Tartu recorder); a seventh hole that produces a semitone instead of a tone; and a flat or truncated head, instead of the narrow beak found on later instruments. Additionally, the Esslingen fragment has turnings similar to the Göttingen recorder. No complete instruments larger than have survived, although the Esslingen fragment may represent a larger recorder. The widely spaced doubled seventh hole persisted in later instruments. According to Virdung (1511), the hole that was not used was plugged with wax. It was not until the Baroque period, when instruments with adjustable footjoints were developed, that widely spaced double holes became obsolete. The classification of these instruments is primarily complicated by the fact that the seventh hole produces a semitone instead of a tone. As a result, chromatic fingerings are difficult, and require extensive half-holing. These instruments share similarities with the six holed flageolet, which used three fingers on each hand and had no thumb hole. Anthony Rowland-Jones has suggested that the thumb hole on these early flutes was an improvement upon the flageolet to provide a stronger fingering for the note an octave above the tonic, while the seventh finger hole provided a leading tone to the tonic. As a result, he has suggested that these flutes should be described as improved flageolets, and has proposed the condition that true recorders produce a tone (rather than a semitone) when the seventh finger is lifted. Controversy aside, there is little question that these instruments are at least precursors to later instruments that are indisputably recorders. Because there is sparse documentary evidence from the earliest history of the instrument, such questions may never be resolved. Indeed, historically there was no need for an all-inclusive definition that encompassed every form of the instrument past and present. Iconography Recorders with a cylindrical profile are depicted in many medieval paintings, however, their appearance does not easily correspond to the surviving instruments, and may be stylised. The earliest depictions of the recorder are probably in "The Mocking of Christ" from the monastery church of St George in Staro Nagoričano near Kumanovo, Macedonia (the painting of the church began in 1315) in which a man plays a cylindrical recorder; and the center panel of the "Virgin and Child" attributed to Pedro (Pere) Serra (c. 1390), painted for the church of S. Clara, Tortosa, now in the Museu Nacional d'Art de Catalunya, Barcelona, in which a group of angels