Icones Zootomicae

Some wonderful lithography work in these cropped (and slightly doctored) details from plates in the 1857 Julius Victor Carus book on invertebrate animals: 'Icones Zootomicae, die Wirbellosen Thiere', available as always in enormous page images from the excellent Universities of Strasbourg Digital Library collection.

"Julius Victor Carus (1823-1903) was a zoologist, editor, and historian of science. Educated in German universities and at Oxford, he served on the faculties of the latter, as well as the universities at Edinburgh and Leipzig. Carus is probably best remembered as editor of the Zoologischer Anzeiger, a position he held from its inception in 1878 until his death. He was also recognized for the translation into German of many of the classical works of Charles Darwin." [also & online works]

Landjuweel and the Chambers of Rhetoric

Uyt ionsten versaemt
[United by friendship^¶]

[All the images above were spliced together from multiple screen captures
- click through to much enlarged versions]

As is so often the case on the erratic path taken by this blog, the background to a series of arresting or compelling images - that chooses to randomly dive in front of my passing browser - offers its own fascinating dimension for exploration and provides both context and added depth to the visual subject matter.

On this occasion however, the connection between the imagery and the story is not so much tenuous - although it might be that too - as relatively obscure. The pictures do follow directly from an unusual or at least esoteric episode of regional cultural history, but exactly why the one begat the other is a little beyond my powers of distillation, let's say. Enlightening comments are invited. Inventive fiction will otherwise suffice.

The story begins in the Low Countries during the 15th century with the gradual establishment of drama guilds, a concept that was almost certainly imported from France. These chambers of rhetoric or rederijkerskamer, as they came to be called, developed into companies of amateur actors and authors who wrote and performed vernacular plays and lyrical poetry for the enjoyment of their local townsfolk. From our vantage point you might think of them as a cross between literary societies, political lobby forums and theatre sports.

Early compositions were dominated by religious dramatic and pious verse in keeping with the church fraternity origins of the chambers. Rederijkers (rhetoricians) eventually came to incorporate satire and social and political commentary into their productions. This of course drew the ire of the authorities who essentially tried to manipulate and infiltrate this Renaissance equivalent of the mass media.

"The influence of the rhetoricians on social and spiritual life, specifically their part in the Reformation, must not be underestimated. Especially in the sixteenth century, the period of their greatest success, they were a factor which both church and state had to take into account.

Over the years their power and possessions had increased steadily; they enjoyed the protection of the authorities everywhere, and during festivals and processions they added a splendour which no other guild could offer to the same degree. The magnificence of their performances, the humour and seriousness of their plays, their candid criticism of church and society earned them respect from the magistrates who saw them play in the town hall just as much as from the bourgeoisie who saw them play in the market square."

The individual chambers had their own name, slogan and insignia or coat of arms and their plays and performances were affected to varying degrees by local cultural concerns. This apparent provincial quality was tempered by a relative uniformity of structure among all the chambers, with similar hierarchies, rules and prohibitions enforced. The very nature of the chambers also meant that the rederijkers were drawn from a narrow strata of society: this was the literate middle to upper classes, whether in Ghent or Amsterdam or Antwerp (by the middle of the 16th century, virtually every town and city in the Low Countries had at least one chamber of rhetoric). This shared commonality of structure, function and membership probably explains, to an extent, how the chambers were able to exert such a remarkable influence across all the territories in which they were located.

"Formal competition within individual chambers grew into formal competitions between chambers. These competitive festivals, called landjuweels (literally "jewel" or "prize of the land"), pitted cities' chambers against one another in a series of contests strictly governed by rules of form. [..]

A landjuweel could last for several days or sometimes for several weeks. Performances were open to the public, and by all contemporary accounts, attended enthusiastically. Contestants competed for prizes in a number of categories including: the best play, the best farcical entertainment, the most beautiful blazon, the best acting, the best poem, the best reader of a poem, the best orator, the best song, the best singing, the fool who entertained the best "without villainy"."

And what does all this have to do with the trophies, blazons, rebus and allegorical engravings displayed above you might well ask? Good question. The simple answer is that following the Antwerp landjuweel of 1561, transcripts of the plays performed were assembled into book form and a supplement of illustrations (some by Frans Floris), poems and musical lyrics was also produced. A hint accounting for the nature of illustrative material seen in the manuscript may derive from one of the play topics at Antwerp; something along the lines of: which is the greatest motivation of artists? or what best leads mankind to the arts? (referencing the seven liberal arts)

This synopsis is fairly inadequate on a number of levels, partly due the lack of accessible material in English (also because it's time for me to abandon it). The rederijkerskamer were a hugely significant phenomenon across a couple of centuries (some variation or another of the landjuweel survives to this day as a festival, most notably in Belgium) and they greatly influenced not only the thinking of the citizens but also helped shaped the development of the modern Dutch language. Because the dramatists were amateurs, their written output became the subject of sharp criticism and mockery since their heyday in the 16th century. Doubtless a modern industry of academic enquiry dutifully puzzles over this and many other aspects of the rederijkerskamer movement.

• Landjuweel de 1561 (in French) is hosted by Belgica: la Bibliothèque Numérique de la Bibliothèque Royale de Belgique. (click 'Feuilleter le document' - it's a flash display and might be a bit wonky depending on browser/operating system) [Dutch site]
• The Rhetoricians ('rederijkers') and their influence on Dutch.
• Landjuweels.
• 'The Reformation' edited by Andrew Pettegree, 2004 (search on 'landjuweel' I think).
• The Antwerp Landjuweel of 1561 and the rhetorician culture of the sixteenth century: (PhD proposal).
• Rare Books Forum on a 1539 account of a landjuweel.
• If you speak/read Dutch, look around because there is a lot of information online.
• ¶Motto of the violet chamber of Antwerp, hosts of the 1561 landjuweel (can also be seen above at the foot of their coat of arms/insignia that features a bull in the centre)

Watch-Paper Prints

Watch-paper of Sam Toulmin, The Strand, London

Watch-paper of Rob Fleetwood, London

Thos. Field Watch Maker
Aylesbury
Wedding & Mourning
Rings made Likewise
most Money given for
Second Hand Plate
Watches &c

[note: the above 3 watchpapers have equation tables]

George Prior Clock and Watchmaker
in Prescot St Goodman's Field, London

Un-cut watch-paper/trade-card of
Richard Whiteaves, Clock & Watch Maker
Fleet Street, London [1801]

Watch-paper of William Loudan,
Blackfriars, London (maybe 1825-1840)

Igglesden Watch Maker,
Silversmith & Jeweller,
High Street Chatham
[garter-belt border bearing inscription]

Green cut edged with yellow centre watch-paper,
stylised sunflower, with smiley face, in outer case. (~1732-1770)

Richardson Watch & Clock Maker, Brampton
To Make a Watch go Slower
turn the Regulator the same way you Wind up,
Faster the contrary

Thos. Brown
Clock & Watch Maker
Birmingham (1796)

John Jarvis
Watch & Clock Maker
Whitchurch
All kinds of Clocks Watches
Musical Boxes Plate Jewellery &c
cleaned & repaired

Mirth - Anguish
(coloured print of dentist drawing tooth from patient)
[presumably this is a 'ready-made', cut from a book or print]

What!?

Edwd Glase
Clock & Watch Maker Bridgnorth
Repeating Watches Carefully Repaired

W. Owen
Clock & Watch Maker
Jeweller & Silversmith
Oswestry

Bowen & Downes
Watch & Clock Makers
London

John Wieland
Clock & Watch Maker
Penton Row, Walworth
Tempus Fugit

An un-cut watch-paper of Jonathan Ager,
watch and clock-maker
Clerkenwell, London

Johnathan Woollett,
Watch & Clock Maker, Maidstone

Watchpaper; painted with grotesque seated woman with bowl of gruel

Watchpaper; printed in colour with three angels
surrounding a circular cartouche on which
is written the Lord's Prayer (about 1818)

Watch-paper in situ
(Aaaah! so that's what they do with them!!)
[random image from some auction site]

Moments in Time

1360: Henry de Vick constructs the first (totally) mechanical clock for King Charles V of France [arguable? probably]
1475: First record of a minute hand on a clock
Mid-1500s: First wearable timepieces: several inches in diameter worn on chain around the neck or pinned to the clothes --- "later in the century there was a trend for unusually shaped watches, and clock-watches shaped like books, animals, fruit, stars, flowers, insects, crosses, and even skulls (Death's head watches) were made."
1610: Glass face covers first appear
1675: King Charles II of England introduced waistcoats which coincides with the ascendancy of the pocketwatch (first made in the early 1500s) over the more cumbersome timepieces
1850: Mass production, jewel bearings, interchangeable parts; price fall leads to a great increase in the numbers of people gadding about with their own horological device
WWI: Wrist watches begin their ascendancy (checking a pocketwatch was inconvenient as a soldier)


Hands up anyone who knew what a watch-paper print was? Yeah, I thought so. Me neither. Even after jagging all the images I wasn't quite sure how they were specifically used until I found that last picture above.

Originally designed as a simple protective insert, watch-papers came to be used as an advertising medium for the watchmakers in the second half of the 18th century and another means by which print artists could ply their trade. These types of 'professional' or conservative watch-papers form the majority of the genre, but a popular 'amateur' variety also emerged that were valued as keepsakes.

"Women embroidered flower patterns on silk watch papers and made cutout or pinpricked designs of hearts, doves, forget-me-nots and wreaths. They also made them of woven hair or crocheted them from fine silk thread or quilted them. Hand-stitched monograms in wreaths of laurel or moss roses and hand-painted watch papers were especially popular.

Often early handmade watch papers took the form of a valentine or birthday greeting or a memorial for dead loved ones, showing a tombstone shadowed by a weeping willow. Examples have also been found with the Lord's Prayer in minute hand-writing and with a miniature map of part of the United States."

The British Museum Prints database has over 700 specimens of watch-paper prints available and although there is often little in the way of background, I would think the average date is around 1800 (I believe a large proportion of their stock derives from a single donor collection). [toggle down to 'object type' and search with 'watch-paper']

• 'Watch Papers Are More Than Protection' by Bob Brooke at Antique Spotlights (origin of quote immediately above)
• Wikipedia: watch -- pocketwatch -- clock
• 'American Watch Papers' by Dorothy Elizabeth Spear, 1951/2 - WorldCat record.
• 'Watch papers from Essex, England' (?1807-1841) - WorldCat record. {these were the only books I found : it's a very very esoteric subject and searching for any information was surprisingly difficult; but then, I didn't put in a great effort}
• Lew Jaffre has a few more example pictures at Confessions of a Bookplate Junkie (including one engraved by Paul Revere in 1781).
• Addit: The plot of 'The Dean's Watch' by Elizabeth Goudge (1960) involves, in part, a watch-paper (thanks Eve!)
• Addit: The National Association of Watch and Clock Collectors has a museum in Pennsylvania.