Artwork

Plate 69: Emperor Moth Caterpillar with a Second Caterpillar on a Branch

Plate 69: Emperor Moth Caterpillar with a Second Caterpillar on a Branch is a gouache drawing by the Renaissance artist Joris Hoefnagel. It dates from 1594 and is held in the collection of the National Gallery of Art. Created circa 1594, this small watercolor drawing on parchment portrays two caterpillars perched on a slender branch.

About this work

Overview

The larger specimen is a plump, fuzzy larva of the emperor moth, its body striped in yellow‑brown tones and ending in a tiny tuft.

Created circa 1594, this small watercolor drawing on parchment portrays two caterpillars perched on a slender branch. The larger specimen is a plump, fuzzy larva of the emperor moth, its body striped in yellow‑brown tones and ending in a tiny tuft. Beside it, a smaller green caterpillar marked with orange spots appears to be moving along the twig, all enclosed within a delicate gold‑lined circle against a light background.

Subject & Meaning

The work records a moment in the life cycle of the emperor moth, juxtaposing the mature larva with a younger, differently colored caterpillar. By presenting the insects in a natural pose, the image reflects the 16th‑century fascination with detailed observation of nature, serving both scientific documentation and decorative illustration.

Technique & Style

Executed with transparent watercolor washes layered to achieve subtle colour shifts, the drawing also incorporates fine gold pigment applied to the border and highlights. The artist’s handling of light and texture—particularly the fuzzy surface of the larger caterpillar—demonstrates the influence of manuscript illumination, where precise line work and luminous accents were customary.

History & Provenance

The piece is attributed to Joris Hoefnagel, a Flemish draftsman renowned for his natural‑history studies. It forms part of a larger series of illustrated plates that circulated among collectors of scientific and decorative manuscripts in the late Renaissance, reflecting Hoefnagel’s role in bridging artistic and scholarly traditions.

Context

During the late 16th century, Northern European artists began integrating detailed botanical and zoological subjects into still‑life painting. Hoefnagel’s work exemplifies this trend, merging the meticulous observation of flora and fauna with the ornamental qualities of illuminated books, thereby influencing subsequent generations of natural‑history illustrators.