J W Valvasor Presentation @ State Library of Victoria

Johann Weichard Valvasor

Johann Weichard ValvasorMagnum Opus of Slovenian Polymath

JOHANN WEICHARD VALVASORThe Polymath of the Province of Carniola.A historiographer, geographer, ethnographer, cartographer, natural scientist, inventor, publisher, and military commander.

The religious dissent

Anti-reformation backlash

The plague

The Thirty Years’ War

The Turkish incursions

Mid 17th century Europe was beset by upheavals that

defined the formative years of Valvasor’s life:

Valvasor’s Early YearsJohann Weichard Valvasor - in Slovene - Janez Vajkard Valvasor) was born in Ljubljana in 1641, to a nobleman Jernej Valvasor and his wife Ana Marija Rauber, as the 12th of 17 children.

He grew up like most of the children of nobility. He attended the Jesuit Collegium in Ljubljana, studying Humanities, Latin, Logic and Rhetorics.

After completing his studies, he decided to further his education through travel and military service. With a few interruptions, he journeyed for 14 years.

From 1663 – 1664, Valvasor was among the 20 Carniolan volunteers in the Austro - Turkish war in Slavonia, serving in the regiment of Testo Piccolomini under the command of Croatian Count Nikola Zrinjski

Voyages

Apart from acquiring military experience and skills, Valvasor diligently recorded all the matters of special interest and fame, that he came upon; studying the animate and inanimate world, recording anything of significance, observing interesting facts and curiosities.

In 1666 he travelled throughout the Habsburg Empire and most of Western Europe – Germany, France, Italy, Netherlands, Switzerland, Spain, Denmark, England as well as Tunisia and Libya.

In France he joined the Royal Franco-Swiss infantry regiment. Military expertise that he gained came in very useful a decade and a half later in the conflict between the Ottoman and Habsburg Empires.

Knighthood and Marriage

After his return home in 1667, Valvasor acquired the title of Baron. On 10th July 1672 he was married to Lady Ana Rosina Groffenbegerin von Graffenhau.

Valvasor had altogether 13 children from his first marriage, 6 of them did not survive early childhood.

After her many pregnancies, Ana Rosita died at only 29 years of age, possibly of a similar condition that caused the death of her children. In 1687 Valvasor married again the Baroness Ana Maksimilia Zetschker. Valvasor had 2 more descendants from this marriage.

the graphic institutionIn 1678 Valvasor established the graphic institution for the reproduction of topographic paintings. He was the initiator and the leader of the workshop, as well as illustrator of the images for the graphic reproductions.

The workshop consisted of: the copper engraver Andrej Trost, the illustrators Janez Koch, Matija Greischer, Peter Mungerstorff, Johann Wiriex, Jernej Ramschuessl and the Croatian poet Pavel Ritter Vitezovič, who was also a graphic artist, a man of letters and Valvasor’s close friend.

During the operation of the graphic institution 5 maps were made: the map of Carniola in 1684, the maps of Carinthia and Croatia in 1685, and the maps of Kolpa River and Lake Cerknica, latter published in The Glory of the Duchy of Carniola.

Dominicae Passionis Icones, 1679

Passion booklet – Dominicae Passionis Icones – the first work published in 1679 in the workshop at Bogenšperk Castle.

The images of suffering Christ are dedicated to the Bishop of Ljubljana and Count Jože Rabatt, and 17 copper engravings on the theme of Christ’s suffering are the first graphic publications of this kind in Slovenia.

Topographia Arcium Lambergarium, 1679

The topography of the Lamberg castles – Topographia Arcium Lambergarium – the third work published in 1679. Valvasor presented 28 castles, taken from the contemporary Topography of the Duchy of Carniola. For the purpose of publication of this book, Valvasor remade the plates. He removed the numbers, and with the exception of six, also the Slovenian names of the castles. The work that presents the property of the counts of the time – the Lambergs of Carniola is dedicated to the Imperial Member of the Council, Count Janez Maksimiljan Lamberg.

Ovidii metamorphoseos icones, 1680Ovid’s Metamorphoses – Ovidii metamorphoseos icones was published as an artistic publication inspired with the work of Latin poet Publius Ovidius Nasa. It shows famous myths, tales, short stories, heroic stories from the beginning of the cosmos till the present. It gives us 96 scenes with short Latin explanations and with double verse in German. They are also carved into the panels.

The work is dedicated to Count Wolfgang Engelbert von Auersperg. The copper

engravings Valvasor later sold to the printer Janez Krstnik Mayr who in 1685

published the extended reprint of the work in Salzburg without acknowledging Valvasor.

Topographia Archiducatus Carinthiae antiquae Et modernae Completa, 1681

The topography of contemporary Duchy of Carinthia – Topographia Archiducatus Carinthiae Antiquae et Modernae was published in 1681. There are 224 copper engravings representing castles, towns, squares and monasteries that existed in Carinthia of the time. Eight pages, the list of the paintings and the owners of the castles were printed by Janez Krstnik Mayr in German. A special feature are the coats-of-arms that appear within some images.

Topographia Carinthiae Salisburgensis, 1681

The topography of Salzburg Carinthia – Topographia Carinthiae Salisburgensis is the second work published in 1681 and was the last topography written at the Bogenšperk castle.

The selection of the 26 copper engravings from the Topography of contemporary Carinthia represents the properties of the Salzburg Archbishopric in the Carinthia region. The topography was dedicated by Valvasor to Salzburg Archbishop Maximilian Gandolf von Künburg.

Carniolia, Karstia, Histria et Windorum Marchia, 1681

The book of experiment prints for the topography of Carniola. What is special is the fact that there are two copperprints on each sheet. The volume contains 261 prints on 136 sheets, but it is no longer in good condition nor is it complete. It is an exclusive book and a curiosity , which can be called the book of experiment prints for the topography of Carniola.

Johann Homann & J.W.F. Valvasor:

Tabula Ducatus Carnioliae, Vindorum Marchiae et Histriae

Theatrum mortis humanae tripartitum, 1682

The scene of the human death in three parts – Theatrum mortis humanae tripartitum was published in 1682. There are three chapters: I. Death Dance, II. Various kinds of death, III: Suffering of the doomed. It took three years to publish, there were only three copper engravings printed at Bogenšperk Castle.

The complete text was printed in Ljubljana by Janez Krstnik Mayr. Valvasor dedicated the book with 6 unmarked pages and 256 marked ones to Albert Reichart, the historian of Carinthia. He was at that time Abbot of the Benedictine Monastery of St. Paul.

Exploration of the Duchy of Carniola

A year after his visit to Venice in 1679, Valvasor started preparing the publication of The Glory of the Duchy of Carniola. On 23rd February 1680 he sent letters to the owners of castles, to towns and monasteries, requesting historical data, descriptions, sights and interesting phenomena. A weak response did not deter him in his plans to make his country known, so he bought the house in Ljubljana in 1681 in order to study the archives of the country, state, and class.

In 1680 he was appointed Captain of an infantry regiment of Lower Carniola, a military division that was called up in case of military danger. His last recorded military exploit was in the year 1683.

Last battleAt the time of the last Turkish siege of Vienna he was sent as the commander of a Carniolan army division of 400 infantry men to help defend the Styrian eastern border threatened by peasants and the rebellion of Hungarians. The expedition left Ljubljana on 7th August 1683 and swiftly reached the Plains of Graz. There the army units camped at Wildon under Valvasor’s command. Later Valvasor was ordered to move towards Fürstenfeld to save the castles and surrounding areas and the town Radgona from the rebels.

J.W.F. Valvasor: Battle with Turks

Mary’s Statue in LjubljanaIn the spring of 1680 he was commissioned by the State to construct Mary’s Statue in Ljubljana to commemorate the victory over Turks in 1664 and to celebrate being spared from the plague in 1679. Ljubljana was the only capital of the Habsburg Empire that was saved from the ravages of the epidemic.

The construction in front of St. Jacob’s Church was completed on 27th March 1682. From a technical point of view the most important pieces of the monument are the column and the statue, which are Valvasor’s invention, and carved in a special technique in one piece.

For his exceptional work the State gave him a financial award and his tax debts were written off. St. Mary’s column still stands today, as one of Ljubljana’s oldest monuments.

J.W.F. Valvasor:

Mary’s Statue in Ljubljana

Royal Society of London

On 14th December 1687 Janez Vajkard Valvasor was elected Fellow of the Royal Society of London and a part of his Treatise on Lake Cerknica was read on that occasion. Edmund Halley, one of the world’s famous astronomers, did the experiment of the filling and emptying of Lake Cerknica. With his election Valvasor became the fourth member of the Society from the lands of the Austro-Hungarian Empire, and the first and only one from Slovenian lands.

The report about Lake Cerknica and the procedure of casting metal objects that was used on the production of the Mary’s statue was published in Philosophical Transactions, London 1687, Number 191, and in Acta Eruditorum, Leipzig 1689.

J.W.F. Valvasor: Cerknica Lake

Magnum OpusIn 1689 Valvasor finally published his life’s work and reached the highest point of his creativity. The Glory of the Duchy of Carniola /Die Ehre des Herzogthums Crain is the last of Valvasor’s published work and by far the most important.

The work represents anticipation of the Enlightenment movement 100 years later. In its very creation, The Glory of the Duchy of Carniola was a trans-national project, combining people and works of art, Germans, Austrians, Italians, Slovenians, a Croat and two Dutch painters.

It describes an important segment of common European history, whith special attention to the historical and cultural area of Slovenia, the south of Austria, and the north and west of Croatia - the modern day Alpe-Adria bio-region of Central Europe.

Carniola Chronicles

Valvasor visited the German countries in 1684-85 and arranged for the printing of his work in Nürnberg. At Endter’s workshop Valvasor approached Erasmus Francisci (1627-1694), a famous lecturer, polymath and professional writer, to work with him as editor and assistant. The first volume describes the events to 1686, the second covers the next two years to 1688, the third and the fourth to 1689.

There has been no book of this kind anywhere in Europe. It is important as a historiographic source and an invaluable encyclopedia of a specific area in central Europe, occupied by Slovenian people. More than anything else the work is a comprehensive study of the land of Valvasor’s birth – Carniola / Kranjska.

The Glory of the Duchy of Carniola, 1689

The Glory of the Duchy of Carniola is divided into 15 Books in 4 Volumes. It has 3,532 pages, 24 appendices and 528 pictures. The text is arranged in two columns and after each title the exact contents are listed for each chapter.The 1st Volume consists of Books I-IV. There are 752 pages, 54 pictures, 4 appendices and the emphasis is on scientific value.

The 2nd Volume consists of Books V-VIII, with 836 pages of text, 40 pictures illustrating the text.

The 3rd Volume consists of Books IX-XI. There are 1,128 pages and 2 pages of notes. This is the most important part of the work with 370 illustrations and 9 appendices.

The last Volume is partly historical in content and is written as a chronicle. The last two books were the main textbooks of Slovenian history for 200 years. There are 814 pages, 5 appendices and 64 illustrations.

Death

With the publication of The Glory of the Duchy of Carniola the creative part of Valvasor’s life is ended. Some books were not printed because of financial problems. Several of his books were published posthumously or were lost.

Great publishing expenses, lack of understanding by the state authorities for Valvasor’s great plans, the commitments and debts led to the end of Valvasor’s publishing activities in 1689.

A solution for these problems was the sale of his property and work. In 1690 after the intervention of Valvasor’s friend Pavel Vitezovič, his library and manuscripts were bought by Zagreb Bishop Aleksandar Ignacij Mikulić. His personal library is now at the Metropolitan Library in Zagreb.

SignificanceValvasor died on 19th September 1693. His intellectual wealth and determination left an invaluable legacy.

While the time when Valvasor lived was not so kind to him, the importance of his monumental work is recognized as one of the most significant sources in the study of history and ethnography in Slovenia.

• J.W.F. Valvasor: The Glory of the Duchy of Carniola

• J.W.F. Valvasor: Cyrilic and Glagolitic Script




































Johann Weichard Valvasor

Iconotheca ValvasorianaA Gift Of The Republic of Slovenia

Iconotheca ValvasorianaIconotheca Valvasoriana is the personal collection of prints and drawings

purchased by Johann Weichard Freiherr von Valvasor during 14 years of travel throughout Europe (1659 – 1672). It is comprised of 17 volumes in folio format, bound in leather. A total of 7,752 prints and drawings by prominent

artists of the time: Albrecht Dürer, Lucas Cranach, Rembrandt van Rijn, Jacques Callot and German, Austrian, Dutch, Flemish, French, Italian, English and Carynthian masters of 15th, 16th and 17th centuries. The

collection has been preserved as Valvasor himself arranged it.

Now in the Metropolitan Library of Zagreb, the original Collection is held by the Department of Prints and Drawings of the Croatian Academy of Sciences

and Arts as the major collection of old graphic and drawings in Croatia. It was purchased by Bishop Aleksandar Mikulić in 1691, together with

Valvasor’s library of 1520 books for the Archiepiscopal Library of Zagreb.

BackgroundDuring his travels throughout Europe between 1659 and 1672, Valvasor

studied primarily history, archaeology as well as natural sciences. On his voyages he collected a great number of mathematical and astronomical

devices, books and manuscripts, engravings, etchings, woodcuts and drawings, various antiquities, and rare objects. He held them all at

Bogenšperk (Wagensperg), his castle near Litija, Slovenia. In 1678 he founded his own graphic and printing workshop in his castle. Engravings

and illustrations for his historical and topographic works were made there.

Valvasor himself glued the sheets of his collection of graphic arts into a journal of 18 volumes, 40 x 30 cm, bound in leather, with a characteristic

ornamental decoration on the spine, with a title page in German, and with his ex libris. In the time of Bishop Vrhovac the 4th volume was already missing,

so that only 17 volumes are preserved today.

FacsimileFacsimile of the Iconotheca was published by Slovenian

Academy of Sciences and Arts, printed in 100 copies. Number 1 was presented to the Valvasor Museum in the castle of

Bogenšperk; number 2 went to the Biblioteka Metropolitana in Zagreb, where the original collection is housed; number 3 was donated by

Dr. Danilo Türk, President of the Republic of Slovenia, to the Royal Society in London, whose member was Johann Weichard Valvasor;

number 4 was presented by the President of the Republic of Slovenia to José Manuel Barroso, President of the European Commission in Brussels;

number 5 was donated by the Johann Weichard Valvasor Foundation at the Slovenian Academy of Sciences and Arts to the City of Ljubljana,

Valvasor’s native town; number 15 of the Iconotheca Valvasoriana is on show at the world exhibition EXPO 2010 in Shanghai.

Volume IVolume I contains 429 sheets with the biblical

representations from the Old Testament.It consists of works mostly by Dutch and Flemish authors (the families

Sadeler, Galle, Passe, Wierich, then P. v. d. Borcht, J. v. Londerseel and others), German engravers (the families Kilian and Küssel, D. Custos,

M. Merian, J. Umbach, and others).

Included are also some works of Italian and French schools (A. Tempesta, St. della Bella, N. Cochin, J. Duvet, A. Clouet, and others), as well as a number of copies after named artists (e.g. P. P. Rubens).

Among them there are numerous small representations of the Holy Virgin, Jesus, or saints, which cut in single pieces were used as prayer pictures.

Volume IIVolume II contains 480 sheets with the biblical

representations from the New Testament.Works are mostly by Dutch, Flemish and German authors besides

those in Vol. I: F. v. Steen, Z. Dolendo, J. v. Gheyn, J. v.d. Nypoort, J. Sandrart, L. Vorsterman, S. & B. Bolswert, D. Kruger, M. Sommer,

and others) and by some Italians (S. Scolari, G. B. Pasqualini, M. Kolunič-Rota, and others). There are some copies after A. v. Dyck and P. P. Rubens, as well as prints intended for the broader public

of various publishers.

Volume IIIVolume III contains 466 representations

of saints and hermits. Besides numerous prints by the Sadeler family and their copyists the

works by D. Teniers, J. Barra, M. de Bye, P. de Baillu, J. de Weert, by German artists J. Umbach, L. Kilian, D. Custos, G. Merlo, and others,

and by Italian J. Picini, and finally modest anonymous contributions, bearing publisher’s address only.

Volume VVolume V contains 298 sheets with representations

of sibyls, allegories of free arts, months, seasons, elements, cardinal points, and senses.

Predominant are Dutch, Flemish and German authors and monogrammists (the families Sadeler, Passe, Galle, Collaert, B. Zaech,

P. de Jode, C. Cort, S. Frisius, G. Fentzek, D. v. Coornhaert, A. Eisenhoudt; and others), with some Italian and French masters (the Ferrara School,

Ag. Carracci, D. Rosseti, N. de Poilly, N. Regnesson, J. Picart, A. Tempesta, A. Salamanca, and others). There are also anonymous

sheets intended for the broader public, with publisher’s address only.

Volume VIVolume VI contains 245 sheets with the

representations of costumes, fireworks, theatre performances, architectonic views, mathematical,

geometrical devices, and others. A great number of prints are by anonymous authors, bearing just the

address of publishers, mostly inhabitants of German, and some French towns. Among the authors are the above - mentioned Dutch, Flemish

and German artists (Sadeler family, C. Passe, D. v. Coornhaert, J. Collaert, V. de Vries, J. Deutecum, M. Kiissel, and others), but also some Italian and French (E. Vico, C. Congio, J. B. Franco, R. Boyvin,

V. Regnesson, and others). As in other volumes there are sheets intended for mass consumption, with only publisher’s address.

Volume VIIVolume VII contains 328 sheets with a great number

of geographical maps, coats-of-arms, vedute of towns and ports, and others.

Anonymous prints for the broader public, published by various publishers, are predominant. We also find sheets cut by artists, e. g. R. Boyvin, C. Cort, B. Pittoni, M. Küssel, F. Place, R. Zeeman,

L. Schnitzer, and others. Or authors of geographical maps designed and made by Jansonius, Mercator, J. & W. Blaeu, N. Visscher, J.

Sandrart, M. Küssel, S. Glavach. Among the authors of town vedute, A. Trost and P. Ritter-Vitezovič can be mentioned.

Volume VIIIVolume VIII contains 328 broadsheets –

newsletters, representations of historical events and solemn parades, pictures of peasants, musicians,

beggars, madmen, caricatures, and others. Prints by anonymous masters bear publisher’s address only, other prints are by German, Dutch and Flemish, French or Italian authors

(J. v. d. Nypoort, A. Ostade, J. de Visscher, P. Serouter, J. v. Gheyn, G. Swannenburch, J. Saenredam, W. Holler, M. Küssel, L. Schnitzer,

J. Marot, F. Chauveau, Le Pautre, H. M. Lorch, A. Tempesta, and others).

Volume IXVolume IX contains 312 sheets with the

representations of battles, hunting and fishing, wild animals, birds, insects, flowers, plants,

trees and fruits, and others. The majority of works are by Dutch, Flemish and German masters

(G. v. Wolfgang, M. Küssel, C. Galle, L. Vorsterman, the Sadeler family, J. Collaert, D. Danckerts, C. de Mallery, J. Visscher, J. Hoefnagel, J. Thünckel, T. de Bry, M. Merian, and others), few by Italian and

French artists (N. Cochin, Marie Briot, H. le Roy, H. Farinati, E. Vico, and others). Some sheets are anonymous,

with publisher’s address only.

Volume XVolume X contains 274 sheets with representations

of themes taken from Ovid’s Metamorphoses and Virgil’s Aeneid, the cycles on Jason and Hercules, as well as representations on poetic and love themes.

Besides the members of the Sadeler family are two artists connected with H. Goltzius, J. v. Gheyn and R. de Baudous, then C. de Passe, Ph. Galle, L. Scharer, G. A. Wolfgang, L. Kilian, D. Custos, further

C. Mellan, R. Boyvin, R. Persyn, C. David, T. de Leu, P. Testa, P. Veneziano, Master with the Dice. There are also some anonymous

copies by famous artists (e. g. Marcantonio Raimondi), with publisher’s address only, and sheets intended for the broader public.

Volume XIVolume XI contains 332 sheets with the

representations of themes taken from Ovid’s Ars Amandi, the Bacchanals, scenes with putti,

the naked human body, and others. The authors are mostly from the Italian school (A. Mantegna, Master

with the Dice, B. Baderna, Ch. Alberti, M. da Ravenna after Marcantonio Raimondi, G. Bonasone, Ag. Carracci, G. Campagnola, E. Vico, J. Franco, G. Ghisi, and others), some Dutch and Flemish (H. Goltzius, J. v. Gheyn, Z. Dolendo, J. Matham, the Sadeler family, J. Saenredam, J. & H. Muller,

P. Soutman, C. Galle, and others). There are also some German and French masters (W. Hollar, L. Kilian, M. Godtich, H. Ulrich, J. Umbach, Fr. Langlois, P. Brebiette, M. Dorigny, R. Picou, and others). Some prints

by anonymous authors – copies, with publisher’s address.

Volume XIIVolume XII contains 447 sheets. It is the last of

thematic volumes, featuring portraits.Mostly works by German and Dutch and Flemish, a few by French and

Italian authors (the families Kilian, Passe and Custos, then J. v. d. Nypoort, J. de Heyden, C. David, E. Sadeler, P. Isselburg, J. Sandrart, M. Merian, L. Schnitzer, and others, J. Grandhomme, L. Gaultier, T. de Leu, H. H. Quiter). Some portraits were cut by the

artists of the Bogenšperk graphic workshop, perhaps also by P. Ritter-Vitezovič.

Volume XIIIVolume XIII containss 399 sheets, composed according to the national origin of authors.

It is comprised mostly by prints of French and German authors (the families Le Pautre and Perelle, I. Silvestre, I. I. Thoumeyser),

with some copies by Le Pautre by Susanna Maria v. Sandrart and some works by M. Merian.

Volume XIVVolume XIV includes 339 sheets contains primarily the prints by

J. Callot and his associates .Also works from his copyists (N. Cochin, F. Collignon,

A. Bosse, M. Gerardini, P. Godtich, G. v. Scheyndel), and the works cut by St. della Bella, P. Quast

and J. Amman.

Volume XVVolume XV contains 415 sheets with works by German engravers, by monogrammists, by French, Dutch and Flemish artists of the 15th and 16th centuries and their copyists.

Among authors there are: A. Dürer, H. Aldegrewer, G. Pencz, B. & H. S. Beham, Master B. I., V. Solis, M. Zasinger (Zündt),

H. Brosamer, H. Lemberger, P. Roddelstet-Gottland, H. S. Lautensack, D. & J. Hopfer, I. Binck, Master with the

Mousetrap, A. Altdorfer, B. Jenichen, M. Schongauer, L. v. Leyden, P. Maes, A. Claesz, J. T. de Bry, H. Wiericx,

J. v. d. Velde, H. v. Rijn Rembrandt, S. de Laune, J. Gourmont, and some anonymous masters.

Volume XVIVolume XVI contains 277 sheets with

coats-of-arms (also in copper engraving technique), together with the complete

woodcuts collection. The authors are mostly German artists (A. Dürer, L. Cranach,

H. S. Beham, V. Solis, J. Amman, and others), with some Italian masters of chiaroscuro (J. N. da Vicentino, U. da Carpi, A. Andreani, and others), French monogrammists and

anonymous copyists.

Volume XVIIVolume XVII contains 465 sheets with

drawings by European artists, mainly of 17th century.

Works are executed with pencil, sepia, chalk, bistre, further watercolour drawings, coloured miniature pictures on parchment (mostly with religious content), initial letters

(gold-plated), impressions of leaves. The most representative and complete as a collection are the drawings by

J. v. d. Nypoort and D. Teniers.

Volume XVIIIVolume XVIII includes 163 sheets containing watercolour drawings or watercolours motifs

of Flora and Fauna.Motifs of flowers, fruits, leaves, birds, insects, animals,

then the patterns for Idrija laces, all made most probably by Valvasor himself

or his close associates.

Iconotheca Valvasoriana Vol. I/280

Giorgio Ghisi: Last Judgement

Iconotheca Valvasoriana Vol. VI/124

Giovani Batista Franco: Emperor Constantine Offering Rome to Pope Sylvester I

Iconotheca Valvasoriana Vol. VII/134

Lucas Schnitzer: Constantinople

Iconotheca Valvasoriana Vol. VI/173

Mattäus Küssel: Love Fairy of Paris

Iconotheca Valvasoriana Vol. VII/106

Andrej Trošt: Ljubljana 1681

Iconotheca Valvasoriana Vol. VIII/50

Johann Dürr: Presentation of the Augsburg Confession to Karl V.


Liberation of Vienna from the Turkish Siege 1613


Jochannes Fischer of Harlem: Village Party

Iconotheca Valvasoriana Vol. X/87

Goltzius of Harlem: The Creation of Cosmos

Iconotheca Valvasoriana Vol. XIV/76

Jacques Callot: The Parade of Prince of Pfaltzburg

Iconotheca Valvasoriana Vol. XV/2

Jacques Callot: Fair at Impruneta


Albrecht Dürer: Adam and Eve


Albrecht Dürer: St. Hieronimus

Iconotheca Valvasoriana Vol. XVI/244

Lucas Cranach sr: Biblical motifs

Iconotheca Valvasoriana Vol. XVII/48

Justus van der Nypoort: Scene in front of a Village Inn

Iconotheca Valvasoriana Vol. XVIII/7a

The Flora and Fauna of Carniola

Iconotheca Valvasoriana Vol. XVIII/66


Iconotheca Valvasoriana Vol. XVIII/28


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