This essay explores issues of Protestant identity, self-representation and the status of the image in seventeenth-century Zurich through the lens of two works depicting ‘the family at table’, one a painted family portrait, the other a printed broadsheet on table manners (“Tischzucht”). Discussion focuses on the ethical dimensions of “Tischzucht” iconography and the ways that the decorative and material accoutrements of domestic life contained in each work articulated and reinforced a peculiarly Protestant set of values. The circumstances of the commission of the “Tischzucht” print and the artist’s subsequent, well-documented clashes with the city’s censor over matters of content, casts a further, revealing light on the problems attendant upon art-making in seventeenth-century Zurich, on the aesthetics of the monochrome print vis-a-vis the painted image, and on the limits of visual representation itself within a society, which since the early sixteenth century, had lived under an official policy of hostility to images.

中文翻译：

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餐桌上的家庭：17 世纪苏黎世的新教身份、自我表现和视觉的局限

本文通过两幅描绘“餐桌上的家人”的作品的镜头，探讨了十七世纪苏黎世的新教徒身份、自我代表和形象的地位问题，一幅画的是全家福，另一幅是关于餐桌礼仪的印刷大报（“Tischzucht”）。讨论的重点是“Tischzucht”肖像画的伦理维度，以及每件作品中包含的家庭生活装饰和材料如何表达和强化了一套独特的新教价值观。“Tischzucht”印刷品的委托情况以及艺术家随后与城市审查员在内容问题上有充分记录的冲突，进一步揭示了 17 世纪苏黎世艺术创作所伴随的问题，