Flandria Illustrata is a historiographical and topographical work from 1641 by the Flemish canon Antonius Sanderus. It contains historical descriptions of the main towns and villages of the former County of Flanders, in addition to the lives of its counts and bishops. The works is lavishly illustrated. It contains etched portraits of historical figures and heraldic representations but it is specifically known for its maps and topographical views which form an important source for historic study. The Latin work knew several editions and translations until well into the 18th century. In Dutch it was published under the title Verheerlykt Vlaandre (Glorify Flanders).
Sanderus tells us in his Sanderus Apologidion that the biggest inspiration for his Flandria Illustrata was the Theatrum sive Hollandiae Comitatus et urbium nova descriptio Marcus Zuerius Boxhornius (Boxhorn Nl), which in 1632 was published by the Amsterdam based publisher and engraver Henricus Hondius. It was Sanderus' goal to surpass his predecessors, both in terms of completeness and quality. [1]
As the title Flandria Illustrata underlines it is more lavishly illustrated than its earlier Dutch example. Apart from city maps in cavalier projection, major civil and ecclesiastic buildings and structures such as town halls, guild houses, fortifications, churches and convents are represented, mostly in bird's eye view. Rural places are often represented with a view of the local castle or country house, underscoring the feodal structure of the county. Many illustrations have been provided by the artist and surveyor Vedastus Du Plouich. City maps of larger cities such as Brugge and Ghent however are based on older published sources such as Braun and Hogenberg's 'Civitates Orbis Terrarum'. In the case of the map of Ghent for example the map is oriented in a different direction and the representation of some streets and fortifications is updated.
The writing and publishing of Flandria Illustrata did not run without a hitch. After the plan was conceived, Sanderus contacted the publisher Henricus Hondius, who had published the work of Boxhorn. The contact went through an intermediary named Johannes D'Hondt, a nephew of the publisher and an acquaintance of Sanderus. There was one major problem: Hondius, based in a Calvinist Republic, was a Protestant. This would mean that the book would be difficult to obtain in Catholic Flanders, but it would also put Sanderus, a canon, in a bad light. Protestant publishers had already found a solution to this problem: the book was printed and published in the Protestant Republic, but under the name of a Catholic publisher from Cologne. [2]
From 1632 Sanderus began with the first studies for his work. In 1634 he signed a contract with Hondius. After some time tensions arose: Hondius had begun the work with the material he already received, but had to interrupt the production process repeatedly because of articles and drawings that were still lacking. [3] Hondius himself remained not free from blame: he sent back several drawings and maps for (unnecessary) corrections while failing to implement the corrections that Sanderus suggested. [4] Hondius was so thoroughly tired of the situation that he sold the Flandria Illustrata to its competitor brothers Blaeu without even notifying Sanderus nor Johannes D'Hondt. Meanwhile the publication already advanced fairly well. [5] Although the publication was initially planned for Easter 1637, it would take almost four more years until the first volume appeared on April the first 1641.
Sanderus also prepared a third volume containing a description of French Flanders, Tournai and the Tournaisis that was titled; Icones Urbium, Villarum, Castellorum et Coenobiorum Gallo-Flandriae, quae Tertia Pars est Flandriae illustratae. Although it was already prepared in detail, including the preparatory drawings for the maps and illustrations by Vedastus du Plouich , this volume was never published. The drawings by du Plouich survived and are kept in the manuscript department of the Royal Library of Belgium. [6]
Gerardus Mercator was a Flemish geographer, cosmographer and cartographer. He is most renowned for creating the 1569 world map based on a new projection which represented sailing courses of constant bearing as straight lines—an innovation that is still employed in nautical charts.
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Adriaen Isenbrandt or Adriaen Ysenbrandt was a painter in Bruges, in the final years of Early Netherlandish painting, and the first of the Dutch and Flemish Renaissance painting of the Northern Renaissance. Documentary evidence suggests he was a significant and successful artist of his period, even though no specific works by his hand are clearly documented. Art historians have conjectured that he operated a large workshop specializing in religious subjects and devotional paintings, which were executed in a conservative style in the tradition of the Early Netherlandish painting of the previous century. By his time, the new booming economy of Antwerp had made this the centre of painting in the Low Countries, but the previous centre of Bruges retained considerable prestige.
Jodocus Hondius was a Flemish and Dutch engraver and cartographer. He is sometimes called Jodocus Hondius the Elder to distinguish him from his son Jodocus Hondius II. Hondius is best known for his early maps of the New World and Europe, for re-establishing the reputation of the work of Gerard Mercator, and for his portraits of Francis Drake. He inherited and republished the plates of Mercator, thus reviving his legacy, also making sure to include independent revisions to his work. One of the notable figures in the Golden Age of Dutch cartography, he helped establish Amsterdam as the center of cartography in Europe in the 17th century.
Antonius Sanderus was a Flemish Catholic cleric and historian.
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Henricus Hondius II was a Dutch engraver, cartographer, and publisher.
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Aernout van Buchel was a Dutch antiquarian and humanist, specialising in genealogy and heraldry.
Claes Janszoon Visscher was a Dutch Golden Age draughtsman, engraver, mapmaker, and publisher. He was the founder of the successful Visscher family mapmaking business. The firm that he established in Amsterdam would be passed down his generations until it was sold to Peter Schenk.
Hendrik Hondius I was a Flemish-born and trained engraver, cartographer, and publisher who settled in the Dutch Republic in 1597.
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The Genealogia comitum Flandrensium, also called the Genealogia Bertiniana, is a short text containing a genealogy of the counts of Flanders. It exists today in three versions, all based on an archetype produced probably at Saint Peter's Abbey in Ghent shortly after the death of Count Baldwin V in 1067. The three versions are all identical up to the 1067, thereafter they diverge. The first version, 204 words in length, continues the genealogy to the death of Robert II (1111); the second, 243 words, to that of Baldwin VII (1119); and the third, 337 words, to that of Theoderic (1168). The complete, 337-word text with variants was edited by Ludwig Bethmann and published in the Monumenta Germaniae Historica. It was published under the title Genealogia comitum Flandriae Bertiniana because Bethmann mistakenly believed it to originate in the Abbey of Saint-Bertin.
Events in the year 1865 in Belgium.
The Castle of Temse also known as 'the (old) castle', 'Arcques', 'Hercken' or 'Herkenstein', was a castle/moated castle that was located on the left bank of the Scheldt in Temse. It existed before the 12th century and was demolished in 1782. More to the north of the old castle, a new castle was built from 1783 to 1787 in classicist style, which in turn was demolished in 1965 to make way for the swimming pool of Temse. There are no remnants of the old castle, except for the current Scheldt Park, which belonged to the domain of the old and new castle. A model of the old castle can be seen in the municipal museum of Temse.
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