The article explores two distinct traditions of insect depiction in the late 16th century through a case study of nearly 40 entomological illustrations from Anselmus de Boodt’s Albums (housed in the Rijksmuseum). It compares artistic, trompe
l’œil miniatures of small animals – created by Elias Verhulst based on Joris Hoefnagel’s engravings – with the scientific, standardized entomological drawings by de Boodt himself. To illustrate the evolving expectations of natural historians regarding entomological illustrations, the article juxtaposes these works with earlier and contemporary illustrations. It traces a progression from illusionistic Netherlandish borders and German woodcuts depicting insects alongside human figures, through simplified sketches, to detailed representations of species observed through a magnifying glass. De Boodt’s Albums aim to strike a balance between illusionism and the standardization of entomological illustration in the late 16th century.
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