'the earliest representation in French painting of a late Baroque recorder'. Whilst that may or may not be true of paintings, a number of French precedents are to be found in the present enumerative catalogue, including:
  • The Elements: L'Air, tapestry, Le Brun (1664). Florence: Palazzo Pitti
  • Spring, tapestry, Le Brun (before 1680), Château de Versailles
  • Title Page: La fuite de roi à Angleterre, à trois instruments (1689), engraving, Dérosier, Amsterdam
  • Frontispiece: Piéces de clavecin composées par J. Henry d'Anglebert …- Paris, l'auteur (s.d.) Gravure d'après P. Mignard (1689)), engraving, Cornelis Vermeulen
  • Title page: Les Trios des Opera de Monsieur de Lully (1690), engraving, published by Amédée le Chevalier
  • Musical Still-life (ca 1680-1690), oil on canvas, Desports, present location unknown
  • Hearing, tapestry, Le Brun (1691 or before), Château de Versailles
• La Musique, engraving by C. Vermeulen after Pierre Mignard (1610-1695). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie, Kd 3 t1; Cliche Giraudon 73 C 61661. Ref. Mirrimonde (1975: pl. 12, fig. 19 – b&w); Pottier (1992: 38, pl. XXIV); Archiv Moeck. Seated on a ball, a personification of Music plays the lyre. Around her, putti sing and play violin, transverse flute, organetto. A viol stands in one corner, a harpsichord in the other. On the plinth in front lie a lute, a score, a violin and a turned baroque recorder. A garland above the harpsichord contains oboe, syrinx, horn, and straight trumpet.
• St Cecilia Playing the Harp, engraving by François Chereau after Pierre Mignard (1610-1695). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). Engraving from the painting of the same name (Paris: Louvre, Inv. 6641). "The beak of the recorder is strongly curved with a strengthening bulge in the ivory mouthpieces just above the window/labium. The bore opening at the bell can be seen, showing little widening in relation to the thickness of the ivory. There is considerable baroque decoration at the joint between the foot and the body. This appears to be a recorder of ca 1680-1690" (Rowland-Jones, loc. cit.)
• St Cecilia Playing the Harp (? ca 1850), anonymous engraving after Pierre Mignard (1610-1695). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). Another engraving from the painting of the same name – see description above.
• St Cecilia, engraving by Jacques Bouillard (ca 1747-1806), possibly after a drawing by Jean Dubois the younger (1644-1694), or by his brother Louis Dubois the younger (1647-1702), after the painting St Cecilia Playing the Harp by Pieree Mignard (1610-1695). Washington DC.: Library of Congress, Dayton C. Miller Flute Collection. Ref. Jan Lancaster ex Robert Bigio (pers. comm., 2007). See description above.

Gustav Adolph Millar (18th century), Austrian

• Frontispiece: Gradus ad parnassum by Joseph Fux (1725), engraving, Gustav Adolph Millar (18th century). Ref. Blume (1949-1963, 4: pl. 48); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). As the winged horse Pegasus spreads his pinions above, a personification of Music seated at the top of a stair crowns the composer before an audience of scantilly clad nymphs. An ornamental frame around the scene includes trophies of masks and musical instruments including trumpets, harp, lyre, musette, bagpipe, organ, oboes, syrinx (duct-flute style), viol, tambourine, shawms and a three-piece alto baroque recorder.

Lloyd Miller

• Still-life with Recorder, cover image, Lloyd Miller (contemporary). American Recorder 48(2): front cover (2008). A stylised recorder split longitudinally into two colours is seen against a table with a blank scroll of manuscript paper and a vase with a leafy stem. In the background is an open window with billowing curtains.

Carl Milles

• Boy with a Recorder, bronze sculpture, ? Carl Milles (1875-1955). St Louis: Missouri Botanic Gardens, Shoenberg Temperate House. Ref. Webshots (2004 - col.) A young boy sits, legs astride, playing a long cylindrical recorder. At his foot is a frog; on his knee a bird is perched.

Hendrick van Minderhout

• Landscape with the Rape of Europa, Hendrick van Minderhout (1632-1696). Rouen: Museés des Beaux Arts, Inv. 818.1.16 Ref. Anthony Rowland-Jones (pers. comm., 2000). At right foreground Mercury pretending to be a shepherd and cowherd watches. His caduceus and winged helmet are on the rock nearby. He plays a slender duct-flute (flageolet or recorder), right hand uppermost, the left with the second, third and little finger raised. The detail is too small for any finger-holes to be visible, but the beaked moutpiece is clear.

Pablo Minguet e Yrol

• Title page: Academia musical de los instrumentos (1752-1754), engraving, Pablo Minguet e Yrol. Published Madrid. Ref. Early Music 9(4): 559 (1981); Thomson & Rowland-Jones (1995: 86, pl. 25): Pascual (1997: 32). Musicians play around a harpsichord, including what could be a baroque recorder (but might just as well be a chalumeau – an early form of clarinet) with flute, harp, violin, guitar, and psaltery (ie a plucked dulcimer). A flageolet lies on the bench on which the harpsichord stands. In front lie a lute, guitar, mandola and mandolin.

Misume (contemporary)

• [Untitled] (1975), drawing, Misume. Ref. Advertisement for Roessler, Early Music 14(1): 150 (1986). Stylised drawing of a young boy playing a soprano recorder.

Agostino Mitelli

• Untitled, chalk drawing, Agostino Mitelli (1609-1660). Munich: Staatsliche Graphische Sammlung, Inv. 2810. Ref. Munich RIdIM (1999, Mgs - 442). A landscape with an Arcadian loggia decorated with musical instruments which seem to include a recorder, although it is in shade and difficult to identify. Notes by Anthony Rowland-Jones (1999).

Nicoletto [Rosex] da Modena [called Nicolo Rosa] (op. 1500-1522), Italian

• Mercury the Flute Player, engraving by Nicoletto da Modena (op. 1500-1522). Paris: Louvre, Rothschild Cabinet. Ref. Mirimonde (1977: 28, pl. 3). In his right hand Mecury holds his caduceus; in his left he holds a flared-bell recorder. He stands before an archway, a town visible in the distance.

Jean Baptiste Moerkercke (? 17th century), ? Flemish

• Still-life with Musical Instruments, oil on canvas, Jean Baptiste Moerkercke (? 17th century). Ref. Gabrius Data Bank, OMP (2001 - col.) On and around a table are scattered a carved nautilus shell, an elaborate vase, a statuette, fruit, sheet music, a violin, a large cittern, and a cylindrical alto-sized recorder the window/labium and seven finger-holes (in line) are clearly depicted.

Pier Francesco [Pierfrancesco] Mola

• Mercury putting Argus to Sleep, Pier Francesco Mola (1612-1666). Oberlin: Allen Memorial Art Museum, Oberlin College, Inv. 61.85. Ref. Archiv Moeck; Rowland-Jones (1998c: 16; 1999); Paulo Biordi (2000, pers. comm.) Argus leans heavily on his staff whilst Mercury (Hermes), seated on a log, soothes him to sleep by playing on a flared-bell, one-piece recorder. A goat and Io (whom Jupiter has turned into a white heiffer) look on.
• Mercury and Argus (1640-1640), Pier Francesco Mola (1612-1666). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie. Ref. Anthony Rowland-Jones (pers. comm., 2001). "Mercury plays a tenor-sized pipe, right hand lowermost. The instrument is of Ganassi design with a cylindrical body and a short medium flare. The playing position and the lower little finger possibly covering the offset finger-hole suggest a recorder, but other details are not visible" (Rowland-Jones, loc. cit.)
• Adoration of the Shepherds, canvas, 75 × 100 cm, Pier Francesco Mola (1612-1666). Vienna: Kunsthistorisches Museum, Inv. 595. Ref. Paris RIdIM (1999); Paulo Biordi (2000, pers. comm.); Innsbruck RIdIM (2001, Nr 325); CD cover: Stöltze, Christmas Oratorio, CPO 999 735-2); Prof. Tilman Seebas (pers. comm., 2001). Mary cradles the Christ-child, watched by an admiring angel. Joseph stands to one side, leaning wearily against the wall. A shepherd kneels before the Holy Family, his offering of a lamb lying at his feet; a second shepherd stands behind him waiting to make his own offering, his wife beside him with a basket of produce; a third shepherd, also with a basket, kneels playing an alto sized flared-bell recorder; behind, two boys look on through a gap in the wall.
• [Recorder Player], pen and brown ink with black chalk, 175 × 141 mm, Pier Francesco Mola (1612-1666). Location unknown. Ref. Warburg Instittute, London. A man sits playing a long, flared-bell, one-piece recorder (slightly bent) to a younger man beside him.
• Mercury and Argus, after Pier Francesco Mola (1612-1666). Ref. Bartsch (1854-1870, 19: 207.6). Seated on a rock, Mercury plays a flared-bell pipe to Argus who reclines beneath a tree. In the background is Io (who has been turned into a white heiffer by Jupiter). A dog seems as rapt in the music as Argus himself. The beak of the pipe is very narrow (more like a reed pipe) and no window/labium is visible, but there are holes for all four fingers of the lowermost (right) hand so this probably represents a recorder.
• Bacchante, Pier Francesco Mola (1612-1666). Location unknown; offered for sale by Casa d'Aste Pitti, Florence, 4-8 November (1976), No. 549. Ref. Paulo Biordi (2000, pers. comm.) The head and shoulders of a Bacchante clutching with her left hand a cylindrical duct-flute (almost certainly a recorder), the head, window/labium of which are clearly visible. She points with her right hand as if to capture our attention.
• Episode in the Life of Bacchus, oil on canvas, 40.5 × 47 cm, Pier Francesco Mola (1612-1666). Location unknown; auctioned Sotheby's, London, 8 December (1976), No. 45. Ref. Sotheby's Catalogue (loc. cit); Paulo Biordi (2000, pers. comm.) Bacchus as a young boy with a jar of wine at his feet as big as himself, tootles on a duct-flute (probably a recorder). The instrument is cylindrical with a flared bell, the end of the bore clearly visible and the window/labium can just be glimpsed beneath his pudgy hand. His efforts are watched by an admiring Bacchante.
• Young Musician Playing a Viola da Gamba, Pier Francesco Mola (1612-1666). Bellinzona (Switzerland): Palazzo Governativo, Sala del Consiglio di Stato. Ref. Ferino-Pagden (2001: 137); ? exhibited Lugano: Museo Cantonale d'Arte. A young man plays a bass viol in the form of a large cello (? violone). On the ground before him, together with music, a shawm and what appears to be a small trombone, is an alto recorder. The mouthpieces is beaked and the window/labium is very clear. Where the head merges into the body and where the body merges into the fothere are a incised rings possibly at joints. All seven finger-holes are visible and the lowermost is offset to one side. Below the lowermost hole there is a gradually increasing bell flare.
• The Piping Shepherd Boy, oil on canvas, 144.8 × 195.6 cm, Pier Francesco Mola (1612-1666). London: Foundling Museum. Ref. Charles Rowland-Jones (pers. comm., 2004). A young shepherd sits facing his dog with his right leg stretched out along the bottom of the picture. There is a donkey and three sheep in the background. He holds an unambiguous soprano recorder to his lips in playing position. Presented to the Foundling Hospital by William Agnew in 1891.

Bartholomeus Molenaer (op. 1615-1650), Dutch

• Music-making Peasants, Bartholomeus Molenaer (op. 1615-1650). Location unknown; offered for sale by Metz, Berlin. Ref. Rijksbureau voor Kunsthistorische Documentatie 37068 (2001); Anthony Rowland-Jones (pers. comm., 2001). Peasants drink and make music in a tavern. Amongst the instruments are a recorder with a strong 'wave' profile and small window/labium, held close to the mouth of the player, left-hand lowermost, with paired holes for the little finger.

Jan Miense Molenaer

• Women at her Toilet (Lady World, Allegory of Vanity) (1633), oil on canvas, 102 × 127 cm, Jan Miense Molenaer (ca 1610-1688). Detail., Another detail. Toledo, Ohio: Museum of Art. Ref. Ember (1984: pl. 40 – b&w, detail - col.); Sutton (1984: pl. 20); IJdelheld #18; Griffioen (1988: 440-1); Kortenhorst von Bogendorf Rupprath (1993: 305, fig. 33b); Southgate (2002 - col.) An allegory of vanity which shows a duct-flute (recorder or flageolet) hanging on the wall to the left of the central figures with a small transverse flute, a small shawm, a violin, a cittern, and a lute; a cello hangs on the same wall to the right. A virginal stands open on the other side of the room. Cf. A Boy Playing a Flute by Molenaer's wife, Judith Leyster, National Museum, Stockholm in which the same instruments hang on the wall behind.

  The duct-flute illustrated here, with its distinctive beak, is strongly reminiscent of the 'Dordrecht-style' recorder's beak and foot which have turned tenons for just such additions. Although only six finger-holes are shown it is oriented in such a way that there could be an offset hole for the little finger of the lower hand as well as a thumb hole.

• Girl with a Recorder (1661), Jan Miense Molenaer (ca 1610-1668). Canada: Private Collection. Ref. London: Courtauld Institute, Witt Collection; Thomson & Rowland-Jones (1995: 187, pl. 37 – b&w). A smiling, happy girl wearing a feathered cap holds a flared-bell alto recorder. There is a ? 19th-century copy of this in the Bate Collection, School of Music, Oxford University presented, along with his instruments, by French recorder player and teacher Jean Henry (Rowland-Jones, pers. comm. 2000).
• Girl with a Recorder (1743-1765)), mezzotint engraving by James McArdell (1728/9-1765) after Jan Miense Molenaer (ca 1610-1668). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). "Based on an original painting of unknown location [see above). The interesting thing about this well-known image is that the engraver has shown the whole recorder, with the bell end still well clear of the left edge of the picture. Has the engraver 'extended' his original or was Molenaer's painting cut?" (Rowland-Jones, loc. cit.)
• The Duet (ca 1629), oil on canvas, 64.1 × 50.5 cm, Jan Miense Molenaer. Seatle: Art Museum, 61.162. Ref. Sutton (1984: pl. 19); Rasmussen & Huene (1982: 32, fig. 6, b&w); Griffioen (1988: 440-441); Wind (1997, vol. 1: cover-col.); Rowland-Jones (1999b: 6, fig. 4 - b&w; 2000c: 87); Seatle Art Museum (2001 - col.). A woman (possibly the artist's wife, Judith Leyster) holds a narrow, one-piece, flared-profile, alto recorder expanding gradually from beak to foot, accompanied by a male theorbo player (possibly Molenaer himself) who is using a foot-warmer as a foot-stool. The role reversal here is emphasised by the presence of Molenaer's signature on the foot warmer, a form of comfort normally reserved for women.
• Portrait of Musicians, panel, 47 × 62.9 cm, Jan Miense Molenaer (ca 1610-1668). Location Unknown: formerly London: Thos. Agnew & Sons (1960). Ref. Burlington Magazine 111: 314, fig. 62 (1969, b&w); Connoisseur 146: cover (1960-col.); Rasmussen & Huene (1982: 32, fig. 7, b&w); Griffioen (1988: 440-441); Paris RIdIM (1999); Bridgeman Art Library (2003: Image BAL 14079 - col.) A girl (possibly the artist's wife, Judith Leyster) holds a narrow, one-piece, flared-profile, soprano recorder expanding gradually from beak to foot, whilst her companion plays the violin, his left foot on a barrel. In the background a young boy holds a cat; in the foreground a girl is playing with a dog. Above the recorder player is a small window through which a maid is peeking.
  
  There are a number of versions of this painting, each a little different and with various titles, including:
  
  
  • sold by Beaux-arts, Brussels, October 1979
  • sold by Fisher, Lucerne, 1 December 1984
  • offered for sale by Sotheby's (Amsterdam), 11 September 1999 (unsold); Phillip's, 4 October 1990 (unsold)
  • Alan Jacobs Gallery, London, ca 2003
  • offered for sale by Sotheby's (Amsterdam), 13 May 2003.
  And a seemingly identical painting is attributed to Molenaer's wife, Judith Leyster, as The Young Musicians.
• Children Making Music and a Girl Holding a Cat, oil on canvas, school of Jan Miense Molenaer (ca 1610-1688). Location unknown: Offered for sale by Sotheby's (Amsterdam), 11 September 1999 (unsold); Phillip's, 4 October 1990 (unsold); auctioned 13/05/2003 (sold). Ref. Gabrius Data Bank, OMP (2002-col.) A lad half-perched on a barrel plays the violin; a girl behind the barrel holds a cat; a girl seated in the foreground right plays with a dog; a young woman holds a flared-bell recorder in her right hand, pointing with her outstretched left arm at the violinist. The beak and window/labium of the recorder are clearly depicted but no finger-holes can be discerned as the instrument is viewed from the side. There is no window above the recorder player in this version.
• Interior Scene with Children Making Music (ca 1628), oil on canvas, 54 × 65.2 cm, Jan Miense Molenaer (ca 1610-1688). Location unknown: offered for sale by Sotheby's (Amsterdam), 13 May 2003. Ref. Sale Catalogue: Old Master Paintings, Sale AM0885, Sotheby's (Amsterdam), Lot 31 (13 May 2003: 44 - col.); Constance Scholten (pers. comm., 2005). A lad half-perched on a barrel plays the violin; a girl behind the barrel holds a cat; a girl seated in the foreground right plays with a dog; a young woman holds a flared-bell recorder in her right hand, pointing with her outstretched left arm at the violinist. The beak and window/labium of the recorder are clearly depicted but no finger-holes can be discerned as the instrument is viewed from the side. There is no window above the recorder player in this version. And in the background are the shadowy figures of two men absent from other versions seen.
• Merry Company, Jan Miense Molenaer (ca 1610-1668). Rotterdam: Museum Boijmans Van Beuningen. Ref. Martin (1935: 378, fig. 225); Griffioen (1988: 440-441). A man sits at a fireplace holding his goblet out for a serving man to fill with wine. Half-turning in his chiar he listens to his companion seated behind hime who blows a soprano-siezed, flared-bell recorder.
• Peasant Wedding (ca 1662), oil on canvas, 93 × 133 cm, Jan Miense Molenaer (ca 1610-1668). Private Collection. Ref. Buijsen & Grijp (1993: No. 28); Spliethoff (2000 37 - col.) A peasant wedding is set in a tavern. The marriage couple sit embracing in the centre of the room. Behind them guests are seated at a table; in the background, others dance to music provided by a fiddler at the back of the room; in the foreground, a young boy and a small girl play with a flared-bell pipe, very probably a recorder. The lad holds the recorder out for the girl to blow.
• The Artist in his Studio, panel, 40 × 36.5 cm, Jan Miense Molenaer (ca 1610-1668). Private Collection. Ref. Kortenhorst von Bogendorf Rupprath (1993: 302-306, fig. 27); Buijsen. & Grijp (1993: 272, fig. 3); Rowland-Jones (2000b). A self-portrait which includes some of the same instruments on the wall as his own Woman at her Toilet and in his wife's (Judith Leyster) Boy Playing a Flute, namely a violin, a flute with six finger-holes and a flared-bell recorder with seven finger-holes, the lowermost offset. Before his easel on which stands the painting (a grim vanitas still-life) on which he works, the artist, palette and brush at the ready, leans back on his chair whilst an old woman (her lap filled with gold and silver coins) implores him for attention by gesturing with one hand, the other grasping his arm.
• Vanitas with a Painter / Vanitas with a Standing Figure, Jan Miense Molenaer (ca 1610-1668). Uppsala: Universitet, Konstsamlingarna, UU 28. Ref. Anthony Rowland-Jones (pers. comm., 2000; 2002d: 96-97, fig. 8 - b& w); Sidén (2001: 139, pl. 1, detail - col.); Rowland-Jones (2004, 43, fig. 6-b&w). A copy of an original in private hands in Sweden. The central subject, a richly clad painter, is shown holding an emptied flagon and a skeleton of Death hovers to his right. The portrait he is painting includes a globe and an old man. At the bottom centre is a skull. To the left are a lute, a kit, and two duct-flutes (probably recorders) under the lute, in the shade. Both duct-flutes are of soprano/alto size and cylindrical, the upper one less fat. One shows a beak, window/labium and at the lower end four finger-holes in line and one offset. The other has a window/labium and six finger-holes in line, and another close to the bell, with a decorative ring and a very wide bell-opening. At the right next to a cello, on a music book the lower part of another possible recorder is visible. The latter has a short gentle flare to the bell end and a wide bore opening, but no finger-holes are visible. This is probably a late painting, perhaps after his wife's death in 1660 (he died in 1668). The two recorders are very much in the shade (?=mourning) but are in a position suggesting marriage symbolism. The lower-right hand one is larger than the other. Notes by Rowland-Jones (loc. cit.)
• Interior, 34.5 × 34 cm, panel, Jan Miense Molenaer (ca 1610-1668). Location unknown; sold by Drout, Paris, 12 Mai (1975), Salle 10/11, #23. Ref. Paris RIdIM (1999). A man sits at a table, dozing over his clay (smoking) pipe. Opposite him, sits another man holding a jug watching dog balancing precariously on his hind legs whilst a third man behind the table plays a cross-flute. On the wall hang a shawm, a kit and bow and (upside down) a small tapering recorder with seven finger-holes clearly visible.
• Klarinetspeler / Clarinet Player, Jan Miense Molenaer (ca 1610-1668). Rotterdam: Museum Boijmans Van Beuningen. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). A genre picture with three peasants, one playing a soprano recorder. The instrument is held left hand lowermost, fingers covering or obscuring the holes, except for the third and fourth. The beak and window/labium are clearly depicted and the recorder (rather than clarinet) has a gentle flare to a moderately wide bell end, with one decorative ring.
• Couple Making Music, oil on panel, Jan Miense Molenaer (ca 1610-1668). Location unknown: Auctioned by Christie's, 25 April 2001. Ref. Christies Catalogue (2001, April: 23, pl.); Gabrius, OMP (2001 - col.); Anthony Rowland-Jones (pers. comm., 2001; 2002d: 96-97, fig. 9 - b&w). A couple seated at a table sing together, possibly Jan Miense and his wife, the artist Judith Leyster. He sings, holding a lute upright on his knee; she sings from an open music book held in her left hand, apparently keeping time with her right. On the table itself lie a violin, a tankard, a small book, and a little clay smoking pipe. On a lower table in the bottom right-hand corner lie two pipes (probably recorders), as if to confirm their harmony in marriage. The largest has its bell facing forward and appears to be of Ganassi-style. Auctioned 24 April 2001 (Gabrius, loc. cit.)
• Merry Peasants, Jan Miense Molenaer (ca 1610-1668). The Hague: Maritshuis, Inv. 407 (currently on loan to an Embassy). Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). In a crowded room, a group of peasants sit around a table smoking and talking. At the right of the table a woman with a music score on her lap plays a soprano/alto recorder of wave profile, right hand lowermost. All her fingers are on the instrument, but the second finger of her right hand is lifted and she suppports the instrument with her little finger . There is an incised ring very close to the foot. The bell opening shows some flare. Opposite her a woman standing with her hand on one hip, a glass in the other, is being propositioned by her companion.
• Peasants in front of an Inn (ca 1630), Jan Miense Molenaer (ca 1610-1668). Haarlem: Frans Hals Museum. Ref. Charles Rowland-Jones (pers. comm., 2001). A group of peasants dance to music played by fiddle and recorder of soprano/alto size. The window/labium and possibly four finger-holes show, but the other holes are covered by the player's fingers.
• Peasants near a Tavern, Jan Miense Molenaer (ca 1610-1668). Location unknown: exhibited Frans Hals Museum, Judith Leyster, De eerste vrouw die meesterschilder werd, 19 December 2009 – 9 May 2010. Ref. Jan Bouterse (pers. comm., 2009). Before a tavern a young man sits at a table his clay pipe in hand. Beside him another man plays a violin. Behind them a couple converse: he offers her a drinking glass; she holds a recorder. In the foreground, a young child sprawls across a barrel.
• Scene with Dwarfs (1646), Jan Miense Molenaer (ca 1610-1668). Dordrecht: Museum (City Art Gallery). Ref. Anthony Rowland-Jones (pers. comm., 2001). At the top of the picture, a man underneath an inn sign holds a soprano recorder, right hand uppermost, all fingers down, the remainder obscured. The characteristic head and window/labium are clearly depicted.
• Painter in his Studio Painting a Vanitas Still-life, 42 × 48 cm, Jan Miense Molenaer (ca 1610-1668). The Hague: Museum Bredius, Inv. 191-1946, Cat. 125. Ref. Langemeyer & Peters (1979: 458); Vroom (1980, II, fig. 27); Buijsen & Grijp (1993: 269 - col.); Griffioen (1988: 440-441); Francone et al. (1996: 30, fig. 17); Ferino Pagden & S., Marques (2000: 150, no. I.30 - col.); Rasmusen (1999-2004, Lute). An artist paints at his easel a still-life based on the array of musical instruments, books, animal skulls, a sword, and a lamp on the table before him. Amongst the instruments are a lute, violin and a duct-flute (flageolet or soprano recorder) shown end on with only two finger-holes visible. There is a map on the wall behind the table. Formerly attributed to Hendrick Pot (ca 1585-1657) but reassigned by F. Meyer at the Rijksbureau voor Kunsthistorische Documentatie (RKD) in conjunction with the painting's current location at Museum Bredius (Debra Pring, pers. comm., 2006).

Molinaretto = Giovane Maria delle Piane

Paolo Monaldi

• A Beggar Boy and a Boy Playing a Pipe, oil on panel, Paolo Monaldi (op. 1720-1799). Ref. Gabrius Data Bank, OMP (2002 - col.) On a dusty road a beggar holding a score in one hand conducts a boy playing a greatly flared alto-sized recorder, the beak and window/labium of which are clearly visible.
• Peasants Resting and Making Music in a Landscape, oil on canvas, 61.5 × 47.4 cm, Paolo Monaldi (op. 1720-1799). Location unknown: Estate of Chester and Claire Kellogg; auctioned at Sotheby's (London), Sale L06032, Old Master Paintings Day, 06 July 2006, Lot 226 (unsold). Ref. Sotheby's Sale Catalogue LO6032 (2006: Lot 226); Gabrius Data Bank (2007 - col.) A family rest beside the road under a tree. Mum slumps exhausted on a rocky ledge, her distaff under her arm, her work in her lap and in a basket on the ground beside her. A young girl sits on the ground with her dog, gazing in concern at Mum. Dad stands cross-legged, playing on a tenor-sized recorder with a strongly flared bell, the window-labium and several finger-holes clearly visible. In the background sheep and goats drink from a river. Another version of this composition by Monaldi is recorded by Andrea Busiri Vici (1975: 269) as on the Roman art market.

Cristoforo Monari – see Cristoforo Munari

Monogrammist AB (17th century), Italian (Bergamo)

• Still-life with Music and Musical Instruments, canvas, 116.5 × 82.5 cm, Monogrammist AB (17th century). Location unknown. Sale catalogue (colour photograph); Paris RIdIM (2000). on a table covered with a richly embroidered cloth lie a number of music part-books and musical instruments. The latter include violin and bow, harp, bassoon, soprano and tenor chalumeaux, mute cornett, and two basset recorders of baroque design, both with a single key and one with a side-mounted bocal.

Monogrammist AH

• Altarpiece, Monogrammist AH
Lyon: Musée des Beaux Arts, Inv. H-647(a). Ref. Anthony Rowland-Jones (pers. comm., 2003). Like many altarpieces this interestingly constructed painting contains several scenes from the life of Christ in addition to the Nativity, including the Visitation (top left), Annunciation to the Shepherds, and their arrival at the gate leading to the manger. Both the latter show recorders. Very much in Byzantine positioning, the scene at the top right shows two shepherds looking up in response to the (golden) angel above, while a third, apparently unconcerned, sits below with his shepherd's pipe. Although the detail of the pipe is too small for identification it has an elongated beak. It is at least a duct-flute, possibly a recorder. The pipe held by the shepherd at the gate is in larger detail and more can be seen – again the sharp beak, though rather less elongated, the darker wood of the plug, the flange at the bell (though the pipe is cyldindrical with no flare). It seems to be just about alto size.

Monogrammist B

• The Seven Liberal Arts: Music (1544), engraving, 16.8 x 10.8 cm (image), Monogrammist B. San Francisco: de Young Museum 5050161212620016 A001416. Allegorical depiction of Music. A naked female figure sits with an open score on her lap, a long cylindrical pipe (probably a flute) in her hand, a lute beside her, a fiddle and bow at her feet. Behind her are a portative organ and a case for a number of wind instruments, possibly recorders.

Monogrammist CM

• Jakob Micyllus' Metamorphoses: Mercury and Argus (Leipzig, 1582), woodcut, Monogrammist CM. Beneath a tree, Argus nods whilst Mercury seated opposite him plays a slender cylindrical pipe. The latter is very likely a recorder since the little finger of the lowermost (left) hand is crooked to cover its hole, and a shadow appears to represent a window/labium. Borrowed from the designs from the cycle of 178 woodcuts produced by Bernard Salomon for a French (and Dutch) simplified Ovid, the Metamorphose figurée (Lyons, 1557), used by a number of Renaissance artists.

Monogrammist CVN (1731-1795), Dutch = Cornelis van Noorde

Monogrammist CVP (17th century), Flemish

• Mercury and Argus, tableau in tiles, Monogrammist CVP (17th century). Antwerp: Museum Brouwershuis. Ref. Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000). Mercury plyas a long pipe with both hands, including the little finger of his lowermost (right) hand. His upper thumb is well under the instrument, but no window/labium is visible.

Monogrammist ES (op. ca 1440-1468) German

• A Fool and a Lady, engraving, Monogramist ES (opc. ca 1440-1469). Ref. Lehrs & Mayor (1969: no. 138); Rasmussen (2004: Bells). "The fool has a recorder stuck in a purse and many bells on his cap. He fondles the lady and she tugs at his gown" (Rasmussen, loc. cit.) Not seen.

Monogrammist FM (17th century), Dutch

• ? Apollo and the Muses, Monogrammist FM (17th century). Ref. Bartsch (1854-1870, 20: 56 UND). Apollo sits on a grassy knoll playing his lyre. Behind him, Pegasus canters across the sky and putti fly through the air and climb trees. At his feet, the Muses sing and play organ, viol, cymbals, lute, tambourine and triangle; one holds a straight trumpet, another bagpipes. Scattered in the foreground are papers and books and an astrolabe which a very small putto is turning. Behind the player of the viol can be seen the end of a tenor or bass wind instrument (shawm or recorder) with fontanelle and bore flare. In the centre foreground is a bearded old man in a loin-cloth above whom two winged putti hold a heraldic device of some kind.

Monogrammist FMD (18th century), German

• Serenade with Flute and Harp, grey pen and pencil drawing, Monogrammist FMD (18th century). Munich: Staatliche Graphische Sammlung. Ref. Munich RIdIM (1999, Mgs - 945). Two men play a recorder and a small harp.

Monogrammist FP

• Mercury, Monogrammist FP. Ref. Bartsch (1843-1876: 17); Rowland-Jones (2000c: fig. 11). Mercury, naked but for his winged helmet and sandals, sits in the fork of a tree fitting seven duct-flutes (with up to four finger-holes) together to form a syrinx, his caduceus between his legs. He's going to need that magic wand if his contraption is to work!

Monogrammist GB

• Nativity (ca 1550), tapestry, Monogrammist GB (fl. 1554-1574). Richmond: Hampton Court Palace, Renaissance Picture Gallery. Based on a painting by Gerard David now in the New York Metropolitan Museum of Art. Angel-musicians play at each side of the crib. To the left, a lute; to the right, a wind instrument of soprano/alto size, cylindrical with no bell flare, and no decoration. Hands and fingers are exactly placed as if on a recorder (no finger-holes therefore show as all fingers are down -- left hand lowermost). The players cheeks are not puffed. The mouthpiece is beak-shaped, but no certain sign of a window/labium. Note by Anthony Rowland-Jones (pers. comm.)

Monogrammist GP = Georg Pencz

Monogrammist HS (early 18th century), ? Danish

• Portrait of a Young Man, oil on canvas, 105.2 × 88 cm, Monogrammist HS (early 18th century). London: Sotheby's, 20010712 (auctioned as "The Property of a Gentleman"). Ref. Sotheby's Catalogue (2001: 106, fig. 207). A youth wearing a red jacket stands full-length holding a baroque recorder of soprano/alto size recorder within a clasical interior with a view of a courtyard beyond. On a window ledge behind him are his hat and sword.

Monogrammist H***W*** (op. 17th century), Dutch

• A Young Boy Blowing Bubbles with a Vanitas Still-life, oil on canvas, 79 × 116 cm, Monogrammist H***W*** (17th century). Location unknown: auctioned Sotheby's Sale W05717, Old Master Paintings, 05 July 2005, Lot 491 (sold). Ref. Sotheby's Catalogue W0517 (2005: Lot 491 - col.) A young boy with flowing locks leans against a table holding in one hand a straw with a bubble to the light and with the other a shell. On the table are scattered an hourglass, a skull, a ? money bag tied at the top, a candlestick and holder, a framed mirror, a statue, a tankard, a violin and bow, and a soprano hand-fluyt, perfectly depicted, with the lowermost hole offset.

Monogrammist MT, possibly Martin Treu (16th century), German

• [Title unknown] (1543), Monogrammist MT (possibly Martin Treu). Location unknown. Ref. Bartch (1854-1870, 9: 73.24); Warburg Institute, London. Two men in slashed jackets and breeches play drum and a conical pipe which could be a mute cornett, but which just might be a recorder. Cf. Beham's Three Soldiers.

Monogrammist SPQ

• Frontispiece: LA MVSICA DEL MOLTO MAGNIFICO ET ECCELL. M. GIROLAMO FALETI TRADOTTA DAL VERSO HEROICO LATI NO IN OTTAVA RIMA DA G.M.V., illuminated manuscript, Venice (1560-1564), Monogrammist SPQ (fl. 1560-1564). Location unknown; sold ? vendor, London ? date. Ref. Sale Catalogue, London, ? vendor, (? date); Paris RIdIM (2000). A work authored by G.M. Verdezotti (1525-1600). However, in the top right-hand corner of the ornamental margin of the title page (opposite the frontispiece) in a small rectangular box the monogram SPQ appears, presumably that of the artist. In the frontispiece, the winged figure of Music sits before a latice-work fence behind which is a bird and a stag. In her left hand she holds a lyre, with her right she points to a campanulate flower, presumably meant to represent a lily. Beside her throne stands a viol and on the ground lies a lute. Beneath her feet is a cylindrical duct-flute (flageolet or recorder).

Monogrammist Z (18th century), German

• Musicians in a Church Interior (early 18th century), engraving, 15.4 × 18.1 cm, Monogrammist Z (18th century). German. The Hague: Gemeentemuseum. Ref. Anthony Rowland-Jones (pers. comm., 2001); Tibia 30(1): front cover (2005). A small choir (with two boys visible) in a protestant church with recorder and flute playing together with continuo played on both organ and harpsichord. The recorder player reads from a score entitled Cantata … Flauto balanced on the edge of the Italian-style harpsichord. The alto/tenor sized recorder is of the slender three-piece baroque style well fitted to the high tessitura of recorder parts by Bach and Telemann. Beneath the harpsichord the following verse appears:

  Rührt die Zauberthon empfindich deine Brust,
  Erregt dis Saiterspiel bey dir vergnügte Lust,
  Wird durch die Harmonie der Sinnen Kraft benomen:
  Gedencke nur dabey; sie ist vom Himmel Kommen.

Bartolommeo/Bartolomeo Montagna

• Virgin and Child Enthroned with Saints, Bartolommeo Montagna (ca 1450-1523). Lyon: Musée des Beaux-Arts. Ref. Walter Bergmann Collection, No. 45; LP Record Cover: L'Art de la Flûte, Volume I: La Flûte à Bec du Moyen-âge au XVIII^e Siècle, Roger Cotte et le Groupe des Instruments Anciens de Paris, Arion 30 A 070 (1969); Levenson (1973: 324 – fig.); Burlington Magazine 98 (1956: 312 - fig.); La Revue des Arts 6 (1956: 81 – fig.); Rasmussen (1999c); Anthony Rowland-Jnes (pers. comm.) Similar to the following with what look like the same three boys, the centre one seated on the base of the predella playing a tambourine, his legs crossed, and the two outside ones kneeling on one leg playing very clearly depicted, slightly flared duct-flutes (flageolets or recorders).
• Virgin and Child with SS. John the Baptist, Bartolommeo, Justine and Sebastian, tempera on canvas, transferred from panels, 460 × 240 cm, Bartolommeo Montagna (ca 1450-1523). Vicenza: Museo Civico. The Virgin and Child enthroned are flanked by the Saints. At their feet are three boys one of whom plays a narrow, slightly flared duct-flute (flageolet or recorder), another plays a large lute, and a third sings.

Carel de Moor

• Still-life with Books and Musical Instruments, Carel de Moor (1656-1739). Location unknown; sold Hotel Drout, 1 July (1991), 14:30 pm, Salles 1 & 7, Cat. #21. Ref. Catologue de Vente (1991: #21 -col.); Paris RIdIM (1999). Tarot cards, a picture, scarf, watch, papers, a violin, a small lute and the head of a turned baroque (Hotteterre-style) recorder crossed with the middle and foot of another. Probably a vanitas.

Charles Moreau (1830-?)

• Spellbound, Charles Moreau (1830-?). Location unknown. Ref. Greetings Card, Woodmansterne, London (1998: S 053118 - col.) A young boy leans against a tree playing a peculiar pipe to a picnic basket, the lid of which is slightly open. The pipe has an ivory head and foot, the later campanular. The body is made of wood and has a bulbous expansion near the foot. The boys cheeks are slightly puffed and there is no indication of a window/labium, so this may represent a capped reed instrument of some kind. However, all four fingers of the lower (right) hand seem to be covering their holes.

Jean François Moreau (18th century), Netherlands

• Musical trophies (1733-1736), gold-relief in wood, Jean François Moreau (18th century). Gouda: St Janskerk, organ console balcony. Ref. Anthony Rowland-Jones (pers. comm., 2004). There are two trophies with musical instruments on each side of the balcony, including trombone, viola, oboe, and the head of an alto recorder, up to the third finger-hole before the rest is hidden. The recorder is shown side-on with a turned-over beak and clear window-labium.

Hippolyte François Moreau

• Rustic Recorder, bronze sculpture, Hippolyte François Moreau (1832-1927). Brussels: Horta, 17 March 1997, Lot 116 . Ref. Artfact (2004). Not seen.
• Young Man with Recorder and Lady wth Cymbals, bronze sculpture on red marble base, Hippolyte François Moreau (1832-1927). Antwerp: Amberes; 26 May 1997, Lot 815. Ref. Artfct (2004). Not seen.

Paulus Janszoon Moreelse

• Shepherd with a Pipe, 94 × 71.5 cm, Paulus Jansz. Moreelse (1571-1638). Edinburgh: National Gallery of Scotland. Ref. Kettering (1983: fig. 5); Griffioen (1988: 440-441). A shepherd in a loose fur cloak an wearing a hat with flowers in it, holds a soprano hand-fluyt as if about to play it left-hand up. A copy of this in the Uffizi, Florence, provides the basis for a self-portrait by Jacob Backer.
• Flute Player, Paulus Janszoon Moreelse (1571-1638). Munich: Bayerisches Nationalmuseum. Ref. Archiv Moeck. A man holds a cylindrical duct-flute. The bell is slightly turned; the head is in shadow, but the fingering is as of a recorder.
• Shepherd with a Pipe, Paulus Jansz. Moreelse (1571-1638). Ref. Il Flauto Traverso Nell'Arte (2005: 2). A shepherd holds a cylindrical pipe which he is about to play. This picture is presented on a web-site devoted to the transverse flute. However, the instrument seems more like a cyldindrical duct-flute. The head is in shadow, but the position of the player's thumb and the fingering with the little finger of the lowermost (right) hand down strongly suggest a recorder.
• Shepherd and Shepherdess or Man with a Tulip, Paulus Janszoon Moreelse (1571-1638). Münster: Westfälisches Landesmuseum. Ref. Anthony Rowland-Jones (pers. comm., 2001). A man holds a tulip with his right hand. His left holds a cylindrical duct-flute, fairly fat and showing the windway opening from beneath, and the outline of the block. There is a decorative incised ring, well below which appear two holes spaced obliquely. The rest of the instrument is obscured

Moretto da Brescia [born Alessandro Buonvicino (or Bonvincino)]

• Virgin and Child in Glory with Five Female Saints also known as The Virgin in Glory with Five Martyrs (1540), Moretto da Brescia (ca 1498-1554). Verona: S. Giorgio in Braida/S. Giorgio Maggiore. Ref. Gombosi (1943: cat. no.189, pl. 77); Mirimonde (1974: pl. 71); Kinsky 1982: 11 – detail); Art Bulletin 64 (1982); Visual Collection, Fine Arts Library, Harvard University, 372.M815.34; Paris RIdIM (1999); Rasmussen (1999b). The other matyr/saints are Sts Caterina, Lucia, Agate and Agness. The Virgin and Child sit comfortably on a cloud. Beneath them the Martyrs (all women) variously discourse amongst themselves, read a book or gaze heavenward. St Cecilia seems to have a bet each way, one eye gazing upwards, the other down, whilst she holds her organetto upside down such that its pipes must surely fall to the ground where lie scattered a number of musical instruments including a rebec (with an elaborately carved back) and bow, a lute, a cornett, and two flared bell duct-flutes, one an alto recorder with seven finger-holes (including an offest hole for the lowermost finger), the other of soprano size but with only six finger-holes showing. The window/labium area of each is clearly depicted. Cecilia's face is similar to Raphael's depiction of the same scene, but here the instruments scattered at the Saint's feet are not broken. Notes by Anthony Rowland-Jones (pers. comm.)
• Adoration of the Shepherds, Moretto da Brescia (ca 1498-1554). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemädergalerie. Ref. Munich RIdIM (1999, Bgd - 90); Anthony Rowland-Jones (pers. comm., 2001). Shepherds arrive to pay homage to the infant Jesus who lies in a wicker basket. One of the shepherds in the act of doffing his cap and kneeling, turns away from us, in his belt an alto-sized cylindrical recorder with a clear window/labium, a slightly flared bell with a small decorative ring, and holes for seven fingers, including paired holes for the lowermost finger. In the background a second shepherd climbs over a wall a flared-bell pipe in his hand.

Barbara Brooks Morgan

• Girl Playing Recorder (1945, printed ca 1980), gelatin silver print, 40 × 50 cm, Barbara Morgan. New York: Swann Galleries, Photographic Literature and Photographs, 6 June 2002, Lot 399; New York: Bruce Silverstein Gallery (2003). Ref. Artfact (2003 – photo available by subscription). A young girl sits on a roof-top playing a recorder. There is a lake in the background. But is it art?

Berthe(-Marie-Pauline) Morisot

• [Edouard] Manet's Daughter Playing the Recorder, coloured pencil on paper, 20.3 × 14 cm, Berthe Morisot (1841-1895). Private Collection. Ref. Bridgeman Art Library (2001: Image ID AGN 130351 - col.) A young girl seen in side profile sits playing a slender cylindrical pipe.
• The Flageolet, pastels on paper, Berthe Morisot (1841-1895). Private Collection: Auctioned 15 May 1990 (unsold). Ref. Gabrius Data Bank, OMP (2002 - col.); Website: The Pleasant Companion (2007 - col.) Two girls (one in straw hat) sit in a garden playing cylindrical duct-flutes. However, as French flageolets were still being played in France during the period when Morisot was active, it seems possible to take this work at face value.
• Study for The Flageolet, pastels on paper, Berthe Morisot (1841-1895). Location unknown: Auctioned 9 April 2002 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) A girl faces us playing a wind instrument. A very vague sketch for the above.

Giovanni Battista Moroni

• Concerto, (?1556), 1.36 × 1.86 cm, variously attributed to Bernardino Licinio da Pordenone (ca 1498 – a.1565) and Giovanni Battista Moroni (1525-1578). Vercelli: Borgogna Museum. Ref. Limberg (1992: 121, fig. 7 – b&w); Paolo Biordi (pers. comm., 2000). A patrician young man and a woman play cornetts and two young women hold cylindrical duct-flutes (probably recorders). The women on the right holds an open score which is probably readable.
• A Composer with a Recorder and Music Manuscript, pen and brown ink on laid paper, 12.1 × 94 cm, attributed to Giovanni Battista Moroni (1525-1578). Location unknown: auctioned by C. & J. Goodfriend, New York (1993); ex coll. Padre Resta (the so-called Borghese Collection). Ref. Catalogue: Prints and Drawings of Musical Interest, C. & J. Goodfriend, New York (1993); Michael Fleming (pers. comm., 2006). The attribution to Moroni is given in Padre Resta's hand on the recto of the sheet. Resta (1635-1714) is generally considered reliable. An oddly pear-shaped, sour-faced man stands at a table on which lies a music manuscript. In his right hand he holds what looks like a container of some kind (for the pipe, perhaps), in his left a pipe (probably a recorder). Only part of the body and one end of the instrument can be seen. Four finger-holes are depicted and there seems to have been some attempt to depict the beak and window/labium of a recorder. It has been suggested that the drawing depicts Orlandus Lassus (1532-1594). One of the Bassanos is a remote possibility, too. But this may just as well be a picture of a member of a distinguished Venetian family, shown to set off his musical gifts – even to the extent of portraying him rather dishabille. There is a painting of almost identical composition in the Detroit Institute attributed to Titian, probably in error; although the faces of the subjects are different there must be some connection between them (see below).
• Man Holding a Flute (ca 1560-1565), oil on canvas, 122.2 × 100.3 cm, ? Giovanni Battista Moroni (1525-1578). Detroit: Detroit Institute 27.385. Ref. Catalogue: Prints and Drawings of Musical Interest, C. & J. Goodfriend, New York (1993). An oddly pear-shaped man stands at a table on which lies a music manuscript. In his right hand he holds what looks like a container of some kind (for the pipe, perhaps), in his left a pipe (probably a recorder). Only part of the body and one end of the instrument can be seen. Only part of the body and one end of the instrument can be seen. Holes for seven fingers are depicted, including paired holes for the little finger of the lowermost hand, and there seems to have been some attempt to depict the beak and window/labium of a recorder. The beak appears to be sheathed in metal. This painting is attributed to Titian by the Detroit Institute. However, given its striking similarity with a drawing attributed to Moroni (see above), the latter artist seems more likely. Titian used recorder symbolism in a variety of ways, and was generally rather careful in how he depicted the instrument. Neither the drawing nor the painting shows the instrument accurately.

William Morris

• Musical Angels (1873), stained glass, design by William Morris. Over Stowey, Somerset: Church of St Peter and St Paul. Ref. Poulson (1944: 47, fig.); A.B. Sainsbury ex Anthony Rowland-Jones (pers. comm, 2004). An angel plays a harp and second plays an ambiguous slightly tapered pipe which might be taken to represent a recorder.

Carla Moss

• Flute Player 127 × 122 cm, Carla Moss (contemporary). Milpitas, California: City Hall, pond. Ref. Website: Carla Moss, Sculptor (2005 - col.) A young girl sits on a rock playing a slender cylindrical pipe, possibly a recorder.
• Flute Player 20.3 × 30.5 × 22.9 cm, Carla Moss (contemporary). Milpitas, California: City Hall, pond. Ref. Website: Carla Moss, Sculptor (2005 - col.) A replica of the above. A young girl sits on a rock playing a slender cylindrical pipe, possibly a recorder.

John Mossman (1817-1890)

• [Cherub Musicians], carved stone figures,150 cm high, John Mossman (1817-1890). Edinburgh: Bonhams Sale 11788 - The Scottish Sale, 24 August 2005, Lot 771. A young boy plays stylised pipe (possibly a duct-flute] and a young girl holds an open book of music.

Henry Siddons Mowbray

• Young Flute Player,oil on panel, 11.9 × 6.6 cm, Henry Siddons Mowbray (1959-1928). Bolton: Skinner, 20 March 2003, Lot 899; Fairfield: James D. Julia, Spectacular Maine 3 Day Auction, 20-22 August 2003, Lot 1567. An impressionistic scene with what appear to be two young mythological forest dwellers around a cauldron. One plays a small recorder-like pipe while another looks on. Signed lower right "H.S. Mowbray". Housed in a pierced decorated gilt frame set in a burgundy velvet lined shadow box.

Isaac Muillon

• Allegory of Music, Isaac Muillon (1614-1673). Paris: Louvre. Ref. Lallement (1997). Probably depicts Apollo and the Muses. Includes a small duct-flute (flageolet or recorder). Not seen.

Wilhelmine Christana Müler (18th century), German

• Shepherd scene (1773), watercolour on paper, Wilhelmine Christina Müler (18th century). Tübingen. Ref. Munich RIdIM (2003, Slm - 310). A shepherd plays a ? recorder to his shepherdess in an idealistic landscape.

Mulinaretto = Giovanni Maria dalle Piane

Albert Müller-Single (19th century)

• [Untitled] (1844), print after an original painting by Albert Müller-Single (19th century). Published in Munich. Ref. Archiv. Moeck. An elderly man (a walker judging by his satchel, hat and stick) sits on a bench before a kitchen fire playing a duct-flute (flageolet or recorder) to two children and their mother. The instrument is narrow and cylindrical with a flared bell and an ornate, bulbous head.

Karl Friedrich Moritz Müller (1822-1865), German

• Tiroler am Feuerherd (Cooking Fire), Karl Friedrich Moritz Müller (1822-1865). Mainz: Mittelrheinisches Landesmuseum, Inv. 30. Ref. Munich RIdIM 1999, MZlm - 43). A young man plays a recorder; two young women stand by. Not seen.

Cristoforo [Cristofano] Munari [Monari, Monarico]

• [Still-life] (1706-1715), oil on canvas, 42 × 67 cm, Cristoforo Munari (1667-1720). Florence: Galleria degli Uffizi, Inv. 135 (not on display, 2002). Ref. American Recorder 37(5): cover (1996-col.); Rowland-Jones (1997b: 12; pers. comm., 2002); Baldassari (1999: 170, no. 64); Badiarov (2005 - col.). Depicts books, music, a cello, violin, lute, trumpet, a bowl of fruit, a typical 3-piece turned baroque recorder, china, and an exquisite delicate glass container.
• Still-life with Musical Instruments, oil on canvas, 99 × 134 cm, Cristoforo Munari (1667-1720). Florence: Galleria degli Uffizi, Inv. 7591 (not on display, 2002). Ref. Paris RIdIM (1999); Francone et al. (1996: 296-297, pl. 70-col.); Anthony Rowland-Jones (pers. comm., 2002). On a table is a jumble of objects including a roll of music, a violin, music, crockery, fruit (including a cut lemon), a trumpet, books, and the head and body of a typical alto baroque recorder.
• Still-life with Musical Instruments, Cristoforo Munari (1667-1720). Florence: Galleria degli Uffizi (not on display, 2002). Ref. Paris RIdIM (1999). A cello stands beside a cloth-covered table on which there is a jumble of objects including a lute and tea cups (without handles); falling off it is a plate with a joint of ham, flowers, fruit, some music, and a perfectly depicted alto baroque recorder in which all features are absolutely clear.
• Fruit, Pots, Books and Flute, oil on canvas, 172 × 146 cm, Cristoforo Munari (1667-1720). Florence: Galleria degli Uffizi (not on display, 2002). Ref. Website: Artothek (2007: 15921 - col.) On a cloth-covered table is a jumble of objects including a wine-glass, a bowl, a basin, cups (without handles), a vase in which a rolled-up sheet of music is stuffed, an open book, lemons, and a perfectly depicted alto baroque recorder in which all features are absolutely clear. The recorder has an ivory beak and mounts. There is an identical painting in the Galleria Palatina (see below).
• Still-life, painting, Cristoforo Munari (1667-1720). Florence: Galleria Palatina. Ref. Exhibition on Tour: Still-Life Painting and the Medici Collections (2006-2008); CD cover: Giuseppe Sammartini, XII Sonatas for two German Flutes, I Fiori Musicali, Tactus. On a cloth-covered table is a jumble of objects including a wine-glass, a bowl, a basin, cups (without handles), a vase in which a rolled-up sheet of music is stuffed, an open book, lemons, and a perfectly depicted alto baroque recorder in which all features are absolutely clear. The recorder has an ivory beak and mounts. There is an identical painting in the Galleria degli Uffizi (see above).
• Trompe l'Oeil with Musical Instruments (ca 1703-1713), Cristoforo Munari (1667-1720). Florence: Galleria della Accademia, Musical Instrument Museum; on loan from Galleria Palatina (Pitti Palace Gallery). Ref. Postcard: M34015, Woodmansterne Publications, Watford (1997-col.); Paris RIdIM (1999); Bayer (2000: 41, fig. 27 – b&w); Anthony Rowland-Jones (pers. comm., 2002); Website: klassiskitar.net (2007 - col.) A garland of musical instruments tied together, including a cornett, violin, mandola and a turned baroque recorder with ivory mouthpiece and ferrules.
• Still-life with Musical Instruments (ca 1707-1713), Cristoforo Munari (1667-1720). Florence: Galleria della Accademia, Musical Instrument Museum; on loan from Galleria Palatina (Pitti Palace Gallery), Inv. (1890) 7591. Ref. Anthony Rowland-Jones (pers. comm., 2002). At centre left, most prominent, stands a fine cello, with music lying in front of it. Beside on the ground, centre-stage is a perfect alto recorder of late baroque design in light wood (? box). A lute, and cups on a table centre right with a wealth of fruit, notably water-melons – one uncut, apples and a gourd.
• Still-life with Musical Instruments (ca 1710-1715), oil on canvas, 140 × 100 cm, Cristoforo Munari (1667-1720). Detail. Houston: Museum of Fine Arts, Samuel H. Kress Collection. Ref. CD cover, Baroque Recorder Concerti, Scott Reiss & Hesperus, Golden Apple GACD 7550 (1989, detail-col.); Paris RIdIM (1999). On a table covered in a lavishly embroidered cloth are a tray with small decanters of wine and an ornate drinking glass balanced on top of a couple of books, a vase of flowers, a platter with some peaches and a couple of tea cups without handles, a violin, an ink well and quill, some music, and a turned alto baroque recorder.
• Still-life with Musical Instruments, Cristoforo Munari (1667-1720). Bergamo: Private Collection. Ref. Archiv Moeck. A violin leans against a box on a table with a glass jug and glasses, playing cards, books, some fruit, papers and books, and a turned, 3-piece, baroque alto recorder.
• Still-life, Cristoforo Munari (1667-1720). Location unknown; offered for sale by Guglielmo Canessa at the Biennale des Antiquaires, Florence (1963). Ref. Sale Catalogue (1963: No. 376); RIdIM (2000). On a table covered in a lavishly embroidered cloth are two drinking tumblers, a cello and bow, and a violin and bow. Above the cello hangs a metal ring on which a bird is perched pecking at some cherries or other fruit. On a smaller lower table in the foreground are a bowl of fruit, some sheet music and a beautifully depicted alto baroque recorder with ivory beak, centre-joint and foot.
• Still-life, canvas, 98 × 73 cm, Cristoforo Munari (1667-1720). Bergamo: Private Collection. Ref. Catalogue de l''Exposition de Bordeaux (1969); RIdIM (2000). On a table covered in a lavishly embroidered cloth are scattered a metal plate with biscuits, a mandola, a book, sheet music, playing cards, a violin, a cabinet, a metal platter with glass-ware on it, and an alto baroque recorder with turned decorative rings on the beak and centre-joint (only the first two finger-holes are visible) the lower part of the instrument is beyond the frame of the painting.
• Still-life, Cristoforo Munari (1667-1720). Ref. Baldassari & Benati (1999). Location unknown. On a table lie an inkwell, a knife, music, a spinet, violin and bow, cornett, a very small flared-bell duct-flute of simple (renaissance) design. The latter is possibly a recorder, but it is viewed from behind and only the thumb-hole is visible the position of which is more suggestive of a flageolet.
• Still-life / Allegory of Art, oil on canvas, 118 × 94 cm, Cristoforo Munari (1667-1720). Reggio Emilia: Fondazione Pietro Manodori. Ref. Baldassari & Benati (1999). On a table lie a bust with a laurel wreath, an ornate urn, a knife and bowl, an artist's palatte, books, music, a small mandola, and a baroque alto recorder.
• Still Life with Violin, Fruit and Glasses, oil on canvas, 135 × 97 cm, Cristoforo Munari (1667-1720). Modena: Galleria Estense, Inv. 2978. Ref. Cosetta (1985, 1: pl. 71); Anthony Rowland-Jones (pers. comm., 2002). Includes a tenor recorder, cello, lute, and Milanese mandolin as well as the violin (? viola), and music which Cosetta says is legible but does not identify. The recorder is visible from the foot up to finger-hole five. Notes by Rowland-Jones (loc. cit.)
• Still-life, oil on canvas, 100 × 75 cm, Cristoforo Munari (1667-1720). London: Robilant & Voena (2005). Formerly, New York: Christie's, Sale 1009, Important Old Master Paintings, 25 January 2002, Lot 41; Buenos Aires: J.C. Naon, D. Lorenzo Pellerano, his sale, Lot 350. Ref. Sale Catalogue, Christies (New York) 2009 (2002: 57-58 - col.; Artfact (2003); Artnet (2005). Porcelain cups and a façon de venise glass on a salver, with a ewer of wine, a peeled lemon, peaches and other fruit, all before a plinth with a cello and a recorder. [Beneath the latter can be seen the heaad of a transverse flute.] The same cello and recorder recur in a similar position in another still-life by the artist (Galleria degli Uffizi, Florence), illustrated in Baldassari (1999: 170, no. 64), which suggests that the artist may have actually owned the instruments. Interestingly only one of the many musical scores depicted by Munari can actually be read, which suggests he was not himself able to read music (Baldassari 1999: 21). The present work is a fine example of Munari's ability to capture the subtle play of reflections and transparencies created by the careful choice and placement of objects, evident here in the rendering of the porcelain on the salver and the description of the glass and ewer. Munari used these and other motifs in numerous works, presumably as a means of exploring his interest in these effects – for example, the cup atop the upturned saucer on the salver can also be found in two other pictures (one in a private collection, Modena, the other in the Museo Civico di Palazzo Bianco, Genova (Baldassari 1999: 195-196, nos. 109-110), while the ewer of wine recurs in a still life in a private collection, Bergamo (Baldassari, 1999: 151, no. 29). Such artistic concerns reveal the influence of Flemish still-life artists such as Jan Davidsz. de Heem and the German painter Christian Berentz, who worked in Rome in the early part of the eighteenth century. Baldassari (1999: 213, no. 31) records a studio copy after the present work depicting only the lower left part of the still life, with the porcelain on the slaver and the fruit before it (Christie's, New York, 10 January 1980, Lot 211). Description and notes from Christies Sale Catalogue 1009 (loc. cit.)
• Still-life, Cristoforo Munari (1667-1720). Rome: Camera dei Deputati, Palazzo di Montecitorio. On a bench are a tray with a crystal glass decanter and goblet and two china tea-cups, a glass jug, a larger china bowl, a platter with a roughly cut-open watermelon, a napkin with apples and lemons on it, a small round pill-box, and a baroque recorder. Only the head and upper body of the latter is visible; it is without mounts.
• Still-life with Musical Instruments, Cristoforo Munari (1667-1720). Still-life with musical instruments Montepulciano: Museo Civico e Pinacoteca Crociani. Ref. Website: CeramicaToscana.it (2007 - col.) On a table lie two tea-cups, books, papers, music, a guitar, a lute, and a baroque alto recorder with ivory beak and mounts.

Vic Muniz

• Pictures of Junk Series: Mercury, Argus and Io, photograph, 40 × 101.6 cm, after Jacob Van Campen, by Vic Muniz. San Francisco: Rena Bransten Gallery, Exhibition: Bulfinch’s Recycling Yard: Vik Muniz Pictures of Junk , 13 April 13 - 27 May 2006. For his Pictures of Junk Muniz has chosen domestic and industrial detritus to reinterpret old Master paintings of the Greek and Roman gods by artists ranging from Titian to Velasquez. Using a warehouse floor as his canvas, Muniz’s arrangement of everything from hub caps, tires, squashed coke cans, nuts, bolts, gaskets, pipes, coils of wire and broken appliances, to an upright piano, is photographed from an elevated gantry, the height reducing these objects to the size of brushstrokes. The work detailed here is a parody of Campen's original. Here, Argus reclines on a pile of junk slumped against a tree made of junk.

Ramón de Mur

• The Expulsion from Paradise: Moses on Sinai from an altar-piece from the church of Guimerà (ca 1402-1412), Ramón de Mur. Vic: Museu Diocesà. Ref. Rowland-Jones (1997: 15, fig. 13-b&w, detail). Three shepherds watch over their sheep; one shepherd plays a cylindrical duct-flute (recorder or flageolet).
• La Verge de la Llet (1415-1425), from an altar-piece from the church of Santa Maria de Cervera, Spain, Ramón de Mur. Detail. Barcelona: Museu Nacional d'Art de Catalunya. Ref. Rowland-Jones (1997: p. 10, fig. 6 – b&w); Gudiol (1986: 40 - col.); Woodfield (1984: 23); Paolo Biordi (pers. comm., 2000); Ballester (2001: 12, fig. 2 - b&w). Angel musicians surround the Virgin and Child. One angel plays a narrow cylindrical duct-flute (flageolet or recorder); others play lutes, harp, and rebec.

Bartolomé Estaban Murillo (1618-1682)

• The Flute Player, attributed to Bartolomé Estaban Murillo (1618-1682). Chartres: Bishops Palace Museum. Ref. Rowland-Jones (1995: 45, footnote 8). Shows a recorder with double holes for little finger of lowest hand.
• The Flute Player, attributed to Bartolomé Estaban Murillo (1618-1682). Bavarian Oberster Rechnungshof, Inv. 5206 (3157). Ref. Rowland-Jones (1999, pers. comm.) Identical to the above. Shows a recorder with double holes for little finger of lowest hand.

Domenico Muzzi (Parma 1742-1812)

• Four designs for book illustrations: Putti making music and studying astronomy and navigation, black chalk, pen and brown ink, grey wash, 204 × 137 mm, Domenico Muzzi (1742-1812). London: Christies, Sale 7367, Master Drawings from the OPPè Collection, 5 December 2006, Lot 56. Comprises four scenes. In the second, putti play violin, triangle and a slender, cylindrical pipe (possibly a duct-flute). A lute and an open music book lie either side of them.

Pietro Muttoni – see Pietro della Vechia

Roz [Rosemary] Myers

• Tiger Rag (1997), watercolour, Roz Myers (contemporary). Ref. Pride Magazine 179: front cover - col. (1997). Depicts a pussycat playing a soprano recorder. A portrait of the famous composer Cataturian, perhaps!

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