18th Century

Welcome to the 18^th Century Iconography page that presents visual records of various period bass instruments and the actual period double basses which have coexisted together in the music practice of this time.

The 18^th century is a very interesting period for bass music iconography as it presents a major shift in bass instruments use and development between the early and the ending decades of the century, and which to an extent overlap with a transition from Baroque to Classical music periods. Thus we can witness that the early 1700s still show a variety of Violoni along the double basses as employed in ensembles, while the middle century already presents the standardization of double bass use within the ensembles, a process that will continue into the 1770s where a clear trend of a bass group division to violoncellos and double basses becomes established. At about that time the use of Violoni and the other non-standard mid sized bass instruments is already well diminished and these instruments will be phased out by the end of the century.

Furthermore in the 18^th century Violoni themselves (mid sized bass instruments) became standardized in the now-known Violone in G and D six stringed variants, and along the unique five stringed Violone type that still needs further research. Correspondingly you will find very few Predecessor Instrument entries within the 18^th century records since these instruments are now recognized as standardized Violoni while the other antique instruments with pure 16^th or 17^th century characteristics are hardly noted any longer. The 18^th Century Iconography ends with Bartolozzi F – Domenico Dragonetti – 1795 depiction of Dragonetti’s with his famous three stringed Gasparo da Salo instrument that has become now a synonym for double bass excellence in respect to size, form and function.

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Chronological Listing ¹

• 1705

• 1709

• 1710

• 1713

• 1714

• 1715

• 1716

• 1717

• 1718

• 1719

• 1720

• 1722

• 1723

• 1726

• 1727

• 1730

• 1732

• 1733

• 1734

• 1736

• 1737

• 1739

• 1740

• 1741

• 1742

• 1744

• 1745

• 1746

• 1747

• 1748

• 1749

• 1750

• 1751

• 1752

• 1753

• 1754

• 1755

• 1756

• 1758

• 1759

• 1760

• 1761

• 1763

• 1764

• 1765

• 1767

• 1768

• 1769

• 1770

• 1771

• 1772

• 1773

• 1774

• 1775

• 1776

• 1779

• 1780

• 1781

• 1782

• 1784

• 1785

• 1786

• 1789

• 1790

• 1791

• 1795

Author Listing ²

• Anonym / Anziani – Annunc. Concerto – 1705

• Anonym – Kuhnau’s Orchestra – 1710

• Anonym – Collegium Musicum Leipzig – 1727

• Anonym – Konzert bd M Wilhelmine – 1739

• Anonym – Musical Group – 1730

• Anonym – Handel Conducting an Oratorio – 1740

• Anonym – Tanzgesellschaft Maskenball – 1740

• Anonym / Anziani – Festa di Ballo – 1742

• Anonym – Abendmusik – 1744

• Anonym – Geiger a.d. Weltgebäude – 1746

• Anonym – Musiker – 1751

• Anonym – Bass Player Zoetrope – 1760 est

• Anonym – An Orchestra Rehearsing – 1770 est

• Anonym – Herzogliche Kapelle Schwerin – 1770

• Anonym – W.A. Mozart Berlin – 1789

• Anonym – Garre aux Faux Pas – 1791

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• Abel – Ludwigslust Hoffkapelle – 1770

• Anaya – Causa Nostrae Laetitiae – 1756

• Asam – Musikanten – 1726

• Baratti – San Benedetto Theatre – 1782

• Bartolozzi F – Domenico Dragonetti – 1795

• Basan – La Guinguette – 1750

• Becken – Gesellschaftsszene – 1723

• Bellotto – Le Turc Généreux -1759

• Birkhart – Constanza e Fortezza – 1723

• Blommaert – Musical Company – 1720

• Blommaert – La Danse – 1720

• Bonanni – Accordo – 1722

• Bonanni – Viola – 1722

• Bonanni – Violone – 1722

• Bossche – Musicians on a Terrace – 1713

• Bradt – Hofballet – 1768

• Bretherton – A Sunday Concert – 1782

• Burney E – Garrick Memorial Concert – 1779

• Burney E – Handel Centenary – 1785

• Canaletto – Rotunda at Ranelagh (vl) – 1751

• Canaletto – Rotunda at Ranelagh (vr) – 1754

• Cochin II – La Princesse de Navarre – 1745

• Colombo – Glorification of the Trinity – 1749

• Corrette – Contre-Basse – 1773

• Corvinus – Bürgersaal – 1722

• Daumont – Nouvelle Salle Venise – 1760

• Delavallée-Poussin – Musicians – 1770

• Delftware – Bass and Violin – 1705

• Desprez – Feast in Tivoli – 1776

• Duclos – Le Concert – 1774

• Engelbrecht – Une Lutiere – Violon – 1730

• Fehling – Banquet – 1719

• Franceschini – Orchestra – 1727

• Freudweiler – Becheltagslied – 1784

• Ghezzi – Quintet – 1720

• Gillot – Metamorfosi D’Arlecchino – 1710

• Graneri – Interno del Teatro Regio – 1752

• Greipel – Il Parnaso – 1765

• Guardi – Le Nozze del Duca – 1790

• Guardi – Venetian Gala Concert – 1782

• Handke – Engelskonzert – 1742

• Haas – Frederic the Great – 1786

• Heins – Music at Melton Constable – 1734

• Hermann – Musicians – 1781

• Hofer – St. Cecilia and Angel – 1785

• Hogarth – A Chorus of Singers – 1732

• Hogarth – Mary’s Chappel – 1733

• Holzhalb – Musiksaal zur Deutschen Schule – 1761

• Horemans JJ E – Musikal. Gesselschaft – 1715

• Horemans JJ E – Häusliches Musizieren – 1715

• Horemans JJ E – Contrabass Spieler – 1715

• Horemans JJ E – A Musical Party – 1715

• Horemans JJ E – Musical Party – 1718

• Horemans JJ E – Musicerend Gezelschap – 1736

• Horemans JJ E – Musical Party – 1740

• Horemans JJ Y – The Concert – 1760

• Hume – A Concert – 1767

• Janneck – Masked Ball – 1750

• Juvara – Teatro Palazzo Reale – 1722

• Klauber – Liber Psalmorum Psalm 94 – 1748

• La Borde – Contrebasse – 1780

• Lancret – Concert in Oval Salon, Home I – 1720

• Lancret – Konzert im Salon, Grande Galerie II 1720

• Lindner – Freiberg Cathedral – 1714

• Loreto Joassar – Causa Nostrae Laetitiae – 1740

• Löschenkohl – Musicians 1 & 2 – 1790

• Majer JFBC – Violone – 1732

• Majer JFBC – Lady with Violone – 1741

• Mayr – Inauguration – 1767

• Menz – Beleuchtete Merkantilpalast – 1761

• Mercier – Fête Galante – 1730

• Meunier – Comédie-Française – 1790

• Meytens – Hochzeitsdiner in Der Hofburg – 1763

• Meytens – Hoftafel im Redoutensaal – 1763

• Meytens – Konzert im Redoutensaal – 1763

• Minderhout – Masqued Ball I – 1740

• Minderhout – Masqued Ball II – 1740

• Natoire – Masquerade Ball – 1751

• Nilson – Le Chant – 1755

• Nilson – La Musique – 1755

• Nilson – Dance of Death – 1755

• Pannini – Fête Musicale – 1747

• Pannini – Study of a Bass Player – 1747

• Pannini – Ball by Duc de Nivernais – 1751

• Pannini – Concert by Duc de Nivernais – 1751

• Paret y Alcázar – Masqued Ball – 1767

• Pfau – Collegium Musicum – 1705

• Pfau – Concordant – 1705

• Pfisterer – Kirchenorchester – 1720

• Piazzetta – Gloria di San Domenico – 1727

• Preissler – Musizierende Gesellschaft – 1723

• Probst – Auditus – 1750

• Pseudo Zoffany – A Concert – 1771

• Ranger – St. Cecilia – 1749

• Ricci – Riunione Musicale – 1705

• Ricci – Opera Rehearsal – 1709

• Ricci – Rehearsal of an Opera – 1709

• Ridinger – Gravitätische Violone – 1723

• Rottmayr – Organ and Violone – 1716

• Rousseau 1 – Maskentriben – 1754

• Rousseau 2 – Maskenball – 1754

• Saint-Aubin – Armide – 1761

• Saint-Aubin – The Musical Duo – 1772

• Sandby – Freemasons’ Hall – 1776

• Sassoli – Seconda Machina – 1769

• Scarselli / Anziani – Ballo in Casa Fibbia – 1737

• Scheffler – Causa Nostrae Laetitiae – 1732

• Schellenberg – Mus. Almanach – 1782

• Scholze (Sperontes) – Kontrabassitin – 1736

• Scolari – Orchestra – 1709

• Sergel – Kungliga Hovorkestern – 1790

• Sevillian Workshop – Musician – 1776

• Skorodumov – The Concert – 1770

• Smith CL – A Sunday Concert – 1782

• Taubert – Tantzmeister – 1717

• Teasdale – Acis and Galatea- 1765

• Travaglia – ‘L’Incontro Improvviso – 1775

• Vasi – Seconda Machina – 1761

• Vasi – Seconda Machina – 1764

• Vasi – Prima Machina – 1770

• Vasi – Seconda Machina – 1770

• Vertue J – Musical Gathering – 1755

• Visentini – Concerto in Villa – 1739

• Voigt – Organ and Bass – 1742

• Walther / Dehne – Bach Cantata – 1732

• Watteau – Les Plaisirs du Bal – 1715

• Weigel – Musicalisches Theatrum – 1720

• Widnmann – Harmoniemusik -1785

• Wigstead – The Wapping Concert – 1786

• Winterschmidt – Der Lustige – 1764

• Zapata – Causa Nostrae Laetitiae – 1755

• Zocchi – Concerto di Notte – Sketch I – 1753

• Zocchi – Concerti Musicali – Sketch II – 1753

• Zocchi – Concerti Musicali II – Final I – 1753

• Zocchi – Allegoria della Musica – Final II – 1753

• Zocchi – Allegory of Music – Model Painting – 1753

• Zocchi – Allegory of Music – Mosaic – 1753

Geographical Listing ³

Europe

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Austria

Melk

• Rottmayr – Organ and Violone – 1716

Pill

• Mayr – Inauguration – 1767

Vienna

• Bellotto – Le Turc Généreux -1759

• Greipel – Il Parnaso – 1765

• Janneck – Masked Ball – 1750

• Löschenkohl – Musicians 1 & 2 – 1790

• Meytens – Hochzeitsdiner in Hofburg – 1763

• Meytens – Hoftafel im Redoutensaal – 1763

• Meytens – Konzert im Redoutensaal – 1763

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Belgium

Antwerp

• Becken – Gesellschaftsszene – 1723

• Bossche – Musicians on a Terrace – 1713

• Blommaert – Musical Company – 1720

• Blommaert – La Danse – 1720

• Horemans JJ E – Musik. Gesselschaft – 1715

• Horemans JJ E – Häusliches Mus. – 1715

• Horemans JJ E – Contrabass Spieler – 1715

• Horemans JJ E – A Musical Party – 1715

• Horemans JJ E – Musical Party – 1718

• Horemans JJ E – Musicerend Gezel. – 1736

• Horemans JJ E – Musical Party – 1740

• Horemans JJ Y – The Concert – 1760

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Bohemia – Czech Republic

Brevnov

• Asam – Musikanten – 1726

Prague

• Anonym – Musical Group – 1730

• Birkhart – Constanza e Fortezza – 1723

Brno

• Minderhout – Masqued Ball I – 1740

• Minderhout – Masqued Ball II – 1740

Velké Losiny

• Handke – Engelskonzert – 1742

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Croatia

Purga

• Ranger – St. Cecilia – 1749

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Danemark

Copenhagen

• Bradt – Hofballet – 1768

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England

Cambridge

• Hume – A Concert – 1767

London

• Anonym – An Orchestra Rehearsing – 1770

• Anonym – Handel Cndt. an Oratorio – 1740

• Bartolozzi F – Domenico Dragonetti – 1795

• Bretherton – A Sunday Concert – 1782

• Burney E – Garrick Memorial Concert – 1779

• Burney E – Handel Centenary – 1785

• Canaletto – Rotunda at Ranelagh (vl) – 1751

• Canaletto – Rotunda at Ranelagh (vr) – 1754

• Hogarth – A Chorus of Singers – 1732

• Ricci – Opera Rehearsal – 1709

• Ricci – Rehearsal of an Opera – 1709

• Sandby – Freemasons’ Hall – 1776

• Smith CL – A Sunday Concert – 1782

• Teasdale – Acis and Galatea – 1765

• Vertue J – Musical Gathering – 1755

• Wigstead – The Wapping Concert – 1786

Melton Constable

• Heins – Music at Melton Constable – 1734

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France

Paris

• Anonym – Garre aux Faux Pas – 1791

• Basan – La Guinguette – 1750

• Cochin II – La Princesse de Navarre – 1745

• Corrette – Contre-Basse – 1773

• Duclos – Le Concert – 1774

• Gillot – Metamorfosi D’Arlecchino – 1710

• La Borde – Contrebasse – 1780

• Lancret – Concert in Salon, Home I – 1720

• Lancret – Konzert im Salon, Grd. G. II 1720

• Meunier – Comédie-Française – 1790

• Saint-Aubin – Armide – 1761

• Saint-Aubin – The Musical Duo – 1772

• Watteau – Les Plaisirs du Bal – 1715

City Unknown

• Mercier – Fête Galante – 1730

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Germany

Augsburg

• Engelbrecht – Une Lutiere – Violon – 1730

• Klauber – Liber Psalmorum Psalm 94 – 1748

• Nilson – Le Chant – 1755

• Nilson – La Musique – 1755

• Nilson – Dance of Death – 1755

• Probst – Auditus – 1750

• Ridinger – Gravitätische Violone – 1723

• Scheffler – Causa Nostrae Laetitiae – 1732

Baureyth

• Anonym – Konzert bd M Wilhelmine – 1739

Berlin

• Anonym – W.A. Mozart Berlin – 1789

• Haas – Frederic the Great – 1786

Bonn

• Rousseau 1 – Maskentriben – 1754

• Rousseau 2 – Maskenball – 1754

Dresden

• Fehling – Banquet – 1719

Erfurt

• Voigt – Organ and Bass – 1742

Freiberg (Saxony)

• Lindner – Freiberg Cathedral – 1714

Horb am Neckar

• Hermann – Musicians – 1781

Jena

• Anonym – Abendmusik – 1744

Köngen

• Pfisterer – Kirchenorchester – 1720

Leipzig

• Anonym – Collegium Musicum Leipzig – 1727

• Anonym – Geiger a.d. Weltgebäude – 1746

• Anonym – Kuhnau’s Orchestra – 1710

• Scholze (Sperontes) – Kontrabassitin – 1736

• Taubert – Tantzmeister – 1717

• Walther / Dehne – Bach Cantata – 1732

Munich

• Anonym – Tanzgesellschaft Maskball – 1740

• Corvinus – Bürgersaal – 1722

Nürnberg

• Majer JFBC – Lady with Violone – 1741

• Preissler – Musizierende Gesellsch. – 1723

• Weigel – Musicalisches Theatrum – 1720

• Winterschmidt – Der Lustige – 1764

Schwäbisch Hall

• Majer JFBC – Violone – 1732

Schwerin

• Anonym – Herzogliche Kapelle Schwerin – 1770

• Abel – Ludwigslust Hoffkapelle – 1770

Uetersen

• Colombo – Glorification of the Trinity – 1749

Wallerstein

• Widnmann – Harmoniemusik -1785

Unknown City

• Anonym – Musiker – 1751

• Hofer – St. Cecilia and Angel – 1785

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Hungary

Estehaza (Fertőd)

• Travaglia – ‘L’Incontro Improvviso – 1775

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Italy

Bologna

• Anonym / Anziani – Annunc. Concerto – 1705

• Anonym / Anziani – Festa di Ballo – 1742

• Scarselli / Anziani – Ballo Casa Fibbia – 1737

Bolzano

• Menz – Beleuchtete Merkantilpalast – 1761

Florence

• Ricci – Riunione Musicale – 1705

• Zocchi – Concerto di Notte – Sketch I – 1753

• Zocchi – Concerti Musicali – Sketch II – 1753

• Zocchi – Concerti Musicali II – Final I – 1753

• Zocchi – Allegoria del Musica – Final II – 1753

• Zocchi – Allegory of Music – Painting – 1753

• Zocchi – Allegory of Music – Mosaic – 1753

Rome

• Bonanni – Accordo – 1722

• Bonanni – Viola – 1722

• Bonanni – Violone – 1722

• Desprez – Feast in Tivoli – 1776

• Delavallée-Poussin – Musicians – 1770

• Franceschini – Orchestra – 1727

• Ghezzi – Quintet – 1720

• Natoire – Masquerade Ball – 1751

• Pannini – Fête Musicale – 1747

• Pannini – Study of a Bass Player – 1747

• Pannini – Ball by Duc de Nivernais – 1751

• Pannini – Concert Duc de Nivernais – 1751

• Sassoli – Seconda Machina – 1769

• Vasi – Seconda Machina – 1761

• Vasi – Seconda Machina – 1764

• Vasi – Prima Machina – 1770

• Vasi – Seconda Machina – 1770

Torino

• Graneri – Interno del Teatro Regio – 1752

• Juvara – Teatro Palazzo Reale – 1722

Venice

• Baratti – San Benedetto Theatre – 1782

• Daumont – Nouvelle Salle Venise – 1760

• Guardi – Le Nozze del Duca – 1790

• Guardi – Venetian Gala Concert – 1782

• Piazzetta – Gloria di San Domenico – 1727

• Visentini – Concerto in Villa – 1739

Verona

• Scolari – Orchestra – 1709

Unknown City

• Pseudo Zoffany – A Concert – 1771

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Netherlands

Delft

• Delftware – Bass and Violin – 1705

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Russia

St. Petersburg

• Skorodumov – The Concert – 1770

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Scotland

Edinburgh

• Hogarth – Mary’s Chappel – 1733

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Spain

Madrid

• Paret y Alcázar – Masqued Ball – 1767

Malaga

• Sevillian Workshop – Musician – 1776

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Sweden

Stockholm

• Sergel – Kungliga Hovorkestern – 1790

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Switzerland

Winterthur

• Pfau – Collegium Musicum – 1705

• Pfau – Concordant – 1705

Zurich

• Holzhalb – Musiksaal z. Deutsch. Sch. – 1761

• Freudweiler – Becheltagslied – 1784

Unknown City

• Schellenberg – Mus. Almanach – 1782

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Unknown Country

Unknown City

• Anonym – Bass Player Zoetrope – 1760est

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South America

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Brazil

Salvador (State of Bahia)

• Loreto J. – Causa Nost. Laetitiae – 1740

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Mexico

Mexico City

• Anaya – Causa Nostrae Laetitiae – 1756

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Peru

Cusco

• Zapata – Causa Nostrae Laetitiae – 1755

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Index Map

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Note 1. Chronological Listing

Chronological Listing column presents the years when the artworks were created in chronological order. If a particular year is missing, that implies that no artwork is affiliated with that year. Furthermore, where there are two or more artworks created within the same year, those will not be indicated in any particular way within the indexed year, but will be presented on the web page itself in alphabetical order by the author’s last name. Otherwise, the full listing of all cited artworks can be seen in either the Author Listing ² or the Geographical Listing ³ .

In this iconography, you will find that every artwork is assigned a single specific year of creation in order to offer an easy chronological orientation and overview. However, due to the complexity of dating and date ascription, many of the dating entries on the actual artwork records will cite the year span estimates instead of a single year. Thus it is important to know that in such cases the Chronological Listing year indicates the earliest year at which a particular artwork may have been created. For example, the artwork estimated as created during 1726-1728 will be cited under 1726. All other details on dating procedures and issues are explained at the Year of Creation – Citation entry of the Artwork Record Format map.

Lastly, every artwork record will also present specific information on the dating sources, their assessment, and the subsequent ascription of a particular year, or a year span, within the Notes section. In general and according how the museums and individuals have dealt with dating issues, many sources did not offer a particular year of creation but have instead cited a decade, or sometimes even a century estimate that represents a creation period. Some other institutions have bravely simplified the matters by stating only the life dates of the author, if even these were known. Nevertheless, such practices were found unacceptably lax for the purpose of this Iconography and for this reason a particular year was always determined in order to provide some general sense of chronology within the listed works.

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Note 2. Author Listing

Each of the Author Listing citations is made of three fields in the following format: “Author – Title -Year,” as illustrated in the example below:

Asam – Musikanten – 1726

The author’s Name is commonly abbreviated to the last name with possible suffix abbreviation for Junior, Senior, First, Second and similar. More on the name citations you will find at the Artist’s Name section of the Artwork Record Format map.

The artwork Title is taken commonly from the artwork record Image Title Heading, or Image Title Citation but in some instances may be abbreviated for a word or two and due to the short space that the Index field affords. Still, a due effort was made that the Index entry title is always recognized with the main record title. More on the title citations you will find at the Image Title Heading and Image Title Citation sections of the Artwork Record Format map.

The artwork Year represents the same year you will find in the Year of Creation Heading of each artwork record. More on the year citations you can find at Year of Creation – Heading and Year of Creation – Citation sections of the Artwork Record Format map.

Lastly, if the author is unknown, they are cited as Anonymous or Anonym. You will find that the listing of Anonymous authors in this index precedes the main alphabetical listing by authors and also that the Anonymous authors themselves are cited in chronological order by the year and not alphabetically by the artwork title.

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Note 3. Geographical Listing

The Geographical Listing for the 18^th Century Iconography is organized in the alphabetical order by Country, City and Author hierarchy. The artworks which emanate from South America are cited in a separate section after the European entries.

The City name is commonly cited in the original language spelling, while the additional information on procedures and issues that pertain to the cities you may find at City of Origin section of the Artwork Record Format map.

The Country name is commonly cited in the original language spelling while the additional information on procedures and issues that pertain to the countries you may find at Country of Origin section of the Artwork Record Format map.

The rest of the citation follows the “Author – Title – Year” pattern presented in the Author Listing index citations (above) as illustrated in the example:

Asam – Musikanten – 1726

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Chronological Listing

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1705

Annunciation Concerto
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Detail
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Image 1 – Detail
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Image 2 – Virtual Tour

Image 3 – Virtual Tour
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Pfau, Hans Heinrich, II and David Sulzer. Concordant (the other word can not be read). Furnace Tile Presentation, 1705, Winterthur, Switzerland. Located at Museum Lindengut, Winterthur, Switzerland. Museum inv. no.: 581.
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Official Site – Villa Lidengut
Image View – Remise18.com
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Bibliography:
• place for future bibliographic entries

Notes:
• This image is located on a tile of a period coal furnace, located in Villa Lindengut, Winterthur, Switzerland. It presents a stringed bass instrument played while seated on the right side and a lute on the left. The player with his bass instrument is featured in Image 1, yet you may also see the Virtual Tour captures in Images 2 and 3 with exact room observation points. This will enable you to differentiate it from the previous “Omnes ad Unum,” which is featured on the left side of the same furnace.
• The stringed bass instrument is depicted from the front, and it actually may be the same instrument featured at the “Omnes ad Unum.” This instrument is played in seated position while it rests on the ground without a visible endpin, and while its scroll box height reaches to the top of player’s head. The instrument has five pegs, five strings, a bridge set lower than the F holes. The neck appears relatively short which probably means that the body of the instrument was even larger in proportion.
• The size of this instrument appears to be larger then the present day violoncello and particularly since it rests on the ground. It can be assumed that this is a period type of violone. Further study of music practices associated with Winterthur and Villa Lindegut may reveal more on the type of instrument and the music that it performed.
• This image has no RidIM record although the adjoining image has.
• Please be welcome to visit this unique furnace at the Museum Lindengut online tour cited under the Other Media section below.

Further Research:
• This image is a part of the greater composition of tiles with presentations and also edificational texts in Latin. It would be a nice project to research all of these texts and show the relationship with images and particularly the music related images on this uniquely decorated furnace.
• The Musikkollegium Winterthur (name of the Winterthur Symphony Orchestra) on its wiki presentation uses the precious Collegium Musicum – Omnes ad Unum as an indication of Collegium’s early roots. It certainly would help to research the history of this society from the 1629, when it was founded, and find out how and to what extent the images at the Villa Lindengut furnace may contribute to its history. Musikkollegium Winterthur – Wikipedia

Other Media:
• Online-Panorama Tour – Museum Lindengut

This particular furnace can be seen in complete appearance at the official Villa Lindengut virtual tour at the link above. You will need to find your way to the second floor and go the lower right room that is depicted on the floor plan map. Form there you will be able to zoom in the furnace and observe this scene.

Instrument Type:
• Period Swiss Five Stringed Violone

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1705

Riunione Musicale
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Detail
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Ricci, Marco. Riunione Musicale (A Musical Meeting). Painting, 1705-1708, Florence, Italy. Located at Galleria dell’Accademia, Uffizi Museum, Florence, Italy, i.n. 10311/1890, photos 645769 and 551829 (brighter).
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Official Page – Uffizi Museum – Search Engine

Detail
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Scolari, Giuseppe. Orchestra. in Benoni, Germano, and Giuseppe Scolari. La Maestà Coronata: Componimento Istorico-Panegirico Diviso in Molti Discorsi Fondati Sopra L’istoria Della Solennissima Coronazione Della Sagrata Immagine Della Santissima Vergine Maria Di Loreto Della Giara in Verona De’ M. Rr. Padri Cherici Regolari Teatini : Formato Sotto I Felicissimi Auspizj Di Monsig. Illustriss. E Reverendiss. Gianfrancesco Barbarigo Fu Vescovo Della Medesima Città, Conte, &c. … : E Dedicato Al Nome Glorioso Ed Al Merito Eroico Dello Stesso Illustrissimo Monsignore Ora Vescovo Di Brescia. In Padova: Nella Stamperia del Seminario, appresso Giovanni Manfrè, 1714. Plate located between pages 70 and 71.
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Official Page – Internet Archive
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Bibliography:
• place for future bibliographic entries

Notes:
• The official title of this plate states: Dissegno dell’ Apparato per l’Incoronazione della S.S^ma Vergine de RRPP Tetini del la Giara, nella cita di Verona es posto per la detta solenne Funzione nella Chiesa di S Nicolo dell’ Ordine istesso. Li 3 Noub^re 1709.

Translated:
Drawing of the Apparatus for the Coronation of the Holy Virgin de RRPP Tetini del la Giara, in the city of Verona and placed for the said solemn function in the Church of San Nicolo of the Order itself. Li 3 November 1709.

• Thus, this orchestra rendering appears to be related to the city of Verona, while the publication is produced in Padova. For the sake of this listing we will cite the location for this image in Verona then.
• Presented is a period orchestra within a full celebration stage design where we see the ensemble positioned on the left side. Within the orchestra we can note a violoncello da spalla on the left part of the ensemble and the type of stringed bass on the very right.
• The bass instrument itself is visible only partially, from the upper part of its front plate, but some details may still be discerned. For example, visible are four pegs and actually four strings, which may imply a four stringed instrument. The upper bouts appear rather wide, which plays in favor of perceiving this instrument as a double bass. Lastly the visible part which appears above the balustrade indicates a larger instrument whose main part actually rests on the ground, and which all leads to a conclusion that this instrument is in fact a period double bass. With smaller types of Violoni that commonly rest on a small podium, one would usually see much more of an instrument body above the balustrade.

Further Research:
• It would be of value to investigate further any extant evidence on the Veronese music life and stringed instrument use at the beginning of the 18^th century.

Instrument Type:
• Double bass or possibly a large Violone, if period sources indicate such a name in Verona.

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1710

Kuhnau’s Orchestra
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Detail
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Detail
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Lindner, Elias. Freiberg Cathedral Organ. Title from the engraving print: Neues Orgel-Werck in der Dom Kirchen zu Freÿberg (New Organ in the Cathedral Church of Freiberg). Engraving, 1714, Freiberg (Saxony), Germany. Located at Stadt- und Bergbaumuseum Freiberg, Freiberg, Germany, Inv.-Nr. 48/582.
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Detail
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Taubert, Gottfried. Tantzmeister (Dance Master). Engraving in Taubert, Gottfried. Rechtschaffener Tantzmeister, oder gründliche Erklärung der Frantzösischen Tantz-Kunst, bestehend in drey Büchern, deren das Erste historice des Tantzens Ursprung, Fortgang … untersuchet; Das andere methodice des … Frantzösischen Tantz-Exercitiii Grund-Sätze Ethice, Theoretice und Practice …, deutlich zeiget; … ; Und das Dritte discursive Derer Maitres, Scholaires …, zulänglich erörtert … Endlich ist ein vollständiges Register aller eingebrachten Sachen beygefüget worden. Leipzig: Bey Friedrich Lanckischens Erben, 1717.
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Title Translated:
Upstanding Master of Dance, or Thorough Explanation of the French Art of Dance, Consisting of Three Books, the origin of which is the first History of Dancing.
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Image View – Wikimedia.org
Image View – Pbs.twimg.com
Official Page – Books.Google.com (low quality)
Official Record – WorldCat
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Bibliography:
• Gottfried Taubert – Wikipedia.org
• (Author Unknown) “Symposium ehrt barocken Tanzmeister Gottfried Taubert.” Leipziger Zeitung. September 4, 2017. – Online Article
• Russell, Tilden. “Theory and Practice in Taubert: Four Readings.” Israel Studies in Musicology Online. Vol. 8, Issue I – II, 2010. – Download Page – Download Link

Notes:
• This image comes from the Rechtschaffener Tantzmeister which is a unique German 18^th century manual for teaching court dancing according to the French baroque dance art. It appears that prior to this manual there was no other official manual or “school” for such a purpose in German lands although certainly people have danced in courts and other places within Germany even before.
• The Image Detail above presents the actual period Instruction-dance-ensemble taken from the title page of this manual. The ensemble consists of the three fiddle players, a bassoonist and a bass fiddle. Otherwise a complete overview of what is depicted in the full image is well presented in Russell’s article, p. 150 (cited in bibliography). As you will see the small ensemble is only a part of a “greater picture” that describes the duties of the proper Dance Master.
• Yet, of concern for the bass iconography is the ensemble. So what we see is the bass instrumentalist who appears to be seated, or possibly may be standing close to the chair visible behind him. The bass instrument itself touches the ground by a small endpin while it height reaches to about the top of the player’s head. The outline of the instrument shows a gamba form body, while in size the instrument seems to be larger than the modern violoncello.
• The other visible characteristics are the longer design of the neck, two F holes and likely a bridge positioned lower than the F holes. In respect to the number of strings, the scroll box does not seem to offer a clear indication on the number of pegs, while the very image appears to show some five strings on this instrument.
• The bow depicted is of a very large proportions and particularly when compared to the fiddle player’s bow. Its size may actually approximate the length of the very instrument. The bow appears to be played with an underhand bow style.
• So in summary it appears that we see here a period mid sized German violone in the service of a dance instruction.

Further Research:
• One would assume that the fine art of French court dancing in the city of Leipzig would certainly be practiced at the Leipzig court and the events affiliated with Leipzig nobility. So it would be of interest to see what ensembles may have been employed in such dance events, and whether we have any records on them and their music personnel. If we do, then it is likely that the types of bass instruments used will also be mentioned, and perhaps the names of period bass fiddlers as well. Then we may also know who was keeping the down beat for the latest French dances in Leipzig of 1717.
• The other line of interest which this dance manual may offer is the true period perspective on French Baroque dances such as Courantes, Minuets and Bourrées that are familiar to bass performers thorough the study of Bach cello suites’ arrangements (Book II, Section III, pp. 568-661 – not available online).

Other Media:
• G.F. Handel – The Water Music – Menuet-Rigaudon – Ball Scene – YouTube

Here is an illustration on what steps and interaction patterns may have Gottfried’s Tantzmeister taught to the ladies and gentleman of the time. Although this music and ambiance are certainly not French, the steps and moves would be similar if not identical. By coincidence, Handel’s Water Music was also premiered in 1717.

• Baroque Arts Project – Menuet Instruction – YouTube

This video features the actual dance instruction for Baroque Menuet dance. It also offers a practical advice for musicians (and certainly bassist) on how to properly perceive and accent the music for this dance.

Instrument Type:
• Period German mid sized Violone.

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1718

Musical Party
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Detail
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Horemans, Jan Josef the Elder. Musical Party. Full title in Dutch: Parklandschap met Muziekgezelschap Full title in English: Park Landscape with a Musical Party. Painting, 1718, Antwerp, Belgium. Located at Private Collection.
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Official Page – Rkd.nl
Image View – Rkd.nl
Official Page – Art.salon
Official Page – Christies.com
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Bibliography:
• Jan Josef Horemans the Elder – Wikipedia.org

Notes:
• Presented is a lovely musical gathering scene by J.J. Horemans that illustrates a period music making practice.
• The bass instrument depicted however, offers some unique characteristics that may not be so easily classified. On the first sight this instrument appears to be a type of oversized violoncello played in standing position. Yet, a second look makes this instrument a bit more oversized to be called violoncello. When the shoulders of this instrument are referenced to the player, this instrument offers as wide shoulders as the biggest preserved period Italian basses, so the width of this instrument is actually quite large. The proportions are another matter as the upper bouts appear almost wider than the lower bouts.
• This instrument presents four pegs, and likely four strings, a short fingerboard, and we can note the F holes of a relatively small height in comparison to the body. To a surprise, we actually see the bridge positioned here at the upper edge of the F holes (!)
• At the first sight this instrument appears to be supported by the endpin, but when we look for the endpin, one may not be able to discern it so easily (?) So, on the left side we see a perfectly well depicted chair with its legs, but on the right side when we hope to see the endpin, none is to be seen. The other option is that this instrument was played strapped by the belt over the shoulder of musician, but nothing of that kind appears on the image either.
• The bow is held with an overhand style.
• In general however, period basses were either played strapped, and thus could be played while walking and in processions, or were stationary like most basses are today. The proportions of this instrument may fit it in the category of half bass, but it appears a bit larger than the half bass, so it may belong in a class of its own.
• The other paintings that present similar instrument are: Bossche – Musicians – 1713 , possibly Blommaert – Musical Company – 1720 and Horemans – Musical Party – 1740 .

Further Research:
• As you may see from the last entry in the Notes section, there are several similar paintings by Flemish painters that treat the subject of domestic music making and where smaller types of bass instruments appear. There is a good chance that even more of these paintings may be registered in the future, so once all of them are systematized, perhaps further generalizations on the types of instruments may be attempted as well.

Instrument Type:
• Half Bass, Large Bass Violin or a Church Bass (American designation)

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1719

Banquet
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Detail
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Fehling, Carl Heinrich Jacob. Banquet. Full title: Couppe du Palais au Iardin de Son Altse Roïle laquelle fait voir le Soupé Roïal, servi par des Pages, Officiers et Laquais, vetus a l’Asiatique. Drawing – ink, pen and brush, 1719, Dresden, Germany. Located at Staatliche Kunstsammlungen Dresden (SKD), Dresden, Germany, s.i.n. Ca 200-37.

Translated:
Hall of the Palace in the Garden of His Royal Highness, which Shows the Royal Soup, Served by Pages, Officers and Lackeys, Dressed in Asiatic Style.
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Official Page – Staatliche Kunstsammlungen Dresden
Image View – Staatliche Kunstsammlungen Dresden
Official Page -Deutschefotothek.de
Image View – Deutschefotothek.de
Official Page – Bildindex.de
Image View – Bildindex.de
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Bibliography:
• Image info at Jdzlenka.net – Historical Timeline.pdf – p. 82 – Download Link
• Stockigt, Janice B. Jan Dismas Zelenka : A Bohemian Musician at the Court of Dresden. Oxford Univ. Press 2006, p. 200, Plate 6. Page Link – Page Link 2
• Planyavsky, Alfred. “Jan Dismas Zelenka (1679-1745)” Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, pp. 227-228.
• Jan Dismas Zelenka – Wikipedia.org
• Jan Dismas Zelenka – Bach-Cantatas.com
• Bass Heritage Board – Posted on January 15, 2013 – Post Link

Notes:
• Let us start with the title. You may note that the titles offered by the Official Pages differ considerably. Staatliche Kunstsammlungen Dresden calls it Bankett 1719 im Türkischen Palais, Translated: “Banquet 1719 in the Turkish Palace”. Deutschefotothek.de titles it: Couppe du palais au jardin. (Lusthaus im Italienischen, später Türkischen Garten) anläßlich der Vermählung des sächsischen Kurprinzen 1719, which translates roughly as: “A Section from the Palace to the Garden (French), Pleasure House in the Italian, later Turkish Garden, on the Occasion of the Marriage of the Saxon Electoral Prince in 1719.” Thus to simplify the matter for this listing this image is called simply Banquet.
• One may also ask what are the Dresden musicians of 1719 doing in Turkish dresses. Apparently this was an exotic theme event with a Turkish subject, thus all the musicians and servants were dressed in Turkish garbs. The occasion was the marriage of the Saxon Electoral Prince in 1719, and this dining scene was likely one of the events that accompanied the celebration.
• Of interest to bass iconography, however, is the musician on the very left with the bass fiddle. According to official Jdzlenka.net – Historical Timeline.pdf , p. 82. (bibliography above), this is “the only possible portrayal of Jan Dismas Zelenka. The violone player on the left could possibly be he.” Zelenka was hired as Violonist in Dresden Court starting 1710, thus this image should likely present composer in person with a period Violone.
• Unfortunately, from all available image sources, none could be augmented sufficiently to show any greater detail aside from what is already visible. So, likely this is a four or five stringed instrument played in seated position. As common with instruments of this time, we can see the bridge positioned lower than the F holes here as well. The player uses a bow hold of an underhand type and holds an instrument slightly tilted to the left. The instrument itself appears to be somewhat smaller than the common violone played in seated position, yet still, it looks similar to the one presented in Weigel – Musicalisches Theatrum – 1720 , or possibly the one in Engelbrecht – Une Lutiere – Violon – 1730 (the one which is appended to the skirt).
• Planyavsky in his Geschichte (1984) dedicates Zelenka two pages of text, yet very little is dedicated to Zelenka’s activity as Violonist beside the mention that he was active and known as both Violonist and Contrabassist. Obviously, the above image does not present a Double Bass, but historical records do show that Zelenka was indeed a double bassist as well.

Further Research:
• It would be very much of interest to explore if there are any records of a music performed at the wedding of Saxon Electoral Prince in 1719, since that may give us some insight into what was this instrument called. If indeed a Violone, then it would be good to investigate the extant musical parts that are so labeled, and find out more on the tuning and range of this instrument.

Instrument Type:
• Period Violone type

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1720

Musical Company
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Pfisterer, Daniel. Kirchenorchester Köngen. Presented in: Pfisterer, Daniel. Barockes Welttheater. Ein Buch von Menschen, Tieren, Blumen, Gewächsen und allerlei Einfällen, Geschrieben und gemalt von Daniel Pfisterer, Pfarrer zu Köngen, begonnen im Jahre 1716. Facsimile: Hrsg. vom Württ. Landesmuseum und dem Geschichtsverein Köngen, 2 Bände, Stuttgart: Quell Verlag 1996, p. 84. (see Notes)
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Official Page – Wikipedia.org
Image View – Wikimedia.org
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Bibliography:
• Beckmann, Ralf. Ein Hauch von Barock Württembergische «Kirchenmusik» am Beispiel Fellbach, Schwäbische Heimat, 2017/1, pp. 41-47 Download Link
• Daniel Pfisterer – Wikipedia.de

Notes:
• This is a unique period drawing from 1720 that features the actual instruments of a Church Orchestra in a small village of Köngen, Germany. The collection is a witness to a rather developed level of music activities at that place and time.
• Presented is a six stringed bass, likely a Violone in G, depicted as it leans against the table and stuck with a bow at the strings. Visible are six tuning pegs.
• The source of this image is a period publication by local Köngen pastor Daniel Pfisterer that is titled: Baroque World Theater. A book of people, animals, flowers, plants and all sorts of ideas, written and painted by Daniel Pfisterer, pastor of Köngen, begun in 1716. The writing of this book begun in 1716 as stated in the title, yet was not finished by 1727 (source Geschichtsverein-koengen.de products – middle of the page “Barockes Welttheater” entry). The very image apparently dates to about 1720.
• Further information on this valuable image is located in Beckmann, Ralf. Ein Hauch von Barock Württembergische «Kirchenmusik» am Beispiel Fellbach, Schwäbische Heimat, 2017/1, pp. 41-47 Download Link. This article also dates this image to 1720.
• The page citation for the image page is however from the modern Quell Verlag 1996 facsimile edition as cited in Beckmann, and it may be different in the original document.

Instrument Type:
• Likely Violone in G

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1720

Musicalisches Theatrum – Violon
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Full Monochrome

Color
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Weigel, Johann Christoph. Violon in Musicalisches Theatrum: Auf Welchen Alle Zu Dieser Edlen Kunst Gehörige Instrumenta in Anmuthigen Posituren Lebhafft Gezeiget Und Allen Music Liebhabern Zu Gefälliger Belustigung Vorgestellet Werden. Vol. 1, Nürnberg: Weigel, c.1720. Plate 23.
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Official Page – Staatsbibliothek zu Berlin Preußischer Kulturbesitz
Image Page – AKG Images (colored image)
Download Page – IMSLP
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Translated:
Musical Theater: on Which all the Instruments Belonging to this Noble Art are Shown in Graceful Postures and Presented to all Music Lovers for the Enjoyment They Please.

German Text:

Violon

Wann dorten Padua, mit seiner Gambe pranget,
so leist’ ich bessre dienst mit meinem Violon,
ich hab mit dieser Kunst unsterbilchs Lob erlanget,
und heiß mit allem Recht ein Wahrer Musen-Sohn ;
weil meine Saiten selbst an Helicon erthönen,
wird einst Apollo noch die munte Scheitel krönen.

Translated:

Violon

When there Padua flaunts his viola da gamba,
then I render a better service with my Violon,
I have gained immortal praise with this art,
and am rightly called a True Son of the Muses ;
because my strings resound even on Helicon,
one day Apollo will yet crown my merry head.

(Translated by Igor Pecevski)
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Bibliography:
• Johann Christoph Weigel (1661-1726) – Wikipedia.de
• Johann Christoph Weigel (1661-1726) – MGG (cites Mattheson as a source for this compendium)
• Johann Christoph Weigel (The Younger) – The British Museum
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 229 (text), p. 230 (Abb. 66) “Violon.”

Notes:
• Presented is a fairly known depiction of a Violon(e) from the Weigel’s set of thirty six plates that depict period musical instruments. This entire set of plates is based on and follows Johann Mattheson Das neu-eröffnete Orchestre (1713) treatise according to MGG entry on Weigel (Weigel JC – MGG). The Weigel’s plate order indeed matches the Mattheson’s instrument list, so you can check directly what Mattheson’ § 23. Violone entry presents at the following link Mattehson – Das neu-eröffnete Orchestre – Violone (starts bottom of the page, continues on the next). While there, you may also follow the other Weigel’s instrument depictions that correspond to the Mattheson’s treatise instrument entries. For example in both online interfaces, Viola da Gamba is featured just prior to the Violone, so you may read what is said on this instrument and compare it to the Weigel’ Violone. You may compare the images as well starting with Weigel – Violon.
• Otherwise, the entire set of Weigel’s prints is divided into the artistic instruments section of the first twenty four prints, and the folk instruments section of the following twelve prints (MGG classification). So, as we see the Violone is considered an artistic instrument that occupies the lowest stringed instrument range, below Viola da Gamba.
• In respect to bass iconography we see a mid sized bass instrument played in seated position while leaning on the left leg. The instrument rests on the ground by a small endpin while its height reaches to performer’s hat top. Visible are five pegs, five strings, a bridge set somewhat lower than the middle of the F holes. The overall outline indicates a violin form and there are no frets depicted. The instrument appears to be played in a slanted position, while the bow is held with an underhand style at the frog and not up the stick. If you compare this bow hold with the viola da gamba hold you will note that they look very similar. Yet if you compare this bow hold with those of Viola and Viola d’Amore from the same series, you will note a traditional up the stick hold that is now used in performance of the period bass instruments as well.
• Now in respect to poetry that accompanies the Violone image, the text below the Violon image could not be more clear in explaining the period function and perception of this instrument, as it even cites the accolades which the Violonist should deserve. Mattheson is more specific on the characteristics of this instrument however, and if indeed he speaks of the same instrument, the depicted Violon should be a 16 foot instrument. Furthermore, Mattheson explains the string setup and also points to a rather high labor investment Violone requires, by bluntly comparing it to a work of a horse. Still if a hard work brings the accolades of Apollo himself upon the Violonist, it is definitely worth the effort.
• This image with a Violon title and the insightful poetry below the image, remind also of the Ridinger – Gravitätische Violone – 1723 , and so much that one may consider the presentations of these two instrument very close if not the same. Both feature the five stringed instruments and both praise the low sonic qualities of Violoni.
• Lastly in respect to dating, Musicalisches Theatrum does not offer any dates on any of its prints, so it appears that all the available dating is conjectural. Planyavsky dates this image to 1722, while the online search has yielded date citations on Musicalisches Theatrum from 1720 to 1725. The official Staatsbibliothek zu Berlin scan page dates it however to 1720, so this date was accepted as reliable for this listing as well.

Further Research:
• If a time and interest would allow, it would be of interest to compare all the instruments featured in Weigel with the instrument citations in Mattheson and explore if the visual representations actually match the text descriptions. It would also be of value to systematize and compare all the period representations of five stringed Violoni and explore what possible tunings do we have cited in treatises that may have been employed with five stringed bass instruments in the 18^th century.

Instrument Type:
• Violone

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1722

Accordo
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Westerhout, Arnold von, Accordo in Bonanni, Filippo. Gabinetto Armonico Pieno D’istromenti Sonori Indicati. Roma: Nella stamperìa di G. Placho, 1722, p. 102, Plate LVIII.
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Official Page – ULB Düsseldorf
Image View – ULB Düsseldorf
Official Page – Internet Archive
Image View – Internet Archive

Text Page – ULB Düsseldorf (Text p. 102 Third entry)
Text Page – Internet Archive
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Text Original:

LVIII. Accordo

Piu dì tutti è Armonico il seguente detto l’Accordo, non
solamente perchè è di mole più vasta, mà perchè è armato
di dodici corde, ed anche di quindici, delle quali dall’arco sé ne
suonano due, e tré assieme. Il P. Mersenne lo chiamò Lira moderna.
–Tutte queste sorti di Viole sono state inventate dalli
Moderni, nè nelli Monumenti antichi ne hò trovato espresso
alcuno, siccome nella Sagra Scrittura non si nominano, e solamente
si parla di Cetere, di Lire &c. Se poi con tali nomi siano state
espresse le Viole è cosa incerta.

Text Translated:

LVIII. Accordo

Most of all, the following is called Armonico, the Accord, not
only because it is larger in size, but because it is set with
twelve strings, and also with fifteen, of which by bow
can sound two, and three together. P. Mersenne called it a modern lyre.
–All these sorts of Violas were invented by
the contemporaries, as nowhere in the Ancient documents have
I found any mentioned, since in the Holy Scripture they are not named, where
we only speak of Cetere, Lire etc. Yet whether with such names they have
titled the Viols is uncertain.
–

Bibliography:
• Bonanni, Filippo. Gabinetto Armonico. ABP Treatises
• Filippo Bonanni – Wikipedia.org
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 258 (Accordo related text), p. 259, Abb. 76.
• Planyavsky, Alfred. The Baroque Double Bass Violone. Lanham, Md: Scarecrow Press, 1998. p. 111 (text), p 112, Fig. 51.
• Ghirardini, Cristina. “Filippo Bonanni’s Cabinetto Armonico and the Antiquarians’ Writings on Musical Instruments.” Music in Art, International Journal for Music Iconography. Vol. XXXIII, no. 1-2, Spring-Fall 2008, pp. 168-206. Download Link

[ Within the introduction, this article offers good information on the origin of Gabinetto Armonico and Filippo Bonanni. The main part of this article however covers the ancient instruments and does not concern the bass fiddles ]

• Arnold van Westerhout – Wikipedia.org (the engraver)
• Lirone – Wikipedia.org
• Lirone – Grove Dictionary Online (paid or institution access only)

Notes:
• Presented is a large Accordo, or Lirone instrument that by appearance reminds very much of a large double bass, except that it is set with some twelve strings. With such a setup this appears not to be a true bass-function instrument, but an instrument that can afford chordal performance by allowing several strings to be played at once. This is confirmed by the text that accompanies this image.
• The reason this Accordo or Lirone is presented here is because it appears to be the largest specimen of this instrument type that has been depicted, and many may confuse it with a period double bass of a kind. Among the lirone instruments this one is certainly larger than those already featured within the 17th century listing, such as Ripa – Armonia – 1603 , Ripa – Armonia – 1611 and Ripa – Harmonie – 1636 . Bonanni’s Accordo is certainly large but the question is also whether this is a real instrument that has existed in 18^th century, or is it just an imaginative interpretation of the 17^th century large lirone instruments?
–The answer to this question may lay in the Kircher – Misurgia / Violone – 1650 record, where you may also see a similar instrument under V. Figura Lyra dodecachordae. The tuning for this instrument is titled L’accordo, which is exactly how Bonanni titles in his Gabinetto Armonico. Could this be a coincidence? Probably not, as Bonanni cites Kircher in his Violone entry that follows below. Moreover, Bonanni as Jesuit, has actually studied with Kircher (also a Jesuit) in Rome and was an inheritor of Kircher’s Mueum, and which may have stored some period fiddles as well. Thus the source for this image is likely either a free interpretation of the image from Kircher’s Misurgia, or the actual instrument to which Bonanni has had an access in Kircher’s Museum. Either way, it would be nice to look further in the history of Kircher’s museum and find out if there are any records that show musical instruments in Kircher’s museum.
• As you will note, there are three images of stringed bass instruments from Bonanni’s Gabinetto Armonico presented here. These are: Accordo, Plate LVIII ; Viola, Plate LVI and Violone, LVII. In this listing they are organized alphabetically, while in the Gabinetto Armonico they are featured in plate numerical order as Viola, Violone and Accordo. For your information, the number in the upper right corner of each image is the number of the page where the instrument is described.
• Lastly, although this engraving was made by Westerhout, the page index cites this image under Bonanni since Gabinetto Armonico is almost universally associated with his name and not the Westerhout’s.

Further Research:
• All of the stringed bass instruments featured in Gabinetto Armonico appear to have a direct reference in Kircher’s Misurgia Universalis, so the relation between these two treatises is crucial for understanding of what is presented in Bonanni.

Instrument Type:
• Large Accordo (Lirone)

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1722

Viola
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Westerhout, Arnold von, Viola in Bonanni, Filippo. Gabinetto Armonico Pieno D’istromenti Sonori Indicati. Roma: Nella stamperìa di G. Placho, 1722, p. 101, Plate LVI.
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Official Page – ULB Düsseldorf
Image View – ULB Düsseldorf
Official Page – Internet Archive
Image View – Internet Archive

Text Page – ULB Düsseldorf (Text p. 101 First entry)
Text Page – Internet Archive
–

Text Original:

LVI. Viola

L’imagine seguente è in atto di suonare un’Istromento
simile nella figura al Violino, ma per la grandezza, che hà è
nominata Viola. Il manico di esso è lungo la terza parte di
tutto l’Istromento, ed hà quattro corde come il Violino, mà più
grosse assai ; siccome l’arco è molto più lungo. Quando si suona si
sostiene dal Pavimento nel modo qui espresso.

Text Translated:

LVI. Viola

The following image presents an act of playing an instrument
similar in shape to the Violin, but for the size, which is
named Viola. The neck makes the one third part of the length
of the entire Instrument, and has four strings like the Violin, but are
much bigger ; since the bow is much longer. When it is played,
it supports itself by the floor in a way presented here.
–

Bibliography:
• Bonanni, Filippo. Gabinetto Armonico. ABP Treatises
• Filippo Bonanni – Wikipedia.org
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 114 (text), p. 113, Abb. 46.
• Ghirardini, Cristina. “Filippo Bonanni’s Cabinetto Armonico and the Antiquarians’ Writings on Musical Instruments.” Music in Art, International Journal for Music Iconography. Vol. XXXIII, no. 1-2, Spring-Fall 2008, pp. 168-206. Download Link

• Arnold van Westerhout – Wikipedia.org (the engraver)

Notes:
• This image brings an immediate puzzle to the period bass instruments cognoscenti, as the title says Viola but the appearance points to a mid sized, floor-resting bass fiddle set with four strings. To everyone else, this instrument may look like a violoncello, if it were not for the fact that it rests on the floor. So then, what is it actually? Could it be a taxonomy issue where a “large viol” is called Viola, or perhaps something else?
• The answer to this riddle can again be sought at Kircher – Misurgia / Violone – 1650 , which has served as an inspiration to Bonanni’s Violone entry. To the very left on Kircher’s Iconismus VIII plate we see a four stringed instrument very similar in appearance to the Viola depicted above, but it is called I. Figura / Chelys Maioris (on the top) while within its tuning we read L’accordo del Violone. So in summary, viola and violone do sound similar but they are not the same, and the title Viola, looked from that perspective appears ambiguous and inconclusive.
• Lastly, let us see what the very text affiliated with this image in Gabinetto Armonico says. The last line (translated) reads “When it is played, it supports itself by the floor in a way presented here.” Nice, at least we know that is rests on the floor as actually depicted. All else in respect to this Viola is open for consideration.

Further Research:
• As mentioned in the “Further Research” section of the Bonanni’s Accordo record above, all of the stringed bass instruments featured in Gabinetto Armonico appear to have a direct reference with Kircher’s Misurgia Universalis, so the relation between these two treatises is crucial for understanding of what is presented in Bonanni.

Instrument Type:
• Mid sized floor resting stringed instrument called Viola by Bonanni.

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1722

Violone
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Record Entry here.
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Official Page – ULB Düsseldorf
Image View – ULB Düsseldorf
Official Page – Internet Archive
Image View – Internet Archive

Text Page – ULB Düsseldorf (Text p. 101 Second entry)
Text Page – Internet Archive
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Text Original:

LVII. Violone

Con la stessa attitudine si suona quello, che segue, e qui si
esprime in atto di essere accordato dal Suonatore: si chiama
Violone, perch’è più grande della Viola, edhà sei corde, con le
quali si fa maggiore armonia, che nella Viola.
–Un’altro della stessa specie si usa da alcuni armato di otto
corde, che sù inventato dal Signor Conte Sommerset Inglese
peritissimo nella Musica , come riferifce il P. Kircher pag. 486.
Artis Magna Consoni , & dìssionì . Qual’ Instromento dalli Latini
si esprime col nome Vitula , ò Vidula , ò Violla ; onde li Sonatori
di esso sono detti Vitularii.

Text Translated:

LVII. Violone

With the same approach you play this one that follows, and which is
presented in the act of being tuned by the player: it is called
Violone, because it is larger than the Viola, and has six strings, with which
it is by far more harmonious (sonorous) than the Viola.
–One other of the same species is used by some, and equipped with eight
strings, which was invented by the English Count Sommerset,
highly skilled in music, as reported by Pater Kircher pag. 486.
Artis Magna Consoni, & Dìssionì. An Instrument which by the Latins
is designated with the name Vitula, ò Vidula, ò Violla; hence the players
of it are called Vitularii.
–

Bibliography:
• Bonanni, Filippo. Gabinetto Armonico. ABP Treatises
• Filippo Bonanni – Wikipedia.org
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 105, Abb. 44 (image), p. 106 (text).
• Planyavsky, Alfred. The Baroque Double Bass Violone. Lanham, Md: Scarecrow Press, 1998. pp. 111-112 (text), p. 112, Fig. 51.
• Ghirardini, Cristina. “Filippo Bonanni’s Cabinetto Armonico and the Antiquarians’ Writings on Musical Instruments.” Music in Art, International Journal for Music Iconography. Vol. XXXIII, no. 1-2, Spring-Fall 2008, pp. 168-206. Download Link

• Arnold van Westerhout – Wikipedia.org (the engraver)
• ABP Iconography Kircher – Misurgia / Violone – 1650

Notes:
• In this image we see a large instrument called Violone, which rests on the ground and in general appearance resembles a modern double bass. There are however important differences as well.
• One of the curious idiosyncrasies this image presents are the four depicted strings, while we can observe six tuning pegs. Moreover, if we consult the text on Violone that is affiliated with this image (translated above), it clearly states that it has six strings, and thus likely may be considered a larger version of a Violone in G for example. Moreover the same text mentions a type of Violone equipped with eight strings that was invented by English Count Sommerset. Thus when all this is put together, one could think that it may have come to some type of misunderstanding between Bonanni and his engraver Westerhout, and who actually produced this image. Or, there may have been an idea to cover the four stringed Violoni as well, but somehow this part was omitted from the text?
• The additional visible characteristics of this Violone however are: the carved instrument head, six tuning pegs, four depicted strings, the frets on the fingerboard, two outward facing C holes with middle dents, and a bridge set on the lower line of C holes. The player is depicted while tuning the instrument by plucking the string, while we also see a bow resting on the floor, and which should imply that this instrument was intended to be played with the bow.
• Now let us focus on the text that accompanies this image (translated above). There we read: “… presented in the act of being tuned by the player: it is called Violone, because it is larger than the Viola, and has six strings, with which it is by far more harmonious (sonorous) than the Viola.” Nice, it has six strings but only four of them are depicted. How come? More to come. The text also says “…as reported by Pater Kircher pag. 486. Artis Magna Consoni, & Dìssionì. An Instrument which by the Latins is designated with the name Vitula, ò Vidula, ò Violla; hence the players of it are called Vitularii.” Direct link to Kircher p. 486 Thus Violone in Bonanni, and also “vulgo Violone” (commonly called Violone) in Kircher, but Bonanni also adds some references to “Vitula, ò Vidula, ò Violla.” Now the house is packed and the terms abound.
• But could it be all much simpler? In fact it could be very much so. Please take a look again at the Violone depicted above and read its description. Now look at the middle instrument depicted in Kircher’s Misurgia Universalis, “Iconismus VIII” plate under designation of “III. Figura Chelys hexachordae” Direct link to Kircher Iconismus VIII plate. What do we see? We see: carved instrument head, six tuning pegs, six depicted strings, the frets on the fingerboard, two outward facing C holes with middle dents, and a bridge set on the lower lines of C holes. This is the exact setup as with the Violone depicted above, yet minus two strings. So, what instrument is depicted in Kircher then? It is the Viola da Gamba with its standard bass tuning. And what is this instrument doing then in the Man-sized rendition under the Violone title above?
–Well, it seems that when Bonanni was making this compendium of period and contemporary instruments, somehow he has managed to combine Kircher’s Violone presented in “I. Figura / Chelys Maioris” with “III. Figura / Chelys Hexachordae” which is in fact Viola da Gamba. Thus we have the stringing of the (Kircher’s) Violone and the tuning pegs of the Viola da gamba in the above Violone, and which probably in such shape and tuning may not have existed at 1722. Whose mistake may this be? We may never know but it may have had something to do with the engraver Arnold van Westerhout and who may have copied these images directly from Kircher.
–The last thought however is that in spite the curious mismatch of strings and shapes in this image, the period Italian violoni of this size, and in six stringed setup, did exist. It is just that this particular image is not a faithful representation of them, since a direct comparison with Kircher’s treatise shows it to be very likely a hybrid image.

Further Research:
• Any further research that concerns Bonanni’s Violone should certainly consider Kircher’s Misurgia Universalis, and along the data presented above, with possibility that some of it may need an update or further documentation. It is also possible that the further study of Kircher and Bonanni, and particularly their relationship as a teacher and student, may bring up the additional information on what exactly was, and to what extent, transferred and/or adapted from Kircher’s Musurgia Universalis to Bonanni’s Gabinetto Armonico. It should also be noted that both of these exceptional period scholars were by profession scientists and encyclopedists, and not musicians. Thus all the inconsistencies we may find in their work may come from the fact that the fine details in their music entries may have simply been inadvertently missed.

Instrument Type:
• Violone of a kind that may or may not have existed in 1722.

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1722

Bürgersaal in München
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Detail
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Corvinus, Johann August. Bürgersaal in München / Bürgersaalkirche (Cityhall in Munich / Cityhall Church). Etching, c1722, Augsburg, Germany. Located at Herzog Anton Ulrich-Museum, Braunschweig, Germany, m.n. JACorvinus AB 3.12.
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Official Page – Virtuelles Kupferstichkabinett (HAUM)
Image View – Virtuelles Kupferstichkabinett (HAUM)
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Bibliography:
• Bürgersaalkirche – Wikipedia.org
• Bürgersaalkirche – Wikipedia.de
• Bürgersaalkirche – Life-globe.com (Interior Today)
• Bürgersaalkirche – Life-globe.com (View on Organ and Choir Loft today)
• Maria Amalia, Holy Roman Empress – Wikipedia.org
• Marianische Männerkongregation – Mmkbuergersaal.de (on Church Destruction in 1944)

Notes:
• The orchestra in this engraving occupies the full length of the balcony while the Violone player and his instrument are visible on the right side. In respect to clarity of the engraving, although one may wish for a little more detail, we can still discern a stringed bass instrument that likely rests on a small podium and is played in tilted position by a standing musician.
• The instrument appears to have a slanted and slightly curved peg box, two C holes, while the bridge is not discernible. All the visible details however should point to an earlier type of an instrument.
• This engraving appears to be dedicated to Holy Roman Empress, Maria Amalia according to the inscription at the bottom of engraving. However the actual place of the event depicted is a Bürgersaalkirche of the Marian Men Congregation “Annunciation” in Munich. So if we connect these two facts, we come to a likely event depicted. It should be a celebration concert in honor of marriage of Princess Maria Amalia to Prince-Elector Charles Albert of Bavaria in October of 1722. According to Maria Amalia wiki info “the wedding was not celebrated as much in Vienna as it would be in Munich, where festivities lasted from 17 October to 4 November.” Thus likely this engraving depicts one of these festivities from October of 1722 in Munich.
• However, whether the actual engraving was produced at 1722 or sometime later, is open for consideration. Otherwise, the Kupferstichkabinet HAUM record dates this engraving liberally as 1703-1738, which at the earliest would have been produced when the princess was only few years old.
• The very hall depicted appears to show the edifice in its early days since it was built during 1709/1710 period. The sad news is that the modern church that we can visit today is in fact a reconstruction of the old one which was heavily damaged during the bombing of 1944. Thus most of what you see in the modern pictures is actually a reconstruction. Nonetheless, the organ loft still stands where it used to stand, so a modern Violonist may still play exactly at the place where the old one once performed.

Further Research:
• It would be of interest to investigate any extant records that may point to music festivities or the music ensembles affiliated with the Bürgersaalkirche during the first half of the 18^th century. The ensemble depicted may also have been the very court orchestra of Prince-Elector Charles Albert of Bavaria. So, the records of Prince-Elector’s music patronage and court orchestra could be considered as well.

Instrument Type:
• A period type of mid sized Violone.

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1722

Teatro Allestito a Palazzo Reale
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Detail
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Juvarra, Filippo. Teatro Allestito a Palazzo Reale per Le Nozze di Carlo Emanuele III con Anna Cristina Di Sultzbach (A Theater that is set up in The Royal Palace for the Wedding of Carlo Emanuele III with Anna Cristina of Sultzbach). Engraving, Torino, 1722. Archivio Storico della Città di Torino, Collezione Simeom, D 2070.
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Page View – Museo Torino

Roccia, Rosanna. Testimonianze Del Barocco Tra Storia E Evocazione: 30 Settembre-10 Dicembre 1999. Torino: Archivo della Città, 1999. p. 17.

Pdf View – Museo Torino
Collections Info – Archivio Storico della Città di Torino
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Bibliography:
• Roccia, Rosanna. Testimonianze Del Barocco Tra Storia E Evocazione: 30 Settembre-10 Dicembre 1999. Torino: Archivo della Città, 1999. Online View

Notes:
• Image shows stringed bass players that are situated on each far side of the orchestra. One on the left and two on the right side. It appears that all of them are standing, while it is difficult to ascertain if their instruments stand on the floor or are elevated by small podium or a stool. The player standing at the very right corner of the image closer to the audience demonstrates a tilted bass hold position where the neck is held away from the body. This instrument could also be of a larger size and standing on the ground as its peg box is the level of head, while the necks of the other two bass instruments appear rather long and certainly extending above the performers’ heads.
• The Testimonianze Del Barocco indicates two authors of this engraving: “Drawing By Filippo Juvarra” and “Engraving By Antoine Aveline.” For the sake of this listing Filippo Juvarra was chosen as the author.

Instrument Type:
• A mid size or a larger Violone

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1723

Gesellschaftsszene
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Detail
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Becken, Ignace van der. Gesellschaftsszene in Einem Vornehmen Interieur (A Society Scene in an Elegant Interior). Painting, 1723 (1713?), Antwerp, Belgium. Located in Private Collection.
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Official Page – Hampel-Auctions.com
Image View – Hampel-Auctions.com
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Bibliography:
• Ignatius van der Beken – Wikipedia.org

Notes:
• Presented is a society scene with musicians and a bass instrumentalist visible at the right side of the painting composition.
• Featured is a smaller bass fiddle that rests on the ground while played in seated position. The top of the bass fiddle reaches to a little above the performer’s head, thus it may be considered a slightly larger version of a stringed bass instrument played in seated position..
• The bass fiddle appears to have four pegs, likely four strings, short fingerboard and a bridge actually set at the middle height between the F holes.
• The bow hold appears to be of an overhand type.

Further Research:
• As with similar images, it would be nice to investigate further the period bass stringed bass instruments used in Antwerp during the 18^th century.

Instrument Type:
• Bass Violin or a type of Violone, pending on the local terminology.

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1723

Constanza e Fortezza
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Detail
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Birkhart, Anton (engraver). Constanza e Fortezza. Etching Print, 1723, Prague, Bohemia (Czech Republic). Located at Fürstlich Waldeckschen Hofbibliothek Arolsen (Princely Waldeck Court Library Arolsen), Arlosen Castle, Tape Book (Klebeband), Band 15.
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Official Page – Uni-Heidelberg.de
Image View – Uni-Heidelberg.de
Image Description – Uni-Heidelberg.de
Official Page – Wellcomecollection.org [ London item ]
Image View – Wellcomecollection.org [ London item ]
Image View – Wikimedia.org
Image Record – ÖNB.at [ black and white ]
Event Description – Theatre-architecture.eu

[ Please check this link for a full description of both the event and the stage design. Use Google Chrome auto translate function to read it in English, the effort will be well worth your time. ]
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Bibliography:
• Spáčilová, Jana, and Štěpán Vácha. “New Insights into the Performance of Fux’s Opera Costanza e Fortezza in Prague in 1723.” Music in Art, vol. 34, no. 1/2, 2009, pp. 44–72. JSTOR
• Arlosen Castle – Wikipedia.org

Notes:
• This graphic presents a performance of Johann Joseph Fux opera Costanza e Fortezza which took place on August 28, 1723 in Prague during the coronation festivities of Emperor Charles VI as the King of Bohemia. Visible are the stage, the orchestra and the audience.
• Of interest to bass iconography is a curious standing figure of a bass instrumentalist that faces us from the center of the first row. The instrument is played in slanted manner and its size may be somewhat difficult to estimate, although it appears that it is of smaller proportions. Yet, whether this is just an impression, is difficult to say. If we judge the requirement for a bass support by the sole size of the ensemble, the smaller bass fiddle may not have been be as well suited for this ensemble.
• Otherwise, what you actually see in the full image is the purpose built theater set architecture, which was designed by Giuseppe Galli da Bibiena and constructed at the court’s riding school.
• This lovely graphic resides today in the Arlosen Castle, Germany as a part of the unique Tape Book (Klebeband), the so called “insert book,” and where it stands bound with the other period graphics.

Further Research:
• It would be of value to investigate further the extant manuscripts of Fux’ Costanza e Fortezza and look at the actual designation of bass instruments. Also, it is likely that this work has already been researched by musicologists, so the full extant of this research should be consulted first in respect to period bass instruments used for the featured premiere in Prague.

Other Media:
• Constanza e Fortezza – Full work online – YouTube

Performed by Gradus ad Parnassum Wien ensemble, Großen Musikvereinssaal in Wien, 1991. If you check this recording it may become apparent that a single bass fiddle use in such an ensemble is unlikely and inadequate.

Instrument Type:
• Smaller to mid sized Violone or Violoncello

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1723

Musizierende Gesellschaft
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Detail
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Preissler, Johann Daniel. Musizierende Gesellschaft (Music Making Society). Drawing, est. 1723, Nuremberg, Germany. Located at Herzog Anton Ulrich-Museum, Braunschweig, Germany, m.n. Z 422 verso.
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Official Page – Virtuelles Kupferstichkabinett (HAUM)
Image View – Virtuellese Kupferstichkabinett (HAUM)
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Bibliography:
• Johann Daniel Preissler – Wikipedia.de

Notes:
• Presented is a group of musicians that performs in the open for a joy of it and likely for the dancers that are visible behind.
• Among the musicians, visible is a bass instrumentalists on the very right as playing a bass fiddle in a seated position. The bass fiddle rests on the ground and is played in a slanted position, while its scroll reaches above the player’s head.
• This instrument has four pegs depicted and probably four or five strings, judging by not so precise strings depiction. The bridge placement is about in the middle between the F holes. The neck shows frets.
• The performer plays an underhand bow style that reminds of the standard gamba bow hold up the frog, yet while in this case all the fingers appear to rest on the stick.
• In general, this instrument show some characteristics similar to those of the Ridinger – Gravitätische Violone – 1723 which follows in the next record.
• An interesting fact about J.D. Preissler (1666-1737) is that he has had five sons and at least one daughter. It also appears that many of them were skilled in music so that when they got together they could organize a little concert with ease. Moreover, Preissler’s Wikipedia.de biography states that on such an occasion Herr Preissler “would sit in armchair or would join the ensemble himself as a musician” (!). A custom that very much reminds of the Bach family musical gatherings.
• Could this drawing then be the actual or allegorical representation of his family in a music making moment where the very Violonist is Priessler himself? The author of this site has tried to compare the likeness of Priessler which is offered by Wiki.de page, with the one of the Violonist here, and there are actually similarities between the two.

Further Research:
• Should there be any preserved records on the Preissler’s family music activities, it would be of great value to investigate them further and with hope that these may help us understand better this lovely drawing. Likewise, it would be of interest to investigate if there are more drawings by Preisller which depict period music activities.

Instrument Type:
• A type of period Violone with four or five strings.

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1723

Gravitätische Violone
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Detail
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Ridinger, Johann Elias. Der Gravitätische und Durchdringende Violone (The Solemn and Pervading Violone). Mezzotint print, 1718-1767, Augsburg, Germany. Located at Herzog Anton Ulrich-Museum, Braunschweig, Germany, m.n. JERidinger AB 2.60
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Official Page – Virtuelles Kupferstichkabinett (HAUM)
Image View – Virtuelles Kupferstichkabinett (HAUM)
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Bibliography:
• Johann Elias Ridinger – Wikipedia.org
• Johann Elias Ridinger – Wildliefeart.org (click “Biography”)
• Violone in G/Sol – Posted on October 29, 2012 – Post Link

Notes:
• Complete text citation and translation.

German text (left side):

Es kan Zwar die Mussic von Stimme und Seiten Klingert
Doch gibt ihr erst die Krafft der Grosse Violon,
der mus der Harmonie das rechte leben bringen
Und ist der tieffe Grund zu allem andern than.

Translation:

The music from voices and strings can resound indeed
However the strength gives them first the Large Violon,
He must bring the Harmony a true life
and the deep ground for everyone else then.

Latin text (right side):

Vocibus et chordis quamvis modulentur amoene
Ingens si desit barbitus, haut resonat ;
Hocque tonante, datur Musis harmonica vita,
Omnis fundamen dicitur ille Toni.

Translation:

The voices and chords that modulate so pleasantly
Powerful, yet if missing the barbarian, hardly resonate ;
This one when thunders, gives the life of harmony to Muses
For the entire fundament speak his very tones.

Translations from German and Latin by Igor Pecevski

Further Research:
• The text apparently describes this violone type in terms more perceptible to the Wagner’s opera use of basses, than to the early to mid 18^th century style. The Violone and its performer that we see in this Rococo-like image imply far more the gallantry, than the brutish fundament of this instrument. Yet, the text is unambiguous, as it points to the strength of this instrument’s tone in order to serve the fundament of the ensemble’s tonal structure and harmony.
• It is also interesting to note that the Virtuelles-Kupferstichkabinett designates this Violone as Kontrabass (among other options).
• The image itself presents a five stringed Violone of a type that is played seated, and in a slightly slanted position leaned on the left leg. The instrument rests on the ground while its top is at about the height of a performer’s hat. There are no frets depicted on this instrument and the bridge appears rather wide and positioned at the place where we would expect it on a modern stringed instrument. The general outline of this instrument may fit the violin form although in appearance this instrument reminds very much of a small modern ½ double bass. The bow hold presented is of an overhand style and held up the stick as the period violin bows were held.
• In respect to dating of this print, The Kupferstichkabinett cites the year span of 1718-1767, yet since Ridinger established his printing enterprise in 1723, this year may have been the earliest one when he could have printed this engraving on his own. However, and in all probability, this image may have been printed later as well. The future research of the performer’s costume and other details should help to identify the more precise year of this print.
• This engraving itself offers one of the most representative and detailed images of the pre 1750 Violone in Germany. For the other images that likely depict this type of violone, please see Weigel – Musicalisches Theatrum – 1720 and Handke – Engelskonzert – 1742 . The front plate appearance and the bridge width also remind of the instrument depicted in Holzhalb – Musiksaal zur Deutschen Schule – 1761.

Further Research:
• The further study of this image and the instrument it presents may offer unique insights on the use of Violoni in German lands during the middle and late Baroque period, starting 1700 and extending to about 1750s. This instrument in its form and size does not conform to either the standard Violoncello or Double Bass characteristics, as it appears to be something in between these, and as some have already said “Larger than Violoncello, yet smaller than Double Bass.” However the text description that accompanies this image offers an unequivocal description of this instrument function as the strong fundament of the ensemble group. Thus the further study of the tuning, range and technique of this particular Violone type may offers us a positive insight on the Violone type that was likely used by Baroque German composers and which did not conform to the either tuning or the technique of the now-standard Violone in G setup.

Instrument Type:
• Five stringed German Violone

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1726

Musikanten
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Detail
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Asam, Cosmas Damian. Musikanten (Musicians). Full Title: Gastmahl des Hl. Günther, Musikanten (Banquet of St. Günther, Musicians). Fresco, Prelates’ Hall in the former Benedictine Monastery, 1726-1728, Brevnov, Czech Republic.
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Official Page – Zeno.org
Image View – Zeno.org
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Bibliography:
• Cosmas Damian Asam – Wikipedia.org
• Břevnov Monastery History – Brevnov.cz (the official monastery history page)
• Břevnov Monastery – Maria Theresia or Asam Hall – Prealtes’ Residence – Brevnov.cz (The hall history and frescoes – mid page)
• Břevnov Monastery – Wikipedia.org
• Břevnov – Wikipedia.org

Notes:
• Presented is a ceiling fresco scene with period music ensemble that consists of Violonist, Lutenist, Harpischordist, Theorbo player (behind), a Conductor / Director with a rolled sheet of paper (standing by the keyboard), and two fiddle players.
• The Violone is unfortunately visible only from the back, but this instrument appears to be of larger dimensions. The scroll shows six pegs which may imply the Violone tuning in G. The player’s position is seated and the bow hold of a simplistic overhand type where only the stick is held and not the frog.
• The most interesting aspect of this fresco is that it actually may depict the period ensemble at the monastery at the time it was painted, at about 1726 to 1728. The initial search on Břevnov music did not reveal much beyond the fact that Josef Mysliveček was active there during 1760s and that the manuscripts from Břevnov now reside in the Czech People’s Museum in Prague. Further search of RISM did not indicate even the Siglum for Břevnov Monastery, which means that either their collection has not been catalogued yet, or, that it was relocated at some other place at some time in the past. Thus, whichever way, it appears that for this size of monastery a formidable music activity must have accompanied their liturgy services and the other representation needs.

Further Research:
• The visual clue from the Břevnov Monastery Prealtes’ Hall in a form of this lovely ensemble composition is just one additional element to encourage further investigation of Břevnov Monastery music heritage, which hopefully may include some references to the Violoni and Basses used there as well.

Instrument Type:
• Violone in G

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1727

Collegium Musicum Leipzig
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Detail
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Anonymous. Musizierende Studenten Collegium Musicum. Copper Engraving, 1727, Leipzig, Germany. Located in Henrici, Christian Friedrich. Picanders Ernst-Schertzhaffte und Satyrische Gedichte Mit Kupffern (Picander’s Seriously Joking and Satirical Poems with Illustrations). Leipzig : In Commision zu Haben in Boetio, 1727, p. 498.
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Official Page – MDZ
Image View – MDZ
Official Record – MDZ
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Detail – Color

Detail – Monochrome
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Anonymous. Musical Group. Gold Leaf Glass Gilding on a Beaker, c1730-1750, Prague?, Bohemia (Czech Republic). Located at Waddesdon Manor Collection, Aylesbury, England, a.n. 2928.1.
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Official Page – Waddesdon Manor
Image View – Waddesdon Manor (color)
Image View – Waddesdon Manor (black and white)
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Bibliography:
• place for future bibliographic entries

Notes:
• This is an interesting artifact since we have a depiction of a musical group on the actual glass or a beaker. The scene is depicted in the circular form, thus not all of musicians can be seen at once. Yet, when all counted, presented are the conductor with a baton and a sheet of music, the organist, two recorder players, two violinists and a bass fiddler. The museum titles him a cellist but this may not be completely true.
• Images featured present the standing fiddlers and a bass fiddler.
• Of interest is to note that this bass fiddle has an endpin and a rather long neck that extends to a height that is roughly equal of the standing fiddler to the left. So, this is a relatively larger instrument in spite the fact that it is played in a seated position.
• The overall shape of this instrument suggests a narrower instrument, while the other details at the front plate are not visible. Depicted are also some three, likely four pegs, which should suggest a four stringed instrument. The bow hold appears to be of an underhand type.
• In appearance this instrument reminds of the one depicted in Weigel – Musicalisches Theatrum – 1720, and where we also see a somewhat narrower body although not as long a neck. The Weigel’s instrument however has five strings.

Further Research:
• It should be noted that although this artifact now resides in England, it actually represents a Central-European / Bohemian music tradition. It would be of value if a more specific data on the actual place of the manufacture and the context in which this image was made, were researched further.

Instrument Type:
• A four or five stringed Central European Violone.

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1730

Une Lutiere – Violon
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Une Lutiere – Violon No. 1

Violonist ? – Detail
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Un Lutier – Violoncello No. 1
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Engelbrecht, Martin. 1. une basse, 1. Violon oder Basso Grosso featured in Une Lutiere. Instrument oder Geigenmacherin (A Luthier Lady [French]. An Instrument or Fiddlemaker Lady [German]). Copper Engraving in Engelbrecht, Martin. Assemblage Nouveau des Manouvries Habilles. Samlung der mit Ihren Eigenen Arbeiten und Werckzeugen Eingekleideten Künstlern, Handwerckern und Professionen. Augsburg: n.p. [1730] Plate No. 46.
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Translated Title (German):
Newly opened collection of artists, craftsmen and professions dressed with their own work and tools
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Official Page – Digitale-Sammlungen.de [ Une Lutiere – Violon, Pl. 46 ]

Official Page – Digitale-Sammlungen.de [Un Lutiere – Violoncello, Pl. 45]
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Bibliography:
• Martin Engelbrecht – The British Museum
• Martin Engelbrecht – Wikiwand.com

Notes:
• The featured images come from Martin Engelbrecht’s compendium of engravings which feature all the period tradesmen with their tools and products. Among them, and fortunately for us, there are a Lady Luthier and Gentleman Luthier with their instruments.
• Une Lutiere in the first image, is a presentation of a luthier lady with all of her instruments either held by her, or appended to her skirt. Among these instruments we also see the mid sized bass instrument labeled with Number 1, which in German clearly reads Violon oder Basso Grosso. So we can witness here what the contemporaries in Augsburg (and likely Germany) of 1730s considered under the term Violon.
• This is a six stringed instrument of proportions that are somewhat larger then violoncello and still smaller then the modern double bass. In this depiction this instrument does not have an endpin, and its outline reminds of the Violin Form. The bridge placement is below the F holes, as was the custom at the time. There are no frets depicted in this image.
• In respect to the instruments featured on Lutiere’s skirt thus there is no doubt of what is what, and what is Violon, since everything is labeled. However, at the same image and to the right of lady Lutiere in distance we also see a bass fiddler that plays a larger bass fiddle in standing position, and which does not have any designator number, but reminds much more of the modern smaller double bass. This instrument also has a bridge set lower then the F holes. So would that be a Violone as well? The image offers no instruction on that matter. (See middle image above)
• Lastly this unique source of prints also presents the Violoncello, yet in the preceding Plate no. 45 that is designated as Un Lutier. Here and in the same way as with Une Lutiere, we see a tradesman with all his instruments hung around him and with the Violoncello labeled with Number 1, held by his right hand. This Violoncello presents an endpin, has four strings depicted and also has frets depicted (!). So, Violoncello has frets but Violon does not.
• For the sake of clarity and ease of comparison both the Une Lutiere – Violon and the Un Lutier – Violoncello are presented in the same row so that one can have an easy overview without a need to switch records.

Further Research:
• This set of engraving offers a contributing material to the ongoing investigation of how, where and when did Violone differ from Violoncello. In etymological sense Violoncello means simply a “Small Violon” and yet since in these images both instruments appear about the same size, it is assumed that the actual “small violon” (violoncello) designation has evolved from a comparison to the bigger type of Violone which was more similar in size to the modern double bass.

It certainly would be of value to compare extant music and other evidence on music instrument names in Augsburg and Germany of 18^th century, in order to see what types of bass instruments were used and how were they called.

Other Media:
• Violone – Jessica Powell Eig – YouTube

In this lovely video segment we see a demonstration of Violone which in tuning and size corresponds almost ideally to the one presented in the Une Lutiere engraving featured above.

Instrument Type:
• Violone in G

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1730

Fête Galante
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Detail – Instrument alone

Full Page – Instrument, Text and Tuning
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Majer, Joseph Friedrich Bernhard Caspar. Violone, in Museum Musicum Theoretico-Practicum : das ist: Neu-eröffneter Theoretisch- und Praktischer Musik-Saal. Schwäbisch-Hall: Georg Michael Meier, 1732, p.80. [ Held at Bayerische Staatsbibliothek, 4 Mus.th. 990 ]
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Official Page – MDZ
Image View – MDZ
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Bibliography:
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 233, Abb. 68.
• ABP Treatises – Majer 1732

Notes:
• This is one of a unique period description of Violone, where we can unequivocally recognize and associate both the image and the tuning of the instrument with the Violone in G. The text is unambiguous, and it shows the Violone as Germans have titled in the early and mid 18^th century. Likewise, the featured instrument is the largest among all bass instruments described in this treatise.
• Presented on the image are six tuning pegs and six strings. The front plate shows two wavy S holes, and the bridge is positioned in the middle of these, as common with modern bass instruments, and not below the sound holes, as witnessed for this same year in Walther / Dehne – Bach Cantata – 1732 and Scheffler – Causa Nostrae Laetitiae – 1732 .
• The tailpiece is connected to the “bulge,” and which depending on what kind of size we may ascribe to this instrument, was either a touching point on the ground for a human sized instrument, or simply a resting spot for those instruments sized to be played in seated position, or held on a small podium, as was also the custom of the time.
• The tuning presented here is probably the most common one in use today among the period practice professionals who play Violone.

Further Research:
• As this listing grows and the research continues it is hoped to elucidate the point on how many instruments of this period have been made in human size that approximate the modern double bass, and how many have been made in smaller sizes with proportions that stand between the modern double bass and modern violoncello.

Other Media:
• Violone – Jessica Powell Eig – YouTube

In this lovely video segment we see a demonstration of Violone which in tuning and size corresponds to Majer’s Violone.

Instrument Type:
• Violone in G

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1732

Causa Nostrae Laetitiae
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Detail
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Horemans, Jan Josef the Elder. Musicerend Gezelschap (Music Making Society). Painting, 1736, Antwerp, Belgium. Located at the Private Collection.
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Official Page – Rkd.nl
Image View – Rkd.nl (focused on bassist)
Image View – Rkd.nl (full view)
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Bibliography:
• Jan Josef Horemans the Elder – Wikipedia.org

Notes:
• Presented is yet another music gathering by Horemans the Elder and again in a typical Dutch setting with a window to the left and a merry music company enjoying the moment.
• In this painting however the bass instrument appears to be a near standard full sized bass instrument of a gamba outline form. There are two pegs visible, so we can assume a four stringed instrument. The bow hold is of an overhand type.
• If you wish to compare this painting by Horemans the Elder with a sequence of the other similar ones by him that are grouped in the year 1715, please start with Horemans JJ E – Musikalische Gesselschaft – 1715 and than scroll down to the other Horemans records listed, or if you wish to overview the entire oeuvre of Horemans’ family, please check the Author Name idex at the top of the page. You may find many stylistic similarities between these paintings, but also few differences.

Further Research:
• As with the other paintings by Hormeans family members, the full work on systematization and evaluation of all bass instruments featured in their paintings still awaits a thorough inquiry and evaluation.

Instrument Type:
• Double Bass

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1736

Kontrabassistin
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Detail
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Kontrabassistin in Scholze, Johann Sigismund. Sperontes, Singende Muse an der Pleisse in 2. Mahl 50 Oden, Derer Neuesten und Besten Musicalischen Stücke, mit Denen Darzu Gehörigen Melodien zu Beliebter Clavier-Übung und Gemüths-Ergötzung, Anjetzo Viel Verändert und Verbessert Auch Vermehrt ans Licht Gestellet. Leipzig: n.p., 1747, p. 11 (Image to the left of the Song N. 11).
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Page View – MDZ 1 (1747) 4 Mus.pr. 394-1 (p. 11, N. 11)
Page View – MDZ 2 (1747) 4 Mus.pr. 394 a-1 (p. 11, N. 11)
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Kontrabassistin in Scholze, Johann Sigismund. Sperontes, Singende Muse an der Pleisse in 2. Mahl 50 Oden, Derer Neuesten und Besten Musicalischen Stücke, mit Denen Darzu Gehörigen Melodien zu Beliebter Clavier-Übung und Gemüths-Ergötzung, Nebst einem Anhange aus J. C. Günthers Gedichten. Leipzig: n.p., 1741, p. 7. DKB Record Link
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Document Download pdf – Dänische Königliche Bibliothek.dk (p. 7, N. 7)
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Bibliography:
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 231 (text), p. 231 (Footnote 90), p. 232 (Abb. 67).

Notes:
• Presented is a lovely lady bass player with her rather narrow bass instrument and a bow.
• This image is also mentioned in Planyavsky (1984) as printed in a 1736 edition of this book, yet the available online editions with this image come only from 1741 and 1747. So, perhaps one day the image from 1736 may be discovered as well. Also, please note that not all the editions of Singende Muse offer the images along the songs. Likewise, not all of them are available online, thus there may be more Kontrabassistinen out there to be discovered.
• This song book, or better said series of song books, was written by Johann Sigismund Scholze, who used the pseudonym Sperontes to publish them. More on his life and the evolution of the Singende Muse editions you can find at IA ostdeutsche-biographie.de Link . Apparently many of the tunes featured in these books have influenced the contemporary and later composers.
• The title of this image was taken from Planyavsky’s 1984 GdKB image title, although given the period nomenclature, at that time she would have been more likely called Bass Geigerin or Violonistin.

Further Research:
• As a research idea, it would be interesting to investigate the featured songs and see what bass instruments may have been suitable to accompany them in the 18^th century. Some of these songs also have the numbered bass lines and it would be worthwhile to investigate what continuo bass instruments may have actually accompanied them.

Instrument Type:
• Period 18th century bass instrument. Likely a folk bass instrument.

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1737

Ballo in Casa Fibbia
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Detail
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Scarselli, Antonio Alessandro. Ballo in Casa Fibbia in onore di Carlo di Baviera (Ball in Casa Fibbia in honor of Karl of Bavaria). Insignia degli Anziani Consoli (Insignia of the Elder Consuls), vol. XIII, c. 125, Bologna, 1737. Located at Archivio di Stato di Bologna, Bologna, Italy.
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Official Page – Archiviodistatobologna.it
Image View – Archiviodistatobologna.it (watermarked)
Image View – Hornicography.com (clean)
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Bibliography:
• Full printed catalog: Archivio di Stato di Bologna et al. Le Insignia Degli Anziani Del Comune Dal 1530 Al 1796, Catalogo – Inventario. Roma: Archivio di Stato di Bologna, 1954.
• Barnett, Gregory. “Deconstructing Corelli’s bass violin.” Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel, vol. 37, 2013, p. 201, Fig. 7. Download Link

[ Although this article focuses mainly on mid sized bass fiddles at Corelli’s time, it is still a valuable reference as it features the above image in respect to Violoncello da Spalla, a cello sized instrument that is played on the shoulder and which we see on the very right of the music ensemble. ]

Notes:
• From the notes on this image from the Official Page (translated): The miniature, dated 1737 and signed by Antonio Alessandro Scarselli, depicts the dance party held in the Fibbia Palace in honor of Carlo Alberto, duke and elector of Bavaria, and of his wife Maria Amelia, archduchess of Austria, at the moment when the guests open the dance feast.
• A featured ensemble, although depicted in simplified style, still presents a visible standing bassist with a larger instrument whose scroll extends above the players head. His right hand reaches below the stage balustrade, so we can not see his bow, or the placement of the bridge, or in fact the lower end of this instrument. Yet, his instrument still appears to be larger than the violoncello or the Violoncello da Spalla.
• The Insignia degli Anziani Consoli, bound in 16 volumes and housed in the Archivio di Stato Bologna, features the official city documents on parchment. They were made every two months, from 1530 to 1796, to celebrate the eight Anziani Consoli and the Gonfaloniere di Giustizia, a group of magistrates that ruled the city (source Baroqueart.museumwnf.org). This is a unique set of iconographical documents in which we can trace quite precisely by month and year the appearance of many period stringed bass instruments as were depicted in the actual events in the city of Bologna.

Further Research:
• It would be of value to explore further the music life in Bologna of the mid 18^th century and investigate all extant records on the variety of period stringed bass instruments that have been used there, and particularly how were these called. The large instrument in this image may certainly be a standard double bass or Contrabbasso. If this instrument was resting on a small platform it may have been a type of violone that would then also appear as high as a double bass.

Instrument Type:
• Double Bass (Contrabbasso) or Violone

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1739

Konzert bei der Markgräfin Wilhelmine
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Detail
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Anonym or Wilhelmine von Preußen. Konzert bei der Markgräfin Wilhelmine also Baireuther Parnass. Hohenzollern-Jahrbuch : Forschungen und Abbildungen zur Geschichte der Hohenzollern in Brandenburg-Preußen. Ed. Paul Seide, Issue 6, Leipzig: Giesecke & Devrient, 1902.
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Official Page – Hohenzollern-Jahrbuch – Issue 6, 1902, p. 150.
Official Page – Wikipedia.de (full ensemble)
Official Page – Wikipedia.org (full ensemble)
Official Page – Wikipedia.org (focus Bass player)
Official Page – Uni.trier.de
Image View – Uni.trier.de
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Bibliography:
• Wilhelmine von Preußen – Wikipedia.de
• Busch-Salmen, Gabriele. “Adolph Menzels ‘Flötenkonzert Friedrichs des Großen in Sanssouci’ ” Flöte Aktuell, vol. 2, 2012, p. 18 (text), p. 19 (image). Busch-Salmen.de-Blog – Download Link
[ quoted pages indicate the text section that pertains to the above image ]
• Volz, Gustav Berthold. Friedrich der Große und Wilhelmine von Baireuth, Bd. 1, Jugendbriefe, Leipzig 1924, p. 424. Letter no. 455, Oct. 23, 1739 – Text Link

Notes:
• It is fascinating to observe where one may find the images that relate to double bass iconography, as the image you see here comes from the top of the small three legged salon table, now unfortunately lost. All that is left now is a photo image that comes from the Hohenzollern-Jahrbuch of 1902.
• Presented is a personal ensemble of Wilhelmine von Preußen also known as Wilhelmine von Bayreuth, at her Bayreuth estate. She herself is seated by the cembalo and apparently her brother Frederic the Great may be assumed as one among the standing gentlemen behind her. It should be noted that Markgräfin Wilhelmine is not on the cembalo only to represent herself as a patron of the arts, but indeed this image presents her as an actual musician since she was a trained composer as well.
• Yet, what may be the most fascinating aspect of this image is that the very design for this table top may have been created by Markgräfin Wilhelmine herself. We know this as she herself says so in a letter to her brother Frederic the Great, where she states “I allow myself to send you a small table for your music hall. The design comes from me, and it looks very pretty.” The German word “entwurf” can be translated as a deign, sketch or idea, but the author of this site wonders if this may be interpreted in a way that Markgräfin may have actually produced this artwork herself, instead of just giving someone instructions to make it? Perhaps this part should be left to the experienced curators who may know how to recognize and estimate visual images. If indeed the image above is a product of Markgräfin’s very hands, this would be a unique instance in the entire bass iconography, probably the entire the double bass history, that the very patron of a bassist has actually produced his very image as well (!)
• Otherwise, Markgräfin’s personal commitment to the development of opera theater and the entire music culture in Bayreuth is inestimable, as it has been said that without her efforts with building the Baroque Bayreuth, Wagner would not have been able to build and evolve Bayreuth as a world leading opera center. Bayreuth today, together with the Baroque city and theater, has gained the status of the world heritage center with the UNESCO (quoted from www.br.de article ).
• Of interest to the bass iconography alone is certainly the continuo group of this ensemble that consists of no less than three bassoons, violoncello and a double bass. The bass featured indeed presents a substantial instrument of a rather long neck with likely engraved scroll head. The scroll box shows two tuning pegs and two, or possibly three peg holes for the tuning pegs on the other side. So if only four pegs, then this would be a bass with standard orchestra tuning, but if with five pegs, then likely an instrument in Viennese Tuning. Either way, one would think that the hefty continuo section was quite welcome at the Markgräfin Wilhelmine ensemble.

Further Research:
• The full story on this unique table, its image, the classical Bayreuth orchestra, its bassist and certainly the noble patroness Markgräfin Wilhelmine, is yet to be completely researched and told.

Instrument Type:
• Double Bass

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1739

Concerto in Villa
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Detail – Bassist

Detail – Ensemble
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Visentini, Antonio. Il Concerto in Villa (Concerto in Villa). Oil Painting, 1739-1740, Venice, Italy. Located at Palazzo Contarini Fasan, Venice, i.n. N/A.
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Official Page – WGA.hu
Image View – WGA.hu (full)
Image View – WGA.hu (ensemble detail)
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Bibliography:
• Antonio Visentini – Wikipedia.org
• Architectural Capriccio (Fantasy) – Wikipedia.org

Notes:
• The history of western art may on occasion offer an interesting challenge to the bass iconography connoisseurs, as may be the case with this painting which fits under the category of Capriccio. A term that does not have anything to do with the music Capriccio form, but belongs to the class of 18^th century fantasy architectural paintings that were made for the purpose of studying architectural perspectives, or simply to enliven the imagination of a viewer.
• This particular painting called Concerto in Villa, just happen to have a period Venetian ensemble depicted in addition to the fantasy architectural landscape that surrounds it. In that respect it deserves out attention, as the ensemble depicted seems to be out of the real 18^th century world and not the fantasy realm.
• Presented on the left side is a continuo section that consists of double bassists and keyboardist. The bass actually faces away from the group while the bassist reads the music by twisting the head backward in order to read the music from the keyboard score. An unusual combination, but possibly related to the fact that the singer is standing right by the keyboard player. Now, whether such an unusual posture was indeed practiced among the bassist is yet to be considered.
• The bass itself seems to be a standard four stringer, as the two pegs are visible. The fingerboard is rather short, indicating that no high position notes were needed for this service, while the ribs of this instrument appear rather thin. One would almost think that this bass is an antithesis to the large thick ribs instruments that we associate today with fine 18^th century Italian basses.
• The bass bow frog looks hefty and reminds of a modern German bow frog, while the holding style is underhand and up the stick.
• The appearance of this instrument reminds of the one presented at Watteau – Les Plaisirs du Bal – 1715 , while the overall appearance of the ensemble looks similar to the ensembles featured in Ricci – Riunione Musicale – 1705 and the two other paintings by Ricci featured here.

Further Research:
• Considering that Visentini has spent all his life in Venice it may be worth to investigate if he had any contacts with Venetian musicians, and also what kind of Veneitan music may have been performed by a depicted ensemble. In this picture Visentini even took and effort to paint some notes on the music that stands on the keyboard, so perhaps he may have had some musical interest as well.

Instrument Type:
• Double Bass, or in Italian, Contrabasso.

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1740

Handel Conducting an Oratorio
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Detail
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Anonymous. Handel Conducting an Oratorio. Engraving, c. 1740, London, England. Located at The British Museum, London, England, m.n. 1856,0712.210.
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Official Page – The British Museum
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Bibliography:
• place for future bibliographic entries
• Violone in G/sol – Posted on December 13, 2012 – Post Link

Notes:
• The British Museum record under Curator’s Notes heading state: “Acquired as showing Handel conducting an oratorio.” Otherwise this image goes under the same title in various iterations on the net. The additional details on the provenance and authorship of this unique engraving are unfortunately missing on the official British Museum page.
• Depicted are musicians and chorus in performance of the vocal work and among them on the very left we see three bass instrument players. Yes, it appears that the first bass instrumentalist is partially cut by the round edge of the image, which may mean that originally this image was not designed with the oval edges, but was probably larger.
• From those three bass instrumentalists, the very first one plays a mid sized bass instrument in standing position, while the instrument rests on the ground supported by a mid sized endpin. The middle one is the largest, and reminds in the size of the modern double bass, while the last one to the right appears smallest, and is played on the stool. The last one is likely a violoncello or a small period Violone.
• Of interest to the double bass iconography are certainly the first instrument (partially visible), and the one next to him, which is the largest. Unfortunately the very first one, and since only partially visible, shows only a contour of the lower bout, a section of the scroll and a performer with the underhand bow hold. One would wish for more, but it can not be seen.
• The second one to the right is most interesting as it is the biggest and performed in standing position while it rests on the ground. A curious performance element is lack of the bow, and the presence of a hand that plucks the strings, which should mean the pizzicato technique. Now, this is an interesting period performance element that should be considered in further research, as it may imply that some sections of Handel’s oratorios were performed by pizzicato.
• Furthermore, this big instrument has five strings depicted, while the pegs at the scroll box are difficult to discern. The very scroll box appears to be of an older type with its slanted and curved in shape. The body of the instrument shows a violin form contours, very high shoulders and F holes design. The bridge placement is under the F holes as was the custom at the time. The performer appears to be playing the instrument in about 5^th position. So in summary, this instrument would have all the prerequisites to reach the 16 foot range if indeed it was tuned so low.
• Lastly, the small bass instrument that appears closest to the keyboard player. The initial impression is that this instrument should be a violoncello played on the small podium, as was custom at the time. Yet, this instrument features five strings, and which was not the most common characteristics of cellos at the period, although five string cellos did exist. Also, the proportions of this instrument show a somewhat atypical violoncello form as the instrument seems to be bulkier and shorter in body, while longer in the neck section than a typical cello. Thus there is a possibility to consider that this is also a type of small period violone.

Further Research:
• In respect to musicology, the performance setup and style of a continuo in Handel’s oratorios have already been researched for decades. Yet, to the author of this site it is not known if, and to what extent, has this particular image been covered by Handel’s research. So perhaps there may be still a space to consider and elucidate further on what these instruments are, and how they may have been used in the interpretation of continuo lines within Handel’s oratorios.

Instrument Type:
• First to the left (partially hidden): Mid sized Double Bass or a period English Violone ; Large instrument in the middle: Double Bass or a period English Violone ; Third from left, resting on the stool: Violoncello or a small period English Violone.

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1740

Tanzgesellschaft eines Maskenballs
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Detail – Bassist

Detail – Ensemble
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Anonym. Tanzgesellschaft eines Maskenballs (A Dance Society of a Masked Ball). Drawing, est. 1740-1760, Munich, Germany. Located with Buchprojekt1.de
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Official Page – Buchprojek1.de
Image View – Full Image 1 – Buchprojek1.de
Image View – Full Image 2 – Buchprojek1.de
Image View – Seated Pair – Buchprojek1.de
Image View – Musicians – Buchprojek1.de
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Bibliography:
• Marées-Gesellschaft, R. Piper & Co., Munich – MOMA.org
• Julius Meier-Graefe – Wikipedia.org
• Reinhard Piper – Wikipedia.de

Notes:
• These images come from a facsimile of an exclusive period masked ball drawing that also features period musicians. Unfortunately no information of any kind is provided by Buchprojekt1 site on the drawing original, beside the fact that this is a high level facsimile made in 1920s by Marées-Gesellschaft, an art society founded by art historian and critic Julius Meier-Graefe, and Reinhard Piper, publisher from Munich.
• The dating of this drawing (1740-1760) was estimated by the author of the site, and based on the similar ball depictions available here. The costumes used by musicians may imply the general era of Classical Period.
• For the location of this drawing one may naturally assume a Venice or Italy, given the costumes and dressing of the audience. Yet the larger question that should be answered before conclusion is made is what were all the places where Masked Balls were organized during the classical period. Chances are that these may have been organized in many countries Europe-wide. Thus for this listing, and before a more comprehensive study of this image is undertaken, the city of Munich was selected as a location choice, since the modern publisher of this facsimile was based in Munich as well. It certainly would be of value to investigate further the Marées-Gesellschaft documentation (if any is still extant) and look for a possible source of this facsimile.
• In respect to the bass iconography we see a wonderful depiction of a period ensemble on a high podium as is the case with ball depictions in the following artworks:

• Minderhout – Masqued Ball II – 1740
• Anonym / Anziani – Festa di Ballo – 1742
• Janneck – Masked Ball – 1750
• Natoire – Masquerade Ball – 1751

• The ensemble consists of a bassist, three fiddles, and two horns. No continuo.
• The main question in respect to music iconography is whether the players are seated or they stand. Assuming that they are seated, then the bass fiddle appears to be resting on some type of a small podium that lifts it higher, and which makes the level of the instrument bridge almost at the player’s belt level. In that case this instrument may belong to a type of mid sized violoni set with four strings. The bow used appears to have a high arch, similar to the one featured in Voigt – Organ and Bass – 1742 .

Further Research:
• As mentioned above, a serious inquiry in the records of Marées-Gesellschaft will be needed as a starting point for finding more on this lovely presentation.

Instrument Type:
• A type of four stringed period Violone or actually a smaller Double Bass.

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1740

Musical Party
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Detail
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Anonymous. Festa di Ballo Full Title: Festa di Ballo in Onore di Carlo Emanuele III Re di Sardegna (The Ball Festivity in Honor of Carlo Emanuele III King of Sardinia). Insignia degli Anziani Consoli (Insignia of the Elder Consuls), vol. XIII, c. 156, IV Bimestre, Bologna, 1742. Located at Archivio di Stato di Bologna, Bologna, Italy.
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Official Page – Fondazionecarisbo.it 1
Official Page – Fondazionecarisbo.it 2 (full view – black and white)
Image View – Kimballtrombone.com (full view)
Image View – Kimballtrombone.com (detail view)
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Bibliography:
• Full printed catalog: Archivio di Stato di Bologna et al. Le Insignia Degli Anziani Del Comune Dal 1530 Al 1796, Catalogo – Inventario. Roma: Archivio di Stato di Bologna, 1954.
• Giansante, M. “Gerarchie E Scenografie. La Festa Della Porchetta Nelle Insignia Degli Anziani Consoli Di Bologna.” I Quaderni Del m.æ.S. – Journal of Mediæ Ætatis Sodalicium, vol. 8, n. 1, Gennaio 2005, Tav. 26. Download Page

Notes:
• Presented is a ball festivity scene organized in honor of the Carlo Emanuele III King of Sardinia, were also an orchestra ensemble is depicted. As with the previous Insignia degli Anziani Consoli images from 1705 and 1737, we can see prominently in the first row the Violoncello da Spalla on the left side, and a larger stringed bass instrument on the right side. Chances are that this may be the same large bass presented in the 1737 image.
• The bass instrument on the right is performed standing, if in a somewhat slanted style. The scroll box of this instrument reaches some height above the performers head, and in this drawing we may also note small outlines of the F holes. The bow hand with a bow may, or may not be depicted pending on your view. But if it is visible, it would seem that the instrument is large enough to rest on the ground, which would then likely make it a double bass sized instrument. Visible are also four strings.
• The Insignia degli Anziani Consoli, bound in 16 volumes and housed in the Archivio di Stato Bologna, are the official city documents made on parchment. They were made every two months, from 1530 to 1796, to celebrate the eight Anziani Consoli and the Gonfaloniere di Giustizia, a group of magistrates that ruled the city. Information Source – Baroqueart.museumwnf.org. The Insignia is a very unique and important set of iconographical documents in which we can trace quite precisely by month and year the appearance of many period stringed bass instruments that took part in the actual events in Bologna.

Instrument Type:
• Double Bass (Contrabasso) or Violone

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1742

Engleskonzert
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Detail
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Handke, Johann Christoph. Engleskonzert (Concert of Angles). Fresco, 1742. Located at The Velké Losiny Castle, Large Chapel, Vault under the organ gallery. Velké Losiny, Czech Republic.
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Official Page – Bildindex.de – Angel with a Violone
Official Page – Bildindex.de – Angels with Violone and Violin – wider angle
Official Page – Bildindex.de – Music Ensemble – widest angle
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Bibliography:
• Velké Losiny Castle – Zamek-velkelosiny.cz
• Velké Losiny – Wikipedia.org
• Jan Ludvík ze Žerotína – Wikipedia.cz

Notes:
• This fresco offers a well detailed presentation of a bass instrument played in seated position while it rests on the ground. The instrument has five strings while some three pegs are visible which may support the five strings already depicted. The bridge is positioned lower then the F holes and there are apparently no frets on the neck.
• The outline of this instrument shows a typical violin form that we recognize as such today. The ribs of this instrument are also relatively thicker and when compared with many similar instruments of the preceding periods, so these elements may imply a more modern design. However, the scroll box appears somewhat slanted so that element may point to an older design.
• In respect to the size of this instrument it looks to be large enough that if the angel would play it with a head straight up, the head may be at the level of the scroll box. This would then place it in the category of the mid to larger Violoni, rather than the smaller bass instruments.
• The bow hold is of an underhand type, yet more similar to the modern German double bass hold where no middle finger touches the hair. In fact some of the bow position elements such as all three fingers on the top of the string and a thumb slightly above, appear almost identical to modern Vienna bass bow hold style.
• This fresco is located at the Large Chapel of the Velké Losiny Zámek (Velké Losiny Castle) in Czech Republic, which is also known as Groß-Ullersdorf Schloss in German. Given that the fresco is presented at the chapel it may also represent a period instrument used in church services of the castle at the time. Since the Chapel was rebuilt under the Jan Ludvík of Žerotín (Johann Ludwig von Zierotin) chances are that the instrumentarium depicted in frescos was actually in his service.

Further Research:
• It would be nice to investigate if there are any records of the music activities at the court of Jan Ludvík of Žerotín, as then we could see if there are any references to the bass instruments and possibly the repertoire that was performed either in the castle chapel in service of the church, or elsewhere in service of nobles.

Instrument Type:
• A type of five stringed Violone.

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1742

Organ and Bass
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Detail
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Anonymous. Geiger auf dem Weltgebäude (A Fiddler on the Top of the World), in Curieuse und Sehr Lustige Supplementa Des Angenehmen Zeitvertreibs und Vielfältigen Vergnügens auf dem Weitberühmten Lust-Saal des so Genannten Brandtvorwergs Ohnweit Leipzig: Benebenst Noch Vielen Belustigenden Anmerckungen Überhaupt über Alle und um Leipzig Herum Gelegene Wirthschafften. Franckfurt und Leipzig, 1746. Front page image that precedes the title page.
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Title Translated:
Curious and Very Amusing Supplements of the Pleasant Pastime and Diverse Pleasure in the Well-Known Pleasure Hall of the So-Called Brandtvorwerg near Leipzig: In Addition to Many Amusing Remarks in General about all the Inns Located around Leipzig.
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Official Page – SLUB Digital
Image View – SLUB Digital
Official Page – Deutschefotothek.de
Image View – Deuteschefotothek.de
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Bibliography:
• Brandvorwerk – Wikipedia.de
• Bass Heritage Board – Posted on December 1, 2014 – Post Link

Notes:
• Presented is a German bassist as depicted in 1746 and for a unique guide book that describes a type of period tourist resort in Brandtvorwergs, located near Lepizig. The bassist, as the image says, stands on the top of the world, while below him we see the regions of Loyalty, Truth, Sincerity and Death. Perhaps the allegorical meaning of these concepts / regions was that the trivial joys of life are of passing nature, and that the entertainment should be perceived in modesty.
• In respect to bass iconography we see a standing bassist with a somewhat rounded double bass that has two rather large F holes and a bridge positioned slightly below them. There are four pegs and four strings visible, so this image may present a bass in our standard orchestra setup.
• In respect of the title for this image, it has been taken as cited in the Deuteschefotothek official image page. They call it a “Geiger” meaning a Fiddler. However, for the double bass community it may as well be called a “Bassist from the Brandtvorwergs.”
• Also, while researching this image, a “sister book” of this guide was discovered as well:

Angenehmer Zeitvertreib des Grossen und Mannigfaltigen Vergnügens Auf dem Weltbekannten Lust-Saale Des so Genannten Brandtvorwergs ohnweit Leipzig. Franckfurth: Compagnie, 1745.

Translated:
Pleasant Pastime of Great and Varied Pleasure in the World-famous Pleasure Hall of the so-called Brandtvorwerg near Leipzig.

This book apparently resemble the first one cited, but it also offers an image of all activities associated with Brandtvorwergs resort and along the presentation of musicians in the actual tavern setting. We can see them there seated around the table (Tafelmusik) and playing for the pleasure of dancers and other visitors. The bass instrument depicted in this image is certainty smaller than the one on the top image, but that should not mean that there were no larger basses there that could correspond to the one featured at the top of this record.

Official Page – SLUB Digital
Image View – SLUB Digital
Image View – Wikimedia.de [ Vergnügungen im Brandvorwerk 1746 ]
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Further Research:
• It would be of value to research further any extant Brandvorwerk and Leipzig documents that pertain to musical activates and possibly musicians that were active in this tourist resort during the 18^th century. It is possible that the music there was only of a popular folksy character, but if some of it was more advanced and at level of courtly divertimento events, than a record of it may likely exist. The ensemble depicted in Angenehmer Zeitvertreib etching above, shows some seven musicians, including the bass instrumentalist, bassoonist, two hornists, a flute player and two fiddle players. The sheet music is also depicted on the table and that may indicate that they were playing a type of written “classical” music.

Instrument Type:
• Double bass, although the round contours of the instrument are not typical of the common double basses from this period. See also Heins – Music at Melton Constable – 1734 for a double bass that has similar round contours, and which are not as exaggerated as in the image from this record.

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1747

Fête Musicale
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Detail – Continuo Left

Detail – Continuo Right
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Pannini, Giovanni Paolo. Fête Musicale. Full title: Fête Musicale Donnée par le Cardinal de La Rochefoucauld au Théâtre Argentina à Rome, le 15 juillet 1747, à l’occasion du Mariage du Dauphin, Fils de Louis XV, avec Marie-Josèphe de Saxe. Oil Painting, 1747, Rome, Italy. Located at Louvre Museum, Paris, France, i.n. Numéro principal: INV 414.
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Title Translated:
Musical Feast given by Cardinal de La Rochefoucauld at the Argentina Theater in Rome, July 15, 1747, on the Occasion of the Marriage of the Dauphin, Son of Louis XV, with Marie-Josèphe de Saxe.
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Official Page – Louvre Museum
Image View – Louvre Museum 1
Image View – Louvre Museum 2
Image View – Louvre Museum 3
Image View – Louvre Museum 4 (greatest detail)
Official Page -Wga.hu
Image View -Wga.hu
Official Page -Wikimeida.org
Image View – Wikimedia.org
Official Page -RIdIM
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Bibliography:
• Louis, Dauphin of France – Wikipedia.org
• Giovanni Paolo Panini (also Pannini) – Wikipedia.org
• Leonardo Vinci (composer) – Wikipedia.org
• La Contessa dei Numi (Libreto by Pietro Metastasio) – Wikipedia.fr
• Leonardo Vinci, La Contessa dei Numi (Manuscript)- Yale University
• Rinaldo, Alessandrini and Laura Pietrantoni. La Contesa De’ Numi Di Pietro Metastasio e Leonardo Vinci : Una Cantata a Palazzo Altemps Per La Nascita Del Delfino Di Francia. Roma: Accademia Nazionale di Santa Cecilia Fondazione, 2006. Score edition – Pietrometastasio.com

[ This web page presentation offers well researched historical details on the first and subsequent performances of La Contessa dei Numi along with the political and cultural context in which these performances took place. For translation to English use the Google Chrome auto translator ]

Notes:
• Presented is a lavish performance of Leonardo Vinci’s opera La Contesa dei Numi (the Contest of Gods) which was organized in Rome by Cardinal de La Rochefoucauld in honor of second marriage of France’s Dauphin (hair to the French throne) to Maria Josepha of Saxony. It is fascinating to note that this opera by Leonardo Vinci was composed and performed in honor of Dauphin’s birthday in 1729, and has then been revived, most likely for symbolic purpose, for the marriage occasion in 1749.
• The readers should know that Dauphin’s first marriage to Maria Teresa Rafaela of Spain was also celebrated by a magnificent opera performance that can be seen at Cochin II – La Princesse de Navarre – 1745. Yet unfortunately, after the birth of the son to Dauphin his young wife Maria Teresa Rafaela has died in 1746. So this painting from 1747 in some way is supposed to represent also a new and hopefully happier beginning for the newly wed royal couple.
• As mentioned, this artwork was commissioned by Frédéric Jérôme de Roye, Cardinal de La Rochefoucauld (1701-1757), French Ambassador to Rome in 1747. Here we can see that the stage design with the entire music ensemble and soloists represents the realm of Gods in clouds. So the soloists and the upper levels of the orchestra are shrouded in clouds, and by chance even one of the smaller bass fiddles is resting on the cloud at the right side of the stage.
• In respect to the bass iconography we see here two continuo groups that are positioned on the left and right side from the seated soloists. The harpsichords are present, but they are (again) shrouded in the clouds, so we can see only the keyboard players. Yet, behind the keyboardist on each side we clearly see some three bass instrumentalists with their instruments.
• Thus each continuo section consist of a small bass fiddle, a large bass fiddle and a very large bass fiddle that according to the depiction actually overshadows even the largest modern orchestra double basses. Please take a look at the very left instrument at Detail – Continuo Left and the very right instrument at Detail – Continuo Right, and extend the “virtual endpin” so that these instruments are elevated to a typical modern orchestra endpin elevation. Then you may note that in each case the bassist most likely would not be able to reach the lowest position with the fully extended left hand. This may be true particularly for the instrument depicted in Detail – Continuo Right.
• So what kind of instruments were these than? A further inquiry may be needed in order to discover what kind of giant basses were used in Rome at the middle of the 18^th century.
• However, there are other basses depicted too, and right next to these very large basses we can see bass instruments of a typical modern double bass size, and further, next to them, instruments that common people may associate with violoncellos. Yet even these smallest instruments are larger then modern violoncellos as we observe that they rest on the ground without any endpin extension and that (at least with the instrument in Detail – Continuo Left) the scroll of this instrument reaches to the top of seated player’s head. So in technical terms, even these small bass instruments may have belonged to the category of period Italian Violoni, rather than period violoncellos. The sketch for this smaller bass fiddle is preserved in Pannini’s Sketch book and you can see it here in even greater detail: Image View – The British Museum .
• The next record will present Pannini’s sketch of the double bass player with the very large bass instrument which by size represents the instrument in Detail – Continuo Right while in posture the very large bass in Detail – Continuo Left above: Pannini – Study of a Bass Player – 1747 . There you may observe the proportion of this instrument in respect to the performer with greater accuracy.

Further Research:
• It certainly would be of interest to try to identify the ensemble featured in this magnificent painting and whether it may have been associated as a steady orchestra group with the Théâtre Argentina mentioned in the painting. If indeed Théâtre Argentina has had a permanent orchestra, then it would be of interest to explore what types of records on this group have survived and whether any citation on the bass instruments and their personnel may be available. Given the difference in size between all three bass instruments in each continuo group, there is a good chance that the period documents would have named them differently as well. Then we will be able to find out how these very large basses were in fact called by the period musicians.

Other Media:
• La Contessa dei Numi – YouTube

This production was presented on a much smaller stage and is certainly much less lavish than the one depicted in painting, yet the music is the same. It would seem that the seated Gods were dressed in the Pannini painting very much in the upper class fashion of the time, while this production represents them in the ornamented ancient costumes. Perhaps the original 1729 production was much closer to what we see in this video.

Instrument Type:
• Double Bass (quite large, larger than modern double bass), Double Bass (a bit less large) and (possibly) a period Italian small Violone or Violoncello.

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1747

Study of a Double-Bass Player
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Detail
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Pannini, Giovanni Paolo. Study of a Double-Bass Player. Drawing in a Skecth-book, est. 1747, Rome, Italy. Located at The British Museum, London, England, m.n. 1858,0626.655.
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Official Page – The British Museum (sketch book record, sketch link at the bottom gallery)
Image View – The British Museum
Image Page – Facebook Post
Image View – Facebook
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Bibliography:
• Please see the Official Page – The British Museum above
• Giovanni Paolo Panini (also Pannini) – Wikipedia.org
• Giovanni Paolo Pannini – Britishmuseum.org
• Arisi, Ferdinando. Gian Paolo Panini e i fasti della Roma del ‘700. Roma: U. Bozzi; 1986, p. 52.

Notes:
• This drawing features one of the most beautiful and detailed sketches of a period 18^th century bass player and his unique large instrument. This very sketch is preserved in Pannini’s sketch book, now held at the British Library, and it is believed to have been made as an exercise for a bassist painted at the left continuo section of Pannini – Fête Musicale – 1747 , and according to Arisi (1986). However, there may be more to this sketch and particularly in respect to dating, as the same composition with bassist and his large bass can be seen in two additional paintings by Pannini: Pannini – Ball by Duc de Nivernais – 1751 and Pannini – Concert by Duc de Nivernais – 1751 .
• If you compare the the bassist in this sketch with the bassist in the left continuo section of all three paintings, you may note that the appearance of the bassist in the sketch resembles better the bassist in the Pannini’s Ball by Duc de Nivernais 1751 painting, than the one from the 1747. So how can that be, since all of these paintings represent essentially the same ensemble? The answer to this riddle may lie in the bibliography on Pannini’s Sketch-book which is presented at The British Museum Official Page (cited above). In fact, it is possible that in a view of similarities between the bassist in the sketch and the one in the Ball 1751 painting, this sketch may be dated later, or have in fact been made for the 1751 painting and not the 1747 one. This question may certainly be addressed by further research.
• In addition, the bass size in proportion to the player is far more similar to the bassist in Detail – Continuo Right of the Fête Musicale 1747, than the one featured in Detail – Continuo left of the same painting. So this may actualy imply that even the extra large basses featured in both continuo sections were not the same (!) and that one of them may be larger than the other.
• What is important to note however is that this kind of proportion between the player and the instrument has never been documented before in the bass iconography and there is a good chance that this instrument may have exceeded six feet in height. The only other known period instrument that approaches it in size, would be the Praetorius – Groß Contra-Bass-Geig – 1620 althogh its dimensions are extrapolated.
• So, in respect to this instrument’s size, even if we consider a possible smaller stature of a bassist, this instrument should be far larger than any contemporary double bass employed in a modern orchestra and regardless of age. Furthermore, the chin of the bassist in this sketch is situated literally on the edge of the upper bout of this instrument, and so it does in the Ball of 1751, to which this sketch appears most similar. In respect to the left hand positions, the lowest position (the one closest to the scroll section, for non bassists) on modern basses reaches to the level of ear, while here in all four depictions the hand extends way above the player’s head. Bear in mind also that most modern basses will have an extended endpin which would add few inches to their overall height, while in this sketch we hardly see any length of an endpin.
• In respect to bass organology this instrument also shows a bridge position below the F holes and which is still common placement in the mid 18^th century, but not on every instrument any more. The fingerboard length stops at about the place where the neck joins the body, so obviously this bass was intended mostly for a pedal tones. Lastly, and given the sheer size of the instrument corpus, one would expect that its tone would be colossal, to say the least. So, in fact the performances featured in these paintings of Pannini must have benefited from an outstanding 16 foot register bass sound, that probably no modern period ensemble would be able to replicate today, unless an instrument of a similar size was recreated for such a task.
• In respect to bow hold, perhaps Maestro Pannini has not offered us the most deatiled depiction, as this hold appears rather generic and resembles the natural hold of a wood rod. And yet, perhaps given the size of the instrument an exact such a “natural” grip would have been required to produce a solid tone on this giant? Please check how the bow is held with the modern octobass, which is even larger than the bass featured in this sketch – Link MIM Phoenix .

Further Research:
• This sketch does not offer any information on its cover sheet on the depicted double bassist, so it would be of interest to explore this sketch book further for any other clues on the bass sketch and the other depictions of musicians that may relate to Pannini’s paintings.

Instrument Type:
• Large period Double Bass or Contrabbasso in Italian

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1748

Liber Psalmorum Psalm 94
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Detail 1 – Upper Right – Musicians

Detail 2 – Lower Right – Bass Fiddle
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Klauber, Johann Baptist. Liber Psalmorum Psalm 94. Engraving in Historiæ Biblicæ Veteris Et Novi Testamenti : Junioribus Ad Faciliorem Eruditionem Senioribus Ad Vivaciorem Memoriam Divini Verbi Præconibus Ad Celeriorem Reminiscentiam Omnibus Ad Utilem Sanctámque in Curiositatem in Centum Frugiferis Foliis Exhibitæ, 1748, Augsburg, Germany. Digitized book copy located at Universidad de Navarra, Pamplona, Spain, Lib. No. FA – Siglo 18.
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Official Page – Colonialart.org
Image View – Colonialart.org 1
Image View – Colonialart.org 2
Record Page – Full Digitized Document
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Bibliography:
• Johann Baptist Klauber – Wikipedia.org

Notes:
• This engraving may be considered unique in the bass iconography as it features two types of period bass fiddles that appear to illustrate instruments from previous centuries. At the Detail 1 Image we can see by an organist a man sized bass instrument played by a standing performer. This instrument appears to have a longer neck and by height it extends over the performer’s head by a great margin. Judging, by a visible outline, this instrument also appears to rest on the ground, so it should be of a size comparable to the larger modern double basses. The bow on this instrument appears to have a high arch similar to the depicted bows of the shoulder held fiddles presented in the same section.
• The other instrument which is presented in Detail 2 Image, is located at the lower left corner and it reminds of the 16^th and 17^th century bass instruments. This instrument has slanted and curved peg box with carved head. Visible are five strings and the highly ornamented set of sound holes on each side of the bridge. The bridge is set on the lower edge of the sound holes. The relative size of this instrument may be a bit more difficult to judge as it depends on the choice of the nearby instrument for a comparison. If we compare it to the trumpet and cornetto, this instrument appears smaller. If we compare it to the harpsichord, it may fit among the bigger bass fiddles and yet still smaller than the modern double bass.
• A point may be raised of why is the older type of bass instrument depicted here in the year 1748? The answer remains open and may have to do with what kind of source instrument (or a source image) an engraver, Herr Klauber, has had in his proximity to model the instrument after. The other question that may be asked is what do all these instruments and musicians have to do with Psalm 94? Judging from the text of the psalm there may not be much hidden meaning here except that the psalms themselves are the praises thus the featured instruments are a manifestation of praise with music as well. Or, perhaps this collection follows the older classification of psalms where no. 94 may actually be no. 150, and which indeed has inspired many artworks.

Further Research:
• It may worth to compare what other musical and biblical subjects have been left in the opus of Johann Baptist Klauber and see if there are any other points to be made. Also, it would be of interest to investigate further the Augsburg musical scene at the middle of the 18^th century and observe if any older instruments were still in use there at the time.

Predecessor Instrument Classes:
• ps[ predecessor instrument by size ] ?
• pf[ predecessor instrument by function ]
• psh[ predecessor instrument by shape ] ?
• pt[ predecessor instrument by tuning ] ?

Instrument Type:
• The bigger instrument (Detail 1) may be a German type of Violone, the smaller instrument (Detail 2) should be researched further.

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1749

Glorification of the Trinity
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Detail
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Colombo, Giovanni Battista Innocenzo. Glorification of the Trinity (Title in German: Verherrlichung der Dreieinigkeit). Fresco at the ceiling of the Klosetrkirche Uetersen, 1749, Uetersen, Germany.
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Official Page – Kirche-Hamburg.de (about church)
Official Page – Kirche-Hamburg.de (about fresco)
Image View – Kirche-Hamburg.de (full composition)
Image View – lh3.ggpht.com (a magnificent full view of the ceiling, organ and a choir)
Image View – Wikipedia.org (detail)
Image View – De.m.wikipedia.org (detail)
Image View – Noz-mhn.de (full composition)
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Bibliogprahy:
• Giovanni Battista Innocenzo Colombo – Wikipedia.org
• Giovanni Battista Innocenzo Colombo – Wikipedia.de
• Colombo, Giovanni Battista Innocenzo – Allgemeines Lexikon Der Bildenden Künstler Von Der Antike Bis Zur Gegenwart Bd. 7. Erman-Fiorenzo. Leipzig: Seemann, 1912, pp. 249-250 – Internet Archive (good source on Colombo’s later career)
• Klosterkirche Uetersen – Second.wiki (check “Ceiling fresco” paragraph – middle of the page)
• Klosterkirche Uetersen – Wikipedia.de
• Uetersen (town) – Wikipedia.org
• “Die “Verherrlichung der Dreieinigkeit” von Giovanni Battista Colombo wird restauriert” (The “Glorification of the Trinity” by Giovanni Battista Colombo being restored). November 16, 2009. Link – Altertuemliches.at

[ This is an excellent online source on the origin and restoration of this outstanding fresco. It also offers some information on the instruments, although it may not be so clear how and why the angels are portrayed with ostensibly “Unplayable Instruments” (Unbespielbare Instrumente), as stated in the article. ]
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Notes:
• It is not common that the ceiling fresco in a church presents a bass instrument almost in the center of the composition, yet this is what we have in the Klosetrkirche Uetersen (Monastery-church Uetersen). The church title may be misleading as the church, even at the time it was built in 1747-1749, was not a part of the monastery. Today it belongs to the Evangelical Lutheran community of Uetersen.
• The depiction of a bass instrument stands at the top of the bottom section of the composition, while the full fresco design culminates in the dove that represents the Holy Spirit. Thus, from the bass up and to the Holy Spirit.
• The bass instrument itself features four pegs and some loose strings that fall out of the peg box, but it may be safe to assume that this instrument features four strings as well. Otherwise, this instrument shows a violin form outline and resembles very much the modern bass in the violin form.
• Also, an interesting detail from Colombo’s biography points that he was a Theater Painter (Theater set designer) in Hamburg just a year before the started working on the Trinity, thus he was likely well acquainted with period instruments and could paint them well (source Colombo – Wikipedia.de) . The other interesting fact which wiki.de brings is that the alternative title to this fresco is Das Engelkonzert (The Concert of Angels), although the majority of sources online call it The Glorification of the Trinity, so the later title was accepted here as well.
• This entire composition reminds very much of another fresco composition with a big bass fiddle in approximately the center of ceiling, the Piazzetta – Gloria di San Domenico – 1727 . The Trinity arrangement is certainly not identical to the Gloria composition, as one different detail that pertains to bass instrument in Piazzetta’s Gloria is the neck of the bass instrument, which actually points directly to the dove as a representation of the Holy Spirit.

Further Research:
• If the Uetersen church records of musical activities from the 18^th century are preserved it would be of interest to find out what kind of an ensemble was active in the Uetersen church, and possibly who may have played the bass fiddle at that time. It would also be of interest to see what music was performed in the church and particularly since the tympani are also depicted. Likewise it may be of value to investigate Colombo’s career further, as his biography in Allgemeines Lexikon indicates that he traveled widely after finished the Trinity and was employed in several positions as a Theater Painter (this time as the one who paints the pictures (frescoes) on the walls of the theaters). So, there may be a chance that the additional artworks of his with instrument depictions may be discovered in the future.

Instrument Type:
• Almost certainly a Double Bass unless they had a different name for it, possibly a Violone?

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1749

St. Cecila and Angels
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Detail
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Ranger, Ivan. St. Cecila and Angels, Fresco, Organ Choir at the Chapel of St. George in Purga, Lepoglava, Croatia, 1749.
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ABP – St. Cecila and Angels – Image 1
ABP – St. Cecila and Angels – Image 2
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Bibliography:
• Ivan Ranger – Wikipedia.org
• Ivan Ranger – Wikipedia.hr
• Cvetnić, Sanja. “Ioannes Baptista Rangger – Natione Tirolensis.” Journal of the Institute of History of Art, No. 32, 2008. – Download Page – Hrcak.srce.hr (in Croatian, summary in English)
• Chapel of St. George, Purga, Lepoglava – Baroqueart.museumwnf.org
• Chapel of St. George, Purga, Lepoglava – Turizam-vzz.hr (in English)
• Church of St. Mary, Lepoglava – Pauline Monastery Church until 1786 to which the Chapel of St. George in Purga was affiliated – Baroqueart.museumwnf.org

Notes:
• Presented is a five stringed Violone which is performed in seated position. The smaller distance between middle bouts, the low positioned bridge and particularly the slanted pegbox, all suggest an earlier instrument type that may date back to 17th century. The Lepoglava monastery of which the Chapel of St. George in Purga was certainly dependent, has most likely owned an instrumentarium that dates back to 17th century or even earlier, as the very monastery was founded in the year 1400.
• This fresco composition has not been featured in publications until now, and probably due to the fact of its location in choir loft behind the organ, which is difficult to see from the chapel ground. Likewise, the St. George chapel is less known than the main Lepoglava (former monastery) church that contains frescoes of greater prominence, and which have already been catalogued and researched.
• The white area below the left bout of the violone is a damage associated with a church bell rope that eroded the surrounding area over time. In the featured image, the bottom section of the Violone is cut to hide this damage.
• This image stands in particular respect to the author of this web site, since the chapel where it stands is located literally 25 yards away from the house where the father of the author of this site was born, and has spent his childhood. The father of the author of this site was also named after the name of this chapel. The relatives and friends of the author of this web site still live by and worship in this chapel to this day.

Further Research:
• The state of research on the history of instrumental music in Lepoglava Monastery is at the present not known. It certainly would be of interest to find out the additional data on instruments used or owned by the monastery before the Josephinian reforms have closed the monastery in 1786. The instrument depicted here, in a chapel affiliated with the Lepoglava Monastery, may have been used in the monastery as well.

Other Media:
• Chapel of St. George in Purga, Lepoglava – YouTube

This lovely video will bring you inside the Chapel of St. George in Purga, Lepoglava and present you with the other Ranger frescos made in 1749. Unfortunately the state of frescos in 2017, when this video was made, was in somewhat deteriorated state and due to inherent moisture inside the building. The sanation and restoration of all frescoes including the St. Cecilia and Angles are in the plans.

Instrument Type:
• Given the overall proportions of instrument, this is very likely a mid sized period five stringed Violone.

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1750

La Guinguette
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Detail
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Basan, Pierre François (after Gabriel de Saint-Aubin). La Guinguette (The Tavern), Full Title: La Guinguette, Divertissement Pantomime du Theatre Italien, compose par le Sr. De Hesse / Dedie a Monseigneur le Duc de la Valiere. Translated: La Guinguette, Pantomime Entertainment of the Italian Theater, composed by Sr. De Hesse / Dedicated to Monseigneur le Duc de la Valiere. Engraving Print, est. 1750-1760, Paris, France. Various holding in museums and libraries as cited below.
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Official Page – Virtuelles Kupferstichkabinett (HAUM)
Image View – Virtuelles Kupferstichkabinett (HAUM)
Official Page – Gallica – Bibliothèque Nationale de France
Image View – Gallica – Bibliothèque Nationale de France
Official Page – New York Public Library
Official Page – The British Museum
Official Page – Musée Carnavalet, Histoire de Paris
Official Page – Collonial Williamsburg
Official Page – Philadelphia Museum of Art
Image Page – Wikimedia.org
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Bibliography:
• Pierre-François Basan – Wikipedia.org
• Gabriel de Saint-Aubin – Wikipedia.org
• Richards, Louise S. “Gabriel de Saint-Aubin: Fête in a Park with Costumed Dancers.” The Bulletin of the Cleveland Museum of Art, vol. 54, no. 7, 1967, pp. 215–18. JSTOR [ cites La Guinguette ]
• Jean-Baptiste-François De Hesse – Wikipedia.fr
• Théâtre Italien de Paris – Wikipedia.fr
• Guinguette Standard definition: Popular café or Tavern where people drink and dance, often in the open air.
• Guinguette – Wikipedia.org
• Guinguette – Wictionary.org
• Beeny, Emily A. “The Country Dance” (online) – Museum-Essays.getty.edu

[ This online essay by Getty Museum elaborates on the Saint-Aubin The Country Dance, and also offers quite informative details on Basan’s La Guinguette which was also based on Saint-Aubin’s design. Moreover you will find here a lot on the musical context of public dances in France at the mid 18^th century along with artists’ approaches to depicting these events. ]

• Author Unlisted. La Guinguette (The Tavern) Italian Dance (Online Page), Former Exhibition – Nypl.org (fifth entry from the top down)

[ A nice description of this artwork that also offers excellent musical and historical background on the event depicted. ]
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Notes:
• Presented is an outdoor performance of Hesse’s La Guinguette ballet-pantomime as performed by the Théâtre Italien at some location in Paris. The very image suggests an outdoor performance while the Théâtre Italien was actually an Italian ensemble which performed in the indoor venues as well. So technically, what you see may even be a stage set?
• The dating for this image varies greatly and pending on the institution citation, spans from 1743 to 1760s. The dating of 1750 cited here is taken from the Jean-Baptiste-François De Hesse’s work lists (wikipedia.fr) which dates La Guinguette to 1750. Thus, at the earliest, this depiction may come from 1750. The British Museum online record notes cite the La Guinguette premiere to August 8, 1750, while they date the very print to 1760s. The other museums may differ. The basis for this engraving was however a painting by Gabriel de Saint-Aubin that is now lost. That painting was apparently produced in early 1760s and it has a sister drawing in a preserved Costumed Dancers Performing in a Garden Tavern (Cleveland Institue of Arts – Record Link). This drawing also features the bassist, although not in such a great detail as Basan’s engraving above.
• In respect to bass iconography however, this is a remarkable artwork, as we see a period bassist at the top of the table (possibly an improvised stage) and playing an interesting bass fiddle in a seated position, likely on a chair and with his legs apparently hanging in the air due to the chair height? So, in perspective, this instrument should approximate the size of the modern smaller double bass.
• The shape of this bass instrument follows the violin form contours, yet it is narrower. It also shows few unique characteristics. For example, the bridge is actually set above the F holes, and also above the rosetta. Otherwise, the instrument is equipped with four strings and a small endpin.
• One may obviously ask what kind of music may have been played for this event, and the obvious answer is the Hesse’s ballet-pantomime La Guinguette. Yet, a look at the data for this composition is not precise in respect of whether this is just a compilation of period dance tunes, or it is the actual Hesse’s composition. That part may require a further scrutiny.
• Otherwise the best study and explanation of this image is presented in the Emily A. Beeny notes for The Country Dance paining by St. Aubin and which also discusses Basan’s La Guinguette. There she says:

“Two of the works – Le carnaval du Parnasse and La guinguette (fig. 1) – commemorated ballets performed at the Opéra and the Théâtre Italien,”

Thus what we see above is then a commemoration of a kind, yet whether the outdoor one, or the stage set one, is to be figured out.
• A curious feature of this graphic is that we also see certain numbers on some plates depicted, namely numbers 2, 3 and 6. The number 3 resting straight above the bass player’s head. So what do these numbers indicate and how may they relate to the La Guinguette is also to be considered.

Further Research:
• It would be nice to find and peruse the Hesse’s La Guinguette score, if and where it may be preserved, and then deduce how this image may fit with the action of the music of the pantomime. Otherwise it would also be worth to investigate extant records of the Théâtre Italien in Paris and see if indeed they may have performed this composition outdoor as well?

Instrument Type:
• Smaller Double Bass

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1750

Masked Ball at Venice
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Detail
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Janneck, Franz Christoph. Masked Ball at Venice. Painting, 1750 (commonly attributed to mid 18^th century), Vienna (?), Austria (?). Located in Birmingham Museum of Art, Birmingham, AL, United States.
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Official Page – Birmingham Museum of Art
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Bibliography:
• Pucher, Christina. Franz Christoph Janneck 1703-1761, Ph.D, Diss. Graz, 1996.
• Pucher, Christina. “Notizen Zur Biographie Franz Christoph Jannecks.” Reich Mir Die Hand, Mein Leben / Red.: Roswitha Juffinger. (1996): 9-14. WoldCat Link
• Small bibliographic note on this painting is offered at E Bay and from an unknown source, likely a US newspaper – Link 1 (states year 1755) – Link 2 (image)
• Franz Christoph Janneck – Biography-Artvee.com
• Franz Christoph Janneck – Wikipedia.org
• Franz Christoph Janneck – Wikipedia.de
• Franz Christoph Janneck – Wikisource – BLKÖ

Notes:
• Presented is a music ensemble with two bassists visible at each corner of the balcony. Both instruments are depicted in detail and both instruments show a four string setup.
• The bow hold with the bassist on the right is clearly of an underhand type. Yet, although the depiction confirms the common four string Italian setup, the ascribed location of Venice may need to be proven further. Consider the following.
• According to the available biographies of Janneck this painting was most likely produced in Vienna. However, one may wonder if this painting was created from memory of an event in Venice, or is it a depiction of an actual event, whether in Vienna or Venice? Furthermore, could it be a copy of another image source that was depicting a masked ball in Venice, and if so, which one then? All these issues are important when considering the credibility of depicted instruments. In ideal circumstances, it would be nice to assume that this is an actual depiction of an event from a Carnival season in Venice of the mid 18^th century that Janneck somehow witnessed and painted while present in Venice. Yet right now there is just no evidence the he ever visited Venice to begin with.
• The title Masked Ball at Venice is taken from the painting official page at Brimingham Museum of Art, although it may have been called differently in German by Janneck.

Further Research:
• It would be nice to investigate and ascertain the location of this painting. Chances are that this painting and its provenance were already covered in the research thesis by Dr. Christina Pucher, yet since her thesis was not available to the author of this site, the provenance detail still remains unknown.

Instrument Type:
• Double Bass (Contrabbasso)

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1750

Auditus
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Detail 1 – Bassist – Zograscope view

Detail 2 – Bassist – Image print
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Detail 3 – Orchestra – Zograscope view

Detail 4 – Orchestra – Image print
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Probst, Georg Balthasar. Auditus-L’Ouie-L’Udito-Das Gehör (“Hearing” cited in Latin-French-Italian and German). Engraving, hand colored, est. 1750-1788, Augsburg, Germany.
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Official Page – The British Museum
Official Page – Library of Congress
Image Page – Wikipedia.de
Image View – Horniconography.com
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Bibliography:
• Georg Balthasar Probst (small Biography) – George Glazer Gallery, New York City – IA record
• Georg Balthasar Probst – The British Library

Notes:
• Presented is an orchestra concert at a large hall where we see an orchestra, seated audience and few casual visitors who walk around. This event is presumably taking place in Augsburg, since this is the town where the engraver has had his workshop.
• This image is dated by the British Library liberally as 1750-1780, and for the sake of this listing it is cited here as 1750.
• For the bass iconography, this is image is very interesting as it presents a bassist at the center front section of the engraving and likewise a seated performer of another smaller bass instrument close to the right of him.
• The bassist performs in the standing position while looking with a head turned toward the music stand that is placed behind him. He holds the bow with the opposite hand, and we see that he actually supports the bass endpin by his leg that stands in front of it. Likely due to the slippery floor, if this was the intention of author, unless a mistake.
• The instrument itself has five strings and (likely) as many pegs. The front plate show two “wavy” F holes and surprisingly no bridge. Otherwise, we could characterize this instrument as a slightly smaller one of a narrow violin form type. The bow is held with the overhand style.
• However, in respect to the actual purpose of this image, it is a unique colored engraving that was supposed to be looked at through the so-called Vue d’optique or Zograscope, a box type optical device that was enhancing image perspective and offering an illusion of three-dimensionality by the convex lenses at the box. A type of early 3D machine with the 18^th century technology, and which actually required the image to be rendered “in the reverse” form in order to be represented properly for the viewer. Thus the reversal of hands with bassist makes full sense, since in the proper zograscope view all looks as one would expect. Now, whether the bassist’s head twisting to the back and the leg preceding the endpin were also planned details to contribute the enhancement of the perspective is something to consider.
• On the images presented you will see the bassist as he is supposed to be seen both in the printed and the zograscope view, while it is left for the future to see if we may even present a true zograscope experience online for the authentic period enjoyment of this presentation.

Further Research:
• It would be nice to figure what possible ensemble and the hall may the engraving represent, and likewise who are these musicians depicted. Possibly the featured musicians come from Augsburg, and were affiliated with the local court or an opera ensemble, in which case the records of these institutions would be nice to peruse. Likewise, it would be nice to investigate what kind of music did they perform at the time. Lastly, it would be nice to investigate whether there is any evidence that may date more specifically this image beyond the 1750-1780 year span.

Instrument Type:
• Double Bass

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1751

Musiker
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Detail
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Anonymous. Musiker. Full title: Musiker vor einem Haus, an dessen Fenster eine Frau steht, im Hintergund ein Duell. Etching print, 1751-1775, Unknown City, Germany. Located at Herzog August Bibliothek, Wolfenbüttel, Germany, m.s. Graph. Res. C: 147.
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Title Translated:
Musicians in Front of a House with a Woman Standing at the Window and a Duel in the Background.
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Official Page – Virtuelles Kupferstichkabinett (HAB)
Image View – Virtuellese Kupferstichkabinett (HAB)
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Bibliography:
• Place for future bibliographic entries.

Notes:
• Depicted is a double bass player with a mid-sized four string instrument that has a wood endpin. There are two S-looking-like holes on the front plate, while the bridge is positioned lower then them. Both details suggest an earlier type of instrument.
• The bassist holds the bow with overhand style in a somewhat simplistic grip.
• The dating for this etching by Herzog August Bibliothek is rather liberal as it encompasses 1751 to 1775, and only offers a rough outline of the time frame.
• Otherwise, the full image presents much other action beyond the mere ensemble playing. In the upper left corner we see a sword duel by two gentlemen, while in the upper floor window we see a lonely lady pointing a hand to either the duelists, or perhaps the ensemble below. The ensemble, which may actually be larger than depicted, is visible in the lower right corner. When all these actions are put together, it seems that this image may be telling a story of which we are not aware.
• Lastly, the Kupferstichkabinett record says that the illustration is taken from a book, yet it does not say from what book or possibly what the scene may be about.
• The title is taken in full length from the Kupferstichkabinett record and translated as such. It appears that the cataloging staff has simply described the scene as they saw it, so the translation follows the same pattern.
• If interested to compare this image with the other 18^th century outdoor ensemble depictions, the following two appear to show similar settings: Anonym – Collegium Musicum Leipzig – 1727 and Anonym – Abendmusik – 1744 .

Further Research:
• It would be nice to figure out what this entire scene is about, furthermore where and form what book it has been taken out, and finally, at what location was the etching (book) printed. Otherwise, the city location and thus the music-making activity will have to be considered generally German and Classical. This is corroborated by an ensemble features that fit well the description of a common classical divertimento ensemble.

Instrument Type:
• Double Bass

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1751

Rotunda at Ranelagh – View from the Left
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Detail
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Canaletto, Antonio. The Interior of the Rotunda, Ranelagh (View from the Left). Oil Painting, 1751, London, England. Located at Compton Verney Manor, Warwickshire, United Kingdom, r.n. CVCSC:0356.S.
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Official Page – Compton Verney
Image View – Compton Verney
Official Page – ArtUk (dated 1754)
Official Image Page – Wikipedia (dated 1754)
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Bibliography:
• Giovanni Antonio Canaletto – National Gallery of Art
• Antonio Canaletto – Wikipedia.org
• Compton Verney – Wikipedia.org
• Compton Verney, Art Gallery – Wikipedia.org

Notes:
• Canaletto has created two paintings of the famous London Rotunda, a large gathering place that featured an orchestra. The first one presents the orchestra from the left and is dated by curators to 1751, while the other one presents the orchestra from the right and is dated to 1754. In this listing they are listed by the years, so you will need to switch between images for comparison purposes. The link for the other painting is Canaletto – Rotunda – 1754 .
• The Orchestra detail presented here shows an ensemble of almost the standard symphony orchestra size and with two bass figures that are easily discernible on each upper side of the ensemble. Unfortunately the style of the painting and the image augmentation may make a difficult estimation on whether they play the standard basses or perhaps the type of Violoni that stand on small podiums. However, and judging by the larger extended necks one can assume that these basses were of larger sizes in order to be presented so on this painting.

Further Research:
• Since the Rotunda was well established visitors’ venue, and because even Mozart himself performed there during his visit to London, this edifice has certainly been researched already in respect to its musical activities and the home ensemble featured here. Yet pending on how much archival material is preserved, let us hope that the ensemble musicians and their instruments names also exist in some records, as it would be nice to find out who those two gentlemen were and what exact type of bass instrument have they played.

Instrument Type:
• Given that this is England of the mid 18^th century at which time there was a number of bass instruments used, the featured instruments could be double basses or some type of English Violoni. The painting itself unfortunately offers too small a depiction of these instruments to be properly identified by looking at the painting alone.

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Interno del Teatro Regio
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Detail – Continuo Left

Detail – Continuo Right
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Graneri, Giovanni Michele. Interno del Teatro Regio (Interior of the Teatro Regio), Painting, 1752. Palazzo Madama Museo Civico d’Arte Antica, Turin, Italy, i.n. 0534/D.
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Official Page – Museo Civico d’Arte Antica – Palazzo Madama
Image View – Museo Civico d’Arte Antica – Palazzo Madama

Official Page – Arts and Culture Google
Image Page – Arts and Culture Google ( high zoom option )

Image Page – Wikimedia Commons
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Bibliography:
• Official Page – Museo Civico d’Arte Antica – Palazzo Madama (extended bibliography list)
• The Oxford Handbook of Opera. Edited by Helen M. Greenwald. Oxford University Press, 2014, p. 496 – Page Link
• King, Richard G. “Who Does What? On the Roles of the Violoncello and Double Bass in the Performance of Handel’s Recitatives.” Early Music 44 (2016): pp. 48-49. JSTOR
• Apostolo Zeno – Libreto – Second.wiki (see Scene 16 “ultima”)
• Apostolo Zeno – Libreto Title Page – Wikimedia.org
• Libreto – 1753 Print – Internet Archive
• “Lucio Papiro” Excerpts – Manuscript – RISM Record

Notes:
• This painting offers an excellent illustration on how the continuo section within the ensemble was organized in Turin’s Teatro Regio of 1752. There are two continuo sections visible, one on the left and the other on the right of the orchestra. Within each we can notice a separate keyboards, violoncello and double bass group, and also the additional continuo players both on the left (one bassoon) and the right (one bassoon and two violoncellos). There is no conductor, but it appears that the keyboard performer on the left side is leading the entire ensemble at the particular moment which this painting illustrates.
• Both double basses are depicted with four pegs, which should indicate four strings, while the bass on the right side is depicted with 3 strings. However, since the cello is also depicted with three strings, this could be due to the fact that such a detail was perhaps not so important. The number of pegs should be relevant in this case.
• According to the Pallazo Madama curators’ research, this painting presents the last scene of Lucio Pappiro Dittatore musical drama by Ignazio Balbi that was premiered at Teatro Regio on December 26, 1752.

Further Research:
• It would be nice to investigate any further records on the Ignazio Balbi’s opus and particularly the Teatro Regio extant records on employed musicians, with possibility of identifying the bassists that are featured here.
• In respect to the very composition that this painting portrays: Lucio Pappiro, the RISM database shows only the Excerpts Score located in Biblioteca del Conservatorio di Musica Santa Cecilia, Rome – RISM Record. The RISM record cites the Performance date: 26.12.1752 Torino, Teatro Regio, which matches exactly the date cited by Palazzo Madama Museo. Otherwise no record of a published full score, or the modern performance of this work has been located.

Instrument Type:
• The larger instrument of the two depicted is Double Bass.

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1753

Concerto di Notte – Preliminary Sketch I – 6504 S
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Detail
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Zocchi, Giuseppe. Allegoria della Musica (Maser, Final Version II). Watercolor, 1753, Florence, Italy, Located at Gabinetto Disegni e Stampe – Santarelli, Uffizi Museum, Italy, m.n. 6502 S, photo 565623.
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Official Page – Uffizi Museum – Search Engine

Unfortunately, the Uffizi Museum does not offer direct links to their paintings’ pages, although these do exist. To access this watercolor in Uffizi database, please copy the “Allegoria della musica 6502” and then enter it in the “Ricerca Libera” field of the search engine page at the above link. Then hit “Enter,” or click “Cerca,” and you will get the official page.
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Bibliography:
• Koeppe, Wolfram and Anna Maria Giusti. “114. Allegory of Music” Art of the Royal Court : Treasures in Pietre Dure from the Palaces of Europe. Metropolitan Museum of Art ; Yale University Press, 2008. pp. 296-297. Page Link – Google Books
• Maser, Edward A. “Drawings by Giuseppe Zocchi for Works in Florentine Mosaic.” Master Drawings, vol. 5, no. 1, 1967, pp. 47-111. JSTOR
• Giuseppe Zocchi – Wikipedia.org
• Francis Stephen I, Holy Roman Emperor and Duke of Lorraine – Wikipedia.org (husband of Empress Maria Theresa)
• Bass Heritage Board – Posted on December 18, 2012 – Post Link

Notes:
• This is the fourth and final watercolor drawings by Zocchi that was created in preparation for the pietre dure final mosaic artwork and which Maser (cited in bibliography) calls Final Version II. The Uffizi Musuem calls this watercolor Allegoria della Musica. This version shows a pictorial composition that is closest to the finished mosaic, yet it also differs from the previous three ensemble sketches.
• In this drawing we observe actually seven personas seated or standing around the harpsichord and among the instrumentalists only the harpsichord player himself. A lady standing to the right of the keyboard player appears to be singing, and may represent a singer featured in the previous sketches. There are also two other ladies that hold some sheets which may contain the music performed. At the center we see a gentleman with the rolled piece of paper in his right hand, and which is a typical representation of an ensemble director in period iconography.
• The most interesting detail is however the big bass fiddle at the very right of the image. The size of this fiddle is puzzling as one wonders how it may be judged in respect to the other persons and the keyboard instrument. If the bass instrument is depicted with emphasis on perspective, then it certainly would not be as big, since it is closer to our view. If however the proportion is equivalent to that of the other depicted people, then indeed this is a big man-sized instrument. The clues on the size of this instrument, if indeed this is the same instrument depicted in the final master painting and the final pietre dure mosaic, one may find by observing the instrument depicted in Preliminary Sketch I. There we see an instrument played in seated position while it rests on the ground and its scroll top reaches somewhat above the player’s head.
• In respect to the characteristics of instrument depicted in this record, we can not count the precise number of pegs, but it seems that this instrument may have more than four strings, possibly five of them. There are also two elongated F holes on the front plate, while the bridge is positioned below F holes. The outline of the instrument represents a “fattened” violin form.
• The very composition however differs significantly from the previous three, as now we observe this assembly in the exterior setting that reminds of a terrace facing the court yard. Here we can even see some vague outlines of the clouds on the sky. So, in respect to the chronology of events depicted in all four sketches, this one may either present a preliminary gathering before the rehearsals had started or the event after the last concert which may imply a new musical project. One way or the other, this sketch represents the composition that resembles most closely the final model painting and the finished mosaic, both of which follow in the records below.

Further Research:
• Along the thoughts on further research featured in previous sketches, in this particular sketch we can observe two seated ladies who attentively look at the music, and who may even belong to the Florence nobility and be the patrons of this ensemble.
• It should also be noted that the background colonnade in this watercolor resembles very much the period library graphic of the Pallazo Pitti library featured at Palazzo-pitti.net. That was the Florentine library of Francis Stephen I, Duke of Lorraine and Holy Roman Emperor himself. So it would make a sense that this watercolor would be rendered in his residence as a sketch for the future pietre dure mosaic to adorn his own residence in Vienna.
• A preliminary overview of all Zocchi’s watercolor sketches featured in Moser’s article, indicates that these were also inspired by period events within the interior and the exterior of the Florentine Dukal palace, known as the Pallazo Pitti. At one of them we may see the obelisk, and which still stands in front of the Pallazo Pitti. On the other sketches we can note the building architecture elements which remind of the Pallazo Pitti exterior section that faces the gardens.
• So, if the thesis on the library location representation in this watercolor is confirmed, then the future music research on this and other featured watercolors should be focused on the music ensembles of the ducal residence in Pallazo Pitti of the mid 18^th century.

Instrument Type:
• Period Italian four or five stringed Violone

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1753

Allegory of Music – Model Painting
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Detail
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Zocchi, Giuseppe. Allegory of Music. Full title: Allegory on the Arts of Music (alternative title). Final Model, Oil on Canvas Painting for Pietre Dure technique Mosaic, 1753, Florence, Italy. Located at Galleria dei Lavori, Museo dell’Opficio delle Pieter Dure, Florence, Italy, m.n. OA 1911:967.
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Full Image View – Google Books (Koeppe cit. bibliography)
Official Page – Bridgemanimages.com (detail)
Image View – Bridgemanimages.com (detail)
Official Page – Agefotostock.com (detail)
Image View – Agefotostock.com (detail)
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Bibliography:
• Opificio delle pietre dure – Wikipedia.org
• Giuseppe Zocchi – Wikipedia.org
• Francis Stephen I, Holy Roman Emperor and Duke of Lorraine – Wikipedia.org (husband of Empress Maria Theresa)
• Koeppe, Wolfram and Anna Maria Giusti. “114. Allegory of Music” Art of the Royal Court : Treasures in Pietre Dure from the Palaces of Europe. Metropolitan Museum of Art ; Yale University Press, 2008. pp. 296-297. Page Link – Google Books
• Maser, Edward A. “Drawings by Giuseppe Zocchi for Works in Florentine Mosaic.” Master Drawings, vol. 5, no. 1, 1967, pp. 47-111. JSTOR

Notes:
• This is the final master painting by Zocchi that was created in preparation for the pietre dure final mosaic artwork. This was done in order for stone cutters to have a definitive version according to which to select the stone colors and than make the mosaic pieces. This painting is now located at the Museo dell’Opficio delle Pieter Dure in Florence.
• As we can see this painting offers several new details and differs from the Final Version II sketch by Maser chronology. The arrangement of figures is very similar to the Final Version II, but now we do not see a bass fiddle resting alone, yet instead a seated bass continuo player by the side of the keyboard player. Otherwise, the exterior from the Final Version II is now much wider and includes far more of a building and architecture detail. The arrangement of the personalities depicted is also slightly different. Now we see some seven persons one of whom is the singer. The group of two ladies and gentleman in the back of composition may represent the nobles of this establishment who have the music as a reference to what is being rehearsed. The very singer is now positioned slightly away from the keyboard instrument and facing the keyboard player. There is also a depiction of lute in the up-side-down position with some lose music underneath it which is depicted at the right lower corner where the bass fiddle used stand in the previous Final Version II sketch.
• The bass fiddle depicted in this painting shows four pegs and an elongated violin form design that curiously does no present any elements of the pointed angles, but for some reason leaves an impression of the guitar shaped body. The overall impression is that the bass instrument rests on the ground and is thus the similar if not identical to the other presented in the sketches. Unfortunately since the keyboard player blocks the lower view of the instrument, we can not see the other details such as F holes and the bridge placement.

Further Research:
• A detailed analysis of this painting in respect to the final pietre dure mosaic would be a nice project to undertake in order to note if there are any major differences in the final execution of the mosaic. Otherwise, the Further Research notes of the Final Version II sketch (Record above) apply here as well.

Instrument Type:
• Period Italian four stringed Violone

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1753

Allegory of Music – Pietre Dure Mosaic
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Detail – Florence 1775 – Second Mosaic
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Zocchi, Giuseppe. Allegory of Music. First Pietre Dure Mosaic, c. 1753, Florence, Italy. Intended for Francis Stephen of Habusburg-Lorraine in Vienna. Located at Pietra Durra Zimmer (Pietra Durra Reception Hall) – The official Reception Hall of the President of Austria, Hofburg Building Complex, Vienna, Austria, i.n. N/A. (direct image not available)
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Official Page – Beyondarts.at (Pietra Dura Room)
Official Page – Bundespraesident.at (Pietra Dura Room – in German)
Image View – Bundesprasident.at (Small view – Left wall, bottom row, middle frame)
Image View – JSTOR pdf. Maser “Drawings by Giuseppe Zocchi” Master Drawings, vol. 5, no. 1, 1967, p. 51 (pdf p. 6). Figure 6. “Music” (Black and white reproduction with small detail)
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Zocchi, Giuseppe. Allegory of Music. Second Pietre Dure Mosaic, c. 1775 (est, 1770-1780), Florence, Italy. Intended for Grand Duke Peter Leopold of Tuscany. Located at Galleria dei Lavori, Museo dell’Opficio delle Pietre Dure, Florence, Italy, i.n. OA 1911:1530. (Image detail featured above)
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Official Page – Mesisterdrucke.uk (commercial)
Image View – Mesiterdrucke.uk
Image View – Google Books (Koepe, Art of the Royal Court, 2008, p. 293)
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Bibliography:
• Koeppe, Wolfram and Anna Maria Giusti. “112. Allegory of Music” Art of the Royal Court : Treasures in Pietre Dure from the Palaces of Europe. Metropolitan Museum of Art ; Yale University Press, 2008. pp. 293-294. Page Link – Google Books
• Maser, Edward A. “Drawings by Giuseppe Zocchi for Works in Florentine Mosaic.” Master Drawings, vol. 5, no. 1, 1967, pp. 47-111. JSTOR
• Arts Council UK, RCEWA (unknown pdf document), p. 13, Fig. 15 (Florence pietre dure mosaic picture) – Arts Council UK Pdf
• Francis Stephen I, Holy Roman Emperor and Duke of Lorraine – Wikipedia.org (husband of Empress Maria Theresa)
• Leopold II, Holy Roman Emperor, Grand Duke of Tuscany 1765-1790 – Wikipedia.org

Notes:
• This is the final pietre dure mosaic by Zocchi that was created on a basis of the final model painting featured in the previous record. The appearance of the composition is basically identical with the difference that the colors may differ slightly and due to the particularities of the stones used.
• As you may see from the mosaic location records above, there are two version of this pietre dure mosaic. The first was created about 1753 for the Vienna residence of Francis Stephen I, Duke of Loraine. This copy has remained in Vienna ever since and now adorns the official reception room of the Austrian President at the Vienna Hofburg Complex, a complex that has served as a Habsburg Imperial residence also at the time of Francis Stephen I and the Empress Maria Theresa.
• The second pietre dure mosaic was finished some twenty years later. It is dated ca. 1770-1780, but generally considered from 1775, and made to order of Grand Duke Peter Leopold of Tuscany who was to become a future Emperor Leopold II of Holy Roman Empire and who was a son of Francis Stephen I and a brother and successor of Joseph II a patron of Mozart. This copy has remained in Florence and is now part of the Museo dell’Opficio delle Pietre Dure collection, which is essentially a museum of the Florentine pietre dure manufacture.
• The available online images of these two copies are not of such a quality that would allow a direct comparison but it appears that they are very similar if not identical, since they were produced by the same manufacture and from the same master painting model.
• The bass instrument in these mosaics resembles closely the one presented in the model painting, thus again, we can see an instrument that rests on the floor and has the scroll box at level of the performer’s head top.

Further Research:
• Everything stated in the Further Research sections of the watercolor sketches and the Model Painting, pertains for this mosaic record as well. Also considering that this mosaic was a commission by the Austrian monarchs, it would be of interest to explore the idea if perhaps any of the sketch drawings may had to do anything with the Royal Habsburg family in any possible way, whether as illustrations of a concerts or rehearsals dedicated to them, or under their direct patronage while they were present in Florence?
• The records of Habsburg family affiliation with their Florence estate may now be stored either in Vienna or the Florentine archives. So the details of Florentine music activities may likely be found among these records, possibly as Habsburg music ensemble expenditure records for their estates in Florence.

Instrument Type:
• Period Italian four stringed Violone

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1754

Rotunda at Ranelagh – View from the Right
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Detail
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Canaletto, Antonio. London: Interior of the Rotunda at Ranelagh (View from the Right). Oil Painting, 1754, London, England. Located at The National Gallery, London, United Kingdom.
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Official Page – The National Gallery
Official Page – Wikipedia.org
Official Image Page – Wikimedia.org 1
Official Image Page – Wikimedia.org 2
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Notes:
• Canaletto has created two paintings of the famous London Rotunda at the Ranelagh Gardens in Chelsea, which was a large gathering place with an orchestra. This is the second one from 1754 that presents the orchestra from the right side, while the first one from 1751 shows the orchestra from the left side. In this listing both paintings are separately listed by the year, so you will need to switch between images for comparison. The link for the other painting is Canaletto – Rotunda – 1751 .
• The Orchestra detail presented here shows an ensemble of almost the standard symphony orchestra size and with two bass figures that are easily discernible on each side of the upper section of the ensemble. Unfortunately the style of the painting and the image augmentation may make a difficult estimation on whether they play the standard basses, or perhaps the type of Violoni that stand on small podiums. The same case stands with the 1751 painting although here the augmentation is slightly better.
• However, and judging by the neck length of the instrument on the right, which extends well above the player’s head, one can assume that it had to be a larger instrument in order to be presented so on this painting.

Further Research:
• Since the Rotunda was well established visitors’ venue, and because even Mozart himself performed there during his visit to London, this edifice has certainly been researched already in respect to its musical activities and the home ensemble featured here. Yet pending on how much archival material is preserved, let us hope that the ensemble musicians and their instruments names also exists in some records, as it would be nice to find out who those two gentlemen were and what exact type of bass instrument have they played.

Instrument Type:
• Considering that in England of the mid 18^th century a number of bass instruments were used, the featured instruments were likely the types of English Violoni, even if they were called Double Basses, because it was a custom in England to call the pre-standardized string basses as Double Basses.

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1754

Maskentreiben
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Detail – Orchestra Left

Detail – Orchestra Right
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Rousseau, Jakob Franz. Maskentreiben im Hoftheater zu Bonn unter Kurfürst Clemens August von Köln im Jahre 1754 (Masked Ball in the Bonn Court Theatre under Elector Clemens August of Cologne in 1754). Painting, 1754, Bonn, Germany. Located in Schloss Augustusburg, Brühl, Germany.
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Image Page – Akg-Images
Image View – Kunst-fuer-alle.de
Image View – Wikimedia.org
Image View – Palamusto.eu (Fig. 5)
Painting Site – Kulturelles-Erbe-Koeln.de (offers the painting details)

Painting Copy – Beethoven Haus Bonn
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Bibliography:
• Felgner, Carsten. “Die ‘Bönnschen Ballstücke’ Des Kurkölnischen Hofmalers Rousseau und das Hoftheater der Bonner Residenz.” Wallraf-Richartz-Jahrbuch, vol. 60, 1999, pp. 197-230. JSTOR
• Benert, Sara. “Carnival in the Early 18^th Century.” Palamusto.eu, Blog, February 23, 2022. Blog Post Link (Fig. 5)

Notes:
• Two orchestra groups are featured on the painting, one on the lower left and the other on the lower right. Each ensemble consists of some eight to ten musicians. Within each group one may discern the bass instrument players, yet at the offered image resolution it is difficult to distinguish if these bass instruments are performed on the small podiums (implying mid-sized violoni), or on the ground, which would then imply Kontrabasses – double basses.
• In respect to music period classification, this image represents the Early Classical / Rococo period in Northwest Germany and thus likely not all of the stringed bass instruments may have yet been clearly differentiated into Violoncellos and Double Basses. There is a good chance that some of the depicted basses were actually mid sized Violoni that we witness in the representations of Walther / Dehne – Bach Cantata – 1732 or Anonym – Kuhnau’s Orchestra – 1710 .
• Furthermore, of interest should be that Beethoven’s grandfather is apparently also among of the musicians. Moreover, on the balustrade one can even see Giacomo Casanova himself. Source Wikimedia
• More on Elektor Clemens Augusts and Louis van Beethoven (the grandfather) at Caeyers, Jan. Beethoven: A Life. Oakland, California: University of California Press, 2020, p. 4 Book Text Link
• Lastly, it seems that that this magnificent hall has unfortunately burned down at the same time the Elector’s castle has in 1777. Source Kurfürstliches Schloss Bonn – Wikiwand

Further Research:
• Once the better scan of this painting is available, the ensembles could show more detail and then one could hope to discover more pertinent information from these images as well. In addition, it would be of value to investigate any preserved records on the music practice and orchestras at the time of Elector Clemens August of Cologne and then relate the relevant data to the presented images.

Instrument Type:
• Most likely German Violoni that may have been played on small podiums. The one featured on the right side of Detail – Orchestra Right image, appears larger and may actually be double bass.

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1754

Maskenball
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Detail
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Nilson, Johannes Esaias. Dance of Death. Drawing, print study, 1752-1760, Augsburg (possibly), Germany. Located at The British Museum, London, United Kingdom, m.n. 1998,0711.3
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Official Page – The British Museum
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Bibliography:
• Johann Esaias Nilson – The British Museum
• Johann Esaias Nilson – The National Gallery of Art (features all of his works at NGA)
• Johannes Esaias Nilson – Wikipedia.de
• Johann Jacob Haid – Wikipedia.org

Notes:
• What a surprise, a completely different theme, medium and the style – and yet – the same author, or at least one of them according to The British Museum.
• The British Museum page has a very nice description of this image and along the story about how it may have originated, so please check the above link.
• Depicted are four “Divertimento Musicians” playing the double bass, two violins and a horn. The fifth one is kneeling, holding a type of a fiddle and grabbing another “fellow” for what appears to be some type of roast meat.
• The bass is a large upright instrument of an elongated viol shaped body with a perversely twisted backward facing scroll, and perhaps drawn so intentionally to emphasize the surreal and macabre style of this drawing.
• Also, if this image is by chance by Johann Jakob Haid, it would be of interest to research his opus as well.
• Lastly, the dating of this image may quite likely differ from the dates associated with the previous Nilson’s etchings that obviously belong to a different style. The Nilson engravings featured at the National Gallery of Art portal are all dated approximately 1755 to 1760. Yet for this listing the drawing is cited under 1755, in order to group all the entries by Nilson together. The British Library offers the dates range of 1700 to 1750, although since Nilson was born in 1721 it is obvious that he could not have drawn this image any earlier than 1721. If by chance this drawing is by Johann Jacob Haid, then since he was born in 1704, this image should be dated at the earliest some 15-20 years after the author is born.

Further Research:
• Whether this image was created by Johann Esaias Nilson or Johann Jacob Haid it would be of interest to investigate it further and possibly find out which one of these two artists may have covered the macabre subjects and to what extent.

Instrument Type:
• An older type of instrument, likely a larger Violone

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1755

Musical Gathering
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Detail
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Vertue, James. Musical Gathering. Official title: Harpsichord fin du 18me Siècle. Pen and wash drawing, ca. 1755, London, England. Located at Foundling Museum, London, United Kingdom, a.n. 7041.
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Official Record Page – Foundling Museum 1
Official Record Page – Foundling Museum 2 (image not available)
Official Record Page – Foundling Museum 3 (image not available)

Official Page – Foundling Museum
Image View – Foundling Museum
Image View – Museumcrush.org
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Bibliography:
• James Vertue – The British Museum (limited information, a brother of famous George Vertue)

Notes:
• Presented is a group of English musicians in a concert (or a rehearsal) drawn by James Vertues of Bath, a brother of famous Georg Vertue. The dating is taken from the Foundling Museum record and the location assumed as London given the artwork’s present location at the Foundling Museum. Otherwise, not much other data is affiliated with this unique drawing.
• In respect to bass iconography we see a bass player as performing from his own music stand and standing away from the continuo harpsichord & violoncello group. His instrument shows four pegs yet some six strings, which is puzzling. Possibly the instrument may have had the six strings and in which case it was probably a type of period English Violone or a Double Bass, pending on how they called it at the time.

Further Research:
• Although the initial search did not find much on the James Verture it is possible that more information on him may be preserved in Bath, England. These records than may reveal more on possible affiliation of James Verture with local music circles or possibly uncover to the other relevant sources in London.

Instrument Type:
• English 4 or 6 stringed Double Bass

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1755

Causa Nostrae Laetitiae
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Detail
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Zapata, Marcos. Causa Nostrae Laetitiae (The Cause of Our Joy). Oil Painting on Canvas, 1755, Cathedral of Cusco, Cusco, Peru.
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Official Page – Colonialart.com
Image View – Colonialart.com 1
Image View – Colonialart.com 2
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Bibliography:
• Marcos Zapata – Wikipedia.org
• Cathedral of Cusco – Wikipedia.org

Notes:
• Presented is a music ensemble with bass instrumentalist who stands to the right of the keyboard player and reads the music from his score. The instrument appears to reach above the player’s head wile it rests on the ground.
• So, in general, it appears that this instrument approximates the modern double bass in its proportions while it also shows some differences. For example, the neck is rather long and thin. Also, the bridge setup is way below the F holes and the tailpiece shows an unusually wide triangular design? In respect to the outline form of this instrument, it appears to be a type of violin from.
• In respect to stringing, the painting detail unfortunately does not allow a precise string count, yet what is interesting is that the scroll box shows (although again, not in so great detail) possibly some five or six pegs.
• This entire paining composition reminds a lot of the Scheffler’s (Engelbrecht) Causa Nostrae Laetitiae engraving from 1732, and it was likely influenced by it. About the year 1740 Loreto Joassar has already produced similar painting for the Convent of San Francisco, Slavador Brazil, and this would be his second painting that is likely influenced by Scheffler’s engraving.
• For a direct comparison please see the source engraving at Scheffler – Causa Nostrae Laetitiae – 1732 and the follow up copy at Loreto Joassar – Causa Nostrae Laetitiae – 1740 .

Further Research:
• As with Loreto Joassar’s Causa it would be of interest to explore if there are any documents that pertain to musical activities at the Cathedral of Cusco and particularly since this edifice has a long history, as its construction has started in 1560 and has lasted till 1654. Thus if its music has resembled in any way that of the European cathedrals, some bass fiddles should have been on the premises even back in the 16^th or 17^th centuries. The further scrutiny of the extant musical and administrative sources on the music at Cusco Cathedral could indeed bring out interesting bass related data. Otherwise, it would be nice to assume that there was a bass instrumentalist affiliated with the cathedral during the middle of the 18^th century, when this lovely composition was produced.

Instrument Type:
• Period Violone used in Peru at the time when painting was made.

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1756

Causa Nostrae Laetitiae
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Image here

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Anaya, Francisco Antonio de. Causa Nostrae Laetitiae (The Cause of Our Joy). Wood carving, Panel for the choir stalls of the Real e Insigne Colegiata de Nuestra Señora de Guadalupe, 1756, Mexico City, Mexico. Located at Museo de la Basílica de Nuestra Señora de Guadalupe, Mexico City, Mexico.
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Official Page – Colonialart.org
Image View – Colonialart.org 1
Image View – Colonialart.org 2
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Bibliography:
• Basilica of Our Lady of Guadalupe – Wikipedia.org
• Museo de la Basílica de de Guadalupe – Virgendeguadalupe.org.mx (no section on exhibits)
• Castro, Guadalupe Ramos de. “El maestro escultor Francisco Antonio de Anaya, México, activo de 1740-1758” (Master sculptor Francisco Antonio de Anaya, Mexico, active 1740-1758). Boletín del Seminario de Estudios de Arte y Arqueología: BSAA. Vol. 67, 2001, pp. 265-281. Download Page – Download Link

Notes:
• This wood carving presents an ensemble view that is almost identical to the one featured by the Zapata’s Causa at the record above. We see again the bass instrumentalist to the right of the keyboard player and performing on the large bass fiddle in standing position.
• The bass instrument itself rests on the ground and shows (again) a rather long neck with slanted and curved peg box, which should be the characteristics of the older 16^th and 17^th century instruments. There is a good chance that this image was also inspired by Scheffler – Causa Nostrae Laetitiae – 1732 , although by chance the notes in the Castro article (cit. bibliography) do not mention Schefler as the source, but cite the Letanias de Virgines by Francisco Xavier Dornn as the source of inspiration. These Letanias have been checked on the net, but it appears that they do not contain any images similar to the one depicted. Thus it is likely that Scheffler engraving may have influenced this wood carving as well as the third such image in Latin America.
• In respect to bass organology this instrument does not show the F holes on the front plate but it appears that there may be something resembling the bass bridge just above the small triangular tailpiece at the bottom of the instrument. So, one may wonder again if this unique shape of a tailpiece is an actual characteristic of an instrument used locally, or simply an artistic liberty. Either way, the triangular tailpiece reminds more of the exaggerated triangular tailpiece in Zapata’s Causa (record above) than in the original Schaeffer’s Causa.
• For a direct comparison please see the source engraving at Scheffler – Causa Nostrae Laetitiae – 1732 and the follow-up artworks of Loreto Joassar – Causa Nostrae Laetitiae – 1740 and Zapata – Causa Nostrae Laetitiae – 1755 .

Further Research:
• As with Loreto Joassar’s Causa and Zapata’s Causa it would be of interest to explore any extant period documents that pertain to musical activities at the Basilica of Our Lady of Guadalupe. This basilica has opened its doors in 1709, and given its size and prominence, it may have supported an adequate music ensemble with a bass instrumentalist as well.

Instrument Type:
• A period Violone used in Mexico when the woodcut was made.

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1758

St. Cecilia and Angel
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Detail
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Detail 1 – Balcony Left (with Young Mozart)

Detail 2 – Balcony Right
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Meytens, Martin van. Hoftafel im Redoutensaal (Court Table in Redoutensaal). Painting, 1763, Vienna, Austria. Located at Beletage, Ceremonial Hall, Schönbrunn Palace, Vienna, Austria, i.n. MD 040077.
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Official Page – Emuseum.schoenbrunn-group.com
Official Page – Habsburger.net
Image View – Habsburger.net (for enlargement option click below image)
Image View – Habsburger.net
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Bibliography:
• Emperor Joseph II – Wikipedia.org
• Princess Isabella of Bourbon-Parma – Wikipedia.org
• Martin van Meytens – Wikipedia.org

Notes:
• This is the second painting which commemorates the wedding ceremonies between Archduke Joseph (later Emperor Joseph II) and Isabella von Bourbon-Parma in October of 1760. This event is taking place in Redoutensaal and is likely occurring during the night, given that there are no longer sun rays coming through the windows and that all the candles are lit. As with the previous painting, this one was also apparently finished in 1763, and again some three years after the event.
• There are two details of interest in this painting. At the Detail 1 we see a continuo section presented, but this time at the balcony level. Starting from the left we see two double bassists, violoncellist, bassoonist, flutist and apparently young Wolfgang Amadeus Mozart himself (!) The Detail 2 is also of interest as it shows a reclining bass fiddle that appears sufficiently large to possibly represent a double bass. On this instrument we can also note an interesting and still common feature where the bridge is positioned lower than the F holes.
• Of interest to the bass iconography are certainly the two bass players in Detail 1. One them appears to play the Viennese Five Stringed bass, as corroborated by the five pegs on the instrument. The outline of this instrument is not so well visible, but it should resemble the instrument featured in the previous painting.
• Now, what about young Mozart? Was he really present at the wedding and at the lodge together with the continuo group and within the few feet of a working bassists? This information has come from Laura Savani blog post La musica alla corte di Maria Antonietta (Music at the Court of Marie Anotinette) from March 6, 2016 – Post Link . She offers the same image as featured on the Detail 1 above and states that the little gentleman is a young Mozart. Unfortunately no additional information is offered on the source of such a claim.

However, the next Viennese Meytens painting – Meytens – Konzert im Redoutensaal – 1763 have actually caught the attention of musicologist as here in fact the young Mozart is depicted as seated by his father Leopold in the audience. The evidence however shows that young Mozart could not have attended the wedding since he arrived in Vienna later in 1762, while the wedding took place on October of 1760. Thus and likely, if indeed it is young Mozart, both paintings have included his likeness in the paintings after the fact. This was probably done because young Mozart have become so famous already in 1762 that it was suggested, or thought desirable that Meytens includes him in the commemorative wedding paintings even though he was not able to attend them at the time.

Further Research:
• Given the significance of the wedding it would be of interest to find out what music may have been performed at this official supper, and to look for information on who were the musicians assigned to this event. If this information is located then we may also hope to find out the names of the bassists depicted.

Instrument Type:
• Classical Viennese Five Stringed Double Bass

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1763

Konzert im Redoutensaal
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Detail 1 – Musicians

Detail 2 – Young Mozart
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Meytens, Martin van. Konzert im Redoutensaal or Serenade in Grossen Redoutensaal (Concert in Redoutensaal, also known as Serenade in the Great Redouetnsaal). Painting, 1763, Vienna, Austria. Located at Beletage, Ceremonial Hall, Schönbrunn Palace, Vienna, Austria, i.n. MD 040080.
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Official Page – Emuseum.schoenbrunn-group.com
Official Page – Habsburger.net
Image View – Habsburger.net (for enlargement option click below image)
Official Page – Wikipedia.org
Image View – Wikipedia.org 1 (brighter colors)
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Bibliography:
• Emperor Joseph II – Wikipedia.org
• Princess Isabella of Bourbon-Parma – Wikipedia.org
• Martin van Meytens – Wikipedia.org

Notes:
• This is the third painting that commemorates the wedding ceremonies between Archduke Joseph (later Emperor Joseph II) and Isabella von Bourbon-Parma in October of 1760. This concert is taking place in Redoutensaal and is likely occurring after the dinner ceremonies presented in the previous two paintings. Likewise, this paintings is also finished in 1763, and again some three years after the event.
• There are two details of interest in this painting. The Detail 1 one presents the section of the orchestra with the bass fiddle and the Detail 2 possibly young Mozart in attendance.
• In respect to Detail 1, unlike the images of bassists from the previous Meytens’ paintings, here it may not be so obvious that it is a double bass. However, in support of it, we can see a neck that is sticking out from the edge of the orchestra pit while the scroll section extends above the player’s head. This instrument however is not depicted with five strings, as was common for the Viennese basses at the period. Yet again, that may just be a minor omission by the artists and given the small detail depicted. Could this also be a violoncellist? Please be welcome to make your own decision on this point.
• In respect to Detail 2, this indeed is supposed to be young Wolfgang Amadeus Mozart in attendance of the event. The question however is, whether he really was present at the concert? Here is what the official VisitingVienna.com has to say:

VisitingVienna.com/Schoenbrun/mozart-painting/ (full citation – middle of the page)

“Look closely and you’ll find a young boy pictured among the guests…none other than the child prodigy, Wolfgang Amadeus Mozart!

Or so (allegedly) the painter would have you believe.

Except it can’t be Mozart.

At the time of the wedding, which took place a couple of years before van Meytens completed the paintings, the young Mozart was still a relatively-unknown four-year-old boy living in Salzburg.

By the time the paintings neared completion, Mozart had achieved considerable fame in Vienna and at court. So much so that historians suspect it was deemed necessary to include him in the audience”

• Here is another detail from the official ConcertVienna.com page that corroborates on Mozart’s first arrival in Vienna in 1762 (cited as it stands on the page):

Concert-vienna.com/blogs/viennese-things/mozart-s-life-in-vienna

“Mozart’s early years

Johannes Chrysostomus Wolfgangus Theophilus Mozart was born on January 27th, 1756 in Salzburg, Austria and by the age of five, he’d already written his first composition. When visiting Vienna in 1762, the Mozart children performed at the Hall of Mirrors within The Schönbrunn Palace in front of Maria Theresia. After the concert, little Mozart jumped straight onto the monarch’s lap to hug and kiss her. Such shocking behavior made the child prodigy become the talk of the town instantly.”

Detail
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Greipel, Johann Franz. Die Aufführung von Il Parnaso confuso im Zeremoniensaal (Schlachtensaal) von Schloß Schönbrunn anlässlich der Hochzeit von Joseph II. mit Maria Josepha von Bayern am 24. Jänner 1765. Painting, 1765, Vienna, Austria. Located at Presidential Chancellery of the Hofburg, on loan from the Kunsthistorisches Museum in Vienna, Austria.

Title Translated:
The Performance of Il Parnaso Confuso (by J.W. Gluck) in the Ceremonial Hall (Battle Hall) of Schönbrunn Palace on the Occasion of the Marriage of Joseph II to Maria Josepha of Bavaria on January 24, 1765.
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Official Page – The World of Habsburgs

Image Page – Wikipedia
Image View – 4.bp.blogspot
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Bibliography:
• Il Parnaso Confuso – Wikipedia.de
• Il Parnaso Confuso – Wikipedia.org
• Kubik, Reinhold. “Ein Vorläufer von Robert Musils „Parallelaktion“? Die Tradition der österreichischen Nulllösung” (concert notes for Il Parnaso performances at Schloss Schönbrunn, Vienna on 2nd and 4th July 2011). Download Link
• Hilscher, Elisabeth und Mader-Kratky, Anna: Die gespiegelte Inszenierung? Repräsentation und Hierarchie im Theaterparterre am Wiener Kaiserhof in mariatheresianischer Zeit, in: Scharrer, Margret, Laß, Heiko und Müller, Matthias (Hrsg.): Musiktheater im höfischen Raum des frühneuzeitlichen Europa: Hof – Oper – Architektur , Heidelberg: Heidelberg University Publishing, 2020 (Höfische Kultur interdisziplinär (HKI) – Schriften und Materialien des Rudolstädter Arbeitskreises zur Residenzkultur, Band 1), pp. 486–487. abb. 10. Download Page [ click “Kapitel Download” ]

Notes:
• A unique aspect of this painting in regard to performance practice is that it is one of the rare depictions of the actual Austrian imperial Habsburg family members in performance, since all four singers are archduchesses, while the ensemble is directed from harpsichord by no one else but the Future Austrian Emperor Leopold II. The very performance was organized for the occasion of marriage between Archduke Joseph II (future emperor Joseph II) and Maria Josepha von Bayern. The painting apparently presents the performance that took place on January 24, 1765, in Salon des Batailles of the Schönbrunn Palace. Seated in the audience are Emperor Franz I Stephan of Lorraine, Empress Maria Theresa and Crown Prince Joseph.
• In respect to the very music composition, it is commonly characterized as opera, while more specifically also as an Azione Teatrale , a one act play with music, commonly performed in private chambers and usually written on historical or mythological subjects. So in that respect we may perceive this performance as a private royal wedding celebration. In respect to the J.W. Gluck as a composer, it can be assumed that he was under some pressure to produce this work in such a way to suite well the abilities of noble interpreters both on stage and in the ensemble. Yet apparently all has gone quite well, and after the event Gluck has received from Empress Maria Theresia a commission for yet another similar composition titled La Corona .
• It is interesting to contemplate if the very maestro Gluck is also depicted as one of the audience members, since it was expected for him to attend the performance as well? This little detail has not been found as discussed in the above featured bibliography but it would be logical to expect that he was nearby, to assist if needed.
• In respect to bass iconography on the left side of the orchestra section we see a bass player with his large instrument. The bass shows four pegs which is not a typical characteristic of the Viennese Basses for that period, and which may imply that either it is a normally tuned four stringer, or perhaps that the painter did not consider five pegs and five strings as such an important detail. Otherwise, the fingerboard does appear somewhat wider in respect to four stringers so it may have been a five stringer, should we focus on this detail alone.

Further Research:
• One of the manuscripts of this music composition is preserved now in the Austrian National Library. This source is mentioned in Hilscher, Elisabeth und Mader-Kratky, Anna article, p. 486, Note. 93 mentioned above – Record Link at ANL . As a future project, it would be of value to check how are the continuo group instruments noted in this score, and whether they correspond to those depicted in the painting.

Instrument Type:
• Double Bass or Viennese Double Bass (at that time still called Violone in Austria)

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1765

Acis and Galatea
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Detail
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Teasdale, J. Acis and Galatea. Etching Print – Admission ticket, 1765, (London, England). Located at The British Museum, London, England, reg. no. 1897,1231.435.
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Official Page – British Museum (includes image)
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Bibliography:
• Acis and Galatea – Wikipedia.org

Notes:
• Although the British Museum calls this instrument a double bass, the outline of this instrument suggest more a six stringed Violone, likely the one in G tuning. This instrument also shows a slanted and curved peg box that is a characteristic of much older instruments which can date to 17^th century.
• The British Museum dates this image to March 6, 1765 as indicated on the ticket image. However, it also states in the production field ca. 1781. No source is given on why now the 1781 is mentioned.
• Acis and Galatea is one of the more popular Handel’s works that was apparently performed often during his life time and later in the 18^th century (source Acis and Galatea – Wikipedia). So the image featured, or the source that inspired it, may predate the year 1765.

Further Research:
• The question of whether the G Violone may have been used even in the 1765 productions, or was this purely a copycat image from an earlier production from few decades ago, is yet to be addressed.

Instrument Type:
• Period Violone, which in some instances was called Double Bass in England

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1767

A Concert
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Hume, Abraham. A Concert. Engraving Print, 1767 (1770), Cambridge, England. Print copies located at several locations.
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Official Record Page – Foundling Museum 1
Official Record Page – Foundling Museum 2 (image not available)
Official Record Page – Foundling Museum 3 (image not available)

Official Page – King’s Treasures – Special Collections King’s College, Cambridge (full description)
Image View – King’s Treasures – Special Collection King’s College, Cambridge
Official Page – The British Museum – Print 1
Official Page – The British Museum – Print 2
Official Page – The Morgan Library and Museum (image missing, nice bibliography)
Official Page – Oberlin College Library
Image View – Oberlin College Library
Official Page – Yale University Library

Official Page – Metropolitan Museum (image on Chinese ceramic bowl from ca. 1760 ?)
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Bibliography:
• Hogwood, C. “A note on the frontispiece: A concert in Cambridge” in Hogwood, C. & Luckett, R. (eds.), Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth. Cambridge: Cambridge University Press, 1983, pp. 15-18. Google Books Preview
• Bass Heritage Board – Posted on February 22, 2014 – Post Link

Notes:
• This unique engraving print exists in several copies within the cited libraries above, however the Official Page by Special Collections, King’s College Library, Cambridge, offers the most valuable information. There you will find the details on the musical background of this image and even the names of the individual musicians. It was written by Cambridge Librarian Gareth Burgess.
• The concert depicted took place in the hall of Christ’s College (Cambridge) on 8 June 1767, and the bass instrumentalist whom we see in the middle of the image from the profile, should be John Wynne, a music seller at Cambridge who “kept a music shop near the Senate House, ‘at the sign of the Harp and Hautboy’.”
• The dating of this engraving was set to 1767 although The British Museum and some other institutions estimate it to about 1770. For this listing it was assumed that a period of some three years after the event, are unnecessary long to produce this engraving, thus 1767 was selected.
• It was also revealing to discover that a punch bowl that features this image was also made in China (?) as this artifact now resides in the Metropolitan Museum in New York City. The dating for this bowl by the Met Museum is estimated to ca. 1760, which certainly could not have been prior to the event occurring in 1767. Yet, if even from 1768, the big question is how did this image come to a punch bowl production manufacture in China so quickly after, and who may have facilitated the making of it. So it appears that there may be an interesting story behind this bowl’s origin to discover.
• In respect to bass iconography, this bass instrument features three visible pegs, which may indicate five or six stringed instrument. In that respect, this instrument may have been a type of period English Violone.

Further Research:
• Since we already know that the bass instrumentalists in this engraving was John Wynne it would be of interest to find out if any other documents that pertain to his Cambridge shop and music activities may have been preserved. As mentioned it would be of value to determine the exact type and period name of the instrument that was used too. In respect to the very engraving, it was made by Abraham Hume, but the drawing that served as a basis for the engraving was made by Thomas Orde. So it would be of interest to find out if this original drawing was perhaps preserved as well?

Instrument Type:
• A type of larger stringed bass instrument with more than four strings, possibly a period English Violone. This instrument was most likely smaller than the standard double bass of today.

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1767

Inauguration
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Bass Fiddler – Detail
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Mayr, Christoph Anton. Inauguration. Full title in German: Einweihung der Heilige Kreuzkirche bei Pill, Full title in English: Inauguration of the Holy Cross Church in Pills. Fresco, Interior location above the church entrance, 1767, Holy Cross Church, Pills, Austria.
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Official Page – Tibs.at (full procession)
Image View – Tibs.at (full procession)
Official Page – Tibs.at (wider view)
Image View – Tibs.at (wider view)
Official Page – Baroqueart.museumwnf.org
Image View – Baroqueart.museumwnf.org
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Bibliography:
• Kreuzkirchl – Wikipedia.de
• Pill – Wikipedia.de

Notes:
• An image of this bassist with his bass fiddle comes from the fresco depicting the Inauguration of the Holy Cross Church in Pill, Austria. The bass fiddler is a part of the small ensemble consisting of a bassist, two wind players and two horn players. They are presented as only a small part of the rather large inauguration procession for the church inauguration celebration that occurred probably in 1766, while the very fresco was probably finished sometime in 1767.
• In respect to bass iconography this is a very interesting specimen of a bass fiddle that was likely titled only as Violone at this time in Austria. Featured is a smaller double-bass-like instrument that is played in standing position and whose overall height extends above the player’s head. The instrument features four pegs and some four strings. The body of the instrument appears narrower than the common smaller double basses while the outline is relatively unique with the elements of both violin and gamba designs. The sound holes can not be precisely described but they are located on the lower part of the bouts, which may indicate an earlier type of instrument. The bridge is located on the lower edges of the sound holes. Lastly, the instrument has a large endpin on which it rests.
• An interesting element to note is that the number of strings which lead from the bridge to the tailpiece is actually five, so this instrument may have had more than four strings that we see depicted in the section that extends from the scroll to the bridge.
• In general, this instrument fits into a category of instruments that do not follow the traditional Violone period forms but rather seem to follow the local building customs or may represent the older forms that have somehow survived into the 18^th century. Examples of these instruments can be noted at Scholze (Sperontes) – Kontrabassitin – 1736 or perhps Majer – Lady with Violone – 1741 .

Further Research:
• It would be of interest to find out if 18^th century church records may cover the period music activities of Heilige Kreuzkirche bei Pill, and with hope to find out if any bass fiddles are mentioned there. This church was designed and dedicated as pilgrim church, so perhaps pilgrims and other visitors may have left the notes on its music as well?

Instrument Type:
• Local variant of Violone in Austria

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1767

Masqued Ball
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Paret y Alcázar – Painting – 1767 – Detail

Paret y Alcázar – Drawing – 1767 – Detail
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Slavador Carmona – Drawing – 1778 – Detail
(based on Paret y Alcázar – 1767)
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Paret y Alcázar, Louis. Masqued Ball. Original title in Spanish: Baile en Mascara. Painting, 1767, Madrid, Spain. Located at Prado Museum, Madrid, Spain, i.n. P002875.

Official Page – Prado Museum
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Paret y Alcázar, Louis. Masqued Ball. Original title in Spanish: Bayle en Mascara. Drawing, 1767, Madrid, Spain. Located at The British Museum, London, England, m.n. 1890,1209.50.

Official Page – The British Museum
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Salvador Carmona, Juan Antonio. Masqued Ball. Original title in Spanish: Bayle en Mascara. Drawing, 1778, Madrid, Spain. Located at Prado Museum, Madrid, Spain, i.n. G000009.

Official Page – Prado Museum
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Bibliography:
• Luis Paret y Alcázar – Wikipedia.org

Notes:
• Presented is one of the first masqued balls allowed to take place in Madrid, Spain, starting with an initiative of Count of Aranda in 1767. Prior to that time they were apparently not allowed. The event took place in Prince’s Theatre and was repeated several more times.
• The painting that presents this event was made by young Louis Paret y Alcázar who was only twenty years of age at that time, and is now stored in Prado Museum. The paining was preceded by the sketch drawing by Paret y Alcázar that is preserved now in The British Museum. Some eleven years later, another artist Salvador Carmona has made yet another engraving based on the original painting by Paret y Alcázar. Thus, all three of them are presented here with image detail features.
• Otherwise, the Prado Museum and The British Museum pages offer excellent commentaries on the masqued balls practice, as well as the political and cultural connotations of reviving and allowing such events at the time. We perceive these balls today as a type of period entertainment event, yet for the contemporaries they were viewed more as liberating, respectively progressive events that were bringing out some elements of cultural liberation. So in that light this masqued ball, as the first in Spain after some time, bears an extra significance.
• In respect to bass iconography we see a single bass instrumentalist in all three presentations. The instrument contours appear well visible above the balustrade and which may point to a smaller instrument that rests on a podium. The other option and given the sketchy and imprecise nature of both the painting and the drawing, this may actually be a larger double bass sized instrument. In the original Paret y Alcázar drawing (the British Museum) one may also note a slight slant on the peg box, which may indicate an older type of an instrument.

Further Research:
• It would be nice to investigate further all the preserved documentation on the likely ensemble which has performed for this masqued ball at Prince’s Theatre, as then we may see what was the bass instrument called and possibly who were the bass instrumentalists depicted. It would also be of interest to investigate, what kind of music was performed at the event. Given the uniqueness and interest in this celebration, chances are that some written references in respect to the music and performers may have been preserved.

Instrument Type:
• Period Spanish Double Bass, or a period Spanish Violone, or some other bass instrument that is yet to be identified.

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1768

Hofballet
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Detail
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Bradt, Johannes Gottfred. Hofballet. Full title: Hofballet i Christiansborgs Riddersal ved Christian VII’s Bryllup med Caroline Mathilde (1766) Translated: The Court Ball in Christiansborg’s Hall of Knights at the Wedding of Christian VII to Caroline Mathilde of England. Etching, 1768, Copenhagen, Denmark. Statens Museum for Kunst, Copenhagen, Denmark, i.n. KKSgb8824.
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Official Page – Smk.dk
Image View – Smk.dk
Official Page – Digitale Samlinger 1 (offers nice augmentation)
Image View – Digitale Samlinger 1
Official Page – Digitale Samlinger 2
Official Page – Europeana.eu
Image View – Mogensandresen.dk (orchestra enlarged)
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Bibliography:
• place for future bibliographic entries

Notes:
• Presented is a Royal wedding ball event at the Danish court, with a Royal Danish Court Orchestra seated on the left side of the hall. Among the musicians there are two bass instrumentalists noted. However, due to the sketchy nature of drawing, one may ask if they perform on double basses, or perhaps some older type of violones. That part should be left for the future research.
• This engraving was made from the original made by Nicolas-Henri Jardin, which, if extant, would be nice to discover as well.
• The actual wedding took place in 1766 but the print says 1768 (indicated on the lower right corner of the image), thus the print year is listed instead of the wedding year.
• There is another print of this same event but it appears to be of a later date and based on the Bradt original. This print seems to have been made for the Danish newspaper Illustreret Tidende (1859-1924), and it presents the ensemble in somewhat different configuration. If you activate the image enlargement in the following link, you can see this image and you may note only one bassist and a slightly different configuration of an ensemble – Digitale Samlinger. So in conclusion, this is likely the 19^th century rendering of the 1766 wedding event.

Further Research:
• Considering that an official Royal Danish Court ensemble is presented, there is a good chance that some records of this ensemble and its personnel may be preserved in the Danish archives. If such records exist, then likely the names of musicians and their instruments may be cited as well, and that information in turn may help us to identify the bass instruments featured in this image. Furthermore, since the royal wedding depicted was a significant event, there may even be a record of the actual personnel who performed at the ball, and that in turn may tell us who actually were the bassists depicted above.

Instrument Type:
• Double Basses or a period Violones (pending further research)

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1769

Seconda Machina 1769
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Delavallée-Poussin, Étienne. Musicians and a Double Bassist. Pen and brown wash drawing, est. 1770 (see Notes), Rome, Italy. Located at Private Collection.
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Page – Mutualart.com
Image View – Mutualart.com

Page – Artnet.fr
Image View – Artnet.fr

Page – Christies.com
Image View – Christies.com
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Bibliography:
• Étienne de La Vallée Poussin – Wikipedia.org

Notes:
• Presented is an image of a double bassist in a seated position with a broad shouldered larger instrument and a neck that extends way above the performer’s head. It appears that he is reading the music from the keyboard instrument. It is also possible that his somewhat unusual seated position has to do something with a crammed position of musicians in this particular location.
• The dating of image is approximate, and based on watercolors of similar characteristics dated 1770s during his residency at Rome. For example, a pen and brown wash drawing at Metmuseum is dated “1770s” in author’s hand. Another drawing at Musée des Beaux-Arts Canada titled L’arche de Titus et Sainte-Françoise-Romaine, Rome is dated est. 1772-1777, and actually features an artist himself as he works on the drawing of an outdoor scene in Rome. Lastly a similar image at Musée des Beaux-Arts Canada that depicts ladies in a theater lodge that may represent the same theater in Rome where the Musicians and a Double Bassist drawing was produced.
• The Musée des Beaux-Arts Canada has some five drawings of Delavallée-Poussin that show similar characteristics to Musicians and a Double Bassists, yet only the L’arche de Titus et Sainte-Françoise-Romaine, Rome offers a precise dating.
• The title that most pages use for this drawing states: Musicians Playing the Double Bass, Flute and Keyboard, and Singing. For the sake of clarity this title was shortened to Musicians and a Double Bassist here.
• The form of author’s name tends to differ in historical and modern records. Examples: de La Vallée-Poussin, Vallée Poussin, Vallée-Poussin.

Further Research:
• It would be interesting to research if Delavallée-Poussin may have been in contact with any musician or attended any musical events during his Rome stay.

Instrument Type:
• Pending on how the outline of the instrument would end at the bottom part and which we do not see, this instrument could be classed as Double Bass (Contrabbasso) or Italian Violone.

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1770

The Concert
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Detail
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Skorodumov, Gavriil Ivanovich. The Concert. Drawing, pencil, ink, pen, est. 1770-1780, St. Petersburg, Russia. Located at Hermitage Museum, St. Petersburg, Russia, i.n. ERR-4794.
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Official Page – Hermitage Museum
Image View – Hermitage Museum
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Bibliography:
• Gavriil Ivanovich Skorodumov – Wikipedia.org
• Gavriil Ivanovich Skorodumov – Wikipedia.ru

Notes:
• This is an interesting period drawing by apparently “the first Russian-born artist to gain international acclaim” (source wiki). Presented is a sketch of an orchestra performance which the Hermitage Museum dates to 1770-1780, and which does not offer information on the depicted ensemble or the event it represents. Furthermore, even after reading Scorodumov’s biography, is still difficult to ascertain where the depicted event may be taking place, as there may be three options to choose from.
• As a young talented protégé in 1772 Scorodumov has apparently received an award grant to travel to England from his native St. Petersburg in order to specialize. He enjoyed the stay in London very much and even made fame for himself there, so he was delaying his return to Russia till 1782. Moreover, after his return to St. Petersburg he was not as active, and was simply not happy to work in his old city any longer. By chance and circumstance he died in 1792 in relatively young age.
• Thus in respect to the given biographical details and the vague dating of The Hermitage Museum, we face the question here on whether this lovely drawing present an actual Russian, (likely St. Petersburg) ensemble or possibly some London event which young Skorodumov witnessed during his study days in England? Lastly, this drawing is kept now in an album that among other description states “Views from Italy” (?). So this brings also a matter of whether Scorodumov ever visited Italy, and if he did, could this drawing be a memento from his Italian journeys?
• For the sake of this listing, the St. Petersburg location for the musical event is chosen until better evidence emerges to prove or disprove some other location, including England or possibly Italy.
• In respect to bass iconography we see a continuo group centered around the keyboard and consisting of violoncellist and double bassists. Close to them we see a singer as well. This practice indicates a bit older approach to accompaniment for the 1770s but may be ascribed to both England and Russia, given that Dragonetti and Lindley also performed in England in the similar way. The trumpeter and the timpanist depicted imply that this is a performance of a larger ensemble, although just a section of an ensemble is visible.

Further Research:
• Based on stylistic evidence and the other biographical details, it would be of value to identify the time and location where this drawing was made.

Instrument Type:
• Double Bass

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1770

Prima Machina 1770
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Detail – Orchestra Left

Detail – Orchestra Right
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Vasi, Giuseppe. Prima Machina. Full title (from the engraving): Disegno della Prima Machina incendiata per comando di Sua Eccellenza il Signor Don Lorenzo Colonna Gran Contestabile del Regno di Napoli. Etching, 1770, Rome, Italy.
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Official Page – Casanatense.contentdm.oclc.org
Official Page – Wikimedia.org
Image View – Wikimedia.org
Official Page – Calcografica.it
Image View – Calcografica.it
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Notes:
• Presented are two details from the Prima Machina etching made by Giuseppe Vasi after the actual structure built in Rome for the annual Festa della Chinea festival. This event was commonly held in Rome on June 28 and 29 during the 18^th century. The central edifice (not shown) was in reality a temporary festival mock up palace, built just for the occasion and later dismantled.
• In respect to Chinea festival Machinas (temporary stage set buildings) this listing already features the engravings from the previous festivals at Vasi – Seconda Machina – 1761 , Vasi – Seconda Machina – 1764 and Sassoli – Seconda Machina – 1769. In these engravings the presented musicians are not real but simply painted on the building set to represent “the music event” (see Moore 1998 pp. 232-233).
• However in this engraving of Prima Machina from 1770, we see two separate platforms built on each side of the main building set structure, and these platforms should indeed feature the real period musicians in the service of the festival.
• You can see these musicians at Detail – Orchestra Left and Detail – Orchestra Right above. Each image shows a two tiered platform populated with musicians and where each level also shows two bass instrumentalists.
• On the Detail – Orchestra Left which presents the left platform, the upper tier shows two man-sized bass instruments on the right side. Both of these instruments are played in standing position and their scroll sections extend above the players’ heads. So these are likely double basses. On the lower tier we also see two bass instrumentalists where they are depicted only partially from the waist up. Still, it appears that they play larger instruments as the necks and scroll sections of these instruments protrude above the player’s heads (and hats). So these are also likely double basses.
• On the Detail – Orchestra Right which presents the right platform, the upper tier also shows two bass instrumentalists in the c

Academic Bass Portal

18th Century

Chronological Listing

1705

Annunciation Concerto –

1705

Bass and Violin –

1705

Collegium Musicum –

1705

Concordant –

1705

Riunione Musicale –

1709

The Opera Rehearsal –

1709

Rehearsal of an Opera –

1709

Orchestra –

1710

Kuhnau’s Orchestra –

1710

Metamorfosi D’Arlecchino –

1713

Musicians on a Terrace –

1714

Freiberg Cathedral Organ –

1715

Musikalische Gesselschaft –

1715

Häusliches Musizieren –

1715

Contrabass Spieler –

1715

A Musical Party –

1715

Les Plaisirs du Bal –

1716

Organ and Violone –

1717

Tantzmeister –

1718

Musical Party –

1719

Banquet –

1720

Musical Company –

1720

La Danse –

1720

Quintet –

1720

Concert in Oval Salon, Home I –

1720

Konzert im Salon, Grande Galerie II –

1720

Kirchenorchester Köngen –

1720

Musicalisches Theatrum – Violon –

1722

Accordo –

1722

Viola –

1722

Violone –

1722

Bürgersaal in München –

1722

Teatro Allestito a Palazzo Reale –

1723

Gesellschaftsszene –

1723

Constanza e Fortezza –

1723

Musizierende Gesellschaft –

1723

Gravitätische Violone –

1726

Musikanten –

1727

Annunciation Concerto
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Bass and Violin
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Collegium Musicum
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Concordant
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Riunione Musicale
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The Opera Rehearsal
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Rehearsal of an Opera
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Orchestra
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Kuhnau’s Orchestra
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Metamorfosi D’Arlecchino
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Musicians on a Terrace
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Freiberg Cathedral Organ
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Musikalische Gesselschaft
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Häusliches Musizieren
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Contrabass Spieler
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A Musical Party
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Les Plaisirs du Bal
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Organ and Violone
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Tantzmeister
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Musical Party
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Banquet
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Musical Company
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La Danse
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Quintet
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Concert in Oval Salon, Home I
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Konzert im Salon, Grande Galerie II
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Kirchenorchester Köngen
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Musicalisches Theatrum – Violon
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Accordo
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Viola
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Violone
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Bürgersaal in München
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Teatro Allestito a Palazzo Reale
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Gesellschaftsszene
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Constanza e Fortezza
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Musizierende Gesellschaft
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Gravitätische Violone
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Musikanten
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Collegium Musicum Leipzig
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Orchestra
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Gloria di San Domenico
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Musical Group
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Une Lutiere – Violon
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Fête Galante
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Bach Cantata
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A Chorus of Singers
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Violone
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Causa Nostrae Laetitiae
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Mary’s Chappel
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Music Party at Melton Constable
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Musicerend Gezelschap
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Kontrabassistin
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Ballo in Casa Fibbia
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Konzert bei der Markgräfin Wilhelmine
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Concerto in Villa
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Handel Conducting an Oratorio
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Tanzgesellschaft eines Maskenballs
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Musical Party
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Causa Nostrae Laetitiae
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Masqued Ball I
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Masqued Ball II
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Lady with Violone
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Festa di Ballo
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Engleskonzert
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Organ and Bass
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Abendmusik
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La Princesse de Navarre
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Geiger auf dem Weltgebäude
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Fête Musicale
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Study of a Double-Bass Player
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Liber Psalmorum Psalm 94
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Glorification of the Trinity
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St. Cecila and Angels
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