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List of plates and illustrations
Text illustrations marked with an asterisk; plates numbered.
| (1) |
Christophe Plantin. Oil painting by an anonymous sixteenth-century master. |
frontispiece |
| (2) |
Christophe Plantin. Engraving by Joannes Wiericx, 1588. |
facing 1 |
| (3) |
Bookbinding, ascribed to Christophe Plantin (1555). |
facing 16 |
| (4) |
Title-page of Hendrik Niclaes, Den Spegel der Gherechticheit (second edition), supposed to be printed by Plantin around 1562. |
between 16 & 17 |
| (5) |
Page from the same work, showing a grapevine reminiscent of Plantin's second emblem. |
between 16 & 17 |
| (6) |
Opening pages of the first book Plantin ever printed (Bruto, La institutione di una fanciulla nata nobilmente, L'institution d'une fille de noble maison; 1555). |
facing 17 |
| (7) |
Title-page of La magnifique et sumptueuse pompe funebre faite aus obseques et funerailles du... empereur Charles Cinquiéme, the text of which was printed by Plantin, 1559. |
facing 24 |
| (8) |
Plantin's first privilege, granted by the Privy Council of the Netherlands (Brussels, 5th April 1554, O.S.). |
between 24 & 25 |
| (9) |
Part of one of the thirty-two copper-engravings in La magnifique et sumptueuse pompe funebre... |
facing 25 |
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| (10) |
First page of the inventory of Plantin's possessions auctioned at the Antwerp Vrijdagmarkt, 28th April 1562. |
facing 32 |
| (11) |
Title-page of Instruction chrestiene by Pierre Ravillian, a heretical book allegedly printed by Plantin in 1562. |
facing 33 |
| (12) |
Deed of partnership between Plantin and members of the Van Bomberghen family, 26th November 1563. |
facing 48 |
| (13) |
Benedictus Arias Montanus. Oil painting by P.P. Rubens. |
facing 49 |
| (14) |
Christophe Plantin. Engraving by Filips Galle, 1572. Earliest known portrait of Plantin. |
facing 64 |
| (15) |
Two pages from Volume V (New Testament) of Plantin's Polyglot Bible. |
between 64 & 65 |
| (16) |
Poem by Christophe Plantin dedicated to the Magistrate and People of Antwerp, printed in the introduction to the French editions (1581, 1587, 1598) of Ortelius's atlas. |
facing 65 |
| (17) |
Pauwels van Overbeke's woodcut map of Antwerp, depicting the city before the Spanish Citadel was built. |
facing 80 |
| (18) |
Revised edition of Van Overbeke's map: the original edition has been corrected by pasting an improved sheet over the southern part of the city. |
facing 81 |
| (19) |
The Spanish Fury at Antwerp, 4th November 1576. Etching by Frans Hogenberg, showing the fighting in front of the City Hall. |
facing 84 |
| (20) |
The Spanish Fury at Antwerp. Another etching by Frans Hogenberg, showing scenes of pillage and slaughter in the streets. |
facing 85 |
| (21) |
Plantin's deed of appointment as printer to the States General, 17th May 1578. |
facing 88 |
| (22) |
Title-page and first page from Hendrik Janssen Barrefelt's album Imagines et figurae Bibliorum, printed and published by Plantin probably in |
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1582. However, the publication is dated 1580 and 1581 and bears fictitious author's (Jacobus Villanus) and publisher's (Renatus Christianus) names. |
between 88 & 89 |
| (23) |
Hendrik Jansen Barrefelt's Le livre des tesmoignages du thrésor caché au champ, French translation of Barrefelt's main work, originally written in Dutch. Both versions were printed and published by Plantin, though anonymously and undated (c. 1580). |
facing 89 |
| (24) |
Christophe Plantin. Engraving by Hendrik Goltzius. |
facing 92 |
| (25) |
A Plantin imprint of 1580 still mentioning his title ‘The King's Archprinter’ though he had been already appointed ‘Printer to the States General’ in 1578. |
facing 93 |
| (26) |
A Plantin imprint of 1582, mentioning his title ‘Printer to the States General’. |
facing 100 |
| (27) |
A Plantin imprint of 1582 mentioning the title ‘Ducal Printer’, the duke being François, duc d'Anjou et d'Alençon. Plantin dropped this title immediately after the duke's abortive attempt to seize Antwerp by force (French Fury, January 1583). |
facing 101 |
| (28) |
A Plantin imprint of 1584, when Antwerp was besieged by Parma's Spanish troops. Frans Raphelengius and Jan Moretus who in Plantin's absence managed the business chose the careful wording ‘By Government order’. |
facing 108 |
| (29) |
An imprint of 1579. The Tyrannies et cruautez des Espagnols must have been very compromising in Spanish eyes. Hence Plantin printed it under the name of his son-in-law Frans Raphelengius. |
facing 109 |
| (30) |
Plantin's last written words (19th June 1589), with later additions by Jan Moretus and Jan Woverius. |
facing 116 |
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| (31) |
The siege of Antwerp by the Duke of Parma's army (1584-85). Etching by Frans Hogenberg. |
facing 117 |
| (32) |
The Duke of Parma's entry into conquered Antwerp (27th August 1585). Etching by Frans Hogenberg. |
facing 124 |
| (33) |
‘Un labeur courageux muni d'humble constance...’ Verse written by Plantin in 1589, shortly before his death. |
facing 125 |
| (34) |
Justus Lipsius. Oil painting by P.P. Rubens. |
facing 136 |
| (35) |
Christophe Plantin. Oil painting by Rubens. Copied after the anonymous sixteenth-century portrait between 1613 and 1616 on Balthasar I Moretus's request. |
between 136 & 137 |
| (36) |
Jeanne Rivière, Christophe Plantin's wife. Oil painting by P.P. Rubens, commissioned by Balthasar I Moretus between 1630 and 1636. |
between 136 & 137 |
| (37) |
Triptych over Plantin's tomb (central panel). |
facing 137 |
| (38) |
Triptych over Plantin's tomb (side panels). |
facing 144 |
| (39) |
Frans Raphelengius. Oil painting by an anonymous sixteenth-century master. |
facing 145 |
| (40) |
Page from Frans Raphelengius's Lexicon Arabicum, published by his sons, Leiden, 1613. |
facing 160 |
| (41) |
Egidius Beys. Oil painting by an anonymous sixteenth-century master. |
between 160 & 161 |
| (42) |
Magdalena Plantin, Egidius Beys's wife. Oil painting by an anonymous sixteenth-century master. |
between 160 & 161 |
| (43) |
Title-page of the Psalmi Davidis published by Egidius Beys, Antwerp, 1592. The printer styles himself ‘son-in-law and fellow successor to Christophe Plantin, under the Sign of the White Lily in the Golden Compasses’. Jan I Moretus took legal action to prevent his brother-in-law from using Plantin's name. |
facing 161 |
| (44) |
Title-page of Petit pourmain devotieux, another publication by Beys, 1592. He now indicates |
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his premises as ‘Plantin's smaller printing office’. |
facing 176 |
| (45) |
Title-page of Edictum perpetuum published in Paris, 1597, by Adrien Périer, Magdalena Plantin's second husband. He, too, called the Paris shop Officina Plantiniana and continued to use the Plantinian emblem with compasses and motto. |
facing 177 |
| (46) |
New Year's wish for 1573 from Jan I Moretus to Christophe Plantin. |
facing 200 |
| (47) |
Jan I Moretus. Oil painting by P.P. Rubens, commissioned by Balthasar I Moretus between 1613 and 1616, some years after his father's death (1610). |
between 200 & 201 |
| (48) |
Martina Plantin, Jan I Moretus's wife. Oil painting by P.P. Rubens, commissioned between 1630 and 1636 by Balthasar I Moretus, well after his mother's death (1616). |
between 200 & 201 |
| (49) |
Central panel of the triptych over Jan I Moretus's tomb. Oil painting by P.P. Rubens. |
facing 201 |
| (50) |
Balthasar I Moretus. Oil painting by Thomas Willeboirts Bosschaert, commissioned by Balthasar II Moretus immediately after his uncle's death (1641). |
facing 208 |
| (51) |
Title-page of Justus Lipsius's Twee boecken vande stantvasticheyt, being the Dutch translation of De constantia libri duo. Both versions were published and printed by Plantin in 1584. The translator Jan I Moretus gives his name in its original Dutch form: Ian Mourentorf. |
facing 209 |
| (52) |
Letter from Balthasar I Moretus to P.P. Rubens (in Latin) about the epitaph for the painter's deceased brother Philip (1611). |
facing 216 |
| (53) |
Jan II Moretus. Oil painting by Erasmus Quellin, commissioned in 1642 by Balthasar II, nearly twenty-five years after his father's death (1618). |
between 216 & 217 |
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[pagina xviii]
[p. xviii] | |
| (54) |
Maria de Sweert, Jan II Moretus's wife. Oil painting by Jacob van Reesbroeck, commissioned in 1659 by Balthasar II Moretus, some years after his mother's death (1655). |
between 216 & 217 |
| (55) |
Draft of an epitaph for Philip Rubens, worded and written by Balthasar I Moretus (1611). |
facing 217 |
| (56) |
Coat-of-arms of the Moretus family. Oil painting by an anonymous master, made for the funeral of Joannes Jacobus Moretus (1757). |
facing 240 |
| (57) |
Balthasar II Moretus. Oil painting by Jacob van Reesbroeck, commissioned in 1659 by the sitter himself. |
between 240 & 241 |
| (58) |
Anna Goos, Balthasar II Moretus's wife. Oil painting by Jacob van Reesbroeck, commissioned by Balthasar II in 1659 as a companion piece to his own portrait. |
between 240 & 241 |
| (59) |
Anna Maria de Neuf, Balthasar III Moretus's wife. Oil painting by an anonymous master. |
between 240 & 241 |
| (60) |
Balthasar III Moretus. Oil painting by an anonymous master. |
between 240 & 241 |
| (61) |
Balthasar IV Moretus. Oil painting by an anonymous master. |
between 240 & 241 |
| (62) |
Isabella Jacoba de Mont (or Brialmont), Balthasar IV Moretus's wife. Oil painting by an anonymous master. |
between 240 & 241 |
| (63) |
Theresia Mathilda Schilders, Joannes Jacobus Moretus's wife. Oil painting by Jan van Helmont, commissioned in 1717 by Joannes Jacobus as a companion piece to his own portrait by the same artist. |
between 240 & 241 |
| (64) |
Joannes Jacobus Moretus. Oil painting by Jan van Helmont, made in 1717 on the sitter's own request. |
between 240 & 241 |
| (65) |
Franciscus Joannes Moretus. Oil painting by Filips Jozef Tassaert, made in 1762 on the sitter's own request. |
between 240 & 241 |
| (66) |
Maria Theresia Josephina Borrekens, Franciscus |
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Joannes Moretus's wife. Oil painting by Filips-Jozef Tassaert, commissioned in 1762 by Franciscus Joannes as a companion piece to his own portrait. |
between 240 & 241 |
| (67) |
Edward Jan Hyacinth Moretus. Oil painting by Jozef Delin (1852). |
facing 241 |
| * |
General situation in the Vrijdagmarkt as existed in Plantin's time up to the mid-nineteenth century. |
266 |
| * |
The Gulden Passer in the Vrijdagmarkt. Situation 1567. |
268 |
| * |
The Gulden Passer. Situation 1576, after the division. |
269 |
| * |
The Gulden Passer. Plantin's building activities of 1579-81. |
272 |
| (68) |
Antwerp in 1565. Detail from the woodcut map by Virgilius Boloniensis. |
facing 272 |
| (69) |
Detail from a survey of Antwerp, made about 1820, showing the Vrijdagmarkt and its immediate surroundings. |
facing 273 |
| * |
The Gulden Passer. First stage of Balthasar I Moretus's building activities (1620-22). |
279 |
| * |
The Gulden Passer. Second stage of Balthasar I's building activities (1637-39). |
285 |
| * |
Slightly simplified plan of the Vrijdagmarkt and its neighbourhood in the middle of the nineteenth century, derived from the 1846 survey. |
288 |
| (70) |
Survey of Antwerp by F.A. Losson (1846). Detail showing the Vrijdagmarkt and its neighbourhood. Names of streets have been poorly translated into French. |
facing 288 |
| (71) |
Courtyard of the Plantin house: looking south. |
facing 289 |
| (72) |
Courtyard of the Plantin house: looking north. |
facing 292 |
| (73) |
Courtyard of the Plantin house: north-west corner. |
facing 293 |
| * |
The Gulden Passer. Franciscus Joannes Moretus's building activities (1761-63). |
294 |
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| * |
The Vrijdagmarkt and its neighbourhood, present situation. Derived from the latest official survey. |
297 |
| * |
Plan of the Plantin-Moretus Museum: ground floor. |
298 |
| * |
Plan of the Plantin-Moretus Museum: first and second floors. |
299 |
| (74) |
Front of the Plantin house. |
facing 300 |
| (75) |
Entrance to the Plantin-Moretus Museum. |
facing 301 |
| (76) |
The office (now Room 10). |
facing 304 |
| (77) |
The big drawing-room on the ground floor (now Room 2). |
facing 305 |
| (78) |
The Justus Lipsius Room (now Room 11). |
facing 308 |
| (79) |
The drawing-room on the first floor (now Room 21). |
facing 309 |
| (80) |
The drawing-room in the front building (now the ‘Salon Emile Verhaeren’). |
facing 316 |
| (81) |
Baroque cabinet in Room 2. |
facing 317 |
| (82) |
Late seventeenth-century cabinet in Room 2. |
facing 320 |
| (83) |
Harpsichord and spinet combined into one. |
facing 321 |
| (84) |
Spanish gilt leather in the Lipsius Room. |
facing 324 |
| (85) |
Sixteenth-century Brussels wall-tapestry in Room 1. |
facing 325 |
| (86) |
Wooden lion on ornamented pedestal. Carved by Paulus Diricx (1621). |
facing 332 |
| (87) |
Seneca Dying. Oil painting by P.P. Rubens, commissioned by Balthasar I Moretus between 1613 and 1616. |
facing 333 |
| (88) |
The great library (now Room 31). The altar-piece by Pieter Thijs is seen in the background. |
facing 336 |
| (89) |
Another view of the great library (Room 31). |
facing 337 |
| (90) |
Page from the catalogue of the Plantinian library compiled by Balthasar I Moretus (1592). |
facing 340 |
| (91) |
Page from the second catalogue of the Plantinian library, compiled about 1675. |
facing 341 |
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| (92) |
Books from the Plantinian library. Plantin's monogram on the spines, was presumably applied by Balthasar II or III Moretus. |
facing 348 |
| (93) |
Illuminated ninth-century manuscript containing Sedulius's Carmen Paschale and Prosperus's Epigrammata, bequeathed to Plantin by Theodoor Poelman. |
facing 349 |
| (94) |
The so-called King Wenceslas Bible, fifteenth-century Bohemian manuscript. First page of Genesis. |
facing 352 |
| (95) |
Miniature from the King Wenceslas Bible. |
facing 353 |
| (96) |
Page from the 36-line Gutenberg Bible. This fine copy once belonged to the Augustinian Monastery at Antwerp. |
facing 356 |
| (97) |
Renaissance bookbinding by Claus van Dormale (Antwerp, 1543). |
facing 357 |
| (98) |
Gilt leather bookbinding, made at Antwerp, around 1565. |
facing 360 |
| (99) |
Title-page of a Plantinian publication, given by the printer to his friend Abraham Ortelius. |
facing 361 |
| (100) |
Page from the Album Amicorum of Abraham Ortelius, showing a poem and dedication by Christophe Plantin (8th September 1574). |
facing 364 |
| (101) |
Sonnet by Anna Roemers Visscher, written by the poetess's own hand and addressed to Balthasar I Moretus (c. 1640). |
facing 365 |
| (102) |
Address dedicated to the Prince and Princess of Orange, printed by Christophe Plantin in their presence (14th December 1579). |
facing 404 |
| (103) |
A token of homage to the Queen of France, the King and Queen of the Belgians and two French princesses, printed in presence of the royal visitors, 1834. |
facing 405 |
| (104) |
The staff of the Plantin-Moretus Museum in 1902. |
facing 412 |
| (105) |
Eulogy dedicated to Albertus F.H.F. Moretus by the foreman and journeymen of the press (1828). |
facing 413 |
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Acknowledgments
| ACL (Brussels) photographs: 13, 34, 35, 36, 37, 38, 41, 42, 47, 48, 49, 50, 53, 54, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 68, 80, 81, 82, 84, 85, 86, 87. |
| Deutsche Staatsbibliothek, Berlin: 4. |
| Municipal Archives, Antwerp: 69. |
| Municipal Gallery of Prints, Antwerp: 17, 18, 19, 20, 31, 32, 70. |
| Pembroke College, Cambridge: 100. |
| Plantin-Moretus Museum, Antwerp: 2, 3, 6, 7, 8, 9, 10, 11, 12, 14, 15, 16, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 33, 40, 43, 44, 45, 46, 51, 52, 55, 56, 67, 71, 72, 73, 74, 75, 76, 77, 78, 79, 83, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 101, 102, 103, 104, 105. |
| University Library, Leiden: 1, 5, 39. |
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