Plate XXXXVVII
The playful Plate XLVII in the Terra volume of Four Elements does not immediately carry with it the symmetry present in most of Hoefnagel’s pieces, found especially within Ignis. In fact, Terra as a whole contains folios that more commonly break the symmetry traditionally in other volumes. Instead, in Plate XLVII Hoefnagel depicts the moment before balance is achieved, when a light brown rabbit is about to jump from the right branch to an unforeseen location on the left. This emphasized action draws the viewer into the page. The jackalope as well as the hare to its right on the branch are interacting with each other, seemingly undisturbed by any other action within the scene. They have a lively quality to them as they stand on a scraggly and textured branch, with dangling roots. The rabbits cast shadows on their surroundings, as the branch reflects an unseen sun. In contrast to Plate LIV of Ignis, the encompassing oval serves as more of a window into the animals’ world, rather than acting as a flat plane.
The lower branch plays host to three animals, and upon inspection one appears incredibly similar to that of Albrecht Dürer’s Young Hare. Unlike Dürer’s, the hare lives within a defined and created space, rather than sitting on a blank page. Additionally, it is not at first noticeable as it is burrowed amongst other creatures. Hoefnagel’s fur has less of a natural feel, as Dürer’s shows a sense of softness and movement as it lies on the hare’s body. Moreover, Hoefnagel’s rabbit is more rotund, which alters the proportions Dürer created. Copying and expanding upon previous and well-known works helped to disseminate the original image, as well as proved that an artist was knowledgeable of both history and current trends. Also, sometimes other artist’s drawings were the only source material for ideas, flora, and fauna coming from the new world. It is not surprising that Hoefnagel chose a Dürer work to emulate, as he held a reverence for the humanist and artist (note 1). The scene becomes a test of the viewer’s knowledge, both of tradition and of the natural world.
A numbering system is present within the folio, differentiating each species. However, the rabbit derived from Dürer’s Young Hare is left uncategorized, indicating that the hare exists more as context and scenery rather than a specimen to be carefully considered (note 2). In this way, it promotes the reader to look at the numbered animals as being scientifically accurate, and strengthens the bond between nature and naturalistic study within the plate. This is also the idea behind showing the animals in a variety of positions, allowing the viewer an inspection of the specimens not possible in real life. Hares are shown in the folio from a front and side view, as well as incorporating a study of movement with the jumping animal. Hoefnagel’s emulation of Albrecht Dürer mingles with the systems of numbering and position within Plate XLVII of Terra to create a translation between art and naturalist study.
Notes
note 1. To understand more about the culture of imitation and emulation, please reference Thomas DaCosta Kaufmann “The Mastery of Nature” The Nature of Imitation: Hoefnagel on Dürer (1986-1987), pp. 80-99 and Fritz Koreny Albrecht Dürer and the Animal and Plant Studies of the Renaissance (1985), pp. 132-149.
note 2. It is highly likely Hoefnagel never saw Dürer’s original Young Hare in person, but was exposed only through prints and copies of his work. Therefore, Hoefnagel is not getting the source for this image from life, which prompts him to treat his hare as less of a scientific study and more of a nod to art tradition.