Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

R

Jean Rabel (ca 1545-1603), French

• Untitled, print by 'Frans' after Jean Rabel (ca 1545-1603). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). "A hurdy-gurdy player with a boy playing pipe and drum. The pipe is in fact a Dutch-style soprano hand fluyt. The boy holds it at his lips with his left hand, fingers down covering finger-holes two, three and four, with holes one, five, six and seven all visible and in line. The mouthpiece is strongly beaked and the window/labium just showing. The outward form is slightly conical, but there is no bell flare. There is one incised ring near the bell and an outer ring at the bell end itself" (Rowland-Jones, loc. cit.)
• The Hurdy-Gurdy Player (1615-1638), engraved by Charles David (ca 1600-1636/1638) after Jean Rabel (ca 1545-1603). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). "The hurdy-gurdy player is accompanied by a boy with a small drum (tabor) and a soprano recorder, held in his left hand with three finger-holes visible above and two below, the lowest offset. There is a slight flare towards the bell starting at hole six. There are three lightly incised rings near the bell. The window/labium is clearly depicted" (Rowland-Jones, loc. cit.)

Arthur Rackham

• Illustration to Mother Goose, watercolour on paper, 27.3 × 20.3 cm, Arthur Rackham (1867-1939). Private Collection. Ref. Bridgeman Art Library (2001: image CH 142226). A small child playing a flared bell pipe leads a group of townspeople down a street.

Marcantonio Raimondi

• Apollo and the Muses, Marcantonio Raimondi (1480- ca 1534) ? after Mantegna (1431-1506). Charlotte Park: Collection of Sir Montgomery Fairfax-Lucy. Ref. Bartsch (1854-1870, 9: 300.398); Limberg (1992: 123, fig. 11 - b&w). Includes a monogram AFV, the V upside-down. Apollo sits on a rock playing his lira da braccio. A Muse on either side holds a small cylindrical transverse- or duct-flute (flageolet or recorder); a third dances.
• Marsyas Teaching the Young Olympus (ca 1509), engraving Marcantonio Raimondi (1480 - ca 1534) ? after Raphael (1483-1520). New York: Metropolitan Museum of Art, 29.44.12. Ref. Bartsch (1854-1870, 9: 223.296 – as Faun); Anita Randolfi (pers. comm., 2004); Website: Corbis Images HT009123 (2009). A satyr seated beneath a tree in front of a village holds a recorder in his left hand; it is looked at by a boy running up to his side as if to grasp it from him. It is cylindrical and rather fat, narrowing slightly toward the beak, but the window/labium is clear, as are one upper finger-hole and three lower holes, slightly offset. The foot shows a wide bore exit. Notes by Anthony Rowland-Jones (pers. comm., 2000). Note that Marsyas is variously depicted in literature and art as Olympus' son and as his father.

Johann Anton Alban Ramboux

• Musical Angel, Johann Anton Alban Ramboux (1790-1866). Detail after drawings by Pietro Perugino for the fresco in S. Agostino, Panicale, Italy. Frankfurt: Städelsches Kunstinstitut und Städtische Galerie, Inv. ne Inv. Nr., Bd. IX, S. 35, Nr. 67.1461. Ref. Munich RIdIM (2009, Fsm - 314). An angel holds a slender flared-bell pipe, possibly intended to represent a recorder.

Jean Raoux

• The Concert (1717), painting, Jean Raoux (1677-1734). Riom: Musée Francisque Mandet. Ref. Website: klassiskgitar.net (2007 - col.) Almost identical to the following. A woman plays a guitar, a man (possibly her husband) plays a violin; between them are two young children one of whom holds a baroque recorder of soprano or alto size with a bulbous beak; to the bottom right lies a lute. The recorder is held left hand uppermost with the little finger of the right hand supporting at the side, his fingers are alldown, excepting the right hand little finger which is lifted. The boy is not playing but listening to the man (pointing out something in the music. Very similar paintings to this have been attributed to Philip Mercier (1689-1760) and Johann Heinrich Tischbein I (1722-1789) and to unknown imitators (see below).
• [The Concert] (18th century), after a painting by Jean Raoux (1677-1734) Private Collection. Ref. klassisgitar.net (2007 - col.) Almost identical composition to the above. A woman plays a guitar, a man (possibly her husband) plays a violin; between them are two young children one of whom holds a baroque recorder of soprano or alto size with a bulbous beak; to the bottom right lies a lute. The recorder is held left hand uppermost with the little finger of the right hand supporting at the side, his fingers are alldown, excepting the right hand little finger which is lifted. The boy is not playing but listening to the man (pointing out something in the music.
• The Music Lesson (early 18th century), oil on canvas, 132 × 985 cm, after a painting by Jean Raoux (1677-1734). Bordeaux: Musée des Beaux Arts, Inv. BXE 839 ; BXM 5768. Ref. Joconde Website (1999). Around a table, a couple and their children play guitar, violin, viol and duct-flute. Not seen.
• Family Portrait on a Terrace, Playing Music (17th century), after a painting by Jean Raoux (1677-1734). Location unknown: auctioned 1 November 2006 (unsold). Ref. Gabrius Data Bank (2007 - col.) A family make music around an ornate table on a terrace. Mother plays the guitar, father holds a violin pointing to a score held by a boy with a bass viol at his side, a second boy plays a recorder. A negro boy serves refreshments. Some pages of music have been stuffed under the table. A tambourine (with jingle rings) lies on top of a book in the foreground left. Whilst by no means a copy, the resemblence in composition and detail of this painting with others by Raoux and his followers here is obvious.

Raphael (born Rafaello Santi or Sanzio)

• The Ecstasy of St Cecilia with Saints Paul, John the Evangelist, Augustine and Mary Magdalene (1515), Raphael (1483-1520). Detail. Bologna: Pinacoteca Nazionale. Ref. Pincherle (1959: 44); Pinacoteca Nazionale di Bologna (1967: 215 - col.); Vecchi (1969: pll. XLVIII-XLIX - col.); Beck (1976: pl. 35 - col.); Ember (1984: pl. 21- col.); Freedberg (1961: fig. 241); Fishel (1962, pl. 191 & 192b); Mossakowski (1968); Mirimonde (1974: 68); Zaniol (1984, November: 7, footnote 13); Stefaniak (1991: 345-371); Schirn Kunsthalle (1994); Burlington Magazine 136 (1994: 718); Rowland-Jones (1997e: 91 & 92 - detail, b&w); Rowland-Jones (1997e: 91-92); Rasmussen (1999c); Ref. Institut für Musikwissenschaft (2003 - col.) Commissioned by the Bolognan noblewoman Elena Buglioli dall'Olio, Raffaello Sanzio painted this work for the chapel dedicated to St Cecilia in San Giovanni Monte church, Bologna. St Cecilia holds a portable organ upside down so that its pipes almost drop out. She is in the company of four other saints. Various instruments lie discarded in the foreground, including a viol, tambourine, jingle ring, triangle, a large cylindrical recorder and, poking through the jingle ring, a smaller one of which only the bottom part is visible but which clearly depicts the offset hole for the lowermost finger though the bell is damaged, and the head-joint of a third. St Cecilia gazes rapturously upwards at a choir of singing angels, proclaiming the supremacy of vocal over instrumental music. The instruments are said to have been painted by Giovanni da Udine (1487-1561/4).
• The Ecstasy of St Cecilia with Saints Paul, John the Evangelist, Augstine and Mary Magdalene, drawing, after Raphael (1483-1520). Paris: Musée du Petit-Palais. Ref. Mirimonde (1974: pl. 69); Rasmussen (1999c). "Has only the jingle ring (barely sketched), and does not depict the tambourine" (Rasmussen, loc. cit.). Not seen.
• The Ecstasy of St Cecilia with Saints Paul, John the Evangelist, Augstine and Mary Magdalene (1517), copy by Andrea di Formiggine, after Raphael (1483-1520). Ref. Basler Jahrbuch für historische Musikpraxis 8 (1984: 219 - detail); Zeitschrift für Kunstgeschichte 50 (1987: 2); Rasmussen (1999c). Not seen.
• St Cecilia, engraving by Marcantonio Raimondi (1480- ca 1534) after Raphael (1483-1520). Ref. Ember (1984: 21, fig. 4). From an early sketch of Raphael's The Ecstasy of St Cecilia Here, St Cecilia gazes up at angel musicians playing violin, harp and a small pipe (probably a duct-flute). She is actually treading on the instruments discarded at her feet – a timbrel and a small, cylindrical duct-flute of which only the bottom is visible. This construction seems to have replaced the theme of Raphael's original (namely the supremacy of vocal over instrumental music) with a more general one concerning the supremacy of heavenly over earthly music. The original painting by Raphael is in the Pinacoteca Nazionale di Bologna.
• St Cecilia, engraving (with monogram), 25.8 × 16.4 cm (image), 25.8 × 16.4 cm (sheet), by Marcantonio Raimondi (1480- ca 1534) after Raphael (1483-1520). San Francisco: de Young Museum, 1963.30.36943. A reversed copy. St Cecilia gazes up at angel musicians playing violin, harp and a small pipe (probably a duct-flute). She is actually treading on the instruments discarded at her feet – a timbrel and a small, cylindrical duct-flute of which only the bottom is visible. This construction seems to have replaced the theme of Raphael's original (namely the supremacy of vocal over instrumental music) with a more general one concerning the supremacy of heavenly over earthly music. The original painting by Raphael is in the Pinacoteca Nazionale di Bologna.
• St Cecilia, engraving (with monogram), 25.4 x 15.7 cm (image), 25.7 x 15.9 cm (sheet) inches, by Marcantonio Raimondi (1480- ca 1534) after Raphael (1483-1520). San Francisco: de Young Museum, 1963.30.36341. A reversed copy. St Cecilia gazes up at angel musicians playing violin, harp and a small pipe (probably a duct-flute). She is actually treading on the instruments discarded at her feet – a timbrel and a small, cylindrical duct-flute of which only the bottom is visible. This construction seems to have replaced the theme of Raphael's original (namely the supremacy of vocal over instrumental music) with a more general one concerning the supremacy of heavenly over earthly music. The original painting by Raphael is in the Pinacoteca Nazionale di Bologna.
• St Cecilia, engraving, 25.8 x 15.6 cm (image), by Marco Dente da Ravenna (1493-1527) after the engraving by Marcantonio Raimondi (1480-1534) after the painting by Raphael (1483-1520). San Francisco: de Young Museum 1963.30.36944. The original painting by Raphael is in the Pinacoteca Nazionale, Bologna. Here, as in Raimondi's engraving, St Cecilia gazes up at angel musicians playing violin, harp and a small pipe (probably a duct-flute). She is actually treading on the instruments discarded at her feet – a timbrel and a small, cylindrical duct-flute of which only the bottom is visible. This construction seems to have replaced the theme of Raphael's original (namely the supremacy of vocal over instrumental music) with a more general one concerning the supremacy of heavenly over earthly music. Standing on a book beside St Cecilia is a gryphon, an element introduced by Raimondi.
• St Cecilia, engraving (with monogram) by Marcantonio Raimondi (1480- ca 1534) after Raphael (1483-1520). Ref. Strauss (1978-, vol. 26: no. 116, p. 151; and no. 116B - a reversed copy, p. 152); Gazette des Beaux-Arts 92 (1978: 14); Rasmussen (1999c). "The unplayed instruments are harp, three recorders and tambourine" (Rasmussen, loc. cit.) Not seen.
• The Ecstasy of St Cecilia with Saints Paul, John the Evangelist, Augstine and Mary Magdalene, engraving by Giulio Bonasone after Raphael (1483-1520). Ref. Strauss (1978-, 28: no. 74, p. 278); Visual Collection, Fine Arts Library, Harvard University, 372.R184.38Ce); Rasmussen (1999c). See above for description. Not seen.
• The Ecstasy of St Cecilia with Saints Paul, John the Evangelist, Augstine and Mary Magdalene, engraving by Texier & Larcher (early 19th century), after Raphael (1483-1520). Ref. Mirimonde (1974: pl. 72); Rasmussen (1999c). " … depicts only the jingle ring with the recorder, and not the tambourine" (Rasmussen, loc. cit.) Not seen.
• St Cecilia (19th century), oil on canvas, 39 × 151 cm, German copy after Raphael (1483-1520). Düsseldorf: Kunstmuseum, Inv. 2134. Ref. Munich RIdIM (2009, DÜk - 68). Full-size copy of Raphael's painting of St Cecilia (Pinacoteca, Bologna). The earthly instruments in the hands of the saint and at her feet are damaged because their brilliance can not measure up to the songs of angels. Not seen.
• St Cecilia (16th century), miniature, after Raphael (1483-1520). Paris: Musée Marmottan Monet: Wildenstein Collection, No. 83, Inv. 6073. Ref. Anthony Rowland-Jones (pers. comm., 2004). Although the colouring is a little different, this shows the broken instruments positioned as in the original, i.e. one recorder with a shattered end (showing beak, window/labium, and three finger-holes, one at right-angles to it, snapped in half with underpart of beak and plug showing, and, parallel with the first, an intact cylindrical alto seen from beneath with beak, block and thumb-hole (albeit rather far down!) Notes by Anthony Rowland-Jones (loc. cit.)
• Nymph and Satyr (18th century), tapestry, le Fevre & Antoine Coypel after Raphael (1483-1520). Vienna: Kunsthistorisches Museum, Inv. G 243. Ref. Innsbruck RIdIM (2001, Nr. 99); Prof. Tilman Seebass (pers. comm., 2001). Includes a double pipe, violin, musette, syrinx, bagpipe, organ, transverse flute, tambourine and recorder.
• Three figures and a child, walking to the right, ink drawing, 15.9 × 13.3 cm, school of Raphael (1483-1520). Paris: Musée de Louvre, Inv. 21789.TER, recto. Ref. Joconde (2007 - col.) Three young men (one robed) are led to the right by a young child playing a cylindrical pipe and dog. After the Sacrifice above one of the entrances the Vatican.

Jakob Rauch

• Design for ceiling and wall decorations, drawing, ink on paper, Jakob Rauch (1713 - p. 1785). Munich: Staatliche Graphische Sammlung, Inv. 1967:194. Ref. Munich RIdIM (1999, Mgs - 541 b). Probably intended for the ceiling of a music room. Amidst floating clouds is Apollo with his lyre. Amongst the border decorations are musical trophies and music-making putti, including one who conducts with a roll of music and a score sheet in his hand. The instruments depicted include a shawm or oboe, a horn, an ambiguous pipe, a bagpipe, a cornett, a folded trumpet and a recorder. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Design for ceiling and wall decorations, drawing, ink on paper, Jakob Rauch (1713 - p. 1785). Munich: Staatliche Graphische Sammlung, Inv. 1967:187. Ref. Munich RIdIM (2009, Mgs - 541 c). Probably intended for the upper corners of a music room. Two musical trophies include ? shawm, timpani, trumpets, recorder & flute. Not seen.
• Design for ceiling and wall decorations, drawing, ink on paper, Jakob Rauch (1713 - p. 1785). Munich: Staatliche Graphische Sammlung. Ref. Munich RIdIM (2009, Mgs - 541 m). Probably intended for a music room. For the ceiling there is a large central medallion in a cartouche. Additional cartouches are for the wall area. In two of the latter there are putti playing: one to the lower right holds up a small recorder: in a cartouche on the left a putto plays a coiled horn, while a second putto holds a trumpet. Above these two cartridges are trophies with musical instruments: that on the left with recorders, guitar, lyre, bagpipe and tambourine; that on the right, with oboe, horn, bombard, trumpet and other wind instruments. Not seen.

Dirk de Quade van Ravesteyn

• Virgin and Child with Angels Making Music, Location unknown. Ref. Website: klassisgitar.net (2009 - col.) Reading from a book, the Virgin is entertained by angels singing and playing lute and a small cylindrical pipe, possibly a duct-flute. One small putto hangs precariously from a drape above.

Nicolas Régnier [Niccolòeri] (called 'Mabuseus')

• Crowned Shepherd with a Recorder, Nicolas Régnier (1590-1667). Berlin: Private Collection. Ref. Paris RIdIM (1999). Formerly attributed to Valentin. A heavy-lidded shepherd crowned with a laurel wreath holds a flared-bell soprano recorder.
• Recorder Player, oil on canvas, 62 × 73 cm, Nicolas Régnier (1590-1667). Location unknown; exhibited at the Biennale of Aniquaries, Palazzo Strozzi, Florence, (September-October 1971). Ref. Paris RIdIM (1999). A shepherd crowned with a wreath and a skin over his shoulders holds a flared-bell soprano recorder.
• Portrait of a Young Man, Nicolas Régnier (1590-1667). Ref. Gabrius Data Bank, OMP (2002 - col.) A young man with a plumed hat grasps a duct-flute in his right hand. Only the head-piece of the instrument is visible. The window/labium is rather short, and there appears to be a thin metal band immediately above it.
• Portrait of a Pipe Player, Nicolas Régnier (1590-1667). Ref. Gabrius Data Bank, OMP (2002 - col.) A young man in a plumed hat, a red jacket, and an elaborate collar, holds a cylindrical pipe (possibly a recorder) in his right hand, his index finger pointing to a score held in his right. Perhaps he is the composer.
• Shepherd Musicians, Nicolas Régnier (1590-1667). Turin: Circolo Ufficiali di Presidio (dalle collezione ducali). Ref. Angelo Zaniol (pers. comm., 2004). Watched by a bearded old man, three shepherds serenade a young woman with bagpipe, cittern and a small, flared-bell recorder.
• Flute Player, Nicolas Régnier (1590-1667). Location unknown: formerly Antiquariato Neri, Florence. Ref. Website: Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0002483. A youth in a floral wreath holds a flared-bell recorder, left hand uppermost.

Tibout Regters (1710-1768), Dutch

• A Family around a Table, Tibout Regters (1710-1768). Location unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie 10111 (2001); Anthony Rowland-Jones (pers. comm., 2001). Father proudly holds a tenor recorder, showing it to us.

Henricus Engelbertus Reijntjens [Reyntjens] (1817-1900), Dutch

• A Musical Occasion, Henricus Engelbertus Reijntjens (1817-1900). Private collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). In a rococco room is a musical group consisting of three or four singers, a ?square piano, cello, lute, piccolo and an ambiguous pipe (possibly a recorder). The pipe is of alto size, slender and cylindrical. It is held left hand lowermost with all fingers down except the first finger of the right hand. there is no bell flare.

Tilman [Dill, Dillmann, Thilman, Till] Riemenschneider [Rimenschneider, Rimschneider, Rymenschnyder] (ca 1460-1531), German

• Musical Angels, wood sculpture, Tilman Riemenschneider (ca 1460-1531). Berlin: Staatliche Museen Preußischer Kulturbesitz, Skulpturengalerie. Ref. Archiv Moeck; Komma (? title, date: 86); Musica calendar (1974: 15-31 December - fig.) "One of them plays a lute-like instrument. It seems to have a tight scroll head and anterior pegs, like a cittern; but then, the recorders (?) aren't very well depicted, either" (Rasmussen, loc. cit.) An angel plays a tabor, one sings from a book, one plays a lute, and two play flared-bell pipes (probably recorders, from the fingering positions).

Johann Christian Reinhart

• Landscape with Figures and an Ancient Monument with an Inscription in Greek Letters, watercolour & sepia on paper, 60.4 x 86.9 cm, Johann Christian Reinhart (1761-1847). Darmstadt: Hessisches Landesmuseum, Inv. Hz AE 4331. Ref. Munich RIdIM (2009, DAhl - 313). In a forest clearing with a monument are two antique-dressed men. To the left are two bearded men, one of whom holds a ? recorder. To the right, next to the standing group, are a shepherdess and a shepherd blowing a shawm. Not seen.

Rembrandt (Harmensz.) van Rijn [Rhyn]

• Hearing (17th-century), Rembrandt van Rijn (1606-1669). Ref. Legêne (1995: 117). Prior to its restoration to its original appearance, on the background wall was depicted an alto recorder, probably of ivory, clearly of baroque form and therefore of a much latter date. This unique painting of an early 18th-century ivory alto recorder has now been removed from both wall and painting.
• Belshazzar's Feast (ca 1635), oil on canvas, 167 × 209 cm, Rembrandt van Rijn (1606-1669). Image from Carol Gerten-Jackson. London: National Gallery. Ref. Schama (1999); National Gallery Publications Ltd.: postcard 811356 (col.); Rowland-Jones (2000b: fig.-b&w); Rowland-Jones (2002a: 8); Rowland-Jones (2002b: 50, fig. 4 -b&w); Recorder Magazine 22(2): front cover (col.) & 19 (2009). Belshazzar and the other banquetters watch in astonishment as the hand of Doom completes the final letter, thus scaling the fate of the King, who would perish the same night Daniel interpreted for him the meaning of the vision. The hand vanishes into air, and with it the entirety of Belshazzar's worldly dominion. The plumed and pearled courtesan seen at the extreme left sits silhouetted against the garish brightness, her stillness pointing up the agitated stupefaction of the rest of the company. The shadowy woman at left in Rembrandt's preparatory "dead-color" monochrome fingers her pipe (probably a recorder) and seems to eye the rest of us – or is her gaze fixed on the vanitas still-life on the table in the foreground?
• Mercury and Argus, pen and brown ink on paper over white gouache, 178 × 146 mm, Rembrandt van Rijn (1606-1669). Paris: Louvre, Print Collection, Inv. RF 4693 (Lugt 1148). Ref. Paris RIdIM (1999). Argus sits leaning sleepily on his staff watched by Mercury (Hermes) in a hat holding a cylindrical pipe which is almost certainly meant to be a recorder.
• Young Man with a Flute (1646/7), drawing, Rembrandt van Rijn (1606-1669). London: British Museum. Ref. Paris RIdIM (1999). A young man sits naked on a cushion, holding a very slender pipe (transverse- or duct-flute).
• Young Man with a Flute, drawing by Cornelis van Noorde (1731-1795) after Rembrandt van Rijn (1606-1669). Rijksbureau voor Kunsthistorische Documentatie 38591 (2001); Anthony Rowland-Jones (pers. comm., 2001). A young man sits naked on a cushion holding a very slender pipe (transverse- or duct-flute) held vertically, with few details.

Karl Augsburg Remshard (1678-1735) – See Bernard Picart (1673-1738)

Simon Renard de Saint-André

• Vanité (1663), oil on canvas, 60 × 43 cm, Simon Renard de Saint-André (ca 1613-1677). Lyon: Musée des Beaux-Arts, Inv. 1956-5. Ref. Archiv Moeck; Rowland-Jones (2000d; pers. comm., 2003); American Recorder Journal 49(1): front cover (2008 - col.) oil on canvas, 60 × 43 cm, Simon Renard de Saint André (1614-1677). Lyon: Musée de Beaux Arts, Inv. 1956-5. Ref. Archiv Moeck; Rowland-Jones (2000b: fig.-b&w; 2002b: 50, pl. 5 – b&w; 2000d, 2007b: 42 & fig. 7). On a shelf are a book, a shell, documents with seals, a bottle of wine in a wicker basket, a skull crowned with a laurel wreath, some music stained by wine from a shattered glass, and two renaissance-style recorders of soprano and alto size. Bubbles float above. "The offset little-finger-hole and the shape of the nearer instrument show that recorders rather than four-finger-holed French flageolets are intended, despite the missing upper first-finger hole. The recorders are approximately side-by-side and the same way round … and the right-hand recorder is slightly larger; in some pictures, such as Titian's The Three Ages of Man (Edinburgh), two parallel recorders signify marriage. But the recorders [here] are crossed, not quite parallel, as death (the skull) has broken the ongoing harmony of marriage. The sweet music they played (Ronsard's Bonjour mon Coeur set as a chanson by Lassus – the male, tenor part is shown) is crumpled and stained with wine from the shattered glass" (Rowland-Jones, loc. cit.) The mising first finger-hole on the upper instrument could either be the painter's error, or symbolic like the broken lute string and missing flute in Holbein's Ambassadors.
• Vanité, oil on canvas, Simon Renard de Saint-André (1613-1677) Bourges, Hôtel Lallemant. Ref. Website: Centre d'iconographie musicale (2005 - col.) On a table are a globe, a lute, an open book of music from underneath of which projects the head of a renaissance-style recorder seen in side profile.
• Vanité, Oil on canvas, 38 × 47 cm, Simon Renard de Saint-André (1613-1677). Private Collection. Ref. Website: Les cahiers d'Alain Truong (2007 - col.); Anthony Rowland-Jones (pers. comm., 2009). On a table covered with a crimson cloth are a skull with the remains of a leafy wreath, a pochette and bow, an elaborate candlestick and candle, an open book of music, a medallion, and an early baroque recorder with an elongated beak around which a blue ribbon is tied. Although the title of the music in this picture is illegible in the photograph the shape of the music itself suggests a dance form frequently used by Lully in his ballets and tragedies lyriques, and by other contemporary composers as well, then imitiated by Henry Purcell (e.g. Fear no danger to pursue', in Dido and Æneaus). The obvious symbolism is that 'Dancing days are over'. Simon de Saint André was a contemporary of Lully in Paris and the extract could quite easily be taken from that composers work. Notes by Anthony Rowland-Jones (loc. cit.)
• Vanité, 61 × 50 cm, Simon Renard de Saint André (1614-1677). France: Private Collection. Ref. Faré (1974: 169); Paris RIdIM (1999). A number of objects lie scattered on a table, including some flowers in a vase, a skull, books, dice, coins, an hourglass, a document with a seal, a pen and ink, and a recorder, only the head of which is visible.
• Still-life with a Lute, 35 × 45 cm, Simon Renard e Saint André (1614-1677). France: Private Collection. Ref. Faré (1974: 174); Paris RIdIM (1999). A number of objects lie scattered on a table, including a lute, a book of music, a bust, a casket, some sea-shells, and a small cylindrical duct-flute (flageolet or recorder) with a decorated foot and a slightly bulbous beak, only six finger-holes of which are visible though a seventh if off-set would be naturally hidden from view.
• Still-life, Simon Renard de Saint André (1614-1677). Location unknown: Sold by Sotheby's, New York (19 May 1995). Ref. Sale Catalogue, Sotheby's, New York (1995: 78); Paris RIdIM (1999). On a draped table lie scattered playing cards, a purse with coins, several plaster sculptures of putti and Christ carrying the cross and a bust of a man, open books (including one of prints), a flute and two recorders. Only the heads of the recorders are visible. One has turned rings below the beak; the other appears to be of wide bore and plain profile.

Guido Reni

• Coronation of the Virgin (ca 1607), oil on copper, 66.6 × 48.8 cm, Guido Reni (1575-1642). Detail. London: National Gallery, Inv. 214 Ref.: National Gallery, London: postcard, 400645 (1994 - detail- col.) A small version of this painting. The Virgin in splendour is surrounded by angel musicians two of whom play cylindrical pipes, one of which has a definite beak and is a duct-flute (probably a recorder); others play viol, harp, lute, fiddle, organ; some sing. This would appear to be another version of the painting below (on wood). The subject is more properly the Glorification of the Virgin, who is usually shown crowned by Christ and God the Father. Here the Virgin is crowned by angels (possibly as 'Regina angelorum' - Queen of angels) and elements of the Assumption are mingled with those of the Glorification.
• Coronation of the Virgin (1626), oil on brass, Guido Reni (1575-1642). Bayonne: Musée Bonnat. Ref. Carol Gerten-Jackson; Grubb (1995: 80 - col.) The Virgin in splendour is surrounded by angel musicians two of whom play cylindrical pipes, one of which has a definite beak and is a duct-flute (probably a recorder); others play viol, harp, lute, fiddle, organ; some sing.
• Coronation of the Virgin, wood, 78 × 54 cm, ? Guido Reni (1575-1642). Bruges: State Library. Ref. Paris RIdIM (1999). The Virgin in splendour is surrounded by angel musicians two of whom play cylindrical pipes, one of which is clearly a duct-flute (probably a recorder); others play viol, harp, lute, fiddle, organ; some sing. The flute-player's wrists are low and all fingers are down so this adds to the possibility of its being meant as a recorder.
• Assumption of the Virgin, Guido Reni (1575-1642). Madrid: Museo del Prado, Inv. 213. Ref. Ibañez & Gallego (1972: 198-199, pl. - col.) Numerous angels suround the Virgin one of whom (in the shadows to the right) holds a slightly flared recorder the lowermost paired finger-holes of which are clearly depicted. Others sing and play violin, lute and organ.
• God the Father above a Concert of Angels (ca 1608), ceiling fresco, Guido Reni (1575-1642). Detail 1. Detail 2. Rome: San Gregorio Magno al Celio, Oratorio di Santa Silvia. Ref. Zaniol (1984, November: 7, footnote 14); Paris RIdIM (1999); Website: Will Kimball (2010), Wedding Bells: Trombone in Wedding Celebrations (2010). From one of two balconies angel musicians play lute, cornett, a small viol and a slender cylindrical pipe from sheets of music hanging over the parapet. The latter is clearly a recorder (Anthony Rowland-Jones, pers. comm.) "Depicts a slender cylindrical recorder" (Zaniol, loc. cit.) From a second balcony, angel musicians play sackbut, violin, timbrel, lute and another slender recorder of tenor size with a slightly flared bell. An anonymous 17th century drawing (Louvre, Paris), putatively from the southern Netherlands, is clearly either a preparatory sketch or a copy of Guido Reni's painting.
• L'Amour, Guido Reni (1575-1642). Vichy: Musée Municipal, Inv. 559. Ref. Lallement & Devaux (1996: 256). Includes a violin and bow, an archlute and a recorder. Not seen.
• Adoration of the Shepherds (ca 1640), oil on canvas, 480 × 321 cm, Guido Reni (1575-1642). London: National Gallery, Inv. 6270. A huge canvas in which the Virgin shows off the Christ Child in his basket, bathed in light. Joseph prays. Shepherds kneel and gaze with other visitors in wonder, some leaning on their staves. A shepherd on the right plays bagpipes, his companion a flared-bell alto recorder. Putti hover in the air above against a landscape with hills in the background.
• St Cecilia or A Sybil, possibly by Guido Reni (1575-1642). Düsseldorf: Kunstmuseum. Ref. Munich RIdIM. At the top right beneath a violin is a wind instrument with a recorder-like flared bell and offset little finger-hole. But no other finger-holes show and the mouthpiece end is in shadow. This is dubiously a recorder; but St Cecilia would not appear with a shawm or a bagpipe chanter! Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Girl Playing a Flute, black and white ink on paper, 17.5 × 21.7 cm, Guido Reni (1575-1642). Berlin: Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Inv. No. 2000-1902. Ref. Bildarchiv Foto Marburg (2002: DISKUS-Objekt-Dokument 02021280 – col.) A girl plays a tenor-sized conical pipe with a flared bell. The instrument appears to be beaked and a slight lightening near the mouthpiece may represent the window/labium. The position of the hands and fingers, especially the thumb, are consistent with this being a recorder.

(Pierre-)Auguste Renoir

• Joueur de flûteau [Flute-player], bass relief, bronze, 60 × 44 cm, Auguste Renoir (1841-1919). Location unknown: sold Hôtel Georges VI, Paris (17 June 1976), A.P.T. Ref. Haesaerts (1947: pl. xlvii); Sale catalogue (1976: lot 57); Paris RIdIM (2000); Courtauld Institute, London. Signed on the bass and numbered 4/20. Cast by C. Vasuani. A man, naked but for a cloak hanging over his shoulders, stands with his hands apart and fingers flexed as if to play a duct-flute. Unfortunately the instrument itself is absent.
• Joueur de flûteau [Flute-player], bass relief, bronze with different patinas, Auguste Renoir (1841-1919). Location unknown: Auctioned 10 November 1994 (sold). Ref. Gabrius Data Bank (2002 - col.) A man, naked but for a cloak hanging over his shoulders, stands playing a small duct-flute, the window/labium of which seems to be indicated by an indentation.
• Joueur de flûteau [Flute-player], bass relief, bronze with patina, Auguste Renoir (1841-1919). Location unknown: Auctioned 30/06/2003 (unsold). Ref. Gabrius Data Bank (2002 - col.) A man, naked but for a cloak hanging over his shoulders, stands playing a small duct-flute, the window/labium of which seems to be indicated by an indentation.
• Dancer with Tambourine and Flute Player, bass reliefs in bronze with patina, Auguste Renoir (1841-1919). Location unknown: Auctioned 17 November 1998 (sold) Ref. Gabrius Data Bank (2002 - col.) Two separate bronze reliefs sold together. In one, a female dancer plays a tambourine. In the other, a man, naked but for a cloak hanging over his shoulders, stands with his hands apart and fingers flexed as if to play a duct-flute. Unfortunately the instrument itself is absent.
• Dancer and Flute Player, bass reliefs, bronze, Auguste Renoir (1841-1919). Location unknown: Auctioned 14 October 1992 (sold) Ref. Gabrius Data Bank (2002 - col.) Two separate bronze reliefs sold together. In one, a female dancer plays a tambourine. In the other, a man, naked but for a cloak hanging over his shoulders, stands with his hands apart and fingers flexed as if to play a duct-flute. Unfortunately the instrument itself is absent.
• Dancer and Flute Player (1981), bass reliefs, bronze, Auguste Renoir (1841-1919). San Antonio: Museum of Art Two separate bronze reliefs. In one, a female dancer plays a tambourine. In the other, a man, naked but for a cloak hanging over his shoulders, stands with his hands apart and fingers flexed as if to play a duct-flute. Unfortunately the instrument itself is absent.
• Dancer (1918, cast 1946) and Flute Player (1918, cast 1946), bass reliefs, terra cotta, Auguste Renoir (1841-1919). Sacramento: Art Museum Two separate bronze reliefs. In one, a female dancer plays a tambourine. In the other, a man, naked but for a cloak hanging over his shoulders, stands with his hands apart and fingers flexed as if to play a duct-flute. Unfortunately the instrument itself is absent.
• Dancer and Flute Player (1981), bass reliefs, bronze, Auguste Renoir (1841-1919). e-fineart.com (2009 - col.) Ref. Gabrius Data Bank (2002 - col.) Two separate bronze reliefs. In one, a female dancer plays a tambourine. In the other, a man, naked but for a cloak hanging over his shoulders, stands with his hands apart and fingers flexed as if to play a duct-flute. Unfortunately the instrument itself is absent.

Sir Joshua Reynolds

• Caricature of Aristocratic Gentlemen in Rome (1751), Sir Joshua Reynolds (1723-1792). Dublin: National Gallery of Ireland, Cat. No. 737. Ref. Boydell (1985: pl. 6 - col.); Moeck, Celle: TIBIA - Musikbilder auf Postkarten, Series 2(3), No. 11102 (1987, col.); National Gallery of Ireland (1994: 10, fig. 2 - b&w); Thomson & Rowland-Jones (1995: 136, fig. 32). A group of musicians in the front LH corner of the painting depicts Sir Thomas Kennedy of Culzean (flute), James Caulfield (baroque alto recorder), Mr Ward (? singing), and Mr Richard Phelps (cello). In this version James Caulfield, later first Earl of Charlemont and a VIP in Dublin Society during the Protestant ascendancy, appears with a shamrock in his hat. The Scotsman (Culzean) has a hat with a blue and white St Andrew's cross, The Welshman (Phelps) a leek, and the Englishman a red St George's Cross. They appear in place of Pythagoras and students in Reynolds' Parody on Raphael's 'School of Athens' (see below).
• Parody on Raphael's 'School of Athens' (1751), Sir Joshua Reynolds (1723-1792). Dublin: National Gallery of Ireland, Ref. Thompson & Rowland-Jones (1995: 136, pl. 32 - caption). A caricature of Raphael's fresco in the Vatican. A group of musicians in the front LH corner of the painting depicts SirThomas Kennedy of Culzean (flute), James Caulfield (baroque alto recorder), Mr Ward (singing), and Mr Richard Phelps (cello) in place of Phythagoras and his students. Here, their hats lack national emblems.
• Parody on Raphael's 'School of Athens' (1751), mezotint, 257 mm × 312 mm, by by James Scott (1770-1848) after Sir Joshua Reynolds (1723-1792). London: National Portrait Gallery, Inv.D16142. Ref. Website: National Portriat Gallery, London (2007 - b& w.) A caricature of Raphael's fresco in the Vatican. A group of musicians in the front LH corner of the painting depicts Sir Thomas Kennedy of Culzean (flute), James Caulfield (baroque alto recorder), Mr Ward (singing), and Mr Richard Phelps (cello) in place of Phythagoras and his students. Here, their hats lack national emblems.
• Venus and a Young Boy playing a Flute, oil on canvas, 137 × 104.2 cm, Sir Joshua Reynolds (1723-1792). Private Collection. Ref. Witt Library, London (2000); Mirimonde (1977: 147, pl. 84); Postle (1995: 204, pl. 75 - b&w); Paris RIdIM (1999); Rowland-Jones (200c: 86). Sold from the collection of Cuthbert Quilter, New York, 27 January (1913: No. 93); sold by Bonhams, London, 15 December 1977. Venus, naked, her hair decorated with flowers, legs crossed, reclines on a blanket in a shady grove, serenaded by a young man playing a cylindrical recorder. "Reynolds' patrons . . . used the euphemism 'Venus' to legitimise their purchase of paintings of nude women, and Reynolds himself called this little hussy – she is certainly no noble goddess – a 'nymph' in the tradition of Aracadian pastoral love-scenes, complete with 'shepherd' and recorder" (Anthony Rowland-Jones (pers. comm, 2000).
• The Piping Shepherd Boy (1773), 74 × 63 cm, Sir Joshua Reynolds (1723-1792). Plymouth: Antony House. Ref. Waterhouse (1973: pl. 62). A shepherd boy with a dog looks round at us, continuing to play a slender pipe of alto size with only sight overall conical expanison to its plain bell. The top of the instrument by his lip is in shadow (no window/labium visible) and no finger-holes can be seen. But hands and fingers seem to be in recorder-playing position, the left hand uppermost, first finger lifted, thumb well under and slightly bent. All four fingers of theright are in a playing position, the third down. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Jusepe [Josepe] de Ribera

• The Flaying of Marsyas, Jusepe de Ribera (1591-1652). Image from Web-site:Carol Gerten-Jackson. Brussels: Musée Royaux des Beaux Arts du Belgique. Ref. Wyss (1996). Surely the most gruesome of paintings featuring the recorder! Marsyas screams in agony as he is skinned alive; his cylindrical recorder lies discarded on the ground before him with Apollo's lyra da braccio.
• Adoration of the Shepherds, Jusepe de Ribera (1591-1652). Location unknown. Ref. Charles Rowland-Jones (ex Anthony Rowland-Jones, pers. comm., 2002). Shepherds crowd around in admiration of the Christ-Child. In the background two shepherd boys play bagpipe and a cylindrical pipe, probably a recorder. The image comes from a Christmas card printed for an Irish charity.

Gabriele Riccardi

• Shepherd with a Duct-flute, stone sculpture, Gabriele Riccardi (after 1548 - before 1555). Lecce: Basilica di Santa Croce. Ref. Fabris (1991: 18, fig. 14 - b&w). A shepherd with curly locks wearing a felt hat plays a small (soprano) duct-flute, probably a recorder.

Sebastiano Ricci, or Rizzi

• Bacchanal in Honour of Pan, Sebastiano Ricci, or Rizzi (1659-1734). Venice: Galleria del Accademia. At the left a nude man plays an alto recorder, the lower (left-hand) little finger poised for its hole. The bottom little finger-hole slightly offset, the window/labium area uncertain, the player's lips pursed forward in relaxed position. Although there is some turned decoration of the flared bell, the instrument is otherwise cylindrical. The player performs for dancing, with two timbrels. Notes by Anthony Rowland-Jones (pers. comm.) One of a group of four paintings representing Procris before Diana, a Centaur Family, and Apollo and Marsyas sold at Christie's in 1950 (Brooke 1960: 174).
• Marriage Feast at Cana, oil on canvas, 165.1 × 134.6 cm, Sebastiano Ricci, or Rizzi (1659-1734). Kansas: Nelson-Atkins Museum of Art. Ref. Steer (1970: 177, fig. 143-b&w). Partly derived from Veronese' Marriage Feast at Cana (Louvre). At the bottom left three young men play for the feast – a singer with music, standing; on the steps a lutenist, and a recorder player playing from an open book of music on his lap. The recorder is of alto size, narrowish, and with a medium but short bell and bore flare. The player's hands cover the instrument roughly in recorder position with the little finger of the lower (left) hand down (on its finger-hole). Although details of the beak and window/labium are unclear it seems hardly likely to be a shawm in the company of a lute.

L. Richer

• Music, engraving after L. Richer. Paris: Bibliotheque Nationale, Département des Estampes et de la Photographie. Ref. Mirimonde (1975: fig. 4). A personification of Music in a feathered hat plays a lute, her tabulature book in her lap. Behind her is a viol, and hanging on the wall is a garland of two prominently flared-bell duct-flutes (probably recorders) one of which seems to have an ornamental beak, and a smaller viol. Some doggerel beneath the picture reads:

  Although the Cannon, and the Churlish Drum
  Have Strooke the Quire mute, and the Organs Dumb:
  Yet Musicks Art with Ayre and String and Voyce
  Makes glad the Sad, and Sorrow to Rejoyce.

Hans Theo Richter

• Three Children Making Music (1951), Hans Theo Richter (1902-1969). Calendar: Musica, Bärenreiter (1965); Archiv Moeck. A boy and a girl, sing accompanied by another boy on an alto recorder of modern design.

Ludwig Richter

• Shepherd's Song (1871), coloured copperplate engraving, Ludwig Richter (1803-1884). Leipzig: Museum der bildenden Künste. Ref. Archiv Moeck. A woman and her infant are crossing a stile, followed by an old man. In front of them a shepherd sits, playing a slender cylindrical pipe with a slightly flared bell; two children sit beside him. In the foreground are a dog and some sleepy sheep.
• Piper in Antique Clothes (mid-19th century), pencil on wove paper, 10.5 × 40 cm, attributed on stylistic grounds to Ludwig Richter (1803-1884). Upton, MA: Spaightwood Galleries (2005). Probably a drawing for an illustration of the fable of the Pied Piper of Hamlin. The pipe is sketchily drawn, of exagerated tenor size with a markedly flared bell, the mouth-piece apparently beaked rather than with a reed, so this might just represent a recorder.

Johann Elias Ridinger

• Der alle Instrumente accompagnirende Basson, print, Johann Elias Ridinger (1698-1767). Coburg. Ref. Archiv Moeck. A man in a three-cocked hat leans against a pillar and plays a highly ornate baroque three-piece basset recorder with a very long bocal and a foot key. His music is supported by a stool in front of him. Behind him is a carved sphinx. Below is a verse in German and Latin.
• The Shepherd and his Delightful Flute (1700), print, Johann Elias Ridinger (1698-1767). Coburg. Ref. J. Chr. Schickhardt, Sechs Trio-sonaten, Nagel 508; Archiv Moeck; Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). A shepherd in a turban with an enormous feather stands playing his three-piece alto/tenor baroque recorder against a mountainous landscape.

Eduard von Riedel (op. 1833-1886), Belgian

• Italian Shepherd (1833-1858), pencil drawing, 16.3 × 16.3 cm, Eduard von Riedel (op. 1833-1886). Munich: Bayerische Staatsbibliothek, Inv. Cod. icon.207k. Ref. Munich RIdIM (2002: Mbs - H 571); Anthony Rowland-Jones (pers. comm., 2002). A young shepherd in a landscape with trees holds a duct-flute in his hand. Copy of an original by Pietro Carpentero (19th century).

Max Rieder

• Musician Graces (1952), bronze sculpture, Max Rieder (1909-2000). Salzburg: between the Altstadt and the railway station. Ref. Website: Max Rieder (2009 - col.); Jan Bouterse (pers. comm., 2009 - col.) Three standing naked figures (two female, one male), play syrinx, recorder and triangle. The Max Rieder website gives the date of this work as 1955; however, the base of one of the figures is cleared marked RIEDER 1952. Originally, each figure stood on its own block of cement in front of the Congress Centre. They may have been moved to their current position in 1955 when they were mounted on a single single block.

Pieter de Ring

• Still-life with Musical Instruments, oil on canvas, Pieter de Ring (ca 1615-1660). Berlin: Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie. Ref. Wiese (1988: fig. 67-b&w); Schneider (1994 - col.); Archiv Moeck; Anthony Rowland-Jones (pers. comm., 2001); Arnold den Teuling (pers. comm., 2009). On a table lie a soprano flared-bell recorder with violin, music, an instruction book (with a drawing of a man playing a slender cylindrical duct-flute), a shell, three playing dice, some coins, an inkwell, an hour-glass and a terrestial globe. A maker's mark is visible just below the window/labium of the recorder. The music is legible.
• Still-life with Musical Instruments, oil on canvas, Pieter de Ring (ca 1615-1660). Private Collection. Ref. Web Gallery of Art (2000). Seemingly identical to the painting with the same title from the Gemäldegalerie, Berlin (see above). On a table lie a soprano flared-bell recorder with violin, music, an instruction book (with a drawing of a man playing a slender cylindrical duct-flute), a shell, three playing dice, some coins, an inkwell, an hour-glass and a terrestial globe.
• Fruit, 117 × 170 cm, Pieter de Ring (ca 1615-1660). Antwerp: Koninklijk Museum voor Schone Kunsten, #659. Ref. Griffioen (1988: ch 4 & 440-441). On table food of all kinds is piled high – a ham, scallops, grapes, peaches, quinces, melon, appples, lemons. And there is a candlestick, an ornate chalice, glasses, a chest with an ornate clasp, a lute, and an open music music book in front of which the foot of a soprano-sized hand-fluyt pokes out from beneath a muslin cloth.
• Still Life with Fruit, Oysters, a Pie, a Watch and Musical Instruments, painting, Pieter de Ring (ca 1615-1660). Location unknown; sold Galerie Birkenwald, Stuttgart. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0033180 (2009 - b&w). On a table food of all kinds is piled high – fruit, oysters, a pie. And there is an ornate chalice, a lute, and an open music book in front of which the foot of a soprano-sized hand-fluyt pokes out from beneath a muslin cloth.

Girolami Ristori (ca 1455-1512), Italian

• Scenes from Courtly Life (1475-1490), fresco, Girolami Ristori (ca 1455-1512). Prato: San Domenico, Cloisters Museum. Ref. Anthony Rowland-Jones (pers. comm., 2002). This graffiti-style painting originally decorated the garden wall of the Palazzo Vai, Prato. A young man with a feathered hat plays for another who dances. His instrument is an alto-sized conical-looking pipe. A mark near the mouthpiece end could represent a window/labium but, having been out of doors, this fresco is unclear.

John Ritter

• Man Playing Flute, John Ritter (contemporary). Ref. Website: Corbis Images MUS-04-RIT001 (2009 - col.) Standing on a path, a man plays a tenor-sized conical pipe which, given the title, can only be a duct-flute, though no window/labium can be seen. Further back along the path a couple approach.

Giovanni della Robbia

• Nativity, glazed terra cotta, Giovanni della Robbia (1469-1529). Florence: Museo Nazionale del Bargello. Ref. Woodmansterne Publications, postcard (1994). The central scene is framed by angel musicians playing fiddles, lute, timbrel, psaltery, a flared-bell pipe (? shawm) and a cylindrical pipe (possibly a duct-flute). The player of the latter seems to be covering the lowest hole with his little finger, so this may well represent a recorder.

Thomas Robins (1716-1770)

• Jacob's Ladder (ca 1745), decorated fan, gouache on paper, Thomas Robbins (1716-1770). Cheltenham: Art Gallery & Museum. Ref. Bridgeman Art Library (2001: Image CHE 151247 - col.) 'Jacob's Ladder' was a famous tree in Charlton Park, to the east of Cheltenham. A landscape with a tree (Jacob's ladder) with a cow, a milkmaid and her bucket and a man playing a recorder. The detail is too small to discern the latter.

H. Roberts, English

• Frontispiece: John Tyther The Complete Flute Master, London (1740-1760), engraving, H. Roberts. Ref. Welch (1911/1961: pl. 80-81, fig. 39; 84); Vinquist (1974: 60, 224-225). An elegantly dressed gentleman sits on an ornate chair reading from music propped up on a ledge in front of a mirror and playing a three-piece, turned, baroque recorder.

John Robinson (1935-2007), English

• Recorder Player, bronze sculpture, John Robinson (1925-2007). England: Private Collection. A commissioned work. A life-sized young girl plays a neo-baroque recorder, held high.

Abraham Roentgen

• Folding table for Johann Friedrich von Walderhoff, Elector of Trier, marquetry, 81 × 104 × 52 cm, Abraham Roentgen (1711-1793). Frankfurt: Museum für angewandte Kunst, Inv. V. 70. Ref. Munich RIdIM (2009, Fmk - 79). On the top, between fruit, blossoms and birds, are three cherubs in mother of pearl play tambourine. violin and shawm. To their right right are shawm and syrinx; at bottom right singers, to the left are two instruments, probably shawm and recorder. Not seen.
• Two padded chairs, marquetry, 100 × 56 × 62 cm, Abraham Roentgen (1711-1793). Hamburg: Museum für Kunst und Gewerbe, Inv. 1961.104a u. b, St. 166a. Ref. Munich RIdIM (2009, Hmkg - 82 /1-3). In the middle of the frame above the back of each are musical trophies. On Inv. 104a are a syrinx, small bells with a wrist-strap and a shawm-like instrument amongst foliage. On Inv. 104b are a violin, recorder, score and the bell of another shawm-like instrument. Not seen.

Pieter (Gerritz.) van Roestraten

• Still-life (undated, 1663+), Pieter van Roestraten (1630-1700). Ref. Legêne (1993: 278-281; 1995: 107). Shows musical instruments with baroque-style imitation tortoiseshell alto recorder with ivory mounts and beak, and a bass recorder.
• Vanitas, oil on canvas, 71.5 × 90.8 cm, Pieter van Roestraten (1630-1700). Location unknown; auctioned by Phillips, London (1992), also by Christies, London (? date). Ref. Phillips auction catalogue (1992: 212, pl. 207 - col.); Gabrius Data Bank (2002 - col.); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0033198 & 0033230 (2009 - b&w). On a table covered with an embroidered drape lie a stoneware jug, a wine bottle in a basket, a glass beaker, a candlestick, a teapot and cup, a medallion and ribbon, a book, music, an ink bottle, a music score, a violin and bow, and a pefectly depicted turned, baroque three-piece alto recorder.
• Still-life with Musical Instruments, canvas, 118.5 × 108.5 cm, Pieter van Roestraten (1630-1700). The Hague: Gementemuseum, Music Department Ref. Buijsen & Grijp (1993); CD Cover: Trio Passagio, Italian Recorder Sonatas, RN Classics 93010; Dijk & Koopman (1987: n. 158); Bridgeman Art Library (2001: Image ID CH 81130 - col.) A 'pronk' still-life in which several instruments are piled on top of a harpsichord, including a violin, a lute, a baroque alto recorder with ivory mounts and beak, and tortoiseshell finish, an inkstand and quill, and an ornate clock. A bass recorder leans against the foot of the harpsichord. There is a circular mirror on the wall behind.
• Vanitas Still-life, Pieter van Roestraten (1630-1700). Private Collection. Ref. Christie's Images, London; Bridgeman Art Library, CH 20843 (2003 - col.) On a table covered by an embroidered cloth are a pitcher, an hourglass, a chalice, books, scores, a theorbo and a small slender recorder with a flared bell.
• Vanitas, oil on canvas, Pieter van Roestraten (1630-1700). Ref. Gabrius Data Bank (2001 - col.) On a table covered with an orange drape lie a violin, a candlestick, books, playing cards, an hourglass, a music book, a watch, a skull, and a cylindrical duct-flute (probably a recorder) with eight finger-holes and the window/labium clearly depicted, though the instrument is partially hidden behind the hourglass and the skull.
• Vanitas, oil on canvas, Pieter van Roestraten (1630-1700). Ref. Gabrius Data Bank (2002 - col.) On a table covered with an embroidered drape lie an open book, hour glass, earthenware flask, gilt nautilus cup, recorder, music score, porcelain bowl, papers and an oriental teapot. The recorder is of baroque design with ivory beak and ferrules; only the head and upper body are visible.
• Vanitas, oil on canvas, Pieter van Roestraten (1630-1700). Ref. Gabrius Data Bank, OMP (2002 - col.) On a marble ledge beneath a drape lie three ornate goblets, a skull crowned with a laurel wreath, a document, a necklace, a violin and a small baroque-style sopranino recorder with what looks like an ivory beak.
• Still life with Silver Vase, 61.5 × 54 cm, Pieter van Roestraten (1630-1700). Locality unknown: formerly Collection William M.J. Russell, Amsterdam; offered for sale by Norbert Pokutta, Munich (1987). Ref. Bol (1969: 352, fig. 315); Weltkunst 22: 3309 (1987 - col.); Constance Scholten (pers. comm., 2005); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0033207 (2009 - col.) On a table lie a violin and bow with broken strings, a bunch of grapes, a silver vase elaborately ornamented with relief carving, a piece of music, a coin (or medalion) and a baroque recorder with an ivory ferrule on the head joint.
• Still-Life oil on canvas, 70 × 81.7 cm, Pieter van Roestraten (1630-1700). Private Collection. Ref. Sotheby's Sale Catalogue: Old Master Paintings, Sale AM1027, 8 May 2007, Amsterdam, Lot 97; Sale AM1032, 13 November 2007, Lot 26. A silver ginger jar, a violin, a pearl necklace, a recorder, music sheets, a silver porringer, a book, a globe, a gilt candlestick, a glass, a porcelain bowl, a pipe, a silver box and almonds, all on a wooden table, draped with a red cloth. The recorder, a hand-fluyt, is viewed almost end on, the narrow, curved windway clearly visible. The different silver objects in this still life suggest that it was painted after van Roestraeten moved to London. To the far left, a remarkable example of an English Charles II porringer reveals its four silver maker's marks. Although the silver marks are hard to read, the Leopard's head town mark of London can be clearly observed (fourth mark).
• Vanitas Still-life, painting, Pieter van Roestraten (1630-1700). Location unknown. Ref. Gabrius Data Bank (2007 - col.) On a marble shelf are a sugar bowl, an ornate silver ginger jar, a skull with laurel branches, a standing cup and cover with silver-gilt mounts, a silver chased dish, a letter with a red seal, a violin and a small duct-flute with a slightly flared foot and three finger-holes.
• Still-life, in the style of Pieter van Roestraten (1630-1700). Location unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie 31735 (2001); Anthony Rowland-Jones (pers. comm., 2001). Books, crockery and a recorder on a table covered with a dark Persian table-cloth.
• Still-life, oil on canvas, 52.7 × 76.2 cm, in the style of Pieter van Roestraeten (1630-1700). San Francisco: Butterfields, 19 November 1997, Lot 4036. Ref. Artfact (2004). Books, a wine jug, music sheets, a recorder, a teapot and a compass on a ribbon on a carpet-covered tabletop. Not seen.
• Vanitas, oil on canvas laid on panel, 37.8 × 30.1 cm, follower of Pieter van Roestraten (1630-1700). London: Christie's, Old Masters Pictures (Sale 9695), Lot 173, 29 September 2003. Ref. Gabrius Data Bank (2007 - col.) A violin, a baroque recorder with ivory beak and mounts, a music score, a quill and ink, a silver teapot and books on a partially draped table. An identical work dated 1702 has been attributed to Evert Collier, formely in the collection of Lord Brownlow.
• Vanitas still-life with a Skull, oil on canvas, 60.3 × 71.4 cm, follower of Pieter van Roestraten (1630-1700). London: Sotheby's Sale W04705, Old Master Paintings, 20 April 2004, Lot 295 (sold). Ref. Catalogue, Sotheby's Sale W04705 (2004: Lot 295 - col.) On a draped table lie an hourglass, coins, an ornate silver ginger jar, a candlestick and candle, books including one open at a page headed ARTAMINIS OR THE GRAND CYRUS and another with a skull on top and a ticket reading VANITAS VANITATUM ET OMNIA VANITAS, a violin and bow, an open music book (legible), and a baroque recorder with ivory-sheathed beak and ferrule at the head joint, but most of the body and the foot hidden beneath the violin.
• Still-life, oil on canvas, 76.3 × 63.7 cm, circle of Pieter van Roestraten (1630-1700). London: Christie's, Old Master Pictures, 8 July 1998, Lot 354. Ref. Artfact (2004). An upturned tankard, a candlestick, a book, a medal, a teapot, a porcelain bowl, a recorder, a sheet of music and a silver gilt tazza on a draped table. Not seen.

Estienne Roger

• Title page: Concertia quatro da chiesea (1712) by Evaristo Felice Dall'Abaco, Estienne Roger. Ref. Early Music 13(4): 532, fig. 3 (1985). A portrait of Maximilian Emanuel II, Elector of Bavaria (1662-1726), to whom these sonatas were dedicated, is surrounded by an ornamental plaque on the sides of which are garlands of musical instruments. That on the left includes viol, lute, guitar, violin and at least two recorders the windows of which are clearly shown.

Johann Georg Rohrer (1732-1812)

• Trophy (1747), wood carving, Johann Georg Rohrer (1732-1812). Haguenau (Bas-Rhin): Eglise St-Nicolas, balustrade of the organ loft. Ref. Meyer-Siat (1983 - col.); Matte (2001–, col.) A trophy with flute, oboe, musette, triangle (with jingle rings), and a baroque-style recorder. Rohrer was at Haguenau until 1804.

Werner Rölerfintz (op. 1642-1663), Swedish

• Portrait of K.G. Oxenstierna (1658), oil on canvas, 210 × 121 cm, Werner Rölerfintz (op. 1642-1663). Tidöl Castle (Västmanland), Sweden. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). Against a country landscape, a small boy wearing a feathered hat holds a shepherds crook and bow in his right hand and plays a flared-bell duct-flute (flageolet or recorder) held in his left hand with two fingers above and two underneath. Four finger-holes are visible and a clear window/labium. One finger-hole is closed by the middle finger of the left hand. Notes by Rowland-Jones (loc. cit.)

Girolamo Romanino (born Girolamo di Romano, also called Girolamo Romani, or Rumani, also called Girolamo Brescia or Hieronymus de Brescia)

• [Recorder quartet] (1531/1532), fresco, Girolamo Romanino (ca 1484-1562). Trento: Castello del Buonconsiglio, Loggia. Ref. Zaniol (1984, November: 7, footnote 13); Chini (1988: 623 - col.); Buijsen & Grijp (1993: 227, footnote 14); CD Capriccio di Flauti (L'Oiseau-Lyre 440 207); Thomson & Rowland-Jones (1995: 41, pl. 14 - b&w; 2003: 8, fig. 2 - b&w); Paolo Biordi (pers. comm., 2000); Bridgeman Art Library (2003: Image ALI 79366 - col.); Myers (2005: 46-49 & fig. 2-3 - col.); Darmstädter & Brown (2006: 54, pl. 10 - col.) A lunete with a quartet of cylindrical recorders played by two men and two women. The quartet comprises soprano, two altos and a tenor recorder. Nearby, Romanino has painted a courtesan holding a recorder to contrast with a representation of Charity. Myers (loc. cit) has ammended a photograph of this fresco, replacing the two alto recorders with a tenor and basset in order to illustrate how the larger instruments could easily dominate the composition.
• [Chastity] (1531), fresco, Girolamo Romanino (ca 1484-1562). Trento: Castello del Buonconsiglio, Loggia. Ref. Winternitz (1979: 54, pl. 11a - b& w); Passamani & Fiocco (1965: fig. 92 - b&w); Buijsen & Grijp, loc. cit.); Paolo Biordi (pers. comm., 2000). A courtesan (extravagantly if not provocatively over-dressed, strands of hair falling on her deep décolletage, and her expression clearly seductive), who personifies Lust (Buijsen & Grijp, loc. cit.), holds a recorder, contrasting with the figure beneath of a beautiful woman, evidently Chastity, caressing a unicorn. The window/labium and seven finger-holes (the lowermost offset) of the recorder are clearly depicted.
• Concerto campestre, sketch on white card, 10.1 × 16.4 cm, Girolamo Romanino (ca 1484-1562). Florence: Galleria del Uffizi, No. 1758 F. Ref. Paris RIdIM (1999). Sketch for the frescos in the Castello Buonconsiglio, Trento. Depicts a man and a woman playing narrow, cylindrical recorders.
• Concerto campestre, sketch on white card, 10.1 × 16.4 cm, Girolamo Romanino (ca 1484-1562). New York: Janos Scholz Collection. Ref. Nicodemi (? date: 144-145). Sketch for the frescos in the Castello Buonconsiglio, Trento. Depicts a standing satyr and a seated woman playing narrow, cylindrical pipes which may be recorders; another seated woman plays a lute, and a seated man holds an object which may represent another wind instrument.
• Pegasus and the Muses, attributed to Girolamo Romanino (ca 1484-1562). London, National Gallery, NG3093. Depicts the muses playing for Pegasus, the winged horse. On the left of the picture, the muses variously sing and play rebec and a slender, cylindrical duct-flute with the bottom hole offset to the right and thus probably a recorder; a man stands holding the bell-end of a wind instrument. On the right of the picture, the muses play vielle, lute, tabor and an ambiguous pipe; a woman sits with her back to the viewer.

Theodoor Rombouts

• A Musical Party (1627), Theodoor Rombouts (1597-1637). Location unknown; auctioned Sotheby's, London. Ref. Early Music (1982, 10(1): 87, b&w); Thomson & Rowland-Jones (1995: 80, pl. 22, b&w); Graham Wells (1977: 251); Zaniol (1984, December: 14, footnote 20). Similar but not quite identical to other works by Rombouts and to Bartolomeo Manfredi's Figures Making Music Around a Table (auctioned by Sotheby's, 8 May 2001). Sitting at a table, a theorbist and a recorder player accompany a singer who stands between them. A serving man brings them wine. On the table are open music books, a lute, a cittern and an unusual flute which appears to be made of ivory with a wooden insert in the head joint. The recorder is a near-cylindrical tenor with a one-keyed foot-joint and fontanelle.
• Three Musicians Playing in a Tavern, oil on canvas, Theodoor Rombouts (1597-1637). Location unknown: Offered for sale by Christie's, 24 November 1992 (unsold). Ref. Gabrius Data Bank, OMP (2002 - col.) Similar but not quite identical to other works by Rombouts and to Bartolomeo Manfredi's Figures Making Music Around a Table (auctioned by Sotheby's, 8 May 2001). Sitting at a table, a theorbist and a recorder player accompany a singer who stands between them. A serving man brings them wine. On the table are open music books, a lute, a cittern and an unusual flute which appears to be made of ivory with a wooden insert in the head joint. The recorder is a near-cylindrical tenor with a one-keyed foot-joint and fontanelle.
• The Concert, oil on canvas, Theodoor Rombouts (1597-1637). Location unknown: Offered for sale by Tajan, 23 June 1999 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) Similar but not quite identical to other works by Rombouts and to Bartolomeo Manfredi's Figures Making Music Around a Table (auctioned by Sotheby's, 8 May 2001). Sitting at a table, a theorbist and a recorder player accompany a singer who stands between them. A serving man brings them wine. On the table are open music books, a lute, a cittern and an unusual flute which appears to be made of ivory with a wooden insert in the head joint. The recorder is a near-cylindrical tenor with a one-keyed foot-joint and fontanelle.
• Concert in an Interior, oil on canvas, Theodoor Rombouts (1597-1637). Location unknown: Auctioned by Christies, 19 April 2002 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) Similar but not quite identical to other works by Rombouts and to Bartolomeo Manfredi's Figures Making Music Around a Table (auctioned by Sotheby's, 8 May 2001). Sitting at a table, a theorbist and a recorder player accompany a singer who stands between them. A serving man brings them wine. On the table are open music books, a lute, a cittern and an unusual flute which appears to be made of ivory with a wooden insert in the head joint. The recorder is a near-cylindrical tenor with a one-keyed foot-joint and fontanelle.
• Allegory of the Five Senses (1632), oil on canvas, 207 × 288 cm, Theodoor Rombouts (1597-1637). Ghent: Museum voor Schone Kunsten, Inv. S-76. Ref. Leppert (1977: 107, pl. XXIII); Postcard: Promotie Museum voor Schone Kunsten-Gent, 96 (1996 - col.) An allegorical still-life on the palace of a terrace depicting a number of musical instruments representing harmony and music as part of Hearing, including lutes, violin, an indeterminate bowed stringed instrument, curtal, shawm, and five pipes (possibly recorders) of different sizes in a case of which only the ends are visible.

  The five senses are represented by five men of different ages. The old man on the left with spectacles and holding a mirror represents Sight. Next to him, representing Hearing, sits a richly attired musician playing a theorbo, the collection of musical instruments at his feet. A blind sculptor in the centre represents Touch. A young man drinking wine personifies Taste, his feet resting on a copper pot used as a wine cooler. At the extreme right, in shadow, an elegant young man with a smoking pipe represents Smell.

• Musicians, canvas, 169 × 204 cm, Theodoor Rombouts (1597-1637). Dessau: Staatliches Museum, Schloss Mosigkau, Cat. 17. Ref. Leppert (1977: 108). Musicians around a table sing and play guitar, lute, and recorder.
• Musical Gathering (ca 1620), oil on canvas, 117 × 168 cm, Theodoor Rombouts (1597-1637). Darmstadt: Hessiches Landesmuseum, GK 704. Ref. Munich RIdIM (1999: DAhl - 26). Around a table are gathered players of violin, lute (with music) and tambourine. The oldest player of the group holds a duct-flute, (possibly a recorder) the window/labium of which is clear; right hand is uppermost with all fingers down; the left hand has three fingers down, but the little finger is tucked under the instrument with no sign of a hole for it. The instrument is uncertainly a recorder, although it would fit with the group. Notes by Antony Rowland-Jones (pers. comm., 1999).

Nicolò Rondinelli

• Madonna and Child Enthroned with Saints, Nicolò Rondinelli (op. 1495-1502). Milan: Pinacoteca di Brera. Ref. Visual Collection, Fine Arts Library, Harvard University, 372.R667.34[a]; Rasmussen (1999b). Standing before a plinth upon which one of their companions is seated, two child musicians play lute and a near-cylindrical recorder with off-set lowermost finger-holes close to the bell end. Notes by Anthony Rowland-Jones (pers. comm.)

Thomas Matthews Rooke (1842 - 1942)

• The Dancing Girls (1882), oil on canvas; 61 × 97 cm, Thomas Matthews Rooke (1842 - 1942). Oxford: Ashmolean Museum, A686. Ref. Website: Ashmolean Museum (2007 - col.) In a garden two groups of girls dance in circles, holding hands. Three girls in the foreground watch the others. One girl sits alone playing music for the dancers on a very slender pipe.

Jean van Roome

• Cartoons for Brussels tapestries The Victory of the the Virtues over the Vices, namely The Last Judgement, Tapestry of the Dance, The Prodigal Son, all of which are in the same hand. ? Location. Ref. Anthony Rowland-Jones (pers. comm., 2000).

Francesco de Rosa [Pacecco or Pacecco de Rosa] (ca 1600-1664), Italian

• Meeting of Jacob and Rachel at the Well, Francesco de Rosa (ca 1600-1664). Naples: Certosa di San Martino. Ref. Anthony Rowland-Jones (pers. comm., 2001). A shepherd boy beside the well holds a pipe left hand lowermost, hands far apart. Five finger-holes, two with fingers half-covering them, are visible. The bell end is cut off by Rachel's clothing. The instruments is cylindrical throughout, slightly if at all beaked, and with only faint signs of a window/labium. This is, perhaps, more a shepherd's pipe than a recorder as such. Notes by Anthony Rowland-Jones (loc. cit.)
• Adoration of the Shepherds, Francesco de Rosa (ca 1600-1664). Rome: Camera dei Deputati, Palazzo di Montecitorio. As Mary wraps the Holy Child watched by Joseph, admiring shepherds bring their gifts of a sheep, a basket of doves, and a cylindrical pipe, possibly a duct-flute though no details are visible. Putti tumble from the rafters.

Salvator Rosa

• Romantic Landscape with Mercury and Argus, oil on canvas, ca 250 × 150 cm, Salvator Rosa (1615 - 1673). Melbourne: National Gallery of Victoria, accession no. 2883-4. Mercury (Hermes) charms Argus to sleep by playing on a gently flared, one-piece pipe. The figures are very small against the imposing landscape in which they are placed.

Cosimo Rosselli

• Coronation of the Virgin, Cosimo Rosselli (1439-1507). Florence: Galleria del Uffizi. Ref. Paris RIdIM (1999). The Virgin is crowned with a triple crown by Christ, himself wearing a triple crown. They are surrounded by putti and angel musicians singing and playing lute, fiddle, psaltery, timbrel, shawm and a cylindrical recorder (beak, window/labium and paired holes for the lowermost finger clearly shown).
• Coronation of the Virgin, wood, 154 × 92 cm, follower of Cosimo Rosselli (1439-1507). Florence: Galleria della Academia, Inv. 490. Ref. Bonsanti (1987: 41-42, col.) The Virgin is crowned with a triple crown by Christ, himself wearing a triple crown. They are surrounded by putti and angel musicians singing and playing lute, fiddle, psaltery, timbrel, cylindrical recorder (top lhs; beak, window/labium and paired holes for the lowermost finger clearly shown, though there are otherwise rather more holes than fingers), and a second conical pipe with a fontanelle and flared bell but no window/labium visible (top rhs; shawm or recorder), possibly a ?tenor recorder since all fingers of the lower (left hand) are deployed covering their holes, and the player's cheeks are not puffed out.

Antonio Rossellino

• Nativity Altarpiece (1470s), marble, Antonio Rossellino (1427-1479). Naples: Sant'Anna dei Lombardi. Ref. Burckhardt (1988: 37, pl. 23). “The nativity shepherds may be playing instruments, possibly two recorders and a bagpipe” (Anthony Rowland-Jones, pers. comm. 2000).

Johann August Rossmäßler (1752-1783), German

• 84 sheets with 110 drawings for the Almanach der Philosophie (1782), Früchte der ländlichen Muse (1777) and Preußische Blumenlese (1781): ink, watercolour & pencil, 7.5 × 9.3 cm & 7 × 8 cm (images), 19.1 × 13.5 cm (sheet), Johann August Rossmäßler (1752-1783). Coburg: Kunstsammlungen der Veste, Inv. Z 222, fol. 81, fol 84b (below). A child kisses the hand of a man seated at a table; 3 boys playing soldiers are marched out the door with a child with a toy drum. Fol 84b (below): Apollo with his lyre appears with three of the Muses one of whom holds a book, one sings, and one holds a recorder in her hands. Not seen.

Annibale dei Rossi

• Spinet (1555), carved key-well cheek, Annibale dei Rossi (16th century). London: Victoria & Albert Museum, No. 156-1869. Ref. Thornton (1982: 3, fig. 1 - b&w). A small carved panel with a swag of musical instruments, amongst them harp, hurdy-gurdy, bagpipes, lute, trumpet, bow, two ?shawms, and a duct-flute (probably a recorder). The beak, window/labium and first three finger-holes of the latter are clearly depicted, but the rest of the instrument is hidden.

Michael Rössler (1705-1777)

• A Female Woodwind Instrument Maker (1730), etching & engraving, 29.2 × 19.5 cm, Michael Rössler (1705-1777); Lancaster (2007: 20). Washington DC: Library of Congress 20540, Dayton Miller Iconography Collection 0368 Published by Martin Englebrecht (1684-1756). A woman (a woodwind instrument maker) plays a baroque-style alto recorder and wears various woodwind instruments and woodturning tools on her person, some attached at her shoulder, many attached at her belt, and each is identified by a number corresponding to text beneath her describing the instrument or tool. In the background on the left, a bagpiper strolls in front of a tall hedge; another musician sits at the right playing a shawm. In the caption, the recorder the woman plays is identified as a 2 une flutte à cornet, 2. ein Cornet flötte. Amongst the instruments hanging from the maker's belt are two more recorders of similar design – one a soprano, the other a tenor.
• A Male Woodwind Instrument Maker (1730), etching, & engraving, plate impression & 29.2 × 19.1 cm, Michael Rössler (1705-1777). Berlin: Kunstbibliothek, Pe 8 Nr. 161; Washington DC: Library of Congress 20540, Dayton Miller Iconography Collection 0368. Ref. Munich RIdIM (1999: Bkb - 388); Lancaster (2007: 20). Published by Martin Englebrecht (1684-1756). A man (a woodwind instrument maker) carries his work stool above his head; his body is decorated with the tools of his trade and a number of wind-instruments amongst them cornetts, bassoon, oboes, flutes and several duct-flutes, including recorders, many identified by a number corresponding to text beneath him describing the instrument or tool. Behind him on his left, is a tall hedge in front of which a seated musician wearing a tricorn plays an oboe; another man, at the right, leans against a wall playing a transverse flute.

Hans [Johann] Rottenhammer, the Elder (1564-1625), German

• Adoration of the Shepherds, drawing, 56.7 × 34.9 cm, Hans Rottenhammer the Elder (1564/5-1625). Brunswick: Herzog Anton Ulrich Museum, Inv. Z 1189. Mary and Joseph admire the Christ-child, as do two friendly looking cows. Shepherds rush in, Wise Men approach the stable, and musical angels hover overhead playing tabor, harp, lute and organ. High above them all a putto plays a small cylindrical pipe (possibly a recorder).
• Minerva and the Muses (1603), possibly by Hans Rottenhammer the Elder (1564/5-1625). Cologne: Wallraf-Richartz-Museum. Ref. Munich RIdIM (1999: KNwr - 228); Website: Wikepedia (2005 - col.) Painted in Venice. Behind a five-stringed violin an alto- or tenor-sized pipe (possibly a recorder) can be seen. The head and centre of the body are occluded, but two upper and two lower finger-holes are visible with a very slight bell flare and expansion of the bore. Other Muses play or hold harpsichord, lyre, viola, lute and cornett. Notes by Anthony Rowland-Jones (pers. comm., 1999). Includes two duct-flutes (flageolets or recorders).
• Satyr admiring Sleeping Venus, see print by Jacob Matham (1571-1631).

Johann Michael Rottmayr

• The Triumph of the Sciences and the Arts (1710), painting, oval, Johann Michael Rottmayr (1654-1730).
Sibiu: Muzeul National Brukenthal. Ref. Charles Rowland-Jones (pers. comm., 2008). Probably intended to become a ceiling fresco. Depicts Minervaas the presiding godess surrounded by Muses, although they cover 'the two cultures' by peering through a telescope or holding aloft a caduceus as a symbol of medicine. At centre left Euterpe plays a lute, while behind her, just about within the curve of the oval, a dark-haired woman plays a wind instrument, alto-sized, the lower part of which is hidden behind Euterpe's back – but part of the upper (left) hand is just visible. The instrument just touches the player's relaxed lips. The mouth-piece is hard to make out, but the outline is clear a little lower down where there is what looks like a baroque-style ornamental bulge. A reed instrument with Euterpe's lute (there are no other instruments) is improbable, so this is possibly a recorder, especially because of the popularity of the instrument at the time of the painting.

Jacques des Rousseaux (ca 1600-ca 1638), Dutch

• Four Musicians OR Men and Women Making Music (1631), oil on canvas, Jacques des Rousseaux (ca 1600-ca 1638). Location unknown: Auctioned by Koetser, New York (?date); Sotheby's 30 January 1997 (sold). Ref. Rijksbureau voor Kunsthistorische Documentatie 19027 (2001); Anthony Rowland-Jones (pers. comm., 2001); Gabrius Data Bank, OMP (2002-col.) Men and women play music around a table. A young man, wearing a jerkin with slashed sleeves, plays an alto hand fluyt, right hand lowermost, all fingers down. The window/labium, is just visible. On the table are a violin and bow and a music book.

Giovanni Mauro della Rovere [Il Fiammenghino]

• Musical Angels, Giovanni Mauro della Rovere (ca 1575 - ca 1640). Venice: Galleria della Accademia. Ref. Pinacoteca Ambrosiana (1973, 3: no. 153); Rasmussen (2002, Lute). "Angels sing and play violin, lute, woodwind (recorder?) and cornett" (Rasmussen, loc cit.)

Thomas Rowlandson

• Two Musicians (ca 1774), watercolour on paper, 18.5 × 17.7 cm, Thomas Rowlandson (1756-1827). Bedford: Cecil Higgins Art Gallery. Ref. Bridgeman Library of Art (2001: Image CEC 128115 - col.) A caricature of a man playing a viol (the frets clearly depicted) and another a slender pipe with a flared bell. The instrument is in no way realistic. The Bridgeman Art Library interpret these instruments as a cello and a recorder.

Royal Doulton Company (1815-)

• Doctor Who – The Second Doctor, 1966-1969 (ca 1984), Royal Albert bone china plate, 21 cm in diameter, Royal Doulton Company (1815-). Ref. Gift Music Book & Collectibles (2006 - b&w). Chicago: Gift Ministries, Item No. DOCTORWHO4 (currently for sale). Depicts the actor Patrick Troughton as the Second Doctor Who in the BBC television series Dr Who playing a soprano recorder near the iconic police call-box time machine.

Felice Rubbiani

• Still-life, oil on canvas, Felice Rubbiani (1677-1752). Ref. Gabrius Data Bank, OMP (2000 - col.) On a rocky ledge, beneath a classic column, are an elaborately mounted vase of flowers, fruit (apples, grapes, peaches, pears), and an antique frieze representing Mercury and Argus. Argus falls asleep as Mercury plays a conical pipe, possibly a recorder, though no details are shown.

Sir Peter Paul Rubens

• Shepherds and Shepherdesses in a Rainbow Landscape, (ca 1630), canvas, 133 × 172 cm, Sir Peter Paul Rubens (1577-1640). Detail. Valenciennes: Musée des Beaux Arts, Inv. 1801. Ref. Lepert (1977: 118); Rowland-Jones (1997d: 50, fig. 6B, detail - b&w; 2009: 239 - col.); Recorder & Music 17(2): cover (detail - col.) Shows a pair of lovers, a satyr and a women prominent in the centre foreground, sheep, cattle, and a woman kneeling beside a shepherd who plays two recorders. In this (final) version the shepherd is given more prominence and now holds two crossed recorders in utter confusion as a lewd horned satyr, his syrinx in his belt, a creature of depravity, urges a woman forward who exchanges a glance with the other seemingly suggesting a lesbian relationship. The shepherd, seated and leaning against a tree 'making the woods resound to his love for Amaryllis', is modelled on Tityrus in Virgil's first Idyll. This was the first Rubens painting to be acquired by Louis XIV. There is another version in the Hermitage in which the shepherd is less prominent and holds but one recorder. A scene of temptation to sensual indulgence through supernatural powers, accompanied by recorders, occurs in Lully's Amadis (1684).
• Shepherds and Shepherdesses in a Rainbow Landscape, (ca 1630), oil on canvas (transferred from panel), 86 × 130 cm, Sir Peter Paul Rubens (1577-1640). St Petersburg: Hermitage. Ref. Rowland-Jones (1997d: 49, fig. 6A - b&w; pers comm., 2001); Eisler (1990: 48 - col.); Rijksbureau voor Kunsthistorische Documentatie 10115 (2001). Two pairs of lovers, cattle, a dog, and a shepherd holding a narrow, cylindrical recorder are seated under a tree. Similar to the Valenciennes version.
• Study for 'Shepherds and Shepherdesses in a Rainbow Landscape', (ca 1630), Sir Peter Paul Rubens (1577-1640). Paris: Fondation Custodia, Institut Néerlandais. Ref. Rowland-Jones (1997d: 50, footnote 7). A study for the recorder-playing shepherd in the painting of this name in the Louvre and Hermitage.
• Mercury and Argus, oil on canvas, 179 × 297 cm, Sir Peter Paul Rubens (1577-1640) and L. van Uden (1593-1672). Madrid: Museo del Prado 1673. Ref. Ibañez & Gallego (1972: 163); Anthony Rowland-Jones (pers. comm., 2001). "The recorder-like instrument held by Mercury, who has his sword lifted to strike off the head of the sleeping Argus, has a very wide but fairly gradual bell flare, with bore flare as well. Three finger-holes are visible up to the point where Mercury has the instrument hidden by his hand and arm. There is no sign of an offset hole, but the lowest of the three holes is fairly close to the bell – just at the point where the flare starts. This could certainly be a recorder, but is not definite" (Rowland-Jones, loc. cit.)
• Mercury and Argus (ca 1635-1638), oil on panel, 63 x 87.5 cm, Sir Peter Paul Rubens (1577-1640). Detail, from Early Music Network. Dresden: Stadtuseum, Inv. No. 962 C. Ref. Ember (1984: pl. 37 - col.); Anthony Rowland-Jones (pers. comm., 2001); Bildarchiv Foto Marburg (DISKUS-Objekt-Dokument 00021760 – b&w). Holding a sharply conical duct-flute (flageolet or recorder) one-handed, Mercury (Hermes) watches intently as Argus sleeps against a tree watched by Io (as a heifer), and is already reaching for the sword with which he will behead the sleepy guardian. Despite its conicity, the instrument could be a recorder as finger-holes five, six and seven are all in line, with seven being lower than the little finger of the left hand.
• Mercury and Argus and Io (17th century), oil on wood, 59 × 84 cm, copy of the orignal by Sir Peter Paul Rubens (1577-1640). Auctioned: Old Master Paintings, Dorotheum, Vienna, 25 May - 5 June 2002, Lot 274. Ref. Website: International Auctioneers (2006 - col.) Copy of the orignal by Sir Peter Paul Rubens in Dresden (see above).
• Mercury and Argus and Io, copy of an orignal by Sir Peter Paul Rubens (1577-1640). Munich: Bayerische Staatsgemäldesammlung. Ref. Munich RIdIM (1999: Mstag - 554). In this copy of an original in Dresden (see above), what is probably inteded as a recorder is shown too outwardly conical. Note by Anthony Rowland-Jones (1999).
• Mercury and Argus, oil on canvas, copy after Sir Peter Paul Rubens (1577-1640). Ref. Gabrius Data Bank, OMP (2000 - col.) A poor copy of an original by Rubens.
• Mercury, Argus and Io, painting, school of Sir Peter Paul Rubens (1577-1640). Location unknown: auctioned 16 June 2004 (unsold). Ref. Gabrius Data Bank (2007 - col.) A copy of an original by Rubens.
• Mercury and Argus, wood, 26.5 × 44.5 cm, Sir Peter Paul Rubens (1577-1640). Brussels: Koninklijke Bibliotheek van België, Cat. 394. Ref. Leppert (1977: 114). A study in which Mercury holds a duct-flute (see above).
• Mercury and Argus, (ca 1617/1618), wood, 40.5 × 57.7 (at top) to 58.3 cm (at bottom) cm, Sir Peter Paul Rubens (1577-1640). London: Frank T. Sabin Collection. Ref. Leppert (1977: 114). A study in which Mercury holds a conical pipe (duct-flute or shawm, see above).
• Mercury Preparing to Sever the Head of Argus, wood, 26.5 × 44.5 cm, Sir Peter Paul Rubens (1577-1640). Seville: de Alumia Collection. Ref. Leppert (1977: 114). A study in which Mercury holds a conical pipe, only the bell end of which is visible (see above).
• The Bacchanal of the Andrians, Sir Peter Paul Rubens (1577-1640). Detail. Stockholm: Nationalmuseum. Ref. Rowland-Jones (1997e: 89-90, b&w); Recorder & Music Magazine 17(3): cover (col.); Rowland-Jones (2000d: 84-90, figs. 1 & 7); Rowland-Jones (2004: 41-42, fig. 4-col.) A copy of the original of the same title by Titian. Rubens omits the discarded recorder at the foot of the reclining nude, and substitutes a shepherd boy playing a recorder on a hill in the background.
• Group of Satyrs (ca 1650), 116 × 74 cm, Sir Peter Paul Rubens (1577-1640). Prague: Nostitz-Rieneck Gallery. Ref. Leppert (1977: 118). A bacchanal in which one of the satyrs holds a duct-flute (possibly a recorder).
• La féliciteé de la Régence, Sir Peter Paul Rubens (1577-1640). Paris: Musée du Louvre. Ref. Tervarent (1947: fig. 23). A Queen sits enthroned in state holding a sceptre in one hand, a pair of scales in the other. She is surrounded by admiring figures some above blowing straight trumpets, some in military dress, and some handing out wreaths and medalions to gambolling putti one of whom holds a syrinx under his arm. Bound captives lie at her feet. In the foreground a shawm lies across some music. Underneath the latter the head of a duct-flute (probably a recorder) projects.
• Triumph of the Eucharist over Idolatry (1699), Sir Peter Paul Rubens (1577-1640). Ref. Ibañez & Gallego (1972: 162). Amongst those driven away by the angel, a woman holds a duct-flute. On the ground lies a lyre. A copy by D. Teniers Jnr of this painting is on loan to the Museo de Pontevedra.
• The Drunken Hercules led by a Nymph and a Satyr (1612/14), Sir Peter Paul Rubens (1577-1640). Dresden: Stadtmuseum. Ref. Anthony Rowland-Jones (pers. comm., 2001). Hercules is supported by a nymph on one side and a satyr on the other, all quite naked and with animals licking them. Trampled on the ground between Hercules' feet a flute, a timbrel and a soprano recorder lie crossed. The latter is viewed from underneath and the beaked mouthpiece and windway and the thumbhole are clearly depicted. The instrument is cylindrical with a sudden, sharply flared bell.
• Sunset Landscape with a Shepherd and his Flock (ca 1638), oil on wood, 49.4 × 83.5 cm., Sir Peter Paul Rubens (1577-1640). London: National Gallery, NG2924. Ref. Rijksbureau voor Kunsthistorische Documentatie 10111 (2001); Anthony Rowland-Jones (pers. comm., 2001). A stately landscape depicting an old shepherd sitting with his flock ? playing a pipe (possibly a recorder) and, to the right, a village. The view has not been identified, but it is likely to have been inspired by the countryside around Het Steen, an estate owned by Rubens. It is traditionally thought to depict a sunset.
• Wooded Landscape with Putti and Satyrs Playing Music and Dancing, school of Sir Peter Paul Rubens (1577-1640). Location unknown: auctioned 08/12/2005 (sold). Ref. Gabrius Data Bank (2007 - col.) Three putti and a baby satyr dance in a circle to the accompaniment of a putto on tambourine (with jingle rings) and a baby satyr playing cylindrical pipe with a slightly flared bell. The piper's fingers are disposed as for recorder playing, but his cheeks are puffed and no window/labium is visible.
• Allegory of Music, tapestry from a cartoon by Sir Peter Paul Rubens (1577-1640). Catrogeriz (Spain): Church of Santo Domingo. Ref.Centre for Music Documentation (CMD), Madrid (2001); Anthony Rowland-Jones (pers. comm., 2001). “A tambour, with wires strung across it, is shown behind the raised right arm of a putto angel. On it lies a wind instrument showing six holes. It is cylindrical, with very little bell flare. The upper part of the instrument is hidden behind the putto so it cannot be identified” (Rowland-Jones, loc. cit.)
• Bacchanal, school of Sir Peter Paul Rubens (1577-1640). Caen: Musée des Beaux Artes. Ref. Paris RIdIM (1999). Men and women cavort lasciviously to the sound of a bagpipe and a slender gently flared pipe played by two men. Putti dance about the sky and amongst the trees above them. The pipe "looks as though a recorder may be intended" (Anthony Rowland-Jones, pers. comm. 1999).
• The Triumph of Bacchus, school of Sir Peter Paul Rubens (1577-1640). Dublin: National Gallery of Ireland. Ref. Boydell (1985: 60, fig. 49). Bachus holds his wine-glass aloft as those around him cavort and gambol, amongst them a faun who plays a conical pipe which may represent a recorder, though it is played with puffed cheeks.
• Rustic Dance Observed by Three Bourgeoise Women, wood, 54 × 67.5 cm, [pseudo] Sir Peter Paul Rubens (1577-1640). Uccle (Brussels): Collection G. Beetz. Ref. Leppert (1977: 118); Paris RIdIM (1999). A rustic dance scene in the countryside in which a peasant boy sitting in the fork of a tree plays a conical pipe, possibly a recorder.

Georg Philipp Rugendas the Younger (1701-1774), German

• Shepherd Playing a Recorder in a Landscape (1758), print, 22.5 × 36.5 cm, Georg Philipp Rugendas the Younger (1701-1774). Augsburg: Städtische Kunstsammlungen, Inv. G 5967. Ref. Munich RIdIM (1999: Ask 206).

Ludwig Sigismund Ruhl

• [Allegorical Study], Ludwig Sigismund Ruhl (1794-1887). ink ↦ watercolour on paper, 24.8 × 32 cm, Ludwig Sigismund Ruhl (1794-1887). Kassel: Staatliche Museen, Inv. Leihgabe Städtische Sammlungen, Lfd.Nr. 3219. Ref. Munich RIdIM (2009, Kskg - 398). Two bird-catchers hugging each other. At their feet lie a tambourine, a syrinx and two recorders. Not seen.
• Two Figures after Giorgione, ink on paper, 21 × 25 cm, Ludwig Sigismund Ruhl (1794-1887). Kassel: Staatliche Museen, Inv. AZ 2277, Leihgabe Städtische Sammlungen, Lfd. Nr. 3067. Ref. Munich RIdIM (2009, Kskg - 385). A man sits before a bush playing a recorder. Not seen.

Pierre Rup (15th century), Swiss

• Altarpiece: [Angel Musicians] (mid-15th century), Pierre Rup. Dijon: Musée des Beaux-Arts, Cat. No. 57. Ref. Mirimonde (1964: 119-1120; 1965); Bret & Martin (2000); Anthony Rowland-Jones (pers. comm., 2001 & 2003). Originally in Geneva Cathedral. Four saints in large rectangular panels. Above them four more in triangular panels. Along the the top are angel musicians grouped in four pairs playing shawms, rebec and duct-flute (possibly a recorder), psaltery and nakers, cymbals and bells respectively. The size of the pipe in the painting is too small for any details to show, but it seems to be of alto size, with a slight flare both externally and of the bore. The mouthpiece is unclear – it may be beaked. It is played left hand lowermost with most fingers raised. In the higher rank of Saints the second is St Catherine, which may account for the soft music above her. Notes by Rowland-Jones (loc. cit.) This work has recently been restored (Bret & Martin, loc. cit.)

Giorgio de Rusconi (16th century), Italian

• Title page of Costantonio Carmignano's Le cose Vulgare, Venice (1516), Giorgio de Rusconi (16th century). Italian. Location unknown. Ref. Paris RIdIM (2000). This appears to depict Apollo and the Muses. Apollo stands in the centre before a rectangular pond playing a viola da braccio. Around him the Muses sing and play straight trumpet, cymbals, cornett, lute and a cylindrical duct-flute (probably a recorder) of alto size the window/labium of which is clearly visible.
• Opera moralissima de diversi autori, published by Nicolò Zoppino & Vince[n]tio di Pollo su compagno, Venice (1516), frontispiece, Giorgio de Rusconi (16th century). Venice: Biblioteca Nazione di S. Marco, Misc. 2429.4 Ref. Ferino-Pagden, ed. (2001: 216); Paolo Biordi (pers. comm., 2002). A writer sits working at his book beside a pool surrounded by musicians who sing and play two duct-flutes, syrinx, vihuela, and viola da braccio. The two duct-flutes, played by a man and a woman, are narrowly cylindrical and probably represent recorders, although the player's lowermost hand (left and right, respectively) is towards the end of the instrument in each case.

John Russell (1745-1806) – see P.W. Tomkins

Sergio Ruzzier

• Cover: American Recorder 40(5): Solo (1999), Sergio Ruzzier (1966-). A lone rat sits in the corner of a renaissance ally mellowing out on his recorder, enchanting worms out of the ground. A wry comment on The Piper of Hamelin, perhaps.

David I Ryckaert [or Rijckaert] (Netherlandish, 1500-ca 1607) or David II Ryckaert [or Rijckaert] (Flemish, 1586-1642)

• [Untitled] (1600), David Ryckaert. Vienna: Galleria Czernin. Ref. La Rassegna Musicale 4 (April 1929); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Musicians play lute, chittarrone and a recorder. The photocopy is obscure.

David III Ryckaert [or Rijckaert]

• Concert (1650), David III Ryckaert (1612 - 1661). Vaduz: Liechtensten Gallery. Ref. London: University of London, Courtauld Institute of Art, negative); JMA (1968: 199, fig. 25); Leppert (1977: 120). A domestic scene in which musicians play guitar, harp, lute, violins, harpsichord, flute a conical pipe, and a child plays a small duct-flute (flageolet or recorder).
• Concert (1650), wood, 105.5 × 135.5 cm, David III Ryckaert (1612 - 1661). Salzburg: Residenzgalerie, Cat. 163 (Czernin Collection). Ref. Courtauld Institute of Art (negative); JMA (1968: 198, fig. 24); Leppert (1977: 121). A domestic scene in which musicians sing and play guitar, lute, violin, cello, virginals, mute cornett, and a child plays a small duct-flute (flageolet or recorder).
• Drinking Song ["As the old ones sing, so also the young ones pipe"], David III Ryckaert (1612 - 1661). Budapest: Zichy Jenö Collection. Ref. Leppert (1977: 121). Allegory illustrating a Flemish proverb, showing a rustic domestic scene in which two men and a woman sing, a man plays a bagpipe, and a child plays a small duct-flute (flageolet or recorder).
• Family Feast ["As the old ones sing, so also the young ones pipe"], David III Ryckaert (1612 - 1661). Budapest: Szépmüvészeti Museum, cat. 423. Ref. Marburg (negative); JMA (1969: 190, fig. 15); Leppert (1977: 121). Allegory illustrating a Flemish proverb, showing a rustic domestic scene in which peasants sing whilst a child plays a small duct-flute (flageolet or recorder).
• "As the old ones sing, so also the young ones pipe." [As the old cock crows, the young one learns.] (1639), wood, 59 × 96 cm, David III Ryckaert (1612 - 1661). Dresden: State Art Museum. Ref. JMA (1968: 189, fig. 14); Leppert (1977: 122). Allegory illustrating a Flemish proverb, showing a rustic domestic scene in which peasants sing whilst a child plays a small duct-flute (flageolet or recorder).
• "As the old ones sing, so also the young ones pipe." [As the old cock crows, the young one learns.] (1639), wood, 59 × 96 cm, David III Ryckaert (1612 - 1661). Brussels: Christian Laitat Collection. Ref. Leppert (1977: 122). Allegory illustrating a Flemish proverb, showing a rustic dance scene in which peasants sing whilst a child plays a small duct-flute (flageolet or recorder); another duct-flute lies unused.
• Happy Family, David III Ryckaert (1612 - 1661). Private Collection. Ref. JMA (1968: 188, fig. 11); Leppert (1977: 122). Rustic domestic scene in which a peasant plays a bagpipe and a child plays a small duct-flute (flageolet or recorder).
• Invitation to a Duet, wood, 59 × 77 cm, David III Ryckaert (1612 - 1661). Von Mühlein Collection, Cat. 113. Ref. JMA (1969: 183, fig. 6); Leppert (1977: 122). A domestic scene (possibly allegorical) in which a man plays a lute and a woman holds a duct-flute (flageolet or recorder).
• Peasant Company [As the old ones sing, so also the young ones pipe"], canvas, 104 × 134.5 cm , David III Ryckaert (1612 - 1661). Salzburg: Residenzgalerie, Cat. 162. Ref. Residenzgalerie, Salzburg (negative); Leppert (1977: 123). Allegory illustrating a Flemish proverb, showing a meal in a tavern which is accompanied by musicians singing whilst a child plays a small duct-flute (flageolet or recorder).
• [Untitled] (1600), David III Ryckaert (1612 - 1661)
• Parody of a Fight among Urchins, after David III Ryckaert (1612 - 1661). Private Collection. Ref. JMA (1968: 206, fig. 32); Leppert (1977: 125). A parody of a military march in which three peasant children play a drum, a stool (used as a drum) and a small duct-flute (flageolet or recorder).

Marten Ryckaert

• Mountain Landscape with Flute-playing Shepherds, Marten Ryckaert. Austria: Private Collection. Ref. Bernt (1970); Archiv Moeck. On a slope beside a steep mountainous pass leading down to a river a shepherd plays a flared-bell recorder whilst his companion holds his. Their goats frolic about the ruins of an old castle.

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