Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

T

Giovanni Alberto Tameravi (18th century), ? Italian

• [The Bird Fancier's Delight] (ca 1730), engraving, Giovanni, Alberto Tameravi (18th century). Location unknown. Ref. Walter Bergmann (ex Anthony Rowland-Jones, pers. comm., 2003). A gentleman reclining cross-legged in a high-backed chair plays a turned ? baroque sopranino recorder. Above him hang two bird cages. Before him (in the bottom right of the picture) is a table on which lies a very slender pipe, possibly another recorder or a bird flageolet of some kind. The posture and clothing of the player, details of the patio on which he sits, and the general construction of the image bear a marked resemblance to the engraving in Martin Engelbrecht's Woodwind Instruments (ca 1720-1730). It is certain that one is modelled on the other; indeed, they may be by the same hand.

Franz Werner von Tamm

German painter, active in Italy and Austria; initally leaned towards historical painting, but later painted only still-lifes; born Hamburg (1658), died Vienna (1724); the figures in his still-lifes were painted by Carlo Maratti.

• [Still-life with Musical Instruments], Franz Werner von Tamm (1658-1724). Munich: Bayerische Staatsgemäldesammlungen, Passau Art Gallery 5898 (4632). Ref. Munich RIdIM (1999: Mstag 643). A still-life very much in the style of Evaristo Baschenis. Beneath a drape, on a table covered by an embroidered cloth, lie a book, some sheet music, a letter, and musical instruments including a spinet, a theorbo, two lutes, a violin and a cylindrical recorder only the head and first four finger-holes of which are visible.

Abraham (Lambertsz.) van den Tempel (1622/3-1672), Dutch

Dutch painter; known chiefly for his portraits but also executed biblical and allegorical paintings; his portraits are characterized by the combination of static poses and elegant execution of details, particularly in the rendering of textiles; born Leeuwarden (1622/3), died Amsterdam (1672); the son of the Frisian painter and Mennonite minister Lambert (Jacobsz.) van den Tempel (ca 1598-1636).

• Family Portrait of David Leeuw (1671), oil on canvas, 190 × 200 cm, Abraham van den Tempel (1622/3-1672). Amsterdam: Rijksmuseum 2289. Ref. Fischer (1972: 104-107, pl.- b&w); Bernt (1969, 2: 1155). A family scene in which the wealthy Amsterdam merchant, David Leeuw and his wife, Cornelia Hooft, are about to sing a religious song in two parts with basso continuo. Their eight-year-old daughter, Cornelia, has the soprano part book, 18-year-old Maria the contralto; Weyntje, nearly 12, sits at the harpsichord; and 14-year-old Pieter plays viol, a violin lying on the floor next to his chair. Maria stands behind Wyntje and holds a small duct-flute (flageolet or recorder), the window/labium and two finger-holes on the lower part visible before the bell flare.

Temperelli = Cristoforo Caselli

Antonio Tempesta

Italian painter, draughtsman and printmaker; his subjects include biblical themes, hunting and fishing scenes with sweeping landscapes and urban backdrops; born Florence (1555), died Rome (1630).

• Months of the Year: March, Antonio Tempesta (1555-1630). Ref. Bartsch (1854-1870, 17: 179/1336). A shepherd sits playing a slender cylindrical tenor-sized duct-flute with a slight flare at the foot. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Carpoforo Tencala [Tencalla]

Swiss painter known from his religious, mythological, allegorical and decorative fresoes in Vienna, Moravia, West Hungary and Styria; born Bissone (1623), died Passau (1685).

• Ceiling painting (1674), Carpoforo Tencala (1623-1685). Oslavou, Czech Republic: Hall of the Château of Námešt nad Oslavou. Detail. Ref. Programme flyer: Passacaglia presents Musique Champêtre, Wigmore Hall (London), Friday 8 May 1998; Recorder Magazine 19(2): front cover, detail – col. (1999). Depicts putti playing various instruments including bagpipe and a one-piece, flared recorder, part of a group on the story of Cupid and Psyche and an allegory of the human qualities.
• Fresco, Carpoforo Tencala (1623-1685). Passau: Der Passauer Stephansdom, ceiling. Melbourne: Ian Potter Centre, National Gallery of Victoria, Exhibition: Light Sensitive Contemporary Australian Photography from the Loti Smorgon Fund, 7 September 2006 to 18 February 2007: Dom Series (1993-2000), photographic prints by David Stephenson (USA/Australia). The Passau Cathedral was built from 1668 to 1693 after a fire in 1662 destroyed its pedecessor. Amongst the ceiling decorations is a magnificent trompe l'oeil dome with many musical angels whose instruments include lute, viol, harp, organ, viheuella, trumpet, trombone, cello, shawm, tambourine and an ambiguous pipe that may represent a recorder. The player of the later (behind the harp) has hands in a position suitable for recorder playing.

David I Teniers

Flemish painter known for a few religious and history paintings, landscapes and portraits; born Antwerp (1583), died Antwerp (1649); father of David II Teniers.

• The Holy Family and the Infant St John the Baptist with Angel Musicians, canvas, 67 × 55 cm, David I Teniers (1583-1649). Liège: Benedictine Abbey of the Peace of Our Lady. Ref. Leppert (1977: 137). Set in the countryside where angels sing and play violin, cello and a duct-flute (flageolet or recorder).
• Mercury, Argus and Io (1639), oil, 48.5 × 61.5 cm, David I Teniers (1583-1649). Vienna: Kunsthisorisches Museum, Inv. 745, Cat. 1973. Ref. Paris RIdIM (1999). Against a wooded bank beside a clearing in the forest, Argus lies drowsily on the ground clutching his stave as Mercury (Hermes), depicted as a shepherd boy, soothes him to sleep by piping on a slender slightly flared-bell recorder of which the hole for the little finger of the lowermost (left) hand is clearly visible. Io (as a white heifer) looks on passively.
• Mercury, Argus and Io, oil on copper, David I Teniers (1583-1649). Ref. Gabrius Data Bank, OMP (2000 - col.) Sitting on a rocky ledge beneath a spreading tree, watched by Io (as a heifer) and a flock of bleating sheep, Mercury lulls Argus asleep playing on a small cylindrical pipe, possibly a duct-flute.
• Peasants Dancing, David I Teniers (1583-1649). Reims: Musée des Beaux Arts. Ref. Anthony Rowland-Jones (pers. comm., 2003). Peasants dance to music played by bagpipes and on a very small pipe played by an older man who can only just squeeze his fingers onto it. The detail is very small but it appears to cylindrical. The main interest is that the pipe is painted in white, possibly bone rather than ivory in this milieu.
• The Boors' Concert, oil on panel, 38.1 × 59.7 cm, David I Teniers (1583-1649). New York: Sotheby's, Sale N08282, Important Old Master Paintings and European Works of Art, 15 January 2007, Lot 5. A group of Boors sit round a table making music together. Two sing from music on a lectern, an old crone looking over their shoulders; one plays bagpipe; one plays the hurdy-gurdy. Another looks in a the door, and two young lads look in through a hatch high up on the wall. Beneath the hatch hangs a small flared pipe which appears to have the beak of a recorder. The beak is of a different material to the rest of the instrument.
• The Temptation of St Anthony (1640-1650), oil on wood, 63 × 87 cm, David I Teniers (1583-1649). Lille: Palais des Beaux-Arts, Inv. P95. Ref. Anthony Rowland-Jones (pers. comm., 2007). The temptations or trials of St Anthony, who was tormented by spectres, witches and devils while living as a hermit among the barren cliffs, had often been depicted in Netherlandish painting. The basic type of mountain cliffs and fantastic figures in human and animal forms shows a clear relationship to Bosch and Bruegel. As well as peasant scenes, landscapes and mythology, Teniers had an interest in depicting ghosts, witches and alchemists. This version shows a handsome woman arriving outside the saint's grotto and proferring a glass of wine. A witch-like grotesque behind her holds up her skirt and points to St Anthony; she has bird feet, like the even more grotesque creature, clearly from Bosh, who sits close to St anthony serenading him with what looks like an alto/soprano recorder, while a servant-woman, with short horns like a faun, urges St Anthony to cease praying before his crucifix and book. Two demons crouch close to him and strange creatures fly above. The recorder, held below the grotesque's long beak, has a mouthpiece-shaped head and slightly flared bell.
• The Temptation of St Anthony, painting, David I Teniers (1583-1649). Ref. Website: AllPosters.com (2007). Location: Unknown. In this version Anthony is tormented by a monster behind him, whilst others sit before him, one playing a flared-bell pipe which might be taken for a recorder.

David II Teniers

Flemish painter of the Baroque period who painted religious and mythological subjects, but best known for his landscapes and genre scenes of peasant life; born Antwerp (1610), died Brussels(1690); son of David I Teniers.

• Concert (1640/50), wood, 26 × 20 cm, David II Teniers (1610-1690). London: Beit Collection; Germany: G. Schrade Collection. Ref. Leppert (1977: 141, pl. LXXX – b&w); Wiese (1988: fig. 84 – b&w); Archiv Moeck. A young girl holds a duct-flute (possibly a recorder, though only two finger-holes are visible) whilst a male companion instructs her, and a second accompanies on an enormous bagpipe.
• The Finding of Paris, (1651 or later), wood panel, 21 × 30.5 cm, David II Teniers (1610-1690). Location unknown: formerly in the collection of Signora Ch. Loeser in Florence. Ref. Béguin (1971: 97, fig); Martineau & Hope (1983: 47, fig. 22); Jan Lancaster (pers. comm., 2007). Said to be copied from a now lost painting by Giorgione. The baby Paris lies in a basket on a river bank. On the left bank stand a man and a woman. On the right bank sits a woman and an old man playing a tenor-sized near-cylindrical recorder, right hand lowermost. The window and hole for the lowermost little finger are clearly visible. Martineau & Hope (loc. cit.) place this painting at the Courtauld Institute Galleries, London, in error. It is interesting to compare this painting to Giorgione's The Tempest (ca 1508; Galleria dell'Accademia, Venice), thought by some to represent a shepherd finding Paris suckled by a nurse; the town as Troy; the lightening alluding to its destruction, and the broken columns to Paris' death.
• The Finding of Paris, engraving by Théodorus von Kessel (ca 1620-1693) after Teniers II (1610-1690). Washington DC., Library of Congress, Dayton C. Miller Flute Collection. Ref. Jan Lancaster ex Robert Bigio (pers. comm., 2007). A print (and thus reversed) after a painting by Teniers II said to be copied from a now lost painting by Giorgione (see above). The baby Paris lies in a basket on a river bank. On the left bank stand a man and a woman. On the right bank sits a woman and an old man playing a near-cylindrical, tenor-sized recorder, left hand lowermost. The window and hole for the lowermost little finger are clearly visible.
• Duet, 32 × 25 cm, David II Teniers (1610-1690). Antwerp: Koninklijk Museum voor Schone Kunsten, Cat. 726. Ref. Leppert (1977: 141), Zaniol (1985, January: 9, footnote 37), Archiv Moeck. A young woman seated on a chair plays a small slender recorder with a markedly flared bell accompanied by a man on a theorbo supported on the corner of a table. An old woman listens through an open door behind the musicians. The theme is patently erotic. Zaniol (loc. cit) describes the recorder as a 'Ganassi' style instrument.
• A Couple in an Inn Making Music, a Woman Listening in the Doorway, oil on panel, 35.9 × 27.4 cm, Pieter Fontijn (1773-1839) after David II Teniers (1610-1690). Amsterdam: Sotheby's Old Master Paintings, Sale AM1032, 13 Noveber 2007, Lot 45. Ref. Website: Sotheby's (2007 - col.) A young woman seated on a chair plays a small slender recorder with a markedly flared bell accompanied by a man on a theorbo supported on the corner of a table. An old woman listens through an open door behind the musicians. This painting is derived from the signed original by David Teniers the Younger, namely his Duet which is in the Koninklijk Museum voor Schone Kunsten, Antwerp (inv. no. 726).
• Duet (1660-1700), engraving by Johannes van Somer after David II Teniers (1610-1690). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm, 2001). Engraving from the original painting by David Teniers II (Antwerp: Royal Museum of Fine Art, Cat. 726), see above.
• Die Verführerin [The Seductress], print, after a work by David II Teniers (1610-1690). Ref. Fuchs (?date: 191, fig. 159); Archiv Moeck. A woman sits on a chair playing a flared-bell recorder whilst her leering companion sits at a small table beside her drinking beer. Again, the theme is erotic.
• Musizieren de Bauern [Peasants Making Music], David II Teniers (1610-1690). Munich: Bayerische Staatsgemäldesammlungen, Schloß Schleissheium, No. 1838 (4668). Ref. Moreck (?date: 61); Archiv Moeck; Munich RIdIM (1999: Mstag 646); Website: klassiskgitar.net (2007 - col.) Three rustic companions are seated at a table. One strums a cittern, another scrapes a rebec, a third sits holding a very small flared duct-flute (possibly a recorder) with four slightly lifted fingers on the right hand and three finger holes visible. In front is a pitcher; to the right a broom and an old tub. In the background other patrons sit at a table.
• Musical Peasants in a Tavern (1625-1690), David II Teniers (1610-1690). The Hague: St Lucas (dealer). Ref. Rijksbureau voor Kunsthistorische Documentatie 26082 (2001); Anthony Rowland-Jones (pers. comm., 2001). Another version of the above, possibly a copy.
• Leinen bleiche [Stretching material on cords to dry in the sun], David II Teniers (1610-1690). Hamburg: Kunsthalle, No. 337. In the centre-left foreground are two shepherds with their sheep. sheep. The younger of the two (in a red jerkin and blue hat) plays a recorder (right hand lowermost) with a medium flare at bell, but with simple turned decorations in Virdung manner. The finger position strongly suggests a recorder, with all holes obscured/covered (but first finger of the left hand is lifted). The window/labium is clearly shown. [Notes by Anthony Rowland-Jones, pers. comm.]
• Shepherd, canvas, 58 × 52 cm, David II Teniers (1610-1690). St Petersburg: Hermitage, Inv. 5594. Ref. Leppert (1977: 145). A rustic, countryside scene in which a young shepherd boy wearing a leafy wreath holds a small flared-bell duct-flute (possibly a recorder) the window/labium and five finger-holes clearly visible. There is a pendant to this in the same collection depicting a Shepherdess playing a tambourine.
• Lute Player, David II Teniers (1610-1690). Brussels: Heuvel Gallery. Ref. Leppert (1977: 142). A domestic scene in which two musicians plays lute and an ambiguous pipe which has the window/labium of a duct-flute but also the embouchure hole of a flute.
• Village Musicians, canvas (transferred from wood), 24.5 × 19 cm, David II Teniers (1610-1690). St Petersburg: Hermitage, Inv. 591. Ref. Leppert (1977: 146). A rustic domestic scene in which a man plays a duct-flute (flageolet or recorder) whilst a woman sings.
• Wisdom Triumphant over Vanity, wood, 45.9 × 34.2 cm, David II Teniers (1610-1690). St Petersburg: Hermitage, Inv. 6551. An allegorical still-life which includes a violin and a pipe (duct-flute or bagpipe chanter).
• Hearing, 16 × 13 cm; David II Teniers (1610-1690). Location unknown: sold Chevau Légers. Ref. Paris RIdIM (1999). One of five panels of the same dimensions. A young man in a feathered cap plays a slender pipe (probably a recorder) with a markedly flared bell.
• The Archduke Leopold William in his Gallery of Paintings in Brussels (1641), David II Teniers (1610-1690). Munich: Alte Pinakothek, Reserve Collection at Schloß Schleissheim, Inv. 1839. Ref. Anthony Rowland-Jones (pers. comm., 1999 & 2002); Web Gallery of Art (2007). The walls of the Archduke's gallery are covered in paintings amongst which is a shepherd holding a small flared-bell recorder (bottom right). Two small dogs gambol in the foreground.
• The Archduke Leopold William in his Gallery of Paintings in Brussels (ca 1647), 106 × 129 cm, David II Teniers (1610-1690). Munich: Alte Pinakothek, Reserve Collection at Schloß Schleissheim, Inv. 1840. Ref. Anthony Rowland-Jones (pers. comm., 1999 & 2002). A man (perhaps the Archduke himself) stands in the doorway of his art gallery in which the walls are covered in pantings. Amongst the latter is Titian's Nymph and Shepherd now in the Künsthistorisches Museum, Vienna (see below), in the bottom right-hand corner in this version. The angle of the shepherd's pipe is more vertical than in Titian's original, presumably because Teniers intended it to be a recorder, though there is no clear window/labium. A little dog runs into the room. The Alte Pinakothek at Munich has several of these Gallery pictures by Teniers in its reserve collection at Schloß Schleissheim; but only in this one does Titian's Nymph and Shepherd appear.
• The Archduke Leopold William in his Gallery of Paintings in Brussels (ca 1647), oil on copper, 106 × 129 cm, David II Teniers (1610-1690). Madrid: Museo del Prado, Inv. 1813. Ref. Ibañez & Gallego (1972: 177-178, pl.-col.); Blanch (1991: 382, fig. 231 – col.); Paris RIdIM (1999); Web Gallery of Art (2007). The Archduke and his retainers stand amongst a veritable jumble of paintings, some of them easily recognizable. One, in the top left-hand corner is Titian's Nymph and Shepherd, now in the Künsthistorisches Museum, Vienna (see below). Teniers II was conservateur en chief of the Archduke's collection and thus made his copy from the original. Interestingly, it looks as if Teniers saw the pipe held by the shepherd to be a recorder rather than a flute (the original is ambiguous) since a half hole is visible just below the right-hand little finger and the top is slightly beaked.
• The Gallery of Archduke Leopold in Brussels, (1640), oil on canvas, 96 × 128 cm, David II Teniers (1610-1690). Munich: Alte Pinakothek, Reserve Collection at Schloß Schleissheim, Inv. 1841. Ref. Web Gallery of Art (2007); Anthony Rowland-Jones (pers. comm., 2002). The Archduke and his retainers stand amongst a veritable jumble of paintings, some of them easily recognizable, including one of a shepherd in a leafy hat playing a recorder with a widely flared bell – probably Francesco Bassano's Flute Player in the Kunsthistorisches Museum, Vienna.
• Flute Player with Singers (late 17th century), oil on panel, 36.3 × 29.7 cm, ? David Teniers II (1610-1690). ?Location: Inv. Nr. 184. Ref. Archiv Moeck. A man with long hair in cloak and cap holds a flared bell soprano recorder, about to play. His companions are singing, several from sheet music.
• Boy with Recorder, 178 × 143 mm, etching by Corijn Boel (Antwerp 1620 – Brussels 1668), after David Teniers II (1610-1690). The Hague: Gemeentemuseum. Ref. Jonkers et al. (1996: 41); Lasocki (1995: cover – b&w); Archiv Moeck. A long-haired youth in a cape and hat holds a small, flared-bell (? hand fluyt) recorder; an old man stands behind him, singing from sheet music. Clearly modelled on the above painting.
• The Flageolet Player (1635-1640), oil on wood, 22 × 15.5 cm, David Teniers II (1610-1690). Chicago: The Art Institute, Mr & Mrs Martin A. Ryerson Collection, 1933.1095. Ref. Ford (1987: #90); Paris RIdIM (1999). Watched by an old woman holding a piece of paper above a small table on which stands a water pitcher, a young boy in a cap sits playing a slender flared-bell duct-flute (flageolet or recorder). There is an etching of this work by Jacques Philippe Lebas in the University Library, Stockholm (see below).
• Le Fluteur [The Flute Player] (1746), engraving, 21 × 16 cm, by Jacques Philippe Lebas (1707-1733), after David Teniers II (1610-1690). Uppsala: Universitet Bibliotek, UBG 4841; Washington DC: Library of Congress. Ref. RIdIM, Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). The original painting on which this is based is possibly The Flageolet Player, now in The Art Institute, Chicago (see above). Watched by an old woman holding a piece of paper above a small table on which stands a water pitcher, a young boy in a cap sits playing a slender flared-bell pipe (flageolet or recorder).
• Young Woman Playing a Flute, wood, 23 × 31 cm, David Teniers II (1610-1690). Location unknown: sold by Galleiéra, 21 June 1974, cat. 26. Ref. Paris RIdIM (1999). This might almost be be the pendant of the above. Watched by a man in a feathered cap holding a piece of paper above a small table, a young woman plays a slender flared-bell pipe (flageolet or recorder). Above them a face looks in at a window. On a smaller table in the foreground stands a water pitcher. In the background men sit drinking and talking around a table.
• Musicians in a Tavern, oil on wood, 26 × 31.5 cm, David Teniers II (1610-1690). Basle: Oeffentliche Kunstsammlung Kunstmuseum, Inv. 609. Ref. Paris RIdIM (1999). An old man sits on a box playing the lute. Behind him and to the left a young man sits at a small table holding a slender flared-bell pipe (flageolet or recorder) above a crumpled piece of paper on the table beside which lies what appears to be a smaller duct-flute. An old crone standing behind the piper appears to be pouring the contents of a jug over him. In the background a group of men carouse around a table attended by a serving girl.
• Interior of a Barn (ca 1640-1645), wood, 73.5 × 104 cm, David Teniers II (1610-1690). Vienna: Kunsthistorishes Museum, Inv. 759, Cat. 1973. Ref. Paris RIdIM (1999); Bridgeman Art Library (2001, Image ID MAM 66732 - col.) In a huge barn full of goats and chickens a young boy in a feathered hat strolls about fingering his flared-bell recorder. A young woman exits through the door holding a container of some kind.
• The Shepherd, David Teniers II (1610-1690). Private Collection. Ref. Paris RIdIM (1999). In front of a thatched farmhouse a man tends his sheep as a young shepherd in a feathered hat sits on a rock bank playing his flared-bell pipe. A heifer looks passively on. This is almost certainly meant to depict Mercury, Argus and Io (as a heifer).
• Landcape with the Flight into Egypt (1632-1649), David Teniers II (1610-1690). Stockholm: Nationalmuseum, NM 6870. Ref. Anthony Rowland-Jones (pers. comm., 2000). Music-making angels sing and play harp, lute, viola, bass, timpani and a pipe, all of which are pefectly painted. The recorder is of large soprano size, but there is no beak or window/labium. The hands are close together and the fingers overlap. One finger-hole shows above the left hand, and two below the lower fingers of the right hand and one further hole, all in line. There is a very slight bell-flare and bore expansion. The lowermost finger-hole is quite close to the bell end. This is probably a recorder. Notes by Rowland-Jones (loc. cit.)
• Pastoral Conversation, David Teniers II (1610-1690). Madrid: Museo del Prado, Inv. 1814. Ref. Ibañez & Gallego (1972: 177-178). Two shepherds chat. The one seated on the left, holds in his hands a duct-flute with three finger-holes are visible.
• The Temptation of St Antonio Abad, David Teniers II (1610-1690). Madrid: Museo del Prado, Inv. 1821. Ref. Ibañez & Gallego (1972: 179). Amongst the monsters which assault an hermitage, one holds a duct-flute.
• The Temptation of St Anthony, David II Teniers (1610-1690). Anholt: Museum Wasserburg (private collection). Ref. Anthony & Christina Rowland-Jones (pers. comm., 2001). A group on the left includes two men singing, one with a knife in his large hat, and a third grotesque man with a hood and a bovine skull on his head. Out of his right ear he plays an alto-size instrument with an expanding conicity to a well-flared bell. The skull occludes the top end of the instrument. The left hand is lowermost, and between the fingers of both hands three holes are visible, one being the further hole of paired little-finger-holes (the left little finger covers the other). The bottom paired holes are too close to the bell for a shawm, and the conicity and no visible window/labium is unrecorder-like – a deliberate composite instrument, perhaps. The singers have a sheet of music. In the centre background a hare plays a violin, with a toad listening at his feet.
• The Temptation of St Anthony (after 1640), oil on oak, 52.5 × 81.5 cm, David II Teniers(1610-1690). Cologne: Wallraf-Richartz Museum. Ref. Web Gallery of Art (2001). St Anthony sits at a stone desk beside his hermitage, a wooden hut amidst some caves. He is surrounded by beasts. Before him on the ground sit two hooded figures, one of whom plays a flared-bell pipe, possibly a recorder.
• Two Shepherds, drawing, David Teniers II (1610-1690). Edinburgh: National Gallery of Scotland. Ref. Rijksbureau voor Kunsthistorische Documentatie 10645 (2001); Anthony Rowland-Jones (pers. comm. 2001). The shepherds are sitting; the youngest plays a soprano recorder with a slight bell-flare, right-hand lowermost, all fingers on.
• Mercury and Argus (1635-1683), David Teniers II (1610-1690). Vienna: Kunsthistorisches Museum, Gemäldegalerie. Ref. Rijksbureau voor Kunsthistorische Documentatie 337735 (2001); Anthony Rowland-Jones (pers. comm., 2001). Mercury plays a clearly depicted soprano recorder to Argus.
• Peasants Dancing to a Piper on a Path in a Landscape, a View of Antwerp Beyond, oil on copper, 14.5 × 18.5 cm, circle of David Teniers II (1610-1690). Location unknown: offered for sale. Ref. Paris RIdIM (1999); Gabrius Data Bank, OMP (2002 - col.) With initials "D.T." In front of a building, a peasant couple dance to music played by a piping youth leaning against a tree. In the background is a landscape with Antwerp on the horizon. The pipe (possibly a duct-flute) is cylindrical with an abruptly flared bell.
• The Good Husband, engraving, 23 × 19 cm, by Jacques Philippe Lebas (1707-1733), after David Teniers II (1610-1690). Uppsala: Universitet Bibliotek, UBG 4842. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). A family stand before the hearth around a makeshift table on which stands a toureen of soup. Mother holds her baby; father leans admiringly over her shoulder holding his smoking pipe away from the infant; children look on as a man (seated) and a young boy (standing) play ambiguous pipes (possibly meant to represent recorders). Both are very narrow with flared bells.
• Peasants Making Music in a Tavern, oil on panel David Teniers II (1610-1690). Location unknown: Auctioned by Christie's, 6 May 1998 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) Three men make music around a table. Two sit, one strumming a cittern reading from a music book, the other singing from a sheet of paper. A third stands, holding a flared-bell recorder of soprano/alto size. An old woman peeks around a door.
• Interior with Peasants Playing Music and Drinking, oil on panel, David Teniers II (1610-1690). Location unknown: Auctioned by Sotheby's, 28 October 1992 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) At a table in the background of a large room four men and a woman drink and smoke around a table. In the foreground, a man sits in a chair made from a barrel singing to the accompaniment of an old fellow who strums a cittern. The musicians are watched by a man in a feathered hat. On the wall behind hang a cornett, a shawm and a cittern. A cello leans against a table on the far right, and scattered on the floor are a violin, a bagpipe, and an alto-sized flared-bell recorder viewed more or less end-on, lying across an open music book. The beak, window/labium and a number of finger-holes of the recorder are clearly depicted.
• Landscape with a Family Gathering at the Doorstep of an Inn (1644), oil on panel, 54 × 79 cm, David Teniers II (1610-1690). Ref. European Fine Arts Fair (1997: 99 & fig.); Liesbeth van der Sluijs (pers. comm., 2008). Private Collection. A painting clearly divided into two parts, left and right. It represents 9 persons (3 women, 3 men, 2 children) and 3 dogs. At left is an inn, with open door, a woman going inside. A closed high wooden fence extends from the inn to the middle of the painting. Behind the fence is a tree. In front of this fence is a small table, behind which sits a man with a guitar and stands a boy with a small recorder with flare. In front, left, of the table sits a man with a bagpipe and enormous boots with spurs. Behind him to the left, before the inn, stand 2 women, one a mother and one a grown-up daughter. In the middle of the painting, in front, right, of the table is a small boy who dances, with one knee lifted, his right hand at his side, and his left hand strechted out, pointing. In the right half of the painting a man stands before a landscape with a castle-like mansion and some people with dogs. He wears a hat and a hunting bag, and has a long stick in his hand and a whippet on a leash. Right of them stand two rotweilers or such dogs. He must be the father. There are clouds in the sky, and overall colour is brown and beige, with the red stockings of the bag player standing out. The family is dressed in grey, white and brown.They are not peasants. All look solemn and a bit stiff into the camera. Nobody plays music, but only hold the instruments. It all looks very posed!
• The Contented Shepherd (18th century), etching by John Ingram (1721- ?), after a painting by David Teniers II (1610-1690). Washington DC.: Library of Congress, Dayton C. Miller Flute Collection. Ref. Jan Lancaster ex Robert Bigio (pers. comm., 2007). In the shade of a rocky cliff a young shepherd sits playing a slender flared bell pipe held with one hand. Atop the cliff stands a derelict church. Beneath a motto (by Moraine) reads:
  
  

  Quelque mon bien consiste en mon seul flageolet, Aux acces du chagrin je ne suis point sujet; Et si par amour sincere Je pouvais posseder le coeur de ma Bergére, Je ne penserois pas que le plus puissant Roy Fait plus de richesse que moy.

David Teniers II (1610-1690) & Jean Van Kessel (1620-1679)

• The Submission of the Sicilian Rebels (1663), David Teniers II (1610-1690) & Jean Van Kessel (1620-1679) Madrid: Thyssen-Bornemisza Collection, Inv. 388. Ref. Anthony Rowland-Jones (pers. comm., 2001). “Records a historical event from the second decade of the 15th century. This picture has a very large border, as if it were the design for a tapestry, including many instruments, music and weapons of war. There is one duct-flute with the mouth piece and window/labium very clearly painted, but only four finger-holes show, as the rest of the instrument is concealed behind an orpharion and other instruments. It would seem to be of alto size” (Rowland-Jones, loc. cit.)

Hendrick Terbrugghen

Dutch painter, among the earliest northern followers of Caravaggio; born Deventer (ca 1588), died Utrecht (1629).

• Shepherd Recorder Player (1621), 70 × 55 cm, Hendrick Terbrugghen (1588-1629). Kassel: Schloss Wilhelmshöhe, Gemäldegalerie Alte Meister. Ref. Kettering (1983: fig. 1); Nicolson (1958: pl. 21); Haak (1984/1996: 212, fig. 440); Jacob van Eyck, Der Fluyten Lust-hof (ed. H.M Linde), Schott OFB 25, Mainz (cover); Lloyd (1979: 177, pl. 4 – col.); Griffioen (1988: 440-441). A shepherd in a feathered cap and loose gown plays a cylindrical alto recorder with a very slightly flared bell.
• Shepherd Flute Player (1627), 85 × 69 cm, Hendrick Terbrugghen (1588-1629). Gotha: Herzogliche Picture Gallery. Ref. Kettering (1983: fig. 14); Nicolson (1958: pl. 78); Griffioen (1988: 440-441). A shepherd in a fur hat and cloak holds a soprano hand-fluyt in his right hand.
• Flute Player, 63.5 × 51 cm, school of Hendrick Terbrugghen (1588-1629). Schwerin: Staatliches Museum. Ref. Nicolson (1979: fig. 136); Griffioen (1988: 440-441). An old man wearing a cap and a gown plays a crudely depicted soprano/alto sized cylindrical recorder, the foot of which is out of frame. The beak seems to be reversed, but his fingers and thumb are in perfect recorder-playing position, all covering their holes.
• David Greeted by the Women (1624), canvas, 82 × 102 cm, Hendrick Terbrugghen (1588-1629). Utrecht: Centraalmuseum. Ref. Paris RIdIM (1999). David holds the severed head of Goliath as two women (one with her back to us) sing and one holds a small slightly flared-bell duct-flute (almost certainly a recorder, one finger-hole visible) in readiness to play. Therare are other versions attributed to Terbrugghen in the Museum Het Catharina Gasthuis, Gouda, and the North Carolina Art Museum, Raleigh. And an identical painting by Abraham Janssens (ca 1575-1632), dated 1623, formerly attributed to Dirk van Baburen (1594/5-1624), can be found in the Muzeul Brukenthal, Sibiu (Romania).
• The Triumph of David (1624), canvas, Hendrick Terbrugghen (1588-1629). Gouda: Museum Het Catharina Gasthuis. Ref. Anthony Rowland-Jones (pers. comm., 2004). David holds his sling, shown as a catapult, and the severed head of Goliath. Two women (one with her back to us) sing and one holds a small slightly flared-bell hand-fluyt made of pale wood in readiness to play. Her left hand is uppermost with all fingers down, the little finger touching the side of the instrument, and the thumb very close to vertical. Three fingers of the right hand are on the instrument before it widens towards the bell end, which, however, is cut off by the side of the painting. The beak and window/labium are very clearly depicted. This painitng is a version of the one at Utrecht (see above).
• David Praised by the Israelite Women (1623), oil on canvas, 81.8 × 105.4 cm, Hendrick Terbrugghen (1588-1629). Raleigh: North Carolina Art Museum. David holds the severed head of Goliath as two women (one with her back to us) sing and one holds a small slightly flared-bell duct-flute (almost certainly a recorder, one finger-hole visible) in readiness to play. There is an identical painting dated 1623, formerly attributed to Abraham Janssens (ca 1575-1632) and Dirk van Baburen (1594/5-1624) in the Muzeul Brukenthal, Sibiu (Romania); and another version attributed to Terbrugghen is in the Centraalmuseum, Utrecht.
• David Praised by the Israelite Women (1623), oil on canvas, 80 × 102 cm, Hendrick Terbrugghen (1588-1629). Sibiu: Muzeul Brukenthal. David holds the severed head of Goliath as two women (one with her back to us) sing and one holds a small slightly flared-bell duct-flute (almost certainly a recorder, one finger-hole visible) in readiness to play. There is an identical painting in the North Carolina Art Museum, Raleigh, and another version in the Centraalmuseum, Utrecht.

Heinz Tetzner

• Child Playing a Recorder (1920), painting, Heinz Tetzner (1920-). Ref. Fulbourn: Collection of Walter Bergmann, WB 94 (2002, slide) & magazine clipping (2005); Anthony Rowland-Jones (2002 & 2005, pers. comm.) A young girl plays a stylised flared-bell recorder, right hand uppermost.

Hermann Teuber

German artist; born Dresden (1894), died Munich (1985).

• Flute Player in a Studio (1951), oil on paper, Hermann Teuber (1894-1985). Berlin, Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Inv. No. B 25/60. Ref. Bildarchiv Foto Marburg (2002: DISKUS-Objekt-Dokument 02530949 – b&w). A naked man stands playing a pipe in a room with screens and a table on which a jug, shells and other objects are scattered. No details of the pipe are visble, but the disposition of the player's fingers and thumb are highly suggestive of recorder playing.

Hans Thoma

German painter, printmaker and museum director; his works include landscapes, portraits and genre pictures; born Bernau im Schwarzwald (1839), died Karlsruhe (1924).

• By the River Wurm (1885), Hans Thoma (1839-1924). Frankfurt: Städelsches Kunstinstitut: Städtische Galerie, SG 952. Ref. Munich RIdIM (1999: Fsm 80). Beside a swiftly flowering stream lined with trees and shrubs a young lad stands playing an ambiguous pipe. Since all fingers of his lowermost (right) hand are employed this may well represent a recorder.
• Flute Player (1901), oil on paper, Hans Thoma (1839-1924). Freiburg: Augustinermuseum, Inv. Nr. M91/39. Ref. Postcard: Augustinermuseum, Freiburg (col.) In a green meadow beside a narrow stream beneath a burgeoning tree a shepherd sits playing a sldender flared-bell pipe, an artist's idea of what a blockflöte looked like in 1901.

Tibor K. Thomas (20th century), ? French

• Jeune flûtiste (1984), Tibor K. Tomas. Private Collection. Ref. RIdIM/RCMI Newsletter 19 (1): 28, fig. 9 (1994). A young woman stands before a painting playing an alto recorder of modern construction.

Malcolm Thompson

• Boy Playing a Recorder, oil on canvas, 83.8 × 63.5 cm, Malcolm Thompson (1935-). Chicago: Leslie Hindman, Estate Properties, 6 September 1990, Lot 539. Ref. Artfact (2003). Signed "M Thompson". Not seen.

Charles & Samuel Thompson

• Frontispiece: The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency … (ca 1760), printed & published by Thompson & Son, London. UK: Private Collection, Margaret Rees. Ref. Rees (2002: 55, fig. 2 & 99). On a balcony overlooking a garden, a coated and hatted gentleman stands playing a three-piece baroque alto recorder as birds fly above. Athough this is similar to the frontispiece to the 1765 edition (see below) it differs from it in that the player here faces to our right, his attire is different, and he does not carry a sword.
• Frontispiece: The Compleat Tutor for the Common Flute (ca 1765), printed & published by Charles & Samuel Thompson. Ref. Vinquist (1974: 236); Godman (1962: front cover). On a balcony overlooking a garden, a coated and hatted gentleman with a sword at his side stands facing our left playing a three-piece baroque alto recorder.

John Thornton

• Great East Window: Angel Musicians (ca 1440), stained glass, John Thornton (op. 1405 - ca 1440). Great Malvern: Parish Church of St Mary and St Michel (The Priory), Nave. Ref. Charles Eamer Kempe (1860: sketch, col.); Hamand (1947: pl. 3 - col.); Hamand (1963: 2-3); Anthony Rowland-Jones (pers. comm., 2004). The window contains, a group of five musical angels in two rows. Two in the upper row play lute and shawm. The right hand of three lower angels is playing a long slender pipe with a slight flare over the bottom quarater. All fingers are shown down, except the lower left-hand little finger. One finger-hole is half visible by the right-hand little finger, and another just above the left hand, below which there are four clear finger-holes, one almost at the bell end, all in line. The mouthpiece and lips are very like those of the angel at the bottom left who plays a long pipe and tabor, but there is no sign of a window/labium on either instrument. As it is clearly not a second shawm, a recorder (tenor or longer) could have been intended.

Theodoor [Théodore] van Thulden [Tulden]

Flemish painter, draughtsman and engraver who played an important role in introducing a more Flemish style of painting to the northern Netherlands; born Hertogenbosch (1606), died Hertogenbosch (1669).

• Music (1636), Theodoor van Thulden (1606-1669). Private collection. Ref. Bernt (1969, 2: 1175). On a table at the mid far left, behind a cello, lies a long (? tenor) wind instrument with a smooth, marked bell-flare, and rather slender mouth-piece, with a hint of a window/labium, but four lower and two upper finger-holes clearly showing. Also, in shadow at the bottom right, is the lower part and bell end of an instrument that could easily be a soprano recorder (hand fluyt), with a curvaceous bell flare. Notes by Anthony Rowland-Jones (pers. comm., 2000).

John Thurston

• The Farmer's Boy (1800-1802), wood engraving by Charlton Nesbit (1775-1828), after a design by John Thurston (1744-1822). Washington DC., Library of Congress, Dayton C. Miller Flute Collection. Ref. Jan Lancaster ex Robert Bigio (pers. comm., 2007). The farmer's boy seems to be on duty as a shepherd. Or perhaps a shepherdess has gone for a walk. He sits beside a stream beneath a tree against which a shepherd's crook and hat lean, playing a cylindrical recorder with a flared bell. His dog sleeps beside him. A church spire can be seen in the distance.

Willem Thybaut (16th-century)

Dutch stained-glass maker from Haarlem.

• The Capture of Damietta, Egypt in 1219 During the Crusades (1597), stained-glass window, Willem Thybaut. Gouda: St JansKerk, West end of North Aisle. Ref. Bouterse (1995: 86); Anthony Rowland-Jones (pers. comm., 2004). One of 64 superb 16th-century stained-glass windows in this large church. This window is one of nine donated mainly by the free cities of Holland after the church transferred from the Catholic to the Protestant faith in 1573. This window, is one of three depicting battle scenes. It was presented by the free town of Haarlem, which had links with Gouda, in 1596. The crusaders from Haarlem were particularly heroic during this attack. In the bottom left-hand corner of the window is a box in which a number of flutes and a duct-flute (flageolet or recorder) can be seen. "The recorder is … not too realistically represented, having a strange labium, like the metal front pipes (prestant register) of an organ" (Bouterse, loc. cit.) "In fact the transverse flutes and duct-flutes (? recorders) are in pieces with the heads and bodies standing vertically in a tray. Although there are references in literature, it is unusual to find a duct-flute (? recorder) associated with warfare in works of art, an association belonging more the the smaller forms of transverse flute. Morever, the width of the visible head end suggest that this is a tenor recorder. Below the box with the flutes are a drum and trumpet" (Rowland-Jones, loc. cit.)

Pellegrino Tibaldi

Italian painter, sculptor and architect whose Odysseus frescoes in Bologna are among the most outstanding examples of Mannerism; born Puria (1527), died Milan (1596).

• Contest between the Muses and the Pierides, Pellegrino Tibaldi (1527-1596). Bologne: Pinacoteca Nazionale. Ref. Paris RIdIM (1999) From Ovid we learn that so great was the acclaim given the nine daughters of King Pieris that they deigned to challenge the Muses. But Calliope on her own outsang them. They did not accept their defeat (judged by an impartial jury of water-nymphs) gracefully, and abused the Muses so much that, in their bickering, they found themselves turned into chattering magpies. On the right the Pierides dance as they sprout wings and feathers and turn into magpies. In the centre, seated on a mossy bank beneath a shady tree, the water nymphs sit in judgement. On the right, the Muses play cymbals, harpsichord, viol, tambourine, transverse flute, lute, violin, cornett and a duct-flute (flageolet or recorder) with a flared bell. Only the head of the latter is shown, but the beak is clearly visible though back to front. A painting of this subject by Tintoretto also includes a recorder.
• Saint Cecilia and two Angels, Pellegrino Tibaldi (1527-1596). Prague: Art Gallery. Ref. Antwerp Museum, Yearbook (1965: 148, pl. 26); Archiv Moeck; Mirimonde (1974: 126, pl. 98); Paris RIdIM (1999). St Cecilia sings from an open Music Book, conducting with her right hand. An angel to her left accompanies on lute. To her right, a second angel plays a small harp. On the table in front of the musicians, lie a violin, a mandola, a triangle and a tambourine underneath which a flared-bell recorder is just visible.
• Saint Cecilia and two Angels, Pellegrino Tibaldi (1527-1596). Vienna: Kunsthisorisches Museum. Ref. Mirimonde (1974: pl. 98); Imago musicale 1 (1984: 95, as by Antiveduto Grammatica?); Anthony Rowland-Jones (pers. comm., 1999); Rasmussen (1999c). St Cecilia sings from an open music book, conducting with her right hand. An angel to her left accompanies on lute. To her right, a second angel plays a small harp. On the table in front of the musicians, lie a violin, a mandola, a triangle and a tambourine underneath which a flared-bell recorder is just visible.
• St Cecilia singing with two Angel Musicians (16th century), after Pellegrino Tibaldi (1527-1596), Italian. Lisbon: Museo de Arte Antigua. Ref. Mirimonde (1974: 127, pl. 99); Paris RIdIM (1999). St Cecilia sings from an open music book, conducting with her right hand. An angel to her left accompanies on lute. To her right, a second angel plays a small harp. On a table in front of the musicians lie a violin, a mandola, a triangle, and a tambourine underneath which a flared-bell recorder is just visible.

Giovanni Battista [also called Giambattista] Tiepolo

Italian draughtsman, etcher and painter, the last great master of the Venetian school, and the greatest muralist in the rococo style; active in Venice and northern Italy, Würzburg, Madrid; born Venice (1696), died Madrid (1770).

• Four Concerts: Europa (1753), fresco, Giambattista Tiepolo (1696-1770). Würzburg: Residenz. Ref. Rowland-Jones (1992: 42, 59 & cover); Thomson & Rowland-Jones (1995: 65, fig. 20B); Rowland-Jones (1997: fig. 16A – b&w); Rowland-Jones (1998b: 422-423, fig. 5 – col., detail fig. 6 – col.); Paolo Biordi (pers. com., 2000). Derived in large measure from Veronese's Marriage feast at Cana, this allegorical painting features a central group of musicians who accompany two singers. A youth (? Bassano) plays a baroque-style recorder, a man (Tintoretto) plays the violin, another (Titian) a large bass viol. "In keeping with the splendour of the picture, Tiepolo painted a fine recorder with an ivory mouthpiece, but this was apparently unnoticed when the fresco was restored after the bombardment of Würzburg during World War II, and the recorder is now a less distinguished all-wooden one" (Rowland-Jones, 1998b: 431, footnote 36). On the relationship between the musicians depicted in this painting and others by Veronese and Giovanni Domenico Tiepolo see Rowland-Jones (1998b).
• Anthony & Cleopatra's Feast, fresco, Giambattista Tiepolo (1696-1770). Venice: Palazzo Labia. Ref. Landon & Norwich (1991: p. 3, not acknowledged); Badiarov (2005 - col.) Cleopatra entertains Anthony surrounded by her retainers. In the background, two musicians on a balcony play cylindrical pipes (duct-flutes, straight cornetts or small shawms) accompanied by a theorbo player.
  
  There is a model for this painting in the National Art Gallery of Victoria, Melbourne, Australia, in which the musicians brandish what look like curved trumpets rather than pipes. Image from Website of Carol Gerten-Jackson.
• Pastoral Scene (1750-1752), fresco, Giambattista Tiepolo (1696-1770). Würzburg: Residenz, ceiling. Ref. Doussot (2005 - col.) In a pastoral scene musicians play recorder and lyre to an audience of gods and men.

Giovanni Domenico [also called Giandomenico] Tiepolo

Italian draughtsman, etcher and painter; son of the Venetian artist Giovanni Battista Tiepolo; talented genre painter, especially of scenes from contemporary life and the popular theatre; also known for his paintings of the Stations of the Cross, and chinoiserie decorations; worked in Madrid from 1762 until his father died in 1770; produced innumerable drawings for collectors, besides nearly 200 etchings after his own and his father's designs; born Venice (1727), died Venice (1804).

• Minuet with Pantalone (ca 1756), oil on canvas, Giovanni Domenico Tiepolo (1696-1770). Barcelona: Museu Nacional d'Art de Catalunya, #64989. Ref. Rowland-Jones (1997: fig. 16B – b&w); Rowland-Jones (1998b: 415, fig. 1-b&w); Agosto (1998: 415); Paolo Biordi (pers. comm., 2000). Masked dancers perform to an accompaniment by musicians on a balcony/ A youth plays a baroque-style recorder, a man plays the violin, and another a large bass viol. On the relationship between the musicians depicted in this painting and others by Veronese and Giovanni Battista Tiepolo see Rowland-Jones (1998b).
• Nuptial Cortege of Harlequin's Relatives, drawing, ink wash and charcoal, 29 × 41 cm, Giovanni Domenico Tiepolo (1696-1770). Location unknown: sold Sotheby's, 1 July 1971. Ref. Sale catalogue; Paris RIdIM (2000). Two harlequin figures and a crowd of beautifully dressed young women march up a rise with banners flowing behind them. They are led by a town band comprising two violins and two flared-bell pipes which may represent recorders.

Gillis van Tilborgh

Flemish artist; born ? Brussels (ca 1625), died Brussels (1678).

• Family Portrait, Gillis van Tilborgh (ca 1625-1678). Paris: L. Moreno Collection. Ref. Leppert (1977: 154); Paris RIdIM (1999). A bourgeois or noble woman is depicted with a guitar, violin, and a pipe (probably a recorder, but only the foot is visible),
• Hearing [One of the Five Senses], wood, 21.5 × 18 cm, Gillis van Tilborgh (ca 1625-1678). Brussels: Koninklijke Musea voor Schone Kunsten van België, Cat. 471c. Ref. Leppert (1977: 154). An allegorical domestic scene which a man sings and a woman plays a recorder, the hole for the little finger of the lowermost (left) hand clearly visible. There is a copy entitled The Duo in the Museum of Fine Arts, Quimper.
• The Duo, after Gillis van Tilborgh (ca 1625-1678). Quimper: Museum of Fine Arts, Inv. 873.1.11 Ref. Paris RIdIM (1999). An allegorical domestic scene which a man sings and a woman plays a recorder, the hole for the little finger of the lowermost (left) hand clearly visible. A copy of the original entitled Hearing in Koninklijke Musea voor Schone Kunsten van België, Brussels. Formerly attributed to Teniers.
• Group Portrait: A Wedding Celebration, oil on canvas, 115.6 × 160.7 cm, Gillis van Tilborgh (ca 1625-1678). New York: Metropolitan Museum of Art, Inv. 71.32. Ref. Website: Metropolitan Museum of Art (2007 - b&w). Family and friends pose around a table in front of the a house or inn. Centre frame a man plays a small lute and another plays a cylindrical pipe, probably a recorder.

Johannes [Jan, Hans] Tilens

Flemish artist; born Antwerp (1589), died Antwerp (1630).

• Apollo and the Muses, Johannes Tilens (1589-1630). Antwerp: L. Jacobs van Merlen Collection. Ref. Leppert (1977: 155, pl. XXI – b&w). On the banks of Helicon, Apollo and the Muses play many instruments, including violin, cello, and harp; and there are several on the ground, including a recorder (with seven holes clearly visible), trombone, cittern, and flute.

Tintoretto (born Jacopo Rubsti)

Italian Mannerist painter of the Venetian school and one of the most important artists of the late Renaissance; works include secular and religious subjects, and portraits; born Venice (1518), died Venice (1592).

• Model for Paradiso (1588-1592, or 1579-1580), Tintoretto (1518-1592). Paris: Musée de Louvre. Model for the Sala del Maggior Consiglio in the Doge's Palace, Venice. An angel centre-left appears to be playing a pipe. Anthony Rowland-Jones (pers comm.) thinks it only remotely likely that this is a recorder.
• Contest between the Muses and the Pierides (1544-1545), oil on wood, Tintoretto (1518-1592). Verona: Museo di Castelvecchio. Ref. Langdon & Norwich (1991: 56-57 – b&w). An early work, his only major oil painting on wood. From Ovid we learn that so great was the acclaim given the nine daughters of King Pieris that they deigned to challenge the Muses. But Calliope on her own outsang them. They did not accept their defeat (judged by an impartial jury of water-nymphs) gracefully, and abused the Muses so much that, in their bickering, they found themselves turned into chattering magpies. One of the Pierides plays the organ surrounded by her sisters who sing and play soft instruments organ, lutes, vielle, viol, and a pipe suggestive of a recorder. Three large mapgpies with outstretched tail feathers carry away music (left), a ? recorder (centre), and a vielle (right). Notes by Anthony Rowland-Jones (pers. comm.)
  
  The pipe played by one of the Pierides has a short but marked bell flare. The mouthpiece is unclear, and there is no sign of a window, but the painting is very impressionistic. The two bottom finger-holes are clearly shown as is another under the lifted first finger of the left upper hand with the thumb held nearly vertical to the instrument. All the other instruments are 'soft'. The upper part of the pipe below the bird's beak is obscured by leaves, but two lower holes and one (possibly two) higher hole(s) can be seen.
  
  A painting of this same subject by Pellegrino Tibaldi (1527-1596) also includes a duct-flute (flageolet or recorder).

Johann Heinrich Tischbein I ['der Kasseler']

• Musical Gathering, oil on canvas, 94 × 127 cm, Johann Heinrich Tischbein I (1722-1789). Auctioned in Old Master Paintings, Dorotheum, Vienna, 3 October 2001, Lot 253. Ref. Website: International Auctioners (2006 - col.) An elegantly dressed young woman plays a guitar, a young man holds a violin to his shoulder pointing with his bow to a score held over a table by one of two children in front of him. The other child holds a turned baroque recorder of soprano/alto size. On the table are a cushion and a lute, face down. Another lad peeps out from behind a drape in the background. An almost identical painting (possibly the same one) auctioned on 5 July 2000 with the title Children Making Music was attributed to Philip Mercier (1689-1760), and there are similar paintings by Jean Raoux (1677-1734) and unknown imitators of that artist.

Titian [Tiziano Vecellio] (ca 1487-1576)

Italian painter, draughtsman and printmaker, considered to have been the greatest 16th-century Venetian painter, and the shaper of the Venetian colorist and painterly tradition; equally pre-eminent in all the branches of painting practised in the 16th century: religious subjects, portraits, allegories and scenes from Classical mythology and history; active in Venice, and briefly in Padua, Rome and Augsburg; born Pieve di Cadore, north of Venice (1474/1482), died Venice (1576).

• Pastoral Concert (1508), oil on canvas, 105 x 136 cm, Titian (1474/1482-1576). Paris: Musée de Louvre, 71. Ref. Hours (1953); Fehl (1957-1958: 153-168); Bonicatti (1964: 91); Lesure (1966: pl. 3); Gianoli. & Mascherpa (1967: pl. XIX - col.); Winternitz (1967 & 1979: pl. 7 – b&w); Pallucchini (1969: fig. 55); Pignatti (1971: 55, pl. 157 – col.); Musica calendar (1973, July: 8-21 – col.); Fischer (1974: 71-77); Wethey (1975: cat. 29, pl. 2-3); Bonicatti (1976: 316, fig – b&w); Hale (1977: fig. 87 – b&w); Mirimonde (1977: pl. 116); Gentili (1980: 15-26, fig. 3); Schloß Charlottenburg (1983: pl. 10); Gowing (1987: 177 – col.); Réunion des musées nationaux, Paris 1989, IC-00-3891; Rowland-Jones (1997b: 13, detail - b&w); Joconde Website (1999); Visual Collection, Fine Arts Library, Harvard University, 372.G435.90[b]2; Rasmussen (1999b); Rowland-Jones (2002: 8, pl. 2 - b&w); Hijmans (2005: 222). Purchased by Louis XIV in 1671, this painting is in part a direct representation of a passage from Sannazzaro's Arcadia, published in Venice in 1504. Two seated men, a courtier-lutenist and a shepherd in deep conversation, are disregarded by two near-naked nymphs (invisible, as sacred beings), one of the Arcadian streams and one of the woods and pastures. Like the shepherd with his flock in the distance behind her, the latter nymph carries her attribute pipe represented by a slender, flared-bell duct-flute (flageolet or recorder). The preparatory drawing in the Malcolm Collection, British Museum, identifies this as a recorder. In the background is a shepherd with his flock, accompanied by a lute. After protracted debate over the centuries, this work is now generally accepted as partly painted by Titian and partly by Giorgione.
• Ländlisches Konzert (1668), print after Titian (1474/1482-1576), by Jan de Bisschop (late 17th century). Ref. Frings (1999: 164, pol. 5 – b&w). A reproduction of Titian/Giorgione's Concert champêtre (1508). See above.
• Pastoral Concert, oil on canvas, after Titian (1474/1482-1576). Ref. Gabrius Data Bank, OMP (2001-b&w). A reproduction of Titian/Giorgione's Concert champêtre (1508) with the female figures more demurely dressed. See above. Auctioned 15 December 1997, unsold (Gabrius, loc. cit.)
• Tempesta, oil on canvas on board, oval, 30.5 × 21.5 cm, Etty, William (1787-1849) after Titian (1474/1482-1576). Location: Private Collection. Ref. Bridgeman Art Library (2003: Image FAS 179167 - col.) A reproduction of the central scene of Titian/Giorgione's Concert champêtre (1508) rather than Giorgione's The Tempest (Galleria dell Accademia, Venice), to which it bears no resemblence.
• Shepherd with a Pipe (1510-1515), canvas, 60 × 50 cm, Titian (1474/1482-1576). Richmond: Hampton Court Palace. Ref. Berenson (1957, I: 84, pl. 655); Brooke, 1960: 16); Rowland-Jones (2002a: 8, pl. 2-b&w; 2002b: 48, pl. 1-b&w). A youth holds the head of a duct-flute (flageolet or recorder) of which only the head is visible. Formerly attributed to Giorgione, the Queen's art historians now attribute this painting unconditionally to Titian. As it dates from 1510-1515 when he was working on the Louvre Pastoral Concert with Giorgione (who died in 1510) and that picture also has a recorder in it, the Titian attribution is convincing, even if the face is in the manner of his teacher rather than in his own firmer later style. However, recent studies of this picture show that the shepherd boy holds a staff in the original painting, not a recorder: the recorder was painted over by a restorer, probably some time between 1750 and 1859 (Anthony Rowland-Jones, 2002b & 2003). An old copy from Haigh Hall was sold at Christie's in 1946 (Brooke, loc. cit.) And there is a copy of the original in the National Gallery of Scotland display at Duff House, Banff, which shows the shepherd holding a staff, not a pipe.
• Musicians in a Landscape (ca 1510), drawing (pen & two shades of brown ink over traces of back chalk), Titian (1487-1576). Detail. London: British Museum. Ref. Royalton-Kisch et al. (1996: pl. 29); Groos (1996: fig. 76 - b&w); Villa I Tati ML85 G766; Paolo Biordi (pers. comm., 2000). This work has also been attributed to Domenico Campagnola (1500 - after 1552), who passed his engravings and drawings off as Titian's – see Groos (loc. cit.) A standing man plays a grotesquely decorated bass viol to a seated girl who holds a slender flared-bell pipe loosely in her right hand. The four lower holes and offset little-finger-hole are clearly visible indicating that this is a recorder. The thumbhole is also visible (although this may be just an ink mark). The female figure and position correspond closely to the seated nymph in Titian's Pastoral Concert, thus increasing the possibility that the pipe in that picture is also a recorder.
• Musicians in a Landscape (ca 1642- ca 1680), copper-plate engraving, 23.2 × 25.4 cm, by Valentin le Febre (1642 - ca 1680) after a drawing by Titian (1474/1482-1576). Warsaw: Muzeum Narodowe; Washington DC: Library of Congress, Dayton C. Miller Flute Collection. Ref. Warburg Institute, London (photo); Giraolamo Frescobaldi, Canzona, arranged for recorder quartet (D Tr T B) by Dom Gregory Murray, Faber, London (1968 – cover, b&w); Paris RIdIM (1999); Bridgeman Art Library (2003: Image ID NMW 140908). A standing man plays a grotesquely decorated bass viol to a seated girl who holds a slender flared-bell pipe loosely in her right hand. The engraving lacks the offset hole for the little finger of the lower-most hand depicted in Titian's original (British Museum, London), nor is the thumbhole visible. Reversed from Titian's original; and the muscular back of the recorder player appears rather more masculine. The etchings by Le Febre, after Titian and Veronese, were published in Opera selectioria quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt quaeque Valentinus le Febre Bruxellensis delineavit et sculpsit by J. van Campen (Venice 1682).
• Study: A Pair of Lovers Playing Music in a Landscape, drawing, pen and brown ink on red-grounded paper, Titian (1474/1482-1576). Oxford: Christ Church Gallery. Ref. Oberhuber (1976: fig. 21); Rasmussen (1999b); Anthony Rowland-Jones (pers. comm., 2003). "Includes a man with a lute and a woman with a recorder. Figures related to the Giorgione-Titian Concert champêtre (Paris Louvre) and the Titian [Three] Ages of Man (Coll. Duke of Sutherland). Cf. also the anonymous drawing in Bayonne" (Rasmussen, loc. cit.) "The man holds a lute and is in exactly the same position as the man in Pastoral Concert. The girl is the same as the lost early version of Titian's Three Ages of Man, known from several engravings. Her face is in exactly the same position, which Titian altered in his final version, and she holds one recorder, again as in the early version. Moreover the farmhouse buildings in the landscape, taken from Campagnola, are very like those in Titian's early version, changed into a sort of chapel in the Edinburgh painting. The recorder is of soprano/alto size, cylindrical mostly but tapering a little towards the bell. It is sketchy, but I think a window/labium is shown in a side-on position. 'Chloe' holds the recorder in her right hand, with three fingers on the instrument, two with holes showing (just) underneath, and one further finger-hole a little below the hand. There is some bell flare, and an incised decorative ring just before this starts" (Rowland-Jones, loc. cit.)
• Three Ages of Man (ca 1510-1515) oil on canvas, 90 x 151 cm, Titian (1474/1482-1576). Edinburgh: National Gallery of Scotland (lent by the Duke of Sutherland). Ref. Trustees of the National Galleries of Scotland, Edinburgh (1994): postcard (col.); Hale (1977: fig. 141 – col., 142 – b&w); Winternitz (1979: 50-51, pl. 90 – b&w); Recorder Magazine 17(1): cover (1997, detail – col.); Rowland-Jones (1997b: 15 & 16, detail – b&w); Rowland-Jones (1999b: 3-6, fig. 4, detail, b&w); Rowland-Jones (2000b: fig.-b&w); Rowland-Jones (2002: 9-10, pl. 9-b&w). "In the background an old man, sitting among skulls, symbolizes the evening of life. The infants at the right, in the middle ground, indicate the beginning, The two lovers in the foreground, gazing raptly into each others eyes, represent the climax of life" (Winternitz, loc. cit.) The young man holds a recorder in his right hand. The girl holds two slender, flared-bell recorders, parallel to one another, their mouthpieces pointing upwards towards her mouth, and she has the fingers of both hands on the finger-holes of the instruments. "The flutes, connecting the two bodies as it were, have a twofold significance. They are the symbols of the amorous union; and the simultaneity of their sounds dignifies the harmony of souls" (Winternitz, loc. cit.)
  
  There is an almost identical painting by Salvi Giovanni Sassoferrato in the Borghese Gallery, Rome (see above). And there is an engraving after this work by Valentin Lefebre (see above). Joannides (1991) has discussed this painting at length and suggests that it depicts the legend of Daphnis and Chloe, though a second interpretation to this complex picture relates the theme to Christian marriage.
  
  "Titian, like Cossa, prominently combined the marriage symbolism of the myrtle in the girl's chaplet with that of her two recorders. The recorders are held parallel, and in the playing position; in design they both resemble the drawings in Virdung's treatise of 1511 but, while the one held in the girl's right hand has its full tally of finger-holes, the one in her left hand has only five, like the female side of the bridal double pipe. Both this recorder and the expressions on the lover's faces suggest deep sensual desire, but in the poesia underlying Titian's allegory, the love of Daphnis and Chloe was only consummated after their marriage. The recorders express both sensuality and the sacrament of marriage, the latter renforced by the chapel in the background which Titian painted in place of the original farm buildings" (Anthony Rowland-Jones, pers. comm., 2000).
  
  "Looking again … I notice that the canvas at the left-hand side seems to have been cut, slicing off a bit of the man's elbow. It also slices off the lower part of his recorder, but looking at the jagged edge I made out an additional hole, making five in all still visible" (Anthony Rowland-Jones, pers. comm., 2003).
• Three Ages of Man, oil on canvas, after Titian (1474/1482-1576). Ref. Gabrius Data Bank, OMP (2001-b&w). A copy of the original by Titian. See above. Auctioned 2 July 1996, unsold (Gabrius, loc. cit.)
• Three Ages of Man, pen & ink on paper, 119.5 × 28 cm, after after Titian (1474/1482-1576). Heidelberg: Kurpfälzisches Museum, Z 2532. Ref. RIdIM Munich (2003: HDkm-197); Anthony Rowland-Jones (pers. comm., 2002). Design for a Gobelin tapestry. Probably based on a print of an early version of the original.
• A Shepherd and a Nymph, oil on canvas; 81 × 90 cm, after Titian (1474/1482-1576). Oxford: Ashmolean Museum, A522. Ref. Website: Ashmolean Museum (2007 - col.) An accurate copy of the group on the left of Titian's painting known as The Three Ages of Man in the collection of the Duke of Sutherland which may date from ca 1510-1515. The original painting left Venice at a relatively early date: in 1568 Vasari described a similar picture owned by a collector in Faenza. This copy could have been made after the original or an early copy, such as that in the Doria collection.
• Madonna and Child (1515), Titian (1474/1482-1576). Bellano: Deanery Church. Ref. Valcanover (1969: cat. 51). Two angel-putti sit on the step below the Virgin's throne. One plays a lute, the other a slender wind instrument with a flared bell (? recorder). A large tambourine leans against the step between them. Possibly painted in collaboration with Francesco Vecellio.
• Altarpiece: Assumption of the Virgin (1516-1518), oil on panel, Titian (1474/1482-1576). Venice: Chiesa de Santa Maria Gloriosa dei Frari, Presbytery. Detail. Ref. Art Bulletin 53 (1971: 197); Feldbusch(1951: pl. 22); Pallucchini (1969, II: fig. 126); Rabb (1995: pl. 3, col.), Gould (1985: pl. 11, b&w), Tietze (1950: fig. 35); Valcanover (1969: cat. 82, pl. xv); Rowland-Jones (2002: 7, pl. 1-b&w). The red-robed Virgin stands firmly on a cloud made airborne by the efforts of three angels. A further 30 or so angels surround her, singing and playing instruments. Amongst them, a standing angel/putto (centre right) holds a slender duct-flute (recorder or flageolet) looking up at the Virgin. Beside him a squatting angel/putto looks down concentrating on blowing his crumhorn; another (centre left) holds a timbrel.
• Bacchanal of the Andrians (1518-1519 ), oil on canvas, 175 × 193 cm, Titian (1474/1482-1576). Detail. Madrid: Museo del Prado, Inv. 418. Ref. Gould (1969: pl. 15-col.); Ibañez & Gallego (1972: 112); Winternitz (1979: 5152, pl. 8 & 9 – b&w); Recorder Magazine 17(3): 88 (b&w), cover, detail – col. (1997); Rowland-Jones (1997e); Rowland-Jones (2002: 11-12, pl. 9-b&w). "Titian's rhapsody on wine women and song … The central place among the revellers is given to two women in the foreground. In front of them, conspicuously in the middle, lies a music sheet with the notation and the words 'Qui boyt et ne reboyt Il ne sait que boyre seul' ('He who doesn't have more than one drink doesn't known what drinking can be'). The music is a four-part canon. However, no one is singing, but each of the the two women in the centre foreground holds a flute … The instruments are actually recorders, and those in the hands of the women are held so as to be in close and conspicuous proximity. A third flute [ie recorder] is partially visible near the foot of the fair-haired women in the centre. Again … they are not being played. There can hardly be any doubt that these flutes symbolize an utter abandonment to the senses (Winternitz, loc. cit.) There is a fourth recorder by the foot of one of the revellers, not noted by Winternitz. Re-interpreted by Rubens, and by Frans Wouters.
  
  "The recorders held by the two women both have bell flare and show one offset little finger-hole, although the hole shown is right hand on the upper recorder and left hand on the lower. The lower recorder is slightly larger. The recorder on the ground pointing at the foot of the upper woman does not have as strong a bell flare as I had thought from photographs of this painting. It is a perfectly normal, sharp but short bell flare, made by wood thickening – the bore does not seem to be much flared. To the right of the glass, which hides part of the lower portion of the instrument, are two strong vertical marks which could be decorative incisions but they are strong enough to suggest that this recorder could be jointed, although there is no strengthening bulge. This also suggests that the instrument is at least of tenor size" (Rowland-Jones, pers. comm. 2001).
• Bacchanal of the Andrians (? ca 1640 ), print by Giovanni Andrea Genovese (op. 1650 – m.a. 1674, Italian) after Titian (1474/1482-1576). Ref. Bartsch 20: 172/7). A reversed 'copy which shows two recorders only, i.e. those of the two women. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Bacchanal of the Andrians (1857), lithograph, 30.8 × 35.5 cm (image), 44 × 61.3 cm (sheet), by Célestin Nanteuil after Titian (1474/1482-1576). Ref. Martinez (1857: pl. 3). San Francisco: de Young Museum 5074163106760069 A101100.
• Venus and Cupid with a Lute Player (1550-1560), oil painting, 150.5 x 196.8 cm, Titian (1474/1482-1576). Detail. Cambridge: Fitzwilliam Museum, No. 129. Ref. Fitzwilliam Museum (1950: no. 52); Studdert-Kennedy (1958: 349-351); Goodson (1965: 494, 521-522); Pallucchini (1969, II, fig. 477); Wethey (1975: cat. no. 46, pll. 123-125); Thomson & Nutter (1989: 127-174); Rowland-Jones (1995: 49, pl. 17 – b&w); Fitwilliam Museum Enterprises Ltd, Cambridge: postcard (col.); Rowland-Jones (1997b: 14); Visual Collection, Fine Arts Library, Harvard University, 372.T535.1.4V; Rasmussen (1999b). Very similar but not identical to the painting below. Venus, crowned by Cupid, holds a flared-bell recorder, a viol lies beside her; the young man seated at the end of her couch gazes into her eyes as he plays the lute.
• Philippe II et sa Maistresse [Philip II and his Mistress] (ca 1786), etching by Jacques Bouillard (ca 1747-1806), after a drawing by ? Antoine Borel (18th century) after the painting by Titian (1474/1482-1576). Washington DC.: Library of Congress, Dayton C. Miller Flute Collection. Ref. Jan Lancaster ex Robert Bigio (pers. comm., 2007). Although he has missed the recorder's paired little-finger-holes, this is a fairly accurate rendition of the Fitzwilliam Museum version of Titian's Venus and Cupid with a Lute Player. But how extraordinary to label it after the King of Spain when Titian had previously in the same series painted that monarch seated at a powerful organ and turning to gaze lewdly at Venus (Prado, Madrid & Berlin). The engraver hasn't quite caught the fetching look of the Fitzwilliam Venus. Note by Anthony Rowland-Jones (pers. comm., 2007).
• Venus and Cupid with a Lute Player (ca 1560), oil on canvas, 165.1 x 209.6 cm, Titian and Workshop (1474/1482-1576). New York: Metropolitan Museum of Art, Munsey Fund, 1936 (36.29). Ref. Brendel et al. (1946: 65-69); Bilzer (1960, 2: 378 – col.); Burlington Magazine 107 (1965: 520); Lesure (1966: pl. 45); Winternitz (1967 & 1979: 52-53, pl. 10 - b&w); Lesure (1968: 39); Pallucchini (1969, II, fig. 478); Mirimonde (?date-4: 270, fig. 10); Zeri (1973: pl. 93); Wethey (1975: cat. no. 45, pl. 122); Howard (1983: 125, pl. 25 – col.); Visual Collection, Fine Arts Library, Harvard University, 372.T535.4V[p]; Paris RIdIM (1999); Rasmussen (1999b; 2002, Bagpipe); Website: Metropolitan Museum of Art (2002); Baldassare (?date, 2); Constance Old (ex Amanda Pond, pers. comm., 2002-b&w). This work is the last of a series of five celebrated paintings by Titian, and it is unfinished. The earliest of the group, representing Venus and an organ player (Prado, Madrid; Gemäldegalerie, Berlin), date about 1548-55. A somewhat earlier version of the composition is in the Fitzwilliam Museum, Cambridge (see above). In this version, Venus, crowned by Cupid, holds a flared-bell recorder; a viol lies beside her; the young man seated at the end of her couch gazes into her eyes as he plays the lute. In the background, a man leans against a tree playing the bagpipes, and satyrs and nymphs dance to the pipes of Pan, a feature absent from the Cambridge version.
• Venus with a Lute Player, oil on canvas, after Titian (1474/1482-1576). Ref. Gabrius Data Bank, OMP (2001-b&w). A crude copy of the original by Titian (see above). Here the recorder is drawn inaccurately as a somewhat ambiguous, highly conical instrument. Auctioned 8 June 1995, sold, (Gabrius, loc. cit.)
• Nymph and Shepherd, Titian (1474/1482-1576). Vienna: Künsthistorisches Museum, Gemäldegalerie, Inv. 1825. Ref. Gould, (1985: 35, pl. 47-col.); Website: Vienna Kunsthistorischemuseum, Gemäldegalerie (2001); Anthony Rowland-Jones (pers. comm., 2001; 2002: 8-9, pl. 4-b&w). A shepherd holds a pipe (transverse or duct-flute) whilst he gazes longingly at a nymph lying beside him, her back turned as she pleasures herself. A goat (a symbol of lechery) climbs a broken tree in the background to get at the foliage; a man wades across the river in the distance. The symbolism is blatantly erotic. This painting is reproduced in Teniers' (1610-1690) The Archduke Leopold William in his Gallery of Paintings in Brussels (ca 1647), now in the Prado, where it can be seen in the top right hand corner (see above). Teniers II was conservateur en chief of the Archduke's collection and thus made his copy from the original in which he saw a recorder, not a flute.
• Nymph and Shepherd, copy by Jacopo Negreti Palma il Giovane (1544-1628) after Titian (1474/1482-1576). Treviso: Il Museo Civico 'Luigi Bailo'. Ref. Anthony Rowland-Jones (pers. comm., 2000, 2001). Given by Count Alviso Giustiniani of Venice in 1958. The shepherd is shown with a clearly depicted recorder. The beak is clear, and there is probably a window/labium. All fingers are down and there is no sign of finger-holes.
  
  This is a poor painting which bears some resemblence to the copy by Teniers the Younger (Prado) in that Teniers also shows Titian's ambiguous pipe as a recorder. However, the Treviso copy does not show Titians's extraordinary fiery landscape at the upper right of the picture, so bowlderising Titian's meaning. This painting never crossed the Alps.
• Nymph and Shepherd, oil on canvas over plywood, 63 × 74.5 cm, copy after Titian (1474/1482-1576). Vienna: Dorotheum, Old Masters, 16 April 2008, No. 356. The original picture inspired numerous artists during Titian’s lifetime. For instance, the famous work appears in a depiction of a picture gallery by David Teniers the Younger at the Prado in Madrid. Subject to examination of the original, Prof. Mauro Lucco sees the present painting in the context of David Teniers’ activities at the Habsburg court and thinks that it might be attributed to David Teniers, explicitly stating that he was only able to assess the painting on the basis of a photograph). Prof. Justus Müller Hofstede has dealt with the present composition as well, stating: "In many places the characteristic rough Italian canvas shows through. The picture differs from Titian’s composition in many details. I think it was made by a master from among Titian’s later follower and consider it to be very ambitious in terms of quality". In addition, there exists a scientific certificate issued by the Brussels Art Laboratory (Nuclear Section des Institut Supérieur Industriel de Bruxelles) on 7 July 2004. The stratigraphic findings, the use of characteristic pigments, and the priming speak for the painting’s origin in the 17th or 18th century. Should the painting also contain lead sulphate (which could not be detected in the course of the examination as it is very difficult to determine), it could also date from the 19th century. (Catalogue notes, 2008).
• Portrait of two Boys with Musical Instruments, attributed to Titian (1474/1482-1576). Private Collection: Exhibited at the National Gallery of Scotland, Edinburgh (ca 1988). One boy holds a lute, the other a duct-flute, probably a six-holed pipe.
• Virgin and Child with Saints John and Gregory the Great (1517), woodcut, Titian (1474/1482-1576) in collaboration with the cutter Lucantonio degli Uberti and the publisher 'de Gregoriis. Ref. Rosand & Muraro (1976-1977: no. 11); Rasmussen (1999b). "Putti, in front, play lute, recorder and shawm" (Rasmussen, loc. cit.) Not seen.
• Putto playing the Flute in a Landscape (ca 1540), on vellum, 48 x 39.5 cm, in a contemporary wood-carved frame, circle of Titian (1474/1482-1576). England: Collection of Benjamin West, Earl of Yarborough. Ref. Waagan (1857: 502). A winged putto seated on a coastal sand-dune plays a narrow, cylindrical recorder with a shortly flared bell. The double holes for the lowermost finger are clearly shown.

Mark Todd

Contemporary commercial artist based in New York whose pieces have graced the pages of such magazines as the New Yorker, GQ, and Details; his other clients include Sony, Nike, Coca Cola, Polygram Records and Warner Brothers; born Las Vegas. WWW Page.

• Cover: American Recorder 39(5): Unitled (1998), Mark Todd (contemporary). A bunch of grim-looking youths hang out on a street corner playing neo-baroque recorders. Very unlikely!

Il Todeschino [or Todeschini] – see Giacomo-Francesco Cipper

Giovanni Todeschino (15-16th century)

• Pliny the Elder, Historia Naturalis: frontispiece (? ca 1500). Valenza: Biblioteca Universitaria, MS 691. Ref. Toscano (1995: ill. 39); Christina Rowland-Jones (ex Anthony Rowland-Jones, pers. comm., 2007). Across the upper part of the page, ten putti sit and stand rather precariusly in a row across a protruding lege of a pedimented building. Starting from the left, putto 1 just lolls and listens; 2, 3 and 4 sing together from a book; 4 plays a triangle or sistrum; 5 a guitar; 6 a long bowed vielle; 7 and 8 stand together closely with pipes; 9, slightly hidden, seems to have the same instrument as 6; and 10 also seems to be just listening. Putto 7, who stands sideways, plays a slightly curved tenor pipe, farily narrow with a slight short bel flare, while 8, face-on, plays a narrow cylindircal alto pipe with no bell flare, looking down at it while he plays, his chubby left hand lower. His cheeks are slightly puffed (or just chubby – they ae very infantile putti!), but both 7 and 8 have the wrists of both hands well u nder their instruments, suggesting the presence of a thumb-hole, although the images are too small to see finger-holes or window/labium. The mouthpieces rest gently on their lips – they are not cornetts or shawms. They could well be intended to be recorders.

Matthieu de Tombay (1769-1852), Flemish

• Putti Symbolising Music (18-19th century), oval medallion, plaster relief on wood, 71 × 53 cm, attributed to Matthieu de Tombay (1769-1852). Liège: Musée des Armes, Room 1. Ref. Institute Royal du Patrimonie Artistique / Koninklijk Instituut voor hef Kunstpatrimonium (IRPA/KIK), Brussels (2007). Three putti make music together. One sings and conducts from a score; a second plays the transverse flute; a third plays a slender pipe with a flared bell, possibly intended to represent a recorder.

Peltro William Tomkins

• Maria, engraving, 21.3 × 27.5 cm, after John Russell (1745-1806) by Peltro William Tomkins (1760-1840). Perth, Western Australia: Collection Nicholas S. Lander (2004-). Ref. Connoisseur Magazine, London (1907, November); Artfact (2003). A girl with long curls, traditionally identified as Maria, dressed in white, sits leaning on her right arm in a pitiful manner, a little dog in the crook of her left arm, a duct-flute (flageolet or recorder) in her hand. Apart from the recorder, this is identical to Portrait of a Girl with a King Charles Spaniel (1785), a pastel by John Russell (1745-1806) from the Rothschild Collection at Waddesdon Manor offered for sale by Christie's, London, on 21 November 2001, Lot 3. Could Tomkins' Maria be a representation the melancholic young widow in Lawrence Sterne's Sentimental Journey (1767) who played a 'pipe'? Another painting of this scene, Maria and her Little Dog Silvio (1781) by Joseph Wright (1734-1797) is in the Art Gallery, Derby.

Jacob Toorenvliet [Torenvliet, Tornvylt]

Dutch artist, also active in Venice and Vienna; born Leiden (1640), died Oegstgeest (1719).

• Music-making at an Inn, engraving after Jacob Toorenvliet (1640-1719). Den Haag: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm, 2001). "Three players with viol, guitar, lute; at the right, a fourth man, seated, plays right hand lowermost a soprano/alto sized duct-flute (possibly a recorder, but print is not clear) which is mainly cylindrical but with a short bell flare" (Rowland-Jones, loc. cit.)
• From Theatrum Artis Pictoriae, Vienna: Domestic Music-Making (1728 and 1733), 32.1 × 26 cm, copper engraving, Anton Joseph von Prenner (1698-1761), after Jacob von Toorenvliet (1640-1719). Göttweig: Stift Göttweig, Graphisches Kabinett, Cat. Nr 174. Ref. Innsbruck RIdIM (2001, Nr. 951); Prof. Tilman Seebas (pers. comm., 2001). In an inn, a violinist and a recorder-player accompany a boy who sings from a score. On the ground are a lute and some music.
• A Mother and Child Listening to a Couple Making Music, Jacob Toorenvliet (1640-1719). Location unknown: Auctioned by Christie's on 4 July 1991 (sold). Ref. Gabrius Data Bank, OMP (2002 - b&w) A woman with a child by the hand stoops forward to listen to three musicians, an old man (? singer), a young woman playing a small lute, and a young man playing an alto-sized recorder. The latter instrument has a peculiar construction with the head of a renaissance-style recorder and the tapering body and turned foot of a baroque-style recorder. It is played right hand uppermost. The child holds a small dog in his arm.

Diogo de Torralva

Portuguese architect in the fully Italianate classical style; flourished 1540-1551.

• Wood carving, designed by Diogo de Torralva (1550). Lisbon: Mosteiro de Santa Maria de Belém ou dos Jerónimos (Monastery of Jerónimos-Praça do Império); Church, NE end of Western Choir Stalls. Ref. Anthony Rowland-Jones (pers. comm., 2000); Monastery of Jerónimos-Praça do Império, Guided Tour: Choir Stall (2001). The monastery is a World Heritage Site. The building was commenced in 1502. “The rows of seats with exuberant Flemish and Italian influence and decoration are the first Renaissance woodcarvings in Portugal. They were designed by the architect Diogo de Torralva and were built from oak and chestnut in 1550 by the master craftsmen Diogo de Sarça (Spanish, fl. 1548–1555) and Filipe de Vries. The stall backs have 18th-century paintings with Apostles and Doctors of the Church. Each seat has a projection or misericord to support the monk while standing in the stalls” (Monastery of Jerónimos-Praça do Império, loc. cit.)

Francesco di Marco India Torbido, 'Il Moro'

Italian painter whose principal works are considered to be those in the Fontanelli Chapel in Venice; also painted portraits; born Venice (1482/5) died Verona (1561/2).

• The Recorder Player, Francesco Torbido, 'Il Moro' (1482/5 – 1561/2). Padova: Museo Civico. Ref. Frings (1993); Moeck, Kataloge, folder (1980 – col.) Shows a young boy with an ivy-crown holding the head of a renaissance-style recorder. There is an identical picture by Lorenzo Luppo Zara in the Museo Civico Agli Eremitani, Padua (see below). And there is a ? 19th-century copy of this in the Bate Collection, School of Music, Oxford University presented, along with his instruments, by French recorder player and teacher Jean Henry (Rowland-Jones, pers. comm. 2000).

Martíne Torner (op. 1480-1497), Spanish (Valencia)

• Altarpiece: Virgin with Angels (ca 1490), Martíne Torner (op. 1480-1497). Segorbe (near Valencia): Cathedral Museum. Refs: Centre for Music Documentation (CMD) in Madrid; Anthony Rowland-Jones (pers. comm., 2001). “Angel musician in a gallery on the left of the painting plays a long recorder. The angel in the corresponding pulpitum on the right plays a shawm, and a portative organ and harp appear lower down. The instrument has a very elongated and narrowing beak with the window/labium placed at the point where the body becomes cylindrical. The player's upper (left) hand is so placed that the holes are just visible under the fingers and the thumb is almost upright in recorder playing position. The same is true of the right hand, except the outstretched little finger does not quite reach its hole. There are six finger-holes in line, then one offset, and yet another slightly offset on the same side, followed by a rather long, but only gently flaring, bell end” (Rowland-Jones, loc. cit.)

Luis Tornera (19th century), Spanish

• Untitled (1915-1916), wall-painting, Luis Tornera (19th century). Lorca (Murcia Province, Spain): Casino, ballroom. Ref. Anthony Rowland-Jones (pers. comm., 2002). A wall-painting in 18th-century style on the theme of music and dancing. Watched over by a statue of a satyr, in a garden, three putti amuse themselves. One dances banging cymbals together; one lounges in a stone seat; and one stands playing a slender, conical pipe. The first three fingers of his uppermost (right) hand and all four of his lowermost hand are covering their holes. However the characteristic beak and window/labium characteristic of a recorder are not depicted; but nor is any pirouette suggestive of a reed.

Johannes Torrentius [born Jan van der Beeck]

Dutch painter, imprisoned and tortured in Haarlem because of his 'immoral' paintings, who on his release became court painter to Charles I of England; painted in a unique style with a chiaroscuro and monochromy predating Rembrandt; born 1589, died 1644.

• Vanitas (1625), 61.5 × 113 cm, Johannes Torrentius (1589-1644). Schipluiden: Collection Jungeling. Ref. IJdelheld #33; Griffioen (1988:, 440-441, # 92); Legêne (1995: 115). On a bench lie papers, books, a candlestick, an hourglass, writing implements, a skull (which bites one of the books) and a cylindrical recorder, the foot of which is just out of frame. Legêne (loc. cit.) notes that this is the earliest date her researches indicate for a recorder in still-life painting in the Netherlands. The present survey pushes this date back at least eight years. See Jan Brueghel's allegorical still-life Hearing (1617); Theodor Matham's engraved Vanitas (1622); an untitled still-life by Clara Peeters (1623); and Pieter Claesz' Still-life with Musical Instruments (1623). In addition, many undated Netherlandish still-lifes of this period also include recorders.

Henri (-Marie Raymond) de Toulouse-Lautrec (Montfa)

French painter and lithographer belonging to no particular school; deprived of the physical life that a normal body would have permitted, he lived completely for his art, dwelling in the Montmartre area of Paris the centre of the cabaret entertainment and bohemian life that he depicted in his work; his subects include working-class, cabaret, circus, nightclub and brothel scenes; he is admired today for his unsentimental evocations of personalities and social mores; born Albi, Tarn (1864), died Château de Malromé, near Langon, Gironde (1901).

• Le Jouer de Flute [The Flute Player], oil on canvas, Henri de Toulouse-Lautrec (1864-1901). Location unnown: Auctioned 6 February 2001 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) The naked torso of a man playing a flared-bell duct-flute, though no details are visible.

Georges de la Tour

French painter, painter, mostly of candle lit subjects the general tone of which is a clear brick-red; born Vic-sur-Seille (1593), died ? Lunèville (1652).

• The Musicians' Brawl (ca 1625), oil on canvas,87.8 ×144.3 cm, George de la Tour (1593-1652). Los Angeles: J. Paul Getty Museum, Inv. 72.PA.28. Ref. Consibee (1977: 243-244, cat. 9 – col., detail, fig. 6 – col.); Getty Museum (2002 - col.) Said to be the original and identical to the following. Depicts an argument over a shawm. The bottom half of a flared-bell recorder or possibly a small shawm (which clearly shows the double hole for the lowest finger) is shown tucked into one of the fighter's belt. A violin is also shown.
• The Musicians' Brawl (ca 1625-1627), George de la Tour (1593-1652). Chambéry: Musée des Beaux Arts. Ref. Edition des Amis des Musées de Chambéry: postcard #903 (col.) Similar to the version in the Getty Museum, Los Angeles, and in a Private Collection. Depicts an argument over a shawm. The bottom half of a flared-bell recorder, or possibly a small shawm (which clearly shows the double hole for the lowest finger) is shown tucked into one of the fighter's belt. A violin is also shown.
• The Musicians' Brawl (1625-1630), oil on canvas, George de la Tour (1593-1652). Private Collection. Ref. flautotraverso.it (2003, detail - col.) Similar to the version in the Getty Museum, Los Angeles, and in the Musée des Beaux Arts, Chambéry. Depicts an argument over a shawm. The bottom half of a flared-bell recorder, or possibly a small shawm (which clearly shows the double hole for the lowest finger) is shown tucked into one of the fighter's belt. A violin is also shown.
• Adoration of the Shepherds (ca 1645), oil on canvas, 107 x 131 cm, George de la Tour (1593-1652). Paris: Musée de Louvre. Ref. Réunion des musées nationaux, Paris (1989): postcard IC-00-3792 (col.); Pottier (1995: 140, pl. 16 – b&w); Consibee (1997: 120-122, pl. 73 – col.); Gowing 1987: 412 – col.); Lallement (1997: 196). A nativity scene in which one of the shepherds holds what is almost certainly a renaissance style recorder, only the head of which is visible.

Nicolas Tournier

French painter; one of the most important French Caravaggists; born Montbéliard (1590), died Toulouse (ca 1639).

• Flute Player (ca 1625), oil on canvas, 76.5 × 61 cm, Nicolas Tournier (1590-1639). Brescia: Pinacotecca Tosio Martinengo, Inv. 215. Ref. Moir (1967 - col.) A man holds a cylindrical soprano recorder with a short bell flare. The window/labium is clear; there is no beak; the thumb and all fingers are down except the little finger of the lower (right) the open finger-hole for which shows clearly. Notes by Anthony Rowland-Jones (pers. comm.)

Suzanne Tourte

• Recorder Player, oil painting, 81.3 × 116.8 cm, Suzanne Tourte (1904-1979). Brussels: Horta, 17 March, 1997, Lot 120. Ref. Artfact (2004). Not seen.

Wilhelm Traut – see Francesco Villamena (1556-1624)

Jan (Jansz.) Treck (1605/6-1652), Netherlands

• Vanitas Still-life (1648), oil on oak, 90.5 × 78.4 cm, Jan Treck (1605/6-1652). London: National Gallery, Inv. 6533. Ref. Website: National Gallery, London (2001). Objects intended to cause the viewer to reflect on the inevitability of mortality and the consequent foolishness of all human ambition are scattered along a bench. They include some armour, a skull wrapped in straw, a stoneware jug, some music, some books, a clay pipe for blowing bubbles, documents, a viol (only the neck of which can be seen), a casket, and a recorder (only the head and upper two finger holes of which are visible) in a tray. "The recorder below the two finger-holes is hidden by an hour-glass. This refers to the concept of music requiring time to be performed – so death has interrupted the passage of time and life, and thus also the playing of the music. In the part of the head of the recorder where one expects to see the maker's name there is a sigmoid scroll, but no letters can be made out on it" (Anthony Rowland-Jones, pers. comm. 2000). The title-page of one of the books is of a play by Theodore Rodenburgh (ca 1578-1644) which was published in Amsterdam in 1618; it can be translated into English as "Evil is its own reward".

Irene von Treskow (1941–)

British curate and illustrator; a design student with Henryk Tomaszewski in Warsaw; formerly art director of Saatchi and Saatchi; ordained as a priest in 1996 and now combines her freelance work as an illustrator with her duties as a curate with St Philip's and All Angels and at St Luke's in Kew, London.

• Postage stamp: UK 30p Christmas stamp and First Day Cover (issued 2 November 1998), Irene von Treskow. Ref. Press release: Royal Mail Announces Last Posting Dates. An angel musician holds a duct-flute (almost certainly a recorder), right hand uppermost. Von Treskow is flummoxed by suggestions that her angels, on the stamps, are women. "They are neither male nor female," she says. " But I've been very pleased that some people have asked if they are looking down at Jesus in the manger. That is exactly what they are meant to convey" (Ruth Gledhill, The welcome return of angels to earth, The Times, 28 November 1998).

Martin Treu – see Mongrammist M.T.

Montalto Treviglio – see Giovannie Stefano Danedi Francesco Trevisani

Giovannie Stefano Danedi Francesco Trevisani

• The Infant Jesus sleeping (1709), oil on canvas, 148.5 × 126 cm