Download Netherlands quarterly for the history of art by Simiolus (Journal) PDF

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13, Leiden 1936, p. I 59, nr. J. Hoogewerff, De Noord-Nederlandsche schilderkunst, vol. 4, The Hague 194I-42, pp. 375-76. I7 Lucian, Hermotimus, 20; Juppiter Tragoedus, 22; Deorum Concilium, 2. Hesiod (Theognny, ed. L. West, Oxford I966, p. IZO, I. 2I4) placed Momus in the second generation of Night's children, which makes the second line of the verse on the painting somewhat clcarer. Momus was also mentioned by Callimachus (Hymnes, 2. I IJ), and both Sophocles and Achaius wrote satires to which they gave the name Momus.

55-60). Hutten and Erasmus had their differences, but on this characterization of Momus they were in agreement; for their relationship see A. Renaudet, Etudes Erasmiennes, IS2I-29, Paris I939, p. 305f. 27 Berchorius (Pierre Bersuire), Repertorium morale, ed. v. M A to what we see in Heemskerck's painting that we can only assume that some connection exists between it and the work by Heemskerck. For winged Momus, Poseidon with his horse, Athena with her sumptuous armor are all there, and described and justified in the explanatory text that Junius placed, like an appendix, at the end of his volume.

9. 53, in Opera omnia, ed. cit. (note r6), vol. 2, col. 675a. There were many classical sources for this idea (A. Otto, Die Sprichwörter der Römer, Leipzig r86I, p. 368), but Erasmus's citation made it familiar, especially in northem Europe. In his The conflict of conscience (1581), Nathaniel Wood rendered this sentence "flatterie gets friends, but truth hatred" and it is then frequent in English moralizing writing; the German variants are Iisted by H. , Proverbia Germanica, Leiden I879, p. 486.

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