rc mi catalogue 2

8/12/2019 Rc Mi Catalogue 2

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AUT0URl lE LAVI0LEDEGAI ' IBEAn Exh ib i t i ono f Photograph iceproduc t ionso f the V io l th roughF ive Centu r ies

20-22April 1979American usical nst rumentSoc etyE igh thAnnua lMeet ingUn ivers i t yo f Ch icagoC h i c a g o ,l l . U S A

4-5 May1979Internat ional RepertorYfMusical IconograPhYSeventhn te rn ' l Confe renceCi t y Un ivers i t yo f l {ew orkI ' lew ork, NYUSA

Lent by le Cent re ' I conograph ie us ica le u Cent rena t iona lde la recherche c ien t i f i queSponsoredy the CUNY esearch enter or Musica' l conographyTheCi ty Universi ty of NewYorkGraduate enter33 West 2ndSt .

Catalogueranslated and edi tedRCMI atalogue

BarbaraCoeymany# 2


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TABLE FCONTENTS

Preface vCont r i bu to rso the Exh ib i t i on v iSummaryf CatalSample ataloguiCATALOGUEF THE

Ti t le pane l0rganol gyI conography

ogueAbbrev iat insng Card

v i iv i i i

EXHIBITIOi \

P lay ingTechn icinst rumentalEnsembleAr t j s t s , T rea t i ses ,andScoresThemes

I2ilt 6202532


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PREFACE

The present cata logue, the exhib i t ion it inventor ies, and the twoeonferences for which i t was prepared represent an important steP forward forthe R6perto i re Internat ional d ' Iconographie Musicale (RIdI )1) and the ResearchCenter for Musical Iconography.

The exhib i t ion presents a r ich v isual documentat ion about the vio la dagarnba f rom three vantage points: h istor ical , compris ing iconographicalev i dence o f pe r f o rm ers , ensem b les , sco res , e t c . f r om t h ree cen t u r i es ; t heo re t i ca l ,including reproduct ions f rom Ehe works of major t reat ises; and organological ,involv ing pictures, measurements, etc. of extant inst ruments. I t is thework of the research team establ ished in Par is by the late Comtesse de Chambure'Co-President of RIdI$ under the auspices of the Cent re Nat ional de la RechercheScient i f ique. The exhlb i t ion r/as sent to us through the kind of f ices ofthe Bib l iothEque Publ ique df lnformat ion of the Cent re Georges Pompidou, wherethe exhib i t ion is permnnent ly housed. I t has provided the spr ingboard for twoconferenc l or t t lconography of the Vio l as a Research Tool for the Musicologist ,Bui lder, Restorer, Performer, and Col lector ' r wi th dist inguished representat ivesof each discip l ine part ic ipat ing. Prel j -minary consul tat ion has al readyproduced exchanges of informat ion that promise to provide valuable resul ts.I t is precisely th is k lnd of cooperat ive +nternat ional interchange that wasenvisaged when RIdB{ was founded in L97L.z

The catalogue i tsel f represents the second such bib l iographical toolproduced under RIdIM and RCMI auspices. The f i rst , ent i t led The Musical Ensembleca. 1730-1830rt 'was produced to accompany the Sixth Internat ional Conferenceon Musical Iconography held at the Graduate Center of the Ci ty Universi ty ofNew York in Apr i l 1978.

Together, these catalogues, exhib i t ions, and conferences rePresenttangib le evidence of progress in the achievement of RIdt r4 goals.

Barry S. BrookPresident, Interna.i f i* Joint Commission

rSee cover page.2see nIdIM/nCUr Newsletter Volumes I-W.


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CONTRIBUTORSO THE EXHIBITION

I e Cent re ' I conoqraph ie us ica ldu Cent rena t iona lde la recherche c ien t i f i quea n d a S a l l ed ' A c t u a l i t 6 e a B . P . I .wi th thg cooperat ion fBrigit te Devaux

Pierre Yves Duchemin

Paule GuiomarBernadette Milant

Sy lve t te M i l l io rRaymond Quere

rr6d6r ic Thieck

Techn ica l rea l isa t ion Den is p la inchamp

Photographic laboratoryi publ irnagesNegat ives: Giraudon. Rdunions des *.r"6u" nat ionaux,Bibl lothique nat ionale

The ol ' lowingmuseumsnd ib ra r iesprovided he documentsn the exhibi tM. Arnaud de Chambure

M. and.MmeBernstein, Editors of Astrde RecordsMmeBran-Ricci. , Conservateur du Mus5e Instrumental du C. N. S. M.

M. Dumoulin, Bui lder of InstrumentsMne Goldenberg, Conservat . t r r I l rHdtel des Monnaies

M. Jacquler, Bui lder of Instruments


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SUMMARYFCATALOGUEBBREVIATIONSNDPROCEDURESThe abbreviat i -ons used in th is cata logue, indeed the ent i re

cat ,a loguing proeedure, are based on the internat ional ly agreed upon RIdIMMaster Cataloguing Inst ruct ions. (Cataloguing inst ruct ions areavai lable on request , as are caEalogue cards' for volunteers in al laccumulat , ion projecEs of RIdIM.)

In br ief , count r ies are designated wi th the ISO (Internat ionalStandards Organization) abbreviatlons used by RISI I and RILM (and basedon au t omob i l e l - i cense p l a t es ) , e . g . CS, Czechos lovak i a ; E , Espa f ra ;S, Swedeni CH, Conf6d6rat ion Helv6t ique (Swl tzer land).

The descriptlve data in the catalogue entry begins with anindication of the number of partlcipants that appear to be involved inmusic-making. When two or more dist inct performing groups are depicted,the entry reads t'Duo , . //TrLo . . ' t This is followed by a termdesc r i b i ng t he . soc i a l s t a t us o f t he pe r f o rmers , e . g . t ' bou rgeo i s i e , nob i l i t y .The sex of each performer is then designated by an M or W ; chi ldrenare noted wi th a C . An rrxrr indlcates that an inst rument is heldbut not p layed, whi le an t 'xx refers to an inst rument that is p ictured,but nei ther held nor played. Each ent ry concludes wi th a three-termstatement specl fy ing the pictor ia l category, set t ing, and occasion formusic-making. Whenever the ambiguity of the pi-ctorial material makescategor izat ion impossib le, the word indeterminate is used.


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THECATALOGUE

PANEL: T ITLE1 oudry, Jean-Bapt iste 1685-1755) rench.BassvioL, Book rMusic, and. word, signed and dated L734,detail ' pa'inting.F, Par is , Mus6e u Louvre .BASSVIOL/xx; music with the insrcipt ion Boyer.S t i1 l l i f e ; in te r io r ; decora t ive .


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PANEL: 0RGAN0L0GY

Tab leo f D i f f e rences e tweenhe V io l andV io l i n Fami l iesThis chart surnmarizes the dif ferences between the two famil iesof instruments. In this current exhibit one can find many exam-ples of instruments which do not correspond in every detai l tothe decr ipt ions cited below: neverthel-ess, these hybr ids do notchange thl fundamental- differences aeParating the two familiesof instruments.VIOLS VIOLINSFlat backTop near the sides is f latSloping shouldersThicker sidesSlope of corners a t r igh tangleSound holes C shaped ort ' f lamett shapedBr idge f la t te rTai l piece attached by a bar atthe lower sides5, 6, or 7 str j-ngs, under lesstensionTuning in fourths and one thirdNeck la rge and f la t ' w i th f re tsDecoraEion of ten e labora te ,very personal for each instru-mentBow convex, fornlng an arch,with longer poi.nt

Curved backTop near the sides is rounded,mak ing a Pro jec t ionRounded shouldersThinner sidesSlope of corners Pro jec ts ou twardSound ho les in t ts t t o : t t t

snaPeBridge more curvedTai lp iece at tached bY a cordextending f rom a stud4 s t r i ngs , unde r more t ens i onTuning in f i f thsNeck smaller and rounderDecorat ion more si rnple; of ten

the same model used for manYinstrumentsBow concave, point shorter and

elevated awaY from hair


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PANEL: 0RGAN0L0GYcont)

2 P rocess i ona lass i o l . F , Pa r i s , Co l l ec t i onG . T . Cham bure .A: Front vlew.B: Side view of neck and scrol l . One can see at the bottomof. the neck the hole through which passes the str ingused to carry the instrument.

3 Fami lyof v io l ins f rom the 17th and 18th centur ies.Vlol ln: Jacques Bocguay, French, 1718. F, Par is, Mus6eInstrumental du cNsM.Al to : Jean Chr is tophe dtAv lgnon, L695.Tenor: Barbay, no date (18th century) , prLvate col lect ion.Vloloncel lo: Jacques Bocquay, French, L7L4. q Par lsMus6e Instrumental du CNSM.

4 Fam i l y f v i o l s . F , Pa r i s , Co l l ec t i onG . T . Cham bure .(No ur ther iden t i f i ca t i on prov ided .


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PANEL : ORGAN0LOGYBert rand,Nicolas (f i rst hal f of l .8th century) French.Par-dessus io l , s ignedanddated170q.F, Par is , Mus6ens t ru -mentaldu CNSM,nv. E 1005-C138.

Detai l of head.Front and part ial s lde view. Total length, 619 rnm; engthof body, 317 m; maximumwidth, 185 rnrn;varnish is orangebrown; tai lpiece and br ldge are probably not or iginal.

A :B :

Gav in ies ,F ranco is f i rs t ha l f o fv i o l , 1740 , Pa r i s . F , Pa r i s ,Inv. E1435-C1020.Total length, 641 nn; length ofmaximumwidth, 206 m.A: Fron t (NB, ta l lp iece) .B : Back .

Louvet ,Jean ,French .G. T . Chambure .T o t a l l e n g t h , 5 6 0

18t11 entury) French.TrebleMus6e nstrumental u CNSM,back to the crack 286 mrn;

P a r d e s s u si o l . F , Pa r i s , Co l l ec t i onum; rnaximumhelght of sides, 85mm.

Guersan , ou is? ca. 17 l3 -a f tq r 1781)French .Pardessusio l ,L747 ,Par i s . F , Par i s , Mus6ens t rumenta l u C NSM, ar isInv . E371-C-141.Total Length, 610 m; length of body, 325 mn; maximumwidrh,195 nm; height of sLdes. 60 nn; dark yel-low varnish; flarback; alternating bands of 1lght and dark, 3 in iedar and2 ln naple; 2 double l lnes of ebony out l ine the edges; thetop ls spruce.


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PANEL: 0RGAN0LOGY9 Jaye, Henry la te 16 th -ear l y - l 7 th en tu r ies )Eng l i sh .D iv i s ionVio l , L624 .F , Par i s , Musbens t rumenta l u CNSM,nv . E 73-c 1 7 1 .

A: Pro f i le .B: Total length, 1170 nm; length of body, 640 rmr: maximumwidth, 355 m; brown varnish; pegs and tai lpiece arepossibly not or iginal.One can see a mark at the fourth fret where the neckwas extended to nake the instrument more suitable forFrench music. I t appears that the pegs have been re-

placed and the pegbox aLtered. The f ingerboard ls French,f rom the beglnning of the 18th century.C: Back .

10 D ieu la fa i t ( f i r s t ha l f o f 18 th ceq tu ry )French . -s t r i ngBassV io l , 1720 .F , Par i s , Mus6ens t rumenta l u CNSM,Inv . E 505-C172.Total length, 1320 nn; length of body, 700 nn; maxlmumwidth, 250 mn; dark brown varnish; the neck is or iginalbut the lnside of the body has been altered.A: Fron t .B: t Dleulafalt t marking on back.C : B a c k .


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PANEL : 0RGAN0L0GY1 1 Lewis ,Edwardla te 17 thcen tu ry )Eng l i sh .7 -s t r i ng BassV io l ,London, 687.F, Paris, Mus6enstrumental u CNSM,nv.

length of body, 700 nn; naximumllght . The neck is probably French,and reworked a great deal in the

E 1443-C 037Total Length, 1270 m;width, 400 m; varnlshfrorn the 18th century,19th century.A: F ron t .B : s l d e .C: Back .

L2 Norman, arak late 17th-ear ly 18th centur ies) Engl . ish.7 -s t r i ng BassV io l , London, 723 .F, Par i s , Mus6ens t ru -mentaldu CNSM,nv. 1080-C -38.Total length, 1170 rnrn; ength of body, 565 mn; maximumwidth, 3L0 rnn; light varnish. On the back is Normanrsinitlal. In changlng the neck and pegbox, a seventh stringwas added. The C-holes have been f il-l-ed ln and replacedwith F-holes. This work, as well as the f ingerboard,the purftlng, and the pegbox, appear to date frour theL9th century.A : F r on r .B : Pro f l le .C: Back .


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PANEL: ORGANOLOGY14 Bertrand, ico las f i rst hal f of 18thcentury) rench. -st r ingBass io l 1720. , Par is,MusEenstrumentalu CNSM.Total length, 1312 rnrn; ength of body, 710 nn; maximumwidth, 409 rnn; brlght varnish. The entire lnstrument isor iginal, except for the br idge, which has been recon-structed accordi-ng to the plan of Mersenne.

A : F r on t .B : Ber t rand fs p lan fo r a 7 -s t r ing bass v io l .C : P r o f i l e .

15 Derat , Guy 20th century?)French.Copy f the Bert randBassV i o l i n P l a t e 14 , Pa r i s .A: gack .B : P r o f i l e .C : F r on t .


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PANEL: 0RGAN0L0GYColichon,Michel endof 17thcentury)French.pardessusiol. BRD, uremberg,rmanischesMuseum,nv. MIR 82.

A: Fron t .B : Pro f i le .C: Inter lor ln prof l le.D: Back .

Plan or aNational


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PANEL ORGANOLOGYOr:e of ten forgets that rest .orat ion of ar t objects has existedas long as man has created art . Even though most restorat ion todayis generally based on firm knowledge of the original- stat,e of mostinstruments, this was not always the case. Each epoque has restoredmusical instruments accordlng to its own taste and with the parti-cular use of the restored instrument in mind. Thus, the restorat ionof a viol might have occurred after an injury to the instrument, orto adapt the instrument to the individual- requirements of a musician,or in an at tenpt to lnf late i ts pr ice and possibly even to deceivean amateur, or also to t ransform the viol into another type of instru-ment .In the 18th century much viol restorat,ion involved altering17th-century instrunents; in part icular , a seventh str lng was addedto many instruments. In the 19th century viols became obJects forcol lectors and were of ten resLored according to that centuryfs con-cepts of construct ion and sound. Especial ly at the end of the centurymany began to pLay t 'old music on or iginaL lnstruments. In order toproduce a louder sound to sat isfy the taste of the t ime, many partsof the instrument, such as the sides, f ront , and back, were reinforeed,resulting in a corruption of the original sound. Many instrumentsthus suffered great ly.Most restorers today are seeklng to recapture in the lnstru-

ments their original appearance and sound. They do this by comparlngseveral instruments by one buLlder or one school, by studying thetreat ises and wr it ings of the 17th and LSth centur ies, by uslnglconographical evidence, and by consul-ting nusicians speciallzingin the performance of Renaissance and Baroque music. Neverthelesseven the most scrupulous restorat i .on is always more or less lef tto chance. In order to mai.ntain as well- as possible the integr i tyof the instruments, many restorers have found it quite helpful tophotograph them before restorat ion in order to help future re-storers who may encounter similar instruments.The viol in the photos is by John Pit ts, in the col lect ionof G. T. Chambure. The photos are by Fierre Jacquier.


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PANEL (cont)17 A Inside of the top before restorat ionThe wood is quite deter iorated, the many patches correspondingto the cracks. The separat ,e piece at the r ight is the bass bar,not or iginal. The notch at the end of the neck indicates thatthe neck is not or iginal.

B Pieces or re inforcementThe picture shows all the pleces used to reinforce the sides;the two pieces marked with red rtxr s r ard or lglnal pleces whichhave been great ly mut i lated. The bands are probably from re-storat ion work done in the 18th century, while the very thickl inings, marked with blue rtxrsrr , are typical ly 19th century.A11 these addit ions to the or lglnaL inpede the natural playof the wood and modify the sound.C Inside of the backbeforerestorat ionHere one f inds a la rge couvre- joLn t , as in gu i ta rs . The re-inforcement bar whlch holds the label may not be or iginal.The heel of the back, extending toward the neck, is very deep.

D Interior after restorationThe courve- joinL on the back has been cut of f and replacedby the snall pieces of wood (usually one uses parchment) . Thelinlngs for the sides and corners have been removed and re-placed with bands of canvas. One can also see the threewhich hold the new neck.E Reconstruct ionTo connect the top to the sides one can make a wooden framewhich holds the contour of the sides in the exact shape oflhe top .


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PANEL : ORGANOLOGYND CONOGRAPHYI t is l ikely that the or igin of the viol played on the kneedates from the srme era as the beginnings of the other bowed stringinstruments. For example, many iconographical objects f rom the L2thcentury and later show instruments which are held between the legs ofthe players. Unfortunately no instruments from these ear l ier centur lessurvivel therefore one can only speculate on the construct ion of theseviols. I t is only fron the 16th century onwards that we can speak withany rellablity about, the instrunents,becauge there are many viols fromthis later t ime preserved in public and pr ivate col lect ions.Beginning in the 16th century the character ist ics general ly

associated with the viol begin to appear. However, even these 16th-century instruments are dif ferent f rom those of the Baroque per iod;i t ls these l-ater instruments whlch are more fanl l iar to organologists.The 16th century viols are character lzed by a frequent use of rein-forcements made of canvas or parchment, as in many lutes and guitarsof the same period, rather than the wooden reinforcements used 1ater.The ear l ier vi-ols also usually lack a soundpost. Furthermore, one canobserve in the earlier iugtruments flatter fingerboards. Arnong hesurviving Renaissance viols, moat are Itallan or English; nany ofthese can been found ln the lnstrument collections in Vienna, Brus-sels, the Hague, Oxford, and Venice, as well as in several pr ivateholdings.The Baroque viol ls known by the many actual l-nstruments whichare today st i l l wel l preserved. From these instruments one can drawmany conclusions. One can see a relat ive degree of standardizat ion ofinstrurnents by schools; fron such reasoning one can see that the bassviol ln Germany developed quite dlfferent from that in France, theGerman instrument being more like the cello. The French school emergedin the second half of the 17th century. Bui lders not only constructednew j-nstruments but also, as the makers who were adding extra keysto the Ruckers harpsichords to make them more suitable for late 17th-century taste, added to and transformed exist ing viols. For example,the Mus6q Instrumental du CNSM wns a Henry Jaye viol which was ori-gina ut r ras remade i.nto a 7-str ing viol,probably at the end of the 17th century, probably by a French builder.There were many vi.ol nakers in several areas of tr'Iestern Europe.Ihese included makers also famous for their excellent violins, such3s, in l taly, Gasparo da Salo, the Anat is, and the Gaglianos; in Ger-many, the Klotzes, Jakob Stainer, and'A. Bachman; in France, those ofthe school cal led old Par j.s ; and in Holland, J. Goumeester and others.


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PANEL (cont)some better known for their plucked string instruments also madev io ls , such as the T ie f fenbruckers , H. Frey , the T ie lkes , T . Ed l inger ,the seelos (of Germany), G. Deleplanque, and c. Bowin. some otherbul lders special ized in the vlol alone, such as Michel col ichon,Dieulafait (of France), John Rose (of England), and Barak Norman.

rt is irupossible Eo name every maker. A recent survey producedno less than 244 builders whose vlol-s are contained in public an dpr ivate col lect ions. searching -through the archlves can surely pro-duce addltlonal names. The M,lq6e_lnglrumental du GNSM ossessesthlr ty-seven viols of al l s i Uy Dieula-fait , in or iginal condi. t i -on; a bass by Benoit Fleury, also or iginal(on this instrument the unusual addit ion of an eighth str ing hasnot yet been sat lsfactor i ly expJ-ained); a t reble by Gavinies, whichis a good example of an insfrument from the second half of the lgthcentury; and several other lnstruments which have been altered overthe years .rn the l9th century, at a t ime when its repetoire was fal l inglnto disuse, the vlol was f requent ly made over into a cel lo by alter ingthe neck, f i .ngerboard, and other parts. Fortunately, several- bui lderssuch as J. B, VuilLaume and A. Tolbecque, then became interested inreconstruct ing viols according to histor ical t reat ises and iconogra-phical documentat ion. These reconstruct ions seem to us today veryapproximate in relation to the knowledge about the original instru-menta which hre currently have available to us .


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PANEL (cont)18 Anon. (tZtn century) Engl ish.pavid plasinsa vieTJe,detai lof an ornamentedet ter f rom a manuscr ipt .Scot ' land,Glas-gowUniversi ty Li brary.M (Davtd)/VIELLE (on laF). Minlature; indeterminare; in-det,erminate.19 Vos ,Mar t i nde (1532-1603)lemish; ngraved y Raphae l? ade-ler , FlemiSh. An Instrument Builder in the 76th Centurg,i l lust rat ion from Genesis V showinghe workshop f Ju-ba l , my tho log ica l nces to r f i ns t rument u i ' l de rs .F , Par i s ,

B ib l i o thdque at ionale ,Cab ine t es Es tampes.Mythological- ; outdoors; instrument 'workshop.20 Anon.(beginning f 13th century) French.viet-7e, detail of an ornamentedetterTheHague, i b l i o theque oya le ,Ms762r .M (Davtd)/Vtmln. Mlniature; indeterrninate; indeterminate.

David PTaging a B ( e a t u s ) .N L ,E I I ( e x y .4 2 1 ) o l

2 L AB

Fleury (18th century) French.BassMus-eenstrumentaldu CNSM.Vlers of f ront .Dieulafa i t te th century) rench.F Pari , l 'fus6enstrumentaluView of side.

v i o l , 1 7 6 9 ,P a r i s .F , P a r i s ,Bass i o l , L 7 2 0 ,Pa r i s .CNSM.


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PANEL0: ICONOGRAPHY22 Breughe l , an 1568-1625)lemish. hesenseof Hear ins ,ca . 1618,deta i l , pa in t i ng . E , Madr id ,Museo e l Prado .LARGEBASSVIOL VIOLONE?)/bow/xx; 2 BASSVIOLS/bows/xx;VIOI.A DA BRACCIO/bow/xx; VIOLIN/bow/xx; P0CHETTE/bow/xx;l{ANDORA/xx; 2 CORNETTI/1x; TROMBONE/xx;RECORDER/xx;SIIAI.IM/xx; HARPSICHORD/xx;DRUM/xx; plus a few orher in-struments and music nanuscrtpt , part ial ly in view. Al le-goryi i .nter ior ; synbollc.


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PANEL23

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11: ICON0GRAPHYchampa ignenh i l i ppede ( t0oz- t024)F lemish ;French choo l .

Portrait of J. B. de Champnigne and Nicofas de PLatten-u"ri, tAS4,detai'l painting. I'lL,Rotterdam, us6e oy-mans anBeuningen.M/BASS VIOL/x. Port ra i t ; Lnter ior ; indeterminate.

\bronese,PaoloCal iar i (1528-1588)tal ian. rhe Marr iaseof cana,1563,deta i l , Pa in t ing.F , Par i s , Musbe uLouvre.M (Tit ian)/VIOLONE?;2M (Veroneseand Palladio)/ nlssVIOLS (played on the lap, in the manner of the gui-tar);M (Bassano)/connBtTo;M (Tlntoretto)/VIoLA DA BMcCIo.Religious; pa1-ace; est ive.

Bonnar t , N ico las (ca. 1636-1718)French. wontanf soc ietsPlaging a Pardessus ioL, era of Lous XIV, engrav ' ing.F , Ve r i a i l ' l e s , B ib l ' i o t hdqueM un ' i c i pa le .Noble, i l /PARDESSUSIOL. I l lustrat ionl indeterminate;music and society.The pardessus viol was partlcularly in favor with theFrench lromen of high society, but they rapidly becamedlslnterested in it ' as with other t ' instrumental toys"such as the musette and the dulcimer.

Gri inewald, at t ias (t+SS/gOt-ca. 530)German. nseJ on-cert , cd, .151.6, etai l f rom the Isenheim ]tarpiece'pa in t ing. F, Co lmar ,Mus6e nte r l i nden .i W (aniefs) : 2 BASSVIOLS/bows; VIOLA DA BMCCIO/bor^r .Religious; inter lor and exter ior ; rel igious music?.Gninewaldts expressionism is conveyed not only in thefacial features of the angels but also in the exaggeratedshape of the instruments. The viols are held and playedin an unreal ist ic manner. one ought to view such paint ings'very numerous in the 16th century, especially aurong the't ' lanner ist t r painters, with a great deal of caut ion'

24

25

26


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PANEL2: PLAYINGECHNIC27 Nat t ier, Jean-Marie1685-1766) rench.Madameenriet teorFrancePlaging he 8as.s ioI t paint ing. F, Versai l ' les,Mus6ese Versa i l l ese t des Tr ianons , nv . MV3800.Seea'l o Plate #38 .NobJ e,W/7-str lng BASSVIOL/bow. Portralt ; inter ior ;nuslc and soclety.


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PANEL3: PLAYINGECHNIC?B Cesar i ,G iuseppeca. ,1560-1640)ta l ian. r , lus jc ian, drawing.F , Par i s , I ns t i t u t Neer l anda i s ,o l l . F r i t s Lug t .M/BASS IOL/bow. Study; indeterminate; indeterminare.29 Anon. (era of Louis XIV) French. aadame e GrancespJagingthe Pard.essus io-1, engraving in waterco' lor. F, Paris,p r i va te co l1ec t i on .Noble, il/PARDESSUSIOL/bow. Portrait ; exterior; musicand society.30 Do' lmetsch,' la ta l ie (20th century) Engl ish. ?he v ioJa da Gamba,

ext racts (London,1968).Top lef t : posi t ion of the hand and f ingers at the begin-ning of the "push" strokeTop r ight : posi t lon of the hand and f ingers at the begin-ning of the ttpul-lf ' stroke.Bot tom: posi t ion of the lef t hand on the neck: wr ist curved,f ingers behind the f rets.

31 Kamper, odaert ca. L6L3/14-L679) utch. rhe viot 7aser,signed anddated L646,detai l , paint ing. BDR,D'r isseldor fKunstmuseum.Bourgeois, M/BASSVIOL/bow. Portrait ; inter ior ; indetermi-nate.

Verkol je , Jan, the e lder (1650-1693)u tch . rhe youns io lptaget , paint ing. PL, Cracow,Ch$teau e Wawel .Noble, -MlBAsSvIOL.wlth f lame holes/bow; V.IOLIN/xx.Portrait ;palace; indet,erminate.33 Rigaud, Jean Francois (1742-1810)French. rhe v iot incet l is t ,engrav ing in Jean-Bapt is te Breval ' (ca. 1756-1,825)rench,Le T ra i tE du v io lonce l l g , 1804. F , Par is , B ib l io thEqueffi

Bourgeois, M/VIOL0NCELLO'/bow.llustration; indererminate;instrument technic.34 Anon. (mid. l7th century) Engl ish? rhe v ioJ ptaser , hgrdv ingin Chr i s t opherS impson ? -1669) Engl i sh , The D iv is ionViol st (London, 659).F, Paris, Bibi iothe'quff i-Ei i ' i iETE.Bourgeols, U (Sinpson?)/BASS VIOL/bow. I l lustrat i .on; in-ter ior ; playing technic.

32


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PAt ' lEL3: PLAYINGECHNICcont)

35 Metsu ,Gabr ie l (1629-1667)signedanddated 1663'YoungMemorialMuseum.

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Noble, W/BASSVIOL/wlth boutsvarnLsh, t tc-holes /bow/nuslc.9Cene.

Dutch. Tha Bass viol PTager,pa in t i ng .USA,SanFranc isco ,M. H.in dif ferent shades ofPortrait ; inter ior ; genre

34 (cOnt) Conpar ing these two portraits (Plates / /33 and / /34) onecan easi ly see the dif ference in bow technic between thecel lo and the vio1. Wlth the vio1, the bow ls held ln thepaln of the r ight hand; on the cel lo the posit ion is re-versed: the hand pressee the bow into the str ing' Thestronger bow stroke on the vioL ls an up ( push ) bow,whiLe on the cel lo i t is a t tdownt ' ( t 'pul l ) bow.


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PANEL4: PLAYINGECHNICHouel Nico' las? 16th century) French?Music choot , deta ' i1f rom the Process ionf Lou ise e Lor ra ine ,1584,d raw inq ,p a r t o f a i s , B i U t l o t h l queNat iona le ,Cab ine t es Es tampes.Professional musieians, 4M/BASS IOLS/bows. Fest ival; ex-ter lor?; rehearsal or music instruct ion.Bosse, Abraham (L602-1676) French. rhe sense of Hear ing, e. f i-grav i l g a f te r the pa in t i ng (SeePlate 49) . F , Par i s , B ib-' l i o thBqueNat iona le ,Cab ine t es Es tampes.

Quintet , M/sings/ nusic; W/sings/rnusic; W/LUTE/nusic;C/sings/rnusic; M/BASSVlOl/bow/musi.c. Al legory; inrer ior ;musical gather ing.

Nat t ier , Jean-Mar ie(1685-1766)French. Madame enr ie t te ofFrance Plaging the Bass VioL. See Pl ate 27Dolmetsch , rno ld (1858-1940)nglsh . Photo .It is Dolmetsch who i.s primaril-y responsible for the twen-t ieth-century revival in English of not only the viol butmost other types of t tear lyt t instruments and ttear ly musict t

performance.Sava l l , Jo rd i (1946?-presen t )pan ish .Savall current ly resides in Base1, Switzer land. He is play-ing a J.7th-century, 7-strLng French bass in this picture.The photo also includes a harpsichord by Desruisseaux, aFrench builder who is oLherwise unknown.

36

37

38

39

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PANEL5: INSTRUMENTALNSEMBLE4l Tournier, Nicolas (ca.-1579L624 ) rench?Theconcert, paint-i ng . F , Par i s , Mus6e u Louvre .

Quintet , M/BASSVIOL/bow; I^t /cLAvIcHoRD?; /slngs/musiclM/vrotrN/bow;M/LUTE.


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PANEL5: INSTRUMENTALNSEMBLE42 Muel ich, Hans tsto-tsz3) German. rrandoLassoand he chapelChoir of t lze Duke of Bavat ia, Cit . 1565-70, engraving,miniature of the bookof Psalms y LassoexecutedorDuke lber t . BDR,Mun ich ,S taa tsb ib l i o thek ,Ms. A I I ,fo l 187 .Prof essional musLcians: 2I 1/BASS IOLS, one held or playedon rhe lap, like a guitar; 4MIVIOLASD/r BMCCIOI M/SPINET;M/RECORDm.;I/FLUTE; M/SAcKBUT;M/coRNETTo; u/n.e,cxrr;M/LUTE; 3C/sing. HlstorLcal portrait ; palace; rehearsalor concert of rel igious music.43 Anon. (endof 16th-century) ta l ian. concert , paint ing.F, Bourges,Mus-eee Bourges.Quarrer: M/LUTE;^I/FturE; ^I/sprNET; /BAssVrol/bow.Genre scene; exterior; muslcal gathering.44 Muel ich, Hans (1516-1573)German.DukeALber t or Bavar ia andhis wi fe Arong the Muses,engrav ingof min ia ture i l lus t ra-t i ng . a mote t by Cypr ianode R o re , -1559 .BDR,Mun ich , S taa ts -b ib l io thek , cod . mus . 1288 .r^r/SAcKBUT; /BASSSHAI,IM; /CRUMHORN;/TRIANGLE;W/r.Urr;W/BASS IOL/bow.Allegory, portrair l inrerior; symbolic.


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PAI IEL7: INSTRUMENTALNSE IBLE45 Dehue, . C. (ear1y 18th century)Germdr. oncertot Re-zi -gious Music, engraving rgm JohannGott f r ied Wal ther sMus ika lschesLex ikon Le ipz ig 1732) .F Par i s , B ib l o -ffiM/ORGAN;M/conducts; M/5-srr ing BASSVIOL/bow; 2MlVIOLASDA BRACCIO;2MlSACIGUTS;CITTERN/XX; HORN/XX;TRIANGLE/XX.Histor ical portrait ; inter ior ; rehearsal or performanceof sacred music.46 Ba len ,Hendr i ck an, the e lder (1575-1632)lemish.Banquetof the God.s, etai l , paint ing. F, Angers,Mus/eees Beaux-Ar t s .I I/BASSlol/bow (overhandgrip); w/lUrr; W/MANDoRA;/vlo-LIN; I IIFLUTE; N/sing/muslc; W/ cherub)conunrrot; pocHETTE/xx; 2 CORNETTI/xx;SACIGUT/xx;music/xx.47 Anon. (tZttr century) French, concert of the chapet Rogal ofTroges for Louis xIrr, paint ing? F, Troyes, Mus6edes Beaux-Arts .Prof essional musicians, 6M/VIOIS, POSSIBLYTI^r0BASSES,TWOTENORS, ND TWO REBLES(bur al l are sranding); M/conducrs;21,1/sing.Histor ical?; park; rehearsal , eoncert , or musiclesson.

The director of the Chapel muslc of Saint-Etlenne was Eti.enneBergerat , who died in 1671.


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PAI{EL18: INSTRUMENTALNSEMBLE

4 8 A49

Molenaer , anMiense ca . 1610-1668)u tch . rhe r t i o , pa in t i ng .N, The Hague,Gemeentemuseum.Trio: c/vrRcrMl/nusic; c?ILIJTE; ?/TENoRRDrvrsroNBASSVIOL; TREBLE IOL/bow/xx. Genre scene; inter ior ; chambermus ie .Molenaer , anMiense .Deta i l o f t he v io l p layer n Plate 48.Bosse,AbrahamL602-L676) rench The.sensef Hearing, ,Paint -i ng . F , Pa r i s , B i b l i o t hdque a t i ona l e .

Quintet , M/sings/nusic; W/sings/music; W/LUTE/music;C/sings/nusic; M/BASSVlol/bow/music. Al legory; inter ior ;muslcal gatheringSee Plate l l37 tor the engraving based on this paint ing.

Loo, Jacob an (ca , 1614-1670)lemish . oncer t , pa in t i ng .USSR, eningrad, he Hermi tage.Quart,et: I^I/BASS IoL/bow; M/LUTElslrrgs ; w/slngs/music;w/SoPRANoRECORDER; /sings? Genre scene; interior; cham-ber muslc.

Lastman, ieter-Pietersz 1583-1633) utch.David n therempre,1618,paint ing. BDR,Brunswick,Herzog ntonUl-r i ch Museum.M (David)/ I IARP/sings?; 3C and WIlsing; M/BASS rol; C?/vIoLIN; C/TAMBOURINE; /SACTGUT;M/BASS SHAWM; UTE/xx;ORGAN/xx.Bibl ical scene; church; rel igious music.See Plate / /89 f or a detai l- of the viol player.

Anon (mid- l7th century) German. I4usicat Gather ing, cd. 1.640,paint ing.DDR, eiFzig,Musik instrumenten-Museumer Kar lI t larx niversitet.Bourgeois quartet: M/BASSVIOL/bow; lt/lUff/rnusic; lr/Uitron-Bo/nusic; M/POCHETTE/urusic; UTE and TI^loVIoLS/xx (on backwall) . Genre scene; inter ior ; chamber music.

50

51

52


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PANEL9: INSTRUMENTALNSEMBLE53 Lancret , Nicolas 1690-1745) rench.concert n the park,pa in t i ng . USSR, oscow, ouchk ine useum.Trio: M/FLUTE; W/sings/nusic; M/BASSVIOL/bow.54 Bonnart ,Nicolas ca. 1636-1718) rench. oncert , engraving.Fn Ve rsa i l l es ,B i b l i o t hEque un i c i pa l e .Noble, t r io: I^I /LUTE; {/s ings/conducrs?/music; I^I /TREBLEVIOL. Genre scene; exter ior?; music and society. See a lso P la te /1100. )55 Watteau, ean-Antoine L684-L721) rench.outdoor concert,engraving y Audran fami ly of Frenchengravers n 17thand 18 thcen tu r ies ) . F , Par i s , B ib l i o the-queat iona le ,Cabinetdes Estampes.Noble, M/BASSVIeL/bow; M/FIUTE; 2Wlsing/music; I^ I /THEoRBo;C/VIOLIN/XX; 2 fol los of music/xx. Genre scene; park; rnu-s ic and soc ie ty .

The inpression is reversed.

56 Carmontele, Louis-Camogis tZtZ-t806) French.aaderrajsel ,J,ePitoin at het Piano ?) Accomrnnied bq h,er Son on the Bassvio| , paste l .F, Chant i l ly ,mus6e ona6.NOb].C, dUO: M/BASSVIOL/bOW; W/KEYBOARDHARPSICHORDRPIANO?)/urusic. Portrait ; verandai chamber music.


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PANEL 0: ARTISTS,TREATISES,NDSCORES

57 Netschern Constantin (L668-L723)Outcn. Johann schenck, r,tusi-cian to the ETector of the Palat ine, C4, 16900Paint ing.Chtteau e Blo is.Professional musician, M (Schenck) 7-str ing BASSVIOL bow/music (Marin Marais, Pieces de viol-e (1686), Book I, Suite/13 , Pre lude, p , 9 . )Por t ra i t ; in te r io r ; inde ter rn ina te .Schenck (ca. 1656-after L7L6) was a German composer andviol player. In 1696 he became a chamber musician for Jo-hann Wilhelm II, prince Elector of the Palatine, to whomSchenck dedlcated his Scherzl musical i , op. 6, for bassviol and basso cont inuo. Schenck also wrote the f irstfugues for unacconpanied bass viol.(See Pla tes l l77 and /178. )


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PANEL1: ARTISTS,REATISES,ND C0RES

The bass viol is one of manythe portion of the llarmonie

58 Mersenne,Marin (1588-1648)French. f iarmonie universelte,contenant ta th1orie et Ja pratique d.e l-a musiq,ue Paris,Sebas t i anCramoisy ,1636) . F , Pa r i s , B ib l i o t hdqueN a t i ona ' l e .BASS IOL/bow/Z r idges/ tun ing pi rches in norat ion.instruments i l lustrated indealing with instruments.

59 Ger le, Hans (ca. 1500-1570)German.Mus icaund rabtatur auf fdie Instrunent der KJeinen und.GrossenGeggen,(NUremberg,1 5 4 6 ) , e n g r a v i n g l l u s t r a t i n g t h e t u n i n g o i t t r e v i o 1 . , F ,Paris, Bibl i othdque du CNSt'l 478,2 VIOLS, one 5-str ing and one 6-str ing.The posit ion of the f ingers is indicated by letters onthe f ingerboard. These etters are the syrnbolsalso used inGermanute tablaLure of the period.

Praeto r ius ,M ichae l 1571-1621)erman De organographia,( 1 6 1 8 - 2 0 ) ,l a t e x . F , P a r i s ,olume I of SyntaqmausicumBibI othlque ti:ElffiTil---3 VIOLS (IT.EBLE, TENOR,AltD BASS?)/bows; VIOLA BASTARDA/bow; LYRADA BRACCIO/bow.

60


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PANEL2: ARTISTS,REATISES,NDSCORESJambe er Fer, Phi l iber t ( ? -L572)French.Epi tomeMusicat-(Lyon,1556) ,P la tesA throughF are facs im i lesof pages6 , 57 , 58 , 59 , 61 , a n d63 , r espec t i ve l y .

This treatise is quite unusual- in that i t is one of thefew wrlt i .ngs of the 16th century to discuss the differencesbetween viols and viol ins as well as the dist ir rct ion be-tween French and Ital ian viols. The pages shown here de-scr lbe the tuning of the viol, indicated by both notatj-onand finger ing.

Anon. (end of the 16th century) . portrait of ctaudio Monte-verd i , pa in t ing (?) . GB,Oxford,Ashmoleanuseum.Professlonal musici.an, M (Monteverdl) /BASS VIOL (part ialview)/bow/nusic/x; TREBLEor TENOR IOL/bow/xx; TROMBONE/xx.Ganass i , y l ves t ro i ( la te lSth-ear ly 16thcentur jes) ta ' l ian.RegoJa ubertina qZ), engraving.Professional musicians, quartet: 3M/VIOLS (basses or tenors?),at least one with 5 str ings/bows; M/sings/rnusic. I l lustrat ion;inter ior ; concert or rehearsal.

62

63


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PANEL3: ARTISTS,REATISES,ND CORESIn England the viol enjoyed except ional popular i ty. In Ehef irdt half of the l6th century Henry VII I brought to Englandseveral l tal ian viol players who played in his orchestraand in ensembles. These lat ter were the f irst viol consorts.The foreign vi.ol players formed a new school of playing;as a result , one can see the Golden Age of English violnusi.c emerge at the end of the L6th century and continuethrough much of the 17th century.

Ca ldwe l l , James (1739-1789) Eng l ish . por r ra i t o f Mat thewLocke,engraving ontained n Sir JohnHawkins, GeneralHistory of the scien.ce nd Pract iceof Music(Lof f i -, p . 4 L 7 .F ,Par i s , B ib l o the-que at iona le .Matthew Locke (L630-1677) was probably associated wirhthe viol player W. Wake, to whomhe dedicated his Lit , t leConsor t . o f Three Par ts of 1655.

64

65

66

67

P' lay ford, John (1623-1686)Engl iSh. Mus ick ,s Recreat ion onthe v ioJ , Lgra-wag London,pr in ted by A. G. and J. P.fo r J . P lay fo rd , second d i t i on , 1682 ) , p . 26 , T he Ec hoA l m a i n .

Guignion,C. (17th century?). port rai t of rhomas ace,en-graving, based n a paint ing by HenryCooleand containedin Sir JohnHawkins, GeneralHistory of the Science ndhacti qe_qf_Irugl-g_ Lom . 4 5 0 . F , Pa r i s , B i b l i o t hdque a t i ona ' l e .The thi rd book of Macers Musickts Monument is devoted lnpart to the v io l , indicat@interest j -n theinst rument in England in the second hal f of the LTth cen-tury.

Locke,Mat thew 1630-. |677) ngl ish. Duos or Bass iot -s,au tograph f the Iast sec t ion ,a saraband. B ,London,Br i t i sh MuseumddMs 17801,o l . 6 .Mace,Thomast0tg-tZO9)Englsh. rr lusick,sMonument, (LondonnT. Patcl i f fe and N. Thompsonor the composer, 676),p . 252 .F , Par i s , B ib l i o thFque at iona le .

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PANEL4: ARTISTS,REATISES,NDSCORESA&B Marals, Manin(1656-1728) rench. rhe Recovers nd rhe Gatt-BTadderperat ion, P eces e violes (PariS, bV the compos-F , L 7 2 5 ) ,B o o k , m i ng . F , Pa r i s , B i b l i o -thEqueNat iona le .

Anon. Engraving asedoh portrait of Marin Maraisby Andr6Bouys_(1656-1740) ,a in t i ng . SeeP la te #92. F , Par i s , B ib -l iothe-que at ionale,Cabinetdes Estampes.Professional nusician, 'M ( l larbls) /7-str ing BASSVIOL/xrbow/muslc. Portrait ; lnter ior ; indeterminate.A student of Salnte-Co1-ombe, Marais became one of theleading viol players of the French school of the begin:-ning of the L8th century. A very prol i f ic composer, hewrote approximateJ-y 600 pleces for one, two, or threev i o l s .


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PANEL 5: ARTISTS, REATISES,NDSCORES

7L Danov i l l e , ? ( l a t e 17 th cen tu ry ) F rench . L 'A r t de t ouc he rfe des s use t bas s e de v i oT e (Pa r i s o Ba l l a rd , 1687 ) pp . 30 -31 . F , Pa r is , B ib l o t hEque i a t i ona l .These pages i l lustrate the f ingerboard with tablaturelet ters and the tuning of the str ings uding frets andopen str ings.

72 Ca ix , d 'Herve lq i sLou isde (ca . 1670-ca . 76O) rench . ro i -si lme oeuvre. . .contenant quatre suites de pidces trnur 7avioLe avec basse chif f r \e en part i t ion (Par iS, bY the com-p o s e r ,1 7 3 1 ) ,p . 6 (F i r s t Su i t e ) , eng rav i ng . , Pa r i s ,Bib ' l othdqueNat iona' l.The score conta ins two minuets and t 'La Boussac. t t

73 Rousseau, ean (1644- ? ) French. r ra i t6 de t -av iore quicontient une Djssertat ion curjeuse sur son origine (Paris,B a l l a r d , 1 6 8 7 ) ,C h a p .V , p p . 3 8 - 3 9 . F , P a r i s , B i b l i o t h e \ u et'lational e .

74 F redou,J eanMar t ia l (ca . 1711 -1795 ) renc h . Po r t r a i t o fJean-Baptiste-Antoine Forquerag, 1737, I ocation unknown'photo taken f rom Georg Kinsky , Geschichteder Mus ik inb i lde rn , Le ipz ig , 929) , . -227Forqueray, one of the foremost viol players of the 18thcentury, l ived frorn 1699 to L782.

75 Sainte-Colombe, ( late 17th century) French.concerta\deux io tes , ca . 1660-1670,. 62, manuscr ip t . , Par i s ,Bibl othe-que at ional .Page 62 is the score for La Bourrasque.


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76

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PANEL6: ARTISTS,REATISES,ND CORESGainsborough,homasL7?7-1788) ngl ish. stuas ror the por-trait of Karl--Friedrich Abel PTaging the VioLa da Gamba,draw ing . So ldby Sotheby 's f London, p r i l 1 , t 976)Professional musician, M (Abel) /neSS VIOL/bow. Porrrair ;inter ior ; indeterminate.

Kar l-Fr iedr ich Abel (L723-L787) was the son of Chr ist ian-Ferdinand, the celebrated garnbist for whom Johann Sebas-t ian Bach possibJ-y composedhis three sonatas for violand harpsichord. Kar l-Fr iedr ich was a musician at thecourt of Dresden unt i l- L759, when he went to England, wherehe, with Johann Christoph Bach, founded the Bach-Abel con-certs in 1765, r ival ing the I 'concerts spir i tuels in Par is.He cont l-nued to pJ.ay the viol- unt i l his death ln 1787.

Netscher,Constantin(L668-L723)lutch. Johann chenk.SeePlate #57.77

78 Schenk, ohann cq. 1656-af terL7L6)German.op. s (Amsterdam,st ienneRoger), i t leBode le ian ib ra ry , l ' | us .SCH. 199.L'Echo du Danube,page.GB,0x fo rd ,


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80

81

82

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PAl,lEL7: THS4ESAbbate, , l iccolo el l ' (ca. L5LZ-I571)taf ian. apo: . toandthe r4uses , raw ing .F, Par i s , t co le des Beaux-Ar t s .M (Apollo) /nesS VIOL; W/sings/music; W/HARp;W/FLUTE;W/LUTE; W/TRUMPET;4I/CORNETTO?;/TAI,IBOURINE;/VIOI,A DABRACCIO.Mythology; Parnassus; symbolic.Rubens , Peter -Pau1 (1577-1640) Dutch . rhe Educat ion orI r a r i a d e M e d i c . i , 1 6 2 I - 2 5 , d e t a i l o f A p o l l o , p a i n t i n g .F, Par is , MusEeu Louvre nv . 1771.M (Apol lo) /BASS VIOL/bow; CHITARRONE/xx. Al legory; in-

de t e rm i na t e ; i ns t ruc t i on .In th is paint ing, which Rubens produced as part of thefamous ser ies of twenty-one panels used to decorate thehal ls of the Luxembourg Palace, Apol lo inst ructs theyoung queen i .n music, using one of the most fashionableinst ruments of the day, the vio l . Part of the panel wasprobably painted by Rubens' pupi ls.

Anon. ( late 16th century) French. rr i ton pJasins he vioJ,1582 , e t a i l o f a n e n g r a v i n gl l us t ra t i ng t he Ba l l e tcomique e la Royne y Balt isar de Beaujoyeux,ff iedby Rober tBa l l a rdandMamer t a t i sson .F, Par i s , p r i va teco l ec t i on .Tr i ron /BASS VIOL; Tr i t on /LUTE. Decorar ion fo r ba l1e t ;sea; decorat . ive.Anon. (1ate 16th century) French. amphion Buit -dins the wallof rhebes ,1 .596 ,l l us t ra t i on in D iscours e l a joyeuseet T r iomphanten t , r6e 'Henr i Iv .@ i -ff iR5serve.M (Amphion)/BASS VIOL. I l lust rat ion f rom myrhology; en-

t rance ; f es t i ve .

Anon. (ear ly 17th century) Germdh. arn jvaf a t Stu t tgar t ,P a r i s ,B i b l i o -VIOL. Mytholo-

The engraving depicts a fest ival for the marr iage of Jo-hann Friedrich of Wurtembourg with Barbara Sophis of Branden-bourg . The 'quar te t o f v io ls accompan ies he ba l le t .

16C9 , ng rav i ngP l a t e 6 o f a s e r i e s ) . F ,thdqueNat iona le ,Cab ine t es Es tampes.3M/VIOLASDA BMCCTO; M/PRoCESSTOML ASSgica l ; inde term ina te ; fes t lve .

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PANEL8: THEMES84 Pluym,Karel van der (L625-L672) utch. rhe phiTosopher ead-ins, pdint ing. BRD,Co' logne, useum al l raf -RichartzoBASSVIOL bow/xx. Al legory; inter ior ; symbolic.85 Co lombe l , i co las 1644-17L7)rench .sa in t cec i t i a , pa in t -ing. F, Rouen,Mus-eees Beaux-Arts.I ' l (Saint Ceeil ia) /7-etr ing BASSVIoL/bow/sings?; C (angel) /s lngs/nusic. Religious allegory; inter ior ; symbolic.

86 Duck,Jacob cE. 1600-af ter1660)Dutch.Li fe 's vani t ies,pa in t i ng . Nor thw ick ark ,Co l l ec t i ono f E . G . SpencerC h u r c h i l l .PARDESSUSR TREBLEVIOL/xx (incomplete view). Allegory;inter ior ; syurbol ic.87 Cleynhens,Bernardus ? - ? ) Dutch. rhe v.ices, end ofthe 16 thcen tu ry ,deta i l , engrav ing . oca t ion nknown.Professional musicians, t r io: M/BAss vIoL; 2M/VIoLASDABMCCIO/dance. A1- legory; park; synbolic.

88 Veronese, aoloCal iar i (1528-1588)tal ian. rhe RichEputon,de ta i l , pa in t i ng . I , Ven ' i ce , ccademyf F ineAr ts .TTio: W/LUTE/music; M/BASSVIOL; M/I^IIND NSTRIJMENT?. e-l igious al legory; palace; fest ive.89 Lastman, ieter-Pietersz 1583-1639) utch.David n therempte.SeePlate 51.


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PANEL9: THn'lESHoremans,Pieter-Jacob (I700-1776) F'lemish. Musicat-Gather-ing for the ELector Charles-Albert, signed and dated 1730,paint ing. USA,NewYork , Met ropol i tan Museumf Ar t .Nobles, M/LUTE;7-str lng BASS IOL/bow/xx. Porrrait ; mu-sic and society.

90 A Horemans,ie te r -Jacob. eta i l o f bassv io l in 90. (7 -s t r i ngviol , decorated ingerboardand tai lp iece, headof a woman)

Desportes, lexander-Frangois1661-L743) rench FJowers, ,Frui ts, and. ninals, l lL7, paint ing. F, Grenoble,Mus6edes Beaux-Arts.7-string BASSVlol/xx; VI0LIN/bow/xx; rnonkey/Vlol,lN/bow;LUTE/xx; music/xx. Sti l l l - i fe; exterior; decorat ive.Bouys,Andr6 (1656-1740) rench. por t ra i t o f Mar in Mara is ,.q , L740, a int ing.F, Par is,Mus6eu Louvrenv. ?0145,Professional musician, M (Marais) /7-str lng BASSVIOL bowlmusic/xx. Portrait ; inter ior .( S e e l so P l a t e 70 . )Garnier, Jean (16SZ-1ZO5)rench.port rai t . or Louisxrv,c a . L672 , d i n t i ng .F , Ve rsa i l l es ,M usdese Versa i ' l i eset des Tr ianons.BASSVIOL bow/xx; TREBLEVIOL/bow/xx; VIOLIN/xx; GUITAR/xx;MUSETTE/xx.St i l l l i fe; inter lor ; symbolic.Heem, o rne ' l i s e (1631-169S)utch, s t i l t L i re , de ta i l o fv io l , pa in t ing. NL,Amsterdam,i j ksmuseum.BASSVlOlbow/xx; VIOLIN/xx; POCHETTE/xx;CITTERN/xx;LUTE/xx; SMALLLUTE/xx; BAGPIPE/xx; TRIMPET/xx; ALTO RE-CORDER/xx; SOPMNINORECORDER/xx;music/xx. Still- l-lfe;inter ior ; decorat ive.

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PAI'IEL0: THE'IESVerkole, Jan, the elder (1650-1693) utch rhe r , rusic esson,paint ing. Displayed t the RoyalAccademy,ondon, 952-53,ca t . #451.BASSVIOL with flane holes and rose hole/xx; W/ClfffRW;VIRGIML/xx. Genre scene; inter ior ; instruct ion?.Picart , Bernard 1673-1733) rench.outdoorconcert , 1707,engrav ing . , Par i s , B ib l i o thbque at iona ' l e , ab ine t esEstampes.M/BASSVIOL, M/VIoLIN; M/FLUTE, W/HARPSICHORD;MIRECORDERS;

M and i,I/sing/rnusic. Genre scene; park; puslcal- gathering.There are four pairs of performers, possibly each rnakingmusic lndependently of each other.

Hooch,Pieter de (1629-1681) utch. rhe Music ians, aint ing.USA,Pi t ts f ie ld (Massachuse t t s ) ,e rksh i reMuseum.Quarret: W/VIRGIML; w/BAsS VIoL wirh flarne hol-es and arose hole; M/stngs/rnusic; M/VIOIIN. Portrait?; inter ior .

Burgkmair,Hans 1473-1531) erman.he rr iumph f KaiserI , taximi l ian,1515-19, etai l , engraving.BRD,Munich,Baye-r isches Museum.M/IUTE; M/BASSVIOL; M/BASSOR TENOR IOL (PArtlAJ.J-Y iNview). Histor icaL event, ; exter ior l fest ive.(The image is reversed.)

Bosse,AbrahamL602-1676) rench, rabarin, L623,engravedf ron tsp iece ,Par i s . F , Par i s , B ib l i o thBque at iona ' le , ab i -net des Estampes.M/VIOLA DA BRACCIO;M/BASSVIOL. I l lusrrar ion; inrer ior lmusic and theater.Bonnart ,Nicolas (cq, 1636-1718) rench.concert , SeePlate#s4.

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