They are both as yet unnumbered.
For Pieter Bruegel the Elder, there was only ever one Census. It was a singular object. Unlike his son, he did not run an extensive workshop, did not bang out copies. He made few paintings, each one in his own hand.
When he died in 1569 at the age of about forty-two, his eldest son was four or five years old, his youngest, Jan, just one. In terms of art history, there is no genealogical connection between father and sons, merely a tectonic overlap. Pieter the Younger inherited a series of world-famous images (if by world you are content to understand Northern and Habsburg Europe), probably in the form of what are known as cartoons, drawings used to transfer an image to a panel. His entire career down to his death in 1636 was grounded on these images, whether he was making direct copies or spinning genre pieces from them.
He most likely saw little of his father’s original work, much of it already carted away to the great imperial collections – hence the small differences which creep in, the errors in replication, the drift.
As with his name. Pieter the Elder had started out plain Pieter Brueghel of Breda, signing his name with a calligraphic flourish on the drawings he produced as a young man. When he started painting in oils towards the end of the 1550s, he dropped the ‘h’ and began signing his name Bruegel in chiselled capitals, frequently with a ligature between the v (the Roman u) and the e, usually with the date (and after 1562 the date is generally written in Roman rather than Arabic numerals, with two or three exceptions), never with a P. or Peter – in the couple of cases where a P. was placed in front of bruegel, the paintings later turned out to be rather careless modern forgeries. ‘Brueghel’ was a bit burgher, perhaps, a bit stomping peasant; ‘BRUEGEL’ is cleaner, more Roman, befitting a Stoic observer of stomping peasants.
His sons for some reason restored the ‘h’ to the family name. Brueghel. Early in his career, Pieter the Younger aped his father’s Latinizing capitals, but reverted to small-case letters for most of his copies, and he never creates a ligature between the v and the e, although he does occasionally between the h and the e. Until 1616, he always appended his initial, ‘P-Brueghel’. After 1616, he altered the spelling of his surname once again, reversing the v (or u) and e, ‘P-Breughel’. In these ways, the Younger distinguished himself not only from his father, but from his younger brother Jan, who always signed simply ‘Brueghel’. Subsequent generations, notably Jan Brueghel’s son, Jan Breughel the Younger, retained the order of e and the u: ‘Breughel’.
Father and sons and grandsons and great-grandsons, taken together, make a blurry bruegel/Brueghel/Breughel object.
There was also a daughter, Maria Bruegel. Or Brueghel? We are not even sure about Maria: some have it as Marie. We know nothing about her. Older than her brothers, most likely, and certainly older than Jan, who was born only months before his father died. Probability suggests death in infancy. Her brother Pieter the Younger would have seven children, only one of whom would survive to adulthood.
Some children barely draw breath. My mother recollects a brother, Harry, who died before morning on the night he was born. She says she heard him crying that single night in the 1930s, in the solitary room in the west of Ireland that would constitute his universe. Crying perhaps under the baptismal hand. Harry, in the eye of God. And then he was gone.
So too Maria. Gone. The merest flicker of data in the endless ticker-taping lists of the quick and the dead.
I move between the invisible apices of my triangles, comparing Bruegel with Brueghel. It is a midweek morning in early January, raining outside the museum and largely empty inside. This is where my as yet undefined project has brought me, dead-reckoning in a room of old paintings.
I am forty-two, around the age at which the Elder died. Forty-two is the number of Bruegels on the spreadsheet. My own father has died, a year or two previously, aged eighty-four. When I was born he was forty-four. I was the second son. There are two years between my brother and me. I have also recently become a father myself, to two sons, between whom there are two years. Pieter Bruegel had two sons: the Younger, and Jan the Elder, between whom there were four years.
And so on. You do not really explain an intersection by following up or down any of its convergent, or for that matter divergent, paths. It is sufficient to note that my midlife is characterized by the interaction of multiple convergent (divergent?) vectors: my dead father, my brother, my small sons, myself, and the Bruegels. Many similar triangles.
*
The census is an unusual subject. Bruegel has painted one of the culminating moments of bureaucratic life. Bureaucracy is the science of docketing the routine comings and goings of existence – births and deaths, taxes paid and taxes owing; it is a rolling programme of work, one without end.
A census, however, is a one-off. It is a flourish of the bureaucrat’s art. You do not merely keep the ball of a census rolling: it wants planning and execution. It is, properly speaking, a project, a projection of bureaucracy. And it has an end: a Domesday Book of taxable, pressable souls.
From a distance – to the administrator or historian – a census is an exercise in control and power, not always pleasant, but always impressive in its way, like a datastream ziggurat or Hoover Dam. Seen close to, however, it pixilates into a sequence of inexact iterations. The bureaucratic ground troops do not mechanically fill in blanks. They have to keep a weather eye cocked on the confusion of crowds, have to sort quickly, roughly (there are only so many categories) but accurately. They have to fix a point in time where there are no points in time.
Bruegel’s Census at Bethlehem therefore depicts a world in transformation. The census is drawn through the village, through that mess of humanity at the inn door, like the carding of wool. The stream of individuals passes back and forth over the frozen river: people come in nebulous and free to have their names written down in a book, their existence validated in ink; they go out docketed and numbered, but also informed, no longer unlicked stray lumps of humanity but named individuals, with a location and an occupation and a marital status, enjoying a spark of existence beyond their own clay.
*
How, then, to number the paintings which hang in this room? How to enter them on the spreadsheet?
On an adjacent wall to the Census in Brussels is the Winter Landscape with a Bird Trap, a small sepia painting. Little figures skate on the frozen river, or huddle over their game of curling. On the bank, under a tree, a trap is set for birds: a heavy assembly of planks (in construction, not unlike the panel it is painted on) is propped up on a stick, a lure of crumbs beneath it; from the stick, there is the merest trace of a taut string leading into a house on the left of the panel. Snatch the stick from under the planks and you might catch a bird or two, just as the painter of panels, ever watchful, might catch and trap a soul, or a village of souls. Snatch the ice from under those skating children, and you might drag one or two down. The birder, the painter, the Devil are always watching, always waiting.
Always watching, always waiting: Winter Landscape with a Bird Trap, detail.
The skaters and the birds are linked by two stylized black birds in the foreground. They are the same size in real terms as the skaters, the same tonality also; they could be mistaken at first glance for skaters.
Birds and skating villagers live a similar existence: birds have wings and skaters ease along at great speed; both are in danger, both seem at liberty. The birds could fly away, live in the woods, while the villagers could slide around that bend in the river and be gone in minutes, never to return. But the ice will melt and the villagers will remain. Winter birds, too, are territorial. All are rooted here.
Including Bruegel. Bruegel might have skated around that bend and away,