REMBRANDT THE HOLY FAMILV, ST PETERSBURG PREVIOUSLY PUBLISHED
H.W. Janson, Form follows function- o-rdoes it? Modernist design themy and the histmy of art (The First Gerson Lecture, held on October 2, 1981)
D. Freedberg, Iconoclasts and thei-r motives (The Second Gerson Lecture, held on October 7, 1983)
C. H. Smyth, Repat-riation of art from the collecting jJoint in Munich afte-r WoTld Wa-r ff (The Third Gerson Lecture, held on March 13, 1986)
A. Martindale , Hemes, ancesto-rs, Telatives and the biTth of the jJoTtmit (The Fourth Gerson Lecture , held on May 26, 1988)
L. N ochlin , Bathtime: Reno iT, Cezanne, DaumieT and the p-ractices of bathing in nineteenth-century Fmnce (The Sixth Gerson Lecture, held on November 2 1, 1991)
M. Warnke, Laudando Pmecipere, der Medicizyklus des Peter Paul Rubens (Der siebente Gerson Vortrag, am rS. November 1993 geha lten)
EDITOR'S NOTE
The 5th Gerson Lecture was held in 1989. Its final text was made available to the Gerson Lectures Foundation in 1991 . At that moment, an unhappy coincidence of circumstances made publication without further delay impossible. We regret the fact that we had to disappoint the supporters of ow- Foundation for such a long period. Now at last, we are able to publish this lecture, thanks to the generous sponsoring 'in kind' ofWaanders Uitgevers. Egbert
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Horst Gerson was a remarkable art historian and a remarkable man. Of his qualities as an art historian I want to emphasise his courage in speaking his mind, and of his gifts as a human being his willingness to accept anyone without bias. Together these two characteristics inspired him to re-evaluate artists generally considered insignificant in all realms of Dutch painting. He recognised that many artists of Rembrandt's immediate circle were very talented indeed, and that they had been responsible fm many of the paintings that were considered Rembrandt 's own works. Gerson was the first to have the courage to shatter the generally accepted image ofRembrandt, thereby generating disrespect and even anger. It is for me, therefore, a great pleasure to speak here in his honour, and to do so from the lectern where I saw Gerson give his inaugural lecture in 1965. When Professor Henk van Os invited me to give the Gerson lecture for 1g8g, he wondered whether in contrast to previous lectures I might like to concentrate on one specific painting .' I accepted the idea with pleasure , and suggested speaking about a painting by the artist who fascinated Gerson more than any other, and on a work of art that was central to other interests of Gerson as well. Rembrandt 's Holy Family is one of the artist's paintings in the Hermitage (Fig.1) , and St Petersburg (then still Leningrad) played a significant role in Gerson's efforts to bring colleagues together. In the aftermath of the Second World War, reconnecting the historians of art was one of Gerson's goals. He transformed the Rijksbureau in The Hague into a centre for the study of the art of the Netherlands, and drew colleagues from all over, including Eastern Europe, into fruitful relationships. We know that scholarship can thrive only if opinions can be freely exchanged. Gerson made it happen , partly because of his visits to St Petersburg in the 1950s and 196os when contacts were still rare . Although Rembrandt's Holy Family recently became better known, largely because it was exhibited in Rotterdam ( 1985) , New York and other cities in the United States ( 1988), it has not received the art historical-attention it deserves. 2 The painting, signed and dated 1645, is of average size - 117 x 91 cm. - com pared with his paintings of the same time. It is smaller than The Blinding of Samson of 1636 in Frankfurt but larger than The Holy Farnily of 1646 in Kassel.
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e e
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motif motif
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(T
i
Hol
teca teca
o o
The The
To To
h
l
in in
in in
y, y,
e e
e e y y 6 RE M BRA N DT ll ze Holy Fa mily, c.1634
11
l
where where
e
it it
landin
as as
statu
Ma
C placed placed
So So
She She th
s
her her
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on on
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hi
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of of th
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traditions
releases releases
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itu
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tradition tradition
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in
th
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a
tstanding tstanding
to to
Virgin Virgin
d
1
n
s
Virgin Virgin
on on
milk milk
v
r
i
i
614, 614,
na na h
apparen
ir
Rembra
ot ot
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's 's
se se
rg
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1
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o
R
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li
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for for
ec
592 592
and and
l
cr
, ,
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ght ght
in in
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e
to to
borrowed borrowed
Madonna Madonna
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e
e
in in
tl
conso
it
th
var
ib. ib.
a a
sp
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painted painted
vel
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st st
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the the
s s
with with
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of of
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milk milk
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behind behind
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, ,
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a
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t t
s
cently cently
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ti
window, window,
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that that
l
ears ears
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th
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gin gin
odified odified
lo
care care
Mytens Mytens
Rembrandt Rembrandt
c
n
or or
ld ld
c
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of of
floor floor
ese
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y y
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from from h
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o
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ed ed
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from from
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s
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ty, ty,
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restorat
on on
Rembrandt Rembrandt
anged anged
on on
th
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h
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h
nting nting
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e
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r
ight ight
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Fire Fire
a a
Rembrandt
the the
r
ea
in in
er er
o
beliefs beliefs
i
but but
t t
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Mado
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cr
pillar
th
t t
umili
up up
usu
nd nd
ir ir
as
o
tip tip li
seate
a a
motif motif
which which
'M
indicat
a a
C
ib ib
e e
the the
e e
n
a a
Mar
this this
ty ty
Screen Screen
of of
l
engraving engraving
i
chair chair
in in
hild
room room
also also
eep, eep,
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on on
of of
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a
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fused fused
vety vety
breast
tow
of of
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i
ll
nn
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s s
ty ty
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viewpoint: viewpoint:
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y y
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co
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the the
painted painted
in in
, ,
i
removal removal
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ards ards
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r
serves serves
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or or
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in in
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n
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b
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i
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a
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designated designated
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, ,
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rlier
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e
embody
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in
ith ith
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ll
bench bench
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th
as as
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r
n
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de
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front front
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if if
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ippl
paintings paintings
e
th
pt pt
2 2
was was
cor
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rkably rkably
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etc
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see
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than than
e
type type
ere
as as
based based
, ,
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Nationa
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eas
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ese
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porat
it it
e
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hing hing
Mantegna Mantegna
we we
in in
n n
a a
indo
.•
of of
by by
milt
rather rather
i
Rembrandt Rembrandt
fashion. fashion.
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reaching reaching
ec
varnis
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s s
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6 6 w
t
nting nting
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halo. halo.
That That
the the
Potsdam. Potsdam.
known known find find
ofMa
natural natural
r r
second second
This This
ith ith
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th
t t
sits sits
on on
e
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Parragia Parragia
of of
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ev
l l
w w
dr
and and
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e e
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that that
Sade
ntu
l l
bench. bench.
the the
y y f
i
through through
on on
h h
th
a th
b
16 ated ated
tl1at tl1at
app
Ga
ourse than than
visua
wh
T
th
was was
wing wing
r
enc
y, y,
r
and and
e e
at
e
h
H
om om 54 54
from from
e e
prints prints
a
traditional traditional
back back
ll
m m
t
traditional traditional
the the i
and and
e e
l
Eng
h
dds dds
in
c
in in
li
i
eer eer
since since
ery ery
C
'7 '7
s s
fro
a a
h h
h h
l l
on on
es es
e e
f
ves ves l
must must
(F
g g
had had
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Ga
a
interest interest
below, below,
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fact, fact,
o
var
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trad
s floor
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ct ct
sta
as as
l
h
the the
m b m
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represented represented
to to
a a
d d
it. it.
w
g.7)
is is
he
l
those those
e e s
of of
Cambr
painting painting
aktotrop
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at at
well well that that
fascinating fascinating
h h
hichJ
in a
restorations. restorations.
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n
as as
London, London,
as
iti
already already
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express express
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ti
front front
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, ,
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ed ed
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l
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or, or,
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ard ard
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repres
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motif motif
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Mary Mary
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scenes scenes
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h
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as as
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Me
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i
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it it
Rubens Rubens
behind behind
, ,
nt
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(F
Robert Robert
twis
e e
of of
und
height height
Fami
ca
seated seated
lptur
h
t
l
made made
l
wrote wrote
nc
v
in in
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oo
motif motif
What What
s a s
a
Mary Mary
i
ai
i
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g.5) g.5)
n n
milk milk
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o
type type
s
tion tion
~ ~
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e
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up up
nl
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k
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r
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y y
l l . . 7 REMBRANDT The Vi1gin and Child with the Cat and the Snake, 1654
In his painting of 1640 in the Louvre, still known to many as Le Menage du Men uisier (Fig.S), Rembrandt depicted Mary sitting low, not on a cushion as in some fifteenth-century representation of the Virgin of Humility, but on a 'bakermat'. 2 0 As Foucart determined," 1 Frans Floris had already done this earlier in The Holy Family he painted between 1550 and 1560, now in the Museum in Douai. The 'bakermat ' was a common household article in the Netherlands throughout the centuries , and the painting by Floris distinguishes itself from a daily scene only in details that the viewer had to recognise, such as the blue-grey colour of Mary's clothing , and perhapsJoseph's cap. One recognised the scene, however, as representing the Holy Family rather than an everyday family primarily and immediately because domestic scenes as such were not included in the repertoire of subjects in the visual arts, and thus simply were unthinkable in paintings. St An ne is present in Le Menage du Menuisier as well and the painting , therefore , is also a representation of the subject of St Anne with the Virgin and Child
8 8
'Le 'Le
REMBRANDT REMBRANDT
Menage Menage
du du
Menuisier
', ',
1 640 640 g Rembrandt School The Holy Famil)' at Night
found in painting and sculptur e so frequentl y in Germany and the Northern Netherlands that it became codified and was given its own title ('St Ann a te Drieen ', 'Die He ilige Ann a Selbdritt ' ). 'St Anna te Drieen' is also the subj ect of The Holy Family by a pupil of Rembt-andt in the Rijksmuseum (Fig.g) ,Z2 where Mary is sh own sitting and reading, and StAn ne rocking the cradle. As the work of a pupil , which despite its high quali ty has yet to be attributed , it deviates from Rembrandt 's work not on ly in execution , but also in the interpreta tion of the subject, at least as it is given by Rembrandt in the Paris painting. In the Amsterdam painting StAnn e has a book on h er lap, undoubt edly a Bible , and sh e looks at the Christ Child. In addition, she pulls the cloth or blanket on which the Child is lying towards herself (or she pushes it down) to be tter see the Child. Ti.impel interprets this action as a 'herkenningsmotief (recognition motif) ,2 3 that is to say as the rendering of St Anne's recognition of the child as the Christ Child about whom she just has read in the Bible. The same motif recurs later in the painting in Leningrad, which I will address shortly. However, in the Amsterdam Holy Family no connection is made between reading the Bible and looking at the child. This could be the difference between Rembrandt and a pupil. In Le Menage du Menuisierother traditional motifs draw our attention.Joseph is busy working a beam. He is most likely making a yoke, as he is clearly doing in the painting in the Hermitage. Also resting on the ground in a prominent place and picked out by sunlight is a log with two small branches lying crosswise over it. Rembrandt places so much emphasis on this detail that it must mean more than just wood for the fire burning under the pot hanging to the right in the hearth. In fact, it participates in a tradition of similar arrangements of wood in represent ations of the Holy Family. For instance, in Diirer's woodcut The Sojourn of the Holy Family in EgyjJt of 1501/ 1502,joseph is shown as a carpenter at work hollowing out a beam. 2 4 He is assisted by putti gathering twigs and larger pieces of wood, which they put into a basket. Seemingly casually and playfully they form seve•-al crosses, the most distinct one made by the put to in the foreground who is lifting a heavy bundle of sticks from which one protrudes crosswise below. Even though there seems to be no text to confirm it, obviously an allusion is made to the cross on which Christ will die. Whether the similar constellation of wood in the painting in St Petersburg is simple coinciden ce, or whether it is also intended as an allusion to the cross depends on the relationship of this motif with other motifs in the painting-"s In its entirety the subj ect of the Holy Family injoseph 's workshop had a long tradition. Veit Stoss represented it, and we find it closer to Rembrandt in an anonymous drawing from the end of the sixteenth century in the AJbertina. 26 But even if the presence of wood is explained by tradition, its deeper meaning must be supported by its context within the painting. A less common, but extraordinari ly significant element for the meaning of the painting is the group of putti enter ing from the upper left. The putti have been compared to those in Correggio 's La Notte, a comparison which is attractive on account of the parallel placing in the corner of the compos ition and a similar illumination from below. 2 7 Neverthe less, there is a world of difference between Correggio's idealised Renaissance angels and Rembrandt 's chubby little children . It is a curiously varied and lively group. A leader comes first, followed by at least five other putti of whom three are clearly defined; a cenu-al one who confide ntly
ove
j
cons
seco
prints prints
for for that that
his his
if the the
T
r
ri
C
a a
in in the the
ange
a prayers prayers
e car be be
to to Leven Leven
a
steps steps
of of
down down
it it
othe
h
p
th
us
ep
nd nd
nd nd
o
ntirel
er
c
os
h hristoff
later later
to to
If If
e e
T
In In
h
Ma
rm rm
e e
t t
mentioned mentioned
sacrifice sacrifice
ri
r r
head head
t
1658 1658
hap
man
-ese birth birth
t t
sce
trump
, ,
h
as as
nd nd
we we
id
in in
welcomes welcomes
a a a a thr
e
th
r r
l r l
ye
of of
e e
t
down
d b d
R
endeDood
-y's -y's
mentioned mentioned
with with
putt
turnin
e
thinn
easily easily
single single
ed
y y
e s e
n
th
predestination predestination
ep
t t
s s a
know know
nt
r r
embrandt's embrandt's
in
ee ee
ange
's 's
e e
for for
to to
a
di
e
y y a
e e
the the
iti
quotes quotes
i
ed ed
stance stance
(Fig.10)
r
nd nd arms arms
from from
de de
l l
et
sa
captions captions
plaster plaster
o o
ese
ffere
presence presence
Jegher Jegher
o
, ,
a
the the
n n
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er er
-bl
lv
h
him
rm
n n
in in
g g
in in
hi
wood wood
s
ls ls
in in
putto putto
that that
a
ave ave
at
h
nt
ur ur
of of
branch branch
aro
ow
s s
the the
ng
the the
o
we
w
t t
this this
s s
the the
nt nt
the the
i
the the
Heave s s
forefinger forefinger
o
se
the the
ons ons
w
ulders ulders
sake sake
hi
st
a a
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ing ing
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the the
n
above above
the the
und und
. .
l
ith ith
print print
lf
l. l.
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ret
co
function function
mad
e
c
in in
, ,
Instruments Instruments
ofthe ofthe
imilar imilar
Van Van
sect
e
upp
with with
dr
Jo
, ,
fin
h h
Heeren Heeren
second second
Holy Holy
and and
ofMary
t t
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m
angel angel
c
c
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it
the the
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th
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can can
nl
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as as
of of hin
ed ed
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by by
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as as
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ph ph
var
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Rijckevorsel Rijckevorsel
s s
b
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i
Chr
l
print print
f f
the the
Family, Family,
a
g. g.
Altem Altem
ut
book book
ecame ecame
ower ower
a
l
st
Fat
h
parallels. parallels.
e
putto putto
Boet
of of
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wide. wide.
in in
of of
on on
l
raised, raised,
i
engaged engaged
l
th
e e
so so
ill ill
stretc
ations ations
, ,
Wh
etter etter
desire desire
in in
than than
i
i
h cop
cross
1623."9 1623."9
the the
st's st's
er er
s s s
the the
we
and and
var
be be
w
to to
er er
praise praise
d
Ca
iu
abo
right right
il
hown hown
of of
form form
hi
Perpetua Perpetua
c
in in
r
po01-'. po01-'.
e e
In In
i
i
s s
upper upper
h of of
sacr
ut ut
follow. follow.
meant meant
e e
the the
e
e
painting
mbrid
ex
ch ch
in in
.
the the
a a
a
l
this this
e
d d
d d
th
the the
3° 3°
to to
ut ut
eaves eaves
tumblin
nd nd
Pa
d d
m
Bolswert Bolswert
of of
pr
in in
th
in in
e e
in in
T
The The
Chr
ifi
th
the the
a a
h
supposed supposed
th
ode
as as
a
arms arms
second second
ul ul
ess
upper upper
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cou
Passion Passion
e
hi
n
the the
cross
two two
both both
ce ce
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a a
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right right
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lp lp
e e
as as
a a
ge
two two
to to
T
s s
progress progress
i
no no
s
Crux Crux in
llin
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etc
st st
capt
s
imi
. .
for for
carpe
l
h
l l
hi
a a
if
Ho
ub
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Rembrandt Rembrandt co
(Fig
might might
e e
w
un
. .
e e
cases, cases, putti putti
cross
doubt doubt
with with
hin
s s
g g
very very
down
in in
l
Fur
in in
l
OI
ill ill
hi
mp
ef
of of
the the
one one
most most
ar ar
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l
poor poor
g C g
on on
y y
and and
by by
Cor
that that
-
.
Rembrandt's Rembrandt's
t
s s
t t i
dinate dinate
5)
g. g.
ntr
be be
that that
h
C
Fa
fashion. fashion.
th
a
s s
, ,
we
from from
e e
sa readiness readiness
Jodocus Jodocus
of of
hri
hrist hrist
outstretched outstretched
nion
under under
. .
h
c
espec
be be
, ,
a a inthi
e
As As
y, y,
mil
and and
book book
attitude attitude
crucified. crucified.
The The
imp
h
or or
l
appear appear
over
p
rm
ll ll
vation vation
symbo
the the
a
st st
arents arents
ass
Rembrandt Rembrandt
a a
be be
n
y, y,
Tilmpel Tilmpel
l
sce
s
o
memory. memory.
and and
kneels kneels
ook
var
justifies justifies
ging ging
ortant ortant
ans, ans,
chance chance
, ,
i
i
i
young young
r
where where
upright upright
sted sted
a
ng ng
ofJohannes ofJohannes
the the
one one
true, true,
e, e,
T
n
ll
i
l l
h
in
ed ed
y y
e e
Andr
of of
s
abou
to to
for for
w
8
h
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to to
h
e e
the the
when when
scene scene
in in
g g
etc
-
by by
ith ith
orizon
o
l
In In
g
man man
widest widest in in
his his
ook
him him
Rem
one one
back back
C
uld uld
: :
sacr
i
the the
t
the the
rema
occu
s s
co
hing hing
ar
the the
h h
'
i hri
t t
the the
Though Though
this this
a their their
es es
comparable comparable
e e
ead ead
id
hi
had had
ng
ing ing
m
n
one one
a
is b
from from
cross, cross,
representing representing
b
ifi
in in
st, st,
Chr
s
ea ea
s s
Ch
n
t
at at
s s
from from
f
randt randt
id
rr
ackgro
, ,
a
el el
rk
piece piece
willingness willingness
regard regard
oreground oreground yone yone
ce ce
The The Bourgeois, Bourgeois,
by by
ll
therefore
down
fulfills fulfills
hi
front front
work. work.
ence, ence,
a a
er
of of
ri
a a
ed;
y y
thinks thinks
enter
i
st st
s s
possible possible
st st
in
turning turning
behind behind
himself himself
heaven heaven
Phoenix Phoenix
we we
model, model,
a a
ardent ardent
he he
C
Chi
cou
1649, 1649,
think think
g g
8 8
cruc
l
und. und.
y
, ,
hild hild
sai
can can
in
Fo
was was
can can
the the
the the
in
the the
the the
a
of of
ld ld
ld ld
to to
g g
g g
l
n n
r r
s s , , 10 REMBRANDT 17uPhoenix, 1658
Le Nienage du Menuisier (Fig.S), where we found a similar arra n gement . It is not the only wood that h as a consp icuou s meaning in this painting . In the back ground and thus separated from Mary and the Child, Joseph is busy sh aping a beam into a yoke. In context with the cru ciform angel and arrangeme nt of wood on the flom-, it seems likely that here Matthew 11:30 is alluded to: 'For my yoke is easy, and my burden is light' . The parallels between Rembrandt 's work and ideas illustrated in treatises published by Antwerp Jes uits do not mark Rembrandt as a Catho lic. Probably nineteenth-century and later interpretations about the distance and controversy between Catho lics and Protestants have led to the branding of Rembra ndt as a pronounced Protestant who was averse to Catho lic views. In the Northern Nether lands in the seventee nth century , and especially for Rem brand t, general Christian views cut across the boundaries between the different groups . The ecumenical attitude was probab ly much more widespread than one generally thinks. However significant the meaning of these details is, Rembrandt directs the viewer's attent ion primarily to Mary and the Child. Mary sits on a chair, holding an open book, surely a Bible, in her lap with her left hand, while pushing aside with her right hand the coverlet resting on the crib to have an un obsU-ucted view ofher Child. The two actions , holding the book and looking at the Child, are closely connected visually. This comb ination of reading and looking at the Child is also found in Le NJenage dtt lVIenuisier. Tiimpel 's interpretation of these actions in this painting as representing Mary's recognition of the Christ Child about whom she just h as been reading in the Bible, seems to me convincing in principle . The nan-ative and time bound element thatTiimpel sees in it may, however, not have been intended as such by Rembrandt. Rather than interpreting these motifs as a series of successive acts, one might see the Chr ist Child, Mary (or StAnne) and the Bible as 'signs' of the future saviour, of his mother, and of his life and deeds as recounted in the Bible, placed next to each other and brought in relationship to each other . By allowing herself to casta glance at her Child, she reveals Him to us as wel l. To make clear to the viewer that the Saviour is represented here, Rembrandt prominently depicts the Bible and illuminates the book by lettin g the light shine on it. Rembrandt represented the 'revelatio' in a related manner one year later, in the painting in Kassel (Fig.3). Here the curtain 3' pulled to the side fulfills the function of revealing what had been veiled, in this case the entire subject of the Holy Family. In both paintings th e disclosure alludes to the New Testament that unveils wh at the O ld Testament conceals, or as Panofsky, and Tiimpel said 'Vetus Testamentum ve latum, Novum Testamentum revel a tu m' Y Moreover , the curtain in the Kassel painting confers a special significance to the Ho ly Fam ily. Rembrandt represented here the Ho ly Family as a painting within a paint ing, therefore twice removed from reality. This two-fold fiction is comparable to that of Rubens ' TriumjJh of the EuchaTist where the tapestries (and the preliminaq ' sketches and cartoons) represent tapestries that in their turn represent the various scenes exto lling the virtues of the Eucharist. :;:;
tg However much Rembrandt represented Mary and her Child as figures which existed, and however much this aspect of the painting attracts - and undoubtedly always has attracted the attention of the viewer, this reflection of direct observation appears to form an integral part of the religious subject depicted. In fact, every detail and every action seems determined in the first place by the religious idea that Rembrandt wanted to represent. He used the quotidian to make the spiritual persuasive. However, the notion that Rembrandt couch es the religious theme in terms familiar to all in order to make its message more convincing may underestimate Rembrandt's strategies. The intricate game with the curtain in The Holy Family in Kassel serves as a warning against overly simplistic solutions. Indeed, one detail of the painting in the Hermitage, although small and seem ingly insignificant, indicates that Rembrandt did more than simply transfer the religious subject to daily reality. Along the bottom of the original canvas a dark edge has been painted wh ich is wider on the right side than on the left. Th is edge has been enlarged, later, by about 1 I/z cm (not included in the illusu-ation). In the lower right corner this edge creates the impression that the floor ends abruptly, and that there is a space. Rembrandt frequently bounded the floor of a room at the front with steps leading downwards, or a space indicating that the floor was elevated in relation to what was in front of it. He did so clearly in Le Menage du Menuisier. the wooden floor v.rith the planks running at right angles to the picture plane ends near the bottom edge of the painting. The ends of the planks form an edge resting on a horizontal plank or beam which runs parallel to the lower edge of the painting . Rembrandt also closed off the foregro und in the etching of The Vi-rgin and Child with the Cat and Snake of 1654 (Fig.7). Here the space in which Mary is seated resembles a room, and has a window and a hearth. In the foreground, however, a staircase is constructed which in fact turns the room into a kind ofloft. Apparently, Rembrandt needed this demarcation of the spaces, even though it was not entire ly logical or practical. Impractical, and indeed awkward is the step in the etching of King David in Pmye-rof 1652 (Fig.11) .34 David is depicted kneeling before his bed which is placed on a low platform. The harp lies between us and David, and a dark vertical edge that has nothing to do with the bed or the wooden platform , but instead merely serves to close off the space in front in a pseudo naturalistic manner. Even less logical is the same motif in one of Rembrandt's most beautiful etchings, The Blind Tobit of 1651 (Fig.12). The step depicted here is most uncommon for a seventeenth-cent ury room, and for the blind Tobit it would be extremely dangerous.
20 ll REMBRA NDT King Dcwid in Prayer, 1652
21 12 RE rvfBR AN DT The blind Tobit, 1 6 5 1
22
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. . 25 (Summer 1966), pp.7-25 . Max Rooses listed the various impressions, L 'Oeuvre de PP. Rubens, v, An twerp 1892, no.1 3 18. 11 Waiter Friecllande r, Camvaggio Studies, Prince ton 1955, cat.no .7; and e lsewhere. 12 Sheila Schwartz, T he lconogmph)' of the Rest on the Flight intoEg)'pt, Ph .D. Dissertation, ! FA , NYU 1975· 13 Jo sua Bruyn , 'Rembr andt ancl the Italian Baroque', Simiolus4 (1970), pp.11 0, 111. Th e painting is discussed at length inJos ua Bruyn a.o ., A Corpus of Rembmndt Paintings, n , Dordrecht etc. , 1986, no . A 88, pp .450-458 . 14 Cecil Could, The Paintings of Co1Teggio, London 1976 , PP ·44• 229, 230, pls.23, 24 (with ill. before and after removal of overpaints in 1934 and 1965. T he painting has su ffered greatly) . He re,Jo seph is absent. 15 In his M arias Demut und 1lerheJTlichung in der Sienesischen Malerei I JOO-I 4 50 (The Hague 1969, pp.1 24-1 28), H .W. van Os gives an excellent analysis of the relationship between Mary and the Christ Child in this pain ting. T he independ en t roles of ti
H ollstein , Dutch and Flemish Etchings and Woodcuts ea. I 4 50-1 700, XXII, Amsterdam 1980 , p.93, n o.63. T he painting by Rubens is described by Rooses op.cit. (n ote 10), r, An twerp 1886 , no.1 87; the version form erly in Potsdam is described and illustrated in Elisabeth H enschei-Simon , Die Gemiilde und SkulptuTen in der Bilderga.le1·ie van Sanssouci, Berlin 1930, no . 1 oo, and in PP. Rubens, Des Meisters Gemiilde (eel. R. Oldenbourg), Berlin-Leipzig 192 1, P·7° · 18 Millarcl Me iss, 'Th e Mado nna ofH umility', ATt Bulletin 18 (1936), PP·434-464.
19 BJ. Broos; Index to the Fanned SouTCes of Rembmndt's A11., Maarssen 1977, p p.76, 77, listing the many auth ors wh o noted Mantegna's print as Rembrandt 's sour ce, o mitting h ow ever the one wh o first mention ed it: Cornelis Vosmaer, Rembrandt, sa vie et ses oeuvres, Th e Hague 1877, P·553· O nly in the second state did Mantegna (?)ad d h alos to the Virgin Mary and the Child. Did Rembr anclt know that state, or did he think of the halo inde pendently? 20 A 'bakermat' is an oblong, flat wicker mat termin ating on on e side in a low semi circular backrest to support the m other or nurse ('ba ker') sitting on it, cradling, nur sing or cleaning a child, often in front of a fireplace. Apparen tly there are no English or French words fo r this typ e of cradle. A Fren ch description is give n by J acques Fou cart, L es peintures de Rembrandt au Louvre, Paris 1982 , p.42. 21 Foucan ofJ.Cit. (note 20), pp-42-45. Th e painting by Floris is discussed at length by Car! van de Velde, FTcms Floris (IJ I 9/20- IJ 7D), Leven en werken, I, Brussels 1975, pp.1 98, 199, fig. 18. Van de Velcle elates the p ainting to ea. 1553-54·o T he pinion ofLu dwig Balclass (Wienerj aln·buch XXXV I [1 923 ], p. 23) that the painting 'offenbar. .. nicht a ls Kult- und Anclachtsbilcl gedac ht [war] ' canno t be uph eld.
29 22 PJJ. van Thi el, 'Rembrandts Heilige Familie bij avond', Bulletin van het Rijks museum, 13 (1g6s),pp. 145-161. 23 Christian TCtmpel and Astrid Tumpel , Rernbmndt, Amsterdam 1986 (Dutch ed.), PP· 244>2 45· 24 For this woodcut (Bartsch go, Le RejJos en EgyjJte; Ruhe cm[ der Flucht; Die Heilige Familie im Hoj) I adopt Panofsky's title (p.310). W. Stechow's constructive an alysis of the subject is found in Art Bulletin 26 (1944), p.199 (in review of Panofsky's itlbrecht Diirer, 1943). 25 Christian and Astrid Tumpel have written more extens ive ly than anyone unti l now about the symbolism of crossed items in representations of the Ho ly Family, ojJ.cit. (n ote 23), pp.2 44, 245, 384 (note 264). 26 Andor Pigler, Bamckthemen, I, 2nd ed ., Budapest 1974, pp.26o-261 gives an exten sive list of representations of the subject, among them the print by Veit Stoss (Pass.4) and the drawing in the Albertina (Otto Benesch, Die Zeichnungen der niederliindischen Schulen .. [Albertina.}, Vienna 1928, no.1g7 , pi. 53). 27 Cou ld ojJ.cit. (note 14), pp.204-206, pls.1 07-1 og. 28 Ttim pel 1986, lac. cit. (note 25). Th e same interpr etation was proposed by me in lectures in the 1g6os. Closely related to the subject 'Th e Cross Appearing to the Infant Christ' is that of 'The Infant Christ Lying Asleep on the Cross'; in his dreams he sees the Instruments of the Passion. Instances (Orazio Gent ileschi, Marc Antonio Franceschin i
2 a.o.) are listed by Louis Reau, IconogmjJhie de l'Art Chnitien, 11 , Paris 1957, p. 286. 29 J ohannes Bourgeois , Leven encle Doodt ons Heeren, Antwerp 1623, opp. p.8o. 30 Jodocus Andr ies, Altera Pe111etua Cntx.Jesu Cln·isti, Antwerp 1649, p.21. The woodcut by Chr istoffelj egher is after M. Sallaert. 31 Curtain s dep icted as hanging in fron t of paintings in Dutch art of this period have been the subject of many studies, among them particularly Patrick Reutersward , 'Tavel fii rhanget...', Konsthistorisk Ticlskriji25 ( 1956), pp.g7-11 3; Anne-Marie Lecoq , 'La mouche et le rideau ', in L ajJeinture clans lajJeintttTe (Exhib.cat.) Dijon 1982-1983, pp.270, 271; Kemp ojJ.cit. (note 5) , pp.46-54 ; Eric Jan Sluijter a.o., in Leidse fijnschilders (Exh ib. cat.) Leiden 1988, under nos.g (Dou ) and1g (Van Gaesbeeck); P. Hecht , in De Hollandse.fijn schilclen (Exhib. cat.) Amsterdam 1g8g, under no.5 ; and most recent ly Guido Jansen , in Penpectiven: Saenredarn en de architectuunchilders van de I7 '' eeuw (Exhib.cat.) Rotterdam 1991 , under nos.34 and 37, all with previous bibliograph y. 32 Erwin Panofsky, Early Netherlandish Painting, !, New York etc., 1953 , p.337; TCunpel ojJ.cit. (note 23), pp.245 , 246. 33 Feigned tapestries in Rub ens' work are discussed in two volumes of the Corjnts Rubenianwn Luclwig Burdw.1·cl: vo l. x, The Achilles Series, by E. Haverkamp Begemann ,
Brussels 1975, pp.37-39, and , more extensively, with furth er previous bibliograph y, vol. 11, The Euchmist Series, by Nora de Poorter , London etc., 1978, pp. 72-76. 34 Th e best descriptions of the subject matter of this and the following etchin g (B.41) are
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