Ficedula, Piuoyne (The Bullfinch), from "Livre d'Oyseaux" (Book of Birds) 1650 - 1665

Albert Flamen created this print of bullfinches, or "piuoyne" as the title tells us in old French, as part of his "Book of Birds." It was made in France in the 17th century. But the image of birds also has a history. In the medieval period, bird imagery was frequently used in illuminated manuscripts, often symbolizing virtues or vices depending on the species. By the 17th century, naturalism was becoming fashionable, and the rise of scientific inquiry prompted artists to create detailed studies of the natural world. Prints like this one were made for collectors and connoisseurs, a growing bourgeoisie who wanted to study and appreciate the natural world from the comfort of their homes. The choice of a common bird such as a bullfinch may also signal the growing democratization of art patronage, appealing to a broader audience beyond the aristocratic elite. To understand this work better, researchers might explore early ornithological texts, collectors' inventories, or even emblem books that ascribe symbolic meanings to various birds. This helps us understand how artistic trends mirrored shifts in scientific understanding and social structures.