What does a painting sound like? A canvas from 1691 by the French artist Pierre Mignard shows us Cecilia, the patron saint of musicians, surrounded by musical instruments. She is playing the arpa doppia, the Italian chromatic harp of the 17th C. which inexplicably never became fashionable in France. But what if it had? What music would have been played on it? Italian music? French music? The total absence of French harp repertoire from the 17th C. is all the more perplexing in the light of the flying advance of the single-action pedal harp in the second half of the 18th C., and forces me to look at other instruments' repertories when imagining what a French harpist would have played in 1691. Although the sound of the harp does resemble that of the lute, I choose to borrow from the harpsichord, as most 17th C. keyboard repertoire is readily playable on a chromatic harp, whereas lute music would – now, as in 1691- have to be first transcribed from tablature and then transposed to better suit the compass of my instrument.