Status of September 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).
The horns in this iconography have been chosen on the basis of shape. Unlike trumpets, which are principally cylindrical of bore and straight of tube, horns are basically conical and curved. The instruments included here may be of conical bore with either straight or curved tubing, or of circular or looped tubing with either conical or cylindrical bore. A number of them, especially the ones with looped tubing, are, acoustically speaking, trumpets; but since looped shapes contributed virtually nothing (except crooks) to the history of the trumpet, while being potentially important to the development of the horn, this seemed the place to put them. On the other hand, long, gently curved or reverse-curved instruments with slightly expanding bore -- especially when they appear in subjects such as the Last Judgement, where the iconography is in general associated with the trumpet -- have been left for the trumpet iconography which God forbid I should live to accomplish.
Many thanks to the UHN Music Department for putting this index on their web page.
Last Judgement: [Sc Cambridge King's College Chapel] Anon., 1446-61. Last Judgement. Cambridge, King's College, Chapel, boss in chapel A. sculpture. One of the angels blows a curved horn. (Royal Commission on Historical Monuments. An Inventory of the Historical Monuments in the City of Cambridge, I. London 1959. pl. 147)
Last Judgement: [Ms Oxford BL Bodley 253] Dutch, 15th century. Last Judgement, from Mirroure of the Worlde. Oxford, BL, Ms Bodley 253, fol. 87v. manuscript illumination. Two angels blow huge oliphants. (L. M. J. Delaissé. A Century of Dutch Manuscript Illumination. Berkeley 1968. no. 144)
[Ms Rostock UB theol. 25] Netherlandish, 15th century. Last Judgement. Rostock UB Ms. theol. 25, p. 142. manuscript illumination. Includes two angels with very long, slightly reverse-curve trumpets/horns with three bosses and small, rectangular banners. (E. Rothe. Buchmalerei ... Berlin 1966. pl. 84 [fine color reproduction])
[Pr Anon.] Netherlandish, ca. 1450. Last Judgement. woodcut. One angel plays a slightly elongated oliphant, the other plays a straight trumpet. There is a clear distinction between the two instruments. (A. M. Hind. An Introduction to a History of Woodcut. New York 1935, R/New York 1963. p. 146)
Passion -- Mocking/Flagellation of Christ: [Ms New York Morgan 945] Master of Catherine of Cleves (Utrecht, ca. 1430-1440). The Mocking of Christ at Caiaphas' House, from The Book of Hours of Catherine of Cleves. New York, Pierpont Morgan Library, Ms 945 (formerly Guennol collection). manuscript illumination. A figure blows a curved/hooked horn (one of six figures in all). (J. H. Marrow. Passion Iconography ... Kortrijk 1971. fig. 103; Burlington 100 [1958] 372)
Planets: [Pr Anon.] Dutch, ca. 1460. The Children of Jupiter, from a Seven Planets series. woodcut. The figures include a mounted hunter with a horn hanging at his back. (M. J. Schretlen. "Blokbogen 'De syv planeter'." [Copenhagen] Kunstmuseets Aarskrift 1929-31 [1931] 1-15, this reproduced p. 3 [the horn is all but invisible in this reproduction, cf. the German copy listed below])
[Pr Anon.] _______. The Children of Moon. The personification holds a curved horn in one hand and a torch in the other. (Schretlen p. 11)
Hunts: [Ms New York Morgan (Guennol Coll.)] Dutch, ca. 1440. Bas-de-page rabbit hunt (main illumination: Joseph of Aramathea before Pilate). New York, Pierpont Morgan Library (Guennol Collection), fol. 67. manuscript illumination. Includes a hunter with a small, curved horn. (L. M. J. Delaissé. A Century of Dutch Manuscript Illumination. Berkeley 1968. fig. 76; J. P. Filedt Kok, comp. The Master of the Amsterdam Cabinet, or, the Housebook Master, ca.1470-1500. Princeton 1985. pl. 14 [detail], as ca. 1440-45)
Apocalypse -- Trumpeters: [Pr Anon.] Flemish?, ca. 1430? Scenes from the Apocalypse, from a Block-Book. woodcut. In the upper zone there is one angel playing an oliphant, in the lower zone, two. (A. M. Hind. An Introduction to a History of Woodcut. New York 1935, R/New York 1963. fig. 92, 93 [two versions]. Notes P. Kristeller. Die Apocalypse. Berlin 1916.)
Nativity: [Goes Pa] Goes, Hugo van der (doc. 1467-m.1482). Nativity (Portinari Altarpiece). Firenze, Uffizi. One of the shepherds has a small, curved horn horn with three finger holes suspended from a strap (another, in the background, carries a bagpipe). A prominent and realistic detail. (Friedländer IV [1969] cat. no. 10, pll.14, 15. Commissioned by Tommaso Portinari, who lived in Bruges as an agent of the Medici, and given to the hospital of the church of Santa Maria Nuova, Firenze. Painted between 1473 and 1475; Panofsky, Erwin. Early Netherlandish Painting. Cambridge 1953. pl. 305, fig. 463; Vis. Coll. 374.1.G 558. 22A [Alinari 4175F is a fine detail of the shepherds with horn and bagpipe])
Gabriel/Mystic Hunt of the Unicorn: See also Miscellaneous Religious Subjects, Other.
Other: [Ms ex Schwerdt] Flemish, 15th century. A Unicorn taking refuge in the lap of the Virgin, Followed by a Group of Hunters, from a Hunter's Book of Hours. location unknown (formerly Schwerdt Collection). manuscript illumination. The unicorn is pursued by a whole party of hunters. Three of them (two mounted, one on foot) blow curved horns. (Schwerdt I, frontispiece [fine color reproduction], as French, ca. 1400; Schwerdt sale V, Sotheby's, 1946. pl. 82, as Flemish, 15th century.)
St. Hubert/Eustache: [R van der Weyden Pa] Weyden, Rogier van der (1399/1400-1464). The Exhumation of St. Hubert. London NG. Includes the saint with a curved horn in relief on a reliquary in the background. This is a very obscure detail. (Les primitifs flamands III/2. Ed. M. Davis. Antwerp 1954. pl. CDIV, and fine details pll. CDXXIII-CDXXIV, which is the only way I would ever have noticed it)
Other: [Memling Pa] Memling (Memlinc), Hans (1430/40-1494). Martyrdom of St.Ursula. Bruges, St. John's Hospital. There is the image of a curved horn on a banner hanging from a tent. (Also an eagle.) (Friedländer V1a [1971] cat. 24, pl. 74 [ok reproduction]; B. de Vos. Hans Memling: The Complete Works. Ghent 1994. p. 299 [small color reproduction])
[Ms Brussels BR 9066] Le Tavernier, Jean (doc. 1455-1460). Roland au milieu de la bataille, from Cronicques et conquestes de Charlemaine (comm. 1460). Brussels BR 9066, fol. 334. manuscript illumination. Roland has a curved horn hanging from a strap. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 37)
[Ms Brussels BR 9066] _______. Rencontre d'Olivier, d'Aude et de Roland au siège de Vienne; Joute de Roland et d'Aimeri de Beaulande. fol. 363v. The two depictions of Roland show him with his horn hanging from a strap. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 49) Fol. 386 also shows him with an insignificant horn. (pl. 40)
[Ms Brussels BR 9066] _______. Combat singulier de Roland et d'Olivier. fol. 427v. Roland has his horn hanging from a strap. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 42)
[Ms Brussels BR 9066] _______. Les armées sarrasines a Roncevaux. Brussels BR 9067, fol. 271. Roland has his horn. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 75)
[Ms Brussels BR 9068] _______. Roland sonnant de l'olifant a la bataille de Roncevaux. Brussels BR 9068. fol. l. Roland, on horseback, blows a curved horn. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 77)
[Ms Brussels BR 9068] _______. Mort de Roland. fol. 12v. A knight rides off, with Roland's horn hanging from a strap. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 79)
[Ms Brussels BR 9068] _______. Baudouin rapportant a Charlemagne l'épée et le cor de Roland. fol. 20. Baudouin holds Roland's horn. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 80)
[TA Brussels Cinquantenaire] Flemish, 15th century. The Battle of Roncevaux, from a Roland series. Brussels, Musées Royaux du Cinquantenaire (ex Coll. Somzée). tapestry. One figure blows an oliphant and one (Roland) has a curved horn hanging from a strap. (Göbel I/2, pl.216 [poor reproduction] as ca. 1455; Institute Royale du patrimonie artistique, Bulletin 10 [?] [1967] 50 [detail of the figure with the horn] [also reproduces a similar detail from the tapestry in Tournai, Musée de l'art et de l'archéologie, p. 51])
Dance of Death: [Ms Kassel LB 4o MS poet. et roman.5] Franco-Flemish, ca. 1470. Death and the Merchant, no. XXII from a Dance of Death. Kassel LB 4o MS poet. et roman.5. manuscript illustration. Death plays a curved horn. Rather crudely depicted. (Hammerstein Tanz . fig. 291)
Hunts (allegorical): [Ms Brussels BR 10218-19] Dreux, Jean (Brussels, p. 1455). 2e Livre des deduis du Roi Modus et de la reine Ratio; Le songe de pestilence. Brussels BR Ms 10218-19, fols. 22r and 22v. manuscript illumination. Two hunts. Each has a mounted hunter with a curved horn. (Bibliothèque Royale de Belgique. Section des Manuscrits. La librairie de Bourgogne ... Brussels 1970. pl./no. 28 [fine color reproduction])
See also Saints, Other.
Battles: See also Literary and Historical Subjects/Figures.
[Ms Brussels BR 9066] Le Tavernier, Jean (doc. 1455-1460). Bataille entre les français et les hongrois, from Cronicques et conquestes de Charlemaine (comm. 1460). Brussels BR 9066, fol. 100v. manuscript illumination. One of the Hungarians, mounted and in armor, blows a looped horn. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 12)
[Ms Brussels BR 9068 ] ________. La construction d'un pont. Brussels BR 9068, fol. 203. manuscript illumination. Among the trumpets of the Saracens is one that looks like a fat little looped horn on the end of a pipe. (J. Le Tavernier. Cronicques et conquestes de Charlemaine, reproduction des 105 miniatures de Jean Le Tavernier, d'Audenarde [1460]. Brussels 1909. pl. 95)
Hunts: See also Miscellaneous Religious Subjects, Other; Allegory, Hunts (allegorical).
[Ms Brussels BR 7] Liédet, Loyset (op. ca.1460-78). Begon de Belin est tué d'un coup de flèche à une chasse au sanglier, from Histoire de Charles Martel (1470). Brussels BR, Ms 7, fol. 300. manuscript illumination. In the foreground two hunters have curved horns hanging from fancy straps. In the background a mounted hunter blows a curved horn. (Histoire de Charles Martel [Brussels BR 6-9]. Brussels 1910. pl. 63)
[Dr Lehman Coll.] Flemish, ca. 1470-80. Boar Hunt. private collection. drawing. Includes three hunters (one mounted, two foot) blowing curved horns. (exh. Lawrence, University of Kansas Museum of Art, 1969: The Waning of the Middle Ages. no. 37, pl. LXXV)
[Ta London V&A] Flemish (Tournai), ca. 1425-50. Boar and Bear Hunt. London V & A T.204-1957 (ex Coll. Duke of Devonshire). tapestry. Includes a most elegantly dressed and prominent hunter with a spear and holding forth a curved horn. A groom (?) restraining two dogs seems to gaze at the horn. (Göbel I/2, pl. 203 [poor reproduction], as ca. 1440, considers this the best of the fifteenth-century hunting series, restored just before World War I; van Marle Iconographie, vol. I, p. 269, as Franco-Flemish, first half, 15th century.)
Death of the Virgin: [Iv Paris Cluny] French, mid-15th century. Death of the Virgin. Paris, Musée de Cluny. circular ivory plaque. Angels, above, flanking Christ holding the soul of his mother, play two oliphants (held in "finger position"). (Koechlin no. 871, pl. CLVIII [too small])
Gabriel/Mystic Hunt of the Unicorn: [Ta Brandenburg St. Gotthard] Franco-Flemish? 1463? The Mystic Hunt of the Unicorn. Brandenburg, St. Gotthard. tapestry. Not the usual composition. More an upper-class Burgundian hunting party, with ladies. Includes a hunter with a curved horn. (Die Kunstdenkmäler der Provinz Brandenburg, II/3: Stadt und Dom Brandenburg. Berlin 1912. pl. 11 [color])
St. Hubert/Eustache: [Wsc art market] [French?], 15th century. St. Hubert. Lucerne art market. wood. St. Hubert is accompanied by a dog-handler with a looped horn. (Connoisseur 146 [1960] 64)
Adonis: [Ms Brussels BR 9392] French (Burgundian), ca.1461. Adonis killed by a boar, from Christine de Pisan, Epître d'Othéa (version by Jean Mielot). Brussels BR, Ms 9392, fol. 68v. manuscript illumination. Adonis, dressed as a fifteenth-century Burgundian nobleman, lies mortally wounded, his curved horn on the ground by his side. (J. van der Gheyn, ed. Christine de Pisan. Epitre d'Othea ... Reproduction des 100 miniatures du manuscrit 9392 de Jean Mielot. Brussels 1913. pl. 65 [fine reproduction], as ca.1461)
Diana: [Ms Brussels BR 9392] French (Burgundian), ca. 1461. Diane chasseresse, from Christine de Pisan, Epître d'Othéa (version by Jean Mielot). Brussels BR, Ms 9392, fol. 66v. manuscript illumination. Depicts Diana and a female attendant, in fifteenth-century costume, in the park of a Burgundian estate. The attendant blows a curved horn. (J. van der Gheyn, ed. Christine de Pisan. Epître d'Othéa ... reproduction des 100 miniatures du manuscrit 9392 de Jean Mielot. Brussels 1913. pl. 63 [fine reproduction])
See also Scenes of Everyday Life -- Outdoor, Battles; Scenes of Everyday Life -- Outdoor, Hunts.
[Ms Florence Medicea Laurenziana Laur. Med. Pal. 156.2] French, 1464-5. The Ten Sibyls, from Jean Mielot, Romuléon. Florence, Biblioteca Medicea Laurenziana, Ms Laur. Med. Pal. 156.2. manuscript illumination. An unidentified Sibyl, in fifteenth-century costume, holds a curved horn as though it were a trophy. (G. Biagi, ed. Reproduzioni ... da codici della R. Biblioteca Medicea Laurenziana. Florence 1914. pl. XXXII)
[Ta Rheims Musée de l'Oeuvre de la Cathédrale] French (probably Arras), mid-15th century. Clovis Besieging Soissons, from a series of the History of Clovis. Rheims, Musée de l'Oeuvre de la Cathédrale. tapestry. Includes two trumpeters with looped trumpets (each with four bosses). (M. Hollande. Trésors de Reims. Reims 1961. p. 28 [minuscule reproduction]; M. Jarry. World Tapestry. New York 1969. p. 69, as Arras or Tournai [?]; Exposition internationale, Paris, 1937: Chefs-d'oeuvre de l'art français ... Paris 1937, vol. II, no. 113; Connoisseur 119 [1947] 4)
See also Hunts.
Months/Zodiac: [Ms Chantilly Condé 78] French, ca. 1450. July, from the Book of Hours of Adelaide de Savoie, Duchesse de Bourgogne. Chantilly, Musée Condé, Ms 78 (olim 1362), fol. 7. manuscript illumination. Activities include a stag hunt with a hunter with a curved horn. (There is also a water joust accompanied by two shawmists.) (Vis. Coll. C366MC.76.f7)
Planets: See also Scenes of Everyday Life -- Outdoors, Hunts
[MS Vienna OeNB S.n. 13,237] French (Paris), 1460's. Luna, from a Book of Hours. Vienna, OeNB, Ms S.n. 13,237. manuscript illumination. The personification is a nude woman holding a curved horn and a torch. (O. Pächt and D. Thoss. Die illuminierten Handschriften und Inkunabeln der OeNB. Reihe I, Bd. 1: Französische Schule I. Vienna 1974. Abb. 329. [small reproduction])
Hunts: See also Allegory, Months/Zodiac
[Ms New York Morgan M.820] N. French, ca. 1460. Stag Hunt, from Henri de Ferrières, Le livre du Roi Modus et de la Reine Ratio. New York, Pierpont Morgan Library, Ms M.820, fol. 12. manuscript illumination. Three well-dressed, mounted hunters blow curved horns. (Treasures from the Pierpont Morgan Library. 15th Anniversary Exhibition, 1957. no. 31, pl. 25 [color], as ca. 1430-1440; MgB III/8, p. 89, as ca. 1450-1490; Connoisseur 140 (1970) 107, as ca. 1460)
[Ms Vienna OeNB S.n. 12,735] French (Paris), between 1467-1477). Bas-de-page hunt (main illumination: Crucifixion of St. Andrew), from a Breviary. Vienna OeNB, Ms S.n. 12,735, fol. 311v. manuscript illumination. A mounted hunter and a page have curved horns (the page's is not quite as fancy). (O. Pächt and D. Thoss. Die illuminierten Handschriften und Inkunabeln der OeNB. Reihe I, Bd. 1: Französische Schule I. Vienna 1974. Abb. 355)
[Iv Florence Bargello] French (Burgundian), ca. 1465. Scenes of Courtly Life. Florence, Museo Nazionale Bargello. ivory trictrac and chessboard with intaglia and intarsia: trictrac side. Figures include three hunters with curved horns. The figures seem to be emblematic of the Children of the Planets, where the hunt is emblematic of the Children of Jupiter. (H. Brown and J. Lascell. Musical Iconography: A Manual for Cataloguing... Cambridge MA 1972. p. 146)
[Pa Rochechouart] French, 15th century (restored). Hunting scenes. Rochechouart, Chateau. Include a departure for the hunt with two mounted hunters with curved horns, and a curée with a hunter on foot with a curved horn. (Fogg. 375.F915.90[b]1 and 90 [b]5)
Watchmen: [Ms Chantilly Condé fr. 1363] French, ca. 1460-70. Watchman in a tower, from Vincent de Beauvais, Le miroir historial. Chantilly, Musée Condé, Ms. fr. 1363, fol. 8. manuscript illumination. The watchman blows a curved horn. (MgBIII/8, p. 139)
Other: [Ta Saumur Nôtre Dame de Nantilly] N. France, second half, 15th century. The Savages Ball. Saumur, Nôtre Dame de Nantilly. tapestry. The dancers are accompanied by musicians playing two spirally ribbed, looped animal horns; two shawms; and a straight trumpet. (130 Chefs d'oeuvre de l'art français ... Paris 1937. pl. 31. As from Bords de la Loire (local manufacture), ca. 1500; F. Boucher. 20,000 Years of Fashion. New York n.d. p. 51 [ok reproduction], as mid-15th century; Lesure (English text) pl. 54 [color detail], pl. 55; (German text) pl. 61 [color detail], pl. 62, as second half, 15th century; R. A. Weigert. French Tapestry. Newton, MA, 1962. pl. XIX [fair reproduction]; M. Jarry. World Tapestry. New York 1969. p. 94 [fair reproduction])
Musicians: [Ms Paris BN fr. 22,532] French, 15th century. Musicians, from Barthélemy de Glanville, Livre des propriétés/propriétez des choses, translated by Jean Corbichon. Paris BN, Ms fr. 22,532, fol. 336. manuscript illumination. Musicians play a great number of instruments, including a curved horn. (exh Paris BN, 1934: La musique française du moyen âge à la Revolution. opp. p. 32; Bowles, Pratique, pl. 1, has something to do with number symbolism; Early Music 2 [1974] 221, as Jehan de Nizières [author? artist?], having to do with music and measure; Imago musicale 4 [1987] 37 [lots of text])
Esau: [BI Cologne ca.1478] Anon. Jacob Receiving Isaac's Blessing, from the Cologne Bible. Cologne, Heinrich Quentell, ca. 1478. woodcut. In the background Esau, with bow and arrow, blows a curved horn. (IB vol. 82, no. 1478/164, p. 34)
Jericho: [BI Augsburg ca.1475] Anon. The Fall of Jericho, from a Bible. Augsburg, Jodocus Pflanzmann, ca.1475. woodcut. Seven heralds blow little, curved horns. (IB vol. 80, no. 1475/379, p. 363)
[BI Cologne ca.1478] Anon. The Battle of Jericho, from the Cologne Bible. Cologne, Heinrich Quentel, ca.1478. woodcut. Two curved horns are visible behind the ark. Not one of the best illustrations. (IB vol. 82, no. 1478/208, p. 56; Naylor Trumpet and Trombone. no. 3)
Moses/Moses and Aron: [BI Cologne ca.1478] Anon. Moses and a Trumpeter [Aaron], [Numbers 10.21], from the Cologne Bible. Cologne, Heinrich Quentel, ca.1478. woodcut. Moses and Aaron have long, curved oliphants. Moses, his hair done up to resemble two horns, leans on his, Aaron plays his. (IB vol. 82, no. 1478/198, p. 51; Naylor Trumpet and Trombone. no. 2)
Other: [BI Cologne ca.1478] Anon. Eleazar's Battle in the Barley Field, from the Cologne Bible. Cologne, Heinrich Quentell, ca.1478. woodcut. A figure blows an oliphant. (IB vol. 82, no. 1478/234, p. 69)
Apocalypse -- Trumpeters: [BI Cologne ca.1478] The Seven Trumpets [Revelation 8,2], from the Cologne Bible. Cologne, Heinrich Quentell, ca.1478. woodcut. Three angels blow oliphants. Another receives one from God, who holds two more. (IB vol. 82, no. 1478/264, p. 84) "Et vidi septem angelos stantes in conspectu Dei; et datae sunt illis septem tubae."
Herod, Feast of: [Pa Crailsheim Stadtkirche] German (Master of the Crailsheim Altar), op. second half, 15th century. Salome receiving the head of John the Baptist, with Feast of Herod. Crailsheim, Stadtkirche. Musicians play shawm and cornett (fingered horn). (Stange IX, no. 244)
[Meckenem Pr] Meckenem, Israhel van (ca. 1440-1503). Ball, with the Beheading of John the Baptist in the Background. engraving. The musicians accompanying the dancers play a fat fingered horn, a sort of trombone/slide trumpet, and a pipe and tabor. (IB vol. 9, no. 9, pp. 18-19; S. Beck and E. E. Roth. Music in Prints. New York 1965. no. 1; Kinsky p. 55 [fair detail]; Komma p. 72; Lehrs no. 680; van Marle Iconographie I, p. 89; H. Winter. Das Bürgerhaus zwischen Rhein, Main und Neckar. Tübingen 1961. [Das deutsche Bürgerhaus, III] pl. 18, as ca. 1500; MgB III/8, p. 57; MGG XIII, Taf. 7; Naylor Trumpet and Trombone. no. 15; exh. Cologne, Kunsthalle, 1970: Herbst des Mittelalters. Spätgotik in Köln und am Niederrhein. cat. no. 360, fig. 114; Musica calendar, 1973: 24 June-27 July [fine reproduction]; sale, Sotheby's, London, 12.XI.1959, no. 63. Text suggests that the musicians are apparently the Münster town musicians, ca. 1480)
Last Judgement: See also Literary and Historical Subjects/Figures, Other.
[Fresco Trier Dom] German, after 1450. Last Judgement. Trier, Dom, Savignykapelle. fresco. Includes a devil sitting on the mouth of Hell playing a long, curved horn (and sitting on the horn is a smaller devil playing a bagpipe). (Die Kunstdenkmäler der Rheinprovinz XIII/1: Trier (Dom). Düsseldorf 1931. p. 211)
[Fr ex Wetzlar Dom] German, 15th century. Last Judgement. ex Wetzlar, Dom (destroyed in WW II). fresco. Two angels play upward-pointing oliphants. (Jahrbuch der rhenischen Denkmalpflege 24 [1962] 155)
Nativity: See also German, 14th- 15th-century.
[Pa Budapest SM] Austrian (Meister des Friedrich-Altars), op. ca. 1420-ca.1450.Nativity, from an Altarpiece. Budapest SM. Includes a shepherd holding a curved horn with a ribbed outline. (1954 catalog, fig. 264 [poor reproduction], as ca. 1430; F. Dworschak and H. Kühnel, eds. Die Gotik in Niederösterreich. Wien 1963. Abb. 8, after p. 88. as ca. 1435; Stange XI, no. 61, as Meister der Friedrich-Altars, ca. 1420, with Bohemian influence)
[Pa Iserlohn St Marien] Anon. (Westphalian) ("Meister des Iserlohner Marienlebens") [mid-15th century]. Nativity. Iserlohn, St. Marien. Includes, in the background, the Annunciation to the Shepherds, with a shepherd with a curved horn. (Stange VI, no. 15)
[Schongauer Pr] Schongauer, Martin (1420-1488). Nativity. engraving. A shepherd clutches a reverse-curve horn. (Three angels sing.) This is an immensely influential print. Many German 15th-century paintings of the Nativity with a shepherd clutching a horn are derived from it. (IB vol. 8, no. 4, p. 217 [worn impression]; Lehrs no. 361; Aachener Kunstblätter 46 [1975] 157)
[Schongauer-Wenzel Pr] _______. woodcut (?) copy by Wenzel von Olmütz (doc.1481-1497). (IB vol. 9, no. 3, p. 276)
[Schongauer Workshop Pa] _______, Assistant. Nativity. ex Strasbourg, Museum (destroyed by fire in 1947). One of the shepherds clutches a tiny horn. (Stange VII, no. 35)
Nativity -- Annunciation to the Shepherds: See also Nativity.
Friedrich von Villach, Workshop or Follower. See 14th- 15th-century section.
Passion -- Crucifixion: [Pa Hallstatt] Austrian (Oberösterreich), ca. 1450? Crucifixion. Hallstatt. Figures include a Jew (?) with a little curved horn. There is also a handsome, aristocratic youth beside the cross with a recorder. (Stange XI, no. 225) [Master of 1446 Pr] Master of 1446 (Oberrhein -- Basel?). The Raising of the Cross. engraving. Includes two figures blowing curved horns. (Lehrs no. 40)
Passion -- Mocking/Flagellation of Christ: [Pa Assling St Korbinian im Thal] Austrian (Meister von St. Sigmund), ca. 1430. The Mocking of Christ. Assling (Osttirol), Kirche St. Korbinian im Thal. One of the mockers blows a curved horn. Another blows a straight (wooden?) horn. (Salmen Katalog. p. 26)
[Pa Hannover LG] German (Niedersachsen), ca. 1460-1480. Christ Crowned with Thorns. Hannover, Niedersächsische Landesgalerie/Landesmuseum. Includes a figure blowing a short, fat horn in Christ's ear. (J. H. Marrow. Passion Iconography ... Kortrijk 1971. fig. 104)
[Pa Lyons MBA] German, 15th century. Christ Crowned with Thorns, from a Polyptych. Lyons MBA. Includes a figure with a curved horn. (Bulletin des Musées et Monuments Lyonnais 4, no. 2 [1968] 101)
Passion -- Via Dolorosa: [Master of 1446 Pr] Master of 1446 (Oberrhein [Basel?]). Via dolorosa. engraving. Includes a figure blowing a curved horn. (Lehrs no. 39)
Gabriel/Mystic Hunt of the Unicorn: [Pr Anon] [German (Cologne)], 15th century. The Mystic Hunt of the Unicorn. niello print. Gabriel has a curved horn. (W. Molsdorf. Die Bedeutung Kölns für den Metallschnitt des XV. Jahrhunderts. Strasbourg 1909 [SdK 114] pl. 15, after H. Bourchot. Les 200 incunables xylographiques de la Bibliothèque Nationale de Paris, no. 145)
[Pa Buhl St. Jean-Baptiste] [Swiss?], 15th century. The Mystic Hunt of the Unicorn (right wing, outer, upper half -- of a Triptych). Buhl, Église St. Jean-Baptiste. Gabriel has a curved horn. (Inventaire générale des monuments et de richesses artistiques de la France. Commission regional d d'Alsace. Haut-Rhin: Canton Guebwiller. Paris 1972. p. 37, 42 [nice color reproduction])
[Pa Erfurt Dom] German (Thüringen?), ca. 1479/80. Mystic Hunt of the Unicorn. Erfurt, Dom. Gabriel blows a curved horn or oliphant. He carries a lance and has a dog on a leash, and is labelled "Gabriel." (Die Kunstdenkmäler der Provinz Sachsen, I: Die Stadt Erfurt. Burg 1929. p. 268)
[Wsc Berlin SM SPK] German (Altmärkisch), second half, 15th century. Mystic Hunt of the Unicorn. Berlin, Staatliche Museen, Stiftung Preussischer Kulturbesitz. high relief wood plaque. Gabriel blows a curved horn. (Berlin, Staatliche Museen. Deutsche Bildwerke aus 7 Jahrhunderte. Berlin 1958. cat. no. 31, fig. 72)
[Master D Pr] Monogrammist D [Gothic lower-case d) (Niederrhein, op. 1450-1465). Mystic Hunt of the Unicorn. engraving. Gabriel blows a curved horn. (Hollstein XII, p. 137 [poor reproduction]; A. M. Hind. An Introduction to a History of Woodcut. New York 1935, R/New York 1963. p. 177. As The Mystery of the Incarnation. As Niederrhein [Cologne?], Master D [gothic D])
[Schongauer Pa] Schongauer, Martin (1420-1488). St. Justina and the Unicorn. Colmar, Musée d'Unterlinden. Includes a hunter with a curved horn. (Musée d'Unterlinden. Das Unterlinden Museum zu Colmar. Colmar 1955. pl. VI; G. Merz et al. Trésors des Musées de Province, II. Paris 1957-64. unnumbered pl.; van Marle Iconographie II, pp. 447-8, notes that you can tell it is St. Justine/Justina by the ermine skin.)
Other: [Ms Munich BsB lat. 18077] Brother Antonius von Tegernsee. Defensorum inviolatae beatae virginis (1459). Munich BsB Ms lat. 18077. manuscript illumination. Apparently just one figure, a shepherd with a curved horn, and his flock. (B. Riehl. Studien zur Geschichte der bayerischen Malerei des 15. Jahrhunderts. Munich 1895. Abb. 24)
[Master Pollinger Tafeln Pa] Meister der Pollinger Tafeln (op. 1439-1450). The Finding of the Cross by Duke Tassilo. Munich AP (ex Schleissheim, ex Kolster Polling). Includes a cavalcade with a mounted hunter blowing a curved horn. (E. Buchner. Malerei der deutschen Spätgotik [in München AP]. Munich 1960. pl. 33; H. T. Musper. Gotische Malerei nördlich der Alpen. Köln 1961. Abb. 88 [poor reproduction]; Stange X, no. 97 [small reproduction] Notes is one of a pair of wings for an altar in Kloster Polling, the central panels dated 1444 the wings later, ca. 1450; =? Die Weltkunst 53 [1983] 1796 [minuscule reproduction]) From the "Tassilo Legende." (O/EB)
St. Cornelius: [Meckenem Pr] Meckenem, Israhel van (ca. 1440-1503). Four Saints, from a series of saints. engraving. St. Cornelius holds a curved horn. It seems to have a mouthpiece and seems to represent a musical horn, not an animal horn. (IB vol. 9, no. 114, p. 113)
St. Hubert/Eustache: [Anon. Pr] German, ca. 1479 ("Meister mit den Wolkengründen"). St. Eustache. metal cut. The saint has a curved horn suspended at his waist. Clear illustration. (Die graphische Sammlung des Germanischen Nationalmuseums. Nuremberg 1938. [Bilderbücher, 5], pl. 31)
[Pa Hannover LM] [German, 15th century?] St. Hubert, wing of a retable from Reinhaufen. Hannover LM. The saint has a fat, curved, horn (?) horn. (J. Braun. Tracht und Attribute der Heiligen in der deutschen Kunst. Stuttgart 1943. col. 342) [Pa London NG] German (Cologne, Workshop of the Master of the Life of the Virgin), ca.1480-85. St. Hubert. London NG. The saint carries a pretty little curved horn with an elaborate strap at his waist. (The National Gallery. Complete Illustrated Catalogue. Ed. C. Baker and T. Henry. London, New Haven, 1995.p. 432 [small color reproduction], as probably ca.1480-85. From the Abbey at Werden, suppressed in 1803; Stange V, no. 45; A Few Saints from Pictures in the National Gallery. London 1946. pl. XVIII; H. Reiners. Die Kölner Malerschule. Mönchen Gladbach 1925, w/ loc. Edinburg NG, p. not recorded)
[Meckenem Pr] Meckenem, Israhel van (ca. 1440-1503). A plate of Goldsmith's Designs, no. 2: St. Hubert. engraving. The saint has a curved horn. unimp. (Lehrs no. 647)
Other: [Pa Pipping] German (Oberbayern), ca. 1478/80. Scene from the life of St. Wolfgang: ein Jäger fordert den Heiligen auf, auf den Regensburger Bischofsstuhl zurückzukehren. Pipping, Kirche. The hunter, with two dogs on a leash, carries a small curved horn (made from an animal horn?) from a large strap. He is a figure of almost equal prominence with the Saint. (Stange X, no. 122 [ok reproduction]; U. Pfistermeister. Rund um München, III (SW). Nuremberg 1967. [Verborgene Kostbarkeiten, 6] p. 63. As by Jan Polack?)
Muses: [Wolgemut Pr] Wolgemut, Michael (1434-1519). Calliope, from a series of Muses. woodcut. She has a huge oliphant. (Nürnberg GNM Anzeiger 1954-59, p. 54)
See also Scenes of Everyday Life, Watchmen.
[BI Augsburg 1471] Anon. Goeffrey Calling the Retinue of the Slain Cerant [sic] of Garande, from Melusine. Augsburg, Johann Bämler, 1474. woodcut. Geoffrey blows a curved horn. (IB vol. 80, no. 1474/81, p. 218)
[BI Augsburg 1477] Anon. The Third Sounding Dispatches the Cursed to the Eternal Fire, from Buch der Kunst, dadurch der weltliche Mensch mag geistlich werden. Augsburg, Johann Bämler, 1477. woodcut. A devil on the ramparts of the inferno/Hell, blows a curved horn. (IB vol. 81, no. 1477/22, p.231)
[BI Basel ca.1476] Anon. Geoffrey Calling the Retinue of the Slain Giant of Granade, from Von einer Frowen genant Melusina. Basel, Bernhard Richel, ca. 1476. woodcut. Geoffrey blows a reverse-curve horn. Rather like a hunter (although in full armor) over his prey. (IB vol. 81, no. 1476/349, p.79)
[BI Strasbourg ca.1478] Anon. Geoffrey Calling the Retinue of the Slain Giant of Granade, from Von einer Frowen genant Melusina. Transl. Thuring de Ringoltingen, from the French poetical version of Couldrette. Strasbourg, Heinrich Knoblochtzer, ca. 1478. woodcut. Geoffrey has a curvy horn. (IB vol. 82, no. 1478/326, p. 103)
[BI Ulm ca.1475] Anon. Die viij fabel von den hasen vnd fröschen, from the Buch und Leben des hochberühmten Fabeldichters Aesopi. Ulm, Johannes Zainer, ca.1475. woodcut. Includes a hunter blowing a curved horn. (R. Muther. German Book Illustration ... Transl. R. R. Shaw. Metuchen NJ 1972. pl. 44)
[BI Ulm ca.1476/77] Anon. The Parable of the Hares and the Frogs, from Aesop. Fabulae et vita ... Ulm, Johannes Zainer [ca. 1476/77], fol. 50. woodcut. Includes a hunter blowing a curved horn. A copy of the woodcut of the ca.1475 edition. (IB vol. 81, no. 1476/923, p. 201)
[BI Ulm ca.1476/77] _______. The Parable of the Hunter and the Stag, from Aesop. Fabulae et vita ... Ulm, Johannes Zainer [ca. 1476/77], fol. 61. woodcut. The hunter blows a curved horn. (IB vol. 81, no. 1476/942, p. 204)
See also Scenes of Everyday Life -- Outdoor, Hunts.
Alphabets: [Pr Anon.] German, 1464. "R" (Ringen mit Rundschild). woodcut. The figures include a player of a curved horn (the group leader of a pilgrimage to Echternach?). (W. Bühler. Aus der ABC - Stube der Kultur. Holzschnitt von 1464 ... Sprechendes Alphabet. Strasbourg 1933. [SdK, 290] pl. IV)
[Master E.S. Pr] Master E.S. (fl. ca.1450-1467). "X," from an illustrated alphabet (1499). engraving. Minstrels play oliphant, psaltery, bladder pipe and handbells. Clearly derived from Giovanni de' Grassi. (exh Philadelphia, Museum of Art: Master E.S. -- Five Hundredth Anniversity Exhibition. Ed. A. Shestack. no. 75. This entry has very good text and bibliography, but does not suggest what the X stands for. Dates as 1466-67.; W. Bühler. Kupferstich Alphabet des Meister ES. Neuste illustrierte Welt-Chronik für 1499. Strasbourg 1934. [SdK, 301], pl. XX. Suggests Xylophon, Xymbel. I say how about Exorzismus?; Lehrs no. 303)
Dance of Death: [Pr Anon.] Swiss (Basel), ca. 1465. Tod und der Jurist, from a block-book. Basel, ca. 1465. woodcut. Death carries a curved horn from a strap. (Hammerstein Tanz. whole set Abb. 100-123)
[Pr Anon.] _______. Tod und der Chorherr. Death plays a curved horn. (Hammerstein Tanz. whole set Abb. 100-123)
[Pr Anon.] [German? ca. 1450?] Death and the Lawyer, from a Totentanz. woodcut block book. Death has a curved horn (Justice?) hanging from a strap. (A. M. Hind. An Introduction to a History of Woodcut. New York 1935, R/New York 1963. p. 251)
Hunts (allegorical): [Ta Basel HM] Swiss (Basel), ca.1468. Wildman Hunting a Stag. Basel, Historisches Museum Inv. 1981.88. tapestry. Two fragments. The hunting wildman at the left has a lance, a dog, and a curved horn hanging from a fancy strap. The one at the right has a club, a dog, and a curved horn hanging from a similar strap. (A. Rapp Buri and M. Stucky-Schürer. zahm und wild. Basler und Strassburger Bildteppiche des 15. Jahrhunderts. Mainz 1990. cat. no. 19, pp. 53 [splendid color detail of the hunter at the left], 158-9 [color reproduction of both fragments]; Gazette des Beaux-Arts 99 [March 1982] La chronique des arts no. 1358, p. 77 [small reproduction] [the hunter at the left], as Basel, ca. 1475; Die Weltkunst 60 [1990] 2341 [color detail of the hunter at the right]; sale Sotheby's London 10.IV.1981)
German, 1468-88. Wildleute auf der Jagd. Sale, Sotheby's 10.IV.81. One of the hunters (a wild man) has a curved horn suspended from a huge strap. (Apollo 114 [1981]140 [small reproduction]; Die Weltkunst 51 [1981] 843 [ok])
[Ta private collection] Swiss (Basel), ca.1470/80. Wildmen Hunting a Stag. private collection. tapestry. Includes a wildman with a lance, a curved horn hanging from a large strap. Not one of the best. (A. Rapp Buri and M. Stucky-Schürer. zahm und wild. Basler und Strassburger Bildteppiche des 15. Jahrhunderts. Mainz 1990. cat. no. 25, p. 176 [color reproduction])
[Wsc Paris Louvre] German, 15th century. Unicorn Hunt. Paris Louvre. wooden coffer, low relief. The hunter hunting the unicorn blows (?) a curved horn. unimp. (van Marle, Iconographie, II, p. 440)
Months/Zodiac: [Seregno Fr] Cristoforo and Nicolas da Seregno. March, from a series of personifications of the Months (1459). Mesocco, Graubünden, S.M. del Castello. fresco. Personification with one or two horns? (P. L. Ganz. Die Malerei des Mittelalters und des XVI. Jahrhunderts in der Schweiz. Basel 1950. [Schweizer Kunst, 5] p. 107 [cropped])
Planets: [Ms Tübingen UB M.d.2] S. German, before 1450. The Children of Moon, from an astrological-medical manuscript. Tübingen, Universitätsbibliothek, Ms M.d.2. manuscript illumination. The personification leans against a wagon wheel and holds a torch and a curved hunting horn. (Hauber Planetenkinderbilder. Abb. 47, as Ulm, 1404; A. Hauber, "Eine astrologisch-medizinische Kalenderhandschrift der Universitätsbibliothek Tübingen," Mitteilungen zur Geschichte der Medizin und der Naturwissenschaften 13 [1914] 8-13)
[Ms Tübingen UB M.d.2] _______. Luna. She holds a large curved horn and a huge torch. (Hauber Planetenkinderbilder. Abb. 11)
[Ms Tübingen UB M.d.2] _______. The Children of Jupiter. Includes a little hunting party. One of the hunters has a barely visible curved horn hanging from a strap. (Hauber Planetenkinderbilder. Abb. 24)
[Ms Ulm Schermar Libri Med. 8] Bavarian, with connections to Ulm. Manuscript written 1410-1440, illustrations perhaps from the 1430's. The Children of Moon. Ulm, Schermar Bibliothek, Ms Libri Med. 8. manuscript illumination. The personification holds a torch and a curved horn. The illustrations in this manuscript look very much related to those in the Basel block-book Children of the Planets of ca. 1470-75. (Hauber Planetenkinderbilder. Abb. 48)
[Pr Anon.] Swabian?, ca. 1470 (copy of a ca. 1460 Netherlands woodcut). The Children of Jupiter, from a Seven Planets series. woodcut. Among the figures there is a mounted hunter with a falcon and a small curved horn hung at the back of his waist. (Lippmann C.II)
[Pr Anon.] _______. The Children of Moon. The personification holds a curved horn in one hand and a torch in the other. (Lippmann C.VII)
[Housebook Dr] Master of the Housebooks (op. Mainz, Heidelburg, last quarter or last third, 15th century). The Children of Jupiter, from the Housebook, fol. 12a. Schloss Wolfegg, Waldsee, Coll. Fürst von Waldburg. drawing. One of the "children" is a hunter on foot with dogs and a lance, pursuing a stag, blowing a curved horn. (A. Stange. Der Hausbuchmeister. Strasbourg 1958. [SdK, 316], p. not recorded; Christoph Graf zu Waldburg Wolfegg. Venus and Mars. The World of the Medieval Housebook. Munich, New York 1998. p. 31 [fine color reproduction]; Johannes Graf Waldburg-Wolfegg. Das mittelalterliche Hausbuch. Munich 1959. Abb. 14; J. P. Filedt Kok, comp. The Master of the Amsterdam Cabinet, or, the Housebook Master, ca.1470-1500. Princeton 1985. [=exh Amsterdam 1985] no. 117, p. 222)
Playing Cards: [Meister der Weibermacht Pr] Meister der Weibermacht, op. mid-15th century. "Wilden-Drei," from a pack of playing cards. engraving. One of the wild men blows a curved horn or oliphant. (M. Geisberg. Das Kupferstich-Kartenspiel der K. u. K. Hofbibliothek zu Wien aus der Mitte des XV. Jahrhunderts. Strasbourg 1918. [SdK, 205], pl. 3. Probably based on a lost engraving by the "Spielkartenmeister.") The same fellow is also among the figures of the "Wilden-Sieben. (ibid. pl. 7)
[Master E.S. School Pr] School of Master E.S. (fl. ca.1450-1467). The "Twos" of a set of playing cards: "Jeger" (with the arms of the King of France) (unicum in Vienna KH, Ambraser- Sammlung). The hunter has a curved (reverse-curved?) horn hanging at his waist from a heavy strap. He carries a lance and has two hounds on a leash. (Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses2 [1884] 105)
Other: See also Miscellaneous Religious Subjects, Other
[Hochhausen Notburga Pa] German, 15th century. The Arms of Hornbeck von Hornberg. Hochhausen, Notburga-Kirche, predella of the high altar. Includes a deeply curved horn with a looped strap. (Die Kunstdenkmäler des Grossherzogthums Baden, IV/4: Kreis Mosbach. Tübingen 1906. pl. III)
Battles: See also Old Testament, Other.
Hunts and Hunters: See also Miscellaneous Religious Subjects, Gabriel/Mystic Hunt of the Unicorn; Miscellaneous Religious Subjects, Other; Literary and Historical Subjects/Figures; Allegory, Hunts (allegorical); Miscellaneous Figures, Wildmen.
[BI Cologne ca.1478] Anon. (Niedersachsen). First text page from the Cologne Bible. Cologne, Heinrich Quentell, ca. 1478. woodcut. Haute-de-page hunt with a hunter blowing a small, curved horn. (IB vol. 82, no. 1478/154, p. 28)
[Housebook Master Pr] Master of the Housebooks (op. Mainz, Heidelburg, last quarter or last third, 15th century). Hunt. drypoint engraving. Includes a huntsman blowing a tiny curved horn and restraining a dog on a leash. (A. Stange. Der Hausbuchmeister. Strasbourg 1958. [SdK, 316] no. 67, p. 74; P. J. Filedt Kok, ed. The Master of the Amsterdam Cabinet, or the Housebook Master, ca.1470-1500. Princeton 1985. [=exh Amsterdam 1985] no.67, p. 165 [fine reproduction]; J. C. Hutchison. The Master of the Housebook. New York 1972. p. 140; Bulletin of the Detroit Institute of Arts 67/1 [1992] 40)
[Meckenem Pr] Meckenem, Israhel van (ca. 1440-m. 1503). Ornament with a Hunter being Roasted by Hares. engraving. The hunter has a curved horn dangling from a strap. (IB vol. 9, no. 204, p. 103; Hollstein [German] vol. 24A, no. 603, p.
[Meckenem Pr] _______. Sheet of Figures, Including a Wildman Couple and a Hunter blowing a Horn. engraving. The hunter blows a curved horn (Lehrs no. 460)
Tournaments: [Ms Vienna OeNB 1886] Austrian? ca. 1467. "Turnay," from Heinrich von Neustadt (fl.1312), Apollonius von Tyrland. Vienna OeNB, cod. 1886, fol. 82v. manuscript drawing. A joust outside the city walls. The figures include a fool with a hooked horn. (exh Krems-Stein, 1959: Die Gotik in Niederoesterreich ... 2d ed. cat. no. 366, Abb. 33; Salmen Katalog. p. 23)
[Housebook Master Dr] Master of the Housebooks (op. Mainz, Heidelburg, last quarter or last third, 15th century). Joust (Preparation for the Tournament), from the Housebook, fol. 20v-21r. Schloss Wolfegg, Waldsee, Coll. Fürst von Waldburg. Includes a figure with a tiny curved horn hung from a strap. (He's in the lower left corner of fol. 21r.) There is also a mounted trumpeter and a jester on horseback with a pipe and tabor. (Christoph Graf zu Waldburg Wolfegg. Venus and Mars. The World of the Medieval Housebook. Munich, New York 1998. pp. 52-53 [fine color reproduction, but across page crease]; Johannes Graf Waldburg-Wolfegg. Das mittelalterliche Hausbuch. Munich 1959. Abb. 24-25; van Marle Iconographie I, p. 149 [ok reproduction]; P. J. Filedt Kok, ed. The Master of the Amsterdam Cabinet, or the Housebook Master, ca.1470-1500. Princeton 1985. [=exh Amsterdam 1985] no. 117, p. 226 [fine color reproduction])
Watchmen: See also New Testament, Last Judgement; Literary and Historical Subjects/Figures.
[Ta Wartburg] SE German (Austrian), ca. 1460. Erstürmung der Minneburg durch die wilden Männer. [Eisenach], Die Wartburg, Kunstsammlung. tapestry. Figures include a towerman with a horn. (Bau- und Kunst-Denkmäler Thüringens XLI [III/2]: Die Wartburg. Jena 1917. opp. p. 269)
Balls: See also New Testament, Herod, Feast of.
Devils: See also New Testament, Last Judgement; Literary and Historical Subjects/Figures.
Fools: [Meckenem Pr] Meckenem, Israhel van (ca. 1440-1403). A Dancing Fool Playing a Jawbone "Fiddle." engraving. A curved horn and a spoon (?) dangle from the jawbone. There is a recorder on the ground at his feet. (IB vol. 23, no. 13, p. 95)
Fountain Figures: [Housebook Master Dr] Master of the Housebooks (op. Mainz, Heidelburg, last quarter or last third, 15th century). The Bathhouse, from the Housebook. fol. 19a. Schloss Wolfegg, Waldsee, Coll. Fürst von Waldburg. The fountain in the adjoining garden has a knight on top, the water emerging from the curved horn he is blowing. (Christoph Graf zu Waldburg Wolfegg. Venus and Mars. The World of the Medieval Housebook. Munich, New York 1998. pp. 46-47 [splendid color reproduction, but across the page crease]; Johannes Graf Waldburg-Wolfegg. Das mittelalterliche Hausbuch. Munich 1959. Abb. 20-21; P. J. Filedt Kok, ed. The Master of the Amsterdam Cabinet, or the Housebook Master, ca.1470-1500. Princeton 1985. [=exh Amsterdam 1985] no. 117, p. 241)
Wildmen: See also Allegory, Hunts (allegorical); Allegory, Playing Cards.
Last Judgement: [Ms Burgo de Osma Cathedral] Anon., 15th century. Last Judgement, from the Fortalitium fidei of Maestro Spina. Burgo de Osma, Cathedral. manuscript illumination. One of the angels plays a huge oliphant. (Domínguez Bordona, J. Miniatura ... Madrid 1962. [Ars hispaniae, 18] fig. 264)
[Martorell Pa] Martorell, Bernat (op.1427-1452). Last Judgement, from an altar of St. Michael (ca. 1440). Tarrasa, S. Maria. Two angels blow reverse-cuvre oliphants/trumpets (well, one of them is even curvier than that). The horns are really quite impressive, their bells poking close to those who are being called to Judgement. (G. Richert. Mittelalterliche Malerei in Spanien. Berlin 1925. p. not recorded)
Passion -- Taking of Christ: [Gallego Pa] Gallego, Fernando (op. 1466-1507). The Taking of Christ, from a Retable of Ciudad Rodrigo (1480-1488). Tucson, University of Arizona (ex Kress). A figure blows a large, reverse-curve horn. (R. M. Quinn. Fernando Gallego and the Retable of Ciudad Rodrigo. Tucson 1961. p. 79, pl. XVI)
Passion -- Via dolorosa: See also Italian (Dello di Niccolo Delli).
[Pa Burgos MP] Catalan, 15th century. Via dolorosa. Burgos, Museo Provincial. A figure blows a curved horn or oliphant. (J. A. Gaya Nuño. Burgos. Barcelona 1949. [Guias Artisticas de España] p. 177 [poor reproduction] Calls it a "sargas castellanas.")
[Bermejo School Pa] Bermejo, Bartolomé (op. 1470?-1495), School of? (last quarter, 15th century). Via dolorosa, from a Retable of St. Thomas. Daroca, Museo Parroquial. A figure blows a little straight (conical) horn. (F. Abbad Rios. Zaragoza. Madrid 1957. [Catalogo monumental de España] fig. 1262)
[Burgos Master Pa] Burgos Master (15th century?). Via dolorosa. Burgos, Cathedral. The group is led by a player of a large, curved, metal (?) horn (partly visible at the right margin). unimp. In rather poor condition. (Post IV/1, p. 203)
[Master Dancart Pa] Master Dancart (Netherlands, m. ca.1487), et al. Via dolorosa/Christ Carrying the Cross. Seville, Cathedral. wood. A figure in elaborate military (?) costume (there are only five figures in all), blows a little looped horn (conical bore, no bell flare, big mouthpiece). He's a bit amusing for such a scene. A good candidate for one of the earliest bugles. (Vis. Coll. 276.D195.20[a]16; photo Mas 81420C)
Passion -- Other: See also Saints, St. Gregory.
[Pa Muntadas] Catalan, 15th century (second quarter, 15th century?). Christ with Symbols of the Passion. coll. Muntadas. predella panel. Symbols include a reverse-curve horn. (La Colección Muntadas ... Barcelona 1931. no. 126, pl. 29 [Harvard Fine Arts Library copy has pencilled note "Martorell"])
[Master St. George School Pa] School of the Master of St. George (Catalan, op. ca. 1430-ca.1440). Christ with Symbols of the Passion. Coll. Muntadas. Center panel of a predella. Symbols include a small, curved horn. (Post IV/2, p.555 [minuscule reproduction of the entire predella])
St. Gregory: [Lanaja Master Pa] Lanaja Master (op. ca. 1425-ca.1445). The Mass of St. Gregory, from a Retable. French & Co., New York (1941). Among the objects in the Saint's vision -- of Christ with the instruments of the Passion -- is a curved horn hanging from a pole. (Post VIII/2, p. 667 [small reproduction of the entire retable])
Hunts: [Ms Madrid Biblioteca del Palacio] Anon. 15th century. Cavalcade of hunters, from Libro de la Montería. Madrid, Biblioteca del Palacio. manuscript illumination. At least nine hunters have curved horns. At least several of the horns have four or more rings or bosses around the tube. (J. Domínguez Bordona. Miniatura ... Madrid 1962. [Ars hispaniae, 18] fig. 258)
Angels: [Sc Toledo Cathedral] Anon. 15th century. Angels. Toledo, Cathedral, S. Portal. sculpture. One plays a curved horn (out of the side of the mouth with a sort of double-reed embouchure). (W. Stauder. Alte Musikinstrumente. Braunschweig 1973. p. 129)
Grotesques: [Wsc Barcelona Cathedral] Bonafé, Matias, Miguel Loquer, et al. Grotesque (half man, half goat?) playing an oliphant. Barcelona, Cathedral, choir stalls, misericord. wood relief. The hands are sort of in "finger position." (Vis. Coll. 276.B641.7C[a]27)
Solomon and Sheba: [Cassone Master cassone] Cassone Master (Marco del Buono, 1402-1489?). The Meeting of Solomon and the Queen of Sheba. Coll. Lord Crawford, London (1915). Figures in the background include a hunter blowing a long, curved horn. (Schubring no. 197, pl. XLII, as ca. 1460; van Marle X [1928] 565 [useless reproduction]; Vis. Coll. 372.C 276.12S1) The horn is extremely rare on cassone, which is odd considering its prominence in love allegories.
Apocalypse -- Trumpeters: [Francesco d'Arezzo Fr] Francesco d'Arezzo (doc. 1432), ex attr. Scenes from the Apocalypse (1435). Galatina, Sta. Caterina. fresco. An angel plays an enormous ribbed horn, tooting out of what looks like a reliquary or a dormer. (van Marle IX [1927] 570)
Nativity: [Filippo Lippi Pa] Lippi, Filippo (ca.1406-1469). Nativity/Adoration of the Child, with Saints. Prato, Galleria Communale (ex Chiesa S. Domenico). Figures incude young shepherds with a bagpipe and a rather large, slender, curved horn. (G. Marchini. Filippo Lippi. Milan 1975. fig. 159, fig. 160, [splendid color detail], as a late work, "con larga parte di scuola"; van Marle X [1928] p. 447, as Filippo Lippi and assistant, perhaps Fra Diamante; R. Oertel. Fra Filippo Lippi. Vienna 1942. fig. 111, as with assistants, after 1460; M. Pittaluga. Fillipo Lippi. Firenze 1949. fig. 168. as Fra Filippo and Fra Diamante; Vis. Coll. 372.L6641.22N)
Passion -- Mocking/Flagellation of Christ: [Pr Florentine] Florentine, ca. 1470-90. The Mocking of Christ. engraving. Includes a figure blowing a slightly curved trumpet or horn. (Hind Early Italian Engraving. B.I.8,II?. pl. 180)
[Angelico assistant Pa] Angelico, Fra (between ca.1395/1400-1455), assistant. Homo Pietatis. Florence, San Marco, Dormitory Cell 27. fresco. Includes a blindfolded Christ with a curved horn aimed at his head. There is no player at all for the horn. (W. Hood. Fra Angelico at San Marco. New Haven 1993. p. 214 [small color reproduction]; J. T. Spike. Fra Angelico. New York etc. 1997. p. 212 [minuscule reproduction], as Corpus Domini and the Symbols of the Passion Contemplated by the Virgin and Saint Thomas Aquinas. As Cell 26.)
[J Bellini Dr] Bellini, Jacopo (ca. 1400-ca.1471). A Venetian Palace, with the Flagellation of Christ (p. 29 of a sketchbook). Paris, Louvre. drawing on vellum. Beneath a vaulted space in the lower right corner a putto blows a curved horn/trumpet. (exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. p. 108 [faint reproduction] [not exhibited]; Arte Veneta 26 [1972] 12 [poor reproduction]; Burlington 121 [1979] 557 [poor reproduction]; Muraro-Grabar. p. 94)
Passion -- Via Dolorosa: [Fr Badia S Antonio di Ranverso] Italian, 15th century. Via dolorosa. Badia, S. Antonio di Ranverso. fresco. Figures include one playing a horn. (Also one or two playing straight trumpets.) (P. Toesca. Torino. Bergamo 1911 [Italia artistica, 62] p. 32 [fair reproduction])
[Dello di Niccolo Delli Fr] Dello di Niccolo Delli (Nicolao Fiorentino) (ca.1404-1470/71). Christ Bearing the Cross. Salamanca, Old Cathedral. Figures include a soldier (?) with an oliphant-like wooden (?) horn. (M. Gomez-Moreno. Salamanca. Madrid 1967. [Catálogo monumental de España] pl. 90; Vis. Coll. 372.D 387.20[a]40)
Other: [G Bellini Pa] Bellini, Giovanni (ca. 1430-1516). Descent of Christ into Limbo. Bristol, Bristol Museums and Art Gallery. Includes two devils with black curved horns with little sound-lines coming out of the bells. Related to the drawing in Paris (including the horns) and to the engraving attr. Mantegna. (R. Goffen. Giovanni Bellini. New Haven 1989. p. 283; F. Heinemann. Giovanni Bellini e i Belliniani. Venice n.d. vol. I, opp. p. 16 [color reproduction], as copy after the engraving of Andrea Mantegna, ca.1470; exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 69, p. 268 [fine color reproduction]; Burlington 94 [1952] 156 [ok], as The Descent into Hell; Vis. Coll. 372.B 413.29L)
[Mantegna Dr] Mantegna, Andrea (ca. 1431-1506), attr. Descent of Christ into Limbo. Paris, École Nationale Supérieure des Beaux-Arts. drawing. Includes two devils with curved horns. Unfinished. (R. Goffen. Giovanni Bellini. New Haven 1989. p. 286; exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 66, p. 262 [fine color reproduction], as Andrea Mantegna, ca.1470. Considers this a preparatory drawing for the print; exh Mantua, Palazzo Ducale, 1961 : Andrea Mantegna. Venice 1961. p. not recorded, as attr. Bellini; Burlington 94 [1952] 236 [ok], as The Descent into Hell, as attr. Bellini)
[Mantegna Pr] _______, attr. Christ Descending into Limbo. engraving. Two devils blow reverse-curve horns. The lack of clouds in the sky and detail in the landscape seem to indicate that the print was never finished. (IB vol. 25, no. 5, p.31, as School of Mantegna. No. 5A, p. 32, is a copy by Mario Cartaro; Hind Early Italian Engraving. nos. 9 and 9a [two versions of the engraving -- this is Hind 9, Hind 9a is the copy by Giovani Antonio da Brescia noted below]; F. Heinemann. Giovanni Bellini e i Belliniani. Venice n.d. vol. I, p. 31; exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 67a, p. 264, as attr. Mantegna and based on the drawing in Paris, as late 1460s. Yes, the catalog does give ca. 1470 for the Paris drawing and late 1460s for the print, while maintaining [p. 263] that "it appears likely that the drawing served as a point of departure for the print"; R. Goffen. Giovanni Bellini. New Haven 1989. p. 285; J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. p. 209, 211 [full-size detail] [fine reproduction of fine impression (of Hind 9)], as probably executed in the mid-1470's, perhaps by Zoan Andrea from a drawing made by Mantegna, dating from ca. two decades earlier.) Copy by Giovanni Antonio da Brescia. (Hind 9a; exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 68, p. 266 [fine reproduction])
Coronation of the Virgin: [Sc Sarzana S. Maria Assunta] Riccomani, Leonardo (doc. 1432-m.p.1472) and Francesco (m.a.1490). Coronation of the Virgin (1432). Sarzana (La Spezia), Cattedrale S. Maria Assunta. sculpture. Two angels, below, blow little, slender, curved horns. Odd and unimportant, except that God sort of has his arms around them. Little exponents of His word? (H. Decker. Gotik in Italien. Vienna 1964. fig. 38)
Gabriel/Mystic Hunt of the Unicorn: See also Allegory, Triumph/Victory.
St. Anthony: [Ms Florence Medicea Laurenziana] Anon., 15th century. St. Anthony attacked by demons. Florence, Biblioteca Medicea Laurenziana, Codice Antonita. manuscript illumination. A demon blows a fat, curved horn. (Castelli Demoniaco. pl. 164)
Other: [Sc Vatican S Pietro] Anon., 1471-1478. The Martyrdom of St. Paul. Vatican, S. Pietro. high relief sculpture. Figures play cornu and straight trumpet. (Le chiese di Roma illustrate, 78: S. Pietro in Vaticano. fig. 77. Dates it from the time of Sixtus IV [1471-1484])
Bacchanals: [Mantegna Pr] Mantegna, Andrea (ca. 1431-1506). Bacchanal with a Wine Vat. engraving and drypoint. A figure has a bark(?) horn (and a wristlet of bells). Another figure grasps its distal end while sipping from a bowl. (J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. p. 183 [fairly late impression], p.185 [fine early impression (Coll. Duke of Devonshire, Chatsworth)] -- probably based/inspired by reliefs on sarcophaghi, but no direct antique prototype, figural or literary, has thus far been identified; exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 74, p. 279 [ok reproduction], as 1470s. No. 77, p. 284 [ok reproduction] is a copy attr. Giovanni Antonio da Brescia. No. 78 is a copy attr. [?] to the Master of 1515; Art Bulletin 64 [1982] 628)
Odysseus/Odyssey: [Apollonio di Giovanni cassone] Apollonio di Giovanni (m.1465). The Adventures of Ulysses. Chicago, Art Institute Inv. No. 1933.1006. cassone panel. Includes a head of a wind god with a curved horn, blowing air into a sail . (A. Chastel. The Flowering of the Italian Renaissance. Paris/New York 1965. p. 38; Schubring no. 253, pl. LVI [as Dido Master]; Vis.coll. 372.Ap44.4Ul[b]; Vis. coll. 372.D565.4U, as Dido Master)
Muses: [Pr Ferrarese] Anon. (Ferrarese) ("Master of the E Series Tarocchi." -- with the "nails"), ca. 1465. Melpomene. engraving. She blows (not very convincingly) a fancy little horn with spiral ribbing at the proximal end. (Hind Early Italian Engraving . E.I.17,a, pl. 336; J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. p. 108; van Marle, Iconographie, II, p. 266)
[Pr Ferrarese] Anon. (Ferrarese) ("Master of the S Series Tarocchi" -- without the "nails"), ca. 1470? Melpomene. engraving. As above, reversed. (Hind Early Italian Engraving. E.I.17,b, pl. 336; J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. p. 109)
[Santi Pa] Santi, Giovanni (ca. 1430/40 - 1494), attr. (I have note also attr. Evangelista di Pian de Meleto [ca.1458-1549] -- also listed in late-15th-early 16th century section). Melpomene. Florence, Corsini Gallery. She has an oliphant. (R. Dubois. Giovanni Santi. Bordeaux 1971. pl. XLV, as Giovanni Santi?; P. Rotondi. Il palazzo ducale di Urbino. Urbino 1950. fig. 396; Vis. Coll. 372.Sa57.4M4).
Tritons: [Mantegna Pr] Mantegna, Andrea (ca. 1431-1506). Battle of the Sea Gods (right half). engraving. A figure blows a small, curved horn decorated with carved leaves. (IB vol. 25, no. 17, p. 53. no. 17-A, p. 55 is an etched copy by Daniel Hopfer; exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 79, p. 286 [ok reproduction]; J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. p. 189 [fine reproduction of a late impression], p. 190 [small reproduction of an early impression (Coll. Duke of Devonshire, Chatsworth)]; M. A. Jacobsen. "The Meaning of Mantegna's Battle of Sea Monsters." Art Bulletin 64 [1982] 623-629, this repr. p. 623)
[Mocetto Pr] Mocetto, Girolamo (ca.1470-1531). Frieze with Neptune and Tritons. engraving. One of the Tritons blows a large, curved horn/oliphant (cropped at edge of the print). unimp. (Hind Early Italian Engraving. no. 18,I, pl.733)
Other: [Dido Master cassone] Dido Master (op. ca. 1445). Scenes from the Story of Dido and Aeneas. Hannover, Kestner Museum. cassone. In the background a hunter (?) sitting on a rock blows a large, curved horn. (Schubring no. 221?, pl. L (whole panel)
[Ms Berlin KsK] Botticelli, Sandro (ca.1445-1510). Illustration for Dante, Inferno, Canto XXXI (ca. 1495). Berlin KsK. drawing. Nimrod has a rather large curved horn. (Hammerstein Diabolus. no. 22, p. 33)
[Ms Rome BAV] _______. Illustration for Dante, Inferno, Canto XXXI (1481-1500). Rome, BAV. drawing. Nimrod has a curved horn (he has a chain around his neck and a chain going to the horn). (M. Monteverde, ed. Italian Art to 1850. New York 1965. p. 318 [ok reproduction])
[Sc Rimini Malatestiano] Agostino di Duccio (1418-p.1481)? Sibilla delfica. Rimini, Tempio Malatestiano. low relief sculpture. She holds a large, curved horn. (C. Brandi. Il Tempio Malatestiano. Turin 1956. pl. 113 [ok reproduction])
[Florentine Pr] Anon. (Florentine), 15th century. Sibylla delphica/Delphian Sibyl. engraving. The Sibyl holds a large oliphant. The banner (or book, in the case of C.II.3,B) reads "Nascetur propheta e virgine absqve humana corrvptione." There is also text. (Hind Early Italian Engraving. C.II.3,A, pl. 246 a; C.II 3, B, pl. 246 and C. IV. 3, (an early copy of "the fine-manner sibyls"), pl. 259; J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. pl. 31, as reversed copy after Baccio Baldini. Notes that the horn can signify the sacred scriptures, doctrine and preaching. It is probably given to the Sibyl just as a general attribute of prophecy.)
[cassone Klagenfurt LM] Mantegna, Andrea (ca. 1431-1506) (painter), attr., and Luca Fancelli (modeller). The Entry of the Imperial Roman Army into Rome (1477). Klagenfurt, Landesmuseum für Kärnten/Rudolfinum. cassone with painted stucco relief. One panel includes two figures playing cornui (both mounted) and two playing straight trumpets (one mounted, one foot). Another includes figures playing cornu (mounted) and straight trumpet (foot). (Schubring no. 576-7, pl. CXXIX, as based on drawings of Mantegna; A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. figs. 125-126 [small reproductions]; R. Milesi. Mantegna und die Reliefs der Brauttruhen Paola Gonzagas. Klagenfurt 1975. Notes that the chests are from Mantua for the 1477 wedding of Paola Gonzaga and Count Leonhard von Görz.)
Fame: [Pr Anon.] Italian (15th century?). Model of 40 of the 41 Trumps of Minchiate [Playing Cards], including "Fama Vola." engraving. Fame has two oliphants. Crude and unimportant. (D. Hoffmann. The Playing Card ... New York 1973 [orig. Leipzig 1972], fig. 5)
[L Costa Fr] Costa, Lorenzo (ca. 1460-1535). The Triumph of Fame. Bologna, S. Giacomo Maggiore. fresco. Fame holds a gently reverse-curved horn. (Zeitschrift für Kunstgeschichte 54 [1991] 522)
Fortuna: [Zoppo Dr] Zoppo, Marco (ca. 1433-1478). Fortuna. Hamburg, Kunsthalle, Graphische Sammlung. drawing. Fortuna (nude) blows a ribbed, reverse-curve horn with lines emerging from the bell. She blows it into a sail (making it billow out) like a wind god. Navicella motif. (E. Ruhmer. Marco Zoppo. Vicenza 1966. fig. 41, as ca. 1460. The text gives a long list of other representations of the subject.) See also Miscellaneous Figures, Putti.
Love and Sex: [Pr Florentine] Anon. (Florentine), ca. 1460-70. An Allegory of Life, with a Fountain of Love and Emblems of Discord. engraving. Includes a hunter with a dog on a leash, blowing an oliphant (decorative bands at the distal end). There is also a fool with a small generic woodwind held with one hand. (Hind Early Italian Engraving. A.I.17, pl. 17)
Playing Cards: See also Fame.
Triumph/Victory: [Pr Florentine] Florentine (popular artist), ca.1460-70. The Triumphs of Petrarch (Six Subjects in one Plate). engraving. The Triumph of Chastity includes a Hunt of the Unicorn with a hunter with a curved, ribbed horn. Obviously based on other fifteenth-century Florentine engravings. (Hind Early Italian Engraving. A.I.24, pl. 24; van Marle, Iconographie, II, p. 116)
[Mantegna Pa] Mantegna, Andrea (ca. 1431-1506). The Triumphs of Caesar, Canvas I: Trumpeters, Bearers of Standards and Banners (The trumpeters). Coll. H. M. the Queen, Hampton Court Palace. The figure at the far left has a curved (animal?) horn hanging at his back. (exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 108, p. 366 [ok color reproduction], as probably from the 1490s; A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. p. 21 [ok color reproduction], fig. 1 [ok b&w reproduction], figs. 2. 4 [details], fig. 268 [minuscule reproductions of all of the canvases in sequence]) Preliminary study (drawing): Paris Louvre. The bar across the cornu is depicted as a straight trumpet placed across the player's shoulder (botch). (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 51 [fine reproduction]) Anon. sixteenth-century copy (painted in grisalle): Vienna KH. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 78) Woodcut by Andrea Andreani. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 89 [worn impression]) Anon. early seventeenth-century miniature copy: Siena, Pinacoteca. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 104) Anon. early seventeenth-century copy (fresco): Mantua, Castello di S. Giorgio. The figure with the horn is badly worn. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 108)
[Mantegna Pa] Mantegna, Andrea (ca. 1431-1506). The Triumphs of Caesar, Canvas V: Trumpeters, Youths Leading Oxen, Elephants with Attendants (The Elephants). Coll. H. M. the Queen, Hampton Court Palace. The figure at the far left has a curved (animal?) horn hanging at his back. (exh New York Metropolitan, London Royal Academy of Arts, 1992: Andrea Mantegna. Ed. J. Martineau. New York, London 1992. no. 112, p. 366 [ok color reproduction], as probably from the 1490s; A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 28 [ok b&w reproduction]; fig. 268 [minuscule reproductions of all of the canvases in sequence]) Anon. sixteenth-century copy (painted in grisalle): Vienna KH. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 82) Woodcut by Andrea Andreani. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 93 [ok reproduction]) Anon. early seventeenth-century miniature copy: Siena, Pinacoteca. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 107) Anon. early seventeenth-century copy (fresco): Mantua, Castello di S. Giorgio. The figure with the horn has been obliterated. (A. Martindale. The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty the Queen at Hampton Court. London 1979. fig. 112)
Winds: See also Mythology, Fortuna; Mythology, Other; Miscellaneous Figures, Putti.
[Dr Pavia Mardemercantili] Anon., 15th century. Drawing of a hunting horn (manuscript illustration). Pavia, Museo dei Mardemercantili. drawing. With a careful drawing of the straps. (F. Malaguzzi Valeri. La corte di Lodovico il Moro, vol. I. Milan 1913. p. 225)
Hunts: See also Mythology, Other; Allegory, Love and Sex
[Wsc Turin MC] Lombard, ca. 1470. A hunter. Turin, MC (panel from Ivrea, Cathedral, Choir). low relief wood panel. A hunter with a curved horn. unimp. (L. Mallé, ed. Le sculture del Museo d'Arte Antica. Turin 1965. fig. 75)
Angels: [Sc Rimini Malatestiano] Agostino di Duccio (1418-p.1481)? Two Angels. Rimini, Tempio Malatestiano. low relief sculpture. One plays a curved horn, the other, a triangle. (C. Brandi. Il Tempio Malatestiano. Turin 1956. pl. 79 [ok reproduction])
[Botticini Pa] Botticini, Francesco (1445-1497) and Raffaello. Seven Musical Angels. Empoli, Galleria della Collegiata. One plays an oliphant (the others play fiddle, lute, bagpipe, recorder (?), triangle and tambourine). (Vis. Coll. 372.B 658.36[a])
Putti: See also New Testament, Passion -- Flagellation/Mocking of Christ.
[Sc Rimini Malatestiano] Agostino di Duccio (1418-1481)? Putti Playing. Rimini, Tempio Malatestiano. low relief sculpture. One of three, astride a dolphin, has a slender, curved horn. (C. Brandi. Il Tempio Malatestiano. Turin 1956. p.[pl?] 126)
[Ms New York Morgan] Maestro dei Putti (fl. Venice ca.1469-75). Bas-de-page putti from a Bible. Venice, Vindelinus Spirensis, vol. II, fol. 1. New York, Pierpont Morgan Library. Painted illumination in a printed book. The putti play two double woodwinds and two cornui. (G. Mariani Canova. La miniatura veneta del rinascimento, 1450-1500. Venice 1969. p. 29 [fine color reproduction])
[Pr Florentine] Florentine, ca. 1465-80. Portrait of an old couple (with banner: "Dammi conforto") encircled in a wreath with music-making cupids. engraving. The cupids play bagpipe, oliphant, folded trumpet, small drum, tambourine, triangle, cymbals and nakers. The oliphant has decorative bands. Note the proximal hand, with the nearest two fingers on top of the tube, other two beneath. (IB vol. 24, no. 6, p. 209 [defective impression]; Hind Early Italian Engraving. A. IV.14, pl. 143 [defective impression])
[Pr Florentine] Florentine, ca. 1465-80. A Pair of Dancers Encircled in a Wreath with Music-Making Cupids and a Reclining Couple. engraving. One of the cupids blows an oliphant. (The others play bagpipe, small drum, tambourine, triangle and cymbals.) The oliphant has decorative bands. Note the proximal hand, with the nearest two fingers on top of the tube, other two beneath. (IB vol. 24, no. 7, p. 210 [ok reproduction]; Hind Early Italian Engraving. A.IV.13, pl. 142 [ok reproduction], also pl. 158; J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. p. 14 [ok]. Notes that the version with the grotesque heads [above] is the model for the others. This one certainly isn't as convincing.; Mirimonde Astrologie. pl. 93. Observes that all the musical instruments are dionysiac or erotic; Florence, Kunsthistorisches Instutut, Mitteilungen, 1 [1908-11] p. 105) Note also a version with a cartouche below and four portrait medallions. (exh Paris, Musée de l'Orangerie, 1957: Les incunables sur bois et sur métal de la Collection Edmond de Rothschild au Musée du Louvre. pl. XVII)
[Pr Florentine] Florentine, ca. 1465-80. Aristotle and Phyllis in a roundel, surrounded by a border with a Youth and a Girl, with Cupid, and a naked woman with two children. engraving. One of the children blows a straight, conical horn (or short trumpet). unimp. (Hind Early Italian Engraving. A. IV.20, pl. 140)
[Amadeo Sc] Amadeo, Giovanni Antonio (1447-ca.1522). Four Putti. Milan, Duomo. sculpture. One has a small, curved horn. (Another has a lute.) unimp. (C. Sartori, ed. Ricordi enciclopedia della musica. Milan 1963-64. vol. I, tav. 257)
[Finiguerra Pr] Finiguerra, Maso (1426-1464). Two Cupids. Firenze, Uffizi. drawing (study). One has a little, straight trumpet; the other, a larger, curved horn. Clear of the difference between the two. Unimp., nonetheless. (J. Levenson et al. Early Italian Engravings from the [Washington, D.C.] National Gallery of Art. Washington 1973. p. 10 [ok reproduction], as ca. 1450)
[Zoppo Dr] Zoppo, Marco (ca. 1433-1478) (ex attr. Mantegna). 7 bambini, from the London sketchbook. (also 6 bambini, ditto). London BM. drawing. In each drawing, one blows a curved horn into a sail and inflates it. Cf. his Fortuna, above. (E. Ruhmer. Marco Zoppo. Vicenza 1966. fig. 110 [7 bambini], fig. 111 [6 bambini], as ca. 1455-60?)