EPILOGUE: THE KALEIDOSCOPIC SCHOLARSHIP OF HADRIANUS JUNIUS Dirk van Miert The interconnections between the Junius’ works Hadrianus Junius had a strong preference for lexicographical work. All the works discussed in the pages above show that his entire oeuvre is informed by a love for vocabulary and etymology. his love was tightly connected with Junius’ interest in Latin, Greek and ancient history. His Batavia testiies to this preference. Just as other sixteenth- century historiographers had done, Junius anchored his work thor- oughly in ancient literature, but he also grounded it in the nascent humanist historiography of his own time. In this way, he not only put the history of Holland into the context of ancient history, but also inte- grated it into an active classicist tradition. Contrary to this diachronic approach, his successor Janus Dousa adopted a synchronic angle, drawing a line between ‘good’ and ‘bad’ historians, whether ancient, medieval or recent. 1 his explains why Junius overloads his text with classical references, whereas Dousa is more discriminating. And Dousa is not without criticism with regard to ‘noster Junius’, denouncing in particular his taste for strained etymologies. Junius’ Batavia makes dif- icult reading thanks to his indomitable passion for citing from a huge variety of sources. As Maas noted, Kampinga (in 1913) already com- plained that ‘Junius’ immense reading is shown by the tiringly large number of classical quotations and digressions with which his work is interspersed’. 2 he States of Holland had apparently expected Junius to write a historical narrative which would describe the independent actions of the leaders of Holland in the period preceding the Habsburg government. What Junius in fact came up with was a collection of 1 See Maas, p. 61. Maas attributes Dousa’s attitude to the changing role of the nobility in the rebellious provinces. 2 Kampinga, Opvattingen, p. 22: ‘Junius’ enorme belezenheid blijkt uit het vermoei- end grote aantal klassieke aanhalingen en uitweidingen, waarmee zijn werk doorspekt is’. See above, p. 51, n. 34. See also De Glas in this volume, p. 91.