|
| |
| |
| |
List of Plates and Illustrations
| (1) |
Title-page of Olaus Magnus, Histoire des Pays Septentrionaus, 1561, with Plantin's own imprint. |
facing 8 |
| (2) |
Title-page of the same book showing the imprint of the Paris bookseller and publisher Martin le Jeune. |
facing 8 |
| (3) |
Spread from the Libro de la Stampa (Arch. 1), the ledger recording - with all the refinements of Italian double-entry accounting and written in Italian - the firm's transactions during the partnership with the Van Bomberghens, 1563-67. |
between 8 & 9 |
| (4) |
Spread from the ledger, 1566-69 (Arch. 40) showing the simpler method of book-keeping Plantin adopted after the dissolution of the partnership with the Van Bomberghens. |
between 8 & 9 |
| (5) |
Spread from Plantin's costing notes (Arch. 43) as they were meticulously kept for the benefit of the Van Bomberghens in the period of the partnership, 1563-67. |
between 8 & 9 |
| (6) |
Page from the journal for 1566 (Arch. 5) listing all transactions on a daily basis in chronological order, to be transferred to the ledgers afterwards, though usually in abbreviated form. |
facing 9 |
| |
| |
| (7) |
The furnaces of the type foundry in the Plantin house, probably dating from 1620-22 when Balthasar I Moretus had this wing added to the premises. |
facing 56 |
| (8) |
Punches from the Plantin-Moretus Museum collection, by Hendrik van den Keere, Guillaume le Bé, Robert Granjon, and Claude Garamond, clearly showing the different ways these craftsmen had in finishing off their punches. |
between 56 & 57 |
| (9) |
Various moulds from the Plantin-Moretus Museum collection |
between 56 & 57 |
| (10) |
Matrices for Robert Granjon's Ascendonica roman (ma 7) in a wooden box that may be one of the 39 boxes supplied by Hendrik van den Keere in 1576. In the foreground two punch boxes with painted lids in German style. |
between 56 & 57 |
| (11) |
Matrices in lead (ma 9) and in copper (ma 78) for Claude Garamond's ‘Grosses Capitales Extraordinaires’. |
between 56 & 57 |
| (12) |
Two series of initial letters cut in wood and to be cast in sand (st 1 and st 78), both by Hendrik van den Keere. |
facing 57 |
| (13) |
Fount scheme for three formes of a roman garamond on colineus, supplied by Hendrik van den Keere, 1571 (Arch. 153, fo 125). |
facing 80 |
| (14) |
Fount scheme for three formes of a gothic nonpareille supplied by Hendrik van den Keere in 1569 or 1570 (Arch. 153, fo 271) showing a meticulous acknowledgment by the typefounder of how he arrived at the amount of his bill. |
facing 81 |
| (15) |
Fount scheme for a civilité augustine supplied by Hendrik van den Keere, 1850. As usually the typefounder carefully accounted for all the items of his bill. |
facing 96 |
| (16) |
Fount scheme for a paragon Greek, supplied |
|
| |
| |
| |
by Van Everbroeck 1565. Also this founder gave a detailed acknowledgment of weight and price. |
facing 97 |
| (17) |
General view of the workshop. |
facing 120 |
| (18) |
One of the two oldest presses. |
between 120 & 121 |
| (19) |
Detailed view of an old press. |
between 120 & 121 |
| (20) |
Detail of one of the later presses showing the more sophisticated system of fastening the platen to the yoke. |
between 120 & 121 |
| (21) |
Side view of one of the later presses showing the various appurtenances. |
between 120 & 121 |
| (22) |
The intaglio press, built in Holland in 1714. |
between 120 & 121 |
| (23) |
Drawing of an ‘new-fashioned press’ from Moxon's Mechanick Exercises. |
between 120 & 121 |
| (24) |
Drawing of the moving parts of a ‘new-fashioned press’ from Moxon's Mechanick Exercices. |
between 120 & 121 |
| (25) |
Type-cases in their place on the rack. |
facing 121 |
| (26) |
Spread from an interleaved copy of Virgil's Bucolica of 1575, a quarto edition with ample margins and leading for school use. |
facing 168 |
| (27-28) |
Recto and verso of an uncut and unfolded sheet of a 24mo edition of Cicero's De officiis libri III clearly showing the imposition of such a sheet. |
between 168 & 169 |
| (29) |
One side of an uncut and unfolded sheet of the 64mo Kalendarium 1570, one of the smallest books ever published by Plantin. |
facing 169 |
| (30) |
General view of the proof-readers' room in the Plantin house. |
facing 192 |
| (31) |
A page-proof with corrections by the proof-readers of Joannes Christophorus Calvette de Stella, Ad ... Ferdinandum Alavarum Toletum Albae Ducem Encomium, 1573. |
facing 193 |
| (32) |
A page-proof with corrections by the proof-readers of Laurentius Gambara, Ad Deum gratiarum actio, pro victoria de Turcis habita, 1572. |
facing 193 |
| |
| |
| (33) |
Title-page for Vesalius & Valverda, Vivae imagines partium corporis humani, 1566, engraved in copper by Pieter Huys to a design of Lambert van Noort. |
facing 208 |
| (34) |
Title-page of the Psalterium, 1571, cut in wood by Antoon van Leest to a design of Pieter van der Borcht. |
between 208 & 209 |
| (35) |
Title-page of the Antiphonarium, 1573. This monumental work was originally issued without a title-page, but after protests from customers Plantin produced one in great haste, mutilating for the purpose the woodblock of the 1571 Psalterium. |
between 208 & 209 |
| (36) |
The Adoration of the Shepherds, illustration to the folio missal of 1575, cut in wood by Gerard Janssen van Kempen to a design by Pieter van der Borcht. |
between 208 & 209 |
| (37) |
Plantin's printer's mark, drawn on a woodblock prepared with a white ground, ready for cutting. For some reason the work was not carried out. |
between 208 & 209 |
| (38) |
Drawing in pen and bistre by Maarten de Vos, representing The Last Judgment, obviously intended to be engraved in copper to illustrate a folio missal. Most probably the work was not carried out, as there are no Plantinian service books known with copperplates engraved to these designs which form a series of eight. |
between 208 & 209 |
| (39) |
Woodcut illustration from Willem Silvius's edition of Guicciardini's Descrittione di tutti i Paesi Bassi (Antwerp 1567). After an abortive attempt in 1580 to buy these blocks from Silvius - not to use them himself but rather to prevent Silvius from bringing out a competing edition to Plantin's own, to be illustrated with copperplates, Plantin actually bought them from |
|
| |
| |
| |
Silvius's widow in 1583. Designer and engraver of these blocks are unknown. |
between 208 & 209 |
| (40) |
Copperplate illustration (etching) from one of Plantin's editions of Guicciardini's Descrittione... (1581, 1582, and 1588). The engraver - probably Van der Borcht - based his work on the woodcuts in the Silvius edition (cf. plate 39). |
between 208 & 209 |
| (41) |
Title-page design, drawn by Peter Paul Rubens, for the Poemata of Maphaeus Barberini (Pope Urban VIII), 1634. |
between 208 & 209 |
| (42) |
Title-page of Maphaeus Barberini, Poemata (1634): copper engraving by Cornelis Galle to Rubens's design (cf. plate 41). |
between 208 & 209 |
| (43) |
One of the 42 copperplates engraved by Pieter and Frans Huys for Vesalius & Valverda, Vivae imagines partium corporis humani, 1566. (Cf. plate 33.) |
facing 209 |
| (44) |
Title-page of Goltzius's Romanae et Graecae antiquitatis monumenta e priscis monumentis eruta, being the first part of the Opera Huberti Goltzii, 1645. Engraved in copper by Theodoor Galle to a design of Peter Paul Rubens. |
facing 209 |
| (45) |
The outline block (slightly reduced) of the two-colour woodcut portrait of Charles V, appearing in Goltzius's Icones Imperatorum Romanorum, 1645. (Cf. plates 46 & 47). |
facing 232 |
| (46) |
The light-effect block (slightly reduced), printed in ochre, of the two-colour woodcut portrait of Charles V in Goltzius's Icones Imperatorum Romanorum. (Cf. plates 45 & 47.) |
between 232 & 233 |
| (47) |
The complete portrait (slightly reduced) of Charles V, two-colour woodcut appearing in Goltzius's Icones Imperatorum Romanorum, being the fifth part of Opera Huberti Goltzii, 1645. The book contains 144 ‘emperor’ |
|
| |
| |
| |
portraits, cut for Balthasar I Moretus by Christoffel Jegher between 1631 and 1634. In 1708 the blocks were sold to the Antwerp printers Verdussen, but in 1876 reacquired by the Plantin-Moretus Museum. |
between 232 & 233 |
| (48) |
Copy of Valerius, Argonauticon libri VIII, a 16mo printed and published by Plantin in 1566. This copy was bound by Plantin himself and probably given by him to Abraham Ortelius, the cartographer, whose signature appears on the title-page. |
facing 233 |
| (49) |
Approbatio for Justus Lipsius, De amphitheatro liber, dated 22 July 1598. The censor wrote his approbatio on a copy of the 1585 edition (see also plate 69) which Lipsius had corrected and added to in preparation for the reissue of 1598. |
facing 256 |
| (50) |
The approbatio for Lipsius's De amphitheatro liber as it was printed in the 1598 edition. (Cf. plate 49.) |
facing 256 |
| (51) |
Privilege granted by king Philip II to Plantin for the Polyglot Bible, 22 February 1573. |
facing 257 |
| (52) |
Page from the manuscript of Vivas figuras del cuerpso humano (see also plate 53) with the dedication to Jeronimo de Roda, member of the Council of State. The dedication was crossed out and consequently not printed, as Roda was held responsible for the Spanish Fury (1576) and as such was one of the most hated persons in Antwerp. |
facing 288 |
| (53) |
Spread from the manuscript of Vivas figuras del cuerpso humano, an adaptation in Spanish of Vesalius & Valverda, Vivae imagines partium corporis humani, 1566. At the end of the manuscript appears the hand-written approbatio of the Antwerp censor Silvester Pardo, dated 28 April 1576. Just as the dedication to Jeronimo de Roda (cf. plate |
|
| |
[pagina XVIII]
[p. XVIII] | |
| |
52) it was not printed and undoubtedly for the same reason: the sack of Antwerp during the Spanish Fury of 4 November 1576. |
between 288 & 289 |
| (54) |
Foreword to Lipsius's De cruce libri tres, written by a copyist in a clear hand, corrected and slightly altered in the author's own hand. (Cf. plates 55 & 56.) |
between 288 & 289 |
| (55) |
Text of the foreword to Lipsius's De cruce libri tres (cf. plate 54) as printed in the first edition, 1594. Continued on plate 56. |
between 288 & 289 |
| (56) |
Conclusion of the foreword to De cruce libri tres as it was printed. (Continued from plate 55; see also plate 54.) |
between 288 & 289 |
| (57) |
Title-page design for an edition of Apollodorus of Athens, dated 1581. The work was not printed. (Cf. plate 58.) |
between 288 & 289 |
| (58) |
First page of the projected edition of Apollodorus of Athens (cf. plate 57). The text used as a basis was an earlier printed edition (Antonius Blado, Rome, 1555) with some slight revisions. Plantin did not publish the book; the initiative may have been with the scholar involved, who may have offered the manuscript to Plantin complete with a title-page. The unusual wording of the latter points in this direction. |
facing 289 |
| (59) |
Seneca's Tragoediae prepared for press with a title-page already set and printed, but crossed out as it was finally substituted for another (cf. plate 61). |
facing 296 |
| (60) |
Seneca's Tragoediae, pages 2 and 3 prepared for press. Page 2 (verso of the title-page) was certainly printed in the Plantin press, but page 3 and the following pages belong to the French or Italian edition that must have served as model. The corrections are in the hand of the publisher, Frans |
|
| |
| |
| |
Raphelengius the Younger, grandson of Plantin. The book appeared in 1589, but differs entirely from the 1588 paste-up. |
between 296 & 297 |
| (61) |
Title-page of Seneca's Decem Tragoediae as it appears in Plantin's 1589 edition. The 1588 design (cf. plate 59) was completely altered and the format changed from octavo to 16mo. |
between 296 & 297 |
| (62) |
Page from the Decem Tragoediae, 1589. Comparison with the originally projected layout shows that the corrections and changes made there were incorporated, but the order of the plays was altered. |
between 296 & 297 |
| (63) |
Title-page of Cornelis Kiliaan, Dictionarium Teutonico-Latinum, 1588, prepared for the 1599 edition. The emendations are in Kiliaan's own handwriting. |
between 296 & 297 |
| (64) |
Title-page of Kiliaan's Etymologicum Teutonicae Linguae sive Dictionarium Teutonico-Latinum, 1599. This was an augmented and revised edition of the Dictionarium Teutonico-Latinum, the second edition of which appeared in 1588. Kiliaan's sketch (see plate 63) was largely followed, but with a few additions, including alteration of the title. |
between 296 & 297 |
| (65) |
A page from Kiliaan's Dictionarium, 1588, with notes and additions by the author. (Cf. plate 63.) |
between 296 & 297 |
| (66) |
A page from Kiliaan's Etymologicum, 1599. The author's additions and corrections in the 1588 edition (cf. plate 65) were largely incorporated in the new edition. |
between 296 & 297 |
| (67) |
Manuscript prepared for press; a spread containing text and illustration for an edition of Ovid's Metamorphoses. Prints of the illustrations were pasted onto the appropriate pages. See also plate 68. |
between 296 & 297 |
| |
| |
| (68) |
Spread from Ovid's Metamorphoses, 1591. In printed form the book corresponds with the layout shown in plate 67, but text and illustration have been transposed. |
between 296 & 297 |
| (69) |
Page from Lipsius's De amphitheatro liber, Antwerp (but actually printed at Leiden), Plantin, 1585. The author's additions and corrections are on the blank pages of this interleaved copy, in preparation for the new edition that appeared in 1598. |
between 296 & 297 |
| (70) |
Spread with foreword to the reader from Simon Verepaeus, Epitome novae Grammatices Despauterianae, Liber quintus, 1578. Revisions made by the author for the new edition of 1590. |
facing 297 |
| (71) |
Page from the ‘livre des ouvriers’, 1563-67, with the amounts of work done by and the wages paid to the compositor Cornelis Tol from the end of 1563 to the end of 1565. |
facing 320 |
| (72) |
One of the ordinances of the Plantin press drawn up to ensure orderliness and smooth running. It was printed in civilité type at the end of 1563. This copy was signed by all the compositors and pressmen then working in the Officina. |
facing 321 |
| (73) |
General view of the bookshop (Room 4 of the Museum). |
facing 400 |
| (74) |
Spread from the Catalogus librorum qui ex typographia Christophori Plantini prodierunt, 1584. On the left-hand page books published in Spanish, Italian, and German; on the right-hand page books in French. |
between 400 & 401 |
| (75) |
Spread from the Index librorum qui ex typographia Plantini prodierunt, 1615. This catalogue was compiled by or under the direction of Balthasar I Moretus, it also lists titles that were no longer obtainable; these are marked with an asterisk. |
between 400 & 401 |
| |
| |
| (76) |
Catalogus Librorum Typographiae Plantin, 1579. A broadside list of books printed and offered for sale by Plantin, after the unique copy in the Osterreichische Staatsarchiv, Vienna. |
between 400 & 401 |
| (77) |
Handling of money and packing of goods in the sixteenth century: from a woodcut by Jobst Amman, Aigentliche abbildung desz gantzen gewerbe der Kauffmanschafft..., Augsburg, 1585. The woodcut clearly shows the bales, barrels, and boxes in which freight, including books, was packed and shipped at the time. |
facing 401 |
|
|
Auteursrechtelijk beschermd