INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. UMI' Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ARTISTS IN PRINT Hierooymns Cock and His 1572 Scries of Engraved Portraits by SARAH HELEN MEIERS A thesis submitted to the Department of Art in conformity with the requirements for the degree of Master of Arts Queen’s University Kingston, Ontario, Canada March, 2002 copyright © Sarah Helen Meiers, 2002 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. National Library Bibliothdque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibiiographiques 395 WaCnglon Straat 395, rua WaCngton Ottawa ON kiaona Ottawa ON K1A0N4 Canada Canada varm i W N i W n a Our Mb Man iM mnei The author has granted a non­ L’auteur a accorde une licence non exclusive licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of die L’auteur conserve la propriete du copyright in this thesis. Neither die droit d’auteur qui protege cette these. thesis nor substantial extracts from it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent etre imprimis reproduced without the author’s ou autrement reproduits sans son permission. autorisation. 0-612-69318-X Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract Devoted to the representation of Dutch and Flemish artists, the portrait series Pictorum aliquot celebrium Germaniae infcrioris effigies was first published in 1572 by a prominent Antwerp printing house, In de Vier Winden. Honoured in the series as the twenty-third and final artist was the firm’s late founder, Hieronymus Cock (c. 1510-1570). Cock’s reputation as a leading Northern printmaker of the sixteenth century has been firmly established by existing scholarship, but Cock’s portrait series has escaped intensive examination. It is necessary to reassess how the collection was conceived and by whom. In addition to demonstrating how the series was produced, it is also important to consider how Cock’s portrait series related to art historiography, a field of study which had only begun to flourish in the sixteenth century. Four years prior to the publication of the portrait series, the illustrated second edition of Giorgio Vasari’s Lives of the Painters. Sculptors and Architects (1568) was released. A most popular compilation of artists’ biographies, Vasari’s work lauded Italy as the cradle of great art. Objecting to the consequently diminished stature of Dutch and Flemish painters, Karel van Mander dedicated his 1604 Schilder-Boeck (second edition 1618) to describing illustrious artists of the North. Did Cock’s portrait series constitute an early response to Vasari’s claims? This is a formidable question, but 1 will argue that by circumscribing the identities of Netherlandish artists in a series of portraits, Cock attempted to create and propagate a visual history of the arts in the Low Countries. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgments The completion of this thesis depended in large part on the support offered to me by my family, my friends, and the academic community at Queen's. I would like to thank my supervisor, Volker Manuth, for helping me to shape my ideas into sharp observations and, most especially, for introducing me to the rewards of conducting firsthand research in The Netherlands. I am indebted to the staff at the Rijksprentenkabinet in Amsterdam for their generous assistance and I must thank Ger Luijten for graciously taking the time to direct me to various prints and publications which proved essential to my research. Of great benefit to me has been the constant encouragement of my fellow students, but I wish to single out Victoria Pollard and John Potvin for their enthusiasm, advice, and friendship. And with love I thank Ryan Geris for proofreading my final draft and, more importantly, for inspiring me to push ahead when I felt most challenged. My deepest gratitude, however, belongs to my parents, Reg and Corinne Meiers, because they support me in everything and to my grandmother, Norma Bailey, because she helped me to study in Amsterdam. 1 dedicate this work to these three special persons. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Contents Abstract............................................................................................................................. ii Acknowledgments ............................................................................................................. iii List of Illustrations ............................................................................................................. v Introduction. .......................................................................................................................1 Chapter One: The Appearance of the First Edition .............................................................9 Chapter Two: The Production of the Series .....................................................................23 Chapter Three: Precedents to Cock’s Model of a Northern School of Painting ...............53 Conclusion. ...................................................................................................................... 68 Appendix: The Verses of Lampsonius ............................................................................. 70 Bibliography..................................................................................................................... 77 Catalogue......................................................................................................................... 88 Illustrations .....................................................................................................................139 Vita................................................................................................................................ 205 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. List of Illustrations 1. Hubert van Eyck. Amsterdam. Rijksprentenkabinet, inv. no. 325-C-6, 1572. 2. Jan van Eyck. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 3. Hieronymus Bosch. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6. 1572. 4. Rogier van der Weyden. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6. 1572. 5. Dieric Bouts [Bernard van Orley]. Amsterdam, Rijksprentenkabinet, inv. no. 325- C-6. 1572. 6. Bernard van Orley [Dieric Bouts]. Amsterdam, Rijksprentenkabinet, inv. no. 325- C-6, 1572. 7. Jan Gossaert. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 8. Joachim Patinir. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 9. Quentin Metsys. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 10. Lucas van Leyden. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 11. Jan vanAmstel. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 12. Joos van Cleve. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 13. Matthijs Cock. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 14. Herri met de Bles. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 15. Jan Comelis Vermeyen. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 16. Pieter Coecke van Aelst. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 17. Jan van Scorel. Amsterdam,