The Hondius Pictorum: Image and Tombstone

Hendrick Hondius the Elder’s Pictorum aliquot celebrium, præcipué Germaniæ Inferioris, effiges (The Hague, 1610), which contains 68 portrait prints of Netherlandish artists.

You can browse pages below, view a list of the 1610 Hondius pages, or use our turn the page feature to explore the book.

Titlepage To Part 1
Titlepage To Part 1

Titlepage To Part 1

Etching
22.7 x 14.8 cm
Attributed to Simon Frisius

Transcription and translation of texts:

Over figure with trumpet in upper margin:
FAMA: Fame

On map below Fame:
EUROPA: Europe

Over putto sketching on left:
ASSIDUUS: Diligent

Over putto sketching on right:
LABOR: Labour

Over female figure on left with caduceus and palette:
PICTURA: Painting

Over female figure on right with compass and set squares:
OPTICA: Optics

Beneath pedestals, on either side of garlands of flowers and fruits:
FRUCTUS LABORUM: Fruits1 of Labours

Publisher’s address in bottom margin:
HAGÆ-COMITIS/EX OFFICINA HENRICI HONDII./CUM PRIVILEGIO:
The Hague, from the press of Henricus Hondius, with the privilege.

In central cartouche:
PICTORUM/ ALIQUOT CELEBRIUM/ PRÆCIPUÉ GERMANIÆ INFERI/ORIS,/ EFFIGIES. PARS. 1.:
Effigies of some famous painters, especially of Lower Germany. Part 1

Hollstein 20082 no.155

Poem to the Lovers and Admirers of Pictures
Poem to the Lovers and Admirers of Pictures

Poem to the Lovers and Admirers of Pictures

Etching and engraving
19.5 x 12.2 cm

Transcription:

PICTURÆ AMATORIBUS, ADMIRATORIBUSQ.

Cúm Tabulas multúm miramur imagine pictas
Exhibuit variâ quas bene docta manus :
Mirificé omnigeno & laeto quae ducta colore
Cúm pascunt multúm mentem, animum atque oculos;
PICTORES ipsos etiam spectasse voluptas,
Qui fingunt, pingunt non sine judicio.
Pictores sunt hîc varii : labor omnibus idem
Non est, delectat quod variúmque novum.
Omnibus haud idem genius. placet ille Colore,
Vmbris : hic gratis floribus, Arboribus.
Agros scité alter Pingit, tumida Aequora, Rupes :
Vrbibus ast alter clarus, Imaginibus.
Omnes ferme Hi sunt peperit quos Belgica, mater
Artificum : ingenio cedere turpe putat.
Hos inter quosdam celebravit maximus olim
Pictorum Censor carmine Lampsonius.
Quosdam etiam immistos Belgis spectare licebit.
Forté alios plures nostra datura manus.
Felix ô seclum, quo rursus vivit Apelles,
Quo Zeuxis, Phidias vivit et ipse Myron.

HENR. HONDIVS
Translation:

TO THE LOVERS AND ADMIRERS OF PICTURES

Since we greatly admire pictures painted with varied images, which [pictures] the well-taught hand presents, and which, wonderfully drawn with every sort of joyful colour, greatly nourish the mind, the spirit and the eyes, it is also a pleasure to look at the PAINTERS themselves, who make and paint, not without discernment. Here are various painters: not all have the same task, because what is new and varied pleases.3 All do not have the same genius. One gives pleasure with colour [and] shades; another with pleasant flowers [and] trees. [Yet] another skilfully paints fields, the swelling sea [and] rocks, [while] another is famous for cities [and] images.4 Almost all these are those5 that Belgium, mother of artists, brought forth: she thought it disgraceful to yield6 [to other nations] in genius. Among these, Lampsonius, the greatest censor of painters,7 once celebrated some in verse. You will also be able to see certain men mixed in with the Belgians. Perhaps our hand will produce some more. O happy age, in which Apelles lives again, in which Zeuxis, Phidias and Myron himself live.

HENDRICK HONDIUS

To the lover of things written and drawn
To the lover of things written and drawn

To the lover of things written and drawn

Etching and engraving
19.5 x 12.2 cm

Transcription of text in banderole above flying putto:

AD PHILOZOGRAPHUM.
Si tibi sint nullae Tabulae, nec picta Poësis ;
     Docti Pictores hi tibi sufficiant.
Nam pictae Tabulae cedunt Pictoribus.  Hi sunt 
     Qui fingunt, pingunt quodlibet ingenio.

Translation of text in banderole above flying putto:

To the lover of things written and drawn.1
If you own no paintings, nor illustrated poems2, let these learned painters be enough for you.  For painted pictures yield to painters.  They are the ones who form and paint whatever they please with their genius.


Transcription of text in banderole below the falling putti:

IN MISOGRAPHUM.

Pictorum nullâ ratione Miscographus artem
     Improbat, ad vivum hos pingere nil blaterans
Sed probat exemplo vivo Cornicula, pictas
     Uvas cum peteret, fallitur Artifice.

Translation of text in banderole below the falling putti:

Against the hater of things written and drawn.3
The hater of painting attacks without reason the art of painters, babbling that they paint nothing lifelike.4 But the little crow proves [the opposite] by a living example: when it tried to get the painted grapes, it was deceived by the artist.

 

9. Hubert Van Eyck
9. Hubert Van Eyck

9. Hubert Van Eyck

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in same direction as Cock 1572 engraved Pictorum
20.7 x 12.0 cm

Transcription of Inscription [Lampsonius]:

HUBERTO AB EYCK, IOANNIS FRATRI, PICTORI.
Quas modo communes cum fratre, Huberte, merenti
Attribuit laudes nostra Thalia tibi,
Si non sufficient : addatur et illa tua quod
Discipulus frater te superavit ope.
Hoc vestrum docet illud opus Gandense Philippum
Quod Regem tanto cepit amore sui :
Eius ut ad patrios mittendum exemplar Iberos
+Coxennii fieri iusserit ille manu.

+Michael Coxennius Mechlin:
in insignis hac aetate pictor

Translation of Inscription [Lampsonius]:

To Hubert van Eyck, brother of Jan, painter.

Hubert, if the praises which our Thalia8 recently attributed to you along with your deserving brother are not enough, let this [praise] of yours be added, that your brother, as your student, outdid you in ability9 That work of yours in Ghent10 teaches this, which filled Philip with such love of it,11 that he ordered a copy of it to be made by the hand of Coxennius, to be sent to his native Spaniards.

Note (referring to Coxennius) – Michael Coxennius of Mechelen, a famous painter of that age.


Hollstein 1994 no. 82

Karel Van Mander's biography of Hubert van Eyck
Grove Art Online biography

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11. Jan Van Eyck
11. Jan Van Eyck

11. Jan Van Eyck

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum
20.7 x 11.9 cm

Transcription of Inscription [Lampsonius]:

IOANNES AB EYCK, PICTOR.
Ille ego, qui laetos oleo de semine lini
Expresso docui princeps miscere colores,
Huberto cum fratre novum stupuere repertum,
Atque ipsi ignotum quondam fortassis Apelli,
Florentes opibus Brugae mox nostra per omnem
Diffundi late probitas non abnuit orbem.

Translation of Inscription [Lampsonius]:

Jan van Eyck, painter
I am he who 12 first taught to mix joyful colours from the pressed oily seed of flax, 13 with my brother Hubert.  Bruges, flourishing with wealth, was astounded by this new discovery, perhaps unknown in the past to Apelles himself.  Soon afterwards our uprightness 14 did not refuse to be spread widely through the whole world.


Hollstein 1994 no. 83

Karel Van Mander's biography of Jan van Eyck
Grove Art Online biography


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13. Dirck Bouts
13. Dirck Bouts

13. Dirck Bouts

Engraving
Attributed to Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum
19.2 x 11.8 cm

Transcription of Inscription [Lampsonius]:

THEODORO HARLEMIO PICTORI
Huc et ades, Theodore, tuam quoque Belgica semper
Laude nihil ficta tollet ad astra manum,
Ipsa tuis rerum genitrice expressa figuris
Te Natura sibi dum timet arte parem

Translation of Inscription [Lampsonius]:

To Dirck Bouts, painter 
You are here too, Theodore.  Belgium shall always also raise your hand to the stars with no false praise, while Nature, expressed by your figures, fears you, equal to her in the art of begetting things. 15


Hollstein 1994 no. 84

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15. Hieronymus Bosch
15. Hieronymus Bosch

15. Hieronymus Bosch

Engraving, second state.
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction as Cock 1572 engraved Pictorum
19.8 x 12.0 cm

Transcription of Inscription [Lampsonius]:

HIERONIMO BOSCHIO PICTORI.
Quid sibi vult, Hironyme Boschi,                    
Ille oculus tuus attonitus? quid                        
Pallor in ore?  velut lemures si
Spectra Erebi volitantia coram

Aspiceres?  Tibi Ditis avari
Crediderim patuisse recessus
Tartareasque domos tua quando
Quicquid habet sinus imus Averni
Tam potuit bene pingere dextra.

Translation of Inscription [Lampsonius]:

To Hieronymus Bosch, painter. 
What is meant by that astonished eye of yours, Hieronymus Bosch, or that pallor in your face?  As if you had seen ghosts, the spectres of Erebus, flittering in front of you.  I could believe that the caves of greedy Pluto and the houses of Tartarus lay open to you, seeing as your hand could paint so well whatever the lowest hollows of Avernus 16 contain.


Hollstein 1994 no. 85

Karel Van Mander's biography of Hieronymus Bosch.
Grove Art Online biography.

 

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17. Rogier Van Der Weyden
17. Rogier Van Der Weyden

17. Rogier Van Der Weyden

Engraving
Attributed to Hendrick Hondius
Copy in same direction as Cock 1572 engraved Pictorum

21.0 x 12.1 cm

Transcription of Inscription [Lampsonius]:

ROGERO BRUXELLENSI PICTORI.
Non tibi sit laudi, quod multa, et pulchra, Rogere,
     Pinxisti ut poterant tempora ferre tua, 
Digna tamen, nostro quicunque est tempore Pictor
     Ad quae, si sapiat, respicere usque velit :
Testes picturae, quae Bruxellense tribunal
     De recto Themidis cedere calle vetant : 
Quam tua de partis pingendo extrema voluntas
     Perpetua est inopum quod medicina fami.
Illa reliquisti terris iam proxima morti ;
     Haec monumenta polo non moritura micant.

Translation of Inscription [Lampsonius]:

To Rogier van der Weyden, painter. 
May your praise not be that you painted many beautiful things, as your age could bear them 17 (although they are worthy that anyone who is a painter in our time wish greatly to look at them, if he be wise – the paintings which forbid the tribunal of Brussels to leave the straight path of Justice are witness [to this]): but rather that your last will is a perpetual remedy for the hunger of the poor from the proceeds of your painting.  The former, [itself] already near to death, you left on earth; the latter shines in the sky, as a monument that will not die.18


Hollstein 1994 no. 86
Karel Van Mander's biography of Rogier van der Weyden
Grove Art Online biography

 

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19. Bernaert Van Orley
19. Bernaert Van Orley

19. Bernaert Van Orley

Engraving, second state
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum

20.1 x 12.0 cm

Transcription of Inscription [Lampsonius]:

DE BERNARDO BRUXELLENSI. PICTORE.
Aulica quod sese Bernardo iactet alumno
Bruxella, Attalicas doctissima pingere vestes : 
Non tam pictoris, si quis me iudice certet,
Arti debetur, quanquam debetur et arti
Quam tibi quod carus Belgarum Margari rectrix
Dum tibi Appellea nihil est iucundius arte,
Aurea peniculis te dante manubria, et aureos

Saepe tulit, cusum paulo ante numisma, Philippos

Translation of Inscription [Lampsonius]:

About Bernaert van Orley, painter. 
That the Court of Brussels boasts of its nursling Bernaert, most skilled19 in painting Attalian20 garments, is not so much due (if anyone wants to argue while I am judging21) to the painter’s skill (although it is also due to his skill) as it is to [the fact] that he was dear to you, Margaret ruler of the Belgians, since nothing is more delightful to you than the art of Apelles.  By your gift, he often got golden handles for his paintbrushes, and gold coins, in recently minted currency.


Hollstein 1994 no. 87

Karel Van Mander's biography of Bernaert van Orley
Grove Art Online biography

 

 

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21. Joachim Patinir
21. Joachim Patinir

21. Joachim Patinir

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum
19.1 x 12.3 cm

Transcription of Inscription [Lampsonius]:

IOACHIMO DIONATENSI PICTORI.
Has inter omnes nulla quod vivacius 
     Ioachime, imago cernitur
Expressa, quam vultus tui ; non hinc modo
     Factus est, quod illam Curtii 
In aera dextra incidit, alteram sibi 
     Quae non timet nunc aemulam :
Sed quod tuam Dureres admirans manum
     Dum rura pingis, et casas
Olim exaravit in palimpsesto tuos 
     Vultus ahena cuspide.
Quas aemulatus lineas se Curtius,
     Nedum praeivit ceteros.

Translation of Inscription [Lampsonius]:

To Joachim Patenir, painter. 
That, amongst all of these, no image expressed with more liveliness than your face is to be seen, Joachim, has happened not only because Curtius'22 hand cut it into the bronze ([the hand] which does not now fear another rival), but [also] because Dürer, admiring your hand, when you painted fields and huts,23 once drew your face on a palimpsest24 with his bronze point.  Imitating those lines, Curtius surpassed himself, not to mention all the others.


Hollstein 1994 no. 88

Karel Van Mander's biography of Joachim Patinir
Grove Art Online biography

 

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23. Quentin Matsys
23. Quentin Matsys

23. Quentin Matsys

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in same direction as Cock 1572 engraved Pictorum

20.4 x 12.0 cm

Transcription of Inscription [Lampsonius]:

QUINTINUS MESIUS. ANVER:PIANUS PICTOR.
Ante faber fueram Cyclopeus ; ast ubi mecum
     Ex aequo pictor coepit amars25 procus :
Seque graves tuditum tonitrus postferre silenti
     Peniculo obiecit cauta puella mihi : 
Pictorem me fecit amor.  tudes innuit illud
     Exiguus, tabulis quae nota certa meis,
Sic ubi Vulcanum nato Venus arma rogarat 
     Pictorem e fabro summe Poeta facis.

Translation of Inscription [Lampsonius]:

To Quentin Matsys, painter of Antwerp.
Before I used to be a Cyclopean smith,26 but when a wooing painter began to love27 on an equal footing with me, and the cautious girl objected to me that she liked the heavy thundering of hammers less than the silent paintbrush, love made me a painter.  A tiny hammer, which is the sure note of my paintings, alludes to this.  Thus, when Venus had asked Vulcan for arms for her son, you, greatest of poets, made a painter out of a smith.28


Hollstein 1994 no.89

Karel Van Mander's biography of Quentin Matsys
Grove Art Online biography

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25. Cornelius Engebrechtsz
25. Cornelius Engebrechtsz

25. Cornelius Engebrechtsz

Engraving
Signed 'Hh exc.' by Hendrick Hondius
20.5 x 12.4 cm

Transcription of Inscription [Lampsonius]:

CORNELIUS ENGELBERT. LEIDAN. PICTOR.
Hic inter primos oleo de semine lini 
     Expresso in Batavis pingere qui didicit.
Miramur Vultus quos pinxit, Chromata laeta.
     Pictorum hunc Lucas flos colit artificem.


Translation of Inscription [Lampsonius]:

Cornelis Engelbrechtsz. Painter of Leyden.
This man was among the first of the Dutch who learnt to paint with pressed oily seed of flax.29  We wonder at the faces [and] joyful colours which he painted.  Lucas, the flower of painters, frequented this artist.

Hollstein 1994 no.90

Karel Van Mander's biography of Cornelius Engebrechtsz
Grove Art Online biography

27. Jan Gossaert, called Mabuse
27. Jan Gossaert, called Mabuse

27. Jan Gossaert, called Mabuse

Engraving, second state
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction as Cock 1572 engraved Pictorum
20.9 x 12.2 cm

Transcription of Inscription [Lampsonius]:

IOANII MABUSIO, PICTORI.
Tuque adeo nostris seculum dicêre, Mabusi,
     Versibus ad graphicen erudiisse tuum.
Nam quis ad aspectum pigmenta politius alter
     Florida Apelleis illineret tabulis?
Arte aliis, esto, tua tempora cede secutis ;

Peniculi ductor par tibi, rarus erit.



Translation of Inscription [Lampsonius]:

To Jan Gossaert, painter. 
You too, indeed, man of Maubeuge, will be said in our verses to have educated your age in drawing.  For who else could daub Apelles’ boards30 with flowering pigments smoother to the eye?  Granted, you yield in skill to others who followed your age.  [But] rare will be the guider of the brush who is equal to you.  



Hollstein 1994 no.91

 Karel Van Mander's biography of Jan Gossaert
 Grove Art Online biography

 

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29. Jan van Amstel
29. Jan van Amstel

29. Jan van Amstel

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction as Cock 1572 engraved Pictorum

20.1 x 12.3 cm


Transcription of Inscription [Lampsonius]:

DE JOANNE HOLLANDO, ANVERPIANO PICT :
Propria Belgarum laus est bene pingere rura :
     Ausoniorum, homines pingere, sine31 deos.
Nec mirum in capite Ausonius, sed Belga cerebrum
     Non temere in guava32 fertur habere manu.
Maluit ergo manus Jani bene pingere rura
     Quam caput, aut homines, aut male scire deos.

Translation of Inscription [Lampsonius]:

To Jan van Amstel, painter of Antwerp 33
The proper praise of Belgians is to paint fields well; that of Italians to paint men or gods.  Nor is it surprising: not without reason is the Italian said to have his brain in his head, [while] the Belgian [has his] in his active hand. Jan’s hand, then, preferred to paint fields well, than for his head to know poorly either men or gods.


Hollstein 1994 no.92

 Karel Van Mander's biography of Jan van Amstel
 Grove Art Online biography

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31. Pieter Coecke van Aelst
31. Pieter Coecke van Aelst

31. Pieter Coecke van Aelst

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in same direction as Cock 1572 engraved Pictorum

19.3 x 12.6 cm


Transcription of Inscription [Lampsonius]:

PETRO COECKE. ALOSTANO, PICTORI.
Pictor eras nec eras tantûm, Petre, pictor ; Alostum
     Qui facis hac Orbi notius arte tuum :
Multa sed accessit multo ars tibi parta labore,
     Cuius opus pulchras aedificare domos.
Serlius hanc Italos ; tu, Serli deinde bilinguis
     Interpres, Belgas, Francigenasque doces.


Translation of Inscription [Lampsonius]:

To Pieter Coecke van Aelst, painter. 
You were a painter, but, Pieter, you were not only a painter, you who made your Aelst34 more known to the world by this skill.  But there was much skill in addition, born to you by much labour.  Its office was to build beautiful houses. Serlio taught this to the Italians, then you, bilingual interpreter of Serlio, taught the Belgians and the French.


Hollstein 1994 no.93

 Karel Van Mander's biography of Pieter Coecke van Aelst
 Grove Art Online biography

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33. Jan Vermeyen
33. Jan Vermeyen

33. Jan Vermeyen

Engraving
Attributed to Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum
20.6 x 11.8 cm

Transcription of Inscription [Lampsonius]:

DE IOANNE MAIO, PICTORE.
Quos homines, quae non Maius loca pinxit, et urbis35
     Visendum late quicquid et Orbis habet ;
Dum terra sequiturque mari te Carole Caesar
     Pingeret ut dextrae fortia facta tuae ;
Quae mox Attalicis fulgerent aurea textis,
     Materiem artifici sed superante manu.
Nec minus ille sua spectacula praebuit arte
     Celso conspicuus vertice grata tibi,
Iussus prolixae detecta volumina barbae
     Ostentare suos pendula ad usque pedes.


Translation of Inscription [Lampsonius]:

About Jan Vermeyen, painter.

What men, what places and what cities36 has Vermeyen not painted? –– and whatever the world, far and wide, has worth seeing -  while he followed you on land and sea, Emperor37 Charles, to paint the mighty deeds of your hand.  These soon shone in gold with Attalian38 embroidery, although the artist’s hand was greater than the material.39 Nor did he provide a sight less pleasing to you than his art – [he was] remarkable for his high forehead, [and] was ordered to show off the unhidden folds of his rich beard, hanging down to his feet.


Hollstein 1994 no.94

 Karel Van Mander's biography of Jan Vermeyen
 Grove Art Online biography


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35. Mathys Cock
35. Mathys Cock

35. Mathys Cock

Engraving
Attributed to Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum

19.6 x 12.4cm


Transcription of Inscription [Lampsonius]:

MATTHIÆ COCO ANVERPIAN. PICTORI. HIERONYMI FRATRI.  
Tu quoque, Matthia, sic pingere rura sciebas,
     Ut tibi vix dederint tempora nostra parem.
Ergo, quod artifices inter spectaris et ipse,
     Quos immortalis40 Belgica laude colit ;
Non in te pietas tantem41  fraterna, sed arti
     Efficit et merito laus tribuenda tuae.

Translation of Inscription [Lampsonius]:

To Matthias Cock of Antwerp, painter, brother of Hieronymus.
You too, Matthias, knew how to paint fields in such a way, that our age has scarcely produced your equal.  Therefore, if you too are considered among the artists whom Belgium honours with immortal42 praise, not only43 fraternal piety grants this to you, but also the praise justly due to your skill.


Hollstein 1994 no.95

Karel Van Mander's biography of Mathys Cock
Grove Art Online biography

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37. Henri Met de Bles
37. Henri Met de Bles

37. Henri Met de Bles

Engraving, second state
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum

20.6 x 12.3 cm

Transcription of Inscription [Lampsonius]:

HENRICO BLESIO, BOVINATI, PICTORI.
Pictorem urbs dederat Dionatum Eburonia, pictor
     Quem proximis dixit poeta versibus
Illum adeo artificem patriae situs ipse, magistro
     Aptissimus, vix edocente fecerat.
Hanc laudem invidit vicinae exile Bovinum,
     Et rura doctum pingere Henricum dedit
Sed quantum cedit Dionato exile Bovinum

            Ioachime, tantum cedit Henricus tibi.

Translation of Inscription [Lampsonius]:

To Herri met de Bles of Bouviges, painter. 
The Eburonian city44 had produced the painter of Dinant,  the painter of whom the poet spoke in recent verses.  The most favourable site of his homeland had made him entirely an artist, and a master hardly taught him.  Tiny Bouviges was jealous of this its neighbour’s glory and produced Hendrik, learned in painting fields.  But, Joachim,  as much as tiny Bouviges yields to Dinant [in size], so much does Hendrik yield to you.



Hollstein 1994 no.96

 Karel Van Mander's biography of Henri met de Bles
 Grove Art Online biography

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39. Joos van Cleve
39. Joos van Cleve

39. Joos van Cleve

Engraving
Signed 'Hh' by Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum
19.3 x 12.1 cm

Transcription of Inscription [Lampsonius]:

IUSTO CLIVENSI ANVERPIAN PICTORI.
Nostra nec artifices inter te Musa silebit
     Belgas, picturae non leve, Iuste, decus.
Quam propria, nati tam felix arte fuisses ;
     Mansisset sanum si misero cerebrum.


Translation of Inscription [Lampsonius]:

To Joos van Cleve of Antwerp, painter. 
Our muse shall not keep silent about you, among the Belgian artists, Joos, [you who are ] no trivial glory of painting.  You would have been as happy in your son’s art as in your own, if only the wretch’s brain had remained healthy.


Hollstein 1994 no. 97

 Karel Van Mander's biography of Joos van Cleve
 Grove Art Online biography

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41. Jan van Scorel
41. Jan van Scorel

41. Jan van Scorel

Engraving, second state
Attributed to Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum

19.5 x 12.7 cm


Transcription of Inscription [Lampsonius]:

IOANNES SCORELLUS BATAVUS PICTOR.
Primus ego egregios pictura invisere Romam
Exemplo docuisse meo per secula Belgas
Cuncta ferar ; neque enim iusti dignandus honore
Artificis, qui non graphidas, pigmentaque mille
Consumpsit, tabulasque schola depinxit illa45 


Translation of Inscription [Lampsonius]:

Jan van Scorel, Dutch painter. 
Through all centuries I shall be said to have been the first to have taught by my example the excellent Belgians to be envious of Rome in painting.  For he is not worthy of the honour of a true artist, who does not use up a thousand pencils and pigments, and paint pictures in that school.46




Hollstein 1994 no.98

 Karel Van Mander's biography of Jan van Scorel
 Grove Art Online biography

View the 1572 print
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43. Lambert Lombard
43. Lambert Lombard

43. Lambert Lombard

Engraving, second state
Signed 'Hh ex.' by Hendrick Hondius
Copy in same direction as Cock 1572 engraved Pictorum

20.1 x 11.9 cm


Transcription of Inscription [Lampsonius]:

LAMBERTO LOMBARDO, LEODIENSIS PICTORI. ET ARCHITECTO.
Elogium, ex merito quod te, Lombarde, decebat,
     Non libet hîc paucis texere versiculis :
Continet hoc ea charta (legi si nostra merentur)
     De te quam fecit Λαμψονίοτε γραφίς

Translation of Inscription [Lampsonius]:

To Lambert Lombard of Liège, painter and architect
It does not please [me], Lombard, to write here in a few verses an epigraph which would be suitable to your merits.  Those pages contain it which (if our works deserve to be read) the Lampsonian pen47 wrote about you.


Hollstein 1994 no. 99

 Karel Van Mander's biography of Lambert Lombard
 Grove Art Online biography

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45. Pieter Bruegel
45. Pieter Bruegel

45. Pieter Bruegel

Engraving, second state
Signed 'Hh' by Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum

19.2 x 11.7 cm

Transcription of Inscription [Lampsonius]:
PETRO BRVEGEL, PICTORI.
Quis novus hic Hieronymus Orbi
Boschius ? ingeniosa magistri 
Somnia peniculoque, styloque
Tanta imitarier arte peritus.
Ut superet tamen interim et illum ?
Macte animo, Petre, mactus ut arte
Namque tuo, veterisque magistri
Ridiculo, salibusque referto
In graphices genere inclita laudum
Praemia ubique, et ab omnibus ullo
Artifice haud leviora mereris

Translation of Inscription [Lampsonius]:

To Pieter Bruegel, painter. 
Who is this new Hieronymus Bosch for the world, versed in imitating the master’s ingenious dreams with such great skill of paintbrush and pen – so that sometimes he surpasses even him.  Pieter, [you are] blessed in your spirit, as you are blessed in your skill, for in your own and your old master’s comic type of painting, full of wit, you deserve glorious rewards of praise, everywhere and from everyone, no less than those of any artist.



Hollstein 1994 no.100

 Karel Van Mander's biography of Pieter Bruegel
 Grove Art Online biography

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47. Willem Key
47. Willem Key

47. Willem Key

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in reverse direction to Cock 1572 engraved Pictorum

19.8 x 12.0 cm


Transcription of Inscription [Lampsonius]:

DE GUILIELMO CAIO, BREDANO, PICTORE. 
Quas hominum facies, ut eos te cernere credas
     Expressit Caii pingere docta manus,
(Si tamen excipias unum, me iudice, Morum)
     Culpari Belgae nullius arte timent.

Translation of Inscription [Lampsonius]:

About Willem Key of Breda, painter. 
What faces of people the hand of Key, learned in painting, expressed, so that you could believe you were looking at them!48 – if however, you except one, Mor,49 in my opinion the Belgians do not fear to be found wanting because of anyone’s skill. 


Hollstein 1994 no.101

 Karel Van Mander's biography of William Key
 Grove Art Online biography

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49. Lucas Gassel
49. Lucas Gassel

49. Lucas Gassel

Engraving, second state
Signed 'Hh ex.' by Hendrick Hondius
Copy in same direction as Cock 1572 engraved Pictorum

20.4 x 12.1 cm

Transcription of Inscription [Lampsonius]:

LUCÆ GASSELO HELMONTANO PICTORI.
Salve omnes, Luca, ante alios carissime quondam
     Nec levius proprio culte parente mihi.
Quippe mihi primus graphices datus auctor amandae
     Dum pingis docta rura, casasque manu.
Par arte50 probitasque tuae, candorque, bonorum
     Et quicquid mentes ducere amore potest.
Ergo fama tuae virtutis, et artis in aevum
     Vivat, utroque mihi nomine amate senex 


Translation of Inscription [Lampsonius]:

To Lucas Gassel of Helmond, painter.
Hail, Lucas, once more dear than all the rest, and no less honoured by me than my own father.  Indeed you were the first cause of loving painting offered to me, while you were painting fields and huts51 with your learned hand.  Equal to your skill52 [else] can attract the minds of the good with love.  Therefore may the fame of your virtue and skill live forever, old man beloved to me on both counts.



Hollstein 1994 no.102

 Karel Van Mander's biography of Lucas Gassel
 Grove Art Online biography

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51. Frans Floris
51. Frans Floris

51. Frans Floris

Engraving
Signed 'Hh ex.' by Hendrick Hondius
Copy in same direction as Cock 1572 engraved Pictorum

20.5 x 12.5 cm


Transcription of Inscription [Lampsonius]:

FRANCISCO FLORO ANVERPIANO, PICTORI
Si pictor quantum natura, Flore, valebas,
     Tantum adiunxisses artis et ipse tibi,
Dum tibi multa libet potius, quam pingere multum
     Nec mora te limae iusta, laborque iuvat :
Cedite clamarem, pictores, omnibus oris
     Quos vel avi, nostri vel genuêre patres.

Translation of Inscription [Lampsonius]:

To Frans Floris of Antwerp, painter 
If, Floris you had acquired for yourself as much skill as you had natural ability as a painter (since you preferred to paint many things than to paint a lot,53 and neither the just delay of the file nor hard work54 pleased you) – I would cry out ‘yield painters from all lands,55 whom either our grandfathers or our fathers produced’. 



Hollstein 1994 no.103

 Karel Van Mander's biography of Frans Floris
 Grove Art Online biography

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53. Albrecht Dürer
53. Albrecht Dürer

53. Albrecht Dürer

Etching
Signed Hh excud. By Hendrick Hondius, attributed to Simon Frisius
11.8 x 19.4 cm


Transcription of Inscription:

ALBERTUS DURERUS, NOREBERGENS
Vir virtute gravis, túmque arte insignis habetur,
   Teutonicae gentis gloria summa suae.
Contulit huic Caesar insignia nobilitatis,
   Tantus honos artis, famáque tanta viri.

Translation of Inscription:

Albrecht Dürer of Nuremberg
He is considered to be a man grave in virtue and famous for his skill, the greatest glory of his Teutonic56 people.  The emperor57 gave him the marks of nobility.  So great was the honour [paid] to his skill, and so great the man’s fame. 

Orenstein 1996 Frisius, no. 143; Hollstein 2008 no. 163

 Karel Van Mander's biography of Albrecht Dürer 
 Grove Art Online biography

55. Lucas van Leyden
55. Lucas van Leyden

55. Lucas van Leyden

Etching
Signed 'Hh fecit' by Hendrick Hondius
21.9 x 12.9 cm

Transcription of Inscription [Lampsonius]:
LUCÆ LEIDANCO PICTORI, ET SCULPTORI
        Tu quoque Durero non par, sed proxime, Luca,
        Seu tabulas pingis, seu formas sculpis ahenas,
        Ectypa reddentes tenui miranda papyro,
        Haud minimam in partem (si qua est ea gloria) nostrae
        Accede, et tecum natalis Leida, Camoenae. 
                                                       D. Lampsonius.

Translation of Inscription:
To Lucas van Leyden, painter and sculptor58
You too, not equal, but nearest to Dürer, whether you be painting pictures, or sculpting bronze forms which provide marvellous plates for the thin paper, take (if there is any glory in this)59 a place – not the least important – in our Muse’s work,60 along with your native Leyden.
D. Lampsonius


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57. Hans Holbein
57. Hans Holbein

57. Hans Holbein

Etching
Signed Hh ex. by Hendrick Hondius, attributed to Simon Frisius
20.5 x 12.3 cm

Transcription of Inscription:
IOANNES HOLBENUS, BASILENSIS
Egregius pictor magno qui gratus Erasmo.
   His quantu61 accrevit laus, Basilea, tua !
Divisus nostro te suscipit orbe Britannus
   Holbene.  orbe uno laus tua non capitur.

Translation of Inscription:
Hans Holbein of Basel
An exceptional painter, who was pleasing to great Erasmus. From this, Basel, how much does62 your praise grow! The Briton, separated from our world,63 received you, Holbein.  Your praise is not contained by one world.

Orenstein 1996, Frisius no. 148; Hollstein 2008 no. 168
Karel Van Mander's biography of Hans Holbein 
Grove Art Online biography 

59. Heinrich Aldegrever
59. Heinrich Aldegrever

59. Heinrich Aldegrever

Etching and engraving
Signed 'Hh' by Hendrick Hondius, attributed to Simon Frisius
20.4 x 12.7 cm


Transcription of Inscription:
HENRICUS ALDEGREVER, VESTPHALUS. PICTOR, ET SCULPTOR 
Vestphalus incultus non Aldegravius hic est,
Regum et Doctorum clarus imaginibus.
Sartorem rege pinxit bene, Vestphaliam qui
Subtili filo strinxerat ingenii.

Translation of Inscription:
Heinrich Aldegrever, the Westphalian, painter and sculptor
This Aldegrever is not an uneducated Westphalian. He was famous for images of kings and learned men.  He painted well the tailor king,64 he who had bound Westphalia with the subtle thread of his genius. 

Orenstein 1996, Frisius no. 136; Hollstein 2008 no. 156
Karel Van Mander's biography of Heinrich Aldegrever
Grove Art Online biography

61. Jacob Binck
61. Jacob Binck

61. Jacob Binck

Etching
Signed 'Hh' by Hendrick Hondius, attributed to Simon Frisius
20.2 x 12.2 cm

Transcription of Inscription:
IACOBUS BINCKIUS, GERMAN. PICT. ET SCULP.
Binckius, ingenio quae finxit, pinxit et idem,
Et scalpsit.  certant ars, manus, ingenium.
Cúm tua sint docté parvis expressa tabellis ;
Artis Censori credito magnus eris. 


Translation of Inscription:
Jacob Binck, German painter and sculptor 
Binck painted and engraved himself what he imagined in his mind.65 His skill, hand and mind vie [with one another].  Since your [works] are learnedly expressed,66 you will be great, if the censor of skill is believed.67

Orenstein 1996, Frisius, no. 137; Hollstein 2008 no.157 
Grove Art Online biography

63. Pieter Aertsen
63. Pieter Aertsen

63. Pieter Aertsen

Engraved by Hendrick Hondius (Orenstein 1996)
Signed 'Hh fecit' by Hendrick Hondius
20.2 x 12.6 cm


Transcription of Inscription:
PETRUS PETRI, LONGUS, AMSTELR. PICTOR.
Chromata mirantur docti, ductúsque viriles,
    Et Tabulas magnas quas tua dextra dedit.
Corpore longus eras : et formans Corpora longa,
    Tu, LONGE, ostendis magna placere tibi.

Translation of Inscription:
Pieter Aertsen, the Long of Amsterdam, painter.
The learned wonder at your colours, your manly strokes, and the great paintings which your hand produced.  You were long in body, and made long bodies: Long one, you have shown that great things please you. 

Hollstein 1994 no.105

Karel Van Mander's biography of Pieter Aertsen
Grove Art Online biography

65. Joachim Beuckelaer
65. Joachim Beuckelaer

65. Joachim Beuckelaer

Etching
Signed 'Hh exc.' by Hendrick Hondius, attributed to Simon Frisius
19.5 x 12.2 cm

Transcription of Inscription:
IOACHIMUS BUECKELAER, ANTVERP. PICTOR
Hic tenui pinxit pretio dum vita manebat :
   Ast Tabulis pictis gloria non tenuis.
Cujus post mortem colimus tabulasque culinas.68
   Nec mirum.  multis docta culina placet.  

Translation of Inscription:
Joachim Beuckelaer of Antwerp, painter 
This man painted for a meagre reward, while life remained [to him].69 But his pictures have no meagre glory, whose paintings and kitchens70 we honour after his death.  Nor is this surprising. A learned kitchen pleases many. 

Orenstein 1996 no. 140; Hollstein 2008 no. 160

Karel Van Mander's biography of Joachim Beuckelaer 
Grove Art Online biography 

67. Maarten van Heemskerk
67. Maarten van Heemskerk

67. Maarten van Heemskerk

Etching
Signed 'Hh ex.' by Hendrick Hondius, attributed to Simon Frisius
19.7 x 12.3 cm


Transcription of Inscription:
MARTINUS HEMSKERKUS, HARL.
Quae regio, Hemskerki Batavi non plena laboris?
     Tot pinxit, finxit qui ingenio tabulas.
Urbes admirans, turres, tristeśque ruinas,
     Dices Daedaleas composuisse manus.

Translation of Inscription:
Maarten van Heemskerck of Haarlem
What region is not full of the labour of Maarten the Dutchman,71 who painted and made so many pictures with his genius?72 Admiring cities, towers, and sad ruins, you will say that the hands of Daedalus made them. 

Orenstein 1996, Frisius no. 146; Hollstein 2008 no. 166

Karel Van Mander's biography of Maarten van Heemskerck 
Grove Art Online biography

69. Anthonie Blocklandt
69. Anthonie Blocklandt

69. Anthonie Blocklandt

Etching
Signed 'Hh exc.' by Hendrick Hondius, attributed to Simon Frisius
20.3 x 12.4 cm

Transcription of Inscription:
ANTONIUS BLOCLANDUS, BATAVUS PICTOR.
Nobilis hic arte est, genere est hic nobilis idem,
     Formâ qui pinxit corpora conspicuâ.
Cúm pictam primo vidisset lumine Romam,

            Mox rediit Romae cedere turpe putans. 

Translation of Inscription:
Anthonie Blocklandt the Dutchman, painter.
This man is noble in skill; this same man is noble by race.  He painted bodies of remarkable shape.73 When he had seen Rome painted in the first light,74 he soon returned, thinking it disgraceful to yield to Rome.75

Orenstein 1996, Frisius no. 138; Hollstein 2008 no. 158

 Karel Van Mander's biography of Anthonie Blocklandt 
 Grove Art Online biography

71. Frans Pourbus
71. Frans Pourbus

71. Frans Pourbus

Engraved by Hendrick Hondius (Orenstein 1996)
Signed 'Hh form. Cum privil.' by Hendrick Hondius
19.8 x 12.2 cm


Transcription of Inscription:
FRANCISCUS POURBUSIUS, BRUGENSIS.
Patre fuit pictore satus Pourbusius : arte
   Verum patre prior.  Sic monumenta docent.
Vivunt, quas pinxit pecudes pictaéque volucres :
     Pictoris lugent quae simul interitum.

Translation of Inscription:
Frans Pourbus of Bruges.
Pourbus was begotten by a painter father, but in skill he stood before his father.  His monuments teach this.  The flocks and coloured birds76 which he painted are alive, [and] they weep together for the painter’s death. 

Hollstein 1994 no.106

 Karel Van Mander's biography of Frans Pourbus
 Grove Art Online biography 

73. Hubert Goltzius
73. Hubert Goltzius

73. Hubert Goltzius

(After Philip Galle's engraving after Anthonis Mor.)
Engraving by Robert de Baudous (Orenstein 1996, 39)
Signed 'Hh exc.' by Hendrick Hondius
20.5 x 12.4 cm (irregular plate)

Transcription of Inscription:
HUBERTUS GOLTZIUS, VENLON. PICTOR
Ut gemma in nitido fulget praestantior auro
   Chalcographus nitidus, clarus et Historicus:
Et Sculptor, Pictor : Romana Nomismata77, Fasti
Romanum civem quem voluere suum.

Translation of Inscription:
Hubert Goltzius of Venlo, painter 
As a gem gleams more prominently in shining gold, [so] the shining bronze-engraver was also a famous historian, and a sculptor and painter, whom Roman coins and calendars wanted as their own Roman citizen.78

Orenstein 1996, Frisius no. 145; Hollstein 2008 no. 165

 Karel Van Mander's biography of Hubert Goltzius
 Grove Art Online biography 

75. Dirck Barendsz
75. Dirck Barendsz

75. Dirck Barendsz

Engraved by Hendrick Hondius (Orenstein 1996)
Signed by 'Cum privil. Hh ex' by Hendrick Hondius
19.5 x 19.9 cm


Transcription of Inscription:
THEOD. BERNARDI, AMSTELDEN.
Vir gravis et doctus, pictor clarissimus idem,
     Titiani magni prodiit ipse scholâ : 
Usus et hic doctis, Algondo imprimis, et ipsa

            Pictorum summo iudice Lampsonio.


Translation of Inscription:
Dirck Barendsz. of Amsterdam
A grave and learned man, also a most famous painter, he came himself from the school of great Titian. 
Here too he had converse with the learned, especially Aldegonde,79 and the greatest judge of painters, Lampsonius himself.80

Hollstein 1994 no.107

 Karel Van Mander's biography of Dirck Barendsz
 Grove Art Online biography 

77. Hans Bol
77. Hans Bol

77. Hans Bol

Engraving by Andries Jacobsz. Stock (Orenstein 1996, 267)
Signed 'Hh form.' by Hendrick Hondius
20.7 x 12.1 cm


Transcription of Inscription:
IOANNES BOLLIUS, MECHLINIENSIS. PICTOR
Pictorum sedes dedit hunc Mechlinia Bollum,
Arte, nitore urbes quae superat reliquas.
Rura, lacus aqueo quamvis sint ducta colore ;

   Non tamen haec abeunt more fluentis aquae.


Translation of Inscription:
Hans Bol of Mechelen, painter

The home of painters, Mechelen, which outdoes other cities in skill and splendour, gave this Bol. 
Although fields and lakes are traced in watery colour, still they do not depart like flowing water.81

Orenstein 1996, Stock no. 267
Karel Van Mander's biography of Hans Bol
Grove Art Online biography 

79. Anthonis Mor
79. Anthonis Mor

79. Anthonis Mor

Etching
Signed 'Hh' by Hendrick Hondius, attributed to Simon Frisius
21 x 12.2 cm

Transcription of Inscription:
ANTONIUS MORUS, ULTRAIECTINUS PICTOR 
Quaestus, nomen, honos, si munera magna petenda :
   Voto respondent omnia, More, tuo.
Te coluit Caesar, tum magnus Caesaris haeres.
  Multum his principibus te placuisse viris.

Translation of Inscription:
Anthonis Mor, Painter of Utrecht
Wealth, fame, honour (if great offices are to be sought) – everything answered to your wishes, Mor.82
The emperor honoured you, and the great successor of the emperor.83
It is much for you to have pleased these princely men.

Orenstein 1996, Frisius no. 151; Hollstein 2008 no. 171

 Karel Van Mander's biography of Anthony Mor
 Grove Art Online biography 

 

81. Hendrick van Cleef
81. Hendrick van Cleef

81. Hendrick van Cleef

Etching and engraving
Signed 'Hh exc.' by Hendrick Hondius, attributed to Simon Frisius
19.5 x 12.2 cm


Transcription of Inscription:
HENRICUS CLIVENSIS, ANTVERP. PICTOR 
Urbes atque Arces, Montes, Terrásque jacenteis84,
   Et Valles, Fontes, Flumina, Rura, Lacus,
Atque Casas humiles, tum tecta superba domorum
   Quae pinxit, recreant mirificé haec oculos. 

Translation of Inscription:
Hendrick van Cleef of Antwerp. Painter
The cities and castles, mountains and low-lying lands, and valleys, fountains, rivers, fields, lakes and humble huts, besides the proud roofs85 of houses, which he painted – these wonderfully refresh the eyes.86

Orenstein 1996, Frisius no. 141; Hollstein 2008 no.161
 Karel Van Mander's biography of Hendrick van Cleef 
 Grove Art Online biography

 

83. Christian van den Queborn
83. Christian van den Queborn

83. Christian van den Queborn

Etching
Signed 'Hh ex.' by Hendrick Hondius, attributed to Simon Frisius
20.1 x 11.6 cm

Transcription of Inscription:
CHRISTIANUS QUEBORNUS. ANTV. PICTOR. 
Rura, lacus, silvas, montes Vallésque, recessus,
   Et fontes, pontes, et maria, et fluvios,
Omnia grata oculis, vario quae picta colore,
   Docta manus pingit, fingit at ingenium. 

Translation of Inscription:
Christian van den Queborn of Antwerp, painter. 
Fields, lakes, woods, mountains and valleys, caves, and fountains, bridges, and seas and rivers, all things pleasing to the eye, painted with varied colour – [these] his learned hand painted, but his mind imagined them.87

 

Orenstein 1996, Frisius no. 154; Hollstein 2008 no. 174
RKD artists biography

85. Cornelius Visscher
85. Cornelius Visscher

85. Cornelius Visscher

Engraving by Robert de Baudous (Orenstein 1996, 42)
Signed 'Hh form.' by Hendrick Hondius
20.6 x 12.2 cm


Transcription of Inscription:
CORNELIUS VISSHERUS, GOUDAN. 
Postremos inter non est Vischerus habendus,
     Austriaci, Auriaci clarus imaginibus.
Principis exemplar cum quaerant undique vestrum
     Pictores : Magno magnus es Auriaco.

Translation of Inscription:
Cornelius Visscher of Gouda

Visscher, famous for images of the Hanoverian and the [Prince] of Orange, is not to be counted among the least.  Since painters from everywhere seek your88 image of the prince, you are great by the great [Prince of] Orange. 

Orenstein 1996, Baudous no. 42
Grove Art Online biography 

87. Crispijn van der Broeck
87. Crispijn van der Broeck

87. Crispijn van der Broeck

Engraved by Hendrick Hondius (Orenstein 1996)
Signed 'Hh Cum privil' by Hendrick Hondius
20.4 x 12.1 cm

Transcription of Inscription:
CRISPIANUS BROEKIUS, ANTVERP. PICTOR.
Inventor felix habitus, pictórque peritus
Tectonices : laudas quem ingeniose faber.
Corpora pingebat magnis expressa figuris

Ad vivum, quorum tegmina nulla vides


Translation of Inscription:
To Crispijn van den Broeck of Antwerp, painter 
Ingenious craftsman,89 he whom you praise was thought to be a lucky inventor and a skilled painter of carpentry.  He painted lifelike90 bodies set forth in large shapes.  On these you shall see no covering.

 

Hollstein 1994 no.108

 mentioned in Karel Van Mander’s life of Frans Floris 
 Grove Art Online biography

89. Joos van Winghe
89. Joos van Winghe

89. Joos van Winghe

Etching
Signed 'Hh ex.' by Hendrick Hondius, attributed to Simon Frisius
20.1 x 11.9 cm

Transcription of Inscription:
IODOCUS WINGIUS, BRUXELL. PICTOR
Wingius hic multum pingebat corpora viva : 
     Venae, membra, artus, omnia consipicua.
Cujus laudatur, quae expressa est, Belgica nuda : 
     Quâ ostendit Patriae tristia fata suae.

Translation of Inscription:
Joos van Winghe of Brussels, painter 
This van Winghe often painted living bodies – veins, limbs, joints, everything was remarkable.  His Belgian nude, which has been printed,91 is praised. With her he showed the sad fate of his fatherland. 

Orenstein 1996, Frisius no. 159; Hollstein 2008 no. 179
 Karel Van Mander's biography of Joos van Winghe 
 Grove Art Online biography

91. Gillis Mostaert
91. Gillis Mostaert

91. Gillis Mostaert

Etching and engraving
Signed 'Hh excud.' by Hendrick Hondius, attributed to Simon Frisius

20.3 x 12.5 cm

Transcription of Inscription:

ÆGIDIUS MOSTART, FLANDER. PICTOR.
Nomine Mostarti duo sunt, fratrésque gemelli,
     Arte pares, vultu, moribus, ingenio.
Gilius inventor felix, laetúsque color92:
     Sic color in verbis, et sine felle sales.

Translation of Inscription:

Gillis Mostaert of Flanders, painter 
There are two twin brothers by the name of Mostaert.  They are equal in skill, appearance, morals and genius.93 Gillis is a lucky inventor,94 rejoicing in colour.  Thus there is colour95 in his words, and wit without bile.

Orenstein 1996, Frisius no. 152; Hollstein 2008 no.172
 Karel Van Mander's biography of Gillis Mostaert 
 Grove Art Online biography

93. Joris Hoefnagel
93. Joris Hoefnagel

93. Joris Hoefnagel

Etching
Signed 'Hh. formis' by Hendrick Hondius, attributed to Simon Frisius
21.2 x 12.5 cm

Transcription of Inscription:

GEORGIUS HOEFNAGLIUS PICT. ANTVERPIANUS 
Doctrinâ excultus se offert Hoefnaglius ille,
   Cosmographo docto fidus et Ortelio.
Hic Orbem, ille Urbes dedit Orbi ingente Theatro,
   Et pinxit flores brutá96 que qui varia. 

Translation of Inscription:

Joris Hoefnagel, painter of Antwerp

This Hoefnagel, refined by learning, presents himself.  He was also trustworthy for the learned cosmographer Ortelius.  The latter gave the world, [and] the former cities to the world in a gigantic Theatre,97 and painted flowers and various brute beasts.98

Orenstein 1996, Frisius no. 147; Hollstein 2008 no. 167

 Karel Van Mander's biography of Joris Hoefnagel 
 Grove Art Online biography

95. Michiel Coxcie
95. Michiel Coxcie

95. Michiel Coxcie

Etching and engraving
Signed 'Hh exc.' by Hendrick Hondius, attributed to Simon Frisius
20.4 x 12.4 cm

Transcription of Inscription:

MICHAEL COEXIUS, MECHLINIENS. PICTOR. 
Coexius illustris pictor, Mechlinia cujus
   Patria, doctorum quae fuit artificum.
Hic magno pinxit.  nam Zeuxis creditur esse :
   Carus divitibus, principibúsque Viris. 

Translation of Inscription:

Michiel Coxie of Mechelen, painter
Coxie was an illustrious painter, whose fatherland was Mechelen, which was that of learned artists.99 He painted for a great price.  For he was believed to be Zeuxis,100 [and] was dear to the rich and to princely men.

Orenstein 1996, Frisius no. 142; Hollstein 2008 no.162

 Karel Van Mander's biography of Michiel Coxie 
 Grove Art Online biography

97. Arnold Mytens
97. Arnold Mytens

97. Arnold Mytens

Engraved by Hendrick Hondius (Orenstein 1996)
Signed 'Hh f Cum privilegio' by Hendrick Hondius
20.1 x 11.8 cm

Transcription of Inscription:

ARNOLDUS MYTENUS. BRUXELL.
Haerent parietibus monumenta ingentia sacris
    Arnolde Italiae, que101 recreant animos.
Ornas Italiam : primúm te ornaverat illa.
    Te Belgam laudans Itala terra colit.

Translation of Inscription:

Arnold Mytens of Brussels
Arnold, gigantic monuments, which refresh souls,102 cleave to the sacred walls of Italy.  You adorn Italy: first she adorned you.  Praising Belgium, the land of Italy honours you.

Hollstein 1994 no.109

 Karel Van Mander's biography of Arnold Mytens 
 RKD artists biography

99. Maarten de Vos
99. Maarten de Vos

99. Maarten de Vos

Etching
Attributed to Simon Frisius

20.1 x 11.7 cm

Transcription of Inscription:

MARTINUS VOSSIUS, ANTVERPIAN. PICTOR.
Qui se offert oculis, Martinus Vossius ille :
   Cujus erat frater pictor, et ipse pater.
Arte hic Martinus sane est Hemskerkius alter.
   Nam simili ductu pinxit uterque, modo.

Translation of Inscription:

Maarten de Vos of Antwerp, painter
He who presents himself to [your] eyes is that Maarten de Vos, whose brother, and even father, were painters. In his skill this Maarten is surely a second Heemskerk.  For both painted with a similar stroke [and]103 manner. 

Orenstein 1996, Frisius no. 156; Hollstein 2008 no.176

 Karel Van Mander's biography of Maarten de Vos 
 Grove Art Online biography

101. Hans Vredeman de Vries
101. Hans Vredeman de Vries

101. Hans Vredeman de Vries

101Engraved by Hendrick Hondius (Orenstein 1996)
Signed 'Hh form. Cum privil.' by Hendrick Hondius

19.8 x 11.6 cm

Transcription of Inscription:

IOANNES VREDEMANNUS FRISIUS. LEOVARDIENSIS.
Pictorum summus, celebrat quos Optica virtus,
     Friso : probant artem Regia tecta tuam.
Cum tua sint Opera haec varii104 subnixa Columnis
     Spectabit longo tempore posteritas.

Translation of Inscription:

Hans Vredeman de Vries of Leeuwarden
Frisian, greatest of painters whom skill in optics makes famous, the royal palace proves your skill.  Since these works are yours, supported by diverse105 columns, posterity shall gaze upon them for a long time.

Hollstein 1994 no.110

 Karel Van Mander's biography of Hans Vredeman de Vrie 
 Grove Art Online biography

103. Gillis Coninxloo
103. Gillis Coninxloo

103. Gillis Coninxloo

Engraving by Andries Jacobsz. Stock (Orensrtein 1996, 268)
Signed 'Hh excudit' by Hendrick Hondius

202 x 12.1 cm

Transcription of Inscription:

ÆGIDIUS CONINCXLOY, ANTVERPIAN. PICTOR.
Pingere rura, lacus, silvas, animalcula, fontes
    Cura tibi.  pascunt mirificé haec oculos.
Te duce nunc pingunt alii campósque lacúsque :
Te Fauni, Nymphae, te Dryadésque canunt.

Translation of Inscription:

Gillis Coninxloo of Antwerp, painter 
Your concern was to paint fields, lakes, small animals and fountains.  These things nourish 106 the eyes wonderfully.  By your example, now others paint fields and lakes: the Fauns, the Nymphs and the Dryads sing of you. 

Orenstein 1996, Stock no. 268

 Karel Van Mander's biography of Gillis Coninxloo 
 Grove Art Online biography

 

105. Karel van Mander
105. Karel van Mander

105. Karel van Mander

Engraving by Andries Jacobsz. Stock (Orenstein 1996, 269)
Signed 'Hh. formis' by Hendrick Hondius

20.4 x 12.2 cm


Transcription of Inscription:

CAROLUS VER-MANDERUS, PICT. ET POETA. 
Peniculo vivunt Pictores ingeniosi,
   Et vivunt calamo, Carole docte, tuo.
Pictor, Pictorum Censor tu candidus idem.
   Pulcrum est Artificis pingere judicio. 

Translation of Inscription:

Karel van Mander, Painter and Poet
Ingenious pictures live by their brush, and they live, learned Karel, by your pen.  You are at the same time a painter and the candid censor of painters.107. It is a fine thing to paint for the judgment of an artist. 

 Orenstein 1996, Stock no. 269
 Karel Van Mander's Het Schilder-boeck
 Grove Art Online biography

 

107. Johannes Stradanus
107. Johannes Stradanus

107. Johannes Stradanus

Etching, second state
Inscribed on cartouche 'Pars III. Henr. hondius excudit. Cum Privil.', attributed to Simon Frisius

19.9 x 15.9 cm

Transcription of Inscription:

IOANNES STRADANUS, BRUGENS. PICT. 
Stradano Belga florens Hetruria gaudet,
Quae tantum Belgis invidet artificem.
Cujus et ipse Myron opera et miratur Apelles : 
Quem doctae et pulcrae progenuere Brugae.


Translation of Inscription:

Johannes Stradanus, painter of Bruges
Flowering Tuscany rejoices in the Belgian van der Straet.  She envies the Belgians so great an artist, whose works Myron himself and Apelles admire, whom beautiful, learned Bruges brought forth.

Orenstein 1996, Frisius no. 155; Hollstein 2008 no.175

 Karel Van Mander's biography of Johannes Stradanus
 Grove Art Online biography 107

111. Cornelius Ketel
111. Cornelius Ketel

111. Cornelius Ketel

Engraved by Hendrick Hondius (Orenstein 1996)
Signed 'Hh. Esc. Cum privil.' by Hendrick Hondius
20.9 x 11.8 cm

Transcription of Inscription:

CORNELIUS KETEL, GOUDANUS.
Primus hic á Luca Leidano pictor habetur
     Goudanus, Batavi gloria uterque soli.
Quam bene conveniant, docuit, Pictura, Poesis :
    Quae pinxit, prius hic finxerat ingenio.

Translation of Inscription:

Cornelius Ketel of Gouda. 
This man of Gouda is held to be the greatest painter after Lucas van Leyden – both [are] glories of the Dutch land.  He taught how well painting and poetry108 go together.  What he painted, the other109 had first imagined110 with his genius.

 

 Hollstein 1994 no.111
 Karel Van Mander's biography of Cornelius Ketel 
 Grove Art Online biography

113. Hans von Aachen
113. Hans von Aachen

113. Hans von Aachen

Engraving by Andries Jacobsz. Stock (Orenstein 1996, 270)
Signed 'Hh exc.' by Hendrick Hondius

20.4 x 12.3 cm


Transcription of Inscription:

IOANNES AQUANUS, COLONIENSIS. PICTOR. 
Picturae Aquanus primus111 se tradit ab annis : 
     Quae praestat juvenis vix potuere viri.
Germanum juvenem cúrri temneret Itala tellus ;
     Mox artem observans Roma magistra stupet.

Translation of Inscription:

Hans von Aachen 
Aachen gave himself over to painting from his earliest years.112 What the youth accomplished men could scarcely do.  Although the Italian land despised the German youth, soon, observing his skill, mistress Rome was amazed.

Orenstein 1996, Stock no. 270 
 RKD artists biography

115. Hendrick Goltzius
115. Hendrick Goltzius

115. Hendrick Goltzius

Etching
Signed 'Hh ex' by Hendrick Hondius, attributed to Robert de Baudous

20 x 12.5 cm

Transcription of Inscription:

HENRICUS GOLTZIUS, MULBRACHT. PICTOR, ET CHALCOG. 
Hic Sculptor, pictor multis celebratus in oris,
   Qui multos superat dexteritate manus:
Itala quem tellus miratur ; nobile servat
   Harlemum, Artificum patria et hospitium. 

Translation of Inscription:

Hendrick Goltzius of Mülbracht, painter and bronze-engraver
This is the sculptor and painter celebrated in many lands, who surpassed many in the dexterity of his hand, [and] whom the land of Italy admired.  He remains in noble Haarlem, fatherland and guesthouse of artists. 

 Orenstein 1996, Baudous no. 39
 Karel Van Mander's biography of Hendrick Goltzius
 Grove Art Online biography

119. Michael van Mierevelt
119. Michael van Mierevelt

119. Michael van Mierevelt

Etching and engraving
Signed 'Hh' by Hendrick Hondius, attributed to Simon Frisius

20.2 x 12.4 cm

Transcription of Inscription:

MICHAEL MIREVELT, DELPHENSIS PICTOR. 119
Pingendo ad vivum quo non praestantior alter :
   Delphicus hinc Zeuxis dicitur esse novus.
Principibus magnis fuit invitatus: at ipsum
   Ante alias urbes patria culta tenet.  

Translation of Inscription:

Michael van Mierevelt of Delft, painter

No one was more eminent in painting in lifelike manner.113Therefore the man of Delft was said to be the new Zeuxis.114 He was invited by great princes: but his honored fatherland held him more than other cities.

Orenstein 1996, Frisius no. 149; Hollstein 2008 no.169

 Karel Van Mander's biography of Michael van Mierevelt 
 Grove Art Online biography

121. Otto van Veen
121. Otto van Veen

121. Otto van Veen

Engraving by Robert de Baudous (Orenstein 1996, 41)
Signed 'Hh ex.' by Hendrick Hondius

19.2 x 12.7 cm


Transcription of Inscription:

OTTO VENIUS, LEIDANUS, PICTOR, 
Moribus, ingenio praeclarus Venius Arte est.
     Quae ingenio finxit, pinxit et ipse manu.
Regibus hic magnis est invitatus : at ipse
     Regna, orbes dulci posthabuit Patria.

Translation of Inscription:

Otto van Veen of Leyden, painter, 
Van Veen is illustrious for his morals, his genius and his skill.115 What his genius imagined, he also painted with his own hand.  He was invited by great kings, but he himself held kingdoms and worlds to be less important than his sweet fatherland.


Orenstein 1996, Baudous no. 41

 Karel Van Mander's biography of Otto van Veen 
 Grove Art Online biography 

123. Paul Bril
123. Paul Bril

123. Paul Bril

Engraved by Hendrick Hondius (Orenstein 1996)
Signed 'Hh fecit. Cum privil.' by Hendrick Hondius
20.7 x 12.3 cm

Transcription of Inscription:

PAULUS BRILLIUS, ANTVERP. 

Castella et silvas, sata laeta, boúmque labores,
    Et montes pictor Brillius exhibuit.
Gratior iccirco sacro qui verticae. 117murice qui Tyrio. 


Translation of Inscription:

Paul Bril of Antwerp

Brill the painter showed fortresses and woods, joyous crops and the work of oxen, 118 and mountains.  Therefore he was the more pleasing to the one who is first on the holy summit (the Pontiff), and to the one who is illustrious 119  in Tyrian purple. 120


Hollstein 1994 no.113
 Karel Van Mander's biography of Paul Bril 
 Grove Art Online biography 

125. Cornelius Cz. van Haarlem
125. Cornelius Cz. van Haarlem

125. Cornelius Cz. van Haarlem

Engraving by Robert de Baudous (Orenstein 1996, 38)

Signed 'Hh ex.' by Hendrick Hondius


Transcription of Inscription:

CORNEL. CORNELII, HARLEMENSIS, PICTOR. 
Peniculum studio teneris tractavit ab annis : 
    Qui docuit quantúm cura labórque valent.
Ante alios dictus fuit hic cognomine PICTOR
    Quám bene cognomen congruit artifici.

Translation of Inscription:

Cornelis Cornelisz. van Haarlem, painter 
He used the paintbrush with zeal from his tender years, he who taught how much taking pains and working hard can accomplish.  Before others he was known by the nickname “painter”.  How well the nickname matches the artist!

Orenstein 1996, Baudous no. 38
 Karel Van Mander's biography of Cornelis Cornelisz. van Haarlem 
 Grove Art Online biography 

 

127. Jacques de Gheyn II
127. Jacques de Gheyn II

127. Jacques de Gheyn II

Engraving by Andries Jacobsz. Stock (Orenstein 1996, 271)
Signed 'Hhondius exc.' by Hendrick Hondius 
20.3 x 12.4 cm

Transcription of Inscription:

IACOBUS DE GEYN, ANTVERP, PICT ET SCULPT. 
Geinius eximius Scalptor, Pictórque peritus,
   Inventor felix, judicióque bonus.
Et Belli et Pacis pingens Insignia, gratus
   Ipse Duci Belli qui artibus egregius.  

Translation of Inscription:

Jacques de Gheyn. Painter and Sculptor
De Gheyn is an excellent engraver, and an experienced painter, a lucky inventor,121 Gillis Mostaert.and sound in judgment. Painting the standards of both war and peace, he is himself pleasing to the leader of the war, who is outstanding in skill. 122


Orenstein 1996, Stock no. 271
 Karel Van Mander's biography of Jacques de Gheyn 
 Grove Art Online biography

129 Abraham Bloemaert
129 Abraham Bloemaert

129 Abraham Bloemaert

Etching and engraving
Attributed to Simon Frisius

20.3 x 12.2 cm


Transcription of Inscription:

ABRAHAMUS BLOEMAERT, BATAV, PICT. 
Pictor naturâ est, usus vix ille magistro :
   Arte hic egregiis nec tamen inferior.
Pinxit Aves, Naves, Homines, Herbásque Ferásque,
   Et laetos Flores FLORIDUS innumeros.

Translation of Inscription:

Abraham Bloemaert the Dutchman, Painter

He was a painter by nature: having hardly used a master, he123was yet not inferior to those outstanding in skill.  He painted birds, ships, men, and grass and wild beasts, and, being Florid,124 countless joyful flowers. 

Orenstein 1996, Frisius no. 139; Hollstein 2008 no.159
 Karel Van Mander's biography of Abraham Bloemaert
 Grove Art Online biography

131. Gerrit Pietersz
131. Gerrit Pietersz

131. Gerrit Pietersz

Etching
Signed 'Hh.' by Hendrick Hondius, attributed to Simon Frisius
20.1 x 12 cm

Transcription of Inscription:

GERARDUS PETRI, AMSTELRED. PICTOR.
Pictorum nulli Picturae cessit amore : 
     Tractavit tanto peniculum Studio.
Dicere qui solitus, Non tanti ducere Sceptrum
     Se Hesperium, quanti Peniculum faceret.

Translation of Inscription:

Gerard Pietersz. of Amsterdam, painter 131
He yielded to no painter in his love of painting, with such great zeal did he use the paintbrush, he who was accustomed to say that he did not value the Hesperian sceptre125 as much as the paintbrush.

Orenstein 1996, Frisius no. 153; Hollstein 2008 no.173

mentioned in Karel Van Mander’s life of Cornelis Cornelisz. Van Haarlem
Grove Art Online biography

133. Joos de Momper
133. Joos de Momper

133. Joos de Momper

Etching and engraving
Signed 'Hh exc.' by Hendrick Hondius, attributed to Simon Frisius
20.6 x 12.2 cm

Transcription of Inscription:

IODOCUS MOMPERUS, ANTVERP. PICTOR.
Momperi Campos, recreantes lumina Flores,
   Et Montes, Fontes data bene docta manus,
Flumina quaéque ruunt celso de vertice saxi,
   Et scopulos, Rupes, praecipitésque Vias.

Translation of Inscription:

Joos de Momper of Antwerp, painter.

The well-taught hand of Momper offers fields, flowers that refresh the eyes,126 and mountains [and] fountains, also rivers which rush from the high peak of a stone, and cliffs, rocks, and headlong paths. 

Orenstein 1996, Frisius no. 150; Hollstein 2008 no.170
Grove Art Online biography

135. Floris van Dijck
135. Floris van Dijck

135. Floris van Dijck

Engraved by Hendrick Hondius (Orenstein 1996)
20.6 x 12.4 cm

Transcription of Inscription:
FLORENTIUS DIKIUS, HARLEMENS. PICTOR.
Dikius hic clarus, vario vivóque colore
    Qui Folia et Flores pinxit odoriferos : 
Struxit et ad vivum laetas sine sanguine Mensas,
    Quae pascunt oculos deliciae atque animum.

Translation of Inscription:
Floris van Dijck, Painter of Haarlem
Here is van Dijck, famous for his varied and lively colour, he who painted leaves and fragrant flowers.  He also set up lifelike joyous tables without blood.  These delights nourish the eyes 127.and the mind. 

Hollstein 1994 no.114
Grove Art Online biography

137. Adriaen De Vries
137. Adriaen De Vries

137. Adriaen De Vries

Etching and engraving
Signed 'Hh.' by Hendrick Hondius, attributed to Simon Frisius128
20.3 x 12.1 cm

Transcription of Inscription:
ADRIANUS DE VRIES, HAGIENSIS. PICTOR.
Friso bonus Pictor, Pario quoque marmore finxit 
     Qui Statuas : credas esse Myronis opus.
Et clarus scalptor Mullerus sit tibi testis,
     Hunc qui miratur tum colit artificem.

Translation of Inscription:
Adriaen de Vries of The Hague, painter
The Frisian was a good painter, who also made statues from Parian marble: you would believe [them] to be the work of Myron.  Let the famous engraver Muller also be a witness for you, he who admired and then frequented this artist.

Orenstein 1996, Frisius no. 157; Hollstein 2008 no.177
Grove Art Online biography

139. Frans Badens
139. Frans Badens

139. Frans Badens

Engraving by Robert de Baudous (Orenstein 1996, 37)
Signed 'Hh excud.' by Hendrick Hondius
20.3 x 12.5 cm

Transcription of Inscription:
FRANCISCUS BADENSIS, ANTVERP. PICTOR. 
Addit picturae meliús nemo colores : 
    Qui verus color est noscis imaginibus
Tu pictor doctus. multum est novisse colores.
    Delitias doctas pingis et Italiae.

Translation of Inscription:
Frans Badens of Antwerp, painter.
No one was better at adding colours to a painting.  You know which is the right colour for images.129 You are a learned painter.  It is much to know colours.  You also paint the learned delights of Italy.

Orenstein 1996, Baudous no. 37
Karel Van Mander's biography of Frans Badens
RKD artists biography

141. Adam Elsheimer
141. Adam Elsheimer

141. Adam Elsheimer

Etching
Signed 'Hh' by Hendrick Hondius, attributed to Simon Frisius
20.9 x 12.3 cm

Transcription of Inscription:
ADAMUS ELSHEYMER, FRANCOFURTENSIS PICTOR.
Romam urbem primis placuit tibi 130 visere ab annis :
   Pictorum Roma est Artificúmque Schola.
Assiduó pingens lustras dum singula templis ;
   Pictores inter nobile nomen erit. 

Translation of Inscription:
Adam Elsheimer, painter of Frankfurt
It pleased you to visit Rome from your earliest years.  Rome is the school of painters and artists.  You were busy painting while examining every single thing in the churches.2  131 Among painters your name will be noble.

Orenstein 1996, Frisius no. 144; Hollstein 2008 no.164
mentioned in Van Mander’s biography of Hans Rottenhammer
Grove Art Online biography

143. Isaac Oliver
143. Isaac Oliver

143. Isaac Oliver

Engraving by Robert de Baudous (Orenstein 1996, 40)
Signed 'Hh exv.' by Hendrick Hondius
20.6 x 11.9 cm

Transcription of Inscription:
ISAACUS OLIVERUS, ANGLUS, PICTOR.
Ad vivum laetos qui pingis imagine vultus,
   Olivere oculos mirificé hi capiunt
Corpora quae formas justo haec expressa Colore.

Multum est, cúm rebus convenit ipse color. 

 

Translation of Inscription:
Isaac Oliver the Englishman, painter.

You who paint images of lively,132 joyful faces, Oliver - these captivate (our) eyes wonderfully.  The bodies which you make - these are expressed in the right colours. 

It is a great thing, when colour itself is in harmony with things.

Orenstein 1996, Baudous no. 40
Grove Art Online biography

145. Post Funera Vita: After Burial, Life
145. Post Funera Vita: After Burial, Life

145. Post Funera Vita: After Burial, Life

Engraved by Hendrick Hondius (Orenstein 1996)
Signed Hh.f. by Hendrick Hondius
21.5 x 13.7 cm
Monograms of deceased artists on pyramids: AD [Albrecht Dürer]; L [Lucas van Leyden]; D [?]; MVH [Maarten van Heemskerk]; AG [Heinrich Aldegrever]; HS [Hans Schäufelein]

On the fictive paper:
Transcription:

POST FUNERA VITA
Pallida Mors omnes petit.  huic parere necesse est.
     Non Color hic ullus, non juvat ullus Honos.
Qui bene vixerunt, horum est POST FUNERA VITA : 
     Qui bene pinxerunt vivere Morte puta.
Ad vivum pictis tabulas nova vita paratur.
     Post mortem ut possit vivere quisque parent.

Translation:

Pale death133 attacks all.  We have to obey it.  No colour or honour is of any help here.  For those who have lived well, there is life after burial. [As for] those who have painted well, consider that they live in death.  A new life is set out in lifelike paintings134: let each set out to be able to live after death.


  1. “Fructus” can be singular or plural.
  2. Nadine Orenstein comp., Huigen Leeflang ed., The New Hollstein. Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Simon Frisius  2 vols, Ouderkerk aan den Ijssel, 2008.
  3. “quod variumque novum: “literally the solecism “what is and various new pleases”.  Cf. also note on Joachim Beuckelaer: “tabulasque culinas”.
  4. The most probable sense of “imaginibus” here is perhaps “portraits”.
  5. “Almost all these are those...”.  One could also translate “these are almost all the ones...”
  6. “ingenio cedere turpe putat”.  Cf. Anthonie Blocklandt: “Romae cedere turpe putans”.
  7. "pictorum censor" - the same expression at Karel van Mander, and the very similar "artis censori" at Jacob Binck, apparently of the author.
  8. One of the muses.  Cf. The poem on Lucas van Leyden, “nostrae ...Camenae”.
  9. “ope” could also mean “wealth”.  Either way, it’s hard to see (without knowing the context) how Hubert will feel this adds to his praises.
  10. This for “vestrum”, which is plural, so the work is being credited to both brothers.
  11. “amore sui” could also mean “love of himself”, but I am presuming that the author is referring to the Lam Gods.
  12. “ille ego qui” – For the ultimate source of this phrase, see the apocryphal opening lines to the Aeneid, “ille ego qui quondam gracili modulatus avena…”
  13. “oleo de semine lini”: the same expression in the poem for Cornelis Engebrechtsz.
  14. This for “probitas”.  It is hard to see quite what the author means, but “probitas” to my knowledge always has a moral sense.
  15. I am taking “rerum genetrice” as qualifying “arte” in the next line.  This is awkward, but I cannot see a better solution.
  16. The entry to the underworld in Virgil’s Aeneid.
  17. The sense seems to be that Rogier painted as well as he could for his time.  Compare to poem on Jan Gossaert
  18. The point seems to be that Rogier’s paintings will pass away, like all earthly things, whereas his works of mercy will gain him eternal life, and therefore last forever.
  19. I translate as if “doctissima” agrees with “Bernardus”.  This is in fact impossible, as “doctissima” is feminine.  It could agree with “aulica … Bruxella”, or be a vocative, addressing Margaret.  But neither of these options makes much sense.  Nor can it be corrected to “doctissimus” without spoiling the metre.
  20. The reference, which is found in classical poetry, is to Attalus III of Pergamum, credited with the invention of cloth of gold.
  21. "me iudice certet". Cf. Virgil, Eclogue 4, 58, "mecum si iudice certet".
  22. Cornelis Cort (c.1533-1578)
  23. “rura ... et casas”.  The combination (also found in Lucas Gassel below) is from Virgil, Eclogues 2.28-29.
  24. A palimpset in this context probably means a printing plate on which previous incisions had been made and burnished out so that the plate could be used again.
  25. I am translating Lampsonius’ “amare”, not Hondius’ “amars”, which is not Latin
  26. Because the Cyclopes worked with hammers.
  27. See note 1
  28. The greatest of poets is Virgil, and the episode in question is Aeneid 8, 369-453 and 608-fin.  The author seems to think of the images on Aeneas’ shield as paintings (Virgil himself does not say clearly how Vulcan made the pictures).
  29. “oleo de semine lini”: the same expression in the poem for Jan van Eyck
  30. This of course merely means “paintings”
  31. sic. Lampsonius' text in Pictorum aliquot celebrium Germaniae inferioris effigies reads "sive Deos".
  32. sic. Lamponius' text, cited above, reads 'in gnava'.
  33. I am reading “sive” for “sine” in line 2, and “gnava” for “guava” in line 4.  Both corrections are from Lampsonius.
  34. This town’s name seems now to be spelt “Aalst” (French: “Alost”).
  35. sic.  see note 2.
  36. Reading Lampsonius’ “urbes” for Hondius's impossible “urbis”.
  37. Can be translated as “Caesar”  Cf. note on “Emperor” on the text for Albrecht DürerAnthony Mor and others
  38. See note on the text for Bernaert van Orley.
  39. This seems to mean that  Vermeyen showed more skill in painting drapery than was involved in making the drapery itself.
  40. sic. see note 3.
  41. sic. see note 4.
  42. Reading Lampsonius’ “immortali” for Hondius’ “immortalis”.  With the latter reading, one would translate “whom Belgium honours with praise [as] immortals”.
  43. Reading Lampsonius “tantum” for Hondius “tantem” (?), which is not Latin.
  44. Julius Caesar describes the “Eburones” as a Belgian people in the region “extending from Liège to Aix-la-Chapelle” (Lewis & Short).  I cannot say which city the author considers the “urbs Eburonia”.  Presumably Dinant itself.
  45. sic.  See note 2.
  46. This line is unmetrical in the Latin, because Hondius has omitted Lampsonius’ “in” before “illa”.  I translate according to Lampsonius.
  47. This for the Greek Λαμψονίοτε γραφίς.  Λαμψονίοτε is apparently the author’s attempt to invent a Greek adjective based on his name.  However, the form is bad Greek (better would be Λαμψονιοτὴ) and neither the author’s form nor mine will help the metre. The work by Lampsonius’s pen referred to is his biography of Lambert Lombard: Lamberti Lombardi apud Eburiones pictoris celeberrimi vita, Bruges, 1565.
  48. In the Latin, “eos” can only refer to “homines”, not “facies”.  English cannot do this, so one would have to translate “looking at the people themselves”, vel sim. to avoid ambiguity.
  49. The renowned portraitist Anthonis Mor (c.1517/20 – c.1576), who was a friend of Lampsonius.
  50. sic.
  51. “rura casasque”.  See note on the text for Joachim Patinir.
  52. I am reading Lampsonius’ “arti” for Hondius’ impossible “arte”. are your honesty and candour, and whatever
  53. The Latin “multa…multum” is equally vague.   The sense seems to be that Floris preferred painting many works to expending much energy on any given one.
  54. The author is referring to Horace, Ars poetica 291, where “limae labor et mora” are recommended for the poet.
  55. Cf. Propertius, 2.34.65, “cedite Romani scriptores, cedite Grai” (about Virgil’s Aeneid).  The implication is that Floris could have been as preeminent among painters as Virgil was among poets.
  56. Perhaps better to translate “German”.
  57. Can be translated as “Caesar”  Cf. note on “Emperor” on the text for 33. Jan Vermeyen.
  58. “and sculptor” is not in Lampsonius. No sculpture by Lucas van Leyden is known.  The verse shows that sculptor refers to Van Leyden’s activity as an engraver, and engravers marked their work sculpsit. Note, however, the choice of sculptor here and in the titles of 59. Heinrich Aldegrever and 61. Jacob Binck over chalcographus in the titles of 73. Hubert Goltzius and 115. Hendrick Goltzius. Interestingly, Hubert Goltzius is described in the verse as both sculptor and chalcographus, and Hendrick Goltzius is described in the title as chalcographus and in the verse as sculptor. It is possible that the characterization of engraving as ‘sculpture’ was responsive to Vasari’s privileging of sculpture as an art of disegno. At the same time, the appearance of the term chalcographus indicates that engraving was recognized as an art in its own right.
  59. si qua est ea gloria”: quoted from Virgil, Aeneid 7.4.
  60. Literally “in our Muse”.   Cf. The text on 9. Hubert van Eyck, “Thalia nostra”.
  61. Sic.
  62. The Latin reads “quantu”, which is either a misprint for “quantum”, or an attempt (I doubt it) to indicate that the “um” in “quantum” is elided.
  63. “divivus …orbe Britannus”.  Cf. Virgil, Eclogue 1.64, “toto divisos orbe Britannos”. The expression is thenceforth very common for describing the Britons.
  64. Jan van Leyden
  65. “ingenio... finxit”.  Cf. the texts on 67. Maarten van Heemskerk, “finxit qui ingenio”; 83. Christian van den Queborn, “fingit at ingenium”; 111. Cornelius Ketel, “finxerat ingenio”.   The combination is common enough in classical Latin (Cicero, Seneca, etc.)
  66. Does the author here mean “engraved” by “expressa”?  Compare note on text for 89. Joos van Winghe.
  67. I am here translating as if the author had written the ablative “censore” instead of the dative “censori”.  For metrical reasons, we can be sure he wrote “censori”, but translating the dative would give the extremely awkward “you will be great for the censor of skill, if he is believed”.  I have little doubt the author meant what I have written. – See also the note 5 on “pictorum censor” in Poem to the Lovers and Admirers of Pictures.
  68. In fact, for “que” we have “q.” with a vertical straight line over it (could conceivably be “qui”).
  69. “dum vita manebat”.  The expression is from Virgil, Aeneid 5.722, 6.608, 6.660.
  70. “tabulasque culinas”: literally the solecism “whose and paintings kitchens we honour”. Cf. note on “new and varied” in Poem to the Lovers and Admirers of Pictures.
  71. Imitated from Virgil, Aeneid 1.460, “quae regio in terris nostri non plena laboris?”
  72. Cf. note on for the text on 61. Jacob Binck.
  73. “forma” could also be translated “beauty”.
  74. I suspect the author means “in his first years” (cf. the text for 141. Adam Elsheimer), but I can find no examples of “primo lumine” having this sense.
  75. Cf. introductory poem and the text for 35. Mathys Cock, “ingenio cedere turpe putat”.
  76. “pictaeque volucres” comes from Virgil, Aeneid 4.525. Virgil is writing about real birds, and is therefore using “pictae” to mean “coloured, variegated”. But here the term could also have its literal meaning, “painted”, “pinxit and “pictae” are two forms of the same verb (polyptoton).
  77. Sic.
  78. The author is apparently attempting to say that Goltzius knew enough about Roman coins and calendars to be a citizen of ancient Rome.
  79. I read “Algondo” or “Aegondo” in the Latin, but I presume the author must be referring to Philips of Marnix, lord of St. Aldegonde.
  80. I am reading “ipso” for “ipsa”
  81. “more fluentis aquae”.  The expression is from Ovid, Ars amatoria3.61
  82. The same motives for art are emphasised in Van Mander’s biography of Mor. As Hessel Miedema points out in his edition of Van Mander’s Schilder-Boeck, they implicitly characterise Mor as lacking in love of art itself, which was regarded as the highest motive.
  83. “The emperor … the emperor”.  Or “Caesar …Caesar”.  Cf. note on “Emperor” on the text for 33. Jan Vermeyen. The Emperor in this case is Charles V – and his successor: Philip II.
  84. Sic.
  85. “tecta superba”. The expression is from Ovid, Amores 1.6.52.
  86. “recreant ... oculos”.  Cf. the text for 97. Arnold Mytens, “recreant animos”; and 133. Joos de Momper, “recreantes lumina”.
  87. Cf. note for the text on 61. Jacob Binck.
  88. This for “vestrum”, which indicates a plural “you”.  Unless more than one person is responsible for the image, this usage is bad Latin.
  89. The author appears to be addressing himself here.
  90. This for “ad vivum”.  But the expression could also mean “from life”. See also the texts for 119. Michael van Mierevelt and 143. Isaac Oliver.
  91. I am not certain this is what the author means by “expressa”. It could also simply mean “portrayed”, “painted”. Compare note for the text on 61. Jacob Binck.
  92. Sic.  The 'e' of "colore" is written in pencil only. I translate "colore".
  93. “moribus ingenio” – the same combination at 121. Otto van Veenand in patristic and medieval Latin.  Like this poem, van Veen's text adds “arte” to the combination.
  94. “inventor felix” - the same phrase in the text for 127. Jacques de Gheyn.
  95. Latin speaks of “colour” in someone’s speech, meaning inventiveness and liveliness.  The term can be either laudatory or derogatory.
  96. Sic, although the syllable needs to be short.
  97. Abraham Ortelius’ Theatrum orbis terrarum.
  98. I have ignored the “qui” in the last line, as it makes for Latin too bad to be turned into comprehensible English.
  99. If this is obscure, one could translate "which was [the fatherland] of learned artists".
  100. As was 119. Michael van Mierevelt.
  101. Read "quae"
  102. Cf. note on the text for 81. Hendrick van Cleef. 
  103. The absence of this "and" in the Latin makes for a very awkward line.
  104. Sic.  the s of "variis" is written in pencil only.
  105. I am reading “variis” for the text’s “varii”.  A space seems to have been left for the missing “s”.
  106. “pascunt ... oculos” – the same expression in the text for Floris van Dijk.
  107.  "pictorum censor" - see the note on this expression in 5. Poem to the Lovers and Admirers of Pictures.
  108. See note on “illustrated poems” in 7. ‘To the Lover and Hater of Things Written and Drawn’.
  109.  I gather this is more likely to be Ketel, but the Latin is not clear
  110. “finxerat”, literally “formed”, may refer to an act of the imagination, or to creative writing.
  111. Sic.
  112. Reading “primis” for the text’s impossible “primus”.  Cf. also 141. Adam Elsheimer, “primis … ab annis”.
  113. Or "from life"? See note on text for 87. Crispijn van den Broeck.
  114. As was 95. Michiel Coxie.
  115. See note on the text for 91. Gillis Mostaert.
  116. Presumably for "vertice". primus, 
    Pontifici, et claris
    <116Sic 
  117. “sata laeta boumque laborum” is from Virgil, Georgics 1.325.
  118. I am reading “clarus” for “claris”.
  119. Purple is Tyrian from Homer onward, because it was made in Phoenicia.  The reference is presumably to members of some royal family.   “et ... Tyrio” is scarcely comprehensible, even after my emendation.
  120. “inventor felix” – the same phrase in the text on 91.
  121. "qui artibus egregius" - this clause could refer to either De Gheyn or the "duci belli".
  122. I have translated both “ille in line 1 and “hic” in line 2 as “he”, as they clearly both refer to Bloemaert.  But the use of both pronouns so close together to indicate the same person makes the Latin awkward and confusing.
  123. This is a pun on Bloemaert’s name.
  124. i.e. rule over the Western world.
  125. cf. note on the text for 81. Hendrick van Cleef
  126. “pascunt oculos” – the same expression in the text for 103. Gillis Coninxloo
  127. But see the verse, where the implication is that the engraving is by Jan Muller.
  128. This seems to make sense, although the Latin really requires “you recognize in [or “from”] images the colour which is authentic”.
  129. sup. lin.
  130. This for "templis", as is common enough in Renaissance Latin. But of course there are both churches and temples in Rome.
  131. or "from life"? - see note on 87. Crispijn van den Broeck.
  132. “pallida mors”: the phrase is from Horace, Odes 1.4.13.
  133. Reading "tabulis" for "tabula".