1800
A new military symbolism for trombone begins to emerge. For example, in Cherubini’s opera, Les deux journées (1800), and Dalayrac’s opera, Léhéman (1801), the trombone’s use almost always coincides with appearance of soldiers (Guion, Trombone 194).
Late 18th-early 19th century—Paris, France: “Un tromboniste,” a portrait by Henri-François Riesener, features a musician with a rear-facing trombone (see below image; public domain; Detroit Institute of Arts). Special thanks to Tassos Dimitriadis.