Power and colour. Illuminated French charters

Every now and then you encounter on the web projects and initiatives you simply want to share with others. Today I noticed the blog of a project around illuminated French charters. The long bilingual title says a lot: Macht, Diplomatie und Dekor – Pouvoir et diplomatie par l‘enluminure. Die illuminierte Urkunde in Frankreich – Les chartes enluminées en France 1160 – ca. 1420. For shortness‘ sake the blog luckily has the concise name Carta Franca! The blog accompanies the project on Macht und Diplomatie, power and diplomacy of Gabriele Bartz and Jonathan Dumont at the Institut für Mittelalterforschung of the Austrian Academy of Sciences in Vienna. The objects at the centre of this project can be viewed online at Monasterium.net as a subsection of a larger section with illuminated medieval charters at this portal, a result from the project at the university of Graz. What does illumination mean as an element of acts written on parchment? How come art history and the history of diplomacy, diplomatics and legal history together? In this contribution I like to put the spotlight on thees questions.

Multiple perspectives

My curiosity for the subject of this post comes not only from my interest in legal iconography and medieval history. As a student I completed almost a minor in medieval art history. The riches of the library for art history at Utrecht University and the presence of a copy of the famous Index of Christian Art helped to develop my interests in this field.

Medieval charters show always to some extent power, first of all the power to document acts by writing, by creating a document and by authenticating it with a sign, in particular with seals. In 2019 I wrote here about the visual power of seals, and seals figured also in my 2019 post on digital approaches to medieval charters.

The illuminated initial of a royal charters with the heads of both the king and queen, 1332 – image Paris, Archives Nationales, J 357 A no. 4bis

At Carta Franca art history and diplomatics are the main focus. Since 2020 five contributions take art history as their starting point. Really spectacular is the recent post by Gabriele Bartz – in German – concerning a royal charter from 1332 showing both the heads of king Philippe VI (reigned 1328-1350) and his wife Jeanne de Bourgogne in the illuminated double initial, the first two letters of the charter. In this act the king changed his marriage gift to the queen, because he had decided to destine his original gift for her to his son. Bartz compares this charter with some contemporary examples and tries to establishes a link with known illuminators in this period. At Monasterium this charter is presented with a summary of the contents, a description, a commentary and bibliographical references.

Surprising in this category is also the contribution focusing on the decoration of the plica, the small folded lower part of a charter to which seals are attached. Even historians do not always look carefully at a plica in order to check for any chancery marks or remarks. Sometimes scribes scribbled knots, others turned circles into faces, yet another draw eyes on both sides of the threads connecting the seal to the charter. Bartz views these drawings as an innovation of the mid-fourteenth century. Both contributions show a judicious balance between art history and other historical disciplines.

The illuminated initial of a royal charter, 1372 September 28 – Paris, AN, P/1334/17 A, no. 36 (detail)

The category Diplomatik / Diplomatique – to be distinguished from Diplomatie, diplomacy! – contains currently just one contribution in French by Jonathan Dumont, La foi au secours du droit, faith helping the law. A charter of king Charles V from 1372 is illuminated with a large initial C at the beginning. To the drawing lines from three psalms have been added [Ps. 7 (8),7, Ps. 45 (46),16-17 and Ps. 112 (113),2], and also the title of the Easter hymn Christus vincit, Christus regnat. In this charter Charles V confirmed the last will of his deceased brother Louis d‘Anjou and instructed his officials not to interfere with the execution of its stipulations. Dumont places the words in the realm of transcendental representation of kings and royal power, and he nicely notes also this act runs against normal law calling for diligence with last wills. For Dumont it is also a matter of dynastic power at work in favour of his late brother. This charter, too, is fully commented at the Monasterium charter portal. Of course this single contribution wets the appetite for more posts from the perspective of diplomatics and legal history.

Charters in context

The project in Vienna started in August 2020 and will run until 2023. Not only royal charters will come into view. Bishops and monasteries, too, issued illuminated charters. The projected corpus of some 1,300 charters will become visible at Monasterium. Within its general section for illuminated charters there are currently six subcollections, not only for France, but also for the most splendid examples, called Cimelia (sometimes called Prunkurkunden), charters from Lombardy and papal charters. There is also a glossary in German for the terms used in describing illuminated charters. By the way, the Monasterium portal has a multilingual interface, but not every element has been translated.

In fact there are even more similar collections at Monasterium. The collection or subset with French illuminated charters has only been added on December 2, 2021. Thus it is certainly useful to check the list of recent additions at Monasterium. As for now the collection overview shows thirteen collections with illuminated charters. The portal contains now contains information about and often also images for charters from nearly 200 archives in fifteen European countries. You can approach the 660,000 charters included currently by archival collection and by research collection or through an index search. The Monasterium portal has developed into a major resource for research concerning medieval charters. The section for illuminated charters is the fruit of the project in Graz led by Martin Roland, Georg Vogeler and Andreas Zajic.

The medium is the message

The research into the existence, form and role of late medieval illuminated charters can help to view charters differently. Not only the legal act transmitted in a charter is important. Its importance can be expressed more convincingly and visible by using illumination and illustration. More precisely, these added elements can highlight other messages not spelled out in the text of the charter. The illumination of charters adds a second layer of information, operating on another level of action and perception, sometimes showing simply the richness of the issuing person, sometimes highlighting an aspect of his power or showing the intent to put this power in a particular light.

Following the progress of the Carta Franca project in Vienna is helped by the blog and its Twitter account @Cartafranca1. A project website is often static or just a part of larger portal, and even so often project results appear elsewhere. Publications in print from the contributors to these projects on illuminated charters have of course appeared, too. To mention just some examples, Martin Roland contributed the article ‘Illuminierte Urkunden. Bildmedium und Performanz‘ to the essay volume Die Urkunde: Text – Bild – Objekt, Andrea Steildorf (ed.) (Berlin 2019). Gabriele Bartz and Markus Gneiss edited the volume Illuminierte Urkunden. Beiträge aus Diplomatik, Kunstgeschichte und Digital Humanities (Cologne-Weimar-Vienna 2018; Archiv für Diplomatik, Schriftgeschichte, Siegel- und Wappenkunde, Beiheft 16). The project in Vienna follows after research projects about illuminated medieval manuscripts in Central Europe. The connection with manuscript production is just one of the perspectives helping to study the subject of illuminated charters. In the brief compass of this contribution I hope to have made you curious, too, about new ways to study a classic source genre for medieval history and some of the tools making such research possible.

Rays of light on illuminated legal manuscripts

At the start of a new academic year scholarly events, too, start to occur, sometimes already again as live events, but more often as online meetings of scholars. From September 22 to 25, 2021 an online conference took place concerning The illuminated legal manuscript from the Middle Ages to the digital age. Forms, iconographies, materials, uses and cataloguing. Three institutions cooperated to organize this event, the Ius Illuminatum research team led by Maria Alessandra Bilotta (Lisbon), the Biblioteca capitolare di Vercelli and the Biblioteca capitolare di Verona. With its eight sessions and various key note lectures on different themes connected with medieval legal manuscripts and art history this conference addressed a wider audience than just art historians and specialists in legal iconography or medieval book production, and thus fit for a post here. Last week my own time schedule made it impossible for me to follow all sessions, and therefore only a number of themes will come into the spotlights here. Hopefully other participants, too, will report on this interesting event.

Focus on the Mediterranean

Surely one of the most visible aspects of this conference is the partnership for this conference between scholars and two libraries crossing national borders. The Ius Illuminatum team at the Universidade Nova de Lisboa is known for the research by Maria Alessandra Bilotta on medieval illuminated legal manuscripts created in Southern France, in particular in Toulouse. The library in Vercelli is famous for the Vercelli Mappamundi, the Vercelli Book with texts in Anglo-Saxon, and two manuscripts containing the Leges Langobardorum. The library in Verona is renown for its holdings with a number of medieval manuscripts and in particular palimpsests as unique witnesses to texts form classical Antiquity, foremost among them the Institutes of Gaius. Both libraries have also a museum. A live virtual tour of the library in Vercelli focusing on two manuscripts was a nice addition to the conference.

Let’s briefly look at the themes of the sessions. Manuscripts held in Salamanca, manuscripts from France kept in the Biblioteca Nacional de España, legal manuscripts in Salamanca and Naples were the subject of the first session centered around libraries. In the second section a number of individual case studies were grouped together. The third section focused on legal iconography. The cataloguing of (illuminated) legal manuscripts was the theme in the fourth session. The fifth session with just one contribution looked at vulgarisation of law. Medieval city statutes were presented in the sixth session. Two special sessions were devoted respectively to the materiality of illuminated legal manuscripts and to the connection of heraldry to medieval law and illuminated manuscripts. In my view bringing together these themes is already most useful to raise awareness about their interconnections and limitations.

A number of keynote lectures could theoretically be placed within a particular session, but it was perhaps right to set them apart. The lecture by Susanne Wittekind (Universität Köln) stands out for its dense information and insightful comparison of the manuscript illumination in the Codex Albedensis, a tenth-century manuscript at the Escorial with at first sight just a miscellaneous collection of texts, and the Tercer Llibre Verd, a manuscript with statutes of Barcelona, also discussed by Rose Alcoy (Universitat de Barcelona). The miscellany is in fact a well-structured manuscript showing graphically a legal and graphic order of legal and religious texts. Making comparisons and structuring your presentation were elements definitely missing in some presentations without the use of slides, as was being aware of the limited number of themes you can address within thirty minutes, and awareness of the need for structure and clear questions.

The importance of repertories and catalogues

One of the limitations for studying medieval legal illuminated manuscripts is the state of catalogues and repertories for this genre. It was therefore most welcome to hear a lecture by Gero Dolezalek (University of Aberdeen) on the current state of affairs of the Manuscripta Juridica database in Frankfurt am Main. Only a few canon law manuscripts have yet been entered in this database originally devised for manuscripts with Roman legal texts and commentaries up to 1600. Sadly it seems little progress has been made in the past few years. Illumination has not been consequently recorded. At Turin Maria Alessandra Panzanelli Fratoni is working at two interrelated projects, a new portal called IVS Commune Online, to be launched in October 2021, with an integration of data on manuscripts and early printed editions from existing online resources, and a new section of the Italian manuscript portal MANUS, called MANUSIuridica. The main strengths of these two promising projects are the thorough conceptual preparation. It is not yet clear when MANUSIuridica will become accessible. In this section Andrea Padovani (Bologna) talked about the new phase and face of the project Irnerio with digitized legal manuscripts at the Colegio di Spagna in Bologna – presented here many years ago – and Silvio Pucci (independent scholar) about the online version of the catalogue for the juridical manuscripts at the Biblioteca Comunale degli Intronati in Siena.

It is important to remember the study of medieval canon law still faces the lack of a full manuscript repertory, a paradoxical fact after the appearance of the model given by Stephan Kuttner in his Repertorium der Kanonistik 1140-1234, I, Prodromus glossarum (Città del Vaticano, 1937). Was his level simply too high to follow for others, or did it simply led to a strong and not completely justifiable focus on the classic period of medieval canon law? Luckily we have for the early Middle Ages the excellent guide by Lotte Kéry, Canonical collections of the Early Middle Ages, ca. 400-1140: A biographical guide to the manuscripts and literature (Washington, DC, 1999).

Legal iconography and heraldry

In the section for the more classic legal iconography papers were read about the illustration of the two powers at the beginning of manuscripts with the Decretum Gratiani (Gianluca del Monaco, Bologna), accompanying the very incipit Humanum genus, the iconography of last wills in some manuscripts of the Institutiones Iustiniani and the Digest (Viviane Persi, Lille), the representation of public justice in the Vidal Mayor (Rogerio Ribeiro Tostes, Evora), and the development of legal iconography in medieval Scandinavia (Stefan Drechsler, Bergen).

The very last section dealt with a subject often associated with medieval law, heraldry and the use of distinctive signs by knights and noble families, but interestingly medieval law did not set clear norms for unique claims on the use of a particular blason or sign. In 2012 I looked here at this very theme. Bartolus de Sassoferrato (1313-1357) did certainly influence later lawyers with his most often copied treatise De insignis et armis, but in particular Martin Sunnqvist (Lunds Universitet) made it refreshingly clear that this treatise does not help us to understand the rise of heraldry from the twelfth century onwards. The lecture of João Portugal (Instituto Português de Heráldica) on Early Modern heraldic rights in Portugal showed essentially how showing a relation with the king was as important as having a official blason at all. Matteo Ferrari (Universit;e de Namur) took us to a painting at the Palazzo di Comune in San Gimignano with a deliberate use of heraldic arms above the text of an important ruling around 1300.

Coutumes de Toulouse, around 1296 – Paris, Bibliothèque nationale de France, ms. latin 9187, f. 1r (detail) – image BnF

Finally Laurent Macé (Université de Toulouse) looked at the use of earlier blasons from the former county and the counts of Toulouse in a manuscript with the Coutumes de Toulouse from the late thirteenth century (Paris, BnF, ms.latin 9187). Macé argued these blasons and other signs helped showing continuity to readers in a new period under the French crown.

The forest and the trees

Even with only a partial review of lectures and keynotes the variety of this online conference with an attendance between twenty and forty scholars cannot be doubted. For those thinking the choice of subjects is too wide or simply unfocused the contribution of Carlo Federici (Scuola di Biblioteconomia, Biblioteca Apostolica Vaticana) on the archaeology of the book served as a necessary reminder how leading palaeographers and codicologists in the second half of the twentieth century advocated an integral approach of medieval manuscripts, archival records and book production, away from a choice for studying only either texts, scripts, bindings or scriptoria.

The materiality of manuscripts matters indeed. Thus in my view Including a lecture on legal fragments kept at the Archivio di Stato di Arezzo by Maura Mordini (Università di Siena) is not a bow to what someone in 2021 jokingly called the minor industry of studying fragments. Far more often than we are willing to acknowledge we forget you deal with traces and fragments per se when studying history. So many things are irrecoverably lost forever or only seldom in front of us. Not every tiny bit is important, but there are bits and pieces pointing to larger contexts. As for projects with fragments, I try to list relevant projects, catalogues and exhibit catalogues concerning medieval fragments as part of my Glossae blog on pre-accursian glosses.

As for the materiality of an online scholarly event, I would not recommend following the example of organizing a full program of sessions from nine to seven with only brief breaks. The quality of the internet connection forced the permanent closure of the video screens of non-speaking participants, a fact which greatly reduces the interaction. There was no virtual lobby, too. In this respect my view is surely influenced by the example of the online event at Frankfurt am Main on digital legal history in March reviewed here. Ensuring sufficient band width and creating a separate online social platform is perhaps a matter of calling upon the appropriate national institution dealing with such matters, yet another thing rightly taken into consideration by the German organizing team. The teams in LIsbon, Vercelli and Verona deserve respect for bringing together scholars from various disciplines and casting its nets wide. With this in mind you should view my remarks on things that could be better in a second similar conference which will no doubt follow soon. The rays of light on illustrations and illumination at this conference contain a promise of more to come.

Retracing looted and lost art after 75 years

Amidst the current situation around the COVID-19 virus worldwide commemorations take place of the end of the Second World War, 75 years ago. After two generations work continues on retracing objects of arts and other objects belonging to a shared cultural heritage which were taken from Jewish people by the Nazi regime or stolen by others. The process of giving back such objects is often as difficult as retracing art objects at all, not in the least because legal matters impose themselves, too. In this post I will look at a number of relevant projects, in particular at a web portal with a central function. The International Research Portal for Records Related to Nazi-Era Cultural Property (shortened to IRP) is a branch of the European Holocaust Research Infrastructure (EHRI), with a portal concerning archives and their holdings as another branch.

Combining resources

The situation in the occupied European countries during the Second World War had similarities and major differences. After the war national institutions were founded for doing research on a dark and deeply troubling period, first of all by bringing together relevant documents and archival records. Tracing the fate of Jews and other persecuted people was a most important research motive, but other themes, too, called for attention. Survivors of the concentration camps often found little help from authorities and judges in regaining possession of their belongings. In the years of reconstruction their appalling situation was often simply ignored. Research along national lines has inevitably limits.

In 2014 the movie The Monuments Men, based on the book by Robert Edsel (London-New York 2009) brought the work of curators, archivists, art historians and others near the end of the Second World War and its aftermath to rescue works of art in Europe to the attention of the general public. The website of The Monuments Men Foundation informs you about its activities. However, in this project the focus is on works of art taken from galleries and museums, not so much on private collections. Nowadays The Art Loss Register helps both individuals and institutions to recover stolen works of art.

The IRP is a special portal supporting the recovery of cultural heritage stolen, confiscated or in whatever way taken away during the Second World War. Things get complicated in the face of museums and even nations acquiring items from the collections of Jewish art dealers and collectors. In fact I have to state my explicit wish not to comment on the outcome of legal cases such as the Goudstikker case and the case of the Koenigs collection. Perhaps it better to admit we now see things from a distance, and we should be aware we can see only some parts of a chaotic period which does not allow for easy extrapolation of conclusions, apart from fearing things were grim, grey or indeed beyond imagination.

At the IRP portal you can search in the databases of eleven institutions. Some of these databases cover several countries, but you got to be aware you cannot search every database of these institutions with one search interface. For this reason the IRP portal rightly states it is a demo. The Deutsches Historisches Museum, the Getty Research Institute, the Mémorial de la Shoah, the British National Archives, the Nationalfonds der Republik Österreichs für Opfer des Nationalsozialismus, the Belgian State Archives, the United States Holocaust Memorial Museum and the American National Archives and Record Administration are included in the central search function of this portal.

It is remarkable the resources of the NIOD Institute for War, Holocaust and Genocide Studies (Amsterdam), home to the IRP portal, are not yet included in the central search interface. Thus the list of resources – under the heading Institutions – with ample information about accessing databases elsewhere is most important. The tab Collections brings you either to the central search interface or to the resource notices. Sometimes you do not land directly at the right section for a particular collection. In my view you can currently skip the Collections tab. The search interface has an advanced mode where you can enter terms for artist, location and techniques, but a notice alerts you this works only with some of the databases. Mentioning exactly for which it works or not would be a welcome addition, and a clear order of the institutions, be it by alphabet or by country, would be helpful, too. However confusing this may seem, it has the major benefit of shaking you clear of the idea to find something with just one search action at a single central resource, and it helps you to confront the fact things have been entered into databases in different ways. The IRP does help you to go in the right direction when you use its information carefully.

One of the obstacles in approaching these databases is the need for the use of standards, and not just at the interface level. The NIOD has helped creating with other Dutch archives a thesaurus for terms around the Second World War and the Netherlands. This thesaurus is a key element of the portal Oorlogsbronnen [War resources]. At the IRP portal the NIOD mentions only its archival collection concerning the Einsatzstab Reichsleiter Rosenberg, the unit of the Nazi regime looting Europe for works of art and other objects of European cultural heritage.

On its website the NIOD has created a section Expert Centre Restitution (interface in Dutch and English). This centre hosts the database Herkomst gezocht / Origins unknown. Its core is information about works of art either taken form Jewish people or acquired in dubious other ways and at some time – or still – present in the governmental Netherlands Art Collection (Nederlands Kunstbezit). Here, too, there are warnings about the completeness of the information. The NIOD point also to the website Museale verwervingen vanaf 1933 with information about works acquired by Dutch museums between 1933 and 1945 in suspicious ways such as theft, sale under pressure and confiscation. At the IRP portal is currently no indication whether such resources will be included in the future or not. The database of Museale verwervingen, accessible in Dutch and English, has not been updated since December 2018. Its overview of links and the succinct bibliography with mainly Dutch studies are worth mentioning. While preparing this post I noticed the RKD – Netherlands Institute for Art History has very recently digitized seven archives of art dealers between 1850 and 1950. In its holdings the RKD has archival collection of nine art dealers, among them the art firm Goudstikker. Although I am not unfamiliar with art history I have not conducted special research concerning the Dutch part of the history of stolen, looted and lost art around and during the Second World War, but these digitized archives are valuable new resources, accessible with an English and Dutch interface.

The Dutch websites figure here for a clear reason, not just to honour my regular Dutch view as a recurring element of my posts. It is perhaps wise to mention briefly some of the databases not yet included in the central search layer of the IRP Portal. In some cases the IRP’s overview makes clear an institution has not just one relevant database. Several institutions have archival collections concerning the Einsatzgruppe Reichsleiter Rosenberg. Only the database Cultural Plunder of the United States Holocaust Memorial Museum is directly included in the IRP one-step search. On the website of this project you can also find archival guides for a number of countries, and a section on looted libraries. Lost Art is a database of the Deutsches Zentrum Kulturgutverluste, with an interface in German, English and Russian. The WGA-Datenbank of the Landesarchiv Berlin can be consulted in German and English, and there is a useful introduction on the website of this institution concerning the Wiedergutmachungämter (restitution offices). The University of Heidelberg is mentioned at the IRP portal for its project German Sales 1901-1945 with nearly 10,000 auction catalogues. The website with the database at ArtHistoricum contains much information besides the database. The portion of this project with German Sales 1930-1945 is included in the provenance databases of the Getty Research Institute.

The resources overview at the IRP portal is precious, and exactly for this reason you would expect explanations about the way more databases will be integrated into its search function. The differences between databases are a challenge to scholars and the IRP team dealing with them. It is sensible to view the portal as a tool supporting the use of these databases, and not, or not yet, as a complete replacement of searches to be conducted in individual databases. On purpose I indicated the languages used at other project websites. It would be helpful to have at least some elements of the IRP portal in various languages. In fact not only English is used in the IRP resources overview.

An unfinished history

Among websites and projects that deserve at least mentioning here, but perhaps also inclusion at the IRP portal, are other projects concerning looted and lost art. The most often mentioned projects are the Claims Conference and Looted Art of the Commission for Looted Art in Europe. The art library of the Staatliche Museen zu Berlin-Preußischer Kulturbesitz has a succinct commented list – available in German and English – with the main relevant projects and databases. The Swiss Federal Office for Culture has a section on its multilingual website for looted art from the Nazi period, with a list of links. I would like to mention here two websites not included in these overviews. Auction Catalog Segmentation is a French resource created by the Institut National d’Histoire de l’Art with a focus on the auction catalogues of the Parisian firm Drouot between 1939 and 1945. The Landesarchiv Berlin and the Zentral- und Landesbibliothek Berlin have created a website Bergungsstelle für wissenschaftliche Bibliotheken focusing on books taken from research libraries. This library participates with five other institutions at Looted Cultural Assets, with currently some 31,000 provenance records and information about 8,000 persons. Not just libraries work here together, but also the Stiftung Neue Synagoge Berlin-Centrum Judaicum and the Institut für die Geschichte der deutschen Juden in Hamburg.

How can the memory of the twelve years of the Nazi period and its history of violence, genocide and other atrocities be kept alive? The EHRI project is one of the efforts of scholars to help studying the darkest part of this period. In Berlin one of the memorials is named Topographie des Terrors. Many German memorials and other websites can be found in the extensive links list of the Gedenkstättenforum. The portal Gedenkorte Europa 1939-1945 helps you to find more places of memory in Europe. However, I will not try to answer this question with only information about initiatives for remembrance. The actions to retrace, recover and restitute objects to their owners or successors, and the efforts to entangle legal questions about the rightful ownership of such objects are part of the aftermath of the Second World War and form in a way part of its remembrance. Sometimes the stories about looted art form a painful part of the aftermath when they brought further appalling humiliation to survivors and their families. Acts and places of remembrance should not hide the ways the stories of the Second World War have also been ignored, kept silent or made invisible. Sorting things out legally about objects is one thing, bringing some kind of justice to people in the face or irreparable human and material loss and injustice done to them is another challenge. Behind these objects is the history of persons with for each her or his individual history and the history of persecuted groups during a terrible period of human history.

A postscript

It is perhap useful to note here the Deutsches Historisches Museum offers not only the Datenbank zum Central Collecting Point München, integrated in the central search at the IRP portal, but also two additional databases concerning art during the Nazi regime, a database for the Kunstsammlung Hermann Göring and the Datenbank Linzer Sammlung for the art collections destined for the projected museum in Linz. The German Archivportal recently added a Themenportal Wiedergutmachung nationalsozialistischen Unrechts.

Rembrandt’s private and legal life

On December 7, 2018 the exhibition Rembrandt Privé [Rembrandt Privately] opened at the city archives of Amsterdam. In an earlier post on my blog I mentioned the project RemDoc – Rembrandt Documentation which offers a searchable database with images, transcriptions and many English translations of seventeenth-century documents pertaining to Rembrandt van Rijn (1606-1669). The exhibit shows documents held at the Stadsarchief Amsterdam, the largest municipal archive in the Netherlands, some original works by Rembrandt, a number of maps and the chance to gain access to augmented reality around the documents using a tablet. The legal nature of many documents will soon become clear in this post.

Stories of love, art and money

I started to admire Rembrandt already as a child. His paintings, drawings and etchings are so much alive with people. Paintings from the Dutch Golden Age helped shaping my perceptions of the seventeenth century. I was soon aware of the many decisive turns in Rembrandt’s life. The way he portrayed people both in sorrow and joy, and the dark hours of his own life offered a healthy antidote to viewing the Dutch Republic in too much sunlight. The catalogue of the major Rembrandt exposition in Amsterdam in 1969 was a book I have seen many times. It often referred to historical documents about Rembrandt and his works.

The Stadsarchief Amsterdam at the Vijzelstraat in the former bank building designed by K.P.C. de Bazel

Reading about somebody in a book is one thing, seeing the works of an artist in museums adds much to it, but somehow having the documents in front of you stirs the imagination even more. The Rembrandt Documentation project of the Huygens Institute in Amsterdam and the Radboud University Nijmegen gives you online access to many thousand documents. There was an older work, Die Urkunden über Rembrandt (1575-1721) by C. Hofstede de Groot (The Hague 1906; online, Universität Heidelberg) with transcriptions and commentaries for nearly 500 documents, followed by W.L. Strauss and M. van der Meulen, The Rembrandt Documents (New York 1979) and M. Roscam Abbing, Rembrandt 2006, II: New Rembrandt Documents (Leiden 2006). The online project has a wider time range, 1424 to 1799, and offers much more documents, and also references about Rembrandt in art literature. Sometimes Hofstede de Groot did not record texts completely. Commentaries can be very different and convincing explanations no longer missing. An example: Hofstede de Groot gave a large extract from an attestatio de vita from July 26, 1632 (no. 25, p. 24-25; RemDoc, no. 4399) made by a notary inquiring about Rembrandt’s health, but the reason for this inquiry was not clear to Hofstede de Groot. In 1979 it became clear it had to do with a rent subscribed to by one hundred citizens with the stipulation the full sum would be paid back to the longest living subscriber.

The exhibit at the city archive shows a selection of documents around a number of themes and events in Rembrandt’s life. Often two documents are shown, with either a print next to them or an image of a painting in the background, most of them from the collections of the Rijksmuseum and the Rembrandthuis. With the tablet you can focus on a document and start a short podcast about the document or documents. Often you will see a seventeenth-century map in the background showing you the exact location in the inner city of Amsterdam. The image to the left centers on a document about the execution of Elsje Christiaens, a Danish servant convicted for murder hanging at the display gallows in 1664 on the other side of the IJ, the estuary to the north of Amsterdam. Rembrandt often made sketches in this region. He drew this young woman twice.

The exhibition shows some familiar documents, and although I had already some expectations, the legal nature of many documents is indeed striking. To mention just a few of them, the betrothal of Rembrandt and his first wife Saskia van Uijlenburgh in 1634, an ecclesiastical procedure about his later mistress Geertje, some testaments, the inventory of his bankruptcy in 1656, and the inventory of his house after his death in 1669 are all legal documents.

A page from the 1669 inventory – Amsterdam, Stadsarchief, Archief Notarissen, subseries 113, Gerrit Steeman, inv.no. 2625C

The death-bed inventory of Rembrandt’s house in 1669 is rather special. It belongs to documents more or less damaged by the 1762 fire in the city hall. Several documents have now been restored and digitized. Until now the transcriptions of this document in RemDoc (no. 13471; Hofstede de Groot, no. 306) could only be incomplete. It is a reminder that a historical state of affairs can change indeed. Illegible or missing words can become clear. In the case mentioned above a document which seemed inexplicable can be studied anew, placed in a context and yield new information. The readability of old Dutch documents was the theme in a post I wrote earlier in 2018. I proposed to everyone wanting to learn online to decipher Dutch documents from the seventeenth century to start with the documents about Rembrandt. As an example I showed an image of an obligation Rembrandt had got into for the purchase in 1639 of his house in the Sint Anthoniebreesteeg for which he had failed in 1653 to pay four years of interest (RemDoc no. 4628). Even if not for all documents images and an English translation is available, a fair number of archival records can be used to gain also palaeographical skills.

Among the archival records on display I want to single out two documents. The first is a complaint from the Portuguese merchant Diego d’Andrada in 1654 about a portrait of a young lady Rembrandt had made for him (RemDoc, no. 1661) with clauses about the way Rembrandt was going to act to fulfill the wishes in accordance with the regulations of the painters guild.

The second document involved also the presence of Portuguese merchants in Amsterdam, the burial of Francisco d’Angola in 1659 who had lived in the same street with Selijelij Krablije. Rembrandt could meet in the very street where he lived black people who lived as servants in the houses of Portuguese merchants. In Amsterdam it was forbidden to have slaves, but one can assume in some cases such servants were in fact slaves. Amsterdam had become in the seventeenth century one of Europe’s most important financial and trade centers. You might encounter anyone and anything, and thus Rembrandt’s world stretched far beyond Holland.

More archival records

The Stadsarchief Amsterdam is rightly famous for its digitization service. Some 30 million images of archival records are currently available online. Indexes exist for a steadily growing number of record series, and in most cases they lead you to digital images, too. The ondertrouwregisters (betrothal registers) are probably the most praised record series of the municipal archive, because uniquely for this kind of resource the Amsterdam records often contain additional information about the partners, their professions, origin and family.

In 1906 Hofstede de Groot noted in the acknowledgements he had not used himself the notarial registers of Amsterdam, because this rich resource had not yet been adequately inventoried. He had mostly to rely on the transcriptions and editions of the people who had gained access to them thanks to the guidance of archivists. It is one thing to have now at your computer screen full access to digitized images of these registers using the finding aid (toegang 5075), but another thing to find quickly relevant acts. Here the crowdsourcing project Alle Amsterdamse Akten steps in which aims to digitize and create indexes for a staggering volume of notarial registers, good for 3,5 linear kilometer in 700 cupboards. The project overview gives a current number of nearly six million digitized pages, some 680 volunteers at the Dutch transcribing platform Vele Handen [Many Hands] and 267,000 documents. There are more than ten thousand registers from 731 notaries in the Early Modern period. The website contains special dossiers about six themes, among them Rembrandt and also slavery with highlights among the notarial acts, some of them newly found, others already known.

The search screen of Alle Amsterdamse Akten

After free registration you can start searching in the notarial registers from Amsterdam at the website Notarieel Archief Amsterdam. You can search for descriptions, type of act, first names and surnames for two persons, location, day, month and year, or choose a particular notary. When searching for Rembrandt van Rhijn you will immediately get a choice of variant spellings in a dropdown menu, both for Rembran(d)(t) and R(h)ijn. At this point I can no longer hide the fact that the exhibit can be visited in a Dutch and English version, but the other websites of the Stadsarchief Amsterdam are completely in Dutch. The press kit for the exhibit in four languages and the display texts for the documents are the exceptions, but the tablet scripts and transcriptions are only available online in Dutch. There is a strong case to add at least a search interface in one other language. It is some solace to be able to download the 1998 repertory of notaries in Amsterdam between 1524 and 1810 by A.J. Bosma. Earlier on an overview had been created of more than 5000 notarial acts in cases of gross avery between 1700 and 1810, damage to ships in emergency situations, an important resource next to an index on these cases of maritime law heard by a special court. I wrote a paragraph about these verdicts in an earlier post.

Rembrandt and Vermeer in documents

It seems wise to see Rembrandt not in isolation. John Michael Montias (1928-2005) was an economic historian who became an art historian focusing on the social context of art. He found and transcribed lots of Early Modern probate inventories mentioning works of art which can be searched in the Montias database of the Frick Museum, New York. The Meertens Institute for Dutch Ethnology has created the Boedelbank, a database with Dutch probate inventories from four regions seen as a resource for the history of material culture. In 1989 Montias published Vermeer and his milieu. A web of social history, translated into Dutch as Vermeer en zijn milieu (Amsterdam 1993). Over the years Montias had traced some 450 documents in seventeen Dutch and Belgian archives – not only in Delft! – with direct and indirect about information about Vermeer, his family and people associated with him. The Dutch edition contains as an appendix (pp. 331-403) an enlarged version of the list of documents with a number of full transcriptions. The number of documents for Vermeer is definitely lower than for Rembrandt. Even if such documents do not allow for strict conclusions about the content of his art works, they enormously raise the awareness about the multiple contexts of Dutch art in the seventeenth century.

In the face of an ocean of specialized art literature about Rembrandt and Vermeer the point I liked to make here is not only the legal nature of many archival records in the Amsterdam exhibition, but also the presence of many other persons in these documents. Rembrandt and Vermeer were supreme masters in portraying people who you seem to know and understand in an uncanny way. The Dutch historian Geert Mak wrote a book about the Six family [De levens van Jan Six. Een familiegeschiedenis, 2016; The many lives of Jan Six. A portrait of an Amsterdam dynasty, 2017], a merchant dynasty with Jan Six at its very heart, a friend of Rembrandt, portrayed twice by him. The painting is still owned by his descendants. Viewing someone in his familiar surroundings or in the streets of his hometown is also a metaphor for viewing law not as an isolated element of society, but vitally connected to its utmost veins. Finding and recreating such connections is surely challenging, but searching for a subject in vivo is more rewarding and revealing than staying content with results in a supposedly detached laboratory. At the end of 2018 I would almost say: Keep calm and study legal history!

Rembrandt Privé [Rembrandt Privately] – Stadsarchief Amsterdam, Vijzelstraat 32, Amsterdam – December 7, 2018 until April 7, 2019

E.T.A. Hoffmann, writer, composer, draughtsman and lawyer

The huge influence of German science and culture on the development of history as an academic discipline in the nineteenth century is something taken for granted. The image of a German professor lost in abstract thought in a country yearning for its romantic past is almost a caricature. However, not only professors walked through German university towns. In this post I will look at a well-known German writer who was also an active lawyer, serving as a judge. In December 2016 the Staatsbibliothek zu Berlin-Preussischer Kulturbesitz launched the beta version of the E.T.A. Hoffmann portal. On December 12, 2017 its final version was revealed. Not only in Berlin events are currently organized around Hoffmann. Let’s look what will fit into one post!

A man of many talents

At the portal you will find the following quote by Hoffmann: “Die Wochentage bin ich Jurist und höchstens etwas Musiker, sonntags, am Tage wird gezeichnet, und abends bin ich ein sehr witziger Autor bis in die späte Nacht”, on weekdays I am a lawyer and at the best a tiny bit musician, on Sundays I am drawing, and in the evening I am a very funny author until late night. I fear any attempt at a short biography of Ernst Theodor Amadeus Hoffmann (1776-1822) will inevitably be much longer than this one revealing description. Hoffman was born in Köningsberg (now Kaliningrad). In 1792 he started studying law, but soon he used also his musical talents as a teacher. His study went well, bringing him already early on to Berlin, but he worked also in Poznan, Plock and Warsaw, in that period part of Prussia. A rather successful period in Poznan, where some of his compositions were received well, ended with an affair around anonymous caricatures behind which one suspected rightly Hoffmann.

The arrival of the French to Warsaw in 1806 brought a temporary end to his career as a Prussian servant. Eventually he settled in Bamberg as a conductor, and later he worked in the city theater. In 1816 he became a Kammergerichtsrat, but he unsuccessfully kept trying to work as a conductor, too. Meanwhile Hoffmann had started writing literary works. Under the restoration regime after the Napoleonic period he had in Berlin from 1819 onwards rather surprisingly the task to investigate people suspected of subversive plans. Hoffman used his knowledge of a particular case in his story Meister Floh, but he was charged with unlawful behaviour because he had allegedly publicized matters he was not allowed to divulge as a state official. Just before his case went on trial Hoffmann died after a prolonged illness.

If anything this brief overview shows in a nutshell many aspects of life and culture in Germany from around 1790 to around 1820. It is characteristic of Hoffmann to be aware of the many sides of his short life. Hoffmann’s sketch from 1815 of the Gendarmenmarkt in Berlin, the Kunz’scher Riss, is presented at the portal as an interactive map bringing you to a life with many facets. Hoffmann lived nearby this central square in Berlin with the Nationaltheater. In the following paragraphs I will look only at some sections of the Hoffmann portal, but in fact you can find interesting matters in every corner.

Earning his bread with law

During his short life Hoffmann earned most of his bread as a lawyer. The portal has a large section E.T.A. Hoffmann als Jurist by Hartmut Mangold. Hoffmann studied law only in Königsberg, and for just three years. We are used to German students visiting several universities during their student years, sometimes to hear the lectures of a particular professor, sometimes for other qualities of a city. Hoffmann made such rapid progress that he could start very quickly with the practical part of his legal education, first in 1795 as an Auskultator (hearer) at Glogau, and from 1798 onwards as a Referendar in Berlin. He earned enough praise to follow his career in 1800 as an assessor (judge) at the Obergericht of Poznan (Posen). However, within a month he had to move to the small town Plock because of the affair with the caricatures. The two years at Plock were unhappy, but his efforts were recognized by his superiors who sent him in 1804 as a Regierungsrat to Warsaw. The French occupation of Warsaw in 1806 ended a lucky period of hard work as a judge combined with eager cultural activities.

In 1814 Theodor von Hippel, a former friend from Königsberg, helped him to work again as a judge, first at a kind of minimum wage as a voluntary at the Berlin Kammergericht. Only after two years he got the full normal salary. His hard work brought him in 1819 a call to become a member of the special investigation committee, and in 1821 he moved to a rank at the coveted appeal court, the Oberappelationssenat. Mangold looks at Hoffmann’s views of the Schmolling case to assess his views as a judge in criminal cases. Hoffmann carefully analyzed a medical consultation which deemed Schmolling was not liable for his actions. In a following section you will see Hoffmann as a very conscientious member of the special committee which stood as one man against political influence and overruling by higher authorities. The committee had the task of a public attorney to bring legal actions against supposed offenders of the restrictions on political freedom. The committee saw in almost every case no criminal offense which could led to further persecution. He had to deal for example with Friedrich Ludwig Jahn, the man behind the popularity of gymnastics in Germany, often nicknamed Turnvater Jahn, who brough a case for defamation against Albert von Kamptz, a high Prussian official, who had slandered his name anonymously in two newspapers.

Hoffman dealt in a humourous way with Albert von Kamptz in his story Meister Floh [Master Flea]. The story ended with the dismissal of the mischievous official who had created a case out of a few words. However, Von Kamptz recognized himself quickly in Hoffmann’s publication, and started a disciplinary action against him with the argument that Hoffmann had broken his duty to reveal nothing from official procedures. Hoffmann defended himself by pleading for poetic freedom. He died before a trial against him could start. Mangold rightly stresses the way in which Hoffmann conformed to the ethos of Prussian law and lawyers.

A self-portrait drawing by Hoffmann instead of just signing a letter – collection E.T.A. Hofmann-Archiv, SBPK, Berlin

Writing about Hoffmann I noticed how my enthusiasm to know more about him and about his work as a Prussian lawyer steadily grew. You had better look yourself! A major part of the portal is a digital library for many of his works and papers. You will find letters, editions of his work, portraits, manuscripts, music scores, drawings and ex libris. In the corner Kurioses you will all kind of matters, from a massive wine bill by a Berlin firm to some funny drawings. Hoffman twice kept a diary, during 1803 and 1804 at Plock, and in the years spent between 1809 and 1815 in Bamberg, Dresden and other towns in Saxony.

It is great to find on this portal chapters accompanying the sections of the digital library. Thus you are enabled to look both at for example Hoffmann’s views on music as a discerning critic, gaining even approval and thanks from Beethoven, and at his compositions. His most successful opera Undine had a successful premiere in 1816 and gained high praise from Carl Maria von Weber, but unfortunately the Schauspielhaus burned down after the fourteenth performance. It marked the end of his career as a composer. Earlier on Hoffmann had changed his third name to Amadeus, a fair measure of the importance of music for him.

Large sections of the portal are devoted to research on Hoffmann. You can for example look at an attempt to reconstruct his personal library. His juridical books were restricted to almost exclusively works on contemporary Prussian law. He presumably used in Berlin other books from the library of the Kammergericht. I had expected to find legal materials also in the digital library of the Hoffmann portal, but these are simply absent, nor in printed form or in manuscript. Among all the qualities of the portal I missed references to the services of the Kalliope-Verbund, housed at the Staatsbibliothek in Berlin, the great database with a German and English interface for searching personal papers and manuscripts of famous persons in the German-speaking world held by archives, libraries and museums. The Kalliope database rightfully alerts you to materials concerning Hoffmann in a substantial number of collections, with of course the Staatsbibliothek zu Berlin-Preussischer Kulturbesitz at the first place.

Hoffmann in Berlin, Bamberg and Düsseldorf

The Staatsbibliothek in Berlin is the home of the E.T.A. Hoffmann archive. The Staatsbibliothek Bamberg, too, has holdings concerning Hoffmann. At the website of this library is a selection of drawings, early editions and letters. A look at the German Wikipedia page for Hoffmann brings me to a link for more works by Hoffman digitized at Bamberg. The page on Hoffmann as a lawyer leads only to the edition of his juridical works by Friedrich Schnapp [Juristische Arbeiten (Munich 1973)] and one article by Stefan Weichbrodt, ‘E.T.A. Hoffmann (1776 bis 1822)’. Juristische Schulung 2008/1, 7-13. Luckily Mangold gives us more at the Berlin portal. The E.T.A. Hoffmann Gesellschaft has made Hoffmann’s house in Bamberg into a museum. You can see six virtual exhibitions at their website, including one about the story of Meister Floh and its impact. With interfaces in seven languages you are bound to read something on the website of the Hoffmann Society which you can understand sufficiently.

In the last section I will turn to another story by Hoffmann which is now the heart of an exhibition at the Heinrich-Heine-Institut in Düsseldorf, Nussknacker und Mausekönig (Nutcracker and Mouse King), with much attention for the modern drawings for this story by Sabine Friedrichson. Hoffmann was and is famous for his certainly for Germany pioneering grisly tales. Combined with elements from other stories by Hoffmann a script was created for Tchaikovsky’s Nutcracker ballet, surely one of the most enduring and beloved ballet scores. Les contes de Hoffmann by Jacques Offenbach is an opera in which at least two stories by Hoffmann have been used to create its libretto.

Some contemporaries concluded Hoffman was a bewildering figure, not to be taken seriously, but Hoffmann gained also admiration for his stories and music. Contemporary lawyers took him most seriously. If you look for some moments at Hoffmann’s life in a country suffering from the Napoleonic wars and its conservative aftermath you will recognize how sharp he saw the very different elements of life, war and society. In a romantic era his figure might at first seem romantic, but there is good reason to agree with Rüdiger Safranski in his masterful study Romantik. Eine deutsche Affäre [Romanticism. A German affair] (Munich 2007) that Hoffmann was a sceptic phantasy writer (“ein skeptischer Phantast”). In 1984 Safranski published a biography of Hoffmann with the same subtitle.

In this post with in the last paragraph a reference to a ballet which nowadays belongs to a particular period of the year, I bring you indeed to the end of this year. When you are weary of legal history, listening to Tchaikovsky’s Nutcracker or reading some of Hoffmann’s tales will hopefully bring you some moments of delight and wonder.

Law and art at Bruges

The close relations between law and art are a phenomenon which increasingly receives scholarly attention. In fact legal historians and other legal scholars in other disciplines have created a special field for studying the symbiotic appearance of law, legal iconography. Until February 5, 2017 the Groeningemuseum in Bruges presents the exhibition The Art of Law. Three Centuries of Justice Depicted. On january 16 to 18, 2017 a conference will take place at Bruges around this exhibit, with a slightly longer title, The Art of Law: Artistic Representations and Iconography of Law & Justice in Context from the Middle Ages to the First World War. Legal iconography is a subject I discuss here regularly, Among other reasons to promote this discipline is the chance to combine texts and images. On my website for legal history I have devoted a section to digital collections for legal iconography.

The imagery of justice and injustice

At the heart of the museum and the exhibit is one of the most iconic paintings showing justice at work. If you try to look at it calm you will in the end shiver in front of the gruesome image at the right side of this double painting. Gerard David was commissioned by the city of Bruges to make this painting with The Judgement of Cambyses in 1498. Once it hung in the city hall, but since the nineteenth century it is among the highlights of the Groeningemuseum. The painter shows on his diptych at the left the Persian king Cambyses ordering the arrest of judge Sisamnes who was suspected to have accepted bribes. The story comes from Herodotus’ HIstories. The graphic depiction of the punishment delivered to this corrupt judge was meant as a warning to judges not to accept money for their judgment or to steer away from justice.

The power of this painting for the people of Bruges was apart from the powerful composition the use of contemporary settings for both scenes, with familiar buildings in the background and people wearing the clothes of their own time. The choice for a subject from Persian history taken from a Greek historian should make you think about the accessibility of Greek texts in fifteenth-century Europe either in the original or in complete or partial translations and adaptations. The painting of David played a role in Johan Huizinga’s view of late medieval society in his famous The Waning of the Middle Ages (1919), even though early editions were published without illustrations. Its first chapter had the title ‘s Levens felheid, “The fierceness of life”. Huizinga had seen an exhibition of early Dutch and Flemish paintings. The term “Flemish Primitives” might sound curious but is still sometimes used for the painters at the beginning of the great era of painting in the Low Countries. As for Huizinga’s view of the drastic character of late medieval justice, a recent article by Maarten Müller, ‘Het felle leven en het kalme gerecht : misdaad en straf in vijftiende-eeuws Haarlem’, Pro Memorie. Bijdragen tot de rechtsgeschiedenis 15 (2013) 5-31 – also availabe online – corrects his views to a large degree. Huizinga had edited sources concerning the legal history of Haarlem [Rechtsbronnen der stad Haarlem (The Hague 1911)]. It is rather strange that he did not hesitate to create a more colourful view of late medieval realities. By the way, in 2015 Pro Memorie devoted an issue to legal iconography.

The conference from January 16 to 18 does not look only at medieval legal iconography. Only one day will be devoted to the Middle Ages. The second day centers around legal iconography in the Early Modern period, and on the third day scholars will look at the long nineteenth century. Many scholars from Belgium will speak at this conference, but otherwise scholars come to Bruges from all over the world. The range of subjects is impressive, and I have to stop myself from picking out my personal favorites and surprising themes! At the end of the conference the project IAP Justice and Populations will launch the new volume of studies Les mots de la Justice/Het verhaal van Justitie. The front cover shows the entrance hall of the Palais de Justice in Brussels, probably the most labyrinthine building ever built, showing both the power of law and justice in its huge dimensions, and alas almost as powerful also its intimidating power because of its impersonal dimensions. The header of the website of this Belgian project shows a nineteenth-century photograph of this immense building, looking very much as a kind of spaceship that has just landed on earth. The organizers of the conference succeed in overcoming the linguistic frontiers that often divide modern Belgium. Their happy cooperation should set an example for the future.

As for the lovely city of Bruges, you can balance the present look of the old city, for some tastes perhaps too idealized, with a look at home at the wonderful new portal Erfgoed Brugge [Heritage Bruges], only accessible in Dutch, with sixteen digital collections and catalogues  bringing you to documents in the archives, archeological findings, paintings and objects such as sculptures, tapestries and jewellery in the museums, the poetry and letters of Guido Gezelle, manuscripts, maps, newspapers, engravings, drawings and much more. Legal historians should note the recent addition of nearly one thousand printed poster-sized proclamations and ordinances from the First World War. You will have to register online with the Archiefbank Brugge to gain access to these aanplakbrieven, definitely a Flemish word. For those visiting Brugge the Groeningemuseum organizes also guided tours to the main locations of law and justice in medieval and modern Bruges.

The Art of Law. Three Centuries Depicted – Bruges, Groeningemuseum, October 28, 2016 – February 5, 2017

Mapping Australia, an encounter between art and maps

In my latest post the importance of maps for combining both classical and digital approaches for historical research got some attention. It is not a coincidence that I would like to follow this trail by looking at a number of examples, but I had not expected that an exhibition in Utrecht would become the focus point. The Dutch king opened on October 3, 2016 the exhibition Mapping Australia. Country to Cartography (AAMU, Aboriginal Art Museum Utrecht). Old maps and modern visions of maps created by Australian artists with aboriginal ancestors are presented here together. The exhibition is a part of the commemoration of 400 years Dutch discovery of Australia in the so-called Dirk Hartog Year, named after the Dutch schipper who in 1616 involuntarily sailed to the west coast of Australia. It offers a good opportunity to look at the digital presence of relevant maps showing Australia at the portal Old Maps Online and the recently redesigned portal Memory of The Netherlands. In 2010 I looked here briefly at this remarkable museum and its collection of law poles.

On the map

Hollandia Nova – “Kaart van den Indischen Archipel, tusschen Sumatra en Nova Guinea (…)” – late 17th century – The Hague, Nationaal Archief, Kaartcollectie Buitenland Leupe, no. 344

The exhibition at Utrecht shows mainly but not exclusively Dutch maps of Australia. There are also more general maps of the southern hemisphere. The maps have been chosen from the holdings of Utrecht University Library and the Nationaal Archief, the Dutch National Archives in The Hague. Some 2,000 old maps held at Utrecht have been digitized and can be found online at Old Maps Online. The maps held at The Hague come from a special map collection created by the Ministry of Foreign Affairs (Kaartcollectie Buitenland Leupe). The map to the right is one of the items on display at the AAMU and happens to feature prominently in a thematic dossier about Australia at the website of the Nationaal Archief. Among the digitized items of the Nationaal Archief is Abel Tasman’s journal from 1642 (NA, Aanwinsten Eerste Afdeling, no. 121). Tasman made also drawings of the coastal areas he saw.

The 1616 tin dish commemorating the landing of Dirck Hartogh – Amsterdam, Rijksmuseum, NG-NM-825

Perhaps the most stunning historic object comes from the Rijksmuseum in Amsterdam. The very fact it is held in its holdings struck me forcefully. You could argue that the Dirck Hartogh tin dish is not just an object of Dutch maritime history, but also a telling object in Australian history. Dirck Hartogh ordered the carving of his arrival on October 25, 1616 with the ship Eendraght on the west coast of Australia at the island which still bears his name, Dirk Hartogh Island. Willem de Vlamingh found this dish eighty years after the landing, replaced it with a copy, and brought the original dish back to Amsterdam. Thus the oldest object from Europe that ever touched Australian soil returned to its point of depart in Europe.

Old Maps Online has gained its importance as a quick way to find historical maps precisely because it brings together maps from different angles, countries and perspectives. In the case of Australia it matters enormously to have rapid access to these old Dutch maps because they contain details not presented on other maps, and thus they have influenced cartographers elsewhere very much. Any reader of Simon Garfield’s On the Map. Why the World Looks the Way it Does (London 2012) will be aware how not only the actual shape and contents of a map are important, but also the visions mapmakers create. The combination of rich collections from several countries, each bringing both maps printed nearby and in foreign countries, makes Old Maps Online into the rich and invaluable resource it has become.

The digital portal Memory of the Netherlands contains now 132 collections from 84 institutions. You can search for these collections and institutions, or choose a preset theme. The theme Maps and atlases yields nearly 19,500 results. However, this filter has been programmed to include also topographical drawings. You can adjust the filters to include only maps which brings you to some 1,400 maps. If I choose for marine charts (365 items) you cannot search immediately for a specific location. In its current look it is more practical to look for a location in general and subsequently narrow your search to maps or charts. The portal gives access to an impressive total of nearly 800,000 items. Depending on your search question, either a general question which you want to explore or a more restricted one, you will encounter many interesting items. It is still possible to view the famous topographical collections such as the Atlas Schoemaker directly. This double use of the word atlas should serve as a reminder that even though digital materials might have been digitized with a view to historical research the sources themselves were not made with this intention. For the purpose of this blog post you should perhaps begin with the digitized atlases from the holdings of the Nationaal Scheepvaartmuseum in Amsterdam.

Mapping with a different mind-set

Maps created by Judy Watson

The historical maps of Australia form a major part of the exhibition at Utrecht, yet the modern art works which either mirror old maps or reflect concepts of space and spatial representation attract rightfully your attention. In particular the work of Judy Watson invites you to rethink the role of maps, especially the names of locations. The Dutch and English deliberately gave their own names to Australian locations which of course had and have their own names given by the indigenous people of Australia.

Apart from drawings and paintings there are also minor objects to be seen, such as beautifully carved shells, and some larger objects, a number of law poles. Interestingly, the law poles belong to the main collection of the AAMU. They are part of a series of contemporary art works which have helped setting the boundaries of land belonging to indigenous people. This theme was itself the focus point of an exhibition at the AAMU in 2010 about which I reported here briefly. I cannot help thinking now that these law poles are here very much museum objects instead of being elements of the present state of affairs in Australia regarding indigenous people. The past years a number of contemporary Australian art works has been shown around Australia in travelling exhibitions.

Any of my thoughts to be just looking at an art exhibition was dispelled when I spotted among the place names projected in a video installation by Judy Watson on a map of Australia Cape Grim and the Cape Grim Massacre. Watson’s point is not only recording such grim places as Cape Grim and Suicide Bay on Tasmania, but showing the sheer impact of a majority of English and Dutch names for Australian locations. The Dutch might not have occupied physically much Australian territory at any time, but giving locations a Dutch name was definitely done with a view on  commerce and control. Van Diemen Land and Tasmania are not exceptional examples of lasting Dutch influence. I would like to mention here the online Companion to Tasmanian History, edited by Alison Alexander, Centre for Historical Studies, University of Tasmania, where you can pursue this approach and much more.

Reading the sources

At the website of the Dirk Hartog Year you can find in the section Dirk’s Library information about his life and voyages for the Dutch East India Company, and not as you might expect books about him or even his personal library. I could not help inspecting the transcriptions of some of the historical records – including the tin dish from 1616 – and noticing gaps and misunderstandings. Instead of frowning upon this situation it is better to point to a brand new website about Early Modern Dutch palaeography, Wat Staat Daer? [What Is Stated There?]. Three archives in the province Noord-Brabant launched this website earlier this month. Even if it is not a tutorial it does give you not only a number of documents to decipher, but also a digitized version of a handy booklet by Willem Bogtman, Het Nederlandsche schrift in 1600 [Dutch Handwriting in 1600] (Amsterdam 1938; reprint 1973) showing you the variety of forms of letters in Dutch documents. Some users of Wat Staat Daer? point to an online tutorial for Early Modern Dutch palaeography of the University of Amsterdam. One user gives the link to a website for Dutch sixteenth-century palaeography using records of criminal justice at The Hague for a very short period, 1575 to 1579; in particular the reference section is very useful. Hopefully these websites help also all those investigating traces of Dutch history in locations from New York to Brazil and from South Africa to Sri Lanka and Indonesia or the global impact of the Dutch East India Company. The VOC Kenniscentrum and the Atlas of Mutual Heritage are among the virtual harbors where your research into the history of the Vereenigde Oostindische Compagnie can start. The municipal archive in Amsterdam has a special page about Dirk Hartogh, with a discussion also of the various spellings of his name.

For those wondering why I do not mention here the Digital Panopticon, a project combining data from the Proceedings of the Old Bailey Online 1674-1913, the Convict Transport Registers Database and the First Fleet to create a history of English and Australian people over the centuries, I did so here in an earlier post about the Digital Panopticon. This project is not only a showcase for digital humanities, it showcases also legal history in fascinating ways.

Among the many activities of the Dirk Hartog Year some of them are clearly connected to the events of 1616, its immediate impact and historical influence. The Western Australia Museum created a small but interesting online exhibition, 1616 – Dirk Hartogh. At the website of the Duyfken 1606 Replica you can find more information about important Dutch voyages to Australia in the seventeenth century. This autumn the replica of the Duyfken is sailing along Australia’s west coast in remembrance of Dirk Hartog’s journey. The Nationaal Archief gives an overview of other Dutch activities concerning “1616” in 2016 and 2017. The Dutch National Archives have produced a glossy magazine with the flawed title Boemerang. Nederland-Australië 400 jaar, which you can download as a PDF. I feared it was only available in Dutch, but luckily the website of the Dirk Hartog Year contains a link to the English version. The choice of subjects in this colourful magazine is really not narrow-minded. It would be one-sided to leave out here the websites of the National Archives of Australia and the National Library of Australia, but enough is enough. For me writing this contribution has been in some way a voyage of discovery, although I have collected over the years a selection of links to websites touching Australia’s legal history on my legal history website. Hopefully I can seduce you to look out for uncharted territories, to rethink the importance of historical and linguistic borders, and to get inspiration from artists who raise difficult questions about our own time.

Mapping Australia: Country to Cartography – Aboriginal Art Museum, Utrecht – October 4, 2016 to January 15, 2017

Images and the road to the French Revolution

After all attention given to texts from and concerning the French Revolution it is now time to turn to resources for digitized images from the eighteenth century. Texts about tolerance and its counterpart intolerance create – deliberately or inadvertently – images of targets, and also of cherished values and attitudes. Take Voltaire: he was a playwright, and apart from his obvious rhetoric talents we should acknowledge his ability to present matters in a dramatic way, to stage stories and bring them vividly before the eyes of the mind and into the hearts of his public. How to find French caricatures from his time, and what did Voltaire think himself about them? This post continues the series starting with Laws and the French Revolution and followed by Some notes on the history of tolerance.

Among French pictorial resources one of the best starting points is the image database of the BnF. You will encounter a rich choice of French historical images at the portal L’histoire par l’image, 1789-1939. Images from the nineteenth century with also five years of the century before it can be traced in the records of the French legal deposit at Images of France, 1795-1880, yet another ARTFL resource. The Joconde database enables you to search for images in the collections of French museums. Another major resource is the Bibliothèque numérique de l’Institut National d’Histoire de l’Art where you can also search for books, manuscripts and archival records. The Moteur des collections at Culture is a very useful meta-catalogue to French collections, even when filtering your search results is sometimes difficult. We encountered already the images section of the French Revolution Digital Archives, a vast collection that luckily is not strictly limited to images created since 1789. Some two hundred images can be found at Liberty, Equality, Fraternity: Exploring the French Revolution, a virtual exhibition of the Georg Mason University and City of New York University.

Looking at Voltaire

Saeculi Lumen – J’éclaire – anonymous copy after a silhouette by Jean ‘Voltaire’ Huber – London, British Museum

Images of Voltaire himself are also part and parcel of virtual exhibitions such as those of the Bibliothèque nationale de France (BnF) in Paris about Candide (1759) and a similar one of the New York Public Library. The BnF has also a dossier about Voltaire and the collections about him at Paris at Saint Petersburg, with a useful list of works by Voltaire digitized at Gallica. At Trier, too, a virtual exhibition about Candide has been created. Yet two kinds of images are really hard to find online, caricatures showing Voltaire, and images of him using an almost archetypical technique of the late eighteenth century, the silhouette. One of the greatest masters of this art is directly related to Voltaire’s life, the Swiss artist Jean ‘Voltaire’ Huber (1721-1786). I have to confess that I had hoped to retrace a complete series of his silhouettes of Voltaire, but this is very hard to find. Tantalizing the image database of the BnF has two cartons from which Huber made a number of his silhouettes with Voltaire. Both the Château de Voltaire at Ferney-Voltaire and the Musée historique de Lausanne are currently closed for renovation. The collections web site of the museums in Lausanne brings me some paintings by Jean Huber, including the intimate portrait showing Voltaire in the early morning, the Lever de monsieur Voltaire. In the database of the Swiss Institute for Art Research I did find some silhouettes by Huber, but alas not his famous images of Voltaire. A more systematic search using the links collection of the Voltaire Foundation in Oxford brought me to the iconography section of the online bibliography of the Société des Études Voltairiennes in Lyon, but here, too, I searched in vain. The blog of the Voltaire Foundation is most interesting , but one has not added yet a search function. However, this institution provides us also with a good dossier on Huber’s painting La Sainte Cène du Patriarche (around 1772) for which sketches exist.

“Voltaire: Départ pour les Délices”, drawing by Charles-Germain de Saint-Aubin – Waddesdon Manor

It is only natural that Voltaire as a master of satire became himself the object of caricatures. On my legal history website I have included among the virtual exhibitions a number of image collections containing eighteenth-century caricatures, but it lacks a specific resource for the French Revolution. With some luck I found a wonderful online resource at Waddesdon Manor, Aylesbury, Buckinghamshire. The collections of this stately house were brought together by members of the Rotschild family. You can search directly in the Saint-Aubin collection with drawings by Charles-Germain de Saint-Aubin (1721-1786). Two of his comic drawings in the unique album with some 400 items called Livre de caricatures tant bonnes que mauvaises show Voltaire. In 2012 the digitization of this album was completed. It is surely surprising to find this rare resource among the more august objects of the collections at this location. In my view this album is a splendid source which enriches and changes considerably our views of visions on eighteenth-century France.

Finding old cartoons and caricatures

There is a great gateway to online collections of cartoons and caricatures at EIRIS, the Équipe Interdisciplinaire de Recherche sur l’Image Satirique. The very useful links section will bring you for example to a great list at arthistoricum of French creators of satirical drawings. The major drawback for me it is its focus on the nineteenth and twentieth centuries. The image section of the French Revolution Digital Archive contains ten satirical scenes among the nearly eighty pictures with Voltaire. You will find more than one thousand satirical scenes among the 13,000 images, and some 35 items mentioning or showing silhouettes. The search functions in the FRDA are indeed superior to those at the images website of the BnF, but the FRDA is restricted to the period 1787-1799. The BnF did its very best to provide FRDA with new photographs of relevant items.

One of the points worth noticing here is that French cartoons were already an established genre long before Honoré Daumier (1808-1879) started creating his famous drawings of French society. The title of the BnF’s virtual exhibition Daumier et ses héritiers is therefore somewhat misleading, even though admittedly his images of lawyers are among the most stereotyped cartoons of any profession. Dieter and Lilian Noack have created The Daumier Register, a database with an overview of Daumier’s work, and Brandeis University offers online some 4,000 lithographed drawings by Daumier. Another point is that a set of drawings or engravings in a particular collection can almost make a prolonged search for more general digital collections superfluous. The digitized Lexikon der Revolutions-Ikonographie in der europäischen Druckgraphik 1789-1889 (Universität Giessen) contains nearly 11,000 images with pictorial representations in European printed art of revolutions between 1789 and 1889, but more importantly it gives a theoretical framework to the role and importance of graphic images.

Let’s end here with a remark about digitized portraits: you might want to search yourself for other portraits of Voltaire. A large number of links to digital portrait collections has been put together on the website of the Trierer Porträtdatenbank.

For some readers the link with legal history in this contribution might seem very weak or simple absent! However, I would adduce here the fact how art can be a law to itself. Cartoons have a peculiar position between more elitist art forms and popular culture. Caricatures seize upon imagination, but surely are linked to facts and opinions, too. The role of law and justice in Ancien Régime France was a hotly debated matter, and this debate must have touched all kinds of contemporary media. One of the things meriting further research is the role of illustrations in French pamphlets and broadsides. A quick first search using the relevant digital collections for France list on my own page for digitized pamphlets did not yield anything, but my impression could be wrong. Perhaps one can extend such questions also to illustrated chapbooks – in particular the Bibliothèque Bleue de Troyes – and ballads. However, my habit to put too many subjects in a single post should not prevail again. Having here links to many interesting collections only one mouse click away should form an invitation to explore things yourself. In future posts you will encounter legal history again in its widest possible variety!

Images, words and the law

However seducing texts are as sources to gain new knowledge, images do rightfully claim our attention, too, nay stronger, they are even more seducing and intoxicating than texts. Legal iconography is the auxiliary science to history and law which studies the uses and abuses of imagery in law and justice. A few months ago I was attracted to a building with both images and texts in an intriguing combination. Very close to it is a statue of a man who has been responsible as few others before him for introducing images as an educational tool. Here I would like to share with you a few thoughts about this building and about the role of images in teaching and research.

The town hall at Naarden

This summer I visited the town of Naarden, some twenty kilometers to the south-east of Amsterdam. Jacob van Deventer’s map of Naarden, part of the cartographic project for the Spanish king Philip II, shows a town with medieval city walls, no match for the modern weapons of the sixteenth century. During the Dutch Revolt Spanish armed forces attacked Naarden in 1572 with brutal force. The soldiers murdered the inhabitants and destroyed the city almost completely. The Grote of St. Vituskerk with its famous painted wooden vaults survived. Afterwards Naarden became a fortified town, even an archetype of the Dutch fortification system, as you can see when visiting the Vestingmuseum.

Among the buildings rebuilt in Naarden after 1572 is the town hall in Dutch Renaissance style, completed in 1601, almost thirty years after the tragic events. Whatever form the medieval town hall might have had, its new incarnation still looks splendid. On the facade not just blazons and statues all convey their particular visual message, Three texts have been added to bring yet another message.

On closer inspection two of these texts are really two versions of the same message. The Latin text to the left has been superbly condensed into Early Modern Dutch. The Latin reads: Quidquid erit superanda / omnis fortuna ferendo est, “whatever the event may be, every turn of fortune has to be subdued by bearing it”, a quote from Vergil’s Aeneid (V,710). Surprisingly the Dutch is much more condensed, but succeeds in adding also a significant twist: Ist lyden ist vreucht / Draeght soo’t God vuegt, “be it suffering or joy, bear it when God brings it”. Here classical Antiquity is invoked at the service of the civil authorities, but at the same time subtly christianised.

The pious overtones are much clearer in the inscription below the tympanum above the entrance, Godt regiert al anno 1601, “God governs everything, in the year 1601”. The tympanum is crowned by allegorical statues representing Faith, Hope and Justice, the latter in the middle portrayed in the familiar way of a blindfolded woman with a balance and a sword. On the top of the left part of the facade is an allegorical statue of Love, the right part is crowned by the Dutch lion. The blazons below the first floor windows are those of the county of Holland (a lion rampant), of prince Maurice of Oranje, and West-Friesland. In the tympanum you can see the blazon of the Habsburg emperors, the Austrian Doppeladler, the double eagle, which is also the blazon of the city of Naarden.

Emblems: combining images and text

Combining texts and images is of course not something new, but in a way it is here at least a bit unexpected. At first the brief Latin proverb and its wonderful crisp and concise Dutch rendering led me to speculate about a very particular influence. Justus Lipsius (1547-1606), the great Flemish political theoretician who taught some years at Leiden was also known as an editor of Tacitus. He influenced Pieter Cornelisz. Hooft (1581-1647), a prolific author and for forty years bailiff of Muiden Castle near Naarden. He wrote his Nederlandsche Historiën, a history of the Low Countries in difficult prose, clearly modelled on Tacitus’ works. Hooft published in 1611 Emblemata amatoria, a volume of emblems, symbolic images with a motto and didactic verses. However, we must rule out this argument as a possible source of influence for the decoration of the town hall in Naarden, simply because Hooft was much too young in 1601 to exercise any influence. I was genuinely surprised, too, to find Vergil as the author of the quote, not Tacitus. Instead one could perhaps better look at the early works of Hugo de Groot (1583-1645). A search for possible direct influences at Naarden can be quite long. A quick search for Dutch literature citing Vergil’s words in the Digitale Bibliotheek voor de Nederlandse Letteren (DBNL) brought me to Jacob Andriesz. Boelens (1554-1621), a burgomaster of Amsterdam often active on special missions in the early seventeenth century whose motto was Superanda omnis fortuna ferendo. It is a tantalizing hint which needs further corroboration.

The literary genre of emblematic literature was launched by one of the most famous humanist lawyers, Andrea Alciato (1592-1550) with his volume Emblemata (first edition Augsburg: Steyner, 1531). In 1529 he had already published Selecta epigrammata Graeca Latine versa (..) (Basel: Bebel, 1529; online in Göttingen). It is intriguing to look for an emblem which might have influenced the choice of a text at Naarden. Access to early editions of emblem books is much helped by four major online projects, at Glasgow for Italian and French books, at Utrecht for Dutch books, mainly from the seventeenth century, the project Emblematica Online of the University of Illinois at Urbana-Champaign and the Herzog-August-Bibliothek Wolfenbüttel, and the Biblioteca Digital de Emblemática Hispánica of the Universidade da Coruña.

Et toleranda homini tristis fortuna ferendo est, Et nimium felix saepe timenda fuit. Sustine (Epictetus dicebat) et abstine. Oportet Multa pati, illicitis absque tenere manus. Sic ducis imperium vinctus fert poplite taurus In dextro: sic se continet a gravidis.

The online collections at Glasgow has a separate section for Alciato. The first line Et toleranda homini tristis fortuna ferendo est of an emblem appearing in the section Fortitudo of Alciato’s collection comes closest to the quote from Vergil. In the edition Venice 1546 you will find this as no. 34, the emblem Anechou kai apechou / Sustine et abstine, at fol. 29v. In later editions this emblem has either no number or it appears with a different number, and thus it is really necessary to indicate exactly which edition you happen to use. For our emblem you would find it for example in the Paris 1550 edition on page 41. The image shows a farmer who keeps bulls away from cows. The Glasgow project has a useful list of the mottos and their occurrences in the main editions of Alciato’s text, and the Alciato website by William Barker is also most helpful in tracking emblems, mottos and verses; you can even find an English version of this emblem. However, this is only a possible indirect source or inspiration behind the choice for a verse with an admittedly more pointed and direct meaning, The emblems in the section Fortuna might be the first spur for searching a text, in particular the emblem Semper praesto esse infortunia.

Teaching by images

Why do I refer here at length to Alciato’s work and the role of images in connection with the town hall in Naarden? Across the street with the town hall of Naarden is the Grote or St. Vituskerk, and between the church and the town hall is a statue commemorating the Czech theologian, philosopher and pedagogue Jan Amos Comenius (1592-1670). From 1656 onwards he had found a refuge at Amsterdam. Comenius had contacts in Naarden, and he was buried in a church at Naarden. The Comeniusmuseum keeps his memory alive. Among his works are books such as the Ianua linguarum reserata [The open entrance of languages] (1631) which developed a new model for teaching Latin and other languages, and the Didactica magna (1633-1638), his opus magnum with a new comprehensive view of children’s education. The possible connection between Comenius and legal iconography is offered in particular by his Orbis sensualium pictus [The world of senses in images] (1658), the first book recommending and exemplifying the systematic educational use of images. In this work he uses for example pictures to help children learning the alphabet. In the space of this posting I can at least point you to the Bibliothek für Bildungsgeschichtliche Forschung in Berlin. Its digital library contains among other things early illustrations from pedagogical works.

More than a century before Comenius Alciato and others had introduced first a learned public and later also a wider public to a very successful combination of images and texts. The taste for this genre was at least sometimes mirrored by architecture. Alciato brought to the new emblematic literature his own legal background which made it a potential useful resource for anyone looking for outspoken combinations of images, concise proverbial sayings and often exquisite poetry. Somehow the presence of this literary genre makes it far more conceivable that lines from classical poetry can embellish buildings. As for which specific emblems collection provided Dutch people the clue for their choice I suppose you will need to look at many different collections, not just the Latin collections, but also those in Dutch and French, and even collections published in Spain.

Promises of more…

Sofar we have only looked at the facade of the town hall in Naarden. It would be really interesting to look also inside the town hall at the interior where you can find for example two seventeenth-century paintings in the city court room. I am sure you cannot separate them completely from the intriguing facade. The digital portal Memory of the Netherlands offers you a very quick entrance to images of both inside and outside the stadhuis at Naarden. Some photographs are already a bit older and reflect to some extent earlier scholarly approaches. For further research you will no doubt benefit from the resources at the municipal and regional archives in the Gooi- en Vechtstreek, located in Naarden and Hilversum.

This week I saw the 2013 online exhibition The Nomos of Images. Manifestations of the law in picture atlases and photo archives created by the Photothek of the Kunsthistorisches Institut in Florence. Some images in this virtual exhibition come from the Sammlung Karl Frölich at the Max-Plank-Institut für europäische Rechtsgeschichte in Frankfurt am Main, a collection with photographs taken between 1930 and 1950 which eventually will be digitized. In my view it can be most helpful to use both older resources and new materials to help research in the field of legal iconography. This post gives only some indications of directions you might choose for further investigations, but hopefully it helps you to get a taste of them.

A postscript

At the blog Interfaces/Livres anciens de l’Université de Lyon appeared on November 24, 2014 a very interesting contribution about Comenius, ‘Comenius, un pédagogue de l’avant-garde’. This year the digitization of the Sammlung Karl Frölich has been completed. In 2015 I have published a post about this collection.

An early detective? Jan van Scorel and a supposed papal murder case

Pope Adrian VI – painting by Jan van Scorel, 1523 – Utrecht, Centraal Museum

If you had told me in 2013 I would one day write about legal history and graphic novels I would have severely doubted the truth of such a statement, but suddenly this combination became a reality when I heard about an exposition at the Centraal Museum in Utrecht, my home town. The focuses of the exhibition are a sixteenth-century Dutch painter, Jan van Scorel (1495-1562), and contemporary artist Paul Teng. Together with writer Jan Paul Schutten Teng has created a graphic novel on Van Scorel and his investigation of a mysterious death in Rome. Pope Adrian VI, the only Dutch pope, reigned the Catholic Church for only one year. His death on September 14, 1523, came rather suddenly. Jan Paul Schutten and Paul Teng created a story using historical facts to create a fictional account of a murder investigation started by Van Scorel who suspected that his compatriot might have been murdered. Jan van Scorel, Sede Vacante 1523 is the title of both the graphic novel and the exhibition. The 80 page book has also appeared in an English version.

In this post I would like to look at the creative process of two contemporary artists working with historical facts and their own imagination. Rumours that Adrian VI’s death was caused by poison have never been conclusively confirmed nor rejected as utter fantasy. The pope died after an illness of a month. An anecdote states that the Roman people thanked the physician who had taken care of the ailing pope. For the preparation of the graphic novel Teng and Schutten used historical sources. They looked carefully at the history of art in the early sixteenth century, helped by the collections of the Centraal Museum with several paintings by Van Scorel.

Setting the scene

 

Some of the final pages in black and white

Drawings by Teng of Rome and sixteenth-century images

Scenes set at the building site of the Vatican around 1520

The first page of the graphic novel with the “Dormisne?” scene

Paul Teng took much care to make the historical surroundings of his novel as realistic and reliable as possible. He used early sixteenth-century paintings, drawings and engravings to ensure that locations in Rome and elsewhere are depicted faithfully. This means for instance that the basilica of St. Peter’s and the Vatican itself are shown as building sites. In the gallery with some photographs I took at the exhibition you can see other aspects of the creative process as well. From a story board with dialogues written by Schutten Teng took his lead to make sketches of the story. The exhibition shows the full sequence of the book in black and white. Some scenes are shown in their final coloured version. People are invited to draw themselves a page of a graphic novel on a chosen theme,

Accumulating functions and wealth

Pope Adrian VI (1459-1523) was born at Utrecht as Adriaen Floriszoon Boeyens. He studied theology at the university of Louvain, and he became a professor of theology at this university in 1489. In 1507 the Habsburg emperor Maximilian asked him to become one of the teachers of the future emperor Charles V. In 1516 he became the bishop of Tortosa in Spain. A year later he was created a cardinal. Charles V made him 1518 inquisitor-general of Castile and Aragón. Adrian became even the regent of Spain. During the minority of Charles V he had already been co-regent of Spain together with cardinal Francisco Jimenez de Cisneros.

Until 1522 Adrian got a large part of his income from prebends at several collegiate churches in the Low Countries and Spain. The very number of prebends pope Julius II allowed him to have in 1512 was restricted to four. Adrian finally became a canon of four collegiate churches in Utrecht: he was a canon at St. Peter’s and at Utrecht Cathedral (St. Martin’s) , treasurer of St. Mary’s and provost of St. Salvator’s (Oudmunster). However, the actual number of prebends he held was larger, and two prebends were shrewdly changed into annuities. His canonry at St. Peter’s in Utrecht enabled him to designate premises within the immunity of St. Peter’s as the site of a large house, a palace really, where he would have liked to live in Utrecht in good time. Adrian never saw the palace still called Paushuize, “The Pope’s House”. Interestingly, a statue in the facade shows Christ Saviour as a reminder he was the provost of the Salvator collegiate church. R.R. Post unravelled the history of these prebends in a fine article published in 1961 [‘Studiën over Adriaan VI. De beneficies van Adriaan VI’, Archief voor de Geschiedenis van de Katholieke Kerk in Nederland 3 (1961) 341-351; online at the Trajecta portal for the ecclesiastical history of the Low Countries, with digital versions of five scientific journals in this field].

There is a clear paradox between Adrian VI’s reputation as a pope who wanted the Church to live humbly, without unnecessary adornments and wealth, and his personal history in which he combined a large number of offices and accompanying revenues. In one of the scenes in which Teng depicts a meeting between pope Adrian and Jan van Scorel they discuss the plan to select art treasures from the Vatican’s holdings in order to sell them off to get money for the empty papal treasury.

The graphic novel opens with a scene showing a ritual which was long said to exist, the formal test done by the camerlengo to ascertain a pope’s death, by calling out thrice his baptismal name, “Adriane, dormisne” (Adrian, are you sleeping?), and giving a slight blow on his head with a special hammer. It is hard to find any real evidence for this custom, which if it really existed at all already ceased to happen in the seventeenth century. Today the camerlengo still has the task to certify the death of a pope. However, it is certainly followed by the immediate destruction of the papal ring, an element Teng and Schutten correctly added immediately after the scene with the probing camerlengo.

Here I will not spoil the joy of anyone wanting to enjoy and read the book by Teng and Schutten by giving away the plot or pronouncing verdicts on the historical veracity or plausibility of the facts they describe. They admit to have added some minor figures to ensure the story can run as it does. Giving Van Scorel a servant is just a time-honoured homage to the practice of detective novels with an investigator and his faithful assistant. The story told by Teng and Schutten can serve as an invitation to look anew at the stories historians like to tell. They can learn from the skillful way Teng shows a sequence of scenes, using for example close-ups to focus on details or general scenes to set the background of events. The funeral of pope Adrian VI in the basilica of St. Peter’s which for a large part still lacked a roof, is shown in true detail.

Adrian’s burial at St. Peter’s was followed by a translatio of his body in 1533 to the church of Santa Maria dell’Anima in Rome. By the way, this church started its life as a hospice for pilgrims founded in 1350 by Jan Peters, a rich baker from Dordrecht. The German project REQUIEM on the tombs and monuments of opes and cardinals in Rome between 1500 and 1800 has an extended entry on this monument. At his tomb in St. Peter’s the inscription said Adrian had considered his duty to reign as the most unhappy part of his life. The inscription on his large-scale monument within the Santa Maria dell’Anima reads in translation: “O how much does the time matter in which the virtue of even the best man happens”. These words seem to have inspired the title of the latest biography of pope Adrian VI by Michiel Verweij, Adrianus VI (1459-1523) : de tragische paus uit de Nederlanden (Utrecht 2011). At Deutsche Inschriften Online you will find the book by Eberhard J. Nikitsch on the inscriptions of this church, Die Inschriften der “Deutschen Nationalkirche” Santa Maria dell’Anima, I: Vom Mittelalter bis 1559 (Rome 2012). The essays in the exhibition catalogue De paus uit de Lage Landen Adrianus VI, 1459-1523 (Louvain 2009) help to put Adrian’s life into perspective.

Jan van Scorel came back to the Low Countries imbued with Renaissance ideas which he promptly used in his paintings. The great German art historian Max Friedländer once said Van Scorel had a role for Dutch painting in the sixteenth century similar to that of Peter Paul Rubens for Flemish painting in the next century. In particular his group portraits were an important innovation. In 1528 Van Scorel got a canonry at St. Mary’s in Utrecht, thus giving him a part of the financial background which had helped Adriaen Boeyens during his long ecclesiastical career. Last year I wrote a post about the project Medieval Memoria Online. Jan van Scorel is connected to several memorial objects. A part of the floor slab of his grave from the collegiate church of St. Mary’s  is now kept at the Museum Het Catharijneconvent in Utrecht (MeMo no. 3006). His group portraits of members of the Jerusalem confraternities in Haarlem and Utrecht are also described in the MeMo database (MeMo nos. 669, 671, 672, 716 and 746).

History, historians and images

Let’s close this post with a number of questions: can historians still create stories mainly using words? Is it not necessary nowadays to be at least very much aware of the imagery created by visual media? The creators of blogs are familiar with these questions and try to provide their own answers. Especially when a story does not unfold itself in the standard way movies and televisions series like to show them it is important to be aware of the (visual) expectations of your public. If people ask you for telling images, they are absolutely right to ask this from you! It will be your duty to come with reliable images or to tell what illusions, allusions and deviations images might contain. Professional pictorial research is most certainly one of the historian’s duties. You will need both your imagination and sound knowledge, helped by historical images, to create images in the mind of your readers which help both you and them to get to the core of historical events and persons. Misgivings about historical inaccuracies that occur in the choice or the use of images should not be the final aim of any criticism, but an outright challenge to produce yourself history which benefits substantially from the proper use of images and imagery.

– Jan van Scorel, Sede Vacante 1523 – exhibition Utrecht, Centraal Museum, October 19, 2013 – January 19, 2014
– Jan van Scorel, Sede Vacante 1523, drawings by Paul Teng, scenario by Jan Paul Schutten, colours Dina Kathelyn Tourneur (Eindhoven: Lecturis, 2013; 80 p.; ISBN 978-94-6226020-7)