Status of October 29, 1998

Status of October 29, 1998

The Iconography of the Horn in Western-European Art

17th-18th Century

[GB] BRITISH ARTISTS, 17th-18th CENTURY

VI: Literary and Historical Subjects/Figures

[Hogarth Pr] Hogarth, William (1697-1764). Hudibras and the Skimmington, one of twelve large illustrations for Samuel Butler's Hudibras. engraving. A rag-tag procession includes players of a semi-circular curved horn, a bagpipe, and several "kitchen percussion" instruments. (Paulson 1964, cat. no. 79, pl. 83 [first state], dates as Feb. 1725/26)

[Hogarth Pr] _______. Hudibras and the Skimmington, one of seventeen small illustrations for Samuel Butler's Hudibras. engraving. A rag-tag procession includes players of a sharply curved horn, a bagpipe, and several "kitchen percussion" instruments. (Paulson 1964, cat. no. 94, pl. 98, dates as April 1726) Drawing in the collection of H. M. the Queen.

VII: Allegory

Elements: See also French, Allegory, Elements.

X: Portraits

[Cole Pa] Cole, James (fl. 1720-1743). The Flute Player. London art market (1943). He has a flute. On the wall there hangs a smallish 2 (?)-1/2 circle coiled horn (wound except for the bell). (Burlington 82 [1943], June ad p. x; Imago musicale 2 [1985] 82, photo from the Illustrated London News, 1943)

XII: Decorative Elements

[Pr Anon.] Anon., 1700. Trade Card of the Trumpet Maker William Bull. engraving. Includes a coiled horn, a tiny post horn, a coach horn, a speaking trumpet (?), a hearing horn (?), a trumpet and a pair of kettledrums. (T. L. Naylor. The Trumpet and Trombone in Graphic Arts 1500-1800. Nashville 1979. no. 56)

[Hogarth Pr] Hogarth, William (1697-1764). "Analysis of Beauty, pl. II. engraving. Includes the metamorphosis of a horn from cone to cornucopia. unimp. (Art Quarterly 35 [1972] 143)

XIII: Scenes of Everyday Life -- Outdoor

[Wootton Pa] Wootton, John (ca. 1686-1765). The Hare Hunt. British art market (1961). Includes a mounted figure, front and center, galloping along playing a coiled horn. For a rabbit hunt? Hmmm. Rather prominent. (Apollo 75 [1961] August ad p.55 [minuscule reproduction])

[Wootton Pa] _______. Two Hunters with Horses and Dogs. London art market (1979). One blows a 1-1/2 circle coiled horn (instrument and player seem slightly awkwardly drawn). Prominent. (Connoisseur 145 [1960] 146 [fair reproduction]. Notes exh. Richmond, Virginia Museum of Fine Arts, 1960: Sport and Horse [coll. A. M. Glen Kidston]; Connoisseur 202 [1979] October ad p. 19)

[Wootton Pa] _______. Hunting Scene with the Earl of Coningsby, etc., in Hampton Court Park, Herefordshire. London art market (1936). Includes a mounted figure blowing a coiled horn. He's prominent but seems not drawn quite right. Wootton wasn't very good at drawing horns, really. He was much better at horses. (sale, Sotheby's, 9.VII.1936, lot 76)

[Wootton Pa] _______. The Belvoir Hunt. private collection. Includes a mounted figure with a small 2-1/2 (?) circle coiled horn. (Connoisseur 120 [1947] 34 [poor reproduction])

[Wootton Pa] _______. The Meet/Starting for the Hunt. London art market (1963). Includes a mounted figure with a coiled horn calling the dogs. (sale, Sotheby's, 20.XI.1963, lot no. 160; Burlington 105 [1963] November ad p. ix; =? Vis. Coll. 377.W887.90[d]?)

[Wootton Pa] _______. Stag Hunt. London art market (1959). At least two mounted figures with coiled horns. (Burlington 101 [1959] December ad p. xxvii [poor reproduction])

[Wootton Pa] _______. Henry Hoare of Stourhead and Benjamin Hoare of Boreham with Hounds by an Obelisk. Stourhead, National Trust. Man leading with a large coiled horn around his chest. (K. Woodbridge. Landscape and Antiquity. Aspects of English Culture at Stourhead 1718 to 1838. Oxford 1970. pl. 23a)

[Wootton Pa] _______. Hunting Scene. New York art market. painting on a mohagany two-fold screen . Includes a mounted figure with a coiled horn (prominent). (Rosenbach sale, Parke-Bernet, New York, 21-24.X.1942)

Bernard Baron after John Wootton. "The Chase." engraving (pub. 1726). Includes a prominent mounted figure with a coiled horn. (Y. Hackenbroch. English and Other Needlework Tapestries and Textiles in the Irwin Untermyer Collection. Cambridge MA 1960. [The Irwin Untermyer Collection, 4] p. liii [poor reproduction])

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

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

[Hogarth Pr] Hogarth, William (1697-1764). The Times, pl. 2: A Garden in a City Square. engraving. Includes a cow horn (?) blower and a bagpiper beneath two figures in the stocks. (Paulson cat. no. 212, pl. 235 [first state], as 1762 or 1763 but not published until 1790)

[Hogarth Pr] _______. The Stage Coach, or the Country Inn Yard (1747). engraving. Includes a man leaning out the window blowing a smallish 1-1/2 circle coiled horn and a woman ringing a bell. (Paulson cat. no. 167, pl. 179 [second state, June 1747]; Hirth no. 3079)

[Hogarth Pr] _______. The Enraged Musician (1741). engraving. Includes a sow-gelder on horseback blowing a curved horn (probably a cow horn, blown out of the side of his mouth), a boy with a frame drum, a dustman with a handbell, a girl with a ratchet, a woman singing, cats howling, a fish peddler screaming, a knife-grinder grinding, church bells about to ring, and a violinist, said to be Pietro or Prospero Castrucci, holding his ears. The horn-blowing sow-gelder and the girl with the ratchet are not in the first state. The locale is said to be St. Martin's Lane and the church, St. Martin's-in-the-Fields (with the positions reversed). (Paulson, cat. no. 158, pl. 170 [second state, with two cats on the roof at right], pl. 250 [Steeven's tracing of the first state]; Burlington 115 [1973] 807 [proof, state 1; and third state, with two cats on the roof at right]; Kinsky p. 266) The only painting is apparently a monochrome oil sketch in the Ashmolean Museum, Oxford.

Village/Rustic Scenes: See also Literary and Historical Subjects/Figures, Other.

XIV: Scenes of Everyday Life -- Indoor

Operatic or Theatrical Scenes: [Laroon II Pa] Laroon, Marcellus II (1679-1772). A Play or an Opera. London art market (1946). With an orchestra including two players of coiled horns (bells up). (sale, Sotheby's, 8.V.1946; Burlington 88 [1946] May ad p. xi [miserable reproduction])

Other: [Hogarth Pr] [Hogarth Pr] Hogarth, William (1697-1764). The Rake's Progress, pl. 2: Rakewell Surrounded by Hangers-On. engraving. Includes his huntsman (his left hand in his pocket and his eyes rolled heavenward) blowing a 2-1/2? circle coiled horn with a tiny bell, winding, and a broad-rimmed funnel mouthpiece; his French dancing master brandishing a pochette and its bow; and a man playing a harpsichord. (R. Paulson. Hogarth's Graphic Works. New Haven 1964. cat. no. 133, fig. 140 [third state], fig. 245 [unfinished proof of the first state, 1735]; R. Paulson. Hogarth: His Life, Art, and Times. New Haven 1971. vol. I, pl. 121; Hirth no. 2973; MGG vol. III, Taf. 57) The painting is in London, Sir John Soane's Museum.

XV: Miscellaneous Figures

Angels: [Kent Dr] Kent, William (1684-1748). Study for the Ceiling of S. Giuliano dei Fiamminghi, Rome (1717). private collection. drawing. Angels play organ, cello, lute, trumpet and a horn (of sorts). (Connoisseur 134 [1954] 7)

Other: [Laroon I Pr] Laroon, Marcellus I (1653-1702). A Sow Gelder, from The Cryes of the City of London. engraving. He blows a long, slender, semi-circular horn. (R. Raines. Marcellus Laroon. London 1967. p. 20 [ok reproduction])

[NL] DUTCH ARTISTS, 17th-18th CENTURY

I: Old Testament

Triumph of David: [Luyken Dr] Luyken, Jan (1649-1712), Circle of. The Triumph of David. Washington NGA. drawing. Includes figures blowing a double-looped horn, two straight trumpets and kettledrums. (New Acquisitions 1974, p. 209 [minuscule, useless reproduction])

V: Mythology

Adonis: [Verkolje Pr] Verkolje, Jan I (1650-1693). Venus and Adonis. mezzotint. Adonis' little 1-1/2 circle coiled horn lies in the foreground. (Hollstein [Dutch] XXXV, no. 5, p. 233)

Other: [Vianen Pr] Vianen, Jan van (ca. 1660-p.1726). Allegorical Portrait of Cornelis Tromp as Neptune. engraving. Includes a sea-god blowing a shell horn. (Hollstein [Dutch] XXXVI, no. 72 I, p. 200)

[Vianen Pr] _______. Vignette for George Everhard Rumphius, D'Amboinsche Rariteitskamer. Amsterdam, François Halma, 1705. engraving. Includes a sea-god blowing a shell horn. (Hollstein [Dutch] XXXVI, no. 209, p. 242)

VI: Literary and Historical Subjects/Figures

[Vianen Pr] Vianen, Jan van (ca. 1660-p.1726). Battle (Alexander in the Battle at Gaugamela [Assyria]?). engraving. Includes at least six (three plus three) figures blowing cornui with animal-head bells. (Hollstein [XXXVI] no. 63, p. 196)

VII: Allegory

Fame: [Vianen Pr] Vianen, Jan van (ca. 1660-p.1726). Victorien te lande, victorien ter zee, frontispiece for the Victories of William III, Prince of Orange (1690). engraving. Fame flies above, blowing a large, looped horn/trumpet with a rusticated bell. (Hollstein [Dutch] XXXVI, no. 11, p. 183)

XI: Still Life

[Oolen Pa] Oolen, Jacob van (m. 1694). Trompe l'oeil Hunting Still Life. Munich art market (1981). Includes a tiny horn horn with metal mounts (the upper end looks like my hose nozzle). (Die Weltkunst 51 [1981] 1124)

[Valkenburg Pa] Valkenburg, Dirk (1675-1721). Hunting Still Life (1717). Amsterdam RM. Includes a horn horn. unimp. (S. A. Sullivan. The Dutch Game Piece. Totowa and Montclair NJ 1984. fig 133 [poor reproduction])

[Valkenburg Pa] _______. Hunting Still Life. Hannover LM no. 553. Includes a partly visible horn horn. unimp. (Bernt vol. III, pl. 1225)

XIII: Scenes of Everyday Life -- Outdoor

Hunts and Hunters: See also Miscellaneous Figures, Putti.

Maes, Dirk (1659-1717). Figures. London art market (1967). Includes a mounted figure with a looped horn. Prominent but unimportant. (exh Dennis Vanderkar Gallery, London, 1967. cat. illus. ok)

[Vinne Pa] Vinne, Jan I van der (1663-1721). Stag Hunt. private collection. Includes a mounted figue with a 1-1/2 circle coiled horn. (Vis. Voll. 374.V764.90[a])

Other: See also Miscellaneous Figures, Bakers.

XV: Miscellaneous Figures

Bakers: [Dusart Dr] Dusart, Cornelis (1660-1704). A Village Baker Blowing his Horn. London BM 1910-2-12-136. drawing. He blows a cowhorn. very unimp. (Vis. Coll. 374.D944.91[d])

[F II Mieris Pa] Mieris, Frans II van (1689-1763). The Baker (1744). location unknown. He holds a cowhorn and leers at a female customer. (cat. exh Philadelphia 1984, p. 139 [minuscule reproduction])

Comedians/Clowns: Dutch, first half, 18th century. A comedian blowing a coiled horn and a comedian playing a clarinet. etching. The horn is a 1-1/2 circle coiled horn, held with both hands. (Early Music 12 [1984] 52)

[B] FLEMISH ARTISTS, 17th-18th CENTURY

IV: Saints

St. Cornelius: [Pr Anon.] Flemish, 18th century. "Sint'Cornelis gidt voor ons tot passchendaele 1708." triangular engraving. The saint holds a curved horn. (Iconografie de Gemeenten in West-Vlaanderen, II: Ieper. [pref. 1953]. fig. 33)

[Print Anon.] Flemish, first half, 18th century. "S. Corneli ora pro nobis." triangular engraving. With the church of Zandvoorde. The saint holds a curved horn. (Iconografie de Gemeenten in West-Vlaanderen, II: Ieper. [pref. 1953]. fig. 53)

St. Hubert/Eustache: [Sc Capelle-Saint-Ulric] Flemish, late 17th century. Reliquary of St. Hubert. Capelle-Saint-Ulric, eglise Saint-Ulric. polychromed wood reliquary. The saint has a 1-1/2 circle coiled horn at his waist. (The moose-like expression of the stag is wonderful.) (Histoire des environs de Bruxelles III-A. Brussels 1971. p. 195)

[Sc Hozémont] Flemish, [first half?] 18th century. St. Hubert. Hozémont, Eglise. polychromed wood? The saint waves a little curved horn. (Risible stag. Good example of the declining vitality of the subject.) (Count Joseph de Borchgrave d'Altena. Notes et documents ... Ire série. Sculptures conservées au Pays Mosan. Verviers 1926. p. 220)

V: Mythology

Other: [Pa Italian AM] Flemish (Brussels), late 17th century. Mythological Stag Hunt. Italian art market (1979). Includes a female figure blowing a curved horn. (Burlington 121 [1979] May ad p. lv)

VI: Literary and Historical Subjects/Figures

[Bloemen Pa] Bloemen, Pieter van (dit Standaart) (1657-1719). The Pantheon. Rome, Galleria d'Arte Antica. Includes figures playing two cornui and two straight trumpets. (Vis. Coll. 374.1.B622.90[a])

VII: Allegory

Months: [Ta Pau] Paris (Gobelins), 1688-1689. Copy of September, from the Mois Lucas series. Pau, musée du Château. tapestry. Hunt, with a "bat l'eau." Central foreground figure has a clearly visible curved horn hanging from a strap. At least one other figure has a partly visible curved horn hanging from a strap. (Arnout Balis et al. Les Chasses de Maximilien. Paris 1993. p. 77 [small reproduction])

Triumph/Victory: [Ta Hamburg AM] Flemish (Brussels, Atelier Reydams-Leyniers), ca. 1720. The Triumph of Mars, from the series The Triumphs of the Gods. Hamburg art market (1923). tapestry. Includes a figure blowing a cornu and two others blowing straight trumpets. very unimp. (Göbel I/2, pl. 289)

XI: Still Life

[Greyf Pa] Gryef, Adriaen (1670-1715). Still Life. Brussels MRBA, inv. 6814. Includes a horn with three loops. It's difficult to decide if the artist is depicting the coils of the horn or of the tuning crooks. In any event it's not a very good painting. (Leppert no. 251, pl. CXIV)

[Gryef Pa] _______. Hunting Still Life. Frankfurt art market (1926). Includes a small, coiled horn. (sale, Bangel, Frankfurt a. M., 12.X.1926 [cat. illus. fair)

[Gryef Pa] _______. Hunting Still Life. London art market (1938). Includes a small, coiled horn. (sale, Robinson and Fisher, London, 17.II.1938)

[Gryef Pa] _______. Hunting Still Life. Brussels art market (1930). Includes a 1-1/2 circle coiled horn. (sale, Giroux, Brussels, 4.II.1930)

[Gryef Pa] _______. Hunting Still Life. Berlin art market (1907). Includes a figure in the background blowing a coiled horn, held with one hand, bell up. (Clemm sale, Lepke, Berlin, 3.XII.1907)

[Gryef Pa] _______. A Hunter with his Dogs. Vienna art market (1917). He's blowing a coiled horn, held with one hand, bell up. (sale, Kende, Vienna, 23.IV.1917)

[P F de Hamilton Pa] Hamilton, Philip Ferdinand de (1664-1750). Game Piece. Cologne art market. Includes a 2-1/2 circle coiled horn (with a cup mouthpiece with a narrow rim). (Schoenlank sale, Cologne, April 1896 [cat. illus. fair])

[P F de Hamilton Pa] _______. Hunters with Dogs and Dead Game (1750). Vienna art market (1927). Includes a small 2-1/2 circle coiled horn. (Mautner-Markhof sale, Glückselig, Vienna, 22-24.XI.1927 [cat. illus. fair])

XIII: Scenes of Everyday Life -- Outdoor

Battles: [Ta Drottningholm] Flemish?, late 17th century? The Siege of Vienna, 1683. Drottningholm. gilt leather tapestry. Includes Turks blowing a curved horn and a straight trumpet. unimp. (B. von Malmborg. Drottningholm. Stockholm 1966. p. 79)

Carnival: [Lambrechts Pa] Lambrechts, Jan Baptiste (1680-p.1731). Dance on a Terrace. Munich art market (1926). Musicians in a balcony play violin, woodwind and two coiled horns. (Merzbacher sale, Helbing, Munich, 12-13.XI.1926 [cat. illus. poor])

[Lambrechts Pa] _______. Dance on a Terrace. Lucerne art market (1943). Musicians in a balcony play violin, coiled horn. (Klein sale, Frankfurter Kunstverein, 10.XI.1937; sale Fischer, Lucerne, 9-11.IX.1943)

Hunts and Hunters: See also Allegory, Months; Still Life.

[CI Auderghem] Anon. View of the Château de Trois Fontaines, Auderghem, from F.-Chr. Butkens, Les trophées tant sacrés que profanes du duché de Brabant. Suppléments, t. I. The Hague 1726. p. 10, no. 1. engraving. A stag hunt passes by, including a figure on foot blowing a 1-1/2 circle coiled/open hooped horn. The identical scene with that depicted in Sanderus, 1659, but there the hunter blew a curved horn, here a coiled horn. (Histoire des environs de Bruxelles, IX-A. 1973. p. 220)

[Ta Boston MFA] Flemish, first half, 18th century (after David II Teniers). Hunters Resting. Boston MFA. tapestry. Includes a figure on foot playing a 3-1/2 circle tightly coiled horn, right hand on hip. (Cavallo II, pl. 50)

[Pa Boudewyns] Boudewyns, Adrien (1654-p.1700), attr. Italian Landscape with a Hunting Party. Marseilles MBA. Includes a mounted figure with a curved horn. (exh Château de Sceaux and Brussels, Palais des BA, 162: Ile de France, Brabant. cat. no. 141, pl. LXVII. The text annotator has second thoughts and thinks it too late for Boudewyns.)

[Pa Falens] Falens, Carel van (1683/4-1733). Departure for the Hunt. New York art market (1974). Includes a figure with a curved horn at his waist. (Burlington 116 [1974], February ad p. xxxix)

[Pa Falens] _______. Hunting Scene. Cologne art market (1929) A figure blows a large, irregularly curved horn. (Zoubkoff sale, Lempertz, Cologne, 15-19.X.1929)

[Pa J G de Hamilton] Hamilton, Johann Georg de/von (1672-1737). Training the Hounds. Vienna art market (1903). Four figures solemnly blow large coiled horns to accustom the dogs to them while another whips round a dead hare attached to a cord. (Fischer sale, Wawra, Vienna, 16.III.1903)

XV: Miscellaneous Figures

Angels: [Sc Mecheln] Velken, N. van der, Louis Willemsens (1630-1702) et al. Confessional (1683). Mecheln, former Jusuit Church SS Peter and Paul, Confessional XII. wood. Two angels with undulating, looped horns/trumpets, one wound with laurel, the other with a snake. (S. Zajadacz-Hastenroth. Das Beichtgestühl der Antwerpener St. Pauluskirche und das Barockbeichtstuhl in den südlichen Niederlanden. Brussels 1970. Abb. 201 [fair reproduction])

[F] FRENCH ARTISTS, 17th-18th CENTURY

I: Old Testament

Jephthah: [Verdier Pa] Verdier, François (1651-1730). The Daughter of Jephthah (?). Tours, Musée. Includes a soldier with a cornu and a woman with a lyre. (P. Vitry. Le Musée de Tours. Paris 1911. no. 188, pl. 28)

II: New Testament

Nativity --Adoration of the Magi: [Vleughels Pa] Vleughels, Nicolas (1668-1737). The Adoration of the Magi (1735). Caen MBA. oil on paper. Includes a figure blowing a cornu. (Pantheon 31 [1973] 149 [useless reproduction])

V: Mythology

Diana: See also Portraits, Miscellaneous Figures.

[C A Coypel Pa] Coypel, Charles Antoine (1694-1752). Diana and Meleager. Lisbon, Museu das Janelas Verdes. Includes a figure with a huge 2-1/2 circle coiled horn around his chest. (M. Costa Ramalho. Museu das Janelas Verdes. Lisbon 1938. unnumb. pl. between pp. 20-21)

Other: [Boullogne Pa] Boullogne, Louis II (1654-1733). Coronis, Pursued by Neptune, is Changed by Minerva into a Crow. private collection. oil sketch. Includes a marine diety with a sort of shell horn. (A. Pigler. Barockthemen ... Budapest 1956. vol. II, p. 181)

[N N Coypel Pa] Coypel, Noël Nicolas (1690-1734). The Triumph of Galatea. Monaco art market. Includes a Triton/marine diety blowing a shell horn. (Burlington 124 [1982] May ad p. iii)

VI: Literary and Historical Subjects/Figures

[Wsc Guimiliau] Breton, late 17th century. Triumph of Alexander. Guimiliau (Finistère, arr. Morliaix, cant. Landivisiau). wood relief (organ case). Includes four cornu players. (H. Waquet. Art Breton. Paris 1960. fig. 184)

VII: Allegory

Alphabets: [Oppenort Dr] Oppenort, Gilles-Marie (1672-1742). Letter B. Berlin Kunstbibliothek . drawing (design for a book illustration). Includes two partly visible horns, one undulating with a rusticated bell, the other curved with an octagonal (?) bell. unimp. (Kunstbibliothek Berlin. Die französischen Zeichnungen der Kunstbibliothek Berlin. Krit. Katalog. Ed. E. Berckenhagen. Berlin 1970. No. Hdz 2405a, p. 175 [ok reproduction])

Elements: See also Portraits (Nattier)

Months/Zodiac: [Ta (Gobelins)] French (Gobelins), late 17th century. February, from Les chasses de Maximilian. loc not recorded. Includes a figure (dog handler) with a partly visible curved horn hanging from a strap. unimp. (exh Château de Sceaux and Brussels, Palais des Beaux-Arts, 1962: Ile de France, Brabant. cat. no. 366, pl.LXXXIX)

Music: See also Still Life.

[Moyreau-Watteau Pr] Jean Moyreau (1690-1762) after Antoine Watteau (1684-1721). "L'alliance de la Musique et de la Comedie." engraving. Among the many unplayed instruments, a 1-1/2 circle coiled horn. unimp. (Mirimonde IMRB/2, fig. 12)

VIII: Emblems

[BI Paris 1684] Anon. "Reges in Ipsos imperium est/Son empire s'étend jusqu'aux Maistres du Mond," from Claude-François Menestrier, L'art des emblèmes. Paris, R. J. B. de la Caille, 1684, p. 60'. woodcut. Death, standing on the bier of a king, blows a large, curved horn (sort of a Last Judgement trompe). Emblem of the transience of power. (reprint: New York 1979)

X: Portraits

[Nattier Pa] Nattier, Jean Marc (1685-1766). Portrait of Madame Infante (Louise-Élisabeth de France, Duchesse de Parme). Versailles, Musée. She gestures toward a 3-1/2 circle coiled horn propped against a tree. She is all dressed up and clearly not going to hunt in that costume. In the background there is a stag hunt with a huntsman on foot, blowing a small curved horn. Emblematic of Earth, one of the Four Elements? (P. de Nolhac. J.-M. Nattier, pientre de la cour de Louis XV. Paris 1905. unnumbered pl. after p. 86 [fine reproduction]; Vis. Coll. 375.N218.6E)

XI: Still Life

See also Allegory, Alphabets; Decorative Elements..

[Chardin Pa] Chardin, Jean Baptiste Simeon (1699-1779). The Attributes of Music (1765). Paris Louvre. Includes a smallish 2-1/2 circle coiled horn (partly visible), violin or viola, mandore, flute, musette and trumpet. (exh Wien, Oberes Belvedere, 1966: Kunst und Geist Frankreichs im 18. Jahrhundert, cat. no. 15, pl. 33; Mirimonde IMRB/2, fig. 7, with considerable text pp. 14-15; Connoisseur 159 [1965] 238; Early Music 5 [1977] 81; Revue du Louvre 15 [1965]115)

[Chardin Pa] _______. Hunting Piece/Le chien barbet (1730). Wildenstein, Paris? New York? Includes a 2-1/2 circle coiled horn with a short funnel mouthpiece with a very narrow rim. Very clear of the horn. (exh Wildenstein & Co., New York: French XVIIIth Centurn Paintings. New York 1948 [with large bibliography]; exh Rotterdam BvB: Vier Eeuwen Stilleven in Frankrijk, cat no. 42, pl. 24 [with list of previous exhibits] [ok reproducton]; Art News 40 [1-31 August, 1941] 23 [ok reproduction]; Vis. Coll. 375.C372.90[D]) =? Paris art market (1988). (Die Weltkunst 58 [1988] 1559 [small reproduction, cropped at sides if it is the Wildenstein painting]) Another version (not as good), coll. Henrique de Santa-Marina, Buenos-Aires.

[Chardin Pa] _______. Allegory of Music/Musical instruments Displayed in a Niche. private collection. Musical instruments displayed include a 2-1/2 circle coiled horn (funnel mouthpiece), violin, cello, bassoon, musette and trumpet. (A. P. de Mirimonde. L'iconographie musicale sous les rois Bourbons: la musique dans les arts plastiques XVIIe-XVIIIe siècles. Paris 1975-77. vol. II, fig. 10, as ca. 1740)

[Desportes Pa] Desportes, Alexandre François (1661-1743). Hunting Piece. Paris art market (1918). Includes a large, 2-1/2 circle coiled horn (with a rather large, tapered/funnel mouthpiece). (De Curel sale, Petit, Paris, 3.V.1918)

[Desportes Pa] _______. Hunting Piece (1730). Paris art market (1910). Includes a coiled horn. (Munier-Jolain sale, Drouot, Paris, Dec. 1910 [cat. illus. too small])

[Oudry Dr] Oudry, Jean-Baptiste (1686-1755). Hunting Piece. Turin, Royal Library. drawing. Includes a large coiled horn. The mouthpiece has a fairly large rim. (Connoisseur 140 [1957] 30 [ok reproduction])

[Huquier-Oudry Pr] Jacques Gabriel Huquier (1695-1772) after Jean-Baptiste Oudry (1686-1755). Hunting Piece/Larrêt du cigne. engraving. Includes a 1-1/2 circle coiled, open-hooped horn hanging beside a wall. (Burlington 107 [1965] 247, with a reproduction of a drop-front secretaire, probably by G.-J. Lepage [master 1777], where the horn and other elements of the hunting piece are rendered in marquetry. private collection.)

[Pater Pa] Pater, Jean-Baptiste Joseph (1695-1736), attr. Hunting Still Life. Paris, Louvre. Huntsman in the background blows a coiled horn. unimp. (1974 catalog: Peintures. Ecole français, 17-18 siècle. no. 630)

XII: Decorative Elements

[BI Paris 1686] André Trouvain (1656-1708) after [Antoine?] Pezey. Title page of Marin Marais, Pieces a une et a deux violes. Paris 1686. engraving. Among the musical instruments, perhaps the bell of a small horn. very unimp. (Fraenkel no. 114; Early Music 61 [1987] 514)

[BI Paris 1709] Housset after Desmarist. Title page of Marc-Antoine Charpentier, Motets melez de symphonie. Paris, J. Edouard, 1709. engraving. Among the many musical instruments in the border there is a 1-1/2 circle coiled horn. Note that the (small, narrow-rimmed) mouthpiece and mouthpipe are at the other side of the cartouche (cf. the serpent). (Fraenkel, no. 119, Pincherle p. 102, MGG II, col. 1111)

[Oppenort Dr] Oppenort, Gilles-Marie (1672-1742). Portrait of Antoine Watteau. Berlin, Kunstbibliothek. drawing. The border includes a trophy with a reverse-curve, faceted, fingered horn or cornett (probably an imaginary instrument), panpipes and a tambourine. unimp. (Kunstbibliothek Berlin. Die französischen Zeichnungen der Kunstbibliothek Berlin. Krit. Katalog. Ed. E. Berckenhagen. Berlin 1970. No. Hdz 1180 verso, p. 169)

[Oppenort Dr] _______. Surround for a Cartouche. Berlin, Kunstbibliothek. drawing. Includes a smallish 1-1/2 circle coiled horn with a large, flat-rimmed mouthpiece. There is also a hurdy-gurdy and a harp. (Kunstbibliothek Berlin. Die französischen Zeichnungen der Kunstbibliothek Berlin. Krit. Katalog. Ed. E. Berckenhagen. Berlin 1970. No. Hdz 3138, p. 174 [ok reproduction])

XIII: Scenes of Everday Life -- Outdoor

Boating Parties: [Mercier Pa] Mercier, Philippe le (1689-1760). A Fishing Party. private collection. Includes two players of 2-1/2? circle coiled horns (wound) in a rowboat. A nice slice of everyday life. (Vis. Coll. 375.M539.90[d])

Hunts and Hunters: See also Still Life, Decorative Elements.

[Ta (Aubusson) Berlin AM] French (Aubusson), first half, 18th century. Hunt (one of a set of six). Berlin art market (1929). tapestry. Includes two mounted figures with coiled horns, one played, the other hung from a strap. Pretty illustration. (sale, Berlin, Margraf & Co., March 1929, cat. p. 12)

[Ta (Aubusson) Berlin AM] _______. La curée (one of a set of six). Berlin art market (1929). tapestry. Includes a figure on foot with a coiled horn. (sale, Berlin, Margraf & Co., March 1929, cat. p. 13)

[Lancret Dr] Lancret, Nicolas (1690-1743). Study of a coiled horn player. Bayonne, Musée Bonnat. drawing. A player of a 2-1/2 circle coiled horn, bent over in a rather uncomfortable-looking position, left hand on hip.. A study for the passer-by horn player in the Le Déjeuner dans la forêt (Potsdam). (Vis. Coll. 375d.L222.90[B]1) Copy?: Schwiter sale, Drouot, Paris, 20-21.IV.1883 [cat. illus. fine])

[Lancret Pa] _______. Le Déjeuner dans la forêt. Potsdam, Sans Souci. A group of hunters passing by. One apparently stops to render a serenade on his 1-1/2 or 2-1/2 circle coiled horn. (G. Wildenstein. Lancret. Paris 1924. pl. 110)

[Lancret Pa] _______. Le repos de chasse. Detroit, Institute of Arts. A figure holds a coiled horn. unimp. (Burlington 111 [1969] October adv. supp. p. v [poor reproduction])

[Lancret Pa] _______. Le repos de chasse. San Francisco, M. H. DeYoung Memorial Museum. Includes a figure blowing a 1-1/2 circle open-hooped horn. Originally an overdoor decoration in the royal chateau, Marly-Le-Roi. (G. Wildenstein. Lancret. Paris 1924. pl. 180 [then with Knoedler, New York]; Vis. Coll. 375.L222.90[N] 4)

[J-B Martin Pa] Martin, Jean-Baptiste (l'ainé) ("Martin des Batailles") (1659-1753). View of the Orangerie, Versailles. Versailles. Includes a party of hunters in the foreground. One of them has a coiled horn. unimp. (A. and J. Marie. Mansart à Versailles, I. Paris 1972. p. 287)

[J-B Martin Dr] _______. Hunt (Le bât-l'eau). Paris art market (1925). drawing. Includes a central, mounted figure with a coiled horn. Martin draws very stiff, stereotyped horses -- otherwise atmospheric. (sale Drouot, Paris, 26.VI.1925 [cat. illus. ok])

[P D Martin Pa] Martin, Pierre Denis (le jeune) (ca.1663-1742). The Hunts of the Prince de Condé: L'Hallali. Paris art market (1902). Includes three figures -- two mounted, one on foot -- with coiled horns. (sale, Drouot, Paris, 15.V.1902 [cat. illus. poor])

[Oudry Dr] Oudry, Jean-Baptiste (1686-1755). Boar Hunt. St. Petersburg, Hermitage. drawing. Includes three (?) figures with coiled horns (vague squiggles). (Burlington 112 [1970] 220)

[Oudry Dr] _______. Louis XV Hunting the Wolf (1728). Paris, Louvre. drawing. Includes a figure with a coiled horn. The horn is not very important, but the pose, galloping along with trompe de chasse held high, is very dramatic. (exh Paris, Louvre, Cabinet des Dessins, 1967: Dessins français du XVIIIe siècle. no. 23, pl. III. Perhaps a design for an unknown painting; Burlington 112 [1970] 219)

[Oudry Pa] _______. Louis XV Hunting in the Forest of St. Germain (1730). Toulouse, Musée des Augustins. Includes at least four figures blowing very large, delicate 1-1/2 circle open-hoop horns. They aren't very clear but they are fairly prominent. (Burlington 112 [1970] 216; Vis. Coll. 375.Ou28.4Lo)

[Oudry Dr] _______. Departure for the Hunt (1728). private collection. drawing. Includes at least three figures with coiled horns (two mounted, one seated on the ground). (Burlington 112 [1970] 216)

[Oudry Dr] _______. Hunting Picnic in the Forest of Compiègne (1728). private collection. drawing. At least two figures standing around with coiled horns slung over their shoulders. (Burlington 112 [1970] 216)

NB: For information on Oudry's cartoons for the Hunts of Louis XV, see the 18th-century section.

[J F de Troy Pa] Troy, Jean François de (1679-1752). The Death of the Stag (1737). London, Wallace Collection. oil sketch. Includes a mounted figure blowing a coiled horn (held almost straight up). Vague but atmospheric. unimp. (1904 catalog [ed. A. L. Baldry], p. 36, as The Stag at Bay; Vis. Coll. 375.T757.90[j])

[J F de Troy Pa] _______. Hunters' Picnic (1737). London, Wallace Collection. Includes three mounted figures with coiled horns. Vague but atmospheric. (Vis. Coll. 375.T757.90[i])

[J F de Troy Pa] _______. Hunters' Picnic (1737). private collection (Baron M. de Rothschild). Includes a coiled horn hung on the back of a chair. (exh. Royal Academy of Art, 1932: French Art, 1200-1900. no. 247, pl. 55 [reproduction ok])

XIV: Scenes of Everyday Life -- Indoor

House Concerts/Chamber Music: [Watteau Pa] Watteau, Antoine (1684-1721), attr. House Concert (1703). New York art market (1929). Includes a player of a coiled horn (holding the music in his left hand). Also harpsichord, 2 violins, viola da gamba and flute. (Larache sale, American Art Association, New York, 21.III.1929 [cat. Illus poor])

Operatic and Theatrical Scenes: [Berain Pr] Berain, Jean I (1640-1711). Design for Lully's Armide (Paris 1686). engraving. Includes court musicians playing in two groups of two cornui and curved trumpet each. (They seem to be escorting prisoners.) (The New Grove II, p. 514)

[Lancret Pa] Lancret, Nicolas (1690-1743). Scene from an opera-ballet. New York art market (1945). Among the pile of unused musical instruments, a coiled horn. The scene is said to be from Jean-Philippe Rameau's Les Indes galantes (first performed in 1735). Apparently a design for the lid of a harpsichord. (Rosenthal sale, Parke-Bernet, New York, 13-14.IV.1945 [cat. Illus. poor]; Vis. Coll. 375.L222.90[A])

Other: [Picart Pr] Picart, Bernard (1673-1733), after. Blowing the Shofar. engraving. (R. D. Barnett. Catalog of the Permanent and Loan Collections of the Jewish Museum, London. London 1974. no. 936, pl. LXXII)

XV: Miscellaneous Figures

Angels: [Oppenort Dr] Oppenort, Gilles-Marie (1672-1742). Dawn. Berlin, Kunstbibliothek . drawing. Diana is among the figures. An angel hovers above, bearing a 1-1/2 coiled open-hooped horn. Even angels do it. (Kunstbibliothek Berlin. Die französischen Zeichnungen der Kunstbibliothek Berlin. Krit. Katalog. Ed. E. Berckenhagen. Berlin 1970. no. Hdz 278, p. 171 [ok reproduction])

Comedians/Clowns: [Pr Anon] French?, [late?]17th century. "VOILA LE DROLLE DE GILLE." engraving. Gilles holds a small looped horn. (Enciclopedia dello spettacolo vol.5, col. 1291)

[DACH] GERMAN, AUSTRIAN AND SWISS ARTISTS, 17th-18th CENTURY

I: Old Testament

David Dancing Before the Ark/The Transporting of the Ark of the Covenant: [Biorgioli Fr] Biorgioli, Francesco Antonio (ca. 1655-1725). David Dancing Before the Ark (comm. 1694). Pfäfers, Klosterkirche. ceiling fresco above the organ. Included in the procession are two figures blowing cornui. unimp. (Die Kunstdenkmäler der Schweiz, 25: Kanton St. Gallen I. Sargans 1951. p. 175. Notes was badly restored in the 19th century.)

Esau: [Troger Pa] Troger, Paul (1698-1762). Jacob and Esau. Wien ,NöLM. Esau has a partly visible curved horn hung from a strap. (Alte und moderne Kunst 14/H. 107 [1969] 15)

II: New Testament

Nativity: [Asam Fr] Asam, Cosmas Damian (1686-1739). Nativity (1717). Michelfeld, Langhaus (Orgeljoch). fresco. A shepherd blows an alphorn. Others play bagpipe and shawm. Angels play cello, lute, 2 recorders (?), tambourine. (B. Bushart and B. Rupprecht, eds. Cosmas Damian Asam [1686-1739] Leben und Werk. Munich 1986. pl. 10 [fine color detail]; E. Hanfstaengl. Cosmas Damian Asam. Munich 1939. pl. 2 [poor reproduction]; B. Rupprecht. Die Brüder Asam. Sinn und Sinnlichkeit im bayerischen Barock. Munich 1980. unnump p. [! and it's a big book] [fine color reproduction])

[Sattler creche] Sattler, Leonhard (op. 1711-m.1744), attr. Two Shepherd Figures. St. Florian, Stiftskrippe. Creche figures. One has two (!) horn horns hanging from a strap. The other holds a small alphorn. (O. Kastner. Die Krippe ... Ihre Entfaltung in Österreich. Linz 1964. fig. 82. As ca. 1750.)

IV: Saints

St. Hubert/Eustache: [Pa Hirschberg] Anon., soon after 1688? SS. Hubert and Eustache Kneeling before the Stag. Hirschberg, Pfarrkirche. St.Hubert has a curved horn. The so-called "Hirschaltar," originally for the Jagdschlosskapelle of Kurfürst Max Friedrich. The perfect altar for a Jagdschlosskapelle. (Alte und neue Kunst in Erzbistum Paderborn, 11 [1961] 51)

[Wsc Tawern] Anon., early 18th century. St. Hubert. Tawern, Pfarrkirche. wood figure group. The saint has a looped horn. (Die Kunstdenkmäler der Rheinprovinz, XV/3: Kreis Saarburg. Düsseldorf 1939. p. 251)

[Köhler Me] Köhler, Johann Heinrich (op. 1707-m.1736). St. Hubert. Dresden, Grünes Gewölbe. gold, silver gilt, jewelled, enamelled portable clock case. Includes two figures with coiled horns hung from straps. (E. Steingräber. Royal Treasures. New York 1968. p. 84)

Other: See also Decorative Elements.

V: Mythology

Apollo: See also Miscellaneous Figures, Putti.

Diana: See also Decorative Elements; Scenes of Everyday Life -- Outdoor, Pageants; Miscellaneous Figures, Putti.

[Sc Munich Amalienburg] Verhelst, Egid, d.Ä (probably, or his workshop) (1696-1749). Diana (1735). Munich, Nymphenburg, Jagschlösschen Amalienburg, Hauptfassade. high relief sculpture group over the main entrance. A putto beside Diana holds a small 1-1/2 circle coiled horn and blows a little conical wind (hunting oboe?). A hunting trophy between them includes a coiled horn. Good example for an entry of a hunting lodge. (A. Feulner. Bayerisches Rokoko. Munich 1923. p. 137; Prinz Franz zu Sayn-Wittgenstein. Schlösser in Franken. Munich 1974. fig. 21 [whole], 22 [detail]; L. Hager. Nymphenburg. Munich [195-]. pl. 47 [view of the entrance], pl. 48. As by J. B. Zimmermann [1680-1753].)

[Asam Fr] Asam, Cosmas Damian (1686-1739). Allegory. Mannheim, Schloss, Rittersaal. ceiling fresco. The retinue of Diana includes players of coiled horn and a woodwind (hunting clarinet or oboe?). (H. Tintelnot. Die barocke Freskomalerei in Deutschland ... Munich 1951. p. 72)

[Brandenburg Fr] Brandenburg, Johannes (1661-1729). Athene in the Chariot of the Sun (1715). Schloss Thunstetten. fresco. There is a pile of peaceful props (they are associated with Diana) including a coiled horn; and a pile of military props including trumpet, kettledrums and frame drum. (G. Carlen. Der Zuger Barockmaler Johanes Brandenburg ... Zug 1977. cat. no. A 124, p. 121)

[Drentwett Me] Drentwett, Abraham II (late 17th century). Diana, with Stag and Dog. Geneva art market (1981). gilded silver figure group. Diana has a curved (?) horn hanging from a strap. (Die Weltkunst 51 [1981] 3019 [ok reproduction, but the wrong view for the horn])

[Görz Fr] Görz, Matthias von (ca. 1670-1731). Diana (1711). ex Hämmerlhaus, Kartuschenfresko (destroyed). fresco medallion. A smallish 1-1/2 circle open hooped horn leans against her. (G. Brucher. Die barocke Deckenmalerei in der Steiermark. Graz 1973. Abb. 192. Notes is based on an engraving of Cornelis Bloemaert after Pietro da Cortona, which has no horn. Abb. 193)

[Görz Fr] _______. Apotheosis of Painting (1731). Pöllau, ehem. Stiftskirche, ceiling. fresco. Figures include Diana with a coiled horn (sort of) and Fame holding a straight trumpet. It doesn't make much sense to me. (G. Brucher. Die barocke Deckenmalerei in der Steiermark. Graz 1973. Abb. 211-212.)

[Werle Fr] Werle, Johann Georg (doc. 1715). Diana Hunting Callisto (1715). Ohrada bei Frauenberg, Jagdschloss, Festsaal. fresco. A small 1-1/2 circle coiled horn hangs on a tree. (E. Knab. Daniel Gran. Wien 1977. fig. 2b)

[Zimmermann Pa] Zimmermann, Johann Baptist (1680-1753). Allegory of the Founding of Nymphenburg. Augsburg, Städtische Kunstsammlung. oil sketch for the ceiling of the Steinernen Saals (Festsaal), Nymphenburg, Schloss (executed 1756/57 by J. B. and Franz Zimmermann). See next entry. Includes a follower of Diana with a looped horn. (A. Feulner. Die Sammlung Hofrat Sigmund Röhrer im Besitze der Stadt Augsburg. Augsburg 1926. fig. 29; H. Wagner. Barocke Festsäle in bayerischen Schlössern und Klöstern. Munich 1974. p. 185 [fine color reproduction])

[Zimmermann Fr] _______. The Realm of Flora and Nymphs (1756/57). Munich, Nymphenburg, Schloss, Festsaal/Grosser Saal. ceiling fresco. Includes a (female) follower of Diana playing a 1-1/2 circle coiled horn. (L. Hager. Nymphenburg ... Munich [1955], pl. 7 [color reproduction, too small]; H. W. Hegemann. Deutsches Rokoko .... Königstein im Taunus [1942] [Die blauen Bücher] p. 53 [color]; H. Tintelnot. Die barocke Freskomalerei in Deutschland. Munich 1951. p. 131)

VII: Allegory

Elements: Johanna Sybilla Krauss after Charles Le Brun (1619-1690). The Four Elements: Air, from Johann Ulrich Krauss, Tapisseries du Roy ... Augsburg 1690. See French, 17th century section.

IX: Heraldic

[coin Anon.] Anon., after 1700. Copper Pfennig from Buchhorn (now Friedrichshafen). Munich, Staatliche Münzsammlung. one-sided copper Pfennig. Includes a reverse curve horn. (Brüchle and Janetzky 1976. p. 60)

X: Portraits

See also Mythology, Diana.

[Sc Briesen] Anon., early 18th century. Wappenepitaph of Carl Philipp von Klitzing (m.1717). Briesen, Kirche. sculpture. A trophy includes two coiled horns, two frame drums, two kettledrums, and perhaps some trumpets. Probably based on an engraved portrait border. (Brandenburg is a cultural desert.) (Die Kunstdenkmäler der Provinz Brandenburg, V/3: Cottbus. Berlin 1938. p. 200)

[BI Augsburg ca.1739] Fridrich, Jacob Andreas (1684-1751). Title page of Gottlieb Muffat, Componimenti musicali. Augsburg, J. Chr. Leopold [ca. 1739]. engraving. Among the many musical instruments, there is an alphorn. (Fraenkel no. 141 [fair reproduction]; MGG vol. 9, cols. 921-922 [poor reproduction]; R. Haas. Die Musik des Barock. Potsdam 1928. p. 260 [poor reproduction]))

[Asam Fr] Asam, Cosmas Damian (1686-1739). The Miracle of St. Günther (1728). fresco. Includes a hunting trophy with a coiled horn. unimp. (J. Stenc. La richesse d'art de la Bohême. Praha 1913. pl. 98)

[Gran Fr] Gran, Daniel (1694-1757). Nymphs of Diana with the Spoils of the Hunt. Schloss Eckartsau, Festsaal. fresco. Around the base of the ceiling there are hunting trophies including a curved, 1-1/2 (?) circle and 3-1/2 circle coiled horns. A sort of apotheosis of the coiled horn. (E. Knab. Daniel Gran. Wien 1977. Taf. 4 opp. p. 4 [color] and Abb. 84 [black and white -- fine details including one of the trophies], Abb. 77 [part of it, in sitù])

[Müller Pr] Müller, Johann Jacob (op. last quarter, 17th century). Portrait of Rudolph August, Count Palatine. engraving. Among the mostly military items in the border, a small, 1-1/2 circle coiled horn (rather like a post horn). Also at least one trumpet and a kettledrum. (Hollstein [German] XXIX, no. 3, p. 71)

[Schlaun Dr] Schlaun, Johann Conrad (1695-1773), attr.. Design for a Jagdpokal. no location. drawing. Includes two coiled horns against the tree trunk which is the stem of the goblet. (Metropolitain Museum of Art Bulletin 47 [Spring 1990] 30. no location)

[Stoy Pr] Stoy, Georg Christoph (doc. 1720). Horn Player. printed flyleaf paper (Augsburg 1720). A musician, perched in foliage, blows a 2-1/2 circle coiled horn. unimp. (Brüchle and Janetzky 1976. p. 132)

XIII: Scenes of Everyday Life -- Outdoor

Hunts and Hunters: See also Still Life; Decorative Elements; Miscellaneous Figures, Character Series.

[Sc Kups] Vogel, Johann Jakob (doc. 1686-m.1727) and Franz Jakob (Jakob) Vogel (1698-1738). Hunting Scenes. Kups, Neues Schloss, Jagdsaal. stucco (low relief). Includes a hunter with a curved horn. unimp. (Prinz Franz zu Sayn-Wittgenstein. Schlösser in Franken. Munich 1974. fig. 178)

[Gl Corning] German (probably Franconian), 1714. Hunting Scene/Stag Hunt. Corning, NY, Corning Museum (Beinecke Coll.). enameled glass hunting beaker. Includes a hunter with a tiny horn (rather like a fox horn). Inscribed: "Anno 1714. Viel Jahr, viel gefahr." (A. von Saldern. Catalog of German Enameled Glass ... Corning NY 1965. p. 330)

[Gl private collection] German (Mitteldeutsch, probably Franconian or Thuringian), 1693. Hunters' Drinking Party. private collection. enameled glass Humpen. Hunters around a table, one blows a looped/1-1/2 circle coiled horn (bell up). (A. von Saldern. Catalog of German Enameled Glass ... Corning NY 1965. p. 115)

[Pa Hohenbrunn] Austrian (?) (copy) ca. 1700. Parforcejagd. Hohenbrunn (OÖ), Jagdmuseum. Includes two mounted figures with coiled horns. (W. Salmen. Katalog der Bilder zur Musikgeschichte in Oesterreich. Innsbruck 1979. [Innsbrucker Beiträge zur Musikwissenschaft, 4] p. 76)

[Pa Blankenburg] Anon.?, 1717?. Hofjagd. Blankenburg, Schloss. Four figures blow little curved horns, another a 1-1/2 circle coiled horn. (Die Bau- und Kunstdenkmäler des Herzogthums Braunschweig, 6: Kr. Blankenburg. Berlin 1922. Pl. VIII, opp. p. 96.)

[Dresden SLB] Anon. Seated Hunter. Dresden, Sächsisches Landesbibliothek. gold-ground portrait on a leather book cover of a collection of costumed figures for masquerades, ca. 1725, for the court of August der Starke (1670-1733). He plays a large, 2-1/2 (?) circle coiled horn, held left hand overhand, right hand underhand -- a rather uncomfortable position. (Brüchle and Janetzky 1976, pl. VI [color reproduction])

[Ferg Pa] Ferg, Franz de Paula (1689-1740). Hunting Party. London art market (1963). Italian setting? Includes at least two central, mounted figures playing coiled horns. (Connoisseur 153 [1963] 124 [poor reproduction])

[Querfurt Pa] Querfurt, August (1696-1761). Departure for the Hunt. Warsaw MN. Includes a mounted figure blowing a coiled horn (held underhand, it does not rest on his arm). Prominent, but not a very good painting. (1964 cat. no. 175 [not illus. in 1969 cat.])

[Querfurt Pa] _______. Hunting Party Halted at an Inn. Lucerne art market (1979). Includes a mounted figure blowing a coiled horn. Prominent, but not one of the better ones. (Die Weltkunst 49 [1979] 2599)

[Querfurt Pa] _______. Departure for the Hunt. private collection. Includes a figure with a slender, delicate curved horn. (exh Stuttgart, Staatsgalerie, 1958: Meisterwerke aus baden-württemburgischem Privatbesitz. cat. no. 149, pl. 30)

[Rentz Pr] Rentz (Renz), Michael Heinrich (1701-1758). Boar Hunt . etching. Includes a prominent mounted figure blowing a rather large 1-1/2 (?) circle coiled horn, held straight up. This is very similar to the central part of Ridinger's Der Schweins Hatz (1729). Somebody copied. The Ridinger is artistically more convincing. (H. Fitzpatrick. The Horn and Horn-Playing, and the Austro-Bohemian Tradition from 1680-830. London, New York, 1970. pl. VI. As 1728. Notes that the "upward-pointing position of the horn is clearly dictated by the triangular composition of the central group. Renz received many commissions from [Count Franz Anton] Sporck; the horn-player might well be weda or Rölig.")

[Ridinger Pr] Ridinger, Johann Elias (1695-1767). Die Wasser-Jagd, from Volkommene und gründliche Vorstellung der trefflichen Fürsten Lust oder der edlen Jagtbarkeit ... (1729). no. 11. etching. Thienemann no. 23. Includes hunters on a sort of improvised catamaran moored in the middle of a river. Three of them have coiled horns, and one or two of them are about to sound them. Vague. unimp. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Wie die Jagd angeblasen wird. As above, no. 13. Thienemann no. 25. A gathering in a shooting enclosure with about 18 huntsmen in formation solemnly tooting coiled horns. There is also a valet de chien outside the enclosure with a coiled horn around his chest. (Schwarze 1964. unnumbered pl. [splendid reproduction]; Hirth VI, no. 3086. The engraving is not quite the same as the one reproduced in Schwarze 1964 [note especially the sky], and has an additional French caption, Le Commencement de la Chasse)

[Ridinger Pr] _______. Wie die Hünde ihr recht bekomen oder gepfneicht werden. As above, no. 17. Thienemann no. 29. A Curée. Includes two ensembles of four hunters playing 1-1/2 circle coiled horns of various sizes and held in various ways (bells up, held with both hands; bells out behind, held with both hands; bell behind, held with one hand, the other hand on the hip). In hunting illustrations the best horn ensembles are always in the grisliest scenes. (Schwarze 1964. unnumbered pl. [splendid reproduction]; Brüchle and Janetzky p. 114 [detail of the group at the right]. The engraving is not quite the same as the one reproduced in Schwarze 1964; H. Fitzpatrick. The Horn and Horn-Playing, and the Austro-Bohemian Tradition from 1680-830. London, New York, 1970. pl. II (a). "Here we see the more robust outlines of the Austrian horn, played in various individual versions of the correct standing position.")

[Ridinger Pr] _______. Wie dei Schweine mit Netzen gefangen werden. As above, no. 19. Thienemann no. 31. Hunters on foot, one with a spear, play a curved horn and a reverse-curve horn. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Wie auf die Schweine angestanden wird. As above, no. 21. Thienemann no. 33. Includes a hunter (center background) playing a small curved horn. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Die Schweins Hatz. As above, no. 22. Thienemann no. 34. Hunters, mounted, play smallish 1-1/2 circle coiled horns and a small curved horn. (Schwarze 1964. unnumbered pl. [splendid reproduction]; Alte und moderne Kunst 15/H. 110 [1970] 9 [detail]) Cf. Rentz, Boar Hunt, above.

[Ridinger Pr] _______. Wie die Rehe mit Hunden gehetzet werden. As above, no. 23. Thienemann no. 36. A mounted hunter, at the far left, plays a 1-1/2 circle coiled horn. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Wie der Wolff mit Netzen zu fangen. As above, no. 26. Thienemann no. 38. A hunter on foot blows a little (straight?) horn (partly visible). Two others play frame drums. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Wie die Hasen mit Netzen gefangen werden. As above, no. 32. Thienemann no. 44. Hunters on foot have tiny straight horns, one played, one hung low at the back from a big strap with a rosette. It's a lot of strap for a little horn. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] ________. Die gantze Meute derer parforce-Hunde wird auf den Rendevous aufgeführet, from Die parforce Jagt des Hirschen und deren ganzer Vorgang ... 1756. No. 2. etching. Thienemann no. 50. Four mounted huntsmen have 2-1/2 circle, open-hooped horns carried across their chests. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Das Frühe-Stück wird von denen Piquers u. Besuchknechten eingenom[m]en, u: die Harden a 36. bis 40 hunden in ordnung gebracht. As above, no. 4. Thienemann no. 52. Eight of the huntsmen have 1-1/2 or 2-1/2 circle open-hooped horns, seven of them carried across the chest, one held. The one visible mouthpiece seems large and flat. These are the dog handlers. They are very casual about their horns. One even lies on the ground with it across his chest. They obviously wear them a lot. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Die Ankunft des Fürsten auf dem Rendevous. As above, no. 6. Thienemann no. 54. A sort of cavalcade. Many mounted hounters (at least 15) have 2-1/2 circle coiled horns (not played). unimp. (Schwarze 1964. unnumbered pl. [splendid reproduction]; L. Wegele. Augsburg. Augsburg 2/1962. p. 92)

[Ridinger Pr] _______. Der Zug nach dem Bogen auf den Anjagts Hirschen! As above, no. 7. Thienemann no. 55. Picking up the scent. Almost every huntsman, at least thirteen of them, has a 2-1/2 circle horn (not played). unimp. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Die Jagt gehet gut die Hunde haben den Hirsch en vuë und jagen aus volle halse. As above, no. 10. Thienemann no. 58. Dogs in full cry. Five of the mounted hunters have 2-1/2 circle coiled horns, three of them played (at full gallop!). (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Der Hirsch stellt sich, und kaempfft die Hunde ab! As above, no. 12. Thienemann no. 60. One stag and about 18 dogs. Five of the mounted hunters have 2-1/2 (?) circle coiled horns, three of them played (without enthusiasm). unimp. (Schwarze 1964. unnumbered pl. [splendid reproduction]) Drawing for this, Der Hirsch stellt sich zu wehre ... (1746). London art market (1939). Includes four mounted figures with coiled horns (only one of them prominent). (Schwerdt sale, Sotheby's, 27.VI.1939, pl. 53)

[Ridinger Pr] _______. Der Hirsch stellt sich im Wasser die Hunde werden gestopfft und ihme der Fang geben. As above, no. 13. Thienemann no. 61. Many dogs. Seven of the hunters, mounted and on foot have 2-1/2 circle open-hooped horns (all but one of them played -- the ones on foot look like they're sucking them). (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Dem Hirschen werden die Hessen abgehauen oder die jarrets coupiret. As above, no. 15. Thienemann no. 63. A fairly grisly scene. Five of the mounted hunters play 2-1/2 circle coiled horns (they look like they're sucking them). (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. Das Curée. As above, no. 16. Thienemann no. 64. Rewarding the hounds. Grisly. Sixteen hunters, on foot, solemnly toot away on their coiled horns. (Schwarze 1964. unnumbered pl. [splendid reproduction])

[Ridinger Pr] _______. A Hunter setting out with a Pack of Dogs, from Ridinger's Jäger und Falkoniers (1728). engraving. He gently rests a 1-1/2 circle open hooped horn against his lips. He faces left and the print is inscribed, "I. El. Ridinger uiv. pinx. sculps. et exi. A. V." (Schwarze 1964, cover illustration [splendid reproduction) There is also an engraving after this by Martin Elias Ridinger. The hunter faces right and the print is inscribed at the left, "Joh. El. Ridinger inv. dd. et excud. Aug. Vind.," and "Martin El. Ridinger sculps" at the right. (H. Fitzpatrick. The Horn and Horn-Playing, and the Austro-Bohemian Tradition from 1680-830. London, New York, 1970. pl. II (b) [detail]. Notes "the wider bore of the Austrian instrument."; Kinsky p. 246; MGG vol. 6, Taf. 31 [tiny reproduction]) There was a fine reproduction of a hand-colored print of this engraving on the record jacket of Horace Fitzpatrick plays Music for Hunting Horn ... (Golden Crest 4014).

[Ridinger Dr] _______. Man playing a coiled horn. Berlin art market (1927). drawing. He plays a large, 3-1/2 circle coiled horn. (sale, Hollstein and Puppel, Berlin, 7-9.XI.1927 [cat. illus. ok])

[Ridinger Dr] _______. Le Curée (1758). Zürich art market (1939). drawing. Includes two figures with coiled horns. (Schwerdt IIIb, pl. 251 [fine color reproducton]; exh Zürich, L'Art ancien, 1939 [cat. illus. fair])

[Ridinger Dr] _______, attr. Hunters in a Woods. drawing. Heidelberg art market. Includes a mounted figure with what purports to be a trompe de chasse. Rather a wonderful botch. (Die Weltkunst 47 [1977] 1908)

[Rugendas Pa] Rugendas, [Georg Philipp (1666-1742)?]. Boar Hunt/"Accendunt cornu ... " engraving. Includes a prominent mounted hunter with a 1-1/2 coiled horn. (Die Weltkunst 52 [1982] 2890)

Pageants: [Dr Dresden Ksk] Anon., ca. 1719. Water fete with the Arrival of Diana and her Nymphs in a Barge, from Recueil des dessins et gravures representant les solemnités ... [Dresden 1720]. Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett. drawing. Among the many musicians of the Dresden Hofkapelle (under Johann David Heinichen, and performing his serenade Diana sull'Elba) is a player of a 1-1/2 (?) circle coiled/looped horn (played bell up). For the festivities following the wedding (in Vienna) of Friedrich August, Elector of Saxony, etc., and Maria Josepha, Archduchess of Austria. (Bowles 1989. fig. 203 [best reproduction so far]; Brüchle and Janetzky 1976. p. 116; MGG vol. 3, Taf. 18)

Pastorales: [Pesne Pa] Pesne, Antoine (1683-1757). The Fountain. Paris art market (1937). Includes a youth playing a coiled horn. unimp. (sale, Drouot, Paris, 3.II.1937 [fair reproduction])

Processions/Cavalcades/Entrees: See also Hunts and Hunters.

[Dr Dresden KsK] Moritz Bodenehr after Martin Klötzel. Segment of a Parade in Celebration of the Carnival Season at the Ducal Court, Dresden, 7 February 1695, from M. Klötzel, Heidnischer Götter und Göttinen prächtiger Aufzug ... Dresden 1696. pl. 17. engraving. The parade includes a hunting unit with sixteen players of tiny curved horns; five of larger, sharply curved horns; three of looped horns; six of oboes of various sizes and two of bassoons. (Bowles 1989. fig. 183)

[CI Dresden 1719] Anon. Pageant-wagon in a Parade during the Festival of Venus, Dresden, 23 September 1719, from Recueil des dessins et gravures representant les solemnités ... [Dresden 1720]. Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett. fol. 64v drawing. There are eighteen musicians in all, of which are visible four players of 1-1/2 circle coiled horns (two played, two held?), five of oboes, and four of bassoons (three played, one held). For the festivities following the wedding (in Vienna) of Friedrich August, Elector of Saxony, etc., and Maria Josepha, Archduchess of Austria. (Bowles 1989, fig. 204 [ok reproduction])

[Weigel Pr] Weigel, Johann Christoph (1661-1726). Austrian Military Band (Harmoniemusik). engraving. Figures play two small 2-1/2 (?) circle coiled horns, held up with both hands, bells over the shoulder. Others play three oboes, bassoon and trumpet. (Brüchle and Janetzky 1976, p. 92 [fair reproduction]; (W. Salmen. Katalog der Bilder zur Musikgeschichte in Oesterreich. Innsbruck 1979. [Innsbrucker Beiträge zur Musikwissenschaft, 4] p. 109 [fair reproduction])

Reviews (Military): [CI Leipzig 1707] Püschel, Johann Joachim (doc.1714-m.1720). Military Review before the Apelschen Haus, Leipzig, 1707. engraving. Includes a little military band with two looped horns (played bells up), three oboes and bassoon. (MGG, vol. 8, col. 542) This is not the same as a similar engraving reproduced in splendid color on the record jacket of of a 1961 recording of J. S. Bach's Cantatas BWV 207a and BWV 214, conducted by Helmut Kahlhöfer (Cantate 641 211).

Tournaments: [Spiegler Fr] Spiegler, Franz Joseph (1691-1751). Duel between Count Johannes von Sonnenberg and Cavaliere Antonio Maria d'Aragona di San Severino. Wolfegg, ehem. Stiftskirche St. Katherine, nave. vault fresco. Includes two mounted figures with coiled horns, as well as others with two trumpets and kettledrums. There are also angels with four straight trumpets, two flutes and at least one drum. (H. R. Hitchcock. Rococo Architecture in S. Germany. London 1968. fig. 108; A. Schahl and W. von Matthey. Die Kunstdenkmäler des ehem. Kreises Waldsee. Stuttgart and Berlin 1943. [Die Kunstdenkmäler in Württemberg] Taf. 49. As Spiegler Workshop, overpainted in last restoration.)

Views (Rural): See also Hunts and Hunters.

[CI Moritzburg 1733] Corvinus, Johann August (1683-1738). View of Jadgschloss Moritzburg (ca. 1733). engraving. Includes a mounted figure galloping along, blowing a 2-1/2 (?) circle coiled horn (held with bent arm, palm up). (Brüchle and Janetzky 1976 [entire engraving and thoughtful detail])

Village/Rustic Scenes: [Pa Schloss Trautenfels] Ennstal (Styria), ca. 1700. Village Musicians. Schloss Trautenfels (Styria), Landschaftsmuseum. painted wooden box. They play small alphorn, violin, flute, drum, and a stick in a tub (?). (W. Salmen. Katalog der Bilder zur Musikgeschichte in Oesterreich. Innsbruck 1979. [Innsbrucker Beiträge zur Musikwissenschaft, 4] p. 134)

XIV: Scenes of Everyday Life -- Indoor

Balls: [Werner Dr] Werner, Anna Maria (1688-1753). Ball parée dans la Sale, nomée: le Riesen-Saal/Bal paré in the Riesensaal of the Dresden Residenzschloss, 1719. Dresden, Kupferstichkabinett, Ca.202,S.72. drawing. Includes a court orchestra of at least 47 players, including at least six coiled horns (bells up). On the occasion of the wedding of Kurprinz Friedrich August II with the Archduchess Maria Josepha of Austria. (MgB IV/4, p. 171)

Banquets: [CI Hamburg 1719] Fritzsch, Christian. Festive Banquet for the Bürgerkapitäne in the Drillhaus, Hamburg, 1719. engraving. The banquet is accompanied by a small orchestra. A 1-1/2 circle coiled horn hangs on the end of a music rack, next to a violinist. (It would seem perhaps that he doubles on horn.) (MgB IV/2, p. 55 [with detail]; MGG vol. 5, Taf. 59 [full page but useless for details, it needs a very large reproduction]; R. Haas Aufführungspraxis der Musik. Potsdam 1931, R/1949. p. 208 [miserable reproducton])

[CI Steyer 1728] Johann Heinrich Störchlin (1687-1737) after Ignaz Flurer (1688-1742). Banquet in the Ceremonial Chambers of the City Hall during Oaths of Fealty during the Installation of HRE Charles VI as Duke of Steyer, Steyer 6 July 1728, from Georg von Deyerlsperg, Erb-Huldigung ... Graz 1740. pl. 12. engraving. Court figures blow two 1-1/2 circle open hooped horns (held with both hands, bells pointing backwards) , and two tiny horns. (Bowles 1989, fig. 212, 212a [detail])

[Pfeffel-Engelbrecht-Hackhofer Pr] Johann Andreas Pfeffel (1674-1748) and Christian Engelbrecht (1672-1735) after Johann Cyriak Hackhofer (1675-1731). [Banquet?]. etching. Music is provided by two coiled horns and two short woodwinds (hunting oboes or clarinets?). (W. Salmen. Katalog der Bilder zur Musikgeschichte in Oesterreich. Innsbruck 1979. [Innsbrucker Beiträge zur Musikwissenschaft, 4] p. 75 [utterly useless reproduction])

Church Music: [BI Leipzig 1710] Anon. Title engraving of Unfehlbare Engel-Freude oder Geistliches Gesangbuch. Leipzig 1710. engraving. Depicts musicians of the Thomaskirche, with a small orchestra, including a horn player (looped horn held vertically, bell facing backwards). (R. Haas. Die Musik des Barock. Potsdam 1928. p. 273 [poor reproduction]; Kinsky p. 255 [poor reproduction]; Komma p. 162 [poor reproduction])

[Anon?, early 18th century?]. Wien, Oesterreichische Nationalbibliothek, Prunksaal, Cupola. fresco. Female (!) figures play trumpet and kettle drums. A man holds a trumpet and his music. An unplayed coiled horn pokes through the railing. (W. Salmen. Katalog der Bilder zur Musikgeschichte in Oesterreich. Innsbruck 1979. [Innsbrucker Beiträge zur Musikwissenschaft, 4] cover [detail])

Concerts with Orchestra: [Ms AM] Koch, Georg Anton (1685-1757). Concert in the Barocksaal of the "Römer," Frankfurt am Main (1728). Frankfurt art market (1938). gouache miniature [from a Stammbuch?]. The orchestra includes two players of coiled horns (bells in opposite directions). (sale, Hahn, Frankfurt am Main, 28-29.VI.1938 [tiny reproduction])

Instrument Builder/Repair Workshop: [Weigel Pr] Weigel, Johann Christoph (1661-1726). Der Trompetenmacher, from Abbildung der gemein-nützlichen Hauptstände. Regensburg 1698. engraving. Includes among the instruments a large double-looped horn and several tiny curved horns. (D. Altenburg. Untersuchunger zur Geschichte der Trompete im Zeitalter der Clarinblaskunst [1500-1800]. Regensburg 1973 [Kölner Beiträge zur Musikforschung, 75] vol. III, Abb. 22 [fine reproduction]; Brüchle and Janetzky 1976. p. 146 [fine reproduction]; Hiller 1985, p. 17 [fine reproduction]; Naylor no. 84 [fine reproduction]; MGG vol. 6, Taf.32/9)

XV: Miscellaneous Figures

Angels: [Wsc Lamspringe] Lessen, Jobst Heinrich, d. J. (doc. 1696-1720). Angel (1701). Lamspringe, Klosterkirche, Kanzel/Pulpit. wood figure atop the pulpit. The angel blows a curved, looped trumpet. (F. Bleibaum. Bildschnitzerfamilien der hannoverschen und hildesheimschen Barock. Strasbourg 1924. [SdK, 227) pl.XV [fair reproduction])

[Wsc Schwaz] Köck, Gaudenz and Caspar Humpel (organ). Bartholomäus Alter (case). Organ (1724-1736). Schwaz (Tirol), Pfarrkirche. wood figures. Angels on the Rückpositiv blow two coiled horns and two trumpets. More? Reconstructed in 1911. (W. Haacke. Orgeln in aller Welt. Königstein im Taunus 1965. p. 79 [sober view]; S. Kruckenhauser. Verborgene Schönheit. Bauwerk und Plastik der Ostmark. Salzburg 2/1938. pl. 114 [arty view])

[needlework Cleveland] Bavarian, last quarter, 17th century. Musical angels. Cleveland, Museum of Art. embroidered chausible. On both the front and the back of the chausible there are two angels blowing looped horns. These angels also have a pair each of small drums -- with slightly tapering sides laced like frame drums, but with what seem to be slightly rounded bottoms -- hung at the waist and perhaps struck in the center with one hand. Other pairs of angels play 2-manual harpsichords, viole da braccio, harps, flutes, and sing. (A. E. Wardwell. "Love's a Good Musician," Cleveland Museum of Art, Bulletin, 60 [1973] 283-291. Wardwell speculates that the chausible was probably a wedding vestment for a specific event, and that the objects depicted on it signify the cosmic union of Sacred and Profane Love.)

[Görz Fr] Görz, Matthäus von (ca. 1670-1731). Angels (1712). Pöllau, ehem. Stiftskirche, cupola. fresco. One angel plays a coiled horn. Others play violin, double bass (bassetl), harp and zither (?). (G. Brucher. Die barocke Deckenmalerei in der Steiermark. Graz 1973. Abb. 198-199)

Waginger, Johann Caspar (doc. 1700-1704). Angel. Vorau, Stiftskirche. ceiling fresco. If the angel doesn't hold a small, spiral-ribbed alphorn, what does it hold? (G. Brucker. Die barocke Deckenmalerei in der Steiermark. Graz 1973. Abb. 166)

Costume/Character Series: [Weigel Pr] Weigel, Johann Christoph (1661-1726). "Waldhorn," from Musicalisches Theatrum. [Nuremberg ca.1722] engraving. A court figure blows a 2-1/2 circle coiled horn (small funnel mouthpiece, wound). (Brüchle and Janetzky 1976, p. 117; Harrison and Rimmer no. 146b; facsimile: Kassel 1961)

Es ist nicht leicht ein Fürst der meine Kunst nicht achtet

vielmehr an jeden Hof wird sie aufs höchst geliebt.

wan[n] man den schüchtern Wild in grünen Wald nach trachtet

und dem erhitzten Schwein ein kaltes Eisen gibt

so wird von meinen Horn das Hertz in Muth gesetzet

auch hält man kein Festin da nicht mein Mund ergötzet.

_______. "Kühhirt." As above The cowherd blows a small alphorn. (facsimile: Kassel 1961)

Der Hirt, das Horn, der Hund sich wol zusam[m]en schicken

kein Dorff kan ohn mich seijn, mein halb Kunstreicherlaut:

mus Baur und Bäurin offt, auch Knecht und Magd erquicken

Ochs, Kun, Kalb, Schaf und Geiss sind meiner Sorg vertraut.

der Krug erquickt die Seel, wan[n] Er mit Bier gefüllet

Schwartz Brod in Buttermilch gebrackt den Hunger stillet.

Putti: See also Mythology, Diana; Decorative Elements.

[Wsc Freystadt] Anon., 1717-1746. Organ. Freystadt, Ev. Gnadenkirche. wood figures. Two putti blow coiled horns and two blow trumpets. More? (L. Burgemeister. Der Orgelbau in Schlesien. Strasbourg 1925. [SdK, 230]. pl. XX [useless reproduction])

[Wsc Kirchlinteln] Anon. [early 18th century?]. Organ. Kirchlinteln, Kirche. wood figures. Two putti blow looped, curved trumpets. The organ is from 1587, the putti are later additions, perhaps from an altar. (Die Kunstdenkmäler der Provinz Hannover, V/I: Kreis Verden, Rotenburg und Zeven. 1908. pl.II)

[Wsc Ochsenhausen] Gabler, Joseph (the organ). Organ (1715). Ochsenhausen, Klosterkirche. wood figure. A putto blows a coiled horn. Other angels and putti play cello, bassoon, trumpet, kettledrums, and more. Organ restored in 1939. (W. Haacke. Orgeln in aller Welt. Königstein im Taunus 1965. p. 70)

[Dr Frankfurt am Main MfKhw] Anon. Frontispiece of the Music Book of Heinrich van Uchelen (1728). Frankfurt a. M., Museum für Kunsthandwerk. drawing. Includes a putto with a 1-1/2 coiled horn. (Gazette des Beaux-Arts 92 [1978] 119)

[Gran Fr] Gran, Daniel (1694-1757). Diana Received in Olympus (1732). Schloss Eckartsau (NÖ), ceiling fresco. Includes two putti blowing 1-1/2 (?) circle open-hooped horns and Fame holding a straight trumpet. (E. Knab. Daniel Gran. Wien 1977. cat. F 47, Abb. 78, 81)

[Pöppermann Sc] Pöppermann, Matthias Daniel (1662-1736). Putto with a coiled horn. Grosssedlitz Park (near Dresden). sandstone garden figure. Wingless putto blows a 2-1/2 (?) circle coiled horn, held with both hands, bell over his shoulder. (E. Höhne. Musik in der Kunst. Leipzig 1965. no. 28 [color reproduction])

[Steidel Fr] Steidel, Melchiore Michael (doc. 1687-m.1727). Apollo. Kremsmünster, Benediktinerstift. ceiling fresco. Includes a putto with a1-1/2 circle, loosely coiled horn (look ma, no hands!). (H. Tintelnot. Die barocke Freskomalerei in Deutschland ... Munich 1951. p. 277)

[Werle Fr] Werle, Johann Georg (doc. 1715). Glorification of Diana (1715). Ohrada bei Frauenberg, Jagdschloss. ceiling fresco. Includes a putto with a curved horn, held with outstretched arm like a coiled horn. Another has a straight trumpet. (E. Knab. Daniel Gran. Wien 1977. fig. 2a [small reproduction])

[EP] IBERIAN ARTISTS, 17th-18th CENTURY

XV: Miscellaneous Figures

Angels: [Wsc Seville Cathedral] Agiurre, Domengo de, and Jaime Viñagón (1724, copy of the case of the Epistle organ of 1673). Organ. Seville, Cathedral. Includes angels with a looped horn and a curved horn (? looks like a cornett held with one hand). Very odd. (J. E. Blanton. The Organ in Church Design. Albany TX 1957, p. 324; W. Haacke. Orgeln in aller Welt. Königstein im Taunus 1965. p. 77; L. Monreal y Tejada. Las cien mejores obras de la arquitectura española. Barcelona 1945)

[I] ITALIAN ARTISTS, 17th-18th CENTURY

I: Old Testament

David and Musicians: [BI Venice ca.1725] A. Faldoni after J. Camerata. David and Musicians. Frontispiece of Benedetto Marcello, Estro poetico-armonico, vol. V. Venice, D. Louisa [ca. 1725]. engraving. Includes a 1-1/2 circle coiled horn with a rusticated bell (it looks almost like a serpent head). No player -- it's just sort of there, suspended in air. (MGG, vol. 8, Taf. 95/1)

David Dancing Before the Ark/The Transporting of the Ark of the Covenant: [Conca Fr] Conca, Sebastiano (1680-1764). David Dancing Before the Ark (1753). Naples, S. Chiara. ceiling fresco. Includes two turbaned figures blowing 1-1/2 circle coiled/looped horns. (A. Pigler. Barockthemen ... Budapest 1956. vol. I, p. 145 [small reproduction]; S. Sitwell. Southern Baroque Revisited. London 1967. p. 25; Apollo 112 [1980] 169 [small reproduction]; Vis. Coll. 372.C744.19[a]2) Bozzetto for this (private collection) exh Naples 1979/80: Civlità del '700 a Napoli, 1734-1799. vol. I, no. 162, p. 299) Includes a turbaned figure with a curvy horn.

Ricci, Sebastiano (1659-1734). David Dancing Before the Art/The Ark of the Covenant Borne in Triumph. ** Includes two (?) figures playing large, sharply curved horns/trumpets, with rusticated or animal head bells. (J. Daniels. Sebastiano Ricci. Hove, Sussex, 1976. cat. no. 408, fig. 326)

[Stancari Pa] Stancari, Antonio (op. first half, 18th century). David Dancing Before the Ark (1726). Warsaw MN. Also in the procession a figure playing a curved/bent and looped horn/trumpet and a woman playing a tambourine. (1969 catalog, vol. II, no. 1240 [useless reproduction]; Warsaw MN Rocznik 5 [1960] 304 [much better reproduction])

Triumph of David: [Ferretti Pa] Ferretti, Gian Domenico (1692-1767). The Triumph of David. Firenze, Palazzo Capponi. Figures include four (two plus two) playing large-hooped horns with rusticated (?) bells (whatever that is). There is also a woman dancing and playing a tambourine. (E. A. Maser. Gian Domenico Ferretti. Florence 1968. pl. 17)

[Fratta Dr] Fratta, Domenico Maria (1696-1763). The Triumph of David. London art market (1992). drawing. Includes a figure (not visible) blowing a reverse-curve, spiral-ribbed horn with a rusticated bell. (sale, Phillips, 8.VII.1992; Burlington 134 [1992) June ad p. v [fine color reproduction])

Jephthah: [Ferretti Pa] Ferretti, Gian Domenico (1692-1767). The Return of Jephthah. Prato, Palazzo Nencini. Includes a figure blowing a looped horn with a serpent-head bell (on the ladies' side of the event). (E. A. Maser. Gian Domenico Ferretti. Firenze 1968. pl. 16)

Solomon and Sheba: [Conca Pa] Conca, Sebastiano (1680-1764). Solomon and the Queen of Sheba. Naples, S. Chiara. Musicians in the balcony include a trumpeter and a player of a coiled horn. (Vis. Coll. 372.C744.19[a]1)

Other: See also Scenes of Everyday Life -- Indoor, Banquets.

[Migliori Pa] Migliori, Francesco (ca. 1684-1734). The Worship of the Golden Calf. Venice, S. Moisè. Includes a figure blowing a looped horn, held bell pointing upward. (C. Donzelli. I pittori veneti del settecento. Firenze 1957. fig. 223)

[Milani Pa] Milani, Aureliano (1675-1749), attr. The Worship of the Golden Calf. Kenwood House, Iveagh Bequest (on indefinite loan from the executors of the late Princess Royal). Includes a figure blowing a looped horn with a rusticated bell, held bell pointing upward.. (D. C. Miller. "An 'Israelites Worshipping the Golden Calf' by Aureliano Milani." Burlington 116 [1974] 331-332, repr. p. 330, as probably ca. 1711. Notes it is in the 1936 catalog of the collection of Lord Harwood as school of Poussin; notes other attributions to David I Teniers and Moses van Uytenbroeck

[Milani Dr] _______, attr. The Worship of the Golden Calf. Royal Library, Windsor Castle, Coll. H. M. the Queen. drawing. Includes figures playing a looped horn with a rusticated bell, held bell pointing upward, and a straight trumpet. (Burlington 116 [1974] 330)

[Ricci Pa] Ricci, Sebastiano (1659-1743). Solomon Speaking to the People. ** Includes figures playing two reverse curve (?), sharply curved horns/trumpets with rusticated or animal-head bells. (J. Daniels. Sebastiano Ricci. Hove, Sussex, 1976. cat. no. 520, fig. 323)

[Gb Tiepolo Pa] Tiepolo, Giambattista (1696-1720). The Sacrifice of Melchizedek. Verolanuova, Parrocchiale. Includes a figure blowing a looped horn. One of the upward-pointing ones. (R. Pallucchini. La pittura veneziana del settecento. Venice 1960. fig. 210)

II: New Testament

Nativity -- Adoration of the Magi: [Mura Pa] Mura, Francesco de (1696-1782). The Adoration of the Magi (1732). Naples, Chiesa della Nunziatella. Includes in the retinue of the Magi a figure with a 1-1/2 circle coiled/looped horn, played bell up. (cat. exh Naples, 1979-80: Civiltà del '700 a Napoli, 1734-1799. [not exh] vol. I, p. 131 [useless reproduction])

Passion -- Mocking/Flagellation of Christ: [Crespi Pa] Crespi, Giuseppe Maria (detto Lo Spagnuolo) (1665-1747). The Mocking of Christ. private collection. A figure blows an animal-horn horn at him. (G. Botta. Le collezioni Agosti e Mondoza. Milan 1936. pl. 57)

Passion -- Via dolorosa: [Milani Dr] Milani, Aureliano (1675-1749). Via dolorosa. Paris, Louvre, CdD. drawing. Includes mounted heralds playing a looped horn with a rusticated bell, played bell pointing up, and two straight trumpets. (Burlington 116 [1974] 333)

IV: Saints

St. Anthony: [Ricci Pa] Ricci, Sebastiano (1659-1743). The Temptation of St. Anthony. Munich AP. Includes a satyr dancing to his tambourine, a looped horn hanging at his waist. (J. Daniels. Sebastiano Ricci. Hove, Sussex, 1976. cat. no. 252, fig. 200. As from his Florentine period, influenced by Magnasco; C. Donzelli. I pittori veneti del settecento. Firenze 1957. fig. 284; CR Udine, 1975: Sebastiano Ricci e il suo tempo. fig. 157. As by Ricci and A. F. Peruzzini.)

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

V: Mythology

Actaeon: See also Diana.

Bacchanale: [Magnasco Pa] Magnasco, Alessandro (1667-1749). Bacchanale. St. Petersburg, Hermitage. Includes a figure with a looped horn. (M. Marangoni. Arte barocca. Firenze 1973. fig. 211 [detail])

_______. Festival. private collection. Includes an unplayed looped horn and a 1-1/2 circle coiled horn hanging on a wall. Women play lyre and tambourine. (G. G. Syamken. Die Bildinhalt des Alessandro Magnasco. Diss. Hamburg. 1965. Ab. 9 [useless reproduction]. As Florealien-Fest.)

Diana: [Boselli Pa] Boselli, Felice (1650-1732), after Parmigianino. Diana and her Followers. Parma, Galleria Nazionale. A female follower has a deeply curved horn at her waist. unimp. (F. Arisi. Felice Boselli. Piacenza 1973. fig. 355. As ca. 1700)

[Crosato Fr] Crosato, Giambattista (1685/6-1758), attr. Stag Hunt (with Diana). S. Trovaso di Preganziol, Barchessa Albrizzi. fresco. Includes one or more figures with little curved horns. unimp. (M. Precerutti Garberi. Affreschi settecenteschi delle ville Venete. Milan 1968. fig. 188)

[Magnasco Pa] Magnasco, Alessandro (1667-1749). Diana and Actaeon. location unknown. A female figure holds a looped horn and a male figure plays one. There seems to be another hanging on a ruin. (G. G. Syamken. Die Bildinhalte des Alessandro Magnasco. Diss. Hamburg. 1965. Abb. 10 [useless reproduction])

Satyrs: See also Saints, St. Anthony.

Other: [Magnasco Pa] Magnasco, Alessandro (1667-1749). The Rape of Proserpine. Hermannstadt, Baron Bruckenthalsches Museum. Includes a figure with a large looped horn. (G. G. Syamken. Die Bildinhalte des Alessandro Magnasco. Diss. Hamburg. 1965. Abb. 8)

[Marchesini Pa] Marchesini, Alessandro (1664-1738). Dido and Aeneas. private collection (Pommersfelden). There is an reverse-curve, looped horn (with a rusticated bell?) on the ground in the foreground. It is a very serpentine object. (C. Donzelli. I pittore veneti del settecento. Firenze 1957. fig. 194; Arte veneta 33 [1979] 103)

[Ricci Pa] Ricci, Sebastiano (1659-1743). The Rape of Proserpine. ** Includes a satyr blowing a looped horn with an animal head (a snarling tiger?) bell. (J. Daniels. Sebastiano Ricci. Hove, Sussex, 1976. cat. no. 236, fig. 196)

VI: Literary and Historical Subjects/Figures

[Creti Pa] Creti, Donato (1671-1749). Philip of Macedona Restraining the Anger of Alexander the Great. Washington, D. C., National Gallery of Art (Kress Collection). Includes, in a balcony at the back, a little brass band of two looped and very curvy horns/trumpets with rusticated or animal-head bells and two slide trumpets/quasi trombones. A rather pale detail. (R. Roli. Donato Creti. Milan 1967. pl. after p. 16 [splendid color reproduction], pl. 13 (black & white). As before 1705.)

[Giaquinto Dr] Giaquinto, Corrado (1699-1765). The Translation of the Relics of SS Acutius and Eutyches from Pozzuoli to Naples. London art market (1978). drawing. Includes players of two trompe-de-chasse-like cornui and two straight trumpets. unimp. (sale, Sotheby's, London, 25.IV.1978; Apollo 107 [1978] March ad p. 127)

[Gb Tiepolo Pa] Tiepolo, Giambattista (1696-1770). Cleopatra's Feast (1744). Melbourne, National Gallery of Victoria (ex Hermitage). Includes two figures blowing trumpets with semi-circular (almost circular) curves at the distal end. (Masterpieces of the National Gallery of Victoria p. 29 [color reproduction]; G. Piovene. L'opera completa di Giambattista Tiepolo. Milan 1968. pl. XXX [color reproduction]; Apollo 112 [1980] 178; Connoisseur [1955] 34, 212 [both useless reproductions])

[Gb Tiepolo Fr] _______. Banquet of Anthony and Cleopatra. Venice, Plazzo Labia. fresco. There is a looped horn visible (the horn, not the player) in an ensemble composed of viola, chitarrone, two woodwinds, a straight trumpet, a conductor and a singer. (O. Benesch. Collected Writings, II. Ed. E. Benesch. London, New York, 1971. fig. 180; A. Bovero. Immagini dell'arte italiana attraverso i secoli. VI. Turin 1967. p. 140; V. Golzio. Siecento e settecento. Turin 1968. [Storia dell'arte classica e italiana, 4] p. 1251; cat. exh Udine, 1971: [Gb] Tiepolo. Ed. A. Rizzi. vol. I, p. 81; Apollo 112 [1980] 179 [in sitù] As. ca. 1745-50.)

VII: Allegory

Music/Poetry/Liberal Arts: [Magnasco Pa] Magnasco, Alessandro (1667-1749). Allegory of Music. New York art market. Includes two looped hunting horns hanging on a wall. Also curtal and at least one more woodwind, frame drums. unimp. (Vis. Coll. 372.M275.4M)

Triumph/Victory: [Solimena Pa] Solimena, Francesco (1657-1747). Triumph of a Prince/Naples Delivered from Vice. Naples, Scuola media Vittorio Emanuele II. Includes a wreathed figure in antique costume blowing a large looped, reverse-curve horn or trumpet. (Burlington 121 [1979] 213)

Vice/Virtue: See also Triumph/Victory:

XII: Decorative Elements

[Carlone Fr] Carlone, Carlo Innocenzo (1686-1775). Hommage to the Fine Arts by Clemens August, Elector of Cologne. Brühl, Schloss Augustusburg, Main Staircase. ceiling fresco. Includes a military trophy with coiled horn, trumpet and kettledrums. (exh Schloss Augustusburg, 1961: Kurfürst Clemens August, Landesherr und Mäzen des 18. Jahrhunderts. pl. 8 [color reproducton]; W. Hansmann. Das Treppenhaus und das Grosse Neue Appartement des Brühler Schlosses. Düsseldorf 1972. fig. 105)

XIII: Scenes of Everyday Life -- Outdoor

Garden Parties: [Amigoni Pa] Amigoni, Jacopo (1675-1752). Garden Party. Madrid, Prado. Two dancers are accompanied by an ensemble of violin, cello and coiled horn. A figure also seems to hold a flute. (F. J. Sánchez Cantón. Escultura y pintura del siglo XVIII. Madrid n.d. [Ars hispaniae, 17] fig. 121 [poor reproduction])

Hunts and Hunters: See also Mythology, Diana.

[Crosato Fr] Crosato, Giambattista (1685/6-1758). A Hunter and his Lady. Stupinigi, Casino di caccia, Antecappella di S. Uberto. fresco. The hunter has a 2-1/2 circle coiled horn (large cup mouthpiece) slung over his shoulder. (G. Fiocco. Giambattista Crosato. Padua 1944. pl. 7; R. Pallucchini. La pittura venezia del settecenti. Venice 1960. fig. 69 as ca. 1733; cat. exh Turin, 1963: Mostra del barocco piemontese. [Turin 1963] vol. II., pl. 84)

[A Magnasco Pa] Magnasco, Alessandro (1667-1749). Stag Hunt. Hartford, Wadsworth Atheneum. Includes figures with two looped horns. (Vis. Coll. 372.M275.91[d])

[S Magnasco Dr] Magnasco, Stefano (1665-ca.1695). Study of a Hunter. Firenze, Uffizi. drawing. He is on foot, with a lance and a looped horn. (Brüchle and Janetzky 1976. p. 52 [ok reproduction])

[Gb Tiepolo Pa] Tiepolo, Giambattista (1696-1770). Fragment from the Royal Hunt. private collection. Includes a figure blowing a looped horn/trumpet. (Burlington 121 [1979] 412)

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

[Sevin Dr] Sevin, Pierre Paul (1650-1710). The Hunting Trophies Carried into Rome as an Introduction to the Carnival, 4 February 1668. Stockholm NM? drawing. Includes eight horsemen with 2-1/2 circle tightly coiled horns and two with trumpets (one played, one held). (P. Bjurström. Feast and Theatre in Queen Christina's Rome. Stockholm 1966. p. 76 [Analecta reginensia, 3])

[Sevin Dr] _______. Part of a Cavalcade, Probably Arranged by Maria Mancini in 1669 in Rome. Stockholm NM? drawing. Led by costumed figures on foot blowing two curved horns, two looped horns, two trumpets and two straight trumpets. (An early brass band.) Does this indicate a variety of hunting instruments? It is mostly a procession of dog handlers. (P. Bjurström. Feast and Theatre in Queen Christina's Rome. Stockholm 1966. p. 82 [Analecta reginensia, 3])

Other: [Magnasco Pa] Magnasco, Alessandro (1667-1749). The Guitar Player. Includes an inn sign (upper right corner) with a looped horn as an emblem. (exh, Venice, 1929: Il settecento italiano. pl. 23 [miserable reproduction, no location])

XIV: Scenes of Everyday Life -- Indoor

Banquets: [Bigari Pa] Bigari, Vittorio Maria (1692-1776). A Feast. Bologna, Pinacoteca Nazionale. Music is provided by players (high up in a balcony) of two semi-circular horns and four trumpets. (Bologna. Pinacoteca Nazionale. 1967. p. 391? [unhelpful reproduction]. As Il convito di Assalonne/Banquet of Absalom; V. Golzio. Seicento e settecento. Turin 1968. [Storia dell'arte classica e italiana, 4] p. 1168. As Funesta fine di un banchetto; Vis. Coll. 372.B480.90[a], 90[a]D)

Operatic or Theatrical Scenes: [Olivero Pa] Olivero, Pietro Domenico (1680-1755). The Teatro Regio, Turin. Turin, Museo Civico d'Arte Antica. Probably depicts a performance of Francesco Feo's Arsace (1740). The orchestra includes two players of 2-1/2 circle coiled horns, played held straight up, bells above the players' heads. (M. Bernardi. Tesori d'arte antica in Piemonte. Milan [1969?]. p. 714 [splendid color reproduction]; Brüchle and Janetzky 1976, p. 128 [detail]; R. Levi Pistezky. Storia del costume in Italia. vol. IV. Milan 1967. p. 322; L. Mallé. Museo Civico di Torino; I dipinti del Museo d'Arte Antica. Turin 1963. pl. XIX [color reproduction]; exh Turin, 1963: Mostra del barocco piemontese. vol. I, pl. 25, pl. 41 [ok reproduction]; MGG, vol. 13, Taf. 57 [too small]; Sartori, C., ed. Ricordi Enciclopedia della Musica. Milan 1963-64. vol. II, tav. 27; The New Grove vol. 19, p. 262 [fair reproduction])

XV: Miscellaneous Figures

Angels: [Crosato Fr] Crosato, Giambattista (1685/6-1758). Trompe l'oeil Angels. Turin, Consolata. cupola fresco. One of the angels blows a 1-1/2 circle coiled horn. Probably as good an angel with a coiled horn as there is. (G. Fiocco. Giambattista Crosato. Padua 1944. pl. 24)

Putti: [Guardi Pa] Guardi, Gian Antonio (1698-1760). Putti. Venice, Chiesa dell'Angelo Raffaele. One blows a large, curved horn (almost flat bell). unimp. (Vis. Coll. 372.G9316.17[b]7)

Other: [Boselli Pa] Boselli, Felice (1650-1732), copy after Parmigianino. Youth Playing a Horn. Parma, Galleria Nazionale. It's a curved horn. unimp. (F. Arisi. Felice Boselli. Piacenza 1973. fig. 346. As ca. 1700.)