Additions to Ulrich Heinen: Huygens and Rubens. Reflecting the passions in paintings. With some considerations in the neuroscience in art history. In: Stephanie Dickey und Herman Roodenburg (Ed.): Motions of the Mind. Representing the Passions in the Arts of the Early Modern Netherlands, Netherlands Yearbook for the History of Art 60, 2010, pp. 150–177. For the printed version of the article some notes and the last chapters had to be abridged. Here is the original version of those parts of the article. Content: I additions to chapters II additions to notes I additions to chapters Diaetetica The version of Rubens’s Medusa that Huygens described in the collection of the merchant Sohier does not seem to have had rhetorical associations of this kind. Instead Huygens’s account begins and ends with social moments. First his friend shows him the picture clearly in order to shock him by pulling back the curtain suddenly. Finally Huygens ends with the witty remark – fitting well for a relaxed table talk – that he prefers ‘to praise this painting rather in the house of friends than in my own’ and that in this context he remembered the anecdote of the barbarian envoy who had no appreciation of art because he could not distinguish between the value of paintings and the value of their subjects. In this social framework the example can lead to a more general idea of the individual and common relevance of shocking pictures like this. Huygens’s textual framework still preserves an impression of an enjoyable conversation in the collection of his friend. The therapeutic relaxing effect of such jocular conversation, as it was described by medical scholars from antiquity as well as the early modern era in treatises on ‘diaeta’,81 can still be noticed between the lines of Huygens’s text. For Huygens the frightening effect of the picture is bound up with an exchange of friendship, from the first scare until the intellectual reflection of the painting and the experienced power of images to the relaxing repartee and later to the total recall of the experience of the painting and its intellectual reflection in his autobiography. In this regard Rubens’s Medusa and Huygens’s autobiographical notations apparently practice and reflect not only a compendium of concepts grounded in art theory, rhetoric, poetry and philosophy, with regard to the emotional pictorial effects of ictus, compassion, enárgeia and enérgeia, and even sublimitas, but are intended as intermediaries of a salubrious stress-cycles performed in sociable conversation. Today it is well-known that cycles of escalation, relaxation and homoeostasis in the endocrine system are essential for physiological health and fitness and how the whole cycle of stress depends on mental images and often can be controlled by external stimuli.82 Mental images, 81 See J. Verberckmoes, Schertsen, schimpen en schateren. Geschiedenis van het lachen in de Zuidelijke Nederlanden, zestiende en zeventiende eeuw, Nijmegen 1998, 70–84; K. Bergdolt, Leib und Seele. Eine Kulturgeschichte des gesunden Lebens, Munich 1999, 179–222; Rubens was familiar with medical treatises on salubrious and dietetical aspects; see for example the relevant books in his library: Heinen, Garten, op. cit. (N. 12). 82 See Mühlmann, Nature, op. cit. (N. 5), 43–45; J. P. Pinel, op. cit. (N. 5), 471–476; LeDoux, Gefühle, op. cit. (N. 5), 259–265; Hülshoff, op. cit. (N. 5), 115, 135–136, 159–160 and passim. 2 activated through perceptions or memories, are acting upon the endocrine system. This system triggers the health of body and soul. After successfully passing a moment of stress the concentration of adrenaline and cortisol, that suddenly had increased to prepare for reaction against the stressor, drops down deep under the original level. At the same time particularly in male viewers the concentration of testosterone shoots up. Endorphins are poured out mainly in the brain. Temporarily the senses of well-being, sexual desire and potency are strengthened. The homoeostasis of a low level of stress that appears in the feeling of success benefits success in future escalations of stress. When stress is low, the reserve of energetic molecules is built up again and can be activated in future moments of stress. The circuit recreates. But if disappointments – the reason may be real or only imagined – are stored as memories, the hormonal state of emergency persists for an indeterminate length of time. Digestion, growth, sexuality and memory are hindered. The circuit is permanently overloaded, immune defense weakened. Furthermore the ability of a stressed organism to react to the next stressors with new escalation effectively is lowered because enduring stress consumes the energy reserves. The circuit is exhausted. So stress has to be interrupted again and again by periods of homoeostasis. Stress has to be diminished and the consumption and production of energy-reserves has to come in balance again. But a world without stress is not healthy either. If there are no exterior stimuli, paranoid imaginations of imaginary stressors may be produced. So the integration of horrifying paintings such as Rubens’s Medusa into the harmlessness of upper class everyday life apparently had the elementary function of prompting short cycles of stress that could be closed again in social laughter about the shocking joke. Those cycles of escalation, relaxation and homoeostasis are the condition for biological fitness and for the enduring ability for self- preservation and reproduction. Escalation, relaxation and homoeostasis, the whole cycle of stress, is accompanied by mental images. But in producing these interior images thalamus and hippocampus can be influenced or partly even navigated by external pictures or other stimuli from outside. So pictures can regulate and sometimes even control the emotional status that is responsible for individual health and productivity. Unfortunately only few publications are dealing with the connection between pictures and the neurophysiology of feeling happy and calm; an exception: Freedberg, Historical Dimension, op. cit. (N. 5); ibid., Empathy, Motion and Emotion, op. cit. (N. 5), 31–32. For neurophysiological research on these feelings see for instance Damasio, Spinoza-Effekt, op. cit., passim; S. Ortigue et al., ‘The Neural Basis of Love as a Subliminal Prime. An Event-related Functional Magnetic Resonance Imaging Study’, Journal of Cognitive Neuroscience 19,7, 2007, 1218–1230; Hidehiko Takahashi et al.: ‘Brain Activation during Judgments of Positive Self-conscious Emotion and Positive Basic Emotion. Pride and Joy’, Cerebral Cortex 18.4, 2008, 898–903. 3 The importance of external stimuli on the physiological regulation of individual and collective stress and particularly the influence of pictures and imaginations on health as well as the relaxing effect of jokes were already observed and interpreted physically since antiquity: Fear could concentrate blood and spirit in the heart; the regeneration of the circuit of blood could be experienced as revival after danger.83 Although the physiological background of the impact of external stimuli on the physiological regulation of individual and collective stress and particularly the influence of pictures and imaginations on physiological health as well as the relaxing effect of jokes was unknown in the antique and in early modern time, its effects were yet considered in medical or magical concepts. For instance, the Stoic Epictetus in his Diatribes advised a kind of stoical imagination-therapy (2.18.25f.): Bad imaginings, that lead to destructive passions and vitiate well-being, can be expunged through beautiful and noble contra-visions, that can reinvigorate. Leon Battista Alberti (1404–1472) pointed to painted springs and brooks with regard to the water balance in the human body, when he described individual therapeutic effects of paintings.84 Marsilio Ficino (1433–1499) announced that the gaze of beauty regulates the abundance of black bile and so cures melancholy.85 Thomas Fienus (1567–1631) stated in his De viribus imaginationis tractatus (Leuven 1608) that imagination influences the shape of the individual body.86 And the Paracelsian physician Johann Baptist van Helmont (1577–1644), living near Brussels, underlined in his Ortus medicinae, published posthumously in 1648, that even the imagination of a disease could endanger one’s health.87 Particularly the relaxing effect of jokes was often considered in early modern medical literature.88 For instance, the physician Hieronymus Mercuriale (1530–1606) in his De Arte Gymnastica, which Rubens read, asserted the salubriousness of laughing.89 The Jesuit and Lipsius-correspondent Jacobus Pontanus (1542–1626) in his Attica bellaria (1610) referred to 83 See for example Th. Rahn, ‘Gryphius’ Cardenio und Celinde. Zwei dramatische Krankengeschichten’, in: J.-D. Krebs (ed.), Die Affekte und ihre Repräsentation in der deutschen Literatur der Frühen Neuzeit (Jahrbuch für Internationale Germanistik. Reihe A. Kongreßberichte, 42), Berne et al. 1996, 93–106, esp. 97. 84 L. B. Alberti, De re aedificatoria, Florence 1485 (Chadwyck-Healey [ed.], Art Theorists of the Italian Renaissance Full-Text Databaseed, Cambridge 1998), 322, vol. 9, cap. 4. 85 See Bergdolt, op. cit. (N. 81), 184. 86 See P. Boeynaems, ‘De Geneeskunde te Antwerpen in de tijd van Rubens’, in: Geneeskunde rond Rubens, cat. exh. Antwerp (Geneesherenhuis), 1977, 21–30, esp. 28. 87 See Bergdolt, op. cit. (N. 81), 233. 88 See ibid., 179–222. 89 H. Mercuriale, De Arte Gymnastica Libri Sex,