Folding fan, consisting of a single sheet of thin leather on which with a gouache a Gods meal (?) Surrounded by a border with red, blue and gold quinoiser motifs, on a frame of ivory ajour and carved in relief, In a garden with many water features, nine figures are gathered around a set table. A number of them can be recognized by their attributes: Hera (peacock), Ganymedes (giver of the Gods: wineglass), Artemis (crescent moon), Hermes (staff with wings), Apollo (lyre and sunbeams) and Zeus (scepter and eagle) on lightning bolts). Given the man's armor and the partially bared upper body of the woman, the fairly centrally placed couple could represent Aphrodite and Ares (Mars and Venus), who had an extra-marital relationship. This identification is supported by one of the most striking parts in this performance: an Amor, who holds a mask in front of his face with his right hand. In the 'Amorvm Emblemata ...' by Otto Vaenius from 1608, 'Gheveynstheyt Liefdes wisheyt' is the caption to an Amor, who partially covers his face with a mask. In the accompanying verse it is explained that a relationship in the interest of (unfair?) Love can be better kept secret. (Antwerp 1608, pp. 220-1: Gheveynstheyt Liefdes wisheyt./ D to deceive lief quam noyt in my ghepeynsen / how ick am disguised / and yet not diminished / it is because of the envy and tonghen is false. / A lover must be well thought out for the people. / Il faut se feindre./ Ie ne ve veux tromper, ma Dame, n'ayes crainte, / Encore que masqué, ie suis loyal & round, / Pour courrir nos amours ie disguise mon front, / Et pour les rendre seurs de l'ennuieuse attainte. ') Cf. Caesar van Everdingen's painting 'Jupiter and Callisto' also dates from 1655 [Stockholm, National Museum] on which in the top left corner two amoretti, the left one holding a mask. In the tent.cat. 'God and the Gods' (Amsterdam 1981, pp. 216-7), Albert Blankert writes about this: 'The mask is a symbol of disguise and also of deception. The amoretti
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