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XVII.—On an Allegorical Painting in Miniature by Joris (George) Hoefnagel, and on some other works by this artist
Published online by Cambridge University Press: 15 November 2011
Extract
I have the pleasure of showing you to-night a very interesting little picture (Plate XLIV.) which belongs to Miss Isabel Akers, who has kindly lent it for purposes of exhibition. And, in order that we may appreciate it the more, I will begin by recounting very briefly a few of the leading facts in the life of the man who painted it.
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- Copyright © The Society of Antiquaries of London 1901
References
page 322 note a T. Jorissen in his genealogy of the Hoefnagels in Navorscher, vol. xxii. (1872), writes the name of the wife Van Onssen, and is responsible for the statement that these children were by a second wife, Susanna Vezeler. See Le Livre des Peintres, de Carel Van Mander (1604), Traduction, notes et commentaire par Henri Hymans (1885).
page 323 note a Mr. Lionel Cust, Mr. W. J. C. Moens, and M. van den Branden, Archivist of Antwerp, have kindly given me information about Hoefnagel.
page 323 note b M. Hymans tells us that the first date which occurs on its pages is 1581, and the last 1590. Others say that it was begun in 1582.
page 323 note c Bradley's, Dictionary of Miniaturists (1888), ii. 112.Google Scholar
page 324 note a This view is in the Civitates Orbis Terrarum, described on a subsequent page. The Moors after their conquest were called by the Spaniards “Moriscos,” a diminutive which implies contempt. They were finally turned out of Spain by Philip III. in the year 1610.
page 325 note a Æneid, iii. 57, 58.
page 326 note a Nicholas Hilliard, born in 1547, was apprenticed to a goldsmith, and while carrying on that business studied miniature painting, especially from the works of Holbein. He was appointed goldsmith carver and portrait painter to Queen Elizabeth, to make pictures of “her body and person in small compasse in lymnynge only,” and the office was continued to him by James I. He engraved the Great Seal of England in 1587.
page 328 note a Hoefnagel's contributions are described at length by Fétis, Edward in Les Artistes Belges à l'Etranger, 1857Google Scholar. He thinks that Hoefnagel died after the publication of the last volume, but his share in this was no doubt contributed by his son Jakob, into whose hands his notes and drawings would naturally have come; and he was very well able to make use of them.
page 329 note a These are either hake or pike; in the accompanying letterpress the words are written “lucios pisces.”
page 329 note b Edition of 1611, 11.