“About
suffering they were never wrong,
The
old Masters: how well they understood
Its
human position: how it takes place
While
someone else is eating or opening a window or just walking dully along;
How,
when the aged are reverently, passionately waiting
For
the miraculous birth, there always must be
Children
who did not specially want it to happen, skating
On
a pond at the edge of the wood:
They
never forgot
That
even the dreadful martyrdom must run its course
Anyhow
in a corner, some untidy spot
Where
the dogs go on with their doggy life and the torturer's horse
Scratches
its innocent behind on a tree.”—English poet W. H. Auden (1907-1973), “Musee des Beaux Arts,” in Another
Time (1940)
W.H. Auden was inspired to write these verses by a December
1938 visit to the Musées Royaux des Beaux-Arts de Belgique in Brussels. Among
the “masters” he might have been struck by would have been Dutch painter
Cornelis Engebrechtsz (ca. 1461–1527), whose oil-and-wood painting The Crucifixion with Donors and Saints Peter
and Margaret hangs in New York’s Metropolitan Museum of Art.