Notes

1. C. Justi, "Die Werke des Hieronymus Bosch in Spanien," Jahrbuch der königlich preussischen Kunstsammlungen 10 (1889), 121-44.

2. Giorgio Vasari, Le Vite dei piu eccellenti pittori, scultori e architetti, ed. Carlo L. Ragghianti, 7 vols. (Milan and Rome, 1942), 2:550.

3. See especially the author's recent articles:  "Martin of Tours: A Patron Saint of Medieval Comedy," in Saints: Studies in Hagiography, ed. Sandro Sticca (Binghamton, 1995), pp. 283-315; and "Martinsnacht as an Early Locus of Carnivalesque Study," Medieval Folklore 3 (1994), 127-65.

4. Paralleling the visual arts, the Charity of St Martin appears in a variety of medieval literary forms:  hymns, sermon exempla (as in Jacques de Vitry's collection), and in the verse and prose versions of the vita in a majority of the modern European languages, including Icelandic and Welsh.  Ironic play with the Charity begins with the "mantle-begging" poems of the Goliards, and examples of subverted images of the Charity can be found as well in the beast-epic Ysengrimus and in François Villon's  Testament.  See Walsh, "Martin of Tours," pp. 308-11.

5. See, for example, Ingeborg Danai, Die Darstellung des Kranken auf den spätgotischen Bildnissen des heiligen Martin von Tours (1250-1520) (Herzogenrath, 1987).

6. The tapestries passed from the former Royal Collection to the Patrimonio Nacional.  They hung for a period in the Palace of La Graja, but Otto Kurz in the mid 1960s was unable to locate their whereabouts in Madrid:  "Four Tapestries after Hieronymus Bosch," Journal of the Warburg and Courtauld Institutes 30 (1967), 150-62, at 150 n. 2.  The Boschian tapestries are not mentioned in the recent publication Resplendence of the Spanish Monarchy: Renaissance Tapestries and Armor from the Patrimonio Nacional (New York, 1991).

7. Kurz, "Four Tapestries," pl. 6b.

8. Charles de Tolnay, Hieronymus Bosch (New York, 1966), pp. 390-91.

9. Juan Bautista Crooke y Navarrot, Conde de Valencia de Don Juan, text, and Hauser y Menet, photos, Tapices de la Corona de España (Madrid, 1903), pl. 113.

10. See Kahren Jones Hellerstedt, "Hurdy-Gurdies from Hieronymus Bosch to Rembrandt" (Ph.D. Diss., University of Pittsburgh, 1981), pp. 77-86.  See also Martin W. Walsh, "St. Martin's Clowns: The Miracle of the Blind Man and Cripple in Art and Drama," Early Drama, Art, and Music Review 17 (1994), 8-21.

11. D. Bax, "Als de Blende tzwijn sloughen," Tijdschrift voor nederlandsche Taal- en Letterkunde (1944), 82-86.  See also L. Brand Philip, "The Peddler by Hieronymus Bosch: A Study in Detection," Nederlands Kunsthistorisch Jaarboek 9 (1958), 1-81, esp. sec. iv.

12. There is some evidence that Martin, like his calendar neighbor Nicholas, was patron of the "Boy Bishop" rituals of hierarchic reversal.  Such ceremonies, with their lead token coinage, are recorded for nine Martinian foundations in nearby Picardy.  See Alfred Danicourt, "Enseignes et médailles d'étain ou de plomb trouvées en Picardie," Revue numismatique, 3rd ser. 5 (1887), 49-67.  Bishops Martin and Nicholas were also impersonated by the reveling students of Ave Maria College in fourteenth-century Paris:  see Astrik L. Gabriel, Student Life in Ave Maria College, Mediaeval Paris (Notre Dame, 1955), pp. 181-84.

13. Archives ou correspondance inedité de la Maison d'Orange-Nassau, ed. Guillaume Groen van Prinsterer, 9 vols. (Leiden, 1835), 1:121.

14. Cf. Martin van Cleve's painting "St Martin's Bonfire" in the Musée des Beaux-Arts, Dunkirk.  See Georges Marlier, Pierre Brueghel le Jeune (Brussels, 1969), p. 353.

15. "De goede sinte Martens is hier gesteldt, / Onder al dit grue vuyl arm gespuis; / Haer deylende synen mantele, in de stede van geld; / Nou vechten om de proeye dit quaet gedruis":  Louis Maeterlinck, Le Genre satirique dans le peinture flamande (Brussels, 1907), pp. 74, 230-31, and pl. xxiii.  Translation by the author.

16. Cf. the water joust in the marginal scene at the foot of the St Andrew page in the Hours of Etienne Chevalier by Jean Fouquet (ca. 1455).  Claude Schaefer speculates that this might represent "an activity traditionally engaged in on the name day of this apostle":  The Hours of Etienne Chevalier (New York, 1971), pl. 33.  Andrew's feast day is the even more frigid 30 November.  However, as with Martin, the feast of Andrew's Translation was celebrated in a milder season, on 9 May.

17. A spoonbill appears among the male riders in the central panel of "The Garden of Earthly Delights" and a spoonbill archer-demon in the foreground of the central panel of the "Last Judgment" triptych, his human prey slung on a pole behind him.

18. The print was evidently based on a Jan Bruegel the Elder copy of his father's original since the plate is inscribed "I. Bruegel in. et pinx."  Guerard was based in Rome.  The "Wine of St Martin" print appears ironically, considering the peasant subject matter, over an elaborate dedication to Senore D. Gasparo, a "superior general of the Holy Church."

19. Marlier, Pierre Brueghel, pp. 324-27.  See also Marlier's "Peeter Balten, copiste ou createur?" Bulletin des Musées royaux des Beaux-Arts de Belgique 14 (1965), 127-41.

20. The Book of Vagabonds and Beggars with a Vocabulary of Their Language and a Preface by Martin Luther, ed. D. B. Thomas, trans. J. C. Hotten (London, 1932), p. 64.

21. Robert Copland: Poems, ed. Mary Carpenter Erler (Toronto, 1993), pp. 191-92.

22. There are not enough specific features to the seawall scene to identify it with any particular harbor.  Dunkirk is the only major port of the Low Countries I know of that has a strong Martinmas tradition.  See Maurice Millon, Les légendes de l'histoire de Dunkerque et de la Flandre maritime (Saint-Omer, 1972).  Carnivalesque uses of the boat in the Low Countries were certainly not exclusively dependent on the popularity of Brant's work.  As early as 1135 there is a record of a ship on wheels used in a satiric parade between several towns in Brabant (Gesta abbatum Trudonensium).  The late-fifteenth century saw the rise of the important festival fraternity, the Gilde van de Blauwe Schuit ("Guild of the Blue Boat"), derived from J. van Oestvoren's 1413 poem of the same name.  A blue boat of gluttons appears prominently in Bruegel's "Dulle Griet."  A "Ship of St Reynuyt," mock-saint of drunkards, can be found in a print as late as 1635:  Herman Pleij, Het gilde van de Blauwe Schuit: Literatuur, volksfeest en burgermoraal in de late middeleeuwen (Amsterdam, 1979), p. 185.

23. A variant of this scene by a Jan Bruegel follower, a rondel now in Schloss Ebreshoven, Engelskirchen, shows a similar press about the mounted saint with a prominent post windmill in the background.  A pair of beggars on Martin's blind side appear to be struggling against each other to grasp his leg and get his attention.  On the back of the work is inscribed Fluelen Breughel in a seventeenth-century hand:  Gerda Panofsky-Soergel, Die Denkmäler des Rheinlandes: Rheinisch-Bergischer Kreis 1 (Bechen-Hohkeppel) (Düsseldorf, 1972), p. 120 and pl. 248.

24. Department of Paintings of the Rijksmuseum, All the Paintings of the Rijksmuseum in Amsterdam (Amsterdam, 1976), no. A1930.

25. One rare example is a fifteenth-century manuscript miniature (Paris, Bibliothèque nationale, fr. 51, fol. 250) in which Martin is in full armor within a group of other mounted knights.  See Henry Martin, Saint Martin: L'Art et les saints (Paris, 1917), p. 10.

26. The genre scene of peasants vs. military marauders would become quite common in the Low Countries and Central Europe throughout the era of the Thirty Years' War.  See especially the engravings of Jacques Callot.

27. See Walsh, "Martin of Tours," pp. 308-11.

28. Bertolt Brecht, Mother Courage and Her Children, trans. Eric Bentley (New York, 1966), p. 99.