Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

S

Daniel Sabater y Salabert

• The Magical Recorder, oil painting, 55.9 × 45.7 cm, Daniel Sabater y Salabert (1888-1951). Madrid: Duran, 16 April 1996, Lot 106. Ref. Artfact (2004). Not seen.

Jan Sadeler

See Martin de Vos.

Cornelis I Saftleven [Sachtleven or Zachtleven]

• Musicians, Cornelis I Saftleven (1607-1681). Torino: Carretto Gallery. Ref. Basso (1984, 3: 377); Paolo Biordi (pers. com., 2000). Five rustic musicians rehearse in a barn. One plays violin, one a transverse flute, one a trombone (held most awkwardly), and one a cello. One sits on an upturned tub conducting from a score, though his companions have no music; at his feet lie a bagpipe and a cylindrical alto recorder, the window/labium and seven finger-holes of which are perfectly clear – the lowermost very near the slightly flared bell; a spoon and fork are threaded through a loop in his cap. A young lad drinks from a jug; a man in the background looks on, as does a hen at the window.
• Drinking Outside a Tavern, oil on panel, 67 × 90 cm, Cornelis I Saftleven (1607-1681). Stockholm: National Museum, NM 693. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm. 2000). A rustic scene before a tavern. A boy standing on a balcony, a cat beside him, joins in the fun with a very small duct-flute (possibly a recorder). The window/labium is visible before the boy's upper (right) hand, and there is a slightly flared bell immediately below the lowermost little finger. Notes by Rowland-Jones (loc. cit.)
• A Flute-player, etching, 9 × 6 cm, Cornelis I Saftleven (1607-1681). Uppsala: University Library, UBG 7012. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm. 2000). A young man seated plays a long, thin, cylindrical duct-flute, perhaps 100 cm long, with all fingers well into the bottom half of the instrument. One hole shows below the lower (left) hand and on the opposite side. The window/labium and beaded mouthpiece are clearly depicted. Notes by Anthony Rowland-Jones (loc. cit.)
• The Duet (ca 1635), Cornelis I Saftleven (1607-1681). Vienna: Gemäldergalerie der Akademie der bildenden Künste. Ref. Anthony Rowland-Jones (pers. comm., 2007). Two fairly elderly men play a violin and a pandora (or large cittern) without much apparent enjoyment! In the background, four other instruments; on the left, a bass viol with a bow tucked into it. On the right, are a table with a statue and a very clearly depicted transverse flute. Lying at a right angle to the flute is an ambiguous pipe which could be a tenor-sized recorder, as the left-hand end is slightly beaked. Unfortunately tis instument is black and also in the shadow of a lute just behind it. No details of finger-holes or window/labium are discernable. In this company, however, it may well be intended to be a recorder. In it noteworthy that all the instruments shown are members of the 'broken' or 'English' consort. The normal smaller cittern and the pandora played as treble-bass plucked metal string pair, while the lute concentrated on divisions. The transverse flute and recorder are alternatives in a broken consort of the kind depicted here. Saftleven seems to have given precedence to the flute and putting in the poorly painted recorder could have been an afterthought.

Giovanni Camillo Sagrestani

• The Four Elements: Air, tapestry from cartoons by Giovanni Camillo Sagrestani (1660-1731). Florence: Palazzo Pitti, Sala della Carità (Royal Apartments). Ref. Anthony Rowland-Jones (pers. comm., 2002). Air, represented by Juno, has all four sides of its broad border decorated (like those in Versailles by Charles Lebrun) with musical wind instruments, including a basset recorder with a side-entering bocal with a mouthpiece end. There is a strengthening ring near the top and a broad metal band (? silver) fairly close to the unflared bell end, but leaving plenty of space for an incised decorative ring. Unforunately all the finger-holes (ie the body of the instrument) are behind the bag of a musette and other paraphanalia.
  
  At the top left corner of the border is a tenor recorder showing the underside of its beaked mouthpiece and windway entrance; it has three decorative rings near the head and four at the head/body joint. The body is cylindrical but the bell end is curiously shaped with a small but sudden flare. This is crossed with a partial view of another ? basset recorder with decorative rings, with four finger-holes visible. Tucked away behind is (probably) a bass recorder, judging from the size of its foot, which does have a flared bell (and the usual baroque rings). The little-finger key is positioned to the player's right hand, and two holes above it are visible. Behind a syrinx is the head and foot of a rather slender alto/tenor-sized recorder, the beak and windway entrance again seen from the underside.

Lorenzo Salimbene & Jacopo Salimbene

• Coronation of the Virgin, Lorenzo Salimbene (1374 - 1424) & Jacopo Salimbene (op. 1416 – 1420). Luxembourg: Museum of History and Art. Ref. Brown (198: #452 – b&w). "Two angels hover in the air above the central figures, playing double recorder and recorder (or shawm)" (Brown, loc. cit.), the left hand uppermost, the right hand at least a third the way up from the bell, which has little or no flare. An unlikely but not impossible duct-flute (Rowland-Jones, pers com.)

Cavaliere Tommaso (called Mao) Salini [Salinas or Solini]

• Boy with a Rat, oil on canvas, 133 × 97 cm, Cavaliere Tommaso Salini (ca 1575 – ca 1625). Sevastapol. Ref. Pushkin [State Museum of Fine Arts, Moscow] (1986: 80, pl. 26-col.); Villa I Tatti ND 611M37; Paolo Biordi (pers. comm., 2000). A Caravaggesque painting in which a young peasant boy crowned with a laural wreath holds a rat by the tail in one hand and a cylindrical alto recorder (the window/labium and seven finger-holes in line clearly visible) in the other. A cat looks expectantly up at the rat; a dog lies in the foreground. This painting uses the same model as Salini's Shepherd … which also inlcudes a recorder (see below).
• Shepherd Resting with his Flock (ca 1620), oil on canvas, Cavaliere Tommaso Salini (ca 1575 – ca 1625). Location unknown. Ref. Sotheby's Sale, Catalogue: Old Master Paintings Sale MI0275, 29 May 2007, Milan, Lot 188. A reclining shepherd lad gazes at his flock of sheep watched by his dog, goat and donkey. He holds a tenor-sized cylindrical recorder, the window/labium clearly visible. This painting uses the same model as Salini's Boy with a Rat (Sevastapol), which also includes a recorder.

Bernard Salomon [known as "Le Petit Bernard"]

• Saulsaye, eglogue de la vie solitaire by Maurice Scèe, published by J. de Tournes (1547, leaf A 2r): Shepherds, with a view of Lyons and the Summit of Fourvières in the Background, woodcut, Bernard Salomon (ca 1506/20 -ca 1561/70). Ref. Mortimer (?date, I/2: 598, no. 485); Rasmussen (2002, Bagpipe). "One shepherd holds a bagpipe, the other has a recorder at the back of his belt" (Rasmussen, loc. cit.) Saulsaye was a pastoral poem. Not seen.
• Metamorphose figurée: Mercury and Argus (printed by Jean de Tournes, Lyons, 1557), woodcut, Bernard Salomon (ca 1506/20 -ca 1561/70). Glasgow: University Library, Sp Coll BD1-g.27. Ref. University of Virginia (2003). Beneath a tree, Argus nods whilst Mercury seated opposite him plays a slender cylindrical pipe. The latter is very likely a recorder since the little finger of the lowermost (left) hand is crooked to cover its hole, and a shadow appears to represent a window/labium. The cycle of 178 woodcuts produced by Bernard Salomon for a French (and Dutch) simplified Ovid, the Metamorphose figurée, were used as a springboard for woodcuts by other Renaissance illustrators of Ovid, notably Virgil Solis.

Humphry Salter (17th century), English

• Frontispiece: Humphry Salter, Genteel Companion, London (1683). London: Library, British Museum. Ref. Welch (191/1961: 73-77, fig. 34; 114-115, fig 53); Linde (1962/1974: 55); Vinquist (1974: 160-161);Thomson (1974: 42, 73, fig. 12); Rowland-Jones (1978, front & back covers). A gentleman in periwig, buttoned coat, lace cravat, ruffles, breeches, stockings and shoes plays a baroque recorder whilst his elegantly attired lady teacher beats time for him; another instrument lies on the table between them. Used again "as the frontispiece to a book of instructions and lessons . . . published about the year 1700" (Hawkins 1776), minus the lady teacher (repr. Rowland-Jones, loc. cit., title page).

Hugues Sambin

• Musicians, decorated walnut dresser, Hugues Sambin (1515/20-1601/02). Cleveland: Museum of Art, 42.606. Ref. Ford (1991: #140). The central figure is a seated woman playing a lute (8 courses) between two putti (one in each upper corner of the door) each playing an instrument . . . The first putto (upper left corner) plays a mandolin . . . Behind him appear the neck of a lute, the end of an unidentified wind instrument, part of an S-shaped trumpet, the body of a violin (4 strings, f-holes), the top of a recorder, and the neck of a violin. The putto in the upper right plays a small harp . . . Behind him appear the bell and curved body portion of an S-shaped trumpet, a rebec, a violin (body and most of the fingerboard), the top of two recorders, and the end of an unidentified wind instrument" (Ford, loc. cit.) There are many more musical instruments in this picture.

Marco San Martino (17th century), Italian

• Shepherdess with a Pipe, print, Marco San Martino (17th century). New York: Public Library. Ref. Roth & Beck (1965: pl. 28). A bucolic scene in which two rustics rest on a hillside with their animals. She plays a crudely drawn pipe (possibly a recorder since all fingers of the lower (right) hand are covering their holes. He has his back to her.

Erhard Sanssdorffer

• [Untitled], fresco, Erhard Sanssdorffer (ca 1546). Büdingen (Germany): Grafenschloss. Ref. Salmen (1976, 3: 4); Paolo Biordi (pers. comm., 2000). Three blacksmiths hammer at an anvil in the open air. In front of them, musicians sing and play flute, lute, viol, regal, vielle, trombone, and a cylindrical recorder of alto/tenor size the window/labium of which is clearly visible.

Francesco (di Giralomo) da Santacroce

• Coronation of the Virgin, Francesco da Santacroce (1516-1584). Padua: Museo Civico, agli Frenitani. The Virgin and Child are surrounded by angels and putti, many playing musical instruments including drum, fiddle, lute and several pipes. At the bottom left a putto holds a long, narrow alto-sized duct-flute (window area clear) with an abrupt flare at the bell end, no finger-holes showing. A putto at the centre right plays an alto duct-flute with a fingering position suggestive of the recorder; the window is just visible as well as two upper holes and two lower holes, and there is a strong bell flare. At the bottom right a putto plays a tenor duct-flute the window of which is just visible as well as four holes and a longer bell flare, but the left arm is outstretched to the lower holes. A young male angel next to a lutenist plays a tenor-sized recorder, the window of which is just visible; the fingering position and five holes can be seen; the instrument widens to the bell-end which is slightly obscured.

Girolamo da Santa Croce

• St Thomas Becket on the Throne with Angelic Musicians, Girolamo da Santa Croce (1480/5-1556). Berlin: Archiv für Künst und Gescichte. Ref. CD: Captain Humes Poeticall Musicke, Vol. 1, Les Voix Humaines, Naxos 8.554125 (1996, cover, detail – col.) Musicians seated on the steps at the foot of the throne play vielle, lute and a cylindrical recorder (played with the lowermost little finger down).
• Nativity, panel, 54 × 71 cm, Girolano da Santa Croce (fl. 1516-1556). Florence: Luigi Crass, Via Santo Spirito, 25, Firenze. Ref. Catalogue of the Biennale of Antiquaires, Florence (1965); Paris RIdIM (2000). Around the Christ-child Mary, Joseph, a cow and a rabbit are gathered. Wise men approach from the right; angel putti proclaim the event from the clouds above; to the left are two shepherds, one of whom sits holding in one hand a slender, flared-bell duct-flute with a clearly depicted window/labium.

Giovanni Santi [Sanzio]

• Sacra Conversazione, Giovanni Santi (?1435-1494). Frontino (Pesaro): Chiesa dei Frati Minori. Ref. Varese (1994: 161); Paolo Biordi (pers. comm., 2002). Mary and the Christ-child enthroned are surrounded by Saints and entertained by two groups of musical angels who play bagpipe, pipe & tabor, tambourine (with jingle rings) on the left, and fiddle, harp, and a duct-flute (probably a recorder) on the right. The duct-flute is narrowly conical and the window/labium and three finger-holes for the uppermost (right) hand are visible. The fingers of the lower hand appear to be covering their holes, but the foot of the instrument is out of sight behind a nearby putto's left wing (green). This instrument appears to be identical to that depicted more clearly in Santi's Angel Musicians, Cagli (see below).
• Angel Musicians, Giovanni Santi (?1435-1494). Cagli (Pesaro): Chiesa di San Domenico, Cappella Tiranni. Ref. Varese & Zampetti (1994: 213); Paolo Biordi (pers. comm., 2002). Two winged putti standing on clouds play rebec and a narrowly conical recorder, seemingly identical to that depicted in Santi's Sacra Conversazione, Frontino (see above), although 7 finger-holes are visible here, and the foot is slightly flared.

Santi di Tito

• Musical angels, fresco, Santi di Tito (1536-1603). Florence: Duomo. Ref. German Institute, Florence. Amongst the pillars and arches, an angel weaves a wreath whilst others play lute, two vielles and two slender, cylindrical pipes, possibly recorders.

Dirck (Dircksz.) Santvoort [Zantvoort]

• Portrait of Elizabeth Spiegel, 1639–, oil on wood, 62.7 × 49.5 cm, Dirck Santvoort (1610/11-1680). Cleveland: Museum of Art, 75.81. Ref. Ford (1991, #184: 40, fig. 184); Archiv Moeck; Wind (1997: vol. 3, cover – col.); Anthony Rowland-Jones (pers. comm., 2001). A young girl with a strangely adult face holds a one-piece soprano recorder with a flared bell, covering all but the bottom and the second-from-bottom finger-holes. The bottom hole is in line with the others and not offset. "The note played on on the recorder – E-flat (or in German) Es – supports the … identification of the subject as Elizabeth Spiegel, a young family friend of the artist whose name is written on the back of the painting" (Ford, loc. cit.) Anthony Rowland-Jones (loc. cit.) has pointed out that she uses the wrist-swivel technique for the Eb half-holing. There is a pendant to this in the National Gallery, London, namely Portrait of Geertruyt Spiegel with a Finch (1639).

Carlo Saraceni

• St Cecilia with the Angel (ca 1610), oil on canvas, 136 × 173 cm, attributed to Carlo Saraceni (1579-1620). Image from Carol Gerten-Jackson. Another image from Web Gallery of Art. Rome: Galleria Nazional d'Arte Antica di Palazzo Barberini. Ref. Pincherlé (1953/1963: 84); Zampetti (1960: 24); Sartori (1963/4, 1: pl. 221); Dufourcq (1965:, 1: 250-251); Donzelli & Moir (1967: fig. 92); Pilo (1967: 16, pl. I); Golzio (1968: 538, as Orazio Gentileschi); Ottani Cavina (1968: figs. 44, 47, 49); Mirimonde (1974: 190); Ember (1984: pl. 33 - col.); Postcard: Royal Academy of Art, London (2001 - col.); Exhibited: The Genius of Rome, Royal Academy of Art, London (2001); Anthony Rowland-Jones (pers. comm., 2001); Cavalli-Björkman (2001: 114, pl. 1 - col.); Exhibition Catalogue, Rome: Colori della musica . . . (2000-20001: 237, no. 56); Ferino-Pagden (2001: 74); Visual Collection, Fine Arts Library, Harvard University, 372.Sa71.38Ce (2002); Rasmussen (2002, Lute). Cecilia plays a lute, a harp standing behind her; an angel holds a cello; a violin, shawm, and a recorder (only the head and first finger-hole of which are visible), lie discarded in the foreground; a small harp stands in the background.
• The Martydom of St Cecilia (ca 1610), Carlo Saraceni (1579-1620). Los Angeles: County Museum of Art. Ref. Exhibited: The Genius of Rome, Royal Academy of Art, London (2001); Anthony Rowland-Jones (pers. comm., 2001). At the the foot are a violin, a tambourine, and a completely clear cantus-sized recorder, with no decoration, and slight bell flare. There are seven finger-holes in line, equally spaced, except hole seven which is slightly further down

Andrea del Sarto [Agnolo, Andrea d’]

• Madonna and Child with Saints Elizabeth and John, and Two Angels, oil on panel, 132 × 102 cm, Andrea del Sarto (1486-1530). Modena: Galleria Estense, Inv. 456. Ref. Cosetta (1985, 1: pl. 46); Anthony Rowland-Jones (pers. comm., 2002). This may be a copy or studio copy rather than an original. The angel on the left holds a soprano/alto recorder with a gently flared bell but no apparent bore flare, left hand uppermost and all fingers down; two middle fingers of the the right-hand are close to their finger-holes, and the little finger is poised revealing half the finger-hole which is offset to the player's right. The window/labium is clear.
• Madonna and Child with Saints Elizabeth and John, and two Angels, Andrea del Sarto (1486-1530). Munich: Alte Pinakothek, Inv. 501. Ref. RIdIM (Paris, 2000). Probably identical to the painting with the same title in the Galleria Estense, Modena. The angel on the left holds a soprano/alto recorder with a gently flared bell, left hand uppermost and all fingers down except possibly the right-hand little finger which may be poised.

Sassoferrato (Giovanni Battista Salvi), Italian

• The Three Ages of Man, Sassoferrato (Giovanni Battista Salvi, 1605-1685), Italian. Rome: Borghese Gallery. This is almost identical to Titian's painting of the same name (see above): the poses of the principal figures are the same, but there are many obviously deliberate differences in detail between the works.
• Still-life, oil on canvas, 81 × 116 cm, Sassoferrato (Giovanni Battista Salvi, 1605-1685). Brescia: Armondi Galleri d'Arte. Ref. Zeri & Porzio (1989). Beneath a drape, on a table covered with a green cloth are a platter of peaches, flowers, a jewel box, books and papers, a lute, a guitar and a violin. Beside the table is a boy holding a duct-flute (probably a recorder), the lower half of which is out of view. The artist has most carefully spread the first and second fingers in order to show the thumb beneath the instrument in good recorder-playing position. Currently offered for sale. Although attributed to Sassoferrato by Armondi Galleri d'Arte, this works seems totally unlike others by that artist. Cristoforo Munari seems far more likely.

Pieter Joseph [Piat-Joseph] Sauvage

• Putti Dancing (late 18th century), oil on canvas (grisailles), 56 × 165 cm, Pieter Joseph Sauvage (1744-1818). Fontainebleau: Musée national du château, Inv. SN Sauvage 1. Ref. Web-site: Joconde Database. Commisioned in 1786 by the architect Rousseau for the Château de Fontainebleau. Restored 1990-1993. Eight winged putti dance holding hands in a circle to music provided by a seated putto playing a flared-bell pipe. Although no details of the latter are shown, the little players hands and fingers are disposed as for recorder-playing.

Roeland Jacobsz. Savery

• Mercury Lulling Argus to Sleep, oil, Roeland Jocobsz. Savery (1576-1639). Ref. Gabrius Data Bank (2007 - b&w). On a hillside, Mercury lulls Argus asleep in his bower. In the foreground are beasts, including Io (as a heifer) and Argus' dog. Mercury's pipe is slender with an abrubtly flared bell and may represent a recorder.

Christofle de Savigny (16th century), French

• Music (1578-1619), Christofle de Savigny (16th century). Ref. Savigny (1619: Fol. P); Stevens (1984: 87 & 89, fig. 7 - b&w). One of 17 tables demonstrating the classification and organisation of each of the liberal arts, each accompanied by an explanatory page of text. One of these sets forth all the young reader needs to know about Musique. It is unique in its use of pictures: all the other tables comprise only words. Many instruments are arranged in an oval border around the central diagram. Amongst these, several wind instruments are arranged in a garland on the left which includes a flute, a tabor pipe, a shawm the top end of which is bent to one side, and a recorder with its characteristic beak crudely illustrated and seven finger-holes, the lowermost offset to one side.

Giovanni Giraolamo Savoldo (also called Girolamo da Brescia)

• Portrait of a Man with a Recorder (ca 1548), oil on canvas, 74.3 × 100.3 cm, Giovanni Giraolamo Savoldo (ca 1480 – after 1548). Brescia: Pinacotecca Tosio Martinengo, formerly New York: Estate of Peer Jay Sharp, but recovered by the Bank of Brescia in 1994. Ref. Slim (1985: 398, fig. 1 – b&w); Limberg (1992); Thomson & Rowland-Jones (1995: 44, pl. 16 – b&w); Pinacotecca Tosio Martinengo, Brescia: postcard (ca 1998 – col.); Rowland-Jones (1999 - b&w); Constance Scholten (pers. comm., 2005). A man in an ermine-collared coat holds a cylindrical recorder, the head and foot of which are ornamented with incised lines. Before him on a small table is an open book; on the wall beside him is pinned a piece of paper on which are the opening 45 breves of the tenor part of a four-part sonnet-in-dialogue by an anonymous composer, possibly Francesco Pativino also called Francesco Santa Croce (died 1556). From his attire, the man is a courtier rather than a professional musician. The whereabouts of a copy (formerly in the Kay collection, Edinburgh) is at present unknown; it is reproduced in Slim (1985: 400, fig. 3 - b&w). Another version was auctioned by Sotheby's, New York, in 1994 (see below).
• Portrait of a Man with a Recorder (ca 1548), Giovanni Giraolamo Savoldo (ca 1480 – after 1548). Location unknown: auctioned Sotheby's, New York, 1994, lot 113. Ref. Sotheby's, New York, auction catalogue (1994: pl. 63 - col.); Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). Identical to another version in the Pinacotecca Tosio Martinengo, Brescia. See above. Signed by the artist.
• Shepherd in a Landscape / Shepherd with a Flute (ca 1521 – ca 1525), Giovanni Giraolamo Savoldo (ca 1480 – after 1548). England: Private collection (formerly in the Contini Bonacossi Collection, Florence). Ref. Limberg (1992); Martineau & Hope (1983: 74, pl. 85-col.); Slim (1985: 399). The large figure of a shepherd sits before a darkening blue sky with a wide-brimmed hat shading his eyes. Resting his left arm on a staff, he holds a recorder (only the head and three finger-holes of which are visible) in his hand. With his right hand he gestures towards the rustic scene of a farmhouse partially obscured by ancient ruins looming behind. There is another version of this at the Getty Museum (see below), and a weak copy at Gosford House, Haddington (see below).
• Shepherd with a Flute (ca 1525), oil on canvas, 395.6 × 76.9 cm, Giovanni Girolamo Savoldo. Los Angeles: Getty Museum, 85.PA.162 Ref. Website: Getty Museum (2001). There is another version in a private English collection (see above); and a weak copy at Gosford House, Haddington (see below). The large figure of a shepherd sits before a darkening blue sky with a wide-brimmed hat shading his eyes. Resting his left arm on a staff, he holds a recorder (only the head and three finger-holes of which are visible) in his hand. With his right hand he gestures towards the rustic scene of a farmhouse partially obscured by ancient ruins looming behind.
• Shepherd in a Landscape/Shepherd with a Flute (after 1521 – ca 1525), Giovanni Giraolamo Savoldo (ca 1480 – ca 1548). Ref. Slim (1985: 399). Haddington, near Aberlady (Scotland): Gosford House. A weak copy of the original in an English private collection (see above). Versions of the original are in a private English collection (see above) and in the Getty Museum (see above). The large figure of a shepherd sits before a darkening blue sky with a wide-brimmed hat shading his eyes. Resting his left arm on a staff, he holds a recorder (only the head and three finger-holes of which are visible) in his hand. With his right hand he gestures towards the rustic scene of a farmhouse partially obscured by ancient ruins looming behind.
• Shepherd with a Flute (ca 1509-1510), Giovanni Girolamo Savoldo (ca 1480-1548) Bowood House, Wiltshire, England. Ref. Limberg (1992); Humfrey, P. (1997: pl. 113 - b&w); Monastero di Santa Giulia (1990 - b&w). Formerly attributed to Sebastiano Luciani [del Piombo] (1485-1547). A bearded, ermine-coated, rather gaunt-looking man holds a cylindrical recorder, only the head and upper body of which is visible. There is an almost identical picture by Niccolo Frangipane (1555-1600) at Charlecote Park, Warkwickshire. And the same model appears to have been used in these paintings as well as Savoldo's Shepherd with a Flute (Getty Museum, Los Angeles) and the Flute Player and Portrait of a Man with a Staff, both circle of Sebastiano Luciani.
• Portrait of a Peasant, Giovanni Girolamo Savoldo (ca 1480-1548). Private collection. Ref. Gilbert (1986: figs. 31 & 75); Levi Pisetzky (1966: 290); Treccani degli Alfieri (1963: 1021); Exhibition Catalogue: New York, Metropolitan Museum of Art, The Age of Caravaggio, 1985: 82, no. 12); Rasmussen (2002, Bagpipe). "The peasant holds a little, partly visible, recorder. A tiny figure in the background plays a bagpipe" Rasmussen, loc. cit.)
• Young Man with Soprano Recorder, oil painting, 95 × 70 cm, Giovanni Girolamo Savoldo (ca 1480-1548). Sotheby's - New York: Sotheby's, 25 September, 1996, Lot 198. Ref. Artfact (2003). Not seen.

Cristoforo Scacco [Scaccho]

• Coronation of the Virgin with Saints Mark and Julian (ca 1500), Cristofore Scacco (op. 1483-1512). Naples: Museo e Galleria Nazionali de Capodimonte, Inv. Q804. Ref. Anthony Rowland-Jones (pers. comm., 2001). Angels play harp, fiddle, two lutes, tambourine, viola da braccio, tenor sham and two pipes, probably recorders. One of the latter is of soprano size, but the central section (including the player's hands) is hidden by Christ's halo; the other, at the bottom of the picture, has been cut off but seems to be an alto or tenor, but the details are not clear. The soprano instrument has a flared bell-end which is very recorder-like. Notes by Anthony Rowland-Jones (loc. cit.)

Heidemarie Schäfer

• Still-life with Figure, Heidemarie Schäfer Ref. Website: Siegburger Internet-Galerie, Galerie 48. Still-life objects on a table include a bottle, a vase of flowers, a purse, some books, a school-style soprano recorder with a slightly flared bell and statuettes of a woman cradling a baby, a man seated on the ground with his arms held out behind him, and a headless female figure.

Godfried Schalken

• Portrait of a Young Boy, oil on copper (10.7 × 8.2 cm), Godfried Schalken (1643-1706). London: Christie's, Old Master Pictures, 19 October 1995, Lot 368. Ref. Artfact (2004). A young boy, half-length, in a brown coat, holds a recorder. Not seen.

Johann Ruldolf Schallenberg (1740-1806), Swiss

• [Concert] (1783), Johann Ruldolf Schallenberg ((1740-1806)). Winterthur: Neugahisblat der Büzgerbibliothek. Ref. Blume (1949-1963, 14: 723-724); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Depicts a band of musicians gathered around a woman playing a harpsichord. A decorative border is festooned with musical instruments, including trumpets, violin, syrinx, tambourine, lyre, harp, flutes, and a three-part baroque recorder.
• Sapere aude: incipe!, print, engraved by I.R. Holzharb after a design by Johann Rudolf Schallenberg (1740-1806). Ref. Archiv Moeck. An elegant drawing room is full of putti writing, drawing and playing musical instruments including violin, cello and a small pipe (probably a recorder). The Latin quotation is from Horace, Epistle I, 2: Dimidium facti qui coepit habet: sapere aude: Incipe! – "To have begun is to be half done; dare to know; start!"

Edwin Scharff

• Apollo and Marsyas (1917), dry point on Japan paper, E13.18 × 17.15 cm, dwin Scharff (1887-1955). Los Angeles: County Museum of Art, 83.1.1661a. Ref. Los Angeles County Museum (2003). Marsyas plays a long stylized flared pipe watched attentively by Apollo.

Hans (Leonhard) Schäufelein [Schaeuffelein, Schaeuffelin, Scheiffelin, Scheyffeleyn], the elder

• Psalter of Count Karl Wolfgang of Oettingen f.61v, Hans Schäufelein, the elder (ca 1482-1539/40). Berlin: Kupferstich Kabinett, Inv. HS.78.B.6. Ref. Munich RIdIM (1999: Bkk 731). At the bottom of the text two men are at a long table. One has a lute in front of him on the table, while the other pores over a book. Lying on the table is what looks like a recorder.
• Rest on the Flight to Egypt (1545), Hans Schäufelein, the elder (ca 1482-1539/40). Ref. Bartsch (1854-1870, 7: 247/7). From a series of New Testament scenes. The Holy Family rest beneath a tree outside a village. An ornamental border comprises putti (some winged) playing on a cart below, whilst others on the trunk and branches of a tree play instruments, including lute, trumpet and two duct-flutes: one (top left corner) flared; the other (bottom right margin) cylindrical. Notes (in part) by Anthony Rowland-Jones (pers. comm., 2000)

Bartolomeo Schedoni

• St Cecilia Conversing with an Angel, oil on canvas, 197 × 129 cm, Bartolomeo Schedoni (1578-1615). Naples: Museo e Galleria Nazionali de Capodimonte, Inv. No. 382. Ref. Capri in Fabbri (1952, 2: 109); Mirimonde (1974: 107, fig. 83); Calendar: Musica (1986: 16-29, November); Archiv Moeck; Paris RIdIM (1999); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000); Leone De Castris & Spinosa (1994, 1: 79); Villa I Tatti N2727C65 (1994); Paolo Biordi (pers. comm, 2000); Visual Collection, Fine Arts Library, Harvard University 372.B141.38C (2002); Rasmussen (2002, Lute). St Cecilia and an angel confer on the interpretation of a piece of music. Cecilia sits on a stool, one foot on a tenor viol, one hand playing with the keys of her organ. Leaning against the stool is a flared-bell recorder of alto size (however it has eight finger holes in a curious 6+2 disposition – perhaps the artist was confused by the paired lowermost holes on recorders of this period). A tambourine (with both jingles and pellet bells) also lies discarded in the foreground. The angel holds a cornett in his hand, and beside him is a viol of curiously narrow construction. This painting, originally from the Palazo Ducale di Parma, has been attributed to Sisto Rossa Badalocchio [Amidano Giulio Cesare] (1585-1647).

Johann Eleazar Schenau (1737-1806), German

• Le Maitre de Guitarre (1752-1786), engraving by Claude Augustin Pierre Duflos (1700-1786) after Johann Eleazar Schenau (1737-1806). Den Haag: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). "A man teaches a girl to play the cittern. Nearby are two women and a child, and a music-book and hurdy-gurdy on a stool. The music-teacher has a roll of music in his pocket with the top end of what seems to be a well-shaped baroque alto recorder sticking out of it, visible up to the first finger-hole. Another example of the recorder thriving in the late 18th century!" (Rowland-Jones, loc. cit.)

Daniel Schenk [Schenck, Shenk] (18th century), German (Bayreuth)

• Gilt stucco on plaster sculpture (1717-1718), high relief painted to resemble bronze, Daniel Schenk (18th century). Pommersfelden: Wessenstein Schloss, Kaisersad, Marble Hall. Ref. Anthony Rowland-Jones (pers. comm., 1999). To the left of a putto playing a hunting horn are four recorders of soprano, alto, tenor and basset sizes. On the right are three soprano, an alto and a large tenor recorder. The alto on the right has its foot facing upwards; the others are in normal position. On the right, two of the sopranos are non-baroque in design (ie they lack a curved beak). The right-hand tenor is of fully developed baroque design but shows only two finger-holes, the rest are hidden.

Aegidius [Gillis] van Scheyndel

• Music-Makers in a Garden (1622), engraving after Esaias van der Velde by Aegidius van Scheyndel (1622-1654). Amsterdam: Rijksmuseum. Ref. Hellerstedt (1986: 64, no. 25); Jongh & Luijten (1997: 183, no. 34); Rasmussen (2004, Lute). A lutenist accompanies a singer and a woman playing a long slender pipe, probably a tenor recorder.

Andrea Schiavone [called Andrea Meldolla, Andrija Medulic]

• Minerva and the Muses, 16th century, etching, 228 × 164 mm, Andrea Schiavone (ca 1510-1563). Austin: University of Texas at Austin, Blanton Museum of Art; San Francisco: Achenbach Foundation for Graphic Arts. Ref. Fine Arts Museums of San Francisco. San Francisco: Achenbach Foundation for Graphic Arts. Minerva seems to be addressing the Muses, one of whom holds a horn, another a viol. On the ground at Minerva's feet lie a waisted fiddle and a flared duct-flute, probably a recorder.
• Dido and Aeneas, cassone panel, Andrea Schiavone (ca 1510-1563). Benson Collection. Ref. Anthony Rowland-Jones (pers. comm., 2002). While a meal is served to Dido, musicians within a portico play viol, lute and a wind instrument, perhaps a recorder.

Philipp Ernst Schindler, German

• The Music Lesson (ca 1744-1750), enamel on coper, 3.8 × 4 cm, Philipp Ernst Schindler (17-18th century). Stuttgart: Württenbergisches Landesmuseum, Inv. G 31,96. Ref. Munich RIdIM (2003: Slm - 248). Sitting on a bench, a young woman is shown how to hold her recorder. The instrument is of soprano size, cylindrical and with a turned foot characteristic of baroque-style recorders.

Johann Conrad Schlaun

• Architectudral Design for the Altar of the Kapelle des Residenzschlosses in Münster, wash and watercolour on paper, 42.4 × 41.5 cm, Johann Conrad Schlaun (1695-1773). Münster: Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Inv. Gbg 37. Ref. Munich RIdIM (2003: MÜlm-75). An ornate archway and balcony supporting a positive organ. The decorations include a number of angel musicians playing lutes, cello, staight trumpet, and a bass recorder. The recorder has a bocal entering the side of the windcap and it has a short sharp bell flare. It is played left hand uppermost. The upper three finger-holes are not in line.

Franz-Xaver Schmädl

• Angel Musician (1744), sculpture, Franz-Xaver Schmädl (1705-1777). Rottenbuch: Abbaye de Rottenbuch, Church of the Nativity of the Virgin, organ decoration. Ref. Paris RIdIM (1999); Fulbourn: Collection of Walter Bergmann (2002: colour slide; 2006: b&w photos); postcard: Kienberger-foto und Verlag D-8923, Lechbruck; Anthony Rowland-Jones (pers. comm., 2002). A cherub points heavenward with his right hand; in his left he holds a very modern-looking turned, three-piece, baroque recorder, almost as big as himself!

Matthias Schmid

• Lockvogel (1889), coloured lithograph by Max Seeger (Stuttgart), after Matthias Schmid (1835-1923). Published in Gartenlaube (1889). Ref. Moeck, Tibia 2/88 (1998); Moeck Archiv. A walker in the alps,with knapsack and Tyrolean hat, sits on a wall playing a slender cylindrical recorder to a lass he has met along the way. An accomapanying verse reads:
  
  

  Das Pfeiflein macht gar süsses Speil	The little flute must make the sweetest sound
  Wenn es den Vogel fangen will.	If it wants to catch the bird.

Franz Xaver Schmidt (1705-1777), German.

• [Untitled] (1744), woodcarving, Franz Xaver Schmidt (1705-1777). Rottenbuch: Collegiate Church. Ref. Recorder & Music Magazine 1(6): front cover – b&w. A cherub holds a baroque recorder.

(Jean) Victor Schnetz

• Vieux Berger D'Italie [Old Italian Shepherd] (1830), lithograph, 31.4 × 21.8 cm (image), 35 × 26 cm, by Marin Lavigne after Victor Schnetz (1787-1870). San Francisco: de Young Museum 5074163106780084 A101424. Ref. Motte (1830, 1: pl. 66). Before a distant view of a crumbling aquaduct, an old shepherd sits biding his time whilst his grandson amuses him with his pipe (possibly a duct-flute).

Erhard Schoen (op. 1491-1542), German

• Three Figures in a Garden /The Five of Pomegranates, woodcut playing card, Erhard Schoen (op. 1491-1542). Ref. Geisberg-Strauss (1974: no. 1310); Rasmussen (1999b). "Women sing and play a lute, and a man plays a recorder" (Rasmussen, loc. cit.) Not seen.

Martin Schongauer

• Nativity, painting, Martin Schongauer (ca 1445-1491). Berlin: Gemäldegalerie Dahlem. Ref. Recorder Magazine 19(4): cover – col. (1999); Rowland-Jones (1999: 124). "A shepherd with a broad-brimmed straw hat in one hand holds forward in his other hand his pipe, probably intended by the artist to be a recorder, despite there being no visible window/labium area, as the bell-end flare and turnery resembles Virdung's 1511 illustrations" (Rowland-Jones, loc. cit.)

Florens [Florent] van Schoonhoven [Florentius Schoonhovius]

• Emblemata [ _ ] partim moralia, partim etiam civilia. Cum latiori eorundem ejusdem auctoris interpretatione. Accedunt et alia quaedam poëmatia […] LXV: Indoctus ipse alios juvo [Although myself undeveloped I help others] (1618), engraving, Florens van Schoonhoven (1594-1649). Leiden: University Library. Ref. Website: Emblem Project Utrecht (2002). Further editions were published in 1626 and 1648. A young man sits beneath a tree playing a slender, cylindrical duct-flute one-handed, his other hand still holding the blade with which he fashioned it. Before him, a dead donkey lies on its back: three of its four legs have been partially amputated – to make the flute. In the background is a barn, and behind that is a forest. A verse beneath reads:

  Sunt Asini cantare rudes, tammen oss a ministrant
  Que fistulis aptissima;
  Sic quibus estres ampla domi, tenues studiosus
  Opibus juvare convenit.

  Below, a commentary by Schoonhovious implies that older, professional men should offer financial support to younger ones. In a remarkable twist, an almost identical construction in Jacob Cats', Ex morte levamen (1618 & 1627) engraved by Jan Gerritsz Sweelinck, serves as an emblem of the humiliation and evil of love and marriage between the very old and the young. Another adaptation of Cats' emblem appears in the alchemical Mineral Cabinet published by Goossen van Vreeswyk (1675) where the flautist bears the alchemical symbol for Sulphur, associated in the 17th century with the Expansive forces in Nature: Dissolution and Evaporation.

Abraham van der Schoor

• The Concert, Abraham van der Schoor (op. 1643-1650). Detail. Bucarest (Bulgaria): Museo Nazionale d'Arte. Ref. CD cover: Bach Trio Sonatas, Marion Verbruggen (recorder), Mitzi Meyerson (harpsichord), Harmonia Mundi 907119 (1994); Orfeo agost 99 (? date: 14 – col.); Paolo Biordi (pers. comm., 2000). Five buxom ladies sing, accompanied by a man playing a cello and a woman holding (but not playing) a small, slender, cylindrical duct-flute (probably a flageolet).

Jakob Ferdinand Schreiber (1871-1902), German

• The Luthier and his Workshop drawing on paper, 42 × 32 cm, Jakob Ferdinand Schreiber (1871-1902). Stuttgart: Württembergisches Landesmuseum, Inv. VK 1978/50-2269. Ref. Munich RIdIM (2003: Slm-394). A luthier discusses a guitar with a client in his workshop. Standing on his workbench and hanging on the wall behind are a number of wind instruments, some of which appear to be duct-flutes, possibly csakans or flûte douces with flared bells, their window/labium more or less clearly depicted. Leaning against the bench are a cello, a tromba marina and two violas. In the background stands a pipe-organ.

Christian Georg Schütz (op. 1732-1739) and Januaris Zick (1745-1797), German

• Shepherd with a Pipe, painting, Christian Georg Schütz (op. 1732-1739) and Januaris Zick (1745-1797). Frankfurt: Historisches Museum, Inv. P. 457. Ref. Munich RIdIM (1999: Fhm 47). The shepherd, painted in a landscape, has both a duct-flute (possibly a recorder) and a bagpipe. He is shown cutting a new pipe, with his dog beside him. His legs are crossed and one leg half covers the instrument. But a bell end of typical recorder design is clearly apparent, though no finger-holes are visible.

  The Gemäldegalerie Alte Meister, Kassel has two prints (Munich RIdm 1999, Kksg 127 and Kksg 129) of a boy sitting under a willow tree trying out a pipe he has just made, but these are normal shepherds' pipes and do not have any recorder characteristic. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Siegfried Schümann (b. 1923-), German

• Musical Children (1956), Siegfried Schümann (b. 1923-). Berlin: Haus der Deutsch-Sowjetischen Freundschaft. Ref. Fulbourn: Collection of Walter Bergmann ex Anthony Rowland-Jones (2003). Five children play neo-baroque recorders, guitar and double bass. Three have blue scarves around their neck. Perhaps they are members of the German Youth Movement.

Christoph Theodor Schüz (1830-1900), German (Düsseldorf)

• Osterlied, print after a painting by Christoph Theodor Schüz (1830-1900). Ref. Archiv Moeck. An extended family relaxes in a forest dell; some play and run about. A central group stand and sit in a circle singing from books whilst their father plays on a flageolet with the lower two fingers held under the instrument. The narrow mouthpiece of the instrument is clearly depicted.

Wilhelm Schweizer

• Frühling [Spring], enameled pewter openwork wall decoration (2002), 12 × 18 cm, Wilhelm Schweizer (contemporary). Fulbourn: Anthony & Christina Rowland-Jones. Ref. Anthony Rowland-Jones (pers. comm, 2002). A shepherd with a long cylindrical pipe under a tree with a leaping dog, sheep and lamb. The instrument is held in recorder-playing position with the right hand lowermost and all fingers down. The catalogue number for this item is 9401A.

Gerard Jean-Baptiste Scotin [Gerard Scotin II]

• Mademoiselle Auretti (1745 or 1746), engraving, Gerard Jean-Baptiste Scotin (1698 - p.1746). Ref. Photo, Walter Bergmann ex Anthony Rowland-Jones (pers. comm., 2005). In a glen, a young woman in a voluminous dress dances, arms outstretched. The scene has an elaborate frame at the bottom corners of which are two putti. That on the left plays a cylindrical pipe, probably a duct-flute. That on the right plays a tambourine with jingle rings. At the centre top is a trophy comprising a mask, a violin, and a musette. This example of Scotin's work is rather reminiscent of Nicholas Lancret's portraits of Mademoiselle de Camargo and of Mademoiselle Sallé dancing.

Painter of the Second Supplement, Manessiche Liederhandschrift, Ötenbach near Zurich (14th century), Swiss

• Meister Heinrich von Meissen (Frauenlob) (ca 1340), water colour on vellum, Painter of the Second Supplement, Manessiche Liederhandschrift, Ötenbach near Zurich. Detail. Heidelberg: University Library, D-HEu, Codex Palatinus Germanicus 848, f.399r. Ref. Moeck (1984: July – col.); Alamire C2 (1996); Höhne (1965: pl. 9). Frauenlob enthroned directs a vielle player surrounded by his fellow musicians holding nakers, shawms, trumpet, fiddle, psaltery, and what appears to be a pipe (probably a duct-flute), accompanied by vielles, shawm, and percussion. Frauenlob lived from 1255-1318.
  
  The argument that this illustration is indeed a duct-flute is strengthened by the representation by the same artist in f.423v, Der Kanzler (The Official) of the same source of a what is unequivocally a transverse flute played (perhaps rather clumsily) by another Minnesinger in company with a fiddle. See Moeck, loc. cit); Thomson & Rowland-Jones (1995: 28, fig. 9).

Sebastiano del Piombo = Sebastiano Luciani

Paulus Seeger (18th century), German

• Painting on organ case (ca 1773), Paulus Seeger (18th century). Frieburg: Augustiner Museum. Ref. Anthony Rowland-Jones (pers. comm., 1999). The organ was built in ca 1730. At the bottom right an angel plays a baroque-style recorder the window/labium of which is just visible, and on which all fingers are correctly placed with the left hand lowermost. The angel immediately above plays a lute. On the opposite side are a bass viol and an angel putto holding music whilst two angels sing. At the top right are more putti/angel singers and a trumpeter.

Johann Konrad Seekatz (1719-1768), German

• Months of the Year: February, Johann Konrad Seekatz (1719-1768). Frankfurt: Goethehaus und Frankfurter Goethe-Museum. Ref. Munich RIdIM (1999: Fgm 17). Edging decorated with musical instruments, crossed in twos and threes, including two baroque design alto recorders, one crossed with a violin and bow, the other with a natural horn and oboe. Notes by Anthony Rowland-Jones (pers. comm., 1999). The Goethehaus, birthplace and home of the author, poet and playwright Johann Wolfgang Goethe in Frankfurt am Main, was completely rebuilt in 1949 after Frankfurt was raised to the ground during the Second World War.

Giovanni Segantini

• Idyll, oil on canvas, Giovanni Segantini (1858-1899). Aberdeen: Art Gallery. Ref. Postcard: Aberdeen Art Gallery (2003 - col.) Beside a road a young woman lies on a flowery bank, leaning against her companion, a youth who sits playing a cylindrical duct-flute the beak of which is clearly visible.

Gerard [Gerhard] (Crayer) Seghers [Zegers]

• Wedding of the Virgin, canvas, 511 × 341 cm, Gerard Seghers (1591-1651). Antwerp: Royal Museum of Fine Art, cat. 508. Ref. Leppert (1977: 133). Putti sing and play harp, fiddle, a tambourine and an ambiguous pipe (flute or duct-flute).
• The Five Senses, oil, 192 × 250 cm, attributed to Gerard Seghers (1591-1651). Location unknown: sold by Palais Gallieèa, 7 March 1970, No. 68. Ref. Paris RIdIM (1999). A pendant of the Trictrac Party. Around a table sit a woman with a pet bird on her hand, an old man warming his hands over an oil lamp, a dishevelled and rather debauched looking young man holding a glass of wine up high. At one end of the table, a young woman stands smelling one of the flowers she holds in her arms; at the other end, a man wearing a feathered hat sits playing an arch-lute from a music book on the table before him. Beside the music lie a cornett and a small duct-flute, probably a recorder.
• Saint Cecilia with Three Angels, oil, 40 × 52 cm, Nicolas Lauwers (fl. 1600-1652), after Gerard Seghers (1591-1651). Anvers: Print Collection. Ref. Mirimonde (?date-3); Mirimonde (1974: 128, pol. 100a); Paris RIdIM (1999). St Cecilia in a turban sits behind a table singing from a music book which she reads by candlelight. She is accompanied by three young angel musicians, one of whom plays the lute, the other a slender pipe with a prominently flared bell (shawm or duct-flute). The third angel seems to be following the score, his violin lying on the table next to a recorder which is noticeably flared at both ends. The window/labium of this second pipe is clearly visible, as are the finger-holes. There is a work of the same composition in the City Museum, Vicenza, and another which was sold by l'Hotel Drouot (26 November 1971) attributed to Rombouts (Mirimonde ?date-3).

Alison Seiffer

• Cover: American Recorder 41(1): Untitled (2000), Alison Seiffer (contemporary). A young woman in a beret eats a burger and sips a coke from a glass beaker, using her neo-baroque recorder as a straw.

Jakob Seisenegger

• Portrait of a Mother with her Eight Children (1565), oil on panel, 72.4 × 84.5 cm, school of Jakob Seisenegger (1505-1567). London: Phillips, The International Fine Art Auctioneers. Ref. Bridgeman Art Library (2001: Image PFA 89143 - col.) A young mother and rather too many young children. Surely they can't all be hers! One child in the foreground beats a toy drum. At his feet lies a soprano recorder, cylindrical with a flared bell, the beak, window/labium and finger-holes clearly visble.

Vincent Sellaer [Zeelare or Zellaer or Geldersman]

• Apollo and the Muses, Vincent Sellaer (op. 1538-1544). Ref. Website: The Great Bass Viol: Musical Iconography (2003 - col). Apollo plays his viola da braccio surrounded by the nine Muses who sing and play viol, lute, flute, cornett and a slender cylindrical duct-flute (probably a recorder), the window/labium of which is visible, but no other details. On the ground, bottom left, lie other instruments including a shawm and what may be two more flutes. Pegasus looks over the recorder player's shoulder.

Pere (Pedro) Serra (ca 1357-1409), Spanish

• Madonna and Child with Angels Playing Music (ca 1390), tempera on wood, 196 × 130 cm, Pere Serra (ca 1357-1409). Barcelona: Museu Nacional d’Art de Catalunya. Ref. Web Gallery of Art (2004 - col.) One of the angels is playing a cylindrical recorder (with rather more holes than fingers) accompanied by lutes, rebec, harp.
• Altarpiece of Our Lady of the Angels, centerpiece: Virgin and Child surrounded by Angels playing Musical Instruments (ca 1385-?1390), wood, 196 × 130 cm, Pere Serra (ca 1357-1409). Detail. Painted for the church of Santa Clara, Tortosa. Barcelona: Museu Nacional d’Art de Catalunya. Ref. Carli et al. (1965: fig.); Braggard & Hen (1967: plate II-17 - colour); Székely 1972/1989: fig. 6 – colour); Zaniol (1984, November: 3-4, fig. b&w); Thomson & Rowland-Jones (1995: frontispiece – b&w; 1996: 18, fig. 2-b&w & 20, fig. 4 – b&w; 2006a: 18-19 & fig. 18-col.; 2006b: 18-19 & fig. 6 - b&w); Ballester (2000: 19, fig. 1 – b&w); Web Gallery of Art (2004 - col.) One of the angels is playing what is clearly a recorder of cylindrical form, accompanied by lute, organetto, psaltery, mandora, harp.

  Rowland-Jones (1996: 19-20) observes that the instrument is held with the wrists well below the instrument, which is not the most natural position for playing the six-holed pipe, and that it shows beside the little finger of the lowest hand an additional hole which appears to be plugged, possibly with wax. The latter is difficult to see from the reproductions cited above, but is clear enough in a studio photograph provided by Rowland-Jones.

  This painting has recently been restored (Angelo Zaniol, pers. comm. 2004)   very crudely, its seems   and some of the features observed above (ie before restoration) have been obscured.

• Altarpiece: Virgin and Child, ? Pere Serra (ca 1357-1409). Painted for the Monastery of Saint Cugat del Vallès, Spain. Barcelona: Diocesan Museum. Ref. Rowland-Jones (1996: fig. 3; 2006: 19); Ballester (2000: 20, fig. 2 - b&w). Very similar to the above. In the centre-panel, the Virgin and Child are surrounded by angel musicians playing lute, organetto, psaltery, harp, mandora and cylindrical recorder. The recorder-playing angel is on the Virgin's right. His instrument has eight finger-holes in line higher up the instrument than the whole of the player’s lower hand, below which one of the paired little-finger-holes may be seen.

Christian Seybold

• Boy with a Flute (ca 1730-1740), Christian Seybold (16090/1697-1768). Dresden: Art Gallery. A young boy holds a small one-piece cylindrical duct-flute with four well-spaced holes visible and what looks suspiciously like a Virdung-style bell-end. A maker's work is visible beneath the window/labium. It may by a small recorder but is more probably a French flageolet (Rowland-Jones, pers com., 2001).

Charles [Hazelwood [Haselwood]) Shannon (1865-?), British

• With Viol and Flute, lithograph 16.5 × 22.9 cm (image), Charles Hazelwood Shannon (1865-?). San Francisco: de Young Museum 4159201102350029 A041928. Reclining female forms hold violin and cello, and in the foreground a young woman lying on her front holds a slender cylindrical pipe which may represent a duct- rather than a transverse-flute.

Luca d'Egidio di Ventura de' Signorelli (also called Luca da Cortona)

• The Last Judgement: Calling the Chosen, (1499-1503/4), fresco, Luca Signorelli (1444/5-1523). Orvieto: Cathedral, Chapel of St Brixio, ceiling. Ref. Woodmansterne Publications, postcard Angel with Flageolet (1993 – col.); Paris RIdIM (1999). Depicts angels playing psaltery, lutes and two pipes, one played with one hand, the other with two hands (right hand down). Signorelli painted a large number of angel-musicians, mainly in his frescos. Nearly all of them play string instruments, especially lutes, although heraldic seraphs play long trumpets. In all his paintings there is only this one woodwind instrument. The position of the hands and the relaxed cheeks suggests that this might be a recorder rather than a mute cornett.
• Pan, Luca Signorelli (1445/50-1523). Destroyed, formerly Berlin: Kaiser Friedrich Museum. Ref. Berenson (1952: vol. 2. pl. 184). Pan plays a slender pipe which might be a recorder, though only one hand is used.
• Altarpiece: Assumption of the Virgin with Saints Michael and Benedict, (late 1480s), Luca Signorelli (1445/50-1523) & Workshop. New York: Metropolitan Museum of Art, Inv. 29.164. Ref. Website: New York Metropolitan Museum of Art (2006). A prayerful Virgin is flanked on either side by the Saints, one of whom (St Michael) pokes the Devil with a lance. Above, angels play lutes, fiddle and what looks like a cylindrical pipe.

Grant Silverstein (contemporary), USA

• Convocation of Muses or The Nine Sisters Together Again (1996), intaglio etching, 28.8 × 36.3 cm, Grant Silverstein (contemporary). Ref. Fraser Gallery (2003). Printed in an edition of 100 copies. A modern vision of the Nine Muses. Euterpe in a hat plays a tenor-sized recorder made in one piece with a flared bell and details of the window/labium and offset hole for the lowermost finger clearly depicted. Her companions variously stab themselves tragically, strum the harp and sing, dance, drink from an enormous head-shaped urn, write with a quill on a rolled parchment, contemplate celestial mechanics with a globe and calipers, and stare into the distance with a telescope.

Israel Silvestre the Younger

• Les Plaisirs de l'Ile enchantée: Premiere Journée: Comparse des quatre saisons (1670), engraving, Israel Silvestre the Younger (1621-1691). Ref. Anthony Rowland-Jones (2007: 8-12 & fig. 4). Depicts the end of the first day of Lully and Moliere's grand divertissement held in the gardens of Versailles on 7 May 1664. Recorders and musettes are played by a group of 14 musicians at the centre of the scene. The first part of the divertissement took place in a garden area surrounded by hedges and lit by 4,000 candles and flambeaux. Thirty-four musicians were on stage for playing the overture before the dance of the Seasons. during the first and only Entrée, 14 musicains lead on the gods Pan and Diana 'with an agreeable harmony of recorders and musettes'. Rowland-Jones notes that although Silvestre's prints were not published until 1670, it is likely that he was present at the event in order to make notes and sketches for his engravings.

Louis de Silvestre

• Allegory of Music, Louis Silvestre, the younger (1675-1760). Lindau: Stadttheater. Ref. Moeck, Celle: TIBIA – Musikbilder auf Postkarten, Series 2(2), No. 11102 (1987, col.); Moeck (1966: front cover); Pottier (12992: 40, pl. XXVI); Rowland-Jones (2000c: 87). A dreamy young couple lean against a plinth. He holds a baroque alto recorder of elaborately turned design with ivory mounts. Their thoughts are far from music. Indeed, a Latin inscription on the plinth reads: "Now let's play something different", with an obvious double-entendre intended.

Charles Simmoneau (1645-1728), French

• Title Page: Pièces en trio by Marin Marais (1692), engraving, Charles Simmoneau (1645-1728). Published by Simmoneau, Hurel, Bonneil,& Foucault, Paris. Collection of William Waterhouse. Ref. Haynes (1988: 332, fig. 18 – b&w); Pottier (1992: 61, pl. XLVII); Pottier (1995: 138, pl. 13); Archiv Moeck; Rowland-Jones (2007: 6 & fig. 1). Shows four baroque recorders with oboes, flutes, viol, bassoon & violin.

Henry Singleton

• The Rustic Minstrel (1801), stipple engraving by Anthony Cardon (1772-1813) after Henry Singleton (1766-1839). Location Private Collection Ref. Bridgeman Art Library (2003: Image NP 125528 - col.) Watched by a shepherdess feeding her lambs and a child with a crook, a shepherd in cloak and hat plays a slender flared-bell ambiguous pipe. This work has a pendent entitled Innocent Captivation, in which a shepherdess leans against a tree, her two children at her feet, one with a singing bird in a cage.

Elisabetta Sirani

• Personification of Music, oil on canvas, Elisabetta Sirani (1638-1665). Location unknown: Auctioned Sotheby's, 15 January 2001 (sold). Ref. Gabrius Data Bank (2002 - col.) Holding a book in one hand and a score in the other, Music appears to be singing as she gazes heavenward. On the wall beside her hang a lute, a guitar, a violin and a one-piece flared-bell recorder of slightly unusual construction: the beak has a raised decorative ring just above the window/labium.

Pieter Cornelisz Slingelandt [Slingherlandt, Slingherland Slingerhlant, etc.] (1640-1681), Dutch

• Pair of Lovers, panel, 39,5 × 30,5 cm, Pieter Cornelisz van Slingelandt (1640-1691). Dresden: Staatliche Kunstsammlungen, Inv. No. 1761. Ref. Fischer (1975: 81-82, pl.); Anthony Rowland-Jones (pers. comm., 2001); Bildarchiv Foto Marburg (DISKUS-Objekt-Dokument 00021783 – b&w). A woman, with fur-trimmed cape, sits on a chair cuddling her little spaniel, while her lover stands behind, partly leaning over and pointing to the lap dog with his left index finger. Both lovers smile gently. There is music on the floor and a violin stands on a chair to the right, its bow lying beside it. What the lady may not notice is that in the man's right hand, dangling over her right shoulder towards the lap-dog's head, is a small duct-flute, held vetically between his right thumb and fingers. It is of sixth-flute size and the beak and window/labium are clear, although it is difficult to make out the number of finger-holes. The instrument is cylindrical or slightly tapering to the bell, where the flare (if any) is hidden by the man's hand. Notes by Rowland-Jones (loc. cit.)

Smartistic (2005), Netherlands

• Flute Player, printed canvas, Smartistic (contemporary). Ref. Website: Smartistic (2005 - col.) A bald man with a shirt bearing the slogan "Flute Player" holds a stylized recorder. There are four colour variants of this work.

John Smith

• Two young Men, John Smith (? after 1654-1742). Den Haag. Ref. Archiv Moeck. The same as the image below, but reversed. A young lad in coat, wig and hat sits at a table playing a baroque three-piece recorder. His friend stands on the other side of the table pointing at a little dancing dog (a King Charles Spaniel).
• Two young Men, John Smith (? after 1654-1742). Ref. Archiv Moeck. The same as the image above, but reversed. A young lad in coat, wig and hat sits at a table playing a baroque three-piece recorder. His friend stands on the other side of the table pointing at a little dancing dog (a King Charles Spaniel).
• [Man with a Recorder], John Smith (? after 1654-1742). Den Haag. Ref. Archiv Moeck. A neatly bearded man with a hat holds a flared-bell recorder.
• Title Page: Peter Prelleur The Modern Music Master Or The Universal Musician, London (1731), engraving, John Smith (? after 1654-1742). Ref. Archiv Moeck; Libin (1976: 17, fig. 3); Lasocki (1978: 567) Zeugnisse (? date: fig. 74); Paolo Biordi (pers. comm., 2000); Rasmussen (2002, Keyboard). A band of male musicians sing and play flute, bassoon, alto recorder, oboe, violin and cello around a harpsichord. According to Uta Henning this is by Jacob Smith (Rowland-Jones, pers. comm.), but this is probably in error for John Smith. Libin (loc. cit.) notes the relation of the harpsichord, flute and recorder to Picart's Concert champétre.
• Frontispiece: Directions for Playing on the Flute … (1731), engraving, John Smith (? after 1654-1742). Also published in Peter Prelleur The Modern Music Master … , London (1731). Ref. Welch (1911/1961: 78, fig. 37; 38); Linde (1962/1974: 75); Vinquist (1974: 55, 204-206, fig. 3-1);Thomson (1974: 41, 73, pl. 11); Lasocki (1995: 128-9, pl. 31); Bridgeman Art Library (2003: Image JF139898 - b&w). An elegantly dressed gentleman with sword and cape plays a baroque alto recorder beside a river. On the ground beside him lie piece of music and his hat, though this seems an unlikely place to busk!
• Man with Recorder, John Smith (? after 1654-1742). Den Haag: Gemeentesmuseum, Music Department. Ref. Archiv Moeck; Anthony Rowland-Jones (pers. comm., 2001). This may be an original design by Smith. A neatly bearded man with a hat holds a flared-bell duct-flute. The finger position (left hand lowermost) and design suggest that this is in fact a recorder, though it is badly drawn (e.g. the window/labium is too high up). It is of full late baroque design with a bell flare and, it seems, some slight bore flare. Two large finger-holes show" (Rowland-Jones, loc. cit.)

Marion Smith (20th century)

• Boy with a Recorder (1996), bronze resin sculpture, 104 cm high, Marion Smith (contemporary). Exhibited in the Classic FM Symphony Garden at the Ideal Home Exhibition, London (1996). Ref. Recorder Magazine 16(3): front cover – col.) A young boy sits on a stool, legs apart, holding a modern profile soprano recorder in a position that belies his apparent innocence! Issued in a limited edition of 100.

Edward Robert Smythe

• Playing the Pipe, Edward Robert Smythe (1810-1899). Broadway (Worcestershire): John Noott Galleries. Ref. Bridgeman Art Library (2003: Image NOO 57072 - col.) Watched by a bird in a wicker cage in front of him and another hanging from the rafters above, and by a dog at his feet, a young boy sits in a kitchen playing a slender cylindrical pipe, probably a duct-flute. Anthony Rowland-Jones (pers. comm, 2003) wonders if this was painted in the same kitchen as F.D. Millet's Between Two Fires, ie in Abbot's Grange.

Andrea Solario [Solari]

• The Assumption (1520), Andrea Solario (ca 1465-1524). Pavia: Charterhouse. Ref. Charterhouse: postcard (col.) The disciples are amazed to find an empty tomb as Christ ascends into heaven surrounded by angels and putti singing and playing instruments, including, vielle, shawm, straight trumpet and a narrow, cylindrical duct-flute (flageolet or recorder). The latter has a beaked mouthpiece and a shadow which may represent the window/labium.

Virgil Solis

• Metamorphoses Ovidii: Mercury and Argus (Frankfurt, 1563), woodcut, Virgil Solis (1514-1562). Glasgow: University Library, S.M. 875. Ref. University of Virginia (2003). Beneath a tree, Argus nods whilst Mercury seated opposite him plays a slender cylindrical pipe. The latter is very likely a recorder since the little finger of the lowermost (left) hand is crooked to cover its hole, and a shadow appears to represent a window/labium. One of the series of woodcuts produced by Virgil Solis for an edition of Ovid's Metamorphoses with prose summaries and allegorical commentaries in Latin elegaics by Johann Spreng. Like this one, most of Solis' woodcuts borrow from the designs of from the cycle of 178 woodcuts produced by Bernard Salomon for a French (and Dutch) simplified Ovid, the Metamorphose figurée (Lyons, 1557). Solis' illustrations were used in 25 successive editions up to 1652, with accompanying texts in Dutch, Flemish, German, Latin and Spanish.
• Metamorphoseon: Mercury and Argus (Leipzig: A. Lambergus, 1612), Virgil Solis (1514-1562). Ref. University of Virginia (2003). Beneath a tree, Argus nods whilst Mercury seated opposite him plays a slender cylindrical pipe. The latter is very likely a recorder since the little finger of the lowermost (left) hand is crooked to cover its hole, and a shadow appears to represent a window/labium. One of the series of woodcuts produced Virgil Solis for an edition of Ovid's Metamorphoses with prose summaries and allegorical commentaries in Latin elegaics by Johann Spreng. Like this one, most of Solis' woodcuts borrow from the designs of from the cycle of 178 woodcuts produced by Bernard Salomon for a French (and Dutch) simplified Ovid, the Metamorphose figurée (Lyons, 1557).
• The Planets: The Nine Muses: Euterpe, engraving, 8.2 x 5.6 cm, Virgil Solis (1514-1562). Liège;: Université de Liège, Inv. 9372. Ref. Université de Liège (2003); Wind (2006 - b&w). Euterpe stands with one hand behind her back. In her left hand she holds two flared alto-sized recorders, their beaks, window/labium and finger-holes clearly depicted.

Johannes van Somer, engraver – see David II Teniers (1610-1690)

Joris van Son

• Vanitas (1650-1660), Joris van Son (1623-1667). Northwick Park, Gloucestershire: Spencer Churchill Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie 21511 (2001); Anthony Rowland-Jones (pers. comm., 2001). Still-life with skull, fruit and decorative goblet on a table. The upper part of an alto recorder with three finger-holes visible can also be seen.
• Still-life, painting, Joris van Son (1623-1667). Location unknown: auctioned 10 December 2004 (sold). Ref. Gabrius Data Bank (2007 - col.) On a ledge partly covered with a green drape lie jumbled a loaf of bread, figs, peaches, leafy branches, a casket, skull, pistol, nautilus shell, an ornate goblet, an open music book, a rebec (only partly visible), and hand-fluyt, the foot hidden behind the rebec.

Hendrick (Maartensz.) Sorgh [Sorch, Sorg, Zorg or Zorg; called Rokes]

• Tavern Interior with Peasants Making Music, school of Hendrick Maartensz Sorgh (1609/1611-1670). Location unknown: auctioned 06/12/2006 (sold). Ref. Gabrius Data Bank (2007 - col.) In a room littered with cooking utensils, two men and a woman play music. One man plays a drum of some kind, another plays the violin, and an elderly woman plays a soprano-sized pipe (probably a duct-flute, possibly a recorder) with a slightly flared bell.

Lydia Sorio

• Portrait of Vincenzo Vigneri (1985), acrylic on canvas, Lydia Sorio (contemporary). Ref. Angelo Zaniol (pers. comm, 2003). Vincenzo Vigneri is the father of the oboist and editor Roberto Vigneri. Zaniol (loc. cit.) writes: "This painting has a particular significance for me because the recorder in the hands of the old man was made by myself in 1982. M. Vigneri was very satisfied with this instrument, particularly for its exceptional tone sweetness and flexibility. He used to tell me: 'I should like to take this recorder with me to the next world, so that I can be accepted among the angels making music for our Lord.' The soul of this honest and good fellow has now gone to heaven and I hope he could realize there his dream. So it is even possible that one of my recorders is charming the ears of God the Father himself! Such an honour in not granted to everybody …"

Lionello Spada

• Concert (ca 1615-1620), oil on canvas, 138.5 × 176.5 cm, Lionello Spada (1576-1622). Rome: Galleria Borghese, Inv. 41. Ref. Abbioti, in Fabbri (1952, 2: 20); Musique-Images-Instruments (1966, 2: 13); Negro & Pirondini (1994, 1: 284 - col.); Camiz (1997: 13 – b&w); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000); Paris RIdIM (2000); Exhibition Catalogue, Rome: Colori della musica … (2000-2001: 169, no. 27 - col.); Anthony Rowland-Jones (pers. comm., 2002); Visual Collection, Fine Arts Library, Harvard University, 372.Sp1.90[a] (2002); Rasmussen (2002, Lute); Web-site: Museo internazionale e biblioteca della musica di Bologna (2007 - col.) A master-piece of observation. Musicians prepare the instruments for performance including a trombone (the player seems to be oiling his slide), violin (the player is checking his tuning, strumming the strings with his thumb), lute (the player is tuning whilst looking at his part) and a duct-flute (probably a recorder), only the head of which is visible. The recorder player is pointing out something to a boy singer who holds a score. A man is handing out music from a pile of parts.
• Christ and the Virgin in Glory with St Francis and Angels, oil on canvas, 353 × 213 cm, Lionello Spada (1576-1622). Modena: Galleria Estense. Ref. Cosetta (1985, 1: pl. 60); Anthony Rowland-Jones (pers. comm., 2001). In the lower part of the picture, angels play lute and viola (from music held by another angel); three angels sing from a book, and another holds an alto sized recorder, gripped in his left hand. The details of the recorder are unclear from the reproduction. Notes by Rowland-Jones (loc. cit.)

Marius Spanke (1971-), German

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• Einheitsbanane (1998), Marius Spanke (1971-). Gemshorns in banana form.
• Blau (1998), Marius Spanke (1971-). A recorder all twisted up.
• Struktuale Ausarbeitung (1998), Marius Spanke (1971-). An abstract design reminiscent of a recorder footpiece.
• Fluta Cola (1998), Marius Spanke (1971-). Another gemshorn in the shape of a Coca Cola bottle with only four finger holes.
• Dolce (1998), Marius Spanke (1971-). The head of a recorder.
• Version Wachs und Kreide (1998), Marius Spanke (1971-). A large recorder-like object on the dark side of the moon!
• Grafik I, Marius Spanke (1971-). Lots and lots of recorders.
• Grafik II, Marius Spanke (1971-). More recorders in lots of colours.
• Flötenmanual, Marius Spanke (1971-). A recorder organ.

Giovanni Speranza [called Vaienti] (ca 1470 - ca 1532), Italian

• The Virgin enthroned with the Child and Saints, Giovanni Speranza (ca 1470 - ca 1532). Venice: S. Giorgio in Velo d'Astico. Ref. Paris RIdIM (1999); Visual Collection, Fine Arts Library, Harvard University, 372.Sp37.34[c]; Rasmussen (1999b). On either side of the Virgin stand two Saints. At her feet two winged putti play lute and a duct-flute (flageolet or recorder) with a long flared bell, probably a recorder.
• Assumption with Saints John the Evangelist and James (ca 1500), tempera on canvas, Giovanni Speranza (ca 1470 - ca 1532). Vicenza: Museo Civico di Palazzo Chiericati Ref. Brugnolo & Cevese (1993: 36). The Virgin, arms outstretched, is surrounded by seraphim and musical angels who play lute, straight trumpet, tambourine (with jingle rings), and two slender, flared bell pipes (possibly recorders).

Carl Spitzweg

• Flötenkonzert im Waldesinnern (ca 1835), Carl Spitzweg (1808-1885). Last known at Bonn: Bundespräsidialamt, but now probably in Berlin. Ref. Walter Bergmann Collection, 106 (1995); Thomson & Rowland-Jones (1995: 139, pl. 33 – b&w). A couple sit amidst the forest. He plays an ambiguous duct-flute which may be flageolet or csakan. She holds his hat.
• Flötkonzert (ca 1860), Carl Spitzweg (1808-1885). Location unknown. Ref. Constance Scholten (pers. comm., 2005 - col.) A couple sit amidst the forest. He plays an ambiguous duct-flute which may be flageolet or csakan. She holds his hat. Although very similar to the above this painting differs from it in many respects. The woman's dress is different, her face is different. The csakan player is older and wears spectacles, his coat is different, he is balder now and has lost his "mutton chops". Their belongings are different, too. Perhaps his earlier companion in his wife and this one his daughter.

Bartholomaeus Spranger [or Spraneers] (1546-1611), Netherlandish

Pieter Spyckermann (op. 1650-1666), Netherlands

• Shepherd Couple with Sheep in a Landscape (1650-1666), oil on wood, 25.9 × 35.3 cm, Pieter Spyckermann (op. 1650-1666). Kassel: Gemäldergalerie Alte Meister, GK 1182. Ref. Munich RIdIM (2002: Kksg-564); Anthony Rowland-Jones (pers. comm., 2002). A shepherd and his shepherdess and their animals. Clearly based on Titian's Three Ages of Man (Rowland-Jones, loc. cit.)

Francesco Squarcione

• Study with Centaurs and Satyrs, 27.4 × 18.6 cm, studio of Francesco Squarcione (1395-1468). Location unnkown: Sold Sotheby's (London), 23 March 1971. Ref. Sotheby's Sale Catalogue (1971); Paris RIdIM. Centuars fight whilst beneath them Satyrs appear to be dancing, though one seems to be sobbing in another's lap. One of the Satyrs plays a small duct-flute (possibly a recorder); another holds what seems to be a much bigger pipe.

Casper Stadler (18th century), German

• Instrument-maker's sign (ca 1714), intarsia, Casper Stadler (18th century). Nuremberg: Germanisches Nationalmuseum, Inv. N1208. Ref. Munich RIdiM (1999: Ngm 304). A Munich instrument-maker's sign with various instruments, including what is either a bass recorder or a bassoon. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Jan (Havicksz.) Steen

• The Rommelpot, 32 × 26 cm, wood, Jan Steen (1626-1670). Manchester: City Art Gallery. Ref. Burlington Magazine 107: 217 (1965); Rasmussen & Huene (1982: 34, fig. 8 – b&w); Griffioen (1988: 440-441); Paris RIdIM (1999). A woman plays a flared-bell soprano recorder one-handed whilst her companion thrums a friction drum (rommelpot).
• Merry Company with a Rowboat (1662/1664), 68 × 99 cm, Jan Steen (1626-1679). Amsterdam: Rijksmuseum. Ref. Braun (1980: #166); Griffioen (1988: 440-441). A group of men, women and children (including a nursing infant), push off from a quay in a punt (not a rowboat). Sitting astride the prow, a young boy plays a soprano recorder right hand uppermost.
• The Recorder Lesson (1662/1664), 32 × 26.5 cm, wood, Jan Steen (1626-1679). San Francisco: Palace of the Legion of Honour. Ref. Sale Catalogue, M.A. de Ridder, 1 June (1924: # 69); Legion of Honour, Catalog (1944: 32); Braun (1980: pl. 170); Weltkunst 63(19): 2584 (1993 - b&w); Griffioen (1988: 440-441); Paris RIdIM (1999); Gabrius Data Bank (2002 - col.) A grimacing man with hunched shoulders conducts a rather dull-looking young woman seated before him playing a soprano flared-bell recorder. It is possible that the painting listed by Gabrius (loc. cit.) is another version or copy of this work.
• Children Teaching a Cat to dance, known as The Dancing Lesson (ca 1665-1668), oil on panel, 68.5 × 59 cm, Jan Steen (1626-1679). Amsterdam: Rijksmuseum, SK-A-718. Ref. Paris RIdIM (1999). There is NOT a recorder in this painting, after all. A boy dangles a cat on its hind legs in an attempt to make it dance on a table; a younger fellow beside him laughs; a dog barks; and a young woman plays a small shawm with fontanelle. A lute hangs on the wall behind. Although the scene seems innocent enough, a contemporary of Jan Steen would have sensed the erotic undercurrent in the painting immediately. In that time, the cat and the dog represented lust and lechery. The children are giving the cat a tobacco pipe, lifting its tail and dancing. This was a period in which dancing was considered improper - an invitation to sin. Here the cat is dancing 'to the pipes' of the children. Other details refer equally to love and sex: the bed in the background and musical instruments such as the shawm and the lute (on the wall). to the symbolism. The spaniel appears in other paintings by Steen, as does the lute on the wall, the pewter jug and the saucepan on the ground.
• Beware of Luxury (1663), oil on canvas, 105 × 145 cm, Jan Steen (1626-1679). Vienna: Kunsthisorischesmuseum, Gemäldegalerie, Inv. 791. Ref. Bernt (1969, 2: 1116); Lloyd (1979: 184, pl. 4 – col.); Vienna Kunsthistorischemuseum, Gemäldegalerie (2001). Steen depicts various instances of intemperance in a dissolute household, alluding to common Dutch proverbs and aphorisms. While the housewife has fallen asleep at the table, all around her are examples of carelessness and intemperance. A little boy behind a table plays what may be a small duct-flute, a man plays a violin, a cittern hangs on the wall, and a small cylindrical pipe (possibly a flageolet or recorder) with a beaked mouthpiece lies propped up against a balustrade near a pig. The key to the meaning is found in the inscription on a slate in the bottom right-hand corner. There is found the first part of a Dutch proverb: 'In weelde siet toe'. This means: 'At a time of good living, beware'; the ending is to be understood as, 'and fear the rod'. The punishment is also found in the painting in the form of sword and crutches hanging in a basket from the ceiling.
• As the old sing, so the young play (1663/1665), 84 × 92.5 cm, Jan Steen (1626-1679). The Hague: Mauritshuis, Galerij Prins Willem V, Inv. #169. Ref. Braun (1980: 48, fig. 200); Griffioen (1988: 440-441); Rijksbureau voor Kunsthistorische Documentatie 6498 (2001); Maritshuis, Postcard (2001 - col.); Anthony Rowland-Jones (pers. comm., 2001). In a crowded room all is pandemonium. A grandmother plays with her grandaughter on her knee; grandad stands with his back to the fire reading from a book; a young couple converse in the background, a couple smoke at a table; a man plays the bagpipes; a woman at the table looks admiringly at a young boy playing a soprano flared-bell recorder with the (plugged) offset hole for the lowermost finger clearly visible; an infant plays with a hurdy-gurdy on the floor; a dog looks at the pots and pans on the floor. A birdcage hangs above.
• Merry Company, wood, 46.5 × 62 cm, Jan Steen (1626-1679). The Hague: Mauritshuis. Ref. Paris RIdIM (1999). A young woman feeds an infant at a table. Around her all is chaos as an old woman sings, a young man plays the hurdy-gurdy, a lad plays a small duct-flute (flageolet or recorder) teased by another young chap, a dog sniffs about, two children (one of whom looks to be a dullard) play amongst the pots and pans on the floor, men smoke, and an old man in what looks like a high chair appears to conduct proceedings. Rays of light cut strange paths through the smoke-filled air above – perhaps this is the artist's way of illustrating the pandemonium emanating from the over-crowded room.
• Family Concert (1666), oil on canvas, 86.6 × 101.0 cm, Jan Steen (1626-1679). Chicago: Art Institute, 1891.65. Ref. Kirschenbaum (1977: fig. 55); Ford (1986: #80); Bonniers Musik Lexikon (1983: 33 - col., cropped); Griffioen (1988: 440-441); Nordström (1989: 119 - col., cropped); Martin Trokenheim (pers. comm., 2002). "A man playing a lute, a woman singing from a music book, and a man playing a recorder. A child holds a cello (as if it were a string bass), holding a clay pipe as a bow. A third man holds a violin and a bow. Other musical instruments in the room include a cornett, a violin and bow hung by a cord over the back of a chair, and a small organ in a case resting on the floor" (Ford 1987, loc. cit.) "Depicts a soprano recorder" (Griffioen, loc. cit.) A family make music around a table. A woman sings accompanied by a man playing a lute, a youth playing a hand-fluit, and a young boy playing a cello using a clay pipe as a bow. In the background, a young woman and two men chat. A painting, a cornett and a violin hang on the wall behind them. In the foreground, a dog snarls at a cat eating from a plate of scraps. Through an open window behind the lutenist, a windmill is visible.
• As the old sing so the young play (1670/1672), 110 × 131 cm, Jan Havickszoon Steen (1626-1679). Rio de Janeiro: Museu Histórico Nacional. Ref. Braun (1980: fig. 55); Griffioen (1988: 440-441). Depicts a soprano recorder.
• As the