ABSTRACT

In 1675 the prolific etcher and engraver Romeyn de Hooghe designed, produced, and published a print depicting several disasters that had scourged the Republic of the Seven United Provinces from 1672 onwards. The print offers interesting insights in contemporary concerns that accumulated during All Saints Flood in 1675. In recent historical studies, the print has been used to illustrate contemporary belief in divine providence, and faith of the Dutch that history would take a turn for the better. But the iconography of the print is detailed and complex, and many of its vital elements have been ignored or were misinterpreted. Careful examination from an art historical perspective reveals that the print does not illustrate faith in a good outcome. On the contrary, De Hooghe accuses his fellow countrymen of a lack of faith using the New Testament story of a storm on the Sea of Galilee as a biblical parallel. Secondly, De Hooghe identifies discord as the cause of the current sad state of the Dutch Republic. He even implies that those responsible are the wealthy citizens in the prosperous Province of Holland who have neglected to take care of the republic’s poorer members.

摘要

1675 年，多产的蚀刻师和雕刻师 Romeyn de Hooghe 设计、制作并出版了一幅印刷品，描绘了自 1672 年以来肆虐七联合省共和国的几场灾难。该版画对 1675 年诸圣大洪水期间积累的当代问题提供了有趣的见解。在最近的历史研究中，该版画被用来说明当代对天意的信仰，以及荷兰人相信历史会变得更好的信念。但是印刷品的图像是详细而复杂的，其中许多重要元素被忽视或被误解。从艺术史的角度仔细检查表明，印刷品并没有说明对良好结果的信心。相反，De Hooghe 用新约圣经中加利利海风暴的故事作为圣经中的对照，指责他的同胞缺乏信仰。其次，De Hooghe 认为不和谐是荷兰共和国目前悲惨状态的原因。他甚至暗示，负责的是繁荣的荷兰省的富裕公民，他们忽视了照顾共和国较贫穷的成员。