This painting seems to be in the same hand as the artist who painted the putti in images 1 to 4.  It is on the tail of the instrument which was widened in 1750 ravalement to which the other paintings can be dated.  The join in the wood of the tail at the right-hand-side of the painting has been carefully and accurately concealed in the process of gessoeing and gilding the widened tail so that it is now entirely invisible.