Drie eeuwen vaderlandsche geschied-uitbeelding, 1500-1800

Een iconologische studie

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Captions to plates (vol II, p. 185) seqq.)

1.		The Leyden Pallas Athena Accompanied By Hercules, ‘Invicta Concordia’ Printers-mark of the Leyden publisher Joh. Maire (c. 1615).
		This printers-mark is the first of our series of illustrations as its subject may be regarded as a summary of the conceptions dealt with in this book.
		In the first place Hercules was the prominent example for the protrayal of Batavians (cf. Pl. 32 and 33). Then the closely connected Pallas Athena indicates the study of classical civilization which greatly influenced 17th century historiography.
		The general truth that the combination of masculine strength and feminine ingenuity forms an invincible whole is here represented in forms derived from classical antiquity, but with the necessary amount of licence these have been ‘transposed into Dutch’. The combination of Hercules and Juno was common in classical antiquity; here however that goddess has been replaced by the same Pallas Athena, who at the end of the century was to become the example for the so-called ‘Dutch Maid’ (cf. note 209:1)

Visual representations of historical scenes during the Romantic period.

2.		Charles V, leaning on William of Orange, adbicates in favour of Philip II. Painting by L. Gallait, 1841. Frankfort a.M., Städelsches Kunstinstitut.
		Pictures from history in the days of the Romantic Movement with its predilection for the anecdotal assert their influence right up to the historical film of to-day. (p. 1)

Visual representations of historical scenes during the Renaissance.

3.		The abdication of Charles V. Painting by F. Francken II, c. 1620. Amsterdam, Rijksmuseum.
		Renaissance pictures from history do not aim at the anecdotal but the representational; the unities of time, place and action are disregarded. Tendencies towards giving historical ‘snapshots’ are non-existent. (p. 1)
	The commonplace as a symbol.
4.	1	Emblematic print of Holland's prosperity. Etching by H. Hondius, 1644.
		The allegorical purport only appears from the legend:
		‘You gentlemen watchmen assiduously pay heed
		That the Dutch cow be not stolen from us’. (p. 21)
	Evasion of the direct approach.
	2	Amsterdam civic guards under the command of corporal Corn. Bicker prepare for the reception of Marie de Medici (A.D. 1638). Painting by Joach. von Sandrart, 1640. Amsterdam, Rijksmuseum.
		Instead of a scene from the ceremonial entry this traditional grouping around a bust of the queen is chosen. (p. 36)
	Blending of fantasy and reality.
5.	1	Isaiah lamenting over Jerusalem. Print by Ph. Galle after M. van Heemskerck, 1564. Reminiscences of the artificial lake of the palace at the Hague are clearly perceptible in the lay-out of this imagined Jerusalem. (p. 11)
	2	The ‘Hooglandsche’ Church at Leyden in completely fantastic surroundings. Painting by Jan van Goyen, 1643. Munich, Alte Pinakothek.
		Even in topographical representations naturalistic exactness is not always aimed at. (p. 51)

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	Influence of the typological interpretation of history.
6.	1	Triumphal arch for state entry of Charles V into Bruges (A.D. 1515). Woodcut. The law-giver Moses as prototype of Louis of Nevers, granting privileges to the town. (p. 27)
	2	Anonymous painting (c. 1615) in remembrance of a siege of Venlo (A.D. 1606). Venlo, Townhall.
		Here the siege of Bethuly (with the story of Judith and Holofernes) serves as prototype for that of Venlo in 1606 (p. 27)
7.		Siege of Samaria. Stained glass window by D. Crabeth, 1601. Gouda, Church of St. John. Gift of the city of Leyden in remembrance of the relief of 1574. According to the Bible the besiegers of Samaria had also fled at night leaving behind them their tents and provisions upon which the famished inhabitants could feast: See upper part of the reproduction on the right. (p. 28)
	Contemporaries compared to similar personages of antiquity.
8.	1	Claudius Civilis as precursor of William the Silent. Title page to J.I. Pontanus, ‘Historiae Gelricae’, 1639. (p. 29 and 96)
	2	Roman warriors as counterparts of soldiers in the days of Maurice. Unfinished anonymous Dutch drawing, c. 1620. Art trade. (p. 29)
	Contemporary history as revelation.
9.		Sperm-whale cast ashore at Beverwijk on Dec. 20, 1601. Engraving by J. Saenredam. The border (with Death shooting, eclipse of sun and moon, and earthquake) bears witness to the ominous meaning ascribed to these events. (p. 20)
	Works of art as reminders of privileges, grants of coats of arms etc.
10.		The emperor Frederic II adds a sword to the Haarlem coat of arms (assumed date A.D. 1188)
	1	Fragment of a painting by J. Berckheyde (1668) representing a detail from the now destroyed window of 1595 by W. Thibaut in the ‘Groote Kerk’ at Haarlem. Haarlem, Frans Hals Museum. (p. 32 and 245)
	2	Tapestry with the same subject designed after the previous representation by P. de Grebber, c. 1630. Haarlem, Townhall. (p. 32 and 247)
11.		The Emperor Frederic II adds a sword to the Haarlem coat of arms (A.D. 1188). Painting by P. de Grebber, 1630. Haarlem, Townhall. (p. 32 and 248)
12.		The Emperor Maximilian grants the imperial crest to the Amsterdam coat of arms (A.D. 1488)
		Print by P. Nolpe after Cl. J. Moeyaert, representing a scene from the festivities held in 1638 in honour of the entry of Marie de Medici into Amsterdam. (p. 32)
13.		The Emperor Maximilian grants the imperial crest to the Amsterdam coat of arms (A.D. 1488). Painting by Emanuel de Witte, c. 1640. Amsterdam, Hist. Museum, (p. 32)
14.	1	Count William IV grants a coat of arms to Amsterdam (A.D. 1342). Medal by P. van den Abeele, c. 1650. (p. 32)
	2	Otto II, Count of Gelre, receives the fortress of Nijmeguen from William II, Count of Holland, as a reward for assistance rendered (A.D. 1247). Painting by Nicolaas van Helt Stocade, c. 1660. Nijmeguen, Townhall. (p. 33)

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15.		William II, Count of Holland, grants privileges to the ‘Hoogheemraadschap’ of Rhineland (A.D. 1255). Painting by Caesar Boetius van Everdingen, 1654. Leyden, Gemeenlandshuis. (p. 32)
	Genealogical trees.
16.		Tree of Jesse (descent of Christ). Painting ascribed to J. Mostaert, c. 1490. Heemstede, Coll. Von Pannwitz.
		The portrayal of Isaiah's vision of ‘a stem coming forth from the rod of Jesse’ became the standard form for the graphic representation of the genealogies also of persons other than Christ. (p. 25)
	Genealogical sequences.
17.		Philip of Burgundy and Charles the Bold. Haarlem, Townhall. Copies from the first half of the 16th century of older wall-paintings. (p. 33)
	Archaeological examples: Column of Trajan.
18.	1	Foundation of Augsburg. Miniature by Georg Muelich (1457) for Meysterlin's Augsburg Chronicle.
	2	Foundation of Augsburg. Woodcut for the edition of 1522 of Meysterlin's Chronicle. These illustrations representing two successive stages of civilization, viz. of cave-dwellers and founders of cities, are remarkable for the historical sense to which they testify. The artist realized that there was a difference between the original Augsburg and the town of his days. His example for the palisaded blockhuts was probably the Roman relief reproduced in Pl. 18^3. (p. 55 and 156)
	3	Teutonic settlement. Relief from the column of Trajan with scenes of his Dacian campaign (101-106 A.D.).
		The reliefs on the column of Trajan were repeatedly copied during the Renaissance for purposes of documentation. (p. 55 and 156)
	Archaeological examples and exotic influences: The Suevian knot.
19.	1	Japanese martyrs. Print by S. à Bolswert after A. van Diepenbeek, c. 1650. (p. 56)
	2	Arminius. Illustration from E.C. Wasserbach, ‘Dissertatio de statua illustri Harminii’ (1698). (p. 203:4)
	3	Murder of Arminius. Print by R. Vinkeles after J. Buys for J. Kok, ‘Vaderlandsch Woordenboek’ vol. IV, 1786. (p. 92)
		The Suevian knot, well-known by means of classical representations, (cf. Pl. 81, 21, 50, 56, 58, 66^3-4, 67^3, 76^2) was put on a level with similar exotic hairstyles (see also fig. in text, p. 89). In the 18th century the iconography of the Teutons shows influences of Chinoiserie.
	Misinterpreted archaeological examples.
20.	1	‘Heads of Batavians’. Illustration from G. van Loon's ‘Aloude Hollandsche Historie’, 1734. (p. 57)
	2	Roman bronze ornaments (heads of Satyrs etc.)
		Similar objects also found in the Low countries served as models for the adjacent reconstructions. (p. 56/57)
	3	Group of Sarmatians on a relief of the column of Trajan. After P. Santo Bartoli, ‘Colonna Traiana’, 1667.
		For application see next reproduction.
21.		‘Ancient dress and armour of the Batavians’. Illustration by J. Folkema after C. Pronck from G. van Loon, ‘Aloude Hollandsche Historie’ (‘Ancient Dutch History’), 1734.

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		Besides the Suevian knot and the ‘scientifically’ reconstructed wicker-work head-gear of Pl. 20^1, we here find the fez-like shapes reminiscent of the head-dresses on Pl. 20^3; cf. also Pl. 48^3. (p. 57)
22.	1	The four lansquenets. Engraving by Lucas van Leyden, c. 1508.
	2	A lansquenet. Engraving by Urs Graf, 1513.
		The characteristic slashes across the chest, arms, and thighs of these costumes, were in the sixteenth century regarded as being of great antiquity; cf. the next Pl. (p. 61)
23.	1	Idol of the Celtic god Dispater. Woodcut from P. Apianus, ‘Inscriptiones sacrosanctae’, 1534.
	2	Pict. Illustration from W. Lazius, ‘De gentium migrationibus’, 1557 (copied freely from Pl. 23^1).
		Apianus put the tattooed decorations on a par with the trimmings on the ‘ancient’ garments of the Swiss lansquenets of the preceding illustrations. Lazius regards the decoration as characteristic of the Picts (pictus = painted!), but does not go as far as Pl. 36, in which not the garments, but the body is painted. (p. 61)
	Historical costume.
24.	1	Repudiation of Hagar. Painting by J. Mostaert, 1525. Lugano, Coll. Thyssen. This painting is mentioned by Van Mander as an example of amazingly correct historical costume! (p. 60)
	2	Strolling couple in costume of c. 1430. Engraving by Lucas van Leyden (c. 1509) probably after an old painting. (p. 58)
	Historical costume: the hennin.
25.	1	Women of Verdun. Print from J.J. Boissard, ‘Habitus variarum orbis gentium’, 1581.
	2	Female devil. Detail from a drawing by P. Bruegel, 1564. Amsterdam, Print-Room. The historical hennin, once part of the courtdress, becomes the regular attribute of wanton, seductive devils. (p. 61, 63-4)
	3	Burgundian statuette, second half 15th century. Amsterdam, Rijksmuseum.
	4	Jacob blessing the sons of Joseph. Painting by Rembrandt, 1656. Kassel.
		Rembrandt seems to have known that the late mediaeval hennin was of Egyptian origin. As a model for Asnath, the Egyptian wife of Joseph, he used the Burgundian statuette reproduced here, which was at that time in a private collection in Amsterdam. (p. 61)
	Knowledge of ancient types of buildings and writing.
26.	1	Adoration of the Magi. Painting by J.J. van Calcar, 1505/08. Calcar, Church of St. Nicholas.
		The legend that Christ was born in a ruined part of the one-time palace of David, gave rise to the painting of ruins, often with Romanesque elements. (p. 66)
	2	Survey of the successive types of writing: capital - minuscule - cursive - bastarde. Cartouche on an historical map of the Netherlands, published by P. Kaerius in 1617 after an older example of 1584 by Ortelius. (p. 71)
	Primitive civilizations: Origin of the first civilization according to the Bible.
27.		Labour of Adam and Eve after the expulsion from the Garden of Eden. (p. 82)
	1	Woodcut from H. Schedel's World Chronicle, Nuremberg, 1493.
	2	Woodcut from H. Holbein's Dance of Death, Lyon, 1547.
	3	Adam and Eve after the expulsion from the Garden of Eden. Engraving by J. Gelle for C. Huygens satire on fashion ‘Costelick Mal’, (‘Expensive Follies’), 1622.

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		Huygens' tract on the follies of fashion begins with a reminder of the simple clothing of the first human couple. Compared with the preceding illustrations, this print shows interesting details concerning the history of civilization. The illustrator has gone into the matter of possible shapes of primitive agricultural implements and houses. For his models see Pl. 28, 29 and 30. (p. 84)
	Primitive civilizations: Origin of the first civilization according to Vitruvius.
28.	1	The discovery of the power of fire.
	2	Building the first huts.
		Woodcuts by Georg Pencz as illustrations to an edition of Vitruvius, Nuremberg, 1548. During the Renaissance Vitruvius' conception of the origin of the first civilization was widely disseminated. The illustrations belonging thereto also influenced the representation of Adam and Eve's labour after the expulsion from the Garden of Eden. (p. 83)
	Primitive civilizations: Portrayal of Biblical subjects under the influence of illustrations to Vitruvius.
29.	1	Building the first huts. Engraving from a series illustrating the book of Genesis by J. Sadeler after M. de Vos, c. 1585. (p. 84)
	2	Primitive agricultural labour. Engraving as Pl. 29^1. (p. 84)
	Primitive civilizations: Blending of Biblical and classical traditions.
30.	1	Adam and Eve after the expulsion from the Garden of Eden. Engraving by J. Saenredam after A. Bloemaert, 1604. (p. 84)
	2	The ‘Silver Age’ of Ovid's Metamorphoses. Engraving from a series of illustrations to the Metamorphoses by C. van de Passe Sr., c. 1604. Cf. Pl. 30^1 and 29^2. (p. 84)
	Primitive civilizations: Cain the first founder of cities.
31.	1	Cain. Engraving by R. Sadeler after M. de Vos, 1583 (p. 85)
		As the attribute of Cain we often find the jaw-bone with which he is supposed to have killed Abel. The Bible does not record this detail, it probably arose from contamination with Simpson, who in turn was closely related to Hercules. The Bible names Cain as the first founder of cities, and on that account he is always mentioned in treatises on the evolution of civilization in general.
	2	Cain as founder of cities and Pallas Athena as inventress of the arts. Title page of the ‘Book of Cities’, by Bruin and Hogenberg, 1572.
		For the representations on the pedestal cf. Pl. 28 and 30. (p. 86)
	Figures in skins of animals: Hercules.
32.	1	Hercules. Detail from Rubens' sketch for the title page of H. Hugo, ‘Obsidio Bredana’, 1626.
		The spade in the hand of Hercules is an allusion to the digging carried out during the siege of Breda. (p. 85)
	2 & 3	Reproductions of a classical(?) statuette of Hercules. Woodcuts from P. Apianus, ‘Inscriptiones sacrosanctae vetustatis’, 1534.
		These woodcuts served as examples for the representations of Teutons in Cluverius' famous work of 1616. Cf. Pl. 33^1. (p. 191/92))
	Figures in skins of animals.
33.	1	Germanic warriors. Etching from Ph. Cluverius, ‘De Germania antiqua’ (1616), the book that in this respect for centuries retained the greatest influence.
		For the example cf. Pl. 32^1-2. (p. 191/92)

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	2	‘Der Bühnengermane und der Germane der Wissenschaft’. Illustration taken from J. Lechler, 5000 Jahre Deutschland, Lpz. 1936.
	3	Costumes of servants at a Florentine feast, c. 1580. Anonymous drawing. Florence, National Library.
		For the classical standard-bearers or signiferi, who besides Hercules served as examples for such costumes see Pl. 38. (p. 56)
	Figures in skins of animals: The legendary wodewose.
34.	1	Wodewose. Drawing by Giovanni de' Grassi, c. 1390. Bergamo, Bibliotheca Civica. (p. 86)
	2 & 3	Woodcuts by A. van Leest (1572), reprinted by Z. Heyns in 1601 in his ‘Dracht-Thoneel’. (p. 93)
		In 1600 Pl. 34^2 had served as example for an illustration to a description of the women of the Straits of Magellan; so little distinction was made between the legendary and the exotic primitive.
	Interest in exotic subjects.
35.	1	Columbus lands in the West-Indian island of Goanin. Painting by J. Mostaert, c. 1520. Art trade. (p. 91)
	2	Manners and customs of the Brazilians. Anonymous woodcut in commemoration of a performance held by Europeans on the occasion of Henry II's entry into Rouen, 1550. (p. 91)
	Blending of exotic and historic primitivism.
36.	1	‘Les premiers Anglois comme ils allayent en guerre du temps de Julius Cesar’. Miniature by Lucas de Heere in an album arranged by him, and entitled ‘Théâtre de tous les peuples’, 1568. Ghent, Municipal Records office, (p. 92/93)
	2	Pict. Illustration by Th. de Bry after John White for Th. Hariot's Virginian Travels (1590). (p. 92)
		De Bry included this historical illustration in his Travels in order to prove that the oldest inhabitants of England were wild men similar to those, who were still to be found in the Virginia of his days. These Picts, however, are by no means free from the influence of the traditional pictorial representations of devils. Cf. following plate.
	The devil: Late Mediaeval and 17th century tradition.
37.	1	Fifteenth century devils. Detail from ‘The Afflictions of Job’ by the Master of the Legend of St. Barbara, c. 1490. Cologne, Wallraf-Richartz Museum.
		Note the faces on abdomen, shoulders and knees. (p. 114)
	2	The seventeenth century devil. ‘The devil tempting Christ’, drawing by L. Bramer, c. 1660. Amsterdam, Print-Room.
		In the 17th century a new type of devil comes into existence after the chief characteristics of the late-mediaeval devil had returned to the persons they originally belonged to, i.e. the classical hero. Cf. Pl. 39 and 40. (p. 115)
	The hero according to classical example.
38.	1	A Roman emperor addressing his troops (Allocutio). Relief on Arch of Constantine, c. 185 A.D. Rome. (p. 56)
	2	Decius Mus relates his dream. Painting by Rubens, c. 1617, Vienna. Liechtensteinsche Galerie. (p. 56)
		In Rubens' series of paintings representing the story of Decius Mus, the thorough anti-quarian knowledge of the Renaissance and the truly heroic pathos of the Baroque have been blended into an harmonious unity.

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	The classical hero and the hero of the Renaissance.
39.	1	Roman in breast-plate. Statue from the beginning of our era. Rome, Lateran Museum. (p. 113)
	2	The hero of the Renaissance. Bearers on the sepulchral monument of Engelbert II of Nassau, erected in the Church of Our Lady at Breda between 1526 and 1538. (p. 117) The gaudier ornamentation of these suits of armour is striking. Also note the heads on the shoulders of the bearer on the right.
	The hero: free version of the classical example.
40.	1	Roman soldier. Detail from a painting by J. van Scorel, c. 1540. Amsterdam, Rijksmuseum. (p. 117)
	2	Cosimo I de Medici. Statue by V. Danti, 1567/68. Florence, Bargello. (p. 118)
	3	Goliath and David. Wooden statues (17th century) Amsterdam, Historical Museum. (p. 117)
		This sort of hero appeared chiefly in sculpture. One sould remember not only the gaudy figure-heads of old sailing vessels, but also the puppets which adorn our barrel-organs up to this very day.
	The hero of the Renaissance: free fantasies.
41.	1 & 2	Two woodcuts by H. Burgkmair for the Emperor Maximilian's ‘Genealogy’, 1512. These fantastic figures wholly correspond with the heroic conceptions of the Renaissance, without the form being in any way reminiscent of classical antiquity. (p. 115)
42.	1	Some Counts of Holland (William VI and Jemima, Philip the Good and Charles the Bold). Woodcut from a series by Jacob Cornelisz, c. 1517.
		For a less fantastic series of Counts compare Pl. 17 and 43^1. (p. 116)
	2	Three kings of Israel. Woodcut after Lucas van Leyden, c. 1516. (p. 116)
43.	1	Some Counts of Holland (Mary of Burgundy, Maximilian, Philip the Fair, Charles V, Philip II). Last page of a series of woodcuts by Corn. Anthonisz., c. 1545.
		This reproduction has been inserted here, in order to emphasize the extravagant trappings of Pl. 42^1. Corn. Anthonisz' woodcuts belong to the unadorned series of Counts, of which we have already given an example (Pl. 17). (p. 116)
	2	The three heroes of classical antiquity. Woodcut after Lucas van Leyden, c. 1517. (p. 116)
	The 17th century hero: free fantasies.
44.	1-2-3	Lords of Friesland. Etching by Simon Frisius. The figures were originally arranged in long strips. In 1622 the copper plates were cut up and the loose pieces used to illustrate Winsemius' Frisian Chronicle. Also see Pl. 451^1-3. (p. 116)
45.	1-2-3	Lords of Friesland. Very similar to Pl. 44. That the figures were originally placed next to each other in long strips, is clearly proved by the superfluous stick on Pl. 45^3. (p. 116)
		Tabbo, Lord of Friesland.
	3	Etching by Frisius, c. 1620.
	4	Etching by P. Feddes for M. Hamconius, ‘Frisia’, 1620.
		Frisius' temperament bestows upon the imagined persons of the misty past a heroic air unique in its kind in the N. Netherlands. (p. 116)
	Heroic action: the battle on the bridge.
46.	1	The Battle of Cadore (A.D. 1508). Print by G. Fontana after a fresco painted by Titian in the Doges' Palace at Venice c. 1538 and destroyed by fire in 1577. (p. 106)

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	2	The Batavians take a bridge across the Moselle by night (A.D. 69/70). Etching by Tempesta after Vaenius, 1612. (p. 112)
	3	The Battle against the Amazons. Painting by P.P. Rubens, 1618/20. Munich, Alte Pinakothek.
		’The Battle on the bridge’ was one of the favourite forms for depicting war in the 16th and 17th cent. When a side view of this motif was composed (Pl. 46^1 & ^3), an overall view of the conflict was possible. But also when it was prefered to let the attackers advance from the background to the foreground, the bridge became the element which brought some order to the group of combatants otherwise difficult to disentangle. (p. 111)
	Heroic situations: negotiations on a demolished bridge.
47.		Negotiations between Civilis and Cerealis (A.D. 70).
	1	Painting by O. Vaenius, 1612. Amsterdam, Rijksmuseum. (p. 213)
	2	Etching by Tempesta after Vaenius, 1612. (p. 213)
	3	Negotiations between Civilis and Cerealis. Painted sketch by F. Bol, c. 1658. Art trade. (p. 221 and 230)
		A worthy counterpart to ‘the battle on the bridge’ was ‘the negotiations on a demolished bridge’. The artists of the 16th and 17th century were also very partial to depicting this situation derived from reality (p. 112)
	A heroic motif and its decay in the 18th century.
48.	1	Negotiations between Civilis and Cerealis. Fresco in the Palace on the Amsterdam Dam by Le Grand, 1697. (p. 228)
		The eighteenth century.
	2	Print by N.v.d. Meer, Jr. for the epic ‘Claudius Civilis’ by J. Le Francq van Berkhey, 1764. Also cf. Pl. 72^3. (p. 209)
	3	Print by R. Vinkeles after J. Buys for J. Kok, ‘Vaderlandsch Woordenboek’, vol. IX, 1788. (p. 57)
		Towards the end of the 18th century understanding of the value of traditional, heroic motives diminishes (Pl. 48^2). Pl. 48^3 is remarkable for the blending of the two fields hitherto kept apart: heroic historical representations and scientific archaeological reconstructions. Figures such as the Batavians in the foreground of Pl. 48^3, with their primitive costumes, wrongly reconstructed in part (cf. Pl. 20 and 21), are, for instance, not to be found in the 17th century renderings of Claudius Civilis' Rebellion (Pl. 73-87). As an example of this confusion see also Pl. 72^3. (p. 209)
	16th century illustrations.
49.	1 & 2	Two woodcuts from the Gouda edition of Olivier de la Marche's ‘Le chevalier délibéré’, c. 1488.
		The blocks were sawn to pieces in 1517 by the Leyden publisher Seversz and used to illustrate the ‘Cronycke van Hollant’ published by him. Pl. 49^1, the second in the original series, supplied representations for Count Arnold (988-993), Jacoba of Bavaria (1417-1433). The castle in the background was reproduced for Delft as well as for Amsterdam. (p. 133)
	3	Woodcut from Breydenbach's ‘Peregrinationes in terram sanctam’, Mainz 1486. The hermit on the Chevalierwoodcuts (Pl. 49^2) was copied straight from the Greek monk on this illustration (note 132:3).
	16th century historical illustrations.
50.	1	King Suevus. Woodcut by P. Flettner for B. Waldis, ‘Ursprung der Könige’, 1543. (p. 164)

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	2	‘Suevi of 400 and 1000 years ago’. Woodcuts from W. Lazius, ‘De Gentium Migrationibus’, 1557. (p. 166)
	Influence of 16th century illustrations.
51.	1	Suevi. Miniature by Lucas de Heere in an album arranged by himself, entitled ‘Théâtre de tous les peuples’, 1568. (p. 167)
	2	Suevus. Etching by Cornelis Visscher after P. Soutman in a series published by M. Boxhorn, ‘Peplus, sive Gothorum imagines’, 1650. (p. 168)
	3	Suevus. Illustration from the booklet published at Amsterdam in 1700: ‘Antiquitates Belgicae’. (p. 168/69 and 206)
		All these figures are directly or indirectly derived from the Suevus in the book by Lazius of 1557. (Pl. 50^2)
	16th century illustrations: origin and influence.
52.	1	St. John the Evangelist. Miniature from a Greek manuscript, 7th cent. A.D. (p. 164/65)
	2	Tuiscon, progenitor of all Teutons. Woodcut by P. Flettner for B. Waldis, ‘Ursprung der Könige’, 1543. (p. 164)
	3	Aborigine. Woodcut from W. Lazius, ‘De Gentium Migrationibus’, 1557. (p. 166)
	4	Aborigine. Illustration from the booklet ‘Antiquitates Germanicae’ published in Amsterdam in 1714. (p. 169)
	Influence of 16th century illustrations.
53.	1 & 2	Etchings by Cornelis Visscher after P. Soutman in the series ‘Peplus, sive Gothorum imagines’, published by M. Boxhorn in 1650. One of the woodcuts from Lazius' work of 1557 served as example (see fig. in text p. 165). (p. 168)
	3 & 4	Illustrations from the booklet ‘Antiquitates Belgicae’. Published in Amsterdam in 1700. Reversed copies of the above prints. For the background of Pl. 53^3 cf. Pl. 63^4 and 63^1. (p. 168/69)
	The idyllic primitive.
54.	1	The Vale of Tempe. Print of 1590 from Abr. Ortelius' ‘Theatrum Orbis Terrarum’. The Vale of Tempe, situated in Thessaly between Olympus and Ossa was regarded by the Renaissance as a pre-eminently poetical and idyllic spot. (p. 174)
	2	Detail from the print above.
		For the influence of this representation on Ortelius' book of 1596 concerning the most ancient national past, see for example Pl. 55^2, 56^1 and 58^1.
	The earliest Dutch history according to Ortelius (1594 and 1596).
55.	1	Teutonic man and woman. Marginal figures on a map by Abr. Ortelius depicting the ancient condition of the Netherlands, 1594. (p. 174)
	2	Teutonic nature. Etching by P.v.d. Borcht for Abr. Ortelius, ‘Aurei Saeculi Imago’, Antwerp 1596.
		The costume is even more primitive than in the illustration above. The resemblance in atmosphere of this ‘Golden Age’ to the print of the idyllic scenery of Tempe (Pl. 54) is striking. (p. 172)
	The earliest Dutch history according to Ortelius (1596).
56.	1	Bringing up the youth. Hardening newly bom babies in cold water; training in the use of arms. Etching by P.v.d. Borcht (as Pl. 552). (p. 172)
	2	Teutonic religion. Worship of fire, Mercury, Hercules, moon and sun; foretelling the future by the flight of birds and the neighing of horses. Etching by P.v.d. Borcht (as fig. 55^2). (p. 173)

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		The earliest Dutch history according to Ortelius (1596) and Montanus (1617).
57.	1	Military customs. Cavalry and infantry battles; care of the warriors by the women, who among other things suck their wounds. Etching by P.v.d. Borcht (as Pl. 55^2). (p. 172)
	2	Teutonic religion. Human sacrifice for foretelling the future. Etching by P. Kaerius for text by P. Montanus, published in Kaerius' atlas, ‘Germania inferior’, 1617. (p. 176)
	The earliest Dutch history according to Ortelius (1596).
58.	1	‘Simplicity and appetite’. Teutonic eating habits manners and simple mode of life in the open air. Etching by P.v.d. Borcht (as Pl. 55^2). For the group round the fire cf. Pl. 54^2 and 63^4. (p. 172)
	2	Teutonic funeral rites. In death the man was accompanied not only by his horse and arms, but also by his widow. Etching by P.v.d. Borcht. (as Pl. 55^2). (p. 172)
	The earliest Dutch history according to Montanus (1617).
59.	1	Forms of meals and habitation. Etching by P. Kaerius (as Pl. 57^2).
		The illustration represents a less primitive stage than the etching (Pl. 58^1) by Ortelius. (p. 177)
	2	Teutonic funeral rites. Etching by P. Kaerius (as Pl. 57^2).
		In accordance with the more barbaric nature which also appears from the representation of religious rites (Pl. 57^2), Kaerius chose for this illustration the moment that the widow casts herself into the flames. Illustrations to travel stories are certainly not far removed from this representation. (p. 177)
	Teutonic antiquity according to Cluverius (1616).
60.		Germanic sacrificial rite. Etching by Simon Frisius intended for Ph. Cluverius, ‘De Germania antiqua’, Leyden 1616. Dresden Print-Room.
		The reason why a reversed copy of this print was inserted in the book was probably that here (in contradiction with the text) the priest pours out the libation with his left hand. (p. 189 and 202)
61.		Teutonic orders of battle. The cavalry is drawn up in ‘turmae’, the infantry in ‘cunei’, each headed by their commander. In the background a Teutonic laager defended by women. Etching by Simon Frisius in Ph. Cluverius ‘De Germania antiqua’, Leyden 1616 (p. 196 and 200)
62.	1	Teutonic habits of eating. Etching by Simon Frisius (as Pl. 61).
		The idyllic aspect of similar prints by Ortelius (Pl. 58^1) or Montanus (59^1) is entirely lacking here. (p. 188 and 201)
	2	Teutonic cremation and funeral games. On the left in the foreground the widow voluntarily seeks death by hanging herself. Etching by Simon Frisius (as Pl. 61).
		Frisius who designed a series of Frisian lords of exceptionally heroic nature (Pl. 44-45) gratefully seized the motif of the funeral pyre with corpse and rigid carcass of a horse. For a watered-down version of this print made in the 18th century see Pl. 72^4. (p. 197 and 200)
63.	1	Teutonic man and woman. (p. 181)
	2	Teutons clad in skins of animals. For the example see Pl. 32. (p. 182)
	3	Teuton clad in a woven sagum. (p. 185 and 201)
	4	Teutons by a fire. Cf. Pl. 58^1. (p. 188)
		Etchings by Simon Frisius for Cluverius ‘De Germania antiqua’. (p. 199)

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64.	1	Short rheno. Short sleeveless jerkin made from skins of animals. (p. 183)
	2	Long rheno. According to Paulus Diaconus usual among the Fins. (p. 184)
	3	Woven ‘sagum’. This sagum was not worn out of pudency any more than the short rheno (Pl. 64^1). For the more colourful sagum of the nobles see Pl. 67^3. (p. 184)
	4	Wide dress of the Gauls. Cluverius regarded this costume as the prototype of the voluminous dress of his own day. (p. 186)
		Etchings by Nicolaas van Geilenkercken for Cluverius, ‘De Germania antiqua’. (p. 201)
65.	1	Tight clothing of the Teutons. Cluverius reckons to find the last remains of this dress in the old fashioned costume still worn in his day by the Swiss German lansquenets. (p. 187)
	2	Warriors armed with cudgels and pointed sticks (’sudis’) and equipped with long shields made of tree-bark woven twigs respectively. (p. 190)
	3	Warriors alarmingly adorned with heads of animals and armed with cudgels and framea. (p. 192)
	4	Teutonic noblemen on the warparth. These noblemen are distinguished from the ordinary warriors by their swords and the crests on their shields. (p. 192)
		Etchings by Nicolaas van Geilenkercken for Cluverius, ‘De Germania antiqua’. (p. 201)
66.	1	Teutonic warriors. (p. 193)
	2	Teutonic noblemen, distinguished from the commoners by their leather helmets with plumes, their crested shields, and their hauberks. (p. 194)
	3	Teutonic noblemen. Note the ‘Suevian’-knot (cf. Pl. 50-51). (p. 194)
	4	Teutonic cavalier, (p. 195)
		Etchings by Nicolaas van Geilenkercken for Cluverius, ‘De Germania antiqua’. (p. 201)
67.	1	Teutonic noblemen on horseback. The winged helmet here appears for the first time as an attribute of the Teutonic hero. Etching by Van Geilenkercken as Pl. 66. (p. 195)
	2	Teutonic noblemen. Distinguished from the lower orders by their coloured ‘rhenos’ and richer dress (cf. Pl. 64^2). (p. 183)
	3	Teutonic noblemen. Their saga too are more colourful than those of the common folk (cf. Pl. 64^3). (p. 185)
	4	Slaves or serfs in saga of woven tree-bark. (p. 185)
		2-3-4-. Engravings probably from the studio of H. Hondius at the Hague. (p. 201)
	Influence of Cluverius' ‘De Germania antiqua’.
68.	1	Title-page of a German edition of Tacitus (1725), entirely covered with copies after the illustrations in Cluverius' ‘De Germania antiqua’. (p. 206)
	2	Armament of the Teutons. Anonymous English print, probably 18th century, with copies after the illustrations from Cluverius.
		For the example of the scene in the left lower corner see Pl. 76^2. (p. 206/7)
	Influence of Cluverius.
69.	1	The first inhabitants of the Netherlands. Anonymous print from J. Picardt, ‘Korte Beschrijvinge van eenige vergetene en verborgene Antiquiteiten’ (Short description of some forgotten and hidden antiquities) Amsterdam 1660. (p. 205)
	Human sacrifices.
69.	2	Anonymous title-page for a work on Teutonic religion by E. Schedius, 1648. (p. 209)
	3	Druids. Illustration from the ‘Antiquitates Germanicae’, 1714. (p. 209)

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	18th century representation of Teutonic antiquity.
70.	1	Teutonic battle-array. Illustration by A. Schut, before 1700.
		An exact copy of the print from Cluverius (Pl. 61) with the exception of the tower on the right with the prophetess Veleda and two women. (p. 206)
	2	Teutonic sacrificial rites. Illustration by A. Schut, before 1700.
		The forms of the images of Sun and Moon are immediately derived from a book published in 1613. (p. 206 and 208)
	Teutonic antiquity according to the ‘Antiquitates Germanicae’ (1714).
71.	1	‘King of the Franks’. Woodcut from Lazius, ‘De Gentium migrationibus’, 1557. The source of this representation is a relief on the column of Theodosius at Constantinople. (p. 56 and 167)
	2	The King of the Franks. Illustration from the ‘Antiquitates Germanicae’ entirely after the preceeding representation. (p. 206)
	3	Marcoman. The principal figure is taken from Lazius; the scene in the background was added by the anonymous illustrator, (p. 206)
	4	Teutonic eating habits. After the illustration to Cluverius (Pl. 62^1). (p. 206)
	18th century representation of Teutonic antiquity.
72.	1	Teutonic sacrificial rites. Illustration by J.E. Grave, c. 1785. (p. 208)
	2	‘Batavians’. Illustration by R. Vinkeles after J. Buys for J. Kok, ‘Vaderlandsch Woordenboek’, 1786. (p. 57)
	3	Claudius Civilis. Frontispiece by R. Vinkeles for the epic poem of the same name by F. van Steenwijk, 1774.
		In the 18th century the line between the primitive and the heroic becomes blurred. The hero Civilis appears in well-cared for primitive dress. The traditional costume of the hero (excepting the foot-gear) has been rejected. Cf. also Pl. 48^2. (p. 209)
	4	Teutonic funeral rites. Print by R. Vinkeles for E.M. Engelberts, ‘Aloude Staat’, 1790.
		In every respect a weaker copy of Pl. 62^2. The funeral games have been replaced by the horse and mourning women with their exaggeratedly tragic gestures. There are no signs of burning the widow. (p. 207)
	The revolt of Claudius Civilis.
73.	1	Claudius Civilis taken captive and his brother Julius Paulus killed. Painting by O. Vaenius, 1612. Amsterdam, Rijksmuseum, (p. 213)
	2	The same scene as above. Etching by A. Tempesta after O. Vaenius, from the series ‘Batavorum cum Romanis bellum’, 1612. (p. 230).
		The revolt of the Batavians under Claudius Civilis was regarded as the prototype of the war against Spain. Also note the difference in dress between the Romans and the Batavians.
74.	1	The conspiracy of Claudius Civilis. Painting by O. Vaenius, 1612. Amsterdam, Rijksmuseum (p. 213)
	2	The conspiracy of Claudius Civilis. Etching by A. Tempesta after O. Vaenius, 1612 (as Pl. 73^2). (p. 213)
	3	Feast. Painting from Vaenius' series concerning the revolt of the Batavians, 1612. Amsterdam, Rijksmuseum, (p. 214)
	4	Allegorical love-feast. Painting by P. Pourbus, c. 1560. London, Wallace Collection. (p. 214)
		Fig. 3 is possibly Vaenius' point of departure. In any case this painting has little connection with the historical tale, but all the more with the traditional garden-fêtes of Pl. 74^4.

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75.	1	Brinio raised upon the shield. Etching by A. Tempesta after O. Vaenius, 1612 (as Pl. 73^2). (p. 230)
	2	Brinio raised upon the shield. Painting by O. Vaenius, 1612. Amsterdam, Rijksmuseum. (p. 230)
76.	1	Brinio raised upon the shield. Sketch by G. Flinck for one of the arched panels in the gallery of the Amsterdam Town-hall, 1659. Hamburg, Kunsthalle. (p. 224 and 230)
	2	Brinio raised upon the shield. Etching by Simon Frisius for Cluverius, ‘De Germania antiqua’, 1616. (p. 195)
77.	1	Brinio raised upon the shield. Painting by J. Lievens 1661. Amsterdam, Palace on the Dam = former Town-hall (p. 225 and 230)
	2	Painting by O. Vaenius, 1612. Amsterdam, Rijksmuseum (= Pl. 75^2)
	3	Etching by A. Temepesta after O. Vaenius, 1612. (= Pl. 75^1)
78.	1	Batavian women and children, watching the course of the battle of Xanten. Etching by A. Tempesta after O. Vaenius, 1612 (as Pl. 73^2). (p. 215 and 230)
	2	Claudius Civilis taking leave before the battle of Xanten. Drawing by F. Bol, c. 1659. Munich, Graphische Sammlung. (p. 221)
79.		Claudius Civilis proceeds to the battle of Xanten. Drawing by J. Ovens for one of the arched panels in the gallery of the Amsterdam Town-hall, c. 1662. Hamburg, Kunsthalle. (p. 230)
80.		Claudius Civilis proceeds to the battle of Xanten. Drawing by J. Ovens for one of the arched panels in the gallery of the Amsterdam Town-hall, c. 1662. Hamburg, Kunsthalle. (p. 227)
81.		Conspiracy of Claudius Civilis. Drawing by G. Flinck for one of the arched panels in the gallery of the Amsterdam Town-hall, 1659. Hamburg, Kunsthalle. (p. 224 and 230) For the influence of Tempesta's etching after Vaenius cf. Pl. 83^2.
82.		Conspiracy of Claudius Civilis. Painting by G. Flinck and J. Ovens. Amsterdam, Palace on the Dam (= former Town-hall).
		In 1659 Flinck was commissioned to decorate the eight arched panels in the gallery of the Amsterdam Town-hall. At his death in 1660 only the first canvas of the series was partially finished. In 1662 this was completed by Ovens, in order to take the place of a work by Rembrandt with the same subject, which had been rejected in the meanwhile. (p. 227 and 230)
83.	1	Conspiracy of Claudius Civilis. Drawing by J. Ovens for one of the arched panels in the gallery of the Amsterdam Town-hall, c. 1662. Berlin, Print-room. (p. 227)
	2	Conspiracy of Claudius Civilis. Etching by A. Tempesta after O. Vaenius, 1612 (= Pl. 74^2). (p. 230)
	Representation of the heroic by Rembrandt and his contemporaries.
84.	1	The remaining fragment of Rembrandt's Conspiracy of Claudius Civilis, c. 1661. Stockholm, Nationalmuseum. (p. 226)
	2	Glorification of the burgomasters of Amsterdam. Anonymous 17th century drawing. Hamburg, Kunsthalle. (p. 233)
		The sense of allegory displayed in this sketch is still exactly the same as in Francken's historical picture of the abdication of Charles V (Pl. 2)

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	The revolt of Claudius Civilis
85.		The Conspiracy of Claudius Civilis. Sketch by Rembrandt, c. 1662. Munich, Graphische Sammlung. (HdG. 409)
		This drawing, which Rembrandt probably sketched as a reminder before his painting was cut up, gives us some idea of the place of the remaining fragment in the whole composition. (p. 232)
86.	1	Conspiracy of Claudius Civilis. Sketch by Rembrandt, c. 1661. Munich, Graphische Sammlung (HdG. 411). (p. 232)
	2	As above (HdG. 412). (p. 232)
87.	1	Romans taken by surprise.
	2	Peace between Civilis and Cerealis.
		Paintings by J. Jordaens, c. 1662. Amsterdam, Palace (= former Town-hall). (p. 225)
	3	Nocturnal surprise attack by the Batavians. Etching by A. Tempesta after O. Vaenius, 1612 (as Pl. 73^2). (p. 212)
	4	Gideon's nocturnal raid on the camp of the Midianites (Judges 7:9). Etching by A. Tempesta 1613. (p. 212)
	Tempesta's influence on Rembrandt.
88.	1	The consul Quintus Fabius Maximus orders his father to dismount. Painting by Rembrandt, 1655. Belgrade, Royal Collection. (p. 217)
		The mise-en-scène of this picture, which in all probability was originally intended for the Amsterdam Town-hall, in many respects recalls the backgrounds of Tempesta's prints after Vaenius (cf. also Pl. 75^1 and 78^1)
	2	Having captured a Roman fortress, Civilis grants the defenders their lives. Etching by A. Tempesta after O. Vaenius, 1612 (as Pl. 73^2). (p. 231)
	Pseudo-historical representations: later changes in titles.
89.	1	Staircase in the Hof van Holland at the Hague. Painting ascribed to C. Fabritius, c. 1650. Amsterdam, Rijksmuseum.
		At the end of the 18th century this painting passed as ‘The inner staircase of the Old Court at Delft, on which one can see Prince William the First descending with a book in his hand, his dog welcoming him at the foot of the stairs’. (p. 240)
	2	Samson threatening his father-in-law. Painting by Rembrandt, c. 1635. Berlin, Kaiser Friedrich Museum.
		Since the 18th century and until well into the 19th century this picture was called ‘Adolf van Gelder mocking his imprisoned father’. (p. 239)
	Representations of pseudo-historical facts.
90.		A Haarlem cockboat breaks through the chain across Damiate harbour. Engraving by Nicolaas Clock, 1595. (p. 245 and 248)
91.	1	The taking of Damiate. Painting by Cornelis Claesz. van Wieringen, c. 1620. Haarlem, Frans Halsmuseum, (p. 246 and 251)
	2	The taking of Damiate. Tapestry by Jos. Thienpont after Van Wieringen, 1629. Haarlem, Town-hall. (p. 247 and 251)
92.		The taking of Damiate. Stained glass window by Willem Thibaut, 1597. Gouda, Church of St. John. (p. 245 and 249)

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		Deeds of the Crusaders (Italy and the Netherlands).
93.	1	The taking of Constantinople (A.D. 1204). Painting by Jac. Palma il Giovane, c. 1585. Venice Doges palace.
		A comparison with this work shows up the characteristically more tranquil nature of the contemporary pictures from history in the Northern Netherlands; cf. Pl. 90-92. (p. 252)
	2	The taking of Damiate and addition of the sword and the cross to the Haarlem coat of arms. Etching by Romein de Hooghe, c. 1685. (p. 248 and 252)
	Representations of pseudo-historical facts.
94.	1	‘Country dance round the Church at Assendelft’. Engraving by J. Saenredam, 1596. (p. 252)
	2	Dancing-mania at Kolbeck (A.D. 1012). Illustration from J.L. Gottfried, ‘Historische Chronyck’, ed. 1660. (p. 253)
		No legend about dancers in Assendelft churchyard is known, but Saenredam probably used the church of his native village Assendelft, for the staging of an old motif.
95.	1	The women of Weinsberg. Painting by J.C. van 't Woud, 1602. Leyden, Lakenhal. (p. 254)
	2	The women of Weinsberg. Engraving by Z. Dolendo after J. de Gheyn. Illustration from Daniel Heinsius, ‘Spieghel van de doorluchtige vrouwen’ (Mirror of the illustrious women), 1606.
		Although the legend had since 1588 been localized in Haarlem also, the visual arts kept to the original foreign version. (p. 254)
96.	1	St. Elizabeth's flood (A.D. 1421). Anonymous Dutch painting, c. 1480. Amsterdam, Rijksmuseum.
		In this and the following illustrations of St. Elizabeth's flood we have traced to what extent the story - wellknown since 1512 - of a child in a cradle saved by a cat, has been depicted by the artists. In the illustration above one can indeed find this motif but it is very minute and not in a conspicuous place (not to be seen on the reproduction). (p. 256)
	2	‘Holland’. Anonymous woodcut from Seb. Münster, ‘Cosmographia universalis’ Basle 1552. (p. 256)
97.		St. Elizabeth's Flood. Illustration by R. de Hooghe after A. Houbraken from Balen's ‘Beschrijving van Dordrecht’, 1677.
		Letter B, indicating ‘the child saved in the cradle’ appears twice in this print (see arrows). (p. 257)
98.	1	Flood at Winschoten (A.D. 1686). Etching by Jan Luyken for J.L. Gottfried, ‘Historische kroniek’ ed. 1698, afterwards used as an illustration of St. Elizabeth's Flood. (p. 257/8)
	2	The cat on the cradle (A.D. 1421). Painting by J.H. Egenberger, c. 1855, formerly in the De Vos Gallery, devoted to Dutch history. Amsterdam, Municipal Museum. (p. 258)
		’What joy! She lives! - Alas! - she swoons once more / despairing and distraught and at the storm aghast, / on its cradle the babe he lays at the mercy of God, / clasps Ada in his arms, and, by the watery light cast by the moon, regards her countenance, deathly pale. / ... He thinks - nay - does not think, - he sees no more, nor hears, / how that the flood through crack and window bores. / ... Wakening from senselessness to thought and suffering, / whilst

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		round his knees the waters swirl, / the tempest howls, a reddish lightning flash / with horrid fearful gleam lights up the hollow pool; / and now, as Death bearing destruction nears, / he tries to press closer to his bosom yet, / his wife and child, to bless them one last time - / oh God - whilst reaching for the child a beam / comes crashing downwards sev'ring the cradle / wherein it lies from him and from his spouse / ... Still higher climbs the flood, rising around his waist, / the lightning flashes - the thunder peals - the clouds chase on - / the hailstones scream - the Northwest bellows froth fresh squalls - / fiercer the hurricane rams the imdermined keep, / the brickwork's torn apart - the floorboards split, - / the ground's afloat - ... The towers splashing into the abyss / still higher rolls the sea - God! - Almstein is no more!’
		R.H. van Someren, ‘St. Elisabeth's Night’, 1841. ‘The frontispiece shows the scene at the end of the second canto. The ordinance thereof is the work of that talented gentleman of taste Mr. Backer of Dordrecht; the fine execution does great honour to his famous lithographic establishment’.
99.		The poet explains that he left out the cat as it is ‘an unpoetical being’. (p. 258)
100.	I	With his own hands the dying Count Herkenbald executes his nephew and successor whom he had condemned to death.
	II	The Host refused him by the bishop on account of this ‘murder of a relative’, miraculously flies into his mouth as reward for his strict righteousness. Tapestry, c. 1460, after paintings of 1454 by Rogier van der Weyden in the Town Hall at Brussels (burned in 1695). Bern, Historical Museum, (p. 263)
101.	1	Count Herkenbald executes his nephew. Anonymous painting c. 1530. Hoorn, West Frisian Museum, (p. 265)
	2	The same subject. Print by Heinrich Aldegrever, 1553, after one of the murals designed by Dürer in 1521 in the Town Hall at Nuremberg. (p. 265)
102.		Miracle of Count Herkenbald's Holy Sacrament. Brussels tapestry, intended for the Church of St. Peter at Louvain, 1513. Brussels, Musée du Cinquantenaire. The sequence of the scenes is:
		1. The young prince assaults one of the ladies-in-waiting (left).
		2. Herkenbald kills him with his own hands (right).
		3. Miracle of the Host (centre), (p. 264)
		In view of the destination of the tapestry the final miracle scene takes the central and most important position.
103.		Count Herkenbald's sentence. Anonymous Cologne painting, c. 1515/20. Cologne, Wallraf-Richartz-Museum.
		The painting belongs to a series of three juridical scenes. Contrary to the preceding illustration the execution has been allotted the most space. (p. 263)
104.	1	Count William III passes judgement on the sheriff of South Holland (assumed date 1336). Print by William Swanenburg after Wtewael, 1606. (p. 267)
	2	The same subject. Print by Barth. Dolendo, 1613. (p. 268)
105.	1	The sheriff tries to buy the cow.
	2	The sheriff has the cow driven off.
	3	The farmer complains to the count.
	4	The bailiff of Dordrecht receives the letter summoning him and the sheriff to court.
	5	The count hears both parties. For the 6th scene see Pl. 104^2.

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	6	The bailiff indemnifies the farmer. The sheriff's widow lamenting beside her husband's coffin.
		Judgement of Count William III, print by Barth. Dolendo, 1613. (p. 268)
106.	1	Judgement of Count William III. Painting by Claes Heek, destined for the Court of Justice at Alkmaar, 1618. Alkmaar, Municipal Museum, (p. 270 and 274)
	2	The same subject. Old copy after the anonymous painting presented to the Town Hall of Naarden in 1619. Amsterdam, Rijksmuseum, (p. 273 and 275)
107.		Judgement of Count William III. Anonymous painting in the Town Hall at Gorinchem, 1624. The insets on either side of the central scene indicate the influence of prints. (p. 274)
108.	1	The bailiff tries to buy the cow, but the farmer refuses his offer.
	1	Series A No. 1.
	2	Series B No. 1.
	3	Copy by the artist of 108^2. (p. 273)
		Drawings by William Buytewech, belonging to three series, originally each of the six scenes from the story of the judgement of Count William III.
		No. 1 (series A, 1618) Amsterdam, Rijksmuseum.
		No. 2 (series B, 1619) Amsterdam, Rijksmuseum.
		No. 3 Rotterdam, Museum Boymans. (p. 271)
109.		The sheriff forces the farmer to accept the money.
	1	Series A (1618) No. 2.
	2	Series B (1619) No. 2.
		The sheriff has the cow driven off.
	3	Series A (1618) No. 3.
	4	Series B (1619) No. 3.
		Drawings by W. Buytewech Amsterdam, Rijksmuseum, (p. 271)
110.	1	The farmer complains to the count. Series B (1619) No. 4.
	2	The bailiff of Dordrecht receives a letter from the Count. Series B (1619) No. 5.
	3	The execution in the sick-room. Series A (1618) No. 6.
	4	Series B (1619) No. 6.
		Drawings by W. Buytewech. Amsterdam, Rijksmuseum (p. 272)
111.	1 & 2	Judgement of Count William III. Sketches by Pieter Couwenhorn for a stained glass window in the Town-Hall at Leyden, 1627/28. Leyden, Records Office, (p. 275)
	3	The same subject. Painting by N. van Galen in the Town Hall at Hasselt (Overijssel), 1657. (p. 279)
112.	1	The sheriff has the cow driven off. Frontispiece to the play ‘Baillju van Suydt Hollandt ofte Ghetoomde Vermetelheyt’, by Goudanus, 1630. (p. 276)
	2	Judgement of William ‘the Good’. Print by Salomon Savery, c. 1640, in imitation of the print by Dolendo of 1613 (Pl. 104^2 and 105). (p. 277)
113.		Judgement of Count William III. Prints by Cl. J. Visscher, c. 1650, copied from the adjacent print by Savery. (p. 278)
114.		Judgement of Count William III. Illustration by Romeyn de Hooghe for M. Balen, ‘Beschrijving van Dordrecht’, 1677. (p. 279)

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115.	1	The governor of Zeeland assaults a burgher's wife (assumed date 1474). Illustration by J.v. Vliet after A. v.d. Venne for J. Cats, ‘Selfstrijt’, e.d. 1628 (p. 282)
	2	Judgement of Charles the Bold. Anonymous print c. 1650.
		The story of a governor of Zeeland, condemned to death by Charles the Bold, supplied a counterpart to the Judgement of Count William the Good. (p. 282)
116.	1	Florence V violates the wife of Gerard van Velsen. Illustration to T. van Domselaer, ‘Beschrijvinge van Aemstellandt’ 1664. (p. 286)
	2	The execution of Gerard van Velsen (A.D. 1296). Print by Exp. Sillemans, c. 1645. It served as counterpart to those concerning the legal cases brought before Count William the Good (Pl. 112) and Charles the Bold (Pl. 115). (p. 283 and 286)
117.	1	Regulus put to death in a spiked barrel. Fresco by Giulio Romano. Mantua, Palazzo del Te, 1530. (p. 285)
	2	The same subject. Print by Georg Pencz, 1535. (p. 285)
	3	Gerard van Velsen rolled through Leyden in a spiked barrel (assumed date A.D. 1296). Illustration from T.v. Domselaer, ‘Beschrijvinge van Aemstellandt’, Amst. 1664. (p. 286)
118.	1	Gerard van Velsen conversing with the imprisoned Count Florence V. In the background the ghost of Van Velsen's brother.
	2	Gerard van Velsen stabs Count Florence V who had been tied to his horse.
		Drawings by Pieter Quast, c. 1645. Rotterdam, Atlas van Stolk. (p. 286)
	3	The sights of Holland (Brittenburg-Hondsbossche Zeewering-Mermaid of Purmerend- The 365 children of the Countess of Henneberg). Illustration by P. Kaerius in Guicciardini, ‘Description de touts les Pays-Bas’, 1613. (p. 287)
119.		Leaflet with the story of the Countess of Henneberg. Probably dating from the 18th century, and sold to visitors to the church at Loosduinen, (p. 288)
120.	1	Sea-monk.
	2	Sea-bishop.
		Wood-cuts by A. van Leest (1572), printed by Z. Heyns in 1601 in his ‘Dracht-Thoneel’. (p. 291)