The table is set: In his 1633 Still life with an overturned silver tazza, glassware, pies, and a peeled lemon on a table, Willem Claeszoon Heda spreads before us a theologically rich feast. This painting is an exemplar of the popular subgenre of breakfast piece (ontbijt), depicting not necessarily a morning meal but any solitary meal which breaks a fast, perhaps at an inn after a long journey. Heda’s 1633 Still life likely would have hung in the interior of a Dutch home, perhaps in a kitchen or dining area, where it would have invited meditation in the midst of everyday life. After offering a thick description of this painting and surveying the history of the interpretation of such paintings, I will sketch a visual theology of Heda’s 1633 Still life which takes into account the pervasive Calvinist imaginary of the time. I will argue that Heda’s 1633 Still life is a nuanced vanitas painting which hints at resurrection hope, affirming not only that all is gift, even as all is passing away, but also that these temporal gifts are harbingers of a delightfully solid and substantial New Creation in the age to come. For the lecture, please check out this specific painting Willem Claeszoon Heda, 1633. This is the one Christina is referencing. The Copyright for all material on the podcast is held by L'Abri Fellowship. We ask that you respect this by not publishing the material in full or in part in any format or post it on a website without seeking prior permission from L'Abri Fellowship. Also, note that not all views expressed in the lectures or in the discussion time necessarily represent the views of L'Abri Fellowship. © Canadian L'Abri 2020