TY - THES ID - 135470046 TI - Civitas Lovaniensis : Een onderzoek naar het ontstaan van het gedrukte stadsportret in de Duitse gebieden en de Nederlanden in de 15de en 16de eeuw & een casestudie en contextualisering van het oudst bewaarde gezicht op de stad Leuven. AU - Luyckx, Jeroen. AU - Van der Stock, Jan. AU - KU Leuven. Faculteit Letteren. Opleiding Master in de kunstwetenschappen PY - 2013 PB - Leuven KU Leuven. Faculteit Letteren DB - UniCat UR - https://www.unicat.be/uniCat?func=search&query=sysid:135470046 AB - This dissertation focuses on the origin of the printed city portrait in the German countries and the Netherlands in the 15th and 16th centuries and takes a closer look at the oldest printed view on the city of Leuven. The title of this paper refers to this monumental frieze, that is preserved in the Print Room of the Royal Library of Belgium. In the first chapter, the emergence of the printed city portrait in the German areas and the Netherlands is thoroughly investigated. Firstly, the medium of the woodcut and the increasing demand for topographical information are studied. Then, an overview is given of the 15th-century German printed works that form the basis of the printed city portrait in Northwestern Europe. In this section, five incunabula are discussed, including Fasciculus temporum, containing the oldest printed image of a real city, Peregrinatio in Terram Sanctam, containing the largest city views and the Nuremberg Chronicle, containing the largest number of topographical representations. Subsequently, the earliest printed city views of the Netherlands are examined, dating from 1515 to 1542. Four out of five prints that are examined here depict a view on Antwerp. The fifth print contains the oldest view on Ghent and is reconstructed using a newly discoverd, intact copy. The second chapter contains a case study and contextualisation of the oldest preserved view on the city of Leuven. Firstly, a complete description of this monumental woodcut is given, including the coats of arms, eight allegories, buildings and places, and human figures and actions that are depicted. Then, the target market of this frieze is researched. This woodcut is a private and commercially motivated creation that was probably sold to students as a souvenir of their stay in Leuven. Subsequently, the 19th-century reproductions of this frieze and the former, false attribution to Anton Woensam are investigated. Thereafter, the content and influence of the woodcuts of monogrammist AP and an anonymous designer are researched. Also one series of prints of AP is compared to the monumental frieze. Based on stylistic similarities, it seems reasonable to attribute the frieze to the master AP and his anonymous designer, but there are no other visual indications or written sources that confirm this attribution. Finally, the influence of the frieze on the 16th-century city views of Leuven is examined. Co-workers of prominent publications as Descrittione di tutti i Paesi Bassi and Civitates orbis terrarum relied on this frieze to depict Leuven. Not until the 17th century a city view of Leuven is printed that is completely independant of this frieze. ER -