Het Vernuft beloont de vlijt en bestraft de luiheid Young half-naked female personification the ingenuity (Solertia) holds an inkwell on a writing (or signatory) naked man on the right. Beside him sits a female personification adorned with a laurel wreath (Poetry, Inspiration?). Virtue tap with a stick to the head of a naked young man left, resting on the lap of a young woman. The landscapes in the background reflecting the virtuous behavior of the writer / illustrator right and indolence of the figure on the left. Right in the background sow and harvest grain farmers; left in the background a
Het Vernuft beloont de vlijt en bestraft de luiheid Young half-naked female personification the ingenuity (Solertia) holds an inkwell on a writing (or signatory) naked man on the right. Beside him sits a female personification adorned with a laurel wreath (Poetry, Inspiration?). Virtue tap with a stick to the head of a naked young man left, resting on the lap of a young woman. The landscapes in the background reflecting the virtuous behavior of the writer / illustrator right and indolence of the figure on the left. Right in the background sow and harvest grain farmers; left in the background a man steals a farm; is someone robbers get a gallows and a rad. Manufacturer : printmaker Cornelis Bos (attributed to) printmaker Cornelis Massijs (rejected attribution) to drawing: Girolamo Sicciolante (attributed to) Date: ca. 1540 - for 1544 Physical features : engra material: paper Technique: engra (printing process) Dimensions: h 348 mm (cut off within the plate edge; at the top with the loss of 15 mm) × W 471 mmToelichtingToeschrij rejected by Hollstein to Cornelis Massys. By Schele attributed to Cornelis Bos. By Forest carried out, presumably for 1544 in Italy, attributed to the example of a drawing to Girolamo Sicciolante in the Hermitage, St. Petersburg (see cat Dobrosklonsky Moscow 1940, p 119, No. 344;... Figure LII.). The figure group in the picture is a mirror image of those in the tekeing; the landscapes that the effects of 'good' and 'bad' behavior reflects his most true: apparently additions Cornelis Bos. The print is discussed by Ilja field man in the fundamental article Images of Labor and Digilence Simiolus 21 (1992), pp. 227-264, esp. pp. 243-244, Fig. 21). Veldman shows that the picture of Bos to Siciolante at the beginning is a rich iconographic tradition of prints in which diligence and laziness put opposite each other (see for example H. prints Who: rix and R. Sadeler to Maarten de Vos, fig Veldman . 22 and 23). The landscape in which on the one hand, c
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