Click on any image in the gallery to see full-size versions and details about the image. Images are arranged in rough chronological order.
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Symphonia Platonis cum Aristotele, & Galeni & Hippocrate
D. Symphonarii Champerii, Symphonia Platonis cum Aristotele, & Galeni & Hippocrate: Hippocratica philosophia ejusdem, Platoni medicina de duplici mundo, cum ejusdem scholiis: speculum medicinale Platonicum & apologia litteratum humaniorum (Paris : I. Badio, 1516) -
Rosso Fiorentino, Le Défi des Piérides (1520s)
Rosso Fiorentino, Le Défi des Piérides. Musée du Louvre, Paris, France (1520s). -
Jean de Gourmont the Elder, L’Adoration des bergers (c. 1525).
The painter, printmaker, and engraver Jean Gourmont the Elder (c. 1483– c. 1552) was born in Normandy but worked in Paris and later in Lyon. Musée du Louvre, Paris, France (c. 1525). -
Detail of Jean de Gourmont the Elder, L’Adoration des bergers (c. 1525).
The painter, printmaker, and engraver Jean Gourmont the Elder (c. 1483– c. 1552) was born in Normandy but worked in Paris and later in Lyon. Musée du Louvre, Paris (c. 1525). -
Gratien Du Pont, "Description de l'armée 3" (1534)
Gratien Du Pont, "Description de l'armée 3" (1534) Bibliothèque municipale de Toulouse. -
Orus Apollo with two viols.
De la signification des notes hieroglyphiques des Aegyptiens, cest a dire des figures par les quelles ilz escripvoient leurs mysteres secretz, & les choses sainctes & divines (Paris, 1543), 52. -
Bed head of silk satin, France, 1550-1570.
Bed head of silk satin, France, 1550-1570. London, Victoria & Albert Museum, T.405-1980 -
Orpheus and the Muses
In the Entrée à Rouen du Roi Henri et de la Reine Catherine de Médiçis en 1550, an arch depicts Gallic Hercules, a symbol of Henri II, battling the many-headed hydra. Orpheus and the Muses perform music that brings Peace instead of War. -
Viols in the Musicians’ Balcony in the Salle de Bal at the Château de Fontainebleau.
The Salle de Bal and balcony was begun under François I and completed by his son Henri II. The room was decorated by the Italian artist Francesco Primaticcio, who arrived at François I’s court in 1532. The workshop of Nicolo dell’Abbate completed the work between 1552 and 1556. -
Detail of viols in the Musicians’ Balcony in the Salle de Bal at the Château de Fontainebleau.
The Salle de Bal and balcony was begun under François I and completed by his son Henri II. The room was decorated by the Italian artist Francesco Primaticcio, who arrived at François I’s court in 1532. The workshop of Nicolo dell’Abbate completed the work between 1552 and 1556. -
Concert des Dieux
Copy after Francesco Primaticcio, Concert des Dieux, Pen and Ink. INV. 8679, Recto Département des Arts graphiques, Le Louvre, Paris, France. Another copy is housed in l'Ecole nationale supérieure des Beaux-Arts de Paris (Inv. M. 1154) -
Apollon et les Muses sur le Parnasse. Fresco in la Salle de Bal at the Château de Fontainebleau.
The Salle de Bal and balcony was begun under François I and completed by his son Henri II. The room was decorated by the Italian artist Francesco Primaticcio, who arrived at François I’s court in 1532. The workshop of Nicolo dell’Abbate completed the work between 1552 and 1556. -
Apollon et les Muses sur le Parnasse. Fresco in la Salle de Bal at the Château de Fontainebleau.
The Salle de Bal and balcony was begun under François I and completed by his son Henri II. The room was decorated by the Italian artist Francesco Primaticcio, who arrived at François I’s court in 1532. The workshop of Nicolo dell’Abbate completed the work between 1552 and 1556. -
Niccolò dell'Abate, Apollo surrounded by the Muses.
Apollo playing, surrounded by the Muses on Mount Parnassus, design for a spandrel; Pegasus behind him, women with musical instruments surrounding, one with a book below Pen and brown ink, with brown wash, heightened with white, over black chalk, on light brown paper. The British Museum. -
Niccolò dell'Abate, Apollo surrounded by the Muses.
Pen and ink, with grey wash, heightened with white bodycolour; Royal Collection Trust (United Kingdom). A drawing of Apollo, who is playing the viol on Mount Helicon, surrounded by the Muses, who are playing various instruments. The hindquarters of Pegasus, the winged horse, can be seen at upper left. The drawing has been squared in black chalk. The drawing is a copy after a sheet in the Albertina (Inv. 1968). Another version is in the Louvre (Inv. 4855). Inscribed at lower right: . On the verso is an unidentified paragraph. -
Renaissance vase in the Château de Fontainebleau.
The scenes on the vase depict François I watching Leonardo da Vinci paint the Mona Lisa. A female figure plays a viol next to François I. Exact date unknown. -
Detail of Renaissance vase in the Château de Fontainebleau.
The scenes on the vase depict François I watching Leonardo da Vinci paint the Mona Lisa. A female figure plays a viol next to François I. Exact date unknown. -
Léon Davent, "A King Kneeling Before an Altar"
Léon Davent, "A King Kneeling Before an Altar" (c. 1540–45) The Met, NYC, USA. -
Detail of Léon Davent, "A King Kneeling Before an Altar"
Léon Davent, "A King Kneeling Before an Altar" (c. 1540–45) The Met, NYC, USA. -
Léon Davent, The Apostles Looking at Christ and the Virgin in Glory (c. 1540–56)
Fontainebleau School. Engraving. -
Baptiste Pellerin, La Musique
Baptiste Pellerin, La Musique (circa 1542-1575). Département des Arts graphiques. Le Louvre. Paris, France. -
Pellerin, La Musique (detail)
Baptiste Pellerin, La Musique (circa 1542-1575). Département des Arts graphiques. Le Louvre. Paris, France. -
Antoine Caron, Mariage d'Henri II et de Catherine de Médicis
Antoine Caron, Mariage d'Henri II et de Catherine de Médicis. RF 29752.11, Recto Département des Arts graphiques. Le Louvre. Paris, France. -
Antoine Caron, Jeux funèbres autour de la pyramide du roi Mausole
Antoine Caron, Jeux funèbres autour de la pyramide du roi Mausole This drawing was made as part of la Suite d'Artémise, a manuscript offered by Nicolas Houel, to Catherine de Médicis. RF 29752.3, Recto. Département des Arts graphiques. Le Louvre. Paris, France. -
Antoine Caron, The Progeny of Henri II and Catherine de' Medici (c. 1556)
An encomiastic image of Henri II, Catherine de' Medici, and their ten children. The medallion on the right shows Apollo and his muses, which symbolizes the couple's protection and patronage of the arts. One of the muses plays a bowed string instrument. -
Ripped page depicting a five-string French viol.
Philibert Jambe de Fer’s L’Épitome Musical (Lyons, 1556). -
Two angels, one playing a viol and one playing a lute.
Mathieu Sohier, Missa cum quinque vocibus, ad imitationem moduli Vidi speciosam, condita (Paris, 1556). -
A cherub playing a viol.
Joanne Maillard, Missa ad imitationem Moduli (M'amie un jour) (Paris, 1558). -
La Musique
La Musique, part of a series of seven frescos of the Liberal Arts, Chambre des Arts Ancy-le-Franc, Château Ancy-le-Franc, Burgundy, c. 1560s -
The Lion of Barbarossa by Antoine Caron (1562).
Cherubs are depicted playing a lute and a viol on the framed image on the left. The Lion of Barbarossa was a diplomatic gift from from the Ottoman embassy to France to François I in 1533. François I received the Ottoman embassy on 19 July in Marseilles, where he was attending the wedding of Henri d'Orléans to Catherine de Médicis. -
Detail of the Lion of Barbarossa by Antoine Caron (1562).
Detail of a cherub depicted playing a viol. The Lion of Barbarossa was a diplomatic gift from from the Ottoman embassy to France to François I in 1533. François I received the Ottoman embassy on 19 July in Marseilles, where he was attending the wedding of Henri d'Orléans to Catherine de Médicis. -
Baptiste Pellerin, Le char des licornes
Baptiste Pellerin, Le char des licornes from a series of 39 images titled L’Histoire de la reine Artémise (1563–70) BnF, département des Estampes et de la Photographie, RÉSERVE AD 105, fol. 24. -
Gaspard Duiffoprugcar
Engraved by Pierre II Woeiriot de Bongey, 1565. Colored version in: Vierter Thail Philippi Hainhoferi Lautenbucher HAB Cod. Guelf. 18.8 Aug. 2°; Heinemann-Nr. 2214 -
A consort of cherubs playing viols.
Claude Goudimel, Sizieme livre de pseaumes de David mis en musique a quatre parties en forme de motetz (Paris, 1565). -
Étienne Delaune, "Phisique" (1567)
Étienne Delaune, "Phisique" 1567. Musée du Louvre. Paris, France. -
Etienne Delaune after Niccolò dell' Abate Apollo on Mount Parnassus, 1569
Etienne Delaune after Niccolò dell' Abate Apollo on Mount Parnassus, 1569 National Gallery of Art, Washington, D.C., USA -
Valence, England or France, 1570—1599.
Valances were the borders or bands that ran around the two sides and end of a bed, hiding the bed rail or the place from which the bed curtains were suspended. The style and workmanship of this valance suggests that it was made in a professional workshop either in France itself or under strong French influence. Although a partial inscription on the valance is in French, as French was the courtly language of the time this does not necessarily indicate a French origin for the piece. Scottish Design Galleries, V&A Dundee, United Kingdom -
A viol crossed with a lute, two cherubs playing viols, and a woman or use playing a viol.
Pierre Certon, Les Meslanges (Paris, 1570). -
Engraving of "Rhetoric" by Etienne Delaune (1569)
Part of a series of six prints based on The Liberal Arts (Les Arts Libéraux) including: La Grammaire, L'Arithmétique, La Géométrie, La Rhétorique, La Jurisprudence, La Sagesse. This print plausibly depicts Erato, muse of lyric poetry, or Calliope, muse of Epic poetry. Copies held in: Strasbourg, Cabinet des Estampes, Pl. 138.23 and Rennes, Musée des Beaux Arts, série de six Allégorie des sciences, inv 4022 à 4026. (Thanks to Bettina Hoffman for bringing this image to our attention.) -
Cherubs playing a bowed bass instrument, an organ, a harp, and a lute.
Wedding charter of Jehan de Rivery and Fluvie de la Rivyre (1572). Illumination on parchment. Lyon, Musées Gadagne, Inv. 37.65. -
Three four-string viols on a tapestry depicting a ball held by Catherine de’ Medici in 1573.
Three four-string viols on a tapestry depicting a ball held by Catherine de’ Medici in 1573 at the Parisian Tuileries Palace in honor of Polish envoys visiting to present the throne of Poland to her son Henry, Duke of Anjou, the future Henry III of France. The tapestry is one of a series, known as the “Valois Tapestries,” which celebrate the court festivals or “magnificences” of Catherine de’ Medici. Fête aux Tuileries en l’honneur des ambassadeurs polonais by François Quesnel. In August 1573, Catherine hosted lavish festivities for the Polish ambassadors who had arrived in Paris to offer the throne of Poland to her son, Henry, Duke of Anjou. -
Detail of three four-string viols on a tapestry depicting a ball held by Catherine de’ Medici.
Three four-string viols on a tapestry depicting a ball held by Catherine de’ Medici in 1573 at the Parisian Tuileries Palace in honor of Polish envoys visiting to present the throne of Poland to her son Henry, Duke of Anjou, the future Henry III of France. The tapestry is one of a series, known as the “Valois Tapestries,” which celebrate the court festivals or “magnificences” of Catherine de’ Medici. Fête aux Tuileries en l’honneur des ambassadeurs polonais by François Quesnel. In August 1573, Catherine hosted lavish festivities for the Polish ambassadors who had arrived in Paris to offer the throne of Poland to her son, Henry, Duke of Anjou. -
Antoine Caron Catherine de Medici entertaining the Polish ambassadors in the Tuileries Gardens.
A court ball in a park Festival given by Catherine de' Medici at the reception of the Polish ambassadors in the Tuileries Gardens. (drawing 1573). A representation of an actual historical event, this drawing presents a view of the formal Tuileries Gardens extending in the background and, in the foreground, a very large group of people gathered around a constructed tower from which musicians (six visible) play various musical instruments (probably lyre, violin, viola or viol, viola da gamba, lute). In August 1573, Catherine hosted lavish festivities for the Polish ambassadors who had arrived in Paris to offer the throne of Poland to her son, Henry, Duke of Anjou. Harvard Art Museums/Fogg Museum [Museum inv. no.: 1964.74]. -
Viols carved into an organ case in the Collégiale Notre-Dame des Andelys (1573).
Organ case in the collégiale Notre-Dame in Les Andélys (Haute-Normandie). Organ case carved by Nicolas Dabenet in 1573. -
Viols carved into an organ case in the Collégiale Notre-Dame des Andelys (1573).
Organ case in the collégiale Notre-Dame in Les Andélys (Haute-Normandie). Organ case carved by Nicolas Dabenet in 1573. -
Viols carved into an organ case in the Collégiale Notre-Dame des Andelys (1573).
Organ case in the collégiale Notre-Dame in Les Andélys (Haute-Normandie). Organ case carved by Nicolas Dabenet in 1573. -
Women or muses playing instruments and showing the back of a viol (1577).
Orlando di Lasso, Missae variis concentibus (Paris, 1577). -
A bowed instrument on the Fountain in the Ballet comique de la Reine (Paris, 1581).
Girard de Beaulieu and his wife Violante (Yolande or Yolante) Doria sing a dialogue duet as Glaucus and Thetys in the Ballet comique de la Reine (Paris, 1581). Beaulieu, a celebrated bass singer, was usually named in court records as a "chantre." In one record from 1572 he is named a "chantre et joueur d'instrumens” and in one from 1677 he is referred to as a "joueur de lyre devant sa Magesté." In accounts from the queen's household in 1584, he and his wife are referred to as "musiciens et joueurs de luth." "Lire" in contemporary French was used to refer to the "lirone," which is possibly what Beaulieu is performing in this image. "Lire" could also signify a lute in contemporary parlance, but Jeanice Brooks argues against that interpretation for reading court documents, in which "lire" and "luth" ("lut" and "luc") are differentiated consistently. See Jeanice Brooks, "O quelle armonye: Dialogue Singing in Late Renaissance France." Early Music History Vol. 22, no. 1 (2003): 10–11. Bibliothèque Nationale, département de la Musique, Rés 117, fol. 14v. Engraved by Jacques Patin. -
Detail of a bowed instrument on the Fountain in the Ballet comique de la Reine (Paris, 1581).
Girard de Beaulieu and his wife Violante (Yolande or Yolante) Doria sing a dialogue duet as Glaucus and Thetys in the Ballet comique de la Reine (Paris, 1581). Beaulieu, a celebrated bass singer, was usually named in court records as a "chantre." In one record from 1572 he is named a "chantre et joueur d'instrumens” and in one from 1677 he is referred to as a "joueur de lyre devant sa Magesté." In accounts from the queen's household in 1584, he and his wife are referred to as "musiciens et joueurs de luth." "Lire" in contemporary French was used to refer to the "lirone," which is possibly what Beaulieu is performing in this image. "Lire" could also signify a lute in contemporary parlance, but Jeanice Brooks argues against that interpretation for reading court documents, in which "lire" and "luth" ("lut" and "luc") are differentiated consistently. See Jeanice Brooks, "O quelle armonye: Dialogue Singing in Late Renaissance France." Early Music History Vol. 22, no. 1 (2003): 10–11. Bibliothèque Nationale, département de la Musique, Rés 117, fol. 14v. Engraved by Jacques Patin. -
A large viol played by a triton in the Ballet comique de la Reine (Paris, 1581).
Bibliothèque Nationale, département de la Musique, Rés 117, fol. 16v. Engraved by Jacques Patin. -
Minerva and her chariot in the Ballet comique de la Reine (Paris, 1581).
Bibliothèque Nationale, département de la Musique, Rés 117, fol. 45r. Engraved by Jacques Patin. -
A cherub playing a viol.
Pascal de L'Estocart, Cent cinquante Pseaumes de David (Lyons, 1583) -
A "Escole de Musique," depicted by Nicolas Houël as part of his designs for his Maison de la Char
Serie des dessins de procession à la maison de la Charité chrétienne BnF, Département des Estampes, Pd. 30, Pl. 11. -
Detail of A "Escole de Musique," depicted by Nicolas Houël as part of his designs for the Maison
Serie des dessins de procession à la maison de la Charité chrétienne BnF, Département des Estampes, Pd. 30, Pl. 11. -
Cherubs playing various instruments, including a viol.
BnF, ms. fr. 9152, fol. 65, “Recherches de plusieurs singularités, par Françoys MERLIN, controlleur général de la maison de feu madame Marie-Élizabeth, fille unique de feu roy Charles dernier,… portraictes et escrites par Jacques Cellier, demourant à Reims.” (1583–1587) -
Cherubs playing a five-string French viol, a lute, a harp, and a flute.
BnF, ms. fr. 9152, fol. 163, “Recherches de plusieurs singularités, par Françoys MERLIN, controlleur général de la maison de feu madame Marie-Élizabeth, fille unique de feu roy Charles dernier,… portraictes et escrites par Jacques Cellier, demourant à Reims.” (1583–1587) -
Detail of a cherub playing a five-string French viol.
BnF, ms. fr. 9152, fol. 163, “Recherches de plusieurs singularités, par Françoys MERLIN, controlleur général de la maison de feu madame Marie-Élizabeth, fille unique de feu roy Charles dernier,… portraictes et escrites par Jacques Cellier, demourant à Reims.” (1583–1587) -
A five-string French viol from a series of drawings of musical instruments.
The text written across the bottom of the image reads: "The viol is distinguished from the violin only by the fact that it is tuned in fourths and by the belly which is much more swollen as one plays it resting on the feet." (La Violle differe seullement du violon en ce qu'elle s'accorde a la quarte et qu'elle est plus enfflée beaucoup que le violon par ventre se iouant sus le pied.) BnF, ms. fr. 9152, fol. 175, “Recherches de plusieurs singularités, par Françoys MERLIN, controlleur général de la maison de feu madame Marie-Élizabeth, fille unique de feu roy Charles dernier,… portraictes et escrites par Jacques Cellier, demourant à Reims.” (1583–1587) -
Viols depicted in Savigny's Tableaux. Accomplis de Tous les Arts Liberaux.
Christofle De Savigny, Tableaux. Accomplis de Tous les Arts Liberaux: Contenans Brieuement et Clerement Par Singuliere Methode de Doctrine, Vne Generale et Sommaire Partition des Dicts Arts, Amassez et Reduicts En Ordre Pour le Soulagement et Profit de la Ieunesse (Paris: Jean & François de Gourmont freres, 1587), P. -
Detail of viols depicted in Savigny's Tableaux. Accomplis de Tous les Arts Liberaux.
Christofle De Savigny, Tableaux. Accomplis de Tous les Arts Liberaux: Contenans Brieuement et Clerement Par Singuliere Methode de Doctrine, Vne Generale et Sommaire Partition des Dicts Arts, Amassez et Reduicts En Ordre Pour le Soulagement et Profit de la Ieunesse (Paris: Jean & François de Gourmont freres, 1587), P. -
Toussaint Dubreuil, Nude Child Playing with a Viola, c. 1589-1602
Toussaint Dubreuil, Nude Child Playing with a Viola, c. 1589-1602 Black and red chalk (verso) The J. Paul Getty Museum at the Getty Center Los Angeles, USA -
Detail of viols depicted in Savigny's Tableaux. Accomplis de Tous les Arts Liberaux.
Christofle De Savigny, Tableaux. Accomplis de Tous les Arts Liberaux: Contenans Brieuement et Clerement Par Singuliere Methode de Doctrine, Vne Generale et Sommaire Partition des Dicts Arts, Amassez et Reduicts En Ordre Pour le Soulagement et Profit de la Ieunesse (Paris: Jean & François de Gourmont freres, 1587), P. -
Detail of the left side panel of the facade of the Cloître de la Psalette (Tours, 16th century)
Cloître de la Psalette Cathédrale Saint Maurice, Saint-Gatien Tours The cloister of Psalette takes its name from the singing of psalms which rose from the adjoining music school. (Thanks to Bettina Hoffman for bringing this image to our attention.) -
A drawing of a viol, lute, organ, and other instruments.
BnF NAF 1895 “Recueil de chansons et « cantiques du comte d’Alsinois, Nicolas DENISOT, » et autres.” (16th century) -
Intarsia with alliance blazon of Anton Ryff and Margaretha Brunner, and musical instruments.
Schrank des Anton Ryff, Unknown (Swiss, 1592). Intarsia with alliance blazon of Anton Ryff and Margaretha Brunner, and musical instruments. Historisches Museum Basel [Museum inv. no.: 1887.160]. -
Philippe Thomassin (1562-1622), The ecstasy of St Cecilia
Philippe Thomassin (1562-1622), The ecstasy of St Cecilia After Raphael (Italian 1483-1520) -
Martial Reymond, Oval Dish: Apollo and the Muses; Fame
Martial Reymond, Oval Dish: Apollo and the Muses; Fame. Painted enamel on copper, partly gilded. Late 16th century. The Frick Collection. New York. -
Detail of Martial Reymond, Oval Dish: Apollo and the Muses; Fame
Martial Reymond, Oval Dish: Apollo and the Muses; Fame. Painted enamel on copper, partly gilded. Late 16th century. The Frick Collection. New York. -
Apollo and the Muses. Behind Apollo is a string instrument, perhaps a viol. (late 16th c.)
Manuscript offered to Marguerite de Valois Guy de la Garde, "L'arbre de l'amour de sapience dit de philosophie, mère de toutes sciences." (late 16th c.). Bibliothèque nationale de France. Bibliothèque de l'Arsenal, ms. 2673. -
Henri IV's entrée into Rouen in 1601
As part of Henri IV's entrée into Rouen in 1601, a viol player is perched on top of the gate to the first bridge. -
Large viols performing at a state funeral.
Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom (1611), 2. -
Detail of large viols performing at a state funeral.
Detail of Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom (1611), 2. -
Large viol performing at a state funeral.
Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom (1611), 7. -
Detail of large viol performing at a state funeral.
Detail of Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom (1611), 7. -
Large viol performing at a state funeral.
Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom, (1611) 9. -
Detail of large viol performing at a state funeral.
Detail of Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom, (1611) 9. -
Large viol performing at a state funeral.
Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom (1611), 10. -
Detail of large viol performing at a state funeral.
Detail of Dix grandes Tables contenantes les pourtraictz des ceremonies, honneurs et pompe funèbres, faitz au Corps de feu Serenissime Prince Charles 3 du Nom (1611), 10. -
Jan van Haelbeeck, Enigmes Joyeuses pour les Bons Esprits, Plate 8, ca. 1615
Jan van Haelbeeck, Enigmes Joyeuses pour les Bons Esprits, Plate 8, ca. 1615 Eighth plate of a group of 9 plates with small domestic scenes, engraved by Jan van Haelbeeck, which were either were made for, or reused by Jean Leclerc around 1615 in the sonnet series "Enigmes Joyeuses pour les Bons Esprits" The plate accompanies one of the sonnets of the Enigmes, which describes how the woman plays the viol, while also hinting to a slightly more erotic meaning. The BnF, Paris, France -
Jan van Haelbeeck, Enigmes Joyeuses pour les Bons Esprits, Plate 8, ca. 1615
Jan van Haelbeeck, Enigmes Joyeuses pour les Bons Esprits, Plate 8, ca. 1615 Eighth plate of a group of 9 plates with small domestic scenes, engraved by Jan van Haelbeeck, which were either were made for, or reused by Jean Leclerc around 1615 in the sonnet series "Enigmes Joyeuses pour les Bons Esprits" The plate accompanies one of the sonnets of the Enigmes, which describes how the woman plays the viol, while also hinting to a slightly more erotic meaning. The Met, NYC, USA -
Two men playing lute and viola da gamba.
Banquet of Herodes, Unknown (Switzerland, 1609). Embroidery, silk threads on silk. Schweizerisches Nationalmuseum, Landesmuseum Zürich. [Museum inv. no.: 24273] -
A woman or muse playing a viol.
Claude Le Jeune, Airs A III. IIII. V. et VI. Parties (Paris, 1608) -
Five-string bowed instrument in Ballet de la Délivrance de Renaud ou Ballet d'Armide
Ballet de la Délivrance de Renaud ou Ballet d'Armide, danced on 19 January 1617. Engraving of dialogue between a mage and soldiers in Discours au vray du ballet dansé par le Roy, le dimanche XXIXe jour de janvier. M. VIc. XVII . Avec les desseins, tant des machines & apparences differentes, que de tous les habits des masques (Paris, 1617), fol. 23v. -
The charlatan and street performer Tabarin performs with three string instruments.
Théâtre de Tabarin, engraved by Abraham Bosse, c. 1620 -
Detail of the charlatan and street performer Tabarin performs with three string instruments.
Théâtre de Tabarin, engraved by Abraham Bosse, c. 1620 -
Detail of woman or muse playing viol on frontispiece.
Pierre Ballard’s Airs de differents autheurs (Paris, 1621) -
Woman or muse playing viol on frontispiece.
Pierre Ballard’s Airs de differents autheurs (Paris, 1621) -
Frontispiece depicting the charlatan and street performer Tabarin with two string instruments.
Frontispiece to Inventaire universel des oeuvres de Tabarin. contenant ses fantaisies, dialogues, paradoxes, farces, rencontres, & conceptions (Paris: Pierre Rocollet et Antoine Estoc, 1622). -
Detail of Tabarin with two string instruments.
Frontispiece to Inventaire universel des oeuvres de Tabarin. contenant ses fantaisies, dialogues, paradoxes, farces, rencontres, & conceptions (Paris: Pierre Rocollet et Antoine Estoc, 1622). -
A cherub playing a five-string viol.
Anthoyne Boesset’s Airs de cour avec la tablature de luth (Paris, 1624) -
Detail of a cherub playing a five-string viol.
Anthoyne Boesset’s Airs de cour avec la tablature de luth (Paris, 1624) -
Musique servant de récit au Grand ballet (1625).
Workshop of Daniel Rabel. Designs for the Ballet des Fées des Forests de Saint-Germain, danced for Louis XIII at the Louvre on 9 February 1625. Music by Antoine Boësset and a livret by René Bordier. Bibliothèque nationale de France, département Estampes et photographie, RESERVE FOL-QB-3 -
Detail of Musique servant de récit au Grand ballet (1625).
Workshop of Daniel Rabel. Designs for the Ballet des Fées des Forests de Saint-Germain, danced for Louis XIII at the Louvre on 9 February 1625. Music by Antoine Boësset and a livret by René Bordier. Bibliothèque nationale de France, département Estampes et photographie, RESERVE FOL-QB-3 -
A five-string French viol as illustrated in Jambe de Fer and Mersenne.
A five-string French viol as illustrated in Philibert Jambe de Fer’s L’Épitome Musical (Lyons, 1556) and later reprinted in Marin Marsenne’s Harmonie Universelle (Paris, 1636) -
A viol on a frontispiece of a collection including fantaisies by Moulinié.
Estienne Moulinié, Cinquiesme livre d’airs de cour a quatre & cinq parties. Paris: Pierre Ballard, 1639. -
Ballard's frontispiece featuring a group of cherubs playing a viol consort (1642).
Nicolas Métru, Fantaisies a deux parties, pour les violles (Paris: Robert Ballard, 1642). -
Nicolas Poussin's Concert d'Amours
Nicolas Poussin Concert d'Amours (c. 1625—1650) France, Musée du Louvre, Département des Peintures -
Nicolas Poussin, "Parnassus" (1630–31)
Nicolas Poussin, "Parnassus" (1630–31) Museo Del Prado, Madrid, Spain Based on a fresco by Raphael at the Vatican. -
Nicolas Tournier, Le Concert, (c. 1630-1635
Nicolas Tournier, Le Concert, (c. 1630-1635 Louvre Museum, Paris, France -
Pierre Mignard "Angel's Concert in Clouds" (ca. 1640 – 1660)
Pierre Mignard "Angel's Concert in Clouds" (ca. 1640 – 1660) Städel Museum, Frankfurt am Main, Germany -
Detail of a ceiling painting at Château de Vaux-le-Vicomte (Charles Le Brun?).
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A ceiling painting at Château de Vaux-le-Vicomte (Charles Le Brun?).
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Two viols on the frontispiece to Denis Gaultier's Rhétorique des Dieux (ca. 1652)
Engraving by Abraham Bosse.