BRUEGEL THE HAND OF THE MASTER

The 450th Anniversary Edition BRUEGEL THE HAND OF THE MASTER

Essays in Context

Edited by Alice Hoppe-Harnoncourt, Elke Oberthaler, Sabine Pénot, Manfred Sellink and Ron Spronk CONTENTS

8 Introduction: 96 Pieter Bruegel the Elder and 210 Dendroarchaeology of the Panels ESSAYS FROM THE VIENNA EXHIBITION E-BOOK (2018) Bruegel between 2019 and 2069 Flemish Book Illumination by Pieter Bruegel the Elder in the Stefan Weppelmann Till-Holger Borchert Kunsthistorisches Museum, Vienna Pascale Fraiture 336 Leading the Eye and Staging the Composition. Some Remarks 12 Pieter Bruegel: A Preliminary 114 Traces of Lost Pieter Bruegel on Pieter Bruegel the Elder’s Reconstruction of his Network Paintings Revealed through 228 Bruegel’s Panel Paintings in Vienna: Compositional Techniques Jan Van der Stock Derivative Paintings, Phantom Some Remarks on their Research, Manfred Sellink Copies and Dealer Practices Construction and Condition 30 ‘Die 4. Jahrs Zeiten, fecit der alte Ingrid Hopfner and Georg Prast Hans J. van Miegroet 358 The Rediscovery of Pieter Bruegel Brueghel.’ The Changing Story the Elder. The Pioneers of Bruegel of Bruegel’s Cycle of the Seasons 124 Observations on the Genesis of 248 Survey of the Bruegel Paintings Scholarship in Belgium and Vienna in the Imperial Collection Pieter Bruegel the Elder’s of the Kunsthistorisches Museum Sabine Pénot Alice Hoppe-Harnoncourt The Conversion of Saul and the from a Technological Point of View Sabine Stanek, Václav Pitthard, Katharina Uhlir, Examination of Two Copies Martina Griesser and Elke Oberthaler 372 Antwerp – Brussels – Prague – 46 Functions of Drawings Christina Currie and Dominique Allart Vienna. On the Tracks of by Pieter Bruegel the Elder 266 Textile Worlds in Bruegel’s the Vienna Bruegels Joris Van Grieken 150 Pieter Bruegel’s Panel Two Monkeys: Paintings. A Contribution Alice Hoppe-Harnoncourt Technological Research and the 52 Four Drawings by Pieter Bruegel to the History of Sixteenth- Making of a Reconstruction Century Costume 398 On Pieter Bruegel’s Creative Process the Elder: Art-technical Research Babette Hartwieg, Bertram Lorenz and Stephan Kemperdick Katja Schmitz-von Ledebur Ron Spronk Lieve Watteeuw, Marina van Bos, Maarten Bassens, Joris Van Grieken, Christina Currie, Bruno Vandermeulen, Hendrik Hameeuw and Maximiliaan Martens 164 Restoration of Pieter Bruegel’s 284 Between Brussels and Antwerp: 414 Materials and Techniques. The Triumph of Death at New Perspectives on the Cycle Observations on Pieter Bruegel’s 64 The Parable of the Blind and the Prado Museum of the Seasons Working Methods as seen in the José de la Fuente, Maria Antonia López de Asiaín The Misanthrope: Glue-tempera Tine L. Meganck and Ignacio González Panicello Vienna Paintings Technique in Bruegel’s Elke Oberthaler Canvases in Capodimonte 182 ‘…das sehr fleißige Stück von 298 Pieter Bruegel and Realia: Context Angela Cerasuolo 476 Bibliography Brueghel…’ Bruegel’s Panel and Reception of his Paintings The Suicide of Saul: Cleaning and Claudia Goldstein 82 Pieter Bruegel the Elder’s 494 Picture Credits Grisaille Paintings Restoration Treatment, Technique 312 No One to Show the Way – Not Elke Oberthaler, Geert Van der Snickt, Stijn Legrand Aviva Burnstock and Karen Serres and Koen Janssens in Life, Not in Death: Bruegel’s 495 Colophon Attitude Towards the World. The Birdnester – The Conversion of Saul – The Triumph of Death Daniela Hammer-Tugendhat Observations on the Genesis of Pieter Bruegel the Elder’s The Conversion of Saul and the Examination of Two Copies

Christina Currie ROYAL INSTITUTE FOR CULTURAL HERITAGE, BRUSSELS

Dominique Allart UNIVERSITÉ DE LIÈGE

[FIG. 1] Pieter Bruegel the Elder, The Conversion of Saul. 1567. Oak panel, 108 × 156.3 cm. Signed and dated at lower right ‘· BRVEGEL · M · D · LXVII ·’. Vienna, Kunsthistorisches Museum, Picture Gallery, inv. no. 3690.

When he chose to represent the conversion of Saul in 1567,1 in the Villa Vauban in Luxembourg (fig. 4)3 and the other in a Bruegel was following an established tradition (fig. 1).2 Nonethe- private collection in England (fig. 14 b).4 There is also a rare less, he managed to reinvent the theme in a completely personal pastiche by Pieter Brueghel the Younger in the Arbroath Art way, using a striking mountain landscape to accentuate the Gallery, Scotland, comprising the Sermon of Saint John the dramatic impact of the scene. As so often with Bruegel, the key Baptist with additional motifs taken from The Conversion of Saul theme – Saul’s conversion to Christianity – is almost lost in the and The Massacre of the Innocents.5 myriad of brightly coloured and multi-scaled figures. The subject This study reassesses the techniques and creative process is even harder to grasp today than it would have been originally, behind the production of the original version and examines the due to the absence in the sky of the source of the divine message status of the two known copies, focusing primarily on the Villa to Saul. Vauban version, which has technical links to the production of Unlike so many of Bruegel the Elder’s works, The Conversion Pieter Brueghel the Younger. The anonymous, privately owned of Saul was not reproduced multiple times by Pieter Brueghel copy is considered in relation to Bruegel the Elder’s original the Younger and his studio, and there are no extant versions by version, as this painting probably represents the best witness to Bruegel’s other son, Jan. There are just two known copies, one the cropped top and left edges of the original composition.

124 125 In the body of the panel, the X-radiograph reveals what drawing of the whole composition. He may well have scaled this may be an original repair by the panel-maker, evidenced by a up through squaring, but there is no trace of this here or indeed horizontal white patch under what would appear to be original in any paintings by Bruegel for which infrared reflectography is underdrawing and paint, bordering the foot of the horseman in available. Lack of surviving markings, however, does not mean yellow (screenshot 3). This is probably a lead white-based filling, that squaring should be excluded from consideration. applied by the original panel maker to smooth over a defect in As in most works by Bruegel, such as Dulle Griet (1563), the panel surface prior to application of the ground.11 A repaired studied during its 2017–18 conservation treatment at the Royal defect prior to application of the ground layer can also be seen in Institute for Cultural Heritage in Brussels (KIK-IRPA), he Children’s Games, where the panel maker encountered a knot in continued to refine and perfect his composition as he painted.21 the wood (screenshot 4).12 Most of these modifications are for aesthetic reasons, such as in As with most paintings by Bruegel the Elder, there is a the caravan of figures in the valley, which reveals various dropped white chalk ground, visible in tiny losses along the left edge and changed figures, and minor adjustments in the centre to the (screenshot 5), followed by a thin, lead white-based imprimatura, left of Saul, such as a lance, raised during painting, a dagger, not visible in the X-radiograph (screenshot 6). The ground shows carried through to paint, and some possible figures, also dropped. traces here and there of the scraper used to smooth down the He changed the angle of the head of the figure to the left of the ground (screenshot 7).13 Scraper marks are common in Bruegel’s dog to a profile view and replaced his pointed helmet with a soft works and are seen, for example, in The Massacre of the Innocents, hat, perhaps to avoid repeating the pointed helmet to the right. The Magpie on the Gallows14 and Christ carrying the Cross To the right, he reduced the scale of the mounted figure in green’s (screenshot 8).15 The imprimatura has been applied with broad, flamboyant headdress, leaving more breathing space between the multi-directional brushstrokes as in other works by Bruegel such figure and the right edge of the painting (screenshot 13). as the Census at Bethlehem, 156[-].16 One of Bruegel’s omissions may have iconographic signifi- The underdrawing is carried out in a dry medium, probably cance. This is a curious scene in the upper right, where a person black chalk, and covers the whole composition. In places, it skips leans down to a kneeling figure (fig. 3 a–b). It is witnessed by a the ridges in the strokes of the underlying imprimatura, indicating soldier dressed in a dashing red outfit, but whose pose is now that it was applied after priming rather than after ground applica- meaningless. Bruegel initially intended this scene to be framed tion (screenshot 9). by trees, which start lower down in the underdrawing. This whole [FIG. 2 a] Pieter Bruegel the Elder, The Sermon [FIG. 2 b] The Conversion of Saul (fig. 1), of Saint John the Baptist, detail, detail, infrared reflectogram. Either before or during underdrawing, Bruegel marked composition seems to be reminiscent of Pieter Coecke’s design infrared reflectogram. 1566. his horizon with an incised line. There are two attempts, the for the Conversion of Saul from his set of tapestries depicting the Panel, 95.2 × 161.7 cm. Signed and dated upper line overlapping slightly the rocky cliffs to the right life of Saint Paul (fig. 3 c). Indeed, a similar detail is visible in ‘· BRVEGEL · / · M · D · LXVI ·’. Budapest, private collection on loan to Szépművészeti (screenshot 10). Other uses of a straight edge include the under- the background of Coecke’s composition, appearing to the right Múzeum, inv. no. L.3.788. drawn line of the celestial ray of light coming down from the in a preparatory drawing and to the left in the tapestry now sky to Saul, as pointed out by Elke Oberthaler.17 There is what in Munich (fig. 3 d).22 According to the text woven into the appears to be a trial line to the right of the final line, at a slightly tapestry’s upper margin, this detail alludes to an episode that different angle but still leading up to the now-missing celestial took place prior to the conversion, according to Acts 26:12: THE ORIGINAL VERSION orb, ending at the horseman above Saul (screenshot 11). There Saul is receiving letters from a chief priest, asking him to go are also traces of incised lines to mark certain lances, as well as to Damascus. Of course, as Coecke’s presumed pupil, Bruegel Pieter the Elder’s Conversion of Saul is on oak panel.6 Elke the flagpole (screenshot 12). This is in keeping with Bruegel’s may have known this composition. As to why he never followed Oberthaler, Sabine Pénot and Alice Hoppe-Harnoncourt argue technique in The Massacre of the Innocents, where incisions for through the motif to paint, we can only speculate. convincingly that it was cut down at the left side and at the top in lances are plainly visible.18 Bruegel’s painting technique was not limited to the use of a the mid-18th century, citing the different dimensions mentioned The drawing style in the main figures is sketchy and brush. The patternwork in the tunic of the figure making his way in the Prague inventories of 1737 and 1777 and pointing out the explorative and unlike the unwavering, wiry outline style revealed up the hill with a red shield on his back is drawn on with a blunt absence of a fourth set of dowels to the left.7 They conclude that in several of Bruegel’s paintings, such as The Sermon of Saint point into still-wet paint, exposing the underlayer – as Bruegel about 15 cm is lost from the top edge and 17 cm from the left.8 John the Baptist, executed a year earlier (fig. 2 a).19 This difference did in other paintings such as Christ carrying the Cross and The The composition itself betrays a modification at the top, as the is particularly striking in the foreground figures. Indeed, the Tower of Babel (screenshot 14).23 He also seems to have used a bottom rim of what was probably a full celestial orb is discernible searching nature of the underdrawing in The Conversion of Saul liquid green glaze for the costume of the figure on the far right, (compare the macrophotography of The Conversion of Saul from suggests that Bruegel worked out his final outlines on the panel which he has blotted and which spills over on to the rock in front the Inside Bruegel website, www.insidebruegel.net, see screen- itself and probably did not rely on 1:1 cartoons to transfer the and has started to go brown (screenshot 15). This paint recalls shot 1, illustrated at the end of this essay, and this orb in the UK design to the panel, as demonstrated previously for the Sermon, the appearance of a similar browned blotted glaze in Dulle Griet, copy, fig. 14 c). Further evidence that the panel is cut down at the Census at Bethlehem and The Battle between Carnival and which was identified as a copper green.24 The green of the tunic the left would be the absence of an unprepared border there and Lent, among others.20 On the basis of the underdrawing, it seems in The Conversion of Saul is therefore remarkably well preserved, the presence of such a border at the right.9 However, no such more likely that Bruegel prepared for The Conversion of Saul unlike the blue sky, which has faded due to the use of smalt, as border appears to be present on either side (screenshot 2).10 by making sketches of details, as well as a smaller scale model pointed out by Elke Oberthaler.25

126 127 [FIG. 3] The Conversion of Saul (fig. 1), detail of upper right, (a) normal light, (b) infrared reflectogram.

[3 a] [3 b]

[FIG. 3 c] Pieter Coecke van Aelst, [FIG. 3 d] Pieter Coecke van Aelst, The Conversion of Saul, The Conversion of Saul, [FIG. 4] Anon., Conversion of Saul. preparatory drawing for tapestry. detail from tapestry in a set of c. 1529–30. the Life of St Paul. c. 1529–30. Canvas, 119.8 × 158.3 cm. Luxembourg, Villa Vauban, Musées de la Ville de Luxembourg, inv. no. 1691. London, Victoria and Albert Museum, Munich, Bayerisches Nationalmuseum, bequeathed by Rev. Alexander Dyce. inv. no. T 3844.1.

THE VILLA VAUBAN VERSION: TECHNIQUE AND STYLE

The Villa Vauban Conversion of Saul is neither signed nor dated and is on canvas (fig. 4). Its turnover edges have been removed during lining, but there is garlanding on all sides except the left, which suggests a small loss to the canvas along the left edge. Compared to Brueghel the Younger’s usual output, the painting presents numerous divergences in technique and style. Analysis of two cross-sections by Steven Saverwyns at the KIK-IRPA shows that the light-toned ground layer is based on chalk, mixed with some earth pigments or clay minerals, rendering it slightly off-white (fig. 5).26 Normally, Brueghel the Younger’s grounds are pure white. In the cross-sections, one taken from the sky and the

128 129 [5 a] other from the brown rocks at the centre right edge, the ground is followed by an oily layer, which is either an oil isolation layer 4 or an exudate from the paint layer above. This is followed by a 3 light brown underlayer, which may or may not have been applied 2 in all areas.27 1 Infrared reflectography reveals a detailed, dry medium, carbon-based underdrawing (fig. 6). It is not visible with the [5 b] naked eye due to the opacity of the paint, which differs from

4 Brueghel the Younger’s work. The outlines are loose, with mitten shapes to abbreviate hands and occasional hatching for tone. 3 Background rocks are marked in freely (fig. 6 b). The drawing 2

1 style is a little looser overall than we have come to expect from Brueghel the Younger’s studio. The paint is applied relatively thickly, and reserves are not precise. Indeed, the painterly touch, using opaque paint and [FIG. 5] Conversion of Saul, Villa Vauban version (fig. 4), cross-section in (a) white light, smoothly blended transitions, is quite different from Brueghel (b) UV light. the Younger’s usual production, which favours translucent paint [FIG. 7 a] Conversion of Saul, [FIG. 7 b] Anon., Conversion of Saul, 1. Ground: chalk, earth pigments or clay minerals layers and delicate opaque highlights (fig. 7 a and c). Indeed, Villa Vauban version (fig. 4), detail. privately owned version, detail. 2. Isolation layer or binding medium of layer 3 3. Light brown: lead white, (brown) earth pigments the painterly style is quite rudimentary, with crude outlining 4. Blue: azurite, lead white and scant attention to fine detail. Finally, severalpentimenti are now visible to the naked eye, which is atypical of the work of Brueghel the Younger and his studio; these include distant rocks on the horizon, drapery folds, a horse’s ear and the dog’s tail,

[FIG. 6] Conversion of Saul, Villa Vauban version (fig. 4), details from (a) underdrawing, (b) infrared reflectogram. [6 a] [6 b] [FIG. 7 c] Pieter Brueghel the Younger, [FIG. 7 d] Jan Brueghel the Elder, The Triumph of Death, detail. 1608. Wedding Procession, detail. Panel, 123.3 × 166.5 cm. Unsigned, dated. Panel, 61.3 × 114.5 cm. Unsigned. Brussels, Basel, Kunstmuseum, inv. no. G1995.29. Musée de la Ville de Bruxelles, Maison du Roi.

130 131 which was originally underdrawn and painted straight rather [FIG. 9 b] Pieter Brueghel the Younger, Procession than curly (fig. 8 a–b). On the basis of technique and style, we to Calvary, marked to cannot attribute this painting to Brueghel the Younger or his show corresponding studio, as did Georges Marlier in 1969.28 Klaus Ertz’s suggestion details in Conversion of Saul underdrawing. 1606. of Jan Brueghel the Elder’s authorship, perhaps in collaboration Panel, 121 × 169 cm. with his son Jan Brueghel the Younger,29 cannot be substantiated Signed and dated. Berlin, either in our opinion, as the Villa Vauban Conversion of Saul is Gemäldegalerie. devoid of Jan Brueghel’s meticulous but lively and often idio- syncratic brushwork, as seen in rare copies after his father, such as The Triumph of Death,30 the Sermon of Saint John the Baptist,31 the Wedding Procession (fig. 7 d),32 the Visit to the Farm33 and The Wedding Dance in the Open Air.34 There is a passing resemblance to Jan Brueghel’s painting style in the use of opaque colours and the modelling, but the painting lacks his deft precision.

[8 a] [8 b]

[9 a] [FIG. 8] Conversion of Saul, Villa Vauban version (fig. 4), detail of dog in (a) normal light, (b) infrared reflectogram. THE VILLA VAUBAN VERSION: A HIDDEN COMPOSITION [FIG. 9 a] Conversion of Saul, Villa Vauban version (fig. 4), infrared reflectogram Surprisingly, a closer look at the sky in the Villa Vauban copy showing location of details reveals a more concrete link to the Brueghel family, and more from the Procession to Calvary underdrawing. specifically to the studio of Pieter Brueghel the Younger. Upside down in relation to the Conversion, there are three distinct sets of underdrawn figures in the sky area (fig. 9 a). These are identical to those in Brueghel the Younger’s many versions of the Procession to Calvary, a composition most likely taken after a lost work by Pieter Bruegel the Elder. The three scenes are separate figure groupings, with some figures truncated at the edges. The light brown underlayer in the sky area may have been an attempt to camouflage this early design (see fig. 5). IRR images from three secure versions of the Procession to Calvary by Pieter Brueghel the Younger (Bonnefantenmuseum, Maastricht35 and Royal Museum of Fine Arts in Antwerp)36 were compared with the IRR image of the hidden underdrawing in [FIG. 9 c] The Conversion of Saul. This comparison reveals that the four Conversion of Saul, Villa Vauban version (fig. 4), detail, infrared reflectogram, showing underdrawings are extremely close in notation and style, with underdrawing of Christ carrying the Cross drapery folds often in the same places, with similar curled ends from the Procession to Calvary composition. to strokes, and comparable sets of hatching for tone (fig. 9 e).

132 133 path in the foreground display considerable differences in colour [11 a] and patterning, as if the copyist was simply unaware of Bruegel the Elder’s original version in this part (fig. 10 a–b). In the orig- inal painting, the shield is painted red with a yellow Habsburg eagle, but in the copy it is yellow with a black eagle. The copy ignores the decorative pattern of the left tunic entirely, giving the figure a green skirt and blue top. The figure to the right has red leggings, whereas they are green in the original. Motifs are also sometimes misinterpreted. In the afore- [11 b] mentioned figures, the Vauban version sees the helmet of the soldier to the left of the pair as an empty helmet hanging off the figure with the shield, a natural error if the artist were copying a line drawing rather than the painting itself. Likewise, the youth with the dog wears a water bottle in the original, but this is transformed into a V-shaped hood in the copy (fig. 11 a–b). At other times, the Vauban copyist seems to have been aware of a detail in the original, but chose to drop it or change it, for [11 c] example the dog’s straight tail, which is painted curly although initially drawn straight (see fig. 8 a–b). Another example is given [FIG. 9 d] Conversion of Saul, Villa [FIG. 9 e] Pieter Brueghel the Younger, [FIG. 9 f] Conversion of Saul, Villa Vauban version (fig. 4), detail, Procession to Calvary, detail, Vauban version (fig. 4), detail, by Saul’s horse’s straps, which are visible in the underdrawing infrared reflectogram, showing infrared reflectogram. infrared reflectogram. of the Vauban copy, but not in the paint layer. A more obvious underdrawing of the bird seller Panel, 109.6 × 164.4 cm. Unsigned. misinterpretation is the rock/horse juxtaposition in the lower from the Procession to Calvary Antwerp, Royal Museum of Fine Arts, composition. inv. no. 31. right, where the copyist does not seem to have realized that the horse was overlapped by a rock.

This evidence suggests that the copyist had access to a draw- [FIG. 11] Conversion of Saul, detail, ing, either partially coloured or with colour notes, but that he did (a) Pieter Bruegel the Elder’s version, Overlaying tracings of the painted compositions of the not have the original painting in front of him when painting this (b) Villa Vauban version, (c) privately owned version. Maastricht and Antwerp versions with the hidden underdrawing copy. But given the fact that the canvas came from Brueghel the in the sky of the Conversion shows that common cartoons could Younger’s workshop, it is worth considering whether the copyist have been used for the different groups, since the correspon- might also have had access to preparatory material inherited dence is near perfect (fig. 9 g). This also confirms that for the from Bruegel the Elder, such as model drawings or cartoons. Procession to Calvary composition, Brueghel the Younger used sets If this were the case, we would expect to see motifs that Bruegel of smaller cartoons that he arranged on his prepared supports dropped or changed in the original reappearing in the copy. according to a model drawing of the whole composition.37 In fact, none of Bruegel the Elder’s dropped or shifted motifs The discovery of the first stages of aProcession to Calvary reappear in the copy, such as the pair of small figures in the upper underneath the Conversion of Saul undeniably links the Villa Vauban painting to Brueghel the Younger’s studio, even if tech- nically and stylistically the work does not fit with his production. The Conversion was most likely made in the studio of a Brueghel family member or a closely related associate who could reuse one [10 a] [10 b] [10 c] of Brueghel the Younger’s unfinished canvases. [FIG. 10] Conversion of Saul, detail, (a) Pieter Bruegel the Elder’s version, (b) Villa Vauban version, [FIG. 9 g] Tracing of composition of THE VILLA VAUBAN VERSION: (c) privately owned version. Bonnenfantenmuseum version of Brueghel the Younger’s Procession THE QUESTION OF THE MODEL(S) to Calvary (in green) overlaid on weeping women from infrared The Villa Vauban version has many colours and motifs in com- reflectogram of Villa Vauban version of Conversion of Saul. mon with the original painting by Pieter Bruegel the Elder – for example, the yellow robe of the horseman in the foreground, the blue garment worn by Saul and the flamboyant green costume of the mounted official to the right, with similarly slashes in the tunic. However, the pair of army followers walking up the steep

134 135 [12 a] [12 c]

[12 d]

[12 b]

[FIG. 12] Identical rocky cliffs, trees and clearing in four paintings (upper rectangles) and location of viaduct in two paintings (lower squares):

[a] Pieter Brueghel the Younger, Crucifixion. 1615. Panel, 98.9 × 148.1 cm. Signed and dated. Perth, Kerry Stokes Collection inv. no. 2014.113.

[b] Conversion of Saul, Villa Vauban version (fig. 4).

[c] Anon., Night Landscape. Panel, 30.3 × 49.8 cm. Vienna, Kunsthistorisches Museum, inv. no. 3582.

[d] Pieter Brueghel the Younger (attributed), Rocky Landscape. Panel, 15.5 × 33.5 cm. Sotheby’s Amsterdam, Sale 12-13 November 1991.

136 137 right, the dropped or shifted motifs in the centre to the left of latter. As Klaus Ertz has already pointed out, the central cliffs The lower left part of the composition does not correspond may therefore better reflect Bruegel’s lost design at the left and Saul, and the figure in green’s headdress. This suggests that the and trees of the Villa Vauban painting correspond to those in to the original version of The Conversion of Saul by Bruegel the top (fig. 14 a–b).45 In the lower left, a group of snapped-off trees copyist did not have access to a preliminary model drawing of the several versions of Brueghel the Younger’s Crucifixion,38 which is Elder either, but it does match with the two aforementioned could have been present initially in the original, instead of just composition by Bruegel the Elder. Nonetheless, a tracing of the itself probably based on a lost composition by Bruegel the Elder landscapes (attributed to Brueghel the Younger and Roelandt one tree trunk. At the top, the rocks and trees could also reflect Vauban version’s painted composition shows good correspon- (fig. 12 a–b). The rocks correspond perfectly, as do the trees Savery). In comparison with these two paintings, the Vauban the missing rocks in the original version. dence in parts with the painted outlines of the original, namely and grassy clearing. Even the pentimenti of rocks in the Vauban version would appear to have lost a few centimetres to the left, In the sky, the celestial orb with its inscription may bear the figures around Saul, the figures in the lower right and the version seem to relate to corresponding rocks in the Crucifixion. as was already suggested by the lack of garlanding in the canvas witness to the appearance of the lost celestial orb in the original, figures in the centre and left, which raises the possibility of record Moreover, the upper background in the Vauban painting along this edge. Interestingly, in both rocky landscapes, there is for which only the bottom rim is still present (fig. 14 c). The in- cartoons. Someone could have made tracings of certain figure also corresponds well with the rock formation in a Night Scene by also a viaduct spanning the narrow gorge, a feature that is not scription, ‘SAVL. SAVL WAI VERVOLGUT. GHY. MY.’ (‘Saul, groupings from the original version and these could have been an anonymous Netherlandish artist (Kunsthistorisches Museum, present in Bruegel the Elder’s Conversion of Saul, but is clearly Saul why do you persecute me’), is also present in the Vauban used by the artist for the painting of the Vauban version. Whoever Vienna), which has a provenance going back to Prague in 1685 visible in the underdrawing of the Villa Vauban version (fig. 12 b version, but is abraded. The fact that both these independently this might have been – Bruegel the Elder, his mother-in-law (fig. 12 c).39 Finally, this same rock and tree formation is seen in and d; 13 a–b). The artist even started to paint it before changing produced copies contain the same inscription gives extra weight Mayken Verhulst, one of the sons or grandsons or another artist two landscape paintings, one attributed by Klaus Ertz to Pieter his mind; it appears now as a pentimento. to the idea that it featured in Bruegel’s prototype. Adding the – we have no way of knowing. The copyist could also have scaled Brueghel the Younger,40 the other in a sale catalogue to Roelandt There are no precedents for a viaduct across a gorge in divine words to the scene is not frequent, though well attested up his figures from a model drawing rather than using cartoons, Savery (fig. 12 d).41 Bruegel the Elder’s extant drawings or paintings, but one does in illuminated manuscripts and paintings, for instance in the although we have spotted no signs of squaring-up. All these visual citations of the same rock and tree appear in a drawing dated 1555 by Bruegel (Louvre, Paris), Hours of Etienne Chevalier by Jean Fouquet, c. 1450–60 (Musée The background of the Vauban copy is somewhat different arrangement in paintings by different artists suggest a common which was the model of a print from the Large Landscapes series Condé, Chantilly) and in the version of the theme painted in oil to that in Bruegel’s original, even if we acknowledge that the and quite influential source. This could, of course, be a lost (1555–57) by Joannes and Lucas van Doetecum.43 The lower left on canvas by Bartolomé Esteban Murillo, c. 1675–82 (Museo original has lost a little in height (see above). This suggests that Crucifixion by Bruegel the Elder. There are several mentions of part of the composition in the Vauban painting may therefore Nacional del Prado, Madrid). the copyist had to reinvent the background or simply used a Crucifixions by Bruegel that have not come down to us, includ- relate to a lost drawing or painting by Bruegel the Elder. The fortress in the top-right corner, whose bottom edge different model for this zone. In fact, the evidence suggests the ing one in Archduke Ernest’s inventory in 1595.42 may still be visible in Bruegel’s prototype, is also present in the THE PRIVATELY OWNED UK VERSION: Vauban version, suggesting that it was also present in the original WITNESS TO BRUEGEL’S ORIGINAL DESIGN painting. Finally, the black double-headed Habsburg eagle on the flag in the upper right, which also appears in the Vauban version The privately owned UK version, unlike the Vauban version, is but set at a different angle, may have been present initially in on oak panel (fig. 14 b). The landscape background has been pre- the original.46 There is no trace of such an eagle on the flag in viously attributed to Joos De Momper, given its Momperesque Bruegel the Elder’s version today, either in the underdrawing or style and colour.44 The painting was not examined in infrared, the paint layer, but it might have been cleaned off at some point. but the black and brown painted outlines that are present in If this were the case, it would be a similar situation to that in many places could be partly due to a liquid underdrawing, which The Massacre of the Innocents (Windsor Castle, London), where would be atypical for Brueghel the Younger’s practice. the Habsburg eagle motif on the tabard of a herald has been The style of the painting is far removed from the Vauban repainted at an early date along with other details, possibly at version in terms of its modelling of faces and treatment of the behest of one-time owner Rudolf II, who also owned The draperies and, indeed, has nothing in common with the painting Conversion of Saul.47 styles of Pieter Brueghel the Younger or Jan Brueghel the Elder The artist responsible for the UK version could have been (see figs 7, 10 and 11). some privileged artist-visitor or court artist working for Rudolf [13 a] [13 b] A comparison of the original version with this copy shows II in Prague, in whose collection The Conversion of Saul is docu- [FIG. 13] Conversion of Saul, Villa Vauban version 48 (fig. 4), detail of viaduct in underlayer, that, as in the Vauban version, many of the colours are faithfully mented in 1604. He most likely made a coloured or annotated not carried through to final paint layer, in reproduced, such as the foreground horseman, painted yellow, drawing of the painting in the Imperial Galleries that he later (a) normal light, (b) infrared reflectogram. Saul, painted blue and the mounted figure to the right, painted worked up into a full-format panel painting.49 green (see fig. 10). In some places, however, this UK copy is even more faithful to the original than the Vauban painting, and the motifs are better understood. The cloth coat of the figure with CONCLUSION a Habsburg shield, for example, is decorated with patternwork clearly inspired by the original, unlike the Vauban version. The The underdrawing of Bruegel the Elder’s Conversion of Saul, soldier’s head to the left of this figure is correctly interpreted as with its sketchy, searching outlines, suggests that in this case the such and the rock overlapping the green tunic on the far right artist proceeded without making detailed 1:1 cartoons of the corresponds to the original. The water bottle on the back of the composition. He most likely prepared his design with sketches youth is faithfully copied (see fig. 11) and the dog has a straight of figures and a model drawing of the composition. The two tail, both appearing as they do in Bruegel’s prototype. underdrawn and ultimately abandoned figures in the upper right Despite some simplifications, the UK version is closer to betray his debt to Pieter Coecke van Aelst, whose tapestry design the original by Bruegel the Elder than the Vauban copy and for the Conversion of Saul he must surely have known.

138 139 [14 a] The Villa Vauban version shows a clear technical link to Pieter [14 c] Brueghel the Younger’s studio in that the canvas was partially underdrawn with one of his compositions, the Procession to Calvary, before being abandoned. Nonetheless, the Vauban Conversion of Saul is atypical in technique and style and was probably made by a close family member or associate, perhaps after Brueghel the Younger’s death. Its upper background, given its identical design to that in other unrelated landscape paintings, may reflect the rock and tree arrangement in a lost painting by Bruegel, most likely a formerly well-known Crucifixion. The lower left gorge with its viaduct, on the other hand, probably derives from another lost Bruegelian source, whether a painting, drawing or engraving. The UK copy is unrelated to the Vauban version or the Brueghel sons’ output in its style and technique and was probably painted by a court artist or artist visiting Rudolf II’s palace in Prague. This version probably offers the most accurate [FIG. 14] (a) Pieter Bruegel the Elder, The Conversion of Saul rendering of the missing left and upper sections of Bruegel the (fig. 1). (b) Anon.,Conversion of Saul, privately owned version, showing motifs that may have originally Elder’s original painting, now in Vienna. Most worthy of note is been present in the original version: snapped-off the presence of the inscription on the celestial orb, ‘SAVL. SAVL trees in the lower left, the celestial orb, a fortress WAI VERVOLGUT. GHY. MY.’, which probably featured in in the upper right and a Hapsburg eagle on the flag. (c) detail of the celestial orb with the inscription Bruegel’s original version. ‘SAVL. SAVL WAI VERVOLGUT. GHY. MY.’

ACKNOWLEDGEMENTS

We thank Sabine Pénot, Curator of Netherlandish and Dutch

[14 b] Paintings at the Kunsthistorisches Museum, Vienna and Elke Oberthaler, Chief of Paintings Conservation at the Kunsthis- torisches Museum, for providing high-quality infrared and macro images in advance of the 2018–19 exhibition. We also thank Elke Oberthaler for informing us of the existence of the privately owned version of The Conversion of Saul. We are indebted to Gisèle Reuter, conservator-restorer at Les 2 Musées de la Ville de Luxembourg, who invited us to examine the Villa Vauban’s Con- version of Saul, and to the owners of the UK version for allowing us to photograph their painting. We also thank Paul Huvenne, former Director of the Royal Museum of Fine Arts Antwerp, for his permission to study their two versions of Brueghel the Young- er’s Procession to Calvary, and Lars Hendrikman, Curator of Old Master Painting and Applied Arts at the Bonnefantenmuseum in Maastricht, for allowing us to document their version. We thank the KIK-IRPA imagery team – Sophie De Potter, Jean-Luc Elias and Hervé Pigeolet – for the on-site documenta- tion of the Villa Vauban Conversion of Saul and the three versions of the Procession of Calvary.

140 141 SCREENSHOTS FROM WWW.INSIDEBRUEGEL.NET

Screenshot 1: Screenshot 5: Screenshot 8: Screenshot 12: Macrophotograph of Macrophotograph of Infrared macrophotograph X-radiograph, infrared The Conversion of Saul. The Conversion of Saul. and macrophotograph of reflectogram and Christ carrying the Cross. macrophotograph of The Conversion of Saul.

Screenshot 2: Macrophotographs of the borders of The Conversion of Saul.

Screenshot 3: Screenshot 9: Screenshot 13: Macrophotograph Infrared reflectogram Infrared reflectogram of and X-radiograph of and X-radiograph of The Conversion of Saul. The Conversion of Saul. The Conversion of Saul.

Screenshot 10: Screenshot 6: Infrared reflectogram X-radiograph of and macrophotograph of Screenshot 4: The Conversion of Saul. The Conversion of Saul. Screenshot 14: X-radiograph and Macrophotographs of macrophotograph of Christ carrying the Cross, Children’s Games. The Tower of Babel and The Conversion of Saul.

Screenshot 15: Macrophotograph of Screenshot 11: The Conversion of Saul. Screenshot 7: Infrared reflectogram of Infrared macrophotograph the Conversion of Saul. and macrophotograph of The Conversion of Saul.

142 143 1 Pieter Bruegel the Elder, The Conversion of Saul. 1567. special reconstructions to demonstrate their use in the 35 Pieter Brueghel the Younger, Procession to Calvary. Oil on panel, 108 × 156.3 cm. Signed and dated. Vienna, context of Rogier van der Weyden. On smoothing down the 118 × 165 cm. Unsigned. Maastricht, Bonnefantenmuseum, Kunsthistorisches Museum, Picture Gallery, inv. no. 3690. ground layer in Bruegel’s work, see also Oberthaler (2018) inv. no. 4142. This painting was documented by the KIK- 2 This is not the place to quote the extensive bibliography 2019, p. 420. IRPA in 2013. on the iconography of the conversion of Saul in the 16th 15 In Christ carrying the Cross, scraper marks of different 36 Pieter Brueghel the Younger, Procession to Calvary. century and the possible sources and meanings of Bruegel’s widths are visible in the upper-right grassy clearing, between 117.1 × 164.3 cm. Signed and dated ‘P.BRVEGHEL./.1603.’ version. See, for example, Nakada 2009 and Daniela Ham- the breaking wheels and gallows; see screenshot 8). Antwerp, Koninklijk Museum voor Schone Kunsten, inv. mer-Tugendhat’s essay in this volume. 16 For the X-radiograph of the Census at Bethlehem, no. 5006 (Marlier 1969, no. 3, p. 282; Ertz 1998–2000, 3 Anon., Conversion of Saul. Oil on canvas, 119.8 × 158.3 cm. see Currie – Allart 2012, vol. 1, fig. 33a, pp. 120–21 and E394). Pieter Brueghel the Younger, Procession to Calvary. Luxembourg, Villa Vauban, Musées de la Ville de Luxem- web 7. On Bruegel’s use of imprimatura or isolation layers 109.6 × 164.4 cm. Unsigned. Antwerp, Koninklijk Museum bourg, inv. no. 1691 (Marlier 1969, pp. 99–101, figs 40–41; in general, see ibid., pp. 251–59 and Oberthaler (2018) voor Schone Kunsten, inv. no. 31 (Marlier 1969, no. 13, Ertz 1998–2000, pp. 457–59, cat. A443, p. 471). 2019, p. 421. On the missing digit in the inscribed date p. 284; Ertz 1998–2000, E397). For these underdrawings, 4 Anon., Conversion of Saul, Oil on panel, 123 × 280 cm. of the Census at Bethlehem see Currie – Allart 2012, vol. 1, see Currie – Allart 2012, p. 756, fig. 529, p. 790, fig. 549a and Private collection, UK. According to Karl Asplund, the pp. 103–04 and fig. 18. web 616, 643–45, 650–51, 655. painting was acquired in Germany in 1918 by Richard 17 Oberthaler (2018) 2019, p. 436. 37 On the role of cartoons in Brueghel the Younger’s work, Bergh, then director at the Swedish National Museum 18 For the incised lances in The Massacre of the Innocents, see Currie – Allart 2012, vol. 3, pp. 746–52. (Asplund 1943). see Currie – Allart 2012, pp. 259 and 262, fig. 137, web 120. 38 Ertz 1998–2000, p. 457. 5 Pieter Brueghel the Younger, Sermon of Saint John the 19 For Bruegel the Elder’s underdrawing in The Sermon 39 Anon., Night Landscape. Oil on panel, 30.3 × 49.8 cm. Baptist. Oil on panel, 105 × 150 cm. Unsigned. Scotland, of Saint John the Baptist, see Currie – Allart 2012, vol. 1, Vienna, Kunsthistorisches Museum, inv. no. 3582. We would Arbroath Art Gallery, inv. no. A1978.27 (Marlier 1969, pp. 148–61, figs. 58–64 and web 57 for the zoomable infrared like to thank Dr Yoko Mori for pointing out this similarity p. 59; Ertz 1998–2000, cat. F344, p. 376). This painting is the reflectogram in its entirety); see also, in relation to the sons’ to us. subject of an ongoing study by Christina Currie. copies, Currie – Allart 2020 (forthcoming). 40 Ertz 1998–2000, p. 376, fig. 134a (black and white 6 For more information on the panel structure of Bruegel 20 On the use of cartoons in Bruegel the Elder’s paintings, image), where cited as Dusseldorf, Galerie Lingenauber, the Elder’s Conversion of Saul, see Ingrid Hopfner and Georg see Currie – Allart 2012, vol. 3, pp. 880–98, Currie – Allart 1992–1993, on wood, 25.5 × 33.5 cm, with, according to Ertz, Prast’s essay in the present volume. For dendrochronology, 2017, Currie – Allart 2020 (forthcoming). a late signature with an original appearance: P. BREVGHEL’; see Pascale Fraiture’s essay, also in the present volume. 21 On the creative process in Dulle Griet, see Currie et al. Ertz 1998–2000, cat. E1336, illustration missing although 7 Pénot and Oberthaler in Exh. Cat. Vienna 2018–2019, 2020a (forthcoming) and Martens 2012. cited as fig. 759; Sotheby’s, Old Master Paintings and Draw- p. 249 and note 4; Hoppe-Harnoncourt (2018) 2019, 22 On this drawing and the Munich tapestry, see Exh. ings, Amsterdam, 12–13 November 1991, lot 148, as ‘Pieter included in this volume, p. 385 and note 78; Oberthaler Cat. New York 2014–2015, pp. 112–22 (S. Alsteens) and Breughel the Younger’, signed or inscribed in the lower left: (2018) 2019, included in this volume, p. 419. nos. 27-29 (E. Cleland). ‘P. BREVGHEL’. In the sale catalogue, which illustrates the 8 On the positions of dowels in Bruegel’s panels, see Ingrid 23 In Christ carrying the Cross, a pattern of tiny loops painting in colour, it mentions that the figures are carried out Hopfner and Georg Prast’s essay in the present volume. is pulled through the wet paint of the tunic of the horn by a later hand. Since we have not examined this painting, we 9 Unpainted edges at right angles to the wood grain are player, to the right of Christ (see also Currie – Allart 2012, cannot comment on its attribution. witness to the former presence of channel edge supports, vol. 1, fig. 175, p. 313) and inThe Tower of Babel, the border 41 Ertz 1998–2000, pp. 946–47, fig. 760, on sale at Glerum, applied by the panel maker to prevent warping during the of the attendant’s yellow robe is marked by vertical dashes Amsterdam, 11 September 1998, lot 33 as Roelandt Savery, application of the ground and painting. These pre-framing into the soft paint (Currie – Allart 2012, vol. 1, fig. 146, 25.5 × 35.5 cm, c. 1608–1610. Since we have not examined reinforcements were common in large-format panel p. 313). On incised markings and other textural effects this painting, we cannot comment on its attribution. paintings of the period in the North and are seen not only in Bruegel’s paintings, see ‘Brushwork and Handling’ in 42 On the various mentions of Crucifixions by Bruegel the in works by Bruegel the Elder from both his Antwerp and Currie – Allart 2012, vol. 1, pp. 294–313 and ‘Consistency Elder in source documents, see Currie – Allart 2012, vol. 2, Brussels periods, but also in works by Brueghel the Younger, and Application of the Paint’ in Oberthaler (2018) 2019, p. 637. Frans Francken, Pieter Paul Rubens, Marten de Vos and Jan pp. 446–52. 43 Exh. Cat. Rotterdam – New York 2001, no. 29; Sellink Brueghel the Elder. For an explanation of this practice, with 24 New scientific analysis of the pigments and layer (2007) 2011, cat. no. 26, p. 64 and 70. illustrations, see Currie – Allart 2012, vol. 1, pp. 246–48, vol. structure in Dulle Griet was carried out by Steven Saverwyns 44 The attribution of the landscape background to Joos 2, pp. 346–47, 389, 452, 622, and vol. 3, pp. 732–33. See also at the KIK-IRPA in 2017-18; see Currie et al. 2020a de Momper was made by Karl Asplund (Asplund 1943, Elke Oberthaler’s discussion of this in relation to Bruegel’s (forthcoming). cat. no. 8). We are grateful to the owners of the painting large-format paintings in the Kunsthistorisches Museum: 25 On the use of smalt in the sky of this painting, see for drawing our attention to this publication, which as far Oberthaler (2018) 2019, pp. 416–17. Oberthaler (2018) 2019, p. 445, 467 and fig. 53. as we know is the only published source on the painting. 10 There seems to be ground and original paint in many 26 Cross-sections analysed with the scanning electron 45 See Pénot and Oberthaler in Exh. Cat. Vienna 2018– areas along the upper half of the right border, which has microscope. 2019, p. 248, fig. 2, for a reconstruction of the lost edges probably not suffered any cutting down. In places the 27 Further cross-sections would be necessary to confirm using the Vauban version. underdrawing seems to extend almost to the edge of the that the brown underlayer is present throughout. 46 We have also examined a Conversion of Saul by an panel. In the bottom half, however, it is not certain from 28 Marlier 1969, pp. 99–101, figs. 40–41. unknown master in the Bonnefantenmuseum, Maastricht the infrared and normal light images whether material 29 Ertz 1998–2000, pp. 457–59, cat. A443, p. 471. (inv. no. 3761), which includes four horsemen in the fore- covering the right border is original paint, perhaps somewhat 30 Jan Brueghel the Elder, The Triumph of Death. Canvas, ground taken directly from Bruegel the Elder’s Massacre squashed by the frame, or later retouching over an original probably transferred from panel, 119.3 × 164.5 cm. Graz, of the Innocents. This painting also has a flag with the unpainted border. Landesmuseum Joanneum, Alte Galerie, inv. no. 58, see double-headed eagle. 11 Original fillings are common in paintings by Brueghel Currie – Allart 2020 (forthcoming). 47 On the transformations to The Massacre of the Innocents the Younger and have the same kind of appearance in 31 Jan Brueghel the Elder, Sermon of Saint John the Baptist. and its relationship to Brueghel the Younger’s copies, see X-radiograph or infrared reflectography, often containing Panel, 114.6 × 165.4 cm. Basel, Kunstmuseum, inv. no. 139, L. Campbell in Cat. London 1985, pp. 18–19 and Allart tiny bubbles. On this topic, see Currie – Allart 2012, vol. 3, see Currie – Allart 2017. et al. 2012. pp. 736–42. 32 Jan Brueghel the Elder, Wedding Procession. Panel, 48 See principally Pénot and Oberthaler in Exh. Cat. 12 The knot is found underneath the motif of the child in a 61.3 × 114.5 cm. Unsigned. Brussels, Musée de la Ville de Vienna 2018–2019, p. 247; Hoppe-Harnoncourt (2018) black tunic and black hose near the middle of the right edge Bruxelles, Maison du Roi. This painting was examined with 2019, pp. 377–78. of the panel. scientific imagery by Christina Currie in 2013. 49 Another anonymous artist made a coloured pen and 13 Scraper marks are seen at the top of the rock to the 33 Jan Brueghel the Elder, Visit to the Farm. Panel, 30.3 × ink and watercolour drawing of Dulle Griet in the Imperial right of the pink flag near the right edge of the panel, see 47.1 cm. Unsigned. Antwerp, Royal Museum of Fine Arts, Collections at a very early date, see Currie et al. 2020b screenshot 7. inv. no. 645, see Currie – Allart 2012, vol. 3, pp. 840–41. (forthcoming). 14 For a discussion of scraper marks, and illustrations 34 Jan Brueghel the Elder, The Wedding Dance in the Open of such markings in The Massacre of the Innocents and The Air. Copper panel, 40 × 50 cm. Unsigned. Bordeaux, Musée Magpie on the Gallows, see Currie – Allart 2012, pp. 249–50 des Beaux-Arts, inv. no. Bx E 103, see Currie – Allart 2012, and note 44. On scraper marks, see Postec 2012, who made vol. 3, pp. 834–41.

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486 487 Prenner 1728 und von Wirtshausszenen in der niederlän- Bruegel the Elder’, in: Master Drawings 1648: Krieg und Frieden in Europa, Sellink (2018) 2019 Sciences, des Lettres et des Beaux-Arts Master, Vienna (Kunsthistorisches Problemen bei Pieter Bruegel d. Ä. sowie Anton Joseph von Prenner, Theatrum dischen Malerei, Berlin 1970 38, 2000, pp. 443–47 Münster – Osnabrück 1998–99, vol. 2, Manfred Sellink, ‘Leading the Eye de Belgique, Brussels 1973, pp. 370–91 Museum) 2018–19, published 2018 dessen Beziehungen zum niederländischen artis picturiae quo tabulae depictae quae pp. 181–90 and Staging the Composition. Some as e-book in English and German, Romanismus (Acta Universitatis Stock- in Caesareâ Vibdobonensi Pinacotheca Richardson 2011 Royalton-Kisch 2001 Remarks on Pieter Bruegel the Elder’s Smolderen 1995 included in this volume pp. 398–408 holmiensis, vol. 2), Stockholm 1956, servantur leviore caelaturâ aeri insculptae Todd M. 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488 489 research project for the Postgraduate und neuen Seltenheiten, Bemerck: und Varda 1996 Verstegen 2016 de Vrij 2012 of the 14th International Seminar held in van der Wee 1963 Zimerman 1888 Diploma in the Conservation of Easel Andenckungen, sowohl in: als um die Liana Varda, ‘Imagining the Harvest Ian Verstegen, ‘Obscene History: Marc Rudolf de Vrij, Jheronimus Bosch: the Royal Library Copenhagen 2012, vol. Herman van der Wee, The Growth of Heinrich Zimerman, ‘Urkunden, Acten Paintings, The Courtauld Institute of Käyserliche Haubt: und Residentz-Stadt in Early Modern Europe’, in: The The Two Sedlmayrs’, in: Studia An Exercise in Common Sense, Hilversum 14, 2014 the Antwerp Market and the European und Regesten aus dem Archiv des Art, London 2006 Wien In Oesterreich … kürtzlich in Druck American Historical Review 101, 1996, austriaca XXXIV, 2016, pp. 73–93 2012 Economy (Fourteenth–Sixteenth k. k. 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Ä., in: exh. cat., flamande et hollandaise, 3 vols, Brussels Illuminations by Jan De Tavernier, buch deutschsprachiger Kunsthistoriker Zimerman 1889 Thiel 1980 Kreise Kaiser Rudolfs II: 1576–1612 (Kieler da Cimabve insino a’ Tempi Nostri: Mirjam Neumeister (ed.), Brueghel: 1863 Willem Vrelant and Dreux Jehan’, in: im Exil. Leben und Werk der unter dem Heinrich Zimerman, ‘Inventare, Acten Erika Thiel, Geschichte des Kostüms, Studien zur deutschen Literaturges- Descritte in Lingua Toscana, da Giorgio Gemälde von Jan Brueghel d. Ä., Munich Lieve Watteeuw, Jan Van der Stock, Nationalsozialismus verfolgten und und Regesten aus der Schatzkammer Berlin 1980 chichte, vol. 18), Neumünster 1992 Vasari Pittore Aretino. Con vna sua vtile (Alte Pinakothek) 2013, pp. 65–77 Waagen 1866 Bernard Bousmanne and Dominique vertriebenen Wissenschaftler, 2 vols, des Allerhöchsten Kaiserhauses’, in: & necessaria introduzzione a le arti loro, Georg. F. 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Zeigehände in alten und neuen Zimmermann 1905 Tijs 1999 Pittori, Scvltori, E Architettori. Di Nuovo Centuries, London 2000 Medien’, in: Horst Wenzel, Spiegelungen. Heinrich Zimmermann, ‘Das Inventar Rutger Tijs, ‘De twaalfmaandencyclus Uhlir et al. 2012 dal Medesimo Riuiste Et Ampliate Con I Wadum 1998a Watteeuw et al. 2016 Zur Kultur der Visualität im Mittelalter, der Prager Schatz- und Kunstkammer over het landleven van Pieter Bruegel K. Uhlir, B. Frühmann, G. Buzanich, Ritratti Loro Et con l’aggiunta delle Vite Vinken – Schlüter 1996 J. Wadum, ‘Historical Overview of Lieve Watteeuw, Hendrik Hameeuw, Berlin 2009, pp. 231–57 vom 6. Dezember 1621’, in: Jahrbuch als interieurdecoratie voor het huis van M. Griesser, C. Streli, P. Wobrauschek, de’viui, & de’ morti Dall’anno 1550, insino Pierre Vinken and Lucy Schlüter, Panel-Making Techniques in the Bruno Vandermeulen, Athena Van der der kunsthistorischen Sammlungen des playsantie “ter Beken” te Antwerpen’, B. Grossmayer and S. Smolek, ‘A newly al 1567, Florence 1568 ‘Bruegels Nestrover en de mens die de Northern Countries’, in: The Structural Perre, Vanessa Boschloos, Luc Delvaux White et al. 1998 Allerhöchsten Kaiserhauses 25, 1905, in: Berichten en Rapporten over het developed, portable, vacuum-chamber dood tegemoet treedt’, in: Nederlands Conservation of Panel Paintings: Proceed- and Luc van Gool, ‘Light, shadows and Raymond White, Jennifer Pilc and XIII–LXXV Antwerps Bodemonderzoek en Monumen- equipped XRF-instrument, designed Vasari (1568) 1881 Kunsthistorisch Jaarboek 47, 1996, ings of a Symposium at the J. Paul Getty surface characteristics: The multispec- Jo Kirby, ‘Analysis of Paint Media’, in: tenzorg 3, 1999, pp. 117–33 for the sophisticated needs of the Giorgio Vasari, Le vite dei più eccellenti pp. 55–79 Museum, 24–28 April 1995, Los Angeles tral Portable Light Dome’, in: Applied National Gallery Technical Bulletin 19, Zunde 1998–1999 Kunsthistorisches Museum, Vienna’, in: pittori, scultori ed architettori, re-edited 1998, pp.149–77 Physics A 122, no. 11, 2016, pp. 1–7 1998, pp 74–95 Māris Zunde, ‘Timber Export from Tikkanen 1913 IOP Conference Series: Materials Science and commented by Gaetano Milanesi, Virch 1969 Old Riga and its Impact on Dendro- J.J. Tikkanen, ‘Studien über den Aus- and Engineering 37, 2012, 012008, online vol. 7, Florence 1881 Claus Virch, ‘The Story of Bruegel’s Wadum 1998b Ważny – Eckstein 1987 Wied 2004–2005 chronological Dating in Europe’, in: druck in der Kunst I: Zwei Gebärden DOI:10.1088/1757-899X/37/1/012008 Harvesters: A Curator’s Coup’, in: J. Wadum, ‘ The Antwerp Brand on Tomasz Ważny and Dieter Eckstein, Alexander Wied, ‘Zur Provenienz der Dendrochronologia 16–17, 1998–99, mit dem Zeigefinger’, in:Acta Societatis Vasari (1550/1568) 1966–1987 Connoisseur 172, 1969, pp. 223–27 Paintings on Panels’, in: E. Hermens ‘Der Holzhandel von Danzig/Gdansk – “Anbetung der Könige” von Pieter pp. 119–30 scientiarum Fennicae 43, 1913 Unverfehrt 1980 Giorgio Vasari, Le vite de’ più eccellenti (ed.), Looking Through Paintings: The Geschichte, Umfang und Reichweite’, Bruegel d. Ä. in der National Gallery Gerd Unverfehrt, Hieronymus Bosch: pittori, scultori ed architettori nelle redazi- Vöhringer 2002 Study of Painting Techniques and Materi- in: Holz als Roh- und Werkstoff45, 1987, in London’, in: Jahrbuch des Kunsthis- Zunde 2011 Tolnai 1934 Die Rezeption seiner Kunst im frühen oni del 1550 e 1568, re-edited by Rosanna Christian Vöhringer, Pieter Bruegel d.Ä. als in Support of Art Historical Research pp. 509–13 torischen Museums Wien 6/7, 2004–5, Māris Zunde, ‘New dendrochrono- Karl von Tolnai, ‘Studien zu den 16. Jahrhundert, Berlin 1980 Bettarini, comments by Paola Barocchi, Landschaft mit pflügendem Bauern und (Leids Kunsthistorisch Jaarboek XI), pp. 251–54 logical, historical and archaeological Gemälden P. Bruegels d. Ä’, in: Jahr- 6 vols, 1966–87 Ikarussturz, Munich 2002 Baarn 1998, pp.179–98 Ważny 1992 evidence of long-distance floating of buch der Kunsthistorischen Sammlungen in Uzielli 1998 Tomasz Ważny, ‘Historical Timber Wille 2002 timbers to Riga’, in: P. Fraiture (ed.), Wien New Series 8, 1934, pp. 105–35 Luca Uzielli, ‘Historical Overview of Veeckman 1996 Vöhringer 2013 Wagner 2007 Trade and its Implications on Friederike Wille, Die Todesallegorie im Tree Rings, Art, Archaeology: Proceedings Panel-Making Techniques in Central Johan Veeckman, ‘Een waterput in het Christian Vöhringer, Pieter Bruegel d. Ältere: Andreas Wagner, Das Falsche der Dendrochronological Dating’, in: T.S. Camposanto in Pisa. Genese und Rezeption of a Conference, Brussels, Royal Institute de Tolnay 1935 Italy’, in: The Structural Conservation of Groot Sarazijnshoofd in de Antwerpse Malerei, Alltag und Politik im 16. Jahrhun- Religionen bei Sebastian Franck. Zur Bartholin, B.E. Berglund, D. 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Bild und 1992, pp. 331–33 Eine Festgabe, Berlin 1955, pp. 90–95 verzamelaar van werk van en naar Carl van de Velde, ‘The Labours of der kunsthistorischen Sammlungen des Text in Totentänzen des Spätmittelalters de Tolnay 1965 Jheronimus Bosch’, in: Jaarboek Hercules, a lost series of paintings Allerhöchsten Kaiserhauses 13, 1892, und der Frühen Neuzeit, Cologne – Ważny 2002 Wolfthal 1986 Charles de Tolnay, ‘Newly discovered Koninklijk Museum voor Schone by Frans Floris’, in: The Burlington XXVI–CLXXIV Weimar – Vienna 2011 Tomasz Ważny, ‘Baltic Timber in Diane Wolfthal, ‘Early Netherlandish Miniatures by Pieter Bruegel the Elder’, Kunsten Antwerpen, 1981, pp. 119–33 Magazine 107, no. 744, March 1965, Western Europe – An Exciting Dendro- canvases: documentary evidence’, in: in: The Burlington Magazine 107, 1965, pp. 114–23 Voltelini 1894 Watteeuw 2019 chronological Question’, in: Dendrochro- Annales d’Histoire de l’Art et d’Archéologie pp. 110–15 Vandivere 2011 Hans von Voltelini, ‘Urkunden und Lieve Watteeuw, ‘Bruegel’s drawing nologia 20/3, 2002, pp. 313–20 Université Libre de Bruxelles 1986, pp. Abbie Vandivere, ‘In search of Van Verougstraete 2015 Regesten aus dem k. u. k. Haus-, Hof- for The Dirty Bride (c. 1566). A 19–41 de Tolnay 1978 Mander’s primuersel: Intermediate Hélène Verougstraete, Frames and und Staats-Archiv in Wien’, in: Jahrbuch Fingerprint Project case study’, in: Ważny 2005 Charles de Tolnay, ‘A new miniature by layers in early Netherlandish Paintings’, Supports in 15th- and 16th-Century der kunsthistorischen Sammlungen des Maarten Bassens and Joris Van Grieken Tomasz Ważny, ‘The Origin, Wolfthal 1989 Pieter Bruegel the Elder’, The Burlington in: J. 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PICTURE CREDITS © National Museum of Ancient Art, Hammer-Tugendhat, fig. 13: https: Christ and the Woman taken in Adultery. TITLE COLOPHON Lisbon / Bridgeman Images: Burnstock / / / commons.wikimedia.org / wiki / 1565. Oil on single oak panel, 24.1 × 34.4 PICTURE DESK In general, the reproduction rights of the Serres, fig. 4. File:Maerten_van_Heemskerck_-_The_ cm. London, The Courtauld Gallery, Bruegel. The Hand of the Master This volume of essays is published in Each author, Cäcilia Bischoff, images belong either to the institutions Four_Last_Things_(Royal_Collection). Samuel Courtauld Trust, inv. no. P.1978. The 450th Anniversary Edition the context of the exhibition Bruegel. Alice Hoppe-Harnoncourt © National Trust / KIK-IRPA, mentioned in the caption or to the author jpg (Public Domain) PG.48: pp. 92–93 Essays in Context The Hand of the Master (2 October 2018 Brussels: Burnstock / Serres, fig. 12, 13. of the essay, or they are free of rights to 13 January 2019, Kunsthistorisches CREATIVE DIRECTOR Pénot, fig. 1:Pardon. Die deutsche satirische Haymaking, detail. 1565. Oak panel, (Public Domain). © National Trust / Ruth Bubb Ltd: Museum, Vienna), curated by Elke Stefan Zeisler Monatsschrift 14, no. 4, 1975, p. 36. 114 × 158 cm. Prague, The Lobkowicz Burnstock / Serres, fig. 1. Oberthaler, Sabine Pénot, Manfred Collections, Lobkowicz Palace, Prague The following institutions, photographers Sellink and Ron Spronk, with Alice GRAPHIC DESIGN © Photographic Archive, Museo Castle: pp. 294–97 and/or image agencies hold the copyright Captions for details taken from Pieter Hoppe-Harnoncourt. It is the result of Tim Bisschop Nacional del Prado, Madrid: Lopez / for the images listed below. Each entry Bruegel the Elder’s paintings and Harvesters. 1565. Oil on panel, 119 × the symposium The Hand of the Master: Fuente, fig. 1; Schmitz-von Ledebur, includes the name of the author(s) in drawings (in chronological order): 162 cm. New York, The Metropolitan Materials and Techniques of Pieter Bruegel PHOTOGRAPHY fig. 12; Goldstein, fig. 2; Hammer- whose essays they are reproduced. Museum of Art, Rogers Fund 1919, the Elder, held on 6–8 December 2018 Bruegel paintings of the KHM- Tugendhat, fig. 12; Spronk, fig. 6. Big Fish Eat Little Fish. 1556. Pen and inv. no. 19.164: pp. 109, 353 at the Kunsthistorisches Museum. Museumsverband: Andreas Uldrich. grey-black ink, 216 × 302 mm. Vienna, © AKG-images, Bildnummer © RMN-Grand Palais (musée du Louvre)/ This volume also contains the essays Infrared reflectograms (IRR) Albertina , inv. no. 7875: pp. 122–23 The Return of the Herd. 1565. Oak AKG210784: Hammer-Tugendhat, fig. 14. image RMN-GP: Meganck, fig. 1. that were published in 2018 for the of the KHM-Museumsverband: panel, 117 × 159.7 cm. Vienna, Luxuria (Lust). 1557. Pen and e-book of the exhibition catalogue that Michael Eder. © Art Resource: Goldstein, fig. 11. © Royal Museum for Fine Arts Antwerp / Kunsthistorisches Museum, Picture grey-brown ink, contours indented, was published for the above-mentioned www.lukasweb.be – Art in Flanders Gallery, inv. no. 1018: pp. 6–7, 354–57 © Bayerisches Nationalmuseum 225 × 296 mm. Brussels, Bibliothèque Vienna exhibition. IMAGE EDITING vzw photo Hugo Maertens: Sellink, fig. 1. KHM-Museumsverband München; photo: Haberland, Walter: royale de Belgique, Cabinet des The Gloomy Day. 1565. Oak panel, The editors are very grateful to the Currie / Allart, fig. 3 d. © Royal Museums of Fine Arts of Estampes / Koninklijke Bibliotheek van 117.6 × 162.2 cm. Vienna, Kunst- authors, not only for their wonderful contributions, but also for their IMAGE EDITORS © bpk / Bayerische Staatsgemäldesamm- Belgium, Brussels / foto: J. Geleyns – België, Prentenkabinet, inv. no. S.II historisches Museum, Picture Gallery, patience and cooperation during the Michael Eder, lungen: Sellink, fig. 22. Art Photography: Van der Stock, fig. 10. 132816: pp. 60–61 inv. no. 1837: pp. 224–27, 496 production process. Thomas Ritter © bpk Kupferstichkabinett, SM Berlin / © The Samuel Courtauld Trust / Alice Prudentia (Prudence). 1559. Pen and Hunters in the Snow. 1565. Oak panel, Jörg P. Anders: Borchert, fig. 14; Tate-Harte: Burnstock / Serres, fig. 5, 6, 8. dark brown ink, contours indented, 116.3 × 162.5 cm. Vienna, Kunst- OWNER 224 × 300 mm. Brussels, Musées royaux historisches Museum, Picture Gallery, Sellink, fig. 2. © The Samuel Courtauld Trust / KHM-Museumsverband des Beaux-Arts de Belgique / Koninklijke inv. no. 1838: cover, pp. 262–65 ISBN 978 94 9267 782 2 Aviva Burstock: Burnstock / Serres, Brugring 5, 1010 Vienna, Austria © bpk / Gemäldegalerie, SM Berlin / Musea voor Schone Kunsten van België, D/2019/11922/5 fig. 7, 9, 10, 14. The Conversion of Saul. 1567. Oak Jörg P. Anders: Sellink, fig. 12, 13. inv. no. 4060/490: p. 49, 62–63 NUR 642 panel, 108 × 156.3 cm. Vienna, Kunst- EDITORS © Staatliche Museen zu Berlin, Gemäl- © bpk Hamburger Kunsthalle / Justitia (Justice). 1559. Pen and grey- historisches Museum, Picture Gallery, Alice Hoppe-Harnoncourt, degalerie, Christoph Schmidt: Hartwieg PRINTED BY Elke Walford: Borchert, fig. 10; brown ink, contours indented, 225 × 295 inv. no. 3690: pp. 145–49 Elke Oberthaler, Sabine Pénot, / Lorenz / Kemperdick, fig. 1, 2, 9. die Keure, Bruges, Belgium Meganck, fig. 13. mm. Brussels, Bibliothèque royale de Bel- Manfred Sellink and Ron Spronk Peasant Wedding. c. 1567. Oak panel, © Staatliche Museen zu Berlin, Gemälde­ gique, Cabinet des Estampes / Koninklijke © bpk / The Metropolitan Museum 113.1 × 164.1 cm. Vienna, Kunst­ PUBLICATION MANAGEMENT PUBLISHERS galerie, Bertram Lorenz: Hartwieg / Lorenz Bibliotheek van België, Prentenkabinet, of Art: Schmitz-von Ledebur, fig. 15. historisches Museum, Picture Gallery, Alice Hoppe-Harnoncourt, Franz Pichorner / Kemperdick, fig. 3–8, 11–14, p. 163. inv. no. S.II 133707: pp. 50–51 inv. no. 1027: pp. 26–27, 280–83, 412–13 Gautier Platteau © Detroit Institute of Arts, USA, City Hadewych Van den Bossche © TU Delft: Hartwieg / Lorenz / The Battle between Carnival and Lent. (Hannibal Publishing) Hannibal Publishing of Detroit Purchase / Bridgeman Images: Peasant Dance. c. 1568. Oak panel, 113.5 Kemperdick, fig. 10. 1559. Oak panel, 118 × 164.2 cm. Vienna, www.hannibalpublishing.com Schmitz-von Ledebur, fig. 3; Van der × 164 cm. Vienna, Kunsthistorisches Kunsthistorisches Museum, Picture COPY EDITING Stock, fig. 12; Sellink, fig. 24; Spronk, Museum, Picture Gallery, inv. no. 1059: Gallery, inv. no. 1016: pp. 306–11, 394–95 Cath Phillips © 2019 KHM-Museumsverband fig. 2. pp. 24–25, 28–29, 278–79, 409–11 Quoted images All rights reserved Children’s Games. 1560. Oak panel, 116.4 © FelixArchief, Antwerp: Goldstein, The Birdnester. 1568. Oak panel, 59.5 × 68.3 TRANSLATIONS Currie / Allart, fig. 12 d: Sotheby’s × 160.3 cm. Vienna, Kunsthistorisches No part of this publication may be reproduced or fig. 12. cm. Vienna, Kunsthistorisches Museum, German to English: Agnes Stillfried, catalogue: Old Master Paintings and Museum, Picture Gallery, inv. no. 1017: transmitted in any form or by any means, electronic Picture Gallery, inv. no. 1018: pp. 329–33 Sophie Kidd and John Nicholson, © The Frick Collection, New York / Drawings. Amsterdam, 12-13 November pp. 10–11, 41–45, 392–93, 396–97, 471–75 or mechanical, including photocopy, recording Shawn Bryan or any other information storage and retrieval Sophie Scully: Burnstock / Serres, fig. 11. 1991, lot 148, p. 86 The Misanthrope. 1568. Glue-tempera The Suicide of Saul. 1562. Oak panel, Spanish to English: Tongue Tied Ltd system, without prior permission in writing from on canvas, 86 × 85 cm. Naples, Museo e © KIK-IRPA, Brussels: Currie / Allart, Currie / Allart screenshots 1–15, 33 × 55.6 cm. Vienna, Kunsthistorisches Italian to English: Helen Glanville the publisher. Real Bosco di Capodimonte, inv. Q 1930 fig. 2 a, 4–8, 9 a–d, 9 f–g, 10 b–c, 11 b–c, Hoppe-Harnoncourt, fig. 3, Meganck, Museum, Picture Gallery, inv. no. 1011: Dutch to English: Ted Alkins no. 16: pp. 77 12 a, 13, 14 b; Fraiture, fig. 9a. fig. 7: www.InsideBruegel.net / pp. 203–09 © KHM Museumsverband The Parable of the Blind. 1568. Glue- TRANSLATIONS OF THE E-BOOK ESSAYS 2018 © KIK-IRPA, Brussels, Two Monkeys. 1562. Oak panel, 19.8 × tempera on canvas, 85.5 × 154 cm. Naples, German to English: Matt Hayes, Dendrochronology Lab (P. Fraiture): Hammer-Tugendhat, fig. 2: Sächsische 23.3 cm. Staatliche Museen zu Berlin, Museo e Real Bosco di Capodimonte, Sophie Kidd and John Nicholson Fraiture, fig. 1 (2016, 2017), 2 (2015, Landesbibliothek, Staats- und Universi- Gemäldegalerie, inv. no. 2077: p. 163 Inv. Q 1930 no. 1: pp. 78–81 2016, 2017), 3, 5 (2015), 6, 7, 8, 9 c, 10, tätsbibliothek Dresden (Public Domain) The Triumph of Death. Probably after 11, 13 a (graphs, 2019), 12 (2016), 13 Three Soldiers. 1568. Oil on single panel Hammer-Tugendhat, fig. 4: 1562. Oak panel, 116.1 × 162 cm. b–d (2015, 2017), 14 (2017). (probably oak), 20.3 × 17.8 cm. New York, https: / / commons.wikimedia.org / wiki / Madrid, Museo Nacional del Prado, The Frick Collection, inv. no. 1965.1.163: © Ministero dei Beni e delle Attività File:Leonardo_da_Vinci_-_Saint_John_ inv. no. P01393: pp. 176–81 pp. 94–95 Culturali e del Turismo – Biblioteca the_Baptist_C2RMF_retouched.jpg The Tower of Babel. 1563. Oak panel, Nazionale Marciana: Borchert, fig. 11. (Public Domain) 114.3 × 155.1 cm. Vienna, Kunst- © Ministero per i Beni e le Attività Hammer-Tugendhat, fig. 7: https: / / historisches Museum, Picture Gallery, All other images Culturali – Museo e Real Bosco di digi.ub.uni-heidelberg.de / diglit / inv. no. 1026: pp. 110–113, 368–71 © KHM Museumsverband. Capodimonte: Cerasuolo, fig. 1–13, is00309000 / 0215 (Public Domain) Christ carrying the Cross. 1564. Oak panel, If you believe any material has been 14 a, 15 a, pp. 77–81. Hammer-Tugendhat, fig. 8: Carljürgen 124.2 × 170.7 cm. Vienna, Kunst- included in this publication improperly, © Museum Vleeshuis, Antwerp / Photo: Gertler, Der Dom zu Brandenburg historisches Museum, Picture Gallery, despite all due care taken, please Wim Strecker: Goldstein, fig. 5, 10. an der Havel, Regensburg 2006, p. 42 inv. no. 1025: pp. 244–47, 492–93 contact us.

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