Artwork

Plate 46: Stone Marten, Chipmunk, and Moles with a Marigold and Lettuce

Plate 46: Stone Marten, Chipmunk, and Moles with a Marigold and Lettuce 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. Executed around 1594, this work on parchment combines watercolor and gold pigment to depict a small assembly of animals and plants.

Inscription: Inscribed:upper center in black ink: Talpa bipes, alta semper tellure sepultus / Aspiciens numq[uam], sublato lumine Coelum.; center right in black ink: XXXXVI.; animals in image numbered .1. and .2., in red ink; lower center in black ink: TERRAE FILII / .3. Facing page: upper center in brown ink: Claudere que caenas Lactuca solebat avorum: / Dic mihi cur nostras inchoat illa dapes?; middle center in black ink: Vt cita vescenti veniunt oblivia Talpae: / sic praecibus subeunt impie vanatuis.; lower center in red ink: Letentur coeli, et exultet TERRA, co[m]moveatur mare et plenitudo ei[us]/ gaudebunt CAMPI, et omnia quae in eis sunt. psal 95: (“Let the heavens rejoice, and let the earth be glad; let the sea be moved and the fulness thereof. Let the field be joyful and all that is therein.” Psalms 95:11-12) (Latin Vulgate Bible)

About this work

Overview

Executed around 1594, this work on parchment combines watercolor and gold pigment to depict a small assembly of animals and plants.

Executed around 1594, this work on parchment combines watercolor and gold pigment to depict a small assembly of animals and plants. The Flemish artist Joris Hoefnagel, active in both manuscript illumination and natural-history illustration, employed a restrained palette and meticulous brushwork to record each subject with near-scientific precision. The sheet forms part of a larger series that helped codify floral still-life imagery in northern European art.

Subject & Meaning

The composition juxtaposes a stone marten perched on a branch above a chipmunk and two moles emerging from disturbed soil, alongside a marigold and lettuce. Such pairings of fauna and flora often served dual purposes: they documented species with empirical accuracy while evoking broader themes of nature’s cycles, transience, or the harmony between predator and prey.

Technique & Style

Hoefnagel layered translucent watercolor washes to build depth, reserving opaque gold for the decorative border. Each animal’s fur, the veins of leaves, and the texture of soil are rendered through fine, controlled strokes. This method reflects both the manuscript illuminator’s training and the growing interest in direct observation that characterized late sixteenth-century natural-history illustration.

History & Provenance

The drawing originates from Hoefnagel’s multi-volume manuscript project, likely commissioned by a patron with interests in natural philosophy or collecting. Although the exact early ownership remains unrecorded, the work entered institutional collections by the twentieth century, where it is preserved as an example of Renaissance engagement with the natural world.

Context

Created during a period when cabinets of curiosity flourished, this sheet exemplifies the intersection of art and science. Artists like Hoefnagel responded to demands for accurate yet aesthetically refined representations of flora and fauna, bridging medieval traditions of illuminated bestiaries and emerging empirical approaches to natural history.

Legacy

Hoefnagel’s precise renderings influenced later still-life painters by demonstrating how minute detail could elevate natural subjects into art. His integration of scientific observation with decorative refinement also foreshadowed the close relationship between art and taxonomy that would develop in the seventeenth and eighteenth centuries.