Acquired From: Leen Helmink
Colouring: Coloured
Condition: Good
Confirmed: No
Dealers ID No.: 18855
Description: Following the death of Willem Blaeu in 1638, his son Joan Blaeu expanded and refined the familys atlas project, culminating in the monumental Atlas Maior. The origins of this enterprise, however, extend back several decades. In 1599, after briefly studying with the Danish astronomer Tycho Brahe, Willem Janszoon Blaeu settled in Amsterdam, where he established himself as a maker of globes, astronomical instruments, wall maps, and pilot books. nIn 1629, following the death of Jodocus Hondius Jr., Blaeu acquired thirty-seven copperplates from the Hondius family. The following year, working with his eldest son Joan, he published the Atlantis Appendix, a single-volume world atlas comprising sixty maps, many derived from the Hondius plates. This was followed in 1631 by Appendix Theatri A. Ortelii et Atlantis G. Mercatoris, further expanding Blaeu's cartographic output.nIn 1634, Blaeu announced a more ambitious international edition of his atlas. That same year, a hastily assembled German-language version appeared under the title Novus Atlas das ist Abbildung und Beschreibung von allen Ländern des Erdreichs, with several maps left incomplete (View Record (#76)). A more formal and complete edition followed in 1635, issued simultaneously in Dutch (Toonneel des Aerdrycks, ofte Nieuwe Atlas), Latin (Novus Atlas), and French (Le Théâtre du Monde). These multilingual volumes were designed for a broad European readership. Their title pages were later imitated by Blaeus principal rival Johannes Janssonius in his own Le Théâtre du Monde ou nouvel atlas (1639, 1643; #303 and View Record (#320)).nOver the next two decades, Joan Blaeu expanded the atlas with volumes dedicated to Italy and Greece (1640), England and Wales (1645), Scotland and Ireland (1654), and China (Atlas Sinensis, 1655). The project reached its peak with the publication of the Atlas Maior, sive Cosmographia Blaviana, first issued in Latin (1662, 11 vols.), and subsequently translated into Dutch (Grooten Atlas, oft Werelt-Beschrijvinge, 1664, 9 vols.), French (Le Grand Atlas, ou Cosmographie Blaviane, 1667, 12 vols.), and Spanish (Atlas Mayor, o Geographia Blaviana, 1672, 10 vols.).nFor both the 1635 Dutch, Latin, and French precursors of the Atlas Maior, Geographia Blaviana, Joan Blaeu introduced a coordinated series of engraved title pages, each serving as a symbolic gateway to a specific geographic region. From these earlier publications, the present collection includes an early 1638 reissue of the French title page from Le Théâtre du Monde (View Record (#351)), as well as two title pages for the Spanish section: one from the 1644 French edition of Le Théâtre du Monde, ou nouvel atlas (View Record (#147)), and another from the 1658 Dutch edition of Toonneel des Aerdrycks (View Record (#318)).nThe collection also includes title pages from the Atlas Maior, Geographia Blaviana: the general title page (View Record (#157)), along with allegorical frontispieces for the Arctic (View Record (#284)), Europe (View Record (#151)), Africa (View Record (#149)), and America (View Record (#150)). A distinct title page for Asia (View Record (#152)) was adapted from the earlier Atlas Sinensis of 1655. In addition, the collection features View Record (#148), which introduces the section on Tycho Brahes astronomical instruments.nThis title page, used to introduce maps of China and Japan, is an allegorical and typographically rich design first introduced in Volume VI of the Novus Atlas in 1655 to accompany the Atlas Sinensis compiled by the Jesuit missionary Martino Martini. Unlike the earlier architectural title pages in the Atlas Maior seriesoften framed by arches and porticosthis design offers a more dense symbolic tableau, celebrating the spiritual, scientific, and evangelical missions of the Jesuits in the Far East.nDominating the composition is a radiant IHS emblema monogram of Jesus Christwhose divine light is reflected by a mirror labelled Speculum Sine Macula (Mirror Without Blemish), held by a youthful, enthroned pope. The pontiff is widely believed to represent Alexander VII, and he wears the papal tiara, reinforcing his role as both religious authority and agent of divine reflection. The reflected light from the mirror illuminates a torch held by a putto positioned at the top of the central axis, signifying the transmission of divine wisdom to the world.nA Latin inscription drawn from Isaiah 18:2Ite, angeli veloces, ad gentem convulsam et dilaceratam Isaiae XVIII (Go, swift messengers, to a nation powerful but divided)is placed as though spoken by the Pope. While open to theological interpretation, Rodney Shirley has suggested that the verse underscores the missionary zeal to bring the Gospel to parts of the world not yet fully converted to Christianity.nBeneath the Pope, six putti support the personification of the Church, reinforcing ecclesiastical authority. Five additional putti carry Christian symbols, including a crucifix, a book (likely the New Testament), a chalice, and other liturgical objects associated with the Eucharist, underscoring the sacramental mission of the Jesuits. Through a large arched portal, a landscape opens into the distance, suggesting a spiritual and geographic gateway to China.nIn the foreground, seven more putti unroll a partially revealed map of China and gather around a globe, taking measurementsa striking visual metaphor for the intersection of science, faith, and imperial knowledge. This blend of religious symbolism and cartographic reference aligns closely with the Jesuit vision of missionary geography, where conversion and comprehension of the world go hand in hand.nThe page forms a unique component within Blaeus series of allegorical frontispieces. It departs from classical personifications and instead emphasizes the global ambitions of the Catholic Church through visual theology and missionary iconography. It stands not only as a preface to Martinis maps of China, but also as a celebration of early modern Europes encounter withand projection of power overthe wider non-Christian world.
Engraver: Martini, Martino (1614-1661)
First published: Atlas Maior, sive Cosmographia Blaviana… Vol. 10, Amsterdam: Joan Blaeu, 1662
Mapmaker: Blaeu, Joan (1596-1673)
Notes: Purchase details-date
Price: A2,750
Primary Category: Titlepage
Rarity: R2 Very rare – one or two copies appear on the market
Shirley ID #: 52A Courtiers and Cannibals
Technique: Copper Engraving
This state: First
Website: https://www.helmink.com/print/18855/blaeu-allegory-asia
Laisser un commentaire