The name by which the publishing house of Dutch engravers and cartographers was known in 17th-century Europe Fisherov (Visscher).

At the origins of the family business stood the Amsterdammer Nicholas Ioannis Fischer ( Claes Jansz Visscher, 1587-1652), which provided the needs of all of Europe in maps (mainly wall maps), atlases and etchings with city views.

Piskator Sr. was a talented draftsman and engraver, but he remained in the history of art as the publisher of the "Face Bible" (lat. Theatrum Biblicum, 1650), five hundred engravings for which were made according to the drawings of the Flemish and Dutch masters of the previous generation.

After the death of the founder, the house of Piscators was headed by his only son, Nicholas I (1618-79). In 1682 a publishing patent was issued to his son Nicholas II (1649-1702). Under him, 90% of the Piscator catalog began to be engraved products.

After the death of Nicholas II, the family business was run by his widow until 1726. The lion's share of production at that time were reprints of editions of the previous century.

Front bible

The compositional solutions of the rarest iconographic plots given in the "Face Bible" until the end of the 17th century fed the imagination of the murals of Kostroma, Yaroslavl and Moscow. Hundreds of images drawn by iconographers from the Piscator Bible adorned the walls of churches throughout central Russia, from the Moscow Kremlin to the Trinity Monastery, wherever artists of the Upper Volga circle worked.

The album was republished by the Piscators six times and distributed in Russia with verse Slavonic signatures composed by Mardariy Honikov. The Piscator Bible served as a model for Vasily Koren's engravings. In addition to Russia, the "Face Bible" was also popular in other countries of Eastern Europe.

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Links

• Gamlitsky A.V.
• Galina Chinyakova.

An excerpt characterizing the Piscators

He said nothing to Pierre, only shook his hand with feeling below the shoulder. Pierre and Anna Mikhailovna went to the petit salon. [small living room.]
- II n "y a rien qui restaure, comme une tasse de cet excellent the russe apres une nuit blanche, [Nothing restores after a sleepless night like a cup of this excellent Russian tea.] - said Lorrain with an expression of restrained liveliness, sipping from a thin ", without a handle, a Chinese cup, standing in a small round drawing room in front of a table on which there was a tea set and a cold supper. Near the table, all those who were in the house of Count Bezukhy that night gathered to refresh their strength. Pierre remembered well this small round drawing room , with mirrors and small tables.During balls in the count's house, Pierre, who could not dance, liked to sit in this small mirrored room and watch how ladies in ballroom dresses, diamonds and pearls on their bare shoulders, passing through this room, looked at themselves in brightly lit mirrors, several times repeating their reflections.Now the same room was barely lit by two candles, and in the middle of the night on one small table tea set and dishes were randomly placed but, and various, non-holiday people, talking in a whisper, sat in it, showing with every movement, with every word, that no one forgets even what is being done now and has yet to be done in the bedroom. Pierre did not eat, although he really wanted to. He looked inquiringly at his leader and saw that she was tiptoeing out again into the reception room, where Prince Vasily remained with the eldest princess. Pierre believed that this was also so necessary, and, after a little hesitation, followed her. Anna Mikhailovna stood beside the princess, and both of them at the same time spoke in an excited whisper:
“Let me, princess, know what is needed and what is unnecessary,” said the princess, apparently in the same agitated state in which she was at the time she slammed the door of her room.
“But, dear princess,” Anna Mikhailovna said meekly and convincingly, stepping out of the way from the bedroom and not letting the princess in, “won’t it be too hard for the poor uncle at such moments when he needs rest? At such moments, talking about worldly things, when his soul is already prepared ...
Prince Vasily sat on an armchair, in his familiar pose, with his legs crossed high. His cheeks jumped strongly and, drooping, seemed thicker at the bottom; but he had the air of a man little occupied with the conversation between two ladies.
- Voyons, ma bonne Anna Mikhailovna, laissez faire Catiche. [Leave Katya to do what she knows.] You know how the Count loves her.
“I don’t even know what is in this paper,” the princess said, turning to Prince Vasily and pointing to the mosaic briefcase that she held in her hands. - I only know that the real will is in his bureau, and this is a forgotten paper ...
She wanted to bypass Anna Mikhaylovna, but Anna Mikhaylovna, jumping up, blocked her way again.
“I know, dear, kind princess,” said Anna Mikhailovna, clutching her briefcase with her hand and so tightly that it was clear that she would not let him go soon. “Dear princess, I beg you, I beg you, have pity on him. Je vous en conjure… [I beg you…]

Days of free visits at the museum

Every Wednesday you can visit the permanent exhibition "The Art of the 20th Century" in the New Tretyakov Gallery for free, as well as the temporary exhibitions "The Gift of Oleg Yakhont" and "Konstantin Istomin. Color in the Window”, held in the Engineering Corps.

The right to free access to expositions in the Main Building in Lavrushinsky Lane, the Engineering Building, the New Tretyakov Gallery, the house-museum of V.M. Vasnetsov, museum-apartment of A.M. Vasnetsov is provided on the following days for certain categories of citizens in general order:

First and second Sunday of every month:

for students of higher educational institutions of the Russian Federation, regardless of the form of education (including foreign citizens-students of Russian universities, graduate students, adjuncts, residents, assistant trainees) upon presentation of a student card (does not apply to persons presenting student trainee cards) );

for students of secondary and secondary specialized educational institutions (from 18 years old) (citizens of Russia and the CIS countries). On the first and second Sundays of each month, students holding ISIC cards have the right to visit the exhibition “Art of the 20th Century” at the New Tretyakov Gallery free of charge.

every Saturday - for members of large families (citizens of Russia and CIS countries).

Please note that conditions for free access to temporary exhibitions may vary. Check the exhibition pages for details.

Attention! At the ticket office of the Gallery, entrance tickets are provided with a face value of "free of charge" (upon presentation of the relevant documents - for the above-mentioned visitors). At the same time, all services of the Gallery, including excursion services, are paid in accordance with the established procedure.

Visiting the museum on public holidays

In a day national unity- November 4 - The Tretyakov Gallery is open from 10:00 to 18:00 (entry until 17:00). Paid entrance.

• Tretyakov Gallery in Lavrushinsky Lane, Engineering Building and New Tretyakov Gallery - from 10:00 to 18:00 (ticket office and entrance until 17:00)
• Museum-apartment of A.M. Vasnetsov and the House-Museum of V.M. Vasnetsov - closed

Paid entrance.

Waiting for you!

Please note that conditions for preferential admission to temporary exhibitions may vary. Check the exhibition pages for details.

Right of preferential visit The Gallery, except as provided for by a separate order of the Gallery's management, is provided upon presentation of documents confirming the right to preferential visits:

• pensioners (citizens of Russia and CIS countries),
• full cavaliers of the Order of Glory,
• students of secondary and secondary special educational institutions (from 18 years old),
• students of higher educational institutions of Russia, as well as foreign students studying in Russian universities (except for student trainees),
• members of large families (citizens of Russia and CIS countries).

Visitors of the above categories of citizens purchase a reduced ticket in general order.

Right of free admission The main and temporary expositions of the Gallery, except for cases provided for by a separate order of the Gallery's management, are provided for the following categories of citizens upon presentation of documents confirming the right to free admission:

• persons under the age of 18;
• students of faculties specializing in the field visual arts secondary specialized and higher educational institutions of Russia, regardless of the form of education (as well as foreign students studying in Russian universities). The clause does not apply to persons presenting student cards of "students-trainees" (in the absence of information about the faculty in the student card, certificate is provided from educational institution with the obligatory indication of the faculty);
• veterans and invalids of the Great Patriotic War, participants in hostilities, former underage prisoners of concentration camps, ghettos and other places of detention created by the Nazis and their allies during World War II, illegally repressed and rehabilitated citizens (citizens of Russia and the CIS countries);
• conscripts Russian Federation;
• Heroes Soviet Union, Heroes of the Russian Federation, Full Cavaliers of the "Order of Glory" (citizens of Russia and CIS countries);
• disabled people of groups I and II, participants in the liquidation of the consequences of the disaster at the Chernobyl nuclear power plant (citizens of Russia and the CIS countries);
• one accompanying disabled person of group I (citizens of Russia and CIS countries);
• one accompanying disabled child (citizens of Russia and CIS countries);
• artists, architects, designers - members of the relevant creative Unions of Russia and its subjects, art historians - members of the Association of Art Critics of Russia and its subjects, members and employees of the Russian Academy of Arts;
• members of the International Council of Museums (ICOM);
• employees of museums of the system of the Ministry of Culture of the Russian Federation and relevant Departments of Culture, employees of the Ministry of Culture of the Russian Federation and ministries of culture of the constituent entities of the Russian Federation;
• volunteers of the Sputnik program - entrance to the exhibitions "Art of the XX century" (Krymsky Val, 10) and "Masterpieces of Russian art of the XI - early XX centuries" (Lavrushinsky pereulok, 10), as well as to the House-Museum of V.M. Vasnetsov and the Museum-apartment of A.M. Vasnetsov (citizens of Russia);
• guide-interpreters who have an accreditation card of the Association of Guide-Translators and Tour Managers of Russia, including those accompanying a group of foreign tourists;
• one teacher of an educational institution and one accompanying a group of students of secondary and secondary specialized educational institutions (if there is an excursion voucher, subscription); one teacher of an educational institution with state accreditation educational activities when conducting an agreed training session and having a special badge (citizens of Russia and the CIS countries);
• one accompanying a group of students or a group of military servicemen (if there is an excursion voucher, subscription and during a training session) (citizens of Russia).

Visitors to the above categories of citizens receive an entrance ticket with a face value of "Free".

Please note that conditions for preferential admission to temporary exhibitions may vary. Check the exhibition pages for details.

One of the important sources of iconography for Russian iconographers was the Western European engraved Bibles of the 16th-17th centuries and, in particular, the famous Theatrum Biblicum, also known as Piscator Obverse Bible. It was reprinted several times during the 17th century. Interest in it does not fade away, therefore I consider it necessary to present a copy of the Piscator Bible of 1643 edition, still unknown to a wide range of researchers, which belonged to the Archbishop of Vologda and Belozersky Simon.

Fragment of an engraving from the Piscator Bible. Amsterdam, 1643.

The first owner of this copy of the famous uvrazh Simon, one of the most worthy Russian bishops, from 1660 to 1664. was hegumen of the Alexander-Svirsky monastery. On October 23, 1664, he was ordained bishop of Vologda and Belozersky with the elevation to the rank of archbishop. In 1666 Vladyka Simon was present at the bishops' council on schismatics, and in December of the same year, at the council that condemned His Holiness Patriarch Nikon. Archbishop Simon died on April 29, 1685 and was buried in the Vologda Spaso-Prilutsky Monastery, which he especially loved.

During the years of Bishop Simon's administration of the Vologda and Belozersky diocese, active stone construction was carried out in Vologda - temples were erected, two-story bishops' chambers surrounded by walls and towers were built. In all likelihood, Simon's personal library was located at the church in the name of the Nativity of Christ, above which the bishop's sacristy was also located.

In 1681, Archbishop Simon made a spiritual testament, in which he listed all the books he had. Two years later, by his decree, the sacristan of the Vologda Sophia Cathedral, deacon Stefan Avtomonov, compiled a list of the bishop's property, which included the book collection, which by 1683 had 80 titles. The Vladyka's collection often kept two or three copies of the same publication, liturgical books predominated, preference was given to literature necessary for homiletics, ecclesiastical polemical and apologetic epistles. The library of the Vologda Archbishop was a significant cultural and historical phenomenon for its time, but has not lost its importance for study to this day. one

Healing of ten lepers (Piskator Bible. Amsterdam, 1643. L. 252.)

In 1681, Vladyka was the owner of two editions of the Front Bible of different formats. In 1683, he already owned three copies, at least two of which were published by Piscator. 2

During the first trip to the north in May-June 1901, the scientific curator of the manuscripts of the Library of the Academy of Sciences Vsevolod Izmailovich Sreznevsky visited Vologda and county towns of this province. Sreznevsky set himself the task of examining the state of manuscript collections at churches, monasteries, state and church institutions, as well as from private collections in order to acquire manuscripts for the First Department of the Library of the Academy of Sciences. As a result of this expedition, V.I. Sreznevsky brought a copy of the Piscator Bible, which belonged to Archbishop Simon, with "captured and torn edges." I.V. Evdokimov proposed to consider it as an icon-painting original for ancient Russian masters, based on traces of paints and oil stains. 3 The second copy of the engraved Bible from the collection of Bishop Simon remained in the Vologda Assumption Cathedral School.

The third copy of the Piscator Bible of 1643 edition, also owned by Simon, Archbishop of Vologda and Belozersky, ended up in the collection of I.S. Ostroukhov: the book was acquired or received as a gift by Ilya Semenovich in the second half of the 19th century. Together with the entire book collection of Ostroukhov, the engraved Bible was included on March 15, 1938 in the fund of the library of the Tretyakov Gallery. Now uvrazh is stored in the fund of a rare book scientific library State Tretyakov Gallery (Inv. No. I 189).

The parable of the lost denarius and lost sheep(Piscator Bible. Amsterdam, 1643. L. 273.)

It should be noted that on the Ostroukhovsky copy, as well as on the one that was acquired by V.I. Sreznevsky, there are often traces of paint on the sheets, fingerprints stained with paint and oil stains, which indicates the active use of the book by icon painters.

The famous Dutch engraved Bible of the 17th century is a folio album, which includes a number of notebooks with engraved sheets that selectively illustrate the text of the Old and New Testaments (the number of sheets in different editions varies from 450 to 470). Uvrazh published by an Amsterdam artist and engraver Nicholas Ioannis Fisher(Claes Jansz Visscher), who is on Latin signed "Nicolaës Iohannis Piskator". four

The album of engravings is provided with brief comments in Latin (signature and reference to a specific section, chapter and verse of Holy Scripture). There are editions of 1643, 1646, 1650, the most common is 1674. It is generally accepted that the first engraved Piscator Bible was published in 1614. 5 The authors of the compositions are about forty Dutch artists and engravers of the 16th-17th centuries. The Piscator Bible could be found not only in the cells of bishops, icon painters, but also among the boyars and in the royal libraries (for example, Tsar Alexei Mikhailovich and Tsar Feodor Alekseevich).

The parable of the log and the knot in the eye (Piskator Bible. Amsterdam, 1643. L. 274.)

A copy of the Tretyakov Gallery in sheet format (27 x 36.7 cm), stretched horizontally, includes illustrations for the Old and New Testaments, consists of 71 notebooks, 414 engraved sheets and two bindings. Each notebook contains from 4 to 35 numbered sheets, 7 sheets without numbering. The engraved sheets have 17th-century letter numbers in the lower right corners and modern numbering in Arabic numerals.

According to O.A. Belobrova, the copy of the State Tretyakov Gallery can be attributed to 1643 on several grounds. It is missing four engravings illustrating the Proverbs of Solomon; in addition, the series illustrating the plots of the Parable of those called to the feast consists of only two engravings (the same in a dated copy of the Russian State Library and in the published list of engraved sheets of 1646); miniatures for the Apocalypse are accompanied by Latin quatrains, unlike all other editions. 6 I am deeply grateful to A.V. Gamlitsky, who drew our attention to a series of engravings relating a copy of Piskator's Bible of the State Tretyakov Gallery to 1643.

The Parable of the Ten Virgins (Piskator Bible. Amsterdam, 1643. L. 280.)

On engraved filigree sheets: a lily on a shield (rectangular shield with a crown above it). The filigree, as well as the composition of the engravings, suggests that the famous 17th-century engraving from the Tretyakov Gallery was published in 1643. Full leather binding (cardboard, light brown leather) early XIX century. On the binding sheets - watermarks: monograms "ST" and "ZO" in a wavy circle. The block is detached from the spine, which is roughly attached with a piece of dyed red leather, the sheets are yellowed, many are soiled, including, as already mentioned, stains of wax, paint, and oil stains. On separate sheets there are traces of streaks, seizures, small light yellow and large brown spots, small and significant tears along the edges of the sheets. Some of the engravings are duplicated on yellowed sheets of thin white paper. When binding, many of the pages are rearranged and bound incorrectly.

In the center of the lower edge of the engraved sheets (fol. 16-415) there is a pass-through owner's note in brown ink: This private book of the great lord, His Grace Simon Archbishop of Vologda and Beloezersk.

On the upper field of the engraved sheets there is an inscription in small half-script with elements of cursive writing, which is a prosaic translation-paraphrase of the Latin signatures under the engravings, on the lower field - a later calligraphic inscription, most likely late XVIII or the beginning of the 19th century, briefly commenting on the images using Arabic numerals. The creator of the text and the scribe remain unknown at the present time, just as in the copies of the Pushkin Museum, BAN. 7

Conversion of the publican Zacchaeus (Piskator Bible. Amsterdam, 1643. L. 296.)

Russian prose captions for Piscator's Bible engravings did not have canonical uniformity. According to the study by O.A. Belobrova, in the Russian North there was a short prose translation, the origin of which is unknown. It could have been made in Moscow or rewritten from some sample in the North. It seems to us that the publication of the text accompanying the engraved images of the Piscator Bible will complement the understanding of the history of its distribution in Russia in the second half of the 17th and 18th centuries. As an example, here are several signatures accompanying the engravings:

L. 224 (Title of the New Testament). Even Christ, even the disciples did miracles, but they were inflicted from fierce enemies of old. Not deserving of execution, nor the one seen by John in Patma, this still befits a spectacle.

L. 225. (Notebook 45.1). Since the blessed house of David, out of worthlessness, O most blessed Anno, thou hast arisen, and the womb in her is God sanctified, the womb, this is, thuyu, from nothing He was conceived without a seed, created. (St. John of Damascus. Word 2, On the Nativity of Blessed Mary).

L. 226. (Notebook 45.3). On the upper field: Thee Gabriel, the future Bride of the Mother of God, about Mary, unharmed virginity, sings: Blessed by the Divine, even if you dared to believe with your voice. Prosperous by the decree of anyone and from there Thy. (Luke. Ch. 1. Art. 26.) In the lower field: In the sixth month, the Angel Gabriel was sent from God to the city of Galilee, whose name is Nazareth, to the Virgin. (Luke. Ch. 1. Art. 26.)

L. 227. (Notebook 45.4). The celestials are worthy of God to bring praise and to honor the pious Lord with praise, it’s silly to eat. (Ps. 147.)

L. 228. (Notebook 45.5). On the upper field: An angel from heaven sent by a shepherd is present about God's dream to bring joyful news. (Luke. Ch. 2, Art. 8.) In the lower field: And the shepherd of God in that country, fighting and guarding the night guard over his flock. And behold the angel of the Lord was a hundred in them, and the glory of the Lord was their axis: and they were afraid with great fear. (Luke, Ch. 2, vv. 8-9.)

L. 229. (Notebook 45.6): Behold God, where a man is born from the womb of Mother, this is both always a Virgin, and He is God. (Luke, Ch. 2, v. 16.)

The issues of the existence of Western European Bibles in Russia and their influence on Russian painting and miniature in the 16th-17th centuries still remain significant, helping not only to correctly attribute certain works of icon-painting and monumental art, but also to better understand the methods of work of ancient Russian artists. In the 16th-17th centuries, the detailed narrative, entertaining, decorative nature of Western engraving attracted not only its unusualness, but also its rich opportunities for church teaching sermon, expressed in visible images.

At the same time, Russian masters were able to infuse Western innovations into the majestic ensembles of church paintings, apply Western compositional schemes in Russian icon painting, miniatures of illuminated manuscripts, while maintaining precious rigor and fidelity to the tradition of Orthodox Russian icons.

Galina Chinyakova, manager rare book sector
(Scientific Library of the Tretyakov Gallery)

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Abstract on the topic:

piscators

"The Death of the Son of the Shunamite Woman". Engraving of Piscator's Bible.

Gury Nikitin. "The Death of the Son of the Shunamite Woman". Fresco of the Yaroslavl Church of Elijah the Prophet (1681).

piscators(lat. piscator - fisherman) - a translated Latin name, under which the publishing house of Dutch engravers and cartographers was known in Europe in the 17th century Viserov (Visscher).

At the origins of the family business was an Amsterdammer Nicholas Ioannis Visser ( Claes Jansz Visscher, 1587-1652), which provided the needs of all of Europe in maps (mainly wall maps), atlases and etchings with city views.

Piskator Sr. was a talented draftsman and engraver, but he remained in the history of art as the publisher of the "Face Bible" ( Theatrum Biblicum; 1650), five hundred engravings for which were made according to the drawings of the Flemish and Dutch masters of the previous generation.

After the death of the founder, the house of Piscators was headed by his only son, Nicholas I (1618-79). In 1682 a publishing patent was issued to his son Nicholas II (1649-1702). Under him, 90% of the Piscator catalog began to be engraved products.

After the death of Nicholas II, the family business was run by his widow until 1726. The lion's share of production at that time were reprints of editions of the previous century.

Front bible

The compositional solutions of the rarest iconographic scenes, given in the "Face Bible", until the end of the 17th century, fueled the imagination of the murals of Kostroma, Yaroslavl and Moscow. Hundreds of images drawn by iconographers from the Piscator Bible adorned the walls of churches throughout central Russia, from the Moscow Kremlin to the Trinity Monastery, wherever artists of the Upper Volga circle worked.

The album was republished by the Piscators six times and distributed in Russia with verse Slavic captions composed by Mardariy Honikov. The Piscator Bible served as a model for Vasily Koren's engravings. In addition to Russia, the "Face Bible" was popular in other countries of Eastern Europe.

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Source

• A. V. Gamlitsky. "The Piscator Bible and the Problem of Engraved Patterns in European Art of the 16th-18th Centuries".

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This abstract is based on an article from the Russian Wikipedia. Synchronization completed on 07/11/11 22:15:47
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I Piscator (Piscator) Nicholas Ioannis [actually Visscher (Visscher) Klas Jan the Younger] (circa 1586, Amsterdam, 19.6.1652, ibid.), Dutch publisher and engraver. Among the publications of P., a map of Muscovy (1631) and the “Face Bible” (“Theatrum ... ...

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