Pieter Bruegel and the Art of Laughter - AAAARG.ORG

206 notes to pages 98–99
sures of the World and the Limits of Festival,” in Das Fest, Poetik und
Hermeneutik 14 (Munich: Wilhelm Fink, 1989), pp. 180–216, esp. 182.
Partly on the basis of these records, Koerner suggests that Van Mander’s
account may be correct ( pp. 181–182).
97. Ibid., with further references; and Simon 1998, p. 203.
98. Samuel Kinser, “Presentation and Representation: Carnival at Nuremberg,
1450–1550,” Representations 13 (Winter 1986 ): 1–41, esp. 10, 11.
Samuel L. Sumberg suggests that the “predominant role given the peasant
in the carnival celebration seems to be due not so much to the desire
of the burgher to satirize the countryman as to the rustic origin of
the spring festivities”; see Samuel L. Sumberg, The Nuremberg Schembart
Carnival (1941; New York: AMS Press, 1966 ), p. 124.
99. Thoinot Arbeau, Orchesography, trans. Mary Stewart Evans,with a new
intro. and notes by Julia Sutton, and a new labanotation section by
Mireille Backer and Julia Sutton (New York: Dover Books, 1967), p. 136.
100. Van Mander-Miedema 1994–99, 1: fol. 233r ( pp. 190–191).
101. The map in question is from Lodovico Guicciardini, Descrittione di tutti i
Paesi Baesi (Antwerp: Christophe Plantin, 1582). I am very grateful to
Adolph Monballieu for information he provided me on Kempen. For
its geography, see Winkler Prins Encyclopedie van Vlaanderen (Brussels: Elsevier
Sequoia, 1973), 3:475–476, s.v., “Kempen.”
102. Kavaler 1999, pp. 174–175. Kavaler (pp. 161–163) notes the considerable
interest of Breugel’s contemporaries in the peasant costume of his day.
103. Cf. Muylle 2001, p. 182, who makes a similar observation.
104. Noted by Wolfgang Stechow, Pieter Bruegel the Elder (New York: Harry N.
Abrams, 1955), p. 116.
105. The older peasant accompanying the distinguished guests in Valckenborch’s
Village Fair of 1577 wears a codpiece (see Fig. 55), but it is altogether
more modest in size.
106. Essays 1:23: “Of custom, and not easily changing an accepted law”; quoted
from Montaigne-Frame 1948, pp. 85–86. For the codpiece in general,
see Grace Q. Vicary, “Visual Art as Social Data: The Renaissance Codpiece,”
Cultural Anthropology 4 (1989): 3–25, who suggests that its popularity
was a response to the spread of syphilis and its treatment in this
period. See also Ann-Sophie Lehmann, “Fluwelen fallussen,” Kunstschrift,