Artwork

Plate 23: A Fat-Tailed Sheep, a Sheep with a Long Tail, a "Cassia purgatrix,"and Other Plants

Plate 23: A Fat-Tailed Sheep, a Sheep with a Long Tail, a "Cassia purgatrix,"and Other Plants is a gouache drawing by the Renaissance artist Joris Hoefnagel. It dates from 1594 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:upper center in red ink: OVES LVPO CO[M]MISSAE.; center right in black ink: XXIII.; animals in image numbered .1. and .2., in red ink; plants and trees in image numbered .3., .4., and .5., in red ink; lower center in blue/black ink: Boni pastoris est tondere Pecus, non deglubere. Facing page: upper center in (gold?): Aspice labentes iucundo murmure rivos: / Aspice tondentes fertile gramen Oves.; lower center in (gold?): Laeta salitur Ovis: tauro quoq[ue] laeta iuvenca est: / Sustinet immundum, sima capella marem.

About this work

Overview

Created circa 1594, this illuminated sheet by Joris Hoefnagel combines watercolor and gold on parchment. It presents a compact, circular composition that juxtaposes two sheep with a variety of plant forms, all rendered with meticulous naturalistic detail.

Subject & Meaning

The central animal is a fat‑tailed sheep, a breed distinguished by its unusually thick tail, while a second, long‑tailed sheep appears in the background. Around them grow a cassia plant, identified in the Latin caption as “Cassia purgatrix,” and assorted foliage and berries, suggesting a didactic illustration of agricultural or zoological knowledge.

Technique & Style

Hoefnagel employs layered watercolor washes, building colour through glazing, and accents the border and select elements with fine gold leaf. The rendering balances scientific observation, precise anatomy of the sheep and botanical accuracy, with the decorative elegance typical of late‑Renaissance manuscript illumination.

History & Provenance

The sheet belongs to a later phase of Hoefnagel’s career, when he was among the few artists still producing illuminated manuscripts. It reflects his role in the emergence of topographical drawing and the northern European still‑life tradition of the late sixteenth century.

Context

During the 1590s, Flemish artists increasingly catered to collectors interested in natural history. Hoefnagel’s work bridges the gap between courtly illumination and the burgeoning scientific illustration that would later dominate botanical and zoological publications.