Yorkshire Feast Song) "An Eye for Optical Theory"- 5:09 (Ground in C minor (D221) [attributed to William Croft]) "Bravura in the Face of Grief"- 12:16 ("The Plaint" from The Fairy-Queen, Act V) The first music heard in the film is, in fact, a bit of Purcell's song "Queen of the Night." "The Disposition of the Linen," in its Nyman formulation, is a waltz, a form that postdates Purcell by The album was issued on compact disc in 1989 by Virgin Records, marketed in the United States by Caroline Records under their Blue Plate imprint. Initially this was indicated with a sticker; it was later incorporated into the back cover design in a much smaller size. The entire album has been rerecorded by the current lineup of the Michael Nyman Band. See The Composer's Cut Series Vol. I: The Draughtsman's Contract. Art references The visual references for the film are paintings by Caravaggio, de La Tour, Rembrandt, Vermeer and other Baroque artists and this gives the film a "painterly quality". Greenaway also said: "I consider that 90% of my films one way or another refers to paintings. "Contract" quite openly refers to Caravaggio, Georges de La Tour and other French and Italian artists". Reception The Draughtsman's Contract has a 97% approval rating on Rotten Tomatoes based on 31 reviews, with a weighted average of 8.3/10. The site's consensus reads: "Smart and utterly original, The Draughtsman's Contract is a period piece that marks the further maturation of a writer-director with a thrillingly unique vision". Roger Ebert, who gave the film a full four stars, wrote, "What we have here is a tantalizing puzzle, wrapped in eroticism and presented with the utmost elegance. [...] All of the characters speak in complete, elegant, literary sentences. All of the camera strategies are formal and mannered. The movie advances with the grace and precision of a well-behaved novel." In Slant, a mildly positive Jeremiah Kipp called it "a first, fledgling attempt at what he later perfected, but that modesty could be seen as a virtue, since there is indeed some form of narrative here instead of the nonlinear, compulsive list-making and categorization that drives some people crazy about his other films. [...] The story marches forward like a death march and is resolved with merciless efficiency." Danny Peary wrote that "Greenaway handles everything with such elegance that we are totally unprepared for the final act of