{"id":7347,"date":"2020-03-02T23:18:48","date_gmt":"2020-03-02T22:18:48","guid":{"rendered":"https:\/\/erasmushouse.museum\/collections\/acquisitions-recentes\/"},"modified":"2026-03-23T10:43:39","modified_gmt":"2026-03-23T09:43:39","slug":"recent-acquisitions","status":"publish","type":"page","link":"https:\/\/erasmushouse.museum\/en\/collections\/recent-acquisitions\/","title":{"rendered":"Recent acquisitions"},"content":{"rendered":"

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Recent acquisitions<\/h1>\n

Collections<\/h3>\n

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The Adages in Pocket Format<\/h2>\n
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Desiderius Erasmus, Adagiorum omnium tam Graecorum quam Latinorum aureum flumen (\u2026) a Theodorico Cortehoevio in compendium digestum<\/em>, Cologne, Johann Prael, 1533. Coll. MEH E 1624.<\/h5>\n

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Erasmus\u2019 Adages rank among his most famous works. This vast collection of Greek and Latin proverbs, accompanied by learned and moral commentaries, was constantly expanded by its author and became a central tool of humanist culture, widely used in the teaching of Latin.<\/p>\n

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The copy acquired by the museum illustrates the educational use of this work. Published in Cologne in 1533 by the printer Johann Prael, this abridged edition was prepared by the humanist Dirk Kortenhoever (Theodoricus Cortehoevius). He reorganised the order of the adages and significantly reduced the commentaries in order to make the text more accessible.<\/p>\n

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In his preface addressed to Erasmus, Kortenhoever explains that he intended this version \u2013 which he calls Adagiorum aureum flumen<\/em> (\u201cgolden stream of adages\u201d) \u2013 for the parvuli<\/em>, the little pupils of Latin schools. Printed in a compact and economical duodecimo format, this edition was well suited to educational needs.<\/p>\n

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The choice of a printer little associated with major humanist texts underscores this pedagogical orientation. Above all, it shows that Erasmus\u2019 work circulated not only within universities and among learned elites, but also in schools, where it helped young readers learn Latin and classical culture.<\/p>\n

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Acquisition 2025
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THE WORKS OF SENECA<\/h2>\n
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Lucius Annaeus Seneca, Scripta quae extant omnia, cum notis Jani Gruteri et Fr. Jureti. Paris, P. Chevalier for N. Buon, February 1602, coll. MEH E 1606.<\/em><\/strong><\/h5>\n

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In 1602, a new edition of Seneca\u2019s complete works was published in Paris, featuring commentaries by Erasmus of Rotterdam. More than a scholarly project, it reflects Erasmus\u2019s ambition to connect ancient philosophy with Christian values.<\/p>\n

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To Erasmus, Seneca was not just a Stoic thinker, but a true mentor \u2013 someone who championed reason, self-restraint, and inner peace. These were, in Erasmus\u2019s eyes, fully compatible with the teachings of the Gospel. By editing Seneca, he offered European readers a moral guide for uncertain times.<\/p>\n

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This particular copy also tells a story of academic life: in July 1684, it was awarded as a Latin eloquence prize to a senior student at the prestigious Coll\u00e8ge d\u2019Harcourt in Paris. A rare and eloquent tribute to two pillars of wisdom: Erasmus and Seneca.<\/p>\n

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JARDIN<\/h2>\n
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JARDIN, 2024<\/strong><\/h5>\n
Tatsuya Inuikawa<\/strong><\/em>
\n21 x 155.1 meters<\/em>
\nAcrylic paint, ink, and colored pencils \/ Print, stencil<\/em><\/h5>\n

The artwork entitled Jardin (\u201cGarden\u201d) by Japanese artist Tatsuya Inuikawa has joined our collection.
\nDesigned as a visual journey, inspired by the museum\u2019s gardens, this 15.51-meter-long work unfolds slowly, revealing a universe of plants, trees, stones, and quotations, created using prints in acrylic paint, ink, and colored pencils.
\nFirst presented in March 2025 during a temporary exhibition dedicated to the artist\u2019s book-objects, the work was later reworked and finalized in July 2025.<\/p>\n

Tatsuya Inuikawa was born in Japan. He studied bookbinding at La Cambre (Brussels). He has lived and worked in Brussels since 2007, and has been teaching at La Cambre since 2024.
\nHe has created numerous bespoke bindings, combining high quality and creativity. In 2012, he founded his bookbinding studio \u201cLa Rivi\u00e8re S\u00e8che\u201d, where each creation is the result of careful reflection on the volumes and spatial qualities of the book, which unfolds in an organic manner.
\nMastering both traditional and modern bookbinding techniques, he has designed works in a variety of contexts, in collaboration with artists, graphic designers, bibliophiles, and collectors.
\nHis craftsmanship, combined with his experience, enables him to meet the most demanding aesthetic and technical standards. During this presentation, you will have the opportunity to discover a new artwork.<\/p>\n

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AN ART OF PREACHING<\/h2>\n
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Desiderius Erasmus, Ecclesiastes, sive Concionator Evangelicus. Liber primus. De Dignitate, Difficultate, Pietate, Puritate, Prudentia caeterisque virtutibus Ecclesiastae, Londres, J. Brotherton, 1730, coll. MEH E 1605.<\/em><\/strong><\/h5>\n

Ecclesiastes<\/em><\/strong> (1535) is one of Erasmus\u2019s most ambitious works \u2014 and yet one of the least known.<\/strong><\/p>\n

This treatise is addressed to preachers and presents a true theory of Christian eloquence. Erasmus weaves together Gospel exegesis, humanist learning, and pastoral care. For him, preaching is not about enforcing dogma but awakening consciences, stirring hearts, and encouraging inner reform. Faithful to his ideal, he puts speech at the service of peace, discernment, and enlightened faith.<\/p>\n

Despite its biblical title, Ecclesiastes<\/em> is not a commentary on the Book of Qoheleth, but an original work, rich in scholarship and experience, reflecting the spiritual challenges of his time.<\/p>\n

Nearly two centuries later, the work experienced a revival: the recently acquired edition, printed in London in 1730, bears witness to that renewed interest. At the time, the Anglican Church was grappling with the rise of Methodism \u2014 an Evangelical revival movement known for its passionate, emotional preaching. While some embraced this new fervour, others criticized its excesses. Rediscovering Erasmus then meant reclaiming a tradition of preaching grounded in reason, balance, and spiritual depth \u2014 a measured alternative to Methodist zeal.<\/p>\n

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THE LANGUAGE, A DEADLY POISON AND A SALUTARY DRUG<\/h2>\n
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Desiderius Erasmus, Von der Zung (German translation of De Lingua), [Strasbourg, Balthasar Beck, 1544].<\/strong><\/em><\/h5>\n

\u2018I have often regretted having spoken, but never having kept silent\u2019[1]<\/a>.<\/p>\n

In August 1525, Erasmus published his treatise De Lingua in Latin, an expos\u00e9 of all the abuses of speech: denigration, denunciation, lies, etc. He also denounced smooth talkers, empty words and idle chatter.<\/p>\n

He evokes the purity of silence, the benefits of brevity and moderation.<\/p>\n

The work has an almost biographical flair. Erasmus, torn between his reformist ideas and his loyalty to the Church of Rome, was criticised from all sides, by representatives of both camps. The attacks became personal: rumours and slander made his life bitter and darkened his mood.<\/p>\n

This slightly disjointed work, which seems to have been written in one go in the heat of the moment, is a pleasure to read. It contains amusing anecdotes and sound advice, such as \u2018what we can do in a few words to be hurt as little as possible by the venom or indiscretion of others\u2019.<\/p>\n

This is the German translation, published by the Strasbourg printer Balthasar Beck in 1544, eight years after Erasmus’ death. This edition bears witness to the reading of Erasmus’ texts in Protestant circles: the work was reprinted two years later by the same printer. Balthasar Beck also published didactic works for schools, as well as texts by reformers such as Luther and Melanchthon.<\/p>\n

Acquisition 2024<\/p>\n

[1]<\/a> Attributed to Xenocrates, cited by Erasmus in De Lingua<\/p>\n

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ERASMUS’ BIBLICAL PARAPHRASES<\/h2>\n
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Desiderius Erasmus, Paraphrasis in Evangelium Matthaei & Paraphrasis in epistolas apostolorum<\/em>, Basel, Johann Froben, 1522, in-folio.<\/strong><\/h5>\n

A very beautiful edition of Erasmus’ biblical paraphrases has been donated to the Erasmus House. It is a rewriting of the texts of the Bible (in this case, in Latin) to clarify the obscure passages.
\nErasmus’ undertaking was nothing unusual: biblical paraphrases were a widely practiced literary genre in the 16th century. However, this humanist desire to make the sacred texts clear and accessible did not please the theologians of the Sorbonne. Thus, there was an almost institutional rivalry between the biblical paraphrase and scholastic exegesis.
\nThe beautiful folio volume contains the editio princeps<\/em> (the first edition) of the paraphrase of the Gospel of Matthew, published by Froben in 1522, bound with a reissue of the paraphrased epistles of Paul, Peter, Jude, James, and John.<\/p>\n

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PREPARING FOR DEATH<\/h2>\n
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Desiderius Erasmus, De praeparatione ad mortem<\/em>, Paris, Chr. Wechel, 1534, in-8\u00b0.<\/strong><\/h5>\n

\u201cFor the wordes of theym that we are wo\u0304t to be snatched vp somdele gre\u2223dyly, and to be printed more depely in the myndes of the hearers, partly that no man is thought to fayne in that ieopardy, partly that the mynd wha\u0304 it beginneth to be pluc\u2223ked from the body, wherwith it is combred, oftentymes vttereth a glymmerynge, and a profe of that lybertie and knowlege, wher\u2223vnto it goth<\/em>.\u201d
\n(The words of the dying are wont to be snatched up greedily and are printed more deeply in the minds of the hearers, partly because it is thought that no-one feints in that final moment and partly because the mind that begins to be plucked from the body with which it is encumbered often utters a glimmer and a proof of the liberty and knowledge toward which it goes.)*<\/p>\n

This small volume, which is one of Erasmus\u2019s last texts, attests to a time when death was not taboo. On the contrary, people spoke about it and prepared for it, both materially and spiritually. So, Erasmus\u2019s text is part and parcel of the very deeply-rooted mediaeval tradition of \u201cdying a good death\u201d as codified in the 15th century Latin texts Ars moriendi (The Art of Dying)<\/em>. As a good pastor, Erasmus encouraged his readers to detach themselves from earthly goods (wealth, youth, health, etc.) so as to welcome eternal rest serenely, with their gazes fixed upon Christ.<\/p>\n

As the text advances, Erasmus adds a few more personal considerations here and there. He believes that, in the absence of a priest, the dying may confess to God directly, without an intermediary. Farther on, he ridicules a woman \u201cof noble birth and of high prudence\u201d who bequeathed a large sum of money to a priest to go say masses for her in Rome, \u201cas though the masses at Rome were of more holynes than the masses of Englande\u201d*! He warns against calling too many physicians to an ill person\u2019s bedside, for their rivalry often causes the patient\u2019s death, as each one tries to demonstrate the extent of his knowledge, to the peril of the very patient.<\/p>\n

The work was published by Froben in Basel in late December 1533 and was an immediate hit, as attested by this 1534 Paris edition and a score of re-editions that were published in Cologne, Paris, Krakow, Antwerp and Lyons before 1440.<\/p>\n

Reference for the quotes: Erasmus, Desiderius, Preparation to deathe A booke as deuout as eloquent, compiled by Erasmus Roterodame, <\/em>Londini: In aedibus Thomae Bertheleti regii impressoris. excus., 1538, unnumbered pages.
\n* Free translation into modern English.<\/p>\n

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THE BOY BISHOP<\/h2>\n
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Desiderius Erasmus, Concio de puero Iesu, Cologne, Eucharius Cervicornus, April 1525, in-8\u00b0. <\/strong><\/h5>\n

In Concio de puero Iesu<\/em> or Sermon of the child Jesus<\/em>, a child preaches like a priest. This work is connected to a mediaeval tradition still current in the 16th century, namely, the tradition of the Boy Bishop. Each year on Saint Nicholas\u2019s Day (6 December), the Roman Catholic cathedral choirboys elected one of them to be bishop. He was dressed in a replica bishop\u2019s robe, with staff and ring, whilst the other boys, wearing priests\u2019 habits, took possession of the church and led all the ecclesiastic processions and ceremonies save mass. This power reversal lasted until the Feast of the Holy Innocents (Childermas or Innocents\u2019 Day), 28 December.<\/p>\n

Erasmus wrote this sermon in 1511, at the request of his friend, John Colet, dean of Saint Paul’s Cathedral in London. The sermon was supposed to be read aloud by a Boy Bishop to inaugurate the new St Paul\u2019s Cathedral School.<\/p>\n

This tradition existed in France as well, albeit in a more extravagant, carnivalesque form. Erasmus\u2019s sermon, however, is no piece of buffoonery. It is a sincerely pious work: \u201c...[M]ay my speech have his flavour, reflect and breathe Him who is the word of the Father, who alone possesses the words of life, whose dynamic effective speech cuts more deeply than the double-edged word to reach the deepest hidden recesses of the heart<\/em>…\u201d<\/p>\n

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SPONGE<\/h2>\n

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Desiderius Erasmus, Spongia Erasmi adversus aspergines hutteni, Cologne?, Hero Fuchs?, 1523, in-8\u00b0.p<\/strong><\/h5>\n

Sponge to wash away Hutten\u2019s splashes<\/em>: With this somewhat strange title Erasmus responded to his adversary Ulrich von Hutten\u2019s Expostulation, reducing Hutten\u2019s objections to ordinary splashes. A generation separated young von Hutten, 26 at the time, and the Prince of Humanists, who was twenty years older. And yet, before their relationship foundered, the two men had been friends. Both were passionate lovers of the classics and driven by the same desire to reform the Church.
\nWe are overjoyed to have acquired a copy of this work for our library, as we had as yet no old edition of it in our holdings. This edition, which contains neither date nor place of publication, was probably published the same year as the princeps edition (Basel, Froben, summer 1523). The title page is inspired \u2013 with a few modifications \u2013 by a border designed by Holbein (see Frank Hieronymus, Oberrheinische Buchillustration<\/em>, p. 607, No. 3).<\/p>\n

An English translation of the two texts exists in book format and online: Polemics of Erasmus of Rotterdam and Ulrich von Hutten, Translation of Expostulation cum Erasmo, by U. v. Hutten, and of Spongia Erasmi adversus aspergines Hutteni, by Erasmus<\/em>, Randolph J. Klawiter, (Ann Arbor, Michigan: University of Notre Dame Press), 1977. And there is good news for those wishing to discover this epic piece of humanist literature in French, with the recent Ulrich von Hutten, Sommation, suivie de \u00c9rasme, \u00c9ponge \u00e0 laver les \u00e9claboussures de Hutten et de Othon Brunfels, R\u00e9ponses \u00e0 \u00c9rasme<\/em>. Translated by Danielle Sonnier, Paris, Les Belles Lettres, 2019, \u201cLe miroir des humanistes\u201d Collection, 19.<\/p>\n

2022 acquisition<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][\/vc_row][vc_row gap=”30″ equal_height=”yes” content_placement=”top” row_content_width=”grid” content_text_aligment=”left”][vc_column width=”1\/2″ css=”.vc_custom_1585670158309{padding-right: 7% !important;padding-left: 7% !important;background-color: #ffffff !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_empty_space height=”40″][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″ offset=”vc_col-xs-3″][vc_single_image image=”16395″ img_size=”full” onclick=”custom_link” link=”#”][\/vc_column_inner][vc_column_inner width=”3\/4″ offset=”vc_col-xs-9″][vc_column_text]<\/p>\n

THE COMPLETE WORKS OF SAINT AMBROSE OF MILAN<\/h2>\n
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Sanctus Ambrosius, Desiderius Erasmus (Ed.), Divi Ambrosii Episcopi Mediolanensis omnia opera, per eruditos viros ex accurata diuersorum codicum collatione emendata<\/em> (\u2026), Paris, Claude Chevallon, 1529, in-folio.<\/strong><\/h5>\n

This imposing volume is a compendium of the complete works of Saint Ambrose of Milan, one of the Fathers of the Western Church, who lived in the 4th century CE. This Paris edition follows the text of the princeps, published by Froben in Basel in 1527.<\/p>\n

Erasmus edited and published, with his erudite colleagues, the writings of no fewer than twelve Church Fathers, including Jerome (1516), Ambrose (1527), Augustine (1527-1529), and Origen (1536). These editions gave access to holy knowledge, for the Church Fathers helped to understand and interpret the Bible, shaped the ecclesiastic traditions of the first centuries of the Christian Church, and also personally incarnated the ideals of a responsible Christian life.<\/p>\n

Erasmus\u2019s philological work on these ancient texts was not limited to restoring them in their purest form. Erasmus and the Humanists of his time revealed the topicality of the texts that they gave their readers. They guided the reader\u2019s interpretations by underlining the ideas that they deemed to be the most important. What is more, in assessing the authenticity of many dubious texts, they promoted a critical attitude towards ecclesiastic tradition.<\/p>\n

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ORTELIUS\u2019S WORLD MAP<\/h2>\n

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Abraham Ortelius, Theatrum orbis terrarum, 1579<\/strong>
\n34 x 49.5 cm<\/strong>
\nColl. MEH 673<\/strong><\/h5>\n

This engraving comes from Abraham Ortelius\u2019s\u00a0Theatrum orbis terrarum<\/em> (Theatre of the Orb of the World<\/em>), the first editions of which were published in Antwerp. This work is considered by cartographers to be the first modern atlas. It was first published on 20\u00a0May\u00a01570\u00a0in Antwerp. Thereafter, the author regularly revised and augmented the atlas in a series of later editions until his death in 1598.
\nThe Theatrum<\/em>, which was dedicated to King Philip II of Spain, contains a total of fifty-three maps. To produce this world map, Ortelius drew upon Mercator\u2019s map of 1569, Giacomo Gastaldi\u2019s map of 1561, and Diego Gutierrez\u2019s 1562 portolan chart of the Atlantic coast.<\/p>\n

Coloured by hand.<\/p>\n

2021 acquisition<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][\/vc_row][vc_row gap=”30″ equal_height=”yes” content_placement=”top” row_content_width=”grid” content_text_aligment=”left”][vc_column width=”1\/2″ css=”.vc_custom_1585670171193{padding-right: 7% !important;padding-left: 7% !important;background-color: #ffffff !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_empty_space height=”40″][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″ offset=”vc_col-xs-3″][vc_single_image image=”9614″ img_size=”full” onclick=”custom_link” link=”#”][\/vc_column_inner][vc_column_inner width=”3\/4″ offset=”vc_col-xs-9″][vc_column_text]<\/p>\n

PARAPHRASIS<\/h2>\n
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Desiderius Erasmus,\u00a0<\/b>In epistolam Pauli apostoli ad Romanos paraphrasis<\/i><\/b>, Leuven, Dirk Martens, 1517, in-8\u00b0, MEH E1598.<\/b><\/h5>\n

The work retains its original binding. Printed in large Roman characters. With the double anchor cachet of the printer Thierry Martens.<\/p>\n

This edition from Louvain, where Erasmus was living at the time, was of particular importance in the context of the Protestant Reformation.
\nOn 31st October, 1517, Luther posted his 95 theses on the door of Wittenberg church, and by so doing, set in motion the basis of Protestantism.<\/p>\n

At the back of the book is a message from Martens to the reader: \u201cWe are trying, with our meagre means and through our modest print house, to help Louvain Academy, which flourishes thanks to the wide-ranging studies it provides; and we are endeavouring, with the utmost care, to only offer you books possessing a dual advantage, firstly being both moral and instructive and secondly, printed as accurately as possible. Those, who motivated by greed, publish books riddled with errors are blameworthy on two accounts, first towards authors whose works they spoil and vilify and then towards readers, who, instead of a book, find only a cross and torment beside them.\u201d<\/p>\n

2020 acquisition<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1585670176848{padding-right: 7% !important;padding-left: 7% !important;background-color: #ffffff !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_empty_space height=”40″][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″ offset=”vc_col-xs-3″][\/vc_column_inner][vc_column_inner width=”3\/4″ offset=”vc_col-xs-9″][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][\/vc_row][vc_row gap=”30″ equal_height=”yes” content_placement=”top” row_content_width=”grid” content_text_aligment=”left”][vc_column width=”1\/2″ css=”.vc_custom_1585670158309{padding-right: 7% !important;padding-left: 7% !important;background-color: #ffffff !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_empty_space height=”40″][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″ offset=”vc_col-xs-3″][vc_single_image image=”23707″ img_size=”full” onclick=”custom_link” link=”#”][\/vc_column_inner][vc_column_inner width=”3\/4″ offset=”vc_col-xs-9″][vc_column_text]<\/p>\n

IN MEMORIAM ERASMI<\/h2>\n
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Friedrich Nausea,\u00a0In magnum illum laudatae felicisque memoriae Erasmum Roterodamum, nuper vita functum Monodia. Eiusdem uita ex Beati Rhenani Epistola ad Archiepiscopum Coloniensem<\/i>, Paris, Chrestien Wechel, 1536, in-8\u00b0, MEH E1586.<\/strong><\/h5>\n

A reverent “In memoriam” composed for Erasmus by his friend Friedrich Nausea (1496-1552), Bishop of Vienna. In this text, Nausea credits Erasmus with a divine mission and compares him to Christ. The book also contains the celebrated biography of Erasmus by Beatus Rhenanus (1485-1547), written in the form of a letter (Allen 3139).<\/p>\n

This first Parisian edition (issued after the Cologne edition, which had appeared a few months earlier) is very rare. Our volume belonged to \u00c9tienne Baluze (1630-1718), a philologist, French lawyer and celebrated librarian of Colbert, the Minister of Louis XIV.<\/p>\n

2019 acquisition<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1585670164147{padding-right: 7% !important;padding-left: 7% !important;background-color: #ffffff !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_empty_space height=”40″][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″ offset=”vc_col-xs-3″][vc_single_image image=”23709″ img_size=”full” onclick=”custom_link” link=”#”][\/vc_column_inner][vc_column_inner width=”3\/4″ offset=”vc_col-xs-9″][vc_column_text]<\/p>\n

GEOGRAPHY<\/h2>\n

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Henricus Glareanus,\u00a0<\/b>De Geographia liber unus<\/i><\/b>, Basel, Johann Faber Emmeus, 1528, in-4\u00b0, MEH E1591.<\/b><\/h5>\n

Glareanus, real name Heinrich Loris, was a Swiss humanist (1488-1563). A man of many talents, he was by turns mathematician, geographer, musician, musical theorist, historian, philologist and poet. A friend of Erasmus and Myconius, he was sketched by the Holbein brothers in their illustrations in the margins of Erasmus’s “In Praise of Folly”. This geographical and mathematical treatise includes some chapters on the construction of globes and these remained a benchmark on the subject until the XVIIth century. He mentions America and “Amerigus Vesputius”, in his final chapter “De regionibus extra Ptolemaeum”.<\/p>\n

Erasmus himself was interested in geography: he played an active role, in the last years of his life, in the production of the editio princeps of Ptolemy’s original Greek text on geography.<\/p>\n

2019 acquisition<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][\/vc_row][vc_row gap=”30″ equal_height=”yes” content_placement=”top” row_content_width=”grid” content_text_aligment=”left”][vc_column width=”1\/2″ css=”.vc_custom_1585670171193{padding-right: 7% !important;padding-left: 7% !important;background-color: #ffffff !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_empty_space height=”40″][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″ offset=”vc_col-xs-3″][vc_single_image image=”9618″ img_size=”full” onclick=”custom_link” link=”#”][\/vc_column_inner][vc_column_inner width=”3\/4″ offset=”vc_col-xs-9″][vc_column_text]<\/p>\n

FOR CHRISTIAN UNITY<\/h2>\n

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Desiderius Erasmus,\u00a0<\/b>Liber de sarcienda Ecclesiae concordia<\/i><\/b>, Antwerpen, Michael Hillen, 1533, in-8\u00b0, MEH E1584.<\/b><\/h5>\n

A rare Antwerp edition, printed the same year as the editio princeps (Basel, Froben & Episcopius) of Erasmus’s plea for reconciliation in the heart of the Christian Church.<\/p>\n

2019 acquisition<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1585670176848{padding-right: 7% !important;padding-left: 7% !important;background-color: #ffffff !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_empty_space height=”40″][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″ offset=”vc_col-xs-3″][vc_single_image image=”23711″ img_size=”full” onclick=”custom_link” link=”#”][\/vc_column_inner][vc_column_inner width=”3\/4″ offset=”vc_col-xs-9″][vc_column_text]<\/p>\n

PAYING HIM BACK IN HIS OWN COIN<\/h2>\n
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Silver testoon with the effigy of King Francis I (1515-1547)<\/strong><\/h5>\n

First half of the XVIth century
\nSilver
\nFrance, Limoges<\/p>\n

Testoons were French silver coins, depicting the effigy of the sovereign. The Sforza family, in Milan (around 1450), came up with the idea of depicting the portrait of the sovereign on coinage, thereby re-establishing the custom initiated in ancient Rome. When he became Duke of Milan in 1504, Louis XII re-adopted this custom for French coinage.<\/p>\n

2019 acquisition<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”60″][\/vc_column][\/vc_row][vc_row row_content_width=”grid” css=”.vc_custom_1576511836053{padding-top: 10% !important;}”][vc_column][vc_empty_space height=”40″][vc_row_inner row_content_width=”grid” content_text_aligment=”center”][vc_column_inner css=”.vc_custom_1576757695314{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_media_grid element_width=”3″ gap=”2″ grid_id=”vc_gid:1774258785237-70eaf241-d72c-7″ include=”23242,23246,23248,23250″][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_content_width=”grid” content_text_aligment=”center”][vc_column_inner css=”.vc_custom_1576757695314{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”80px”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”7289″ img_size=”full” alignment=”center” css=”.vc_custom_1578697292946{margin-top: 40px !important;margin-bottom: 40px !important;}”][vc_column_text]<\/p>\n

Discover our collections<\/h1>\n

catalogue \u2014 fine-arts \u2014 museum<\/span><\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row gap=”30″ equal_height=”yes” content_placement=”top” content_text_aligment=”center” css=”.vc_custom_1578700147006{margin-top: 5% !important;margin-right: 30px !important;margin-left: 30px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;}”][vc_column width=”1\/4″ css=”.vc_custom_1588679407748{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #ffffff !important;}” offset=”vc_col-md-3 vc_hidden-sm vc_col-xs-12 vc_hidden-xs”][vc_single_image image=”23310″ img_size=”full” alignment=”center” onclick=”custom_link” css=”.vc_custom_1585131822090{margin-top: 0px !important;}” link=”\/collections\/collection-maison-derasme”][vc_row_inner css=”.vc_custom_1588679348545{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column_inner offset=”vc_col-xs-12″][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_column_text el_id=”.small” el_class=”small”]<\/p>\n

The Erasmus House<\/span><\/h2>\n

[\/vc_column_text][vc_single_image image=”8624″ img_size=”full” alignment=”center” css=”.vc_custom_1578700922971{margin-top: 20px !important;}”]\n Discover<\/span>\n <\/a>[vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1588679412201{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}” offset=”vc_col-md-3 vc_hidden-sm vc_col-xs-12 vc_hidden-xs”][vc_single_image image=”8096″ img_size=”full” alignment=”center” onclick=”custom_link” css=”.vc_custom_1585131842156{margin-top: 0px !important;}” link=”\/collections\/beguinage”][vc_row_inner css=”.vc_custom_1578699339475{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column_inner][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_column_text el_class=”small”]<\/p>\n

The Beguinage<\/span><\/h2>\n

[\/vc_column_text][vc_single_image image=”8624″ img_size=”full” alignment=”center” css=”.vc_custom_1578700922971{margin-top: 20px !important;}”]\n Discover<\/span>\n <\/a>[vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1588679416293{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #ffffff !important;}” offset=”vc_col-md-3 vc_hidden-sm vc_col-xs-12 vc_hidden-xs”][vc_single_image image=”23348″ img_size=”full” alignment=”center” onclick=”custom_link” css=”.vc_custom_1585131855163{margin-top: 0px !important;}” link=”\/collections\/collection-juive”][vc_row_inner css=”.vc_custom_1578699348182{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column_inner][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_column_text]<\/p>\n

The Jewish Collection<\/span><\/h2>\n

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Archives<\/span><\/h2>\n

[\/vc_column_text][vc_single_image image=”8624″ img_size=”full” alignment=”center” css=”.vc_custom_1578700922971{margin-top: 20px !important;}”]\n Discover<\/span>\n <\/a>[vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row gap=”30″ equal_height=”yes” content_placement=”top” content_text_aligment=”center” css=”.vc_custom_1588679445412{margin-top: 5% !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;}”][vc_column width=”1\/4″ css=”.vc_custom_1588679433392{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #ffffff !important;}” offset=”vc_hidden-lg vc_col-md-3 vc_hidden-md vc_col-xs-12″][vc_single_image image=”23310″ img_size=”full” alignment=”center” onclick=”custom_link” css=”.vc_custom_1585131822090{margin-top: 0px !important;}” link=”\/collections\/collection-maison-derasme”][vc_row_inner css=”.vc_custom_1588679348545{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column_inner offset=”vc_col-xs-12″][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_column_text el_class=”small”]<\/p>\n

The Erasmus House<\/h2>\n

[\/vc_column_text][vc_single_image image=”8624″ img_size=”full” alignment=”center” css=”.vc_custom_1578700922971{margin-top: 20px !important;}”]\n Discover<\/span>\n <\/a>[vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1588679477122{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}” offset=”vc_hidden-lg vc_col-md-3 vc_hidden-md vc_col-xs-12″][vc_single_image image=”8096″ img_size=”full” alignment=”center” onclick=”custom_link” css=”.vc_custom_1585131842156{margin-top: 0px !important;}” link=”\/collections\/beguinage”][vc_row_inner css=”.vc_custom_1578699339475{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column_inner][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_column_text el_class=”small”]<\/p>\n

The Beguinage<\/span><\/h2>\n

[\/vc_column_text][vc_single_image image=”8624″ img_size=”full” alignment=”center” css=”.vc_custom_1578700922971{margin-top: 20px !important;}”]\n Discover<\/span>\n <\/a>[vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1588679489558{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #ffffff !important;}” offset=”vc_hidden-lg vc_col-md-3 vc_hidden-md vc_col-xs-12″][vc_single_image image=”23348″ img_size=”full” alignment=”center” onclick=”custom_link” css=”.vc_custom_1585131855163{margin-top: 0px !important;}” link=”\/collections\/collection-juive”][vc_row_inner css=”.vc_custom_1578699348182{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column_inner][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_column_text]<\/p>\n

The Jewish Collection<\/h2>\n

[\/vc_column_text][vc_single_image image=”8624″ img_size=”full” alignment=”center” css=”.vc_custom_1578700922971{margin-top: 20px !important;}”]\n Discover<\/span>\n <\/a>[vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1588679493635{margin-top: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #ffffff !important;}” offset=”vc_hidden-lg vc_col-md-3 vc_hidden-md vc_col-xs-12″][vc_single_image image=”8059″ img_size=”full” alignment=”center” onclick=”custom_link” link=”\/collections\/archives”][vc_row_inner css=”.vc_custom_1578699354168{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column_inner][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_column_text el_class=”.small”]<\/p>\n

Archives<\/span><\/h2>\n

[\/vc_column_text][vc_single_image image=”8624″ img_size=”full” alignment=”center” css=”.vc_custom_1578700922971{margin-top: 20px !important;}”]\n Discover<\/span>\n <\/a>[vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_text_aligment=”center”][vc_column][vc_empty_space height=”40px”][vc_row_inner content_placement=”top” gap=”1″ row_content_width=”grid” content_text_aligment=”center” css=”.vc_custom_1576513282206{padding-top: 5% !important;padding-bottom: 5% !important;}”][vc_column_inner css=”.vc_custom_1585069399611{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-right: 10% !important;padding-left: 10% !important;border-left-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;}” offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]<\/p>\n

newsletter<\/h2>\n

Subscribe to our monthly museum updates<\/p>\n

subscription<\/a><\/h3>\n

[\/vc_column_text][vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][vc_row_inner content_placement=”top” gap=”1″ row_content_width=”grid” content_text_aligment=”center” css=”.vc_custom_1576513282206{padding-top: 5% !important;padding-bottom: 5% !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1585069377852{border-top-width: 0px !important;border-right-width: 1px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-right: 10% !important;padding-left: 10% !important;border-left-color: #f1e4cc !important;border-left-style: solid !important;border-right-color: #f1e4cc !important;border-right-style: solid !important;border-top-color: #f1e4cc !important;border-top-style: solid !important;border-bottom-color: #f1e4cc !important;border-bottom-style: solid !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]<\/p>\n

newsletter<\/h2>\n

Subscribe to our monthly museum updates<\/p>\n

subscription<\/a><\/h3>\n

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+ 32 2 521 13 83<\/h2>\n

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