Erudite Eyes Friendship, Art and Erudition in the Network ofAbraham Ortelius ^527-1598) By Tine Luk Meganck s '68^' BRILL LEIDEN | BOSTON Contents Acknowledgments vn List of Figures ix Introduction: Erudite Eyes 1 1 The Antiquarian Network as Trading Zone 15 The Network of Ortelius as Trading Zone 15 European Antiquarianism between Erudition and Art 19 2 Local Antiquities 37 Ortelius, Goltzius and Laurinus Explore a Roman Fortress in Ancient Batavia 41 Ortelius and Vivianus Trace the Antiquities of Belgian Gaul 49 3 Illuminating History, Imagining Antiquity 65 Lipsius on Roman Amphitheaters outside Rome 67 Ortelius Imagines the Mores and Customs of the Ancient Germans 79 Ortelius and the Artes Historiae 87 4 Comparing Cultures 91 Antiquity and Urban Ethnography in the Art ofJoris Hoefnagel 92 Costume as Emblem in Hoefnagel's Four Ages ofMan 103 Costume as Civilization in Lucas d'Heere's Theatre de tous les peuples 106 5 Marketing Art and Erudition 129 Braun, Hogenberg and Lampsonius on the Civitates Orbis Terrarum 130 Emmanuel van Meteren and the Making of the Historie der Neder-landscher ende haerder na-buren Oorlogen ende Geschiedenissen 141 Getting Published: Jean Jacques Boissard and the Antiquitates Romanae 146 6 Ancients and Moderns in the Arts 157 Art and Antiquity in Bruegel's Death ofthe Virgin 163 Pliny as a Model: Bruegel and Otto van Veen as Eupompus and Pamphilus 171 Art as Refuge in Ortelius's Landscapes Tempe and Daphne 188 7 Art and Erudition as Friendship 195 Friendship, Stoicism and the Limits of Knowledge and Tolerance 198 The Album Amicomm, a Monument more Durable than Bronze 207 Epilogue 215 Appendices 223 Notes 247 Bibliography 288 Index 313 List of Figures 1 Maerten de Vos, Saint Paul on Malta, c. 1566-1568, oil on panel, 124 x 199 cm, Paris, Musee du Louvre, 1931 (photo: © RMN-Grand Palais (Musee du Louvre) / Gerard Blot). 6 2 The knife grinder (Arrotino), Hellenistic, marble, h. 105 cm, Florence, Galleria degli Uffizi, 230 (© 2016, Photo Scala, Florence - courtesy of the Ministero Beni e Att. Culturali). 7 3 The study ofAntiquity, woodcut, in Johannes Sambucus, Emblemata, cum aliquot nummi antiqui operis, Antwerp, Plantin, 1564 [octavo], p. 191, Ghent, Universiteitsbibliotheek Gent, BiB.G.001183/53. 9 4 Farewell letterfrom Abraham Ortelius to Colius, 1598, pen, 305 x 200 mm, The Hague, Koninklijke Bibliotheek, 79 c 4. 17 5 Entry by Lucas d'Heere (fol. 2gr, 1580), pen and ink and wash, 160 x 110 mm, in Album amicorum Abraham Ortelius, 1573-1596, Cambridge, Pembroke College Library, ms 11.113. By permission of the Master and Fellows of Pembroke College, Cambridge. 18 6 Abraham Ortelius, Europe, hand colored engraving, in Theatrum orbis terrarum, Antwerp, Gillis I Coppens van Diest, 1570 [folio], retrieved from the Library of Congress, www.loc.gov/ item/98687183, Washington, Library of Congress Geography and Map Division Washington, D.C., 20540-4650 dcu. 20 7 Abraham Ortelius, Description ofGermania Inferior, hand colored engraving, in Theatrum orbis terrarum, Antwerp, Gillis 1 Coppens van Diest, 1570 [folio], retrieved from the Library of Congress, www.loc.gov/item/98687183, Washington, Library of Congress Geography and Map Division Washington, d.c., 20540-4650 dcu. 21 8 Artist unknown, Portrait ofJohannes Crato (fol. nv), and Entry by Johannes Crato (fol. i2r, 1584), gouache, 160 x 110 mm, in Album amicorum Abraham Ortelius, 1573-1596, Cambridge, Pembroke College Library, MS 11.113. By permission of the Master and Fellows of Pembroke College, Cambridge. 22 9 Lucas d'Heere, Stonehenge, pen and wash, 315 x 205 mm, in Corte beschrijvinghe van Engheland, Schotland ende Irland, 1573-1575, fol. 36r, London, © The British Library Board, Add. 28330 f.36. 26 10 Pont du Gard, engraving, in Jean Poldo dAlbenas, Discours historial de I'antique et illustre cite de Nismes, Lyon, Guillaume Rouille, 1560 [folio], private collection (photo: J. Geleyns - Ro scan). 28 in Braun 11 Joris Hoefnagel, View ofTivoli, 1578, engraving, Georg & Frans Hogenberg, Civitates orbis terrarum, Cologne, Petrus a Brachel, 1612-1618, book 111 (1581) [folio], p. 52, Ghent, Universiteitsbibliotheek Gent, BIB.HIST.008292. 30 the Villa 12 Telamon representing Antinous as a pharaoh, from Adriana in Tivoli, 2nd century ad, red granite, h. 335 cm, Rome, Musei Vaticani, Museo Pio Clementino, Sala a Croce Greca, 196 (Creative Commons license). 31 and ink with 13 Antoine Morillon, Pyramidal tomb at Teggiano, pen visuntur <Sc gray wash, h. 270 mm, in Monumenta qu[a]e Capuae alibi, 1551-1553, fol. lr, Windsor, Eton College, MS 363. 32 the Secundini at 14 Lambert Lombard, Relieffrom the column of Igel, lower halfofthefront side, before 1566, pen and red ink, 190 x 280 mm, Liege, Cabinet des Estampes, Album Arenberg, kd 343/32, don Henri Duval (© Ville de Liege - Musee des Beaux-Arts bal). 38 15 Preface dedicated to Ortelius, engraving, in Dominicus Lampsonius, Lamberti Lombardi apud Eburones pictoris celeberrimi vita, Bruges, Hubertus Goltzius, 1565 [octavo], pp. 2-3, Ghent, Universiteitsbibliotheek Gent, BHSL.RES.1451. 39 16 Charlemagne, copper engraving with cardboard stencil, in Hubertus Goltzius, Vivae omniumfere imperatorum imagines, Antwerp, Gillis I Coppens van Diest, 1557 [folio], p. 113, Antwerp, Museum Plantin-Moretus | Prentenkabinet, A 2684 (photo: Peter Maes). 40 17 Abraham Ortelius, Ancient Egypt, 1565, copper engraving, 600 x 410 mm on two sheets, Basel, Universitatsbibliothek, Kartenslg AA115. 42 18 The Nile, 50-100 ad (Roman, derived from Hellenistic original), marble, h. 165 x w. 310 cm, Rome, Musei Vaticani, 2300 (© 2016, Photo Scala, Florence). 43 19 Abraham Ortelius, The Arx Britannica or Brittenburg, c. 1567-1568, copper engraving, in Lodovico Guicciardini, Descrittione di tutti iPaesiBassi, Antwerp, Plantin, 1581 [folio], pp. 344-345, Ghent, Universiteitsbibliotheek Gent, BIB.ACC.011031. 45 20 Circi Castrensis Caracalla, engraving, in Onofrio Panvinio, De ludis circensibus, libri 11, Venice, Giovanni Battista Ciotti, 1600 [folio], Liber Primus, after p. 56, Antwerp, Museum Plantin-Moretus | Prentenkabinet, Adams p-189. 45 21 Poem and drawing in memory ofFrederic van derMeulen, s.d., pen and ink, 75 x 96 mm, in Album amicorumfohannes Vivianus, c. 1570-1590, fol. 24r, The Hague, Koninklijke Bibliotheek, 74 f 19. 50 22 Entry by Hans van Schille, 1577, pen and ink, 75 x 96 mm, in Album amicorumJohannes Vivianus, c. 1570-1603, fol. 521", The Hague, Koninklijke Bibliotheek, 74 f 19. 51 23 Aqueduct ofJouy, engraving, in Abraham Ortelius & Johannes Vivianus, Itinerarium, Antwerp, Plantin, 1584 [quarto], p. 47, Ghent, Universiteitsbibliotheek Gent, BIB.ACC.002218. 53 24 The Saint-Etienne Cathedral in Metz, i3th-i6th century, (Creative Commons license). 53 25 Ancient Roman bath used as a baptismalfont, Metz Cathedral, porphyry marble (Creative Commons license). 54 26 Gallo-Roman reliefofgoddess Epona, stone, Metz, Musee de La Cour d'Or - Metz Metropole (photo: ©Jean Munin). 55 27 Gallo-Roman reliefwith goddess Epona in Sarpaigne (near Pont-a- Mousson), engraving, in Abraham Ortelius & Johannes Vivianus, Itinerarium, Antwerp, Plantin, 1584 [quarto], p. 45, Ghent, Universiteitsbibliotheek Gent, bib.acc.002218. 55 28 Gallo-Roman column of the Secundini atlgel, c. 250 ad, red sandstone, h. 23 m (photo: Berthold Werner). 58 29 Gallo-Romanfunerary column ofthe Secundini at Igel, engraving, in Abraham Ortelius & Johannes Vivianus, Itinerarium, Antwerp, Plantin, 1584 [quarto, foldout], p. A.53, Ghent, Universiteitsbibliotheek Gent, BIB.ACC.002218. 59 30 Ancient Romanfunerary altar and urn, engraving, in Abraham Ortelius & Johannes Vivianus, Itinerarium, Antwerp, Plantin, 1584 [quarto], p. B.53, Ghent, Universiteitsbibliotheek Gent, BIB.ACC.002218. 60 31 Anonymous Flemish artist (Philips van Winghe?), Ancient Roman funerary altar and urn with 'junctio dextrarum', second half of the 16th century, pen and brown ink over black chalk, cut out 145 x 160 mm, Stockholm, Nationalmuseum, thc 3135b. 61 32 Anonymous Flemish artist (Philips van Winghe?), Ancient Roman funerary altar and urn with dining scene, second half of the 16th century, pen and brown ink over black chalk, 386 x 245 mm, Stockholm, Nationalmuseum, thc 3134. 62 33 Frans Francken n, A collector's cabinet with Abraham Ortelius and Justus Lipsius, 1618, oil on canvas, 52.5 x 73.5 cm, private collection (photo: © Christie's Images / Bridgeman Images). 66 34 Amphitheater ofNimes, engraving, in Jean Poldo dAlbenas, Discours historial de I'antique et illustre cite de Nismes, Lyon, Guillaume Rouille, 1560 [folio], private collection (photo: J. Geleyns - Ro scan). 69 De 35 Amphitheater ofNimes, etching, in Justus Lipsius, amphitheatres quae extra Romam libellus, Antwerp, Plantin, 1584 [quarto], p. 21, Ghent, Universiteitsbibliotheek Gent, BIB.ACC.011882/7BIS. 69 36 Spheres, woodcut, in Albrecht Diirer, Underweysung derMessung, Nuremberg, 1525 [folio], book iv, Antwerp, Erfgoedbibliotheek Hendrik Conscience, h. 202415. 70 37 Human muscular structure, woodcut, in Andreas Vesalius, De humatii corporisfabrica libri septem, Basel, Joannes Oporinus, Hendrik 1543 [folio], p. 644, Antwerp, Erfgoedbibliotheek Conscience, j 5833 [C2-572 a]. 70 38 Peeter van der Borcht, probably after Otto van Veen, A banquet with armed gladiators, etching, in Justus Lipsius, Saturnalium sermonum libri duo, qui de gladiatoribus, Antwerp and Leiden, Plantin, 1585 [quarto], foldout between pp. 21-22, Antwerp, Museum Plantin-Moretus | Prentenkabinet, a 371. 71 39 Giovanni Caroto, Perspectival view ofthe amphitheater of Verona,