Sine Cerere et Baccho Friget Venus (Without Ceres and Bacchus, Venus Would Freeze)

Author: Albert J. Elen

Against a vast landscape with a river receding in the distance, and filled with various architectural structures and bridges, a group of four naked figures is depicted in front of a rock in the foreground. Venus, in the centre, is leaning against it, communicating with Cupid to her right. In front of them Ceres is seated in a seemingly uncomfortable, twisted pose. She holding a sheaf of corn, turning away from the beholder and looking at Venus. On the left is a young Bacchus, looking at the tazza in his upheld right hand. He is seated on a vat, which is leaking wine. Fruit is lying around in the foreground.

The main figures and their juxtaposition resemble the print Sine Cerere et Baccho Friget Venus (Without Ceres and Bacchus, Venus Would Freeze), engraved by Jacob Matham after a design by Hendrick Goltzius¹ and published by the latter in 1588 (ill. 1). However, the drawing is not preparatory to the print, nor an exact copy of it. It is loosely based on the print but there the figures are more prominent, set against a tree, without further background. Evidently, the draughtsman only drew primary inspiration from the print but further developed his composition in his own way, using his imagination and drawing skills. The handling is reminiscent of Joachim Wttewael, to whom the drawing was once attributed by Lindemann (1929). It has also been tentatively attributed to Karel van Mander by Frits Lugt, probably based on a red chalk monogram on the backing paper (now removed).²

The red chalk preparation on the reverse and the indented outlines, used for transfer of the composition, indicate that it served as a design for another, yet unknown print or for a stained glass roundel, or perhaps for the decoration of a silver or gold cup, a tazza like the one Bacchus is holding up.³