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The only divergence from Lucian's story is that Poseidon is shown with a horse instead of a bull. It does not seem very likely that Maarten van Heemskerck had a thorough knowledge of Lucian's Hermotimus, and in fact the source for the painting is to be found much closer at hand. The first emblem in Hadrianus Junius's Emblemata 19 (1565) is entitled "Reprehendere proclive: et animum aperturn esse debere" (It is easy to criticize, and one should be open-hearted). The woodcut (fig. 2) shows Neptune seated on a horse, Athena in front of a house and Vulcan pointing at a statue of a seemingly normal human being.

Von Sandrart, Akademie .. (I675), ed. R. Peltzer, Munich I925, p. 239. R. Hoetink, "Heemskerck en het zestiende eeuwse spiritualisme," Bulletin Museum Boymans-van Beuningen I2 (I96I), pp. I2- 25 . 30 According to Mariette, Heemskerck was a pupil of Cornelis Bos (Abedecario, vol. 2, Paris I853- 54, p. W. v. "Coornhert," vol. 6, Leipzig I9I2, col. 367. The contract Heernskerck's Momus 31 broad sense, an Erasrnian. In 1560 he wrote a treatise that, deliberately or not, took issue with the ideas of Menno Sirnons and Calvin and, irnplicitly, with the dogrnas of the Catholic Church.

Hutton, The Creek anthology in France and in the Latin writers ~{ the Netherlands to the year 18oo, New York 1946, pp. 224-25, identified these epigral)lS as nrs. 265 and 266 in book 16 of the Anthologia Craeca.

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