Angel-Trombonists, Italian Painters, and the 17th Century

Added another image of an angel-trombonist to the Early 17th Century Timeline (see images and timeline entry, below). Trombone history seems to replete with these striking paintings, particularly by Italian artists, depicting the sacred nature of the trombone. See especially 17th Century (first half) and 17th Century (second half).

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Proso di Piuro detailProso di Piuroc. 1641—Prosto di Piuro, Valchiavenna, Italy: A fresco in the vault of the presbytery of chiesa dell’Assunta painted by either Giovan Battista Recchi or his brother, Giovan Paolo Recchi, includes a trombonist among several angel musicians (see facing detail and full image, below; public domain) (Pescarmona 77).

Trombone History: What a Relief

Added the following image and entry to the 17th century (first half) trombone history timeline:

Weikersheim detailWeikersheim organ1602—Weikersheim Castle, Germany: An organ for the castle chapel is made by Georg Schweitzer. The case just below the organ contains an image of a trombonist performing with a flute, viol, and organ (see facing detail and full image below; public domain) (Völkl 39).

Trombone History: Another Curious Image

Added the below trombone images and entry to the 16th Century (first half) Timeline.  This particular trombone image shows characteristics of both a slide trumpet (e.g., the long bell section, the low brace between bell and slide that would preclude movement of a double slide) and a trombone (e.g., a possible double slide, the overall length, the way the instrument is not being gripped near the mouth, and the curve of tubing that extends behind the head). This depiction’s ambiguity places it among other “Curious Images” that may represent the transition between slide trumpet and trombone. As always, the thing to remember, of course, is that artwork is not always literal.

Fiammenghino-detailFiammenghino-medium1608—Gravedona, Italy: Glory of God the Father and the Angels, a fresco by Giovanni Mauro della Rovere (also known as Fiammenghino), located in the Church of Santi Gusmeo e Matteo, includes a depiction of what could be a trombone. The instrument has characteristics of both slide trumpet and trombone; it could simply be an awkwardly-rendered depiction of either instrument. Other nearby angel-musicians play viol, organ, flute, and lute (see facing detail and medium detail below; public domain) (Angelis 43).

Trombone History: Saint Cecilia and the Trombone

Added another image to the 17th Century (first half) timeline. St. Cecilia is, of course, the patron saint of musicians; it is said that she sang to God as she was dying. This particular painting seems to have a pretty clear depiction of at least one trombone, while hinting at two others nearby. Here’s the image and timeline entry:

Crespic. 1630—Italian artist Ortensio Crespi’s St. Cecilia includes one fairly clear depiction of a trombone at the foot of the painting, as well as what appear to be two additional partially-obscured trombones on the other side of the viol (see facing image; public domain).

Trombone History: Early Rear-facing Trombones

Found the below Italian fresco that features a rear-facing (or over-the-shoulder) trombone and added it to the early 17th century timeline. I know of only one other pre-19th century image that clearly shows such an instrument; I’ve included that image in this post as well (1578). Also included at the end of the post (since the entries are in reverse-chronological order) is what is perhaps a proto-rear-facing trombone from c. 1405. The fresco from c. 1615 is also of interest because it has only recently been restored (and, indeed, at the base of the photograph you can see what appear to be some restoration materials left in the picture). Also noteworthy in the painting is the trombone’s bell flare, which is more prominent than usual for this early date. Finally, as I have mentioned several times, it is quite arresting just how many trombone images originate from the 50-year period of 1601-1650.

c. 1615—Cislago, Italy: The Church of Santa Maria della Neve contains an anonymous fresco lunette featuring several angel musicians, including a trombonist. The trombone is particularly noteworthy because it is a rear-facing (sometimes called “over-the-shoulder”) instrument, an unusual configuration for this early date (see below image; public domain) (Morandi; Farioli). For another early rear-facing instrument, see 1578 in the 16th century timeline, where a cherub-trombonist is featured. In later centuries, particularly the 19th century, rear-facing trombones become much more common; the 19th century timeline includes at least 9 such images.

1578—Antwerp, Belgium: A set of masses by George de La Hele includes an image–an initial D in front of a group of cherub musicians–that features a rear-facing trombone being played by a cherub (also rear-facing) (see below image; public domain; Wangermée vol. 1 167).c. 1405—Paris, France: A grotesque from the Hours of Charles the Noble plays what is perhaps a proto-rear-facing trombone; there is no slide, but the similarity in general shape is obvious (see below image; public domain) (RIdIM/RCMI Inventory No. 8, p. 21).

Trombone History: More Trombone Angels

Added the below drawing and caption to the Trombone History 16th Century Timeline. I was only able to add the detail of the trombone, not the full image, because of some technical problems (I don’t think WordPress likes how big these pages are getting; I may have to start splitting up centuries), but I’ve included the full image in this post.

All these images of trombonists as angel-musicians (see also posts here and here, as well as the Trombone Timeline in general) seem to reflect the trombone’s role as a sacred instrument, an association that has faded over time, making these images somewhat surprising to modern eyes.

Brizio detailBrizioLate 16th century—Italy: Bolognese painter and engraver Francesco Brizio includes trombone among numerous angel-musicians in his study, Lunette with Musical Angels in the Clouds (see facing detail; public domain) (Bohn 532).