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Folklore 114 (2003):323–333

RESEARCH ARTICLE

The Rest on the Flight into Egypt: A Motif inScandanavian Folk Art

Nils-Arvid Bringeus

The Legend-Motif

Abstract

Although there is no biblical account of the “Rest on the Flight into Egypt,” thestory is well known in the Christian world. In pseudo-Matthew the story hasdeveloped into legend form. He tells about the Christ-Child commanding thedate palm Mary is resting beneath to bend down so that she can eat the fruit. Itis found in literary sources from the twelfth century onwards. “The Rest on theFlight into Egypt” had become an independent pictorial theme by the fourteenthcentury and it was mainly by means of pictures that it became part of ourcultural heritage. This paper traces the introduction of the motif into Scandinaviaand its pictorial dissemination through various media, including printing, chest-prints and wall-hangings.

The Flight into Egypt is well known to most people in the Christian world.Indeed, there is a relic in the historical museum of the University of Lund whichis said to be a piece of the tree under which the Holy Family rested on theirfamous journey. [1] But there is no biblical account of the Rest. In the Gospelaccording to St Matthew, the story about the Flight is sparse and bare:

After they had left, the angel of the Lord appeared to Joseph in a dream and said, “Get up,take the child and his mother with you, and escape into Egypt, and stay there until I tell you,because Herod intends to search for the child and do away with him.” So Joseph got up and,taking the child and his mother with him, left that night for Egypt, where he stayed untilHerod was dead (Matthew 2�13–15).

The story of the rest is found in pseudo-Matthew where it has developed intolegend form. One of the best known episodes from the story in pseudo-Matthewis of the Christ-Child commanding the date palm Mary is resting beneath tobend down so that she can eat the fruit. This can later be found in JacobusVoragine’s thirteenth-century compilation The Golden Legend, and in an earlySwedish legendarium of Nicodemus. It also spread later through the so-called“Jesus Childhood Book” from the fifth to the twelfth centuries. This wastranslated into Swedish from Danish, the first Swedish edition appearing in1776, and many more editions of it appeared during the seventeenth andeighteenth centuries.

Danish folklorist Eske Matthiesen has edited a modern translation of the

ISSN 0015-587X print; 1469-8315 online/03/030323-11; Routledge Journals; Taylor & Francis Ltd 2003 The Folklore SocietyDOI: 10.1080/0015587032000145360

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“Jesus Childhood-Book,” in which the story of “The Rest on the Flight intoEgypt” is retold as follows:

When they had been travelling about a day, Mary saw a date-palm, full of ripe fruit. Shelooked longingly at the dates as she had such a desire for them. But Joseph was so old hedid not dare to climb up the tree, and the boy they brought with them to look after theanimals, did not dare either. But the Christ-Child understood the desire of his mother, andbeing God, he made the palm bend down, so St Mary could pick as many dates as shewanted. When they all had eaten and filled their bags, the palm straightened up again, andwaved its branches. They rested under the date-palm during the night, because there was somuch grass that the animals had more than they needed to eat (Mathiesen 1989, 28).

The detail of the Christ-Child causing the date-palm to bend is poignantlyrendered in Selma Lagerlof’s (1904) Kristuslegender. Here, the Christ-Child patsthe tree with his little hand and says:

Palm bend! Palm bend! And it bent its long stem before the child, as people bow beforeprinces. It inclined to earth in a huge curve, and finally bent so deep that the big crown withthe quivering leaves swept the sand of the desert.

The child did not seem to be frightened or astonished, but with a cry of joy he came andtook bunch after bunch from the crown of the old palm-tree.

When the child had taken enough and the tree still bent low on the ground, the childstepped forward again, patted it and said with the most beautiful voice:

Palm go up! Palm, go up!And the tall tree rose peacefully and respectfully with its vigorous stem and meanwhile

the leaves played like harps (Lagerlof 1904, 18).

It is mostly through pictures, though, that the “Rest on the Flight into Egypt”has become part of our cultural heritage (Vogler 1930). One may find a fewexamples of the miracle from Pseudo-Matthew in medieval wall-paintings(Haastrup 1985, chap. 31), [2] and a painting dating from the beginning of thefifteenth century, in Budolfi church in Aalborg, Denmark, clearly shows the treebending down so that Mary can reach the fruit (Broby-Johansen 1947, 84). Themotif also appeared in graphic reproductions and thus enabled the miracle toreach a wider audience. Martin Schongauer, for example, a copperplate en-graver, used the motif of the bending date-palm in an image of 1471–2, and thepalm was also depicted by an anonymous master in 1522 (Wustefeld 1990, 27).However, it was not until the Counter-Reformation that motifs relating to the“Flight into Egypt” became common.

In particular, chest-prints, hand-coloured woodcuts meant to be used fordecorating the inside of clothes-chests, brought the story and the iconography of“The Rest on the Flight into Egypt” to a wide audience. In the remainder of thisarticle, I will discuss the history of this form of folk art.

Chest-Prints: Texts and Images of “The Rest on the Flight into Egypt”

The common feature of all the chest-prints I shall be discussing is a representa-tion of the Holy Family grouped together under a date-palm, the Christ-Childbeing nursed by Mary and Joseph sitting beside them. A print produced byJohan Rudolph Thiele (1736–1815), of whom more later, is typical (see Figure 1).

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A Motif in Swedish Folk Art 325

Figure 1 “The Rest on the Flight into Egypt” by Johan Rudolph Thiele (1736–1815). Nationalmuseet,Brede, Denmark.

Mary and Joseph are sitting on the ground in the shadow of a palm-tree anda broad-leaved tree. Mary is dressed in a full-length gown; she has sandals onher feet, a veil on her head, and she gives the Christ-Child her breast. Joseph,with tightly-closed eyes and with his head resting on his left hand, sits quietlyclose by. Behind the trees a donkey is grazing. In a cloud over the trees an angelis extending its hands to protect the Holy Family, and another angel joins handsin a pious gesture. In the background to the left a town can be seen.

Extant chest-prints with this motif show the Holy Family painted in red,yellow and blue, while the tree and the landscape are green. The colouring iscarefully done and is an effective instrument for increasing the attraction of theprints for a public which was not as spoiled by coloured pictures as we aretoday.

The symbolism of the representations combines the Maria lactans motif, which

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emphasises both mother-love and the humanity of Christ, and classical Utopiassuch as that of Virgil, where the Golden Age is heralded by the birth of a child.Here, the classical idea of a rest under a tree (the locos amoenis) was realised bythe Holy Family. Thus, the “Flight into Egypt” with its distress and poverty,loses its terror and is given a peaceful signature tune.

The fruit image refers back to Paradise but through changed signs. While Evein the Old Testament brought disaster through the forbidden fruit, St Mary, thenew Eve, brings salvation to the world in the shape of the Christ-Child(Erlemann 1993, 43 ff.). [3]

The image is usually accompanied by a verse or prose text. However, only oneof those, by N. E. Lundstrom (see later), has a title dealing with the Rest. [4] Itseems that the printers did not know the story from the “Jesus Childhood Book,”or at least did not take their inspiration from it, but only looked to the accountin the Gospel of St Matthew.

The texts which accompanied the images indicate that the prints were madefor both educated and uneducated people. On the one hand a print by JohanSadeler (see Figure 3 later) has a text in Latin:

Expleat Herodes Christi ne caede furorıEn homini cedit eu Genitrice Deus.

Servas o Mater nostram fugiendo salutemUt redeat nobis te redunte salus.

[Because Herod shall not satisfy his fury through killing ChristSee, God goes aside together with his mother.

May you, o Mother, protect our salvation through the flightSo that salvation may come back to us when you return.]

On the other hand, as in the print by Thiele (Figure 1), the texts may be in thevernacular:

Jesu, Mariæ und Josephs Rejse nach Egypten

Herodes, ach, bedenk, wem du zu todten trachtest!Es ist Gott’s eigner Sohn, den du als Feind betrachtest.Du irrst dich, dieser Prinz will dir nicht schadlich seyn;Nein, Frieden will er dich und alle Welt verleih’n.

O, liebstes Jesulein, Du mustes zeitig fliehen,Und fur Herodes Hass hin in Egypten ziehen!Gern will ich in der Welt auch Hass und Neid ausstehn,Kan ich mit Frieden nur in meine Heimath gehn.

[The Journey of Jesus, Mary and Joseph to Egypt

Herod, alas, consider whom you try to kill!He is God’s only son whom you view as an enemy.You are mistaken, this prince does not want to harm you;No, He will bring peace to you and all the world.

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A Motif in Swedish Folk Art 327

O beloved little Jesus, you must timely flee.And for Herod’s hate withdraw to Egypt!Gladly will I endure hate and envy in the world,If I can with peace go to my homeland.](Translation: Patricia Lysaght)

A chest-print from the Swedish printer, Carl Gustav Berling, is adorned with arhymed text where the peace-motif evidently was taken from Thiele’s Germantext. N. E. Lundstrom took his text from two verses of the Swedish hymn-bookof 1819 (nr 75�8,16). N. P. Lundberg has a text primarily addressed to children.These differing texts show the printers’ desire to assert their individuality in acompetitive market.

The Rest on the Flight into Egypt: Printing History

It seems that the motif of the Holy Family resting under a date-palm wasintroduced to Scandinavia by the book-printer Thomas Larsen Borup, operatingout of number 150 Helig Geist Stræde, in Copenhagen from 1756 to 1770. In 1771his widow Rebecka Borup married the book-printer and chest-printer JohanRudolph Thiele (1736–1815), who was born in Lippe, Westphalia, but who hadcome to Copenhagen in 1748, and had previously worked in Berling’s printing-house. After his marriage to Rebecka Borup, Thiele took over the Borup printingestablishment and even Borup’s printing-blocks (Nielsen 1983).

Danish scholar V. E. Clausen has hypothesised that Thiele created a com-panion-piece for his “Rest on the Flight into Egypt” which showed the “Returnfrom Egypt” (1985, no. 47), and it has been suggested that the Swedish book-printer Carl Gustaf Berling copied the two Danish pictures. This ascriptiondepends on dating Berling’s print of the “Rest on the Flight into Egypt” to 1795,as I did in an earlier paper (Bringeus 1995b, 141). However, I have subsequentlyfound another print which shows that Berling had published “The Rest on theFlight into Egypt” earlier, in 1759, when he started making chest-prints in Lund.The 1759 print closely resembles that of 1795, except that the depiction of theplants in the foreground is somewhat marred. Because Berling printed the motifas early as 1759, it follows that he must have taken his design directly from aBorup print.

Immanuel Smitt of Gothenburg also printed the “Rest on the Flight intoEgypt” and the “Return from Egypt”: neither of these is dated, but they musthave been created between 1735 and 1781 when Smitt was active (KlemmingNordin 1983, 256). A print of the two pictures is preserved in Blekinge districtmuseum in Karlskrona, Sweden (inventory no. 2047). In an earlier paper, Isuggested that Smitt copied Thiele’s picture (Bringeus 1995, 371), but thesimilarities between Berling’s and Smitt’s prints show that it was Berling’s thatwas copied.

Berling’s block was borrowed by N. E. Lundstrom of Jonkoping, but he usedit only for one edition of the “Rest on the Flight into Egypt” which he publishedin 1831 (Bringeus 1999, 102 f.). In 2001 I bought a pirated print of the motifwithout date or place of printing in the antiques market in Helsingborg, Sweden.Identical worm-holes in the wooden stock identify it as having been produced

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Figure 2 “The Rest during the Flight into Egypt” printed by N. P. Lundberg of Lund. (Bringeus1995b, 227).

at the Lundstrom’s printing-house in Jonkoping. Perhaps it was made by ajourneyman printer, who sold it on the market to earn a shilling? The book-printer N. P. Lundberg of Lund also repeatedly printed the motif: in 1839, 1843,1844 and 1852 (Bringeus 1995b, 227), setting it beside the “Return from Egypt,”with the “Rest” to the right and the “Return” to the left (see Figure 2). He hadstarted producing chest-prints in 1839 after having bought a collection of blocksfrom Tribbler’s publishing-house in Copenhagen. These blocks had earlier beenused by both Borup and Thiele (Bringeus 1995b, 217).

Borup’s Source

Many threads in the publishing history of chest-prints showing “The Rest on theFlight into Egypt” lead back directly or indirectly to Thomas Larsen Borup. Inan earlier article I have shown that Borup’s “Return from Egypt” can be tracedto Shelte a Bolswert (c.1630/1645) after Rubens (Bringeus 1995a�367 ff.). Butwhat was his source for the “Rest on the Flight into Egypt?”

In the antiques market in Helsingborg in the summer of 2001 I found anengraving with this motif (Figure 3). It was similar to the chest-prints, and oncloser inspection it was evident that the engraving was a mirror image of apattern directly or indirectly used by Borup. There is agreement in detail after

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A Motif in Swedish Folk Art 329

Figure 3 “The Rest on the Flight into Egypt” by Sadeler. Courtesy of the author.

detail (Figure 3). The trees in the background are palm and sycamore, butBerling’s print omits the fruit on the twig in front of Joseph and adds a gloria.In Berling’s print we do not get a glimpse of Herod’s henchmen in the middledistance, as we do in the engraving. The text under the engraving reveals thatit is dedicated to Duke Wilhelm V, who promoted the Roman Catholic Counter-Reformation. Johan Sadeler belonged to a Flemish artistic family. He was bornin Brussels in 1550, came to Munich in 1589, and died in Venice in 1600. InMunich he was employed at court as an engraver from 1589 to 1595 (AllgemeinesLexikon der bildenden Kunstler 29 [1935]:300; de Ramaix 1999). The text also leadsus directly to the source of the picture—a painting by Christoph Schwartz whowas born in Munich around 1545 and died there in 1592. Schwartz, who is saidto have been a pupil of Tizian, was one of the best-known German painters ofthe time and one of the pioneers of the Italian high renaissance in southernGermany. Reproductions of Schwartz’s paintings were made by many en-gravers. Allgemeines Kunstlerlexikon mentions the “Rest on the Flight into Egypt”by Johan Sadeler (Allgemeines Lexikon 30 [1936]:360; de Ramaix 1999, 188). SinceSadeler evidently had access to Schwartz’s painting during his time in Munich,the engraving must be from the same period. Isabelle de Ramaix has listedtwenty-three museums in Europe and the U.S.A. which hold this special

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engraving. To these can now be added the newly-found example here repro-duced. [5]

Is it possible, then, that the Scandinavian chest-print showing “The Rest on theFlight into Egypt” derives directly or indirectly from Sadeler? In favour of thishypothesis is the fact that my investigation into a great number of pictures inRijksburreau voor kunsthistorische documente in the Hague has not yielded anyexamples of similar engravings that might have been the intermediate patterns.On the other hand, there is a similar engraving in the picture-work Rondom kerst,published by the Rijksmuseum Het Catharijneconvent, which was made by Christ-offel van Sichem and included in an illustrated Dutch Bible edited in Antwerpby Pieter Iacobsz Paets in 1646 (Wustefeld 1990, 65). It is not a mirror image ofSadeler’s engraving. Even the subsidiary motif of Herod’s henchmen can be seenin the background and Joseph has no gloria. It is also possible that Borup usedan illustrated Bible, printed some time earlier than the engraving. However, ifthat were so it is probable that other motifs would also have been borrowedfrom the same source. But this not the case. I conclude, therefore, that Borupfound an engraving from Sadeler and in the usual manner made a mirror-copy.

Although Sadeler’s engraving is a typical product of the Counter-Reformationperiod this has not prevented its diffusion to Protestant countries. Its clarity andbeauty would have made it attractive to chest-print makers. The motif is alsoconnected to Christmas; it was common in southern Sweden to pin up chest-prints and to call them “Christmas-prints.”

The “Rest on the Flight into Egypt” as a Motif in Wall-Hangings

As a way of concluding this article, I want finally to look briefly at the influenceof chest-prints of “The Rest on the Flight into Egypt” on another form of folk art.

The great exhibition of wall-hangings which was held in the Lund Konsthall(art gallery) at the end of 1978 and the beginning of 1979 included a hangingfrom Blekinge in southern Sweden, with “Rest on the Flight into Egypt.” Thishad elements which were clearly derived from the chest-print. But the townscene was placed in the foreground to achieve a strong decorative effect and toadd depth to the picture. The painter also changed the old palm into two youngtrees which bend over the Holy Family. Joseph’s hat and the way he holds hishand show an association with the chest-print which probably stems fromBerling’s printing-house in Lund (Bringeus 1998, 28). Per Udd from Jamshog hasbeen confirmed as the painter of the wall-hanging (Mellander 1986; Bringeus1998, 469).

Many more examples of the motif, all from Sunnerbo district in Smaland insouthern Sweden, can be found in the database of Folklivsarkivet in Lund,although it is difficult to be sure that the chest-print was the pattern, because thepicture is very simplified. On a wall-hanging from 1844 in the Nordic Museum(NM 52.322 a) (Figure 4) Joseph is seen with the donkey at one side of a tree andMary with the child at the other, and a tree bends over each. But in this case theconnected motifs, the “Dream of Joseph” and the “Return from Egypt,” help usto confirm the chest-print as the source.

A wall-hanging from Sunnerbo preserved in the county museum of Halmstad,Sweden (HM 4587 b), has the same surrounding motifs. Here the palm-tree is

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Figure 4 Wall-hanging with the motif “The Rest on the Flight into Egypt” (1844). Nordic Museum,Stockholm.

even more dominant. Joseph is inappropriately bearing an axe over his shoulder,a loan from the motif of the “Return from Egypt” (see Figure 2). A privately-heldwall-hanging by the same artist shows Joseph bearing a saw (File nr 273,Folklivsarkivet). In another Sunnerbo painting the donkey has been painted infull. The angels in the tree have been omitted in the Sunnerbo paintings for wantof space. The headings of the pictures read “Joseph’s Flight into Egypt,” or“Concerning Joseph’s and St Mary’s Journey to Egypt,” or in close connection toBerling’s chest-print: “Jesus and his Parents’ Flight to Egypt.”

However, the motif did not have the same influence on Dalecarlian folk art.Svante Svardstrom gives only seventeen paintings with the motif of the “Flightinto Egypt” between 1813 and 1867; even so, they only represent the journeywith the donkey, not the rest under the palm-tree (Svardstrom 1949, 118).

Notes[1] The relic was brought to Lund from Heliopolis, Egypt, by a Swedish carpenter in 1877 (Carelli

2002, 102).

[2] However, I doubt that the tree, which refreshed St Mary during the journey, would have beenreproduced in the church of Ferring in western Jutland about the year 1200 as Rasmussen says

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(1987, 94) since “The Rest on the Flight into Egypt” did not become an independent pictorialtheme until the fourteenth century (Nitz 1989, 481).

[3] Joseph looks almost like a side-figure in the picture as in the “Jesus Childhood-Book.” Butduring the Baroque era his position was strengthened, and from 1621 he even got a feast dayof his own in the Roman festival-calendar (Erlemann 1993, 198). In the church art of today themotif of the “Rest on the Flight into Egypt” is undergoing a renaissance—for example, in aglass-painting by Hugo Gehlin in the chapel of St Anna in Malmoe St Peter, in southernSweden.

[4] Lundstrom’s heading is “A Rest during Joseph’s and St Mary’s Flight with Jesus.”

[5] Sadeler made one more engraving with the motif of the “Rest on the Flight into Egypt” around1600, in this case after Maarten de Vos (Wustefeld 1990, 67). The Dutch engraver HenryGoltzius (1558–1617) also made an engraving in 1589 which was similar to Sadeler’s picture.Here the Holy Family rests under a cherry-tree (Erlemann 1993, 47).

References CitedAllgemeines Lexikon der bildenden Kunstler 29, 30 (1935, 1936).

Backstrom, P. O. Svenska folkbocker. Sednare bandet. Stockholm: Bohlin, 1848.

Bringeus, Nils-Arvid. “Der ‘Heilige Wandel’ im Prozess der Popularisierung. Zur Ikonographieder ‘Heligen Familie’.” In Medien popularer Kultur. Erzahlung, Bild und Objekt in der volk-skundlichen Forschung. Rolf Wilhelm Brednich zum 60. Geburtstag 1995, ed. Carola Lipp. 362–79.Frankfurt/New York: Campus Verlag, 1995a.

Bringeus, Nils-Arvid. Skanska kistebrev. Stockholm: Carlssons bokforlag, 1995b.

Bringeus, Nils-Arvid. “Malade bonader i sydsvenska bondstugor.” In Signums svenska konsthistoria.Den gustavianska tiden. 453–69. Lund: Bokforlaget Signum, 1998.

Bringeus, Nils-Arvid. Kistebrev tryckta i Jonkoping. Jonkoping: Jonkopings Lansmuseum, 1999.

Broby-Johansen, R. Den danske billedbibel. København: Gyldendal, 1947.

Carelli, Peter. “Den sten som Jesus satt pa Anders Bengtsson Gullstrands resa till Palestina ochhans markliga souvenirsamling.” Kulturen (2002):96–113.

Clausen, V. E. Det folkelige danske træsnit i etbladstryk 1565–1884. København: Foreningen DanmarksFolkeminder, 1985.

Erlemann, Hildegard. Die helige Familie. Ein Tugendvorbild der Gegenreformation im Wandel der ZeitKult und Ideologie. Munster: Ardey, 1993.

Frostin, Ernst. Skansk bilderbibel. Malmo: Skanska Dagbladet, 1983.

Haastrup, Ulla. “Sædeunderet.” In Danske kalkmalerier. Gotik 1375–1475. ed. Ulla Hastrup andRobert Egevang. 31–2. København: Nationalmuseet, 1985.

Klemming, G. E. and J. G. Nordin. Svensk boktryckerihistoria 1483–1883. Facsimili. Stockholm: P.A.Norstedt & Soners Forlag, 1983.

Lagerlof, Selma. Kristuslegender. Stockholm: Bonniers, 1904.

Mathiesen, Eske K. Jesu Barndomsbog, fortalt for børn og voksne. København: Gullanders Bogtrykkeri,1989.

Mellander, Barbro. “En bonadsmalare fran Blekinge med skanska rotter.” Blekingeboken 64(1986):71–104.

Nielsen, Lauritz and Johan Rudolph Thiele. Dansk biografisk leksikon 14. København: J.H. Schultz,1983.

Nitz, G. “Flucht nach Agypten.” In Marienlexikon herausgegeben im Auftrag des Institutum MarianumRegensburg E.V. 2. St. Ottilien: EOS, 1989.

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de Ramaix, Isabelle. The Illustrated Bartsch 70, Part 1 (Supplement) “Johan Sadeler I.” New York:Abaris Books, 1999.

Rasmussen, Vera. “En fremmed fugl. Ferring kirke o. 1200.” In Danske kalkmalerier. 94–5.København: Nationalmuseet, 1987.

Svardstrom, Svante. Dalmalningarna och deras forlagor. En studie i folklig bildgestaltning 1770–1870.Stockholm: Nordiska Museet, 1949 [Nordiska museets handlingar 33].

Vogler, Karl. Die Ikonographie der Flucht nach Aegypten. Heidelberg: Bottner, 1930.

Weidel, Gunnel. Helgon och gengangare. Gestaltningen av karlek och rattvisa i Selma Lagerlofs diktning.Lund: Gleerup, 1964.

Wustefeld, W. C. M., N. H. Koers and M. L. Caron. Rondom kerst. Prentkunst uit eigen bezit(1475–1750). Utrecht: Stichting Het Catharijneconvent, 1990.

Bibliographic NoteProfessor Nils-Arvid Bringeus was for many years the leader of the Institute of Ethnology at the Universityof Lund, Sweden. He is a leading expert on the interpretation of pictorial sources, whether they come frommanuscripts, books, or from the painted walls of medieval churches.

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