When, where, and by whom was Isabella of Portugal’s Huntington Library Hours (HM.1162) written and decorated? The author proposes here that the body of the manuscript, written in Toledo, and 15 small miniatures painted in the 1510s by Simon Bening of Bruges were sent to the southern Netherlands. There associates of the Morgan 491 Master provided the Bening illuminations with decorative enframements and accompanying devotional texts; two new half-page miniatures were also painted. All of that handiwork was then integrated into the manuscript before its dispatch back to Spain shortly before Isabella’s marriage to the emperor Charles V in 1526.
Central to this article are two maps by Floris Balthasarsz van Berckenrode, both on the siege of Grave (1602) by Maurice of Orange during the Dutch Revolt. The first map was in 1602 produced as a news map about the events, the second was a re-edition, published eight years later as a book illustration for Jan Jansz Orlers, Den Nassauschen Lauren-Crans (Leiden 1610). In this article, principles for a new method are introduced to analyse and compare these ‘story maps’ with particular attention to the narrative impact of the map. Using this method in combi-nation with (book) historical research, it argues that the 1610 map should be considered as a ‘memorial map’ that reframes the collective memory of the Dutch Revolt. It emphasizes the dynamic relationship between news, map and book publishing and pleads for a more prominent position of story maps and book illustrations in Early Modern memory landscapes.
This article identifies the personalities and circumstances behind two previously unknown heterodox religious publishing projects of the seventeenth century. The first was based in Leiden in the United Provinces, while the second originated in Dresden in Electoral Saxony. The Leiden project was likely led by the German jurist Johann Angelius Werdenhagen, who in 1628 had Jacob Böhme’s Weg zu Christo and Anna Ovena Hoyer’s Gespräch Eines Kindes mit seiner Mutter printed in Leiden at the presses of Govert Basson. This project demonstrates Werdenhagen’s centrality in the early distribution of Böhme’s theosophical doctrines in the United Provinces. The Dresden project was funded by Rosine Vogtin, who from 1642 commissioned the office of Gimel Bergen to print works by Jacob Böhme and Ludwig Friedrich Gifftheil.