Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)

Abstract

Abstract This article examines the depiction of sexual propo­sition, the corruption of female virtue and the ambivalent allurements of secular music in a pair of 16th-century Concert paintings by the Venetian artist Bernardino Licinio. It argues that Licinio’s multi-figure concerts, centred on the music-making of young women, both parody and invert the classical elegiac theme of the pauper amans, the impoverished poet-lover who condemns the power of wealth and bestows poetry instead of gold on his beloved, only to be rejected due to her vanity and materialism. The pauper amans theme appears in several 16th-century Venetian strambotti and early madrigals, which are decidedly satiric in tone. In his paintings, Licinio reverses the familiar roles of poet and beloved, and the refined music of the virtuous-seeming young woman is challenged by the dissonant sound of her older male admirer shaking a purse full of coins or by his bold physical advances, which impede her playing. The dissonant and crude gesture of offering her coin payment equates the young woman’s art of music with her sexuality. It alleges not only her corruptibility and low status as a piece of merchandise for sale, but also debases the spiritually elevating art of music, with its noble and abstract figurations of love. The motif of the shaken purse with its ‘music of gold’ first appears in the Venetian dialect comedy La buelsca (c.1514), and is repeated in a series of later songs and poems centred on the subject of the grasping, mercenary prostitute in the 1520s and 30s. Licinio’s paintings play with such popular literary and musical themes but ultimately prefer visual ambiguity and unresolved narrative tension to their frankness and specificity.