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CATALOCxUE 



' CATALOGUE 



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PLAITIHORETOS MOSEl 



MAX ROOSES 



ANTWERP 

J. E. BUSCHMANN, PRINTER 



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As 
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PLANTIN-MORETUS MUSEUM 



The Plantin-Moretus Museum is situated in the 
buildings which were occupied, since the year 1576 
until 1876, by the illustrious printer, Christopher 
Plantin, his son-in-law John Moerentorf or Moretus, 
and their descendants. 

By act dated the 20th April 1876, the Municipality of 
Antwerp bought the Plantin-Moretus mansion, with 
the printing materials and collections which it con- 
tained, and converted it into a public Museum, which 
was opened on the 19^^ of August 1877. 

Before enumerating the objects exhibited in the 
different rooms, we shall briefly make the family 
known who, during three centuries, inhabited and 
managed the renowned architypography. We shall 
then concisely state the history of the buildings, com- 
posing the actual Museum. 



— u — 

THE PLANTIN-MORETUS FAMILY. 

The founder of the Plantinian printing office, 
Christopher Plantin, was born at Saint- Avertin, one 
mile from Tours. The date of his birth is not exactly 
known. Otne of his engraved portraits and his tomb- 
stone both mention the year 1514 ; one of his painted 
portraits shows it to be 1520 ; in several public acts 
Plantin himself varies about the date of his birth and 
fluctuates between 1518 and 1525. He lost his mother 
when very young. 

Plantin's father, having fled from the pest which had 
carried away his wife, went to Lyons and there en- 
tered the service of Claude Porret, a audiencier » of 
the church of St-Just. Accompanied by his son, he 
followed one of his master's nephews, called Peter 
Puppier, who was going to study at Orleans and Paris. 
On his departure from the latter town, he there left 
young Christopher and remitted him a small sum to 
continue his studies. He promised to come and fetch 
him soon, but forgot his promise and the youth, at the 
expiration of his meagre resources, went to Caen where 
he bound himself apprentice to a printer. 

The oldest witnesses agree to designate as his 
master the printer Robert Mace, second of that 
name. At Caen Plantin made the acquaintance of Jane 
Riviere ; he married her in 1545 or 1546, and went to 
live with her in Paris. There he found Peter Porret, 
a nephew of the « audiencier » Claude Porret, with 
whom he had been brought up in Lyons. The two, who 
had been friends since childhood called each other 



— Ill — 



brothers, and this habit, which they kept up during 
lifetime, served as a foundation to a legend on the 
origin of Plantin and Porret. 

Both, it is said, were sons of the illustrious Charles 
de Tiercelin, who died crowned with glory, but 
devoid of fortune. His children having to pf ovide for 
their sustenance by the labour of their hands, resolved 
to do so with courage. But, that they might not dis- 
honor the coat of arms of their noble ancestors, they 
assumed the plebeian names of two plants, the plantain 
and the leek, in French Plantain and Porret. One 
became a bookseller, the other an apothecary. 

Only the last phrase is true in this legend. Plantin, 
after his marriage, lived some time in Paris. In 1549 
he settled at Antwerp, which was at that time, together 
with the capital of France, the most flourishing town 
of the nbrth-west of our continent, as a book-binder 
and casket-maker. 

He first lived in the « Lombaarden vest » (Lombard 
Rampart) near the « Kammerstraat » (Brewerstreet 
— now « Kammenstraat » rue des Peignes — Comb- 
street) and then transferred his quarters to one of the 
streets in the neighbourhood of the Exchange, where 
we again find him established in 1555. He soon made a 
reputation as a clever workman ; his book-bindings, his 
caskets and cases, his works in gilding and mosaic on 
leather, excelled in beauty all that was made of that 
kind in the Netherlands. 

He was well received by the scholars of Antwerp 
and by the merchants who frequented the Exchange ; 
he even gained the good graces of Gabriel de ^ayas, 



— IV — 

secretary to king Philip II. This high officer of state 
who, towards 1555, staid in Antwerp, wishing to send 
his master a precious stone of great value, directed 
Plantin to make a small box to send it in. The work 
being finished, Plantin took it himself to ^ayas. Night 
falling, the artisan, preceeded by a servant who carried 
a light, arrived at the <r Meirebrug », when some 
drunken men with their faces covered by masks, in 
search of a guitar player, who had offended them, 
thought they recognized their enemy in the inoffensive 
workman, carrying his box under his arm. They 
rushed upon him, one of them drew his sword 
and pierced him. The thrust was so violent, that the 
evil-doer had great difficulty in withdrawing his weapon 
from the wound. Plantin explained to his furious assai- 
lants that they were mistaken in their man ; they then 
saw their mistake and fled. The wounded man reached 
his house half dead. They immediately called surgeon 
John Farinalius and Doctor Goropius Becanus, who, at 
first sight, despaired of saving the victim of this fatal 
mistake. Nevertheless his life was saved ; but, not 
being able to devote himself to manual labors, which 
necessitated his moving and holding his body bent, he 
abandoned his trade as a book-binder and returned to 
the profession of printer, which he had practised at 
Caen. 

Plantin became a citizen of Antwerp on the 21st of 
March 1550 ; in the same year he was received into the 
, corporation of S* Luke, with the title of printer, which 
proves that, occupying himself with book-binding, he 
regarded as his principal trade that which he was to 
follow so gloriously later on. 



V — 



The first book Plantin printed under liis name is 
dated 1555, and entitled : La Institutione di una fanciiilla 
nata nobilmente. From 1555 to 1562, he only published 
a comparatively small number of works, and the 
progress of this first period, although real, was rather 
modest. 

In 1562, he was accused of having printed an hete- 
rodox tract entitled : Briefve instruction pour prier. 
(Short instruction for praying). A search was made at 
his house and three of his workmen were arrested and 
condemned to the galleys. Plantin himself escaped from 
a sentence, the most rigorous examination having 
discovered nothing in his conduct which was contrary 
to orthodoxy. But not thinking himself safe in the 
Netherlands, he took refuge in France and remained a 
whole year at Paris. The next year he returned and 
entered into partnership with Cornelius and Charles 
Bomberghe, James de Schotti and Doctor Goropius 
Becanus. Plantin was appointed what we should call 
the managing director of the Association. This lasted 
until 1567 and enabled our printer to give a large 
extension to his business. 

Plantin declares in many places of his correspond- 
ence, that he broke off with his companions, because 
they were not of an irreproachable orthodoxy. And, in 
fact, shortly after the end of the Association, the 
brothers Bomberghe and James de Schotti were 
obliged to fly on the charge of an accusation of heresy. 
It would be difficult to estrange Plantin himself, before 
and after 1567, from all relationship with the heretics.- 
"We know from certain sources, that in the years 



— YI — 



of his outset, he was one of the fervent disciples of 
Henry Niclaes, the founder of the Family of Charity, 
one of the branches of anabaptism. 

Later on, he disagreed with the father of this sect ; 
but, to the end of his life, he remained on the most 
intimate terms of friendship with Henry Jansen, who, 
after the name of his native village, called himself 
Barrefelt and took, as an author, the Hebrew name of 
Hiel. Barrefelt was one of the first followers of Henry 
Niclaes, but afterwards left the Family of Charity, to 
found a new church in his turn. Plantin's ideas were 
in community with those of this kind of illuminate, and 
he printed several of his works. Barrefelt preached 
the absolute identification with God and considered 
exterior worship an indifferent thing. In this mystic 
doctrine Plantin saw no obstacle to serving with 
ardour the Catholic church and his great supporter, 
the king of Spain. 

Towards 1567, he found his principal supporter in 
Philip II and counted amongst his most devoted and 
powerful protectors cardinal Granvelle and the king's 
secretary, Gabriel de ^ayas. On their recommendation 
he was chosen to publish the royal Bible in five 
languages, the principal work he ever printed, nay, 
the most important which any printer ever produced 
in the Netherlands. 

Whilst Plantin was working at the Bible, he printed 
at the same time his first Breviary and Roman Missal, 
after the authorized version of the council of Trente. 
In November 1570, Philip II commissioned Plantin 
with the printing of the liturgical books for Spain and 



— Til — 

obtained for him on this occasion a privilege of the 
Holy-Seat, extending to all the countries depending 
from the monarchy. This privilege was the principal 
basis of the future prosperity of the Plantin-Moretus 
family. Ever since 1572, the Missals, Breviaries, Diurnals, 
Antiphonaries, the Offices of the Virgin Mary, in every 
size, were issued from the Antwerp office by tens of 
thousands. 

Plantin himself in the meanwhile obtained but^losses 
and pecuniary troubles by these privileges and royal 
favors. At that time these provinces were passing 
through the frightful crisisj caused by the contest 
against Spain, which lasted for seventy years and 
ended by the ruin of Antwerp and the Spanish Nether- 
lands. Trade was ruined, the money was concealed, 
the confidence in the future wanting, all the conditions 
failed to make the entreprises succeed into which the 
printer, bold to rashness, threw himself. The king of 
Spain, having burdened him with ruinous works, 
promised large subsidies. But times were as hard for 
the monarch's chest as for those of his subjects. 
To the end of his life Plantin claimed in vain the 
enormous sums which Philip II owed him and 
which were never paid. He ran into debt so deeply, 
that he felt the necessity once more to leave his 
adopted town. In 1583 he proceeded to Leyde, and 
remained there until 1585. He then returned to Antwerp 
after the capture ol that town by the duke of Parma. 

In 1557, Plantin abandoned his abode near the 
Exchange, and settled in the « Kammerstraat, » which 
in former days was the centre of commerce for books. 



— Till — 

Up to 1564, he lived at the Golden Unicorn. In the 
course of that year, he transferred his offices and 
shop to another house in the same street, called 
the Great Falcon, He changed this name into that 
of the Golden Compasses^ borrowed from his printing 
mark. 

He occupied this abode up to 1576, at which period 
he set up his offices in a house in Hoogstraat 
(HighsTtreet) situated near St-John's gate and belonging 
to Martin Lopez. To the end of his life he nevertheless 
continued to keep his bookshop in Kammerstraat. 

After the pillage of the town of Antwerp, in 1576,* 
Plantin had to reduce his business and only kept half 
of Lopez's house. On the 22"^ of June 1579, he bought 
this part, which had an outlet into Vrijdagmarkt 
(Friday-market) and gave it the name and sign of 
Golden Compasses. There he lived till his death and 
there too his successors continued his business, until 
the town of Antwerp bought the buildings, to make 
them the Plantin-Moretus Museum. 

Plantin had not, as has often been said, a branch 
office at Frankfort, but like other printers, he used 
to open a shop there during fair-time about Eastertide 
and in autumn. 

In 1567, he founded a branch at Paris, the manage- 
ment of which he entrusted to his paternal friend, 
Peter Porret, assisted by his clerk, Guy Beys, who 
afterwards became his son-in-law. In 1577 Plantin sold 
the house with all its contents to Michael Sonnius, a 
Paris printer. 

Beys continued to exert himself in that town 



— IX — 

in the trade of book-seller and lived there until his 
death, with the exception of the years 1590 to 1594, 
during which time he lived at Antwerp. After the death 
of Guy Beys, in 1595, Madeleine Plantin, his widow, 
was remarried to a book-printer of Paris, called 
Adrian P6rier, who used as printing mark the Plan- 
tinian compasses. 

When Plantin returned from Leyde in 1585, he trans- 
ferred the house which he had founded there to his 
son-in-law Raphelengien, who had married his elder 
daughter, Margaret. Their son kept the printing office 
on until 1619. 

Plantin, who left no male descendants, wishing 
to favour considerably his son-in-law, Jan Moerentorf 
(Moretus), gave him, by legacy, the printing office and 
shop at Antwerp. But upon the joint-heirs' objections 
Jean Moerentorf accepted a part double that of his 
brother-in-law's ; he kept the office, the shop, the 
greater portion of the books in the storehouse and 
some materials, and became the sole successor to his 
father-in-law in the Antwerp printing office. 

Plantin took as his motto Lahore et Constantia 
« By Work* and Perseverance », and never has a motto 
been more completely justified. He had the noble 
ambition to equal and even to surpass the great 
printers, his predecessors or contemporaries, the 
Aides, the Estiennes, the Frobens and the whole 
pleiade of typographers, who in the first half of the 
XVIth century made Antwerp one of the principal book- 
markets in the world. 

However modest Plantin's beginnings were, they 



— X — 

showed his desire to produce fine and good books ; his 
a Magnificent and sumptuous funeral pomp of Charles V 
in the town of Brussels d dales from 1559 and 
may rightly be called, in point of its impression 
« magnificent and sumptuous ». The same year he 
printed a Bible, the following year he produced a 
liturgical and several classical books in small sizes, 
thus flourishing in difierent kinds of publications which 
immortalized his name. 

From 1563 to 1567 he undertook most divers works : 
classical authors, books of science, philology, juris- 
prudence, Greek and Hebrew printings. AJl his books 
were executed with the greatest care ; many being 
tastefully illustrated. His most elegant publications in 
small sizes fall in this period. 

In 1567 he commenced his polyglot Bible; in 1568 
his first Breviary of the Council of Trente ; then came 
the Fathers of the Church : St-Augustine and St-Hiero- 
nymus, his great works of Jurisprudence and History, 
his Thesaurus Theuionicce Linguce, the most ancient 
Dutch dictionary, which was drawn up at his own ex- 
pense and after his indications. He published the works 
of Guicciardini, Dodonseus, Ortelius, Clusius, de Lobel, 
Justus Lipsius, Simon Stevin and other learned 
authors ; he produced numerous works of engraving 
and important musical compositions. His reputation 
spread all over Europe. The average of the books he 
published amounted to fifty a year their total e:i^ceeding 
fifteen hundred. 

Towards the end of his career, the bad times and 
pecuniary difficulties he had to fight against, retarded. 



— w — 



but did not slacken his activity, and although they 
were of less importance, the volumes he published in 
1588, the year before his death, numbered fifty two. 

Plantin had been appointed prototypographer to the 
king in 1570. He had to keep a hand to the 
ordinances on printing which were to be observed by 
the typographers and booksellers, and to exercise a 
strict supervision over the masters and workmen. 

The troubles which burst out, a short time after 
this appointment did not allow him to seriously fulfil 
the works under his charge ; for him they were always 
a sort of sinecure, which he moreover exercised 
gratuitously. After the year 1576, he only retained the 
honorary title. 

Plantin died on the first of July 1589 and was buried 
in the apsis of the Cathedral, not far from the site 
which to-day contains his funeral monument. 

After the death of his father-in-law, John Moretus 
continued the Plantinian printing office. He follo- 
wed the foot-prints and respected the traditions 
of his predecessor ; his printings are as well elaborated 
as Plantin's. Nevertheless, under his direction, the 
number of books printed yearly greatly diminished 
and their importance was miich inferior to the 
editions of the founder of the office. The classical 
authors and scientific books disappeared altogether to 
make room for works of devotion, ecclesiastical 
history and ancient philology. 

John Moretus I, born on the 22>>'i of May 1543, died 
on the 22"J of September 1610. As Plantin had 
wished the printing office at Antwerp, with all its 



— XII — 

materials, to become the property of his son-in-law, so 
as to give himself a worthy successor, even so the 
latter, in conjunction with his wife, assigned their sons 
Balthasar and John heirs to the buildings and materials 
of the office and continuers of the firm founded by 
their grandfather. He stipulated in his will, that, failing 
his two eldest sons, the printing office should pass, 
entirely, into the hands of those of their children or 
relations whom the family would consider most worthy. 
This clause acquired force of law for their descendants 
and was repeated in the wills of all their successors,, 
during centuries ; it remained a kind of majorat, and 
the cause of the marvellous conservation of treasures 
of all sorts accumulated by Plantin and by the 
successive proprietors of the printing-office. 

Balthasar and John Moretus II, the former of whom 
was born in 1574, the latter in 1576, helped their father 
since 1592. John died in 1618 and Balthasar entered 
into partnership with John van Meurs the same year. 
This partnership ended in 1629. From 1610 until 1641, 
the year of his death, Balthasar Moretus I was in truth 
the chief of the Plantinian house. He was a man of 
uncommon knowledge, of high intelligence. Although 
entirely paralyzed oh the right side, he displayed an 
indefatigable activity and became the most illustrious 
of the Moretus family. He knew how to give a new 
impetus to the concern, and the office was, under his 
direction, nearly as illustrious as during the life of 
Plantin. He had large constructions added to and 
repairs effected in the paternal house. In 1638, he 
annexed to the printing establishment the shop, which 



-- XIII — 

had remained separated up to that time. Being con- 
nected with a large number of eminent men, and with 
the most celebrated artists of his time, he got Rubens to 
paint portraits of members of his family and of learned 
men, which still adorn the Plantin-Moretus Museum. 

His successor was the son of his brother John 
Balthasar II, born in 1615, who died in 1674. This was 
the- last of the Moretuses who produced any editions 
worthy of being mentioned. After him, the privilege 
of printing liturgical books became the principal pre- 
occupation of the heads of the archi typography. 
Besides the publishing of the Missals and Breviaries, 
the Moretuses continued, up to 1705, to print the ordi- 
nances and placards of the town of Antwerp, and being 
rich already, they did not undertake, beyond these 
two kinds of lucrative works, a single task which 
might have caused annoyances or exposed them to 
run pecuniary risks. When, in 1662, Balthasar Moretus 
II made the inventory of his possessions he ascertained 
with satisfaction that Ixis fortune already amounted to 
341,000 florins, or about two millions of francs in our 
money. 

Balthasar II was succeeded to by his son Balthasar III, 
born in 1646, who died in 1696. He was created a noble- 
man by the king of Spain, in 1692, and obtained the 
privilege of exercising the trade of printer without 
derogation to the nobility. The Moretuses took as 
their arms : Of gold with an eagle of sable charged 
upon his breast with a scutcheon of gules, super- 
charged with a star radiating with gold on a champaign 
checked with azure and five strokes silver. It was 



with very slight modifications the star of Balthasar 
Moretus I placed upon the coat of arms of the Gras or 
Grassis, the name of the mother of John Moretus I. 

Balthasar III was succeeded to by his son, Balthasar 
IV, born 1679, who died in 1730 : his younger brother, 
John-James Moretus (1690-1757), managed the printing 
office after him. His eldest son, Francis-John (1717-1768), 
succeeded to his father, and had a large buildrng 
constructed (1761-1763) fronting Vrijdagmarkt (Friday- 
market), in place of the small houses, which up 
to that time had stood before the ancient printing 
office. His wife, Mary-Theresa- Josephine Borrekens, 
managed the business up to the day of her death, 
the 5th of May 1797. Their four sons, James-Paul- 
Joseph (1756-1808), Lewis-Fr^ncis-Xavier (1758-1820), 
Francis-Joseph-Thomas (1760-1814), Joseph- Hyacinth 
(1762-1810) managed it together after the death of their 
mother. In 1820; Albert-Francis-Hyacinth-Frederick 
(1795-1865), son: of Joseph-Hyacinth, succeeded to the 
last survivor of the three uncles. His younger brother, 
Edward-John-Hyacinth (1804-1880), who succeeded to 
him, sold the printing office with the buildings 
belonging thereto, the material and the art-collections 
to the town of Antwerp in 1876. 

The last Plantinian printing dated is of 1866; never- 
theless the Moretuses continued working up to 1867. 
The last patent paid by them as typographers dates 
from 1871. 



— XV — 

THE BUILDINGS OF THE PLANTIN-MORETUS 

MUSEUM. 

When in the month of June 1576 Plantin came to 
live in the house of Martin Lopez, it consisted of a 
building, with frontage in Hoogstraat (High street), 
near the old St-Janspoort (St-John's-gate), with a 
garden. This had an outlet on Friday-market and 
stretched northerly, to Heilig-Geeststraat (Holy-Ghost 
street). 

After the pillage of the town by the Spaniards, in the 
month of November 1576, this property was divided 
into two parts ,- one had its outlet in High street, the 
other on Friday-market. Plantin from this time only 
occupied the latter half, comprising the garden and a 
building situated on the back ground. He bought this 
property on the 22^^ of June 1579. In the deed of sale 
it is simply described as a house with portal, drawing 
room, garden and coach-house. In the year 1576, he 
transferred his printing office to his new quarters and 
gave it the name of the Golden Compasses which was 
the name of the shop he continued to keep in 
Kammerstraat. 

From 1578 to 1580, he built three houses on the part 
of his garden along Holy-Ghost street, and converted 
the coach-house into a fourth house, situated beside 
the first three. They received the names of the Silver 
Compasses, Copper Compasses, Iron Compasses, and 
Wooden Compasses. 

In 1579, he had the printing shop built at the south 
of the garden, on the site which it at present occu- 



— XVI 



pies. On the 28ti> of May 1580, he obtained permission 
to arch the sewer at the side of the door- way on going 
out and there to construct a small building. 

In the inventory of the furniture made in 1596, after 
the death of Plantin's widow, we find mentioned in 
the large house : a drawing-room on the ground floor, 
a meal tub and an oven, a gallery, a servants' room, a 
reading room with a step, an office and a kitchen. 

Three of the houses in Holy-Ghost street were let 
at this period ; the fourth, the Copper Compasses, was * 
sold by Plantin in 1584. 

At Plantin's death the houses comprising part of the 
deceased's possessions were divided amongst his child- 
ren. John Moerentorf (Moretus) received as his portion 
the printing office with the adjacent small house, to the 
left of the entrance gate. In 1608, Catherine Plantin sold 
to John Moretus the Wooden Compasses which was her 
due in the division of the estate ; in 1620, Henrietta 
Plantin sold the Iron Compasses to Balthasar Moretus. 
In the same year, the latter bought the house « het 
Vosken », situated next to the Wooden Compasses in 
Holy-Ghost street, looking behind into the yard of the 
printing office. The Copper Compasses did not become 
the property of the Moretuses until 1798, the Silver 
Compasses in 1819. These two last houses are not 
actually annexed to the Plantin Moretus Museum, but 
they were sold to the town of Antwerp at the same 
time as the printing office and the buildings which 
were successively annexed. 

In 1620, Balthasar Moretus had great repairs and 
reconstructions eff'ected in his grandfather's house. He 



— XVII — 

had the covered gallery built, with its two stories, to 
the north of the yard, in order to conceal the frontage 
behind the houses in Holy-Ghost street ; he had the 
beams and floors of the largest portion of the house 
and several marble chimney-pieces renewed. 

In 1635, he bought the house de Bonte Huyt, having 
its frontage in High street adjoining behind the yard 
of the printing office; it was resold in 1768. On a 
ground taken from this new property, he had the 
gallery of the west side of the court yard extended 
in 1637, and built the present correctors'-room with its 
story in the course of the year. At the same time, he 
had the floor of the printing office and arcade in the 
corner of the south side of the yard constructed. All 
these works were completed in 1639. In 1640, he had 
the large library furnished and so had, the year before 
his death, the satisfaction of bringing the reconstruc- 
tion of the paternal house to an end. 

The seven small houses which, in Plantin's lime, had 
stood amongst the buildings of the architypography 
and Friday-market,--s«eeessi¥ely^ became the property 
of the Moretuses, and, on the site of five of them 
Francis-John Moretus had in 1761-1763 a large main 
building constructed with frontage on the square. In 
1803 James-Paul-Joseph Moretus bought the last two 
of the seven small houses; in 1812 they were demolished 
and replaced by the house which now forms the 
corner of Friday Market and Holy-Ghost street. This 
building was sold to the city of Antwerp with the rest 
of the property in 1876. 



— XVIII — 

The entrance of the proprietor's dwelling was form- 
erly at the outlet of the porch, leading from the street 
to the yard, opposite to the first window of the print- 
ing office. The door was walled in 1763 and the entrance 
made in its present place. Until the same date the 
staircase, which is still to be found in the corner of 
the yard, under the covered gallery, was the principal 
staircase of the house. 

After all these changes and constructions, the build- 
ings of the architypography have conserved, since 
1763, the form and dimensions they now have. 



THE PLANTIN-MORETUS MUSEUM 



FRONTAGE — ENTRANCE GATE. 

The building, having its front in white stone on 
Friday market, was built between 1761 and 1763, after 
the plans of the architect Engelbert Baets, for the 
account of Francis-John Moretus. There is only one 
room in the depth, back to back with the oldest 
constructions situated around the yard. 

The entrance door is surmounted by a modillion in 
freestone, representing the mark of the Plantinian 
printing office : one hand emerging from a cloud and 
holding a pair of compasses, supported on one of the 
branches and turning upon the other, with a banderol, 
passing between the two points and bearing the Plan- 
tinian motto, Lahore et Constantia. A woman, with 
her arm resting upon a pedestal, and Hercules with 
his club, are seated to the right and left of the shield, 
holding a wreath above them. Hercules is the personi- 
fication of Labor; the woman that of Constancy. The 
same symbolic idea is expressed by the compasses, the 
foot in turning representing Labor, the other, which 
is motionless. Constancy. 

This work of art was made for Balthasar Moretus I 



— 2 — 

by Arthus Quellin (1609-1668) who, on the 12*'' August 
1639, received 150 florins for it. It had formely adorned 
the house « de Bonte Huyt », in High street, and was 
painted and gilt. On the 22"^ of November 1644 Balthasar 
Moretus II paid Arthus Quellin 18 florins to transfer the 
modillion from High street to Friday market. In 1761 
it was placed above the new gate as it had surmounted 
the old one (1). 



THE ENTRANCE HALL. 

The visit to the Plantin-Moretus Museum should be 
commenced by the rooms, situated at the right of the 
porch. Before entering these rooms, the visitor crosses 
an entrance-hall, where a statue of Apollo in white 
stone is placed on a marble pedestal, six feet high 
without the foot, and which is a work of the sculptor 
William Godecharle (Brussels 1750-1835). It was made 
in 1809 for one of the appartments occupied by the 
Moretus family. The God of Poetry and Arts is repre- 
sented holding in one hand the harp, in the other a 
wreath. The arms of the Moretuses are carved upon 
the basis of the antique altar against which Apollo 
leans. Upon the foot, the word Artibus is read. 



(1) Adi, 12 Augusti 1639. Aen Quellinus steenliouwer, voor den passer 
met Lahore et Constantia in steen gekouwen : fl. 150. 

Adi, 22 November 1644. Item betaelt aen Artus Quellinus voor het 
versetten en repareren van den passer van de Bonte Huyt op de 
Mart : fl. 18. 



- 3 



Above the doors there are four decorated panels, 
inserted in high relief, representing Architecture, 
Geography, Painting and Mathematics. 

They were made, in 1781, by the Antwerpian sculptor 
Daniel Herreyns. 

In the middle of the Entrance Hall a copper lantern 
is hung up ; in the place where it is attached to the 
ceiling, an eagle with spread wings is seen, painted in 
1763 by Theodore de Bruyn (born at Amsterdam, 
apprenticed at Antwerp in 1752), who also decorated 
the five panels of rustic diversions in the dining 
room, looking towards Friday market and closed to 
the public. 



I. 

FIRST DRAWING ROOM ON THE GROUND FLOOR. 

The walls of this hall are hung with ancient Flemish 
tapestry, bearing in their frame the coat-of-arms of 
the family Losson-Van Hove, for whom they were 
woven, and the compasses of Plantin, w^ho most likely 
purchased them from the original proprietor. They 
were made for a larger room than the one where we see 
them and at a later period sustained damages which 
made the subject unrecognizable. The name of 
Tliomiris, traced on the border of the gown of one of the 
personages, teaches us nevertheless that these panels 
represented in their original sUUe the history of that 
queen of Scythians, who defeated Cyrus and had 
him beheaded. 



— 4 — 

The present windows of this saloon and of the 
two next ones are the exact reproduction of those 
which existed until 1763 and were replaced, at 
that time, by modern windows with large panes. 
In the lower part of these windows are written on 
stained glass the names of two Moretuses, those of 
their wives and the dates of the birth and death of the 
ancient proprietors of the house. 

Four shields, in the fixed part of the window, repro- 
duce twice the star, which Balthasar Moretus and 
his successors adopted as their emblem, as also the 
arms of Mary de Sweert, wife of John Moretus II, and 
Anna Goos, wife of Balthasar Moretus II. 

The corbels in this saloon, like in nearly all the other 
rooms of the museum, which support the principal 
beams, are carved and represent alternately the em- 
blem of Plantin and that of Balthasar Moretus. 

In the chimney two fire-dogs in iron are seen, with 
a fire plate representing David with the prophet Gad, 
dated 1661. 

Above the chimney-piece there is a picture repre- 
senting the Plantinian sign. The compasses are sur- 
rounded by a frame of foliage, the bandrol is held by 
two allegorical personages : Work is represented by 
a tiller, Constancy by a woman holding a cross. The 
ground is formed by a mountainous landscape. The 
picture was painted in 1640 by Erasmus Quellin, who 
was paid 250 florins for it. (*) 



(1) Adi 20 Septembris 1640 : E. Quellinio pro pictiira Laboris et 
ConstantitB 250 fl. (B. Moretus. Account of the monry taken at the desk 
since the 1st of July 1640). 



- 5 - 

Canvas, H. 4 feet L. 6 f. 7 i. 

On the night before the opening of the Plantin-More- 
tus Museum the board of directors had the following 
inscription in Dutch and French placed above the 
two doors : 

In 1876 

under thb administration of thb buroomastbr 

Mr Leopold db Wael 

THB PlANIINIAN PRINTING OFFICB 

WAS BOUGHT FROM M^ EdwARD MoKBTUS-PlANTIN 

BY THB CITY OF ANTWERP WITH THB INTERVENTION OF THE STATE 

AND TRANSFORMED INTO A PUBUC MUSEUM 

This inscription constitutes a homage rendered to 
the magistrates, to whose active and enlightened inter- 
vention the city of Antwerp owes, before all, the crea- 
tion and organization of the Plantin-Moretus Museum. 

In the middle of the room a precious table with inlaid 
tortoise-shell is found. Between the two windows an 
oak dresser is placed, in Flemish renaissance style, 
upon the shelves of which are exposed : 

A beer pot in brown stone of a round shape encircled 
by ornaments in relief upon which one reads the 
date: 1591; 

two stone pitchers, one grey with blue decoration, 
the other dark brown ; 

a set of five pieces in China porcelain, white 
ground decorated with flowers and birds of various 
colors; 

four Dutch cut wine-glasses ; 

a large ornamented platter in crockery ; in the middle, 
the Plantinian mark with the inscription : Wie cant 
al pas'sen. Diet coren doet wassen ; 



-r. 6 



a plate and fruit dish in crockery, both decorated 
with the arms of the Moretuses surmounted by the 
letters B. M. (Balthasar Moretus). 

Close by are placed, upon carved oak pedestals, tw^o 
busts in white marble, the one of Leopold de Wael, 
burgomaster of Antwerp, by Eugene Van der Linden ; 
the other of Edward Moretus-Plantin,by Robert Fabri. 
Both were offered to the Museum by a committee, who 
had collected by means of a public subscription, the 
funds necessary to have these works of art executed. 
They were inaugurated on the 12"i of August 1881 and 
testify for the gratitude of the Antwerpian population 
towards the purchaser and the seller of the antique 
architypography . 



II. 

SECOND DRAAVING ROOM ON THE GROUND 

FLOOR. 

This drawing room in Flemish renaissance style like 
the greater part of the ornaments of the house, is 
hung with dark green damast, dating from the XVIIIth 
century and originally tinted in pink. The chimney- 
piece, in marble and oak, was made after the plans 
of the town architect, Peter Dens, and occupies the 
site, where, since 1763, a white marble chimney had 
stood. The original chimney was placed at the bottom 
of the room, where the outlet door is at present. This 
is the only room of the ancient architypography in 
which it has been necessary to introduce modern con- 
structions, imitating the disappeared authentic parts. 



7 — 



In this chimney fire-dogs in iron and in copper 
are seen and a fire plate of the 17th century, on which 
Adam and Eve and the medallions of a Roman warrior 
and a woman are represented. 

Above the two doors are the dates 1555 and 1876 ; 
the first indicates the year, in which Plantin printed 
his first volume ; the second that, in which the town 
of Antwerp acquired the Museum. Below these dates 
are the mark of Plantin and the coat-of-arms of the 
Moretuses. 

In the colored panes, forming medallions in the 
middle of the leaden cross-bar windows, the visitor 
reads the names of Plantin, four of his sons-in-law, 
their wives and Balthasar Moretus I ; also the dates 
of their birth and death. 

Beside of the chimney there are two rich cabinets. 
The one on the right is laid in with tortoise shell, framed 
in palisander and ebony. It is adorned with 23 biblical 
subjects painted on white marble. These small panels 
are framed in copper, stamped and gilt. The frame 
of this furniture is supported by four negroes in gilt 
draperies. It is crowned by five small figures. 

The work is Flemish and dates from the XVII^h 
century. 

The furniture to the left is inlaid with ornaments 
in enamelled tin. On the small door, in the interior 
wall, the Plantinian mark is seen ; on the exterior 
folding doors the initials of Moretus, a work of the 
XVIIth century. 

On this last cabinet, between two vases in Japan 



.. 8 — 

porcelain, stands a clock in gilt silver shaped in 
the form of a small temple. It was given as a present 
to one of the Moretuses by the archduke and duchess 
Albert and Isabella. 

Above the chimney-piece and on the walls all round 
there are thirteen pictures and four grey-paintings. 
Amongst these seventeen paintings, fifteen portraits 
are hung up, representing the members of the Plantin- 
Moretus family, or scholars united by friendship to 
the first heads of the printing office ; all are bust 
paintings. We shall mention them beginning from 
the right of the entrance. 

1. RUBENS (Peier Paul] 1577-1640 Portrait of Jac. 
Moerentorf (f 1558), father of John Moretus I. He wears 
a piped collar and a black garment bordered with fur 
and holds some papers in his right hand. 

This picture was painted about 1633 for Balthasar 
Moretus I, and paid 24 florins. (*) 

(I) The following is the text of the documents, which allows us to 
determine by approximation the date of the pictures and drawings of 
Rubens, and to indicate the price they were made for. We cite these 
documents in their entirety, on account of their importance for the history 
of the great Antwerpian master, although several works are mentioned 
which no longer exist in the collections of the Museum. 

Grand livre 1610-1618. Fol. 178. 

Monsieur Pietro Pauolo Rubenio doibt avoir. 

Pour aultant qu'il a retocqu6 les figures d'Aguilonius, Lipaii, Senecce, 
et quatre du Missel, luy sont advouez Opera Boissardi montants, fl. 36. — 

(To the debit of the painter, opposite his credit, we read: 1614, 
IZ M&i ]^our BoissardiM, Antiquitates BomanoB fl. 36. — ) 

Pour la d^lintotion des flgures d*Aguiloniiu, de deux vignets du Missel 
et deux figures dudit, Seneca Mwiens, Senecce caput et J. Lipsius, tou- 
chants a feu notre m^re, montant fl. 112. — 



— 9 - 

The original, which Rubens utilized, is found in 
room VII of the Museum. 

Panel H. 0,625 m., L. 0,485 m. 



Pour la delineation de NcUivitas Domini, Annunciatio B. Marios^ 
David PoenitenSf Missio Spiritus Sancti, Asaumptio B. Marice, 
Omnessancti^ Coena Domini, Resurrectio Domini, Crucifixus cum latroni- 
btu et Crucifixus de functus et Frontispicium Breviarii . . fl. 132. — 

Pour payntures pour mon fr^re Baltasar : C. PlantiniM, J. Moretus, 
J. Lipsius, Plato, Seneca, Leo decimus, Laurentivts Medicua, Picua Mi- 
randula, Alphonsua rex, Matthias Corvinua fl. 144. — 

(The balance of debtor and creditor allows us to conclude that the 
ten pictures were made in 1616. They cost 14 fl. 8 pence each). 

Grand livre 1624-1653. Fol. 222. 

Pour les peintures et contrefaicts et frontispices ensuivants lesquels il 
JL invents et d^peint. 

Pour la peinture de S^ Juste pour compte de Balth. Moretus trois 
■cents fl fl. 300. — 

Pour cincq flgures peintes sur paneel, a sgavoir *. Notre Dame avec 
l" enfant Jiaua^ S^- Joseph, S^-Gaspar, S^-Afelchior et S^BaUhaaar^ pour 
compte de Balthasar Moretus, a trente florins la piece. . . fl. 150. — 

Pour sept contrefaicts sur paneel de Petrua Pantinus, Ar. Montanua, 
Abr, Ortelius, Jac. Moretus, Joanna Riviera, Martina Plantina et 
Adriana Gras, pour compte de Halth. Moretus, lesquels il estime a 24 fl. 
la pi^ce, mais advouons seulement a fl. 14-8 fl. 100.16. — 

Pour deux visages peints sur paneel de Chriatua et Maria pour 
B. M., a fl. 24 fl. 48. — 

Pour 13 frontispices des livres ensuivants en- folio, (entre lesquels 
neuf durant la compagnie de Jean van Meurs) & sQavoir : AnncUium 
Tornielli, Annalium Haroei primi tomi^ ejusdem tomi 2<^i, Obaidionia 
Bred^nod, Vilarum patimm, Catence in Lucam^ Conciliorum Coriolani, 
Soaii de Crtcce, Lessii de Justitia, et despuis la ditte compagnie : 
Ope)'um Blosii, Dionysii Areopagitce, Justi Lipsii et Blosii (dico Gottzii), 
A 20 florins la pi^ce . , fl. 260. — 

Pour 8 frontispices des livres ensuivants in-4o,desquels deux durant la 
compagnie de Jean Van Meurs, a SQavoir : Mascardi Sylvarum^ et Leasii 
Imago; et despuis laditte compagnie -. Sarbievii Lyrica, Peinture de Son 



- 10 — 

2. RUBENS (Pkter-Paul) Portrait of Adrienne Gras 
wife of Jac. Moerentorf (1514-1592). She wears a white 
linen bonnet, a piped collar and a black gown 
bordered by a straight band of fur. 

Painted about 1633, at a cost of 24 fl. 

The original is in the next room. 

Panel, H. 0,625 m., L. 0,485 m. 

2bis. QUELLIN (Erasmus) 1607-1678. Portrait of Bat- 
thasar Moretus I. He is represented down to his knees,, 
wrapped in a cloak, his right hand resting on some 
books placed on a table. 

Grey-painting made for the engraver. Engraved by 
Cornelis Galle, junior, who reversed the picture. In 
the print the right hand has become the left. The 
painter had foreseen this peculiarity, important in a 
portrait of Balth. Moretus, who was lame on his. 
right side. 

Panel, H. 0,235 m., L. 0,177 m. 

3. RUBENS (P.-P.). Portrait of Arias Monfanus (1527- 
1598), the learned orientalist,who, by order of Philip II, 



AUesse, Insignia Card, a Dietrichstein^ Poemata Urbani VIII, ejusdem 
Imago ei Symbolorum Peti asanctce, & \2 (iorinfi fl. 96. — 

Pour deux frontispices en-8o -. Tfwmce a Jesu de Comtemplatione, 
darant la compagnie de Jean van Meurs, et apr^s Haftetiii Via crucis, 
a fl. 8 fl. 16. — 

Pour trois frontispices en-24o -, Sarbievii, Bauhusii et Bidermanni. 
Afl. 5 , fl. 15. — 

Pour comptede la peinture de Jean van Meurs cinqiiante fl. fl. 50. — 

Pour aultant que B. Moretus luy accorde pour les sept contrefaicts de 
Petrus Pantinus et autres icy en liault, a raison de 24 florins la pi^ce^ 
vient pour surplus , fl. 67. 4 

Total fl. 1103. — 



- 11 — 

conducted the printing and correction of the polyglot 
Bible from 1568 to 1572. He is seen three quarter face. 
He holds a book and wears upon his cloak the red 
cross of the knights of St-Jacob. 

Painted about 1633 at the cost of 24 florins. 

Panel H. 0,625 m., L. 0,485 m. 

4. RUBENS (P.-P.). Portrait of Abraham Ortelius 
(1527-1598) the celebrated Antwerp geographer, a friend 
of Plantin and John Moretus. He is seen in profile. His 
hand rests on a terrestrial globe ; he wears a piped 
collar, a black garment and a great-coat with a fur 
collar. 

Painted about 1633, at the cost of 24 florins. 
Panel H., 0,62 m., L. 0,48 m. 

5. (Above the chimney-piece). UNKNOWN. Portrait of 
Christopher Plantin (1514 7-1589). Three quarter faced 
and represented in a black garment with a piped collar 
of white linen ; he holds the compacses in one hand, a 
book in the other. In the corner at the top of the panel 
to the right : « Ao 1584, setatis 64. x> 

At the time when the Plantinian printing office was 
sold, this portrait was attributed, without a single 
reliable foundation, to one of the Francis Pourbus. In 
the beginning of this century, when the traditions 
about their authentic authors were obliterated in the 
family^ several portraits received similar arbitrary 
attributions. The portrait must have been painted at 
Leyde where Plantin lived in 1584. 

Panel H. 0,62 m., L. 0,50 m. 

6. RUBENS (P.-P.). Portrait of Peter Pantinus, pro- 
fessor at Louvain (1556-1611). Three quarter face. He is 



— 12 — 

dressed in black and holds a book, on the back of 
which one reads : « Vita B. Theclae ». In the upper 
corner, to the left of the picture, his coat-of-arms is 
found. 

Painted at a cost of 24 fl., in 1633, after a portrait 
belonging to Lewis-Joseph d'Huvetter, of Ypres (*). 

Panel H., 0,625 m., L. 0,485 m. 

7. RUBENS (P.-P.). Portrait of Justus Lipsius (1547- 
1606). Three quarter face, with full beard. Round the 
neck a plaited collar; upon the shoulders a black mantle 
bordered by a large fur band. 

Painted between 1612 and 1616, cost 14 fl. 8 s. 
Panel H. 0,615 m., L. 0,50 m. Engraved by Peter De 
Jode. 

8. RUBENS (P. -P.). Portrait of Jeanne i?zi;z^re. Plan tin's 
wife (15217-1596). Three quarter face, she wears a cap 
of white linen, a black dress, a piped collar. 

Painted about 1633, cost 24 fl. 
Panel, H. 0,625 m., L. 0,485 m. 

9. RUBENS (P.-P.). Portrait of Christopher Plantin, 
Made after n^ 5 of the same room. Painted between 
1612 and 1616, cost 14 fl. 8 s. 

Panel H. 0.625 m., L. 0.485 m. 

10. RUBENS (P.-P.). The printing mark of John Van 
Meurs, the partner of Balthasar Moretus I, from 1618- 
till 1629. The sign represents a hen hatching her eggs^ 
with the motto : « Noctu incubando diuque ». This 
emblem is surmounted by a border containing a 



(1) Repperit tandem Rubenias effigiem D Pantini p. m. eamque mihi 
ad exemplar tuum depinxit (B. Moretus to L. J. d'Huvetter, 29 July 1633).. 



— 13 - 

head of Minerva, an owl, the emblem of that goddess 
and the symbol of night, a head of Mercury, and a cock, 
the symbol of day. Above it, an antique lamp, the 
symbol of the light diffused by the press ; beneath it, 
the wand of Mercury and a trumpet crossing each 
other, the symbols of Commerce and Fame. 

This sign was possibly meant in the paragraph of 
Rubens' bill : « On account of the painting of John 
Van Meurs, fl. 50 ». It has been engraved several 
times in copper and wood. 

Panel, H. 0,19 m., L. 0.205 m. 

11. WILLEBORTS alias BOSSCHAERT (Thomas) 
(1614-1654). Portrait of Balthasar Moretus I (157^-16^1), 
The head is seen three quarters. The beard and 
hair are growing grey. He wears a collar of white 
linen, frilled and turned down upon a black garment. 

Painted in 1641. With the portrait of B. Moretus on 
his death-bed, it was paid 96 florins, on the 11"» of 
October 1641, (^). 

Canvas. H. 0,644 m., L. 0,505 m. 

12. WILLEBORTS aUas BOSSCHAERT (Thomas), 
Portrait of Jasper Geuaerts (1593-1666). Gevaerts or 
Gevartius was secretary of the city of Antwerp and 
author of several books on philology and archeology. 
He is dressed in a black garment and a ruff. He has a fair 
moustache and small beard and is seen three quarter 
face. 

ThisportraitwasattributedtoCorn.de Vos at the 



(I) Ao 1641. Adi 11 Octobre. Betaelt voor twee contre&ictsels van 
Oom Saligher, een doot, een naer het leven aen S^* WiDieborts, fi. 96. 
(Private expenses of Balth. Moretus 11). 



— 14 — 

time of the sale of the Plantinian office. This attribution 
dated from a period not far remote and was not based 
upon any serious foundation. 

In designating Th. Willeborts as its author, we 
allowed ourselves to be guided by an old document 
and by the handling of the work. In 1658, a few years 
after the execution of the picture, Balthasar Moretus II 
noted in his inventory that in the large drawing room 
29 portraits were found « nearly all originals by 
Rubens and Willeborts (*). » 

Canvas. H. 0,64 m., L. 0,504 m. 

13. RUBENS (P. -P.). Frontispiece in grey-painting of 
M. C. Sarbievii Lyricorum libri IV. (Plantin, 1632, in-4o). 
The painting represents, to the right, Apollo placing his 
lyre upon an altar ; to the left, amuse watching over the 
cradle of the young Herodote, in whose mouth the 
bees are seen depositing their honey. In the upper 
part are suspended, between a palm and a laurel, the 
arms of pope Urban VIII in the background mount 
Helicon with Hippocrene descending from it. 

This grey-painting was engraved by Corn. Galle, 
senior, to serve as frontispiece to the book of Matthias 
Casimir Sarbievius, Lyricorum libri IV. In 1637, the 
plate received another inscription and served as 
frontispiece to : Stephanus Simoninus, Silvce Urbaniance 
sen gesta Urbani VI 11. 



(1) Anno 1638. Ultima Decembris. Reghisler van de scLilderyen : 

29 Verscheyden pourtraiten in de groole Gamer boven de lyste meest 

alle originele van Rubens ende Willeborts, bet een door d'ander 

i fl. 10. . fl. 290. — 



— 15 - 

Panel. H. 0,175 m., L. 0,138 m. 

14. RUBENS (P.-P.) Portrait of Martina Plantin, (wife 
of John Moretus I) 1550-1616. She is seen nearly full 
face and wears a white cap with loops of fine stuff, a ruff 
of small dimension and a black dress over which a 
heavy gold chain is hung. 

Painted about 1633, at the cost of 24 fl. 

Panel. H. 0,625 m., L. 0,485 m. 

14bis. UNKNOWN. Miniature of Christopher Plantin. 
Plantin wears a black great coat trimmed with fur and 
a plaited collar. He is represented at a younger age 
than in the preceeding portraits. 

Bought by the Museum in 1880. 

Copper. H. 0,11 m., L. 0,09 m. 

15. RUBENS (P.-P.). Portrait of John Moerentorf 
(Moretus I] (1543-1610). John Moerentorf, who latinized 
his name to that of Moretus, was the husband of Mar- 
tina, second daughter of Plantin. He wears a stiff 
plaited collar and a black garment. Hair short and 
grizzly ; beard of the same colour cut short on the 
cheeks. 

Painted between 1612 and 1616, at a cost of 14 fl., 8 s. 

Panel. H. 0,648 m., L. 0,505 m. 

In the middle of the room, in a showdesk, a por- 
tion of the drawings is exposed which the Plantin- 
Moretus Museum possesses. They were made by 
different painters to be engraved as frontispieces or 
illustrations of works published by the architypo- 
graphy. 

This is the enumeration : 

16. DE VOS (Martin) 1531-1603. Eight drawings for a 

3 



- 16— 

Missal : Abraham and Melchisedech ; the Adoration of 
the shepherds ; Christ on the cross with Mary, St-John 
and St-Magdelen, signed and dated : « M. De Vos, f. 
1582 » ; Christ on the cross with Mary, St-John, St- 
Magdalen and two angels collecting the Saviour's 
blood ; the Resurrection of Christ signed and dated : 
« M. De Vos. f. 1588 » ; the Descent of the Holy Ghost ; 
the Crowning of the Virgin; the Last Judgement, signed 
and dated : « M. De Vos, f. 1582 ». 

Pen-drawings, washed with bistre, in folio size. The 
copper plates engraved after these designs were used 
in the Plantinian Missals, since the beginning of the 
XVIJth century up to 1614. At this date they were 
replaced by Rubens' compositions. 

17. DE VOS (Martin). Forty drawings for an Office of 
the Virgin. 

In 1588, Martin de Vos furnished Plantin with the 
drawings for an edition of the Hours of the Virgin ; 
they were engraved by Crispin Van den Passe. He 
received 6 fl. ; the painter 1 1/2 fl. a piece. 

Pen-drawings, washed with bistre, size in-16o. 

18. DE VOS (Martin) S^-Bruno. Figure of the saint 
surrounded by ten medallions representing the scenes 
of his life. 

Designed for the Rules of the Capucines (Plantin 1590) 
and engraved by Crispin Van den Passe. 
Pen-drawing washed with bistre, size in-8o. 

19. DE VOS (Martin). Frontispiece of a Latin Bible 
<1599). 

Pen-drawing, washed with Indian ink, in-8o. 



— 17 - 

20. VAN DEN BKOECK (Crispin) 1524-1591 ? The 
Virgin of seven sorrows. The Virgin is represented 
sitting, her breast pierced by a sword. Seven medallions 
representing the sorrowful scenes of her life surround- 
ing her. 

This drawing was made, in 1587, by Crispin Van den 
Broeck to Plantin's order for the account of John 
Mofflin, abbot of St-Winocksbergen. It was engraved 
by Jerome Wiericx ; Plantin paid 6 florins for the 
drawing and 96 florins for the engraving (*). In a letter 
dated 4t'» November 1586 John Mofflin gave Plantin 
notice to send a picture to be reproduced by this 
drawing. The medallion, he says, « does not corres- 
pond to the work of the principal picture, having 
been made by different hands. » The reproduced 
picture evidently belonged to the old Flemish school. 
The medallions are of a more recent style. 

Pen-drawing washed with Indian ink, in-folio. 

21. VAN DER BORGHT (Peter) about 1540-1602. 
Thirteen drawings for a Breviary and two wood cuts. 
The Evangelist S^-John is signed « Pe. v. Borght. » 

Pen-drawings washed with Indian ink. Size in-16". 

Peter Van der Borght is one of the artists who 
worked most for the Plantinian printing office. 
From 1565 to 1599, not a year passed but he designed 
or engraved on copper plates for one or several 



(1) Account of Jean Mofflin — 25th January 1587. 

Pour la peinture de la N^e Dame a tailler 6 fi, et pour le cuivre 6. fl. 
et 2 L. (12 a.) h bon compte de taillure et 14 L. (84 fl.) qu'il faudra encore 
estant achev^ de tailler par J6r6me. — Val. 18 Liv. de gros.. fl. 108. — 



— 18 — 

books. He also furnished drawings of the most elegant 
capital letters cut in wood. 

22. VAN DER HORST (Nicholas) f 1646. The Entrance 
of Mary of Medicis into Brussels. 

23. VAN DER HORST (Nic). The portrait of Mary of 
Medicis, 

These two drawings signed, (cN.VanderHorst)) were 
engraved by Andrew Pauwels for the works of La Serre. 
a The Entrance of the Queen mother into the Nether- 
lands)), published by the Plantinian printing office 
in 1632. (*) 

Pen-drawings tinted in bistre, in-folio size. 

Queen Mary of Medicis, accompanied by the Arch- 
duchess Isabella, visited the Plantinian printing 
office on the lO"' of September 1631. Balthasar 
Moretus I composed a compliment in honor of the two 
princesses and offered it to them during their visit. 
He reprinted it in the book of La Serre. 

24. VAN NOORT (Adam) 1557-1641) Mne drawings for : 
P. Biverus, Sacrum Oratorium (Plantin 1634, in-4o). 

Engraved by Charles de Mallery in 1630. i^) 

25. VAN NOORT (Adam). Five drawings representing 
subjects of the life of Mary. Three amongst them bear 
the monogram of the master A V N coupled. 



(1) 17 Octobre 1631. Pour les pourtraicts du titre de rEntr6e de la 
Reyne M6re et de I'arbre de g6n6ration d'icelle a Van der Horst fl. 48. — 

13 d6c. 1631. A. Van der Horst voor de teekeninghe van 't hof van 
Bnissel ende entree van de Koninginne tot Brussel . . . , fl. 26. — 

(2) Accounts of the engravers Galle fol. 76 : 1630 den 4 november. 
Mallery gesneden het leven van ons L. Vrou in duyfkens syn 9 platen 
met herteekenen en lystkens onder. Stuck 33 gul 297. — 



- 19 — 

Pen-drawing washed with bistre, size in-8o. 

26. RUBENS (P. P.). Receipt of 600 florins paid to the 
master by Balthasar Moretus, for the picture ornament- 
ing the sepulchral monument of John Moretus I at the 
Antwerp Cathedral. This picture is a triptych, repre- 
senting the Resurrection of Christ in the centre panel 
and in the shutters St. John the Baptist and St. Martin. 
The receipt, dated 27th April 1612, is of the following 
tenor : 

Ic onderscreven bekenne ontfanghen te hebben van 
Sr Balthasar Moretus de somme van seshondert gul- 
dens eens tot betalinghe van sijn vaders saligher 
epitaphium door mij geschildert. Tot bevestinghe der 
waerheyt hebbe dese quittantie met mijn handt ge- 
screven en onderteekent, desen 27 april 1612. 

Pietro Pauolo Rubens. 

(I the undersigned acknowledge having received from 
Sr Balthasar Moretus the sum of six hundred florins, 
in payment of his late father's epitaph painted by 
myself. In confirmation of the truth, I have written and 
signed in my handwriting the present receipt on this 
27th April 1612. Peter Paul Rubens.) 

27. RUBENS (P.-P.). Act dated the 27th November 
1630, by which Rubens sold to Balthasar Moretus I 
for a sum of 4920 florins, 328 exemplaries of the works 
of Hubert Goltzius and gave him the plates for the 
price of 1000 florins, to be paid in books. The receipts 
of Rubens, recognizing the payment of capital and 
interest are written on the act itself. 

Said copies belong to the edition of Jac. Biseus 
(Antwerp, 1617) and comprise the four first volumes 



— 20 - 

of the complete works of Goltzius. From 1634 to 
1637, Balthasar Moretus had the fifth volume reprin- 
ted, containing the history of the Roman emperors. 
From 1631 to 1633 he had the medallions which 
were to illustrate this volume cut by Christopher 
Jegher. This however was only published in 1645, by 
his nephew and successor, Balthasar 11. At this period, 
the copies of Biaeus' edition, sold by Rubens, were 
provided with new titles and prefaces and annexed to 
the fifth volume ; they formed as it were a new 
edition. 

28. QUELLIN (Erasm). Woodcut with the coat-of- 
arms of pope Urban VIII , 

Drawing, washed with ink. Engraved by Barth. Ga- 
vantus : Thesaurus sacrorum rituum. (Plantin, 1646, 
in-4o). 

29. RUBENS (P.-P.). Frontispiece for : Jacobi Bider- 
mani Heroum epistolce, Epigrammata et Herodias. (Plan- 
tin 1634, in-24o). Upon an antique altar a lyre is placed 
encircled bj'^ a wreath of ivy ; beside the lyre a 
cup and vase used for the sacrifices. The drawing 
contains in Rubens' handwriting the following words : 
« Ara, Patera, et Simpulum, Pietatem, Religionem et 
Sacra indicant. Lira et Hederacea Corona Poesim ». 

Pen-drawing paid 5 florins, engraved by Corn. Galle, 
senior. 

30. RUBENS (P.-P.). Frontispiece for : Bernardi Bau- 
husii et Balduini Cabillavi Epigrammata et Caroli 
Malapertii Poemata. (Plantin 1634, in-24o). A monumental 
stone of a Hermes, where a Muse is substituted to 
Mercur5\ A lyre and the buckle of Minerva are on 



— 21 - 

the sides. The drawing contains the following explana- 
tions, written by Rubens : « Habes hie Musam, sive 
Poesim, cum Minerva, seu Virtute, forma Hermatenis, 
conjunctam, nam Musam pro Mercurio apposui, quod 
pluribus exemplis licet. Nescio an tibi meum commen- 
tum placebit, ego certe mihi hoc invento valde placeo, 
ne dicam gratulor. Nota quod Musa habeat Pennam in 
capite, qua differt ab Apolline. » 

Pen-drawing, paid 5 florins, engraved by Cornells 
Galle^ senior. 

31. RUBENS (P.-P.). Frontispiece for : Urbanus VIII 
Poemata (Plantin, 1634 in-4o). The drawing represents 
Samson discovering a swarm of bees in the jaw of a 
lion. 

Pen-drawing, paid 12 florins ; engraving by Corn. 
Galle, senior. 

32. RUBENS (P.-P.). A mark of the Plantinian printing 
office. 

Pen-drawing, washed with ink. Probably drawn to 
serve as a model to Theodore Galle, who engraved it or 
had it engraved on a silver dish. On the 15*^ of March 
1630, Balthasar Moretus paid him for this drawing 36 
florins (*). It was engraved, with a few modifications in 
the accessories, by Corn. Galle senior, to adorn the 
title of the works of Justus Lipsius, tom. II, III, IV 
(Plantin, 1637, in-folio). 

33. RUBENS (P.-P.). Portrait of a Jesuit father. 
Drawing in Indian ink and white chalk in-4o (Doubt- 
ful piece). 

(1) AccounU of Theodore Galle Ao 1630. Den 15 Meert. Gesneden in 
een silyeren telloor den passer naer Rubbens gul. 36. — 



— 22 — 

34. RUBENS (P. -P.). Woodcut of the coat-of-arms of 
Urbanus VIII. 

An identical composition, but with the coat-of-arms 
of Clement XI, is engraved on the frontispiece of a 
Psalter of 1713. 

Pen-drawing, heightened by white and black (Doubt- 
ful piece). 

35. RUBENS (P. P.). A mark of the Plantinian printing 
office. 

Pen-drawing heightened by white and black (Doubt- 
ful piece). 

36. RUBENS (P.-P.). Frontispiece of: Opera Justi LipsiL 
(Plantin, 1637, in-folio). Upon a rustic arcade containing 
the bust of Justus Lipsius, Philosophy and Politics are 
seated. The mountings of the arcade are formed of 
two terms, representing Seneca and Tacitus. To the 
right, Mercury and Prudence ; to the left, Minerva and 
Bellona, below the she-wolf and some Roman weapons. 

Pen-drawing, washed with ink, paid 20 florins. 
Engraved by Corn. Galle, senior. 

37. RUBENS (P.-P.) and QUELLIN (Erasm). Portrait 
of the count'duke of Olivarez, minister to Philip IV, king 
of Spain. 

Rubens made a grey-painting representing the 
medallion of count-duke of Olivarez encircled by 
symbolic figures. The present drawing is a copy sim- 
plified, made by Erasm Quellin after this piece. It 
was paid 18 florins by Balth. Moretus, in 1639 (*). The 



(I) Den 24 9ber 1639. A Erasmus Quell inus voor de teeckeninghe van 
Conte Duca fl. 18.— 



-23- 

plate, engraved by Corn. Galle, junior, for the 
works of Luitprand (Plantin, 1640, in-folio), bears 
the indication : « Petrus Paulus Rubenius pinxit. » 

38. RUBENS (P.-P.) and QUELLIN (Erasm). Frontis- 
piece of:Luitprandi Opera, published by father Hierony mo 
de la Higuera, annotated by Lauren tio Ramirez de Prado, 
(Plantin, 1640, in-folio). Upon a cylindrical pedestal 
sits History. To the left, an olive-tree, upon which are 
hung the tiara and the papal keys. A woman is fastening 
a chain to the trunk formed by the portraits of the 
popes. Around a palm-tree Mercury is rolling up a 
ribbon, with the words Pace et Bello, which intercros- 
ses with a chain, formed by the portraits of emperors 
and kings of Europe, whose history was written by 
Luitprand. Europe is represented in a low-relief, 
adorning the base of the pedestal. 

Pen-drawing, washed with bistre, signed « E. Quel- 
linius delin. » Rubens conceived the subject of this 
composition ; Erasm Quellin drew it ; Corn. Galle, 
junior, engraved it. On the 25*^ May 1639, it was paid 
24 florins to E. Quellin (*). 

39. RUBENS (P.-P.) and QUELLIN (Er.) Drawing of 
the frontispiece of : Icones Imperatorum Goltzii (Plantin 
1645, in-folio). Julius Caesar is sitting upon a cylindrical 
pedestal. He holds in his left hand a statuette of 
Victory ; in his right hand, the terrestrial globe ; at the 
side of the pedestal the emperor Constantinus is 
standing on the right, on the left, Rudolph I. 

Pen-drawing, heightened with white and black, 

(1) AccowU B, Q^eain : 1639, 25 Mai, Item een boeck van del 
Prado gul. 24.— 



- 24 — 

bearing the inscription : « E. Quellinius invent.*. The 
copper engraving by C. Galle senior bears : « Pet. 
Paul. Rubens invent ». The master probably conceived 
the design which the scholar carried out. 

40. RUBENS (P.-P.) and QUELLIN (Erasm). Drawing 
of the Frontispiece of: Jean Boyvin, le Si^ge de la ville 
deDdle (Plantin 1638, in-4o). The town of Dole offers an 
obsidional crown to Philip IV and swears fidelity 
to him. 

The drawing was made after the indications of 
Rubens by Erasm Quellin and paid 15 florins, on 
the 6th of March 1638. 

The plate is engraved by Corn. Galle, senior. 

41 and 42. QUELLIN (Er.) Two accounts mentioning 
among other things the payment of the drawings 
exposed under N^s 44, 45 and 46. 

43. QUELLIN (Er.). Drawing of the frontispiece of : 
Caroli Neapolis Anaptyxis ad Fastos Ovidii (Plantin, 
1639, in-folio). 

Signed : .« E. Quellinius inventor ». Paid 24 florins, 
on the 6ih of March 1638. 

44. RUBENS (P.-P.) and QUELLIN (Er.). Frontispiece 
of: Barthotomoei de los Rios de Hierarchia Mariana 
(Plantin, 1641, in-folio). The Virgin is invoked by king 
Philip IV and St-Augustine. 

Drawing signed : « E. Quellinius delin ». Executed by 
E. Quellin , after the indications of Rubens. 
Engraved by Cornelis Galle, senior. 

45. QUELLIN (Er.). Five drawings for the same work. 
Four Madonnas and one « Ave Maria » the Virgin 
being invoked by angels. 



k 



— 25 — 

Two of the Virgins and the « Ave Maria « are signed : 
« E. Quellinius delin »; These drawings were paid, 
in 1639, 20 flor. each. Corn. Galle, senior, engraved 
them. 

46. QUELLIN (Er). Drawing of frontispiece of F. 
Goabau, Epistolce Pii V (Plantin, 1640), in-4o). 

Signed: «E. Quellinius » paid 24 florins, on the 25t*» 
May 1639. Engraved by C. Galle, senior. 

47. QUELLIN (Er.). The burial of J, C. 

Drawing made for the work : Quaresmii Elucidatio 
de Terra Sancta (Plantin, 1639, in-4o). Engraved by 
Andrew Pauwels. 

48. QUELLIN (Er.). Drawing for the frontispiece of: 
Roderici de Arriaga Disputaiiones Theologicce (Plantin, 
1643, in-fol.) 

Signed : « E. Quellinius invent. » Engraved by C. 
Galle, Junior. 

49. QUELLIN (Er.). Portrait of a monk, with the 
device : « Pone me ad signaculum. » Small size in-fol. 

50. QUELLIN (Er.). Frontispiece of the work of Mathieu 
de Morgues : Diverses piices pour la defense de la Reyne 
mire (Plantin. 1637, in-folio). 

The drawing bears the inscription : « E. Quellinius 
dehn. » Rubens assisted him (*), Corn. Galle senior 
engraved it. 

51. QUELLIN (Er.). Drawing of a frontispiece repre- 
senting Time. 

Signed « Erasmus Quellinius del. ». 



(1) Balth. Morotus I wrote to Duvordier on the 3rd of April 1637 ; 
« Mr Rubens a conceu le frontispice et a donn6 la charge a on aultre 
maistre de le d6lin6er. » 



- 26 - 

52. QUELLIN (Er.). Drawing of the frontispiece of : 
Balth. Corderii Expositio patrum Grcecorum in Psalmos. 
(Plantin, 1643-1646, in-folio). 

This plate is falsely attributed to Rubens. Erasm 
Quellin drew it in 1641 and was paid 24 florins. It was 
engraved by Peter de Jode (*). 

The Plantin-Moretus Museum conserves the copper 
of the drawings described under n^s 13, 17, 22, 23, 
24, 31, 36 to 40, 43, 44, 45, 48, 50, 52. 

53. QUELLIN (John-Erasm). 1634-1715. Symbolical 
representation of Popedom^ 

Signed : « J. E. Quellinius pic.[a cub. Cses. Ma^is. F. 
1687. » 

54. QUELLIN (J.-E.). Symbolical representation of the 
Catholic Church. 

Signed : « J. E. Quellinius pict. a cubic. Cses Matis F. * 

55. QUELLIN (J.-E.) Same subject 
Signed : J.-E. Quellinius P. Cses Ma'^s. » 

55bis. QUELLIN (J.-E.). Saint-Norbert kneeling before 
the Virgin, 

Nrs 40 to 55 are pen-drawings washed with ink; some 
of them are touched up with black chalk. 

56. VAN WERDEN (Jac). A king of France. Plate 
designed for the work : Joan. Jac. Chiffletii LiliumFran- 
cicum (Plantin, 1658, in-fol.) 

Signed : v J. Van Werden, f. « Pen-drawing washed 
with bistre. 

57. SCHUT (Cornelis). 1597-1655. Drawing of the 



(1) 22 Augusti 1641. Aen Erasmus Quellinus : Titolus Catenae in 
Psalmos fol fl. 24. — 



— 27 — 

frontispiece of the work: J. Tollenarii Speculum Vanitatis 
(Plantin, 1635, in-4o). 
Engraved by C. de Mallery. 

58. MAES (Godfrey). 1649-1700. Ten drawings for a 
Breviary, in-4o. 

Signed : «G. Maes,inv. et del. » Pen-drawings washed 
with Indian ink. 

59. VAN ORLEY (John). 1656- ? Eight drawings for a 
Missal, in-fol., published in 1708. 

60. DE COCK (John-Claud). 1670?-1736. Eight draw- 
ings for a Breviary, in-4o. 

Signed : « Joannes Claudius de Cock, inv. et del. 
1704 j>. Drawn with a pen, washed with Indian ink. 

61. TASSAERT (Phiup-Joseph). (1732- ? Master of 
the guild of St-Luke in 1757). The Besurrection of Christ. 

Signed: «P.-J.Tassaert, inventor et delineavit 1762 ». 
; Drawing in-fol., drawn with ink and touched with white. 

62. BEUGNET. Ten drawings for a Diurnale Bomanum, 
in-12o, 5 of which are in red chalk and 5 pen-drawings 
washed with Indian ink. 

63. D'HEUR (CoRN.-JosEH). 1707-1762. Ten drawings 
for a Breviary, in-8o. 

64. D'HEUR (C.-J.). Twelve drawings for a Breviary, 
in-8o. 

65. D'HEUR (C.-J.). Eighteen drawings for a Breviary, 
in-12o. 

66. D'HEUR (C.-J.). Eighteen drawings for a Breviary, 
in-16o. 

Nrs 63 to 66 are pen-drawings washed with Indian ink. 
The engraving gives all the exposed drawings re- 
versed. 



- 28 - 

III. 

THIRD DRAWING ROOM ON THE GROUND FLOOR. 

In this room the pictures and following objects are 
exposed : 

1. WILLEBORTS alias BOSSCHAERT (Thomas). Por- 
trait of Godefridas Wendelinus. Godfrey Wendelinus 
(Wendel), a philosopher, mathematician and priest^ 
born at Lummen in Limburg in 1580, died at Roeselare 
in 1660. He is represented three quarter face, bare 
headed, his beard and hair short and grizzlj^ with a 
white collar on his cassock. 

Canvas H. 0,63 m., L. 0,49 m. 

2. The Oath of the Guild of Saint-George, called 
the young Arbalet (Den Eedt van der Guide van 
den Edelen Bidder St-Joris ghenaemt den Jonghen 
Voetboghe) printed upon vellum by Plantin. This is 
the copy which belonged to the brotherhood, and 
which the new members w^ere to read in pronouncing 
the oath. 

3. QUELLIN (Erasm). Portrait of Ludovicus Nonnius^ 
Lewis Nonnius (Noens) was a distinguished doctor' 
inhabiting Antwerp in the first half of the XVnii» Cen- 
tury. He is represented three quarter face, with greyish 
hair, slightly curled, a moustache and grey beard. 
He wears an embroidered white collar on a black 
coat. 



(1) 1647. 18 April. — Betaelt aen Erasmus Quellinus voor het pour- 
traict D. NonniuH ende Titulus Thomas a Kempis .... fl. 15.— 



— 29 — 

Painted in 1647 (*). 

Canvas. H. 0,625 m., L. 0,463 m. 

4. LEYSSENS (James) 1661-1710. St- Joseph with the 
infant Jesus. The saint clothed in a blue and brown 
drapery holds between his hands the infant Jesus lying 
on a piece of white stuff; he looks up to heaven where 
the heads of Angels hover. 

Canvas H. 1,06 m., L. 0,78 ra. 

5. VAN REESBROECK (James). 1620-1704. Portrait of 
Elisabeth Janssens van Bisthoven. Elisabeth Janssens van 
Bisthoven married, on the 17^^ of May 1583, Nicholas de 
Sweert ; she was then 20 years old. She was the mother 
of Mary de Sweert, wife of John Moretus II and died 
on the 29"! of December 1594. She is seen three 
quarters ; she wears a piped collar, a bonnet bulged 
out on the temples, and a black dress : her hair is 
thrown back. 

This portrait was retouched by Jac. van Reesbroeck 
in 1659 0- 
Pann. H. 0,645 m., L. 0,49 m. 

6. VAN REESBROECK (James). Portrait of Mary de 

(1) Book of private expenses of Balth. Moretus i7(p. 2f>). — 1659. Adi 
3 meert gheaccordeert met S^ Reesbroeck schilder, dat hem betaelen 
sonde voor het pourtrait van Mamere saligher, voor het myn ende voor 
dat van myne huysvrouwe, beneffens het veranderen vande portraicten 
van Grandper ende Grandmere de Sweert, in alles de somme van een 
hendert ; waerop heden hem betaelt hebbe de somme van twee en 
seventich guldens ende thien stuivers fl. 72.10 

(2) Id. (p. 47) — 1660. Adi 20 november, betaelt aen Sr Reesbroeck. 
schilder, de somme van fl. 72 : te weten fl. 28 voor het ghene dat hy noch 
moest hebben, volghens het accoord hier voor p 25, ende fl. 44 voor het 
poortraict van onsen sone Balthasar, als hy nae Parys is gaen 
woonen . . , fl. 72. — 



- 30 — 

Sweert, wife of John Moretiis II (15SS-1Q55). She is seen 
in profile ; she wears a flat collar and a high and 
transparent one upon a black dress ; also a small 
black head-dress falling down her forehead. 

Painted by James van Reesbroeck in 1659 (*). 

Pan. H. 0,625 m., L. 0,502 m. 

7. UNKNOWN. Portrait of Adriaiia Gras (1514-1592). 
Adriana Gras was the wife of James Moerentorf and 
the mother of John Moretus I. She wears a white cap, 
a short ruffle and black dress bordered with fur. 

Dated : « 1591. Aet. 77 ». 

Pan. H. 0,62 m., L. 0.50 m. The picture has been 
enlarged ; originally its dimensions were H. 0,485 m., 
L. 0,375. m. This portrait is the original reproduced 
by Rubens in his effigy of Adriana Gras, which hangs 
in saloon II, N^ 2. 

8. VAN REESBROECK (James). Portrait of Nicholas 
de Sweert (1551-1598). Nicholas de Sweert, an Antwerp 
merchant, was the father of Mary de Sweert, wife of 
John Moretus 11. He wears a soft collar folded into 
a fringe and a black close-coat. His hair, moustache 
and beard are black. 

This picture was retouched by James van Rees- 
broeck in 1659 (*). 
Pan. H. 0,625 m., L. 0,48 m. 

9. UNKNOWN. Portrait of a member of the Moretus 
family. He is represented three quarter face. He wears 
a high, broad brimmed hat ; his fair hair is long and 
curly, his moustache is fine, his eyebrows thick. He is 



(1) See preceeding page. 



— 31 — 

dressed in a cloak and wears a white collar. On the 
ground an oval frame is painted. 

Canvas H. 0,727 m., L. 0.57 m. 

The picture appears to be by the same hand as the 
next one. 

10. UNKNOWN. Portrait of Balthasar Moretus II 
(1615-1674). He has chestnut hair, pointed moustache ; 
he wears a turned down collar ; one hand is half hid- 
den in his doublet, the other resting upon his breast. 
On the ground an oval frame is painted. 

Signed at the top « ^Eta' suae 23, ann. 1638 » ; below, 
a monogram hardly legible which seems to be formed 
by two letters M over one another followed by a P. 
The latter may be the initials of Michael Mierevelt. 

Canvas H. 0.81 m., L. 0,63 m. 

11. BOSSCHAERT alias WILLEBORTS (Thomas). 
Portrait of Erycius Piiteamis (1574-1646). Erycius Putea- 
nus (Henry Van de Putte or Dupuy) succeeded to Justus 
Lipsius in the professorship of latin letters at Louvain. 
He is represented three quarter face, with a beard and 
grizzly hair. He wears a white collar, and black gar- 
ments upon which a gold medal is hung, with the 
effigy of Philip IV of Spain. 

Canvas H. 0,635 m., L. 0.485 m. 

12. YKENS (Francis) (1601-1693). The Virgin and 
Infant Jesas in a garland of flowers and fruit. The Vir- 
gin, suckling the Infant Jesus, is painted upon an oval 
tablet resting on a pedestal representing granite. 



— 32 — 

Around the medallion four bunches of fruits and flow- 
ers are placed. 

Signed : « Francisco Ykens fecit ». 

Canvas H. 0,99 m., L. 0,71 m. 

13. RUBENS SCHOOL. Three ajigeVs heads envelop- 
ped by clouds. 

Pan. H. 0,52 m., L. 0,575 m. 

14. BROERS (Caspar) (1682-1716). Bailie of Eekeren, 
foughl on the 30^^ of June 1703. To the right of the pict- 
ure, near a group of trees, across which the towers 
of a castle and of a church are distinguished, the com- 
mander of the French and Spanish allies is seen with 
his staff". In the middle, the battle is in action ,• to the 
left, a mill, a village steeple and the river Scheldt, in 
front a bivouac fire, a tent, some luggage, implements 
of war and some dead soldiers lying on the banks and 
in the water of a pond. 

Signed : « G. Broers, f. >> This picture was bought at 
a public sale in October 1716, perhaps at the deceased 
painter's house, at the price of 52 florins. 

Canvas H. 1,63 m., L. 2,37 m. 

15. UNKNOWN. Dead nature. A hare, tied to a tree 
by one leg. 

Canvas. H. 0.95 m., L. 0.762 m. 

16. RUBENS SCHOOL. Three angeVs heads in clouds. 
Pan. H. 0,52 m., L. 0,575 m. 

17. RUBENS (Peter-Paul). Portrait of Leo X. (1475- 
1521). The pope is represented three quarter face 
dressed in his camail and scarlet cap bordered with 
ermine. 

Painted between 1612 and 1616, at the price of 14 fl. 



- 33 - 

8 pence. Engraved by Luke Vorsterman, the elder (*). 
Pan. H. 0,63 m., L. 0,485. 

18. RUBENS (Pei'er-Paul). Portrait of Pic de la Mi- 
randole. (1463-1494). The learned Italian is seen from 
profile ; he wears long hair covered by a red cap and 
a blue coat with pink sleeves. 

Painted between 1612 and 1616, at a cost of 14 fl. 8 s. 
Pan. H. 0.63 m., L. 0,49 m. 

19. WOLFERT (B.). Hunting scene. In the middle of 
the picture, a hunter is seen, dressed in a red coat and 
mounted on a bay horse ; to the right, a lady who has 
just dismounted from a white horse and talking with 
a young man : a page is standing behind the white 
horse and another to the right, holding two dogs by a 
string. 

Signed : « B. Wolfert ». 
Canvas. H. 0,78 m., L. 0,89 m. 

20. QUELLIN (Erasme). Portrait of Aubert le Mire or 
Mirceus. Aubert Le Mire, a celebrated historian, priest 



(I) It may be admitted without hesitation that several of the portraits 
adorning this saloon, although supplied by Rubens and sent from his 
studio, are not altogether by his hand. Like a large portion of his 
pictures, they were begun by his pupils and finished by him. The great 
want of equality in the portraits by Rubens which the Museum possesses 
arises from the greater or smaller share he had in the finishing of 
them. All the personages being dead, at the time when Rubens painted 
them, it is evident that they were done from memory or after other 
paintings. Those of Leo X, Pic de la Mirandole, Laurent and Cosmo de 
Medici, of Alphonse of Arragon and of Mathias Corvin were made, 
with slight variations, after the effigies as they are met with in the Vitce 
iUtisPriinn virorum and the Elogia Virorum doctor um by Paulus 
Jovius (Basle, P. Pema, 1578, in-fol.). 



- 34 - 

of St-Mary's at Antwerp, born at Brussels in 1573, died 
at Antwerp in 1640. He is represented three quarters, 
wearing a moustache and black beard ; his hair is 
black and he wears a white collar on his cassock. 

This picture was painted in 1642, at the same time 
as one of the portraits of John Moretus II. The two 
works of art were paid together 16 fl. (*) 

Canvas. H. 0,63 m., L. 0,49 m. 

21. RUBENS (Peter-Paul). Portrait of Lawrence de 
Medici (1448-1492). He is seen in profile ; he wears long 
hair and a green coat. 

Painted between 1612 and 1616, at a price of 14 fl. 
8 d. Engraved by Luke Vorsterman, senior. 
Pan. H. 0,63 m., L. 0,49 ra. 

22. RUBENS (Peter-PaulV Portrait of Mathias Corvin 
of Hungary (1443-1490). He is seen in profile; upon his 
long, light brown hair a light wreath of flowers is 
placed ; he wears brown and white fur on a red robe. 

Painted between 1612 and 1616 at a cost of 14 fl. 8 d. 
Pan. H. 0,63 m., L. 0,49 m. 

23. RUBENS (Peter-Paul). Portrait of Cosmo de Me- 
dici (1389-1464). He is represented in profile, dressed in 
a scarlet robe and hat. 

This picture is not indicated in the account of por- 
traits painted by Rubens for Balth. Moretus. It was 
engraved by Luke Vorsterman, senior. 

Pan. H. 0,63 m., L. 0,49 m. 



(1) 1642. Adi, 10 September. Betaelt aen Erasmus Quellinus voor het 
contrefaictsel van Monper saligher ende yan Mynheer Mirseus. . . fl. 16 



— 35 - 

24. VAN THIELEN (Philip). (1618-1667). Flowers are 
laid upon a carved bas-relief, around the bust of an 
angel. In the inferior part, two streamlets flow into a 
basin. 

Canvas. H. 1,36 m., L. 1,175 m. 

25. SALOMON DE BRAY (Harlem 1597-1664). Portrait 
ofMelchior Moretus, son of John I, born 20*^ of April 
1573, died 4th of June 1634. Canon at St-Odenrode, 
North Brabant). 

26. RUBENS (Copy after Peter-Paul). Lion hunting. 
Four men on horseback and three on foot combating 
a lion and lioness. Three of the. horsemen wear a 
turban, the fourth a helmet. The lion has sprung upon 
one of the cavaliers tearing *him from his horse and 
overthrowing him. The two other Asiatic horsemen 
pierce the lion with their lance, the European rider 
striking him with his sword. The lioness has buried 
her claws into the chest of one of the hunters on foot, 
the second goes to his assistance, the third is stretched 
dead on the ground. 

The original of the picture is found at the Pinacothek 
at Munich. The copy is of Rubens' time and probably 
by one of his pupils. It is mentioned in the inventory 
of possessions made on the 1st of January 1658, by 
Balthasar Moretus II. 

Canvas. H. 1,325 m., L. 2,13 m. 

27. VAN REESBROECK (Jam.) Portrait of Balthasar 
Moretus III (1646-1696). He is represented down to his 
knees, bare-headed and has long hair, a large turned 
down collar, a black coat with puffed sleeves with slits; 
and bows of pink ribbon trimming his belt. This 



— 36 — 

portrait was painted in 1660, at the time when Balth. Mo. 
retus III, aged 14 years, went to Paris. It was paid 44 fl.(*) 
Canvas. H. 1,01 m., L. 0,76 m. 

28. RUBENS (Peter-Paul). PoWraz7 of Alphonso,.King 
ofAragon and Naples. (1384-1458). He is seen in profile, 
he has white hair and wears a breastplate. 

Painted between 1612 and 1616, at a cost of 14 fl. 8 d. 
Pan. H. 0.635 m., L. 0,51 m. 

29. UNKNOWN. Bust of a naked man. 
Panel. H. 0,625 m., L. 0,485 m. 

30. UNKNOWN. Portrait of Magdalen Plantin, wife of 
Guy Beys (1553-1599), She wears an embroidered cap, 
with loops, a black dress and a ruff. On the top of the 
picture one reads the number 71, evidently the remain- 
der of the date 1571. The first two figures were remov- 
ed when the panel was shortened. 

Counterpart of the following number. 
Panel. H. 0,535 m., L. 0,46 m. 

31. UNKNOWN. Portrait of Guy Beys, Plantin's son- 
in-law (t 1595). His hair, moustache and beard are of a 
dark color ; he wears a piped collar and a black coat. 
Upon the picture, the figure 1 is seen (the rest of 1571) 
and the letters « Aet ». On the back Balth. Moretus is 
marked, evidently an erroneous designation. 

Counterpart of the preeceeding n^ and shortened in 
like manner. 
Panel. H. 0,535 m., L. 0,46 m. 

32. RUBENS (Peter-Paul). Portrait of pope Nicholas 
V (t 1455). He wears the tiara and pontifical garments. 

(1) See note on page 29. 



— 37 - 

This portrait is not quoted in the account of por- 
traits painted by Rubens for Balth. Moretus. 
Panel. H. 0,63 m., L. 0,485. 

33. BOSSCHAERT, alias WILLEBORTS (Thomas). 
Balthasar Moretus I dead. He is lying on his death bed. 
His pale face, showing a sharp contrast with the withe 
pillows and sheet. 

Painted in 1641, paid 96 fl. with the n^ 11 of 
saloon I (*) 
Canvas. H. 0,67 m., L. 0,765 m. 

34. VAN UDEN (Luke). (XVIth century). Winter land- 
scape. The ground is covered with snow. On a piece of 
water, situated between two heights, skaters are en- 
joying themselves ; on the nearest hill, passers-by, 
trees, houses ; on the one more distant, a church, some 
houses and, on the summit, a mill. 

Signed « L. V. V. ». 

Panel. H. 0,167 m., L. 0,225 m. 

In the middle of the room stands a high show desk, 
on which some manuscripts, autographs and books 
are exposed. 

Manuscripts : 

35. Chronicles of Froissard. (Third volume) Manu- 
script ornamented with miniatures. The miniature at 
the head of the volume represents the coronation of 
John I, king of Portugal. In the lower part is the coat 
of arms of the Montmorency family substituted to the 
primitive arms which have been scraped out. In the 

~ ■ I ■■^M I I ■ ■■■■ —■■■ ■ ■ ■■ — -I.— ■ ■■■■■ aaii 1—^—^ ■ 11 ■ . I H M^i ■— — ■ ■ ■ m^^ Mil 

(1) See note on page 13. 



~ 38 — 

margin, a horse with the words mon tour. The manu- 
script is found mentioned in the inventory of the mor- 
tuary of Philip of Homes. It was acquired by one of 
the Moretuses, between 1592 and 1650. Large size in- 
folio. A work of the XV^h century. 

36. Prayer-book in Dutch, illustrated with large 
miniatures and colored frames. Small in-4o. Dated 1400. 

37. Prayer-book inDutch, ornamented with headings 
and colored frames. In-8o. XV^^ century. 

38. Prayer-book in Latin, illustration of frames and 
colored headings and ornamented. In-8o. Dated 1508. 

39. Sedulius, Carmen Paschale; Prosperus, Epigram- 
mata, etc. Manuscript with glosses between the lines 
and in the margin ; in Latin and old German, partly 
cryptographieal. It is illustrated with colored mini- 
atures. Small in-folio. Manuscript of the X^h Century, 
having belonged to St-James' church at Liege and 
subsequently to Theodore Poelman. 

40. Chronicles of Froissard. (First volume of the) 
A miniature in grey painting, at the head of the third 
part of the first volume ; it represents the coronation 
of Philip of Valois. (Vide n*" 35 of the same room). 

41. Prayer-book in Dutch, illustrated with large mi- 
niatures and colored frames. Small in-4o. Dated 1489. 

42. Prayer-book in Dutch, ornamented with head 
letters and colored frames. Small in-4o. XVt'» century. 

43. Apocalypse. A manuscript illustrated with pen- 
drawings partly colored yellow and red, and Collectanea 
ex Epistolis Sanctce Hilligardis, In-4o. XV^^ century. 

44. Latin Bible, 1^* volume. 

45. Latin Bible. 2^^ volume. 



— 39 - 

A large sized manuscript in-folio, ornamented with 
numerous woodcuts and rich frames, different for each 
page. At the end of the first volume a certain number 
of miniatures are left incomplete ; the personages are 
drawn in pencil, the frames alone are colored. In a 
large part of the second volume the illustrations are 
completely wanting. The third volume, which should 
have completed the Bible, was not executed. The ma- 
nuscript was completed in 1402, on the day of St Peters' 
See (18th of January) and executed for Conrad, Master of 
the Mint. At the end of the second volume the following 
note is found : « Explicit secundus liber Esdre sacerdo- 
tis in anno Domini millesimo quadringentesimo secundo 
currente in Kathedra sancti Petri Apli. Comparatus 
per dom. Conradum Mgrm Monete ». 

The person who had this manuscript executed is, 
according to D«* K. Chytil of Prague, Conrad de Wechta, 
Master of the Mint at Kuttenberg, in Bohemia, in 1401 
and 1402. And indeed the coat of arms of this person- 
age, a sable goat with golden hoofs and a red tongue 
upon a silver ground, are met with twice in the frames. 
The present manuscript, like the bible belonging to the 
imperial library of Vienna, was made in order to be 
offered to the emperor-king Wenceslas, whose symbolic 
bird, the halcyon, is seen upon the title (Vide D^ Julius 
VON ScHLOSSER. Die BilderhnndschriftenKonigs Wenzel /, 
Wien 1893). The work of the miniatures is found to be 
by many hands ; the style and numerous details allow 
us to attribute the coloring to some Prague artists. 
'46. Cicero, De la Vraye Amitie, de la Vieillesse et des 
Offices. On True Friendship, On Age and Duties). 



- 40 — 

In the prologues of the two first treatises, the trans- 
later, Laurent de Premierfaict, makes his name known. 
He dedicated the translation of the first to John, Duke 
of Berri, son of the king of France (1340-1416) ; that of 
the second to Lewis, uncle of the king of France, and 
duke of Bourgogne. He called himself the « humble 
clerk » to both his masters. 

The present manuscript is the copy, executed in the 
XVth century, of a previous codex. The copyer, as is 
generally done, conserved the dedication of the primi- 
tive work. The miniature at the head of the volume 
represents the translater presenting his work to the 
duke of Berri, his master. 

47. Prayer-book, in Dutch, ornamented with wood- 
cuts and colored headings. In-12o. XVt'^ century. 

48. Prayer-book, in Dutch, ornamented with minia- 
tures, frames and colored headings. Small in 4®. 
XVt'i century. 

49. Prayer-book, in Dutch, ornamented with minia- 
tures imitating engravings and washed with ink. Small 
in-8o. XVtti century. 

The compositions are partly the same, as those of a 
manuscript at the royal library at Brussels (n^ 21696) 
and those of Le Miroir de la Salvation hiimaine of the 
same library, dated 1448. The miniatures of these three 
manuscripts have been copied more or less accurately 
after the engravings upon copper executed by the 
master of the Jardins d' Amour (Vide D^ Max Lehrs, 
Die Meister der Liebesgdrten. Dresden 1893). 

50. Olivier de la Marche. Divers poems and works 
in prose. Small in-folio. XVDh century. 



— 41 - 

51. Latin Bible. Ornamented with colored headings. 
In-8o. The manuscript belonged to James of Gouda, in 
1470. 

52. St Augustine, de Civitate Dei. Ornamented with 
a miniature at the head of the volume and colored 
headings. Small longish in-folio, dated 1497. It was 
bequeathed by Nicholas Oudart to Balth. Moretus I. 

53. Psalm-book, in Dutch, ornamented with frames 
and colored headletters, dated 1488. In-4o. 

54. Prayer-book. Ornaments and colored headings. 
In-12o. XVtJ' century. 

55. Cicero, de Officiis. Ornaments and colored head- 
ings. In-4o. XIIIt»» century. Manuscript having belonged 
toTheod. Poelman. 

56. BoETius, de Consolatione philosophoriim. With 
numerous annotations in the margin and between the 
lines, of different centuries. The text is of the IXt'> cen- 
tury. In-4«. The manuscript belonged to Theod. Poel- 
man. 

57. Latin Bible. Ornaments and colored headings. 
XVth century. 

58. MissALE RoMANUM, Ornamented with colored and 
gilt headings. In-folio. XV^'^ century. 

59. Claudianus. Ornamented with colored headings. 
Lengthened in-folio. XlV^h century. 

60. The four Evangelists. Manuscript of the Xt»» 
centurj\ In-4o. Ornamented by a colored figure of the 
Evangelist. 

61. Extract from the travels of Marco Polo of 
Venice. In-folio. XVi'> century. 



- 42 - 

62. Valerius Maximus. In-folio. XVt'> century. Manu- 
script having belonged to Theodore Poelman. 

63. DuDO, de Moribus et actis Normannorum. Orna- 
mented with colored headings. In-4«. XII^ii century. 

Plantinian editions : 

64. Michael Bruto. La Iiistitutionc di una fanciuUa 
nata nobilmente, (The instruction of a girl of noble 
birth). 1555. In-8o. The first book printed by Plantin. 

65.BiBLiAHEBRiEA,GRiECA,LATiNA. A copy upou vcllum 
of the second volume of the Apparatus sacer of the 
celebrated polyglot Bible. This volume comprises the 
Hebrew text of the Bible, with the interlineary transla- 
tion of Sante Pagnino, and the Greek text, with the 
translation of Arias Montanus, and is dated 1572. Plan- 
tin worked at the whole book from 1568 to 1573. Twelve 
copies of the royal Bible were printed upon vellum 
for the king of Spain, in payment of a portion of the 
21,200 florins, which he had advanced to encourage 
the entreprise. A thirteenth copy upon vellum remain- 
ed incomplete by several sheets. 10 copies were 
moreover printed upon grand imperial Italian paper, 
which fetched 200 fl. a copy ; 300 upon imperial paper 
at 100 fl. ; 960 upon fine royal Troyes paper, which 
were sold to the public at 70 fl., and 60 fl. to the book- 
sellers. The king made a present of one of the copies 
on vellum to the pope, a second to the duke of Alva, a 
third to the duke of Savoy. The others were deposited 
in the library of the Escurial. 

66. Flores de Seneca. Spariish translation of Juan 
Martin Cordero. In-8«. 1555. 



— 43 — 

67. P. Belon. Les observations de plusieurs singulari- 
tez trouvees en Grece, Judee, Eggpte, Arable et autres 
pays etrangers. In-8». 1555. 

68. DiCTiONNARiuM Tetraglotton. Latin, Greek, 
French and Dutch Dictionary. In-4o. 1562. 

69. NoNNUs. Diongsiaca. In-8«. 1569. Greek printing. 

70. J. B. HouwAERT. Pegasides plegn. In-4«. 1583. 
Dutch printing in written characters. 

71. J. B. DE LA Jessee. Les premieres oeuvres frangog- 
ses. 1* vol. in-4o. 1583. French printing in itahc cha- 
racters. 

72. A BR. Ortelius. Epitome du theatre da monde. 
In-12o, oblong. 1588. 

73. Pentateuchus. In-8". 1567. Hebraic printing. 

74. La premiere et la seconde par tie des Dialogues 
frangois pour les Jeunes enfans, In-8". 1567. With prefac- 
es in French verses by Plantin. 

75. Andre Gorsal. Historiale description de VEthiopie. 
In-8o. 1558. Italic characters. 

76. Peter Ravillian. Instruction Chrestienne. In-16«. 
1562. With an autographical note in Plantings hand- 
writing with the title « Ceste impression est faussement 
mise en mon nom car je ne Tay faicte ne faict faire. » 

77. Martialis. Epigrammdta. In-lfi®. 1568. Italic cha- 
racters. From the classical collection, in small size. 

78. iEscHYLus. Tragcedice. In-16o. 1580. Greek printing. 

79. L'A B C our instruction chrestienne pour les petits 
enfants, In-16o. 1558. Partly in characters of courtesy. 

80. Discours sur les causes de Vexecution faicte es per- 
sonnes de ceux qui avogent conjure contre le Rog et son 



— 44 — 

Estat, In-16o. 1572. Apology of St Bartholomew's night 
printed by order of the Council of Brabant. 

81. Clement Perret. Exercitatio alphahetica. In-folio, 
oblong. Models of writing comprising 35 plates, en- 
graved on copper, by Corn, de Hooghe, after the 
drawings of Cli^ment Perret. In-folio, oblong. 1569. 

82. MissALE RoMANUM. In-folio. 1572. One of Plantin's 
first editions of the Missal, according to the prescrip- 
tions of the Council of Trente. 

83. Breviarium Romanum. In-8o. 1569. One of the three 
editions in-8oof this work, all dated 1569, the first Plantin 
printed after the text adopted by the Council of Trente. 

84. Arioste. Le premier volume de Roland farieux, 
In-8o. 1555. 

85. Les ordonnances de la Thoyson d'or. In-folio. 1562. 
Printed on vellum. 

86. Kalendarium Gregorianum. 1585 in 64o.The smal- 
lest book printed by Plantin. 

87. C. Clusius. Rarioriim aliquot stirpium per Hispa- 
nias obseruatorum historia. In-8o. 1576. A copy with 
broad margins, in which the author has written down 
some corrections, in view of a subsequent edition. 

88. Santes Pagninus. Epitome Thesauri lingace sanctce- 
In-8«. 1588. Hebrew and Latin dictionary. 

89. Math. DeLobel. Kruydtboeck. In-folio. 1581. With 
colored plates. 

90. (Vesalius). Anatomic. In-folio. 1568. 

91. L. GuicciARDiNi. La description de touts les Pais- 
bas. In-folio. 1582. 

92. Schat der Nederduytscher-spraken. In-4o. 1573. 



I 
I 
i 

^ 
1 



— 45 - 

First Dutch dictionary, ever printed and which is due 
to Plantin's expeditious spirit. 

93. Abr. Ortelius. Theatro del mondo. In-fol. 1612. 
(J. and B. Moretus). Italian edition with colored plates. 

94. C. Clusius. Aromatiim et simplicium aliquot me- 
dicamentorum apud Indos nascentium historia. In-S®. 
1593 (J. Moretus). 

95. J. David. Paradisus sponsi et sponsce. In-8o. 1607 
(J. Moretus). With engravings by Theodore Galle. 

96. S. DiONYSius Areopagita. Opera. In-fol. 1634 
(B. Moretus). 

97. Fr. Aguilonius. Optica. In-folio. 1613 (J. and B. 
Moretus). With frontispiece and woodcuts drawn by 
Rubens. 

98. Jos. Texere. Explication de la Genealogie de 
Henri IV. In-4o. 1595 (Paris, Gillis Beys). 

99. Hugo Grotius. Syntagma Arateorum. In-4o. 1600 
(Leyde, Qiristophe Raphelengien). 

100. Statius. Opera, ln-4«. 1600 (Paris, Adrian P^rier). 

Autographs : 

101. Contract of partnership between Plantin, Ch. and 
Corn, de Bomberghe, James Schotti and Goropius 
Becanus (1563). 

102. Act by which Philip II grants a pension of 400 
fl. to Plantin, after the printing of the polyglot Bible 
(1573). 

103. Purchase deed of the Golden Compasses, now 
the Plantin-Moretus Museum (1579). 

104. Invitation, addressed by the duke of Savoy to 
Plantin, to engage him to found a printing establish- 
ment at Turin (1581). 



- 46 -- 

105. Minute of a letter by Plantin (1570). 

106. Memoir entitled : a Relation simple et veritable 
d'aulcuns griefs que moy Cristophle Plantin ay souffert 
despuis quinze ans ou environ pour avoir obey au 
commandement et service de Sa Ma*^ sans que j'en aye 
re^u payement ne recompense (1583). » (Simple and 
true account of some grievances that I, Christopher 
Plantin, have suffered since about fifteen years for 
having obeyed the commands and services of His 
Majesty, without having received either payment or 
recompense (1583). 

107. Last words written by Plantin. Paper addressed 
to Justus Lipsius. It was sent to him by John Moretus 
on the 19th of June 1589, and was found amongst his 
papers by John Woverius, who sent it to Balth. 
Moretus I on the 30*^ of April 1621. The few words 
dispatched by John Moretus, are written upon the 
autograph of Plantin ; the letter which Woverius sent 
along with the piece in returning it, is here attached. 

108. Testament of Plantin (1588). 

109. Autographical codicil to the testament of John 
Moretus I (1610). 

110. Letter of John Moretus I (1572). 
» John Gassen (1572). 
» Guy Beys (1572). 
» Magdalen Plantin (1589). 
^) Martina Plantin (1572). 
» Adrian Perier (1601). 
» Balthasar Moretus I (1594). 
» John Moretus II (1597). 
» Balthasar Moretus II (1638). 



111. 


» 


112. 


» 


113. 


» 


114. 


» 


115. 


» 


116. 


» 


117. 


» 


118. 


» 



— 47 — 

In two glass desks placed at the side of the entrance 
door the following objects are exposed. 

119. P. P. Rubens. Study for a group of the Reconcile- 
ment of Esau and Jacob. Drawing in blood-color and 
Italian stone. 

120 and 121. Pieces in verse composed and printed by 
Christopher Plantin in honor of the Prince and Princess 
of Orange, at the time of their visit to Antwerp in 
1579. Unique copies. 

122. Das Wort. Die Presse. Pieces in verse composed 
by H. M. the queen of Roumania (Carmen Sylva), writ- 
ten and ornamented with colored headings and offered 
to the Plantin -Mo retus Museum by the august author- 
ess, with the French translation, by Miss Helena 
Vacaresco and transcribed by Carmen Sylva, and the 
Dutch translation by Julius de Geyter, in his own 
handwriting. 

123. Jacob Jordaens. The Adoration of the Kings. 
Drawing in ink and in water-color, probably executed 
to serve as a model for an engraving. The picture, which 
this drawing reproduces with considerable variations, 
is found on the high-altar of the church of Dixmude, 
and dated 1644. 

The drawing is signed : 1653 4 aprilis J J d s. 

124. Water-color representing a polatoe plant in full 
bloom with its cap and two bulbs. On the back of the 
figure is the following inscription : Remittatur ad Clu- 
sium and upon the front side : Taratoiifli a Philippo de 
Sivry acceptum Viennce 26 Jamiarii 1588. Papas Peroua- 
niim Petri Ciecce. 



- 48 — 

In the beginning of 1588, Philippe de Sivry, lord of 
Walhain and governor of the town of Mons in Hainaut, 
sent to Clusius, who lived at Vienna, two bulbs and 
some potatoe seeds ; the following year he sent him the 
picture of the foliage and flower. He wrote to that 
learned man that he had received, the year before, the 
new plant from a legate of the pope in Belgium under 
the name of Taratoufli. Clusius himself gives us these 
details in his Rariorum Plantarum Historia (page LXXX) 
printed at the Plantinian architypography in 1601, in- 
folio (1). 

The drawing exposed is the one sent by Philippe de 
Sivry to Clusius. 

This was very probably the first ever made after the 
plant which had just been introduced into Europe. 

125. Portrait of Christopher Plantin engraved by John 
Wiericx, in 1588, with an autograph inscription of 
Plantin's grandson, Francis Raphelengien. The portrait 
gives Plantin 74 years, so that the year of his birth 
would be 1514. 

In the written note, Francis Raphelengien says that 
his grandfather was born in the month of May 1520. He 
remembers that, upon the funeral monument of Plan- 



(1) Primam hujus Btirpis cognitionem acceptam fero N. V. Philippo de 
Siyry Dn. de Walhain et Prsefecto urbi Montium in Hannonia Belgicte, 
qui ejus bina tubera cum fructu Viennam Austriee ad ttie mittebat sub 
initium anni MD.XXCVIII. Sequente autem anno rami ejus cum flore 
picturam. Is a &miliari quodam legato Pontificis in Belgio se accepisse 
scribebat anno pnecedente, Taratoufli nomine. 



— 49 - 

tin, the year 1514 is given as the date of his birth ; 
he acknowledges that even his daughters and sons-in- 
law believed this date to be tlie real one and that the 
deceased had indicated it himself, a little before his 
death. But he affirms that, according to some letters 
written a long time before by Plantin to Alexander 
Grapheus, his grandfather had hardly passed the age of 
seventy years at the time of his death (1). 

Acquired by the Museum of M** Ch. M. Dozy. 

126. St. Georges and St. Martin, Two high reliefs in 
ivory. Flemish work of the XVII'** century. 

127 and 128. The first years, 1620-1622 of the News- 
paper of Abraham Verhoeven of Antwerp, the oldest 
news-paper of Europe. 

129. Le Bonheur de ce monde. Sonnet composed and 
printed by Plantin. 

130. Deed of sale of the house and the collections of 
Plantin-Moretus, to the city of Antwerp, passed on the 
20»'» of April 1876. 

Upon two chests, at the bottom of the room, there 
are two sets of five pieces each in Delft crockery, the 



(1) Here is the text of this interesting note. 

Natus in agro Turonensi, aut circa agnim Turonensem (a Chitr6 prto 
de Chastellerault, ut pato) mense maio 1520 : obiit Antverpiae prima jalii 
anno 1589 inter secundam et tertiam mediae noctis, me inter coeteros 
prsesente ejus ex filia nepote Francisco F. F. Raphelengio. Qoamvis 
autem ipsius monamento inscriptum sit, ut non solum vulgo creditum sit, 
ved etiam de ipsius flliabus et generis ita habitum, obiisse anno eetatis 
septuagesimo quinto; mihi tamen ex pluribus aliquot annorum serie ipsius 
manu scriptis epistolis, atque adeo vit» ipsius prioribus annis ab ipso 
descriptis ac ad Alexandrum Grapheum destinatis constat vtx. excessisse 
annum set. septuagesimum. Errorem tamen ex ipsius paulo anto obitum 
verbis ortum non nego. 



1 



- 50 — 

one polychrome, the other overdecorated with birds 
and foliage on a ground of white and blue. 

THE COURT YARD. 

Under the covered gallery which one enters in 
walking out of the preceeding room, in the corner to 
the right, a stair-case is seen, constructed in 1621, with 
an ornamented baluster and a pillar surmounted by 
a lion, holding the coat of arms of Balthasar III, 
knighted in 1692 and his wife, Ann-Mary de Neuf. This 
baluster was executed by the sculptor Paul Dirickx 
(apprentice in 1612, master in 1621). The lion probably 
held a shield with the Plantinian compasses, which was 
replaced by the arms of Balthasar III, later on. In the 
middle of the gallery a pu^^) of the XVIP*» centur}' 
is found, in blue marble, the tap of which is in bronze. 

The yard is ornamented, on the north side (above 
the gallery), by three busts representing : Balthasar 
Moretus II surrounded by numerous ornaments and 
devices; Balthasar Moretus IV (1679-1730), in a frame 
forming a niche, executed in 1730 ; John-James Moretus 
1690-1757), a match to the former, placed in 1757. The 
bust of Balthasar Moretus II was made by the sculptor 
Peter Verbruggen, junior (1640-1691), to whom Bal- 
thasar Moretus III paid 300 fl. on the 9»»» of July 1683. 

In the eastern front there is, in a frame, the bust of 
Balthasar Moretus /, carved by Artus Quellin in 1642 
and paid the sum of 59 fl. 10 s. (1). 



(1) 1642, 13 Maij. Betaelt aan N. (sic) Quellinus beltsnijder voor bet 
belt van oom saligher; op de plaets staende : fl. 59-10. 



- 51 - 

In the western front, that of John Moretiis II, made 
by Artus Quelun in 1644 and paid the sum of 60 fl. (1) 
and that of Justus Lipsius (1547-1806), with a frame 
round it. 

In the northern front, the busts of John 
Moretus I and Christopher Plantin, surrounded by or- 
naments. These three last busts were carved by Hans 
van Mildert, in 1622 (2; ; of the frame of John Moretus 
the First's bust only the foot remains. 

In the small passage leading from the yard to the 
porch above the place occupied by the old entrance 
gate the bust of Balthasar Moretus III is found in rich 
framework, carved by John-Claud De Cock in 1700. 

The busts of Balthasar Moretus I and II and that of 
John Moretus II as well as the frames were renewed 
in 1883. 



IV. 
THE SHOP. 



This part of which the ground has been raised of 
old to make it level with the yard, is three steps above 
the pavement of Holy-Ghost street ; it is lighted by 
leaden cros-barr windows ; a glass screen separates 
it from the back shop. 

(1) 1644, 22 November. Betaelt aen Artus Quellinus beltsnijder voor 
het pourtraict van Monper saligher, ghestelt boven de deur van het 
oomptoir : fl. 60. 

(2) Item gemack 3 figuren aen het portal het stuck 50 gul. — 150 fl. 
Nog gemack 3 kartusen onder de figuren het stuck 8 gul. — 24 fl. Nog 
3 Bcelpen boven de figuren het stuck 6 gul. — 18 fi. (Rekening Hans 
van Mildert. Bouwtoerhen, 1621, bl. 277). 



— 52 — 

Upon the shelves works exposed for sale are found 
in rows. These are mostly liturgical books. Upon the 
counter near the window, in reach of the chair where 
« the shop boy » used to sit, a desk, a calendar of 1595 
and a balance. Near it two boxes containing the weights 
in gold coin, the one of 1607, the other of 1751. 

The shop is ornamented by a wooden statuette of 
the Virgin, placed against the glass screen and two 
frames in which some interesting printings are seen. 

In the first of these frames we find : 

The Catalogue of prohibited books, in-folio-plano, prin- 
ted by Plantin, in 1569, by order of the duke of Alva. 
The copy shows the signature of John Mesdach, secre- 
tary to His Majesty's privy council, and contains, 
amongst others, two books which Plantin had printed 
himself a few years before : the Psalms of Clement 
Marot and the colloquys of Erasmus. 

A Price-list of school and prayer books, also of the 
most popular novels of the XVII'^ century. These works 
were priced by the magistrate of Antwerp and were 
not allowed to be sold except at the price indicated in 
this list. 

The bookseller, who sold at a higher or lower price 
was fined 25 florins. 

The second frame comprises : 

A Price-list published by Peter Roville of Lyons in 
1642. 

A Price-list by J. B. Brugiotti of Rome, in 1628. 

A Price-list of the royal Typography of Paris, in 1642. 

A Price-list of the celebrated office of the Aides of 
Venice, in 1592. 



— 53 - 

A Tariff of liturgical books of the Plantinian printing 
office. 

A List of authors, whose books, by order of the 
censors, had to be expurgated before they were allowed 
to be printed. This list reproduces the names given 
in the table of the Index expurgatorius, published by 
Plantin in 1571 for account of the king of Spain. 



V 
BACK SHOP. 

This appartment is furnished with a Flemish cabinet 
of 1635, a table of the same period, a desk, an old 
fashioned clock, two engraved theses and a bevelled 
looking-glass. Above the doors the portraits of John 
Moretus I and his wife, Martina Plantin, both copies of 
the originals in saloon 11. 

The shop leads into the : 



VI 
TAPESTRY SALOON. 

Some Flemish tapestry, in a state of perfect conserv- 
ation ornaments the two large walls of this saloon. 
The five panels represent :. a scene with shepherds, 
huntsmen, and game sellers, a peasant dancing and 
playing on castanets, two loving couples and a quack. 

Above the high marble chimney of the XVIt'» century, 
A View of Antwerp taken from the Head of Flanders is 
placed, painted by M. Schoevaerts. In front the hamlet 
of St-Ann's is seen, with numerous personages ; in 
the background the city of Antwerp; between the two, 
the Scheldt, on which a bridge is thrown before the 
Kranenhoofd or Crane-Head. 



— 54 — 

Canvas H. 0,71 m., L. 1,70 m. 

Above the doors, the Portraits of Plantin and Jeanne 
Riviere, copies by unknown painters after the origin- 
als, are exposed. A Flemish side-board of the XVI*** cen- 
tury, upon which a set China is found, stands between 
the two windows ; a cupboard in oak and ebony, 
opposite the chimney. A lustre with crystals cut in 
facets, is hung in the middle of the place; an antique 
table in carved oak and some chairs with leathern seats 
and backs complete the furniture. 

The frame of the door leading out of the room is 
composed of two pillars which support a frontal and 
project between the door-case and large bands of wains- 
coting. The columns, frontal and casings are covered 
with carvings of the first Flemish renaissance. 

Near this door a harpsichord with three sets of keys 
is found, ornamented inside with a copy of Rubens' 
St-Cecily, with the following inscription above the key 
board : Joannes-Josephus Coenen presbyter et organista 
cathedralis me fecit. Rurcemundce A® 1735. 



VII 
THE CORRECTORS' ROOM. 

This part was constructed in 1637 and served for 
more than two centuries as workshop to the correc- 
tors of the house. The principal piece of furniture is 
the correctors' writing table placed against the wall 
and extending before two windows. 

This desk is composed of a large oaken table, pro- 



— 55 — 

vided to the right and left with a narrow moveable 
shelf. The seats are formed of two planks attached to 
the partitions, which serve as backs. These partitions 
are very high, and ornamented with elegant open 
arches. 

The entrance door is surrounded by a carved frame, 
executed in 1638 by Paul Dirickx. Above this door is 
found : 

The Portrait of James Moerentorf by an unknown 
painter. This painting served as a model to Rubens* pic- 
ture, which we saw in saloon II, N® 1. James Moerentorf 
was a silk worker (zijdewerker) at Lille, when in 
1544 he was received as a citizen of Antwerp. In this 
town he married, in 1537, Adrienne Gras, daughter ot 
Peter Gras of Milan. He died in 1558. 

Panel H. 0,445 m., L. 0,35 m. 

The chimney in marble has a backet funnel in orna- 
mented voussoir; on the mantel piece there is a picture 
by Adrian Van de Venne (1589-1665) representing a 
learned scholar studying in a room where weavers are 
at work. To the left a man is writing in a book resting 
on an inclined desk. Behind him a library case is 
seen.To the right, a woman spinning at her wheel and, 
behind her, a weaver working on his loom. A second 
loom and a window are found at the bottom of the 
room. All the personages wear fantastic dresses. Most 
likely, the artist borrowed this scene from the life of 
Theodore Poelman, the learned editor of several Latin 
classics published by Plantin. 

Panel, H. 0,587 m. L. 0,883 m. 

Beside the door on going out, there is another pict- 



- 56 - 

ure by Adrian Van de Venne ' representing a Studying 
scholar. The person represented is most probably the 
celebrated lexicographer Cornelius Kiel, van Kiel or 
Kilianus. Seated on a bench before a desk, he is reading 
some proofs, using one of the glasses of a pair of spect- 
acle^ which he holds in his hand. Behind him there is 
a library case. 

On the back of the picture, the following inscription 
is painted, in characters of the beginning of this cen- 
tury : « Cor. Kilianus in typ. plan. per50annos correc- 
tor obiit 1607. Van de Venne pinx. » The arms of the 
city of Antwerp are burnt on the panels. It should be 
noted here that the attribution of these two paintings 
to Adr. Van de Venne is contestable and contested. 

Panel, H. 0,64 m., L. 0,486 m. 

Three antique cupboards, a table and an old arm- 
chair, in the middle of the room ; an engraved thesis, 
above the door on going out, an oaken cabinet, before 
the chimney, and another beside the door on going 
out, complete the furniture of the room. 

Opposite the windows a table with the names of 
20 of the oldest correctors of the Plantinian printing 
office (1556-1608), with the dates of their employment. 

We shall now in few words remember the principal 
amongst them. 

We have mentioned two of the most illustrious : 
Theodore Poelman and Cornelius Kiel. The former 
was born at Cranenburg in the duchy of Cleves, in 
1511 : he settled at Antwerp in the month of January 
1532 and died there in 1581. He was not in reality a 
corrector, but rather a philologist of great learning, 



— 57 — 

who annotated and published a whole series of Latin 
classics, printed and published by Plantin. As a gratifi- 
cation and under the name of a present, the latter used 
to give three or four florins to Poelman for each work 
commented on. This, of course, was not sufficient for 
the scholar to live on. Therefore, to his learned works, 
he added the more lucrative trade of fuller. Some of 
the manuscripts of the classic authors of the Plantinian 
library had belonged to him. Towards the end of his 
life, he obtained an employment at the excises of the 
city. His son John went to Spain and became, for many 
years, the representative of the Plantinian printing 
office at Salamanca. 

Cornelius Kiel entered the service of Plantin as a 
typographer, in 1558. A few months after he was charg- 
ed with the business of a corrector, which occupation 
he held until his death, in 1607. In 1563, Plantin was 
helped by him, in drawing up his Dutch dictionary. 
In the interesting preface of his Thesaurus Theutonicce 
linguce of 1575, the great printer tells us that, from the 
commencement of his stay at Antwerp, he knew the 
necessity of a good Flemish dictionary and set himself 
to work to create one. He ordered several scholars to 
collect the necessary materials, wich he had afterwards 
arranged. In 1563, lie had commenced his preparations, 
but several circumstancesretarded the completion of the 
book which was not published before 1573. The other 
scholars who contributed with Kiel to the projected 
Dictionary by Plantin were Andrew Madoets and Quen- 
tin Steenhart. In 1567 a beginning was made with the 



58 



printing of it ; but after the twelfth leaf the work was 
stopped and not taken up again before six months 
later. The year after the publication of Plantin's dic- 
tionary Kiel published the first edition of his Diction- 
narium Teutonico-Latinum, the most celebrated Dutch 
lexicon and the most precious source for the study of 
the Dutch language during the past centuries. Besides 
his occupation as a corrector, Kiel made several transla- 
tions from French into Dutch and some Latin poems, 
of wich the Plantin-Moretus museum possesses the 
manuscript made ready for printing. 

Francois van Ravelingen or Raphelengien, born at 
Lannoy, in Flanders, in 1539, came to live with Plantin, 
as a corrector, on the 12i'» of March 1564. He was 
especially versed in Greek and in the oriental languages. 
He published several Greek books, as well as the first 
bible in Hebrew printed by Plantin. He became one of 
the principal coadjutors of Arias Montanus to the poly- 
glot Bible. On the 23''* of June 1565 he married Marga- 
ret, the eldest daughter of Plantin ; in 1576 he went to 
live at the front side, to the north of the cathedral and 
there opened a bookstore. A small number of books, 
printed by Plantin, bear the address of his son-in-law. 
When in 1585 Plantin returned from Leyde to Antwerp, 
Raphelengien went to the former of these towns, 
to take charge of the office founded by his father-in- 
law. He was appointed professor at the University of 
Leyde, and his descendants continued to live in this 
town. 

According to his own affirmation John Moretus was 
in the service of Plantin since 1557. From 1562 to 1565, 



- 59 - 

he lived at Venice, and there served the Schotti's, 
allied by marriage to one of the partners of Plantin. 
In the course of 1565, he returned to Antwerp. On the 
SO*** of April 1570 his contract of marriage with Martina 
the second of Plantings five daughters, was signed 
and the wedding took place the next day or a few 
days after. Plantin's second son-in-law was entrusted 
with the care of the business ; he made trips to the 
Francfort fair and kept the diaries and ledgers. He 
corresponded in five languages and was not without 
literary culture, as he translated from Latin into Dutch 
Justus Lipsius' book de Cons/an/za. When Plantin came 
to inhabit the house on Friday-Market, Moretus contin- 
ued to keep the book shop in the Kammerstraete until 
the death of his father-in-law. 

Amongst the coadjutors of Plantin we must here 
name once more Arias Montanus, who directed, as we 
have said, the publication of the polyglot Bible 
and who had a large number of other works printed 
at Plantin's office. After his departure from Antwerp, 
he continued to keep up an uninterrupted correspond- 
ence with the great printer, for whom he felt a genuine 
friendship and high esteem. 

After the death of Plantin, we do not meet any more 
correctors of any reputation attached to his offioe. 
The reason of this was that, under the direction of the 
Moretuses, the firm chose another way. Plantin had the 
books made or gave cause to the composition and pub- 
lication of works which it was his desire to print. His 
successors were contented to wait for the authors to 
turn up, and consequently the task of their cor- 
rectors was limited to a more material work. 



- 60 - 

The first Moretuses, especially Baltliasar I and II, 
were really clever men, corresponding in French, 
Dutch, Latin, and Spanish, knowing Greek and Italian, 
well versed in the most diverse sciences. They themsel- 
ves were the first, and most learned, of their correctors. 

Beneath the correctors' table a manuscript catalogue 
of books published by Plantin from 1555 to 1579 is 
found. This piece, written by John Moretus,was offered 
by him as a present to his father-in-law on the first of 
January 1580. 



VIII. 
THE COUNTING HOUSE. 

From the correctors' room the visitor passes into the 
old counting house. The walls are hung with gilt 
leather ; the large window is protected by solid iron 
bars ; a copy of Rubens' picture. The Incredulity of 
St. Thomas, is seen above a large cupboard; a type 
case beside the entrance door. 

Here the numerous generations of intelligent men 
of business and friends of fine letters worked ; careful 
of their property, seeking and earning a consider- 
able fortune. 

The following are, in round figures, some statements 
about the progress of this fortune, during the first 
century of the existence of the Plantinian office. 

At the date of Plantin's death, the material of his 
printing office at Antwerp was valued at 18,000 fl., the 
books at 146,000 ; at Leyde, the material and property 



- 61 — 

were worth 15,000 florins, the books 23,000. If whe add 
to this the real estate property of Plantin at Antwerp, 
and calculate the actual value of the books at half their 
nominal value, we find that at his death he possessed at 
least 175,000 fiorins, or about forty thousand pounds in 
our money. At the death of Balthasar I the property of 
the printing office, belonging in community to Balthasar 
and his brother's widow, was worth double this 
amount. In 1662 Bathasar II alone possessed a fortune 
of eighty thousand pounds in our money. 

In 1588 the value of Plantin's transactions amounted, 
for that year, to 65,000 fiorins ; in 1609 John Moretus 
printed books for a total of 85,000 florins; in 1637 
Balthasar I published for 115,000 florins. 



IX. 
ROOM OP JUSTUS LIPSIUS. 

This room is called the Room ofJustusLipsius. Whether 
the learned professor staid there duringhis visitsatPlan- 
tin's, or wether it was called after him, because his bust 
surmounts the entrance door and the proprietors wished 
by this name to perpetuate the remembrance of the 
esteem in which he had been held by the founders of the 
house, it would be difficult to make out. But the second 
supposition seems to be the right one. It is certain that, 
as early as the XVIIt»» century, the room was known by 
that name. Justus Lipsius did not fill the office of cor- 
rector in the Plantinian printing ol^ce, as was often 
said but he was tied by a firm friendship to the found- 



- 62 — 

er of the house. The first of the Moretuses did not bear 
him less afiection and Balthasar Moretus I, who became 
the pupil of Justus Lipsius, almost worshipped his 
professor. The name of this room, as well as the docu- 
ment possessed by the museum, furnishes the proof 
of this long connection and mutual esteem. The records 
of the house contain 129 letters of Justus Lipsius in 
Dutch, French, and Latin ; Plantin printed numerous 
works, and, in the course of the thirty years, which 
elapsed from 1594 to 1623, it would be difficult to find 
one, when the Moretuses did not publish one or several 
books of the polygrapher, who enjoyed at the time, 
an almost incredible fame. 

The handsome quarto volumes of 1604 to 1615, and 
the complete in-folio edition of Justus Lipsius' works, 
of 1637, rank amongst the most beautiful publications 
of the Moretuses. All these editions, which followed from 
year to year, ran as high as 1550 copies ; of the folio 
edition, which cost, with te Seneca and Tacit, 60 fl., on 
ordinary paper, and 72 fl. on better paper, 1525 copies 
were printed. This is certainly a conclusive evidence 
of the infatuation of the XVII^h century for the learned 
latinist. 

The room of Justus Lipsius is hung with beautiful 
Cordoba leather, with a dark ground and golden arab- 
esques. Upon the chimney there is a large plan of 
Rome. 

Above the entrance door, a picture by an unknown 
artist represents Justus Lipsius at the age of 38. He 
holds a book half opened in his right hand the left resting 
on the head of a small dog. He wears a withe collar 



— 63 - 

on a black coat; on the upper part of the picture you 
read : « iEtatis 38. An® 1585 » and the device of the 
learned professor « Moribus antiquis. » 

Panel. H. 0,62 m., L. 0,50 m. 

This portrait was given to Balthasar Moretus I by 
John Woverius. By a letter dated the 21st of December 
1621 the printer thanks the donor and gives him to 
understand that the portrait adorns the room of Justus 
Lipsius (*). 

Above the door on going out, a picture by an 
unknown artist representing the Flight to Egypt. In a 
hilly landscape, the Virgin, holding the Child in her 
arms, is mounted on an ass. Joseph, leaning on a stick 
and carrying a parcel of clothes under his arm, 
accompanies them. An angel leads the way. 

Canvas. H. 0,62 m., L. 0,855 m. 

Two old chests, a massive oaken table, and a 
leathern arm-chair, a tray, loaded with implements 
once in use in the printing shop, furnish this room. 



X. 
THE LOBBY. 

Here eight frames are seen in which capital letters, 
cut in wood, are exposed. 

1. A Roman alphabet, ornamented with religious 
subjects drawn by Peter van der Borght, engraved 



(I) Cajus (Lipsii) imago nuper a te data domum meum ej usque cubicu- 

lam nunc erornat. 

6 



- 64 - 

by Anthony van Leest, in 1572, for the Spanish Anti- 
phonary and which was employed in the large note 
music publications since 1578. 

2. A Similar Alphabet of rather smaller type. The 
two series number together 32 characters ; many letters 
are missing ; others are repeated twice, three and four 
times. 

3. Ten letters of which two (R and G) were used in 
the Graduate Romanum, of 1599 ; two (the M's) were 
engraved in 1642 by Christopher Jegher; the six 
others (H, I, L, L, N, R) by John Christopher Jegher. 

4. An Alphabet, imitating written characters, adorned 
with grotescos, made for the ABC of Peter Heyns 
(Plantin 1568), 

5. An Alphabet of the same kind, but smaller, used 
in the polyglot Bible, in 1568. • 

6. Five Roman letters (A and four D's), ornamented 
with angels playing different musical instruments, 
and six smaller letters (G, M and four S's), of a similar 
composition. Used in the Masses of George de La H^le, 
in 1578. 

7. Alphabet, a kind of roundhand writing, engraved 
and signed by Anthony van Leest and Arnold Nigolai. 

8. Six very large characters. A, D and A, B, G, S, 
ornamented with religious subjects, designed by Peter 
VAN der Borght, and engraved by Anthony van Leest, 
in 1574. 

9 and 10. Roundhand Gothic alphabet, used in the 
Psalterium, of 1572. 

11. Roundhand Gothic alphabet, of a smaller size, 
used in the same work. 



- 65 - 

12. Round Gothic alphabet of another design. 

13. Two roundhand small size buckled Gothic alpha- 
bets, engraved on thin plates, by groups of three or 
four, letters. 

14 and 15. Two Gothic alphabets, ornamented with 
foliage, used in the Graduale Romanum, of 1599. 

16. A Hebrew alphabet ornamented with arabesques, 
designed by Godfrey Ballain, of Paris, in 1565, 
engraved by Cornelius Muller and used in the poly- 
glot Bible. 

17, 18, 19. Three Roman alpliabets of different sizes, 
ornamented with flowers and foliage, designed by 
Peter Huys and engraved by Arnold Nicolai and 
Anthony van Leest : all three used in the Psalterium 
of 1572. 

20. A Latin and Greek alphabet, ornamented with 
grotescos, dated, the first 1570, the second 1573, and 
used the latter year, in the preface of the polyglot 
Bible. 

21. Seventeen Greek and Latin letters similar to the 
Hebrew alphabet of N" 16, designed by Peter Huys, 
in 1563. 

22. A Roman alphabet, ornamented with arabesques. 

23. 24, 25. Three Gothic alphabets, ornamented with 
foliage, used in the Antiphonarium of 1573. The two 
first are printed in red and black. 

In front of these frames some cases are placed filled 
with large types in cast iron. 

Beside the door on going out, some leaves reminding 
the visit of different sovereigns and printed by those 
august personages. 

Higher up, two busts of the apostles. 



~ 66 — 

XL 
TYPE ROOM. 

A passage leads into the Type room, the two large 
walls of which are hidden by shelves containing letter 
cases. In front of the windows some of the ornamented 
types in ancient stereotypes are exposed. 

According to the inventory of 1575, Plantin possessed 
at that time 38,121 pounds of cast type, divided in- 
to 73 different characters. At his death he had in his 
shop at Antwerp 44,605 pounds of letters ; in the one 
at Leyde 4,042 pounds. 

On the chimney are three wooden statuettes with the 
inscription « Virtiitis ei Doctrincc comes est Honor » 
dating from the XVIIi'i century, having formerly served 
as part of the decoration of another room. The statues 
of Honour and Courage are imitated from an antique me- 
dallion upon the frontispiece of the works of Seneca 
edited by Justus Lipsius' and published bj' the Plan- 
tinian office. 

Above the door on going out, a picture : 

UNKNOWN. The disciples of Emails. Christ is seated 
at table and breaking his bread. One of his disciples, 
dressed as a pilgrim, making a gesture of astonishment. 
The other takes one of the glasses which the servant 
brings on a tray. 

Canvas. H. 1,075 m. L. 1,45 m. 

On a cupboard the bust of John Moretus II by 
Artus Quellin. This work was originally found in the 
3'^ard, where it has been replaced bj'^ an exact copy. The 
original has undergone some restorations. 

Beside the door, a thesis supported by Francis John 
Moretus at Douai in 1738. 



- 67 - 
PRINTING OFFICE. 

The printing office adjoins the Type-Room. During 
nearly three centuries, from 1576 to 1865, printing went 
on there. In 1565 Plantin employed seven presses ; in 
1575 he possessed fifteen ; in 1576, he had twenty 
two working ; in 1577, after the Spanish Fury, he did 
not employ more than five; in 1578, he sold seven and 
kept sixteen. This number was very large at a period 
when the Estiennes, the greatest French printers of the 
XVI^h century, never worked more than four presses. It 
is evident that the locality where Plantin used to 
print, was of greater extent than the present work- 
shop. We have reason to believe that the type-room 
and the story above the printing office were occupied 
at an early epoch by the work-shop. 

Above the entrance door, a printed table recalling 
the principal phases of the history of the Plantinian 
office. 

Amongst the seven presses which are found in this 
room, two are distinguished by their ancient aspect, and 
indeed, date from the time of Plantin. 

Above these there is a statue of the Virgin of Lorette 
in terra-cotta of the XVIP'' century. 

On the walls some leaves printed by the sovereigns 
who visited the architypography are hung up. King 
Leopold I and queen Marie-Louise, the queen of the 
French, the present king and queen of the Belgians, the 
imperial prince and princess of Germany, have left 
tokens of their passage. 

Two frames contain printed copies of the ancient 
laws and rules of the Plantinian office. 



' 



- 68 - 

Near the door on going out, a plate stand is 
found, loaden with printing utensils, a press for 
printing on copper plates and a screw press. 

The office has conserved its architectural ornamenta- 
tion of 1576. The corbels supporting the beams and the 
beautiful iron work of the windows are evidently of a 
period prior to that ot the analogous objects seen in 
the rooms which were visited before this one. 



STAIRCASE. 

On leaving the printing office the visitor crosses the 
porch and entrance-hall, and goes up to the upper 
rooms by a broad staircase, being a part of the con- 
structions of 1761 to 1763. 

On the landing, at the top of the t;taircase, there is a 
clock, in Louis XV style, decorated with painted 
flowers and ornamented with gilt copper, and an ano- 
nymous picture (Sporckmans ?) representing The order 
of the Carmelites confirmed by the Pope, 

Canvas H. 1,62 m. L. 2,56 m. 

In the small passage, leading to the rooms which are 
now entered two pictures are seen : 

LENS (Andrew-Cornelius) 1739-1822. 

The Anmmciation. The Virgin, seated and clothed in 
white and blue, humbles herseli before the angel Gabriel, 
who bows to her. The picture was made for the Abbey 
of Tongerloo. (Canvas, H. 1,47 m. L. 1,45 m.) 

TASSAERT (John-Peter) 1651-1725, representing a 
group of men listening to one reading. 

Panel, H. 0,52 m., L. 0,79 m. 



^ 69 - 

XIII. 
!•' FRONT ROOM. 

The jBrst of the rooms in front contains the following 
ornaments : 

A picture : 

ANONYMOUS. Madonna in a landscape. 

Panel. H. 1,01. m., L. 0,78. 

A bas-relief in stamped leather representing Christ 
before Caiphas by Justin. 

Four frames containing : 

I. Three engravings : 

a) Vieiv of the upper part of the tower of the old church 
of the Dominicans at Antwerp (at present St.-Paul's 
church), as it was designed originally. Stamp dated 
1680 and engraved by J.-G. Sartorius, after the design 
of Nicholas Millich. 

bj View of the same tower, dated 1682, as it was 
executed. The lantern is entirely changed and the 
dome upon which it is raised has undergone some 
modifications. Engraved by an anonymous artist (prob- 
ably Sartorius), after the design of Nicholas Millich. 

cj Tower of the Antwerp Cathedral, with view of the 
principal entrance of the church, the streets and sur- 
rounding squares. Drawn and engraved by Wenceslas 
Hollar, in 1649. 

II. Frontage of the old Jesuit church, drawn and built 
by father Peter Huyssens of Bruges, engraved by 
John dela Barre (1621). 

III. Plan of Antwerp at the end of the first French 
empire. 



- 70 - 

IV. Panorama of Antwerp, taken from the left bank 
of the Scheldt, engraved on copper by an anonymous 
artist, published in 1610 by John-Baptist Vrients. 

V. Plan of Antwerp, in the XVIJth century. 
Daniel Herreyns. Sculpture, an embossed work, 

sculptured in 1781. 

A decorative painting by Sauvage imitating a bas- 
relief in bronze, representing a young girl and some 
amors making a sacrifice. 

In the two desks placed in this room, specimens 
of the most celebrated printing offices are seen. 

{We put the name of the printer in front with the 
place and date of the edition). 

1. GuiL. DE Brocario, Alcala, 1514-1517. Bihlia poly- 
glotta. In-folio. Polyglot Bible, published under the 
care of Cardinal de Ximenes, which Plantin reprinted, 
increasing it considerably. 

2. Bern. Pictor, Erhardus Ratdolt and Peter 
LosLEiN, Venice, 1477. Appianus, in-4o 

3. Phil. Pigouchet (for Simon Vostre), Paris, 1502. 
Heures a Vusaige de Rome. In-8o, copies upon vellum. 

4. Phil. Junta (heirs), Florence, 1525. Aristophanes 
(Greek). In-4o. 

5. Jean de Tournes, Lj^ons, 1559-1561. Chronicle of 
messire Jehan Froissart. In-folio. 

This is one ofthe volumes ofthecopj^ bought by Plantin 
in 1564 and which he had collated on a manuscript of 
Froissart by Andrew Madoets and Anthony Tiron, 
for a reimpression w^hich he projected, but never carried 
out. On the open page you see the result of this work 
the margins and upon a loose leaf. 



- 71 — 

6. Mich, de Vascosan, Paris, 1554. Diodore de Sicile. 
Translated from Greek into French. In-folio. This 
copy once having belonged to Abraham Ortelius. 

7. GuiL. Morel, Paris, 1558. Pindaros. Greek text. ln-4o. 

8. Sebast. Gryphius, Lyons, 1561. Pet. Angeli Bargcei 
Cynegetica Carmina, eclogce, In-4o. 

9. Henri Quentell, Cologne, 1499. Viola animce. In-4o. 

10. Jean Frobenius, Basle, 1522. Libanius etc. Greek 
and Latin. In-4o. 

11. Ulrich Zell, Cologne, towards 1470. Opuscula 
JEnecB SylviL In-4o. 

12. Andrew Wechelus (heirs), Francfort, 1583. Lucre- 
tius. In-8o. 

13. SiGiSMOND Feyerabend, Francfort, 1588. Titus 
Livius. In-8o. 

14. Andrew Schneider, Leipsic. 1575. Phile, de Ani- 
malium proprietate. In-4o. This copy belonged to 
Ortelius. 

15. Hans Schonperger, Augsburg, 1517. Tewerdanckh. 
In-folio. 

16. Aldus MANUTius,Venice, 1495. Petri Bembi de Mtna 
liber. In-8o 

17. Aldus Manutius, Venice, 1498. Arisiophanis Comoe- 
dicB. Greek text. In-folio, 

18. Aldus Manutius, Venice, 1514. Quintilianus. In-8o. 

19. Paulus Manutius, Venice, 1561. Vzrflfz'Zzus, Pet. In-8o. 

20. Paulus Manutius, Rome, 1564. Canones et decreta 
Concilii Tridentini. In-fol. This book is one of the twelve 
copies of the work, corrected and signed by the secret- 
ary of the council and certified in conformity with the 
authentic proceedings of the sittings. 



- 72 — 

21. Charles Estienne, Paris, 1551. Appiani Romance 
historicB, Greek text. In-4o. 

22. Henri Estienne II, Paris, 1554. Anacreontis odce. 
Greek text. In-4o. 

23. Henri Estienne II, Paris, 1572. Plutarchi vitce, 
Greek and Latin text. In-8'\ 

24. ELZEViER(Bonav. and Abr.), Leyde, 1640. J. A. Come- 
nil Janua aurea reserata quatuor linguarum. In-12o. 

25. Elzevier (Bonav. and Abr.), Leyde, 1649. SeneccB 
epistolce. In-12o. 

26. Elzevier (Lewis and Daniel), Amsterdam 1663. 
The Works of Rabelais, In-12«. 

27. Elzevier (Daniel) , Amsterdam, 1565. Comenii 
Janua linguarum reserata cum groeca versione. In-12". 



XIV. 
2nd FRONT ROOM. 

(CONTINUATION OF SPEWMENS FROM THE MOST CELEBRATED 

PRINTING OFFICES). 

28. Mathew Van der Goes, Antwerp, 29t'» April 1482. 
Den Spieghel oft een reghel der Kersten ghelove. In 4o. 

The first book printed at Antwerp. 

29. GiLLES DE GouRMONT, Paris. Rimy Dupuys. La 
tryumphante et solennelle entree de Charles V prince 
des Hespaignes en sa ville de Bruges, 1515. In-fol. 

30. GiLLES DE GouRMONT, Paris. Remy Dupuys, Les 
exiques et pompe funerale de Don Fernande roy catho- 
licque dBruxelles, 1515. In-fol. 

31. Anonymous, Schiedam (towards 1500). Olivier de 
la Marche. Le Chevalier delibere. In-fol. 



- 73 - 

32. Gerard Leeu, Antwerp, 1486. Fabulce et Vita 
Esopi. In-fol. 

33. CoLARD Mansion, Bruges. Les diets moraulx des 
philosophes. In-fol. 

34. EcKERT VON HoMBERGH, Antwerp, Msopus Groecus, 
per Laurentium Vallensem traductus. In-4o 

35. Antonius Zarotus, Milan, 1483. Ovidii Fasti, in-4o. 

36. Nicholas Jenson. Venice, 1471. Coesaris Commen- 
larii, In-fol. 

37. Joannes, son of Theodore, Ostrosk, 1581. Bible in 
old Slavonic. 

38. Jac. Rubeus, Venice, 1474. Ovidii opera, In-fol. 

39. John Fust and Peter Gernsheim, Mayence, 1466. 
Cicero, de officiis. Copy on vellum, small in-fol. 

40. Dirk Martens, Louvain, 1499. Breviarium ecclesioe 
Sarum, in-16". 

41. Dirk Martens, Louvain, 1513. Ric. de Sancto 
Vidore, In Apocalypsim. In 4o. 

42. Dirk Martens, Louvain, 1523. Homeri Ilias. 
Greek text, in-4o. 

43. Martin Lempereur, Antwerp, 1534, Vergier flou- 
I rissant. In-16^, copy on vellum. 

44. J. Reger, Ulm, 1486, Ptolomeus, Cosmograpliia, 
I In-fol. 

45. Andrew Gessner, Zurich, 1559. Jac. Strada, 
Imperatorum romanorum imagines. In-fol. 

46. BoDONi, Parme, 1793. Dionysius Longimis. In-fol. 

47. Plantin (B. Moretus II), Antwerp, 1647. Danske 
Urtebog (Danish Herbal), in-4o. 

Plantin, Antwerp, 1580. Barrefeld, the book of 
Witnesses. In-4o. 



— 74 - 

49. J. Meursius, Antwerp, 1642. S.Theresa. The flaming 
Hart. In-8o. English book printed at Antwerp. 

50.VERDUSSEN, Antwerp, 1646. Anna Bijns, Refereynen. 
In-8o. 

51. G. VAN Haecht, Antwerp, 1578. Het Loon der 
Tyrannen. In-8«. 

52. Plantin, Antwerp, 1580. Barrefeld, Het Boek der 
Getuigenissen. In-4o. 

53. J. LoE, Antwerp, 1557. R.Dodoens, A New Herbal. 
In-fol. English book printed at Antwerp. 

54 & 55. John Gutenberg, Mayence, 1450. The Latin 
Bible of 36 lines. In-fol. Two of the three volumes of 
the wole work, THE FIRST BOOK PRINTED in 
movable types by the inventor of typography. 

The authors do not agree about the name of the 
typographer, nor about the date of the execution 
of this venerable book. There are some who attribute 
it to Albert Pfister, of Bamberg, and for this reason, it 
is often called the Bible of Pfister. Those who defend 
this opinion maintain the argument that most of 
the copies had been found near Bamberg and that 
Pfister employed the same types as Gutenberg. 

Others, and amongst them D"^ A. van der Linde, the 
most recent historian of the invention of printing, 
attributes the work to John Gutenberg himself. The 
author we have just mentioned supports the opinion, 
that it was this bible that Ulrich Zell spoke of, whose 
evidence is referred to by the author of the Chronicle 
of Cologne (1499), in the following passage : « The 
jubilee year 1450 was really a year of salvation ; in the 
course of that year printingwas first executed and the 



— 75 -^ 

first book printed was a bible in Latin printed by 
means of large type in which they now print the Missal. 
The origin and progress of the art of typography were 
orally told me by master Ulrich Zell, of Hanau, a print- 
er at Cologne in this year, 1499, who imported his art 
into Cologne (1). 

In support of his argument, Dr van der Linde (Ge- 
schichte der Erfinding der Buchdruckkunst, Berlin, 
1886, p. 820^ places beside a page of the present Bible 
one of the Missals of Mayence of 1493, thus showing an 
undeniable resemblance. He moreover puts forward 
the fact that the Bible of 42 lines of Gutenberg, or the 
Mazarine Bible, dating from 1453 to 1456, and which is 
often called the first bible printed, is subsequent to the 
Bible of 36 lines, because the number of lines regularly 
increases and the size of the types gradually diminish- 
es in the subsequent editions. Only nine copies of the 
present bible are known. Very probably only a few 
copies were printed for this edition. 

The third volume of ours contains the following note : 
«HunclibrumdonavitconventusNurnbergensisord.frm. 
heremitarum intuitu Dei novo conventui antverpiensi 
ejusdem ordinis et voti 1514 ». It is one of the numer- 



(1) Ind in den jaren lins herren do men schreif 1450, do was ein gulden 
j&ir : do began man zo drucken ind was dat eirste boich, dat men druckde, 
die bibel zo latein, ind -wart gedruckt mit einr grover schrifb, dae men 
na misaeboicher mit druckt. Item.... dat beginne ind vortganck der 
konst bait mir muntlich verzelt der eirsame man meister Ulrich Zell van 
Hanauwe, boichdrucker zu Coellen noch zer zit anno 1499, durch den die 
Itunst is zo Coellen komen. 



- 76 - 

ous editions of the Bible and the most precious one 
Plantin bought when he was preparing to print the 
polyglot Bible. 

56. Typographia Medicea, Rome, 1619. The four 
evangelists. Arab and Latin text. In-fol. 

57 & 58. Album of poetry of the XVIth century with 
printed initials. In-4® oblong. 

59. P. Phalesius, Antwerp, 1649. Gio. Giac. Gastoldi, 
Ballets, Music book. In-4o oblong. 

60. A.vanLiesvelt, Antwerp, 1494. Die Gulden Letanie, 
In-16o. 

61. Plantin, Anwerp, 1582. The Entry of the duke of 
Alengon, with colored plates. In-fol. 

62. Plantin, Antwerp, 1559. Funeral of Charles V. 
Engraved by J. and L. Deutecom after Jerome Cock. 
In-fol. oblong. 

In two cupboards and upon the tables some China 
and Japan porcelain is found exposed, having belonged 
to the Moretus family since the XVIIItii century. 

Upon two brackets are some. Chinese ornaments in 
stone. 

Above the chimney a bas-relief is placed represent- 
ing Drawing. Above the door on going out a high- 
relief representing Astronomy, carved by Daniel Her- 
REYNS, in 1781. 

In this room seven frames are exposed, enclosing 
the following objects : 

I. a) and b) Views of some old monuments of the city 
of Antwerp, engraved by Henri Caus6. 

c) and bj View of Rubens' house, engraved by Har- 
REWYN, in 1684 and 1692. i 



— 77 - 

II. Different engravings referring to the history of the 
old civil brotherhoods and religious customs of Ant- 
werp : 

aj Image of the brotherhood of St-Luke, which was 
distributed at the time of the annual mass. 

b) and d) Rebus with verse in honor of typography. 

c) Rebus with Dutch verses. 

e) Printed paper flag of the pilgrimage of St-Gomma- 
rus at Lierre. 

f) Image of Our Lady of the citadel of Antwerp (1779). 
gl New-year's ivishy image of St-John the Baptist, with 

Dutch verses. 

h] The Holy Family, engraved upon wood and colored. 

// Flag of the pilgrimage of Scherpenheuvel. 

Ill, IV & V. Fifty drawings by Francis Floris (1520 ?- 
1570) representing some allegorical figures, being the 
projects of decorative paintings. 

VI. The last Judgement, engraved by Peter de Jode, 
after John Cousin. 

VII. a) The Antwerp Procession or Ommegang, after 
the picture by Alexander Gasteels, engraved by Jas- 
per BouTTATS, with explanatory text (1685). 

bj Drawing made by means of microscopical written 
characters, representing Abraham and Melchisedech 
and the Sacrifice of Isaac; all round it some chapters 
of the Bible relating the above events (XVIIIt'i century). 

cj Project of a monument to be erected to Balthasar 
Moretus II. 

dl Project of a chapel door (1671). 

g) Portrait of Balthasar Moretus II. 

VIII. A perpetual Calendar, engraved by John-Claud 
De Cock, in 1732. 



1 



— 78 — 



IX. Four songs of the Gueux, in the original edition, 
printed on loose leaves.Three amongst them refer to the 
attempted surprise of Antwerp by the duke of Alen^on, 
in 1583, known as The French Fury. At the heading of the 
first verse the tune, on which they were to be sung, is 
noted ; one of them is in musical notes. It is signed 
J. D. Voort. On another is an author's motto Naer 
dit een beter, (Nic. Perclaes), on a third the motto 
7 Heeft al zyn tydt. 

Two pictures : 

ZEGERS (Gerard) 1591-1651. Christ returning from 
the Limbo appears before his mother. Mary, surrounded 
by angels, is bewailing the death of her son, whenChrist 
appears before her. He is followed by the righteous 
and penitent whom he has just delivered : the prodigal 
son, David, Moses, St-Joseph, Adam and Eve. Canvas, 
H. 1,55 m., L. 2,36 m. 

The picture was made for the chapel of Our Lady in 
the old Jesuit-church. 

VAN NOORT (Lambert) 1520-1571 . Christ carrying the 
cross. Christ has fallen under the weight of the cross ; 
Simon of Cyrene helps him to get up; St-Veronica 
kneels before him. The thieves, conducted by the sold- 
iers, march in front ; St-John, the Virgin and holy 
women form the procession. Signed L. V. N. 1565. 
Panel, H. 1,42 m. L. 1,93 m. 



- 79 — 

XV. 
SMALL LIBRARY. 

The walls of this room are ornamented with three 
university theses, supported by members of the 
Moretus family. The books found there are mostly 
duplicates of works contained in the large library. 
Part of the shelves are occupied by the collection 
odhe Journal des Debats, from 1800 to 1871. Beside 
the door on going out a cupboard in oak and 
ebony is found dated 1653. Above it an allegorical 
engraving in honour of the archduke Leopold William, 
governor of the Netherlands, on the occasion of his 
entry into Ghent, in 1653, made by Schelte a Bols- 
WERT, after the design of Erasm Quellin. Above the 
door on going out a wooden statuette of the Virgin. 

In the two desks adorning one of the walls of the 
small library, some specimens of documents contained 
in the records of the museum are found exposed. 

1. Aizsonius (Plantin, 1568), annotated by the hand of 
Theod. Poelman. 

2. Account book of Poelman as a fuller, from 1558 to 
1570. 

3. A Letter of Abraham Ortelius to Francis Raphe- 
lengien. Antwerp, 15th March 1594. 

4. Attestation supplied by Corn. Landtschot to Poel- 
man, on the 17«h January 1579. 

5. Note Book by the hand of Francis Raphelengien 
on Seneca's Medea. 

6. Book of Errata by the hand of Arias Montanus, 

7 



- 80 - 

for his Comments on the prophet Isaiah, published by 
J. Moretus in 1599. 

7. Pesagides Pleyn, manuscript by the hand of 
J.-B. Houwaert, author of this poem, published by 
Plantin, in 1583. 

8. Latin Poems by Corn. Kiel, manuscript prepared 
for printing but having remained unpublished until 
lately. The Antwerpian bibliophiles published, the text 
of these poems, in 1880, preceded by a biography of 
the poet. 

9. Sgnonymia Kiliani. Latin-Dutch dictionary, com- 
posed by Corn. Kiel as a match to his Etymologicum or 
Dutch-Latin dictionary. 

10. The second edition of Corn. Kiel's Dictionary 
(Plantin, 1588) with corrections by his hand for the 
third edition. 

11. Promptuarium latince linguoe (Plantin, 1591), with 
the Dutch translation added by Corn. Kiel to his Latin- 
Greek-French dictionary, 

12. Letter from Justus Lipsius to Th. Poelman and 
reply of the latter. Antwerp, 1st juiy and 18^^ July 1576. 

13. Letter from Charles de Mallery to Balth, Moretus L 
Brussels, 13th March 1638. 

W. Letter from Francis Raphelengiento John Moretus I ^ 
Leyde, 4^^ October 1589. 

15. Letter from Corn, Galle junior to Balthasar More- 
tus I, Brussels, 9^ April 1638. 

16. Letter from Georges de la Hele to Plantin. Arras, 
12«»^ March 1581 . 

17. Letter from Philip Galle to Peter Scholiers. Ant- 
werp, 1564. 






- 81 - 

18. Letter from J. Matderus to Balthasar Moretus /, 
Brussels, 30»»^ September 1616. 

19. Letter from Jasper Gevartius, without either adress 
or date. 

20. Letter from Max, Vrientius to Jasper Moretus, 
Ghent, 31st May 1611. 

21. Letter from Phil, Rubens to Balth. Moretus L 
Rome, 9*>» September 1606. 

22. Letter from Bern, Bauhusius to the same, Louvain, 
1^ October (without year). 

23. Letter from Anselm Gazceus to the same, Valen- 
ciennes, 27*^ March 1637. 

24. Letter from Daniel Heinsius to the same, Leyde, 
^^ December 1610. 

25. Receipt of Nic. Rockox to the same, Antwerp, 
20^^ November 1612. 

26. Letter from Fred. deMarselaer to the same. 6^^ March 
1638. 

27. Letter from Huhertus Rosweydus to the same. 
Courtrai, 28*J» June 1611. 

28. Letter from Charles de L'Escluse to John Moretus I, 
Francfort, 1st March 1593. 

29. Letter from Ergcius Puteanus to Balth. Moretus L 
Louvain, 9»^ March 1617. 

30. Letter from Albert Le Mire to the same, Brussels, 
W" September 1618. 

31. Letter from Justus Lipsius to John Moretus /, 
Louvain, 20»»^ July 1598 (Latin). 

32. Orthodox certificate, delivered to Justus Lipsius on 
the 9*^ July 1591, by John a Gampis, rector of the Jesuit 
college at Liege. 



— 82 — 

33. Letter from Justus Lipsius to Martina Plantin. 
Louvain, S'^ September 1602 (Dutch). 

34. Letter from Leonardus Lessius to Balth. Moretus L 
Louvain, 25*»» October 1610. 

35. Letter from Balthasar Corderius to the same. 
Vienna, 21st May 1631. 

36. Letter from Jutes Chifflet to Balth. Moretus II, 
S'^ May 1676. 

37. Letter from Francis Haroeus to John Moretus L 
Bree, 20*>^ December 1591. 

38. Letter from Laur, Begerlinck to Balth. Moretus I. 
25^ August 1625. 

39. Letter from Phil, Chifflet to the same. Brussels, 
20*J» July 1637. 

40. Letter from Cardinal Bellarmin to the same. Rome, 
27'*^ August 1616. 

41. Letter from Cardinal Baronius to John Moretus I. 
Rome, 24»h April 1592. 

42. Letter from Arias Montanus to the same. Campo 
de Flores, near Sevilla, 1" November 1596. 

43. Letter from John Mariana to Balthasar Moretus I. 
Toledo, 10*^ June 1618. 

44. Letter from Andrew Schottus to John Moretus L 
Tournay, W^ July 1610. 

45. Letter of the Count-Duke of Olivarez to Balthasar 
Moretus I. Aranjuez, 20*** April 1625. 

46. Letter from Daniel Papebrochius to Balth. More- 
tus III. Antwerp, 11*^ November 1679. 

47. Letter from Gabriel de Qayas to Plantin. Madrid) 
13»»» June 1578. 

iS.Fonr receipts of school remuneration, written out by 



- 83 - 



William Ogier, a school-master and celebrated Dutch- 
Flemish dramatic poet, 1684 to 1688. 



XVI. 
1st ROOM OF WOOD ENGRAVINGS. 

Above the entrance door the portrait of Anne-Marie 
de Neuf, wife of Balthasar Moretus III (1654-1714), by 
an unknown master, is seen. She wears a high hair 
dress, a green-bronze low neck dress trimmed with lace 
upon the shoulders and sleeves. 

Oval picture. Canvas, H.0,86 m., L. 0,74 m. 

Above the door on going out, the Plantinian com- 
passes with the attributes of a canon and the date of 
1695. This piece served as a mortuary shield to a 
priest of the Moretus family. 

The walls of this room are ornamented with four 
university theses, two large engravings, a chart of 
Flanders and a plan of Antwerp. Upon the chests and 
cupboards the models in terra-cotta of the busts which 
adorn the court-yard are placed. In the desks some 
series of wood engravings are exposed. 

ENGRAVINGS. 

The Flagellalion of Christ, drawn by Pet£r van Lint, 
after a composition by Rubens, engraved by Mathew 
BoRREKENS and printed at Antwerp, by Jasper Huberti. 
The engraving reproduces the picture of P. P. Rubens 
in St-Paul's church at Antwerp; but P. van Lint added 
to it a figure to the left and another one to the right. 



- 84 - 

2. The Crowning with thorns, designed in 1654 by 
John Thomas of Ypres, Rubens' pupil, engraved by 
Mathew Borrekens and printed by Jasper Huberti. 

Each of these two engravings is composed of six 
leaves ; they are printed upon the back of almanacks 
of 1675, printed likewise at Jasper Huberti's. 

MAPS. 

3. Map of the County of Flanders, drawn by Gerard 
Mercator, in 1540, the only copy known. 

4. Plan of Antwerp, seen as the crow flies, made in 
1565, the most prosperous time of the city before 
the XIS}^ century. Drawn by Virgiuus of Bou- 
logne and Cornelius Grapheus ; printed at Antwerp, 
by Guy van Diest, on account of Peter Frans and 
Anthony Palerme. Only copy known. 

BUSTS. 

5. Bust of Balthasar Moretus I by Artus Quellin, 
a reproduction in plaster of the original model. 

6. Bust of Balthasar Moretus II, by Peter Verbruggen, 
junior. 

7. Bust of Balthasar Moretus III, by John Claud de 
Cock. 

8. Bust of Balthasar Moretus IV. 

9. Another Bust of Balthasar Moretus III. 

10. Bust of John James Moretus. 



— 85 - 

WOOD ENGRAVINGS. 

11. Portraits of Roman Emperors, having served in 
the edition of 1645 of the Icones Imperatoriim Goltzii. 

As we have seen (p. 19) Balthasar Moretus I had 
bought, in 1630, 328 copies of this work. Wishing to 
reprint the fifth volume, he had the medallions of the 
Roman emperors made,from 1631 to 1638, by Christopher 
Jegher or Jegherendorff. The portraits were printed 
in two colors ; the level plates served to lay a yellow 
ground, the plates in relief to print the features and the 
letters in black ink. They were paid to the engraver 
at the price of 6 florins each or 12 florins a pair. 

12, 13, 14. Missal plates of different sizes. Those 
bearing the initials P. B. were designed by Peter Van 
DER BoRGHT. The plates signed A. V. L. were engraved 
by Anthony Van Leest. The letters G. or G. I. indicate 
the engraver Gerard Jansen van Kampen, of Breda ; 
the letters C. J. indicate Cristopher Jegher. 

The plates engraved by the last named date from 
about 1630; all the others were made between 1570 and 
1580. 

15. Drawings in ink and pencil upon wood, com- 
prising : 

A series of 16 drawings made for the poem of 
J.-B. HouwAERT, Pegasides-pleyn (Plan tin, 1585, in-4o). 

A sign of the Plantinian printing office. 

A Roman Alphabet ornamented with figures of saints. 

Three diff*erent subjects. 

These designs prepared for the engraver were never 
cut in wood. Those of Pegasides-pleyn were engraved 
on copper by John Wiericx. 



- 86 — 

16 and 17. Frontispieces and frames. The major 
part of the XVV^ century. The greater number 
of the frontispieces were designed by Godfrey 
Ballain of Paris, some of them by William Van 
Parys. All these pieces were executed by the 
engravers in Plantin's service : Anthony van Leest, 
Arnold Nicolai, Gerald Jansen of Kampen, and Cor- 

NEUUS MULLER. 

18. Plates of Aguilonii Optica (Plantin, 1613, fol.). 

Plantin bought these plates from the widow of Wil- 
liam Silvius, in 1583, at the same time as those of 
Guicciardini. 

20. Plates of the Incomst van Mathias (Plantin, 1579, 
in-4o) and the Incomst van den prince van Oraignien 
(Plantin, 1579, in-4".), engraved by Anthony van Leest. 

21. Plates engraved for the works of botany of 
Dodoens, Charles Clusius and Mathew de Lobel. 

On the 15'^ of July 1577 Plantin bought 800 copies of 
the Adversaria Lobelii, printed at London, by Purfoot 
in 1570, as also the plates having served for this 
edition : the lot for the sum of 1200 florins. At the sale 
of the mortuary of John van der Loe (Loaeus), the first 
editor of the Herbal of Dodoens, he bought the blocks 
wich had served for the first editions of this work for 
a sum of 420 florins. In 1581 Plantin produced a collec- 
tion, comprising 2191 wood engravings having served 
in these two books or executed at his cost for the 
works of Dodoens and of Clusius by the usual engrav- 
ers of the architypography. 

22. Plates of Nurembergii Historia natures (Plantin, 
1635, in-fol.) engraved by Christ. Jegher. 

23. Varia. Plates engraved for diff*erent works. 



— 87 — 

24. Engraved armories. Many of these pieces were 
designed by Peter Huys. 

25. Facsimile inscriptions and old manuscripts. 

26. Plans of the town made for the first edition of 
Guicciardini, Descrittione di tutti i Paesi Bassi (G. Silvius 
1567, in-foL). Bought by Plantin from the widow of 
AVilUam Silvius in 1583. 

27. 74 DifiFerent marks of the Plantinian printing 
office of the X\V^ and XVIpJ» centuries. 

28 & 29. Vignettes and Tail pieces, employed in differ- 
ent works. 

30. Plates of Flavii Vegetii de Re militari (Plantin, 
1585, in-4o). 

31. Gothic alphabet, in ornamented curl letters. 

32. Gothic alphabet, ornamented with foliage. 

33. Three Gothic alphabets and a small Roman 
alphabet. 

Upon the desk, in the centre of the room, is the bust 
in plaster of Cornelius Kiel, offered to the museum by 
the author,CoNSTANT Jacobs, of Duffel. The original is 
at the town hall at Duffel. 



XVII. 
PASSAGE. 



In the passage, which separates this room from the 
following one, some copper engravings with the print- 
ed proofs are exposed in four frames. 

1. Cenotaph of Philip IV, front-face. 

2. Cenotaph of Philip IV, side-face. 



— 88 — 

Both drawn by Erasm Quelun and engraved by 
Luke Vorsterman junior for the work of Judocus Hou- 
braken, Oratio funebris in exequiis Philippi IV (Plantin, 
1666, in-fol.) 

3 & 5. Plates for the entrance of Albert and Isabella 
into Antwerp : Historica narratio profectionis etinaiigii- 
ralionis Albertiet Isabelloe (Plantin, 1602 fol.), engraved 
by Peter Van der Borght. 



2na ROOM OF WOOD ENGRAVINGS. 

In this room, upon the chimney, a picture is seen : 

Francis Goubau (1622-1679) . The Worship of the Holy Sac- 
rament. St.-Norbert and a friar of his order are kneeling 
before an altar, upon which the Holy Sacrament is 
exposed, the saint having restored the worship of it at 
Antwerp . In the upper part two angels, one of whom 
brings a wreath of laurels to St.-Norbert signed : 
F, Goubau, fecit 1650, This picture was formerly to be 
seen in the church of St-Michael's Abbey at Antwerp, 
where it adorned the monument of John Spanenbosch, 
who died in 1656 (Canvas H. 1,38 m. L. 1,51 m.) 

Beside the chimney above the cupboards, two pict- 
ures : 

Gerard Zegers. St-Clare in adoration before the 
infant Jesus. The Virgin, seated, holds some fruits in 
.one hand, and with the other the infant Jesus, seated 
at her side. To the left, St-Clare in a praying attitude. 
This picture formerly adorned the funeral monument 
of Lawrence Vits and his wife Mary Menten, at the 
Antwerp Cathedral. (Canvas, H. 1,13 m., L. 0,86). 



- 89 - 

Peter van LiNT(1609-1690)Sf-Ca/Aerz/ie.Thc saint is seen 
down to the knees and holds the sword in her left hand, 
a palmbranch in her right hand. At her side, the wheel, 
instrument of her torture (Canvas H. 1,10 m., L.0,83 m.) 

Above the entrance door, the mortuary shield of 
John James Moretus, who died on the 5*^ of September 
1757. Beside this door the following copper engravings : 

1 & 2. The orders of the Roman empire. 

3. The Escurial. 

These three plates were used in the Atlas of Ortelius. 
The first two are signed by Anthony Wiericx, and 
appeared afterwards in the Speculum Orbis Terrarum 
by Corn, de Jode (Antwerp, Arnold Coninx, 1593) ; the 
third, dated 1591, was made by the usual engravers of 
Ortelius, the Hogenbergs, of Cologne. These plates 
were bought in 1612 by Balthasar and John Moretus at 
the sale of the printing office of J. B.Vrints, at the same 
time as the copper plates of the Atlas of Ortelius. 

4. The Townhall of Antwerp. Engraved for the French 
edition of Guicciardini, published by Silvius in 1567. 
This plate was bought in 1583, by Plantin, with the 
blocks of the plans of towns. 

The chimney piece and the door on going out were 
carved by Paul Dirickx ; the former bears the date of 
1622, the latter was made for the large library in 1640. 

Along the walls of this room, the following wood 
engravings are shown in desks : 

5. Plates of the Devises Hero'iques by CAaude Paradin, 
(Plantin, 1562). 

6. Plates of : Joannis Goropii Becani Opera (Plantin, 
1580) and of Jacobus Bosius,Crux Triumphanset gloriosa 
•Plantin, 16^7). 



- 90 - 

7. Plates of Emblems of Sambucus (Plantin, 1564), 
designed by Luke de Heere, P. van der Borght and! 
Peter Huys, engraved by Corn. Muller, Arnol^ 
NicoLAi and Gerard Jansen of Kampen. 

8. Plates ot the Emblems of Alciat (Plantin, 1566), 
engraved by Arnold NicolaL 

9. Medals engraved for the Emblemata of Sambucus 
and Junius. 

10. Plates of : Emblemata Hesii (Plantin, 1636), 
designs by Erasm Quellin, engraved by Christ. 
Jegher ^ 3 fl. a piece. 

In the middle of the room, a desk containing 36 pict- 
ures in water colors, made in 1711 & 1712 by James de 
Wit, a Dutch painter, after the ceilings of the ancient 
Jesuit church at Antwerp, painted by Rubens and his 
pupils in 1620. In 1718 a fire consumed these pictures, 
no other reproductions remaining but a certain num- 
ber of sketches and two series of water colors. One, by 
James deWit, is here exposed and reproduces 36 of the 
39 compositions; the other, also belonging to the 
museum, made by Muller, of Dresden, reproduces 
the 39 ceilings. Ten of our water colors were engraved 
by James deWit himself; in 1751, John Punt engraved 
the whole collection. 



XIX. 

GALLERY OP ENGRAVINGS ON COPPER. 

The ornaments of this gallery are : 
Four busts of the apostles, in wood, and one bust in 
plaster. 



- 91 - 

Four frames with commemorative inscriptions in 
nor of John Moretus I, Balthasar MoretusI, Corn, 
iel (Kilianus) and Francis Raphelengien. 
All along the room some copper engravings are 
xposed in frames and desks. 

1. Frontispiece engraved for the Messes de Georges de 
LaHetk (Plantin, 1578, in-fol. max.) also used in the 
other musical publications subsequent to this one. 

2. Portrait of Balthasar Moretus I, engraved by Corn. 
Galle, junior, after Erasm Quellin. 

The gray painting of which this plate is the repro- 
duction, is found exposed in room II, N^ 2*»" . 

3. Portrait of Plantin, engraved by John Wiericx. 

4. Portrait of Plantin, of a smaller size. 

5. Portrait of Cardinal Baronius, engraved after a 
drawing kept at the Museum and bearing the inscrip- 
tion : « M. sViE 56. » 

6. Six etchin'gs by Peter Boel, representing some 
birds. These plates were not engraved for the Moretus- 
es, who most probably bought them for old copper, 
after a small number of copies, had been printed by 
tlie painter-engraver. This is very likely the cause of 
the great rarity of these etchings. 

7. The four plates of The Entry of the Queen Mother 
{Mary of Medicis) into the towns of the Netherlands, by 
the sieur de La Serre (Plantin, 1632, in-fol.), engrav- 
ed by Andrew Pauwels, after Nic. Van der Horst (1). 



(1) 6 february 1632. A Adrien Pauwels voor reste vande plaet van 
Ant-werpen, fl, 4 s. 8. Alsoo dat hy heeft ontfangen vande plaet van 
Bergen, fl. 36, vande plaet van Brussel, fl. 40, van Antwerpen, 44 fl. 

See also the note on page 18. 



- 92 - 

The Museum has kept two of the four drawings (see II, 
22 & 23). The frontispiece of the work was engraved 
by Corn. Galle. 

8. Magdalen, by Wiericx (?), after Titian. 

9. Portrait of Otto Venius, painted • by his daughter 
Gertrude, engraved by Paul Pontius. 

10. Plates of : Officium Beatoe Marioe Virginis^ in-4o. 
Most of these plates were engraved, by Th. Galle, for 
the Plantinian edition of 1600. One part was made for 
the edition of 1609. They were successively employed 
for the editions of 1622, 1624, 1652, 1680 & 1759. The 
original plates were copied or touched up in the last 
reprintings. The edition dated 1600, which only appeared 
in 1601, comprised 25 large plates and 42 wood cuts, 
engraved by Theodore Galle and partly drawn by 
him. The one of 1609 comprises 57 large plates and 
38 wood cuts. The new plates were drawn by Peter 
DE JoDE : the greatest part being engraved by Th. Galle; 
a certain number by Ch. de Mallery. 

11. Plates of : Cinquante Meditations de la Passion de 
N.'S. par Fr, Costerus (Plantin, 1587, in-8o), drawings 
and engravings by Peter Van der Borght. 

12. Plates of : S. Epiphanius, ad Physiologum (Plantin, 
1588, in-8t^), engraved by Peter Van der Borght. 

13. Plates of : Les XV Mgsteres da Rosaire par le 
seigneur de Betencourt (Plantin, 1588, in-4o), engraved 
by Peter van der Borght. 

14. Twelve Plantinian signs, most of them of the 
XVPh century. 

15. Plates of : /.-/. Chifflet, Anastasis Childerici I 
Plantin, 1655, in-4o). 



- 93 - 

16. Plates of : Joannes Boenerus^ Delineatio historica 
fratrumminoriimoccisoriim(P\aniin, 1635,in-4o), engrav- 
ed by Andrew Pauwels. 

17. Plates of : Fr. Costeri Meditationes in Hymnum 
Ave Maris Stella (Plantin, 1589, in-8o), engraved by 
Peter van der Borght. 

18. St.'Jerome, engraved by Lauvray. 

19. Drawing book of Peter Paul Rubens. Twenty 
plates engraved by Paul Pontius. 

20. Four missal frames, in-folio. 

21. Plates of: Jac. Cateri Virtutes Cardinales (Plantin, 
1646 in-4«), engraved by G. Galle, senior. 

22. Title and plates of : Petri Biveri Sacrum Sanctua- 
rium (Plantin, 1634, in-4«). 

These plates were made by Adrian Collaert for : 
Barth. Riccius, Triumphus Jesu Christi crucifixi (Plantin, 
1608, in-8o). They were touched up for the book of 
P. Biverus by Ch. de Mallery. 

23. Plates of : Thorn. Saillii Thesaurus precum (Plan- 
tin, 1609, in-8o), engraved at the price of 18 fl. each, 
by Th. Galle, after Adam Van Noort and Peter de 
Jode (1). 

24. The Passion of J.~C., engraved by Lucas van 
Leyden, 1521, with the address : M. Petri exc. 

25. Frontispiece of : Balth. Corderii Job elucidatus 



(1) Liwe des ouvriers, 13 September 1608. A Adam van Noort pour 
9 patrons des flgures des Litanies nouvelles de P. Saillius, a 36 patars 
pitee fl. 16 8. 4. 

31 octobre 1608. A Peeter de Jode pour 13 figures du Rd p^re Saillius 
qu'il faict les patrons a 50 sous fl. 33 s. 10. 

1 Aug. 1609. A Peeter de Jode trois figures de Salles . . fl. 7 s. 10. 



— 94 — 

(Plantin, 1645, in-foL), engraved by Corn. Galle, junior 
after Abr. Van Diepei^beeck. 

26. Frontispiece of : Imago primi soeculi Societati$ 
Jesus (Plantin, 1640, in-fol.) engraved by Corn. Galle 
senior after Phil. Fruytiers. 

27. Frontispiece of: Roderici de Arriaga Disputaliones 
theologicce (Plantin, 1643, in-fol.), engraved by Corn. 
Galle, junior, after Er. Quellin. The drawing is seen 
in room II, Nr 48(2)., 

28. Frontispiece of las Obras de la S, Madre Teresa 
de Jesus. Plantin, 1561. 

29. Frontispiece of: T/ie //ni7a ton o/ J. -C. (Plantin, 
1655, in-8o). 

30. Plate representing a religious saint, in ecstasy 
before the book of the Canticles, which two angels 
show him. 

31. Frontispiece of : Biblia Sacra (Plantin, 1645, in-8o). 

32. Portrait of Pierre Alois Carafa, engraved by Corn. 
Galle senior for the work : Silvestri a Petra Sancta de 
Symbolis Heroicis (Plantin, 1634, in-4o). 

33. Seven plates of Officia propria Sanctorum Ecclesics 
Toletanoe (Plantin, 1616, in-8o), engraved by Jerome 
WiERicx, Ch. de Mallery, Theodore and Corneuds 
Galle for the account of Philip de Peralta. 

34. Eight plates of : Exercios de deuocion y oracion 
(Plantin, 1622, in-8o), engraved by Jerome Wiericx, 
Corn, and Theod. Galle, John Collaert and Ch. de 
Mallery. 



(20-22 junii 1622. Erasmo Quellino voor teekeninghe van diversche 
groote houte letteren en van den titel van Arriaga theologia . . fl. 37 



— 95 - 

35. Frontispiece of Frederici de Marselaer Legatus, 
engraved by Corn. Galle after Theodore Van Loon. 
(Plantin, 1626, in-43). 

36. The Infante-Csirdinal offering his sword to the 
Virgin. Plate engraved by Corn. Galle for : Barth. de 
los Rios, de Hierarchia Mariana (Plantin, 1641, in-fol.), 
after the picture painted for the high altar of the church 
of the village of Galloo by Ant. Wery. 

37. Frontispiece of Philomathi Musoe Juveniles (Plantin, 
1654, in-4o), engraved by Corn. Galle, junior. 

38. Portrait of J.-B. Houwaert, by John Wiericx. 

39. Plates of a Service of the Virgin, in-12o, designed 
and engraved by John Wiericx. 

40. Portrait of Cardinal Bellarmin, engraved by Ch. 
DE Mallery, for the work : Jac. Fuligatto, Vita Ro- 
berti Bellar mini [Plsiniin, 1631, in-8<>). 

41. Portrait of Philip Neri, engraved for Gabriel 
Paloeoti de Bono Senectutis (Plantin, 1598, in-4o). 

42. Plates of an edition in-16o of the Hours, designed 
by Mart, de Vos, engraved by Crispin Van den Passe, 
in 1588. The drawings of these engravings are seen in 
room II, under N^ 17. 

43. Plates of : Silvestri a Petra Sancta,Symbolaheroica 
(Plantin, 1634, in-4o). 

From the 13'»» December 1633 to the 23rd of June 1634, 
Balth. Moretus paid 268 fl. 1 s. to Andrew Pauwels for the 
« improvement » of the figures of the R. B. Silvester a 
Petra Sancta. This indication, added to those which we 
find in the accounts of the Plantinian house for other 
books, leads us to believe that the Jesuit fathers had the 
plates, destined for works of the members of the com- 

8 



[— 95 - 
35. Frontispiece of Frederici de Marselaer Legatas, 
engraved by Corn. Galle aHer Theodore Van Loon, 
Plantin, 1626, in-4J). 
36. The Infanle-Cardinal offering his sword to the 
Yirain. Plate enaraved bv Corn. Galle for : Earth, de 
\ana (Plantin, 1641, in-fol.|, 

■ the high altar of the church 
^NT. Wehv. 

athi Mascejuoeniles (Plantin, 
iHN. Galle, junior. 
raert, by John Wiehicx. 

■ the Virgin, in-12o, designed 

RICX. 

Bellarmin, engraved by Ch. 
: : Jac. Fuligatlo, Vita Ro- 
i31, in-8"), 

Neri, engraved for Gabriel 
Plantin, 1598, in-4"). 
1-16" of the Hours, designed 
by Crispin Van den Passe, 
hese engravings are seen in 

*elra Sancla,Syml)olaheroica 

1633 to I1»ft 23"' of June 1634, 

s. to ' \PaQwelsfor the 

*. B. Silvester a 

J those which we 

iui house for other 

suit fathers had the 

ambers of the com- 



— 96 -r- 

pany, engraved by artists whom they paid regular 
wages, and that these plates were afterwards touched 
up by more skilled engravers. 

44. Portraits of Foresters and Counts of FlanderSy 
employed in the work : les Genealogies et anciennes 
descentes des Forestiers et Comtes de Flandre, by Corn. 
Martin, adorned with portraits collected by Peter 
Balthasar and himself. Antwerp, J.-B. Vrints, 1598. 
Printed by James Mesens. A second edition, printed 
by Bobert Bruneau for J.-B. Vrints, was sold at the 
Plantinian shop. The editor had the portraits herein 
mentioned engraved upon copper. 

The plates of the Counts of Flanders were bought at 
the mortuary sale of J. B. Vrints by Balthasar and 
John Moretus, in April 1612. 

45. Plates of The Entrance of Albert and Isabella (Plantin, 
1602, in-foL), engraved by P. Van der Borght after the 
compositions of Otto Venius and the drawings of Just 

DE MOMPER (1) 

46. Frontispiece of the same Entrance. 

47. Frontispiece of the Entrance of Prince Ernest into 
Antwerp (Plantin, 1595, in-fol.) 

48. Second frontispiece of the same Entrance, engrav- 
ed by Peter Van der Borght. The composition of the 
triumphal arches was due to Otto Venius. The city of 
Antwerp granted John Moretus a subsidy of 600 fl. 



(1) Aen Joos de Mompre voor het maken ende teeckenen van twee 
frontispicia, 24 fl., voor den bouck van de triumphe van de incompste van 
hare Hoocheden (Acte van 14 octobris 1600). 

1599. Joos de Mompre 27 stuck schilderyen gelevert voor den zelfden 
bouck, 290 fl. (Stads Rekeningen). 



- 97 - 

to provide for the expenses of this work (1) the reduc- 
tion for the engraver of these compositions was made 
by Corn. Floris and Just de Momper (2). 

49. Frontispiece of : UArcidiica d' Austria Fernando 
Carlo by P. Diego Leqiiille (Vlaniin, 1653, in-fol.), engrav- 
ed by Conrad Lauwers (3). 

50. Frontispiece of : Aug. Tornielli Annales sacri 
(Plantin, 1620, in-fol.), engraved by Theodore Galle, 
after P. P. Rubens. The drawer received 20 florins for 
this title in-folio, as well as for the following of the 
same size; the engraver received 75 fl., copper included. 

51. Frontispiece of : Lud. Blosii Opera (Plantin, 1632, 
in-fol.), engraved by Corn. Galle, senior, after Rubens. 
The engraver was paid 95 fl. for the plate, the copper 
included. 

52. Frontispiece of : Jacobi Bosii Crux triumphans 
(Plantin, 1617, in-fol.), engraved by Theod. Galle, after 
Rubens at the price of 75 fl., copper included. 



(1) Adi ?8 november 1594. ReQeu de Si" Joris Vekemans la somme de 
florins 325 a bon compte des figures de TEntr^e de rArchiducq, lesquelles 
j'ay entreprins de faire finire par P. van der Borcht fl. 325 

Adi 5 Mars 1595. ReQeu poar reste de 600 fl. lesquels messieurs 

avoyent promis de bailler en subside des figures fl. 275 

(Livre de comptes de Jean Moretus I). 

(2) Comelis Floris ende Joos de Momper schllders de somme van 
187 fl. 10 sch. art. hem competerende van dat sy de patroonen van de 
spectaclen hier gesteld ter incompste van synder Hoocheyt den Eerts- 
berCoge van Oistenryck gestelt hebben op den cleynen voet omme gedtst 
en gedruckt te worden, naer vermogen van den acte coUegiael van den 
Sjanuarii, 1595 — CLXXXVII. II. X. sc. art. 

(Stads Rekeningen. 1 feb. 1594 tot 31 jan. 1595. 

(3) 31 May 1653. Betaelt aen Coenrad Lauwers voor bet snyden van 
den tytel van I'Arciduca d' Austria fl. 36 



- 98 — 

53. Frontispiece of : Breviarium Romanum (Plantin, 
1628, in-fol.), engraved by Theod. Galle, after Rubens, 
for the edition of 1614 of this work. 

54. Frontispiece of : Balth. Corderii Catena sexaginta 
quinque patrum groecorum in S.-Lucam (Plantin, 1628, 
in-fol.), engraved by Corn. Galle, senior, after Rubens, 
at a cost of 80 fl. 

55. Frontispiece of Justi Lipsii Opera (Plantin, 1637, 
in-fol.), engraved by Corn. Galle, senior, after Rubens, 
at a cost of 90 fl., the copper included. It is the repro- 
duction of the drawing exposed in room II, under 
Nr 36. 

56. Frontispiece of : Heriberti Rosweydi Vitoe patrum 
(Plantin, 1615; 2"^ edit., 1628, in-fol.), engraved by 
Theod. Galle. Balthasar Moretus paid the engraver, 
for the plate and drawing, 73 fl. 

57. Frontispiece of the same work, edition of 1628, 
engraved by Corn. Galle, senior, after Abraham van 
Diepenbeeck. The engraver received 90 fl., the drawer 
20 florins. This composition is wrongly attributed to 
Rubens (1). 

58. Frontispiece of : Earth, de los Rios, de Hierarchia 
Mariana (Plantin, 1641, in-fol.), engraved by Corn. 
Galle, senior, drawn by Er. Quellin, after the indic- 
ations of Rubens (2). 



(1) 12 sept. 1627. Aen Abraham Van Diepenbeeck voor teeckenen van 
den nieuwen titel Vitae patrum fl. 20 

(D6pense8 particali^res de Balth. Moretus). 

(2) Ad Galleum his diebus misi frontispicii imaginem, quam Quellinus 
ex D. Rubenii prsescripto delineavit (Balthasar Moretus a Barth. de Los 
Rios, le 28 mai 1639). 



- 99 - 

59. Frontispiece of : Francisci Haroei Annates ducum 
sea principum Brabantioe, 1st and 2"^ volumes (Plantin, 
1623, in-fol.), engraved by Corn. Galle, senior, after 
Rubens, at a cost of 75 fl., copper included. 

60. Frontispiece of : Luitprandi Opera (Plantin, 1640, 
in-fol.), composed by Rubens, drawn by Er. Quellin, 
engraved by Corn. Galle, junior. The design of this 
plate is exposed in room II, N^ 38. 

61. Coat of Arms of Urban Vlfl, held by two angels, 
engraved by C. Galle, probably after Rubens. 

62. Frontispiece of Dionysii Areopagitoe Opera (Plan- 
tin, 1634, in-fol.), engraved by Corn. Galle senior 
after Rubens, at a cost of 100 fl. 

63. Frontispiece of Icones imperatornm Gottzii (H. and 
C. Verdussen, 1708, in-fol.). Plate engraved by Corn. 
Galle, senior, for the edition of the works of Goltzius, 
published in 1644-1645 by Balth. Moretus. The Museum 
has the drawing (See room II, N^ 39). This plate, as 
well as the other frontispieces of the same work , was 
sold by the Moretuses to the Verdussens, and bought 
again by the Plantin-Moretus Museum from some merch 
ants who had become the proprietors of it. 

64. Frontispiece of : Franc. Long! a Coriotano Summa 
Concitioriim omnium (Plantin, 1623, in-fol.), engraved 
by Corn. Galle, senior, after Rubens, at a cost of 75fl. 

65. Frontispiece of : Batth. Corderii Expositio patrum 
Grcecorum in Psatmos (Plantin, 1646, in-fol.), engraved 
by Peter de Jode, after Er. Quellin (1). 



(1) 26 sept. 1642. Betaelt aan P. de Jode voor eene plaete van den 
Tytel van Corderius in Psalmos fl . .72 



— 100 - 

The original drawing is exposed in room II, N^ 52. 

66. Frontispiece of : Herman. Hugo^ de Militia equesiri 
(Plantin, 1630, in-folio), engraved by Corn. Galle 
senior. 

The other plates of this work were engraved by 
Andrew Pauwels and one of the Bolswerts. 

67. Frontispiece of : Leonardi Lessii de Jiistitia et 
Jure, engraved in 1617, by Corn. Galle senior, alter 
Rubens. 

68. Frontispiece of : Fr. Aguilonii Optica (Planiiny 1613, 
in-fol.), engraved by Theod. Galle, after Rubens. The 
drawing is to be found at the BritishMuseum of London. 

69. Portrait of Leonardus Lessius. Drawn by Rubens 
and engraved by Corn. Galle senior for : Lessii 
Opuscula (Plantin, 1626, in-fol.). 

The drawing of this portrait was paid 12 florins to 
Rubens. 

70. Frontispiece of : Francisci Harcei Annates ducum 
seu principum Brabantioe, volume 3, engraved alter 
Rubens, by Luke Vorsterman, senior, for the account 
of Theod. Galle. 

71. Frontispiece of : de La Serre, Entree de ta Reyne- 
mere da Roy treschrestien dans les vittes des Pays^Bas 
(Plantin, 1632, in-fol.). This plate was falsely attributed 
to Rubens ; it was drawn by Nic. Van der Horst (1) 
and engraved by Corn. Galle senior, at a cost of 95fl. 

72. Frontispiece of : Mathew de Morgues, Diuerses 
pieces pour ta defense de ta reyne-mere (Plantin, 1637, 
in-fol.), engraved by Corn. Galle, senior, after Er. 

(1) See note on page 18. 



- 101 - 

QuELLiN. The drawing of this plate is exposed in room 
II, Nr 50. 

73. Frontispiece of : Herman Hugo, Obsidio Bredana 
(Plantin 1626, in-foL), engraved by Corn. Galle, senior 
after Rubens. The drawing is found in the National 
Gallery at London. 

74. Portrait of the Count-duke of Olivarez, made for : 
Luitprandi Opera (Plantin, 1640, in-fol.), engraved by 
Corn. Galle, junior, after Er. Quelun. The drawing 
Is exposed in room II, N** 37. 

75. Portrait of Justus Lipsius, engraved for the edition 
of the works of Seneca (Plantin 1615, in-fol.), by Corn. 
Galle, senior, after Rubens, at a cost of 54 fl , copper 
included. 

76. Frontispiece of : John Bogvin, Le Siege de la ville 
de Dole (Plantin, 1638, in-4o), engraved by C. Galle, 
after Er. Quellin. The design is exposed in room II, 
nr40. 

77. Frotttispiece of : Las obras en verso de Don Fran- 
cisco de Borja, principe de Esquilache (Plantin 1643, 
iii-4o), engraved for Augustini Mascardi Sylvoe (Plantin, 
1622, in-4o), by Theod. Galle, after Rubens, at the cost 
of 32 fl., the copper included. 

78. Frontispiece of : Silvestri a Petra Sancta Sgmbola 
heroica (Amsterdam, Janssonio-Waesbergii and Henr. 
Wetstenius, 1682, in-4o). This plate served at first 
in the Plantinian edition of 1634 of the same book, for 
which it was engraved by Corn. Galle senior, after 
Rubens (See n^ 43 of the same room). 

79. Frontispiece of : Stephani Simonini Silvce Urba 
nianoe (Plantin, 1637, in-4o), engraved by Corn. Galle, 



— 102 — 

senior, after Rubens, having served at first in 
M. C. Sarbievii Lyricoriim lihri IV. The gray painting 
made for this plate is exposed in room II, n^ 13. 

80. Frontispiece of : Maphcei nu^c Urbani VIII Poe- 
mata (Plantin, 1634, in-4o), engraved, as well as the 
portrait of the pope exposed under n»* 82 of the same 
room, by Corn. Galle senior, after Rubens, at the 
price of 60 fl. for the two plates. 

81. Portrait of John Van Havre, engraved by Corn, 
Galle, senior, after Rubens, for : Joannes Van Havre. 
Arx virtutis (Plantin 1627, in-4o). 

82. Portrait of Urban VIII, engraved for his Poemata 
(See higher up n^ 80). 

83. Plates of : Martyrologium S, Hieronymi. Fac-simile 
engraved upon copper after an ancient manuscript, 
belonging at that time to the abbey of Echternach and 
to-day to the national Library of Paris. The first plate of 
the series mentions that the work was undertaken at the 
cost of Balth. Moretus, under the direction of Heribertus 
Rosweydus. It was engraved by Andrew Pauwels, who 
received 12 fl. 10 s. per plate. This artist worked at the 
25 existing plates, from the month of September 1628 
up to the month of November 1633. There are two 
diff*erent states of the first plate ; the first has the fol- 
lowing heading : « Martyrologium S. Hieronymi » ; the 
second : « Martyrologium S. Hieronymi quale in mera- 
branis Epternacensibus ante annos nongentos scriptum 
servatur, et anno 1626, aere incisum, usque ad julium, 
habetur in Officina Plantiniana, cura R. P. Heriberti 
Rosweidi S. J. sumptu CI. V. Balthasaris Moreti. » The 
year 1626 is erroneously given instead of 1628. In 1675 



— 103 — 

the first plate was printed in the Propyloeum of 
volume II of the month of April of the Acta Sanctorum 
and received at that time the inscription which is now 
to be read on it. These plates probably form the first 
essay of reproduction in fac-simile of a manuscript. 
The work remained incomplete and the engraved 
plates were never published. In 1660 at last Balth. 
Moretus had nine copies printed. 

84. Frontispiece of : Graduate Romanum {Plantin, 
1599, in-fol.). 

85. Portrait of Godfrey Hermant, Doctor of the Sor- 
bonne, by Corn. Vermeulen. 

86. Portrait of John James Chifflet, engraved in 1647, 
after Nic. van der Horst, by Corn. Galle junior, for 
the first volume of the works of J. J. Chifflet (Plantin, 
1647, 3 vol. in-foL). 

87. Portrait of a clergyman. 

88. Frontispiece and three plates of Breviarium 
Romanum (Plantin 1697, in-fol.). 

89. St. Jerome^ engraved by John Sadeler, after 
Crispin van den Broeck for Opera divi Hieronymi 
(Plantin, 1579, in-fol.). 

90. Portrait of Ferdinand Illy king of Hungaria, en- 
graved by Corn. Galle senior, after Peter de Jode, 
for Andr. Guil. Dietelii Exercitatio theologica (Plantin, 
1631, in-fol.). The engraving, drawing and copper 
complete were paid 86 fl. to Theod, Galle (1). 



(1) Ao 1631, den 17 .Janaari. Cornelis gesneden Ferdinandus te peerd, 
in-folio, de Jode geteekent, met verhelpen en cooper alles te samen. fl. 86 



-• 104 - 

91. Frontispiece of Roderici de Arriaga Cursits philo- 
sophicus (Plantin, 1632, in-fol.), engraved bj^ Corn. 
Galle senior, after a drawing by Peter de Jode (1). The 
engraver received 95 fl. for his work, the draughtsman 
27. 

92. Portrait of pope Clement VIII^ engraved for 
Ortelius, Theatro del mondo, 1612. 

93. Frontispiece of TheEntrance of Albert and Isabella 
(see nr 45), engraved by Theod. Galle, at a cost of 
30 fl. 

94. St. Augustine engraved by John Sadeler, after 
Crispin van den Broeck, for Opera divi Aurelii 
AttgrMs/zn/ (Plantin, 1577, in-fol.). The drawing of this 
plate and the frontispiece of the work were paid 
6 florins each (2). 

95. Frontispiece of : Chrysostomus Henriqnez, Meno- 
logium Cistertiense (Plantin, 1630, in-fol.), engraved by 
Corn. Galle senior, at a cost of 86 fl. 

96. Frontispiece of : Caroli Neapolis Anaptyxis ad 
Fastos Ovidii (Plantin, 1638, in-fol.) engraved by Jac. 
Neefs, after Er. Quellin. The drawing is exposed in 
room 11, n"* 43. 

97. Four plates of L. Guicciardini, Descrittione di 
tutti i Paesi Bassi (Plantin, 1581, in-fol.) : the Cathedral, 
the Hanseatic House, the Town Hall, and the Exchange of 
Antwerp, engraved by Hogenberg of Cologne. These 



(1) Adi 23 febr. 1632. Pour la dMintotion da titre d' Arriaga k de 
Jode fl. 27. 

Adi 16 febr. 1632. Cornells gesneden tytel in-folio Ganos philo. 
met den hof. fl. 95. 

(2) La portraicture des commencements de St-Augustin par Crispin fl. 6. 



- 105 — 

four plates were touched up by Theod. Galle, in 1609 
for P. Scribanius, Antoerpia (Plantin, 1609, in-4o). 

98. Frontispiece and seven plates of the work on 
anatomy : Vivce imagines portium corporis hiimani 
(Plantin, lat. edit., 1566; dutch edit., 1568, small in-foL). 
The plates were copied from the treatise on anatomy by 
Valverda (Rome, 1560). Lambert van Noort drew the 
frontispiece, and received 3 fl. 10 s. for it : Peter and 
Francis Huys engraved the plates, at 11 fli each. 
The first of these plates were engraved before 1562 (1). 



ROOM ON THE FIRST FLOOR. 

The furniture of this room, hung with gilt leather 
consists of a table and some chairs in oak, a chest with 
three large vases in Japanese porcelain on top of it, 
with annealed ornamentation, and a burner in polished 



(1) 14 sept. 1564. Figures d'anatomie en cuivre, debiteur par casse. J'ay 
receu de Pierre Huys a di verses fois 7 planches de cuivre des figures de 
I'Anatomie etpay6 pour chacune 11 fl. qui font ensemble . . . 77 fl. 

J 'en ay retir6 3 desdlctes planches de Sylvius qui les avait prinses sur 
soy en partie et partie achapt6es a la vendue de mes biens (1562) pour 
oe, je les mets pour autres 11 fl. pi^ce, combien qu'ils en ayent coust6 12. 

33 fl. 

Poor 22 planobes taill6es en cuivre & Pierre Huys et FrauQois Huys. 

L. 40 — 6 — 8. 

Le 5 f6v. 1565. Le chapiteau d'Anatomie. J'ai pay6 & maistre Lambert 
Tan Noort pour le portraict dudiot chapiteau, fl. 3-10 k Pierre Huys 
pourlataille fl. 11. 



- 106 - 

glass. The chimney-piece in oak was carved by Paul 
DiRiCKX in 1638. In the chimney, a pair of iron fire 
dogs, with copper heads are found. 

Around the room six portraits of the family are hung 
up. 

1. VAN REESBROECK (Jam.) Portrait of Balthasar 
Moretus 11 (1615-1674). He wears long hair and a light 
moustache. Upon his black coat a large white collar is 
turned down (1). 

Panel. H. 0,65 m., L. 0,50 m. 

2. VAN HELMONT (John), master in 1675-1676. Por- 
trait of Theresa Mathilda Schilders (1696-1729), wife of 
John James Moretus. She is draped in deep red cash- 
mere upon a white bodice ; her hair is curled and 
powdered. 

Canvas H. 0,80 m., L. 0,63 m. 

The portrait, with the following and that of pope 
Clement XI, was paid 75 a. 12 s., on the 8th of July 
1717 (2). 

3. VAN HELMONT (John). Portrait of John James 
Moretus (1690-1757). He wears a red velvet coat, a waist- 
coat with flowers and a large powdered wig. 

Canvas. H. 0,81 m., L. 0,65 m. 



(1) Seepage 29, note 1. 

(2) Ick onderschreve kenne voldaen te syn van bet schilderen van de 
conterfeytsels van d'heer Moretus en madame syne huysvrouwe, als 
oock van bet conterfeytsel van den tegenwoordigen paus. In Antwerpen, 
1717, den 8 Julius. 

Joan. VAN Helmont. 
(At tbe back). Aen Hellemont 27 patacons in specie, 8 Juli 1717. 

fl. 75.12. 



— 107 — 

4. ANONYMOUS. Portrait of Balthasar Moretus IV 
(1679-1730). He is clothed in a blue velvet dress and 
wears a long curly wig. 

Oval painting. Canvas. H. 0,80 m., L. 0,62 m. 

5. ANONYMOUS. Portrait of Isabella Jacqueline de 
Mont, alias Brialmont (1682-1723) wife of Balthasar 
Moretus IV. She wears a blue velvet bodice and 
holds some flowers in her hand. 

Oval painting. Canvas. H. 0,80 m., L. 0,62 m. 

6. VAN REESBROECK (Jam.). Portrait of Ann Goos 
(1627-1691). She is clothed in a black dress, with a lace 
collar ; her curls fall down her shoulders in ringlets ; 
a slight row of hair, cut in a straight line falls on her 
forehead (1). 

Panel. H. 0,65 m., L. 0,49 m. 
Above the chimney : 

7. VERDUSSEN (Peter), (1662-?). Landscape. In the 
middle of the picture a bridge is raised with a steep 
incline, which two peasants mounted on asses and a 
group of passengers are crossing. To the right a wooded 
hill is seen and a castle upon an isolated rock ; to the 
left, two bushy trees, on the plain some huntsmen are 
riding; a fisherman is seated on the bank of the 
torrent which passes under the bridge ; a beggar is 
standing near the road. The figures are attributed to 
Jasper Broers. 

Signed : « P. Verdussen ». 
Canvas. H. 1,32 m., L. 1.89 m. 



(1) See page 29, note 2. 



— 108 — 



LICENSE Room. 

A staircase with three steps forms the communication 
between the preceeding room and the License room. 
The latter looks into an interior yard, and has no other 
ornament but a copy of a portrait of Balthasar Moretus I 
(Room II, nr 11), placed upon the antique chimney, 
an ancient statuette in wood of Brabo flinging away 
the hand of Antigonus, and a modern reproduction in 
relief of a panorama of Antwerp. 

In the desks which encircle the room and in the 
frames hung on the walls, some of the licenses granted 
to Plantin and his successors by the ancient Belgian 
and foreign sovereigns are exposed. These licenses 
have been carefully preserved, as pieces of such import- 
ance deserved. And in fact they alone gave printers 
the right to publish their productions ; by these licenses 
alone the monopoly of the works the authors confided 
to them was guaranteed. 

In the desk placed between the chimney and the 
window a choice of the most ancient and important 
licences granted to Plantin is found (1555-1589). They 
are : 

1. A privilege of theemperorof Germany, in German, 
dated the 28*^ of February 1576, invested with the auto- 
graph signature of Maximilian II, and granting to 
Plantin and his successors the license of free trade in 
all the states of the Empire. The grand seal of the 
emperor, contained in a wooden box, is attached to 
this document. 



- 109 - 

2. The letter in Latin which Philip II had written to 
Plantin, to inform hini that he took the printing of the 
polyglot Bible under his royal protection and that he 
sent Arias Montanus to conduct the works. It is dated 
Madrid, the 23«'<^ of March 1568, and bears the signature 
of Philip II and of his secretary Gabriel de ^ayas. 

3. The privilege in Latin which Cardinal Granvelle 
granted to the same work in the vice-royalty of Naples 
for a term of twenty years. Dated Naples, the 26th of 
September 1572. 

4. The approval given by the Faculty of Theology 
of Louvain to the same work, dated the 26*^ of March 
1571 and written in Latin. 

5. The privilege of the book : Offlcium Missce, 1568, 
written in Dutch, invested with the royal seal of Spain. 

6. The first privilege granted to Plantin. This piece 
is of the following tenor : 

« Sur la Remonstrance faicte au prive conseil de 
I'empereur nre S** de la part de GhristofQe Plantin, im- 
primeur et liberaire jure resident en ceste ville d'Anvers, 
contenant comment il a reconvert k ses grans coustz et 
despens, et faict visiter par les commissaires k ce depu- 
tez certains livres, intitulez, le premier : I'institution 
d'une fille noble par Jehan Michiel Bruto, le second : 
flores de Seneca et le III^ : le premier volume de Roland 
furieux, traduit d'italien en fran^ois ; desquels trois 
livres il a les deux fait transduire et translater, assavoir 
celluy intitule : I'institution d'une fille noble etc. d'ita- 
lien en frangois et I'autre, flores de Seneca, en espai- 
gnol, lesquelz ildesireroit bien imprimer oufe imprimer, 
assavoir ladite institution d'une fille noble en italien on 
fran^ois, lesd. flores de Seneca en espaignol et led. 



- 110 ~ 

premier volume de Rolandt furieux aussi en italien et 

frangois, mais ne le oseroit pas faire, obstant les ordon- 

nances et placcartz faictz sur le faict de rimprimerie, 

sans premierement avoir sur ce consentement et acte k 

ce servante. La Court, apr^s que par la visitation desd. 

livres iceulx ont este trouvez non suspectz d'aulcune 

mauvaise secteou doctrine a permiset octroy e, permect 

et octroy e par cestes aud. Ghristoffle Plantain, impri- 

meur, de povoir par luy ou par aultre imprimeur jure 

resident au pays de par deqk f« imprimer les susd. trois 

livres, assavoir Tinstitution d'une fille noble et Roland 

le furieux en franchois et flores de Seneca en espaignolz, 

tant seulement, et iceulx vendre et distribuer et mectre 

k vente par tons lesd. pays de par de^a, sans pour ce 

aucunement mesprendre envers sa Ma*, saulf que, au 

surplus, il sera tenu se regler selon les ordonn. faictes 

et publiees sur le faict de la imprimerie. T>onn6 en la 

ville d'Anvers le v© d*apvril 1554 devant Pasque [c. a. 

d. 1555]. 

« Signed de la Torre. » 

7. The privilege in Latin of the book : MarchantiuSf 
Flandria, 1567. 

8. The approval given by the doctors of the Sor- 
bonne of Paris to the Latin translation of the Bible of 
Sante Pagnino, destined to be inserted in the polyglot 
Bible. It is written in Latin, dated the 8*^ March 1569, 
and bears the signatures of six doctors. 

9. Above this desk, in a frame hung up against the 
wall, some of the privileges granted to John Moretus I 
<1589-1610) are exposed. 

Between the chimney and the entrance door a desk 



- Ill - 

and a frame containing some more privileges granted 
to Plantin. We shall just mention the following pieces : 

10. The privilege of the work : Petrus Serranus, Com- 
mentarius in Ezechielem (1572) bearing as signature the 
words traced by the hand of Philippe II : Yo el Rey, 

11. De la Carte des places nouvellement conquises au 
pays de Vermandois et Picardie : Sainct Quentiiif Han 
etChastellet (1557). This chart, drawn up by John de 
Surhon, is not to be found. 

12. The privilege of the Discours sur les causes de 
rexecution faicte es personnes de ceulx qui avoient con- 
jure contre le roy de France et son estat, 7 Nov. 1572. 

13. A diploma granted by Cosmo de Medicis to Lewis 
de Schore, in 1569, bearing the signature of the grand- 
duke of Toscany. 

14. The privilege granted for the polyglot Bible 
guaranteeing, during 20 years, the monopoly of the 
work in France, dated thelS'^ of April 1572 and invested 
with the royal seal of Charles IX. 

15. In the desk placed under the windows some 
privileges obtained by Balthasar Moretus I are exposed 
(1618-1641). 

Opposite to the chimney, in a desk (16) and in a frame 
(17), some privileges are found, granted to the brothers 
Balthasar I and John Moretus II (1610-1618) ; in a second 
desk (18) and frame (19), some privileges granted since 
1641 to the successors of Balthasar Moretus I, by the 
kings of Spain, the emperors of Austria, the French 
republic, the popes, the bishops of Antwerp and some 
convent abbeys. 

9 



— 112 - 
XXII. 

ROOM WITH COPPER ENORAVINGS AFTER 
RUBENS AND VAN DYCK. 

1. The Adoration of the Shepherds, engraved by Luke 
VoRSTERMAN, after P. P. Rubens. 

2. The Apparition of angels to the saint women near 
the grave of Christ, engraved by Luke Vorsterman, 
after P. P. Rubens. 

3. The Miracles of Saint Francis Xavier, after P. P. 
Rubens. Anonymous copy of the plate of Marinus. 

4. Christ on the cross, engraved by Schelte a 
Bolswert, after Ant. Van Dyck. 

5. The Adoration by the kings, by Luke Vorsterman, 
after P. P. Rubens. 

6. The Martyrdom of Saint Lieven, engraved by Corn. 
Van Caukercken, after P. P. Rubens. 

7. The Descent of the Holy-Ghost, engraved by Paul 
Pontius, after P. P. Rubens. 

8. The Adoration by the Shepherds, engraved by Luke 
Vorsterman, after P. P. Rubens. 

9. The Education of the Virgin, engraved after P. P. 
Rubens, by an anonymous artist. 

10. The Lords Supper, engraved by Peter Soutman, 
after the flresco of Leonardo da Vinci, although pro- 
bably Rubens provided him with a drawn copy. 

11. The March of Silenus, engraved by Peter 
Soutman after P. P. Rubens. 

12. The Adoration by the Kings, engraved by John 
Witdoeck, after P. P. Rubens. 



- 113 - 

13. Thomyris and Cyrus, engraved by Paul Pontius, 
after P. P. Rubens. 

ENGRAVINGS AFTER RUBENS, VAN DYCK 

AND JORDAfiNS. 

After Rubens. 

1. The Mariage of the Virgin, by Schelte a Bolswert. 

2. The Resurrection of Christ by S. a Bolswert. 

3. The Trinity, by S. A Bolswert. 

4. The Holy Family, by J. Witdoeck [Quondam 
prcegnantemj . 

5. Christ giving the keys to Saint Peter, by Peter de 

JODE. 

6. The Return from Egypt by S. a Bolswert. 

I. Episodes from the life of Henry IV, iy^o sketches 
engraved by Peter Martenasie. 

8. Two bas-reliefs, Tritons and Naiads, by Theod. 
tan Kessel. 

9. Achilles amongst the daughters of Lycomedes, by 
Corn. Visscher. 

10. Saint Francis of Assist receiving the brands, by 
Luke Vorsterman, senior. 

II. The three Graces, by Peter de Jode. 

12. The Birth of Christ by S. a Bolswert. 

13. Four small Landscapes, by S. a Bolswert. 

14. Lion hunting, by S. a Bolswert. 

15. Wolf hunting, by Wiluam de Leeuw. 

16. The Resurrection of Lazarushy Boetius a Bolswert. 

17. The Assumption by S. a Bolswert fR, P, Guard- 

ianoj. 

18. The Education of the Virgin, by S. a Bolswert. 



— 114 - 

19. The Adoration by the Kings by S. a Bolswert. 

20. The Flagellation^ by P. Pontius. 

21. Portrait of Rubens, by P. Pontius. 

After Jordaens. 

22. The Adoration by the Shepherds, by Peter de 

JODE. 

23. The Satyr and the Peasant, by Luke Vorsterman. 

24. The Satyr and the Peasant, by James Neefs. 

25. The Adoration by the Shepherds by Marinus. 

26. Argus and lo, etching by Jordaens. 

27. The Carnival, by Surugue junior. 

28. Saint Martin exorcising one possessed by the fiend, 
by Peter de Jode. 

29. Christ on the Cross, by S. a Bolswert. 

30. Jupiter and the goat Amaltheh, by S. a Bolswert. 

31. Zoo d*oude songen, zoo pepen dejonghen (As the 
old people sang, so did the young ones pipe), by 
S. A Bolswert. 

32. Vanity, by an Anonymous, artist. 

After van Dyck : 

33. Saint Rosalia, by P. Pontius. 

34. Portrait of Count Henry Van den Bergh, by 
P. Pontius. 

35. Portrait of Prince Thomas of Savoy, by P. Pontius. 

36. The March of Silenus by S. a Bolswert. 

37. Christ carrying the Cross, by Alex. Voet. 

38. The Crowning with thorns, by S. a Bolswert. 

39. The Holy Family with a circle of Angels, by S. a 
Bolswert. 

40. Samson and Dalilah, by Henry Snyers. 



- 115 - 

41. Eight portraits, by Paul Pontius and Luke Vor- 

STERMAN. 

42. Christ lying dead, mourned by his mother, by Luke 

VORSTERMAN. 

43. Same subject, by S. A. Bolswert. 

44. Eight portraits, by Luke Vorsterman, P. de Jode, 
C. Galle, S. a Bolswert, P. Pontius. 

45. The mystical Mariage of happy Hermannus 
Joseph, by Pontius. 

46. Portrait of Mary-Louisa de Tassis, by Corn. Ver- 

MEULEN. 

47. The Virgin and the Infant Jesus, by Henry Snyers. 

48. The Erection of the cross, by S. a Bolswert. 

49. Christ on the cross with Saint Francis, by Peter 
DE Bailliu. 

50. The Holy Family, by S. a Bolswert [Magna 
Trias). 

51. Seven portraits of Countesses and Counts, by P. 

LoifBART. 



XXIIL 

ROOM OF ANTWERP ENGRAVERS. 

In this room works of the most celebrated and char- 
acteristic masters of the Antwerp engraving school 
are exposed. It forms a whole with the gallery which 
the visitor has just gone through. 

Frame I. 

1. Cornelius Metsys or Massys (1499-1560?). Several 
small engravings. 



- 116 - 

2. Corn. Bos (s Hertogenbosch, 1510? Antwerp, 1560). 
Venus and Adonis, after Titian. 

3. Peter Huys (1519-1581). Mary at the foot of the 
cross. 

4. Francis Huys (1522-1562). The Lute tuner, 

5. Peter Perret (born in 1555). Painting, after 
H. Speekart. 

Frame II. 

6. Peter Coeck (born at Alost in 1507, came to Ant- 
werp in 1527, t Brussels, 1550). The Customs of the 
Turks. Six of the ten plates forming the complete 
series. 

Frame III. 
The Sadelehs. 

7. John (born at Brussels in 1550, came to Antwerp 
in 1555, died at Venice in 160(^. Portrait of Emmanuel 
Philibert of Savoy. 

8. Guy (1570-1629). The Origin of the Order of Dominic- 
ans, 

9. Guy. Portrait ofSigismond Bathori. 

10. Just (born in 1583;. Two Landscapes, after Paul 
Bril. 

11. Raphael junior, (born in 1584). The Assumption 
of the Virgin. 

Frame IV. 

12. Jerome Wellens, known by the surname of Cock 
(1510-1570). The Metamorphosis of Daphne. 

13. Peter Breughel (1520 7-1569). A mountainous 
Landscape. 



- 117 — 

14. Hans Bol (born at Malines in 1534, became a 
citizen of Antwerp in 1574, died at Amsterdam in 1593). 
Geese Jousting. 

15. Crispin van den Passe (born in 1536, received in 
the Guild of St-Luke at Antwerp in 1585). Two Land- 
scapes, after Paul Bril. 

Frame V. 

The brothers Wiericx. 

16. John (born in 1549). The Virgin in a closed garden. 

17. Jerome (1553-1619), The Virgin of seven sorrows. 
Before the letters. The drawing of this stamp, by 
Crispin van den Broeck, is exposed under N^ 20, in 
room II. 

18. Jerome. Portrait of Michel de VHopital. 

19. Jerome. Genius stopped by Sorrow and Misery. 

20. Anthony (1559-1624). Two pieces of the Life of 
Christ, after Martin de Vos. 

Frame VI. 

21. Crispin van den Passe. The Four Evangelists. 

Frame VII. 
The Galles. 

22. John (1600-1676). Doris and Bellona. 

23. Theodore (1571-1633). The Martyrdom of Saint 
Catherine, 

24. Theodore. Christ before the High-priest. 

25. Cornelius senior (1585-1650). Seneca in the bath, 
after Rubens. 

26. Cornelius senior. Portrait of Dante. 

27. Cornelius s nior. Portrait of John Deckher. 



- 118 - 

28. Cornelius, junior (1615-1678). Portrait of Charles 
Gustavus, count palatine. 

Frame VIII. 

The engravers after Vredeman de Vries. 

29. Philip Galle (1537-1612). Four ornamented Wells^ 
being part of a series of twenty-four plates. 

30. Jerome Cock. Three funeral Monuments, being 
part of a series of twenty-seven plates. 

31 . Jerome Cock. A salt cellar, a ewer, a pepper box, 
a decanter^ being part of a series of five drawings of 
vases. 

Frame IX. 

32. Jam. de Gheyn the elder (born in 1565). Frontis- 
piece : Moses standing behind the law tables. 

33. Crispin van den Queborne (born in 1580). The 
Nativity, after Van Balen. 

34. Dominicus Custodis {15Q0-1Q12). Judith putting the 
head of Holophernes into a bag. 

35. J.-B. Barb6 (1578-1649). The Adulteress, after 
Martin de Vos. 

36. James de Bye (born in 1580;. Jesus-Christ with 
Simon. 

37. John Barra (born at 's Hertogenbosch, in 1581, 
entered the corporation of St-Luke, at Antwerp, in 
1625). The Parable of the Sower, after Blommaert. 

Frame X. 

38. Nicholas de Bruyn (born in 1571, died about 
1635). The Ascent of Mount Calvary. 

39. Nicholas de Bruyn. JephthaKs daughter going to 
meet her father. 



— 119 — 

Frame XI. 

40. Theodore VAN Tulden (1606-1677?). The Meeting 
of the two Ferdinands, Plate of the Entrance of prince- 
cardinal Ferdinand in 1635. 

41. Theod. Rombouts (1597-1637). The Virgin, the 
child Jesus and St. John. 

42. Luke Van Uden (1595-1672). Two small Landscapes. 

43. Jam.Jordaens (1593-1678). Cacus stealing Hercule's 
cows. 

44. Peter-Paul Rubens (1577-1640). Saint Catherine. 
Probably the only authentic etching of the master. 

45. Jasper de Grayer (1582-1669). Christ rising from 
the tomb. Epitaph of the master. 

Frame XII. 

46. Peter Soutman (born at Harlem in 1580, received 
as a citizen of Antwerp in 1620). Portrait of John 
Maurice of Nassau. 

47. John Louys (born in 1595). Portrait of Elisabeth 
of Bourbon, after Rubens. 

48. Peter van Sompel (born about 1600). Bust of 
Paracelsus, after Rubens. 

49. G. DE Leeuw (born in 1602). David in the lions' 
den, after Rubens. 

Frame XIII. 

50. Corn. Schut (1597-1655). The Circumcision, after 
a picture of the old Jesuit church at Antwerp. 

51. David Teniers I (1582-1649). The Temptation of 
Saint Anthony. 

52. David Teniers I. Interior of a kitchen. 



- 120 — 

53. David Teniers II (1610-1690). Old woman praying 
on her rosary. 

54. David Teniers II. Peasant tuning a lute. 

55. David Teniers II. Peasant playing on a violin, 

56. David Teniers II. Peasant playing on bagpipe. 

57. WiLUAM van Nieulant (1584-1635). The three 
bridges on the Tiber at Rome. In three sheets. 

58. Corn, de Wael (1592^1662). Tivo scenes of oriental 
life. Being part of a suite of twelve plates. 

Frame XIV. 

59. Ph. Fruytiers (1610-1666)) Portrait of James 
Edelheer. 

60. Ph. Fruytiers. Portrait of Ambrose Capello, 
bishop of Antwerp. 

61. Mich. Lauwers (1600-1652). The Triumph of the 
new Law, after Rubens. 

Frame XV. 
Ant. van Dyck (1599-1641). 

62. Portraits of : Francis Franck, Just de Momper^ 
Adam van Noort, Peter Breughel, John Breughel, Just 
Sustermans, John de Wael, Erasmus. 

Frame XVI. 

63. Jam. Neefs (1610-1665). Christ appearing before 
Magdalen, after Gerard Zegers. 

64. Alex. Voet Junior (1637-1693). Folly, after 
Jordaens. 

65. Peter de Bailliu (born in 1612). The Meeting of 
Jacob and Esau, after Rubens. 

66. Hans Witdoeck (born in 1615). Saint Ildefonsus 
receiving the miraculous chasuble, after Rubens. 



- 121 - 

Frame XVII. 

67. Christopher Jegher C1596-1652). The Coronation 
of the Virgin. 

68. Christopher Jegher. The infant Jesus and saint 
John, 

69. Christopher Jegher. Susanna and the old men. 
e9bis. Christopher Jegher. The March of Silene. 
All four after Rubens. 

Frame XVIII. 

70. William Panneels (born in 1600). David and 
Goliath, 

71. William Panneels. Esther and Assuerus. Both, 
after Rubens. 

72. Hub. Quellin (1619-1687). Two statues, after Artus 
Quellin, his brother. 

73. Franc. Van den Wyngaerde (1614-1679). Saint 
Bonaventure. 

74. RumoldEynhoudts (born in 1613). Saint Gregory 
after Rubens. 

Desk XIX and XX. 

Antwerp Engravers who emigrated to France. 

75. Gerard Edelinck (1640-1707). Portrait of Philip 
of Champagne. 

76. Gerard Edelinck. The Virgin andlnfant. 

11. Gerard Edelinck. The Holy Family, after Raph- 
ael. 
78 NicH. PiTAU (1632-1676). The Holy Family. 
79. NicH. PiTAu. Portrait of Hubert of Montmor, 



— 122 - 

80. Peter van Schuppen (1629-1702). Portrait of Ma- 
zarin . 

81. Peter van Schuppen* The Holy Family. 

82. Corneous Vermeulen (1644-1702). Portrait of Jos, 
Rottiers, 

Desk XXI. 

83. Matthew Plattenberg, called Plate-Montagne 
(1606-1666). Two sea pieces. 

84. Abraham Genoels (1640-1723). Landscape. 

85. Peter Rysbrack (1655-1729). Landscape. 

86. Gerard Van Opstal ? (1595-1668). Nymph and 
Sea God. Composition of the sculptor Gerard Van Op- 
stal, attributed by some to Rubens. 

87. Erasmus Quelun (1607-1678). The Chariot of 
young Bacchus. 

88. Phil. Jos. Tassaert (born in 1732). The Martyr- 
dom of Saint Stephen, after Rubens. 

Desk XXII. 

89. Schelte a Bolswert (1586-1659). The wonderful 
Peach, after Rubens. 

Desk XXIII. 

90. Schelte a Bolswert. The Conversion of Saint 
Paul, after Rubens. 

91. Schelte a Bolswert. The Virgin and Infant 
(Osculetur), after Rubens. 

Desk XXIV. 

« 

92. Schelte a Bolswert. Saint Cicely, after Rubens. 



— 123 — 

93. ScHELTE A BoLSWERT. The Chase of Meleager, after 
Rubens. 

Desk XXV. 

94. Peter de Jode, junior (born in 1606). Charles I 
and Henrietta of Bourhon^ after Van Dyck. 

95. ScHELTE A BoLSWERT. The Annunciation of the 
Virgin. 

Desk XXVI. 

96. Paui. Pontius (1603-1658). Portrait of Nic. Rockox, 
after Van Dyck, 

97. Paul Pontius. Christ lying dead upon the Virgin's 
knees, after Van Dyck. 

98. Paul Pontius and G. Galle. The Virgin in a 
niche, after Van Dyck. 

Desk XXVII. 

99. Luke Vorsterwan senior (1590-1667). Lo/AZeawnflr 
Sodom, after Rubens. 

100. Luke Vorsterman senior. The Return from 
Egypt, after Rubens. 

101. Luke Vorsterman. Job tormented by the deuil, 
after Rubens. 

Desk XXVIII. 

102. James Harrewyn (born in 1657). View of Rubens 
House and Garden. 

Desk XXIX. 

103. GoRNEUUS Van Gaukercken (born in 1626). The 
Martyrdom of Saint Lieven, after Rubens. 



— 124 — 

104. Peter Martenasie (1729-1789). The Ravishment of 
the Sabinian maidens, after Rubens. 



XXIV. 
SMALL DRAWING ROOM. 

The small drawing room which the visitor now 
enters, is hung with gilt leather and adorned with two 
modern pictures. The Invention of Printing, by Corn. 
Seghers (1814-1866), gift of the late Mr D. Vervoort, 
ex-chairman of the Belgian House of Commons, and 
the Portrmt of Edward Moretus-Plantin, the last pro- 
prietor of the office, painted in 1879, by M. Jos. Delin, 

In a desk some books are exposed, the bindings of 
which are well worth notice in many respects. 

1. A Missaly bound in red velvet, ornamented with 
two plates representing St-Augustine and St-Barbara, 
with silver co^nners and clasps chased by Henry 
Verbert, of Antwerp. A work of the XVIII*'» century. 

2. A Theas supported by J.Fr. Stoupy, in 1726, bound 
in red velvet, embroidered with gold and silk. 

3 to 12. Bindings in stamped calf s leather, of the first 
half of the XVl'^ century. In-8o. 

13. Bindings in stamped sow's skin. 1589. In-8o. 

14. Missaleromanum. In-folio, black calf s leather, gilt 
ornaments on the cover. (Plantin, 1589) . 

15. Binding in parchment with gilt frames and centre. 
(Plantin, 1634, in-4o). 

16. Missale romanum, In-folio. Red morocco-leather 
frames with gilt heads, silver clasps. (Plantin, 17(X)). 



- 125 — 

17. Plotinus, in-folio (Soter apud Salingiacum). Calfs 
leather frames and stamped ornaments. 

18. Wterste wille van Lowys Porquin. Small in-4«. 
(Antwerp, Ta vernier, 1563). A copy on blue paper, 
printed for Mary, daughter of the author. Black calfs 
leather, gilt ornaments on the front. 

19. Binding in red Morocco leather with gilt heads. 
XVIll*^ century. Dutch workmanship. In-S®. 

20. Italian binding of the XVl**^ century, fawn colored 
calfs leather, corners, middle and a fillet in gold. In-8«. 

21. The orders of the Golden Fleece, ln-4«. Black calfs 
leather. Gilt frames and ornaments. Workmanship of 
the XVr*^ century. 

22. Binding in red Morocco leather with gilt heads. 
Italian workmanship of the XVII**' century. In-4o. 

23. Manuscript. In-16o. Binding of the XVIII^ century, 
red calfs leather, pretty ornaments in rock-work style. 

24. Psalm-book, (Delft, 1579, in-32o). Clasps, middle 
and corners in copper. 

25. Enchiridion Itinerantium, In-32o. A copy upon 
vellum, black calfs leather, richly ornamented on the 
cover. (Plantin, 1591). 

26. The Imitation of Jesus-Christ. (Antwerp, 1629, 
in-32o}. Black Morocco leather, clasps in enamelled 
gold. 

27. Binding in tortoise shell with silver clasps. 
(Antwerp, 1662, in-16o). 

28. Binding with the mark of the Plantinian printing 
office. (Plantin, 1557, in-16«). 

29. Binding in silk, ornamented with a rose in silver 
filigree work. (XVIII**' century, in-8o). 



— 126 — 

30. Psalm-book, marbled calfs' leather ornaments with 
small heads. (Amsterdam, 1690, in-8o). 

31. Prayer ^oo/c (Antwerp, 1622, in-16"). Bindhig in 
green velvet. The small volume is provided with the 
cord by which the ladies used to tie such books to 
their belts. 

^ 32. Binding in red Morocco leather, frames with 
small heads. (Brussels, 1760, in-S®). 

33. Prayer book. Red Morocco with small heads. 
(Paris, 1709, in-8»). 

34. Binding in plain calfs leather, medallion and 
flowers on the cover. (Lyons, 1555, in-8o). 

35. Plantinian binding, gilt ornaments upon black 
calfs leather (1570, in-4o). 

36. Plantinian binding, gilt ornaments upon black 
calfs leather (1591, in-4o). 

37. H. KgspenningiuSy Aquce Vitce, (Plantin, 1583, in-8o). 
Plantinian binding made for the library of the Escurial, 
with the gridiron of St-Lawrence in the middle of the 
cover. 

38. Plantinian binding, plain calfs leather, flowers, 
and a gold fillet on the cover (1568, in-8o). 

39. Opera S. Dionysii Areopagitce, in-folio. Plantinian 
binding. Red Morocco leather, middle, corners and 
frames in gold (1634). 

This room is separated from the back part by a glass 
partition, above which are related, in a picture, the 
principal events of Plantin's life. In the glass window 
three medallions in stained glass are found, the first 
of which represents the emblem of Plantin : the com- 
passes with the device Lahore et Constantia ; the 



- 127 — 

second, that of John Moretus I, the Moor king who has 
come to worship the new-born Messiah and is guided 
by a star bearing the name of Jesus in Hebrew char- 
acters with the device Ralione Recta ; the. third 
represents the emblem of Balthasar Moretus I, a star, 
with the device Stella dace, which a eagle carries 
upon his breast. 

The origin of this symbolic star, which took its 
place in the coat-of-arms of the Moretus family, is 
rather curious. John Moerentorf, looking out for an 
emblem, which, according to the custom of these 
times, was to contain an allusion of his name 
(Moretus), took the figure of the Moor king (Rex 
Morus) which is found represented in the second of 
the three medallions, and chose the device Ratione 
Recta. These words signified that he adopted the good 
principles as guides as the magian kings had taken 
the star to lead them in their journey to Bethleem. He 
had three brothers, who bore the names of the magian 
kings, Jasper, Melchior and Balthasar ; he accordingly 
gave the same names to his three eldest sons. The 
third succeeded to him and took as his emblem the 
star of the magians with the device Stella dace. His 
nephew Balthasar H inherited the Christian name and 
the emblem of his uncle, and Balthasar HI gave the 
star the place of honor in his nobiliary coat-of-arms. 



1(V 



- 128 — 

XXV. 

BACK-ROOM. 

The room situated behind the small drawingrooni 
contains only a cupboard and a table in carved oak, 
some chairs and an alcove. Two framed engravings 
adorn the walls. It looks out upon the engravings 
gallery, by a ballister window. 

The above two apartments lead into the 



XXVI. 
BEDROOM. 



It is hung with gilt leather and furnished with 
furniture of the XVI**^ century : bed in sculptered oak, 
folding stool and washstand. The bed is covered by a 
counterpane in enlbroidered silk of the period ; above 
the cupboard, a bevelled looking-glass of the XVIII**» 
century ; beside it a calendar printed by Plantin in 
1583. 

Above the praying-chair, Christ on the cross, carved 
by Walter Pompe, signed by him and dated 1742. This 
work of art belongs to the Public Workhouse 
of Antwerp. 

Beside the bed, two framed engravings : The Fall of 
Heathenism and Triumph of the Eucharist, both by 
S. A BoLSWERT, after Rubens. 

From the small drawing room a staircase leads to 
the second floor, where the visitor finds 



— 129 - 

XXVII-XXVIII. 

THE EOUNDERY. 

It is composed of two rooms, furnished with ancient 
founder's implements. In the first, tlie sets along the 
wall ; the vices, the grindstone, the pair of bellows, 
the files, the lamps and a number of other instruments 
are still in their original place. 

In a glass cupboard are the heads, in polished steel, 
of the coins used to stamp the matrices of the printing 
characters and music notes. 
' At the bottom of the second room the ancient furnaces 
of the founders are still in their places. Above the 
chimney, the regulations of the Plantinian printing 
office are hung up ; behind a wire grating are the 
moulds of the founder ; in the desks, around the room, 
the matrices in red copper, of the printing types are 
exposed. 

On the wall two pictures are hung, containing speci- 
mens of printing of these characters. Near the furnaces 
there are some crucibles, spoons, and other tools. 

The oldest founder of characters who worked for 
Plantin was Francis Guyot of Paris, who was receiv- 
ed a citizen of Antwerp in 1539, and who furnished 
characters from 1558 up to 1579. At the same period 
Lawrence van Everborcht, of Antwerp, worked 
regularly for Plantin. Other workmen were employed 
at intervals. 

The letter cutters who provided the coins, were Peter 
Hautin of La Rochelle, from 1563 to 1567 : William 
Le Be, of Paris, and Robert Granjon of Lyons. The 



- 130 — 

latter was the principal of the artists working for 
Plantin and, from 1563 up to 1570, he furnished the 
greater number of coins and matrices. From 1570 to 
1580 Henry Van den Keere (du Tour) junior, of 
Ghent, was the ordinary contractor of the architypo- 
graphy. After the death of Van den Keere his workman, 
Thomas De Vechter, came to live at Antwerp and 
worked for Plantin. William Le B^ of Paris furnished 
the large Hebraic type used by Plantin to print the 
polyglot Bible with. The latter bought from the 
BoMBERGHES of Cologuc the small Hebrew character 
of the same Bible. 

Amatus and Henry de Gruytter were the founders 
of the architypography from the death of Plantin up 
to the end of the XVl**^ century. Before theXVH* cent- 
ury, no foundery existed in the printing prem- 
ises. 

From 1614 to 1660 the Moretuses used to cast in the 
office. From 1660 to 1718 the family of Wolschaetens, 
Antwerpian founders, provided them with the charac- 
ters ; during the remainder of the XVIII'** century the 
Moretuses resumed the casting themselves. 



XXIX. 
THE LARGE LIBRARY, 

The collection of books comprising the different 
libraries of the Plantin-Moretus Museum numbers about 
14,000 volumes. 

The large Library, which still exists with its shelves, 



— 131 — 

corbels and carved beams, was made, by order of 
Ballhasar Moretus I, in 1640. 

It is a large room, furnished, on the four sides, with 
numerous bookcases. In the middle there is a large 
table and three desks. These desks support a geograph- 
ical sphere, an astronomical sphere and three busts 
carved in wood, representing Saint Thomas of Aquino 
and two popes. Between the three desks, a terrestrial 
and celestial sphere by Armand Florent Van 
Langeren. 

The room served, since 1655, as a chapel where, the 
workmen came daily to hear mass, before commencing 
their work. 

1. Upon a low bookcase, which now occupying the 
place where the altar stood, the picture is still seen, 
which served as altarscreen and belongs to the school 
of Van Dyck. It is attributed to Peter Thys (1616- 
1677-9) and represents Christ on the Cross. Three small 
and two large angels witness the agony of the 
Saviour ; one of the latter kneeling at the foot of the 
cross, catches up the blood oozing from the feet of 
Christ. 

This picture was bought in 1757 at a cost of 63 florins. 
Canvas. H. 2,65 m., L. 1,84 m. 

2. At the other extremity of the room a picture is 
seen, representing : The Adoration of the Shepherds 
by Gerard Zegers (1591-1651). The Virgin holds the 
infant Jesus swaddled in her arms ; saint Joseph is 
seated on the left ; to the right a throng of shepherds 
and shepherdesses, ten in number, who have come to 
worship the newly born ; the eleventh stands to the 



- 132 — 

left of the Virgin. Above her, at the same side, little 
angels in a celestial light are seen. On the foreground the 
ass is lying : a basket of eggs and butter, and a pitcher 
of milk are there placed. 

Canvas. H. 2,12 ra., L. 2,32 m. 

The space contained between the number of book- 
cases and wainscots, is occupied by busts in plaster, 
almost without exception of antique mouldings, and by 
a series of portraits of members of the Plantin- 
Moretus family and men of note. Several of the family 
portraits are copies of paintings of which the originals 
are seen in other rooms of the Museum. These pictures 
measure 0,65 m. in height and 0,49 m. in length. They 
represent : 

3. Clement XI, pope (1649 1729). Panel. Painted by 
John van Helmont in 1717 (1). 

4. Ccesar Baronius, cardinal (1538-1607). Panel. 

5. Jane Riviere. 

6. James Moretiis (called, wrongly, John Moretus I 
by an ancient inscription upon the frame). 

7. John Malderus, bishop of Antwerp (1563-1633) by 
Balthasar Van Meurs (2). 

8. John Woverias (1576-1635), by the same (2). 

9. Cardinal Bellarminus. 

10. John Moretus II, painted by Erasmus Quellin, in 
1642 (3). 



(1) See page 106. 

(2) 31 julii 1650. Aen Cosyn Balthasar van Meurs voor het schilderen 
van de twee Gontrefaictsels van Joan. Woverius ende Joan. Maldenu. 

fl. 24. 

(3) See page 34. 



— 133 - 

11. Balthasar Moretus III. 

12. Ann Mary de Neaf, his wife (1654-1714). 

13. Balthasar Moretus IV, 

14. Isabella-Jacqueline de Mont (alias de Brialmont), 
his wife. 

15. John James Moretus. 

16. Theresa Mathilda SchilderSy his wife. 

17. Francis John More/as (1717-1768). 

18. Mary Theresa Josephine Borrekens (1128-1797). Both 
paintings by Philip Joseph Tassaert, paid 5 guineas 
each, on the 29'*^ July 1762 (1). 

19. John-James Chifflet (1588-1660), by Balthasar 
Van Meurs(2). 

20. Balthasar Corderius (1592-1650). 

21. Jules Chifflet (1610-1676), by Balthasar Van 
Meurs (2). 

22. Angelo Politiano (1434-1494). 

23. MUrsilius Ficinus (1433-1499). 

24. Leonardus Lessius (1554-1623). Panel. 

25 Mathew de Morgues^ abbot of Saint-Germain, 
(1582-1670). 
26. Carolus Scribanius S.-J. (1561-1629). 



1) Aen Philippas Jacobus (sic) Tassaert voor geschildert te hebben 
myn pourtrait en die van myne vrouwe a 5 guineSn bet stuck en dat van 
onsen soon Ludovicus a 2 1/2 guinedn. Samen fl. 143-13 wisselgelt. 

(2) 17 maert 1650. BetaeU aen Cosyn Baltbasar van Meurs voor de twee 
Gonterfeytsels, van Joan-Jac. ende Julius Chiffletius .... il. 23. 



— 134 — 

XXX. 
SECOND LIBRARY, 

In this second part of the library the collection of 
books printed by Plantin and his successors is found, 
together with a certain number of works published by 
other Antwerp presses. 

Above the shelves, some busts in plaster, mostly after 
antique sculptors. 

Above the entrance door, the portrait of Joseph 
Ghesquiere, by William Herreyns (1743-1827) The 
picture was bought from the abbey of Tongerloo, where 
the learned man spent some years. 

Above the door on going out the portrait of the priest 
John James de Brandt by William Herreyns. 



XXXI. 

RECORD OFFICE. 

In this room the records of the architypography are 
kept. They existed from the beginning of the Plantin- 
ian office (1555) until the end of 1864, and comprise 
the diaries, ledgers, partners' books, binding accounts, 
books of the Francfort fair, minutes of letters sent and 
received, inventories, catalogues, privileges, also a 
number of family papers. 

Above the shelves, some busts of saints, in plaster. 
On one of the walls of the room, the Resurrection of 
Christ by Lambert van Noort. Signed : Lamhertus a 
Noort pingebat anno 1565. (Panel H.0,37 m., L. 0,88 m.). 



— 135 - 

The Abdication of Charles V by Philip van Bree 
(1786-1871). Signed : P. van Bree, (Canvas H. 1,83 m., 
L. 2,75 m.). 

The Entrance of Charles V and the pope at Bologna in 
1529, Engraved by J. N. Hogenberg and E. Bruining. 

Turning out of the record room the visitor stands 
near the large staircase leading out of the Museum. 



ALPHABETICAL TABLE 

of the names of painters, scnlptors, drawers 
engravers and architects contained in this catalogue. 



The small numbers denote how many tim£S the name occurs in t?ie 

page mentioned. 

B. 

Baets (Engelbert), 1. 

eallaiD(Godfrey), 65, 86. 

fialthasar (Peter), 96. 

Barbe (J-B.), 118. 

Barra (John), 118. 

Beagnet, !27. 

Blommaert (Abraham), 118. 

Boel (Peter), 91. 

Bol (John), 117. 

Bolswert (Boetias a), 100, 113. 

Bolswert (Schelte a), 79, 100, 112, 113% 114% 115*, 112*, 123*, 

128. 
Borrekens (Matthew), 83, 84. 
Bos (Corn ), 116. 

Bosschaert ( Thomas- Willeborts), 13% 14', 28, 31, 37. 
Boaltats ciasper-Martin), 77. 
Breaghel fjohn;, 120. 
Breughel (Peter), 116, 120. 
Bril (Paul), 116, 117. 
Broers (Jasper), 31*, 107. 
Bruining (E.), 135. 



- 138 - 

c. 

Carmen Sylva, 47. 
Gasteels (Alexander), 77. 
Cause (Henry), 76. 
Champagne (Phil, de), 121. 
Cock (Jerome\ 76, 116, 118«. 
Coeck (Peter), 116. 
Collaert (Adrian), 93. 
Collaert (John), 94. 
Cousin (John), 77. 
Custodis (Dominicus), 118. 

D. 

I)e Bailliu (Peter), 1 15, 120. 

Debray (Salomon;, 35. 

De Bruyn (Nicholas^ 118*. 

De Bruyn (Theodore), 3. 

De Bye (James) 1 18. 

De Cock (John-Claud), 27*, 51, 77, 84. 

De Grayer (Jasper), 119. 

De heyn (James), 118. 

De Heere (Luke), 90. 

De Hooghe (Corn.), 44. 

De Jode (Peler), 12, 28, 77, 92, 93^ 99-, 103*, 104*, 113*, 114% 115 
123. 

De Leeuw (William), 113. 119. 

Delin (Jos.), 124. 

De Mallery (Charles), 18*, 27, 80, 92, 93, 94-, 95. 

De Momper (Just), 96% 97-, 120. 

Dens (Peler), 6. 

Deutecom (J.), 76. 

Deutecom (L.), 76. 

De Vinci (Leonard), 112. 

De Vos(Corn.), 13. 

De Vos (Mariin , 15, 16% 95, 117, 118. 

De Wael (Corn.), 120. 



— 159 — 

OeWael (John), 120. 

De Wit (James), 90\ 

O'Heur (Cornelius-Joseph), 27*. 

Oirickx vPaul), 50, 55, 89, 106. 

Duetecom (John de). See Deutecom. 

Duetecom (Luke de). See Deutecom. 

E. 

Edelinck (Gerald), 121'. 
£yDhoudts (Rumold), 121. 



F. 



Fabri iRoberl), 6. 
Floris (Corn.), 97». 
Floris (Francis), 77. 
Franck (Francis), 120. 
Fruytiers (Philip), 94, 120«. 



G. 



<ialle (Corn., senior), 14, 20, 21^ 22, 24% 25\ 92, 93, 94-, 9.^, 

97, 98% 99% 100% 101% 102% 103% 104% 115, 117% 123. 
<5alle(Corn., junior), 10,23% 25, 80, 91,91, 94% 95% 99, I'l-, 

103, 115, 118, 123. 
<5al!e (John), 117. 
Galle (Philip), 80, 118. 

<ialle (Theodore), 21% 45, 92% 93, 94% 97% 98% 100% 101, 103, 

104, 105,117"-. 
"Genoels (Abraham), 122. 
Godecharle (William), 2. 

<ioUzius (Hubert). 19, 20, 23, 85, 99*. 
<ioubau (Francis), 88-. 

H. 

Harrewyn (Jamesi, 76, 123. 
Herreyus (Daniel), 3, 76. 
flerreyns (William), 134*. 
Heyns (Peter), 64. 



— i4a — 

Hogenberg, 104. 

Hogeuberg (Abraham), 89. 

Hogenberg J.-N.)* 1^- 

Hollar (Weuc»{slas), 69. 

Buys (Francis), 105*, 1 16. 

Buys (Peter), 65% 87, 90, 105*, 116. 

Huyssens (Peter>, 69. 

J. 

Jacobs (Conslant), 87. 

Janssen (Gerald) See Van Kampen. 

Jegber (Christopher), 20, 64,85-, 86, 90, 121' 

Jegher (John-Christopher), 64. 

Jordaeus (James), 47, 113, 114% 119, 120. 

Justin, 69. 



La Barre (John de), 69. 
LattYTay, 93. 
Lauwers (Conrad), 97-. 
Lauwers (Nicholas , liO. 
Leiden (Lucas van), 9>. 
Lens (Andrew-Corn.), 68. 
Leysseus (James), 29. 
Lombart (Peter), 115. 
Louys (Johuj, 119. 



M. 



Maes (Godfrey^ 27*. 
Mallery (Charles). See De Mallery. 
Marinus, 112, 114. 
Martenasie (Peter), 113, 124. 
Metsys (Corn.), 115. 
Mierevelt vMichael), 31. 
Millichi Nicholas), 69-. 
MuUer (Corn.), 65, 86, 90. 
Muller, 90. 



~ 141 — 

N. 

Neeffs (James), 104, 114, 120. 
Nicolai (Arnold), 64, 65, 90». 

P. 

Panneels (William), 121*. 

Pauwels (Andrew), 18, 25, 91% 93, 95, 100, 102. 

Perret (Clement), 44*. 

Perret (Peter), 116. 

Pitau (Nicholas), 121». 

Plattenberg (Mathew), 122. 

Pompe (Walter,, 128. 

Pontius (Paul ,92, 93, 112, 113, 114% 115% 123^ 

Pourbus (Francis), 11. 

Punt (John), 90. 

0. 

Quellin (Artus), 2% 50% 51% 66, 84, 121. 

Quellin «Erdsm), 4% 10, 20, 22% 23% 24'% 25". 26% 28% 33, 34, 79, 

88, 90,91, 94% 98% 99% 101% 104, 122, 132. 
Quellin (Hub.\ 121. 
Quellin (JohnErasm), 26^ 

R. 

Raphael, 121. 

Rombouts (Theodore), 119 

RoUiers (Jos), 122. 

Rubens (Peter-Paul), xni, 8% 9, 10% 11% 12% 13, 14% 15*, 16, 
19% 20% 21% 22% 25% 24% 25% 26, 30, 32% 33% 34% 35% 36% 
37, 45, 47, 54, 55, 60, 85% 84, 90, 95, 97% 98% 99% 100% 
101% 102% 112'% 113% 117, 119% 120% 121% 122% 123% 124, 
128. 

Rysbrack (Peter), 122. 

S. 

Sadeler (Guy), 116^ 

Sadeler (John), 103, 104, 116. 



142 — 



Sadeler(Just), 116. 
Sadeler (Raphael), 116. 
Sartorius (J.-C), 69*. 
Sauvage, 70. 

Schoevaerts (Matthew), 53. 
Schut (Corn.), 26, 119. 
Seghers (Corn.), 124. 
Snyers (Henry), 114, 115. 
Soutman (Peter), 112^ 119. 
Speekart (Hans or John), 116. 
Sporckmans, 68. 
Surugue, 114. 
Sustermans (Just), 120. 



T. 



Tassaert (John-Peter), 6A. 

Tassaerl (Philip-Jos.), 27*, 122, 133*. 

Teniers (David 1), 119-. 

Teniers (David 11), 120*. 

Thomas (John), 84. 

Thys (Peter), 131. 

Titian, 92. 

Y. 

Van Balen, 118. 

Van Bree (Philip), 135*. 

Van Caukercken (Corn.), 112, 123. 

Van den Broeck (Crispin), 17% 103, 104% 117. 

Van den Passe (Crispin), 16-, 93, 117*. 

Van d«n Queborne (Crispin;, 118 

Van den Wyngaerde ( Francis j, 121. 

Van der Borcht (Peters il\ 63, 64, 85, 88, 90, 92% 93, 96*, 97. 

Van der Horst (Nicholas), 18% 91, 100, 103. 

Van der Linden (Eugene), 6. 

Van de Venne (Adrian), 55, 56^ 

Van Diepenbeeck (Abraham), 94, 98*. 



— 143 — 

Van Dyck (Anthony), 112% 113, 114, 120, 123*, 131. 

Van Helmont (John), 106% 132. 

Van Kampen (Gerald Janssen), 85, 86. 

Van Kessel (Theodore), 113. 

Van Leesl (Anthony), 64% 65, 84, 86*. 

Van Lint (Peter), 83*, 89. 

Van Loon (Theodore), 95. 

Van Meurs i Balthasar), 132% 133% 

Van Mildert (Hans), 51*. 

Van Nieulant (William), 120. 

Van Noon (Adam), 18*. 93*, 120. 

Van Noort (Lambert), 78, 105, 105*, 134 

Van Opstal (Gerald), 123*. 

Van Orley ou Van Horly (John), 27 

Van Parys (William), 86. 

Van Reesbroeck (James), 29% 36% 35, 106, 107 

Van Schuppen (Peter), 122*. 

Van Sompel (Peter), 119. 

Van Thielen (Philip), 35. 

Van Tuldeu (Theodore), 119 

Van-Uden Luke), 37, 19. ♦ 

Van Werden (J ), 26*. 

Venius (Gertrude), 92. 

Venius (Otto), 92, 96*. 

Verbruggen (Peter, junior), 50, 84 

Verdussen (Peter), 107*. 

Vermeulen (Corn.), 103, 115, 122. 

Visscher (Corn.), 113. 

Voet (Alex.), 114, 120. 

Vorsterman(Luke, senior), 32, 34*, 100, 112% 113, 114,115% 123^ 

Vorsterman (Luke, senior), 88. 

Vredeman de Vries (Johuj, 118. 

Vrients (JohnBapt.), 70. 

W. 

Wellens (Jerome). See Cock. 



— 144 — 

Wery (Anthony), 95. 

Wiericx (Anthony), 89, 117. 

Wiericx (John), 48, 85, 91, 92. 95-, 117. 

Wiericx (Jerome), 17«, 92, 94-, 117^ 

Willeborts. See Bosschaert (Thomas). 

Witdoeck (John, alias Hans), 112, 113, 120. 

Wolfert (B.), 33-. 

Y. 

Ykens (Francis), 31, 32. 

Z. 
Zegers (GeraW), 78, 88, 120, 131.