Abstract
The study of the literatures of the Low Countries rarely initiates investigations into crossovers between Southern and Northern literary traditions. Yet when the religious visual culture of both countries is studied with their interrelations as point of departure, the existence and effects of crossovers become apparent. The visual traditions from the Southern Netherlands were either detested or celebrated in the Dutch Republic. In both cases, bonds between the two cultures were established, often enhanced by the mobility of engravers and painters. The central case in this article demonstrates the complex nature of these contacts, and their tendency to change over time.
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