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Student Artwork Guide

Erat Sermo inter Fratres

Cornelis Troost, 1740

Name Class Date
Cornelis Troost, Erat Sermo inter Fratres (1740), Mauritshuis. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Cornelis Troost topimpressionists.com/en/artists/cornelis-troost/
Artist’s dates
1696 – 1750
Painted
1740
Medium
Oil On Canvas
Movement
Rococo Light, playful, pastel-coloured pictures of leisure, made for private rooms rather than public halls.
Held at
Mauritshuis topimpressionists.com/en/museums/mauritshuis-the-hague/
Artistic style
Baroque/Rococo
Influences
Hogarth, Watteau
Notable elements
Drunken revelry
Subject or theme
Social satire

Copyright This work is in the public domain. Cornelis Troost died in 1750; copyright lasts 70 years after the artist’s death, so it ended in 1820.

Source: TopImpressionists.com — accessed Sept. 27, 2026

Erat Sermo inter Fratres — Cornelis Troost Part 1 · The artwork

In context

Erat Sermo inter Fratres — Cornelis Troost

When was this painted?

  1. 1690
  2. 1700
  3. 1710
  4. 1720
  5. 1730
  6. 1740
  7. 1750

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 54 at death.

Painted when the artist was 44. The artist lived to 54. 25 of the 41 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Cornelis Troost (1696–1750) ▲ this work, 1740 every dated painting, decade by decade

First works: up to 1731 Main working years: 1731–1740 Late works: from 1740

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/cornelis-troost-erat-sermo-inter-fratres-D3TLTP-en/

Colours

Measured from the image

    Main colour

    Espresso #494138

    Catalogued palette

    • #494138
    • #5F5648
    • #31302A
    • #8C7A63

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Monochrome The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Cornelis Troost over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 67.5%
    2. 2 United States of America 17.5%
    3. 3 Malaysia 10.0%
    4. 4 Hong Kong 2.5%
    5. 5 Iran 2.5%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Cornelis Troost

    1. 1 Harlequin, Magician and Barber: The Rivals Exposed, 1738 7.1%
    2. 2 The feigned sadness first company, eleventh stage of the comedy The discovered apparent virtue 7.1%
    3. 3 Gerrit Sichterman (1688-1730). Quartermaster-General of the Cavalry, Colonel of the Oranje-Groningen Infantry Regiment, Commandant of Grave, Cornelis Troost, 1725, 1725 4.8%
    4. 4 The Mathematicians or the Young Lady Who Fled: The Dispute between Doctors Raasbollius and Urinaal, 1741 4.8%
    5. 5 Singing Round the Star on Twelfth Night 4.8%
    6. 6 Jeronimus Tonneman and his Son, 1736 4.8%
    7. 7 Portrait of the Inspectors of the Collegium Medicum, Cornelis Troost, 1724, 1724 4.8%
    8. 8 Gerrit Sichterman (1688-1730). Quartermaster-General of the Cavalry, Colonel of the Oranje-Groningen Infantry Regiment, Commandant of Grave, Cornelis Troost, c. 1725, 1725 2.4%
    9. 9 Lady with Cupid and a Songbook, 1745 2.4%
    10. 10 The Organ Grinder, 1743 2.4%
    11. 11 Rumor erat in casa, 1740 2.4%
    12. 12 Three Governors of the Surgeons Guild, Amsterdam, 1731 2.4%
    13. 13 Nemo Loquebatur, 1740 2.4%
    14. 14 Erat Sermo inter Fratres, 1740 this painting 2.4%
    15. 15 False Virtue Discovered: The Discovery of Volkert in the Laundry Basket, 1739 2.4%
    16. 16 Rumor erat in Casa (There was a Commotion in the House), 1740 2.4%
    17. 17 The Discovery of Jan Claasz, 1738 2.4%
    18. 18 Pefroen and the Sheep, 1739 2.4%
    19. 19 Reinier Adriaansz, 1737 2.4%
    20. 20 Portrait of a Music Lover, 1736 2.4%

    Together these works take 69.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 50 works by this artist, of which 33 were looked at at least once. This painting ranks 14 of them, with 2.4% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: TopImpressionists.com — accessed Sept. 27, 2026

    Erat Sermo inter Fratres — Cornelis Troost Part 2 · In context

    About this artwork

    Erat Sermo inter Fratres — Cornelis Troost

    A Night of Revelry: Cornelis Troost’s “Erat Sermo Inter Fratres”

    Cornelis Troost's "Erat Sermo Inter Fratres" (The Brothers Conversed), painted in 1740, is more than just a depiction of a late-night gathering; it’s a vibrant snapshot of 18th-century Amsterdam society, brimming with wit, social commentary, and the intoxicating allure of indulgence. This pastel masterpiece, now housed within the Mauritshuis museum in The Hague, offers a glimpse into a world where aristocratic leisure was meticulously crafted and subtly satirized. Troost, a former actor turned painter, masterfully captures the transition from respectable conversation to boisterous revelry, utilizing his signature blend of meticulous detail and playful composition.

    The scene unfolds within a dimly lit interior, likely a grand salon or drawing-room, dominated by an imposing table laden with wine glasses and half-empty plates. Three figures are seated in apparent comfort, while several gentlemen stand around the table, engaged in animated conversation – or perhaps increasingly spirited debate. The architecture is richly ornamented, reflecting the Baroque influence prevalent at the time: heavy draperies cascade from the walls, elaborate molding adorns the ceiling, and classical sculptures peek out from mantelpieces, creating a sense of opulent grandeur. Troost’s use of color is particularly noteworthy; deep browns, blacks, and muted reds dominate the palette, lending an air of sophistication while simultaneously hinting at the impending chaos.

    Technique and Materials: Gouache and Pastel in the Rococo Style

    What immediately sets “Erat Sermo Inter Fratres” apart is Troost’s innovative technique. He deliberately eschewed oil paint in favor of gouache – an opaque watercolor medium mixed with gum arabic – and pastel, a soft chalk-based pigment. This choice was remarkably progressive for the era, allowing for greater luminosity and delicate gradations of color than traditional oil painting could achieve. The layering of these materials creates a remarkable sense of texture; the velvet upholstery appears plush and inviting, while the polished wood gleams with reflected light. The artist’s brushwork is incredibly precise, particularly in rendering the folds of fabric and the intricate details of the room's architecture – a testament to his meticulous observation and technical skill.

    The pastel medium itself lends a unique quality to the work. The soft, chalky pigments create a hazy effect, softening edges and contributing to the overall atmosphere of relaxed conviviality. This technique was particularly popular in the 18th century, offering artists a versatile tool for capturing fleeting moments and conveying subtle nuances of emotion.

    Symbolism and Social Commentary

    Beyond its aesthetic beauty, “Erat Sermo Inter Fratres” is rich in symbolic meaning. The title itself – "The Brothers Conversed" – alludes to the Latin inscription accompanying the painting, a playful commentary on the evening’s events: “Nemo loquebantur (No one spoke), Erat sermo inter fratres (The brothers conversed), Loquebantur omnes (Everyone spoke), Rumor erat in casa (There was commotion in the house), Ibant qui poterant, qui non potuere cadebant (Those who could, went. Those who could not, fell over).” This inscription subtly mocks the escalating drunkenness and disorder of the scene, highlighting a common social critique of the time – the dangers of unchecked indulgence among the upper classes.

    The figures themselves are carefully chosen to represent different facets of Amsterdam society: one is clearly the host, presiding over the gathering; another appears to be a more boisterous participant, while the third remains somewhat detached, observing the unfolding events. The composition as a whole suggests a controlled chaos, a delicate balance between order and disorder – mirroring the complexities of 18th-century Amsterdam itself.

    A Window into the Dutch Golden Age

    Cornelis Troost’s “Erat Sermo Inter Fratres” is more than just a painting; it's a captivating window into the Dutch Golden Age. It offers a rare glimpse into the lives of Amsterdam’s elite, revealing their tastes, their social customs, and their subtle anxieties. Troost’s masterful use of color, technique, and symbolism elevates this scene beyond mere depiction, transforming it into a poignant commentary on human nature and the fleeting pleasures of life. Reproductions of this work capture much of its original charm and invite viewers to contemplate the enduring appeal of this witty and evocative masterpiece.

    Source: TopImpressionists.com — accessed Sept. 27, 2026

    Erat Sermo inter Fratres — Cornelis Troost Part 3 · About this artwork

    Artist and museum

    Artist

    Cornelis Troost

    Born in Amsterdam, Netherlands

    A Window into Amsterdam’s Golden Age

    Cornelis Troost, a name inextricably linked to the vibrant tapestry of 18th-century Amsterdam, was more than just an artist; he was a keen observer and masterful recorder of his era. Born in the heart of the Dutch Republic on October 8, 1696, in Amsterdam, Troost’s journey from aspiring actor to celebrated painter reveals a fascinating confluence of artistic passions and personal transformation. Initially trained as a performer on the stage, he found his true calling not amidst applause and drama, but within the meticulous detail and subtle nuances of painting. His life's trajectory is marked by a deliberate shift – a conscious rejection of the spotlight for the quiet contemplation of brushstrokes, ultimately leading him to become one of the most significant figures in Dutch Rococo genre art.

    Troost’s artistic education began under the tutelage of Arnold Boonen, a respected portraitist who recognized his student's innate talent. This apprenticeship provided a crucial foundation, but it was Troost’s early drawings that truly showcased his distinctive style – particularly one dated 1708 depicting Prince Eugene of Savoy and the notorious bookseller and spy, Louis Renard, engaging in clandestine activities within a luxurious Amsterdam brothel. This piece, brimming with wit and intrigue, hinted at the themes he would later explore with such captivating skill: the complexities of social life, the allure of pleasure, and the hidden currents beneath the veneer of respectability.

    The Elegance of Rococo and Social Narrative

    As his career matured, Troost became a master of capturing the delicate balance between frivolity and sophistication. His work was undoubtedly influenced by the prevailing artistic trends of his time, including the dramatic compositions of William Hogarth, known for his satirical depictions of London society, and the elegant grace of French masters like Watteau, Boucher, and Lancret. This synthesis of Dutch realism and French Rococo elegance allowed him to create works that were both deeply grounded in local reality and exquisitely refined.

    His repertoire was remarkably diverse, ranging from intimate portraits to monumental group compositions. Some of his most enduring contributions to the art world include:

    Portrait of the Inspectors of the Collegium Medicum (1724): A stunning Rococo oil painting that showcases the height of 18th-century Dutch artistry and institutional elegance.

    Portrait of Maria Magdalena Stavenisse (c. 1726): A Baroque masterpiece that utilizes refined detail to showcase aristocratic wealth and status.

    Regents of the Aalmoezeniersweeshuis Orphanage (1729): A monumental group portrait that serves as a window into the social structures of Amsterdam, utilizing dramatic lighting and an opulent setting to convey a sense of civic importance.

    Legacy of a Master Observer

    The significance of Cornelis Troost lies in his ability to act as a visual historian for a period of transition. While the era of the great Dutch Golden Age masters had passed, Troost breathed new life into the Dutch tradition by infusing it with the lightheartedness and decorative charm of the Rococo movement. His paintings do not merely depict faces; they capture the spirit of an age—the rustle of silk, the flicker of candlelight, and the subtle social hierarchies of Amsterdam's upper class.

    Through his witty portraits and captivating genre scenes, Troost left behind a legacy that continues to enchant viewers. He remains a pivotal figure who bridged the gap between the heavy, dramatic traditions of the 17th century and the airy, graceful aesthetics of the 18th century, ensuring that the social nuances of his beloved Amsterdam would be preserved in pigment for generations to come.

    Museum

    Mauritshuis

    On show in The Hague, Netherlands

    A Golden Echo: Exploring the Mauritshuis in The Hague

    Nestled within the historic heart of The Hague, a city steeped in diplomacy and artistic heritage, lies the Mauritshuis – a museum that transcends the simple notion of a repository for paintings. It’s an immersive experience, a carefully curated journey into the very soul of the Dutch Golden Age. More than just housing masterpieces, the Mauritshhuis whispers tales of power, refinement, and the burgeoning artistic spirit that defined 17th-century Holland – a period where light, color, and human emotion were meticulously rendered on canvas, capturing not just likeness but an essence of life itself. The building’s story is as captivating as the art it holds; originally conceived as a lavish city residence for Count Johan Maurits van Nassau-Siegen in the mid-1630s, its symmetrical facade and elegant interiors immediately establish a sense of stately calm, reflecting the wealth and status of its original owner while providing a serene, almost meditative space for contemplation. Designed by the renowned architects Jacob van Campen and Pieter Post, it’s a prime example of Dutch Classicism – a deliberate choice mirroring the era's prosperity and offering an intimate setting for artistic appreciation.

    The Mauritshuis’s collection is remarkably focused, a concentrated jewel box containing some of the most celebrated works in Western art history. Unlike sprawling museums that can overwhelm, this palace-turned-museum fosters a uniquely intimate encounter with its treasures. The museum's strength lies not in sheer volume but in the exceptional quality and thematic coherence of its holdings. While encompassing works by a diverse range of artists – including the dramatic intensity of Rembrandt van Rijn and the serene beauty of Jan Steen – it’s perhaps most renowned as a sanctuary for Johannes Vermeer and Hans Holbein the Younger. Vermeer's Girl with a Pearl Earring, undoubtedly the museum’s most iconic work, is an enigma that continues to captivate viewers centuries later. The painting’s power lies not just in its exquisite detail – the luminous pearl, the delicate folds of fabric, the subtle play of light and shadow – but also in the subject's elusive gaze, a silent invitation to connect with her story. It’s a moment frozen in time, imbued with an ethereal quality that feels both intimate and profoundly moving. The painting has become a global symbol of beauty and mystery, reproduced endlessly yet never losing its original allure. Rembrandt’s presence is equally profound. His The Anatomy Lesson of Dr. Nicolaes Tulp, a dynamic group portrait depicting a public dissection, showcases his unparalleled ability to capture not just physical likeness but also the intellectual curiosity and human interaction within a scene. The painting vibrates with energy, revealing Rembrandt's masterful use of light to illuminate key figures and create a sense of drama. Jan Steen’s lively genre scenes offer a contrasting yet equally compelling perspective, providing vibrant snapshots of everyday life in 17th-century Holland – scenes brimming with humor, domesticity, and subtle social commentary. These works invite us into the lives of ordinary people, revealing their joys, struggles, and quirks.

    Architecture: A Reflection of Power and Peace

    Beyond its artistic treasures, the Mauritshuis stands as a remarkable architectural achievement. The building’s design is deeply intertwined with the ambitions and personality of Count Johan Maurits van Nassau-Siegen, who envisioned it not merely as a residence but as a symbol of his power and status. Constructed in the mid-1630s, the palace embodies the ideals of Dutch Classicism – a style characterized by its symmetry, proportion, and restrained ornamentation. The facade is a masterpiece of classical design, featuring imposing columns, elegant windows, and a central pediment that echoes the grandeur of Roman architecture. Inside, the rooms are equally impressive, showcasing soaring ceilings, richly colored walls adorned with intricate stucco work, and meticulously crafted furniture. The building’s layout reflects a deliberate attempt to create a harmonious balance between public and private spaces – grand halls for entertaining guests alongside more intimate chambers for family life. The use of light is particularly noteworthy, with large windows strategically placed to flood the rooms with natural illumination, enhancing the beauty of the artwork on display. The Mauritshuis isn’t just a building; it's a carefully orchestrated stage set designed to impress and inspire awe.

    Renovations and Expansion

    The Mauritshuis hasn’t remained static throughout its history; it has evolved alongside the needs of both its collection and its visitors. Significant renovations and expansions have been thoughtfully undertaken to accommodate a growing number of masterpieces and ensure an optimal viewing experience. The most recent expansion, completed in 2014, connected the museum with the Sociëteit de Witte building, creating additional space for exhibitions and educational programs – a testament to the museum’s commitment to fostering engagement and learning. This connection also allows for a more fluid visitor journey, seamlessly blending the historical palace with the modern exhibition spaces. The renovation project, overseen by architect Hans van Heeswijk, was designed to preserve the building's original character while incorporating contemporary elements, creating a harmonious blend of past and present. The entire process underscored the museum’s dedication to balancing its role as a world-class art institution with its commitment to preserving its historical integrity. The careful restoration work has revealed hidden details and restored faded colors, bringing the palace back to its former glory.

    Notable Exhibitions & Ongoing Research

    Beyond Girl with a Pearl Earring and Rembrandt’s masterpieces, the Mauritshuis regularly hosts compelling temporary exhibitions that delve into specific themes within the collection. These exhibits often shed new light on lesser-known works or explore broader artistic movements of the period. Currently, the museum is showcasing “Vermeer: The Artist and His World,” offering a detailed examination of Vermeer’s life, techniques, and influences. The museum's research department is actively engaged in ongoing investigations into provenance and conservation techniques, utilizing cutting-edge technology to unravel the stories behind each artwork and ensure its long-term preservation. Furthermore, the Mauritshuis maintains strong relationships with international institutions, facilitating collaborative research projects and sharing expertise. Don’t miss opportunities to discover lesser-known works alongside the iconic pieces – each contributing to a richer understanding of this remarkable artistic legacy. The museum also hosts lectures, workshops, and family activities, making it a vibrant cultural hub for visitors of all ages.

    Useful Links:

    Mauritshuis Official Website

    Google Arts & Culture - Mauritshuis

    Additional Research:

    Saul and david mauritshuis, the hague

    https://www.mauritshuis.nl/en/art/rembrandt-van-rijn-saul-and-david-mauritshuis-the-hague-9H5S88-en/

    Portrait of a man, mauritshuis, the hague

    https://www.mauritshuis.nl/en/art/memling-hans-portrait-of-a-man-mauritshuis-the-hague-9H5RGP-en/

    Vanitas still life, mauritshuis, the hague

    https://www.mauritshuis.nl/en/art/pieter-claesz-vanitas-still-life-mauritshuis-the-hague-9H5PSA-en/

    vermeer van haarlem, jan

    https://www.mauritshuis.nl/en/artists/vermeer-van-haarlem-jan-en/

    pauwels van hillegaert (workshop of)

    https://www.mauritshuis.nl/en/artists/pauwels-van-hillegaert-workshop-of-en/

    pieter jansz. quast

    https://www.mauritshuis.nl/en/artists/pieter-jansz-quast-en/

    The Hague

    : https://en.wikipedia.org/wiki/The_H

    Where to read more

    Find this online

    QR code linking to the download page for Erat Sermo inter Fratres

    topimpressionists.com/en/art/download/cornelis-troost-erat-sermo-inter-fratres-D3TLTP-en/

    Cite this artwork

    MLA
    Troost, Cornelis. Erat Sermo inter Fratres. 1740, Mauritshuis. https://topimpressionists.com/en/art/cornelis-troost-erat-sermo-inter-fratres-D3TLTP-en/
    APA
    Troost, Cornelis (1740). Erat Sermo inter Fratres [Painting]. Mauritshuis. https://topimpressionists.com/en/art/cornelis-troost-erat-sermo-inter-fratres-D3TLTP-en/
    Chicago
    Cornelis Troost. Erat Sermo inter Fratres. 1740. Mauritshuis. https://topimpressionists.com/en/art/cornelis-troost-erat-sermo-inter-fratres-D3TLTP-en/
    Harvard
    Troost, Cornelis (1740) Erat Sermo inter Fratres. Mauritshuis. Available at: https://topimpressionists.com/en/art/cornelis-troost-erat-sermo-inter-fratres-D3TLTP-en/

    Source: TopImpressionists.com — accessed Sept. 27, 2026

    Erat Sermo inter Fratres — Cornelis Troost Part 4 · Artist and museum

    Look closely

    Erat Sermo inter Fratres — Cornelis Troost

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 5 — do you agree?)
    4. Our catalogue files this work under: dutch masters, 18th century, social scene. Do you agree? What would you add, or take away?
    5. Look back at Singing Round the Star on Twelfth Night, earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: TopImpressionists.com — accessed Sept. 27, 2026

    Erat Sermo inter Fratres — Cornelis Troost Part 5 · Look closely

    Art quiz

    Erat Sermo inter Fratres — Cornelis Troost

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject depicted in Cornelis Troost’s ‘Erat Sermo inter Fratres’?

      • A A portrait of a wealthy merchant.
      • B A depiction of drunken revelry and social excess among gentlemen.
      • C A religious scene illustrating biblical stories.

    2. 2. The artwork ‘Erat Sermo inter Fratres’ is primarily executed in which medium?

      • A Oil paint on canvas.
      • B Gouache and pastel on paper.
      • C Watercolor on parchment.

    3. 3. The style of ‘Erat Sermo inter Fratres’ is most closely associated with which artistic movement?

      • A Baroque
      • B Rococo
      • C Renaissance

    4. 4. What does the series name ‘NELRI’ refer to in relation to the artwork?

      • A The names of the five gentlemen depicted.
      • B The initials of the Latin titles accompanying each scene.
      • C The colors used in the pastel technique.

    5. 5. Based on the image description, what architectural elements are prominently featured in the background of ‘Erat Sermo inter Fratres’?

      • A Simple brick walls and arched windows.
      • B Ornate moldings, heavy draperies, and classical sculptures.
      • C A minimalist design with clean lines and geometric shapes.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Source: TopImpressionists.com — accessed Sept. 27, 2026

    Erat Sermo inter Fratres — Cornelis Troost Part 6 · Art quiz

    Questions & Answers

    Is there a slideshow for "Erat Sermo inter Fratres" by Cornelis Troost?

    The diaporama of "Erat Sermo inter Fratres" can be watched on the artwork's Diaporama page.

    Where is "Erat Sermo inter Fratres" suggested to be displayed, considering its palette?

    The monochrome colors of "Erat Sermo inter Fratres" by Cornelis Troost match its recommended space: a living room.

    What subject and atmosphere does "Erat Sermo inter Fratres" by Cornelis Troost combine?

    "Erat Sermo inter Fratres" by Cornelis Troost depicts dutch masters, 18th century, social scene, drinking party, aristocracy, pastel art, baroque details, festive evening, in an elegant mood. Subject and atmosphere together describe the work.