DOI issue:
Nr. 1-4
DOI article:Paszkiewicz, Piotr: Noctural bird of wisdom: symbolic functions of the owl in emblems
DOI Page / Citation link: https://doi.org/10.11588/diglit.18898#0077
Painted representations of drunkermess ard gluttony were most often closely linked with the
rcality of the period46. In his report of 1674, entitkd Observalicns upon the United Provinces
of the Netherlands, ambassador William Tempie wrote that liąuor Was the only joy in the life
of these people and „that, for all their tme liches they would seem poor ard unhappy without
it"47. The feasts ard drinking bouts organized by the Butch obeyed specific icgulations, for
instance, the number of toasts raiftd was equal to the number of guests, or the big glasscs had
the shape of beakers or fhites. The host considercd himself a simpleton if he d'd not prime his
guests with liquor, neither did he trust those who drank less than himself. Quite improbable
quantities of focd were devoured.
The tradition of gluttony and drunkenness must have bcen deeply rooted in Germany and
the Netherlands sińce its allegoric representations in painting date back to the 15th century
and occur in mimerous paintings by Hieronymus Bosch who, in addition to stupidity, dedicated
much of his attention to this problem (Allegory of Dipsomania and Gluttony, The Oyster-Shell
or Seven Deadly Sins). Likewise, the central part of the tiiptych The Temptaiion of St. Anthony
46. Cf. P. Zumthor, La vie ąuoiidienne en Hollande au temps de Rembrandt, Paris, 1959, pp. 156—160; Tot Leering en Vcrmauk.
Betekenissen van Holłandse genreroorslellingen uit de zeventiende eenw. Catalogus, Rijksmuscuni Amsterdam, 16 scptcmber
to 5 december 1976, p. 248.
47. P. Zumthor, op. cii.,
3. C. van Haarlcm, Adam and Eve, 1592, Amsterdam, Rijksmuseum (after P.J.J. van Thiela
„Marriage Symbolism in a Musical Party by Jan Miense Molenaer", Simiolus, 2, 1967/68, no 2)
71
rcality of the period46. In his report of 1674, entitkd Observalicns upon the United Provinces
of the Netherlands, ambassador William Tempie wrote that liąuor Was the only joy in the life
of these people and „that, for all their tme liches they would seem poor ard unhappy without
it"47. The feasts ard drinking bouts organized by the Butch obeyed specific icgulations, for
instance, the number of toasts raiftd was equal to the number of guests, or the big glasscs had
the shape of beakers or fhites. The host considercd himself a simpleton if he d'd not prime his
guests with liquor, neither did he trust those who drank less than himself. Quite improbable
quantities of focd were devoured.
The tradition of gluttony and drunkenness must have bcen deeply rooted in Germany and
the Netherlands sińce its allegoric representations in painting date back to the 15th century
and occur in mimerous paintings by Hieronymus Bosch who, in addition to stupidity, dedicated
much of his attention to this problem (Allegory of Dipsomania and Gluttony, The Oyster-Shell
or Seven Deadly Sins). Likewise, the central part of the tiiptych The Temptaiion of St. Anthony
46. Cf. P. Zumthor, La vie ąuoiidienne en Hollande au temps de Rembrandt, Paris, 1959, pp. 156—160; Tot Leering en Vcrmauk.
Betekenissen van Holłandse genreroorslellingen uit de zeventiende eenw. Catalogus, Rijksmuscuni Amsterdam, 16 scptcmber
to 5 december 1976, p. 248.
47. P. Zumthor, op. cii.,
3. C. van Haarlcm, Adam and Eve, 1592, Amsterdam, Rijksmuseum (after P.J.J. van Thiela
„Marriage Symbolism in a Musical Party by Jan Miense Molenaer", Simiolus, 2, 1967/68, no 2)
71