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Pieter Bruegel and the Art of Laughter - AAAARG.ORG

Pieter Bruegel and the Art of Laughter - AAAARG.ORG

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chapter five<br />

making good cheer<br />

=ã<br />

Eating <strong>and</strong> drinking hold soul <strong>and</strong> life toge<strong>the</strong>r.<br />

ne<strong>the</strong>rl<strong>and</strong>ish proverb<br />

If you look at <strong>the</strong> manners <strong>of</strong> everyday life, <strong>the</strong>re is no race<br />

more open to humanity or kindness [than <strong>the</strong> Ne<strong>the</strong>rl<strong>and</strong>ers]<br />

. . . <strong>and</strong> not prone to any serious vices, except that it is a<br />

little given to pleasure, especially to feasting.<br />

erasmus<br />

As we have seen, Jean Noirot displayed three <strong>of</strong> <strong>Bruegel</strong>’s rustic celebrations<br />

in his dining room, specifically his “small, back dining room.”<br />

To judge from contemporary records <strong>of</strong> work done on his residence, <strong>the</strong><br />

walls <strong>of</strong> this particular chamber had been marbleized in green, with black<br />

baseboards <strong>and</strong> some wall paintings. 1 Against this presumably subdued<br />

background, Noirot’s <strong>Bruegel</strong>s, if <strong>the</strong>y were anything like <strong>the</strong> Detroit <strong>and</strong><br />

Vienna panels, must have glowed with life <strong>and</strong> color. At first sight, <strong>the</strong><br />

placement <strong>of</strong> <strong>the</strong>se pictures was not so remarkable; because a family ’s social<br />

activity tended to center on <strong>the</strong> dining room, its decoration was <strong>of</strong>ten<br />

more elaborate <strong>and</strong> costly than that <strong>of</strong> o<strong>the</strong>r rooms. 2 But more than <strong>the</strong>ir<br />

decorative qualities may have prompted Noirot to embellish his dining<br />

room with <strong>Bruegel</strong>’s peasant scenes—if <strong>the</strong> hanging <strong>of</strong> pictures in a<br />

sixteenth-century Antwerp house was not simply haphazard, dictated<br />

106

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