Pieter Bruegel and the Art of Laughter - AAAARG.ORG

182 notes to pages 48–51
62. For this subject, see Walter S. Gibson, “Imitatio Christi: The Passion
Scenes of Hieronymus Bosch,” Simiolus 6 (1972–73): 83–93, and esp. the
illuminating study by James H. Marrow, Passion Iconography in Northern Europe
of the Late Middle Ages and Early Renaissance: A Study of the Transformation of
Sacred Metaphor into Descriptive Narrative, Ars Neerlandica, vol. 1 (Kortrijk:
Van Gemmert, 1979).
63. Examples ill. in Friedländer 1967–76, 7: pls. 16–17 (Massys); 13: pl. 101,
fig. 197 (Heemskerck).
64. Quoted in E. H. Gombrich, “The Grotesque Heads,” in idem, The Heritage
of Apelles: Studies in the Art of the Renaissance (Ithaca, N.Y.: Cornell University
Press, 1976 ), p. 60.
65. For short discussions of these manuals, together with reproductions of
some of their illustrations, see Grillot de Givry, Witchcraft Magic and Alchemy,
trans. J. Courtenay Locke (New York: Dover Publications, 1971), pp.
256–261; and Kurt Seligmann, Magic, Supernaturalism and Religion (New York:
Pantheon Books, n.d.), pp. 261–266. For Roelants, see Ilja M. Veldman,
“Seasons, Planets and Temperaments in the Work of Maarten van Heemskerck:
Cosmo-astrological Allegory in Sixteenth-Century Netherlandish
Prints,” Simiolus 11 (1980): 149–176, esp. 169 and n. 70; and Muylle 2001,
pp. 180–181.
66. Sullivan 1994, pp. 79–83, suggests that Bruegel’s depictions of peasant
heads was influenced by these physiognomy manuals, but this is doubted
by Muylle 2001, p. 180 n. 17.
67. Joubert-Rocher 1980, p. 6.
68. Paul Philippot, “L’integration de motifs de Raphaël et de Michel Ange
dans l’oeuvre du monogrammiste de Brunswick,” in Relations artistiques
entre les Pays-Bas et l’Italie à la Renaissance: Études dédiées à Suzanne Sulzberger,
Études d’Histoire de l’Art publiées par l’Institut Historique Belge de
Rome, vol. V (Brussels: L’Institute Historique Belge de Rome, 1980),
pp. 199–207. Indeed, we encounter much more expressive figures in the
previous century, in a remarkable frontispiece miniature detached from a
three-volume copy of Valerius Maximus’s Faits et dits mémorables des romains.
Executed by the Master of the Dresden Prayerbook in Bruges about 1475–
80, the illuminations deftly contrast the sedate conduct of the temperate
and the drunken debauchery of the intemperate at their respective tables.
See Los Angeles, The J. Paul Getty Museum, Illuminating the Renais-