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Philips Galle (1537-1612): engraver and print publisher in Haarlem and Antwerp Sellink, M.S.

1997

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Download date: 08. Oct. 2021 MANFRED SELLINK

PHILIPS GALLE (1537-1612)

ENGRAVER AND PRINT PUBLISHER IN HAARLEM AND ANTWERP

li NOTES/APPENDICES Notes Introduction

1. &igg5 1971, For further references on our knowledge of Netherlandish printmaking m general and Philips Galle in particular, see chapter 1, notes 32-33 and chapter 4, note 1.

2. Van den Bemden 1863. My research of a print

acquired by the Rijksprentenkabinet in 1985 resulted in

ail article on the collaboration between the Galle family

and Johannes Stradanus on an abortive attempt to pro• duce a series of engraved illustrations for Dante's Divina

Commedia (Seliink 1987)

3. It was, however, facilitated by the opportuni• ty provided in 1986/87 to edit the Illustrated Bartsch- volume on Philips Galle compiled by Arno Dolders (TIB. 56). Dolders kindly gave me access to all the information he had gathered on Galle until then.

4. See chapter 1, passim.

5. See, for example, Denucc 1912-13, Delen 1932, Delen 1934-35 and Voet 1980-83- Karen Bowen and I hope to write (and publish) several studies on die relationship between the Cfficina Plantiniana znd the Galle family in the near future-

6. In the year 2000 a large exhibition on Philips Galle will be organized by the BoijmansVan Beuningen Museum in Rotterdam and the printroom of die Veste Coburg.The catalogue, which will be written in collab• oration with the Coburg curator Christiane Wiebel, shall provide more information on aspects of style and tech• nique in the Galle workshop.

7. Holistcin is: EW.H. Hollstein et a!., Dutch and Flemish etchings, engravings and woodcuts, ca, 1450-1700, in progress,Arnsterdam 1949---...-; New Holistcin is: The New Hollstein; Dutch and Flemish etchings, engravings and wood• cuts, 1450-1700, in progress, Amsterdam & Roosendaal

1993- Two volumes of the New Hollstein series are now planned to be devoted to Philips Galle, and, strong• ly related to the subject of this book, three other volumes will be dedicated to Johannes Stradanus. To both of these projects I will contribute as a guest editor. In the fall of 1998 the publishers Sound &Vision will also issue a revised edition of my dissertation in their new series Studies in I\ints and Printmaking.

8„ These words were written by Paulus de Kempenaer in 1617; see chapter l,note 129.

146 Notes Chapter 1

*. Quoted from Guicciardini 1567; see note 1. p. 140. The English translation is quoted from Veldman 1977a, p. 99. On Galle s friendship and collaboration with

1. "Dirick Volcaerts Core[n]-hert et Filippo Junius, also see chapters 2 and 4. On Junius s Batavia* also Galle amendue d'Harlem eccelle[n]tissimi intagliatori see Vermaseren 1949. Guicciardmi 1567, p. 101 In the enlarged Dutch translation of 1612 this reads; "Dierick Volckaertsen 5. i!Ik moet van Koornhert ook, en van Galle Corenhert, ende Philips Galle, beyde van Haerlem, uyt- meest, gewagen/ Gewisslijck Galle mag niet over sijn ges• nemende gheschickt m coper re steken Guicciardini lagen,/ Sijn yser was te eel, sijn printen sijn't wel waerd,/ 1612, p. 82. This historiographical overview makes no En door geleerde luy en hunne snee vermaerd "Then fol• claim at all to be complete, it is only intended as a short, lows the Latm quotation from Junius, restated by Ampzing introductory survey of the reputation of Philips Galle until in Dutch:"Daer sijn noch twee lichten vande Plaet-snee- the second half of the nineteenth century. A short review konste overig, Dirk Volkertszen van Amsterdam, een man of the literature after 1850 can he found in note 33. On van groot verstand, maer ongeluckig, ende Philips Galle Goltzius's portrait of Philips Galle, see Seliink 1991-92, van Haerlem, desen sijnen meester verre overtreffende: pp, 154-155. die [Coornhert] heeft de konste onderlaten, die hy met lof aengevangen hadde, in desen [Galle] wast de ere van

2„ "Divick Volcaerts e Filippo Galle, amendue de konst met de jaeren op," Ampzing 1628, p. 359. d'Arlem, e Luca Leidem con mold altri, chi tutti sono stati Ampzing also translates the Latin verses underneath Galles in Italia a irnparare e disegnare le cose antichi p[er] portrait of Janus Dousa: "Die Hollands Graven t'saern, en tornarsene, si come hanno fatto la piu parte, a casa ook Erasmus wesen,/ En 't uwe lunius gesneden heeft eccjeilentiJ/Yasari 1878-85, vol. 7, p. 589.These last words voor desen,/ Die heeft het mijne mee in koper uytge- are the source of the traditional, hut most probably wrong, druckt,/ Ik houde dat my dat met weymg is geluckt." supposition that Philips Galle travelled to Italy (also see These lines of verse were written by Dousa himself and below) .Vasari misquotes Guicciardini who ends his list of prasse Galles earlier portraits of Erasmus, Junius and the painters with the remark that nearly(!) all - compare counts of Holland. On the relevance of these references Vasari s misleading words "chi turn sono stati in Italia" - to Galle s portraits, see chapter 2. Dousa s portrait itself is of them had gone to Italy to study classical art. described in appendix 2E, no. 46a.

3. "Cresciutogli al fine maggiormente 1'ammo 6. " op dit toneel [the art of engraving] ver- ha fatto sei Libri di disegni, che tuttavia s'intagliano in toone[n] sich eerst Dirck Cornhart en Phlips Gallus. Anversa per mano di Filippo Gale eccellente intagliatore," Beyde dese recommandeert Had. Junius in zijn Batavia, then follows the list of preparatory drawings kept by die hij noemt lichte van de konst niet een caustice daer

4 Stradanus. See Borghini 1967, pp. 583-584; also see chap• t vier by quam3 maer daer in kopere platen met een ter 4, note 158. Borghini s words are summarized, for averechts graveer-yser gesneden wort, en snij en alder- instance, in the eighteenth century by jean Baptist hande beeldekens, en historie van alle materie. Dese Dirck Descanips,in his biography ofStradanus;Descamps 1753= Cöorrxhart was van Amsterdam, een man van groot ver- 64, vol l,p. 160. stant en couragie, maer ongeluckigh in sijn doen; het was hem al tegen, dit was de meester van Phlips Gallus, maer

4. "Resta[n]t duo lumina artis non proprie dese was haest boven sijn meester, help Godt met hoe encausticae, ut quida[m] putant, sed quae in laminis aeries groot verschil, dat oock niet wonder was dewijl d'eene et quovis e metaJlo ducrilibus, averse coeli scalprique trac- de konst die hy met eere aen ghevangen hadde liet varen, tu pingit iconas historiasque omnes, quas illitu atramenti d*ander dagelijcks toenam in de konst ghelijck wasdom, cuiusdam encaustici, imo colorum quorumvis adversis dese heeft verscheyde conterfeytsels gesneden, dat Douza lamellae in gypseis tabulis chartis 've reddu[n]t. II sunt oock erkent, wiens uytbeeldinge Phlips Gallus in 't koper

Theudericus Volcardus Amstelrodamaeus divino homo gesneden dfonsterfTelijckheyt toe-geheylicht heeft " then ingenio, sed fati adversi,et Philippus Gallaeus Harlemaeus follows the translation of the verses underneath Galle s magistro illo, dij imrnortales, quanto superior; nisi quod portrait of Dousa: "Die Graven van het lant, die soo inchoatam cum laude artem ille intermislt; in hoc cum beroemde man,/ Gebroeyt uyt Rotterdam [Erasmus], en surgente aetate etiam arris gloria gliscit." Junius 1588 lunium treffen kan,/ Dees heeft oock my gemeen, 't is

147 Notes Chapter 1

Gallus die !t my deedt,/ Die Douzum heeft gebeeit, ick 12. Sweerts 1613, p. 83. On the epitaph itself, also

wil wel dat ghy !t weet." Schrevelius 1648, p. 376; also see see note 34. Veldman 1977a, p. 107. 13. Galle is however, conspicuously lacking from

7. "Maer Cornhertius terstont daer nae door Vesalius Andreas's influential biobibhographieal survey of swaerder affeïren te rugghe geroepe[n] sijnde, heeft de 1623 ;cf. Andreas 1623 and subsequent later editions. conste die hy met lofaenghevangen hadde vrocchnaeghe- laten, ende heeft zijnen Discipelen, onder de welcke 14. Sweerts 1628, p. 642; "Philippus Gallaeus Philippus Gallens gheweest is, dien lacten oerlenen." Batavus, Harlemensis, Calcographus insignis, de R.epub, Pontanus 1614, p. 287. The English translation is quoted literaria, et arte pictoria opt, meritus,mihi familiarissimus, from Veldman 1977a, pp, 55-56. B. Anam Montanum, Ortelium, Plantinurn, Moretum umce coluit. Praecipua artis eius monumenta haec sunt:

8. Van Mander 1994, vol. 1, pp. 322-323 ..." ("Philips Galle, from Holland, born in Haarlem, an (Vredeman de Vries), pp. 328-329 (Stradanus) and pp. 389- excellent engraver and of great merit to the republic of 390 (Goltzius). At several other places one can also find letters and the pictorial arts with whom I was very friend• references to prints engraved and published by Galle, with• ly. The most noteworthy specimens of his talents are ...."). out his name being mentioned. 15. Foppens 1739, vol. 2,pp. 1032-1033; this biog•

9. "Deeze Philip Galle was een Haarlemmer, een raphy is a slightly enlarged version of Sweerts s earlier kunstig Plaatsnijder en Leerling van Dirk Volkertszoon account. On Foppenss book in relation to Galle's series Koornhart,sneed zijne Plaaten veel netter, gladder en fijn• of portraits, see chapter 2, note 11 .The words in Foppens er, gelijk de onkundigen het noemen; maar ten opzichte were echoed, for example, in: Saxe 1780, vol. 3, pp. 560- van de fraaiheid van omtrekken en tekenachtigheid in het 561 and Ledeboer 1872, p. 199. uitvoeren naar Kunst, konde hij op verre na niet tegen

Koornhart aan. Hij is echter een groot kunstenaar geweest; 16. The portrait ofTheodoor is engraved by Lucas heeft veel naar tekeningen van Heemskerk gesneeden, Vorsterman after a drawing by Anthony van Dyck. It was ook naar die van Brcugel, Melchior Lorch en anderen. part of the so-called konographie, a collection of engraved Van hem komen mede uit de Graven van Holland, en een portraits after designs by Van Dyck, and attests of the high zeer groot aantal anderen, te veel om hier te melden", reputation the younger Galle held in Antwerp. See Van Mander 1764, vol. 2, p. 7. Hollstein, vol. 43, pp. 160-161, no. 157 and Mauquoy- Hendrickx 1956, vol. X, p. 245, no. 81.

10. Galle s portrait was etched by Jacob L'Admiral and can be found opposite p. "105 in volume 1 (no. M3). 17. De Bie 1662, p. 452 (Theodoor Galle):"Theodoras Galle/ Constich Plaet-snijder van

11. In his introduction to the book Valerius Antwerpen./ De soetheyt vande Kunst wordt bier van Andreas claims that "In Holland his [Opmeer s] friend• Gall' ghebaert/ Uyt eenen staelen schoot op herte cop re ship and company were enjoyed hy the famous Maarten plaeten,/ Jae schoon de soetigheyt is soo vremden aert/ van Heemskcrck, Pieter Aertsen, Willem van Tetterode. Dat sy net bitter en het herdt behoordt te haeten,/ Men Frans Floris, Anthonis Mor and Philips Galle, all of siet ooghschijnelijck de daedt hier gaen verkcert/ Dat is Holland, excellent painters and sculptors" ("Floreba[n]t de wetenschap van wel ghesteldc trecken/ Die aende in Holland! eius amicitia ac contubcrnio clari Martinus Schilder-jeught riiet als volmaecktlieyt leert/ Soo als ons Hemskerckius, Petrus Longus, Gulielmus Tettero. Theodor weet in sijn Kunst t'ontdecken:/ Een Konst vol Franciscus Floris, An torn us Morus, Philippus GaLlaeus, soeten gheest, nochtans met Gal ghemcnght/ Als vyandt Flollandi omnes, pictores sculpturesque excellentes"),Van van het soet, doch die het wilt bemercken/ Sal vmden dat opmeer 1661, vol. 1, introduction (n. p.), also see Veldman den naem van Gall5 den lof vcrlenght/ Soo die ghetee- 1977a, p. 98, Galle's portrait can be found in ibid., vol. 1, ckent staet op de verheven wereken/ Van die Theodoras p. 515, with just the brief mention of his name. Besides Gall'ghelijckmcn tot zijn eer/ Can speuren aende vast en Valerius Andreas, the Antwerp humanist Laurens cloeck ghetrocken belden/ Die hy ghesneden heeft seer Beyerlinck (cp. chapter 4, note 230) also collaborated in soet, eel, net en teer/ In overvloedicheyt, daer Faern wel finishing Van Opmeer s historical overview. op mach melden./ Om dat het yser schier gheen cracht

148 Notes Chapter 1

meer thoonen can/ Als t'gen' ons Theodor heeft weten editions in the Dutch language that were published voorts te bringhen/ Midts Galls ghesneden heeft meest (Utrecht 1744-45 andDordrecht 1761).These contain no naer sijn teeckeninghen./ En naer veel ander meer additional information on Galle. sulckx dat zijn weerdigheyt/ Op plaet bekent sal staen noch veel en langhe eeuwen/ Door d'edel Kunst van GalT 21. Van Heurck 1930, p. 71 .The only large groups vol soete soetigheyt/ Daer Faern met reden op de wereldt of copperplates from the Galle workshop known to have door mach schreeuwenIbid., p. 480 (Cornells Galle the survived until now, are those that were owned institutions Elder): "Cornelis Galle Den ouden/ Plaedt-snijder van such as the Trappist cloister at Westmalle; see chapter 4, Antwerpen,/ Men acht op dese Aerdt gheen wcreldtsche note 282. Another collection of plates that survived at least juweelen/ soo seer als Konstenaers, Paletten en until the eighteenth century was a large ensemble of Pïnseelen,/ Graef-yser, pen en kol', om al hun vremde Galle's portraits of scholars; see chapter 2, note 11. On the kracht/ Die door een konstich handt van elck wordt voort value of engraved copperplates, see the well documented ghebracht./ Daer Gall' een proef van is door de ghesne• case of the Offkina Plantiniana,Voct 1969-72, vol. 2. pp. den belden/ Die sijnen weerden naem de wereldt door 231-232. Also see Orenstein 1992, pp. 108-119 and vermelden/ Om datmen daer in siet sulck een besielden Orenstein 1993-94, pp. 170-171. In the last publication gheest/ Als in Papiere-Konst is oyt te sien gheweest,/Voor the authors characteristically end their account of man• wiens vroom ghemoedt al menich gheest moet buyghen/ nerist plates with the mention of the Amsterdam pub• Soo als de wercken van sijn handt ghenoch ghetuyghen/ lisher Cornelis Danckertss shop inventory of 1668 - Te siende wereldt door by Kenders vande Kunst/ Wat matching very well with the Johannes Galle inventory of dienter meer gheseyt, de Gunst en soeckt gheen gunst" 1676. Ibid,p. 480 (Cornells Galle theYounger):"Cornelis Galle

Den longhen/ Plaedt-snijder van Antwerpen./ Hoe 22. There was in fact a public sale of the plates gheestich heeft den Soon op d'aenbeldt vanden raedt/ scheduled on 15 February 1677.The sale was later post• Des Vaders, sijn verstandt ghesmeedt, om t'achterhalen/ poned to March 8. Also see below. De wetenschap die in het plaedtsnijden bestaedt/ Waer op men heden-daeghs oock sijnen roem siet praelen:/ De 23. Brejon de Lavergnee 1979, p. 33. On the rechte weer-gae van zijn Vaders kloecken aerdt/ engraving, see Hollstein, vol. 2, p. 59, no. 17; ibid., vol. 7, Ghelijckheyt inden glieest, manier en soete seden/ Die p. 76, no. 103;TIB.56,p. 121, no. 33:1 andjost 1960, pp. worden vanden Soon oock op de plaedt ghebaert/ En van 177-178, no. 18.There are, however, also indications that sijn rappe handt naer t'leven soo ghesneden/ Dat niet als at least some biblical series were reissued by eighteenth- t'leven selfs aen zijne Konst ghelijckt/ Wat canmen century Antwerp publishers: Jan Bapnste Verdussen in meerder lof vanjemandcs werckbeschrij ven/Want t'ghen 1714 and Cornelis Martin us Spanoghe in 1783 published dat over al ghenoch in printen blijckt/ En mach by onse pictorial bibles which contained impressions of series from Paem oock niet vergheten blijven." the Galle workshop, all still with the address of Johannes Galle. I owe this observation to the remarks on pictorial

18. Evelyn 1906, p. 70. bibles from the late seventeenth and eighteenth centuries in Marianne Snijders's doctoral thesis (Free University,

19. Baldinucci 1686, p. 37. In contrast to several Amsterdam), kindly put at my disposal by the author; other authors from the late seventeenth century onwards, Snrjders 1992, pp. 45-51

Baldinucci was as such not biased against 'reproductive5 engravers. In the chronological introduction to his 24. See: Marolles 1677 (who does not mention Cominciamento he praises prinmxakers as Hieronymus Philips Galle at all), Basan 1767 (who only mentions the Cock and Cornelis Cort. His choice of biographies also elder Galle, in contrast to his sons Cornells andTheodoor, includes Johannes, Raphael and Aegidius Sadeler, as well in passing in volume 1) and die posthumously published as Jan Saenredam. Mariette 1851-60 (who apparently had no interest in Philips Galle at all).

20. Le Conue 1699-1700, vols. 2 and 3, passim. Le Comte's treatise was, by the way, rather popular in 25. Heinecken 1778-90. On Hemecken, his

Holland in the eighteenth century, judging by the two Dictionnaire - which was intended to be a complete his

149 Notes Chapter 1

torical survey on printmaking, improving on all previous Guicciardini, Le Comte and Descamps respectively, Van studies - and his relations with Pierre-jean Mariette, see den Sanden continues on p. 693 as follows: "Na desc the interesting study Dittrich 1981. One would like to mogelijke onderzoekingen is het nog niet wel vast te have known Heïnecken s assessment of Philips Galle, espe• stellen, of er een Meester beeldhouwer [Van den Sanden cially as the Dresden printroom - together with Paris misunderstood Guicciardini s words], gebortig van (Bibliothèque Nationale),Veste Coburg, El Escorial and Haerlem, en in den zeiven tijd eener vermaerdsten the Albertma in Vienna - is still in the possession of one Plaetsnijders, gebortig van Antwerpen, bey de van dien of the major old collections of his work. Compare Hans Naem, hebben geweest." ("After all possible inquiries it is Vollmers reference to Heinecken inThieme/Becker, vol. still impossible to ascertain if there has been a masterly 13, p. 105, sculptor, born in Haarlem, or one of the most famous engravers, born in Antwerp, both with the same name").

26. An twerps Stadsarchief, manuscript, inv, Pk The author continues that - at least in his opinion - 171-173, I kindly thank Chris Schuckman for drawing Guicciardini has erred and that the true Philips Galle must my attention to this unpublished manuscript and for pro• have been the engraver in Antwerp. viding me with a transcription of the pages concerning Philips Galle. 29. Van den Sanden does inform us on the fact that in his days Galle s epitaph in the Antwerp cathedral

27 On p. 365 Galle is listed as one of the deans was still in situ; also see notes 12 and 34. of the guild of St. Luke, to which Van den Sanden adds: "Tot aemnerking, dat veel oude meesters zijn achterge- 30. Bartsch 1803-21. Several perceptive remarks laeten in de levensheschryvmgen vind men Historische on the peintre-graveur versus the reproductive engraver in Printen, fray gesneden in koperplaet door Philips Gallc, this period can be found, with further references, m

Adriaen Collaert of in hun manier schoon dat dees Gerdien Wuestman's study on prints by and after Nicolaes

twee bovengemcldc Dekens ook niet bekend zijn bij den Berchem; Wuestman 1996, esp. pp. 50-53. In his two- Konstschrijver C. van Mander" ("Considering that many volume Anleitung zur Kupferstichkunde Bartsch shows him• old masters are known dirough their biographies, one can self to be less relendess in his opinions on reproductive find ancient prints, finely incised by Philips Galle,Adriaen engravers, including, for instance, Cornells Cort and

Collaert or in their manner even though these two Cornells Galle the Younger; Bartsch 1821, pp. 176-177.

above deans were also not known to the art theoretician Philips Galle is not mentioned. Karel van Mander") On p. 693 Van den Sanden s bio• graphical notes on Galle begin with the following awk• 31. Galle s name does, of course, feature m sever• ward and in part incomprehensible verses: "Hoe ver de al of the encyclopedic biographical, bibliographical and snelle Faem ging met haer Basluijt meldcn./ Gallc, die historiographical books that from 18ÖÖ onwards were met veel konst Cicraet, Portret en Belden/ In hout en issued in increasing numbers. Before 1850 one could, for fijne p!aet,als 't leven,ten toonbrogt!/ Men voor Konstzael example, find scraps of information on Philips Galle in: en Konst sijn meesterwerken kogts' ("To what extent rapid Collot d'Escury 1824-44, vol. 1, p. 93; De Wind 1835, pp. Fame carries with her lute, is shown by Galle, who art• 190-191 and 548-549; Nagler 1835-52, vol. 4, p. 564; fully has brought jewellery, portraits and figure to life in Immerzeel 1842-43, vol, 1, p. 261 .After 1850 more accu• wood and copper, in times when his masterworks were rate and extensive information on the engraver and his acquired for art collections on account of their skill(?)"). work soon became available, compare, for instance, such The jewellery'probably refers to the jewels engraved by studies as:Van derAa 1852-78, vol. 3, p. 8;Lc Blanc 1854- Johannes Collaert and published by Galle (see below), 90, vol. 2, p. 265; Kramm 1857-64, vol. 2, p. 531; Nagler while the portraits refer to the various portrait scries of 1858-79, vol. 4, pp. 887, 889 and 904. scholars (see chapter 2) .Apparently Van den Sanden, when

speaking of "wood and copper', considered Galle to have 32. These were respectively: the information on been both a copperplate engraver as well as a wood• Philips Galle in Dinaux 1851, the genealogical research cutter. on the Galle family in Stein d'Altenstein 1853, the remarks by Génard in his study on families of artists in Antwerp 28. After having commented shortly on (Génard 1859-60, pp, 194-196) and the scries of articles

150 Notes Chapter 1

on the Galle family byVan den Bemden (Van den Bernden 35. More detailed genealogical information on 1860).The latter studies were bundled a few years later: the origin of the Galle family and its lineage until the end Van de Bemden 1863. Despite the attention paid to the of the seventeenth century can be found in Pinchart 1850- Galle family in numerous later studies (see below),the lat• 81, Stem d'Altenstein 1853, Génard 1859-60, Van den ter is still the most elaborate monographic study on Galle. Bemden 1863,Van der Straelen 1858 (regarding the rela• tions between the Galle and the Moretus families) and

33. The main biographical surveys of Philips Galle Becker 1928, p. 26 (references to the family of Philips are, in chronological order: BN, vol. 7, pp. 438-446 Galle s wife). Good use has also been made of references (Edmund de Busscher); OlthotT 1891, p. 35; Wurzbach in several volumes of Duverger 1984, The information 1906-11, vol l,pp.566-567;Thieme/Becker,vol. 13, pp. from these studies, combined with the literature listed in 105-106 (Hans Vollmer); Funck 1925, pp. 186-187 and note 33, is assembled in the genealogy in the appendices 207-230; NNB W, vol. 7, p. 460; Delen 1934-35, vols. 11/1 1A-C. and 11/2, passim; Waller 1938, p. 106; Hollstein, vol. 7, pp. 74-83; Porrier 1967, pp, 77-80; Riggs 1971, pp. 100-108; 36. The few known autograph manuscripts are all Rouzet 1975a, pp. 67-68; Rouzet 1975b, pp. 91-92; in Dutch. See, for example, four contributions to alba ami- Veldman 1977a, passim; TIB. 56;Veldman 1991; Sellmk coram (see chapter 4, note 86) and a letter to Emanuel van 1992a; Orenstem 1993-94, pp. 176-177.The most recent Meteren (compare chapter 2, note 30).AU the documents survey by Christine van Mulders (Dictionary of Art, vol. written and signed as a deacon of the Antwerp guild of 12, pp. 15-17) is unfortunately rather inadequate and St. Luke (1585/86) are also in Dutch, as this was the cur• incomplete, repeating mistakes in previous literature and rent language used in the guild. adding new ones. Only those studies are here mentioned that provide the reader with a full biography or with an 37. The relationship between Galle and extensive list of works, Studies that focus on specific Coornhert, especially concerning therr religious opin• aspects of Galle s life and work are not listed, as they will ions, is discussed more in detail in chapter 4, passim. be discussed in other notes below. An assessment of gen• eral literature concermng printmaking in Haarlem and 38. Cp. Riggs 1971, pp. 100-102. On the engrav• Antwerp in this period can be found in chapter 4, note ing after an unknown prototype by Romano, see 1 Hollstein, vol 7, p. 79, no. 382;TIB 56, pp. 370-371, no, 96; Riggs 1971, p. 337, no. 6 and Massari 1993.

34. This epitaph apparently read: "D.O.M,/ PHILIPPO GALEAEO/ SCULPTORI CELEBERRI- 39. Cp. Riggs 1972, pp. 81-85 and Veldman 1990, MO/ ETY CATHARINAE ROLLANDAE/ E1US pp. 11-14. CONIUGI/ Ille annos natus LXXV./ Obht IV idus Mart.

M.D.C.XII./ Haec annos nata LXIII./ Obiit prid. non. 40. That Galle did stay in Haarlem is inter alia lun. M.D.XC.IX./ Requiescant In Pace"This text was proven by the existence of several archival records from laid in copper on a blue tombstone in the northern aisle the period 1562-66; cp. the reference in Becker 1928, of the upper choir, in front of the chapel belonging to the p.316,note 3. Galle did not move to Antwerp before 1569, guild of Saint Luke. It was already transcribed in Sweerts also see below. 1613, p. 83, and was still existent at the end of the eigh• teenth century (see note 29). At an unknown date before 41. On the here illustrated engraving after Penni 1860 the tombstone was destroyed, cp.Van de Bemden - probably incised after a drawing in the Louvre - see 1863, p. 18, In the archives of the Planrin press, a manu• Hollstein, vol 7, p. 79, no. 383;TIB. 56, p. 375, no, 100 and script is kept with what seems to be the original text (with Rig^ 1971, p. 355, no. 175. On the series of virtues to emendations) for the epitaph; Museum Plantin Moretus, which engraving after Bruegel belongs, see Hollstein, vol. arch. 82, fol. 283. The above transcription is combined 3, pp. 278-279, nos. 132-138; TIB. 56, pp. 265-271, nos.

, from all these sources. On the third state of Goltzius s por• 71:l-7; vanBastelaerl906,pp.47-48)nos.l32-138;Lebeer trait were added the words: "Vixit annos LXXV. obijt 1969, pp, 93-106, nos. 31-37; Riggs 1971, p. 320, no. 32; Antverpiae IV idus Mart, D.C.XII in Cathedraii Ecclesia Lebeer 1976, pp. 16-18, nos. 31-3 7; also compare chapter sepultus." See Strauss 1977, vol. 1, p. 264. 4, notes 5 and 6. On the print after Flons - based on a

151 Notes Chapter 1

drawing in the Albertina - compare Hollstein, vol. 6, 47. This print was made by Frans Hogenberg after p. 255, no. 94a; ibid, vol 7, p. 79, no. 388;TIB. 56, p. 374, a drawing by joris Hoefhagel, who had been in Poitiers no. 99; Riggs 1971, p. 332, no. 91 and Van deVelde 1975, himself in 1561 .The engraving was used in the fifth vol• p. 433, no. P 141. ume ofBraun and Hogenberg's monumental atlas Cwiiaies orbis terramm (1598); cp. Koeman 1967-85, vol. 2, p. 21.

42. Cp.Veldman 1977a andVeldman 1986, passim. On the history of this town atlas - of which Philips Galle Also see chapter 4, where the collaboration between Gallc obtained the exclusive right of sale in Antwerp at the date and Heemskerck is analyzed m detail. On the series to of appearance of the first volume in 1572 - see Skelton which the here reproduced engraving belongs, see 1965 and Koeman 1967-85, vol. 2, pp. 10-14.The infor• Hollstein, vol. 8, p. 238, nos. 70-75 (as Coornhcrt); New mation on the inscriptions was apparently updated by Hollstein, Maarten van Heemskerck, vol. '1, pp. 117-121, Georg Braun, who scratched his own name on the stone

nos. 132-137;TIB.563pp.42-47,nos.013il-6;Riggs 1971, in 1580 - the last year which can be deciphered on the p. 341, no. 123. engraving. If the transcriptions on the engraving are lit• erally correct, Hendrick (or perhaps Hubert?) Gokzius

43. On the rare Head of a reveller, see Hollstein, visited the dolmen in 1577, just prior to his arrival in vol 7. p. 83 , no, 788 and TIB. 56, p. 495, no. 206. In 1585 Haarlem.; Burger 1915, p, 73. In general, the possibility of a second edition (or possibly an accurate copy in the same a journey by Goltzius to Poitiers is doubted; cp. Reznicek direction?) with. German verses was on the art market; see 1961, p. 48. Christopher Mendez, sales catalogue, June 1985, no. 13. This version lacks the signature of Galle and the address 48. Galle included the likenesses of Mercator and of Peeters. Ortels in his series of portraits of scholars; compare chap• ter 2, and appendix 2E, nos. 92 and 100.The close friend•

44. On the series after Heemskerck, see Hollstein, ship between Galle and Ortels continued until the latter s vol 8, p. 248, nos. 476-483; New Hollstein, Maarten van death in 1598; compare Hcssels 1887, passim. In 1573 and Heemskerck, vol. 1, pp. 221-226, nos. 265-272;TIB. 56, again in 1582 Philips Galle published Deorum dearumque, pp. 221-228, nos. 63:1-8; also see chapter 4. On Floriss an album with etched reproductions of ancient coins from Tabula eebetis,see Hollstein, vol 6, p. 255, no. 94;ibid., vol. Ortels s collection, see chapter 2, note 107. From 1577 to 7, p. 80. no. 401 ;TIB. 56, p. 313, no. 82;Van deVelde 1975, 1598 Galle also published 11 editions, in four languages, pp. 430-431, no. P134 and Raupp 1981, pp. 26~28,no. 1 of the 'pocket' version of Ortels s famous atlas Theairum (wrongly describing a later edition by the Amsterdam orbis terramm; cp. Koeman 1964, passim; Koeman 1967- publisher Joos de Bosscher as the first edition).The impres• 85, vol 3, pp. 71-77, nos. Ort. 47-57 andVoet 1980-83, sion of the Tabula cebetis in Brussels also includes an elab• vol 4,pp. 1699-1708, Finally, Galle in 1596 issued Ortels s orate Latin text, set in letterpress and printed on separate historical treatise Aurei saecuti imago, illustrated with etch• sheets of paper. This text is signed by Peeters and ends ings by Pieter van der Boreht; cp.Van de Waal 1952, vol. with his address: "AJNTVERPIAE,/ excudebat Martinus 1, pp. 172-175 and Cockx-Indestege 1968-94, vol. 1, p. Petreius in insigni Aurei/ Fonris prope novam Bursam/ 179, no. 2284. As mentioned above (note 47) Philips Galle Cum gratia et privilegio/ Ad sexennium." represented the interests of Frans Hogenberg - living and working in Cologne - in the sale of his Civitates orbis ter•

45. On the tradition of illustrating this subject in ramm in Antwerp from 1572 on wards. Apparendy he occa• Netherlandish art and its relation to literary publications, sionally also acted as sales representative of other publica• see Boas 1918 and Boas 1920. It is interesting to note that tions by Hogenberg; compare Hessels 1887, pp. 306-307, Floriss composition - unknown to Boas - was engraved Galle also acted on behalf of Mercator in Antwerp, sell• three years before the first Dutch translation of the Latin ing the latter s globes and maps to Plan tin; Voet 1962, p, text was issued (also in Antwerp).The woodcut illustra• 178 and 194. tion on the frontispiece of this edition of 1564 is a sim• plified copy in the same direction after Galle s engraving; 49. The plausible suggestion that Galle's Haarlem cp. Boas 1918, p. 14. print-shop was unlicensed, thus accounting for the lack of an address on most of the engravings, was first made 46. Cp. Burger 1915 andVoet 1975, p. 26. byVeldman 1977a, pp. 106-107

152 Notes Chapter 1

50. On the here illustrated engraving from the 58. Compare Delen 1934-35, vol II/2, pp. 94-95 series Triumphs of Petrarch, see Hollstein, vol. 7, p. 79, nas. and - in relation to other portraits published by Galle - 389-394; ibid., vol. 8, p. 244, nos. 341 -346; New Hollstein, chapter 2. The series has only been found in die Royal Maarten van Heemskerck, vol, 2, pp. 173-177, nos. 491- Library in Brussels so far. 496;TIB. 56, pp. 297-302, nos. 077:1-6.

59. "In dees afcomsten der Gra-/ven van Hollant

51. On the series of the Four elements, see TIB. 56, en is niet/ dat den Catholycken ghe-/loove contrarie is, pp. 324-327, nos. 86:1-4 andVeldman 1991, pp. 270-272. oftye/mande mach verergeren./ Hieronymus Vairlenus/ On the series of counts, see below and chapter 2, where Vicarius des Bisscops va[n]/ Harlem onderteeckent./ Galles series of portraits are discussed in detail. Gheprimt tot liarlem met/ graoe ende privilegie by/ Philips Galle/ 1569" (In this lineage of the Counts of

52. On the relationship between Heemskerck and Holland there can be found nothing that contradicts Galle, cp.Veldman 1977a, Veldman 1986 and the New Catholic faith, nor anything that could give offence to Hollstein volumes on Heemskerck, also compiled by Ilja people. Signed by Hieronymus Vairlenus, vicar to the Veldman. bishop of Haarlem. Printed in Haarlem, with good grace and privilege, by Philips Galle, 1569"). Why Philips Galle

53. A notable exception is Kingjosiah restores the applied for a privilege and an approbatio is unknown. law of the Lord, a series of eight engravings with verses by Though formally required for all books, they were then the theologian and schoolmaster Hieronymus Varlenius. still rare for prints - more so in Holland than in Flanders. See Veldman 1977a, p. 108 and New Hollstein, Maarten It may have been the political aspect of the subject - van Heemskerck, vol l,pp. 126-131, nos. 143-150. certainly in these turbulent and unstable years - that prompted the printrnaker to obtain such an official

54. On Coornhert and his relation with Galle, see approval and thus safeguard the commercial aspects of this Veldman 1989,Velelman 1990 and chapter 4; a general sur• enterprise. A short survey of privileges in the Northern vey of Dutch humanism in this period can be found in Netherlands in the sixteenth and seventeenth centuries Veldman 1995b. can be found in Orenstein 1993-94, pp. 173-174 and in

Orenstem 1996s pp. 90-94

55. For examples of such innovative subjects see chapters 2 (portraits), 3 (model books and drawing books) 60. Compare, for instance, Rouzet 1975a, p. 67. and 4 (religious subjects). Also compare Veldman s elabo• The, regularly repeated, opinion that Galle already had a rate study on Philips Galle as a draughtsman and inventor. print-shop in Antwerp in 1564 is based on the misinter• Veldman 1991, Besides the four drawings in alba amkorum pretation of a manuscript in the archives of the Museum of friends (see chapter 4, note 86), only two drawings by Plantm-Moretus in Antwerp. This handwritten Latin Galle are still known to exist: Vulcan overpowered by Pallas manuscript (Arch. 82, fol. 380) is not, as Anne Rouzet Athene, in the Albertina in Vienna (Benesch 1928, p. 22, assumed, a letter by Galle addressed to the humanist Petrus no. 176) and Perseus and Andromeda (Gerszi 1971, vol. 1, Scoliers. It is a draft for the letterpress introduction to a p. 46, no. 90). Both were reproduced as an engraving, the series of etched landscapes with biblical subjects after first byTheodoor Galle, the second by Johannes Collaert. designs by Hans Bol, published by Galle in 1574 (also see Also see Veldman 1991, p. 262. note 77).Although the manuscript (handwritten by Galle himself?) is indeed dated 1564, this is clearly a mistake by

56. On the series Misery of human life, see TIB. 56, the author: the otherwise identical typeset text reads pp. 276-281, nos. 72:1-6 andVeldman 1991, pp. 265-270. "Antverpiae,/ ex nostra Chalcographia,Anno a Christo/ nato M CCCCC. LXXIIIL" ("Antwerp, from our print-

57. On the notion of the pictor doctus, see the clas• shop, in the year of our Saviour 1574").The reason why sic study Lee 1967. That Galle, especially in his later this manuscript is found in the Plantin archives is obvi• Antwerp period, had the ambition to position himself as ous, as Christophe Plantin usually printed all text set in a learned publisher and an experienced printrnaker is quite letterpress on behalf of Philips Galle (see below). explicit in case of publications such as his portraits (chap• ter 2), his drawing book (chapter 3) and his Prosopographia (chapter 4).

153 Notes Chapter 1

61 "Men vindtse oock te coopeThantwerpen op (Van der Stock 1997). de nieu Borse by Geraert de Jode" ("one will also find them for sale in Antwerp, at Gerard de Jode's on the new 64. On the economic situation in Flanders in the Bourse"). A thorough study on De jode and his succes• third quarter of the sixteenth century, compare AGN, vol. sors is clearly a desideratum in the history of Antwerp 6, pp. 86-97. A general survey of Antwerp in this period printmaking. As far is known this is the only document - with essays on specific topics like art, humanism, etc- direcdy relating Philips Galle to Gerard de jode regard• can be found in Bousse 1975 and Van der Stock 1993, ing the trade in prints, although their names do appear together on such other documents as an official certifi• 65. Compare chapter 4. cate testifying in favour of an art dealer; Denucé 1912-

13, vol. 2, p. 266. In his Thesaurus, a compilation of Old 66. There are two documents with different dates and New Testament subjects into one album, De Jode for Cock's death: an archival document stating that he died would later also include several series that were original• on 3 October 1570, and a preparatory drawing by Cornells ly published by Galle; compare chapter 4, note 57. As the Flor is for the printrnakers tomb with the date 30 plates of most of these series - judging by the 1636-inven- November, Nothing at all is documented on his sickbed tory of the Galle workshop (see note 100) - did remain or on the cause of his death. Compare Riggs 1971, p. 31 in the possession of the Galle family, this seems to suggest Cock may possibly have been ill for some period; from that De Jode could either have leased* the copperplates 1566 onwards the number of dated prints issued by his and printed them in his own workshop, or could have print-shop declined, even down to nihil in 1569. In 1570, bought a large number of printed impressions from Philips the year of his death, Aux quaím venís again published at Galle. Also see note 113 on the apparendy not uncom• least 5 works with a total of 25 plates; cp. Riggs 1971, pp. mon practice of leasing5 plates to other publishers. 44-45.

62. In 1569 Galle produced a large number of 67. Compare appendix IB. (dated) prints in Haarlem, leaving little time for migra• tion of his family and his print-shop; cp. chapter 4, note 68. Diericx died on 23 December 1600, On the 40. In contrast to all preceding years, there are no dated death estate ofVolcxken Diericx - including a detailed list works by the Galle workshop from 1570. On 23 May1570, of all engraved copperplates - see Duverger 1984, vol. 1 /1, Galle was present as godfather at the baptism of Jeanne pp. 17-36. de Jode - daughter of Gerard de Jode - in die Antwerp

Cathedral; Génord 1859-60, p.114 and p, 196, note 1. 69. OnVolcxken Diericx and her continuation of Furthermore, the engraver was enlisted as a new member Aux quatre vents, see Riggs 1971, p. 55 and especially De of the Antwerp guild of St. Luke in 1570: "Philips Galle, Pauw-deVeen 1975.In the sixteenth and seventeenth cen• cooperesnidere." Galle only became a'poorter' - an offi• turies it was far from uncommon for widows of publish• cial citizen - of Antwerp on 20 July 1571. He was, though, ers to continue the business of their late husbands, often already mentioned in the city records of 23 February of with an imprint such as"apud viduam "Insome cases, the same year, not having turned up to pay the charges such as Plantin s widow Jeanne Riviere, this was only a due for obtaining his citizenship. On these data - all strong• formal construction, while others (in the latter case Jan ly suggesting that Galle settled in Antwerp in the first half Moretus) were actually in charge. In other instances, like of 1570 - see Van Lerius 1864-76, vol. 1, p. 240. Volcxken Diericx and the widow of Gerard dejode, these women did indeed run the print-shop on their own.

63. On Plantin and his circle, seeVoet 1969-72; the importance of Cock s workshop is elucidated in Riggs 70. On these Heemskerck prints, see the index of 1971. On the history of Antwerp printmaking in the six• publishers in the New Hollstein, Maarten van teenth century the standard study is still Delen 1934-35, Heemskerck, vol. 2, p. 270, That the plates remained in despite a recent and only partially successful attempt to possession ofVolcxken Diericx can be certified by the fact write a general survey on Antwerp and Haarlem engrav• that they were all listed in the inventory of her death estate ing (Riggs 1993). One eagerly awaits Jan van der Stocks (see note 68). It is highly improbable that Philips Galle announced history of Antwerp printmaking until 1585 only issued the prints after having acquired them in 1601

154 Notes Chapter 1

From 1600, he was scaling down his activities as a pub• pare Van Roey 1966 and Van Roey 1988-89, passim. Also lisher to a large extant, leaving business in the hands of living in the Lombardenvest around 1585, were, for exam his son Theodoor. It was, in fact, Theodoor Galle who pie,Johannes Sadelerjan Baptist Vrints and the widow of must have acquired a large number of plates once belong• Hans Lieffirinck with her son Hans Liefrrinck theYounger. ing to Aux quatre vents, judging by the large numbers of reissues of such prints with his address. Here reproduced 74. The first mention of De Witte hdie known to is the first print of the series Victories of Emperor Charles V, me is the address on the title page of Abraham Ortels s engraved by Coornhert. This series was thrice issued by historical treatise Aurei saeculi imago, published by Philips Hieronymus Cock and once by Diericx, before Philips Galle in 1596:"Apud Phillipum Gal!aeum,sub Lilio albo'\ Galle again published it at an unknown date; compare See note 48. This may indicate that Galle had then only Rosier 1990-91 and New Hollstein, Ivlaarten van just moved to this house, as his imprint as a publisher near• Heemskerck, vol. 2, pp. 200-211, nos. 524-535. ly never includes the name of his residence. One of such other instances is rather puzzling. On an anonymously

71. In this light it is also understandable that Galle etched view of tine Antwerp citadel, dated 1577 and made added the word "Harlem en [sis]" ("from Haarlem") after after a drawing by Hans Bol,the following address is added: his own name in the inscription in the lower margin, thus "Men vintse te coope, by Philips Galle in de Camerstrate indicating to the public that he was, in fact, the same pub• tot Antwerpen " ("One can find them for sale at Philips lisher previously known to publish prints in Haarlem. Galle s in the Kammenstraat"); compare Delen 1930, p. There is another (later) edition of the print without the 93, no. 93 and Couvreur 1983-85, p. 525. It is unclear name of his residence. Galle also issued several copies of whether this could also refer to Met Gulden Hert - the his own engraving, attesting to the popularity of this Kammenstraat runs into Lombardenvest or that Galle s engraving of the much debated statue of Duke of Alva. print-shop in 1577 (temporarily?) was located at anoth• On the stirring history of Jonghelinck s statue, see Becker er address. On the inventories of De Witte Lelie at the 1973,Meijer 1979, pp. 117-119 and Smolderen 1980. deaths of Theodoor and Johannes Galle, see below,

72. The here illustrated engraving is signed "ad 75. On the three Heemskerck series, see New insigne aurei cervi in piatea lombardica veteri" ("At the Hollstein,Maanen van Heemskerck, vol. 2,pp. 29-35,nos. sign ofThe Golden Deer in the Lombardenvest"). On the 321-328 (The Lord's prayer), pp. 181-185, nos, 501-506 series of Lot, see Hollstein, vol 2, p. 59, nos. 6-13; idem, (Reward of labour), pp. 192-197, nos. 513-520 (Eight won• vol. 8, p. 74, nos. 4-ll;TIB. 56, pp. 13-16, nos. 4:1-4 and ders), On the portraits from 1572, compare appendix 2B; jost 1960, pp. 162-165, nos. III, 1-4. For the fact that the the series of popes is described in appendix 2F. On series must be dated around 1571/72, see chapter 4, note Zsamboky's (also known as Johannes Sambucus) book - 61. From the address on a letter from Hubert Goltzius to to which Galle s humanist friend Hugo Favolius also con• Abraham Ortels dated 2 March 1570, it appears that the tributed several verses see Cockx-Indestege 1968-94, geographer must have lived right opposite his friend Galle: vol. l,p. 347, no. 4239.

isDe Eersamen en[de] discreten Sr. Abraham/ Ortels inde

oude Lombart straet/ teghen over den gulden Hert/ 76. On the Deorum dearumque, see chapter 2, note Tantwerpen" ("The honourable Mr. Abraham Ortels, in 107. It is interesting to note that the original preparatory the Lombardenvest, opposite The Golden Deer, in drawings for the ornaments surrounding the coins were Antwerp"); cp. Monballieu 1984, p. 218. reused by Ortels in his album amkomm; compare Puraye 1969.The series Christijesu vitae speculum and Diuinarum

73. That Galle owned The Golden Deer is appar• nupiiamm are discussed extensively in chapter 4. ent from the records of a tax, levied in 1584-85 to finance

the defence of the city against the siege by Farnese; cp. 77. On Bol's landscapes,see Hollstein, vol. 2,p. 52, Van Roey 1988-89, p. 428. From these records it is also nos. 164-193 and vol. 7, p. 77, nos. 160-189 (wrongly cat• apparent that even in these hard times, Galle could still be alogued as etched by Philips Galle) and note 60; two reckoned as reasonably well-off in comparison to most of preparatory dm wings - signed and dated 1573 - are in the his colleagues (also compare chapter 4, note 197). Rijksprentenkahniet in Amsterdam, see Boon 1978, vol. 1, Regarding the constitution of this neighbourhood, com p. 30, nos. 80-81. Several other drawings dated 1573 were

155 Notes Chapter 1

used in Galle s little known and rare series; compare Franz seventeenth century, for Consagra 1988. The taste for 1965, pp. 42-45. On theVredeman deVries series of wells, prints, seen from the collectors point of view, has received see Mielke 1967, p. 47, no. XXI and De Groot 1988, pp. much more attention; compare chapter 2, notes 129-132. 126-127.The untraced letterpress dedicanon to Melchior Lorck to which Mielke refers, can be found on the verso 81. The difference in payment between engravers of the first sheet in the series in Antwerp (Museum and designers is essentially caused by the much longer Plantin-Moretus) and the Metropolitan Museum in New time it took incise a copperplate. There were, however, York; this dedication is dated 1574 and not 1573, as is odier variables like size and quality which determined assumed. On the Floris/Cleve personifications, see below prices that were paid. Compare Depauw 1996-97, p. 75. (note 89). 82. Stradanus and DeVos are discussed in detail in

78. The Acta apastolomm, the series of Sibyls and chapter 4, with full bibliographic references. On David, hoc est vinutis are discussed in detail in chapter 4. Blocklandt, see jost 1960 and chapter 4; the production On De rerum usu et ahusu - published by Galle and Plantin of Hans Bol is elucidated in several studies by H.G. Franz, under the name of Bernard Furmcrus instead of the ban• also see Luijten 1993-94, p. 301 for further references; on ished Coornhert, probably to avoid possible problems the oeuvre of Ghecraerts, see the incomplete and inaccu• with authorities -, seeVoet 1980-83, vol. 2, pp. 971-973, rate Hodnett 1971; on Yredeman de Vries, sec Mielke no. 1228; Mauquoy-Hendrickx 1978-83, vol 3, pp. 482- 1967, a catalogue of prints after his design, compiled by 484, nos. 482-484 and, in particular, Puhlmann 1992. Peter Fuhring,is to appear in two volumes of the Hollstem series in 1997. As IljaVeldman has convincingly argued,

79. These aspects of Galle s Haarlem period are Philips Galle himself mainly designed prints and print discussed extensively in chapter 4. series in die case of iconographically intricate and inno• vative subjects; seeVeldman 1991. Even in the autumn of

80. The first systematic analysis of the methods of his career, for instance, he was the designer of an elabo• production of a sixteenth-century print-shop is Timothy rate series of personifications entitled Prosopographia (com• Riggs's study of Hieronymus Cock (Riggs 1971), which pare chapter 4). is still one of the basic studies in this field. Recendy other studies on the 'business of prints' (for this phrase see 83. On the engraving, see Bartsch 1803-21, vol. Orenstein 1992) have supplemented the traditional 9. p. 512, no. 2; Hollstein (German), vol. 2, p. 60, no. 3; emphasis on the artistic merits of prmtmakers. Regarding ibid, vol. 22,p. 227, no. 1 ,TIB. 56, p. 314,no. 84 and Fischer Netherlandish publishers in the late sixteenth century, the 1962, p. 18.The verses in the margin were composed by most important monographic studies are Orenstein 1996 Victor Ghysclinck, a Flemish humanist from the circle of (Hendrick Hondlus) arid Sénéchal 1987 (the Sadeler fam• Plantin; see below, note 93. On Lorck "s stay in Antwerp, ily). An excellent survey of (mainly Northern) see Fischer 1962, pp. 38-40.This particular engraving was Netherlandish publishers in the period 1580 to 1620, can most apparently made after a design made by Lorck be found in Orenstein 1993-94.This latter study provides together with his pupil Nicolaus Andrea, who had fol• a very useful summary of the methods of production of lowed his master to Flanders.The engraving Instability of a print-shop (pp. 167-174), also touching upon the grow• Fortune includes both the signature of Lorck as inventor, ing need for division of labour.Thc tendency towards spe• as well as the twice repeated monogram of Andrea. Further cialization around 1600 is briefly discussed in Schôller testimonies to the friendship between Galle and Lorck 1991; a most informative essay in this respect is Depauw are a letter by the Danish artist to Abraham Ortels 1996-97, gathering information on illustrated books from (Hamburg, 10 October 1574, see Hessels 1887, pp. 123- the Plantin-archives. Unfortunately die print trade in the 124) and the above dedication by Galle to Lorck in his Netherlands in this period has, probably due to a near series Wells of 1574 (see note 77). complete lack of archival documents, barely been stud• ied.The fascinating study of die Parisian market for prints 84. "Abrah. Ortelius,/ sibi et amicis/ fieri cur- in seventeenth century by Marianne Grivel (Grivel 1986, abat", engraved in cartouche in margin right. On the also see Montagu 1987) does, however, provide many use engraving - of which only the rare first state includes the fill leads. The same goes, regarding Italian prints in the date 1574 - see: Hollstein, vol. 3, p. 268,no. 116; ibid., vol.

156 Notas Chapter 1

7, p. 77, no, 155;TIB.56,p.212,no.60;VanBastelaer 1906, note 75. One of the (anonymous) young apprentices p, 126, no. 116; Lebeer 1969, p. 31, no. 86. The grisaille Ortels refers to, may have been a youngster like the son once owned by Ortels, is now in Upton House, Branbury of the Bruges antiquarian Hubert Goltzius. From the in England. archives of the Offuina Planiiniana it appears that in March 1573 one of the latter s sons (perhaps the engraver and-

85. Compare Hessels 1887, pp. 175-176 and print publisher Julius Goltzius) did stay for some time at Becker 1928,pp. 316-318 (Coornhert thanking Ortels for Galles house; see Denuce 1912-13, vol. 1, p. 221. presenting him G aile's engraving), and Hessels 1887, pp. 427-429 (Arias Montano reminding Ortels to send him 89. On De Hooghe, see Thieme/Becker, vol. 17, an impression of the Death of the Virgin). On Coornhert s pp, 457-458 and Namowitz Worthen 1991-92, pp. 266- word of thanks ~ praising Galle for his engraving as much 267.The latter is a stimulating study of calligraphic inscrip• as he did Bruegel for his original composition -, see tions on Netherlandish prints, focusing on Goltzius and Melion 1993, p. 51. Mellon rather overestimates the his circle. importance of Coornhert s eulogizing words, as if he were explicidy stating that 'reproductive' engravings and the 90. Several aspects of the rise of professionalism works they reproduce are to be valued at the same level. in publishing prints - focusing on printmakmg in the He does not seem to take into account that Coornhert - Southern and Northern Netherlands at the end of the who had not seen die original grisaille (which he calls a sixteenth century in general - are discussed in an inter• drawing) - may certainly have been biased in favour of esting issue of the little-known periodical Blockpoints (the his pupil Galle. Besides, Coornhert - who knew Ortels, annual journal and report of the Mary and Leigh Block Gallery) but was certainly not a close friend - only follows the con• of 1995. Of special interest in this respect are Veldman ventions of his time by using slightly exaggerated words 1995c and Orenstein 1995b. On the engravers in the of praise for all the persons involved, including compli• workshop of Hieronymus Cock, see Riggs 1971, pp. 72- ments to Ortels for his good taste. Also see Melion 1996. 124.

86. A New Hollstein volume on the Doetecum 91. See note 72 (the Story of Lot), and note 172, brothers is in progress, compiled by Henk Nalis; on the regarding Galle s mathematical publication. oeuvre of Groenning, who worked both as an engraver and a designer for Galle, see chapter 4, Mielke 1995, Mielke 92. On Zsamboky, also see chapter 2, note 55 and 1996 and the New Hollstein volume (compiled by Chris appendix 2E, no, 146. Ortels and Galle also dedicated the Schuekman) due to appear in 1997. On Johannes Sadelers first edition of Deorum dearumque (1573, see note 48) to early Antwerp period no serious study exists; on the Zsamboky. That Galle was well acquainted with many Sadeler family in general, see Sénéchal 1987, regarding leading humanists, both in Antwerp and elsewhere in the period after 1585, Limouze 1990, especially pp. 21- Europe, can easily be concluded from the still existing cor• 31, and De Ramarx 1992. The production of the Wierix respondence to and from Plantin, in which Galle is reg• brothers is catalogued in detail in Mauquoy-Hendrickx ularly mentioned as one of his confidants; Plantin 1883- 1978-83, which is to be supplemented in the Hollstein 1918, passim. This is also the case in the remaining letters series by Karen Bowen. For an adequate general assess• addressed to Galles other bosom friend Abraham Ortels; ment of their production see Wiebel 1995. Hessels 1887, passim.

87. Van Lerius 1864-76, vol. 1, p. 252: "Henrick 93. On Ghyselinck, see above (note 83) and chap• van Dort leert by Philips Galle, copersnyder." Another ter 4, note 100; some verses by Heyns are discussed in apprentice may have been Pieter Nagel, an engraver who chapter 4, note 68; on verses by Favolius also see chapter worked in Antwerp in the years 1569 to 1584 and who 3, note 32. is alleged to be a pupil of Galle; see Wurzbach 1906-11, vol. 2, p. 213. 94. See TIB, 56, pp, 315-322, nos. 84:1-8, Van de Veide 1975, vol. 1, pp. 428-429, nos. P124-131, Mielke

88. Ortels remarks in a letter to Johannes Crato 1975, p. 58 and Cockx-Indestege 1983-85, p. 511, no. 1. (October-November 1573) axe discussed in chapter 2, In conjunction with stylistic arguments, a preparatory

157 Notes Chapter 1

drawing signed by Maarten van Cleve in die printroom 99. On the Heeniskerck Christ on the cross, see in Berlin led Hans Ivlielke to convincingly propose that New Hollstein, Maarten van Heemskerck, vol. 2, p. 87, Van Cleve was, in fact, the designer of the series, in spite no. 384 - where the first edition of the Missale Romanum of the fact that Floris's signature is to be found on the here is erroneously dated 1574 instead of 1572, and where a illustrated first sheet. It is possible that Van Cleve, who was second state (the address of Galle erased, but before the a pupil of Frans Floris, made use of designs that were left address of Michael Hayee) is unmentioned - and Voet unfinished at the time of his masters death in 1570. 1980-83, vol. 3, pp. 1532-1566, nos. 1676-1702. The engraved 'sicla'has previously not been mentioned in lit•

95. Arias Montano s involvement with the famous erature on Galle; see Voet 1980-83, vol. l,p. 311. Biblia Polyglotta (also called Biblia Regia), is discussed in detail in Voet 1972. Regarding the humanists lifelong 100. See note 78. All important documents relat• interest in the visual arts, see the excellent study by ing to this work are briefly described in Voet 1980-83, Sylvaine Hansel: Hansel 1991, his collaboration with vol 2, pp. 971-973, no. 1228.Voet convincingly suggests Philips Galle is analyzed on pp. 90-129. All above- that the copperplates remained in Galle s workshop.When mentioned series, with the exception of the portraits Plantin issued a Dutch translation of die book in Leiden (see chapter 2), are amply discussed in chapter 4. in 1585, he thus had to rely on Galle to print the illus• trations, judging by the 1636 inventory of Theodoor

96. Coppens van Diest printed inter alia the text Galle s workshop, the plates were at that date no longer ofDivimrum nuptiarum (1573) and Christijesu vitae specu• in possession of the Galle family; Duverger 1984, vol. 1 /4, lum (1573), see chapter 4, notes 68-69; the (unknown) pp. 17-36. widow of Gerard Fabri was involved in the production of the Life of St. Francis around 1580, see chapter 4, note 101 Compare, for instance, several remarks made 301; Gerard Smets was the letterpress printer of Galle's by Plantin ten years later in correspondence relating to 1578 French version of the fables of Aesop (P. Heyns, Gerónimo Nadáis manuscript of' Evangelkae historiae imag•

Esbaitement moral des animaux), while Plantin took care of ines: i:Reliqui vero novitii vel Gallaeo vel Sadelero sunt the text of Galle s Latin edition of 1579 (A. Freitag, obligati qui plures desiderant neque quicquam suscipere

Mythologia ethica), see Hodnett 1971, pp. 32-33 and Voet volunt quod apud se non maneat'? (November 1585, see 1980-83, vol. 2, pp. 954-956. Plantin 1883-1918, vol. 7, p. 207), and, in even more explicit words "Veni Antverpiam, conveni Gallaeum qui

97. On Plantin in general, see Voet 1969-72. On prorsus negavit se nullum opus susceptum cujus non esset the many projects Plantin and Galle collaborated, see the absolute futuras Dominus" (May 1586, ibid., p. 338). index ofVoet 1980-83, s.v. Galle. Also see:Denuce 1912- 13, vol. 1, pp. 221-258 (mainly concerning cartographic 102. Also see note 59. Besides privileges for spe• works), Delen 1932, pp. 17-21 and Delen 1934-35, cific works, there were also 'admission-privileges', admit• vol. 2/1, pp. 163-167. A more elaborate study of the exten• ting printers to produce and publish books. On privileges sive archival documents of the Plantin Press relating to in the Netherlands in the sixteenth century seeVerheyden the relation between the Galle family on the one hand 1910 and Van den Branden 1990, the latter transcribing and Christophe Plantin and successors on the other, is to on p. 64 "een ottroy voir Phlips galle gezworen drucker be undertaken in the next years by Karen Bowen and ende figuersnyder jnt copere, om xekere figure te mogen myself drucken" ("a privilege on behalf of Philips Galle, sworn printer and copper engraver, to print certain images")

98. Galle's earliest works to which Plantin con It is unknown to which prints this document (dated July tributed typographically printed texts were possibly the 1577) refers, but it does provide us with the hardly sur• 1572 portraits of scholars (see chapter 2) and Zsamboky's prising confirmation of the fact that Galle was a sworn, Arms aliquot triumphales of the same year (cp. Leon Voet s and thus legally appointed printmaker. remarks in Voet 1980-83, vol. 2, pp. 909-910, no. 1167).

It was, however, mainly from 1575 onwards that Galle 103. Very little is known about the actual use, cus• nearly exclusively employed Plantin for such jobs. toms and effectiveness of the apptohatio in Antwerp in the sixteenth century. The best survey is to be found in Voet

15S Notes Chapter 1

1969-72, vol. 2, pp. 262-278. judging by the prints from in the sale of Braun and Hogenberg s Civitates orbis ter~ the Galle workshop, it seems that control was certainly mrum in Antwerp from 1572 onwards; see note 48. tightened after 1585; also see chapter 4, passim. 112. Quite a different kind of publisher is, for 104. Due to a lack of sources, next to nothing is instance, the much younger Hendrick Hondius who start• known about the function and practice of dedications in ed his print-shop around 1600. Compare Nadine this period. For a short survey; see Orenstein 1993-94, p. Orenstein s detailed studies on Hondius: Orenstein 1992 174 and Orenstein 1996, pp. 88-90. and Orenstein 1996. His enterprise - far less ambitious m its intellectual goals and much more focused on reissuing

105. See chapter 4, note 52. existing plates - represents a new development in the busi• ness of prints in the generation after Philips Galle. Also

106. On Arcus aliquot triumphales, see note 98, In see below. contrast to what one would expect, however, most series

directly connected to persons of the highest ranks, such 113. On the victories of Charles V, see note 70.This as reigning monarchs, were not dedicated to these indi• is one of those cases in which Philips Galle seems to have

viduals themselves, but to noblemen from their immedi• 'leased5 plates from the Cock workshop for a certain peri• ate surroundings. One thus finds, for example, the often od of time.The plates were still in possession of the Cocks copied series Equile loannis Austriaci (The royal stable of Don widow Volcxken Diericx in 1601; cp. Duverger 1984, fuan of Austria^. 1580) offered to Alfonso ofAragon instead vol. 1/1, p. 24. of Don juan himself (Hollstein, vol. 7, p, 81,nos. 484-423

(sic!). In the same way the print series Medkeaefamiliae vie- 114. On the history of Antwerp in the second half toriae of 1582/83, devoted to the military triumphs of the of the sixteenth century see the, in some respects outdat• Medici family, was not presented to one the members of ed but in many more still very useful volumes of Floris this illustrious house, but to one Arnbrosius of Prims's magnum opus: Prims 1927-49, vols. 19 to 22. Marienbourg (ibid., p. 80, nos. 462-483). This strongly General historical surveys of Antwerp in the sixteenth suggests that Galle only dedicated works to those persons century and early seventeenth century - with contribu• who had actually given their consent to do so. tions by several authors - can be found in Bousse 1975, Couvreur 1989 and Van der Stock 1993. A concise histo• 107. See chapter 4, notes 163 and 206. ry of the turbulent events in Antwerp in this period, with further bibliographic references, can be found in Aliens 108 Dedications as a source of income are dis• Thijs s account of the Counter-Reformation in Antwerp: cussed in Orenstein 1996, pp. 88-90, pointing out the rel• Thijs 1990, pp. 23-32. A thorough history of the evance of Hendrick Hondius s dedications to govern• Reformation in Antwerp between 1555 up to 1577, is mental bodies in the Northern Netherlands. provided by Marnef 1996.

109. See chapter 4, note 216. 115. Philips Galle also contributed to this tax; see Register 1574, p, 274. With 4 guilders, the engraver was

110. On Galle s cartographic activities, see: one of the lower taxed individuals. One has to keep in Wauwermans 1894-95; Denuce 1912-13, vol. 1, pp. 221- mind, though, that only between 11 to 15 % of the heads 258; Denuce 1942, pp. 88-93; Koeman 1967-85, passim; of families did contribute; see Marnef 1996, pp. 29-31. In Couvreur 1983-85; Schilder 1986, vol. 2, pp. 111-122; the districts IX en X, where most of the printers, Schilder 1987; Van der Heijden 1987, pp. 80-82, 84-87 engravers, publishers and other tradesmen of the business and Van der Heijden 1997. of prints and books lived, this height of assessment was fairly average. While only a few printmakers were taxed

111. New Hollstein, Maarten van Heemskerck, vol. 2, considerably higher - notably the publisher Gerard de jode p. 213, no. 537, listed as anonymous after Maarten van and the painter and engraver Pieter Baltens, both of them Heemskerck. Besides publishing this particular view of much older and long-established in Antwerp - many other Haarlem, Philips Galle was also, possibly stimulated to do known printmakers apparendy did not have enough prop• so by his friend and geographer Abraham Ortels, involved erty to be levied.

159 Notes Chapter 1

116. During the tax assessments in the years 1584- one another are still unanswered is based on J.L. Sponscl s 85, Galle was one of the very few printmakers who was biographies in Thieme/Becker, vol. 7, pp. 210-211. For a considered to have enough possessions to pay the sum of recent short survey, without any additional information, 2,5 guilders every month. According to Van Roey, Galle see Dictionary of Art, vol. 7, pp. 555-557 (Christine van belonged to a middle-class group of citizens who were Mulders). In contrast to current opinions, I believe that it (reasonably) well-off; see Van Roey 1988-89, pp. 420-424 is highly probable that both Adriaen (born around 1560) and 428; also see Marnef 1996, pp. 31-34. and Johannes (born 1566) are sons of Hans Coliaert, engraver in the workshop of Hieronymus Cock. Both

117. More remarks on the chronological division youngsters entered the guild of St. Luke as a masters son, in Galle s oeuvre cm be found throughout chapter 4, which respectively in 1580 and 1585;VanLerius 1864-76, vol. 1, is structured in the same way. p. 273 and 298. As far as is known to me, no other mas• ter, besides the above-mentioned Hans, was registered in

118. I hope that the new edition of this study in the guild under the name Coliaert. At the wedding ofjusta 1998 will provide more precise information on the dates Galle and Adriaen Coliaert in 1586Johanncs Coliaert was of series and prints. The many advertisements by Philips present as witness together with Philips Galle; see appen• Galle in the catalogues of the Frankfort book fairs will dix IB. This certainly implies that Johannes was close of hopefully provide a year ante quern for undated prints. kin to Adriaen and was possibly acting as a replacement Unfortunately the facsimile reissues of these catalogues for their father Hans Coliaert, who had died in 1581. Seen came to my notice too late to be of use in detail. I kind• in this light, a series of engravings of jewellery of 1582 ly thank Chris Schuckman for making me aware of the (also discussed below) traditionally assumed to be importance of the Frankfurter Buchmesse for the trade of Johannes Colbert's first dated engravings, could more prints. plausibly be attributed to the older and more experienced Adriaen. This series is especially interesting as it carries

119. On Kiliaan, see Kiliaan 1880 and Van den the following address on the title page: "Jofhann]cs Branden 1978. Coliaert del./ Eius filius [his son] sculp./ P. Ga!l[a]eus excud .".As is rightly noted by Marijnke dejong and Irene

120. On these designers, see note 82. de Groot, the fact that a later state of this title page car• ries the inscription "A. Coliaert sculpsit." leaves little doubt

121 Goltzius's relation with Galle is discussed in that he was indeed the engraver of the series and thus was detail in chapter 4. a son of Hans (or Johannes) Coliaert the Elder; see De Groot 1988, pp. 57-58, no. 68.1

122. On the production of the Wierix family, see note 86. IljaVeldman is working on a new monographic 125. The two Coliaert brothers did not work for study of Crispijn de Passe; his collaboration with Philips Philips Galle only. Their names can be found on several Galle is discussed in chapter 4, see notes 177-178. engravings published by Gerard de jode, the widow of Hieronymus Cock and Hendrick Goltzius. Certainly this

123. Most of the prints the Wierix brothers last contact - a very unusual one in the history of Goltzius's engraved on behalf of Galle are undated. Style, subject and enterprise - must have been brought about by Philips the choice of designers of several prints and series of prints, Galle. strongly suggest that the collaboration continued at least until 1590; see various prints discussed in chapter 4. On 126. See appendix IB. the prints produced for Philips Galle, see the indices in Mauquoy-Hendrickx 1978-83, vol. 3/2, s.v. Galle. 127. The here illustrated engravings are taken from the Divine charge to the three estates, four plates engraved by

124. Unfortunately virtually no research has been Adriaen Coliaert after Maarten deVos around 1585/86 done on the Colbert family, active in Antwerp from the (Hollstein, vol. 44, pp. 249-251, nos. 1257-1260), and the middle of the sixteenth century until deep into the sev• Seven planets, seven plates and a title page engraved by enteenth century. Nearly all information on the various Johannes Coliaert after Johannes Stradanus (Hollstein, vol. members of the family - whose exact family relations to 4, p. 71, nos. 113-120).

160 Notes Chapter 1

128. See appendix 1A. note 31 and chapter 4, note 86) and the Dutch military leader and statesman Janus Dousa (see Sellink 1991-92,

129. "15.10.1617. Desen man wesende een seer pp. 154-155 and chapter 2, passim).

constryck plaat snyder hebbe ick familiare gekendt maer 136. See Sellink 1991-92 and chapter 4, note 28

erinnere hern met droeftheit also hy vander aughsburss- and further. che confessie synde daer nast paepen, oni vanden vleesch

pott Egipti nyet te wycken ende des schoon stadt van 137. A genera! overview of the political and reli• Antwerpen nyet to verlaten"; quoted from Hamilton gious developments in the Netherlands during this peri• 1980, p. 331. od is given in Parker 1986 and AGN, vol. 6, pp. 146-214. The views on religious tolerance in the circles around 130. De Kempenaer wrote these words in die mar- William of Orange are elucidated in Van Deursen 1984. gin of his own copy of Sweerts 1613, p. 83 (see note 12). On Plantin s views in this respect, see chapter 2, note 84. On the biography of De Kempenaer, see Hamilton 1980. The versatile humanist settled in Antwerp around 1578, 138. "Een cort verhael van de gedincweerdichste where he soon became acquainted with many leading saken die in de xvij. Provincien vande Nederlanden van humanists, including Plannn. He clearly never (perhaps daghe tot daghe geschiet zijn sedert den iare ons Heeren due to his manifest Calvinist sympathies) became truly M.D.LXVI. totten iare M.DX.XXIX". On the genesis intimate with the heterodox circle of friends around the and the contents of the book, see Vermaseren 1957. On Officina Plantiniana. If he did become close friends with the original map of the Netherlands - which is known to Galle is an unanswered question, but it is a fact that the have existed, but of which only later editions have been printmaker in 1582 dedicated a large series of hunts, traced as yet - see Schilder 1986, vol. 2, pp. 111-122 and engraved after designs by Hans Bol, to De Kempenaer; Schilder 1987. see Hollstein, vol. 7, p. 81, nos. 568-622. More than their

mutual agreement on religion, it might have been their 139. On the various editions of the book, see Voet anti-Spanish commitment which united them; see 1980-83, vol. 3, pp. 977-980. The two different versions Hamilton 1980, p. 295, regarding Galle's political opin• of the Dutch text, which Voet knew to exist from the ions, see below. Plantin archives but had not traced, can be found in the Royal Library Albert I in Brussels: inv. nos. LPVH 26.327

131. See chapter 4, note 331. A and LPVH 26.328 A respectively.The typography only differs in meticulous details, but there are clearly two dif•

132. Galle s opinions run remarkably parallel to ferent versions. what is known of his two collaborators in Haarlem, Hadrianus Junius and Maarten van Heemskerck; see 140. Brevis rerum (1578).Reprinted in Feyerabend Veldman 1974 and Veldman 1987. Both did stay within 1580, vol. 2, pp. 179-182. Another edition of this compi• the Catholic Church, although parts of their opinions lation of studies by various authors was published in 1583; come close to the creeds of the Reformed Churehes. Feyerabend 1583.

133. See Hamilton 1981a, pp. 65-82. Also see 141. See Vermaseren 1957 and Van der Heijden

chapter 4. 1997. As Vermaseren notes, the Dutch and French edi• tions of Galle s booklet, were dedicated to a Jan de

134. On Mercator's religious convictions, see De Bourgogne, a high official from the circle around William

Nave 1994, pp. 17 and 51-56. of Orange.

135. On 1 October 1579 Philips Galle contributed 142. The view of Maastricht, dated 1579, is a drawing and a dedication to the album amicorum of engraved after Hans Bol.This extremely rare etched map Marnix's son Jacob; KalfF 1911, pp. 24-25. Calvinist - I only know of a copy in the Albertina in Vienna (inv acquaintances outside Antwerp were, for instance, the HB 56,1 Bl. 5) - is only mentioned in passing in Denuce Dutch historian Emanuel van Meteren (see chapter 2, 1912-13, vol. l.p. 225.The typographically printed text

161 Notes Chapter 1

in the margin (in Dutch and French) is rather interesting, 145. On the history of Ortels's original Jlieairum pointing out to the reader that with the help of God and orhis terramm, see Koenian 1964; on Galle's pocket atlas, the courage of its citizens, the city of Maastricht was able including a survey of all editions, see Koenian 1967-85, to resist the attacks of the Spanish forces. The map was vol. 3,pp. 71-77. For most, but not all, editions Galle made apparently published before the city fell to the Spaniards use of the services of the Officina Plantiniana for setting in the same year. On Galle s map of Antwerp, see Couvreur and printing the letterpress text; seeVoet 1980-83, vol 4, 1983-85. This view of the city is dedicated to the four pp. 1698-1708,nos. 1828-1834. One Latin edition of 1595 officials who were appointed in charge of the fortifica• was printed by the Antwerp publisher Arnout Conincx. tions of the city. 146. It was Philips Galle who came up with die

143. After a long absence in Antwerp, Heyns ingenious idea of producing a pocket atlas; the first edi• returns to the city where he runs into Philips Galle: tions were conceived and worked out during a period onsen sonderlinghen vriendt ende compere den seer ver- that Ortels himself was not living in Antwerp. See Denuce maerden coper-snyder Philippus Galle, die ons hertelijck 1912-13, vol. l,pp. 227-228, On Plantin's trade with Galle willecome heeten.de ende vriendeiijck heschoncken in this respect, see ibid., vol. 1, pp. 243-257. In February hebbende int langhe gliingh verteilen (ghelijck hy dat 1579, for instance, Plantin bought no less than 600 copies meesterlijck wcl can) alien des hertoghen [i.e. Duke of of the French edition; ibid,, vol 1, p. 246.

Axijou] handel gheduerende ons afFwesen.ende "Galle continues to relate all noteworthy political and military 147. Hollstem, vol. 7, p. 81, nos. 424-527 and 528- events of the recent past, including the attempted murder 567. The first hunting scenes were designed by Stradanus of Anjou, which Galle witnessed in person together with for tapestries commissioned by Cosimi de'Medici, Grand another friend, the painter Giliis Coignet. After having Duke ofTuscany.A general discussion of Stradanus s hunts, told Heyns all there was to know, the printmaker proud• with an unfortunately rather inadequate catalogue and ly showed his friend around all the fortifications of the survey of editions is to be found in Bok-van Kamrnen city. Pieter Heyns tells this story in Galle s second, enlarged 1983. As the verses in the margin were composed by Dutch edition of Spiegel der We.rdt, the pocket atlas of Cornelis Kiliaan, the hunts are also included in Van den Abraham Ortels, published in 1583; quoted from Van den Bran den 1978, pp. 190-201, with a very useful checklist Bcmden 1963, pp. 57-59. of all engravings. A few years ago a large number of preparatory engravings for these hunts were auctioned

144. The existence of a second map of the from the estate of Marcel jeanson; auction catalogue, Netherlands by Galle has only recently come to light; see Monaco,Sotheby's, 1 March 1987.Also see Fuhring 1989, Van der Heijden 1997 and a forthcoming article by Peter vol. 1, pp. 138-139, no. 94, where an unused drawing for van der Krogt in CaertThresoor.The English translation of a title page - dated 1598, corrected to 1599 and with the Galle's inscription "Ludit in humanis Divina Potentia name Galle added in the lower right corner - proofs that rebus,/ Fertqfue] refertq[ue] vices, petitur mode Belgica at late as 1599 Stradanus and Galle were still working on ferro,/ Et modo pars misere deiecta adversa tuetur." is new editions of the series. Also compare Dorine van Sasse based on Van der Heijden s Dutch translation; Van der van Ysselt's remarks in Van Berge-Gerbaud 1994, pp. 52- Heijden 1997, p. 90.1 thank Daniel Horst for drawing my 53,no. 20, where attention is drawn to a preparatory draw• attention to this article. He also kindly pointed to me out ing dated 1596. that the preparatory drawing for the cartouche on the map is in the printroom in Berlin, attributed by Hans 148. The Stradanus hunts were copied in tapestries, Mielke to Jacques de Gheyn I; see Anzelewsky 1975, pp. engravings, drawings, fresco s and all sorts of applied art; 124-125, no. 162. Although this attribution may possibly see Kutzen 1970 and Bok-Van Kamrnen 1983 with fur• hold stake, there are no known connections between Galle ther references in this respect. Compare, for instance, and De Gheyn the Elder, nor is the lattcrs name men• several drawn copies in the Rijksprentenkabinet;Schapel~ tioned on the engraving. In style and technique this could houman 1987, pp. 42-43 (three drawn copies around well be a drawing by GaMe himself. I hope to publish a 1600) and loc. cit.,note 4 for a reference to an album with study of the (very problematic) drawn oeuvre of Galle at a more copies. Even as far as Colombia, in a house build in later date. 1585, one finds frescos with copies after the

162 Notes Chapter 1

Stradanus/Galle hunts; see Benisovich 1956, p. 250, note p. 215, nos. 209-218; and De Groot 1988, pp. 57-60, nos.

5. On examples of pottery with hunting scenes, see Boulay 67-68. Also see note 124. 1960 and Micheaux 1972. 153. For further references of the above-men•

149. On hunts after Bol see: Hollstein, vol 3, p. 52, tioned works, see: chapter 2, note 121 (Vosmeer); note 96 nos. 110-163 and vol. 7, p. 81, nos. 568-622.This series is (Fables of Aesop); chapter 3, note 32 (De deis gentium ima• dedicated to Paul de Kempenaer, also see above, On sev• gines); note 106 (the Medici triumphs); note 48 (Ortels s eral preparatory drawings by Bol, see Franz 1965, passim antique coins); chapter 4, passim (Divinarum nuptiarum); and Zwollo 1969. On the rare Gheeraerts series of fight• note 78 (De return usu et abusu). ing animals, see Hodnett 1971, pp. 57-58 and 71.

154. See note 61. 150. On The royal stable of Don fuan (published around 1578), see note 106. Several series of copies are 155. On the numbers of adherents of the Catholic known to exist, two of them (reversed and reduced in size) and Reformed convictions in Antwerp around 1585 and published by Galle himself, one by Marcus Sadeler. On the changes hereinafter, see Bournans 1952, Van Roey the birds and butterflies after Gheeraerts (published 1975 andThijs 1990, pp. 33-40. On the history of Antwerp around 1580/85), see Hollstein, vol 7, p. 103, nos. 33-44 in this period in general, see note 114. (a later edition by Johannes Galle), Hodnett 1971, p. 58 and 71, and Balis 1968-69, pp. 32-33. Copies after these 156. On De Passes departure from Antwerp see engravings were published by Hendrick Hondius, who chapter 4, notes 177-178, on Maarten deVos's decision to would have been aware of this series through the gold• stay, see Zweite 1980, pp. 19-37. smith Quinten van der Gracht. Both Hondius and, much earlier in Antwerp, Philips Galle were acquainted with Van 157. See the records of the guild from the years der Gracht, to whom Galle dedicated his series of birds 1584 to 1586;Van Lerius 1864-76, pp. 289 ff. As a former and butterflies; compare Orenstein 1996, pp. 24-26 and dean Galle s name appears regularly in these records until pp. 182-183, nos. 190-201. As a young pupil in the art of c 1600.The status of Galle can also be surmised from the engraving in Antwerp, possibly in the workshop of fact that in 1590 he was asked, together with Pieter van Johannes Wierix, Hondius, who was much later to reprint der Borcht and (for the cartographic copperplates) several of Galle s plates, may have become acquainted with Abraham. Ortels, to assess the value of the stock of cop• the Antwerp publisher in person. On Galle s series of flow• perplates in the estate of Chxistophe Plantin, who had ers, entided Florilegium and probably published after 1585, died in 1589; seeVoet 1969-72, vol 1, pp. 164-165. see Hollstein, vol 4, p. 207, nos. 679-702, Hymans 1907, p. 275 and De Groot 1988, p. 53-55, no. 63. Of this last 158. The Instruction et fondemenis is discussed in series copies by Nicolaes de Bruyn are known. detail in chapter 3, the Prosopographia in chapter 4.

151. On the series after Gheeraerts, made between 159. See chapter 4, fig. 77 and note 164. On 1580 and 1585, see Hollstein, vol. 7, p. 102, nos. 52-63, Theodoor Galle, see Van den Bemden 1863, pp. 19-28, Hodnett 1971, pp. 58-59 and p. 71, and De Groot 1988, Thieme/Becker, vol. 13, p. 105, also see appendix IB. pp. 78-79, no. 88. All engravings afterVredeman deVries will be catalogued in the forthcoming Hollstein volumes, 160. On Cornells Galle, seeVan den Bemden, 1863, edited by Peter Fuhring. On his (undated) furniture pp. 33-42,Thieme/Becker. vol. 13, pp. 105-106, also see designs see Mielke 1967, pp. 58-59, no. XXVII and De appendix 1C. Many of his early engravings are discussed Groot 1988, pp. 132-134, no. 183. On the three series of in chapter 4. garden designs (one undated, the others dated 1583 and

1587 respectively) see Mielke 1967,pp. 56-62,nos.XXVI, 161. Van Lerius 1864-76, vol. 1, p. 298 (Mallery), XXVIII and XXIX. p. 383 (Barbé), p. 389 (Spierinck), p. 432 (Backereel). Of the last three no signed works are known with the address 152. On the two series after Hans Collaert, see of Philips Galle. It is also strange to see an apprentice of Heuser 1961; Hollstein, vol. 4, p. 214, nos. 199-208 and Philips Galle mentioned in 1605, as Theodoor had by then

163 Notes Chapter Í

taken over the control of the workshop. Karel de Mallery 167. For examples of these designers, see chapter married Gathering Galle on 10 January 1598, see appen• 4, note 95 (Francken); Hollstcin, vol. 4, p. 207, nos. 559- dix 1 A. After his marriage De Mallery left Antwerp and 570 (De Momper); chapter 4, notes 228-229 (Pietersz.), settled down in Paris, where he worked until 1621; see Hollstein, vol. 21, p.43, nos. 13-20 (De Hoey). Thieme/Becker, vol 23, p. 596 and Grivel 1986, p. 138. 168. On Galle s relation with Italian print design•

162. Hoilstein,vol. 11,p. 160,no. Ill (nymphs) and ers, with the exclusion of Stradanus, sec chapter 4, note nos. 115-120 (sericulture, also see Van Puyvelde 1942, pp. 232 and further. 24-25).The only other major series signed by De Mallery is the Allegory oj human vanity after Ambrosios Francken 169. See TIB. 56, pp. 337-344, nos. 89:1-8, Meijer (1590/95), see chapter 4, note 95. 1979,Smolderen 1977 and Buchanan 1990a and 1990b.

163. "Conveni etiam rursus Gallaeum qui honeste 170. On the project, and its historical context, see respondit se habere filios et discípulos quos ipse jam Sellink 1987. Besides the two illustrated engravings of senescens neeessario debet docere eorumque manus velu- Lucifer and Count Ugolino - both of which, in contrast ti ducere"; Plantin 1883-1918, vol 8/9, p. 122.The last to my earlier statements in Sellink 1987, were first pub• dated engravings certainly incised by Galle himself are the lished by Philips Galle and then by his sonsTheodoor and plates of his drawing book Instruction etfondements of 1589 Galle respectively - the elder Galle also issued a portrait (see chapter 3), Also from his hand are the plates of the of Dante surrounded by views of Hell, Purgatory and undated Prosopographia (see chapter 4), published around Heaven. 1590. Both series are innovative of subject and rather ambitious in its intellectual aims and this may have been 171. On this series, see Luij ten 1996, pp. 140-142. the reason that Philips Galle was interested in engraving these prints himself 172. See Bonelli 1959 and Dumon 1977, pp. 95-99.

164. The fact that Colbert set up his own work• 173. Hollstein, vol. 7, p. 875 nos. 410-430. It is shop around 1593/94 can be gathered from the 'liggeren' remarkable that many of the engravings from the Nova (records) of the guild of St. Luke of the year 1594, where reperia have frequently been illustrated and, on some occa• two youngsters (Kerstiaen CnijfFand Francoys de Riemer) sions, discussed in a (art)historical context separately, while are mentioned as apprentices of Adriaen Collaert; Van the intriguing concept of the entire series has, to the best Lerius 1864-76, vol. I, p. 380. Of course this does not of my knowledge, not been subject of study. As several imply that Collaert immediately stopped working on other important series designed by Stradanus, the Nova behalf of Galle, although no dated works after 1593 with reperia is dedicated to the Florentine scholar Luigi the signature of Galle are known to me; also see chapter Alamanni. On several preparatory drawings for the series, 4, note 190. Only a few years earlier, in 1589, both Adriaen see Heusinger 1987, pp. 79-82. and Johannes Collaert were mentioned in the same guild records direcdy following Philips Galle, suggesting that 174. The few new maps Galle issued are oflit.de the two young engravers were also formally considered merit, such as an engraved view of the Forum Vulcani after to belong to the Galle workshop;Van Lerius 1864-76, vol. 1, Stradanus - dated 1587 and later used in a travel report p. 341. On Cornells Galles departure to Italy, see below. by Franciscus Schott (Cockx-Indestegc 1968-94, vol 1, p. 352, no. 4307) - and a view of Pozzuoli, also engraved

165. The history of Antwerp printmaking after after Stradanus and dated 1587 (Hollstein, vol. 7, p. 80, no. 1585 still remains to be written; compare various remarks 422. According to an auction catalogue of the beginning in Sellink 1996-97 .The shift from Antwerp and the grow• of the century - Amsterdam, Frederik Mullers, 10 ing importance of print publishers in the Northern December 1906, no. 1317 - Philips Galle in 1601 pub• Netherlands is discussed in Orenstein 1995b. Also see lished an edition of the famous set of etched landscapes Orenstein 1993-94. after the so-called Master of the Small Landscapes. I have not found such an edition.There may be confusion with

166. On the (religious) works by De Vos and an edition by Theodoor Galle, also dated 1601; Bierens Stradanus after 1585, see chapter 4. de Haan 1948, pp. 216-217. This important set of land

164 Notes Chapter 1

scapes will be catalogued in detail by Henk Nalis in the in 1598 (see below), see chapter 4, note 116. It is certainly formcoming Hollstein volumes on the Doetecum brothers. possible that the engraver, like his younger brother Cornells, engraved several compositions after Italian artists

175. On the series after Cleve, who died in 1589, during his stay in Rome.The only engraving byTheodoor see Hollstein, vol. 4, p. 170, nos. 1 -38; ibid., vol 7, p. 80, with an address of an Italian publisher is an image of St. nos. 423-460 andTerlinden 1960. In 1587, Philips Galle Prassede, engraved after Anteveduto de Grammatica; also published another series of 12 landscapes after Van Hollstein, vol. 7, p. 84, no. 179. The engraving was pub• Cleve, engraved by Adriaen Collaert, This second series lished in Rome by jacopo Lauro in 1598, two years after concentrates on unidentifiable landscapes with ruins, Theodoor's return to Antwerp. Noe has suggested that instead of recognizable topographical views; Hollstein, during his stay in Italy the younger Galle collected infor• vol. 4, p. 170, nos. 39-50 and p. 206, nos. 535-546. mation (on Italian artists?) that Karel van Mander was later to use in his Schilder-Boeck;No'c 1954,p. 202.This hypoth•

176. On the siege of Vienna, and its companion esis is related to two drawings by Van Mander, both dated piece with the naval battle at Lepanto, see Hollstein, vol 4, 1597 and both carrying the inscription:"Carlo da Mandra p. 207, nos. 704-705 and Van Sasse vanYsselt 1990, pp. fe. per suo Amico il. Sign. Theodoro gallo"; also see Van 162-170 with further references. One of the few topical Mander 1994, vol. 2, p. 117, no. Dl (erroneously men• prints Galle issued, was an etched view of the siege and tioning the date 1579) and p, 126, no. D28. There are no fall of Raab in 1598, including a text emphasizing the further testimonies to a friendship between Van Mander everlasting power of the Roman Church. This etching is and Galle. unrecorded in literature, copies are to be found in the

Rijksprentenkabinet in Amsterdam and in the department 179. Van Lenus 1864-76, vol. 1, p. 387.Theodoor of prints and drawings in Bibliothèque National in Paris. Galle must have returned before September 1996, as in Another, rather different topical engraving - in subject this month Jan Moretus thanks the humanist Andreas highly unusual in the oeuvre of Philips Galle - is an engrav• Schott for a package delivered by the young printniaker; ing of a rhinoceros that had been travelling in Portugal Fabri 1967, p. 350. and Spain. On this engraving, dated 1586, see TIB, 56, p. 509, no. 208 and Clarke 1986, pp. 28-31. 180. At this occasion a single acrostic on the names of the two spouses was composed on behalf of the staff of 177. The here illustrated (undated) series Litis the Plantin Press.This printed/but unrecorded poem is to abusus (The abuses of process) consists of eight plates; be found in the archives of the Museum Plantin Moretus Hollstein, vol 7, p. 86, nos. 401-408. The designer is in Antwerp. I thank Dirk Imhof for drawing my attention unknown (Philips Galle?), but the series is strongly relat• to this poem. ed in subject, many iconographical details and various

compositional elements to a series designed and engraved 181. The approbation by Silvester Pardo is dated by Goltzius around 1576/77; seeVeldman 1989, pp. 24-26. 22 August 1598, the compositor and the printers were paid on September 5. As all letterpress text was printed 178. On the date post quern, see a letter by the by the Offkina Ptantiniana, the Elustriutn imagines will be Doornik scholar Denys de Villiers to Abraham Ortels, included (as no. G-3) in Dirk Imhof s forthcoming cata• dated 1 July 1592, in which he promises to pay 'the son' logue of books printed by Jan Moretus. A second enlarged of Philips Galle for a certain manuscript; Hessels 1887,pp. edition was published in 1606; ibid., no. G~4.1 thank Dirk 516-517.That this son must beTheodoor, is apparent from Imhof for providing me with copies from his manuscript earlier correspondence between De Villiers and Ortels; in preparation, Hessels 1887,p.486. On the relation between Philips Galle and Denys de Villiers, also see chapter 4, note 202. On the 182. These are: Ulusiriurn icoties scriptomm of 1604 date ante quem^ see the visit on 1 May 1594 byTheodoor (see appendix 2D) and the third edition of Imagines doc- Galle to the catacombs of Domitilla in the company of tomm viromm of 1606 (see appendix 2C)> Other major late the Delft apothecary and antiquarian Hendrik de Raeff; series are: Societatis lesu (c, 1600, see appendix 2H), HoogewerfT 1936, p. 97, On his drawings after Orsinis Imaginibus sanctorum Francisci (1602, see chapter 4) and Life coins, which were to result in his first major publication of Si- Catherine (1603, see chapter 4).

165 Notes Chapter 1

183. On Theodoor Galles stock of copperplates, 188. On Cornells Galles engravings made in Italy see the death estate of his widow Catherina Moretus in on behalf of his father, see chapter 4. Hollstcins list of 1636; see Dermce 1.927 and Duverger 1984, vol. 1/4, pp. engravings of Cornells Galle I is even more inaccurate 17-36. Several plates were not originally from the Galle than those of his father and brother, especially due to the workshop, but were acquired after 1601 from the estate- fact that he has entirely confused works by the respective ofVolcxken Diericx,the widow of Hieronymus Cock; see generations Cornells I, Cornells II and Cornells Galle HI. Duverger 1984, vol. 1/1, p. 24. 189. On Cornells II and III, see Van den Bemden

184. The lasting popularity and influence of late 1863, pp. 42-50. sixteenth-century Netherlandish prints in the seven•

teenth century, would be well worth a thorough study. 190. Nearly all of Philips Galles pupils became See several remarks and references in the historiographi- important engravers in Antwerp with a workshop of their cal survey in the beginning of this chapter; also see many own. Several of them became, like their former master, perceptive remarks in the separate entries in De Jongh dean of the guild of St. Luke, generally an indication of 1997. their standing amongst colleagues; these were Theodoor Galle in 1 610Johann.es Collaert in 1612, Karel de Mallery

185. Compare the first edition by Philips Galle; in 1621-22 Jean Baptiste Barbé in 1627-28 and Johannes chapter 4, fig. 8, with further references. In contrast to his Galle in 1638-39. father Theodoor, Johannes Galle does not seem to have

been very active as an engraver himself. He concentrated 191. On collecting in the sixteenth and seventeenth on the trade of prints. It would be worthwhile to make a century, see chapter 2, notes 129-132. study of the relations between Johannes Galle and the

Visscher family, who often reprinted plates from the stock 192. See, to mention just a few examples: Boschloo of their Antwerp colleagues. The estate of Johannes Galles 1993 (copies in frescos in Bologna);Bosters 1989 (the use death estate in 1676 has not yet been published, but will of engravings in borders of maps); Boulay 1960 and be included in a forthcoming volume of Duverger 1984. Micheaux 1972 (on copies in French faience); Fabri 1982, It apparently contained no less than 82.000 prints and Thirion '1965 andThirion 1967 (regarding copies in fur• copperplates;Van Hcurck 1930,p. 71 .According to a print• niture of the seventeenth century); Cole 1993 and ed advertisement a sale of the estate was planned on 15 Husband 1995 (on the use of prints in painted glass), February 1677, the catalogue was to be acquired from

Nicolaes Visscher in Amsterdam. A later advertisement, 193. See, again just to quote a few examples: Zerner dated February 18, informed the public that the sale was 1983, passim, on the diffusion through engravings in gen• delayed until March 8.1 kindly thank Chris Schuckman eral; Wijngaert 1943 andjermes, on the use Jesuits made for showing me copies of these advertisements. 1 have, of Antwerp prints during their missions in the Far East; unfortunately, been unable to trace the original adver• Sims 1983 (on the influence of Antwerp prints on Persian tisements, nor have I found the sales catalogue. miniatures); IJzcrman 1926, on the trade of prints with Dutch India; Braat 1980, on the sixteentii-century ship• 186. On the relations between Philips Galle and ment of prints found in Nova Zembla. the Plantin Press, see note 97. Many aspects of the col• laboration between the Galle workshop and the Moretuses in the seventeenth century are discussed in Imhof 1996-97, passim.

187. Cornells Galle was recorded as a 'meesters- soon5 in 1610; see Van Lerius 1864-76, vol. 1, p. 464. He had his first (registered) apprentice in 1613 (one Jasper Batens; ibid. vol. 1, p. 497), indicating that he was by then running his own workshop.

166 Notes Chapter 2

* ".„„ in aere incisas et diligenter expressas/'; of Italian scholars (appendix 21). Related, but separately quoted from Galle s introduction to the Virorum doctomm published portraits of Janus Do usa, Hadrianus Junius and effigies (1572). See for the full text appendix 2B. Portrait Abraham Ortels are included in appendix 2E. Not includ• series are here understood as a compilation of prints with ed are Galles two series of counts of Holland (see notes the litelike - or at least intentionally so - features of more 119 and 121) and several separately published portraits or less contemporary persons, issued as a single, coherent that are not discussed in this chapter. Amongst the latter publication. The related traditions of publishing illustrat• are portraits of the Italian cardinal and librarian Cesare ed books with engraved 'portraits' of famous men from Baronio (cp. Müller Hofstede 1964, pp. 445-446 and classical antiquity (nearly always copied after coins) and Imhof 1996-97, p. 96) portraits of his friends Maarten van with the often fictitious 'portraits* showing a genealogi• Heemskerck andjohannes Stradanus (cp. Filedt Kok 1996, cal or historical lineage (kings, counts or dukes of ...„), pp. 162-163), one, or possibly two engravings of the will of course be taken in account when discussing the painter and antiquarian Hubert Gokzius (Le Loup 1983- origins of engraved portrait series. Prints of saints are not 84, pp. 87-89) and a portrait of Alessandro Farnese discussed, as they are in general intended as images of (Mauqouy-Hendrickx 1978-83, vol.3/l,p.364,no. 1807. devotion and not as straightioxvvard portraits. On the dif• ferent views concerning the genesis of the portrait in 2. In this chapter and in all its related appendices, European art in general, see Pope-Hennessy 1979, most (first and second) names are given in die vernacu• Martindale 1988 and Campbell 1990 and their biblio• lar version in the native language of the person involved, graphic references. The Latin introductions to Galle s rather than using Latinized or Graecized versions: series of portraits as well as the verses underneath the por• Abraham Ortels instead of Abrahamus Ortelius, Jean traits have been translated from Latin into Dutch by Jan Calvin instead of Johannes Calvinus, and Pietro Vettori Bloernendal, whom I kindly thank for all his generous rather than PetrusVictorius, In accordance with the sen• assistance.These translations were made possible by a grant sible guidelines used in Con temporaries of Erasmus from the Kunsthistorische Onderzoeksschool at Utrecht (Bietenholz 1985-87, vol. 1, pp. xii-xiii) the vernacular is Umversity.This chapter has, as all others, found much ben• used whenever a predominant form could be established. efit by the comments by Ilja Veldman and Peter Hecht; I Humanist names in latin or Greek are preferred in the also express my gratitude to jan Piet Filedt Kok, Chris case their vernacular counterparts are less certain or when• Heesakkers and Rudi Ekkart for their critical remarks. ever the vernacular is much less known and would make a person difficult to identify: Gerard Mercator instead of

1. After more than a century the only accurate, Gerard de Cremer,Rodolphus Agrícola instead ofRoelof though brief descriptions of Galle s series are still to be Huusman, andjohannes Dantiscus rather thanjoharrn von found in Van Someren 1888-91, vol. 1, pp. 122-127. The HófemSaintejpopes^mpero^kmgSjand queens are given accuracy ofVan Someren5s descriptions in this rich, under• in English under their first name (e.g. King Philip II). For rated study of engraved portraits in the Netherlands is names of places, modern vernacular forms are used, with probably due to his work as a bibliographer at the famous the exception of those for which there is a commonly auction house of Frederik Muller's in Amsterdam. He was excepted English version (such as Brussels, Antwerp, and later to be an assistant librarian and chief librarian respec• The Hague). tively, at the universities in Amsterdam and Utrecht (I thank Freek Heijbroek for providing me with this infor• 3. One of the first to recognize the importance mation) .A short characterization of the four different edi• of Galle as one the prime initiators of the genre is the tions, seen in the light of Philips Galle as a print publish• Felgian book collector M.C. van Hulthem; see Van er, is given in Sellink 1992a, pp. 22-25. In the appendices Hulthem 1836-37, vol. 2, pp, 158-159. 2A to 21, all series of portraits of scholars published by Philips Galle are described in detail: 1567-edition (appen• 4. Lampson 1572. On Lampson as an art theo• dix 2A), 1572-edition (appendix 2B), 1587-edition rist, see Becker 1973 and Mellon 1991, pp. 143-159.The (appendix 2C), 1604-edition (appendix 2D), a combined Effigies are reprinted in facsimile and commented upon alphabetical catalogue of the four preceding series (appen• in Lampson 1956. Two portraits, both engraved by

dix 2E), popes (appendix 2F)S cardinals (appendix 2G)5 Cornelis Cort, are discussed extensively in Sellink 1994, Jesuits (appendix 2H) and, finally,Theodoor Galle s series pp. 147-152, nos. 53-54.The copperplates were still in the

167 Notes Chapter 2

possession of the GaUe family m 1636, when an invento• 10. An excellent analysis of the overwhelming ry was made of the death estate ofTheodoor Galle's importance of the Counter-Reformation in Antwerp is widow; see Denuce 1927, p. 144 and Duverger 1984, vol. given inThijs 1990. General historical surveys of Antwerp 1 /4, p. 21 .Theodoor Galle must have published these por• in the sixteenth century and early seventeenth century - traits of artists after 1.601, as in this year the plates were with contributions by several authors - can be found in listed in the inventory of the death estate of Volcxken Bousse 1975, Couvreur 1989 and Van der Stock 1993. Diericx; Duverger 1984, vol. 1/1, p. 27. Galle's edition

was, however, available in 1604 when the'pictorum cele- 11. See below. On the business of printing, pub• brium totius Germaniae Inferioris, folio, Gallae" were lishing and distributing books throughout Europe by mentioned in the stocklist of the Amsterdam publisher Plantin and his successors, seeVoet 1969-72, especially vol. Cornelis Claesz.;Van Selm 1987, p. 255. 2, Plantin s relations with Antwerp prmtmakers - both buying prints from his colleagues as well as selling others

5. A recent overview of this tradinon and its clas• to them - are discussed in Delen 1932. Delen briefly dis• sical sources is given in Joost-Gaugier 1982. The classic cusses the relations between Galle and Plantin; ibid., pp. study on the concept of'genius' and its development dur• 17-20. ing the Renaissance is Zilsel 1926. On the importance of

Petrarca's writings regarding this notion, also see Bolgar 12. Foppens 1739. It is unknown how Foppens 1977, pp. 239-264. On the genesis of Petrarca's De viris obtained the original copperplates. In 1636 the list of cop• illustribus and his use of medieval and classical sources, see perplates in the death estate ofTheodoor Galle's widow Kessier 1978. Catharina Moerentorf (a daughter ofjan Moretus) includ•

ed "Geleerde van Neederiant tweentsestich platen5"

6. The first edition of Giovio's Elogia with (Dutch scholars, 62 plates). See Denuce 1927, p. 146 and (woodcut) illustrations was published by Pietro Perm in Duverger 1984, vol. 1/4, p. 21. The reversed copies in Basle in 1577 (Giovio 1577). On the history of the book Foppenss study were originally engraved on behalf of see Rave 1959. On Vasari's Viie, see Boase 1979, pp. 43- Isaac Bullart s two-volume study of kommes illustres in 72 and especially Pat Rubin s excellent analysis ofVasari s European history, cp. Bullart 1682. Copies after Galle's art-historical writings: Rubin 1995, pp. 148-186 (1550- engravings are not listed in the catalogue of all portraits edition) and pp. 187-230 (1568-edition).Rubin also gives (appendix 2E),but will be catalogued in the forthcoming some brief information on Vasari's search for portraits of New Hollstein volumes on Philips Galle. Due to practi• artists, ibid. pp. 204-208 (with further hihhograpliic ref• cal reasons this research is far from complete and will be erences). limited, with the exception of Bullart and Foppens, to more or less contemporary copies from the late sixteenth-

7. Ampzing 1628, p. 359; his lines are written in and early seventeenth century. verse: "Ik meet van Koornhert ook, en van Galle meest, gewagen/ Gewisslijck Galle mag niet over sijn geslagen,/ 13. See appendices 2F, 2G and 2H.

Sijn yser was te eel, sijn printen sijn !t wel waerd,/ En door geleerde luy en hunne snec vermaerd.'' Compare 14. Cp. appendix 2E, no. 3, states I and Ila. Due chapter 1, notes 5 and 6. to careless printing several impressions from the 1572a- edition - the first version of the Virorum dodorum effigies,

8. In addressing himself to both categories in his printed with inscriptions m letterpress - show slight traces introduction to Galle's Mustrium scriptorum tones {1604} - of these earlier inscriptions in the margin. See below. "Candido lectori, sen spectator! S." (Greeted, dear reader or, if you prefer, viewer) - the author Aubert Le Mire 15. Here illustrated is Terra, the personification of already underscored the ambiguity of print series with the earth from a series with die four elements, dated 1564; substantial verses in the margin. Compare appendix 2D. see TIB. 56, p. 324, no. 86.1.

9. Also see below. More information on Galle's 16. For the differences between the inscriptions religious views can be found in Sellink 1991-92, espe• on Galle's engravings in his Haarlem and Antwerp peri• cially pp. 150-154 and in chapter 4. od respectively, see the illustrations in TIB. 56, passim. On

168 Notes Chapter 2

the notion of Gothic versus Italian printing types as exem• continues to describe the zeal with which the collector plifying the old and new styles of (book)prinring, see continuously tried to enrich his collection and the care Vervliet 1968, pp. 56-67. Style and technique of inscrip• he took in preserving and documenting his treasures, men• tions on Dutch prints have rarely been subject of study tioning the existence of the 47-volume manuscript cata• with the notable exception of Amy Namowitz "Wbrthens logue. He ends with the words;slPourle moment on espère stimulating essay on calligraphic inscriptions on prints in pouvoir conserver les portraits tels qu'ils sont par le moyen the circle of Hendrick Goltzius; Namowitz Worthen d une vente en bloc; mais si cela ne réussit pas, il est prob• 1991-92. able qu'ils seront mis en vente séparément à une occasion future " Unfortunately the further fate of the portraits or

17 eene verzameling van 31 door Phil. Galle their manuscript catalogue is as yet unknown. On Wolff gegraveerde portretten, waaraan titel en register ontbrak- as a collector, also cp. Lugt 1921-56, vol. 1, pp. 249-250, en, terwijl voor in het bandje een voorrede geplaatst was, no. 1392. gedagteekend 1567, en gegraveerd in een fraai randwerk.

Hierin zegt de Sculptor aan den lezer, dat hij deze 19. These series can be found in the Komnklijke afbeeldingen van geleerden en van mannen, die door den Bibiiotheek,The Hague (inv. 1701 C8(2)) and the Library sectenhaat beroemd zijn geworden, gegraveerd heeft en of Congress in Washington (inv. nos. Typ. 530,72.415 and deze later hoopt te vermeerderen.";Van Someren 1888- Lilly AZ 331.616). Most probably comparable sets of these 91, vol. 1, p. 122. The place of publication was not men• unsigned engravings are to be found in other collections tioned. By analogy with the three later seriesVan Someren as weU, bound anonymously with compilations of por• (wrongly) assumed that the booklet must have been pub• traits by Galle or others. It is also possible that some of the lished in Antwerp. In Dr. Wolff's copy of the Viromm doc- famous biographers of the nineteenth century have seen tomm effigies (1567) 19 portraits had the six-line verses in a complete copy of the Viromm âociorum effigies of 1567. the margin, while twelve (proof impressions?) only Nagler, for instance, refers to "Eine Folge von Bildnissen showed the caption with the name of the scholar por• berühmter Männer: Luther, Calvin, Zwingli, Pirkheirner, trayed in the lower margin; compare appendix 2A for a Thomas Morus, Dante, etc., kl. 4."; Nagler 1835-52, vol. detailed description of the 1567-edition. It seems quite 4, p. 564. This combination of portraits, including the probable thatVan Someren never saw Galles edition him• famous reformers, can only refer to the 1567-edition. in self, but had to rely on notes taken by Frederik Muller. 1856 Charles Le Blanc simply seems to echo Nagler's This might explain the rather brief description by the words; Le Blanc 1854-90, vol. 2, p. 265. Fifty years later often so painstakingly accurate author. the often more accurate Alfred von Wurzbach mentions a "Folge von Portraits berühmter Manner. Imagines viro- 18. The old master prints were auctioned by rum doctorum: Luther, Calvin, Zwingli, Pirkheirner, Th.

F. Prestel in Frankfurt on 26 November 1877,They were Morus, Dante, Douza,Erasmus,Junius etc. 4°.'s;Wurzbach sold en bloc to the Hamburg collector ITebich and were 1906-1911, vol. 1, p. 567. Here Wurzbach not only adds then again auctioned with the latter s collection at the three names to Nagler s list - again in a combination which (anonymous) sale of Amsler and Ruthardt in Berlin on 23 can only refer to the 1567-volume - but also gives a title, February 1885. The enormous collection of portraits - namely Imagines viromm doctorum. This tide is strangely excluding the magnificent holding of Van Dyck s enough identical with Galles 1587-compilation of por• Iconographie once owned by the Rotterdam collector traits. Verstolk van Soelen - was not part of these sales, as Prestel mentions in the introduction to the 1877 auction cata• 20. "Haec igitur mihi causa fuit, quamobrem non- logue (p. iv):'Tl se trouve encore entre nos mains le reste nullorurn in bonis artibus illustrium virorum, qui nostra des collections laissées par feu Mr. le docteur Wolff, c'est- aetate vel paulo ante noruerunt, vel adhuc cum multa à-dire plus de onze mille portraits de médecins, de physi• ingenij et eruditionis laude vivant, tum mihi notorum, et ciens, d'astronomes, alchymists et autres personnages sem• quibus cum consuetudo aliqua intercessit, effigies ad blables de tous les pays, provenant des collections du vivurn expresser im, tum eorum quos nondum viderim ex sénateur Rôding de Hambourg, de l'académie Leopoldo- optimis et certissimis exemplaribus undique conquisitis Caroline, du docteur A. Roy, du Dr. Diamond de Londres, depictas in privato cubiculo, ubi artem exerceo meam, et en partie de la collection du docteur Sachse" Prestel maximi ornamenti nomine collocaverimCited from the

169 Notes Chapter 2

introduction to the Virorum doctorum i£figits (1572), fol. 27. The letters of Plantin and those written to A2; compare for the entire text and translation appendix Ortels arc available in late nineteenth-century editions, 2B. Also see Hansel 1990, p. 92. cp.Plantin 1883-1918 (passim) and Hessels 1887 (passim). On Dousa see, for instance, his correspondence with

21. Cp.Tanner 1984, pp. 223-224. Victor Ghyselinck: Heesakkers 1976, pp. 98-100.

22. On Giovio s collection of portraits, see Mimtz 28. Hessels 1887, p. 42(3. This probably refers to 1901, Pavoni 1985 and the elaborate dissertation by Linda the circular portrait of Ortels - engraved by Philips Galle Susan Klinger: Klinger 1992, vol, 1, pp. 65-95 (on the his• after a design by Hendrick Goltzius - of which a silver tory of the collection) and pp. 96-156 (comparing Giovio s plate existed. In an earlier letter to his friend Benito Arias Museo with other collections). Also compare the recent Montane, dated 15-18 September 1581, Christophe biography of Giovio: Price Zimmerman 1995. For a Plantin mentions such a portrait which is intended as gift recent discussion on the Renaissance studiolo, with a spe• by Ortels to the Spanish humanist: "Ortelius mihi suam cial focus on Urbino, see Cheles 1985, pp. 35-52. A gen• efHgiem in argenti lamina manu Gallci incisam et deau- eral outline of die studiolo throughout the Renaissance is ratani cum inscriptione a tergo orbiculari forma et ligno given in Liebenwein 1977. ebenico adornatam tradidit ad te mittendam,Plantin 1883-1918, vol. 6, pp. 305-306 and Hansel 1991, pp. 179-

23. For a concise overview of such galleries in uni• 180. The editors of Plantin s correspondence wrongly versities and colleges, seen against the background of the assume that the above quotation refers to yet another por• collecting of portraits in the Renaissance in general, see trait of Ortels by Philips Galle in 1579: an oval portrait, Ekkart 1977, esp. pp. 4-5. engraved in an elaborate ornamental border and used by Plantin as a frontispiece to his editions of Ortels Tkeatmm

24. On die genesis of the Leiden portrait gallery, orbis terrarum. For this second, oval portrait see Denuce cp. Ekkart 1975; on Merula's memorandum, cp. ibid. pp. 1912-13, pp. 68-69.The first, circular portrait - with die 58-60.That the newly founded Leiden University took inscription "HG. in." - has been attributed by some to an interest in corrmiemorating the likeness of its most Hendrick Goltzius. This attribution is generally (and famous professors,is also shown by the commission it gave rightly) doubted as the verses by Andreas de Paepe clear• in 1592 to Hendrick Goltzius to engrave the portraits of ly mention Galle as the engraver.This engraving was, how• Julius Caesar Scaliger and his son Joseph Justus Scaliger. ever, most probably made after a lost drawing by Goltzius, These engravings were sent to scholars all over Europe; who also drew a (still existent) portrait of Ortels sister; cp.Pelinck 1966 and Strauss 1977, vol. 2, pp. 556-559, nos. see Reznicek 1961, vol 1, p. 398 and Strauss 1977, vol. 1, 309-310. pp. 378-379, no. 227. Descriptions of both portraits are given in appendix 2E, nos. 100a and 100b.

25. OnTorrentius s collection of paintings, seeVan Damme 1995; Galle s portraits of this bishop are listed in 29. Compare Hartley 1991. appendix 2E, nos. 135-136. The importance Erasmus

attached to portraits is discussed in Bodar 1989, pp. 29- 30. Hessels 1887, p. 472. On Goltzius s portrait of 60. Philips Galle, also see chapter 4 and Sellink 1991-92, pp. 154-155.The verses underneath this portrait were writ• 26. For a general discussion of the album amieorum ten by Galle s friend jamis Dousa. One does not, howev• in the Netherlands in the sixteenth century, see er, find a contribution by Galle in the album amieorum of Heesakkers 1989. On four contributions by Philips Gallc the Dutch humanist, whereas other mutual friends and to such albums,see Sellink 1991 -92,p. 157,n.l7 (Abraham acquaintances (such as Plantin Junius, Ghyselinck and Van Ortels, Emanuel van JVieteren and Jacob van Marnix van Meteren) had contributed verses, portraits and the like; Sint-Aldegonde) and Yeldrnan 1991, p. 262 (Janus cp. Heesakkers 1981 .A general survey of portraits of artists Gruterus). Galle did not include a portrait of himself, but by Goltzius and his circle and intended as tokens of friend• on these occasions, as befits a prolific draughtsman, drew ships is given in Filedt Kok 1996, his own inventions corresponding with the written vers• es.

170 Notes Chapter 2

31 The portrait accompanies a letter, written in 36. Compare, for example, the far more complete Dutch and dated Antwerp, 7 July 1598;Hessels 1887, pp. series of portraits of reformers issued by Hendrik Hondius 759-760, 912. Galle here informs Van Meteren on the in 1599 and, in an enlarged edition, around 1610; see death of his uncle Abraham Ortels ten days earlier. Orenstein 1992, pp. 62-64, 312-331 and 392-400. According to a handwritten note by Galle - 'Thilippus Surprisingly Hondius added Erasmus as well as Savonarola galle schenkt dit synen vrient,iacop Cools." - the portrait - two persons who could not be more different - to his was not intended for Van Meteren himself but was a gift list of reformers. Series with portraits of reformers became to Jacob Cole, another nephew of Ortels. Gaile's letter is very popular in (Protestant) Germany in the last two now kept in the Universiteitsbibliotheek, decades of the sixteenth century, cp. Rave 1959, pp. 153- RijksuniversiteiE Leiden, inv. BPL 2766. 154.

32. Galle s command of Latin can be deduced 37. Involvement with religious matters seems to from the many signed introductions, some of them rather have been interpreted in a broad sense by Galle and his elaborate, to various print series in this language. He could, collaborators; compare appendix 2A for a complete list of however, have had the assistance of one his learned all the portraits in the 1567-edition. A scholar like Andrea humanist friends in this respect. The scarce autographic Alelad - the Italian lawyer and author of the famous manuscripts by Galle are all written in Dutch. Embiemata - could, for instance, have been chosen on account of his Contra vitam monastkam ad Bemardum 33. On Junius, see Veldman 1974 and Veldman Maíiiant epístola. Alci&ti wrote this treatise, levelled against 1977a, pp. 97-112 and specifically p. 107 on the collabo• several aspects of monastic life, before 1517. Although it ration between Galle and Junius. Veldman here erro• was never published, the manuscript circulated in a small neously assumes that it was Junius who wrote the intro• circle of friends like Erasmus, who received it through a duction to the Virorum doctorum effigies {1572}. This mutual acquaintance. The author himself regarded the preface, on the contrary, is from the pen of Philips Galle book as a sin of his youth and seems to have been afraid who here thanks (as quoted above) "„... amicumque ac that publication of the contents might harm his reputa• concivem meum Adr. lunium virum doctissimum tion with ecclesiastical authorities. (my friend and fellow townsman, the learned Hadrianus

Junius) for the verses he has composed on the portrait of 38. For the list of copies known to exist in pub• Benito Arias Montane. For the complete text, see appen• lic collections, cp. appendices 2A-D. dix 2B.The close cooperation between Van Heemskerck

(designer), Jumus (lyricist) and Galle (engraver and pub• 39. Cp. note 17. Besides the twelve portraits Van lisher) is elucidated in Veldman 1986, passim. Someten mentioned, several other comparable impres• sions have been traced, See appendix 2E, passim. Here

34. Galle has engraved two portraits of Junius .The reproduced is the portrait of Huldrych Zwingli, see first is dated 1562 , the other, as illustrated in jig. 4, was appendix 2E, no. 146. made on behalf of die Virorum doctorum effigies {1567), See

appendix 2E, nos. 73 and 73a. 40. Although the lack of sources makes any con• clusion hypothetical, the few remaining albums with 35. Only four portraits show scholars from previ• prints from the late sixteenth century strongly suggest that ous centuries: the famous Dutch humanist Agricola, the a client generally selected and compiled an album of prints radical reformer Johannes Hus, the humanist Pope Pius according to his own taste and (iconographic) interest, II and the illustrious Dominican preacher Savonarola. For rather than buying a ready-made compilations. On the a complete description of the Virorum doctorum effigies collecting of prints in the sixteenth and seventeenth cen• (1567), see appendix 2A. On the reproduced portraits, see tury see below; appendix 2E, nos. 27 (Calvin), 129 (Tapper) and 90

(Melanchton). All the other portraits mentioned are list• 41. On the Reformation in Haarlem, see:

ed in the alphabetical catalogue. Overmeer 1904 and the more recent, excellent study by

Joke Spaans (Spaans 1989,pp. 23-47). A general overview

of the political and religious developments in the Nether-

171 Notes Chapter 2

lands during this period is given in Parker 1986 and AGN, 48. 'Thilippus G aliens, picturae et historiae stu- vol 6, pp. 146-214. diosis, S...... Imagines ..... ex Romano prototype nostro stylo expressimus .... quod si contmgat, plura etiani non

42. Van Heemskercks religious views are eluci• minus utiiia et grata quarn nova, quae contento studio dated in Veldman 1987a. On the religious views of molimur vestris usibus commoda futura, propediem ede- Coornhert, see Veldman 1990 and Berkvens-Stevelinck mus." Quoted from Galle's introduction, set in letterpress 1989. On Galle, cp. Sellink 1991-92, pp. 150-154. on the verso of the engraved tide page; cp. appendix 2F.

43. On the biographical details of Coornhert, 49. For a detailed description o! the series, see

compare Bonger 1978. appendix 2B. Probably due to Galle's collaboration with the famous Spanish humanist Benito Arias Montano more

44. The biography of Galle and a more detailed attention has been paid to the Virorum doctorum effigies than account of his activities as an engraver and print publish• to any other of his portrait series; cp. Bataillon 1942 and er are given in chapter 1 Hansel 1991, pp. 91-100. For an excellent biography of Montano see Rekers 1972. There might also exist an as

45. Pontiftcum maximorum effigies (1572); a full yet unidentified reissue of Galle's 1572-edition of por• description is given in appendix 2E Only two copies (both traits. In his Onomasiicon literarium of 1780, Christophore in the KoninkHjke Bibliotheek Albert I in Brussels) have Saxe describes such an edition, published m 1672 by one been found until now. However, it seems very likely that Hieronymus Magius; Saxe 1780, vol. 3, p. 560. in some collections Galle's publication can be found cat• alogued under the name of the author Onofrio Panvinio. 50. The first mention of the Virorum doctorum effi• Besides the catalogue of the Royal Library in Brussels gies is on 2 May 1572, when Plantin buys two sets of these (Cockx-Indestege 1968-94, vol. l,p. 91,no. 1214)J have portraits and one set of the Pontifkum maximorum effigies; no knowledge of any mention in literature of Galle s print inv. Arch. 16, fol. 171. Compare Delen 1932, p. 17 who scries. The quality of the engTavings is rather uneven in by mistake transcribes the date as 1571. Research in the comparison with prints engraved by Galle himself. The extensive and rich archives of the Museum Plantm- series can more probably be considered as one of the first Moretus in Antwerp unfortunately had to be limited to major productions from the Galle workshop in Antwerp. the journaux and the Grand Hires (the yearly ledgers) of some key years in the collaboration between Plantin and

46. Panvinio 1568.A brief description of the orig• Galle. It is the intention that in forthcoming years, togeth• inal, Roman edition by Lafreri and of the German wood• er with the art historian Karen Bowen and in collabora• cut copies, published in Strassbourg in 1573 with portraits tion with the Museum Plantin-Moretus. I will more fully cut by Tobias Stirnmer, is given in Tanner 1984, pp. 226- investigate the intensive contacts, spanning more than a 228, nos. l()7a-b.Also see: Hartig 1917 - who mentions century; between the Galle family and the Plantin Press. Galle's copies, but apparently has not seen them - , On these archives, also see Denuce 1926 (passim). Mortimer 1974, vol. 2, pp. 515-517 and Meier 1995,

pp. 459-464. Here reproduced are two portraits of Pope 51. VanSelm 1987,p.255,no.l.AlsoseeOrenstein AdrianVI, the first {fig. 9} from Lafreri's 1568-edition, the 1993-94, p. 171. I kindly thank Chris Schuckman for second from Galle s 1572-version (fig. 10, see appendix 2F, pointing out the relevance of this stocklist for my research. no. 21).

52. The iconography of the tide page is discussed 47. A recapitulation of the many problems in the below. bishopric of Antwerp in this period is given in Marinus

1989, pp. 61-77. The effects the crisis in Antwerp could 53. For the two illustrated portraits of Andreas have on a printer or publisher is, in the specific case of Vesalius, see appendix 2E, no. 140. In some cases errors in Christophe Plantin in the year 1572, excellendy described the 1572a-edition were corrected in the 1572b-edition, in Voet 1969-72, vol. 1, pp. 73-80. On the problems of in other instances the engraver made new mistakes.There privileges and censorship in Antwerp, see Voet 1969-72, are several other minor differences between the two edi• vol. 2, pp. 255-278. tions, appendix 2B.

172 Notes Chapter 2

54. The use of a cache-tettre - or simply cache - in 60. "...„ nunc, quod possum, fruar lis imaginibus, printmaking was especially common in eighteenth-cen• quibus perfectus pictor et chalcographus, Philippus tury French printmaking; compare, for instance, Fuhrmg Gallaeus vester, vos paene spiranteis expressit, et in librum 1985, p. 185, n. 64. Although there is no literature on this comecit. in quo non possum non facile desiderare Oberti specific technical printing aid, the use of the cache-ktlre Gifanii effigiem, hominis valde docti, et cui might go back as far as the first half of the sixteenth cen• Lueretianorurn librorum studiosi plurimum debent."; tury. I thank Peter Fuhring for providing me with infor• Sacre 1988-89, p. 118. On Van Giffen also see Heesakkers mation on the subject. 1986.

55. More information on the value of printing 61. Van Giffen s unfavourable reputation origi• presses in Antwerp in the sixteenth century can be found nates from accusations of the misuse of manuscripts in the inVoet 1969-72, vol. 2, pp. 132-142. In June 1571 Philips death-estate of the youngDutch humanist Lucas Fruterus, Galle is mentioned for the first time in the joumaux of who died in 1566. Especially Janus Dousa proved to be a the Plantin Press. No records have been found so far relat• fierce, public opponent of Hubert van Giffen. Other ing to the question whether Plantin did indeed print the friends and acquaintances of Galle, like Hadrianus Junius letterpress inscriptions of the Virorum doctorum effigies and and Victor Ghyselinck, sided with Dousa from the very the Pontificutn maximorum effigies. There are, however, sev• beginning. Cp. Heesakkers 1976, pp. 116-122 and eral unspecified transactions between the two publishers Heesakkers 1993, pp. 21-28. in the years 1571-72 that could account for this. It is inter• esting to note that shortly after GaUe's 1572-edition, 62. This interpretation of the title page is largely Christophe Plantin himself published his first album of based on Hansel 1991, pp. 92-93. portraits of scholars. In 1574 the Plantin Press issued tones vetemm aliquot, ac recentiutn medicorum,phihsophorumque elo- 63. The fact that all these outspoken reformers are giolis mis editae, a collection of portraits of philosophers lacking is, in my opinion, due to a deliberate choice by and physicians, assembled and eulogized by the Hungarian Galle; also see below. However, one also has to keep in humanist Janos Zsamboky s (also known as Johannes mind that - even when religious censorship was sloppy - Sambucus). Several of the etched portraits by Pieter van the secular, Spanish authorities could (and would) cer• der Borcht were copied after engravings from Galle's tainly have taken measures against a publication overtly 1567- and 1572-editions. Cp„ Zsamboky 1574, Zsamboky praising such reformers. Politics and religion were never 1901 and Cockx-Indestege 1989, p. 130, no. 62. On his separated during the so-called Dutch Revolt; compare turn Galle had already included Zsamboky's portrait in Groenveld 1986. his Virorum doctorum effigies of 1572; see appendix 2E, no, 146. 64. Cp.Voet's chapter on the Plantin house as a humanist centre; Voet 1969-72, vol. 1, pp. 362-395. On 56. Compare, for example,Voet 1969-72, vol. 2, the portrait of Christophe Plantin see appendix 2E, no. p. 205. 110.

57. Judging by the existing copies of the Virorum 65. Compare Sylvaine Hansel who in her analy• doctorum effigies (1372) Galle must have printed the 1572a- sis of the Virorum doctomm effigies in vain searches for a and 1572b~versions in roughly equal numbers. Both ver• more complex structure; Hansel 1991, pp. 92-94. sions are found bound together with later editions; cp. appendix 2B„ 66. Cp, Hansel 1991, p. 97. Unaware of the exis• tence of Galle's earlier 1567-edition, Hansel seems to 58. The full text - here sirmmarized briefly - is somewhat overestimate Arias Montana's contribution to transcribed in appendix 2B. the 1572-ediuon; ibid. pp. 95-96.There can, however, be no doubt that Philips Galle must have made good use of

59. On the portrait of Arias Montano see appen• suggestions by the Spanish humanist who, like Plantin and dix 2E, no. 7. On Junius compare note 33. Ortels, had contacts with scholars all over Europe.

173 Notes Chapter 2

67. Compare Bataillon 1941, pp. 144-151. Marcel 75. "Ago gratias pro tua efHgic, et symbolum Bataillon, rightly so in my opinion, stresses this moderate, tuum perplacet, et omnibus numeris absofutum judico"; Erasmian strain. Hansel interprets the 1572-series slight• Antwerp, 6 December 1572 (Ortels 1847, p. 82). For the ly different as "an Utopian dream of a humanist 'Res pub• reference to Rota's pen drawing see note 77. lics literaria'" where conviction is not of any importance;

Hansel 1991, p. 99. 76. "Vides hie mam effigiem. Prima est earum quae parantur sec undo volumini: vix potui persuadere

68. On die close relations between Plantin and his Gallaeo sculptori (mihi tamen amico) ut banc etiam mis circle on the one hand, and the Huts der Liefde on the [sic] annecteret, eo quid sciebat inter Plantini futuram. other, see Hamilton 1981a, pp. 65-82. A brief and rather Gallaeus ipsemet seulpsit: hoc nostrae amicitiae tribuit; general overview of spiritualism in the Netherlands in the pleraque enim pars a pueris discipulis caelabitur. Forte sixteenth century is given in Zijp 1986. On Ortels s reli• nonnihil in ea desiderabis;si praesens adfuisses,non dubito gious views see Boumans 1954. vivum melius referret; sed ipse de his."; no date, no place (Ortels 1847, p. 94). As Ortels mentions the news of the

69. For a description of the growing numbers of capture of count Maximilian de Bossu (11 October 1573) Calvimsts in Antwerp up to 1585, cp. Thus 1990, the letter must have been written in the second half of pp. 9-32. October, before the letter of 7 November 1573 (see the following note). Ortels may have contacted Gaile on this

70. A short survey of the religious conflicts in matter somewhat earlier. In a letter to Crato he writes: these years is given by Woltjer 1986; for a full discussion "Effigiem tuam nondum expressam ex Plantino intelli- of these problems, see Duke 1990. Aspects of the relation go";Aritwerp, 8 August 1573 (Ortels 1847, p. 83). between art and religion in these troubled years are dis• cussed by Zijp 1987. 77. "Misi ante quindecim plus minus dies effigiem tuam a Gallaeo nostro caelatam: non dubito, quin earn 71. For a full description of the Imagines doctorum receperis. Postea accepi eamdem a Rota (cujus nomen ex virorum, see appendix 2C. On the portrait of Beams editis ab eo monochromatis mihi innotuit) calamo delin- Rhenanus, compare appendix 2E, no. 16. The letterpress eatam, ex qua Gallaei, si visum tibi fuent, corrigi poter- tide page, introduction and index were printed by Plantin; it: tuam de eo [sic] sententiam expectamus. lisdem Uteris, Museum Plantin-Moretus, Arch. 20, fol. 307. quibus effigiem injeceram, significavi me Schufio tra- didisse exemplar Theatri nostri et duo additamenta"; 72. On Ravelingen, see Voet 1969-72, vol. 1, pp. 7 November 1573 (Ortels 1847, p. 84). This course of 147-151,pp. 169-178. For unknown reasons Ravelingen s events could explain the existence of proof impression of own portrait is not included in the Imagines doctorum vxro- Crato s portrait - without the verses in the margin - as rum. Encouraged by the fall of Antwerp the Calvinist found m a bound volume of portraits in the Komnklijke Ravelingen left Antwerp with his (Catholic) wife within Bibliotheek, The Hague (inv. 1701 C8(2), also cp. note a few months after his father-in-law Plantin had returned 19). Aside from several images of the 1567-editions (cp. to Antwerp after a stay of more than two years in Leiden. appendix 2A), I have no knowledge of any other proof Together with jan Moretus (or Moerentorf), another son- impressions of portraits by Galle. of-law of the architypographus,'Kzv£ling£n had been charge of the Plantin Press in Antwerp during Plantin s stay in 78. "Effigies tua ad manus meas pervenit,Domine Leiden. ornatisssime. Secundi Libri effigierurn fere spem abjico; tarn rnultis atque aliis occupatum video Galicum";

73. Consagra 1993, pp. 381-412. Antwerp, 5 February 1576 (Ortels 1847, pp. 85-86).

74. The letters of Ortels to Crato were published 79. "Ciarorum virorum efBgies adhuc sub Gallaei in 1847 (Ortels 1847), In another context one of these manu premuntur; propediem eas promittit; quamprimum letters was discussed briefly by Popham in his article on autem prodierint, eas ad te curabo.";Antwerp, 16 October the relation between Pieter Bruegel and Ortels (Popham 1582 (Ortels 1847, p. 91). 1931) On Ortels's fascination for prints in general see

Buchanan 1982. 80. "Gallaeus claros suos viros se datururn eras et

174 Notes Chapter 2

eras dick semper, sed nescio eras illud. Versus tuos apud 84. Compare also the much more documented me reservabo in eorum editionem."; Antwerp, 25 July life of Christophe Plantin during the years 1572-1585; 1583 (Ortels 1847, p. 92).The verses mentioned may be Voet 1969-72, vol. 1, pp. 73-113. Particularly the hopes the same as the ones referred to in 1573 (see note 77) and Plantin cherished on the arrival of William of Orange - below in Crato's letter of 1583 (note 81).They have not one of the political champions of the concept of religious been used, as underneath Crato s portrait are lines writ• tolerance - in Antwerp in 1579 is characteristic; ibid. pp. ten by Frans van Ravelingen. 97-98. A recapitulation of the views on tolerance around William of Orange can be found inVroom 1984 and espe•

81. "Clarorurn quoque virorum Galaei men- cially in Van Deursen 1984. Detailed information on the tionem a te factam affirmabat. Nihilne, inquam ad me; complex religious situation in Antwerp around 1585 can Nihil ille ..... Sed omitto banc Philosophiam, et te oro in be found in the various essays in Andriessen 1987. suscepta erga me benevolentia rnaneas, atque si meos ver• sus accepisri, quid de ijs sit factum, signifiées.Àveo videre 85. Cp. appendix 2C. Philippi Gallaej elaborationes, licet exiguam earn nomin- is commendationem putem, quae ex pictura petitur, Ac 86. Cp. appendix 2G (Cardinals) and appendix 211 nunc alia immortalitas spes atque cura et longe verier, (Jesuits).The first series is extensively discussed by J. Fabri quam ea quae in humanis rebus est, me sollicitât ....."; in Bibliotheca Belgica, vol. 6, pp. 193-197.The series will Johannes Crato to Abraham Ortels, Wroclaw (Breslau) also be listed in Dirk Imhof's forthcoming catalogue of 10 September 1583 (Hessels 1887, pp. 296-297). For books printed and published by Jan Morenis. All letter• Galle s portrait of Crato, see appendix 2E, no. 38. It is inter• press text was set and printed by the Plantin Press, as pay• esting to compare this portrait to an anonymous, oval ments of December 1597 and January 1598 show. I kind• engraving dated 1574. Galle clearly copied this portrait in ly thank Dirk Imhof for providing me with this reverse, also repeating the caption around this earlier information from his manuscript, where the publication engraving. Galle could have known the impression of this will be listed as no. G-l portrait pasted in the Album amkorum of Abraham Ortels; Puraye 1969,p. 18, fig. 8.This implies that Galle, for what• 87. The portraits taken from earlier series are those ever reason, m the end did not use the above drawing by of Adrian VI, Bembo, FisherJ iozjusz Jimenez de Cisneros Martino Rota. In a copy of the 1572-edition of portraits and Sadoleto. Compare appendix 2E (sub voce). Using in the Koninklijke Bibliotheek in The Hague a proof existing copperplates for another publication is rather typ• impression of Crato s portrait is added at the back of the ical of the practical use publishers as Galle made of their volume. This impression lacks the verses in the margin. stock. Engraved copperplates were the most valuable asset of any print publisher. Compare, again, the well docu•

82. Benavides 1566. For an analysis of this series, mented case of Christophe Plantin, whose estate in 1589 see Dwyer 1990.The engraved portraits are attributed to included no less than 2.391 copperplates;Voet 1969-72, EneaVico. The Venetian publisher Niccolô NeBi issued a vol. 2. pp. 231-232.Their value was estimated inter alia by second edition in 1567. A second, supplementary volume Philips Galle. was published in Venice in 1570, presumably again by Nelli. 88. Cp. Fabri s remarks in the Bibliotheca Belgica, loacit. (note 86) .Without any apparent reason Fabri leaves 83. Scholars both found in Galle s Imagines docio- out Philips Galle - who is explicitly mentioned as the rum virorum and in Lairerï s lïïustrium iureconsuliorum imag• publisher on the title page of the Cardinalium illustrium

ines zt^AccQxm^Bzxtolo da SassoferratQJAnge!o da Castro, imagines - in his discussion on the genesis of the book. Paolo da Castro, Francesco Corti, Filippo Decio,Jason de The first version of the portrait of Andreas Schorr (as Maino, Dino Rossoni, Alessandro Tartagni and reproduced in % 28) was included in the Imagines docto- Ubaldesehi. Both also include a nearly identical portrait rum virorum of 1587 (appendix 2E, no. 124).This engrav• of Martinus ab Azpilcueta, whom Galle does not classify- ing by Philips Galle was consequently replaced by anoth• as a jurist (see above). For all individual portraits, compare er portrait of Schott, engraved by Theodoor Galle, in the appendix 2E (sub voce). 1595- and 1606 reissues of the Imagines doctorum virorum (appendix 2E, no. 125). The theologian and philologist

Î75 Notes Chapter 2

Sthott had returned to Antwerp in 1594 after a long stay Imhof kindly provided me with archival documentation abroad; cp. Prims 1927-49, vol. 22, pp. 29-33. on this engraving in the Museum Plantm-Moretus.As the letterpress text was set and printed by the Plantin Press,

89. Compare Prims 1927-49, vol.21,pp.264-278; this publication will also be included in Imhofs catalogue Marinus 1989,pp. 139-141 andThijs 1990, pp. 101-106. of Jan Moretus (cp. note 86). On the subject of illustrated theological studies issued by the Plantin Press between 1589 and 1650,see Seliink 1996. 94. The other five scholars are: Johannes This study is part of an exhibition on illustrated books Agyropolos, George of Trebizond, Marcus Musurus, published by the successive generations of the Morctus Marullus Tarchagnotta and Janus Lascaris.The portrait of family since 1589. The exhibition and the catalogue are Bessarion was copied after Theodooris own, slightly ear• organized by the Museum Plantin-Moretus in Antwerp lier engraving in the Cardinalium iUusirium imagines of (cp. Imhof 1996). 1598; cp. appendix 2G, no. 4.

90. The words "Ad vivum delineatae et in aes 95. On the didactic vigour of the Jesuits, also com• incisae a Philippe Gallaeo Antverpiae" - drawn after life pare chapter 4. and incised into copper by Philips Galle in Antwerp -

clearly mention the elder Galle as engraver and designer 96. For the information on the size of the edition, of the series. This does, however, seem to be a standard compare Dirk Imhofs forthcoming catalogue (note 86), phrase on prints, print series and illustrated books issued no, G-2. by the Galle workshop after 1595. In all these cases die prints are without any doubt not from his hand. Perhaps 97. The series is described in detail in appendix the name of Galle was added as a hallmark of quality. Ten 21. In September 1599 a payment was made for the print• plates of the Societatis lesu are still listed in the inventory ing of 300 copies ("12 mains") of the tide page of this of the Galle workshop in 1636; compare Denucé 1927, series. I again thank Dirk Imhof for pointing out the rel• p. 148 - where the plates are by mistake identified as a evance of this series for my research and providing me series of prints by Hieronymus Wierix - and Duverger with details from the archives of the Museum Plantin- 1984, vol. 1/4, p. 22. Moretus; the book will be catalogued m his study of Jan Moretus (note 86) as no. G-5.The only copy known so

91. Compare Thijs 1990, pp. 61-96.The standard far is to be found in the British Library, ft is interesting to book on the history of the Jesuit Order in the Netherlands note that Theodaor Galle on the title page refers to his is Poncelet 1927-28. A comparable series was engraved earlier engraving of Greek scholars. As the volume was and published by Hieronymus Wierix shortly after the published in the Holy Year 1600 - a fact that is specifi• death of Claudio Acquaviva in 1615, cp. Mauqouy- cally mentioned on the title page - it is certainly possible Hendrickx 1978-83, vol 3/1, p. 349, nos. 1750-1755.This that the younger Galle hoped to profit from a heightened scries consists of a title page and the portraits of the first interest in Italy and its culture; also see chapter 4, notes five Generals of the Jesuit Order.The Wierix brothers also 255-256. engraved several portraits of leading Jesuits and of saints and martyrs of this order, including a series of 13 engrav• 98. " Philippus Gallaeus aeri incidebat ..... ings with the life of its founder Iñigo Lope£ de Loyola, a Opera Thcodori Gallaei Phil. F. Antverp "; compare series of four portraits of Jesuit saints and numerous indi• appendix 21. vidual portraits; Mauquoy-Hcndrickx 1978-83, vol. 2

(saints) and vol. 3/1 (portraits), passim. 99. Although the engravings are unnumbered, their sequence is made quite clear by means of the let• 92. See note 116. terpress index printed on the verso of the title page. The fact that the plates of the 1572- and 1587 still have their 93. Hollstein, vol. 7, p. 88, no. 434.The engraving original numbers, can be accounted for by the fact that mentions an apprahatio by the Antwerp canon Silvester Philips Galle regularly reprinted these series and did not Pardo, dated 10 February 1599. Payment for printing the want his son to change their sequence. letterpress text was made in March of the same year. Dirk

176 Notes Chapter 2

100. This Erst edition ofLe Mire s hook was pub• 105. The title page and the preface speak of scrip- lished by the widow of the Antwerp printer jan Bellerus tores", which literally translated from the Latin is "writ• (Le Mire 1602); an enlarged (unillustrated) edition was ers". Due to its modern connotation with a litterateur this issued in 1609 in Antwerp by David Marrinus (Le Mire term is here avoided. Le Mire clearly refers to scholars 1609). On Aubert Le Mire (Brussels 1573 - Antwerp whose fame and erudition is, as befits them,spread through 1640), see Prims 1927-49, vol. 22, pp. 73-74 and BN, vol. their publications. Also misleading is the frequent use of 14, pp. 882-895 and Flanagan 1975. He was a nephew of the words "Gallia Belgica" (cp. notes 102 and 103), in later jean Le Mire Qoharmes Miraeus), who was consecrated days often used to define the Southern Netherlands, or as the fourth bishop of Antwerp in 1604. Aubert Le Mire roughly the present-day Belgium. The inclusion of-just was on this occasion appointed as the personal secretary looking at the first letter of the alphabet - the Utrecht of his uncle. born Adrian VI, Rodolphus Agricola from Gronmgen, Alardus of Amsterdam and the Frisian Viglius van Aytta

101 Cp. appendix 2D for a detailed description. van Zwichem, makes it clear that Le Mire did not take The approhatio - usually given when the finished manu• the recent separation of the northern provinces in script is ready to go to press - is dated May 1604. One account. may assume that Galle would have been able to print and publish the book within a few months after the censor had 106. It is curious to note that underneath the por•

given his approval. In this case it was the Antwerp canon trait of Cornelius Gemma one can read verses from the Egbert van Spithout, a colleague of Le Mire's. pen offanus Secundus, originally composed on the virtues of his father. One wonders if Le Mire made a simple mis•

102. The tide page reads:SiILLUSTRIUM/ GAL- take, confusing father and son, or thought these lines to LI AE BELGICAE/ SCRIPTORUM/ ICONES ET be more appropriate for the younger Gemma. Cp.Dekker ELOGIA./ Ex museio Auberti Miraei/ Canonici 1986, pp. 29 and 73-74 and appendix 2E, nos. 59-60. AH Antverp." Cp. appendix 2E, tidepage 1604. the other portraits mentioned can also be found in appen• dix 2E (sub voce). In the index of the illustrium scriptorum

103. "Illustrium Galliae Belgicae nostrae icones of 1604 the names of the scholars portrayed have Scriptorum Elogia nuper dedi, mi Lector sen Spectator. been grouped together as described above. In some cases Quern conatum nostrum et si levem ac tenuem, cum per- subdivisions have been made.The theological writers, for mulris gratum esse anirna adverterem, coepi et Imagines instance, have been divided in two different groups, name• eorumdem variis e locis studiose ndeliterque conquirere. ly the secular and regular clergy. Eius industriae specimen hie vides cp. appendix 2D. 107 Why exactly these scholars were added is

104. Verses were included by such contemporary unclear. The engraving of Fusch was available since 1567 authors as the Antwerp humanist Johannes Aurata, and might just have been forgotten in the first edition of Johannes Boghe (the scholarly Antwerp town clerk from the Hlustrium scriptorum icones. Lips and Simons were still 1585 to 1609, acquainted with Plantin),Maximiliaan van alive in 1604 and died shortly thereafter.The portraits of Habbeke (an Antwerp Jesuit theologian), the Bruges Rythovius and Thomas a Kempis perhaps only turned up humanist and poet Jan Lernout, his fellow townsman after 1604. Plantin was French of origin and could there• Hubert Oudejans (secretary to Joost Lips and more com• fore, strictly speaking, not be included. In 1608 his por• monly known as Audeiantius), the youngYpres canon and trait was added (as an afterthought?) at the very end with• historian Antonius Sanders, the Ghent town clerk and out a number. Compare appendix 2D. poet Maximiliaan Vriendt and joost de Weerdt, an Antwerp magistrate. With the exclusion of jan Lernout - 108. Cp.Veldman 1974, p. 378. Not only would his

also known as Janus Lemutius, a scholar and poet who service to William of Orange have made Hadrianus Junius was inter alia acquainted with Janus Dousa and Victor z persona non grata in Antwerp around 1604, his religious Ghyselinck (compare note 61) - most of these authors can views were already considered to be quite suspect by his be considered as occasional poets. On Lernout (who con• contemporaries. Most interesting are two letters by Junius tributed three verses: Ogier Ghislain de Busbecq, Jacob in which he defends himself against (Catholic) accusa- van Pamele and Jacob Reyvaert), see Van Crombruggen nons of leading his pupils astray; compare Veldman 1974, 1955.

177 Notes Chapter 2

pp. 383-384. On the problematic issue of Mereator s reli• 116. On Lafreri s volume of coins from the collec•

gious conviction, see De Nave 1994, pp. 17 and 51-56. tion Fulvio Orsini, published in 1570, see Dwyer 1993, p. 468. In 1573 Philips Galle first published his Deorum

109. "Optime autem forent historic veteris et novi deammque with images of ancient gods on antique coins, testament!; figure illustrium virorum catholicorum (ut ita all from the collection of his friend Abraham Ortels.These dicam,nam Erasrnum jam hereticurn hie habent) turn pas- were etched by the Doetecum brothers and Gerard sionis Christi, tum et poeseos cuiusque alias non scan- Groenning, including elaborate ornamental designs by dalosae,"; Lisbon, June 15, 1561. Quoted from Bataillon Hans Vredeman deVries and Groenning himself. Cp. the 1942, p. 146, also cp. Hessels 1887, pp. 22-23. description (with bibliography) of a much later edition of this intriguing series in De Groot 1988, pp. 121-126, no.

110. Not only the first 17 savants belong to the 178. Also see Bibliotheca Belgica, vol. 4, pp. 584-588; clergy, but also several scholars in the other categories. Mielke 1967, pp. 44-47, no. XX and the forthcoming New Hollstein volume on Gerard Groenning. Given this inter•

111. The notable exception is Joost Lips, who, after est, it is not surprising to see Galle's eldest son Theodoor bitter conflicts with the Protestant authorities in Leiden, in 1598 publish - as the first major undertaking on his fled from Holland and took up a position in Lou vain. own account - a lavishly illustrated volume of ancient heads, engraved after Fulvio Orsini"s famous collection of

112. Lafreri published his jurists in 1566 (cp. note coins. See Orbaan 1911-17, vol. 1, p. 21 and 255-257, 82), a series of popes in 1568 (cp. note 46) and a volume Fabri 1967, Dwyer 1993 and the recent dissertation by of ancient heads from the collection of Fulvio Orsini in Manfred Katzlmcier-Frank (Katzlmcier-Frank 1993), 1570 (see below). On the Roman print publisher Antonio which is, however, rather incorrect in its information on Lafreri - who was born in Orgelet in France and whose the output of the Galle workshop and in its biographical name is also given as Antoine Lafrery - amazingly little details on Theodoor Galle. research has been done. The most important study is still Ehrle 1908. Particularly valuable are the observations in 117. Compare Rave 1959, pp. 133-141. Landau 1994, especially pp. 302-308. A general introduc• tion to Italian print publishers m the sixteenth and sev• 118. Rave 1959, pp. 139-140;Tanner 1984, p. 229, enteenth centuries can be found in Bellini 1975. no. 108a.

113. A survey of the incidental (woodcut or 119. The series has only been found in the Royal engraved) portraits used in illustrated books before 1550 Library in Brussels so far. Its importance for the biogra• are given in Müntz 1901, pp. 250-257 and Rave 1959, pp. phy of Philips Galle - the date, privilege and approbatio 121-127. A recent survey of the engraved portrait in the definitely proving that Galle was still in Haarlem in 1569 sixteenth century - not distinguishing between different - is also discussed more in general in chapter 1. Compare traditions and genres and with conspicuously little atten• Delen 1934-35, vol. 11/2, pp. 94-95; Delen mentions the tion paid to the role of publishers - can be found in Meier series briefly and believes it proves that Galle lived in 1995. Antwerp in 1569. It is indeed interesting to note that Galle on the first print mentions that the prints are also for sale 114. Cp.Rave 1959,pp. 127-132 and Dwyer 1993, in Antwerp: "Men vindtse oock te coope Thantwerpen p. 467. op de men Borse by Geraert deJode" - one will also find them for sale in Antwerp, at Gerard de Jode's on the new 115. On Hubert Goitziuss chiaroscuro prints, Bourse. This not only proves Galle's early commercial combining etchings with tone blocks, see Biallcr 1992, interests in the city on the Scheldt, but also makes clear pp. 30-34, no. 2. Galle could have known this work that Galle aimed at a wider market for such prints than through his employer, the Antwerp publisher Hieronymus his home town Haarlem. Cock or through his Haarlem friend Maarten van

Heemskerck. The painter evidently owned the French 120. The earliest reference to this scries is proba• edition of Goltziuss book; cp.Velcknan 1977b, p. 111. bly the inscription underneath Galle's portrait of Janus Dousa, engraved in 1568 and published in 1569.The first

178 Notes Chapter 2

line of verse praises Galle as the engraver of the count of betical list of individual portraits) and Moes 1897-1905 Holland and of the portrait of Erasmus, here probably (passim). Several comparable ieonographic surveys have referring to the likeness of the humanist in the 1567-edi- appeared on other countries (Spain, United Kingdom). A tion of portraits. Cp. appendix 2E, nos. 46 and 46a. general review of research on Dutch and Flemish por• traiture is given by Ekkart 1989.

121. CompareVoet 1980-83, vol. 5, pp. 2410-2414, nos. 2475-2477 and Kostyshyn 1994, vol 2, pp. 928-930, 127. Landau 1994, pp. 359-368 (epilogue). On new no. B 78.Voet assumes that Galle was the initiator of this subject matters, see Riggs 1971, pp. 180-202 (Cock) and series and was de facto the sole publisher. The reproduced Sellink 1992a (Galle). See note 112 on Lafreri. For a sur• tide page is discussed in: Perry Chapman 1986, pp. 240- vey of Dutch and Flemish publishers at the end of the six• 241. For a general outline of the ieonographic tradition teenth century, with extensive bibliographical references in which both of Galle s series stand, see Van Luttervelt to publishers in other countries, see Orenstein 1993-94. 1957, pp. 77-91. On the tradition of producing genealog• The various essays in Riggs 1993 concentrate on the out• ical series of woodcuts in the sixteenth century, see Klant- put of printmakers and print publishers in Haarlem and Vlielander Hein 1972, pp. 28-34; also compare Antwerp between 1540 and 1640. In all of these publi• Burimgham 1995 on the use of engraved portraits as pro cations portraits receive little attention. paganda in France in the late sixteenth century.The most recent state of the art concerning the research on the 128 Landau 1994,p.367.0n Cock,cp.Riggs 1971. Haarlem panels with the counts of Holland and Zeeland is given in Van Bueren 1993, pp. 484-489 and, concern• 129. Landau 1994, p. 367. For a more elaborate dis• ing a related series in The Hague, in De Jong 1996. The cussion of the collecting of prints in the Netherlands, see records of payment in 1570 (as quoted by Van Bueren) for Robinson 1981-82. On the appreciation of prints in the a framed series of hand-coloured engravings of the counts Low Countries also compare the references in the intro• of Holland - to be hung in town hall in the mayor's office duction ofDeJongh 1997, pp. 21-26. - could certainly refer to Galle s 1569-series,

130. Landau 1994, pp. 363-364. The stocklist is 122. Cp. chapter 3, Sellink. 1992, pp. 48-49 and transcribed in Ehrle 1908, pp. 54-59. appendix 2E, no. 140. 131. The general concept of Quicchelberg's trea• 123. Cp. Dekker 1986, p. 253, no. 9 and appendix tise is discussed in Haj ós 1958 and the more recent Jansen 2E, no. 41. 1993. On Quicchelberg's remarks on the collecting of prints, see Silver 1993a, pp. 15-16 and Landau 1994, pp. 124. Cp. Hansel 1991, p. 96 and appendix 2E, nos. 366-367. On the Kunsikammer in general, see the classic

22, 40,52,104 and 113. Schlosser 1908 and Scheicher 1993.

125. Wethey 1969-75, vol. 2, pp. 154-155, no. X 132. Compare, for instance, the recendy acquired,

11; also see appendix 2E, no. 18. so-called Heemskerck-album in die Rijksprentenkabinet in Amsterdam (De Bruin 1990) and a rediscovered 126. Compare Bodar 1989 (Erasmus), Ekkart 1988 Netherlandish album of c. 1560 in the British Museum (Agricola) and Chapins 1995, pp. 134-137 (Calvin). In the (GrifEths 1996). It is also interesting to see that the print case of Erasmus, Galle could, for example, have been famil• collection of Ferdinand, archduke of Tyrol - one of the iar with a portrait of the famous humanist, presumably very few remaining print collections from the late six• painted by Holbein, in the collection of the Haarlem mag• teenth century which is still mtact and now kept in the istrate Quirinus Talesius (1505-1573); compare Van Kunsthistorisches Museum in Vienna as the 'Sammlung Bueren 1993, p. 324. It is not known which of the many Schloss Ambras* - also contains several volumes of por• versions of the Holbein's portrait was owned by this for• traits; compare Parshall 1982, pp. 158-162. Several of the mer secretary to Erasmus. For a survey of portraits of original volumes in this collection include portraits by Dutch scholars, compare Van Someren 1881-91, vol l,pp. Philips Galle, mainly from his earliest series of 1567. On 122-192 (series and illustrated books) and vols. 2-3 (alpha• print collecting in Italy around 1600, see Bury 1985.

179 Notes Chapter 2

Several important references to the British taste for col• lecting engraved portraits in the late sixteenth and first half of the seventeenth century are to be found in Griffiths 1995; also compare Van der Waals 1984, pp. 250-251, on the collection of Samuel Pepys. On the portraits in the collection of the seventeenth-century Amsterdam art lover Michie! Hmloopen, see Van der Waals 1988, pp. 69- 78.

133- On Cocks volume of portraits compare note 4, A more detailed discussion on the genesis of this vol• ume - pointing out that Cock must have started working on this project before 1565 - is to be found in Sellink 1994, pp. 147-152.

180 Notes Chapter 3

* This chapter is a slightly revised version of an prints of this subject. The latter were employed as hand• article in Simiolus (Sellink 1992b). I again would like to ier and cheaper substitutes for the three-dimensional thank Jan Piet Filedt Kok, Jan Konst, Renée Pohirnann models. Both appeared in the last decades of the sixteenth

and, in particular, Ilja Veldmans for their comments and century and soon became part of the standard equipment advice during the preparations in writing this article. I am of an artist's workshop. Concerning the use of the word, also grateful to Chris Heesakkers for his translations of see for instance Osborne 1970, p. 358. On the origin and the Latin inscriptions, use of the ecorche see Ameisenowa 1963.

1. Bolten 1985,reviewed by Charles Ford in Print 7. Quoted from Albern'% Depkmra;AlbcTU 1972, Quarterly (Ford 1987).This book is a translated and slight• pp. 74-75. The relation between art and anatomy in the ly altered version of his dissertation (Bolten 1979), fifteenth and early sixteenth century is discussed in Schulz reviewed by Paul Knolle in Simiolus (Knolle 1980). 1985.

2. Bolten 1985, pp. 18-25. 8. On Passarotti, his drawing and his lost treatise, see Hoper 1987, vol i, p. 7 and vol. 2, pp. 189-190 and 3. Bolten 1985,pp. 90-95. In his catalogue Bolten Cazort 1996-97, pp. 158-160, no. 46.The here illustrated also includes a list of non-original drawing books', i.e. drawing was part of an album with anatomical drawings books published in the Netherlands but based on exist• presented to the Polish King Stanislaus Augustus in the ing prototypes, mainly Italian. The earliest in this section eighteenth century. As Monique Kernel! kindly informed is the Diagraphia, sive ats delineatona published by Johannes in a letter of 10 April 1997, these anatomical drawings will janssonius in Amsterdam in lóló.This was a compilation be subject of a forthcoming article (Kornell 1997). She made from drawing books published in Italy at the begin• also pointed out the paralell of Galle's prints to a set of ning of die seventeenth century. On sixteenth-century drawings in the collection of Christ Church, Oxford, drawing books in general, compare Dickel 1987, pp. 66- attributed to the slightly younger Italian artist Enea 102. On the late medieval and early Renaissance draw• Salmeggia. See Byam Shaw 1976, vol l,pp. 301-302,nos. ing books, compare the two recent studies Elen 1995 and 1204-1211 .The enthusiasm which artists showed towards Scheller 1995. anatomy and anatomical studies in general is discussed in Ameisenowa 1963, pp. 20-62.The most recent and thor•

4. Hollstein, vol. 7, p. 83, nos, 789-801;TIB. 56, ough account of this subject can be found in Cazort 1996- pp. 496-508, nos. 207:1-13 (excluding the title page and 97, especially in Monique {Cornell's essay on books of the introduction) .The series was first mentioned by Galle s anatomy for artists (Kornell 1996-97). Information on die friend Franciscus Sweerts, in Sweerts 1628, p. 642. In near• anatomical drawing example is also given in Bolten 1985, ly all the literature Galle is mentioned as the author of an pp. 233-236. unknown theoretical treatise, entitled Instruction etjonde- ments de bien pourtraire. The fact that the prints have not 9. On the importance of anatomy to Italian been recognised as this treatise seems to have been due artists in the latter half of the sixteenth century, see Ciardi to the rarity of the title page and the introduction, print• 1984, Acidini Luchmat 1989, pp. 35-42, Kornell 1989a, ed in letterpress on both sides of one sheet. The only com• pp. 842-847 and Kornell 1989b. plete copy of the series I know is in the Graphische Sammlung Albertina in Vienna; incomplete series and 10. Veldman 1977a, p. 120, loose engravings can be found in a number of collections. Perhaps this rarity was due to artists using the engravings 11. Veldman 1977a, pp. 97-112 and p. 119 as drawing examples. For a full description of the series,

see appendix 3A„ 12. Hollstein, vol, 4,p. 58;no. 218;Bierens de Haan 1948, p. 199, no. 218; Ameisenowa 1963, p. 58, Sellink 5. For the text of the title page see appendix 3 A. 1994, pp. 195-205, no. 69 and Cazort 1996-97, pp. 148- 150, nos. 39-40. On Cort's engraving, Stradanus s prepara• 6. The term acorché is often employed for sculp• tory drawings and several Italian copies, see Cetto 1967, tural musclemen, but can also be used for drawings and pp. 171-172. In an earlier Italian prmt called The Academy

181 Notes Chapter 3

of Baccio Bandinelli, engraved by Enea Vice after Baccio partium corporis humani by Juan Valverda de Hamasco, a Bandirielli, apprentice draughtsman are also surrounded Spanish follower ofVesalius. Latin editions appeared in by bits and pieces of human skeletons, which were appar• 1566,1572 and 1579, and a Dutch translation in 1568. ently used as drawing examples. See TIB. 30, pp. 68-69, no. 49. 19. This portrait was included in the Viromm doc- torum (1572), engraved and published by Philips Galle in

13. Van Mander 1973, vol. 1, pp. 104-105 (text 1572. On the complex history of the engravings in this and English translation) and vol. 2, pp. 440-441 (annota- publication, see chapter 3. An illustrated but not entirely tions):8tNoeh comt groodijex de teycken-const te Baten/ reliable survey of the iconography ofVesalius s portrait is Wei te verstaen (met dooden te sien viilen) Waer Muschels found in Spielmann 1925; also seeVan Sorneren 1888-91, beginnen/ oft eynden willen." ForVasari s words, seeVasari vol. 3, pp. 650-651 and appendix 2E no. 140. In die UfEzi 1966, vol. 1 (text), pp. 114-115. in Florence there is also a painted portrait ofVesalius attrib• uted to Jan Stefan van Kalkar; compare Hoogewerff 1957-

14. Van Mander 1604, fol. 263 verso; also see Van 59, p. 64. Mander 1994, vol 1, pp. 312-313. On the history of dis• section and its relation to the fine arts in general see Cetto 19a. Stradanus may have been influenced by 1967. Melchior Meiers earlier engraving of the same subject, dated 1581: see Hollstein (German), vol. 25, p. 28, no. 7

15. Angel 1642, pp. 52-53. andCazort 1996-97, pp. 160-161, no. 47, with further ref• erences. Although the anatomical interest in the slayed

16. O'Mailey 1950, p. 92. For the life and works nude is very similar, the print by Meier - who worked in of Vesalius: O'Mailey 1964. These anatomical plates Tuscany in the period 1575 to 1582 - lacks the vigour of enjoyed an immense popularity, compare Huard 1980, Stradanus s composition. Pinault 1984, pp. 56-57 and Bolten 1985, pp. 234-236. 20. "Corporis humani qui membra rninuta

17. As mentioned, several prominent Italian secaret/ Vesalio nullus doctior extiterat./ Hie Medicis painters had envisaged books on anatomy for artists, auxit,Pictoribus auxit et artern,/ Dum subitinternas quae among them Michelangelo, Leonardo, Rosso Fiorentino latucre vias." and Alessandro Allori. None of these projects seems to have been brought to fruition, see Kernel! 1989a, p. 847. 21. TIB, 56, pp. 315-322, nos. 84:1-8; also see However in Italy a slightly altered edition ofVesalius s De Cetto 1968, pp. 167-168 (as unknown sixteenth centu- humani corporis fabrica appeared, written by the Spanish «y)- anatomist Juan Valverda de Hamasco, with plates engraved by Nicolas Beatrket.This book was published in four edi• 22. For Diirer s experiments with detached arms, tions between 1556 and 1589,in Spanish, Italian and Latin, prints of which were published in his illustrated book on see TIB. 29, pp. 304-307. Monique Kornell also kindly proportion in 1528, see Rupprich 1956-69, vol. 3, figs. drew my attention to Giulio Bonasonc s series of anatom• 42-49. ical prints.This series of thirteen engravings certainly pre• dates Gallc's Instruction et fondements - Bonasone died 23. On Cousin see Bolten 1985, pp. 179-186.The around 1580 - and probably aimed at an audience of artists. importance of anatomy for artists in the seventeenth and Unfortunately, no introduction nor any early references eighteenth centuries is discussed in Ameisenowa 1963, to these illustrations have survived, leaving us in doubt pp. 56-68 and Lexnmens 1964, pp. 12-22. about the publisher's exact intentions. On this series, see

Bartsch 1803-21, vol. 15, pp. 167-169, nos. 329-341,TIB. 24. On Galle as a draughtsman seeVeldman 1991. 29, pp. 118-130, nos. 329-341 and Massari 1983, vol. 1, On Galle as a print publisher see chapter 1 and Sellink pp. 190-194, nos. 172-184. 1992a, with further references,

18. Voet 1980-83, vol. 5, pp. 2327-2336. Plantm 25. Sea and riper gods: Hollstein, vol. 7, p. 78, nos. published Vesalius s treatise together with Vivae imagines 316-322 and TIB. 56, pp. 345-353, nos. 90:1-17. Nymphs:

182 Notes Chapter 3

Hollstein, loc. cit., nos. 299-315 and TIB. 56, pp. 354 362, 380; Bibliotheea Belgiea, vol. 2, p. 143 and appendix 3F.

nos. 91:1-17. See appendices 3B and 3C. On Favolius and the verses by this Flemish neo-iatin poet accompanying engravings, see Cockx-Indestege 1983-

26. Bolten 1985, p. 11. 85.This series was also intended as a model book, as can be understood from the second edition of the tide page

27. Pauly 1964-75, vol. 1, p. 43, p. 218. •• published by Theodoor Galle - where the following words are added to the tide: "arris tironum, usum" ("for

28. Nymphs: "Nimpharum oceanitidurn, ephy- the use of novices in the arts"). dridum pQtarmdum,naiaduni,lynadurnque icones,in gra- tiarn picmrae studiosae iuventutis deliniatae, scalptae, et 33. Thirion 1965. editae a phiiip. gallaeo. Antverpij 1587." ("Pictures of nereids, water-nymphs, river-nymphs, naiads and lynads; 34. Compare Galle's text on the tide page (note 5) drawn, engraved and published by Philips Galle for the and in the introduction (appendix 3A). Like most orna• sake of youth studying an. Antwerp 1587"); see appen• ment prints this series was published for artists and arti• dix 3B. Sea and riMer^orfs:"Semideorum marinoram amni- sans, a distinction which was anyway not very clearly corumque sigillariae imagines perelegantes, in picturac drawn in the sixteenth century. For instance, the Dutch statuariaeque artis tyronum usum, a Philippo Gallaeo engraver Wolter Drollich offered his prints characteristi• delineatae, scalptae, et aeditae. Antverpiae Anibivaritor. cally as "useful to all artists, such as engravers and painters, 1586 ." ("Very elegant pictures of sea and river demigods; goldsmiths, sculptors, carpenters, bricklayers, etc." ( drawn, engraved and published by Philips Galle for the voor alle constenaers, als platsnijders en/ schildrs gout- use of beginners in the arts of painting and sculpture. smeeden beelrsnyders kistemakers/ metselaers, etc. seer Antwerp 1586."); see appendix 3C. nut ende dienstlijcken"); De Groot 1988, pp. 62-63 no. 73.

29. The drawing of Datiukius - die personifica• tion of the Danube - was on sale in 1991 at die Jan de 35. This can also be gathered from Boken's cata• Maere art galllery in Brussels, where it was attributed to logue, as most of the listed examples are from the second Adriaen Collaert, Thera Folmer-von Oven has kindly half of the seventeenth or from the eighteenth century. informed me that, on close inspection, it is also possible Flis very first example - the Teikenbouxkenby Pieter Feddes to make out the outline of the river godTibris.The same mentioned above - shows "combined elements charac• drawing was sold as sixteenth-century anonymous in a teristic of both the drawing book and the model book," sale at Sotheby's, Amsterdam, on 13 November 1991, no. as Bolten himself admits; Bolten 1985, p. 25. In their 325. For the engraving see TIB. 56, p. 349, no. 90:9. respective reviews of Boken's book, both Paul Knolle and Charles Ford criticized the inconsistent criteria of defin•

30. These two series were published by Philips ing model books and drawing books. Both seem to accept Galle; Hollstein, vol 4, p. 203, nos. 408-411; the second some kind of essential difference between the two. For series is not in Hollstein, but it too bears the signatures of instance, Knolle stated: "One can hardly cavil with mak• Collaert and Galle. See appendices 3D and 3E. ing a distinction between the drawing book and the model book as such." (Knolle 1980,p. 178).This,however,is what

31. On the uses of prints and print collections in I call into question as regards instructive prints from the the Netherlands see Robinson 1980-81, pp. xxvii-xxxv, late sixteenth and early seventeenth centuries. An illumi• Schatborn 1981-82, pp. 11-18 and Van derWaals 1988, nating essay on the very practical professional training of pp. 13-27. Netherlandish artists in this period has recently been pub• lished by Hessel Miedema (Miedema 1986-87). A more

32. "De dels gentium imagines aliquot iconicae, general overview7 of instruction in drawing is given in aeneis tabulis per philipp. galleum exaratae; et variis dis- Kemp 1979, pp. 121-421. tichis ab hug. favolio ilustratae. antverpiae" ("Some pic• tures concerning the gods of the pagans, cut from copper 36. De Lairesse 1713, p. 82: om beelden te plates by Philips Galle and elucidated in various distich• vergaaren; dat's te zeggen om de praktijk, en met om de es by Hugo Favolius"; see Hollstein, vol. 7, p. 78, nos. 352- theorie"; see De Klerk 1986-87, p. 286. For the history

183 Notes Chapter 3

of Dutch and Flemish academies see Pevsner 1940,

pp. 126-139 and Floogenboom 1982, pp. 8-13.

37. Compare Fuhring 1992, pp. 68-69.

38. There are some letters from Cliristophc Plantin to Emmanuel Jimenez, dated 1586 and 1587, in which Plantin tells about Galle s refusal to engrave a series of prints. According to Plantin, who was very friendly with Galle and stressed his honesty, he refused because his age hindered his art and compelled him to teach his sons and pupils the techniques of engraving; see Plantin 1883- 1918, vol. 8/9, pp. 107-108,120-123.

39. Auzas 1968, pp. 8-9,20-21. The danger of pla• giarism was very real.Vcsalius's Tabulae anatomkae sex, pub• lished in 1538 (compare fig. 19), was an immediate success, and within a few years the anatomist was engaged in sev• eral lawsuits over unauthorized copies;see O'Malley 1964, pp. 88-91.

40. A copy of Visscher's edition was found in Copenhagen, Statens Museum for Kunst, Kongelige Kobberstiksamling. On Visscher's editions of other draw• ing books see Boiten 1985, s.v. Claes Jansz.Visscher.

41. The fact that Galle s anatomical prints were apparendy still of interest at the very end of the seven• teenth century is corroborated by a portrait of a physi• cian - formerly considered to be the famous Dutchman Herman Boerhaave, now thought to represent his English colleague Richard Blackmore.This portrait, attributed to John Baptist Closterman, shows the sitter holding Galle's engraving of an ecorche seen in profile in his right hand. The engraving is easily recognizable by the separate right arm of the ecorche. On Closterman's, see Murray 1980, p. 11.1 thank Monique Kornell for drawing my attention to this painting.

184 Notes Chapter 4

*. :

1590; discussed in detail below. The large number of reli• (Poirier 1967). Unknown, but certainly useful concern• gious prints issued by Philips GaHe, naturally compelled ing the relation between Flanders and Italy in the later me to focus on a selection of works with this subject mat• sixteenth century is Borroni Salvador! 1986. More atten• ter. Although the choice is, in my opinion, entirely rep• tion is paid to religious imagery in the recent survey on resentative of the output of the workshop - analyzing all Antwerp printmaking in the catalogue of the exhibition important engravers, designers and authors, and provid• on Flemish art in Cologne and An twerp: Savelsberg 1992a, ing a chronological cross-section of religious subjects pub• which is rather uneven in its treatment of engravers, pub• lished - I have somewhat emphasized prints with a more lishers and their subject matter. The Christian humanist detailed and 'interesting' iconographie content. All quo• strain in the preceding period (until 1560) is analyzed tations from the Bible are cited verbatim from the King thoroughly inVeldman 1995b. An excellent survey of Old James Version. On my preference of using the vernacular Testament prints in the Northern Netherlands - despite spelling of names, see chapter 2, note 2. This chapter has the claim to the contrary in the title, very little attention gamed much from comments made by HjaVeldman.Peter is paid to Flanders - in the sixteenth and seventeenth cen• Hecht,Jan Piet Filedt Kok and Chris Heesakkers, who turies is provided by the two introductory essays by Peter translated most of the Latin inscriptions. I am especially van der Coelen in:Van der Coelen 1996-97- grateful for the many critical remarks by Karen Bowen

and Dirk Imhof, improving both style and contents of this 2. Galle must have been introduced to Cock by study his master Coornhert, who stopped engraving around 1559. On prints by Coornhert in this period see Riggs

1. The quintessential study in this respect is still 1971,pp.81-85,Veldman 1989 andVeldman 1990, pp. 11-

Knipping's two-volume overview of the iconography of 14. On Cock's print-shop Aux quatre vents, compare the Counter-Reformation: Knipping 1939-40, translated Lebeer 1968, De Pauw-deVeen 1970, Riggs 1971 and, in English and slightly revised in Knipping 1974. This rather general, Burgers 1988. A general survey of Galles Franciscan scholar arranged his study thematically, large• early engravings can be found in chapter 1. ly using examples - both from the Southern and Northern Netherlands - from the seventeenth century. The emer• 3. Hollstein, vol. 6, p. 255, no. 2; idem, vol, 7, p. gence of such iconography in Antwerp at the end of the 74, no. 2;TIB. 56, pp. 18-19, no. 6; Riggs 1971, p. 332, no. sixteenth century is, however, almost systematically over• 87;Van deVeide 1975, vol. 1, pp. 391-392, no. P5. looked. A brief discussion on this problem is found in Alfons Thijs s study of the Counter-Reformation in 4. Hollstein, vol 3, p. 267, no. 114; idem, vol. 7, Antwerp:Thijs 1990, pp. 97-106. Information on devo• p. 76, no. 106;TIB. 56, p. 138, no. 44;Van Bastelaer 1906, tional prints produced in Antwerp - again concentrating p. 43, no. 114; Lebeer 1969, pp. 186-187, no. 84; Riggs on the seventeenth century - can also be found in: Van 1971, p. 319, no. 30; Lebeer 1976, pp. 30-31, no. 84.The Heurck 1930 and Thijs 1993. The more general surveys print is engraved after the drawing - unfortunately in a of Netherlandish printmaking in the second half of the rather precarious condition - now in the Boijmans Van sixteenth century (Oberhuber 1967-68, pp. 25-125,196- Beuningen Museum in Rotterdam; cp.Anzelewsky 1975, 247;Mielke 1979;Renger 1979, pp. 25-53; Davis 1988, p. 74, no. 85 and Mielke 1996b, pp. 62-63, no. 56. pp. 227-323, Broeker 1992 and Riggs 1993) concentrate on the more virtuoso, mannerist type of prints made by 5. Hollstein, vol. 3, pp. 278-279, nos. 132-138; the best engravers m Haarlem and Antwerp, while the TIB. 56, pp. 265-271, nos. 71:1-7;Van Bastelaer 1906, pp. bulk of religious engravings is rarely discussed. Although 47-48, nos. 132-138; Lebeer 1969, pp. 93-106, nos. 31- problems of iconography are not specifically discussed, 37; Riggs 1971, p. 320, no. 32; Lebeer 1976, pp. 16-18, Delen's two volumes on the history of Dutch and Flemish nos.31-37.All preparatory drawings by Bruegel still exist,

ÎS5 Notes Chapter 4

three of which are now in the BoijmansVan Beuningen to contemporary political events in these prints. A more Museum in Rotterdam; cp. Luijten 1990, pp. 63-65, no. balanced abstract can be found in Saunders 1978-79. 18, where the iconography of Temperance is discussed in detail.Also see the recent catalogue raisonne of Bruegel's 9. This gap of five years in the production of drawings by the late Hans Mielke: Mielke 1996, pp. 48- engraved religious and humanist oriented allegories by 53, nos. 32-40 (vices and the Last judgement) and pp. 56- Heemskerck can be explained by the lapse of time 61, nos. 45-51 (virtues). The series of sins was engraved between Coornhert s withdrawal around 1559 as engraver Pieter van der Hey den, who also incised a Last judgement and scholarly source of inspiration and the appearance which was undoubtedly intended as a sequence to these circa 1563 of Hadrianus Junius as humanist advisor and two series of virtues and vices; cp. Lebeer 1969, pp. 62- author of the Latin inscriptions (see below). On the 76, nos. 18-25 and Lebeer 1976, pp. 11-12, nos. 18-24. importance of these two humanists as a source of inspi• On the iconography of Bruegels virtues and vices, see ration to Heemskerck and on the differences between inter alia Borms 1939, the tentative interpretations in their respective influences on the artists subject matter, Stridbeck 1956, pp. 126-170 and Anzelewsky 1975, pp. see Veldman 1986, pp. 1.4-15. 58-60, nos. 64-66 (vices) and pp. 65-70, nos. 69-74

(virtues). The chronology of the prints Cock published 10, Samson smiting the Philistines with the jawbone of after Bruegel is discussed in Riggs 1979. an ass is the fourth sheet of the series; cp. Hollstein, vol. 7, p. 74, nos. 33-36; idem, vol. 8, p. 242, nos. 224-229;TIB.

6. "Videndum, ut nec voluptati dediti prodigi et 56, pp. 20-25, nos. 7:1-6; New Hollstein, Maarten van luxuriosi/ appareamus, nec avara tenacitati sordid! aut Heemskerck, vol. l,pp. 83-89, nos, 85-90; Riggs 1971, p. obscuri existamus." Konrad Renger discusses the prob• 340, no. 121; Saunders 1978, p. 390. A large number of lems in interpreting verses underneath prints in compar• Heemskercks preparatory drawings still exist, most of ison to the iconography of the compositions, paying spe• them in the collection of the printroom of the Statcns cial attention to the series of virtues by Bruegel; cp. Renger Museum for Kunst in Copenhagen; see GarfT 1971. 1984, pp. 152-153 .Various aspects of the problematic rela• Although not one of such drawings for the Story of Samson tion between 'word' and 'image' in Dutch printmaking in is known as yet, they must have been drawn in the same the sixteenth and seventeenth century are discussed in technique: a purely linear drawing in pen and ink with• Raupp 1981 - a rather superficial exhibition catalogue - out any use of the brush - a technique used especially to andVekeman 1984, with numerous essays on specific sub• facilitate the engraver when reproducing a composition. jects. 11 For an assessment of Galle's engravings com• 7. Cp. Sellink 1991-92, p. 149. missioned by Hieronymus Cock, see Riggs 1.971., pp. 100- 108.

8. Through the studies of IljaVcldman prints after Maarten van Heemskerck have been analyzed in detail; 12. Galle s last known print published by Cock is cp. especially Veldman 1977a and Veldman 1986. Her Gaius Mucins Scaevola placing his right hand on a burning altar, detailed catalogue of all these prints has recently appeared: after a design by Frans Floris and dated 1563; see Hollstein, New Hollstein, Maarten van Heemskerck (2 vols.), final• vol. 6, p. 255, no. 94a; idem, vol. 7, p. 79, no. 388;TIB. 56, ly replacing the more than 150 years old, but still very p. 374, no. 99; Riggs 1971, p, 53 and p. 332, no. 91;Van de useful checklist by Thomas Kerrich (Kerrich 1829).The Velde 1975, vol. l,p.433,no.P141.Alsosee chapter l,fig. exact number depending on the attributions of some 10. unsigned series of prints, Philips Galle engraved circa 175 prints after Van Heemskerck. In comparison, Coornhert 13 Cp. Veldman 1977a, pp. 106-108. On jumus made around 225 prints after the latter's designs. and Galle also see chapter 2; the relation between Heemskerck s preference for Old Testament subjects, seen Heemskerck and Junius is discussed in Veldman 1977a, pp. in the context of a comparable interest in contemporary 97-112. Dutch (Neo-Latin) literature, is examined in Saunders

1978. Her study provides a rather distorted view of the 14, Hollstein, vol. 7, p. 74, nos. 39-46; idem, vol. importance of allusions to the debate on iconoelasm and 8, p. 243, nos. 248-255; TIB. 56, pp. 65-72, nos. 17:1-8;

186 Notes Chapter 4

New HoUstein, Maarten van Heemskerck, vol. 1, pp. 132- Amsterdam - are both dated 1560; see Benesch 1928, p. 137, nos. 151-158; Saunders 1978, pp. 93-95, p. 394. 16, no. 101 and Boon 1978, vol. 1, p. 109, no. 310. This implies that the production of the series took at least three

15. All eight preparatory drawings of this series years. are in the collection of the Statens Museum for Kunst in Copenhagen; cp. Garff 1971 ,n.p„, nos, 72-79.The lapse of 19. "Arcta parat locupies pemimpere limina frus- time of one year between the production of the drawings tra,/ Obstat enim fulvi vesana cupido metalli./Vulgus et (dated 1563) and the engravings (dated 1564),corresponds adversa naturae lege camelum/ Imnianem urget acus exile with other series by Heemskerck. It thus provides us with subire foramen "Transcribed from the verses in letterpress an indication of the time - usually one or two year - it in the margin of the first state, which also has the fol• subsequendy took Galle to obtain both Heemskercks lowing, slighdy different Dutch equivalent printed in let• drawings and the verses by Junius, to engrave the plates terpress: "De rijcke dringt wel met onstadiger loop an,/ and to see the series through press.The relation between Maer tgelts mirme doet hem wt d'enge poort bhvejn]/ (preparatory) drawings and prints in general - with Door des nalds oge wil boer, reenter, en coopman,/Tegens numerous examples, several of which concern Philips nature den kemele voortdrijven "The English translation Galle - is elucidated in Heusinger 1987. is quoted from Veldman 1977a, p. 84.The engraving illus• trates St.Matthews Gospel 7:13-14 (on the narrow gate•

16. "Asuerus fulvo placitam diademate velat/ way) and 19:23-24 (on the metaphor of the camel and Reginam, et celebri tedas epulo ornat amatae," the needle).

17. In the conception of such series as the Story 20. "Sed terns debentur opes, quos linquere fati/ of Esther Heemskerck could very well have been influ• Lex immota iubet: fisum his mors tollit acerba/ Illecebrae enced by the popular plays with such subjects that were banc, nec honor, nec saeva potentia placa[n]t,/ Sic que regularly staged by the chambers of rhetoric in the major pecunipetas Orci manet aula rapacis." Again transcribed Dutch cities. As Ilja Veldman points out: "many of the from the typographically printed verses in the margin of themes of the plays presented by the Wijngaardranken the first state, which also has die following, slighdy dif• [one of the two Haarlem chambers, MS] do, though, cor• ferent Dutch equivalent in letterpress: "Tgelt hoort ter respond to subjects which regularly occur in werelt, men moets hier al verlaten,/ Die daer op Heemskercks prints" (Veldman 1977a, p. 131). Akhough betrouwefn], sterven met ghequelle,/ Want ter doot en it is impossible to determine the exact nature of such bor• can macht,eer,noch weeidebarejn],/ Dan vindt de ghelt- rowings, as most of the moral plays produced by the soecker de ghevreesde helleThe English translation is Haarlem chamber are lost, it is a fact that inter alia the sto quoted from Veldman 1977a, p. 89. ries of Esther and Samson have been themes of plays per• formed; cp. Veldman 1977a, p. 131, n. 26. On die general 21. Cp.Veldman 1977a,p. 112, In the Wretchedness influence of such plays and of the (Latin) dramas put on of wealth, for instance, the influence of Coomhert's ethi• stage by the Latin School in Haarlem on the work of cal opinions is also clearly discernible; cp.Veldman 1977a, Maarten van Heemskerck, see Veldman 1977a, pp. 123- pp. 89-90. 141 and Saunders 1978,pp. 70-151. On the general,much more implicit use of Old Testament stories as a moral 22. The one notable exception is the Misery of guide, see Veldman 1995a. human life, a remarkable series of six prints devoted to the unlucky fate of the human raee.This series is most unusu• 18. HoUstein, vol. 7, p. 79, nos. 395-400; idem, vol. al in its pessimism and its lack of any reference to the (reli• 8, p. 244, nos. 347-352;TIB. 56, pp. 282-287, nos. 73:1 -6; gious) hope of salvation and to life after death. Cp.Veldman New HoUstein, Maarten van Heemskerck, vol. 2, pp. 161- 1992, pp. 265-270. 165, nos. 476-481. A detailed iconographic analysis can be found inrVeldman 1977a, pp. 85-90;Veldman 1986, pp. 23. On the moralizing tradition in Netherlandish 26-35 and Veldman 1992, pp. 252-253.The two prepara• Christian humanism in the fifteenth and sixteenth cen• tory drawings known - the nos. 2 and 5, respectively in turies and its influence on the (graphic) arts, see Veldman the Albertina in Vienna and in the Rijksprentenkabinet, 1990-91 and Veldman 1995b. On the dangers of (over)--

187 Motes Chapter 4

interpreting the moral strains in Netherlandish art as an tion with the address ofTheodoor Galle. The newly equivalent of modern non-sectarian religious opin• engraved inscriptions around the quadrangle are of a type ions, see Schwarz 1988,pp. 176-177 that Galle only started using after his arrival in Antwerp in 1570; cp. chapter 2, note 15. On the other hand the

24. TIB. 56,pp. 288-291, nos. 74:1 -4.The iconog• engraving must have been made before 1579. In a Dutch raphy of the series is discussed in detail in Veldman 1991, private collection the engraving is pasted on an elabo• pp. 272-274 and Veldman 1992, pp. 241-242. rately decorated and hand coloured border and added in a Bible with a binding dated 1579.

25. "Dolio ut indorrnit deses, stertitque supinus,/ Nec male consultum cura ilium tangit agclli,/ Defiuit 30. On the iconography and popularity of the Last inculta et spern vinea fallit herilem/ Et lolium infelix pro judgement as subject in Netherlandish art in the sixteenth frugibus obsidet arva." English translation quoted from century, cp. Harbison 1976. Veldman 1992, p. 242.

31. Instead of "Reus Condempnabitur nec dice• 26. TIB. 56, p. 182, no. 51. As usual in this period tur qua'Tine 8 now reads: "Reus Condempnabitur sciens the engraving has no address, but is simply signed"PGalle" bene qua." It must also be noted, however, that the same in the lower left corner and dated "1564" at bottom cen• words in line 4 have not been changed, neither have the tre. anti-clerical phrases in lines 2 and 3. Other changes with• in the quadrangle are found in lines 11 and 12, that now, 27. The engraving by Cort - the last sheet of a metrically more correct,read:"Quo nec erit Codici locus series entitled Cycle of vicissitudes of human affairs - is nec diges/ Christus Index Daemofn] actor reus tes." described in New Hollstein, Maarten van Heemskerck, vol. 2, p. 168, no. 490.This comparison was recently made 32. Also cp. Sellmk 1991-92, pp. 151-153. by IIj a Veldman in her elaborate study on the print designs by Philips Galle; cp,Veldman 1991. p. 270.There are also 33. A few years earlier, in 1565, Heemskerck had striking similarities with the composition of the Triumph also made a painting of the subject combining the four of Christ or eternity, an engraving by Philips Galle after last things into one composition. Karel van Mander Heemskerck, made around 1565 and the last print of the described this painting in the collection of Jacob Rauwert series Triumphs of Petrarch; New Hollstein, Maarten van in Amsterdam, particularly praising this work on account Heemskerck, vol. 2, p. 174, no. 496. of its great variety in human emotions and its numerous nudes; cp.Van Mander 1994, vol. 1,pp. 244-245.The panel 28. "hidicabit Indices Index genera/ Ibi nichil is now in the collection of Hampton Court Palace; cp. proderit dignitas Papa/ Sive sit Episcopus, sive Cardina/ Crosshairs 1980, pp. 241-243, no. 98 and Harrison 1988, Reus condempnabitur,nec dicetur qua/ Ibi mchil proder• vol. 2, pp. 874-891. On the engravings, see Hollstein, vol. it multa allega/ Neque excipere neque replica/ Nec ad 8, p. 248, nos. 564-567;TIB. 56, pp. 303-306, nos. 78:1 -4; Apostolicam sedem appella/ Reus Condempnabitur nec New Hollstein, Maarten van Heemskerck, vol. 2, pp. 137- dicetur qua/ Cogitate miseri qui et quales es/ Quid in 140, nos. 449-452. Asides from the signature of hoc ludicio dicere potes/ Quo nec locus erit Codice nec Heemskerck as the inventor, the series is unsigned. Style diges/ Idem erit dominus ludex actor tes" The author of and technique are, nevertheless, so similar to the engrav• the verses is unknown. As Chris Heesakkers has suggest• ings of Galles own hand, that the attribution is quite jus• ed to me, they might have been quoted from an existing tified. Moreover, the fact that later editions by Theodoor and much earlier text. and Johannes Galle exist, strongly suggest that Philips Galle must have been the prime publisher of the senes. 29. The platemarks of both compositions arc identical: 258 x 209 mm. and 257 x 206 mm. respective• 34. For a general overview of the iconography of ly The second version is not mentioned in literature.There the subject, see Malke 1976. On the Wierrx print, see is no signature of the inventor, nor of the engraver; in the Mauquoy-Hendrickx 1978-83, vol 2, pp. 270-271, no. lower right corner the address of Galle is engraved: 1492; on the four engravings issued byVrints after Maarten "Philippus Galle excude "There also exists a second edi• dcVos,sce Hollstein, vol.44,pp. 247-248,nos. 1239-1242.

188 Notes Chapter 4

Around 1578 Galle published Goltzius's engraving 39. Compare the chronological index of dated Allegory on the necessity of Prudence, which included images Heemskerck prints in New Hollstein, Maarten van of the four last things, compare Sellink 1991-92, pp. 152- Heemskerck, vol. 2, p. 271 153. The subject was also included in four unnumbered etchings on pp. 201-207 of the Institutiones Christianas 40. Besides several individual engravings, Philips (1589) - an illustrated catechism based on works by the Galle issued at least four series in 1569. The first was the Jesuit authors Petrus Canisius and Johannes Baptista series of portraits of the counts of Holland and Zeeland; Romano and published as a joint venture by Philips Galle compare chapters 1 and2.The other two were after designs and Christophe Plan tin in 1589 - and on the engravings by Heemskerck: the comprehensive Disasters of the Jewish nos. 99-100 of the Veridicus Christianas (an illustrated people (22 plates) and the smaller Four last things (four moral guidebook), written by the Jesuit Johannes David plates). Cp. New Hollstein, Maarten van Heemskerck, vol. and published joindy by Philips Galle and Jan Moretus in 1. pp. 199-214, nos. 237-259 and vol. 2, pp. 137-140, nos. 1601 {compare fig. 135). For a detailed discussion of both 449-452 respectively Ilja Veldman here also dates King publications, also see below. Josiah restores the law of the Lord (eight plates) in this year, derived from the year that is mentioned on seven of the

35. Cp. the remarks in Knipping 1939-40, vol. 2, preparatory drawings;ibid., vol. l,pp. 126-131,nos. 143- pp. 308-310. On Heemskerck's personal religious opin• 150. The series was, however, probably not published in ions, see Veldman 1987a. The verses in the margins of the the same year as the drawings were made; cp. note 15. Four last things, written by Hadrianus Junius, are of a rather general and descriptive nature. 41. Galle s first recorded apprentice was a certain Hendrick van Dort, mentioned in the records of the guild 36. TIB. 56, p. 206, no. 54. The iconography is of St. Luke of 1573;Van Lerius 1864-76, vol. 1, p. 252. It studied in detail in Veldman 1991, pp. 275-276, where the is, however, reasonable to assume that the engraver over engraving is plausibly dated around 1569.The engraving the years had several assistants who were not officially is signed "PHLS. GALLE. IN.VE" at bottom centre; the enlisted at the guild. In a letter of Abraham Ortels to verses around the engraving were composed by Hadrianus Johannes Crato, written in the fall of 1573, the Antwerp Junius. Some authors add this engraving to the Four last geographer speaks of young assistants^) who did a lot of things after Heemskerck, cp. Casanovas 1963-66, vol 1, pp. engraving in the masters workshop; Ortels 1847, p. 94, 160-161, nos, 306-310 and Gonzalez de Zarate 1992, vol also see chapter 2, note 72, 5, pp. 129-130, nos. 40.1-40.5.This is not very plausible, considering the completely different iconography and the 42. Hollstein, vol. 8, p. 245, no. 365;TIB. 56, p. 56, unusual fact that two designers (Galle and Heemskerck) no. 15; New Hollstein, Maarten van Heemskerck, vol. 1, would have been involved in the production of one series. p. 122, no. 138.

37. Cp. Knipping 1939-40, vol. 1, pp. 148-150; 43. New Hollstein,Maarten van Heemskerck, vol.

Kirschbauiri 1968-76, vol 2, p. 337 and vol, 3, pp, 311- 2, pp. 29-35, nos. 321-328; Mauquoy-Hendrickx 1978- 312. 83, vol. 2, pp. 233-235, nos. 1313-1320. Also compare Veldman 1987a, pp. 205-207. 38. The engraving is after a design by Maarten de

Vos; Hollstein, vol 44, p. 160, no. 716; Mai 1992, p. 574, 44. Galle s imprint can also be found on several no. 160.2-There is a painted version of DeVos's design in editions of series of Heemskerck prints engraved by other the Jacobskerk in Antwerp. Referring to the style and artists before 1571/72. In these cases, however, it concerns technique of the painting, the date on the print and the series originally published by Hieronymus Cock and reis• Jesuit iconography, Armin Zweite convincingly dates the sued by Galle at a much later date. On restrikes by Galle painting - which commonly was thought to have been from plates in the possession of Cocks widow, also see made before 1580 - as 'shortly after 1585'; Zweite 1980, chapter 1.There is only one early series incised by anoth• pp. 181-183, pp. 293-294, no. 70. On the history of the er engraver which was possibly issued by Philips Galle in Jesuit Order in the Netherlands, see Poncelet 1927-28. Haarlem. This is the Four temperaments, dated 1566, engraved by Herman Jans&. Muller and without any pub-

189 Notes Chapter 4

lisher mentioned on the first edition; New Hollstcin, only added in the enlarged edition of 1582 with addi• Maarten van Heemskerck, vol. 2, pp. 218-221, nos, 542- tional drawings by Johannes Stradanus; Garff 1971, n.p., 545 as "probably [published] by Philips Galle." This no. 127. assumption is strengthened by the fact that the second and third editions were produced by Galie's son and grandson 52. "D. 1ACOBO RAVWARDO SUMMO Theodoor and Johannes. PICTURAE ADMIRATORI/ AMICO SUO PHILIP- PUS GALLAEUS./ Et si quidem plurimum debeam tibi,

45. Compare Vcldman 1987a, p. 207. For a tran• mi D. Rauwarde, ob amicitiae nostrae vetustatern et scription of Arias Montano's note - on the verso of the amorem singularem, quo mecum erga picturam es prae- preparatory drawing for the Adoration of the Trinity in ditus, tamen non tarn ideo tibi hunc libellum mitten-/

Heaven, in the Statens Museum for Kunst in Copenhagen dum esse duxi, quam quod hunc eommunem nostra [mj

-sceGarfFl971,n.p.,no,117. et artis magistrum et amicum, in vitae suae fine, miseriis obrutum, propria sede domoq[uej communi calamitate

46. Hollstein, vol. 7, p. 80, nos. 414-421; idem, vol. pulsum atque eiectum, in mam do-/ mum benigne sus- 8, p. 245, nos. 357-364;TIB. 56, pp. 376-383, nos, 101:1-8; ceperis, humaniterq [uc] et liberaliter traetaris. ubi etiam New Hollstein, Maartcn van Heemskerck, vol. 2, maiorem horum Apostolicorum actuum partem tanto pp. 192-197, nos. 513-520. artificio delineavit. Quapropter non potui committere quin hunc tibi in-/ scriberem ac dedicarem. Te oro, ut

47. Hollstein, vol. 8, p. 248, nos. 578-583; New benigno animo suscipias, et pro mis tueare ac defendas. Hollstein, Maarten van Heemskerck, vol. 2, pp. 181-185, Vale Antverpiae XVlILAugusti M.DXXXV'On the edi• nos. 501-506, where the (unsigned) engravings are right• tion as published in 1575, see Hollstein, vol. 7, p. 78, nos. ly attributed to Philips Galie.The iconography is discussed 206-240; idem, vol. 8, p. 244, nos. 306-322; TIB. 56, in Vcldman 1992, pp. 230-233. pp. 147-162, nos. 48:1-16; New Hollstein, Maarten van Heemskerck, vol. 2, pp. 96-109, nos. 395-410.

48. For biographical details on Junius, see Veldman

1974. 53. There are at least two drawings undoubtedly intended for the Acts of the apostles which were not used

49. On Heemskerck, see Veldman 1977a, pp. 11- in any of the published editions: the above St. Peter freed 15; Grosshans 1980, pp. 18-27 and Harrison 1988, pp. 2- from prison and the Beheading of St, James(?), both dated 79. The basic account of Heemskerck s life is, of course, 1573- Both drawings are in the collection of Museum found in the Sckilder-boeck by Karel van Mander; cp.Van BoijmansVan Beunmgen. Cp. Hoetink 1961, pp. 24-25, Mander 1994, vol. l,pp. 236-247.Van Mander mentions nos. 10-11. For unknown reasons - perhaps the drawings that the artist left Haarlem during the siege in 1572.The were unsatisfactory or even not available to Galle at the Spaniards first surrounded the city on 11 December 1572. time - these two subjects were replaced by designs by the siege ended on July 13 of the following year after the Stradanus in the second edition of 1582. capitulation of the Haarlem authorities.

54. On the popularity of this particular theme in

50. New Hollstein,Maarten van Heemskerck, vol. Dutch art of the sixteenth and seventeenth century and 2, pp. 212-213, nos. 536-537. The first was engraved by its possible connection to Calvinist opinions on baptism, Herman Jansz. Muller and has no address of a publisher; see Defoer 1977,pp. 21 -24. Galie's engraving is here repro• the second was issued by Philips Galle in Antwerp, but duced in its second state, as published in the enlarged edi• bears no signature of an engraver. On Rauwert, see Bok tion of 1582. 1993-94, pp. 148-149 and p, 159. 55. Besides Stradanus s drawings, Galle also used

51. All 1 6 preparatory drawings used for the first one drawing by Heemskerck; cp. note 36.The title page edition of 1575 (cp. note 37) are now in the Statens and 16 new engravings of the 1582-edition are - even

Museum for Kunst in Copenhagen; Garff 1971, n.p., nos. though only one is signed14Philippus.Galle.sculp."- attrib• 118-126 and 128-134. Heemskerck's drawing of the bur• uted to Philips Galle; cp. Hollstein, vol. 7, p. 78, nos. 206- ial of St. Stephen (dated 1572, also in Copenhagen) was 240;TIB. 56, pp. 163-179, nos. 49:1-17. One engraving

190 Notes Chapter 4

(St. Paul bitten by a viper) is signed by Hendrick Goltzius, 58. Cp.Mauquoy-Hendrickx 1978-83, vol. l,nos. another (the Resuscitation of Eutyckus) is attributed by some 1-73 (Old Testament, almost exclusively series engraved to Goltzius; cp. Strauss 1977, vol. 1, pp. 260-261, no. 154. for De Jode's Thesaurus), nos. 74-393 (New Testament) There are at least two known preparatory drawings by and nos. 394-604 (images of the Three Persons, including Stradanus: St, Paul healing a cripple at Lystra (Christ Church many illustrations of the life of Christ). Another 1000 College, Oxford) and St. Paul disputing with the sorcerer engravings are also religious of nature, mainly the lives of Elymas in Pafos (Bibliothèque Nationale, Paris); cp. Byam Mary, the aposdes and all other saints. These numbers do Shaw 1976, vol. 1, p. 325, no. 1331 and Lugt 1936, p. 47, not include the book illustrations by the Wierix family no. 187. of which 150 illustrate die Life of Christ in Geronimo Nadal s Evangelicae historiae imagines (Antwerp, 1593), one

56. See above, note 17. The popularity of Old of the first major Jesuit book productions in Flanders; cp. Testament subjects in Dutch seventeenth-century paint• Rooses 1888 and Mauquoy-Hendrickx 1978-83, vol. 3a, ing is discussed from various points of view in Turnpel pp. 400-429, nos. 1989-2141 and pp. 491-496. 1991. For a general discussion of the use of the Bible as subject matter in the art of the Counter-Reformation, 59. TIB. 56, p. 135. no. 41; Jost 1960, pp. 27-33 compare Knipping 1939-1940, vol. 1, pp. 240-303. and pp. 182-183,no.III,24;FiledtKokl986,pp.418-419, no, 311. As yet the engraving is the very first dated work 57. Gerard de Jode s Thesaurus was - as recently known by Blocklandt, then nearly 40 years old! Philips has been pointed out by Peter van der Coelen - first pub• Galle published 32 engravings after Blocklandt, roughly lished in Antwerp in 1579;Van der Coelen 1995, pp. Hu• 80 % of his graphic oeuvre (41 prints). Besides one engrav• ll 1. De jode issued a second edition in 1585, again in ing by Hendrick Goltzius, Galle incised all of these works Antwerp, while a third was most probably published himself Excluding a series of four sheets with the Story posthumously by his widow after 1591; cp. Mielke 1975, of Adonis, all prints depict religious subjects. For a cata• p. 71 and De Bruin 1990, p. 196, n, 6. All these Antwerp logue of prints after Blocklandt, see jost 1960, pp. 162- editions are exceedingly rare. In fact, the most popular 198. editions of the lîiesaurus are of a much later date. After

1639, in continuously changing arrangements of prints, 60. The verses read: "Discipulos frustum christus this illustrated Bible was reprinted in the Northern partitur in omneis/ Paniceum, sancit que novum, inte- Netherlands several times by Claes jansz. Visscher, by Jan xnerabile foedus,/ Atque suae necis hoc monumentum Philips^. Schabaelje and by Visscher s grandson Nicolaus. lege perermi/ Instituens, sese panis sub imagine tradit." On these late editions, see Visser 1988 (Schabaelje) and ("Christ divides the piece of bread between all of Ins fol• Van der Coelen 1995 (Visscher). For a detailed analysis of lowers, and sanctifies a new sacrosanct covenant; and by the designers and engravers of De Jode s original edition, instituting this remembrance of his death by eternal law, see Mielke 1975; in the last issue of the Bulletin van het he gives himself in the appearance of the bread") ;ep.Junius Rijksmuseum of 1997 an article by Peter van der Coelen, 1598, p. 184 andVeldman 1977a, p. 105, n. 41. Blocklandt Peter Fuhring and Chris Sehuekman is to appear which was (and always stayed) a Catholic, as was Junius, whose will provide new detailed information on the genesis of orthodoxy, however, has been questioned on several occa• the Thesaurus. In contrast to the Thesaurus, the two etched sions; also cp. chapter 2. On the iconography of the Last series of biblical illustrations by the Antwerp printmaker Supper in Netherlandish sixteenth century, also see Siesling Pieter van der Borcht were even never published in the 1981. city on the Scheldt. In 1583 the Leiden branch of the

Officina Planiiniana issued both series; all later editions also 61. An assessment of Blocklandt's stylistic devel• appeared in the Northern Netherlands. As the introduc• opment, in the light of Netherlandish art in this period tion and the legends were written by the heterodox spir• in general, is given in Kloek 1986, pp. 151-155. On the itualist Hendrikjansen van Barrefelt (also called Hiël),any series of Lot, see Hollstein, vol 2, p. 59, nos. 6-13; idem, Antwerp edition after 1585 would have been almost vol. 7, p. 74, nos. 4-11;TIB. 56, pp. 13-16, nos. 4:1-4 and impossible. On the series by Van der Borcht, see Hamilton Jost 1960, pp. 162-165, nos. Ill, 1-4. Ingrid jost wrongly 1981b andVander Coelen 1995,pp. 108-110,119.A gen• dates the series around 1579;Jost I960, pp. 74-76. As Arias eral survey of Netherlandish illustrated Bibles is given in Montano, who composed die verses in the margin, left Poortxnan 1983-86 and Van der Coelen 1991. Antwerp in 1575, it is reasonable to assume that Galle pro-

191 Notes Chapter 4

duced the series before 1575; cp. Hansel 1991, pp. 128- engravings - dated 1582 and 1583 respectively - after 129. A more precise date can be deduced from an adver• Blocklandt among the very first works Goltzius published tisement by Philips Gallc in the catalogue for one of the on his own account in Haarlem. Cp. Filedt Kok 1991-92, book fairs in Frankfort in 1572, which includes the Story pp. 163-465,207, nos. 1 and 6.The painters death in 1583 of Lot; Fabian 1972, vol. 1, p. 443. It is also the only series put an early stop to this collaboration. with the address "ad insigne aurei cervi in platea lom- bardica veteri" ("at the sign of the Golden Deer in the 65. On the portraits, see Virorum dociorum effigies Lombardenvest"). The Lombardenvest was probably (1572) and chapter 2; on the book of triumphal arches, Galle s first address in Antwerp, later, somewhere after see Arms aliquot triumphaks (1572) and chapter 1. 1585, he moved to De Witte Lelie (The White Lily) in the

Huidevetterstraat where the family workshop would stay 66. The precise printing history of the Divinamm until the second half of the seventeenth century; cp. chap• nuptiarum and its immediate counterpart Christijesu vitae ter 1. On Galle s association with the Spaniard Arias speculum is complicated and, at this point, impossible to Montano, also see chapter 2. reconstruct exactly. A small number of first editions of both issues was probably published in 1573, with Latin

62. The title on the first plate reads: "IESU distiches in letterpress in the margins. There are both CHRISTI DIGNITATIS VIRTUTIS ET EFFICIEN copies with separate (letterpress) numbering for each pub•

TIAE PRAENUNTIIS SYBILLIS X " On the Sibyb lication - nos. 1-28 and 1-50 respectively - and copies see Hollstein, vol 2, p. 59, nos. 19-28; idem, vol. 7, p. 78, with a continuous numeration 1-78 for the combined nos.275-286;TIB.56,pp.231-240,nos.66:l-10;jostl960, booklets. The most accurate description of these and all pp. 46-61 and pp. 167-175, nos. Ill, 6-15 and Hansel 1991, later (see below) editions is found in Mauquoy Hendrickx p. 129. At an unknown (later) date two engravings were 1978-83, vol. 3a, pp. 395-397.To these should be added a added to the series. These were neither designed by series of proof impressions of the Divinamm nuptiarum, Blocklandt, nor engraved by Galle; cp. jost 1960, p. 46. without any inscriptions in the margin (Antwerp, The iconography of this series is discussed in detail in Museum Plantin Moretus). Anneloes Smits's doctoral thesis (Free University, Amsterdam) on engraved series of sibyls in the 67. Mauquoy Hendrickx very much doubts that Netherlands in the sixteenth and seventeenth century, Johannes Wierix is the engraver of the whole series and kindly put at my disposal by the author; Smits 1995, cautiously only lists the five prints signed with his mono• pp. 68-76. On the iconography of sibyls in general, cp. De gram - one from the Divinamm nuptiarum and four from Clercq 1979 and De Clercq 1980. the Christijesu vitae speculum - in her catalogue; Mauquoy Hendrickx 1978-83, vol. 3a, pp. 395-397, nos. 1978-1982.

63. Jost s suggestion that such series as the Story of On Gerard Groenning as an engraver and draughtsman, Lot and the Sibyls were intended as Catholic propaganda see Thieme/Becker, vol. 15, pp. 70-71; Mielke 1967, to be spread in the Northern Netherlands is untenable; pp. 156-180: Lugt 1968, p. 125, no. 605 (on one of cp. jost 1960, pp. 46-47. In contrast to the above engrav• Groennings few signed drawings, documenting the artist ing of the Last Supper, these series show no signs at all of any as an glass engraver working m An twerp), Boon 1992, vol. specific Catholic iconography. On die contrary, both subjects 1, pp. 213-214 and Mielke 1995, Due to appear in 1997is were entirely acceptable to both Protestants and Catholics. a checklist of engravings by and after Groenning, based on the late Hans Mielke s research (Mielke 1996a).In 1997

64. The. Virgin on the clouds (1578); Hollstein, vol. this list will be fully catalogued in a volume of the New 2, p. 59, no. 15; idem, vol. 7, p. 77, no. 156;TIB. 56, p. 209, Hollstein series; editor Chris Scfmckman kindly allowed no. 57;Jost 1960, pp. 61-62 and pp. 176-177, nos. Ill, 17. me access to the manuscript of this forthcoming publica• One of the engravings Galle published after Blocklandt tion. was, as stated in note 44, engraved by Hendrick Goltzius.

The latter s elegant and flowing lines of the burin were 68. The original Latin verses by Arias Montano very well suited to incise compositions after designs by were now, in a different type of letter, set in the margins; Blocklandt. Thus it is not surprising to find two other the French verses were typographically printed on the

192 Notes Chapter 4

verso of each preceding engraving.Ali engravings are now 'inventor5 of the iconography of the images, is Hansel numbered in the plate, with the numbers 1-28 {Divinamm 1991, pp. 101-1115 {Divinamm nuptiarum) and pp. 115- nuptiamm) and 1-50 (Ckristi jesu vitas, speculum) respec• 118 (Christijesu vitae speculum), illustrating all engravings. tively. The typographical texts were again printed by Several comments on the iconography of the two series Coppens van Diest. Added to die Divinamm Nuptiarum are based on her analysis. Arias Montano's conception of were also a Latin and a French introduction, an ecclesias• the Divinamm nuptiarum may have had earlier roots. In tical approhatio and a royal privilege. As in the case of the 1562 the theologian, as a member of the Spanish delega• first edition of 1573, most existing copies of these two tion at the council of Trent, spoke on two subjects, one series are found bound together; also see below. of which was matrimony. Compare Hamilton 1981a, p. 76.

69. SeeVoet 1969-72, vol. 1, pp. 80-83. 75. "Venez, amis, prendre refection:/ Iettez de

70. SeeVoet 1980-83, voL2,pp.956-957,no. 1215. vous le faix, qui tant vous foule:/ C'est mon amour, qui In contrast to the first two editions, the Galle/Plantin reis• tout soulage et saoule./ N'abusez pas de vostre election:/ sue of the Diuinarum nuptiarum was not supplemented by Mais hastez vous, la table est desia mise,/ Couverte aussy an edition of the Christijesu vitae speculum. d'un met2,qui eternile"Divinamm nuptiarum,second edi• tion, 1574, fol. A3, verso. As with odier verses of the

11. The fact that Galle decided to replace the orig• Divinamm nuptiarum and Christijesu vitae speculum, I here inal tide page, could have another reason as well. After the quote the French versions from die second editions of council in Trent the Catholic Church became more and 1574, Heyns's French legends are not only slighdy longer more alert on the decency of religious images. Although than the Latin legends composed by Arias Montano, but the nudity of Adam and Eve could be substantiated by the also certainly far more straightforward in pointing out the verses of Genesis and could also be explained as a symbol general meaning of an image. of mankind's original innocence, Galle may have heeded warnings against indecency as frequendy worded by, for 76. Cp, Hansel 1991, pp. 114-115. example, the Louvain theologian Johannes Molanus. Cp. Freedberg 1971 and Freedberg 1972, pp. 151-153. 77. "le suis de Dieu la crainte et reverence,/ Qui tout premier te viens faire assistence:/ Et ma lumière est 72. On Theodoor Galle s reissue of Ckristi jesu le commencement/ De Sapience. Or me preste l'oreille,/ vitae speculum, cp. Hansel 1991, p. 102. Not having seen Et me z amendant, avec prière et veille/ Pense à ta fin, et this edition, it must in my opinion have been published dernier Jugement." Divinamm nuptiarum, second edition, after 1600 as the younger Galle only then seriously start• 1574, fol. B3, verso. In the story of the bride this person• ed to take over his fathers activities as a print publisher ification is one of the messengers of a king searching for In contrast to the Divinamm nuptiarum the plates of the a bride worthy of his choice. Christijesu vitae speculum were still in the 1636-invento- ry of Theodoor Galle s widow Catherina Moerentorf: 78. Rather typically the above verses already urge "Het Leven Ckristi eenenvijftich platen" ("The Life of the reader to keep the Last Judgement in mind. It is pre•

Christ, 51 plates*8); Duverger 1984, vol 1/4, p. 21. On cisely at that moment when ones soul is judged and the Visscher's edition of the Divinamm nuptiamm see promise of salvation can, at least for some, finally be nil- Mauquoy Hendrickx 1979-83, vol. 3a, p. 397. This ver• fined. sion follows the!580-edition with the Latin text by Arnold Freitag. 79. "O bien-heureuse à la table de Dieu,/ Saoule toy bien de joye en ce beau lieu/ Où recevras en signe de 73. On this problem, cp.Van der Coelen 1995, victoire/ Pour un present la couronne de gloire./ Puis que pp. 114-115. tu as suivy l'Espoux Divin,/ Nopces seras avecques luy sans fin." Divinamm nuptiarum, second edition, 1574, fol.

74. The most elaborate discussion of the contents H2, verso. The composition is reminiscent of images of of these two series of prints, seen in the light of Arias Mary received in Heaven by Christ. In this case, of course, Montano as author of the verses and the intellectual Mary sits at her rightful place in Heaven at the left-hand

193 Notes Chapter 4

side of Christ. 1880,p. 126.The engraving is undated, unsigned and only bears the address of Philips Galle. Technique and subject

SO. 6'Apres cela, luy estant representees en un matter suggest that the print was made around 1575-1580;

miroir plusieurs images (lesquelles on peut veoir en un Kiliaan, however, composed verses on behalf of the Galle livre apart) elle contemple la vie, les actions et passions de workshop from c. 1575 until the very end of the centu• IESUS CHRISTUS qui de son gré s'est offert à elle pour ry. In the early seventeenth century Galles pupil,son-in- Espoux Divinarum nuptiarum, second edition. 1574, law and former workshop assistant Karel de Mallery fol. A3, recto. That, instead of a separate album ("un livre engraved a different head of Christ witii die same text in apart"), the prints of Christî jesu viiae speculum could also the margin; ep.Van den Branden 1978, p. 212, no. 73. be integrated in the Divînamm nupîîarum is made clear by

the printed remark on the verso of engraving no. 16; "Icy 85. The here illustrated Christ blessing the world has doit suyvre la vie de I esus-Christ." Dhnnarum nuptiamm, its counterpart in the Virgin praymg.T'iús set of engravings second edition, 1574, fol. E3, verso.Also compare note 52 - undated and unsigned, with only the address of Philips Galle in the margins - is described in Casanovas 1963-66, 81. Cp. Hansel 1991, pp. 104-106,114-115. vol. 1, p. 166, nos. 386-387; also see Gonzalez de Zarate 1992, vol. 5, pp. 157-158, nos 1962-1963. As Casanovas

82. Also compare, for instance, Nadine mentions the two prints seem to follow a prototype by Orenstein s study on the prints and politics of the Calvmist Maarten de Vos, are engraved by Julius Golmus and are

engraver and print publisher Hendrick Hondius dated 1586; cp. Hollstem, vol 44, p. 155, no. 695 and (Orenstein 1995a). p. 162, no. 744. One has to take in account, however, that the subject of the blessing Christ with a sceptre in his left

83. On the Huis der Liefde in connection with the hand was very popular m Antwerp at the end of the six• circle of friends around die Officina Plantiniana, see Voct teenth century. Compare, for example, the many prints by 1969-72, vol. 1, pp. 21-30 and Hamilton 1981a, pp. 65- the Wierix family with the same subject: Mauquoy- 82. Galle s religious views in this period, in relation with Hendrickx 1978-83, vol. 2, pp. 88-91, nos. 493-504. both Coornhert and the spiritualist movement, are dis• Amongst these an engraving, also with a pendant image cussed in Sellink 1991-92, pp. 149-153. It is characteris• of the praying Virgin, after Johannes Stradanus and pub• tic that Coornhert translated several of Arias Montano's lished by Galle; ibid., p. 89, no. 498. verses from both the Divinamm nuptiamm and the Christi jesu viiae speculum in Dutch and published them in his 86. Puraye 1969, p. 23. Galle's contribution is Ued-Boeck of 1575; cp. Bonger 1978, pp. 343, 377-378. undated, but as it mcluded at the very beginning of the An interesting painting concerning spiritualist circles in album - which Ortels had started compiling in 1574 - the Antwerp is JVf aarten de Vos s Moses showing the tables of law drawing will have been made around 1575-80. Also see to the Israelites (1574/75) in the Mauritshois, a portrait his• Rogge 1897, p. 175 (album, of Emanuel van Meteren, torié of the family and friends of the wealthy Antwerp dated 1577) and KalfT 1911, p. 24 (album of Jacob van merchant Pieter Panhuys. As shown in a study by Marnix van Sinte-Aldegonde, dated 1579). The fourth

7 J.W. Zondervan - by times speculating on the identity of known drawmg by Galle in an album amicorum shows the the sitters - this group portrait can be interpreted as a cir• head Hercules and is dated 1582 (album of Janus cle of friends closely associated with the Huis der Liefde, Gruterus). Cp. Heesakkers 1987 and Veldman 1991, such as Plantin,Joris Hoefiiagel, Rcmbcrt Dodoens and pp. 262-263. perhaps the young Joost Lips (also known as Justus

Lipsius); cp. Zweite 1980, pp. 159-163 and Zondervan 87. Galles introduction is dated March 1575.Ail 1982.As far as can be ascertained by physiognomical com• printing must have been finished in June, when a presen• parisons, Philips Galle - of whom no contacts with the tation copy was sent to Philip II; cp. Hansel 1991, p. 121. Panhuys family are known - is not portrayed, nor are other For a complete description, cp. Voet 1980-83, vol, 1, prominent familialists as Ortels and Arias Montane pp. 172—174, no. 172.Voet erroneously describes a copy in the Museum Plantin-Moretus with verses in letterpress, only die 84. On this engraving see Van den Branden 1978, version with engraved verses seems to exist. The contents of p. 212. no. 72; the text by Kiliaan is transcribed in Kiliaan the series is analyzed in detail in Hansel 1991, pp. 118-127.

194 Notes Chapter 4

88. Cp.Voet 1980-83, vol 1, p. 172. A well docu• librorum sacraria adeuntes, quid in vita honestum ac pium, mented case of a financial co-operation between Galle atque ad res publiée privateque recte gerendas, and Plantin is, for instance, Petrus Canisius s Inslitutiones demumq[ue] ad animorum salutem utile opor- Christianae of 1589. See below. tunumq[ue] sit, cognoscere ac discere cupiunt" David hoc est virtutis, 1575, fol. A2 verso - A3 recto. Compare

89. On the attribution to Groenning, see Mielke Hansel 1991, pp. 121-122. 1967, pp. 171-173, 179-180. At a later date Hans Mielke apparently was of opinion that the designs for the engrav• 93. "Quae quamquarn a me utpote paupere, ings from no. 23 upwards were by another hand, namely rudiori, leviorique materia parata fuerint, poterunt pro Crispijn van der Broeck; Hansel 1991, p. 121, n. 166. In praestantissimi cuiusque víri facúltate et ingenio vel lanea my opinion the suggestion of two different inventors is vel holoserica, vel argéntea et áurea, gemmis etiam inter- not corroborated by any difference in style or technique. textis splendentia confici, multis praeterea artis et elegan- In Peter van der Coelen s study on illustrated bibles pub• îiae partibus augeri et amplifican " David hoc est virtutis, lished by Claes Jansz.Visscher who reissued the David 1575, fol A3 recto. Compare Hansel 1991, p. 122. On a series in 1637 - Sadeler's hitherto unnoticed signature on comparable combination of purposes compare, for exam• print nos. 10 and 16 was brought to light;Van der Coelen ple, Sellink 1992, pp. 53-54 and chapter 3. 1995, pp. 107-108. On Johannes Sadeler's early engrav• ings, see Limouze 1990, pp. 22-24, 94. Cp. Casanovas 1963-66, vol. I, p. 178, nos. 6- 9 and Hansel 1991, pp. 127-128, where a later, mid-sev•

90. "Ira, dolorq[ue] pms, prudentia, spesq[uel, enteenth-century edition by Johannes Galle is described. fidesqjue]/ Proelia pro natis coniugibusqjuej adeunt./ The series is unmentioned in the literature on Groenning. Excipit mstructu[m] his animu[m] victoria pulcra,/ The signature "Ger. Gron. inven." on the first engraving, Quam neqjue] avara notis inficit invidia." ("Wrath,pious however, leaves litde doubt on his role as designer. The distress, prudence, hope and faith engage into combat on name of the engraver is not mentioned on any of the behalf of the children and wives.The mind equipped with prints, but style and technique make a reasonable case that these virtues gains a fine victory that will not even be Philips Galle must have been the engraver himself. Galle s blemished with criticism by miserly envy") address is also found on the first print of the series, as is

the name of Arias Montano:'iGalle exeudehat" and "Arias

91. Galle specifically compares Philip to David - Mont. caneb/'The prints can also be compared to anoth• "adeo ut alter nobis David extitisse videatur" - and com• er major series - here not discussed, as the iconography is pares their abilities to lead their people with divine inspi• rather traditional and straightforward - that Galle pub• ration and wisdom through all the turbulent events of the lished after Groenning s designs: lite life of the Virgin, six• tune. David, hoc est virtutis, 1575, introduction,fol.A3 recto teen circular (undated) plates engraved by Hieronymus - A4 recto; cp. Hansel 1991, pp. 118-121 Wierix. Cp. Mauquoy-Hendrickx 1978-83, vol. 1, p. 121, nos. 642-657.

92. "Quae Montani sententia mihi saepius excep- ta adeo placuit, animoque insedit meo, ut hoc unum argu- 95. In earlier representations of the parable in mentum, inter ea, quae selectissima existimaveram, cum Netherlandish art the preaching of Christ - who was primis dignisssimum arbitratus fuerim, quod speaking to his followers from a ship moored at the sea- Chalcographicae arris mihi pietatis cu[m] primis colen- coast - was emphasized; cp. Filedt Kok 1986, pp. 176-177, dae causa comparatae et exercitae diligentia et industna no, 60.This aspect is completely lacking in Galles Parable expressum et exornatum ad piorum, et Catholicae reli- of the sower. gionis studiosorum usum et oblectamentu[m] exhiberem. Idq[ue] cum superiore anno coepissem, non ornnrno per 96. "Maturata almo, demissa ac semina c[o]elo,/ smgulas partes, explicatum,(namque hoc longissimi operis Sponte sua et frlieras edere, nata bonos,/ Pectore vulgari et otii fuisset) sed turn iustis et maiusculis imaginibus pereunt excepta, quod hostes/ Occupât, expositis diripit demonstratum, turn vero prospectivae ope lo[n]ngius eq[ue] vijs" ("Seed, ripened and descended from the gen• etiam indicatum tabulis octo et quadriginta in breve coac- erous Heaven, born to bear good fruit spontaneously per• tum tanden conspiciendum iis exposui, qui sanctorum ishes when it lands in a vulgar mind, which hosts the enemy that picks it [the seed] away from die open road")

195 Notes Chapter 4

97. "Gratus ager concepts refert ubi semina omnes/ Ecce tibi victos victor inermis agit./ Hie genus, multo/ Foenore, messores et iuvat agricoiam/ formam, sexum et simul omnia mutat:/ Ille homini Nobilitatq[ue] solum, pretio nee vincitur ullo/ Nec domi mentem surripit ille hominem." ("Is there anything, any ni alterius iura movenda timet" ("When the grateful held thing at all, more pleasing than Bromius? For see, although returns the received seed with high interest, it pleases the unarmed he carries away all the vanquished with him as reapers and the farmer. It [the seed] ennobles the soil, goes victor. He changes birth, appearance, sex - everything. He beyond every price, and does not fear to change owner• robs men of their spirit and deprives them of their human•

ship.") ity5'). The English translation is quoted from Veldman 1987b, p. 225.

98. Cp. TIB. 56, pp. 292-295, nos. 75:1-4 (the numbers 1 and 2 of the series have been placed in the 103. "AtVerum, etVeri virtus de nomine dicta,/ E wrong order).The iconography of die series and its rela• Patris aetherei prodita Diva sinu,/ Lux orbi irradians,nullo tion to other series of prints with the same subject has violabilis aevo,/ Omnia sola regit: omnia sola potest." been studied in detail inVeldman 1987b. As IljaVeidman ("But the Veritable and the virtue, called by the name of pointed out the highly unusual iconography was already Truth, the goddess sprung from the lap of the Heavenly misunderstood in the seventeenth century. In a later edi• Father, she alone rules over all, the radiant light of the tion published by Galle s grandson Johannes the sequence world, immune to time: she alone is powerful"). The of the series was completely changed, implying that the (slightly corrected) English translation is quoted from

biblical source of the book of Esdras (also see below) was Veldman 1987b, p. 225. no longer reco^mized; compare Yeldman 1987b, p. 227.

104. On Goltzius, see Hirschmann 1919,Reznicek

99. IljaVeidman first substantiated this attribution 1961 and the Nederlands Kunsthistonsch Jaarboek of 1991- by comparing the series to drawings by Groenning in the 92 (vols, 42-42), which is entirely devoted to this artist. Rijksprentenkabinet and the Leiden prmtroom;Veidrnan Particularly important for the biography of Goltzius are 1987b, p. 225. Miedema 1991-92 and Nichols 1991-92; to Hessel Miedema s analysis of Kare! van Mander's biography of 100. On Ghyselinck see Heesakkers 1976, passim. Goltzius should be added: Van fviander 1994, vol. 1 As a young man Ghyselinck was a freelance proofreader pp. 384-407, which gives a full English translation ofVan working for Plantin between 1564 and 1566;Voet 1969- Mander s text. As mentioned by the editors in the intro• 72, vol. 2, p. 176. After his studies in France the Flemish duction to the above Nederlands Kunsthistonsch Jaarboek humanist and physician returned to Antwerp and occa• (p. 9) an assessment of Goltzius's earliest period as a print- sionally acted as an editor of publications of the Offkina maker - that is to say up to 1582 - is still a desideratum. Pianiiniana; Cockx-Indestege 1989, p. 133, no. 65. Galle Important in this respect are: Hirschmann 1919, pp. 47- must have been acquainted with Ghyselinck through 57, De la Fontaine Verwey 1969 and Veldman 1990, Plantin.The Antwerp humanist only rarely seems to have pp. 23-26 - both on the relation between Goltzius and written verses for prints; compare, for instance, two Coornhert - and Sellink 1991-92, on certain aspects of engravings by Anthonie Wierix dated 1586: Mauquoy- the Goltzius s collaboration with Galle. An excellent sur• Hcndrickx 1978-83, vol. 2, pp. 195-196, nos. 1070 and vey of Goltzius as an engraver and publisher after 1582 is 1073. given by Filedt Kok 1991-92. A concise, but very to the point overview of Goltzius s complete graphic oeuvre,

101. Compare Veldman 1987b, p. 225. As placed against the background of print publishing in the Groenning s compositions are, both in style and iconog• Netherlands at the end of the sixteenth century, is found raphy clearly indebted to print designs by Maartcn van in Orenstein 1993-94, pp. 177-183. A general survey of Heemskerck it is not strange to find that the Four powers Goltzius as a printmaker, with next to none attention to have long been attributed to diis Haarlem painter; his Antwerp iconography, is given in Silver 1993b. seeKernch 1829, p. 89 and Hollstein, vol. 8, p. 248, nos.

588-591. 105. Cp. Orenstein 1993-94, pp. 175-177.The only

major engraver and publisher active in the northern part

102. "An Bromio quidquam iucundius? hie tamen of the Netherlands at the time was Herman Jansz. Muller.

196 Notes Chapter 4

That Goltzius did not engrave any work for fviuller after (Strauss 1977, vol. 1, pp. 44-53, nos. 12-16;the four undat• his arrival in Haarlem can easily be explained. It is telling ed sheets from the Story of Lucretia, again dated by Strauss that as an engraver Muller in these years mainly worked as'circa 1578'(Strauss 1977, vol 1, pp. 54-61, nos. 17-20), for Antwerp publishers Hieronymus Cock and, after the however, Reznicek s dating of the two existing prepara• latter s death, Gerard de Jode. He also occasionally tory drawings as '1580 or shortly after5 (Reznicek 1961, engraved works for Philips Galle; cp. note 31. As a pub• pp, 292-294, nos. 140-141) is much more in accord with lisher the Amsterdam printmaker concentrated on issu• the technique of this series; the undated series of the Five ing books (cp. Bouman 1978) and only started publish• senses, unconvincingly dated by Strauss as 'circa 1578', but ing his own prints and those of his son and virtuoso in technique very close to undoubtedly later series as the engraver Jan Muller at a later date; cp. Filedt Kok 1994a, Set/en virtues (dated by Reznicek as 'after 1580'; Reznicek pp. 225 227 and Filedt Kok 1995, pp. 22-29 (catalogue). 1961, p. 264); 15 (or more?) sheets from the series the Equile loannis Austriaci (The royal stable of Don juan of

106. Cp. Filedt Kok 1991-92, p. 159 and p. 202 Austria), published by Galle around 1580 (Strauss 1977, n. 1, for a list of these engravings. For illustrations and vol 1, pp. 184-191, nos. 91-105). Goltzius may have descriptions of diese engravings, see Strauss 1997, vol. 1, worked on these last engravings in the years 1579-80, passim. Strauss s catalogue is not only inaccurate in its when Hieronymus Wierix - who had started working on descriptions of Goltzius s early prints, but also is rather these 'portraits' of horses - was in serious trouble and even arbitrary in dating these works. Other descriptive cata• imprisoned due to charges of homicide; cp. Mauquoy- logues of Goltzius s oeuvre are, in chronological order: Hendrickx 1978-83, vol. 2, pp. 314-317, nos, 1715-1728 Bartseh 1803-21, vol. 3; die impeccable and still very use and vol. 3b, pp. 520-521. ful Hirschmann 1921; Hollstein, vol. 8 (following Hirschmann to the letter) andTIB. 3 (illustrating Bartsch's 109. Compare Sellink 1991-92, pp. 154-155 and catalogue, combined with the commentary volume near• Filedt Kok 1996, pp. 163-164.The verses underneath this ly identical to Strauss 1977). portrait were composed by Janus Dousa, with whom Galle was acquainted in his Haarlem period. Dousa"s original

107. The few engravings Goltzius made for Aux ode was, rn fact, longer than the version engraved in the quatre vent1; - 13 after designs by JVlaarten deVbs and one margin of this portrait; cp. Dousa 1584, p, 33 and Dousa after his own design. - are undated; for a short list cp. Filedt 1609, p. 241, where the engraving is wrongly attributed Kok 1991-92, p. 202, n. 1. However, as they are highly to Hubert Goltzius. For a full transcription and transla• comparable to the engravings produced for Galle, one can tion of these verses, cp. SelHnk 1991-92, p. 158, safely assume that they were also made around 1578-79. One wonders if Galle left his young employee any time 110. The eight Beatitudes: Hollstein, vol. 8, p. 17. ~ or even gave him permission for that matter - to work no. 63; Hirscfimann 1921, p. 32, no. 62; Strauss 1977, vol. for a rival print-shop in Antwerp. It is certainly possible 1, pp. 78-79, no. 29; Consoling the sad: TIB. 56, p. 254 that Goltzius only could start working forVolcxken no. 68:6. More detailed stylistic comparisons between Diericx after he had finished specific commissions for works by Galle and Goltzius can be found .in Sellink 1991, Philips Galle. Unfortunately there is very litde docu• pp. 146-147. mentary evidence available regarding the organisation of Netherlandish print-shops in this period; compare chap• 111. One of them is the here illustrated sheet die ter 1. Eight Beatitudes; for further examples, see the catalogues Hirschmann 1921 and Strauss 1977, passim.

108. Two religious prints undoubtedly engraved after 1579 are the above-mentioned sheets from the sec• 112. The life of Christ: Hollstein, vol 8, p. 17, ond edition of the Acts of the apostles, issued in 1582; com• nos. 56-61; Bartseh 1803-21, vol. 3, p. 14, no. 14 and pp. pare note 52.The later profane works, which are not dis• 27-28, nos. 61-64; Hirscfrmann 1921, pp. 29-31, nos. 56- cussed here, are: five (or perhaps more) engravings from 61; Strauss 1977, vol. 1, pp. 66-76, nos. 23-28. The allegories the series Medkeae familiae victoriae, a series on military tri• of faith: Hollstein, vol. 8, p. 18, nos. 64-75; Bartseh 1803- umphs of the de'Jvledici family, published by Galle in 1583 21, vol. 3, p. 28-30, nos. 65-74; Hirschmann 1921, pp. 32- and certainly dated too early by Strauss as 'circa 1578* 37, nos. 64-75; Strauss 1977, vol. 1, pp. 124-147, nos. 54-65.

197 Notes Chapter 4

113. This refers 10 the words of Hebrew 1:3, as the rus, most probably to avoid potential conflicts with die Latin inscription near the heart informs us, where is authorities on account of publishing works of an author described how Christ takes his place at the right-hand in exile. On the contents of the book and a reconstruc• side of God, after having redeemed mankind of its sins. tion of events, see the recent dissertation Puhlmann 1992. The moral issues discussed in De rerum usu et abusu are

114. New Hollstem, Maarten van Heemskerck entirely in keeping with Coornhert's opinions, as dis• vol. 2, p. 125, no. 435-Veldman 1990, pp. 88-89, no. 7.2. cussed above. An overview of die iconographic tradition of the Forts pieiatis is given in Wadell 1969, specifically pp. 62-65. 119. The problematic issue of how and when Coornhert's late prints were published, are discussed in

115. Cp.Veldm.an 1987, pp. 197-199 and Veldrnan Veldrnan 1990, pp. 27-29. It is interestmg to note that most 1990, p. 89, where the engraving is discussed in relation of these engravings were only published posthumously in to the religious opinions of Heemskerck and Coornhert 1597 by Hendrick Spiegel, a long-standing friend of respectively.At a much later date (probably around 1590), Coornhert. Even then these works only appeared with Philips Galle himself published a slightly changed version the address of Spiegel's eleven (!) year old son Marten; a of Coornhert's engraving, including Fides cleaning the simple trick to avoid liability for controversial publica• hearts. This print was incised by Adriaen Collaert after a tions on the part of Spiegel senior? design by Ambrosius Francken the Elder; cp.Wadell 1969, p. 121, no. 105.This engraving - most probably published 120. The complete engraved text in the central car• in Antwerp after the Counter-Reformation set foot in touche of the title page reads: "Virtutum/ viuorumq[ue]/ 1585 - seems to support Veldrnan s thesis that the iconog• Quibus capitaliurn nomejn]/ inditum est, septenario/ raphy of the Coornhert- Heemskerck engraving was not numero prorxitorum, en-/ comia una com praemijs/ specifically Protestant of nature. poenisq[ue] quae eorurn cul-/ tores manent, exemplis/ testimonijsq[ue] sacra-/ rum litterarum/ adumbrata."

116. The very literal translations of abstract scrip• ("Eulogies on what are known as the principal virtues and tural passages into complex and highly original iconog• the mortal sins, depicted according to their usual number raphy are also very similar to Coornhert's own engrav• of seven, together with the rewards and punishments that ings of this period, as is the use of the allegory as didactic await their respective admirers, adorned with examples method par excellence; cp.Veldrnan 1990, pp 31-33. and testimonies from the Holy Scripture.)" For a descrip• tion of the full series, see Hollstein, vol. 8, p. 20, nos. 85-

117. For a survey of the life and works of 100;TIB. 3, vol. 1, pp. 77-92, nos. 77-92 and vol. 2, pp. 82- Coornhert, see Bonger 1978. His opinions in matters of 85; Bartsch 1803-21, vol. 3, pp. 31-33, nos. 77-92; ethics and religions are elucidated in Bonger 1987 and Hirschrnann 1921, pp. 38-41, nos. 85-100 and Strauss the essays by various authors in Bonger 1989a. Of special 1977, vol. 1, pp. 164-179, nos. 74-89. The series has the concern is Berkvens-Stevelinck s study on Coornhert as address of Philips Galle on the title page, but lacks date a theologian: Berkvens-Stevelinck 1989. and place of publication. The author of the verses is unknown.The following paragraph is an abbreviated and

118. Coornhert returned to Holland from exile in translated version of an earlier article (Sellink 1991-92), November 1576, he then settled in Haarlem in March of where the iconography of the series is discussed in detail. 1577. On Coornhert's controversial activioes in this peri• od - leading to a ban on writing and publishing on reli• 121. On the iconography of sins, virtues and good gious matters by the authorities of the Staten van Holland works in relation to the Last Judgement, cp. Knipping in 1579 - compare Bonger 1978, pp. 83-118. Galle pub• 1939-40, vol. 1, p. 37 and vol. 2, pp. 114-122, 308-311; lished the following text by Coornhert before his return Harbison 1976, pp. 92-139, to exile: De return usus et abusu, a moralizing book of emblems issued by Galle and Plantin jointly in 1575.They 122. TIB. 56, pp. 257-264, nos. 69:1-8. The Seven issued the book - illustrated with engravings by acts of mercy is closely related in style, technique, compo• Hieronyrnus Wierix after designs by Gerard Groenning - sition and subject matter to two other series produced by under the name of the Frisian humanist Bernard Fur me - Galle in the same period: The seven spiritual acts of mercy, a

198 Notes Chapter 4

lso dated 1577 (TIB, 56, pp. 249-256, nos. 68:1-8), and gion and art in this period, also cp. Zijp 1987. The seven sacraments, dated 1576 (TIB. 56, pp. 241-248,

nos. 67:1-8).There are also several, as yet unpublished sin• 128. "God wil dat alle menschen saligh worden: so gle sheers from the Galle workshop that come remark• wil hy immers niet datter een mensch onsaligh worde " ably close to both these series and to the early engravings Quoted from Bonger 1978, p. 248. by Goltzius.This again raises the question if Goltzius did

not perhaps engrave more (unsigned) engravings on behalf 129. "Tot Gode, die vande wegh net eynde is, of his Antwerp patron. komtmen alleenlyck doort hantteren vande deughde, die d'eenighe wegh is tot Gode waart Dus werdt de

123. "Virtuturn penms dictarum praeditus almis/ dueghde niemanden angheboren vande ouders,maar alien Par levibus ventis [ajethera summa petit. / Ast horum terra menschen angheboden van Gode ende byden menschen vitiorum mole gravatus/ Mergetur terr[a]e viscera ad ima vrywilligh verkoren ende anghenomen." Quoted from nigr[a]e." Coornhert 1942, p. 143.

124. The central representation of this as yet 130. Coornhert himself, as early as 1552, had unpublished engraving (cp. SeHmk 1991-92, p. 156, note engraved the subject of the Last Judgement in combina• 12) is a copy in the same direction after Goltzius's Last tion with the acts of mercy These series - incised after judgement.Thc engraving has its counterpart in the Seven designs by rVlaarten van Heemskerck - renders six, instead spiritual acts of mercy, with an image of Christ in the cen• of seven works of mercy; New Hollstein, Maarten van tre and seven roundels with renderings of the spiritual Heemskerck, vol. 2, pp. 37-43, nos. 330-336.This version acts: correcting the sinners, teaching the ignorant, show• is, in fact, more faithful to the text of the Gospels (Matthew ing the doubting the right way, praying for ones neigh• 25:37-40).The seventh act (burying the dead) was only bour, consoling the sad, bearing injustice with patience added in the third century by Lactam; cp. Kirschbaum and forgiving sins. Both engravings are undated and 1968-75, vol. l,pp. 246-251. unsigned. Style and technique are quite similar to engrav•

ings from the Galle workshop. Furthermore, the subject 131. Besides Goltzius's Virtutum vitiorumque of the spiritual acts of mercy is extremely rare and has, as encomia and Galle s Seven acts of mercy, these are: Allegory far as I know, in this period only been illustrated by Philips on ike necessity of prudence (engraved by Goltzius, discussed Galle (cp. note 122). below) and the series Four last things? engraved by Goltzius after designs by Johannes Stxadanus.This last series devi•

125. On the Dutch Revolt in the period 1575-81, ates from the traditional iconographic sequence (compare see inter alia Parker 1981, pp 163-192; Groenveld 1979, note 34) by replacing the Dying hour by the Resurrection; pp. 96-101, 197-198 and, most recently, Duke 1990. A cp. Strauss 1977, vol. 1, pp. 30-37, nos. 6-9. summary of the religious conflicts in this period can be found inWoltjer 1986. 132. Hollstein, vol, 8, p. 19, no. 77; TIB. 3, vol 1 p. 75, no. 75 and vol. 2, p. 73; Bartsch 1803-21, vol. 3,

126. On this series, see Horst 1990. pp. 30-31, no. 75; Hirschmann 1921, p. 37, no. 77 and Strauss 1977, vol. 1, pp, 82-83, no. 31. Also cp. Knipping

127. In his study on the series by Huys, Daniel 1939-40, vol. 2, p. 310 (wrongly described as Philips Galle Horst convincingly shows that it is impossible to deter• after Maarten van Heemskerck), mine the specific nature of the Reformatorian tenden• cies (Lutheran, Calvinist or spiritualist) which have influ• 133. " dat niemandt verdoemt en sal zijn om enced its iconography; Horst 1990, pp. 16-21. Seen in Adams, maer elck om zijn eyghen zonde." Quoted from hindsight, however, Calvinism became the dominant Bonger 1987, p. 185. Reformed conviction in the Netherlands in the last quar• ter of the century. For this reason, I have preferred the use 134. Cp.note 112. of this word instead of a more vague and neutral term

such as Reformatorian. On the general issue of the 135. Cp. Berkvens-Stevelinck 1990, pp. 24-26. (impossibilities of interpreting the relation between reli•

199 Noies Chapter 4

136. Cp. Veldman 1990, pp. 23-24, where matters, are discussed in Bergsma 1989 en Bonger 1989b. Coornherts possible influence on Goltzins s religions opinions is discussed. Often quoted in this respect is a let• 143. These series must have been - due to their ter addressed to Coornhert dated 9 January 1576, where insistence on doctrines of good works and the sacraments Goltzius is (briefly) mentioned as his disciple; Nichols - unacceptable to the adherents of the Reformed 1991-92, p. 86. As the letter concerns an argument on reli• Churches. Cp. Sellink 1991-92, pp. 149-150. gious issues, this reference is interpreted to imply that

Goltzius was more than just a pupil in the art of engrav• 144. On the series Allegories of faith, cp. note 112, ing. Even if the five words "en ook Golsen uw discipef There are two other engravings from this series also have such a connotation, Coornherts influence on his undoubtedly referring to contemporary events. Using the then 18-year old pupil only lasted a short while. Besides same title of Puniiio iirannomm (Punishment of tyranny), the respect that he must have had for his former master - two unnumbered engravings illustrate - again solely using as the magnificent, posthumous portrait of 1592 proves - examples from the Old and New Testament - how evil there are no indications at all that Coornhert influenced tyrants are in the end always punished by God. As Galle, Goltzius on matters of ethics and religions to such a degree although a Catholic, is known to have been a supporter as he did in the case of Philips Galle. Interesting, but in ofthe growing independence of the Dutch provinces from my opinion quite unconvincing, are Walter Melion's the Spanish Crown (compare chapter 1 and Vermaseren scholarly attempts to classify a part of Goltzius s later oeu- 1957), one can safely assume that these engravings were vre as strongly Counter-Reformatorian of character deliberately referring to the hardships the Netherlands (Mellon 1995, especially pp. 119-133). had to endure from the policies of Philip II.

137. Cp. Reznicek 1961, pp. 51-52. 145. Curiously enough the prolific Stradanus still lacks a thorough monographic study. Besides the modest

138. The above signature is quoted from the and outdated study by Orbaan - a dissertation published Annunciation, part of the series Life of Christ; cp. note 112. in 1903 (Orbaan 1903) - and the rather short and gener• A nearly identical inscription is found on the undated sin• al article by GuntherThiem (Thiem 1957-59), the most gle sheet Misericordia del; Strauss 1977, vol. 1, pp. 80-81, useful information on the artist (and on prints after his no. 30. Most other early engravings are signed with the design by Galle) can be found in a number of detailed monogram 'HG', while signatures where Goltzius is men• studies on specific works written by Dorine van Sasse van tioned as 'inventor' are usually found on works after 1578. Ysselt (cp.Van Sasse vanYsselt 1980,1988,1990 and 1994). Some information on the relation between Stradanus and

139. On the series Seven sacraments and Seven spiri• Galle can also be found in Sellink 1987. A large and impor• tual acts of mercy, compare notes 122 and 124. tant collection of his sketches, in the Cooper-Hewitt Museum in New York, is described briefly in Benisovieh

140. A concise history of the turbulent events in 1956. Within a few years the New Hollstein series will Antwerp in diese years, with farther bibliographic refer• also devote several volumes to all prints after designs by ences, can be found in Thijs 1990, pp. 23-32. A thorough Stradanus, a catalogue that could be most helpful to any• history of die Reformation in Antwerp, unfortunately one studying Netherlandish or Italian art of the period. ending in the year 1577, is provided by Marnef 1996. On One can only hope that this catalogue - to which I will the printing of books and engravings in relation to the be contributing as an editor - will be as satisfying as the Reformation in Antwerp, see De Nave 1985 and Imhof recently appeared three-volume set on Maarten deVos as 1994. a print designer, edited by Chris Schuckman (Hollstein, vols. 44-46). On DeVos a combined monograph and cat•

141. The situation in Haarlem in this period is ana• alogue raisonne of his paintings exists: Zweite 1980. lyzed in detail in the excellent recent study by joke Spaans; Spaans 1989, pp. 40-52. 146. "Hy heeft te Florencen in de Kerck van de Nunziata ghedaen een groot heerlijck stuck, wesende een 142. Coornherts ideals of religious tolerance, Crucifix, daer de Krijghsknechten onder ander oock de which certainly seem related to Galle s opinions on such spongie in een edick-vat nat maken oft doppen; ghelijck

200 Notes Chapter 4

dees ordinantie ghesneden is, en in Print uytcomt/' in Netherlandish art, see Knippmg 1939-40, vol. 2, pp. 51- Together with the English translation above quoted from 55. In passing Knipping seems to refer to the Srradanus Van Mander 1994, vol 1, pp. 328-329. engraving, without, however, giving any particulars (ibid, p. 52).

147. On the drawing, now in the Stedelijk

Prentenkabinet in Antwerp, see Depauw 1988, pp. 62-64, 154. This second Madonna of the Rosary also seems no. 3; on the print ep. TIB. 56, p. 137, no. 43. A second to have been unnoticed in literature until now. The edition of the engraving exists, published by Galle s son engraving is dedicated to Johannes Crabbe from Lou vain, Theodoor, here the date 1574 is replaced by die address superior of the Augustinian friars in the province of of Galle junior; on authority ofDorine van Sasse vanYsselt Flanders from 1580 until 1589. As a fervent religious and the entry by Carl Depauw (loc, cit.) seems to (wrongly) political opponent ofWilliam of Orange and the Calvinists assume that these two editions are in fact two separate - he was at one time imprisoned on account of his opin• prints.The verses in the lower margin were composed by ions - Galle would not have been likely to dedicate a print Galles friend Benito Arias Montano, but are not men• to Crabbe before 1585. tioned in Hansel 1991.

155. Cp. note 52 and 56. 148. For a list of engravings after Srradanus issued by Cock and his widow,cp.Riggs,pp.358-360,nos. 188-192. 156. On the series, see Hollstein, vol. 7, p. 76, nos. 108-145 (where both of Galle s Passion series after 149. Cp.Thiem 1957-59, pp. 98-99. Stradanus are mixed up);TIB. 56, pp. 133-134, nos. 40:1- 2 (Philips Galle fecit); Mauquoy Hendrickx 1978-83, vol. 150. It is unknown if Philips Galle, besides the 3a, p. 387, no. 1919 (the portrait by Wienx). The exact

Altarpiece with Christ on the cross, issued any other engrav• printing history of the series is difficult to reconstruct. ings after Srradanus before the latter s visit to Flanders in Galle apparently first issued an unnumbered edition, as 1576. Unfortunately most of Srradanus s religious prints described above. Fie then decided to number the plates 1 are undated, judging by subject matter and references to up to 37. Judging by the average quality of these num• engravers and dedicatees, most of the religious Gaile- bered impressions this was done at an early stage- Stradanus prints are of much later date; also see below. The Apparently one plate (The raising of the cross, between nos. non-religious subjects and the more general matters regard• 26 and 27) was forgotten, as this unnumbered engraving ing their collaboration are further discussed in chapter 1. is often found added in between the complete sequence of numbered impressions.Thirty-eight preparatory draw•

151. Compare, for example, the Baptism of Christ ings for the series are in the collection of the UfBzi, see (TIB. 56, p. 113. no. 30) after Stradanus s painting in the Thiem 1957-59, pp, 104-106 and Kloek 1975, n.p., S. Maria Novella and the here illustrated Christ driving the nos. 201-239. money-makers from ike temple in the S. Spirito (TIB. 56, p.

129, no. 36). There are two drawings related to this last 157. Wierix 5s portrait of Stradanus is engraved after painting in the UfRzi, neither seem to be a preparatory a combination of a drawn self-portrait by the artist - now drawing for the print; cp. Kloek 1975, n.p.,nos. 199-200. in die Fondation Custodia in Paris - and after a separate ornamental design by Stradanus m the Uffizi; see Thiem 152. There is also a second edition of the engrav•

ing with the address of Johannes Galle. In at least two col• 1957-59, pp. 110-11; Kloek 1975, n.p., no. 292 and Boon lections (the Rijksprentenkabinet and the Albertina) the 1992, vol. 1, pp, 368-369, no. 286. engraving is kept with a possible - but in my opinion

incorrect - attribution to Goltzius.This once again illus• 158. This is supported by the existence of a free trates the difficulty of attributing unsigned works from copy of Stradanus s portrait by Goltzius.This engraving is the Galle workshop to Goltzius or other masters; com• also undated, but bears all the characteristics of Goltziuss pare note 122, early portrait engravings from the years 1579/80; cp. Filedt Kok 1996, pp. 162-163, Galle's passion series must have

153. On the subject of the Madonna of the Rosary been published before 1584. In his U riposo of 1584, the

201 Notes Chapter 4

Florentine author Raffaello Borghin: menrions the series ing to the remarkable talents of the youngster - or, as it - amongst many other prints by Galle after the former's probably was done in this case, when the print was more

design - in his account of Stradanus s life and work:tEet il or less the public debut of a young printmaker. Galle may sesto [one of'seiLibn dei DIsegni,che tuaavia s'intagliaoo have been inspired by the example of the Wierix broth• in Anversa per mano di Filippo Gale eccelente mtaglia- ers, who around 1565 engraved a number of engravings tore"], et ultimo fara vedere tutti i misteri dell a Passione after Albrecht Diirer with their ages explicitly mentioned; del Salvador del mon do m 40 pezzi/'Borghini 1967, p. 584. Mauquoy-Hendrickx 1978-83, vol. 3b, p. 616, s.v. Diirer. The ages here given range from 12(1?) up to 16.

159. In 1580 Galles future son-in-law was first mentioned as "meesterssoon" (a son of a registered mas• 165. On Galle s engraving of the Trinity, see ter) in the official records of the guild of St. Luke; Van Hollstein, vol. 44, p, 151, no. 680;TIB. 56, p. 205, no. 53; Lerius 1864-76, vol. 1, p. 273. judging by the close simi• the print was already copied in 1575 by PetrusValck.There larities in style and technique the young Collaert - who is only one earlier engraving, a print by Johannes Ditmar, was to marry Galles daughter justa in 1586 - must have published by Pieter Baltens and dated 1573; Hollstein, vol. been trained as an (undocumented) apprentice at the Galle 44, p. 147, no. 659. For a chronological list of all dated workshop. Also see chapter 1. prints after Maarten de Vos, see ibid., pp. 333-334. DeVos s preparatory drawing for the Irinity, now in the Albertina

160. On the series, see Hollstein, vol. 3, p. 211 in Vienna, is indented for transfer; cp. Benesch 1928, p. 23, nos. 50-69 (Johannes Collaert fecit); idem., vol. 7, p. 76, no, 183 and Zweite 1980, p. 183. A major exhibition on nos. 108-145 (where both of Galles Passion series after De Vos as a draughtsman is planned in the Museum Stradanus are mixed up, compare note 156); idem, vol. 16, Plantin-Moretus in the fall of 1998. pp. 13-14, nos. 13-14 (De Passe fecit); Mauquoy Hendrickx 1978-83, vol. 1, p. 17, no. 123 (Wierix fecit). 166. On the shift of interest from painting to print In 1605 Galle's sonTheodoor published a series of reversed designs in the production of Maarten deVos in the peri• and reduced copies, entitled Passio et resurrectio domini nos- od 1575 to 1585, compare Zweite 1980, pp. 183-194. On tri ksu Christi (as yet not mentioned in literature). In turn the poor financial situation of many painters in Antwerp Theodoor'son Johannes Galle reissued the original series around 1585-86, see Van Roey 1966, specifically p. 113. - with the addition of his address and some slight changes in the numbers - completely in the seventeenth century. 167. Compare the index of publishers in Hollstein, vol. 44, pp. 328-332. One of those few smaller Antwerp

161. Compare, for instance, Desire Guilmard's engravers-print publishers who has been subject of recent description of prints by Philips, Theodoor and Cornelis study is Pieter Baltens, who by chance is the publisher of Galle with elaborate ornamental borders in the extensive the first known DeVos print (cp. note 165), cp. Kostyshin collection of the Bibliothèque Nationale in Paris; 1994. Maarten de Vos also kept working with Antwerp Guilmard 1880-81, vol. 1, pp. 490-491. printmakers who had left the city after 1585, such as the Sadeler family and especially Crispijn de Passe who were

162. The individual members of the Galle work• working in Frankfort and Cologne; cp.Veldman 1993, shop are discussed more in detail in chapter 1. pp. 47-51. It does seem that De Passe became the prime engraver and publisher of works after Maarten deVos in

163. On Alessandro de'Medici s commissions to the period after 1588. Unfortunately most of De Passes Stradanus in Florence in the years 1585-87, see Van Sasse engravings are undated. vanYsselt 1980. Galles Passion series is just briefly men•

tioned; ibid., p. 235, note 59. 168. A more general discussion of the nature of Galles relations with various print designers can be found 164. This Visitation is unrecorded in literature. It is in chapter 1. extremely unusual in the history of Netherlandish print- making to have the age of an engraver added to a print. 169. These three objects relate to die choice King This only seems to have been done when the printmak- David was given as Instruments of punishing himself and er in question was very young - the signature thus attest his people: pestilence, famine or war Not wanting to die

202 Notes Chapter 4

prints will have been issued in 1587 - when Torrentius in the hands of any human, David chose the curse of pesti• arrived in Antwerp and was formally consecrated - or lence. shortly after.

'170. Hollstein, vol. 44, p. 62, no. 250. The engrav• 177. IljaVeldman - currently working on a mono• ing hears the name Maarten de Vos and the address of graphic study on Crispijn de Passe - kindly pointed out Galie as its publisher. On the verses by Kiliaan, cp.Van den to me that as late as 1588 he was still employed by Brariden 1978, p. 212, no. 71.There is a related drawing Christophe Plantin, engraving illustrations for a breviary. by DeVos, showing another version of the same subject, These prints, which in the end were not published, are in Museum Plantin-Moretus; cp. Knipping 1939-40, briefly discussed In Delen 1934-35, vol. II/2, p. 169. vol. 2, p. 103, fig. 66. 178. After leaving Flanders Crispijn de Passe set up

171. On die iconography of the subject during the his own business of publishing prints in Aachen and Counter-Reformation, compare Knipping 1939-40, Cologne. Furthermore, given the number of talented pp. 103-104. engravers available in Antwerp in these years, there was no need at all for Galie to collaborate with prmtrnakers

172. Hollstein, vol. 44, pp. 226-228, nos. 1137- in other cities, For a short biography of Crispijn de Passe, 1146. Sehuckman here classifies the engravings as 'anony• with further bibliographical references, see Luijten 1993- mous', thus disregarding the signature of Adriaen Collaert 94, p. 313 .It is certainly possible that De Passe was already added on the second state of the tide page. Neither the an apprentice in one of the Antwerp print-shops before signature on this (early) state, nor the style and technique he was enlisted In the guild records. Most probably this of the series warrants this neglect. was not the Galie workshop, as his style and technique have little in common with Its standardized output. The

173. This print is part of die Galie/Goitzrus series finely hatched lines of the burin are, in fact, more remi• Allegories of faith (1578), which is discussed In detail above; niscent of the prints by the Wierix brothers. cp. note 112. 179. Hollstein, vol. 44, pp. 13-14,nos. 19-24 (Adam 174. The iconography of penance in the late six• and Eve), pp, 18-19, nos. 56-61 (Noah) and pp. 41-42, teenth century, including several of the here mentioned nos. 148-153 (Jonah), In commission for the Galie work• engravings, is examined in Knipping 1939-40, vol. 2, shop Crispijn de Passe also engraved an undated series of pp. 898-95. nine archangels after Maarten deVos; ibid,, pp. 170-171, nos. 756-764. The four drawings, all related to the series

175. On the Tetragrammaton, compare Knipping of Jonah, are In the Stedelijk Prentenkabinet, Museum 1939-40, vol. 2, pp. 6-7 and Kirschbaum 1968-75, vol 3, Plantin-Moretus in Antwerp; see Remsch 1967, pp. 59- pp. 310-311. The seventeenth-century Amsterdam pub• 61, nos. 13,1-4. lisher Claes jansz.VIsseher nearly always replaced anthro• pomorphous images by radiations of light with the 180. Hollstein, vol. 44, pp. 228-229, no. 1148. Jan Tetragrammaton; cp. note 73. In this respect it is interest• Boghe (or Bochius In its Latinized version) was appoint• ing to note that Visscher issued the third edition of the ed town clerk immediately after the fall of Antwerp in Typus divinae induigentiae without any iconographic the fall of 1585, He belonged to the circle of humanist changes. around Plantin,and also composed the verses on Goltziuss portrait of the printer; cp. appendix 2E, no. 111 Boghe

176. In style and iconography the Typus divinae had cooperated withVerstegan on the latter s martyrolo- induigentiae is comparable to the Ten commandments, a series gy Theatrum audeliiaiis,published in Antwerp in 1587. For of eleven engravings after Maarten de Vos on which the this illustrated book Boghe had also composed verses to Galie workshop was working in the years 1585-87; accompany each engraving; compare Petti 1959. Hollstein, vol. 44, pp. 22-26, nos, 72-82 andVeldman

1995a, pp. 232-235, Work on this series must have start• 181. On the iconography of the three ages of the ed in 1586 at the very latest. Some of the preparatory world, also see Knipping 1939-40, pp. 240-246. drawings are dated 1586, when work was obviously still in progress. As the series of the Ten commandments is ded• 182. The dedication reads: 'TUustrissimo as rev- icated to the Antwerp Bishop Laevinus Torrentius, these erendissimo D[omi]no Gulielmo Alano Angliae Cardi- Notes Chapter 4

nali/ D[omi]no suo observandissinio Richardus the engraving, which follows the painting in all Vcrsteganus omnem exoptat felicitatcm." On Allen, see details,must have been made before 1598 - and was prob• DNB, vol 1, pp. 314-327. ably, as said above, produced around 1590 - this presumed date of the painting must also be reconsidered. Design and

183. Verstegan (later also spelt as Verstegen) was furnishing on the chapel devoted to Saint Diego seems born In London, from a family with Dutch ancestors. to have started shortly after his canonization in 1588 Around 1588 he settled in Antwerp where he would later (Zweite 1968, p. 125). It seems logical to assume that at befriend several members of the Moretus family, espe• tliis occasion the altarpiece was commissioned to DeVos. cially Balthasar Moretus. On Verstegan and writings, see Rombauts 1933. On the reputation of the English College '189. After 1591 Sedulius held several other posi•

at Douai, cp. Knipping 1939-40, vol. 1, p. 177 with fur• tions within the Franciscan Order in Flanders. He did ther bibliographical references. return to Antwerp in 1603, but at that time Philips Galle, with a few notable exceptions, had stopped publishing

184. Hollstcin, vol. 7, p. 77. no. 158; idem, vol. 44, prints. From circa 1600 onwards most of the engravings p. 123, no, 542.The symbolic representations in the mar• of the Galle workshop were issued with the address of gin, taken from the Old Testament books Ecclesiastes and Theodoor Galle. A brief biographical outline of Sedulius, Song of Solomon, are most uncommon in connection with further references, is given in Savelsberg 1992b, with the flight into Egypt.These were traditionally added pp. 353-354. as attributes in images of the Immaculate Conception itself; cp. Knipping 1939-40, vol. 2, pp. 202-203. This 190. De Liggeren (the records of the guild of St. scheme of presenting a subject within an ornamental bor• Luke) mention two apprentices (leerjonghers) of Collaert der containing medallions with other images became fash• in the year 1594; Van Lerius 1864-76, vol. 1, p. 380, On ionable in Antwerp in the third quarter of the sixteenth the other hand, one has to take into account that Adriaen century; also compare note 161. In her study on illustrat• Collaert could occasionally have worked for the Galle ed missals and books of hours published by Plantin, Karen family, even when he had his set up his own workshop. Bowen m several cases convincingly substantiates that such Karen Bowen kindly pointed out to me that, for instance, designs were influenced by Italian manuscripts; Bowen Karel de Mallcry and Johannes Collaert are sometimes 1997, passim. referred to in payments from the Plantin Press to Theodoor Galle long after they left the Galle workshop.

185. Hollstcin, vol. 44, p. 166, no. 738,This undat• ed engraving has to be dated after 1585, as the engraver 191. Celebrated women of the Old Testament, an Johannes Colbert only started signing his engravings from engraved tide page and twenty numbered engravings by the Galle workshop after this date.The verses in the mar• Johannes Collaert: Hollstcin, vol. 4, p. 211, nos. 13-32; gin were composed by Adriaen Rockox, a member of one idem, vol.44,pp. 57-60,nos. 223-242 andVan den Branden of the most influential noble families in Antwerp. If there 1978, pp. 160-161, no. 44. Celebrated women of the New is a connection between the subject of the print and the Testament, an engraved title page and fifteen numbered Antwerp cathedral, where Rockox was appointed as a engravings by Adriaen Collaert, Johannes Collaert and canon In 1597, cannot" be ascertained. Karel deMaUery:Hollstein,voL4,p.211, nos. 33-46; idem, vol. 44, pp. 116-119, nos. 508-522 and Van den Branden

186. Hollstcin, vol. 44, p. 218, no. 1047. 1978, pp. 162-165, no. 45. Both series were published by three generations of the Galle family (Philips, Theodoor,

187. The Maarten deVos altarpiecc and its iconog• Johannes).The plates of both series were described in the raphy is examined in detail in Zweite 1968 and Zweite 1636-inventory of Theodoor Galles widow Cadierina 1980, pp. 224-232, p. 314, no. 98.The work is also dis• Moerentorf: "De vroukens van 't Nieuw Testament ses-

l cussed within the iconographic tradition of Saint Francis thien platen .... De vroukens van t Oudt Testament in Flemish art in Savelsberg 1992b, pp. 352-354, no. 186, ecnentwintich platen" ("The women of the New Testament, 16 plates .....The women of the Old Testament,

188. On quite unclear grounds Armin Zweite 21 plates"); Duverger 1984, vol. 1/4, p. 20.The iconogra• (Zweite 1980, p. 314) dates the painting as 'c. 1600'. As phy of the Old Testament women - including interesting

204 Notes Chapter 4

changes in the nudity of some women in consecutive Old Testament series is dedicated to Margaretha editions - is discussed in Snijders 1992, pp. 65-81. Boogaerts, wife of Jo ban van Drenckwairt, Baron of Dormael and advisor to the court in Brussels. As the lat• 192. The subject of Christ and the women from ter s prestigious post as chief treasurer, to which he was the Gospels had been previously published by Philips appointed in 1597, is not mentioned, the series must obvi• Gallc as a separate series. This set of six engravings was ously have been made before this year. A very similar (and engraved by Galle himself around 1575-80 after designs dated) series of prophets, engraved after designs by by Anthonie van Blocklandt: TIB. 56, pp. 121-126 Nlcolaes van Hoey, was published by Galle in 1594; nos. 33:1-6; Hollstein, vol. 2, p. 59, nos. 17-18; idem, vol. cp. Hollstein, vol. 17,pp. 43-44, nos. 13-20;Van de Branden

7, p. 76, nos. 102-103, Jost 1960, pp. 63-68 and pp. 177» 1978, pp. 166-167, no. 46. 181, nos. Ill, 18-23.Also closely related in subject is Galle s series the Nine female worthies - three heroines from the 196. Cp.Vermaseren 1957 and chapter 1, Bible, three from classical antiquity and three female saints - again after designs by Maarten deVos: Hollstein, vol. 44, 197. Cp, the index of dated De Vos prints in pp. 263-264, nos. 1319-1327. The more traditional male Hollstein, vol, 44, pp. 333-334. One, however, has to take equivalent series the Nine worthies has, as far as Is known, into account the fact that especially the works engraved not been mentioned in literature. Although they do not by Crispijn de Passe in Germany are in most cases undat• bear the signature of De Vos - and are thus not catalogued ed. During the tax assessment of 1584/85 - intended to in the recent Hollstein volumes - the similarities in style finance the defence of the city against the siege by the and technique certainly make such an attribution plausi• armies of Duke Parnese, both Galle and De Vos were ble. On the subject of die nine worthies in relation to the amongst the few members of their professions to be levied Augustmian trichotomy of history, see Veldman 1986 as (moderately) wealthy; see Van Roey 1966, p. 113 (De pp. 88-94. On the tradition of the nine worthies in the Vos) andVanRoey 1988-89,p.428 (Galle).Earlier,in 1574 Netherlands, see the forthcoming publication Van Anrooij when the citizens of Antwerp were levied to thwart off 1997. the looting Spanish soldiers, De Vos was still assessed for double the amount in comparison to Galle; cp. Register

193. Various aspects of the position of women in 1574, pp. 274-275. the Netherlands in the sixteenth century are discussed in Bange 1985b. The importance of using exemplary mod 198. Little is still known about the contracts and els from the Bible hi this period is discussed in Muller financial relations between publishers and designers In six• 1985 and illustrated with several examples in Bange 1985a, teenth and seventeenth century. What is known is that, pp. 195-203. Also compare Knipping 1939-40, vol. 1, simply on the basis of the time it took finish the job, all pp. 273-275. designers - even Rubens - were certainly paid less than engravers for their work.The most valuable information

194. Galle s (unsigned) engravings of eight exem• on the subject can be found in the archives of the Plantin plary women Qael, Ruth, Abigail,Judith, Esther, Susanna, Press; cp. Voet 1969-72, vol. 2, pp. 223-224, 227-228, the Virgin, Mary Magdalene) from the Old and New Depauw 1996-97 and Bowen 1997, pp. 82-92. Also see Testament were first published by Martinus Peeters around chapter 1. 1560; cp.TIB. 56, pp. 221-228, nos. 63:1-8; Hollstein, vol 8, p. 248, nos. 476-483; New Hollstein, Maarten van 199. On the ratio of adherents of the Catholic and Heemskerck, vol 1, pp. 221 -226, nos. 265-272. Circa 1578 Reformed convictions in Antwerp around 1585 and the Galle had also published a single engraving by Goltzius dramatic changes hereinafter, see the quintessential study of the Virgin surrounded by seven biblical mothers (Eve, Boumans 1952,Van Roey 1975 andThijs 1990, pp. 33- Sarah, Leah, Rachel, the mother of Samson, Anne and 40. On DeVos, also compare Zwelte's brief Introductory Elisabeth); cp. Strauss 1977, vol. 1, pp. 90-91, no, 37. biography: Zweite 1980, pp. 19-37.

195. The series of Old Testament women is dedi• 200. "iconibus exprimebat pictor celeberrimus cated to Paulina van Schooten, married to Engelbert Io[axines] Stradanus." Quoted from the tide page of the

Maes, councillor to the Groote Road in Mechelen.The Encomium musices (c. 1590), discussed more in detail below.

205 Notes Chapter 4

201 Stradanus s religious paintings and drawings of schen quellende tot quaet gheneghenheijt/' Compare this period have received scant attention from scholars, Kloek 1975, n.p., no, 243;Van Sasse vanYsselt 1980, Some Information is to be found inThiem 1957-59. p. 228.

202. According to the inscription in the margin, 208. Mauquoy-Hcndrickx 1978-83, vol. 1, p. 39, the print,unrecorded in literature,is engraved after a draw• no. 275. ing Stradanus made after his own painting. Even though the engraving bears the usual address of his father 209. In some collections dais engraving is classified ("Ph[i]l[ip]s Galle excudit"), the dedication is strangely as Cornells Cort, an attribution that is correctly refuted enough signed by Theodoor. It is addressed to Denys de by Bierens de Haan; Bierens de Haan 1948, p. 133.The Villiers, an erudite scholar and canon in Doornik who preparatory drawing is in the Albertina lnVienna;Benesch was acquainted with the Galle family; compare, for exam• 1928, p, 21, no. 152. Style and technique of the engrav• ple, letters to Abraham Ortels dated 1591 and 1592 ing make an attribution to Philips Galle very plausible; (Hessels 1887, p. 486 and p. 516). Several other prints from compare, for instance, TIB. 56, pp. 210, nos. 58-59. The the Galle workshop are dedicated to De Villiers, cp. the latter engraving of the Pietà interestingly enough has the following note. very same inscription taken from Isaiah 53. Perhaps the two prints, which are of exactly the same size, were intend•

203. Both engravings are again dedicated by ed as a diptych, combining the Old Testament préfigura• Theodoor Galle to De Villiers and can thus probably be tion of Christ's suffering and its New Testament fulfil• dated around 1.590 as well. Most of the prints Galle ment. engraved on behalf of his father must probably be dated before 1594, when he was recorded in Rome (see chap• 210. Cp.Van dc Brandcn 1978, passim. ter 1). After his return in 1596, Theodoor slowly started to issue prints with his own address. 211 Hol3stein,vol-4,p.203„no. 196. On the icono• graphie tradition, compare Kirschbaum 1968-75, vol. 7, 204. Unrecorded in literature. This engraving is pp. 572-579. dedicated in friendship by Philips Galle to Bernard de Perrin de Montgaillard, a French Cistercian monk of 212. Hollstcin, vol. 4, p. 203, no. 197. Cp. noble origin and a famous preacher. Montgaillard was Kirschbaum 1968-75, vol, 8, pp. 264-265. accommodated in Antwerp as a special guest of the bish• op during six months in 1591, he returned in 1593 to stay 213. The engravings are unrecorded in art-histor• for six more years; compare BN, vol. 15, pp. 169-174. ical literature. As the verses were composed by Cornells Kiliaan, the series is, however, briefly described in Van de 205. "Hoc opus pinxit loan.fnes] Stradanus in Branden 1978, p. 206, no. 60.There also exist unrecord• monasterio D.Annaem, in suburbijs Pratensib.[us]."The ed copies in reverse of the four sheets, published by the engraving is unrecorded in literature and is dedicated in Paris printmaker Jacques Honervogt. friendship by Philips Galle to Maximiliaan van Winghc, a Brussels canon at the church of St. Gudule and a descen• 214. Of course the series also illustrates the inher• dant of a well-known patrician family (compare notes 240 ent dangers of a more unhappy course of events at the and 249). end of the life of sinners. Each engraving also shows sev• eral devils, trying (in this case in vain) to get hold of the

206. The painting, now in the CasaVasari in Arezzo, soul of the dying man. is discussed in Van Sasse vanYsselt 1980, pp. 227-231. On other commissions by this Medici cardinal, compare die 215. Hollstem. vol. 4, p. 201, nos. 18-36. On the Galle/Stradanus series Passio, mors et resurrectio as discussed Wierix scries of the virtues and sins, see Mauquoy- above. Hendrickx 1978-83, vol. 2, pp. 245-246, nos. 1364-1372 (virtues) and pp. 246-247, nos. 1372-1379 (sins). Life of St 207. "LAET IER in scriven scone woerdeo op de John the Baptist (10 engravings, with verses by Kiiiaan) is temtacione van De benauteit van den Duvele de mens- possibly one of the last major religious series after

206 Notes Chapter 4

Stradanus produced the Galle workshop. Cornells Galle 224. Cp. Mauquoy-Hendrickx 1978-83, vol, 1, was born in 1576 and probably left Antwerp around 1595 p. 99-100, nos. 565-573.The subject apparently was dear (together with his brother Theodoor?) to go to Italy; to Hieronymus Wierix, as he also engraved die Sudarium

Hollstein, vol. 75 p. 64, nos, 35-44 (as Cornells Galle II) with his family in adoration of this relic conspicuously In and Van de Branden 1978, pp. 207-208, no. 64. the foreground; Mauquoy-Hendrickx 1978-83, loc. cit.

216. See Bibliotheca Belgica, vol. 1, pp. 304-305. 225. Of course time and again complaints were On Boghe,see note 180. Philips Galle dedicated die series made by artists and publishers about illegal copies and to two other Antwerp magistrates: Edward van der Dilft pirate editions. Their concerns, however, nearly always and Charles Malineus. These two were burgomasters involved financial motives (the dangers of loosing market together in the years 1589 to 1591 and 1594 to 1596.The to others) rather than anxieties about 'intellectual' copy• Encomium musices must obviously have been published right. In one famous, but highly unusual instance Titian during one of their joint terms of office. applied for (and received) a privilege from the Venetian authorities, that protected him with regard to every pub• 217. Nearly no study at all has been done on lication after any ofhis designs for no les than fifteen years Adriaen Colbert, nor on any ofhis family members (Hans, (cp. Landau 1992 and Sellink 1994, pp. 207-210, no. 70). Johannes I, Johannes II and Carel Collaert) for that mat- One has to take into account, however, that Titian him• ter.The list of engravings In Hollstein (vol. 4, pp. 210-207) self published engravings after his designs and hereby tried is notoriously inaccurate. The most useful information is to protect his own market. Such a privilege only was legal• to be found m Delen 1934-35, vol. II/2, pp. 101-102. ly valid in Venice and the Veneto. On the numerous con• temporary copies (some of them by Philips Galle) outside 218. Galle and Stradanus, however, did keep work• the Venetian jurisdiction, Titian had no influence at all. ing together on new enlarged editions of their hunting series, of which the first had been published in 1578. 226. As far as is known, Philips Galle published Several of the preparatory drawings for this series are dated three engravings of religious subjects made by Francken: 1596. On the completely inextricable sequence of con• Faith purifying human hearts with Christ's blood by Adriaen tinuously changing editions of these hunts, compare chap• Collaert (cp.note 115), Christ at the house of Simon the l^per ter 1 and Bok-van Kammen 1983. by Cornelis Galle (Van den Branden 1978, p. 214, no. 81) and the unrecorded Allegory on human vanity engraved by

219. THIS issue is discussed more in detail in chapter 1. Theodoor Galle. All engravings are undated, but were probably produced in the period 1590-95. More inter•

220. The engraving is unrecorded in literature. esting than these single engravings, is the only series Galle Besides being mentioned in passing In die biography of published after designs by Francken. Six engravings by his fadier inThieme/Becker (vol. 32, p. 149), there is, to Karel de Mallery of a rarely illustrated (profane) subject, the best of my knowledge, no literature on Scipio the Fable of the father, the son and the ass (c. 1590/95). See Stradanus. The work is dedicated by Scipio to a certain Hollstein, vol. 1 l,p. 160,nos. 125-128 andVan de Branden Jacob Danus, a Flemish jurist and advisor to the Medici 1978, pp. 170-173, no. 48. On the iconography of this sub• court. ject - earlier in the century reproduced in five woodcuts by die Amsterdam prrntmaker Cornelis AnthonisE. - see

221. Mauquoy-Hendrickx 1978-83, vol. 2, p. 193, Filedt Kok 1986, pp. 275-276T no. 153. no. 1052. 227. On account of the verses by Cornells Kiliaan 222. On Galle s engraving, see note 209. On the in the margin, the series is discussed in Cockx-mdestege Wierix print, also with the same reference to Isaiah 53, 1991. Theodoor Galle "s compositions are strongly remi• cp. Mauquoy-Hendrickx 1978-83, vol 1, p. 100, no. 571. niscent of a series of founders of religious orders, designed by his father and engraved by Hieronymus Wierix;

223. Mauquoy-Hendrickx 1978-83, vol. 1, p. 99, Mauquoy-Hendrickx 1978-83, vol. 2, pp. 183-184, nos. no. 566. 994-1005, also compare note 309.

207 Notes Chapter 4

228. On Gerrit Pietersz.,seeVanThiel 1988, which marked contrasts between his Antwerp and Italian peri• includes a short list of all known paintings, drawings, etch• od aptly illustrate these differences. Cp. Sellink 1994,

ings and engravings after his designs (p. 367). pp. 6-17.

229. Hollstein, vol. 7, p. 61, no. 375 (Mankind before 234, It is highly interesting to note that around the Deluge).The third engraving is Company making music 1595 such a large number of artists specifically from in the open air, with verses by Cornells Kiliaan in die mar• Haarlem and Antwerp, including many printmakers, went gin; HoUstein, vol. 7. p. 61, no. 376 and Van de Branden to Italy for a longer period of time. Most of them - includ• 1978, o. 210, no. 67. ing such engravers as Goltzius, Jacob Matham, Cornells andTheodoor Galle, Pieter dejode and Gijsbert van Veen

230. The verses in the margin - dwelling on the - returned after one or two years, while others, like the meaning of the verses from the Gospel of St. Matthew - Sadeler family, preferred to stay in Italy. A thorough study were composed by Laurens Beyerllnck, a young student on this issue would be most welcome. A recent overview in theology, who was to become a well-known Antwerp of Netherlandish sixteenth-century artists travelling to humanist. Around the same time he also wrote the vers• and working in Italy (concentrating on Rome) is given es underneath a portrait that Philips Galle Issued; in the exhibition catalogue Dacos 1995. Of special inter• cp. appendix 2E, no. 125. est is the essay by Bert Meijer on the period after 1550 (Meijer 1995), which unfortunately has very little infor•

231. Compare Freedberg 1971. The iconographic mation on prints and printmakers. Also compare the tradition of the subject and its popularity in Dutch (or slightly earlier Meijer 1993, an introduction to a, at least more precisely Haarlem) mannerist art, is discussed in regarding the sixteenth century, rather disappointing issue Stechow 1972 and McGee 1991, pp. 228-234. Especially of the Nederlands Kunstkistorisch jaarboek devoted to the compare two earlier engravings of the same subject by Jan artistic relations between Italy and the Netherlands. On Sadeler, engraved circa 1581 after drawings by Dirk Van Mander's account of Italian artists in general, see Noe Barendsz.; Filedt Kok 1986, pp. 416-417, nos. 309.1-2. 1954.

232. Galles predecessor Hieronymus Cock also 235. One of these exceptions, is, for example, an published relatively few works after Italian prototypes. engraving after Titian's famous Tarquin and Lucretxa. This While working for Hieronymus Cock,for instance, Philips unsigned print is copied after one of Cornells Corts two Galle had engraved a plate after a design by Luca Penni. engraved versions of this painting; compare Bierens de Even then, it has to be taken in account that Penni was Haan 1948, pp. 175-177, nos. 193-194, copy d (In reverse working in France and that the young Galle may have to BdH 194). On Titian s painting, see Jafie 1987, pp. 162- acquired the preparatory drawing there himself during a 165 with further references. Nearly all the engravings trip he made in 1560; cp. Riggs 1971, pp. 158-159. Some Galle published after Italian prototypes are undated, but other Italian artists whose works were incidentally repro• seem - judging by names of engravers, dedicatees, subject duced by engravers from Cock's print-shop, were: Giulio and technique - to have been issued after 1590. One of Romano, Andrea del Sarto, Bronzlno, Leonardo, the very few dated prints in this respect is an engraving Primaticcio and Raphael. after Federicos Barocci's well-known and often repro• duced altarpiece of the Visitation in the Chiesa Nuova,

233. The literature on print collecting In general installed in 1586.Already in 1589 Galle published a repro• is summarized in the closing paragraphs of chapter 2.The duction of this altarpiece, not following the painting itself market for Italian prints in Holland and Flanders in this but through means of a slightly earlier engraving by period has rarely been studied. Compare Riggs 1971 Gijsbert van Veen (1588): HoUstein, vol. 32, pp. 134-135, pp. 156-165 and jan van derWaals's very useful account no. 3, also see my discussion of Van Veen's engraving in of the (much later) collection of Michiel Hinloopen;Van Dacos 1995, pp. 382-383, no. 223. Galles (anonymous) der Waals 1988, pp. 13-27 and 123-126. On the taste for version is wrongly listed by HoUstein (vol. 7, p. 75, no. 97) prints in Italy see Bury 1985. In light of the entirely dif• as being engraved by himself; the engraving is dedicated ferent markets for prints in Italy and the Low Countries, to the (Spanish?) jurist and inquisitor Petro Scudero. the engravings by Cornells Cort are of great interest. The

208 Notes Chapter 4

236. On the biographical data, compare chapter 1, Finally Theodoor Galle engraved a Vision of St Jerome after Federico Zuccaro s painting in the Escorial made in the

237. Hollstein, vol. 7, p, 49, no. 2.The unrecorded years 1585-88, dedicated to the Doornik canon first state referred to was found in the printroom of the Hieronymus van Winghe; Hollstein, vol. 7, p. 84, no. 140, Bibliothèque National in Paris,There is also a third edi• tion, a reissue - as In the case of most prints from die Galle 241. On Cort In general, compare Sellink 1994, workshop - by Theodoor Galle. The engraving is dedi• Within a few years my catalogue of all engravings by Cort cated by Paggi - who proudly describes himself as a - including all more or less contemporary copies - is to Genoese patrician, well-versed in the art of painting - to appear in the New Hollstein series.

one Giovanni Carol! Auria (or perhaps D6Auria).The engraving is possibly related to a painting with the same 242. On the structure of the workshop and all its subject In the museum in Douai; cp. Thleme/Becker, known assistants, compare chapter 1 vol. 26, p, 141. 243. Besides being briefly mentioned In Hymans

238. On Cornells Galle s first version, see Hollstein, 1907 (p. 138), the engraving is unrecorded. A copy In the vol. 7, p. 55, no. 114.This engraving follows (in reverse) a same direction was made by the unknown engraver liBen. popular composition byVanni of which several versions W." and published by Johannes Wierix around 1605 are known; cp. Brandi 1930-31, pp. 72 73.The unrecord• cp. Mauquoy-Hendrickx 1978-83, vol, 1, p. 106, no. 602 ed and yet again reversed version is, regarding style and and vol. 3/b, p, 589, no, 1673, copy b. The emblematic technique, very similar to Cornells Galle's signed engrav• structure and the use of three languages is clearly related ings.There are several other comparable cases, such as the to similar prints made in Antwerp around 1600 as illus• Virgin in the clouds, also after Francesco Vanni (ibid, p. 55, trations to Jesuit publications, see below, no. 115). In this case, it again seems quite certain mat Cornells Galle s first version without the address of a pub• 244. Translated from the Dutch verses: "Siet dees lisher was intended for the Italian market. The name of wapenen Christ! u hier voor ooghen gestelt,/ Hebben the engraver is spelled "'eornelio gallo sculpsit" instead of verwonnen tvleesch, doot, werelt en s'duyvels gewelt." the usual "Cornelius [or Corn.] Galle." A reversed copy of this engraving - with the address of Philips Galle, but 245. Cp. Sellink 1992a, pp. 18-19, fig. 5.1 was at the without the signature of Cornells - is also unrecorded in time unaware of an elaborate study on precisely this literature. emblem, compare Strengholt 1976. Ad Leerintveld of the Koninklijke Bibllotheek in The Hague kindly drew my

239. Compare note 297. attention to this article.

240. The engraving here attributed to Cornells 246. The woodcut emblem and the Latin verses in Galle is mentioned by Blerens de Haan in his discussion De Beze's kones are reproduced in Strengholt 1976,p. 96. of Cort s original engraving; Bierens de Haan 1948, Of course, De Beze was the author of the verses - which pp. 54-56, no. 33, copy d. The engraving only has the were already published separately in 1569 - underneath address of Philips Galle, The Galle workshop produced at the emblem. Fie probably the conceived the iconography least three other engravings after the Zuccari.The first is of the image as well. Most information on the icono- the Ascension of the Virgin after a famous altarpiece by graphic tradition of the emblem is taken from the above Taddeo in Rome - engraved by the same (anonymous) study by the historical linguist Strengholt, who was not engraver as Barocci's Visitation (cp. note 235); illustrated aware of Galle s version of the subject. in Filedt Kok 1986, p. 352, fig. 233a. The second is the Adoration of the Magi, a beautiful engraving by Cornells 247. Added to original iconography - and not Galle after Federico Zuccaro, with Latin verses by Laurens found in any other known version of the emblem - are Beyerlmck in the margin. This unrecorded sheet is also the dove, the laurel wreath, the candle, the stone on which one of the few prints from the Galle workshop, of which Faith stands, the imperial globe and the spurs, another state - also with the address of Philips Galle - is known to exist with major changes to the composition. 248. "Quid docet hoc frenum? R. Mentis cohibere

furorem."

209 Notes Chapter 4

249- The engraving is unrecorded in literamre.The cp. Orenstein 1990 and Orenstem 1995a, pp. 248-249. engraving is dedicated to the Doornik scholar and canon Antonius van Winghe, member of a well-known patri• 257. The series is unrecorded in literature. In 1636 cian family and related to the archaeologist Philips van the plates were still in possession of the Galle family: "De Winghe, with whom Galle was acquainted; cp, Hessels Kercken van Roomen in acht platen" ("'The churches of 1887, p. 411, where Galle is dianked - in a letter dated Rome, 8 plates"); Duverger 1984, vol. 1/4, p. 19. There Rome 1589 - by Philips for introducing him to Stradanus. exists a copy in reverse of the entire series, published by Galle may also have known Antonius through Thomas de Leu. rViaximiliaan and Hieronyrnus (a brother of the above

Philips) van Winghe (cp. notes 205 and 240) or through 258. On such an Adas of Rome, cp.Van derWaals Denys deVilliers, a fellow canon at Doornik and also an 1988, pp. 41-68. acquaintance of the Galle family (see note 202) .A reduced

copy by Karel de Mailery was published around the mid• 259. On Michael van Ophoven, see BN, vol. 16,

dle of the seventeenth century by Galles grandson pp. 225-228. Johannes.

260. The large-size engraving (47 x 32 cm.) is

250. For some (illustrated) examples of this genre, unrecorded in literature.The print must have been pub• published by the Plantm Press around 1600, compare note lished after 1599, the last date mentioned in the family 272. On the Jesuit appreciation of illustrated books, see tree, and before 1605. In the latter year the censor Silvester below. Panic, who signed the approbatw in the lower margin, died. There is also a second edition of the engraving with the

251. Pontificum maximorum effigies (1572); see address of Galle's grandson Johannes. chapter 2 and appendix 2F. The four additional portraits are catalogued in appendix 2F, nos. ad 1-4. 261. On the iconography of St. Dominic, cp. Kirschbaum 1968-76, vol. 6,pp. 72-79. In 1611 Galle s

252. The copy here referred to Is in the Koninklijke son Theodoor published an extensive print series on the Bibliotheek Albert I in Brussels. life and miracles of the saint, written by the Antwerp friar Johannes Nys and illustrated with 34 plates.

253. Compare note 187. 262. Compare Marinus 1989, pp. 134-138. 254. The canonization of the Dominican monk inspired several paintings and engravings to be made 263. Hollstein, vol. 7, p. 78. nos. 241-274. I thank around 1600, compare Kirschbaum 1968-76, vol. 6, Dirk Imhof of the Museum Plantin-Moretus for draw• pp. 557-559. ing my attention to the fact that Philips Galle issued two separate editions: one with a supplementary text part in 255. On this subject, compare Fagiolo 1984. French, and one with the same text in Dutch. Payments for letterpress text printed by the Plantin Press were made 256. The engraving is unrecorded in literature.The in March and April of 1603. Although a third edition was design was made by Antonio Tempesta, who was the most published by - most unusual for any engraving from the important pupil of Galle s friend Stradanus. It would seem Galle workshop - the Antwerp publisher Johannes Boel that Philips Galle received this design through the hands in 1628, the plates were in 1636 still in possession of the of his son Cornells, who was still living and working in Galle family: "Het Leven van Smte-Catharina van Senen Italy If (in part) intended for the Italian market, Cornells vierendertich platen" ("The life of St. Catherine of Siena, was probably also involved in its distribudon. One can 34 plates"); Duverger 1984, vol. 1/4, p. 21.The Life of Saint suppose that a print such as Hendrik Hondius's monu• Catherine will be catalogued in Imhof's forthcoming cat• mental Panorama of Rome, dated by Nadine Orenstem on alogue of Jan Moreens - to be published in 1998 - as stylistic grounds as c, 1600, was also issued with the Holy nos. 0-56 and 0-57. Year at least in back of the publisher's mind, especially as the panorama was issued with papal privilege; 264. On the iconography of St, Catherine - which

210 Notes Chapter 4

was more or less concentrated in Italy - in general, see 269. This copy - pardy in reverse, partiy in the same Kirschbaum 1968-76, vol. 7, pp. 300-306. On the devo• direction - of the entire series, was engraved and pub• tion of the saint in Flanders around 1600, cp. Knipping lished In 1608 by Philip Thomassm m Rome. The latter 1939-40, vol. 1, pp. 219-221. has added French and Italian translations of the original Latin verses. Another copy was printed with Latin, Italian

265. It is rather puzzling to note that complete and Spanish verses at an unknown date; compare Insolera copies of the series - such as the one in the Museum 1996, pp. 63-67, nos. 8-9, where this copy is (erroneous• Plantm-Moretus, bound in one volume with an unillus- ly) described as a second original version produced by trated Dutch publication on the saint, written by Philips Florimi and De jode jointly. Numan and dated 1593 (inv. R 56) - include two intro•

ductory pages printed (verso and recto) in letterpress, 270. The following paragraphs are more or less the dated Rome 1559(!)«This concerns a short Latin intro- same as 'The history of Gerommo Nadal's Evangelicae his- ducnon and an explanation of the views of Pope Clemens toriae imagines', as found in the English version of Sellink VIII on whether Saint Catherine could be rendered with 1996-97, translated by Karen Bowen. the stigmata or not, written by one Marcus Vestrlus Barblanus. This could imply that Philips (or Cornells) 271. On the production of Plantin In the period Galle issued the series first in Rome and later in Antwerp. 1585-89, also seeVoet 1984 (especially pp. 368-369) and

Another possibility is that Galle and Ophoven simply Voet 1988. copied these texts from an (unknown) earlier Italian pub• lication on Saint Catherine. In any case, it seems certain 272. For examples of early Illustrated religious that Ophoven and the Antwerp Black Friars were involved works by Jesuits authors published by the Plantin Press, in the production of Galle's Antwerp reissue.Van Ophoven see Imhof 1996-97, pp. 97-90, nos. 1-3 (Petrus Canisius, may have been the one who translated the Latin verses Johannes David andThomas Sailly). On the scholarly Leys, into Dutch, as printed at the very back (pp. *recto to *4 see Van Houdt 1996; on the very popular Politers, active recto) of the same Antwerp copy of Galle's publication. in the second half of the seventeenth century7, compare Rombauts 1930. A general study on illustrated spiritual

266. Hollstein, vol. 9, p. 204, nos. 71-82. Pleter de books published in the Southern Netherlands in the six•

Jode's series afterVanni consists of a tide page and 11 prints teenth and seventeendi centuries has recently appeared: Insolera 1996. This catalogue is useful concerning the with each 3 subjects taken from the life of St. Catherine. analysis of Counter-Reformatorian tendencies In illus•

On Florimi as a print publisher, cp. Kortekaas 1992; also trated books, but is most inadequate in its information on see note 297. authors, engravers and (print)publishers.The classic study on the emblematic character of so many illustrated devo•

267. Even the here illustrated tide page and the tional books Is of course: Praz 1964 and its sequel Praz portrait of St. Catherine were copied from the title page 1974. of Florimi s original series.The title page shows the por• traits of prelates, priests and friars who played a role in the 273. A brief, but adequate description of the activ• life of die Sienese saint or were Important in the propa• ities of the Jesuits in Antwerp from 1585 to c. 1650 can gation of her devotion, One can identify just to mention be found in Thijs 1990, pp. 64-73 and 80-91 (mainly a few: Pope Pius II, who canonized Catherine in 1461, regarding their confraternities devoted to the Virgin) .The and die Dominican friar Raimondo da Capua, her con• quintessential study of the Jesuits in the Netherlands is fessor and compiler of the first biography still Poncelet 1927-28, especially vol. 2, pp. 480-516 (scholarly and literary activities); reeendy appeared the 268. Rather appropriately the series was - apart useful collection of studies Deneef 1992. from Pleter de Jode, who was probably hired on account

of the high reputation of Flemish printmakers in gener• 274. See Bollandus 1640a (Latin version) and al - entirely a Sienese project, asVarmi was a native of Siena Bollandus 1640b (Dutch version), published by Balthasar as well. Florimi dedicated his series to Christine of Moretus I, with engravings by Cornells Galle the Elder. Lorraine, wife of the Grand Duke ofTuscany, Ferdinand© de'Medici.

211 Notes Chapter 4

275. This discussion is roosdy limited to painting 281. Publishing an album of prints separately from and architecture; cp. Haskell 1980, pp. 63-93. It was the complete edition with a typographically printed text, Thomas Buser (Buser 1976) who, reacting on an earlier was not unusual in Antwerp. Compare, for Instance, version of HaskelTs book, referred to the importance of Johannes David's Veridicus Christianas (discussed below) or the engraved illustrations in Geronimo Nadal s Evangdicae Vincent Hensbergh s short treatise on the rosary, of which historiae imagines (discussed in detail below). Buser, how• the plates were issued by Theodoor Galle; cp, Imhof 1996 ever, seems to have been unaware of the existence of sev• 97, p. 93, no. 6. eral comparable contemporary illustrated works. Also see Haskell's reaction; Haskell 1980, pp. 398-400, 282. For the successive editions of the book and the descriptions of the individual plates, see Mauquoy-

276. " de vrucht die uyt de boecken komt, is Hendrickx 1978-83, vol. 3/1, pp. 400-429, nos. 1989-

dies te meerder en achtbaerder, hoe sy haer vcrder door 2141.

de heele wereld uytstreckt ende langher van duere is als

de menschen selve, van wie sy voortkomt." Quoted from 283. On the complex printing history of the

Thijs 1990, p. 103. Veridicus Christianas, which has, as yet, never been clari• fied fully, see: Simoni 1976, pp. 68-70; Landwehr 1988,

277. See Hubert Jedin s classic studies on the pp. 94-95, nos. 182-184, Insolera 1996, pp. 141-145, nos. Council of Trent and the nature of the early Counter- 46-47 and Imhof 1996-97, pp. 88-89, no. 2. Dirk Imhof Reformation (Jedin 1963b and jedin 1973), as well as his also kindly allowed me access to his manuscript catalogue detailed analysis of the importance attached to art in its of books produced by Jan Moretus at the Plantin Press (to decrees (Jedin 1963a). A concise survey of the importance be published in 1998), which gives a detailed account of of the Council of Trent for the visual arts in general is the printing history of the Veridicus, solving most prob• given in Blunt 1987, pp. 103-136. Regarding the Low lems (nos. D-6 to D-8). Biographical information on Countries a recent overview on this problem is found in Johannes David can be found in Simoni 1976, widi fur• Freedberg 1992, with further references. ther references, and Waterschoot 1996.

278. On Molanus, cp. note 71. Also see David 284. It is interesting to note that, while the tones Freedberg's study on the complex relations between icon- has the imprint of Philips Galle, all records and transac• oclasm, Reformation and Counter-Reformation in the tions of die Plantin Press regarding these plates - as of all second half of the sixteenth century in the Netherlands: odier plates the Galle workshop produced on behalf of Freedberg 1972, and the reprint of this dissertation, Jan Moretus from c. 1600 onwards - are related to enhanced with a critical preface and additional literature. Theodoor Galle. This is clearly an Indication that the younger Galle was by then effectively running the fami•

279. The most important study of Nadal's book, ly workshop.The plates were still owned by the Galle fam• with all relevant documentary sources, remains Rooses ily in 1636, when they described In the inventory of 1888. For a brief overview, with further relevant litera• Theodoor Galle's widow Catharina Moerentorf: ture references, see: Mauquoy-Hendrickx 1978-83, vol. "Viridicus Christianus hondert platen" (The true 3/1, pp. 491-501, Orenstein 1993-94, pp. 179-180 and Christian, hundred plates); Duverger 1984, vol. 1/4, p. 21. Insolera 1996, pp. 135-141, nos. 44-45. On die composi• At an unknown date Philips Galle's grandson Johannes tional drawings by Bernardo Passeri, cp.Wadell 1980.The reissued some (or all?) plates; cp. Simoni 1976, pp. 68-70. influence of these compositions on Italian religious art is The plates themselves cannot be attributed with certain• briefly discussed in Buser 1976. ty to any particular engraver in the Galle workshop, the production of which became more and more character•

280. Stated in a letter (dated Antwerp, 5 November ized by uniformity in style, technique and quality. 1585) to the German Jesuit Ludovicus Tovardus in Cologne.Tovardus seems to have been the first to contact 285. See note 35. Plantin concerning Nadal's manuscript; Rooses 1888, p. 283. 286. Also compare Waterschoot s recent overview of the emblematic books published by die Plantin Press

2Î2 Notes Chapter 4

In the first half of the seventeenth century: Waterschoot 294. The iconography of St. Francis in the

1996, pp. 454-458. Southern Netherlands is examined in detail in Savelsberg 1992b, largely replacing the older studiesVerjans 1938 and 287. On this particular engraving, see Knipping Verjans 1944-45. Savelsberg also gives a historical survey

1939, vol. 1, pp. 127-128 and Mai 1992, p. 567, no. 152.1. of the Minorites and Capuchins in the Low Countries in the sixteenth and seventeenth centuries. On the situation

288. The Insiitutiones Chrisiianae and its printing in Antwerp in the last two decades of the sixteenth cen• history is described in detail in Voet 1980-83, vol. 1, tury, also cp.Marinus 1989, pp. 134-141.As the differences pp. 541 - 543,no. 884 (Canisius).Voet erroneously describes between the three Orders of the Franciscans (the exacdy the same publication under the name of Giovanni Conventuals, the Friars Minor and the Capuchins) do not Battista Romano: ibid., vol. 5, pp. 2005-2006, no. 2149. matter in this iconographic discussion, they are not taken Into account here.

289. It here concerns Romano's Doitrina Christiana nella quale illustrated with - qualified by Leon Voet 295. The designer of the engraving, which is as rather crude - woodcuts and published in Rome in unrecorded in literature so far, is not mentioned.The com• 1587; Voet 1980-83, vol. 1, p. 542. There are no indica• position, however, is reminiscent of Stradanus's devotion• tions at all that Romano, who died in 1589, was to any al prints. Although die engraving is undated, it must prob• extent involved in the Plantin/Galle adaptation of his ably have been made around 1590, that is to say before book. Collaert started his own workshop. On behalf of Galle, Adriaen Collaert also engraved a St Francis receives the. stig•

290. The various techniques used by Plantin in his mata which does have the signature of Stradanus; this illustrated books - at first primarily woodcuts, slowly engraving is illustrated in Savelsberg 1992b, n.p., fig. 30. reverting to etchings and engravings - are discussed in Voet 1969-72, vol. 2, pp. 194-243,Voet 1975 and, briefly, 296. The original painting by Vanni is in the church in Sellink 1996-97. Also see the wealth of details on this of San Bonaventura in Frascati. Compare Röttgen 1973, subject in Karen Bowen's recendy published dissertation pp 99-101, no, 24 (who dates die painting 1598/99) and on the illustrated missals published by Plantin: Bowen

1997 Savelsberg 1992b,p. 64, n. 107. Savelsberg wrongly assumes diat Galle s engraving is a copy after an engraving by 291. The series is catalogued in detail in appendix Cornells Cort; reproduced as such in Ibid., n.p., fig. 17. 2H. On similar, slightly later print series of Jesuit saints This latter engraving is dated 1600 - Cort died in 1578! and the life and works of the order's founder Inigo Lopez - and Is signed "C.G formis" and is most probably an early- de Loyola by the Wierix brothers, see chapter 2, note 91. work of the Roman engraver Camillo Cungi, a follower Also see note 309. of Cort who used this particular signature; cp. Bierens de Haan 1948, p. 236.

292. There are three editions of the series, which only differ on the first plate: A first edition without title 297. On Vanni's painting, of which two versions by Philips Galle, a second with title, also with the address seem to have existed, see Davidson 1958. On Florimi and of Philips Galle and a third byTheodoor Galle.The plates his contacts with Vanni and Cornells Galle, see Kortekaas were still owned by the Galle family In 1636, when they 1992, p. 181. In the eighteenth century, the usually well- described in the Inventory of Theodoor Galle's widow informed print-dealer and collector Pierre jean Mariette Catharina Moerentorf: "Van den goeden Engel in vier already mentioned the fact that Vanni himself made a platen" ("The good Angel, four plates"); Duverger 1984, preparatory drawing - then in the Crozat collection - vol 1/4, p. 20. which he gave to Cornells Galle tobe engraved;Davidson 1958, p. 4 and Mariette 1851-60, vol. 6, p. 29.The second

293. Cp.Knippmg 1939-40,vol. 2,pp. 173-177 and (Antwerp) version, unrecorded so far, was first published Kirschbaum 1968-76, vol. 1, pp. 640-641 and vol. 4, by Philips Galle, and later by his son Theodoor. pp. 127-128.

298. On the problems of copyright and privileges

213 Notes Chapter 4

in Antwerp in this period, see Voet 1969-72, vol. 2, 305. Sedulius, who arrived in Antwerp in 1585 pp. 262-278. Also compare chapter 1. (cp. note 189), dedicated the Life of St. Francis to Francis of Tolosa, the newly appointed minister general of the

299. See the detailed study Gieben 1976, its slight• Franciscan Order. On the same page the ecclesiastical ly revised version Giehen 1977 and Savelsherg 1992b approbaiio was added, given by the An twerp canon Michiel pp. 102-104. Also see Gonzalez de Zarate 1992, vol 2, Hetsroey. As usual the clerical approval speaks of Philips pp. 249-253, nos, 759-772 Galle - who as head of the workshop would address such a request to the ecclesiastical authorities - as if he were

300. The first edition is described in detail in himself the engraver of the scries:a Philippo Gallaeo Gieben 1976, pp. 242-257. Gieben surmises that this issue fbrmis aeneis mcisa " While the plates were undoubtedly must have appeared shortly after 1.585, direcdy following made in the Galle workshop, it is nearly impossible to Farnese's seizure of Antwerp. It was then that the attribute them to one specific en graver. The two etchings Franciscans, after having been banned by the Calvinist city are reminiscent of Pieter van der Borcht, by far the most council in 1579, were allowed to return to the city. The important etcher in Antwerp.They must have been made series is mentioned in the Memorieboek of Gerard - due to time-pressure? - outside the Galle workshop, as Grammay - the Antwerp tax-collector and a collector of Philips Galle only rarely published prints in this tech• prints published by Hieronyraus Cock and Philips Gallc nique. In 1636 the plates were still in possession of the - which is dated 1580; cp. Denuce 1932, p. 10:"Blaeders Galle family: "Het leven van Sinte-Franciscus negenthien

van Philips Galle Franciscus, 16 stucken" ("Sheets by platen" ("The life of St. Francis, 19 plates"); Duverger Philips Gallc Francis, 16 pieces"). 1984, vol. 1/4, p. 20.

301 These letterpress pages are in the Aibcrtina in 306. On the seven preparatory drawings in the Vienna, and are pasted, together with the sixteen engrav• Alhertina in Vienna, see Bencsch 1928, p. 23, no. 187 ings, in an album (HB 75, pp. 34-41). Unfortunately the (St. Francis receives the stigmata, attributed to Maarten de dedication, is on the verso of the title page, and could thus Vos) and p. 43, nos. 15-20 (six other drawings, catalogued not be transcribed accurately. Nothing is known of a print• as workshop of Maarten de Vos). Also see Zweite 1968 er called Gerard Fabri (Faber?) in Antwerp nor of his (pp. 110-111), who rejects the attribution of the first sheet widow. There was, however, a certain Elisabeth Fabry, to De Vos, The notable differences in style and quality widow of a bookseller, active m Louvam; cp. Rouzet between the single sheet and the odier six drawings, can 1975a, p. 63. be explained from the fact that there were two different draughtsmen involved: St. Francis receives the stigmata was

302. Cp. Gieben 1977, pp. 284-300. one of the compositions added to the second edition of 1587, the others were drawn for the first edition.

303. Due to several iconographic peculiarities, Servus Gieben speculates on the fact that a Spanish immi• 307. For a short theological summary of the grant must have been involved In the commission and Franciscus alter Christus tradition, seen in the light of early conception of the series (Gieben 1977, pp. 280-283). On Renaissance painting in Italy, compare Van Os 1974, the same grounds, he also refutes the possibility that a pp. 115-118. On die Iconography of the tide page, cp. Franciscan friar acted as intellectual advisor during the Gieben, pp. 261-261 and 299. conception of the first edition. Although I differ in opin•

ion on the last matter, the suggestion that a Spanish patron 308. "D. SERAPHIC! FRANCISCI/ TOTIUS was involved is certainly plausible. The Southern EVANGELICAE PERF-/ECTIONIS EXEMPLARIS, Netherlands were a Spanish territory, and, even more AD -/MIRANDA HISTORIA" Engraved in the upper important, Spain was an increasingly important market cartouche of the tide page. for devotional books and prints. On this subject, see De Nave 1992. 309. The last plate of the Life of St. Francis (1587), for example, also shows five Franciscan saints - including 304. For an extensive description of die second edi• St. Clare of Assisl, the founder of the female Order of the tion, see Gieben 1977, pp. 257-280. poor Clares - togedier widi St. Francis himself. Philips

214 Notes Chapter 4

Galle also published a series often founders of religious 313. The series is briefly described in: Praz 1964, orders, which included St. Francis.This undated series was p. 462, Van den Branden 1978, pp. 176-178, no. 50 (on engraved by Hieronymus Wienx after designs by Galle account of the verses by Kiliaan) and Landwehr 1988, himself.seeMauquoy-Hendrickx 1978-83, voL2,pp. 183- p. 159, no. 414. Although engravings from the Proso- 184, nos. 994-1005. It Is most interesting to note that at pographia are occasionally illustrated In iconographie and a later date - by a different engraver and without the iconological studies on Dutch and Flemish art, no study address of Philips Galle - a portrait of the founder of the on the series exists. The iconographie sources of several Order of the Jesuits (Imgo Lopez de Loyola) was added engravings (Labour, Diligence and Health) are studied to this series. Galle also issued a female equivalent of the more in detail inVeldman 1991, p. 285 andVeldman 1992, founders, again engraved by Hieronymus Wierix after pp. 256-258, In the near future I will devote a more elab• Galle s designs, which included St. Clare; cp. Mauquoy- orate study on the genesis of this booklet, its sources and Hendrickx 1978-83, vol. 2, pp. 184-185, nos. 1006-1009. its influence.

310. On this series, see Sirnoni 1984, p. 161 It is 314. "PHILIPPE GALLE/ AU LECTEUR also mentioned briefly in Knipping 1939-40, vol. 1, p. 202 S[ALUTATE]./ Tu as icy, amy Lecteur, les images de and Zweite 1968,p. 95.The copperplates were still in the Patience,/ Penitence, Experience, Humilité, Pieté, &c au possession of the Galle workshop in 1636: "De Heylige / très semblales Vertus, comme pareillement/ les images van de Minnebroeders veerthien platen" ("The saints of des vices, & et d'autres choses, lesquelles/ tu voiras ornées the friars minor, 14 plates"); Duverger 1984, vol 1/4, p. & embellies de leurs symboles & apper-/ tenances 20. The only copy which I was able to study (the print- peculieres; fort nécessaires â tous peintres, engra-/ veurs, room in Dresden) had each engraving pasted separately entailleurs, orfèvres, statuaires & mesmes aux/ Poètes in an album, which made it impossible to study the type rimeurs & rhetoriciens vulgaires, pour eux conseil-/ 1er set text. à ce livre, qui leur furnira des moye[n]s por pouvoir imi - / ter toutes sortes deffigies: affm que lors qu'il leur pren•

311. See Kirschbaum 1968-76, vol. 7, pp. 17-18. dra/ fantasie de peindre ou feindre quelque chose, Sedulius choose the appropriate verses from Job 29:16 to ilzn'ayent/ besoing d'avoir tousiours leur recours, a ceux be engraved in the margin: "Pater eram pauperum, et qui sont es/ arts les plus practiqués & expérimentés, Si causam quam neselebam diligentissime inquirebam " est-ce que fay/ trouvé bon & util de ne grossir & combler ("And I was father to the poor: and the cause which I ce livre d'un tas/ de figures qui sont en grand nombre: knew not I searched out"). mais seulement de/ celles qui sont les plus rares & moins usitées. A l'occasion/ dequoy i'ay laissé là les sept arts lib-

312. Not in Hollstein. The series consists of an eraulx, Les vertus eardi-/ nales. Les péchez prineipuax & engraved title page, an engraved dedication to Marie de choses de pareilles denrées/ desquelles sont abondamment Meleun, countess of Ligne, 43 numbered engravings with furnies les bouticques. le/ me suis servi peu ou point de (engraved) verses in the margin. Galle apparendy issued la façon de peindre des an-/ ciens: daultant qu'icelle est both a Latin and a French version. In both editions the maintenant tenue pour ob-/ scure & particulière aux verses in the margin, composed by Cornells Kiliaan, are payens, & que la nostre est plus/ claire, ik l'invention des in Latin. They do, however, differ in the language of the Chrestiens est plus en vogue &/ reputation. Que si i'ap- afterword, a one-page text written by Philips Galle and perçoy que ce travail nostre te reus-/ sisse agréable, l'en set in letterpress. Only m the (more common) French edi• seray Dieu aidant aguillonné pour/ oser doresnavant faire tion, the afterword Is followed with three pages, set in let• & produire daultres ouvrages de/ pareille estoffe." terpress, entitled "les noms des figures avec leurs inter• pretations "These only give the French translations of the 315. Cp. Sellink 1992, pp 52-55 (also the slightly Latin verses underneath the engravings. Both Galle's son changed version in chapter 3) and Fufrrmg 1992, pp. 67- Theodoor and grandson Johannes reissued the entire 69, with further references. series. As usual the copperplates were still in the posses• sion of the Galle workshop in 1636:"Alderleij sinnen vijf- 316. Xomme par cy devant mes enseignes sont esté fenveertich platen" ("All kinds of virtues, 45 plates"); l'autel & et cigoigne:/ ainsi m'est au present la sacrée Bible

Duverger 1984, vol. 1/4, p. 21. & le chapelet."

215 Notes Chapter 4

317 The vices are all brought together at the end More details on triumphal entries and religious proces• of the series, following the virtues and other general sions in Antwerp in the second half of the seventeenth notions, just before the four continents. Distrust in God: century can also be found injacquot 1955b (Bruegel and "le déteste la lumière, & me difHe de Dieu; ayant tant Heemskerck in the period 1559-1566). seulement tout/ mon espoir & appuy sur mon argent." 329. Cp.Van de Branden 1883, p, 254.

318. "La sainctc Croix, les clefs, & le calice sont les vrays enseignes de/ l'Eglise de Dieu gouvernée par son 330. Doutrepont seems to have been the first to Sainct Esprit." point out the possible relation between the festivities in 1594 and the persomfications in Galle's Prosopographia;

319. "Toute puissance, diet S. Paul, vient du ciel. Et Doutrepont 1937, pp. 148-149. It is interesting to note pour estre telle, ie porte/ non en vain l'espee & la baguette that there exists a, from iconographic perspective, related droicte" group of circa 70 drawings of allegorical figures by Maarten deVos - now in the Stedelijk Prentenkabinet in

320. Cp. Freedberg 1971 Galle probably felt free Antwerp - that is most probably connected to Ills designs to represent Truth as a nude woman, as this was a well- for Archduke Ernest s entry; cp. Depauw 1988, pp. 70-74, established iconographie tradition. Compare, for instance, nos. 5-6. A more detailed analysis of the series and, above Galles own the Power of truth, engraved circa 1575 after all, comparison with contemporary publications on this

Gerard Groenning {fig. 48). state entry will hopefully provide more Insight and visu• al evidence into the genesis of the Prosopographia.

321. "je suis toute nue: nullement fardée, claire & resplendissante comme le/ Soleil, gouvernée ôc conduicte 331. These rumours started at the time of the marriage of par le S. Esprit "The other nude personification is Grace Galle's son Theodoor with Moretus's eldest daughter of God. Catharine and continued for some time to come. This prompted the two families to obtain certificates proving

322. "Les deux visages & le cercle que ic porte, the contrary fromWulem van Bergen, bishop of Antwerp vous signifient que fay la/ cognoissance tant du passé que (Museum Plantin-Moretus, arch. 100, ff. 263-286). This du futur." was especially important as any suspicion of unorthodox religious convictions could seriously damage their repu• 323. Cp. Corbett 1984, p. 132. tation as a publisher of religious works. Compare Lips 1967, pp. 127-128 andVoet 1969-72, vol. l,p. 194. 324. In a letter of 21 April 1994, Anthony Wells- Cole (Temple Newsam House, Leeds) kindly informed me on the existence of several English houses where (around 1600) the Prosopographia was used as an icono• graphie model for decoration; compare the forthcoming publication Wells-Cole 1997.

325. On the drawing book, compare chapter 3.

326. See Praz 1964, pp. 472-475.

327. Compare Vcldman 1991, p. 285 (Cartari) and Veldman 1992, pp. 256-258 (Valeriano). It is interesting to note that Galle included the features ofValeriano in his 1587-series of portraits; cp. appendix 2E,no. 138.

328. Cp. Doutrepont 1937. On triumphal entries in this period general, see Snoep 1975 andjacquot 1955a.

216 Appendix 1Â

Genealogy of the Galle family up to Philips Galle new branches of the Galle family in Antwerp and Ghent respectively. Philips Galle and his family were well

(It should be noted that the data of this genealogy are, acquainted with die family of (the same?) Michiel Galle with a few exceptions, taken from existing publications in Antwerp: in 1600 Philips was present as godfadier at and are not transcribed from the original archival records; the baptism of Michiels daughter Barbara, while Michiel see chapter 1, notes 32 and 34.) was godfather at the baptism of Philips' grandson Michiel Galle II in 1607 (see appendix IB, no. I). I. Diederik Galle I, lived around 1400,married to the daugh• VXb. ter of Goswyn van Vaernewijck. Philips Galle I, engraver and print publisher, born in From his marriage: Goswyn Galle, continues II. Haarlem in 1537, died 11 March 1612. Married on 9 June 1569 to Catharina van Rollant - daughter of Dirk van II. Reliant (died In Haarlem before May 1547, alderman in Goswyn Galle, lived around 1 430, married to Maria 1522-23,1532 and 1535,burgomaster in 1542) and jooste Taccoen. vanTeylingen - born In Haarlem in 1536/37, died 4 June From his marriage: Diederik Galle II, continues III. 1599. Both were buried in the Antwerp cathedral. From his marriage: ni. 1. Theodoor Galle, continues appendix IB. Diederik Galle II, man-at-arms in service of Charles the 2. Cornells Galle I, continues appendix 1C. Bold, duke of Burgundy, died in 1453; married to Isabelle 3. Justa Galle, continues Vic. van Utenhove, died 16 february 1472; both were buried 4. Catharina Galle L date of birth unknown, died in the church of St. Peter in Ghent. in 1623. Married the engraver and print publisher Karel From his marriage: deMallery (31 July 1571 - c. 1635) in the Antwerp cathe•

1. Roelant Galle I, continues IV. dral on 10 January 1598 (witnesses Philips Galle and 2. Jan Galle, Benedictine monk in Ghent. Philips de Mallery, father of Karel). From this marriage at 3. Claude Galle, married to Phihppote de Neve. least one son was born ~ Philips de Mallery the Younger 4. Etienne Galle, married to Cadiarina Mesdach who continued to practice the art of engraving. in Ghent in 1493. 5. Philips Galle II, baptized in the Antwerp cathedral on 30 May 1581 (godfather Christophe Plantin,

IV. godmother Florentia Geeraerts). burled In the Antwerp

Roelant Galle I, officer in service of emperor Charles V, cathedral on 9 May 1604. married to Julienne Peeters. Vic.

From his marriage: Roelant Galle II, continues V. Justa (Josina) Galle,date ofbirth unknown, died after 1639. Married the engraver and print publisher Adrlaen Collaert

V. in the Antwerp cathedral on 28 October 1586 (witness• es Philips Galle and Johannes Collaert, brother? of Roelant Galle II, married to Barbara van den Poorten, Adriaen) daughter of joos van den Poorten. From her marriage: From his marriage: 1. Catherina Collaert, baptized 19 April 1589 1 Roelant Galle III, died young. (godfather Abraham Ortels, godmother Catherina 2. Joos Galle I, died unmarried. Plantin, daughter of Christophe Planem), 3. Franciscus Galle I, continues Via. 2. Jan (Johannes) Collaert, baptized 1 May 1591 4. Philips Galle, continues VXb. (godfather Michiel Galle I (see above), godmother Jeanne Via. Collaert); possibly the engraver known as Johannes Franciscus Galle, married to Margarita Simons. Collaert the Younger. 1. Franciscus Galle II, Carmelite monk, born c. 1575, died in 1645. 3. Philips Collaert I.baptized 15 May 1593 (god• 2. joos Galle II, married to Anna Huvener from father Philips Galle, godmother Jacqueline Huys); proba• Holland, his sons Michiel Galle i and Jan Galle started bly died before 1608.

217 Appendix 1A/B

4. Adriacn Collaert II, baptized 15 November Appendix IB 1594 (godfather Jan Moretus (Moerentorf), godmother Volcxken Diericx, widow of Hieronyrnus Cock); proba• Genealogy of the Galle family fromTheodoor Galle bly died young, onwards 5. Adriaen Collaert III, baptized 24 October I. 1596 (godfather Theodoor Galle, godmother Elisabeth Theodoor Galle, engraver and print publisher, baptized in Galle). the Antwerp cathedral on 16 July 1571 (godfather Jacob us

6. Karel (Carel) Collaert, baptized 14 August Schil, godmother Volcxken Diericx, widow of 1598 (godfather Karel de Mallcry (see above), godmoth• Hieronymus Cock), buried on 18 December 1633. er Adrienne Galle); engraver and print publisher in Married m the Antwerp cathedral on 2 August 1598 to Antwerp, died in '1654. Catherina Moretus (Moercntorf) - eldest daughter ofjan 7. Theodoor Collaert, baptized 13 July 1601 Moretus and Martina Plantin, daughter of Christophe (godfather Philips Galle, godmother Catherma Moretus, Plantin - born 12 december 1580, died between February wife of Theodoor Galle). and May 1636.Witness to the marriage was Philips Galle.

8. Cornells Collaert,baptized 8 June 1605 (god• From his marriage: father Cornelis Galle, godmother Elisabeth Collaert). 1. Catharina Galle II, continues Ha. 9. Philips Collaert II, baptized 29 January 1608 2. Johannes Galle, continues lib. (godfatherJohannes BaptistaVrints, godmother Catherma 3. Michiel Galle II, baptized in the Antwerp Galle I, sister of Josina); died in 1638. cathedral on 27 April 1607 (godfather Michiel Galle I - see appendix 1A, no. Via - godmother Henricxken

Alter Adriaen Collaert's death on 29 June 1618, Justa (Flenriette) Plantin, youngest daughter of Christophe remarried the engraver and print publisher Pieter de Jode. Plantin), died before February 1636. 4. Balthasar Galle, priest and canon at the abbey of St. Michael in Antwerp, baptized in the Antwerp cathe• dral on 23 June 1610 (godfather Balthasar Moretus I,book publisher and son of Jan Moretus, godmother Catharina Galle I, daughter of Philips Galle), died 6 November 1653. Buried in the abbey of St. Michael in Antwerp.

Ha-

Catharina Galle 1IT baptized in the Antwerp cathedral on 22June 1599 (godfather Philips Galle, godmother Martina Plantin), died before February 1636. Married the printer and book publisher Martmus Nuyts (Nutius) I (1 September 1594 - 10 October 1638) in the Onze- Lieve-Vrouwe church in Antwerp on 24 November 1618 (witnesses Theodoor Galle and Melchior Moretus, priest and eldest son ofjan Moretus); they live, near the Galle workshop, in the Rammenstraat, in a house called "De twee ooievaars'. From her marriage: 1. Martmus Nuyts II, baptized 3 February 1621 (godfather Theodoor Galle), died after October 1638. 2. Catharina Nuyts,baptized 27 April 1622, died before October 1638. 3. Philips Nuytsjesuit priest, baptized 27 August 1623, died 29 April 1702, 4. Johannes Nuyts, Jesuit priest, baptized 1 March 1626, died 14 January 1710.

218 Appendix IB

5. Petrus Nuyts, baptized 12 May 1628, died 3. Maria Galle, baptized 21 August 1646 (god• before October 1638. father jacobus Macquereel, godmother Maria de Sweert). 6. Maria Anna Nuyts, baptized 23 November 4. Norbertus Galle, continues IEL 1629, died after October 1638. 5. Guilielmus Galle, baptized 2 December 1651

7. Michiel Nuyts, baptized 13 June 1632 (god• (godfather Franciscus Macquereel, godmother Maria van father Johannes Galle), died before October 1638, Mockenborch), died after 1672. 6. Anna Galle, baptized 5 July 1654 (godfather

At an unknown date between June 1632 and February Balthasar Moretus II, book publisher and son of Balthasar 1636 Catharina Galle II died. Martinus Nuyts remarried Moretus I, godmother Anna de Grayer), died in the cra• her namesake Catharina Galle III, daughter of Michiel dle.

Galle (see appendix 1A, no.Via). Catharina III died after 7 Johanna Galle, baptized 5 November 1656 October 1642. (godfather Cornells Galle II, son of Cornells Galle I, god• From his marriage: mother Johanna van Erssagen), died ten months old.

1. Catharina Adriana Nuyts, baptized 15 June 8. Catharina Galle IV, baptized 18 february 1659 1637, died after October 1638. (godfather Martinus van Bisthoven, godmother Maria 2. Johannes Baptista Nuyts, Jesuit priest, baptized Simonis), died in the cradle. 12july 1638 (godfatherJohannes GaUe),died 5 November 9 Jacobus Ignatius Galle, baptized 30 July 1664

1684. (godfather jacobus Pantius, godmother Sara de Grayer).

nb. IIL Johannes Galle I, engraver and print publisher, baptized Norbertus Galle I, painter, baptized in the Antwerp cathe• in the Antwerp cathedral on 27 September 1600 (godfa• dral on 22 October 1648 (godfather Henricus Aertssens, ther Jan Morems, godmother Justa Galle, eldest daughter godmother Anna Alewyns), buried on 18 October 1694. of Philips Galle), died 20 December 1676. Married in the From his marriage at least one son was born: Norbertus Onze-Lieve-Vrouwe church in Antwerp on 6 April 1636 Galle II, house painter, who in 1688 was enlisted as'wijn- to Maria vanlbngerloo - daughter ofPieter vanTongerloo meestcr' (son of a registered master) in the guild of St. and Anna Viruli - baptized 2 July 1613, died 21 July 1641. Luke. Witnesses to their marriage were Balthasar Morems I and Pieter van Tongerloo. Maria van Tongerloo was buried in the abbey of St. Michael in Antwerp. From his first marriage:

three children who died in the cradle.

After the death of his first wife Johannes Galle remarried in the Onze-Lieve-Vrouwe church in Antwerp on 1 June 1642 to Maria Macquereel - daughter of Petrus Macquereel and Jacoba Librechts - baptized 2 November 1620, died 12 August 1676. Witnesses to their marriage

were Pieter van Tongerloo, father of Johannes3 first wife, and Caspar de Grayer, stepbrother of Maria Macquereel. Both were buried in the Antwerp cathedral. From his marriage: 1. Isabella Maria Galle, baptized 20 October 1643 (godfather Willem de Grayer, stepfather of Maria Macquereel, godmother Elisabeth Moretus, daughter of Jan Moretus).

2. Johannes Galle II, Jesuit priest, baptized 27 November 1644 (godfather Pieter vanTongerloo, god• mother jacoba Librechts), died after September 1661.

219 Appendix 1C

Genealogy of the Galle family from Cornells Galle Í From his marriage:

onwards 1. Cornelis Galle IV,baptized 13 June 1672 (god• father Cornells Galle II, godmother Elisabeth Borrekens).

I. 2. Nicolaes Galle, baptized 7 August '1673 (god• Cornells Galle I, engraver and print publisher, born in father Nicolaes Muytincx, godmother Francisca Nys). Antwerp in 1576, burled on 29 March 1650. Married on 3. Cornells Siger Galle, baptized 14 July 1675 5 July 1623 in Brussels to Maria vander Moten, date of (godfather Siger van Hontsum, priest and Pronotary birth unknown, died 1651/52 in Antwerp. Apostilac, godmother Anna Borrekens)

From his marriage: 4. Cornelis Philips Galle, baptized 31 December 1676 (godfather Cornelis Galle II, godmother Elisabeth 1. Cornelis Galle II, continues II. Borrekens.

II.

Cornelis Galle II, engraver and print publisher, baptized in the church of St. Jacob in Antwerp on 23 February 1615, died 18 October 1678. Married on 23 december 1641 in the church of St. Jacob to Francisca Nys - ille• gitimate daughter ofjacques Nys - date ofbirth unknown,

died 16 October 1678. Both were buried in the church of St, George in Antwerp.

Fro1. m his marriageCorneli: s Galle III, continues III. 2. Balthasar Galle, baptized 13 April 1644 (god• father Balthasar Moretus II, godmother Susanna Goetheyns).

3. Maria Francisca Galle, baptized 7 July 1645 (godfather Carel Collaert, engraver and print publisher, godmother Maria vander IVloten)

4. Jan Franciscus Galle, baptized 20 October 1648 (godfather Jan Meyssens, painter, godmother Maria vander Moten).

5. Maria Francisca Galle, baptized 26 June 1650 (godfather Franciscus Bolognino, godmother Susanna vander Cruyce)

6. Maria Anna Galle, baptized 23 March 1653 (godfather Johannes Galle I, godmother Catharina Flocquet)

7. Philips Jacobus Galle, baptized 10 March 1654 (godfather Peter van Gindcrdeuren, godmother Maria Wiggers). in, Cornells Galle III, engraver, baptized in the Onze-Lieve- Vrouwe church in Antwerp on 12 November 1642 (god• father Cornelis Galle I, godmother Anna de Boes), died after 1676. Married on 1 July 1670 in the Onze-Lieve- Vrouwe church In Antwerp to Margaretha Muytmcx - daughter of Nicolaes Muytincx and Elisabeth Borrekens - date ofbirth unknown, died after 1676. Witnesses to their marriage were Cornells Galle II and Nicolaes Muytincx.

220 Appendix 2 A

VIRORUM DOCTORUM BE DISCIPLINES traits from 1567-edition, bound with 1572- and 1587- BENBMERENTXUM EFFIGIES (1567)* editions*), Washington (Library of Congress,

36 engravings Washington, 11 portraits from 1567-edition, bound with 1572-edition*) No copy of this first edition of Galles portrait series has been found yet. Its existence was first noted by Van As the portraits from die reconstructed 1567-edition have Someren who refers to an incomplete set of engravings no number, the order of the scholars included is in the with an introduction (dated 1567) by Philips Galle in a first place alphabetical (I). The sequence in which Van German private collection.Van Someren lists 31 portraits, Someren examined the portraits in a bound volume of to which six more could be added until now. A title page the series is also given (Ha), followed by those engravings has not been found so far. According to Van Someren 19 which Van Someren did not mention as belonging the Images were accompanied by verses, while 13 prints only 1567-ediuon (lib). The portraits which have not been had the name of the portrayed person engraved in the traced in this edition, but which were mentioned as such margin underneath. The 1567-series was, again accord• by Van Someren are marked with an asterisk. ing to Van Someren s brief abstract of Galle s Introduction, devoted to scholars and illustrious men who had become famous due to 'sectarian quarrels*. Most of the scholars I and theologians portrayed were active in the sixteenth century. Excluding some more outspoken reformers as Adrian VI Hus, Savonarola and Calvin, nearly all belonged to the Agricoia, Rodoiphus moderate, humanist movement within both the Protestant Alciati, Andrea* and Catholic churches. Aventinus, Johannes Beatus Rhenanus The verses are in all cases different from the 1572- and Bembo, Pierro later editions and are also engraved in a completely dif• Bueer, Martin ferent type of letter. In style and technique these letters Bugenhagen, Johannes are very similar to those on Galles engravings with vers• Calvin, jean es by Hadrianus Junius, published in Haarlem between Camerarius, Joachim 1560 and 1570. The verses under the portrait of Junius - Erasmus, Desiderius using the Latin "me" several times - suggest that he might Fisher, John have been the author of these verses himself. On the other Fusch, Gilbert* hand it may just have been a rhetoric figure of speech. Gelli, Gian Battista* I-Iowever, taking the frequent collaboration between Galle Grapheus, Cornelius* and Junius in this period in account it is certainly possi• Hosius, Stanislaus* ble that Junius has been the author of several (or all?) vers• Hus,Johannes es of the 1567-edition. Junius, Hadrianus Laski,Jan

*> This tide Is a provisional title, taken by anal• Lazlus, Wolfgang* ogy to the I572~edition;this series of portraits - complete Luther, Martin or Incomplete - can perhaps be found in collections under Macropedius, Georgius* entirely different titles. Marot, Clement* Mattioll, Pierre Andrea* Lit.: Melanchton, Philippus More, Thomas Van Someren 1888-91, vol. I, p. 122; SeOink 1992a, p. 23 Philandrier, Guillaume* Pirekheirner, W'illibald* Copies: Pius II*

Trie Hague (Koninklijke Bibhotheek,Den Haag, 12 por• Sartorius, Johannes* traits from 1567-edition, bound with 1572b-edition), Savonarola, Girolamo Washington (Library of Congress, Washington, 10 por•

221 Appendix 2 A

Tapper, Ruard Tartaglia, Nicolo* VIret, Pierre Vives, Juan Luis Zwingli, Huldrych

Ha

(1.) Laski.Jan (2.) Sartorius, Johannes* (3.) Bucer, Martin

(4.) Alciari, Andréa*

(5.) Viret, Pierre (6.) Savonarola, Girolamo

(7.) Hosius, Stanislaus*

(8.) AdrianVI (9.) Bernbo, Pietro (10.) Pius II* (11.) Bugenhagenjohannes (12.) Cameranus,Joachkn (13.) Erasrnus, Desiderius (14.) Pirckheimer, Willibald* (15.) Gelli, Gian Battista* (16.) Marot, Clément* (17.) Aventinus,Johannes (18.) Junius, Iladrianus (19.) Philandrier, Guillaume* (20.) Tapper, Ruard (21.) Macropedius, Georgius* (22.) Fusch, Gilbert* (23.) Tartaglia, Nicolo* (24.) Mattioli, Pietro Andréa* (25.) Agricola, Rodolphus (26.) Lazius,Wolfgang* (27.) Vives,Juan Luis (28.) Beatus Rhenanus (29.) Grapheus, Cornélius* (30.) Fisher,John (31.) More, Thomas

Hb

(32.) Calvin, Jean

(33.) Hus, Johannes (34.) Luther, Martin

(35.) Melanchton, Philippus (36.) Zwingii, Huldrych

222 Appendix 2 B

VIRORUM DOCTORUM DE DISCIPLINIS non amare eos, quos exceilens animi virtus aliqua no-/ BENEMERENTIUM EFFIGIES XOIII (1572) bilitaverit. Quam quidem ob rem, cum ipse a pueritia 44 engravings usque/ naturae quadam propensione Picturae artem, et earn etiam, qua Pictura longe la-/ teque propagatur, in 1572 Philips Galle published a second series of 44 Chalchographicen, coluerim et exercuerim; non solum famous men, this rime devoted to European humanists mearum/ artium peritissimos omnes amavi, sed quos- and scholars In general. The verses were written by the cunque bonarum literarum disciplina-/ rumque eogni- Spanish humanist Benito Arias Montano, a friend of Galle tione plurimum valere cognoveram, et praesentes (si mihi and then living and working in Antwerp; the verses under eosdem/ videre aut ailoqui contingeret) vehementer the image of Arias Montano himself were composed by dilexi et colui, vel absentes, aut vita/ etiam functos ammo Hadnanus Junius. Two versions of this series were pub• venetatus sum semper, omniumque laudes et praedlcare lished, a first (1572a-edition) with all the verses printed li-/ benter audio, et ipse quantum in me est, perpetuo In letterpress - probably printed by Christophe Plantin - praedico. Dignos enim iudi-/ co omnes, qui aliquam vitae and a second (1572b-edition) with (nearly) identical vers• utilitatem, praesertim in bonis artibus promovendis/ es engraved In the margin underneath the portraits. attulerint, quorum nomen ab ijs qui ingenio valent, et

Galle reused at least 25 portraits of his 1567- similium artium studio/ tenentur, gratissima commenda- series, all of them with new verses. In several engravings tione commemoretur. Haec igitur mihi causa/ fuit, of the 1572a-edition traces of the older inscriptions are quamobrem nonnullorum in bonis artibus illustrium viro• still visible.When printing the 1572a-edition Philips Galle rum, qui nostra/ aetate vel paulo ante floruerunt,vei adhuc did not erase the existing inscriptions but covered them cum multa ingenij et eruditionis lau-/ de vivunt,tum mini with a piece of paper. He could then use the blank space notorum, et quibus cum consuetude aliqua intercessit, underneath the image to print the texts In letterpress in effi-/ gies ad vivum expresserim, turn eorum quos non- a second printing at the Plantin press. At a later date - pos• dum viderkn ex optimis et cer-/ tissimis exemplaribus sibly at the occasion of publishing of the 1587-edition - undique conqulsitis depictas In prívalo cubículo, ubi all the margins were made blank in order to engrave the artem/ exerceo meam, maximi ornamenti nomine collo- same verses and print the 1572b-edition. caverim.Verumenimvero cum/ illorum famae colendae, atque eorundem armcls, cognatis, studiosis, et concivibus/

1572a iuvandis id a me quod praestari posset, deberi intelligerem, selectissimas et cer-/ tissimas, quas habere potueram, in

On the recto of the title page an alphabetical table of con• aere Incisas et diligenter expressas, cum meae/ atque tents Is printed in letterpress: "NOMINUM HOC aliarum bonarum artium amatoribus communicare con• LIBELLO/ DEPICTORUM/ Index./ underneath stituí. Equidem/ plures habere percuperem, quibus et ipse the index is the approbatio by the Antwerp canon delectarer, et ad publicam noticiam/ exprimendis et Sebasnanus Baer (Delft ?? - Antwerp 1576/77), also in let• exhibendis operam darem. Sed quondam quasdam nactus terpress: "Nihil habet S. Romanae Ecclesiae fidei contra- fue-/ ram non usque adeo veram virorum referentes for- / rium aut, Reipub. offensivum. Quod attestor/ mam, et incena pro certis tra-/ dere,neque ingenui animi, Sebasnanus Baer Delphius, insignis Ca-/ thed. Ecclesiae neque mei Institui esse existimaren!, has in praesentia-/ S.Marlae Hantwerp./ Plebanus et Canonicus."(five lines). rum, quibus animum studiumque nostrum testaremur, The tide page (page Al) Is followed by page A2, which exhibendas duximus:plu/ res etiam post hac secundo libro has an introduction in letterpress on both sides, written exhibituri, modo boni studiosique viri, aut Civi/ tatum by Philips Galle: Magistratus, apud quos huiusmodi doctorum virorum effigies ad nominis/ rnonumentum depictae habentur,

"PHILIPPUS GALLAEUS PICTOR ET exempfum aliquod a perito arris pictore exprés-/ sum, CHALCOGRAPHUS/ B ON ARUM ARTIUM AMA- sive cum coloribus, sive ex nigro et albo tantum, perinde TORIBUS, SJ Qukurnque bonas disciplinas et ingen• enim nobis fuerit:/ aut si sculptum habeant, vel m numis- uas arces Ipsarum tan-/ turn causa diligunt, ij cum avari- matis formam relatum, nobis tradendum/ hue Antverpiain tiam oderint, quae et ingenia/ hominum corrumpit et mittant ad Christophorum Plantinum Prototypographum artes etiani obscurat, ab omni inviden/ tla prorsus alieni, Re-/ gium, aut ad Abrahamum Ortelium Geographum, singularique erga virtutem afFectu ducn, non/ possunt viros nonssimos: a quibus ipse/ reddita huiusmodi exem-

223 Appendix 2 B

pla cum accepero, quantum omni diligenria atque indu- thy of having their name commemorated with gratitude /stria consequi potero, virorum de boms artibus bene- by men who excel m talent and have a zeal for similar merentium farnae celebrita-/ tique consulam: ut qui ex arts. ingeniorum fmctibus editis notitiam sui ad absentes/ This is the reason, therefore, that I have atque ad posteros propagaverunt, non tantum animorum engraved the portraits - drawn from life - of several men specimine, sed corpo-/ rum etiam Ipsa nota sintV Porro who are illustrious in the liberal arts, both those who lived singulorum quos nunc exhibemus elogia, Benedictus shortly before our time, as well as those who still live, Arias Montanus,/ (qui diseiplinarum omnium et nos- highly praised for their talents and their learning, both trarum etiam artiuni,picturae et sculpturae/ peritos pluri- those whom I have seen and talked to and those whom I mum diligit,) binis Distachis artifseiose complexus est, have not yet seen. As the best possible decoration I have quae non mi-/ nus varietate et elegantia, quam veritate hung dieir portraits, painted after the best and most reli• laudum Lectores iuvabunt. Namque/ ut effigies ipsae vari- able examples and brought together from everywhere, in ae, certae onines tamcn sunt, ica Tctrastichorum sentenua the workshop where I practise my art.

cum/ summa veritatis ohservatione eleganter distincta est. However, since I understand that I should do Eius viri quamvis repu-/ gnantis efEgiem ex elegantl the best I can to honour their fame and to help their Pulrbuisi Pictoris exemplari expressarn suo loco po-/ friends, relatives, pupils and fellow citizens, I have decid• suimus, quern quo gradu inter doctos haberi oporteat, ed to share with those who love my own art as well as opera ab ipso edlta et eden-./ da docebunt. Noluit ille qui- other fine arts, the most exquisite and reliable portraits I

dem nobis hac in parte suam operam aut sententiam/ have been able to acquire, engraved m copper and faith• adhibere, sed non potuit iuri meo detrahere, qui ex arte fully rendered. For sure I would like to obtain more of picturam afFin-/ gere vel ipso non vacate poteram, these portraits, both to take delight in them myself as well amicamque ac concivem meum/ Adr. lunium virum doc- as to take great pains to engrave and publish them, so that rissimum ad carmen addendum/ appclIarc.Valcte et nos• they may become public knowledge.

trum studium, ut/ candidos animos decet, probate/ But as I have come by some portraits that do Antverpiae. vj. Cal.Mart./ CIC[in reverse].IC[in reverse]. not truly represent the features of these men, and since I LXXII" am rather on the safe side and also of the opinion that it is neither honourable nor fitting to my purpose to include "Philips Galle, painter and engraver, greets all those who such portraits, we considered that [only] the following love the arts. [accurate portraits] must be shown now, and thereby tes• tify our aim and zeal. Hereafter we will publish more Everyone who loves scholarship and the liberal arts for images in a second book, if only the good and studious their own sakes - as he hates avarice spoiling mankind's men or magistrates who possess portraits of such learned nature and even obscuring the arts -, who entirely lacks men painted In remembrance of their names, send a copy, jealousy and is led by an extraordinary inclination to made by a skilled artist - whether In colour or in black virtue, such a man simply has to esteem men who acquired and white only since it is the same to me -, or, in case fame by their outstanding intellectual virtues.That is why, they own a sculpture or a medal, to hand it over to us in although I have honoured and practised from my youth Antwerp, addressed to the royal prototypograph up the art of painting as well as the art of engraving that Christophe Plantin or to the geographer Abraham Ortels, propagates the painting far and wide, I myselfhave admired both well-known men. not only those men that excel most m my own arts, but After I have personally received from them also those who, as I understood, were advantageous to the such images, I will, with all carefulness and assiduity, take knowledge of the humanities and other branches of learn• the best possible care of the fame and celebrity of the men ing. I have always loved and honoured the scholars who to whom the liberal arts owe much. It is my aim that those were present - whenever there was a possibility to see and scholars who have propagated their names to the people speak them while I held those in reverence who were who did not know them in person or who lived after they not, or who had even passed away. I like to hear such men did, will gam fame not only by the products of their minds, being praised, continuously eulogizing them myself to the but also by the very appearance of their features. best of my ability. In my opinion all those who have been Moreover, on every person we now present of benefit to life, especially m advancing the arts, are wor• Benito Arias Montano (who very much appreciates the

224 Appendix 2 B

skilled in all arts, Including ours, painting and sculpting) image of pope Pius II has been replaced by a second ver• has skilfully written, in two distiches, eulogies that will sion, engraved in reverse and on the engraving of please the readers no less by their variety and refinement, Theodoor Poelman his age and the date 1572 have been than by the truth of their praise. For just as the portraits added. themselves are varied, but all reliable, likewise the mean• ing of the tetrastiches is elegantly distinct, while the truth Lit.:

is remarkably well heeded. Although he himself refused, Cockx-Indestege 1968-94, vol. 1, p. 91, no. 1219; Van we have placed the portrait of this man [Arias Montane] Someren 1888-91, vol. I, pp. 123--124;Bataillon 1942, pp. at its appropriate place, engraved after a refined original 158-159; Hansel 1991, pp. 90-100; Sellink 1992a, pp. 23- by the painter Pieter Pourbus.The works he has edited or 24 will edit, will show which rank he should have among scholars. For this portrait he did not want us to use his Copies: own work or his own text, but he could not deprive of Antwerp (Stedelijk Prentenkabinet, Museum Plantm- my rights. I was able to add a skilfully made portrait with• Moretus, Antwerpen, 1572b-edition, bound with 1587- out calling in his help, asking my friend and fellow citi• edition), Antwerp (Bibliotheek, Museum Plantin- zen Hadrianus Junius, a very learned man, to add a verse. Moretus, Antwerpen, 1572a-edition, bound with Farewell and approve of my zeal, as sincere men should Lamps on 1572), Berlin (Staatsblbllothek zu Berlin - do.Antwerp, February 24,1572." (translated from the Latin Pi^ussischerKulturbesitz,1572b-edItIon),B!oomirigtori by jan Bloemendal) (Indiana University, Bloomington, Brussels (Komnkhjke Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert The 44 portraits then follow, numbered from A3 to F6, Ier, Bruxelles, 1572b-edition),Brussels (Prentenkabinet, with all verses set In letterpress. Koninklijke Bibliotheek Albert I, Brussel; Cabinet des estampes, Bibliothèque Royale Albert Ier, Bruxelles, 1572b 1572b-edition, bound with 1595-edition), Budapest (Bibliotheca Nationalis Hungariae Széchényiana,

On the recto of the tide page an alphabetical table of con• Budapest, Cambridge (Printroom, Fitzwilliam Museum, tents is printed in letterpress using a different, slightly larg• Cambridge, Cambridge (USA) (Harvard University, er font:"NOMINUM HOC LI-/ BELLO DEPICTO- Cambridge (USA), Columbia (University of Missouri, RUM/ INDEX/ .„,."; underneath the same approbatio Columbia, Edinburgh (National Library of Scodand, is added, also in letterpress:''Nihil habet S. Romanae Edinburgh, Florence (Biblioteca Nazionale, Firenze, Plebanus et Canonicus." (four lines instead of five). The bound with 1587-edition, Ghent (Universiteitsbiblio• tide page (page Al) is followed by page A2, which has the theek, Rijksuniversiteit Gent, Leiden (Universiteitsbib• 1572a~introduetion In letterpress on both sides, again liotheek, Rijksuniversiteit Leiden, London (The British using a different type of letter and with some slight dif• Library, London, Madrid (Gabinete de estampas y bellas ferences in spelling: "PHILIPPUS GALLAEUS/ PIC- artes, Biblioteca Nacional, Madrid, 1572b-edition, TOR ET CHALCOGRAPHUS/ BON ARUM incomplete, bound with individual portraits from several ARTIUM AMATORIBUS, S./ ..... Antverpiae, vj. Kal. other editions), Paris (Bibliothèque Nationale, Paris, two Mart./ CIC[in reverse]. IC[in reverse]. LXXIL"Tne 44 copies: 1572a-edition,bound with 1587-edition and three portraits then follow, numbered from A3 to F6, with all portraits of 1567-edition; 1572-edition, Paris (Cabinet verses engraved in the margin underneath. des estampes, Bibliothèque Nationale, Paris, 1572a-edi- In nearly all the verses in the 1572b version tion, bound with 1604- and 1606-editions), Escorial there are some minor differences in comparison with the (Biblioteca del Monasterio San Lorenzo de el Escorial, 1572a-edItion. Sometimes grammatical errors have been Escorial, 1572a~edition), Stockholm (Kongelige Biblio- corrected, In other instances the engraver has made new teket,Stockholm, 1572b-edition),The Hague (Konink• mistakes.There have been changes to the portraits as well: lijke Bibliotheek, Den Haag, 1572b-edition, bound with the six men placed in an oval (Boccaccio, Dante,Dodoens, twelve portraits from 1567-edition), Toronto (Toronto Ficino, Petrarca and Poliziano) have inscriptions engraved Public Library, Metropolitan Bibliographic Center, in the borders around the portrait; in the case of Clement Toronto, Washington (Library of Congress, Washington, Marot a caption has been engraved above the portrait; the rwo copies: one bound with 1587-edition and 10 por-

225 Appendix 2 B

traits from the 1567-cdiuon;rlie other bound with eleven Pius II, second version (1572b) portraits from 1567-cdition, Wolíhnbüttél (Herxog Plantin, Christophe

August Bibliothck,Wolfenbiittel,two copies: 1572a-edi- Poelman,Theodoor oon and 1572b-cdition Poliziano, Angelo Sartorius, Johannes* The 44 portraits from the 1572-edition are first listed in Savonarola, Girolamo* alphabetical order (I) and then according to the numbered Tapper, Ruard* sequence in the series (II),There is no difference in num- Tartaglia, Micolo* bering between the 1572a- and 1572b-editions. Those Vesalius, Andreas engravings which have been reused from the 1567-edi- Vives, Juan Luis*

tion are marked with an asterisk. Zsamboky, janos

Ï îï

Adrian VI* 1. Plus II*, in both versions (A3)

Agrícola, Rodolphus* 2. Adrian VI* (A4) Alciati, Andrea* 3. Bembo, Pietro* (A5)

Apianus, Petrus 4. Hosius, Stamslaus* (A6) Arlas Montano, Benito 5. Fisher, John* (A7) Bembo, Pietro* 6. More, Thomas* (A8)

Boccaccio, Giovanni 7. Arias Montano, Benito (BÍ) Bude, Guillaume 8. Vives,Juan Luis* (B2) Camerarius, Joachim* 9. Erasmus, Desiderius* (B3)

Dante Alighieri 10. Junius, Hadrianus* (B4) Dodoens, Rembert 11. Macropedius, Georgius* (B5) Dousa, Janus 12. Dons a, Janus (B6)

Erasmus, Desiderius* 13. Sartorius,Johannes* (B7) Fleino, Marsilio 14. Tapper, Ruard* (B8) Fisher, John* 15. Goropius Becanus,Johannes (CI) Fusch, Gilbert* 16. Latomus,Jacobus (C2) Gelli, Gian Battista* 17. Vesalius, Andreas Gemma Frisius 18. Grapheus, Cornelius* (C4) Gemma, Cornelius 19. Dodoens, Rembert (C5) Goropius Bee anus, Johann es 20. Ortels, Abraham (C6) Grapheus, Cornelius* 21. Agrícola, Rodolphus* (C7)

Hosius, Stanislaus* 22. Geinma Frisius (C8) Junius, Hadrianus* 23. Frisius, Cornelius (Dl) Latomus, Jac obus 24. Fusch, Gilbert* (D2)

Lazius, Wolfgang* 25. Poelman,Theodoor (D3) Macropedius, Georgius* 26. Pirckheimer, Willibald* (D4) Marot, Clement* 27. Zsamboky, Janos (D5)

Mattioli, Pietro Andrea* 28. Camerarius,Joachim* (D6) More, Thomas* 29. Lazius, Wolfgang* (D7) Orteis, Abraham 30. Mattioli, Pietro Andrea* (D8)

Petrarca, Francesco 31. Apianus, Petrus (El) Philandrier, Guillaume* 32= Budé, Guillaurne (E2) Pirckheimer, Willibald* 33. Philandrier, Guillaurne* (E3) Pius II, first version* (1572a) 34. Plantin, Christophe (E4)

226 Appendix 2 B

35. Maxot, Clement* (E5) 36. Dante Alighieri (E6) 37. Petrarca, Francesco (E7)

38. Boccaccio, Giovanni (E8) 39. Ficmo, Marsilio (Fl)

40. Savonarola, Girolarno* (F2)

41. Pollziano, Angelo (F3) 42. Alciati, Andrea* (F4) 43. Tartagha, Nicola* (F5) 44. Gelli, Glan Battista* (F6)

227 Appendix 2 C

IMAGINES L. DOCTORUM VIRORUM5 QUI "Greetings to those who are well-disposed to the liberal

BENE DE STUDIIS LÍTERARUM MERUERE arts and men of letters.

(1587)

50 engravings That a promise must neither be revocable, nor wily, nor unaccomplished [Homer, Iliad, book 1, verses 526-527],

In 1587 Philips Galle published his third series of por• no one will deny, save someone of bad reputation. For a

traits of illustrious scholars. In his introduction Frans van promise obliges no less to fulfilment by common decen•

Ravelingen, who wrote all the verses accompanying the cy, than an agreement and an obligation bind by exact

portraits, states that this publication is to be considered as rules of law. Philips Galle agrees to this and proves it by

the promised supplement to the 1572-senes. Only two his own example. For when he edited some portraits of

portraits had been used in the 1567-edidon (Aventinus learned men fifteen years ago, doing his very best to be

and Beatus Rhenanus), while no engravings of the 1.572- of benefit to public interest and its protagonists, he

edition have been used at all. Again most of the scholars promised an enlarged edition. Until now, due to serious

chosen come from the late fifteenth or the sixteenth cen• reasons, this has been delayed, but not entirely cancelled. tury, although a handful from the later middle ages have For behold, he has given satisfaction with Interest. He does been added (e.g. Thomas ab Aquino and several Italian not enlarge the first work, but releases a new one, as yet jurists). unpublished. Issued, however, in such a way that it can, according to your own taste, both be used as an appen•

The tide page is followed by an unnumbered sheet.Recto: dix to the first book and be held separately. But in one one page with a Latin introduction, set in letterpress and aspect this work will be inferior to the first edition; I am written by Frans van Ravelingen: referring to the captions and the verses underneath the portraits.To the previous ones lustre was added by Benito

"LITERARUM ETV LITERATORUM STU --/ DIO Arias Montano, while these will remain in obscurity due

SIS S./ Promissum OV lEaXlVOYpETOV Ov8' a^aTTjAGV to the insignificance of my talent.Yet 1 have recklessly fol•

Ov8 ateX£VTT|tOV esse deberé, nemo nisi make fidei/ lowed this great man's footsteps: both because it would negat: non minus enim ad solutionem more bono/ have been difficult to refuse Galle's request, for he is an promissio obhgat, quam iure stricto stapulatio aut/ oblig• ancestral and paternal friend, and because I hope that my an o. Fatetur id et suo exemplo docet Phi-/ lippus Gallaeus. youthful age will make me less liable to stylus and criti•

Cum enim, ut semper reip, et ijs/ qui isti profuerurit cism. Besides, to anyone that judges without a malicious prodesse opere maxumo studuit; /ante axmos quindecim intention: do not scoff at the portraits, but also do not

Eruditorum virorum effigies aliquot ederet, au-/ etiorem praise the verses, even if you want to. That I will allow. editionem promittebat. Quae quidem graves ob causas That I will once want. Farewell and enjoy yourself. August usque/ adhuc dilata est; non autem prorsus sublata. Nam 1, 1587." (translated from the Latin by Jan Bloemendal) ecce cum foenore satis-/ facit. non primum opus auget; novum nec hactenus visum dat. its tamen,/ uti, pro Verso: a table of contents in letterpress and underneath cuiusque arbitratu, priori annecti possit et separatim ha- the approbatio by the Antwerp canon Michiel Hetsrocy

/ beri.Verum uno opus hoc priori cedet, titulis, inquarn, (Bruegel c. 1540 - Antwerp 1593): "APPROBATIO./ et indicibus/ Iixiaginúm.Prioribus lux affulsit a Benedicto Michael Hctsroey a Bruegel, Canomcus Antverpiensis

Aria Montano, his tene-/ brae erunt a tcnebris ingenij vidit et/ approbavit. X. lulij, Anno M. D. LXXXVII./ mei.Audax tamen post tantum virum hoc/ iter trivi: mm Michael Hetsroey, manu propria." (four lines).Then fol• quod petenti id Gallaeo, amico avito et paterno, recusare/ low 50 portraits, numbered 1 to 50, with verses engraved durum fuisset; turn quod sperem, aetatcrn meam adules- in the margin underneath. All die portraits seem to have centem tudorem/ fore a stilo et censura. Ceterum quisquís been engraved by Philips Galle. sine dolo malo index es, Ima-/ gines vituperare;Versus, si

Ita visum,laudare noli.Patiar. Olirn vo~/ labo.Vale et fhierc. Galle reissued this series twice. In 1595 die 1587-edition

Kal. SEXT. CiCfin reverse]. IC[ín reverse!. LXXXVII./ was published widi a slighdy different tide page and new

Fr. PL Raphelengius." versions of the portraits of Andreas Schott and Laevinus

Torrenrius, engraved by Theodoor Galle and Gijsbert van

Veen respectively. In 1606 Galle again republished the

228 Appendix 2 C

1587-edition. Besides changes in the tide page, the por• 1606-edition: traits of Vighus van Aytta van Zwichem, Joost de Minnesota (University of Minnesota, Minnesota, Paris Bamhoudere, Francesco Jimenez de Cisneros, Charles de (Cabinet des estampes, Bibliothèque Nationale, Paris, Langhe, Cornelis fviuys, Jacopo Sadoleto and Janus bound with 1572a- and 1604-editions) Secundus were included in different states as found in the 1595-editIon. The 50 portraits from the 1587-edition are first listed in alphabetical order (Î) and then according to the numbered lit.: sequence in the series (H). There are no changes in the

Cockx-Indestege 1968-94, vol 1, p. 90, nos. 1211-1212; numbers in the 1595- and 1606-edidons. VanSomeren 1888-91,vol. l,pp. 124-125;BataUlon 1942, pp. 158-159; Sellink 1992a, pp. 24-25 I

Copies: AeeorsG

1587-editiom Ariosto, Ludovico Amsterdam (Universiteitsbibliotheek, Universiteit van Aventinus, Johannes (1567) Amsterdam), Amsterdam (Rijksprentenkabinet, Aytta van Zwichem ,Viglius van Rijksmuseum, Amsterdam), Antwerp (Stedelijk Azpilcueta, Martinus ab Prentenkabinet, Museum Plantdn-Moretus, Antwerpen, Bartolo da Sassoferrato two copies, one bound with 1572b-edition), Brussels Beatus Rhenanus (1567) (Koninklijke Bibliotheek Albert I, Brussel; Bibiiothèque Belon, Pierre Royale Albert Ier, Bruxelles, bound with the album ami- Benavides, Marco Mantova corum of Jacobus Boschuyvius, dated 1588), Cambridge Castro, Angelo da (Printroom, Fitzwilliarn Museum, Cambridge, Cam• Castro, Paolo da bridge (USA) (Harvard University, Cambridge (USA), Collenucclo, Pandolfo Dresden (Kupferstichkabinett der Staadichen Kunst Corti, Francesco sammlungen,Dresden), Florence (Biblioteca Nazionale, Costa, Christophorus a Firenze, bound with 1572-edition, Ghent (Univer• Crato,Johannes (1567) siteitsbibliotheek, Rijksuniversiteit Gent, Leiden Damhoudere, Joost de (Universiteitsbibliotheek, Rijksuniversiteit Leiden, Da ntisc us, Johannes Louvsdn, (Centrale Bibliotheek, Katholieke Universiteit Decio, Filippo Leuven, Madrid (Gablnete de estaxnpas y belias artes, Eder, Georg Biblioteca Nacional, Madrid, two copies, one incom• Escluse, Charles de 1' plete), New Haven (Yale University, New Haven, Paris Furio y Ceriol, Federico (Cabinet des estampes, Bibiiothèque Nationale, Paris, Gois, Damiao de bound with 1572a-edition, Regembiarg (Fürst Thurn Griffollni, Francesco undTaxis'schc Hofbibliothek, University Park (Univer• Hortensius, Lambertus sity of Pennsylvania, University Park, Washington Janus Secundus (Library of Congress.Washington, bound with 1572?-edi- Jimenez de Cisneros, Francesco tion and 10 portraits from 1567-edition) Langhe, Charles de Maino, Jason de

1595-edition: Manuzio, Aldo Brussels (Prentenkabinet, Koninklijke Bibliotheek Manuzio, Paolo Albert I, Brussel; Cabinet des estampes, Bibiiothèque Mayno, Jason de Royale Albert Ier, Bruxelles, two copies, one bound with Melissus, Paulus de 1572b-edition), Edinburgh (National Library of Mercator, Gerard Scouand, Edinburgh Monceaux, François de Miinster, Sebastian

229 Appendix 2 C

Muret, Mare-Antoine de 27. Eder, Georg

Muys, Cornells 28. Crato,Johannes (1567) Panigarola, Francesco 29. Escluse, Charles de 1' Rantzau, Henrik 30. Costa, Christophorus a Rossoni, Dino 31 Rantzau, Henrik

Sadoleto, jacopo 32. Manuzio,Aldo S annazaro, Jac op o 33. Manuzio, Paolo Schott, Andreas; first version (1587-edition) 34. Vettori, Pietro

Sehott, Andreas; second version (1595/1606-editions) 35. Beatus Rhenanus (1567) StoefBcr, Johannes 36. Valeriano, Giampietro Tartagni, Àlessandro 37. GrifFolini, Francesco

Thomas ab Aquino 38. Aventmus, Johannes (1567)

Tiraqucau, André 39 Mercator, Gerard Tbrrentius, Laevinus; first version (1587-edition) 40. Münster, Sebastian

Torrentius, Laevinus; second version (1595/1606-edi- 41. Belon, Pierre tions) 42. Gois, Damiao de Ubaldeschi 43. StoefHer, Johannes

Valériane, Giampietro 44. Furio y Ceriol, Federico Vettori, Pietro 45. Collenuccio, Pandolfo 46. S annazaro, ¡acopo

47. JanusSecundus

ïï 48. Monccaux, Francois de 49. Ariosto, Ludovico 1 Thomas ab Aquino 50. Melissus, Paulus

2. Sadoleto, Jacopo 3. Jimenez de Cisneros, Francesco 4. Torrentius, Laevinus (both versions)

5. Bantiseus, Johannes

6. Aytta van Zwiehern,Vigiius van 7. Langhe, Charles de 8. Azpilcueta, Martinus ab 9. Panigarola, Francesco 10. Muys, Cornells

11. Hortensms, Lambernos 12. Muret, Marc-Antoine de 13. Schott, Andreas (both versions) 14. Bartolo da Sassoferrato

15. Ubaldeschi 16. Accorso 17. Mamo, Jason de

18. Decio, Filippo 19. Castro, Paolo da

20. Castro, Angelo da 21. Tartagni, Alessandro 22. Rossoni, Diño 23. Benavides, Marco Mantova 24. Corü, Francesco 25. Tiraqueau, André

26. Damhoudere, Joost de

230 Appendix 2 D

IXXUSTRIUM GA1XIAE BELGICAE 8CRIPTO- "Greetings to the sincere reader or viewer RUM ICONES ET ELOGI (1604)

58 engravings Dear reader or viewer, not so long ago I have edited eulo• gies of illustrious authors of our Netherlands. Since I

In 1604 Philips Galle published a fourth series of por• noticed that this undertaking of mine, trivial and insignif• traits. This publication focused exclusively on Dutch and icant as it may be, gave satisfaction to a large number of Flemish scholars, to a large extent illustrating Aubert Le people, I also assiduously and conscientiously started to Mire's Ehgia Ulustrium Belgii scriptorum published in collect their images from a variety of sources. Here you Antwerp 1602. Galle reused 17 portraits from his earlier can see the results of this activity. If I am not mistaken, series: 11 from the 1572-edition (of which five had orig• this will be just as pleasing and rewarding to aU outstand• inally been engraved for the 15&7-edidon), five from the ing men. For It affects and excites the mind to the utmost, 1587-edltions and the second version ofTorrentius* por• and it entertains and delights die eyes to see the lifelike trait from the 1595-edition. In some cases the earlier vers• portraits of those men whose writings and monuments es were maintained, in other cases they were replaced by of their talent we admire when reading, their features new inscriptions. Besides Le Mire's verses, poems by sev• placed in a long series, like in a theatre or on the stage. eral other Flemish authors were used for specific portraits. The Romans indeed had the custom to ded• All the earlier engravings were Included in new states, as icate images of those who had been of use to the state in at the top of every portrait the age and the year of death their sanctuaries, to carry the portraits of the comman• were added. ders-in-chief among the banners In front of the soldiers, and to place waxen portraits of their forefathers together The verso of die tide page Is blank. On the recto of the In long rows in their atrium. Of course these were brought next sheet is an introduction to the book, set in letter• together as stimuli to improve on the ancestral virtue. press and most probably written by Aubert Le Mire: Similarly these images of learned men, engraved In copper with all our care, will not only delight,

"CANDIDO LECTORI,/ SEU SPECTATORI S./ but will also to a large extent inspire, as i hope, to imitate Illustrium GaUIae Belgicae nostrae Scriptorum Elo / gia everyone in his own domain. Besides, we have not fol• nuper dedi, mi Lector seu Spectator. Quern com-/ turn lowed a chronological order, but a division regarding die nostrum et si levern ac temiem, cum permultis/ gratum skills and disciplines. Whatever has been possible in this esse anima adverterern, coepi et Imagines eo-/ rumdem respect, we have usually united like In a miscellany variis e locis studiose fideliterque conquirere. Eius in-/ Farewell, and judge fair and just." (translated from the dustriae specimen hie vides; quae, nisi fallor, Optimo cuiv- Latin by Jan Bloemendal) is gra-/ ta erit pariter acceptaque. AfHcit enim excitatque rnlrI6.ce/ amnios, oculosque pascit atque oblectat, vivas On the verso of this page follow a table of contents and eorum effigies,/ quorum scripta atque ingenij monu- the approbatio by the Antwerp canon Egbert van Spidiout menta legendo admiramur,/ velut in theatro seu pegmate, (Zutphen ?? - Antwerp 1627), all set in letterpress; "Vidit, longo ordine positas, coram intue-/ ri. Romanorum sane et laudavit Egbertus Spitholdius Canonicus et Plebanus/ vetus institutum fuit, bene de Repub. me-/ ritorum imag• Antverplensis 21.maj,Anno 1604." (two lines).Then fol• ines in templis dedicare; Imperatornm strenuo-/ rumque low 52 numbered portraits. The portraits were engraved Ducum icones, inter signa, militibus praeferre; ceratas/ In the Galle workshop, an identification of the engraver(s) maiorum effigies longa serie in atriis collocare. Niminim has not been possible. ut his/ velut ealcaribus ad virtutis avitae aemulationem compelleren-/ tur. Sic et eruditorum hominum Imagines In 1608 Galle's son Theodoor published a revised and istae, in aes cura no-/ stra msculptae, non delectabunt enlarged edition of the Blustrium scriptorum icones, dedi• modo, sed ad imkandum quo-/ que, ut spero, in suo cated to Albert of Austria, viceroy of the Southern quemque genere, vehementer inflamma-/ bunt. Ceterum Netherlands. Six portraits were added:Thomas a Kempis,

non aetatis ordinem secuti sumus, sed faculta-/ turn seu Gilbert Fusch (first used in the 1567-edirion)sjoost Lips, disciplmarum. Inibi et digmtatum ratio aliqua est ha-/ Christophe Plantin (not the 1572-version by Philips bita, et similes. Quo ad ems fieri potuit, velut in satura, Galle, but an engraving by Hendrick Goltzius), Marrinus

fere con-/ iunximus.Vale} et aequi bom consule." Rythovius and Petrus Simons. In most cases the remain-

231 Appendix 2 D

ing verses from the 1572- and 1587-editions were now have a fixed place in the sequence of the known copies. replaced by other inscriptions written by a number of After the names of the portraits used in earlier editions authors. The verso of the changed tide page is blank, the the date of the first application in the portrait series is approbatio is now engraved on the title page Itself. On given in round brackets. the recto of the next page the coat of arms of the Austrian Hahsburg-dynasty Is engraved, together with some vers• es by joost Lips; the verso is blank. On the recto of the la (1604) following page an engraved dedlcanon to Albert of Austria is printed; the verso is blank. Then follows an engraved Adrian VI

eulogy of Aubert Le Mire, written by Joost Lips; the verso Agricola, Rodofphus (1567) is again blank. Then follow 57 portraits, of which four are Alardus of Amsterdam without a number. Ayala, Balthasar A large number of engravings from this last Aytta van Zwichem„Viglius van (1587) series of portraits of scholars published in the Galle work• Backere, Petrus de shop was reused in Johannes Franciscus Foppens* Baudouin, Francois Bibïioikeca Belgica, published in two volumes in Brussels in Beverns, Johannes 1739. Blois, Louis de Busbecq, Ogier Ghislain de Lit.: Canlsius, Petrus Van Someren 1888-91, vol. l,p. 125;Sellink 1992a, p. 25 Canter, Willem Cleynaerts, Nicolaas Copies: Commynes, Philippe de Damhoudere, Joost de (1587) 1604-edition: Dinter, Edmund van Paris (Cabinet des estampes, Bibliothèque Nationale, Donck, Martinus Paris, bound with 1572a- and 1606-editions), The Epo, Boedus Hague (Koninklijke Bibliotheek, Den Haag), Vienna Erasmus, Desiderius (1567) (Oesterreichische Nationalbibliothck, Wicn, incomplete, Everaerts, Nicolaes lacking portraits of Erasmus and Modius) Galen, Mattheus van Garet, Johannes 1608-edirion: Gemma Frisius (1572) Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster• Gemma, Cornelius (1572) dam), Antwerp (Stedelijk Prenten-kabinet, Museum Goropius Becanus, Johannes (1572) Plantm-Moretus, Antwerpen, Brussels (Koninklijke Grudius, Nicolaus Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert Hunaeus, Augustinus Ier, Bruxelles, bound with Lampson 1572),London (The Jansenius, Cornelius British Library, London, New York (New York Public Janus Seeundus(1587) Library, New York Vienna (Oesterreichische National• Lampson, Domemque bibliothck, Wien, two copies, one copy mingled with Le Langhe, Charles de (1587) Mire 1609) Latomus, Jacobus (1572) Linden, Willem van der The 52 portraits from the 1604-edition are first listed in Lievensjan alphabetical order (la), followed by the six additions in Macropedius, Georgius (1567) Theodoor Galle's 1608-edition (lb).Then follow the por• Maulde, Frans de traits according to the numbered sequence in the series Muyden, Gabriel van der (Ha); the additions in die 1608-edirion - which main• Muys, Cornells (1587) tained the same order as the 1604-edition - are given sep• Nannius, Petrus arately (Hb). Portraits with numbers in square brackets arc Ortels, Abraham (1572) without a number in the 1608-edition, although they do Pamele, Jacob van

232 Appendix 2 D

Peck, Pieter 24. Peck, Pieter Pigge, Albert 25. Wamesius, Johannes Reyvaert, Jacob 26. Epo, Boetius Richardot, François 27. Ayala, Balthasar Sasbout, Adam 28. Vesalius, Andreas (1572) Sormius, Franciscus 29. Gemma Frisius (1572) Tapper, Ruard 30. Gemma, Cornelius (1572)

Torrenrius, Laevinus (second version, 1595) 31. Goropius Becanus, Johannes (1572) Valerius, Cornelius 32. Agricola, Rodolphus (1567) Vesalius, Andreas (1572) 33. Alardus of Amsterdam Warn esius, Johannes 34. Beverns, Johannes 35. Hunaeus, Augustmus 35b. Erasmus, Desiderius (1567)

îb (1608 additions) 36. Nannius, Petrus 37. Valerius, Cornelius

Fusch, Gilbert (1567) 38. Qeynaerts, Nicolaas Lips,Joost 39. Langhe, Charles de (1587) Plantin, Christophe (second version) 40. Canter, Willem Rythovius, Marti nus 41. Lievens.Jan Simons, Petrus 42. Dinter, Edmund van Thomas à Kempis 43. Commynes, Philippe de 44. Busbecq, Ogier Ghislain de

45. Orteis, Abraham (1572)

Ha (1604) 46. Janus Secundus (1587) 47. Grudius, Nicolaus

1. Adrian VI (1567) 48. Macropedius, Georgias (1567)

2. Sormius, Franciscus 49. Muys, Cornelis (1587) 3- Torrenrius, Laevmus (second version, 1595; 50. Lampson, Domenique without a number in the 1608~edition) 51 Maulde, Frans de

4. Jansemus, Cornelius 5. Linden, Willem van der 6. Richardot, François Hb (1608 additions) 7. Pamele, Jacob van

8. Tapper, Ruard (1567) 6b. Rythovius, Martinus 9. Latomus, jacobus (1572) 7[b]. Simons, Petrus 10. Pigge, Albert 12b. Thomas à Kempis 11. Galen, Mattheus van 30b. Fusch, Gilbert (1567) 12. Donck, Martinus [51b.] Lipsjoost 13. Blois, Louis de [51 cj Plantin, Christophe (second version) 14. Garet, Johannes 15. Backere, Petrus de 16. Sasbout, Adam

17. Canisius, Petrus 18. Everaera, Nicolaes 19. Aytta van Zwichem,Viglius van (1587) 20. Muyden, Gabriel van der

21. Baudouin, François

22. Damhoudere,Joost de (1587)

23. Reyvaert, Jacob

233 Appendix 2E

TITLE PAGE TO: VIRORUM DOCTORUM DE Underneath ornamental woodcut, in letterpress: DISCiPLINIS BENEMERENTIUM EFFIGIES "Antverpiae M. D. LXXXVIL"

(1567) la.

Used In: As described. Tide page to 1587-edition. Viromrn ..... (1567), title page IB.

No impression of tins tide page has been found yet; its Underneath ornamental woodcut "M. D. LXXXVIL" existence is presumed from the description of an incom• replaced by "M. D. XCV.", also in letterpress. Tide page plete set of the 1567-edition by Van Someren (cp. appen• to 1595-edition. dix 2A)„ Ic. Underneath ornamental woodcut "M.D. XCV." replaced by "M. D. CIVI", also in letterpress,Tide page to 1606- edition.

TITLE PAGE TO: VIRORUM DOCTORUM DE DISCIPLINIS BENEMERENTIUM EFFIGIES Used in: XLIffi (1572) Imagines ..... (1587), tide page; Imagines ..... (1595), tide

17/1 x 12.0 cm. page; Imagines ..... (1606), title page

On banderole, at top centre: "SAPIENTIAL/ HOMINUM/ CULTRICI/ P" (four lines). In cartouche, underneath image: "VIRORUM DOC• TITLE PAGE TO: ILLUSTRIUM GAIXIAE BEL- TORUM DE DISCIPLINIS/ BENEMERENTIUM GICAE SCRIPTORUM ICONES ET ELOGIA EFFIGIES XLIIII/A PHILIPPO GALLEO/Antverpiae (1604/160B)

1572" (four lines). 17.4 x 11.6 cm.

Used in: In cartouche, at centre ofimage:"ILLUSTRIUM/ GAL-

Virorum (1572), tide page LIAE BELGICAE/ SCRIPTORUM/ ICONES ET ELOGIA./ Ex museio Auberti Miraei/ Canonic!

Lit.: Antvcrp." (six lines).

TIB. 56, p. 445, no. 105 On pedestal, at bottom centre; "Antverpiae/ Apud Philippum Gallaeum/ CIC[in reverse]. IC[in The tide page is the same to both the 1572a-edition (with reverse]COIL" (three lines). text in letterpress) and the 1572b-edition (with engraved text) I. As described.Tide page to 1604-edition.

n. TITLE PAGE TO: IMAGINES L„ DOCTORUM Address of Philips Galle on pedestal at bottom centre VIRORUM, QUI BENE DE STUDIIS LITE- replaced by: "Adprobavit Egb. Spitholdius/ S.T.L. et RARUM MERUERE (1587/1595/1606) Censor/ 20. Aug. 1607." (three lines); in lower margin, Letterpress, woodcut-ornament, 16.5 x 12.0 cm. (subject) underneath platemark, added in letterpress: "Antverpiae/ Apud Theodorum Gallaeum/ CIC[in reverse] IC[in

On upper half, above ornamental woodcut, in letterpress: reversejCVIir (three lines).Tide page to 1608-edItion. "IMAGINES L./ DOCTORUM/VIRORUM,/ QUI BENE DE STUDIES/ LITERARUM MERUERE;/ Used in: Cum singulorum Elogijs:/ Nunc primum editae et aeri Ulustrium Galliae (1604), title page; Illustrium Galliae incisae/ OPERA/ PHILIPPI GALEAE I." (nine lines). (1608),tide page

234 Appendix 2E

COAT OF ARMS OF THE AUSTRIAN HABS- ris:/ Quid ribi reponent pro laboribus Belgae?/Tituli hunc BURG DYNASTY {1608} honorem, SOL MIRAEE BELGARUM." (twelve lines) 17.1 x 10.8 cm. Used in: At top centre: "BELLO ET PACE." Illustrium Galliae (1608), introduction At bottom centre: "Area rubicans cum fascia alba medi• an! dirimente,/ Insigne est Austrijs: quo colore duplici Text by joost Lips. This engraving directly follows die belli/ et pacis,significatur BELLO ET PACE eos prestare eulogy of Albert of Austria in the 1608~edition, (three lines)

In lower right corner: "L Lips."

1 Used in: Illustrium Galhae (1608), introduction ACCORSO (1587) verses by joost Lips. This engraving direcdy follows the After EneaVico tide page of the 160S-edition. 16.9x11.9 cm.

In lower margin: "ACCURSIUS FLORENTINUS./ Id quod In obscuris noctu candela tenebris/ Id legum EULOGY OF ALBERT OF AUSTRIA (1608) rudibus juris es in tcnebris./ Saeplus obscuris caeci erra- 17.2 x 10.4 cm. rent Labyrinthis,/ Ni tu GLOSSARUM praevia filia dares." (five lines)

Filling entire engraving: "SEREN[ISSI]MO ET In margin right: "16". POTEN[TISSI]MO/ ALBERTO AUSTRIO/ BEL- GARUM PRINCIPI,/ CLARORUM BELGI SCRIP- Used in: TORUM/ ICONES ET ELOGIA,/ SPECTANTIUM Imagines ..... (1587), no. 16; Imagines (1595), no. 16; VOLUPTATI,/ EXTERORUMQ. COGNITIONI/ Imagines ..... (1606), no. 16 DE MULTIS ELECTA, / AUB. MIRAEUS BRUXELLV LIB. VOLENSQV DI CAB AT CONSECRABATQ./ Lit.: CIC[IN REVERSE]. IC[IN REVERSE]CVII. KAL. TIB. 56, p. 445, no. 106; Dwyer 1990, p. 62, fig. 5 IULII." (twelve lines) Accorso (Franciscus Aeeursius), Bagnolo c. 1185 - Used in: Bologna c. 1260: Italian jurist and glossator, wrote on Illustrium Galliae .„„ (1608), introduction Roman law. Engraved by Philips Galle, verses by Frans van Ravelingen. Copied in reverse after an engraving Text by Aubert Le Mire. This engraving direcdy follows attributed to EneaVico in Benavidess Ulustriam iurecon- the coat of arms in the 1608-edirion. suliomm imagines (1566).

EULOGY OF AUBERT LE MIRE (1608) 2

17.3 x 10.3 cm. ADRIAN VI (1567)

FÜling entire engraving: " IN AUBERTI MIRAEÍ R.VV After Jan van Scorel ELOGIA BELGICA/ SCAZON/ IUSTI LIPSI./ 17.6 x 12.2 cm. MIRAEE docte, qui facis meas Belgas,/ AEtate,sive incu• ria tenebrosos/ Nostra, nitere rursus atque splendere:/ In lower margin: "Hadrianus Traiectensis Pont, Max,/

Qui singulorum patriam atque natales,/ Animique dotes, Virtuti pretium saeclis fult omnibus ampiium,/ Imbuo scripta et ingenl fructus/ Signas pente, et acrimonia men- dum caroll pectus pietate tenellum./ Os pueri fmgens,

235 Appendix 2E

rexi vice regis iberos:/ HInc dominae irnperiurn romae, (1604), no. l,Iilustrium Galllae ..... (1608), no. 1; Foppens et fasrigia rerum/ Conscendi. toti scripturus iura super- 1739, vol. I, p. 22 ba/ Orbi, at sancta fuit vita, et mens Integra semper." (seven lines) Lit.: TIB. 56, p. 466, no. 148; Hoogewerf 1923, p. 13 I. As described. Used in 1567-edition. Adrian VI (Hadrianus VI, Adriaan Florensz. Boeyens), Utrecht 1459 - Rome 1523; Dutch theologian and

Madrid (Gabinete de estarnpas y Bellas artes, Biblioteca prelate, tutor of die future emperor Charles V and at one Nacional, Madrid), Vienna (Sammiung Schioss Ambras, point head of the Spanish government.The first (and last) Kunsthistorisches Museum,Wien) Dutch pope (1522-23), tried to reform the Catholic Church from within. Engraved by Philips Galle, verses by Ha. ?? (1567-edition), Benito Arias Montano (1572-edition) Verses in lower margin replaced by new text in letterpress: and Aubert Le Mire (1608-edirion). The engraving is "HADRIANUS TRAIECTENSIS/ PONTIFEX probably copied after a lost painting by Jan van Scorch MAXIMUS./ Regnat ubi In terris prudens vir, constat et almae/Virtuti in terris, quod meret ipsa, decus./ Dat mini et haec teneros formandi Caesaris annos,/ Orbis

Pontifkem et me facit haec cadem.'s (six lines); added in 3 margin right, also in letterpress: "A4". Used in 1572a- edition. AGR1COLA, ROBOLPHUS (1567) After Lucas Cranach nb. 17.7 x 12.3 cm. Verses in letterpress in lower margin replaced by engraved, slightly different inscription: "Hadrianus Traiectensis In lower margin: "Rodolphus Agricola/ Pro meriris quae Pont. Max. [one line]/ " (five lines); added in margin digna satis te docte rodolphc/ Musa canet, frisii speni 'que right, also engraved: "A4". Used m 1572b-edition. decus' que soli?/ Dum logicae salebras In apertam eoni- icis artcm,/ Et resonat numens dulcibus ista chclys,/ IIL Ausonia ingemuit, peregrinae rnurmura linguae./ Tarn Erased in margin right: "A4". Used in XII Cardinalium mulccre aures moUiter ilia suas " (seven lines)

(1598) I. IV. As described. Used in 1567-edition. Added in upper right corner coat of arms of Hadrianus VI; added above portrait, at top centre: "Sedit An. L M. Vienna (Sammiung Schioss Ambras, Kunsthistorisches VHLD.VI. Obit XVIII. Kal Octob. CIC[in reverse]. IC[in Museum, Wien), Vienna (Oesterreichische National- reverseJXXIII. AEt. LXIIII/'Verses In lower margin bibliothck (Portratsamrnlung), Wien) replaced by: "HADRLANUS VI. PONT. MAX./ Edit Utricesiurn minima de fomite luceni,/ Lampada Ha. Lovanium, Roma dat esse Pharum./ Fax ammae cmen Verses in lower margin replaced by new text in letterpress: niniium est vieiiia doloso,/ Et quae lente oritur flamrna, "RGDOLPHUS AGRICOLA/ GROENINGUS./ Si cito ernoritur./ Disce rneo exemplo tenui dc lumine tibi maturis tantuni licuisset ab annis/ Quod medium sta Solcm/ Sperare, et Soils disce amere obmirn." (seven tuis perficere Agricola/ Auctorcs alij poterant quievisse hues); added in margin left "1." Used in 1604- and 1608- diserti,/ Quidquid enim ratio postulat, ipse dabas." (six editlons and Foppens 1739. lines);added in margin right,also in letterpress:" C7". Used in 1572a-edition

Used in: Virorum ..... (1567), no. ??;Virorum ..... (1572), no.A4; XII Cardinalium ...... (1598), no. 14; iUustrium Galliac

236 Appendix 2E

lib. Above portrait, at top centre: "Obijt Lovanij A. CIC[in Verses in letterpress in lower margin replaced by engraved, reverse]. ICjin reverse]!.!." slightly different inscription: "RODOLPHUS AGRI- In lower margin: "ALARDUS AMSTELREDAMUS COLA GROENINGUS. [one line]/ tautum [instead BATAVUS/ THEOLOGUS ET PHILOLOGUS./ of tantum] ..... persicere [instead of perficere] tacuisse Tororn te study's impendis Alarde luvandis,/ Sollicitatque [instead of quievisse] ..... ipse dabas [no period]" (five tuas Haeresis orta manusV Et, si quid Logica est prae- lines); added in margin right, also engraved; "C7". Used cellere in arte, Rudolphum/ Agrlcolam acqualis gloria, in 1572b-edition. teque manet" (six lines) In margin right: "Aub. Miraeus." XIL In margin left: "33" Portrait slightly reworked; added above portrait, at top centre: "Vita excessit Heidelbergae An. Chrisri CIC[in Used in: reverse]. CCCCLXXXV"; erased in margin right: "C7"; Illustrium Galliae (1604),no.33;Illustrium Galliae ..... added in margin left: "32." Used in 1604-cdition. (1608), no. 33; Foppens 1739, vol. I, p. 38

IV. Lit.: Verses in lower margin replaced by :"RUD OLFUS AGRI- Kolker 1963, pp. 343-345 COLA, GRONINGANUS./Talis eras, tali splendebas ore Rudolfe/ Agricole.o Frisij solque decusque soli./ Scilicet Alardus of Amsterdam (Alardus Amstelredamus, Alard van hoc uno meruisti Frisia, laudis/ Quidquid habet Latium, Amsterdam), Amsterdam 1491 - Louvain 1544; Dutch Graecia quidquid habet." (five lines). Used in 1608- humanist and theologian, compded the Opera Omnia of e did on. Agricola, vigorous opponent of the Reformation. Engraved in the Galle workshop, verses by Aubert Le Mire.

Used in: Copy in reverse after a woodcut by Jacob Cornelisz van Virorum (1567), no. ??;Virorum (1572), no. C7; Oostsanen (Hollstein 163) Illustrium Galliae (1604),no.32;illustrium Galliae ..... (1608), no. 32

Lit.: 5

Ekkart 1988;Sellink 1992a, p. 23 ALCIATI, ANDREA (1567)

Rodolphus Agricola (Roelof Huusman, also called 17.6 x 12.2 cm. Phrisius),Baflo 1444 - Heidelberg 1485; Dutch jurist and humanist, wrote on both classical and biblical subjects, In lower margin,in letterpress:" ANDREAS ALCIATUS, translated several classical Greek works. Engraved by ME-/ DIOLANENSIS./ Eloquio lus Romanum luce- Philips Galle, verses by ?? (1567-cdition), Benito Arias bat et arte, id/Turb a obscurarant barb ara Legulei./ Andreas Montano (1572-edition) and Aubert Le Mire (1608- prisco reddit sua Jura nitori,/ Consultosque facit doctius edition).The engraving is copied in reverse after a proto• inde loqui" (six lines) type painted by Lucas Cranach around 1530, of which In margin right, also in letterpress: "F4". several versions still exist. I. 1567-edition. Mentioned by Van Someren (p. 122), not yet found.

4

ALARDUS OF AMSTERDAM (1604) As described. Used in 1572a-edition.

After Jacob Cornelisz van Oostsanen

15.1 x 11.3 cm.

237 Appendix 2E

lib. Petrus Apianus (Petrus Bienowitz), Lcisnig 1495 - Verses in letterpress in lower margin replaced by engraved, Ingolstadt 1552; German astronomer and geographer, slightly different inscription; "ANDREAS ALCIATUS author of the Cosmograpkia (1524), published by Plantin IURECONSULTUS [one line, instead of MED I OLA in 1574 (Voet 1980-83, no. 573). Engraved by Philips NENSISJ/ " (five lines); added in margin right, also Galle, verses by Benito Arias Montano.

engraved:5!F4". Used in 1572b-edition and Italorum ..... (1600).

Used in: 7 Virorum ..... (1567), no. ??; Virorum ..... (1572), no. F4; Italorum ..... (1600), no. 19 ARIAS MONTANO, BENITO (1572) After Pieter Pourbus

Lit.: 17.6 x 12.2 cm. TIB. 56, p. 446, no. 108 In lower margin, in letterpress: "BENEDICTUS ARIAS

Andrea Alciati (Andreas Alciatus), Alzato 1492 - Pavia MONTANUSV Hispalin illustras patriam, MONTANE, 1550; Italian jurist and humanist, author of the influen• secunda/ Doetrinae farna, et fertilis eloquij./ Surgit tial Emhkmata (1531), published by Plantin from 1565 Idumaeae per te nova gloria linguae,/Vatibus et sacris lux onwards (Voet 1980-83,nos. 22-32). Engraved by Philips rediviva datur./ Macte bonis animi, vir magne, et postera Galle, verses by Benito Arias Montano. saecla/ Munere victuro demereare Pater." (seven lines) In margin right, also in letterpress: "Bj".

Ia. 6 As described. Used in 1572a-edition. Ib. APIANUS, PETRUS (1572) Verses in letterpress in lower margin replaced by engraved, 17.6 x 12.4 cm. slightly different inscription: "BENEDICTUS ARIAS MONTANUS [no period]/ ..... fama [no comma] .....

In lower margin, in letterpress: "PETRUS API ANUS, animi vir magne et [no comma's] 95 (five Hnes); added LEYSNICZENSIS./ Ut puros florum succos summa in margin right, also engraved: "BI". Used in 1572b- omnia gustans/ Carpit apes, cellis condit et ambrosiarn:/ edition. Sic coelo tu, sic terns Apiane legebas/ Condere quae posses optima quaeque libris." (five Hnes) Used in:

In margin right, also in letterpress: i8Ej5?. Virorum ..... (1572), Bl la. Lit,:

As described. Used in 1572a-edition. TIB. 56, p. 476, no. 170; Doe^ch 1927, pp. 29-40; Hansel 1.991, p. 197; De Nave 1992, p. 241, no. 104 Ib. Benito Arias Montano (Benedictus Arias Montanus), Verses in letterpress in lower margin replaced by engraved, Frenegal de la Sierra 1527 - Sevilla 1598; Spanish philol• slightly different inscription: "PETRUS API ANUS [no ogist and dieologian, editor of Plantin's Biblia Polyglotta, comma] LEYSNICZENSIS./ Ut puros storum [instead advisor to Philip II and personal friend of Plantin and of florumj " (five lines): added in margin right, also Philips Galle in Antwerp. Several of Ills works were pub• engraved: "Ej". Used in 1572b-edition. lished by Plantin (Voet 1980-83, nos. 577-591) and Galle

Used in: (Hansel 1991). Engraved by Philips Galle, verses by Hadrianus Junius. According to Galle s introduction to the Virorum ..... (1572), no. El 1572-edition after an (as yet unknown) painting by Pieter Pourbus. Lit,: TIB. 56, p. 447, no. 109

238 Appendix 2E

8 I. ARI08T0, LUBOVICÖ (1587) In lower margin: "I OH ANNES AVENTINUS

16.7 x 1L8 cm. BÄVARUS". Proof without verses used in 1567-edition.

In lower margin: "LUDOVICUS ARIOSTUS./ Ut Dresden (Kupferstichkabinett der Staatlichen Kunst• Methymnaeo se Graecia Arionejactat,/ Sic Ariosto sejac- sammlungen, Dresden), The Hague (Koninklijke Biblio• titet Italia./ Nomine sunt similes: verurn me judice vati/ theek, Den Haag, bound with 1572b-edition) Victor! palmam cedito Graie Italo" (five lines) In margin right: "49". II.

I. As described. Used In 1587-, 1595- and 1606-editions. As described. Used in the 1587-, 1595- and 1606-edi- tions and in Italorum ..... (1600). Used in: Virorum (1567), no. ??; Imagines (1587), no. 38; Imagines ..... (1595), no. 38; Imagines ..... (1606), no. 38 n. Erased in margin right: "49". Lit,: TIB. 56, p. 449, no. 113 Amsterdam (Rijksprentenkabinet, Rijksmuseum,

Amsterdam) Johannes Aventinus (JohannesTurmaier), Abensberg 1477 - Regensburg 1534; German humanist and historian, his• Used in: toriographer to the Dukes of Bavaria, sympathized with Imagines (1587), no. 49; Imagines (1595), no. 49; the Reformation. Engraved by Philips Galle, verses by Italorum ..... (1600), no. 13; Imagines ..... (1606), no. 49 Frans van Ravelingen.

Lit. TIB. 56, p. 448, no. 112 10

Ludovico Ariosto (Ludovicus Ariostus), Reggio Emilia 1474 - Ferrara 1533; Italian poet in service of the court AYALAj BALTHASAR (1604) at Ferrara, author of the Orlando Furioso (1532), published 16.0 x 10.9 cm. in a French translation by Plantin (Voet 1980-83,no. 592). Engraved by Philips Galle, verses by Frans van Ravelingen. Above portrait, at top centre: "Obijt Alosti in Flandria XVI. Kal. Septemb. CIC[in reverse]. IC[in reverse]LXXXIV AEt. XXXVI." In lower margin:"BALTHASAR AYALA EC. ET SEN• 9 ATOR/ REGIUS MACHLINIENSIS. / FeLIX Ingenlo, retiior graVIs, arte dlsertVs/ LIngVIsqVe, et CLarVs IVre

AVENTINUS, JOHANNES (1567) ' perltVs erat:/ RegIVs In beLLo IVdeX, desCrlpsIt, et 17.0x11.9 cm. ILLa/ BeLLICa, qVae aeqVaLI IVra bILanCe dabat:/ prlnCIpIbVsqVe VIrls gratVs, deCoratVs honoro/

In lower margm:"IOHANNES AVENTINUS BOIUS./ officio, seros oCCIdlt ante dies" (eight lines) Scripsit Aventinus LINGUAE PRIMORDIA GRAE» In margin left: "27" CAE,/Ac patriae ANNALES historiamque suae./ Multa

In margin right: "hid. de Weert Syndlcus Antverp." etiarn caecis quae sunt suppressa tenebris,/ Haec quorum tibi sit, Lector, imago loco" (five lines) In margin right: "38" I.

As described. Used in 1604- and 1608-editions.

239 Appendix 2E

II. Lit.: TIB. 56, p. 493, no. 204;Wescher 1927; HoogewerfFl957-

Portrait slightly reworked. Used in Foppens 1739. 59, pp. 63-64.

Used in; Viglius (Wigle) van Aytta van Zwichem (Viglius Illustriurn Gaüiae ..... (1604),no.27;Illustrium Galliae (1608), no. 27; Foppens 1739, vol. I, p. 121 Zuiehemus),Barrahuis 1507 - Brussels 1577; Dutch jurist, diplomat and statesman, political opponent of Alva, loyal

Balthasar Ayala, Antwerp 1548 - Aalst 1584; Belgian jurist to the Spanish Crown. Engraved by Philips Galle, verses in service of the Duke of Parma, member of the Grote by Frans van Ravelingen, Copied in reverse after a paint• Raad m Malines. Engraved in the Galle workshop, vers• ing by Frans Pourbus the Elder, of which one of the many es by Joos de Weerdt. versions is in the Kunstmuseum, Dusseldorf.

11 12

AYTTA VAN ZWICHEM, VIGLIUS VAN (1587) AZPILCUETA, MART1NUS AB (1587) After Frans Pourbus the Elder After EneaVico

16.9 x 11.8 cm. 16.9 x 11.7 cm.

In lower margin:"VIGLIUS ZUICHEMUS, FRISIUS./ In lower margin: "MARTINUS NAVARRUS AB Atria lustitiae haud opus, est servare dracones;/ Pervigil ASPILCUETA./ His etiammcrito Doctor Marrine tabel- est Divae Viglius ante fores,/ Hinc ilium ob vigilcs ani- lis/ Conspiceris genij ob regia dona tui:/ Rex cluis Inge- mos vigilesq[ue] labores,/ Praeposuit summo Belgica rno,rex codice juris utroque;/ Hispano regi jure Navarre, Consilio." (five lines) places." (five lines)

In margin right: "6". In margin right: i£8". I. As described. Used in 1587- and 1595-cdinons. Used in: Imagines (1587), no. 8; Imagines (1595), no. 8; n. Imagines (1606), no. 8 Added above portrait, at top centre: "Moritur Bruxellis septuagenarius CIC[in reverse]. IC[in reversejLXXVHI. Lit.: postrid, Non. Maias."; verses in lower margin slighdy TIB. 56, p. 479, no. 176; Dwyer 1990, p. 62, fig. 29 changedr'VIGLIUS ZUICHEMUS, FRISIUS,I.C.[,I.C. added]/ ...." (five lines); erased in margin right: "6", Martinus ab Azpilcueta (Martinus Navarrus, also called replaced by "Fr. Raphelengius", added in margin left: Doctor Navarrus),Barasoain 1492 - Rome 1586; Spanish "19." Used in 1604-, 1606- and 1608-edirions. priest, canonist and moralist, several of his studies were published by Plantin (Voet 1980-83, nos. 615-617). IH. Engraved by Philips Galle, verses by Frans van Ravelingen. Portrait heavily reworked, erased in margin left:'"19". Used Copied in reverse after an engraving attributed to Enea In Foppens 1739. Vico in Benavidcss Illustrium iureconsukorum imagines (1566).

Used in: Imagines ..... (1587), no. 6; Imagines (1595), no. 6; Illustrium Galliae .... (1604), no. 19; Imagines (1606), no. 6 (numbered 19); Illustrium Galliae (1608), no. 19;

Foppens 1739, vol. II, p. 1152

24Ö Appendix 2E

13 Used in: Imagines ..... (1587), no. 14; Imagines ..... (1595), no. 14;

BACKERS, PETRUS BE (1604) Imagines (1606), no. 14

16.7 x 11.2 cm. lit,:

Above portrait, at top centre: "Obijt Gandavi in patna TIB. 56, p. 450, no. 115; Dwyer 1990, p. 62, fig. prid. Id. Febr. CIC[in reverse]. ICjin reverse]CI. AEt. LXXXIV." Bartolo da Sassoferrato (Bartolus de Saxoferrato),

In lower margin: "PETRUS BACHERIUS, DOMINI- Sassoferrato 1313/14 - Perugia 1357; Italian jurist and CANUS,/ DOCTOR THEOLOGUS, POETA, ET glossator. Engraved by Philips Galle, verses by Frans van ECCLESIASTES EXIMIUS./ Haee sunt Baccherij, quae Ravelingen. Copied with several alterations after an cernltis, ora diserti,/ Cuius lingua sacrum nil nisi manna engraving attributed to EneaVico in Benavides's Illustrium pluit./ Haerese on [partly In Greek letters] vixit mastijx iureconsullomm imagines (1566). imrrutis, et idem/ Mitis amor Charltum, Pieridumq[uel fuit." (six lines) In margin left: "15." 15 I. As described. Used in 1604- and 1608-editiQns. BAUDOUIN, FRANCOIS (1604) 15.3 x 10.7 cm. n. Above portrait, at top centre; "Decessit Lutetiae

Erased in margin left: "15" Used in Foppens 1739. Parisiorum III. Id. Novemb. CIC[in reverse]. IC[in

reverse]LXXIIL AEt. LIII Used In: In lower margin: "FRANCISCUS BALDUINUS Illustrium Galliae (1604),no. 15;IHustrium Galliae ..... ATREBAS LC./ Franciscus est hie Balduinus nomine,/ (1608), no. 15; Foppens 1739, vol. II, p. 952 Re Baldus alter, nomen ipsum quod notat:/ Non crassa, Petrus de Backere (Petrus Backerius), Ghent 1517-1601; ut Hie, doctus ipse Pallade,/ Sed maximam qui Imis ad Belgian theologian and inquisitor, Dominican monk, two prudentiam/ Utriusque, veteris et novae scientiam/ of his works were published by Plantin (Voet 1980-83, HIstoriae, et eruditionis lunxerat." (seven lines) nos. 619-620). Engraved in the Galle workshop, verses by In margin left: "21." Aubert Le Mire. In margin right:'To. Auratus Poeta Regius"

Used in: Illustrium Galliae ..... (1604),no. 21;Illustrium Galliae 14 (1608), no. 21

BARTOLO DA SASSOFERRATO (1587) Francois Baudouin (Franciscus Balduinus), Arras 1520 -

After Enea Vico Paris 1573; French jurist and theologian, fiercely opposed

17.0 x 11.9 cm. Calvin and Beze in his publications, uncle of Francois de Monceaux. Engraved in the Galle workshop, verses by

In lower margin: "BARTOLUS DE SAXOFERRATO./ Jacques Aurata. Bartolus ignotas, PRAXISque ignota latebat,/ Sed gres- su ad famarn venit uterque pari./ Nam per te floret, per earn tu, Bartole ñores;/ lili tu debes, debet et Illa tibí." (ñve lines) In margin right: "14".

241 Appendix 2E

16 tis nota facis populis:/ Quin iam pyramidum occiderat Babylonia moles./ Doctorum calamis cedite pyramides."

BEATUS RHENANUS (Î567) (five lines) 17.7 x 12.4 cm. In margin right: "41".

In lower margin:"Beams Renanus/ Scptimii sacri cineres, et clausa favillis/ Vesuviams anima docu plinii,/ Multurn Used in: Imagines .... (1587), no. 41; Imagines (1595), no. 41; se debere tibi Rhénane fatcntur:/ At ora durae hoc Imagines ..... (1606), no. 41 amplius germaniae,/ Cui veteres sedes dextre, populos que dedisà/ Quos domina rerum roma quonda[m] scrrpscr- Lit.:

at " (seven lines) TIB. 56, p. 451, no. 117

I. Pierre Belon (Petrus Bellonius, also called Cenomanus), As described. Used in 1567-edition. Le Mans 1517 - Paris 1564; French physician, chemist and zoologist, several of his works were published by Plantin

AmsterdamfRijksprentenkabinet, Rijksmuseum, Am• (Voct 1980-83, nos. 637-639). Engraved by Philips Galle, sterdam), The Hague (Koninklijke Bihliotheck, Den verses by Frans van Ravelingen. Haag, bound with 1572b-editLon)

n. Verses in lower margin replaced by: "BEATUS 18 RENANUS SFXEZES TADIENSIS./ Piurima scripta Notis preclara, Beate, beasti,/ Estque heata tuo Teutonis BEMBO, PIETRO (1567) ora stylo;/ Quapropter varijs felix celebrabere terns;/ After Titian Dumq[ue] beas alios te simul ipse beas." (four lines); added 17,9 x 12.4 cm. in margin left: "35.''Used in 1587-, 1595-, 1606-cditions. In lower margin: "Petrus Bembus. card./ Urbis ego

Used in: euganeae civis, pía cura parentum/ Me bembum dixit, Virorum ..... (1567), no. ??; Imagines ..... (1587), no. 35; fama super aethera notum./ Conditor historiae venetae Imagines (1595), no. 35; Imagines .... (1606), no. 35 volitabo per ora/ Docta virum: pars purpurei baud postrema senatus./ Roma meo est olim cálamo feliciter lit.: usa,/ Imperii decimus leo quum tractaret habenas." (seven TIB. 56, p. 450, no. 116 lines)

Beams Rhenanus (Beat Bild, Beat Rinower), Schlettstadt I. 1485 - Strasbourg 1547; German humanist and philolo• As described. Used in 1567-edition. gist, friend of Erasmus, whose Opera Omnia (Basle 1540) he edited. Engraved by Philips Galle, verses by ?? (1567- Madrid (Gabinete de estampas y bellas artes, Biblioteca edition) and Frans van Ravelirigen (1587-edition). Nacional, Madrid), Vienna (Sammlung Schloss Ambras, Kunsthistorischcs Museum, Wien)

Ha.

17 Verses in lower margin replaced by new text in letterpress: PETRUS B EMBUS,VE NET US. / Bembc decus clarum

BELON, PIERRE (1587) Ausoniae, te Roma discrtum est/ Mirata antiquis eximi- 16.7 x 11.7 cm. jsque parem:/ Divinas patriae auxisti,et muñera linguae,/ Ut sit iam priscis non minor eioquijs." (five lines); added

In lower margin: "PETRUS BELLONIUS./ Quotquot in margin right, also in letterpress: "A3". Used in 1572a- sunt sparslm mundo miracla, latebant;/ Belloni at cunc edition.

242 Appendix 2E

lib. Marco Mantova Benavides (Marcus Mantuanus Verses in letterpress in lower margin replaced by engraved, Bonavitis), Padova 1489 - 1582; Italian humanist and slightly different inscription; "PETRUS BEMBUS, jurist, professor of Law in Padova, author of the Illustrium VENETXJS./ .....Arisoriiae [instead ofAusoniae] .....patriae iureconsuhorum imagines (first published by Antonio Lafreri ut auxisti et munera linguae [ut added, two comma's left in 1566, with engravings attributed to EneaVico) on out] .....** (five lines); added in margin right,also engraved; which Philips Galle based most of his portraits of Italian "A5". Used In 1572b-edition. jurists. Engraved by Philips GaUe, verses by Frans van Ravelingen. Copied after an engraving by EneaVico. m.

Erased in margin right: iSA5". Used In XII Cardinalium (1598). 20

Used in: Virorurn (1567), no. ??; Virorum ..... (1572), no. A5: BEVERUS, JOHANNES (1604) XII Cardinalium (1598), no. 8 16.9 x 11.4 cm.

Lit.: Above portrait, at top centre: "Excessit e vita Lovanij TIB. 56, p. 452, no. 118 postnd. Non. Novemb. CICjm reverse]. IC[in

reverse] LXIII. AEt. XLVHI." Pietro Bembo,Venice 1470 - Rome 1547; Italian poet and In lower margin: "IOANNES BEVERUS HANNO/ humanist, appointed as a cardinal in 1539. Engraved by PHILOSOPHUS./ Dum Sophiam Illustras, et inania Philips Galle, verses by ?? (1567-edition) and Benito Arias SEVERE pellis/ Somnia, fis promus condus Aristotelis./ Montano (1572-edition). Copied in the same direction Nunc coelo colis, et quas rerum hie dicere caussas/ Non after an engraving by Giulio Bonasone (Bartsch 344) or poteras plenis mde vides oculis." (six lines) EneaVico (Bartsch 242),both considered to be after a lost In margin left: "34." painting by Titian. In margin right:" Auk Miraeus."

I.

19 As described. Used in 1604- and 1608-editions.

BENAVTBES, MARCO MANTOVA (1587) XL After Enea Vico?

is 16.9 x 11.8 cm. Erased in margin left: "34 . Used in Foppens 1739.

In lower margin:"MARCUS MANTUA BONAVTTIS. / Used in: Illustrium GaJliae ..... (1604),no,34;Illustrium Galliae Quam diu juridicis remanebit gloria scriptis/ Et quam diu (1608), no. 34; Foppens 1739, vol. I, p. 580 sanis ullus bonos studijs;/ Tamdiu scripta hbrique tui, Johannes Beverus (Johannes Serjacobs), Beveren 1515 - Bonavite, manebunt,/ Et parlter nomen per tua scripta Louvain 1563: Belgian scholar, professor of philosophy in tuum" (five lines) Louvain. Engraved in the Galle workshop, verses by In margin right:"23". Aubert Le Mire.

Used in: Imagines ..... (1587), no. 23; Imagines ..... (1595), no. 23; Imagines ..... (1606), no. 23

Lit.: TIB. 56, p. 472, no. 161

243 Appendix 2E

21 CATIUS FLO-/ RENTINUS./ Artibus humanis coluerunt tcmpora clarum/ Te tua, Boccati, tunc bene BLOïS, LOUIS DE (1604) docta minus:/ Argumenta illo tamen et tu plurima seclo/ 16.8 x 11.5 cm. Scribis, quae et nostris temporlbus placeant" (six lines) In margin right, also in letterpress: "E8".

Above portrait, at top centre:"ObltVIL Id. lanuar. ClC[in reverse], IC[in reverse]LXVI. AEt. LIX." I. In lower margin: "LUDOVÏCUS BLOSÏUS ABBAS LAETIENSIS/APUD H ANN O NES. / Gallia Bernardo, As described. Used in 1572a-edition. Francisco Roma trmmphat,/ Boetica non unum tolllt in astra virum./ Relligionis opes magno non invidet orbi/ II. Quas habet in BLOSIO LAETIA laeta suo " (six lines) Caption with Boccaccio's name engraved in oval border In margin left:" 13". around portrait: "JOHANNES BOCCATIUS FLO-

RENTINUS.5'; verses in letterpress in lower margin I. replaced by identical inscription; "Artibus huminis As described. Used in 1604 - and 1608-editions. coluerunt .,„.." (four lines); added In margin right, also engraved:"E8'\ Used m 1572b-edition, n. Used in: Erased in margin left: "13"; added in margin right: "Max. Virorum (1572), no. E8

Habbecanus Bruxell. Soc. Iesu." Lit.:

Brussels (Prentenkabinet, Koninklijke Bibliotheek TIB. 56, p. 452, no. 1.20; Burgers 1988, p. 11.8, no 105 Albert I, Brussel; Cabinet des estampes. Bibliothèque

Royale Albert Ier, Bruxclles) Giovanni Boccaccio, Florence 1313 - Cextaldo 1375; Italian poet and humanist, author of the Decamerone HL (1353), published In a French translation by Plantin (Voet Erased in margin right: "Max. Habbecanus Bruxell. Soc. 1980-83, no. 735). Engraved by Philips Galle, verses by lesu." Used in Foppens 1739. Benito Arias Montano. Copied in reverse after an engrav• ing with six famous Italian writers, published by

Used in: Hieronymus Cock (Riggs 1971, no. 195).This engraving Iliustrium Galliae (1604),no. 13;Hlustrium Galliae 35 in turn copied after a painting by GiorgioVasari of which (1608), no. 13; Foppens 1739, vol II, p. 827 several versions exist. The original painting is now in the collection of the Oriel College in Oxford.

Louis de Blois (Ludovicus Blosius), Donsticnnes 1507 - Liessies 1566; Belgian humanist and theologian, abbot of the Benedictine cloisters at Liessies, author of several spir•

itual guidebooks published by the OfEcina Plantiniana. 23 Engraved in the Galle workshop, verses by Maximiliaan

van Habbeke. BUCER, MARTIN (1567) 17.5 x 12.4 cm..

In lower margin: "Martinus Bucerus/ Ludibrium sortis, 22 vane lactams artci,/ Doctrinae pangís semina ubique tuae./ Praereptum fato tumulaverat anglia corpus,/ Quod BOCCACCIO, GIOVANNI (1572) cadit in tristes atra fa villa rogos./ Regia sed clnebres virgo After Giorgio Vasari miserata repostos/ Urnae supremo inssit honore dari" 17.6 x 12.2 cm. (seven lines)

In lower margin, in letterpress: 'TOHANNES BOC-

244 Appendix 2E

The Hague (Koninklijke Bibliotheek, Den Haag, bound Crown, acquainted with humanists as Erasmus and with 1572b~edition) Thomas More. Engraved by Philips Galle, verses by Benito Arias Montano. After a painting by Jean Clouet?

Used in: ViroFurn (1567), no. ??

Lit.: 25 TIB. 56, p. 45Lno. 119

BUGENHAGEN, JOHANNES (1567) Martin Bucer (Martin Buister, Martmus Bucerus), After Lucas Cranach Sehlettstadt 1491 - Cambridge 1551; German theologian 17.6 x 12.4 cm. and reformer, as a Dominican monk converted by Luther around 1520, active as a preacher in die region of Hessen. In lower margin; "Ioannes Bugenhagius Pomeranus./ SI Engraved by Philips Galle, verses by ?? sic docendo flexiles/ Movere mentes quiveris/ Lenti ut solent curvescere/ Dumi (id sonat vis nominis)/ Turn laude maior qualibet/ Sis iure habendus omnibus"(seven lines) 24 Paris (Cabinet des estampes, Bibliothèque Nationale,

BUBES GUXLLAUME (1572) Paris), The Hague (Koninklijke Bibliotheek, Den Haag, After jean Clouet? bound with 1572b-edItion), Vienna (Oester-reichische 17.8x12.2 cm. Nationalbibliothek (Porträtsammlung), Wien)

In lower margin, in letterpress: "GUIL1ELMUS Used in: BUDAEUS,/ PARISIENSIS./ Romanae et Graecae qui Virorum ..... (1567), no. ?? signet pondera librae/ Budaeo nemo est plenior aut melior./ Qui juris solvat nodos monumentaque linguae/ Lit,: Cecropiae ostendat plurima nemo prior." (six lines) TIB. 56, p. 453, no. 122 In margin right, also in letterpress:"E2". Johannes Bugenhagen (also called Pomeranus), WolUn la. 1485 - Wittenberg 1558; German theologian and reformer, friend of Luther, professor of theology in As described, Used in 1572a~edidon. Wittenberg. Engraved by Philips Galle, verses by ?? After a painted prototype by Lucas Cranach the Elder, dated Ib. 1543. Verses in letterpress in lower margin replaced by engraved, slightly different inscription; "GUILIELMUS BUBAEUS, PARISIENSIS. [one line]/ .... librae, [peri• od added] melior [no period] (five lines); added 26 in margin right, also engraved: "E2". Used In 1572b- ediuon. BUSBECQ, O GIER GHÏSLAIN DE (1604)

Used in: 16,1 x 10.7 cm.

Virorum ..... (1572), no. E2 Above portrait, at top centre:" Vita decessitV.Kal.Novemb. CIC[in reverse], IC[in reversejXCL" lit.: In lower margin: "AUGERIUS GISLENUS BUSBE- TIB. 56, p. 452, no. 121 QUIUS./ Te voce, Augen, mulcentem Caesaris aures/

GuillaumeBude (GuilielmusBudaeus),Paris 1468 - 1540; Laudavit plausis Austrius Ister aquis./ Te Duels Ismarij French humanist and philologist in service of the French flectentem pectora verbis/Thrax rapido obstupuit

245 Appendix 2E

Bosphorus e pelago./Te gessisse domum pro nata Caesaris, (Koninklijke Bibliotheek, Den Haag bound with 1572b- ingens/ Sequaiïaconspexit,Parisijq[ue] lares" (seven lines) edition), Vienna (Oesterreichische Nationalbibliothck In margin left: "44." (Portratsammlung), Wien) In margin right:"I. Lcrnutius." Used in: I. Virorum ..... (1567), no. ?? As described. Used in 1604- and 1608-editions and

Foppens1739. Lit.: SeUink 1992a, pp. 22-23 n. Erased in margin left: "44". jean Calvin (Jean Cauvin, Johannes Calvinus), Noyon 1509 - Geneva 1564; French theologian and reformer,

Amsterdam (Rijksprentenkabinet, Rijksrnuseum, author of the influential Institutio religionis Chrisiianae

Amsterdam) (1536). Engraved by Philips Galle, verses by ??

Used in: Illustrium Galliac (1604),no.44;IHustrium Gallia e ..... (1608), no. 44; Foppens 1739, vol. I, p. 111 28

Lit: CAMERARIUS, JOACHIM (1567) Van Crombruggen 1955, p. 115, p. 152; Le Loup 1983- 17.2 x 12.3 cm.

84, p. 114, no. 25 In lower margin:"loachirnus Camerarius/ Quismerita te

Ogier Ghislain de Busbecq (Augerius Busbequius), laude fcrat camerarie? gentis/ Qui gloria antiquae et Comines 1522 - Rouen 1592; Belgian diplomat and decus,/ Sic certe germani oculus nitidissimus orbis,/ scholar, who inter alia collected manuscripts in service of Dicendus es vel me arbitro./Te graiac pariter patrem latl- the Habsburg court. Later in service of the French queen. ae que camoenae/Venerantur, agnoscunt: colunt." (seven His report of a diplomatic journey to the Turkish court lines) was published by Planrin (Voet 1980-83, nos. 851-852). Engraved In the Galle workshop, verses byjanus Leernout. I. As described. Used in 1567-edmon.

Vienna (Sammlung Schloss Arnbras, Kunsthistorisches 27 Museum, Wien)

CALVIN,JEAN (1567) Ha. 17.6 x 12.3 cm. Verses in lower margin replaced by new text in letterpress: "IOACHIMUS CAMERARIUS/ PAPENBERGE-

In lower margin: "loannes Calvinus./ De vitulo fmgit NIS./ Humanis studijs ciarus, Joachime, fuisti,/ Fax frustra adversaria nomen/ Secta rnihi: sunt qui deducant Graeca affulsit faxque Latina tibi./ Nec tc Germani norninis ortum/ Ex Indefesso dictandi scripta calorc:/ In Medicum videre priorem,/ Caetera sed celebrent qui medium revocant alii diro omlne caussam/ Calvitii: at magis ilia probant" (six lines); added in margin right, also ludant, dum innoxia spicula spargunt,/ Dum favet et in letterpress: i!D6". Used in 1572a~edition. fhiitur nostris mea gallia chartis." (seven lines)

lib. Coborg (Kupfcrstichkabinett der Kunstsammlungen Verses in letterpress in lower margin replaced by engraved, Veste Coburg, Coburg, hand-coloured impression with slighdy different inscription:"!OACHIMUS CAMERA• different, handwritten verses ), Paris (Cabinet des estam• RIUS PAPENBERGENIS. [one line]/ ..... assulsit pes, Bibliothèque Nationale, Paris),The Hague [instead of affulsit]>s (five lines); added in margin right,also

246 Appendix 2E

engraved: "D6"- Used in 1572b-editian. tined in 1925. Many of his works were published by Plantin and his successors (Vbet 1980-83, nos. 873-903). Used in: Engraved in the Galle workshop, verses byAubert Le Mire. Viroram (1567), no. ??;Virorum ..... (1572), no. D6

lit.:

TIB. 56, p. 453, no. 123 30

Joachim Camerarlus (Liebhard Kammermeister), CANTER, WILLEM (1604)

Bamberg 1500 • Leipzig 1574; German philologist, ped• 16.0 x 11.0 cm. agogue and theologian, moderate reformer, friend of

Melanchton.Engraved by Philips Galle, verses by ?? (1567- Above portrait, at top centre:**Obit Lovanij XV Kal. Iunij. edition) and Benito Arias Montano (1572-edition). CIC[in reverse]. IC[in reverseJLXXV. AEtat. XXXII." In lower margin. "GUILIELMUS CANTERUS, ULTRATRAIECTINUS, PI-IILOLOGUS./ Clepsydra quid signat? Studiorum,hac indiee, pensa/ Metiri solitus, 29 Plinius alter eras./ Dum tamen alternam mens indefessa quietem/ Abnuit, es vitae prodigus ipse tuae." (five lines) CANISIUS, PETRUS (1604) In margin left:"40" 17.0 x 11.3 cm. In margin right; "A. Miraeus."

Above portrait, at top centre: "Decessit Friburgi I. Helvetiorum An. Sal. CIC[in reverse]. IC[in

reverse jXCVIILAEt, LXXVII" As described. Used in 1604- and 1608-editions, In lower margin; "PETRUS CANISIUS NEOMAGUS SOC. IESUTHEOLOGUS,/ Obscure quae fama rogo, XL quae ilamma superstes/ Corda redaeeendit vividiore Erased in margin left:"40"; vaguely visisble in margin left: face?/ Nempe novum caelo placidumq[ue] CANISIUS "61" (trace of another state?). Used in Foppens 1739.

Astrum/ lam propior CHRISTO fulgurat igne novo?/ Used in: Sic fundit flammas, cui Sideris auctor IESUS,/ Ipsa Fides, Ulustrium Galliae .....(16Q4),no.40;lUustrium Galliae radius; Spes, lubar; ignis, Amor" (seven lines) (1608), no. 40; Foppens 1739, vol I, p. 394 In margin left: "17."

WiHem Canter (Guilielmus Canterus), Utrecht 1542 - I. Lou vain 1575; Dutch philologist and Ladnist, several of As described. Used in 1604- and 1608-editions. his works were published by Plantin (Vbet 1980-83, nos. 909-911). In the upper left corner a sandglass is engraved, n. referring to his untimely death as referred to in the vers• es. Engraved in the Galle workshop, verses by Aubert Le Erased in margin left; "17." Used in Foppens 1739. Mire.

Used in:

Iliusrxinm Galliae ..... (1604),no. 17;lUustrium Galliae ..... (1608), no. 17; Foppens 1739, vol II, p. 960

Lit.:

Dirksel986,p.ll6,fig. 43a

Petrus Canisius, Nijmegen 1521 - Freiburg 1597; Dutch Jesuit theologian, author of several widely used catechisms and forceful opponent of the Reformed Churches, sane

247 Appendix 2E

31 engraving attributed to EneaVIco in Benavides s îUusirium iureconsuliômm imagines (1566). CASTRO, ANGELO DA (1587) 16.8 x 11.5 cm.

In lower margin: "ANGELUS DE CASTRO./ Cuius 33 depicta hie atquc ora silentia ccrnis,/ Doctorum Italiae

pars quoq[ue] magna virum est,/Vivum olim vidit leges CLEYNAERTS, NIC OLA A S (1604) et iura docentem/ Urbs Patavi studijs splendida Picrijs." 16.2 x 10.7 cm. (five lines) In margin right: "20".

Above portrait, at top centre: "Moritur Granatae in

Used in: Hispania anno fere ClCjm reverse]. IC[in reversejXLIL"

In lower margin: "NICOLAUS CLENARDUS DIS Imagines (1587), no. 20; Imagines (1595), no. 20;

Imagines .... (1606), no. 20 TEMIUS BRABANTUS./ Monstrat iter Solymum CAMPENS1S; Grains Apollo est/ RESCIUS; elahi Lit.: Ciccroriis ab ore videtur/ Linguae Suada tuae NANNI, TIB. 56, p. 454, no. 124

blandique lepores./ CLENARDUS variare vices, tripli- Angelo da Castro, Siena? c. 1410 - Padova? c. 1480; Italian cique sonare/ Ore docet,grataque levât novitatc laborem." jurist and canonist, son of Paolo da Castro. Engraved by (six lines) Philips Galle, verses by brans van Ravelingen. In margin left: "38" In margin right: "Aub. Miraeus."

Used in: 32 Illustrium Galliae (1604),no.38;lUustrium Galliae ..... (1608), no. 38 CASTRO, PAOLO DA (1587)

After Enea Vico Nicolaas Cleynaerts (Nicolaus Clenardus), Diest 1495 - 16.9 x 11.8 cm Granada 1542; Belgian humanist, scholar of the Greek, Hebrew and Arab language, several of his studies were In lower margin: "PAULUS DE CASTRO./ Te quoque published by Plantin (Voet 1980-83, nos. 996-1005). in arte sua fecit Themis alma magistrum,/ Et consulto- Engraved in the Galle workshop, verses by Aubert Le Mire. rum juris numerarier albo:/ Hinc etiam, ob Thcmidos data muñera, in hisce tabellis/ Effigies tua doctorum numeratur in albo." (five lines)

In margin right: "19". 34

Used in: COLLENUCCÎO, PANBOLFO (1587) Imagines (1587), no. 19; Imagines (1595), no. 19; 16.8 x 11.7 cm. Imagines (1606), no. 19

In lower margin: "PANDULPHUS COLLENUCIUS Lit.: PISAURUS./ Laus haec, quam dabo, sola CollenucI/ TIB. 56, p. 454, no. 125; Dwyer 1990, p. 62, fig. 9 Déclarât satis erucitionem:/ Eius eloquium Sacri Imperator/ Caesar Imperij audijt, probavit." (five lines) Paolo da Castro, Castro c. 1360 - Padova 1441; Italian In margin right: "45". jurist, professor of law in Padova, father of Angelo da

Castro. Engraved by Philips Galle, verses by Frans van Used in:

Ravelingen. Copied with several alterations after an Imagines (1587), no. 45; Imagines (1595), no. 45;

248 Appendix 2E

Italomm ..... (1600), no. 14; Imagines ..... (1606), no, 45 habet ora tabellis;/ Sint licet arte pares, hoc minor alter

erit." (five lines) Lit.: TIB. 56, p. 455, no. 127 In margin right: "24".

Pandolfo Collenucclo, Pesaro 1444 - 1504; kalian poet, Used in: historiographer and diplomat in service of several North Imagines ..... (1587), no. 24; Imagines (1595), no. 24; Italian courts. Engraved by Philips Galle, verses by Frans Imagines (1606), no. 24 van Ravelingen. lit.: TIB. 56, p. 457, no. 130; Dwycr 1990, p. 62

35 Francesco Corti (Franciscus Curtius), Pavia (birthdate unknown) - 1495; Italian jurist, uncle of: Franceschino COMMYNES, PHILIPPE DE (1604) Corti (also known as Franciscus Curtius),Pavia (birthdate 16.7 x 11.5 cm. unknown) - Padova 1533; Italian jurist and diplomat.The verses suggest that the younger Corti is depicted. Above portrait, at top centre: "Oh ijt in Pictonibus XVL However, comparison with his portrait in Benavides s Kal. Septemb. CIC[in reverse], IC['in reverse] IX. AEtat. Illustrium iureconsultorum imagines (1566) shows that the LXIV" appearance of Franceschino is completely different in

In lower margin: "PHILIPPUS COMINAEUS FLAN-- comparison to Galles portrait.This would imply that the DER EQUES,/ HISTORICORUM PRINCEPS./ elder Corti is portrayed; his features are, however, not Vidit, et invidit me Gailica bella notasse/ Crispus Romana included in Benavides s book. Engraved by Philips Galle, primus in Historia:/ Si te Roma suo, dixit, serrnone beasset, verses by Frans van Ravelingen. / Comminaee fores primus in Historia." (six lines) In margin left: "43," In margin right: "Aub. Miraeus."

37 Used in:

Illustrium GaiHae .....(1604), no. 43; IUustrium Galliae ..... COSTA, CHRISTOPHORUS A (1587) (1608), no. 43 16.8 x 11.8 cm.

In lower margin: "CHRISTOPHORUS A COSTA/ Philippe de Commynes (Philippe de la Clyte, Philippus Noscendis mulrum tu Costa cxcellis in herbis,/ Nominis Commaeus), Commes 1445 - Argenton 1509; Belgian at passim hand cognita fama tui est:/ Sed ineritis, ut spero, chronicler and diplomat in service of the French Crown, tuis tua gloria crescet,/ Et per te hortensi crescet honor one of his studies was published by Plantin (Voet 1980- studio." (five lines) 83, no. 1011). Engraved in the Galle workshop, verses by In margin right: "30". Aubert Le Mire. Used in: Imagines (1587), no. 30; Imagines ..... (1595), no. 30;

Imagines (1606), no. 30 36 lit,:

CORTI, FRANCESCO (1587) TIB. 56, p. 456, no. 128 16.9 x 11.6 cm.

Christophorus a Costa, Mozambique (birthdate In lower margin: "FRANCISCUS CURTIUS./ unknown) - Burgos 1580; Spanish botanist, one of his lurisconsulti quamvis sint nomine eodem/ Bini sitque works was published by Plantin (Voet 1980-83, no. 1038),

Italo natus uterque solo;/ Quem cernís solus his picta translated and edited by Charles de l'Escluse. Engraved by

249 Appendix 2E

Philips Galle, verses by Frans van Ravelingen. 39

DAMHOUDEREJOOST DE (1587) 16.9 x 11.9 cm.

38 In lower margin: 'TODOCUS DAMHOUDERUS/

CRATO, JOHANNES (1567) Eximijs tot sparsa viris urbs inclyta Brugae,/ (Est quae After Marrino Rota natal! patrla terra tuo)/ Atque tujaje PRAXES, cunctis 17.0 x 11.7 cm. opus utile doctis,/ Tcque tuumque poll nomen ab astra ferunt." (five lines)

In lower margin: 'TOAN. CRATO A CRAFTHEIM, In margin right: "26".

DIVI FERD. I. ET MAXIMIL./ .II. IMPP. CAESS. I. AUGG. ARCH I AT. ET CONS./ Cratonis METHOD- As described. Used in 1587- and 1595-editions. US THERAPEUTIC A prodijt ausis,/ Doctrinae ad nor- mam, doctc Galene, tuae,/ Caesareae merito medicus n. cluet inclytus aulae;/ Et paucos videas dexteritate pares." Added above portrait, at top centre: "Vlvere desijt (six lines) Aritverpiae XL Kal. Febr. CIC[in reverse]. IC[in reverse]LXXXI. AEt. LXXIV."; verses in lower margin In margin right:"28", slighdy changed:"IODOCUS DAMHOUDERIUSJ.C [instead of IODOCUS DAMHOUDERUS.]/ (five I. lines); erased in margin right: "26", replaced by:

In lower margin: "IOAN CRATO A CRAFTHEIM, "Fr. Raphelengius added in margin left: "22" Used in DIVI FERD. I. ET MAXIMIL./ .II. IMPP. CAESS. 1604-, 1606- and 1608-editions. AUGG.ARCHIAT. ET CONS." (two lines). Proof with• out verses. Used mt

The Hague (Koninklijke Bibliotheck, Den Haag, bound Imagines (1587), no. 26; Imagines (1595), no. 26; with 1572b-edition) Illustrium Galliae (1604), no. 22; Imagines (1606), no. 26 (numbered 22); Illustrium Galliae (1608), no. n. 22

As described. Used in 1587-, 1595- and 1606-cditions. Lit.: TIB. 56, p. 457, no. 131 Used In: Imagines (1587), no. 28; Imagines (1595), no. 28; Imagines (1606), no. 28 joost de Damhoudere Qodocus Damhouderius), Bruges 1507 - Antwerp 1581; Belgian jurist in service of the Lit.: Spanish Crown, author of several influential studies on TIB. 56, p. 456, no. 129 criminal law. Engraved by Philips Galle, verses by Frans van Ravclingen.

Johannes Crato (johann KrafFt, also called Crato a Craftheim), Wroclaw (Breslau) 1519 - 1585; Polish humanist and physician in service of the successive Emperors Ferdinand 1, Maximilian II and Rudolf II. Engraved by Philips Gallc, verses by Frans vanRavelingen. Probably after a drawn portrait by Martino Rota.

250 Appendix 2E

40 41

DANTE AIIGHXERX (1572) DANHSCUS, JOHANNES (1587) After Giorgio Vasari 16.8 x 11.7 cm. 17.7 x 12.2 cm. In lower margin: "IOANNES DANTISCUS EPISCO- In lower margin, in letterpress: "DANTES ALIGERUS PUS CULMENSIS./ Proelia describis viccriciaque arrna FLO-/ RENTINUS./ lactat et ipsa suumVatem Florentia Poloni;/ Et quantls scateant tempora nostra mails:/ Dantem,/ Doctrma antiquis iudicioque parem./ Quid Scilicet in terras ubi atrocia frigora regnant/ Pierius vatum deceat, quid non deceat, quae meta malls sit,/ Quaeque scit penetxare calor " (five lines) bonis, raulta cum gravitate canit." (six lines) In margin right: "5".

In margin right, also in letterpress:

Used in: I. Imagines ..... (1587), no. 5; Imagines ..... (1595), no. 5; As described. Used in 1572a-edltion, Imagines ..... (1606), no. 5 n. Lit,: Caption with name of Dante engraved in oval border TIB. 56, p. 458, no. 133 around portrait: "DANTE ALIGERUS FLORENTI- NUS"; verses In letterpress in lower margin replaced by Johannes Dantiscus (Johannes von Hofen), Gdansk identical, engraved inscription: "lactat et ipsa ..„." (four (Danzig) 1485 - 1548; Polish poet, humanist and diplo• lines); added in margin right, also engraved: "£6". Used mat, appointed as bishop of Chelmno (Kulm) in 1530. in 1572b-edition and Italorum (1600). Engraved by Philips GaHe, verses by Frans van Ravelingen.

Used in:

Virorum ..... (1572), no. E6; Italorum (1600), no. 4 42 Lit.:

TIB. 56, p. 458, no. 132; Sellmk 1987; Burgers 1988, DEGIO, FILIPPO (1587) p. 118, no. 105 17.2 x 11.7 cm.

Dante Alighieri, Florence 1265 - Ravenna 1321; Italian In lower margin: "PHILIPPUS DECIUS./ Miramur poet, author of the Divina Comrnedia, Engraved by Philips Decium, miramur CONSILIORUM/ Libros, miramur Galle, verses by Benito Arias Montane. Copied in reverse cetera scripta viri:/ Sed nil miremur, dico ob natalia after an engraving with six famous Italian writers, pub• regna,/ Ubere doctorum natus in Italia est" (five lines) lished by Hieronymus Cock (Riggs 1971, no. 195).This In margin right: "18". engraving is in turn copied after a painting by Giorgio Vasari of which several versions exist. The original paint• Used in: ing is now in the collection of the Oriel College in Imagines ..... (1587), no. 18; Imagines .... (1595), no. 18; Oxford. Imagines ..... (1606), no. 18

Lit.: TIB. 56, p. 459, no. 134

Filippo Decio (PhiHppus Decius), Milan 1454 - Siena? 1535; Italian jurist, at one point excommunicated as legal advisor to papal adversaries, later rehabilitated. Engraved by Philips Galle, verses by Frans van Ravelingen.

251 Appendix 2E

43 Ha. DINTER, EDMUND VAN (1604) Caption with name of Dodonaeus engraved in oval bor• 16.2 x 11.9 cm. der around portrait: "ROMBERTUS DODONAEUS MECHLINIENSIS"; verses in lower margin and num•

Above portrait, at top centre."Decessit Bruxellis XIII.Kal. ber in margin right still in letterpress: "ROMBERTUS Manias CICjin reverse]. CCCCXLVIIL" DODONAEUS/ MECHLINIENSIS./ Moribus et fide In lower margin: "EMUNDUS DINTERUS, BRA " (six lines). BANTIAE HISTORIOGRAPHUS,/ EIUSQ. DUG!

BUS EX ORDINE IIII.A SECRET IS./ Hie vir,hic est, Amsterdam (Rijksprentenkabinet, Rijks-museum, tibi quern promitti saepius audis,/ Hie praeco historicus, Amsterdam) terra Brabanta, tuus./ Hoc duce magna Ducum attollet

se farna tuorum,/ Et Latij Heroas ambitiosa premet" (six Xib- lines) Verses in letterpress in lower margin replaced by engraved, In margin left: "42" slighdy different inscription: "Moribus atque [instead of

In margin right: "Aub. Miraeus." et] fide testor Remberte [instead of et testor Romberte] valere [no comma]/Te, usus [instead of Usus] .....sa[e]pius I. hospitio. [instead of saepius hospitijs] ..... horti. [period As described. Used in 1604- and 1608-edirions. added] (four lines]: added in margin right, also

engraved:44C5". Used in 1572b-edirion. n. Used in: Erased in margin left: "42". Used in Foppens 1739. Virorum ..... (1572), no, C5

Used In:

lUustrium Galliac ...,.(1604),no.42;lUustriumGaIliae ..... Lit,: TIB. 56, p. 459, no. 135; De Nave 1993, p. 139, no. 96 (1608), no. 42; Foppens 1739, vol. I, p. 261

Edmund van Dinter (Emundus Dinterus),Dinthcr c. 1375 Rembert Dodoens (Rembertus or Rombertus - Brussei c. 1.448; Dutch diplomat and historiographer in Dodonaeus), Malines 1517 - Leiden 1585; Belgian physi service of the Duchy of Brabant, author of a history of the dukes of Burgundy. Engraved in the Galle workshop, cian and botanist, author of the widely used Cruydeboeek, verses by Aubert Le Mire. fsrst published in 1554. Most of his important publica• tions were published by Plantin (Voet 1980-83, nos. 1093- 1101). Engraved by Philips Galle, verses by Benito Arias Montane, 44

BOBOEN5, REMBERT (1572) 17.5 x 12.4 cm. 45

In lower margin, in letterpress: "ROMBERTUS DONCEL, MARTINUS (1604) DODONAEUS/ MECHLINIENSIS./ Monbus et fide 16.8 x 11.1 cm. te testor Rombcrte valcrc,/ Usus nempe mis saepius hos~ pirijs./ Quid Medicus valeas Mechlinia dicet et horti/ Above portrait, at top centre: "Obijt Amorfortiae XVI. Quos struis, in plantis quantus cs, atque libris." (six lines) Kal. Malas, CíC[in reverse], IC[in reverse]XC. AEt. In margin right, also in letterpress:"C5" LXXXV"

In lower margin:"MARTIÑUS DUNCANUS QUEM- I. PENAS/ THEOLOGUS LOVANIENSÍS./ Signasti As described. Used in 1572a-edition. cálamo, quae cura acomia propinet/ Calvinus foedis ex Acherontis aquis:/ Quaeve atra mentem tinctus fuligine Menno/ Somnia deliro parmrijt cerebro,/ Unus et emo- tos poteras componere ñu c tus,/ Haga pijs inoniüs si foret

252 Appendix 2E

aequa mis " (eight lines) JanusDousa (Johan van derDocs),Noordwijk 1545 - The In margin left: "12." Hague 1604; Dutch poet and historiographer, leading calvinist statesman, friend of Philips GaUe in Haarlem. I. Most of his publications before 1585 were published by As described. Used in 1604- and 1608-editions. Plantin (Voet 1980-83, nos, 1107-1114). Engraved by- Philips Galle, verses by Benito Arias Montane, This por• n. trait is clearly related to the other two portraits of Dousa Erased in margin left: "12". Used in Foppens 1739. engraved by Philips Galle (see below).

Used In: ----

Iliustrium Galliae ..... (1604),no. 12;ïlîustrium Galliae (1608), no. 12; Foppens 1739, vol. II, p. 853 46a

Maranus Donck (xViartmus Dune anus), Kempen 1505 - DOUSA, JANUS (1568) Amersfoort 1590; Dutch priest, vigorous opponent of the 10.7 x 8.3 cm. anabapdsts and the protestant reformers. Engraved in the Galle workshop, verses by Aubert Le Mire. In lower margin, in letterpress: "Qui Batavum gentis

Comités, qui sculpere Erasmum/ Ausus et effigiem Iuni animosc tuam,/ lUe Idem docile Gallus me expressit in

46 acre/ Foelicem hoc uno nomine Douziadem/ Nec me luminibus tantis compono, secundum/ O solum liceat BOUSÄ, JANUS (1572) esse, Seeunde, tibl/ Verum olim; nunc sat, illud si dicere 15.7 x 12.0 cm, possim/ Inter Nortuices ingeniosus eram." (eight lines). Around portrait, engraved In oval border: "DULCES

In lower margin, in letterpress: "IOHANNES DOUSA ANTE OMNIA MUSAE IANUS DOUZA A DOMINUS/ A NORTHWIC./ Nobilis et genere est et NOORTWYCK arm. aetatis 23". carmine Dousa iocoso,/ Moribus integris nobilis ille etiam est./ DIspeream mihi ni semper placuitque Paris (Cabinet des estampes, BibHothèque Nationale, placebitque/ Ingenij purl doctaque nobtfitas " (six lines) Pans) lit.: In margin right, also in letterpress:"Bö". Ampzmg 1628, pp. 359-360; Schrevelius 1648. p. 376; In. Puraye 1969, p. 64, fig. 82; Heesakkers 1976, frontispiece, pp.65-67;Veldman 1977,p. 107; Sellink 1991»92,pp. 154- As described. Used in 1572a-edition. 155

Ib. Engraved by Phlips Galle, verses by Janus Dousa. Verses in letterpress m lower margin replaced by engraved, Separately published portrait, not included in any of the slightly different inscription: "IOHANNES DOUSA portrait series.Besides the impression in Paris, there Is also DOMINUS A NORTHWIC [one line}/ ..... Ingenium an impression with the same text included in the album purum, doctaq[ue] [instead of Ingenij puri doctaque] " amicomm of Abraham Ortels (cp. Puraye 1969, loc. cit.) (five lines); added In margin right, also engraved: "B6". There the portrait is added to Dousa s personal entry in Used in 1572b-edition. this album, die text in letterpress under the portrait also Used in: has two changes m Dousa s own handwriting: "ammose"

in line two reads "Hadriane3' and "uno"' in line four is Virorum ..... (1572), no. B6 changed into "etiam".The portrait has been included in Dousa's Epigrammaium in 1569 (Dousa 1569) without the lit.: text in letterpress in the margin, probably due to reasons Sellink 1991-92, pp. 154-155 of space, see: Heesakkers 1976. The same text has been

253 Appendix 2E

engraved underneath the following portrait of Dousa by 47 Galle, dated 1570.

EBERS GEORG (15S7)

16.9 x 11.9 cm.

46b In lower margin:"GEORGIUS EDER./ Quantum com• munis capiat respublica fruetum,/ Cum doccis Princeps

DOUSA, JANUS (1570) consilljs ffuitur:/ Hoc satis est visum cum tu clarissime 17.5 x 12.5 cm. Doctor/ Magni a consilijs C[a] esaris,Eder eras." (five lines) In margin right: "27".

In lower margin: "Qui Batavum gentis Cornices, qui sculpere Erasmu[m],/ Ausus et effigiem lum animose Used in: tuarn;/ Hie idem, docile Gallus me expressit in acre/ Imagines (1587), no. 27; Imagines .... (1595), no. 27; Foehcem hoc uno nomine Douziadem./ Nec me Imagines (1606), no. 27 lurninibus tantis compono, secundum/ O solum lice[a]t esse, Secunde, tibi/ Verum ohm. nunc sat, illud si dicere Lit,: possim/ Inter Nordvices ingeniosus eram." (eight lines). TIB. 56, p. 460, no. 137 Above portrait, at cop centre:"Dulces ante omnia musae/ lanus douza a noortwyck/ aetatis suae 25. 1570" (three Georg Eder, Freising 1523 - Vienna 1587; German jurist lines). and theologian, councillor to Emperor Ferdinand I, author of several polemical treatises against the Reformation.

I. Engraved by Philips Galle, verses by Frans van Ravelmgen.

As described.

Haarlem (Gemeentearchlef, Haarlem) 48

II, EPO, BOETRJS (1604) Copperplate trimmed considerably at left side and at bot• 16.0 x 10.8 cm. tom: engraved text in lower margin cut off completely, coat of arms In the upper left comer cut off par daily; plate Above portrait, at top centre: "Obijt Duaci XVII. Kal. size Is now 10.8 x 7.0 cm. Decernb, CIC[in reverse]. IC[in reversejXCIX, C©burg (Kupferstichkabinett der Kunstsammlungen Septuagenario malor." Veste Coburg, Coburg) In lower margin: "BOETIUS EPO FRISIUS, COMES PALATINUS,/ EC. ET ANTECESSOR DUA- Lit.: CENOS./ Adspicis hunc mult a vultus gravitate veren- Van Boheemen 1986, pp. 88-89, no. 76; Sellink 1991.-92, dum?/ Epo, Fresiadum gloria, talis erat./ Hie grudia pp. 154-155 Astraeam deduxit ab urbe Duacum,/ (Scarpus ubi leni fiumine fmdit agros)/ Et legum Annates, ter denos amplius In the upper left corner of the portrait the coat of arms annos,/ lura Palatini promermt Comitis" (eight lines) of the Dousa-dynasty is engraved. Engraved by Philips In margin left: "26." Galle, verses by Janus Dousa. This portrait shows a some• what older Dousa than the earlier engraving from 1568, Used m: the verses,however, are still the same. In turn,this engrav• Illustrium Galliae (1604), no. 26; Illustrium Galliae ..... ing was copied in reverse by Galle for his 1572-series of (1608), no. 26 portraits (see above) with new verses by Benito Arias Montane. A reduced version (state II, without the verses) Boetius Epo (Bote Ypes), Roordahuizum 1529 - Douai of this portrait was included in Dousa s Nova Poemata 1599; Dutch jurist, author of numerous studies on civil (Dousa 1575). and canon law, professor in Douai. Engraved in the Galle workshop, verses by Aubert Le Mire.

254 Appendix 2E

49 Used in: Virorum (1567), no. ??; Virorum ..... (1572), no. B3; ERASMUS, DESIDERIUS (1567) Illustrium Galliae (1604), no. 35b; ïllustrium GaJliae After Hans Holbein the Younger (1608), no. 35b 17.7 x 12.2 cm. Lit.:

In lower margin: "Desiderius Erasmus Roterodamus./ TIB. 56, p. 461, no. 138; Burgers 1988, p. 118, no. 106;

Roterodamo mini tellus natalis origo,/ Non postrenal Bodar 1989 inter batavas hinc nominis urbes./ Me celebrant clarum

famae praeconia magnae./ Barbaries per me cessk quod Desiderius Erasmus, Rotterdam 1466 - Basle 1536; Dutch fmibus exul:/ Divims dederim lucem quod rebus amae- humanist and theologian, (Catholic) critic of the Roman nam:/ Et Latii imbuerim linguas sermonis honore." (seven Church. Several of his works were published by Plantin lines) (Voet 1980-83, nos. 1126-1135). Engraved by Philips Galle, verses by ?? (1567-edition), Benito Arias Montano I. (1572-edition) and Janus Vitalis (1604-edition).The vers As described. Used In 1567-edition. es by the Sicilian poet Janus Vitalis have been cited from one of the editions of Paolo Giovio's Elogia doctorum viro•

Madrid (Gabinete de estampas y bellas artes, Biblloteca rum, first published in 1546. Copied in reverse after an Nacional, Madrid) engraving by Frans Fiuys, published by Hieronymus Cock m 1555 (Hollstein 132). In turn, this print follows die pro n». totype of Hans Holbein's painted portrait of Erasmus In Verses In lower margin replaced by new text in letterpress: Longford Casde, of which numerous copies and versions "DES, ERASMUS ROTERODAMUS./ Quis tibi exist. No copies have been listed, as it is impossible to Erasme bonos studiorum rrhlle labores/ Detrahat? atque determine whether a print follows Galle's engraving or tuos quis neget esse sales?/ AEtas at nostros tua si contin- one of the many other prints after Holbeins painting. geret annos,/ Scripsisses multa et recnus et brevius." (five lines); added in margin right, also in letterpress:"B3 Used in 1572a-edirion.

50 lib.

Verses m letterpress In lower margin replaced by engraved, ESCLUSE, CHARLES DE U (1587) slightly different inscription: "DES. ERASMUS After Martino Rota ROTERODAMUS. / Quis Erasme [instead of Quis tibi 16.7 x 11.1 cm. Erasme] " (five lines); added in margin right, also

engraved: "B3". Used in 1572b-ediuon. In lower margin:"CAROLUS CLUSIUS./Tu qui PAN- NONIIS nascentia lilia in hortis,/ Quaeque horns radiant ML lilia in HESPERUS,/ Ac Eores aliasque herbas producis Portrait slighdy reworked. Added above portrait, at top in oras,/ Clusi, et in hoc horto flosculus unus eris." (five centre: "Obijt Basileae in Helvetijs V Id. lul. CIC[in lines) reverse]. IC [in reverse]XXXVLAEt.LXX.5 Verses inlower margin replaced by: "ERASMUS ROTERODAMUS/ In margin right: "29". Lubrica si tibi mens fiiit, et spinosior aequo,/ Ingenium certe nobile, Erasme, fuit./ Felix, si rnixtas labruscas dul- Used in: cibus vuis/ Prodiga desisset vinea ferre tua." (five lines); Imagines ..... (1587), no. 29; Imagines ..... (1595), no. 29; erased in margin right: "B3", replaced by: "lanus Vitalis"; Imagines (1606), no. 29

added in margin left: "35.b.!! Used in 1604- and 1608- Lit,:

editions. TIB. 56, p. 455, no. 126

255 Appendix 2E

Charles deTEsclusc (Carolus Cluslus),Arras 1526 - Leiden 52 1609; French physician and botanist, as a protestant fled

from France and worked in Vienna, Frarikfurt and Leiden, FICINOs MARSILIO (1572) Plantin published several of his studies (Voet 1980--83mos. After Giorgio Vasari 1006-1010). Engraved by Philips Galle, verses by Frans 17.5 x 12.1 cm. van Ravelingen. Copied In reverse after an engraving by Martino Rota, dated 1575 (Bartsch 62). Galle could well In lower margin, in letterpress: "MARSILIUS FICI- have known this print from the Album Amicorum of his NUS,/ FLORENTINUS./ Quid referam de te magnum, friend Abraham Ortels. In this album Escluses portrait was Ficine, quod ipse/ Non superes multis partibus atque included, together with a handwritten dedication dated modis?/ Si quaeram certum veterum, Ficine, Sophorum/ Antwerp 1579. Discipulum, quern te certius inveniam?" (six lines) In margin right, also in letterpress: "Fj",

I. 51 As described. Used in 1572a-edition.

EVERAERTS, NICOLAES (1604)

16.9 x 11.6 cm. XL Caption with name of Ficino engraved In oval border

Above portrait, at top centre: "Ohijt Machliniae CIC[in around portrait: "MARSILIUS FICINUS FLORENTI• reverse]. ICjm reverse]XXXILV Id. Aug. AEtat. LXX" NUS"; verses in letterpress in lower margin replaced by In lower margin:"NICOLAUS EVERARDUS/ PRAE engraved, slightly different inscription:"Quid referam de ..... Sopborum [instead of Sophorum] (four lines);

SES MACHLINIENSIS./Jura velut tencbris iamdudum added in margin right, also engraved:"Fj". Used in 1572b- offiisa iacebant,/ Poeneq[ue] Lethaeae sub pede mortis edition and Italorum (1600). erant./ Astraea ad Grudios redijt te vindice campos/ Used im

Iuraq[ue] Romani quae coluere patres." (six lines) Virorum .... (1572), no. Fl; Italorum ..... (1600), no. 7 In margin left: "18." In margin right: "Aub. Miraeus." Lit,: TIB. 56, p. 461, no. 139; Burgers 1988, p. 118, no. 105 I. As described. Used in 1604- and 1608-editions. Marsilio Ficino (Marsilius Ficinus),Figlinc 1433 - Careggi 1499; Italian Neo-Platonic philosopher in service of the n. Medici court in Florence. Engraved by Philips Galle, vers• Portrait reworked; erased in margin left: "18". Used in es by Benito Arias Montane. Copied in reverse after an Foppens 1739. engraving with six famous Italian writers, published by Hicronymus Cock (Riggs 1972, no. 195).This engraving Used m: is in turn copied after a painting by Giorgio Vasari of which Illustrium Galliae ..... (1604),no. 18;Illustrium Galliae ..... several versions exist. The original painting is now in the (1608), no. 18; Foppens 1739, vol. II, p. 907 collection of the Oriel College in Oxford.

Nicolaes Everaerts (Nicolaus Everardi), Gnjpskerk 1462 - Malines 1532; Dutch jurist, chairman of the Grote Raad in Malines (1528-32), acquainted with Erasmus, father of 53 Nicolaus Grudius and Janus Secundus. Engraved m the

Galle workshop, verses by Aubert Le Mire. FISHER, JOHN (1567) 17.5 x 12.2 cm.

In lower margin: "loannes Roffensis. Episc./ Te nivei

mores celebrem, te conscia virtus/ Evexit caelo, et relli-

256 Appendix 2E

gionis amor./ Sed dum romuleo nimium tibi cine fulms/ 1980-83, no. 1175). Engraved by Philips Galle, verses by Perstas, nee caussam regis amare potes,/ Mors properata ?? (1567-edition) and Benito Arias Montano (1572-edi- tibi est cervice cruenta rescissa,/ Munus nbi infelix pur• tion). pura missa venlt." (seven lines)

I.

As described. Used in 1567-edition, 54

Brussels (Prentenkabinet, Koninklijke Bibliotheek FURX0 Y CERIOL5 FEBERICO (1587) Albert I, Brussel; Cabinet des estampes, Bibliothèque 16.9 x 11.6 cm. Royale Albert Ier, Bruxelles)

In lower margin: "FRIDERICUS FURIUS./ Ha. Doctiloquos inter, Furl, non ultime Iberos,/ Hesperidum Verses in lower margin replaced by new text in letterpress: per te succrevit gloria regno;/ Dum magni Senecae ves• "JOHANNES FISCHERUS EPISCOPUS/ ROFFEN tigia magna sequutus,/ Magnus es in REGIS (fans melioribus) aula " (five lines) SIS, ANGLUS/ Moribus, ingenio, calamo, sermone In margin right: "44". Britannus/ Mirandus prisca proprietate cadit./ Cum cecidit, ferro haec cervix praecisa cruento,/Virtus, inge- Used kit nmm, concidit et pietas." (six lines); added in margin right, Imagines ..... (1587), no. 44; Imagines (1595), no. 44;

also in letterpress: "AT\ Used in 1572a-edinon. Imagines ..... (1606), no. 44

nb. lit.: Verses in letterpress in lower margin replaced by engraved, TIB. 56, p. 462, no. 141; Puraye 1969, p. 54, fig. 66 slightly different inscription: "IOHANNES FIS Federico Furioy Ceriol (Federicus Furius),Valencia 1532

CHERUS EPISCOPUS ROFFE[N]SIS, A[N]GLUS. -Valladolid 1592; Spanish humanist and historian in ser• [one line]/ Miraudus [instead of Mirandus] ..." (five vice of Charles V and Philip II. Engraved by Philips Galle, lines); addeD in margin right, also engraved: "A7". Used verses by Frans van Ravelingen. Copied in reverse after in 1572b-edirion. an anonymous portrait dated 1575. Galle could well have known this print from the Album Amicorum of his friend

HL Abraham. Ortelius. In this album Furio s engraved features Erased in margin right: "A7"; in verses in lower margin were included with several handwritten verses. "proprietate" changed in "pro pietate". Used in XII Cardinalium ..... (1598).

Used in: 55 Virorum ..... (1567), no. ??;Virorum (1572), no. A7; XII Cardinalium ..... (1598), no. 10 FUSCH, GILBERT (1567) 17.7 x 12.4 cm.

lit.: TIB. 56, p. 462, no. 140 In lower margin, in letterpress: "GILBERTUS LIM- BURGIUS MEDICUS/ LEODIENSIS./ Fertur item

John Fisher (Johannes Fischerus, Johannes Roffensis), partes Medicus Limburgus honestas/ Inter Apollineos Beverley 1459 - London 1535; English cardinal and bish• promeruisse choros./ Is ferrugineis Aspae miracula ab op of Rochester, humanist and friend of Erasmus, behead• undis/ Ut constent, primus disserit atque docet." (six lines) ed by Henry VIII due to his opposition against the kings In margin right, also in letterpress: *'D2". divorce from Catherine ofAragon,sanctified in 1935. One of his works was published in translation by Plannn (Voet

257 Appendix 2E

1. 56 1567-edition. Mentioned by Van Someren (p. 122), not yet found. GALEN, MATTHEUS VAN (1604) 15.5 x 10.8 cm. Ha. Above portrait, at top centre: "Excessít e vivís Duaci As described. Used in 1572a-editian. Flandrorum, an. CIC[in reverse]. IC[in re verse] LXXHI." In lower margin: "MATTHAEUS GALEÑEIS, WEST- lib. CAPELLIUS,ZELANDUS,/ DOCTORTH.ET CAN Verses in letterpress in lower margin replaced by engraved, CELLARIUS DUACENSIS./ Tu de tenebris eruisti slightly different inscription: "GILBERTUS LYM- plurima/ Confecta longo lam situ volurmna/ Prioris aevi, BORCH MEDICUS [on one line, without LEODIEN- et reddidisti pristinum/ lilis mtorem, et gloriae verum SIS]/ ..... Ut constent [no comma] (five lines); added decus." (six lines) in margin right, also engraved:"D2". Used in 1572b-edi- In margin left: "11." tion. in, I. Added above portrait, at top centre: "E vivis excessit As described. Used in 1604- and 1608-editions. Leodici anno CIC[in reverse]. IC[in reverse]LX."Verses in lower margin replaced by:"GILBERTUS PHIL ARE- n. TUS, LEMBURGIUS, MEDICUS./ Princeps aquarum, Erased in margin left: "1.1". Used in Foppens 1739. quas salubribus venis/ Produxit, aut producet alma Natura,/ Spadana lympha, alumna Eburonum terrae/ Used in: Vires adepta in virus omne morborum;/ Hie nobilem te fecit, et tenebroso/ Oblivionis vindicavit a regno." (seven Dlustrium Galliae ..... (1604),no. 1 l;Illustrium Galliae ..... lines); erased in margin right: "D2", replaced by "L (1608), no. 11; Foppens 1739, vol. II, p. 865 Lipsius"; added in margin left: "30,b" Used in 1608- Matthcus van Galen (Matthaeus Galcnus), Westkapelle edition. 1528 - Douai 1573; Dutch (Catholic) theologian, profes• sor in Douai, attended the Council ofTrent. Engraved in IV the Galle workshop, verses by Aubert Le Mire. Erased in margin left:"30.b". Used in Foppens 1739.

Used in:

Virorum (1567), no. ??;Virorum ..... (1572), no. D2, 57 Illustrium Galliae (1608), no. 30b; Foppens 1739, vol. I, p. 366 GARET, JOHANNES (1604)

16.7 x 11.0 cm. Lit.: TIB. 56, p. 471, no. 159 Above portrait, at top centre:"Obijt Lovanij in patria XII.

Kal. Fcbr. CIC[in reverse] ÍC[in reverse 1LXXI

Gilbert Fusch (Gilbert(us) Fuehs, Lymborch, Limburgus, In lower margm: "IOANNES GARETIUS CAN ONI-

also called Philaretus), Limbourg 1504 - Liège 1567; CUS/ AUGUSTINIANUS./ Impia Cal vim damnans Belgian humanist and physician. Engraved by Philips coxnmenta, novenis/ Classibus adstruxi, Cerealia muñera Galle, verses by Benito Arias Montano (1572-edition) and prorsus/ Transmuta ta, Dei, quod certi est regula, verbo,/

Joost Lips (1608-edition). Desmere in veram, meliori germine, carnem.!S (six lines) In margin left: "14." In margin right: "Aub. Miracus."

I. As described. Used in 1604- and 1608-editions.

258 Appendix 2E

n. of several works by classical authors. At several occasions suspected ofLudierarhsm. Engraved by Philips Galle, vers• Erased in margin left: "14." Used in Foppens 1739. es by Benito Arias Montano.

Used in: Illustrium Galliae (1604),no. 14;Illustrium Galliae .... (1608), no. 14; Foppens 1739, vol. II, p. 644 59 Johannes Garet (Johannes Garetius), Lou vain c. 1499 ~

1571; Belgian theologian, canon at the Augustinian clois• GEMMA FRISIUS (1572) ters in Louvain,one of his studies was published by Plantin After Jan van Stalburch (Voet 1980-83, no. 1237). Engraved in the Galle work• 17.6 x 123 cm. shop, verses by Aubert Le fviire. In lower margin, in letterpress: "GEMMA PHRISIUS, DOCKUMENSIS./ Astrorum cursus variantia et sidera Gemma/ Privatis hominum condidit in domibus

58 ./Subijcit idem oculis terras, maria omnia, mundum/ In breve tarn, vastum denique cogit opus" (five lines)

GELLI, GIAN BATTISTA (1567) In margin right, also in letterpress: tfcC8". 17.7 x 12.2 cm. la, In lower margin,m letterpress:" JOHANNES BAPTISTA GELLIUS,/ FLORENTINUS./ Sartorem vidit, vidit As described. Used in 1572a~edition. Florenria dudum/ Baptistam patrio mira docere sono./ Ilium ergo merito virtutis honore decorat,/ Ambitione Ib. procul qui coluit studia." (six lines) Verses in letterpress in lower margin replaced by engraved, In margin right, also in letterpress: *'F6". slightly different inscription: "GEMMA PHRISIUS [no comma] DOCKUMENSIS [no period]/ Cursus astro- I. rum et variantia [instead of Astrorum cursus variantia et] 1567-edition. Mentioned by Van Someren (p. 122), not ..... omnia [instead of omnia] (five lines); added in yet found. margin right, also engraved: "C8". Used in 1572b- edition. Ila. 1L Added above portrait, at top centre: "Vita excessit Lovanij As described. Used in 1572a-edition. VIII. Kal. lun. CIC[in reverse]. IC[in reverse]LV AEt. XLVIL"; verses in lower margin slightly changed: Ob. " GEMMA PHRISIUS, DOCKUMENSIS, [comma

Verses in letterpress in lower margin replaced by engraved, instead of period]/ MEDICUS ET MATHEM ATI CUS. slightly different inscription: "BAPTISIA GELLIUS [added]/ " (six lines); erased in margin right: "C8", PHILOSOPHUS [one line]/ „... coluit studia [no pen- replaced by:"Ar. Montanus."; added in margin left: "29" od]" (five lines); added in margin right, also engraved: Used in 1604-edition. "F6". Used in 1572b-editton. Used in: in. Virorum (1567), no. ??;Virorum (1572), no. F6 Verses in lower margin replaced by:"GEMMA FRISIUS, DOCCOMIENSIS/ MEDICUS ET MATHEMATI- lit.: CUS./ Ut simulat solem radiantis gemma pyropi,/ Sic TIB. 56, p. 463, no. 142 Gemmam artifici picta tabella manu./ Haec vultum dedit, ipse animi monumenta perennis;/ Ne quid in exsdncto

Gian Battista Gelli (Johannes Baptista Gellius), Florence non superesse putes " (six lines); erased in margin right:

1498 - 1563; Italian poet, philologist and moralist, editor "Ar.Montanus "Used in 1608-edition and Foppens 1739.

259 Appendix 2E

Used in: "CORNELIUS GEMMA LOVANENSIS, MEDICUS. Virorurn ..... (1572),no.C8;IUustrium Galiiae ..,..(1604), [, MEDICUS. added]/ " (five lines); erased in margin

E no.29;Illustrium Galiiae ..... (1608)5no.29; Foppens 1739, right: "Dlreplaced by: 'Ar. Montanus."; added in mar• vol. I, p. 331 gin left: "30." Used in 1604-edition.

Lit,: ra. TIB. 56, p. 464, no. 144; De Nave 1994, pp. 142-143, no. 33 Verses in lower margin replaced by: "CORNELIUS GEMMA LOVANIENSIS,/ MEDICUS ET Gemma Frisius (Gemma Reyneri, jemme Reinersz), PFIILOSOPHUS./ Gemma, cui superi patuerunt invia Dockum 1508 - Louvain 1555; Dutch physician, math- mundi,/ Cui nubes superare vagas, sedesque repostas/ emitician and astronomist, with Petrus Apianus author of Mente datum sancta est, et toto currere caelo,/ Immortale the second edition of the Cosmogmphia (1529), later pub• feres nomen, dum gemma feretur/ In digitis, fulvoque lished by Plantm (Voet 1980-83, no. 573), father of decens radiabit in auro." (seven lines); erased in margin- Cornelius Gemrna. Engraved by Philips Galle, verses by right: "Ar. Montanus",replaced by:"Io.Secundus".Used BenitoAriasJVIOntario (1572-edirion) andAubert LeMire in 1608-edition. (1608-edition). Copied in reverse after an engraving by the Louvain engraver jan van Stalhurch, dated 1557 IV. (Hollstcin 17). Some copies ofFoppens 1739 include the third state of Galle's portrait, while others include a copy Erased in margin left: "30." Used in Foppens 1739. by Edme de Boulonois in reverse. Used in:

Viromrn (1572),no.Dl;Illustrium Galiiae ..... (1604), no.30;Illustrium Galiiae (1608),no.30; Foppens 1739,

60 vol. I, p. 200 lit.: GEMMAj CORNELIUS (1572) TIB. 56, p. 463, no. 143; Dekker 1986, pp. 29, 73-74 17.3 x 12.2 cm. (note 54)

In lower margin,in letterpress:"CORNELIU5 GEMMA Cornelius Gemma (Cornells Jemme), Louvain 1535 - LOVA-/ NIENSIS./ Dixit Gemma suo Gemmae quern 1578/79; Belgian physician and philosopher, son of protulit, haeres/ Esto virtutis proximus ipse meae./ Ipse Gemma Frisius. Several of his works were published by ego iam novi, notum peto et aethera, vive,/ Naturamque Plantin (Voet 1980-83, nos. 1242-1244); Arias Montane orrmem noscere perge, vales." {six Imes) recommended Gemma to hold a chair in Louvain In margin right, also in letterpress: "Dj". (cp. Hansel 1991, p. 94). Engraved by Philips Galle, vers• es by Benito Arias Montano (1572-edition) and Janus la. Secundus (1608-edition). It is curious to note that the As described. Used in 1572a-edition. verses by Janus Secundus were written around 1530 on Ib. Gemma Frisius and were obviously considered to be just Verses in letterpress in lower margin replaced by engraved, as appropriate for his son (cp. Dekker 1986). slightly different inscription: "CORNELIUS GEMMA

LOVANENSIS [one line]/ Haeres [instead of haeres] .....Naturamque [instead of Naturamque] ...."(five lines); added in margin right, also engraved:"Dj ".Used in 1572b - edition.

II. Added above portrait, at top centre:"Obijt Lovanij IV. Id. Octob. CIC[in reverse]. IC[in reverse]LXXIIX. AEt.XLV"; verses in lower margin slightly changed:

260 Appendix 2E

61 lines) In margin right, also in letterpress:"Cj".

GDIS, DA MI AO DE (1587) U. After Albrecht Diirer 16.9 x 11.9 cm. As described. Used in 1572a-edidon.

In lower margin: "DAMIANUS A GOES,/ Thucydides Ib. gentis enarrat gesta Pelasgae/ Romams claret Livius in Verses in letterpress in lower margin replaced by engraved, Decasin/ Hie, alia ut taceam sera data scripta senecta,/ slighdy different mscriprion:"IOHANNES GOROPIUS AETHIOPUM accepit nomen ab HISTORIA." (five BECANUS [no period]/ (five lines); added in mar• lines) In margin right: "42". gin right, also engraved: "Cj". Used in 1572b-edition. IL I. Added above portrait, at top centre: "Ob. Traiecti ad Mosam IIIL KaL lun. CIC[in reverse]. IC[in As described. Used in 1587-, 1595- and 1606-editions. reversejLXXII.AEt.LIU"; verses in lower margin slight• ly changed: " IOITANNES GOROPIUS BECANUS, II. [comma added]/ MEDICUS ET PHILOSOPHUS. [line Erased in margin right: "42"; added in upper left corner added]/ ..... " (six lines); erased in margin right: "Cj",

s D urer-monogram: ' AD [i nte rlac e d]". replaced by: "B. Arias Montanus."; added in margin left: Amsterdam (Rijksprentenkabinet, Rijksmuseum, "31 " In margin left small, damaged corner of the plate Amsterdam), Amsterdam (Pajksprentenkabinet, Rijks• has been cut off. Used in 1604-edinon. museum, Amsterdam) III.

Used in: Verses in lower margin replaced by: "IOANNES Imagines ..... (1587), no. 42; Imagines (1595), no. 42; GOROPIUS, BECANUS./ Cimbrica conaris patriae Imagines ..... (1606), no, 42 primordia linguae,/ Goropi Hebraeos ante locare sonos,/ Quantum opus hoc! quid non hum ana industria ten tat./ Lit.: Vivus ab ingenij cum calet igne labor?" (five lines); erased TIB. 56, p. 464, no. 145; Mende 1985, pp. 109-111 m margin right: "B. Arias Montanus" In lower margin the damaged copperplate has been reduced; plate size: 16.2 x

Damiao de Gois (Damianus a Goes), Aienquer 1502 - 12.2 cm. Used in 1608-edirion. Lisbon 1572; Portugese humanist and historian, friend of Erasmus, imprisoned by the Inquisition on charges of con• Used in: nections with reformers in Wittenberg, died in prison. Virorum ..... (1572),no. Cl;Illustrium Galhae .....(1604), Engraved by Philips Galle, verses by Frans van Ravelingen. no. 31; Illustrium Galliae ..... (1608), no. 31 After a lost painting or drawing by Albrecht Diirer, Lit.: TIB. 56, p. 465, no. 146

62 Johannes Goropius Becanus (Johannes Geertszone, also Johannes Gerartsen van Gorp), Hilvarenbeek 1519 - GOROPIUS BECANUS JOHANNES (1572) Maastricht 1573; Dutch linguist and physician, who tried 17.5 x 12.2 cm. to prove that the Antwerp dialect was the first language spoken and used in paradise. Friend and, for several years,

In lower margin, in letterpress: 'TOMANNES financial partner of Plantin who published two of his GOROPIUS BECANUS./ Vidi ego mrare et Belgas, major studies (Voet 1980-83, nos. 1254-1255). Engraved Becane, tuis non/ Quemquam inter Belgas artibus esse by Philips Galle, verses by Benito Arias Montano (1572- parem./ Hoc satis est, ipse hand dicam quae senno^nam edition) and Aubert Le Mire (1608-edition). mi/ Te quod amo, invidulus non sinet esse fidein." (five

261 Appendix 2E

63 64

GRAPHEUS, CORNELIUS (1567) GRIFFOLINI, FRANCESCO (15S7) 17.6 x 12.2 cm. 16.8 x 12.0 cm. In lower margin, in letterpress: "CORNELIUS SCRI-

BONIUS GRAPHEUS/ALOSTENSIS./ Magna tuum In lower margin:"FRANCISCUS ARETINUS./ Graeca celebrat Corneli Antverpia nomen,/Tradit et innumens facis sermone legi, Francisce, Latino;/ SIve ea sanctorum quos habet hospitibus./Te civem canit ilia pium fidumque mystics scripta Patrum;/ Sive profana: magisne obnoxia ministrum/ Scribere qui bene seis, publica qui gerere." mystica Patrum.,/ Nescio sintne magis scripta profana (six lines) tibi." (five lines) In margin right: "37". In margin right, also in letterpress: "C4".

Used in:

I. Imagines (1587), no. 37; Imagines ..... (1595), no. 37;

1567-cdition. Mentioned by Van Someren (p. 122), not Italorum (1600), no. 10; Imagines ..... (1606), no. 37 yet found. Ha. Lit.: TIB. 56, p. 448, no. Ill As described. Used in 1572a~edition.

Francesco Griffofmi (also called Aretinus),Arezzo 1420 - lib. Naples c. 1465; Italian Hellenist, translated several classi• Verses in letterpress in lower margin replaced by engraved, cal Greek works. Engraved by Philips Galle, verses by Frans slightly different inscription: "CORNELIUS van Ravelingen. GRAPHEUS [SCRIBONIUS omitted]/ ANDOVER- PIENSIS [instead of ALOSTENSIS, no period]/ ..... celebrat [instead of celebrat] ..." (six lines); added in mar• gin right, also engraved: "C4". Used in 1572b-cdition. 65

Used in: GRDDIUS, NICOLAUS (1604) Virorum ..... (1567), no. ??;Vrrorum ..... (1572), no. C4 15.7 x 11.4 cm.

Lit.: Above portrait, at top centre: "Decessk Venetijs CIC[in TIB. 56, p. 465, no. 147 reverse]. IC[in reverse]LXL" Cornelius Grapheus (Cornells de Schrijver, also called In lower margin: "NICOLAUS GRUDIUS BRABAN- Scribonius), Aalst c. 1482 - Antwerp 1558; Belgian poet TUS/ I.C. ET POETA./ Quae cecmi raris olim tentata and humanist, secretary to the city of Antwerp, con• poetis,/ Dum cythara Aonidas sub pia templa voco;/ Ilia demned by the Inquisition in 1522, reinstated in his pub• pio placuisse Vidae, non infima laus est;/ Stare ilia aeter- lic functions in 1540, friend of Erasmus. Engraved by num, gloria maior erit." (six lines) Philips Galle, verses by Benito Arias Montano. In margin left: "47." In margin right:"Aub. Miraeus."

I. As described. Used in 1604- and 1608-editions.

n. Erased in margin left: "47 " Used in Foppens 1739.

262 Appendix 2E

Used in: et superat./ Artibus hie cunctis dexterrimus, omnibus Iliustrium Galliae ..... (1604),no.47;Illustrium Galliae ..... arm is,/ Quels valet hostis atrox, Hosius exuperat." (six (1608), no. 47; Foppens 1739, vol. II, p. 916 lines)

Nicolaus Grudius (Nicolaus Nicolai), Louvain 1503/04 In margin right, also in letterpress:"A6". -Venice 1571; Belgian humanist and poet, councillor m service of Charles V; son of Nicolaas Everaerts, brother of I.

Janus Secundus. Engraved in the Galle workshop, verses 1567-edidon. Mentioned by Van Someren (p. 122), not by Aubert Le Mire. yet found.

Ha.

As described. Used in 1572a-edition.

66 0b.

HORTENSIUS, LAMBERTUS (1587) Verses in letterpress in lower margin replaced by engraved, 16.8 x 11.9 cm. slighdy different inscription: "STANISLAUS HOSIUS CARDINALIS EPISCOPUS [CARDINALIS added]/

In lower margin: "LAMBERTUS HORTENSIUS, VARMIENSIS CONC. TRIDE[N]T. PRAESES MONTFORTIUS/ Huius ubi HortensI spectas in imag [CONC ... PRAESES added]/ Instructus patria, pugnat, pietate, geritq[ue] [instead of Pugnat acer patria instruc•

ine vultus,/Talia turn subeat dicere verba tibi:/ Romane tus pietate, geritque]/ " (six lines), added in margin Hortensi concede huic; secula priscis/ Nomine req[ue] right, also engraved: "A6'\ Used in 1572b-edition.

pares nostra tulere vxros." (five lines) m. In margin right:"! 1". Erased in margin right: "A6". Used in XII Cardinalium .....(1598)

Used in: Imagines ..... (1587), no. 11; Imagines ..... (1595), no. 11; Used in: Imagines (1606), no. 11 Virorum ..... (1567), no. ??;Virorum ..... (1572), no. A6; XII Cardinalium (1598), no. 12 lit. TIB. 56, p. 466, no. 149; Coppens 1993, pp. 105-106, Lit.:

no. 29 TIB. 56, p. 467, no. 150

Lambertus Hortensius (Lambert Hofmans, Lambert van Stanislaus Hosius, Cracow 1504 - Rome 1579; Polish der Hove), Ivlontfoort c. 1500 - Naarden 1574; Dutch humanist, bishop of Frauenburg (Ermiand) and cardinal, priest and historian, wrote an elaborate history of the city Polish delegate to the Council of Trent. Important con• of Utrecht. Engraved by Philips Galle, verses by Frans van tributor to the Counter-Reformation, author of the pop• Ravelingen. ular spiritual guidebook Confessiofidei Catholkae Christiana (first published in 1553). Engraved by Philips Galle, vers• es by Benito Arias Montana.

67

HOSIUS9 STANISLAUS (1567)

17.7x12.4 cm.

In lower margin, in letterpress:"STANISLAUS HOSIUS

EPISCOP./ WARMIENSIS./ Pugnat acer patria

instructus pietate, geritque/ Praelia cum monstris Flosius,

263 Appendix 2E

68 priest, radical reformer and follower ofWiclifF, burnt as a heretic. Engraved by Philips Galle, verses by ??

HXXNAEU8> AUGUSTINUS (1604) 16.9 x 11.5 cm.

Above portrait, at top centre: "Obijt Lovanij An. CIC[in 70

reverse]. IC[in revcrse|LXXVIII." In lower margin: "AUGUSTINUS HUNNAEUS JANSENIUS, CORNELIUS (1604) MACHLINIENSIS,/ DOCTOR THEOLOGUS, ET 17.7 x 11.8 cm. PHILOSOPHUS./ Quid facit HUNNAEUS? caecis ut xnersa tcncbris/ Nunc mage Phoeboea lampadc clara Above portrait, at top centre:"E vita excessit Gandavi III

micent:/ Utqjuej suoslinquant contortasophismatamor- Idus April. CIC[in reverse]. IC[in reverse]LXXVL'3 sus,/ Exuat et laqueos Amphibolia suos:' (six lines) In lower margin: "CORNELIUS IANSENIUS L EPIS- In margin left: "35." COPUS GAND./ Unus ut Assyrijs qui vivit odoribus In margin right: "Laur. Beyerlinchius". ales/ Exstincto superest posthumus ipse sibi;/ Sic tibi, lansem, Phoenix secli unice nostri,/ A tenebris lux est,

Used In: morte pctitia sal us./ Corporis exuvijs posiris in funere, Illustrium Galliae .....(1604),no.35;Illustnum Galliae vivit/ Spiritus ante Deum, fama per ora virum." (seven

(1608)sno. 35;Foppcns 1739, vol. I, p. 112 lines) In margin left:"4."

Augustinus Hunaeus (Augustinus Huens or Hocns), In margin right: "Max.Vrintius." Malines 1521 - Louvain 1578; Belgian theologian, pro• fessor of theology and philosophy in Louvain, many of his I. studies were published by Plantin (Voet 1980-83, nos. As described. Used In 1604- and 1608-editions. 1414-1432). Engraved in the Galle workshop, verses by Laurens Beyerhnck. IL

Erased in margin left: "4." Used in Foppens 1739.

69 Used in:

BUS, JOHANNES (1567) Illustrium Galliae ..... (1604), no. 4; Illustrium Galliae ..... 17.3 x 12.2 cm. (1608), no. 4; Foppens 1739, vol. I, p. 203 Cornelius Jansenius, Hulst 1510 - Ghent 1576; Dutch

In lower margm:"Ioannes Hus/ Hussiticaegentis parens,/ humanist and theologian, first bishop of Ghent. Engraved Quae virus exuxit meum./ Constantiae coetus patrum/ in the Galle workshop, verses by Maximillaan deVriendt. Flammis cremandum censuit./ Foecundus at cinis meac/ Sectae asseclam sobolem dedit(seven lines)

71

The Hague (Koninklijke Bibliotheek, Den Haag, bound with 1572b-edition), Vienna (Oester-reichische JANUS SECUNDUS (1587) Nationalbibliothck (Portratsamm-lung), Wien, hand- After Jan van Scorel coloured impression with different, handwritten verses), 16.9 x 11.9 cm. Vienna (Oesterreichische National-bibliothek

(PortraGammlung), Wien) In lower margin: "IOANNES SECUNDUS HAGIEN- SIS BATAVUS./ Ludo crat antiquis auris Boeotica; Used in; verum/ Sustulit hoc alto dedecus ingenio/ Pindarus: ac Virorum ..... (1567), no. ?? per te, divine, Secunde, Batavae/ Auris laudatur Musa Johannes Hus, Husinetz c. 1370 - Konstanz 1415; Czech Batava vice." (five lines)

264 Appendix 2E

In margin right: "4?". II.

Erased in margin right:"3". Used in XII Cardinaliurn I. (1598) and 1606-edition.

As described. Used in 1587- and 1595-editions. Used in: Imagines ..... (1587),no.3;Imagines ..... (1595),no.3;XII

IX. Cardinaliurn ..... (1598), no. 2; Imagines ..... (1606), no. 3

Added above portrait, at top centre: "Obijt in D. Amandi fano apud NerviosVIILKaL Octob. CIC[in reverse]. IC[in reverse]XXXVI. AEt. XXV"; verses in lower margin TIB. 56, p. 488, no. 193 slighdy changed: "IOANNES SECUNDUS HAGIEN- Francesco Jimenez de Cisneros (Francesco Ximenes, SIS BATAVUS, POETA. [, POETA. added]/ .... " (five Franciscus Simenius), Torrelaguna 1436 - Roa 1517; lines); erased in margin right: "47", replaced by "Fr. Spanish humanist, cardinal and archbishop of Toledo, Raphelengius."; added in margin left:"46."Used in 1604- Franciscan monk, friend of Erasmus. Engraved by Philips , 1606- and 1608-editions. Galle, verses by Frans van Ravelingen. Used in: Imagines (1587), no. 47; Imagines ..... (1595), no. 47; Illustrium Galliae ..... (1604),no. 46; Imagines..... (1606), no. 47 (numbered 46); Illustrium Galliae ..... (1608), no. 73 46

lit.: JUNIUS, HADRI ANUS (1567) TIB. 56, p. 467, no. 151; Bruyn 1955, pp. 194-197 17.6 x 12.3 cm.

Janus Seeundus (Johannes Nicolai), The Hague 1511 - In lower margin: "Hadrianus lunius Medicus/ lunius a Tournai 1536; Dutch poet and medal, engraver, son of priscae dicor cognomine gentis,/ Hospita terra maris me Nicolaes Everaerts, brother of Nicolaus Grudius. batava horna tulit./ Felsina me docuit, titulos que adiunxit Engraved by Philips Galle, verses by Frans van Ravelingen. honoris,/ At medicum experta est anglia clara diu. / Mox Copied in reverse after a painted prototype by Jan van varia ingenii vivus monumenta reliqui:/ Qui portus vitae, Scorel, of which several versions soil exist. cura sit Ista deo." (seven lines)

I. As described. Used in 1567-edinon.

72 Coborg (Kupferstichkabinett der Kunstsammlungen JIMENEZ DE GISNEROSs FRANCESCO (1587) Veste Coburg, Coburg, hand-coloured impression),

17.2 x 11.8 cm. Coburg (Kupferstichkabinett der Kunstsammlungen Veste Coburg, Coburg), Madrid (Gabinete de estampas

In lower margin: "FRANCISCUS SIMENIUS, CAR- y bellas artes, BIblioteca Nacional, Madrid) DINALIS HISPANLAE./ Cerneré te coelo deniissum numen ab alto,/ Lector, Simenij dum conspicijs ora puta- IIa. to:/ Edi qui VAROS curavit BIBLIA LINGUIS;/ Quo Verses In lower margin replaced by new text in letterpress: mérito illius volat omnem fama per orbem." (five lines) "HADRIANUS IUNIUS HORN ANUS,/ Moverat

In margin right:"3". invidiam locus invidus et tibi nomen/ Juni alias notum

sed minus usque tuoV Invidiam vincis nota probitate fid-

I. eque/ Perge,bona et studia id quod facls, Ipse iuva." (five

As described. Used in 1587- and 1595-edidons, lines);added in margin right, also in letterpress: "B4". Used

in 1572a-edition.

265 Appendix 2E

lib. portrait series. According to the inscription the portrait

Verses in letterpress in lower margin replaced by engraved, must have been drawn around 1551 when Junius was four slightly different inscription: ".HADRIANUS JUNIUS ty years old. As Galle himself was only fourteen years old HORNANUS [no period]/ .....sideque [instead of fidc- at that time, IljaVeldman suggests that the engraving might qucj ..... facis [no comma] ipse iuva." (five lines); added in have been made after a drawing by Maarten van

margm right, also engraved:

Virorum (1567), no. ??;Virorum .... (1572), no. B4

lit.: 74 TIB, 56, p. 468, no. 153;Veldman 1977, pp. 97-112 LAMPS ON, DOMINIQUE (1604)

Hadrianus Junius (Adriaen de Jonghe), Hoorn '1511 - 16.1 x 10.6 cm. iviiddelburg 1575; Dutch humanist, physician, poet, his•

torian and philologist, several of his works were published Above portrait, at top centre: "Communem viam inijt by Plantin (Voet 1980-83, nos. 1475-1492). Junius was a Leodici Eburonum CIC[in reverse]. IC[in reverse] friend of Philips Galle, whom he often provided with vers• XCIX"

es to accompany engravings after Maarten van In lower margin: "DOMENICUS LAMPSONIUS Heemskerck and others. Engraved by Philips Galle, vers• PHILOLOGUS ET PICTOR./ Est qui carmine, vultque es by Hadrianus Junius? (1567-edition) and Benito Arias penicillo/ In proeconia LAMPSONI tua ire,/ Quod est, Montano (1572-edition). Compare the portrait engraved quodque Exit tui editurus:/ At frustra. Ncquc sit tdbi poeta/ by Galle in 1562 (see below). Te praeter, neq[ue] pictor, aut Apclles,/ Hie ipsus redeat licet, Maroque." (seven lines)

In margin left: "50." 73a

In margin right: "Hub. Audeiantius." JUNIUS, HADRIANUS (1562) After Maarten van Heemskerck? I. 11.0 x 9.5 cm. (trimmed margins) As described. Used in 1604- and 1608-editions.

In upper left corner: "PGE" n.

In upper right corner, above coat of arms: "1562" Erased in the margin left: "50 " Used in Foppcns 1739. At right side of the portrait, inside medallion: "HADR. Used im JUN."

In lower margin: "OCtaVo eXaCto LVstro sIC ora Illustrium Galliae ..... (1604),no.50;Illustrium Galliae ..... ferebaM/ IVnIVs a deXtra haVd InsCIte eXpressa (1608), no. 50; Foppens 1739, vol. I, p. 249 fldeLI." (two lines) Dominique Lampson (Domenicus Lampsonius), Bruges 1532 - Liège 1599; Belgian author, poet and painter in Haarlem (Gemeentearchief,Haarlem), Vienna (Oester- service of the prince-bishop of Liège, author-compiler of reichische Nationalbibliothek (Portrat-sammlung),Wicn) the recueil of portraits of artists first published by Hieronymus Cock in 1572 and reissued by Theodoor lit.: Galle around 1600. Engraved in the Galle workshop, vers• Veldman 1977, p. 107 es by Hubert Oudejans.

Engraved by Philips Galle, verses by Hadrianus Junius. Separately published portrait, not included in any of the

266 Appendix 2E

75 In lower margin:"Joannes Alasco/ Cuia vin effigies? laski, qui stemmate elarus/ Sarmaüae procerum, divitiis que LANGUE, CHARLES DE (1587) potcns,/ Foedere amicitiae quondam dbi vinctus erasme./ 16.8 x 1L8 cm. Deserui patriam, cederem ut invidiae./ Me profugum accepit quaevis terra hospita, tantus/ Egit me studii ac rel-

In lower margin: "CAROLUS LANGIUS./ Utra in te ligionis amor" (seven lines) spectem virtu tcm munera, Langi,/ Doctrinam In studijs, seu probitatem ammi;/ Concedis nulli: sola haec sub Gobtarg (Kupferstichkabinett der Kunstsanimlungen judice lis est,/ An doctrina in te, vel probltas superct " (five Veste Coburg, Coburg,hand-coloured impression),Paris lines) (Cabinet des estampes, BibHothèque Nationale, Paris), The H&giae (Koninklijke Bibliotheek, Den Haag, bound In margin right: "T\ with 1572b-edition)

L Used in: Virorum (1567), no. ?? As described. Used in 1587- and 1595 editions.

lit.: IL TIB. 56, p. 469, no. 156; Dirkse 1986, p. 47, p. 124 Added above portrait, at top centre: "Excessit e vivis

Leoclici Eburonurn CIC[in reverse]. IC[in reverse] LXXIIL Jan Laski (Johannes a Lasco),Lask 1499 - Pinczow 1560; IV. Kal Aug"; verses in lower margin slightiy changed: Polish humanist, theologian and (from 1540 onwards) "CAROLUS LANGIUS, FHILOLOGUS. [PHILOLO- reformer, formerly a bishop and diplomat in service of

GUS. added] / ...„" (five lines); erased in margin right:st7'\ the Polish and Hungarian courts. Engraved by Philips replaced by:

Imagines ..... (1587), no. 7; Imagines ..... (1595), no. 7;

Illustrium Galliae ..... (1604), no, 39; Imagines (1606), 77 no. 7 (numbered 39); Illustrium Galliae ..... (1608),no. 39;

Foppens 1739, vol. I, p. 154 LATOMUS, JACOBUS (1572) Lit,: TIB. 56, p. 469, no. 155; Le Loup 1983-84, p. 115, no. 26 17.6 x 12.2 cm.

Charles de Langhe (Carolus Langius), Brussels? 1521 - Liège 1573; Belgian philologist, canon at the cathedral of In lower margin,in letterpress:"IACOBUS LATOMUS./ Liège, friend of Laevinus Torrentius, editor of several AEdificat Latomus multa et praeclara disertus/ works by classical authors. Engraved in the Galle work• Disponensque manu construit artificL/ Qui loca quae- shop, verses by Frans van Ravelingen. sierit fidei commoda nostxae/ Ilia petat, doctus quae posuit Latomus." (five lines)

In margin right, also in letterpress: k'C2".

76 la. As described. Used In 1572a-edition. LASKI, JAN (1567) 17.7x12.5 cm. Ib. Verses in letterpress in lower margin replaced by engraved,

267 Appendix 2E

slightly different inscription:" JACOBUS LATOMUS[no digna olim ternpus sepelivit avarum/ Plurima,defossa haec period]/ " (five lines); added In margin right, also eruis et revocas." (six lines)

engraved: "C25Used in 1572b-edition. In margin right, also in letterpress: "D75S

n. I. Added above portrait, at top centre: "Decessit Lovanij 1567-edltion. Mentioned by Van Someren (p. 122), not CIC[in reverse] IC[in reversejXLIV. III. Kal. Iunias." yet found. Verses in lower margin slightly changed: "JACOBUS LATOMUS, D, THEOLOGUS. [, D THEOLOGUS. Ha,

added]/ " (five lines); erased in margin right:"C2", by As described. Used in 1572a--edition. "B. Arias Montanus"; added In margin left: "9" Used in 1604-edition. lib. m. Verses in letterpress in lower margin replaced by engraved, Verses in lower margin erased and replaced by engraved, slightly different inscription:" WOLPHANGUS LAZIUS slightly different inscription in smaller lettertypc: VIENNENSIS [on one line, instead of WOLFANGUS "IACOBUS LATOMUS CAMBERONENESIS, LAZIUS GERM ANUS on two lines]/ !5 (five lines); HANNO,/ DOCTOR THEOLOGUS LOVANIEN- added In margin right, also engraved: "D7'\ Used in SIS. [CAMBERONENSIS ..... LOVANIENSIS added]/ !572h-edition.

" (six Hnes). Used in 1608-edition. Used in:

IV. Virorum ..... (1567), no. ??;Virorum ..... (1572), no. D7

Erased in margin left: "9." Used in Foppens 1739. lit,: TIB. 56, p. 470, no. 158

Used in: Wolfgang Lazius, Vienna 1514 - 1565; Austrian histori• Virorum (1572),no. C2; Illustrium Galliac ..... (1604), ographer and physician in service of Emperor Ferdinand no. 9; lHustrium Galliac .... (1608), no. 9; Foppens 1739, I Engraved by Philips Galle, verses by Benito Arias vol. II, p. 520 Montano. Lit.: TIB. 56, p. 470, no. 157

79 jacobus Latomus (Jacques Masson), Cambron-Casteau

c. 1.475 - Lou vain 1544; Belgian theologian, professor in HEVENSs JAN (1604) Lou vain, vigorous opponent of both the Reformation and 17.1 x 10.7 cm. humanists as Erasmus. Engraved by Philips Galle, verses by Benito Arias Montano. Above portrait, at top centre: "Obijt Antverpiae Canonicus Idib. Ian. CIC [in reverse]. IC [in reverse] XCIX. AEtat. LIE"

In lower margin: "IOANNES LIVINEIUS TENERA- 78 MUNDANUS,/ GRAECARUM LITTERARUM

LÄZKJS, WOLFGANG (1567) PERITT1SSIMUS./ Amca priscorum mutas dum verba 17.5 x 12.4 cm. Latinis,/ Et reddis vitae scripta sepulta suae;/ Invida te Lachesis crudeli funere mersit,/ Quodq[ue] alijs aufers, In lower margin, in letterpress:" WOLF GANG LAZIUS,/ hoc tibi, dixit, habe." (six lines) GERMANUS./ Romanae historiae lucem Wolfgange In margin left: "4L" dedisti,/ Quae lam difficiles venerat in tenebras./ Scitu

268 Appendix 2E

I. Reformation published by Plandn (Voet 1980-83, no. As described. Used in 16Ö4- and 160S-editions. 1522) as were several other studies (nos, 1523-1529). Lindanus had several arguments with Arias Montano and

XL Van Ravelingen on the Hebrew language, perhaps the rea• son that he had not been Included in the earlier 1572- Erased in margin left: "41". Used In Foppens 1739. and 1587-series. Engraved m the Galle workshop, verses by Maximiliaan de Vriendt. Used in; Illustrium Galliae (1604),no.41;Illustrium Galliae . (1608), no. 41; Foppens 1739, vol. II, p. 678 81 Jan Elevens (Johannes Xivinaeus), Dendermonde 1547 - Antwerp 1599; Belgian Hellenist, canon at the Antwerp OPS, JOOST (1608) cathedral, nephew of Bishop Laevinus Torrentius, collab• 16.7 x 11.5 cm. orated with Plantin and Moretus on several Greek pub• lications of the OrEcina Plantiniana. Engraved in the Galle Above portrait, at top centre: "lustus Lipsius natus est workshop, verses by Aubert Le Mire, Iscano in municipio,/ III. milliari a Bruxella, CIC [in reverse]. IC[in reverse], XLVIL XV Kal. Novemb./ Obijt

Ix>vanij CIClm reverse], IC[in reverse]CVL Kal.Aprilis." (three lines). 80 In lower margin:"IUSTUS LIPSIUS./ luste, decus patri• ae, Latij sermonis ocelle,/ Ut sophia praestas, sic Pietate

LINDEN, WILLEM VAN DER (1604) nites./ Moribus antiquis resutRomaria,virisque5/Sic vet•

17.1 X 11.6 cm. eris per te stat decus imperij " (five lines)

Above portrait, at top centre:iSObijt Gandavi postrid. Kal. Used in:

Novemb. CIC[in reverse]. IC[in reversejLXXXVIIL" Illustrium Galliae ..... (1608), no. 51b In lower margin: "GUILIELMUS LINDANUS EPIS- COP. GANDENSIS./ Dordracum patria est, Grudiae Joost Lips (Justus Lipsius), Overijse 1547 - Louvain 1606; patria altera Athenae,/ like ammi altrices, corporis Ilia Belgian humanist, moralist and philologist, professor in mei./ Conspicuum sancta, coluit Rurmunda tiara,/ Et Leiden and Louvain. Most of his works were published- Ganda in cineres officiosa meos./ Non meliore loco nasci, by Plantin and his successors (Voet 1980-83, nos. 1530- potuive renasci;/ Non meliore coli, non meliore 1566). Engraved in the Galle workshop, verses by Aubert mori.S5(seven lines) In margin left: "5." Le Mire. In margin right: "Max. Vrindus S.P.Q. Gand. a Secretls."

I. As described. Used in 1604- and 1608-editions. 82 n. LUTHER, MARTIN (1567) Erased m margin left: "5." Used in Foppens 1739. 17.8 x 12.3 cm.

Used in: In lower margin: "Martlnus Lutherus/ Terribili tanquam Illustrium Galliae ..... (1604), no. 5; Illustrium Galliae . tonitru perceüere mentes,/ Atque ánimos graiae

(1608), no. 5; Foppens 1739, vol. 1, p. 410 praestxingere fulmine gentis,/ Ac movisse velut solidae

penetrallia terrae, / Cecropii dicta est acérrima lingua per-

Willem van der Linden Damaszoon (Guilielmus Damasi iclis./ Nec mea vis minor: hanc germania sensit, et

Lindanus), Dordrecht 1525 - Ghent 1588; Dutch philol• ister,/Ad scythas, et pictos sese difliudit, et afros." (seven ogist and theologian, bishop of Roermond and Ghent, Unes) author of an apologia of the Catholic Church against the

269 Appendix 2E

Paris (Cabinet des estampes, Bibliothèque Nationale, in lower margin slightly changed: "GEORGIUS Paris), The Hague (Koninklijke Bibliotheek, Den Haag, MACROPEDIUS, PHILOLOGUS [on one line, bound with 1572b-edition), Vienna (Oesterreichische PHILOLOGUS added]/ five lines); erased in mar• Nationalbibliothek (Porträtsarnm-lung), Wien), Vienna gin right: "R5", replaced by "Ar. Montanus added in (Oesterreichische Nationalbibliothek (Ponrätsanimlung) margin left: "48." Used in 1604-edition. Wien, hand-coloured impression), Vienna (Sammlung Schloss Ambras, Kunsthistorisches Museum, Wien) IV.

Verses in lower margin replaced by: "GEORGIUS Used in: MACROPEDIUS, PHILOLOGUS/ Tu Seneca, et nos- Virorum (1567), no. ?? tri potes esse Terendus aevi,/ Sen struis ad faciles viva theatra pedes,/ Sen ploras tragicas, Macropedi, carmine clades,/ Martin Luther (Martinus Lutherus),Eisleben 1483 - 1546; Materiam sancris adsimilante modis./ Desine iam Lados German theologian and reformer, as anAugustinian monk rnirari Roma cothurnos:/ Nescio quid mains Beigica initiated the Reformation with the proclamation of his scena dabit." (seven lines); erased in margin right: "Ar. 95 theses in Wittenberg. Engraved by Philips Galle, vers• Montanus.", replaced by: "Ant. Sanderus". Used In 1608- es by ?? edition.

V.

83 Erased in margin left: "48". Used in Foppens 1739.

MACROPEDIUS, GEORGIUS (1567) Used in: 17.4 x 12.2 cm. Virorum ... (1567), no. ??;Virorum (1572), no. B5; Illustrium Galliac ..... (1604),no.48;IUustrium Galliae .....

In lower margin, in letterpress: "GEORGIUS MACRO- (1608), no. 48; Foppens 1739, vol. I, p. 339 PEDIUS,/ BATAVUS./ Quae referas nostris grate Lit.: spectanda theatris/ Argximenta sacrae suscipis historiae./ TIB. 56, p. 471, no. 160; Giebels 1978, pp. 5, 62-63; Idem animi numerosque potes cecinisse Georgi/ Macropedius 1995, pp. 30-32 Strinxisse in numeros carrninis inque notas." (six lines)

In margin right, also in letterpress: "B5". Georgius Macropedius (Joris van Lanckvelt), Gemert 1475 - Den Bosch 1558; Dutch humanist, philologist and I. poet, author of several neo-latin dramas. Engraved by 1567-edition. Mentioned by Van Sonieren (p. 122), not Philips Galle, verses by Benito Arias Montano (1572- yet found. edition) and Antonius Sanders (1604-edition).

Ma.

As described. Used m 1572b-edition, 84

lib. MAINO, JASON DE (1587) Verses in letterpress in lower margin replaced by engraved, After EncaVico slightly different inscription: "GEORGIUS MACRO- 16.7 x 11.8 cm. PEDIUS [on one line, without BATAVUS]/ (five

Hnes); added in margin right, also engraved: "B5". Used In lower margin: "IASON DE MAYNO./ Alciati civis, in 1572b-edition. castris et miles ijsdcm./ Doctor tu luris nec minus ille fait./ O Mediolanum docris urbs dives alumnis,/ Saepe m. utinam Maynos Alciatosq[ue] feras." (five Hnes) Added above portrait, at top centre:"Obijt Silvaeducis in In margin right: "17". patriae An. CIC[In reverse]. IC[in reverse]LVIIL"; verses

270 Appendix 2E

Used in; §6

Imagines ..... (1587), no. 17; Imagines (1595), no. 17; Imagines (1606), no. 17 MANUZIO, PAOLO (1587) After Martino Rota Lit.: 16.7 x 12.0 cm. TIB, 56, p. 474, no. 166; Dwyer 1990, p. 62, fig. 13

In lower margin: "PAULUS MANUTIUS, ALD. F./ Jason de Mamo (lason de Mayno), Pesare 1435 - Pavía Cunctis, Paule, patrem sequeris virtutibus Aldum,/ 1519; Italian jurist in service of Emperor Maximilian I Docrrina superas, eloquio superas./ Chalcographa patris and King Louis XII of France, tutor of Andrea Alciati. nomen celebratur ab arte;/ Paule, tuum docto nomen ab Engraved by Philips Galle, verses by Frans van Ravelingen. ELOQUIO." (five lines) Copied with several alterations after an engraving attrib• In margin right:"33". uted to Enea Vico in Benavides s Hlustrium iurecansultomm

imagines (1566). Used in: Imagines ..... (1587), no. 33; Imagines ..... (1595), no. 33; Italorum ..... (1600), no. 17; Imagines (1606), no. 33

85 Lit.: TIB. 56, p. 473, no. 163 MANUZIO, ALBO (1587)

After Martino Rota Paolo Manuzio (Paulus Manutius),Venice 1511 - Rome

16.8 x 11.9 cm. 1574; Italian humanist, printer and bookpublisher, from 1561 head of theVaticanTipografia Romania, son of Aldo In lower margin: "ALDUS PIUS MANUTIUS./ Si Manuzio. Two of his studies were published by Plantin priscos libros, veterum si voivere scripta,/ Debemus (Voet 1980~83,nos. 1629-1630.Engraved by Philips Galle, quidquid jam licet, Aide, ribi./ Magna quidem laus est verses by Frans van Ravelingen. Copied in reverse after Scriptoribus; at tibi major,/ Qui reddis veteres an undated engraving by Martmo Rota (Bartsch 79). CHALCO GRAPHIA arte novos" (five lines) In margin right: "32"

Used hit 87 Imagines ..... (1587), no. 32; Imagines (1595), no. 32; Italorum ..... (1600), no. 16; Imagines (1606), no. 32 MAROT, CLÉMENT (1567)

16.8 x 12.2 cm. Lit.: TIB. 56, p. 472, no, 162 In lower margin, in letterpress: "CLEMENS MARO- TUS,/ CADURCUS./ Gallorum Vatem qui te dixere

Aldo Manuzio (Aldus Manutius, Teobaldi Manucci), Maronem,/ Auspicijs, Clemens, non caruere suis:/ Nam Bassiano 1452 - Venice 1515; Italian scholar, printer and superas patrio rellquos sermone Poetas;/ Si cupis anti• publisher of mainly humanist books, father of Paolo ques vertere, te superas." (six lines) Manuzio. Engraved by Philips Galle, verses by Frans van In margin right, also In letterpress: "E5". Ravelingen. Copied in reverse after an undated engrav• ing by Martmo Rota (Bartsch 78). I. 1567-edition. Mentioned by Van Someren (p. 122), not yet found.

n. As described. Used in 1572a-edition.

271 Appendix 2E

XIL Used in:

Added above portrait, at top centre: "CLEMENS, Virorum ..... (1567), no. ??; Virorum ..... (1572), no. D8 MAROTUS, CADURCUS."; verses in letterpress are Lit.: replaced by engraved, slightly different inscription: TIB. 56, p. 474, no. 165 "Gallorum Vate [instead ofVatem] qui (four lines); added in margin right, also engraved: "E5". Used in Pietro Andrea Mattioli (Petrus Andreas Matthiolus), Siena 1572b-edirion„ 1500 - Trent 1577; Italian physician and botanist in ser• vice of Emperor Maximilian II. Engraved by Philips Galle,

Used in: verses by Benito Arias Montano. Viroruni (1567), no. ??;VIrorum ..... (1572), no. E5

Lit,: TIB. 56, p. 473, no. 164 89

Clément Marot (Clemens Marotus), Cahors 1496 - Turin MAULBE, FRANS BE (1604) 1544; French poet whose religious views came close the 14.7 x 10.5 cm. Reformation, his French translations of the Psalms were finished by the reformcrTheodore de Bèze and were pub• Above portrait, at top centre: "Obijt Aeria apud Artesios lished by Plantin (Voet 1980-83, no. 722). Engraved by Canomcus CIC[in reverse]. IC[in reverseJXC" Philips Galle, verses by Benito Arias Montano. In lower margin: "FRANCISCUS MODIUS BRU- GENSIS./Tu quoque carminibus,MODI, celebrare nos- tris,/ Inter Apollineos dignus honore viros./ Inscribamq[ue] tuae merito tria verba tabellae;/

88 MODIUS Aonij gloria rara gregis." (five lines) In margin left: "51

MATTIOLI, PIETRO ANDREA (1567) 17.2 x 12.3 cm. I.

As described. Used in 1604- and 1608-editions. In lower margin, in letterpress: "PETRUS ANDREAS MATTHIOLUS/ SENENSIS./ Neglectam Medicis daninoso crimine partem/ Naturae pulchra et munera XL multipliers,/Andreas dum lustrat agros, dumque undique quaerit,/ Admovit chartis lumen Apollineis." (six lines) Erased m margin left: "51Used in Foppens 1739. In margin right, also in letterpress: "D8". Used in: Illustrium Galliae ..... (1604),no.51;lUustrium Galhae I. (1608), no. 51; Foppens 1739, vol. I, p. 300 1567-edition. Mentioned by Van Someren (p. 122), not Frans de Maulde (Franciscus Modius), Oudenburg 1556 yet found. -Aire-sur-la-Lys 1597;Belgian humanist, poet and philol• ogist. Engraved in the Galle workshop, verses by Aubert Ha. Le Mire.

As described. Used in 1572a-edkion.

90 lib.

Verses in letterpress in lower margin replaced by engraved, MELANCHTONj PBXLIPPUS (1567) slighdy different inscription: "PETRUS ANDREAS 17.6 x 12.3 cm. MATTHIOLUS MEDICUS [on one line instead of

PETRUS ANDREAS MATTHIOLUS SENENSIS on In lower margm:"Philippus Melanthon/ Invidiae nemesin two lines]/ " (live lines); added in margin right, also vitasti docte philippe/ Magnam, qui accrbitatem tempe- engraved: "D8!I. Used in 1572b~ediuon.

272 Appendix 2E

rans styli,/ Inveheris minus, et parens eonvitia fundis:/ lit.: Edoctus hoc, ni fallor, a musa attiea./ Saxona non spiras, TIB. 56, p. 475, no. 167 grato sed scripta lepore/ Soluta sen ligata sint condis

probe." (seven lines) Paulus Melissus (Paul Schede), Mellrichstadt 1539 - Heidelberg 1602; German Neo-Latin poet in service of

I. the Palatinate in Heidelberg, Engraved by Philips Galle, As described. verses by Frans van Ravelingen.

Vienna (Oesterrelchische Narionalbibliothek (Portrat- sammlung), WIen)

92 n. Verses in lower margin slightly changed: "Philippus MERCATOR, GERARD (1587)

Melancthon [instead of Melanthon]/ -....parens [instead After Hendrick Goltzius

of pareus] .....hoc (ni fallor) [brackets Instead of commas] 16.8 x 11.8 cm. lepore, [comma added] ..... sint, condis probe." (seven lines). In lower margin: "GERARDUS MERCATOR./ Imprimis nostro, Gerarde, videbere libro,/ Qui populos,

The H&gne (Koninklijke Bibliotheek,Den Haag, bound urbes, regna videre facis/ Non opus est studio proficisci widi 1572b-edition) ad regna vide[n]di;/ Scilicet in TABULIS regna videre facis." (five lines)

Used in: In margin right: "39".

Virorum ..... (1567), no. ??

Used in: Philippus Melanchton (Philip Schwarzerd),Bretten 1497 Imagines ..... (1587), no. 39; Imagines ..... (1595), no, 39; -Wittenberg; German humanist and theologian, friend of Imagines .... (1606), no. 39 Luther and Erasmus, one of the leading moderate reform• ers. Engraved by Philips Galle, verses by ?? Lit.: TIB. 56, p. 475, no. 168; Strauss 1977, vol I, pp. 18-19, no.

1; De Nave 1994, pp. 91-92, nos. 1-2

91 Gerard Mercator (Gerard de Cremer),Rupelmonde 1512 - Duisburg 1594; Belgian geographer and cartographer, MEXISSUS, PAUIXfS (1587) acquainted with Philips Galle, one of his works was pub• 16.9x12.0 cm. lished by Plantm (Voet 1980-83, no. 1662). Engraved by Philips Galle, verses by Frans van Ravelingen. Copied in In lower margin: "PAULUS MELISSUS FRANCUS, reverse after an engraving attributed to Hendrick Goltzius COM.PAL. ET EQUES,/ LAUREATUSQUE POETA, (Bartsch 176, Hollstein 201) and published by Nicolaus CIVÎS ROMANUS./ Seu tu Vergilium, aut elegeldia Hogenberg, dated 1576 (state I and II), 1574 (state III) docta Propertl,/ Carmina seu nitidi secteris salsa Catulli;/ and 1578 (state IV). Omnibus excellis: mérito tibí LAUREA serta/ Ferre dédit Caesar, meritoque vocare Melissus." (six lines)

In margin right:st50". 93

Used in: MONCEAUX, FRANÇOIS DE (1587) Imagines (1587), no. 50; Imagines ..... (1595), no. 50; 16.7 x 11.7 cm. Imagines (1606), no. 50

In lower margin: "FRANCISCUS MONCAEUS ATREBAS./ Virgilius Stygijs postquam rescisset in

273 Appendix 2E

umbris/ BUCOLICA in lucern tollcre SACRA caput;/ nb. AhJ nostras, inquit, SACRIS Moncaeus honores/ Toilet; Verses in letterpress in lower margin replaced by engraved, erunt null o nostra profana loco." (five lines) slightly different inscription: "THOMAS MORUS [no In margin right: "48". comma] ANGLUS no period]/ .....fidelem [no comma] .... isto [no comma]/ Quern valide ipse subis, exitus Used In: edocuit. [instead of Exitus edocuit, quern subis intre• Imagines ..... (1587), no. 48; Imagines (1595), no. 48; pidus]" (five lines), added in margin right, also engraved: Imagines ..... (1606), no. 48 "A8". Used in 1572b-edition.

Lit.: Used in: TIB. 56, p. 476, no. 169 Virorum ..... (1567), no. ??;Virorum ..... (1572), no. A8

Francois de Monceaux (Franciscus Moncaeus), lived in Lit,: Arras, active second half of the sixteenth century; French TIB. 56, p. 477, no. 171 humanist, poetjurist and diplomat in service of the French Crown, nephew of Francois Baudouin. Editor of an edi• Thomas More (Thomas Morns),London 1477/78 - 1535; tion ofVirgil's Bucólica. Engraved by Philips Galle, verses English humanist, statesman and diplomat, friend of by Frans van Ravelingen. Erasmus, as a Catholic and a political opponent behead• ed by Henry VIII. Engraved by Philips Galle, verses by ?? (1567-edition) and Benito Arias Montano (1572- edirion). Copied after one of the versions of the portrait

94 by Hans Holbein the Younger of which the original paint• ing, dated 1527, is in the Frlck Collection, New York.

MORE, THOMAS (1567) After Hans Holbein 17.6 x 12.2 cm. 95

In lower margin: "Thomas Moras/ Haec mori effigies, quern nutrix ingeniorum/ Nobilium In lucem terra bri- MUNSTER, SEBASTIAN (1587) tanna tulit/ Cui linguam armarat periclaeo musa lepore,/ 16.8 x 12.2 cm. Et facili excultam carmine eondierat./ Regia dum orfen-

sa reprobat divorta mente,/ Demedtur cervix ense resec- In lower margin: "SEBASTIANUS MUNSTERUS./ Si ta sen!" (seven lines) doctus cautum celebravit Homerus Ulysem,/ Quod varias gentes, varies nosset populorum/ Mores; quis te non,

I. Munstere, celeb ret ametque,/ Qui nosti haec, quin et totl As described. Used in 1567-edition. nota efFicis orbi." (five lines) In margin right:"40."

Brussels (Prentenkabinet, Koninklijke Bibliotheek Albert I, Brussel; Cabinet des estampes, Bibliothèque Used in:

Royale Albert Ier, BruxeBes) Imagines (1587), no. 40; Imagines .... (1595), no. 40;

Imagines (1606), no. 40 Ha. Verses in lower margin replaced by new text in letterpress: Lit.: "THOMAS MORUS, ANGLUS./ An memorem doc- TIB. 56, p. 477, no. 172 turn magis, an te More fidelcm,/ An fortem, dubito; nam omnia summa tenes./ Quae doctrina fuit,pietas quae pec- Sebastian Munster (Sebastianus Munsterus), Ingelheim tore in isto,/ Exitus edocuit, quern subis intrepidus." (five 1489 ~ Basle 1552; German theologian and geographer, lines);added in margin right,also in letterpress:"'A8".Used author of the six-volume Cosmographia universalis (first in 1572a-edition. published in 1544), Franciscan monk, later converted to

274 Appendix 2E

the Reformation. Engraved by Philips Galle, verses by torus et alterius" (six lines) Frans van Ravelingen. In margin left: "20."

In margin right: "Avo nepos lac. Rolandius."

96 I. As described. Used in 1604- and 1608-editions.

MURET, MARC-ANTOINE DE (1507) n. After Cornells Cort 17.0 x 12.0 cm. Erased in margin left: "20." Used in Foppens 1739.

In lower margin; "MARCUS ANTONIUS MURE- Used in:

TUS,/ lactabat toto tcllus Saturnia mundo,/ Solam se Illustrium Galliae ..... (1604), no. 20; Illustrium Galliae .....

doctos posse creare viros:/ Parce, ait Italiae Murctum (1608), no. 20; Foppens 1739, vol. I, p. 325 Gallia mittens,/Vos arte aequabit noster et ingenio(five Lit,: lines) Coppens 1993, pp. 106-107, no. 30

In margin right:"12". Gabriel van der Muyden (Gabriel Mudaeus), Bracht c. 1500 - Louvain 1560; Belgian jurist, scholar of Roman Used in: law, professor in Louvain. Engraved in the Galle work• Imagines (1587), no. 12; Imagines ..... (1595). no. 12; Imagines (1606), no. 12 shop, verses by Jacques Roelants, grandson of Van der Muyden. Lit.: TIB. 56, p. 478, no. 173; Bierens de Haan 1948, pp. 192- 193, no. 208

98

Marc-Antoine de Muret (Marcus Antonius Muretus), Muret 1526 - Rome 1585; French humanist and moral• MUYS, CORNELLS (1587) ist, editor of several classical Latin texts.Two of his stud• After Maarten van Heernskerck ies were published by Plantin (Voet 1980-83, nos. 1723- 16.7 x 11.8 cm. 24) Engraved by Philips Galle, verses by Frans van Ravelingen. Copied in reverse after an undated engrav• In lower margin; "CORNELIUS MUSIUS DEL-/ ing by Cornells Cort. PHENSIS BATAVUS./ Hagia Secundi syllabas amat docti,/ Et Isca felix LIpsio est:/Te lure semper gloriabitur, Musi,/ Hollandiorum Delphium." (six lines) In margin right: "10".

97 I. MUYDEN, GABRIEL VAN DER (1604) As described. Used in 1587- and 1595-editions.

16.2x10.4 cm. n. Above portrait, at top centre: "Natus Anno. CIC[in Added above portrait, at top centre: "Martyrio coronatur reverse], IC[in reverse]!. Obijt Lovanij CIC[in reverse]. Lugd. Batav. CIC[in reverse], IC[in reverse]. LXXILAEt.

IC[in reverse] LXI." LXXII"; erased in margin right: "10", replaced by "Fr. In lower margin: "GABRIEL MUDAEUS BRECH- Raphelenguis."; added in margin left: "49 " Used in 1604-, TANUS, l.C./ PRIMARIUS ANTECESSOR 1606- and 1608-editions and Foppens 1739. LOVANIENSIS/ Adserlt ut Pietas sibi te MUDAEE; sed et te/ Diva Themis totum vindicat esse suum:/ Decretum Used in: est ut sis, quod Paulli norma stupescit,/ Toms et istius, Imagines .... (1587), no. 10; Imagines ..... (1595), no. 10;

275 Appendix 2E

Iliustrium Galliae (1604),no. 49; Imagines (1606), era! texts by classical authors. Engraved in the Galle work• no. 10 (numbered 49); Iliustrium Galliae (1608), no. shop, verses by Andreas Schott. According to Van Someren 49; Foppens 1739, vol. I, p. 215 (p. 129) some copies of Foppens 1739 include the second

state of Galle?s portrait, while others Include an anony•

Lit.: mous copy in reverse.

TIB. 56, p. 478, no. 174;Veldman 1977, pp. 97-98, note 8

Cornells rVluys (Cornells Musius), Delft 1500 - Leiden 1572; Dutch poet, priest and rector of the nonnery in 100 Delft, murdered by the Gcuzen. fviuys was a friend of

Maarten van Hecmskerck and might, through the latter, ORTELS, ABRAHAM (1572) have been acquainted with Philips Galle. One of Muyss 17.5 x 12.1 cm. studies was published by Plantin (Voet 1980-83,no. 1725).

Engraved by Philips Galle, verses by Frans van Ravelingen. In lower margin, in letterpress: "ABRAHAMUS After a lost painting by Maarten van Hecmskerck, of ORTELIUS/ ANTVERPIANUS./ Ortcli dum propo- which several copies exist. nis spectantibus Orbem,/ Quam tua delectant structa Theatra homines!/ Pulchrum opus est, plaudunt orrmes; sed quels raa virtus/ Nota patet, plaudunt laetius artifici." (six lines) 99 In margin right, in letterpress: "C6".

NANN1US, PETRUS (1604) Ia. 15.9 x 10.7 cm. As described. Used in 1572a-edition.

Above portrait, at top centre: "Vixit Arm. LVII. Obijt Ib- Lovamj XII. Kal. Aug. CIC [in reverse]. IC[in Verses in letterpress in lower margin replaced by engraved, reverse] EVIL" slightly different inscription: "ABRAHAMUS

In lower margin. "PETRUS NANNIUS ALCMARI- ORTELIUS ANTVERPIANUS [on one line]/ "(five ANUS BATAVUS/ PHILOLOGUS ET PROFESSOR lines); added in margin right, also engraved: "C6". Used BUSLIDIANUS./ Nanni Castalidum decus sororum,/ in 1572b-edirion. Quisquis te videat, tuosque fetus,/ Hand Nanum vocitet, sed o Gigantern." (five lines) XL In margin left: "36/' Added above the portrait, at top centre:"Obijt Antverpiae IIII. Kal. lull. CIC[in reverse]. IC[in reverse]XCIIX.AEt. I. LXXL"; verses in lower margin slightiy changed: "ABRA As described, Used in 1604- and 1.608-editions. HAMUS ORTELIUS ANTVERPIANUS. [period added]/ " (five lines); erased in margin right: "C6"\ XL replaced by "Ar. Montanus"; added in margin left: "45." Erased in margin left: "36." Used in Foppens 1739. Used in 1604-edition.

Used in: ÏÏL Iliustrium Galliae ..... (1604),no.36;Iliustrium Galliae . Verses in lower margin replaced by: "ABRAHAMUS (1608), no. 36; Foppens 1739, vol. II, p. 994 ORTELIUS, COSMOGRAPHUS REGIUS./ Inventum nuper se iactat Ibcrus ob orbem:/ Ad radium

Lit.: Orteli, sed nihil Ista tuum./ Namque una socias vet- Coppens 1993, pp. 244-245, no. 104 crcmq[ue] novumq[ue] tabella,/ Et novus ingenio est orbis uterq[ue] tuo./ Ergo orbis matrem, si te, Natura,

Petrus Nanmus, Alkmaar 1500 - Louvain 1557; Dutch vocamus,/ Orbis te,Ortcli,quisneget esse patrem?"(seven priest and philologist, professor in Louvain, editor of scv- lines); erased in margin right: "Ar. Montanus.", replaced

276 Appendix 2E

by:"Nic. RhedingerusVratisl." Used in 1608-edition. since then Included in Plantin's edition of this book.Verses by Andreas de Paepe.

Used in:

Virorum ..... (1572),no. C6;lUustrium GaUiae ..... (1604), 100b no. 45; lllustrium GaUiae (1608), no. 45 ORTELS, ABRAHAM

Lit.: After Hendrick Goltzius

TIB. 56, p. 480, no. 177; Le Loup 1983-84, pp. 106-107, $ 5.6 cm. no. 17; De Nave 1994, p. 145, no. 36 Around portrait: "Spectandum dedit Ortelius mortalibus

Abraham Grtels (Abrahamus Ortelius,Abraham Wortels), orbem, Orbi spectandum Galleus Ortelium. HG[inter• Antwerp 1527 - 1598; Belgian humanist and geograph• twined], in". er, friend of Philips Galle and Christophe Plantin, both of whom published work of Ortels (Plantin 1969-72, nos. Amsterdam (Rijksprentenkabinet, Rijks-museum, 1817-1839). Engraved by Philips GaUe, verses by Benito Amsterdam, nakijken), Aoiwerp (Stedelijk Prenten• Arias Montano (1572-edition) and Nicolaus von kabinet, Museum Plantijn-Moretus, Antwerpen, Copen• Rehdiger (1608-edition) Compare the other two relat• hagen (Kongelige Kobberstiksamling, Statens Museum ed portraits engraved by Philips Galle (see below). for Kunst, Kobenhave), New York (Depart-ment of Prints, Drawings and Illustrated Books, Metropolitan Museum of Art, New York), Paris (Cabinet des estampes, Bibliothèque Nationale, Paris), Rotterdam (Prenten•

100a kabinet, Museum Boymans-van Beuningen, Rotterdam)

ORTELS, ABRAHAM (1579) Lit.: 32.3 x 21.5 cm. HoUstein, vol. 8, p. 61, no. 204ad;TIB. 3, p. 169, no. 180; Hirschmann 1921, p. 167; Strauss 1977, vol. I, pp. 378-

Above portrait, in médaillon at top centre:"VITAE SCO• 379, no. 227; Reznicek 1961, vol. I, p. 398 PUS" and monogram of Christ in Greek letters between letters "ut" and the "Q". The engraving has been attributed by some to Hendrick Underneath portrait, in cartouche: "Spectandum dedit Goltzius. Hirschmann, however, rejected this attribution, Ortelius mortalib. orbem,/ Orbi spectandum Galleus while Hollstein listed the print without a number and Ortelium. Papius" (two Unes) Strauss Included this portrait as "probably engraved by another hand'. According to the inscription 'HG in" the

Coburg (Kupferstiehkabinett der Kunst-sammlungen portrait has been engraved after a drawing by Goltzius. Veste Coburg, Coburg), Paris (Cabinet des estampes, This is supported by the fact that there also exists a draw Bibliothèque Nationale, Paris), Paris (Cabinet des estam• ing of Ortels s sister Catherine, dated 1586, in the Musée pes, Bibliothèque Nationale, Paris) Condé In Chantüly (cp. Reznicek 1961, loc. clt.). The inscription indicates that Philips Galle himself engraved

Lit.: this portrait of his friend; both style and technique sup• Plantin 1883-1918, vol. 6, pp. 305-306; Denucé 1912-13, port this attribution. The Inscription is exactly the same pp.68-69,106-107;Koemanl964,pp.5,42-44;Voetl980- as on Galle s 1579-portrait of Ortels and might thus have

83, vol. 4, pp. 1683-84, no. 1817 simply been copied from this print, without actually refer• ring to Galle as the engraver.Verses by Andreas de Paepe.

The portrait is a copy in the same direction of Galle s ear• lier portrait of Ortels, included in the 1572-edition of the portrait series (see above).The portrait was engraved a few years later by Philips Galle on request of Plantin on the occasion of the edition of the Tkeatrum orbis ierrarum that he was to publish in 1579 (Ortels 1579).The portrait was

277 Appendix 2E

101 sermone profari;/ Sermone utantur Panigerola tuo " (five

lines) PAMELE, JACOB VAN (1604) 15.7 x 10.7 cm. In margin right: "9".

Above portrait, at top centre: "Excessit e vita Montdbus Used ire Imagines (1587), no. 9; Imagines ..... (1595), no. 9; Hannoniac XIII. Kal. Octobr. CIC[In reverse] ICjm Imagines (1606), no. 9 reverscJLXXXVII."

In lower margin: !!IACOBUS PAMELIUS,EPISCOPUS AUDOMAROPOLITANUS DESIGNATUS./ Os tibi TIB. 56, p. 480, no. 178 te dignnm Naturae dextra fmxit,/ PAMELE, m formasti

ingenium ipse muni. / Qui volet os spectare,tabe!lam banc Francesco Panigarola, Milan 1548- 1594; Italian jurist and consuiat, et qui/ Novisse ingenium, scripca tua iile legat./ theologian, bishop of Asa. Panigarola, who acquired great Audomarum dici poterat te Praesule felix,/ Maluit at fame as a preacher, visited Antwerp around i 572. Engraved civem te Superum aula suum." (eight lines) by Philips Galle, verses by Frans van Ravelingen. In margin left: "7." In margin right: "Ianus Lernutius "

I. 103 As described. Used in 1604- and 1608-editions.

PECK, PEETER (1604) n. 17.3 x 11.3 cm.

Erased In margin left: "7". Used in Foppens 1739. Above portrait, at top centre: "Obijt Machliniae XVII. Kal. Aug. An. Christi CIC[in reverse] IC[in reverse] Used in: LXXXIX.AEtat.LX/' Illustrium Galliae (1604), no. 7; Illustrium Galliae (1608), no. 7; Foppens 1739, vol. II, p. 532 In lower margin: "PETRUS PECKIUS ZIRICAEUS I.C./ CONSILIARIUS MACHLINIENSIS./ Haec tibi Lit.: firms, Pecki, fait haec reverentia formae:/ Agnosco; haec

LeLoup 1983-84,p. Ill,no. 21 oeuli gratia, paxque tui./ Si quidquam e vultu est animi deprendere mores,/ Haec quoq[ue] tranquillae mentis Jacob van Parnele (jacobus Pamelius),Brugge 1536 Mons Imago tuae est./ Hanc fades, hanc vita fuit confessa qui-

1.587; Belgian theologian, designated to be bishop of Saint etem,/ In quam fortunae nil valuere vices.5' (eight lines) Omer, but suddenly died before he was consecrated. In margin left:"24" Several of his studies were published by Planum Engraved In margin right: "Pet. Peckius fil." in me Galle workshop, verses by janus Leernout. For another eulogy by Lcernouts on Van Pamelc, see Van I. Crombrugge 1955, p.T65 As described. Used in 1604- and 1608-editions.

IL Added in margin left: "loan Galle excud." 102

Paris (Cabinet des estampes, Bibliothèque Nationale,

PAN! GARO LA , FRANCESCO (1587) Paris), Vienna (Oesterreichische National-bibliothek,

16.8 x 11.7 cm. Wien, bound with second édition of Aubert Le Mires

Eiogia itltustrium .... (1609)) In lower margin: "FRANCISCUS PANIGEROLA./ SI quisquam eloquio ad sedes humana beatas/ Ducere corda potest; tu potes, irrrmo facis./ Quin super i Etrusco cupiant

278 Appendix 2E

Used in: is in turn copied after a painting by GiorgioVasari of which Illosixiuni Galliae (1604),no.24;lUustrium Galliae several versions exist. The original painting is kept in die

(1608), no. 24 collection of the Oriel College in Oxford.

Pieter Peck (Petrus Peckius), Zierikzee 1529 - Malines 1589; Dutch jurist, councillor to the Grote Raad in M alines. One of his studies was published by Plantin (Voet 105 1980-83,no. 1960),Engraved in the Galle workshop, vers• es by Pecks son Pieter Peck the Younger. PfflLANDRIER, GUILLAUME (1567) 17.5 x 12.2 cm.

In lower margin, In letterpress: "GUILIELMUS PHI•

104 LANDER,/ CASTILIONIUS./Verba simul rebus con- iungere docte Philander,/ Restituis veterum verbaque

PETRARCA, FRANCESCO (1572) resque patrum./ Arrificum regina ribi sua dona docenda/ After GiorgioVasari Contulit, et genitrix conruiit eloquij." (six lines) 17.6 x 12.1 cm. In margin right, also in letterpress:"E3".

In lower margin, in letterpress: "FRANCISGUS I. PETRARCHA,/ FLORENTINUS./ Vaubus ignotum 1567-edirion. Mentioned by Van Someren (p. 122), not priscis Franciscus amorem/ Et coluit purum, versibus et yet found. cecinit./ Primus item nostro fugientern ex Orbe Latanam/

Dum sequitur Musam, pellicit et revocat." (six lines) Ha. In margin right, also in letterpress: "E7". As described. Used in 1572a-edItion.

I. As described. Used in 1572a-edition. lib. Verses in letterpress in lower margin replaced by engraved, n. slighdy different inscription:"GUILIELMUS PHILAN• Caption with name of Petrarca engraved in oval border DER GALLUS [instead of CASTILIONIUS, on one around portrait:"FRANCISCUS PETRARCFIA FLO• line]/ ... Restitius [instead of Restituis] ..... genitrx RENTINUS"; verses in letterpress in lower margin [instead of genitrix](five lines); added in margin right, replaced by engraved, slighdy different inscription: also engraved: "E3". Used in 1572b~edition. "Vatibus ignotum priscis Latinum [instead ofLatinamj Used in: " (four lines); added in margin right, also engraved: Virorurn (1567), no. ??;Virorurn ..... (1572), no. E3 "E7". Used in 1572b-edition and Italorum ..... (1600), lit,:

Used In; TIB. 56, p. 481, no. 180

Virorurn ..... (1572), no. E7; Italorum .... (1600), no. 3 Guillaume Philandrier (Guilielmus Philander) Chatillon- sur-Seine 1505 -Toulouse 1565; French humanist,philol• lit.: ogist and architect. Engraved by Philips Galle, verses by TIB. 56, p. 481, no. 179; Burgers 1988, p. 118, no. 105 Benito Arias Montano.

Francesco Petrarca,Arezzo 1304-Arqua 1374; Italian poet and humanist in service of the papal court In Avignon and several Italian courts. Engraved by Philips Galle, verses by Benito Arias Montano. Copied in reverse after an engrav• ing with six famous Italian writers, published by Hieronymus Cock (Riggs 1971, no. 195).This engraving

279 Appendix 2E

106 IIa. Verses in lower margin replaced by new text in letterpress:

PIGGE, ALBERT (1604) "BILIBALDUS PIRCKHEYMERUS/ NURENBER- 16.2 x 10.8 cm, GENSIS./ Quae nobis reddis Graeco de fonte Latina,/ Cornrnendant studium ingeniumque tuum:/ Et quae de

Above portrait, at top centre: "Obijt Ultraiecti ad Renum prisca scrlbls placuere moneta./ Caetera non genij sunt fl. IV Kal Ian. CIC[in reverse]. IC[in reverse]LXIL" Bilibalde tui." (six lines); added in margin right, also In let• In lower margin: "ALBERTOS PIGHIUS CAMPEN- terpress: "D4". Used in 1572a-edition.

SIS. / Extrema hie Batavum profectus ora,/ Non bello ore, ammo sed omniumque/ Praeclarus studio scienriarum/ üb. Pro República,et optima Quiritum/ 5ede,acer stent hastis Verses in letterpress in lower margin replaced by engraved, in Lutherum" (six lines) slighdy different inscription: " BILIBALDUS PIRCK• In margin left: "10." HEYMERUS/ NURENBERGENSIS./ ..... studium

In margin right: "Myrteus." fertile et mgenium: [instead of studium ingeniumque tuum:] " (six lines): added In margin right, also

Used in: engraved: "D4". Used in 1572b~edItion. Illustrium Galliae ..... (1604),no. 10;Illustrium Galliae .....

(1608), no. 10 Used in: Virorum (1567), no. ??;Viromm ..... (1572), no. D4

Albert Pigge (AlbertusPighius),Kampen c. 1490 - Utrecht 1542; Dutch astronomist, theologian and papal diplomat, Lit.: in service of Pope Adrian VI and his successors. Engraved TIB. 10, vol. I, p. 93, no. 106; vol. II, pp. 234-238, no. 10 in the Galle workshop, verses by Petras Myrteus.The vers• es by the Italian poet Myrteus are quoted from one of the Willibald Pirckheimer, Eichstätt 1470 - Nuremberg 1530; editions of Paolo Giovio's Eloquia áocíorum viromm, first German humanist and diplomat in service of Maximilian published in 1546. I, friend of Albrecht Durer. Pirckheimers historical description of Germany was published by Planün (Voet 1980-83, no. 2057). Engraved by Philips Galle, verses by ?? (1567-edition) and Benito Arias Montano (1572-edi-

107 tion). Copied in reverse after an engraving by Dürer (Bartsch 106), the hands and the book are added (by PIRCKHEXMER,WILLIEALD (1567) Galle?). After Albrecht Diirer 17,6 x 12.4 cm. COPY A 17.6 x 12.2 cm.

In lower margin: "Bilihaldus Pirckheimerus/ Laus clare non postrema debeturtlbi/ Bilibalde,per tepresuhs munus In lower margin: "Bilibaldus Pirckheimerus/ Laus pii/ Quod aureo de fonte promptum legimus/ Et facta augur hariolare scitule." (seven Hues) achivae gentis armis inclyta/ Quin de veterlbus teutone orae sedibus/ Non vanus augur hariolare scitule." (seven Amsterdam (Rijksprentenkabinet, Rijksmuseum, lines) [Note: Inscription taken from copy A, which is prob• Amsterdam), Haarlem (Gemeentearchief, Haarlem) ably a reversed copy of the 1567-edition] lit,: I. TIB. 56, p. 482, no. 181; wrongly illustrates this copy as 1567-edition, Mentioned by Van Someren (p. 122), not the original engraving by Galle. yet found, (description taken from copy A) Copy m reverse, with the verses of die 1567-edition.

280 Appendix. 2E

108 Argumenta mei fertilis ingenij " (six lines; translation, see above). In margin right:"A3".

PIUS II {1567} 16.2 x 12.1 cm. Used in: Virorum ..... (1572), no. A3; Italorum ..... (1600), no. 2 In margin underneath, In letterpress;"Al'NEAS SILVIUS SENENSIS, POSTEA/ PIUS. II. NOMINATUS./ Sum Engraved by Philips Galle, verses by Benito Arias Pius Aeneas fama notissimus Orbi,/ Quern rexi Pastor, Montano. Copy in reverse after the earlier engraving by Scriptor et institui./ Quaestio nulla fere est, in qua non Philips Galle. Galle engraved this new, reversed version of docta reliqui/ Argumenta mei fertilis ingenij." (six lines) Pius II for the 1572b-edition, with the inscriptions In margin underneath, also in letterpress: "A3". engraved in the margin and without the coat of arms in the upper right corner. Pius II Is portrayed en profil, look• L ing to the right; instead of the aara he wears a simple cap.

1567-edition. Mentioned by Van Someren (p. 122), not yet found. n. 110

As described. Used In 1572a-editlon. PLANTIN, CHBJSTOFHE (1572) 17.7 x 12.1 cm. Used in:

Virorum ..... (1567), no. ??;Virorum ..... (1572), no. A3; In lower margin, in letterpress: "CHRISTOPHORUS

Pontificum (1572), no. 13 PLANTINUS,/ TURONENSIS./ Qui Plantine bonas lit.: hoc tempore iusserat art.es/ Crescere,te iussk praela parare TIB. 56, p. 487, no. 192 Bens./ Omnia chresa [in Greek letters], inquit, doctorum scripta manebunt,/ Haec plus excudat dummodo

Pius II (Enea Silvio Piccolimini, also called Aeneas Christophorus.!S (six lines)

Sylvius), Corsignano (later renamed Pienxa) 1405 - In margin right, also in letterpress: S*E4,S. Ancona 1464; Italian humanist and poet, bishop mTriest and Siena, elected as pope in 1458. Engraved by Philips fa. Galle, verses by ?? (1567-edition) and Benito Arias Montano (1572-edition). In this portrait Pius II is shown As described. LJsed in 1572a-edltion. en profil, looking to die left. He wears the dara and in the upper right corner are his coat of arms. In 1572 Galle Ib. reused this portrait in his series of popes and engraved a Verses in letterpress in lower margin replaced by engraved, new, reversed version for the 1572b-edition, with the slightly different inscription: "CHRISTOPHORUS inscriptions engraved in the margin. PLANTINUS TURONENSIS [on one line]/ .... Omniae [instead of Omnia](five lines); added in mar• gin right, also engraved: "E4". Used in 1572b-edition. Used in:

109 Virorum (1572), no. E4

PIUS II (1572) Lit,:

17.6 x 12.2 cm. TIB. 56, p. 482, no. 182

In margin underneath: "AENEAS SILVIUS SENENSIS, Christophe Plantin (Cristoffel Plantijn, Christophorus POSTEA/ PIUS II NOMINATUS./ Sum Pius AEneas Plantinus), Saint Avertin 1514? ~ Antwerp 1589; French fama notissimus Orbi,/ Quern rexi Pastor, Scriptor et printer, publisher and humanist, active in Antwerp and Institui. / Quaestio nulla fere est, in qua non docta reliqui/ Leiden (1582-85), friend of Philips Galle. Engraved by Philips Galle, verses by Benito Arias Montano.

281 Appendix 2E

111 1589, The described fourth state was included by Theodoor Gallc in die 1608-edition of the portrait series, PLANTIN, CHRISTOPHE (1608) where it was added, without a number, following portrait 20.2 x 13.3 cm. no. 51b (Lips).

Above portrait, at top centre: "CHRISTOPHORUS PLANTINUS Archetypographus Regius,/ vixit annos LXXV. obijtque Antverpiae CIC[in reverse]. IC[in 112 reverse]. LXXXIX." (two lines).

In lower margin: fTl an tinum tibi, spectator, proponimus, POELMAN, THEODOOR (1572) ut cum./ Nomine perpetuo vivat et effigies./ Sic ubi pos- 17.7 x 12.1 cm. teritas miracula tanta librorum/ Eius et innumerum sera videbit opus;/ Tune es Chrlstophorus, tune iile es? dicat: In lower margin, in letterpress: "THEODORUS PUL- in unum/ Et sua conijeiens lumina fixa virum;/ Musarum MANNUS,/ CRANEBURGIUS./ Dum veterum cer• o pater, exclamet, dlgnissime salve:/ Reddita sunt studio tain esse studes Pulmarme librorum/ Et morum puram saccula docta tuo." (eight lines) dum cupis esse ndein:/ Iste tibi candor nornen laudemque In margin right:"!. BOCHIUS." paravit,/ Fortuna at memo est non satis aequa tuo." (six lines) I. With address of Goltzius, before ail other inscriptions. In margin right, also in letterpress: "D3".

Amstexdam (Rijksprcntenkabinet.Rijksmuseum, Amster• I. As described. Used in 1572a-edition. dam) n. n. Added at left side: "AEtatis/ suae 65." (two lines); added With Latin verses in lower margin; added in margin right: in lower right corner: "PEL Gal-/ laeus/ 1572" (three "A.l. Bochio " lines). Verses in letterpress in lower margin replaced by engraved, slightly different inscription: "THEODORUS in. PULMANUS [instead of PULMANNUS] CRANE• BURGIUS [on one line]/ " (five Hnes); added in mar• With inscription above portrait;slight changes in the hair. gin right, also engraved: "D3". Used in 1572b-edition.

IV. Used In:

Virorum (1572), no. D3 As described. Used in 1608-edition.

Lit.: Used in: TIB. 56, p. 483, no. 184

Illustrium Galliae ..... (1608), no. 51c Theodoor Poelman (Theodorus Pulmannus), Kranenburg 1512 - Antwerp 1581; German humanist, Lit,: friend of Christophe Plannn, editor of several texts by Hollstein, vol. , p , no. 207;TIB. 3, p no. 181, Strauss classical authors published by Plantin (cp.Voet 1980-83, 1977, vol I, pp. 298-299, no. 175 no. 2116). Engraved by Philips Gaile, verses by Benito Engraved by Hendrick Goltzius, verses by Johannes Arias Montane. Boghe.Thc engraving was made, probably as a commis• sion by Plantin himself, during the publishers stay in Leiden in the years 1582-85. As usual the sitter received the plate and toke it with him to Antwerp, where Plantin or his heirs could reprint the portrait when necessary.The third state - with the addition of the year of death - was published In memory' of Plantm by his family shordy alter

282 Appendix 2E

113 114

POLXZIANO, ANGELO (1572) RANTZAU, HENRIK (15S7) After Giorgio Vasari After Hendrick Goltzius 17.6 x 12.1 cm. 16.8 x 12.0 cm.

In lower margin, in letterpress: "ANGELUS POLI- In lower margin: "HENRICUS RANZOVIUS./ T1ANUS,/ R.ORENTINUS./ Omarnenta ferat Latiae Ranzoviae cui non est cognita gloria gentis?/ Henrici cui qui fiorida linguae, et/ MiHe modis gratum tcmperet elo- non gloria Ranzovij?/ Qui genus antiquum varijs vir- quium,/ Carmine qui placeat, placeat sermone soluto,/ tutibus ornat./Vates et medicus. miles et Astrologus." (five Unus, crede mihi, Poliaanus erit," (six lines) lines) In margin right, also In letterpress; "F3". In margin right: "31".

I. As described. Used in 1572a-edition. Used in: Imagines (1587), no. 31; Imagines ..... (1595), no. 31; Imagines (1606), no. 31 n. Caption with name of Poliziano engraved in oval border lit.: around portrait: "ANGELUS POLITIANUS FLO- TIB. 56, p. 484, no. 185; Henmnges 1600, pp. 74-75 RENTINUS"; verses in letterpress in lower margin replaced by engraved, slighdy different Inscription: Henrik Rantzau (Henrlcus Rarrzovius), Steinburg 1526 "Grnamenta serat [Instead of ferat] ..... qui placeat [no - Breitenberg 1598; Danish humanist and statesman, gov• comma] placeat sermone soluto [no comma] ..„.'" (four ernor of Schleswig-Holstein on behalf of the Danish king, lines); added in margin right, also engraved: "F3". Used just as Philips Galle, Rantzau collaborated with Georg in 1572b edition and Italorum ..... (1600). Braun and Frans Hogenberg in their publication of the Civitates orbis terrarum, which began in 1573. Several of his Used is: works were published by Plantin (Voet 1980-83, nos. 2123-2127). Engraved by Philips Galle, verses by Frans Virorum .... (1572), no. F3; Italorum ..... (1600), no. 8 van Ravelingen.The verses in the margin of Calles engrav• ing are repeated in Henninges 1600 (p. 75), underneath lit.: another portrait ofRanzovius (not by Galle). Here Philips TIB. 56, p. 483, no. 183; Burgers 1988, p. 118, no. 105 Galle is erroneously mentioned as author of these verses.

Angelo Polizlano (Angelo Ambrogini), Montepulciano The engraving is most probably related to a slighdy ear• 1454 - Florence 1494; Italian humanist and poet in ser• lier engraving by Hendrick Goltzius (Hollstein 209). vice of the Medici court. Engraved by Philips Galle, vers• es by Benito Arias Montana. Copied in reverse after an engraving with six famous Italian writers, published by Hieronymus Cock (Riggs 1971, no. 195).This engraving is In turn copied after a painting by GiorgloVasari of which 115 several versions exist. The original painting is kept in the

collection of the Oriel College in Oxford. REWAERTS JACOB (1604)

17.2x11.5 cm.

Above portrait, at top centre: "Obijt in patria Kal. lunij CIC[in reverse]. IC[in reversejLXVIII. AEt. XXXIII." In lower margin: "IACOBUS RAEVARDUS BRU- GENSIS/ BELGII PAPINIANUS./ Gessit ita os Raevardus: habes quo lumina pascas. / Lector. HicAstraeae Virginis hospes erat;/ Quam proiugam terris cáelo revo-

283 Appendix 2E

eavit ab alto Were divinum prodit imago viruni(six lines) 117 In margin left: "23." In margin right: "lanus LernutiusV.N." ROSSONI, DINO (1S87) I. After Enea Vico 16.9 x 11.8 cm. As described. Used in 1604- and 1608-edirions.

In lower margin: "DINUS MUXELLANUS./ Nec tu XL carminibus nostris indictus abibis,/ Atque hie laude liber non erit absque tua./ Illustrata a te stmt DECRETALIA, Erased in margin left: "23" Used in Foppens 1739. tanti/ Pontlficis fuerunt optuma iussa tibi." (five lines) In margin right:"22". Used in:

Illustriurn Galliae ..... (1604)Tno.23;Illustrium Galliae (1608), no. 23; Foppens 1739, vol. II. p. 533 Used In: Jacob Reyvacrt (Jacobus Raevardus), Lisseweg c. 1535 - Imagines (1587), no. 22; Imagines (1595), no. 22; Bruges 1568: Belgian jurist, specialised in Roman law, sev• Imagines (1606), no. 22 eral of his studies were published by Plannn (Voct 1980- 83,nos.211-2119). Engraved in the Galle workshop, vers• Lit.: es by Janus Leernout. For another eulogy by Leernout on TIB, 56, p. 479, no. 175; Dwyer 1990, p. 62, fig. 6

Reyvaert, see Van Crombruggen 1955, p. 184. Dino Rossoni (Dinus Muxellanus, Dino del Mugello, Dinus de Rossonibus), Mugello 1248 - Bologna 1302; Italian jurist and glossator. Engraved by Philips Galle, vers•

116 es by Frans van Ravelingen. Copied with several alter• ations after an engraving attributed to Enea Vico In

RICHARDOT, FRANÇOIS (1604) Bcnavidess Illustrium iureconsultomm imagines (1566). 16.8 x 10.8 cm.

Above portrait, at top centre:"Excessit e vitaVII. Kal. Aug. CIC[in reverse]. IC[in reverse] LXXIV" 118 In lower margin: "FRANCISCUS RICHARDOTUS

BURGUNDUS/ ATREBATIUM EPISCOPUS./ Tabs HYTHOVIUS, MARTINUS (1608) eras, talem te RICHARDOTE ferebas,/ Ista fuit vultus 17.5x10.9 cm. forma, decusq[ue] tui./Ars utinam eIoquium,moresq[ue] effingere possis!/ Pulchrior in terns nulla tabella foret." Above portrait, at top centre:"Vivcre desijt Audomaropoli (six lines) CIC[in reverse], IC[in reverseJLXXX."

In margin left:*46." In margin underneath: "MARTINUS RITHOVIUS

In margin right: "Aub. Miraeus." BRABANTUS,/ EPISCOPUS I. IPRENSIS./ Quae micat in laeto pietas doctrinaq[uej vultu,/ Purus et anti- Used in: quae relligionis amor,/ Est ignis, MARTINE, tuus, quo

Illustrium Galliae (1604), no. 6: Illustriurn Galliae postuma torres/ Pectora, quoq[ue] tuas pastor aduris (1608), no. 6 oves:/ Quo calet Ipra, calent Grudij, calet alma Dilinga,/ Sacra Tridentini Concilij acta calent." (eight lines) Francois Richardot (Franciscus Richardotus), Morey In margin left:"6.b." 1507 ~ Arras 1574; French theologian, bishop of Arras, several of his works were published by Plantin (Voet 1980- In margin right: "Ant. Sanderus, Gandensis". 83, nos. 2143-2146). Engraved in the Galle workshop, verses by Aubert Le Mire. I. As described. Used in 1608-edition.

284 Appendix 2E

n. 120

Erased In margin left: "6.b" Used in Foppens 1739. SANNAZARO, JACOPO (1587) 16.8 x 11.9 cm. Used in:

IHustrlum Galliae (1608), no. 6b; Foppens 1739, vol In lower margin:"IACOBUS SANAZARIUS./ AEvi ni II, p. 848 faceret semper veneranda vetustas,/ lam rnodicus priscis

Martinus Rythovius (Martinus Bouwens), Riethoven varibus esset honos:/ Namque est ingenio nobis 1551 - Saint Gmer 1583; Dutch theologian, bishop of Sanazarius acri,/ Quod Maro, quodq[ue] Umber, Ypres, as a political and religious opponent to the quodq[ue] Catullus erat." (five lines) Orangists Imprisoned between 1577 and 1581. Engraved In margin right: "46". in the Galle workshop, verses by Antonius Sanders. Used in: Imagines (1587), no. 46; Imagines ..... (1595), no, 46; Icalorum (1600), no. 11; Imagines ..... (1606), no. 46 119 lit.: SADOLETOJACOPO (1587) TIB. 56, p. 485, no. 188 17.1 x 11.8 cm. Jacopo Sarmazaro (Jacobus Nazarius), Naples 1457/58 - In lower margin; "JACOBUS SADOLETUS, CARDI- 1530; Italian poet at the court in Naples. Engraved by NALIS./ Ut Plato facunda decoravit dogmata lingua,/ De Philips Galle, verses by Frans van Ravelingen. priscae Sophiae dogmata sumpta sinu:/ Eioquij sic tu dec- orasti flumine blando,/ De sacro CHRIST! dogmata sumpta sinu." (five lines) In margin right: "2". 121

I. SARTORIU5, JOHANNES (1567) As described. Used In 1587- and 1595-editions. 17.6 x 12.3 cm.

n. In lower margin, in letterpress: "IOHANNES SARTO- Erased in margin right:"2". Used in XII Cardinalium RIUS,/ AMSTERODAMUS./ Quae sit Romanis ratio, (1598) and 1606-editlon. quae norma loquendi,/ Discrepet ut Lario barbara lingua sono,/ Hoc bene praeceptis dictat Sartorius, hoc est/

Used in: Sarciri, fuerant quae male rupta prius." (six lines) Imagines ..... (1587), no. 2; Imagines..... (1595), no. 2;XII In margin right, also in letterpress:"B7". Cardinalium (1598), no. 6; Imagines (1606), no. 2 I. Lit.: 1567-edidQn. Mentioned by Van Someren (p. 122), not TIB. 56, p. 484, no. 186 yet found.

jacopo Sadoleto, Modena 1477 - Rome 1547; Italian the• Ha. ologian, bishop of Carpentras, cardinal and secretary to As described. Used in 1572a-edition. the Popes Leo X and Clemens VII, one of the imtiators of the Counter-Reformation. Engraved by Philips Galle, Mb. verses by Frans van Ravelingen. Verses in letterpress in lower margin replaced by engraved, slightly different inscription: "IOHANNES SARTO• RIUS AMSTERODAMUS [on one line]/ praecepts [instead of praeceptis] " (five lines); added In margin

285 Appendix 2E

right, also engraved: "B7". Used in 1572h-edition. 123

Used In: SAVONAROLA, GIRO LAM O (1567) 17.7 x 12.4 cm.

Virorum .... (1567), no. ??;Virorum ..... (1572), no.B7 In lower margin: "Hieronymus Savonarola/ Infelix bus- turn cecidisti hieronyme, saecli/ Invidia, ostendi

Lit.: numquam sua crimlna passi:/ Fatidicis clarii quam vis TIB. 56, p. 486, no. 189 oracula phoebi/Vicisse elogiis, eurnaea'que carmina die-

Johannes Sartorius 0an Cleermaeckers Snijders,also called tus./ Certius baud quisquam surgentia dicere fata/ himself Johannes Tosarrius Aquilovicanus), Amsterdam Numinis afflatu,aut venientia tempora norat" (seven lines) c. 1500 - Delft? c. 1570; Dutch humanist and poet, as a reformed preacher and teacher Sartorius was imprisoned I. on several occassions in the Northern Netherlands. As described. Used in 1567-edition. Engraved by Philips Galle, verses by Benito Arias rVtontano. Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster• dam), Vienna (Oesterrdchische Nationalbibliothek (Porträt• sammlung) , Wien)

122 Ha. Verses In lower margin replaced by new text in letterpress: SASBOUT, ADAM (1604) "HIERONYMUS SAVANAROLA,/ FERRARIEN-

16.2 x 11.0 cm. SIS./ Quae tibi facundae vis et quae gratia linguae/ Sensit mota tuis consilijs patria./ Sed quorsum rapid! eloquij ruat

Above portrait, at top centre: "Decessit Lovanij AEtat. ingenij et fons,/ Exitus admonuit, Savanarola, tuus." (six XXXVI. Christi, CICfin reverse]. IC[in reverseJLIIL" lines); added in margin right, also in letterpress:"F2'\ Used In.lower margin: "ADAMUS SASBOUTIUS, DELFUS, in 1572a-editIon. FRANCISCANUS./ Adamus nornen, Batavi mea patria Delfi,/ Progenies Sasbout non inhonora fuit./Traiectum üb. Latías, et Graecas tradidit artes,/ Lovanium Haebraeas Verses in letterpress in lower margin replaced by engraved, addidit, atq[ue] Sacras./ Quas ut proferrcm, (culpa est slightly different inscription: "HIERONYMUS SAVA• sepeliré talentum,/ Et Domino usuras non soluisse suas,)/ NAROLA, FERRARIENSIS. [on one line]/ ..." (five Commoda visa niihi Francisci semita; at illam,/ Dum lines); added In margin right, also engraved: "F2". Used sequor, in medijs cursibus eripior." (nine lines) in 1572b-edition. In margin left: "16".

Used in: In margin right: "Com. Musius clvi et amico P." Virorum ..... (1567), no. ??;Virorum ..... (1572), no. F2

Used in:

Illustrium Galliae .....(1604), no. 16; Illustrium Galliae ..... Lit.: TIB. 56, p. 486, no. 190 (1608), no. 16

Adam Sasbout (Adamus Sasboutius), Delft 1516 Louvain 1553, Dutch theologian, Franciscan monk and professor Girolamo Savonarola, Ferrara 1452 - Florence 1498; in Louvain, especially famous for his preachings. Plantin Italian Dominican preacher, critic of the Medici court and published one of his studies (Voet 1980-83, no. 2182). Pope Alexander VI, excommunicated and burnt in 1498. Engraved in the Galle workshop, verses by Cornells Muys. Engraved by Philips Galle, verses by ?? (1567-edition) and Benito Arias Montano (1572-edition)

286 Appendix 2E

124 Used in:

Imagines (1595), no. 13; Imagines ..... (1606), no. 13 SCHOTT, ANDREAS (1587)

17.0 x 11.8 cm. Engraved by Theodoor Galle, verses by Laurens Beyerlinck. This engraving replaced Philips Galle s earli• In lower margin: "ANDRAEAS SCOTTUS SOCIET. er version in the 1587-edition. IESU./ In vates doctosque viros non ulla tenere/ Imperia Aonij numina ficta chori,/ Egregie ostendis, CHRISTO cum, Scotte, datori/ Ingenij saeras ditia dona tui." (five

lines) 126

In margin right: "13". SIMONS, PETRUS (1608) 16.8 x 10.6 cm. Used in:

Above portrait, at top centre:" Ohljt IprisV Octob. CIC[in Imagines .... (1587), no. 13 reverse]. IC[in reverse]CV. Aetat. LXVL" In lower margin: "PETRUS SIMONIS EPISCOPUS Lit.: IPRENSIS./ IPRA tui vultum PETRI cognosce SIMO- TIB. 56, p. 487, no. 191 NIS, / Proximus a primo qui tibi PRAESUL erat. / Pabula Andreas Schott (Andraeas Schottus), Antwerp 1552 - bis denos verbl tibi praebuit annos;/Vividus exemplis, elo- 1629; Belgian Jesuit priest and theologian, humanist and quioque potens./ Nunc filet; at vivax aeternum clamat philologist. Author of XII Cardinalium , published by imago./ PASTORIS vocem noveris IPRA tui." (seven Philips Galle in 1598. Plandn published one of Schott s lines) studies in 1586 (Voet 1980-83, no. 2193). Engraved by Philips Galle, verses by Frans van Ravelmgen. This por• Used in: trait was replaced in the 1595-edition by an engraving by Illustrium Galliae ..... (1608), no. 7b; Foppens 1739, vol Theodoor Galle. II, p. 1010

Petrus Simons (Petrus SImoens, Petrus Simonis), Tielt 125 1538 -Ypres 1605; Belgian theologian, appointed as bish• op ofYpres In 1584. Engraved in the Galle workshop,

SCHOTT, ANDREAS (1595) verses by Aubert Le Mire. 17.1 x 11.4 cm.

In lower margin:" ANDREAS SCOTTUS Societ. IESU./ Fulget ut aetherea Latonae filius axe: / Ardua stelliger is per 127 loca vectus equis./ Sic dum Palladias collustras lampade terras,/ Aoniasqjue] tuo fonte recludis aquas,/ Limiina SONNÎUS, FRANCÎSCUS (1604) diffundis Latia sublimis ab arce:/ Quels nostra insolita After Frans Pourbus the Elder? saecula luce beas." (seven lines) 17.7 x 11.7 cm. In margin left:"Theodor. Galle sculp" In margin right:"Laurent.Beyerlinck Com" Above portrait, at top centre: "Decessit Antverpiae prid. Kal. Quinct. CIC[In reverse]. IC[in reverse]LXXVI. Act. I. LX." As described. Used In 1595-edition. In lower margim'FRANCISCUS SONNIUS, PRIMUS ANTVERP-/ PIENSIUM EPISCOPUS./ En novus hie n. tenebras dispellit Phoebus ab orbe/ Belgarum, hinc Added in margin right:"13", Used in 1606-edidon. nom en Belgica lingua dedit./ Eia age, pressa din, Virtus animosa resurge,/ Atra nec haereseos nubiia commoveant

287 Appendix 2E

/ An vero impietas didicit si temnere Solem,/ Miraris? astronomist and mathematician, professor in Tiibingen.

gaudent crimina nocte tegi." (eight lines) Engraved by Philips Galle, verses by Frans van Ravelingen. In margin left: "2." In margin right: "Balth. Moretus "

Used in: 129 Illustrium Galliae ..... (1604), no. 2; Illustrium Galliae ..... (1608), no. 2 TAPPER, RUARB (1567) 17.6 x 12.0 cm. Lit.: Dirkse 1986, pp. 66-67, p. 114; Tax 1994, p. 74, p. 85, In lower margin: "Rieuardus Tapperus Theolog. D./ no. 5 Roterodama suo tellusse tollit alumno:/ Enchusa estpartu nobilitata meo./ Me sacra professum stupuerunt pulpita,

Franciscus Sonnius (Frans van der Velde), Son 1506 - qua[m]vis/Torserit os rabido littera arnica can!./ Loetale Antwerp 1576;Dutch theologian,inquisitor and first bish• in sectas odium, calamum que disertujrn]/ Distrirrxi,coluit op of Antwerp, important contributor to the Counter- lovanium et tumulat." (seven lines) Reformation In the Netherlands. Several of his works were published by Plantln (Voet 1980-83, nos. 2221- I. 2223).Engraved in the Galle workshop, verses by Balthasar As described. Used in 1567-edition, Moretus. After a painting by Frans Pourbus the Elder, of which several versions exist, one of which (dated 1575) Amsterdam (Rijksprentenkabinet, Rijks-musetim, Amster• is in the Koninklijk Museum voor Schone Kunsten, dam), Paris (Cabinet des estampes, Bibliothèque Natio• Antwerp. According to Van Someren (p. 130) some copies nale, Paris) of Foppcns 1739 include the described portrait, while oth• ers include a copy in reverse engraved by Nicolas de Ha. Larmessin. Verses in lower margin replaced by new text in letterpress: "RUARDUS TAPPERUS, ENCHUSIANUS./ Pugnat adhuc ac dextrae tuis docte utitur armis/ Hostem m mul- tipliccm Tappere Lovanium,/ Gaudet et ilia tui similes 128 producere natos/ Per quos errorum discudat tenebras." (five lines); added in margin right, also in letterpress;"B8".

STOEFFLER, JOHANNES (1587) Used in 1572a-edition. 17.3 x 11.9 cm. îlb.

In lower margin: 8CJOANNES STOUFFLERUS./ Verses in letterpress in lower margin replaced by identi• Stouffierus iile cuius hie imaginem/ Sculptarn videtis, cal engraved inscription: "RUARDUS TAPPERUS ..... siderum/ Docens meatus, sidus inter siderum/ Elucet (five lines); added In margin right, also engraved: "B8". imicum sophos." (five lines) Used in 1572b-cdition. In margin right:"43". ÎÏL

Used ire Added above portrait,at top centre:"Obijt Lovanij postrid. Imagines ..... (1587), no. 43; Imagines ..... (1595), no. 43; Kal. Martias CIC[in reverse], IC[in reversejLIX. AEt.

Imagines (1606), no. 43 LXXL"; verses in lower margin changed: "RUARDUS TAPPERUS,ENCI IUSIANUS, D.TH. [,D.TH. added]./ Lit.: Pugnat adhuc, dextraeque tuis doctae [instead of Pugnat TIB. 56, p. 488, no. 194 adhuc ac dextrae tuis docte] .....Lovanium. [periodinstead of comma] ..... et usq[ue] tui [instead of et ilia tui] .....

Johannes StoefiQer (Johannes StoulIIerus, also called natos, [comma added]iS (five lines); erased in margin right: StoufHerinus) Justingen 1452 -Blaubeuren 1531;German

288 Appendix 2E

S'B8", replaced by "Bened. Arias Montânus."; added in " (five lines);added in margin right, also engraved:" F5" margin left :"8 "Used in 1604- and 1608-editions. Used in 1572b~edition,

IV. Used in: Erased m margin left:"8" Virorum ..... (1567), no. ??;Virorum ..... (1572), no. F5

Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster• Lit,: dam) TIB. 56, p. 489, no. 196

Used in: Niccolo Tartaglia (Niccoio Fontana), Brescia c. 1500 - Virorum (1567), no. ??; Virorum ..... (1572), no. B8; Venice 1557; Italian mathematician, professor of mathe•

Illustrium Galiiae (1604), no. 8; lUustrium Galllae ..... matics in several North Italian cities. Engraved by Philips (1608), no. 8 Galle, verses by Benito Arias Montano.

Lit.: TIB. 56, p. 489, no. 195

131 Ruard Tapper (Ruard Tapper, Ruardus Tapperus, also called Enchusianus), Enkhuizen 1487 - Brussels 1559; TARTAGNX, ALESSANDRO (1587) Dutch theologian, professor in Louvain and head of the 16.9 x 11.8 cm. inqmsidon in the Netherlands, attended the council of

Trent. Engraved by Philips Galle, verses by ?? (1567-edi- In lower margin:"ALEXAND£R IMOLENSIS./ Ut qui tion) and Benito Arias Montano (1572-edition). Circensi simul in eertarnme certant,/ Non omnes prlmi, primaque serta ferunt;/ luris Alexander; fit sic in cursibus; in quels/ Non primus, nec certe ulrimus, unus eras " (five lines)

130 In margin right:

TARTAGLJA, NICOLO (1367) 17.4 x 12.3 cm. Used in: Imagines ..... (1587), no. 21; Imagines (1595), no. 21; Imagines ..... (1606), no. 21 In lower margin, in letterpress: "NICOLAU5

TARTAGLIA,/ BRIXIANUS./ DIvidas patriae cumu- Lit.: lat Tartagha linguae,/ Euclidem Etrusco dum docet ore TIB. 56, p. 468, no. 152 loqui./ Hie certain tractare dedit tormenta per artem,/

Et tonitru, et darrmis aemula mlmineis.55 (six lines) Alessandro Tartagni (Alessandro da Imola, Alexander In margin right, also in letterpress:"F5". Imolensis), Imola c. 1423 - Bologna 1487; Italian jurist, professor of law in Bologna. Engraved by Philips Galle, I. verses by Frans van Ravelingen. 1567-edition. Mentioned by Van Someren (p. 122), not yet found.

Ha. 132

As described. Used in 1572a-edition. THOMAS A KEMPIS (1608) 17.7 x 10.3 cm. lib.

Verses in letterpress in lower margin replaced by engraved, Above portrait, at top centre: "Obijt CIC [in reverse] slighdy different inscnption:"NICOLAUSTARTAGLIA CCCCLXL in Monte S.Agnetus coenoblo apud Svollam

GEOMETRA [instead of BRIXIANUS, on one line]/ opidum." Appendix 2E

In lower margin: "THOMAS KEMPENSIS, CANON - 134 ICUS/ RE GUITAR IS ORD. S. AUGUSTINE/Vita tibi in latebris semper tint, inque libelfis,/ Nunc quoque si TIRAQUEAU, ANDRE (1587) liceat delituisse veils,/ O iubar, o Belgl clarum deeus, o 16.7 x 11.9 cm. nova priscae/ Lux fidei,et vitae lex imitanda piae,/ Magne Thoma, aeterni constans imitator lesu,/ Quod tua, vel In lower margin:"ANDRAEASTIRAQUELLLJS./ Qui, Mauro iudice, scripta prohant." (eight lines) Tiraquelle, dabas Parisino jura Senatu,/ magnum emi- In margin left:"12b". nensque Curiae magn[a]e decus:/ Est ornata tuis veluu Themis inclyta scripris,/ Sic noster ornatur tua effigie In margin right: "Max.Vrintius Gandensis". liber." (five lines) In margin right: "25". Used in: Illustxium Gailiae ..... (1608), no. 12b Used in:

Thomas a Kempis (Thomas Hemerken van Kempen), Imagines ..... (1587), no. 25; Imagines ..... (1595), no. 25; Kempen 1379/80 - Zwolle 1471; Dutch mystic theolo• Imagines ..... (1606), no. 25 gian, author of the influential De imitatione Christi. One of his works was published in a Spanish translation by lit.: Plantin (Voet 1980-83, no. 2318). Engraved in the Galle TIB. 56, p. 490, no. 197 workshop, verses by Maxrmiliaan de Vriendt. André TIraqucau (Andreas Tiraquella), Fontenai-le- Comte c. 1480 - Paris 1558; French jurist, member of the parliament in Paris, councillor to the French court.

133 Engraved by Philips Galle, verses by Frans van Ravelingen.

THOMAS AB AQUINO (1587)

17.2 x 11.8 cm. 135

In lower margin: "S. THOMAS AQUINAS./ Si sacra Christiadum liceat conferre profanis,/ Alcidcm contra te TORRENTIUS, LAEVINUS (1587) faciam haereticos./ Tu tollis, veluti Alcides vicisse tot 17.1 x 11.7 cm. hydras/ Creditur, anudous dira venena tins.5' (five lines)

In margin right:" 1 In lower margin: "LAEVINUS TORRENTIUS/ EPIS COP. ANTVERP./ Gemma velut fuivo splendet preciosa

Used in: metallo,/ Sic inter doctos emicat esse piurn:/ Hie utroque Imagines (1587), no. 1; Imagines ..... (1595), no. 1; cluet, plus et doctus; nihil ergo,/ SI sacer Antverpa est Italorum ..... (1600), no. 2; Imagines ..... (1606), no. 1 pracsul in urbe, novum." (she lines) In margin right:"4".

Lit,:

TIB. 56, p. 447, no. 110 Used in: Imagines (1587), no. 4

Thomas ab Aquino (Thomas Aquinas), Roccasecca 1225 - Fossanuova 1274; Italian scholastic theologian and lit.: philosopher, author of the Summa Theohgica, sanctified In TIB. 56, p. 490, no. 198; Marinus 1989, p. 218; Sellink 1323 and declared Doctor of the Church in 1567. Several 1992a, p. 24;Grieten 1995 of his works were published by Plantin (Voet 1980-83, nos. 2312-2317). Engraved by Philips Gallle, verses by LaevinusTorrentius (Licven van derBeke), Ghent 1525 - Frans van Ravelingen. Brussels 1595; Belgian humanist, bishop of Antwerp, important contributor to the Counter-Reformation in Flanders. Several of his studies were published by Plantin

290 Appendix 2E

(Voet 1980-83, nos. 2335-2341). Engraved by Philips Used in:

Galle, verses by Frans van Ravelingen. This portrait was Imagines ..... (1595), no. 4; Illustrium Galliae (1604), replaced by an engraving by Gijsbert van Veen in the 1595- no. 3; Imagines (1606), no. 4; Foppens 1739, vol. II, edition. p. 793

Lit.:

Hollstem, vol., p., no. 22; Grieten 1995 136

Engraved by Gijsbert van Veen, verses by Johannes Boghe. TORRENTRJS, LAEVINUS (1595) This engraving replaced Philips Galle s earlier version in 17.1 x 11.2 cm. the 1587-edition.

In lower margin: "LAEVINUS TORRENTIUS/ EPIS- COP- ANTVERR/ Christiadum columen vatum,

Torrentius ille/ Laevinus tali pingitur cfiigie:/ Sed pietas, 137 sed prisca fides, prudentia, mores/ Ne lateant, docti per- lege scripta viri." (six lines) UBALDE3CHI (1587) In margin right: "loan. Bochius" After Enea Vico

In upper left corner: "Gisb.Vemus fecit.5' 16.9 x 11.3 cm.

I. In lower margin: "BALDUS PERUSINUSV Ut cum As described. Used in 1595-edidon. Tyndaridon[partly in Greek letters] duo navita conspicit astra,/ Scit súbito cursurn quo ferat aut referat:/ Sic vasto n. Balde et tu Barróle in aequore juris,/ Certa estis dubijs Added above portrait, at top centre: "Decessit Bruxellis sidera causidicis" (five lines) VLKal.Maias CIC[in reverse]. IC[in reverseJXCVAEtat. In margin right:"15". LXX."

Used in: Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster• Imagines (1587), no. 15; Imagines ..... (1595), no. 15; dam) Imagines „... (1606), no. 15 m, Lit.: TIB. 56, p. 449, no. 114 Added in margin left: "3." Used in 1604-edition.

Ubaldeschi (also called Baldus or Baldeschi), Perugia 1327 IV - Pavía 1400; Italian jurist, wrote on secular and canon Erased in upper left corner: "Gisb.Venius fecit". law. Engraved by Philips Galle, verses by Frans van Vienna (Oesterreiehische Nationaibibliothek, Wien, Ravelingen. Copied with several alterations after an bound with second edition of Aubert Le Mires Elogia engraving attributed to Enea Vico in Benavides' Illustrium itlustrium .... (1609)) iureconsultorum imagines (1566).

V.

Erased in margin left: "3 " Used in 1606- and 1608- editions. 138

VI. VALERIANO, GIAMFIETRO (1587) Background, clothes and face reworked. Used in Foppens 16.8 x 12.0 cm. 1739.

In lower margim "IOANNES PIERIUS VALERI-

ANUS./ Insus Pieria conscrlbis carmina vena,/ Et vates

291 Appendix 2E

vatern corrigis eximium/ Virgilium: dignos scripsisti 140 nomine libros,/ Fonte a Pierio nomen et omen habcns" (five lines) VESALIUS, ANDREAS (1572) After jan Stefan van Kalkar In margin right: "36", 17.7 x 12.6 cm.

Used in: In lower margin, in letterpress:" ANDREASVESALIUS,/ Imagines ..... (1587), no. 36; Imagines (1595), no. 36; Italorum ..... (1600), no. 15; Imagines (1606), no. 36 BRUXELLENSIS./ Corporis humani qui membra mi- nuta secaret/Vcsalio nullus doctior extiterat./ Hie Medicis Lit.: auxit Pictoribus auxit et artern,/ Dum subit internas quae

TIB. 56, p. 491, no. 199 lacuere vias " (six lines) In margin right, in letterpress: E'C3".

GiampietroYaleriano (PieriusValerianus),Belluno 1477 - Padova 1558; Italian humanist and poet in service of die la. Medici court. Engraved by Philips Galle, verses by Frans As described. Used in 1572a--cdition. van Ravelin gen. Ib. Verses in letterpress in lower margin replaced by engraved, slightly different inscription: "ANDREAS VESALIUS BRUXELLENSIS [on one line]/ AN ATOM ICORUM 139 FACILE PRINCEPS [line added]/ .... minut [instead of

minuta] auxit, [comma added] ..." (six lines); added VALERIUS, CORNELIUS (1604) in margin right, also engraved: "C3". Used in 1572b- 16.8 x 11.5 cm. edition.

Above portrait, at top centre: "Decessit Lovanij III. Idus n. Aug. ClC[in reverse]. IC[in reversejLXXIIX Act. LXVI." Added above portrait, at top centre: "Perijt Zacyntho in In lower margin:"CORNELIUS VALERIUS ULTRA- insula A. CIC [in reverse]. IC[in reverse]LXIV.AEt.LVIIL"; IECTENSIS/ ORATOR ET POETA/ Quisquis es, et verses in lower margin slighdy changed:"ANDREAS ..... magni nescis decora alta VALERI/ Aclspice magnorum PRINCEPS. [period added]/ ...." (six hnes); erased in nomina clara varum/ Lipsius hunc coluit, SCHOTTUS, margin right:"C3",replaced by:'sB.Ar.Montanus": added CANTERUS, et omnis/ Belgicas Nobilitas est venerata in margin left: "28." Used in 1604- and 1608-editions. ducem." (six Hnes) In margin left:"37". Used in: In margin right: "Aub. Miraeus". Virorum (1572),no.C3;lUustxium Galliae ..... (1604), no. 28; Illustriurn Galliae (1608), no. 28 I. As described. Used in 1604- and 1608-edinons, lit.: TIB. 56, p. 491, no. 200; Spielmann 1925; Hoogewerff n. 1957-58; Sellink 1992b, pp. 48-49

Erased in margin left:"37". LJsed in Foppens 1739. Andreas Vesalius (Andries van Wesel), Brussels 1514 - Zakynthos 1564; Belgian physician and anatomist, author Used in: of De humani corporisfabrica (first published in 1543), which Illustriurn Galliae (1604),no.37;lHustrium Galliae .... (1608), no. 37 was published by Plantin in an adaptation by JuanValverda de Hamasco (Voet 1980-83, nos. 2413-2416). Engraved

Cornelius Valerius (Cornells Wouters), Oudewater 1512 by Philips Galle, verses by Benito Arias Montano. After a - Lou vain 1578; Dutch humanist, professor in rhetorics woodcut by jan Stefan van Kalkar in Vesalius s De humani in Louvain, many works by Valerius were published by corporis fabrics. Plantin (Voet 2352- 2407), Engraved in the Galle work• shop, verses by Aubcrt Le Mire.

292 Appendix 2E

141 Pierre Viret, Orbe 1511 - Orthez 1571; Swiss preacher, main organizer of the Reformation in the region of Bern. VETTOR1, PIETRO (1587) Engraved by Philips Galle, verses by ??

After Cornells Cort

16.8 x 11.9 cm.

In lower margin:"PETRUSVICTORIUS./ Prixnus dum 143 veteres Critica Victorius arte/ Eruis e tenebris, abluis ä maculis;/ En correetorum grex gnarulus invidet: at te/ VXVES.JUAN LUIS (1567)

Esse tarnen primum laus tibi prima datur" (five lines) 17.8 x 12.5 cm.

In margin right: "34,s.

In lower margin: "loarmes Ludovicus Vives/ Forte puer, Used m: iatebris maternae ubi prodiit alvi,/ Vives puer, cecinisse Imagines (1587), no. 34: Imagines (1595), no. 34; olor phoebo sacer/ Dicitur, hand casso fatus sic omine: Italorum (1600), no. 21; Imagines (1606), no. 34 vivis,/ Nam clara fama vivet aeternum: tethyn/ Dum sal- sam auriferis undis augebit iberus,/ Sapientiae praecepta lit.; pervivent tuae(seven lines) TIB. 56, p. 492, no. 201; Bierens de Haan 1948, pp. 197- I. 198, no. 216 As described. Used In 1567-edrrion.

Pietro Vettori (Petrus Victorius), Florence 1499 - 1585; Vienna (Oesterreichische Natlonalbibliothek (Portrat- Italian humanist and philologist in service of the Medici sammlung), Wien) court, editor of texts by classical Latin and Greek authors.

Engraved by Philips Galle, verses by Frans van Ravelrngen. Ha. Copied in reverse after an engraving by Cornells Cort, Verses in lower margin replaced by new text in letterpress: dated 1574. "LUDOVICUS VIVES, VALENTINUS./ Splenduit in terra gelidam quae respicit Arcton/ Natum foehci sydus in Hesperla:/ Illlus ac totum radij effulsere per Orbem/ Vives doctrina et quos tulit et pietas" (five Hnes); added 142 in margin right, also in letterpress: "B2". Used in 1572a- edition.

VIKET, PIERRE (1567) 17.7 x 12.3 cm. Ub, Verses in letterpress in lower margin replaced by engraved,

In lower margin: "PetrusViret/Vireta sectaris tua,/ Quo slightly different inscription:"LUDOVICUS VIVES [no dissident gentilium/ Ritus sacris scrutans rnodo,/ Virete comma] VALENTINUS [no period]/ " (five lines); verborum potens./ Exosus hinc magnis sophis,/ Arcana added in margin right, also engraved: "B2". Used In qui detexeris." (seven lines) 1572b-edition.

The Hague (Koninklijke Bibliotheek, Den IIaag,bound Used in; with 1572b»edirion) Virorum ..... (1567), no. ??;Virorum (1572), no. B2

Used in: Lit.;

Virorum (1567), no.?? TIB. 56, p. 492, no. 203; De Nave 1992, p. 247, no. 110; Coppens 1993, p. 261, no. 114

TIB. 56, p. 492, no. 202 juan Luis Vives, Valencia 1492 - Bruges 1540; Spanish humanist, friend of Erasmus, wrote on philosophy, theol•

ogy' and pedagogy. Two of his studies were published by

293 Appendix 2E

Plantin (Voet 1980-83, nos. 2467-2468). Engraved by n. Philips Galle, verses by ?? (1567-edition) and Benito Arias Verses in letterpress in lower margin replaced by engraved, Montano (1572-edition). slighdy different inscription: "IOANNES SAMBUCUS PANNONIS. [instead of PANNONIUS, without TIR- NAVIENSIS, on one line]/ spectator [without a comma] (five lines); added in margin right, also

144 engraved:54D5". Used in 1572b-cdition.

WAMESmS JOHANNES (1604) Used in: 16.6 x 10.7 cm. Virorum ..... (1572), no. D5

Above portrait, at top centre: "Obijt diutina invaletudine Lit.: Lovanij CIC[in reverse]. IC[in reverse]XC. XL Kal. TIB. 56, p. 485, no. 187 Sextil." In lower margin: "JOANNES WAMESIUS EBURO/ janos Zsamboky (Johannes Sambucus), Tirnau 1531 - IURECONSULTUS LOVANIENSIS./Talis erat Latiae Vienna 1584; Hungarian humanist and historiographer in cultor, Graiaeq[ne] Camoenae,/ Quern coelo et Superis service of Emperor Maximilian II, acquainted with forma dicavit anus:/ Antistcs legum ilie sacer,magnusq[ue] Plantin, who published his emblembook in several edi• sacerdos./ Uno urn [?] dicam nomine? Wamesius." (five tions (Voet 1980-83, nos. 2168-2175). In 1572 Philips lines) Galle also published an illustrated work by Sambucus: In margin left: "25". Arcus aliquot triumphal. Engraved by Philips Galle, verses In margin right: "Hub. Audelanrius". by Benito Arias Montano.

Used in: Illustrium Galliae ..... (16Q4),no.25;IHusrjiurn Galliae ..... (1608), no. 25 146

Johannes Wamesius, Liège 1524 - Louvain 1590; Belgian ZWINGLI, HULDHYCH (1567) jurist, professor of law in Louvain. Engraved in the Gaile 17.6 x 12.3 cm. workshop, verses by Hubert Oudejans. In lower margin: "Udalricus Zwinglius/ Quid tibi cum rabidi marris fiirialibus armis,/ Nocti ingem zwmgli mit?/ Translgeris costas puri porrcctus arena,/ Phalangls inter 145 principes,/ Debueras inter sacras senulsse camoenas,/ Ac profuisse moribus." (seven lines) ZSAMBOKY,JANOS (1572) 17.5 x 12.3 cm. Coburg (Kupferstichkabinett der Kunst-Sammlungen Veste Coburg, Coburg), Coburg (Kupfer-stichkabinett In lower margin, in letterpress: "IOANNES SAMBU• der Kunstsammlungen Veste Coburg, Coburg, hand CUS, TIRNAVIENSIS/ PANNONIUS./ Si quisquam coloured impression with written verses), Paris (Cabinet doctus, plus, et si publica quisquam/ Commbda docto- des estampes,Bibliothèque Nationale,Paris),The Hagne rum re studijsque iuvat;/ Hac nulli cedit Sambucus laude: (Koninklijke Bibliotheek, Den Haag, bound with 1572b- sed ipsa,/ Die mihl spectator, non probat hoc tacies?" (six ediüon), Vienna (Oester-reichische Nationalbibliothek lines) (Porirätsarnrnlung), Wien)

In margin right, also in letterpress: "D5". Used in: Virorum (1567), no. ?? I. As described. Used in 1572a-edition. Huldrych Zwingli (Ulrich, Udalricus Zwinglius),

294 Appendix 2E

Wildhaus 1484 - Kappel 1531; Swiss humanist and reformer, as a priest converted to the Reformation around 1520. Engraved by Philips Galle, verses by ^

295 Appendix 2 F

PONTIFICUM MAXÏMORUM XXVII EFFIGIES 1 (1572)

After Philippe Soye TITLE PAGE

29 engravings 17.5 x 12.6 cm.

This series of portraits of popes is an adaptation of XXVII At centre, in cartouche: "PONTIFICUM/ MAXIMU/ Potiliftcorum maximomm, written by Onofrio Panvinio NUMER./ XXVII EFFIGIES/ AD VIVUM/ TYPIS (1529-1568) and first published in 1568 by the Roman AENEIS EX/ ROMANO PROTTYPO/ EXPRES- publisher Antonio Lafreri, In Laireri's original edition the SAE/ PHILLIPI GALLEI/ARTIFICIO/ANTVERPI-

engravings were cut by Philippe Soye' GalleBs engravings AE/ 1572" (twelve lines). are copies in reverse.

The inscription is engraved in a cartouche which is set in According to Philips Galle's introduction, set m letterpress an ornamental border. Verso, in letterpress, is an intro• on the verso the title page (page AÍ),all the portraits were duction by Philips Galle: "Philippus Galleus/ Pkturae et engraved by himself The quality of the engravings vary, historiae/ studiosis, S./ Pontificum septem et viginti, qui some could certainly have been done by Galle, others are a restitutae picturae mi-/ tils ad nostram usque aetatem somewhat cruder and are more likely to have been made Ecclesiae praefuerunt, Imagi-/ nes ad vivum dclineatas, in his workshop,After the tide page (AÍ recto) and Gallc's in vestram gratiarn ex Romano pro-/ totypo nostra stylo introduction (AÍ verso) follows a three page letterpress expressimus,adiuncta etiam brevi singu-/ lorum Historia. introduction by Onofrio Panvinio, dated Rome January Speramus autem opus Ipsum mm artis elegan-/tia Imlta- 1568 and dedicated toAlberico Cybo Malaspina (A2 recto tionis fide, rum precij facilitate, vobis esse proban-/ dum: and verso, A 3 recto) .This seems to have been taken direct• quod si connngat, plura etiam non minus utilla et grata/

ly from Lafreriss original Roman edition. On A3 verso is quam nova, quae contento studio mollmur vestris usibus/ printed a letterpress text accompanying the first portrait commoda futura, propediem edemus valete et/ honestis (Urban VI, A4 recto), dien follow consequentially on the homxneqne digms rebus ffuimrm," (thirteen lines). left page a text in letterpress and on the right page the corresponding engraving.

The series seems to be rather rare, as yet only two sets of 2 engravings arc known (both in the Koninklijke

Bibliotheek Albert I in Brussels). Each of these bound URBAN VI books has a different version of the last portrait, pope Pius 16.0 x 12.1 cm. V (nos. 28a and b) .In the last decade of the sixteenth- and

the first of the seventeenth century Philips Galle pub• Underneath portrait,in cartouche: "URBANUSVI PAPA

lished at least four more portraits of reigning popes, these NEAPOLITANUS". are here described as nos. adl~ad4,

Lit,: UrbanVI (1378-89).The portrait is In profile to die left; In the upper left corner is a coat of arms. Belgica lypographica, vol. I, p. 91, no. 1214

Copies:

Bressels (Koninklijke Bibliotheek Albert I, Brussel, Bibliothèque Royale Albert Ier, Bruxelles, complete series, with the first version of Pius V, no. 28a), Brussels (Koninklijke Bibliotheek Albert I, Brussel; Bibliothèque RoyaleAlbert Ier,Bruxelles,complete series,with the sec• ond version of Pius V, no. 28b)

296 Appgndm 2 F

3 7

BONIFACE DC JOHN XXIH

18.1 x 11.8 cm. 18.1 x 11.8 cm.

Underneath portrait, in cartouche: "BONAFACIUS IX Underneath portrait, in cartouche: "IOANMES XXIII

PAPA NEAPOLITANUS". PAPA NEAPOLITANUS".

Boniface IX (1389-1404).The portrait Is en trois quart to John XXIII (antipope in Pisa, 1410-15). The portrait is the left; in the upper right corner is a coat of arms. en face; in the upper right corner is a coat of arms.

4 8

INNOCENT VII MARTIN V 18.0x11,9 cm. 16.1 x 12.1 cm.

Underneath portrait, in cartouche: "INNOCE[N]TIUS Underneath portrait, in cartouche: "MARTINUS V

VII PAPA SULMONE[N]SIS". PAPA ROM ANUS".

Innocent VII (1404-06). The portrait is in profile to the MartinV (1417-31).The portrait is in profile to the left; left; in the upper right corner is a coat of arms, in the upper right corner is a coat of arms.

5 9 EUGENIUS IV GREGORY XII 18.2 x 11.9 cm. 18.1 x 12.1 cm. Underneath portrait, in cartouche: "EUGENIUS III1

Underneath portrait, in cartouche: "GREGORIUS XII PAPAVENETUS".

PAPAVENETUS'8.

Eugenius IV (1417-31).The portrait is en trois quart to Gregory XII (1406-15).The portrait is en trois quart to the right; in the upper left corner Is a coat of arms. the left; in the upper right corner Is a coat of arms.

10

6 FELIX F¥

AUEXANBERV 18.1 x 12.0 cm.

18.0 x 11.7 cm. Underneath portrait, in cartouche: "FELIX IIIIDICTUS

Underneath portrait, in cartouche: "ALEXANDER V V DUX SABAUDIAF[sic]!!.

PAPA CRETE[N]SIS GRAECUS". Felix IV, also known as Felix V (antipope 1439-49).The

Alexander V (antipope in Pisa, 1409-10).The portrait is portrait is en trois quart to the left; in the upper right cor• in profile to the left; in the upper right corner is a coat of ner is a coat of arms. arms.

297 Appendix 2 F

11 14

NICHOLAS V PAUL II

18.0 x 12.0 cm. 18.1 x 11.9 cm.

Underneath portrait, in cartouche: "NICOLAUSV PAPA Underneath portrait, in cartouche: "PAULUS II PAPA

SERGIADENSIS" VENETUS".

Nicholas V (1447-55) .The portrait is en trois quart to the Paul II (1464-71).The portrait Is In profile to the right; right; In the upper leit corner is a coat of arms. in the upper left corner is a coat of arms.

12 15

CALLISTU3 IH SIXTUS IV 18.1 x 12.0 cm. 16.1 x 12.2 cm.

Underneath portrait, in cartouche: "CALIXTUS III Underneath portrait, in cartouche: "XYSTUS IV PAPA

PAPA VALENTINUS H1SPANU". SAVONENSIS LIGUR".

Callistus III (1455-58).The portrait is en trois quart to the Sixtus IV (1471-84).The portrait is in profile to the right; right; in the upper left corner is a coat of arms. in the upper right corner Is a coat of arms.

13 16

PIUS II (1567) INNOCENT VIXX 16.2 x 12.1 cm. 15.9 x 12.1 cm.

In lower margin: "AEneas sylvius plus/ senensis pont. Underneath portrait, in cartouche: "INNOCENTIUS max." (two lines). VIII PAPA GENUENSIS".

Pius II (1458-64).The portrait is in profile to the left; In Innocent VIII (1484-92).The portrait is in profile to the the upper right corner is a coat of arms. Galle reused this left; in the upper left corner is a coat of arms. engraving of Pius II from the 1567- and 1572a-edihons of his portrait series, see appendix 2.E, no. 108, third state. The engraving differs in type of letter from the other por• traits of popes. For his 1572b-editIon of portraits Galle 17 engraved a second, reversed version of this image; see appendix 2E, no. 109 ALEXANDER VI 16.1 x 12.1 cm.

Underneath portrait;, in cartouche: "ALEXANDER VI

PAPA VALENTINUS, HISP."

AlexanderVI (1492-1503) .The portrait is in profile to the right; in the upper right corner is a coat of arms.

298 Appendix 2 F

18 Galle's other portrait of this first Dutch pope (appendix

2E, no, 2), which is engraved after a different prototype,

PIUS HI

17.9 x 11.8 cm.

Underneath portrait, in cartouche: !8PIUS III PAPA 22

SENENSIS". CLEMENS VII

Pius III (1503).The portrait is in profile to the left; in the 16.0 X 12.0 cm. upper right corner is a coat of arms.

Underneath portrait, in cartouche: "CLEMENS VII

PAPÁ FLORENTINUS".

19 Clemens VII (1523-34). The portrait is en trois quart to

the right; in the upper right corner is a coat of arms.

JULIUS n

16.2x12.4 cm.

Underneath portrait, in cartouche: "IULIUS II PAPA 23

SAVONENSIS LIGUR".

PAUL in

Julius II (1503-13). The portrait is en trois quart to the 16.2 X 12.2 cm. left; in the upper right corner Is a coat of arms.

Underneath portrait, in cartouche: "PAULUS III PONT,

OPT. MAX."

20 Paul III (1534-49). The portrait is en trois quart to the

left; in the upper right corner Is a coat of arms.

LEO X

16.1 x 12.2 cm,

Underneath portrait, in cartouche: "LEO X PAPA FLO- 24

RENTINUS".

JULIUS III

Leo X(1513-21).The portrait is en trois quart to the right; 17.2 x 11.9 cm. in the upper left corner Is a coat of arms.

Underneath portrait, In cartouche: "IULIUS III PAPA

ARRETINUS".

21 Julius III (1550-55).The portrait is en face; in die upper

right corner Is a coat of arms.

ADRIAN VI

16.0x12.2 cm.

Underneath portrait, in cartouche: "ADRIANUS VI

PAPATRAIECTENSIS BELGA".

Adrian VI (1522-23). The portrait is in profde to the left; in the upper right corner is a coat of arms. Also compare

299 Appendix 2 F

25 28b

MARCELLUS Ii PIUSV 17.9 x 11.8 cm. 16.2 x 11.6 cm.

Underneath portrait, in cartouche: "MARCELLUS 11 In lower margin: "Pius quintus pontifex optimus max-

PAPA POLITIANENSIS TUSCUS". imus."

Marcellus II (1555).The portrait is in profile to the left; PiusV (1565-72). Second version of this portrait: in pro• in the upper right corner is a coat of arms. file to the left, there is no coat of arms.The engraving dif• fers from the rest of die series: diere is no coat of arms at the top of the portrait, the text is not placed in a cartouche and is engraved in slighdy different letters. This suggests

26 that the print is a later replacement, possibly by Galle him• self.

PAUL rv 1 6.1 x 12.2 cm.

Underneath portrait, in cartouche: "PAULUS IV PAPA Ad 1

NEAPOLITANUS". SIXTUS V [c. 1585]

Paul IV (1555-59). The portrait is en trois quart to the 18.9 x 14.1 cm (trunmed margins) left; in the upper left corner is a coat of arms. In lower margin: "SIXTUS. V. PONT. MAX./ Philipp.

Galle. excud." (two lines).

27 Vienna (Graphische Sammlung Albertina, Wien)

Pius rv Sixtus V (1585-90). Published by Philips Galle as a sepa• 16.2 x 12.1 cm. rate engraving; engraved in the Galle workshop.

Underneath portrait, in cartouche: i8PIUS IV PAPA

MEDIOLAMENSIS" Ad 2

Pius IV (1559-65). The portrait is en trois quart to the left; in the upper right corner is a coat of arms. CLEMENS VIM [c. 1595] 11.4 x 7.8 cm (trimmed margins)

In lower margin: "SIXTUS VIII. PONT. OPT. MAX./

28a Dominus conscrvet eurn et vivificet eum, et beatum faei- at eum." (two lines).

PXUSV

8 16.0 x 12.3 cm. In margin right: "Ph[i]l[ip]s Galle excud. '

Underneath portrait, in cartouche: "PIUS V PAPA I. .As described. ALEXA NDRINUS". Brussels (Prentenkabinet, Koninklijke Bibliotheek

PiusV (1565-72). First version of this portrait: in profile Albert I, Brussel; Cabinet des estampes, Bibliothèque to the left; in the upper right corner is a coat of arms. Royale Albert Ier, Bruxelles)

300 Appendix 2 F

XL PaulV (1605-1621).This portrait - published as a sepa• The portrait has been heavily reworked: the face has rate engraving in 1605 or shordy after - is probably one changed and is turned somewhat more en face, the beard of the very last prints published with the address of Philips is shorter and there is more emphasis on the effects of Galle; engraved In the Galle workshop. light and shadow.

Brussels (Prentenkabinet, Koninklijke Bibliotheek Albert I, Brussel; Cabinet des estampes, Bibliothèque Royale Albert 1er, Bruxelles)

Clemens V (1592-1605). Published by Philips Galle as a separate engraving, engraved in the Galle workshop.

Ad 3

LEO XI [c. 1605] 15.4 x 10,9 cm (trimmed margins)

In lower margin: "LEO XL PONT MAX./ FLO•

RENT! NUS, CREATUS ll.APRILIS,M.DCV" (two

lines).

At bottom centre: "Ph[i]l[ip]s Galle excud."

Brussels (Prentenkabinet, Koninklijke Bibllotheek Albert I, Brussel; Cabinet des estampes, Bibliothèque Royale Albert 1er, Bruxelles)

Leo XI (1605). This portrait - published as a separate engraving in 1605 or shortly after - is probably one of the very last engravings published with the address of Philips Galle; engraved in the Galle workshop.

Ad 4

PAULV [c, 1605] 11.2 x 8.4 cm (trimmed margins)

In lower margin: "PAULUS.V. P, M J Romanus creams 16. Maij 1605./ Ph[i]l[ip]s Galle excudit." (three lines).

Brussels (Prentenkabinet, Koninklijke Bibliotheek

Albert I, Brussel; Cabinet des estampes, Bibliothèque

Royale Albert 1er, Bruxelles)

301 Appendix 2 G

XII CARDÏNALIUM FÏETATE DOCTRINA 1er, Bruxelles, complete series), Chicago (Newberry

REBUS QUE GESTÏS MAXIME ÏLLUSTRIUM Library, Chicago, Dresden (Kupferstich-kabinett der

IMAGINES ET ELOGIA (1598) Staatliehen Kunstsammlungen,Dresden, complete series),

14 engravings Ghent (Centrale Bibliotheek,Rijksuniversiteit Gent, two copies, Gotha (Landes-bibliothek, Gotha, Hannover

The series consists of a title page with a portrait of Albert (Niedersächsische Landesbibliothek, Hannover, Leeuw- of Austria on the title page, twelve portraits of famous grden (Provinciale Bibllotheek Friesland, Leeuwarden,

Renaissance cardinals and concludes with a portrait of Liège (Bibliothèque Générale, Université de Liège, pope Adrian VI, the only pope from the Netherlands. In London (British Library,The British Museum, London, six cases Philips Galle reused engravings from his series of Louvain (Centre General de Documentation, Univer• portraits, respectively: Jimenez de Cisneros, Sadoleto, sité Catholique de Louvain, Louvain-la-Neuve, Madrid

Bembo, Fisher, Hosius and Adrian VI.These portraits have (Gabinetc de estampas y beilas artes,Biblioteca Nacional, hence been engraved by Philips Galle himself and not by Madrid, complete series), Munich (Bayerische Staat- his sonTheodoor, as is die rest of the series.Andreas Schorr bibliothek, München, two copies, Naples (Biblio-teca was most probably the author of the texts in letterpress Nationale "Vittorio Emmanuele III', Napoli, Paris (Cabi• and of the verses underneath the newly engraved por• net des estampes,Biblio-thèque Nationale,Paris, complete traits. series), Purls (Bibliothèque Nationale, Paris, Paris (Bibliothèque Mazarine, Paris, Paris (Bibliothèque de la

On the verso of the tide page (AÍ recto) the index and a Sorbonne, Paris, EscorÏ&! (Bihlioteea del Monasterio San short bibliography is set in letterpress.Then follows, also Lorenzo de el Escorial, Escorial, complete series), in letterpress, a three page Latin introduction signed Washington (Folger Shakespeare Library,Washing-ton),

"Theodorus Gallaeus, Philippi F.Antverp." and dedicated Washington (Library of Congress, Washington to Albert of Austria (page A2 recto and verso, A3 recto).

On page A3 verso is printed a letterpress text accompa• 1 nying the first portrait (Francesco Jimenez dc Gsneros,

A4 recto), then follow standard on die left page a text in TITLE PAGE WITH A PORTRAIT OF ALBERT letterpress and on the right page the corresponding OF AUSTRIA (1598) engraving.. On the last page (D4 verso) the approbatio by 17.6 x 12.8 cm. the Antwerp theologian and canon Silvester Pardo

(Bruges 1553 - Antwerp 1605) is printed in letterpress: Underneath portrait, at centre of engraving: i8ALBER

"Mac XII ..... Datum Antverpiae III. Non. Ja-/ nuarij, TUS CARD. AR CHIEF TOLETAN. ARCHIDUX

Anno M.D.XCVIIL/ Silvester Pardo, S. Theol. AUSTRIAE BELGICAR. PROVINCIAR.

Licentiatus, Cathedr. Be-/ clesiae Ant. Canonicus, GUBERN."

Librorumque Censor." The letterpress text was set and Slightly lower, in cartouche: "XII/ CARDINALIUM/ printed by the Plantin Press. PIETATE DOCTRINA/ REBUSQ. GESTIS/

MAXIME ILLUSTRIUM/ IMAGINES/ ET ELO

Lit.: GIA." (seven lines).

Bibliotheca Belgica, vol. VI, pp. 193-197; Belgica In lower left corner: "Theodorus/ Gallaeus/Antverp./ in

Typographies, vol. I, p. 91, no. 1221 aes/ incidit." (four lines). In lower right corner: "Philippus Gallaeus/ Antverpiae/

Copies: excudit/ CIC[in reverse]. IC[in reverse]. XCVIIL" (four

Antwerp (Stedelijk Prentenkabinet, Museum Plantin- lines).

Moretus, Antwerpen, complete series), Antwerp At bottom centre, in cartouche: "SERENISS. PRINCIPI

(Stadsbibliotheek, Antwerpen, Augsburg (Staats- und ALBERTO/ MAXIMILL II./ IMP. F. ARCHIDUC

Stadtbibhothek, Augsburg, Brussels (Prentenkabinet, AUSTRIAE/ S.R.E. CARDIN. ET ARCHIEP. TOLE-

Koninklijke Bibliotheek Albert I, Brussel; Cabinet des TANO/ BELGICAE PROVINCIAL PRO REGE/ estampes, Bibliothèque Royale Albert Ier, Bruxelles, two CATHOLICO GUBERNATORI" (srx lines). copies, both complete series), Brussels (Koninklijke

Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert In the upper half the portrait of Albert is engraved, at the

302 Appendix 2 G

centre is the cartouche with the title, flanked by two per• 4 sonifications, at bottom centre is the cartouche with

Galle's dedication. BESSARION (1598) Albert of Austria, Neustadt 1559 - Brussels 1621; arch• 16.8 x 11.3 cm. duke of Austria, son of emperor Maximilian of Austria,

cardinal since 1577, appointed as viceroy of the Southern In lower margin: "BESSARION CARD IN ATI S

Netherlands in 1596. With papal permission Albert lai• NICENUS/ PATRIARCHA CONSTANTINOP./

cized in 1599 in order to marry Isabella Clara Eugenia, Non tibi sit laudi sanctum eelehrasse Platonem/ Castaque daughter of Philip II, with whom he reigned the Southern Socraticae frena pudicitiae;/ Verum quod per te migra• Netherlands together nt GraeciaRomam,/ EtdidicetLatios Attica Musa sanos." (six lines).

Bessarion,Trebizon 1403 - Ravenna 1472; Greek human• 2 ist and Greek-Orthodox bishop, converted to the Roman Catholic Church shordy after 1439 and was appointed as JIMENEZ DE CISNEROS, FRANCESCO (1587) a cardinal in Rome in 1543. Engraved by Theodoor Galle,

17.2 x 11.8 cm. verses by Andreas Schott.

In lower margin: "FRANCISCUS SIMENIUS, CAR- DINALIS HISPANIAE./ Cerneré te coelo deniissum numen ab alto,/ Lector, Simenij dum conspieijs ora puta- 5 to:/ Edi qui VARUS curavit BIBLIA LINGUIS;/ Quo

mérito illius volat omnem fama per orbem." (five lines). SIRLETO, GUGLIELMO (1598) 16.3x11.4 cm.

Engraved by Philips Galle, verses by Frans van Ravelingen. Galle reused the engraving of Ximenes from the 1587- In lower margin: "GULIELMUS SIRLETUS S.R.E. edition of his portrait series; see appendix 2E, no. 72, sec• CARDIN./ SEDIS APOSTOLICAE BIBLIOTHE- ond state. CARIUS./ Laudaris, Sirlete, in egenos prodigus aeris;/ Qua Virtute rubra est porta tiara tibi./ Attica dum Calles til non praestantior altor,/ Incertum, fueris doctior, an melior." (six lines). 3

Guglielmo Sirleto (Gullielmus Sirletus),Guardavalle 1514 ALBORNOZ, EGIDIO ALVAREZ DE (1598) - Rome 1585; Italian humanist, head of the Vatican 16.6x11.9 cm. libraries since 1549, appointed as a cardinal In 1565. Engraved by Theodoor Galle, verses by Andreas Schott.

In lower margin: "AEGIDIUS ALBORNOTRJS CAR- ILLUS/ S.R.E. CARB.ET ARCHIEPISC.TOLETAN./ AEgidi, in iustos Itala ditione tyrannos/ Pellis, Pontiñcemque Urbi, solioque reponis./ Te due ROMA 6 alias inter caput extulit urbes,/ Ut casti maneant in

RelHgione nepotes." (six lines). SADOLETOJACOPO (1587) 17.1 x 11.8 cm.

Egidio Alvarez de Albornoz (Aegidius Albornotius),

Cuenca, c. 1300 -Viterbo 1367; Spanish cardinal and arch• In lower margin: "IACOBUS SADOLETUS, CARDI-

bishop of Toledo, commander-in-chief of the papal NALIS./ Ut Plato facunda decoravit dogmata lingua,/ De

armies. Engraved by Theodoor Galle, verses by Andreas priscae Sophiae dogmata sumpta sinu:/ Eloquij sic tu de-

Schott. corasti flumine blando,/ De sacro CHRISTI dogmata sumpta sinu." (five Unes),

303 Appendix 2 G

Engraved by Philips Gallc, verses by Frans van Ravelingen. 9 Galle reused the engraving of Xirnenes from the 1587-

edition of his portrait series; see appendix 2E,no. 119, sec• COLONNA, POMPEO (1598)

ond state, 16,4 x 11.6 cm.

In lower margin: "POMPEIUS COLUMNA ROMAN CARDIN./ Magnus eras bello iam Caesaris arma secu• 7 táis;/ Infelix spectans at patriae excidium./ Marna ROMA alijs praeda est: tu firma COLUMNA,/ Reque tuos civcis.

CONTARINI, GASPARO (1598) consilioque iuvans.,! (five lines). 16.3 x 11.7 cm.

Pompeo Colonna (Pompeius Columna, Pompeius In lower margin: "CASPAR CONTARENUS VENE-- Columnensis), Rome 1479 - Naples 1532; Italian cardi• TUS CARD./ Lectus es inVenetum, Romanum deinde nal, papal diplomat and commander-in-chief of the papal Scnatum,/ Firrnior ingenio qui stat uterque tuo;/ At nunc armies, fell into disgrace on several occasions. Engraved caelesti falges trabeatus in ostro,/ Sceptra Magistratus by Theodoor Galle, verses by Andreas Schott.

aetherelqjiue] geris." (five lines).

Gasparo Contarini (Caspar Contarenus),Venice 1483 -

Bologna 1542; Venetian cardinal, negotiator with the 10 protestants, papal advisor on reforms in the Catholic

Church. Engraved by Theodoor Galle, verses by Andreas FISHER, JOHN (1567) Schott. 17.5 x 12.2 cm.

In lower margin: "IOHANNES FISCHERUS EPISCO- PUS ROFFE[N]SIS, A[N]GLUS/ Moribus, ingenio, calamo, sermone Britannus/ Miraudus prisca pro pietatc 8 cadit./ Cum cecidit, ferro haec cervix praecisa cruento,/ Virtus, mgenium, concidit et pietas." (five lines).

BEMBO, PIETRO (1567) After Titian Engraved by Philips Galle, verses by Benito Arias 17.9 x 12.4 cm. Montano. Galle reused the engraving of Fisher from the 1567- and 1572-editions of his portrait series; see appen• In lower margin: "PETRUS BEMBUS, VENETUS./ dix 2E„ no. 53, third state. Bembe decus clarum Ansoniae, te Roma disertum est/ Mirata antiquis exirnijsque parem:/ Divitias patriae ut auxisri et munera linguae/ Ut sit iam priscis non minor eloquijs." (five lines). 11

Engraved by Philips Galle, verses by Benito Arias POLE, REGINALD (1598) iMontano. After a lost painting by Titian. Galle reused the 16.4 x 11.3 cm. engraving of Bernbo from the 1567- and 1572-editions of his portrait series; see appendix 2E, no. 18, third state. In lower margin: "REGINALDUS POLUS BRITAN• NUS CARD./ Tu quoque, POLE, decus patriae, vin- dexqjue] Britannae,/ Quern genitrix, ffater, morte obita decorant./ MORUS item,atq[ue] aevi FISCHERUS flos, et ocellus;/ Quos et traneripsit mors violenta polo." (five lines).

304 Appendix 2 G

Lit.: 14 Collon-Gevaert 1966, p. 98, no. 411 ADRIAN VI (1567)

Reginald Pole, Stourton Castle 1500 ~ Lambeth 1558; 17.6 x 12.2 cm archbishop of Canterbury, political opponent of Henry

VIII, as papal nuncio negotiated with the Church of In lower margin: "Hadrianus Traiectensis Pont. Max./

England. Engraved by Theodoor Galle, verses by Andreas Regnat ubi in terns prudens vir, constat et almae/Virtuti

Schott. in terris, quod meret Ipsa, decus./ Dat mihi et haec te- neros formandi Caesar is annos,/ Orbis Pontificem et me facit haee eadem." (five lines).

12 Engraved by Philips Galle, verses by Benito Arias Montano. Galle reused the engraving of Adrian VI from

HOSIUS, STANISLAUS (1567) the 1567- and 1572-editions of his portrait series; see 17.7 x 12.4 cm. appendix 2E, no. 2, third state.

In lower margin: "STANISLAUS HOSIUS CARDI•

NAL IS EPISCOPUS/ VARMIENSIS CONG. TRIDE[N]T. PRAESES/ Instructus patria, pugnat, pletate,geritq[ue]/ Praelia cum monstris Hosius, etsuper- at./ Artibus hie cunctis dexterrimus, omnibus arrms,/ Quies valet hostis atrox, Hosius exuperat." (six lines).

Engraved by Philips Galle, verses by Benito Arias Montane. Galle reused the engraving of Hosius from the 1567- and 1572-editions of his portrait series; see appen• dix 2E, no. 67, third state.

13

BORROMEQ5 CARLO (1598)

16.6 x 11.3 cm.

In lower margin: "CAROLUS BORROMEUS S.R.E.

CARDIN./ ARCHIEPISCOP. MEDIOLAN./

Stemmate clarus erat,pius at,rigidusque satelles/ lusritiae; hand tecto flexit avaritia./ In se durus Item riimium, ni- miumque severus:/ Dictus ut ante abitum Sanetus,et acta probant." (six lines).

Carlo Borromeo, Arona 1538 - Milan 1584; Italian car• dinal, archbishop in Milan and one of the main instiga• tors of the Counter Reformation, sanctified in 1610. Engraved by Theodoor Galle, verses by Andreas Schott.

305 Appendix 2 H

SOCIETATIS IESU PRAEPOSITOBUM The inscriptions are engraved in cartouches which are set GENERA LitJM IMAGINES [c. 1600] in an ornamental border, at the left side of die text Christ 12 engravings with the Cross is depicted, to the right Mary, Mother of God. The tide page is dedicated to Claudio Acquaviva,

The series consists of a title page - dedicated to Claudio the fifth General of the Jesuit Order. His portrait is not Acquaviva (1543-1615), reigning General of the Jesuit included in the series.

Order ~5 an engraving showing both kings and prelates in adoration of the IHS monogram and ten portraits of illus• trious Jesuit priests. The title page states that Philips Gallc was the inventor and engraver of the serics.The style, tech• 2 nique and date of the engravings - judging by the dates on some portraits this series most have been published THE ADORATION OF THE IHS MONOGRAM after 1593, when Galle himself was rarely active as an 11.9 x S.7 cm. engraver - suggest that someone from Galle's workshop

(possibly Cornells Galle or Karei de Mallery) might have At top centre: "IHS" (monogrammed). been the engraver involved. In lower margin: "In nomine IESU omne genu flectetur/ caeiestium terrestrium et infernorum" (two lines).

All the sets of the rare series known so far (Brussels, Madrid and The Hague) seem to be incomplete. As yet the name of the author of the verses, the date of publication and the approbatio are still lacking. The portraits are not num• 3 bered and are here presented in the order of the prints in

Brussels. LOYOLA4 IGNATIUS LOPEZ BE 12.0x8.7 cm. Copies:

Brussels (Prentenkabinet. Koninklijke Bibliotheek Above portrait, at top centre: "IGNATIUS LOIOLA I./ Albert I, Brussel, Cabinet des estampes, Bibliothèque Ad maiorem DEI gloriarn." (two lines). Royale Albert Ier, Bruxelles, incomplete series, lacks no. Underneath portrait, at bottom centre: "P. IGNATIUS 2), Madrid (Gabincte de estampas y bellas artes, LOIOLA, Cantabcr,Societatis IESU/ princeps et auctor. Biblioteca Nacional, Madrid, incomplete series jacks nos. Praepositus Generalis primus per annos XVI./ Obijt pri-

10-12),The Hague (Koninklijke BibllotheeksDen Haag, die Kal. Augusd, amino Christ! CICfin reverse]. IC[in

Incomplete series) reverse]. LVLAEtatis LXV" (three lines). In lower margin: "IGNATI, pater o, Socijs qui nomen

IESU/ Dux praeferssacrae militiaeque caput.'8 (two lines). 1

Ignatius (Inigo) Lopez de Loyola, A^peikia 1491 - Rome TITLE PAGE 1556; Spanish priest, founder of the Jesuit Order, first 12.0 x 8.4 cm. General of the Order, sanctified in 1622.

At top centre: "IHS" (monogrammed) and, slightly lower, in cartouche: "SOCIETATIS/ IESU" (two lines). At centre of engraving, in cartouche: "PRAE-/ POSI- 4

TORUM/ GENERALIUM/ IMAGINES/ Item/ fran- LAXNEZS DIEGO ciscl xaverii/ alphonsi salmeroms/ nieolai bobadillae,/ e 11.8x8.7 cm. decern primis/ socijs" (ten lines). At bottom centre, in cartouche: "Ad vivum delineatae et/ Above portrait, at top centre: "IACOBUS LAYNESIUS in aes incisae a Philippe/ Gallaeo Antverpiae" (three lines). II./ Apprehendite disciplinam." (two lines). In lower margin: "AD R.P. CLAUDIUM AQUAVIVIUM/ Underneath portrait, at bottom centre: "P. IACOBUS PRAEPOSITUM GENER. QUINTUM." (two lines). LAYNESIUS, Almazanus, Socle-/ tatis IESU Praepositus

306 Appendix 2 H

Generalis secundus, Obijt Romae/ XIX. die lanuarij, 6 anno Christi CIC [in reverse]. IC [in reverse]. LXX.AEtatis

LUI." (three lines). MERCURIAN, EVRARB In lower margin: "Gallia te rebus vidit succurrere fessis/ 12.0 x 8.8 cm. AtqueTridentinis Patribus auctor eras." (two lines).

Above portrait, at top centre: "EVERARDUS MER-

I. CURIANUS III!./ In nomine tuo falvum me fac.!i (two As described. lines). Underneath portrait, at bottom centre: "P. EVERARDUS Brussels (Prentenkabinet, Koninklijke Bibliotheek MERCURIANUS, Leodies,/ Societatis IESU Albert I, Brussel; Cabinet des estampes, Bibliothèque Praepositus Generalis quartus. Obijt Romae,/ Kal. Royale Albert Ier, Bruxelles), Madrid (Gabmete de August!, anno Christi CICpn reverse]. IC[in reverse]. estampas y hellas artes, Biblioteca Nacional, Madrid) LXXX. AEtatis LXV" (three lines).

In lower margin: J!Et plus, et prudens, Eburonum natus in n. oris,/ Quartus eras Socijs, MERCURIANE, parens." The portrait has been reworked and both the portrait and (two lines). the inscriptions have been placed in an ornamental bor•

der. Evrard Mercurian (Everardus Mercurianus), Marcourt 1514/15 - Rome 1580; Belgian priest, fourth General of Brussels (Prentenkabinet, Koninklijke Bibliotheek the Jesuit Order. Albert I, Brussel; Cabinet des estampes, Bibliothèque Royale Albert Ier, Bruxelles)

Diego Lainez^Aknazan 1512-Rome 1565; Spanish priest, 7 converted Jewish theologian, second General of the Jesuit Order. BOBADILLA, NIGOLAUS 11.8 x 8.8 cm.

Above portrait, at top centre: "NICOLAUS BOBADIL•

5 EA./ Non confundar in/ aeternurn,'8 (three lines). Underneath portrait, at bottom centre: "P. NICOLAUS

BORGIA} FRANCESCO BOBADILLA Palentinus,/ unus e primis decern II. 8x8.7 cm. IGNATII Socijs. Obijt Laureti./ IX, Kalend. Octobris,

anno Domini CICpn reverse]. ICpn reverse]. XC.f8 (three

Above portrait, at top centre: "FRANCISCUS BORGIA lines). III. / te, quod volui super terrain?" (two lines). In margin underneath: "Hie Parcas sine mente sanos,scep- Underneath portrait, at bottom centre: "P. FRANCIS• trumq[ue]Tiaram/ Immoto ridet cuncta supercIHo." (two CUS BORGIA, Ex Duce Gandiae,/ Societatis IESU lines). Praepositus Generalis tertius. Obijt Romae,/ pridie Kal. Octob. anno Christi CICpn reverse]. ICpn reverse]. Nicolaus Bobadilla, Bobadilla ?? - Loreto 1590; Spanish priest, one of the first nine companions of Ignatius de

LXXII. AEtat LXIL" (three lines), Loyola. In lower margin: "BORGIA, maiores verae pietatis hon- ore/ Praestinguis, Stellas Sol veluti exoriens." (two lines).

Francesco Borgia, Gandia 1510 ~ Rome 1572; Italian nobleman, ordained as a priest in 1551 after a career as statesman, third General of the Jesuit Order, sanctified in 1671.

307 Appendix 2 H

8 10

SALMERON, ALFONSO SALTAMOCffiUS, GUILIEUVXUS 11.9 x 8,9 cm, 12.0x8,8 cm.

Above portrait, at top centre: s'ALFON5US Above portrait, at top centre: "GUILIELMUS SALTA-

SALMERON,/ Quam dulcia faucib. meis/ eloquia tua?!! MOCHIUS./ Humilibus dat gratiam." (two lines). (three lines). Underneath portrait, at bottom centre: "GUILIELMUS Underneath portrait, at bottom centre: "P. ALFONSUS SALTAMO CUIUS Arvernus, Societatis/ IESU SALMERONToletanus,unus/ e primis decern IGNATII Coadiutor, a Calvinisds pro Religione Catholica coesus/ Socijs. Obijt Neapoli Idibus/ februarij, anno Domini VII. Februarij, anno Christ! CIC[in reverse] IC[in CIC[in reverse]. IC[in reverse]. LXXXV" (three lines). reverse]. XCIII.AEtaris XXXVIII." (three lines). In lower margin: "Eloquium mirati olim Patres que In lower margin: "Quo vitae meritum pietas firmavit, Tridenti./ Fulmina Parthenopes concio et ipsa frequent." eodem/ Mors pia testatam saiixit amore fidem." (two (two lines). lines).

Alfonso SaImeron,Toledo ?? - Naples 1585;Spanish priest, Guilielmus Saltamochius, Auvergne ?? - 1593; French one of the first nine companions of Ignatius de Loyola, priest and martyr, murdered by the Huguenots.

9 11

JAVIER, FRANCESCO BE SALESIUS, JACOB

12.1 x 8.8 cm. 12.1 x8.9 cm.

Above portrait, at top centre: "FRANCISCUS Above portrait, at top centre: "IACOBUS SALESIUS./ XAVERIUS./ Satis est, Domine: satis est." (two lines). Nomen Domini spes mea." (two lines) . Underneath portrait, at bottom centre: "P. FRANC. Underneath portrait, at bottom centre: "P. IACOBUS XAVERIUS, Navarrus, Societatis IESU/ Presbiter, SALESIUS Arvernus, Societatis/ IESU Theologus, a primus e Socijs Evangelium ad Indos portavit, anno Calvinisds pro Religione Catholica coesias/VIL February, D[omi]ni/ CIC[m reverse]. IC[in reverse]. XLVIII Obijt anno Christi CIC[in reverse]. IC[in reverse]. XCIII. die II. Decemh. an. CIC[in reverse]. IC[in reverse], LIE AEtaris XXXVIL" (three lines).

Aetat LV." (three lines). In lower margin: "Quae desiderio todes latuere sub ipso/

In lower margin: "Salve heros, princeps qui CHRISTI Proemio, Martyrij gloria parta probat." (two lines). nomen ad Indos/ Portasu, atque fidem gentibus antipo- dum." (two lines). Jacob Salesius,Lesou ~ Auvergne 1593; French theologian and martyr, murdered by the Huguenots.

Francesco de Javier (Franciscus Xaverius), Javier 1506 - Sancian (China) 1552; Spanish priest and missionary in the Far East, one of the first nine companions of Ignatius de Loyola, sanctified in 1621.

308 Appendix 2 H

12

BROETIUS, PASCHASRJS 13.3 x 9.5 cm.

Above portrait, at top centre: "PASCHASIUS BROETIUSV Cum simplicibus sermocinatio eius." (two lines)

Underneath portrait, at bottom centre: "P, PASCHASIUS BROETIUS Gallus, unus/ e prirnis decern IGNATII Socijs. Obijt Lutetiae Parisiorum/ XIIII. Septembris, anno Domini CICpnreverse],IC[inreverse],LXII.AEtatisLV" (three lines)

In lower margin: "Simplex PASCHAS1UM delectat vita coiumbae,/ Sed prudens mixta simplicitate fuit." (two lines).

Paschasius Broetius, ?? ~ Paris 1562; French priest, one of the first nine companions of Ignatius de Loyola.

309 Appendm 2 I

ITALORUM BOCTRXNA XXXUSTRIUM IMAG• Barbara, Gian Francesco Poggio Bracciolini, Marco INES (1600) Girolami Vida, Marcantomo Maioragio, Carlo Sigonio, Published by Theodoor Gallc and jan Moretus Fulvio Orsini, Ippolito Capilupi, Lelio Capilupo and

25 engravings Giuseppe Castiglione. Judging by style and technique these images have not been engraved by Philips Galle, but

This series consists of a typographically printed tide page, by an unknown collaborator from the Galle workshop. As a one-page index set in letterpress on the verso of the tide yet, it is unknown who is the author of the verses in the page and 25 portraits of Italian scholars from the late margin. Middle Ages onwards.The series is arranged more or less chronologically, the plates themselves are not numbered. Lit,: The tide page informs the reader that the engravings were Johnson 1965, p. 81; die book will also be listed in Dirk incised by Philips Galle, while the work was published by Imhof's forthcoming catalogue (1998) of books printed Theodoor Galle in collaboration with Jan Morems of the and published by Jan Moretus, no. G-5. Offkina Plantiniana. Furthermore, the title page also refers to a slighdy earlier broadsheet engraving - published by Jan Moretus and Theodoor Galle jointly in 1599 - with the portraits of nine Greek scholars from the late four• teenth- and fifteenth century (compare chapter 2, note 93 and fig. 32).

As yet only one copy has been found, located in the British Library, inv. 564.c.20(1). Added at die back of this copy Is a three-page, manuscript index - probably written In die early seventeenth century. As this index also includes die names from Philips Galle's earlier 1572- and 1587-edi- tions, it logical to assume that at one point these three collections of portraits were bound together. Now added as convolute is an early Impression of Dominique Lampsons Piciorum aliquot celebrium Germaniae Inferiotis effigies, as published by Volcxken Diericx - die widow of Hieronymus Cock - in 1572.

Fifteen plates were used from Philips Galle s earlier series of portraits, in order of their appearance in the Index of the book: Pope Pius II (1572b),Thomas ab Aquino (1587), Francesco Petrarca (1572b), Dante Alighicri (1572b), Marsilio Ficino (1572), Angelo Poliziano (1572b), Francesco GrifFolini (1587), Jacopo Sannazaro (1587), Ludovico Ariosto (1587), Pandolfo Collenuccio (1587), GiampictroValeriano (1587),Aldo Manuzio (1587),Paolo Manuzio (1587), Andrea Alciati (1567) and PietroVettori (1587). All of these portraits certainly have been engraved by Philips Galle. The verses in the lower margin are still exactly the same as in the original scries, written by Benito Arias Montano (1572-edition) and Frans van Ravellngen (1587-edirion).

The 10 newly engraved portraits are, again in order of their appearance in the Index: Ermoiao Barbara, Daniel

310 Appendix 2 I

TITLE PAGE Aquino from the 1587-edition; see appendix 2E,no, 133.

Letterpress text

Filling entire sheet: "ITALORUM/ DOCTRINA/ ILLUSTRIUM/ IMAGINES./ Philippus Gailaeus aeri 3 incidebat./ SEORSIM EDITAE/ GRAECORUM IX./

QUI PRIMI GRAECAS LITTER AS/ IN ITALIAM PETRARCA, FRANCESCO (1572) TRANSQ. ALPES/ INVEXERUNT/ ICONES CUM After Giorgio Vasari ELOGIIS/ PAULI IOVII, ET ALIORUM./ Opera 17.6 x 12.1 cm. Theodori Gallaei Phil. F.Antverp./ANTVERPIAE,/ EX

OFFICINA PLANT!NIANA,/ ANNO SECULARI In oval border around portrait: "FRANCISCUS

SACRO/ M.CIC[in reverse].IC[in reverse].C." (seven• PETRARCHA FLORENTINUS". teen lines). In lower margin: "Vatibus ignotum priscis Franciscus araorem/ Et colult purum, versibus et cecinit./ Primus item nostro fugientem ex Orbe Latinum/ Dum sequitur Musam, pellicit et revocat." (four lines).

1 In margin right: "E7".

PIUS II (1572) Engraved by Philips Galle, verses by Benito Arias 17.6 x 12.2 cm. Montano.Theodoor Galle reused his fathers portrait of Petrarca from the 1572b-edition; see appendix 2E,

In margin underneath: "AENEAS SILVIUS SENENSIS, no. 104, second state. POSTEA/ PIUS II NOMINATUSV Sum Pius AEneas fama notissimus Orbi,/ Quern rexi Pastor, Scriptor et institui./ Quaestio nulla fere est, in qua non docta reliqui/

Argumenta mei ferrilis ingenij." (six lines). 4 In margin right: "A3".

DANTE AUGfflERI (1572)

Engraved by Philips Galle, verses by Benito Arias After Giorgio Vasari Montane, Theodoor Galle reused the second version of 17.7 x 12.2 cm. his father's portrait of Pope Pius II from the 1572b- In oval border around portrait: "DANTE ALIGERUS edition; see appendix 2E, no. 109. FLORENTINUS". In lower margin: "lactat et ipsa suum Vat em Florenria Dantem,/ Doctrina antiqms iudicioque parem./ Quid deceat, quid non deceat, quae meta mails sit,/ Quaeque

2 bonis, multa cum gravitate canit,5* (four lines) In margin right: "E6".

THOMAS AB AQUINO (1587)

17.2 x 11.8 cm, Engraved by Philips Galle, verses by Benito Arias Montano.Theodoor Galle reused his fathers portrait of

In lower margin: "S. THOMAS AQUINAS./ Si sacra Dante from the 1572b-edition; see appendix 2E, no. 40, Christiadum liceat conferre profanis,/ Alcidem contra te second state. faciam haereticos./ Tu toliis, veluti Alcides vicisse tot hydras/ Creditur, antidotls dira venena tuis." (five lines). In margin right:"!".

Engraved by Philips Galle, verses by Frans van Ravelingen.

Theodoor Galle reused his fathers portrait ofThornas ab

311 Appendix 2 1

5 Engraved by Philips Galle, verses by Benito Arias Montano.Theodoor Galle reused his fathers portrait of

ERMOLAO BARBARO (1600) Ficino from the 1572b-ediuon; see appendix 2E, no. 52, 17.7 x 12.2 cm. second state.

In lower margin:"!IERMOLAUS BARBARUS PATRI- / ARCH A AQUILE GIE NS IS. / Barbarus Euganeis iUux-- it Lucifer oris:/ Barbariem pcpulit. Phosphorus ut tene- 8 bras./ Talis erat; sic iile genas, vultumque gerebat:/ Ast propc divino pulcrior ingcnio." (six lines). POIIZIAMO,ANGELO (1572) After Giorgio Vasari 17.6 x 12.1 cm.

Ermolao Barbaro (Hermolaus Barbarus),Venice 1453 - Rome 1493; Italian Hellenist and collector of Greek In oval border around portrait: "ANGELUS POLL-

manuscripts, reputed for his studies on Aristotle. Engraved TIANUS FLORENTINUS". in the Galle workshop, author of the verses unknown. In lower margin: "Ornamenta serat Lariae qui florida lin• guae, et/ Mille modis gratum temperet eloquium,/ Carmine qui placeat placeat sermone solute/ Unus, crede

mini, Politianus erit." (four lines).

6 In margin right: "F3S\

DANIEL BARBARO (1600) Engraved by Philips Galle, verses by Benito Arias 17.9 x 12.3 cm. Montano. Theodoor Galle reused his father's portrait of Poliziano from the 1572b-edition; see appendix 2E, In lower margin: "DANIEL BARBARUS./ Tu quoqjuc] no. 113, second state. Aristotelis dicendl scripta recenses/ Sic dcsiderium Un• guis in orbe tui./ Vitruvium explanas radio; tu tecta, domosque/ D[a]edalus ardfices aedificare doces." (five Unes). 9

Daniel Matteo Alvise Barbaro (Barbarus),Venice 1514 - POGGIO BRACCIOLXNI, GIAN FRANCESCO 1570; Italian Hellenist, diplomat and bishop. Engraved In (1600) the Galle workshop, author of the verses unknown. 17.7 x 12.2 cm.

In lower margin: "IOAN FRANCISCUS POGGIUS/ FLORENTINUS. / Felle armata tibi manus est,multoque 7 cachinno/Tinxisri, et nudo scripta proterua sale/ Ludicra sic recitas, cures ut seria, doctum/ Qui FABIUM Stygijs FICLNO, MARSILIO (1572) asseris e tenebris " (six lines). After Giorgio Vasarl

17.5 x 12.1 cm. Gian Francesco Poggio (Poggius) Bracciolini,Terranuova 1380 - Florence 1459; Italian humanist and collector of

In oval border around portrait: "MARSILIUS FICINUS manuscripts of classical authors. Engraved in the Galle FLORENTINUS". workshop, author of the verses unknown. In lower margin: "Quid referam de te magnum, Ficine. quod ipse/ Non superes multis partibus atque modis?/ SI quaeram certum veterum, Ficine, Sopborum/ Dlscipulum, quern te certius inveniam?" (four lines). In margin right: "Fj".

312 Appendix 2 I

10 Marco Girolamo Vida, Cremona c. 1485 - Alba 1566; Italian poet, bishop of Alba, one of the protagonists of the

GRIFFOLINI, FRANCESCO (1587) Counter-Reformation. Several of his studies were pub•

16.8 x 12.0 cm. lished by Plantin (Voet 1980-83, nos. 2436-2439). Engraved in the Galle workshop, author of the verses

In lower margin:"FRANCISCUSARETINUS./ Graeca unknown. facis sermone legi. Franc is ce, Latino;/ Sive ea sanctorum mystics scripta Patrum;/ Sive profana: magisne obnoxia mysnea Patrum,/ Nescio sintnc magis scripta profana tibi.5' (five lines). 13 In margin right: "37". ARIOSTO, LUDQVTCO (1587)

Engraved by Philips Galle, verses by Frans van Ravelingen. 16.7 x 11.8 cm. Theodoor Galle reused his fathers portrait of Griffolini from the 1587-edition; see appendix 2E, no. 64. In lower margin: "LUDOVICUS ARIOSTUS./ Ut Methymnaeo se GraeciaArionejactat,/ SicAriosto sejac- titet Italia./ Nomine sunt similes: verum me judice van/ Victor! palmam cedito Graie Italo." (five lines).

11 In margin right: "49".

SANNAZARDJACOPO (1587) Engraved by Philips Galle, verses by Frans van Ravelingen. 16.8x11.9 cm. Theodoor Galle reused his father's portrait of Ariosto from the 1587-edition; see appendix 2E, no. 8.

In lower margin: "I ACOBUS SANAZARIUS./ AEvi ni faceret semper veneranda vetustas,/ lam modicus priscis vatibus esset honos:/ Narnque est ingenio nobis Sanazarius acri,/ Quod Maro, quodq[ue] Limber, 14 quodq[ue] Catullus erat" (five lines). In margin right: "46". GOLLEMUCCIO, FANDOLFO (15S7) 16.8 x 11.7 cm.

Engraved by Philips Galle, verses by Frans van Ravelingen. Theodoor Galle reused his fathers portrait of Sannazaro In lower margin: "PANDULPHUS COLLENUCIUS from the 1587-edition; see appendix 2E, no. 120. PISAURUS./ Laus haec, quam dabo, sola CollenucI/ Declarat satis erudltionem:/ Ems eloquium Sacrl Imperator/ Caesar Imperij audijt, probavit," (five lines). In margin right:"45".

12 Engraved by Philips Galle, verses by Frans van Ravelingen,

VIDA, MARCO GXROLAMO (1600) Theodoor Galle reused his father s portrait of Collenuccio 17.9 x 11,7 cm. from the 1587-edition; see appendix 2E, no. 34.

In lower margin: "M. HIERONYMUS VIDAS/ ALBAE EPISC,/ MANTUA clara tuae quantum vicina Cremonae,/ Virgilij tantum vestigia promus adoras./ CHRISTIADOS dium est opus. Hymni, docta poesis,/ Bombycumq[ue] ortus: scaceos in proelia ducis " (six Imes).

313 Appendix 2 I

15 In margin right: "33".

VALERIANO, GIAMPIETRO (1587) Engraved by Philips Galle, verses by Frans van Ravelingen. 16.8 x 12,0 cm. Theodoor Galle reused his father's portrait of Paulo Manuzio from the 1587-edition; see appendix 2E, no. 86.

In lower margin: "JOANNES PIERIUS VALER I ANUS./ Ipsus Pieria conscribis carmina vena,/ Et vates vatem corrigis eximium/ Virgilium: dignos scripsisti nomine libros,/ Ponte a Pierio nomen et omen habens" 18 (five lines).

In margin right: "36". MARCANTONIO MAIORAGIO (1600) 18.2 x 12.3 cm.

Engraved by Philips Galle, verses by Frans van Ravelingen. In lower margin:"M. ANT. MAIORAGIUS./ Insubrum Theodoor Galle reused his father's portrait of Collenuccio sedes, ANTONI, ut semine terras/ Agricola, illustras fon- from the 1587-edition; see appendix 2E, no. 138. tibus eloquij./ Reddit Aristoteles per te praecepta diser- tus:/ Pulpita, scripta, fomm nunc Cicerona sonant." (five lines).

16 fviarcantomo Maioragio (Marcus Antomus Maioragius), Maioragio 1514 - Ferrara 1555; Italian orator and classi•

MANUZIO,ALDO (1587) cist, especially famous for his commentaries on Cicero. After Martino Rota Engraved in the Galle workshop, author of the verses 16.8 x 11.9 cm. unknown.

In lower margin: "ALDUS PIUS MANUTIUS./ Si priscos libros, veterum si volvere scripta,/ Debemus quidquid jam licet, Aide, ribi./ Magna quidem laus est 19 Scriptoribus; at tibi major,/ Qui reddis vc teres

CHALCOGRAPHIA arte novos." (five lines). ALCIATX5 ANDREA (1567)

In margin right: "32." 17.6 x 12.2 cm.

Engraved by Philips Galle, verses by Frans van Ravelingen. In lower margin: "ANDREAS ALCIATUS IURE- Theodoor Galle reused his fathers portrait of Aldo CONSULTUS/ Eloquio lus Romanum lucebat et arte, Manuzio from the 1587-edition; see appendix 2E,no. 85. id/ Turba ohseurarant barbara Legulei./ Andreas prisco reddit sua jura nitori,/ Consultosque facit doctius Inde loqui" (five lines). In margin right: "F4". 17 Engraved by Philips Galle, verses by Benito Arias

MANUZIO, PAOLO (1587) Montano. Theodoor Galle reused Ins father's portrait of Aftcr Martino Rota Alciati - first engraved in 1567 - from the 1572b-edition; 16.7x12.0 cm. see appendix 2E, no. 113, state lib.

In lowcr margin: "PAULUS MANUTIUS, ALD. F./ Cunctis, Paule, patrem sequeris virtutibus Aldum,/ Doctrina superas, eloquio superas./ Chalcographa patris nomen celebratur ab arte;/ Paule, tuum docto nomen ab ELOQUIO." (five Unes).

314 Appendix 2 ï

20 Fulvio Orsini (Ursinus) Rome 1529 - 1600; Italian anti• quarian and librarian In service of the Farnese family.

CARLO 8IGONIO (1600) Together with Jan Moretus, Theodoor Galle Issued two

17.1 x 12.2 cm. illustrated editions on the collection of antique busts, gems and coins In Orsini s collection. The first edition of

In lower margin: "CAROLUS SIGONIUS Musirmm imagines ex antiquis marmoribus appeared in 1598, MUTINIENSIS./ Italiae decus, atque aevi fios, magnae the second, enlarged edition in 1606. Other works were SIGONI/ Salve, en assurgit Roma supcrba ribi/ lura doces also published at the Cfficina Planiiniana (Voet 1980-83, Latij,Ciceronis scripta revolvis/ AEmulus; anuqua primus nos. 2348-2350) Engraved in the Galle workshop, author in hisioria." (five lines). of the verses unknown.

Carlo Sigonio (Carolus Sigonius), Modena 1524 - 1584;

Italian humanist and historian, professor at the universi• 23 ties ofVemce, Padova and Bologna. Engraved m the Galle

workshop, author of the verses unknown. IPPOLITO CAPILUPI (1600) 17.5 x 12.1 cm,

In lower margin: "HIPPOLYTUS CAPILUPUS 21 EPISC./ Ad Vénetos misit Legati muñere Quartus/ Dum Pius ad Tiberis ñumina servat oves:/ Quern Pastoral! VBTTORI, PXETRO (1587) redimitum témpora mitra,/ Carmineq[ue] insignem After Cornells Cort Mantua clara dedit." (five lines). 16.8x11.9 cm.

Ippolico Capilupi, Modena 1511 -Rome 1589; Italian In lower margin:"PE'IRUSVICTORIUS./ Primus dum humanist, poet, bishop and diplomat, brother ofLelio (see veteres Critica Victorius arte/ Eruis e tenebris, abluis a below) A volume of poems was published by Plantin (Voet maculis;/ En correctorum grex gnarulus invidet: at te/ 1980-83, no. 913). Engraved in the Galle workshop, author Esse tamen primum laus tibi prima datur" (five lines). of the verses unknown. In margin right: "34".

Engraved by Philips Galle, verses by Frans van Ravelingen. Theodoor Galle reused his father's portrait of Paulo Manuzio from the 1587-edirion;see appendix 2E,no. 141. 24

LAELIO CAPILUPI (1600) 17.0 x 11.7 cm.

22 In lower margin: "LAELIUS CAPILUPUS./ MANTUA Virgilio, atque edam te gaudet alumno,/ Namque tuo

FULYÎO ORSINI (1600) illius carmina in ore sonant./ Quae collecta licet sint omni

18.1 x 12.2 cm. ex parte Maronis,/ Non tamen haec eadem quae canit ille, earns" (five lines).

In lower margin: "FULVÏUS URSINUS ROM ANUS,/ Tu quoque qui ñilvo FULVÏ specteris in auro/ Dignus es, et pleno conspiciare foro,/ Urbis et illustras monumenta Laelio Capilupi, Mantua 1497 - 1560; Italian humanist aeternae et Athenas:/ Axe sub, hinc, gemino fama loque- and poet in service of the Conzaga family elder brother

tur anus." (five lines). of Ippolito (see above). Engraved in the Galle workshop,

author of the verses unknown.

315 Appendix 2 I

25

GIUSSEFPE CASTIGLIONE (1600) 16.9 x 11.8 cm.

In lower raargin:"IOSEPHUS CASTALIO/ANCONT- TANUS I.C./ Castalios hauris fontes iuvenilibus annis/ Nomen er omen idem, Castalis unda dedit/ Nunc Legum docri.s iuvat impallescre chartis:/ Quinetiam. vatum scrip• ta diserta legis." (six lines).

Giuseppe Castiglione (Josephus Castalio), died Ancona 1616. Italian jurist. Engraved in die Galle workshop, author of the verses unknown.

316 Appendix 3 A

INSTRUCTION ET FONDEMENTS DE MEN Peintres,/ Statuaires, Orfèvres, et sem-/ bables Artisans:/ POURTRAIRE (1589) Nouvellement faict et mis en lumière par/ PHILIPPE 13 engravings GALLE./A Anvers,/ L'an M.D.LXXXÏX." (eleven Unes; "Instructions in the rudiments of drawing die human fig• This print series consists of a title page in letterpress and ure. For apprenticed youth and ail who feel dispose to be a one-page letterpress introduction in French followed by painters, sculptors, goldsmlths or like artisans. Conceived 13 numbered engravings .The first edition of the instruction and published by Philips Galle In Antwerp, in the year ..... was published by Philips Galle in 1589. On the verso 1589."). of the tide page Philips Galle's introduction - together with a dedication to Hieronymus Francken the Elder - is On the verso, also in letterpress: "PHILIPPE GALLE/ A printed in letterpress .The engravings were - as the signa• L'EXCELLENT ET EXPERT MAISTRE/ tures on all engravings indicate - engraved by Galle, most HIEROSME FRANCQ, PEINTRE/ DE LA REYNE probably after his own designs. A second edition was DE FRANCE, SALUTATE./ Ayant entendu, Seigneur brought on the market by the Amsterdam print publish• & amy, que les livrets conte-/nants quelques figures de er Claes jansz.Visscher. personnages nuds, que i'ay passé/ quelque temps mis en lumière à l'Instruction de la jeunesse/ aprentisue, ont esté The complete series is extremely rare.The only complete passablement agréables à plusieurs; je/ me suis avisé leur copy of Philips Galle's edition of 1589 known so far, proposer les vrais commencements, les-/ quels, selon mon including the tide page and die introduction, is in the advis, sont nécessaires à tous ceux qui s'ad-/ dorment à Graphische Sammlung Albertina in Vienna. A complete vouloir estre Peintres, Orfebvres, Statuaires, ou/ sem• set ofVisscher's seventeenth century reissue - lacking the blables Artisans. Car on voit le plus souvent que les apren- tide page and introduction - is kept in the print collec• ofs, bien que/ ja long temps se soyent exercez à pourtraire, tion of the Statens Museum for Kunst in Copenhagen. neantmoins besongnent encore/ comme pour dire en ténèbres; ce qui procède de n'avoir eu l'intelligence des/

Lit.: fondements. Aussi comment pourra celuy parfaitement

Hollstein, vol 7, p. 83, nos, 789-801 ;TIB. 56, pp. 496-508, pourtraire ou pein-/ dre, qui n'a cognoissance des osse• nos. 207:1-13; Sellink 1992b ments? ou comment pourra-il compren-/ dre les muscles (lesquels â pâme se peuvent apercevoir au travers de la

Copies: peau,)/ s'il est du tout ignorant de l'Anatomie? Ce qui se Amsterdam (Rijksprentenkabinet, Rijksmuseum, voit en plusieurs, mesmes/ de ceux qui prendraient en Amsterdam), nos. 10-11, Copenhagen (Kongelige maie part si on ne les comptoit entre les plus braves,/ & Kobberstiksamling, Statens Museum for Kunst, toutefois monstrent par effect qu'ils n'y entendent rien.

Kobenhave), second edition, nos. 1-13, Dresden (Kupfer- Pour cela mfa-il/ semblé estre expédient pour la jeunesse, stichkabinett der Staadichen Kunstsammlungen, qu'elle aprenne à cognoistre la for-/ me & composition Dresden), nos. 3-4,6,8-9,12, New York (Department of des ossements des morts, & de goûter quelque peu de/ Prints, Drawings and Illustrated Books, Metropolitan l'Anatomie. & à ceste cause ay-je mis en avant les pré• Museum of Art, New York), nos. 7-9, Paris (Cabinet des sentes figures, à fin/ qu'elles servent aux nouveaux estampes, Bibliothèque Nationale, Paris), nos. 9-13, Peintres, comme sont les Rudiments ou/ Grammaires aux Rotterdam (Museum Boljmans Van Beunmgen, Escaliers, pour rnanuduction à plus haute science. le ne/ Rotterdam), no. 10, Vienna (Graphische Sammlung donne point icy quelque règle de proporcion ou mesure; Albertina, Wien), title page. Introduction and nos. 1-13 puis que cela plei-/ nement est accompli par ce grand maistre Albert Durer: je ne leur mets ans-/ si devant les

TITLE PAGE TO INSTRUCTION ET FONDE• yeux l'Anatomie de si près comme a faict le docteVesaiius;/

MENTS DE BIEN POURTRAIRE (1589) comme chose plus touchante aux Médecins & Letterpress Chrrugiens, qu'à nous au-/ très: Ains me contiens seule•

ment entre les bornes de ce qu'il m!a semblé pro-/ pre à

Filling entire page:: "INSTRUCTION/ ET FONDE• nostre profession. Or comme je sçay que ces figures ont MENTS/ DE BIEN POURTRAIRE,/ Pour la jeunesse à faire d'un/ bon tuteur & protecteur contre les envieux aprennsue, et tous ceux qui/ s'adonnent a vouloir estre & mes-priseurs; je les vous en-/ voye, comme en seure

317 Appendix 3 A

garde de celuy que je ne doute avoir & volonté &/ moyen Now, because I know that these depictions de les défendre. Aussi ne passe pas mon désir plus oultre must have a good guardian and patron against the envi• que re-/ quiert la raison: & par cela s'il y a quelqu'un qui ous and the disdainful, I send them to you, a trusty cus• sçache donner à la jeunesse/ ayde meilleure & plus pro• todian, whom I do not doubt has the will and means for pre pour parvenir au but qu'elle pretend; nous/ nous their safeguarding. Nor does my desire exceed that which resjoulrons avec elle de cela, ôc luy en sçaurons fort bon reason dictates, so if there is one who can furnish a bet• gré./ Sur ce, seigneur êc amy, je prleray le Tout-puissant, ter and more fitting remedy to answer the purpose to qu'il plaise vous/ continuer les samctes graces en toute which it [the youth] lays claim,, then we rejoice in It, and prospérité. D'Anvers, le seisiesme de/ Febvrier, M. D. thank him full heartily. LXXXIX." (forty lines) Lord and friend, I pray the almighty for this: may it please him unceasingly to bestow his divine gifts

("PHILIPS GALLE, TO THE EXCELLENT AND upon you, in all prosper!ty. SKILLED MASTER HIERONYMUS FRANCKEN, PAINTER TO THE QUEEN OF FRANCE, GREET• Antwerp, 6 February 1589.") INGS.

Having learned, worthy lord and friend, that the little books containing divers depictions of nude fig• 1 ures, which I brought to light some while ago for the instruction of apprenticed youth, had been received with SKELETON SEEN FROM THE FRONT

some favour by several persons, I was advised to lay the 23.5 x 15.9 cm. true rudiments before them [apprenticed youth], namely

those matters which, in my judgment, arc needful for all In lower left corner: !iPh[i]l[ip]s Galle fecit et excudit."

who feel disposed to become painters, goldsmiths, sculp• In lower right corner: "L" tors or like artisans.

For most frequently one sees that apprentices, I. although long engaged in the practice of draughtsman• ship, nevertheless still toil in darkness, as it were, the which As described. proceeds from an incomprehension of fundamental mat• ters. How can one draw or paint perfectly without knowl• II. edge of the skeleton? Or how is he to understand the In lower left corner: "Ph[i]l[ip]s Galle fecit." (period muscles (which can only be perceived through the skin added, "et excudit." erased); added in lower right corner: with difficulty) if wholly unversed in anatomy? One "CIV[intertwined]isscher excudebat." observes this in many people, even in those who would take it amiss not be ranked with the very best, yet they demonstrate that they understand naught of it. I therefore 2 considered it fitting for the young to become conversant with the form and composition of the bones of the dead, SKELETON IN PROFILE

and thus sample anatomy a litde. And to that end I have 23.6 x 15.9 cm. put forward these present figures that they might serve young painters as a guide to the highest learning, just as In lower left corner: "Philippus Galle fecit et excudit." the rudiments of grammar are for scholars. In lower right corner: "2."

I devote not one line here to proportion or to measurement, for they have already been clearly expound• I. ed by that great master Albrecht Durer. Nor do I place anatomy before their eyes in the manner of the learned As described. Vesalius, as a matter more befitting doctors and surgeons than us others. Thus I confine myself strictly to the prop• II. er limits of our profession. In lower left corner: "Philippus Galle fecit." (period

added, !!et excudit." erased).

318 Appendix 3 A

3 6

SKELETON SEEN FROM BEHIND ECORCHE SEEN FROM BEHIND

23.6 x 15.9 cm. 23.5 x 15.8 cm.

In lower left corner: "Ph[i]l[ip]s Galle fecit et excudit." In lower left corner: "Ph[i]I[ip]s Galle fecit et excudit," In lower right corner: "3." In lower right corner: "6."

I. I.

As described. As described.

II. XL

In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu- In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu- dit.!S erased). dit." erased).

4 7

ECORCHE SEEN FROM THE FRONT A NUDE MAN SEEN FROM THE FRONT

23.7 x 16.0 cm. 23.6 x 15.9 cm.

In lower left corner: "Philippus Galle fecit et excudit." At bottom centre: "Ph[i]I[ip]s Galle fecit et excudit." In lower right corner: "4." In lower right corner: "7."

I. L

As described. As described.

H. XL

In lower left corner: "Philippus Galle fecit" ("et excudit." At bottom centre: "Ph[i]l[ip]s Galle fecit" ("et excudit." erased). erased).

5 8

ECORCHE IN PROFILE Ä NUDE MAN IN PROFILE 23.5 x 15,9 cm. 23.6 x 15.9 cm.

In lower left corner: "Ph[ijl[ip]s Galle fecit et excudit." In lower left corner: "Philippus Galle fecit et excudit." In lower right corner: "5." In lower right corner: "8,"

I, I. As descrlbed. As described. n.

5 XL In lower left corner: "Ph[i]l[ip]s Galle fecit ' ("et excu• dit." erased). In lower left corner: "Philippus Galle fecit" ("et excudit." erased)

319 Appendix 3 A

9 12

A NUDE MAN SEEN FROM BEHIND A NUDE WOMAN SEEN FROM BEHIND 23.4 x 15.9 cm. 23.5 x 15.9 cm.

In lower left corner: "Ph[i]l[ip]s Galle feck et excudit." In lower left corner: "Ph[i]l[ip]s Galle fecit et excuclit." In lower right corner: "9." In lower right corner: "12."

I. I. As described. As described. n. II. In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu• In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu• dit." erased). dit." erased).

10 13

A NUDE WOMAN SEEN FROM THE FRONT THREE NUDE CHILDREN

23.7x15.9 cm. 15.9 x 23.5 cm.

In lower left corner: "Ph[i)lfip]s Galle fecit excuditq[uej." At bottom centre: "Ph[i]l|ip]s Galle fecit et excudit." In lower right corner: "10." In lower right corner: "13."

I. 1.

As described. As described.

XL II.

In lower left corner: "Ph[i]I[ip]s Galle fecit" ("excu- At bottom centre: "Ph[i]l[ip]s Galle fecit" ("et excudit." ditqjue]." erased). erased).

11

A NUDE WOMAN IN PROFILE 23.5 x 15.9 cm.

In lower left corner: "Ph[ljl[ip]s Galle fecit et excudit." In lower right corner: "11."

I.

As described.

II.

In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu• dit." erased).

320 Appendix 3 B

SEA AND RIVER GODS (15S6) SI-/ GILLARIAE IMA-/ GINES PERELE-/ 18 engravings GANTES./ in pieturae statuariaeque/ artis ryronurn usum,/ a/ Philippo Gallaeo delineatae,/ scalptae, et ae-

The series Sea and river gods consists of an engraved tide ditae,/ Antverpiac Amblvaritor./ CIC[in reverse]. IC[m page and 17 numbered engravings of water gods, pub• reverse]. LXXXVL" (fourteen lines). lished by Philips Galle in 1586. As in case of the series Nymphs (appendix 3C) the tide page explicitly mentions I. Galle as both engraver and designer of the prints. In the As described. first decades of the seventeenth century the series was reis• sued by the Antwerp publisher Carel Coilaert (active n. 1625/50), who only changed the address on the tide page. Erased at bottom centre: "CIC[in reverse]. IC[in reverse], All prints, excluding the title page, were again brought LXXXVL"; replaced by: "Carolus Coilaert excud." out In Antwerp by Galle's grandson Johannes Galle. In this last edition the water gods were mingled with the nymphs and all prints were renumbered.

1 Lit.: Hollstein, vol 7, p. 78, nos. 316-332;TIB. 56, pp. 345-353, OCEANUS nos. 90:1-17; Sellink 1992b, p. 52 16.3 x 10.0 cm.

Copies: In lower margin: "OCEANUS." Amsterdam (Rijksprentenkabinet, Rijksmuseum, In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two Amsterdam), tide page, nos. 1-17, Antwerp (Stedelijk lines). Prentenkabinet, Museum Plantin-Moretus, Antwerpen), tide page, nos. 1-17, Cöborg (Kupferstichkabinett der In margin right: "1." Kunstsainrnlungen Veste Coburg, Coburg), enlarged edi• tion Johannes Galle, title page, nos. 1-34, Copenhagen I. (Kongelige Kobberstiksamling, Statens Museum for Kunst, Kobenhave), nos. 1-17, Dresden (Kupferstich• As described. kabinett der Staatlichen Kunstsammlungen, Dresden), tide page, nos. 1-17, London (The British Library, XL Borderline added around composition. London), title page, nos. 1-17, New York (Department of Prints, Drawings and Illustrated Books, Metropolitan

Museum ofArt, New York), nos. 1-17, Paris (Cabinet des 2 estampes, Bibliothèque Nationale, Paris) edition Philips

Galle, tide page, nos. 1-17 and edition Carel Coilaert, tide NEPTUNE page, nos. 1-17, Rotterdam (Prentenkabinet, Museum 16.3 x 10.1 cm. Boij mans Van Beuningen, Rotterdam), nos. 1-3, 5-8,10-

15 and 16-17, Vienna (Graphische SarrrrnlungAlbertina, In lower margin: "NEPTUNUS."

Wien), title page, nos. 1-17 In margin left: "Ph[i]l[ip]s Gall, inven,/ et scalp." (two lines).

In margin right: "2."

TITLE PAGE

16.4x10.0 cm. I. As described.

Within cartouche, filling entire engraving: "SEMIDE-/ n. ORUM MARL/ NORUM AMNI-/ CORUMQUE Borderline added around composition; erased in margin right: "2.", replaced by "3".

321 Appendix 3 B

3 I. As described. NEREUS 16.4 x 10.1 cm. n. Borderline added around composition; erased in margin

In lower margin: "NEREUS." right: ?,5.", replaced by "9". In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two lines). 6 In margin right: "3."

PORTUNUS I. 16.5 x 10.1 cm. As described.

n. In lower margin: "PORTUNUS." Borderline added around composition; erased in margin In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two right: "3.", replaced by "5". lines).

In margin right: "6."

4 I.

GLAUCUS As described. 16.4 x 10.1 cm. XL

In lower margin: "GLAUCUS." Borderline added around composition; erased in margin

In margin left: "Ph[i]l[ipjs Gall, inven./ et scalp." (two right: "6.", replaced by "11". lines). 7 In margin right: "4."

NILUS I. 16.4 x 10.1 cm.

As described. In lower margin: "NILUS."

In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two H. lines).

Borderline added around composition; erased in margin right: "4.", replaced by "7". In margin right: "7."

5 I. As described.

PROTEUS n. 16.4 x 10.1 cm. Borderline added around composition; erased in margin right: "7.", replaced by "13". In lower margin: "PROTHEUS." In margin left: "Ph[ijl[ip]s Gall, inven./ et scalp." (two lines). In margin right: "5."

322 Appendix 3 B

8 n. Borderline added around composition; erased in margin ACHELOUS right: "10.", replaced by "19". 16.5 x 9.9 cm,

In lower margin: "ACHEOLUS." In margin left: "Ph[i]l[ip]s Gall, inven./ ct scalp." (rwo 11 lines).

TXBRIS

In margin right: "8." 16.5 x 10.2 cm.

I. In lower margin: "TIBRIS,"

As described. In margin left: "Ph[i]l[ip]s Gall.inve./ et scalp." (two lines). IL In margin right: "11." Borderline added around composition; erased in margin right: "8.", replaced by "15" I. As described.

9 n. Borderline added around composition; erased in margin DANUBIUS right: "11.", replaced by "21". 16.6 x 10,1 cm.

In lower margin: "DANUBIUS." In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two 12 lines). AOS In margin right: "9." 16.3 x 10.0 cm.

I. In lower margin: "ACIS."

In margin left: "Ph[i]l[ip]s Gall, inven,/ et scalp." (two As described. lines).

XL In margin right: "12."

Borderline added around composition; erased in margin

8, I. right: 9."s replaced by "17". As described.

10 n. Borderline added around composition; erased in margin RHENUS right: "12.", replaced by "23"

16.5 x 10.1 cm.

In lower margin: "RHENUS."

In margin left: tfPh[i]l[ip]s Gall, inven./ et scalp." (two 13 lines).

TAGUS

i8 In margin right: "10. 16.4 x 10.1 cm.

I. In lower margin: "TAGUS." As described.

323 Appendix 3 B

In margin left: "Ph[i]l[ip]s Gall, Inven/ et scalp." (two 16 lines).

SCALBÎS In margin right: "13." 16.6 x 10.2 cm.

I. In lower margin: "SCALDIS." As described. In margin left: "Ph[i]l[ip]s Gall.inve./ et fecit." (two lines). n. In margin right: "16." Borderline added around composition; erased in margin right: "13.", replaced by "25", I. As described, IX. Borderline added around composition; erased in margin 14 right: "16.", replaced by "31".

RODANUS 16.5 x 10.1 cm.

17 In lower margin: "RODANUS." In margin left: "Ph[i]l[ip]5 Gall.inve./ et fecit." (two lines). TAMESIS In margin right: "Î4." 16.4 x 10.0 cm.

I. In lower margin: "TAMESIS." In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp.'' (two As described. lines).

XL In margin right: "17."

Borderline added around composition; erased in margin right: "14.", replaced by "27". I.

As described.

15 XL

LIGERIS Borderline added around composition; erased in margin 16.3 x 10.2 cm. right: "17.", replaced by "33". Several impressions - including the one in the In lower margin: "LIGERIS." Rijksprentenkabinet - lack a small piece (c. 1 cm^) of cop• In margin left: "Ph[i]lfip]s Gall.inve. / et scalp." (two lines). per in the lower right corner. Other impressions, like the In margin right: "15." one in the Alberrina, already show a crack in the copper• plate. I.

As described.

XL

Borderline added around composition; erased in margin right: "15.", replaced by "29",

324 Appendix 3 C

NYMPHS (1587) TITLE PAGE

18 engravings 16.4 x 9.9 cm.

The series Nymphs consists of an engraved ride page and In upper half of the engraving: "NIMPHARUM 17 numbered engravings of water nymphs and was pub• OCEANI-/ TIDUM, EPHYDRIDUM PO-/ lished by Philips Galle in 1587. According to the title page TAMIDUM, NAIAD UM, LY-/ NADUMQUE all engravings were engraved by Galle after his own ICONES, IN/ GRATIAM PICTURAE STU-/ designs .The Nymphs are dedicated to the Antwerp burgher DIOSAE IUVENTUTIS/ DELINIATAE, SCALP-/ and former alderman Rutger van der Haept, to whom TAE,ETEDITAR/A/ PHILIP. GALLALO./ Antverpij/ Galle also dedicated a series of landscapes and cityscapes 1587." (twelve lines).

after Hendrik van Cleve; see Hollstein, vol. 4, p. 170, nos. In lower half of the engraving: "NOBILÍ/ ORNATIS- 1-38 and ibid., vol. 7, p. 80, nos. 423-460.The prints were SIMO QUE/ VIRO DfOMI]NO RUTGERO/VAN- reissued in Antwerp at an unknown date by his grandson DER HAEPT PATRI-/ CIO ANTVERPIANO Johannes Galle. In this new edition die nymphs were min• OMNI-/AM ELEGANT!ARUM, GRAPHI-/ DIS gled with dieir male counterparts, namely the 17 engraved IMPRIMIS SUMMO AD MI-/ RATORI IMPRIMIS sea and river gods, first published by Philips Galle in 1586 SUMMO ADMI-/ RATORI, ATQUE FAUTORI BE- (cp. appendix 3B). / NÍGNISSIMO PH[I]L[ÍP]S GALLEUS./ AE.-DD." (ten lines) . Lit.: Hollstein, vol. 7, p. 78, nos. 299-315;TIB. 56, pp. 354-362, I. nos. 91:1-17; Sellink 1992b, p. 52 As described,

Copies: n. Amsterdam (Rijksprentenkabinet, Rijksmuseum, Am• Added above inscription on upper half: "SEMIDEO- sterdam), tide page, nos. 1-17, Antwerp (Stedelijk RUM MARINORUM"; erased in upper half "PHILIP", Prentenkabinet, Museum Plantin-Moretus, Antwerpen), replaced by "IOANNE"; erased in upper half "1587". title page, nos. 2-3, 12-13, 15, 17, Brussels (Prenten• kabinet, Koninklijke Bibliotheek Albert ï, Brussel; The second state was used by Johannes Galle as the tide Cabinet des estampes, Bibliothèque Royale Albert Ier, page to the combined series of the Nymphs and the Sea Bruxelles), ride page, nos. 1-17, Coburg (Kupferstlch- and river gods. kabinett der Kumtsarfirnlungen Veste Coburg, Coburg), second, enlarged edition Johannes Galle, tide page, nos. 1-34, Copenhagen (Kongelige Kobberstiksamllng, Statens Museum for Kunst, Kobenhave), nos. 1, 14-17, 1 Dresden (Kupferstichkabinett der Staatlichen Kunst- sammlungen, Dresden), tide page, nos. 1-17, London AMPHITRITE (The British Library, London), tide page, nos. 1-17, 16.3 x 10.0 cm. Madrid (Gabmete de estampas y bellas artes, Biblioteca

Nacional, Madrid), title page, nos. 1-7, New York In lower margin: "AMPHITRITE/8 (Department of Prints, Drawings and Illustrated Books, In margin left: "1." Metropolitan Museum of Art, New York), tide page, nos. 1-10, 13-14, 16, Paris (Cabinet des estampes, Biblio• In margin right: "Ph[i]l[ip]s. Gall./ inventor." (two lines). thèque Nationale, Paris), tide page, nos. 1-1.7, Vienna (Graphische Sammlung Albertlna, Wien), tide page, nos. I. As described. 1-17 n. Borderline added around composition; erased in margin left: "1."; added in margin right: "2".

325 Appendix 3 C

2 Traces of changing the position of the right hand are

vaguely visible in all known impressions. THETIS 16.4 x 10.0 cm.

In lower margin: "THETIS." 5 In margin left: "2."

HIPPOCRENE

I. 16.6 x 10.0 cm.

As described. In lower margin: "HIPPOCCRENE." In margin left: "5." IL

Borderline added around composition; erased in margin L

left: "2."; added in margin right: "4" As described.

n. 3 Borderline added around composition; erased In margin left: "5."; added in margin right: "10". GALATEA 16.5 x 9,9 cm.

In lower margin: "GALATHEA." 6 In margin left: "3."

ARETHUSA

I. 16.4 x 10.0 cm.

As described. In lower margin: "ARETHUSA."

In margin left: "6." II.

Borderline added around composition; erased in margin I. left: "3,"; added in margin right: "6", As described.

n. 4 Borderline added around composition; erased in margin left: "6."; added In margin right: "12". ACID ALIA 16.4 x 10.0 cm.

In lower margin: "ACIDALIA." 7 In margin left: "4." SALMACIS L 16.4 x 10.0 cm.

As described. In lower margin; "SALMACIS." In margin left: "7." II.

Borderline added around composition; erased in margin I. left: "4."; added in margin right: "8". As described.

326 Appendix 3 C

n. I. Borderline added around composkion; erased in margin As described. left: "7 "; added in margin right: "14". n. Borderline added around composition; erased in margin left: "10."; added in margin right: "20".

8

PABUSA 16.4 x 9.9 cm. 11

In lower margin: "PADUSA." GARGA In margin left: "8." 16.4 x 9.9 cm.

I. In lower margin: "GARGA." As described. In margin left: "11."

n. I. Borderline added around composition; erased in margin left: "8."; added in margin right: "16". As described.

Traces of changing the position of the fingers of the left XL hand are vaguely visible on all known impressions. Borderline added around composition; erased in margin left: "11."; added in margin right: "22".

9 12

LERNA ÂMBRACIA

16.4x10.0 cm. 16.3 x 9.9 cm.

In lower margin: "LERNA." In lower margin: "ÂMBRACIA."

In margin left: "9." In margin left: "12."

I. I. As described. As described,

IL Borderline added around composition; erased in margin Borderline added around composition; erased in margin left: "12."; added in margin right: "24". left: "9."; added in margin right: "18".

10 13

CÀMERINA MAREOTIS 16.4 x 10.0 cm. 16.5 x 10.0 cm. In lower margin: "CAMERINA."

In margin left: "10." In lower margin: "MAREOTIS."

327 Appendix 3 C

In margin left: "13." Î6

I, LARGIA

16.6 x 10.0 cm.

As described.

In lower margin: "LARGIA."

IL In margin left: "16,"

Borderline added around composition; erased in margin left: "13."; added in margin right: "26". I.

As described.

14 IL

LYNOPE Borderline added around composition; erased In margin,

16.4 x 9.9 cm. left: "16."; added in margin right: "32".

In lower margin: "LYNOPE."

In margin left: "14." 17

I. STIX

16.4 x 10.0 cm. As described.

In lower margin: "STIX." IL In margin left: "17."

Borderline added around composition; erased in margin In margin right: "Ph[i]l[ip]s Gall./ inven. et sculp." (two left: "14."; added in margin right: "28" lines).

I. 15 As described.

AGANIPPE IL 16.3 x 9.9 cm. Borderline added around composition; erased m margin

In lower margin: "AGANIPPE." left: "17."; added In margin right: "34".

In margin left: "15."

I.

As described.

XL

Borderline added around composition; erased in margin left: "15."; added in margin right: "30".

328 Appendix 3 D

ORNAMENTAL DESIGNS FOR CIRCULAR 3

PLATES WITH SEA GODS

4 engravings NEPTUNE IN A SHELL DRAWN BY HORSES 16.9 x 16.6 cm.

These four ornamental engravings were engraved by Adriaen Collaert, most probably - as another comparable In lower margin, from left to right: i83 Adrianus Collaert series (appendix 3E) - after designs by his father-in-law fecit. Philippus Galle excudit." Philips Galle.

Lit.: Holistein, vol 4, p. 203, nos. 408-411; idem, vol 7, p. 83, 4 nos. 1-4;Hymans 1907,p. 243,271;De Groot 1988, p. 53, nos. 62.1-4; SeUink 1992b, p. 52 GALATEA ON A SHELL 17.0 x 16.7 cm.

Copies; Amsterdam (Rijksprentenkabinet, Rijksmuseum, Am• In lower margin, from left to right: "4 Adrianus Collaert sterdam), Brussels (Prentenkabinet, Koninklijke fecit. Ph[i]l[ip]s Galle excudit." Bibliotheek Albert I, Brussel; Cabinet des estampes, Bibliothèque Royale Albert Ier, Bruxelles), Coborg (Kupferstichkabinett der Kunstsammlungen Veste Coburg, Coburg), Copenhagen (Kongelige Kobberstik- samling, Statens Museurn for Kunst, Kobenhave), Mmdrid (Gabinete de estampas y bellas artes, BIbHoteca National, Madrid), Paris (Cabinet des estampes, Bibliothèque Nationale, Paris), Rotterdam (Prentenkabinet, Museum Boijmans Van Beuningen, Rotterdam), Stockholm (Prinrroom, Nationalmuseum, Stockholm), Vienna (Graphische Sammlung Albertina,Wien)

1

ARION RIDING ON HIS DOLPHIN

16.8 x 16.7 cm.

In margin at top, from left to right: "I Adria. Collaert fecit.

Ph[i]l[ip]s Galle excudit."

2

A GODDESS ON A SHELL

16.9 x 16.6 cm.

In lower margin, from left to right: "2 Adrianus Collaert fecit. Philippus Galle excud."

329 Appendix 3 E

ORNAMENTAL DESIGNS FOR OVAL PLATES 4 WITH SEA GODS 4 engravings A SEA GODDESS 11.5 x 15.7 cm (trimmed margins).

The engravings were incised by Adriaen Collaert after designs by Philips Galle; compare appendix 3D. In lower margin, from left to right: "Philipp. Gall, inven•

tor et excud. 4. Hadrian. Collaert scalp.5' Lit.:

Sellink 1992b, p. 52

Copies:

Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amsterdam), Copenhagen (Kongelige Kobberstik- samiing, Statens Museum for Kunst, Kobenhave), Dresden (Kupferstichkabinett der Staatlichen Kunst- sarnmlungen, Dresden), Paris (Cabinet des estampes, Bibliothèque Nationale, Paris), Rotterdam (Prenten• kabinet, Museum BoijmansVan Beuningen, Rotterdam), Vienna (Graphischc Sammlung Albertina, Wicn)

1

NEPTUNE 11.7 x 16.5 cm. (trimmed margins)

In lower margin, from left to right: "Philipp Gall, inven• tor ct excud. 1. Hadrian. Collaert sculp."

2

A SEA GODDESS 11.5 x 16.5 cm. (trimmed margins)

In lower margin, from left to right: "Philipp, Gall, inven• tor et excud 2. Hadrian. Collaert sculp."

3

A SEA GOD 11.6 x 16.7 cm (trimmed margins).

In lower margin, from left to right: "Philipp, Gall, inven• tor et excud. 3. Hadrian, Collaert sculp."

330 Appendix 3 F

DE DEIS GENTIUM IMAGINES (1581) TITLE PAGE I

30 engravings 14.3 x 9.2 cm.

In 1581 Philips Galle published this series of ancient gods. In oval cartouche, in centre of composition: "DE DEIS/ The images were engraved by Philips Gaile after his own GENTIUM/ IMAGINES ALL/ QUOTICONICAE,/ designs, as mentioned on the title page of the second edi• AENEIS TABULIS/ PER/ PHILIPP. GALLEUM/ tion. The accompanying Latin verses were composed by EXARATAE;/ ET VARUS DISTICHIS/ AB/ HUG. the Antwerp humanist Hugo Favolius (1523-1585).The FAVOLIO/ ILUSTRATAR" (thirteen lines). series consists of the engraved tide page - the verso of In cartouche, at top centre: "1581." which Is blank followed by a one-page Latin introduc• In cartouche, at bottom centre: "ANTVERRIAE". tion set in letterpress. The introduction is written by

Philips Galle and is dedicated to Carolus de Lathern Tide page to the first edition of De deis gentium imagines attending at the court of Matthias of Austria, Viceroy of of 1581. This plate was replaced by a new tide page in the Netherlands between 1577 and 1581. The verso of Theodoor Galle's reissue, this page is blank, then follow 29 unnumbered engrav• ings.

At an unknown date - most probably after 1605 - GalleBs TITLE PAGE II eldest sonTheodoor reissued the series.The tide page was 13.6 x 8.4 cm. replaced and all engravings were numbered.This edition, of which only two copies have been found so far, appar- In oval cartouche, in centre of composition: "DEORUM/ endy did not include the letterpress Introduction. GENTELIUM IMAGINES/ IN/ PICTURAE STATUA- RIUAEQ./ ARTIS TIRONUM/ USUM./ A Philippo Lit,: Gailaeo/ dellneatae et sculptae." (eight lines)

Bibliotheca Belgica, vol. 2, p. 14; Hollstein, vol. 7, p. 79, In cartouche, at bottom centre: "ANTVERPIAE/ nos. 352-380; Cockx-Indestege 1983-85, p. 514; Sellfnk Theodorus Gallaeus excudit./ Cum privilegio." (three 1992b, pp. 53-54 lines).

Copies: Tide page to Theodoor Galle's reissue of De deis gentium

Amsterdam (Rijksprentenkabinet, Rijksmuseum, imagines, replacing Philips Galle's earlier one. Amsterdam), üde page, nos, 1-29, Brussels (Koninklijke Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert Ier, Bruxelles), tide page, nos. 1-4 and 7-29, Munich (Staadiche Graphische Sammlung, München), tide page, INTRODUCTION nos. 1-29, New York (New York Public Library, New Letterpress York), edition Philips Galle, tide page, nos. 1-29 and edi• tion Theodoor Galle, nos. 1-29, Paris (Cabinet des estarn- "GENEROSO AC NOBILI/ ADOLESCENTI CAR• pes, Bibliothèque Nationale, Paris), tide page, nos. 1-29, OLO DE/ LATHEM, DOMINO DE COURT S./ Rotterdam (Prentenkabinet, Museum Boijmans Van Estienne etc. Sereriisslmi Principis Mathiae Au-/ strij,

Beuningen, Rotterdam), tide page, nos, 1-29, Vienna Belgiae GubematorisTAulico, D. suo/ mter primos obser• (Graphische Sammlung Alhertma, Wien), edition Philips vando, Philippus Gallaeus S.D./ Cum hunc líbellum cui Galle, title page, nos. 1-29 and edition Theodoor Galle, de Gentium dijs inscriptionem/ fecimus, una cum suis title page, nos. 1-29, Washington (Folger Shakespeare ekorubus in manibus haberem,/ Generose Adolescens, Library, Washington), tide page, nos. 1-29 statueremque eum aliquando formulis/ committere: non prius id mihi imperare potui, quam tu! nomi-/ nis auspi• cio commendatum intelligerem. Quippe qui hac-/ tenus magno meo dispendio abunde dldieerim, quam non/ sit tutum hacce multo exulceratlssima tempestate, quidquam/ in luccm emitiere, quod non Sit vel ómnibus

331 Appendix 3 F

suis numcris ab-7 soiirtum, vel excelientis auctorltate viri 3 patrocinio fartum, te-/ ctumquc.Tot habet haec ars nos• tra hodie aversos alicnosque/ a se animos.A quibus longe JUPITER te ahesse re ipsa quotidie compro-/ ba$,cuni Ingenuorum 13.1 x 8.0 cm. honiinum sculpturas picturasque non/ modo admirer is, vcrum criam ribi quanuvis accumules, ac/ velut in untirn In lower margin; "IUPITER./ Est Pater, est Gustos, est acervum congeras, Quid? quod arcano quo--/ dam natu• Rex hominumq[ue] Deumq[ue]/ Jupiter excelsa qui rae ductu (cui iam ipsa accessit rndustria) ita huic/ arti tonat arce poll." (three lines). addictus es,ne ceteras praecellentis tui ingenij dotes com-

/ memorera, ut non obscurum subinde artificij specimen I. ex-/ hibeas? Accipe igitur generose Adoleseens, hoc As described. qualecumquc/ nostrae in te observanriae testimonium, et pro tua cum aucto-/ ritate, turn benevolentia, a zoilis ac n. sciolis has nostras lucti-/ bratiunculas vindicate. Added: "3". Antverpiae, Anm D. supra sesqui-/ millesimum octoges- imi prirm mense Febr." (28 lines).

1 JUNO SATURN 13.2 x 8.1 cm.

13.1 x 8.1 cm. In lower margin: "ÍUNO./ Alma jovis summi coniunx

In lower margin: "SATURNUS./ Fulciger antiquis vixit Saturnia Juno/ Temperie verna, vivida quaequae regit" Saturnus in agris,/ Aurca cum Latio siajecla fuere solo." (tlrree lines). (three lines).

I. I. As described. As described. n. n. Added: "4". Added: "1".

2 5

OPS NEPTUNE

13.2x8.2 cm. 13.1 x 8.0 cm.

In lower margin; "OPS. quae et CYBELE./ Magna Deum In lower margin: "NEPTUNUS./ Cunctaru[m] Deus mater, Phrijgia comitata caterva est/ Quod froges pri- atq[ue] Parens Neptunus aquarum,/ Axibus, et glaoeis mum hinc dicant caerisse creari." (three lines), aequora sternit equis." (three lines).

I. I. As described. As described. n. II. Added: "5". Added: "2".

332 Appendix 3 F

6 9

AMPHITRITE APOLLO

13,0x8.0 cm. 13.1 x 8.0 cm.

In lower margin: "AMPHITRITE./ Ceruleo pollens In lower margin: "APOLLO/ Conspicuusq[ue] Lyra, et coniunx Neptunia regno/ Amphitrita vagos pandit arnoe- Grynaeo P[ojebus opaeo/ Et telis, triplex fundit ab ore

na sinus.*s (three lines). iubar" (three lines).

I. I. As described. As described. n. XL Added: "9". Added: "6".

1 10

PLUTO DIANA

13.1 x 8.1 cm. 13.0 x 8.1 cm.

In lower margin; "PLUTO./Tartara Plutonem nocturnis In lower margin: "DIANA/ Astrorum decus et plena tenebris/ Monstraque de coelo precipitata tenent." nemorufm] Latonia custos./ Pert venatores per iuga (three lines). summa canes." (three lines).

I. I. As described.

n. As described. Added: "7".

Added; "10".

8 11

PROSERPINA MARS 13.2x8.0 cm. 13.2 x 8.1 cm.

In lower margin: "PROSERPINA./ jura dat Infernis In lower margin: ,9MARS/ Contritu intumuit lunonis Coniunx Plutonia Regius,/ Caeditur utqjue] illi victima graminis alvus/ Bellicaq[ue] in lucem prodijt haec nocas Herae." (three lines). soboles" (three Hnes).

I. I.

As described. As described.

XL EE. Added: "8", Added: "11",

333 Appendix 3 F

12 15

BELLONA BACCHUS 13,1 x 8.1 em. 13.0 x 8.0 cm.

In lower margin: "BELLONA./ Sanguíneo excurrit. tris- In lower margin: "BACCHUS/ Lacunae Bacchus dator tiqjue] horrenda flagello/ Et Bellona regit túrbida Mariis est, spumantia miscet/ Pocla, capistratus tigribus alta equos/' (three lines) petit." (three lines).

I. I. As described. As described. n. II. Added: "15". Added: "12".

13 16

VULCAN CERES 13.2x8.0 cm. 13.0 x 8.1 cm.

In lower margin: "VULCANUS/ Et Iovis, et magnae In lower margin: "CERES/ Diva potens rrugum, trique- lunonis fdius, usq[ue]./ Fulrnina supremo fert iacienda tra venerabilis ora/ Semine spicifero regna Sicana beat." lovi" (three lines). (three lines). I. I. As described. As described.

IL IL Added: "16". Added: i!13i!

17 14

MERCURY

VENUS 13.0x8.1 cm. 13.1 x 8.0 cm.

In lower margin: "MERCURIUS/ Mercurios venator In lower margin: "VENUS/ Possidet alma Venus cunc- opum Cyllenia proles./ Est Mercatorum, Fraudum, tarum semina rerum/' Mater adulter!], nataqfue] Diva Furumq[ue] magister." (three lines). salo." (three lines). I. L As described. As described. n. n. Added: "17" Added: "14".

334 Appendix 3 F

18 21

MINERVA VESTA

13.1 x8.Q cm. 13.0 x 8.0 cm.

In lower margin: "PALLAS/ Exijt armatis Pallas ut saeva In lower margin: "VESTA/ Non aliud Vestarn, quam lacerris,/Armata nectit bella superba mann." (three lines). vjvafe] intellige flamma[e],/ EfEgiem nullam Vesca nec ignis habet." (tliree lines).

L

I. As described. As described.

IL n. Added: "18". Added: "21".

19

22 AEOLUS 13.0x8.1 cm. THEMIS 13.2 x 8.0 cm. In lower margin: "AEOLUS/ Hippodates ventos vasto premit Aeolus antro,/ Arbitrio emiottens quos velit ipse In lower margin: "THEMIS/ Est coelo terraqjue] Themis suo." (three lines). prognata, recenset/ Quae labyrintheis divina oracula ver• bis." (three Hnes).

I. On tablet In lower right corner: "DEUM TIMETO/ As described. QUOD TIBI/ NO.. AB ALTE/ RI NE FACITO/ TORI/ ..... ISTA/ SUPEROSVE-/ UTOR./ BEN- n. EFICIUM/ ..... PONITO./ BENEFICUS/ GRATIS Added: "19". ESTO." (twelve lines).

I. As described. 20 n. NEMESIS Added: "22". 13.1 x 8.0 cm.

In lower margin: "NEMESIS/ Trux Nemesis ut lacto cita rulmirie flamma,/ Mortalesq[ue] docet reddere cuiq[ue] 23 suum." (three lines). HERCULES I. 13.0 x 8.1 cm.

As described. In lower margin: "HERCULES/ Talis erat membrls bir•

ds Tyrinthius Heros/ Et clava pharetraq[ue] gravis spo- IL lioqfue] leonis." (three lines). Added: "20"

I, As described.

335 Appendix 3 F

XL X. Added: "23". As described.

XL Added: "26". 24

IIEBE

13.2 x 8.0 cm. 27

In lower margin: "HEBE,/ Est poculis praefecta lovis, AESCULAPIUS

praefecta iuventac/ Herculis atq[ue] uxor lunoms filia 13.1 x8.0 cm. magnae" (three lines),

In lower margin: "AESCULAPIUS/ Hie Deus extinc- I. tum cressis Epidaurius herbis/ Restituit patrys Androgeona focis," (three lines). As described.

X. XL

Added: "24". As described.

XL Added: "27". 25

CUPID 13.2 x 8.0 cm. 2%

In lower margin: "CUPIDO/ Films hie veneris, faabus POMONA

telisqjue] Cupido/ Insiructus, vexai pectaranostraDeus." 13.0x8.1 cm. (three lines).

In lower margin: "POMONA/ Rus Pomona tenet ramos I. amat ipsa fcrentes/ Poms coiit dextra pignora grata gcrit." As described. (three lines).

n. I. Added: "25". As described,

IX, Added: "28". 26

AURORA 13.1 x 8.1 cm.

In lower margin: "AURORA/ Rosida puniceo Pallantias exit amictu/ Lucifcrumqfue] suis Candida portat equis," (three lines).

336 Appendix 3 F

29

PAN

13 J x 8.1 cm.

In lower margin; "PAN/ Pan Deus Areadiae discurrere gaudet In alris/ Monribus ardentem Moenala Pans

sonant." (three lines).

I.

As described.

II. Added: "29".

337