Men at work in Dutch art, or keeping one's nose to the grindstone

23. Nowhere does the Standebuch find space for unskilled laborers and itinerants, except for the itinerant Peddler (Kraemer), whose image was reused for the very last figure, the despicable Stocknarr, or Natural Fool.

24. The influence of the Standebuch reached far, including, for example, Tommaso Garzoni's Piazza universersale di tutte le professioni, a book that was published in many editions throughout the seventeenth century, including one in German. See Sheila McTighe, "Perfect Deformity, Ideal Beauty, and the Imaginaire of Work: The Reception of Annibale Carracci's Arti di Bologna in 1646," Oxford Art Journal 16 (1993): 80.

25. Harry Bober, Jan van Vliet's Book of Crafts and Trades: With a Reappraisal of His Etchings (Albany, N.Y.: Early American Industries Association, 1981); and Donna R. Barnes, "Jan Gillisz. Van Vliet: Workers in the Workplace," Kroniek van het Rembrandthuis 2 (1995): 3-17. Hollstein, Dutch and Flemish Etchings, vol. 41, 32-49. Van Vliet represents only the eighteen most common occupations.

26. Jan Luyken and Casper Luyken, Spiegel van 't Menselyk Bedryf (Amsterdam, 1694). See Donna R. Barnes, The Butcher, the Baker, the Candlestick Maker: Jan Luyken's Mirrors of 17th-Century Dutch Daily Life, exh. cat., Hofstra Museum, Hofstra University, Hempstead, N.Y., 1995. For commentary on the liberties that Luyken's book took with actuality, see P. Lourens and J. Lucassen, "Ambachtsgilden binnen een handelskapitalistische stad: Aanzetten voor een analyse van Amsterdam rond 1700," NEHA, Jaarboek voor economische, bedrijfts- en techniekgeschiedenis 61 (1998): 121-62, esp. 157-58.

27. For the influence of the Mennonite tradition on Jan Luyken and, to a lesser extent, his collaborator son Caspar, see Herman W.J. Vekeman, "The Mirror of Human Trades, the Writing Plan," in Barnes, The Butcher, the Baker, 252-55.

28. Maurits de Meyer, De Volks- en kinderprent in de Nederlanden van de 15e tot de 20e eeuw (Amsterdam: Standaard-Boekhandel, 1962), lists popular prints that rework Jan Luyken's occupational images, for example, nos. 54 and 55 of the sheets published by J. Noman (p. 246).

29. See Hollstein, Dutch and Flemish Etchings, vol. 41, 32-49, copy a, 173. Hollstein does not list the example in Schloss Wolfegg (vol. 35, 179) referred to here. My thanks to John Roger Paas for calling my attention to this broadside, whose first line is "Ghy arbeyt om profyt doch die niet werkt moet vasten" (Work for profit, whoever doesn't work must starve).

30. De Meyer, De Volks- en kinderprent, fig. 166 (no. 259 in de Meyer's list of sheets published by J. Noman, p. 254).

31. Sean Shesgreen, Images of the Outcast: The Urban Poor in the Cries of London (New Brunswick, N.J.: Rutgers University Press, 2002), 22-23, referring to Cries broadsides, but the point applies equally to trades broadsides. See also Angela Vanhaelen, Comic Print and Theatre in Early Modern Amsterdam: Gender, Childhood and the City (Aldershot: Ashgate Publishing, 2003), esp. 12.