Who painted Title Page for Biblia Sacra Cvm Glossa Ordinaria?

Title Page for Biblia Sacra Cvm Glossa Ordinaria was painted by Hans the Younger Collaert.

Where can I see Title Page for Biblia Sacra Cvm Glossa Ordinaria?

Title Page for Biblia Sacra Cvm Glossa Ordinaria is held by National Gallery of Art.

What movement is Title Page for Biblia Sacra Cvm Glossa Ordinaria?

Title Page for Biblia Sacra Cvm Glossa Ordinaria is associated with Baroque.

Artwork

Title Page for Biblia Sacra Cvm Glossa Ordinaria

Hans the Younger Collaert

Title Page for Biblia Sacra Cvm Glossa Ordinaria is an ink print by the Baroque artist Hans the Younger Collaert. It is held in the collection of the National Gallery of Art.

About this work

Overview

This 1617 engraving on laid paper, attributed to Hans the Younger Collaert, serves as a title page for *Biblia Sacra Cvm Glossa Ordinaria*. The composition is dominated by a grand, ornate frame enclosing a central book-holding figure, flanked by three smaller figures and adorned with symbolic shields and a banner bearing the title.

Subject & Meaning

The engraving's central figure, holding a book and globe, represents a scholar or divine authority. Flanking figures—a scribe with a scroll and a cross-bearing figure—emphasize scripture and faith. Shields with a compass (knowledge/navigation) and *IHS* (Christ) further embed religious and intellectual themes, targeting a scholarly audience.

Technique & Style

Executed with meticulous attention to detail, the engraving showcases fine cross-hatching to achieve depth and texture, particularly in the figures' robes. The overall design reflects the ornate, symbolic aesthetics common in early 17th-century religious printmaking.

History & Provenance

Created in 1617 by Hans the Younger Collaert, this engraving was designed as a frontispiece for *Biblia Sacra Cvm Glossa Ordinaria*, a religious text with ordinary glosses, indicating its purpose as an introductory piece for a scholarly or devotional work.

Context

Part of a broader tradition of religious printmaking in the early 17th century, this work aligns with the era's emphasis on detailed, symbol-rich illustrations for theological texts. Its use of emblems and figures reflects the period's visual language for conveying complex theological ideas.

Legacy

While specific influences or direct descendants of this work are not widely documented, it contributes to the historical record of religious printing and the evolution of engraving techniques in the Baroque period, offering insights into the visual and intellectual priorities of early 17th-century religious scholarship.