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Appropriation, 1678–1725

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Chapter Summary

In the last decades of the seventeenth century, a solid market had grown out of the widespread interest in picture Bibles in the Republic. The most striking innovations of this period appear to have derived from one individual, the engraver and poet Jan Luyken, who single-handedly transformed some of the most persistent emblematic traditions. Between 1653 and 1678, the Catholic use of this allegorical, emblematic imagery had not been fully or widely adopted in the Republic. Boekholt's appropriation of heart emblematics would not result in a wider acceptance of this emblematic subgenre, which had even stronger emotional and mystical connotations than the religious love emblematics represented by Hugo's Pia Desideria and Vaenius' Amoris Divini Emblemata. Vaenius simply followed the Egyptians' and Ripa's lead, according to van Oosterwyck, and thus avoided associating them with a confessional tradition.

Keywords: allegorical emblematic imagery; Boekholt's appropriation; Catholic emblematic tradition; Dutch picture Bibles; Hugo's Pia Desideria; Jan Luyken; Oosterwyck; Protestant engraver; Vaenius' Amoris Divini Emblemata



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