Le bon plaisir: catalogue details, current exhibition at Bibliotheca Wittockiana (Brussels, until 28 February 2009)

Here is bibliographical detail about the catalogue to the current exhibition at Bibliotheca Wittockiana, the museum in Brussels devoted to bookbindings:

Une vie, une collection. Cinq siècles d'art et d'histoire à travers le livre et sa reliure. Exposition à la Bibliotheca Wittockiana du 10 octobre 2008 au 28 février 2009. Dijon, Editions Faton (Arts & Métiers du livre), 2008. ISBN 978-2-87844-118-5. Texts by Michel Wittock, Paul Culot, Annie De Coster, and Jérôme Callais.

The exhibition not only presents bookbindings from 5 centuries, but also highlights 25 years of bibliophile passion and collecting by the Bibliotheca Wittockiana's founder, Michel Wittock.

The bibliophile visitor who was thinking of a nice getaway might consider Brussels, and instead of letting a myriad of lights blind him or her at overcrowded Chrismas markets, might consider taking a stroll to an elegant corner of town, and being overwhelmed by these riches. During this exhibition, the museum will also be open on Sundays.

Bicentenary at Tournai: Collection of the Great Seminary (1808-2008)

As places of learning, intended for the formation of clergy, Great Seminaries were also known for their cultural heritage. That is, if history had not been too unkind. And in the case of Tournai, it hasn’t.

On 10 November 2008 the Great Seminary is celebrating its 200^th year in the same premises since 1808. It was founded thanks to an obstinate bishop, François-Joseph Hirn, originally from Alsace, and with a little help of Napoleon Bonaparte.

The premises had then seen at least 3 previous owners, and 2 centuries of construction and restauration. At the end of the 16^th century, the Jesuits organised a college and a noviciate in them. When the order was abolished in 1773, the buildings remained empty. A few years later, the canons regular were the new owners, until they had to vacate in 1794 and give way to an administrative office under the French republic.

The Great Seminary today can take pride in a library of more than 100,000 volumes, comprising medieval manuscripts and archival documents, incunables, etchings, and many precious bindings. And one of its abbots in the 20^th century took care to establish a small museum for several artefacts, including oil panels.

The collections mostly have religious provenances. A few go back to the Jesuits and the canons regulars, but most were the scattered holdings of other abolished religious institutions in and around Tournai. For these artefacts, the foundation of the Great Seminary, not long after the abolishment of religious orders in general, proved fortuitous.

The bicentenary has occasioned a new and richly illustrated monograph about the building, the garden, and its collections, which have also been catalogued with text and image. The project has benefited from a close collaboration with the Royal Institute for Cultural Heritage at Brussels (IRPA-KIK).

The notes on manuscript, etchings, bindings and rare book holdings have been authored by P. Bogaert osb, Annie De Coster, J.-B. Lebigue, J. Leclercq-Marx, E. Livens, L.Reynhout, F. Tixier, Dominique Vanwijnsberghe, Renaud Adam, Ph. Desmette, and A. Delvingt.

Details: Séminaire de Tournai, Rue des Jésuites 28, 7500 Tournai (Doornik). Press release to be obtained by Monique Maillard-Luypaert, curator of the Great Seminary Library. On 15 and 16 November 2008, Mrs Maillard will be present at a cultural event called Tournai La Page (Halle aux draps, Tournai).

Book: Monique Maillard-Luypaert, et al., Séminaire de Tournai. Histoire – Bâtiments – Collections. Leuven, Peeters Publishers, 2008 (forthcoming). 360 p. 251 illustrations. ISBN 978-904292169-6. Price: 75 €.

Photo credit: M.Maillard-Luypaert

Stradanus exhibition: a son of Bruges hailed back in his birth town

If having Honorary Tuscans were a practice in Florence in the early 17th century, Johannes Stradanus (Brugge, 1523- Florence 1605) would have been a serious candidate. He was born here, but died as a Florentine.

Today the draughtsman is celebrated in birth town Brugge (Bruges) with an exhibition: "Johannes Stradanus, hofkunstenaar van de Medici" (Court Artist of the Medici).

Stradanus received training as an artist at Antwerp, and he was found registered there as a member of its famous St Luke's Guild in 1545. Around that time he travelled to Italy to confront his own draughtsman skill with Italian art.

His encounter with a fellow countryman who had been put in charge of the de Medici tapestry production, which aimed at taking the wind out of the sails of Flemish tapestry making, proved decisive. A full career ensued: Stradanus became a commissioned designer for media as varied as tapestries, paintings, single pieces, altar pieces or murals -Francesco de Medici's Studiolo in Palazzo Vecchio for instance, prints, and of course the drawings.

But drawing for prints took center stage in Stradanus' output as of 1576, which explains why the core of the exhibition consists of 122 prints and drawings, placed together in a complementary way. There are borrowings from the Rijksmuseum Amsterdam, the Royal Library at Brussels and Windsor Castle. The richness of detail warrants that the spectator gives this enough viewing time.

Perhaps most famous, and documenting craftsmanship in the arts and science in the Late Renaissance, is the series "Nova Reperta" from 1588-1589, consisting of 19 prints. To depict themes such as the invention of oil paint, and the determination of longitude at sea, Stradanus consulted a fair amount of reading material, the literature of his day. But while glorifying discovery, it was not beneath him to color historical fact with his own glasses.

The exhibition also has sculpture, for instance by fellow émigré Giambologna, paintings by Italian artists such as Vasari, who counted on Stradanus as a close collaborator, and three Italian tapestries.

Details: Johannes Stradanus, hofkunstenaar van de Medici, exhibition, Groeningemuseum, Dijver 12, 8000 Brugge. From 9 October 2008 until 4 January 2009. The Groeningemuseum is part of the 1 Euro Museum initiative. Youngsters under the age of 26 pay an entrance fee of 1 Euro.

Photo credit: courtesy of Groeningemuseum. The Hunt for Wild Cats, borrowing from Palazzo Pitti, Florence, after a carton by Stradanus.

Catalogues:
Exhibition manual: Sandra Janssens, Stradanus 1523-1605. Hofkunstenaar van de Medici. No ISBN. Depot D/2008/0546/1. 63 p. Text, color illustrations. Price: 6 Euro.
Scientific study: Stradanus (1523-1605), Court Artist of de Medici. Contributors: Alessandra Baroni Vennucci, Alessandro Cecchi, Albert Elen, Sandra Janssens, Marjolein Leesberg, Lucia Meoni, Manfred Sellink, Gert Jan van der Sman. Brepols, 2008. ISBN 2-503-52996-7. Price: 60 Euro.

Two new exhibitions at Antwerp and Brussels (9 October 2008)

On Thursday 9 October 2008, book lovers in Belgium have what in French is called an embarras du choix: two exhibitions will then be inaugurated, one at Antwerp, the other at Brussels.

The Erfgoedbibliotheek Hendrik Conscience (formerly Stadsbibliotheek or SBA) at Antwerp plays host to an exhibition that was produced in France by the Médiathèque de Strasbourg: Meesters van licht en schaduw. Boekillustraties uit de vijftiende eeuw (Masters of light and shadow. Book illustrations from the 15th century).

Forty-five incunables are shown, illustrating the techniques available to printers in the 15th century.

Three contemporary artists, Pierre Gaucher, Charles Kalt, and Caroline Schwoebel, were asked to produce works in juxtapostition to these book illustrations.

A special event is taking place on 18 October 2008 at 4 pm: a concert of classical music with texts inspired by the poems of Hadewych, and music from the Rhineland from the 15th and 16th centuries.

Details:
Nottebohmzaal, Erfgoedbibliotheek Hendrik Conscience
H.Conscienceplein 4, Antwerpen
From 10 October 2008 until 9 November 2008.
The Bibliotheca Wittockiana has a new reason to celebrate: this museum of private origin, dedicated to the binding, is celebrating its 25th anniversary with an exhibition "A Life, A Collection. 25 Years of Shared Passion".

The passion in question is that of founder Michel Wittock, who started off as a private collector to create a museum later. Although Wittock has handed the helm of the institution to his son Charly a few years ago, he personally selected 250 bindings from a total of about 5,000 holdings.

The selection is set to illustrate some chapters of Wittock's collecting. An evolution of style periods will show what kept the founder in thrall over the past 25 years.

On Thursday 9 October 2008, H.R.H. Princess Mathilde will inaugurate the exhibition.

Details:
Bibliotheca Wittockiana
Rue du Bemel/Bemelstraat 23, 1150 Brussels
From 10 October until 28 February 2009.

Fortsas and perfume: Journées de Mariemont (4&5 October 2008)

The Royal Museum of Mariemont (Musée royal de Mariemont) at Morlanwelz –56 km south of Brussels and 28 km east of Mons – has an attractive roster of activities year-round, as can be inferred from its information bulletin called Bulletin d’information trimestriel (published every three months, free on request).

If anything in this country comes close to the J. Paul Getty Museum, it's Mariemont. The name (‘Mary’s hill’) refers to Charles V’s sister, Mary of Hungary, who built a castle in 1546. The ancient history of this noble abode stopped with a fire in 1794.

In the 19^th C, a family of industrialists called Warocqué, owners of coal mines in the immediate vicinity, built a new stately home amid facilities for their workers. One of the most prolific collectors of this family was Raoul Warocqué, whose collection became the basis of a state-owned museum.

Warocqué’s collection comprised old archeological finds from the region, as well as artefacts from Egypt, the Far East (China, Japan), and the Greek and Roman period, and porcelain from Tournai, now placed in juxtaposition with contemporary ceramics. There is also the arboretum around the museum, dotted with statues, such as Rodin’s Burghers of Calais.

Raoul Warocqué was a bibliophile collector, and Mariemont houses a library of rare printed books, bindings, artist books and original editions, ranging in date from the 15^th until the 21^st century. It also comprises almost 10,000 autograph letters, medals and prints, among others nearly 600 by Félicien Rops.

This year, the Museum opens house on Saturday and Sunday 4 & 5 October 2008 to present the collections from an olfactory standpoint. Les parfums de Mariemont is the organizing theme.

The museum is currently hosting an international exhibition (until 30 November 2008) related to perfume in Antiquity: Parfums de l’Antiquité. La rose et l’encens en Méditerranée. The exhibition shows artefacts from numerous institutions abroad, and has a catalogue that promises new scientific findings.

But back to the Activity Days, which can count on the collaboration of three curators with ties to rare book holdings: Bertrand Federinov, Claude Sorgeloos, and Frédéric Van de Vijver.

Bertrand Federinov is director of the Rare Books Department at Mariemont. Frédéric Van de Vijver is librarian at Mariemont. Both serve as guides on visits to the collection.

Federinov hosts a visit entitled ‘Sentir les livres. Approche olfactive des collections de la Réserve Précieuse.’ (Sunday, 5 October, 3 p.m.) Recently, Federinov compiled a catalogue of imprints from Mons from the Mariemont holdings: Quatre siècles d’imprimerie à Mons. Catalogue des éditions montoises (1580-1815) du Musée royal de Mariemont (monograph no. 12 of Musée royal de Mariemont, no ISBN, legal depot no. D/2004/0451/102).

Van de Vijver hosts two kinds of tours to the holdings. One is ‘Galanterie et raffinement capiteux des livres de la marquise de Pompadour, la comtesse du Barry, Marie Leszcynska et Madame Victoire’ (Saturday, 4 October at 2 p.m., repeated on Sunday at 11 a.m.) and the other is ‘Encens et souffre entremêlées aux parfums libertins dans les salons du Siècle des Lumières. L’encyclopédie de Diderot et d’Alembert, un diffuseur de savoir et d’idées révolutionnaires.’ (Saturday, 4 October at 5 p.m.)

Claude Sorgeloos, director of the Rare Books Department at Belgium’s Royal Library, will guide a tour to the exhibition ‘Renier Chalon, alias Fortsas.’ He will approach it with ‘L’odeur facétieuse du cochon.’ (Saturday 4 October, 4 p.m.)

Sorgeloos is one of the curators of the Fortsas exhibition, which has been running at Mariemont from 5 July 2008 onwards, and which is closing 5 October 2008. So the weekend at Mariemont is the last chance to see it.

Subtitle to the exhibition ‘Renier Chalon, alias Fortsas’ is: ‘Le canular en Belgique: toute une tradition!’ (the hoax in Belgium: an entire tradition). The museum’s website refers to a recent hoax called ‘Bye Bye Belgium’, presented about a year ago by the news department of the state-owned French speaking television network, which caused quite a stir in prime time.

Renier Chalon (1802-1889) was an avid collector of coins and rare books. He was born in Mons, but a quiet administrative career brought him to Brussels, where he was at leisure to pursue his numismatist and bibliophile predilections, as well as his passion for pranks.

Chalon fathered a hoax known under the name of Fortsas, short for a soi-disant Comte de Fortsas, and an equally fictitious sale of the library of this elusive count, which, with catalogue and all, was promised to be held at Binche, on 10 August 1840. Book collectors from all over Europe descended there in vain.

A few other blogs have recently referred to Fortsas, here and here, both without mention of the exhibition at Mariemont, which is said to paint a far more complex picture of Chalon, and which provides a Belgian history of the prank from the 19^th century until this day.

Mariemont has published the following monograph on Chalon: Reinier Chalon alias Fortsas: un érudit malicieux au mitan du XIXe siècle (Monographies du Musée royal de Mariemont no. 16, publishing year: 2008). Authors: François de Callatay, Claude Sorgeloos. ISBN: 2-930469-19-6.

New University Library website and Piranesi exhibition, both at Gent

The University Library of the city of Ghent ("Gent") is as of today (25 September 2008) presenting a newly formatted website.

Noteworthy is the link called 'Schatkamer', where some of the collection's treasures are presented in digitized form, but the holdings are far richer than that.

Around its collection of etchings by the Italian architect Giovanni Battista Piranesi (1720-1778) now runs an exhibition, in part curated by the Department of Architecture of the university, with the help of the Royal Library at Brussels.

"Piranesi" opened on 20 September, and runs until 18 January 2009 at the Museum voor Schone Kunsten.

Hora est! The Fate of Jesuit Libraries in the Southern Netherlands (1773-1828)

In our previous post on current Ph.D research (6 June 2008), we were not yet able to provide the exact details for Bart op de Beeck, director at the Rare Books Department of Belgium's National Library. Here there are.

Op de Beeck will defend his Ph.D at the University of Leuven, Faculty of Arts, in Dutch. The title is: Jezuïetenbibliotheken in de Zuidelijke Nederlanden. De liquidatie 1773-1828.

Op de Beeck attempts the reconstruction of the libraries of one religious institutional order, from 1773 onwards, when the Jesuit order was abolished in the Southern Netherlands, and their book and manuscript holdings became subject to dispersal.

According to Op de Beeck, book catalogues of Jesuit libraries, monasteries and colleges from the 16-18th centuries hardly have been examined. His research attemps a reconstruction of three great Jesuit library holdings: at Brussels, Antwerp, and Louvain, and of two smaller ones, at Halle and Aalst.

Op de Beeck studied provenance markings on some 24,000 books. Many dispersed Jesuit holdings ended up at our National Library, but had never been the subject of extensive study.

Promotor is Dr. Jan Roegiers, former Head of the University Library at Leuven. The board of examiners among others counts professors Chris Coppens (Leuven), Pierre Delsaerdt (Antwerp), and Paul Hoftijzer (Leiden).

Venue: Thursday 25 September 2008, at 2 p.m. Promotiezaal van de Universiteitshal (Naamsestraat 22, 3000 Leuven).

Women Latinists of Renaissance England (Lecture at Leuven, 24 September 2008)

Neo-Latin scholars at the University of Leuven recently informed their fellow members at IANLS - International Association for Neo-Latin Studies - of a lecture, to be held at Leuven tomorrow, by Professor Brenda M. Hosington (University of Warwick): ' "Minerva and the Muses". Women Latinists of Renaissance England'.

This lecture both serves as the third Jozef IJsewijn lecture, and as the opening of the 2008-2009 Master in Medieval and Renaissance Studies at the University of Leuven.

Jozef IJsewijn (1932-1998) was professor of Neo-Latin at Leuven. In 1966, he founded the Seminarium Philologiae Humanisticae for the study of Neo-Latin language and literature, and somewhat later, a journal called Humanistica Lovaniensia.

Related to the journal, Leuven University Press publishes a publication series called Supplementa Humanistica Lovaniensia. Number 16 in this series was a volume of essays edited by Dirk Sacré and Gilbert Tournoy in honor of Jozef IJsewijn: Myricae. Essays on Neo-Latin Literature in Memory of Jozef IJsewijn (Leuven, 2000, ISBN 978-90586705-40).

The Master in Medieval and Renaissance Studies is an interdisciplinary, post-initial Master's degree ('Manama') on offer in English at the university of Leuven. Various research centers participate in it: the Seminarium Philologiae Humanisticae; Illuminare or the Center for the Study of Illumination; the 'Aristoteles Latinus' project; the De Wulf-Mansion Centre (philosophy); the Research Unit History of the Middle Ages, and the Institute for Medieval Studies.

Details Prof. Hosington's lecture: Lipsiuszaal, Faculty of Arts (Blijde-Inkomststraat 21, 3000 Leuven), 5 p.m. Lecture followed by a reception. Organisation: Seminarium Philologiae Humanisticae, KU Leuven.

Talk on manuscript illumination at Public Library Bruges (18 September 2008)

In libraries in the Dutch-speaking part of this country, the term stadsbibliotheek (City Library) is falling in desuetude. At Antwerp, Stadsbibliotheek Antwerpen (SBA) has become Erfgoedbibliotheek Hendrik Conscience. We also should stop saying Stadsbibliotheek Brugge to Openbare Bibliotheek Brugge (Public Library).

In Bruges, the main building in the public library system is also called Hoofdbibliotheek 'Biekorf' (beehive). Now its Friends, Vrienden van de Biekorfbibliotheek vzw, are the organizers, about twice a year, for public events related to its older holdings.

The Biekorf now welcomes the public for a talk by Dutch illumination specialist Saskia van Bergen, in Dutch, entitled Een Brugs handschriftenatelier in de late middeleeuwen, which is based on the results of her doctoral research.

Van Bergen completed a PhD at the University of Amsterdam in 2007 with a thesis called
De Meesters van Otto van Moerdrecht. Een onderzoek naar de stijl en iconografie van een groep miniaturisten, in relatie tot de productie van getijdenboeken in Brugge rond 1430.

The Biekorf holds manuscripts, including books of hours by Bruges facture, but none, so far as we know, by the so-called Masters of Otto van Moerdrecht.

Van Bergen will no doubt explain who Otto van Moerdrecht was, but via this case study of a workshop around 1430 also show how vast an illumination and manuscript industry, solely working for export, was at Bruges.

Details: Hoofdbibliotheek Biekorf (Reading Room), Kuipersstraat 3, 8000 Brugge, 18 September 2008, 8.pm. Entrance fee: 3 € (free entry for Friends of the Biekorf).

Photo: Christ before Pilate, illumination from Book of Hours, use of Bruges (late 16th C). Illuminations on the verso side of interfoliated leaves. Cultura Fonds Collection.

Symposium 'De tuin der talen: taalkennis en taalkunde tijdens de renaissance in de Lage Landen' (Antwerp, 18-19 September 2008)

Is ‘gale 8, perhaps severe gale 9 later’ the forecast to be issued for the state of Dutch as a standard language -the language shared by, among others, the Dutch in Holland and the Flemish in Belgium?

Yes, said Joop van der Horst, professor of Dutch at the University of Leuven. Need we despair? No, he says, and in a book, entitled Het einde van de standaardtaal (The end of standard language)(Meulenhoff, ISBN 9789029082655), he is willing to explain why.

According to van der Horst, the last tidal language change of this kind harks back to the transition from the Middle Ages to the renaissance.

Let’s keep this in mind at the conference 'De tuin der talen: taalkennis en taalkunde tijdens de renaissance in de Lage Landen' (the garden of languages: language knowledge and linguistics during the renaissance in the Low Countries), held in… Dutch.

The format is a line-up of ten short papers, presented in 20-25 minutes, and followed by discussion. The speakers include both formidable and young promising researchers from both French and Dutch speaking universities in Belgium as well as universities in the Netherlands, some carrying on research in other countries.

Talks will be presented around four big themes: plurilingual aspects and book history; the standardization of Dutch, the presentation of a Wiki about the ‘Garden of languages’, and lastly, Semitic language study.

A concluding talk will be delivered by... Joop van der Horst on nothing else but the end of a renaissance language culture.

All details can be found under http://tuindertalen.short.be/

Notice of attendance: best before 10 September 2008.

Venue: Nottebohmzaal, Erfgoedbibliotheek Hendrik Conscience, Antwerp (formerly known as Stadsbibliotheek Antwerpen), Flanders’ biggest heritage library.

Organizers: Erfgoedbibliotheek Hendrik Conscience; Center for the History of Linguistics at University of Leuven (Centrum voor de Geschiedenis van de Linguïstiek)

Coordinator: Dr.Toon van Hal, who recently graduated with a PhD thesis about comparative linguistics in the 16th and 17th century. We hope to come back to that later.

Recent Lipsius studies: Iusti Lipsi Epistolae (ILE)

Last June, Princeton-based professor Anthony Grafton was seen conversing, at the “The Jewish Book in a Christian World” conference at Antwerp (19 June 2008 post), with Dirk van Miert, the Dutch Neo-Latin scholar, based at London, with whom Grafton is collaborating on a critical edition of Joseph Scaliger’s collected letters.

In 2002, Grafton became a recipient of the prestigious Balzan Prize. Prize winners are required to spend half of the prize to finance research in their field, preferably by young scholars. Grafton chose the critical edition of letters written by or addressed to Joseph Scaliger, a project carried out at the Warburg Institute in London. The Scaliger Institute at the University of Leiden Library is co-sponsoring.

The result will be a 7-volume opus covering about 1,400 letters. The project’s aim is to provide “crisp, reliable” transcripts, according to the Balzan Prize website, and to present the letters both electronically and in print. Initially, the editors thought the corpus to encompass some 1,000 letters. To their surprise, their thorough work yielded much more fruit, and far exceeds the initial estimate.

Along similar lines, how is ILE?

Short for Iusti Lipsi Epistolae, Belgium’s own critical edition of the collected letters of a humanist, Justus Lipsius (1547-1606)? ILE was initiated in print in 1978, with the publication of a first part, which covered the letters written by Lipsius in the period 1564 until 1583. Aloïs Gerlo, M.A. Nauwelaerts and H.D.L. Vervliet served as editors.

Ten years earlier, in 1968, Gerlo, Nauwelaerts and Vervliet had made an inventory of letters to and from Lipsius. According to their estimate, the corpus consisted of 4,300 letters. Meanwhile research for ILE has yielded more letters, including overlooked scrap versions, so that the editors see the first estimate augmented by almost two hundred. ILE has set rules to define the corpus.

As longstanding publication series, Iusti Lipsi Epistolae is the pride of the Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten (KVAB) at Brussels. The complete set can be ordered directly via the KVAB website.

So far, the following parts have been published:

-part I, covering 1564-1583, published in 1978;

-part II (1584-1587), edited in 1983 by M.A. Nauwelaerts with the help of S.Sué;

-part III (1588-1590), edited in 1987 by S.Sué and H. Peeters;

-part V (1592), edited in 1991 by Jeanine De Landtsheer;

-part VI (1593), edited in 1994 by Jeanine De Landtsheer;

-part VII (1594), edited in 1997 by Jeanine De Landtsheer;

-part VIII (1595), edited in 2004 by Jeanine De Landtsheer;

-part XIII (1600), edited in 2000 by Jan Papy;

-part XIV (1601), edited in 2006 by Jeanine De Landtsheer.

Other parts are well on their way to see printed form as well. Four have been or will be the subject of a PhD thesis. Part [IV], covering the year 1591, has been the subject of a doctoral thesis in 1974/5 by S.Sué. PhDs have been defended at the university of Leuven on part [IX], covering 1596, by Hugo Peeters (2007), and part [XVI], covering 1603, by Filip Vanhaecke (2004). In 2009, Tom Deneire will present his work on part [XI], covering the year 1598.

In all likelihood, ILE will count not nineteen, but twenty volumes. Part XIX will conclude the series, and promises to include all newly found letters pertaining to older parts, a general index, and a general concordance table. Part XX will offer a separate treatment of fictional letters.

Standard quotation is ILE, followed by roman letters, followed by a comma and three 2-digit numbers for year, month, and day respectively for the dates. Example: ILE V, 92 02 01, or a letter in ILE, part V, dated 1 February 1592, in which Richard Stanihurst gives Lipsius the full story of a trip to Spain. Whenever a newly found letter is accounted for in the inventory from 1968, has yet to be published in the series, but has been referenced in print, the roman numeral stands between square brackets.

Recently, an unknown letter by Richard Stanihurst to Lipsius, written on 29 October 1583 resurfaced at the Maurits Sabbe library within the University of Leuven system. An exciting discovery for Jeanine De Landtsheer, ILE’s prime editor, who was preparing the exhibition about Lipsius held there in 2006. She published the letter in the 2006 yearbook of De Gulden Passer, scholarly publication of the Vereniging van Antwerpse Bibliofielen (bibliophile society at Antwerp) (De Gulden Passer, ISSN: 0777 5067), which was entirely devoted to Lipsius. We discuss its contents in another post.

The Scaliger and the Lipsius projects overlap, as both scholars were professors at Leiden, albeit at different times. They established epistolary contact by the intermediary of Antwerp printer Christophe Plantin. We also briefly mention the Clusius project, instigated at Leiden in 2004 for the publication of letters by Carolus Clusius (1526-1609) and a mapping of his network, which included Scaliger and Lipsius.

For Scaliger at Leiden, see Paul Hoftijzer, Adelaar in de wolken. De Leidse jaren van Josephus Justus Scaliger 1593-1609. Scaliger Instituut/Universiteitsbibliotheek Leiden, 2005 (Kleine publicaties van de Leidse universteitsbibliotheek, ISSN 0921 9293, no. 69). Contributions by R. Bruegelmans, W.P. Gerritsen, H.J. De Jonge, Chris Heesakkers, Dirk Van Miert, Jeanine De Landtsheer, and Kasper van Ommen. This publication has Jeanine De Landtsheer’s article “Justus Lipsius en Josephus Justus Scaliger” (p.59-92).

For Lipsius at Leiden, see Jeanine De Landtsheer, Lieveling van de Latijnse taal. Justus Lipsius te Leiden herdacht bij zijn vierhonderdste sterfdag. Scaliger Instituut/Universiteitsbibliotheek Leiden, 2006 (Kleine publicaties van de Leidse universteitsbibliotheek, ISSN 0921 9293, no. 72). Contributions by Hans W. Blom, Chris Heesakkers, Robert-Jan van den Hoorn, Nicolette Mout, and Kasper Van Ommen.

Lipsius’s arrival at Leiden in 1578, similar to that of Scaliger, was somewhat of a ‘Joyous Entry’ for the recently inaugurated university. Lipsius abandoned his professorial chair somewhat furtively in 1591. Ties between Leiden and Leuven –Lipsius’s final destination- were not too greatly shaken, as Chris Heesakkers, who documented Lipsius’s circle of friends at Leiden, concludes.

In 2006, the 400^th anniversary of Lipsius’s death was marked by two exhibitions, one at Leiden, with the catalogue Lieveling van de Latijnse taal, and one at Leuven, entitled Justus Lipsius (1547-1606). Een geleerde en zijn Europese netwerk. It was also marked by the yearbook of De Gulden Passer (Antwerp). The recurrence of scholars writing contributions for all three manifests a similar spirit of friendship.

Belgian blog about maps

We are adding a new blog to the links to the right in our pages: Maps and More.

Author is Joost Depuydt, curator of Maps, drawing and prints at the FelixArchief, the new name for Antwerp's City Archive.

The municipal archive at Antwerp used to be located in Venusstraat, but its holdings got so crammed, that the entire service has moved to a port warehouse north of the city center, the so-called Sint-Felixpakhuis at Oudeleeuwenrui 29, 2000 Antwerp.

Photo taken from www.felixarchief.be.

Summer is precious (reading) time

Traffic in these pages may become a bit slow in the next few weeks. Not because this curator can be spotted on a beach somewhere, but because these sunny months are a good time to catch up on some reading, done to better serve these pages. Perhaps for some this could be an ideal time to visit our library in person. We'll be back with feature articles, but intermittently, at a slower pace. Happy summer.

"The Jewish Book in a Christian World": International Conference at Antwerp (25-27 June, 2008)

With the recently inaugurated exhibition "Hebraica veritas: Sprak God Hebreeuws? (did God Speak Hebrew, see our April 25, 2008 post)" up and running until August 17, 2008, the Plantin-Moretus Museum (MPM) is about to close its Spring season festively with the international conference "The Jewish Book in a Christian World" (25-27 June, 2008).

Apart from MPM and the University of Antwerp's IJS (Institute of Jewish Studies), co-organizers are the Center for Advanced Judaic Studies of the University of Pennsylvania (Philadelphia, PA), and the Universitair Centrum Sint-Ignatius at Antwerp (UCSIA).

Keynote lecturer at 5 pm on Wednesday at the City Hall of Antwerp is Princeton professor of Renaissance history and the history of scholarship, Anthony Grafton. Grafton's first book was an intellectual biography of Joseph Scaliger. He's been a frequent visitor at the University of Leiden, where he received an honorary doctorate in 2006, and where he has found colleagues to edit Scaliger's collected letters. The University of Leiden Library has a Scaliger Institute to promote research of its holdings.

This blogger has some interesting links in connection with Grafton's latest book, Codex in Crisis. It's a bibliophile edition limited to 250 copies based on an article from the New Yorker in which Grafton expresses to what extend some reserve is due about digitization.

On Thursday June 26, 2008, two sessions will be held at this conference: "The Printing of the Hebrew Bible and Judaica in Antwerp and the Low Countries" (morning) and "Christian Publishers and Readers of Hebrew Literature (afternoon). Location is the Print Room at the Plantin-Moretus Museum (morning) and University of Antwerp's Hof van Liere (afternoon).

A morning session on Friday June 27, 2008 will close the conference: "The Impact of Print on Jewish Culture." Location that day is the University of Antwerp's Hof van Liere. The conference will be held entirely in English. Admission is free, but registration is mandatory.

Illustration: cover of the exhibition catalogue of Hebraica veritas. Book design of the catalogue by Louis van den Eede, who drew the front cover's design by hand. Details: Hebraica veritas. Christoffel Plantijn en de Christelijke Hebraïsten. Catalogus bij de tentoonstelling: Hebraica veritas. Sprak God Hebreeuws? Antwerpen, Museum Plantin-Moretus/Prentenkabinet, 16 mei-17 augustus 2008. No ISBN. Inquiries should be made at the museum.

Exhibition "Florent Rousseau" at Bibliotheca Wittockiana (24 May-30 August, 2008)

The Bibliotheca Wittockiana grew out of the private collection of bookbindings of Belgian bibliophile and collector Michel Wittock. It was turned into a museum, devoted to the binding, with opening hours, at one of Brussels' most leafy boroughs.
The best source about this collection is the Festschrift Bibliophilies et reliures. Mélanges offerts à Michel Wittock (2006) in the museum's own Studia series (no.6). 520 pages, cloth. No ISBN. Inquiries can be made at the museum.

Wittock gathered a collection of rare books and bindings, but the contemporary binding, increasingly a focus in his collecting, has always been a particular focus for exhibitions. Here is Florent Rousseau. Reliures de creation 1998-2008. It opened May 24, 2008, and runs until August 30, 2008. A selection of bindings from French bookbinder Florent Rousseau’s production are shown.

In the second half of 2007, the periodical of the Société royale des bibliophiles et iconophiles de Belgique (SRBIB) -this is the Royal Society of Bibliophiles and Iconophiles of Belgium, based at Brussels- published an article of Florent Rousseau's, actually a talk that he had delivered at Tournai in 2006: Etat actuel de la reliure en France. In Le livre et l'estampe (2007), vol.53 no.168, p.127-159 (BE ISSN 0024-533 x). It's an excellent article: clear, informative.

Florent Rousseau founded AIR neuf, Association internationale de relieurs, in 1995, and today he initiated a new group called APPAR, Association pour la promotion des arts de la reliure. With APPAR, he responds to a rift that he detected between amateur bookbinders and professional ones, on the one hand, and to attitudes pro or counter the classical French heritage of bookbinding on the other.

Starting with Marius Michel at the cusp of the 20th century, Rousseau gives an overview, in which all the famous bookbinders from a golden age of French bookbinding are mentioned. The period of Decorative Arts yielded an intense collaboration between famous French authors, artists, bookbinders, and their collectors. Most of the bookbinders then were like fashion designers: no craftsmen, but responsible for the concept. One of them, Paul Bonet, was both: fashion and binding designer. Collaboration with separate doreurs or gilders was customary.

Ironically, collectors are deemed responsible by Rousseau for a turn away by bookbinders from a tradition that had become somewhat stilted. Collectors had demanded too much of a good thing, a binding with sleeves and etui that continued to be influenced by the same arts, and that had become "purely academical".

There was a tendency among the binders who did ply their craft in person, starting from the late 1970s, to reject tradition altogether. New currents came into existence with no link to tradition. With AIR neuf, Rousseau wanted to provide a typology for the innovations. Collectors meanwhile did not place orders with just any adept of radical change. But exploration of the binding by the artisan bookbinder did yield some technical riches for the craft.

Structure became the magic word. Binders showed the construction of the book, no back, no carton, no more guards. No gilding. No hierarchy as to types of leather, and a turn to less expensive kinds of leather. No more sleeves, no étui, but boxes, and use of wood. But little by little, new references to tradition were made, but by artisans adept with paper and decors who were able to improvise, to work with color and contrasts. Rousseau is one of them.

Over time, amateur bookbinders got more limelight than the professional craftsmen, but only because their work rarely is the subject of exhibitions. In APPAR, Rousseau is hoping to unite both. French bookbinding is pretty vibrant these days, and Rousseau is adamant to keep it that way.

24 hrs in Brussels "boring"? Not so for book lovers.

Last March, Brussels was voted most boring city on a layover. One thing is fairly certain: the international travelers coming to this conclusion have no predilection for the book.

We have reported about the current exhibitions at the Royal Library of Brussels (KBR) and the Erasmus House. We suggest a day of sightseeing for the book lover or bibliophile (who can furthermore contact this curator to inquire about stops at bookstores and eateries).

We suggest that the book lover starts the day at the Erasmus House in the morning, with a visit to the exhibition "The Anatomy of Vanities" and its beautiful garden (see June 6, 2008 post). This exhibition was initially running until July 13, 2008 only, but word reached this curator that it has been extended. It now runs until the end of August.

By metro, the book lover travels to the center and to the Royal Library for the exhibition in the Nassau Chapel about 20 eminent historical collectors whose books became part of the holdings (see our April 24, and March 10, 2008 posts). It runs until August 24, 2008.

In the afternoon, the book lover takes the metro to Montgomery Square, and strolls along a district reminiscent of Paris 16 to Bibliotheca Wittockiana, a private museum devoted to bindings (this curator can be contacted about an ice cream parlor nearby - reward after a satisfying day).

See our next post for coverage of its current exhibition with bindings by French bookbinder Florent Rousseau. Illustration: binding by Florent Rousseau (courtesy of the Wittockiana). Below: a book lover, caught reading by the window in uptown Brussels.

Museum Plantin-Moretus to initiate TORAD, an image bank of ornamental typography for Antwerp printers 1541-1600

The Museum Plantin-Moretus / Prentenkabinet at Antwerp has received government funding to initiate a project called TORAD, short for Typografische Ornamenten Repertorium van Antwerpse Drukkers 1541-1600. (Our source for this post is the Museum's press release in Dutch).

The TORAD project, which runs over the next three years, aims to create an image bank of the typographical ornamentation and ornamental letters that printers at Antwerp used between 1541 and 1600.

The historical context is a period rife with political and religious instability in the Spanish Netherlands, with a serious likelihood for printers to be persecuted for their output. Many publications appeared anonymously. Often they mention a publisher, but no printer, which begs the question for book historians which printer delivered the goods.

A repertory will help researchers to identify the anonymous titles. A similar project in Holland could identify the right printer for 70% of the anonymous output, and 99% of the editions for which publishers were known, could be matched to a printer. The Antwerp project is hoping to achieve a similar succes rate.

Illustration: Initial (51mmx51mm) cut by Anton Van Leest, used in Petrus Bizarus, Senatus populique genuensis rerum. Antwerpen, Christoffel Plantijn, 1579. Initial used in Museum Plantin-Moretus press release, but here taken from our own library copy (Labore et constantia 155).

On an Anjou Bible, book surgeons and funding

Our cultural heritage is a commodity, one that draws researchers and tourists from abroad to our country. A source of pride, admiration and, come on, let's not be coy, envy. It is our country's duty to see economic value in that, a ruse to foster technical expertise long-term. Not only to keep know-how in our country to preserve this heritage in the most appropriate of ways, but perhaps also to offer expertise internationally as a viable enterprise.

This was more or less Professor Jan van der Stock's plea in 2005, at the inauguration of the "Van der Weyden Chair - Paul and Dora Janssen" for research on illumination. Jan Van der Stock is an able mix of the professorial with the entrepreneurial -to our knowledge, he's the only professor ever to have realised a named chair in Humanities, at least at Leuven.

We are very pleased that civic duty did not fall on deaf ears at the Inbev-Baillet Latour Fund. Recently, this Fund has awarded 80.000 € to a restauration project on the "Anjou-Bible", a mid 14th-century precious manuscript, kept in a vault at Leuven. In matters of culture, the Fund has chosen restoration projects as its focus.

Today's issue of Campuskrant, the magazine of the University of Leuven (KUL) (June 11, 2008, 19th year, no.10), opens with the story. We see color pictures of the richly illuminated manuscript, and of the conservator, Lieve Watteeuw, beaming.

The manuscript, we gather, was executed at the behest of Robert I of Anjou. In the early 16th century, the manuscript came to the Arras College of the university at Leuven, by the doings of the bishop of Arras. And today it still belongs to the university, as it is preserved at the Maurits Sabbe Library (Theology Department).

The conservation project is a co-production between llluminare at Leuven and KIK-IRPA, the Royal Institute for the Study and Conservation of Belgium's Artistic Heritage, based at Brussels.
For Illuminare, Jan Van der Stock will supervise, and Lieve Watteeuw will execute.

The manuscript will receive a new conservation binding. All folia will be taken out of the old early 20th-century binding that was too tight and detrimental to the manuscript. The folia will be cleaned, and the color layers will be stabilized. Here are a few photos of damage to miniatures on Illuminare's website. The folia will also be digitized. Leuven plans to put the manuscripts on show in 2011 in the newly planned city museum "M" (Museum Leuven), where visitors will be able to leaf through the digital copy.

Lieve Watteeuw is one of these conservation specialists, whose importance can hardly be overrated, especially when they happen to be rather few. A "book surgeon", at home with parchment, paper, illumination and leather bindings, and it was excellent news that she received public accolade on February 21, 2005 in the shape of the Flemish Community Prize 2004 in the category of Cultural Heritage.

We planned to dwell somewhat longer on Watteeuw's doctoral thesis at Leuven (see June 6, 2008 post, "Hora est"), entitled "The Touch of Chronos: Caring for the Medieval Manuscript (1731-1937)." Our source is the recently promoted researcher's own summary.

Watteeuw undertakes investigation of how the material aspect of the medieval manuscript has been treated and altered throughout the ages, and how it was been viewed by art and library historians, and conservators-restorators. Apparently, it wasn't until recently that the link between the material appearance of a codex and its contents has been taken into account, which explains "complete acts of destruction", for instance when codices were rebound, and their old covers done away with, over a period of the last two hundred years.

Watteeuw's thesis has three parts. Part I offers a history of the preservation and restauration practices of manuscripts, bindings and miniatures, from the Middle Agens until the 19th century. Watteeuw is using traces of book care in archival material, the inventories of the Burgundian Ducal Collection at the Royal Library at Brussels, and the Chapter of the Church of Our Lady at Antwerp. This history touches upon a historiography of mentalities, to explain why certain practices were favored in certain epochs.

In no period has the medieval manuscript suffered so much as at the hands of the 19th century antiquarians, who nevertheless rekindled an interest in the Middle Ages. Part II explores the heritage conservation practices or that era. Watteeuw also develops a methodology for the intervention on book and manuscripts for this day. She does this at the hand of one single, very famous corpus at the Royal Library of Belgium: the 280 surviving manuscripts, out of an original 900, once in the library or librije of the Court of Burgundy. Watteeuw investigates the fate of this collection from 1731 onwards, when the Burgundian Library fell into desuetude, until 1937, marking the end of the career of Charles Weckesser as bookbinder in the service of the Royal Library.

In Part III, entitled "Fight Against Chronos," Watteeuw takes the material fate of four medieval manuscripts as a starting point to gather the contrasting responses of bookbinders, restorators, antiquarians, archivists and librarians to them. Both the exterior book cover as the interior illumination are considered. Watteeuw also discusses what present-day manipulations such as exhibiting and making photographic facsimiles do to such artefacts.

Jan Van der Stock is quoted in today's Campuskrant as saying that the history of how the Anjou-Bible actually originated at a French court, reads like a thriller. We have the feeling that in Watteeuw's PhD material sits a book that does too.

Hora est!

In 2008, quite a number of Belgian researchers in the fields of history, as well as in history of art, literature and the book, defended a PhD thesis or are about to. A short overview.

On February 5, 2008, Alexandre Vanautgaerden, Director of the Erasmus House at Brussels, defended a thesis on Erasmus and typography as a rhetorical instrument in the 16th century: "Erasme typographe. La mise en page, instrument de rhétorique au XVI siècle", towards a PhD in history, art and archaeology at the ULB (Université libre de Bruxelles).
Promotors were Sylvia Deswarte-Rosa (CNRS-Université Lumière-Lyon) and Alain Dierkens (ULB). The jury consisted of Franz Bierlaire (ULB-Université de Liège), Wouter Bracke (ULB-KBR), Jean-François Cottier (Université de Montréal), and Michel Magnien (Université de Paris III-Sorbonne nouvelle).
Vanautgaerden has edited, with Jean-François Gilmont, a study called La page de titre à la renaissance (Brepols Publishers, 2008), ISBN 978 2 503 52669 0. See our June 2, 2008 post

On April 18, 2008, art historian Lieve Wattteeuw presented "The Touch of Chronos: Caring for the Medieval Manuscript (1731-1937)", in defense of her PhD at the KUL (Katholieke Universiteit Leuven). Promotor was Prof. Jan Van der Stock, Director of the Center of the Study of Illumination, Illuminare. Watteeuw can easily be regarded as one of the (alas, too) few authorities (Dutch-speaking research), on the conservation on paper, parchment, and bindings. We will dwell somewhat longer on the contents of this thesis in a next post.

On May, 27, 2008, Kevin Absillis defended his PhD at the University of Antwerp, with research conducted about an episode in the history of Manteau, a Dutch-language Belgian publishing house founded by Angèle Manteau (1911-2008): Literaire kwaliteit uit Arm Vlaanderen. Uitgeverij A.Manteau en de verzelfstandiging van het literaire veld (1932-1971). Professor of Dutch Literature Kris Humbeeck was promotor. Absillis will publish this thesis in edited form at Meulenhoff/Manteau early in 2009. He has already published on the rather complex history of this publishing house:
-Kevin Absillis, Een kleine uitgeverij van stand. Fondslijst uitgeverij A.Manteau/Les Editions Lumière 1956-1970 (250 numbered copies). L.P. Booncentrum/Demian, 2005. ISBN 90 804548 8 5.
-Kevin Absillis and Katrien Jacobs, eds, Van Hugo Claus tot hoelahoep. Vlaanderen in beweging 1950-1960 (Literatuur in veelvoud-series, no. 17). 282 p. Maklu/Garant, 2007. ISBN 978 90441 201 89.

On May 29, 2008, Gerrit Verhoeven defended his PhD at the Department of History of the University of Antwerp: "Anders reizen? Evoluties in vroegmoderne reiservaringen van Hollandse en Brabantse elites (1600-1750)." Promotors were Professors of History Guido Marnef, specialist of the history of the Netherlands in the 16th and 17th centuries, and Bruno Blondé, who heads a research unit called History of Cities (University of Antwerp).
According to Verhoeven, historical research on travel in the early modern period all too often limits itself to study of the Grand Tour as carried out by British noblemen, with the occasional foray into the travel habits of French and German nobility, but with the Netherlands entirely out of scope. Unjustly so: travel in the early modern period in the Netherlands showed more variation and was subject to greater changes than is known to current research.
Verhoeven consulted diaries and fringe documents in libraries and archives in Holland and Brabant, and chose the quantification of thousands of data as his gauge for how travel exceeded the utility aspect of the Grand Tour, what the means of travel were and the destinations, and what the social profile of travellers was.

On June 20, 2008, Dirk Imhof, Curator of the Museum Plantin-Moretus, will defend his PhD in History with a study of the publishing activities at the Plantinian house of Jan I Moretus: "De Officina Plantiniana ratione recta: het uitgeversfonds van Jan I Moretus (1589-1610)," at the University of Antwerp. Professor of History Alfons Thijs and Professor of Dutch Literature Hubert Meeus serve as promotors.
Imhof, with Karen Bowen, recently published Christopher Plantin and Engraved Book Illustrations in Sixteenth-Century Europe. Cambridge Univesity Press, 2008, ISBN 978 0 521 85276 0.
Regarding Plantin's successors, the Moretus family, see also, amongst others, Imhof's introduction to Le rayonnement des Moretus, a 2006 exhibition catalogue of the Bibliotheca Wittockiana, edited by Bruno Liesen and Claude Sorgeloos.

On June 24, 2008, at the University of Antwerp, Department of Dutch Literature, Goran Proot defends a PhD on Jesuit school plays: "Het schooltoneel van de jezuïeten in de Provincia Flandro-Belgica tijdens het ancien régime 1575-1773." Promotor is Professor of Literature Hubert Meeus. Goran Proot has been a bibliographer at the STCV, the Short Title Catalogus Vlaanderen. Regarding Jesuit plays, recent articles of his are:
-Goran Proot and Leo Egghe, "Estimating editions on the basis of survivals: Printed programmes of Jesuit theatre plays in the Provincia Flandro-Belgica before 1773. With a note on the 'bookhistorical law'" in The Papers of the Bibliographical Society of America, vol. 102, no.3 (2008).
-Goran Proot, "Gebruikssporen in programmaboekjes voor het collegetoneel van de jezuïeten in de provincia Flandro-Belgica 1575-1773," in Jaarboek voor Nederlandse Boekgeschiedenis 15 (2008), p.71-91.

Lastly, Bart Op de Beeck Curator of the Rare Books Department of the KBR (Royal Library of Belgium), who's been working for years on the library holdings of Jesuits, is finally presenting his PhD thesis at the University of Leuven in September 2008. As Op de Beeck has been working on this for over 10 years, and as he has closely scrutinized up to 24,000 copies out of Jesuit collections, if not more, his work is expected to be.. weighty. Serving as promotor is the former head of the University of Leuven's Central Library, Jan Roegiers.

Illustration (to follow): woodcut on the titlepage of Francisco Del Tuppo, La Uita De Esopo Hystoriata. S.l. [probably Venice], s.d. [15..]. Page: 149x94 mm; typesetting: 122x72mm.
See no.4 in our second catalogue: Claude Sorgeloos, La bibliothèque du Cultura Fonds: acquisitions 1991-1999 (See label: Our catalogues).

Exhibition "The Anatomy of Vanities" (Erasmus' House, Brussels, April 24-July 13, 2008)

The Anatomy of Melancholy by Robert Burton got published in 1621, and the Erasmus' House in Brussels currently has an exhibition called The Anatomy of Vanities (April 12, 2008-July 13, 2008). Burton's medical treatise and the exhibition have in common a medical subject and an unusual breadth of approach. In the case of the exhibition, we add staggering beauty.

The son of a French luxury goods scion quipped that he sees the best contemporary galleries in each city he visits on business. Why not a pars pro toto at the Erasmushouse with the works of Jan Fabre and Marie-Jo Lafontaine, in rooms that have recently been repainted. Why not the museum's garden with permanent works of art, amongst others Les larmes du ciel by Marie-Jo Lafontaine. With a spoonful of contemporary art, a medicine of memento mori goes down.
This exhibition fits one of the themes that the Erasmushouse under its director Alexandre Vanautgaerden sets out to explore as of 1998: the cabinet of rarities or vanities, which it sees as a predecessor of the museum. The cabinets brought together works or art, natural or exotic fauna and flora, and scientific instruments.

Such cabinets were in vogue after Erasmus' time, but, as gathered from Vanautgaerden's introduction to the catalogue, Erasmus' contemporary Albrecht Dürer started his Wunderkammer with elements from a trip to.. the Netherlands. Cabinet elements are present here, organised around the concept of idleness or vanity.

In Erasmus' days, death was more pressing than in ours, the reminder more common. Erasmus, who was somewhat sickly, wore a ring with the Latin inscription 'concedo nulli', 'I yield to no one', a direct reference to man's natural fate from the standpoint of a personified Death.

The take on death in this exhibition is to understand it with a certain jubilation, by lingering to take in past and present moments of beauty, and by seeing the attempts to fixate or represent life in the name of curiosity.

Bright green parrots from the Museum of Natural History at Tournai are laid around a skull in garland fashion. The skeleton and the snake are omnipresent in delicately wooden or ivory sculpted figurines or heads. There are plant arrangements by a Brussels florist, leaving room for ongoing microscopic processes in glasshouse conditions. and there's the human desire to push the limits of technique in exquisite mechanically turned objects of ivory and wood.

In an essay from the catalogue, Jean-Marc Mandosio traces man's preoccuption with the anatomical model through time. The models of women, the Venuses or Evas, as he explains, were always represented full-bodied, with skin, unlike the Adams. Their shape was an ideal, and in stark contrast with the entrails and organs you could still remove.

The collector who gave these strange and beautiful objects on loan, acutely phrases how despite our ability to prolong life, and to taunt it with the most fantastical creations, clinging to it will be as vain as in the time of Erasmus. If to the vistor this comes as too great a shock, there are always the editions of Erasmus on view on the second floor, or a moment's pause in the philosophical garden of the museum to regain spirits.

As a visitor, you take these beautiful objects home in the shape of the catalogue: Anatomie des vanités. Anatomie der ijdelheden. Sous la direction de - onder leiding van Alexandre Vanautgaerden. Bilingual catalogue French-Dutch. Le Cabinet d'Erasme VI (2008). 93 p. color ills. ISBN 978-2-930414-22-5. Exhibition until July 13, 2008. Erasmus House and garden, open every day except Mondays (Photos: museum website).
PS: Belgium is a country of collectors-the exhibition Hout in boeken (see our March 10, 2008 post) featured another collector's 17th C set of thinly turned woodcups -a marvel. See Charles Indekeu's article "Ornamentdraaiwerk. Machinekunst voor vorsten" (p. 315-325) in the study Hout in boeken (see our April 24, 2008 post) as a complement to the catalogue of the Erasmushouse exhibition.

Annual convention of librarians and book researchers (Flanders chapter), May 30, 2008

The Dutch-speaking or Flemish chapter of rare book librarians and book history researchers, the Vlaamse Werkgroep Boekgeschiedenis (see: Book and Manuscript Research) convened at the city of Ghent on May 30, 2008.

Location was MIAT, museum voor industriële archeologie en textiel, an old textile factory with an historical approach to industrial technology. The museum simulates a walk through time from the 18th to the 20th century. As MIAT not only emphasizes textiles, but also printing technology, it houses a fair amount of printing presses and composition casters.

During a guided tour at the end of the day, the participants got to see a Blaeu wooden hand-press from the 18th century, the Stanhope, and other hand-presses in iron, among them one driven by steam. The two composition casters F4 and C4 came from the Harris Intertype Corporation of New York.

But first came the household meeting, with an overview of 2007, several announcements, and a lecture, followed by critical remarks from a referee, by a Dutch researcher currently working at Antwerp, Janneke Weijermars: Het literaire bedrijf in de Hollandse tijd 1815-1830 (The Literary Trade in the Dutch Period 1815-1830).

Weijermars' study is part of a large-scale project studying "Literature in Context" led by Dutch professor Lisa Kuitert (Amsterdam) and Belgian professor Piet Couttenier (Antwerp): De Nederlandse literatuur en het literaire bedrijf in het Verenigd Koninkrijk der Nederlanden 1815-1830: interactie en differentiatie, about Dutch literature and the literary trade in the fifteen years during which the Southern Netherlands (more or less Belgium shortly before its independence in 1830) were united once more with Holland, with Dutch king Willem I as ruler.

From more than one standpoint, this reunion fell uneasy on the South. In reaction to a Dutch society that was founded in the North in 1784 called Maatschappij tot 't Nut van 't Algemeen, also called "het Nut", and aimed at the edification of its population through education, social work, and good books, a society came to existence in the South in 1825 in the city of Mechelen (Malines) called the Society for the Distribution of Good Books. This society chose its "good books" to be of a catholic signature, partly in reaction to het Nut and its protestant stamp.

Weijermars presented one case in all its ramifications: a publishing project that lasted about three years (1825-1828), executed by Hanicq, printers at Mechelen, which consisted of printing religious books in series, in Dutch translation mostly from Latin, French and German, in a small format and aimed at a large audience.

Weijermars has so far researched a few case studies for the period, applying Pierre Bourdieu, but with a unifying idea for the study still lacking. The audience was quick with critical remarks and useful suggestions. As an overarching history of the book trade with regard to Flanders has yet to be written, this project seemed welcome indeed.

From the announcements during the household meeting, we retain many that deserve attention in separate posts. Here, we'd like to enumerate the Belgian researchers who are scheduled to deliver talks at SHARP 2008 on "Teaching and Text", the 16th annual conference of the Society for the History of Authorship, Reading and Publishing, held at Brookes University, Oxford (24-28 June, 2008).

-Jürgen Pieters (professor of Dutch literature, University of Ghent) together with PhD students Christophe van der Vorst and Lise Gosseye, reporting on their project of reading Constantijn Huygens in a new historicist light;
-Chris Coppens (University of Leuven) on a topic in the 16th century Italian book trade;
-Pierre Delsaerdt (University of Antwerp) with typographic analysis of Christopher Plantin's dictionaries;
-Kevin Absilis (University of Antwerp), on Pascale Casanova's systemic model for studyingliterature, and its use for book publishing;
-Janneke Weijermars (University of Antwerp) on a systemic model by Siegfried Schmidt;
-And stretching it, professor of China Studies in the U.S. Hilde De Weerdt, who did her graduate work at Leuven.

In teasing reference to the speaker's topic and in mild jest -professor De Weerdt aside- it was said that for once Belgian speakers at SHARP outnumber the Dutch.

A special entry at the Plantin-Moretus Prizes 2008

The Plantin Genootschap - Hoger Instituut voor Grafische Kunsten (Higher Institute of Graphic Art, Antwerp) and the VUV. or Vlaamse Uitgeversvereniging (Union of Flemish Publishers) join forces to discern prizes, the so-called Plantin-Moretusprijzen, to books in Flanders (Dutch-speaking part of Belgium) which deserve attention for of their graphic design.

Prizes are given in several categories: literature, schoolbook and scientific study, art book & exhibition catalogue, other non-fiction, the children's book, the experimental book & private press, as well as work by graphic artists from Flanders for publishers abroad.

New categories in 2008 are a vote for best debut or graduation project, as well as the public's prize for Best Book Cover.

As of May 30, 2008, public voting is open from a shortlist of ten book covers, accessible via the website of the Plantin Genootschap, which leads one to the site of the Flemish daily De Standaard to cast a vote. The prizes will be distributed on June 30, 2008 in Brussels, at Bozar, the Centre of Fine Arts. A public vote is possible every day until then.

The books with best layout will be on show all summer in Brussels at Bozar, the Centre of Fine Arts, from July 1, 2008 until August 24, 2008.

We were extremely pleased to discover that among this public shortlist, between a cookbook and humor, is a study co-edited by the formidable Belgian bibliographer Jean-François Gilmont and the curator of the Erasmushouse Museum, Alexandre Vanautgaerden.

Very aptly, this study has typography as a theme: La page de titre à la Renaissance. Treize études suivies de cinquante-quatre pages de titre commentées et d'un lexique des termes relatif à la page de titre (ISBN 978-2-503-52669-0, Brepols Publishers, 2008, 396 p., 100 b/w ill., 65 color ill, paperback, 75 €).

This study is also "Nuger 6", n° 6 in Nugae humanisticae sub signo Erasmi, or a study series devoted to nugae, varia or trifles, published at the Erasmushouse Museum. Under its young curator Alexandre Vanautgaerden, this museum, which celebrated its 75th anniversary in 2007, does communication no less than in fine typography. Report on the current exhibition of this museum is soon to follow.

Quaderno fiorentino

The curator at Cultura Fonds just got back from a short off duty experience. We mention this for some entertaining ties to the book world.

First, our guidebook was Quaderno fiorentino, with reminiscences about Florence, Italian art mainly of the Rinascimento, as well as interviews with Italian literary figures in a bleak postwar period, written by Luc Indestege in 1951 (In Dutch, published at Davidsfonds). Despite its antiquarian state, the book effuses lively writing, pared to reliable guidelines, still today, to the art of this city.

Luc Indestege (1901-1974) counts as a Belgian specialist on bookbindings, with many studies tied to his name, e.g. on an archive of rubbings of Flemish panel bookbindings by Prosper Verheyden. Indestege is also the father of Belgian book historian Elly Cockx-Indestege, former Head of the Rare Books Department at Belgium's National Library.

The retirement of Elly Cockx-Indestege was marked with a study in three volumes, by Hendrickx F. et al., editors, E Codicibus Impressisque. Opstellen over het boek in de Lage Landen voor Elly Cockx-Indestege (Leuven, Peeters, 2004). Miscellanea Neerlandica series, 20 (ISBN 978-90-429/-1423-0, /1422-3, 1421-6). In 1951, Elly Indestege had just embarked on reading history.
Secondly, we visited the Bibliotheca Medicea Laurenziana. Luc Indestege documents his visit in 1951. But this is how the Laurenziana discloses itself as of 2007: by thematic forays into the holdings, in the shape of small, permanent exhibitions, accompanied by booklets -not exceeding one hundred pages, with color illustration, published by Mandragora, in Italian or in English, sold at 14 Euros.

We mention by way of example the three English titles so far:
Imaginary Creatures. 2007 (ISBN 978-88-7461-098-3).
The World of the Aztecs in the Florentine Codex. 2007 (ISBN 978-88-7461-102-7).
The Shape of the Book from Roll to Codex (3rd century BC-19th century AD). 2008 (ISBN 978-88-7461-116-4).
The Laurentian building, splendid design by Michelangelo, reopened April 1, 2007, after a long period of being closed to the public. Its research facilities were never in cessation. Therefore, the thematic exhibits seem to serve mainly as a permanent reminder of the function this magnificent architecture once had.

PS: The execution of the glass windows, with references to the de Medici benefactors, some dated 1568, is attributed to an Antwerp artist.

Sprak God Hebreeuws? Did God Speak Hebrew?

The Plantin-Moretus Museum is currently enjoying the presence on its premises of Dutch Professor Albert van der Heide, as visiting curator of the upcoming exhibition Hebraica veritas. Sprak God Hebreeuws? The exhibition opens Thursday, May 15, 2008 at 7.30 pm at the museum.

Albert van der Heide is professor at the University of Amsterdam, where he studied theology and Semitic languages. On February 2, 2008, he gave a talk at the yearly meeting of the Vereniging van Antwerpse Bibliofielen (Antwerp Bibliophile Society), entitled Hebraica Veritas. Christopher Plantin and the Hebrew Language. Those present got a preview of this exhibition.

Christopher Plantin's preoccupation with Hebrew, mostly Bible edition, is part of Christian Hebraic Studies, or the effort on part of Christian humanists -as well as Jewish converts to Christianism, who were few- to acquire and transmit knowledge about the Hebrew language.

With regard to Hebrew as well as in other matters, humanists wanted to go ad fontes. As Christians, they were interested in the most truthful version of Hebrew for the purpose of Bible edition. But how many were fully aware of the ramifications of rabbinic texts: the knack of producing commentary upon commentary for the sake of adding truth to truth?

Printers like Plantin had to deal with different notational systems for Hebrew, if they knew about them. Jews were still not exempt of persecution, and not likely to openly transmit their different traditions. And the Church had been known for extreme wariness of translations of the Bible.

In short, Christian Hebraic scholars found themselves having to make choices. The quest for God's truth was neither easy, nor unpolitical.