Status as of March 2001
PLEASE DO NOT SEND ADDITIONAL ENTRIES. The entries published here are only the ones for which I have somewhat respectable bibliographic entries at this time. I have much more information for these and for additional entries which will be added as I get around to it. I didn't set out to compile a bibliography -- or, more properly, an iconography. This list is just what happens to be lying about the house. It is very much a work in progress, but if I waited until everything was perfect, it would never appear.
However, I would appreciate corrections -- wrong page references, for example. Send corrections to
Mary Rasmussen
Music Department
University of New Hampshire
Durham NH 03824 (USA)
I am singularly error-prone, alas, and I am sure that there are numerous mistakes in this list. Sorry.
The purpose of this iconography is to answer the question "Where can I find an illustration of ...?" I have included only works of art for which there is a published reproduction (plus some that are in the Visual Collection, Fine Arts Library, Harvard University and a few in the Bild-Archiv Photo Marburg).
Many thanks to the UHN Music Department for putting this index on their web page.
NB: For some strange reason, all of my British entries have bibliographical problems (i.e. the cards are all missing). Next time.
Cana, Wedding at: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516), attr. The Wedding at Cana. Rotterdam BvB. Includes figures playing a bagpipe and a bladder pipe (obscured by the frame). (D. Bax. Hieronymous Bosch ... Rotterdam 1979. p. 286; O. Benesch. Collected Writings, II. Ed. E. Benesch. London 1971. fig. 5; R. L. Delevoy. Bosch. New York 1990. p. 43 [color reproduction], as 1475-80; Friedländer V, no. 73, pl. 54; Hammerstein Diabolus. no. 183; R. H. Marijnissen and P. Ruyffelaere. Hieronymus Bosch. Das vollständige Werk. Antwerp 1999. pp. 421 [ok color reproduction], 430 [fine color detail], as disputed attribution; P. Reuterswärd. Hieronymus Bosch. Uppsala 1970. cat. no. 11, pl. 17 [large reproduction, but not great]; Gazette des Beaux-Arts 69 [1967] 342 [detail of the bagpiper]; Gazette des Beaux-Arts 77 [1971] 32 [small reproduction, plus a detail of the bagpiper]; Vis. Coll. 374.1.B652.24C) Copy (private collecton) (Hammerstein Diabolus. no. 184; =? Gazette des Beaux-Arts 77 [1971] 33 [small reproduction, plus a detail of the bagpiper and the bladder pipe player]). Drawing in Paris (Simiolus 2 [1967/68] 76)
Last Judgement: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516), attr. Last Judgement, central panel from the Last Judgement altarpiece. Bruges, Stedelijk Museum voor Schone Kunsten, Groeninge Museum. Includes a giant bagpipe with naked people dancing around it. (Friedländer V, no. 86, pll. 69-70; De vlaamse primitieven .. I: Stedelijk Museum voor Schone Kunsten (Groeningemuseum). Ed. A. Janssens de Bisthoven. Antwerp 1957. no. 4, pll. XVIII [entire triptych], XIX [central panel], XXI [ok detail, including the bagpipe]; Hammerstein Diabolus. nos. 162-165; Gazette des Beaux-Arts 77 [1971] 45 [detail, including the bagpipe]; Vis. Coll. 374.1.B652.39J)
[Bosch Pa] _______. Last Judgement, central panel from the Last Judgement altarpiece. Vienna, Akademie der Bildenden Künste. Includes a bagpipe or a shawm, a personified insrument whose nose is a chanter -- a walking bagpipe. There is also a bagpiper beside an inn or bordello. In the right wing, Hell, a self-playing bagpipe spouts smoke beside a grotesque playing a shawm. (R. L. Delevoy. Bosch. New York 1990. p.106 [ok color detail of the shawm and the self-playing bagpipe in Hell]; Friedländer V, no. 85, pll. 66-68 [poor reproductions]; Hammerstein Diabolus. nos. 153-161; R. H. Marijnissen and P. Ruyffelaere. Hieronymus Bosch. Das vollständige Werk. Antwerp 1999. pp. 214-15 [color reproduction of the entire altarpiece], 225 [fine color reproduction of the Last Judgement panel], 231 [color reproduction of the Hell panel]; Reuterswärd cat. 40, p. 242 [poor reproduction]; Vis. Coll. 374.1.B652.39L)
[Bosch Imitator Pa] _______, Imitator. Last Judgement. Cracow, Wawel. A pastiche, the musical motifs taken from the Hell panel of The Garden of Earthly Delights, including the bagpipe. (Gazette des Beaux-Arts 77 [1971] 47 [small reproduction of the entire triptych])
Nativity: [Claesz van Leyden Pa] Claesz van Leyden, Aertgen (1498-1564). Nativity. Cologne WRM. Includes a shepherd with a bagpipe (small, flaring chanter and two tiny turned drones). (Katalog der deutschen und niederländischen Gemälde bis 1500 [mit Ausnahme der Kölner Malerei]. Ed. I. J. Hiller and H. Fey. Cologne 1969. pl. 38, as ca.1520-30. Notes that there are many versions, which it lists. Difficult to say which is best.; S. Speth-Holterhoff. Les peintres flamands de cabinets d'amateurs au XVIIe siècle. Brussels 1957. fig. 29. Notes that the painting appears in Frans II Francken's The cabinet d'amateur with the ebony desk [Coll. Duke of Northumberland], fig. 28)
[Engelbrechtsz Pa] Engelbrechtsz, Cornelis (1468?-1533). Nativity. private collection. Includes a shepherd with a bagpipe. (Vis. Coll. 374.En342.22N)
[Lucas van Leyden Pa] Lucas van Leyden (1494-1533), Workshop . Nativity. Includes a shepherd with a bagpipe (two tiny drones). St. Petersburg Hermitage. (1972 catalog: Niderlandskaia zhivopi_ XV-XVI vekov v Ermitazhe. ed. N. N. Nikulin. Leningrad 1972. pl. 64; N. N. Nikulin. Netherlandish Painting, Fifteenth and Sixteenth Centuries. Transl. Y. S. Pamfilov. Florence 1989. [The Hermitage Catalogue of Western European Painting, 5] no. 65, pp. 132 [fair reproduction], 133 [detail of four singing children with a music book])
Nativity -- Adoration of the Magi: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516), attr. Adoration of the Magi. Anderlecht, Erasmus Museum (formerly Collegiate Church St. Pieter). A shepherd on the roof of the manger, at the left, holds a bagpipe. (Friedländer V, no. 69, pl. 52. Notes is not a copy of the Prado painting. In poor condition.; exh Rotterdam BvB, 1936: Jeroen Bosch ... cat. no. 63a, Afb. 53a; A. G. G. Wouters. Histoire des environs de Bruxelles ... I: Gaesbeek. Ed. F. Marien. Brussels 1971. p. 102; Gazette des Beaux-Arts 77 [1971] 30 [small reproduction], 31 [detail of the shepherds on the roof], as Imitator of Bosch; Vis. Coll. 374.1.B652.22A[c], A[c]1 [detail])
[Bosch Pa] _______. Adoration of the Magi. Madrid, Prado (ex Escorial). In the central panel a shepherd on the roof of the manger, at the right, holds a bagpipe (the chanter has only three holes). In the background there is a mounted group (the retinue of one of the Magi) led by a herald blowing a straight trumpet. In the left wing, there is a country dance accompanied by a bagpiper (tiny detail). (R. L. Delevoy. Bosch. New York 1990. pp. 45 [color reproduction of the triptych], 48 [fine color detail with the dancers and the bagpiper], p. 49 [ok color detail with the bagpiper on the roof], as ca.1510; Friedländer V, no. 68, pl. 47, 48; R. H. Marijnissen and P. Ruyffelaere. Hieronymus Bosch. Das vollständige Werk. Antwerp 1999. pp. 235 [ok color reproduction of the triptych], 241 [color reproduction of the left wing], p. 243 [color reproduction of the central panel], p. 244 [splendid color detail of the shepherds on the roof]; P. Reuterswärd. Hieronymus Bosch. Uppsala 1970. cat. no. 26, pl. 53, 54 [detail with trumpeter and bagpiper of the central panel]; Gazette des Beaux-Arts 77 [1971] 28 [small reproduction plus detail of the shepherds on the roof], 29 [detail of the dancers and the bagpiper]; Vis. Coll. 374.1.B652.22A) See Friedländer V, nos. 68a-c, pl. 50 for copies.
Parables -- Prodigal Son: [Pr Anon.] Anon, first half, 16th century. The Prodigal Son in an Inn, from a Prodigal Son series. woodcut. "Ratio" has a bagpipe. (K. Renger. Lockere Gesellschaft ... Berlin 1970. Abb. 4, with reference to W. Nijhoff. Nederlandsche houtsneden, 1500-1550. 's-Gravenhage 1931-35. pl. 188)
St. Anthony: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516). The Temptation of St. Anthony, from the altarpiece of The Temptation of St. Anthony. Lisbon MNAA. The left wing includes a grotesque playing a bagpipe (at the center of the left edge of the composition -- the chanter of the bagpipe is cropped at the edge of the painting). (R. L. Delevoy. Bosch. New York 1990. pp. 72-73 [color reproduction of entire triptych, including the exterior panels]; Friedländer V, no. 90, pl. 75-78; Hammerstein Diabolus. no. 177-182; R. H. Marijnissen and P. Ruyffelaere. Hieronymus Bosch. Das vollständige Werk. Antwerp 1999. pp. 154-55 [color reproduction of the entire triptych, including the exterior panels -- the reproduction in Delevoy is clearer], 173 [splendid color detail of the bagpiper]; Reuterswärd cat. 24, p. 223 [poor reproduction]; C. D. Cuttler. "The Lisbon Temptation of Saint Anthony." Art Bulletin 39 [1957] 109-26; Gazette des Beaux-Arts 77 [1971] 35 [detail of the grotesque playing a bagpipe], 36 [very small reproduction of the central panel]; Vis. Coll. 374.1.B652.38A) See also Friedländer V for various copies.
[Bosch School Pa] _______, School. Temptation of St. Anthony. Paris, Musée des Arts Decoratifs. drawing. Includes figures with harp and bagpipe. (Vis. Coll. 374.1d.B6512.38A)
[Lucas van Leyden Pa] Lucas van Leyden (1494-1533). Temptation of St. Anthony. Brussels MRBA. Includes a small animal with a beak/chanter which looks like a little bagpipe. (Castelli Demoniaco. p. 47)
Folly: [Bosch Copy Dr] Bosch, Hieronymus (ca.1450-1516), copy after. Merrymakers around a table. Paris Louvre. drawing. A reveller (monk?) plays a sort of lute, plucking it with a rather amorphous object that looks somewhat like a large potato. A fool (?) holds a bagpipe, placing its drone on the table.. (D. Bax. Hieronymus Bosch ... Rotterdam 1979. p. 260; Friedländer V, pl. 128C)
Heaven/Hell: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516). Hell, from the Altarpiece of the Garden of Earthly Delights (right wing). Madrid Prado. Includes a pink bagpipe (no player, smoke coming out of the drone) on a platform on top of the "tree man." There is also a bagpipe on the banner of the egg-inn. (R. L. Delevoy. Bosch. New York 1990. p. 88 [small color reproduction]; R. H. Marijnissen and P. Ruyffelaere. Hieronymus Bosch. Das vollständige Werk. Antwerp 1999. pp. 84-85 [color reproduction of the entire triptych, including the exterior panels], 134 [ok color reproduction], 138 [splendid color detail, with part of the inn sign], 139 [splendid color detail of the pink bagpipe]; Reuterswärd cat. 44, p. 249 [poor reproduction]; Boczkowska, A. "The crab, the sun, the moon and Venus: Studies in the iconology of Hieronymus Bosch's triptych The Garden of Earthly Delights." Oud-Holland 91 [1977] 197-231 [with miscellaneous detail reproductions]; L. Dixon. Alchemical Imagery in Bosch's Garden of Delights. Ann Arbor 1981; L. Dixon. "Bosch's 'Garden of Delights' Triptych: Remnants of a 'Fossil' Science." Art Bulletin 63 [1981] 96-113; Friedländer V, no. 110, pll. 100-102 [poor reproduction]; E. H. Gombrich. "Bosch's 'Garden of Earthly Delights': A progress report." Journal of the Warburg and Courtauld Institutes 32 [1969] 162-170; Hammerstein Diabolus. nos. 172-176; Authentication: Institute royale du patrimonie artistique Bulletin 6 [1963] 233-240; Gazette des Beaux-Arts 77 [1971] 42 [small reproduction], 43 [detail of the bagpipe]; Vis. Coll. 374.1.B652.39T) Also: I. Mateo Gomez. "El Jardin de las delicias. A proposito de una copia temprano y un Tapiz." Archivo español de arte 40 (1967) pl. VI after p. 48 (copy: private collection) Also Art Bulletin 74 [1992] 206.
Vice/Virtue: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516). The Haywagon. Madrid Prado. In the central panel, in the right foreground there is a fool playing a bagpipe with a jug filled with flowers dangling from the drone. A nun offers him straw. In the exterior panel (the wings fold together to form a single composition), a bagpiping shepherd accompanies a dancing couple in the background. (O. Benesch. Collected Writings, II. Ed. E. Benesch. London 1971. fig. 16; R. L. Delevoy. Bosch. New York 1990. p. 33 [fair color reproduction]; Friedländer V [1969] no. 111, pl. 103-105 [El Escorial]; no. 111a-c, pl. 106 [Prado]. Friedländer considers the version in El Escorial the original and the one in the Prado "a replica of equal merit."; Hammerstein Diabolus. nos. 168-171; R. H. Marijnissen and P. Ruyffelaere. Hieronymus Bosch. Das vollständige Werk. Antwerp 1999. pp. 52-53 [fair color reproduction of the entire triptych, including the exterior panels], 62 [splendid color detail of the bagpiper and dancers of the exterior panel], 69 [ok color reproduction of the central panel]; P. Reuterswärd. Hieronymus Bosch. Uppsala 1970. cat. no. 14, pll. 21-23; Pigler, A. "Astrology and Jerome Bosch." Burlington 92 [1950] 132-136; Early Music 12 [1984] 184 [poor reproduction], 185 [poor detai], relevant text p. 183; Gazette des Beaux-Arts 77 [1971] 39 [small reproduction of the exterior panel, plus a detail of the bagpiper and dancers], 40 [small reproduction of the central panel, plus a detail with the bagpiper]; Vis. Coll. 374.1.B652.4H)
[Bosch Pa] _______, attr. Battle between Carnival and Lent. The Hague art market (1969) (ex coll. Thyssen-Bornemisza). Includes a figure carried in the procession, sitting at a school bench, playing a bagpipe with a mitten hung over the end of the drone. (D. Bax. Hieronymus Bosch ... Rotterdam 1979. p. 256 [fair reproduction], as coll. Thyssen-Bornemisza; Hammerstein Diabolus. no. 185; Musica calendar 1966: 20 February-5 March, as art market, The Hague; Burlington 111 [June 1969] Supplement: Notable Works pl. XIV [ok reproduction], as the best and oldest surviving example. Some regard it as the original, others as a good replica of a lost work; Vis. Coll. 374.1.B652.4Ca)
Dances and Dancers: See also New Testament, Nativity -- Adoration of the Magi; Allegory, Vice/Virtue.
Carnival: [Bosch Copy Pa] Bosch, Hieronymus (ca.1450-1516), Copy after. Merrymakers in a Hall and in Bagpipes (incorporating Bosch's Battle Between Carnival and Lent). Amsterdam RM. A reveller in a bagpipe-shaped object sings and plays his lute. A reveller on a table carried by a group of men plays a bagpipe (with a mitten placed over the end of the chanter] as two couples (one a pair of monks) dance. (D. Bax. Hieronymus Bosch ... Rotterdam 1979. pp. 256-7. Notes is a pastiche, with the group in the bagpipe also in a painting attr. Pieter Huys; G. Glück. "Die Darstellung des Karnevals und den Fasten von Bosch und Breughel," in: Gedenkboek A. Vermeylen. 's-Gravenhage 1932. p. 264; Gazette des Beaux-Arts 77 [1971] 38 [small reproduction], as Carnival [the bagpiper] carried in Triumph; Die Weltkunst 58 [1988] 186 [poor reproduction])
Angels: [Geertgen Pa] Geertgen tot Sint Jans (op. late 15th century). Virgin and Child. Rotterdam BvB. A myriad of angels, including one playing a bagpipe. (Friedländer V. Add. 139; J. F. Friedländer. "Zu Geertgen tot Sint Jans." Maandblad voor Beeldende Kunst 25 [1949] 186-188; E. Winternitz. Musical Instruments and their Symbolism in Western Art. London 1967. pl. 65b [usless reproduction]; E. Panofsky. Early Netherlandish Painting ... Cambridge 1954. p. 495; M. Pincherle. An Illustrated History of Music. transl. R. Myers. New York 1959. p. 30 [splendid color reproduction]; Musica calendar 1965: 12-25 December [fine color reproduction])
[Master of Delft Pa] Master of Delft (b. ca.1470-fl.ca.1490-1520). Virgin and Child with Saints and Angels. Amsterdam RM. Angels sing and play recorder and hold a bagpipe. (Friedländer X, no. 62, pl. 47; Vis. Coll. 374.M3926.34[a])
Fools: See also Allegory, Folly.
Itinerant/Street Musicians: [Lucas van Leyden Pr] Lucas van Leyden (1494-1533). "Uilenspiegel" (1520). etching. A family with five small children and a dog. The father plays a bagpipe (a symbol of his considerable fertility?). (Hollstein [Dutch] X, no. B.159, p. 178-79; C. Brown. Images of a Golden Past. New York 1984. p. 129; de Jongh-Luijten Mirror. p. 15 [not exh]; Lavallaye no. 128 [fine reproduction]; Salmen Spielmann. Abb. 45; E. Sudeck. Bettlerdarstellungen ... Strasbourg 1931. [SdK 279] fig. 9 [tiny reproduction]; exh Rotterdam BvB 1936: Jeroen Bosch, Noord-nederlandsche primitieven. no. 67, afb. 16; MgB III/9, Abb. 36 [ok reproduction]) There is a 1644 woodcut after this by Hendrick Hondius (de Jongh-Luijten Mirror. p. 15; Muziek & Grafiek. no. 92, p. 134).
Musicians: [Bosch-van der Heyden Pr] Pieter van der Heyden (ca.1530-ca.1572) after Hieronymus Bosch (ca.1450-1516). Concert in an Oyster Shell. pub. H. Cock, 1562. engraving. A figure plays a lute with a pig's/goat's trotter, a bagpiper throws up over the side, a cleric plays a grate like a harp, and three may sing. (Hollstein [Dutch] III, no. 27, p. 141; D. Bax. Hieronymus Bosch ... Rotterdam 1979. p. 259, as S. Netherlands after Bosch)
[Cornelisz Kunst Pa] Cornelisz, Pieter (called Kunst) (b. ca. 1490-doc.1532), attr. Village Musicians. Rotterdam BvB. drawing. Includes a bagpiper. (L. Münz. Drawings of Brueghel. New York 1961. fig. 11 [ok reproduction])
Putti: [Cornelisz van Amsterdam Pa] Cornelisz van Amsterdam (van Oostsanen), Jacob (ca. 1470-1533). Adoration of the Trinity (1523). Kassel, Staatliche Museen, Schloss Wilhelmshohe. Many musical putti, including one playing a bagpipe. Angels play fiddle, harp and lute. (Friedländer XII, no. 245, pl. 136 [not helpful for details]; Vis. Coll. 374.C813.39T1)
Other: [Ta Brussels MRAH] Flemish (Brussels, atelier Willem de Kempeneere, cartoon by Bernard van Orley]), ca. 1525. Jacob and Laban Dividing their Flocks. Brussels, MR d'Art et d'Histoire. tapestry. Includes a shepherd (based on the Dürer engraving) with a bagpipe. (M. Crick-Kuntziger. Catalogue des tapisseries XIVe au XVIIIe siècle. [Brussels 1956] cat. no. 27, pl. 36)
Flight to Egypt: [Bles Pa] Bles, Herri met de (1480-1550). Landscape with the Flight to Egypt. Copenhagen SMFK. Includes revellers in a wagon, going the opposite direction, with a bagpiper in front. (Friedländer XIII, no. 63, pl. 32)
[Bles Pa] _______. St. Petersburg Hermitage. Includes a bagpiper in a wagon full of peasants (tiny detail). Related to the painting in Copenhagen, above. (N. Nikulin. Fragments of some Hermitage Paintings, 15th-16th Century. Leningrad 1971. no. 35 [fine color detail -- it requires a fine detail to make out the bagpiper]; N. N. Nikulin. Netherlandish Painting, Fifteenth and Sixteenth Centuries. Transl. Y. S. Pamfilov. Florence 1989. [The Hermitage Catalogue of Western European Painting, 5] no. 7, p. 37 [miserable reproduction])
Nativity: [Ms London BL Egerton 2125] Flemish, early 16th century. Nativity, from Prières des défunts. London BL Ms Egerton 2125, fol. 180v. manuscript illumination. In the margin, five peasants dance, accompanied by a bagpiper. (Bowles Pratique. pl. 57)
[Ms Oxford Christ Church] Hornebolte, Lucas (ca.1490-1544), attr. Adoration of the Shepherds, from an illuminated Epistolary executed for Cardinal Wolsey (1528). Oxford, Christ Church Library. One of the shepherds holds a bagpipe. unimp. (Burlington 101 [1959] 398)
[Pa Hoeke Jakobskerk] Flemish, first half, 16th century. Adoration of the Shepherds. Hoeke, Sint-Jakobskerk. Includes a shepherd with a bagpipe. (Kunstpatrimonium van West-Vlaanderen, I: Beeld van het Kunstbezit. Tielt 1965. fig. 96; also IV: De Zwinstreek. Tielt 1971. fig. 150)
[Pa ex Kaufmann Coll.] Netherlands, early 16th century. Nativity. Coll. Richard von Kaufmann, Berlin (1901) Figures include a shepherd holding a reverse-curve horn and one holding a bagpipe. (1901 von Kaufmann catalog, pl. XV, as ca. 1510)
[Ta Dresden Galerie] Netherlands [16th century]. Nativity. Dresden, Gemäldegalerie Alte Meister. tapestry. Includes shepherds with bagpipe, bladder pipe and cornett (?). After Dürer. (Imago musicae 9-12 [1992-1995] 253 [minuscule reproduction] Heise no. 13)
[Ta London V & A] Flemish, early 16th century. Adoration of the Christ Child. London V & A. tapestry. Angels play a bowed stringed instrument, a lute and one more musical instrument. A shepherd has a bagpipe. (Catalogue of Tapestries. Ed. A. F. Hendrick. London 1924. no. 13, pl. XIII)
[Ta Reims Cathedral] [Flemish, early 16th century]. The Nativity. Reims, Cathedral. tapestry. Includes a shepherd holding a bagpipe. (Gazette des Beaux-Arts 105 [1985] 180, as perhaps comm. ca.1509, delivered 1530)
[Ta Rome Vatican] Flemish (Brussels, atelier Pieter van Aelst), ca. 1525. Adoration of the Shepherds. Rome, Vatican, Galleria degli Arazzi. tapestry. Includes a shepherd playing a bagpipe. (Göbel I/2, no. 264)
[Beer Pa] Beer, Jan de (ca.1475-a.10 Nov. 1528). Adoration of the Shepherds. Cologne WRM. Shepherds play hurdy-gurdy, bagpipe (pausing) and woodwind (recorder or shawm). (O. Förster. Das Wallraf-Richartz-Museum in Köln. Cologne 1961. pl. 99; Friedländer XI, no. 22, pl. 17; Katalog der deutschen und niederländischer Gemälde bis 1500 [mit Ausnahme der Kölner Malerei]. Ed. I. J. Hiller and H. Fey. Cologne 1969. pl. 16, 19)
[A Benson Pa] Benson, Ambrosius (ca.1490-1550), attr. Adoration of the Shepherds. St. Petersburg Hermitage. Two of the shepherds hold bagpipes. Unusually bagpipy. (1972 catalog: Niderlandskaia zhivopi_ XV-XVI vekov v Ermitazhe. ed. N. N. Nikulin. Leningrad 1972. pl. 27 [color reproduction])
[A Benson Pa] _______. Adoration of the Shepherds. Segovia, Ayuntamiento. Includes a shepherd playing a bagpipe and three small angels singing. unimp. (G. Marlier. Ambrosius Benson ... Damme 1957. cat. no. 2, pl. LIV; Vis. Coll. 374.1.B444.22N1)
[J de Cock Pa] Cock, Jan de (doc. 1506-m.a.1529). Adoration of the Shepheds. Zagreb, Gallery of the Yugoslavian Academy (1974). Includes a shepherd in the foreground with a baglpipe. (Friedländer XI, no. 1223, pl. 99 [ok reproduction]; exh Rotterdam BvB, 1936: Jeroen Bosch ... cat. no. 71, abf. 106 [fair reproduction])
[Crabbe Pr] Crabbe van Espleghem, Frans (The Master with the Crayfish) (ca. 1480-1552). The Adoration of the Shepherds. engraving. Includes a shepherd holding a bagpipe. (IB vol. 13, no. 3, p. 281 [ok reproduction]; Hollstein [Dutch] V, no. 6, p. 68 [poor reproduction]; catalog no. 41 [1965] of C. G. Boerner, Düsseldorf, no. 15 [fine reproduction])
[Amiens Master Pa] Master of Amiens (op. early 16th century/fl. ca.1515/25). Nativity. San Francisco, M. H . de Young Memorial Museum. By candlelight. Includes a bagpiper and a shepherd with a tiny shawm (hung at his hip) pointing to angels beneath the roof. (Friedländer XI, no. 67, pl. 67, formerly A. S. Drey Munich [1928] and the Stillwell collection) Friedländer also lists two replicas, in a private collection in Paris and on the Spanish art market.
[Master of Frankfurt Pa] Master of Frankfurt (Flemish, op. ca. 1500-1520). Nativity. Valenciennes MBA. Includes a shepherd holding a bagpipe and three little singing angels. (Friedländer VII, no. 141, pl. 108. Notes, p. 78, that the composition "points back to Jan Joest of Kalkar. The common original source may have been a composition by Van der Goes.") Variant (private collection) with the same bagpiper and some of the other figures, but a different composition. It is similar to the Joest Follower painting in Stange VI no. 126. (Friedländer VII cat. Add. 204, pl. 131, as Master of Frankfurt after Jan Joest)
[1518 Master Pa] Master of 1518. Nativity (1518). Lübeck, Marienkirche, Briefkapelle. Includes a shepherd holding a bagpipe. (Friedländer XI, no. 70, pl. 71)
[Vellert Pa] Vellert, Dirk (doc. 1511-1540). Nativity. Lille, Palais des BA. Includes a shepherd holding a bagpipe and five singing putti. very unimp. (Friedländer XII, no. 140, pl. 69)
Nativity -- Adoration of the Magi: [Ta Boston MFA] Flemish, last quarter, 15th century. The Adoration of the Magi. Boston MFA. tapestry. Includes a shepherd with a bagpipe. (A. S. Cavallo. Tapestries of Europe and Colonial Peru in the Museum of Fine Arts, Boston. Boston 1967. vol. II, pl. 19)
[Provoost Pa] Provoost, Jan (ca.1465-1529). Adoration of the Magi. Stourhead, N. T. Includes two tiny shepherds with bagpipes on the manger roof. (exh Bruges, Musée Communal Groeninge, 1956: L'art flamande dans les collections britanniques ... cat. no. 28, pl. 20; Friedländer IX/2, cat. no. 124, pll. 144, 145)
Nativity -- Annunciation to the Shepherds: [Ms Lisbon BN] Flemish, late 15th century. Annunciation to the Shepherds, from a Book of Hours. Lisbon BN. manuscript illumination. Includes a shepherd with a bagpipe (clear). (R. dos Santos. Oito seculos de arte Portuguesa ... III/2. [Lisbon] n.d. no. 367 [fair reproduction])
[Ms London BL Add. 34294] Flemish, ca. 1519-20. Annunciation to the Shepherds, from the Sforza Book of Hours. London BL Ms Add. 34294, fol. 91. manuscript illumination. One of the shepherds holds a bagpipe. (Vis. Coll. L843BM. Add 34294.f.91)
[Ms Munich BsB lat. 28345] Bening, Simon (1483/84-1561), attr. Annunciation to the Shepherds, from a Book of Hours, probably for Johanna the Mad. Munich BsB cod. lat. 28345, fol. 46v. manuscript illumination. Includes a shepherd with a bagpipe (very close up). (Marburg 105 649)
[Ms Venice Marciana] Horenbout, Gerard (a.1465-m.1541), attr. Annunciation to the Shepherds, from the Breviary of Cardinal Grimani. Venice, Biblioteca Marciana, fol. 44. manuscript illumination (margin). One of the shepherds has a bagpipe. (H.-J. Raupp. Bauernsatiren ... Niederzier 1986. p. 170)
[Ms Rothschild Prayerbook] Gerard Horenbout (a.1465-m.1541). Annunciation to the Shepherds, from the Rothschild Prayerbook. ex Vienna ÖNb, Rothschild Prayerbook, fol. 109. private collection. manuscript illumination (bas-de-page and margin) Six shepherds dance, accompanied by another playing a bagpipe. (sold 8 July, 1999) (F. Unterkircher. Das Rothschild-Gebetbuch. Graz 1984. p. not recorded)
Parables -- Prodigal Son: [Ta Louisville Speed Museum] Flemish (Brussels) ca. 1500. The Parable of the Prodigal Son. Louisville KY, J. B. Speed Museum (Satterwhite Collection). tapestry. "Affectio Seculi" ("Worldliness," a woman) plays a bagpipe. (K. Renger. Lockere Gesellschaft ... Berlin 1970. Abb. 29C; Slim. The Prodigal Son at the Whores' ... Irvine CA 1976. p. 9; P. Verdier. "The Tapestry of the Prodigal Son." The Journal of the Walters Art Gallery 18 [1955] 9-58, this reproduced p. 13 [ok reproduction]; Connoisseur 128 [1951] 134 [useless reproduction])
[G van der Weyden Pa] Weyden, Goswijn (ca.1465-p.1538), attr. The Parable of the Prodigal Son. Munich art market (1973). The right wing of the triptych depicts the Prodigal tending the pigs, with a peasant banquet in the background, including a bagpiper. (K. Renger. Lockere Gesellschaft ... Berlin 1970. Abb. 30, as 1526, with location: Bloomfield Hills MI, Museum of the Cranbrook Academy of Arts; sale, Sotheby, Parke-Bernet, New York, 18.V.1972; Burlington 114 [1972] April ad p. liv [reproduction not helpful for details]; Pantheon 31 [1973] 223 [utterly useless reproduction])
Other: [Coter Pa] Coter, Colijn de (doc.1493) and assistants. The Legend of St. Romuald. Mechlin, Cathedral. Includes one or two shepherds with bagpipes. (Friedländer IV, cat. no. 106, pl. 96)
[Houte Dr] Houte, Adriaen (?) van den (doc. 1513-19), attr. Illustration from Virgil's second Eclogue. Oxford Ashmolean. roundel drawing. There is a bagpipe (with three drones) on the ground beside "Corid_" (Corydon). (Oud-Holland 82 [1967] 193; Vis. Coll. 374.1d.Or85, as by Aert van Ort [op. ca. 1513-1531])
Heaven/Hell: [Bles Pa] [Bles Pa] Bles, Herri met de (1480-1550). Hell. Vienna KH. Includes a lute perched on top of a self-playing bagpipe, Bosch-like. (Friedländer XIII, no. 85, pl. 42)
[Pseudo Bles Pa] Pseudo Herri Met de Bles (op. 16th century). The Inferno. Venice, Palazzo Ducale. Includes a huge bagpipe (like a little house), a figure with a reverse-curve trumpet and a grotesque with a kettledrum. (Castelli Demoniaco. pll. 57-60)
Months/Zodiac: [Ms New Haven Yale Beinecke] Flemish, ca. 1500. May, from the calendar of a Book of Hours. New Haven, Yale University, Beinecke Library Ms, fol. 5v. In a boat women sing and play a lute and a man plays a recorder. There is also a proportionately tiny figure playing a pipe and tabor and a fool with a bagpipe. (Bowles Pratique pl. 110; T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. p. 62 [small reproduction])
[Ms Vienna ÖNB Ms 1984] Flemish, late 15th century (?). May, from the calendar of a Book of Hours. Vienna ÖNB Ms 1984, fol. 4a. In a boat women sing and play a lute and a man sings. There is also a fool with a bagpipe. (R. Haas. Die Musik des Barocks. Potsdam 1928, R/1949. p. 76 [poor reproduction])
Other: [Master of Frankfurt Pa] Master of Frankfurt (Flemish, op. ca. 1500-1520), attr. Archers Festival in the Garden of the Guild, Antwerp. Antwerp KmsK. Includes several musical figures, including a fool with a bagpipe tucked into his belt . (P. Vandenbroeck. Catalogus schilderijen 14e en 15e eeuw [Koninklijk Museum voor Schone Kunsten]. Antwerp 1985. Afb. 42 [rather small color reproduction], text pp. 97-103b; F. Cardini. Europe 1492, Portrait of a Continent Five Hundred Years Ago. New York 1989. p. 99 [splendid color reproduction, slightly cropped]; Friedländer VII [1971] cat. no. 164, pl. 118. text p. 55: probably painted shortly before 1493; text p. 56: painted shortly after 1490; MgB III/8, p. 157; Vis. Coll. 374.1.M3923.90[a])
[Metsys Pa] Metsys, Quentin (1465/6-1530), attr. The Bagpiper. private collection. Genre protrait. He holds a jug and has a partly visible bagpipe under his arm. (exh Dortmund, 1967: Sammlung Becker. no. 36; Burlington 89 [1947] 117 [ok reproduction]. Text, p. 119, suggests it is perhaps a fragment or a study.)
Dances and Dancers: See also New Testament, Nativity.
Pastorales: [Ta Cleveland MofA] Flemish (Tournai), early 16th century. The Pastoral Life/La vie pastorale. Cleveland Museum of Art. tapestry. Four couples dance, accompanied by a bagpiper. One of the dancers has a shawm tucked into his belt. (Göbel I/2, no. 242; Cleveland Museum of Art Bulletin 26 [1939] 102)
[Ta Glasgow Burrell] Flemish (Franco-Flemish, Tournai). late 15th century. The White Horse. Glasgow, Burrell Collection. tapestry. Includes a hunter blowing a curved horn and a shepherd playing a bagpipe. (Burlington 91 [1949] 287)
[Ta Washington Corcoran] Flemish (Tournai), early 16th century. A Seated Lady Surrounded by Peasants, from a series of hunting tapestries. Washington, Corcoran Gallery of Art. tapestry. One of the peasants has a bagpipe. (M. C. Ross. "Four Tournai tapestries." Corcoran Gallery Bulletin 9/2 [November 1957] 2-18, with additional illustrations on cover, inside front cover and back cover)
[Ta Washington Corcoran] _______. Pastorale, with Dancing Peasants and Departure for the Hunt. as above. Three couples dance, accompanied by a very prominent bagpiper. (Corcoran Gallery Bulletin 9/2 [Nov. 1957] fig. 1 [small color detail], fig. 2 [poor reproduction of the whole], as second decade, 16th century; Connoisseur 141 [1958] 199 [poor reproduction]) Note that Dorothy Shepherd considers these to be by itinerant French weavers working the chateaux of the valley of the Loire (Cleveland Museum of Art Bulletin 48 [1961] 170 [small reproduction])
[Ta location unknown] Flemish (Tournai), early 16th century. Pastorale. location unknown. tapestry. Includes dancers accompanied by a bagpiper. One of the dancers has a shawm tucked into his belt. (A. McN. Kettering. The Dutch Arcadia ... Montclair NJ 1983. fig. 195)
Processions/Cavalcades/Entrees/Parades: [Ms Berlin SM 78 D 5] Anon., late-15th century. Five masked bagpipers in a sleigh, from an account of the entry of Princess Johanna of Castile into Brussels, 1496. Berlin SM Ksk, Ms 78 D 5, fol. 16. manuscript illumination. (MgB III/8. Abb. 129, p. 137)
Fools: See also Allegory, Months/Zodiac; Allegory, Other.
Shepherds: [Pa Lübeck Marienkirche] Flemish (Antwerp), 1518. Shepherd, from the Marienaltar. Lübeck, Marienkirche. He has a bagpipe. (F. Hirsch. [Lübeck] Petrikirche, Marienkirche ... Lübeck 1906. [Die Bau- und Kunstdenkmäler ... Lübeck, II] between pp. 226-227)
Apocalypse -- Elders: [Ms Escorial E Vitr. 5] French (Savoy), completed in 1482. Christ in a Mandorla, Surrounded by the Elders of the Apocalypse, from an Apocalypse. El Escorial, Real Biblioteca de San Lorenzo, Ms E Vitr. 5, fol. 27. manuscript illumination. There are many musical instruments in front of the Elders, including a bagpipe. (Bowles Pratique depicts two different illustrations of the subject, both as fol. 27 [pll. 4, 77b]. They are similar but not the same.)
Nativity -- Annunciation to the Shepherds: [Ms Paris BN lat. 1173] Anon., shortly before 1496. Annunciation to the Shepherds, from the Hours of Charles d'Angoulême. Paris BN Ms lat. 1173, fol. 20v. manuscript illumination. Seven peasants dance around a tree, accompanied by a bagpiper. (J. Evans. Dress in Mediaeval France. Oxford 1952. pl. 66 [ok reproduction]; R. Limousin. Jean Bourdichon ... Lyons n.d. p. not recorded, as ay Jean Bourdichon; Raupp Bauernsatiren. p. 170; MgB III/8. p. 167)
[Ms Paris BN lat. 9474] Anon., early 16th century. Annunciation to the Shepherds, from the Hours of Anne de Bretagne. Paris BN Ms lat. 9497, fol. 58v. manuscript illumination. Includes a prominent shepherd with a bagpipe. (Paris BN. Reproductions des manuscrits et miniatures. Heures d'Anne de Bretagne. BN lat. 9474. Paris [190-]. pl. 25)
[BI Paris ca.1490] Anon. The Annunciation to the Shepherds, fromHorae (Grandes Heures). Paris, Vérard, ca.1490. woodcut. Includes a shepherd holding a bagpipe. (A. M. Hind. An Introduction to a History of Woodcut. Boston 1935, R/New York 1963. vol. II, p. 685)
Alchemy: [Ms Florence Mediceo-Laurenziana Ashburn 1166] French?, late 15th century? Pan sylvestre, from an alchemical manuscript attributed to Arnauld de Villeneuve. Florence, Biblioteca Mediceo-Laurenziana, Ms Ashburn 1166. manuscript illumination. He holds a bagpipe, the bag shaped rather like a retort). (J. van Lennep. Art et alchemie. Brussels 1966. fig. 16)
Death, Dance of: [BI Paris 1486] Anon. Skeleton Band, from Miroer salutair pour toutes gens. Paris, Guyot Marchant, 1486. woodcut. Skeletons, in a parody of an angel concert, play portative organ, harp, bagpipe and pipe and tabor. (D. Briesemeister. Bilder des Todes. Unterscheidheim 1970. Abb. W11; Hammerstein Tanz. Abb. 67; K. Meyer Baer. Music of the Spheres ... Princeton 1970. p. 300)
[Fr La Ferté-Loupière] French, ca. 1500. Danse macabre. La Ferté-Loupière, Village Church, N. wall of nave. fresco. Skeletons play portative organ, harp and bagpipe. After the Miroer salutair ... or something similar. (Hammerstein Tanz. fig. 85 [water color drawing after?])
Music/Liberal Arts: [Ms Paris BN fr. 143] French, late 15th century. A Lady [Musica?] Playing a Dulcimer, Sitting on two Swans, from Les Echecs amoreux. Paris BN Ms fr. 143, fol. 66. manuscript illumination. Musicians behind her at the left play pipe and tabor and shawm. Musicians behind her at the right sing (two men and three tonsured boys) and play bagpipe. (Bowles Pratique pl. 6 [color reproduction], as French, ca. 1500. The lady is Leda.; Mirimonde. Iconographie musicale vol. I, no. 1, as by Robinet Testard (Testart) (doc.1473-1523); W. Salmen. Der Spielmann im Mittelalter. Innsbruck 1983. pl. 6, as Leda with musicians; Musica calendar 1973: 27 May - 9 June [fine color reproduction])
[Ta Boston MFA] French, first quarter, 16th century. Allegory of Music. Boston, Museum of Fine Arts. tapestry. "Musique," enthroned, points with her right hand to a sheet of music or poetry presented by the composer or poet. Her left hand rests on a positive organ. She is surrounded by a large number of musicians, including a fool holding a bagpipe. (A. S. Cavallo. Tapestries of Europe and Colonial Peru in the Museum of Fine Arts, Boston. Boston 1967. vol. II, pl. 18)
Other: [Duvet Pr] Duvet, Jean (1483-p.1561). The Triumph of the Unicorn, from Four Emblematic Subjects. engraving. Includes numerous musicians, including a fool (?) playing a bagpipe. (IB vol. 13, no.41, p. 252)
[Tory Pr] Tory, Geofroy (1485-1533). Allegory of Law and Mercy. woodcut. Includes a bagpiping shepherd and his flock who represent the Annunciation to the Shepherds. (Zeitschrift für Kunstgeschichte 45 [1982] 116, as allegory of "Alter und Neuer Bund"; Zeitschrift für Kunstgeschichte 57 [1994] 37, as allegory of "Gesetz und Gnade")
Dances and Dancers: [Ms Oxford Bodleian Douce 276] French, early 16th century. Dancing Peasants. Oxford Bodleian Library, Ms Douce 276, fol. 41v. Two male dancers (each with three rows of bells around the calf of each leg) are accompanied by a bagpiper. There is also a woman who may or may not dance. (Imago musicae 4 [1987] 103)
[Ta Paris Cluny] French, ca. 1500. Dancing Shepherds. Paris, Musée de Cluny. tapestry. A couple dances and a shepherd holds a bagpipe (crudely depicted). unimp. (van Marle Iconographie. vol. I, p. 425)
Pastorales: See also Miscellaneous Figures, Shepherds.
[Ta Paris Louvre] French, ca. 1500. Pastoral Scene. Paris Louvre. tapestry. Two couples dance, accompanied by a bagpiper. (J. Evans. Dress in Mediaeval France. Oxford 1952. fig. 46 [detail of the bagpiper]; Connoisseur 116 [1947] 8, as Touraine, early 16th century)
[Ta Richmond VMFA] French (Marche?), late 15th century. Panel Commemorating the Marriage of Regnault d'Oureille. Richmond, Virginia Museum of Fine Arts. tapestry. A rural scene, including a bagpiper (with a recorder in his belt). (1966 catalog: European Art. pp. 120 [detail of the recorder], 122 [useless reproduction of the whole], as ca. 1475-1490)
[Ta art market] French (Burgundian), late 15th century. Pastoral Scene. London art market (1936). tapestry. Includes shepherds playing a bagpipe and holding a recorder. (exh Brooklyn Museum, 1936: European Art 1450-1500. pl. 157)
Angels: [organ ex Hombleux] Anon. Angels. ex Hombleux (Picardy), Église (destroyed in WW II). organ figures. Angels play rebec?, lute, bagpipe and one more. (J. E. Blanton. The Organ in Church Design. Albany TX 1957. p. 205 [drawing after by A. G. Hill], as late 15th century. Notes that Hill dates it as ca. 1510)
[Iv Bruges Hospices] French., late 15th century. Virgin and Child, etc. Bruges, Musée des Hospices Civiques. carved ivory tabernacle. With several musical angels, including one playing a bagpipe. (Koechlin no. 946, pl. CLXIV [poor reproduction])
[Iv Milan Raccolte Archeologiche] French, late 15th century. Angels. Milan, Civiche Raccolte Archeologiche ... carved ivory tabernacle. Eight musical angels, including one playing a bagpipe. (Koechlin no. 947, pl. CLXV [poor reproduction])
[Ta St Petersburg Hermitage] French, early 16th century. Death, Assumption and Coronation of the Virgin. St. Petersburg Hermitage. With numerous musical angels, including one playing a bagpipe. (N. Birjukowa. Bildteppiche in der Eremitage. Prague 1965. pll. 38, 42 [angels at the left], 43 [angels at the right], = N. Y. Biryukova. The Hermitage, Leningrad: Gothic and Renaissance Tapestries. Prague 1965. pl. 38, 42 [angels at the left], pl. 43 [angels at the right])
Animals: [BI Lyons 1490] Anon. Initial L, from Raoul Lefèvre, Recueil des Hystoires de Troye. Lyons, Michel Topié & Jacques Heremberck, 1490. woodcut. Includes a monkey playing a bagpipe. (A. M. Hind. An Introduction to a History of Woodcut. Boston 1935, R/New York 1963. vol. II, p. 612)
Musicians (amateur and professional): [Fr Issonge] French, ca. 1498-1500. Musical Figures. Issonge, Salle d'armes du Château d'Issonge (Val d'Aoste). fresco. One of them is a bagpiper. (Imago musicae 4 [1987] 118)
Putti: [Gourmont Pa] Gourmont, Jean I de (ca.1483-p.1557). Nativity. Paris Louvre. Several angels and putti, including a putto with a bagpipe. (I. Compin and A. Roquebert. Catalogue sommaire illustré des peintres du musée du Louvre et du musée d'Orsay. École française. Paris 1986. p. 285 [minuscule, utterly useless reproduction, but with references]; C. Sterling and H. Adhémar. Peintures. École française XIVe, XVe et XVIe siècles. Paris 1965. cat. no. 97, pl. 210, with location: Muséum Central des Arts)
Shepherds: See also Scenes of Everyday Life -- Outdoor, Dances and Dancers
[BI Lyons? 1491] Anon. A Lost Shepherd Contemplating the Stars, from a Calendrier des bergers. Lyons? 1491. woodcut. The shepherd has a bagpipe. While he contemplates, a wolf steals a sheep. (E. Mâle. L'art religieux de la fin du moyen age en France. Paris 2/1922. fig. 162)
[BI Paris 1493] Anon. "Cy parle le bergier et fait ung prologue ...," from Compost et Kalendrier des bergiers. Paris, Guy Marchant, 1493. woodcut. A shepherd holds a bagpipe. There are two recorders on the ground. (E. Dal and P. Skårup. The Ages of Man and the months of the Year ... Copenhagen 1908. p. 13) The same woodcut appears in the Grand calendrier et compost des bergers. Paris 1500. (MgB III/9, p. 57)
[BI Paris 1493] _______. Woodcut opening the astrological chapter. A shepherd, admiring and studying the heavens, holds a bagpipe. (E. Dal and P. Skårup. The Ages of Man and the months of the Year ... Copenhagen 1908. p. 114. Notes that thie woodcut was often used as the title woodcut in later editions.)
Last Judgement: [Fr Briesen] German, 1486. Last Judgement. Briesen (Kr. Cottbus), Kirche. fresco on the south wall. Among the hoplessly damned, standing on flowers, are a nude woman playing a lute and a fool playing a bagpipe. Uncovered in 1954. (A. Kar_owskiej-Kamzowef, ed. Gotyckie malarstwo. Poznan 1977. opp. p. 153 [the lute player only]; A. Krautz. Sorbische bildende Künstler. Bautzen 1974. p. 25, 27 [color reproduction])
Nativity: [BI Nuremberg 1517] Springinklee, Hans (doc. 1512-1522). Adoration of the Shepherds, from Hortulus anime ... Lyons, Johann Clein for J. Koberger, Nuremberg 1517. woodcut. Includes a shepherd with a bagpipe (two large drones). A rather crude illustration. (Die Weltkunst 52 [1982] 99 [lok reproduction])
[BI Nuremberg 1518] _______. Adoration of the Shepherds, from Hortulus animae ... Nuremberg, Friedrich Peypus, 1518. woodcut. Includes a shepherd with a bagpipe. (R. Muther. German Book Illustration. Transl. R R. Shaw. Metuchen NJ 1972. pl. 206)
[Fr Goslar Rathaus] Anon., ca. 1500. Nativity. Goslar, Rathaus, Huldigungssaal. ceiling painting (fresco?) Includes a shepherd holding a bagpipe. (H. Pusen. Kostbarkeiten aus Kirchen und Klöstern Niedersachsens. Hannover 1966. p. 44 [fine reproduction])
[Pa Bivio] Anon., ca. 1520. Adoration of the Shepherds. Bivio, Kath. Pfarrkirche St. Gallus. Includes a shepherd with a bagpipe. (Die Kunstdenkmäler der Schweiz, 11: Kanton Graubünden, III. Basel 1940. p. 233)
[Pa Sonthofen] S. German (Allgäu), ca. 1520-30. Adoration of the Child. Sonthofen, Friedhofskapelle SS Sebastian and Afra. Little angels surrounding the Christ Child play a little fiddle or tiny viol (da gamba), harp, lute and recorder(?). A shepherd has a bagpipe. (Die Kunstdenkmäler in Bayern VII/8: Sonthofen. Munich 1964. p. 836 [poor reproduction]; A. Kasper. Kunstwanderungen von Ober- zum Ostallgäu. Schussenried 1969. p. 32 [awful reproduction])
[Ta Freiburg i Br Münster] German (Oberrhein -- Freiburg im Breisgau), 1501. Nativity. Freiburg i. Br., Münster. tapestry. One shepherd has a reverse curve horn hung from a strap. Another holds a bagpipe. (Göbel III/1, pl. 176 [text p. 187])
[Wsc Annaberg Buchholz] Anon., 1521. Nativity. Annaberg Buchholz, Annenkirche. wood sculpture. Includes singing angels and a shepherd holding a bagpipe. (Imago musicae 9-12 [1992-95] 249, Heise no. 2)
[Wsc Leipzig Thomaskirche] German (Leipzig Workshop?) ca. 1510-20. Nativity. Leipzig, Thomaskirche. Includes singing angels and a shepherd with a bagpipe. unimp. (Imago musicae 9-12 [1992]95] 267, Heise no. 46)
[Wsc Maria Rojach] Austrian (St. Veit Workshop), early 16th century. Nativity. Maria Rojach, Pfarrkirche Mariae Himmelfahrt, altar. wood sculpture. Includes a shepherd holding a bagpipe and three singing putti. (R. Hootz. Kunstdenkmäler in Oesterreich ... II: Kärnten-Steiermark. Munich, Berlin, 1966. p. 90, as ca. 1510/15)
[Altdorfer Pa] Altdorfer, Albrecht (ca. 1480-1538). Nativity. New York art market. Includes a shepherd with a bagpipe. (Vis. Coll. 373.Al 75.22N)
[Baldung Pa] Baldung, Hans (Grien) (1484/5-1545). Nativity. Karlsruhe, Staatliche Kunsthalle. Includes a shepherd with a bagpipe and two singing putti. unimp. (G. Bussmann. Manierismus im Spätwerk Hans Baldung Griens ... Heidelberg 1966. Taf. XXIX; O. Fischer. Hans Baldung Grien. Munich 1939. Abb. 41; J. Lauts. Die Staatliche Kunsthalle Karlsruhe. Hanau 1968. pl. 35, p. 15 [color detail])
[Dürer Dr] Dürer, Albrecht (1471-1528). The Adoration of the Shepherds. Coburg Veste. drawing. Includes a shepherd with a bagpipe (just a vague suggestion of one). unimp. (W. L. Strauss. The Complete Drawings of Albrecht Dürer. New York 1974. vol. I, no. 1493/24, p. 183 [fine reproduction])
[Dürer Pr] _______. Nativity, from the Small Woodcut Passion (pub. 1511). woodcut. Includes a shepherd with a bagpipe. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 226; Hirth no. 691; E. Panofsky. The Life and Art of Albrecht Dürer. 4/Princeton 1955, pl. 192; Imago musicae 5 [1988] 97) Copy by Marcantonio Raimondi. (Gazette des Beaux-Arts 92 [1978] 43 [minuscule reproduction])
[Dürer Pr] _______. Adoration of the Shepherds, from the Life of the Virgin/Marienleben (pub. 1511). woodcut. One of the shepherds holds a bagpipe. Four angels/putti sing. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 183) The series, hand colored and mounted in sheets with illuminated borders, in Dresden, Sächsische LB (E. Rothe. Buchmalerei ... Berlin 1966. pl. 145 [ok color reproduction]). Copy by Marc Antonio Raimondi (Gazette des Beaux-Arts 92 [1978] 42 [minuscule reproduction]).
[Dürer Workshop Pa] _______. Adoration of the Shepherds. Munich art market (1934). One of the shepherds has a bagpipe. (sale, Helbing, Munich, 22.IX.1934)
[Joest Pa] Joest van Kalkar, Jan (ca.1455/60-1519). Adoration of the Christ Child. Munich AP. Inclues a shepherd with a bagpipe. (Friedländer IX/2, Supp. 258, pl. 246)
[Joest Circle Pa] _______, Circle of. Nativity. Berlin art market (1926). Includes a shepherd with a bagpipe. (Unger sale, Lepke, Berlin, 1.VI.1926)
[Joest Follower Pa] _______, Follower. Nativity. New York Metropolitan. Includes four singing putti and a shepherd holding a bagpipe and a reverse-curve horn. (Stange VI, no. 126, as by Joest, probably a late work, as Hainel collection; Kaufmann sale, Berlin, 4.XII.1917, no. 110; Christies, London, 12. VI. 1967, cat. no. 73; Friedländer IX/1, 2/1972, pl. 11/no. 4a, as "probably an old copy of a lost original," location unknown; notes also, pl. 11/no. 4e, a "precise, dry copy" in Dunedin, N.Z., Dunedin Public Art Gallery)
[Jupan Wsc] Jupan, Ludwig (ca.1460-1538). Nativity, from an altar of the Seven Joys of Mary (1507). Kalkar, St. Nikolai. wood sculpture. Includes a shepherd with a bagpipe in the background. (F. Gorissen. Ludwig Jupan von Marburg. Düsseldorf 1969. [Die Kunstdenkmäler des Rheinlands, 13] fig. 172; Die Denkmäler des Rheinlandes, Kr. Kleve, 2: Kalkar. Düsseldorf 1964. Abb. 173)
[Kulmbach Dr] Kulmbach, Hans Süss von (ca.1480-1522). Nativity. Vienna Albertina. drawing. includes a shepherd holding a bagpipe and a putto with a recorder. unimp. (O. Benesch. Master Drawings in the Albertina ... New York 1967. no. 72)
[Schaffner Pa] Schaffner, Martin (1478/9-1546-9). Adoration of the Shepherds. Munich BNM (former high altar of the Klosterkirche in Wettenhausen). wood. A shepherd holds a curved horn. Another has a bagpipe. (1959 catalog: Bildwerke in Holz ...no. 246. As 1523/4; J. Baum. Altschwäbische Kunst. Augsburg 1923. fig. 58., as 1524)
Nativity -- Annunciation to the Shepherds: [Pa Hildesheim Michaeliskirche] Anon. (Meister des Hildesheimer Johannesaltars) (op. Hildesheim, ca. 1520-1545). Nativity. Hildesheim, kath. Michaeliskirche. Annunciation to the shepherds in the background. A shepherd has a bagpipe. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. no. 102, p. 344, 346 [detail], as probably originally for the Kollegiatskirche St. Johann)
[Fr Vacha] Anon., probably late-15th century. Annunciation to the Shepherds. Vacha, Friedhofskirche. fresco (? wall painting). Includes a shepherd with a bagpipe. (Bau- und Kunst-Denkmäler Thüringens. Kr. Dembach. Jena 1911. p. 17. Notes restoration in 1878.)
[BI Geneva 1500] Anon. Shepherds of the Annunciation, from Grand calendrier et compost des bergers. Geneva 1500. woodcut. One holds a bagpipe, and there are two recorders on the ground. With a view of Bethlehem and the Star over it in the background. (MgB III/9, abb. 2. Notes that the woodcut was used in the Paris and Geneva editions from 1491 on. Cf. BI Paris 1493.)
Passion -- Mocking/Flagellation of Christ: [Cranach Pa] Cranach, Lucas I (1472-1553). The Mocking of Christ. Weimar, Kunstsammlung. Includes a figure blowing a curved horn in Christ's ear. In the background a figure holds a bagpipe. (W. Schade. Die Malerfamilie Cranach. Dresden 1974. fig. 86 [fine reproduction], as ca. 1515.)
[Cranach Pa] _______. The Mocking of Christ. London art market (1959). Figures play bagpipe, woodwind and pot and spoon. (sale, Christie's, 26.VI.1959)
Other: [Dürer Pr] Dürer, Albrecht (1471-1528). The Angel Brings the Message to Joachim, from the Life of the Virgin (pub. 1511). woodcut. A shepherd in the background has a bagpipe hanging at his waist from a strap across his chest. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 176 [fine reproduction], as 1504 or 1505)
[Kirberger Pa] Kirberger, Nicolaus (doc. 1519-20). The Angel Appearing to Joachim. London art market (1966). Includes a shepherd in the background holding a bagpipe. (exh Brian Koetser Galley, Spring, 1966: Old Master Paintings. no. 13)
Other: [Wsc Salzburg] Anon., ca. 1480. Scenes from the Legend of St. Vitus. Morzg (Salzburg), Pfarrkirche zum Hl. Vitus. wood sculpture. A bagpiper accompanies a couple dining and a couple dancing. (Salmen Katalog. p. 35; Salmen Spielmann. p. 122 [detail])
[Pa Hannover Landesgalerie] German (Lüneburg), late 15th century. Townspeople and Shepherds bring Food and Drink to St. Benedict, from a series of paintings depicting the Life of St. Benedict. Hannover, Landesgalerie. Originally a great cycle of thirty scenes for the Michaeliskirche, Lüneburg. The composition of this one is derived from Nativity scenes. Includes three shepherds (separately) with bagpipes. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. no. 17, p. 144; Stange VI, no. 229 [poor, unhelpful reproduction], as Meister der Halberstädter Kreuzigungen. In poor condition.)
[Pa Warsaw] German/Polish (Danzig/Gdansk), ca. 1480. Scenes from the Life of St. Barbara: The Saint led to her Execution. Warsaw, Galerie Sztuki Sredmowiecznej (formerly Danzig, Marienkirche) A fool playing a bagpipe precedes the saint led naked through the streets. (T. Dobrzeniecki. Malarstwo Tablicowe (Catalog). Warsaw 1972. p. 169)
Satyrs: [BI Augsburg 1507] Hans Süss von Kulmbach (ca. 1480-1522), attr. "Mons Parnassvs"/Apollo on Parnassus, from Celtes and Petrus Tritonius, Melopoiae... Augsburg, Erhard Oeglin, 1507. woodcut. In the background a group of satyrs play bagpipe, bladder pipe, shawm, and very long, curved cornett. (Fraenkel no. 2 [ok reproduction]; Kinsky p. 73; Komma p. 83; MGG IX, Taf. 119; H. Röttinger. Dürers Doppelgänger. Strasbourg 1926. [SdK 234] pl. LXVII, as by the "Zeichner der Komödienschnitte," appearing in Gunther's Ligurinus, Augsburg 1507; Early Music 5 [1977] 14, as by Hans Süss von Kulmbach. Says [p. 16] it represents a stage-setting, perhaps a composite finale, and that Apollo must be a borrowing from an Italian contemporary, or rather earlier, source.)
[Kulmbach Dr] _______. Portrait of Johann Secher, Abbot of the Egidikloster, Nuremberg. Erlangen, University. drawing. Includes statuary figures of a nymph playing a fiddle and a satyr playing a bagpipe. (E. Bock, ed. Die Zeichnungen in der Universitätsbibliothek Erlangen. Frankfurt am Main 1929. p. 60; W. L. Strauss. The Complete Drawings of Albrecht Dürer. Vol 6. New York 1974. p. 2968)
Sirens: [Fr St. Sigmund] Anon. Sirens (1519). St. Sigmund (S. Tirol), Pfarrkirche. fresco. Sirens play portative organ and bagpipe. (Salmen Katalog. pl. 24)
[BI Basel 1517] Graf, Urs (ca. 1487-1530). Passe-partout border of the publisher Johann Froben. woodcut. The border depicts Classical authors, including "Theocrit[us]", who holds a bagpipe and is paired with "Pindarus" who plays a hurdy-gurdy. (Hollstein [German] XI, no. 341, p. 168, from Lodovicus Coelus Rhodiginus [Ricerius], Lectionum antiquarum libri XVI. Basel, J. Froben, 1517)
[BI Leipzig 1489] Anon. Pastoral Scene, from Theodulus, Ecloga. Leipzig, Conrad Kachelofen, 1489. woodcut. On one side of a stream, beside a tree, a shepherd holds a bagpipe. On the other side, a lady, among sheep, plays a harp. (IB vol. 87, no. 1489/69, p. 36)
[BI Strasbourg 1502] Brant, Sebastian (1457-1521), attr. Tityrus and Meliboeus/Eclogue I, from Virgil, Opera. Strasbourg, Johann Grüninger, 1502. fol. A1v. woodcut. "Tityrus," a goatherd, sits under a tree, playing his bagpipe. (D. P. Bliss. A History of Wood Engraving. New York 1928. p. 36; A. M. Hind. An Introduction to a History of Woodcut. London 1935, R/New York 1963. p. 343 [ok reproduction]; R. Muther. German Book Illustration. Transl. R. R. Shaw. Metuchen NJ 1972. pl. 139; Journal of the Warburg and Courtauld Institutes 10 [1947] pl. 40 opp. p. 51 [detail]; Journal of the Warburg and Courtauld Institutes 55 [1992] pl. 49 [fine reproducton]) Woodcut also published in the Lyons 1517 edition: Vergilius. Opera. Ed. J. Badius Ascensius. Lyons, J. Sacon for C. Hochperg, 1517. (Mortimer French. no. 537, p. 657)
[BI Strasbourg 1502] _______. Corydon and Other Figures. Corydon's bagpipe is on the ground beside him, at the base of a tree. It has five drones. (Journal of the Warburg and Courtauld Institutes 10 [1947] pl. 40 opp. p. 51 [detail])
[BI Tübingen 1518] Anon. The Triumph of Capnio, from Lobgedicht auf Reuchlin (probably by Hermann von dem Busch and Ulrich von Hutten). Tübingen (Hagenau?) 1518. woodcut. Court (?) musicians in an allegorical procession include one playing a bagpipe. (H. Zschelletzshky. Die "Drei gottlosen Maler" von Nürnberg ... Leipzig 1975, p. 265. Text p. 266 says the procession represents the triumphal procession of Reuchlin in Pforzheim as a Roman triumph. Capnio = Johann Reuchlin, with a following of humanists, and with a group of scholastics/clerics in chains [like the Last Judgement groups led to Hell]).
Alphabets: [BI Augsburg 1490] Anon. Picture Alphabet from Jacobus Publicius, Ars oratoria, epistolandi et memorativa. Augsburg, Erhard Ratdolt, 1490. woodcut. Letter G is represented by a bagpipe. (IB vol. 87, no. 1490/192, p. 181)
Dance of Death: [Ms Donaueschingen] Anon., ca. 1520. Death and the Bishop, from the Handschrift Zimmern. Donaueschingen, F. F. Hofbibliothek, Hs A III, 54. Death carries a bagpipe. (Hammerstein Tanz Abb. 296)
[Ms Donaueschingen] _______. Death and the Bruder (Monk). Death carries a bagpipe. (Hammerstein Abb. 304)
[Ms Donaueschingen] _______. Death and the Bürgerin (Lady). Death has a bagpipe. (Hammerstein Abb. 320)
[Ms Munich BSB] Anon., ca. 1480. Death and the Bishop, from the Totentanzof the Grossembrot Manuscript. Munich BSB, Ms Clm 3941, fol. 14-20. manuscript drawing. Musicians play bagpipe and shawm. (Hammerstein Tanz. fig. 10)
[BI Heidelberg ca.1488] Anon. Der doit. Der bruder/Death and the Brother (monk), from a Totentanz. Heidelberg, Knoblochtzer, ca.1488. no. xxviii. woodcut. Death has a bagpipe. (IB vol. 86, no. 1488/670, p. 256; Hammerstein Tanz. fig. not recorded, as Strasbourg ca. 1485)
[BI Heidelberg ca. 1488] _______. Der doit. Der bischof/Death and the Bishop. no. ii. Death has a bagpipe. (IB vol. 86, no. 1488/645, p. 243; Hammerstein Tanz. fig. not recorded)
[BI Heidelberg ca. 1488] _______. Der doit. Die burgerin/Death and the Lady. no. xxxv. Death has a bagpipe. (IB vol. 86, no. 1488/677, p. 259; Hammerstein Tanz. fig. not recorded)
[BI Munich ca. 1480] Anon. Death and the Pope, from a Block Book, Munich, ca. 1480. woodcut. Death has a bagpipe. (Hammerstein Tanz. fig. 256)
[Fr ex Berlin, Marienkirche] Anon., ca. 1485. Totentanz. ex Berlin, Marienkirche. fresco. Includes a monster with a bagpipe. (Hammerstein Tanz. fig. 35 [restoration sketch])
[Pa Basel Predigerkloster] Anon. (formerly attr. Hans II Holbein). Death and the Doktor/Magistrate. Formerly Basel, Predigerkloster (destroyed). Death has a bagpipe. (Hammerstein Tanz. Side-by-side reproductions of Merian and Buchel, figs. not recorded)
[H II Holbein Pr] Holbein, Hans II (1497/98-1543). Death and the Fool, from his Totentanz. woodcut. Death has a bagpipe. (Hammerstein Tanz. Abb. 251) Note also German, second half, 16th century. Death and the Fool. gilded bronze plaque after Holbein. location unknown, formerly coll. Alfred Walcher, Ritter von Molthein, Vienna (E. W. Braun;. Die deutschen Renaissanceplaketten der Sammlung Alfred Walcher Ritter von Molthein in Wien. Vienna 1918. no. 9-**, pl. XX-XXI)
[Manuel Pa] Manuel, Niklaus (Deutsch) (1484-1530), Copy after by Albrecht Kauw (1649). Ossuary, from a Totentanz (1516-17). Formerly Bern, Französische Kirche, ehem. Predigerkloster (destroyed in 1660). Skeletons play bagpipe, shawm?, cornett and straight trumpet. (exh Bern, Kunstmuseum, 1979: Niklaus Manuel Deutsch ... cat. no. 95, fig. 58; Hammerstein Tanz, Abb. 179 [fine reproduction])
[Manuel Pa] _______. Death and the Prostitute. Death plays a bagpipe. (exh Bern, Kunstmuseum, 1979: Niklaus Manuel Deutsch ... cat. no. 113, fig. 79; Hammerstein Tanz, Abb. 189 [fine reproduction], as formerly Dominikaner Kirchhof)
Life and Death: [Mair Pr] Mair, Nicolaus Alexander (Mair von Landshut) (doc. 1490-m.1520). The Hour of Death (1499). engraving. A fool plays a lute, an elegantly dressed man plays a bagpipe, and Death prepares to shoot an arrow. (Hollstein [German] XXIII, no. 17, p. 109; IB vol. 9, no. 10, p. 355)
Months/Zodiac: [Wertinger Pa] Wertinger, Hans (1465/70-1533). October/Village Festival, from a Twelve Months series. St. Petersburg Hermitage. Includes dancers accompanied by players of bagpipe and shawm. (N. Nikulin. Fragments of some Hermitage Paintings ... Leningrad 1971. no. 28 [splendid color detail with the musicians]; Deutsche Malerei in den Museen der Sowjetunion. Leningrad [1972]. cat. no. 17, unnumbered pages [color reproduction, with a color detail])
Playing Cards: See also Miscellaneous Figures, Musicians.
[Schön Pr] Schön, Erhard (a.1491-1542). The Four of Pomegranate. woodcut playing card. Includes a fool sitting on a cow (?) playing a bagpipe. (Geisberg-Strauss G.1311; D. Hoffmann. The Playing Card ... New York 1973 [Leipzig 1972], fig. 10 [after Geisberg])
[Schön Pr] _______. The Six of Roses. woodcut playing card. Lovers embrace, and an elderly couple dances, accompanied by a bagpiper. (Geisberg-Strauss G.1310, as ca. 1528)
Vanitas: [Dürer Dr] Dürer, Albrecht (1471-1528), attr. The Pleasures of the World/Frolickers Threatened by Death. Oxford Ashmolean. drawing. Includes prominent players of flute/fife and drum and, elsewhere, beside the fountain in the center, a barely sketched-in bagpiper. (E. Panofsky. The Life and Art of Albrecht Dürer. Princeton 4/1955. illus. 29; W. L. Strauss. The Complete Drawings of Albrecht Dürer. Vol 6. New York 1974. no. XW.163, p. 2925 [ok reproduction], as "a pasticchio of motifs chosen from Dürer's 'file' by a member of his workshop and put together on a large sheet for practice and amusement in about 1503 to 1505"; K. T. Parker. Catalogue of the Collection of Drawings in the Ashmolean Museum. Oxford 1938. vol. I. pl. LIV)
Vice/Virtue: See also Scenes of Everyday Life -- Indoor, Banquets; Miscellaneous Figures, Demons/Devils.
[Dürer Dr] Dürer, Albrecht (1471-1528). Column Topped by an Idol; Trophy of Musical Instruments, drawing in the margin of a printed book of hours (Augsburg, Johannes Schoensperger, 1513), the so-called Prayerbook for Emperor Maximilian, fol. 19r. Munich, Staatsbibliothek. drawing. Includes a bagpipe and a bladder pipe. very unimp. (W. L. Strauss. The Complete Drawings of Albrecht Dürer. Vol. 3. New York 1974. no. 1515/14, p. 1503 [ok reproduction]; Henning p. 149; W. L. Strauss, ed. The Book of Hours of the Emperor Maximilian the First ... New York 1974. p. 37 [fine color reproduction])
Dances and Dancers: [Dr Basel OeK] Swiss, ca. 1520. Peasant Dance. Basel, Oeffentliche Kunstsammlung, Ksk, Sign. U.VI.57. drawing. Dancers are accompanied by two bagpipers. (MgB III/9, Abb. 18 [detail])
[H II Holbein Dr] Holbein, Hans II (1497/98-1543). Project for the fresco decoration on the facade of the Haus zum Tanz, Eisengasse, Basel. Berlin SM KsK. drawing. Dancers are accompanied by players of bagpipe and bladder pipe. (O. Bätschmann and P. Griener. Hans Holbein. Princeton 1997. p. 73 [the entire facade in a model reconstruction of the 'Zum Tanz' House (1984) (Basel Öffentliche Kunstsammlung, Ksk)], 74 [16th-century copy after Holbein (Berlin KsK)]; G. Glück. Die Kunst der Renaissance in Deutschland, den Niederlanden, Frankreich. Berlin 1928. p. 255; Vis. Coll. 373d.H691.95[m]) Copy (private collection) (Vis. Coll. 373d.H691.90[c]C) Drawing of the facade by H. E. Berlepsch (1875) (M. Baur-Heinhold. Süddeutsche Fassadenmalerei ... Munich 1952. p. 17 [no location])
Fairs/Festivals: See also Allegory, Months/Zodiac.
[D Hopfer Pr] Hopfer, Daniel (ca.1470-1536). Peasant Festival. etching. A long line of couples dancing, accompanied by players of bagpipe and shawm standing on a little stool-like platform. (IB vol. 17, no. 74, p. 151; Hirth nos. 303-304; K. M. Klier. Volkstümliche Musikinstrumente in den Alpen. Kassel 1956. pl. 36 after p. 40; exh Minneapolis Institute of Art, 1968-69: The Jones Collection. cat. no. 108, pl. 70; MgB III/9, Abb. 8 [one of the two plates])
Processions/Cavalcades/Entrees/Parades: [Ms Zürich ZB A120] Anon., 1513. Town Musicians leading Prisoners to Court, from Diebold Schilling, Amtliche Luzerner Chronik. Zürich, Zentralbibliothek, Ms A120, fol. 83. manuscript illustration. Includes civic (?) musicians playing bagpipe and trumpet. (Bowles Pratique. pl. 67, as town musicians broadcasting the taking of prisoners; Salmen Spielmann. Abb. 57)
Tournaments: [Master MZ Pr] Master MZ (fl. ca.1500). Tournament (1500). engraving. Includes a bagpiper on horseback and a flute/fife and drum pair mounted on another horse (both, back to back, on the same horse?). (IB vol. 9, no. 14, p. 370 [ok reproduction]; Lehrs no. 596 [large reproduction, but a bit out of focus]; exh Rotterdam BvB Prentenkabinet, 1973: Duitse grafiek 1450-1700. ca. no. 130)
Other: [Herbst Pa] Herbst, Hans (1468-1550). Scenes of Outdoor Life. Zürich SLM. Includes a group of two trumpeters and kettledrummers, a fife/flute and drum pair, and several unplayed musical instruments from a peddler's pack: small viol, lute (with a broken string), bagpipe and xylophone. (Connoisseur 164 [1967] 235 [poor reproduction]; Zeitschrift für schweizerische Archaeologie und Kunstgeschichte 11 [1950] opp. p. 40)
Balls: [Renner Dr] Renner, Narziss (doc. 1522). The Augsburg Geschlechtertanz (1522). ex Berlin, Kupferstichkabinett (destroyed in World War II). One of the several musicians has a bagpipe. (MgB III/9, p. 111 [not helpful for details]; D. Heartz. "Hoftanz and Basse Dance." JAMS 19 [1966] 13-36, this reproduced pll. II-IV; G. Habich. "Der Augsburger Geschlechtertanz von 1522." Jahrbuch der preussischen Kunstsammlungen 32 [1911] 213-235. Pl. between pp. 214-215 [splendid reproduction of the whole painting], p. 217 [detail of dancers and musicians], p. 227 [fine detail of the musicians])
Banquets: [Schön Pr] Schön, Erhard (a.1491-1542). Peasant Wedding Banquet (1527). woodcut (printed by Hans Guldenmund, Nuremberg). Tafelmusik is provided by a bagpiper. The accompanying text is an allegory of Gluttony. (Geisberg-Strauss G.1171 [fine reproduction]; van Marle Iconographie. vol. I, p. 126 [ok reproduction])
Angels: [Sc Hildesheim Knochenhaveramtshaus] Anon. (1529). Angels. (ex?) Hildesheim, Knochenhaveramtshaus. wood relief sculpture. Several little musical angels, one of which plays a bagpipe. (O. Beyse. Hildesheim. Berlin 1926. [Deutsche Lande, Deutsche Kunst] pl. 75)
[Sc Himmelkron] Anon, [late?] 15th century. Angels. Himmelkron (Oberfranken), former Cistercian cloister, vault. sculpture. Angels play hurdy-gurdy, tromba marina, harp, bagpipe (and more?). (Musica calendar, 1979: 26 March-7 April [fine reproduction])
[Altdorfer Pa] Altdorfer, Albrecht (ca.1480-1538). Virgin and Child in Glory. Munich AP. Many musical angels, including one with a bagpipe. (L. von Baldass. Albrecht Altdorfer. Vienna 2/1941. p. 299; O. Benesch. Der Maler Albrecht Altdorfer. Vienna 1939. pl. 67 [fair reproducton]; F. Winzinger. Albrecht Altdorfer. Die Gemälde. Munich 1975. pl. 45 [ok color], as ca. 1522/25; Vis. Coll. 373.Al 75.34[a])
[Douvermann Wsc] Douvermann, Henrik/Douwermann, Heinrich (doc. 1510-1544), attr. The Virgin and Child with St. Anne. Kalkar, St. Nikolai. wood sculpture. Angels play rebec (?), bagpipe and recorder (?). (Pantheon 29 [1971] 469)
[Dürer Dr] Dürer, Albrecht (1471-1528), School. Ornamental Design with Musical Angels. London BM no. 1918-6-15-5. drawing. The angels play lute, bagpipe and curved trumpet. (Vis. Coll. 373d.D931.95[a])
[H I Holbein Pa] Holbein, Hans I (ca. 1465-1524). The Fountain of Life (1519). Lisbon, Museo das Janelas Verdes. Numerous musical angels, including one playing a bagpipe. (G. van den Osten and H. Vey. Painting and Sculpture in Germany and the Netherlands 1500-1600. Harmondsworth 1969. p. 95; H. Schnell. Bayerische Frömmigkeit ... Munich 1965. Taf. 206; Stange VIII, no. 155 [useless reproduction]; L. Wegele. Augsburg. Augsburg 2/1962. p. 60; exh Munich, Stadtmuseum, 1960: Bayerische Frömmigkeit. 1400 Jahre christliches Bayern. no. 382, Taf. 55 [poor reproduction]; exh Basel, Oeffentliche Kunstsammlung, 1960: Die Malerfamilie Holbein. cat. no. 20, fig. 10 [too small to be useful, but with bibliography]; Boletim de Acad. Nac. de BA [Lisbon], 2d series. 19 [1963] after p. 44 [fair color reproduction])
Animals: [BI Augsburg 1490] Anon. The Monkey desires the Countess's Clothes to Cover his Hind Parts, from Cyrillus, Buch der naturlichen Weisheit. Augsburg, Anton Sorg, 1490. fol. 81. woodcut. The monkey has a bagpipe. (IB vol. 87, no. 1490/270, p. 201)
[BI Augsburg 1522] Anon. Title page of Das Wolffgesang. Augsburg 1522. woodcut. Includes a calf (?) playing a rebec, a dog (?) playing a bagpipe, and a sheep (?) playing a pot and spoon. (J. C. Smith, ed. New Perspectives on the Art of Renaissance Nuremberg ... Austin TX 1985. p. 53)
[Beck Pr] Beck, Leonhard (ca.1480-1542). Bear Dance. woodcut. A bear dances, accompanied by an ox playing a bagpipe and a donkey playing kettledrums. (Geisberg-Strauss G.135, as ca. 1523 [fine reproduction]; Hollstein [German] II, p. 163 [ok reproduction])
Demons/Devils: See also Allegory, Dance of Death.
[BI Augsburg 1486] Anon. The Devil Marrying Injustice, from Hans Vintler, Buch der Tugend. Augsburg, Johann Blaubirer, 1486. woodcut. Devils play bagpipe and small drum. (IB vol. 85, no. 1486/62, p. 202)
[Pr Anon.] Anon., 1520. Luther's Game of Heresy (1520). woodcut. Demons play bagpipe and frame drum. (Geisberg-Strauss no. G.1579)
Mit pfeyffen wal (?) ich mich fleyssen
Des Lothers falsch den will ich preyssen
Vnd alle schrifft damit zerreyssen.
[Schön Pr] Schön, Erhard (a.1491-1542). Devil Blowing a Bagpipe. woodcut. The bagpipe is in the shape of a monk's head. (Geisberg-Strauss G.1144, as ca. 1535; H. Röttinger. Erhard Schön und Niklaus Stör. Strasbourg 1925. [SdK, 229] cat. no. 141, pl. III; J. C. Smith, ed. New Perspectives on the Art of Renaissance Nuremberg. Austin TX 1985. p. 59, as ca. 1530. Notes [p. 60] that there are at least three versions of this print.; Winternitz Musical Instruments. p. 78)
Fools: [BI Basel 1494] Anon. Tadel nicht dulden wollen (Reclam), from Sebastian Brant, Das Narrenschiff. Basel, Johann Bergmann von Olpe, 1494. no. 54. woodcut. The woodcuts are sometimes attributed to Albrecht Dürer. A fool stands before a closed door in a city street, blowing his bagpipe. At his feet lie a harp, a lute, and a pair of pellet bells. (F. Winkler. Dürer und die Illustrationen zum Narrenschiff. Berlin 1951; MGG I, col. 1356; R [with modernized spelling]/Stuttgart, Reclam,1964,1988, p. 190)
Wem sackpfiffen freud/Kurtzwil gytt
Und acht der harpff/ und luten nytt
Der ghört wol uff den narren schlytt. (MGG)
Wem Sackpfeifen Freud und Kurzweil macht,
Dass Harf und Laut' er drob verlacht,
Der wird auf den Narrenschlitten gebracht (Reclam).
[Basel 1494] _______. Von törichtem Tausche. no. 89. A man holds a bagpipe. (R [with modernized spelling]/Stuttgart, Reclam,1964,1988, p. 330)
Wer um 'ne Pfeif des Maultiers wird quitt,
Geniesst selbst seines Tausches nit
Und muss oft gehn, wenn er gern ritt'. (Reclam)
[Mair Pr] [Mair Pr] Mair, Nicolaus Alexander (Mair von Landshut) (doc. 1490-m.1520). Brothel. engraving. Includes a fool playing a bagpipe. (IB vol. 9, no. 11, p. 357; Hollstein [German] XXIII, no. 18, p. 110; Gazette des Beaux-Arts 122 [1993] 10)
Musicians, Minstrels, etc: [BI Basel 1523] Holbein, Hans II (1497/98-1543). Passe-partout page border. woodcut. Includes a bagpiper accompanying three very lively dancing peasant couples. (Hollstein XIVA, no. 51a, p. 83 [ok reproduction], from Andrea Alciati, Paradoxorum, ad Pratum libri VI ... Basel, A. Cratander, 1523)
[BI Basel 1527] Holbein, Hans II (1497/98-1543). Passe-partout page border. woodcut. Includes a bagpiper (right) and a bladder pipe player (left) accompanying three very lively dancing peasant couples. (Hollstein XIVA, no. 82, p. 165, from Publius Ovidius Naso, Opera ... Basel, A. Petri, 1527)
[WSc Erfurt Dom] German, ca. 1480. Rabbit Hunt. Erfurt, Dom, choir stalls, north side. wood. Includes a minstrel with a bagpipe. (A. Overmann. Die älteren Kunstdenkmäler ... der Stadt Erfurt. Erfurt [pref. 1911]. p. xxvii [useless reproduction], as ca. 1400-1410; Die Kunstdenkmäler der Provinz Sachsen, I: Die Stadt Erfurt. Burg 1929. p. 238 [detail]; Beschreibende Darstellung der älteren Bau- und Kunst-Denkmäler der Provinz Sachsen, 13: Erfurter Landkreis. Dresden 1890. opp. p. 101 [drawing after])
[Baldung Dr] Baldung, Hans (Grien) (1484/5-1545). Masquerade before an Island Castle. Berlin SM KdZ. drawing. Includes a procession led by musicians playing bagpipe and shawm. (M. Bernhard. Hans Baldung Grien. Handzeichnungen, Druckgraphik. Munich 1978. p. 239, as early 1530's; exh Berlin, Kupferstichkabinett, 1967-68: Dürer und seine Zeit. cat. no. and pl. 90, as ca. 1530; Vis. Coll. 373d.B198.91[a])
[Dürer Dr] Dürer, Albrecht (1471-1528). Sheet of Studies (1512). London V & A. Includes a bagpiper riding a rather decrepit horse. (W. L. Strauss. The Complete Drawings of Albrecht Dürer. New York 1974. vol. 3, no. 1512/7, p. 1311 [fine reproduction])
[Dürer Dr] _______. Two Musicians, drawing in the margin of a printed book of hours (Augsburg, Johannes Schoensperger, 1513), the so-called Prayerbook for Emperor Maximilian, fol. 38v. Munich, Staatsbibliothek. drawing. They play bagpipe and bladder pipe. (W. L. Strauss. The Complete Drawings of Albrecht Dürer. Vol 3. New York 1974. no. 1515/29, p. 1533 [ok reproduction]; Henning p. 152; W. L. Strauss, ed. The Book of Hours of the Emperor Maximilian the First ... New York 1974. p. 76 [fine color reproduction])
[Dürer Pr] _______. Bagpiper (1514). engraving. (W. L. Strauss, ed. The Complete Engravings, Etchings and Drypoints of Albrecht Dürer. New York 2/1973. no. 76, p. 161; de Jongh-Luijten Mirror. p. 116 [not exhibited], suggests is a companion with the dancing peasant couple, also 1514; Kinsky p. 80 [tiny reproduction]; Winternitz Musical Instruments pl. 20a)
[Dürer Copy Dr] _______, Copy. Bagpiper (1514). Berlin Ksk (KdZ, 55). drawing. (W. L. Strauss. The Complete Drawings of Albrecht Dürer. New York 1974. vol. 3, no. 1514/38, p. 1467 [fine reproduction])
[Labenwolf Sc] Labenwolf Workshop, early 16th century? Bagpiper. Nuremberg GNM. sculpture (modello for the fountain figure in the Heugässlein, Nuremberg). (Ott. fig. 35, as ca.1500)
[Schäufelein Pr] Schäufelein, Hans (ca. 1483-1539/40). Bagpiper and Dancing Dog. woodcut playing card (the four of leaves). (Geisberg-Strauss G.1113, as ca. 1535)
[P II Vischer Sc] Vischer, Peter II (1487-1528). Bagpiper. Cologne, Kunstgewerbemuseum der Stadt Köln. bronze figure. The drones are broken off. (1963 catalog cat. no. 131, Abb. 32)
Putti: [Sc Nuremberg GNM] Anon. (Nuremberg, probably workshop of Peter Vischer [ca.1460-1529]), first quarter, sixteenth century. Putto with a Bagpipe. Nuremberg GNM. sculpture (originally a fountain figure). The water comes out of the chanter (and out of the putto's phallus). (1910 catalog: Die Werke plastischer Kunst. ed. W. Josephi. cat. no. 158, p. 78)
[Baldung Dr] Baldung, Hans (called Grien) (1484/85-1545). Putti Making Music. Coburg, Veste. drawing. They have viol, lute, bagipe and shawm (?). (Vis. Coll. 373.B198.40[a])
[L I Cranach Pa] Cranach, Lucas I (1472-1553). The Childhood of Mary/The Education of the Virgin. Wörlitz, Staatl. Schlösser und Gärten (Gotisches Haus). Includes a putto in a tree with a bagpipe. (exh Weimar, Kunstsammlung, 1972: Lucas Cranach. cat. no. 6, p. 38, as 1510/12)
[Dürer Dr] Dürer, Albrecht (1471-1528). Sheet of studies with little nude boys dancing and making music. Moscow, Pushkin Museum. drawing. They play bagpipe, trumpet (figure-eight) and tambourine. (W. L. Strauss. The Complete Drawings of Albrecht Dürer. Vol. I. New York 1974. no. 1495/1, p. 263 [fine reproduction])
[Dürer School Pr] Dürer, Albrecht (1471-1528), School. Holy Family with Saints and Angels (1511). woodcut. A putto plays a lute. Another holds a bagpipe lying on the ground beside it. (Geisberg-Strauss G.751, p. 726 [fine reproduction]; Hirth no. 624; Apollo 102 [1975] Nov. ad p. 38)
[Kulmbach Pa] Kulmbach, Hans Süss von (ca.1480-1522). Virgin and Child Enthroned with Two Female Saints. Nuremberg, St. Sebald. Five musical putti. The most prominent plays a lute (which seems a bit too big for it). Another carries a bagpipe. Votivbild for Lorenz Tucher. (F. W. Hoffmann. Die Sebalduskirche in Nürnberg. 2/Vienna 1912. pl. XV [big fold-out plate)
[Stillhart Gl] Stillhart, Ludwig (op. 1507-m.1537). Wappenscheibe der Zollikofer. Schloss Altenklingen bei Weinfelden. stained glass. Musical putti in the border, including one with a bagpipe. (Oberrheinische Kunst I/1 [1925] pl. XIV [fair reproduction])
Shepherds: See also New Testament, Nativity; New Testament, Nativity -- Annunciation to the Shepherds; Saints, Other
[BI Speyer ca.1490-95] Anon. Mating Sheep, from Petrus de Crescentiis, Ruralia commoda. Speyer, Peter Drach, [ca.1490-95]. woodcut. In the background a shepherd plays a bagpipe. (IB vol. 90, 9008.DRACH, no. .245, p. 324)
[BI Basel 1511] Anon. "Sackpfeiff," from Sebastian Virdung. Musica getutscht.. Basel 1511, fol. B iv verso. woodcut. (Sebastian Virdung. Musica getutscht [Basel 1511]. facsimile. Kassel 1931)
Nativity: [Pa Moguer Sta Clara] Hispano-Flemish (Seville), ca. 1500. Nativity. Moguer, Sta. Clara, choir door. painting on leather. Includes, in the Annunciation to the Shepherds in the background, a shepherd playing a bagpipe. unimp. (Post V, p. 33, as by "a rustic and feeble artist")
[Alforja Master Pa] Alforja Master (doc. 1537) ( =? Francisco Ribes [doc.1516-1541). Nativity. Tarragona, Diocesan Museum. Includes a shepherd with a bagpipe. (Post XI, p. 104 [poor reproduction], as by Gaspar Requena and Pedro de Rubiales?, an attribution he repudiates in XII/1; Post XII/1, p. 348 [ok reproduction], notes former attribution to the Cabanyes Master)
[Alonso de Villanueva Pa] Alonso de Villanueva (doc. 1510). Nativity. private collection. Includes a shepherd in the background, holding a bagpipe. very unimp. (Post X, p. 240)
[Artés Master Pa] Artés Master (Valencian, op. last quarter, 15th century). Nativity. (ex?) Valencia, Museo Catedralico-Diocesano. Includes a shepherd with a bagpipe. (Vis. Coll. 376.Ar8.22N1[a])
[Astorga Master Pa] Astorga Master (op. first half, 16th century). Nativity. Madrid, Museo Lázaro Galdiano. Includes a finger-snapping, dancing shepherd accompanied by shepherds playing bagpipe and recorder. (Post IX/2, p. 561; C. Sartori, ed. Ricordi Enciclopedia della Musica. Milan 1963-64. tav. 277 [detail]; La Colección Lázaro de Madrid. Ed. W. Ruck, et al. Madrid 1926-27. vol. II, no. 1023, p. 499; Vis. Coll. 376.As86.22N)
[Burgos Master Pa] Burgos Master [op. early 16th century?]. Nativity. Burgos, Museo Diocesano. Includes a shepherd in the background with a bagpipe. (J. Gudiol Ricart. Pintura gótica. Madrid 1955. [Ars hispaniae, 9] fig. 315)
[Cabanyes Master Pa] Cabanyes Master (Antonio Cabanyes?) (Valencian, op. early 16th century). Adoration of the Shepherds. ex? Valencia, Museo Catedralico-Diocesan Includes a shepherd with a bagpipe. (Post IV/2, p. 409)
[Esteve Pa] Esteve, Miguel (doc. 1510-1520), attr. Adoration of the Shepherds. private collection. Includes shepherds holding a bagpipe and playing a shawm. (Post XI, p. 327; Vis. Coll. 376.Es82.22A)
[Jativa Master Pa] Jativa Master (Valencian, op. early 16th century), attr. Nativity. location unknown. Includes a shepherd playing a bagpipe. (Post XI, p. 429)
[Javierre Master Pa] Javierre Master (Catalan, op. early 16th century). Nativity, from a retable of St. Eulalia. Javierre, Huesca, Parish Church. Includes a shepherd with a bagpipe. (Vis. Coll. 376.J328.38E2)
[Maçip Pa] Maçip, Vicente, the Elder (ca.1474-75-50). Adoration of the Shepherds. Segorbe, Cathedral. Includes a shepherd with a bagpipe. (Post XI, p. 55)
[Osma Master Pa] Master of Osma (op. ca. 1500-1516). Nativity. Burgo de Osma, Cathedral. Includes a shepherd holding a bagpipe. (J. Gudiol Ricart. Pintura gótica. Madrid 1955. [Ars hispaniae, 9] fig. 301)
[Perea Master Pa] Perea Master (op. late 15th century). Nativity. location unknown. Includes a shepherd with a partly visible bagpipe. unimp. (Post VI/1, p. 284)
[Rincón Pa] Rincón del Figueroa, Fernando del (doc. 1491-1518). Nativity. private collection. Includes a shepherd playing a bagpipe. (Post XIII, p. 226 [ok reproduction]; Vis. Coll. 376.R473.22N)
[San Andres de Arrojo Master Pa] Master of San Andres de Arrojo (N. Spain, op. first half, 16th century). Adoration of the Shepherds. private collection. Includes a shepherd playing a bagpipe. (Post XIV, p. 145; Vis. Coll. 376.M397.22Ad)
Other: [Berruguete Pa] Berruguete, Pedro (m.ca.1504). The Annunciation to Joachim. Paredes de Nava, Sta. Eulalia. Includes a shepherd in the background with a bagpipe. (D. Angulo. Pedro Berruguete en Paredes de Nava. Barcelona 1946. pll. 6, 7 [detail]; Vis. Coll. 376.B459.30[c]4)
[Cabanyes Master Pa] Cabanyes Master (Antonio Cabanyes?) (doc. 1507). The Annunciation to Joachim. Valencia, Museo de Bellas Artes. Includes a shepherd holding a bagpipe. (Post VI/2, p. 405; Vis. Coll. 376.C11.38J)
Animals: [Wsc Toledo Cathedral] Aleman, Rodrigo (doc. 1520). The Entrance of the King and Queen into Almería, from a series of scenes of the conquest of Granada. Toledo, Cathedral. low relief wood sculpture. In the upper corners, outside the frame of the composition, separate figures play bagpipe (left, monkey) and portative organ (right, pig). (Vis. Coll. 276.Al.24.7C[b]3k) S. Bottari. Tesori d'arte cristiana, II: Il Romanico. Bologna 1966-68. Gives date of ca. 1495 (not illus).
Putti: [Castelsardo Master Pa] Castelsardo Master (Sardinian, op. early 16th century). Virgin and Child Enthroned. Castelsardo (Sardinia), Parish Church. Includes numerous musical angels and three putti, one of whom plays a bagpipe (the other two play indefinable wind instruments -- shawms and/or straight trumpets). (C. Maltese. Arte in Sardegna dal Val XVIII [sic]. Rome 1962. pl. 56 [color reproduction]; Kunsthistorisches Institut Florenz, Mitteilungen vol. 2, p. 123; Vis. Coll. C2716.34[a])
Shepherds: See also New Testament, Nativity.
[Jativa Master Pa] Jativa Master (Valencian, op. early 16th century), attr. Shepherd with Bagpipe. location unknown. (Vis. Coll. 376.J315.22N)
Psalms: [Ms Abbey] N. Italian (perhaps Venice, early 16th century. Illustration for the Seven Penetential Psalms, probably from a fragment of a Book of Hours. private collection. manuscript illumination. Includes King David in prayer, a Renaissance fiddle at his feet. In the background a shepherd plays a bagpipe. (1969 catalog of the collection of Major J. R. Abbey, cat. no. JA.6766/no. 57, color pl. E opp. p. 150, as in or after 1509)
Other: [Perugino Fr] Perugino (Pietro di Cristoforo Vannucci) (ca.1450-1523). Moses' Flight into Egypt (1482). Rome, Capella Sistina. fresco. In the backgroung two shepherds dance a lively dance, accompanied by a bagpiper. (Imago musicae 7 [1990] 34, 35 [helpful detail])
Nativity: [Pa London NG] Italian (Venetian), 15th-16th century. Adoration of the Shepherds. London NG. Includes a shepherd with a bagpipe (two flaring drones). (National Gallery Illustrations. Italian Schools. London 1937. cat. no. 1377, p. 375 [poor reproduction]) Seems not to be listed in any of the recent catalogs.
[Pa Siena PN] Italian (Umbrian-Sienese), early 16th century. Adoration of the Shepherds. Siena PN. Includes, in the background, two wildly dancing shepherds accompanied by a shepherd playing a bagpipe. (Imago Musicae 7 [1990] 37 [small reproduction of the whole and a useful detail])
[Po Cracow Wawel] Italian (Faenza), ca. 1500. Nativity. Cracow, Wawel State Collection. majolica plate. Includes a shepherd with a bagpipe. (1969 catalog, no. 128)
[Acole Po] Acole, Giovanni (op. late 15th century). Nativity. Milan art market (1966). Faenza majolica figure group (inkstand). Includes a shepherd with a bagpipe (prettily decorated bag in an "afghan" pattern). (Connoisseur 161 [1966] April ad p. xxiii)
[Bernardino di Mariotto School Pa] Bernardino di Mariotto (ca.1478-1566), School. Adoration of the Child. Perugia, Pinacoteca Vannucci. Includes a shepherd (tiny detail) with a bagpipe. (Vis. Coll. 372.B4581.22A)
[Credi Pa] Credi, Lorenzo di (ca.1458-1537). The Virgin Adoring the Child. London NG. Includes a shepherd in the background with a bagpipe (very tiny detail). (C. Baker and T. Henry. The National Gallery. Complete Illustrated Catalogue. London 1995. p. 390 [minuscule reproduction, useless for bagpipe]; Vis. Coll. 372.C863.33[c])
[G Ferrari School Pa] Ferrari, Gaudenzio (1475/80-1546), School. Adoration of the Shepherds. Como, Basilica di S. Fedele, Capella della Madonna. Shepherds in a sort of procession are lead by shepherds playing bagpipe and shawm. (G. Rocchi. Como e la Basilica di S. Fedele nella storia del Medio Evo. Milan 1973. p. 342)
[Folchetto da Sangenesio Pa] Folchetti, Stefano (Folchetto da Sanginesio) (fl.1492-1513). Nativity. Philadelphia Johnson Coll. Includes a shepherd in the background holding a bagpipe. (1953 Reproductions, no. 134, p. 71; 1966 catalog, Italian painting, p. 172; B. Berenson. A Catalogue of a Collection of Paintings [John G. Johnson Collection] ... Italian Paintings. vol. I. Philadelphia 1913. p. not recorded)
[Girolamo di Benvenuto Pa] Girolamo di Benvenuto (1470-1524). Adoration of the Shepherds. Siena PN. With the Annunciation to the Shepherds in the background, where a shepherd holds a bagpipe. (E. Carli. Musei Senesi. Novara 1961. p. 160 [fine color reproduction])
[Lame Pa] Lame, Biagio dalle (Biagio Pupini) (doc. 1511-m.p.1575). Nativity. Bologna PN. Angels play fiddle, harp, tambourine and triangle. In the background a shepherd has a bagpipe. (La Pinacoteca Nazionale di Bologna. Bologna 1967. p. 235)
[Maineri Pa] Maineri, Gian Francesco de (doc. 1491-1505). Adoration of the Christ Child. Rotterdam BvB. An angel in a casual pose clutches a lute. There is also a shepherd with a bagpipe in the background. (S. Zamboni. Pittori di Ercole I d'Este. Milan 1975. pl. V [color reproduction]; Vis. Coll. 372.M288.22A, as private collection, Florence)
Variant: private collection, Milan. (Zamboni pl. 12a)
[Mansueti Pa] Mansueti, Giovanni di Niccolò (doc. 1485-m.a.1527). Adoration of the Shepherds. Berlin SM. Includes a shepherd playing a bagpipe. (Connoisseur 169 [1968] 13 [poor reproduction]; Vis. Coll. 372.M314.22A)
[Perugino Fr] Perugino (Pietro di Cristoforo Vannucci) (ca.1450-1523). Nativity/Adoration of the Child. Perugia, Collegio del Cambio. fresco. Includes a shepherd with a bagpipe. (A. Beyer et al, eds. Hülle und Fülle. Festschrift für Tilmann Buddensieg. Alfter 1993. p. 301 [ok reproduction]; W. Bombe. Perugino. Stuttgart 1914. pl. 112; P. Scarpellini. Perugino. Milan 1984. cat. no. 96, pp. 219 [poor reproduction], 225 [fine detail]; R. A. Gallenga Stuart. Perugia. Bergamo 1907. [Italia artistica, 15] p. 81; E. Jacobsen. Umbrische Malerei des 14., 15., und 16. Jahrhunderts ... Strasbourg 1914. pl. 48b-a, as with Raphael's assistance?)
[Savoldo Pa] Savoldo, Giovanni Girolamo (1480-1548). Adoration of the Shepherds. London NG. Includes a shepherd with a bagpipe (two drones, each with fontanelle). (Vis. Coll. 372.Sa91.22A[b]) Not in C. Baker and T. Henry. The National Gallery. Complete Illustrated Catalogue. London 1995.
[Signorelli Pa] Signorelli, Luca (ca.1441/50-1523). Adoration of the Shepherds. London NG. One of the shepherds, sitting on a rock in the background, has a bagpipe. (L. Dussler. Signorelli. Stuttgart 1927. pl. 48 [poor reproduction]; Vis. Coll. 372.Si24.22Ad)
Nativity -- Adoration of the Magi: [L Costa Pa] Costa, Lorenzo (ca.1460-1535). Adoration of the Magi. Milan Pinacoteca. Includes musicians on camels playing bagpipe, pipe and tabor and kettledrums. (Vis. Coll. 372.C829.22A)
[Eusebio di San Giorgio Pa] Eusebio di San Giorgio (ca,1478-1550). Adoration of the Magi. Perugia, San Pietro. Includes a shepherd with a bagpipe (not well drawn). (E. Jacobsen. Umbrische Malerei des 14., 15. und 16. Jahrhunderts ... Strasbourg 1914. pl. 55b [small reproduction]; Vis Coll. 372.Eu75.22A[a])
[Eusebio di San Giorgio Pa] _______. Adoration of the Magi (1505). Perugia GN dell'Umbria. Angels play fiddle (tuning), rebec, lute and woodwind (recorder or, more likely, mute cornett). A shepherd plays a bagpipe (nicely wrought). A herald in the retinue of the Magi has a little horn or cornett. (G. Cecchini. La Galleria Nazionale dell'Umbria in Perugia. Rome 1932. p. 169; R. A. Gallenga Stuart. Perugia. Bergamo 1905. pl. 72 [fair reproduction]; _______. Perugia. Bergamo 1907. [Italia artistica, 15] p. 73; E. Jacobsen. Umbrische Malerei des 14., 15., und 16. Jahrhunderts ... Strasbourg 1914. pl. 53a; Vis. Coll. 372.Eu75.22a)
Nativity -- Annunciation to the Shepherds: [Ms Munich SgS] Anon., 1516. Annunciation to the Shepherds, from the Breviary of King Sigismund I of Poland (1506-1548). Munich SgS. manuscript illumination. Includes shepherds with a bagpipe, a cornett and a drum. (Marburg X 114 967)
[Ms Naples BN I.B.23] Italian (Neapolitan), late 15th century. Annunciation to the Shepherds, from a Book of Hours. Naples BN Ms I.B.23, fol. 25. manuscript illumination (right margin). Includes a shepherd playing a bagpipe. (A. Putaturo Murano. Miniature napoletane del Rinascimento. Naples 1973. tav. XXXIV)
[Ms Holford] Italian (Perugia), late 15th century. Annunciation to the Shepherds. Holford Collection, Dorchester House (1927). manuscript illumination (letter P). Includes a prominent shepherd with a bagpipe. (The Holford Collection, Dorchester House. Oxford, London, 1927. pl. XXVIII)
[Po Turin Madama] Italian (Faenza), late 15th century. Nativity, with the Annunciation to the Shepherds. Turin, Palazzo Madama. ceramic plaque. Inclues a shepherd with a bagpipe. very unimp. (M. Bernardi. Il Museo Civico d'Arte Antica di Palazzo Madama. Turin 1954. pl. 12 [fine color reproduction])
[Aspertini Pa] Aspertini, Amico (1474/75-1552), attr. Adoration of the Magi. Bologna, Pinacoteca. With the Annunciation to the Shepherds in the background. One of the shepherds has a bagpipe. (H. Kropfinger-von Kügelgen. Amico Aspertinis malerisches Werk. Bonn 1973 [diss.]. cat. no. 10, pll. 14, 15 [detail -- both useless reproductions], as 1505/06)
[Moretta Pa] Moretta, Nicola (doc. 1529). Annunciation to the Shepherds. Caravaggio, Chiesa dei SS Fermo e Rustico. fresco lunette. Includes a shepherd holding a bagpipe. (P. Tirloni. Pittori caravaggini del cinquecento. Bergamo 1963. [Monumenta Bergomensia, 9] pl. 12 [color reproduction])
Virgin, Life of -- Other: [Fogolino Pr] Fogolino, Marcello (fl. ca.1519-48). The First Visit of the Virgin in the Temple/The Presentatin of the Virgin. engraving. Includes a bagpiper seated on the ground. (Hind Early Italian Engraving. no. 2, pl. 801; C. G. Boerner, Düsseldorf, cat. no. 41 [1965] no. 24 [fine reproduction])
See also Miscellaneous Figures, Shepherds.
Marsyas: [BI Venice 1497] Anon. Apollo and Marsyas, from Ovid, Metamorphosis. Venice, Giovanni Rossi da Vercelli, 1497. woodcut. At the left, Pallas Athene plays a bagpipe. In the center, Apollo holds a Renaissance fiddle and Marsyas plays a bagpipe. In the right foreground Apollo flays Marsyas, their musical instruments lying on the ground. (Winternitz Musical Instruments. p. 158 [ok reproduction])
[BI Venice 1523] Anon. Apollo and Marsyas, from Ovido, Metamorphoseas vulgare. Venice, Giovanni dei Bonsignori, 1523. woodcut. A copy of the 1497 edition, above, but reversed. (Zeitschrift für Kunstgeschichte 56 [1993] 31)
[Pa Washington NGA] Italian (Florentine), early 16th century. Apollo and Marsyas. Washington NGA (Kress Foundation no. 433). Based on the Venice 1497 woodcut, but reversed. At the right, Pallas Athene plays a pretty little bagpipe with an argyle bag, in the center Apollo plays his Renaissance fiddle while Marsyas listens, holding his bagpipe. At the left Apollo flays Marsyas, their musical instruments lying on the ground. (Winternitz Musical Instruments. pl. 69a [detail of Apollo], 69b [Apollo flaying Marsyas], 69c [Pallas Athene], 70a [whole]; Vis. Coll. It 116.4Ap[a])
[Montagna Pr] Montagna, Benedetto (1450-1523). Apollo and Marsyas. Apollo holds a Renaissance fiddle, Marsyas (an ordinary shepherd) holds a bagpipe. (IB vol. 25, no. 31, p. 228; Hind Early Italian Engraving. no. 41, pl. 763; Kinsky p. 97; A. Gentili. Da Tiziano a Tiziano ... Milan 1980. fig. 58; J. Levenson et al. Early Italian Engravings from the National Gallery of Art. Washington 1973. p. 331 [fine reproduction]; Winternitz Musical Instruments. pl. 70b; Imago musicae 7 [1990] 82, after IB)
[Pellipario Po] Pellipario, Nicola (Nicola da Urbino) (fl. 1520-1537/38). Apollo and Marsyas. private collection. Castel Durante majolica plate. Apollo holds a Renaissance fiddle and Marsyas plays a bagpipe. In the background, Pallas Athene plays a bagpipe. Apollo and Pallas Athene are based on the 1497 Venetian woodcut. The pose of Marsyas is different. (Burlington 77 [1940] 186 [small reproduction]; Burlington 86 [1945] 149 [small reproduction], Coll. Lady Ludlow) Another: The Wernher Collection, Luton Hoo (1950 catalog, no. 212; Apollo 114 [1981] 163 [color reproduction], as Urbino, ca.1525, painted by Nicolò da Urbino for Isabella d'Este)
Other: [Peruzzi-Thomassin Pr] Philippe Thomassin (1562-1622) after Baldassare Peruzzi (1481-1563). "Novem musarum chorea" (1615). engraving. Apollo and the Muses dance accompanied by players of lyre (right) and bagpipe (left). The painting (Florence, Palazzo Pitti) shows no musicians. (Kunsthistorisches Institute Mitteilungen vol. 11, p. 59)
[BI n.p., n.d.] Anon. (Florentine). Frontispiece of Lorenzo de'Medici, Nencia da Barberino. n. p., n. d. [Florence ca. 1500]. woodcut. Includes a dancing couple accompanied by a bagpiper. (Dufourcq Musique. p. 159; Imago Musicae 13 [1996] 18)
[BI Siena 1523] Anon. Frontispiece for Pierantonio Legacci dello Stricca, Scatizza, Egloga alla martorella (a rustic comedy in verse). Siena 1523. woodcut. Three figures in a room: a dancing couple, accompanied by a bagpiper. (Imago Musicae 13 [1996] 17, from the 1544 edition, entitled Egloga rusticale di Scatizza [same woodcut])
[BI Venice 1510] Anon. Shepherds, from Vergilius. Omnia opera. Venice, Bartolomeo de'Zanni, 1510. woodcut. Tityrus and Meliboeus. Tityrus, seated beside a tree, plays a bagpipe. (Mortimer Italian. no.524, p. 726)
Death, Dance of: [S Baschenis Fr] Baschenis, Simone (doc.1519-1544), attr. Danza macabra (1539). Pinzolo-Val Rendena (Trento), S. Vigilio. exterior fresco. Skeletons welcoming the arrivals play bagpipe and two shawms. (L. Angelini. I Baschenis. Bergamo 2/n. d. pl. IX [in situ]; Hammerstein Tanz. Abb. 129 [poor reproduction], as Anon.)
Love and Sex: [Pr Anon.] NE Italian, last quarter, 15th century. Two Sexual Allegories. engraving. One has a bagpiper serenading a woman with a spindle and a man carving wooden spoons. (Hind Early Italian Engraving. no. E.III.29, pl. 421; J. Levenson et al. Early Italian Engravings from the National Gallery of Art. Washington DC 1973. p. 527)
[Titian Pa] Titian (Tiziano Vecellio) (ca.1487/90-1576). Venus and Cupid with a Lute Player. New York, Metropolitan Museum of Art. A man plays a lute; Venus, crowned by Cupid, holds a recorder; and there is an unplayed bass viol. In the background a man leaning against a tree plays a bagpipe. (P. H. Bilzer et al. Das grosse Buch der Malerei. Braunschweig 2/1960. p. 378 [color reproduction]; O. Brendel. "The Interpretation of the Holkham Venus." Art Bulletin 28 (1946) 65-75 and letters 29 (1947) 65-67 (U. Middeldorf), 67-69 (O. Brendel); Lesure pl. 39 [English edition] and pl. 45 [German edition]; R. Pallucchini. Tiziano. Florence 1969. vol. II, fig. 478, as ca. 1562-64. Considers it not finished by Titian but by a late 17th-century Venetian who, among others, has repainted the heads of Venus and Cupid; H. E. Wethey. The Paintings of Titian, III ... London 1975, cat. no. 45, pll. 122, 124 [detail with lute, bagpiper and dancers], as ca. 1565/70, left unfinished at the time of Titian's death; Winternitz Musical Instruments pl. 10; 1973 catalog: Italian Paintings. Venetian School. Ed. F. Zeri. New York 1973. pl. 93, as probably ca. 1560-65. Apparently begun by Titian and left unfinished in his atelier. Finished late16th to early 17th century by a Venetian artist influenced by both Titian and Tintoretto; Masterpieces of Painting in the Metropolitan Museum of Art. New York n.d. p. 23 [color reproduction]; CR Venice, 1976: Tiziano e Venezia, b&w fig. 36; Burlington 107 [1965] 520; Gazette des Beaux-Arts 68 [1966] 270 [small, unhelpful reproduction]; Vis. Coll. 372.T535.4V[p])
Months/Zodiac: [Ta Milan Sforzesco] Italian (Milanese?), early 16th century. January/Aquarius, from a Twelve Months series. Milan Castello Sforzesco (Museo Civico). tapestry. Includes a seated bagpiper, leaning against a pedestal, accompanying revellers dressed as the Three Kings to celebrate the Feast of Epiphany. (G. G. Belloni. Il Castello Sforzesco. Milan 1966. no. 137, as by Benedetto da Milano and assistants, perhaps designed by Bramantino; Storia di Milano, VIII: Tra Francia e Spagna 1500-1535. Milan 1957. p. 678; exh Luino 1975: Sacro e profano nella pittura di Bernardino Luini. b&w fig. 53 [ok reproduction]; Connoisseur 160 [1965] 32)
[Romano-Montovano Fr] Rinaldo Montovano after a design by Giulio Romano (1499-1546). The Goat/Aires [sic]. Mantua, Palazzo del Te, Sala dei Venti. fresco medallion. Six couples dance beneath an arbor, accompanied by figures playing a bagpipe, two (?) shawms, and panpipes. (E. Gombrich. "The Sala dei Venti in the Palazzo del Te." Journal of the Warburg and Courtauld Institutes 13 (1950) 189-201, this reproduced pl. 49c, opp. p. 190, as "Haedus [the Goat]"; F. Hartt. Giulio Romano. New Haven 1958. fig. 196)
Other: [Pa location unknown] Italian (Venetian) ca. 1510. Lovers and Pilgrims. London art market 1979. Includes, in the background, a shepherd with a bagpipe. (B. Berenson. Italian Pictures of the Renaissance ... Venetian School. London 1957. vol. 2I, pl. 902 [fair reproduction], as Domenico Caprioli [?]; A. Gentili. Da Tiziano a Tiziano. Milan 1980. fig. 36; sale, Sotheby's, London, 11.VII.1979)
[Po Faenza London V&A] Italian (Faenza) (Master of the Resurrection Panel/Monogrammist BT or TB), ca. 1510. Border. London V&A. majolica dish. The central illustration is of Christ Disputing the Doctors. The border depicts artifacts of music, military, agriculture, chemistry, the blacksmith and weaving. Among the many musical instruments is a bagpipe. (1940 Catalog: Italian majolica. no. 272, pl. 43 [minuscule reproduction]; Early Music 12 [1984] 373 [small reproduction)
Dances and Dancers: See also Literary and Historical Subjects/Figures.
Garden Parties: [Ca London V&A] Italian, ca. 1480. Lovers in a Garden. London V&A. cassone (wood relief). Musicians before the lovers play bagpipe and two shawms. There are also two trumpeters (straight trumpets) in a tower. (Schubring Cassoni. no. not recorded)
Interiors (not Church, Inn): [BI Como 1521] Anon. "Ex ing_io Ctesibii factis in taberna tonsoria patris svi," from Cesariano, Commento al Vitruvio. Como 1521. woodcut. An interior, with a bagpipe (labelled "V") on a chest beneath a window, and a recorder (labelled "X") in the foreground (beside bellows, etc.). (Storia di Milano, VIII. Milan 1957. p. 228)
Angels: [Fr location unknown] Italian (Pavia), ca. 1480-90. Coronation of the Virgin. location unknown. Originally in the apse of S. Primo, Pavia. fresco transferred to canvas. Angels at the left play lute, psaltery and bagpipe. Angels at the right play bowed string, harp and one other. Above, left and right, two plus two angels play straight trumpets. (1941 Catalog [posthumous] of the Collection of George Grey Barnard. no. 123, pl. XLI)
[G Ferrari Fr] Ferrari, Gaudenzio (1471/81-1546). Assumption of the Virgin. Saronno, Cathedral. cupola fresco. Among the myriad musical angels, one plays a double bagpipe. (K. Geiringer. "Gaudenzio Ferraris Engelkonzert" In: Beethoven Zentenarfeier. 1927. p. not recorded; L. Mallé. Incontri con Gaudenzio ... Turin 1969. fig. 219 [ok detail with bagpipe]; M. Pincherle. An Illustrated History of Music. Transl. R. Myers. New York 1959. p. 43 [fine reproduction of the entire cupola]; Winternitz Musical Instruments. pl. 21c [detail of the double bagpipe]; TCI. Lombardia I. Milan 1941. [Attraverso l'Italia] p. 207 [fair reproduction of entire cupola])
[Girolamo di Benvenuto Pa] Girolamo di Benvenuto (1470-1524). Virgin in Glory. Torrita, Oratorio della Madonna delle Nevi. Eight musical angels, including one playing a bagpipe. (F. Bargagli-Petrucci. Montepulciano, Chiusi e la Val di Chiana Senese. Bergamo 1932. [Italia artistica, 31] pp. 39-41)
[Filippino Lippi Fr] Lippi, Filippino (1457/58-1504). Assumption of the Virgin. Rome, S. Maria sopra Minerva. fresco. Six musical angels, including one playing a bagpipe. (L. Bruhns. Die Kunst der Stadt Rom. Vienna 1951. figs. 239, 240; F. Gamba. Filippino Lippi ... Florence 1958. fig. 20 [fuzzy reproduction]; K. B. Nielson. Filippino Lippi ... Cambridge MA 1938. fig. 39 [fair reproduction]; A. Scharf. Filippino Lippi. Vienna 1950. figs. 65, 72; Zeitschrift für Kunstgeschichte 56 [1993] in situ; Vis. Coll. 372.L665.38T4)
Putti: [G Ferrari Pa] [G Ferrari Pa] Ferrari, Gaudenzio (1471/81-1546). Virgin and Child with Saints. Vercelli, Museo Borgogna. Putti in front, backs to viewer, play lute (only the head visible, the painter is much more interested in the putto's bare buttocks), bagpipe and tambourine. (exh. Turin 1939, 2a mostra d'arte a Palazzo Carignano: Gotica e rinascimento in Piemonte. Ed. V. Viale. pl. 125; L. Mallé. Incontri con Gaudenzio ... Turin 1969. fig. 173, as by Gaudenzio Ferrari and others, ca. 1526-28)
[Gandolfino Pa] Gandolfino da Roreto (d'Asti). Virgin and Child (central panel of a polyptych). Savigliano, S. Pietro. In front of the throne four putti play rebec, bagpipe, shawm and tambourine. (Flanking the throne, angels sing, accompanied by one playing a lute.) (Burlington 127 [1985] 802)
[Macrino d'Alba Pa] Macrino d'Alba (fl.1495/1515-m.a.1528). Sacra conversazione (1501). Alba, Aula municipio. Putti in front of the throne play a rebec (mannerist pose, one foot up) and hold a bagpipe (gesturing). Virtually identical with the painting in Certosa di Pavia, below. (G. O. della Piana. Marcino d'Alba. Como 1962. pl. XIV [color reproduction]; exh Turin, Palazzo Carignano, 1939: Gotico e Rinascimento in Piemonte. Ed. V. Viale. sala 17, no.2, pl. 84;)
[Macrino d'Alba Pa] _______. Sacra conversazione (1496). Certosa di Pavia, Cappella dei Santi Ugone e Anselmo. Putti in front of the throne play rebec and hold a bagpipe (with a curved chanter and undulating curved drone -- both resemble animal horns). The rebec player has angel wings, the bagpiper has leafy wings. (G. O. della Piana. Marcino d'Alba. Como 1962. pl. V [small black and white reproduction], VII [fair color reproduction]; exh Turin, Palazzo Carignano, 1939: Gotico e Rinascimento in Piemonte. Ed. V. Viale. sala 17, no. 3, pl. 85, as by Macrino d'Alba and Ambrogio da Fossano; The Dictionary of Art. New York 1996. vol. I, p. 530 [poor reproduction], as before 1496; Vis. Coll. 372.M259.34[f])
[Macrino d'Alba Pa] _______. Sacra conversazione. Tortona, Capella Vescovile (ex Abbazie dei Lucedio). Putti in front of the throne play rebec and hold a bagpipe (gesturing, very pretty bag, with tassels). The rebec player has angel wings, the bagpiper has butterfly wings. (G. O. della Piana. Macrino d'Alba. Como 1962. unnumbered plate before pl. I, as 1499; TCI. Piemonte orientale. Milan 1959. [Attraverso l'Italia N.S.] p. 69, as 1490; exh Turin, Palazzo Carignano, 1939: Gotico e Rinascimento in Piemonte. Ed. V. Viale. sala 17, no .5, pl. 92, as 1499)
[Meloni Pr] Meloni, Altobello (fl.ca.1517). Four Cupids Playing Musical Instruments. engraving. They play fiddle, lute, bagpipe and pipe and tabor (shallow). (Hind Early Italian Engraving no. 2b, pl. 805)
Rustic/Village Musicians: See also Literary and Historical Subjects/Figures.
Shepherds: See also Old Testament, Psalms; New Testament Nativity; New Testament Nativity -- Annunciation to the Shepherds; Mythology, Marsyas; Allegory Other.
[Cima da Conegliano Pa] Cima da Conegliano, Giovanni Battista (1459/60-1517/18). SS Peter Martyr, Augustine and Nicholas. Milan Brera (ex Venice, Chiesa di Corpus Domini). A young angel in front of a pedestal tunes a plucked-stringed instrument (somewhat like a guitar). There is a bagpiping shepherd in the background. (M. Bonicatto. Aspetti dell'umanesimo nella pittura veneta dal 1455 al 1515. Rome 1964. fig. 78 [good detail of the bagpiper], as 1505-1506; A. Bovero. Immagini dell'arte italiana attraverso i secoli, IV. Turin 1965. fig. 83; L. Coletti. Cima da Conegliano. Venice 1959. pl. 107; A. O. della Chiesa. Brera. Novara 1953. p. 24 [ok detail of the shepherd]; P. Humfrey. La Pittura Veneta del Rinascimento a Brera. Florence 1990. p. 71 [color reproduction]; Pinacoteca di Brera. Pinacoteca di Brera. Scuola veneta. Milan 1990. pp. 115, 116 [color detail, including the shepherd, della Chiesa detail is clearer]; Newsweek. Great Museums of the World: Brera. New York 1970. p. 99 [color reproduction]. Says that the saints include Nichoas of Bari and Benedict; Omaggio a Giovanni Battista Cima da Conegliano. special number of La Provincia di Treviso, V/4-5 [July-Oct. 1962] pl. 61 [fine detail of the bagpiper], opp. pl. 34 [splendid color detail of the "guitar"]; Vis. Coll. 372.C491.38Pe)
[Perugino Dr] Perugino (Pietro di Cristoforo Vannucci) (ca.1450-1523). Study of a Kneeling Bagpiper. private collection. drawing. A study for Perugino's Adoration of the Shepherds, Perugia, Collegio di Cambio (see above). (Woodner Collection. A Selection of Old Master Drawings before 1700. loan exhibit 1971/72. p. 9)
[Raphael Dr] Raphael (Raffaello Sanzio) (1483-1520). Sheet of Studies with a Bagpiper. Naples MN. drawing. (Vis. Coll. R184.90[j])
[Savoldo Pa] Savoldo, Giovanni Girolamo (1480-1548). Portrait of a Peasant. private collection. The peasant holds a little, partly visible, recorder. A tiny figure in the background plays a bagpipe. (C. E. Gilbert. The Works of Girolamo Savoldo. New York 1986. fig. 31 [fair reproduction], 75 [useful detail, with bagpiper]; R. Levi Pisetzky. Storia del costume in Italia, III. Milan 1966. p. 290, as 1530; G. Treccani degli Alfieri. Storia di Brescia, II: La dominazione Veneta [1426-1575]. Brescia 1963. p. 1021; exh New York, Metropolitan Museum of Art, 1985: The Age of Caravaggio, no. 12, p. 82 [fine reproduction], p. 83 [detail, including the bagpipe], as portrait of a shepherd with a flute)