SPEECKAERT, Hans

This group of figures illustrates a frequently depicted sentence by Terence: Sine Cerere et Baccho friget Venus - Without Ceres (bread) and Bacchus (wine) Venus freezes.

Based on its careful elaboration, it seems that the drawing is a preparatory work for a print, although thus far we do not know of such a print.

During his stay in Rome Speeckaert had the opportunity to study in the Villa Farnesina the works by Raphael and his colleagues. This is evidenced by his copy after Raphael’s Galatea. His drawing is a modified version of the original work since he left out certain figures and changed the portrait format to landscape.

Speckaert and his friend Cornelis Cort worked together on an engraving after Raphael’s fresco of The Victory of Constantine over Maxentius. Probably Raphael’s fresco of that great battle inspired Speckaert to make this energetic drawing, although this particular battle is unidentifiable.

When during the early Renaissance Italian humanists raised the idea of reviving Roman triumphal processions in the spirit of ancient traditions, the representatives of the Church protested against such the glorification of mortals. Later, however, influenced by humanist ideals, they came to recognize its practical significance in fostering the popularity of the Church. After the Council of Trent, the activities of the Counter Reformation, in which art played a significant role, were designed to restore the authority and power of the Church, which had been eroded by the Reformation. The most typical manifestation of such activity in art was the depiction of triumphal processions glorifying the Church and the Catholic faith.

Hans Speeckaert devoted two large pen and ink drawings to depicting the triumph of the Church. Presumably, he made the drawings for tapestries. Both compositions are set in an impressive landscape, they are framed by trees with thick trunks and rich foliage and the background opens up onto a distant vista.

This drawing is a compositional sketch for drawing on the subject in the Budapest museum. The latter is more complete with its details drawn with greater care.

When during the early Renaissance Italian humanists raised the idea of reviving Roman triumphal processions in the spirit of ancient traditions, the representatives of the Church protested against such the glorification of mortals. Later, however, influenced by humanist ideals, they came to recognize its practical significance in fostering the popularity of the Church. After the Council of Trent, the activities of the Counter Reformation, in which art played a significant role, were designed to restore the authority and power of the Church, which had been eroded by the Reformation. The most typical manifestation of such activity in art was the depiction of triumphal processions glorifying the Church and the Catholic faith.

Hans Speeckaert devoted two large pen and ink drawings to depicting the triumph of the Church. Presumably, he made the drawings for tapestries. Both compositions are set in an impressive landscape, they are framed by trees with thick trunks and rich foliage and the background opens up onto a distant vista.