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PLAITIHORETOS MOSEl
MAX ROOSES
ANTWERP
J. E. BUSCHMANN, PRINTER
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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.