Status of January 2000

Musical Instruments in Western European Art

An Iconographical Guide

The Pipe and Tabor -- 15th - 16th Century 

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

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

Mary Rasmussen

Music Department

University of New Hampshire

Durham NH 03824 (USA)

I am singularly error-prone, alas, and I am sure that there are numerous mistakes in this list. I am quite capable of looking at a page numbered 145 and carefully writing down 165, and I seem to have a bit of difficulty telling right from left. Sorry. There are also a couple of late entries which didn't make the index. I hope the benefits outweigh the frustration.

This list includes not only pipes and tabors but also other combinations of wind and percussion played or held by a single player, such as pipe and string drum or pipe and triangle.

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

[GB] BRITISH ARTISTS -- 15th - 16th CENTURY

I: Old Testament

David and Musicians: [Ms London BL] British [early?] 16th century. David and Musicians, from the Exultate page of a Psalter. London BL. David plays a harp. The Musicians play hammer dulcimer, pipe and tabor and straight trumpet. (Musica calendar 1977: 29 May - 11 June [fine color reproduction]. No more information.)

VII: Allegory

Alphabets: [Ms Oxford BL Ms Ashmole 1504] British, ca. 1520-30. Letter B ("Beggars" ?) from an alphabet, from a pattern book in English. Oxford BL, Ms Ashmole 1504, fol. 45v. A figure plays a pipe and tabor. (O. Pächt and J. J. G. Alexander. Catalogue of Illuminated Manuscripts, III. Oxford 1973. cat. no. 1181, pl. CX. Notes is copied partly from German models [where B could stand for "Bettler"])

XV: Miscellaneous Figures

Fools: [Wsc Beverley Minster] British, 1520. A Fool Playing a Pipe and Tabor. Beverley, Minster. wood sculpture. (Early Music 6 [1978] 405, fig. 10)

Musicians, Minstrels, etc.: [Sc Beverley St. Mary's] British, 1520-24. Minstrels' Pillar. Beverley, St. Mary's Church. One of the minstrels plays a pipe and tabor (fragment). (M. Remnant. English Bowed Instruments ... Oxford 1986. pl. 145)

[NL] DUTCH ARTISTS --15th - 16th CENTURY

I: Old Testament

Job: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516). Job. Bruges, Groeninge Museum (on loan from the Church at Houcke). Several musicians, including one playing a pipe and tabor. (E. Castelli. Il demonaico nell'arte. Milan [1952] pl. 29; Friedländer V, supp. no. 136, pll. 118-19, as in a very poor state of preservation, almost entirely overpainted; De vlaamse Primitieven, I. ed. A. Janssens de Bisthoven. Antwerp 1957. pll. VIII-X, as school of Bosch/Netherlands Master of the 15th-16th century; 1963 catalog, ed. H. Pauwels. [poor reproduction]) Cf. V. Denis. "Saint Job ..." Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis 21 [1952] 253-298.

II: New Testament

Herod, Feast of: [Gl Amsterdam] Heemskerk, Martin van (1498-1574), attr. Salome's Dance. Amsterdam RM?. stained glass roundel. Musicians play harp and pipe and tabor. (Revue d'art, 19/20 [Oct.-Dec. 1922] 109, location as Musée Neerlandais)

Parables -- Prodigal Son: [Gl private collection] Dutch (Leiden), ca. 1520 (after Pieter Cornelisz Kunst [b. ca. 1490, doc.1514-1532]?). The Prodigal Son at a Ball, from a Prodigal Son series. location unknown. stained glass roundel. The dancers are accompanied by players of shawm/pommer and pipe (long) and tabor. (K. Renger. Lockere Gesellschaft ... Berlin 1970. Abb. 16; exh Amsterdam, 1958: Middeleeuwse Kunst der noordelijke Nederlanden. no. 244, fig. 111)

VI: Literary and Historical Subjects/Figures

See also Allegory, Love and Sex.

[BI Gouda 1486] Master of the Chevalier Délibéré (op.ca. 1486). Maria, Duchess of Austria, sitting in a carriage, meets the author, accompanied by Fresh Memory, from Olivier de la Marche, Le Chevalier délibéré. Gouda, Gotfridus van Os, 1486. woodcut. Figures play pipe and tabor, trumpet and two straight trumpets. (Hollstein [Dutch] XII, p. 132 [small reproduction])

VII: Allegory

Love and Sex: [BI Gouda 1486] Master of the Chevalier Délibéré (op.ca. 1486). The Chevalier délibéré arrives at the Palace of Love, from Olivier de la Marche, Le Chevalier délibéré. Gouda, Gotfridus van Os, 1486. woodcut. Musicians on the roof of the Palace of Love play bowed lute, pipe and tabor and straight trumpets. (A. J. J. Delen. Oude Vlaamsche Graphiek. Antwerp 1943. unnumbered pl.)

Planets: [Ms Oxford BL Rawlinson 1220] Netherlands, [early?] 16th century. The Children of Venus, from an astrological manuscript. Oxford BL Ms Rawlinson 1220, fol. 31v. Musicians play lute and harp, two shawms and slide trumpet, and pipe and tabor. Three sing. Copied from the Dutch ca. 1460 woodcut. A poor copy. (Mirimonde Astrologie. pl. 70b)

Temperaments: [Muller-Heemskerck Pr] Herman Jansz. Muller after Maarten van Heemskerck (1498-1574). Sangvinei, from a Four Temperaments (1566) series. engraving. A pipe and tabor player accompanies one group of dancers and a viola da braccio player, another. Four people sing. (Mirimonde Astrologie. pl. 108, p. 175; I.M. Veldman. "Seasons, planets and temperaments in the work of Maarten van Heemskerck ... " Simiolus 11 [1980] p. 170)

Vice/Virtue: [Anthonisz Pr] Anthonisz, Cornelis (ca. 1490-p.1553). "Sorgeloos" at the Ball. pub. Amsterdam, Jan Ewoutsz, 1541. woodcut. The dancers are accompanied by musicians playing viola da braccio, viol (?) and pipe and tabor. The musicians are copied from Jörg II Breu's woodcut Banquet in Venice. (K. Renger. Lockere Gesellschaft ... Berlin 1970. Abb. 27 [after W. Nijhoff. Nederlandsche Houtsneden, 1500-1550. The Hague 1931-35])

XV: Miscellaneous Figures

Angels: [Geertgen Pa] Geertgen tot Sint Jans (op. late 15th century). Virgin and Child. Rotterdam BvB. A myriad of angels, including one playing a pipe (long) and tabor. (Friedländer V,, Add. 139; J. F. Friedländer. "Zu Geertgen tot Sint Jans." Maandblad voor Beeldende Kunst 25 [1949] 186-188; Winternitz Musical Instruments . pl. 65b [usless reproduction], pl. 64 [detail of the upper left quarter, including the ppe and tabor]; Pincherle. p. 30 [splendid color reproduction])

Demons/Devils: [Bosch Pa] Bosch, Hieronymus (ca.1450-1516). Hell, right wing of the altarpiece of the Last Judgement. Vienna Akademie. Numerous musical figures, including a demon playing a pipe and tabor. (Friedländer V, no. 85, pll. 66-68 [poor reproductions]; R. Hammerstein. Diabolus in musica ... Bern 1974. nos. 153-161; Vis. Coll. 374.1.B652.39L)

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

I: Old Testament

David and Musicians: [Ms London BL Add.18851] Flemish, late 15th century. David and Musicians, from the Breviary of Queen Isabella of Spain. London BL Ms Add. 18851, fol. 184v. Numerous musicians, including the foremost one playing a pipe and tabor. (Bowles Pratique pl. 3; MgB III/8, p. 149; Basler Jahrbuch für historische Musikpraxis 8 [1984] 46; Imago musicae 1 [1984] 30; Musica calendar 1963: 2-15 June [fine color reproduction])

V: Mythology

Other: [Ta Brussels Palais Royal] Flemish (Brussels, probably atelier of Michel de Moer, cartoon probably by Jan van Roome), first quarter, 16th century. The Wedding of Mestra. Brussels MRBA (deposited in Palais Royal). tapestry. Musicians (with a fool) play harp and pipe and tabor. (A. van Ypersele de Strihou. "Deux tapisseries bruxelloises de l'histoire de Mestra." Institut Royal du patrimonie artistique. Bulletin 3 [1960] 103-111. Says the musicians represent Apollo, Pan and Midas [the fool], based on a passage from book 8 of Ovid's Metamorphoses)

VII: Allegory

Months/Zodiac: [Ms Brussels BR II, 158] Bening, Simon (1483/84-1561). May, from a Book of Hours. Brussels BR Ms II, 158, fol. 5v. In a boat a woman plays a lute and a man plays a flute. Another woman may sing. In the background circle dancers are accompanied by a player of a pipe and tabor. (MgB III/8, p. 105, Abb. 93, as. ca. 1540; F. Cardini. Europe 1492 ... New York 1989. p. 52 [splendid color reroduction]; Early Music 1 [1973] 4 [poor reproduction])

[Ms New Haven Yale UL] Flemish, ca. 1500. May, from a Book of Hours. New Haven, Yale University, Beinecke Library Ms, fol. 5v. In a boat a woman plays a lute and a man plays a recorder. A woman sings. A fool plays a bagpipe. A proportionately smaller figure plays a pipe and tabor. (Bowles Pratique pl. 110)

[Ms Vienna ÖNB 1858] Flemish, early 16th century. May, from a Book of Hours. Vienna ÖNB cod. 1858, fol. 5. A figure with a pipe and tabor stands below as a man climbs a ladder to deliver a potted shrub to no one in particular. It doesn't make a lot of sense. Compare the ex Dyson Perrins (below), where there is at least someone to receive the plant. (W. Salmen. Der Spielmann im Mittelalter. Innsbruck 1983. Abb. 114)

[Ms ex Dyson Perrins 105] Flemish (Bruges), last quarter, 15th century. May/Gemini, from a Book of Hours. location unknown (ex Dyson Perrins Coll. Ms 105, fol. 105). Students (?) play harp, lute and pipe (long) and tabor as one of their companions climbs a ladder to deliver a potted plant to a lady. (There is a similar juxtaposition of musicians in the Dutch ca. 1460 woodcut Children of Venus.) (MgB III/8, p. 153, suggests they are street musicians)

Vice/Virtue: [Ta Saragossa] Flemish (Brussels), late 15th century. The Church Triumphant. Saragossa, Museo Diocesano. tapestry. Several musicians, including a man holding a pipe (long) and tabor (fairly large). (F. Abbad Rios. Zaragoza. Barcelona 1952. p. 57 [fair reproduction, detail]; Dufourcq Musique. vol. I, p. 181 [detail]; Catàlogo monumental de España: Zaragoza. Ed. F. Abbad Rios. Madrid 1957. fig. 193 [miserable reproduction], as The Last Judgement) Another version: Palencia, Cathedral. (Catàlogo monumental de la Provincia de Palencia, IV. Palencia 1946. pl. 216 [miserable reproduction])

[Ta Nancy MBA] Flemish (Tournai), early 16th century. The Morality [Play] of Supper and Banquet: The Feast Given by Banquet. Nancy MBA. tapestry. Three groups of musicians: three shawms/pommers; lute, harp and pipe and tabor; three singers. Similar ensembles appear in the Dutch ca. 1460 and German ca. 1470 woodcut Children of Venus. (M. Jarry. World Tapestry. New York 1969. pp. 86-87 [fine reproduction]. Inspired by Nicolas de la Chesnaye, La condamnation de Banquet [Paris 1507]; R. van Marle. Iconographie de l'art profane au Moyen-Age et à la Renaissance ... The Hague 1931. vol. II, p. 102, not illus -- considers this an indirect allegory of the virtues of Temperance)

Other: [Master of Frankfurt Pa] Master of Frankfurt (Flemish, op. ca. 1500-1520), attr. Archers Festival in the Garden of the Guild, Antwerp. Antwerp KmsK. Several musical figures, including a negro playing a pipe (long) and tabor. (P. Vandenbroeck. Catalogus schilderijen 14e en 15e eeuw [Koninkoijk Museum voor Schone Kunsten]. Antwerp 1985. Afb. 42 [rather small color reproduction], text pp. 97-103b; F. Cardini. Europe 1492, Portrait of a Continent Five Hundred Years Ago. New York 1989. p. 99 [splendid color reproduction, slightly cropped]; Friedländer VII [1971] cat. no. 164, pl. 118. text p. 55: probably painted shortly before 1493; text p. 56: painted shortly after 1490; MgB III/8, p. 157; Vis. Coll. 374.1.M3923.90[a])

XV: Miscellaneous Figures

Musicians/Minstrels: [Ms Rome BAV Chigi C VIII 234] Flemish, 1498-1503. Musician and Dancers. Rome BAV Ms Chigi C VIII 234, fols. clxxxiii verso - clxxxiiii recto. Margin figures. Four moresca-type dancers are accompanied by a player of a pipe and tabor. (Facsimile: Vatican City. Biblioteca apostolica vaticana, Ms Chigi C VIII 234. New York 1987 [Renaissance Music in Facsimile, 22])

Putti: [Ta Paris MAD] Flemish (Tournai), early 16th century. Mille fleurs Tapestry with Infants Playing. Paris, Musée des Arts Décoratifs. tapestry. One of the infants plays a pipe and tabor. (Göbel I/2, pl. 194 [poor reproduction])

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

II: New Testament

Herod, Feast of: [Pa Tauriac] French (local artist), [first half?] 16th century. Salome's Dance. Tauriac (Lot), Church. fresco? She dances accompanied by a pipe and tabor player. (Drawing after [?]: R. Rey. L'art gothique du midi de la France. Paris1934. p. 313, as probably done after an illustraton in a book of hours)

VI: Literary and Historical Subjects/Figures

See also Scenes of Everyday Life -- Outdoor

VII: Allegory

Death, Dance of: [Ms Paris BN Colbert 1849] French, ca. 1483. Danse macabre. ex Paris BN, ancien fonds Colbert no. 1849, Ms du roi, Vélin no. 7310 (lost). Skeletons play hurdy-gurdy and pipe and tabor. Another pair plays rebec and shawm. (Hammerstein Tanz. Abb. 64 [after G. Kastner. Les Danses des morts. Paris 1852. pl. IV, fig. 25a])

[Ms Paris BN fr. 995] French, after 1491. Skeleton musicians from La danse macabre des femmes. Paris BN Ms fr. 995, fol. 24. In a grand but empty chateau, skeletons play hurdy-gurdy and pipe and tabor. Another pair plays rebec and shawm. (Hammerstein Tanz. fig. 70. Notes [p. 74] that it is an exact copy of Paris BN ancien fonds Colbert no. 1849 [see above])

[BI Paris 1486] Anon. Skeleton Band, from Miroer salutair pour toutes gens. Paris, Guyot Marchant, 1486. woodcut. Skeletons, in a parody of an angel concert, play portative organ, harp, bagpipe and pipe and tabor. (D. Briesemeister. Bilder des Todes. Unterscheidheim 1970. Abb. W11; Hammerstein Tanz. Abb. 67; K. Meyer Baer. Music of the Spheres ... Princeton 1970. p. 300)

[BI Paris ca. 1500] Anon. Danse macabre. Paris, Trepperel/Jehannot, ca. 1500. woodcut. Skeletons play hurdy-gurdy and pipe and tabor. (Hammerstein Tanz Abb. 66)

[Pa Le Bar] French, late 15th century (Provencal, Nice). Danse macabre. Le Bar (Alpes-Maritimes), Church. A skeleton plays a pipe and tabor. (van Marle Iconographie vol. II, p. 380; Vis. Coll. 375.F915.4D1)

Music/Liberal Arts: [Ta Boston MFA] French, first quarter, 16th century. Allegory of Music. Boston, Museum of Fine Arts. tapestry. "Musique," enthroned, points with her right hand to a sheet of music or poetry presented by the composer or poet. Her left hand rests on a positive organ. She is surrounded by a large number of musicians, including one with a pipe and tabor. (A. S. Cavallo. Tapestries of Europe and Colonial Peru in the Museum of Fine Arts, Boston. Boston 1967. vol. II, pl. 18)

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

Triumph/Victory: [Ta Cleveland MofA] French (Loire Valley), ca. 1500-1510. The Triumph of Time. Cleveland, Museum of Art. tapestry. Figures play (separately -- the pipe and tabor player is much smaller) lute and pipe and tabor. (W. D. Wixom. Treasures from Medieval France. Cleveland 1967. p. 340; Cleveland Museum of Art Bulletin 47 [1960] 226, as French, ca. 1475-1500, as an allegory of good fortune; 48 [1961] 162-63)

XIII: Scenes of Everyday Life -- Outdoor

Dances and Dancers: [Ms Leningrad 14095] French?, late 15th century. Dance, from Guillaume de Lorris and Jean de Meun, Le Roman de la Rose. St. Petersburg, Public Library, Ms 14095 [Polotzoff 2153], fol. 7v. manuscript illumination. Seven dancers are accompanied by players of harp, pipe and tabor and shawm. (Basler Jahrbuch für historische Musikpraxis 8 [1984] 28, with location as Petrograd, Stadtbibliothek)

[Ms London BL Harley 4425] French, 15th century. The Dance of Mirth, from Guillaume de Lorris and Jean de Meun, Le Roman de la Rose. London BL, Ms Harley 4425, fol. 14v. manuscript illumination. Five dancing couples are accompanied by players of harp, pipe (long) and tabor and recorder (?). (British Museum. Reproductions from Illuminated Manusrcipts, Series III. London 3/1925. pl. XLVII; T. Kren, ed. Renaissance Painting in Manuscripts. Treasures from the British Library. New York 1983. pl. VIII/p. 52 [color -- whole page], as by the Master of the Prayer Books of ca.1500, also p. 54 [color, illumination only, actual size]; MgB III/8, p. 93, as ca. 1490, as Garten des Frohsinns (Garden of Mirth); Musica calendar, 1965: 18 April - 1 May [fine color reproduction])

[Ms New York Morgan M677] Colombe, Jean (op. 1467-m.1529). Round Dance Directed by a Dance Master, from the Book of Hours of Anne de Beaujeu. New York Morgan Ms M677, fol. 137. manuscript illumination. Ten young people dance in a circle in a town square, accompanied by a pipe and tabor player. It looks almost like a dance festival. (MgB III/8, p. 163 [ok reproduction])

[Ms Oxford BL Douce 195] French, 1487-1495. Carole Dancers on a Terrace, from

Guillaume de Lorris and Jean de Meun, Le Roman de la Rose. Oxford BL Ms Douce 195, fol. 7. manuscript illumination. Five couples dance in a circle, accompanied by musicians in a low gallery playing fiddle (?head not visible) and pipe and tabor. The fiddle player looks intently at the pipe and tabor player. (MgB III/8, p. 54 [small reproduction]; Early Music 14 [1986] August back cover [ok color reproduction])

[Iv Paris Louvre] French, late 15th century. Scenes of Courtly Life. Paris Louvre. carved ivory casket. Three men and a woman dance, accompanied by a player of a pipe and tabor. (Koechlin no. 1317, pl.CCXXIX)

Processions/Cavalcades/Entrees/Parades: [Ms Budapest SL Climae 424] Franco-Flemish, late 15th century Corpus Christi Procession from the Antiphonar of Matthias Corvinus, King of Hungary (1440-1490). Budapest SL Ms Clmae 424, fol. 69v. manuscript illumination (illuminated letter A). The procession is accompanied by players of lute, pipe and tabor and straight trumpet. (L. Gerevich. The Art of Buda and Pest in the Middle Ages. Budapest 1971. pl. CXXII [lpoor reproduction]; Lesure (English) pl. 74, (German) pl. 82 [ok reproduction]; Salmen Spielmann Abb. 92; MgB III/8, p. 127, as probably N. French, ca. 1480-90)

XIV: Scenes of Everyday Life -- Indoor

Church Interiors: [Ms Paris Louvre] French?, late 15th century. Wedding, from a text of a Code de Justinien (vol. V, 1) concerning the ceremony of marriage. Paris Louvre. manuscript illumination. The bride's procession is accompanied by musicians playing rebec, harp, and pipe and tabor. (1976 catalog: Peintures. École française [14th-16th centuries]. Ed. C. Sterling and H. Adhémar. cat. no. 20, pl. 68)

XV: Miscellaneous Figures

Angels: [BI Lyons 1491] Anon. Border of angels, from a translation by J. Corbichon of Bartholomeus Anglicus, De proprietatibus rerum, revised by P. Ferget as Proprietes des choses. Lyons, Matthias Huss, 1491(prefatory woodcut to Book 2, On God and the Angels). woodcut. Several musical angels, including one playing a pipe and tabor. (Early Music 9 [1981] 14 [detail of rebec, lute, pipe and tabor and straight trumpet])

[Pa Amiens Picardie] Anon., early 16th century. Au juste poids véritable balance (1518). Amiens, Musée de Picardie. Seven musical angels, including one playing a pipe (looks like a long straight trumpet) and tabor (played with the left hand). (Friedländer XI, pl. 191, as Master of Amiens; Vis. Coll. 375.F916.19[e])

Fools: [BI Paris ca. 1500] Anon. "Entens cy qui veul jcauoit ..." from Gasto Phebus, Comte de Foix, Phebus des deduiz de la chasse. Paris ca. 1500. woodcut. Depicts three noblemen plus a fool playing a pipe and tabor (small frame drum). (Schwerdt II, pl. 110 [fine reproduction])

Musicians (amateur and professional): See also Scenes of Everyday Life -- Indoor, Church Interiors.

[Ms Paris BN fr. 143] French, late 15th century. A Lady Playing a Dulcimer, Sitting on two Swans, from Les Echecs amoreux. Paris BN Ms fr. 143, fol. 66. manuscript illumination. Musicians behind her at the left play pipe and tabor and shawm. Musicians behind her at the right sing (two men and three tonsured boys) and play bagpipe. (Bowles Pratique pl. 6 [color reproduction], as French, ca. 1500. The lady is Leda.; Mirimonde. Iconographie musicale vol. I, no. 1, as by Robinet Testard; W. Salmen. Der Spielmann im Mittelalter. Innsbruck 1983. pl. 6, as Leda with musicians; Musica calendar 1973: 27 May - 9 June [fine color reproduction])

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

I: Old Testament

Other: Holbein, Hans II (1497/8-1543), after. The Levites around the Ark of the Covenant, from an Old Testament. woodcut (cut by Hans Lützelburger). Includes several musicians, one of whom (very prominent) plays a pipe (long) and tabor. (MGG I, cols. 1357-58)

II: New Testament

Last Judgement: [G van Loon Pa] Loon (Lon), Gert van (op. 1505-1521). Last Judgement. Paderborn, Diözesanmuseum. Includes a devil playing a pipe and tabor. (Alet und neue Kunst im Erzbistum Paderborn 4 [1954] 111 [post-war version]. The painting was almost completely destroyed in World War II. The present version is almost completely a restoration.)

Passion -- Mocking/Flagellation of Christ: [Grünewald Pa] Grünewald, Matthias (ca.1475-1525). The Mocking of Christ. Munich AP. Includes a figure playing a pipe (buttress fingering) and tabor. (H. Bauer. Die Alte Pinakothek in München. Munich 1966. p. 42 [color reproduction]; W. Fraenger. Matthias Grünewald. Munich 1983. fig. 100 [ok color reproduction]; R. an der Heiden. Die Alte Pinakothek ... Munich 1998. p. 155 [fine reproduction], with copious text, pp. 154-157; Salmen Spielmann. Abb. 13 [fair reproduction]; Wallraf-Richartz Jahrbuch 22 [1960] 111)

Passion -- Via dolorosa: [Pa Bielefeld-Schildesche] Anon. (Westphalian?), 1501. Via dolorosa. Bielefeld-Schildesche, ev. Kirche. Includes a figure with a pipe and tabor. In fragmentary condition, alas. (H. G. Gmelin. Spätgotische Tafelmalerei in Niedersachsen und Bremen. Munich 1974. cat. 124, p. 391 [tiny reproduction], as by the Master of the Schildscher Altar, Braunschweig with Westphalian influence)

V: Mythology

Muses: [H II Holbein Dr] Holbein, Hans II (1497/98-1543), attr. Apollo and the Muses (Design for a Pageant Arch) (1533). Berlin, Kupferstichkabinett . drawing. One of the Muses plays a pipe and tabor. (O. Bätschmann and P. Griener. Hans Holbein. Transl. C. Hurley and P. Griener. Princeton 1997. p. 97 [fine reproduction]; A. Dückers, ed. Das Berliner Kupferstichkabinett, ein Handbuch zur Sammlung. Berlin 1994. No. III.663, p. 136 [splendid reproduction]; M. Remnant. English Bowed Instruments from Anglo-Saxon to Tudor Times. Oxford 1986. fig. 149)

VII: Allegory

Alphabets: See also Miscellaneous Figures, Putti.

Death, Dance of: [Ms Donaueschingen A III, 54] Anon., ca. 1520. Death and the King, from a Totentanz (Handschrift Zimmern). Donaueschingen, Hofbibliothek, Ms A III, 54, fol. 89v-130v. manuscript drawing. Clearly influenced by the Heidelberg Totentanz (see below). Death has a pipe (long) and tabor in one hand, the King's standard in the other. (Hammerstein Tanz. Abb. 309)

[Ms Donaueschingen A III, 54] _______. Death and the Good Monk. Death blows his pipe and and holds his tabor as he leads the monk. (Hammerstein Tanz. Abb. 302)

[BI Heidelberg ca.1488] Anon. Der doit. Der konig/Death and the King, from a Totentanz. Heidelberg, Knoblochtzer [ca.1488]. no. xi. woodcut. Death has a pipe (long, slightly bent) and tabor (snare), held in one hand (he needs the other hand to lead the king). He dances, ankles crossed, like a pro. (IB vol. 86, no. 1488/653, p. 247; Hammerstein Tanz fig. 150)

[BI Heidelberg ca.1488] _______. Der doit. Der gude monich/Death and the Good Monk. no. xxvii. Death has a pipe (tiny) and tabor (shallow) held in one hand as he leads the monk. (IB vol. 86, no. 1488/669, p. 255; Hammerstein Tanz fig. 166)

[Pa Basel Predigerkloster] Anon. (formerly attr. Hans II Holbein). Death and the Doktor/Magistrate. Formerly Basel, Predigerkloster (destroyed). Death has a 1-hand flute and what was doubtless originally a drum hanging from his arm. (Hammerstein Tanz. Side-by-side reproductions of Merian and Buchel, figs. 342-3)

[Manuel Pa] Manuel, Niklaus (Deutsch) (1484-1530), Copy after by Albrecht Kauw. Death and the Widow, from a Totentanz (1516-17). formerly Bern, Französische Kirche, ehem. Predigerkloster (destroyed in 1660). Death holds a pipe and plays a tabor. (Hammerstein Tanz, Abb. 187 [fine reproduction], as formerly Dominikaner Kirchhof; MGG/2 vol. 9, p. 688 [fair color reproduction])

Playing Cards: See also Miscellaneous Figures, Fools.

XIII: Scenes of Everyday Life -- Outdoor

Dances and Dancers: [Asper Pr] Asper, Hans (1499-1571). Two Couples Dancing on the Grounds of an Estate. etching. The dancers are accompanied by players of bass viol and pipe and tabor. The musicians are copied from Jörg I Breu's Garden Festival in Venice (see 16th-century section). (MgB III/9, p. 115. Notes that the dance is a galliard.)

Processions/Cavalcades/Entrees/Parades: [Altdorfer Pr] Altdorfer, Albrecht (ca.1480-1538), attr. Der Tross/The Rabble, from the Triumphal Procession of Emperor Maximilian (ca. 1516). woodcut. A ragtag procession, including a figure playing a pipe and tabor (shallow). (Henning p. 146, as attr. Wolf Huber or Albrecht Altdorfer) Oil sketch for this in Vienna, Albertina. (F. Winzinger. Albrecht Altdorfer. Die Gemälde. Munich 1975. no. 79a [fine color reproduction], as ca.1513-15)

[Burgkmair Pr] Burgkmair, Hans (1473-1531). "Musica suess Melodey," from the Triumphal Procession of Emperor Maximilian (ca. 1516). pl. 24. woodcut. One of the musicians plays a pipe (long) and tabor (a medium-size frame drum) . (Hirth nos. 186-187 [ok reproduction -- the entire float, including the camel that pulls it]; Bowles Musical Ensembles fig. 4 [fair reproduction]; Henning p. 132; Kinsky p. 76; Pincherle p. 50 [the entire float, including the camel]; MGG vol. 4, col. 107; MGG vol. 13, col. 747 [fair detail of the pipe and tabor player]; The New Grove vol. 8, p. 14 [ok reproduction]; Early Music 11 [1983] 57 [detail of the pipe and tabor player])

XIV: Scenes of Everyday Life -- Indoor

Balls (and Dances): See also Miscellaneous Figures, Dancers.

[Ms Vienna OeNB 2831] Anon. (perhaps the workshop of Jörg Kölderer [doc.1497-m.1540]), early 16th century. A Round Dance, from Der Freydal. Vienna OeNB cod. 2831. pl. 12. manuscript drawing. Three couples dance in a circle, accompanied by a pipe and tabor (rather large drum) player at the left. (Henning p. 71)

[Ms Vienna OeNB 2831] _______. Three Dancing Couples. pl. 56. The dancers (the men with dark masks) are accompanied by players (pointed hats) of bladder pipe and pipe and tabor. (Henning p. 75)

[Kulmbach Dr] Kulmbach, Hans Süss von (1476-1522). Moresca Dancers. Dresden, Kupferstichkabinett. drawing. Four men dance, accompanied by a pipe and tabor (V-shaped snare) player. (Hammerstein Diabolus. no. 117; M. Schattenhofer. Das alte Rathaus in München. Munich 1972. p. 65; MGG vol. IX, Taf. 36)

[Leinberger Pr] Leinberger, Hans (op. ca. 1516-1530). A Dance Contest. woodcut. Male dancers in contorted poses (moresca dancers?) are accompanied by a pipe (long) and tabor player. Venus presides. (Geisberg-Strauss G. 898, p. 848 [fine reproduction], as ca. 1525; Hollstein [German] XXI, no. 27, p. 187. Considers the presiding female figure Fortuna on her globe.)

Angels: [Master HL Wsc] Master HL (Oberrhein) (op. 1511-ca.1530). Coronation of the Virgin. Niederrottweil, St. Michael. wood sculpture. Angels play harp (right) and pipe and tabor (left). There are also musical putti. (H. Ginter. Der Niederrotweiler Altar. Königstein im Taunus n.d. p. 13; Deutsche Kunstdenkmäler. Ein Bildhandbuch. Baden-Württemberg. Munich/Berlin 1959. p. 188)

Dancers: [Sc Innsbruck Goldenes Dachl] Türing, Niklas I (m.1517 or 1518) and Georg, attr. Musician and Seven Moresca Dancers (1500). Innsbruck, Goldenes Dachel, Herzog-Friedrich-Strasse 15 (original now in the TLA, replaced on the house by copies). sculpture. The musician has a little drum on his arm. He once also had a long pipe, now broken off. The dancers have anklets and wristlets of bells. Restored in 1671 (after the earthquake of 1670), 1782, 1898/99. (V. Griessmaier. Österreich. Vienna 1950. English/French edn. pl. 32; H. Hammer. Kunstgeschichte der Stadt Innsbruck. Innsbruck 1952. pp. 99, 101, 104; O. von Lutterotti. Grosse Kunstwerke Tirols. Innsbruck 1951. Abb. 68-71; Salmen Katalog. p. 38, as 1500-1508 [ok reproduction]; MgB III/8, p. 62 [ok reproducgtion]; Early Music 14 [1986] 413, 427, 443, 460; Musica calendar 1983: 23 January - 5 February [ok reproduction])

[Ms Aschaffenburg Hofbibliothek 10] Glockendon, Nikolaus (doc. ca. 1514-m.1534). Moresca Dancers, bas-de-page figures from the Missal of Cardinal Albrecht of Brandenburg. Aschaffenburg, Hofbibliothek, Ms 10, fo. 441. manuscript illumination. There are two dancers, accompanied by a pipe and tabor player (a half-figure emerging from a leaf). (The main illumination depicts St. Michael.) (Aachener Kunstblätter 46 [1975] 174)

Demons/Devils: See also New Testament, Last Judgement.

Fools: [Schäufelein Pr] Schäufelein, Hans (ca. 1483-1539/40). Schellen 10, from a set of playing cards. woodcut. A fool sits on the ground, playing his pipe to a rabbit, his drum beside him. (Geisberg-Strauss G.1112-1117, as ca. 1535)

Itinerant/Street Musicians: See also Scenes of Everyday Life -- Outdoor, Processions.

[Me Anon.] Anon., ca. 1500. Musicians with Dancing Dog. Lübeck, St. Annen-Museum (part of the table service of the St. Jürgen Kapelle, Lübeck). engraved metal knife handle. The musician plays a pipe and tabor. (MgB III/9, p. 85 [ok reproduction])

Musicians: See also Dancers, Itinerant/Street Musicians..

[Ms Vienna OeNB cod. 2831] Anon. (perhaps the workshop of Jörg Kölderer [doc. 1497-m. 1540]), early 16th century. Mummers, from Der Freydal. Vienna OeNB cod. 2831. pl. 64. manuscript drawing. Six women and a fool perform, accompanied by a player (left-handed) of pipe and tabor at the right. (Henning p. 76)

Putti: [A Holbein Dr] Holbein, Ambrosius (1494-1519). Friese of Putti Playing. Basel, Öffentliche Kunstsammlung. drawing. One of the putti plays a pipe and tabor. (MgB III/9, p. 54)

[Master St. Bartholomew Altar Pa] Master of the St. Bartholomew Altar (ca.1450-1500). The Wedding of St. Agnes. Nuremberg GNM. A tiny putto files above, playing a pipe and tabor. (exh Cologne, Kunsthalle, 1970: Herbst des Mittelalters. Spätgotik in Köln und am Niederrhein. Ed. G von der Osten. no. 35, pl. III [fine color reproduction]; Germanisches Nationalmuseum Anzeiger [1965] 187 [fine color reproduction]; Gazette des Beaux-Arts 65 [February 1965] La chronique des arts no. 153, p. 9 [ok reproduction]; Wallraf-Richartz Jahrbuch 25 [1963] 225 [fine color reproduction], 226 [ok detail of the putto])

[Weiditz Pr] Weiditz, Hans (ca. 1495-ca.1537), attr. Letter B, from an Alphabet. Printed by Jost de Negker, 1521. woodcut. Putti play pipe and tabor and xylophone. (Geisberg-Strauss no. 1547)

[EP] SPANISH AND PORTUGUESE ARTISTS -- 15th - 16th CENTURY

II: New Testament

Herod, Feast of: [Canillo Master School Pa] Canillo Master (=? Juan Ramón Llobet [doc.1508-1510] or Pedro Alegret [doc.1519]) School of. The Beheading of John the Baptist. Barruera, Parish Church. Includes the Feast of Herod in the background, accompanied by musicians playing viola da braccio and pipe and string drum. (Vis. Coll. 376.C1631.20[a]2)

Last Judgement: See also Miscellaneous Figures, Demons/Devils.

IV: Saints

See also Miscellaneous Figures, Angels.

XV: Miscellaneous Figures

Angels: [Berruguete Pa] Berruguete, Pedro (m.ca.1504). Nativity. Becerril de Campos, Santa Maria. Angels play rebec, lute and pipe and tabor. (Vis. Coll. 376.B459.30[b]2

[Berruguete Pa] ______. Apparition of the Virgin to a Community of Monks. Madrid Prado. Six musical angels, including one playing a pipe and tabor. (R. Láinez Alcalá. Pedro Berruguete. Madrid 1935. pl. XXXIV [useless reproduction]; F. Sopeña and A. Gallego. La Musica en el Museo del Prado. Madrid 1972. p. 46 [fine color detail])

[Castelsardo Master Pa] Castelsardo Master (Sardinian), op. ca. 1500. Musical Angels. Cagliari, Museo Nazionale. One of them plays a pipe and tabor (snare on upper head). (Vis. Coll. 376.C2716.36[a]1-2)

[Javierre Master Pa] Javierre Master (Catalan), op. early 16th century. St. Vincent Enthroned. Lérida, Museo Diocesano. Eight musical angels, including one playing a pipe (long) and string drum. (Post XII/1, p. 358 [ok reproduction]; Vis. Coll. 376.J328.38V, V1)

[Macip Pa] Macip, Vicente (ca.1474/75-1550). Holy Family. Rocafort (Valencia), Parish Church. Angels play pipe (long) and string drum and trombone. (V. Aguilera Cerni. "Noticia di una nueva obra di Vicente Macip." Archivo de arte Valenciano 28 [1957] 45-47, not seen; Archivo Español de Arte 30 [1957] pl. I opp. p. 344; Vis. Coll. 376.P112.35[a], as by Felipe Pablo de San Leocadio [doc.1525-1542], but photo of a clipping with attr. to Vicente Macip)

[Master Madre de Deus Pa] Master of the Madre de Deus Retable (Portuguese), early 16th century. Nativity. Lisbon MNBA (ex Mosteiro de Madre de Deus). Angels play rebec, treble viol, lute and pipe (long) and string drum. (R. dos Santos. Oito séculos de arte portuguesa. n.d.? vol. I, p. 126 [ok reproduction], as by Cristóvão Lopes; I. Woodfield. The Early History of the Viol. Cambridge 1984. p.146 [rather fuzzy detail of the rebec, viol, and string drum]; exh Lisbon 1971: Pintura des mestres do Sardoal e de Abrantes. p. 158 [poor reproduction], as attr. Gregório Lopes; Vis. Coll. 376.1.M39.22N)

Animals: [Wsc Ciudad Rodrigo Cathedral] Aleman, Rodrigo (doc. 1520). Dog (?) playing a Pipe and Tabor. Ciudad Rodrigo (Salamanca), Cathedral, choir stall. wood sculpture. The tabor is small and deep. (Salmen Spielmann. Abb. 19)

Demons/Devils: [Canillo Master Pa] Canillo Master (=? Juan Ramón Llobet [doc.1508-1510] or Pedro Alegret [doc.1519]). St. Michael as Weigher of Souls. Palma de Mallorca, Galerias Costa (ex Prats, Andorra). Grotesques beside the mouth of Hell play pipe and tabor and curvy trumpet. (Post XII/1, p. 371 [ok reproduction])

Grotesques: See also Demons/Devils.

Musicians, Minstrels, etc.: [Wsc Toledo Cathedral] Aleman, Rodrigo (doc. 1520). The Surrender of Montefrío, from a series of scenes of the conquest of Granada. Toledo, Cathedral. low relief wood sculpture. In the upper corners, outside the frame of the composition, separate figures play pipe and tabor (snare on the upper head) and frame drum. (Vis. Coll. 276.Al.24.7C[b]1f) S. Bottari. Tesori d'arte cristiana, II: Il Romanico. Bologna 1966-68. Gives date of ca. 1495 (not illus)

[Wsc Toledo Cathedral] _____. Bombardment of a Castle. In the upper corners, outside the frame of the composition, separate figures play straight trumpet and pipe (fragment) and tabor (snare on the upper head). (Vis. Coll. 276.Al24.7C[b]2c)

[I] ITALIAN ARTISTS -- 15th - 16th CENTURY

I: Old Testament

Other: See also Miscellaneous Figures, Children.

[Veen-Peruzzi] Gijsbert van Veen (1558?-1628) after Baldassare Peruzzi (1481-1536). The Marriage of Isaac and Rebecca (1585). engraving. Includes musicians playing pipe and tabor and shawm (?). (Hollstein [Dutch] vol. XXXII, no. 1, p. 132 [tiny reproduction])

II: New Testament

Herod, Feast of: [Andrea del Sarto Pa] Andrea del Sarto (1486-1531). Salome's Dance. Florence, Chiostro dello Scalzo. She seems to be accompanied by a pipe and tabor player (faint). (J. Shearman. Andrea del Sarto. Oxford 1965. pl. 86 [ok reproduction]; Vis. Coll. An297.37[b]18)

Nativity -- Adoration of the Magi: [L Costa Pa] Costa, Lorenzo (ca.1460-1535). Adoration of the Magi. Milan Pinacoteca. Includes musicians on camels playing bagpipe, pipe and tabor and kettledrums. (Vis. Coll. 372.C829.22A)

III: Miscellaneous Religious Subjects

Virgin, Marriage of: [Franciabigio Pa] Franciabigio (Francesco di Cristofano) (1482-1525). Marriage of the Virgin. Florence, Chiostro dell'Annunziata. In the background, conversing, are two (negro?) pipe and tabor (only one of the tabors visible, snare on the upper head) players. (they seem particularly realistic) (Vis. Coll. 372.F8495.31M)

IV: Saints

Other: [Carpaccio Pa] Carpaccio, Vittore (op.1490-m.1523/26). St. Ursula and her Husband Undertaking the Pilgrimage. Venice Accademia. Includes a group of musicians playing pipe and tabor, pipe and tambourine; and another group playing pipe and tabor and two shawms. (A. Bovero. Immagini dell'arte italiana attraverso i secolo, III. Turin 1965. pp. 282-3; W. Hausenstein. Das Werk Vittore Carpaccios. Stuttgart 1925. pl. 15 [poor reproduction]; P. Zampetti. Vittore Carpaccio. Venice 1966. cat. no. 12 [useless reproduction]; Art Bulletin 65 [1983] 57 [useless reproduction]; Vis. Coll. 372.C224.38U4)

VI: Literary and Historical Subject/Figures

[BI Naples 1485] Anon. The Ass and his Masters, from Aesop, Fabule. Naples 1485. woodcut. Includes a figure playing a pipe and tabor (snare on upper head). (T. M. MacRobert. Fine Illustrations in Western European Printed Books. 1969. fig. 12)

[Bartolommeo di Giovanni Ca] Bartolommeo di Giovanni (doc.1488-m.1501), attr. Outdoor Banquet. private collection (Longleat, Coll. Marquis of Bath). cassone. Music is provided by two players of pipes (long) and tabors (snare on upper head). (they seem particularly realistic) (Vis. Coll. 372.B2832.91[b]; 372.It116.90[e], as Italian, 16th century, photo Courtauld nstitute B54/150, as Griselda Master)

VII: Allegory

Planets: [Ms Modena Estense lat. 209, X.2.14) Cristoforo de Predis (doc. 1471-m.1486), attr. The Children of Venus, from Johannes de Sacrobosco, De sphaera. Modena, Biblioteca Estense, Ms lat. 209, X.2.14, fol. 10. manuscript illumination. Includes a figure playing a pipe and tabor (beside a group playing two shawms, pommer and slide [?] trumpet). (Bowles Pratique. pl. 156; Lesure pl. 37 [English], 43 [German] [fine color reproduction]; F. Malaguzzi Valeri. La corte di Lodovico il Moro, III. Milan 1917. p. 147; Mirimonde Astrologie. p. 45 [color reproduction]; Fondazione Treccani degli Alfieri per la storia di Milano. Storia di Milano VII. L'Età Sforzesca dal 1450 al 1500. Milan 1956. p. 818; Il libro illustrato dal XIV al XVIII secolo nella Biblioteca Estense di Modena. Modena 2/1961, cat. no. 19, pl. V [poor color reproduction], as by circle/near Cristoforo de Predis; notes that it is no doubt the most beautiful astrological book of the Renaissance; Musica calendar 1979: 8-21 April [fine color reproduction]; Early Music 1 [1973] 2 [large but fuzzy detail])

Triumph/Victory: [Ms Milan Trivulziana 2167] Birago, Giovan Pietro (op. late-15th-early 16th cent), attr. Triumph of Massimiliano Sforza (as a boy), from Elio Donato (Aelius Donatus), Grammatica. Milan, Biblioteca Trivulziana, cod. 2167, fol. 29. manuscript illumination. A dwarf (?) plays a pipe and tabor. There are also players of two straight trumpets. (C. Baroni and G. A. dell'Acqua. Tesori d'arte in Lombardia. Milan 1952. fig. 70 [fine reproduction], as by Pseudo Antonio da Monza [op. 1490's]; F. Malaguzzi Valeri. La corte di Lodovico il Moro, I. Milan 1913. pl. opp. p. 460 [fine reproduction]; MgB III/8, p. 155, as attr. Giovanni Pietro de Birago, depicting a wagon in a Carnival procession)

XIII: Scenes of Everyday Life -- Outdoor

Battles: [Falconetto Ca] Falconetto, Giovanni Maria (ca.1468-a.1540). Battle. Boston, Isabela Stewart Gardner Museum. cassone. Includes a pipe and tabor player on foot and a mounted player of a straight trumpet. (Zeitschrift für Kunstgeschichte 33 [1970] 36 [with detail])

[Michelangelo-Aristotle da Sangallo] Aristotle da Sangallo (Bastiano da San Gallo) (1481-1551) after Michelangelo (Michelangelo Buonarroti) (1475-1564). The Battle of Cascina. private collection (Coll. Early of Leister, Holkham Hall). Includes a figure playing a pipe and tabor. Florence defeated Pisa in the Battle of Cascina in 1364. (S. J. Freedberg. Paintings of the High Renaissance in Rome and Florence. Cambridge MA 1961. fig. 36; Die Weltkunst 52 [1982] 2280)

Processions/Cavalcades/Entrees/Parades: [Ms New York Morgan M 801] Anon. (Neapolitan), late 15th century. Procession after the Coronation of Alfonso II, Naples, 8 May 1494, from Ferraiolo, Cronaca della Napoli aragonese/Cronana Partenope. New York, The Pierpont Morgan Library, Ms M. 801, fol. 103. manuscript illustration. Includes mounted figures playing two (? -- only one tabor visible) pipes (long) and tabors and three straight trumpets. (MgB III/8, p. 41 [ok reproduction], as ca. 1498; R. Levi Pisetzky. Storia del costume in Itaila, II. Milan 1964. p. 449

[Ms New York Morgan M 801] _______. Entry of the Turkish Ambassadors. fol. 104v. Includes mounted figures playing pipe (long) and tabor (left handed) and three straight trumpets. (Imago musicae 13 [1996] 10 [ok reproduction])

XV: Miscellaneous Figures

Angels: [Ms Florence Uffizi] Anon. (Master of the Book of Hours of Bona/Maestro del libro d'ore di Bona) (last quarter, 15th century). Angel playing a Pipe and String Drum. Florence Uffizi. manuscript illumination (fragment). (F. Malaguzzi Valeri. La corte di Lodovico il Moro, III. Milan 1917. p. 162)

[Ms London BL Add. 34,294] Anon. (Master of the Book of Hours of Bona/Maestro del libro d'ore di Bona) (last quarter, 15th century). Angel playing a Pipe and Tabor, from the Book of Hours of Bona Sforza, Duchess of Milan. London BL Ms Add. 34,294. manuscript illumination (bas-de-page). Long pipe. (Miniatures and Borders from the Bok of Hours of Bona Sforza, Duchess of Milan, in the British Museum. London 1894. pl. XXXIII, as perhaps ca. 1484-94)

[Ms London BL Add. 34,294] _______. Angel playing a Pipe and String Drum. fol. 36v. (M. Remnant. Musical Instruments of the West. London 1978. p. 176 [fine reproduction])

[Fr Baceno] Anon., 15th or 16th century. Assumption of the Virgin. Baceno, Parish Church. fresco (vault of the nave). Angels play pipe and tabor, pipe and triangle, and two straight trumpets. So restored as to be utterly useless. (C. Errera. L'Ossola. Bergamo 1908. [Italia artistica, 38] p. 57)

[Fr Ornaro S Giacomo] Anon., early 16th century. Angels. Ornaro (Rieti), S. Giacomo. fresco. They play fiddle and pipe and tabor. (exh Rome 1969: Attività della Soprintendenza alle Gallerie del Lazio. cat. no. 12, pl. 21, as in process of restoration)

[Amatrice Pa]  Amatrice, Cola d' (Nicola Filotesio) (b. ca. 1480/90-m.p.1547). Death and Assumption of the Virgin. Rome, Musei Capitolini. Angels at the left play lute and tambourine. Angels at the right play harp and pipe and tabor. (L. Mortari. Opere d'arte in Sabina dall'XI al XVII secolo. Rome 1957. pl. 34 [poor reproduction]; Vis. Coll. 372.AM15.31D)

[Borgognone Fr] Borgognone (Ambrogio Fossano) (ca. 1450/60-1523). Coronation of the Virgin. Milan, Chiesa di S. Simpliciano. fresco. One of the numerous musical angels plays a pipe and tabor. (Fondazione Treccani degli Alfieri per la storia di Milano. Storia di Milano, VIII ... Milan 1957. p. 78 [poor reproduction]; Vis. Coll. 372.B649.31C [poor reproduction])

[G Ferrari Fr] Ferrari, Gaudenzio (1471/81-1546). Assumption of the Virgin. Saronno, Cathedral. cupola fresco. Among the myriad musical angels, one plays a pipe and tabor. (L. Mallé. Incontri con Gaudenzio ... Turin 1969. no. 217 [whole, poor reproduction]; M. Pincherle. An Illustrated History of Music. Transl. R. Myers. New York 1959. p. 43 [fine reproduction of the entire cupola]; TCI. Lombardia I. Milan 1941. [Attraverso l'Italia] p. 207 [fair reproduction of entire cupola]; K. Geiringer. "Gaudenzio Ferraris Engelkonzer im Dome von Saranno." In: CR Vienna 1927: Beethoven Zentenarfeier. pp. 378-381)

[Garofalo Pa] Garofalo (Benvenuto Tisi) (1481-1559). Virgin and Child with Saints. Ferrara, Pinacoteca Municipale. Six musical angels, including one playing a pipe and tabor. (G. Mazzariol. Il Garofalo ... Venice 1960. fig. 8 [poor reproduction]; Vis. Coll. 372.G192.34[e])

[Garofalo Pa] _______. Vision of St. Augustine. London NG. Numerous musical angels, including one playing a pipe (long) and tabor. (1937 catalog: Italian Schools, no. 81, p. 147 [useless reproduction]; National Gallery Catalogues. Sixteenth Century Italian Schools. London 1964. pl. 78 (splendid reproduction); Vis. Coll. G192.39Au)

[R Ghirlandaio Pa] Ghirlandaio, Ridolfo (1483-1561). Coronation of the Virgin. Paris Louvre. Angels at the left play lute and tambourine; and at the right, renaissance fiddle and pipe and tabor. Six other angels play straight trumpets. (S. J. Freedberg. Painting of the High Renaissance in Rome and Florence. Cambridge MA 1961. fig. 75 [small reproduction]; Vis. Coll. 372.G346.31C)

[Giacomo Siculo Pa] Giacomo Siculo (Giacomo Santori) (doc. 1524-1541). Coronation of the Virgin. Norcia, S. Benedetto. Includes an angel playing a pipe and tabor. (U. Gnoli. Pittori e miniatori nell'Umbria. Spoleto 1923. p. 132 [useless reproduction], as 1541; Vis. Coll. 372.J1597.31C. Location as Chiesa dell'Annunziata all'Ospedale.)

[Ibi Pa] Ibi, Sinibaldo (op. 1507-1528). Assumption of the Virgin (Banner of S. Ubaldo). Gubbio, Gallery. painted banner. Five ranks of angels surrounding the Virgin, including one angel playing a pipe and tabor. (U. Gnoli. Pittori e miniatori nell'Umbria. Spoleto 1923. p. 316; =? Vis. Coll. 372.Ib4.31M [calls it Madonna della Misericordia/Protecting Madonna])

[Filippino Lippi Fr] Lippi, Filippino (1457/58-1504). Assumption of the Virgin. Rome, S. Maria sopra Minerva. fresco. Six musical angels, including one playing a pipe (very long) and string drum. (L. Bruhns. Die Kunst der Stadt Rom. Vienna 1951. figs. 239, 240; F. Gamba. Filippino Lippi ... Florence 1958. fig. 20 [fuzzy reproduction]; K. B. Nielson. Filippino Lippi ... Cambridge MA 1938. fig. 39 [fair reproduction]; A. Scharf. Filippino Lippi. Vienna 1950. figs. 65, 72; Vis. Coll. 372.L665.38T4)

[Luini Pa] Luini, Bernardino (ca.1481/2-1532). Angels. Milan, S. Maurizio, vault decorations. Includes an angel playing a pipe and triangle. (L. Beltrami. Luini. Milan 1911. p. 389)

[Peruzzi Pa] Peruzzi, Baldassare (1481-1536). Coronation of the Virgin. Rome, S. Pietro in Montorio. fresco. Eight musical angels, including one playing a pipe and tabor. (I. Woodfield. The Early History of the Viol. Cambridge 1984. p.83 [fair reproduction]; Vis. Coll. 372.P436.31C)

Children: [Balducci Pa] Balducci, Matteo (b. last quarter, 15th century, m.p.1554). Judgement of Daniel. Paris Louvre. Includes a negro boy playing a pipe and tabor. (Vis. Coll. 372.B199.14D)

Military: [Ms New York Morgan M 801] Anon. (Neapolitan), late 15th century. The Aragonese Army, from Ferraiolo, Cronaca della Napoli aragonese/Cronana Partenope. New York, The Pierpont Morgan Library, Ms M. 801, fol. 126. manuscript illustration. Each unit (there are five) has a pipe and tabor (snare on lower head, two of the tabors are quite large) player (on foot) next to the standard bearer. (Imago musicae 13 [1996] 11 [ok reproduction])

[Veglia Pa] Veglia, Marco (doc. 1477-1508). Episode in a Roman Camp. Venice Accademia. Includes a mounted figure playing a pipe and tabor. Probably a fragment of a larger work. (S. Moschini Marconi, ed. Gallerie dell'Accademi di Venezia [catalog of 14th and 15th century paintings]. Rome 1955. cat. no. 171, fig. 171)

Musicians, Minstrels, etc.: See also Miscellaneous Religious Subjects, Marriage of the Virgin.

[Ms Paris BN Velin 724] Anon. [late 15th century?]. Allegory of the Good Government of Ludovico Sforza (il Moro), from Giovanni Simonetta, Storia di Francesco Sforza (Milan, Antonio Zarotto, 1490). Paris BN Velin 724. manuscript illumination in a printed book. Includes a pipe and tabor player in the margin. (F. Malaguzzi Valeri. La corte di Ludovico il Moro, I. Milan 1913. pl. opp. p. 584; exh Milan, 1958: Arte lombardi dai Visconti agli Sforza. pl. 161)

[Fogolino Pa] Fogolino, Marcello (1483/88-p.1558?), attr. The Muses, Cavaliers and Pegasus in a Landscape. London NG. The "Muses" are ladies in contemporary costume and are interspersed with three gentlemen, one of whom plays a pipe and tabor. (L. Puppi. Marcello Fogolino ... Trento 1966. pp. 24-25 [fair reproduction]; 1937 Illustrations. Italian Schools. cat. no. 3093, p. 312 [poor reproduction]. As ascribed to Romanino.)

Putti: [Ms London Wallace] Cristoforo de Predis (doc. 1471-m.1486). Galeazzo Sforza in Prayer (1477). London, Wallace Collection. manuscript illumination. Several musical putti, including one playing a pipe and tabor. (Burlington 116 [1974] 93, 94 [detail])

[BI Milan 1496] Anon. Border from Franchinus Gafurius, Practica Musicae. Milan 1496. woodcut. Eight musical putti, including one playing a pipe and tabor. unimp. (A. M. Hind. An Introduction to a History of Woodcut. New York 1935/R1963, p. 517)

[Pa Erba, Villa Amalia/Padulli] Anon. [late 15th century]. Virgin and Child. Erba, Villa Amalia (ora Padulli), Oratorio. wall painting. Includes putti playing rebec and pipe and triangle. Other figures play fiddle and lute. (U. Nebbia. La Brianza. Bergamo 1912. [Italia artistica, 66] p. 107 [poor reproduction])

[Civerchio Pa] Civerchio, Vincenzo (1468/70-1544). Virgin and Child. Milan Brera. Includes a putto playing a pipe and triangle. (Arte lombardo 63 n.s. [1982-83) 78, as attr. Bernardo Zenale; Vis. Coll. 372.C499.34[a])

[Fogolino Pa] Fogolino, Marcello (1483/88-p.1558?). Frieze of Putti. private collection. One of the putti has a pipe and tabor (he is only playing the pipe) and there is a tabor on the ground. (L. Puppi. Marcello Fogolino ... Trento 1966. pll. 56-57)

[Macrino Pa] Macrino d'Alba (doc. 1494-1507). Virgin and Child with Saints and Angels. Turin, Galleria Sabauda. Mannerist angels play rebec and lute. The Virgin's throne levitates. The angels are in what would be the the conventional position below the throne, if it were there. There are also a couple of musical putti, one holding a recorder (? -- it offers a lily and seems to hold a tabor pipe in its left hand and have a tabor on its back), the other blowing a crumhorn. (P. d'Ancona. Umanesimo e rinascimento. Turin 1953. p. 320 [poor reproduction]; G. O. della Piana. Macrino d'Alba. Como 1962. tav. IX [poor color reproduction]; P. Humfrey and M. Kemp. The Altarpiece in the Renaissance. Cambridge 1990. p. 139; P. Toesca. Torino. Bergamo 1911. [Italia artistica, 62] p. 50; 1971 catalog, fig. 204, pl. 89 [miserable reproduction]; exh Turin, Palazzo Carignano, 1939: Gotico e rinascimento in Piemonte. Ed. V. Viale. pl. 88; Vis. Coll. 372.M259.34[b])

[Meloni Pr] Meloni, Altobello (fl.ca.1517). Four Cupids Playing Musical Instruments. engraving. They play fiddle, lute, bagpipe and pipe and tabor (shallow). (Hind Early Italian Engraving no. 2b, pl. 805)

[Romano Pa] Giulio Romano (1499-1546) and others. Musical Amoretti. Mantua, Palazzo del Te, Sala di Psiche. executed in oil in the vaulting compartments. Many musical putti, including one with a pipe and tabor. unimp. (F. Hartt. Giulio Romano. New Haven 1958. figs. 241-252)