{"id":17280,"date":"2022-10-27T11:36:47","date_gmt":"2022-10-27T09:36:47","guid":{"rendered":"https:\/\/erasmushouse.museum\/2022\/10\/les-objets-insolites-n8\/"},"modified":"2022-10-27T15:29:39","modified_gmt":"2022-10-27T13:29:39","slug":"the-unusual-objects-no-8","status":"publish","type":"post","link":"https:\/\/erasmushouse.museum\/en\/the-unusual-objects-no-8\/","title":{"rendered":"The unusual objects No. 8"},"content":{"rendered":"

[vc_row content_text_aligment=”left” css=”.vc_custom_1586273780651{margin-top: -50px !important;}”][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″][vc_single_image image=”7289″ img_size=”full” alignment=”center”][vc_empty_space height=”40px”][vc_column_text]<\/p>\n

Patacon, corone<\/em>, or mastele<\/em>: the round cougnou plaques of the Municipal Museums of Anderlecht<\/h3>\n
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[\/vc_column_text][vc_empty_space height=”40px”][vc_column_text]Whilst the beguinage is closed for renovations, the Erasmus House Museum is displaying each month an unusual object from the vast historical, archaeological, folk art and religious collections of the municipal museums. Two patacons<\/em>, or round plaques for cougnous, are presented here.<\/strong>[\/vc_column_text][vc_empty_space height=”40px”][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row content_placement=”top” content_text_aligment=”left”][vc_column width=”1\/2″][vc_masonry_media_grid element_width=”6″ grid_id=”vc_gid:1666877366199-b00ea028-18d3-7″ include=”17253,17256″][vc_empty_space][vc_column_text]1. Patacon<\/em> or round cougnou plaque
\nCircular pipe clay plaque depicting one of Jacob Cats\u2019s famous sayings, \u201cElck vogelke singt soo ‘t gebeckt is\u201d.
\nThe plaque is accompanied by its mould.
\nBelgium, 1850-1900 Pipe clay diam. 10 cm \u2013 mould 11,5 cm Inv. BEG 6203.3 et 6203.4<\/p>\n

2. Patacon<\/em> or round cougnou<\/em> plaque Circular pipe clay plaque with an allegorical depiction of the goddess Flora.
\nBelgium, ca. 1900-1950 Pipe clay diam. 11,3 cm Inv. BEG 6203.27[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Cougnous<\/em> are Belgium\u2019s well-known Christmas brioches decorated with a small pink sugar Jesus and stuffed with raisins, pearl sugar, or chocolate chips. In olden times they were garnished with a pipe clay disc called a patacon, mastele<\/em>, corone<\/em>, or macaron<\/em>, depending on the region. Just a few craftspeople continue to make them in Wallonia.[\/vc_column_text][vc_empty_space height=”44px”][vc_column_text]<\/p>\n

The history of the patacon<\/em><\/h6>\n

The patacon<\/em> or round plaque that decorates a cougnou goes back to the first century of Christianity and the ritual bread that the Germanic tribes made to replace their former human and animal sacrifices. This bread, which became the vollaard<\/em>, consisted of red currants and its name allegedly came from the Germanic God, Vol, to whom it was offered. This practice was taken over by the Catholic church for a myriad of feast days and ceremonies (Christmas, carnival, weddings, etc.) and gave rise to a brioche representing Baby Jesus, whose sacrifice would redeem humanity, embellished with biscuit dough decorations. If you look at Pieter Brueghel the Elder\u2019s famous painting Children\u2019s Games<\/em>, (Vienna, Kunsthistorisches Museum, 1560), one of the characters depicted holds one of these famous brioches under his arm. Starting in the 16th<\/sup> century they were also decorated with pipe clay plaques, patacons<\/em>. The name, which was commonest in Flanders, is thought to come from patagon, a silver coin introduced into the former Spanish Lowlands during the reign of the Archduke and Archduchess Albert and Isabelle (1598-1621) that was used to decorate Christmas or New Year\u2019s cakes. However, since other regions used different names, the etymology of this word remains uncertain.[\/vc_column_text][vc_column_text]<\/p>\n

Production and iconography of the patacon<\/h6>\n

Patacons<\/em> were made of a special clay used to make clay pipes (hence the name of \u201cpipe clay\u201d) imported from the Meuse River Valley or Rhineland. After grinding and a long soak this clay becomes creamy white and is easy to mould, especially in the shape of thin wafers, which were then originally pressed by hand or with the help of a wooden press in a patacon<\/em> mould. Later, the craftsmen used a metal stamping press to which they attached a hollowed-out matrix of the pattern to stamp. The production of these moulds by specialised moulders did not become a full-fledged trade of its own until the 16th<\/sup> century. After being dried and fired, the patacons<\/em> were brushed and ready to be painted with various scenes, be they religious (saints, Christ, the Virgin Mary) or secular (kings\u2019 portraits, edifying scenes, animals, flowers, fruit, ships, etc.). Whilst cougnou<\/em> plaques are no longer made, the tradition did persist until the 1950-60s.[\/vc_column_text][vc_column_text]<\/p>\n

The patacons<\/em> of the Municipal Museums of Anderlecht<\/h6>\n

The oldest of the two patacons<\/em> displayed here is accompanied by its mould and dates back to the 19th century. The backgrounds of the plaques were still not painted at the time and profane scenes were becoming more common. The subject depicted may have illustrated a folk saying from a book by Jacob Cats (Spiegel van den voorleden en tegenwoordigen tijd<\/em>. Derde deel, ca. 1620): \u201cElck vogelke singt soo ‘t gebeckt is<\/em>\u201d or \u201ceach bird sings according to the shape of its beak<\/em>\u201d. The scene on the patacon<\/em> is identical to the illustration that corresponds to this saying in the book, i.e., a poor old woman and a richly clothed man quarrelling in front of three children, which indicates that, unlike birds, human beings can choose the words that they voice and thus must take care not to utter words that can hurt their friends and family. The second patacon<\/em> is more recent (made between 1900 and 1950) because the background is painted white. It is an allegorical depiction of Flora, the goddess of spring and flowering, as attested by the bouquet and Flora carved in the boulder.[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Research and text<\/h5>\n

C\u00e9line Bultreys
\nMeggy Chaidron
\nAnne Deckers<\/p>\n

Acknowledgements<\/h5>\n

Zahava Seewald
\nC\u00e9line Bultreys
\nAnne Deckers<\/p>\n

Your visit<\/a><\/h5>\n
More info<\/a><\/h5>\n

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