3.1 Book production in Brussels, 1598â1633: global production by four-year intervals 26
3.2 Book production in Brussels, 1598â1633: market shares of active printers 29
3.3 Book production in Brussels, 1598â1633: breakdown by categories 33
3.4 Book production in Brussels, 1598â1633: paper requirements of the different literary categories 35
3.5 Book production in Brussels, 1598â1633: breakdown by language 36
3.6 Etienne Ydens, Histoire du saint Sacrement de Miracle (Brussels: Rutger Velpius, 1605): title-page (©Royal Library of Belgium, Brussels, LP 9547 A) 42
4.1 Petrus Canisius, Manuale catholicorum (Antwerp: Christopher Plantin, 1588): title page (© Plantin-Moretus-Museum, Antwerp, MPM A 1288) 48
4.2 Petrus Canisius, Manuale catholicorum, Antwerp, Christopher Plantin, 1588: pp. 70â71 (beginning of the 4th Exercice) (© Plantin-Moretus-Museum, Antwerp, A 1288) 51
4.3 Petrus Canisius, Handt-boeck der catholijcken, Antwerp, Jan Moretus I, 1604, pp. 170â171 (beginning of the 7th exercice) (© Plantin-Moretus-Museum, Antwerp, A 889) 53
4.4 Sale of a colored copy to Martin Ginderhoven on 18 May 1605 (© Plantin-Moretus-Museum, Antwerp, Arch. 177, Journal 1605, fol. 78v) 56
4.5 Petrus Canisius, Le manuel des catholiques, Antwerp, Balthasar Moretus II, 1662, pp. 174â175 (beginning of the 8th exercice) (© Plantin-Moretus-Museum, Antwerp, O.B 1.4) 58
5.1 Market share of the various Davidâs emblem books at the Frankfurt Fairs from 1606 to 1610 according to the Cahiers de Francfort kept at the Plantin-Moretus Museum in Antwerp 66
5.2 Sales of Joannes Davidâs emblem books at the Frankfurt fairs between 1606 and 1610 67
5.3 Montage of two separate sheets of the Veridicus Christianus, emphasising the relationship between image and text. Jan David, Veridicus christianus (Antwerp: ex officina Plantiniana, 1601) 69
5.4 Sales by cities of emblem books published by the Officina plantiniana at the Frankfurt fairs (spring and autumn) between 1606 and 1610 according to the Cahiers de Francfort kept at the Plantin-Moretus Museum in Antwerp 73
7.1 Léonard Damery after Odo van Maelcote, Equinoctial astrolabe, in Astrolabium aequinoctiale, Odonis Malcotij Bruxellensis e Societate lesu. Per modum compendij a Leunardo Damerio Leodiensi in lucem editum (Brussels: Rutger Velpius, 1607). Burin engraving (© Royal Library of Belgium, Brussels, VH 8.416 A 1) 115
7.2 Lambert Damery after Odo van Maelcote, stereographic astrolabe, c.1600â1610. Engraved brass (© Musée de la Vie Wallonne, Liège, MVW 4000035) 118
7.3 Ferdinand Arsenius after Odo Van Maelcote, âAstrolabium Hemisphaericum ad lat. 66 ½ / Odo Malcot invenit Ferd. Arssenius Sculpâ (Aequinoctial austral-boreal tympanum printing plate, latitude 66 ½ [=arctic circle]), c.1610 (terminus post quem). Copper, burin-engraved (© Musée des arts et métiers-Cnam, Paris, 00914-0000) 119
7.4 Valerian Regnard after Odo van Maelcote, Hemisphaeria AEquinoctialia, in Astrolabiorum seu Vtriusque planispherij vniuersalis, et particularis vsus. Per modum compendij traditus à Valeriano Regnartio Belga [â¦] (Rome: Bartholomaeus Zannettus, 1610). Burin engraving (© Biblioteca Angelica, Rome, h.5.16) 123
7.5 Ferdinand Arsenius after Odo Van Maelcote, Hemisphaeria AEquinoctialia terrestrial austral hemisphere plate, in Astrolabiorum seu Vtriusque planispherij vniuersalis, et particularis vsus [â¦], c.1610 (terminus post quem). Burin engraving (© Zentralbibliothek Zürich, Zürich, NE 1951) 124
10.1 Cornelis I Galle after Paul Peter Rubens, Plantinâs Mark in Silvestro Pietrasanta, De symbolis heroicis libri IX (Antwerp: Balthasar Moretus (© University Library of Liege, Liège, 374B) 179
10.2 Hendrick Goltzius, Portrait of Christopher Plantin, 1581â1585. Copper engraving, 20,4 à 13,4 cm (© Rijksmuseum, Amsterdam, RP-P-1884-A-7748) 183
10.3 Guillaume La Rivièreâs mark, the wide river, in Maximilien de Wignacourt, Discours sur lâestat des Pays Bas, auquel sont déduictes les causes de ses troubles et calamitez et leurs remèdes (Arras: Guillaume de La Rivière, 1593) (© University of Gent) 187
10.4 Guillaume La Rivièreâs mark, at the address of The Good Shepherd, from the dictionary compiled by Ferdinand van der Haeghen, Marques typographiques des imprimeurs et libraires qui ont exercé dans les Pays Bas, et marques typographiques des imprimeurs et libraires belges eÌtablis aÌ lâeÌtranger (2 vols., Ghent: C. Vyt, 1894), II. 8 188
11.1 Engraved title page, Lodovico Guicciardini, Descrittione di tutti i Paesi Bassi, altrimenti detti Germania Inferiore (Antwerp: Christophe Plantin, 1581 (© Plantin Moretus Museum, Antwerp, A1342) 218
11.2 Frontispiece, Lodovico Guicciardini, Descrittione di tutti i Paesi Bassi, altrimenti detti Germania Inferiore (Antwerp: Christophe Plantin, 1581) 220
(© Plantin Moretus Museum, Antwerp, A1342) 220
11.3 Cesare Baronio, Annales ecclesiatici a Christo nato ad annum 1198 (12 vols., Antwerp: Officina Plantiniana, 1597â1607): engraved title page (© Plantin Moretus Museum, Antwerp, 2â173.1) 225
11.4 Jerónimo Nadal, Evangelicae historiae imagines ex ordine Evangeliorum, quae tot anno in Missae Sacrificio recitantur, in ordinem temporis vitae Christi digestae (Antwerp: s.l., 1593): frontispiece (© Plantin Moretus Museum, Antwerp, A 3808) 229
11.5 Jerónimo Nadal, Adnotationes et meditationes in Evangelia quae in sacrosancto Missae sacrificio toto anno leguntur (Antwerp: Martinus Nutius, 1595): engraved title page (© Plantin Moretus Museum, Antwerp, A 555) 230
11.6 Jan David, Veridicus Christianus (Antwerp: Officina Plantiniana, 1601): engraved title page (© Katholieke Universiteit Leuven, Leuven, BRES-R5A14986) 233
11.7 Jan David, Occasio arrepta, neglecta, huius commoda, illius incommoda (Antwerp: Officina Plantiniana, 1605): engraved title page (© Plantin Moretus Museum, Antwerp, A 1205) 235
12.1 Cornelis II Galle, Portrait of Archduke Leopold William of Austria crowned by two angels, ca 1652. Engraving, 26,7 à 17 cm (© Rijksmuseum, Amsterdam, RP-P-1904-380) 242
12.2 Petrus Clouwet after Jean-Baptiste Van Heil, Universal Philosophy, thesis frontispiece with a portrait of Archduke Leopold William of Austria, 1655. Engraving, 41,2 à 26,5 cm (© Royal Library of Belgium, Brussels, SI 11514) 245
12.3 Adrien Lommelin after Antoine Sallaert, Synopsis theologica, title page for a thesis defended by Humbert de Precipiano, Jesuit college of Louvain, 1648. Engraving, 39,3 à 24,1 cm (© Rijksmuseum, Amsterdam, RP-P-1908-702) 249
12.4 E. de Boulonnois after F.A. Marienhof, âSerenissimo Principi Leopoldo Guilielmo pacis ac tranquillitatis publicae auctoriâ, in P.D.F., à son Altesse Leopolde Guillaume [â¦] panegirique [â¦], s.l., ca 1651, 16 pp., 24,5 à 37,5 cm (© Royal Library of Belgium, Brussels, VH 26.867 C) 253
Fig. 12.5 and 12.6. Paul Pontius after Abraham van Diepenbeeck, Thesis of Claudius, Count of Collalto, dedicated to Archduke Ferdinand of Austria, University of Louvain, 1645. Engraving, 102,5 à 68 cm (© Rijksmuseum, Amsterdam, RP-P-OB-70.060 and 061) 254
12.7 Theodore van Thulden after Peter Paul Rubens, Temple of Janus, in Caspar Gevartius (ed.), Pompa Introitus Ferdinandi Austriaci Hispaniarum Infantisâ¦, Antwerp, 1641, pl. 117A (© Rijksmuseum, Amsterdam, RP-P-OB-70.270) 256
12.8 Theodore van Thulden after Peter Paul Rubens, Portico of the Emperors (Matthias and Ferdinand II), in Caspar Gevartius (ed.), Pompa Introitus Ferdinandi Austriaci Hispaniarum Infantisâ¦, Antwerp, 1641, pl. 50A (© Rijksmuseum, Amsterdam, RP-P-OB-70.262) 257
12.9 Jacob Neeffs after Philippe Fruytiers, Austriaco Burgundico, title page for a thesis dedicated to Leopold William of Austria, undated (c.1647â1656). Engraving, 22,3 à 17,2 cm (© Royal Library of Belgium, Brussels, SI 28961) 258
12.10 Anonymous, Timore Domini concessa divinitus Israeli sapientia, felicitas, gloria [â¦], frontispiece for the libretto of a stage play given to Leopold William of Austria, Antwerp, 1648. Etching, 20,5 à 15 cm (© KU Leuven, Tabularium, inv. A 16018 n°5) 261
12.11 Adrien Lommelin after Abraham van Diepenbeeck, Decor Carmeli, thesis (?) broadside dedicated to Leopold William of Austria, ca 1650â1655. Engraving, 100 à 40 cm (Antwerp, St Charles Borromeo church, © IRPA, inv. 57750) 264
13.1 Johannes Wierix after Bernardino Passeri, Feria v. Maioris Hebdom, 1593, woodcut, 232 à 145 mm (© Rijksmuseum, Amsterdam, RP-P-OB-67.223) 270
13.2 Johannes Wierix after Bernardino Passeri, CÅna commvnis, et Lavatio Pedum, 1593, woodcut, 232 à 145 mm (© Rijksmuseum, Amsterdam, RP-P-OB-67.224) 271
13.3 Johannes Wierix after Bernardino Passeri, Sanctissimi Sacramenti, et Sacrificii Institvtio, 1593, woodcut, 232 à 145 mm (© Rijksmuseum, Amsterdam, RP-P-OB-67.225) 272
13.4 Johannes Wierix after Bernardino Passeri, De Gestis post sacram Commvnionem, 1593, woodcut, 231 à 144 mm (© Rijksmuseum, Amsterdam, RP-P-OB-67.226) 273
13.5 Jacob Corneliszoon van Oostsanen, Christ and the apostles celebrating the Passover, 1523, woodcut, 110 à 78 mm (© The British Museum, London, 1859.0709.2865) 275
13.6 Jacob Corneliszoon van Oostsanen, The Institution of the Eucharistic sacrament, 1523, woodcut, 110 à 78 mm (© The British Museum, London, 1859.0709.2865) 276
13.7 Johannes Wiei, after Pieter van der Borcht, The Last Supper, 1571, etching, 114 à 73 mm (© The British Museum, London, 1875.0710.116) 286
13.8 Antoine II Wierix after Bernardino Passeri, Eodem die apparet Iesvs dvobvs discipvlis evntibvs emavnta, 1593, woodcut, 233 à 146 mm (© Rijksmuseum, Amsterdam, RP-P-OB-67.265) 287
13.9 Pieter Paul Rubens, The Last Supper, 1620, oil on panel, 43,8 à 44,1 cm (© The Art Museum, Seattle, 61.66) 291
13.10 Philips Galle after Jan van der Straet, The Last Supper, 1585, etching, 198 à 269 mm (© Boijmans van Beuningen Museum, Rotterdam, L1966/56â3) 292