Tag: David Teniers

Saint Anthony

Saint Anthony

Temptation, Burning Skin Disease, and Care as Cure.

After writing about the prophets Jeremiah and Isaiah, and more recently about Daniel, I feel it’s time to return to the Saints: who they are, and how to recognise them in art. One saint I’ve long wanted to write about is Saint Anthony. There are several saints named Anthony, but I mean Saint Anthony the Great also known as Saint Anthony the Abbot. He is the protector and healer of those suffering from Saint Anthony’s Fire, or Ergotism, which is a burning skin disease combined with hallucinations.

Anthony’s story is also a fascinating example of the difference between care and cure in the history of medicine. The monks of the Antonine order offered such dedicated care to the sick that it was often seen as a cure. And of course, plenty of prayer, that helped too.

The stories around Saint Anthony I’ll be exploring are:

A recurring theme is care as cure; how, in the pre-scientific medical era, the care offered by monks served as both physical and spiritual healing.

Saint Anthony as a historical figure

First, a few words about Saint Anthony and who he was as a historical figure. Anthony was a monk who lived in Egypt during the 3rd and 4th centuries AD. At a young age, Anthony gave away all his wealth and worldly possessions after hearing the Gospel message to ‘sell all you have and give to the poor.’ He chose to live an ascetic life in the desert, devoting himself to solitude, prayer, and spiritual struggle. He is often considered the father of Christian monasticism.

Monasticism, in the Christian tradition, refers to a way of life in which individuals withdraw from worldly society to live in spiritual discipline, often in communities (monasteries) devoted to prayer, work, and contemplation. Saint Anthony is called the father of monasticism because he was among the first to retreat into the desert purely for religious reasons, inspiring many others to follow his example. Although he lived as a hermit himself, his life and teachings laid to the foundation of communal life in monastries as the Hospital Brothers of Saint Anthony, later known as the Antonines.

The Temptation of Saint Anthony

During his years of isolation, Anthony reportedly endured intense temptations, visions and torments involving lust, wealth, pride, and physical suffering, which he resisted through faith and prayer. These battles became central themes in later depictions of him in art, especially in the many dramatic scenes of ‘The Temptation of Saint Anthony.

Here we see Anthony with his hands clasped in prayer, fleeing from a dark, hellish vision. As the saint flees, his hands point to a monastery, a reminder that he was the founder of monasticism.
Temptation of Saint Anthony (c.1517), Giovanni Girolamo Savoldo (Italian, c.1483 – 1548), 70x119cm, Timken Museum of Art, San Diego, CA.
Anthony sits reading from a book; from the right approaches a woman with a goblet in her hand; the horns on her head indicate she is a demon. She tries to seduces Anthony with a goblet of abundance, which Anthony refuses of course.
Temptation of Saint Anthony (1509), Lucas van Leyden (Netherlandish, c.1494 – 1533), Engraving, 18x16cm, Metropolitan Museum of Art, New York.
Search for Saint Anthony in this painting full with demons and temptation! He is sitting under the tree at the right side. A lady is trying to seduce him. And demons galore!
Temptation of Saint Anthony (1650), Joos van Craesbeeck (Flemish, c.1605 – 1660), 78×116, Staatliche Kunsthalle Karlsruhe, Germany.
The Temptation of Saint Antony (1556), Engraving by Pieter van der Heyden (Flemish, 1530 – 1572) after a design by Pieter Bruegel the Elder (Flemish, c.1525 – 1530), 24x33cm, Metropolitan Museum of Art, New York.
I couldn’t resist the temptation to add this Brueghel print to the collection of Temptations. First, look for Saint Anthony, he is seated on the right side, beneath the tree trunk. On his cloak, he wears the Tau-cross, the symbol of the Antonine monks. Compare this print to the painting by Joos van Craesbeeck shown above. The painting (from 1650) could not have existed without inspiration from Brueghel’s print (from 1556).
The Temptation of Saint Antony (1556), Engraving by Pieter van der Heyden (Flemish, 1530 – 1572) after a design by Pieter Bruegel the Elder (Flemish, c.1525 – 1530), 24x33cm, Metropolitan Museum of Art, New York.
The bearded saint is gazing toward a woman who symbolises Lust. The devil sent the demons to beat him and alluring women to distract him from his prayers. Saint Anthony evens sees the devils fly above his head, which is a typical form of hallucination caused by the poison in the Ergot fungus, as well as in LSD trips; LSD contains same chemical elements.
Temptation of Saint Anthony (1647), David Teniers the Younger (Flemish, 1610 – 1690), 51×71, Prado, Madrid.
Saint Anthony gazes serenely out at the viewer as frenzied demons grab at his limbs, clothes, and hair and pound him with sticks.
The Temptation of Saint Anthony (c.1472), Martin Schongauer (German, c.1445 – 1491), Engraving, 31x23cm, Musée Unterlinden, Colmar, France.

Saint Anthony’s Fire and Ergotism

Anthony’s legendary temptations bear a striking resemblance to the symptoms of Ergotism, a disease caused by eating rye bread contaminated with the ergot fungus. In the Middle Ages, rye was a staple food for the poor. When stored in damp conditions, especially during the wet autumn months, the grain could easily become infected. Bread made from this tainted rye caused severe outbreaks of illness across entire mostly-rural communities. This mysterious and terrifying illness, especially the burning pain of the skin (like a fire) is known as Saint Anthony’s Fire, or in Dutch as Kriebelziekte (“Itching Disease”). Common Ergotism symptoms included this burning skin pain, but also hallucinations, convulsions, mania, and gangrene, often mistaken for demonic possession or divine punishment. At the time, people had no idea that a fungus in their bread was the cause. Instead, they believed they were possessed or being punished by the devil. In their desperation, many turned to Saint Anthony, whose legendary temptations in the desert seemed to reflect their own torments. His name became associated with miraculous healing and spiritual endurance.

In response to widespread suffering, the Hospital Brothers of Saint Anthony, later known as the Antonines, were founded in France in the late 11th century by two French noblemen who credited Saint Anthony with healing them. The order established monasteries and hospitals across Europe, particularly along pilgrimage routes, where they cared for victims of Saint Anthony’s Fire. Though unaware of the disease’s true cause (infected bread), the Antonines provided nourishing food (proper bread and not infected rye bread), hygiene, skin treatment, and spiritual care. Their compassion and effectiveness further strengthened Saint Anthony’s reputation as a protector of the sick and suffering.

The Isenheimer Altarpiece, created by Matthias Grünewald in the early 16th century, was made for the Antonine monastery and hospital in Isenheim, near Colmar, France. The altarpiece held a central place in the hospital chapel. With its vivid, often harrowing imagery of suffering and healing, it was meant to offer spiritual comfort and a sense of connection between Christ’s pain and the patients’ own suffering from Saint Anthony’s Fire.

With its inner wings open, the Altarpiece allowed pilgrims and patients to venerate Saint Anthony, protector and healer of Saint Anthony’s fire. Saint Anthony occupies the place of honour at the centre of the altarpiece and at his side two pigs can be seen. The panel on the right depicts Saint Anthony being tormented by monstrous creatures.
Isenheim Altarpiece (c.1514), inner wings opened, Matthias Grünewald (German, c.1470 – 1528), open 269x589cm, Musée Unterlinden, Colmar, France.
Isenheim Altarpiece (c.1514), detail with Temptation of Saint Anthony and a creature suffering from skin ulcers, Matthias Grünewald (German, c.1470 - 1528), Musée Unterlinden, Colmar, France.
Saint Anthony being tormented by monstrous creatures. Trampled to the ground, beaten with sticks, pulled by his hair, torn by claws and bitten, Saint Anthony appeals to God for help. In the lower left corner, the being with a distended belly seems to personify the disease caused by ergot poisoning, resulting in swelling and ulcerous growths.
Isenheim Altarpiece (c.1514), detail with Temptation of Saint Anthony of Saint Anthony. and a creature suffering from skin ulcers, Matthias Grünewald (German, c.1470 – 1528), Musée Unterlinden, Colmar, France.
The wings of the altarpiece were mostly kept closed, displaying The Crucifixion framed on the left by the martyrdom of Saint Sebastian pierced by arrows, and on the right by Saint Anthony, remaining calm although he is being taunted by a frightening monster. The two saints protect and heal the sick, Saint Anthony as the patron saint of the victims of Saint Anthony’s fire and Saint Sebastian, whose aid was invoked to ward off the plague, a disease also leading to terrible skin lesions.
Isenheim Altarpiece (c.1514), closed, Matthias Grünewald (German, c.1470 – 1528), open 269x589cm, Musée Unterlinden, Colmar, France.

The symptoms of ergotism can lead to a range of psychiatric and neurological disturbances, including mania and psychosis. The symptoms are akin to bad LSD trips, as LSD contains chemical elements related to the ergot fungus. Sufferers may see all kinds of monsters flying or even believe they can fly themselves. Very much alike the temptations of Saint Anthony.

By the end of the 15th century, the monks had built roughly 370 hospitals across Europe to treat outbreaks of Saint Anthony’s Fire. The brothers were also instrumental in caring for those infected with the plague or Black Death. The success of these hospitals may be attributed to feeding their patients bread made from uninfected grains, such as wheat or other cereals, and providing compassionate care as a form of treatment. The Antonine Order as a monastic institution no longer exists. It began to decline in the 17th century, and by the late 18th century, it was absorbed into other religious orders or dissolved, especially during the wave of secularization and monastic reform that swept Europe.

However, their legacy of care lived on and we still see traces of it today, particularly in the naming of hospitals, clinics, and charitable institutions. Names like Antonius Gasthuis (Hospital) in the Netherlands preserve this heritage, reminding us that long before modern medicine, healing was closely tied to religious devotion, charity, and the care of the sick.

How to recognize Saint Anthony in art

The Antonines were allowed to let their pigs roam freely through towns and villages. These pigs often wore little bells to signal that they belonged to the order and should not be harmed. The fat from these pigs was used by the monks to make the medicinal Saint Anthony’s balm, a healing ointment for treating the skin lesions and intense burning sensations caused by ergotism (by Saint Anthony’s Fire). When going around for alms, the monks were also carrying and ringing bells.

Over time, the pig and the bell became symbols of Saint Anthony’s role as a protector of the sick. In art, the pig is a subtle allusion to both his healing work and the monastic order’s care practices. Another symbol is the fire, which represents the fire-like burning pain of the skin disease, the Saint Anthony’s Fire.

Another symbol closely associated with Saint Anthony is the Greek letter Tau (Τ). This simplest form of the cross was a decorative emblem with a spiritual meaning. Saint Anthony is said to have used the Tau as a sign of protection against evil, and it became the emblem of the Antonine order and the monks wore it on their habits.

Saint Anthony with his various symbols: the Tau Cross on his cloak, a pig, a bell, and the fire, representing Saint Anthony’s Fire, the burning skin diseases.
Saint Anthony the Great (c.1455), Joan Reixach (Spanish, 1431 – 1486), Tempera on Panel, 91x64cm, Prado, Madrid.
Saint Anthony the Great (c.1520), Lucas van Leyden (Netherlandish, 1498 – 1533), Engraving, 11x7cm, National Gallery of Art, Washington.
Also a symbol of Saint Anthony is the bell, so that everyone could hear the monks going around for alms; a bell is hanging on the pig and in the top left corner.
Saint Anthony the Great (c.1520), Lucas van Leyden (Netherlandish, 1498 – 1533), Engraving, 11x7cm, National Gallery of Art, Washington.
An engraving of St Anthony, seated and reading a book. Anthony’s symbols, a bell is hanging on the cross next to him.
Saint Anthony (1519), Albrecht Dürer (German, 1471 – 1528), Engraving, 10x15cm, Royal Collection Trust, London.

Travel destinations

Two important sites are closely connected to the legacy of Saint Anthony and are now high on my visit-wish-list: Saint-Antoine-l’Abbaye in France and the Monastery of Saint Anthony in Egypt.

Saint-Antoine-l’Abbaye, France.

Saint-Antoine-l’Abbaye, in southeastern France, is a medieval village that developed around an abbey housing relics of Saint Anthony, brought there in the 11th century. In the Middle Ages, it became a major pilgrimage destination, especially for those seeking healing from Saint Anthony’s Fire. It was also the motherhouse of the Antonines, or the Hospital Brothers of Saint Anthony, the religious order devoted to care and healing.

Monastery of Saint Anthony, Egypt

The Monastery of Saint Anthony in Egypt, located in the Eastern Desert near the Red Sea, is one of the oldest Christian monasteries in the world. Founded in the 4th century near the cave where Saint Anthony lived in seclusion, it has remained a center of pilgrimage and monastic life ever since, preserving the spiritual heritage of early Christian monasticism within the Coptic Orthodox tradition.

Medical literature

And here are two great articles from the medical literature.

An article (in Dutch) about healthcare in relation to the Isenheim Altarpiece, published in 1995 in the Dutch Magazine for Healthcare, J.P. Mackenbach, ‘De kriebelziekte en het Isenheimer altaar’, Nederlands Tijdschrift voor Geneeskunde, 1995.

In another beautiful article (in English) the writers underscore that at least three distinct diseases, one toxic (i.e., ergotism) and two infectious (i.e., erysipelas and herpes zoster) have been called Saint Anthony’s Fire, and that even some cases of plague may have been included. The article is from 2021, “One holy man, one eponym, three distinct diseases. St. Anthony’s fire revisited”, by G. Cervellin, U. Longobardi an G. Lippi, in Acata Biomedica, 2021.

Closing Notes

Although the Antonine monasteries no longer exist, their legacy is still with us. Hospitals and care institutions across Europe still bear the name of Saint Anthony, such as the ‘St. Antonius Gasthuis’ in Zeeland, The Netherlands. These names are not coincidental. They are echoes of a time when healing the sick was considered a sacred duty, and when monks provided care long before the advent of modern medicine. The spirit of Saint Anthony’s compassion, and the idea that care itself can be a form of healing, continues to influence how we think about health and humanity today.

In our modern world, medicine often revolves around the idea of cure: fixing what is broken, extending life, eliminating disease. While this is a noble and essential goal, we sometimes risk forgetting the quieter, older value of care. Saint Anthony and the Antonine monks remind us that healing is not always about eradicating illness. Their gentle presence, their comfort, their tending to the pain of others – these were acts of care that, in their time, were experienced as cures.

For the old, the frail, and those nearing the end of life, a cure may no longer be possible. But care, simple and devoted and human, can still be given. And in many cases, it may be the greater blessing.

Bonus

This 1946 painting by Salvador Dalí was created for an invitational competition on the theme of The Temptation of Saint Anthony, organized by the Loew-Lewin Company, a film production firm. The winning entry would appear in the movie The Private Affairs of Bel Ami, based on a story by Guy de Maupassant. Eleven artists participated, including Dalí, Paul Delvaux, and Max Ernst. Although Dalí’s painting did not win the contest, it later became the most well-known of all the submissions. The prize ultimately went to Ernst.

The King Drinks

The King Drinks

“The Three Kings and The Bean King”

In the Low Countries, the Feast of Epiphany, or Twelfth Night of Christmas, is known as Drie Koningen (Three Kings). The Christian holiday is traditionally celebrated on January 6th with a festive meal at which friends and relatives gather to eat, drink and be merry. Drie Koningen originated as a medieval church holiday with public performances and festivals reenacting the biblical story of the Three Kings from the East who follow a bright star to find and do homage to the newborn Jesus. Although public performances had become outmoded in the 17th century, Twelfth Night continued to be celebrated in taverns and homes.

The king was chosen by chance, either by finding a bean or a coin in a cake baked for the occasion or by lottery, as is evident here from the two slips of paper on the floor and the one stuck on the hat of the young man seated at back.
The King Drinks or Peasants Celebrating Twelfth Night (1635), David Teniers the Younger (Flemish, 1610 – 1690), 47x70cm, National Gallery, Washington.

It was a secular way to celebrate the Catholic Epiphany; the Protestants did disapprove of these Catholic festivities, but could not prohibit the feast staying popular indoors and within the family. The evening began with the proclamation of a “King,” played by the eldest member of the company or chosen by lot. This was done by drawing paper lots or by the concealment of a bean or coin in a large cake, and the person in whose portion it was found would preside over the festivities as “King” or “Bean King.” He put on a fake crown, chose a queen, and appointed a staff of courtiers – from minister to jester.

The Latin inscription as translated “None is closer to the fool than the drunkard”, lends the degenerate carryings-on a moralistic undertone.
The Feast of the Bean King (c.1642), Jacob Jordaens (Flemish, 1593 – 1678) 242×300cm, Kunsthistorisches Museum, Vienna.

Royal duties were extremely simple: When the King raised a glass of wine or beer, everyone had to exclaim in chorus: “The King Drinks!” as an appeal to the participants in the feast to follow the King’s example. And that happened often enough! Such feasts dragged on the whole night.

The inscription above the King reads: “In Een Vry Gelach, Ist Goet Gast Syn”, which translates as “It’s great to be a guest at a free drinking party”. The King had to pay the bill at the end of the evening.
The King Drinks (c.1639), Jacob Jordaens (Flemish, 1593 – 1678), 156×210 cm, Royal Museums of Fine Arts of Belgium, Brussels.

The “King” was not necessarily meant to represent one of the Three Kings, but might refer to the misrule of Herod, who is mocked as a drunkard and as a reminder of his all too excessive indulgence.

A Twelfth Night Feast, The King Drinks (c.1661), Jan Steen (Dutch, 1626 – 1679), 40x55cm, Royal Collection Trust, London.
The King Drinks (c.1655), David Teniers the Younger (Flemish, 1610 – 1690), 58x70cm, Prado, Madrid.
January, with “The King Drinks” scene, and with skating in the background (1629), from a series with the 12 months.
Crispijn van de Passe I, engraver (Dutch, c.1564 – 1637) after design by Maerten de Vos (Flemish, 1532 – 1603), engraving, 12cm, Centraal Museum, Utrecht.
The King Drinks (c.164), Gabriël Metsu (Dutch, 1629 – 1667), 81x98cm, Bayerische Staatsgemäldesammlungen, Alte Pinakothek, München.
Twelfth Night (c.1665), Jan Steen (Dutch, 1626 – 1679) 41x49cm, Nasjonalmuseet for kunst, arkitektur og design, The Fine Art Collections, Oslo.
King’s Letter for a Twelfth Night celebration, with 16 lottery pieces for the various roles, King, Queen, Cook, Jester, Secretary, Singer, etc.
Publisher Widow Hendrik van der Putte, Amsterdam, c.1766, 31×22cm, Rijksmuseum, Amsterdam.
The Four Seasons

The Four Seasons

Spring is in the air! I wrote about Winter in Art not so long ago. The pictures in that story were all about keeping ourselves warm in the cold season. It made me so much longing for Spring and Summer, even Autumn would be fine. Can the dark winter days be gone please, and will we soon see some spring flowers and sunshine! To get in the mood for the warmer weather, here are two series of the Four Seasons, both starting with Spring: a cute series of paintings by David Teniers (made around 1644) with seasonal activities, and four prints by Hendrick Goltzius (from 1601) with the seasons represented by children growing up and falling in love. These pictures are all to get you in the mood for the warmer seasons. Stay warm for now and enjoy!

Four Seasons by David Teniers (1610 – 1690)

The series of four small paintings by David Teniers is an allegory of the seasons where Spring, Summer, Autumn and Winter have been given human forms that embody the essence of each. Teniers placed his characters, of an appropriate age and dressed accordingly, in the foreground with a symbolic seasonal object. In the background figures doing work associated with each season. The paintings are from c.1644 and pretty small, about 22x16cm.

Spring is personified as a gardener heaving a large pot containing a young tree, kept during winter in the orangery and now back outside as weather is getting milder. There is still a chilly background; it seems as if April showers are approaching. Other gardeners dig the soil, making a formal garden in the fashionable style set by French designers and followed with keen interest in Flanders.

David Teniers the Younger (Antwerp 1610 – Brussels 1690) is one of the most famous 17th-century Flemish painters and particularly known for developing the peasant genre and tavern scenes. He was working for the King of Spain, as well as for Prince William of Orange and the Governor of the Netherlands, the Archduke Leopold. Teniers moved to Brussels where Archduke Leopold became his main employer. One of Teniers’ key tasks was to look after and enlarge the Archducal collection, which grew to incorporate about 1300 works. The archduke’s collection became the nucleus of the Kunsthistorisches Museum in Vienna.

Summer is a young peasant with a sheaf of wheat he has just finished binding together with straw. The peasants behind him are working hard. The man wields a scythe to cut the wheat, while the woman bends to heap it into sheaves, ready to be tied. Behind them the trees are in full leaf and the distance is hazy with the summer heat.
Autumn is a jolly wine drinker – a stout fellow with a handsome moustach and a comfortable belly. In the background, a man raises a hammer to fasten down the lid of a barrel of wine. Another guy attends to a barrel that has spilled grapes onto the ground. It’s the grape harvesting season. Autumn holds a flagon in one hand and raises a glass with a fancy stem in the other, like tasting Beaujolais Primeur, and seemingly happily ignorant of the grey autumn clouds piling up behind him.
Winter brings the cycle of the seasons (and life!) full circle with an old man representation the coldest of the four seasons. Wrapped in velvet and fur, he hunches over to warm his hands at a brazier. In the background a skating scene with some misty figures. 

Fours Seasons by Hendrick Goltzius (1558 – 1617)

The Four Seasons (1601), designed and drawn by Hendrick Goltzius and engraved by his pupil Jan Saenredam, offer lush depictions of flora and fauna through changing times of the year. The prints simultaneously follow a young girl and boy’s journey into adulthood. The discovery of the bird’s nest of Spring passes seamlessly into the harvesting of Summer’s ripe crops. Autumn’s root vegetables and fruits attract the interest of a full-grown goat and a pig, while the adults and their loyal hound skate the Winter away on a frozen river. On Spring and Summer an Amor figure is shooting his arrows of love towards the boy and girl, and in all four prints the warm or cold wind is blowing from the mouth of a child’s head high in the sky. This is a series about the four seasons, about falling in love, and about growing up.

Two young children, a boy and a girl, study a bird’s nest containing chicks. A kid goat and a young deer are in foreground. And Amor, God of Passion and Desire, flies around; ready to shoot his arrow. Love is in the air.
“Humanas recreo mentes, volucresque ferasque: Omnia floriferi laetantur tempore veris.” or “I am enlightening every man’s heart, and the birds and the wild animals; everything is happy and in full flower in the season of Spring.”

Hendrick Goltzius (Dutch, 1558–1617), draftsman, engraver, print publisher, and painter, was one of the most important engravers and print publishers of his time. He lived and worked in Haarlem, close to Amsterdam, and established his own print publishing business. He trained a number of engravers to work in his distinctive style. Goltzius and his workshop were internationally acclaimed; his patrons included sovereigns from all parts of Europe, most notably the art-loving Holy Roman Emperor Rudolf II who also granted Goltzius copyright protection, which can be seen on the Spring engraving. It mentions “Cum Privil Sa Cae M” which means Cum Privilegio Sacrae Caesarea Majestatis or With Privilege of his Holy Imperial Majesty, and with the date Anno – in the year – 1601. This should prevent other engravers from copying Goltzius’ design and prints. Once such privilege was granted, artists indeed went to court and took action against illegal copying of their works of art.

An encounter between a boy and a girl: the boy at left holding a sheaf of wheat and a rake over his shoulder while she has a yoke and two water buckets. A cock and hen are in the foreground. And Amor still flying around! In the background farmers are harvesting wheat, a typical summer activity.
“Per me larga Ceres densis canescit aristis, Agricolasque beo foecundi frugibus anni.” or “Through me, the wheat fields are full and golden shiny; I make the farmers happy with gifts in this fruitful year.”

Jan Pieterszoon Saenredam (Dutch, 1565 – 1607) was a printmaker in engraving, born in Zaandam (hence his name). He showed great artistic talent and the young Saenredam was sent to learn drawing and engraving from Hendrick Goltzius in Haarlem, where he became a master at the age of 24. After working for some time with Goltzius, he encountered the almost inevitable professional rivalry and jealousy, prompting his departure and set up his own workshop in Assendelft (just north of Amsterdam and Zaandam). He died of typhus at the age of 41, and was buried in the Saint Adolphus church at Assendelft. Jan left his wife a sizeable estate as a result of lucrative investments in the Dutch East India Company.

A boy and a girl, now young adults, are picking grapes and carrying a basket with freshly picked pears. Vegetables in the foreground and a goat chewing one a branch with vine leaves. Is this the goat from Spring, but older?
“En ego maturos Autumnus profero fructus, Efficioque mei ne sit spes vana coloni.” or “Look at me Autumn, who gives fruits that are ripe and takes care that the hope of my farmer is not in vain.”
A young woman and a young man in rich clothes, are holding hands and skating, oblivious of the deer beset by a wolf in the background, or any of the season’s dangers. Is this poor deer the same one from Spring? A dog in lower right corner is the couple’s companion and a symbol of loyalty in love.
“Accumulant homines totum quaecunque per annum, Haec ego consumo, soli haec mihi cuncta parantur.” or “All that has been gathered and collected throughout the year, that’s consumed by me, it’s all prepared for just me alone.”

David Teniers the Younger (Flemish, 1610 – 1690), Spring, The Four Seasons: Spring, Summer, Autumn and Winter, c.1644, Oil on Copper, 22x16cm, National Gallery, London.

Jan Saenredam, printmaker (Dutch, 1565 – 1607) after design by Hendrick Goltzius (Dutch, 1558 – 1617), The Four Seasons represented by four pairs of children: Spring, Summer, Autumn and Winter, 1601, with Latin text by C. Schonaeus (Dutch, 1540 – 1611), Engraving on cream laid paper, 22×16 cm, The Art Institute of Chicago.

About the annotations on the prints:

  • H. Goltzius Invent. or HG Inve. This means that Hendrick Goltzius is the “inventor” or “drawer” of the design of the print.
  • I. Sanredam Sculpt or I.S Sculp. This means that Jan Saenredam is the “sculptor” or the “engraver” of the print.
  • Cum Privil Sa Cae M,. This means that the print was protected “Cum privilegio Sacrae Caesarea Majestatis” or “With imperial privilege from the Holy Roman Emperor”, as protection against illegal copies.
  • A° 1601 means “Anno 1601” or “in the year 1601”
  • C.S. means “Cornelis Schonaeus”, a scholar from Haarlem who wrote many Latin lines and verses that are found on prints of the Haarlem circle of print designers and engravers.