Bibliography

This extensive bibliography (some 1,160 items) concerns the iconography of the recorder. In particular, it documents the sources of the many images cited in the enumerative catalogue. A more convenient and flexible way of exploring it is via the Zotero citation database underlying this web-site. The Zotero database includes additional details not presented in the static list below, including ISBN and ISSN numbers. The Zotero interface is straightforward to use and allows you to select, sort and export entries in a variety of formats and to create your own citation lists formatted in a range of journal styles. All you need is your web-browser. This will be of particular assistance to students and researchers.

A

  • Abbad Rios, Francisco, ed. 1957. Catálogo monumental de España: Zaragoza. Madrid: Consejo Superior de Investigaciones Cientificas Instituto Diego Velazquez.
  • Abbado, Elena. 2021. “Musicorum coetus pro anima. La Vanitas musicale di San Niccolò del Ceppo a Firenze e i suoi modelli iconografici tra Jacopo Ligozzi e Federico Zuccari [The musical vanitas of San Niccoloo del Ceppo in Florence and iconographic models from Jacopo Ligozzie and Frederico Zuccari.].” Imago Muscae 31/32: 37–164.
  • Abbiati, Franco. 1939. Storia della musica. 5 vols. Milan: Fratelli Treves.
  • Acht, Rob van. 1982. Het strijkinstrument: tentoonstelling in Concertgebouw de Doelen Rotterdam ter gelegenheid van het 75-jarig bestaan van de Kamermuziekvereeniging Rotterdam ; 13 september – 28 september 1982 [Stringed Instruments: Exhibition in the Concertgebouw De Doelen in Rotterdam on the occasion of the 75th anniversary of the Chamber Music Society of Rotterdam; September 13 – September 28, 1982]. Rotterdam: Haags Gemeentemuseum / Kamermuziek Vereniging Rotterdam.
  • Ackerman, Phyllis. 1933. Tapestry, the Mirror of Civilization. New York: Oxford University Press. https://archive.org/details/tapestrythemirro009128mbp
  • Acqua, Gian A. dell’. 1975. I pittori Bergamaschi dal xiii al xix secolo. Il Cinquecento. 2 vols. Bergamo: Poligrafiche Bolis.
  • Adams, Len, and Yvonne Adams. 1987. Meissen Portrait Figures. London: Barrie & Jenkins.
  • Agricola, Martin. 1529. Musica instrumentalis deudsch ynn welcher begriffen ist, wie man nach dem gesange auff mancherley Pfeiffen lernen sol, Auch wie auff die Orgel, Harffen, Lauten, Geigen, und allerley Instrument und Seytenspiel, nach der rechtgegrüdten Tabelthur sey abzusetsen [A German Instrumental music, in which is Contained: How to Learn to Play Many Kinds of Wind Instruments from Vocal Notation, and also How to Set Music into the Appropriate Tablature for the Organ, Harp, Lute, Fiddle, and all Kinds of Keyboard and String Instruments]. Wittenberg: George Rhau. http://imslp.org/wiki/Musica_instrumentalis_Deudsch_(Agricola,_Martin)
  • ———. 1545. Musica instrumentalis deudsch, darin das Fundament und Application der Finger und Zungen, auff mancherley Pfeiffen als Flöten, Kromphörner, Zincken, Bomhard, Schalmeyen, Sackpfeiffen und Schweitzerpfeiffen etc. Darzu von dreierley Geigen, als welschen, polisschen und kleinen Handgeiglein und wie die Griffe drauff auch auff Lauten künstlich abgemessen werden, item vom Monochordo, auch von künstlicher Stimmung der Orgelpfeiffen und Zimbeln, etc. Kürtzlich begriffen, und für unsere Schulkinder und andere gmeine Senger aufs verstendlichst und einfeltigst jtzund newlich zugericht [A German instrumental music, containing the basic rules and application of the fingers and tongue on many kinds of wind instruments, such as recorders, crumhorns, cornetts, pommer, shawms, bagpipes, and Swiss flutes, etc. In addition, concerning three kinds of fiddles, the Italian, the Polish, and the little hand-fiddle, and how the finger positions may be skillfully gauged on them, and also on the lute. Also concerning the monochord and the skillful tuning of organ pipes and small bells, etc. Briefly summarized and now newly arranged for our school children and other beginning singers in the most understandable and simple way]. Wittenberg: George Rhau.
  • ———. (1529-1545) 1980-1983. “Martin Agricola’s Poetic Discussion of the Recorder and Other Woodwind Instruments.” Edited and translated by William E. Hettrick. American Recorder 21(3): 103-113, 23(4): 139-146, 24(2): 51-60.
  • Alamire Music Publishers. 1966. 1977 Catalogue: Postcards, Greetings Cards, Miniatures, Posters. Peer: Alamire Music Publishers.
  • Alce, F. Venturino. 1969. Il Coro Di San Domenico in Bologna. Edited by Renzo Renzi. Bologna: L. Palma.
  • Alcolea i Blanch, Santiago, ed. 1991. The Prado. New York: Abrams.
  • Alex Wengraf Limited. 1993. Alex Wengraf Limited.
  • Alpert, Lorenzo. 2016. “Die Echoflöte.” Historische Holzblasinstrumente Andreas Schöni. Accessed August 13. http://www.schoenibern.ch/site/assets/files/1031/echofloete_concerto_koeln.pdf
  • Ancona, Paolo d’, and Maria Louisa Gengaro. 1953. Umanesimo e rinascimento. Vol. 3. Storia dell’arte classica e italiana. Turin: Unione tipografico-editrice torinese (UTET).
  • Andrews, Keith. 1961. Fifty Master Drawings in the National Gallery of Scotland. Edinburgh: Trustees of the National Galleries of Scotland.
  • Anglès, Jean-Marc. 1999. La Nature morte aux instruments de musique, milieu 17ème. Paris: Cité de la musique.
  • Anonymous. 1630. “Tutto il bisognevole per sonar il flauto da 8 fori con pratica et orecchia [Everything Necessary for Playing the Recorder with Skill and Taste].” Venice. Mss Ital C.IV. No. 486. Biblioteca Marciana.
  • Anonymous. 1982. “Colnaghi Opens in New York.” Tableau. Tijdschrift Voor Beeldende Kunst 5 (1).
  • Anonymous. 2009. “Musician Intrigued by Little People of the Book.” University of Western Australia News 28 (16): 6–7.
  • Arslan, Edoardo. 1960. I Bassano. 1. Testo , 2. Ilusratzioni. 2 vols. Milano Casa Editrice Ceschina.
  • Atayan, Robert. 2016. “Armenian Studies Program: Arts of Armenia [Music and the Art of the Book]: A. Musical Notations and Instruments.” Californian State University, Fresno. Accessed March 10. http://fresnostate.edu/artshum/armenianstudies/resources/musicandtheartofthebook.html
  • Aulich, Bruno. 1981. Alte Musik für Liebhaber. Munich: Artemis & Winkler Verlag.
  • Ausoni, Alberto. 2009. Music in Art (a Guide to Imagery). Translated by Stephen Sartarelli. Los Angeles: J. Paul Getty Museum.
  • Austern, Linda P. 2003. “‘All Things in This World Is but the Musick of Inconstancie’: Music, Sensuality and the Sublime in Seventeenth-Century Vanitas Imagery.” In Art and Music in the Early Modern Period: Essays in Honor of Franca Trinchieri Caiz., edited by Katherine A. McIvor, 287–332. Aldershot & Burlington, Vt: Ashgate.
  • Avena Braga, Inês de. 2015. “Dolce Napoli : Approaches for Performance – Recorders for the Neapolitan Baroque Repertoire, 1695-1759.” Ph.D dissertation, Leiden: Leiden University. Academy of Creative and Performing Arts, Faculty of Humanities, Leiden University. http://hdl.handle.net/1887/33729
  • Azvedo, Carlos de. 1972. Baroque Organ-Cases of Portugal. Bibliotheca Organologica 50. Amsterdam: Frits Knuf.

B

  • Bacci, Pèleo. 1947. Bernardino Fungai, pittore senese, 1460-1516, appunti e documenti. Siena: Lazzeri.
  • Bacharach, Alfred L. (1950) 1958. The Music Masters. 2. After Beethoven to Wagner. Harmondsworth: Penguin.
  • Bachmann-Geiser, Brigitte, Monika Lustig, and Björn R. Tammen. 2000. “Klingende Miniatuen. Eine St. Galler-Handscrhift von 1561-1563 als Instrumentenkunde.” In Ikonographische Zeugnisse zu Musikinstrumenten in Mitteleuropa, 89–102. Michaelstein: Stiftung Kloster Michaelstein.
  • Backhouse, Janet, Mark Evans, Thomas Kren, and Orth. 1983. Renaissance Painting in Manuscripts: Treasures from the British Library. Edited by Thomas Kren. New York: Hudson Hills Press.
  • Badariov, Dmitry 2001-2012. “Violin Iconography Databases.” Badariov Violins. http://badiarovviolins.com/violin.pictures/
  • Bagni, Prisco. 1986. Benedetto Gennari E La Bottega Del Guercino. Bologna: Nuova Alfa Editore.
  • Bainbridge, William. 1803-1812. The English & French Flageolet Preceptor in the Whole Art of Playing the Flageolet, Rendr’d Easy to Every Capacity. Edited by Jacob Head. London: Goulding Phipps & D’Almaine. http://www.flageolets.com/music/bainbridgepreceptor/bainbridgepreceptorcomplete.pdf
  • Baldassari, Francesca, and Daniele Benati. 1999. Cristoforo Munari: 1667-1720: un maestro della natura morta. 1. ed. Milano: F. Motta.
  • Baldassari, Francesca. 2004. “L’Amore Fedele Ed Eterno Del Guercino.” Nuovi Studi 11: 265–68, figs. 206–7.
  • Bali János. 2007. A furulya [The Recorder]. Budapest: Editio Musica Budapest.
  • ———. 2011. “A barokk furulya Magyarországon [The Baroque Recorder in Hungary].” DLA thesis, Pécs: Pécsi Tudományegyetem Művészeti Kar Doktori Iskola [Pécs University Faculty of Arts Doctoral School]. http://furulya.hu/fl/bali_dla.pdf
  • Ballester i Gibert, Jordi. 1995. “Saint John the Baptist, Salome, and the Feast of Herod: Three Pictorial Subjects Related to Musical Iconography in the Kingdom of Aragon in the 14th and 15th Centuries.” RIdIM/RCMI Newsletter 20 (1): 29–36.
  • Ballester, Jordi. 1990. “Retablos marianos tardomedievales con ángeles músicos procedentes del antiguo reino de Aragón. Catálogo [Late Medieval Marian Altarpieces with Musician Angels from the Ancient Kingdom of Aragón: Catalog].” Revista de musicología 13 (1): 123–201.
  • ———. 2000a. “El pastor músico y la flauta dulce en la pintura catalana y valenciana del siglo XV [The Shepherd Musician and the Recorder in the Catalan and Valencian Painting of the Fifteenth Century].” Revista de flauta de pico 16: 11–15.
  • ———. 2000b. “La flauta dulce en la antigua corona de Aragón a finales del siglo XIV: Nuevas aportaciones [The Recorder in the Ancient Kingdom of Aragón at the End of the Fourteenth Century: New Contributions].” Revista de flauta de pico 15: 9–12.
  • ———. 2006a. “Der Blockflötenspieler auf der Orgel der Grote of St. Bavokerk in Haarlem (NL) [The Recorder Player on the Organ of the Grote or St Bavo Church in Haarlem, Netherlands].” Tibia 31 (3): 193–96.
  • ———. 2006b. “Music in the 16th-Century Catalan Painting.” International Journal of Music Iconography 31: 132–42.
  • Banach, Jerzy. 1957. Die Musik in der Bilderden Künsten Polens. 1. Malerei. Plastik. Kraków: Polskie Wydawnictwo, Muzyczne.
  • Bannister, John II. 1681. The Most Pleasant Companion, or Choice New Lessons for the Recorder or Flute, Being a New Collection of New Lessons, Set Forth by Dots and Notes. To Which Is Added, Plain and Easie Rules and Instructions for Young Beginners. London: John Hudgebut & John Clerk.
  • Barbet, Juliette, ed. 2001. Un musée aux rayons X: dix ans de recherche au service de la musique. Paris: Musée de la musique, Cité de la musique.
  • Barbieri, Franco. 1962. Il Museo Civico di Vicenza: dipinti e sculture dal XIV al XVIII secolo [The Civic Museum of Vicenza: Paintings and Scupture from the 14th to 18th centuries]. Vol. 2. Cataloghi di raccolte d’arte. Vicenza: Neri Pozza.
  • Bargagli-Petrucci, F. (1907) 1932. Montepulciano, Chiusi e la Val di Chiana Sinese. Collezione di monografie illustrate: Italia artistica 31. Bergamo: Istituto italiano d’arti grafiche. https://archive.org/details/montepulcianochi00barguoft
  • Barigozzi Brini, Amalia, and Rossaglia Bossaglia. 1973. Disegni del settecento lombardo. Vicenza: Neri Pozza.
  • Baroncelli, Maria Adelaide (1965). Faustino Bocchi / Enrico Aldrici – Pittore di Bambocciate. [Faustino Bocchi / Enrico Aldrici – Bambocciate Painters.] Brescia: Fratelli Geroldi.
  • Bartlett, Clifford. 2012. Early Music Review 146: 9.
  • Bartsch, Adam. 1843-1876. Le Peintre Graveur. 22 vols. Leipzig.
  • Basso, Alberto, ed. 1983-2005. Dizionario enciclopedico universale della musica e dei musicisti. Le biografie. Il Lessico. 22 vols. Turin: Unione tipografico-editrice torinese (UTET).
  • Bauer, Hermann. 1982. Niederlandische Maleri des 17 Jahrhunderts. Munich: GeraNova Bruckmann.
  • Bayer, Andrea, ed. 2000. The Still Lifes of Evaristo Baschenis: The Music of Silence. Milan: Olivares.
  • Beck, Eleonora M. 1999. “Marchetto Da Padova and Giotto’s Scrovegni Chapel Frescoes.” Early Music 27 (1): 7–24.
  • Beck, James H. (1976) 1994. Raphael. London: Thames and Hudson.
  • Beck, Sydney, and Elizabeth E. Roth. 1965. Music in Prints. New York: New York Public Library.
  • Beckwith, John. 1970. Early Christian and Byzantine Art. Pelican History of Art. Harmondsworth: Penguin.
  • Bedaux, Jean B., and Ruddi E.O. Ekkart. 2000. Het Kinderportret in de Nederlanden 1500–1700. Ghent, Amsterdam: Ludion.
  • Beenken, Hermann. 1928/9. “Das Urbild die sieneischen Assuntardarstellungen im XIV und XV Jahrhundert [The Archetype of Representations of the Assumption in XIV- and XV-century Siena].” Zeitschrift für bildende Kunst 62 (September): 73–85.
  • Begni Redona, Pier V., and Giovanni Vezzoli. 1978. Lattanzio Gambara, pittore. Brescia: Morcelliana.
  • Béguin, Sylvie M. 1969. Mostra di Nicolò dell’Abate [Exhibition of Nicolò dell’Abate] Palazzo dell’Archiginnasio, 1 settembre-20 ottobre 1969. Bologna: Edizioni Alfa.
  • Béguin, Sylvie M., and Pietro Zampetti. 1971. Tout l’oeuvre peint de Giorgione. Les classiques de l’art. Milan: Flammarion.
  • Bellini, Paolo, and Mark C. Leach, eds. 1983. Italian Masters of the Seventeenth Century. The Illustrated Bartsch 44. New York: Abaris Books.
  • Belozerskaya, Marina 2002. Rethinking the Renaissance: Burgundian Arts across Europe. Cambridge: Cambridge University Press.
  • Beltramelli, Antonio. 1905. Da Comacchio ad Argenta: le lagune e le bocche del Po. Collezione di monografie illustrate: Italia artistica 14. Bergamo: Istituto italiano d’arti grafiche. https://archive.org/details/dacomacchioadarg14beltuoft
  • Bender, Karel 2010. The Venus of the Low Countries. A Topical Catalogue of Sculptures, Reliefs, Paintings, Frescos, Drawings, Prints and Illustrations of Identified Artists of the Low Countries. The Iconography of Venus from the Middle Ages to Modern Times 3.1. http://www.lulu.com/items/volume_69/9740000/9740745/1/print/9740745.pdf
  • Bennett, Thomas. c.1760. The Complete Flute Master Containing the Best & Easiest Rules to Learn That Favorite Instrument…. London: Thomas Bennett.
  • Benoit, Marcelle. 1971. Versailles et les Musiciens du Roi 1661-1773. La vie musicale en France sous les rois Bourbons 19. Paris: Picard.
  • Berenson, Bernard. 1894-1907. Italian Painters of the Renaissance. 1. The Venetian Painters of the Renaissance with an Index to Their Works (1894). 2. Florentine Painters of the Renaissance with an Index to Their Works  (1896). The Central Italian Painters of the Renaissance (1897). 4. The North Italian Painters of the Renaissance (1907). London: G.P. Putnam’s Sons. https://archive.org/search.php?query=Berenson%20Italian%20Painters%20of%20the%20Renaissance
  • Berenson, Bernard. (1952, 1957, 1963) 1968. Italian Paintings of the Renaissance. A List of the Principal Artists and Their Works with an Index of Places: 7 Volumes; Central Italy and North Italian Schools, 3 Volumes; Venetian School, 2 Volumes; Florentine School, 2 Volumes. London: Phaidon Press.
  • Bergmann, Walter. 1961. “Henry Purcell’s Use of the Recorder.” In Hinrichsen’s 11th Music Book, 227–33. Hinrichsen’s Music Book 11. London: Hinrichsen Edition.
  • Bergmann, Walter, and Wesley M. Oler. 1966. “Schickhardt in Dispute.” Recorder and Music Magazine 2 (3): 85.
  • Bergström, Ingvar. 1956. Dutch Still Life Painting in the Seventeenth Century. London & New York: Faber & Faber.
  • ———. 1970. IJdelheid der ijdelheden: Hollandse vanitas-vorstellingen uit de zeventiende eeuw. Stedelijk Museum De Lakenhal, Leiden, 26 juni-23 aug. 1970. Leiden: Stedelijk Museum De Lakenhal.
  • Bernt, Walther.  1970. The Netherlandish Painters of the Seventeenth Century. Volume I: Achtschellinck-Heda; Volume II: Heem-Rombouts ; Volume III: Romeyn-Zyl. 3 vols. London: Phaidon. Originally published in German as: “Die NiederlandischenMaler Des 17th Jahrhunderts”.  1st edn. Verlag F. Bruckmann, Munich (1948).
  • Bernt, Walther. 1957–1980. Die NiederlandischenMaler Des 17th Jahrhunderts. Bd. 1.  Achtschellinck-Heda, 1957; Bd. 2.  Heem-Rombouts, 1958. Bd. 3. Romeyn-Zyl, 1970, Bd. 4. Aken-Koninck, 1979. Bd. 5. Laer-Wyck, 1980. Ed 2. Munich: Verlag F. Bruckmann, Munich./li>
  • Bertaux, Emile, Louis Gillet, and Emile Dacier. 1913. Le Musée Jacquemart-André. Les Donateurs et la donation, l’art italien, par Emile Bertaux. Les Écoles du Nord et l’école espagnole, par Louis Gillet. L’Art français, par Emile Dacier. Paris: Editions de la “Revue de l”art ancien et moderne’.
  • Berthail, Marie, ed. 1986. Les Premiers Graveurs Français – un art naissant – l’illustration du livre Collection Thomas Dobrée. Nantes: Musées départementaux de Loire Atlantique.
  • Berti, Luciano. 1978. The Uffizi and the Vasari Corridor. London: Constable.
  • Besseler, Heinrich. 1931. Die Musik des Mittelalters und der Renaissance. Potsdam: Akademische Verlagsgesellschaft Athenaion.
  • Beyer, Andreas, Bénédicte Savoy, and Wolf Tegethof. 1983-2016. Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker on der Antike bis zur Gegenwart und zum Allgemeinen Lexikon der bildenden Künstler des XX Jahrhunderts [General Dictionary of Artists: The Artists of All Times and Nations]. 92 vols. Berlin: Walter de Gruyter.
  • Bierens de Haan, Johan Catherinus Justus. 1948. L’oeuvre gravé de Cornelis Cort, graveur hollandais, 1533-1578. The Hague: Martinus Nijhoff.
  • Bikker, Johnathan. 2001. “Willem Drost (1633-1658): A Rembrandt Pupil in Amsterdam, Rome and Venice.” Ph.D. dissertation, Utrecht: Universiteit Utrecht.
  • Bikker, Jonathan. 2005. Willem Drost (1633-1659). A Rembrandt Pupil in Amsterdam and Venice. New Haven & London: Yale University Press.
  • Bilzer, Bert, Hermann Boekhoff, and Fritz Winzer.  (1960) 1961. Paintings of the World’s Great Galleries. London: Frederick A. Praeger. English translation of Das grosse Buch der Malerei. Braunschweig (1960).
  • Bini, Annalisa, Claudio M. Strinati, and Rossella Vodret Adamo, eds. 2000. Colori della musica: dipinti, strumenti e concerti tra Cinquecento e Seicento. Milan: Skira.
  • Binski, Paul, and Stella Panayotova, eds. 2005. The Cambridge Illuminations: Ten Centuries of Book Production in the Medieval West. London: Harvey Miller.
  • Bissell, R. Ward. 1981. Orazio Gentileschi and the Poetic Tradition in Caravaggesque Painting. University Park: Pennsylvania State University Press.
  • ———. 1999. Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné. University Park, Pa: Pennsylvania State University Press.
  • Blanker, Albert, ed. 1999. Holländischer Klassizmus in der Malerei des 17. Jahrhunderts. Frankfurt am Main & Rotterdam: Städelsches Kunstinstitut & NAi.
  • Blazekovic, Zdravko. 2003. “Variations on the Theme of the Planets’ Children, or Medieval Musical Life according to the Housebook’s Astrological Imagery.” In Art and Music in the Early Modern Period: Essays in Honor of Franca Trinchieri Caiz, edited by Katherine A. McIvor, 241–86. Aldershot: Ashgate. http://www.academia.edu/3092222/Variations_on_the_theme_of_the_planets_children_or_Medieval_musical_life_according_to_the_Housebooks_astrological_imagery
  • Blume, Friedrich. (1931, 1949) 1969. Die evangelische Kirkenmusik. Handbuch der Musikwissenschaft. New York: Musurgia.
  • Blumka II Gallery. 2007. Catalogue: Tenth Anniversary Exhibition. New York: Blumka II Gallery.
  • Blunt, Anthony. 1995. Nicolas Poussin. Revised edn. London: Pallas Athene.
  • Blunt, Anthony, and Richard Beresford. 1999. Art and Architecture in France, 1500-1700. 5th ed. Yale University Press Pelican History of Art. New Haven: Yale University Press.
  • Boccazzi, Franca Z. 1965. La Basilica dei Santi Giovanni e Paolo in Venezia. Il Bucintoro 2. Venice: Ferdinando Ongania Editore.
  • Bock, Elfried. 1924. Holzschnitte Des Meisters DS. Berlin: Deutscher Verein für Kunstwissenschaft.
  • Bock, Henning. 1986. The Gemäldegalerie, Berlin: A History of the Collection and Selected Masterworks. London: Weidenfeld & Nicolson.
  • Bodart, Didier. 1970. Louis Finson (Bruges, avant 1580 – Amsterdam, 1617). Brussels: Palais des Académies.
  • Bodmer, Heinrich. 1939. Lodovico Carracci. Burg: August Hopfner Verlag.
  • Bolaffi, Giullio, ed. 1972-1976. Dizionario enciclopedia Bolaffi dei pittori e degli incisori italiani, dall XI al XX secolo. Vol. 1: Abacco-Bellori; Vol. 2: Bellosio-Cantarini; Vol. 3: Cantatore-Cossa; Vol. 4: Cossali-Filosa; Vol. 5: Filosi-Giordano; Vol. 6: Giorelli-Lo Forte; Vol. 7: Logli-Monverde; Vol. 8: Mora-Pianazzi; Vol. 9: Pianca-Ronzoni; Vol. 10: Roos-Sustris; Vol. 11: Tabacco-Zuppelli. 11 vols. Torino: G. Bolaffi.
  • Bol, Laurens J. 1969. Holländische Maler des 17. Jahrhunderts : Nahe d. grossen Meistern. Landschaften u. Stilleben. Braunschweig: Klinkhardt u. Biermann.
  • ———. 1989. Adriaen Pietersz. van de Venne: Painter and Draughtsman. Doornspijk, Netherlands: Davaco.
  • Bologna e Romagna. 1964. Attraverso l’Italia (New Series) 12. Milan: Touring CIub Italiano.
  • Bolton, Philippe. 2016. “La flúte à bec dans L’Encylopedie de Diderot & D’Allembert = The Recorder in Diderot & D’Alembert’s Encyclopedie.” Philippe Bolton, facteur de flûte à bec = Philippe Bolton, Recorder Maker. Accessed March 19. http://www.flute-a-bec.com/diderotgb.html
  • Bonanni, Filippo. 1723. Gabinetto armonico pieno d’instrumenti sonori. Edn 2. Rome: Placho. http://nbn-resolving.de/urn:nbn:de:hbz:061:1-114257
  • Bonanni, Filippo J. 1964. Antique Musical Instruments and Their Players: 152 Plates from Bonanni’s 18th Century “Gabinetto Armonico.” Edited by Frank L. Harrison. Dover Pictorial Archives. New York: Dover Publications.
  • Bonicatti, Maurizio. 1964. Aspetti dell’Umanesimo nella pittura veneta dal 1455 al 1515. Rome: Cremonese.
  • ———. 1980. “Tiziano e la cultura musicale del suo tempo.” In Tiziano e Venezia: Convego Internaionale di Studi, Venezia, 1976, edited by Neri Pozza, 461–77. Vicenza: Neri Pozza.
  • Bonjour, André, and André Petitdemange. 2003. “La cathédrale de Chartres sur les traces de la musique.” SCÉRÉN-CRDP de l’académie d’Orléans-Tours.
  • Bonsanti, Giorgio. (1987) 1992. The Galleria Della Accademia, Florence: Guide to the Gallery and Complete Catalog. Florence: Berococci/Scala.
  • Boorsch, Suzanne, Giorgio Ghisi, Michal Lewis, and R. E. Lewis. 1985. The Engravings of Giorgio Ghisi. New York: Metropolitan Museum of Art. https://archive.org/details/TheEngravingsofGiorgioGhisi
  • Bora, Giulio, ed. 1971. Disegni di manieristi lombardi. Fontes ambrosiani 46. Vicenza: Neri Pozza.
  • Boragno, Pierre. 1998. “Flûtes du moyen age: éléments de recherche [Members of the Flute Family of the Middle Ages: Elements of Research].” Les cahiers de musique médiévale 2: 6–20.
  • Borenius, Tancred. 1931. “Italian Pictures in the Rijksmuseum.” The Burlington Magazine for Connoiseurs 59 (341): 60–61, 64–67, 70–72.
  • Borgo, Ludovico. 1976. The Works of Mariotto Albertinelli. Outstanding Dissertations in the Fine Arts. New York: Garland.
  • Boskovitz, Miklòs. 1975. Pittura fiorentina alla vigilia del Rinascimento 1370-1400. Collana di studi 3. Florence: Edam.
  • Bosseur, Jean-Yves. 1991. Music: Passion for an Art. Geneva, New York: Skira, Rizzoli.
  • Bottari, Stefano, Stefano Pelloni, and Carlo Bottari. 19661968. Tesori d’arte cristiana, 1 Dal paleocristiano al romanico. 2. Il romanico. 3. Il gotico. 4. Il rinascimento. 5. Dal manierismo al novecento. 5 vols. Bologna: Officine Grafiche Poligrafici Il Resto Del Carlino.
  • Bott, Gian C. 1997. Der Klang im Bild: Evaristo Baschenis und die Erfindung des Musikstillebens. Berlin: D. Reimer.
  • Bouterse, Jan. 1995. “Early Dutch Fipple Flutes, with Emphasis on the Seventeenth Century and Jacob van Eyck.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht, 27-30 August 1993, edited by David Lasocki, 77–90. Utrecht: STIMU.
  • ———. 2001a. “Iconography of Dutch Recorders, 1660-1760.” http://members.iinet.net.au/~nickl/bouterse.html
  • ———. 2001b. Nederlandse houtblasinstrumenten en hun bouwers, 1660-1760. [Dutch Woodwind Instruments and their Makers, 1660-1760]. Universiteit Utrecht.
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  • ———. 1997b. “Recorders and Angels: First Sightings in Catalan Art.” American Recorder 38 (5): 7–13. Expanded version in Spanish as: “La flauta de pico en el arte catalán” [The recorder in Catalan art]. Part 1: “Alrededor de 1400: La ‘invención’ de la flauta de pico” [Around 1400: the “invention of the recorder”]. Part 2: “El siglo XV” [The fifteenth century].  Part 3: “Después de ca. 1500” [After ca. 1500].  Revista de flauto de pico, no. 6 (October 1996): 15–20; no. 7 (January 1997): 9–15; no. 8 (May 1997): 9–13.
  • ———. 1997c. “The Iconography of Two (or Three) Recorders: Recorder Symbolism in Some 15th to 17th-Century Paintings from Italy and the Low Countries. Part 1. Held Recorders (Cossa and Titian).  Part 2. Held Recorders (Pourbus, Rubens and Giorgione). Part 3. Discarded Recorders (Titian, Rubens, Veronese and Raphael).” Recorder Magazine, 17 (1): 12–17; (2): 48–52; (3): 88–92.
  • ———. 1998a. “Jesus Christ and the Recorder.” Recorder Magazine 18 (4): 127–29.
  • ———. 1998b. “Los tapices de Zaragoza y las prácticas de ejecución con flauta dolce.” Revista de Flauta de Pico 12: 11–16.
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  • ———. 2000d. “Postscript – the Shepherds’ Gifts and Marriage.” Recorder  Magazine 20 (1): 11–13.
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  • ———. 2002c. “The Recorder in the Art of Titian.” American Recorder 42 (3): 7–13.
  • ———. 2002d. “The Recorder & Marriage. Part 2.” Recorder Magazine 22 (3): 92–97.
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