Jan Steen (c. 1625–1679). Beware of Luxury (c. 1665).

1035 " L ife is a stage; we play our part and receive our reward, " wrote Vondel, the great poet of the Netherlands, expressing the moral preoccupation of 17th-century Dutch culture (1). The 17th century was a time of geographic exploration and economic prosperity for the famed lowlands. Laboriously claimed from the sea, criss-crossed by canals and spotted with windmills, the tiny country produced a vibrant bourgeois society with an astonishing artistic legacy, in what has been called the Dutch golden age (2). Jan Steen, along with Rembrandt, Vermeer, Frans Hals, and many others who populated the local guilds, brilliantly chronicled the emergence of the distinct civilization that Oliver Cromwell said preferred " gain to Godliness " (3). Jan Steen, born in Leiden the first son of successful brewers, recorded the travails and preoccupations of his contemporaries: women in their households, cavaliers on the town, village doctors, peasants in the countryside, children skating on the frozen canals, markets overflowing with goods, and the living quarters of average people. Domesticity and family harmony ruled, along with order and grace. Lavender-scented linens, Delft tiles, tended gardens , well-swept doorsteps featured in the work of Pieter de Hooch and others. But Steen, a Catholic painter in a Calvinist country, injected comic relief into the idyllic homes of the nouveau riche, by skillfully subverting the natural and social order (2). Genteel gatherings degenerated into drunken brawls, so much so that " Jan Steen household " became synonymous with " slovenly household " (1). But Steen did not condone chaos. His message, sometimes scribbled on the painting, was always clear: Memento mori (remember death). A gifted storyteller in the tradition of Pieter Bruegel the Elder, Steen composed and embroidered with illustrated detail accounts of human behavior (4). Under realistic and didactic light, the shimmering garments of rich merchants and the gleaming shadows of refined interiors reflected the other side of tidy, devout Holland: crowded taverns, unruly children, untrained pets, rowdy village festivals, rampant sensuality, intemperance, and general unraveling of the domestic fabric (2). Beware of Luxury, on this month's cover of Emerging Infectious Diseases, is a humorous allegory of everyday merrymaking—celebration gone out of hand. The mother at the table near the window, in drunken stupor, is oblivious of the surroundings. The dog eats from her plate, and the children are misbehaving (smoking a pipe, raiding the cupboard, toying with mother's pearls). A pig …