20:
560:
437:
513:
579:
316:
225:
498:
528:
548:
370:
125:, Venus freezes" is absolutely true!'). Thus the phrase was probably a well-known proverb at the time as well. Chremes makes use of it to declare how Pythias seems even more beautiful than usual to him during the rowdy partying after a large meal. Liber, the son of Ceres and god of human prosperity (and also of wine), was later replaced with Bacchus. The phrase is found in a similar form in
31:
491:. Van Mander praises the taste and knowledge of the Haarlem brewers at various points, and "Both Van Mander’s text and Goltzius’ images present Bacchus as a sober, elegant divinity, a gentle and polite god not associated at all with excessive consumption of alcoholic beverages", contrary to much previous imagery.
416:('Moment of modestly warming and quietly waking') in which she hesitantly accepts a wine cup from Bacchus. Italian artists rarely depicted it, whether because it came from the mainly northern tradition of emblem books or because the subject had less resonance in a warmer climate. Exceptions are a painting by
259:, another subject popular among the Northern Mannerists, the subject offers the combination of a relatively obscure classical reference and the opportunity for plentiful nudity. The subject appears in paintings, drawings and prints, and compositions are often copied between these media, and between artists.
1172:
469:, and a metaphor used by van Mander placed Venus and Cupid as representing the transformative process of actual brewing, by boiling the ingredients; the fire appearing in many images was a further necessity for brewing. According to Santos, at the period when the subject is found in the art of the
390:
Several of the print versions carry the proverb text, which it was presumably felt needed stating for a wider public. Reference to the motif is uncertain in some works, or groups of works, but it is at least arguable that any combination of the three gods, with or without Amor, carries a reference
357:
produced at least 10 versions of the subject, including a monumental work in the unusual technique of pen and limited colour on canvas, here highly effective (illustrated here). This was also (probably) in Rudolf's collection, then in the royal collections of Sweden and
England, and is now in the
473:, "the economic life of Haarlem was mainly based on the production of beer", and brewers dominated the government of the city, having "assumed the role previously played by the nobility as a leading group in the administration of the town".
282:
may be the first depiction of the shivering Venus, as Ceres and
Bacchus walk away. The Latin text makes clear that the motif is to be understood as a warning against excessive feasting and drinking because they stimulate sexual desire:
484:
In particular Jan
Mathijsz Ban was a leading brewer, a friend of artists and a significant collector, spending many weeks touring Italy with Goltzius. With another brewer, he was the dedicatee of the central part of van Manders'
458:, as part of much wider discussions in Dutch culture. A paper of 2012 by R. de Mambro Santos discusses the motif in this context, and proposes that the depiction of the subject was greatly affected by the big brewers of
1018:
19:
245:, either "freezing", without food and drink (or much in the way of clothing), or more comfortable when supplied with them, usually by the other gods in person. The latter type is more common, but
399:
show half-length portraits of
Bacchus and Ceres, and it is presumed that a Venus is missing to complete the set; another small painting by Wtewael shows the three gods, and Amor, together.
391:
to it, as there is no other context that brings this particular group together. Two different sets of prints by
Goltzius showed each of the three gods in turn; in one set, engraved by
462:. According to Santos, van Mander can be seen to connect excessive drinking with wine, while beer is presented in his writings and art as a safer and more wholesome product.
454:
had complex and conflicted attitudes to both sex and alcohol. Several prominent painters had problems with drink, and the issues were discussed by the biographer and artist
559:
279:
1167:
Santos, R. de Mambro, "The Beer of
Bacchus. Visual Strategies and Moral Values in Hendrick Goltzius’ Representations of Sine Cerere et Libero Friget Venus", in
527:
512:
144:
to warn against luxury and frivolity and to advocate an ascetic lifestyle. It was also employed in this moral sense in the influential Latin florilegium
871:
76:. Its simplest level of meaning is that love needs food and wine to thrive. It was sometimes shown in art, especially in the period 1550–1630, in
547:
1227:
Without Ceres and
Bacchus, Venus is Chilled: The Changing Interpretation in Late Mannerist and Baroque Art of a Mythological Theme from Terence
1161:
1103:
465:
Both
Bacchus, as by extension the god of all alcoholic drinks, and Ceres, as the goddess covering the raw materials, were symbolic of
497:
436:
326:
The motif was especially favoured in the late sixteenth and early seventeenth centuries in the
Netherlands and in the circle of
918:
1148:
Berthold Hinz, "... non iam friget – Jordaens blickt auf Rubens." In Bruno Klein, Harald Wolter-von dem
Knesebeck (Edd.):
900:
341:
Early examples of the motif as the subject of an independent painting are Spranger's pair of paintings of about 1590, and
1242:
1143:
1126:
933:
1212:
1157:
989:
216:, "Dost thou think because thou art virtuous, there shall be no more cakes and ale", may be an inverted reference.
1186:
37:
emblem book, 1579: "Venus is left shivering in front of a makeshift fire while Bacchus and Ceres wander away".
387:
are still clear, although the motif later moved far from a narrow moral message about personal moderation.
1292:
1287:
981:
578:
359:
349:(1598), all painted for Rudolf II. The Spranger was turned into a print in Amsterdam in about 1597 by
315:
1282:
1247:
940:, New York. Sale "Important Old Master Paintings Including European Works of Art", 24 Jan 2008, Lot 3
905:
1277:
1252:
137:
503:
233:, Rubens 1615, Koninklijk Museum voor Schone Kunsten, Antwerp. Venus and Cupid are freezing, as a
1267:
255:
1190:
896:
246:
155:
224:
1262:
1257:
350:
167:
8:
184:('Without wine and bread, Venus is not in good stead'). Further German variants include:
73:
271:
262:
Initially the depiction of this motif were closely tied to text and was found mostly in
1272:
470:
402:
Rubens employed the motif repeatedly in different ways, including the visibly freezing
96:
77:
1208:
1182:
1153:
1139:
1138:, edited and translated by William Watson Barker, 2001, University of Toronto Press,
1122:
985:
538:
421:
383:
Especially in Goltzius' version, the undertones of danger and the moral point of the
354:
331:
319:
250:
170:, the proverb was included with a broader sense in various compilations, such as the
163:
151:
59:
51:
23:
1150:
Nobilis Arte Manus. Festschrift zum 70. Geburtstag von Antje Middeldorf Kosegarten.
455:
373:
363:
289:
146:
241:
Depictions in art divide into those showing Venus, typically with an accompanying
774:
594:
582:
396:
377:
342:
792:
773:, translated by Christian Victor Kindervater. Leipzig: Frommann, 1799, p. 175 (
664:
was an alternative Roman name for Bacchus, as the older local wine god for Rome
487:
451:
117:, in which Chremes says to Pythias in the fifth scene of the fourth act (732),
47:
716:
180:. The earliest German use is in a compilation from Klagenfurt dating to 1468:
1236:
903:, by Edward J. Sozanski, Inquirer Art Critic, November 24, 1991, philly.com (
787:
534:
474:
417:
404:
392:
229:
212:
159:
85:
1119:
The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods
937:
481:
complex in the city, has more information on the Haarlem brewers' guild.
263:
207:
589:
369:
478:
448:
327:
412:
who desperately attempts to start a fire, and one with Venus at the
796:
565:
553:
Rubens 1614, Gemäldegalerie der Akademie der Bildenden Künste, Wien
384:
130:
113:
362:. A different work on the subject in the same technique is in the
1201:
Lexikon der Sprichworter des Romanisch-germanischen Mittelalters.
1131:
459:
425:
297:
177:
119:
verbum hercle hoc verum erit "sine Cerere et Libero friget Venus"
100:
69:
55:
1179:
Bartholomeus Spranger: Splendor and Eroticism in Imperial Prague
1171:, ed. E. Canone and L. Spruit, 2012, Olschki Editore, Florence,
366:, which includes a self-portrait by Goltzius in the background.
441:
335:
172:
126:
89:
81:
162:
quoted it in this sense as well, in a 1518 sermon against the
95:
It has been suggested that the concentration of images by the
924:
of exhibition in Philadelphia in 1992; Santos, 34–35, fig. 28
878:(Without Bacchus and Ceres, Venus grows cold), object listing
661:
409:
242:
234:
122:
1229:, 1974, thesis, University of North Carolina at Chapel Hill
466:
395:, each is surrounded by worshippers. Two late paintings by
133:. In later times it was universally attributed to Terence.
30:
156:
https://manipulus-project.wlu.ca/MFfontes/AbstinenciaH.pdf
129:, who quotes it as an example of the stylistic device of
976:
Clifton, J.; Helmus, L. & Wheelock Jr. A. (2015)
72:(c. 195/185 – c. 159 BC) that became a proverb in the
201:
Ohne Kost und ohne Wein kann die Liebe nicht gedeihn.
253:
are among the artists who used both types. Like the
203:('Without food and without wine, love cannot shine')
1152:2nd Revised Edition. B. Klein, Dresden u. a. 2002,
294:
Why do you warm your own feet, warm your own hands?
615:For love must be sustain'd like flesh and blood, –
154:as part of a passage misattributed to St. Jerome (
99:reflects the patronage of the powerful brewers of
609:While Venus fills the heart (without heart really
1234:
1169:Emblemi in Olanda e Italia tra XVI e XVII secolo
901:"The Picture That Spurred A Splendid Exhibition"
617:While Bacchus pours out wine, or hands a jelly.
611:Love, though good always, is not quite so good),
414:Moment maßvollen Erwärmens und ruhigen Erwachens
310:the mother of adultery begins her ruthless war.
26:, 1600–03, the Philadelphia "pen painting"
308:Wherever powerful drunkenness and excess reign,
978:Pleasure and Piety: The Art of Joachim Wtewael
431:
967:Santos, 16–18, figs 8–10 and 15–17; Bull, 219
607:Without whom Venus will not long attack us.
605:Are also learnt from Ceres and from Bacchus
304:Where sobriety reigns, harmful lust freezes
278:, an emblem book of 1579 by the Dutch poet
1181:, 2014, Metropolitan Museum of Art, 2014,
428:period the motif no longer appears often.
197:('Without cheer and ale, Venus is frail')
191:('Without wine and bread, Venus is dead')
111:The phrase derives from Terence's comedy
68:, is a quotation from the Roman comedian
577:
435:
368:
314:
223:
29:
18:
613:Ceres presents a plate of vermicelli, –
306:and no war is waged against the curier.
1235:
1066:Santos, pp. 27–28, each quoted in turn
1207:Walter de Gruyter, Berlin u. a. 1998
195:Ohn Speis und Trank ist Venus krank.
715:2.23.60, cited after Gerd Hagenow:
440:Rubens 1612/13, Staatliche Museen,
266:, with the first appearance in the
13:
1219:
1197:Thesaurus Proverbiorum Medii Aevi.
876:Sine Cerere et Baccho friget Venus
424:after one by Goltzius. After the
121:('That saying, "Without Ceres and
65:Sine Cerere et Libero friget Venus
43:Sine Cerere et Baccho friget Venus
14:
1304:
219:
189:Ohne Wein und Brot ist Venus tot.
182:An wein und brot Leidet Venus not
1104:this print (British Museum page)
1039:Santos, especially p. 21 onwards
718:Der nicht ausgekehrte Speisesaal
682:Santos, especially p. 21 onwards
558:
546:
526:
511:
496:
302:Isn't dusty Ceres around either?
1096:
1087:
1078:
1069:
1060:
1051:
1042:
1033:
1024:
1012:
1003:
994:
970:
961:
952:
943:
927:
912:
890:
881:
865:
856:
847:
838:
829:
820:
811:
802:
780:
763:
754:
745:
736:
724:
706:
694:
685:
676:
667:
655:
646:
637:
1:
1111:
652:Or 'grows cold', 'chills' etc
573:
7:
1021:; Santos, fig. 5, pp. 13–14
1019:British Museum, object page
897:Phildalephia Museum of Art
592:expanded on the proverb in
432:Haarlem brewers' propaganda
10:
1309:
982:Princeton University Press
721:(PDF; 3,5 MB), note 7
626:Canto II, sections 169–170
360:Philadelphia Museum of Art
106:
1243:2nd-century BC literature
906:The Philadelphia Inquirer
826:Santos, fig. 3, pp. 12–13
296:Perhaps because eloquent
237:arrives with a fruit bowl
1173:web text on academia.edu
1030:Santos, especially 21–28
769:Publius Terentius Afer:
631:
520:Bacchus, Ceres und Armor
330:artists at the court of
138:Caesarius of Heisterbach
1225:Scott, Marian Franson,
518:1598, Hans von Aachen:
347:Bacchus, Ceres und Amor
166:. With the arrival of
1102:Version in reverse of
701:Rhetorica ad Herennium
629:
586:
444:
380:
323:
313:
238:
38:
27:
1160:, pp. 380–394, (
1136:The Adages of Erasmus
844:i.e. the moderate man
751:Adagia 1297 = II.3.97
603:... some good lessons
600:
581:
506:, c. 1590, for Rudolf
504:Bartholomäus Spranger
439:
372:
318:
292:Venus, and Cupid too:
285:
280:Laurentius Haechtanus
247:Bartholomeus Spranger
227:
140:used it in his work,
33:
22:
1164:; PDF; 4,3 MB).
980:, last two entries,
731:Dialogus miraculorum
585:, early 17th century
537:, after a design by
533:Version of print by
351:Jan Harmensz. Muller
322:, early 17th century
168:Renaissance humanism
142:Dialogus miraculorum
136:In the Middle Ages,
1189:, 9780300208061,
1121:, Oxford UP, 2005,
300:is not helping you?
74:Early Modern period
799:; see Erasmus, 178
587:
471:Haarlem Mannerists
445:
381:
324:
239:
97:Haarlem Mannerists
78:Northern Mannerism
39:
28:
1293:Venus (mythology)
1288:Ceres (mythology)
949:Hinz, pp. 380–394
853:Hinz, pp. 380–394
760:Singer, pp. 453f.
539:Abraham Bloemaert
422:Agostino Carracci
408:, a version with
376:, about 1605, by
355:Hendrick Goltzius
332:Emperor Rudolf II
320:Abraham Bloemaert
256:Feast of the Gods
164:seven deadly sins
152:Thomas of Ireland
24:Hendrick Goltzius
1300:
1283:Beer advertising
1248:Latin quotations
1215:, pp. 453f.
1177:Metzler, Sally,
1106:
1100:
1094:
1091:
1085:
1082:
1076:
1073:
1067:
1064:
1058:
1055:
1049:
1046:
1040:
1037:
1031:
1028:
1022:
1016:
1010:
1007:
1001:
998:
992:
974:
968:
965:
959:
956:
950:
947:
941:
931:
925:
916:
910:
894:
888:
885:
879:
869:
863:
862:Metzler, 126-129
860:
854:
851:
845:
842:
836:
833:
827:
824:
818:
815:
809:
806:
800:
784:
778:
767:
761:
758:
752:
749:
743:
740:
734:
728:
722:
710:
704:
698:
692:
689:
683:
680:
674:
671:
665:
659:
653:
650:
644:
641:
627:
562:
550:
530:
515:
500:
456:Karel van Mander
374:Cabinet painting
272:Barthélemy Aneau
147:Manipulus florum
88:, as well as by
1308:
1307:
1303:
1302:
1301:
1299:
1298:
1297:
1278:Dionysus in art
1253:Renaissance art
1233:
1232:
1222:
1220:Further reading
1195:Samuel Singer,
1114:
1109:
1101:
1097:
1092:
1088:
1083:
1079:
1074:
1070:
1065:
1061:
1056:
1052:
1047:
1043:
1038:
1034:
1029:
1025:
1017:
1013:
1008:
1004:
999:
995:
975:
971:
966:
962:
957:
953:
948:
944:
932:
928:
917:
913:
895:
891:
886:
882:
870:
866:
861:
857:
852:
848:
843:
839:
834:
830:
825:
821:
816:
812:
807:
803:
785:
781:
768:
764:
759:
755:
750:
746:
741:
737:
729:
725:
711:
707:
699:
695:
690:
686:
681:
677:
672:
668:
660:
656:
651:
647:
642:
638:
634:
628:
622:
619:
616:
614:
612:
610:
608:
606:
604:
583:Jacob Hoefnagel
576:
569:
563:
554:
551:
542:
531:
522:
516:
507:
501:
434:
420:and a print by
397:Joachim Wtewael
378:Joachim Wtewael
343:Hans von Aachen
312:
309:
307:
305:
303:
301:
295:
293:
222:
109:
17:
12:
11:
5:
1306:
1296:
1295:
1290:
1285:
1280:
1275:
1270:
1268:Latin proverbs
1265:
1260:
1255:
1250:
1245:
1231:
1230:
1221:
1218:
1217:
1216:
1193:
1175:
1165:
1146:
1144:978-0802048745
1129:
1127:978-0195219234
1117:Malcolm Bull,
1113:
1110:
1108:
1107:
1095:
1086:
1077:
1068:
1059:
1050:
1041:
1032:
1023:
1011:
1002:
993:
969:
960:
951:
942:
926:
921:New York Times
911:
889:
880:
872:British Museum
864:
855:
846:
837:
828:
819:
810:
801:
793:Sir Toby Belch
779:
762:
753:
744:
735:
723:
705:
693:
684:
675:
666:
654:
645:
635:
633:
630:
620:
601:
575:
572:
571:
570:
564:
557:
555:
552:
545:
543:
532:
525:
523:
517:
510:
508:
502:
495:
488:Schilder-boeck
452:Dutch Republic
433:
430:
286:
221:
220:Subject in art
218:
205:
204:
198:
192:
108:
105:
15:
9:
6:
4:
3:
2:
1305:
1294:
1291:
1289:
1286:
1284:
1281:
1279:
1276:
1274:
1271:
1269:
1266:
1264:
1261:
1259:
1256:
1254:
1251:
1249:
1246:
1244:
1241:
1240:
1238:
1228:
1224:
1223:
1214:
1213:3-11-016119-2
1210:
1206:
1205:Kern – Linie.
1202:
1198:
1194:
1192:
1188:
1184:
1180:
1176:
1174:
1170:
1166:
1163:
1159:
1158:3-00-009205-6
1155:
1151:
1147:
1145:
1141:
1137:
1133:
1130:
1128:
1124:
1120:
1116:
1115:
1105:
1099:
1090:
1084:Santos, 26–27
1081:
1072:
1063:
1057:Santos, 30–36
1054:
1048:Santos, 29–31
1045:
1036:
1027:
1020:
1015:
1006:
997:
991:
990:9780691166063
987:
983:
979:
973:
964:
955:
946:
939:
935:
930:
923:
922:
915:
908:
907:
902:
898:
893:
884:
877:
873:
868:
859:
850:
841:
832:
823:
817:Bull, 218–219
814:
808:Bull, 218–219
805:
798:
794:
790:
789:
788:Twelfth Night
783:
776:
772:
766:
757:
748:
739:
732:
727:
720:
719:
714:
713:De nat. deor.
709:
702:
697:
688:
679:
673:Bull, 218–219
670:
663:
658:
649:
643:Bull, 218–219
640:
636:
625:
618:
599:
597:
596:
591:
584:
580:
567:
561:
556:
549:
544:
540:
536:
535:Jan Saenredam
529:
524:
521:
514:
509:
505:
499:
494:
493:
492:
490:
489:
482:
480:
476:
475:Brouwershofje
472:
468:
463:
461:
457:
453:
450:
443:
438:
429:
427:
423:
419:
418:Pietro Liberi
415:
411:
407:
406:
405:Venus Frigida
400:
398:
394:
393:Jan Saenredam
388:
386:
379:
375:
371:
367:
365:
361:
356:
352:
348:
344:
339:
337:
333:
329:
321:
317:
311:
299:
291:
284:
281:
277:
273:
269:
265:
260:
258:
257:
252:
248:
244:
236:
232:
231:
230:Venus Frigida
226:
217:
215:
214:
213:Twelfth Night
209:
202:
199:
196:
193:
190:
187:
186:
185:
183:
179:
175:
174:
169:
165:
161:
160:Martin Luther
157:
153:
149:
148:
143:
139:
134:
132:
128:
124:
120:
116:
115:
104:
102:
98:
93:
91:
87:
86:Low Countries
83:
79:
75:
71:
67:
66:
62:freezes') or
61:
57:
53:
49:
45:
44:
36:
32:
25:
21:
1226:
1204:
1200:
1196:
1191:google books
1178:
1168:
1149:
1135:
1118:
1098:
1089:
1080:
1071:
1062:
1053:
1044:
1035:
1026:
1014:
1005:
1000:Hinz, p. 389
996:
977:
972:
963:
954:
945:
929:
920:
914:
904:
892:
883:
875:
867:
858:
849:
840:
831:
822:
813:
804:
786:
782:
770:
765:
756:
747:
738:
730:
726:
717:
712:
708:
700:
696:
691:Erasmus, 178
687:
678:
669:
657:
648:
639:
623:
602:
593:
588:
519:
486:
483:
464:
446:
413:
403:
401:
389:
382:
346:
340:
325:
287:
275:
270:of 1552, by
268:Picta poesis
267:
264:emblem books
261:
254:
240:
228:
211:
206:
200:
194:
188:
181:
171:
145:
141:
135:
118:
112:
110:
94:
64:
63:
42:
41:
40:
34:
1263:Iconography
1258:Baroque art
276:Mikrokosmos
210:'s line in
208:Shakespeare
50:, 'Without
35:Mikrokosmos
1237:Categories
1187:0300208065
1112:References
1093:Santos, 29
1075:Santos, 29
958:Santos, 20
919:Review in
771:Lustspiele
590:Lord Byron
574:Lord Byron
150:(1306) by
1273:Mannerism
1162:Digitised
1009:Bull, 219
938:Sotheby's
934:lot notes
887:Bull, 219
835:Bull, 218
791:2.1.123,
775:Digitised
541:, c. 1600
479:almshouse
449:Calvinist
364:Hermitage
328:mannerist
288:Explain,
1203:Band 7:
797:Malvolio
742:WA 1,519
624:Don Juan
621:—
595:Don Juan
566:Jan Miel
385:allegory
290:Cytheran
131:metonymy
114:Eunuchus
84:and the
1132:Erasmus
703:4.32.43
460:Haarlem
426:baroque
298:Iacchos
274:. The
178:Erasmus
107:Proverb
101:Haarlem
70:Terence
56:Bacchus
16:Proverb
1211:
1185:
1156:
1142:
1125:
988:
568:, 1645
477:, an
442:Kassel
336:Prague
251:Rubens
173:Adagia
127:Cicero
90:Rubens
82:Prague
662:Liber
632:Notes
243:Cupid
235:satyr
123:Liber
60:Venus
52:Ceres
48:Latin
1209:ISBN
1183:ISBN
1154:ISBN
1140:ISBN
1123:ISBN
986:ISBN
467:beer
447:The
410:Amor
249:and
54:and
795:to
733:112
345:'s
334:in
176:of
158:).
80:in
46:, (
1239::
1199:=
1134:,
984:,
936:,
899:;
874:,
598::
353:.
338:.
103:.
92:.
58:,
909:)
777:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_-_Sine_Cerere_et_Libero_friget_Venus_(Without_Ceres_and_Bacchus,_Venus_Would_Freeze)_-_Google_Art_Project.jpg)
