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The Gouda Windows (1552–1572)
Art and Catholic Renewal on the Eve of the Dutch Revolt
Series: - Brill's Studies in Intellectual History, Volume: 310/44
- Brill's Studies on Art, Art History, and Intellectual History, Volume: 310/44
Author:
The Gouda Windows (1552–1572): Art and Catholic Renewal on the Eve of the Dutch Revolt offers the first complete analysis of the cycle of monumental Renaissance stained-glass windows donated to the Sint Janskerk in Gouda, after a fire gutted it in 1552. Central among the donors were King Philip II of Spain and Joris van Egmond, Bishop of Utrecht, who worked together to reform the Church. The inventor of the iconographic program, a close associate to the bishop as well as the king, strove to renew Catholic art by taking the words of Jesus as a starting point. Defining Catholic religion based on widely accepted biblical truths, the ensemble shows that the Mother Church can accommodate all true Christians.
Xander van Eck (1962), professor of art history at Izmir University of Economics, has published widely on the art of the counter-reformation in the Netherlands. His Clandestine Splendor. Painting for the Catholic Church in the Dutch Republic appeared in 2007.
Foreword
List of Illustrations X
Note to the Reader XVii
Introduction
1 Patronage
1.1 A Clean Slate
1.2 Clerical Patrons
1.3 Royal and Noble Donors
1.4 Employing the Artists
2 The Choir: He Must Increase, and I Must Decrease
2.1 John the Baptist as a Foil to Christ
2.2 An Elusive Written Program
2.3 Testimony about Christ
2.4 Imprisonment and Death
2.5 The Bible and St. Augustine
2.6 Beyond St. Augustine: Erasmus and Herman Lethmaet
2.7 The Apostle Series in the Clerestory
3 The Transept: There Shall No Sign Be Given
3.1 A Separate Program?
3.2 The King’s Window
3.3 Margaret of Parma’s Gift
3.4 Jonah and Bileam
3.5 Turmoil in the Temple
4 The Nave: ‘But Ye Shall Receive Power’
4.1 Elburga van den Boetzelaer and the Queen of Sheba
4.2 Margaret of Arenberg as a Second Judith
4.3 Philip de Ligne, a Crippled Warlord Praying to Be Healed
4.4 Choir, Transept and Nave: One Narrative?
List of Illustrations X
Note to the Reader XVii
Introduction
1 Patronage
1.1 A Clean Slate
1.2 Clerical Patrons
1.3 Royal and Noble Donors
1.4 Employing the Artists
2 The Choir: He Must Increase, and I Must Decrease
2.1 John the Baptist as a Foil to Christ
2.2 An Elusive Written Program
2.3 Testimony about Christ
2.4 Imprisonment and Death
2.5 The Bible and St. Augustine
2.6 Beyond St. Augustine: Erasmus and Herman Lethmaet
2.7 The Apostle Series in the Clerestory
3 The Transept: There Shall No Sign Be Given
3.1 A Separate Program?
3.2 The King’s Window
3.3 Margaret of Parma’s Gift
3.4 Jonah and Bileam
3.5 Turmoil in the Temple
4 The Nave: ‘But Ye Shall Receive Power’
4.1 Elburga van den Boetzelaer and the Queen of Sheba
4.2 Margaret of Arenberg as a Second Judith
4.3 Philip de Ligne, a Crippled Warlord Praying to Be Healed
4.4 Choir, Transept and Nave: One Narrative?
All interested in Christian iconography, all interested in the history of the Catholic Church during the age of the reformation, all interested in Northern Netherlandish art in the early modern period. Keywords: Philip II of Spain, biblical humanism, stained-glass windows, Erasmus, St. Augustine, Gouda, University of Louvain, biblical typology, Dirck Crabeth, Wouter Crabeth, Lambert van Noort, iconographic program, Reformation, Counter-Reformation.