Editing Josquin des Prez (section)

==Portraits==
{{multiple image|total_width=425
| image1 = Leonardo da Vinci - Portrait of a Musician - Pinacoteca Ambrosiana.jpg
| image2 = Filippo Mazzola 001.jpg
| footer =
(Left) The ''[[Portrait of a Musician]]'' by [[Leonardo da Vinci]], mid 1480s, in which Josquin has been tentatively proposed as the sitter
(Right) Early 16th-century painting attributed to [[Filippo Mazzola]], with a man holding the canon by Josquin. It may depict Josquin or {{ill|Nicolò Burzio|it}}.
}}

A small [[woodcut]] portraying Josquin is the most reproduced image of any Renaissance composer.{{sfn|Elders|2013|p=27}} Printed in [[Petrus Opmeer]]'s 1611 ''Opus chronographicum orbis universi'', the woodcut is the earliest known depiction of Josquin and presumably based on an oil painting which Opmeer says was kept in the collegiate church of St. Goedele.{{sfn|Haggh|1994|p=91}} Church documents discovered in the 1990s have corroborated Opmeer's statement about the painting's existence.{{sfn|Haggh|1994|p=92}} It may have been painted during Josquin's lifetime and was owned by Petrus Jacobi ({{died-in|1568}}), a [[cantor]] and organist at St. Gudula, Brussels.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§8 "Portrait of Josquin"}}{{sfn|Elders|2013|p=27}} Following the will's instructions, the altarpiece was placed next to Jacobi's tomb, but it was destroyed in the late 16th century by Protestant [[iconoclast]]s.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§8 "Portrait of Josquin"}} Whether the woodcut is a realistic likeness of the oil painting remains uncertain;{{sfn|Wegman|2000|p=22}} Elders notes that comparisons between contemporaneous woodcuts based on original paintings that do survive often show incompetent realizations, putting the accuracy of the woodcut in question.{{sfn|Elders|2013|p=28}}

The ''[[Portrait of a Musician]]'', widely attributed to [[Leonardo da Vinci]],{{refn|The ''[[Portrait of a Musician]]'' has a complex and controversial history of attribution (see [[Portrait of a Musician#Attribution|§Attribution]]) but modern scholarship has secured at least a partial attribution to Leonardo.{{sfn|Syson|Keith|Galansino|Mazzotta|2011|p=95}}{{sfn|Zöllner|2019|p=225}} Fallows noted in 2020 that "no scholar in the last thirty years has disputed Leonardo's authorship, at least for the main body of the general painting."{{sfn|Fallows|2020|p=135}}|group=n}} depicts a man holding sheet music, which has led many scholars to identify him as a musician.{{sfn|Fallows|2020|p=135}} The work is usually dated to the mid-1480s,{{sfn|Zöllner|2019|p=225}} and numerous [[Portrait of a Musician#Identity of the sitter|candidates have been proposed]], including Franchinus Gaffurius and [[Atalante Migliorotti]], though none have achieved wide approval.{{sfn|Fallows|2020|pp=135–137}} In 1972, the Belgian musicologist {{ill|Suzanne Clercx-Lejeune|fr}} argued the subject is Josquin;{{sfn|Macey|Noble|Dean|Reese|2011|loc=§8 "Portrait of Josquin"}} she interpreted the words on the sitter's sheet music as "Cont" (an abbreviation of "[[Contratenor]]"), "Cantuz" ([[Superius|Cantus]]) and "A Z" (an abbreviation of "[[Alto|Altuz]]"),{{sfn|Marani|2003|p=164}} and she identified the music as Josquin's ''llibata Dei Virgo nutrix''.{{sfn|Fallows|2020|p=137}} Several factors make this unlikely: the painting does not resemble the Opmeer portrait, the notation is largely illegible{{sfn|Fagnart|2019|p=75}}{{sfn|Syson|Keith|Galansino|Mazzotta|2011|p=97}} and as a priest in his mid-thirties Josquin does not seem like the younger layperson in the portrait.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§8 "Portrait of Josquin"}} Fallows disagrees, noting that "a lot of new details point to Josquin, who was the right age, in the right place, had already served at least two kings, and was now rich enough to have his portrait painted by the best", but concludes that "we shall probably never know who Leonardo's musician was".{{sfn|Fallows|2020|p=137}}

A portrait from the early 16th century kept in the [[Galleria nazionale di Parma]] is often related to Josquin. It is usually attributed to [[Filippo Mazzola]], and is thought to depict the Italian music theorist {{ill|Nicolò Burzio|it}}, though neither the attribution nor sitter are certain.{{sfn|Fallows|2020|p=244}} The man in the painting is holding an altered version of Josquin's canon ''Guillaume se va chauffer''.{{sfn|Fallows|2020|p=245}} Fallows notes that the subject has similar facial features to the portrait printed by Opmeer, but concludes that there is not enough evidence to conclude Josquin is the sitter.{{sfn|Fallows|2020|pp=247–248}} Clercx-Lejeune also suggested Josquin was depicted in [[Jean Perréal]]'s fresco of the [[liberal arts]] in [[Le Puy Cathedral]], but this has not achieved acceptance from other scholars.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§8 "Portrait of Josquin"}} An 1811 painting by {{ill|Charles-Gustave Housez|fr}} depicts Josquin;{{sfn|MoC}} it was created long after the composer's death, but Clercx-Lejeune has contended that it is an older portrait which Housez restored and modified.{{sfn|Reese|1984|p=16}}