Status as of May 2002
PLEASE DO NOT SEND ADDITIONAL ENTRIES. The entries published here are only the ones for which I have somewhat respectable bibliographic entries at this time. I have much more information for these and for additional entries which will be added as I get around to it. I didn't set out to compile a bibliography -- or, more properly, an iconography. This list is just what happens to be lying about the house. It is very much a work in progress, but if I waited until everything was perfect, it would never appear.
However, I would appreciate corrections -- wrong page references, for example. Send corrections to
Mary Rasmussen
Music Department
University of New Hampshire
Durham NH 03824 (USA)
I am singularly error-prone, alas, and I am sure that there are numerous mistakes in this list. Sorry.
The purpose of this iconography is to answer the question "Where can I find an illustration of ...?" I have included only works of art for which there is a published reproduction (plus some that are in the Visual Collection, Fine Arts Library, Harvard University and a few in the Bild-Archiv Photo Marburg).
Many thanks to the UHN Music Department for putting this index on their web page.
For the purposes of this iconography, however unfashionable it may be, the term "arch lute" is used generically for lutes with two heads, one surmounting the other; and the term "theorbo-lute" is used generically for lutes with two heads, one more or less at a right angle to the other.
Parables -- Prodigal Son: See also Scenes of Everyday Life -- Indoor, Parties/Music Parties.
[Callot Pr] Callot, Jacques (1592-1635). The Prodigal Son Feasting with Harlots, pl. III of a Prodigal Son series. etching. One of the figures around the table may play a sort of colascione (a plucked viol/viola with a very long neck). (H. Daniel. Callot's Etchings. New York 1974. fig. 319; Archivo español de arte 24 [1951] pl. VI after p. 350; La Revue des Arts 1 [1951] 96)
[Callot Pr] _____. The Prodigal Son Takes his Place at the Feast (Return). etching. Several musicians take part, including one with a lute. (H. Daniel. Callot's Etchings. New York 1974. fig. 326; La Revue des Arts 1 [1951] 101 [useless reproduction])
St. Anthony: [Callot Pr] Callot, Jacques (1592-1635). The Temptation of St. Anthony. etching. Demons play several musical instruments, including a colascione. (H. Daniel. Callot's Etchings. New York 1974. fig. 327 -- second version, done ca.1634, pub. 1635)
St. Cecilia: See also Miscellaneous Figures, Angels.
Muses: [BI Paris 1594] Anon. Apollo and the Muses, from Chansonettes ... Paris, A. Le Roy and C. Le Bé Ballard, 1594. woodcut. One of the Muses plays a lute. (Mortimer French. no. 135, p. 169)
[BI Paris 1600] Anon. Apollo and the Muses, title-page illustration from Antoine Francisque, Le trésor d'Orphée ... Paris, Veuve R. et P. Ballard, 1600. etching. One of the Muses has a lute. (Early Music 6 [1978] contents insert; Gitarre & Laute 1981/1, p. 44 [minuscule reproduction])
[BI Paris 1608] Anon. Title-page border of Claude le Jeune, Second livre des airs ... Paris, Pierre Ballard, 1608. woodcut. One of the Muses has a lute. (Fraenkel no. 34; MGG VIII, col. 591 [fuzzy reproduction]; Gazette des Beaux-Arts 63 [1964] 133)
[BI Paris 1624] Caus, Salomon de (ca.1576-1626). Design for Parnassus, from Salomon de Caus, Les raisons des forces mouvantes. Paris 1624. Book II, Problem XXIII. engraving. Design for a garden automaton. One of the Muses has a lute. (R. Strong. The Renaissance Garden in England. London 1979. p. 89 [small reproduction])
[M Courteys En] Courteys, Martial (doc. 1579-80). Apollo and the Muses. London, Wallace Collection. enamel dish. One of the Muses has a lute. (1904 catalog. Ed. A. L. Baldry. p. 279)
[De Ruet Pa] De Ruet, Claude (ca. 1588-1660). Triumph of Anne of Austria. Stockholm, Drottningholm, Theater Museum. Anne of Austria was the mother of Louis XIV. Includes a wagon-load of Muses, one of whom plays a lute. Another version in Orléans MBA. (Mirimonde Iconographie musicale. vol. I, fig. 31)
Venus: [Poussin Pa] Poussin, Nicolas (1594-1665). Venus and Mercury. Paris Louvre (left half), Dulwich Picture Gallery (right half). In the left section two putti sing, one conducts and one plays a viol. There is an unplayed stringed instrument (a lute?). In the right section there is a lute leaning against a rock (?). (C. Wright. Poussin Paintings; A Catalogue Raisonné. New York 1985. cat. no. 12, p. 22 [small color reproduction of the half in the Louvre], p. 23 [color reproduction of the half in Dulwich]; Burlington 90 [1948] 6, as an allegory of the harmony between spiritual love, beauty and the arts; Gazette des Beaux-Arts 79 [1972] 140, 141 [composite]) Drawing for this in Paris Louvre CdD (exh Paris, Orangerie des Tuileries, 1977-78: Collections de Louis XIV. no. 155, p. 175 [ok reproduction]; Burlington 90 [1948] 6; Gazette des Beaux-Arts 79 [1972] 140). Engraving by Fabrizio Chiari (ca.1621-1695) (Mirimonde Iconographie musicale. vol. I, fig. 72).
Ages of Man: See also Allegory, Other; Scenes of Everyday Life -- Indoor, Parties/Music Parties.
Geographical: See also Allegory, Other.
[Vignon-J David Pr] Jérôme? David (ca.1605-ca.1670) after Claude Vignon (1593-1670). Europe. engraving. Includes an unplayed lute. (Mirimonde Iconographie musicale vol. I, no. 43)
Hearing (Five Senses): See also Still Life.
[Ne private collection] French, ca. 1600. Scenes from the Childhood of Christ, Interspersed with Female Figures Representing the Five Senses. ex Untermyer collection. needlework. Hearing is represented by a figure playing a lute. (Y. Hackenbroch. English and other Needlework, Tapestries and Textiles in the Irwin Untermyer Collection. Cambridge MA 1960. [The Irwin Untermyer Collection, vol. 4] pl. 142, fig. 185)
[Bellange Dr] Bellange, Jacques (fl. 1602-1617). Hearing, from a Five Senses series. Berlin, Kupferstichkabinett. drawing. The personification plays a lute (only the back of the neck of the lute visible). unimp. (exh London, Royal Academy of Art, 1932: French Art, 1200-1900. no. 574, pl. 153; Vis. Coll. 375d.B416.4S2)
Months/Zodiac (January): [Callot Pr] Callot, Jacques (1592-1635). January, from a Twelve Months series. etching. Includes a comedian playing a lute. From a series of the months engraved after Josse de Momper (1564-1635) by Adriaen Collaert and his son Jan and published by Philips Galle. (J. Lieure. Jacques Callot. IIème partie. Catalogue de l'oeuvre gravé. Paris 1924. no. 2)
Music/Poetry/Liberal Arts: [Dr Paris BN CdE] Anon. "La Musique," from the ballet Fées de la Forêt de Saint-Germain, 11 February 1625. Paris BN CdE. drawing. The figure plays a lute, has a cornett for a nose, a music stand and a music book for a hat -- with a tiny tambourine (?) hanging from the music stand, and a music book on her hip. (Gazette des Beaux-Arts 64 [1964] 282, from H. Prunières. La ballet de cour en France. p. 126)
[BI Paris 1619] Anon. "Mvsiqve," from Christofle de Savigny, Tableaux accomplis de tous les arts liberaux. Paris 1619. engraving. There is a lute among the many musical instruments. (Imago musicae 1 [1984] 87 [ok reproduction])
[Briot Me] Briot, François (b. ca. 1550-doc. to 1616), Successor. Adam and Eve, The Seven Liberal Arts and Roman Emperors. Schloss Burg an der Wupper. tin plate. The personification of Music holds a lute and sings (?) from a music book. There is a cornett (?) on the floor beside her. (1969 catalog, pl. 25) Note also the similar tin baptismal basin (Taufschüssel) formerly in Karlsruhe, Grossherzogliche Kunstgewerbeschule (and before that in the church in Badenweiler). (Die Kunstdenkmäler des Grossherzogthums Baden. V: Kreis Lörrach. Tübingen 1901. pl. X, opp. p. 80)
[E Moreau Pr] Moreau, Edme (doc. 1617-1660). Thèse des arts libéraux. engraving. Includes a putto dangling a lute. unimp. (Gazette des Beaux-Arts 125 [1995] 293 [small reproduction])
[Régnier Pa] Régnier, Nicolas (1590-1665). The Divine Inspiration of Music. Los Angeles County Museum of Art. With several musical instruments, including a chitarrone and a lute. (exh Vienna, Palais Harrach, 2001: Dipingere la musica; Musik in der Malerei des 16. und 17. Jahrhunderts. S. Ferino-Pagden, ed. no. I.60, p. 184 [fine color reproduction]; Gazette des Beaux-Arts 101 [March 1985] La chronique des arts no. 1370, p. 33 [small reproduction])
Seasons: See also Still Life; Scenes of Everyday Life -- Garden Parties.
Triumph/Victory: See also Scenes of Everyday Life -- Indoor, Church Music.
Vanitas: See also Still Life.
[Le Valentin Pa] Le Valentin (Jean de Boullongne) (1594-1632), attr. Lute Player with Vanitas Still Life. He has a double-headed lute. (Potocki sale, Sotheby's, London, 26.III.1952)
Vice/Virtue: See also Scenes of Everyday Life -- Outdoor, Processions etc. (Fortitude).
[BI Paris 1619] Ziarnko, Jan (doc.1596-1629). Witches' Sabbath, from Pierre de Lancre, Tableau de l'inconstance et de mauvais anges et demons. Paris, Jean Berjon, 1619. between pp. 118 and 119. engraving. Indludes, among a group of assorted music makers, a devil (?) playing a lute. (La France et la Pologne dans leurs relations artistiques 1 [1938] = Catalogue raisonné de l'oeuvre de Jan Ziarnko, cat. no. 7, fig. 24, p. 219)
[Brébette Pr] Brébette, Pierre (1598-ca.1650). "Bon temps." engraving. Includes a courtesan with a French theorbo and a child angel playing with a lute (strumming it like a zither). The other symbols have to do with wine, money, etc. (Mirimonde Iconographie musicale. vol. I, no. 45)
[Varin Pa] Varin, Quentin (1580-ca.1645). The Picture of Cebes. Rouen MBA. Incldes a woman (?) playing a lute (there may be other musical figures). (Y. Pruvost. "Un tableau de Quentin Varin au Musée de Beaux-Arts de Rouen." Musées de France 14 [April 1949] 68-70, this reproduced p. 69 [poor reproduction]; La revue des arts 2 [1952] 167)
Other: [BI Paris 1594] Anon. "Le charlatan espagnol," from Satyre Menippée de la vertu du catholicon d'Espagne. [Paris] 1594. woodcut. The charlatan plays a lute (and sings). (J. H. M. Salmon. Society in Crisis. France in the Sixteenth Century. New York 1975. fig. 20, as the Spaniard who peddled his patent medicine, the Catholicon, to the deputies of the League's Estates General.)
[Callot Pr] Callot, Jacques (1592-1635). La petite thèse/Iubilatio triumphi virgines ... etching. Includes a large number of draped female figures, among them players of colascione, lute and long-necked lute. (G. Sadoul. Jacques Callot ... [Paris] 1969. p. 191)
[Fornageris Pa] Fornageris, Jacques de (16th-17th century). Felicité de la Régence de Marie de Médicis. engraving. There are a number of unplayed musical instruments, including a lute. (Mirimonde Astrologie. pl. 59)
[Mathonière Pr] Mathonière, Nicolas de (doc.1610-1622). "Pour se marier on balance a qui aura plus d['] opulance/Before the marriage the scale tells who will be richer" (1613). engraving. On the loser's side there is a lute among objects of the arts, sciences, military and entertainement. On the winner's side there is money and precious/expensive objects. (exh New York, Metropolitan Museum of Art, 1995: The French Renaissance in Prints from the Bibliothèque Nationale de France. no. 175, p. 433)
[Mellan Pr] Mellan, Claude (1598-1688). Allegory of the Education [by Minerva] of the Child Louis XIV (1640). engraving. Includes a lute among the various symbolic objects. (Münchener Jahrbuch der bildenden Künste 30 [1979] 121)
[Le Valentin Pa] Le Valentin (Jean de Boullongne) (1594-1632). Allegorical Group. London NG. Includes a young man with a lute. Considered by some to be an allegory of the Ages of Man. (M. Laclotte. French Art from 1350 to 1850. New York 1965. [Great Art and Artists of the World] p. 98; Early Music 3 [1975] 352 [dark detail of the lute player]; The Dictionary of Art. New York 1996. vol. 4. p. 539 [miserable reproduction], as the Four Ages of Man, as ca.1625-26; Vis. Coll. 375.V2325.4A) A variant is in the Vassar College Art Gallery (1967 catalog, p. 109). Engraved by Antoine Louis Romanet (1742-1810) (Mirimonde Iconographie musicale. vol. I, no. 36)
[Le Valentin Pa] _______. Allegorical Group. Vienna KH. A youth plays a violin, a cavalier plays a lute, an old man has a recorder and a woman plays a tambourine. (exh Rome, 2000-01: Colori della Musica; Dipinti, strumenti e concerti tra Cinquecento e Seicento. p. 25 [small reproduction, not exhibited], with location as Paris Louvre; Mirimonde Iconographie musicale. vol. I, fig. 124; MgB IV/3 p. 57) Variant in Darmstadt, Hessisches LM (exh Vienna, Palais Harrach, 2001: Dipingere la musica; Musik in der Malerei des 16. und 17. Jahrhunderts. S. Ferino-Pagden, ed. no. V.11, p. 273 [fine color reproduction], as after Le Valentin; Gemälde aus dem Hessischen Landesmuseum in Darmstadt. Frankfurt am Main 1963. unnumbered illustration [color reproduction]). Variant/Copy on the New York art market (1960) (Burlington 102 [1960] June Supplement: Notable Works of Art now on the Market, pl. IX [ok reproduction])
[BI Paris ca. 1614] Merian, Matthaeus I (1593-1650). "Contentement d'une dame noble," from Emblemata amatoria. Paris, Luc Lamiel editeur, ca. 1614. etching. A woman sits on a bed and plays a lute. There is an open music book on the table. (Wüthrich 1966. no. 55, Abb. 38)
[Dr art market] French, late 16th century. A Young Woman Playing a Lute. Düsseldorf art market (1959). drawing. (C. G. Boerner. Düsseldorf, catalog no. 25 [1959] cover [fine color reproduction] and as no. 12; Musica calendar 1961: 26 Feb.-11 March [fine color reproduction])
[Pa art market] French, early 17th century. A Man Playing a Lute. London art market (1948). He is a rather exotic-looking fellow. A candlelight piece. (Burlington 90 [1948] May ad p. iv)
[Pa art market] Anonymous Caravaggesque painter (possibly French). A Young Man Playing a Lute. London art market (1973). There is also a violin on the table in front of him. An allegory of the Five Senses. (Burlington 132 [1990] 15 [small reproduction])
[Fréminet Dr] Fréminet, Martin (1567-1619). A Young Man Reading. Vienna Albertina. drawing. A study. There is a barely sketched-out lute on the table beside him. unimp. (O. Benesch. Master Drawings in the Albertina. European Drawings from the 15th - 18th Centuries. New York 1967. no. 207; exh London, Royal Academy of Art, 1932: French Art, 1200-1900. no. 563, pl. 155; Vis. Coll. 375d.F885.51[a])
[Le Nain Pa] Le Nain Brothers (op. first half, 17th century), attr. Allegorical Family (?) Group. Denver Art Museum. A woman sings and men sing and play violin, lute and flute. (Gazette des Beaux-Arts 61 [1963] February, Chronique des arts no. 1129, p. 28 [minuscule reproduction])
[A Le Nain Pa] Le Nain, Antoine (1588?-1648) Family Portrait (1642). Paris Louvre. Includes a cheery man playing a lute. (Dufourcq Musique. vol. I, pp. 238-39 [reproduction across page crease]; C. Mauricheau-Beaupré. L'art au XVIIe siècle en France. Ière periode. 1594-1661. Paris 1946. no. 117 [ok reproduction]; exh Paris, Grand Palais, 1978/79: Les frères Le Nain. no. 41, p. 229, suggests a group of amateur musicians rather than a family; Revue du Louvre 15 [1965] 224; Rijksmuseum Bulletin 19 [1971] 22)
[M Le Nain Pa] Le Nain, Matthieu (1607-1677), attr. Allegorical Group Portrait. Paris Louvre. One of the men is putting a new string on his lute -- a characteristic action, no doubt, but one rarely portrayed. (I. Compin and A. Roquebert. Catalogue sommaire illustré des peintures du musée du Louvre et du musée d'Orsay. École française. Paris 1986. vol. IV. p. not recorded. as "Oeuvre d'un pentre nordique actif en France," 17th century; exh Paris, Grand Palais, 1978-79: Les frères Le Nain. cat. no. 44, p. 26 [color reproduction], p. 239 [b & w reproduction]; H. Adhemar. "Proposition à propos d'un portrait de groupe [de 'Le Nain', 1649?]: 'L'accord interrompu' ou 'La rupture des accords de Rueil'." Gazette des Beaux-Arts 108 [1986] 215-219, this reproduced p. 215, with detail of the man with the lute p. 216. Suggests the painting is an allegory of the breaching of the treaty of Rueil-Saint-Germain in 1649; L. Kone_ný. "Comment peint-on la Fronde?" Gazette des Beaux-Arts 120 [1992] 15-16. As by Mathieu Le Nain. Suggests that the painting "allegorically portrays the breach of the Rueil agreement on 11th March-1st April [1649] which put an end to the parliamentary insurrection called the 'Fronde parlementaire'."; Revue du Louvre 15 [1965] 225 [small reproduction])
[Tournier Pa] Tournier, Nicolas (1590-p.1657). Young Cavalier Playing a Lute. St. Petersburg Hermitage. (S. N. Vsevolozhskaia et al. Ital'ianskaia zhivopis' XIII-XVIII vekov v sobranii Ermitazha. Leningrad 1964. pl. 124, as Bartolomeo Manfredi; Ermitazh. Soobshcheniia 26 [1965] 19, as Manfredi; exh Cremona, Museo Civico: Dopo Caravaggio. Bartolomeo Manfredi e la manfrediana methodus. Milan 1987. p. 48 [fair reproduction, not exhibited])
[Le Valentin Pa] Le Valentin (Jean de Boullongne) (1594-1632), attr. Tuning Lute Player. London art market (1946). (sale, Christie's, London, 4.X.1946)
[Vouet Pa] Vouet, Simon (1590-1649). A Courtesan Playing a Lute. Geneva, Musée d'Art et d'Histoire. Genre portrait. (Mirimonde Iconograhie musicale. vol. I, fig. 103)
[Linard Pa] Linard, Jacques (ca.1600-1645). Still Life Representing the Five Senses (1627). Paris Louvre. Hearing is represented by a music book, a lute (with an unusual double pegbox) and a soprano or exilent recorder. (S. Ferino-Pagden. Immagini del Sentire ... n. p. 1996. p. 20 [small color reproduction], as the Five Senses and the Four Elements; exh Rotterdam BvB, 1954: 4 Eeuwen Stilleven in Frankrijk. no. 7, pl. 5 and detail on the cover; Burlington 97 [1955] April ad p. vi, May ad p. xiv and June ad p. xxvi)
[Stosskopf Pa] Stosskopf, Sebastien (1597-1657). Still Life ("La grande vanité") (1641). Strasbourg, Musée de l'Oeuvre Notre-Dame (on loan from the MBA). There is a lute among the objects. (H. Haug. L'art en Alsace. Grenoble 1962. fig. 207; H. Haug. Trois siècles d'art alsatien, 1648-1948. Strasbourg 1948. p. 49; exh Berlin, Orangerie des Schlosses Charlottenburg, 1966: Deutsche Maler und Zeichner des 17. Jahrhunderts. cat. no. 100, pl. 101; exh Münster, Baden Baden, 1979/80: Stilleben in Europa. no. 226, p. 434 [fine color reproduction]; 1954 catalog: Natures mortes du Musée des Beaux-Arts de Strasbourg. no. 27 [fair reproduction]; La revue des arts 9 [1959] 290 [ok reproduction])
The inscription (after Haug 1962, p. 243):
[Stosskopf Pa] _______. Still Life (Allegory of the Five Senses or Summer?). Strasbourg, Musée de l'Oeuvre Notre-Dame (on loan from the MBA). Includes among the objects a violin (and its bow), a lute, and two music books. In the background there is a woman (back view) playing a lute. Mirimonde notes that the music is Psalm 76, translated by Théodore de Bèze and set to music by Claude Le Jeune: "Offrés vos dons à luy qui est Terrible à venger son mespris a luy qui peult quand il lui plaist Vendenger les Rois les esprits." (H. Haug. L'art en Alsace. Grenoble 1962. fig. 209; H. Haug. Trois siècles d'art alsatien, 1648-1948. Strasbourg 1948. p. 31; Mirimonde Iconographie Musicale. vol. I, fig. 97; 1954 catalog: Natures mortes du Musée des Beaux-Arts de Strasbourg. no. 23 [fair reproduction]; exh Münster, Baden Baden, 1979-80: Stilleben in Europa. p. 153 [not exhibited]; Early Music 9 [1981] October cover [ok color reproduction])
[BI Lyons 1581] Anon. Border of a portrait of De Verdier, from Vincenzo Cartari, Imagnies deorum ... Lyons, Bartholomeus Honorat, 1581. engraving. Minerva holds a harp, ond on the base beneath her there is a trophy of viola da braccko, lute, recorder (?), music book, compass and square (emblems of the arts of sciences). Opposite is Mars, and his trophy includes an S-shaped trumpet, drum, armor and halberd. (Mortimer French. p. 161)
Garden Parties: [Ne New York Metropolitan] British or French, ca. 1600. Animals, Birds, Fruits, Flowers, and Scenes of Courtly Life. New York Metropolitan. needlework panel. It twice depicts a couple promenading, with the woman playing a lute. (Y. Hackenbroch. English and other Needlework, Tapestries and Textiles in the Irwin Untermyer Collection. Cambridge MA 1960. [The Irwin Untermyer Collection, vol. (4)]. pl. 25, fig. 39 [useless reproduction])
[Callot Pr] Callot, Jacques (1592-1635). The Palace Gardens at Nancy (1625). etching. Includes a woman playing a harp; figures singing and playing lute, tambourine; and figures on a balcony playing violin and lute. (E. de Bechtel. Jacques Callot. New York 1955. fig. 136 [ok reproduction]; H. Daniel. Callot's Etchings. New York 1974. fig. 196. Considers it an allegory of Spring; G. Sadoul. Jacques Callot ... [Paris] 1969. pp. 186, 188-89 [detail, including the lute player to the left of the stairs])
Inn: [Callot Pr] Callot, Jacques (1592-1635). La petite treille/The Little Trellis. etching. Includes a woman playing a harp and a man playing a chitarrone (perhaps a colascione). (H. Daniel. Callot's Etchings. New York 1974. fig. 338)
Processions/Cavalcades/Entrees/Parades: [CI Avignon 1600] Matthaüs Greuter (ca.1564/66-1638) after Claude Grenier (doc.1628). A Triumphal Wagon, drawn by a pair of elefants, representing the triumphant and victorious royal sword, for the entry procession into Avignon of King Henry IV of France and Marie de' Medici, 19 November 1600, from André Valladier, Labyrinthe royale de l'Hercule Gaulois triumphant ... Avignon 1601. p. 17. engraving. Includes a figure playing a lute (back view, only very partly visible). (Bowles Musical Ensembles. fig. 65)
[CI Nancy 1626] Callot, Jacques (1592-1635). "Entreé [sic] de Monseigneur Henry de Lorraine Marquie de Moij soubs [sous] le nom de Pirandre," from the procession to a combat à la barriere during the festivities for the official entry into Nancy of Marie de Rohan, Duchess of Chevreuse, 14 February 1626, from Henri Humbert, Combat à la barriere ... Nancy 1627. pl. 42. etching. Court musicians dressed as women, riding in a wagon decorated as a Phoenix, play a number of musical instruments, including two lutes (one or both with very long necks). (Bowles Musical Ensembles. fig. 118; H. Daniel. Callot's Etchings. New York 1974. fig. 206)
[CI Nancy 1626] _______. "Cet entreé [sic] est de Monsieur le Comte de Brionne Grand Chambelan de son Altesse, representant Jason." as above. Includes figures dressed as mermen and mermaids around a ship. One plays a lute. H. Daniel. Callot's Etchings. New York 1974. fig. 205)
[CI Nancy 1626] _______. "Entreé [sic[ de Monseigneur le Prince de Pfaltzbourg tenant au Combat." as above. On one of the wagons, preceded by Fame with two straight trumpets, eight musicians dressed as women play lutes. (Bowles Musical Ensembles. fig. 117, 117b [detail]; H. Daniel. Callot's Etchings. New York 1974. fig. 201; Hirth no. 1714)
[CI Nancy 1626] _______. "Entreé [sic] de son Altesse [Duke Charles IV] representant le Soleil." as above. He plays a harp. Among the "female" musicians in the preceding festival car, one plays a lute. In the following festival car one plays a chitarrone (very long), another a lute, and there are what seem to be heads of two more lutes (there are other instruments as well). (H. Daniel. Callot's Etchings. New York 1974. fig. 207)
[CI Nancy 1626] _______. "Entreé [sic] des sieurs de Vroncourt. Tyllon. et Marimont." as above. Includes a musician riding on a huge fish, playing a lute. (H. Daniel. Callot's Etchings. New York 1974. fig. 203)
[CI Paris 1581] Patin, Jacques (doc.1564-m.a.1604). "Figure des Tritons"/Entry of the Tritons, from Baltasar de Beaujoyeulx, Le balet comique de la Reine, Paris, 15 October 1581, celebrating the marriage of the Duc de Joyeuse and Marguerite de Vaudemont. engraving. Musicians play bass viol, harp, lute and straight trumpet. (facsimile: Binghamton NY 1982. p. 16v; Bowles Musical Ensembles. fig. 39; Pincherle p. 42 [ok reproduction]; R. Strong. Splendour at Court. Boston 1973. fig. 115, p. 158; MGG I, Taf. XLII/3)
[CI Paris 1581] _______. "Figure de la Fontaine"/Queen Louise and her Ladies on the Fountain Chariot. as above. Two of them play bass viol and lute, and there are probably more. (facsimile: Binghamton NY 1982. p. 14v; Bowles Musical Ensembles. fig. 40; R. Strong. Splendour at Court. Boston 1973. fig. 117, p. 161; MgB III/9, Abb. 149)
[CI Paris 1581] _______. "Figure des quatre Vertus"/Entry of the Four Cardinal Virtues. as above. Fortitude plays a lute (not easy when you have to lug around a pillar). (facsimile: Binghamton NY 1982. p. 40v; R. Strong. Splendour at Court. Boston 1973. fig. 120, p. 165)
Street Scenes: See also Miscellaneous Figures, Comedians.
Ballets: See also Allegory, Music/Poetry/Liberal Arts.
[CI Paris 1617] Anon. Musicians in a woods (the Hermit and Godefroy's army), from the Ballet de la délivrance de Renaud, Paris, Palais du Louvre, 29 January 1617, from Discours au vray de ballet dansé par le Roy. Paris, P. Ballard, 1617. engraving. There are players of two (?) bass viols and at least eight lutes. (Kinsky p. 187; R. Strong. Splendour at Court. Boston 1973. fig. 44, p. 55 [poor reproduction]; MgB IV/2, p. 36 [poor reproduction], after H. Prunières. Le ballet de cour. Paris 1914)
[Dr no location] Anon. A Group of Musicians from the Ballet des fées de la forest de Saint-Germain, danced at the Louvre, Paris, in 1625. no location. drawing. Includes a figure playing a tenor or bass viol (played upside down as the player is walking), and at least twelve players of lutes and theorbo lutes. (Dufourcq Musique. vol. II, p. 238-29 [reproduction across page crease])
Balls: [CI Paris 1616] Anon. Louis XIII and Anne of Austria dancing before Marie de' Medici, Paris, Palais du Louvre, 1616. engraving. Accompanied by a band of violins (six, of different sizes from treble to bass) and a lute. (Mirimonde Iconographie musicale. vol. I, fig. 137 [small reproduction])
[Pa Paris Louvre] Franco-Flemish, ca. 1582. A Ball at the Court of Henri III on the Occasion of the Marriage of Anne, Duc de Joyeuse and Marguerite de Vaudémont, Paris, Louvre, 24 September 1581. Paris Louvre. The dancers are accompanied by musicians playing four lutes. (C. Sterling and H. Adhémar. Peintures. École française, XIVe, Xve et XVIe siècles. Paris 1965. pl. 247, pl. 249 [detail of the lutes] The text identifies several of the persons present in the painting.; F. Boucher. 20,000 Years of Fashion. New York n.d. p. 232 [small color reproduction]; L. Colliard. "Tableaux représentant des bals a la cour des Valois." Gazette des Beaux-Arts 61 [1963] 147-156, this reproduced pp. 148, 152 [detail, including two of the lute players]; Revue des arts 15 [1965] 212, as work of a Flemish artist working in Paris; Revue du Louvre 15 [1965] 211, 212 [detail]; MgB III/9, Abb. 113 [poor reproduction], as the entrée to a pavane; Vis. Coll. 375.F916.90[a]) Another version in Versailles, Musée National du Château. (C. Constans and J.-P. Babelon. Musée National du Château de Versailles. Paris 1995. vol. 2, no. 5593, p. 999 [minuscule reproduction])
Banquets: [Ne art market] French, ca. 1580. Henri IV of France Presiding at a Banquet. London art market (1968). needlework panel. Includes a man beside the banquet table playing a lute. Also, in a little gallery in the background, musicians play three wind instruments (?). (Connoisseur 169 [1968] Sept. ad p. liii [poor reproduction])
Church Music: [CI Nancy 1608] Friedrich Brentel (1580-1651) after Charles de la Ruelle (doc.1608-m.1658). The funeral of Charles III, Duke of Lorraine, in the Cathedral at Nancy, 19 July 1608, from Cérémonies des obsèques de Charles III .... Nancy 1609. engraving. One of the musical ensembles in the galleries includes singers accompanied by a lute and two bass viols (one bowed and one plucked). (Bowles Musical Ensembles. fig. 67, 67a [detail]; Naylor. Trumpet and Trombone. no. 45 [detail]; The New Grove vol. 4, p. 792)
[Ta Paris Gobelins] French (Charleville, atelier Daniel Pepersack), ca. 1628. The Consecration of an Abbess. Paris, Musée des Gobelins. tapestry. Includes, in a gallery, three choristers and a lute player. (Göbel II/2, no. 346 [fuzzy reproduction])
[E Moreau Pr] Moreau, Edme (doc. 1617-1660). Le triomphe de la très sainte Vierge chanté par les pères Bénédictins/The Triumph of the Holy Virgin Chanted by Benedictine Monks. engraving. Includes musical monks in galleries, one playing a lute. (Gazette des Beaux-Arts 125 [1995] 282 [small reproduction])
Guardrooms: [Le Valentin Pa] Le Valentin (Jean de Boullongne) (1594-1632). Cavaliers and Fortune Teller. Copenhagen SmfK. Includes a cavalier playing a lute (partly visible). (H. Olsen. Italian Paintings and Sculpture in Denmark. Copenhagen 1961. pl. XLVIIIb)
Inn Interiors: [Le Valentin Dr] Le Valentin (Jean de Boullongne) (1594-1632). Figures in an Inn. Florence, Uffizi. drawing. Includes a young man playing a lute. (Vis. Coll. 375d.V2325.9[a])
[Le Valentin Dr] _______. The Fortune Teller. Florence, Uffizi. drawing. Includes a young man holding a lute (and getting his pocket picked). (Vis. Coll. 375d.V2325.90[a])
Interiors (not Church, Inn): [Pa private collection] French, 1617. Perspective Interior with Figures. Wildenstein, London, 1940. Includes a woman playing a virginal and a man playing a lute. (Vis. Coll. 375.F917.90[b])
Parties/Music Parties: [Pa Aix-en-Provence Granet] French, ca. 1580. Figures around a Table. Aix-en-Provence, Musée Granet. Includes two men and a woman singing and women playing bass viol (only a bit of the bow visible) and lute. Similar to a number of representations of the Prodigal Son feasting with harlots. (Dufourcq Musique. vol. I, p. 135 [ok reproduction]; Lesure pl. 42 [a] [English], pl. 48 [German], as mid-16th century)
[Pa art market] French, first half, 17th century. Party with Musicians and Comedians. Paris art market (1903). Includes women playing a harpsichord and lute [tiny] and men playing violin, lute and cornett. Dancing across in front of them is a comedian with a lute. (Hochon sale, Petit, Paris, 11-12.VI.1906 [tiny reproduction])
[Leclerc Pa] Leclerc, Jean (1587/88-1633). Group of Figures by Candlelight. Munich AP. Men play violin and lute (the lute player, back view, looking on music held by a boy), and there are perhaps some singers. Much love-making. Suggests the Prodigal Son feasting with harlots. (C. Donzelli and G. M. Pilo. I pittori del seicento Veneto. Florence 1967. pl. 237; M. Laclotte. French Art from 1350 to 1850. New York 1965. [Great Art and Artists of the World] p. 223; A. Ottani Cavina. Carlo Saraceni. Milan 1968. fig. 32; exh Vienna, Palais Harrach, 2001: Dipingere la musica; Musik in der Malerei des 16. und 17. Jahrhunderts. S. Ferino-Pagden, ed. no. III.18, p. 230 [ok color reproduction], as ca.1621/22) There is a copy in a private collection (La revue des arts, Musées de France 8 [1958] 69)
[Regnier Pa] Regnier, Nicholas (1590-1667). Musical Gathering. Riga, Museum. (Mirimonde Iconographie musicale. vol. I, fig. 126) A pretty young lady plays harpsichord, a man plays a lute and a youth sings. unimp. There are also versions in the Hermitage, St. Petersburg, and on the London art market (1964) (Apollo 79 [1964] June ad p. xvi [color reproduction])
[Tournier Pa] Tournier, Nicolas (1590-p.1657). Drinking and Music Party. Bourges, Musée de Musique. Includes a youth singing and a cavalier playing a lute. (exh Cremona, Museo Civico: Dopo Caravaggio. Bartolomeo Manfredi e la manfrediana methodus. Milan 1987. p. 47 [fair reproduction, not exhibited])
[Tournier Pa] _______. Drinking and Music Party. Le Mans, Musée de Tessé. A reinterpretation of a painting by Bartolomeo Manfredi in Los Angeles. Includes a cavalier playing a lute. It is not an exact copy. Tournier's lute and lute player are actually better. unimp. (exh Vienna, Palais Harrach, 2001: Dipingere la musica; Musik in der Malerei des 16. und 17. Jahrhunderts. S. Ferino-Pagden, ed. p. 104 [small reproduction, not exhibited]; exh Rome, 2000-01: Colori della Musica; Dipinti, strumenti e concerti tra Cinquecento e Seicento. p. 101 [small reproduction, not exhibited]; exh Cremona, Museo Civico: Dopo Caravaggio. Bartolomeo Manfredi e la manfrediana methodus. Milan 1987. no. 23, p. 113 [fair color reproduction]; exh London, Trafalgar Galleries, 1976: In the Light of Caravaggio. p. 4 [not exhibited]; Burlington 116 [1974] 605)
[Tournier Pa] _______. Musical Gathering. Paris Louvre. A woman plays a keyboard instrument, men play violin and lute, and a cleric plays a cello. A child sings. (Mirimonde Iconographie musicale. vol. 1, fig. 127; Musée du Louvre. Catalogue illustré des peintures, École française, XVIIe et XVIIIe siècles. Paris 1974. no. 808; Gazette des Beaux-Arts 50 [1957] 337 [fair reproduction]; Musique-Images-Instruments 2 [1996] 92 [ok reproduction]; Revue du Louvre 15 [1965] 222)
[Tournier Pa] _______. Musical Gathering. St. Louis, City Art Museum. Includes a figure playing a lute. Five Figures = the Five Senses? (exh Cleveland Museum of Art, 1971: Caravaggio and his Followers. Ed. R. E. Spear. no. 69, as ca. 1622-25) There is a version in Budapest SM. (A. Szigethi. Pientures françaises des XVIIe et XVIIIe siècles [Budapest SM]. Budapest 1976. fig. 11 [fair color reproduction])
[Le Valentin Pa] Le Valentin (Jean de Boullogne) (1594-1632). Musical Gathering. Paris Louvre. A woman plays a keyboard instrument. Men play a double bass, a viola, a lute and a cornett, and two or three children sing. (exh Cremona, Museo Civico: Dopo Caravaggio. Bartolomeo Manfredi e la manfrediana methodus. Milan 1987. no. 26, p. 121 [color reproduction]; exh Rome, 2000-01: Colori della Musica; Dipinti, strumenti e concerti tra Cinquecento e Seicento. p. 101 [small reproduction, not exhibited]; exh Vienna, Palais Harrach, 2001: Dipingere la musica; Musik in der Malerei des 16. und 17. Jahrhunderts. S. Ferino-Pagden, ed. p. 106 [fair reproduction, not exhibited]; Burlington 130 [1988] 877 [small reproduction]; Revue du Louvre 15 [1965] 220 [poor reproduction])
[Le Valentin Pa] _______. Musical Gathering. Paris Louvre. A man and a boy sing, a woman plays a guitar, and men play violin and lute. (Musée du Louvre. Catalogue illustré des peintures, École française, XVIIe et XVIIIe siècles. Paris 1974. no. 823; R. Cogniat. Seventeenth-Century Painting. New York 1964. [Compass History of Art] pl. 169; exh Washington DC, NGA, 1960-61: The Splendid Century: French Art 1600-1715. no.9, pl. 9 [ok reproduction]; Revue du Louvre 15 [1965] 220 [poor reproduction])
[Le Valentin Pa] _______. Musical Gathering. New York art market (1962, formerly Bass collection). Includes a woman playing a keyboard instrument, a boy singing, men playing a viola and a bass viol, and a youth playing a chitarrone. (Mirimonde Iconographie musicale. vol. I, fig. 123; Revue du Louvre 15 [1965] 221; sale, Parke-Bernet, New York, 24.XI.1962 [fair reproduction in catalog]) The figures from the painting formerly in the Bass collection also appear in the left half of a variant, pastiche-like, version in Pommersfelden, Schloss. (Marburg 133679; Vis. Coll. 375.V2325.90[j])
[Le Valentin Pa] _______. Fortune Teller, Lute Player, Drinkers and Thief. private collection. Includes a youthful cavalier playing a lute. (exh Rome, 2000-01: Colori della Musica; Dipinti, strumenti e concerti tra Cinquecento e Seicento. no. 45, p. 203 [ok color reproduction], p. 205 [splendid color detail of the lute player]. Notes copy in Copenhagen. See Guard Rooms, above.)
Angels: See also Allegory, Vice/Virtue
[Sc Carhaix-Plouguer] Breton, late-16th century. Triumph of the Holy Sacrament. Carhaix-Plouguer (Finistère), St. Tremeur. sculpture. Angels, above, play tenor violin (da gamba, left-handed) and lute (right-handed). (Inventaire générale ..Finistère. Canton Carhaix-Plouguer. Paris 1969. p. 6)
[Pr Anon.] French, 1615. Allegory of the Marriage of Louis XIII and Anne of Austria (1615). engraving. Angels sing and play harp and cornett (left) and lute and flute (right). (Mirimonde Iconographie musicale. vol. I, no. 38)
[Callot Pr] Callot, Jacques (1592-1635). Frontispiece to the Images of All the Saints (1636). etching. Includes two angels playing lutes. unimp. (H. Daniel. Callot's Etchings. New York 1974. fig. 238)
[Callot Pr] _______. Title etching of Martiryum Appostolorum/The Small Apostles (1635). etching. Includes two angels playing lutes. very unimp. (H. Daniel. Callot's Etchings. New York 1974. fig. 299 [poor reproduction])
[Callot Pr] _______. Assumption of the Virgin. etching. Includes an angel playing a lute. (H. Daniel. Callot's Etchings. New York 1974. fig. 235 [miserable reproduction], as ca. 1631/33)
[Stella-Daret Pr] Pierre Daret (ca.1604-1678?) after Jacques Stella (1596-1657). St. Cecilia and Musical Angels. engraving. St. Cecilia plays a chamber organ and angels play organ, harp, lute and lyre. Two putti sing. (Mirimonde Sainte Cécile. pl. 87a)
[Vouet Fr] Vouet, Simon (1590-1649). Two Musical Angels. Rome, S. Lorenzo in Lucina, Alaleona Chapel. fresco. One sings, the other plays a lute. (Burlington 114 [1972] 94)
Comedians: [Callot Pr] Callot, Jacques (1592-1635). Title etching of Balli di Sfessania. etching. A comedian (Razullo) on stage plays a colascione. (H. Daniel. Callot's Etchings. New York 1974. fig. 104, as ca. 1621/22)
[Callot Pr] _______. "Cap. Cerimonia. Sig.a Lauinia," from Balli di Sfessania. etching. There is a street scene in the background (tiny detail) with a couple dancing, accompanied by a comedian playing a very long colascione. (H. Daniel. Callot's Etchings. New York 1974. fig. 106)
[Callot Pr] _______. "Gian Fritello Ciurlo," from Balli di Sfessania. etching. In the background (tiny detail) a comedian with a colascione accompanies a pair or dancers. unimp. (H. Daniel. Callot's Etchings. New York 1974. fig. 109)
[Callot Pr] _______. "Riciulina. Metzetin," from Balli di Sfessania. etching. Metzetin plays a colascione or long-necked lute (4 strings, 6 or 7 pegs) and Riciulina dances and may have castanets. In the background there is a street scene with a comedian playing a guitar (long neck) and perhaps another plucked stringed instrument (colascione?). (H. Daniel. Callot's Etchings. New York 1974. fig. 111)
[Callot Pr] _______. "Scaramucia. Fricasso," from Balli di Sfessania. etching. In the background (tiny details) there is a street scene with comedians playing colascione and a woodwind instrument. (H. Daniel. Callot's Etchings. New York 1974. fig. 114)
[Callot Pr] _______. "Cap. l'sgangarato. Cap: Cocodrillo," from Balli di Sfassania. etching. L'sgangarato has wristlets and anklets of bells. Cocodrillo has anklets of bells. In the background (tiny details) there is a street scene with a dancing (? -- very exaggerated pose) comedian playing a very long colascione (?). (H. Daniel. Callot's Etchings. New York 1974. fig. 117)
[Callot Pr] _______. "Cap. Mala Gamba. Cap. Bellauita," from Balli di Sfassania. etching. In the street scene in the background (tiny details) a couple dances, the man playing a very long-necked colascione. It must not have been easy. (H. Daniel. Callot's Etchings. New York 1974. fig. 118; Burlington 138 [1996] March ad. p. xxiv)
[Callot Pr] _______. "Cap. Babeo Cucuba," from Balli di Sfassania. etching. In the street scene in the background (tiny details) a woman dances to her tambourine and a man dances to his colascione. They dance together. (E. de Bechtel. Jacques Callot. New York 1955. fig. 99, as Nancy, 1621; H. Daniel. Callot's Etchings. New York 1974. fig. 119; G. Sadoul. Jacques Callot ... [Paris] 1969. p. 113 [fine reproduction])
[Callot Pr] _______. "Bello Sguardo. Couiello," from Balli di Sfessania. etching. In the street scene in the background (tiny details), at the left, a comedian (back view) plays a colascione (?). At the right there are a dancing tambourine player and a dancer in dynamic, feline poses. (E. de Bechtel. Jacques Callot. New York 1955. fig. 101, as Nancy 1621; H. Daniel. Callot's Etchings. New York 1974. fig. 121; G. Sadoul. Jacques Callot ... [Paris] 1969. p. 113 [fine reproduction])
[Callot Pr] _______. "Pasquariello Truonno. Meo Squaguara." from Balli di Sfessania. etching. Pasquariello and Meo each has one anklet of bells. One of the minuscule figures in the background (they seem to be out in the countryside) does a prancing dance to his colascione (?) and two more men dance. (H. Daniel. Callot's Etchings. New York 1974. fig. 123)
[Callot Pr] _______. "Cap. Cardoni. Maramao," from Balli di Sfessania. etching. Maramao, giving an enema with an enormous syringe, has an anklet and a kneelet of bells. In the street scene in the background (tiny details), comedians dance and play a colascione. (H. Daniel. Callot's Etchings. New York 1974. fig. 125)
[Callot Pr] _______. "Razullo," from "Balli di Sfessania." etching. Razullo plays a colascione and Cucurucu dances. (V. Golzio. Seicento e settecento. 3/Turin 1968. [Storia dell'arte classica e italiana, 4] p. 33)
[Callot Pr] _______. I balli di Sfessania. etching. Zanni dances and plays a long-necked lute (6 or 7 pegs, 4 strings). (Enciclopedia della spetacolo. vol. VII. p. 522 [ok reproduction])
Demons/Devils: See also Allegory, Vice/Virtue.
Dwarfs: [Callot Pr] Callot, Jacques (1592-1635). Dwarf Playing a Colascione, from Varie figure gobbi. pub. Florence 1616. etching. Hunchback, sort of dancing as he plays. (H. Daniel. Callot's Etchings. New York 1974. fig. 142)
Grotesques: [Callot Pr] Callot, Jacques (1592-1635). Grotesque Man, and Woman Dancing, from Capricci di varie Figure. etching. The man plays a colascione. (H. Daniel. Callot's Etchings. New York 1974. fig. 59 [of 2/1621/22])
Itinerant/Street Musicians: See also Allegory, Other.
Musicians (amateur and professional): [Brébiette Dr] Brébiette, Pierre (1598-ca.1650). Sleeping Amor/Le repos d'Amour. Paris BN Cde. drawing. A young woman plays a theorbo. (M. T. Caracciola, ed. Hommage au dessin. Mélanges offerts à Roseline Bacon. Rimini 1996. p. 316)
[Lasne Pr] Lasne, Michel (1590-1667). Young Cavalier Playing a Lute. engraving. (Mirimonde Iconographie musicale. vol. I, fig. 102, as "Le luthiste mélancolique" by Lasne and Mariette; Early Music 6 [1978] 157 [advertisement])
[Le Nain Pa] Le Nain Brothers (op. first half, 17th century), attr. Musical Gathering. Leipzig, Musikinstrumentenmuseum der Universität. A woman plays a theorbo, and men play a pochette, a large bass viol (almost a contrabass) and a lute (French theorbo). Each has a partbook. The composition is very posed and stiff, almost like a group portrait. (MgB IV/3, p. 51, as ca. 1640, attr. Louis Le Nain)
[Le Nain Pa] Le Nain Brothers (op. first half, 17th century). Musical Group. private collection. A child sings, a woman holds a guitar, and men play lute and woodwind. Perhaps an allegory of the Ages of Man (the woodwind player is an old man). (exh Paris, Grand Palais, 1978/79: Les frères Le Nain. no. 61, pp. 268, 287 [unhelpful detail])
Putti: See also Allegory, Music/Poetry/Liberal Arts.
[BI Lyons 1582] Anon. Passe-partout title-page border of the Lyons publisher Barthélemy Vincent. engraving. Putti play lute (back view) and tenor/bass fiddle/viol. There are also numerous unplayed musical instruments. (MGG III, col. 1578 [small reproduction], for Pascal de L'Estocart, Sacrae Cantiones. Lyons, Vincent, 1582; Fraenkel no. 37, for L'Estocart, Cent cinquante Psaumes de David. Lyons, Vincent, 1583)
Other: [Rabel Dr] Rabel, Daniel (1578-1637). Costume design for the Ballet des ridicules (1625). Paris BN CdE. drawing. The figure plays a lute and has a cornett (?) for a nose. (Early Music 11 [1983] 505)
[Vouet Dr] Vouet, Simon (1590-1649). Study of a Nude Woman with a Lute. Paris BN. drawing. (exh Washington DC, NGA, 1960-61: The Splendid Century: French Art 1600-1715. no.18, pl. 18; Gitarre und Laute 5/3 [1983] 213; Musica calendar 1972: 17-30 September [fine reproduction])
[BI London 1612] Caus, Salomon (ca.1576-1626). Three Views of the Lute, from La perspective avec la raison des ombres et miroers. London 1612. engraving. (M. Rosci. Baschenis, Bettera & Co. Milan 1971. p. 35)