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All roads lead to Rome

All roads lead to Rome

Sheltered by the ramparts

Sheltered by the ramparts

Belleforest's map of Paris

Belleforest's map of Paris

Pont Neuf

Pont Neuf

Paris, an open-plan city

Paris, an open-plan city

Haussmann: Minister of Paris

Haussmann: Minister of Paris

Everything's connected!

Everything's connected!

Rue Passagère

Rue Passagère

In a roundabout fashion...

In a roundabout fashion...

Lining the streets

Lining the streets

Processions

Processions

From the League to the Fronde

From the League to the Fronde

Taking to the streets

Taking to the streets

Forward march!

Forward march!

The resilient Republic!

The resilient Republic!

Let the party begin!

Let the party begin!

The Boulevard of Crime

The Boulevard of Crime

The carnival

The carnival

Industrious street life

Industrious street life

Colporteurs

Colporteurs

The central market

The central market

Paving the way...

Paving the way...

It's a dirty job...

It's a dirty job...

Standing firm

Standing firm

Let there be light!

Let there be light!

Sleep soundly, good people!

Sleep soundly, good people!

The beat goes on...

The beat goes on...

Let the party begin!

Roman saturnalia, medieval fairs and festivals, Midsummer's Day bonfires, All Fools' Day, carnivals, technoparades, neighborhood parties... all of these events weave the fabric of everyday urban life.

The social corpus relies on more than just the big communal outpourings: it also needs its smaller outlets. City life creates tensions that must be released before they turn sour, or even lead to revolt. The various fairs—religious or pagan—that punctuate the year also help keep the peace by the very excesses they encourage.

The feast of fools and of the sub-deacons

"During the celebration, some, dressed as buffoons or as women, danced in the middle of the choir and there sang droll or obscene songs. Others came to eat sausages and boudins on the altar, and to play cards or dice before the officiating priest. They perfumed the latter with a censer in which old shoes were burning, and made him breathe the smoke. After mass there were renewed acts of extravagance and impiety. The priests, mixed with the inhabitants of both sexes, ran about, danced in the church, and excited each other to the most licentious act which an unbridled imagination could suggest. No longer any shame or modesty; no dam arrested the flood of folly and passion. In the midst of the tumult, blasphemies, and dissolute songs, some were seen to strip themselves entirely of their clothing, others abandoning themselves to the most shameful libertinage. The scene of action then moved out of the church, into the street. Less sacrilegious, it was no more decent. The actors, mounted on carts full of dung, amused themselves by throwing it at the people who followed them, and marched triumphantly in the squares and streets wide enough to allow a cartload to pass."

Extract from Gods of Generation: History of Phallic Cults Among Ancients and Moderns by Jacques-Antoine Dulaure, 1854

The Fight Between Carnival and Lent

Before painting this picture, Bruegel traveled in Italy, visiting Naples in 1552 and Rome in 1552-53, at the time still home to Michelangelo. Yet it would appear that Italian painting—traces of which can been seen by the careful observer in The Port of Naples and The Fall of Icarus—failed to influence him.

The Fight Between Carnival and Lent, now hanging in Vienna, Austria, is a true Flemish work: a common celebration—a genre painting still highly popular—in which the only real visible influence on the portrayal of the people and their disguises is that of Hieronymus Bosch, who died in 1516, shortly after Bruegel was born. In this work, Bruegel adopts a high-angle viewpoint, shunning the central perspective so dear to the Italians. The picture comprises an ellipse that closes around the roofs of the houses, with the figures evenly spread out in a symmetrical fashion beginning in the foreground and set around an invisible central line. The festive atmosphere, with its contrast between Lent (lean) and Carnival (fat), may also hint at the violence caused by another conflict (Catholics against Lutherans), which brought about the bloody suppression led by the Duka of Alba, starting in 1567.

Pieter Bruegel The Elder

Not much is known about Pieter Bruegel "The Elder", not even his exact date of birth, which has been estimated circa 1525-1530. However, we do know that he died in 1569. The death certificate states that he died medio aetatis flore (in the prime of his life); it is therefore estimated that he lived until around 40 years of age.

Nor do we know where he was born: Breda in the Netherlands or Bree in Belgian (also called Breda in Latin). His name first appears in 1551 in Antwerp, where he ranked among the masters of the guild of Saint Luke. The following year, he traveled to Italy. It is thought that he rubbed shoulders with both rich patrons and rural folk, whose weddings he attended.

In 1562, he left Antwerp and set up home in Brussels, where he married the daughter of the painter Pieter Coecke van Aelst in 1563. Some stories suggest the latter was also his mentor. His first son, Pieter Bruegel "The Younger", was born in 1564, and the second, Jan de Velours, in 1568, both of whom took up as painters and continued to promote the Bruegel style after their father's death in 1569—a style that remained highly popular throughout the 16th century.

© Joseph S. Martin - ARTOTHEK