DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.44747#0048
46. Veit Konrad Schwarz, Trachtenbuch, in Max Herrmann, “Bilder
aus dem Kinderleben des sechzehnten Jahrhunderts”, Mitteil-
ungen der Gesellschaft filr deutsche Erziehungs- und Schul-
geschichte, Berlin 1910, S. 142-145.
47. The following scholars assume the original number of paintings
in this series is twelve and refer to them as “Twelve months”:
E. Michel, Pierre Bruegel, Paris 1931. Gliick (1935), op.cit. G.
Jedlicka, Pieter Bruegel. Der Maier in seiner Zeit, Erlenbach/
Zurich/Leipzig 1938. Grossmann (1956), op.cit. Gibson (1977),
op. cit.
48. The following scholars assume the original number of paintings
in this series is six and that each painting represents two months:
Tolnay (1935), op.cit. F. Novotny, Die Monatsbilder Pieter Brue-
gels der Altere, Wien 1948. E. van der Vossen, “De ‘Maanden-
reeks’ van Pieter Bruegel den Ouden Oud Holland, 1951,
jaargang LXVI, biz.103- 116. K. Demus, “Die Zeiten des Jahrs”,
Plamische Malerei von Jan van Eyck bis Pieter Bruegel d.A., Wien
1981, S. 86-104. He suggests that this series is painted as the
natural cycle of a year and calls it six seasons, or rather “die Zeiten
desjahres” ( “Times of a Year”). Hans J. van Miegroet, "The
twelve months reconsidered: how a drawing by Pieter Stevens
clarifies a Bruegel enigma”, Simiolus, vol.16, 1986, No.l, pp.29-
35. I am quite convinced by his argument.
49. On the document noting the gift of Bruegel’s paintings to
Archduke Ernst, see Demus, op.cit., S.86-87.
50. Y. Mori, “Iconographical Tradition in Flemish Books of Hours and
Calendar Prints seen in Pieter Bruegel’s ’Spring’ and ’Summer’”
(in Japanese), The Bulletin of Art and Science ofMeiji University,
1985, vol.184, pp.361-473.
51. Grossmann, op.cit., 1966, the caption of the plate 94.
52. Ingens ad vitium mortales ducit opum vis/Aedificantque suis
noua frugibus horrea, cunctam / Figentes temere terrena in mole
salutem. /At messe ignotus potitur, cella’que recondit. Luc 12
53. F. van der Vossen assumes that “the missing piece most probably
depicted amorous peasant couples, sheep-shearing and bee-
keeping”, op.cit., biz. 116.
54. B. Claessens enJ.Rousseau, op.cit.
55. J. Francis, Brueghel contre lespouvoirs, Bruxelles 1969.
56. R.L. Delevoy, Bruegel, Paris/London 1953, p.76.
57. “[c] ruepelen... hooch dat u nering beteren moeg.” The quotation
is from Marijinissen(1988), op.cit., biz.355. On the history of
the interpretation of this painting and the meaning of a foxtail,
see his excellent explanation of the above mentioned book, biz.
354-358.
58. On foxtail proverbs see Woordenboek der Nederlandsche Taal,
Leiden 1987, dl. 22, 2de stuk, “Vossestaart”, biz. 1423-1428.
59- Carel van Mander, Het Schilder-Boeck, Haerlem 1604. The
original text and the English translation: Karel van Mander, The
Lives of the Illustrious Netherlandish and German Painters, ed.
Hessel Miedema, Doornspik 1994, pp. 192-194.
60. Hans Bachtold-Staubli(hrsg.), Handworterbuch des deutschen
Aberglaubens, Berlin/New York 1987, Bd. 2, S. 796-802.
A. Harou, “DeEkster”, Ons Volkslevenfsg. 11, 1899, biz.99-101,
192.
61. Marijnissen (1988), op.cit., biz.373. On the meaning of the
magpie, see his excellent explanation, biz. 371-373.
62. Auner, op. cit., S. 109-118.
63. Ch. de Tolnay, op.cit., pp.9-10.
64. J.C. Klamt, “Anmerkungen zu Pieter Bruegels Babel-Darstel-
lungen”, O. von Simson und M. Winner(hrg.), Pieter Bruegel
und seine Zeit, Berlin 1979, pp.43-49. In this article about Tower
of Babe\ in Rotterdam, Klamt interprets Bruegel’s criticism of
the oppression of the Roman Catholicism, pointing out the the
Catholic procession on the forth stage of the tower.
65. The French, Latin and Dutch inscriptions read as follows:
Voijez comment le pauure aueugle en fin se porte,
Qui sur un autre aueugle ignoramment se fie.
Il ua mal asseure, quoy que fort il s appuije
Et se tienne a son homme. Ansi par male sorte
Tombent dans le fosse et luij, et son escorte.
CAECVS DVCEM SE PRAEBET ALTERI CAECO;
QVOD SAEPE NVNC VSWENIRE LVGENDUM EST.
QVID RESTAT AVTE? QVID ? NISI VT VIAE IGNARI,
QVA DESTINATVM CONSEQVI SCOPVM DETVR,
TANDEM IN PATENTE VTEROS CORR VAT FOSSA?
Daer de ene blinde de ander leijdt
Vallen ze beijde onuerzients inde sloot:
Zijdij blindt? ende bekendt ghij v blindtheijdt?
Nempt gheen leijdtsman, oft zijt verzekert bloot
Van zijn ghezichte, anders breng dij v zelff in noot.
66. The Dutch inscription reads as follows:
Wandelt altijt in alle voorsichticheijt,
Sijt ghetrou, betrout niemant, dan Godt in alien:
Want om dat deen blinde dander leijt
Sietmense beij tsamen inde gracht vallen.
67. Anna Bijns, “O Here, Wilt alle blinde verlichten nu met dit
nieuwe jaar”, Lode Roose (uitg.), Meer zuurs dan zoets, Hasselt
1968, biz.0-52.
68. Bijns, op.cit., biz.48.
69- Bijns., op.cit., biz.46.
70. Ain Spyegel Der Blindlt., following quotations are from fol.
B iv and C.
58
aus dem Kinderleben des sechzehnten Jahrhunderts”, Mitteil-
ungen der Gesellschaft filr deutsche Erziehungs- und Schul-
geschichte, Berlin 1910, S. 142-145.
47. The following scholars assume the original number of paintings
in this series is twelve and refer to them as “Twelve months”:
E. Michel, Pierre Bruegel, Paris 1931. Gliick (1935), op.cit. G.
Jedlicka, Pieter Bruegel. Der Maier in seiner Zeit, Erlenbach/
Zurich/Leipzig 1938. Grossmann (1956), op.cit. Gibson (1977),
op. cit.
48. The following scholars assume the original number of paintings
in this series is six and that each painting represents two months:
Tolnay (1935), op.cit. F. Novotny, Die Monatsbilder Pieter Brue-
gels der Altere, Wien 1948. E. van der Vossen, “De ‘Maanden-
reeks’ van Pieter Bruegel den Ouden Oud Holland, 1951,
jaargang LXVI, biz.103- 116. K. Demus, “Die Zeiten des Jahrs”,
Plamische Malerei von Jan van Eyck bis Pieter Bruegel d.A., Wien
1981, S. 86-104. He suggests that this series is painted as the
natural cycle of a year and calls it six seasons, or rather “die Zeiten
desjahres” ( “Times of a Year”). Hans J. van Miegroet, "The
twelve months reconsidered: how a drawing by Pieter Stevens
clarifies a Bruegel enigma”, Simiolus, vol.16, 1986, No.l, pp.29-
35. I am quite convinced by his argument.
49. On the document noting the gift of Bruegel’s paintings to
Archduke Ernst, see Demus, op.cit., S.86-87.
50. Y. Mori, “Iconographical Tradition in Flemish Books of Hours and
Calendar Prints seen in Pieter Bruegel’s ’Spring’ and ’Summer’”
(in Japanese), The Bulletin of Art and Science ofMeiji University,
1985, vol.184, pp.361-473.
51. Grossmann, op.cit., 1966, the caption of the plate 94.
52. Ingens ad vitium mortales ducit opum vis/Aedificantque suis
noua frugibus horrea, cunctam / Figentes temere terrena in mole
salutem. /At messe ignotus potitur, cella’que recondit. Luc 12
53. F. van der Vossen assumes that “the missing piece most probably
depicted amorous peasant couples, sheep-shearing and bee-
keeping”, op.cit., biz. 116.
54. B. Claessens enJ.Rousseau, op.cit.
55. J. Francis, Brueghel contre lespouvoirs, Bruxelles 1969.
56. R.L. Delevoy, Bruegel, Paris/London 1953, p.76.
57. “[c] ruepelen... hooch dat u nering beteren moeg.” The quotation
is from Marijinissen(1988), op.cit., biz.355. On the history of
the interpretation of this painting and the meaning of a foxtail,
see his excellent explanation of the above mentioned book, biz.
354-358.
58. On foxtail proverbs see Woordenboek der Nederlandsche Taal,
Leiden 1987, dl. 22, 2de stuk, “Vossestaart”, biz. 1423-1428.
59- Carel van Mander, Het Schilder-Boeck, Haerlem 1604. The
original text and the English translation: Karel van Mander, The
Lives of the Illustrious Netherlandish and German Painters, ed.
Hessel Miedema, Doornspik 1994, pp. 192-194.
60. Hans Bachtold-Staubli(hrsg.), Handworterbuch des deutschen
Aberglaubens, Berlin/New York 1987, Bd. 2, S. 796-802.
A. Harou, “DeEkster”, Ons Volkslevenfsg. 11, 1899, biz.99-101,
192.
61. Marijnissen (1988), op.cit., biz.373. On the meaning of the
magpie, see his excellent explanation, biz. 371-373.
62. Auner, op. cit., S. 109-118.
63. Ch. de Tolnay, op.cit., pp.9-10.
64. J.C. Klamt, “Anmerkungen zu Pieter Bruegels Babel-Darstel-
lungen”, O. von Simson und M. Winner(hrg.), Pieter Bruegel
und seine Zeit, Berlin 1979, pp.43-49. In this article about Tower
of Babe\ in Rotterdam, Klamt interprets Bruegel’s criticism of
the oppression of the Roman Catholicism, pointing out the the
Catholic procession on the forth stage of the tower.
65. The French, Latin and Dutch inscriptions read as follows:
Voijez comment le pauure aueugle en fin se porte,
Qui sur un autre aueugle ignoramment se fie.
Il ua mal asseure, quoy que fort il s appuije
Et se tienne a son homme. Ansi par male sorte
Tombent dans le fosse et luij, et son escorte.
CAECVS DVCEM SE PRAEBET ALTERI CAECO;
QVOD SAEPE NVNC VSWENIRE LVGENDUM EST.
QVID RESTAT AVTE? QVID ? NISI VT VIAE IGNARI,
QVA DESTINATVM CONSEQVI SCOPVM DETVR,
TANDEM IN PATENTE VTEROS CORR VAT FOSSA?
Daer de ene blinde de ander leijdt
Vallen ze beijde onuerzients inde sloot:
Zijdij blindt? ende bekendt ghij v blindtheijdt?
Nempt gheen leijdtsman, oft zijt verzekert bloot
Van zijn ghezichte, anders breng dij v zelff in noot.
66. The Dutch inscription reads as follows:
Wandelt altijt in alle voorsichticheijt,
Sijt ghetrou, betrout niemant, dan Godt in alien:
Want om dat deen blinde dander leijt
Sietmense beij tsamen inde gracht vallen.
67. Anna Bijns, “O Here, Wilt alle blinde verlichten nu met dit
nieuwe jaar”, Lode Roose (uitg.), Meer zuurs dan zoets, Hasselt
1968, biz.0-52.
68. Bijns, op.cit., biz.48.
69- Bijns., op.cit., biz.46.
70. Ain Spyegel Der Blindlt., following quotations are from fol.
B iv and C.
58