St. Anthony: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516), Follower. The Temptation of St. Anthony. Amsterdam art market, 1969 (formerly coll. Spencer-Churchill). Among the figures, a man blowing a curved horn and riding on a pig. (Oude Kunst ... 21 [1969] 146)

St. Hubert/Eustache: [Mostaert Pa] Mostaert, Jan (ca. 1475-1555/56). St. Hubert in a Landscape. London art market 1986. The saint and a page each have a long, shallow curved horn (unusually large) hanging from a strap. (Burlington 128 [1986] April, inside front cover [color reproduction]; Die Weltkunst 56 [1986] 1175 [fine color reproduction])

St. Mary Magdalene: [Lucas van Leyden Pr] Lucas van Leyden (1494?-1533). The Dance of St. Mary Magdalen (1519). engraving. In the middle ground the Saint rides in a stag hunt (emblem of frivolity, foolishness). In the background, two hunters blow curved horns. (B. 122; Hollstein [Dutch] X, p. 145; Lavalleye no. 117, no. 118 [detail];  Hirth no. 42; P. Parshall. "Lucas van Leyden's Narrative Style." Nederlands kunsthistorisch jaarboek 29 (1978) 185-237, this reproduced p. 226, relevant text pp. 224-229; Exh Washington, D. C., NGA, 1983: The Prints of Lucas van Leyden and his Contemporaries. Ed. E. S. Jacobowitz and S. L. Stepanek. no. 71)

V: Mythology

Bacchanale: [Heemskerck Pa] Heemskerck, Maerten van (1498-1574). The Triumph of Silenus. Vienna KH. Among the figures is a nude man blowing an almost circular cornu with an animal-head bell. It sort of adumbrates a large-hooped trompe de chasse. There are also a satyr with panpipes and a woman playing a tambourine. (Friedländer XIII [1975] no. 215, pl. 109)

Other: [Galle-Heemskerck Pr] Philips Galle after Maerten van Heemskerck (1498-1574). Cephalus Discovers the Dying Procris. engraving. Cephalus has a curved horn hanging from a strap. (IB vol. 56, no. .095, p. 369)

VI: Literary and Historical Subjects/Figures

[Heemskerck Pa] Heemskerck, Maerten van (1498-1574). Bullfight in an Ampitheater (1552). Lille, Palais des Beaux-Arts, Inv. no. 103. Classically dressed figures blow brass instruments, including two cornui. (Friedländer XIII [1975] no. 219, pl. 111)

[Lucas van Leyden Pr] Lucas van Leyden (1494?-1533). The Cimmerian Sibyl. woodcut. She holds an oliphant-like curved horn. (Hollstein [Dutch] X, no. 97, p. 228 [poor reproduction]; Lavalleye no. 233)

VII: Allegory

Fame: See also Other.

Folly/Voluptas: [Lucas van Leyden Pr] Lucas van Leyden (1494-1533). The Ship of St. Reynuyt, or the Ship of Mismanagement (1520). woodcut. In the bow of a beached ship figures play an enormous reverse-curve horn and a straight trumpet. (Hollstein [Dutch] X, no. 45 , p. 223; Lavalleye no. 224; K. Renger. Lockere Gesellschaft ... Berlin 1970. Abb. 1, as Netherlands, ca. 1520; Oud-Holland 84 [1969) 70)

Paradise/Hell: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516). Hell, the right-hand panel of his Altarpiece of The Garden of Earthly Delights. Madrid, Prado (formerly in El Escorial). Among the myriad figures, a rabbit as a hunter (hunt parody) blows a curved horn. (Boczkowska, Anna. "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; L. Dixon. Alchemical Imagery in Bosch's Garden of Delights. Ann Arbor 1981; _______. Bosch's 'Garden of Delights' Triptych: Remnants of a 'Fossil' Science." Art Bulletin [1981] 96-113; Friedländer V [1969] no. 110, pl. 100-102 [poor reproduction]; Hammerstein Diabolus fig. 173, 172 [detail of the rabbit]; I. Mateo. "El grupo de los jugadores en el 'Jardín de los Delicias' del Bosco." Archivo Español de Arte 427-430. Pl. IV is detail including the rabbit; Reuterswärd cat no. 44, pl. 23; F. Sopeña and A. Gallego. La musica en el museo del Prado. Madrid 1972. p. 61 [large color reproduction])

[Bosch Pa] _______. Hell, the right-hand panel of his The Hayrack to Hell. El Escorial, replica: Madrid, Prado. The figures include Nimrod with a curved horn. (Friedländer V [1969] no. 111, pl. 103-105 [El Escorial]; no. 111a-c, pl. 106 [Prado]; Hammerstein Diabolus. nos. 168-171 [no. 171 is detail of Nimrod]; Reuterswärd cat. no. 44, pl. 23)

Planets: [Muller-Heemskerck Pr] Herman Jansz. (1540-1617) after Maarten van Heemskerck. The Children of Moon, from a Seven Planets series. engraving. The personification holds a crescent moon and a undulating horn. (I. Veldman. "Seasons, planets and temperaments in the work of Maarten van Heemskerck ... " Simiolus 11 [1980] 164)

Triumph/Victory: See also Old Testament, Other (Lucas van Leyden); Mythology, Bacchanale (Heemskerck)

Vice (Luxuria)/Virtue: [Anthonisz Pr] Anthonisz, Cornelis (ca. 1490-p.1553), attr. Sorgeloos rides out into the world. pub. Amsterdam, Jan Ewoutsz, 1541. woodcut. The allegory of Sorgelos closely parallels that of the Parable of the Prodigal Son. Here there are principal three figures: "Sorgeloos;" his servant "Gemack" (Comfort), who has a curved horn hanging trom a strap; and "Weelde" (a female figure representing Worldly Pleasure). The scene is similar to a departure for the hunt. (K. Renger. Lockere Gesellschaft ... Berlin 1970. Abb. 25. [after W. Nijhoff and M. D. Henkel. Nederlandsche houtschneden, 1500-1550. The Hague 1931-1939]. Notes [text p. 45] that the departure of the Prodigal Son, as represented by the departure for the hunt, goes back to medieval times. Gemack=Eigennutz=the selfishness of the Prodigal Son, of whom Sorgeloos is an equivalent only indirectly. They are both personifications of squandering.)

Other: [Galle-Heemskerck Pr] Philips Galle after Maerten van Heemskerck (1498-1574). The Deceptive Effects of Wealth, from The Unhappy Lot of the Rich. engraving. Fame (Fama) blows an undulating horn with a ribbed outline and a rusticated bell belching forth a spray of coins. (It's a rather hideously memorable object.) (IB vol. 56, no..073:5, p. 286)

XV: Miscellaneous Figures

Angels: See also New Testament, Last Judgement.

Putti: See also New Testament, Nativity (Cornelisz)

[Lucas van Leyden Pr] Lucas van Leyden (1494?-1533). Two putti in roundels. engraving. One, as a hunter, has a curved horn (only the mouthpiece end visible) hanging from a strap. The other, astride a second putto, blows a curved horn. (B. 170; Lavalleye no. 105)

Other: [Lucas van Leyden Pr] Lucas van Leyden (1494?-1533). Nude Youth Blowing a Horn, with two Dancing Infants. engraving. It's a curved (irregular curve) horn with an irregular (rusticated?) bell and the outline of a simple mouthpiece (unimportant). (B. 152; Hollstein [Dutch] X, p. 172 [fair reproduction]; Lavalleye no. 21)

[B] FLEMISH ARTISTS, 15TH - 16th CENTURY

I: Old Testament

Miriam/Crossing the Red Sea: [Scorel Pa] Scorel, Jan van (1495-1562). Drowning of Pharoah's Army in the Red Sea. private collection. Includes amon the rejoicing figures a player of a sharply curved horn. (Burlington 138 [1998] 727, 728 [small detail])

Other: [Ms London BL Add. 12531] Bening, Simon (1483/4-1561). Genealogical Tree of Magog (the Grandson of Noah), detached leaf from the Genealogy of the Infante Dom Fernando of Portugal (Lisbon and Bruges, 1530-34). London BL Ms Add. 12531, fol. 2. Figure with a slightly curved horn with a rusticated bell (identification cropped in Kren). (T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. p. 71) It goes Adam, Seth, Enos, Cainan, Mahaleel, Jared, Enoch, Methuselah, Lamech, Noah, Japeth, Magog (mostly from Genesis 5).

II: New Testament

Nativity: [Pa 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 Trento] Flemish [First half, 16th century?]. Nativity. Trent. tapestry. Includes a shepherd with a wooden (?) fingered horn. (G. B. Emert. Monumenti di Trento. Trento 1954. p. 234 )

Passion -- Via dolorosa: [Ms private collection] Bening, Simon (1483/4-1561). The Seven Sorrows of Mary, from the Book of Hours of Cardinal Albrecht of Brandenburg. private collection. Includes the Via dolorosa, with a figure with a curved horn. (Aachener Kunstblätter 24/25 [1962/63] 96)

[Ms private collection] _______. Via dolorosa, from the Book of Hours of Cardinal Albrecht of Brandenburg. private collection. Includes a figure playing a reverse-curve, ribbed horn. (Aachener Kunstblätter 24/25 [1962/63] 86 [fine reproduction])

[Ta Madrid] Flemish (Brussels, atelier of Pieter van Aelst), ca. 1510. Via dolorosa. Madrid. tapestry. Includes a figure blowing a reverse-curve horn. (Göbel I/2, fig. 260 [poor reproduction], no location beyond calling it Spanish state property)

[Ta Paris Jacquemart-André] Flemish (Brussels, cartoon by Bernard van Orley [ca.1488-1541]). Via dolorosa. Paris, Musée Jacquemart-André. tapestry. Figures include players of a looped horn/trumpet, and an oddly bulbous straight trumpet. (G. Lafenestre et al. Le Musée Jacquemart-André. Paris 1914. p. 212; J. H. Marrow. Passion Iconography ... Kortrijk 1979. pl. VII, p. 87 [fine color reproduction])

[Ta Trent] Flemish [first half, 16th century?] Via dolorosa. Trent, Il museo della cattedrale. tapestry. Includes a figure blowing a curved horn. (G. B. Emert. Monumenti di Trento. Trento 1954. p. 236 [horn cropped])

[Cock Pa] Cock, Jan de (doc. 1506-m.a.1529). Via dolorosa. Lucerne art market (1957) Includes a figure with a slender, curved horn or trumpet at the head of the group. (Connoisseur 139 [1957] 263 [poor reproduction])

[Master S Pr] Master/Monogrammist S (Flemish, early 16th century). Via dolorosa. engraving. Includes a figure blowing a curved horn. (J. H. Marrow. Passion Iconography ... Kortrijk 1979. fig. 101)

[Pa Metsys] Metsys, Quentin (1464/5-1530), Follower. Via dolorosa, one of seven roundels of the Seven Sorrows of Mary. Brussels MRBA. Includes a figure with a horn? unimp. (Friedländer VII, cat.no. 63, pl. 60 [reproduction not good for details], as "done by a competent imitator")

[Orley Pa] Orley, Bernard van (ca. 1492-1542). Via dolorosa. Oxford, Oriel College. drawing. Includes a figure with a looped trumpet. (Friedländer VIII, cat. no. 97, pl. 97)

[Orley Pa] _______. Vis dolorosa, one of seven roundels of The Seven Sorrows of Mary. Rome, Galleria Colonna. Another in Antwerp KmsK. Includes a figure with a horn. (Friedländer VIII, cat. no. 94, pl. 96 (Rome), cat. no. 95, pl. 96 (Antwerp)

III: Miscellaneous Religious Subjects

Ascension of Christ: [Ta Aix] Flemish (Brussels), first third, 16th century. Ascension of Christ. Aix, Cathedral. tapestry. Angels play bumpy oliphants. unimp. (Göbel I/2, no. 368)

IV: Saints

See also Miscellaneous Figures, Putti.

St. Hubert/Eustache: [Patenier Pa] Patenier, Joachim (ca. 1480-1524). Vision of St. Hubert. Brussels art market (1983). The saint has a curved horn hanging from a strap. unimp. (Die Weltkunst 53 [1983] 1080 [small reproduction])

VI: Literary and Historical Subjects//Figures

[Ta Florence] Flemish (cartoon by Bernard van Orley), [early] 16th century. The viceroy dismounts to receive the surrender of Francis I. Florence, Museo Nazionale. tapestry. There is a curved horn lying on the ground. (Storia di Milano, VIII: Tra Francia e Spagna (1500-1535). Milan 1957. p. 274)

VII: Allegory

Life and Death: See also Triumph.

Love and Sex: [Ta Seligmann Coll.] Flemish (Tournai), early 16th century. The Garden of Love. Coll. M. Germain Seligmann (1933). tapestry. Includes a hunter in the background with a curved horn. (Other figures have a flute [of sorts] and a lute.) (P. Ackerman. Tapestry, the Mirror of Civliization. Oxford 1933. pl. XIX, as "The Camp of the Gypsies.")

Months/Zodiac: Note: The tapestries of the so-called Hunts of Maximilian, after cartoons by Bernard Orley (ca. 1491-1542) are listed in the 16th-century section. The cartoons are also entered there.

[Ms Venice Marciana] Horenbout, Gerard (a.1465-m.1541), attr. January, from the Calendar of the Breviary of Cardinal Grimani. Venice, Biblioteca Marciana, fol. 2. On the calendar page the bas-de-page illumination depicts a mock tournament. One of the figures blows a curved horn. (The Grimani Breviary. London 1972.)

[Ms Venice Marciana] Horenbout, Gerard (a.1465-m.1541), attr. August, from the Calendar of the Breviary of Cardinal Grimani. Venice, Biblioteca Marciana. The illumination depicts the departure for the hunt. One of the figures, with a dog and carrying a lance, has a curved, faceted horn hanging from a strap (the horn is unusually clear). (The Grimani Breviary. London 1972; van Marle Iconographie, I, p. 237)

[Ms Holford Coll.] Flemish (Bruges), ca. 1500. September, from the Calendar of a Book of Hours. Holford Coll, Dorchester House (1922). Figures include a hunter with a curved horn hanging from a strap. (exh Burlington Fine Arts Club, 1921/2: Catalogue of Pictures ... from the Collection of Mr. Robert Holford. London 1921. pl. XVI)

[Ms London BL Add. 24098] Flemish, early 16th century. November, from the Calendar of a Book of Hours. London BL, Ms Add. 24,098, fol. 28v. The illumination depicts the return from a stag hunt. One of the figures, with two dogs and carrying a lance, has a (very partly visible) curved horn hanging from a strap. In the border a putto blows a sharply curved horn. (Coronet III/3 [January 1938] 18-30 [fuzzy color reproductions of the whole set])

[Ms Munich BSB lat. 23 638] Bening, Simon (1483/4-1561). November, from the Calendar of a Book of Hours. Munich, BSB, cod. lat. 23 638, fol. 12v. The illumination depicts the return from a stag hunt. One of the figures has a curved horn hanging from a strap. (Marburg 101 215)

[Ms Venice Marciana] Horenbout, Gerard (a.1465-m.1541), attr. November, from the Calendar of the Breviary of Cardinal Grimani. Venice, Biblioteca Marciana, Ms lat. XI 67 (7531). The return from the hunt. Includes a figure with a lance, a pack of dogs and a curved, faceted horn hung from a strap. (The Grimani Breviary. London 1972)

[Ms London BL Add. 18855] Simon Bening (1483/4-1561). December, detached leaf from a calendar of a a Book of Hours. London BL Add. Ms 18855, fol. 108v. Includes two huntsmen with simple, curved hunting horns, one played, one hung from a strap. (T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. p. 82, as ca. 1540.)

[Ms Venice Marciana] Horenbout, Gerard (a.1465-m.1541), attr. December, from the calendar of the Breviary of Cardinal Grimani (ca.1510). Venice, Biblioteca Marciana, Ms lat. XI 67 (7531) fol. 12v. Wild boar hunt. Includes two huntsmen with simple, curved hunting horns, one played, one hung from strap. (The Grimani Breviary. London 1972; T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. p. 83, as by Master of James IV of Scotland; van Marle Iconographie. vol. I, p. 256).

Planets: [Ta private collection] Flemish, late 15th century. Mercury. private collection (1969). tapestry. Mercury, a battered and bedraggled figure, holds a reverse-curve horn. (exh Lawrence, University of Kansas Museum of Art, 1969: The Waning Middle Ages. Ed. J. L. Schrader. cat. no. 131, frontispiece [color])

Triumph/Victory: [Ta ex Berlin Schloss] Flemish (Brussels, cartoon by Bernard van Orley), first half, 16th century. The Triumph of Death, from Petrarch, Triumphs. ex Berlin, Schloss. Includes a figure with a large reverse-curve hron. (Marburg X192 039)

Vice (Luxuria)/Virtue: [Ta ex André Coll.] Flemish? (Tournai?), first third, 16th century. Allegorical Hunt. ex Coll. Charles André (before 1923). tapestry. The ladies Ignorance and Vanité have loosed their dogs Oultrecuidance, Haste, and Vouloir (two of each) after a stag (cerf fragile) representing mankind. Vanité blows a large, curved horn. (Göbel I/2, pl. 94. Commentary, I/1, pp. 130-131; Brüchle and Janetzky 1976. p. 62 [after Göbel?])

XIII: Scenes of Everyday Life -- Outdoor

Battles: See also Literary and Historical Subjects/Figures, Other.

Hunts and Hunters: See also Pastorales; Allegory, Love and Sex; Allegory, Months/Zodiac; Allegory, Vice and Virtue.

[Ta Washington Corcoran] Flemish [Tournai, early 16th century]. Hunt, from a Hunting series. Washington, D. C., Corcoran Gallery of Art. tapestry. Includes a mounted hunter blowing a curved horn and a hunter on foot with one hanging from a strap. (Corcoran Gallery Bulletin 9/2 [Nov. 1957] fig. 5. Notes a similar one, but less cut down, ex Coll. Genevieve Garvan Brady, New York)

[Ta ex Brady Coll.] Flemish (Tournai), first third, 16th century. Hunt, from the "Carrabarra Series." ex Coll. Genevieve Garvan Brady, New York (before 1957). A hunter with a lance blows a large, curved horn (characteristic pose, prominent). (The main subject in the foreground is the taking of heathen babies to make Christians of them.) (Göbel, vol. I/2, fig. 229; Corcoran Gallery Bulletin 9/2 [Nov. 1957] fig. 7)

[Ta ex Le Roy Coll.] Flemish, ca. 1510. Elephant Hunt. ex Coll. Le Roy, Paris (before 1923). tapestry. Includes a prominent hunter with a curved horn. (Göbel I/2, pl. 148. Commentary, I/1, p. 169, suggests by a Brussels master working in Germany; Brüchle and Janetzky 1976. p. 56 [after Göbel?])

Pastorales: [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 London V & A] Flemish (Tournai), first third, 16th century. Hunters, Shepherds and Shepherdesses. London V & A. tapestry. Two of the hunters have curved horns, one played in the background, one hung from a strap over the shoulder of a man with two dogs on leashes (clear of the harness). (Göbel I/2, fig. 236)

[Ta Duveen Coll.] Flemish (Tournai), late 15th century. Pastorale. Duveen Brothers (1936). tapestry. A gentleman has a large, partly visible curved horn hanging from a strap. (exh Brooklyn Museum, 1936: An Exhibition of European Art 1450-1500. pl. 158, as The Welcome Guests)

[Ta New York AM] Flemish (Tournai), early 16th century. Scenes of Country Life/La vie pastorale. New York art market (1923). tapestry. Includes a gentleman with a curved horn hanging from a strap. (Göbel I/2, no. 241 [fair reproduction])

[Ta New York AM] Flemish (Tournai), early 16th century. Scenes of Country Life/La vie pastorale. New York art market (1923). tapestry. A hunt in the background includes two mounted figures with curved horns, one played, the other hanging from a strap. There are "shepherds and shepherdesses" in the foreground. One of the shepherds has a small woodwind instrument (recorder or flute) at his belt. (Göbel I/2, no. 240 [fair reproduction]; A. McN. Kettering. The Dutch Arcadia ... Montclair NJ, 1983, fig. 194)

XV: Miscellaneous Figures

Fools: [Master of Frankfurt Pa] Master of Frankfurt (Flemish, op. ca. 1500-1520), attr. Archers Festival in the Garden of the Guild, Antwerp. Antwerp KmsK. Among the very central figures are two fools/jesters, one with a fingered horn stuck through his belt in front (very phallic placement), the other with a bagpipe stuck through his belt at the back. (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])

Knights: [BI Antwerp ca. 1497] Anon. The Printer's mark of Roland van den Dorpe (Antwerp, op. ca. 1497-1500). woodcut. Features a knight blowing a curved horn and holding a sword. (A. J. J. Delen. Oude Kunst en Graphiek. Antwerp 1943, fig. 56 [top])

Putti: See also Allegory, Months/Zodiac (London BL Ms Add. 24,098)

Orley, [Orley Pa] Bernard van (ca. 1492-1541). Altarpiece of the Legends of SS Thomas and Matthew. Vienna KH. Two putti (in gable, flanking cartouche with arms) blow oliphant-like horns. (Friedländer VIII [1972] cat no. 82, pl. 72. As ca. 1512)

[F] FRENCH ARTISTS, 15TH - 16th CENTURY

David -- Other: [Pa Paris Cluny] French (Amiens), early 16th century. Coronation of King David and a King of France. Paris, Musée de Cluny, inv.no.822d. David gets musicians in one balcony blowing a curved horn or a small oliphant (blown off to the side like a cornett -- or is it just a perspective problem?) and a straight trumpet; and in the other balcony, a straight trumpet and a shallow frame drum. The King of France (Louis XII) gets pairs of musicians blowing straight trumpets in both of his balconies. (Bowles, Pratique, pl. 18 [Coronation of David, only], as ca. 1501; Vis Coll. 375.F915.19[g])

Job: [BI Paris 1496] Anon. Job on the Dung Heap, Confronted by Three Musicians, from a Book of Hours. Paris, Pigouchet, 1496. woodcut. The musicians play a lute, a stylized woodwind (shawm?) and a curved horn. (MGG VI, cols. 459-460)

IV: Saints

St. Hubert/Eustache: Sc [Chauvirey-le-Chatel] Anon., late 15th century. +St. Hubert (retable). Chauvirey-le-Chatel (Haute-Saône), chapelle St. Hubert (built 1484). sculpture. The saint has a curved horn hanging from a strap. (F. Olivier-Michel and C. Gisler. Guide artistique de la France. Paris 1964. p. 318)

[Ms Paris BN lat. 9474] French, early 16th century. St. Hubert, from the Heures d'Anne de Bretagne. Paris BN Ms lat. 9474, fol. 191v. Ths saint has a rather long, slightly curved horn. unimp. (Paris BN. Reproductions des manuscrits et miniatures: Heures d'Anne de Bretagne, BN lat. 9474. Paris [190-]. pl. 48)

[Sc British art market] French, ca. 1500. St. Hubert. British art market 1959. wood, low relief panel. The saint has a little curved horn hung at his waist. He is one of my favorites, even though the horn is not important. (Connoisseur 144 [1959] December ad p. vi [ok reproduction])

Other: [Sc Vienna art market] Burgundian, ca. 1500. St. Bavon as a Falconer. sale, Dorotheum, Wien, 568. Kunstauktion, 18-21 May 1965, no. 772. sandstone figure. The saint has a falcon (broken off) on the wrist of one hand and a (rather large) fragment of a horn in the other. Rare iconography. (Alte und moderne Kunst 10/18 [1965] 55 [minuscule reproduction])

V: Literary and Historical Subjects/Figures

See also Scenes of Everyday Life -- Outdoor, Hunts and Hunters

VII: Allegory

Death, Dance of: [BI Paris ca. 1490] Anon. Death Riding a Bull, from Pierre Michault, La danse des aveugles. Paris, ca. 1490. woodcut. Men play curved horn or oliphant, pipe and tabor. (D. Briesemeister. Bilder des Todes. Unterscheidheim 1970. Abb. W170)

Hunts (allegorical): See also Miscellaneous Religious Subjects, Gabriel/Mystic Hunt of the Unicorn.

[Ta New York Met] French or Flemish, late 15th or early 16th century. The Hunt of the Unicorn, first series, no. 1: The Unicorn at the Fountain. New York, Metropolitan Museum of Art, The Cloisters Fund 1937, acc. no. 37.80.3 (ex Château de Verteuil). tapestry. This is one of the great series of hunting tapestries. Includes two huntsmen with horns hung from straps. Both horns are faceted. The one belonging to the rather homely man with a dog is the color of plain wood and hangs from a simple strap. The one belonging to the handsome man with a lance is red and hangs from a fancier strap. (New York, Metropolitan Museum of Art, 1974: Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. no. 18, p.70 [fine color reproduction][also exh Paris, Grand Palais, 1973-74]. Considers them (pp. 77-78) probably woven in Brussels (or possibly Tournai) at the end of the 15th century after designs by a Parisian artist.)

[Ta New York Met] _______. First series, no. 2: The Unicorn tries to Escape. Includes four or five hunters with curved horns (two played, two or three hung from straps). Of the three hung from straps (and belonging to men with dogs and lances), only one is depicted with any enthusiasm. In the detail postcards I have, one of the ones that is blown is red. Two of them have faceted outlines. (New York, Metropolitan Museum of Art, 1974: Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. no. 18, p.71 [poor reproduction]; Connoisseur 172 [1969] 145 [fine reproduction])

[Ta New York Met] _______. First series, no. 3: The Unicorn Defends Himself. A hunter with a lance, a dog beside him, blows a faceted (?) horn. Another, also with lance and dog, has a horn with concave facets hanging from a strap. A third figure, more elegantly dressed, holds a lance and has a curved horn hanging from a strap. (New York, Metropolitan Museum of Art, 1974: Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. no. 20, p. 72 [fair reproduction])

[Ta New York Met] _______. First series, no. 4: The Capture of the Unicorn. tapestry fragment. With hunters. Includes a horn-blower with a curved horn amidst the foliage. (New York, Metropolitan Museum of Art, 1974: Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. no. 20, p. 73)

[Ta New York Met] _______. First series, no. 5: The Death of the Unicorn. Three huntsmen have curved horns suspended from straps. Another blows a curved horn. (New York, Metropolitan Museum of Art, 1974: Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. no. 20, p. 74; F. Boucher. 20,000 Years of Fashion; The History of Costume and Personal Adornment. New York n.d p. 214 [color detail])

[Ta New York Met] _______. Second series, no. 1: The Start of the Hunt. Three huntsmen have horns dangling from straps. One has a lance and two dogs, one has two dogs, and the third, more elegantly costumed and with a feathered hat, is the only one whose faceted , red horn is depicted with any enthusiasm. (New York, Metropolitan Museum of Art, 1974: Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. no. 20, p. 75 [ok color reproduction]; F. Boucher. 20,000 Years of Fashion; The History of Costume and Personal Adornment. New York n.d p. 217 [small reproduction]; J. Evans. Dress in Mediaeval France. Oxford 1952. fig. 48)

[Ta New York Met] Franco-Flemish, ca. 1520-1530. Le cerf fragile/The Allegorical Hunt of the Stag, No. 2: Ignorance and Vanity/The Stag in the Prime of Life. New York, Metropolitan Museum of Art. tapestry. The female personification of "Vanité" blows an angular horn. MENTIONABLE (Coll. Adele and Arthur Lehman. 1965 catalog. Ed. C. Virch. p. 101)

Les chiens que tenoit acouplez. Ded_s le bois dame Ignorance

A pres le cerf ades couplez. Cest vouloir haste oultrecuidance

Qui pla_s de m_daine plai_ace. Luy f_t ma_ t sault de travers faire

Et lors vanite si sauance. De corner c_me elle sect faire.

(The dogs that Lady Ignorance had on the leash in the woods she has now set loose on the stag. Their names are Desire, Rashness, and Overconficence, who, full of worldly pleasure, make him double back and forth in his tracks. Then Vanity approaches and blows her horn as only she knows how.) (Translation from the Lehman catalog)

[Ta New York Met] _______. no. 4: Sickness/The Death of the Stag. Hunt. Death blows an angular horn. (Coll. Adele and Arthur Lehman. 1965 catalog. Ed C. Virch. p. 103)

Voy le veneur espouentable. Qui la mort du cerf a emprise

Cest maladie la doubtable. de qui sa char_gne est sourprise

Elle luy fait forte _treprise. Car di lespieu le coup luy do_e

Apres la mort vi_t corner prise. A_ si que le t_ps si lordo_e.

(Behold the frightening hunter set to kill the stag. It is fearful sickness by whom the flesh is overtaken. She causes him grave concern and stabs him with her lance, after which Death blows his horn as the event calls for.) (Translation from the Lehman catalog)

Life and Death: See also Death, Dance of; Other.

[BI Paris after 1491] Anon. Cry de la mort, from Calendrier des bergers. Paris, Jehan Petit, after 1491. woodcut. A negro watchman of Hell blows a curved horn (with concave longitudinal facets) ("To to to" out of the bell) and holds a long, arrow-like spear in the other hand. (Hammerstein Tanz fig. 23 [fine reproduction, with text]. The long text is basically an invitation to the dance [macabre]. P. 61 notes that the fluttering cloth refers to the blindfold of Death. P. 62 says that the horn player calls them to the dance.) Cf BI Troyes 1531 in the 16th-century section.

Love and Sex: [Ta Cleveland MofA] French (Touraine?), early 16th century. The Marriage of Peace and Love. Cleveland, Museum of Art. tapestry. Peace and Love are enthroned in a chariot which is preceded by female figures playing horn ("doulceur"), shawm ("c_corde" [concorde]) and two pommers ("dillection" [Love] and "Amenite" [Grace]). The entire tapestry is loaded with symbolism. The fanciful (you should see one of the shawms!) horn is sharply curved with a reverse-curve proximal end. It is probably made of metal, with a spiral outline, one or two bosses and a decorative bell. The tapestry is considered to ba a particularly fine one. (Göbel II/2, no. 339 [text p. 318]; van Marle. Iconographie II, p. 152 [poor reproduction], as the Triumph of Hymen) There is a caption (quoted by Göbel).

Music/Poetry/Liberal Arts: [Ta Boston MFA] French, first quarter, 16th century. Allegory of Music. Boston MFA. tapestry. Among the many musical figures, a putto blowing a long, curved horn or trumpet. (A. S. Cavallo. Tapestries of Europe and Colonial Peru in the Museum of Fine Arts, Boston. Boston 1967. vol. II, pl. 18)

Triumph/Victory: [Duvet Pr] Duvet, Jean (1483-p.1561). The Triumph of the Unicorn, from Four Emblematic Subjects. engraving. Includes a group of hunters, four blowing curved horns, a fifth holding a ribbed, reverse-curve horn. (There are numerous other musical figures.) (IB vol. 13, no.41, p. 252)

Vice (Luxuria)/Virtue: See also Allegory, Other.

[Ms Woodner Coll.] French, between 1512 and 1515. Imago vitae aulicae. New York, Woodner Family Collection. drawing from a dismembered manuscript. "Fallacia" (Deceit) (a female personification) carries a curved horn and a trapper's net, with which to trap Hopeful Man. (The combination of horn and trapper's net suggests also an allusion to Moon.) (Journal of the Warburg and Courtauld Institutes 50 [1987] pl. 61, text p. 216)

War and Peace: See also Love and Sex.

Winds: [BI Paris Du Pré] Anon. "Galée" device of the Paris printer Galliot Du Pré (Renouard 261) ("La Vogve Gvallee"). woodcut. An angel (+Wind) blows a large horn with a bent +loop, with a banderole for the inscription streaming out from the bell. The angel files directly behind the billowing sail of the +ship. A figure in the bow of the ship blows a curved horn. (R. Mortimer. Harvard College Library. French Sixteenth-Century Books. vol. I/1. Cambridge MA 1964. no. 418, p. 522. **make sure this is the right volume. [Title page of Francesco Patrizi, De institutione reipublicae libri nouem. Ed. J. Savigneus. Paris, P. Vidoue, for G. Du Pré, 1518.]) Also colophon woodcut of Crétin (Guillaume Dubos), Chantz royaulx, oraisons, et aultres petitz traictez. Paris, Simon du Bois for Galliot du Pre, 1527. (Schwerdt I, pl. 45)

Other: [Duvet Pr] Duvet, Jean (1483-p.1561). A King Pursued by a Unicorn. engraving. Four hunters (two of them on horseback) with curved horns hung from straps. One of them is about to be gored by the unicorn. His horn is a very prominent object in the composition. (IB vol. 13, no. 40, p. 251; Schwerdt vol. III, pl. 183; exh Minneapolis Institute of Art, 1968-69: The Jones Collection. cat. no. 84, pl. 71; La Revue des Arts 4 [1954] 104, as "un roi poursuivant une licorne")

[Duvet Pr] _______. A King and Diana Receiving Huntsmen, from Four Emblematic Subjects. engraving. Four huntsmen, in antique costume, with curved horns hanging from straps. Three have lances and dogs, the fourth genuflects before Diana and the King. (IB vol. 13, no. 39, p. 250)

XIII: Scenes of Everyday Life -- Outdoor

Hunts and Hunters: [Ms Paris BN fr. 13 429] Anon., 1519. Francis I of France Hunting (1519). Paris BN Ms fr. 13 429, fol. 1. A mounted huntsman has a curved horn (and the banner PEROT). (Storia di Milano, VIII ... Milan 1957. p. 213)

[Ms Paris Marmottan] Anon., 1491-93. Admiral de Granville Boar Hunting. Paris, Musée Marmottan, Coll. Georges Wildenstein. Dog handlers/spear carriers with curved horns. (very) unimp. (Die Weltkunst 51 [1981] 1003)

[BI Paris ca. 1507] Anon. Stag and Boar Hunt, from Gaston de Foix (called "Phoebus'), Phebus des deduiz de la chasse ... Paris, for A. Vérard [ca.1507]. woodcut. Three huntsmen have large, faceted, curved horns (one played, one held, one hung from a strap). Originally written 1357-1374. (R. Mortimer. Harvard College Library. French Sixteenth-Century Books. vol. I/1. Cambridge MA 1964. no. 245, p. 294 [fine reproduction]) =(?) Schwerdt vol. II, pl. 111 (fine reproduction), as second edition, Paris ca. 1505.

[BI Paris 1515] Anon. Boar Hunt, from Gaston de Foix (called "Phoebus"), Le miroyr de Phebus des deduictz de la chasse. [third edition] Paris 1515. woodcut. Includes a hunter blowing a curved horn. unimp. Crude woodcut, not nearly in a class with those in the first and second editions. (Schwerdt II, pl. 112)

[BI Paris Pigouchet] Anon., late 15th or early 16th century. Stag Hunt (passe-partout title-page border blocks) used by the Paris printer Philippe Pigouchet and the publisher Simon Vostre. woodcut. A hunter with a pack of dogs blows a curved horn. Three other hunters, variously with lances and/or dogs, have curved horns hanging from straps. (A. M. Hind. An Introduction to a History of Wodcut. New York 1935, R/1963. p. 690)

[DACH] GERMAN, AUSTRIAN AND SWISS ARTISTS, 15TH - 16th CENTURY

I: Old Testament

Esau: S[BI Nuremberg? 1483] Burgundian Master. Isaac, Rebecca and Jacob, from a Bible. [Nuremberg?] 1483. woodcut. In the background, +Esau is out +hunting, holding his bow and arrow and blowing a curved horn. In the foreground Isaac is feeling the fur assumed by Jacob. (Warsaw MN Rocznik 3 [1958] 506)

[BI Strasbourg 1485] Anon. Jacob Receiving Isaac's Blessing, from a Bible. Strasbourg, Johann (Reinhard) Gruninger, 1485. woodcut. In the background, Esau is out hunting. He draws his bow and has a curved horn hanging from a strap. (IB vol. 85, no. 1485/73, p. 99)

Jericho: [BI Lübeck 1494] Anon. The Fall of Jericho, from the Lübeck Bible. Lübeck, Stephan Arndes, 1494. woodcut. Of the heralds preceding the Ark of the Covenant, five are shown blowing huge, curved horns or trumpets. Considered by some to be the most beautifully illustrated German book of the fifteenth century. (T. L. Naylor. The Trumpet & Trombone in Graphic Arts 1500-1800. Nashville 1979. no. 4; R. Muther. German Book Illustration ... Transl. R. R. Shaw. Metuchen NJ 1972, pl. 159)

[BI Nuremberg 1524] Schoen, Erhard (a. 1491-1542). The Ark of the Covenant Carried Past the Falling Walls of Jericho., from Das alte Testament mit fleiss verteutscht. Nuremberg [F. Peypus] 1524. woodcut. Figures blow horns or trumpets in various curves, from nearly straight to sharply curved. (IB vol. 13, Commentary, no. .034[f], p. 123)

Moses/Moses and Aaron: [BI Strasbourg 1485] Anon. Moses and Aaron with Trumpets, from a Bible. Strasbourg, Johann (Reinhard) Gruninger, 1485. woodcut. Aaron blows an oliphant, Moses holds his. (IB vol. 85, 1485/106, p. 105)

Nimrod: [Ms Donaueschingen] Anon. ca. 1520. Monster-giant-devil (Nimrod?) in a tower on the ramparts of Hell, from the Handschrift Zimmern. Donaueschingen, F. F. Hofbibliothek, Hs A III, 54, fol. 19v. The demon plays a straight horn. (Hammerstein Diabolus no. 25. Calls this a late fusion of the figures of Nimrod and the Höllenwachter.)

Other: [BI Augsburg 1486] Anon. Samson Destroying the House of the Philistines, from Hans Vintler, Buch der Tugend. Augsburg, Johann Blaubirer, 1486. woodcut. Sitting apart on a little hill, a figure blows a small, curved horn. (IB vol. 85, no. 1486/77, p. 204)

[BI Lyons 1519] Schoen, Erhard (a. 1491-1542), attr. Musical Celebration of the Recovery of the Ark, from a Bible. Lyons, Jacob Sacon 1519. woodcut. One of the figures plays a slender, curved horn or trumpet. Others play slide (?) trumpet and another, partly visible, trumpet. Opposite them a woman plays a harp and a fool plays pipe and tabor. (IB, vol. 13, Commentary, no. .016(ay), p. 86)

[BI Strasbourg 1485] Anon. Eleazar's Battle in the Barley Field, from a Bible. Strasbourg, Johann (Reinhard) Gruninger, 1485. woodcut. A soldier blows an oliphant. A rather pitiful version of the one in the Bible published by Heinrich Quentell, Cologne, ca. 1478. (IB vol. 85, no. 1485/141, p. 111)

Annunciation to the Virgin: [BI Zinna ca. 1493] Anon. Annunciation to the Virgin, from the Nitzschewitsch Marienpsalter. Kloster Zinna bei Magdeburg [ca. 1493]. woodcut. Angels in the border/margin play curved horn, portative organ, lute, woodwind (shawm? recorder? -- contextually probably recorder). (I. Woldering. Meisterwerke des Kestner-Museums zu Hannover. [Honnef, Rhein] 1961. p. 130)

Apocalypse -- Trumpeters: [BI Strasbourg 1485] Anon. St. John on the Island of Patmos, from a Bible. Strasbourg, Johann (Reinhard) Gruninger, 1485. woodcut. An angel blows an oliphant. (IB vol. 85, no. 1485/166, p. 115) Note: the Strasbourg 1485 Bible is but a pale reflection of the one published by Heinrich Quentell, Cologne, ca. 1478.

_______. The Seven Trumpets. God passing out oliphants to the angels. (IB vol. 85, no. 1485/169, p. 115)

_______. The Avenging Angels of Euphrates. An angel blows an oliphant. (IB vol. 85, no. 1485/170, p. 116)

_______. Der Würge-Engel [angels attacking Kings with swords], die Reisige (sic) Schar, der starke Engel. Figures include an angel with an oliphant. (P. Schmidt. Die Illustrationen der Lutherbibel, 1522-1700. Basel 1962.; Nuremberg Germanisches Nationalmuseum Anzeiger, 1971-72, p. 53) Schmidt says these illustrations are influenced by the Bible of Anton Koberger, Nürnberg 1483 (q.v. for more information).

Cana, Wedding at: [Funhof Pa] Funhof, Hinrik (op. 1475-m.1484/5), attr. The Wedding at Cana, panel from an Altarpiece. location unknown. Includes a statuary putto holding a banner and blowing a reverse curve horn. (Die Weltkunst 1.IV.51 [poor reproduction]; Vis. coll. 373.G315.19(o)2. As German [Mittelrhein] ca. 1490.)

Last Judgement: [BI Basel ca.1481] Anon. Christ on the Rainbow with Four Angels at the Time of the Last Judgement, from Jean de Mandeville, Reysen und Wanderschafften durch das Gelobte Land. Basel, Bernhard Richel, ca. 1481. woodcut. Four angels blow oliphants. (IB vol. 83, no. 1481/1045, p. 208)

[BI Nuremberg 1491] Wolgemut, Michael. Last Judgement, from Stephan Fridolin, Der Schatzbehalter. Nuremberg, Anton Koberger, 1491. woodcut. Two angels blow oliphants or curved trumpets. very unimp. (IB 87, no. 1491/237, p.340; F. X. Städler. Michael Wolgemut und der Nürnberger Holzschnitt. Strasbourg 1913. [SdK, 161], pl. 6)

[BI Strasbourg 1508] Wechtlin (Wächtlin), Hans (Johannes) (1480/85-ca.1526).

Last Judgement, from Das Leben Jesu Christi ... Strasbourg, Johann Knoblouch, 1508. woodcut. Two angels blow large, curved horns or trumpets. (R. Muther. German Book Illustration ... [trans. R. R. Shaw] Metuchen, NJ, 1972. pl. 233)

[Pa Nuremberg GNM] Anon. 15th century. Last Judgement. Nuremberg GNM. Two angels play oliphants. (Vis. Coll. 373.G315.39L; =? 1937 catalog: Die Gemälde des 13. bis 16. Jahrhunderts. Ed. E. Lutze and E. Wiegand. Leipzig 1937. no. 233, as Oberrhein [Bodenseegegend], ca. 1480)

[Sc Dorfkemnathen] German (Frankisch) ca. 1500. Last Judgement. Dorfkemnathen bei Dinkelsbühl, Kirche, Hochaltar. wood reliefs. Two angels blow oliphants. (R. Hoffmann. Bayerische Altarbaukunst. Munich 1923. Abb. 20)

[Steiner Pr] Steiner, Heinrich (op. ca. 1530/40 [i.e. 1510/40]). Last Judgement. (1510). woodcut . Two angels play oliphants or curved trumpets. (Geisberg-Strauss no. 1350-2)

Nativity: [Pa Hannover LM] German, late 15th- early 16th century. Nativity. Hannover, Landesmuseum, Städtische Galerie, Inv. Nr. KM33 (ex Kestner-Museum). Includes a shepherd holding a curved horn. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. 72, no. 272, as by the "Meister der Korbacher Franziskaner" [Weser Gebiet, b. ca. 1456-op. 1510-30], ca. 1510, with note not Alsatian; Stange VI, no. 247, as by "Werkstatt des Osnabrücker Ölberges" [Niedersachsen], ca. 1515). Clearly copied after Schongauer.

[Pa Lautenbach] Anon., ca. 1500. Nativity, from an Altarpiece. Lautenbach, Wallfahrtskirche. One of the shepherds may hold a curved horn. (H. Heid. Die Lautenbacher Wallfahrtskirche. Strasbourg 1960. [SdK, 327], p. 27)

[Pa Stockhausen] _______. Nativity. Stockhausen **. A shepherd holds a small, slightly curved horn. (Probably inspired by Schongauer.) (Stange VI no. 248, as "Werkstatt des Osnabrücker Ölberges")

[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 Kamenz] Anon., 1500. Nativity. Kamenz, St. Just-Kirche. wood sculpture. A shepherd holds a tiny horn. very unimp. (Imago musicae 9-12 [1992-95] 261 [minuscule reproduction])

[Joest van Kalkar Pa] Joest van Kalkar, Jan (b. ca. 1460-m.1519), copy after. Nativity. A shepherd holds a reverse-curve horn. Another holds a bagpipe. (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; note also pl. 11/no. 4e, a "precise, dry copy" in Dunedin, N.Z., Dunedin Public Art Gallery)

[Olmütz Pr] Olmütz, Wenzel von (doc. 1481-1497). Nativity. engraving. A shepherd holds a reverse-curve horn. Copy after Schongauer. (IB vol. 9, no. 3, p. 276)

[Riemenschneider Sc] Riemenschneider, Tilman (ca. 1460-1531). Fragment of a Nativity. Berlin-Dahlem. wood. Includes a shepherd holding a reverse-curve horn. (Deutsche Bildwerke aus sieben Jahrhunderten. Berlin 1958. cat. no. 60, pl. 27)

[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)

[Schwarz Pa] Schwarz, Frater Martinus ([op. last quarter, fifteenth century] - m. 1522?). Nativity. Nuremberg Gnm. Originally for the church of the Dominican Convent, Rothenburg? A shepherd holds a reverse-curve horn. (Stange IX, no. 246c)

[Stocker Pa] Stocker, Jörg, the Elder (doc. 1484-1514). Nativity (left wing, inner, from an altarpiece). Augsburg, Dom. Originally for the Pfarrkirche in Knöringen. A shepherd holds a reverse-curve horn. (Stange VIII, fig. 36, as 1484; J. Baum. Ulmer Kunst. Stuttgart and Leipzig 1911. p. 40, as 1484?)

Passion -- Mocking/Flagellation of Christ: [Pa Hannover LG] German (perhaps Halberstadt, "Meister des Göttinger Passionsaltars") ca. 1480. The Crowning with Thorns from an altarpiece of the Passion. Hannover, Landesgalerie, Inv. Nr. Wm XXVII,14 (probably from the St. Cruciskapelle, Göttingen). One of the figures blows a tiny horn into Christ's ear. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. 170, p. 499, as S. Niedersachsen tradition.)

[Wsc Freiburg i. Br. Augustineum] Anon. (Master of the Stuttgart Passion, Swabian, early 16th century). The Flagellation of Christ. Includes a figure blowing a fat, reverse-curve horn. (J. H. Marrow. Passion Iconography ... Kortrijk 1979. fig. 21)

[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)

[Dürer Dr] Dürer, Albrecht (1471-1528). The Mocking of Christ, from the Green Passion. Wien, Albertina, Inv. no. 3089 D62. drawing. Includes a figure with a little reverse-curve horn. unimp. (W. L. Strauss. The Complete Drawings of Albrecht Dürer, vol. 2. New York 1974. no. 1504/33, p. 797 [ok reproduction]) Preparatory drawing for this, Vienna Albertina, Inv. no. 3082 D57 (the horn is a bit clearer). (W. L. Strauss. The Complete Drawings of Albrecht Dürer, vol. 2. New York 1974. no. 1504/32, p. 795 [fine reproduction])

[Dürer Pr] _______. The Mocking of Christ (1511), from the Small Passion. woodcut. One of the figures blows an oliphant in Christ's ear. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 236) Engraving after by Marcantonio Raimondi. (GBA 92/2 [1978] 44 [minuscule reproduction] H. D. 269)

[Dürer Pr] _______. The Flagellation of Christ, from the Great Passion. woodcut. A child blows a reverse-curve horn. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 122 [fine reproduction]; J. H. Marrow. Passion Iconography ... Kortrijk 1979. fig. 106 [fine reproduction])

Passion -- Taking of Christ: [Joest van Kalkar Pa] Joest van Kalkar, Jan (b. ca. 1460-m.1519). The Taking of Christ (left wing, inner, of an altarpiece). Kalkar, Nicolaikirche. Part of a large polyptych of the Life of Christ. One figure blows a substantial looped and reverse-curve horn or trumpet (slightly expanding bore, four joints with ornamental bosses). (Friedländer XI/1, 2/1972, pl. 4/1; Stange VI, no. 122 [fair reproduction]; G. van der Osten and H. Vey. Painting and Sculpture in Germany and the Netherlands, 1500-1600. Baltimore 1969 [Pelican History of Art] no. 131; Die Denkmäler des Rheinlandes. Kr. Kleve, 2: Kalkar. Düsseldorf 1964. Abb. 66. As 1508? [fine reproduction]; E. Willemsen. "Die Wiederherstellung der Altarflügel des Jan Joest vom Hochaltar in St. Nikolai zu Kalkar," Jahrbuch der rheinischen Denkmalpflege 27 [1967] 105-252, fig. 159 [after restoration])

Passion -- Via dolorosa: [Ms Weimar TLB] German (Niedersachsen), early 16th century. Via dolorosa, from a Breviary. Weimar, Thüringische LB, Ms Oct.81, fol. 29. One figure blows a wooden (?) bark (?) horn (golden-brown color, ribbed). (It looks like a small alphorn.) One of only five main figures. (E. Rothe. Buchmalerei aus zwölf Jahrhunderten ... Berlin 1966. pl. 149 [fine color reproduction])

[Pa Buxtehude St. Petri] German (Lübeck, "Meister des Halepagenaltars" [op. 1496-ca.1510]). Via dolorosa, from the Halepagen Altar. Buxtehude, St. Petrikirche. Figures include heralds playing two large, ornamental, curved horns. They look very ceremonial. The movement is from right to left. The altar is named after the donor, Magister Gerhard Halepagen. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. 44, p. 207, as by the Meister des Halepagenaltars and Workship, ca. 1510. Equates the Master with Wim Dedeke; J. H. Marrow. Passion Iconography ... Kortrijk 1979. fig. 117 [ok reproduction]; Stange VI, no. 193, s by the Master of the Halepagen Altar, ca. 1510. Good painter.)

[Pa Merklingen] Anon., 1510. Via dolorosa (left wing, inner, of an altarpiece). Merklingen, Kirche, Altar. One figure has a curved horn. (Die Kunst- und Altertumsdenkmale in Württemberg, IV/1: Donaukreis. Esslingen a. D. 1914. p. 94)

[Pa Nuremberg GNM] Bavarian (Allgäu), ca. 1480. Via dolorosa. Nuremberg GNM. Soldier in armor, carrying a lance, blowing a tiny horn. It almost looks as though he is smoking a pipe. (Die Gemälde des 13. bis 16. Jahrhunderts. Ed. E. Lutze and E. Wiegand. Abb. 223 The figures seem related to the Mair von Landshut Via dolorosa.)

[Pa Wiesbaden Museum] Schwaben (Allgäu), ca. 1500. Via dolorosa. Wiesbaden, Museum (ex ehem. Zisterzienserinnenkloster Heggbach). Includes a figure blowing a short, curved animal horn in Christ's ear. Isn't this iconography a bit confused? Blowing a horn in Christ's ear belongs in the Mocking of Christ. (Stange VIII, fig. 325)

[WSc Bergheim] Anon., early 16th century. Via dolorosa. Bergheim, Heimathaus (ex Morken, Pfarrkirche). high relief oak plaque. There are only five figures, really, and one of them blows a curved horn. (A. Ohm and A. Verbeck. Kreis Bergheim. Düsseldorf 1970. [Die Denkmäler des Rheinlands, 15] fig. 148)

[Jupan WSc] Jupan, Ludwig (ca. 1460-1538). Via dolorosa, from a Passionsaltar. Kalkar, St. Nikolai. wood. Includes a prominent figure blowing an oliphant. (F. Gorissen. Ludwig Jupan von Marburg. Düsseldorf 1969. [Die Kunstdenkmäler des Rheinlands, 13] fig. 54, as 1498-1500; Die Denkmäler des Rheinlandes, Kr. Kleve, 2: Kalkar. Düsseldorf 1964. Abb. 18, as ca. 1500) The altarpiece is apparently by several artists.

[Mair Pr] Mair, Nicolaus Alexander (Mair von Landshut) (op. ca. 1490, m. 1520). Via dolorosa (1506). engraving. Includes a very prominent figure with a curved horn. One of seven figures. Clear illustration. (Hollstein [German] XXIII, no. 9 [with date added by a later hand]; Lehrs no. 578 [without date]; IB vol. 9, no. 6-I, p. 351 [without date])

Passion -- Other: [Hopfer-Mantegna Pr] Hopfer, Daniel (1493-p.1536), after Mantegna. Christ before Pilate. engraving. Includes a statuary figure atop the roof line with dogs and a curved horn. Other statuary figures have a lute and a shawm(?). (IB vol. 17, no. 9, p. 87)

Other: [Dürer Pr] Dürer, Albrecht (1471-1528). Christ in Limbo (1510). woodcut. A demon blows a reverse-curve horn. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 217 [fine reproduction]; E. Castelli. Il demoniaco nell'arte. Milan 1952. p. 147 [fine detail of the demon]; J. C. Smith. Nuremberg, a Renaissance City. Austin TX 1983. exh no. 12, p. 105. With bib.)

III: Miscellaneous Religious Subjects

Gabriel/Mystic Hunt of the Unicorn: [Gl Cleveland MofA] S. German, ca. 1515. Wappenscheibe of the Lichtenfels Family (Swiss, Basel). Cleveland, Museum of Art. stained glass. The Mystic Hunt of the Unicorn is depicted across the top. Gabriel plays a reverse-curve horn. (exh Bern, Kunstmuseum, 1979: Niklaus Manuel Deutsch ... cat. no. 270, p. 432)

[Pa Vienna Freisach] Austrian (St. Veit workshop), ca. 1515. The +Mystic Hunt of the +Unicorn. Freisach, Deutschordenskirche, Hochaltar (ex Hl. Gestadekirche am Ostsiacher See). wing of an altarpiece. Gabriel has a curved horn. (Kunstdenkmäler in Oesterreich ... II: Karnten-Steiermark. Munich, Berlin 1966. p. 20)

[Pa Braunschweig HAUM] German (perhaps Braunschweig or Goslar/"Meister des Braunschweiger Domaltars"), early 16th century. The Mystic Hunt of the Unicorn, exterior wings from the so-called High altar of Braunschweig Cathedral. Braunschweig, Herzog Anton Ulrich Museum, Inv. No. 33. Gabriel has a huge, reverse-curve horn. The painting is rather ugly, as least in the black and white photo. It is in poor condition and deteriorating. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. 142, p. 431, as ca. 1515; Vis. Coll. 373.G316.26 Ex1, Ex2, as 1506)

[Pa Buhl] Alsatian, ca. 1500. The Mystic Hunt of the Unicorn (exterior wing, closed, of an altarpiece). Buhl (Haut-Rhin), Église (fromerly in the church of Sainte-Catherine, Colmar). Gabriel had a little curved horn. (exh Colmar, Musée d'Unterlinden, 1966: Chefs-d'oeuvre d'art religieux en Alsace de l'époque romane à la Renaissance. Colmar 1966. pl. 2)

[Pa Isenhagen] German (Braunschweig), ca. 1510-1515. The Mystic Hunt of the Unicorn, from a Marienaltar. Isenhagen, Klosterkirche, Damenchor. Gabriel has a simple curved horn. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. 151, p. 453. Notes rather much restored in 1957.)

[Pa Marburg Um] German (Südniedersachsisch?), ca. 1500. The Mystic Hunt of the Unicorn, a wing of an altarpiece. Marburg, Universitätsmuseum (ex Hessisch-Oldendorf bei Rinteln, Kirche or Goslar, Liebfrauenkirche) (Leihgabe des Vereins für Hessische Geschichte und Landeskunde). Gabriel has a little curved horn -- a rather nice one. Compact composition. Good illustration. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. 70, p. 267. Restored in 1954. Difficult to know where it was painted; exh Corvey 1966: Kunst und Kultur im Weserraum 800-1600. 3/Münster 1967. vol. II, cat. no. 107, Abb. 141)

[Pa Weimar TLB] Anon., ca. 1520. The Mystic Hunt of the Unicorn. Weimar, Thüringische Landesbibliothek (?) (ex Heilsberg). Gabriel blows a curved horn with a banderole coming out of the bell (rather like a party favor). In poor condition. (detail: Bau- und Kunstdenkmäler Thüringens, I: Weimar. Jena 1893. p. 387)

[Sc ex Untermyer Coll.] German (Niederrhein), last quarter, 15th century. The Mystic Hunt of the Unicorn. ex Irwin Untermyer Collection. sculpture (metal, low relief). Gabriel has a curved horn. (Untermyer Collection catalog vol. 5. Cambridge MA 1962. pl. 115)

[Ta Berlin] N. Swiss, late 15th century. The Mystic Hunt of the Unicorn. Berlin (ex Kaiser-Friedrich Museum). tapestry antependium. Gabriel -- with his pack of four allegorical dogs: Veritas, Justitia, Pax and Misericordia -- holds aloft a curved horn. (Göbel III/1, no. 50b, text p. 76, as ca. 1490, perhaps from a Frauenkloster near Basel)

[Ta Gelnhausen] German (Mittelrhein -- Klosterarbeit from the area near Mainz) ca. 1500. The Mystic Hunt of the Unicorn. Gelnhausen, Marienkirche. tapestry. Gabriel (with two dogs) blows a short, fat, curved horn. (Göbel III/1, pl.96b [text p. 122] [fair reproduction])

[Ta Zürich SLM] N. Swiss (Basel?), 1480. The Mystic Hunt of the Unicorn. Zürich SLM (ex Lachen [Kanton Schwyz], Heiligenkreuzkapelle). tapestry antependium. Gabriel -- with his pack of four allegorical dogs: Veritas, Justitia, Pax and Misericordia -- has a very crudely depicted curved horn. unimp. (Göbel III/1, pl. 50a, text p. 75, as probably Klosterarbeit, with arms of the family von Irmensee and the Virgin surrounded by symbols of the lauretanischen Litanei -- an active and confused composition)

[Ta Zürich SLM] N. Swiss (Basel?), late 15th century. The Mystic Hunt of the Unicorn. Zürich SLM. tapestry. Gabriel has a partly visible curved horn hanging from a strap. The dogs are not allegorical. unimportant. (Göbel III/1, pl. 51, text pp. 76-77, as ca. 1490)

[WSc Lubbersdorf] Anon., late 15th century. The Mystic Hunt of the Unicorn, central panel of a carved wood altar. Lubbersdorf, Kirche. wood. Gabriel has a curved horn. (Kunst- und Geschichts-Denkmäler des Freistaats Mecklenburg-Strelitz, I/2: Das Land Stargard. Neubrandenburg. p. 384)

[WSc Warsaw] German (Breslau), late 15th century. The Mystic Hunt of the Unicorn, from a Marienaltar. Warsaw, MN (ex Breslau, St. Elisabeth). carved wood. Gabriel has a curved horn. (T. Dobrowolski. Sztuka Krakowa. Krakow 1971. p. 161 [best reproduction so far]; _______. Sztuka Polska. Cracow 1974, p. 222, as 1482; _______, ed. Historia sztuk polskiej, vol. I. Cracow 1965. p. 351. as ca. 1470-80, location: Wroclaw, Muzeum Sl_skie; W. Gütte. Breslau. Berlin 1929 [Deutsche Lande, Deutsche Kunst], as Breslau Master, ca. 1475)

[Kulmbach Dr] Kulmbach, Hans Süss von (ca. 1480-1522), copy. The Mystic Hunt of the Unicorn. Erlangen, Universitätsbibliothek. drawing. Gabriel has a small curved horn. (E. Bock. Die Zeichnungen in der Universitätsbibliothek Erlangen. Tafelband. Frankfurt am Main 1929. no. 246, pl. 102)

Coronation of the Virgin: [Master HL WSc] Master HL (Oberrhein) (op. 1511-ca.1530). Coronation of the Virgin. Breisach, Münster, Hochaltar. carved linden wood, high relief. A putto plays a looped, reverse-curve horn. Others play various small wind instruments. (I. Himmelheber. Meisterwerke des Oberrheinischen Kunst des Mittelalters. [Rhein] 1959. fig. 147, as 1526; W. Noack. Der Breisacher Altar. Königstein im Taunus, n.d. Details pp. 9, 12, 13 and 22. As ca. 1523-1526.)

Virgin and Child: [Gl Zürich SLM] Swiss? ca. 1515. Virgin and Child on a Sickle Moon. Zürich SLM (ex Zisterzienserinnenkloster La Fille-Dieu near Romont). stained glass. Two putti blow large curved horns. unimp. (J. Schneider. Glasgemälde. Katalog der Sammlung des Schweizerischen Landesmuseums Zürich. [Stafa 1971]. vol. I, no. 137, p. 169)

[Pa Venice Correr] German, [late] 15th century. Virgin and Child in a Mandorla. Venice, Museo Civico Correr. Among the many musical angels is one playing a 2 1/2 (3 1/2?) colied horn with the bell emerging from between the coils. A remarkable instrument for the period. (Vis. Coll. 373.G315.34[ii]1)

[Hopfer Pr] Hopfer, Daniel (op. 1493-1536). Grotesque Altarpiece Design with the Mystic Marriage of St. Catherine. engraving. Two wingless putti blow curved horns/trumpets, with little banners. Good example of an instrument which is neither fish nor fowl. These perhaps more horns than trumpets. (IB vol. 17, no. 44, p. 121)

IV: Saints

St. Cornelius: [Hans von Reutlingen Me] Hans von Reutlingen (doc. 1492-1547). St. Cornelius. Aachen, Probstei- und Pfarrkirche St. Adalbert. gilded copper pax . The saint holds a curved horn. (Aachener Kunstblätter 36 [1968] 164, exh. cat. no. 56, as ca. 1520) No great work of art.

[Master St. Severin Pa] Master of St. Severin (op. ca. 1485-ca. 1515). Two Saints. Köln, St. Severin. One is a cleric (St. Cornelius?) holding a curved horn. (Stange V, no. 220, as ca. 1505?)

St. Hubert/Eustache: [Pa Munich AM] German (Niederrhein), late 15th century. St. Hubert. Munich art market 1980. wood plaque. The saint has a large curved horn, partly visible and hanging from a strap. (very) unimp. (Alte und moderne Kunst, Bd. 25, H. 171 [1980] 70; Pantheon 38 [1980] 211 [ok reproduction]; Die Weltkunst 50 [1980] 1 September 1980, front cover [fine color reproduction])

[Dürer Pr] Dürer, Albrecht (1471-1528). St. Eustache. engraving. The saint has a reverse-curve horn hanging from a strap. The strap is more interesting than the horn. (IB vol. 10, no. 57, p. 51; W. L. Strauss, ed. The Intaglio Prints of Albrecht Dürer: Engravings, Etchings and Dry Points. New York 1977. no. 34, p. 105, as ca. 1501)

[Leinberger Pr] Leinberger, Hans (op. ca. 1516-30). St. Hubert (Eustachius) (1522). engraving. A huntsman (not the saint) in antique costume, with a lance and a dog, blows a curved horn. He is the most prominent figure in the composition (symbolic of Faith?). (Hollstein [German] XXI, no. 16, p. 178)

[Master of Cappenburg Nuremberg GNm] Master of Cappenburg (op. first half, 16th century). St. Hubert. Nuremberg GNm. The saint has a curved horn hung from a strap (only the distal end visible). unimp. (H. Esswein and W. Hausenstein. Das deutsche Bild des XVI. Jahrhunderts. Munich 1923. p. 1)

Other: [Beck Pr] Beck, Leonhard (op. 1503-1542). St. Guido. woodcut. A hunter, fallen from his horse, has a curved horn hanging from a strap. (Henning pl. 7)

[Beck Pr] _______. Saint Sigibertus. woodcut. A hunter, fallen from his horse, has a reverse-curve horn hanging from a strap. (Henning pl. 9)

V: Mythology

Actaeon: [Cranach Pr] Cranach, Lucas I (1472-1553), attr. Hunt, with Diana and Actaeon. woodcut. Actaeon has a small curved horn. One of the hunters blows a curved horn. (Hirth no. 614 [fine reproduction], as Lucas Cranach[?]; Schwerdt vol. III, pl. 173 [fine reproduction], as Anon., ca. 1550.)

Mercury: See also Allegory, Planets.

[Burgkmair Pr] Burgkmair, Hans (1473-1531). Design for an Epitaph for Conrad Celtes (1507). woodcut. Includes Mercury holding a curved horn. (A. Burkhard. Hans Burgkmair. Leipzig n.d. p. 81; _______. Hans Burgkmair. Berlin 1932. pl. VIII; T. Falk. Hans Burgkmair. Munich 1968. fig.26; MGG II, col. 953)

[Burgkmair Pr] _______. Emblematic woodcut with the Reichsadler, etc., and emblems of the +Celtesgesellschaft (1509). woodcut. Includes Mercury holding a curved horn (part of the scene depicting the Judgement of Paris, emblematic of "Discordia"). (A Burkhard. Hans Burgkmair. Berlin 1932. pl. IX; T. Falk. Hans Burgkmair. Munich 1968. fig. 25, as Reichsadler with allegory of Maximilian I; exh OeNB, etc., 1959: Maximilian I. Vienna 1959. pl. 66; Zeitschrift für Kunstgeschichte 57 [1994] 197 [small reproduction])

Muses: [BI Augsburg 1507] Anon. The Muses, etc., from Celtes and Tritonius Melopoiae. Augsburg, Erhart Öglin, 1507. woodcut. Melpomene has a little reverse-curve horn. (G. S. Fraenkel. Pictorial and Decorative Title Pages ... New York 1968. no. 3; H. Röttinger. Dürers Doppelgänger. Strasbourg 1926. [SdK, 234] pl. LXIII; MGG IX, Taf. 119)

[Burgkmair Pr] Burgkmair, Hans (1573-1531). Musica Canterey, from the Triumphal Procession of Emperor Maximilian. woodcut. Includes figures of the Muses. Melpomene has an oliphant. (U. Henning. Musica Maximiliana. Neu-Ulm 1987. pl. 138; Hirth no. 168-169 [fine reproduction]; H. Besseler. Die Musik des Mittelalters und der Renaissance. Potsdam 1931, R/New York [1949?]. Taf. XVII [fine reproduction]; M. Remnant. Musical Instruments of the West. London 1978. p. 195; exh Berlin, Kupferstichkabinett, 1974: Hans Burgkmair. cat. no. 3, pl. 82)

[Dürer Dr] Dürer, Albrecht (1471-1528). Melpomene. Paris, Musée du Louvre. drawing, after the so-called Tarocchi. She blows a fancy little horn with spiral ribbing at the proximal end. (W. L. Strauss. The Complete Drawings of Albrecht Dürer, vol. 1. New York 1974. no. 1494/23, p. 243; Revue du Louvre 14 [1964] 121)

Other: S[Dürer Dr] Dürer, Albrecht (1471-1528). Battle of the Sea Gods. Wien, Albertina. drawing. A figure blows a small, curved horn decorated with carved leaves. After Andrea Mantegna (ca. 1431-1506), Battle of the Sea Gods (engraving - right half). (See 15th century-Italian, Mythology, Other) (W. L. Strauss. The Complete Drawings of Albrecht Dürer, vol. 1. New York 1974. no. 1494/13, p. 225 [fine reproduction]; Brüchle & Janetzky, p. 22, as Battle between Tritons and Nereids)

[Graf Pa] Graf, Urs (1485-1527/9). Mars and Bellona. Basel, Oeffentliche Kunstsammlung. Bellona holds a large, reverse-curve horn with smoke coming out of the bell. A nude figure below blows a huge curved horn/trumpet with smoke (and more) emerging from the bell. (P. L. Ganz. Die Malerei des Mittelalters und des XVI. Jahrhunderts in der Schweiz. Basel 1950. [Schweizer Kunst, 5] p. 123, as 1515/16.)

[Graf Dr] _______. Female Satyr. Basel, Kupferstichkabinett der Öffentlichen Kunstsammlung. drawing. A emale figure with horns blows an enormous, fanciful, reverse-curve horn or trumpet, which is partly encased in a large leaf, and which has clouds of sound emerging from its bell. (Musica calendar, 1974: 10-23 February [splendid reproduction])

VI: Literary and Historical Subjects/Figures

See also Scenes of Everyday Life -- Outdoor, Hunts and Hunters.

[Ms Bern Burgerbibliothek Hist. Helv. I.3] Schilling, Diebold. Die Pannerträger der 8 alten Orte und ihrer Zugewandten vor den Mauern der Stadt Bern, 1476, title illustration of vol. III of Schilling's Amtliche Bernerchronik 1481-1483. Bern, Burgerbibliothek Ms Hist. Helv. I.3, fol. 4. manuscript illustration. Militiamen with banners. A pair plays flute and drum at the left, a pair plays bagpipe and drum at the right, and a single figure plays a substantial reverse-curve animal (?) horn front and center. (exh Bern, Kunstmuseum, 1979: Niklaus Manuel Deutsch ... no. 6, p. 148)

[BI Augsburg ca. 1485] Anon. Geoffrey Calling the Retinue of the Slain Giant of Garande, from Melusine. Augsburg, Anton Sorg, ca. 1485. woodcut. Geoffrey, in armor, with a lance, blows a curved horn. (IB vol. 85, no. 1485/504, p. 169)

[BI Heidelberg 1491] Anon. Geoffrey Calling the Retinue of the Slain Giant of Garande, from Von einer Frowen genant Melusina. Heidelberg, Heinrich Knoblochtzer, 1491. woodcut. Geoffrey, in armor and with a lance, blows a curved horn. Crude illustration, doubtless a copy. The Augsburg ca. 1485 is far better. (IB vol. 87, no. 1491/146, p. 274)

[BI Lyons 1493] Dürer, Albrecht (1471-1528). Roman Theater, from an edition of the works of Terence. Lyons 1493. woodcut (prepared for the 1492 Basel edition, which was never printed). Musicians in the stage area blow an oliphant, a slender horn or slightly curved trumpet, a slide (?) trumpet and a harp. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 23 [fine reproduction]; Meiss 1974, II, fig. 216; W. Salmen. Der Spielmann im Mittelalter. Innsbruck 1983, Abb. 135. Says is performance of the comedy "Phormio.")

[BI Mainz 1492] Anon. Otheberne, from Conrad Botho's Chroneken der Sassen. Mainz, Peter Schoeffler, 1492. woodcut. Otheberne has a large, curved horn or oliphant. (R. Muther. German Book Illustration ... Transl. R. R. Shaw. Metuchen NJ 1972, pl. 147)

[BI Strasbourg 1489] Anon. Paris Meets the Goddess Egenoe, from Guido de Columns, Historia Trojana. Strasbourg, Martin Schott, 1489. woodcut. Paris has a curved horn hanging from a strap. (IB 87, no. 1489/298, p. 98)

[BI Strasbourg 1502] Anon. Two Musicians, from Publius Vergilius Maro, Opera. Ed. Sebastian Brant. Strasbourg, I. Grieninger, 1502. woodcut. One plays a 3-1/2 coiled horn, the other plays a trumpet. (MGG VI, col. 747; R. Morley Pegge. The French Horn ... New York 1960. pl. 1 [detail]; T. L. Naylor. The Trumpet & Trombone in Graphic Arts 1500-1800. Nashville 1979. no. 159)

[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 large curved horn. (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 [in the manner of the Last Judgement groups led to Hell]).

VII: Allegory

Alphabets: [BI Augsburg 1490] Anon. Picture Alphabet from Jacobus Publicius, Ars oratoria, epistolandi et memorativa. Augsburg, Erhard Ratdolt, 1490. woodcut. Letter C is represented by a curved horn. (IB vol. 87, no. 1490/192, p. 181)

Death, Dance of: See also Old Testament, Nimrod.

[Ms Donaueschingen] Anon. ca. 1520. Death and the Bürger, from the Handschrift Zimmern. Donaueschingen, F. F. Hofbibliothek, Hs A III, 54. Death carries a torch and has a long, metal, reverse-curve horn (a watchman's horn?) hanging from a strap. (Hammerstein Tanz Abb. 319)

[Ms Donaueschingen] _______. Death and all walks of life. Death blows a sharply curved horn. (Hammerstein Tanz Abb. 331)

[BI Heidelberg? ca. 1488] Anon. Der doit von allem staidt, from a Totentanz. Heidelberg, Knoblochtzer, ca. 1488, no. xxxviii. woodcut. Death and all walks of life. Death has a curved horn. (IB vol. 86, no. 1488/680, p. 261. As Death before All Walks of Life; Hammerstein Tanz Abb. 177, as Strasbourg, ca. 1485; Arthur M. Hind. An Introduction to a History of Woodcut. New York 1935, R/New York 1963. p.345, as Mainz, about 1492) Hammerstein p. 124: considers it probably based on a lost Franco-Flemish original, germanized, transforming the images from höfisch to bürgerliche. He suggests an Alsatian model, from a Bischofsstadt with Franciscan influence, perhaps Besançon. p. 126: the artist's main intention seems to have been to depict as many instruments as possible. The governing principle is Varietas -- more wide than deep. The text (but not the illustrations) is clearly related to a Netherlands ca. 1470 Ms (Kassel). Briesemeister (see below) gives title and imprint as Dotendantz mit figuren, clage und antwort von alten staten der Werlt. Heidelberg ca. 1486.

_______. Der Doit und der Ritter, no. xiv. Death and the knight. Death has a curved horn hanging from a strap. (IB vol. 86, no. 1488/656, p. 249; Hammerstein Tanz Abb. 153)

_______. Der Doit und der Wucherer, no. xviii. Death and the money-lender. Death has a looped horn. (IB vol. 86, no. 1488/660, p. 251; Hammerstein Tanz Abb. 157)

_______. Der Doit und der Herzog, no. xii. Death and the duke. Death has a horn/oliphant. (IB vol. 86, no. 1488/654, p. 248; Hammerstein Tanz Abb. 151)

_______. Der doit/Der spieler, no. xliv. Death and the gambler. Death holds a fingered horn. (IB vol., no. 1488/666, p. 254; Hammerstein Tanz Abb. 163)

_______. Der doit/Der diep, no. xxv. Death and the thief. Death blows a curved horn. (IB vol. 86, no. 1488/667, p. 254; Hammerstein Tanz Abb. 164; D. Briesemeister. Bilder des Todes. Unterscheidheim 1970. Abb. W4)

Folly/Voluptas: See also Miscellaneous Figures, Fools.

Hunts (allegorical): [Ta Glasgow Burrell] Upper Rhenish (?), late 15th century. The Pursuit of +Fidelity. Glasgow, Burrell Collection. tapestry fragment. A stag +hunt. A hunter, mounted, with his lady mounted behind him on the same horse, blows a reverse-curve horn. The couple chases a stag into a trap made of rope strung between trees. The banner reads "[I]ch jag nach truwen find iche die / kein lieber zit gelebt iche nie." (Burlington 133 [1991] 166. Translates the banner as "I am hunting for fidelity, and if I find it, I shall never have experienced greater joy." Notes exh Hayward Gallery, London, 1975: Treasures from the Burrell Collection. no. 70) = Swiss or Alsatian (Upper Rhein), late 15th century. Allegory of Fidelity. ex coll. F. Engel-Gros. (F. Engel-Gros. L'oeuvre d'un amateur d'art; la collection de monsieur F. Engel-Gros, catalogue raisonné. Geneva [1925]. pl. 112) = Swiss ca. 1480/90. Allegory of Fidelity. formerly P. W. French and Co., New York. (exh Amsterdam Rpk 1985: The Master of the Amsterdam Cabinet, or the Housebook Master, ca. 1470-1500. Ed. J. P. Filedt Kok. Princeton 1985. p. 70 [not exhibited][small reproduction]. Translates the banner as "I hunt for fidelity, I will never be happier than when I have found it"; and suggests that the work is to be understood as an allegory of fidelity and thus as a moralized version of the chivalric ideal.)

[Ta St. Petersburg] Alsatian? late-15th early 16th century. Stag Hunt. St. Petersburg ,Hermitage (acquired in 1923 from the Stieglitz Museum). tapestry fragment. With text: "Ellen[d] in fre[u]d dich w[e]nd" (Sadness transforms to joy). Includes a +huntsman with dogs and a reverse curve horn. (N. Y. Birjukowa. Bildteppiche in der Eremitage. Prague 1965. pll. 5 [color] & 6 [color detail], English as: The Hermitage Leningrad: Gothic and Renaissance Tapestries. Prague 1965, London 1966; Les arts appliqués de l"Europe occidentale, XIIe - XVIIIe siècles (Hermitage). Leningrad 1974. no. 22 [color])

Months/Zodiac: [BI Augsburg 1488] Anon. The Third Decan of Aries, from Angelus, Astrolabium. Augsburg, Erhard Ratdolt, 1488. woodcut. The third decan of Aries is governed by Moon. Here the emblem is a hunter with a dog and a lance, striding along, blowing his curved hunting horn. (IB vol. 86, no. 1488/759, p. 285)

Paradise/Hell: See also Old Testament, Nimrod.

Planets: See also Mythology, Mercury (without Argus); Allegory, Vanitas

[BI Augsburg 1487] Anon. Luna from a series of roundels depicting the Seven Planets, from a Calendar. Augsburg, Johann Schönsperger, 1487. woodcut. She holds a torch and a curved horn. (IB vol. 86, no. 1487/162, p. 62)

[BI Augsburg 1488] Anon. Luna from a series of roundels depicting the Seven Planets, from a Calendar. Augsburg, Johann Schobsser, 1488. woodcut. She holds a torch and a curved horn. (IB vol. 86, no. 1488/887, p. 316)

[Ms Paris BN allem. 106] German, ca. 1490. The Children of Venus, from an astrological treatise. Paris BN, Ms allemand 106, fol. 62. Includes a gentleman on horseback, waving a banner emblazoned with a turkey. He seems to have a curved horn hanging at the back of his belt. (Only the mouthpiece end is visible.) (A. P. de Mirimonde. Astrologie et musique. Gerneva 1977. p. 125 [ok reproduction])

[Pr Anon. (1504)] Anon. Conjunction of Sun and Moon in the Sign of Cancer, from an illustrated leaflet with Sebastian Brandt's Poetical Commentary (1504). The personification of Luna/Moon is a nude woman with a curved horn. (Oud-Holland 91 [1977] 231)

[Pa Danzig Marienkirche] German, 1510-1517. Mercury, right wing of an altarpiece. Danzig, Marienkirche, Hochaltar. Painted wing. The central panel is a carved wood Coronation of the Virgin. Mercury has a curved horn. (The planet Mercury is associated with the birth of Christ.) (W. Drost. Kunstdenkmäler der Stadt Danzig, IV: Die Marienkirche. Stuttgart 1963. [Bau- und Kunstdenkmäler des deutschen Ostens, A4], fig. 21, after p. 81. Drost suggests that the horn is a poor copy of the recorder in Burgkmair's Planet series, ca. 1520 [repr. fig. 22]. But note Burgkmair, below, which depicts Mercury with a horn.)

[Burgkmair Pr] Hans Burgkmair (1473-a.1531). Emblematic woodcut with the Reichsadler and emblems of the Celtesgesellschaft (1507). woodcut. Mercury with what looks like a curved, fingered horn. (Geisberg-Strauss no. 518, p. 485; T. Falk. Hans Burgkmair. Munich 1968. fig. 25; A. Burkhard. Hans Burgkmair. Berlin 1932. pl. IX [much better repr. than Falk])

[Schoen Dr] Schoen, Erhard (a. 1491-1542). Luna, with the Sign of Cancer, from a series of the Seven Planets and the Signs of the Zodiac. Köln WRM. drawing. The personification holds a reverse-curve horn. (exh 1965: Handzeichnungen des 15. und 16. Jahrhunderts und Miniaturen. no. 16)

[Schoen Pr] _______. Luna, from a Seven Planets series. woodcut (tiny). She blows a curved/reverse-curve horn. (IB vol. 13, Commentary, no. .300[b], p. 538)

Triumph/Victory: See also Scenes of Everyday Life -- Outdoor, Processions/Cavalcades/Entrees.

[Jacob von Strasbourg Pr] Jacobus Argentoratensis (Jacob von Strasbourg) (doc. 1494-1530). Triumph of Caesar (1503 -- i.e. 1504). woodcut. Three figures blow cornui, and another has a looped and reverse curve horn. Other figures play trumpets of various shapes, shawms, and auloi. (Arte veneta 31 [1977] 48-49 [minuscule reproduction]).

Vanitas: [Schoen Pr] Schoen, Erhard (a.1491-1542). Die eytel vergengklich Freudt vn[d] wollust diser welt. woodcut. pub. Nürnberg, Christoff Zell, 1524. Poem by Hans Sachs. A mounted hunter seems to have a curved horn. With other musical ensembles. The hunt is probably a reference to the planet Jupiter. Other planets referred to seem to be Moon, Venus, and perhaps Sun. (Geisberg-Strauss no. 1162; H. Röttinger. Erhard Schön & Niklaus Stör. Strasbourg 1925. [SdK 229] cat. no. 162, pl. V)

Vice (Luxuria)/Virtue: See also Hunts (allegorical).

Other: [Schoen Pr] Schoen, Erhard (a. 1491-1542). Das Münich vnd Pfaffen Gaid/Nyemand zu lieb noch zu laid. woodcut from two blocks. A +demonic figure (odd animal figure) on horseback (a combination of +hunter and +Höllenwächter) blows a curved horn. A bear-like figure with a spear has a reverse-curve horn hanging at his back. (Geisberg-Strauss G.1143; J. C. Smith. Nuremberg, a Renaissance City. Austin TX 1983. exh. no. 64, as ca. 1525; H. Zschelletzschky. Die "Drei gottlosen Maler" von Nürnberg ... Leipzig 1975. no. 207, p. 264. A hunt +parody in which clerics are driven like game into the mouth of hell. As ca. 1524.)

[Schoen Pr] _______. Three Columns Surmounted by a Horn and Busts of a King and a Monk, from Eyn wunderliche Weyssagung von dem Babstumb (with verses by Hans Sachs). Nuremberg, Hans Guldenmund, 1527. woodcut. (IB vol. 13, Commentary, no. .048(s), p. 144)

IX: Heraldic

[Gl Hochhausen] Anon, 1496. The Arms of Hornbeck von Hornberg. Hochhausen, Notburga-Kirche. stained glass window. Includes a deeply curved horn with a strap. (Die Kunstdenkmäler des Grossherzogthums Baden, IV/4: Kreis Mosbach. Tübingen 1906. pp. 36-37)

[Altdorfer Pr] Altdorfer, Albrecht (ca. 1480-1538), attr. The Austrian Lands: Trieperg, from the Triumphzug. woodcut. A mounted unit. One figure carries a banner with arms consisting of paired curved horns. (Henning pl. 141)

[Burgkmair Pr] Burgkmair, Hans I (1473-1531). Arms of the Dukes Ottheinrich and Philipp of Bavaria. woodcut. Two stylized horns project from a crown. Between them a crowned lion. (Brüchle and Janetzky p. 58)

[Burgkmair Pr] _______. The Geneaology of Emperor Maximilian. woodcuts. The device of Rampertus includes a reverse-curve horn. (Henning pl. 3, p. 56)

[Dürer Pr] Dürer, Albrecht (1471-1528). Coat of Arms of Johann Tscherte. woodcut. A figure coming out of the top of a helmet, between two reverse curve horns projecting from the top of the helmet, blows a reverse curve horn. On the shield there is a nude hunter, with two dogs on a leash, blowing a reverse curve horn. (W. Kurth. The Complete Woodcuts of Albrecht Dürer. R/New York 1963. no. 323; Geisberg-Strauss no. G.731, as ca. 1521. Notes that Tscherte in Czech means wild man; Brüchle & Janetzky 1976, p. 59) Cf. Schoen, below.

[Dürer Pr] _______. Coat of Arms of Johann Prinz von Vram, from the Ehrenpforte. woodcut. Includes two curved horns with straps. (Henning pl. 25; Beilagen zum Jahrbuch der Kunsthistorischen Sammlung des allerhöchsten Kaiserhauses. Bd. 4: Ehrenpforte Maximilians I. pl. 13 [fine reproduction])

[Glaser Gl] Glaser, Anthoni (m. 1551). Standesscheibe of Uri (1519-21). Basel, Rathaus, Vorderen Ratsstube. stained glass. The men holding the coat of arms are Uristiere (men with horns), each blowing a reverse-curve horn (Harsthorn) (well, one seems more a simple curved horn). (Die Kunstdenkmäler der Schweiz, 3: Kanton Basel Stadt. Basel 1932. p. 497)

[Schoen Pr] Schoen, Erhard (a. 1491-1542). Coat of Arms of Johann Tscherte, from Henricus Grammateus, Ayn new kunstlich Buch ... Nuremberg [J. Stüchs] 1518. fol. Av. woodcut. A figure coming out of the top of a helmet, between two reverse curve horns projecting from the top of the helmet, blows a reverse curve horn. On the shield there is a nude hunter, with two dogs on a leash, blowing a reverse curve horn. (IB vol. 13, Commentary, no. .014(a) p. 73) Cf. Dürer, above.

[Springinklee Pr] Springinklee, Hans (doc. 1512-1522), attr. Friese of Coats of Arms from the Ehrenpforte. woodcut. Includes the Ertperg arms with a pair of curved horns and the Weyssenhorne arms with three hunting horns with straps. (Henning pll. 15-16; Beilagen zum Jahrbuch der Kunsthistorischen Sammlung des allerhöchsten Kaiserhauses. Bd. 4: Ehrenpforte Maximilians I. pl. 33 [fine reproduction])

[Zeiner Gl] Zeiner, Lukas/Lux (ca. 1450-a.1519). Standesscheibe of Uri (1500). Zürich SLM. stained glass. Two Uristiere, flanking the coat of arms, blow cow horns. These horns were war horns (R. J. Knecht. Francis I. Cambridge 1982. p. 45). (P. Boesch. Die schweizer Glasmalerei. Basel 1955. p. 69 [better reproduction]; J. Schneider. Glasgemälde. Katalog der Sammlung des SlmZ. [Stafa 1971]. vol. I, no. 177, p. 182); =? P. Ganz. Geschichte der Kunst in der Schweiz ... Basel 1960. As Urner Standesscheibe from the Tagsatzungssaal, Baden, 1501. color pl. VI, opp. p. 344)

[Zeiner Gl] _______. Standesscheibe of Uri. Zürich SLM (ex Maschwanden, Pfarrkirche). stained glass. Two angels blow reverse-curve horns (Harsthörner). Half of a Doppelscheibe with the arms of Uri in one panel and St. Martin in the other. (Die Kunstdenkmäler der Schweiz, 7: Kanton Zürich Landschaft I. Basel 1938. p. 117. As 1506; J. Schneider. Glasgemälde. Katalog der Sammlung des SlmZ. [Stafa 1971] vol. I, no. 102, p. 160. As Lux Zeiner or Workshop, ca. 1506.)

XII: Decorative Elements

See also Miscellaneous Figures, Grotesques.

[Hopfer Pr] Hopfer, Daniel (1493-p.1536). Ornamental Fillet with Arabesques. engraving. Two women hold large curved horns. (Hollstein [German] XV, no. 107, p. 131)

[D Hopfer Pr] Hopfer, Daniel (ca. 1490-1530). Design for a Candelabrum. engraving. Two figures blow curved horns. (Hollstein [German] XV, no. 142, p. 160)

XIII: Scenes of Everyday Life -- Outdoor

Hunts and Hunters: See also Old Testament, Esau; Miscellaneous Religious Subjects, Gabriel/Mystic Hunt of the Unicorn; Saints, St. Hubert/Eustache; Mythology, Actaeon; Allegory, Hunts (allegorical); Allegory, Months/Zodiac; Allegory, Vanitas; Allegory, Vice (Luxuria)/Virtue; Scenes of Everyday Life -- Outdoor, Processions/Cavalcades/Entrees; Miscellaneous Figures, Fools

[WSc Erfurt Dom] German, ca. 1480. Rabbit Hunt. Erfurt, Dom, Choir stalls, north side. wood. Includes a figure blowing a horn. (A. Overmann. Die älteren Kunstdenkmäler ... der Stadt Erfurt. Erfurt [pref. 1911]. p. xxvii. As ca. 1400-1410.)

[Ms Graz UB 1] Austrian (Vienna, "Meister des Friedrichs-Breviers"), ca. 1480/81. Bas-de-page hunt from an Antiphonar (Winter section) of the St. Georg-Ritterordens (main initial is the letter U with an illumination of the three women visiting the empty tomb on Easter morning). Graz UB, cod. 1. The hunter has a curved horn. (exh Krems-Stein, Minoritenkirche, 1967: Gotik in Oesterreich. Krems an der Donau 1967. no.121, color pl. 7)

[Ms Nuremberg GNM 2107b] German (Mitteldeutsch), 1492. Initial surrounded by medallions, from a Haggadah. Nürnberg GNm Ms 2107b. In one of the medallions there is a hunter with a curved horn on a prancing horse, (D. H. Müller and J. von Schlosser. Die Haggadah von Sarajevo. Wien 1898. pl. XIII)

[Ms Vienna Staatsarchiv] Anon., ca. 1512. Hunting Scene, from the Priviligium Maius (Vienna, 19 December 1512). Vienna, Haus-, Hof-, und Staatsarchiv, Allgem. Urkundenreihe. Includes a figure with a lance, blowing a curved horn. They are hunting ducks, mountain goats and a stag. The fellow with the horn seems to belong to no particular hunt, although he is closest to the mountain goats. (Baldass, Peter von, et al. Renaissance in Österreich. Wien 1966. Pl. VII, opp. p. 37 [fine color reproduction]: R. Feuchtmüller. Kunst in Oesterreich ... 1972. Abb. 183 [fine color reproduction]; =? exh OeNB, etc., 1959: Maximilian I. Vienna 1969. pl. 22)

[BI Augsburg 1488] Stag Hunt, from Rodericus Zamorensis, Speculum vitae humanae. Augsburg, Peter Berger, 1488. woodcut. The hunter has a pair of dogs on a leash and blows a curved horn straight up. Very clear illustration. (IB vol. 86, no. 1488/322, p. 132)

[Gl Detroit IofA] German, ca. 1485. Quatrefoil Roundel with Boar-Hunting Scenes. Detroit, Institute of Arts. stained glass. Includes a hunter on foot, blowing a curved horn. (Bulletin of the Detroit Institute of Arts 67/1 [1992] 38)

[Gl Zürich SLM] Anon., ca. 1515. Wappenscheibe der Benediktinerabtei Alt St. Johann. Zürich SLM. stained glass. Across the top, a hunt with a hunter with a reverse-curve horn. The usual. unimp. (J. Schneider. Glasgemälde. Katalog der Sammlung des SlmZ. [Stafa 1971] vol. I, no. 142, p. 171)

[Gl Zürich SLM] Anon., ca. 1525. Wappenscheibe des Cornel Schultheiss (Lucerne). Zürich SLM. stained glass. Across the top, a hunt with a hunter with a curved horn. (J. Schneider. Glasgemälde. Katalog der Sammlung des SlmZ. [Stafa 1971] vol. I, no. 174, p. 181)

[Gl Zürich SLM] Anon, ca. 1525. Allianzscheibe Escher-Rörist. Zürich SLM (depot). stained glass. Across the top, a stag hunt with a hunter with a reverse-curve horn. Similar to catalog no. 142, but going in the opposite direction. (J. Schneider. Glasgemälde. Katalog der Sammlung des SlmZ. [Stafa 1971] vol. I, no. 177, p. 182)

[Altdorfer Pr] Altdorfer, Albrecht (ca. 1480-1538), attr. Maximilian I. auf der Jagd, from the Ehrenpforte. woodcut. A sharply curved reverse-curve horn hangs at the back of his waist from a strap. (Henning pl. 10)

[Beck Pr] Beck, Leonhard (op. 1503-1542). Der junge Weisskunig erlegt mit dem Stahlbogen eine Gemse, from Weisskunig. woodcut. A mountain goat hunt. Three of the hunters (one of them must be Weisskunig, the young Maximilian) have reverse curve horns suspended at the back of the waist. (JbkH 1888, no. 175, p. 91)

[Beck Pr] _______. Die schicklichait und new erfindung des furstlichen lust der jegerei, from Weisskunig. woodcut. A boy, apparently the little Maximilian, blows a reverse curve horn, standing beside a big dog. A dog handler has a curved horn at his waist. It's all rather cute. (Henning pl. 85; JbkH 1888, no. 35, p. 95)

[Beck Pr] _______. Hunting scenes in Theuerdank: (with Theuerdank or a hunter with a curved horn, usually partly visible, all unimportant):

Theuerdank erschlägt einen Eber (pl. 17) (Henning pl. 103)

Gemsenjagd (pl. 40) (Henning pl. 84)

Wildschweinjagd (pl. 41) (Henning pl. 108)

Wildschweinjagd (pl. 51) (Henning pl. 112)

Blitzschlag (pl. 52) (Henning pl. 113)

[Burgkmair Pr] Burgkmair, Hans (1473-1531). Wie dem w[eyssen] k[unig] potschaft kam, das die Crobaten geslagen weren, from Weisskunig. woodcut. Maximilian receives a messenger while out hunting the stag. Maximilian, on horseback, has a reverse curve horn hanging from a strap (very clear). A dog handler, on foot, also seems to have one hanging from a strap. (Henning pl. 94; JbkH 1888, no. 209, p. 286)

[Burgkmair Pr] _______. Bei einer Jagd zur Winterszeit entgeht Theuerdank einer Lawine from Theuerdank: (pl. 52). woodcut. Two mounted hunters have curved horns hung at their backs. (Henning pl. 106)

[Dürer Dr] Dürer, Albrecht (1471-1528). Sheet of Studies. Budapest SM. drawing. Includes a hunter with a small curved horn. unimp. (W. L. Strauss. The Complete Drawings of Albrecht Dürer, vol. 3. New York 1974. no. 1513/24, p. 1371 [ok reproduction])

[Dürer Dr] _______, attr. Design for a Table Fountain. London BM no. 5218/83. drawing. Includes a hunter blowing a curved horn. (W. L. Strauss. The Complete Drawings of Albrecht Dürer, vol. 1. New York 1974. no. 1499/1, p. 457)

[Schäufelein Pr] Schäufelein, Hans Leonhard (ca.1483-1539/40). Hunting scenes in Theuerdank: (with Theuerdank or a hunter with a curved horn, usually partly visible, all unimportant):

Hirschjagd (pl. 13) (Henning pl. 101)

Theuerdank greift einem wilden Löwen ins Maul (pl. 16) (Henning pl.102)

Theuerdank wird von zwei Löwen angegriffen (pl. 42) (Henning pl. 110)

Bärenjagd (pl. 48) (Henning pl. 111)

Gemsenjagd (pl. 69) (Henning pl. 118)

[Wertinger Pa] Wertinger, Hans (ca.1465/70-1533). Stag Hunt. private collection, Bologna. Includes a hunter with dog and lance, blowing a curved horn. (Gazette des Beaux-Arts 113 [1989] 3)

[Zeiner Gl] Zeiner, Lukas/Lux (ca. 1450-a.1519). Standesscheibe of Schwyz. Zürich SLM. stained glass. At the upper right a hunter with a large reverse-curve horn. (J. Schneider. Glasgemälde. Katalog der Sammlung des SlmZ. [Stafa 1971]. vol. I, no. 67, p. 150, as ca. 1501.)

Messengers, Postmen, etc. [Beck Pr] Beck, Leonhard (op. 1503-1543). "Wie der hermbl kunig vil geselschaft zu begen pracht, den plaben kunig zu bitten, seines unbillichn furnemen absteen, das er aber nit thon hat willen," from Weisskunig. woodcut. The Emperor Maximilian I is receiving a message on his porch. One of the messengers has a curved horn at his waist. (JbkH 1888, no. 205, p. 236)

[Burgkmair Pr] Burgkmair, Hans I (1473-1531). "Wie der w[eiss] k[unig] sytzt und rat helt mit walhen und im ein pot prief bringt," from Weisskunig. woodcut. The messenger who brings the message to Emperor Maximilian I has a curved horn hanging on his back. There will never be a clearer example of a messenger with a horn. (Henning pl. 93; JbkH 1888, no. 71, p. 280)

Processions/Cavalcades/Entrees: See also Literary and Historical Subjects/Figures, Other.

[Burgkmair Pr] Burgkmair, Hans I (1473-1531). Triumphal Procession of the King of Cochin. Detail of a woodcut frieze, pub Augsburg 1508. Led by figures playing two straight trumpets, a pommer, a frame drum, and led by a woman (?) blowing an oliphant. (Gazette des Beaux-Arts 82 [1973] 307, after A. von Derschau, Holzschnitte alter deutscher Meister ... II. Gotha 1810, B. II, Kl. Nr. 25. Says is done after a written description by Balthasar Springer, 1507/08; also reproduces an woodcut frieze by Georg Glockendon, pub. Nürnberg, 1509-11, done after the woodcut by Burgkmair, p. 307, after Derschau, Nr. 26)

[Burgkmair Pr] Burgkmair, Hans (1473-1531). Preco, from the triumphal Procession of Emperor Maximilian (ca. 1516). woodcut. Figure riding on a griffin-like creature blowing a much-decorated 1-1/2 circle coiled horn. (Hirth no. 154; Henning pl. 123)

[Burgkmair Pr] _______. Triumphal Procession of Emperor Maximilian (ca. 1516). woodcut. Includes several groups of hunters with hunting horns hung from straps (almost all the horns partly visible and unimportant):

... ein Gembsi Jeger (pl. 7) (Hirth no. 160; Henning pl. 127, as Gemsen-gejaydt )

Connrat von Rot ... hirschjegermaister (pl. 9) (Hirth no. 162; Henning pl. 128, as Hirsch forte gejaydt I )

... fünf hirsch Jeger (pl. 10) (Hirth no. 163; Henning pl. 129, as Hirsch forte gejaydt II )

Wilhelm von Greyssen ... swein Jeger (pl. 11) (Hirth no. 164; Henning pl. 130, as Sweyngejaydt I )

... fünf swein Jeger (pl. 12) (Hirth pl. 165; Henning pl. 131, as Sweyngejaydt II )

... pern Jegermaister ... Diepolt von +Slandersberg (pl. 13) (Hirth no. 166; Henning pl. 132, as Perngejaydt I )

... fünf pern Jeger (pl. 14) (Hirth pl. 167; Henning pl. 133, as Perngejaydt II )

[Hopfer Pr] Hopfer, Daniel (ca. 1490-1530). Three Turkish Musicians, from Sultan Soliman with Retinue. engraving. One blows a horn with a rusticated bell. The others play straight trumpet and bladder pipe (IB vol. 17, no. 56 p. 133. As Turkish Trumpeter and Two Hautboy Players [fine reproduction]). Note Erhard Schoen, Three Turkish Musicians on Horseback (1530) (Geisberg-Strauss G.1245 [fine reproduction]). IB vol. 13, Commentary, in reference to Erhard Schoen no. 1301/.239 (not illustrated), says the Schoen is based on a slightly earlier version by Jan Swart van Groningen (see 16 NL: XIII Outdoor Processions). Actually the Hopfer is the one which is closely related to the Swart van Groningen. The Schoen clearly depicts the same musicians but they are in a slightly different arrangement (the trumpeter is in the middle and, with his flowing banner, in a much more dramatic pose). In the Swart van Groningen, the horn is clearly not fingered. In the Hopfer the position of the hands is more ambiguous, but still the horn is not fingered. The Schoen suggests a fingered instrument. Based solely on the position of the horn player I find the Hopfer the most convincing.

Watchmen: See also New Testament, Innocents, Massacre of; Old Testament, Nimrod.

Other: Anon. Mandragora/Alraun [Mandrake], from a botanical treatise. Munich BSB Cod. icon. (bot.) 26, fol. 59. drawing. Includes a peasant blowing a reverse-curve horn (cowhorn?) and carrying a shovel (?). (L. Behling. Die Pflanze in der mittelalterlichen Tafelmalerei. Weimar 1957. p. 130)

XV: Miscellaneous Figures

Angels: See also New Testament, Annunciation to the Virgin; New Testament, Apocalypse -- Trumpeters; New Testament, Last Judgement; Miscellaneous Religious Subjects, Assumption of the Virgin; Miscellaneous Religious Subjects, Coronation of the Virgin; Heraldic.

[Ms Nuremberg Staatsarchiv] Glockendon, Nikolaus (doc. ca. 1514-m.1534). Title leaf for the Bericht über die Fehde des Götz von Berlichingen (ca. 1520). Nuremberg, Staatsarchiv, Handbuch Nr. 147a. Bas-de-page depicting two angels/putti with large, reverse-curve horns or trumpets flank a heraldic cartouche. (Aachener Kunstblätter 46 [1975] 151)

[Gutrecht Pa] Gutrecht, Matthäus, d. J. (op. 1506-1524). Angels (fragments of organ shutters). Two angels with very fancy, looped trumpets or horns. (H. Rott. Quellen und Forschungen zur südwestdeutschen und schweizerischen Kunstgeschichte im XV. und

XVI. Jahrhundert, I: Bodenseegebiet. Stuttgart 1933. pp. 76-77. no location)

[Zeiner Gl] Zeiner, Lukas/Lux (ca. 1450-a.1519) or Workshop. Standesscheibe of Uri (1506). Zürich SLM (ex Maschwanden, Pfarrkirche). stained glass. Two angels play reverse-curve horns (Harsthörner). (Die Kunstdenkmäler der Schweiz, 7: Kanton Zürich Landschaft I. Basel 1938. p. 117, as 1506; (J. Schneider. Glasgemälde. Katalog der Sammlung des SlmZ. [Stafa 1971]. vol. I, no. 102, as ca. 1506)

Fools: [BI Basel 1494] Dürer, Albrecht, attr. A Fool as Hunter, from Sebastian Brant, Das Narrenschiff. Basel 1494. woodcut. A fool with a lance and a dog, hunting rabbits, blows a curved horn. Caption text: "Mancher wendet viel Kosten aufs Jagen,/Das ihm doch wenig Nutzen wird tragen,/Kann er auch manchen Wiedspuch sagen." (Sebastian Brant. Dass Narrenschiff. Ed. H. A. Junghans and H.-J. Mähl. Stuttgart, 1964. p. 270)

[BI Basel 1494] _______. Fools as Marksmen. A reverse-curve horn with a strap hangs from a railing. Caption text: "Willst schiessen du, so ziel und trifft!/Denn tust do nicht dan rechten Griff,/So sehiesst du in das Narrenschiff." (Sebastian Brant. Dass Narrenschiff. Ed. H. A. Junghans and H.-J. Mähl. Stuttgart, 1964. p. 273)

Grotesques: [BI Augsburg 1512] Holbein, Ambrosius (1494-1519), attr. Passe-partout (?) border. woodcut. A grotesque, winged head blows two cornucopia-like horns. (Hollstein [German] XIV, no. 29, p. 118 [border to Iacobus Locher (Philomusus), Carmen elegiacum ... Augsburg 1512])

Knights: [Burgkmair Pr] Burgkmair, Hans (1473-1531). The Geneaology of Emperor Maximilian. woodcuts. Aristides, Polibes and Syseboldus have curved horns hanging from straps. Only that of Polibes is fully visible. (Henning pll. 1, 2 [Aristides and Pilibes], pl. 4 [Syseboldus])

[Burgkmair Pr] _______. Begrüssungsszene from Weisskunig. woodcut. Includes a mounted knight with a barely visible curved horn hung from a strap. unimp. (Henning p. 95)

[Springinklee Pr] [Springinklee, Hans (doc. 1512-1522)?]. Emperor Maximilian I as a Knight, from the Ehrenpforte. woodcut. Among his knightly (mostly military) attributes is a large, reverse curve horn with a strap. (C. von Lützow. Geschichte des deutschen Kupferstiches und Holzschnittes. Berlin [pref. 1891]. p. 121; Beilagen zum Jahrbuch der Kunsthistorischen Sammlung des allerhöchsten Kaiserhauses. Bd. 4: Ehrenpforte Maximilians I. pl. 23 [fine reproduction])

Putti: See also Angels. See also New Testament, Cana; Miscellaneous Religious Subjects, Coronation of the Virgin; Miscellaneous Religious Subjects, Virgin and Child; Allegory, Alphabets.

[Sc Würzburg Dom] Riemenschneider, Tilman (ca. 1460-1531). Tomb of the Bishop Lorenz von Bibra (m.1519). Würzburg, Dom. sculpture. Two putti blow curved horns. (H. Kreisel. Würzburg. Berlin 3/1938 [Deutsche Lande Deutsche Kunst] p. 39)

[Ms Aschaffenburg 10] Glockendon, Nikolaus (doc. ca. 1514-m.1534). Bas-de-page figures from the Missal of Albrecht of Brandenburg (principal illumination depicts the Massacre of the Innocents). Aschaffenburg, Hofbibliothek, Ms 10, fol. 29v. Two putti have reverse-curve horns. unimp. (Aachener Kunstblätter 46 [1975]169 [fair reproduction])

[BI Augsburg 1521] Hopfer, Daniel (ca. 1490-1530). Passe-partout title-page border. woodcut. A wingless putto blows two enormous, fanciful horns (with lots of foliage). Putto completely visible. Two heads flanking a bowl at top. Rather like the allegorical figures for the month of March. (Hollstein [German] XV, no. 150, p. 168 -- says it is border for Isocrates, Von dem Reich [Augsburg, Sylvan Otmar] 1517, but the illustration is for Ain Sermon ... [Augsburg 1521])

[BI Augsburg 1521] _______. Another (putto has wings). Putto partly obscured by foliage. Two putti with cornucopiae flank a head surmounted by three small heads at top. (Hollstein [German] XV no. 152, p. 171)

[BI Basel 1516] Holbein, Hans II (1497/8-1524). Passe-partout title-page border. woodcut. Includes gamboling haute-de-page putti, including two with curved horns. (Hollstein [German] XIV, no. 12, p. 160 [from Sir Thomas More, Epigrammata clarissimi ... viri. Basel, J. Froben (1516?**)])

[BI Basel 1517] _______. Passe-partout title-page border. woodcut. Includes a bas-de-page procession of putti led by putti playing frame drum and long, curved horn. (Hollstein [German] XIV, no. 15, p. 172 [from Desiderius Erasmus, Querela Pacis ... Basel, J. Froben, 1517])

[BI Basel 1518] Holbein, Ambrosius (1494-1519). [Passe-partout?] title page border to Hesiodus, Opera et Dies ... Translated by Nicolao Valla. Basel, J. Froben, 1518. woodcut. Two putti riding dolphins blow large, fanciful curved horns/oliphants with leafy decoration. (Hollstein [German] XIV, no. 12, p. 51)

[BI Leipzig 1520] Anon. Title page of Georg +Rhau, Enchiridion musicae mensuralis. Leipzig, Georg +Rhau, 1520. woodcut. Includes putti with a curved horn and with a sort of generic woodwind instrument. (MGG XI, cols. 245-6)

[BI Lyons Sacon] Schoen, Erhard. Passe-partout title-page border (haute-de-page) of the Lyons printer Jacques Sacon. woodcut. Two +putti blow curved horns or trumpets with ample bells. unimp. (IB vol. 13, Commentary, no. .004[e], p. 27. as by Erhard Schoen Petrus de Natalibus. Catalogues sanctorum et gestorum ... Lyons 1514; R. Mortimer. Harvard College Library. French Sixteenth-Century Books. vol. I/1. Cambridge MA 1964. no. 384, p. 483 ** vol no. and look at text on p. 484. [of Pietro de' Natali. Catalogus sanctorum & gestor_ eorum ex diuersis voluminibus collectus. Lyons 1519]; Gazette des Beaux-Arts 61 [1963] 287 [of a Bible pub. by Sacon for Koberger, Lyons 1521])

[Dürer Pr] Dürer, Albrecht (1471-1528). Putti, from the Ehrenpforte. woodcut. There are two pairs, one on the "Pforte des Adels," the other on the "Pforte des Lobes." They play either curved trumpets with expanding bore and large bells, or slender, curved horns. A good example of the difficulty of deciding what is a horn and what is a trumpet. (Henning pll. 23-24 [fine details]; Beilagen zum Jahrbuch der Kunsthistorischen Sammlung des allerhöchsten Kaiserhauses. Bd. 4: Ehrenpforte Maximilians I. pll. 25, 31 [fine reproduction])

[A Holbein Dr] Holbein, Ambrosius (1494-1519), attr. Frieze of putti playing. Basel, Öffentliche Kunstsammlung. drawing. One plays a curved horn or trumpet. Others play a pipe and tabor and a wind instrument. unimp. (MgB III/9, p. 54, as an example of the usual treatment of children, as opposed to Brueghel's realistic treatment)

Other: [Dürer Dr] Dürer, Albrecht (1471-1528). Irish Warriors and Peasants (1521). Berlin Ksk, no. KdZ 37. drawing. One of the peasants holds a large, reverse-curve animal horn horn. (W. L. Strauss. The Complete Drawings of Albrecht Dürer, vol. 4. New York 1974. no. 1521/36, p. 2064)

XVI: Treatise/Tutor Illustrations

[BI Basel 1511] Anon. "Jeger horn, Acher horn," from Sebastian Virdung. Musica getutscht.. Basel 1511, fol. Diii verso. woodcut. The "Acher horn" is a tightly coiled 2 -1/2 coiled pottery horn with the mouthpipe emerging from the center of the coil. The "Jeger horn" is a curved horn with a leather strap. (Sebastian Virdung. Musica getutscht [Basel 1511]. facsimile. Kassel 1931; A. Baines. Brass Instruments, Their History and Development. London 1976. p. 139)

[BI Basel 1511] _______. Fingered reverse curve horn. fol. [Biv recto]. (Sebastian Virdung. Musica getutscht [Basel 1511]. facsimile. Kassel 1931)

[EP] IBERIAN ARTISTS, 15TH - 16th CENTURY

New Testament

Last Judgement: [Artes Master Pa] Artes Master (Valencian, op. last quarter, 15th century). Last Judgement. Valencia, Museo Provincial. Two angels blow oliphants/curved trumpets. unimp. (Post VI/1, p. 341)

Nativity: [Llanos Pa] Llanos, Ferrando de los (op. 1504-1530) and Fernando Yanez de la Almedina. Adoration of the Shepherds. One of the shepherds may have a curved horn. (Geri Sale, Settignano, 28.IV-2.V.1930; Geri Sale, Pesaro-Milan, 9-12.XI.1931)

Nativity -- Adoration of the Magi: [Berruguete Pa] Berruguete, Alonso (ca. 1486-1561), attr. The Adoration of the Magi. Cuenca, Cathedral, Sala Capitular/promenor de las puertas de la sala capitular. carved wood, low relief. A musician in the entourage of the Magi blows a looped, reverse-curve horn. Two others blow double woodwind instruments. A lively, noisy scene. Unusual. (V. Moragas Roger, ed. Los monumentos cardinales de España, 23: Cuenca .... Madrid 1959. p. 66 [entire door, fair reproduction], p. 68 [detail]; A. Sanz Serrano. Cuenca y su Provincia. Barcelona 1960. [Guias astisticas de España] p. 44)

Passion -- Via dolorosa: [Aponte Pa] Aponte, Pedro de (doc. 1507-1525). Via dolorosa, from a retable. Cintruénigo, parish church. A herald in tattered clothing blows a curved trumpet or horn (conical bore, an almost flat bell). (Post XIII [1966] p. 75)

[Forment Sc] Forment, Damián (ca. 1480-ca.1543). Via dolorosa. Huesca, Cathedral, Retablo mayor. sculpture. Includes a figure blowing a curved horn. (R. del Arco y Garay. Huesca. Madrid 1942. [Catálogo monumental de España] fig. 52, as 1520-1534.)

[Forment Sc] _______. Via dolorosa. Zaragoza, S. Miguel, Retablo mayor. sculpture. Includes a figure blowing a curved horn (now a fragment). (F. Abbad-Jaime de Aragon Rios. Zaragoza. Madrid 1957. [Catálogo monumental de España] fig. 446)

[Forment Sc] _______. Via dolorosa. Santo Domingo de la Calzada, Cathedral, Retablo mayor. sculpture. Includes a prominent figure blowing a slightly curved horn. The procession is proceding to the right, he is facing left. (Vis. Coll. 276.F768.20[a]8)

[Garcia Pa] García, Martín (doc. 1521), attr. Via dolorosa (predella). Uncastillo, San Martín. A figure blows a sharply flaring, straight horn. (Post XIII [1966], p. 97)

[Oña Master Pa] Oña Master (op. ca. 1500). Via dolorosa, from a Retable with Scenes of the Passion. Burgos, Museo Provincial. Includes a figure with an oliphant. unimp. (Vis. Coll. On12.26[b]5)

[Oña Master Pa] _______. Via dolorosa, from a Retable of the Crucifixion. Espinosa de los Monteros, Parish Church. Includes a figure with an oliphant. unimp. (Vis. Coll. On12.26C1)

[Oña Master Pa] _______. Via dolorosa, from a Retable with Scenes of the Passion. Oña, Monastery. Includes a clear and prominent figure with an oliphant. Otherwise unimportant. (Vis. Coll. 376.On12.26[a]1)

IV: Saints

St. Cornelius: [Cotela Master Pa] The Cotela Master (?) (Aragonese, op. late-15th - early 16th century). Pope Cornelius. p.c. He holds a curved horn. (Post XIII [1966] p. 15. Text, p. 13, notes that the only other depiction of Saint Cornelius in Spanish painting is by the Pacully Master, strongly under Flemish influence.)

St. Hubert/Eustache: [Sc Burgos] [Silore, Gil de (op. late 15th century), attr.?] St. Hubert. Burgos, Cathedral, retablo mayor. sculpture. The saint has a little curved horn hanging from a strap. (T. Lopéz Mata. La Catedral de Burgos. Burgos 1950. p. 297. Notes that the entire retable underwent a restoration of poor quality, 1868-70.)

Other: [Ororbia Master Pa] Ororbia Master (Navarre, op. first third, 16th century). Scenes from the Life of St. Julian Hospitator. Ororbia, Parish Church. St. Julian, on horseback, has a tiny, curved horn hanging from a strap. In the background a hunter, on foot, blows a curved horn. (The hunted deer predicts that St. Julian will slay his parents.) Unimportant except as an example of a rare iconography. (Post XIII [1966] 281)

XIV: Scenes of Everyday Life -- Outdoor

Hunts and Hunters: See also Saints, Other (St. Julian Hospitator)

[Ms Lisbon MNAA] Anon. [Portuguese?], 16th century. Wild Boar Hunt, bas-de-page illumination from a Book of Hours of Don Manuel. Lisbon, Museu Nacional de Arte Antiga. A hunter, on foot, blows a curved horn. (MgB III/9, Abb. 115)

I: Old Testament

See also Scenes of Everyday Life -- Outdoor: Hunts and Hunters.

Jubal/Tubalcain: [In Bergamo] Lotto, Lorenzo (ca. 1480-1556). The Sacrifice of

Jubal, the Inventor of Music. [Bergamo, S. Maria Maggiore?] intarsia. A foreground figure blows a sort of double-belled cornu (a sharply curved horn with two parallel bells). There is also a curved horn among various musical instruments lying about. unimp. (L. Lotto. lettere inedite di Lorenzo Lotto su le tarsie di S. Maria Maggiore in Bergamo. Ed. L. Chiodi. Bergamo 1962. pl. 6)

Other: [In Bologna] Zambelli, Fra Damiano (Fra Damiano da Bergamo) (bef. 1490-1549). Triumphal Procession of Joseph in Egypt (Genesis 41, 41: Dixitque rursus Pharao ad Ioseph: Ecce, constitui te super universam terram Aegypti). Bologna, San Domenico, Coro. intarsia. Heralds -- two blowing cornui, two blowing straight trumpets -- lead the procession. (P. Venturino Alce. Il coro di San Domenico in Bologna. Bologna 1969. p. 211)

II: New Testament

Last Judgement: [Signorelli Fr] Signorelli, Luca (ca.1441/50-1523). The Damned. Orvieto, Duomo, Cappella Nuova. fresco. A figure (only head and hands visible) in the mouth of Hell blows fiercely into a curved horn. (L. Dussler. Signorelli. Stuttgart 1927. [Klassiker der Kunst ..., 34] pl. 100, as 1499-1505; N. B. Riess. The Renaissance Antichrist, Luca Signorelli's Orvieto Frescoes. Princeton 1995. fig. 16, as 1499-1505)

Nativity: [Bramantino Pa] Bramantino (Bartolommeo Suardi) (fl. 1503-1536). Adoration of the Child. Milan, Pinacoteca Ambrosiana. Includes a shepherd with a short, straight alphorn (?). (Also angels with fiddle, tromba marina and lute.) (A. Bovero. Immagini dell'arte italiana attraverso i secoli, III. Turin 1965. p. 392; A. Caizzi, et al. Lombardia. Milan [1975?]. pl. 399 [color reproduction]; G. Pischel-Fraschini. Pinacoteca Ambrosiana. Bergamo 1957. pl. VII. Dates as ca. 1500-1508; Storia di Milano VIII: Tra Francia e Spagna [1500-1535]. Milan 1957. opp. p. 588 [color reproduction]; exh Milan, Ambrosiana,1956: Mostra di dipinti restaurati della Pinacoteca. pl. 1; M. Pincherle. An Illustrated History of Music. transl. R. Myers. New York 1959. p. 34 [ok reproduction]; MGG XV, Taf. 15; Vis. Coll. 372.B73.34[c])

[Francia Pa] Francia, Giacomo (Raibolini) (ca. 1484-1557). Nativity (predella). Bologna, S. Cristina. Figures include a youth with hunting dogs and a curved horn. (Vis. Coll. 372.F8493.22N1)

Nativity -- Adoration of the Magi: [Eusebio Pa] Eusebio de San Giorgio (ca. 1478-1551). Adoration of the Magi. Perugia, Pinacoteca. One of the figures, perhaps a passing hunter, has a little curved horn. A shepherd has a bagpipe and angels play musical instruments. (G. Cecchini. La Galleria Nazionale dell'Umbria in Perugia. Rome 1932. p. 169; R. A. Gallenga Stuart. Perugia. Bergamo 1905. pl. opp. p. 72 [fair reproduction]; _______. Perugia. Bergamo 1907. [Italia artistica, 15] p. 73 [fair reproduction]; E. Jacobsen. Umbrische Malerei des 14., 15., und 16. Jahrhunderts ... Strasbourg 1914. pl. 53a [whole], 53b [detail]; Vis. Coll. 372.Eu75.22a)

[Fogolino Pa] Fogolino, Marcello (op. 1520-1540). Adoration of the Magi. Vicenza, Museo Civico. High on a cliff at the upper left there is a shepherd with a little curved horn. (In the right background two heralds in the retinue of the Magi blow straight trumpets.) (G. Pettina. Vicenza. Bergamo 1912. [Italia artistica, 17] p. 82; Vis. Coll. 372.F868.22A[a])

Passion -- Other: S[Florentine Pr] Florentine, ca. 1500. The Man of Sorrows, with an Angel and the Instruments of the Passion. engraving. A curved horn is depicted among the instruments of the Passion. There is also a straight trumpet. (Hind. Early Italian Engraving. no. D.IV.4, pl. 314)

Assumption of the Virgin: [Luini Pa] Luini, Bernardino (ca. 1481/2-1532). Assumption of the Virgin. Milan, Chiesa di S. Maurizio. Includes, in the upper corners, putti with looped and figure-eight trumpets. (L. Beltrami. Luini. Milan 1911. p. 365 [poor reproduction])

[G Ferrari Fr] Ferrari, Gaudenzio (1471/81-1546). Assumption of the Virgin. Saronno, Cathedral, cupola. fresco. One of the myriad angels has a large, S-curved trumpet with leafy decorations at the bosses. It is held rather in the manner of a large trompe de chasse; and, with one twist of the tube, it could resemble very much the shape of an open-hooped trompe de chasse. (Imago musicale 4 [1987] 260 [detail])

Virgin and Child: [Piazza Pa] Piazza, Calisto (op. 1514-1562). Virgin and Child with Saints. Turin, Galleria Sabauda. Includes two putti playing curvy, looped trumpets. (1971 catalog, pl. 81, fig. 180)

IV: Saints

Other: [Bugiardini Ca] Bugiardini (Giuliano di Piero di Simone) (1475-1554), attr. Scenes from the Life of St. Margaret. ex Coll. Kaiser Wilhelm I, Berlin (1915). cassone. Includes a hunt with a figure with a curved horn. (Schubring no. 808, pl. CLXX, w/ ref to. d'Ancona. Rappresentazioni sacre, II, p. 123)

V: Mythology

Actaeon: [Master IB Pr] Master I. B. with the Bird (Giovanni Battista Palumba?)(op. ca. 1500-ca.1510). Diana and Actaeon. woodcut. Actaeon has a reverse-curve horn hanging from a strap. A hunter in the background blows a curved horn. (IB vol. 25, no. 2, p. 75)

Adonis: [Titian Pa] Titian (Tiziano Vecellio) (1487/90-1576). Venus and Adonis. Madrid, Prado. Adonis has a partly visible curved horn hanging from a strap. unimp. (A. Gentili. De Tiziano a Tiziano. Milan 1980. fig. 69. London version fig. 70, New York version fig. 72. Notes that Adonis is an idealized protrait of Philip of Spain; H. E. Wethey. The Paintings of Titian, III .... London 1975. cat. no. 40, pl. 84. As 1553/54. Various versions and copies pll. 93, 95, 96, 97, 98, 189, 190, 191, 196; CR Venice 1976: Tiziano e Venezia. color pl. 14 [ok], black and white pl. 23)

Bacchanales: [Bartolomeo di Giovanni Ca] Bartolomeo di Giovanni (fl. 1480-1510). Bacchus and Ariadne. Marseilles, Musée de Longchamp. cassone. Includes figures playing fanciful horns. (Schubring no. 382, pl. LXXXIX)

[Garofalo Pa] Garofalo (Benvenuto Tisi) (1481-1559). Triumph of Bacchus. Dresden, Gemäldegalerie. Figures include a child with a curved horn. Another horn is among the artifacts. (Fauns and bacchantes play wind and percussion instruments.) (A. Neppi. Il Garofalo. Milan 1959. fig. 41)

Centaurs: See also Allegory, Triumph/Victory

Diana: [Pordenone Fr] Pordenone, Giovanni Antonio (1483/4-1539). Etching by Odoardo Fialetti of a figure on the frescoed facade of the Plazzo Tinghi, Udine, Via Vittorio Veneto 38. Diana. Her reverse-curve horn is on the wall beside her. The mouthpiece is visible, for what it's worth, which is probably not much. Her only other attribute here is her hunting dog (and the crescent moon on her head). (Burlington 116 [1974] 455)

Muses: See also Other

[Aspertini Fr] Aspertini, Amico (ca. 1475-1552). Apollo [i.e. Mercury?] and the Muses. Minerbio, Castello Isolani, Sala dell'Astronomia. fresco. In poor condition. Melpomene has a reverse-curve horn. (H. Kropfinger-von Kügelgen. Amico Aspertinis malerisches Werk. Bonn 1973 (Diss.) cat. no. 31, pl. 68. Dates as 1535/36. Identifies the figures after the so-called Tarocchi of Mantegna, not after any indications from the frescoes themselves.)

[della Corna Fr] della Corna, Antonio (op. late-15th - early 16th century), attr. Apollo and the Muses. London V&A (ex house in Cremona, via Belvedere No. 6). fresco. One has an oliphant. (Ferdinando Bologna. "The Cremonese Ceiling from Via Belvedere." Burlington 96 [1954] 166-171. The Muse with the oliphant reproduced p. 169.)

[Evangelista Pa] Evangelista di Pian de Meleto (ca. 1458-1549), attr. Melpomene (from a series of Muses). Firenze, Galleria Corsini (ex Studiolo of Duke Guidobaldo I of Urbino). Melpomene holds a curved horn. (P. Zampetti. La pittura marchigiana da Gentile a Raffaello. Venice [197-]. fig. 173 [fine reproduction])

[Viti Pa] Viti, Timoteo (1469-1523), attr. Thalia. Firenze, Galleria Corsini (orignally for the Tempietto delle Muse, Urbino). She has a large, reverse-curve horn. (R. Dubois. Giovanni Santi ... Bordeaux 1971. pl. XXXVII; P. Rotondi. Il palazzo ducale di Urbino. Urbino 1950. fig. 394; _______. The Ducal Palace of Urbino. London 1969. fig. 242)

Satyrs: [Antonio da Brescia Pa] Pseudo Fra Antonio da Brescia (Venetian, op. late-fifteenth - early sixteenth century). Abundance and a Satyr. Coll. S. H. Kress (1965). circular bronze low relief plaquette. The satyr has a curved horn. (S. H. Kress Collection, 1965 catalog: Renaissance Bronzes from the Samuel H. Kress Collection ... Ed. J. Pope-Hennessy. London 1965. cat. no. 189, fig. 238)

Tritons/Sea Creatures: [Master IB Pr] Master I.B. with the Bird (Giovanni Battista Palumba?) (op. ca. 1500-ca.1510). The Triton Family. engraving. An infant, riding on the father Triton's shoulder blows a reverse-curve horn with a rusticated bell (to suggest an animal horn, no doubt). (IB vol.25, no. 5, p. 71; Hind Early Italian Engraving. no. 5, pl. 836)

Other: [Costa Pa] Costa, Lorenzo (ca. 1460-1535). Janus and Mercury Chasing the Vices from Olympus/Reign of Comus. Paris, Louvre. A figure has on his back what looks like a three-piece (disassembled) alphorn with fingerholes. Another has a little curved horn or semi-circular trumpet. Other figures have a Renaissance fiddle, a psaltery or psaltery-harp, a lyre, and panpipes. (Winternitz Musical Instruments. pl. 96c [detail, including the horn], merely calls it "an allegorical painting"; Vis. Coll. 372.C829.4C)

[Garofalo Pa] Garofalo (Benvenuto Tisi) (1481-1559). La trasformazione di Pico in Picchio/Picus Transformed into a Woodpecker. Rome GNAA. Depicts a boar hunt in the foreground. In the middle ground the figures include a mounted hunter blowing a curved horn. (G. Mazzariol. Il Garofalo ... Venice 1960. fig. 27; A. Neppi. Il Garofalo. Milan 1959. fig. 27)

[Lippi Pa] Lippi, Filippino (1457/8-1504). The Worship of the Apis. London NG. Dancers are accompanied by figures playing a lyre, brass and percussion instruments, including a woman blowing a cornu. (Otto Kurz. "Filippino Lippi's Worship of the Apis." Burlington 89 [1947] 145-147 [this reproduced p. 144]; A. Scharf. Filippino Lippi. Wien 1950. fig. 111, 115 [detail], as The Adoration of the Golden Calf; Winternitz Musical Instruments. pl. 93 [ok reproduction], pl. 94b [detail], as The Adoration of the Golden Calf)

[Lippi Pa] _______. The Story of Perseus. private collection (?) Includes a group of female musicians on an island, which I presume are Muses. One has a large oliphant. (G. Botta. Le Collezione Agosti e Mendoza. Milan 1936. pl. 21 [miserable color reproduction], 23 [adequate detail])

[Percoto-Pordenone Fr] Variente Percoto (**) after Giovanni Antonio Pordenone (1483/4-1539). Nereid and sea centaur. Etching by Percoto of figures on the frescoed facade of the Plazzo Tinghi, Udine, Via Vittorio Veneto 38. Includes a nude +boy blowing a reverse curve horn. very unimp. (Burlington 116 [1974] 452)

[Raimondi School Pr] Raimondi, Marcantonio (ca.1480-1536), School of. Triumph of Venus. A satyr, riding on a dolphin, blows a huge looped (animal?) horn. (Galatea rides in a shell boat, standing on a sphere à la Fortuna, but with both feet on the sphere.) There are also nude men blowing a double trumpet (two straight trumpets blown at once) and a folded trumpet. Much seems made of Air and Water. (IB vol. 27, no. 350, p. 47 and no. 351 [repetition] p. 48]).

[Raphael Fr] Raphael (Raffaello Santi/Sanzio) (1483-1520). The Triumph of Galatea. Rome, Villa Farnese/Farnesina. fresco. A Triton at the left blows a shell horn. A figure at the right blows a trumpet (? -- only a few inches of the proximal end visible). (J. H. Beck. Raphael. New York 1976. pl. 29 [ok color reproduction]; J. H. Beck. Raphael. New York 1994. p. 97 [fine color reproduction]; P. de Vecchi. The Complete Paintings of Raphael. New York 1966. pl. XXXI [fine color reproduction]; pl. XXXIII [fine color detail with the shell horn player])

[Romano Pa] Giulio Romano (1499-1546). The Infant Jupiter Guarded by Corybantes on Crete. London NG. At the upper right a figure with a shallow horn, and a woman with a tambourine. (Other musicians elsewhere.) (F. Hartt. Giulio Romano. New Haven 1958. fig. 454. Also the modello for this, a drawing: (Chatsworth, Coll. Duke of Devonshire) (Hartt fig. 456).

[Romano Fr] _______. Mercury Publishes the Proclamation of Venus. Mantua, Palazzo del Te. lunette fresco. A figure has the most +bizarrely wound horn I have ever seen. (F. Hartt. Giulio Romano. New Haven 1958. fig. 245)

[Titian Pa] Titian (Tiziano Vecellio) (ca. 1487/90-1576). Jupiter and Antiope (The "Pardo Venus"). Paris, Louvre. Includes a hunter blowing a reverse-curve horn. (A. Gentili. Da Tiziano a Tiziano. Milan 1980. fig. 65; _______. "Il significato dell'Antiope di Tiziano." Storia dell'Arte 22 [1974] 253-265; H. E. Wethey. The Paintings of Titian, III ... London 1975. cat. no. 21, pl. 74. As ca. 1535/40, retouched ca. 1560.; Cr 1976: Tiziano e Venezia. black and white figure 62) Engraving by Bernard Baron (Burlington 128 [1986] April supplement fig. 46)

VI: Literary and Historical Subjects/Figures

See also Scenes of Everyday Life -- Outdoor, Hunts and Hunters.

[Aspertini Pa] Aspertini, Amico (ca. 1475-1552), and Jacopo Ripanda (Jacopo da Bologna) (doc. ca. 1490-1530), attr. The Rape of the Sabine Women (Livius I, 12, 13). Madrid, Prado. A woman blows a cornu, another blows a straight trumpet. (H. Kropfinger-von Kügelgen. Amico Aspertinis malerisches Werk. Bonn 1973 [Diss.]. cat. no. 8, pl. 10, as before 1503. He calls the group at the right, in which the instrumentalists are a part, the "Versöhnungsgruppe" [reconciliation group]. He considers the group at the right to be by Aspertini and the rest of the panel probably by Jacopo Ripanda; in the 1952 and 1961 catalogs as Peruzzi; Vis. Coll. 372.As64.4Sa) (Thieme-Becker considers the painting to be by Jacopo Ripanda.)

[Garofalo Pa] Garofalo (Benvenuto Tisi) (1481-1559). La vestale Quinta Claudia. Rome, Galleria Nazionale d'Arte Antica. Figures include a robed, turbaned man blowing a sharply curved horn (with fingerholes? -- he holds it as though fingering it). unimp. (A. Neppi. Il Garofalo. Milan 1959. pl. XIII [color])

[Fantuzzi-Giulio Pr] Antonio Fantuzzi (ca. 1508-p.1550) after Giulio Romano (1499-1546). A Roman Banquet. engraving. Music is provided by players of a slightly curved horn and a fat cornu with an animal-head bell. (IB vol. 33, no. 28, p. 248)

[Raphael Fr] Raphael (Raffaello Santi/Sanzio) (1483-1520). The Meeting of Pope Leo I and Attila (452). Rome, Vatican, Stanza d'Eliodoro. fresco. Includes two players of +cornui and two of straight trumpets. (S. J. Freedberg. Painting of the High Renaissance in Rome and Florence. Cambridge MA 1961, fig. 221 [whole], 220 [detail]; L. Goldschneider, ed. Raphael. London 1941. pl. 41 [ok reproduction]; J. Pope-Hennessy. Raphael. New York 1970. p. 116; The Vatican Museums: Rome. New York 1968. [Great Museums of the World] p. 120 [small color reproduction])

VII: Allegory

Fame: [Costa Pa] Costa, Lorenzo (ca. 1460-1535). Triumph of Fame. Bologna, S. Giacomo Maggiore, Cappella Bentivoglio. Life [i.e. Fame], on a little chair drawn by elephants, has a curved horn or oliphant. (R. Bacchelli et al. Emilia Romagna. Milan [1975?]. p. 287 [fine reproduction]; TCI. Bologna e Romagna. Milan 1964. [Attraverso l'Italia. N. S.]. p. 287 [fine reproduction]; van Marle Iconographie. vol. II, p. 135 [fair reproduction]; R. Varese. Lorenzo Costa. Milan 1967. pl. III [ok color reproduction]; Vis. Coll. 372.C829.4T1)

[Romano Fr] Giulio Romano assistant (probably Girolamo da Pontremoli) after designs by Giulio Romano (1499-1546). Good and Evil Fame. Mantua, Palazzo del Te, Loggia della Grotta. fresco. Evil Fame (?) holds a curved horn and a very odd concoction of a brass instrument. (Good Fame [I presume] holds a straight trumpet.) (F. Hartt. Giulio Romano. New Haven 1958. fig. 283)

Geographical: [Master IB Pr] Master I. B. with the Bird (Giovanni Battista Palumba?) (op. ca. 1500). Roma. engraving. Among her attributes is a small, reverse-curve horn. The curved horn is not a Roman instrument. Perhaps here it is a reference to Moon, the goddess of patrimony? (IB vol. 25 Commentary, no. .011, p. 149; no. .001.C2, p. 150 [anon. copy], no. .001C3, p. 151; Hind Early Italian Engraving, no. 4, pl. 854)

Music/Poetry/Liberal Arts: [Sc Richmond] N. Italian, late-fifteenth - early sixteenth century. Allegory of Music. Coll. S. H. Kress è Richmond, Virginia Museum of Fine Arts. low relief bronze plaquette. Someone (the personification?) holds a little curved horn. Surrounded by many musical instruments. (1965 Kress catalog: Renaissance Bronzes. Ed. J. Pope-Hennessy. London 1965. no. 356, fig. 296. Text, p. 100, says is an undistinguished example of a plaquette which exists in several collections. This one also repr [as Italian, ca. 1500] Richmond VMFA 1966 catalog: European Art in the Virginia Museum of Fine Arts. Richmond 1966. p. 135 [poor reproduction]. It is also the same as the one reproduced in Staatliche Museen zu Berlin. Die italienischen Bronzen der Renaissance und des Barock. II. Teil. Ed. E. F. Bange. Berlin 1922. vol. II, no. 724, pl. 61)

Planets: [Ms. Modena BE lat. 209, X.2.14] Italian (N. Italian/Lombard, circle of/near Cristoforo de'Predis [doc. 1471-m.1486], by 1491). The Children of Moon, from Johannes de Sacrobosco, De sphaera. Modena, Biblioteca Estense, Ms Lat. 209, X.2.14, fol. 10v. The personification holds a hunting horn and a flaming torch and stands on two little wheels. (A. Hauber. Planetenkinderbilder und Sternbilder ... Strasbourg 1916. [SdK, 194] Abb. 51; S. Samek Ludovici. Il 'De Sphaera" Estense e l'iconografia astrologica. Milan 1958. p. 51 [color reproduction])

[Ms. Modena BE lat. 209, X.2.14] _______. The Children of Jupiter. fol. 6. Includes a hunt. One of the hunters has a little curved horn hanging from a strap. (S. Samek Ludovici. Il "De Sphaera: Estense e l'iconografia astrologica. Milan 1958. p. 33 [color reproduction])

Triumph/Victory: See also Old Testament, Other; Mythology, Venus: Allegory, Fame

[BI Venice 1499] Anon. Triumph of Pyrrhus, from Francesco Colonna, Hypnerotomachia Poliphili. Venice, Aldus Manutius, 1499.  woodcut. Two centaurs blow cornui. (Two others blow straight trumpets, and women seated on centaurs play rebec and double woodwind.) (Hirth no. 561)

[Master of Coriolanus Sc] Master of Coriolanus (N. Italian, op. ca. 1500). Allegory of Victory. S. H. Kress Coll. (1965). tiny low relief bronze plaquette. Includes a figure blowing a cornu. (Only four figures in all.) unimp. (1965 Kress catalog: Renaissance Bronzes. Ed. J. Pope-Hennessy. London 1965. cat. no. 90, fig. 235)

[Romano Dr] Giulio Romano (1499-1546). Triumph of Scipio Africanus, IV. Modello for a tapestry series. Paris Louvre. drawing. Includes a figure with a cornu (with a serpent-head bell). Also figures with straight trumpets, cymbals, tambourine. Very noisy. (F. Hartt. Giulio Romano. New Haven 1958. fig. 477)

[Romano Dr] _______. Triumph of Scipio Africanus, IX (Banquet). Modello for a tapestry series. Paris, Louvre. drawing. Includes figures playing a cornu (with a serpent-head bell) and curved horn. (Also three figures blowing straight trumpets.) (F. Hartt. Giulio Romano. New Haven 1958. fig. 482)

Other: Italian [early]16th century. Female figure with a horn. Città di Castello, Pincaoteca, vault decoration. fresco. The sharp curve of the horn describes an almost full circle. (N. Dufourcq, ed. La Musique: Les hommes, les instruments, les oeuvres. Paris 1965. vol. I, p. 165)

[Raimondi Pr] Raimondi, Marcantonio (ca. 1480-1536). Chastity, Pleasure and Youth. engraving. Pleasure (a faun), blows a crumhorn-like horn. (Gazette des Beaux-Arts 92 [1978] 31, as also called La Femme au croissant.)

[Raimondi Pr]_______. The Spring Nymph and the Satyr. engraving. The Spring Nymph has a small, slender horn. (Gazette des Beaux-Arts 92 [1978] 28)

[Robetta Pr] Robetta, Cristofano (1462-doc.to 1522). Youth Captive and Free. engraving. A nude youth blows a curved metal horn. A nude woman plays a harp. (IB vol. 25, no. 17, p. 291; Hind, Early Italian Engraving, D.II.30,II, pl. 293)

XI: Still Life

[In New York] Italian -- probably workship of Giuliano (1432-1490) and Benedetto (1441-1497) da Maiano. Trompe l'oeil cabinet (begun ca. 1478, probably completed shortly after 1482), from the Studiolo of Federico da Montefeltro (Gubbio, Palazzo Ducale). New York, Metropolitan Museum of Art. intarsia. Among the objects depicted are a little curved horn of hexagonal bore outline, and a rebec with its bow. (O. Raggio and A. M. Wilmering. The Liberal Arts Studiolo from the Ducal Palace at Gubbio. New York 1996 [reprinted from The Metropolitan Museum of Art Bulletin (Spring 1996)]. p. 15 [color, in situ], 25 [splendid color detail]; Winternitz Musical Instruments. pl. 55a [in situ], pl. 53c [detail])

XII: Decorative Elements

[Ms London BL Add 35,294] Italian, last quarter, 15th century. Decorative border from the Book of Hours of Bona Sforza, Duchess of Milan. London BL Add. Ms 34,294. Includes motifs of paired, fanciful, reverse-curve (basically) horns. (Miniatures and Borders from the Book of Hours of Bona Sforza, Duchess of Milan in the British Museum. London 1894. pl. XLIII, as perhaps ca. 1484-94)

[Ms London BL Add 35,294]_______. Another, with a death's head above paired, fanciful, reverse-curve horns. (Miniatures ... pl. XLIV)

[Birago Ms] Birago, Giovan Pietro (doc. 1471-1513). Decorated border, frontispiece to Giovanni Simonetta, Sforziada. Milan, Antonio Zarotto, 1490. London, British Library, Department of Printed Books. illumination in a printed book. Includes motifs of paired, fanciful, reverse-curve horns. (T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. p. 109)

[Birago Ms] _______. Decorated border, frontispiece to Giovanni Simonetta, Sforziada. Milan, Antonio Zarotto, 1490. Warsaw, National Library. illumination in a printed book. Includes motifs of paired, fanciful, curved and reverse-curve horns. (T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. p. 108)

[Birago Ms] _______. Decorated border, frontispiece to Giovanni Simonetta, Sforziada. Milan, Antonio Zarotto, 1490. Paris, Bibliothèque Nationale. illumination in a printed book. Includes motifs of fanciful, reverse-curve horns. (T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. p. 110)

[Nicoletto da Modena Pr] Nicoletto da Modena (op. ca. 1500-1512). Ornamental panel. engraving. Has a motif of paired horns. very unimp. (Hind Early Italian Engraving, no. 105, pl. 691)

[Nicoletto da Modena Pr] _______. Another. (Hind Early Italian Engraving, no. 108, pl. 693)

[Nicoletto da Modena Po] _______, after. Decorated majolica plate. majolica plate. Modena, Galleria Estense. A female figure blows two ornamental horns simultaneously. (Hind Early Italian Engraving no. 120, pl. 697)

[Andrea Pr] Andrea, Zoan (doc. ca.1475-1505). Decorative panel. engraving. Motifs include two reverse-curve horns. There are also pairs of variously curved trumpets. unimp. (IB vol. 25 [Commentary], no. .038, p. 294)

[Pellipario Ps] Pellipario, Nicola (op. ca. 1515-ca.1545). Border of musical instruments. London art market (1967). majolica plate from Castel Durante (1530-35). Many musical instruments, including a variety of curved and/or reverse curved horns? Only the distal ends are depicted. unimp. (Burlington 109 [1967] June ad p. lxxviii)

XIII: Scenes of Everyday Life -- Outdoor

Hunts and Hunters: See also Saints, Other (Life of St. Margaret).

[Ms Milan Braidense AC XI,37] Anon [first half, 16th century?]. Cavalcade of falconers, from the Codex of Bona, Storia di Josephat (Jehoshaphat). Milan, Biblioteca Braidense AC XI,37. Includes two peasant-type dog-handlers with curved horns hanging from straps. (Storia di Milano VIII: Tra Francia e Spagna [1500-1535]. Milan 1957. p. 741)

[Carpaccio Dr] Carpaccio, Vittore (op. 1490-m.1523/6). Dismounted Huntsman Striding to the Left. Munich SGS drawing. He has a small, curved horn. A nice drawing, but unimportant. (Vis Coll. 372d.C224.51[b])

S[Romano Fr] Giulio Romano (1499-1546). Hunt. Mantua, Palazzo del Te. fresco. Includes a mounted hunter with a curved horn. (F. Hartt. Giulio Romano. New Haven 1958. fig. 199, as "Asses under Ray from Mars," whatever that means.) A modello (drawing) for this in Wien, Albertina. (Hartt fig. 211)

Watchmen: [Ms Milan Trivulziana] The little Massimiliano Sforza and friends catching lizards, from Libro del Jesus. Milan, Biblioteca Trivulziana, Ms. Includes a man (watchman?) leaning out of the window of a tower or building, blowing a curved horn. (F. Malaguzzi Valeri. La corte di Lodovico il Moro, I. Milan 1913. pl. opp. p. 448; Fondazione Treccani degli Alfieri per la Storia di Milano. Storia di Milano, VII. Milan 1956. opp. p. 464 [color reproduction])

Angels: See also Miscellaneous Religious Subjects, Assumption of the Virgin.

Grotesques: [Nicoletto da Modena Pr] Nicoletto da Modena (op. ca. 1500-1512). Ornamental Panel. engraving. A very sexy female grotesque blows two large, curvy horns at the same time. (Hind Early Italian Engraving, no. 109, pl. 693)

[Nicoletto da Modena Pr] _______. Two Grotesque Animals Coiled about a Tree. engraving. Each blows a reverse curve horn with leafy decoration. One seems also slightly ribbed. The other has a huge mouthpiece. (Hind Early Italian Engraving, no. 118, pl. 696 )

Putti: See also Mythology, Other (Master I. B. with the Bird). Note also the putti in the Miscellaneous Religious Subjects. For some reason, looped trumpets go with putti. (Note the German section as well.)

[Ms Gotha LB mon.typ.1481] Maestro delle Sette Virtù, attr. Border from a page ot Innocentius IV, Decretales. Venice, J. de Colonia, N. Jenson and J. Herbort, 1471. illumination in a printed book. Gotha LB, mon.typ.1481, fol. 10v. One of the putti perched on pillars plays a slender, looped trumpet. Others play fiddle, rebec and lute. There are also four groups of three putti, perched on the pillars that form a border, playing curvy trumpets. Of these two are looped. The brass instruments probably reflect an archaeological, classicizing interest. (G. Mariani Canova. La miniatura veneta del rinascimento 1450-1500. Venice 1969. p. 65)

[BI Venice 1492] Anon. Border from Masuccio, Novellino. Venice, Johannes & Gregorius de Gregoriis, 1492. woodcut. Two putti play large curved horns. unimp. (A. M. Hind. An Introduction to a History of Woodcut. New York 1935/R1963, p. 479)

[Musi Pr] Musi, Agostino dei (Agostino Veneziano) (b. ca. 1490 - doc. to 1531). Lo stregozzo . engraving. A child riding a ram blows a slightly curved, trumpet with a little loop. (Arte Veneta 36 [1982] 56)

Shepherds: [Raimondi Pr] Raimondi, Marcantonio (ca. 1480-1536). Old and Young Shepherds. engraving. The old one has panpipes, the young one an odd-shaped horn? (B. 431; Gazette des Beaux-Arts 92 [1978] 33, as after a design by Raimondi or by one of Raphael's students.)

Other: [Raimondi Pr] Raimondi, Marcantonio (ca. 1480-1536). Fantastic Scene with an Animal Skeleton. engraving. Includes a child riding a goat and blowing a curvy horn. (B. 426; Gazette des Beaux-Arts 92 [1978] 33)

[Romano Dr] Giulio Romano (1499-1546). Crowd Adoring a Statue of an Impressario. Mantua, Casa di Giulio Romano. drawing. A figure blows a cornu with a serpent-head bell. (Another plays a lyre.) (F. Hartt. Giulio Romano. New Haven 1958. fig. 500)