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). The whereabouts of the painting on which this engraving is based is unknown. It illustrates the five-year old Benjamin Hallet 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 Shepherdess 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 pandora, rectangular harpsichord and 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) and 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. At the top right corner of illustration 1 is a small part of St John the Baptist's shin which shows how minute this detail is – yet how intense! 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 &hellipt; " (Rowland-Jones, loc. cit.)

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, 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)

• 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 drawing, Hans von Marées (1837-1887). Munich: Staatliche Graphische Sammlung, Inv. 1913: 32. Ref. Munich RIdIM (1999: Mgs 405). The 'flute' could be 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.). 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, shwoing aquite wide bore and a finger- or tuning-hole near to it. This could just possibly be a recorder, but is most dubious (Rowland-Jones, pers. comm., 2004).

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). Another image from Christian Brassy. 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 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), panel, 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 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