The text below dates from 2013. It is the previous unpublished version of a paper I presented at the annual meeting of the Sixteenth Century Studies Conference in San Juan, Puerto Rico. At the moment there are no notes with the text. I plan to update the text to include at least a bibliography. The title of the paper I presented in San Juan is “Mennonite Printers, Anticonfessionalism, and the Persistence of Dissent in the Netherlands.” Except for updating the title for this post, I have only edited the text of the 2013 paper very lightly.
Part of the reason for publishing the 2013 paper as a blog post now is that my grad student, Brookelnn Cooper, is finishing off her MA research paper, and she is making the case for Colom as the printer / publisher of Menno Simons’ Blasphemy. For more about the Blasphemy, see my post about it here.
The title of this post is an allusion to Steven Nadler’s A Book Forged in Hell. That 2011 book is about Baruch Spinoza’s Theological-Political Treatise, a work that scandalized secular and ecclesiastical authorities in the later 17th century — and has influenced philosophers and historians in recent years. The purpose of this post is to share a bibliography compiled by Piet Visser and his students in the 1990s. Piet retired in June 2014 from his professorship at the Mennonite seminary at the Free University in Amsterdam. Before that he was the chief curator of rare books and professor of book history at the University of Amsterdam. It’s in this earlier role that the list that you can find below originated.
Romeyn de Hooghe (1645-1708) is a major figure in the world of European art history in the era of the Dutch Golden Age. What’s more, he played a significant role in Anglo-Dutch politics around the time of the Glorious Revolution as a supporter of William of Orange / William III. He’s been the subject of a significant number of exhibitions and academic studies recently. For example, the National Gallery of Art in Washington, DC, has just finished an exhibit on “The Book Illustrations of Romeyn de Hooghe” (13 Sept. 2014 to 25 Jan. 2015). In this post I introduce an anonymous etching that I think might be by him (or maybe by his student Adriaan Schoonebeek).
Note: Since first publishing this post I have updated it a few times. One revision was from Feb. 8, and more thorough revisions are from Feb. 11 and 23. The main change in the most recent, thorough revisions is to downplay the importance of the 1660 edition of Hortensius.