Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

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Giacomo Pacchiarotti [Pacchiarotto]

Italian artist and designer for pageants, often characterized as an imitator of 15th-century models; he was active in the Sienese resistance against Florence; born Siena (1474), died Viterbo (after 1540).

Ascension, Giacomo Pacchiarotti (1474 - p. 1540). Siena: Chiesa del Carmine. Paris RIdIM (1999). Watched by the Apostles below, Christ ascends to Heaven surrounded by angel musicians playing rebec, timbrel, lute, psaltery, harp, cymbals, and a long slender cylindrical pipe, probably a recorder.

Padovanino II [Alessandro Varotari]

Italian artist; a follower of Titian whose works he often copied; later developed his own personal style with the use of Baroque elements and precious decorations; his works include religious, mythological and allegorical subjects; born 1588, died Venezia 1648.

A Concert (ca 1600-1650), oil on canvas, 99.1 × 125.1 cm, ? Padovanino II (1588-1648). London: National Gallery, NG3. Ref. Langdon & Norwich (1991: 57 - b&w, detail). A young woman listens to a group of musicians. A young boy sings, another plays a recorder of which only the beak is visible, a third plays a cello, a fourth (on whose shoulder the young woman leans) appears to be conducting. This work has been atributed to Titian. There is another version of it in a private collection in Venice (see below). There is a woodcut by John Linnell (1792-1882) based on this in the Tate Gallery, London, in which the recorder is ommitted.
A Concert (ca 1620), attributed to Padovanino II (1588-1648). Venice: Private Collection. Ref. Riggeri (1993: 9, 88 - col.); Paolo Biordi (pers. comm., 2000). A young woman listens to a group of musicians. A young boy sings, another plays a recorder of which only the beak is visible, a third plays a cello, a fourth (on whose shoulder the young woman leans) appears to be conducting. This work has been atributed to Titian. There is another version of it in the National Gallery, London (see above).
A Concert [Group of Five Musicians], oil on canvas, attributed to Padovanino II (1588-1648). Location unknown, possibly the same as the above (ie Venice: Private Collection). Ref. Gabrius Databank (2002). A young woman listens to a group of musicians. A young boy sings, another plays a recorder of which only the beak is visible, a third plays a cello, a fourth (on whose shoulder the young woman leans) appears to be conducting. This has been atributed to Titian. There is another version of this in a private collection in London (see above). Auctioned (Gabrius, loc. cit.)

Paesch (? 17-18th century)

Rest on the Flight to Egypt, Paesch (? 17-18th century). Location unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). Includes a shepherd playing a slightly conical soprano-sized pipe (possibly a recorder) which is narrow at the mouth and has a hole beside the little finger of the lowermost (left) hand. One finger-hole shows between the hands.

Benedetto Pagni

Italian painter of the mannerist period active in Mantua and Pescia; he was part of the team of assistants of Giulio Romano in the decoration of the Palazzo del Te, and he painted a Martyrdom of San Lorenzo for the church of Sant'Andrea, and a Marriage of Cana for the cathedral in Pescia which is considered his finest work; active 1524, died 1578.

Portait of a Young Man, oil on wood, 17.5 × 78.1 cm, Benedetto Pagni (fl. 1524 - m.1578). New York: Metropolitan Museum of Art, Inv. 56.51. Ref. Website: Metropolitan Museum of Art (2008 - b&w). This arresting portrait has been incorrectly attributed to the Lucchese artist Paolo Zacchia. It may be Tuscan or Ligurian. In the background are vanitas objects: (at left) music books, an oil lamp, a recorder (only the foot visible), and a trumpet; (at right) a porphyry chalice, a quill pen in an inkstand, a seal, a pair of scissors, and a lute. The sword is either German or North Italian. The dog, whose left foreleg is held by the young page, probably symbolizes fidelity.

Isaak Paling (op. 1664-1719), Dutch

Musical Concert on a Terrace with a Young Couple, oil on panel, Isaak Paling (op. 1664-1719). Ref. Gabrius Data Bank, OMP (2002-col.) Two gentlemen and a lady, sing and play instruments around a table watched by a young couple. One of the men sings, another (his back to us) plays the lute, and the woman plays a very small slender pipe, right hand uppermost. No details of the pipe are discernible. From the way the young man grasps his companion's arm, and she in turn leans her head on his shoulder, her hand outstretched across her mid-riff it seems that they are expecting. The recorder and lute and the harmonious music-making serve to reinforce this happy impression.

Andrea Palladio (original name Andrea di Pietro della Gondola)

Italian sculptor and architect, regarded as the greatest architect of 16th-century northern Italy; his treatise I quattro libri dell'architettura (1570) made him one of the most influential figures in Western architecture; born Padua (1508), died Vincenza (1580).

Organ case: gilded wood decoration, Andrea Palladio. Venice: San Giorgio Maggiore, above altar. Ref. Anthony Rowland-Jones (pers. comm.) Two groups of gilded wood instruments decorate pillars and arch over the organ (in typical Palladian style). Instruments included are trombones, cornetts, shawms, lutes, a violin and two recorders – one on each side. Both recorders are cylindrical with very little or no flare. They have long beaks, and the window/labium of each is very clearly depicted. The lowest finger-holes are mainly covered by other instruments. Notes by Rowland-Jones (loc. cit.)

Bernard Palissy

French portrait-painter, glass-painter, potter, land-surveyor and natural historian; spent much of his life in a failed attempt at discovering the secret of Chinese porcelain, succeding only in creating the popular glazed terracotta rustic ware that bears his name; a personal favorite of Catherine de Medicis, and of her sons, he was able to set up his kilns in Paris on the site that was to become the gardens of the Tuileries where he produced figurines and a large number of dishes and plaques ornamented with scriptural or mythological subjects in relief, in many cases reproductions of the pewter dishes of metal workers of the period; in the fanatical anti-Protestant outburst of 1588 he was thrown into one of the dungeons of the Bastille until his death; born Saintes or Agen (1510), died Paris (ca 1589). Nearly 250 years after Palissy's death, Charles-Jean Avisseau, a middle-aged French ceramist, rediscovered the techniques of Palissy which energized a revivalist movement that would last until the beginning of the twentieth century.

Shepherd and Shepherdess (18th century), lead-glazed polychrome plate, after a design by Bernard Palissy (1510 – ca 1589). Chateau d'Ecouen: Musée National de la Renaissance. Ref. Anthony Rowland-Jones (pers. comm., 2000). The shepherd plays an ambiguous pipe, right hand lowermost, but details are unclear.

Palma il Giovane [Jacopo Negretti, Nigreti or Nigretti] (1544-1628), Italian

Glorification of Saint Cecilia (ca 1620), oil on canvas, 380 × 220 cm, Palma il Giovane (Jacopo Negretti). Venice: Chiesa di San Nicola da Tolentino, volta della cappella di santa Cecilia o dei Foscari. Ref. Fondazione G. Cini - Venezia, Istituto per la Musica (ABo); Institut für Musikwissenschaft (2003 - col.) St Cecilia ascends to heaven in a glory of angels and putti. The two angels on the left who are accompanying her carry a lute and a portative organ, symbols of the art of which Cecilia is a patron. The instruments are taken to Paradise, so that Cecilia can perform celestial music in her apparitions. At her feet, a putto holds a recorder in his right hand (some finger-holes are visible) which might symbolically allude to the earthly, sensuous life, which Cecilia has renounced. The characteristic beak of the recorder is clearly depicted and it has a flared bell.

Jacopo Palma il Vecchio [Jacopo d'Antonio Negreti, Nigreti or Nigretti](1480?-1528), Italian

Adoration of the Shepherds, Palma il Vecchio (1480?-1528). Madrid: Museo del Prado, Inv. 269. Ref. Ibañez & Gallego (1972: 111-112). Shepherds pay homage to the Holy Family. One of the shepherds (between Mary and Joseph) holds in his hand two flared-bell duct-flutes (possibly recorders).

Marco Palmezzano

Italian artist; born Forlì (ca 1458), died Forlì (1539).

Virgin and Child Enthroned with Three Saints and the Archangel Raphael with Tobias (1537), Marco Palmezzano (ca 1458-1539). Private Collection. Ref. Grigioni (1956: pl. XLII); Rasmussen (1999b). "Putti in front of the throne play a bowed stringed instrument, a lute and a recorder" (Rasmussen, loc. cit.)

Jonas Palmqvist (1667-1702), ? Swedish

A Recorder, drawing by Jonas Palmqvist (1667-1702). In a copy of Paulus Matthysz's instructions. Ref. Legêne (1984). Shows a flared-bell recorder of the 'Rosenborg' type.

Giovanni [Gian] Paolo Pannini [Panini]

Italian architect, designer, draftsman, and painter; best known for his innovative vedute, or view paintings; also produced portraits, decorative frescoes, stage designs, architecture, carvings, festival decorations, and ecclesiastical furnishings; his views of festivals, ceremonies, and dignitaries' visits offered lively documents of contemporary events; born Piacenza (ca 1692), died Rome (1765).

Architectural Fantasy with a Concert Party (ca 1716-1717), Giovanni Paolo Pannini (1691/1692-1765). Toledo (USA): Museum of Art. Ref. Michaelene Gorney in Musical Instruments Museums News (? date: ? fig. 7); Paris RIdIM (2000); Anthony Rowland-Jones, pers. comm., 2000). Musicians sing and play around a table. In the foreground, a theorbist has his back to us. To the left is a consort of viols (treble, tenor, bass – the treble and tenor played on the shoulder!) Opposite the theorbist and facing us, two ladies sing and a lutenist (standing behind them) plays from a shared score. Beside them, to the right, a young man plays a large pipe with an ornate flared bell. Gorney (loc. cit) identifies this as a shawm, but surely that would be out of place in the present company. Since the instrument has a distinct beak it seems far more likely that it represents a tenor recorder.

Pietro Paolini (1603-1681), Italian (Lucca)

Italian painter of religious and historical works, portraits and still-lifes; he also created an original style, in which he painted cabinet pictures, often on musical or allegorical themes; born Lucca (1603), died Lucca (1681).

Pastore che suona lo zufolo, 153.5 × 101.5 cm, Pietro Paolini (1603-1681). Location unknown; offered for sale by Galleria d'Orlane, Cremona (? date). Ref. Warburg Institute, London. An elderly, bearded man, a cloth tied around his hair, wearing a leather jerkin, a tunic and sandals, plays a tenor-size, cylindrical duct-flute (flageolet or recorder) with an elongate beak. Although 'zufolo' refers to the flageolet or other usually six-holed pipe, the player seems to be using all fingers of his lowermost (right) hand, indicating that this may be a recorder.
Bacchic Concert (1625-1630), 117.5 cm × 174.6, Pietro Paolini (1603-1681). Dallas: Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, Inv. 1987.17. Ref. Moir (1967); Venable (1997: 80); Angelo Zaniol (pers. comm., 2003). Bacchus plays a cylindrical duct-flute (recorder or flageolet) with three singers and a lutenist. The little finger of piper's lowermost (left) hand is poised high in the air. The narrative of the painting is ambiguous, hinging perhaps on the sidelong glance of the figure at the right and the turned back of the woman at the far left who studies a sonnet by Petrach, a cittern slung across her back. Another possible key to the peculiar (and typically Caravaggist) mixture of the everyday (the group of musicians) and the mythological (the god of wine) apparently lies in the typical entertainments at grand weddings in seventeenth-century Rome where musicians frequently donned costumes from the wine harvest.

Paolo Fammingo = Pauwels Frank

Bernardino Parentino [Parenzano, da Parenzo, Pareçan; Bernardo Parenzano]

Italian artist whose highly unusual style was influenced by Mantegna together with some elements drawn from Ferrarese painting; born Parenzo [now Porec, Croatia] (1437), died Vicenza (1531). Some of his works are confused with those of Fra Lorenzo (aka Bernardo Parentino).

Three Putti Dancing around a Vase / Grimacing Cherubs (p. 1482), pen and brown ink with traces of red wash, 188 × 203 mm, Barnardino Parentino (1437-1531). Ref. Le Louvre des Antiquaires: Catalogue (?date: 82); Aspire Auctions Works on Paper, Lot 88 (2002). A page from a collector's album known as the "Moscardo Album", belonging to the Veronese Badile family of artists. Three grumpy putti cavort around an urn, one holding a slender, flared duct-flute. The window/labium is clearly visible, and the instrument has a turned and beaded foot. With an estimated value of $5,000-7,000 this work is still for sale.

Bernardino da Parenzo

Italian artist; born Istria; died Mantua (ca 1496).

Musicians, Bernardino da Parenzo (- ca 1496). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie 1628. Ref. Anthony Rowland-Jones (pers. comm., 2001). A man in an extravagantly folded hat plays a long-necked lute; his female companion plays a long reed pipe. On the ground is a small drum. Leaning against a seat are a triangle and beater, and a slender duct-flute (possibly a recorder). Magnified, however, the latter appears to represent a double pipe with one instrument longer than the other.
Musicians, Bernardino da Parenzo (- ca 1496). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie, 1628a. Ref. Anthony Rowland-Jones (pers. comm., 2001). A man in Moorish dress with a turban plays a sigmoid (tenor) cornett, and a boy plays a small slender duct-flute. Another boy in a red smock dances in front of them.

Parmigianino [Girolamo Francesco Maria Mazzola or Mazzuoli]

Italian Mannerist painter, frescoist and etcher; known for his originality and sophistication, particularly his love special effects including elongated forms, chill lighting, and disjointed sense of space; his range included religious and secular works, especially portraits; he was the first Italian artist to make etchings from his own designs; born Parma (1503); died Casal Maggiore (1540); cousin of Girolamo Mazzola Bedoli (ca 1500 - ca 1569).

[Musical Angels], fresco, Parmigianino (1503-1540). Parma: Parma: Monastero di San Giovanni Evangelista, Chapel of San Niccola, apse cupolo. Ref. Anthony Rowland-Jones (pers. comm., 2002). Musical angels play flute, lute, trumpet and an alto-sized pipe which is cylindrical except for a short slight bell flare. The pipe is played right hand lowermost and all fingers are down. It is seen from the side, so no finger-holes or window/labium are apparent, but the instrument is held in an excellent position for recorder-playing. It has two incised rings close together near the bell.

Johan Pasch (1706-1769), Swedish.

Wall painting, Johan Pasch (1706-1769). 'Painted by Taraval, Kring. 1750' written on panel. This may refer to the French painter, Guillaxume Thomas Raphael Taraval (1701-1750). Fogelvik (Sweden): Hornsberg Manor, octagonal summer house. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000); Brandell (2001). A fine array of musicians stand on a balcony, including two violinists, two french horn players, a cello, male and female singers, a man playing a transverse flute, and another holding a late baroque, alto recorder with curved over beak (Anthony Rowland-Jones, loc. cit.)
"… Horn had an octagonal summer house built, which was intended for musical gatherings. In its roof were paintings made (probably by Johan Pasch Jr) that partly describe the four seasons, partly depict the same amount of scenes from musical performances: one singer, a conducting ensemble leader and a basso continuo cellist, flute and recorder players, two violinists and two horn players.

"The musicians and the instruments are realistically painted. The traverso and recorder players are reasonably correctly depicted as well as the violinist and the continuo musicians – and in the conductor’s hand one can glimpse a Sonata by Quantz (op 1:I:1). By comparing the painting with other portraits it has been established that the conductor is Adam Horn, the singer his wife, the cellist their son and the recorder player the vicar in Tryserum parish. If one of the violinists is [Johan Helmich] Roman one can only speculate – there is no preserved portrait of Roman with which one can compare" (Brandell 2001).

Christian Paschold

Contemporary German sculptor working in Erfurt / Tiefthal; born 1949. Artist's web-site here.

Recorder Player, sculpture, Christian Paschold. Karlsruhe: Musiklädle Schunder. A young girl sits playing a perfectly depicted neo-baroque recorder.

Otto von Passau (1330-1386)

Miniature from the manuscript of Heinrich Czuns': The 24 Elders and the Lamb of God (1448), after Otto von Passau (1330-1386). Coburg: Casimirianum Gymnasium, Library, MS Cas. 43, Fol. III. Ref. Moeck (1984: November - col.); Buchner (1961: pl. 122 - b&w). Kings play many different instruments for the Holy Lamb, including triangle, trumpet, lute, vielle, shawm, lute, harp, nakers, regal, symphonie, organ, bells, dulcimer, tromba marina, cornett, and a duct-flute with a long mouthpiece and window/labium and four lower finger-holes visible, the last very near the bell.

Crispin [Crispiaen] I (van) de Passe [van de Pas; Passaeus]

Member of a Dutch family of engravers, draughtsmen and print publishers; he produced many prints, often in the form of series, which he engraved from his own or other painters' designs (especially those of Martijn de Vos), most of which he published himself; he often signed his works with the monogram CP; born Arnemuiden (1564), died Utrecht (1637); father of Simone de Passe (?1595-1647).

From Gabriel Rollenhagen, Nucleus emblematum, Cologne, published by J. Janson, (1611), No. 70: Amor docet music 'am, engraving, Crispijn I de Passe (1564-1637). Ref. Exhibition, Rijksmuseum, Amsterdam: Tot Lering en Vermaak (1976: 60); Gazette des Beaux-Arts (1979, 69: 326); Brown (1984: 48); Henkel & Schöne (1967: col. 1299); Johgh (1967: 51); Exhibition, Palais Harrach, Vienna: Dipingere la musica … (2001: 244, no. IV); Rasmussen (2002, Lute). "Amor holds a lute. In the background a woman sings and men play lute and ? recorder" (Rasmussen, loc. cit.)
Vanitas, engraving, Crispijn I de Passe (1564-1637). Paris: Bibliotheque Nationale de France. Ref. Austern (2003: 300, fig. 13.5). A putto sits blowing bubbles before a bridge leading over a river to a large building. All around him are vanitas symbols including crown, a sword, books, a mask, a broken statue, a flaming urn, a lute, and two pipes, probably duct-flutes.

Simone [Simon] (van) de Passe [Passaeus; Passeus; Paßeus; Pass]

Dutch engraver and medallist who also worked variously in London and Paris; in his youth he contributed to various of his father's series of prints, but soon began to specialize in portraits; born Cologne (?1595), died Copenhagen (1647); son of Crispijn I de Passe I (1564-1637).

Musical Company (1612), copper engraving, 10.4 × 13.8 cm, Simone de Passe (?1595-1647). Coburg: Kunstsammlungen Veste, Inv. Nr. VII 308.26; Ref. Salmen (1981: pl. 71); Alain Veylit (2002); Ian Harwood (pers. comm., 2002). Signed "VP Inyent" and "Sim. Paßeus sculp." Around a large square table a woman plays a cittern, and her three male companions play violin, viol and bandora. A fourth man who has just entered at the door, doffing his hat, holds what appears to be a small cylindrical pipe, possibly a recorder. Oddly enough, there is no lute player – that would have completed the picture for a typical English "broken consort" formation. To the right are a dog and a lamb underneath which is an inscription reading:

Door Godts vrede met goet accoort
Den wolf by t schaep leijt soo t o[o]c hoort Through God's peace in good harmony
The wolf lies with the sheep, as it should be

Giovanni Battista Passeri

Italian painter and writer, best known for his biographical study of 17th-century Roman artists, Vite dei pittori, scultori ed architetti che anno lavorato in Roma morti dal 1641 al 1673 (1772); born 1610, died 1679.

Musical Party in a Garden (1640s), oil on canvas, 72.4 × 97.8 cm, Giovanni Battista Passeri (1610-1678). Austin: University of Texas, Blanton Museum of Art, The Suida-Manning Collection S-M 438.1999 Ref. Burlington Magazine (July 1999: 99, pl.XLVII - col.); The Suida-Manning Collection (2000). With its open courtyard, Mediterranean light, and fragments of ancient sculpture, the setting here is typical of a garden on the outskirts of Rome. A gentleman at the right in contemporary attire addresses the viewer and presents several incidents. A woman in the blue mantle, a man in the orange tunic, and a semiclad recorder player leaning against a pedestal seem engaged in a musical performance of classical inspiration. A group of women in modern costume accompanies them on a spinet. At the left two servants ready a table for dining. The precise meaning of the scene is obscure. Clearly, however, it expresses an ideal of the most elite intellectual circles in Rome: past and present have been brought to simultaneous pictorial life, then transformed again by the ideal ordering of the classical tradition. Myth, idyll, genre, and probably even self-portrait (the proprietary gentleman) are compounded in this fascinating and poetical picture.

Bartolomeo Passerotti

Italian painter, draughtsman, engraver and collector; a prestigious portraitist of popes and Roman cardinals; the focus of his collecting interests was in anticaglie (miscellaneous antiquities); born Bologna (1529), died Bologna (1592).

? Title, Bartolomeo Passerotti (1529-1592). Rome: Galleria Borghese. Ref. Frattelli Alinari, Collection Chauffourier (1964: B98); Fulbourn: Slide collection of Walter Bergmann, WB 111 (2002); Anthony Rowland-Jones (pers. comm., 2002). Over a glass of wine, two men discuss the merits of their pugnacious-looking dogs whilst a third man pipes away on a flared-bell recorder. The bottom four finger-holes (inline) for the lowermost (right) hand are clearly shown.

Tiburzio Passerotti

Italian artist; born Bologna 1555, died ca 1612.

The Pierides are Transformed into Magpies, panel, 51 × 153 cm, Tiburzio Passerotti (1555 - ca 1612). Bologna: Pinacoteca Nazionale. Ref. Emiliani (1969: 279, no. 186) [Villa I Tatti N252OE41967]; Paolo Biordi (pers. comm., 2000). From Ovid we learn that so great was the acclaim given the nine daughters of King Pieris that they deigned to challenge the Muses. But Calliope on her own outsang them. They did not accept their defeat (judged by an impartial jury of water-nymphs) gracefully, and abused the Muses so much that, in their bickering, they found themselves turned into chattering magpies. On the right side the Pierides play cymbals, harpsichord, viol, tambourine (with jingle rings), viola da braccio, lute, flute, cornett and a cylindrical duct-flute, probably a recorder. In the centre, three water nymphs judge their playing. On the left, the Pierides are shown sprouting wings and beaks; some have already completed their transformation into magpies.

Johannes Pässler (20th century), German

Heimatdankfest zum Besten des Vereins Heimatdank (1917), poster, lithograph on paper, 120 × 87.5 cm, Johannes Pässler. Berlin: Deutsches Historisches Museum Inv. No. P 64/335(MfDG). Ref. Bildarchiv Foto Marburg (2002: DISKUS-Objekt-Dokument 03190507 – col.) Surrounded by winged putti, a boy with a cap sits beneath a shady tree playing a narrowly conical pipe. The disposition of his fingers and the thumb of his uppermost (left) hand are suggestive of recorder playing.

Jean-Baptiste Joseph Pater

French painter of fêtes galantes executed in a sensitive, lyrical style, much influenced by Watteau; born Valenciennes (1695), died Paris (1736).

Gallant Gathering in a Park, Jean-Baptiste Joseph Pater (1695-1736). Brussels: Private Collection. Ref. Leppert (1978: fig. 26, p. 63). A fête galante filled with love-making and courtship rituals; shows a recorder, on the ground next to some music, and a vielle.
Elegant Company Making Music near a Fountain, oil on canvas, Jean-Baptiste Joseph Pater (1695-1736). Ref. Gabrius Data Bank, OMP (2002 - col.) Beneath a tree before a fountain a man teaches a woman to play a flared-bell pipe (probably a recorder). A young woman and a boy look on.

Pierre le Paultre (1660-1744), French

Poetry, engraving by Pierre le Paultre (1660-1744), after Alexandre Ubeleski (1628-1715). Paris: ? location. Ref. Paris RIdIM (1999). The original was a ceiling decoration in the Art Gallery of Charles Perrault (ca 1681/4), destroyed in 1685. A personification of Poetry, her clothing in disarray, leans on her elbow pensively whilst putti play straight trumpet, lyre and what looks like a baroque recorder, though it is held with only one hand. Another putto plays with a mask. In the background, can be seen a stage with actors.

Horatius Paulyn [or Paulin] (1644/5 – p.1682), Dutch (Amsterdam)

Interior with a Mandoline Player, Horatius Paulyn (1644/5 – p.1682). Milan: Sforza Castle. A young man plays a lute from music on a table before him. Also on the table are scattered a bust, some books and a soprano flared-bell recorder. The head of the latter is hidden behind the music, but seven finger-holes (including the lowermost offset for the little finger) are clearly visible. Notes by Anthony Rowland-Jones (pers. comm.)
Vanitas Still-life, Horatius Paulyn (1644/5-p.1682). Private Collection. Ref. Bernt (1969, 2: 904). The outline of the lower part of an ?alto hand fluyt shows against an open book of music (not quite legible). Notes by Anthony Rowland-Jones (pers. comm., 2000).

Dan Pearce (contemporary), English

Division on a Ground, LP record cover, Dan Pearce (contemporary). Ref. Divisions on a Ground: An Introduction to the Recorder and its Music, Richard Harvey, Transatlantic, TRA 292 (1975); Gryphon Home Page (2001). A likeness of Richard Harvey in period costume sits at a table with a chessboard, wine bottles, cigarettes, a shell, dividers and a Moeck Rottenburgh recorder with ivory ferrules.
Richard Harvey, cartoon, Dan Pearce (contemporary). Ref. Gryphon Home Page (2001). A caricature of the English recorder player Richard Harvey playing a conical (Ganassi-style) recorder.

Clara Peeters

Flemish painter; one of the first artists to specialise in still-lifes, her 30 or so known works are simple, with or without vases of flowers and sometimes depicting food and precious objects of metal or ceramic; born Antwerp (? 1589), died (after 1657).

[Still-life with Cello] (1623), 69 × 122 cm, Clara Peeters (? 1589 - after 1657). Paris: Musée de Louvre. Ref. Vroom (1980, II, fig. 124); Jongh (1982: 36); Griffioen (1988: 440-441). On a table stand platters of food of various sorts, a watch, a glass, a lute, and a tray which holds a large and a small flask, a glass dish and a live tortoise!. A cello with its bows leans against the wall to the right; on the wall behind hang a violin and bow, a cornetto, and a cylindrical recorder of alto size.

Giovanni Antonio [Giannantonio] Pellegrini

Italian artist; the most important Venetian history painter of the early 18th century, his graceful decorations were particularly successful with the aristocracy of central and northern Europe; he painted in Italy, England, France, Germany, and Austria; born Venice (1675), died Venice (1741).

Herminia among the Shepherds, Antonio Pellegrini (1675-1741). Conegliano: Private Collection; Padua: Special Exhibition (1998). A shepherd boy holds a small, slender duct flute with a beaked mouthpiece and a slightly flared bell. Only the two lowermost holes (in line) are visible and the window/labium is uncertain. Notes by Anthony Rowland-Jones (pers. comm.)

Jeffrey Pelo (contemporary), USA

WWW Page

Cover: American Recorder 37(1): Unitled (1998), Jeffrey Pelo (contemporary). Mr Cool in bowler hat, suit, type and thick-lens glasses mellows out on his neo-baroque recorder.

Georg Pencz [= Monogrammist GP]

German artist, generally regarded as one of the greatest original engravers of his time, was the only known student of Albrecht Durer; born Nuremberg (ca 1500), died Breslau (1550).

The Seven Liberal Arts: Musica (ca 1541), Georg Pencz (ca 1500-1550). Location unknown. Ref. Bartsch (1854-1870, 8: 356/114); Art of the Print (2006). A personification of Music sits playing a portative organ, her bare foot resting on a recorder beside which is a case for five wind instruments. The window/labium of the recorder can just be seen, and four finger-holes are visible, the remainder hidden by the case. The instrument is of tenor size, completely cylindrical, with no flare. A winged putto works the organ bellows. Notes (in part) by Anthony Rowland-Jones (pers. comm., 2000).
The Children of Venus (1531), woodcut, Georg Pencz (ca 1500-1550). Location unknown. Ref. Trottein (1993: 170, fig. 75-b&w). Amorous couples desport themselves in a garden with a bathing pool and terraces to the accompaniment of musicians playing lute, viol, harp and a long narrowly conical pipe (cornett or duct-flute), probably a recorder given the fact that the lowermost (right hand) finger is covering its hole. Above, Venus seated in her chariot is drawn across the clouds by two doves guided by a conspicuously blindfolded Cupid.

Luca Penni [Romanus]

Italian painter and designer who executed designs for engravers in France, Italy and Flanders; born in Florence (ca 1500 - 1504), died Paris (1557); brother of the painter and draughtsman Giovan Francesco Penni [il Fattore] (ca 1496-1528).

Mars and Venus, ink on paper, 8.1 × 19.4 cm, Anonymous, after Luca Penni. Rennes: Musée des Beaux Arts, Inv. 794.1.3019. Ref. Joconde Website (1999). Mars and Venus embrace, whilst Cupid dozes with his head in his hands. Cherubs frolic around the frame; those in the bottom left- and right-hand corners play ambiguous pipes (possibly duct-flutes).

Perigal & Son

Celebrated family of English horologists (clock- and watch-makers); Francis Perigal, the founder of the family, worked in London between 1741 and 1756.

Gold and enamel watch, 4.5 cm diam., Perigal. London: Christie's, Clocks and Watches, 28 May 1986. Ref. Sale Catalogue, Christies, 1986: 59 - col.) Signed Perigal London 482. The lid bears an enameled image of three women: one holds a dove, a second stoops beneath a load of wood on her back; a third plays an ambiguous pipe. " … the pipe is slender and the lower little finger is under, not on, the instrument, but I still think that it is likely to represent a recorder because of the position of the hands and the shape of the bell end" (Anthony Rowland-Jones, pers. comm.)

Thomas Perritt (18th century), English

Trophy of Musical Instruments (1738-1756), moulded plaster, Thomas Perritt (18th century). Staindrop (Durham): Raby Castle, State Dressing Room, ceiling decoration. Ref. Anthony Rowland-Jones (pers. comm., 2003). A trophy comprising trumpet, ? oboe or posthorn, and a perfectly depicted alto baroque recorder.
Trophy of Musical Instruments (1738-1756), moulded plaster, Thomas Perritt (18th century). Staindrop (Co. Durham): Raby Castle, State Dressing Room, wall decoration. Ref. Anthony Rowland-Jones (pers. comm., 2003). A trophy comprising a violin, trumpet, ? oboe or posthorn, and a perfectly depicted alto baroque recorder.

Il Perugino (Pietro di Cristoforo Vannucci)

Italian early Renaissance painter of the Umbria school whose style is characterized by purity, simplicity, and exceptional symmetry of composition; born Città della Pieve, near Perugia (ca 1446), died Fontignano, near Perugia (1523); teacher of Raphael.

Apollo and Marsyas (1483-1491), wood, 390 × 290 mm, 'Il Perugino' (ca 1446-1523). Paris: Musée de Louvre, RF 370. Image from Mythmedia. Ref. Réunion des musées nationaux, Paris (1996): postcard IC-00-7843 (col.); Wyss (1996: 58, 182, fig. 30 - b&w); Gowing (1987: 155 - col.); Berenson (1952: vol. 2, 82, pl. vii); Joconde Website (1999). Watched disdainfully by Apollo, Marsyas seated plays an ambiguous pipe that may be a slender, cylindrical duct-flute (flageolet or recorder. However, although details of the beak and window characteristic of duct-flutes are lacking, the lower little finger is exactly in the recorder position. The subject of this painting has been questioned in favour of Apollo and the shepherd Daphnis, paradigm of pastoral poets. But this hypothesis has been soundly rejected by Wyss (loc. cit.)
Apollo and Marsyas, metal point, pen, ink and wash, with heightening, on prepared rose-salmon-tinted paper, 32 × 27 cm, 'Il Perugino' (ca 1446-1523). Venice: Galleria del Accademia, Inv. N 198. Ref. Wyss (1996: 59, fig. 32); Ferino Pagden (1984: 143-col.); Paolo Biordi (pers. comm., 2001). Preparatory drawing for Perugino's painting of the same subject (Louvre, Paris). Watched disdainfully by Apollo, Marsyas seated plays an ambiguous pipe that may be a slender, cylindrical duct-flute (flageolet or recorder. However, although details of the beak and window characteristic of duct-flutes are lacking, the lower little finger is exactly in the recorder position.
La Sainte Parenté, wood, 203 × 178 cm, 'Il Perugino'. Marseille: Musée des Beaux-Arts. Ref. Musée des Beaux-Arts, Marseille (2001). On each side of the enthroned Virgin and Child are couples each with an infant and a babe in arms. On a step at the foot of the throne are two putti, one singing from a score and the other piping away on what might be a recorder.

Baldassare Peruzzi

Italian architect, painter and draughtsman; a transitional figure between the early Renaissance and the High Renaissance in Italy; born Ancaiano, near Siena (1481), died Rome (1536).

The Labours of Hercules, fresco, Baldassare Peruzzi (1481-1536). Rome: Villa Farnesina, Sala del fregio. Ref. Anthony Rowland-Jones (pers. comm., 2002). One of four mythological scenes. A winged figure plays a small cylindrical pipe (left hand lowermost) with a very slight bell flare. The position is suitable for recorder playing, but no details are visible.
Apollo and Marsyas (1509-1511), fresco, Baldassare Peruzzi (1481-1536). Rome: Villa Farnesina, Sala del fregio. Ref. Anthony Rowland-Jones (pers. comm., 2002). One of four mythological scenes. Apollo directs the executioner about to flay Marsyas, who is tied to a tree. On the ground beside Apollo is an alto-size cylindrical duct-flute with clear beaked mouthpiece and window/labium, and six finger-holes visible; the bell-end is hidden.

Antoine Pesne

French-born Rococo painter of historical, mythological and religious subjects and portraits who was the most important artist in Prussia in the first half of the 18th century; born Paris (1683), died Berlin (1757); son of the portrait painter Thomas Pesne (1653-1727).

Musical Couple (ca 1718), oil on canvas, 118 × 90 cm, Antoine Pesne (1683-1757). Potsdam: Neues Palais. Ref. Moeck (1984: January - col.); Moeck, Celle: Musikbilder auf Postkarten, Series 3, Nr 3 - Ed. Moeck Nr. 1103 (1987, col.); Pottier (1992: 57, pl. XLIII). A young man plays a baroque recorder, accompanied by a young woman (strongly resembling the artist's wife, Ursule Anne Dubusson) at the harpsichord on which lies a music book containing only the solo and unmarked bass line. A maker's mark can be seen on the head of the recorder just beneath the window/labium.
Youth with a Flute (1712), oil on board, 64.5 × 31 cm, Antoine Pesne (1683-1757). Dessau: Staatliches Museum Schloss Mosigkau, Cat. 60. Ref. Katalog der Gemäldge Staatliches Museum Schloss Mosigkau (fig. 66); Archiv Moeck. A young lad holds a recorder.

Peters

There are several 18-19th-century German and Danish artist-engravers by this name.

Landscape with Shepherds, print, Peters. Cologne: Wallraf-Richartz-Museum, Z 917. Ref. Munich RIdIM (1999: KNwr 255). Before a crumbling castle keep a shepherd and shepherdess sit beside their beasts. He plays a duct-flute (flageolet or recorder) of alto/tenor size to his admiring companion.

Astolfo Petrazzi

Italian painter of religious works, still-lifes and genre scenes; born Siena (1580), died Siena (1653).

Lute Player with a Still-life of Musical Instruments, Astolfo Petrazzi (1580-1653). Siena: Pinacoteca Nazionale. Ref. Dini et al. (1998: 439 - col.) A woman plays a lute surrounded by musical instruments, including theorbo, mandola, shawm, violin, harp, and a flared-bell recorder of alto size.

Negri Petri (1635/40-ca 1679), Italian

Mercury and Argus, Negri Petri (1635/40-ca 1679). Caen: Musée des Beaux Arts. Ref. Web-site: Greek Mythology Link, Catalogue of Images, by Carlos Parada (2002). Watched by Io (as a heifer), Mercury plays a cylindrical, flared-bell recorder of soprano/alto size to lull Argus asleep. The window/labium of the recorder and six finger-holes are clearly depicted; and although the fingering seems haphazard, the first finger-hole seems to be covered, giving seven holes in all.

Peyo [Pierre Culliford]

Belgian cartoonist who created the Smurfs, a tribe of blue dwarfs living in a mushroom-house village deep in the forest; born Brussels (1928), died 1991.

Smurfs have appeared in a total of 25 languages; the Smurf craze spread to the world of toys, lunchboxes, video games, colouring books and any other merchandising tie-in imaginable; they became so popular that after appearing in nine 13 mm films, in 1976 they starred in the feature-length La Flute � Six Schtroumpfs. Peyo then introduced the wise old Papa Smurf and the coquettish Smurfette, who remained long the only woman in the dwarfs' adventures; in 1984 the movie came across the Atlantic with dubbed voices as The Smurfs and the Magic Flute;

Flautist Smurf (1978-1992), PVC figurine 2.0048, Peyo (1928-1991). Wales: Blue Imps Smurf Collection. Ref. Website: Blue Imps Smurf Collection (2005 - col.) A Smurf wearing a red shirt, white cap and boots, plays a clearly depicted duct-flute larger than himself. The instrument was probably intended to be a recorder, though only four finger-holes are visible. Smurf figurines were manufactured by Schleich in Germany and Hong Kong.
Johan & Pirlouit (1958), comic book, Peyo (1928-1992). Ref. Website: Toonarific (2005). On 23 October 1958, Peyo introduced a new set of characters to the Johan & Pirlouit series. This alone caused no great excitement, as the brave duo constantly encountered strange new people and places. This time, they had the mission of recovering a Magic Flute, which required some sorcery by the wizard Homnibus. And in this manner, they met a Schtroumpf. Johan and Pee Wee (aka Peewit, aka Pirlouit), a brave human prince and his page are trying to retrieve Johan's stolen magic flute, endowed with the power to make all listeners dance uncontrollably. With the help of a hypnotizing wizard named Homnibus, Johann and Pee Wee recruit Papa, Brainy, Hefty and the bunch to aid their cause. The ever-generous Smurfs build a duplicate flute, helping Johan prepare for a showdown with the thief, a villain named McCreep (aka Oilycreep).
La Flûte à six schtroumpfs / The Smurfs and the Magic Flute (1972/1983), animated cartoon, playing time 74 minutes (Belgium) and 89 minutes (USA), Peyo (1928-1992), Yvan Delaporte & John Rust. Ref. Website: Toonarific (2005). Johan and Pee Wee (aka Peewit, aka Pirlouit), a brave human prince and his page are trying to retrieve Johan's stolen magic flute, endowed with the power to make all listeners dance uncontrollably. With the help of a hypnotizing wizard named Homnibus, Johann and Pee Wee recruit Papa, Brainy, Hefty and the bunch to aid their cause. The ever-generous Smurfs build a duplicate flute, helping Johan prepare for a showdown with the thief, a villain named McCreep (aka Oilycreep). Based on the comic book (1976), see above, the film was directed by Eddie Lateste. First aired on Belvision in 1976, it was brought to the United States by Stuart R. Ross who acquired the North American rights to the film and produced the dubbed English language version at the Hannah-Barbera Studios. It was presented to US audiences by Ross and Atlantic Releasing Corp.
The Smurfs and the Magic Flute (1983), poster 68.6 cm × 104.1 cm, Peyo (1928-1991). Advertising poster for the Smurfs' full-length cartoon film (see above). In their village, the Smurfs have just finished constructing a replica of the stolen flute. One of the Smurfs holds the finished instrument, a large duct-flute, probably a recorder though only six finger-holes are visible.

Maximilian Pfeiler [Pfeiller] – see Christian Berentz

Daniel Pfisterer (1651-1728), German

Protestant minister at Königen near Stuttgart, Germany; used the sketch-book he began on April 14th 1716 mainly as a personal collection of things and sights. Plants, insects, birds fill the pages, groups of people are a second genre, memorable events a related one – moral reflections usually give the neccessary reasons to offer the pictures. Musical instruments appear on two double pages (83-84 & 89-90). Pfisterer obviously designed these pages as ensembles to deal explicitly with the role of music in the world.

From Barockes Welttheater (1716-1727: 84): Musical Instruments, Daniel Pfisterer (1651-1728). Stuttgart: Württembergisches Landesmuseum, Inv. VK 1979/31. Ref. Munich RIdIM (2003 - Slm 348); Talle (2003). On a table lie a clavichord, viola, cello, two shawms, bassoon, trumpet, trombone, cornetto, and three recorders. Leaning against the right edge of the table is a double bass. On chairs before the table are a lute and a harp. Between them are kettledrums and a picnic hamper! At the right centre of the table is an alto/tenor flared-bell recorder, the window/labium and beak clearly visible. Lying across its foot is what appears to be a smaller ?soprano recorder with a widely flared bell. Two more recorders lie side by side on the left of the table; both have fontanelles and are thus probably tenors. An accompanying verse reads:

Wie die Son[n] und Regen thun in dem Feld das allermeiste, Also bej den Musicis ein vom Wein befeuchter Geiste; Diß geschlechte Korah kan ohne Ihren NAssaph nichts; Wan[n] der nur das Zeichen giebt mit dem Glase so geschichts; Alsbald fangt der Jeduthun mit dem Githith an zu klingen, Als wan[n] alles von dem blas und den fingern müsste springen.	As the sun and rain contribute the most to the harvest So too the musician moves the wine-intoxicated soul. Korah can do nothing without his Nassaph; He needs only to give the sign with his glass and the music starts; As soon as Juduthun begins to play the Githith It is as if all creation must spring from the piping and strumming.
Die Musica ist eins von sieben frejen Künsten, Die setzet Junge Leut bei Jedermann in günsten, Studenten sonderlich! dann welcher die nicht kan, Der [ist ein hal]b Student, Ja nur ein halber Mann.	Music is one of the Seven Liberal Arts, It brings young people into everyone's good graces, Especially students! Because whoever cannot make music Is but half a student, indeed half a man.

Korah – Levitical musician and psalmist, who rebelled against Moses; NAssaph – Assaph, the orator of Tyre; Juduthun – Ethan, the sage who was wiser than all men; Githith – wine-press.

Johannes Phokela

South African painter living and working in London; his unsettling parodies on iconic images by Rubens, Jacob de Gehyn, Jacob Jordaens and others challenge nationalistic and ethnic narratives around contemporary and historical art, shining reciprocal light on the violent and twisted history of the Dutch in Africa; born Soweto (1966).

Say Cheese (2002), oil on canvas, Johannes Phokela (196–). Ref. Tableau 26(3): 71 (2004); Constance Scholten (pers. comm., 2005). A parody of Jordaen's many depictions of the Dutch proverb "As the old ones sing, so also the young ones pipe; As the old Cock crows, the young one learns". Here a family sing around the dinner table to an accompaniment on slender pipes played by a sallow man and a toddler. An owl watches from its perch on a wicker screen; a man goads a singing bird in a cage hanging from the ceiling. A woman wearing only a lap-lap and anklets dances lasciviously before them!

Giovanni Maria delle Piane [il Molinaretto, il Mulinaretto]

Italian artist, active in Naples, Parma and Rome; introduced the emerging French style to Italian art; born Genoa (1660), died Monticelli d'Ongina (1745).

Portrait of a Gentleman, oil on canvas (oval) in an elaborate 18th Century French carved and gilt wood frame, 122.2 × 96 cm, Giovanni Maria delle Piane (1660-1745). London: Sotheby's Sale: L00163, Old Master Paintings, 2 November 2000, Lot 75 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) Three-quarter-length portrait of a man beautifully dressed in a heavily decorated cloak, wearing a long flowing wig, holding an alto baroque-style recorder with ivory mounts and ebony studs. The instrument looks very much like those by Dupuis (fl. 1692).

Giovanni Antonio Pianta (18th century) Italian

Trophy with Musical Instruments (1768-1770), woodcarving, ? Giovanni Antonio Pianta (18th century). Tirano: Pilgrimage Church of the Madonna di Tirano, organ case. Ref. Church Brochure; Jan Bouterse ex Anthony Rowland-Jones (pers. comm., 2004). Tirano is a small Swiss town on the Southern side of the Bernina Pass, just before it finally descends to Italy, Poschiavo in the Valtellina valley. The church is a 16th century building with incredibly rich decorations from ca 1640, and ca 1750-1770. The highly ornately carved organ case has baroque swags of musical instruments among which is what could be a recorder. This requires further investigation.

Prospero da Piappola (fl. 1472-1521), Italian (Paduan)

Madonna and Saints John the Baptist and Girolamo Worshipping the Child, Prospero da Piappola (fl. 1472-1521). Padua: Museo Civico. Four child angel musicians hover above the central scene playing rebec, shawm and lyre. On a rocky plinth beneath the Mother and Child, a child angel plays a duct-flute. The latter is of alto size, the window/labium clear but fingers half-covering covering five holes (two with upper right hand and three with the lower), the bell gently flared. The difference between the shawm and the duct-flute is very clear. Notes by Anthony Rowland-Jones (pers. comm.)

Callisto Piazza da Lodi [da Lodi, de Toccagni]

Italian painter of religious subjects, genre scenes and still-lifes; born Lodi (ca 1500), died Lodi (1561).

A Group of Six Figures or The Concert, oil on panel, 90.5 × 90.5 cm, Callisto Piazza (ca 1500-1561). Philadelphia: Museum of Art, J.G. Johnson Collection. Ref. Gregori (1987: 78, 111, n.46 - col.) [Villa Il Tatti ND619L64P59]; Rasmussen (1999b); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000); Paolo Biordi (pers. comm., 2000); Exhibition: Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy, Metropolitan Museum of Art, New York (27 May –15 August 2004 - col.) Two women play tenor viol and lute, and two men play recorders. The violist plays her instrument held almost horizontally. The recorder players stand behind the two women and a man holding a score; their instruments appear to be of alto or perhaps tenor size (only the head and upper body of each is visible); between them another man appears to be singing.
The Concert oil on canvas, 77 × 54 cm, Callisto Piazza (ca 1500-1561). Location unknown; sold by Finarte, Milan (1962). Ref. Sale Catalogue, Finarte, Milan (16 May 1962: No. 8). An elegantly dressed lady plays a lute accompanied by a second playing a strangely shaped viol horizontally. Behind them, a young man plays a wide duct-flute (almost certainly a tenor recorder), only the head of which (including the window/labium) can be seen. Appears to be a detail of a picture identical to that with the same title in the Museum of Art, Philadelphia.
Lesena fra la cappella dei Santi Antonio e Paolo eremiti e quella della Passione, fresco, Callisto Piazza (ca 1500-1561). Milan: Chiesa dell'Incoronata. Ref. Sciolla (1989: 244, fig. - col.) [Villa I Tatti, ND622P53]; Paolo Biordi (pers. comm., 2000). Three decorative panels. That on the left contains putti, a sheep, apples on a branch, and a bird. The central panel contains a bearded man holding a bagpipe; a putto holding a swan by the neck in one hand and a sheep in the other, a sword over his shoulder and at his feet what looks like a vihuela; piled on top of his head are books, a case of wind instruments (the feet of two of which can be seen), some fruit and vegetables, a lute, and sheet music, surmounted by another putto clutching a lyre in one hand and a pipe(only the body of which can be seen) in the other. The right hand panel contains a sheep, the winged head of a putto, a book of music, a putto playing a slender conical duct flute (the window/labium is visible, a snake, an hour-glass, dividers, a lute, and another putto holding a rattle of some kind.
[Ascension of Mary], Callisto Piazza (ca 1500-1561). Ref. ? Author, I Piazza da Lodi (1989: 92); Paolo Biordi (pers. comm., 2000). Mary is surrounded by angel musicians who sing and play harp, straight trumpet, rebec, lute, tambourine (with jingles), and a small flared-bell duct-flute (possibly a recorder) played with one hand.
Gambolling Putti with a Goat, Callisto Piazza (ca 1500-1561). Berlin: Staatliche Museen Preußischer Kulturbesitz, Kupferstichkabinett. Ref. Author, I Piazza da Lodi (1989: 240, fig. - b&w); Paolo Biordi (pers. comm., 2000). Three putti chase a pig, two blowing slender, cylindrical pipes. Another putto blows a similar pipe in his companion's ear.

Cosimo Piazza

Member of an Italian family of painters whose workshop dominated art in Lodi in the 16th century; born 1557, died ca 1621.

Altarpiece, Cosimo Piazza (1557 - ca 1621). Detail. Innsbruck: Kapuzinerkirche. Ref. Viola da gamba - Gesellschaft (2000). Angel musicians play cornett, cittern, shawm, lute, violin, viol, and a flared-bell pipe, probably a recorder.

Giovanni Battista Piazzetta (also called Giambattista Piazzetta)

Italian painter, illustrator, and designer whose art evolved from Baroque traditions of the 17th century to a Rococo manner in his mature style; painted altarpieces, genre works and history themes; born Venice (1682), died Venice (1754).

A Man and a Boy with Recorders, black chalk and wash, hightened with white, 32.3 × 44.4 cm, Giovanni Battista Piazzetta (1682-1754). Edinburgh: National Gallery of Scotland, D.1849. Ref. National Gallery of Scotland (1961: fig. 43); Recorder & Music 3(2): cover - b&w (1969); Rowland-Jones (1995: cover); Wollitz (1982: 74). A man holds a baroque one-piece recorder and a boy plays a similar instrument. "The figures are probably master and pupil, reflecting the didactic nature of many recorder duets" (Rowland-Jones, loc. cit.)
Two Boys Making Music, oil on canvas, Giovanni Battista Piazzetta (1682 - 1754). Ref. Gabrius, OMP (2001 - col.) A boy in a striped jacket plays a baroque recorder while a young man holds a score for him to read. Possibly the original on which Giovanni Cattini's engraving The Recorder Lesson (Venice: Private Collection) was based. Auctioned 5 August 2001.
The Recorder Lesson, engraving, 45.1 × 34.3 cm (Venice) & 45.8 × 34.9 cm (Washington), by Giovanni Cattini (ca 1715-ca.1804) after Giovanni Battista Piazzetta (1682-1754). Venice: Private Collection; Washington DC.: Library of Congress, Dayton Miller Flute Collection, 0164. Ref. Recorder & Music 1(2): 49 - b& w. (1963); Recorder & Music 4(11): cover - b&w. (1974); Wül (1996: 50, fig. 78). This is plate number IX of a set of fourteen large heads engraved by Cattini after Piazzetta. It depicts a boy in a striped jacket playing a baroque recorder while a young man holds a score for him to read. A caption reads:
Excellentiss. Sebastiano Molin Senat. Ven.
Bonarum Artium Cultori Eruditiss.
In perpetuum observantiae pgnus D.D.D.
Possibly based on a painting attributed to Piazzetta auctioned on 5 August 2001 (see above).
Study of a young Boy holding a Recorder (ca 1735), black chalk heightened with white chalk, on buff paper, 39 × 30.9 cm, Giovanni Battista Piazzetta (1682-1754). Location unknown; auctioned Sotheby's, London (14 January 1992). Ref. Auction Catalogue (1992: fig. 103); Gaudenzio (1948, 2: 139, fig. 163); Pallucchini (1956: fig. 122); Knox (1983: nos 19, 32-34); Archiv Moeck; Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). The artist's son, Giacomo (born 1725), holds a baroque-style, turned, three-piece, soprano recorder. An engraving, in reverse and with some differences with the title Vegliando all'ombra was made by Viero (Auction Catalogue, loc. cit.)
Study of a young Boy holding a Recorder (ca 1760), 41.2 × 29.1 cm, engraving by Teodoro Viero (1740-1819) after an original drawing by Giovanni Battista Piazzetta (1682-1754). Venice: Private Collection. Ref. Knox (1983: nos 19, 32-34); Beck & Roth (1965: pl. 33); Wül (?date: 90, fig. 161). A copy of the above with some differences. The artist's son, Giacomo (born 1725), holds a baroque-style, turned, three-piece, soprano recorder with a strangely bulbous beak and no window/labium. A caption reads:
Vegliando all'ombra in sull' estivo ardore
Col villereccio suono inganna l'ore.

It is pleasant to while away the hot summer hours with a bit of rustic music.
Study of a young Boy holding a Recorder (ca 1735), Giovanni Battista Piazzetta (1682-1754). Windsor, drawing No. 0775. Ref. Archiv Moeck. The artist's son Giacomo (born 1725) holds a baroque-style, turned, two-piece, soprano recorder with a prominently flared bell.
Study of a young Boy holding a Recorder (ca 1735), Giovanni Battista Piazzetta (1682-1754). Windsor Castle: Royal Collection, Drawing no. 0776. Ref. Archiv Moeck. A boy in a cap holds a baroque-style, turned, two-piece, soprano recorder with a prominently flared bell and two obliquely arranged holes for the lowermost little finger, one smaller than the other as if for the double holes of a modern recorder.
Head of a Boy, Giovanni Battista Piazzetta (1682-1754). Ref. Archiv Moeck. A rather bitter looking lad holds a baroque-style, turned, soprano recorder.
Head of a Boy, Giovanni Battista Piazzetta (1682-1754). Venice: Collection Trivulzio. Ref. Precertti-Garberi (1971: fig. 5). A young boy in a cap is depicted in side-profile holding in his fist a baroque-style, turned, soprano recorder only the beak and upper head-piece of which are visible.
Boy with a Recorder, black chalk heightened with white, a strip of paper added to the right, 38 × 30.5 cm, Giovanni Battista Piazzetta (1682-1754). Cambridge (UK): Agnes Mongan Collection. Ref. Knox (1983: 102, fig. 33A). "The present drawing seems to be a presentation drawing, very likely reworked from a preliminary study for the Dresden picture. See also the drawing in the Ashmolean Museum …" (Knox, loc. cit.) A young boy holds in his fist (window-down) a turned, soprano recorder only the beak, head and upper part of the centre-joint are visible.

A Shepherd with a Pipe, red chalk over graphite, 26 × 19.3 cm, Giovanni Battista Piazzetta (1682-1754). New York: Pierpont Morgan Library, Kress Album. Ref. Knox (1983: 216, fig. 100b). A shepherd stands amongst his sheep before a decaying monument of some kind playing a flared bell duct-flute which has a clear beaked mouthpiece, though no finger-holes or window/labium. This design "served as the model for the left half of an engraving by Cajetano Canal, of which two impressions are known one in the Correr Museum in Venice and one in the Staatcliche Graphische Sammlung at Munich" (Knox, loc. cit.) Another similar engraving by Canal in the Kress Album has a legend:

Al rovinoso intar del Tempo ingiusto
Cede non solo rustico abituro
Ma pramide Elea, Corinto muro
Menfitica colonna, Egizio busto

To the ruinous decay of unjust time,
Not only the rustic house gives way,
But the pyramids of Aeolia, the walls of Corinth,
The columns of Memphis, the sculpture of Egypt

An Arcadian Scene, engraving, image 19.3 × 30.1 cm, by Cajetano Canal, after Giovanni Battista Piazzetta (1682-1754). Venice: Civico Museo Correr, Stampe P.D. 781.; Munich: Staatcliche Graphische Sammlung. Ref. Knox (1983: 216-217, fig. 101). Based on a design in the Pierpont Morgan Library, New York, but reversed. A shepherd stands amongst his sheep before a decaying monument of some kind playing a flared bell duct-flute which has a clear beaked mouthpiece, though no finger-holes or window/labium are visible. A shepherdess siting with a cow beneath a tree has been added to the design. A caption reads:

A lusingar del vincitore il fasto
Quest'atrio sorse, che gran piano ingombra
Ora dagli anni vacillante e guasto
I rustici amator guarda con l'ombra

To flatter the spendor of a conqueror,
This monument rises, encumbering a large area
Now after the destruction of the years,
It gives shade to rustic lovers.

Shepherd and Shepherdesses, 81 × 63 cm, Giovanni Battista Piazzetta (1682-1754). Location unknown; auctioned by Vogel, Alkunst Casino, Freiburg (15-16 March 1927). Ref. Auction Catalogue (1927: fig. 405); Archiv Moeck. Standing beside two shepherdesses, a young shepherd holds a baroque-style recorder in the crook of his arm (only the head-piece is visible).
A Young Boy, ?oil painting, 48 × 38 cm, Giovanni Battista Piazzetta (1682-1754). Location unknown; auctioned by Sotheby's, London (19 October 1977), Cat. 111. Ref. Archiv Moeck; Witt Library (1978). A young lad gazes into the distance holding a renaissance-style, one-piece, flared-bell recorder upside-down against his cheek. The curved windway, window/labium and five finger-holes (the lowermost offset) are clearly depicted. This is an identical composition to an engraving by Pietro Monaco (1707-1772) entitled Davidde Fugitivo, in a private collection, Venice, after an painting by Giuseppe Maria Crespi (1665-1747) now in the Faringdon Collection, Buscott Park (UK), one of a pendant pair.
Shepherdess with a Gourd and a Peasant Boy playing a Recorder, 58.8 × 77.8 cm, Giovanni Battista Piazzetta (1682-1754). Location unknown; auctioned by Sotheby's, London (1954), Lot 151. Ref. Auction Catalogue (1954: pl. - col.); Web-site: AllPosters.com (2007 - col.) A young woman clutching a swollen gourd gazes thoughtfully into the distance. Beside her, a young boy twitters away on a soprano recorder of renaissance form.
The Shepherd and his Dog, Giovanni Battista Piazzetta (1682-1754). Russia; exhibited St Petersburg (1909). Ref. Archiv Moeck. A young lad wearing a hat and a coat thrown over his shoulders plays what appears to be a transitional-style recorder with a turned beak but plain body and a flared bell.
Portrait of a Young Rustic, 59.5 × 52 cm, circle of Giovanni Battista Piazzetta (1682-1754). West Hartford, Connecticut: Collection of Mr & Mrs Morris Joseloff; exhibited Wadsworth Atheneum, Hartford, Connecticut. Ref. Sale Catalogue: fig. 162); Archiv Moeck. Standing, half-length, wearing a blue jacket, white blouse and brown leather hat, a young lad clutches a slender duct-flute (probably a recorder, though only the head and upper body are visible).
Portrait of a Girl and a Boy with a Flute, oil on canvas, 58.5 × 45 cm, follower of Giovanni Battista Piazzetta (1682-1754). Location uknown; auctioned by Sotheby's, London (15 February 1989), Cat. 105. Ref. Archiv Moeck. A young woman gazes intently at a boy who clutches a soprano, renaissance-style recorder in one hand. There is a pendant to this painting called Portrait of an old Woman and a young Woman with a Basket of Grapes (auctioned together).
[Unknown], fresco, Giovanni Battista Piazzetta (1682-1754). Venice: "a church". Depicts a musical group with two possible recorders (Anthony Rowland-Jones, pers. comm. ex "a Professor in Vienna"). It is possible that this refers to the ceiling of the Basilica de Ss Giovanni e Paolo (see below).
The Glory of St Dominic (1727), fresco, Giovanni Battista Piazzetta (1682-1754). Venice: Basilica dei Ss Giovanni e Paolo, ceiling. Ref. Postcard, ed. Benedetti Roberto (ca 2000 - col.) "Centre right three musicians play bass viol, violin or viola and a duct-flute. The latter, viewed from underneath, is very slightly outwardly conical with only a modicum of bell flare. Both hands are on the instrument including the fingers and both thumbs – no holes show. The hand position suits the recorder. It could be a mute cornett, but the mouthpiece is within the player's lips (no sign of a beak) which are not pursed – cheeks and lips are relaxed. So this is probably a recorder of soprano size or a little larger. The right hand is lowermost. The bore opening is quite wide. All instruments are carefully represented" (Rowland-Jones, pers. comm. 2000).
Boy with a Recorder, black chalk heightened with white chalk on blue paper faded to tan, 39 × 30.6 cm, Giovanni Battista Piazzetta (1682 - 1754). Cambridge (USA): Fogg Art Museum, Inv. 1985.204 Ref. Visual Information Access (VIA), Harvard University Fine Arts Library. Not seen.
Giovane che impugna la spada e fanciullo che suona il fluato, engraving, 34.2 × 26 cm, by Calcografia Wagner (1739-1835) after Giovanni Battista Piazzetta (1682 - 1754). Venice: Private Collection. Ref. Wül (?date: 113, fig. 189). Identical to the next. A youth leans on the handle of his sword, a young boy beside him plays a recorder of cylindrical renaissance design, though the foot is not visible. A caption reads:
L'uno il sonno concilia in varie forme,
Ma il buon guerrier coll'armi in man non dorme.
Giovane che impugna la spada e fanciullo che suona il fluato, engraving, 35 × 25 cm, Giovanni Battista Piazzetta (1682 - 1754). Venice: Private Collection. Ref. Wül (1996: 113). Identical to the above. A youth leans on the handle of his sword, a young boy beside him plays a recorder of cylindrical renaissance design, though the foot is not visible. A caption reads:
Allicit hic sommnum gracili modulatus avena:
Strenuus at miles pervigil usque manet
Fanciulla con cimbalo e bambino con flauto, engraving, 41.7 × 31.7 cm, by Pietro Scattaglia (1739 - ca 1810) after Giovanni Battista Piazzetta (1682 - 1754). Venice: Private Collection. Ref. Wül (1996: 105, fig. 180). A young woman plays a tambourine (with pellet bells) and a little boy pipes at a rather large (?alto) recorder of baroque design.
Concertino, engraving, 22.8 × 31.5 cm, by the Monogrammist 'F.P.' after Giovanni Battista Piazzetta (1682 - 1754). Venice: Civico Museo Correr, Print Collection P.D. 4141. Ref. Wül (1996z; fig. 134). The Monogrammist 'F.P.' describes himself as 'ap. Cavalli Venetis', i.e. an apprentice of Cavalli. He has been identified as one Francesco del Pedro, who was active along with Pellegrino in the workshop of Nicolò Cavalli (1730-1822). Watched by an old crone, a young girl sings from a page of music accompanied by a young man playing a cylindrical recorder (it clearly has a hole for the little finger of the lowermost (right) hand. A couplet (from Horace) appears as a caption:
Me nunc Cressa Chloe regit
Dulces docta modos et cithare sciens
There is a somewhat larger version of this work in the possesion of Gabriel Boyers (pers. comm., 2008) who reports that it is by 'Il Chiozotto' (Antonio Marinetti, 1710-1796) and engraved by Nicolò Cavalli.
Giovane flautista con berretto [Youth with a berret playing a flute], engraving, 14 × 10.1 cm by Franz Xavier Jungwirth (1720-1790) after Giovanni Battista Piazzetta (1682 - 1754). Venice: Civico Museo Correr, Print Collection, XXII/31. Ref. Wül (1996: fig. 121). A young man with downcast eyes holds a wind instrument over his left shoulder. The instrument is hidden in his hand and behind his head, and only two finger-holes are visible. It may represent a recorder.
La Lezione di Musica, oil on canvas, Giovanni Battista Piazzetta (1682 - 1754). Ref. Gabrius, OMP (2001 - col.) A young boy with his back to us plays a fat cylindrical recorder with a flared bell and a turned bead at the foot. A man facing us holds a piece of music for his student to read from. Auctioned 28 November 2000.
Girl with Flute, oil on canvas, 46 × 55 cm, Giovanni Battista Piazzetta (1682 - 1754). Venice: Private Collection. Ref. Sardelli (2001: dust-jacket -col., pl. 2 - b&w). A young girl viewed in side profile, her body inclined towards us, grips a recorder of unusual design in her left hand. The curved baroque-style beak and window/labium are clearly depicted, and there are two turned ornamental beads immediately beneath the window rather than above it. The first and the last three finger-holes are visible, the remainder hidden by the player's hand. The foot is gently flared in external profile but the bell opening is widely flared, like a Ganassi-style recorder.
Boy with a Flute, drawing, Gianbattista Piazzetta Ref. Gabrius Data Bank, OMP (2002 - b&w) A boy in a brimmed hat holds a soprano duct-flute which may be a recorder. The first finger of his upper (left) hand is down, but the next two are above their holes; finger-hole five is just visible, but the rest of the instrument is out of view.

Bernard Picart

French painter, draughtsman and engraver; active mainly Netherlands, where he worked principally on book illustrations; born Paris (1673), died Amsterdam (1738); son of Etienne engraver and print publisher Picart (1632-1631).

Frontispiece of Principes de la flûte traversière (1707) by Jacques Hotteterre (1674-1763), published by Christophe Ballard, Paris: Recorder player's Hands (1707), engraving, Bernard Picart (1673-1738). London: University of London, Witt Library, Print Collection; Washington DC.: Library of Congress, Dayton C. Miller Flute Collection. Ref. Linde (1962/1974: 29); Vinquist (1974: 60, 185-188, fig. 303); Lasocki (1968); Thomson (1974, 40, 73, fig. 10); Pottier (1995: 138, pl. 14); Pilipczuk (1980 -fig.); Witt Library, London; Paris RIdIM (1999); Jan Lancaster ex Robert Bigio (pers. comm., 2007). Depicts a three-piece, baroque recorder with turned mounts and the players hands. This is highly reminiscent of the Sketch of the hands of a recorder player by Jean-Antonie Watteau (1684-1721).
Concert champêtre (1708), coloured engraving, 91 × 146 cm, Bernard Picart (1673-1738). Location unknown; for sale by Nagel Auktionen, Frankfurt, Sale 379S, Lot 812 (2001). Ref. Christian Starke (pers. comm., 2001). Shows two baroque recorders accompanied by flute and harpsichord. In the foreground left are a reclining listener, and a man and a woman singing from a shared score. On the right two musicians play violin and cello.

Concert champêtre (1708), engraving, Bernard Picart (1673-1738). Cambridge (UK): University Library; Berlin: Institut für Musikforschung; Paris: Bibliothèque Nationale. Ref. Thomson (1974: 74 & plate 3 - b&w); Libin (1976: 18, fig. 6); Thomson & Rowland-Jones 1995: 85, fig. 24, detail), Recorder & Music 5(3): front cover (1975, detail); Lasocki (1974: 391, detail); Walter Bergmann Collection, photograph (ex Anthony Rowland-Jones, pers. comm., 2006 - b&w). Shows two baroque recorders accompanied by flute and harpsichord. In the foreground are a reclining listener, and a man and a woman singing from a shared score. An accompanying poem reads:

A l'ombre des bosquets dans un beau jour d'Eté,
Cette agreable compagnie
Goute le doux plaisir que donne l'harmonie
Lorsque tout est bien concerté

Mais parmi les attraits d'une belle musique
Ou de Batiste ou de Lambert
L'Amour tient sa partie et très souvent se pique
De faire que deux coeurs soupirent de concert

(François) Gacon,
A Paris chez Vanheck P. du R.

In the shade of a thicket on a beautiful summer day
This agreeable company
Tastes the sweet pleasure harmony gives,
Since all is well orchestrated.

But amongst the charms of beautiful music
(Either of Baptiste or Lambert)
Love has her part and often her pique,
To make two hearts sigh in concert.

Concert champêtre (1709), engraving, 30.3 × 51.2 cm, Bernard Picart (1673-1738). Paris: Citée de la Musique, E.986.1.32 Ref: Citée de la Musique (2000); Mirimonde, A. P. de (1975-1977); Collection musicale André Meyer; Getreau (? date), Délegati - Exposition - Instrumentistes et luthiers parisiens, Paris. Shows two baroque recorders accompanied by flute and harpsichord. In the foreground left are a reclining listener, and a man and a woman singing from a shared score. On the right two musicians play violin and cello. An accompanying poem reads:

An identical engraving is said to be by Karl Augsburg Remshard (1678-1735). See Salmen (1969, 4 (3): 84 -fig.); Paolo Biordi (pers. comm., 2000).

Concert champêtre (1709), engraving by Poilly, after Bernard Picart (1673-1738). Paris: Musée de France. Ref. Paris RIdIM (1999). Shows two baroque recorders accompanied by flute and harpsichord. In the foreground of the original are a reclining listener, and a man and a woman singing from a shared score. This copy includes only the instrumentalists (although half the female singer is visible in the bottom RH corner) and it is reversed.
The giants attempt to scale Heaven by piling mountains on one another, engraving, Bernard Picart (1673-1738). London: University of London, Witt Library, Print Collection. Ref. Witt Library, London; Paris RIdIM (1999). This engraving is surrounded by an ornamental border made up of leaves; bow, arrows and quiver; heads; and trophies of musical instruments. The later include a lyre crossed by a straight trumpet, and a straight trumpet crossed by a turned baroque recorder.

Etienne Picart [le Romain] – see Domenichino

French engraver and publisher of prints after Reni, Domenichino, Tintoretto and Francesco Albani; born Paris (1632), died Amsterdam (1721).

Pablo Ruiz Picasso

Spanish painter, sculptor, graphic artist, ceramicist, designer and writer active in France; a versatile and prolific artist who dominated the development of the visual arts during most of the first half of the 20th century; born Málaga, Spain (1881), died Mougins, France (1973).

Design for Stravinsky's Pulcinella (1917-1920), 201 × 223 cm, Pablo Ruiz Picasso (1881-1973). New York: Museum of Modern Art. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). Pulcinella sings, Harlequin plays guitar, and Pierrot plays a duct-flute (possibly a recorder). Pierrot's instrument is a stylised, beaked duct-flute with six finger-holes of varying size, not quite in line, and a huge flange-like bell end with a large round blob on it to indicate the bore opening. His hands are miniscule, just large enough to hold on each side of the instrument.
Three Musicians (1921), oil on canvas, 204.5 × 183.3 cm, Pablo Ruiz y Picasso(1881-1973). Philadelphia: Museum of Art, A. E. Gallatin Collection, 1952-61-96. Ref. Web-site: Philadelphia Museum of Art: Modern and Contemporary Art (2001). "Three Musicians provides a grand summation of Pablo Picasso's decade-long exploration of Synthetic Cubism, with its flat, patterned shapes, although painted in oil, echoing the cut and pasted papers of his collages of the period. Music was a favorite Cubist theme, and here Picasso equips Harlequin with a violin, Pierrot with a recorder, and the monk with an accordion. All three characters, which figure importantly in the history of painting and in Picasso's own earlier work, are derived from Italian, French, and Spanish popular theater and carnival traditions, but the artist had also encountered them more directly during recent visits to Italy as the set designer for Sergei Diaghilev's ballet. Indeed, the stagelike space of this monumental composition may be traced to Picasso's theatrical work. Quite probably a portrayal of Picasso himself (Harlequin) and two poet friends, the painting presents an allegory of the artist as performer, a major theme of Picasso's highly autobiographical work throughout his long life" (Philadelphia Museum of Art, loc. cit.) The beak, window/labium, flared bell and several finger-holes of the recorder can readily be identified.
Three Musicians [Musiciens aux masques] (1921), oil on canvas, 200.7 × 222.9 cm, Pablo Ruiz y Picasso(1881-1973). New York: Museum of Modern Art, Zervos IV, 331. Ref. Rosenblum (1976: 95-96). Harlequin (alias Picasso himself) strums a guitar and Pierrot plays a flared-bell pipe, probably a recorder, given its similarity to that in a similar painting in the Museum of Art Philadelphia (see above). In the background the masked and cowled monk sings from a sheet of music he holds.
Musical Faun Nr. 4 (1948), lithograph, Pablo Ruiz y Picasso(1881-1973). Ulm: Ulmer Museum. Ref. Postcard: VG Bild-Kunst, Bonn (1998); Anthony Rowland-Jones (pers. comm., 2002). A faun blows a slender conical pipe, possibly a duct-flute, though no details are present.
Flute Player (1947), lithographic print, 431 × 50 cm, Pablo y Ruiz Picasso (1881-1973). Boca Raton, Florida : PicassoMio.com (for sale). Ref. Web-site: Picasso Mio (2005). A woman with bare breasts sits cross-legged opposite a musician playing a conical, flared-bell pipe. Given the title, the latter can only be a duct-flute, possibly a recorder.
Dormeuse et Flutiste, Drypoint and etching on thin Richard de Bas paper, 8.9 × 8.9 cm , Pablo Ruiz y y Picasso (1881-1973). Carmel: Hanson Gallery (for sale). Ref. Web-site: Hanson Gallery (2005). A naked woman reclines listening to her partner, a second naked woman, who sits beside her playing a conical, flared-bell pipe. Given the title, the latter can only be a duct-flute, possibly a recorder.

Jean-Baptiste Marie Pierre (1713-1789), French.

Sacrifice in Honour of Pan, engraving by Louis Simion Lempereur (1725-1796), after a painting by Jean-Baptiste Marie Pierre (1713-1789). Uppsala: Universitets Bibliotek, UBG 5252. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). A semi-clad nymph reclines before a bust of Pan. Behind her a youth plays a flared-bell pipe, possibly a recorder. The instrument, something of a hybrid, is played right hand lowermost, the first and third fingers of which are down, the outstretched little finger hidden by the double rings before the bell flare. The upper (left-hand) thumb is held underneath. The engraver was not organologically literate! Notes by Rowland-Jones (loc. cit.)
Musical Trophy (1751-1754), pink and blue camaieu on panel, Jean-Baptiste Marie Pierre (1713-1789). Château de Fontainebleau: State Apartments, Council Chamber, François I Wing, NW corner, near door. Ref. Anthony Rowland-Jones (pers. comm., 2007). The Council Chamber was redesigned at Louis XV's request in the mid-18th century by his architect Jacques-Ange Gabriel with exquisite rococo decorations, including a ceiling painting by Boucher and allegorical figures in leaf surrounds by Pierre and Carle van Loo, executed in 1751-1754. The wall decorations include many rococo panel designs in pink and blue camaieu (monochrome). At the NW corner near a door, a panel has a small trophy-like decoration at its centre with musical instruments (similar designs elsewhere are made up with gardening tools, etc.) This partiuclar trophy, by Pierre, comprises a viola crossed with a bow (above) and a tenor-sized recorder (below). The head end shows a very elongated beak before the window/labium with incised decorative rings; the foot is medium-flared with one oof-set finger-hole visible.

Pietro di Domenico da Siena

Minor Italian painter, active in Siena, whose works reflect the dominant pictorial styles of the era; born Siena (1457), died Siena (ca 1533).

– see also Sisto Badalocchio

The Return of Jephthah, attributed to Pietro di Domenico (1457 - ? 1533). Private Collection; formerly in the collection of the Earl of Crawford. Ref. Schubring (1915: no 479, pl. CXIII, as by Girolamo di Benvenuto); Visual Collection, Fine Arts Library, Harvard University, 372.P627.12J; Rasmussen (1999b); Rasmussen (1999c). "Based on Dante, Jephta, par. 5, 66 … Young women in the daughter's retinue sing and play harp, lute, recorder and tambourine" (Rasmusen, 1999b). Not seen.

Pietro di Giovanni d'Ambrogio

Italian painter of the Sienese school; born Siena (ca 1410), died Siena (1449)

Assumption (ca 1440), tempera and gold on wood painted surface, 85.8 × 50.2 cm, Pietro di Giovanni d'Ambrogio (ca 1410-1447). Esztergom: Kerestény Múzeum. Ref. Anthony Rowland-Jones (pers. comm., 2002). The Virgin ascends through a ring of musical angels to Heaven, where God the Father greets her. At the bottom, St Thomas appears and asks a proof from the Virgin of her miraculous assumption. In answer to this request, Mary unfastens and drops her belt to the doubtful apostle. The belt became the most famous Marian relic; it is now a treasure of the Cathedral in Prato. Amongst the angels, a piper holds in his right hand a slender instrument which expands markedly at the bell. No details are visible.

Pinturicchio [Pintoricchio Bernardino (di Betto)]

Italian painter and miniaturist whose nickname ('rich painter') derives from the lavish use of gold leaf and expensive pigments which he used in works with an abundance of small-scale detail and ornament; born ? Perugia (ca 1452), died Sienna (1513).

Music (1492-4), fresco, Pinturricchio (ca 1452-1513). Rome: Palazzo Vaticano, Sala Borgia. Ref. Olimpio (1956: 826, 1141-1142); Woodfield (1984: 83 - detail); Paris RIdIM (1999); Paolo Biordi (pers. comm., 2000). Music enthroned plays a viola da braccio. On the plinth at her feet two putti hold flared-bell duct-flutes (flageolets or recorders). In the foreground left are a vihuela player and a harpist; on the right are two singers (reading from music books) and a man who seems to be conducting with what looks like a small duct-flute in one hand, and a small organ pipe in the other.
Ceiling decoration, fresco, Pinturricchio (ca 1454-1513). Detail. Rome: Palazzo Vaticano, Room of Saints. Lives of the Saints within the four triangles defined by a cross joining the four corners of a rectangular ceiling. At the foot of a throne, on the right, two men carry heavy planks (of the cross), preceded by a man blowing a curved trumpet and a youth with a flared-bell pipe played right hand uppermost, probably a shawm in this conext, but possibly a recorder.
Glory of St Bernadino (1485), fresco, Pinturricchio (ca 1452-1513). Rome: Santa Maria d'Aracoeli, Chapel of St Bernardino of Siena, altar wall. Ref. Anthony Rowland-Jones (pers. comm., 2002). A grand painting of St Bernardino of Siena between two other saints, crowned by angels; in the upper part is a figure of Christ in a mandorla, surrounded by four angel musicians singing and playing recorder, rebec and lute. The recorder is cylindrical, of tenor size with a slow widening towards the bell flare which has two decorative rings. The beak is narrow and long, and the window/labium is visible. The player's right hand is uppermost, but the finger-holes show, as they are not all covered. Six finger-holes are fully visible and one near the top is more or less half-covered. Of the two lower holes, one is just lower than the player's left hand, but not offset.
Assumption of the Virgin, Pinturricchio (ca 1452-1513). Naples: Museo di Capodimonte (dalla Cappella Tolosa in Monteoliveto Napoli). Ref. Laclotte (1979, 1: pl. 51 - col.); Angelo Zaniol (pers. comm., 2003). The Virgin and angel musicians are borne aloft by cherubim (winged heads) above the heads of 12 saints, one of whom kneels in prayer. The musicans play lute, vielle and a duct-flute (probably a recorder), the beak, window/labium and finger-holes of which are clearly depicted. "Instead of playing, the recorder player is having an animated chat with his neighbour, who pretends to be praying. It's amusing to observe how the early painters conceived of paradise, a place so similar to earth!" (Zaniol, loc. cit.)

Domenico I Piola

Italian painter, draughtsman, printmaker and designer; member of an extensive family of Italian artists; the leading artist in Genoa in the second half of the 17th century, providing ceiling frescoes for many Genoese churches and palaces and producing paintings for private collectors; also a prolific draughtsman, whose many designs for thesis pages and book illustrations promoted his work throughout Europe; born Genoa (1627), died Genoa (1703).

Esau asking for his Father's Blessing which is refused him, canvas, 130 × 178 cm, Domenico I Piola (1627-1703). Location unknown; exhibited at the Biennale des Antiquires of Florence, Genoa (1971). Ref. Exhibition catalogue (1971); Paris RIdIM (2000). Accompanied by his hunting hound, Esau (with long hair and a feathered cap) implores Isaac, his father, both pointing towards a young woman who sits beside Isaac, presumably Rebecca. A small boy standing between Isaac and Rebecca grasps in one hand a flared bell pipe (very possibly a recorder, though the details are not clear) which he holds in Rebecca's lap, perhaps to make clear the relationship between the blind old man and the beautiful young woman.
Allegory of Music (ca 1671), oil on ?canvas, 100 × 150 cm, Domenico I Piola (1627-1703). Genoa: Palazzo del Principe (Villa Doria). Ref. Francesco Li Virghi (pers. comm., 2000). One of a triology of paintings named Allegorie delle arti to celebrate the marriage of Giovanni Andrea Doria III with Anna Pamphilj in 1671. This painting shows a black eagle being crowned with a laurel leaf by cherubs assisted by a dove and serenaded with lute and a pipe played by the angel on the far right hand side which would appear to be a recorder, though only the head and upper part of the body are shown. At the foot of the painting lie a tambourine with pellet bells, a shawm (only the foot of which is visible) and a whistle-style syrinx with five pipes. The eagle represents the coat of arms of the Genoese family Doria, while the dove is the heraldic device adopted by the Roman noble family Pamphilj. The other paintings in this series are allegories of painting and poetry; both contain the Doria eagle. The Allegory of Art carries the inscription "Desiderabilia super aurum et lapidem pretiosum multum". A banner in the Allegory of Music reads: "et dulciora super mel et favum". Taken together they comprise a verse from Psalm 18 which, translated, reads:
More desirable are they than gold, and many precious stones:
sweeter also than honey and honeycomb.
In the biblical context this refers to the going forth, the law, the statutes and the fear of the Lord.

Paulo Gerolamo Piola

Italian painter; member of an extensive family of Italian artists; painted religious and mythological subjects in which the figures are portrayed in noble and classical attitudes; born Genoa (1666), died Genoa (1724); son of Dominco I Paolo (1627-1703).

Childrens' Concert, drawing, possibly by Paulo Gerolamo Piola (1666-1724). Düsseldorf: Kunstmuseum, Inv. FP 3858. Ref. Munich RIdIM (1999: DÜk 543). Includes a recorder. Not seen.

Sebastiano del Piombo = Sebastiano Luciani

Giulio Pippi [called Giulio Romano; in French, Jules Romain]

Italian painter, decorator and architict, renowned for his work on the ducal palace and cathedral at Mantoue; born Rome (1492 or 1499), died Mantova (ca 1546).

Series on Subjects from Fables: Dance of the Nymphs (1696-1790), tapestry by François Duret-Robert (17th-18th century), after a design by Giulio Pippi (1492/1499 - 1546). Paris: Mobilier National. Ref. Encyclopédie CdA; Paris RIdIM (2000). One of eight designs for the Cabinet du Roi. In 1699 and 1700, Mme de Maintenon, offended by their nudity, ordered their modification by covering the figures with drapes. Four nymphs dance to music played by a fifth who reclines in the lower right-hand corner playing a long flared-bell, ornately turned-bell pipe which may represent a recorder, although the beak appears bulbous and more like a flageolet.

Gaultieri di Giovanni da Pisa (b. ca 1375, fl. Siena 1389-1445), Italian

Assumption of the Virgin (ca 1400), Gaultieri di Giovanni da Pisa (b. ca 1375, fl. Siena 1389-1445). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie. Ref. Brown (1985: #217). " … on the right angels play recorder, fiddle, … " (Brown, loc. cit.) A very similar ring of angels to the Munich altarpiece, particularly the two angels at the bottom. The wind instrument in question is of alto size with a slightly conical expansion and held centrally by both hands close together. It is not a recorder, but some kind of single pipe (Rowland-Jones, pers comm.)
Assumption of the Virgin (ca 1410), fresco, Gaultieri di Giovanni da Pisa (b. ca 1375, fl. Siena 1389-1445). Siena: Chiesa del Carmine. Ref. Brown (1985: #219). " … on the right, angels play cymbals, shawm or recorder, lute, … The fresco is too badly damaged to identify some of the instruments securely" (Brown, loc. cit.)

Bonanno Pisano

12th-century Italian architect and sculptor to whom the design of the Leaning Tower of Pisa is generally attributed; active ca1179-1190; born Pisa, died Pisa.

Nativity (ca 1190), bronze cast panel, Bonanno Pisano (op. 1179-1190). Detail. Pisa: Duomo, Porta da Saint Ranieri. Ref. Guizzi (1990: fig. 1); Anthony Rowland-Jones (pers. comm., 2006). One of several panels on the South transept doors of the Cathedral. Each of the two doors has a shallow frieze at the foot, with ten square panels above (two across, five down). The Nativity is the bottom left of the right-hand door. Bonano finished the detailing from cold after casting the main designs of each scene. Angels carrying scrolls and two shepherds playing musical instruments pay homage to the Holy Family. One of the shepherds plays what is clearly a flared-bell pipe, probably a duct-flute, but possibly a reed pipe of some sort. The other holds an object in his hand which may represent another wind-instrument.

Nicolò (Nicolo) Pisano [de Brusis; dell�Abrugia; di Bartolomeo]

Italian painter of altarpieces and church decorations; active in Pisa, Ferrara, Milan, and Budrio (near Bologna); born Pisa (1470), died Pisa (?1539).

Virgin and Child Enthroned between Saints James and Helen (1512-1513), Nicolò Pisano (1470-?1538). Milan: Galleria Brera. Ref. Sauerlandt (1920: 63 - b&w); Olimpio (1956: 829-830); Woodfield (1984: 90); Archiv Moeck; Paolo Biordi (pers. comm., 2000). A youth, seated on a plinth at the Virgin's feet, plays a vihuela de mano; on either side winged putti play conical, flared-bell duct-flutes, both with their left hand lowermost; The window/labium of each instrument is clear. The left-hand instrument has a clear beak, and there is possibly an offset hole for the little finger of the lowermost hand. Notes (in part) by Anthony Rowland-Jones (pers. com., 2000).

Johann Georg Platzer [Plazer]

Swiss painter who produced a great number of small paintings, mostly on copper; the most important master of the conversation piece in 18th-century Austria, he painted histories and allegories, scenes of artists' studios and genre scenes; his compositions are remarkable for their virtuoso manner, lively colours and the innumerable details they record; the repeated use of architectural motifs in his work is derived from northern Italian quadratura painting; born St Michael bei Eppan (1704), died Tirol (1761).

The Concert (1740), Johann Georg Platzer (1704-1761). Nuremberg: Germanisches Nationalmuseum, GM 1329. Ref. Meer (1983: pl. 262 - col.); Favre (1990: 60-61 - col.) A family concert in crowded rococo style with one-keyed flute, violin, theorbo, harpsichord, cello and a singer who keeps time. In the foreground lie a mask, a tambourine, an open book of music and a small baroque turned recorder. On the wall behind the players hangs a painting or tapestry of musicians including the satyr Marsyas who plays a long flared duct-flute (possibly a recorder), whilst Apollo plays his viola da braccio. Discarded on the floor in the foreground beside a child and a dog, a turned baroque-style recorder lies discarded with a music-book as if to mirror the tapestry behind: clearly the recorder is not appropriate for the business of real music either in this or the mythological realm.
Musicale, Johann Georg Platzer (1704-1761). Location unknown: Leningrader Sale, Lepke, Berlin, 1-7 November 1928. Ref. Rasmussen (2000, Keyboard). "Women sing and play a harpsichord. Men sing and play violin, cello, chitarrone and flute. A child plays a recorder. There are also unplayed musical instruments" (Rasmussen, loc. cit.) Possibly a copy of (or even identical to) Platzer's The Concert, Germanisches Nationalmuseum, Nuremberg. If so, it seems odd that Rasmussen doesn't mention the picture within a picture (see above).
Bacchus and Ariadne on Naxos, painting, Johann Georg Platzer (1704-1761). Kassel: Schlo� Wilhelmshöhe, Gemäldegalerie Alte Meister, Inv. Gk 646, 1749/82. Ref. Munich RIdIM (1999: Kng 45). Bacchus' train includes players of tambourine (Maened), syrinx (Pan), flute and a duct-flute which might (or might not) be a recorder. Notes by Anthony Rowland-Jones (pers. comm., 1999).
An Elegant Company making Music outside a Palace, oil, Johann Georg Platzer (1704-1761). Location unknown. Ref. Gabrius Databank, OMP (2002). A group of people at a table talk and drink; another group dance; an amorous couple drink each other's helth; a band of musicians play violin and a tenor-sized pipe, possibly a recorder since there appears to be a fontanelle near the foot. Auctioned 3 July 1991, sold (Gabrius, loc. cit.)

Henry Playford

Music publisher who was in business with his father from ca 1680; many of his publications were of a transient nature and were aimed at favourite songs and instrumental pieces for public entertainments, such as the pleasure garden concerts much in vogue; revised his father's The Dancing Master and published D'Urfey's Wit and Mirth and Purcell's Orpheus Britannicus; born London (1657); died between 1706 and 1721; younger son of John Playford (1623-1686) and his only known surviving child.

Title page: Henry Playford, The Theater of Music (1685), engraving. Published in London. Ref. Early Music 9(4): 527 (1981). Shows putti playing flared-bell recorder, cornett, fiddle, viol and lute.
Title page: Henry Playford, Deliciae Musicae … (1696), engraving by Frederick Hendrick van Hove. Published in London. Ref. Pincherlé (1963: 99). A female singer and her lutenist accompanist sit at a table on which lie music and a narrow, flared recorder of baroque design in three sections.

John Playford

English music publisher and bookseller whose popular and frequently expanded collection of music and dance steps remains the principal source of knowledge of English country dance steps and melodies; born Norwich (1623), died London (1686); father of Henry Playford (ca 1657-ca 1707) who continued the family business.

Title page: John Playford, The Division Violin (1684), engraving. Ref. Early Music, Nov. (1990: 575), 24(1): 95 (1996); Holman (1994: fig.) A violin teacher practices, seated at a table. On the wall behind him are two crossed one-piece, flared-bell recorders, a cello and bow.

Cornelis van Poelenburch

Dutch painter and draughtsman; the most important representative of the first generation of Dutch Italianates; most famous for his small, charming paintings, on copper or panel, of Italianate landscapes with small figures, sometimes set in biblical or mythological scenes, sometimes in contemporary attire; born ?Utrecht (1594/5), died Utrecht (1667).

Tobias and the Angel (1617-1635), Jan Linsen (1602/3-1635) after Cornelis van Poelenburch (1594/5-1667). Amsterdam: John Schlichte Bergen (dealer). Ref. Rijksbureau voor Kunsthistorische Documentatie 19478 (2001); Anthony Rowland-Jones (pers. comm., 2001). Mountain landscape with a piping sheperd and an ass; in the foreground are Tobias and an angel. Unfortunately the shepherd is only a detail and his pipe is too small to identify; it may be a recorder.

Arnold Poissonier

Fifteenth-century Franco-Flemish tapestry maker.

The Gypsy Encampment (mid- to late 15th-century), tapestry, 386 × 343 cm, workshop of Arnold Poissonnier (15th century). Glasgow: Burrell Collection. Ref. Marks et al. (1984: 106-107, fig. 12 - col.); Anthony Rowland-Jones (pers. comm.) Courtiers visit a gypsy encampment to have their fortunes told (and stolen) and to indulge in amorous pursuits. Two couples at a table feast on the love-apples of Venus and embrace, while another courtier plays a tenor-sized cylindrical recorder, symbol of sensuality.

Antonio (di Jacopo d’Antonio Benci del) Pollaiuolo

Italian draughtsman, painter, engraver, bronze sculptor, and goldsmith; his main contribution to Florentine painting lay in his searching analysis of the anatomy of the body in movement or under conditions of strain (he is said to have anticipated Leonardo in dissecting corpses in order to study the anatomy of the body), but he is also important for his pioneering interest in landscape; born Florence (1431/2), died Rome (1498).

Music, ? relief sculpture, Antonio Pollaiuolo (1431/2-1498). Ref. Paris RIdIM (2000). Music plays a portative organ assisted by an angel who pumps the bellows. Behind her a number of instruments lie scattered, including a lyra da braccio, tambourine, lute, trumpet and two cylindrical duct-flutes, one shorter than the other, both with what appears to be a metal retaining band at the foot with incised rings. The longer one has holes for seven fingers and thus could represent a recorder, though double pipes seem more likely.

Antonio Pomarancio [Circignani] (ca 1568-1629), Italian

Italian painter whose work replaced the mannerism of his time with a more direct and expressive naturalism; born Città della Pieve (ca 1568), died 1629; son of the painter Niccolò Circignani (1517/1524-1596).

Musical Angels (early 17th century), fresco, Antonio Pomarancio (ca 1568-1629). Rome: Palazzo Altemps, Chapel of Sant'Aniceto. Ref. Anthony Rowland-Jones (pers. comm., 2002). The south wall of the chancel of the richly frescoed and marbelled chapel has a barrel-vaulted ceiling with a fresco of musical angels dancing in a big ring, and playing musical instruments. One plays a pipe with lips relaxed, right hand uppermost and all fingers of both hands down. This may be a recorder, alto-sized, cylindrical with a short, sharp bell flare; but the instrument is partly in shade and no window/labium ofr other charcteristic details are visible. The player is seated comfortably on a cloud and bends forward as he plays to study a large music book balanced on his lap.

Baccio Pontelli

Italian woodcarver and architect; worked in the cathedral in Pisa and in Urbino, built fortresses in Ostia, Iesi, Osimo, and Senigallia, fortified the Santuario della Sta Casa at Loreto (1490-94) and built other churches and religious buildings, many of them for the popes Sixtus IV and Innocent VIII; born Florence (ca (1450), died Urbino 1392.

Marquetry wall panels (1474), Baccio Pontelli (ca 1450-1492). Urbino: Palazzo Ducale, Publico Studiolo. Ref. Paris RIdIM (1999). The design of the decorative wall panels of this room were originally credited to Botticelli. Many of the lower panels depict musical instruments including lute, clavichord, fiddle and a number of pipes, amongst them one which appears to be small cylindrical recorder since the lowermost finger-hole is offset.

Elias Formshneider Porcelius

German engraver active in Nuremberg; born 1627, died 1722.

David with Harp, print, Elias Formshneider Porcelius (162?-1722). Ref. Cäcilie und David – Patrone der Musik (?date: fig. 33); Archiv Moeck. David sits on a throne playing his harp as an emaciated dog slinks away. On the floor lie two flared-bell recorders and a recorder case consisting of a number of tubes bound together.

Bernhard Posthast (1882-1966)

Flautist (1946), lithograph, 28 × 24 cm, Bernhard Posthast (1882-1966). Munich: Gallerie Saxonia. A young man leans over a young woman's shoulders and fingers the flared-bell recorder whilst she blows it. The sides of his cloak are wrapped around her shoulders. Currently for sale.

Hendrick (Gerritsz.) Pot

Dutch painter of small-scale guardroom and 'merry company' scenes and portraits; born Haarlem (ca 1585), died 1657.

Merry Company: The Enticement (ca 1629-1633), Hendrick Pot (ca 1585-1657). Rotterdam: Museum Boijmans Van Beuningen. Ref. Rowland-Jones (1997d: 51, fig. 9 - b&w, fig. 9a - detail - b&w). A prostitute entices a young gallant, encouraged both by wine and the approval of 'Pickle-herring', a stock character in Dutch farce. The prostitute holds an impossible recorder with a single tube but a double mouthpiece.
Portrait of Jan van den Vondel (1587-1679)as a Shepherd, Hendrick Pot (ca 1585-1657). Amsterdam: Rijksmuseum 1907a. Ref. Bernt (1969, 2: 934; 1948-1962, 2: 1000); Rasmussen (1999a; 2002, Horn); Munich RIdIM (1999). The subject holds a small slighly flared-bell duct-flute (flageolet or recorder) the window/labium, one finger-hole above the hands and two lower; there is a reverse-curve horn on a table or wall. Notes by Anthony Rowland-Jones (pers. comm., 2000).
Shepherd with a Flute, oil on panel, 37.4 × 31.6 cm, Hendrick Pot (ca 1585-1657). Amsterdam: Sotheby's, Old Master Paintings, Sale: AM1032, 13 November 2007, Lot 38. Ref. Website: Sotheby's (2007 - col.) A gentleman (ie a pseudo-shepherd) with curly hair and a carefully trimmed moustache and beard gazes at a small pipe which he holds in his right hand. The flute seems most likely to be of the transverse kind since no window/labium is visible and the finger-holes are all in line. Thus it appears to be a fife but given its subject matter might be a badly depicted recorder.

Paulus [Pauwelus] (Pietersz.) Potter (1625-1654), Dutch

Dutch painter of religious and pastoral subjects who sought to integrate his figures with the landscape, suggesting space by carefully positioning the forms of the figures; born Enkhuizen(1625), died Amsterdam (1654); son of the glass and easel painter Pieter (Symonsz.) Potter 1597/1601 - 1653).

Landscape with Shepherdess and a Shepherd playing a Flute (1642-1644), oil on wood, 67 × 114.5 cm, Paulus Potter (1625-1654). Detail. Budapest: Szépmüvészeti Múzeum, Inv. 51.2885. Ref. Website: Szépmüvészeti Múzeum (2007 - col.) This pastoral scene is an early work of the most outstanding master of Dutch animal painting. The composition can be related to Clement de Jonghe's engraving of 1644 entitled Shepherd on a Hillsdie (see below). Seated on a hillside falling down to a lake, a shepherdess reads from a piece of paper in one hand, conducting with her other an accompaniment played on a small flared-bell recorder (the window/labium just visible, and a clearly depicted offset hole for the lowermost finger) by a young shepherd reclining beside her. In the foreground cows, goats and sheep browse contentedly. Two old copies of this painting, in the Museo Correr, Venice, and in the museum of N�mes are also extant. Transferred from the former R�th György Museum in 1951.
Shepherd on a Hillside (1644), engraved by Clement de Jonghe after Paulus Potter (1625-1654). Ref. Bartsch (1854-1870, 1: 54/15). To a foreground of sheep, the shepherd plays a pipe (possibly a recorder), right hand lowermost. The instrument has a flared bell surmounted by a turned bead with a hole in it which is offset to the left. No other holes or window/labium are visible. Notes by Anthony Rowland-Jones (pers. comm., 2000).
Landscape with Cattle, Paulus Potter (1625-1654). Uppsala: Universitets Konstsamlingarna, UU 276. Ref. Anthony Rowland-Jones (pers. comm., 2000). This could be a copy of an original by Potter. A cowherd plays an alto-size pipe (possibly a recorder) which is rather narrow with a slight bell flare and wide bore opening, but no other identifying details. The finger position could indicate a six-holed pipe, but it is hard to tell. Notes by Rowland-Jones (loc. cit.)

Pieter Jansz. Pourbus

Netherlandish Mannerist decorative artist and painter of restrained portraits of citizens of Bruges, histories and altarpieces, also a surveyor and engineer; born Gouda (1510), died Bruges (1584); father of Frans the elder.

Allegory of True Love (ca 1547), oak panel 132.8 x × 205.7 cm, Pieter Jansz. Pourbus (1510-1584). Detail. London: Wallace Collection, Inv. 531. Ref. Bouterse (1995: 85); Rowland-Jones (1997d: 48, fig. 5, detail - b&w); Early Music10(1): front cover (1982, col.); Musical Times Early Music Calendar (1993: September - col.); Rowland-Jones (2000b: fig.-b&w); Bridgeman Art Library, Image P531 (2007 - col.) Shows Sapiens and Fidutia (representing spiritual love), and Reverentia, Daphnis and Euphrosine (representing sensual love), with three one-piece, flared-bell, soprano recorders and music.

"The recorder held by Daphnis, who consorts with a befeathered courtesan and Euphrosine, the third of the erotic Three Graces, betokens his identify as a shepherd and also, by pointing directly at the scurrilous chanson on the table, suggests his debauched character. The two recorders on the music – Thomas Crecquillon's 'Ung gay bergier prioit une bergiere' … published by Susato in 1543 – reflect the words of the chanson. They are parallel, signifying an amorous union, but no such harmony can be achieved as the recorders are reversed. The shepherdess rejects the shepherd, 'Car tu n'as pas la lance qui me fault'. As is to be expected in an allegory, the recorders have considerable significance, but … the picture would lack plausibility if recorders were inappropriate instruments to participate in the performance of chansons. Incidentally, the recorders are of the external 'wave' design, with choke-bore, adopted by many later makers. The picture therefore illustrates three aspects of recorder iconography – symbolism (shepherds, eroticism, harmony in love, and indulgence i.e. feasting), performance practice (and the class of performers), and the instrument's design history in responding to changing needs" (Rowland-Jones 2000b, loc. cit.)

Nicolas Poussin

French painter, a leader of pictorial classicism in the Baroque period; spent almost his entire working life in Rome; his scenes from the Bible and from Greco-Roman antiquity influenced generations of French painters; born Villers, near Paris (1593), died Rome (1665).

Landscape with Mercury and Argus, oil, Nicolas Poussin (1593-1665). Paris: Collection Moussalli, LA 47078. Ref. Pottier (1992: 65, pl. LI); Archiv Moeck; Paris RIdIM (1999). In a clearing in a shady forest, Io (as a heiffer) looks on as Mercury charms Argus to sleep with his playing on a flared bell recorder. In the background is village amidst a rocky landscape.
Olympia and Marsyas, oil on canvas, 102.5 × 89.5 cm, Nicolas Poussin (1593-1665). Paris: Private Collection. Ref. Oberhuber (1988: 95 - b&w). Marsyas plays a flared pipe, probably a recorder.
Parnassus (1626), oil on canvas, 125 × 197 cm, Nicolas Poussin (1594-1665). Madrid: Museo del Prado, Inv. 2313. Ref. Web Gallery of Art (2001); Anthony Rowland-Jones (pers comm., 2000); Bridgeman Art Library (2001: Image ID SCP 38779 - col.) After a painting by Raphael in the Vatican, Rome. Apollo, seated on a throne, receives the homage of the Muses and others whilst winged cupids gambol overhead. One of the Muses holds a straight trumpet, one a syrinx, and another (? Euterpe) holds a mask aloft in her left hand and a slightly conical flared-bell pipe in her right. The bell-opening is wide and the instrument may represent a cornett or shawm, but there is the hint of a window/labium at the blowing end, so this could be a recorder. Raphael's depiction of the same scene has no wind instruments, only a strange kithara-like contraption.
Landscape with Polyphemus (1648), oil on canvas, 150 × 199 cm, Nicolas Poussin (1594-1665). St Petersburg: Hermitage. Ref. Web Gallery of Art (2001). Polyphemus the giant sits alone atop a crag his staff lying beside him whilst he plays a pipe, no details of which are visible. In the valley below the the shepherds and shepherdesses disport themelf in what looks like a game of hide and seek.
Pastoral Landscape (ca 1627), oil on canvas, 78.8 × 100 cm, Nicolas Poussin (1593-1665). Austin: University of Texas, Jack Blanton Museum of Art, Suida-Manning Collection. Ref. Suida-Manning Collection (2000). Against a background of trees, hills, pasture and sheep, a shephed sits playing his pipe (possibly a recorder) to a shepherdess reclining beside him.
Venus and Mercury, painting, Nicolas Poussin (1593-1665). London: Dulwich Picture Gallery. Ref. Website: klassiskgitar.net (2007 - col.) Part of a larger picture, dismembered. Venus and Mercury sit together on a drape-covered rocky ledge. Venus' chariot is parked behind them. The goddess is depicted as the pensive embodiment of beauty and the inspiration of artistic inspiration. Mercury, the god of art and eloquence points to the ground before them where Eros (depicted as a winged boy) wrestles with his brother Anteros (depicted as a baby faun) amongst open books, music scores, an artist's palette, a lute and the flared foot of a pipe which probably belongs to a recorder. This picture has been interpreted as a depiction of how physical emasculation from venereal disease (from which the artist suffered) could be overcome by the more enduring potency of artistic creativity. But a less extravagant interpretation reads the putti as Cupid and the infant Pan signifying no more than the ascendancy of love over all things ('omnia vincit amor').
[Untitled] (ca 1650-1660), follower of Poussin, French. Paris: ? Musée du Louvre. Female musicians in the lower left play a double duct-flute (flageolet or recorder), a transverse flute and a tambourine.

Jean Poyet

French miniaturist who executed commissions for Queen Anne of Brittany and other royal patrons; active Tours (1493-1497).

Virgin and Christ Child (ca 1490-1500), gouache and gilding on parchment, 18 × 12.8 cm, attributed to Jean Poyet (op. 1483-1497). Minneapolis: Institute of Arts, Inv. 14.12. Ref. Web-site: Minneapolis Institute of Arts (2003 - col.) Cut from a Book of Hours and then trimmed. "The Virgin offers the standing Christ Child a pink, or carnation, symbolizing love. Behind them, three angels make music with a lute, a recorder and a rebec … " (Minneapolis Institute of Arts (loc. cit.) However, the wind instrument is much more interesting than a recorder. Its mouth pipe and windcap indicate a capped reed instrument, possibly a cornamuse (dulcain)! The external profile is gently expanding throughout. Unfortunately, the very bottom of the foot is out of sight behind the Christ Child, but seems to be elaborately turned.

Michael Praetorius (originally Schultheiss)

German composer, organ builder, musical theorist; born Creuzberg (or Kreuzberg) Thuringia (1571), died Brunswick-Luneberg (1621).

Title page: Musicae Sionae IV & VIII (1607), by Michael Praetorius (1571-1621), woodcut, published by Jacob Lucius, Helmstedt. London: British Museum. Ref. Fraenkel (1968: pl. 88); Boydell (1982: 270 - pol LII). Note that Jacob Lucius, the university pri