Iconoclasm in a glass? Wouter Crabeths "Scourging of Heliodorus" and Dirck Crabeths "Cleansing of the Temple" in Gouda's Sint Janskerk. Two monumental stained-glass Windows, The Scourging of Heliodorus (1566) by Wouter Crabeth (ca.1535-1585) and the Cleansing of the Temple (1567) by his older brother Dirck Crabeth (ca.1525-1574), occupy the eastern walls of the transept of Gouda's Sint Janskerk, to the left and right of the ambulatory. They were part of the ambitious decoration campaign that started after the church was gutted by a fire in 1552. By the time the Sea Beggars took Gouda in 1572, twenty monumental windows had been realized. Although heavily restored, the ensemble survives until today. Clearly, the Heliodorus and the Cleansing of the Temple form a typological pair. The former tells the apocryphal story of general Heliodorus who comes to claim the treasures of the Temple, upon which the priest Onias prays to God, who sends an angel and a heavenly horseman to whip the general out (2 Maccabees 3, : 24-26). The composition is based on Raphaels version, which the glass painter knew through a print by Coornhert after Maerten van Heemskerck. It was donated by Erick of Brunswick II, a German count brought up in the Lutheran faith. He converted to Catholicism as an adult and became a staunch defender of that religion and a close ally of Philip II. Among his greatest achievements was the capture of the highest ranking generals of the French army at the battle of St. Quentin in 1557. The King then made him Lord of Woerden, a town next to gouda, where Eric started to live with his mistress, far from his estranged wife in Germany. The donation of this window in Gouda confirmed his newfound prominence in Holland and his closeness to Philip II, who in 1557 had donated the magnificent window in the North Wall of the transept, right next to Erick's. The donor's border included a portrait of the donor in full formal dress, plus his family arms going back four generations, and a patron saint - in this case St. Lawrence, whose death was celebrated at the 10th of August, the day of the battle of St. Quentin. It also bears a striking incription : CATHOLICAE RELIGIONIS ERGO, ('because of the Catholic religion'). It is the first time that the words 'Catholic religion' appear on a church monument in the Netherland. Ironically but understandably, it happened at a moment when the supremacy of this faith was waning. The Scourging of Heliodorus, dated 1566, was put in place in the spring of 1567. As Lord of Woerden, Erick of Brunswick's mercenaries had chased the Lutherans out of the town's parish church after they occupied it during the iconoclasm of 1566. No wonder that later authors like local historian Walvis (1713) and Conrad busquen Huet (1882-1884) explained the Windows as a memorial to the victory over the iconoclasts. It was only at the end of the twientieth century that this interpretation was refuted. Documents in the church archive show that production of the window started in 1564, which means that the design was long finished by then. We don't need the Iconoclasm to explain it - the iconography elaborates on the other windows in the transept, notably the ones donated by King Philip II and Margaret of Parma, which are also about the integrity of the church and its defence. The figure of Heliodorus was already seen as a symbol of the threat of the reformation before 1566. This is borne out by the poetry of Anna Bijns, an Antwerp school teacher and the foremost lay spokesperson against the reformation of her time. The pendant on the other side of the choir, Dirck Crabeth's Cleansing of the Temple, follows the text of John 2 : 13-22. Arriving at the Temple, Christ saw money changers and people selling cattle, sheep and dogs. He then made a whip out of cords and drove them all away, scattered the coins of the money changers and overturned their tablets. the groups of men standing around arguing refer to the Jews who ask christ to give a sign that shows he has the authority to do this, to which Christ answers that they can even destroy the temple and he will raise it again in three days. The genesis of this Windows was complicated by the political events of the time. It carries the date 1567 but by then it was already five years in the making. In 1562 Wouter Crabeth travelled to The Hague to draw William of Orange' s portrait, which his brother Dirck intended to use for the donor's border. At the time of his portrait sesion, Orange still belonged to Philip II' s immediate circle. but in 1567 when the window was near completion, he had become the leader of the Dutch Revolt againstthat same king. William ended up not paying for the window and when it was finally placed in 1569, his portrait was not included - no doubt because of his breach with the Habsburg house. the design for the donor's border remained unexecuted so the lower part of the window had to be bricked up but the main scene was placed anyway, which shows the determination of the churchwardens to complete the glazing. After the protestantization of the church (1573), as William of Orange's reputation as the founder of the protestant Republic grew, people started to see the subject of his window as an 'answer' to Erick of Brunswick's - where The scourging of Heliodorus protested against iconoclasm, the Cleansing of the Temple supposedly applauded the removal of Catholic clergy, rites and abuse. When the city councilmen decided in 1656 to have the bricked-up part of the window opened up again to create a newly designed donor's border with their own family arms, they had an anti-Catholic poem inscribed on it framed in branches of the orange tree, an obvious reference to William of Orange, whose failed donation was hereby definitively cast in a protestant light. In hindsight we must conclude that such a Reading is unhistorical, as both windows formed part of a Catholic decorative program and were both designed before the events they were supposed to refer to had happened. Originally, the subject of the Cleansing of the Temple must also have been intended to evoke associations with the battle against the reformation. The creation and execution of the decorative program were overseen by the powerful humanist Viblius van Aytta, president of the Secret Council and personal councillor to Charles V, Philip II and Margaret of Parma. Apparently advised by theologians from the university of Louvain he saw to it that the Windows contained a devotional message as well as a political one. Whereas medieval typology stressed the parallels between Old- and New Testament stories, the creators of the Gouda decoration programme re-oriented themselves on the writings of St Augustine, who time and again stressed the superiority of the New Testament over the Old Testament. This way of thinking is exemplified in the two windows discussed here: A Godly intervention in the Old Testament is contrasted with an act of Christ, who tells doubters that with His coming, a new era has started. Mankind will need no more signs apart from what He Himself says and does.

中文翻译：

---

Beeldenstorm 在 een glas？Wouter Crabeths Bestraffing van de tempelrover Heliodorus en Dirck Crabeths Tempelreiniging in de Sint Janskerk in Gouda

玻璃杯中的偶像破坏？豪达的 Sint Janskerk 中的 Wouter Crabeths“鞭刑 Heliodorus”和 Dirck Crabeths“清洁圣殿”。两个巨大的彩色玻璃窗，Wouter Crabeth（约 1535-1585 年）对 Heliodorus 的鞭打（1566 年）和他哥哥 Dirck Crabeth（约 1525-1574 年）的圣殿净化（1567 年），占据了东部Gouda 的 Sint Janskerk 的耳堂的墙壁，在门诊的左右两侧。它们是 1552 年教堂被大火烧毁后开始的雄心勃勃的装饰运动的一部分。到 1572 年海乞丐占领豪达时，已经实现了二十个巨大的窗户。尽管经过大量修复，该合奏团一直存在到今天。很明显，赫利奥多罗斯和圣殿的净化形成了一对类型。前者讲述了赫利奥多罗斯将军前来索取神殿宝藏的虚构故事，神父奥尼亚斯向上帝祈祷，上帝派天使和天上的骑士鞭打将军（2 Maccabees 3, 24-26） ）。该作品基于拉斐尔的版本，玻璃画家通过 Coornhert 在 Maerten van Heemskerck 之后的印刷品了解了这一版本。它是由不伦瑞克二世的埃里克捐赠的，他是一位在路德教信仰中长大的德国伯爵。他成年后皈依天主教，成为该宗教的坚定捍卫者和菲利普二世的亲密盟友。他最伟大的成就之一是在 1557 年的圣昆廷战役中俘虏了法国军队的最高级别将军。 然后国王任命他为沃尔登领主，一个与古达相邻的小镇，埃里克开始与他的情妇住在一起，远离他在德国分居的妻子。这座位于豪达的窗户的捐赠证实了他在荷兰的新地位以及他与菲利普二世的亲密关系，菲利普二世于 1557 年捐赠了位于埃里克旁边的教堂北墙的宏伟窗户。捐赠者的边界包括捐赠者穿着正装的肖像，加上他四代的家族武器，以及一位守护神 - 在这个例子中是圣劳伦斯，他的死亡是在 8 月 10 日，也就是战斗当天庆祝的圣昆汀。它还带有一个引人注目的铭文：CATHOLICAE RELIGIONIS ERGO，（“因为天主教”）。“天主教”一词首次出现在荷兰的教堂纪念碑上。具有讽刺意味但可以理解的是，它发生在这种信仰的至高无上的地位正在减弱的时刻。1566 年对赫利奥多鲁斯的鞭笞于 1567 年春天实施。 作为沃尔登领主，不伦瑞克的埃里克的雇佣兵在路德会教徒在 1566 年的圣像破坏运动期间占领了该镇的教区教堂后，将其赶出了该镇的教区教堂。难怪后来的作家，如当地历史学家沃尔维斯（Walvis，1713 年）和康拉德·布斯肯·休特（Conrad busquen Huet，1882-1884 年），将窗户解释为对反传统者胜利的纪念。直到 20 世纪末，这种解释才被驳回。教堂档案中的文件显示，窗户的制作始于1564年，这意味着设计早已完成。我们不需要破坏圣像主义来解释它——肖像画详细说明了耳堂的其他窗户，特别是菲利普二世国王和帕尔马的玛格丽特捐赠的窗户，这也关乎教会的完整性及其辩护。在 1566 年之前，赫利奥多罗斯的形象已经被视为宗教改革威胁的象征。安特卫普学校教师安娜·比恩斯 (Anna Bijns) 的诗歌证明了这一点，同时也是反对她那个时代改革的最重要的非专业代言人。唱诗班另一侧的吊坠，Dirck Crabeth 的《圣殿的洁净》，遵循约翰福音 2：13-22 的文本。到了圣殿，基督看到了货币兑换商和卖牛羊狗的人。然后他用绳子做了一根鞭子，把它们全都赶走了，撒了货币兑换商的硬币，掀翻了他们的牌位。站在周围争论的那群人是指那些要求基督给出一个迹象表明他有权这样做的犹太人，基督回答说，他们甚至可以摧毁圣殿，他会在三天内重新建立起来。这个窗口的起源因当时的政治事件而变得复杂。它带有日期 1567，但到那时它已经制作了五年。1562 年，Wouter Crabeth 前往海牙画了奥兰治的威廉的肖像，他的兄弟 Dirck 打算将其用于捐赠者的边界。在他的肖像会议期间, 奥兰治仍然属于菲利普二世的直接圈子。但在 1567 年窗口即将完工时，他已成为反对同一位国王的荷兰起义的领导人。威廉最终没有为窗户买单，当它最终在 1569 年被放置时，他的肖像没有被包括在内——毫无疑问是因为他与哈布斯堡家族的房子有冲突。捐赠者的设计' 边界未完成，所以窗户的下部不得不用砖砌起来，但主场景还是放置了，可见教堂看守完成玻璃的决心。在教会的新教化之后（1573 年），随着奥兰治的威廉作为新教共和国创始人的名声越来越大，人们开始将他的窗户的主题视为对不伦瑞克的埃里克的“回答”——赫利奥多罗斯的鞭打抗议圣像破坏，圣殿的清洗据称赞扬了天主教神职人员、仪式和虐待的清除。当市议员于 1656 年决定再次打开窗户的砖砌部分以创建一个新设计的捐赠者边界与他们自己的家庭武器时，他们在上面刻上了反天主教的诗句，并用橘子树的树枝框起来, 明显提到了奥兰治的威廉，他的捐赠失败在此被明确地置于新教的光芒之中。事后看来，我们必须得出这样的结论，这样的阅读是非历史性的，因为两扇窗户都是天主教装饰计划的一部分，而且都是在它们应该指的事件发生之前设计的。最初，圣殿的净化主题也一定是为了唤起与反对宗教改革的斗争的联系。装饰计划的创建和执行由强大的人文主义者 Viblius van Aytta 监督，他是秘密委员会的主席，也是查理五世、菲利普二世和帕尔马的玛格丽特的私人顾问。显然是在鲁汶大学的神学家的建议下，他看到窗户包含了一个虔诚的信息和一个政治信息。中世纪的类型学强调旧约和新约故事之间的相似之处，而豪达装饰计划的创造者将自己重新定位于圣奥古斯丁的著作，他一再强调新约优于旧约。这种思维方式在这里讨论的两个窗口中得到了例证：对旧约的敬虔干预与基督的行为形成对比，基督告诉怀疑者，随着他的到来，一个新时代已经开始。除了他自己所说的和所做的之外，人类将不再需要任何迹象。这种思维方式在这里讨论的两个窗口中得到了例证：对旧约的敬虔干预与基督的行为形成对比，基督告诉怀疑者，随着他的到来，一个新时代已经开始。除了他自己所说的和所做的之外，人类将不再需要任何迹象。这种思维方式在这里讨论的两个窗口中得到了例证：对旧约的敬虔干预与基督的行为形成对比，基督告诉怀疑者，随着他的到来，一个新时代已经开始。除了他自己所说的和所做的之外，人类将不再需要任何迹象。