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Updated: May 13, 2025
The way did not appear tedious in such company. The sun was tempered by light clouds, and a soft autumnal haze rested upon the hills, covered with shrubs and olives. The distant plains and forests appeared tinted with deep blue, and I am now convinced the azure so prevalent in Velvet Breughel's landscapes is not exaggerated.
While Rubens and Van Dyck represent mostly the aristocratic and clerical side of the Flemish art of the period, Jordaens appears as the direct descendant of Jérôme Bosch and Peter Breughel. Breughel's satires, such as the "Fight between the Lean and the Fat" and the "Triumph of Death," show plainly that his sympathies were certainly not on the side of Spanish oppression.
Quite apart from their extraordinary suggestiveness, these works, like most of Breughel's drawings and paintings, constitute admirable illustrations of the popular life of the Low Countries during the religious wars.
That this, and not the elder Breughel's, is the original of the picture in Steven's L'Atelier is clear at the first glance, the warm tonality having been accurately reproduced and even the drawing of the tree branches, which differs much in the two museum pictures having conformed precisely to that in the copy by the younger Breughel.
This poem ought not to be considered more than as a capriccio, or sport of the fancy, on which he has expended much labour to little purpose. It does not pretend to anything like correctness of design, or continuity of action. It is like a picture of Breughel's, where every thing is highly coloured, and every thing out of order.
The tragic side of life was not represented, and one might venture to say that the admirers of such merry kermesses must often have taken their wish for the reality. Like Breughel's "Pays de Cocagne," they described an earthly paradise far more distant than the heavenly one. In one way only the emperor understood the aspirations of his people and supported them up to a certain point.
Looking towards the park, the long vistas cut through the wood, losing themselves in the hazy blue of the distance, called to mind Breughel's famous picture of Paradise, or else disclosed the far-away gleam of a marble statue, or the spray of a misty fountain sparkling in the moonlight.
Breughel and Teniers made their grotesque "Cat Concerts" famous, but one can scarcely see why, since the drawing is poor and there is no real insight into cat character evident. The sleeping cat, in Breughel's "Paradise Lost" in the Louvre, is better, being well drawn, but so small as to leave no chance for expression.
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