Status of December, 1999

The Iconography of the Horn in Western-European Art

16th Century

PLEASE DO NOT SEND ADDITIONAL ENTRIES. The entries published here are only the ones for which I have somewhat respectable bibliographic entries at this time. I have much more information for these and for additional entries which will be added as I get around to it. I didn't set out to compile a bibliography -- or, more properly, an iconography. This list is just what happens to be lying about the house. It is very much a work in progress, but if I waited until everything was perfect, it would never appear.

However, I would appreciate corrections -- wrong page references, for example. Send corrections to

Mary Rasmussen

Music Department

University of New Hampshire

Durham NH 03824 (USA)

I am singularly error-prone, alas, and I am sure that there are numerous mistakes in this list. Sorry.

This is a revised version of the index which first appeared in 1998. That version was riddled with major errors. If you down-loaded a copy, tear it up. I have no illusions that this version is error-free, but at least it is better.

The purpose of this iconography is to answer the question "Where can I find an illustration of ...?" I have included only works of art for which there is a published reproduction (plus some that are in the Visual Collection, Fine Arts Library, Harvard University and a few in the Bild-Archiv Photo Marburg).

The horns in this iconography have been chosen on the basis of shape. Unlike trumpets, which are principally cylindrical of bore and straight of tube, horns are basically conical and curved. The instruments included here may be of conical bore with either straight or curved tubing, or of circular or looped tubing with either conical or cylindrical bore. A number of them, especially the ones with looped tubing, are, acoustically speaking, trumpets; but since looped shapes contributed virtually nothing (except crooks) to the history of the trumpet, while being potentially important to the development of the horn, this seemed the place to put them. On the other hand, long, gently curved or reverse-curved instruments with slightly expanding bore -- especially when they appear in subjects such as the Last Judgement, where the iconography is in general associated with the trumpet -- have been left for the trumpet iconography which God forbid I should live to accomplish.

Many thanks to John Rogers and the UHN Music Department for putting this index on their web page.

[GB] BRITISH ARTISTS, 16th CENTURY

VII: Allegory

Fame: [BI London 1580] Anon. Queen Elizabeth in a Triumphal Car,(1559) from Anthony Munday, Zelauto: The Fountaine of Fame. London 1580. Fame, standing in the front of the car, blows a curvy, looped trumpet. (Bowles Musical Ensembles, fig. 19, from the coronation entry into London, 14 January 1559. Fig. 20 reproduces a cruder, anonymous version of this.)

XII: Decorative Elements

[In Hardwick Hall] Anon., ca. 1568?. The Eglantine Table. Hardwick Hall, N. T., Derbyshire. inlaid wood table top. Many musical instruments, including a 1-1/2 circle coiled horn (mouthpipe emerging from the center of the coil). (D. Collins. "A 16th-century manuscript in wood. The Eglantine table at Hardwick Hall." Early Music 4 [1976] 275-179, this reproduced p. 276, with a drawing by Llewellyn Jewett from the Reliquary, July 1882, which indicates that the horn has six finger holes)

XIII: Scenes of Everyday Life -- Outdoor

Hunts and Hunters: [BI London 1575] Anon. Title page of George Turberville. The Noble Art of Venerie or Hunting. [London] Henry Bynneman for Christopher Barker [1575]. woodcut. Includes a hunter at the left blowing a sharply curved horn, left hand on hip; and a hunter at the right, tending dogs, with a curved horn hung from a strap. (Schwerdt vol. II, pl. 142, notes that the woodcuts in this volume are mostly exact copies of Du Fouilloux, La Venerie, 1560)

[BI London 1575] [BI London 1575] Anon. Queen Elizabeth at a Hunt Picnic, from George Turberville, Book of Faulconrie. London 1575. woodcut. Includes several men with small, curved horns, mostly hung from straps, one held. There is also a curved horn lying on the ground. unimp. (A. M. Hind. Engraving in England in the Sixteenth & Seventeenth Centuries ... I: The Tudor Period. Cambridge 1952. pl. 14a)

Processions/Cavalcades/Entrees/Parades: See also Allegory, Fame.

XV: Miscellaneous Figures

Putti: [Ms Oxford BL Douce 261] Anon., 1564. Sir Isenbras, from Romances. Oxford BL, Ms Douce 261, fol. 1. Two putti/naked angels in the upper corners of the border blow large, 3/4 O horns. (O. Pächt and J. J. G. Alexander. Illuminated Manuscripts in the Bodleian Libray, Oxford, III. Oxford 1973. cat. no. 1197, pl. CXII)

[NL] DUTCH ARTISTS, 16th CENTURY

I: Old Testament

Other: [H Vredeman de Vries Pr] Vredeman de Vries, Hans (1527-1606?), attr. The Dedication of the Golden Image of Nebuchadnezzar (Daniel 3). engraving. Includes two players of open-hooped 1-1/2 circle horns. (Zeitschrift für Kunstgeschichte 38 [1975] 69 [small reproduction])

II: New Testament

Parables -- Prodigal Son: [Swart van Groningen Dr] Swart van Groningen, Jan (ca. 1500-p.1553). The Prodigal Son among the Pigs. Berlin, Kupferstichkabinett. drawing. The Prodigal has a tiny curved horn hanging from a strap. (J. R. Judson. Dirck Barendsz. Amsterdam 1970. fig. 111 [fine reproduction])

Other: See also Mythology, Diana (Sacrifice at Lystra).

IV: Saints

St. Hubert/Eustache: [A Claesz Pr] Claesz, Allaert (1508-ca.1555). St. Eustache. engraving in the style of a manuscript illumination. The Saint's page has a curved horn, and there is a page in the margin with a curved horn. (Hollstein [Dutch] IV, p. 118 [poor reproduction])

V: Mythology

Adonis: [Galle-Blocklandt] Philips Galle after Anthonis Blocklandt (1532-1583). Venus Laments the Death of Adonis, from The History of Adonis. engraving. Adonis' curved horn lies on the ground in the foreground (clearly no mouthpiece, for what that's worth). (IB vol. 56, no. .092:4, p. 366)

Diana: [H Vredeman de Vries Pa] Vredeman de Vries, Hans (1527-1604/23). The Sacrifice at Lystra. ex Bremen, Roselius Haus (disappeared in 1930). An architectural capriccio. One of the most prominent statuary figures is Diana, with dog and lance, holding a looped horn. (Gazette des Beaux Arts 93 [1979] 15 [fair reproduction])

VI: Literary and Historical Subjects/Figures

Sibyls: [Sichem Pr] Sichem, Christoffel I van (ca.1546-1624). Sybilla persica, no. I of a series of the Twelve Sibyls. engraving. The Persian Sibyl holds a reverse-curve horn. (Hollstein [Dutch] XXVII, no. 1, p. 8)

Virgine maire Satus, pando residebit asella,

Jusundus princeps, vnus qui ferro salutem

Rite queat lapsis: tamen illis forte dictus

Multi multa ferent, immensi fata laboris.

Solo sed satis est oracula prodero cerbo

Ille Deus casta nascotur virgine magnam.

XIII: Scenes of Everyday Life -- Outdoor

Processions/Cavalcades/Entrees: [Swart van Groningen Pr] Swart van Groningen, Jan (ca. 1500-p.1553). Three Turkish Musicians on Horseback. woodcut. One blows a horn with an irregular bell. The others play straight trumpet and bladder pipe. (Hollstein [Dutch] XXIX, no. 8, p. 112 [small reproduction]; IB vol. 13 Commentary, p.439; Musica calendar 1987: 1-10 January [fine reproduction]. See entry for Hopfer, Daniel (ca. 1490-1530). Three Turkish Musicians, from Sultan Soliman with Retinue. engraving. (15/16 DACH)

XV: Miscellaneous Figures

Angels: [Fr Harderwijk] Dutch? 1561-62. Angels of the Resurrection/Last Judgement. Harderwijk, Groote Kerk, fresco. There are four of them. Are they wind gods? (hair blown back). Undulating horn or trumpet. (Oud-Holland 94 [1980] 264 [one of them])

[B] FLEMISH ARTISTS, 16th CENTURY

I: Old Testament

David Dancing Before the Ark: [Vos Wierix Pr] Johan Wierix (1549-1615) after Maarten de Vos (1531-1603). David Dancing Before the Ark, from Scenes from the Old Testament. engraving. Dancing figures before the Ark include a man playing a looped horn and a prominent woman playing a reverse-curve looped horn. (Hollstein [Dutch] XLV, no. 197, p. 90 [small reproduction])

David -- Other: [Vos-Sadeler] Aegidius Sadeler (1570-1629) after Maarten de Vos (1531-1603). David Fleeing from Absalom, from The Story of Saul and David. engraving. David takes the Ark of the Covenant with him, preceded by players of two looped horns and three straight trumpets. (Hollstein [Dutch] XLV, no. 107, p. 52)

Gideon: [Vos-Anon. Pr] Anon. after Maarten de Vos (1531-1603). Gideon and his Army Attacking the Midianites, from The Story of Gideon. engraving. It is full of trumpets/horns: straight, looped, undulating, undulating and looped, curved. (Hollstein [Dutch] XLV, no. 90, p. 43)

Other: [Galle-Floris Pr] Philips Galle after Frans Floris (1516-1570). Solomon Anointed King by Zadok the Priest and Nathan the Prophet. engraving. Includes at least ten figures blowing long, slightly curved horns. (IB vol. 56, no. 5601/.010, p. 36)

[Vos-Anon. Pr] Anon. after Maarten de Vos (1531-1603). The Idolatry of Baal-Peor, Zimri and Cozbi, from The Story of Balaam. engraving. Includes figures beside an idol playing shawm and looped horn. (Hollstein [Dutch] XLV, no. 86, p. 41, as 1584-85)

II: New Testament

Apocalypse -- Trumpeters: [Master GP] Monogrammist GP (=Gerard Groenning, op. Antwerp, second half, 16th century). God Passing out the Trumpets, from an Apocalypse. engraving and etching. The two of the instruments which are fully visible are long, reverse-curve horns or trumpets. Also attr Crispijn van den Broeck (1524-1591). In Bartsch as Jost Amman. (IB vol. 20/1, no. 2.6, p. 24)

Innocents, Massacre of: [P I Bruegel Pr] Bruegel, Pieter I (1525/30-1569). Massacre of the Innocents. Brussels MRBA. Includes a mounted figure with a curved horn hanging from a strap. This horn is a powder horn, not a hunting horn. (G. Marlier. Pierre Brueghel le jeune. Ed. J. Folie. Brussels 1969. p. 68 [color reproduction], 74 [fine b & w detail])

Last Judgement: [Huys Pa] Huys, Pieter (1519-1581). Last Judgement. Brussels MRBA. A deformed, lap-eared man in the stocks blows a large curved horn, bell pointed downward. (Castelli Demoniaco. pl. 66; H. Daniel. Devils, Monsters and Nightmares. London 1964. fig. 95 [fair reproduction]; Vis. Coll. 374.1.H985.39L)

[Mandyn Pa] Mandyn, Jan (1500-1560), attr. Last Judgement. London art market (1960). The traditional Last Judgement angels here are four putti-grotesques. Of the four curved trumpets, one is sort of a long, reverse-curve horn. (Connoisseur 145 [1960] 78 [color reproduction])

Parables -- Lazarus and the Rich Man: [Vos-Passe] Crispijn de Passe (ca.1565-1637) after Maarten de Vos (1531-1603). Lazarus at the Rich Man's Table, from a series of The Parable of Lazarus and the Rich Man. engraving. Musicians in a gallery play three shawms (?) and a curved horn (?). (Hollstein [Dutch] vol. 15, no. 118, p. 141; exh Braunschweig, Herzog Anton Ulrich-Museum, 1978: Die Sprache der Bilder. no. 1a, p. 42 [small reproduction])

Passion -- Crucifixion: [Wierix Dr] Wierix, Johan (Jan) (ca. 1549-p.1615). The Crucifixion. Antwerp, Musée Plantin-Moretus. drawing. Among the throng there is a hunter with a curved horn. (A. J. J. Delen. Catalogue des dessins anciens: écoles flamande et hollandaise. n. p. 1938. no. 120, pl. XX)

Passion -- Via dolorosa: [Wsc Oppiter] S. Netherlands, ca. 1525-1550. Via Dolorosa. Oppiter (Belgium), Church. wood sculpture. Includes, in the center foreground, a child blowing a curved horn. (J. H. Marrow. Passion Iconography ... Kortrijk 1979. fig. 107)

[P I Bruegel Pa] Bruegel, Pieter I (1525/30-1569). Via dolorosa. Vienna, Kunsthistorisches Museum. Includes a figure blowing a slender curved horn immediately preceding Christ fallen beneath the cross. (T. Foote. The World of Bruegel ... New York 1968. p. 109 [useless color reproduction], pp. 110-111 [splendid color detail])

III: Miscellaneous Religious Subjects

Other: See also Saints, St. Hubert/Eustache.

IV: Saints

St. Anthony: [Pa Brussels MRBA] Flemish, 16th century. The Temptation of St. Anthony. Brussels MRBA. Includes a figure, striding through a covered wooden gate and about to cross a stone bridge, playing a long, curved horn. (Castelli Demoniaco. pl. 106)

[Coecke van Aelst Pa] Coecke van Aelst, Pieter (1502-1550). The Temptation of St. Anthony. Madrid Prado. A grotesque on a crumbling stone bridge plays a slightly curved horn with a rusticated bell (I hope). (Gazette des Beaux-Arts 83 [February 1974] La Chronique des Arts no. 1261, p. 94)

[Huys Pa] Huys, Pieter (1519-1581). The Temptation of St. Anthony. Antwerp, Museum Mayer van den Bergh. A deformed man in the stocks blows a very large, reverse curve horn with at least one loop for a banner. (Castelli Demoniaco. pl. 64)

[Vos Pa] Vos, Maarten de (1531-1603). The Temptation of St. Anthony. Antwerp MRBA. There is a dangling curved horn (and grotesques playing lute, shawm [nose shawm] and straight trumpet). (Castelli Demoniaco. pl. 100; Brussels MRBA Bulletin 17 [1968] fig. 14 [p. not recorded -- article pp. 115-136])

St. Hubert/Eustache: [Pa Bruges Cathedral] Flemish, 16th century. St. Eustache. Bruges, Cathedral. He has a small curved horn. (Vis. Coll. 374.1.F6216.38[b])

[Sc Walcourt] Flemish (Brabant) 1531. The Conversion of St. Hubert. Walcourt. sculpture (wood?) The saint has a faceted (hexagonal?) horn hanging from a strap. Prominent. (J. Steppe. Het koordoksaal in de Nederlanden. Louvain 1952. fig. 45)

[Floris Pa] Floris, Frans (1516-1570). St. Hubert (exterior wings of the altarpiece of the Baptism of Christ). Zoutleeuw, Sint-Leonardus, Sint-Hubertuskapel. The saint has a partly visible, curved horn hanging from a strap. (C. van de Velde. Frans Floris ... Brussels 1975. cat. S 125, Afb. 61 [fair reproduction] as ca. 1558-1560)

St. John the Baptist: [Balten Pa] Balten, Pieter (b. ca. 1520-op. ca. 1540-1598), attr. St. John the Baptist Preaching. Gateshead, Shipley AG. The audience includes a hunter (with dogs) with a curved horn hung from a strap, and a gentleman holding a lute and embracing a lady. (Burlington 121 [1979] 399, notes exhibit, Alan Jacobs Gallery, London: Dutch and Flemish 16th and 17th Century Paintings from the Shipley Collection)

Other: [Lombard Pa] Lombard, Lambert (1506-1566). St. Denis Hunting. Liège, St. Denis. The saint holds a reverse-curve horn. (Friedländer XIII [1975] no. 102B, pl. 50)

V: Mythology

Diana: See also Allegory, Other.

Tritons and Sea Creatures: [CI Antwerp 1549] Anon. "La figure de l'Arch triumphal des Anglois," from the Entry of Emperor Charles V, Prince Philip of Spain, and Queens Eleanor of France and Maria of Spain, Antwerp, 15 September 1549. woodcut. Two Tritons blow shell horns. unimp. (Bowles Musical Ensembles , fig. 15)

[Matham-Spranger Pr] Jacob Matham (1571-1631) after Bartholomeus Spranger (1546-1611). The Triumph of Neptune and Thetis. engraving. Figures include tritions with shell horns and a small, straight trumpet. very unimp. (IB vol. 4, no. 204, p. 189)

Other: [Ta Vienna Angewandte Kunst] Flemish, 16th century (after Perino del Vaga [1501-1557]). Banquet of Dido and Aeneas. Vienna, Oesterreichisches Museum für angewandte Kunst. tapestry. Includes a figure blowing a horn/trumpet, looped at the distal end. (Art Bulletin 72 [1990] 43) Perino's drawing for this (Hamburg KH) has no horn/trumpet. (Art Bulletin 72 [1990] 42)

[Candid Dr] Candid, Peter (Pieter de Witte) (1540/48-1628), Workshop. Hippolytus. München SgS, Inv. No. 96 (alt 7747). drawing. Hippolytus has a tiny curved horn hung from a strap. unimp. (exh München SgS, 1979: Peter Candid, Zeichnungen. Ed. B. Volk-Knüttel. cat. no. 84, p. 71, Abb. 56. Study for the Kaisersaalteppiche of the Munich Residenz, finished in 1616.)

[Müller-Spranger Pr] Jan Müller after Bartholomeus Spranger (1546-1611). Bellona (1600). engraving. She blows a reverse-curve (sharply curved at the distal end) trumpet with a ferocious animal-head bell. (Burlington 133 [1991] 794)

VI: Literary and Historical Subjects/Figures

Other: [Ta ex Bracquenié] Flemish (Brussels) ca. 1560. The Rape of the Sabine Women. ex coll. Bracquenié. tapestry. Includes two military (?) figures blowing looped and/or curvy trumpets. unimp. (Göbel I/2, no. 399)

VII: Allegory

Ages of Man: See also Times of Day.

Fame: [Ta Madrid] Flemish (Brussels), mid-16th century. The Partition of the Earth. Madrid? tapestry. Fame blows a nearly circular horn. The subject of the tapestry alludes to the division of the earth by Pope Alexander IV in 1494: everything to the west of the meridian 100 miles west of the Azores belonged to Spain, everything to the east, to Portugal. (Göbel I/2, pl. 113; text I/1 pp. 145-6, as Spanish State Property.)

Heaven/Hell: [Vos-Wierix Pr] Johan Wierix (1549-1615) after Maarten de Vos (1531-1603). Heaven, from The Four Last Things. engraving. Includes a group of men playing a cornu-like instrument, a reverse-curve looped horn, two looped horns, four straight trumpets, and one or two more. (Hollstein [Dutch] XLVI, no. 1241, p. 141)

Months (The so-called Hunts of Maximilian):

S [Ta Paris Louvre -March/Aries] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). March/Aries (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Assembling before the hunt. The central foreground figure on a rearing horse (often identified with Charles V) has a curved (ribbed?) horn hanging from a strap. Another mounted figure has a partly visible curved horn hanging from an especially nice strap. Other figures, mounted and on foot, have curved horns hanging from straps. (In the background a view of Brussels, and in front of the palais de Coudenberg there is a tournament [barriers] accompanied by four [?] mounted trumpeters.) (Arnout Balis et al. Les Chasses de Maximilien. Paris 1993. pp. 14-15 [fine color reproduction], p. 83 [fine detail with the trumpeters]; The Dictionary of Art. London 1996. vol. 23, p. 527, as ca. 1538 [poor reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques/Cabinet des Dessins) has only the two mounted foreground figures with horns (not faceted). (Balis et al 1993, p. 61 [small reproduction]; exh [Florence] 1972-73: Il paesaggio nel disegni del cinquecento europeo. no. 32, p. 49 [ok reproduction, with substantial bibliography]; exh Paris, Orangerie des Tuileries, 1977-78: Collections de Louis XIV ... no. 96) Another drawing, perhaps a cartoon, Leyden, University Print Room. (Balis et al 1993, p. 63) The second weaving for Louis XIV, Paris, Gobelins, artlier of Jean de La Croix, 1692-1693. New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935. (Alfassa 1920 p. 135; Balais et al 1993. p. 129 [small reproduction])

[Ta Paris Louvre April/Taurus] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons).

April/Taurus (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Getting the dogs together and setting off for the hunt. In the foreground a dog handler (valet) has a faceted horn with a flared, faceted bell hanging from a simple strap and a mounted figure has a curved horn hanging from a strap. In the background at least two dog handlers have curved horns hanging from straps. The setting is a place called "Boisfort," at the edge of the forest of Soignes, SE of Brussels, which was the property of the imperial hunt. (Balis 1979-80 p. 14; Balis et al 1993, pp. 16-17 [fine color reproduction], p. 98 [fine color detail including one of the horns]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) has the two curved horns of the two foreground figures (not necessarily faceted). (Belis et al 1993, p. 61 [small reproduction])

[Ta Paris Louvre May/Gemini] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). May/Gemini (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Preparations for the hunt banquet. Includes an unplayed, faceted curved horn with its strap in the right foreground corner. It belongs to a hunter grappling with his lady friend. Another huntsman, gesturing, grasps his partly visible curved horn attached to a strap. The setting is the heights above Augerghem. (Alfassa 1920 p. 251 [poor reproduction]; Belis et al 1993. pp. 18-19 [fine color reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) includes the same two horns (not faceted). (Balis et al 1993, p. 61 [small reproduction]; exh Paris, Orangerie des Tuileries, 1977-78: Collections de Louis XIV ... no. 97) Another drawing, perhaps a cartoon, Berlin, Kupferstichkabinett. (Balis et al 1993, p. 64)

[Ta Paris Louvre June/Cancer] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). June/Cancer (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. The hunt banquet. An elegantly dressed man at the near end of the table has a partly visible faceted horn hanging from a strap. He hands something to a huntsman with a very partly visible curved horn hanging from a strap. (The figures at the far end of the table are perhaps Charles V at the right and either his brother Ferdinand or their grandfather Maximilian I.) Another elegantly dressed man in the right foreground has a partly visible faceted horn hanging from a strap. (These two are upper-class, important figures.) (Belis et al 1993, pp. 20-21 [fine color reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) includes the same curved horns (not necessarily faceted). (Belis et al 1993, p. 61 [small reproduction]) Another drawing (cartoon?), Berlin Ksk. Two figures have curved horns hanging from straps. (A Balis et al. Les chasses de Maximilien. Paris 1993. p. 64) Weaving with the arms of the duc d'Antin, Paris, Gobelins, ca. 1730. Pau, musée national du Château. (Balis et al 1993. p. 130])

[Ta Paris Louvre July/Leo] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). July/Leo (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Four well-dressed (but with rather crude physiognomy) dog handlers have quite fancy straps from which curved horns are hung. Only two of the (faceted) horns are visible (partly). They have separate, flared, faceted bells. This scene depicts the preliminary moment when the hunters make the "rapport," reporting the animals of which they have found a trace, which is why they gesture so animatedly. The mounted figure at the left is often considered to be Marie of Hungary, sister of Charles V, but it is instead probably Ferdinand, brother of Charles V. In the background, the ponds and priory of the church of Rouge-Cloître. The monks process along the edge of a pond. (Balis et al 1993, pp. 22-23 [fine color reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) includes three of the figures with straps, including the two faceted, partly visible ones. (Balis et al 1993, p. 61 [small reproduction]) Adaptation, Brussels?, Frans? Cleyn, 1645. no location. Note that the figure holding the curved horn holds a leash in the original tapestry. (G. W. Digby and W. Hefford. The Devonshire Hunting Tapestries. London 1971. p. 69) Adaptation (figures from the right half), Brussels, atelier of E. Leyniers, third quarter, 17th century (Paris Louvre [deposited in Bourg-en-Bresse, musée de Brou]). (Balis et al 1993, p. 126) Adaptation, Mortlake, third quarter, 17th century. Note that the figure holding the curved horn holds a leash in the original tapestry (Balis et al 1993, p. 127 [small reproduction])

[Ta Paris Louvre August/Virgo] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). August/Virgo (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Stag hunt. The foremost dog handler has a partly visible faceted horn -- with a separate, flared, faceted bell -- hung from a strap. At least two of the dog handlers in the background have curved horns hung from straps. The site is deep in the forest of Soignes. The ponds in the background suggest the ponds of the Patte d'Oic, not far form the priory of Groenendael. (Alfassa 1920 p. 249 [fair reproduction] As ca. 1535.; Balis et al 1993, pp. 24-25 [fine color reproduction]; Balis Rubens Hunting Scenes. fig. 12) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) includes only the foremost horn and it is only very partly visible. (Balis et al 1993, p. 61 [small reproduction]; =? R. Bacon. Great Drawings of the Louvre, III: The German, Flemish and Dutch drawings. New York 1968. no. 38 [fine color reproduction]) Adaptation, Brussels, ateiler of E. Leyniers, third quarter, 17th century (Paris Louvre [deposited in Bourg-en-Bresse, musée de Brou]). (Balis et al 1993, p. 126)

[Ta Paris Louvre September/Libra] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). September/Libra (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. A stag hunt with the stag in a pond ("le bat-l'eau"). The dog handler in the left foreground has a prominent and fully visible curved horn hung from a strap, but it is neither clearly depicted nor very interesting. A huntsman in the center foreground plays a curved horn, the instrument pointing straight (or as straight as a curved horn can point) up. In the right background a dog handler plays another curved horn, straight up. In the background, the priory of Groenendael, bordered on the left by the hunting lodge ("pavillon de chasse") Ravenstein. (Alfassa 1920 p. 247 [poor reproduction]; Balis et al 1993, pp. 26-27 [fine color reproduction], p. 83 [black-and-white detail of the center foreground player]). Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) includes the two foremost horns. (Alfassa 1920 p. 246; Balis et al 1993, p. 62) Another drawing, perhaps a cartoon, in Leyden, University Print Room. (Balis et al 1993, p. 63) Fenaille reproduces an engraving by J. Chauvet after a Gobelins tapestry (by 1654) (Paris Louvre).

[Ta Paris Louvre October/Scorpio] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). October/Scorpio (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. A curée. Six dog handlers blow their curved horns straight up to announce the currée, A dog handler in the foreground has a curved horn hanging from a strap (fully depicted but not very clear), and one in the left foreground grasps one (with a brass [?] bell) attached to a red strap. The site is the escarpment of Boendael, with the bell tower of the church of Watermael in the left background and the "Maison aux Palisades" in the right background. (Balis et al 1993, pp. 28-29 [fine color reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) has different foreground figures, including one with a partly visible horn hanging from a strap. Hard to tell what's in the background. (Balis et al 1993, p. 61 [small reproduction]) Weaving with the arms of the comte de Toulouse, Paris, Gobelins, ca. 1720-1740 (Chantilly, musée Condé). (Balis et al 1994, p. 131 [small reproduction]; Göbel I/2, pl. 184 [faint reproduction]; van Marle Iconographie, vol. I, p. 226 [detail? fair reproduction])

[Ta Paris Louvre November/Sagittarius] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). November/Sagittarius (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. A hunt banquet with the four fires proper to the banquet of the boar hunt. A cold and wintry scene. Lances indicate that a boar hunt is about to begin. Two of the lancers in the foreground have red, curved, faceted horns (one fully visible) hanging from straps. The hunter gesturing and carrying a pitcher has a curved, faceted, partly visible horn hanging from a strap. In the background, by the table, three lancers have straps, but only one horn is (partly) visible. (Balis 1979-80 p. 24; Balis et al 1993, pp. 30-31 [fine color reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) is similar, except that the three lancers at the table all have fully visible horns. (Balis et al 1993, p. 61 [small reproduction]) Another drawing, perhaps a cartoon, Budapest SM. (Balis et al 1993, p. 64)

[Ta Paris Louvre December/Capricorn] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). December/Capricorn (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Boar hunt. Includes a prominent, well-dressed lancer with a partly visible, faceted horn hung from a strap; a middle-ground figure beside a tree blowing a curved horn straight up; and at least two dog handlers with horns hung from straps. The central figure about to spear the boar, long thought to be Maximilian I, is probably his grandson, Ferdinand, who bears an astounding resemblance to him. The site is "La Hulpe," SE of the forest of Soignes. (Alfassa 1920 opp. p. 138 [ok reproduction]; Balis et al 1993, pp. 32-33 [fine color reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) includes at least the two first mentioned above. (Balis et al 1993, p. 61 [small reproduction]) Another drawing, perhaps a cartoon, in Copenhagen, SMK. (Balis et al 1993, p. 65) Adaptation with the arms of the comte de Toulouse, Paris, Gobelins, ca. 1720-1740, Chantilly, musée Condé. (Balis et al 1993, p. 131)

[Ta Paris Louvre Janury/Aquarius] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). January/Aquarius (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Roasting the boar. There is a red, faceted, curved horn with a strap on the ground in the right foreground. A lancer at the left foreground has a curved metal (?) horn hanging from a strap. The gesturing man in the foreground has another metal (?) horn hanging from a fancier strap (prominent). In the background, with a pack of dogs dining on leftovers, two plus two dog handlers blow curved horns. (Alfassa 1920, p. 253 [fair reproduction]; Balis et al 1993, pp. 34-35 [fine color reproduction], p. 90 [fine color detail with the two plus two background horn players]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) is as the tapestry but with perhaps only one pair of the background horn players. (Belis et al 1993, p. 61 [small reproduction]; Vis. Coll. 374.1[d?].Or54.90[a]11)

[Ta Paris Louvre February/Pisces] Flemish (Brussels, atelier frères et fils Dermoyen, between 1531-1533) (cartoon by Bernard van Orley and the paysagiste Jean Tons). February/Pisces (from the so-called Hunts of Maximilian series). Paris Louvre. tapestry. Rendering thanks before Modus and Ratio. Four foreground dog handlers (well dressed) have curved, mostly faceted (hexagonal or octagonal) partly visible curved horns hanging from straps. At the left, King Modus and Queen Ratio trample underfoot Idleness and Gluttony. The hunters come to render hommage. The room in which they are enthroned opens on the "Cour des Batailles," the interior court of the palace in Brussels. At the right, the church of Saint-Jacques-sur-le-Coudenberg. (Alfassa 1920 p. 129 [poor reproduction]; Balis 1979-80 p. 36; Balis et al 1993, pp. 36-37 [fine color reproduction], p. 87 [fine color detail, including three of the horns]; Göbel I/2, no. 71 [miserable reproduction]) Orley's cartoon (Paris, Louvre, dept. des Arts graphiques) Of the horn players, only two seem to have horns, one fully visible. (Balis et al 1993, p. 62 [small reproduction]) A Brussels weaving of 1567 in Vienna KH. The (passe-partout) border includes an allegorical figure blowing a spiral, ribbed horn, as well as a woman playing a hurdy-gurdy and a man playing a woodwind. (The Dictionary of Art. London 1996. vol. 30, p. 316 [poor reproduction])

Months (Other): [Ta location unknown] Flemish (Brussels), first half, 16th century. August. location unknown. tapestry. A stag hunt. Includes figures with curved horns hanging from straps. A pastiche of figures from the so-called Hunts of Maximilian (see above). (Balis et al 1993, p. 74 [fair reproduction])

[P van den Borcht Pr] Borcht, Pieter IV van den (1545-1608). May, from a Twelve Months series. engraving. The instruments in the border include a curvy horn, two lutes, a viol and two cornetts. (Hollstein [Dutch] III, p. 101 [useless reproduction])

Music/Poetry/Liberal Arts: [Master HIV-Floris Pr] Monogrammist HIV after Frans Floris (1516-1570). Dialectica (1550). engraving. She has a bow and a quiver of arrows, two dogs (labelled "Veritas" and "Falsitas") and blows a curved horn (labelled "Sonvs"). (C. van de Velde. Frans Floris ... Brussels 1975. cat. P108, Afb. 257)

Seasons: [Vos-Collaert] Adriaen Collaert (ca.1550-1618) after Maarten de Vos (1531-1603). Ver Veneris from a Four Seasons series. engraving. Includes a lively dance beside a chateau with a formal garden, accompanied by a bagpiper. There is also a hunt with a hunter blowing a curved horn. References to Moon predominate. (Hollstein [Dutch] XLVI, no. 1408, p. 204, as ca. 1587-88)

Times of Day: [Vos-Collaert] Adriaen Collaert (ca.1550-1618) after Maarten de Vos (1531-1603). Aurora/Morning/Infancy, from a series of four engravings of the Times of Day and Ages of Man. engraving. Includes a hunter playing a curved horn. (Hollstein [Dutch] XLVI, no. 1454, p. 220)

Triumph/Victory: [Ta AM] Flemish (Brussels), second half, 16th century (cartoon by Giulio Romano). The Triumph of Scipio (the "Large Scipio"). Hamburg art market (1923). tapestry. The musicians, in very animated poses, play a cornu, an animal horn, six straight trumpets, tambourine and cymbals. (Göbel I/2, no. 78, text I/1 p. 107)

Vice/Virtue: See also Miscellaneous Figures, Grotesques.

[Vos-Passe] Crispijn I de Passe (ca.1565-1637) after Maarten de Vos (1531-1603). Visiting Prisoners, from The Last Judgement and the Seven Acts of Mercy. engraving. In the border at the left, apparently representing Night, a watchman's horn. (Hollstein [Dutch] XLV, no. 619, p. 211)

[Vos-Sadeler] Johannes I Sadeler (1550-ca.1600) after Maarten de Vos (1531-1603). Conciosacra, from a Virtues Conquering Vices series. engraving. Includes a vanquished figure ringing two handbells, with a large curved horn across his chest. (Hollstein [Dutch] XLVI, no. 1188, p. 122 [small reproduction])

War and Peace: [Vos-Collaert] Adriaen Collaert (ca.1550-1618) after Maarten de Vos (1531-1603). Pax/Peace from a Seven Virtues series. engraving. Includes military figures (War) in the background playing two looped horns. (Hollstein [Dutch] XLVI, no. 1197, p. 124, as ca. 1581, as engraved by M. - H. Wierix or more probably Adriaen Collaert)

Other: [Sadeler-Stradanus] Raphael Sadeler after Joannus Stradanus (Jan van der Straet) (1523-1605). Venatio, from Schema seu speculum principium (1597). engraving. The personification (Diana) has a curved horn hanging from a strap, and there are three curved horns among the hunting artifacts. (exh Münster, Baden-Baden, 1979/80: Stilleben in Europa, no. 129a, p. 231. Notes drawing for this in the Teyler Museum, Haarlem)

IX: Heraldic

See also Scenes of Everyday Life Outdoor -- Fairs/Festivals.

[P I Bruegel Pa] Bruegel, Pieter I (1525/30-1569). Dulle Griet. Antwerp, Museum Mayer van den Bergh. Just above her there is a curved horn on a banner. (There are also harps, plus a bell hanging in a tree.) (D. Bax. Hieronymus Bosch ... Rotterdam 1979. p. 107; R. Graziani. "Pieter Brueghel's 'Dulle Griet' and Dante." Burlington 115 [1973] 209-218 [detail of horn on banner, p. 212]; F. Grossmann. Bruegel. The Paintings. London 1955. pll. 36, 38 [ok detail]; J. van Lennep. Art et alchemie. Brussels 1966. fig. 191; R. H. Marijnissen. Bruegel de Oude. Brussels 1969. p. 39 [color]; M. Seidel and R. H. Marijnissen. Brvegel. New York 1971. p. 153; Vis. Coll. 374.1.B833.90[n])

XII: Decorative Elements

See also Miscellaneous Figures, Putti.

[Gl London V&A] Anon., ca.1548-50. Panel with the device and initials of Anne de Montmorency, Constable of France (1493-1567). London V & A (ex Château of Écouen). stained glass. Includes a grotesque statuary winged half-figure (sort of a telamon) with two huge reverse-curve horns/trumpets emerging beneath his beard. (Burlington 129 [1987] 299 [ok reproduction)

XIII: Scenes of Everyday Life -- Outdoor

Garden Parties: See also Literary and Historical Figures/Subjects, Other (Caron)

Hunts and Hunters: [BI Poitiers 1561] Anon. Hunting Scene, from Jacques Du Fouilloux, La venerie. Poitiers, de Marnefz & Bouchetz freres, 1561. woodcut. Includes two hunters with curved, looped horns. Notable for early looped horns. (If he doesn't do horns any better than he does feet, how much can you count on?) (MGG VI, col. 1666)

[Pa Lude] Anon, ca. 1570's. Hunting Scene. Lude (Sarthe), Chateau. wall painting. Figures include a mounted hunter with a looped or 1 1/2 coiled horn. (Gazette des Beaux-Arts 66 [1965] 205 [unhelpful for details])

[Caron Dr] Caron, Antoine (1521-1599)? Stag Hunt. Paris BN CdE. drawing. A figure on foot has a curved horn. A mounted figure has a very pretty curved horn with two figure-eight loops, hung from a strap. (exh Paris, Grand Palais, 1972-73: L'École de Fontainebleau. no. 42, p. 40; exh Ottawa, National Gallery of Canada, 1973: Fontainebleau. L'art en France 1528-1610. p. 184 [the illustration in the Fontainebleau exh is better])

[Delaune Dr] Delaune, Etienne (1518-1583?). Hunting Scenes. (Coll. Philip Hofer F =? Lehman Collection) drawing. Includes figures with little curved horns. (Lehman Coll. exh, Cincinnati Art Museum, 1959, nos. 155-156; Vis Coll. 375d.L373.90[c])

Processions/Cavalcades/Entrees: [CI ** 1551] Anon. Trompettes, from Description du somptueux order plaisant et spectacles [Naylor's title] [Paris?] 1551. One of the trumpets has a single tight loop at the distal end. (T. L. Naylor. The Trumpet and Trombone in Graphic Arts 1500-1800. [Nashville] 1979. no. 23)

Watchmen: See also Allegory, Life and Death (Paris 1533, Troyes 1531).

XV: Miscellaneous Figures

Angels: [WSc Le Cramm] Breton, ca. 1550. Altarpiece of the Trinity. Spezet, Le Cramm. polychromed wood. Many angels including one with an almost circular trumpet. (H. Waquet. Art Breton. Paris 1960. fig. 76)

Musicians, Minstels, etc.: [Pa private collection] Anon., 16th century. Two Musicians. Wildenstein, New York. They have 1-1/2 coiled horns. (Vis. Coll. 375.F916.90[n])

Putti: [Iv private collection] French or Flemish, 16th century. Scenes of Country Life. (ex) Coll. Kofler-Truniger, Lucerne. ivory comb. Includes four decorative putti with curved horns. Pretty but unimportant. (1964 catalog: Skulpturen, vol. I, no. S129)

Other: [Sc Ploërmel] Breton, ca. 1534. Two Acrobatic Horn Players. Ploërmel (Morbihan), Eglise Saint-Armé, N. Portal. sculpture. Quite unusual. (H. Waquet. Art Breton. Paris 1960. fig. 119)

[DACH] GERMAN ARTISTS, 16th CENTURY

I: Old Testament

David Dancing Before the Ark/The Transporting of the Ark of the Covenant: [Amman Pr] Amman, Jost (1539-1591). The Priests Carry the Ark of the Covenant (Joshua 3), from Biblia. Das isst die gantze heylige schrifft teutsch. Frankfurt am Main 1565. woodcut. The Ark of the Covenant is preceded by priests blowing a large curved horn, two curved horns or trumpets, and a trumpet. (IB vol. 20/1, no. 1.30, p.263)

Jericho: [BI Lübeck 1533/34] Altdorfer, Erhard. The Fall of Jericho, from a Bible. Lübeck 1533/4. woodcut. Figures blow five curved trumpets or horns in front and at least ten behind (plus one held). A good example of the gray area between horns and trumpets, although several of the ones behind could surely qualify as horns. (W. Jürgens. Erhard Altdorfer, seine Werke und seine Bedeutung für die Bibelillustration des 16. Jahrhunderts. Lübeck 1931. Abb. 27)

[Amman Pr] Amman, Jost (1539-1591). The Fall of the Walls of Jericho (Joshua 6), from a Bible. woodcut. The Ark of the Covenant is preceded by priests blowing eleven large curved horns. (IB vol. 20/1, no. 1.31, p.263)

Moses/Moses and Aron: [Beham Pr] Beham, Hans Sebald (1500-1550). Moses and the Two Trumpeters, from Biblicae historiae. Frankfurt am Main, Christian Egenolph, n.d. woodcut. One of them has a large curved horn or trumpet, the other a folded trumpet (almost a proto-trombone). (IB vol. 15, no. 29, p. 144)

Gideon: [BI Lübeck 1533/34] Altdorfer, Erhard. Gideon in Battle against the Midianites, from a Bible. Lübeck 1533/4. woodcut. Judges 7, 22: "et nihilominus insestebant trecenti viri buccinis personantes. Immisitque Dominus gladium omnibus castris, et mutua se caede truncabant," ("and the three hundred blew the trumpets, and the Lord set every man's sword against his fellow, even throughout all the host"). Here the three companies are gathered with their trumpets, which more resemble curved horns, noisily encouraging their fellow Israelites as they dispatch the Midianites. (W. Jürgens. Erhard Altdorfer, seine Werke und seine Bedeutung für die Bibelillustration des 16. Jahrhunderts. Lübeck 1931. Abb. 30)

Other: [Stoer Pr] Stoer, Niklas. The Israelites Make Music Before the Ark of the Covenant, from Biblij Czeska ... Nuremberg 1540. woodcut. They blow five curved horns or trumpets. One of them seems to have a winding. (IB vol. 13 Commentary, no. .008(c), p.573)

II: New Testament

Apocalypse -- Trumpeters: [Amman Pr] Amman, Jost (1539-1591), attr. The Third Trumpet Call: A Great Star Poisons the Waters, from a series of twelve scenes from the Apocalypse. engraving. A rather devilish-looking angel blows a large, reverse-curve horn or trumpet. (IB vol. 20/1, no. 2.7, p.25. notes that most scholars reject Amman's authorship of this series and that Hollstein [Dutch] attributes it to Crispijn van den Broeck.)

[Hirschvogel Pr] Hirschvogel, Augustin (1503-1553?). The Opening of the Seventh Seal (1549). etching. Seven putti (heads and wings only) blow short little conical trumpets or horns (clouds of air billowing from the bells), rather like wind gods. The text,

Syben Engel bliesen vor Gott hell

Ein yeder verkündt verdamnuss schnell

Drunder schry einer lenger ye mee

Der gantzen welt sey nichts als wee wee,

is a synopsis of Revelation, 8 (Apoc. 8). (IB vol. 18, no. 1.110, p. 203)

[Solis Pr] Solis, Virgil (1514-1562). The Sixth Trumpet Call, Angels Kill a Third of Mankind (Rev. 9), from Biblische Figuren dess Alten Testaments. [Frankfurt am Main] 1565. woodcut. An angel blows an undulating trumpet with no bell flare. (IB vol. 19/1, no. 1.205, p. 387)

[Solis Pr] _______. St. John Devours the Book (Rev. 10), from Biblische Figuren. woodcut. One of the angels (only a head) blows what looks like a horn made out of a huge leaf. (IB vol. 19/1, no. 1.206, p. 387)

[Stoer Pr] Stoer, Niklas, attr. The Sounding of the First Trumpet: Hail and Brimstone Mixed with Blood, from Das New Testament Teutsch. Nuremberg, Jobst Gutknecht, 1531. woodcut. An angel blows a large, reverse-curve horn or trumpet. (The other angels in the series blow curved trumpets or horns.) (IB vol. 13 Commentary, no. 1302/.006[a], p. 571. Text, p. 570: based on woodcuts of Master AW in an octavo edition of the New Testament published by Hans Lufft, Wittenberg, 1530, reversed)

[Stoer Pr] Stoer, Niklas. The Sounding of the Sixth Trumpet: the Men Mounted on Lion-Headed Steeds, from a New Testament. Nuremberg?, Kunigung Hergotin, 1538. woodcut. Figures include a man seated on a cloud, blowing a large curved horn. (IB vol. 13 Commentary, no. 1302/ .006[e], p. 572)

Herod, Feast of: [Rauch Pr] Rauch, Matthäus (op. 1568-1620). The Feast of Herod. woodcut (8 blocks -- one missing). The figures include a hunter outside with a little curved horn at his back. (Strauss The German Single-Leaf Woodcut. vol. II, p. 856 [fine reproduction])

Innocents, Massacre of: [Remsich Gl] Remsich, Gerhart (op. 1527-1557). Massacre of the Innocents (1528). London, V & A. stained glass. Includes a figure (a watchman?) in a little balcony blowing a large, curved horn. (Burlington 85 [1944] 271)

Last Judgement: See also Misc. Religious, Other.

[Pa Dassel] Anon. (Niedersachsen, local painter), 1577. Last Judgement. Dassel, Stadtkirche. wall fresco. Includes four angels with straight trumpets and a devil on the mouth of the dog of Hell blowing a rather long curved horn. (H. Pusen. Kostbarkeiten aus Kirchen und Klöstern Niedersachsens. Hannover 1966. p. 47 [fine reproduction])

[Pa Kamenz] Anon., second half, 16th century. Last Judgement. Kamenz, ehem. Franziskanerklosterkirche. Two putti play two oliphant-like curved trumpets. unimp. (Imago musicae 9-12 [1992-95] 261, Heise no. 33)

Nativity: [Ms Vienna OeNB 1880] Glockendon, Albrecht (op. 1547-1568). Nativity, from the Book of Hours of Wilhelm IV of Bavaria. Wien OeNB cod. 1880. Figures include a shepherd holding a reverse-curve horn. After Schongauer. (Aachener Kunstblätter 46 [1975] 157 [without the bas-de-page putti], with a reproduction of the Schongauer as well)

Parables -- Lazarus and the Rich Man: Jost Amman (1539-1591). Lazarus and the Rich Man, from a Bible. woodcut. In the foreground the slaughter of a stag and a boar by a group of hunters with lances (three of whom have curved horns -- one held, two hanging from straps). (IB vol. 20/1, no. 1.107, p. 304)

Weigel, Martin (op. ca.1533-ca.1580). Lazarus and the Rich Man. woodcut. The figures include a hunter outside with a little partly visible curved horn at his back. Strauss The German Single-Leaf Woodcut. vol. III, p.1174)

Passion -- Mocking/Flagellation of Christ: [Gl Mönchengladbach] Niederrhein, second quarter, 16th century. Christ Crowned with Thorns. Mönchengladbach, Münster St. Vitus, Alte Sakristei. stained glass roundel. Includes a little fellow seated on the ground blowing a horn. (C. -W. Clasen, ed. Die Denkmäler des Rheinlands: Mönchengladbach. Düsseldorf 1966. Abb. 71. Notes has been damaged and restored.)

[Woensam Pr] Woensam, Anton (ca.1500-1541). The Mocking of Christ, from the Passion of Christ. woodcut. A figure blows a curved (animal) horn in Christ's ear. (IB vol. 13, no. 7-F, p. 200)

Passion -- Via dolorosa: [Pa location unknown] Anon., 16th century. Via dolorosa. Cologne art market (1890) Includes a figure blowing an oliphant or curved trumpet.

(Bonn Sale, Heberle, Köln, 12-13.V.1890)

[Pa Thomée Coll.] Anon. (Westfalen) ca. 1530. Via dolorosa. ex Coll. Thomée, Altens (Westf.) Includes a figure blowing a 2-1/2 circle coiled horn with the mouthpipe emerging from the inner coil (i.e. the coiling starts in the center and works out). (Marburg 5277 [ok])

III: Miscellaneous Religious Subjects

Gabriel/Mystic Hunt of the Unicorn: [Ta Sarnen] Swiss, 1554. The Mystic Hunt of the Unicorn. Sarnen, Kollegium. tapestry. Gabriel blows a curved horn. (R. Durrer. Die Kunstdenkmäler des Kantons Unterwalden. Zürich 1899-1928, R/Basel 1971. pl. LII)

[Ta private ccollection] Anon. (Oberrhein), ca. 1550. The Mystic Hunt of the Unicorn. p.c., Germany. tapestry. Gabriel (with two dogs) blows a horn with a scroll rolling out from the bell. (Göbel III/1, pl. 158, text p. 185)

[Ta art market] N. Swiss, 1563. The Mystic Hunt of the Unicorn. Munich art market (1933). tapestry. Gabriel blows a reverse-curve horn. (Göbel III/1, pl. 157 [very similar to pl. 50a], text p. 185)

[Ta ex Iklé Coll.] Swiss (Oberrhein, Lucerne), 16th century ?. The Mystic Hunt of the Unicorn. ex coll. L. Iklé, St. Gallen. tapestry cushion cover. Includes an angel (Gabriel) blowing a reverse-curve horn. (Göbel III/1, pl. 159, text p. 185. Text "Vss him[m]el[s] thron ich heb gejagt/Verkünd vil guts der reinen magt.")

Virgin and Child: See also Miscellaneous Figures, Animals.

Other: [Weigel Pr] Weigel, Hans (d. Ä) (op. 1549-1577). "Das Christliche Schiff/ mit seinen mancherley anstossen." single-leaf woodcut. Among the many figures on the Christian ship is Gabriel, blowing a deeply curved, undulating horn. (Strauss The German Single-Leaf Woodcut. vol. III, pp. 1124-25 [fine reproduction])

[Lucius Pr] Lucius, Jacob (ca,1530-1597). "Ein schön tröstlich Bild ... " (1556). woodcut. Includes much imagery of the Last Judgement, including a demon with a curved horn or trumpet (with flames spewing from the bell) seated on the mouth of Hell in the lower right. (Strauss The German Single-Leaf Woodcut. vol. II, no. 6, p. 639, as The Pardoning of Adam and Eve According to St. Bernard)

V: Mythology

Actaeon: [Hirschvogel Pr] Hirschvogel, Augustin (1503-1553?). Actaeon Turned into a Stag (1545). etching. He holds a reverse curve horn with a huge, flat mouthpiece (which is probably not intended to be realistic). (IB vol. 18, no. 6, p. 214)

[Solis Pr] Solis, Virgil (1514-1562). Actaeon Attacked by His Dogs, from Metamorphoses Ovidii. woodcut. In the background, a hunter blows a curved horn. (IB vol.19/1, no. 7.41, p. 482)

Bacchanale: [H Hopfer Pr] Hopfer, Hieronymus (doc. ca.1528-1550). Fauns and Bacchantes Dancing and Making Music (copy after Agostino Veneziano [B.250], after an antique relief). etching. One of the dancing fauns plays a very unusual, sharply curved, reverse curve horn with two parallel bells and spiral ribbing. Other fauns play panpipes and double woodwind. One of the bacchantes dangles a little tambourine and a jingle ring. (IB vol. 17, no. 29, p. 228; Hollstein [German] XV, no. 33, p. 208; Musica calendar 1977: 4-17 September [fine reproduction])

[Solis Pr] Solis, Virgil (1514-1562). Bacchanalia with a Swine. engraving. A figure (a satyr?) in a door- or arch-way blows a fat, slightly curved horn. (IB vol. 19/1, no. 124, p. 62)

Diana: [Amman Dr] Amman, Jost (1539-1591). Arms of Dr. M. Rappenberger, Clerk from Rött (Wappen des Rötteler Landschreibers Dr. M. Rappenberger). London V & A. drawing (Scheibenriss). "Diana" is in the left margin, with spear and curved horn. (Pallas is in the right margin.) (P. L. Ganz. Die Basler Glasmaler der Spätrenaissance und der Barockzeit. Basel 1966. Abb. 31)

Mercury: [WSc Brunswick] Anon. Mercury (?). (formerly?) Braunschweig, Haus Sack Nr. 5, exterior decoration. wood (?) relief. He plays a curved horn. Minuscule detail. (C. Uhde. Braunschweigs Baudenkmäler. Ser. I. 3d ed. Braunschweig 1895. no. 22 [loose photos] [reproduction too small to be of much help] Notes was restored in 1890.)

Muses: [Solis Pr] Solis, Virgil (1514-1562). Novem Mvse. engraving. Thalia holds a huge reverse-curve horn (no bell flare). (IB vol. 19/1, no. 111, p. 56, with note [after O'dell Franke] that it is a copy in reverse of B.112, with a rearrangement of the Muses. This seems backwards to me.)

_______. The Nine Muses. engraving. One of them ("Eu" -- not Euterpe, another is labelled "Evt") has a reverse-curve horn or trumpet. (IB vol. 19/1, no. 112, p. 56 [poor reproduction])

[Solis Pr] _______. Clio die 2. Mvsa, from a series of the nine Muses in ornamental borders. engraving and etching. She is with a swan and holds a large, deeply curved, almost figure-eight, horn with very little bell flare. (IB 19/1, no. 114, p.57)

Satyrs: See also Emblems.

[Schenck Sc] Schenck, Hans (gen. Scheusslich) (Hans Schenk-Scheutzlich) (ca. 1500-1572). Portrait of Herzog Philipp I (1546). Veckermünde, Ehem. Schloss, Treppenturm. sandstone sculpture. One of the satyrs in the border blows a long ribbed horn. unimp. (Deutsche Kunstdenkmäler. Ein Bildhandbuch. Mecklenburg. Ed. R. Hootz. Darmstadt 1971. p. 303. Says border based on Netherlands engravings of grotesques.)

[H S Beham Pr] Beham, Hans Sebald (1500-1550). Satyr, Sounding a Horn. engraving. The horn is large, undulating, with a rusticated, unflared bell. (Hollstein [German] III, p. 72)

Other: [Solis Pr] Solis, Virgil (1514-1562). The Death of Procris, from Metamorphoses Ovidii. woodcut. Cephalus has a curved hunting horn hanging from a strap. (IB 19/1, no. 7.90, p.494)

VII: Allegory

Elements: [Jamnitzer-Amman Pr] Wentzel Jamnitzer after Jost Amman. The Four Elements: Air, from Perspectiva corporum regularium. Nürnberg 1568. etching. Among the many musical (mostly wind) instruments there is an alphorn. (Exh. Münster, Baden Baden, 1979-80: Stilleben in Europa. no. 83, p. 143)

Fame: [Amman Pr] Amman, Jost (1539-1591). Printer's Device of the Frankfurt Printer Sigmund Feyerabend. woodcut. An angel (Fame) seated on a globe and holding an olive branch blows a long, deeply curved horn or trumpet (almost a semicircle, held rather like a trompe de chasse, but the bell points forward). (Early Music 7 [1979] 279)

[Amman Pr] _______. Printer's Device of the Frankfurt Printer Sigmund Feyerabend. woodcut. A seated angel (Fame) blows a long, deeply curved reverse-curve horn. (IB vol. 20/2, no. 9, p. 701, on title page of Amman's Künstliche Wolgerissene New Figuren von allerlai Jagt vnd Weidwerck. Frankfurt am Main 1592; =? Schwerdt I, pl. 19)

[Amman Pr] _______. Printer's Device of the Frankfurt Printer Sigmund Feyerabend. woodcut. Fame blows a long, curved horn or trumpet and holds a long, reverse-curve horn. (IB vol. 20/1, no. 2, p. 323, on title page of Amman's Künstliche Vnd wolgerissenen figuren der fürnembsten Evangelien ... Frankfurt am Main 1579) This is the same as the Solis B.9.162.

[Amman Pr] _______. Printer's Device of the Frankfurt Printer Sigmund Feyerabend. woodcut. Fame blows two reverse-curve horns or trumpets. (Strauss The German Single-Leaf Woodcut. vol. I, no. 45, p. 75 [fine reproduction])

[Amman Pr] _______. Fama Inmortale. Printer's Device of the Frankfurt Printer Sigmund Feyerabend. woodcut. Fame blows a sharply curved, reverse-curve trumpet or horn. (Strauss The German Single-Leaf Woodcut. vol. I, no. 46, p. 76 [fine reproduction])

[Amman Pr] _______. Fame Between Time and Truth/Printer's Device of the Frankfurt Printer Sigmund Feyerabend. woodcut (cut by Lucas Mayer). Fame blows a deeply curved, undulating horn or trumpet and holds a deeply curved, reverse-curve horn or trumpet. (Strauss The German Single-Leaf Woodcut. vol. I, no. 47, p. 77)

[Solis Pr] Solis, Virgil (1514-1562). "Fama." engraving. She strides along in a landscape, holding two horns (one reverse curve). (IB 19/1, no. 217, p. 107 [fine reproduction]; van Marle Iconographie II, p. 177 [ok reproduction])

[Solis Pr] _______. Fame, Printer's Device of Sigmund Feyerabend, from Reusner's Emblemata. woodcut. Fame blows at once two large horns with undulating, deep curves. This one has no landscape background and she has her left foot on a rock. (IB 19/1,no. 9.160, p. 591)

[Solis Pr] _______. Fame, Printer's Device of Sigmund Feyerabend, from Reusner's Emblemata. Animo dat gloria vires (Glory gives strength to the spirit). woodcut. Fame, seated on a globe, blows a large, curved horn, held rather in the manner of a large trompe de chasse. In the other hand she holds a large, reverse-curve horn. (IB 19/1, no. 9.162, p. 592) Also attr. Jost Amman, q.v.

[Solis Pr] _______. Fame, Printer's Device of Sigmund Feyerabend, from Reusner's Emblemata. woodcut. Fame blows a deeply curved, reverse-curve horn and holds an undulating, deeply curved horn in her other hand. There is a landscape background and her left foot is on a globe. The surrounding instruption reads TVA FAMA LOCO PER VIGILES HABEAS OCVLOS ANIMVMQVE SAGACEM SI CVPIS VT CELEBRISTET. (IB 19/1, no. 9.164, p.592) Also attr. Jost Amman.

Planets: Master 4+ (op. ca. 1554-1580), attr. Mond, no. VII of a Seven Planets series. woodcut (cut by Master CG). She holds a reverse-curve horn. (Strauss The German Single-Leaf Woodcut. vol. III, p. 1396)

[Pencz Pr] Pencz, Georg (ca.1511-1550), attr. The Children of Moon, from a Seven Planets series. woodcut. The personification is in a chariot with the sign of Cancer on the wheel. Her hair blows forward and a cloth billows out behind (symbols of Fortuna). She holds a crescent moon (there is also one in the sky) in one hand and a curved hunting horn in the other. (Geisberg-Strauss G. 996 [fine reproduction]; Hirth no. 290 [fine reproduction], as by Hans Sebald Beham)

[Pencz Pr] _______. The Children of Jupiter (1531). woodcut. Activities include a stag hunt in the background with a hunter on foot blowing a curved horn (a tiny, vague detail). (Geisberg-Strauss, no. 991 [fine reproduction]; Hirth no.293 [fine reproduction], as by Hans Sebald Beham; Simiolus 11 [1980] 168 [useless reproduction])

[Solis Pr] Solis, Virgil (1514-1562). The Children of Moon, from a Seven Planets series. engraving. The personification holds a crescent moon and a reverse-curve horn. (IB vol. 19, pt. 1, no. 169, p.83)

[Solis Pr] _______. The Children of Jupiter, from a Seven Planets series. engraving. Includes a prominent hunter blowing a curved horn. (IB vol. 19, pt. 1, no. 164, p.81)

Playing Cards: [Beham Pr] Beham, Hans Sebald (1500-1550). The Upper Valet of Flowers, from a set of playing cards. woodcut. Includes a hunter with a reverse-curve horn. (Geisberg-Strauss G. 328, as ca. 1523; D. Hoffmann. The Playing Card ... New York 1973. pl. 42a)

Winds: See also New Testament, Apocalypse -- Trumpeters.

Other: [Dr Strasbourg] Alsatian, ca. 1530. Sleeping Man with Monsters. Strasbourg, Musée des Beaux-Arts. drawing. In the background a man on a nag blows a large, curved horn. Whatever it is, it's very allegorical. (Art Bulletin 74 [1992] 210)

IX: Heraldic

See also Mythology, Diana; Scenes of Everyday Life -- Outdoor, Hunts and Hunters; Scenes of Everyday Life -- Outdoor, Pastorales; Miscellaneous Figures, Putti

[Dr Coburg] Anon, 16th century. Two Heraldic Designs (separate drawings). Coburg, Kunstsammlung Veste. drawing. Each has a small curved horn. (Vis. Coll. 373d.G 316.95[e]. 95[f])

[Gl Zürich SLM] Swiss, 1545. The Fall of the Sons of Aaron. Zürich SLM. stained glass. Arms at the bottom (Huldrychus Zinggius) include two figures playing fingered horns. (Schneider Glasgemälde. vol. I, no. 237 [lpoor reproduction]

[Pr Anon.] Anon., [16th century?]. Arms "Die zum Jungen." woodcut. Includes two reverse curve horns projecting from a helmet and three curved horns. (Brüchle and Janetzky 1976. p. 58)

Drey Hörnlin ich im Schildt thu führn

Damit anzeig was wöll gebürn

Zu thun dem so nach Ehren strebt

Und einem tapffern Heldt gleich lebt.

Soll allzeit frisch und wacker seyn

Die Gottes Ehr behalten rein.

Das Vatterland und gmeinen nutzen

[Pr Anon.] Anon., [16th century?]. Arms of D. Sultzberger of Tirol. woodcut. Includes three curved horns. (Brüchle and Janetzky 1976. p. 41)

Ein Jägerhörnlin in mein Schildt

Ob michs wol mant zu jagen das Wildt.

Jedoch viel mehr mich treiben thut

Das ich sol all mein sinn und muth

Nach Tugend richten und nach Ehrn

So wirt sich mein nam lassen hörn.

Gleych wie ein helles Hörnlein schon

Im grünen Waldt mit wackrem thon.

Mit Rath / That / Leib / Gut / helffen schützen.

[Amman Pr] Amman, Jost (1539-1591). Portrait of Duke Christoph of Württemberg. woodcut. The left half of the coat of arms is topped by a curved hunting horn. (IB vol. 20/1, no. 1b, p. 246)

[Master LM Pr] Master LM (op. Strasbourg, ca. 1560-1600). The Coat of Arms of Duke Christoph of Württemberg and Teck (1515-1568). woodcut. Includes a curved hunting horn. (Strauss The German Single-Leaf Woodcut. vol. III, no. 2, p. 1275)

X: Portraits

[Fr Schloss Goldegg] Anon. (Austrian), 1536. Portrait of Christoph, Graf zu Schernberg, and His Wife. Schloss Goldegg, Rittersaal, West Wall. fresco. They are flanked by heralds on rearing horses, blowing a metal horn and a straight trumpet. (Alte und moderne Kunst 21/H.147 [1976] 18 [detail and in situ])

XI: Decorative Elements

[Amman Pr] Amman, Jost (1539-1591), attr. Border for a Portrait of Robertvs R. F. XXXVII (Robert I), from the series Effigies Regum Francorum. engraving and etching. Includes two musical trophies, one with a lute and a partly visibled stringed instrument (psaltery?), the other with a viol, case for/of flutes and a curvy horn (partly visible, rusticated bell). (IB vol. 20/1, no. 10.15, p. 147)

XIII: Scenes of Everyday Life -- Outdoor

See also Miscellaneous Figures -- Postmen/Postriders

Hunts and Hunters: See also Miscellaneous Figures, Animals (hunting parody),

[WSc Konstanz Münster] Anon. ca. 1560. A Hunter or Watchman. Konstanz, Münster, Misericorde. carved wood. The hunter has a lance and blows a curved, ribbed horn. (W. Salmen. Der Spielmann im Mittelalter Innsbruck 1983. Abb. 61. Considers him a watchman.)

[Sc Tübingen] Anon. Decoration (1538). Tübingen, Hohentübingen, Oberes Schlossstrasse. sculpture. Includes two young hunters with very angular curved horns. There are also stags in the decoration. Restored. (R. Schmidt-Burger. Schlösser in Schwaben. Munich 1958. [Deutsche Lande, Deutsche Kunst] pl. 43 [fair reproduction, from a distance])

[BI Frankfurt am Main 1531] Anon. Title page of Anon., Weydtwergh ... Frankfurt am Main, Christian Egenolph, 1531. woodcut. Including a hunter with a lance, playing a curved horn. unimp. (Schwerdt vol. II, pl. 149)

[BI Nuremberg 1549] Anon. Circular canon surrounding a hunting scene, from Erasmus Rothenbucher, Diphona amoena et florida. Nuremberg 1549. woodcut. A hunter, with dog and lance, blows a curved horn. very unimp. (MGG VII, col. 527)

[Gl Zürich SLM] Swiss, 1545. Allianzscheibe Schmid - von Erlach. Zürich SLM. stained glass. At the top a hunt with a hunter with a curved horn. very unimp (the motif is getting tired). (Schneider Glasgemälde. vol. I, no.232)

[Gl Zürich SLM] Swiss, 1556. Wappenscheibe of Anthon Bosshart. Zürich SLM Inv. LM 6185. stained glass. A hunt across the top with a hunter with a curved horn. unimp. (Schneider Glasgemälde. vol. I, no.266)

[Sc Munich BNM] Anon. (Nürnberg) ca. 1570-1580. Hunter. München BNM. bronze figure. He blows a curved horn. (1956 catalog: Bayerisches Nationalmuseum: Bildwerke in Bronze ... Munich 1956. no. 40)

[Amman Pr] Amman, Jost (1539-1591). Title page of Neuw Jag und Weydwerck Buch [Jagdbuch]... Frankfurt am Main, Johann Feyerabend, 1582. woodcut. Vignette is a stag hunt with a hunter on foot with a very partly visible horn at his back. very unimp. (Schwerdt I, pl. 20)

[Amman Pr] _______. Hunt with Hunt Picnic. woodcut. Includes four hunters with small (two are quite tiny) curved horns. The best of the Amman illustrations for horns and hunters. (Hollstein [German] I, p. 52; Hirth no. 1350)

[Amman Pr] _______. Hunt with Hunters Eating at a Table. woodcut. One has a tiny curved horn at his back. (Hirth 1344 -- there are also hunters with horns at their backs in Hirth nos. 1358, 1361, 1362)

[Amman Pr] _______. "Der Jäger," from Eygentliche Beschreibung Aller Stände auff Erden ... Frankfurt am Main, 1568. woodcut. The hunter blows a little curved horn. (MGG VI, col. 1665; Hirth no. 1194; Brüchle and Janetzky 1976. p. 49)

Ich bin meines Herrn Jäger worn/

Mit mein Hunden vnd Jägerhorn

Ich Bern und wild Schwein hetz/

Die Stich ich denn in meinem Netz/

Müssen die Heut hinder jn lassn/

Den ich nachspür/Wäld/Berg vn Thal

Fell jr ein jar ein grosse zal.

[Amman Pr] _______. Four Ornamental Panels. woodcut. The third panel from the top depicts bear and stag hunts, One hunter blows a curved horn and two others have them hanging from straps. unimp. (Strauss The German Single-Leaf Woodcut. vol. I, no. 38, p. 68)

[Amman Pr] _______. Bas-de-page hunt from a portrait border (the border for the portrait of Louis V, King of France) from Effigies regum francorum. engraving and etching. A hunter blows a large curved horn. (IB vol. 20/1, no 10.13, p. 146)

[Labenwolf Sc] Labenwolf, Georg (a.1533-1585), after a model by Lienhard Schacht. Huntsman/Jagdknecht. Nürnberg GNM. bronze figure. He blows a tiny curved horn. (Brüchle and Janetzky 1976, p. 71 [fine reproduction])

[Labenwolf Sc] _______. Huntsman/Jagdknecht. Munich art market (1980). bronze figure from a Zimmerbrun. The water goes out of a horn which has a face carved at the end, rather like a carved pipe. Unusual. (Die Weltkunst 50 [1980] 2041 [i.e.1941], as Giesshütte Georg Labenwolf, ca. 1570)

[Lang Gl] Lang, Hieronymus (1541-1582). Wappenscheibe of a Count (Fürst) von Sulz (1555). Basel, Historisches Museum. stained glass. Includes a hunt across the top, with a mounted hunter with a curved horn. (A. P. de Mirimonde. Astrologie et musique. Geneva 1977. pl. 125; Gazette des Beaux-Arts 69 [1967] 331)

[Pencz Pr] Pencz, Georg (ca. 1511-1550). "Ein yeder sech für sich vnd verperg sich hinder keinem schmeichler." pub. Niklaüs Meldeman. single-leaf woodcut. Figures include a hunter with an undulating horn hanging from a strap and a shepherd with a recorder in his belt. The horn is present as an identifier of a hunter as the recorder is of a shepherd. There is a very long verse in which the shepherd promises to protect the wolf and points in the opposite direction to the hunter, but the shepherd indicates with his eyes where the wolf is. The hunter doesn't get the hint. The wolf lectures the shepherd on betrayal. It has nothing to do with flattery. (Geisberg-Strauss G. 1006, p. 962 [fine reproduction])

[Pencz Pr] _______. "Ein yeder trag sein soth diese Zeit/Vñ uberwinde sein ubel mit gedult" ("Die Hasen und die Frösche"). pub. Augsburg, Anthony Formschneider. single-leaf woodcut. Figures include a hunter with a tiny curved horn. With considerable text by Hans Sachs. It is an allegory of patience: wait out misfortune (in this case, the hunter). (Geisberg-Strauss G. 1005, p. 961, as ca. 1531 [fine reproduction]; Brüchle and Janetzky 1976, p. 48 [fine reproduction])

Pastorales: [Gl Zürich SLM] Swiss, 1532. Wappenscheibe des Hans Wirz (Zürich). Zürich SLM Inv. 64/19. stained glass. Figures include pastoral figures playing curved horn and bagpipe. (Schneider Glasgemälde. vol. I, no. 197)

Shooting Match: [CI Zwickau 1573] Monogrammist R. The Shooting Match in Zwickau, 1573. woodcut. Among the several musical ensembles, there is a group of mocking musicians/revellers playing curved horn, shawm and small frame drum. (Hirth no. 1115 [ok reproduction]; Beschreibende Darstellung der älteren Bau- und Kunstdenkmäler des Königreichs Sachsen, 12: Zwickau. Dresden 1889. opp. p. 76 [fine reproduction, but folded]; MgB III/9, Abb. 24)

XIV: Scenes of Everyday Life -- Indoor

Other: [BI Augsburg 1530] Anon. The Interior of a Synagogue, from Antonius Margarrtha, Der gantz Jüdisch glaub. Augsburg? 1530. fol. D IV verso. woodcut. Includes a figure blowing a shofar. (MgB III/9, no. 141, p. 195)

XV: Miscellaneous Figures

Angels: See also Allegory, Fame.

[Stimmer Pr] Stimmer, Tobias (1539-1584). Border for a Memorial Sheet for Carl Mieg (1522-1572). woodcut. Includes an angel blowing a curved horn or trumpet. (Strauss The German Single-Leaf Woodcut. no. 16, p. 1003)

Animals: [Beham Pr] Beham, Hans Sebald (1500-1550). Ornamental Border, with the Virgin and Child. woodcut. The bas-de-page of the border is a hunting parody, with a rabbit with a lance blowing a curved horn. The cowering hunter has a reverse-curve horn at his waist. (Geisberg-Strauss no. 196-1, p. 173)

Demons/Devils: See also Miscellaneous Religious, Other.

[BI n.p. 1561] Anon. Title-page illustration from Cyriacus Spangenberg, Der Jagteüffel, Bestendiger und wol-gegründter bericht ... n.p.1561 (2d ed., in 4o). woodcut. Includes a stag hunt with a devil playing a curved horn. (Schwerdt vol. II, pl. 125)

[BI Eisleben 1560] Anon. Illustration from Cyriacus Spangenberg, Der Jagteuffel, Bestendiger und wolgegründter bericht, wie fern die Jagten rechtmessig vnd zugelassen ... Eisleben, Urban Gaubisch, 1560. woodcut. Includes a boar hunt with a devil on horseback playing a curved horn. (Schwerdt II, pl. 124)

Fountain Figures: See also Scenes of Everyday Life -- Outdoor, Hunts and Huntsmen; Miscellaneous Figures, Watchmen

Knights: [Pencz Pr] Pencz, Georg (ca. 1511-1550). "Clagred der Neün Muse oder Künst vber Teütschlandt" (1535). single-leaf woodcut. Figures include a mounted knight with a reverse-curve horn hanging from a strap. (The Muses have no artifacts.) With a long text to the effect that the Muses had given up on bringing the arts to Germans, who were only interested in money, and were returning to Greece. (Geisberg-Straus no. 1012, p. 968 [fine reproduction])

Putti: See also New Testament, Apocalypse -- Trumpeters.

[Gl Zürich SLM] Swiss, 1547. Doppelscheibe with Saints Hilarius and Fridolin and the Tschudi Arms. Zürich SLM Inv. 67/71. 67/72. stained glass. Two putti blow enormous looped, curved horns. (Schneider Glasgemälde. vol. I, no.240, 241)

Watchmen: See also New Testament, Inocents; Miscellaneous Figures, Hunts and Hunters.

[Neuber Pr] Anon. Title woodcut for "Ein hübsch Liede/Es fleugt ein kleynes Wald vögelein." Nürnberg, Valentin Neuber (op. 1552-1587). woodcut broadsheet. Includes a watchman in a Fachwerk tower blowing a horn. (MgB III/9, Abb. 40, p. 89)

[Sc ex Figdor] S. German (probably Nürnberg), 16th century. Watchman. Figdor sale, 1930. bronze fountain figure. He is in Tracht, with a top hat, and blows a little straight horn. (catalog V, fig. 527 [fine reproduction], as a seaman or a watchman)

Other: See also Watchmen.

[EP] IBERIAN ARTISTS, 16th CENTURY

I: New Testament

Nativity: [Pablo de San Leocadio Pa] Pablo de San Leocadio, Felipe (doc. 1525-1542). Adoration of the Shepherds. Coll. Geri, Firenze. One of the shepherds perhaps has a curved horn. (Post XI [1953] p. 285)

Passion -- Via dolorosa: [Pa Uncastillo] Spanish, 16th century. Via dolorosa. Uncastillo, S. Martin, Retablo major. Includes a figure playing a short, flaring, straight horn. (Catalogo monumental de España, Zaragoza. Ed F. Abbad-Jaime de Aragon Rios. Madrid 1957. fig. 1731 [poor reproduction])

[Pa Muntadas Coll.] Spanish, 16th century. Via dolorosa. Coll. Muntadas. Includes a figure blowing a curved horn. (1931 Muntadas cat. no. 42, p. 63)

[Sc SanJuan de Burlada] Spanish, 16th century? Via dolorosa. San Juan de Burlada, Parroquia, Retablo major. sculpture. Includes a figure blowing a little horn with a huge bell. (J. R. Castro Alava. Cuadernos de arte Navarro, II (Escultura). Pamplona 1949. unnumb. pl.)

[Guiot Pa] Guiot, Juan, Mateo de Beaugrant, Andres de Araoz, Juan de Araoz. Via dolorosa (1547-1559). Via dolorosa. Evillar, Parroquia de la Asuncion, Ratablo major. Includes a very prominent figure blowing a flamboyantly twisting horn. (Catalogo monumental de España, Diocesis de Victoria, I. Madrid 1967. fig. 45)

[Ruviale Pa] Ruviale, Francesco (called Il Polidorino/Pedro de Rubiales) (doc. 1527-1555). Via dolorosa. Naples, Castel Capuano, Capella della Summaria. Includes two figures playing cornui with animal-head bells. He makes it sort of a Triumph. (F. Bologna. Roviale Spagnuolo e la pittura napoletana del cinquecento. Naples [pref. 1958] fig. 29)

XIV: Scenes of Everyday Life -- Indoor

Other: [Giralte Sc] Giralte, Francisco (op.ca.1532-m.1576). Tomb of Don Gutierre de Vargas y Carvajal. Madrid, Capilla del Obispo. sculpture. Figures include a choirboy blowing a long, reverse-curve horn with spiral ribbing. Other choirboys play a variety of shawms and pommers, including a great bass pommer. (J. M. Azcárate. Escultura del siglo XVI. Madrid 1958. [Ars hispaniae, 13]; F. Chueca Goitia. Madrid y sitios reales. Barcelona 1958. fig. 8 [rather useless reproducton of the whole]; J. A. Gaya Nuño. Los monumentos cardinales de España. 6: Madrid monumental. n.p., n.d. p. 19; Vis. Coll. 276.G449. 8V)

[I] ITALIAN ARTISTS, 16th CENTURY

I: Old Testament

David Dancing before the Ark/The Transporting of the Ark of the Covenant: [Vicentino Pa] Vicentino, Andrea (ca. 1542-1614). Transporting the Ark of the Covenant. Nantes, Museé. Figures include players of two sharply curved (1-1/4 circle -- bell in the middle of the circle) horns, held straight up. (Revue du Louvre 12 [1962] 29)

Other: [BI Florence 1554] Anon. Title sign from Alessandro Roselli, La Rappresentatione de Sansone. Florence 1554. woodcut. As Samson pulls down a pillar, a figure in the background blows a curved horn. (Mortimer Italian. no. 437, p. 599 [small reproduction])

[Salviati Pa] Salviati, Francesco (1510-1563). The Death of Absalom. Rome, Palazzo Sacchetti. Includes a whole phalanx (almost) of military musicians blowing brass instruments (cornui and straight trumpets). (C. Dumont. Francesco Salviati au Palais Sacchetti de Rome ... Rome 1973. fig. 156)

II: New Testament

Annunciation to the Virgin: See also Miscellaneous Religious Subjects, Gabriel/Mystic Hunt of the Unicorn

Nativity: [Riccardi Pa] Riccardi, Gabriele (called Beli Licciardo) (doc.1549). Nativity. Torre Santa Susanna, S. Maria di Gàlaso. sculpture. An angel, above, blows an oliphant/horn. (The other angels play a cello-like instrument [with a flat head?], a lute and a tambourine.) unimp. (C. Calvesi and M. Manieri-Elia. Architettura barocca a Lecce e in terra di Puglia. Milan 1971. fig. 17, 19, with date of 1588)

Nativity -- Adoration of the Magi: [Vasari Pa] Vasari, Giorgio (1511-1574). Adoration of the Magi (1547). Rimini, S. Fortunato. The entourage of the Magi includes two players of cornui. (N. Matteini. Romagna. Rocca San Casciano 1963. p. 316 [poor reproduction])

Passion -- Via dolorosa: [Bonasone Pr] Bonasone, Giulio (op. 1531-1574). Christ Carrying the Cross Surrounded by Men of Different Conditions, from Emblems of Bocchius. engraving. There is a curved horn which seems to emerge from the head of one of the men. Cf. Emblems, below. (IB vol. 29, no. 305, p. 106)

[Veronese Pa] Veronese, Paolo (ca.1528-1588). Via dolorosa. Dresden, Gemäldegalerie. Figures include a barefoot child blowing a little ribbed, curved horn. (Children blowing things are associated with sacrifice.) Much not executed by Veronese himself. (M. W. Alpatow. Die Dresdner Galerie, Alte Meister. Dresden1966. fig. 94 [fine detail]; P. H. Osmond. Paolo Veronese, His Career and Work. London 1972. pl. 36. As ca. 1570)

Passion -- Other: [Ms Alessandria] Anon. ca. 1567. Margin illumination: Passion symbols (main illumination: Christ in the Garden of Gethsemane). Alessandria, Museo Civico. There is a reverse-curve horn which is associated with military attributes, perhaps a reference to the Taking of Christ, and perhaps another, even curvier one (an animal-horn horn?), perhaps a reference to the Mocking or Flagellation. (exh Turin, 1939: 2a mostra d'arte a Palazzo Carignano. Gotica e Rinascimento in Piemonte. Ed. V. Viale. pl. 191)

III: Miscellaneous Religious Subjects

Gabriel/Mystic Hunt of the Unicorn: [Zelotti Pa] Zelotti, Giambattista (ca.1526-1578). The Mystic Hunt of the Unicorn/Annunciation to the Virgin. private collection Gabriel blows a small curved horn with "Ave gratia plena uns (?) tecum" on the banner flowing from the bell. (The New York Times, 4 May 1991, p. 27 [notice of recovery after a theft from a private collection])

Virgin and Child: [Allegri Pa] Allegri, Pomponio (1521-p.1593), attr. The Mystic Marriage of St. Catherine. Bologna, Archiginnasio. drawing. Includes an angel playing a looped horn (almost 1-1/2 circle). (exh Parma, Palazzo della Pilota, 1935: Mostra di Correggio. Disegni no. 69, p. 173 [fair reproduction])

IV: Saints

See also Miscellaneous Religious Subjects, Virgin and Child (Mystic Marriage of St. Catherine).

St. Hubert/Eustache: [Cort-Muziano Pr] Cornelis Cort after Girolamo Muziano (1528-1592). The Vision of St. Eustache. engraving. The saint has a partly visible curved horn hanging at his back. (A. R. Turner. The Vision of Landscape in Renaissance Italy. Princeton 1966. fig. 129)

[Alberti-Zuccaro] Cherubino Alberti after Federico Zuccaro (1542-1609). St. Eustace Encountering the Stag. engraving. The saint has a partly visible reverse-curve horn hung from a strap. unimp. (IB vol. 34, no. 52 p. 171)

V: Mythology:

Actaeon: [Parmigianino Fr] Parmigianino (Francesco Mazzola) (1503-1540). Diana and Actaeon/Actaeon Assaulted by dogs (1533). Rocca Sanvitale, Sala di Fontanellato. fresco. Includes a female figure blowing a curved horn. The frescoes have to do with transmutation (alchemy) (see Fagiolo dell'Arco, pp. 38-40). (TCI. Emilia e Romagna. Milan 1950. [Attraverso l'Italia] p. 154, fig. 309; G. Copertini. Il Parmigianino. Parma 1932. Tav. XXXIII; M. Fagiolo dell'Arco. Il Parmigianino, un saggio sull'ermetismo nel cinquecento. Rome 1970. fig. 43; fig. 311 [good detail])

[Parmigianino Fr] _______. Actaeon Transformed into a Stag. Rocca Sanvitale, Sala di Fontanellato. fresco. Actaeon has a reverse-curve horn hung from a strap. (G. Copertini. Il Parmigianino. Parma 1932. Tav. XXXII; M. Fagiolo dell'Arco. Il Parmigianino ... Rome 1970. fig. 42)

[Parmigianino-Zanetti Pr] _______, after a design by A. M. Zanetti, attr. Actaeon Assaulted by Dogs. engraving. The principal foregound figure -- a hunter with two dogs -- blows a huge, undulating, ribbed horn with a rusticated bell and "sound waves" emerging from the bell, and has a reverse-curve horn hanging from a strap. In the background at least one figure blows a curved horn. (G. Copertini. Il Parmigianino. Parma 1932. Tav. XXXVII)

[Veronese Pa] Veronese, Paolo (ca.1528-1588). Diana and Actaeon. Boston MFA. There is a fat, curved horn hanging on a tree. very unimp. (Pignatti Veronese. no. 1482, fig. 405; Arte veneta 33 [1979] 128 [detail])

Adonis: [Bandini Sc] Bandini, Giovanni di Benedetto, da Castello (1540-1599). Venus and Adonis. Budapest SM. bronze statuette. Adonis holds up a curved horn. (Burlington 105 [1963] 65)

[Cambiaso Fr] Cambiaso, Luca (1527-1585). Venus and Adonis. Genoa, Palazzo Bianco. fresco. Venus holds a little curved horn. unimp. (B. Suida Maning and W. Suida. Luca Cambiaso ... Milan 1958. pl. CCVI, fig. 339)

[Palma Giovane Pa] Palma il Giovane (1544-1628). Venus and Adonis. Mainz, Mittelrheinisches Landesmuseum. A putto blows a little looped or 1 1/2 coiled horn (no bell flare, with a loop for a strap), very much like a small posthorn. (Burlington 127 [1985] 633)

_______. Another. Braunschweig, Herzog Anton Ulrich-Museum. (Burlington 127 [1985] 633)

[Veronese Pa] Veronese, Paolo (ca.1528-1588). Venus and Adonis. Augsburg, Städtische Kunstsammlungen. Venus has Adonis' curved horn. (Pignatti Veronese. no. 116, fig. 35; A. Gentili. Da Tiziano a Tiziano ... Milan 1980. fig. 73. As ca. 1560. Suggests Venus has taken his horn, apparently to keep him from leaving.)

[Veronese Pa] _______. Venus and Sleeping Adonis. Madrid, Prado. Adonis has a partly visible curved horn at his back. (A. Gentili. Da Tiziano a Tiziano ... Milan 1980. fig. 74; P. H. Osmond. Paolo Veronese, his Career and Work. London 1927. pl. 58; Pignatti Veronese. no. 250, fig. 583; G. Piovene. L'Opera complete del Veronese. Milan 1968. Tav. LVIII, as ca. 1580)

[Veronese School Pa] _______, School. Venus and Adonis. Dresden, Gemäldegalerie. Adonis has a little, dinky curved horn at the back of his waist. unimp. (Pignatti Veronese. no. A70, fig. 783 [minuscule reproduction], as in the style of Carletto Caliari)

Bacchanals: [Vico Pr] Vico, Enea (1523-1567). Bacchus and Ariadne on a Triumphal Chariot. engraving. A figure, riding on a camel, blows a curved horn with spiral ribbing. Another figure blows a longer curved horn. (IB vol. 30, no. 32, p. 47)

_______, Copy. Bacchus and Ariadne on a Triumphal Chariot. engraving. A figure, riding on a camel, blows a curved horn. (IB vol. 30, no. 32-Copy, p. 48)

Diana: [Penni Dr] Penni, Luca (1500/04-1556). The Hunt of Diana. Rennes MBA. drawing. One of her female followers carries a lance and blows a reverse-curve horn looped at the distal end, with a rusticated bell. (Oddly curved horns are a Fontainebleau characteristic.) (exh Paris, Grand Palais, 1972-73: L'Ecole de Fontainebleau. no. 139, p. 128 [ok reproduction])

Tritons/Sea Creatures: [Ghisi-Vaga Pr] Giorgio Ghisi after Perino del Vaga (1501-1547). Neptune with two Tritons. engraving. Neptune blows a shell horn. (IB vol. 31, no. 30-I, p. 81, with note "not by Ghisi"; another version: no. 30-II, p. 82)

[Master AP] Monogrammist AP (Asconio Palombo) (Italian, 16th century). The Old and the Young Triton (1555). etching. The old Triton blows a large shell horn. As good a Triton as you will get. (IB vol. 31, no. 1-II, p. 380; exh New Haven, Yale University Art Gallery, 1986-7: The Art of Teaching ... Ed. P. Emison. cat. no. 7, p. 26)

[Master H. E.] Monogrammist H.E. (op. ca. 1530). Marine Gods. etching. Several of them blow or hold fanciful horns: curved; curvy with spiral ribbing and a loop; reverse curve with spiral ribbing; looped with spiral ribbing. (IB vol. 31, no. 3, p. 299)

[Urbino Po] Urbino workshop of Antonio Patanazzi, ca. 1575-80. The arms of Ferdinando Ruiz de Castro, 6th Count of Lemos, Spain. Paris art market (1991). Majolica ewer. The arms are flanked on the left by a merman blowing a curved horn. unimp. (Burlington 133 [1991] January ad p. xxiii)

Other: See also Decorative Elements.

[Fantuzzi-Primaticcio Pr] Antonio Fantuzzi after Primaticcio (1504-1570). Alcathoë, Leucippe, and Arsippe, Daughters of Minyas. engraving. Dionysian figures in the background blow a sharply curved, spiral-ribbed, reverse-curve horn and a horn or trumpet. (IB vol. 33, no. 16, p. 236)

[Ghisi-Primaticcio Pr] Giorgio Ghisi after Francesco Primaticcio. Apollo, Pan and a Putto Blowing a Horn. engraving. Putto flies above blowing a sharply curved reverse-curve horn. (IB vol. 31, no. 39, p. 96; no. 39-copy, p. 97, as "deceptive copy without the inscription FRAN. BOL. IN.")

[Parmigianino Fr] Parmigianino (Francesco Mazzola) (1503-1540). Two Hunters. Rocca Sanvitale, Sala di Fontanellato. fresco. A hunter has a reverse-curve horn hanging from a strap and a nymph has one hanging at her waist. (G. Copertini. Il Parmigianino. Parma 1933. Tav.XXX; M. Fagiolo dell'Arco. Il Parmigianino ... Rome 1970. fig. 41)

[Vico Pr] Vico, Enea (1523-1567). The Battle of the Amazons (1543). engraving. In the foreground a prominent looped, reverse curve horn with a shallow cup (?) mouthpiece (probably not realistic). (Catalogue 75 [June 1993] of the London dealer Christopher Mendez, no. 5)

VI: Literary and Historical Subjects/Figures

[Sc Paris Louvre] [Italian?], 16th-century imitation of a classical relief. Ceremony of Acclamation. Paris, Louvre. sculpture. Includes a figure with a nearly circular cornu (and another with a short straight trumpet or woodwind). (Burlington 116 [1974] 203, as "Cérémonie de la conclamation." Notes it was formerly classified among the antiquities.)

[Veronese Fr] Veronese, Paolo (ca.1528-1588). Scenes from Roman History. Venice, Palazzo Ducale. grisaille fresco. Includes a group of figures with players of lyre and two cornui. very unimp. (Pignatti Veronese. pp. 107-108, pl. 47, as ca. 1553-54)

VII: Allegory

Music/Poetry/Liberal Arts: [Sc Mantua, Palazzo Ducale] Italian, 16th century. Music. Mantua, Palazzo Ducale, Studiolo of Duchess Isabella. sculpture. A curved horn is among the musical instruments hanging from a tree (the others are panpipes, a double woodwind and a folded trumpet). The personification has a lyre. (van Marle Iconographie. vol. II, p. 264 [fair reproduction])

Vice/Virtue: [BI Bologna 1575] Bonasone, Giulio (op. 1531-1574). "Non incipienti sed perseveranti"/"Felicitas prudentiae et diligentiae vltima est," from Achille Bocchi, Symbolicarum de Universo Genere. Bologna 1575. Lib.III, Symb. LXXXVII. engraving. "Diligentia" is a man on horseback, blowing a little horn, galloping up a hill toward "Felicitas." (IB vol. 29, no. 264, p. 85; Reprint: Achille Bocchi. Symbolicarum quaestionum de universo genere. New York 1979)

VIII: Emblems