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Plantin-Moretus House-Workshops-Museum Complex

Plantin-Moretus House-Workshops-Museum Complex

The Plantin-Moretus Museum is a printing plant and publishing house dating from the Renaissance and Baroque periods. Situated in Antwerp, one of the three leading cities of early European printing along with Paris and Venice, it is associated with the history of the invention and spread of typography. Its name refers to the greatest printer-publisher of the second half of the 16th century: Christophe Plantin (c. 1520–89). The monument is of outstanding architectural value. It contains exhaustive evidence of the life and work of what was the most prolific printing and publishing house in Europe in the late 16th century. The building of the company, which remained in activity until 1867, contains a large collection of old printing equipment, an extensive library, invaluable archives and works of art, among them a painting by Rubens.

Complexe Maison-Ateliers-Musée Plantin-Moretus

Le musée Plantin-Moretus est une imprimerie et maison d’édition datant de la Renaissance et de l’époque baroque. Situé à Anvers – avec Paris et Venise, l’une des trois villes les plus importantes pour les débuts de l’imprimerie en Europe –, il est étroitement lié à l'histoire de l’invention et de la diffusion de la typographie. Son nom rend hommage au plus grand imprimeur-éditeur de la seconde moitié du XVIe siècle : Christophe Plantin (vers 1520-1589). Outre sa valeur architecturale exceptionnelle, le monument contient une importante collection d’objets témoignant de la vie et du travail dans l’imprimerie et maison d’édition la plus prolifique d’Europe à la fin du XVIe siècle. L’entreprise est restée en activité jusqu’en 1867 et son bâtiment renferme une vaste collection d’anciens équipements d’imprimerie, une grande bibliothèque, de précieuses archives et des œuvres d’art, notamment un tableau de Rubens.

مجموعة دار نشر-محترف-متحف بلانتان موريتوس

يتألف متحف بلانتان موريتوس من مطبعة ودار نشر يرقى تاريخهما إلى عصر النهضة والحقبة الباروكية. يقع المتحف في مدينة أنفرس التي تشكّل، إلى جانب باريس والبندقية، إحدى أهم المدن الثلاث التي شهدت بدايات الطباعة في أوروبا. ويرتبط هذا المتحف إرتباطاً وثيقاً بتاريخ إختراع الطباعة ونشرها. وسمّي هذا المتحف تيمناً بكريستوف بلانتان (حوالى 1520-1589) وهو أكبر مطبعي وناشر في النصف الثاني من القرن السادس عشر. وبالإضافة إلى قيمته الهندسية الإستثنائية، يحوي النصب مجموعة هامة من القطع ذات الدلالة حول الحياة والعمل في المطبعة ودار النشر اللتين كانتا تتميّزان بزارة الإنتاج الذي لم تكن تضاهيه أي دار أخرى في أوروبا في أواخر القرن السادس عشر. وبقيت المؤسسة نشطة حتى العام 1867 ويشمل المبنى الذي يأويها مجموعة واسعة من معدات الطباعة القديمة، ومكتبة كبيرة، ومحفوظات قيّمة ومصنّفات فنية، لا سيما لوحة للفنان روبنز.

source: UNESCO/ERI

帕拉丁莫瑞图斯工场-博物馆建筑群

帕拉丁莫瑞图斯博物馆建于文艺复兴和巴洛克时期,是一家印刷出版工场,位于安特卫普市,与巴黎和威尼斯并为欧洲早期印刷的三大领袖城市,与凸版印刷的发明和传播史息息相关。博物馆以16世纪下半叶(公元1520至1589年)最伟大的印刷商、出版商克里斯托弗·帕拉丁(Christophe Plantin)的名字命名。这一古迹具有杰出的建筑艺术价值,囊括了16世纪晚期欧洲最鼎盛印刷出版社工作和生活的所有证据。这个公司一直运营到1867年,公司大楼目前还保存有大量旧印刷设备、一个藏书颇丰的图书馆以及大量的珍贵档案和艺术品,其中还有一幅鲁本斯(Rubens)的画。

source: UNESCO/ERI

Музейный комплекс издательства и типографии Плантен-Моретюс (Антверпен)

Музей Плантен-Моретюс – это типография и издательский дом, возникновение которых относится к временам Возрождения и барокко. Находящийся в Антверпене – одном из трех городов (наряду с Парижем и Венецией), являвшихся лидерами в раннем европейском книгопечатании, этот музей тесно ассоциируется с историей зарождения и распространения типографского дела. Его название происходит от имени величайшего типографа и издателя второй половины ХVI в. – Кристофа Плантена (ок. 1520-1589 гг.). Памятник имеет выдающуюся архитектурную ценность. Он ярко иллюстрирует успешную работу типографии и издательского дома Европы конца ХVI в. В здании этого предприятия, которое продолжало свою деятельность до 1867 г., содержится большая коллекция старинного печатного оборудования, богатая библиотека, неоценимый архив и собрание произведений искусства, включающее картины Рубенса.

source: UNESCO/ERI

Casa, talleres y museo Plantin-Moretus

Una imprenta y una casa editorial del Renacimiento y la época del Barroco forman el museo Plantin-Moretus. Situado en Amberes –que formó con Venecia y Parí­s la trí­ada de ciudades europeas donde la imprenta cobró mí¡s auge en sus primeros tiempos–, el museo estí¡ estrechamente vinculado a la historia de la invención y propagación del arte tipogrí¡fico. Su nombre rinde homenaje al impresor y editor mí¡s importante de la segunda mitad del siglo XVI (circa 1520-1589). Ademí¡s de su valor arquitectónico excepcional, el edificio del museo contiene numerosos testimonios de la vida y los trabajos de la imprenta y casa editorial mí¡s prolí­fica de toda Europa en las postrimerí­as del siglo XVI. La casa editorial prosiguió sus actividades hasta 1867 y en su edificio se conserva una importante colección de material antiguo de imprenta de notable valor, así­ como una gran biblioteca, archivos muy valiosos y algunas obras de arte, entre las que figura un lienzo pintado por Rubens.

source: UNESCO/ERI

プランタン‐モレトゥスの家屋‐工房‐博物館複合体

source: NFUAJ

Plantin-Moretus museum

Het Plantin-Moretus museum is een drukkerij en uitgeverij uit de renaissance en de barok. Het gebouwencomplex ligt in Antwerpen, in de 16e eeuw een metropool en de belangrijkste stad in de ontwikkeling van de Europese typografie. De naam verwijst naar de grootste drukker-uitgever van de tweede helft van de 16e eeuw: Christophe Plantin (circa 1520-1589). Het gebouw – dat in bedrijf bleef tot 1867 – bevat een grote collectie oude drukapparatuur, een uitgebreide bibliotheek, en archieven en kunstwerken die van onschatbare waarde zijn, waaronder een schilderij van Rubens.

Source: unesco.nl

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Plantin-Moretus House-Workshops-Museum Complex
Justification for Inscription

Criterion (ii): Through the publications of the Officina Plantiniana, the Plantin-Moretus complex is a testimony to the major role played by this important centre of 16th century European humanism in the development of science and culture.

Criterion (iii): Considered as an integral part of the Memory of the World (UNESCO, 2001), the Plantinian Archives, including the business archives of the Officina, the books of commercial accounts and the correspondence with a number of world-renowned scholars and humanists, provide an outstanding testimony to a cultural tradition of the first importance.

Criterion (iv): As an outstanding example of the relationship between the living environment of a family during the 16th, 17th and 18th centuries, the world of work and the world of commerce, the Plantin-Moretus Complex is of unrivalled Documentary value relating to significant periods of European history: the Renaissance, the Baroque era and Classicism.

Criterion (vi): The Plantin-Moretus complex is tangibly associated with ideas, beliefs, technologies and literary and artistic works of outstanding universal significance.

Long Description

Through the publications of the Officina Plantiniana, the Plantin-Moretus complex bears witness to the major role played by this important centre of 16th-century European humanism in the development of science and culture. The Plantinian Archives, including the business archives of the Officina, the books of commercial accounts and the correspondence with a number of world-renowned scholars and humanists, provide an outstanding testimony to a cultural tradition of the first importance.

As an outstanding example of the relationship between the living environment of a family during the 16th, 17th and 18th centuries, the world of work and the world of commerce, the Plantin-Moretus Complex is of unrivalled documentary value relating to significant periods of European history - the Renaissance, the Baroque era and Classicism. The Plantin-Moretus complex is tangibly associated with ideas, beliefs, technologies and literary and artistic works of outstanding universal significance.

The old town of Antwerp (Antwerpen in Flemish) developed on the right bank of the Schelde River, at the foot of a fortress with a tollgate for the control of river transport, dating back to the 9th century. After being substantially extended during the 13th and 14th centuries, Antwerp asserted its position, at the expense of Bruges (Brugge), as:

  • a centre of monetary transactions;
  • an international marketplace (including an art market);
  • a meeting place for humanists and artists;
  • a hub of European cultural exchanges, importing in particular the key elements of the Italian Renaissance which were to inspire the Flemish Renaissance.

The booming vitality of Antwerp from 1500 onwards was conducive to the development of printing. By the mid-16th century, some 140 printers, publishers and booksellers were working in the town, where the book market took on an increasingly international dimension. Antwerp thus became the centre of the book businesses for all regions north of the Alps, and (with Venice and Paris) one of the three capitals of European typography, thanks primarily to the activity of Christopher Plantin between 1555 and 1589.

It was in the setting of the metropolis of Antwerp, which in the mid-16th century had a population of over 100,000 that Plantin set up his printing and publishing firm, the Officina Plantiniana with a complex of workshops adjoining a patrician residence. The Officina at that time was quite easily the largest typographical company in Europe. On the death of Plantin in 1589, his son-in-law Jan Moretus I (1543-1610) took over at the head of the best equipped company in Europe, and it was thanks to the Moretus family that the continuity of the production activities of the firm was maintained until 1867. This continuity refers to the same functions carried out in the same place. This explains the homogeneity of the plan of the building, which is reflected in the present-day museum.

In all, the historic building in its current state comprises 35 rooms (including the drawing room dedicated to the memory of the jurist René Vandevoir (1892-1966), a benefactor of the museum, and of the French-speaking Flemish writer, Emile Verhaeren (1855-1916).

Source: UNESCO/CLT/WHC
Historical Description

In the application, the history of the old town of Antwerp and the development of the mansion of Plantin and the Moretus, with its printing and publishing workshops, are fully and accurately set out. It was the constantly growing economic role of the town which was crucial; the other essential factor was the fact that Christophe PLANTIN moved to Antwerp in 1555, and took up residence in the mansion (today the Museum premises) which later came to be known as the Golden Compass, in the heart of the historic nucleus of the town, explain the evolution of the monument and its importance in the history of printing and publishing, from 1579, the date of the construction of the first set of printing workshops (Officina Plantiniana) to
1871, when the last in the line of printers/publishers associated with the workshops, Edouard Moretus (1804-1880) abandoned the printing activity, dedicating himself to preserving the furniture and property patrimony, and the treasures accumulated over the centuries.

Over this long period, a distinction can be drawn between three phases:

- The thriving enterprise of Plantin, up to his death in 1589 (by that date, his Officina had already produced some 2450 works) was continued by his son-in-law Jan I Moretus (1543-1610), who made it the best equipped printing works in Europe. His son, Balthasar I Moretus (1574-1641) took over from him and consolidated the firm's reputation, with the help of his friendship with Peter Paul Rubens. This famous artist produced drawings for remarkable and exceptional works of Baroque publishing, which were universally imitated in the second half of the 17th century. The Officina's international reputation and the unrivalled
quality of its books led to visits to the Officina by Marie de Médicis in 1631, Queen Christina of Sweden in 1654 and a number of Italian and Polish princes and princesses.

- The second half of the 17th century marked the beginning of a period of decline for printing in Antwerp. However, the Moretuses' Officina maintained its position as the largest in the Spanish Netherlands. Its books, mainly religious, were produced for the Spanish market and were exported as far afield as China, and to the Spanish possessions in the New World. From 1715 to 1764, its output made one of the largest contributions to the international export trade in books.

- Despite an incipient renewal in the first quarter of the 19th century, the situation of the Moretuses deteriorated. They proved unable to come to terms with the modernisation of printing, and in particular the consequences of the development of mechanical and rotary presses. Edward Moretus (1804-1880) was to be the last of the printer/publishers of the family, and after the publication in 1866 of a final book, Horae diurnae S. Francisci, he was forced to cease printing. In 1871, he became the curator of the family patrimony and a collector.

The Plantin/Moretus saga was over.

In 1873, he negotiated the sale of the property with all its contents under an agreement with the Belgian state and the City of Antwerp.

In 1876, the Plantin-Moretus Museum was born. To these phases of historical evolution correspond
developments in architecture, refurbishment and museographical equipment.

a- 1576-1580: Establishment of the core of the mansion, and construction
of the printing works with its tools and equipment

b- 1620-1640: Successive extensions of the residence, and various alterations which create the interior courtyard in its present form.

c- 1761-1763: During the flourishing period under the ownership of Franciscus Joannes Moretus (1717-1768), the seven small house fronts were demolished and replaced by the existing building, in a transitional Louis XV-Louis XVI style, reflecting the tastes of the ennobled upper bourgeoisie.

d- From 1876 to the present day:

- Purchase of the whole property (including its contents) by the Belgian state and the City of Antwerp in 1876.

- Opening of the Plantin-Moretus Museum on 19 August 1877.

- In 1937, addition of a new wing to house the Print Room of the City of Antwerp, a subsidiary of the Museum, with its sizeable collection of graphic art.

- In 1947 restoration work was carried out following the damage caused in WW2: on 2 January 1945, a flying bomb damaged the house of 1580 on the south side, and the facade of the East wing.

Fortunately, the collections, which had been moved to a safe place, were not damaged.

Source: Advisory Body Evaluation