Pieter Bruegel and the Art of Laughter - AAAARG.ORG

188 notes to pages 61–68
101. For the Hampton Court and Vienna versions, see Grossmann 1955, pls.
110–114 and p. 199.
102. See Michael Francis Gibson, The Mill on the Cross: Peter Bruegel’s “Way to
Calvary” (Lausanne: Acatos, 2000), whose various observations about
Bruegel’s expressive physiognomies are aptly supported by the many detail
illustrations.
103. The connection between painting and poem is made in a perceptive article
by Yoko Mori, “The Influence of German and Flemish Prints in
the Work of Pieter Bruegel,” Bulletin of Tama Art School 2 (1976 ): 17–60,
esp. 53–55. For the original poem, see Bijns 1875, pp. 335–339 (Refereyn
XXXIV) first published at Antwerp in 1567.
104. Tony Torrilhon, “Brueghel était-il médecine?” Connaissance des arts 80
(October 1958): 68–77, esp. 71.
105. For a number of examples by both artists, see the ills. in Marlier 1969,
p. 115 passim.
106. The iconographic unorthodoxy of this painting is stressed by Yona Pinson,
“Bruegel’s 1564 Adoration: Hidden Meaning of Evil in the Figure
of the Old King,” Artibus et historiae 30 (1994): 109–128.
chapter 3
Epigraphs: Al niet sonder gelt; see Proverbia Communia 1947, pp. 47, 133, no. 91; a variant
in pp. 43, 127, no. 67; and François Rabelais, Gargantua and Pantagruel, 2:16; see
Rabelais-Cohen 1955, p. 222.
1. Smolderen 1995. More details of Noirot’s bankruptcy and the events
leading to it are given in Goldstein 2003, who notes, pp. 257–258 and
270, that Noirot hid in the house of his brother-in-law at Antwerp,
probably to avoid witnessing the sale of his possessions.
2. Stappaerts 1987–88; for a summary of the collections, see p. 142.
3. Smolderen 1995, p. 38; and Goldstein 2003, pp. 257–272.
4. Goldstein 2000, p. 180, provides the same translation, although she does
not discount the possibility ( p. 192 n. 32) that the word achter simply
meant that the dining room was toward the back of the house.
5. Goldstein 2003, p. 263 and n. 133.
6. Attributed to Bosch in old inventories are a Wedding Banquet owned by
Rubens, and a Flemish Dance in the possession of Philip II of Spain; see