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revisit the motif twice in his youth between 1526 and 1530, and again in 1540. The print from 1540 is almost ten times bigger than most of the Beham brothers’ other art works (ca. 40 x 25 cm) and openly pornographic. Cimon's arms tied are behind his back and his shoulders and lower body are covered in a jacket-like piece of cloth, however his muscular chest and erect nipples are on full display. Pero stands between Cimon's knees, completely naked, her hair is undone and her pubic region and stomach are shaved. She offers him her left breast with a V-hold. An inscription made to look like a scratching into the wall reads: Whither does Piety not penetrate, what does she not devise?
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552:(1794, lost), and Etienne-Barthélemy Garnier (1801, lost) were made depicting the scene. Perhaps this brief resurgence of interest can be explained by a French Revolutionary theme of political equality which found resonance in the reciprocity within kinship relations that the mother-daughter version displayed. The reversal of patriarchal relations that Pero and Cimon could be seen as symbolizing, while meaningful under the ancient regime, was now passé.
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390:. At the same time, the inclusion of the infant added a new level of meaning to the story as the three figures would represent the three generations and could therefore also be interpreted as an allegory of the three ages of man. Many examples of paintings, prints, and sculptures of Roman Charity include a baby or pre-school-age child (perhaps in the vein of the boy included in Poussin's
177:(i.e., filial piety) and Roman honour. Additionally, wall paintings and terracotta statues from the first century excavated in Pompeii suggest that visual representations of Pero and Cimon were common, however it is difficult to say whether these existed in response to Maximus's anecdote or preceded – inspired – his story. Among Romans, the theme had mythological echoes in
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belays the correct reading of the scene as one of filial piety, Poussin preempts the potential reading of the scene as lesbian – harkening back to the debate
Maximus proposes between the onlooking guards. Despite the fact that Poussin positioned himself as the opposite of Caravaggio, he, like his rival, integrated Maximus's story into a complex religious painting.
486:(1594–1665) stands out because of his rendering of the breastfeeding mother-daughter couple in The Gathering of the Manna (1639). Poussin's choice of subject matter demonstrated his knowledge of Maximus's other example of filial piety, as well as earlier French renderings of the theme. It is possible that Poussin was familiar with the print by
355:, whose fresco of Roman Charity he could have seen during his stay in Genoa in 1605. Following Caravaggio's altarpiece, the veritable craze for gallery paintings of Pero and Cimon started in 1610–12, and spread through Italy, France, the Southern Netherlands, and Utrecht, even drawing traction among Spanish painters such as
490:(1518/19–88) and/or, perhaps, the “Histoire Rommaine” printed in Lyon in 1548, in which a mother begs her daughter to let her nurse at her breast – a request the daughter rebukes, challenging her mother to display greater dignity in her suffering, before ultimately succumbing and allowing her mother to suckle.
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While the choice to depict the mother-daughter scene as opposed to that of Pero and Cimon was unique at the time that
Poussin was painting, the same-sex version enjoyed wider popularity than the father-daughter scene during the Middle Ages and into the early modern period. The medieval work Girard de
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served for charges of atheism earlier that year. Barthel's brother Sebald would reissue this print in reverse in 1544, this time with two inscriptions informing the viewer of the father's identity (“Czinmon”) and of the meaning of this act: “I live off the breast of my daughter.” Sebald himself would
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woman was nursed by her daughter, who had just given birth and was searched for any food at each visit by the guard. Finally caught, the affection is so moving that the mother was freed and the family provided for out of public funds for the rest of their lives. In some versions, while the guard does
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and his followers are known to have painted at least three versions. Followers of Ruben's tended to copy his 1630 version (now in
Amsterdam) but began introducing a sleeping child at Pero's feet, a detail the original legend does not mention. This element was introduced in the 17th century in order
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Men's eyes are riveted in amazement when they see the painting of this act and renew the features of the long bygone incident in astonishment at the spectacle now before them, believing that in those silent outlines of limbs they see living and breathing bodies. This must needs happen to the mind
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Similar to later depictions of Pero and Cimon, which contain the addition of Pero's child in order to dissuade any incestuous or salacious readings, Poussin includes the daughter's son, who competes with his grandmother for his mother's milk. In doing so, and in adding an observer whose reaction
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The motif appeared in both its mother-daughter and father-daughter variety, although the cross-gendered version was ultimately more popular. The earliest modern depictions of Pero and Cimon emerged independently of each other in
Southern Germany and Northern Italy around 1525, in a wide range of
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Italian oil paintings of the motif existed as early as 1523, when a notary described a painting in possession of the recently deceased Pietro Luna, as “a large canvas in a gilded frame with a woman who nurses an old man.” A similar painting is described by a notary for the house of
Benedetti di
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Later in the sixteenth century German artists began depicting the scene in oil paintings, often choosing the classicizing half-length format, thereby drawing of formal analogies between Pero and ancient heroines and including Pero within the genre of the ‘strong woman,’ similar to
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Rossillon, by an anonymous, tells the story of the imprisoned mother, nursed by her daughter but embellishes it, inventing a name for the daughter – bone Berte – and a noble lineage for the family. In the fourteenth and fifteenth centuries, writers
363:. Given the fact that no gallery painting pre-dates 1610, Caravaggio's altarpiece must have inspired a fad that would last another two centuries. Despite this, the subject matter as one favored by many Caravaggisti has historically been overlooked.
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produced an intimate portrait of the mother and daughter (before 1661). This is the last known depiction of the scene before its brief resurgence in the late eighteenth century when three paintings by Jean-Charles
Nicaise Perrin (1791, lost),
271:(1500–50) produced between them six different renderings of Pero and Cimon. Barthel's first rendering of the theme in 1525 is usually brought in connection with a brief jail term that he, his brother Sebald, and their common friend
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Franciscis in 1538. Still another painting is listed, correctly identified as a daughter nursing her father, by a notary in the estate of miniaturist
Gasparo Segizzi. Unfortunately, none of these paintings are still extant.
308:’s version from 1538, Erhard Schwetzer’s depiction from the same year, Pencz’s version (housed in Stockholm) from 1546, and one by the so-called Master with the Griffin’s Head executed as well in 1546.
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dating from 1741, including a sculpture of Roman
Charity poised high above the front doorway. It is referred to as 'mammelokker', which translates from Dutch as 'breast sucker'.
102:. Once caught, the loving devotion shown so moves the authorities that she is forgiven and the parent is typically freed. The father in the story is often named Cimon (
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991:
Valerius
Maximus, Memorable Doings and Sayings, ed. and transl. by D.R. Shackleton Bailey (Cambridge, Massachusetts: Harvard University Press, 2000), vol. 1, 501–03.
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also contains a scene of Roman
Charity when the protagonist is starving and a vicar's wife nurses him rather than let him plunder the food gathered for an offering.
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to prevent an interpretation that there was something incestuous about the deed – although the existence of a child is implicit in any case, since the woman is
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both painted versions of the scene, as did Manfredi. Additionally, nine examples of Roman Charity were apparently produced by Caravaggio's noted and outspoken foe,
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also, admonished to remember things long past as though they were recent by painting, which is considerably more effective than literary memorials.
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543:(1612–38) on egalitarian relationships among women uses the anecdote. A few years after Poussin's painting of The Gathering of the Manna,
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570:(1939). At the end of the novel, Rosasharn (Rose of Sharon) nurses a sick and starving man in the corner of a barn. The 1969 painting
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223:(an act of lesbianism), he concludes that in fact it is an example of the first law of nature, which is to love one's own parents.
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media including bronze medals, frescoes, engravings, drawings, oil paintings, ceramics, inlaid wood decorations, and statues.
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Few works depicting the mother-daughter version were made between the seventeenth and late eighteenth century. A poem by
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in: Breastfeeding and Culture: Discourses and Representation, eds. Ann Marie A. Short, Abigail L. Palko, and Dionne.
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2 (2017), pp. 63-87, on the interpretation of the “Roman Charity” in Caravaggio’s painting see Bühren 2017, p. 72.
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in Naples. With regards to his choice of iconography, Caravaggio may have been inspired by his predecessor
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includes the story in its section on the greatest examples of human affection known. In his version, a
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A contemporary version is made by the Flemish artist Yves Decadt in his series of Allegories called
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Caravaggio’s ‘Seven Works of Mercy’ in Naples. The relevance of art history to cultural journalism
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Maximus's anecdote of Pero and Cimon posits the following ekphrastic challenge:
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In the 20th century, a fictional account of Roman Charity was presented in
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Roman Charity: Queer Lactations in Early Modern Visual Culture
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Jerôme Duquesnoy (attributed to Artus Quellinus the Elder),
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316:Influences from Caravaggio and Rubens
243:Early depictions in Germany and Italy
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171:and was presented as a great act of
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86:) in which a woman secretly
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978:Nancy Thomson de Grummond,
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556:Modern cultural influence
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361:Bartolomé Esteban Murillo
263:In Germany, the brothers
1448:Encyclopaedia Britannica
600:Depictions with articles
345:The Seven Works of Mercy
335:In 1606/1607, the early
1416:"Partisan ballade 1969"
478:Mother-daughter version
329:The Seven Acts of Mercy
1501:Neoclassical paintings
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369:Gerrit van Honthorst
365:Utrecht Caravaggisti
201:The mid-1st century
130:Western European art
1401:The Grapes Of Wrath
1245:The Belfort of Gent
652:Artists' depictions
567:The Grapes of Wrath
132:, particularly the
1029:(April 10, 2013).
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740:Dirck Van Baburen
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680:Hans Sebald Beham
621:by Rubens, 1630,
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445:(17th-century)
408:Louis Boullogne
353:Perino del Vaga
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449:A version by
444:
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430:(1657–1730),
429:
426:(1659–1722),
425:
422:(1628–1719),
421:
420:Carlo Cignani
417:
414:(1650-1710),
413:
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187:Etruscan myth
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61:ancient Greek
58:
54:
53:Carità Romana
50:
46:
42:
38:
37:Roman Charity
31:
28:
26:
21:
16:Ancient story
1452:, vol.
1447:
1445:
1434:Bibliography
1420:. Retrieved
1410:
1400:
1394:
1381:
1368:
1355:
1342:
1329:
1316:
1303:
1290:
1277:
1264:
1251:
1240:
1228:. Retrieved
1224:The Guardian
1223:
1214:
1201:
1189:
1183:
1178:, p. 158-59.
1170:
1157:
1144:
1136:
1130:
1122:
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1096:
1083:
1070:
1057:
1045:. Retrieved
1034:
1021:
1008:
987:
979:
974:
961:
949:
939:
934:
921:
724:Jan Janssens
638:
627:
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591:
586:O Lucky Man!
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391:
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359:and, later,
334:
328:
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278:
269:Sebald Beham
262:
257:Sebald Beham
246:
235:Fresco from
202:
200:
195:
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172:
162:
160:
148:
126:Early Modern
121:
111:
92:incarcerated
78:filial piety
56:
36:
35:
23:
1496:Iconography
1418:. Art Russe
1104:, p. 60-69.
1091:, p. 47-51.
578:Mai Dantsig
461:Mammelokker
441:Version by
418:(1632–98),
410:(1609–74),
402:(1607–61),
400:Cecco Bravo
306:Georg Pencz
273:Georg Pencz
255:Drawing by
88:breastfeeds
1485:Categories
1385:Sperling,
1372:Sperling,
1359:Sperling,
1346:Sperling,
1333:Sperling,
1320:Sperling,
1307:Sperling,
1268:Sperling,
1087:Sperling,
1074:Sperling,
1009:Nat. Hist.
940:Enc. Brit.
909:References
854:John Smith
534:Hans Sachs
519:(c. 1402)
412:Jean Cornu
377:Guido Reni
341:Caravaggio
325:Caravaggio
128:period of
100:starvation
1389:, p. 171.
1294:Sperling,
1285:, p. 181.
1281:Sperling,
1272:, p. 181.
1259:, p. 177.
1255:Sperling,
1209:, p. 194.
1205:Sperling,
1174:Sperling,
1165:, p. 114.
1161:Sperling,
1152:, p. 117.
1148:Sperling,
1113:Sperling,
1100:Sperling,
1047:March 18,
914:Citations
871:(c. 1769)
852:print by
850:Mezzotint
837:(c. 1767)
807:(c. 1652)
791:(c. 1640)
775:(c. 1628)
743:(c. 1623)
727:(1620–25)
711:(c. 1612)
388:lactating
331:, c. 1606
290:Cleopatra
157:(c. 1645)
1376:, p. 41.
1117:, p. 69.
1078:, p. 37.
1041:Archived
953:Book V,
756:Guercino
545:Guercino
504:, c.1639
282:Lucretia
216:plebeian
183:Hercules
73:exemplum
32:(c.1625)
1230:19 July
1193:at the
903:(1811)
498:Poussin
339:artist
337:Baroque
237:Pompeii
140:History
49:Italian
1442:Pietas
1422:10 Dec
1363:p. 51.
1350:p. 57.
1337:p. 62.
1324:p. 50.
1311:p. 54.
1298:p. 50.
942:(1911)
887:(1797)
683:(1544)
623:Siegen
371:, and
302:Dalila
300:, and
298:Salome
294:Judith
288:, and
259:, 1540
213:jailed
174:pietas
83:pietas
59:is an
30:Rubens
1135:, in
1004:Pliny
955:5.4.7
634:Prado
185:, an
122:Mýkon
117:Μύκον
112:Kímōn
108:Κίμων
76:) of
65:Roman
55:) or
41:Latin
1424:2015
1232:2022
1049:2018
596:.
286:Dido
179:Juno
63:and
1454:XXI
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576:by
564:'s
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