Leo Belgicus.
- Author: [LEO BELGICUS]. [GERRITSZ, Hessel]
- Publication place: Amsterdam,
- Publisher: Claes Jansz. Visscher,
- Publication date: 1630.
- Physical description: Double-page engraved map, with fine original hand-colour in full.
- Dimensions: 440 by 570mm. (17.25 by 22.5 inches).
- Inventory reference: 22210
Notes
In 1608, the famed cartographer Hessel Gerritsz published a new version of the “Leo Belgicus” with the Netherlands oriented with the west at the top. Again the lion’s back follows the coastline, however, this time he is shown walking on all fours (“passant”), with his head facing south – towards the Spanish threat.
The genesis of this map is somewhat complicated, as no example of Gerritsz’s original survives. The waters are further muddied by the fact that Gerritsz would appear to have engraved two, almost identical, copper plates. Although neither of the first states survive, it is likely that the works were engraved between 1608 and 1612, for two reasons: first, Gerritsz set up on his own in 1608, having been previously employed by Willem Blaeu; second, if one looks at the cartography, the map shows the lakes of northern Holland still unreclaimed, not reflecting the process of reclamation that began in 1612.
Below the lion’s feet is a legend, titled “The Lion Speaks” that reads: “how many limbs swell in my huge body; how dense are the kingdoms that you see in my chest; what it should be, if the people, joined in eternal peace, should give help in the interests of each other” (trans.).
By the time the present map was published, the plate had passed from Gerritsz to Cornelis Claesz, to David de Meyne, to Broer Jansz., to Claes Jansz. Visscher. The plate would later be acquired by Visscher’s son, Nicolaes Visscher I, who published it in 1665.
The “Leo Belgicus”
The “Leo Belgicus” is one of the most famous of all cartographic curiosities. The format depicts the 17 Provinces of the Low Countries in the form of a lion. The first Leo was produced by the Austrian Michael von Aitzing who, in 1583, included an example in his work ‘De Leone Belgico’ that detailed the Netherlands’ war of Independence against Hapsburg rule.
In the introduction he gives his reasons for choosing the lion: “Considering wise King Solomon’s saying that the lion shuns confrontation with none but the strongest of animals, and reading in Julius Caesar’s ‘Commentaries’ that the ‘Belgae’ were the strongest of all tribes, I decided – and not without reason- to introduce the Netherlands in the shape of a lion. Moreover Charles V – blessed be his memory – thought of calling it the lion country, either because he wanted the Netherlands in future to be considered the prime of his realm, or perhaps because virtually all provinces carry a lion in their coat of arms. I took every care that you should see at a glance not only the whole of the Netherlands in the shape of a lion, but also the various provinces as part of its limbs and body” (trans.).
Aitzing’s Leo is a lion rampant facing east, with the lion’s back following the coastline. The image proved so popular that it was soon copied. The first do to so was Johannes van Doetecum, who, in 1598, added a series of portraits. He was followed by the likes of Pieter van den Keere in 1609, and Famiano Strada.
In 1608, the famed cartographer Hessel Gerritsz published a new version with the Netherlands orientated with west at the top. Again the lion’s back follows the coastline, however, this time he is shown walking on all fours (passant), with his head facing to the south towards the Spanish threat. Although no example of Gerritsz’ original survives, the map was copied by, among others, Cornelius Danckerts, and Hugo Allard.
The signing of the Twelve Year Truce in 1609, by the Dutch Republic, the Southern Netherlands and Hapsburg Spain, proved a catalyst for another version of the Leo Belgicus. In around 1611, Claes Jansz. Visscher published his ‘Bestandskaart’ or ‘Truce Map’ – a lion at rest in a sitting position; his right paw on the hilt of a lowered sword. The map is replete with allusions to the fruits of peace: to the right of the lion, war personified by a knight in a full suit of armour – is shown asleep, and to the left personifications of North and South are shown seated together with ‘d’Oude Twist’ (the old rancour) buried under foot. A cherub pours the sweat nectar of the ‘Bestant van 12 jaer’ (the 12 Year Truce) into the mouth of the lion; heavenly blessing ‘zeghen des hemels’ descends upon the country. These bring with it arts and sciences ‘Const en Wetenschap’; safety ‘Vailighe Tijdt’; knowledge and wealth ‘Kennisse en Rijkdom’; prosperous towns’ ‘t Vergrooten der Steden’; the cultivation of the land’ ‘t Vredich Lantbouwen’, and trade ‘Coophandel’. Yet even in these peaceful times the frontier guard ‘Frontier Wacht’ remains alert.
At the end of the 12 Year Truce, Visscher published his ‘Leo Hollandicus’. In stark contrast to his ‘Truce Map’, the Hollandicus depicts a lion rampant facing east and brandishing a cutlass, with the patriotic motto ‘Patriae Defensio’ (Defender of the Country), engraved upon the blade. Above the lion are depictions of Dutch citizens, with iceboats and wind carts, to the borders are vignettes of Dutch towns, with the coats-of-arms of the towns in the province of Holland, below. Whereas Visscher’s ‘Truce Map’ celebrated the fruits of peace that came with the cessation of hostilities; the ‘Hollandicus’ highlighted the Dutch Republic’s determination to defend its new-found independence. The map also emphasizes the breaking apart of the 17 Provinces, between the Republican north and the Spanish controlled south. So potent was the lion as a symbol, that it was used to depict the Low Countries long after the war with Spain had ended. One such appeared in Wilhelm’s Serlin’s Hollandischer Mercurius of 1672. The lion is combined with an engraving of three equestrian figures. He rests his right paw upon a shield; below is a description of the Netherlands, and to the left Louis XIV is shown on horseback, being crowned with a laurel wreath by a winged Victory. Here the lion has been subjugated by the might of France, with their victory at Nijmegen in 1672, depicted below Louis’ horse.
Bibliography
- Van der Heijden, 16.4.