Dyussart, Rubens, kettle… How they are connected?
Cornelis Dyusart (1660–1704) – the Netherlands artist, the pupil to Adrian van Ostada. In 1679 at the age of 19 years it was admitted to guild St. Onions (something like trade union of artists). After death of the teacher finished unfinished pictures to Adrian van Ostada and his brother Isaak therefore sometimes it is possible to take over works Cornelis for Adrian’s works.
Modern army kettle https://commons.wikimedia.org/wiki/File:Schweizer_Armee_-_Gamelle_.JPG (Feldessgeschirr)
Cornelis worked as the engraver in equipment меццотинто. As well as his pictures, an engraving represent sketches with having fun peasants and citizens and with meticulousness transfer a situation in which characters act.
Engraving "Old age". Room dimly shined with the oil lamp. On a wall – a picture in a frame: a skeleton not that with a plait, not that with a rake (it is visible, it is a symbol of caducity terrestrial, «all of us there will be»).
On the street it is cold: all characters are dressed very warmly, in a fireplace peat briquettes brightly flare.
On the right at fire – the bearded man in a cap. In the left hand – a tube, in right – a spoon which it gathers something in a pan. The pan is held by the toothless old woman bent in three death. She leans on a crutch, and in the left hand at it бутылек (apparently, with something amusing).
At the left one more character sits. He was already taken so thoroughly that cannot hold the drunk.
It is hard to say that it for a room: not that a corner in a tavern, not that housing sitting at a fireplace. The friend came on a spark, they well drank. And there was an old girlfriend: he quietly eats from its vessel, she is ready to pour to it binge.
It – not poor, it not poor: on a belt – keys, behind shoulders – the purse, a vest with a fur otorochka, anywhere is not present ремков. (Faces of characters do not match at all poverty or despondency. Would be more exact to call an engraving «A having fun old age».)
What it for old acquaintance if not to tell – friendship? Perhaps, they together were at war? It – a markitantka, he is a soldier. Then there is clear a presence of one more character – a soldier’s kettle. It takes almost central place and is written out so in details that it can be made! (By the way, it costs on a heater – a support in which put a flat dish with coals. In a cover of a support there are openings for heat pass. And on it paper with tobacco, nasypanny for drying lies. So, and in a kettle something is warmed up.)
Before us almost unique image of this attribute of soldier’s life. And the most interesting: 1680, the seventeenth century, and a kettle as though descended in a picture from the instruction of the Ministry of Defence! The design of a kettle appeared so ingenious that up to now practically did not exchange.
Not clearly, when this was born remarkable, it is possible to tell – the universal, military tool. There is one catch, will try it to use.
The matter is that Peter Paul Rubens in rather big cloth «Return from war» (127х163 cm), written in 1610-1612, very in detail represented army attributes and tools for its manufacturing. Probably, subjects for cooking were indispensable accessory of armies during its time: coppers, pans. And among them there is a rectangular pan.
It is possible to assume that it is a prototype of a today’s kettle. And then date of birth of these soldier’s utensils is defined by a time interval from 1610 to 1680.