Image – Sachs 1568

Image and Text – Sachs 1568
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Necker, David de. (after sketches by Nicolas Solis) Urania in Ein new und künstlich schönes Stam[m] oder Gesellen Büchlein mit dreyzehen Historien darinnen hundert guter wolgestelter figuren sampt ihren darzugehörigen guten Reymen erklert allen kunstliebenden dienstlich und nützlich wie in der Vorred und Register zuuernemmen ist. Gedruckt zu Wienn in Osterreich : durch Hercules De Necker in verlegung Hansen Herman Anno 1579.
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Translated:
A new and artificially beautiful Source or Journeyman’s booklet, with thirteen histories within it, one hundred good well-presented figures together with their corresponding good rhymes, explains everything to art lovers officially and usefully, as can be seen in the foreword and register.
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Official Page – MDZ
Image View – MDZ
Record Link – MDZ
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Necker, David de. (after sketches by Nicolas Solis) Urania in Stammbuch eines ungenannten bayrischen Adelichen. s.l. 1589-1605.
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Official Page – MDZ
Image View – MDZ
Record Link – MDZ
Official Page – RIdIM.de
Image View – RIdIM.de (watermarked)
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Bibliography:
• David de Negker – The British Museum
• Nicolaus Solis – Britishmuseum.org

Notes:
• Presented is Urania with a large stringed bass instrument, which she plays in standing position while reading the music that rests by her feet on the ground. Given the somewhat simpler style of this engraving, one may wonder how much should be trusted to detail in this image. Still, for the record, let us record what we may observe.
• The instrument itself approximates the size of a modern double bass, yet with the slanted peg box, as was common in this period. There are three visible pegs on this peg box and along there are four strings depicted. The bridge is located at the midpoint of the front plate. No sound holes of any kind and the bow appears rather large. When all is taken into a consideration however, one may wonder if perhaps the actual instrument may have looked a bit more refined in some detail?
• This instrument also shows a unique lower bout tapering detail that is similar to the one depicted on a smaller instrument at Salodiensis – Venus and Attendants – 1559 . Yet, whether this may give enough of license for one to call this a bigger version would still need to be researched further.
• In respect to authorship, this engraving along with all the other in the book, was done by David de Necker. The MDZ Official Record indicates that those engravings were done Nach Rissen von Nicklas Solis (after sketches by Nicolas Solis). This in turn brings a question of where and how these sketches may have looked like, or whether these sketches may have been used or printed in some other work? That part is to be investigated further.
• Otherwise, this entire compendium is actually a presentation of allegorical figures of various terms, synonyms and virtues that were the part of an educated man’s vocabulary at the time. The book itself is a kind of a dictionary that serves a reminder purpose for those who wish to be enlightened from time to time. So in that respect, Urania just happens to play a big bass fiddle although her main attribute as an inventor of Astrology. In that time the Astrology had actually a different meaning than today and it was more of a combination between Astrology and Astronomy.
• The image section shows two versions of Urania, the original 1579 version and the later reprint which was enhanced a bit by extra water coloring. The original image is certainly cleaner, although perhaps not as precise as the later version, so both are included.

Further Research:
• It would be nice to discover any additional bass fiddles’ sketches or engravings by Solis that may offer as a better insight on this instrument.

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

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1580

Bal à la cour des Valois
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Detail
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Anonymous. Bal à la cour des Valois (Ball at the court of the Valois). Painting, ca. 1580, Paris, France. Located at Musée des Beaux-Arts de Rennes (Museum of Fine Arts of Rennes), Rennes, France, i.n. INV794-1-135.
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Official Page – RMN.fr
Image View – RMN.fr
Official Page – Wikimedia.org (detail)
Image View – Wikimedia.org (detail)
Official Page – Utpictura18.univ-amu.fr (presents commentary)
Image View – Utpictura18.univ-amu.fr
Image View – Frenchrenaissancecostume.com (detail wide)
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Bibliography:
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 38 (text), p. 39, Abb. 22.
• Painting Bibliography – Pop.culture.gouv.fr
• Volta – Wikipedia.org
• La Volta – Earlymusicmuse.com (features the other aspects of La Volta dance that do not necessarily concern the bass iconography)
• Margaret of Valois – Wikipedia.org
• Henry IV of France – Wikipedia.org (Henry III of Navarre)
• Henry III of France – Wikipedia.org
• McGowan, Margaret M. “Marguerite de Valois, Reine de Navarre (1553–1615): Patroness and Performer.” Early Music History 34 (2015): 191-206. JSTOR – Cambridge UP Link

Notes:
• Presented is a small ball-dance musical ensemble that features three shoulder-held fiddles and a stringed bass fiddle.
• The bass instrument shows some typical characteristics of the period instruments. It has a slanted and curved peg box with one (or two) tuning pegs visible. Once may discern four strings and along a bridge set so low, that it almost touches the tailpiece. There are two S type holes on the front plate, while the form of this instrument appears to be a kind of elongated violin form.
• What is most striking about this image is that the performer appears to be playing this instrument in a semi-kneeling position that looks a bit awkward, whether he may be seated or not. Also, there is a feel that he plays with zeal while investing some effort to extract a solid “beat” out of the fiddle, similarly to what a the modern bassist would do in a present day dance music setting. The bow is rather short, and its position is quite close to the bridge, which is uncommon on to observe on period images.
• The painting itself is about the grand ball at the court of the last Valois, yet the real question is who really are the nobles presented at this image? You may note that all the lighted and prominently featured pairs (some four of them), resemble each other. The initial search has offered some clues that these may in fact be future Queen, Margaret of Valois (see CaseWestern – Violin – Renaissance) as the event was occurring during the reign of the Henry III of France (see painting notes at Utpictura18.univ-amu.fr). Now, considering that infromation, the gentleman companion is likely to be Henry III of Navarre, later Henry IV of France, who was to become her husband. Henry III of France was actually Margaret of Valois’ brother, so that would not make much sense. The history of 16th century French court dynastic successions is unfortunately very convoluted, and even more exasperated by a religious strife that marked that period. Likewise, the available online references on the point of who are the nobles depicted, are unfortunately not conclusive either. What is known however is that Margaret of Valois was a very enlightened and skilled lady who was also well versed in dance. Please see the synopsis for Margaret M. McGowan article (bibliography) as cited in Cambridge UP Link .
• Lastly, what seems to be well proven and beyond a doubt, is actually the type of the dance presented in the painting. That would be the newly arrived La Volta from Italy, which apparently caused quite a cultural stir, in a way that Rock & Roll has brought at the more recent times. So, although the discussion of La Volta cultural impact may not be a priority here, for all who are interested, the featured reference links and the media entries should offer plenty materials to illustrate all the points.

Further Research:
• It certainly would be nice to find out more on the actual music that perhaps have been documented as played at the Valois court, since then we could try to match the music to the ensemble profile featured at this image. Otherwise, it seems that there are plenty practitioners of La Volta even today, and thus the true audio visual recreation of the painting event will not be a problem.

Other Media:
• Episode 27 du Musée Confiné. Le bal à la cour des Valois
_(Episode 27 of the Confined Museum. The Ball at the Court of the Valois)
  Musée des Beaux-Arts de Rennes – Official Painting Guide – YouTube – Source Page

This video offers a lovely presentation on a painting by a museum curator. The presentation is all in French, but you could actually reed the captions auto translated in English if you adjust the CC (closed caption) function on YouTube. To do so click the settings wheel, go to CC setting and choose English. Now you can read it all in English.

• “Bal a la Cour de Marguerite de Valois” (1553 -1615) – YouTube Link

This video actually presents the music from the time of Marguerite de Valois, thus you will hear how this music sounded at the time. However, these are samples with a period flutes and not all-string ensembles as depicted. Still, as a musical illustration they are worth considering. Starting 20:20 you will hear Michael Praetorius’ Gaillardes, which uses this painting as a background. Gallirads were indeed played for La Volta dances, yet whether any of them by Praetorius were played at Valois court, is open.

• “La Volta” William Byrd – Demonstration Video, Period Ensemble – YouTube Link

While the period instruments are not the same as in the painting, this is a good illustration of the music that would have been played for La Volta.

• “La Volta” Nonsuch Dance Company – Demonstration Video, Period Ensemble – YouTube Link

As with the previous example, the instrument ensemble is not identical to the one in a painting, yet the charm and personal style of performers relate the dance mood quite well.

• “Play a Volta” from Elisabeth (2012) movie  – YouTube Link 1 – YouTube Link 2

This is a dramatized insert where Queen Elisabeth (played by Cate Blanchett) orders a Volta to be played for her dance pleasure. Although the music is a symphonized arrangement of a period tune, this scene presents well the sensuality and social context of this tune in a period ball setting.
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Predecessor Instrument Classes:
• pf[ predecessor instrument by function ]
• psh[ predecessor instrument by shape ]
• pt[ predecessor instrument by tuning ] ?

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1580

Fragment (Dancers and Musicians)
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Detail
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Anonymous. Fragment (Dancers and Musicians). Fragment van een kruik met muzikanten (A fragment that presents a pitcher with musicians). Relief on the fragment of a stone jug. est. 1550 – 1699, Raeren, Belgium. Located at Rijks Museum Collection, Amsterdam, Netherlands, o.n. BK-KOG-2501.
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Official Page – Rijks Museum Collection
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Bibliography:
• Bass Heritage Board – Post from March 1, 2019 – Post Link

Notes:
• Depicted is a group of three dancers and two fiddle musicians. One of the musicians holds a stringed bass instrument that looks very similar to a modern double bass in both the size and function, particularly as a “rhythm” support member for this festive occasion. The instrument characteristics of this bass present two “S” holes in the upper bout, four strings, and along possibly a slanted peg box that is common for many of the 16th century stringed instruments.
• The date range of 1550-1699 as presented by Rijsk Museum appears rather extended, and particularly since this fragment shows similarities in style to the other two completely preserved jugs at Rijsk Museum under the o.n. BK-KOG-511 and o.n. BK-NM-337. The second jug (BK-NM-337) also shows a period string player with a vertically held smaller fiddle, and importantly, a date of 1579 inscribed. The place of provenance for both the fragment, and the preserved jugs is Raeren in East Belgium. Yet, the dating for the completely preserved jugs is limited more precisely to 1580-1600, which seems apt to apply to this Fragment exhibit as well. Thus the year 1580 is selected for this listing.

Further Research:
• It would be worth to see what possible four-string-tuning this instrument may have used and whether any period treatises or other reports indicate four string tunings at this period.

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

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1580

Violonist
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Detail
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Anonymous. Violonist. Frescoe, 1580, Telč, Moravia, Czech Republic. Located likely at one of the Telč churches that date to 16^th century (see notes), Moravia, Czech Republic.
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Official online image unavailable
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Bibliography:
• Planyavsky, Alfred. The Baroque Double Bass Violone. Lanham, Md: Scarecrow Press, 1998, p. 4, fig. 1 “Violone from Telč (Moravia)1580.”
• Telč – Wikipedia.org [ city ]
• Telč – Telc.eu [ city ]

Notes:
• Presented is a larger stringed bass instrument that is performed in standing position. The instrument’s scroll reaches to the mid head position, so it could be considered a human sized instrument.
• The common characteristics of the period instruments from this period such as a slanted neck and low positioned bridge that sits below the F holes, are also visible.
• The exact location of this fresco could not be determined by online searches, but it is likely that it may reside in either the Church of Mother of God (Kostel Matky Boží) from 14th century, or the St. James Church (Kostel Sv. Jakuba) build in mid 15th century. The other churches in Telč appear to have been built after 1580. See Telč Churches Page Link.
• Otherwise, the picturesque city of Telč has a wonderful online tourist page that presents well its exceptional history and cultural heritage. Judging by the amount of well preserved historical buildings, castles and churches, it appears likely that even more period music iconography could be located there. Check Telč – City Page .

Further Research:
• It would be worth to see what possible four-string-tuning this instrument may have used and whether any period treatises or other reports indicate four string tunings at this period.

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

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1581

Höfisches Schauessen
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Detail
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Rumpoldt, Marx. Höfisches Schauessen mit Schaugeschirren und Hofstaat (Food Presentation at the Court with Dishes and Establishment), in Rumpoldt, Marx. Ein new Kochbuch, Das ist: Ein Gründtliche Beschreibung, Wie Man Recht vnd Wol, nicht Allein von Vierfüssigen, Heymischen vnnd Wilden Thieren, sondern auch von Mancherley Vögel vnd Federwildpret, darzu von Allem Grünen vnd dürren Fischwerck, allerley Speiß, als Gesotten, Gebraten, Gebacken, Presolen, Carbonaden, mancherley Pasteten vnd Füllwerck, Gallrat, &c. auff Teutsche, Vngerische, Hispanische, Italianische vnd Frantzösische weiß, Kochen vnd Zubereiten solle … Frankfurt am Main, Feyerabendt, 1581.
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Tile Translated:
A New Cookbook, That is: A Thorough Description on how one may properly and well, not only of four-footed, domestic and wild animals, but also of many birds and feathered game, as well as from all the greens and dry fish, all types of food, as boiled, roasted, baked, presalted, carbonated, all variety of Pates and Full Meals, Cuts, &c. from German, Hungarian, Hispanic, Italian and French sorts, (actually) Cook and Prepare.
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Official Page – Virtuelles Kupferstichkabinett (HAB) (1581)
Image View – Virtuellese Kupferstichkabinett (HAB) (1581)
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Digital copy full book (Institution access only):
https://repozitorium.omikk.bme.hu/handle/10890/48 (1587)
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Official Page – SLUB Dresden (1604 reprint)
Page View – SLUB Dresden   (p. 7 printed, scan 29)
Page View – SLUB Dresden   (p. 8 printed, scan 31)
Page View – SLUB Dresden   (p. 10 printed, scan 37)
Page View – SLUB Dresden   (p. 25 printed, scan 65 – listed complete menu: Soup, Beef, The Well Roasted Pheasant, and other dishes)
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Bibliography:
• Marx Rumpolt – Wikipedia.org
• Sigmund Feyerabend – Wikipedia.org
• Hans Bol – Wikiepdia.org

Notes:
• Without a doubt this is one of the most unique and intriguing sources for period 16^th century  iconography extant today, as this is in fact a professional cook book with all the great courtly dishes listed, and of a kind that you may seen on many images of the court feasts already presented here.
• In respect to bass iconography this cookbook offers only one important image, and which repeats several times throughout the book. It is a woodcut print which appears very similar to the Terzi – Grosse Tafl Stuben – 1561 which depicts the banquet at the court of Austrian Emperor Ferdinand I at the Great Dining Hall in Vienna in 1560.
• The difference is that here we see only one bass instrumentalist who is turned with his back to us, and who holds a large bass instrument with his left hand behind it. The size of this instrument (if depicted accurately) appears similar to the one depicted in Terzi’s Grosse Tafl Stuben. The instrument shows similar characteristics as it has a slanted and curved peg box, here only with four strings depicted, two C holes at the bottom of the plate, and a bridge that is not visible or possibly lacking altogether.
• So, could this be a second rendering of Grosse Tafl Stuben but this time adapted for the Cook Book for its 1581 print and 1604 reprint? Perhaps so, although it may be worth to look at the possible author of this engraving. The Virtuelles Kupferstichkabinett page cites only the printer in full name, and that would be Sigmund Feyerabend, a book seller and publisher from Frankfurt – and certainly the one who printed this book, since his name is noted on the very title page. However, as for the actual engraver we are offered only the initials HB (?). So, although Feyerabend was cooperating with Solis, the initials do not match. Yet however, what about Hans Bol (HB)? His initials would match. His biography indicates that he was in Germany likely from 1550 to 1560, when he settled in Mechelen, Belgium. Thus he may have received an order for this engraving from Frankfurt whether in his German residence, or at Mechelen. There is also a good chance that he would base this engraving on Trezi’s own as the similarities are just too great to ignore. Lastly, the Wiki biography of Marx Rumpolt indicates that for this cook book the engravings were done by Jost Amman (?). The same biography indicates that prior to arriving as a cook to Mainz court “he worked for several other European nobles and thus came to learn of the cuisines of different regions, such as Bohemia and Hungary.” So, was he possibly aware of the great feasts of Emperor Ferdinand I at the Great Dining Hall in Vienna in 1560 too? That inquiry would be nice to follow as well.
• Thus, for now let us leave options open. Yet, as for the actual real content of the book, if and when any of the period Germanic mid 16^th century court music is to be reconstructed in a grand way, it certainly would be possible to reconstruct the food that the period audiences have eaten as well. So, as the music and food always go well together, our modern period performances may just get a chance to offer a wonderful culinary supplement as well.

Further Research:
• As the evidence on music iconography by Hans Boll accumulate, it will be possible to compare this image with his other works and find out if indeed this engraving is by him.

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

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1583

Jubal und Seine Familie
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Detail
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Sadeler, Jan. Jubal und Seine Familie Bauen Musikinstrumente  (Jubal and his Family build Musical Instruments), Engraving, 1583 after the original by Maarten de Vos, Antwerp, Belgium (Netherlands). Located at Herzog Anton Ulrich-Museum, Braunschweig, Niedersachsen, Germany, m.n. JSadeler AB 3.26.
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Offical Page – Virtuelle Kupferstichkabinett (HAUM)
Image Link – Virtuelle Kupferstichkabinett (HAUM)
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Bibliography:
• Nagler Künstlerlexikon 1835-1852, XIV.140.19 ; Wurzbach, II.538.8.
• Sadeler Family – Wikipedia.org
• Maerten de Vos – Wikipedia.org
• Antwerp – 16^th Century – Wikipedia.org

Notes:
• Presented is a Master Juval’s family manufacture of musical instruments with some seven members active altogether.
• Master Juval is currently setting strings on what appears to be a mid sized stringed instrument whose length approximates the modern guitar, but the shape certainly not. However, what is of interest to bass iconography is the back of the shop (to the Juvals’ left), where one may note three differently sized types of these instruments: two of them hanging on the wall, while the third rests on the ground and leans against the wall.
• This third instrument is of interest, as it can be classified by size as a predecessor of the stringed bass instruments. This instrument features two C holes on the upper bouts, a rosetta in the middle and a tailpiece.
• The stringing on all these instruments is difficult to determine, yet if it was uniform and resembling the instrument Juval holds, one may suspect that these were all three-stringed instruments.
• In respect to the design, not all instruments had exclusively C holes in the upper plate since Juval holds the one which has two F holes in the lower section as well.
• In respect to all depicted stringed instruments, this composition appears to show some ten stringed instruments of various shapes and sizes, of which one is actually performed by bow in standing position and held similarly to modern violin or viola. The larger instruments were obviously held lower or even on the ground, as in the case with the largest specimens.
• If one had to guess on how many sizes of stringed instruments were produced here, chances are that some four different proportions could be distinguished, and which could roughly be compared to the modern strings division to violin, viola, cello and bass. Yet, it appears that the “bass” in this engraving may have been of somewhat smaller proportions than the modern counterpart.
• Lastly, one wonders where this image may have emanated, and based on what actual setting in what actual city? The engraving bears a marking of  M. de Wos (see wood board to the right of a seated child) since he is the image author, while the engraving signature is Ioa Sadl (Joa Sadler) is visible at the lower left corner (left of a child). So the wiki data tells that at about 1583 a great amount of turmoil was present in Netherlands so it is questionable whether Marten de Vos was in Antwerp at that time, or possibly at some other place. Likewise Jan Sadler and his family appear to have been at Antwerp all the way through the end of siege in 1585. Thus, when all this is put together it looks that this image may have originated in Antwerp after all. Thus Antwerp is cited above with assumption that the Herzog Anton Ulrich-Museum dating is correct.

Further Research:
• This lovely presentation is also accompanied with insightful text in Latin which, roughly translated, addresses hard working Juval who creates musical instruments (left) while the Nymphs and friends dance and enjoy the music (right). Perhaps this was meant to indicate that without good instruments there is no good music? Yet, the full and careful translation may offer even more detail and meaning to this presentation.
• Otherwise, this engraving also appears to be one of the earliest presentations of the manufacture of stringed musical instruments, and as such would deserve a serious consideration in respect to the tools used, working methods and the overall setup. It would also be of interest to compare the other early images of musical instrument shops, and see if this one may just be the earliest one on record? If indeed this is the earliest one, then this may as well be the first representation of an actual “bass shop” recorded in history as well (!)

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

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1588

Der Verlorene Sohn
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Detail
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Bol, Hans. Der Verlorene Sohn Verpraßt Sein Erbe (The Prodigal Son Wastes his Inheritance). Drawing print, 1588. Originated in Amsterdam, Netherlands. Located at Albertina Museum, Vienna. In. 7904.
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Official Page – Albertina Museum
Image Link – Albertina Museum
Official Page – RKD – Netherlands Institute for Art History
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Bibliography:
• Hans Bol – Wikiepdia.org
• Collaert, Adriaen. Gravure, in de serie ‘De parabel van de verloren zoon’, Hollstein dl. 3, p. 51, nr. 90-93.
• A. Stix (red.), Beschreibender Katalog der Handzeichnungen in der Graphischen Sammlung Albertina, Band 2: O. Benesch, Die Zeichnungen der Niederländischen Schulen des XV. und XVI. Jahrhunderts, Wenen 1928, p. 27, nr. 239, afb. op pl. 62
• H. Gerhard Franz, ‘…’, Jahrbuch des K.H.I. der Universität Graz, 1 (1965), p. 19 e.v., afb. 63, afb. 130

Notes:
• Depicted is a stringed bass instrument which rests on the ground and is played in a seated position while held sidewise. The scroll height, even at this slanted position, appears to reach above the performer’s head thus indicating to a degree larger instrument that may approximate the size of a smaller modern double bass.
• Another feature of this instrument is a very narrow design of the middle bouts, and the narrowing tendency of the lower body section. The scroll box appears to be slanted. The graphic does not indicate any endpin on this instrument, so it was probably played as depicted, in a slanted position while touching the ground with the bottom left ribs section.
• The shape suggest a form similar to that of larger period bass instruments presented in Amman – Drey Geiger – 1568 while the hold and appearance resemble very much the instrument featured in  Mortlake Manufacture – Night Feast – 1640 . This instrument also shows some similarities to the one featured in Anonym – Neun Musikanten -1626 .
• The drawing itself illustrates a New Testament story The Prodigal Son Wastes his Inheritance (Luke 15:11-32)
• The Wiki Biography of Hans Bol indicates that “In 1586 he left for Dordrecht and then traveled via Delft to Amsterdam where he resided until his death.” So, it is likely that the artwork was created in Amsterdam.

Further Research:
• Further Research remarks here.
• Further Research remarks here.
• Further Research remarks here.

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

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1589

Angeli Musicanti
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Detail
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Santi di Tito. Angeli Musicanti (Musicians Angels). Fresco, Counter-façade of the Duomo, 1589 Santa Maria del Fiore church, Museo dell’Opera del Duomo, Florence, Italy.
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Official Page – Beniculturali.it
Official Image Page – Wikipedia
Page with Image – Giornaledellamusica.it
Image – Giornaledellamusica.it
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Bibliography:
• Santi di Tito – Wikipedia.org

Notes:
• Presented is a composition of musicians with a type of stringed bass instrument that shows typical 16^th century details, although not all of them presented in a coherent way.
• An instrumentalist stands (or is seated) behind the portative organ. A bass instrument is held in a slanted position and played with a bow. There are tow C holes visible and the bridge which is set below the C holes.
• Otherwise, in the lower portion we can also note some three strings that appear depicted in a rather sketchy way, while the fingerboard and neck in the upper part indeed appear wider, as if it is designed to hold few more strings. The scroll box is slanted and curved as was the custom at the time, and there are some three pegs visible.
• The actual size of this instrument is difficult to decipher and it is possible that it can approximate the size of a smaller modern double bass. The entire instrument appears similar to the one depicted in Bol – Verlorene Sohn – 1588 (record above).

Further Research:
• A more complete research on the history of these frescoes may be needed in order to accumulate the credible material for the evaluation of this work and its relation to the instrumental music practice in Florentine Duomo. It is very likely that much has already been written on the subject, and given the significance of the Duomo itself, so a comprehensive research should be undertaken first in order to put this fresco and its musicians in proper context.

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

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1590

Collegium Musicum
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Detail
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Anonymous. Collegium Musicum. Tempera on paper, 1590, in Gymnasium Illustre autograph album (Stammbuch), Launingen, Germany. Located at private collection.
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Official Page – Wikimedia.org
Image View – Wikimedia.org
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Bibliography:
• place for future bibliographic entries

Notes:
• Presented is a jolly student assembly from the Gymnasium Illustre (Gymnasium / Higher education institution) of Launingen, Germany from 1590. This image is commonly titled as Collegium Musicum, and so the title is preserved here as well. This artwork itself is preserved in an autograph album (Stammbuch in German) that was created by and intended for preserving the memories of the Launingen’s Gymnasium Illustre students. This gymnasium was actually established in 1561, so this image from 1590 witnesses a student activity of an institution that was already some 29 years old at the time of this music event.
• So, in somewhat free terms, we may actually call this assembly a collegiate orchestra, and as such this representation just may be the very first depiction of a student orchestra with a bass instrumentalist on record.
• In respect to bass iconography, we see a seated bass instrumentalist who plays a rather unusual shaped (to out modern eyes) period bass fiddle. This instrument rests on the ground and reaches to about a mid head point of a performer in a seated playing position. It may be played slightly slanted, as was custom of the time and probably leaning on the left leg. Although, in this case it appears that the instrument may be leaning on the table instead.
• The instrument shows an elongated angular form that really can not even be called a “gamba” form, but may represent a form category of its own. The peg box can not be discerned but one can count some five strings. The bridge is set below the rather long elongated C holes that run almost the entire middle section of this instrument. The instrument is played by a larger bow that appears to be held with an underhand bow style.
• This instrument shows some similarities to the Kuhl – Minstrels – 1598 where the elongated C holes are also prominently featured, although Kuhl features the performer in standing position.
• Lastly, the full image also offers a text description below the image, but the writing is rather hard to read and decipher. Nevertheless, this text may contain more information on the author and the context of this musical event.

Further Research:
• In respect to the history of Gymnasium Illustre in Launingen, it appears that a type of historical overview book that covers it s history, has already been produced in Clesca C. Das Gymnasium Illustre Oder Die Pfalzgräflich Neuburgische Landesschule Zu Lauingen Vom Jahre 1561-1616. Neuburg: Rindfleisch; 1848. So, it would be interesting to investigate this book further for clues on any musical activities that possibly date to 1590. Otherwise, there may be other sources out there on in Launingen’s Gymnasium Illustre that may bring us additional clues on this early collegiate musical group.

Predecessor Instrument Classes:
• pf[ predecessor instrument by function ]

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1590

Lutenist and Violonist
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Detail
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Caliari, Carlo. Lutenist and Violonist (German: Zwei Musizierende hinter einer Balustrade, Translated: Two Musicians Behind the Balustrade, Former German Title: Ein Laute- und ein Cellospieler.  Drawing, est. 1590, Venice, Italy. Located at Staatliche Graphische Sammlung, Munich, Germany, i.n. 10497 Z.
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Official Page – at Staatliche Graphische Sammlung München

Note: Staatliche Graphische Sammlung München has a Database Search interface, but their records do not offer a direct link option. Thus if you wish to see this drawing in their database follow these instructions. Go the SGSM Search , copy and paste in the Title field the following text: “Zwei Musizierende hinter einer Balustrade.” Activate “Start” button. The record will display.

Official Page – Bibliotheca Herziana.it
Image View – Bibliotheca Herziana.it
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Bibliography:
• Planyavsky, Alfred. The Baroque Double Bass Violone. Lanham, MD: Scarecrow Press, 1998, p. 23, Fig. 15.
• Planyavsky, Alfred. Geschichte Des Kontrabasses. Tutzing: H. Schneider, 1984, p. 63, Abb. 32.
• Carlo Caliari – Wikipedia.org

Notes:
• Presented are Lutenist and a Violonist in a setting where one may also note a spinet on the left side.  Both musicians appear to be seated in front of a balustrade, yet whether this is a depiction of an outdoor event, or possibly an indoor one, is open. However, since this image has been covered in bass history books in respect to bass history, let us see what else new may be of relevance here.
• The stringed bass instrument appears to be of a larger type if we judge how far above the player’s head are both the hand position and the scroll box section. The instrument itself is probably resting on the ground since the lower section is visible through the balustrade columns, and which usually is not the case with instruments featured behind the balustrades. The bass player may be seated as it looks that a part of his (left) leg may be seen outlined as well.
• The image does not offer a full view of the scroll, so there are only two pegs visible, while we may see that there are five strings depicted. There are also two F holes visible through the balustrade, but not the bridge or its position.
• Some features of this instrument remind of a Bramer – Allegorie der Eitelkeit – 1640  although this may just be a coincidence.
• According to the Staatliche Graphische Sammlung München record, this drawing is a work of Carlo Caliari (1570-1596) while it was formerly attributed to his father Paolo Veronese (1528-1588). No date is provided by SGSM beyond the 16^th century estimate. So, if indeed Caliari, then probably drawn sometime in his twenties and thus for this listing it was decided on 1590 as a reasonable estimate.
• Since both Caliar in his father were active in Venice, this is the location of origin which was decided for this image as well.

Further Research:
• If and when a complete systematization of period bass tunings is accomplished, it would be of interest to explore what may have been the tuning for this instrument and whether it was capable of reaching in the 16 foot range.

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

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1590

Angels
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Detail
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Corenzio, Belisario. Angels. Fresco, 1590-1640, Church of Gesù Nuovo, Naples, Italy.
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Image View – Cornetto Iconography
Image View – Kimball Trombone
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Bibliography:
• Belisario Corenzio – Wikipedia.org
• Gesù Nuovo –  Wikipedia.org  [ church ]

Notes:
• As a central figure in this fresco composition featuring the angel musicians stands the angel with a larger stringed bass instrument played in standing position. This instrument rests on the ground while played in a slanted manner and where the tip of the bow and the tip of the scroll are almost in the same level.
• The instrument itself shows the characteristics of the period stringed instruments with slanted and curved scroll section and which also presents some five pegs. Likewise, visible are also five strings, yet only to the point of the end of fingerboard, after that point the contours of the strings are loosing focus and getting spread further apart in what appears to look like more than fives strings. Why so, is an interesting theme to speculate on, but it may have to do something with a fresco painting technique or simply the simplification of a tedious process of delineating every string to the bottom of the instrument.
• Otherwise, the front plate shows the rosetta and the two wavy S holes. The bridge is not visible or depicted as the bottom of the instrument is covered by an angel who plays lute.
• The dating for this image is set to 1590, as this is the year when Cornezio returned to Naples, and where he was to remain for the rest of his life. The more specific data on when the actual fresco in Gesù Nuovo was depicted was not located, but it may have been painted at any time after 1590 until 1646, when the master passed away.

Further Research:
• It would be nice to research further the history of Gesù Nuovo church and look for ensembles that may have been affiliated with it during the late 16^th and early 17^th century, along with any references on the musicians and their instruments as well. It would also be of value to date more precisely this unique fresco if possible.

Predecessor Instrument Classes:
• ps[ predecessor instrument by size ]
• pf[ predecessor instrument by function ]

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1591

Ladies’ Ensemble
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Detail
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Gumpelshaimer, Adam. Ladies’ Ensemble in Gumpelshaimer, Adam. Neue Teutsche Geistliche Lieder : mit dreien Stimmen, nach art der Welschen Villanellen, welche nit allein lieblich zusingen, sondern auch auff allerlei Instrumenten zu Gebrauchen. Augspurg: Valentin Schönigk, 1591.
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Title Translated:
New German Sacral Songs: with three parts, in the manner of the Southern Villanelle, which are not only sweet to sing, but can also be used on all kinds of instruments.
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Official Page – Polona.pl (full scan)
Official Record – Bibliotheca Rudolphina
Official Record – Worldcat (lists all itesm worldwide)
Image Page – Zeno.org
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Bibliography:
• Adam Gumpelzhaimer – Wikipedia.org

Notes:
• This unique engraving print of a Ladies’ Ensemble appears for the first time on the front page of Gumpelshaimer’s Neue Teutsche Geistliche Lieder.  The author of the engraving is unknown, but the title of the edition somehow reflects on this image by saying: sondern auch auff allerlei Instrumenten zu Gebrauchen (but can also be used on all kinds of instruments). So indeed it looks that the ladies depicted may represent a type of an ensemble that could accompany these songs, whether by voice or by a solo instrument. Further study should offer additional information on what kind of a solo instrument may have been proper for these songs, and if in fact the entire ensemble as depicted may have accompanied these songs as well.
• Another intriguing feature of this image is that it has been used and reused for various other editions in decades after its first appearance with 1591 edition. Thus we can se it again and again in the following prints:

Gumpelzhaimer, Adam. Compendivm Mvsicae Latino-Germanicvm, 1595 – MDZ  Link
Gumpelzhaimer, Adam. Compendivm Mvsicae Latino-Germanicvm, 1611 – MDZ  Link
Gumpelzhaimer, Adam. Compendivm Mvsicae Latino-Germanicvm, 1618 – MDZ  Link
Gumpelzhaimer, Adam. Compendivm Mvsicae Latino-Germanicvm, 1632 – MDZ  Link
Gumpelzhaimer, Adam. Compendivm Mvsicae Latino-Germanicvm, 1646 – MDZ  Link
Gumpelzhaimer, Adam. Compendivm Mvsicae Latino-Germanicvm, 1655 – MDZ  Link
Gumpelzhaimer, Adam. Compendivm Mvsicae Latino-Germanicvm, 1675 – MDZ  Link

So, to put it politely, the music instruments may have evolved from 1591 to 1675, but this edition cover, along with the lovely ladies’ ensemble that adorns it, certainly has endured.
• In respect to bass iconography we see a seated leady performer by a mid to larger sized bass fiddle that rests on the ground and reaches to about the top of her head. The instrument leans on the side her right leg and is played in a slightly slanted style as was custom at the time.
• The scroll section is of a slanted and curved design showing some four pegs, while the instrument shows five strings. The front plate shows two inward facing C holes, and the bridge is positioned somewhat below the plate holes. The overall shape of this instrument appears as a slightly fattened violin form, although at the first glance it may look like a gamba form.
• The bow hold appears to be of an underhand type.
• The string length appears sufficient for a reach to 16 foot register, yet it is more likely that this instrument was tuned to reach down only to the 8 foot register. The organ depicted certainly does not offer any pipes that look any taller than two, possibly two and a half foot.

Further Research:
• It would be of value to see what kind of tunings may be appropriate for the instrument depicted and also what kind of evidence of bass instrument use may reside the Augsburg Cathedral records, where Gumpelshaimer was active from 1581 to 1625. If these contain any notes on stringed bass fiddles, chances are that some may approximate the one depicted in this lovely presentation.

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

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1591

King David and Saint Cecilia
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Detail
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Witte, Peter de (I). King David and Saint Cecilia. Engraving, c. 1591, Munich, Germany. Located at Plantin-Moretus Museum, Antwerp, Belgium, o.n. PK.OP.16434.
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Official Page – Plantin-Moretus Museum
Official Page – Virtuelles Kupferstichkabinett (HAB)
Image View – Virtuellese Kupferstichkabinett (HAB)
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Bibliography:
• Hollstein’s Dutch & Flemish Etchings, Engravings and Woodcuts: 21. Amsterdam: Hertzberger, 1980, p. 101, nr. 127.
• The most exhaustive research on this image available online is presented by Will Kimball’s dedicated web page. Here you may follow the evolution of this drawing from the sketch phase to the various copies and reproductions by the author and the other contemporary artist in various medias. Altogether, it appears that there are some 16 different renderings of this composition. Bravo to Will Kimball on assembling this page and Bravo to Master Witte for inspiring such a following by his work. Will Kimball’s – Kimballtrombone.com – David Singing God’s Praise .

Notes:
• An image of an angel as a performer on a period bass instrument is visible at the upper right corner of this engraving.
• The angel-performer plays instrument in a seated position while the instrument itself is elevated slightly by a “cloud,” which in reality may have been a small platform or a stool. Instrument is depicted with five strings, equipped with frets on the fingerboard and played with a bow.
• The bow hold is of interest, as it is depicted in way the modern performer would hold the underhand (German) bow, yet with a hand extended away from the frog section, which is rather unique, and yet it exists even today in a modern practice. For example, Prof. Vandemark of Eastman School of Music practices and teaches this type of a bow hold at present. In general however, the period underhand bow holds assume the position up from the frog at first quarter of a bow stick where the fingers touch and regulate the tension of the bow hair, and which is not the case in this drawing.
• Another unique characteristic of this instrument is a “Three Part” F hole that consists of the upper curve, the middle break and the lower curve. Therefore there is no single cut F hole, but instead we see several holes that mimic the letter “F.”
• Otherwise, this instrument appears to have five strings so presumably it should also have five pegs, although from the visible side of the peg box one may note only the two pegs.
• This etching was most likely produced at Munich where the author was active after 1586, according to his biography posted at the British Museum Page . To support further this thesis, one may also see the inscription at the bottom of the image that says Serenis Bavariae Ducis. Thus if in Bavaria, very likely Munich too. The Virtuelles Kupferstichkabinett however for some reason dates this image with the time span of 1576-1600.

Further Research:
• This exquisite engraving along with the other images that depict mid sized four and five stringed bass instruments should be systematized further in detail, and then compared with period sources that may point to their names and tunings as well.

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

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1596

Musicians
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Detail
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De Vries, Hans Vredeman and Paul Vredeman de Vries. Palastarchitektur mit Musizierende (Palace Architecture with Musicians). Painting, 1596, Prague, Austrian Empire. Located in Kunsthistorisches Museum, Vienna, Austria, i.n. Gemäldegalerie, 2336.
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Official Page – Kunsthistorisches Museum
Page – PubHist.com
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Bibliography:
• Hans Vredeman de Vries – Wikipedia.org

Notes:
• According to the Kunsthistorisches Museum notes this lovely music assembly was apparently painted by Vredeman de Vries during his stay at the Prague court at 1596. The painting signature says “HANS (Ligatur) VREDEMAN (Ligatur) VRIESE INV. 1596,” which should point to Hans Vredeman de Vries. Yet, the page also cites his son Paul Vredeman de Vries, among the authors. Further research may offer why is the second authorship mentioned but according to Vries wiki biogprahy, it appears that his son was with him during his stay in Prague.
• The scene depicts an ensemble of seven musicians and listeners. Among them, in the center there is a stringed bass instrument player as well.
• This bass instrument is performed in standing position while it rests on a stool. The bridge position is relatively low and below the F holes, as was the custom at the time. Also, if the image can be trusted, this instrument is set with four strings while the number of pegs may not be discerned.
• One other interesting detail is that apparently there is no tailpiece on this instrument, as the strings seem to end up with the bridge (?) Whether that may just be an omission, or in fact is an example of a bowed instrument where the bridge is an end point for the strings, is to be figured. It may likely be an omission since the bridge appears of a normal type that stands alone, and is not embedded in the front plate.
• Lastly, it appears that Hans Vredeman de Vries has had three sons. Two of them were painters like himself, yet the fourth, Jacob Vredeman de Vries, was a composer that was noted as active in Leeuwarden, Netherlands. So De Vries the father certainly was aware of the musical trends of the time if his son was a musician himself.

Further Research:
• It would be worthwhile to investigate further of whether this painting represents an actual building in Prague or some other locality, or is simply an imagined courtly decorative architecture that features an idyllic courtly scene. Likewise, it would be of interest to find out, how much the musical assembly may have resembled the court musical events at the Prague of that time.

Predecessor Instrument Classes:
• pf[ predecessor instrument by function ]
• psh[ predecessor instrument by shape ]

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1597

Annunciation
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Detail
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El Greco (Domenikos Theotokoppulos). The Annunciation. Oil painting, 1597-1600, Commissioned for the Colegio de la Encarnación, Madrid, Spain. Located at Museo Nacional del Prado, Madrid, Spain, cat. no. P003888.
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Official Page – Museo del Prado
Image View – Wikimedia.org
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Official Page – Museo Nacional Thyssen-Bornemisza, Madrid (replica)
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Bibliography:
• place for future bibliographic entries

Notes:
• This angel with a stringed bass instrument is located at the upper “heavenly” section of El Greco’s The Annunciation painting, which is dedicated to the Biblical Annunciation moment when Mary accepts the message of the Archangel Gabriel. The bass fiddle is part of the celestial angelic orchestra which adorns with music the very moment.
• Given the prominence of El Greco, it certainly is interesting to consider what kind of an instrument is presented here, and whether it may fit in some way in the bass history as well. The initial impression is that this instrument may not be as big, yet on the other hand when looked from some distance it may appear that the angel is playing it in the standing position, which would then leave a matter open on whether such an instrument was played on a small podium in reality as well.
• The scroll section of this instrument is different from the majority of 16^th century scroll designs as it is not of a “Slanted and Curved” design, but reminds very much of the modern violin form that most bassist will recognize on their own instruments today. Furthermore, there are only two pegs depicted, so this may be a four or five stringed instrument of a kind.
• The body of an instrument shows also a violin form with a rosetta and two wavy sound holes, while the bridge is positioned lower than them. The ribs of this instrument appear to be thicker than in many other 16^th century counterparts, and that may also indicate the more advanced design.
• So then the question that remains is, if this painting was produced in Spain, could this instrument be an Italian import or was it already made in Spain as well?

Further Research:
• This instrument may remind of some mid sized bass instruments that are already classified as viola da gambas, yet if by chance it has only four strings, then that would be a difficult classification to fit in respect to gambas. Otherwise, El Greco did leave another painting which also presents a bass fiddle within an angelic assembly, and that is The Concert of Angels 1608-1614 now held at National Gallery of Athens in Greece – Official Painting Page . What is of most remarkable interest is that this painting was made in Toledo, Spain some years after The Annunciation. And yet it shows an instrument with older characteristics such as a slanted and curved peg box, a narrower and more gamba form. It is also played by a seated performer. This all in turn may again mean that the instrument we see in The Annunciation may be of a more modern provenance.
• All of the above notes and observations should lead to a more systematic inquiry into the music of El Greco’s surroundings during his stays, both in Italy and Spain. It would also be of interest to investigate if El Greco has had any musical contacts and acquaintances, or have perhaps played even himself a musical instrument?

Other Media:
• The Annunciation by El Greco – 1597-1600 – Prado Museum – YouTube.

This video was filmed on location in Prado in proximity of the very painting, so you may see how it actually looks in realty as exhibited. Besides the story of the painting, this video also explains how this painting would have fit in the church altar construction, for which it was originally made. About 6:25 the narrator covers the “Celestial Orchestra” section of the painting where our instrument is described as “kind of viola,” which technically it is, the question is only of what kind, if we can actually determine it.

• The Annunciation – El Greco – Kelly Bagdanov – YouTube

Presented is an excellent video which offers not only a guide tour of The Annunciation, but covers many details of El Greco’s life and style as well. Should you wish to focus only on The Annunciation you may start the video by 4:04-5:12 with the section “Reading the Annunciation,” The other section of interest is “Angelic Orchestra” which plays at 11:00-11:30.

Also in text at KellyBagdanov Blog – El Greco’s Annunciation

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

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1597

Musarum Officia
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Detail
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Hondius, Hendrik I. Musarum Officia (The Services of Muses). Copper Engraving, 1597, Hague, Netherlands. Located at Herzog Anton Ulrich-Museum, Braunschweig, Germany, m.n. HHondiusdÄ WB 3.3.
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Official Page – Virtuelles Kupferstichkabinett (HAUM)
Image View – Virtuelles Kupferstichkabinett (HAUM)
Official Page – Rijksmuseum.nl  [ o.n. RP-P-1881-A-4765 ]
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Bibliography:
• Hendrik Hondius I – Wikipedia.org

Notes:
• Presented are Nine Muses and among them a lovely Muse who plays a period stringed bass instrument of a unique shape. This is also one of the most detailed presentations of a period late 16^th century instrument, as the detail offered is almost at the photographic level.
• This instrument is played in seated position, sideway and by leaning on the right leg. It has a slanted and curved peg box, four pegs, four strings, a low bridge and a tailpiece that appears to be connected directly to the lower part of the front plate. Possibly there may be a wood block right behind the connecting point as otherwise the “connection” would not last long.
• Visible are eight separate sound holes grouped in the formation by two at the each four sections of the front plate, also a rosetta which is located in the middle of the front plate.
• The neck shows some nine gut frets of which two appear to be under the fingerboard in the upper positions.
• Naturally the question immediately appears of how was this instrument tuned and whether it was reaching below the 8 foot register? Otherwise, when the string length is compared to the lady Muse stature, it looks that there is enough of the string length to allow a substantial bass sound.

Further Research:
• In respect to the very setting of this image, which depicts nine muses, one can certainly wonder how well the muses may represent the period Hague music making of the late 16^th century and with what instruments.

Predecessor Instrument Classes:
• pf[ predecessor instrument by function ]

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1598

Minstrels
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Detail
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Kuhl, H. Minstrels (Full title: König David mit Weihrauchfass und Spielleuten, translated: King David with Censer and Minstrels). Painting, 1598, Church of St. Martin in Memmingen, Germany. Located at Schloss Illerfeld, county of Memmingen, Germany, m.n. N/A (location, southwest room).
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Official Page – Bildindex.de
Image View – Bildindex.de
Official Page – Deceknmalerei.eu
Image View – Kimbaltrombone.org (color)
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Bibliography:
• Schloss Illerfeld – Memmingen County – Deckenmalerei.eu

Notes:
• This painting was located formerly at the Church of St. Martin in Memmingen, where it was a part of organ shutters for an organ built in 1597. The shutters were painted in 1598 by H. Kuhl. No further information was located on H. Kuhl. These and other paintings were in 1828 removed from the St. Martin church due to an organ reconstruction/relocation and installed in the ceiling at one of the rooms at Schloss Illerfeld. At the present, some of those paintings appear to hang on the wall as exhibits. Info from Deceknmalerei.de.
• In this painting we see Minstrels or Maistersingers as they were called in Germany at the period, and among them a standing musician with a large stringed bass fiddle. This instrument shows two rather large and elongated C holes, a bridge set below them, a rosetta and a slanted and curved peg box that has some 6 (possibly more) pegs. The presentation of the strings does not appear so accurate but there should be four or five, if not more. The bow used to play this instrument is rather large and with high arch, so that it almost represents a hunting bow in form. In that respect, the bow size and form are very similar to the one depicted in Du Pont – Musicians – 1534 .
• In respect to the overall shape, this instrument shows similarities to the one featured in Anonym – Collegium Musicum – 1590 . The form outline and the elongated C holes are very similar while the instrument at Collegum Musicum played in seated position, and which may appear smaller in size when compared to the one depicted here.

Further Research:
• It would be nice to research further the instrument music tradition of German Minstrels / Maistersingers and see if any correlation to their practice may be seen in this lovely painting. Likewise, it would be nice to investigate whether there are any references in Maistersinger bibliography that may point to an instrument such as one depicted here.

Predecessor Instrument Classes:
• ps[ predecessor instrument by size ]
• pf[ predecessor instrument by function ]

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1598

Angel Musician
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Detail
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Morazzone (Mazzuchelli, Pier Francesco). Angel Musician.  Black Chalk Drawing, c. 1598-1599, Varese, Lombardy, Italy. Located at J. Paul Getty Museum, Los Angeles, CA, United States, o.n. 86.GG.16.
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Official Page – The J. Paul Getty Museum
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Bibliography:
• Pier Francesco Morazzone – Rct.uk
• Basilica di San Vittore Martire (Varese) – Wikipedia.org
• Basilica di San Vittore Martire (Varese) – Tripadvisor.it (many images, yet not the sought one)
• Basilica di San Vittore Martire (Varese) – Comnuinta Pastorale (official church congragation page)

Notes:
• The J. Paul Getty Museum record notes say that this is a cello, however, and pending on the perspective of the view, this instrument may also be perceived a somewhat larger stringed bass instrument, and thus it is cited here. This instrument was likely a type of a period Violone.
• The outline of this instrument shows a basic violin family shape, yet how wide it is in respect to traditional violin family, may be difficult to determine from the presented perspective. Likewise, this image is not precise enough to show the number of pegs, for a consideration on the number of strings. The back view perspective does not afford us to see the front plate details or the position of the bridge either.
• However, this instrument appears to be performed in a standing position and may even have been equipped with an endpin, although in the drawing the lover section of the instrument is covered, so we do not know if there was an endpin, or if the instrument was resting on a type of a small podium.
• The Getty Museum page says “Morazzone produced the drawing in preparation for a ceiling fresco, completed in 1599, showing music-making angels in the vault of a rosary chapel in Lombardy. The basic architectural frame is similar in the drawing and the fresco.” An attempt was made to locate this particular fresco online, but without success. Hopefully such an image may emerge in the future.

Further Research:
• It would be necessary to discover an image of the actual fresco that was derived from this drawing, and which now resides in Basilica di San Vittore in Varese, as then it may be possible to compare the likeness of the instrument in both sources and make further observations. It would also be nice to investigate further the period 16^th and 17^th century music activities in the Basilica di San Vittore Martire for any information on their music ensembles, and possible citations of bass instruments in use at that time.

Predecessor Instrument Classes:
• pf[ predecessor instrument by function ]
• psh[ predecessor instrument by shape ]

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Created by Igor Pecevski

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Posted: April 25, 2023