DOI article:
Chrościcki, Juliusz A.: Między Wilnem, Rzymem i Antwerpią: o dwóch projektach P. P. Rubensa do sześciu wydań Lyricorum Libri IV Macieja Kazimierza Sarbiewskiego w Officina Plantiniana
DOI Page / Citation link: https://doi.org/10.11588/diglit.27413#0122
118
JULIUSZ A. CHROŚCICKI
The next édition of Sarbiewski’s poetry (the fourth one) was published with the help of
“Societatis Iesu Antverpiae” in Officina Plantiniana, in morę than 1000 copies. A new book
of odes was added (38 works), and hence the new title: Lyricorum libri IV. The volume,
edited in a refined form in format 4° was dedicated to Pope Urban VIII by the Antwerp
Jesuits. Imprimatur was signed by the Provincial of the Lithuanian Jesuits, Mikołaj Łęczycki:
in Vilnius, on 11 July 1631. Epicitharisma, that is a collection of 14 poems dedicated to
Sarbiewski, is an additional part of the volume (apart from Epodon and Epigrammatum). The
poems were written by Flemings belonging to the circle of the Leuven University and the
French Jesuit Gilbert Jonicus and the Lithuanian nobleman Mikołaj Kmicic, Sarbiewski’s
favourite disciple. It was a luxury édition of Lyricorum libri IV, with the front page engraved
according to P. P. Rubens’ design, with the Barberinis’ coat of arms and Urban VIII’s
attributes.
Rubens’ design for the 1632 édition of Lyricorum libri IV is kept in the Muséum Plantin-
Moretus in Antwerp, established in the building of Officina Plantiniana. It is a modelli madę
in oil en grissaille on a plank (with vertical grain), 187 mm long and 144 mm wide. The sum
of 12 guldens was paid to Rubens’ account for this design, one of the eight ones madę for B.
Moretus the Elder.
It is worth mentioning Andrea Sacchi’s composition of about 1630, engraved by Charles
Audran. It was Allegory of Pope Urban VIII’s Birthday, signed in the following way:
Andréas Sacchj Romanus Inuentor; Karol’ Audran Paris Fecit Romae.
These were allusions to the Pope as a ruler, orator and poet with mellifluous speech. As
it is well known, Sarbiewski’s odes contain numerous allusions Ad Apes Barberinas, with the
poet’s statement that Melleum venisse saeculum - the honey âge has corne, so the Golden Age
is back.
For its execution on 8 October 1632 the engraver Theodoor Galie was given by the editor
the sum of 44 guldens (in settlement of his brother’s accounts). For printing 1033 copies of
the figure (from the above mentioned plate) after 15 days he received 8 guldens and 5,5
stuivers. In my opinion the figure il. 2) existed in at least four stages. Its size was 197 x 135
mm and it was signed Pet. Paul. Rubens pinxit.; Corn. Galle sculpsit.
One copy of the 1632 édition of Lyricorum libri IV cost in Antwerp 1 gulden 12 stuivers.
2 florens 2 stuivers were subtracted from Rubens’ account with Moretus for one copy of
“Casimiri Lyrica [in] 4° that he took to his library W. Maybe this was due to the more
luxurious binding of the book.
In 1637, when Stefan Simoni’s Silvae Urbanianae were being edited, the copperplate of
1632 was used; the letters in the title of the print were only changed and the date of édition
was corrected, which was done by the engraver’s son, Cornelis Galie II. The retouched plate
has survived in the Plantin-Moretus Muséum.
Two years later, in 1634, Baltazar Moretus the Elder published a cheaper édition of
Liricorum libri IV in format 24°. New works were added: five to Lyrics and five to Epodon.
This édition became canonical as it was the last one published while the poet was still alive.
There we find the poet’s thanks for Epicitharisma in the ode entitled Ad Amicos Belgas.
Rubens’ drawing for the 1634 édition of Lyricorum libri IV has not been preserved in the
collection of the Plantin-Moretus Muséum in Antwerp. The entry saying that Rubens was paid
„[...] Pourtrois frontispices en 24°. Sarbievij, Bauhusij et Bidermani afi. 5... 15. confirms that
ail the three drawings made in drawing-pen on paper were Rubens’ work. The latter two hâve
been preserved in the Plantin-Moretus Muséum.
Ail the three volumes of poems: by Sarbiewski, by Bidermann and the last one comprising
poems by Bauhuis, B. Cabilliau and C. Malapert were published in a format reduced to the
so-called 24° in the saine year, that is in 1634. I will also add that Sarbiewski's Lyricorum
JULIUSZ A. CHROŚCICKI
The next édition of Sarbiewski’s poetry (the fourth one) was published with the help of
“Societatis Iesu Antverpiae” in Officina Plantiniana, in morę than 1000 copies. A new book
of odes was added (38 works), and hence the new title: Lyricorum libri IV. The volume,
edited in a refined form in format 4° was dedicated to Pope Urban VIII by the Antwerp
Jesuits. Imprimatur was signed by the Provincial of the Lithuanian Jesuits, Mikołaj Łęczycki:
in Vilnius, on 11 July 1631. Epicitharisma, that is a collection of 14 poems dedicated to
Sarbiewski, is an additional part of the volume (apart from Epodon and Epigrammatum). The
poems were written by Flemings belonging to the circle of the Leuven University and the
French Jesuit Gilbert Jonicus and the Lithuanian nobleman Mikołaj Kmicic, Sarbiewski’s
favourite disciple. It was a luxury édition of Lyricorum libri IV, with the front page engraved
according to P. P. Rubens’ design, with the Barberinis’ coat of arms and Urban VIII’s
attributes.
Rubens’ design for the 1632 édition of Lyricorum libri IV is kept in the Muséum Plantin-
Moretus in Antwerp, established in the building of Officina Plantiniana. It is a modelli madę
in oil en grissaille on a plank (with vertical grain), 187 mm long and 144 mm wide. The sum
of 12 guldens was paid to Rubens’ account for this design, one of the eight ones madę for B.
Moretus the Elder.
It is worth mentioning Andrea Sacchi’s composition of about 1630, engraved by Charles
Audran. It was Allegory of Pope Urban VIII’s Birthday, signed in the following way:
Andréas Sacchj Romanus Inuentor; Karol’ Audran Paris Fecit Romae.
These were allusions to the Pope as a ruler, orator and poet with mellifluous speech. As
it is well known, Sarbiewski’s odes contain numerous allusions Ad Apes Barberinas, with the
poet’s statement that Melleum venisse saeculum - the honey âge has corne, so the Golden Age
is back.
For its execution on 8 October 1632 the engraver Theodoor Galie was given by the editor
the sum of 44 guldens (in settlement of his brother’s accounts). For printing 1033 copies of
the figure (from the above mentioned plate) after 15 days he received 8 guldens and 5,5
stuivers. In my opinion the figure il. 2) existed in at least four stages. Its size was 197 x 135
mm and it was signed Pet. Paul. Rubens pinxit.; Corn. Galle sculpsit.
One copy of the 1632 édition of Lyricorum libri IV cost in Antwerp 1 gulden 12 stuivers.
2 florens 2 stuivers were subtracted from Rubens’ account with Moretus for one copy of
“Casimiri Lyrica [in] 4° that he took to his library W. Maybe this was due to the more
luxurious binding of the book.
In 1637, when Stefan Simoni’s Silvae Urbanianae were being edited, the copperplate of
1632 was used; the letters in the title of the print were only changed and the date of édition
was corrected, which was done by the engraver’s son, Cornelis Galie II. The retouched plate
has survived in the Plantin-Moretus Muséum.
Two years later, in 1634, Baltazar Moretus the Elder published a cheaper édition of
Liricorum libri IV in format 24°. New works were added: five to Lyrics and five to Epodon.
This édition became canonical as it was the last one published while the poet was still alive.
There we find the poet’s thanks for Epicitharisma in the ode entitled Ad Amicos Belgas.
Rubens’ drawing for the 1634 édition of Lyricorum libri IV has not been preserved in the
collection of the Plantin-Moretus Muséum in Antwerp. The entry saying that Rubens was paid
„[...] Pourtrois frontispices en 24°. Sarbievij, Bauhusij et Bidermani afi. 5... 15. confirms that
ail the three drawings made in drawing-pen on paper were Rubens’ work. The latter two hâve
been preserved in the Plantin-Moretus Muséum.
Ail the three volumes of poems: by Sarbiewski, by Bidermann and the last one comprising
poems by Bauhuis, B. Cabilliau and C. Malapert were published in a format reduced to the
so-called 24° in the saine year, that is in 1634. I will also add that Sarbiewski's Lyricorum