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Updated: June 11, 2025
Probably it did not move him, and neither does he us. Peter Breughel and Albrecht Altdorfer would certainly have done far better so far as the conception of the picture is concerned, though neither of them had so much skill to waste on its realisation.
First among these was his son, JAN MASSYS, born about 1500, who followed closely but rather clumsily in his father's footsteps, and need only be mentioned for carrying on the tradition. More interesting were the Breughels, namely, PIETER BREUGHEL the elder, born about 1520, called Peasant Breughel, and his two sons Pieter and Jan.
It seems experimental because it is thrown into contrast with extreme commercial formulas in the regular line of the "movie trade." But compare The Cabinet of Dr. Caligari with a book of Rackham or Du Lac or Dürer, or Rembrandt's etchings, and Dr. Caligari is more realistic. And Eggers insists the whole film is replete with suggestions of the work of Pieter Breughel, the painter.
Then there was a print of Breughel, engraved by Cock, "The wise and the foolish virgins": a little panel, cut in the middle by a corkscrew cloud which was flanked at each side by angels with their sleeves rolled up and their cheeks puffed out, sounding the trumpet, while in the middle of the cloud another angel, bizarre and sacerdotal, with his navel indicated beneath his languorously flowing robe, unrolled a banderole on which was written the verse of the Gospel, "Ecce sponsus venit, exite obviam ei."
He is almost the only one who may be considered as a representative of religious painting in Belgium. Like Breughel, he succeeded in bringing the Christian story close to the people's hearts amidst Flemish contemporary surroundings. A school of art in which colour and light play such a predominant part is bound to produce valuable landscapes.
The first picture, attributed to Durer, is a portrait of a woman; the second, likewise a portrait, is of the Italian School; the third, a Dutch landscape by Breughel; and the fourth, a Holy Family by an unknown master of the Florentine School."
In Rome Balzac purchased a Sebastiano del Piombo, a Bronzino and a Mierevelt, he hunted up some Hobbemas and Holbeins, he secured a Natoire and a Breughel, which he decided to sell, as it proved not to be genuine, for he wanted "pictures of the first rank or none at all"; furthermore, he brought back to Paris a Judgment of Paris, attributed to Giorgione, a Greuze, a sketch of his wife, a Van Dyck, a Paul Brill, The Sorceresses, a sketch of the birth of Louis XIV representing the Adoration of the Shepherds, an Aurora by Guido, a Rape of Europa, by Annibale Carrachio or Domenichino, and there we have the beginning of his gallery such as he described it in Cousin Pons.
It is industrious, full of learning and research but it regards its learning as an instrument of influence, not as an end of thought. It can work up a poem or an essay, as carefully as Mieris or Breughel polished a cabinet picture and it can "tear a passion to tatters," or tumble its note-books into a volume all in a heap.
Beckendorff, raising the first blind, "you shall see my pictures. At what do you estimate this Breughel?" The window, which was of stained green glass, gave to the landscape an effect similar to that generally produced by the artist mentioned.
Schongauer, Dürer, Michelangelo, Titian, Raphael, Rubens, Poussin, Van Dyck, Breughel and other masters on canvas vied with each other to present us with a real likeness of Satan. None has, however, equalled the power of Gustave Doré in the portrayal of the Diabolical. Modern artists frequently represent the devil as a woman.
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