manfred sellink philips galle - VU-DARE Home

MANFRED SELLINK
PHILIPS GALLE
(1537-1612)
ENGRAVER AND
PRINT PUBLISHER
IN HAARLEM
AND ANTWERP
li
NOTES/APPENDICES

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.
Notes Introduction
146

*. Quoted from Guicciardini 1567; see note 1.
1. "Dirick Volcaerts Core[n]-hert et Filippo
Galle amendue d'Harlem eccelle[n]tissimi intagliatori
Guicciardmi 1567, p. 101 In the enlarged Dutch
translation of 1612 this reads; "Dierick Volckaertsen
Corenhert, ende Philips Galle, beyde van Haerlem, uyt-
nemende gheschickt m coper re steken Guicciardini
1612, p. 82. This historiographical overview makes no
claim at all to be complete, it is only intended as a short,
introductory survey of the reputation of Philips Galle until
the second half of the nineteenth century. A short review
of the literature after 1850 can he found in note 33. On
Goltzius's portrait of Philips Galle, see Seliink 1991-92,
pp, 154-155.
2„ "Divick Volcaerts e Filippo Galle, amendue
d'Arlem, e Luca Leidem con mold altri, chi tutti sono stati
in Italia a irnparare e disegnare le cose antichi p[er]
tornarsene, si come hanno fatto la piu parte, a casa
eccjeilentiJ/Yasari 1878-85, vol. 7, p. 589.These last words
are the source of the traditional, hut most probably wrong,
supposition that Philips Galle travelled to Italy (also see
below) .Vasari misquotes Guicciardini who ends his list of
painters with the remark that nearly(!) all - compare
Vasari s misleading words "chi turn sono stati in Italia" -
of them had gone to Italy to study classical art.
3. "Cresciutogli al fine maggiormente 1'ammo
ha fatto sei Libri di disegni, che tuttavia s'intagliano in
Anversa per mano di Filippo Gale eccellente intagliatore,"
then follows the list of preparatory drawings kept by
Stradanus. See Borghini 1967, pp. 583-584; also see chap­
ter 4, note 158. Borghini s words are summarized, for
instance, in the eighteenth century by jean Baptist
Descanips,in his biography ofStradanus;Descamps 1753=
64, vol l,p. 160.
4. "Resta[n]t duo lumina artis non proprie
encausticae, ut quida[m] putant, sed quae in laminis aeries
et quovis e metaJlo ducrilibus, averse coeli scalprique trac-
tu pingit iconas historiasque omnes, quas illitu atramenti
cuiusdam encaustici, imo colorum quorumvis adversis
lamellae in gypseis tabulis chartis 've reddu[n]t. II sunt
Theudericus Volcardus Amstelrodamaeus divino homo
ingenio, sed fati adversi,et Philippus Gallaeus Harlemaeus
magistro illo, dij imrnortales, quanto superior; nisi quod
inchoatam cum laude artem ille intermislt; in hoc cum
surgente aetate etiam arris gloria gliscit." Junius 1588
Notes Chapter 1
147
p. 140. The English translation is quoted from Veldman
1977a, p. 99. On Galle s friendship and collaboration with
Junius, also see chapters 2 and 4. On Junius s Batavia* also
see Vermaseren 1949.
5.
i!
Ik moet van Koornhert ook, en van Galle
meest, gewagen/ Gewisslijck Galle mag niet over sijn ges­
lagen,/ Sijn yser was te eel, sijn printen sijn't wel waerd,/
En door geleerde luy en hunne snee vermaerd "Then fol­
lows the Latm quotation from Junius, restated by Ampzing
in Dutch:"Daer sijn noch twee lichten vande Plaet-snee-
konste overig, Dirk Volkertszen van Amsterdam, een man
van groot verstand, maer ongeluckig, ende Philips Galle
van Haerlem, desen sijnen meester verre overtreffende:
die [Coornhert] heeft de konste onderlaten, die hy met
lof aengevangen hadde, in desen [Galle] wast de ere van
de konst met de jaeren op," Ampzing 1628, p. 359.
Ampzing also translates the Latin verses underneath Galles
portrait of Janus Dousa: "Die Hollands Graven t'saern, en
ook Erasmus wesen,/ En 't uwe lunius gesneden heeft
voor desen,/ Die heeft het mijne mee in koper uytge-
druckt,/ Ik houde dat my dat met weymg is geluckt."
These lines of verse were written by Dousa himself and
prasse Galles earlier portraits of Erasmus, Junius and the
counts of Holland. On the relevance of these references
to Galle s portraits, see chapter 2. Dousa s portrait itself is
described in appendix 2E, no. 46a.
6. " op dit toneel [the art of engraving] ver-
toone[n] sich eerst Dirck Cornhart en Phlips Gallus.
Beyde dese recommandeert Had. Junius in zijn Batavia,
die hij noemt lichte van de konst niet een caustice daer
4
t vier by quam3 maer daer in kopere platen met een
averechts graveer-yser gesneden wort, en snij en alder-
hande beeldekens, en historie van alle materie. Dese Dirck
Cöorrxhart was van Amsterdam, een man van groot ver-
stant en couragie, maer ongeluckigh in sijn doen; het was
hem al tegen, dit was de meester van Phlips Gallus, maer
dese was haest boven sijn meester, help Godt met hoe
groot verschil, dat oock niet wonder was dewijl d'eene
de konst die hy met eere aen ghevangen hadde liet varen,
d*ander dagelijcks toenam in de konst ghelijck wasdom,
dese heeft verscheyde conterfeytsels gesneden, dat Douza
oock erkent, wiens uytbeeldinge Phlips Gallus in 't koper
gesneden d f
onsterfTelijckheyt toe-geheylicht heeft " then
follows the translation of the verses underneath Galle s
portrait of Dousa: "Die Graven van het lant, die soo
beroemde man,/ Gebroeyt uyt Rotterdam [Erasmus], en
lunium treffen kan,/ Dees heeft oock my gemeen, 't is

Gallus die !
t my deedt,/ Die Douzum heeft gebeeit, ick
wil wel dat ghy !
t weet." Schrevelius 1648, p. 376; also see
Veldman 1977a, p. 107.
7. "Maer Cornhertius terstont daer nae door
swaerder affeïren te rugghe geroepe[n] sijnde, heeft de
conste die hy met lofaenghevangen hadde vrocchnaeghe-
laten, ende heeft zijnen Discipelen, onder de welcke
Philippus Gallens gheweest is, dien lacten oerlenen."
Pontanus 1614, p. 287. The English translation is quoted
from Veldman 1977a, pp, 55-56.
8. Van Mander 1994, vol. 1, pp. 322-323
(Vredeman de Vries), pp. 328-329 (Stradanus) and pp. 389-
390 (Goltzius). At several other places one can also find
references to prints engraved and published by Galle, with­
out his name being mentioned.
9. "Deeze Philip Galle was een Haarlemmer, een
kunstig Plaatsnijder en Leerling van Dirk Volkertszoon
Koornhart,sneed zijne Plaaten veel netter, gladder en fijn­
er, gelijk de onkundigen het noemen; maar ten opzichte
van de fraaiheid van omtrekken en tekenachtigheid in het
uitvoeren naar Kunst, konde hij op verre na niet tegen
Koornhart aan. Hij is echter een groot kunstenaar geweest;
heeft veel naar tekeningen van Heemskerk gesneeden,
ook naar die van Brcugel, Melchior Lorch en anderen.
Van hem komen mede uit de Graven van Holland, en een
zeer groot aantal anderen, te veel om hier te melden",
Van Mander 1764, vol. 2, p. 7.
10. Galle s portrait was etched by Jacob L'Admiral
and can be found opposite p. "105 in volume 1 (no. M3).
11. In his introduction to the book Valerius
Andreas claims that "In Holland his [Opmeer s] friend­
ship and company were enjoyed hy the famous Maarten
van Heemskcrck, Pieter Aertsen, Willem van Tetterode.
Frans Floris, Anthonis Mor and Philips Galle, all of
Holland, excellent painters and sculptors" ("Floreba[n]t
in Holland! eius amicitia ac contubcrnio clari Martinus
Hemskerckius, Petrus Longus, Gulielmus Tettero.
Franciscus Floris, An torn us Morus, Philippus GaLlaeus,
Flollandi omnes, pictores sculpturesque excellentes"),Van
opmeer 1661, vol. 1, introduction (n. p.), also see Veldman
1977a, p. 98, Galle's portrait can be found in ibid., vol. 1,
p. 515, with just the brief mention of his name. Besides
Valerius Andreas, the Antwerp humanist Laurens
Beyerlinck (cp. chapter 4, note 230) also collaborated in
finishing Van Opmeer s historical overview.
Notes Chapter 1
148
12. Sweerts 1613, p. 83. On the epitaph itself, also
see note 34.
13. Galle is however, conspicuously lacking from
Vesalius Andreas's influential biobibhographieal survey of
1623 ;cf. Andreas 1623 and subsequent later editions.
14. Sweerts 1628, p. 642; "Philippus Gallaeus
Batavus, Harlemensis, Calcographus insignis, de R.epub,
literaria, et arte pictoria opt, meritus,mihi familiarissimus,
B. Anam Montanum, Ortelium, Plantinurn, Moretum
umce coluit. Praecipua artis eius monumenta haec sunt:
..." ("Philips Galle, from Holland, born in Haarlem, an
excellent engraver and of great merit to the republic of
letters and the pictorial arts with whom I was very friend­
ly. The most noteworthy specimens of his talents are ....").
15. Foppens 1739, vol. 2,pp. 1032-1033; this biog­
raphy is a slightly enlarged version of Sweerts s earlier
account. On Foppenss book in relation to Galle's series
of portraits, see chapter 2, note 11 .The words in Foppens
were echoed, for example, in: Saxe 1780, vol. 3, pp. 560-
561 and Ledeboer 1872, p. 199.
16. The portrait ofTheodoor is engraved by Lucas
Vorsterman after a drawing by Anthony van Dyck. It was
part of the so-called konographie, a collection of engraved
portraits after designs by Van Dyck, and attests of the high
reputation the younger Galle held in Antwerp. See
Hollstein, vol. 43, pp. 160-161, no. 157 and Mauquoy-
Hendrickx 1956, vol. X, p. 245, no. 81.
17. De Bie 1662, p. 452 (Theodoor
Galle):"Theodoras Galle/ Constich Plaet-snijder van
Antwerpen./ De soetheyt vande Kunst wordt bier van
Gall' ghebaert/ Uyt eenen staelen schoot op herte cop re
plaeten,/ Jae schoon de soetigheyt is soo vremden aert/
Dat sy net bitter en het herdt behoordt te haeten,/ Men
siet ooghschijnelijck de daedt hier gaen verkcert/ Dat is
de wetenschap van wel ghesteldc trecken/ Die aende
Schilder-jeught riiet als volmaecktlieyt leert/ Soo als ons
Theodor weet in sijn Kunst t'ontdecken:/ Een Konst vol
soeten gheest, nochtans met Gal ghemcnght/ Als vyandt
van het soet, doch die het wilt bemercken/ Sal vmden dat
den naem van Gall 5
den lof vcrlenght/ Soo die ghetee-
ckent staet op de verheven wereken/ Van die Theodoras
Gall'ghelijckmcn tot zijn eer/ Can speuren aende vast en
cloeck ghetrocken belden/ Die hy ghesneden heeft seer
soet, eel, net en teer/ In overvloedicheyt, daer Faern wel
op mach melden./ Om dat het yser schier gheen cracht

meer thoonen can/ Als t'gen' ons Theodor heeft weten
voorts te bringhen/ Midts Gall s
ghesneden heeft meest
naer sijn teeckeninghen./ En naer veel ander meer
sulckx dat zijn weerdigheyt/ Op plaet bekent sal staen
noch veel en langhe eeuwen/ Door d'edel Kunst van GalT
vol soete soetigheyt/ Daer Faern met reden op de wereldt
door mach schreeuwenIbid., p. 480 (Cornells Galle the
Elder): "Cornelis Galle Den ouden/ Plaedt-snijder van
Antwerpen,/ Men acht op dese Aerdt gheen wcreldtsche
juweelen/ soo seer als Konstenaers, Paletten en
Pïnseelen,/ Graef-yser, pen en kol', om al hun vremde
kracht/ Die door een konstich handt van elck wordt voort
ghebracht./ Daer Gall' een proef van is door de ghesne­
den belden/ Die sijnen weerden naem de wereldt door
vermelden/ Om datmen daer in siet sulck een besielden
gheest/ Als in Papiere-Konst is oyt te sien gheweest,/Voor
wiens vroom ghemoedt al menich gheest moet buyghen/
Soo als de wercken van sijn handt ghenoch ghetuyghen/
Te siende wereldt door by Kenders vande Kunst/ Wat
dienter meer gheseyt, de Gunst en soeckt gheen gunst"
Ibid,p. 480 (Cornells Galle theYounger):"Cornelis Galle
Den longhen/ Plaedt-snijder van Antwerpen./ Hoe
gheestich heeft den Soon op d'aenbeldt vanden raedt/
Des Vaders, sijn verstandt ghesmeedt, om t'achterhalen/
De wetenschap die in het plaedtsnijden bestaedt/ Waer
op men heden-daeghs oock sijnen roem siet praelen:/ De
rechte weer-gae van zijn Vaders kloecken aerdt/
Ghelijckheyt inden glieest, manier en soete seden/ Die
worden vanden Soon oock op de plaedt ghebaert/ En van
sijn rappe handt naer t'leven soo ghesneden/ Dat niet als
t'leven selfs aen zijne Konst ghelijckt/ Wat canmen
meerder lof vanjemandcs werckbeschrij ven/Want t'ghen
dat over al ghenoch in printen blijckt/ En mach by onse
Paem oock niet vergheten blijven."
18. Evelyn 1906, p. 70.
19. Baldinucci 1686, p. 37. In contrast to several
other authors from the late seventeenth century onwards,
Baldinucci was as such not biased against 'reproductive 5
engravers. In the chronological introduction to his
Cominciamento he praises prinmxakers as Hieronymus
Cock and Cornelis Cort. His choice of biographies also
includes Johannes, Raphael and Aegidius Sadeler, as well
as Jan Saenredam.
20. Le Conue 1699-1700, vols. 2 and 3, passim.
Le Comte's treatise was, by the way, rather popular in
Holland in the eighteenth century, judging by the two
Notes Chapter 1
149
editions in the Dutch language that were published
(Utrecht 1744-45 andDordrecht 1761).These contain no
additional information on Galle.
21. Van Heurck 1930, p. 71 .The only large groups
of copperplates from the Galle workshop known to have
survived until now, are those that were owned institutions
such as the Trappist cloister at Westmalle; see chapter 4,
note 282. Another collection of plates that survived at least
until the eighteenth century was a large ensemble of
Galle's portraits of scholars; see chapter 2, note 11. On the
value of engraved copperplates, see the well documented
case of the Offkina Plantiniana,Voct 1969-72, vol. 2. pp.
231-232. Also see Orenstein 1992, pp. 108-119 and
Orenstein 1993-94, pp. 170-171. In the last publication
the authors characteristically end their account of man­
nerist plates with the mention of the Amsterdam pub­
lisher Cornelis Danckertss shop inventory of 1668 -
matching very well with the Johannes Galle inventory of
1676.
22. There was in fact a public sale of the plates
scheduled on 15 February 1677.The sale was later post­
poned to March 8. Also see below.
23. Brejon de Lavergnee 1979, p. 33. On the
engraving, see Hollstein, vol. 2, p. 59, no. 17; ibid., vol. 7,
p. 76, no. 103;TIB.56,p. 121, no. 33:1 andjost 1960, pp.
177-178, no. 18.There are, however, also indications that
at least some biblical series were reissued by eighteenth-
century Antwerp publishers: Jan Bapnste Verdussen in
1714 and Cornelis Martin us Spanoghe in 1783 published
pictorial bibles which contained impressions of series from
the Galle workshop, all still with the address of Johannes
Galle. I owe this observation to the remarks on pictorial
bibles from the late seventeenth and eighteenth centuries
in Marianne Snijders's doctoral thesis (Free University,
Amsterdam), kindly put at my disposal by the author;
Snrjders 1992, pp. 45-51
24. See: Marolles 1677 (who does not mention
Philips Galle at all), Basan 1767 (who only mentions the
elder Galle, in contrast to his sons Cornells andTheodoor,
in passing in volume 1) and die posthumously published
Mariette 1851-60 (who apparently had no interest in
Philips Galle at all).
25. Heinecken 1778-90. On Hemecken, his
Dictionnaire - which was intended to be a complete his

torical survey on printmaking, improving on all previous
studies - and his relations with Pierre-jean Mariette, see
the interesting study Dittrich 1981. One would like to
have known Heïnecken s assessment of Philips Galle, espe­
cially as the Dresden printroom - together with Paris
(Bibliothèque Nationale),Veste Coburg, El Escorial and
the Albertma in Vienna - is still in the possession of one
of the major old collections of his work. Compare Hans
Vollmers reference to Heinecken inThieme/Becker, vol.
13, p. 105,
26. An twerps Stadsarchief, manuscript, inv, Pk
171-173, I kindly thank Chris Schuckman for drawing
my attention to this unpublished manuscript and for pro­
viding me with a transcription of the pages concerning
Philips Galle.
27 On p. 365 Galle is listed as one of the deans
of the guild of St. Luke, to which Van den Sanden adds:
"Tot aemnerking, dat veel oude meesters zijn achterge-
laeten in de levensheschryvmgen vind men Historische
Printen, fray gesneden in koperplaet door Philips Gallc,
Adriaen Collaert of in hun manier schoon dat dees
twee bovengemcldc Dekens ook niet bekend zijn bij den
Konstschrijver C. van Mander" ("Considering that many
old masters are known dirough their biographies, one can
find ancient prints, finely incised by Philips Galle,Adriaen
Collaert or in their manner even though these two
above deans were also not known to the art theoretician
Karel van Mander") On p. 693 Van den Sanden s bio­
graphical notes on Galle begin with the following awk­
ward and in part incomprehensible verses: "Hoe ver de
snelle Faem ging met haer Basluijt meldcn./ Gallc, die
met veel konst Cicraet, Portret en Belden/ In hout en
fijne p!aet,als 't leven,ten toonbrogt!/ Men voor Konstzael
en Konst sijn meesterwerken kogt s
' ("To what extent rapid
Fame carries with her lute, is shown by Galle, who art­
fully has brought jewellery, portraits and figure to life in
wood and copper, in times when his masterworks were
acquired for art collections on account of their skill(?)").
The jewellery'probably refers to the jewels engraved by
Johannes Collaert and published by Galle (see below),
while the portraits refer to the various portrait scries of
scholars (see chapter 2) .Apparently Van den Sanden, when
speaking of "wood and copper', considered Galle to have
been both a copperplate engraver as well as a wood­
cutter.
28. After having commented shortly on
Notes Chapter 1
150
Guicciardini, Le Comte and Descamps respectively, Van
den Sanden continues on p. 693 as follows: "Na desc
mogelijke onderzoekingen is het nog niet wel vast te
stellen, of er een Meester beeldhouwer [Van den Sanden
misunderstood Guicciardini s words], gebortig van
Haerlem, en in den zeiven tijd eener vermaerdsten
Plaetsnijders, gebortig van Antwerpen, bey de van dien
Naem, hebben geweest." ("After all possible inquiries it is
still impossible to ascertain if there has been a masterly
sculptor, born in Haarlem, or one of the most famous
engravers, born in Antwerp, both with the same name").
The author continues that - at least in his opinion -
Guicciardini has erred and that the true Philips Galle must
have been the engraver in Antwerp.
29. Van den Sanden does inform us on the fact
that in his days Galle s epitaph in the Antwerp cathedral
was still in situ; also see notes 12 and 34.
30. Bartsch 1803-21. Several perceptive remarks
on the peintre-graveur versus the reproductive engraver in
this period can be found, with further references, m
Gerdien Wuestman's study on prints by and after Nicolaes
Berchem; Wuestman 1996, esp. pp. 50-53. In his two-
volume Anleitung zur Kupferstichkunde Bartsch shows him­
self to be less relendess in his opinions on reproductive
engravers, including, for instance, Cornells Cort and
Cornells Galle the Younger; Bartsch 1821, pp. 176-177.
Philips Galle is not mentioned.
31. Galle s name does, of course, feature m sever­
al of the encyclopedic biographical, bibliographical and
historiographical books that from 18ÖÖ onwards were
issued in increasing numbers. Before 1850 one could, for
example, find scraps of information on Philips Galle in:
Collot d'Escury 1824-44, vol. 1, p. 93; De Wind 1835, pp.
190-191 and 548-549; Nagler 1835-52, vol. 4, p. 564;
Immerzeel 1842-43, vol, 1, p. 261 .After 1850 more accu­
rate and extensive information on the engraver and his
work soon became available, compare, for instance, such
studies as:Van derAa 1852-78, vol. 3, p. 8;Lc Blanc 1854-
90, vol. 2, p. 265; Kramm 1857-64, vol. 2, p. 531; Nagler
1858-79, vol. 4, pp. 887, 889 and 904.
32. These were respectively: the information on
Philips Galle in Dinaux 1851, the genealogical research
on the Galle family in Stein d'Altenstein 1853, the remarks
by Génard in his study on families of artists in Antwerp
(Génard 1859-60, pp, 194-196) and the scries of articles

on the Galle family byVan den Bemden (Van den Bernden
1860).The latter studies were bundled a few years later:
Van de Bemden 1863. Despite the attention paid to the
Galle family in numerous later studies (see below),the lat­
ter is still the most elaborate monographic study on Galle.
33. The main biographical surveys of Philips Galle
are, in chronological order: BN, vol. 7, pp. 438-446
(Edmund de Busscher); OlthotT 1891, p. 35; Wurzbach
1906-11, vol l,pp.566-567;Thieme/Becker,vol. 13, pp.
105-106 (Hans Vollmer); Funck 1925, pp. 186-187 and
207-230; NNB W, vol. 7, p. 460; Delen 1934-35, vols. 11/1
and 11/2, passim; Waller 1938, p. 106; Hollstein, vol. 7, pp.
74-83; Porrier 1967, pp, 77-80; Riggs 1971, pp. 100-108;
Rouzet 1975a, pp. 67-68; Rouzet 1975b, pp. 91-92;
Veldman 1977a, passim; TIB. 56;Veldman 1991; Sellmk
1992a; Orenstem 1993-94, pp. 176-177.The most recent
survey by Christine van Mulders (Dictionary of Art, vol.
12, pp. 15-17) is unfortunately rather inadequate and
incomplete, repeating mistakes in previous literature and
adding new ones. Only those studies are here mentioned
that provide the reader with a full biography or with an
extensive list of works, Studies that focus on specific
aspects of Galle s life and work are not listed, as they will
be discussed in other notes below. An assessment of gen­
eral literature concermng printmaking in Haarlem and
Antwerp in this period can be found in chapter 4, note
1
34. This epitaph apparently read: "D.O.M,/
PHILIPPO GALEAEO/ SCULPTORI CELEBERRI-
MO/ ETY CATHARINAE ROLLANDAE/ E1US
CONIUGI/ Ille annos natus LXXV./ Obht IV idus Mart.
M.D.C.XII./ Haec annos nata LXIII./ Obiit prid. non.
lun. M.D.XC.IX./ Requiescant In Pace"This text was
laid in copper on a blue tombstone in the northern aisle
of the upper choir, in front of the chapel belonging to the
guild of Saint Luke. It was already transcribed in Sweerts
1613, p. 83, and was still existent at the end of the eigh­
teenth century (see note 29). At an unknown date before
1860 the tombstone was destroyed, cp.Van de Bemden
1863, p. 18, In the archives of the Planrin press, a manu­
script is kept with what seems to be the original text (with
emendations) for the epitaph; Museum Plantin Moretus,
arch. 82, fol. 283. The above transcription is combined
from all these sources. On the third state of Goltzius s por­
trait were added the words: "Vixit annos LXXV. obijt
Antverpiae IV idus Mart, D.C.XII in Cathedraii Ecclesia
sepultus." See Strauss 1977, vol. 1, p. 264.
Notes Chapter 1
151
35. More detailed genealogical information on
the origin of the Galle family and its lineage until the end
of the seventeenth century can be found in Pinchart 1850-
81, Stem d'Altenstein 1853, Génard 1859-60, Van den
Bemden 1863,Van der Straelen 1858 (regarding the rela­
tions between the Galle and the Moretus families) and
Becker 1928, p. 26 (references to the family of Philips
Galle s wife). Good use has also been made of references
in several volumes of Duverger 1984, The information
from these studies, combined with the literature listed in
note 33, is assembled in the genealogy in the appendices
1A-C.
36. The few known autograph manuscripts are all
in Dutch. See, for example, four contributions to alba ami-
coram (see chapter 4, note 86) and a letter to Emanuel van
Meteren (compare chapter 2, note 30).AU the documents
written and signed as a deacon of the Antwerp guild of
St. Luke (1585/86) are also in Dutch, as this was the cur­
rent language used in the guild.
37. The relationship between Galle and
Coornhert, especially concerning therr religious opin­
ions, is discussed more in detail in chapter 4, passim.
38. Cp. Riggs 1971, pp. 100-102. On the engrav­
ing after an unknown prototype by Romano, see
Hollstein, vol 7, p. 79, no. 382;TIB 56, pp. 370-371, no,
96; Riggs 1971, p. 337, no. 6 and Massari 1993.
39. Cp. Riggs 1972, pp. 81-85 and Veldman 1990,
pp. 11-14.
40. That Galle did stay in Haarlem is inter alia
proven by the existence of several archival records from
the period 1562-66; cp. the reference in Becker 1928,
p.316,note 3. Galle did not move to Antwerp before 1569,
also see below.
41. On the here illustrated engraving after Penni
- probably incised after a drawing in the Louvre - see
Hollstein, vol 7, p. 79, no. 383;TIB. 56, p. 375, no, 100 and
Rig^ 1971, p. 355, no. 175. On the series of virtues to
which engraving after Bruegel belongs, see Hollstein, vol.
3, pp. 278-279, nos. 132-138; TIB. 56, pp. 265-271, nos.
71:l-7; ,
vanBastelaerl906,pp.47-48 )nos.l32-138;Lebeer
1969, pp, 93-106, nos. 31-37; Riggs 1971, p. 320, no. 32;
Lebeer 1976, pp. 16-18, nos. 31-3 7; also compare chapter
4, notes 5 and 6. On the print after Flons - based on a

drawing in the Albertina - compare Hollstein, vol. 6,
p. 255, no. 94a; ibid, vol 7, p. 79, no. 388;TIB. 56, p. 374,
no. 99; Riggs 1971, p. 332, no. 91 and Van deVelde 1975,
p. 433, no. P 141.
42. Cp.Veldman 1977a andVeldman 1986, passim.
Also see chapter 4, where the collaboration between Gallc
and Heemskerck is analyzed m detail. On the series to
which the here reproduced engraving belongs, see
Hollstein, vol. 8, p. 238, nos. 70-75 (as Coornhcrt); New
Hollstein, Maarten van Heemskerck, vol. '1, pp. 117-121,
nos. 132-137;TIB.56 3pp.42-47,nos.013il-6;Riggs 1971,
p. 341, no. 123.
43. On the rare Head of a reveller, see Hollstein,
vol 7. p. 83 , no, 788 and TIB. 56, p. 495, no. 206. In 1585
a second edition (or possibly an accurate copy in the same
direction?) with. German verses was on the art market; see
Christopher Mendez, sales catalogue, June 1985, no. 13.
This version lacks the signature of Galle and the address
of Peeters.
44. On the series after Heemskerck, see Hollstein,
vol 8, p. 248, nos. 476-483; New Hollstein, Maarten van
Heemskerck, vol. 1, pp. 221-226, nos. 265-272;TIB. 56,
pp. 221-228, nos. 63:1-8; also see chapter 4. On Floriss
Tabula eebetis,see Hollstein, vol 6, p. 255, no. 94;ibid., vol.
7, p. 80. no. 401 ;TIB. 56, p. 313, no. 82;Van deVelde 1975,
pp. 430-431, no. P134 and Raupp 1981, pp. 26~28,no. 1
(wrongly describing a later edition by the Amsterdam
publisher Joos de Bosscher as the first edition).The impres­
sion of the Tabula cebetis in Brussels also includes an elab­
orate Latin text, set in letterpress and printed on separate
sheets of paper. This text is signed by Peeters and ends
with his address: "AJNTVERPIAE,/ excudebat Martinus
Petreius in insigni Aurei/ Fonris prope novam Bursam/
Cum gratia et privilegio/ Ad sexennium."
45. On the tradition of illustrating this subject in
Netherlandish art and its relation to literary publications,
see Boas 1918 and Boas 1920. It is interesting to note that
Floriss composition - unknown to Boas - was engraved
three years before the first Dutch translation of the Latin
text was issued (also in Antwerp).The woodcut illustra­
tion on the frontispiece of this edition of 1564 is a sim­
plified copy in the same direction after Galle s engraving;
cp. Boas 1918, p. 14.
46. Cp. Burger 1915 andVoet 1975, p. 26.
Notes Chapter 1
152
47. This print was made by Frans Hogenberg after
a drawing by joris Hoefhagel, who had been in Poitiers
himself in 1561 .The engraving was used in the fifth vol­
ume ofBraun and Hogenberg's monumental atlas Cwiiaies
orbis terramm (1598); cp. Koeman 1967-85, vol. 2, p. 21.
On the history of this town atlas - of which Philips Galle
obtained the exclusive right of sale in Antwerp at the date
of appearance of the first volume in 1572 - see Skelton
1965 and Koeman 1967-85, vol. 2, pp. 10-14.The infor­
mation on the inscriptions was apparently updated by
Georg Braun, who scratched his own name on the stone
in 1580 - the last year which can be deciphered on the
engraving. If the transcriptions on the engraving are lit­
erally correct, Hendrick (or perhaps Hubert?) Gokzius
visited the dolmen in 1577, just prior to his arrival in
Haarlem.; Burger 1915, p, 73. In general, the possibility of
a journey by Goltzius to Poitiers is doubted; cp. Reznicek
1961, p. 48.
48. Galle included the likenesses of Mercator and
Ortels in his series of portraits of scholars; compare chap­
ter 2, and appendix 2E, nos. 92 and 100.The close friend­
ship between Galle and Ortels continued until the latter s
death in 1598; compare Hcssels 1887, passim. In 1573 and
again in 1582 Philips Galle published Deorum dearumque,
an album with etched reproductions of ancient coins from
Ortels s collection, see chapter 2, note 107. From 1577 to
1598 Galle also published 11 editions, in four languages,
of the 'pocket' version of Ortels s famous atlas Theairum
orbis terramm; cp. Koeman 1964, passim; Koeman 1967-
85, vol 3, pp. 71-77, nos. Ort. 47-57 andVoet 1980-83,
vol 4,pp. 1699-1708, Finally, Galle in 1596 issued Ortels s
historical treatise Aurei saecuti imago, illustrated with etch­
ings by Pieter van der Boreht; cp.Van de Waal 1952, vol.
1, pp. 172-175 and Cockx-Indestege 1968-94, vol. 1, p.
179, no. 2284. As mentioned above (note 47) Philips Galle
represented the interests of Frans Hogenberg - living and
working in Cologne - in the sale of his Civitates orbis ter­
ramm in Antwerp from 1572 on wards. Apparendy he occa­
sionally also acted as sales representative of other publica­
tions by Hogenberg; compare Hessels 1887, pp. 306-307,
Galle also acted on behalf of Mercator in Antwerp, sell­
ing the latter s globes and maps to Plan tin; Voet 1962, p,
178 and 194.
49. The plausible suggestion that Galle's Haarlem
print-shop was unlicensed, thus accounting for the lack
of an address on most of the engravings, was first made
byVeldman 1977a, pp. 106-107

50. On the here illustrated engraving from the
series Triumphs of Petrarch, see Hollstein, vol. 7, p. 79, nas.
389-394; ibid., vol. 8, p. 244, nos. 341 -346; New Hollstein,
Maarten van Heemskerck, vol, 2, pp. 173-177, nos. 491-
496;TIB. 56, pp. 297-302, nos. 077:1-6.
51. On the series of the Four elements, see TIB. 56,
pp. 324-327, nos. 86:1-4 andVeldman 1991, pp. 270-272.
On the series of counts, see below and chapter 2, where
Galles series of portraits are discussed in detail.
52. On the relationship between Heemskerck and
Galle, cp.Veldman 1977a, Veldman 1986 and the New
Hollstein volumes on Heemskerck, also compiled by Ilja
Veldman.
53. A notable exception is Kingjosiah restores the
law of the Lord, a series of eight engravings with verses by
the theologian and schoolmaster Hieronymus Varlenius.
See Veldman 1977a, p. 108 and New Hollstein, Maarten
van Heemskerck, vol l,pp. 126-131, nos. 143-150.
54. On Coornhert and his relation with Galle, see
Veldman 1989,Velelman 1990 and chapter 4; a general sur­
vey of Dutch humanism in this period can be found in
Veldman 1995b.
55. For examples of such innovative subjects see
chapters 2 (portraits), 3 (model books and drawing books)
and 4 (religious subjects). Also compare Veldman s elabo­
rate study on Philips Galle as a draughtsman and inventor.
Veldman 1991, Besides the four drawings in alba amkorum
of friends (see chapter 4, note 86), only two drawings by
Galle are still known to exist: Vulcan overpowered by Pallas
Athene, in the Albertina in Vienna (Benesch 1928, p. 22,
no. 176) and Perseus and Andromeda (Gerszi 1971, vol. 1,
p. 46, no. 90). Both were reproduced as an engraving, the
first byTheodoor Galle, the second by Johannes Collaert.
Also see Veldman 1991, p. 262.
56. On the series Misery of human life, see TIB. 56,
pp. 276-281, nos. 72:1-6 andVeldman 1991, pp. 265-270.
57. On the notion of the pictor doctus, see the clas­
sic study Lee 1967. That Galle, especially in his later
Antwerp period, had the ambition to position himself as
a learned publisher and an experienced printrnaker is quite
explicit in case of publications such as his portraits (chap­
ter 2), his drawing book (chapter 3) and his Prosopographia
(chapter 4).
Notes Chapter 1
153
58. Compare Delen 1934-35, vol II/2, pp. 94-95
and - in relation to other portraits published by Galle -
chapter 2. The series has only been found in die Royal
Library in Brussels so far.
59. "In dees afcomsten der Gra-/ven van Hollant
en is niet/ dat den Catholycken ghe-/loove contrarie is,
oftye/mande mach verergeren./ Hieronymus Vairlenus/
Vicarius des Bisscops va[n]/ Harlem onderteeckent./
Gheprimt tot liarlem met/ graoe ende privilegie by/
Philips Galle/ 1569" (In this lineage of the Counts of
Holland there can be found nothing that contradicts
Catholic faith, nor anything that could give offence to
people. Signed by Hieronymus Vairlenus, vicar to the
bishop of Haarlem. Printed in Haarlem, with good grace
and privilege, by Philips Galle, 1569"). Why Philips Galle
applied for a privilege and an approbatio is unknown.
Though formally required for all books, they were then
still rare for prints - more so in Holland than in Flanders.
It may have been the political aspect of the subject -
certainly in these turbulent and unstable years - that
prompted the printrnaker to obtain such an official
approval and thus safeguard the commercial aspects of this
enterprise. A short survey of privileges in the Northern
Netherlands in the sixteenth and seventeenth centuries
can be found in Orenstein 1993-94, pp. 173-174 and in
Orenstem 1996 s pp. 90-94
60. Compare, for instance, Rouzet 1975a, p. 67.
The, regularly repeated, opinion that Galle already had a
print-shop in Antwerp in 1564 is based on the misinter­
pretation of a manuscript in the archives of the Museum
Plantm-Moretus in Antwerp. This handwritten Latin
manuscript (Arch. 82, fol. 380) is not, as Anne Rouzet
assumed, a letter by Galle addressed to the humanist Petrus
Scoliers. It is a draft for the letterpress introduction to a
series of etched landscapes with biblical subjects after
designs by Hans Bol, published by Galle in 1574 (also see
note 77).Although the manuscript (handwritten by Galle
himself?) is indeed dated 1564, this is clearly a mistake by
the author: the otherwise identical typeset text reads
"Antverpiae,/ ex nostra Chalcographia,Anno a Christo/
nato M CCCCC. LXXIIIL" ("Antwerp, from our print-
shop, in the year of our Saviour 1574").The reason why
this manuscript is found in the Plantin archives is obvi­
ous, as Christophe Plantin usually printed all text set in
letterpress on behalf of Philips Galle (see below).

61 "Men vindtse oock te coopeThantwerpen op
de nieu Borse by Geraert de Jode" ("one will also find
them for sale in Antwerp, at Gerard de Jode's on the new
Bourse"). A thorough study on De jode and his succes­
sors is clearly a desideratum in the history of Antwerp
printmaking. As far is known this is the only document
direcdy relating Philips Galle to Gerard de jode regard­
ing the trade in prints, although their names do appear
together on such other documents as an official certifi­
cate testifying in favour of an art dealer; Denucé 1912-
13, vol. 2, p. 266. In his Thesaurus, a compilation of Old
and New Testament subjects into one album, De Jode
would later also include several series that were original­
ly published by Galle; compare chapter 4, note 57. As the
plates of most of these series - judging by the 1636-inven-
tory of the Galle workshop (see note 100) - did remain
in the possession of the Galle family, this seems to suggest
that De Jode could either have leased* the copperplates
and printed them in his own workshop, or could have
bought a large number of printed impressions from Philips
Galle. Also see note 113 on the apparendy not uncom­
mon practice of leasing 5
plates to other publishers.
62. In 1569 Galle produced a large number of
(dated) prints in Haarlem, leaving little time for migra­
tion of his family and his print-shop; cp. chapter 4, note
40. In contrast to all preceding years, there are no dated
works by the Galle workshop from 1570. On 23 May1570,
Galle was present as godfather at the baptism of Jeanne
de Jode - daughter of Gerard de Jode - in die Antwerp
Cathedral; Génord 1859-60, p.114 and p, 196, note 1.
Furthermore, the engraver was enlisted as a new member
of the Antwerp guild of St. Luke in 1570: "Philips Galle,
cooperesnidere." Galle only became a'poorter' - an offi­
cial citizen - of Antwerp on 20 July 1571. He was, though,
already mentioned in the city records of 23 February of
the same year, not having turned up to pay the charges
due for obtaining his citizenship. On these data - all strong­
ly suggesting that Galle settled in Antwerp in the first half
of 1570 - see Van Lerius 1864-76, vol. 1, p. 240.
63. On Plantin and his circle, seeVoet 1969-72;
the importance of Cock s workshop is elucidated in Riggs
1971. On the history of Antwerp printmaking in the six­
teenth century the standard study is still Delen 1934-35,
despite a recent and only partially successful attempt to
write a general survey on Antwerp and Haarlem engrav­
ing (Riggs 1993). One eagerly awaits Jan van der Stocks
announced history of Antwerp printmaking until 1585
Notes Chapter 1
154
(Van der Stock 1997).
64. On the economic situation in Flanders in the
third quarter of the sixteenth century, compare AGN, vol.
6, pp. 86-97. A general survey of Antwerp in this period
- with essays on specific topics like art, humanism, etc-
can be found in Bousse 1975 and Van der Stock 1993,
65. Compare chapter 4.
66. There are two documents with different dates
for Cock's death: an archival document stating that he died
on 3 October 1570, and a preparatory drawing by Cornells
Flor is for the printrnakers tomb with the date 30
November, Nothing at all is documented on his sickbed
or on the cause of his death. Compare Riggs 1971, p. 31
Cock may possibly have been ill for some period; from
1566 onwards the number of dated prints issued by his
print-shop declined, even down to nihil in 1569. In 1570,
the year of his death, Aux quaím venís again published at
least 5 works with a total of 25 plates; cp. Riggs 1971, pp.
44-45.
67. Compare appendix IB.
68. Diericx died on 23 December 1600, On the
death estate ofVolcxken Diericx - including a detailed list
of all engraved copperplates - see Duverger 1984, vol. 1 /1,
pp. 17-36.
69. OnVolcxken Diericx and her continuation of
Aux quatre vents, see Riggs 1971, p. 55 and especially De
Pauw-deVeen 1975.In the sixteenth and seventeenth cen­
turies it was far from uncommon for widows of publish­
ers to continue the business of their late husbands, often
with an imprint such as"apud viduam "Insome cases,
such as Plantin s widow Jeanne Riviere, this was only a
formal construction, while others (in the latter case Jan
Moretus) were actually in charge. In other instances, like
Volcxken Diericx and the widow of Gerard dejode, these
women did indeed run the print-shop on their own.
70. On these Heemskerck prints, see the index of
publishers in the New Hollstein, Maarten van
Heemskerck, vol. 2, p. 270, That the plates remained in
possession ofVolcxken Diericx can be certified by the fact
that they were all listed in the inventory of her death estate
(see note 68). It is highly improbable that Philips Galle
only issued the prints after having acquired them in 1601

From 1600, he was scaling down his activities as a pub­
lisher to a large extant, leaving business in the hands of
his son Theodoor. It was, in fact, Theodoor Galle who
must have acquired a large number of plates once belong­
ing to Aux quatre vents, judging by the large numbers of
reissues of such prints with his address. Here reproduced
is the first print of the series Victories of Emperor Charles V,
engraved by Coornhert. This series was thrice issued by
Hieronymus Cock and once by Diericx, before Philips
Galle again published it at an unknown date; compare
Rosier 1990-91 and New Hollstein, Ivlaarten van
Heemskerck, vol. 2, pp. 200-211, nos. 524-535.
71. In this light it is also understandable that Galle
added the word "Harlem en [sis]" ("from Haarlem") after
his own name in the inscription in the lower margin, thus
indicating to the public that he was, in fact, the same pub­
lisher previously known to publish prints in Haarlem.
There is another (later) edition of the print without the
name of his residence. Galle also issued several copies of
his own engraving, attesting to the popularity of this
engraving of the much debated statue of Duke of Alva.
On the stirring history of Jonghelinck s statue, see Becker
1973,Meijer 1979, pp. 117-119 and Smolderen 1980.
72. The here illustrated engraving is signed "ad
insigne aurei cervi in piatea lombardica veteri" ("At the
sign ofThe Golden Deer in the Lombardenvest"). On the
series of Lot, see Hollstein, vol 2, p. 59, nos. 6-13; idem,
vol. 8, p. 74, nos. 4-ll;TIB. 56, pp. 13-16, nos. 4:1-4 and
jost 1960, pp. 162-165, nos. III, 1-4. For the fact that the
series must be dated around 1571/72, see chapter 4, note
61. From the address on a letter from Hubert Goltzius to
Abraham Ortels dated 2 March 1570, it appears that the
geographer must have lived right opposite his friend Galle:
i s
De Eersamen en[de] discreten Sr. Abraham/ Ortels inde
oude Lombart straet/ teghen over den gulden Hert/
Tantwerpen" ("The honourable Mr. Abraham Ortels, in
the Lombardenvest, opposite The Golden Deer, in
Antwerp"); cp. Monballieu 1984, p. 218.
73. That Galle owned The Golden Deer is appar­
ent from the records of a tax, levied in 1584-85 to finance
the defence of the city against the siege by Farnese; cp.
Van Roey 1988-89, p. 428. From these records it is also
apparent that even in these hard times, Galle could still be
reckoned as reasonably well-off in comparison to most of
his colleagues (also compare chapter 4, note 197).
Regarding the constitution of this neighbourhood, com
Notes Chapter 1
155
pare Van Roey 1966 and Van Roey 1988-89, passim. Also
living in the Lombardenvest around 1585, were, for exam
pie,Johannes Sadelerjan Baptist Vrints and the widow of
Hans Lieffirinck with her son Hans Liefrrinck theYounger.
74. The first mention of De Witte hdie known to
me is the address on the title page of Abraham Ortels s
historical treatise Aurei saeculi imago, published by Philips
Galle in 1596:"Apud Phillipum Gal!aeum,sub Lilio albo'\
See note 48. This may indicate that Galle had then only
just moved to this house, as his imprint as a publisher near­
ly never includes the name of his residence. One of such
other instances is rather puzzling. On an anonymously
etched view of tine Antwerp citadel, dated 1577 and made
after a drawing by Hans Bol,the following address is added:
"Men vintse te coope, by Philips Galle in de Camerstrate
tot Antwerpen " ("One can find them for sale at Philips
Galle s in the Kammenstraat"); compare Delen 1930, p.
93, no. 93 and Couvreur 1983-85, p. 525. It is unclear
whether this could also refer to Met Gulden Hert - the
Kammenstraat runs into Lombardenvest or that Galle s
print-shop in 1577 (temporarily?) was located at anoth­
er address. On the inventories of De Witte Lelie at the
deaths of Theodoor and Johannes Galle, see below,
75. On the three Heemskerck series, see New
Hollstein,Maanen van Heemskerck, vol. 2,pp. 29-35,nos.
321-328 (The Lord's prayer), pp. 181-185, nos, 501-506
(Reward of labour), pp. 192-197, nos. 513-520 (Eight won­
ders), On the portraits from 1572, compare appendix 2B;
the series of popes is described in appendix 2F. On
Zsamboky's (also known as Johannes Sambucus) book -
to which Galle s humanist friend Hugo Favolius also con­
tributed several verses see Cockx-Indestege 1968-94,
vol. l,p. 347, no. 4239.
76. On the Deorum dearumque, see chapter 2, note
107. It is interesting to note that the original preparatory
drawings for the ornaments surrounding the coins were
reused by Ortels in his album amkomm; compare Puraye
1969.The series Christijesu vitae speculum and Diuinarum
nupiiamm are discussed extensively in chapter 4.
77. On Bol's landscapes,see Hollstein, vol. 2,p. 52,
nos. 164-193 and vol. 7, p. 77, nos. 160-189 (wrongly cat­
alogued as etched by Philips Galle) and note 60; two
preparatory dm wings - signed and dated 1573 - are in the
Rijksprentenkahniet in Amsterdam, see Boon 1978, vol. 1,
p. 30, nos. 80-81. Several other drawings dated 1573 were

used in Galle s little known and rare series; compare Franz
1965, pp. 42-45. On theVredeman deVries series of wells,
see Mielke 1967, p. 47, no. XXI and De Groot 1988, pp.
126-127.The untraced letterpress dedicanon to Melchior
Lorck to which Mielke refers, can be found on the verso
of the first sheet in the series in Antwerp (Museum
Plantin-Moretus) and the Metropolitan Museum in New
York; this dedication is dated 1574 and not 1573, as is
assumed. On the Floris/Cleve personifications, see below
(note 89).
78. The Acta apastolomm, the series of Sibyls and
David, hoc est vinutis are discussed in detail in chapter 4.
On De rerum usu et ahusu - published by Galle and Plantin
under the name of Bernard Furmcrus instead of the ban­
ished Coornhert, probably to avoid possible problems
with authorities -, seeVoet 1980-83, vol. 2, pp. 971-973,
no. 1228; Mauquoy-Hendrickx 1978-83, vol 3, pp. 482-
484, nos. 482-484 and, in particular, Puhlmann 1992.
79. These aspects of Galle s Haarlem period are
discussed extensively in chapter 4.
80. The first systematic analysis of the methods of
production of a sixteenth-century print-shop is Timothy
Riggs's study of Hieronymus Cock (Riggs 1971), which
is still one of the basic studies in this field. Recendy other
studies on the 'business of prints' (for this phrase see
Orenstein 1992) have supplemented the traditional
emphasis on the artistic merits of prmtmakers. Regarding
Netherlandish publishers in the late sixteenth century, the
most important monographic studies are Orenstein 1996
(Hendrick Hondlus) arid Sénéchal 1987 (the Sadeler fam­
ily). An excellent survey of (mainly Northern)
Netherlandish publishers in the period 1580 to 1620, can
be found in Orenstein 1993-94.This latter study provides
a very useful summary of the methods of production of
a print-shop (pp. 167-174), also touching upon the grow­
ing need for division of labour.Thc tendency towards spe­
cialization around 1600 is briefly discussed in Schôller
1991; a most informative essay in this respect is Depauw
1996-97, gathering information on illustrated books from
the Plantin-archives. Unfortunately die print trade in the
Netherlands in this period has, probably due to a near
complete lack of archival documents, barely been stud­
ied.The fascinating study of die Parisian market for prints
in seventeenth century by Marianne Grivel (Grivel 1986,
also see Montagu 1987) does, however, provide many use
fill leads. The same goes, regarding Italian prints in the
Notes Chapter 1
156
seventeenth century, for Consagra 1988. The taste for
prints, seen from the collectors point of view, has received
much more attention; compare chapter 2, notes 129-132.
81. The difference in payment between engravers
and designers is essentially caused by the much longer
time it took incise a copperplate. There were, however,
odier variables like size and quality which determined
prices that were paid. Compare Depauw 1996-97, p. 75.
82. Stradanus and DeVos are discussed in detail in
chapter 4, with full bibliographic references. On
Blocklandt, see jost 1960 and chapter 4; the production
of Hans Bol is elucidated in several studies by H.G. Franz,
also see Luijten 1993-94, p. 301 for further references; on
the oeuvre of Ghecraerts, see the incomplete and inaccu­
rate Hodnett 1971; on Yredeman de Vries, sec Mielke
1967, a catalogue of prints after his design, compiled by
Peter Fuhring,is to appear in two volumes of the Hollstem
series in 1997. As IljaVeldman has convincingly argued,
Philips Galle himself mainly designed prints and print
series in die case of iconographically intricate and inno­
vative subjects; seeVeldman 1991. Even in the autumn of
his career, for instance, he was the designer of an elabo­
rate series of personifications entitled Prosopographia (com­
pare chapter 4).
83. On the engraving, see Bartsch 1803-21, vol.
9. p. 512, no. 2; Hollstein (German), vol. 2, p. 60, no. 3;
ibid, vol. 22,p. 227, no. 1 ,TIB. 56, p. 314,no. 84 and Fischer
1962, p. 18.The verses in the margin were composed by
Victor Ghysclinck, a Flemish humanist from the circle of
Plantin; see below, note 93. On Lorck "s stay in Antwerp,
see Fischer 1962, pp. 38-40.This particular engraving was
most apparently made after a design made by Lorck
together with his pupil Nicolaus Andrea, who had fol­
lowed his master to Flanders.The engraving Instability of
Fortune includes both the signature of Lorck as inventor,
as well as the twice repeated monogram of Andrea. Further
testimonies to the friendship between Galle and Lorck
are a letter by the Danish artist to Abraham Ortels
(Hamburg, 10 October 1574, see Hessels 1887, pp. 123-
124) and the above dedication by Galle to Lorck in his
series Wells of 1574 (see note 77).
84. "Abrah. Ortelius,/ sibi et amicis/ fieri cur-
abat", engraved in cartouche in margin right. On the
engraving - of which only the rare first state includes the
date 1574 - see: Hollstein, vol. 3, p. 268,no. 116; ibid., vol.

7, p. 77, no, 155;TIB.56,p.212,no.60;VanBastelaer 1906,
p, 126, no. 116; Lebeer 1969, p. 31, no. 86. The grisaille
once owned by Ortels, is now in Upton House, Branbury
in England.
85. Compare Hessels 1887, pp. 175-176 and
Becker 1928,pp. 316-318 (Coornhert thanking Ortels for
presenting him G aile's engraving), and Hessels 1887, pp.
427-429 (Arias Montano reminding Ortels to send him
an impression of the Death of the Virgin). On Coornhert s
word of thanks ~ praising Galle for his engraving as much
as he did Bruegel for his original composition -, see
Melion 1993, p. 51. Mellon rather overestimates the
importance of Coornhert s eulogizing words, as if he were
explicidy stating that 'reproductive' engravings and the
works they reproduce are to be valued at the same level.
He does not seem to take into account that Coornhert -
who had not seen die original grisaille (which he calls a
drawing) - may certainly have been biased in favour of
his pupil Galle. Besides, Coornhert - who knew Ortels,
but was certainly not a close friend - only follows the con­
ventions of his time by using slightly exaggerated words
of praise for all the persons involved, including compli­
ments to Ortels for his good taste. Also see Melion 1996.
86. A New Hollstein volume on the Doetecum
brothers is in progress, compiled by Henk Nalis; on the
oeuvre of Groenning, who worked both as an engraver and
a designer for Galle, see chapter 4, Mielke 1995, Mielke
1996 and the New Hollstein volume (compiled by Chris
Schuekman) due to appear in 1997. On Johannes Sadelers
early Antwerp period no serious study exists; on the
Sadeler family in general, see Sénéchal 1987, regarding
the period after 1585, Limouze 1990, especially pp. 21-
31, and De Ramarx 1992. The production of the Wierix
brothers is catalogued in detail in Mauquoy-Hendrickx
1978-83, which is to be supplemented in the Hollstein
series by Karen Bowen. For an adequate general assess­
ment of their production see Wiebel 1995.
87. Van Lerius 1864-76, vol. 1, p. 252: "Henrick
van Dort leert by Philips Galle, copersnyder." Another
apprentice may have been Pieter Nagel, an engraver who
worked in Antwerp in the years 1569 to 1584 and who
is alleged to be a pupil of Galle; see Wurzbach 1906-11,
vol. 2, p. 213.
88. Ortels remarks in a letter to Johannes Crato
(October-November 1573) axe discussed in chapter 2,
Notas Chapter 1
157
note 75. One of the (anonymous) young apprentices
Ortels refers to, may have been a youngster like the son
of the Bruges antiquarian Hubert Goltzius. From the
archives of the Offuina Planiiniana it appears that in March
1573 one of the latter s sons (perhaps the engraver and-
print publisher Julius Goltzius) did stay for some time at
Galles house; see Denuce 1912-13, vol. 1, p. 221.
89. On De Hooghe, see Thieme/Becker, vol. 17,
pp, 457-458 and Namowitz Worthen 1991-92, pp. 266-
267.The latter is a stimulating study of calligraphic inscrip­
tions on Netherlandish prints, focusing on Goltzius and
his circle.
90. Several aspects of the rise of professionalism
in publishing prints - focusing on printmakmg in the
Southern and Northern Netherlands at the end of the
sixteenth century in general - are discussed in an inter­
esting issue of the little-known periodical Blockpoints (the
annual journal and report of the Mary and Leigh Block Gallery)
of 1995. Of special interest in this respect are Veldman
1995c and Orenstein 1995b. On the engravers in the
workshop of Hieronymus Cock, see Riggs 1971, pp. 72-
124.
91. See note 72 (the Story of Lot), and note 172,
regarding Galle s mathematical publication.
92. On Zsamboky, also see chapter 2, note 55 and
appendix 2E, no, 146. Ortels and Galle also dedicated the
first edition of Deorum dearumque (1573, see note 48) to
Zsamboky. That Galle was well acquainted with many
leading humanists, both in Antwerp and elsewhere in
Europe, can easily be concluded from the still existing cor­
respondence to and from Plantin, in which Galle is reg­
ularly mentioned as one of his confidants; Plantin 1883-
1918, passim. This is also the case in the remaining letters
addressed to Galles other bosom friend Abraham Ortels;
Hessels 1887, passim.
93. On Ghyselinck, see above (note 83) and chap­
ter 4, note 100; some verses by Heyns are discussed in
chapter 4, note 68; on verses by Favolius also see chapter
3, note 32.
94. See TIB, 56, pp, 315-322, nos. 84:1-8, Van de
Veide 1975, vol. 1, pp. 428-429, nos. P124-131, Mielke
1975, p. 58 and Cockx-Indestege 1983-85, p. 511, no. 1.
In conjunction with stylistic arguments, a preparatory

drawing signed by Maarten van Cleve in die printroom
in Berlin led Hans Ivlielke to convincingly propose that
Van Cleve was, in fact, the designer of the series, in spite
of the fact that Floris's signature is to be found on the here
illustrated first sheet. It is possible that Van Cleve, who was
a pupil of Frans Floris, made use of designs that were left
unfinished at the time of his masters death in 1570.
95. Arias Montano s involvement with the famous
Biblia Polyglotta (also called Biblia Regia), is discussed in
detail in Voet 1972. Regarding the humanists lifelong
interest in the visual arts, see the excellent study by
Sylvaine Hansel: Hansel 1991, his collaboration with
Philips Galle is analyzed on pp. 90-129. All above-
mentioned series, with the exception of the portraits
(see chapter 2), are amply discussed in chapter 4.
96. Coppens van Diest printed inter alia the text
ofDivimrum nuptiarum (1573) and Christijesu vitae specu­
lum (1573), see chapter 4, notes 68-69; the (unknown)
widow of Gerard Fabri was involved in the production
of the Life of St. Francis around 1580, see chapter 4, note
301; Gerard Smets was the letterpress printer of Galle's
1578 French version of the fables of Aesop (P. Heyns,
Esbaitement moral des animaux), while Plantin took care of
the text of Galle s Latin edition of 1579 (A. Freitag,
Mythologia ethica), see Hodnett 1971, pp. 32-33 and Voet
1980-83, vol. 2, pp. 954-956.
97. On Plantin in general, see Voet 1969-72. On
the many projects Plantin and Galle collaborated, see the
index ofVoet 1980-83, s.v. Galle. Also see:Denuce 1912-
13, vol. 1, pp. 221-258 (mainly concerning cartographic
works), Delen 1932, pp. 17-21 and Delen 1934-35,
vol. 2/1, pp. 163-167. A more elaborate study of the exten­
sive archival documents of the Plantin Press relating to
the relation between the Galle family on the one hand
and Christophe Plantin and successors on the other, is to
be undertaken in the next years by Karen Bowen and
myself
98. Galle's earliest works to which Plantin con
tributed typographically printed texts were possibly the
1572 portraits of scholars (see chapter 2) and Zsamboky's
Arms aliquot triumphales of the same year (cp. Leon Voet s
remarks in Voet 1980-83, vol. 2, pp. 909-910, no. 1167).
It was, however, mainly from 1575 onwards that Galle
nearly exclusively employed Plantin for such jobs.
Notes Chapter 1
15S
99. On the Heeniskerck Christ on the cross, see
New Hollstein, Maarten van Heemskerck, vol. 2, p. 87,
no. 384 - where the first edition of the Missale Romanum
is erroneously dated 1574 instead of 1572, and where a
second state (the address of Galle erased, but before the
address of Michael Hayee) is unmentioned - and Voet
1980-83, vol. 3, pp. 1532-1566, nos. 1676-1702. The
engraved 'sicla'has previously not been mentioned in lit­
erature on Galle; see Voet 1980-83, vol. l,p. 311.
100. See note 78. All important documents relat­
ing to this work are briefly described in Voet 1980-83,
vol 2, pp. 971-973, no. 1228.Voet convincingly suggests
that the copperplates remained in Galle s workshop.When
Plantin issued a Dutch translation of die book in Leiden
in 1585, he thus had to rely on Galle to print the illus­
trations, judging by the 1636 inventory of Theodoor
Galle s workshop, the plates were at that date no longer
in possession of the Galle family; Duverger 1984, vol. 1 /4,
pp. 17-36.
101 Compare, for instance, several remarks made
by Plantin ten years later in correspondence relating to
Gerónimo Nadáis manuscript of' Evangelkae historiae imag­
ines: i:
Reliqui vero novitii vel Gallaeo vel Sadelero sunt
obligati qui plures desiderant neque quicquam suscipere
volunt quod apud se non maneat' ?
(November 1585, see
Plantin 1883-1918, vol. 7, p. 207), and, in even more
explicit words "Veni Antverpiam, conveni Gallaeum qui
prorsus negavit se nullum opus susceptum cujus non esset
absolute futuras Dominus" (May 1586, ibid., p. 338).
102. Also see note 59. Besides privileges for spe­
cific works, there were also 'admission-privileges', admit­
ting printers to produce and publish books. On privileges
in the Netherlands in the sixteenth century seeVerheyden
1910 and Van den Branden 1990, the latter transcribing
on p. 64 "een ottroy voir Phlips galle gezworen drucker
ende figuersnyder jnt copere, om xekere figure te mogen
drucken" ("a privilege on behalf of Philips Galle, sworn
printer and copper engraver, to print certain images")
It is unknown to which prints this document (dated July
1577) refers, but it does provide us with the hardly sur­
prising confirmation of the fact that Galle was a sworn,
and thus legally appointed printmaker.
103. Very little is known about the actual use, cus­
toms and effectiveness of the apptohatio in Antwerp in the
sixteenth century. The best survey is to be found in Voet

1969-72, vol. 2, pp. 262-278. judging by the prints from
the Galle workshop, it seems that control was certainly
tightened after 1585; also see chapter 4, passim.
104. Due to a lack of sources, next to nothing is
known about the function and practice of dedications in
this period. For a short survey; see Orenstein 1993-94, p.
174 and Orenstein 1996, pp. 88-90.
105. See chapter 4, note 52.
106. On Arcus aliquot triumphales, see note 98, In
contrast to what one would expect, however, most series
directly connected to persons of the highest ranks, such
as reigning monarchs, were not dedicated to these indi­
viduals themselves, but to noblemen from their immedi­
ate surroundings. One thus finds, for example, the often
copied series Equile loannis Austriaci (The royal stable of Don
fuan of Austria^. 1580) offered to Alfonso ofAragon instead
of Don juan himself (Hollstein, vol. 7, p, 81,nos. 484-423
(sic!). In the same way the print series Medkeaefamiliae vie-
toriae of 1582/83, devoted to the military triumphs of the
Medici family, was not presented to one the members of
this illustrious house, but to one Arnbrosius of
Marienbourg (ibid., p. 80, nos. 462-483). This strongly
suggests that Galle only dedicated works to those persons
who had actually given their consent to do so.
107. See chapter 4, notes 163 and 206.
108 Dedications as a source of income are dis­
cussed in Orenstein 1996, pp. 88-90, pointing out the rel­
evance of Hendrick Hondius s dedications to govern­
mental bodies in the Northern Netherlands.
109. See chapter 4, note 216.
110. On Galle s cartographic activities, see:
Wauwermans 1894-95; Denuce 1912-13, vol. 1, pp. 221-
258; Denuce 1942, pp. 88-93; Koeman 1967-85, passim;
Couvreur 1983-85; Schilder 1986, vol. 2, pp. 111-122;
Schilder 1987; Van der Heijden 1987, pp. 80-82, 84-87
and Van der Heijden 1997.
111. New Hollstein, Maarten van Heemskerck, vol. 2,
p. 213, no. 537, listed as anonymous after Maarten van
Heemskerck. Besides publishing this particular view of
Haarlem, Philips Galle was also, possibly stimulated to do
so by his friend and geographer Abraham Ortels, involved
Notes Chapter 1
159
in the sale of Braun and Hogenberg s Civitates orbis ter~
mrum in Antwerp from 1572 onwards; see note 48.
112. Quite a different kind of publisher is, for
instance, the much younger Hendrick Hondius who start­
ed his print-shop around 1600. Compare Nadine
Orenstein s detailed studies on Hondius: Orenstein 1992
and Orenstein 1996. His enterprise - far less ambitious m
its intellectual goals and much more focused on reissuing
existing plates - represents a new development in the busi­
ness of prints in the generation after Philips Galle. Also
see below.
113. On the victories of Charles V, see note 70.This
is one of those cases in which Philips Galle seems to have
'leased 5
plates from the Cock workshop for a certain peri­
od of time.The plates were still in possession of the Cocks
widow Volcxken Diericx in 1601; cp. Duverger 1984,
vol. 1/1, p. 24.
114. On the history of Antwerp in the second half
of the sixteenth century see the, in some respects outdat­
ed but in many more still very useful volumes of Floris
Prims's magnum opus: Prims 1927-49, vols. 19 to 22.
General historical surveys of Antwerp in the sixteenth
century and early seventeenth century - with contribu­
tions by several authors - can be found in Bousse 1975,
Couvreur 1989 and Van der Stock 1993. A concise histo­
ry of the turbulent events in Antwerp in this period, with
further bibliographic references, can be found in Aliens
Thijs s account of the Counter-Reformation in Antwerp:
Thijs 1990, pp. 23-32. A thorough history of the
Reformation in Antwerp between 1555 up to 1577, is
provided by Marnef 1996.
115. Philips Galle also contributed to this tax; see
Register 1574, p, 274. With 4 guilders, the engraver was
one of the lower taxed individuals. One has to keep in
mind, though, that only between 11 to 15 % of the heads
of families did contribute; see Marnef 1996, pp. 29-31. In
the districts IX en X, where most of the printers,
engravers, publishers and other tradesmen of the business
of prints and books lived, this height of assessment was
fairly average. While only a few printmakers were taxed
considerably higher - notably the publisher Gerard de jode
and the painter and engraver Pieter Baltens, both of them
much older and long-established in Antwerp - many other
known printmakers apparendy did not have enough prop­
erty to be levied.

116. During the tax assessments in the years 1584-
85, Galle was one of the very few printmakers who was
considered to have enough possessions to pay the sum of
2,5 guilders every month. According to Van Roey, Galle
belonged to a middle-class group of citizens who were
(reasonably) well-off; see Van Roey 1988-89, pp. 420-424
and 428; also see Marnef 1996, pp. 31-34.
117. More remarks on the chronological division
in Galle s oeuvre cm be found throughout chapter 4, which
is structured in the same way.
118. I hope that the new edition of this study in
1998 will provide more precise information on the dates
of series and prints. The many advertisements by Philips
Galle in the catalogues of the Frankfort book fairs will
hopefully provide a year ante quern for undated prints.
Unfortunately the facsimile reissues of these catalogues
came to my notice too late to be of use in detail. I kind­
ly thank Chris Schuckman for making me aware of the
importance of the Frankfurter Buchmesse for the trade of
prints.
119. On Kiliaan, see Kiliaan 1880 and Van den
Branden 1978.
120. On these designers, see note 82.
121 Goltzius's relation with Galle is discussed in
detail in chapter 4.
122. On the production of the Wierix family, see
note 86. IljaVeldman is working on a new monographic
study of Crispijn de Passe; his collaboration with Philips
Galle is discussed in chapter 4, see notes 177-178.
123. Most of the prints the Wierix brothers
engraved on behalf of Galle are undated. Style, subject and
the choice of designers of several prints and series of prints,
strongly suggest that the collaboration continued at least
until 1590; see various prints discussed in chapter 4. On
the prints produced for Philips Galle, see the indices in
Mauquoy-Hendrickx 1978-83, vol. 3/2, s.v. Galle.
124. Unfortunately virtually no research has been
done on the Colbert family, active in Antwerp from the
middle of the sixteenth century until deep into the sev­
enteenth century. Nearly all information on the various
members of the family - whose exact family relations to
Notes Chapter 1
160
one another are still unanswered is based on J.L. Sponscl s
biographies in Thieme/Becker, vol. 7, pp. 210-211. For a
recent short survey, without any additional information,
see Dictionary of Art, vol. 7, pp. 555-557 (Christine van
Mulders). In contrast to current opinions, I believe that it
is highly probable that both Adriaen (born around 1560)
and Johannes (born 1566) are sons of Hans Coliaert,
engraver in the workshop of Hieronymus Cock. Both
youngsters entered the guild of St. Luke as a masters son,
respectively in 1580 and 1585;VanLerius 1864-76, vol. 1,
p. 273 and 298. As far as is known to me, no other mas­
ter, besides the above-mentioned Hans, was registered in
the guild under the name Coliaert. At the wedding ofjusta
Galle and Adriaen Coliaert in 1586Johanncs Coliaert was
present as witness together with Philips Galle; see appen­
dix IB. This certainly implies that Johannes was close of
kin to Adriaen and was possibly acting as a replacement
for their father Hans Coliaert, who had died in 1581. Seen
in this light, a series of engravings of jewellery of 1582
(also discussed below) traditionally assumed to be
Johannes Colbert's first dated engravings, could more
plausibly be attributed to the older and more experienced
Adriaen. This series is especially interesting as it carries
the following address on the title page: "Jofhann]cs
Coliaert del./ Eius filius [his son] sculp./ P. Ga!l[a]eus
excud .".As is rightly noted by Marijnke dejong and Irene
de Groot, the fact that a later state of this title page car­
ries the inscription "A. Coliaert sculpsit." leaves little doubt
that he was indeed the engraver of the series and thus was
a son of Hans (or Johannes) Coliaert the Elder; see De
Groot 1988, pp. 57-58, no. 68.1
125. The two Coliaert brothers did not work for
Philips Galle only. Their names can be found on several
engravings published by Gerard de jode, the widow of
Hieronymus Cock and Hendrick Goltzius. Certainly this
last contact - a very unusual one in the history of Goltzius's
enterprise - must have been brought about by Philips
Galle.
126. See appendix IB.
127. The here illustrated engravings are taken from
the Divine charge to the three estates, four plates engraved by
Adriaen Coliaert after Maarten deVos around 1585/86
(Hollstein, vol. 44, pp. 249-251, nos. 1257-1260), and the
Seven planets, seven plates and a title page engraved by
Johannes Coliaert after Johannes Stradanus (Hollstein, vol.
4, p. 71, nos. 113-120).

128. See appendix 1A.
129. "15.10.1617. Desen man wesende een seer
constryck plaat snyder hebbe ick familiare gekendt maer
erinnere hern met droeftheit also hy vander aughsburss-
che confessie synde daer nast paepen, oni vanden vleesch
pott Egipti nyet te wycken ende des schoon stadt van
Antwerpen nyet to verlaten"; quoted from Hamilton
1980, p. 331.
130. De Kempenaer wrote these words in die mar-
gin of his own copy of Sweerts 1613, p. 83 (see note 12).
On the biography of De Kempenaer, see Hamilton 1980.
The versatile humanist settled in Antwerp around 1578,
where he soon became acquainted with many leading
humanists, including Plannn. He clearly never (perhaps
due to his manifest Calvinist sympathies) became truly
intimate with the heterodox circle of friends around the
Officina Plantiniana. If he did become close friends with
Galle is an unanswered question, but it is a fact that the
printmaker in 1582 dedicated a large series of hunts,
engraved after designs by Hans Bol, to De Kempenaer;
see Hollstein, vol. 7, p. 81, nos. 568-622. More than their
mutual agreement on religion, it might have been their
anti-Spanish commitment which united them; see
Hamilton 1980, p. 295, regarding Galle's political opin­
ions, see below.
131. See chapter 4, note 331.
132. Galle s opinions run remarkably parallel to
what is known of his two collaborators in Haarlem,
Hadrianus Junius and Maarten van Heemskerck; see
Veldman 1974 and Veldman 1987. Both did stay within
the Catholic Church, although parts of their opinions
come close to the creeds of the Reformed Churehes.
133. See Hamilton 1981a, pp. 65-82. Also see
chapter 4.
134. On Mercator's religious convictions, see De
Nave 1994, pp. 17 and 51-56.
135. On 1 October 1579 Philips Galle contributed
a drawing and a dedication to the album amicorum of
Marnix's son Jacob; KalfF 1911, pp. 24-25. Calvinist
acquaintances outside Antwerp were, for instance, the
Dutch historian Emanuel van Meteren (see chapter 2,
Notes Chapter 1
161
note 31 and chapter 4, note 86) and the Dutch military
leader and statesman Janus Dousa (see Sellink 1991-92,
pp. 154-155 and chapter 2, passim).
136. See Sellink 1991-92 and chapter 4, note 28
and further.
137. A genera! overview of the political and reli­
gious developments in the Netherlands during this peri­
od is given in Parker 1986 and AGN, vol. 6, pp. 146-214.
The views on religious tolerance in the circles around
William of Orange are elucidated in Van Deursen 1984.
On Plantin s views in this respect, see chapter 2, note 84.
138. "Een cort verhael van de gedincweerdichste
saken die in de xvij. Provincien vande Nederlanden van
daghe tot daghe geschiet zijn sedert den iare ons Heeren
M.D.LXVI. totten iare M.DX.XXIX". On the genesis
and the contents of the book, see Vermaseren 1957. On
the original map of the Netherlands - which is known to
have existed, but of which only later editions have been
traced as yet - see Schilder 1986, vol. 2, pp. 111-122 and
Schilder 1987.
139. On the various editions of the book, see Voet
1980-83, vol. 3, pp. 977-980. The two different versions
of the Dutch text, which Voet knew to exist from the
Plantin archives but had not traced, can be found in the
Royal Library Albert I in Brussels: inv. nos. LPVH 26.327
A and LPVH 26.328 A respectively.The typography only
differs in meticulous details, but there are clearly two dif­
ferent versions.
140. Brevis rerum (1578).Reprinted in Feyerabend
1580, vol. 2, pp. 179-182. Another edition of this compi­
lation of studies by various authors was published in 1583;
Feyerabend 1583.
141. See Vermaseren 1957 and Van der Heijden
1997. As Vermaseren notes, the Dutch and French edi­
tions of Galle s booklet, were dedicated to a Jan de
Bourgogne, a high official from the circle around William
of Orange.
142. The view of Maastricht, dated 1579, is
engraved after Hans Bol.This extremely rare etched map
- I only know of a copy in the Albertina in Vienna (inv
HB 56,1 Bl. 5) - is only mentioned in passing in Denuce
1912-13, vol. l.p. 225.The typographically printed text

in the margin (in Dutch and French) is rather interesting,
pointing out to the reader that with the help of God and
the courage of its citizens, the city of Maastricht was able
to resist the attacks of the Spanish forces. The map was
apparently published before the city fell to the Spaniards
in the same year. On Galle s map of Antwerp, see Couvreur
1983-85. This view of the city is dedicated to the four
officials who were appointed in charge of the fortifica­
tions of the city.
143. After a long absence in Antwerp, Heyns
returns to the city where he runs into Philips Galle:
onsen sonderlinghen vriendt ende compere den seer ver-
maerden coper-snyder Philippus Galle, die ons hertelijck
willecome heeten.de ende vriendeiijck heschoncken
hebbende int langhe gliingh verteilen (ghelijck hy dat
meesterlijck wcl can) alien des hertoghen [i.e. Duke of
Axijou] handel gheduerende ons afFwesen.ende "Galle
continues to relate all noteworthy political and military
events of the recent past, including the attempted murder
of Anjou, which Galle witnessed in person together with
another friend, the painter Giliis Coignet. After having
told Heyns all there was to know, the printmaker proud­
ly showed his friend around all the fortifications of the
city. Pieter Heyns tells this story in Galle s second, enlarged
Dutch edition of Spiegel der We.rdt, the pocket atlas of
Abraham Ortels, published in 1583; quoted from Van den
Bcmden 1963, pp. 57-59.
144. The existence of a second map of the
Netherlands by Galle has only recently come to light; see
Van der Heijden 1997 and a forthcoming article by Peter
van der Krogt in CaertThresoor.The English translation of
Galle's inscription "Ludit in humanis Divina Potentia
rebus,/ Fertqfue] refertq[ue] vices, petitur mode Belgica
ferro,/ Et modo pars misere deiecta adversa tuetur." is
based on Van der Heijden s Dutch translation; Van der
Heijden 1997, p. 90.1 thank Daniel Horst for drawing my
attention to this article. He also kindly pointed to me out
that the preparatory drawing for the cartouche on the
map is in the printroom in Berlin, attributed by Hans
Mielke to Jacques de Gheyn I; see Anzelewsky 1975, pp.
124-125, no. 162. Although this attribution may possibly
hold stake, there are no known connections between Galle
and De Gheyn the Elder, nor is the lattcrs name men­
tioned on the engraving. In style and technique this could
well be a drawing by GaMe himself. I hope to publish a
study of the (very problematic) drawn oeuvre of Galle at a
later date.
Notes Chapter 1
162
145. On the history of Ortels's original Jlieairum
orhis terramm, see Koenian 1964; on Galle's pocket atlas,
including a survey of all editions, see Koenian 1967-85,
vol. 3,pp. 71-77. For most, but not all, editions Galle made
use of the services of the Officina Plantiniana for setting
and printing the letterpress text; seeVoet 1980-83, vol 4,
pp. 1698-1708,nos. 1828-1834. One Latin edition of 1595
was printed by the Antwerp publisher Arnout Conincx.
146. It was Philips Galle who came up with die
ingenious idea of producing a pocket atlas; the first edi­
tions were conceived and worked out during a period
that Ortels himself was not living in Antwerp. See Denuce
1912-13, vol. l,pp. 227-228, On Plantin's trade with Galle
in this respect, see ibid., vol. 1, pp. 243-257. In February
1579, for instance, Plantin bought no less than 600 copies
of the French edition; ibid,, vol 1, p. 246.
147. Hollstem, vol. 7, p. 81, nos. 424-527 and 528-
567. The first hunting scenes were designed by Stradanus
for tapestries commissioned by Cosimi de'Medici, Grand
Duke ofTuscany.A general discussion of Stradanus s hunts,
with an unfortunately rather inadequate catalogue and
survey of editions is to be found in Bok-van Kamrnen
1983. As the verses in the margin were composed by
Cornelis Kiliaan, the hunts are also included in Van den
Bran den 1978, pp. 190-201, with a very useful checklist
of all engravings. A few years ago a large number of
preparatory engravings for these hunts were auctioned
from the estate of Marcel jeanson; auction catalogue,
Monaco,Sotheby's, 1 March 1987.Also see Fuhring 1989,
vol. 1, pp. 138-139, no. 94, where an unused drawing for
a title page - dated 1598, corrected to 1599 and with the
name Galle added in the lower right corner - proofs that
at late as 1599 Stradanus and Galle were still working on
new editions of the series. Also compare Dorine van Sasse
van Ysselt's remarks in Van Berge-Gerbaud 1994, pp. 52-
53,no. 20, where attention is drawn to a preparatory draw­
ing dated 1596.
148. The Stradanus hunts were copied in tapestries,
engravings, drawings, fresco s and all sorts of applied art;
see Kutzen 1970 and Bok-Van Kamrnen 1983 with fur­
ther references in this respect. Compare, for instance,
several drawn copies in the Rijksprentenkabinet;Schapel~
houman 1987, pp. 42-43 (three drawn copies around
1600) and loc. cit.,note 4 for a reference to an album with
more copies. Even as far as Colombia, in a house build in
1585, one finds frescos with copies after the

Stradanus/Galle hunts; see Benisovich 1956, p. 250, note
5. On examples of pottery with hunting scenes, see Boulay
1960 and Micheaux 1972.
149. On hunts after Bol see: Hollstein, vol 3, p. 52,
nos. 110-163 and vol. 7, p. 81, nos. 568-622.This series is
dedicated to Paul de Kempenaer, also see above, On sev­
eral preparatory drawings by Bol, see Franz 1965, passim
and Zwollo 1969. On the rare Gheeraerts series of fight­
ing animals, see Hodnett 1971, pp. 57-58 and 71.
150. On The royal stable of Don fuan (published
around 1578), see note 106. Several series of copies are
known to exist, two of them (reversed and reduced in size)
published by Galle himself, one by Marcus Sadeler. On
the birds and butterflies after Gheeraerts (published
around 1580/85), see Hollstein, vol 7, p. 103, nos. 33-44
(a later edition by Johannes Galle), Hodnett 1971, p. 58
and 71, and Balis 1968-69, pp. 32-33. Copies after these
engravings were published by Hendrick Hondius, who
would have been aware of this series through the gold­
smith Quinten van der Gracht. Both Hondius and, much
earlier in Antwerp, Philips Galle were acquainted with Van
der Gracht, to whom Galle dedicated his series of birds
and butterflies; compare Orenstein 1996, pp. 24-26 and
pp. 182-183, nos. 190-201. As a young pupil in the art of
engraving in Antwerp, possibly in the workshop of
Johannes Wierix, Hondius, who was much later to reprint
several of Galle s plates, may have become acquainted with
the Antwerp publisher in person. On Galle s series of flow­
ers, entided Florilegium and probably published after 1585,
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
series copies by Nicolaes de Bruyn are known.
151. On the series after Gheeraerts, made between
1580 and 1585, see Hollstein, vol. 7, p. 102, nos. 52-63,
Hodnett 1971, pp. 58-59 and p. 71, and De Groot 1988,
pp. 78-79, no. 88. All engravings afterVredeman deVries
will be catalogued in the forthcoming Hollstein volumes,
edited by Peter Fuhring. On his (undated) furniture
designs see Mielke 1967, pp. 58-59, no. XXVII and De
Groot 1988, pp. 132-134, no. 183. On the three series of
garden designs (one undated, the others dated 1583 and
1587 respectively) see Mielke 1967,pp. 56-62,nos.XXVI,
XXVIII and XXIX.
152. On the two series after Hans Collaert, see
Heuser 1961; Hollstein, vol. 4, p. 214, nos. 199-208 and
Notes Chapter 1
163
p. 215, nos. 209-218; and De Groot 1988, pp. 57-60, nos.
67-68. Also see note 124.
153. For further references of the above-men­
tioned works, see: chapter 2, note 121 (Vosmeer); note 96
(Fables of Aesop); chapter 3, note 32 (De deis gentium ima­
gines); note 106 (the Medici triumphs); note 48 (Ortels s
antique coins); chapter 4, passim (Divinarum nuptiarum);
note 78 (De return usu et abusu).
154. See note 61.
155. On the numbers of adherents of the Catholic
and Reformed convictions in Antwerp around 1585 and
the changes hereinafter, see Bournans 1952, Van Roey
1975 andThijs 1990, pp. 33-40. On the history of Antwerp
in this period in general, see note 114.
156. On De Passes departure from Antwerp see
chapter 4, notes 177-178, on Maarten deVos's decision to
stay, see Zweite 1980, pp. 19-37.
157. See the records of the guild from the years
1584 to 1586;Van Lerius 1864-76, pp. 289 ff. As a former
dean Galle s name appears regularly in these records until
c 1600.The status of Galle can also be surmised from the
fact that in 1590 he was asked, together with Pieter van
der Borcht and (for the cartographic copperplates)
Abraham. Ortels, to assess the value of the stock of cop­
perplates in the estate of Chxistophe Plantin, who had
died in 1589; seeVoet 1969-72, vol 1, pp. 164-165.
158. The Instruction et fondemenis is discussed in
detail in chapter 3, the Prosopographia in chapter 4.
159. See chapter 4, fig. 77 and note 164. On
Theodoor Galle, see Van den Bemden 1863, pp. 19-28,
Thieme/Becker, vol. 13, p. 105, also see appendix IB.
160. On Cornells Galle, seeVan den Bemden, 1863,
pp. 33-42,Thieme/Becker. vol. 13, pp. 105-106, also see
appendix 1C. Many of his early engravings are discussed
in chapter 4.
161. Van Lerius 1864-76, vol. 1, p. 298 (Mallery),
p. 383 (Barbé), p. 389 (Spierinck), p. 432 (Backereel). Of
the last three no signed works are known with the address
of Philips Galle. It is also strange to see an apprentice of
Philips Galle mentioned in 1605, as Theodoor had by then

taken over the control of the workshop. Karel de Mallery
married Gathering Galle on 10 January 1598, see appen­
dix 1 A. After his marriage De Mallery left Antwerp and
settled down in Paris, where he worked until 1621; see
Thieme/Becker, vol 23, p. 596 and Grivel 1986, p. 138.
162. Hoilstein,vol. 11,p. 160,no. Ill (nymphs) and
nos. 115-120 (sericulture, also see Van Puyvelde 1942, pp.
24-25).The only other major series signed by De Mallery
is the Allegory oj human vanity after Ambrosios Francken
(1590/95), see chapter 4, note 95.
163. "Conveni etiam rursus Gallaeum qui honeste
respondit se habere filios et discípulos quos ipse jam
senescens neeessario debet docere eorumque manus velu-
ti ducere"; Plantin 1883-1918, vol 8/9, p. 122.The last
dated engravings certainly incised by Galle himself are the
plates of his drawing book Instruction etfondements of 1589
(see chapter 3), Also from his hand are the plates of the
undated Prosopographia (see chapter 4), published around
1590. Both series are innovative of subject and rather
ambitious in its intellectual aims and this may have been
the reason that Philips Galle was interested in engraving
these prints himself
164. The fact that Colbert set up his own work­
shop around 1593/94 can be gathered from the 'liggeren'
(records) of the guild of St. Luke of the year 1594, where
two youngsters (Kerstiaen CnijfFand Francoys de Riemer)
are mentioned as apprentices of Adriaen Collaert; Van
Lerius 1864-76, vol. I, p. 380. Of course this does not
imply that Collaert immediately stopped working on
behalf of Galle, although no dated works after 1593 with
the signature of Galle are known to me; also see chapter
4, note 190. Only a few years earlier, in 1589, both Adriaen
and Johannes Collaert were mentioned in the same guild
records direcdy following Philips Galle, suggesting that
the two young engravers were also formally considered
to belong to the Galle workshop;Van Lerius 1864-76, vol. 1,
p. 341. On Cornells Galles departure to Italy, see below.
165. The history of Antwerp printmaking after
1585 still remains to be written; compare various remarks
in Sellink 1996-97 .The shift from Antwerp and the grow­
ing importance of print publishers in the Northern
Netherlands is discussed in Orenstein 1995b. Also see
Orenstein 1993-94.
166. On the (religious) works by De Vos and
Stradanus after 1585, see chapter 4.
Notes Chapter Í
164
167. For examples of these designers, see chapter
4, note 95 (Francken); Hollstcin, vol. 4, p. 207, nos. 559-
570 (De Momper); chapter 4, notes 228-229 (Pietersz.),
Hollstein, vol. 21, p.43, nos. 13-20 (De Hoey).
168. On Galle s relation with Italian print design­
ers, with the exclusion of Stradanus, sec chapter 4, note
232 and further.
169. See TIB. 56, pp. 337-344, nos. 89:1-8, Meijer
1979,Smolderen 1977 and Buchanan 1990a and 1990b.
170. On the project, and its historical context, see
Sellink 1987. Besides the two illustrated engravings of
Lucifer and Count Ugolino - both of which, in contrast
to my earlier statements in Sellink 1987, were first pub­
lished by Philips Galle and then by his sonsTheodoor and
Galle respectively - the elder Galle also issued a portrait
of Dante surrounded by views of Hell, Purgatory and
Heaven.
171. On this series, see Luij ten 1996, pp. 140-142.
172. See Bonelli 1959 and Dumon 1977, pp. 95-99.
173. Hollstein, vol. 7, p. 87 5 nos. 410-430. It is
remarkable that many of the engravings from the Nova
reperia have frequently been illustrated and, on some occa­
sions, discussed in a (art)historical context separately, while
the intriguing concept of the entire series has, to the best
of my knowledge, not been subject of study. As several
other important series designed by Stradanus, the Nova
reperia is dedicated to the Florentine scholar Luigi
Alamanni. On several preparatory drawings for the series,
see Heusinger 1987, pp. 79-82.
174. The few new maps Galle issued are oflit.de
merit, such as an engraved view of the Forum Vulcani after
Stradanus - dated 1587 and later used in a travel report
by Franciscus Schott (Cockx-Indestegc 1968-94, vol 1,
p. 352, no. 4307) - and a view of Pozzuoli, also engraved
after Stradanus and dated 1587 (Hollstein, vol. 7, p. 80, no.
422. According to an auction catalogue of the beginning
of the century - Amsterdam, Frederik Mullers, 10
December 1906, no. 1317 - Philips Galle in 1601 pub­
lished an edition of the famous set of etched landscapes
after the so-called Master of the Small Landscapes. I have
not found such an edition.There may be confusion with
an edition by Theodoor Galle, also dated 1601; Bierens
de Haan 1948, pp. 216-217. This important set of land

scapes will be catalogued in detail by Henk Nalis in the
formcoming Hollstein volumes on the Doetecum brothers.
175. On the series after Cleve, who died in 1589,
see Hollstein, vol. 4, p. 170, nos. 1 -38; ibid., vol 7, p. 80,
nos. 423-460 andTerlinden 1960. In 1587, Philips Galle
also published another series of 12 landscapes after Van
Cleve, engraved by Adriaen Collaert, This second series
concentrates on unidentifiable landscapes with ruins,
instead of recognizable topographical views; Hollstein,
vol. 4, p. 170, nos. 39-50 and p. 206, nos. 535-546.
176. On the siege of Vienna, and its companion
piece with the naval battle at Lepanto, see Hollstein, vol 4,
p. 207, nos. 704-705 and Van Sasse vanYsselt 1990, pp.
162-170 with further references. One of the few topical
prints Galle issued, was an etched view of the siege and
fall of Raab in 1598, including a text emphasizing the
everlasting power of the Roman Church. This etching is
unrecorded in literature, copies are to be found in the
Rijksprentenkabinet in Amsterdam and in the department
of prints and drawings in Bibliothèque National in Paris.
Another, rather different topical engraving - in subject
highly unusual in the oeuvre of Philips Galle - is an engrav­
ing of a rhinoceros that had been travelling in Portugal
and Spain. On this engraving, dated 1586, see TIB, 56,
p. 509, no. 208 and Clarke 1986, pp. 28-31.
177. The here illustrated (undated) series Litis
abusus (The abuses of process) consists of eight plates;
Hollstein, vol 7, p. 86, nos. 401-408. The designer is
unknown (Philips Galle?), but the series is strongly relat­
ed in subject, many iconographical details and various
compositional elements to a series designed and engraved
by Goltzius around 1576/77; seeVeldman 1989, pp. 24-26.
178. On the date post quern, see a letter by the
Doornik scholar Denys de Villiers to Abraham Ortels,
dated 1 July 1592, in which he promises to pay 'the son'
of Philips Galle for a certain manuscript; Hessels 1887,pp.
516-517.That this son must beTheodoor, is apparent from
earlier correspondence between De Villiers and Ortels;
Hessels 1887,p.486. On the relation between Philips Galle
and Denys de Villiers, also see chapter 4, note 202. On the
date ante quem^ see the visit on 1 May 1594 byTheodoor
Galle to the catacombs of Domitilla in the company of
the Delft apothecary and antiquarian Hendrik de Raeff;
HoogewerfT 1936, p. 97, On his drawings after Orsinis
coins, which were to result in his first major publication
Notes Chapter 1
165
in 1598 (see below), see chapter 4, note 116. It is certainly
possible that the engraver, like his younger brother
Cornells, engraved several compositions after Italian artists
during his stay in Rome.The only engraving byTheodoor
with an address of an Italian publisher is an image of St.
Prassede, engraved after Anteveduto de Grammatica;
Hollstein, vol. 7, p. 84, no. 179. The engraving was pub­
lished in Rome by jacopo Lauro in 1598, two years after
Theodoor's return to Antwerp. Noe has suggested that
during his stay in Italy the younger Galle collected infor­
mation (on Italian artists?) that Karel van Mander was later
to use in his Schilder-Boeck;No'c 1954,p. 202.This hypoth­
esis is related to two drawings by Van Mander, both dated
1597 and both carrying the inscription:"Carlo da Mandra
fe. per suo Amico il. Sign. Theodoro gallo"; also see Van
Mander 1994, vol. 2, p. 117, no. Dl (erroneously men­
tioning the date 1579) and p, 126, no. D28. There are no
further testimonies to a friendship between Van Mander
and Galle.
179. Van Lenus 1864-76, vol. 1, p. 387.Theodoor
Galle must have returned before September 1996, as in
this month Jan Moretus thanks the humanist Andreas
Schott for a package delivered by the young printniaker;
Fabri 1967, p. 350.
180. At this occasion a single acrostic on the names
of the two spouses was composed on behalf of the staff of
the Plantin Press.This printed/but unrecorded poem is to
be found in the archives of the Museum Plantin Moretus
in Antwerp. I thank Dirk Imhof for drawing my attention
to this poem.
181. The approbation by Silvester Pardo is dated
22 August 1598, the compositor and the printers were
paid on September 5. As all letterpress text was printed
by the Offkina Ptantiniana, the Elustriutn imagines will be
included (as no. G-3) in Dirk Imhof s forthcoming cata­
logue of books printed by Jan Moretus. A second enlarged
edition was published in 1606; ibid., no. G~4.1 thank Dirk
Imhof for providing me with copies from his manuscript
in preparation,
182. These are: Ulusiriurn icoties scriptomm of 1604
(see appendix 2D) and the third edition of Imagines doc-
tomm viromm of 1606 (see appendix 2C)> Other major late
series are: Societatis lesu (c, 1600, see appendix 2H),
Imaginibus sanctorum Francisci (1602, see chapter 4) and Life
of Si- Catherine (1603, see chapter 4).

183. On Theodoor Galles stock of copperplates,
see the death estate of his widow Catherina Moretus in
1636; see Dermce 1.927 and Duverger 1984, vol. 1/4, pp.
17-36. Several plates were not originally from the Galle
workshop, but were acquired after 1601 from the estate-
ofVolcxken Diericx,the widow of Hieronymus Cock; see
Duverger 1984, vol. 1/1, p. 24.
184. The lasting popularity and influence of late
sixteenth-century Netherlandish prints in the seven­
teenth century, would be well worth a thorough study.
See several remarks and references in the historiographi-
cal survey in the beginning of this chapter; also see many
perceptive remarks in the separate entries in De Jongh
1997.
185. Compare the first edition by Philips Galle;
chapter 4, fig. 8, with further references. In contrast to his
father Theodoor, Johannes Galle does not seem to have
been very active as an engraver himself. He concentrated
on the trade of prints. It would be worthwhile to make a
study of the relations between Johannes Galle and the
Visscher family, who often reprinted plates from the stock
of their Antwerp colleagues. The estate of Johannes Galles
death estate in 1676 has not yet been published, but will
be included in a forthcoming volume of Duverger 1984.
It apparently contained no less than 82.000 prints and
copperplates;Van Hcurck 1930,p. 71 .According to a print­
ed advertisement a sale of the estate was planned on 15
February 1677, the catalogue was to be acquired from
Nicolaes Visscher in Amsterdam. A later advertisement,
dated February 18, informed the public that the sale was
delayed until March 8.1 kindly thank Chris Schuckman
for showing me copies of these advertisements. 1 have,
unfortunately, been unable to trace the original adver­
tisements, nor have I found the sales catalogue.
186. On the relations between Philips Galle and
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-
soon 5
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.
Notes Chapter 1
166
188. On Cornells Galles engravings made in Italy
on behalf of his father, see chapter 4. Hollstcins list of
engravings of Cornells Galle I is even more inaccurate
than those of his father and brother, especially due to the
fact that he has entirely confused works by the respective
generations Cornells I, Cornells II and Cornells Galle HI.
189. On Cornells II and III, see Van den Bemden
1863, pp. 42-50.
190. Nearly all of Philips Galles pupils became
important engravers in Antwerp with a workshop of their
own. Several of them became, like their former master,
dean of the guild of St. Luke, generally an indication of
their standing amongst colleagues; these were Theodoor
Galle in 1 610Johann.es Collaert in 1612, Karel de Mallery
in 1621-22 Jean Baptiste Barbé in 1627-28 and Johannes
Galle in 1638-39.
191. On collecting in the sixteenth and seventeenth
century, see chapter 2, notes 129-132.
192. See, to mention just a few examples: Boschloo
1993 (copies in frescos in Bologna);Bosters 1989 (the use
of engravings in borders of maps); Boulay 1960 and
Micheaux 1972 (on copies in French faience); Fabri 1982,
Thirion '1965 andThirion 1967 (regarding copies in fur­
niture of the seventeenth century); Cole 1993 and
Husband 1995 (on the use of prints in painted glass),
193. See, again just to quote a few examples: Zerner
1983, passim, on the diffusion through engravings in gen­
eral; Wijngaert 1943 andjermes, on the use Jesuits made
of Antwerp prints during their missions in the Far East;
Sims 1983 (on the influence of Antwerp prints on Persian
miniatures); IJzcrman 1926, on the trade of prints with
Dutch India; Braat 1980, on the sixteentii-century ship­
ment of prints found in Nova Zembla.

* ".„„ in aere incisas et diligenter expressas/';
quoted from Galle s introduction to the Virorum doctomm
effigies (1572). See for the full text appendix 2B. Portrait
series are here understood as a compilation of prints with
the litelike - or at least intentionally so - features of more
or less contemporary persons, issued as a single, coherent
publication. The related traditions of publishing illustrat­
ed books with engraved 'portraits' of famous men from
classical antiquity (nearly always copied after coins) and
with the often fictitious 'portraits* showing a genealogi­
cal or historical lineage (kings, counts or dukes of ...„),
will of course be taken in account when discussing the
origins of engraved portrait series. Prints of saints are not
discussed, as they are in general intended as images of
devotion and not as straightioxvvard portraits. On the dif­
ferent views concerning the genesis of the portrait in
European art in general, see Pope-Hennessy 1979,
Martindale 1988 and Campbell 1990 and their biblio­
graphic references. The Latin introductions to Galle s
series of portraits as well as the verses underneath the por­
traits have been translated from Latin into Dutch by Jan
Bloernendal, whom I kindly thank for all his generous
assistance.These translations were made possible by a grant
from the Kunsthistorische Onderzoeksschool at Utrecht
Umversity.This chapter has, as all others, found much ben­
efit by the comments by Ilja Veldman and Peter Hecht; I
also express my gratitude to jan Piet Filedt Kok, Chris
Heesakkers and Rudi Ekkart for their critical remarks.
1. After more than a century the only accurate,
though brief descriptions of Galle s series are still to be
found in Van Someren 1888-91, vol. 1, pp. 122-127. The
accuracy ofVan Someren 5
s descriptions in this rich, under­
rated study of engraved portraits in the Netherlands is
probably due to his work as a bibliographer at the famous
auction house of Frederik Muller's in Amsterdam. He was
later to be an assistant librarian and chief librarian respec­
tively, at the universities in Amsterdam and Utrecht (I
thank Freek Heijbroek for providing me with this infor­
mation) .A short characterization of the four different edi­
tions, seen in the light of Philips Galle as a print publish­
er, is given in Sellink 1992a, pp. 22-25. In the appendices
2A to 21, all series of portraits of scholars published by
Philips Galle are described in detail: 1567-edition (appen­
dix 2A), 1572-edition (appendix 2B), 1587-edition
(appendix 2C), 1604-edition (appendix 2D), a combined
alphabetical catalogue of the four preceding series (appen­
dix 2E), popes (appendix 2F) S cardinals (appendix 2G)5
Jesuits (appendix 2H) and, finally,Theodoor Galle s series
Notes Chapter 2
167
of Italian scholars (appendix 21). Related, but separately
published portraits of Janus Do usa, Hadrianus Junius and
Abraham Ortels are included in appendix 2E. Not includ­
ed are Galles two series of counts of Holland (see notes
119 and 121) and several separately published portraits
that are not discussed in this chapter. Amongst the latter
are portraits of the Italian cardinal and librarian Cesare
Baronio (cp. Müller Hofstede 1964, pp. 445-446 and
Imhof 1996-97, p. 96) portraits of his friends Maarten van
Heemskerck andjohannes Stradanus (cp. Filedt Kok 1996,
pp. 162-163), one, or possibly two engravings of the
painter and antiquarian Hubert Gokzius (Le Loup 1983-
84, pp. 87-89) and a portrait of Alessandro Farnese
(Mauqouy-Hendrickx 1978-83, vol.3/l,p.364,no. 1807.
2. In this chapter and in all its related appendices,
most (first and second) names are given in die vernacu­
lar version in the native language of the person involved,
rather than using Latinized or Graecized versions:
Abraham Ortels instead of Abrahamus Ortelius, Jean
Calvin instead of Johannes Calvinus, and Pietro Vettori
rather than PetrusVictorius, In accordance with the sen­
sible guidelines used in Con temporaries of Erasmus
(Bietenholz 1985-87, vol. 1, pp. xii-xiii) the vernacular is
used whenever a predominant form could be established.
Humanist names in latin or Greek are preferred in the
case their vernacular counterparts are less certain or when­
ever the vernacular is much less known and would make
a person difficult to identify: Gerard Mercator instead of
Gerard de Cremer,Rodolphus Agrícola instead ofRoelof
Huusman, andjohannes Dantiscus rather thanjoharrn von
HófemSaintejpopes^mpero^kmgSjand queens are given
in English under their first name (e.g. King Philip II). For
names of places, modern vernacular forms are used, with
the exception of those for which there is a commonly
excepted English version (such as Brussels, Antwerp, and
The Hague).
3. One of the first to recognize the importance
of Galle as one the prime initiators of the genre is the
Felgian book collector M.C. van Hulthem; see Van
Hulthem 1836-37, vol. 2, pp, 158-159.
4. Lampson 1572. On Lampson as an art theo­
rist, see Becker 1973 and Mellon 1991, pp. 143-159.The
Effigies are reprinted in facsimile and commented upon
in Lampson 1956. Two portraits, both engraved by
Cornelis Cort, are discussed extensively in Sellink 1994,
pp. 147-152, nos. 53-54.The copperplates were still in the

possession of the GaUe family m 1636, when an invento­
ry was made of the death estate ofTheodoor Galle's
widow; see Denuce 1927, p. 144 and Duverger 1984, vol.
1 /4, p. 21 .Theodoor Galle must have published these por­
traits of artists after 1.601, as in this year the plates were
listed in the inventory of the death estate of Volcxken
Diericx; Duverger 1984, vol. 1/1, p. 27. Galle's edition
was, however, available in 1604 when the'pictorum cele-
brium totius Germaniae Inferioris, folio, Gallae" were
mentioned in the stocklist of the Amsterdam publisher
Cornelis Claesz.;Van Selm 1987, p. 255.
5. A recent overview of this tradinon and its clas­
sical sources is given in Joost-Gaugier 1982. The classic
study on the concept of'genius' and its development dur­
ing the Renaissance is Zilsel 1926. On the importance of
Petrarca's writings regarding this notion, also see Bolgar
1977, pp. 239-264. On the genesis of Petrarca's De viris
illustribus and his use of medieval and classical sources, see
Kessier 1978.
6. The first edition of Giovio's Elogia with
(woodcut) illustrations was published by Pietro Perm in
Basle in 1577 (Giovio 1577). On the history of the book
see Rave 1959. On Vasari's Viie, see Boase 1979, pp. 43-
72 and especially Pat Rubin s excellent analysis ofVasari s
art-historical writings: Rubin 1995, pp. 148-186 (1550-
edition) and pp. 187-230 (1568-edition).Rubin also gives
some brief information on Vasari's search for portraits of
artists, ibid. pp. 204-208 (with further hihhograpliic ref­
erences).
7. Ampzing 1628, p. 359; his lines are written in
verse: "Ik meet van Koornhert ook, en van Galle meest,
gewagen/ Gewisslijck Galle mag niet over sijn geslagen,/
Sijn yser was te eel, sijn printen sijn !
t wel waerd,/ En
door geleerde luy en hunne snec vermaerd.'' Compare
chapter 1, notes 5 and 6.
8. In addressing himself to both categories in his
introduction to Galle's Mustrium scriptorum tones {1604} -
"Candido lectori, sen spectator! S." (Greeted, dear reader
or, if you prefer, viewer) - the author Aubert Le Mire
already underscored the ambiguity of print series with
substantial verses in the margin. Compare appendix 2D.
9. Also see below. More information on Galle's
religious views can be found in Sellink 1991-92, espe­
cially pp. 150-154 and in chapter 4.
Notes Chapter 2
168
10. An excellent analysis of the overwhelming
importance of the Counter-Reformation in Antwerp is
given inThijs 1990. General historical surveys of Antwerp
in the sixteenth century and early seventeenth century -
with contributions by several authors - can be found in
Bousse 1975, Couvreur 1989 and Van der Stock 1993.
11. See below. On the business of printing, pub­
lishing and distributing books throughout Europe by
Plantin and his successors, seeVoet 1969-72, especially vol.
2, Plantin s relations with Antwerp prmtmakers - both
buying prints from his colleagues as well as selling others
to them - are discussed in Delen 1932. Delen briefly dis­
cusses the relations between Galle and Plantin; ibid., pp.
17-20.
12. Foppens 1739. It is unknown how Foppens
obtained the original copperplates. In 1636 the list of cop­
perplates in the death estate ofTheodoor Galle's widow
Catharina Moerentorf (a daughter ofjan Moretus) includ­
ed "Geleerde van Neederiant tweentsestich platen 5
"
(Dutch scholars, 62 plates). See Denuce 1927, p. 146 and
Duverger 1984, vol. 1/4, p. 21. The reversed copies in
Foppenss study were originally engraved on behalf of
Isaac Bullart s two-volume study of kommes illustres in
European history, cp. Bullart 1682. Copies after Galle's
engravings are not listed in the catalogue of all portraits
(appendix 2E),but will be catalogued in the forthcoming
New Hollstein volumes on Philips Galle. Due to practi­
cal reasons this research is far from complete and will be
limited, with the exception of Bullart and Foppens, to
more or less contemporary copies from the late sixteenth-
and early seventeenth century.
13. See appendices 2F, 2G and 2H.
14. Cp. appendix 2E, no. 3, states I and Ila. Due
to careless printing several impressions from the 1572a-
edition - the first version of the Virorum dodorum effigies,
printed with inscriptions m letterpress - show slight traces
of these earlier inscriptions in the margin. See below.
15. Here illustrated is Terra, the personification of
the earth from a series with die four elements, dated 1564;
see TIB. 56, p. 324, no. 86.1.
16. For the differences between the inscriptions
on Galle's engravings in his Haarlem and Antwerp peri­
od respectively, see the illustrations in TIB. 56, passim. On

the notion of Gothic versus Italian printing types as exem­
plifying the old and new styles of (book)prinring, see
Vervliet 1968, pp. 56-67. Style and technique of inscrip­
tions on Dutch prints have rarely been subject of study
with the notable exception of Amy Namowitz "Wbrthens
stimulating essay on calligraphic inscriptions on prints in
the circle of Hendrick Goltzius; Namowitz Worthen
1991-92.
17 eene verzameling van 31 door Phil. Galle
gegraveerde portretten, waaraan titel en register ontbrak-
en, terwijl voor in het bandje een voorrede geplaatst was,
gedagteekend 1567, en gegraveerd in een fraai randwerk.
Hierin zegt de Sculptor aan den lezer, dat hij deze
afbeeldingen van geleerden en van mannen, die door den
sectenhaat beroemd zijn geworden, gegraveerd heeft en
deze later hoopt te vermeerderen.";Van Someren 1888-
91, vol. 1, p. 122. The place of publication was not men­
tioned. By analogy with the three later seriesVan Someren
(wrongly) assumed that the booklet must have been pub­
lished in Antwerp. In Dr. Wolff's copy of the Viromm doc-
tomm effigies (1567) 19 portraits had the six-line verses in
the margin, while twelve (proof impressions?) only
showed the caption with the name of the scholar por­
trayed in the lower margin; compare appendix 2A for a
detailed description of the 1567-edition. It seems quite
probable thatVan Someren never saw Galles edition him­
self, but had to rely on notes taken by Frederik Muller.
This might explain the rather brief description by the
often so painstakingly accurate author.
18. The old master prints were auctioned by
F. Prestel in Frankfurt on 26 November 1877,They were
sold en bloc to the Hamburg collector ITebich and were
then again auctioned with the latter s collection at the
(anonymous) sale of Amsler and Ruthardt in Berlin on 23
February 1885. The enormous collection of portraits -
excluding the magnificent holding of Van Dyck s
Iconographie once owned by the Rotterdam collector
Verstolk van Soelen - was not part of these sales, as Prestel
mentions in the introduction to the 1877 auction cata­
logue (p. iv):'Tl se trouve encore entre nos mains le reste
des collections laissées par feu Mr. le docteur Wolff, c'est-
à-dire plus de onze mille portraits de médecins, de physi­
ciens, d'astronomes, alchymists et autres personnages sem­
blables de tous les pays, provenant des collections du
sénateur Rôding de Hambourg, de l'académie Leopoldo-
Caroline, du docteur A. Roy, du Dr. Diamond de Londres,
et en partie de la collection du docteur Sachse" Prestel
Notes Chapter 2
169
continues to describe the zeal with which the collector
continuously tried to enrich his collection and the care
he took in preserving and documenting his treasures, men­
tioning the existence of the 47-volume manuscript cata­
logue. He ends with the words; sl
Pourle moment on espère
pouvoir conserver les portraits tels qu'ils sont par le moyen
d une vente en bloc; mais si cela ne réussit pas, il est prob­
able qu'ils seront mis en vente séparément à une occasion
future " Unfortunately the further fate of the portraits or
their manuscript catalogue is as yet unknown. On Wolff
as a collector, also cp. Lugt 1921-56, vol. 1, pp. 249-250,
no. 1392.
19. These series can be found in the Komnklijke
Bibiiotheek,The Hague (inv. 1701 C8(2)) and the Library
of Congress in Washington (inv. nos. Typ. 530,72.415 and
Lilly AZ 331.616). Most probably comparable sets of these
unsigned engravings are to be found in other collections
as weU, bound anonymously with compilations of por­
traits by Galle or others. It is also possible that some of the
famous biographers of the nineteenth century have seen
a complete copy of the Viromm âociorum effigies of 1567.
Nagler, for instance, refers to "Eine Folge von Bildnissen
berühmter Männer: Luther, Calvin, Zwingli, Pirkheirner,
Thomas Morus, Dante, etc., kl. 4."; Nagler 1835-52, vol.
4, p. 564. This combination of portraits, including the
famous reformers, can only refer to the 1567-edition. in
1856 Charles Le Blanc simply seems to echo Nagler's
words; Le Blanc 1854-90, vol. 2, p. 265. Fifty years later
the often more accurate Alfred von Wurzbach mentions
a "Folge von Portraits berühmter Manner. Imagines viro-
rum doctorum: Luther, Calvin, Zwingli, Pirkheirner, Th.
Morus, Dante, Douza,Erasmus,Junius etc. 4°.' s
;Wurzbach
1906-1911, vol. 1, p. 567. Here Wurzbach not only adds
three names to Nagler s list - again in a combination which
can only refer to the 1567-volume - but also gives a title,
namely Imagines viromm doctorum. This tide is strangely
enough identical with Galles 1587-compilation of por­
traits.
20. "Haec igitur mihi causa fuit, quamobrem non-
nullorurn in bonis artibus illustrium virorum, qui nostra
aetate vel paulo ante noruerunt, vel adhuc cum multa
ingenij et eruditionis laude vivant, tum mihi notorum, et
quibus cum consuetudo aliqua intercessit, effigies ad
vivurn expresser im, tum eorum quos nondum viderim ex
optimis et certissimis exemplaribus undique conquisitis
depictas in privato cubiculo, ubi artem exerceo meam,
maximi ornamenti nomine collocaverimCited from the

introduction to the Virorum doctorum i£figits (1572), fol.
A2; compare for the entire text and translation appendix
2B. Also see Hansel 1990, p. 92.
21. Cp.Tanner 1984, pp. 223-224.
22. On Giovio s collection of portraits, see Mimtz
1901, Pavoni 1985 and the elaborate dissertation by Linda
Susan Klinger: Klinger 1992, vol, 1, pp. 65-95 (on the his­
tory of the collection) and pp. 96-156 (comparing Giovio s
Museo with other collections). Also compare the recent
biography of Giovio: Price Zimmerman 1995. For a
recent discussion on the Renaissance studiolo, with a spe­
cial focus on Urbino, see Cheles 1985, pp. 35-52. A gen­
eral outline of die studiolo throughout the Renaissance is
given in Liebenwein 1977.
23. For a concise overview of such galleries in uni­
versities and colleges, seen against the background of the
collecting of portraits in the Renaissance in general, see
Ekkart 1977, esp. pp. 4-5.
24. On die genesis of the Leiden portrait gallery,
cp. Ekkart 1975; on Merula's memorandum, cp. ibid. pp.
58-60.That the newly founded Leiden University took
an interest in corrmiemorating the likeness of its most
famous professors,is also shown by the commission it gave
in 1592 to Hendrick Goltzius to engrave the portraits of
Julius Caesar Scaliger and his son Joseph Justus Scaliger.
These engravings were sent to scholars all over Europe;
cp.Pelinck 1966 and Strauss 1977, vol. 2, pp. 556-559, nos.
309-310.
25. OnTorrentius s collection of paintings, seeVan
Damme 1995; Galle s portraits of this bishop are listed in
appendix 2E, nos. 135-136. The importance Erasmus
attached to portraits is discussed in Bodar 1989, pp. 29-
60.
26. For a general discussion of the album amieorum
in the Netherlands in the sixteenth century, see
Heesakkers 1989. On four contributions by Philips Gallc
to such albums,see Sellink 1991 -92,p. 157,n.l7 (Abraham
Ortels, Emanuel van JVieteren and Jacob van Marnix van
Sint-Aldegonde) and Yeldrnan 1991, p. 262 (Janus
Gruterus). Galle did not include a portrait of himself, but
on these occasions, as befits a prolific draughtsman, drew
his own inventions corresponding with the written vers­
es.
Notes Chapter 2
170
27. The letters of Plantin and those written to
Ortels arc available in late nineteenth-century editions,
cp.Plantin 1883-1918 (passim) and Hessels 1887 (passim).
On Dousa see, for instance, his correspondence with
Victor Ghyselinck: Heesakkers 1976, pp. 98-100.
28. Hessels 1887, p. 42(3. This probably refers to
the circular portrait of Ortels - engraved by Philips Galle
after a design by Hendrick Goltzius - of which a silver
plate existed. In an earlier letter to his friend Benito Arias
Montane, dated 15-18 September 1581, Christophe
Plantin mentions such a portrait which is intended as gift
by Ortels to the Spanish humanist: "Ortelius mihi suam
efHgiem in argenti lamina manu Gallci incisam et deau-
ratani cum inscriptione a tergo orbiculari forma et ligno
ebenico adornatam tradidit ad te mittendam,Plantin
1883-1918, vol. 6, pp. 305-306 and Hansel 1991, pp. 179-
180. The editors of Plantin s correspondence wrongly
assume that the above quotation refers to yet another por­
trait of Ortels by Philips Galle in 1579: an oval portrait,
engraved in an elaborate ornamental border and used by
Plantin as a frontispiece to his editions of Ortels Tkeatmm
orbis terrarum. For this second, oval portrait see Denuce
1912-13, pp. 68-69.The first, circular portrait - with die
inscription "HG. in." - has been attributed by some to
Hendrick Goltzius. This attribution is generally (and
rightly) doubted as the verses by Andreas de Paepe clear­
ly mention Galle as the engraver.This engraving was, how­
ever, most probably made after a lost drawing by Goltzius,
who also drew a (still existent) portrait of Ortels sister;
see Reznicek 1961, vol 1, p. 398 and Strauss 1977, vol. 1,
pp. 378-379, no. 227. Descriptions of both portraits are
given in appendix 2E, nos. 100a and 100b.
29. Compare Hartley 1991.
30. Hessels 1887, p. 472. On Goltzius s portrait of
Philips Galle, also see chapter 4 and Sellink 1991-92, pp.
154-155.The verses underneath this portrait were writ­
ten by Galle s friend jamis Dousa. One does not, howev­
er, find a contribution by Galle in the album amieorum of
the Dutch humanist, whereas other mutual friends and
acquaintances (such as Plantin Junius, Ghyselinck and Van
Meteren) had contributed verses, portraits and the like;
cp. Heesakkers 1981 .A general survey of portraits of artists
by Goltzius and his circle and intended as tokens of friend­
ships is given in Filedt Kok 1996,

31 The portrait accompanies a letter, written in
Dutch and dated Antwerp, 7 July 1598;Hessels 1887, pp.
759-760, 912. Galle here informs Van Meteren on the
death of his uncle Abraham Ortels ten days earlier.
According to a handwritten note by Galle - 'Thilippus
galle schenkt dit synen vrient,iacop Cools." - the portrait
was not intended for Van Meteren himself but was a gift
to Jacob Cole, another nephew of Ortels. Gaile's letter is
now kept in the Universiteitsbibliotheek,
RijksuniversiteiE Leiden, inv. BPL 2766.
32. Galle s command of Latin can be deduced
from the many signed introductions, some of them rather
elaborate, to various print series in this language. He could,
however, have had the assistance of one his learned
humanist friends in this respect. The scarce autographic
manuscripts by Galle are all written in Dutch.
33. On Junius, see Veldman 1974 and Veldman
1977a, pp. 97-112 and specifically p. 107 on the collabo­
ration between Galle and Junius. Veldman here erro­
neously assumes that it was Junius who wrote the intro­
duction to the Virorum doctorum effigies {1572}. This
preface, on the contrary, is from the pen of Philips Galle
who here thanks (as quoted above) "„... amicumque ac
concivem meum Adr. lunium virum doctissimum
(my friend and fellow townsman, the learned Hadrianus
Junius) for the verses he has composed on the portrait of
Benito Arias Montane. For the complete text, see appen­
dix 2B.The close cooperation between Van Heemskerck
(designer), Jumus (lyricist) and Galle (engraver and pub­
lisher) is elucidated in Veldman 1986, passim.
34. Galle has engraved two portraits of Junius .The
first is dated 1562 , the other, as illustrated in jig. 4, was
made on behalf of die Virorum doctorum effigies {1567), See
appendix 2E, nos. 73 and 73a.
35. Only four portraits show scholars from previ­
ous centuries: the famous Dutch humanist Agricola, the
radical reformer Johannes Hus, the humanist Pope Pius
II and the illustrious Dominican preacher Savonarola. For
a complete description of the Virorum doctorum effigies
(1567), see appendix 2A. On the reproduced portraits, see
appendix 2E, nos. 27 (Calvin), 129 (Tapper) and 90
(Melanchton). All the other portraits mentioned are list­
ed in the alphabetical catalogue.
Notes Chapter 2
171
36. Compare, for example, the far more complete
series of portraits of reformers issued by Hendrik Hondius
in 1599 and, in an enlarged edition, around 1610; see
Orenstein 1992, pp. 62-64, 312-331 and 392-400.
Surprisingly Hondius added Erasmus as well as Savonarola
- two persons who could not be more different - to his
list of reformers. Series with portraits of reformers became
very popular in (Protestant) Germany in the last two
decades of the sixteenth century, cp. Rave 1959, pp. 153-
154.
37. Involvement with religious matters seems to
have been interpreted in a broad sense by Galle and his
collaborators; compare appendix 2A for a complete list of
all the portraits in the 1567-edition. A scholar like Andrea
Alelad - the Italian lawyer and author of the famous
Embiemata - could, for instance, have been chosen on
account of his Contra vitam monastkam ad Bemardum
Maíiiant epístola. Alci&ti wrote this treatise, levelled against
several aspects of monastic life, before 1517. Although it
was never published, the manuscript circulated in a small
circle of friends like Erasmus, who received it through a
mutual acquaintance. The author himself regarded the
book as a sin of his youth and seems to have been afraid
that publication of the contents might harm his reputa­
tion with ecclesiastical authorities.
38. For the list of copies known to exist in pub­
lic collections, cp. appendices 2A-D.
39. Cp. note 17. Besides the twelve portraits Van
Someten mentioned, several other comparable impres­
sions have been traced, See appendix 2E, passim. Here
reproduced is the portrait of Huldrych Zwingli, see
appendix 2E, no. 146.
40. Although the lack of sources makes any con­
clusion hypothetical, the few remaining albums with
prints from the late sixteenth century strongly suggest that
a client generally selected and compiled an album of prints
according to his own taste and (iconographic) interest,
rather than buying a ready-made compilations. On the
collecting of prints in the sixteenth and seventeenth cen­
tury see below;
41. On the Reformation in Haarlem, see:
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-

lands during this period is given in Parker 1986 and AGN,
vol 6, pp. 146-214.
42. Van Heemskercks religious views are eluci­
dated in Veldman 1987a. On the religious views of
Coornhert, see Veldman 1990 and Berkvens-Stevelinck
1989. On Galle, cp. Sellink 1991-92, pp. 150-154.
43. On the biographical details of Coornhert,
compare Bonger 1978.
44. The biography of Galle and a more detailed
account of his activities as an engraver and print publish­
er are given in chapter 1
45. Pontiftcum maximorum effigies (1572); a full
description is given in appendix 2E Only two copies (both
in the KoninkHjke Bibliotheek Albert I in Brussels) have
been found until now. However, it seems very likely that
in some collections Galle's publication can be found cat­
alogued under the name of the author Onofrio Panvinio.
Besides the catalogue of the Royal Library in Brussels
(Cockx-Indestege 1968-94, vol. l,p. 91,no. 1214)J have
no knowledge of any mention in literature of Galle s print
scries. The quality of the engTavings is rather uneven in
comparison with prints engraved by Galle himself. The
series can more probably be considered as one of the first
major productions from the Galle workshop in Antwerp.
46. Panvinio 1568.A brief description of the orig­
inal, Roman edition by Lafreri and of the German wood­
cut copies, published in Strassbourg in 1573 with portraits
cut by Tobias Stirnmer, is given in Tanner 1984, pp. 226-
228, nos. l()7a-b.Also see: Hartig 1917 - who mentions
Galle's copies, but apparently has not seen them - ,
Mortimer 1974, vol. 2, pp. 515-517 and Meier 1995,
pp. 459-464. Here reproduced are two portraits of Pope
AdrianVI, the first {fig. 9} from Lafreri's 1568-edition, the
second from Galle s 1572-version (fig. 10, see appendix 2F,
no. 21).
47. A recapitulation of the many problems in the
bishopric of Antwerp in this period is given in Marinus
1989, pp. 61-77. The effects the crisis in Antwerp could
have on a printer or publisher is, in the specific case of
Christophe Plantin in the year 1572, excellendy described
in Voet 1969-72, vol. 1, pp. 73-80. On the problems of
privileges and censorship in Antwerp, see Voet 1969-72,
vol. 2, pp. 255-278.
Notes Chapter 2
172
48. 'Thilippus G aliens, picturae et historiae stu-
diosis, S. ..... Imagines ..... ex Romano prototype nostro
stylo expressimus .... quod si contmgat, plura etiani non
minus utiiia et grata quarn nova, quae contento studio
molimur vestris usibus commoda futura, propediem ede-
mus." Quoted from Galle's introduction, set in letterpress
on the verso of the engraved tide page; cp. appendix 2F.
49. For a detailed description o! the series, see
appendix 2B. Probably due to Galle's collaboration with
the famous Spanish humanist Benito Arias Montano more
attention has been paid to the Virorum doctorum effigies than
to any other of his portrait series; cp. Bataillon 1942 and
Hansel 1991, pp. 91-100. For an excellent biography of
Montano see Rekers 1972. There might also exist an as
yet unidentified reissue of Galle's 1572-edition of por­
traits. In his Onomasiicon literarium of 1780, Christophore
Saxe describes such an edition, published m 1672 by one
Hieronymus Magius; Saxe 1780, vol. 3, p. 560.
50. The first mention of the Virorum doctorum effi­
gies is on 2 May 1572, when Plantin buys two sets of these
portraits and one set of the Pontifkum maximorum effigies;
inv. Arch. 16, fol. 171. Compare Delen 1932, p. 17 who
by mistake transcribes the date as 1571. Research in the
extensive and rich archives of the Museum Plantm-
Moretus in Antwerp unfortunately had to be limited to
the journaux and the Grand Hires (the yearly ledgers) of
some key years in the collaboration between Plantin and
Galle. It is the intention that in forthcoming years, togeth­
er with the art historian Karen Bowen and in collabora­
tion with the Museum Plantin-Moretus. I will more fully
investigate the intensive contacts, spanning more than a
century; between the Galle family and the Plantin Press.
On these archives, also see Denuce 1926 (passim).
51. VanSelm 1987,p.255,no.l.AlsoseeOrenstein
1993-94, p. 171. I kindly thank Chris Schuckman for
pointing out the relevance of this stocklist for my research.
52. The iconography of the tide page is discussed
below.
53. For the two illustrated portraits of Andreas
Vesalius, see appendix 2E, no. 140. In some cases errors in
the 1572a-edition were corrected in the 1572b-edition,
in other instances the engraver made new mistakes.There
are several other minor differences between the two edi­
tions, appendix 2B.

54. The use of a cache-tettre - or simply cache - in
printmaking was especially common in eighteenth-cen­
tury French printmaking; compare, for instance, Fuhrmg
1985, p. 185, n. 64. Although there is no literature on this
specific technical printing aid, the use of the cache-ktlre
might go back as far as the first half of the sixteenth cen­
tury. I thank Peter Fuhring for providing me with infor­
mation on the subject.
55. More information on the value of printing
presses in Antwerp in the sixteenth century can be found
inVoet 1969-72, vol. 2, pp. 132-142. In June 1571 Philips
Galle is mentioned for the first time in the joumaux of
the Plantin Press. No records have been found so far relat­
ing to the question whether Plantin did indeed print the
letterpress inscriptions of the Virorum doctorum effigies and
the Pontificutn maximorum effigies. There are, however, sev­
eral unspecified transactions between the two publishers
in the years 1571-72 that could account for this. It is inter­
esting to note that shortly after GaUe's 1572-edition,
Christophe Plantin himself published his first album of
portraits of scholars. In 1574 the Plantin Press issued tones
vetemm aliquot, ac recentiutn medicorum,phihsophorumque elo-
giolis mis editae, a collection of portraits of philosophers
and physicians, assembled and eulogized by the Hungarian
humanist Janos Zsamboky s (also known as Johannes
Sambucus). Several of the etched portraits by Pieter van
der Borcht were copied after engravings from Galle's
1567- and 1572-editions. Cp„ Zsamboky 1574, Zsamboky
1901 and Cockx-Indestege 1989, p. 130, no. 62. On his
turn Galle had already included Zsamboky's portrait in
his Virorum doctorum effigies of 1572; see appendix 2E,
no, 146.
56. Compare, for example,Voet 1969-72, vol. 2,
p. 205.
57. Judging by the existing copies of the Virorum
doctorum effigies (1372) Galle must have printed the 1572a-
and 1572b~versions in roughly equal numbers. Both ver­
sions are found bound together with later editions; cp.
appendix 2B„
58. The full text - here sirmmarized briefly - is
transcribed in appendix 2B.
59. On the portrait of Arias Montano see appen­
dix 2E, no. 7. On Junius compare note 33.
Notes Chapter 2
173
60. "...„ nunc, quod possum, fruar lis imaginibus,
quibus perfectus pictor et chalcographus, Philippus
Gallaeus vester, vos paene spiranteis expressit, et in librum
comecit. in quo non possum non facile desiderare Oberti
Gifanii effigiem, hominis valde docti, et cui
Lueretianorurn librorum studiosi plurimum debent.";
Sacre 1988-89, p. 118. On Van Giffen also see Heesakkers
1986.
61. Van Giffen s unfavourable reputation origi­
nates from accusations of the misuse of manuscripts in the
death-estate of the youngDutch humanist Lucas Fruterus,
who died in 1566. Especially Janus Dousa proved to be a
fierce, public opponent of Hubert van Giffen. Other
friends and acquaintances of Galle, like Hadrianus Junius
and Victor Ghyselinck, sided with Dousa from the very
beginning. Cp. Heesakkers 1976, pp. 116-122 and
Heesakkers 1993, pp. 21-28.
62. This interpretation of the title page is largely
based on Hansel 1991, pp. 92-93.
63. The fact that all these outspoken reformers are
lacking is, in my opinion, due to a deliberate choice by
Galle; also see below. However, one also has to keep in
mind that - even when religious censorship was sloppy -
the secular, Spanish authorities could (and would) cer­
tainly have taken measures against a publication overtly
praising such reformers. Politics and religion were never
separated during the so-called Dutch Revolt; compare
Groenveld 1986.
64. Cp.Voet's chapter on the Plantin house as a
humanist centre; Voet 1969-72, vol. 1, pp. 362-395. On
the portrait of Christophe Plantin see appendix 2E, no.
110.
65. Compare Sylvaine Hansel who in her analy­
sis of the Virorum doctomm effigies in vain searches for a
more complex structure; Hansel 1991, pp. 92-94.
66. Cp, Hansel 1991, p. 97. Unaware of the exis­
tence of Galle's earlier 1567-edition, Hansel seems to
somewhat overestimate Arias Montana's contribution to
the 1572-ediuon; ibid. pp. 95-96.There can, however, be
no doubt that Philips Galle must have made good use of
suggestions by the Spanish humanist who, like Plantin and
Ortels, had contacts with scholars all over Europe.

67. Compare Bataillon 1941, pp. 144-151. Marcel
Bataillon, rightly so in my opinion, stresses this moderate,
Erasmian strain. Hansel interprets the 1572-series slight­
ly different as "an Utopian dream of a humanist 'Res pub­
lics literaria'" where conviction is not of any importance;
Hansel 1991, p. 99.
68. On die close relations between Plantin and his
circle on the one hand, and the Huts der Liefde on the
other, see Hamilton 1981a, pp. 65-82. A brief and rather
general overview of spiritualism in the Netherlands in the
sixteenth century is given in Zijp 1986. On Ortels s reli­
gious views see Boumans 1954.
69. For a description of the growing numbers of
Calvimsts in Antwerp up to 1585, cp. Thus 1990,
pp. 9-32.
70. A short survey of the religious conflicts in
these years is given by Woltjer 1986; for a full discussion
of these problems, see Duke 1990. Aspects of the relation
between art and religion in these troubled years are dis­
cussed by Zijp 1987.
71. For a full description of the Imagines doctorum
virorum, see appendix 2C. On the portrait of Beams
Rhenanus, compare appendix 2E, no. 16. The letterpress
tide page, introduction and index were printed by Plantin;
Museum Plantin-Moretus, Arch. 20, fol. 307.
72. On Ravelingen, see Voet 1969-72, vol. 1, pp.
147-151,pp. 169-178. For unknown reasons Ravelingen s
own portrait is not included in the Imagines doctorum vxro-
rum. Encouraged by the fall of Antwerp the Calvinist
Ravelingen left Antwerp with his (Catholic) wife within
a few months after his father-in-law Plantin had returned
to Antwerp after a stay of more than two years in Leiden.
Together with jan Moretus (or Moerentorf), another son-
of-law of the architypographus,'Kzv£ling£n had been charge
of the Plantin Press in Antwerp during Plantin s stay in
Leiden.
73. Consagra 1993, pp. 381-412.
74. The letters of Ortels to Crato were published
in 1847 (Ortels 1847), In another context one of these
letters was discussed briefly by Popham in his article on
the relation between Pieter Bruegel and Ortels (Popham
1931) On Ortels's fascination for prints in general see
Buchanan 1982.
Notes Chapter 2
174
75. "Ago gratias pro tua efHgic, et symbolum
tuum perplacet, et omnibus numeris absofutum judico";
Antwerp, 6 December 1572 (Ortels 1847, p. 82). For the
reference to Rota's pen drawing see note 77.
76. "Vides hie mam effigiem. Prima est earum
quae parantur sec undo volumini: vix potui persuadere
Gallaeo sculptori (mihi tamen amico) ut banc etiam mis
[sic] annecteret, eo quid sciebat inter Plantini futuram.
Gallaeus ipsemet seulpsit: hoc nostrae amicitiae tribuit;
pleraque enim pars a pueris discipulis caelabitur. Forte
nonnihil in ea desiderabis;si praesens adfuisses,non dubito
vivum melius referret; sed ipse de his."; no date, no place
(Ortels 1847, p. 94). As Ortels mentions the news of the
capture of count Maximilian de Bossu (11 October 1573)
the letter must have been written in the second half of
October, before the letter of 7 November 1573 (see the
following note). Ortels may have contacted Gaile on this
matter somewhat earlier. In a letter to Crato he writes:
"Effigiem tuam nondum expressam ex Plantino intelli-
t w
go";Ari erp, 8 August 1573 (Ortels 1847, p. 83).
77. "Misi ante quindecim plus minus dies effigiem
tuam a Gallaeo nostro caelatam: non dubito, quin earn
receperis. Postea accepi eamdem a Rota (cujus nomen ex
editis ab eo monochromatis mihi innotuit) calamo delin-
eatam, ex qua Gallaei, si visum tibi fuent, corrigi poter-
it: tuam de eo [sic] sententiam expectamus. lisdem Uteris,
quibus effigiem injeceram, significavi me Schufio tra-
didisse exemplar Theatri nostri et duo additamenta";
7 November 1573 (Ortels 1847, p. 84). This course of
events could explain the existence of proof impression of
Crato s portrait - without the verses in the margin - as
found m a bound volume of portraits in the Komnklijke
Bibliotheek, The Hague (inv. 1701 C8(2), also cp. note
19). Aside from several images of the 1567-editions (cp.
appendix 2A), I have no knowledge of any other proof
impressions of portraits by Galle.
78. "Effigies tua ad manus meas pervenit,Domine
ornatisssime. Secundi Libri effigierurn fere spem abjico;
tarn rnultis atque aliis occupatum video Galicum";
Antwerp, 5 February 1576 (Ortels 1847, pp. 85-86).
79. "Ciarorum virorum efBgies adhuc sub Gallaei
manu premuntur; propediem eas promittit; quamprimum
autem prodierint, eas ad te curabo.";Antwerp, 16 October
1582 (Ortels 1847, p. 91).
80. "Gallaeus claros suos viros se datururn eras et

eras dick semper, sed nescio eras illud. Versus tuos apud
me reservabo in eorum editionem."; Antwerp, 25 July
1583 (Ortels 1847, p. 92).The verses mentioned may be
the same as the ones referred to in 1573 (see note 77) and
below in Crato's letter of 1583 (note 81).They have not
been used, as underneath Crato s portrait are lines writ­
ten by Frans van Ravelingen.
81. "Clarorurn quoque virorum Galaei men-
tionem a te factam affirmabat. Nihilne, inquam ad me;
Nihil ille ..... Sed omitto banc Philosophiam, et te oro in
suscepta erga me benevolentia rnaneas, atque si meos ver­
sus accepisri, quid de ijs sit factum, signifiées.Àveo videre
Philippi Gallaej elaborationes, licet exiguam earn nomin-
is commendationem putem, quae ex pictura petitur, Ac
nunc alia immortalitas spes atque cura et longe verier,
quam ea quae in humanis rebus est, me sollicitât .....";
Johannes Crato to Abraham Ortels, Wroclaw (Breslau)
10 September 1583 (Hessels 1887, pp. 296-297). For
Galle s portrait of Crato, see appendix 2E, no. 38. It is inter­
esting to compare this portrait to an anonymous, oval
engraving dated 1574. Galle clearly copied this portrait in
reverse, also repeating the caption around this earlier
engraving. Galle could have known the impression of this
portrait pasted in the Album amkorum of Abraham Ortels;
Puraye 1969,p. 18, fig. 8.This implies that Galle, for what­
ever reason, m the end did not use the above drawing by
Martino Rota. In a copy of the 1572-edition of portraits
in the Koninklijke Bibliotheek in The Hague a proof
impression of Crato s portrait is added at the back of the
volume. This impression lacks the verses in the margin.
82. Benavides 1566. For an analysis of this series,
see Dwyer 1990.The engraved portraits are attributed to
EneaVico. The Venetian publisher Niccolô NeBi issued a
second edition in 1567. A second, supplementary volume
was published in Venice in 1570, presumably again by
Nelli.
83. Scholars both found in Galle s Imagines docio-
rum virorum and in Lairerï s lïïustrium iureconsuliorum imag­
ines zt^AccQxm^Bzxtolo da SassoferratQ JAnge!o da Castro,
Paolo da Castro, Francesco Corti, Filippo Decio,Jason de
Maino, Dino Rossoni, Alessandro Tartagni and
Ubaldesehi. Both also include a nearly identical portrait
of Martinus ab Azpilcueta, whom Galle does not classify-
as a jurist (see above). For all individual portraits, compare
appendix 2E (sub voce).
Notes Chapter 2
Î75
84. Compare also the much more documented
life of Christophe Plantin during the years 1572-1585;
Voet 1969-72, vol. 1, pp. 73-113. Particularly the hopes
Plantin cherished on the arrival of William of Orange -
one of the political champions of the concept of religious
tolerance - in Antwerp in 1579 is characteristic; ibid. pp.
97-98. A recapitulation of the views on tolerance around
William of Orange can be found inVroom 1984 and espe­
cially in Van Deursen 1984. Detailed information on the
complex religious situation in Antwerp around 1585 can
be found in the various essays in Andriessen 1987.
85. Cp. appendix 2C.
86. Cp. appendix 2G (Cardinals) and appendix 211
(Jesuits).The first series is extensively discussed by J. Fabri
in Bibliotheca Belgica, vol. 6, pp. 193-197.The series will
also be listed in Dirk Imhof's forthcoming catalogue of
books printed and published by Jan Morenis. All letter­
press text was set and printed by the Plantin Press, as pay­
ments of December 1597 and January 1598 show. I kind­
ly thank Dirk Imhof for providing me with this
information from his manuscript, where the publication
will be listed as no. G-l
87. The portraits taken from earlier series are those
of Adrian VI, Bembo, FisherJ iozjusz Jimenez de Cisneros
and Sadoleto. Compare appendix 2E (sub voce). Using
existing copperplates for another publication is rather typ­
ical of the practical use publishers as Galle made of their
stock. Engraved copperplates were the most valuable asset
of any print publisher. Compare, again, the well docu­
mented case of Christophe Plantin, whose estate in 1589
included no less than 2.391 copperplates;Voet 1969-72,
vol. 2. pp. 231-232.Their value was estimated inter alia by
Philips Galle.
88. Cp. Fabri s remarks in the Bibliotheca Belgica,
loacit. (note 86) .Without any apparent reason Fabri leaves
out Philips Galle - who is explicitly mentioned as the
publisher on the title page of the Cardinalium illustrium
imagines - in his discussion on the genesis of the book.
The first version of the portrait of Andreas Schorr (as
reproduced in % 28) was included in the Imagines docto-
rum virorum of 1587 (appendix 2E, no. 124).This engrav­
ing by Philips Galle was consequently replaced by anoth­
er portrait of Schott, engraved by Theodoor Galle, in the
1595- and 1606 reissues of the Imagines doctorum virorum
(appendix 2E, no. 125). The theologian and philologist

Sthott had returned to Antwerp in 1594 after a long stay
abroad; cp. Prims 1927-49, vol. 22, pp. 29-33.
89. Compare Prims 1927-49, vol.21,pp.264-278;
Marinus 1989,pp. 139-141 andThijs 1990, pp. 101-106.
On the subject of illustrated theological studies issued by
the Plantin Press between 1589 and 1650,see Seliink 1996.
This study is part of an exhibition on illustrated books
published by the successive generations of the Morctus
family since 1589. The exhibition and the catalogue are
organized by the Museum Plantin-Moretus in Antwerp
(cp. Imhof 1996).
90. The words "Ad vivum delineatae et in aes
incisae a Philippe Gallaeo Antverpiae" - drawn after life
and incised into copper by Philips Galle in Antwerp -
clearly mention the elder Galle as engraver and designer
of the series. This does, however, seem to be a standard
phrase on prints, print series and illustrated books issued
by the Galle workshop after 1595. In all these cases die
prints are without any doubt not from his hand. Perhaps
the name of Galle was added as a hallmark of quality. Ten
plates of the Societatis lesu are still listed in the inventory
of the Galle workshop in 1636; compare Denucé 1927,
p. 148 - where the plates are by mistake identified as a
series of prints by Hieronymus Wierix - and Duverger
1984, vol. 1/4, p. 22.
91. Compare Thijs 1990, pp. 61-96.The standard
book on the history of the Jesuit Order in the Netherlands
is Poncelet 1927-28. A comparable series was engraved
and published by Hieronymus Wierix shortly after the
death of Claudio Acquaviva in 1615, cp. Mauqouy-
Hendrickx 1978-83, vol 3/1, p. 349, nos. 1750-1755.This
scries consists of a title page and the portraits of the first
five Generals of the Jesuit Order.The Wierix brothers also
engraved several portraits of leading Jesuits and of saints
and martyrs of this order, including a series of 13 engrav­
ings with the life of its founder Iñigo Lope£ de Loyola, a
series of four portraits of Jesuit saints and numerous indi­
vidual portraits; Mauquoy-Hcndrickx 1978-83, vol. 2
(saints) and vol. 3/1 (portraits), passim.
92. See note 116.
93. Hollstein, vol. 7, p. 88, no. 434.The engraving
mentions an apprahatio by the Antwerp canon Silvester
Pardo, dated 10 February 1599. Payment for printing the
letterpress text was made in March of the same year. Dirk
Notes Chapter 2
176
Imhof kindly provided me with archival documentation
on this engraving in the Museum Plantm-Moretus.As the
letterpress text was set and printed by the Plantin Press,
this publication will also be included in Imhofs catalogue
of Jan Moretus (cp. note 86).
94. The other five scholars are: Johannes
Agyropolos, George of Trebizond, Marcus Musurus,
Marullus Tarchagnotta and Janus Lascaris.The portrait of
Bessarion was copied after Theodooris own, slightly ear­
lier engraving in the Cardinalium iUusirium imagines of
1598; cp. appendix 2G, no. 4.
95. On the didactic vigour of the Jesuits, also com­
pare chapter 4.
96. For the information on the size of the edition,
compare Dirk Imhofs forthcoming catalogue (note 86),
no, G-2.
97. The series is described in detail in appendix
21. In September 1599 a payment was made for the print­
ing of 300 copies ("12 mains") of the tide page of this
series. I again thank Dirk Imhof for pointing out the rel­
evance of this series for my research and providing me
with details from the archives of the Museum Plantin-
Moretus; the book will be catalogued m his study of Jan
Moretus (note 86) as no. G-5.The only copy known so
far is to be found in the British Library, ft is interesting to
note that Theodaor Galle on the title page refers to his
earlier engraving of Greek scholars. As the volume was
published in the Holy Year 1600 - a fact that is specifi­
cally mentioned on the title page - it is certainly possible
that the younger Galle hoped to profit from a heightened
interest in Italy and its culture; also see chapter 4, notes
255-256.
98. " Philippus Gallaeus aeri incidebat .....
Opera Thcodori Gallaei Phil. F. Antverp "; compare
appendix 21.
99. Although the engravings are unnumbered,
their sequence is made quite clear by means of the let­
terpress index printed on the verso of the title page. The
fact that the plates of the 1572- and 1587 still have their
original numbers, can be accounted for by the fact that
Philips Galle regularly reprinted these series and did not
want his son to change their sequence.

100. This Erst edition ofLe Mire s hook was pub­
lished by the widow of the Antwerp printer jan Bellerus
(Le Mire 1602); an enlarged (unillustrated) edition was
issued in 1609 in Antwerp by David Marrinus (Le Mire
1609). On Aubert Le Mire (Brussels 1573 - Antwerp
1640), see Prims 1927-49, vol. 22, pp. 73-74 and BN, vol.
14, pp. 882-895 and Flanagan 1975. He was a nephew of
jean Le Mire Qoharmes Miraeus), who was consecrated
as the fourth bishop of Antwerp in 1604. Aubert Le Mire
was on this occasion appointed as the personal secretary
of his uncle.
101 Cp. appendix 2D for a detailed description.
The approhatio - usually given when the finished manu­
script is ready to go to press - is dated May 1604. One
may assume that Galle would have been able to print and
publish the book within a few months after the censor had
given his approval. In this case it was the Antwerp canon
Egbert van Spithout, a colleague of Le Mire's.
S i
102. The tide page reads: ILLUSTRIUM/ GAL-
LI AE BELGICAE/ SCRIPTORUM/ ICONES ET
ELOGIA./ Ex museio Auberti Miraei/ Canonici
Antverp." Cp. appendix 2E, tidepage 1604.
103. "Illustrium Galliae Belgicae nostrae
Scriptorum Elogia nuper dedi, mi Lector sen Spectator.
Quern conatum nostrum et si levem ac tenuem, cum per-
mulris gratum esse anirna adverterem, coepi et Imagines
eorumdem variis e locis studiose ndeliterque conquirere.
Eius industriae specimen hie vides cp. appendix 2D.
104. Verses were included by such contemporary
authors as the Antwerp humanist Johannes Aurata,
Johannes Boghe (the scholarly Antwerp town clerk from
1585 to 1609, acquainted with Plantin),Maximiliaan van
Habbeke (an Antwerp Jesuit theologian), the Bruges
humanist and poet Jan Lernout, his fellow townsman
Hubert Oudejans (secretary to Joost Lips and more com­
monly known as Audeiantius), the youngYpres canon and
historian Antonius Sanders, the Ghent town clerk and
poet Maximiliaan Vriendt and joost de Weerdt, an
Antwerp magistrate. With the exclusion of jan Lernout -
also known as Janus Lemutius, a scholar and poet who
was inter alia acquainted with Janus Dousa and Victor
Ghyselinck (compare note 61) - most of these authors can
be considered as occasional poets. On Lernout (who con­
tributed three verses: Ogier Ghislain de Busbecq, Jacob
van Pamele and Jacob Reyvaert), see Van Crombruggen
1955.
Notes Chapter 2
177
105. The title page and the preface speak of scrip-
tores", which literally translated from the Latin is "writ­
ers". Due to its modern connotation with a litterateur this
term is here avoided. Le Mire clearly refers to scholars
whose fame and erudition is, as befits them,spread through
their publications. Also misleading is the frequent use of
the words "Gallia Belgica" (cp. notes 102 and 103), in later
days often used to define the Southern Netherlands, or
roughly the present-day Belgium. The inclusion of-just
looking at the first letter of the alphabet - the Utrecht
born Adrian VI, Rodolphus Agricola from Gronmgen,
Alardus of Amsterdam and the Frisian Viglius van Aytta
van Zwichem, makes it clear that Le Mire did not take
the recent separation of the northern provinces in
account.
106. It is curious to note that underneath the por­
trait of Cornelius Gemma one can read verses from the
pen offanus Secundus, originally composed on the virtues
of his father. One wonders if Le Mire made a simple mis­
take, confusing father and son, or thought these lines to
be more appropriate for the younger Gemma. Cp.Dekker
1986, pp. 29 and 73-74 and appendix 2E, nos. 59-60. AH
the other portraits mentioned can also be found in appen­
dix 2E (sub voce). In the index of the illustrium scriptorum
icones of 1604 the names of the scholars portrayed have
been grouped together as described above. In some cases
subdivisions have been made.The theological writers, for
instance, have been divided in two different groups, name­
ly the secular and regular clergy.
107 Why exactly these scholars were added is
unclear. The engraving of Fusch was available since 1567
and might just have been forgotten in the first edition of
the Hlustrium scriptorum icones. Lips and Simons were still
alive in 1604 and died shortly thereafter.The portraits of
Rythovius and Thomas a Kempis perhaps only turned up
after 1604. Plantin was French of origin and could there­
fore, strictly speaking, not be included. In 1608 his por­
trait was added (as an afterthought?) at the very end with­
out a number. Compare appendix 2D.
108. Cp.Veldman 1974, p. 378. Not only would his
service to William of Orange have made Hadrianus Junius
z persona non grata in Antwerp around 1604, his religious
views were already considered to be quite suspect by his
contemporaries. Most interesting are two letters by Junius
in which he defends himself against (Catholic) accusa-
nons of leading his pupils astray; compare Veldman 1974,

pp. 383-384. On the problematic issue of Mereator s reli­
gious conviction, see De Nave 1994, pp. 17 and 51-56.
109. "Optime autem forent historic veteris et novi
testament!; figure illustrium virorum catholicorum (ut ita
dicam,nam Erasrnum jam hereticurn hie habent) turn pas-
sionis Christi, tum et poeseos cuiusque alias non scan-
dalosae,"; Lisbon, June 15, 1561. Quoted from Bataillon
1942, p. 146, also cp. Hessels 1887, pp. 22-23.
110. Not only the first 17 savants belong to the
clergy, but also several scholars in the other categories.
111. The notable exception is Joost Lips, who, after
bitter conflicts with the Protestant authorities in Leiden,
fled from Holland and took up a position in Lou vain.
112. Lafreri published his jurists in 1566 (cp. note
82), a series of popes in 1568 (cp. note 46) and a volume
of ancient heads from the collection of Fulvio Orsini in
1570 (see below). On the Roman print publisher Antonio
Lafreri - who was born in Orgelet in France and whose
name is also given as Antoine Lafrery - amazingly little
research has been done. The most important study is still
Ehrle 1908. Particularly valuable are the observations in
Landau 1994, especially pp. 302-308. A general introduc­
tion to Italian print publishers m the sixteenth and sev­
enteenth centuries can be found in Bellini 1975.
113. A survey of the incidental (woodcut or
engraved) portraits used in illustrated books before 1550
are given in Müntz 1901, pp. 250-257 and Rave 1959, pp.
121-127. A recent survey of the engraved portrait in the
sixteenth century - not distinguishing between different
traditions and genres and with conspicuously little atten­
tion paid to the role of publishers - can be found in Meier
1995.
114. Cp.Rave 1959,pp. 127-132 and Dwyer 1993,
p. 467.
115. On Hubert Goitziuss chiaroscuro prints,
combining etchings with tone blocks, see Biallcr 1992,
pp. 30-34, no. 2. Galle could have known this work
through his employer, the Antwerp publisher Hieronymus
Cock or through his Haarlem friend Maarten van
Heemskerck. The painter evidently owned the French
edition of Goltziuss book; cp.Velcknan 1977b, p. 111.
Notes Chapter 2
178
116. On Lafreri s volume of coins from the collec­
tion Fulvio Orsini, published in 1570, see Dwyer 1993,
p. 468. In 1573 Philips Galle first published his Deorum
deammque with images of ancient gods on antique coins,
all from the collection of his friend Abraham Ortels.These
were etched by the Doetecum brothers and Gerard
Groenning, including elaborate ornamental designs by
Hans Vredeman deVries and Groenning himself. Cp. the
description (with bibliography) of a much later edition of
this intriguing series in De Groot 1988, pp. 121-126, no.
178. Also see Bibliotheca Belgica, vol. 4, pp. 584-588;
Mielke 1967, pp. 44-47, no. XX and the forthcoming New
Hollstein volume on Gerard Groenning. Given this inter­
est, it is not surprising to see Galle's eldest son Theodoor
in 1598 publish - as the first major undertaking on his
own account - a lavishly illustrated volume of ancient
heads, engraved after Fulvio Orsini"s famous collection of
coins. See Orbaan 1911-17, vol. 1, p. 21 and 255-257,
Fabri 1967, Dwyer 1993 and the recent dissertation by
Manfred Katzlmcier-Frank (Katzlmcier-Frank 1993),
which is, however, rather incorrect in its information on
the output of the Galle workshop and in its biographical
details on Theodoor Galle.
117. Compare Rave 1959, pp. 133-141.
118. Rave 1959, pp. 139-140;Tanner 1984, p. 229,
no. 108a.
119. The series has only been found in the Royal
Library in Brussels so far. Its importance for the biogra­
phy of Philips Galle - the date, privilege and approbatio
definitely proving that Galle was still in Haarlem in 1569
- is also discussed more in general in chapter 1. Compare
Delen 1934-35, vol. 11/2, pp. 94-95; Delen mentions the
series briefly and believes it proves that Galle lived in
Antwerp in 1569. It is indeed interesting to note that Galle
on the first print mentions that the prints are also for sale
in Antwerp: "Men vindtse oock te coope Thantwerpen
op de men Borse by Geraert deJode" - one will also find
them for sale in Antwerp, at Gerard de Jode's on the new
Bourse. This not only proves Galle's early commercial
interests in the city on the Scheldt, but also makes clear
that Galle aimed at a wider market for such prints than
his home town Haarlem.
120. The earliest reference to this scries is proba­
bly the inscription underneath Galle's portrait of Janus
Dousa, engraved in 1568 and published in 1569.The first

line of verse praises Galle as the engraver of the count of
Holland and of the portrait of Erasmus, here probably
referring to the likeness of the humanist in the 1567-edi-
tion of portraits. Cp. appendix 2E, nos. 46 and 46a.
121. CompareVoet 1980-83, vol. 5, pp. 2410-2414,
nos. 2475-2477 and Kostyshyn 1994, vol 2, pp. 928-930,
no. B 78.Voet assumes that Galle was the initiator of this
series and was de facto the sole publisher. The reproduced
tide page is discussed in: Perry Chapman 1986, pp. 240-
241. For a general outline of the ieonographic tradition
in which both of Galle s series stand, see Van Luttervelt
1957, pp. 77-91. On the tradition of producing genealog­
ical series of woodcuts in the sixteenth century, see Klant-
Vlielander Hein 1972, pp. 28-34; also compare
Burimgham 1995 on the use of engraved portraits as pro
paganda in France in the late sixteenth century.The most
recent state of the art concerning the research on the
Haarlem panels with the counts of Holland and Zeeland
is given in Van Bueren 1993, pp. 484-489 and, concern­
ing a related series in The Hague, in De Jong 1996. The
records of payment in 1570 (as quoted by Van Bueren) for
a framed series of hand-coloured engravings of the counts
of Holland - to be hung in town hall in the mayor's office
- could certainly refer to Galle s 1569-series,
122. Cp. chapter 3, Sellink. 1992, pp. 48-49 and
appendix 2E, no. 140.
123. Cp. Dekker 1986, p. 253, no. 9 and appendix
2E, no. 41.
124. Cp. Hansel 1991, p. 96 and appendix 2E, nos.
22, 40,52,104 and 113.
125. Wethey 1969-75, vol. 2, pp. 154-155, no. X
11; also see appendix 2E, no. 18.
126. Compare Bodar 1989 (Erasmus), Ekkart 1988
(Agricola) and Chapins 1995, pp. 134-137 (Calvin). In the
case of Erasmus, Galle could, for example, have been famil­
iar with a portrait of the famous humanist, presumably
painted by Holbein, in the collection of the Haarlem mag­
istrate Quirinus Talesius (1505-1573); compare Van
Bueren 1993, p. 324. It is not known which of the many
versions of the Holbein's portrait was owned by this for­
mer secretary to Erasmus. For a survey of portraits of
Dutch scholars, compare Van Someren 1881-91, vol l,pp.
122-192 (series and illustrated books) and vols. 2-3 (alpha­
Notes Chapter 2
179
betical list of individual portraits) and Moes 1897-1905
(passim). Several comparable ieonographic surveys have
appeared on other countries (Spain, United Kingdom). A
general review of research on Dutch and Flemish por­
traiture is given by Ekkart 1989.
127. Landau 1994, pp. 359-368 (epilogue). On new
subject matters, see Riggs 1971, pp. 180-202 (Cock) and
Sellink 1992a (Galle). See note 112 on Lafreri. For a sur­
vey of Dutch and Flemish publishers at the end of the six­
teenth century, with extensive bibliographical references
to publishers in other countries, see Orenstein 1993-94.
The various essays in Riggs 1993 concentrate on the out­
put of printmakers and print publishers in Haarlem and
Antwerp between 1540 and 1640. In all of these publi­
cations portraits receive little attention.
128 Landau 1994,p.367.0n Cock,cp.Riggs 1971.
129. Landau 1994, p. 367. For a more elaborate dis­
cussion of the collecting of prints in the Netherlands, see
Robinson 1981-82. On the appreciation of prints in the
Low Countries also compare the references in the intro­
duction ofDeJongh 1997, pp. 21-26.
130. Landau 1994, pp. 363-364. The stocklist is
transcribed in Ehrle 1908, pp. 54-59.
131. The general concept of Quicchelberg's trea­
tise is discussed in Haj ós 1958 and the more recent Jansen
1993. On Quicchelberg's remarks on the collecting of
prints, see Silver 1993a, pp. 15-16 and Landau 1994, pp.
366-367. On the Kunsikammer in general, see the classic
Schlosser 1908 and Scheicher 1993.
132. Compare, for instance, the recendy acquired,
so-called Heemskerck-album in die Rijksprentenkabinet in
Amsterdam (De Bruin 1990) and a rediscovered
Netherlandish album of c. 1560 in the British Museum
(GrifEths 1996). It is also interesting to see that the print
collection of Ferdinand, archduke of Tyrol - one of the
very few remaining print collections from the late six­
teenth century which is still mtact and now kept in the
Kunsthistorisches Museum in Vienna as the 'Sammlung
Schloss Ambras* - also contains several volumes of por­
traits; compare Parshall 1982, pp. 158-162. Several of the
original volumes in this collection include portraits by
Philips Galle, mainly from his earliest series of 1567. On
print collecting in Italy around 1600, see Bury 1985.

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.
Notes Chapter 2
180

* This chapter is a slightly revised version of an
article in Simiolus (Sellink 1992b). I again would like to
thank Jan Piet Filedt Kok, Jan Konst, Renée Pohirnann
and, in particular, Ilja Veldman s for their comments and
advice during the preparations in writing this article. I am
also grateful to Chris Heesakkers for his translations of
the Latin inscriptions,
1. Bolten 1985,reviewed by Charles Ford in Print
Quarterly (Ford 1987).This book is a translated and slight­
ly altered version of his dissertation (Bolten 1979),
reviewed by Paul Knolle in Simiolus (Knolle 1980).
2. Bolten 1985, pp. 18-25.
3. Bolten 1985,pp. 90-95. In his catalogue Bolten
also includes a list of non-original drawing books', i.e.
books published in the Netherlands but based on exist­
ing prototypes, mainly Italian. The earliest in this section
is the Diagraphia, sive ats delineatona published by Johannes
janssonius in Amsterdam in lóló.This was a compilation
made from drawing books published in Italy at the begin­
ning of die seventeenth century. On sixteenth-century
drawing books in general, compare Dickel 1987, pp. 66-
102. On the late medieval and early Renaissance draw­
ing books, compare the two recent studies Elen 1995 and
Scheller 1995.
4. Hollstein, vol. 7, p. 83, nos, 789-801;TIB. 56,
pp. 496-508, nos. 207:1-13 (excluding the title page and
the introduction) .The series was first mentioned by Galle s
friend Franciscus Sweerts, in Sweerts 1628, p. 642. In near­
ly all the literature Galle is mentioned as the author of an
unknown theoretical treatise, entitled Instruction etjonde-
ments de bien pourtraire. The fact that the prints have not
been recognised as this treatise seems to have been due
to the rarity of the title page and the introduction, print­
ed in letterpress on both sides of one sheet. The only com­
plete copy of the series I know is in the Graphische
Sammlung Albertina in Vienna; incomplete series and
loose engravings can be found in a number of collections.
Perhaps this rarity was due to artists using the engravings
as drawing examples. For a full description of the series,
see appendix 3A„
5. For the text of the title page see appendix 3 A.
6. The term acorché is often employed for sculp­
tural musclemen, but can also be used for drawings and
Notes Chapter 3
181
prints of this subject. The latter were employed as hand­
ier and cheaper substitutes for the three-dimensional
models. Both appeared in the last decades of the sixteenth
century and soon became part of the standard equipment
of an artist's workshop. Concerning the use of the word,
see for instance Osborne 1970, p. 358. On the origin and
use of the ecorche see Ameisenowa 1963.
7. Quoted from Albern'% Depkmra;AlbcTU 1972,
pp. 74-75. The relation between art and anatomy in the
fifteenth and early sixteenth century is discussed in Schulz
1985.
8. On Passarotti, his drawing and his lost treatise,
see Hoper 1987, vol i, p. 7 and vol. 2, pp. 189-190 and
Cazort 1996-97, pp. 158-160, no. 46.The here illustrated
drawing was part of an album with anatomical drawings
presented to the Polish King Stanislaus Augustus in the
eighteenth century. As Monique Kernel! kindly informed
in a letter of 10 April 1997, these anatomical drawings will
be subject of a forthcoming article (Kornell 1997). She
also pointed out the paralell of Galle's prints to a set of
drawings in the collection of Christ Church, Oxford,
attributed to the slightly younger Italian artist Enea
Salmeggia. See Byam Shaw 1976, vol l,pp. 301-302,nos.
1204-1211 .The enthusiasm which artists showed towards
anatomy and anatomical studies in general is discussed in
Ameisenowa 1963, pp. 20-62.The most recent and thor­
ough account of this subject can be found in Cazort 1996-
97, especially in Monique {Cornell's essay on books of
anatomy for artists (Kornell 1996-97). Information on die
anatomical drawing example is also given in Bolten 1985,
pp. 233-236.
9. On the importance of anatomy to Italian
artists in the latter half of the sixteenth century, see Ciardi
1984, Acidini Luchmat 1989, pp. 35-42, Kornell 1989a,
pp. 842-847 and Kornell 1989b.
10. Veldman 1977a, p. 120,
11. Veldman 1977a, pp. 97-112 and p. 119
12. Hollstein, vol, 4,p. 58 ;no. 218;Bierens de Haan
1948, p. 199, no. 218; Ameisenowa 1963, p. 58, Sellink
1994, pp. 195-205, no. 69 and Cazort 1996-97, pp. 148-
150, nos. 39-40. On Cort's engraving, Stradanus s prepara­
tory drawings and several Italian copies, see Cetto 1967,
pp. 171-172. In an earlier Italian prmt called The Academy

of Baccio Bandinelli, engraved by Enea Vice after Baccio
Bandirielli, apprentice draughtsman are also surrounded
by bits and pieces of human skeletons, which were appar­
ently used as drawing examples. See TIB. 30, pp. 68-69,
no. 49.
13. Van Mander 1973, vol. 1, pp. 104-105 (text
and English translation) and vol. 2, pp. 440-441 (annota-
tions): 8t
Noeh comt groodijex de teycken-const te Baten/
Wei te verstaen (met dooden te sien viilen) Waer Muschels
beginnen/ oft eynden willen." ForVasari s words, seeVasari
1966, vol. 1 (text), pp. 114-115.
14. Van Mander 1604, fol. 263 verso; also see Van
Mander 1994, vol 1, pp. 312-313. On the history of dis­
section and its relation to the fine arts in general see Cetto
1967.
15. Angel 1642, pp. 52-53.
16. O'Mailey 1950, p. 92. For the life and works
of Vesalius: O'Mailey 1964. These anatomical plates
enjoyed an immense popularity, compare Huard 1980,
Pinault 1984, pp. 56-57 and Bolten 1985, pp. 234-236.
17. As mentioned, several prominent Italian
painters had envisaged books on anatomy for artists,
among them Michelangelo, Leonardo, Rosso Fiorentino
and Alessandro Allori. None of these projects seems to
have been brought to fruition, see Kernel! 1989a, p. 847.
However in Italy a slightly altered edition ofVesalius s De
humani corporis fabrica appeared, written by the Spanish
anatomist Juan Valverda de Hamasco, with plates engraved
by Nicolas Beatrket.This book was published in four edi­
tions between 1556 and 1589,in Spanish, Italian and Latin,
see TIB. 29, pp. 304-307. Monique Kornell also kindly
drew my attention to Giulio Bonasonc s series of anatom­
ical prints.This series of thirteen engravings certainly pre­
dates Gallc's Instruction et fondements - Bonasone died
around 1580 - and probably aimed at an audience of artists.
Unfortunately, no introduction nor any early references
to these illustrations have survived, leaving us in doubt
about the publisher's exact intentions. On this series, see
Bartsch 1803-21, vol. 15, pp. 167-169, nos. 329-341,TIB.
29, pp. 118-130, nos. 329-341 and Massari 1983, vol. 1,
pp. 190-194, nos. 172-184.
18. Voet 1980-83, vol. 5, pp. 2327-2336. Plantm
published Vesalius s treatise together with Vivae imagines
Notes Chapter 3
182
partium corporis humani by Juan Valverda de Hamasco, a
Spanish follower ofVesalius. Latin editions appeared in
1566,1572 and 1579, and a Dutch translation in 1568.
19. This portrait was included in the Viromm doc-
torum (1572), engraved and published by Philips Galle in
1572. On the complex history of the engravings in this
publication, see chapter 3. An illustrated but not entirely
reliable survey of the iconography ofVesalius s portrait is
found in Spielmann 1925; also seeVan Sorneren 1888-91,
vol. 3, pp. 650-651 and appendix 2E no. 140. In die UfEzi
in Florence there is also a painted portrait ofVesalius attrib­
uted to Jan Stefan van Kalkar; compare Hoogewerff 1957-
59, p. 64.
19a. Stradanus may have been influenced by
Melchior Meiers earlier engraving of the same subject,
dated 1581: see Hollstein (German), vol. 25, p. 28, no. 7
andCazort 1996-97, pp. 160-161, no. 47, with further ref­
erences. Although the anatomical interest in the slayed
nude is very similar, the print by Meier - who worked in
Tuscany in the period 1575 to 1582 - lacks the vigour of
Stradanus s composition.
20. "Corporis humani qui membra rninuta
secaret/ Vesalio nullus doctior extiterat./ Hie Medicis
auxit,Pictoribus auxit et artern,/ Dum subitinternas quae
latucre vias."
21. TIB, 56, pp. 315-322, nos. 84:1-8; also see
Cetto 1968, pp. 167-168 (as unknown sixteenth centu-
«y)-
22. For Diirer s experiments with detached arms,
prints of which were published in his illustrated book on
proportion in 1528, see Rupprich 1956-69, vol. 3, figs.
42-49.
23. On Cousin see Bolten 1985, pp. 179-186.The
importance of anatomy for artists in the seventeenth and
eighteenth centuries is discussed in Ameisenowa 1963,
pp. 56-68 and Lexnmens 1964, pp. 12-22.
24. On Galle as a draughtsman seeVeldman 1991.
On Galle as a print publisher see chapter 1 and Sellink
1992a, with further references,
25. Sea and riper gods: Hollstein, vol. 7, p. 78, nos.
316-322 and TIB. 56, pp. 345-353, nos. 90:1-17. Nymphs:

Hollstein, loc. cit., nos. 299-315 and TIB. 56, pp. 354 362,
nos. 91:1-17. See appendices 3B and 3C.
26. Bolten 1985, p. 11.
27. Pauly 1964-75, vol. 1, p. 43, p. 218.
28. Nymphs: "Nimpharum oceanitidurn, ephy-
dridum pQtarmdum,naiaduni,lynadurnque icones,in gra-
tiarn picmrae studiosae iuventutis deliniatae, scalptae, et
editae a phiiip. gallaeo. Antverpij 1587." ("Pictures of
nereids, water-nymphs, river-nymphs, naiads and lynads;
drawn, engraved and published by Philips Galle for the
sake of youth studying an. Antwerp 1587"); see appen­
dix 3B. Sea and riMer^orfs:"Semideorum marinoram amni-
corumque sigillariae imagines perelegantes, in picturac
statuariaeque artis tyronum usum, a Philippo Gallaeo
delineatae, scalptae, et aeditae. Antverpiae Anibivaritor.
1586 ." ("Very elegant pictures of sea and river demigods;
drawn, engraved and published by Philips Galle for the
use of beginners in the arts of painting and sculpture.
Antwerp 1586."); see appendix 3C.
29. The drawing of Datiukius - die personifica­
tion of the Danube - was on sale in 1991 at die Jan de
Maere art galllery in Brussels, where it was attributed to
Adriaen Collaert, Thera Folmer-von Oven has kindly
informed me that, on close inspection, it is also possible
to make out the outline of the river godTibris.The same
drawing was sold as sixteenth-century anonymous in a
sale at Sotheby's, Amsterdam, on 13 November 1991, no.
325. For the engraving see TIB. 56, p. 349, no. 90:9.
30. These two series were published by Philips
Galle; Hollstein, vol 4, p. 203, nos. 408-411; the second
series is not in Hollstein, but it too bears the signatures of
Collaert and Galle. See appendices 3D and 3E.
31. On the uses of prints and print collections in
the Netherlands see Robinson 1980-81, pp. xxvii-xxxv,
Schatborn 1981-82, pp. 11-18 and Van derWaals 1988,
pp. 13-27.
32. "De dels gentium imagines aliquot iconicae,
aeneis tabulis per philipp. galleum exaratae; et variis dis-
tichis ab hug. favolio ilustratae. antverpiae" ("Some pic­
tures concerning the gods of the pagans, cut from copper
plates by Philips Galle and elucidated in various distich­
es by Hugo Favolius"; see Hollstein, vol. 7, p. 78, nos. 352-
Notes Chapter 3
183
380; Bibliotheea Belgiea, vol. 2, p. 143 and appendix 3F.
On Favolius and the verses by this Flemish neo-iatin poet
accompanying engravings, see Cockx-Indestege 1983-
85.This series was also intended as a model book, as can
be understood from the second edition of the tide page
•• published by Theodoor Galle - where the following
words are added to the tide: "arris tironum, usum" ("for
the use of novices in the arts").
33. Thirion 1965.
34. Compare Galle's text on the tide page (note 5)
and in the introduction (appendix 3A). Like most orna­
ment prints this series was published for artists and arti­
sans, a distinction which was anyway not very clearly
drawn in the sixteenth century. For instance, the Dutch
engraver Wolter Drollich offered his prints characteristi­
cally as "useful to all artists, such as engravers and painters,
goldsmiths, sculptors, carpenters, bricklayers, etc." (
voor alle constenaers, als platsnijders en/ schildrs gout-
smeeden beelrsnyders kistemakers/ metselaers, etc. seer
nut ende dienstlijcken"); De Groot 1988, pp. 62-63
no. 73.
35. This can also be gathered from Boken's cata­
logue, as most of the listed examples are from the second
half of the seventeenth or from the eighteenth century.
Flis very first example - the Teikenbouxkenby Pieter Feddes
mentioned above - shows "combined elements charac­
teristic of both the drawing book and the model book,"
as Bolten himself admits; Bolten 1985, p. 25. In their
respective reviews of Boken's book, both Paul Knolle and
Charles Ford criticized the inconsistent criteria of defin­
ing model books and drawing books. Both seem to accept
some kind of essential difference between the two. For
instance, Knolle stated: "One can hardly cavil with mak­
ing a distinction between the drawing book and the model
book as such." (Knolle 1980,p. 178).This,however,is what
I call into question as regards instructive prints from the
late sixteenth and early seventeenth centuries. An illumi­
nating essay on the very practical professional training of
Netherlandish artists in this period has recently been pub­
lished by Hessel Miedema (Miedema 1986-87). A more
general overview 7
of instruction in drawing is given in
Kemp 1979, pp. 121-421.
36. De Lairesse 1713, p. 82: om beelden te
vergaaren; dat's te zeggen om de praktijk, en met om de
theorie"; see De Klerk 1986-87, p. 286. For the history

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.
Notes Chapter 3
184

*.
:<
Ie/ me suis servi pen ou point de la facon de
peinclre des an-/ eiens; daultant qu'icelle est maintenant
tenue pour ob-/ scure & particuliere aux payens, & que
la nostre est plus/ claire, & 1'invention des Chrestiens est
plus en vogue & / reputation." Quoted from Philips Galle's
afterword to the Prosopographia ...... published around
1590; discussed in detail below. The large number of reli­
gious prints issued by Philips GaHe, naturally compelled
me to focus on a selection of works with this subject mat­
ter. Although the choice is, in my opinion, entirely rep­
resentative of the output of the workshop - analyzing all
important engravers, designers and authors, and provid­
ing a chronological cross-section of religious subjects pub­
lished - I have somewhat emphasized prints with a more
detailed and 'interesting' iconographie content. All quo­
tations from the Bible are cited verbatim from the King
James Version. On my preference of using the vernacular
spelling of names, see chapter 2, note 2. This chapter has
gamed much from comments made by HjaVeldman.Peter
Hecht,Jan Piet Filedt Kok and Chris Heesakkers, who
translated most of the Latin inscriptions. I am especially
grateful for the many critical remarks by Karen Bowen
and Dirk Imhof, improving both style and contents of this
study
1. The quintessential study in this respect is still
Knipping's two-volume overview of the iconography of
the Counter-Reformation: Knipping 1939-40, translated
in English and slightly revised in Knipping 1974. This
Franciscan scholar arranged his study thematically, large­
ly using examples - both from the Southern and Northern
Netherlands - from the seventeenth century. The emer­
gence of such iconography in Antwerp at the end of the
sixteenth century is, however, almost systematically over­
looked. A brief discussion on this problem is found in
Alfons Thijs s study of the Counter-Reformation in
Antwerp:Thijs 1990, pp. 97-106. Information on devo­
tional prints produced in Antwerp - again concentrating
on the seventeenth century - can also be found in: Van
Heurck 1930 and Thijs 1993. The more general surveys
of Netherlandish printmaking in the second half of the
sixteenth century (Oberhuber 1967-68, pp. 25-125,196-
247;Mielke 1979;Renger 1979, pp. 25-53; Davis 1988,
pp. 227-323, Broeker 1992 and Riggs 1993) concentrate
on the more virtuoso, mannerist type of prints made by
the best engravers m Haarlem and Antwerp, while the
bulk of religious engravings is rarely discussed. Although
problems of iconography are not specifically discussed,
Delen's two volumes on the history of Dutch and Flemish
Notes Chapter 4
ÎS5
printmaking in the sixteenth century still provide an indis­
pensable wealth of information on the subject; Delen
1934-35, vols. II/1 and 11/2. Useful, though superficial,
introductions to the subject can be found in Ihle 1965
and Voet 1976. Not very helpful, on the other hand, is
Pierre Poirier's erratic history of printmaking in Antwerp
(Poirier 1967). Unknown, but certainly useful concern­
ing the relation between Flanders and Italy in the later
sixteenth century is Borroni Salvador! 1986. More atten­
tion is paid to religious imagery in the recent survey on
Antwerp printmaking in the catalogue of the exhibition
on Flemish art in Cologne and An twerp: Savelsberg 1992a,
which is rather uneven in its treatment of engravers, pub­
lishers and their subject matter. The Christian humanist
strain in the preceding period (until 1560) is analyzed
thoroughly inVeldman 1995b. An excellent survey of Old
Testament prints in the Northern Netherlands - despite
the claim to the contrary in the title, very little attention
is paid to Flanders - in the sixteenth and seventeenth cen­
turies is provided by the two introductory essays by Peter
van der Coelen in:Van der Coelen 1996-97-
2. Galle must have been introduced to Cock by
his master Coornhert, who stopped engraving around
1559. On prints by Coornhert in this period see Riggs
1971,pp.81-85,Veldman 1989 andVeldman 1990, pp. 11-
14. On Cock's print-shop Aux quatre vents, compare
Lebeer 1968, De Pauw-deVeen 1970, Riggs 1971 and,
rather general, Burgers 1988. A general survey of Galles
early engravings can be found in chapter 1.
3. Hollstein, vol. 6, p. 255, no. 2; idem, vol, 7, p.
74, no. 2;TIB. 56, pp. 18-19, no. 6; Riggs 1971, p. 332, no.
87;Van deVeide 1975, vol. 1, pp. 391-392, no. P5.
4. Hollstein, vol 3, p. 267, no. 114; idem, vol. 7,
p. 76, no. 106;TIB. 56, p. 138, no. 44;Van Bastelaer 1906,
p. 43, no. 114; Lebeer 1969, pp. 186-187, no. 84; Riggs
1971, p. 319, no. 30; Lebeer 1976, pp. 30-31, no. 84.The
print is engraved after the drawing - unfortunately in a
rather precarious condition - now in the Boijmans Van
Beuningen Museum in Rotterdam; cp.Anzelewsky 1975,
p. 74, no. 85 and Mielke 1996b, pp. 62-63, no. 56.
5. Hollstein, vol. 3, pp. 278-279, nos. 132-138;
TIB. 56, pp. 265-271, nos. 71:1-7;Van Bastelaer 1906, pp.
47-48, nos. 132-138; Lebeer 1969, pp. 93-106, nos. 31-
37; Riggs 1971, p. 320, no. 32; Lebeer 1976, pp. 16-18,
nos.31-37.All preparatory drawings by Bruegel still exist,

three of which are now in the BoijmansVan Beuningen
Museum in Rotterdam; cp. Luijten 1990, pp. 63-65, no.
18, where the iconography of Temperance is discussed in
detail.Also see the recent catalogue raisonne of Bruegel's
drawings by the late Hans Mielke: Mielke 1996, pp. 48-
53, nos. 32-40 (vices and the Last judgement) and pp. 56-
61, nos. 45-51 (virtues). The series of sins was engraved
Pieter van der Hey den, who also incised a Last judgement
which was undoubtedly intended as a sequence to these
two series of virtues and vices; cp. Lebeer 1969, pp. 62-
76, nos. 18-25 and Lebeer 1976, pp. 11-12, nos. 18-24.
On the iconography of Bruegels virtues and vices, see
inter alia Borms 1939, the tentative interpretations in
Stridbeck 1956, pp. 126-170 and Anzelewsky 1975, pp.
58-60, nos. 64-66 (vices) and pp. 65-70, nos. 69-74
(virtues). The chronology of the prints Cock published
after Bruegel is discussed in Riggs 1979.
6. "Videndum, ut nec voluptati dediti prodigi et
luxuriosi/ appareamus, nec avara tenacitati sordid! aut
obscuri existamus." Konrad Renger discusses the prob­
lems in interpreting verses underneath prints in compar­
ison to the iconography of the compositions, paying spe­
cial attention to the series of virtues by Bruegel; cp. Renger
1984, pp. 152-153 .Various aspects of the problematic rela­
tion between 'word' and 'image' in Dutch printmaking in
the sixteenth and seventeenth century are discussed in
Raupp 1981 - a rather superficial exhibition catalogue -
andVekeman 1984, with numerous essays on specific sub­
jects.
7. Cp. Sellink 1991-92, p. 149.
8. Through the studies of IljaVcldman prints after
Maarten van Heemskerck have been analyzed in detail;
cp. especially Veldman 1977a and Veldman 1986. Her
detailed catalogue of all these prints has recently appeared:
New Hollstein, Maarten van Heemskerck (2 vols.), final­
ly replacing the more than 150 years old, but still very
useful checklist by Thomas Kerrich (Kerrich 1829).The
exact number depending on the attributions of some
unsigned series of prints, Philips Galle engraved circa 175
prints after Van Heemskerck. In comparison, Coornhert
made around 225 prints after the latter's designs.
Heemskerck s preference for Old Testament subjects, seen
in the context of a comparable interest in contemporary
Dutch (Neo-Latin) literature, is examined in Saunders
1978. Her study provides a rather distorted view of the
importance of allusions to the debate on iconoelasm and
Notes Chapter 4
186
to contemporary political events in these prints. A more
balanced abstract can be found in Saunders 1978-79.
9. This gap of five years in the production of
engraved religious and humanist oriented allegories by
Heemskerck can be explained by the lapse of time
between Coornhert s withdrawal around 1559 as engraver
and scholarly source of inspiration and the appearance
circa 1563 of Hadrianus Junius as humanist advisor and
author of the Latin inscriptions (see below). On the
importance of these two humanists as a source of inspi­
ration to Heemskerck and on the differences between
their respective influences on the artists subject matter,
see Veldman 1986, pp. 1.4-15.
10, Samson smiting the Philistines with the jawbone of
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.
56, pp. 20-25, nos. 7:1-6; New Hollstein, Maarten van
Heemskerck, vol. l,pp. 83-89, nos, 85-90; Riggs 1971, p.
340, no. 121; Saunders 1978, p. 390. A large number of
Heemskercks preparatory drawings still exist, most of
them in the collection of the printroom of the Statcns
Museum for Kunst in Copenhagen; see GarfT 1971.
Although not one of such drawings for the Story of Samson
is known as yet, they must have been drawn in the same
technique: a purely linear drawing in pen and ink with­
out any use of the brush - a technique used especially to
facilitate the engraver when reproducing a composition.
11 For an assessment of Galle's engravings com­
missioned by Hieronymus Cock, see Riggs 1.971., pp. 100-
108.
12. Galle s last known print published by Cock is
Gaius Mucins Scaevola placing his right hand on a burning altar,
after a design by Frans Floris and dated 1563; see Hollstein,
vol. 6, p. 255, no. 94a; idem, vol. 7, p. 79, no. 388;TIB. 56,
p. 374, no. 99; Riggs 1971, p, 53 and p. 332, no. 91;Van de
Velde 1975, vol. l,p.433,no.P141.Alsosee chapter l,fig.
10.
13 Cp. Veldman 1977a, pp. 106-108. On jumus
and Galle also see chapter 2; the relation between
Heemskerck and Junius is discussed in Veldman 1977a, pp.
97-112.
14, Hollstein, vol. 7, p. 74, nos. 39-46; idem, vol.
8, p. 243, nos. 248-255; TIB. 56, pp. 65-72, nos. 17:1-8;

New HoUstein, Maarten van Heemskerck, vol. 1, pp. 132-
137, nos. 151-158; Saunders 1978, pp. 93-95, p. 394.
15. All eight preparatory drawings of this series
are in the collection of the Statens Museum for Kunst in
Copenhagen; cp. Garff 1971 ,n.p„, nos, 72-79.The lapse of
time of one year between the production of the drawings
(dated 1563) and the engravings (dated 1564),corresponds
with other series by Heemskerck. It thus provides us with
an indication of the time - usually one or two year - it
subsequendy took Galle to obtain both Heemskercks
drawings and the verses by Junius, to engrave the plates
and to see the series through press.The relation between
(preparatory) drawings and prints in general - with
numerous examples, several of which concern Philips
Galle - is elucidated in Heusinger 1987.
16. "Asuerus fulvo placitam diademate velat/
Reginam, et celebri tedas epulo ornat amatae,"
17. In the conception of such series as the Story
of Esther Heemskerck could very well have been influ­
enced by the popular plays with such subjects that were
regularly staged by the chambers of rhetoric in the major
Dutch cities. As Ilja Veldman points out: "many of the
themes of the plays presented by the Wijngaardranken
[one of the two Haarlem chambers, MS] do, though, cor­
respond to subjects which regularly occur in
Heemskercks prints" (Veldman 1977a, p. 131). Akhough
it is impossible to determine the exact nature of such bor­
rowings, as most of the moral plays produced by the
Haarlem chamber are lost, it is a fact that inter alia the sto
ries of Esther and Samson have been themes of plays per­
formed; cp. Veldman 1977a, p. 131, n. 26. On die general
influence of such plays and of the (Latin) dramas put on
stage by the Latin School in Haarlem on the work of
Maarten van Heemskerck, see Veldman 1977a, pp. 123-
141 and Saunders 1978,pp. 70-151. On the general,much
more implicit use of Old Testament stories as a moral
guide, see Veldman 1995a.
18. HoUstein, vol. 7, p. 79, nos. 395-400; idem, vol.
8, p. 244, nos. 347-352;TIB. 56, pp. 282-287, nos. 73:1 -6;
New HoUstein, Maarten van Heemskerck, vol. 2, pp. 161-
165, nos. 476-481. A detailed iconographic analysis can
be found inrVeldman 1977a, pp. 85-90;Veldman 1986, pp.
26-35 and Veldman 1992, pp. 252-253.The two prepara­
tory drawings known - the nos. 2 and 5, respectively in
the Albertina in Vienna and in the Rijksprentenkabinet,
Notes Chapter 4
187
Amsterdam - are both dated 1560; see Benesch 1928, p.
16, no. 101 and Boon 1978, vol. 1, p. 109, no. 310. This
implies that the production of the series took at least three
years.
19. "Arcta parat locupies pemimpere limina frus-
tra,/ Obstat enim fulvi vesana cupido metalli./Vulgus et
adversa naturae lege camelum/ Imnianem urget acus exile
subire foramen "Transcribed from the verses in letterpress
in the margin of the first state, which also has the fol­
lowing, slighdy different Dutch equivalent printed in let­
terpress: "De rijcke dringt wel met onstadiger loop an,/
Maer tgelts mirme doet hem wt d'enge poort bhvejn]/
Door des nalds oge wil boer, reenter, en coopman,/Tegens
nature den kemele voortdrijven "The English translation
is quoted from Veldman 1977a, p. 84.The engraving illus­
trates St.Matthews Gospel 7:13-14 (on the narrow gate­
way) and 19:23-24 (on the metaphor of the camel and
the needle).
20. "Sed terns debentur opes, quos linquere fati/
Lex immota iubet: fisum his mors tollit acerba/ Illecebrae
banc, nec honor, nec saeva potentia placa[n]t,/ Sic que
pecunipetas Orci manet aula rapacis." Again transcribed
from the typographically printed verses in the margin of
the first state, which also has die following, slighdy dif­
ferent Dutch equivalent in letterpress: "Tgelt hoort ter
werelt, men moets hier al verlaten,/ Die daer op
betrouwefn], sterven met ghequelle,/ Want ter doot en
can macht,eer,noch weeidebarejn],/ Dan vindt de ghelt-
soecker de ghevreesde helleThe English translation is
quoted from Veldman 1977a, p. 89.
21. Cp.Veldman 1977a,p. 112, In the Wretchedness
of wealth, for instance, the influence of Coomhert's ethi­
cal opinions is also clearly discernible; cp.Veldman 1977a,
pp. 89-90.
22. The one notable exception is the Misery of
human life, a remarkable series of six prints devoted to the
unlucky fate of the human raee.This series is most unusu­
al in its pessimism and its lack of any reference to the (reli­
gious) hope of salvation and to life after death. Cp.Veldman
1992, pp. 265-270.
23. On the moralizing tradition in Netherlandish
Christian humanism in the fifteenth and sixteenth cen­
turies and its influence on the (graphic) arts, see Veldman
1990-91 and Veldman 1995b. On the dangers of (over)--

interpreting the moral strains in Netherlandish art as an
equivalent of modern non-sectarian religious opin­
ions, see Schwarz 1988,pp. 176-177
24. TIB. 56,pp. 288-291, nos. 74:1 -4.The iconog­
raphy of the series is discussed in detail in Veldman 1991,
pp. 272-274 and Veldman 1992, pp. 241-242.
25. "Dolio ut indorrnit deses, stertitque supinus,/
Nec male consultum cura ilium tangit agclli,/ Defiuit
inculta et spern vinea fallit herilem/ Et lolium infelix pro
frugibus obsidet arva." English translation quoted from
Veldman 1992, p. 242.
26. TIB. 56, p. 182, no. 51. As usual in this period
the engraving has no address, but is simply signed"PGalle"
in the lower left corner and dated "1564" at bottom cen­
tre.
27. The engraving by Cort - the last sheet of a
series entitled Cycle of vicissitudes of human affairs - is
described in New Hollstein, Maarten van Heemskerck,
vol. 2, p. 168, no. 490.This comparison was recently made
by IIj a Veldman in her elaborate study on the print designs
by Philips Galle; cp,Veldman 1991. p. 270.There are also
striking similarities with the composition of the Triumph
of Christ or eternity, an engraving by Philips Galle after
Heemskerck, made around 1565 and the last print of the
series Triumphs of Petrarch; New Hollstein, Maarten van
Heemskerck, vol. 2, p. 174, no. 496.
28. "hidicabit Indices Index genera/ Ibi nichil
proderit dignitas Papa/ Sive sit Episcopus, sive Cardina/
Reus condempnabitur,nec dicetur qua/ Ibi mchil proder­
it multa allega/ Neque excipere neque replica/ Nec ad
Apostolicam sedem appella/ Reus Condempnabitur nec
dicetur qua/ Cogitate miseri qui et quales es/ Quid in
hoc ludicio dicere potes/ Quo nec locus erit Codice nec
diges/ Idem erit dominus ludex actor tes" The author of
the verses is unknown. As Chris Heesakkers has suggest­
ed to me, they might have been quoted from an existing
and much earlier text.
29. The platemarks of both compositions arc
identical: 258 x 209 mm. and 257 x 206 mm. respective­
ly The second version is not mentioned in literature.There
is no signature of the inventor, nor of the engraver; in the
lower right corner the address of Galle is engraved:
"Philippus Galle excude "There also exists a second edi­
Motes Chapter 4
188
tion with the address ofTheodoor Galle. The newly
engraved inscriptions around the quadrangle are of a type
that Galle only started using after his arrival in Antwerp
in 1570; cp. chapter 2, note 15. On the other hand the
engraving must have been made before 1579. In a Dutch
private collection the engraving is pasted on an elabo­
rately decorated and hand coloured border and added in
a Bible with a binding dated 1579.
30. On the iconography and popularity of the Last
judgement as subject in Netherlandish art in the sixteenth
century, cp. Harbison 1976.
31. Instead of "Reus Condempnabitur nec dice­
tur qua'Tine 8 now reads: "Reus Condempnabitur sciens
bene qua." It must also be noted, however, that the same
words in line 4 have not been changed, neither have the
anti-clerical phrases in lines 2 and 3. Other changes with­
in the quadrangle are found in lines 11 and 12, that now,
metrically more correct,read:"Quo nec erit Codici locus
nec diges/ Christus Index Daemofn] actor reus tes."
32. Also cp. Sellmk 1991-92, pp. 151-153.
33. A few years earlier, in 1565, Heemskerck had
also made a painting of the subject combining the four
last things into one composition. Karel van Mander
described this painting in the collection of Jacob Rauwert
in Amsterdam, particularly praising this work on account
of its great variety in human emotions and its numerous
nudes; cp.Van Mander 1994, vol. 1,pp. 244-245.The panel
is now in the collection of Hampton Court Palace; cp.
Crosshairs 1980, pp. 241-243, no. 98 and Harrison 1988,
vol. 2, pp. 874-891. On the engravings, see Hollstein, vol.
8, p. 248, nos. 564-567;TIB. 56, pp. 303-306, nos. 78:1 -4;
New Hollstein, Maarten van Heemskerck, vol. 2, pp. 137-
140, nos. 449-452. Asides from the signature of
Heemskerck as the inventor, the series is unsigned. Style
and technique are, nevertheless, so similar to the engrav­
ings of Galles own hand, that the attribution is quite jus­
tified. Moreover, the fact that later editions by Theodoor
and Johannes Galle exist, strongly suggest that Philips Galle
must have been the prime publisher of the senes.
34. For a general overview of the iconography of
the subject, see Malke 1976. On the Wierrx print, see
Mauquoy-Hendrickx 1978-83, vol 2, pp. 270-271, no.
1492; on the four engravings issued byVrints after Maarten
dcVos,sce Hollstein, vol.44,pp. 247-248,nos. 1239-1242.

Around 1578 Galle published Goltzius's engraving
Allegory on the necessity of Prudence, which included images
of the four last things, compare Sellink 1991-92, pp. 152-
153. The subject was also included in four unnumbered
etchings on pp. 201-207 of the Institutiones Christianas
(1589) - an illustrated catechism based on works by the
Jesuit authors Petrus Canisius and Johannes Baptista
Romano and published as a joint venture by Philips Galle
and Christophe Plan tin in 1589 - and on the engravings
nos. 99-100 of the Veridicus Christianas (an illustrated
moral guidebook), written by the Jesuit Johannes David
and published joindy by Philips Galle and Jan Moretus in
1601 {compare fig. 135). For a detailed discussion of both
publications, also see below.
35. Cp. the remarks in Knipping 1939-40, vol. 2,
pp. 308-310. On Heemskerck's personal religious opin­
ions, see Veldman 1987a. The verses in the margins of the
Four last things, written by Hadrianus Junius, are of a rather
general and descriptive nature.
36. TIB. 56, p. 206, no. 54. The iconography is
studied in detail in Veldman 1991, pp. 275-276, where the
engraving is plausibly dated around 1569.The engraving
is signed "PHLS. GALLE. IN.VE" at bottom centre; the
verses around the engraving were composed by Hadrianus
Junius. Some authors add this engraving to the Four last
things after Heemskerck, cp. Casanovas 1963-66, vol 1, pp.
160-161, nos, 306-310 and Gonzalez de Zarate 1992, vol
5, pp. 129-130, nos. 40.1-40.5.This is not very plausible,
considering the completely different iconography and the
unusual fact that two designers (Galle and Heemskerck)
would have been involved in the production of one series.
37. Cp. Knipping 1939-40, vol. 1, pp. 148-150;
Kirschbauiri 1968-76, vol 2, p. 337 and vol, 3, pp, 311-
312.
38. The engraving is after a design by Maarten de
Vos; Hollstein, vol 44, p. 160, no. 716; Mai 1992, p. 574,
no. 160.2-There is a painted version of DeVos's design in
the Jacobskerk in Antwerp. Referring to the style and
technique of the painting, the date on the print and the
Jesuit iconography, Armin Zweite convincingly dates the
painting - which commonly was thought to have been
made before 1580 - as 'shortly after 1585'; Zweite 1980,
pp. 181-183, pp. 293-294, no. 70. On the history of the
Jesuit Order in the Netherlands, see Poncelet 1927-28.
Notes Chapter 4
189
39. Compare the chronological index of dated
Heemskerck prints in New Hollstein, Maarten van
Heemskerck, vol. 2, p. 271
40. Besides several individual engravings, Philips
Galle issued at least four series in 1569. The first was the
series of portraits of the counts of Holland and Zeeland;
compare chapters 1 and2.The other two were after designs
by Heemskerck: the comprehensive Disasters of the Jewish
people (22 plates) and the smaller Four last things (four
plates). Cp. New Hollstein, Maarten van Heemskerck, vol.
1. pp. 199-214, nos. 237-259 and vol. 2, pp. 137-140, nos.
449-452 respectively Ilja Veldman here also dates King
Josiah restores the law of the Lord (eight plates) in this year,
derived from the year that is mentioned on seven of the
preparatory drawings;ibid., vol. l,pp. 126-131,nos. 143-
150. The series was, however, probably not published in
the same year as the drawings were made; cp. note 15.
41. Galle s first recorded apprentice was a certain
Hendrick van Dort, mentioned in the records of the guild
of St. Luke of 1573;Van Lerius 1864-76, vol. 1, p. 252. It
is, however, reasonable to assume that the engraver over
the years had several assistants who were not officially
enlisted at the guild. In a letter of Abraham Ortels to
Johannes Crato, written in the fall of 1573, the Antwerp
geographer speaks of young assistants^) who did a lot of
engraving in the masters workshop; Ortels 1847, p. 94,
also see chapter 2, note 72,
42. Hollstein, vol. 8, p. 245, no. 365;TIB. 56, p. 56,
no. 15; New Hollstein, Maarten van Heemskerck, vol. 1,
p. 122, no. 138.
43. New Hollstein,Maarten van Heemskerck, vol.
2, pp. 29-35, nos. 321-328; Mauquoy-Hendrickx 1978-
83, vol. 2, pp. 233-235, nos. 1313-1320. Also compare
Veldman 1987a, pp. 205-207.
44. Galle s imprint can also be found on several
editions of series of Heemskerck prints engraved by other
artists before 1571/72. In these cases, however, it concerns
series originally published by Hieronymus Cock and reis­
sued by Galle at a much later date. On restrikes by Galle
from plates in the possession of Cocks widow, also see
chapter 1.There is only one early series incised by anoth­
er engraver which was possibly issued by Philips Galle in
Haarlem. This is the Four temperaments, dated 1566,
engraved by Herman Jans&. Muller and without any pub-

lisher mentioned on the first edition; New Hollstcin,
Maarten van Heemskerck, vol. 2, pp. 218-221, nos, 542-
545 as "probably [published] by Philips Galle." This
assumption is strengthened by the fact that the second and
third editions were produced by Galie's son and grandson
Theodoor and Johannes.
45. Compare Vcldman 1987a, p. 207. For a tran­
scription of Arias Montano's note - on the verso of the
preparatory drawing for the Adoration of the Trinity in
Heaven, in the Statens Museum for Kunst in Copenhagen
-sceGarfFl971,n.p.,no,117.
46. Hollstein, vol. 7, p. 80, nos. 414-421; idem, vol.
8, p. 245, nos. 357-364;TIB. 56, pp. 376-383, nos, 101:1-8;
New Hollstein, Maartcn van Heemskerck, vol. 2,
pp. 192-197, nos. 513-520.
47. Hollstein, vol. 8, p. 248, nos. 578-583; New
Hollstein, Maarten van Heemskerck, vol. 2, pp. 181-185,
nos. 501-506, where the (unsigned) engravings are right­
ly attributed to Philips Galie.The iconography is discussed
in Vcldman 1992, pp. 230-233.
48. For biographical details on Junius, see Veldman
1974.
49. On Heemskerck, see Veldman 1977a, pp. 11-
15; Grosshans 1980, pp. 18-27 and Harrison 1988, pp. 2-
79. The basic account of Heemskerck s life is, of course,
found in the Sckilder-boeck by Karel van Mander; cp.Van
Mander 1994, vol. l,pp. 236-247.Van Mander mentions
that the artist left Haarlem during the siege in 1572.The
Spaniards first surrounded the city on 11 December 1572.
the siege ended on July 13 of the following year after the
capitulation of the Haarlem authorities.
50. New Hollstein,Maarten van Heemskerck, vol.
2, pp. 212-213, nos. 536-537. The first was engraved by
Herman Jansz. Muller and has no address of a publisher;
the second was issued by Philips Galle in Antwerp, but
bears no signature of an engraver. On Rauwert, see Bok
1993-94, pp. 148-149 and p, 159.
51. All 1 6 preparatory drawings used for the first
edition of 1575 (cp. note 37) are now in the Statens
Museum for Kunst in Copenhagen; Garff 1971, n.p., nos.
118-126 and 128-134. Heemskerck's drawing of the bur­
ial of St. Stephen (dated 1572, also in Copenhagen) was
Notes Chapter 4
190
only added in the enlarged edition of 1582 with addi­
tional drawings by Johannes Stradanus; Garff 1971, n.p.,
no. 127.
52. "D. 1ACOBO RAVWARDO SUMMO
PICTURAE ADMIRATORI/ AMICO SUO PHILIP-
PUS GALLAEUS./ Et si quidem plurimum debeam tibi,
mi D. Rauwarde, ob amicitiae nostrae vetustatern et
amorem singularem, quo mecum erga picturam es prae-
ditus, tamen non tarn ideo tibi hunc libellum mitten-/
dum esse duxi, quam quod hunc eommunem nostra [mj
et artis magistrum et amicum, in vitae suae fine, miseriis
obrutum, propria sede domoq[uej communi calamitate
pulsum atque eiectum, in mam do-/ mum benigne sus-
ceperis, humaniterq [uc] et liberaliter traetaris. ubi etiam
maiorem horum Apostolicorum actuum partem tanto
artificio delineavit. Quapropter non potui committere
quin hunc tibi in-/ scriberem ac dedicarem. Te oro, ut
benigno animo suscipias, et pro mis tueare ac defendas.
Vale Antverpiae XVlILAugusti M.DXXXV'On the edi­
tion as published in 1575, see Hollstein, vol. 7, p. 78, nos.
206-240; idem, vol. 8, p. 244, nos. 306-322; TIB. 56,
pp. 147-162, nos. 48:1-16; New Hollstein, Maarten van
Heemskerck, vol. 2, pp. 96-109, nos. 395-410.
53. There are at least two drawings undoubtedly
intended for the Acts of the apostles which were not used
in any of the published editions: the above St. Peter freed
from prison and the Beheading of St, James(?), both dated
1573- Both drawings are in the collection of Museum
BoijmansVan Beunmgen. Cp. Hoetink 1961, pp. 24-25,
nos. 10-11. For unknown reasons - perhaps the drawings
were unsatisfactory or even not available to Galle at the
time - these two subjects were replaced by designs by
Stradanus in the second edition of 1582.
54. On the popularity of this particular theme in
Dutch art of the sixteenth and seventeenth century and
its possible connection to Calvinist opinions on baptism,
see Defoer 1977,pp. 21 -24. Galie's engraving is here repro­
duced in its second state, as published in the enlarged edi­
tion of 1582.
55. Besides Stradanus s drawings, Galle also used
one drawing by Heemskerck; cp. note 36.The title page
and 16 new engravings of the 1582-edition are - even
though only one is signed 14
Philippus.Galle.sculp."- attrib­
uted to Philips Galle; cp. Hollstein, vol. 7, p. 78, nos. 206-
240;TIB. 56, pp. 163-179, nos. 49:1-17. One engraving

(St. Paul bitten by a viper) is signed by Hendrick Goltzius,
another (the Resuscitation of Eutyckus) is attributed by some
to Goltzius; cp. Strauss 1977, vol. 1, pp. 260-261, no. 154.
There are at least two known preparatory drawings by
Stradanus: St, Paul healing a cripple at Lystra (Christ Church
College, Oxford) and St. Paul disputing with the sorcerer
Elymas in Pafos (Bibliothèque Nationale, Paris); cp. Byam
Shaw 1976, vol. 1, p. 325, no. 1331 and Lugt 1936, p. 47,
no. 187.
56. See above, note 17. The popularity of Old
Testament subjects in Dutch seventeenth-century paint­
ing is discussed from various points of view in Turnpel
1991. For a general discussion of the use of the Bible as
subject matter in the art of the Counter-Reformation,
compare Knipping 1939-1940, vol. 1, pp. 240-303.
57. Gerard de Jode s Thesaurus was - as recently
has been pointed out by Peter van der Coelen - first pub­
lished in Antwerp in 1579;Van der Coelen 1995, pp. Hu­
ll 1. De jode issued a second edition in 1585, again in
Antwerp, while a third was most probably published
posthumously by his widow after 1591; cp. Mielke 1975,
p. 71 and De Bruin 1990, p. 196, n, 6. All these Antwerp
editions are exceedingly rare. In fact, the most popular
editions of the lîiesaurus are of a much later date. After
1639, in continuously changing arrangements of prints,
this illustrated Bible was reprinted in the Northern
Netherlands several times by Claes jansz. Visscher, by Jan
Philips^. Schabaelje and by Visscher s grandson Nicolaus.
On these late editions, see Visser 1988 (Schabaelje) and
Van der Coelen 1995 (Visscher). For a detailed analysis of
the designers and engravers of De Jode s original edition,
see Mielke 1975; in the last issue of the Bulletin van het
Rijksmuseum of 1997 an article by Peter van der Coelen,
Peter Fuhring and Chris Sehuekman is to appear which
will provide new detailed information on the genesis of
the Thesaurus. In contrast to the Thesaurus, the two etched
series of biblical illustrations by the Antwerp printmaker
Pieter van der Borcht were even never published in the
city on the Scheldt. In 1583 the Leiden branch of the
Officina Planiiniana issued both series; all later editions also
appeared in the Northern Netherlands. As the introduc­
tion and the legends were written by the heterodox spir­
itualist Hendrikjansen van Barrefelt (also called Hiël),any
Antwerp edition after 1585 would have been almost
impossible. On the series by Van der Borcht, see Hamilton
1981b andVander Coelen 1995,pp. 108-110,119.A gen­
eral survey of Netherlandish illustrated Bibles is given in
Poortxnan 1983-86 and Van der Coelen 1991.
Notes Chapter 4
191
58. Cp.Mauquoy-Hendrickx 1978-83, vol. l,nos.
1-73 (Old Testament, almost exclusively series engraved
for De Jode's Thesaurus), nos. 74-393 (New Testament)
and nos. 394-604 (images of the Three Persons, including
many illustrations of the life of Christ). Another 1000
engravings are also religious of nature, mainly the lives of
Mary, the aposdes and all other saints. These numbers do
not include the book illustrations by the Wierix family
of which 150 illustrate die Life of Christ in Geronimo
Nadal s Evangelicae historiae imagines (Antwerp, 1593), one
of the first major Jesuit book productions in Flanders; cp.
Rooses 1888 and Mauquoy-Hendrickx 1978-83, vol. 3a,
pp. 400-429, nos. 1989-2141 and pp. 491-496.
59. TIB. 56, p. 135. no. 41; Jost 1960, pp. 27-33
and pp. 182-183,no.III,24;FiledtKokl986,pp.418-419,
no, 311. As yet the engraving is the very first dated work
known by Blocklandt, then nearly 40 years old! Philips
Galle published 32 engravings after Blocklandt, roughly
80 % of his graphic oeuvre (41 prints). Besides one engrav­
ing by Hendrick Goltzius, Galle incised all of these works
himself Excluding a series of four sheets with the Story
of Adonis, all prints depict religious subjects. For a cata­
logue of prints after Blocklandt, see jost 1960, pp. 162-
198.
60. The verses read: "Discipulos frustum christus
partitur in omneis/ Paniceum, sancit que novum, inte-
xnerabile foedus,/ Atque suae necis hoc monumentum
lege perermi/ Instituens, sese panis sub imagine tradit."
("Christ divides the piece of bread between all of Ins fol­
lowers, and sanctifies a new sacrosanct covenant; and by
instituting this remembrance of his death by eternal law,
he gives himself in the appearance of the bread") ;ep.Junius
1598, p. 184 andVeldman 1977a, p. 105, n. 41. Blocklandt
was (and always stayed) a Catholic, as was Junius, whose
orthodoxy, however, has been questioned on several occa­
sions; also cp. chapter 2. On the iconography of the Last
Supper in Netherlandish sixteenth century, also see Siesling
1981.
61. An assessment of Blocklandt's stylistic devel­
opment, in the light of Netherlandish art in this period
in general, is given in Kloek 1986, pp. 151-155. On the
series of Lot, see Hollstein, vol 2, p. 59, nos. 6-13; idem,
vol. 7, p. 74, nos. 4-11;TIB. 56, pp. 13-16, nos. 4:1-4 and
Jost 1960, pp. 162-165, nos. Ill, 1-4. Ingrid jost wrongly
dates the series around 1579;Jost I960, pp. 74-76. As Arias
Montano, who composed die verses in the margin, left
Antwerp in 1575, it is reasonable to assume that Galle pro-

duced the series before 1575; cp. Hansel 1991, pp. 128-
129. A more precise date can be deduced from an adver­
tisement by Philips Gallc in the catalogue for one of the
book fairs in Frankfort in 1572, which includes the Story
of Lot; Fabian 1972, vol. 1, p. 443. It is also the only series
with the address "ad insigne aurei cervi in platea lom-
bardica veteri" ("at the sign of the Golden Deer in the
Lombardenvest"). The Lombardenvest was probably
Galle s first address in Antwerp, later, somewhere after
1585, he moved to De Witte Lelie (The White Lily) in the
Huidevetterstraat where the family workshop would stay
until the second half of the seventeenth century; cp. chap­
ter 1. On Galle s association with the Spaniard Arias
Montano, also see chapter 2.
62. The title on the first plate reads: "IESU
CHRISTI DIGNITATIS VIRTUTIS ET EFFICIEN
TIAE PRAENUNTIIS SYBILLIS X " On the Sibyb
see Hollstein, vol 2, p. 59, nos. 19-28; idem, vol. 7, p. 78,
nos.275-286;TIB.56,pp.231-240,nos.66:l-10;jostl960,
pp. 46-61 and pp. 167-175, nos. Ill, 6-15 and Hansel 1991,
p. 129. At an unknown (later) date two engravings were
added to the series. These were neither designed by
Blocklandt, nor engraved by Galle; cp. jost 1960, p. 46.
The iconography of this series is discussed in detail in
Anneloes Smits's doctoral thesis (Free University,
Amsterdam) on engraved series of sibyls in the
Netherlands in the sixteenth and seventeenth century,
kindly put at my disposal by the author; Smits 1995,
pp. 68-76. On the iconography of sibyls in general, cp. De
Clercq 1979 and De Clercq 1980.
63. Jost s suggestion that such series as the Story of
Lot and the Sibyls were intended as Catholic propaganda
to be spread in the Northern Netherlands is untenable;
cp. jost 1960, pp. 46-47. In contrast to the above engrav­
ing of the Last Supper, these series show no signs at all of any
specific Catholic iconography. On die contrary, both subjects
were entirely acceptable to both Protestants and Catholics.
64. The. Virgin on the clouds (1578); Hollstein, vol.
2, p. 59, no. 15; idem, vol. 7, p. 77, no. 156;TIB. 56, p. 209,
no. 57;Jost 1960, pp. 61-62 and pp. 176-177, nos. Ill, 17.
One of the engravings Galle published after Blocklandt
was, as stated in note 44, engraved by Hendrick Goltzius.
The latter s elegant and flowing lines of the burin were
very well suited to incise compositions after designs by
Blocklandt. Thus it is not surprising to find two other
Notes Chapter 4
192
engravings - dated 1582 and 1583 respectively - after
Blocklandt among the very first works Goltzius published
on his own account in Haarlem. Cp. Filedt Kok 1991-92,
pp. 163-465,207, nos. 1 and 6.The painters death in 1583
put an early stop to this collaboration.
65. On the portraits, see Virorum dociorum effigies
(1572) and chapter 2; on the book of triumphal arches,
see Arms aliquot triumphaks (1572) and chapter 1.
66. The precise printing history of the Divinamm
nuptiarum and its immediate counterpart Christijesu vitae
speculum is complicated and, at this point, impossible to
reconstruct exactly. A small number of first editions of
both issues was probably published in 1573, with Latin
distiches in letterpress in the margins. There are both
copies with separate (letterpress) numbering for each pub­
lication - nos. 1-28 and 1-50 respectively - and copies
with a continuous numeration 1-78 for the combined
booklets. The most accurate description of these and all
later (see below) editions is found in Mauquoy Hendrickx
1978-83, vol. 3a, pp. 395-397.To these should be added a
series of proof impressions of the Divinamm nuptiarum,
without any inscriptions in the margin (Antwerp,
Museum Plantin Moretus).
67. Mauquoy Hendrickx very much doubts that
Johannes Wierix is the engraver of the whole series and
cautiously only lists the five prints signed with his mono­
gram - one from the Divinamm nuptiarum and four from
the Christijesu vitae speculum - in her catalogue; Mauquoy
Hendrickx 1978-83, vol. 3a, pp. 395-397, nos. 1978-1982.
On Gerard Groenning as an engraver and draughtsman,
see Thieme/Becker, vol. 15, pp. 70-71; Mielke 1967,
pp. 156-180: Lugt 1968, p. 125, no. 605 (on one of
Groennings few signed drawings, documenting the artist
as an glass engraver working m An twerp), Boon 1992, vol.
1, pp. 213-214 and Mielke 1995, Due to appear in 1997is
a checklist of engravings by and after Groenning, based
on the late Hans Mielke s research (Mielke 1996a).In 1997
this list will be fully catalogued in a volume of the New
Hollstein series; editor Chris Scfmckman kindly allowed
me access to the manuscript of this forthcoming publica­
tion.
68. The original Latin verses by Arias Montano
were now, in a different type of letter, set in the margins;
the French verses were typographically printed on the

verso of each preceding engraving.Ali engravings are now
numbered in the plate, with the numbers 1-28 {Divinamm
nuptiamm) and 1-50 (Ckristi jesu vitas, speculum) respec­
tively. The typographical texts were again printed by
Coppens van Diest. Added to die Divinamm Nuptiarum
were also a Latin and a French introduction, an ecclesias­
tical approhatio and a royal privilege. As in the case of the
first edition of 1573, most existing copies of these two
series are found bound together; also see below.
69. SeeVoet 1969-72, vol. 1, pp. 80-83.
70. SeeVoet 1980-83, voL2,pp.956-957,no. 1215.
In contrast to the first two editions, the Galle/Plantin reis­
sue of the Diuinarum nuptiarum was not supplemented by
an edition of the Christijesu vitae speculum.
11. The fact that Galle decided to replace the orig­
inal tide page, could have another reason as well. After the
council in Trent the Catholic Church became more and
more alert on the decency of religious images. Although
the nudity of Adam and Eve could be substantiated by the
verses of Genesis and could also be explained as a symbol
of mankind's original innocence, Galle may have heeded
warnings against indecency as frequendy worded by, for
example, the Louvain theologian Johannes Molanus. Cp.
Freedberg 1971 and Freedberg 1972, pp. 151-153.
72. On Theodoor Galle s reissue of Ckristi jesu
vitae speculum, cp. Hansel 1991, p. 102. Not having seen
this edition, it must in my opinion have been published
after 1600 as the younger Galle only then seriously start­
ed to take over his fathers activities as a print publisher
In contrast to the Divinamm nuptiarum the plates of the
Christijesu vitae speculum were still in the 1636-invento-
ry of Theodoor Galle s widow Catherina Moerentorf:
"Het Leven Ckristi eenenvijftich platen" ("The Life of
Christ, 51 plates* 8
); Duverger 1984, vol 1/4, p. 21. On
Visscher's edition of the Divinamm nuptiamm see
Mauquoy Hendrickx 1979-83, vol. 3a, p. 397. This ver­
sion follows the!580-edition with the Latin text by
Arnold Freitag.
73. On this problem, cp.Van der Coelen 1995,
pp. 114-115.
74. The most elaborate discussion of the contents
of these two series of prints, seen in the light of Arias
Montano as author of the verses and the intellectual
Notes Chapter 4
193
'inventor 5
of the iconography of the images, is Hansel
1991, pp. 101-1115 {Divinamm nuptiarum) and pp. 115-
118 (Christijesu vitae speculum), illustrating all engravings.
Several comments on the iconography of the two series
are based on her analysis. Arias Montano's conception of
the Divinamm nuptiarum may have had earlier roots. In
1562 the theologian, as a member of the Spanish delega­
tion at the council of Trent, spoke on two subjects, one
of which was matrimony. Compare Hamilton 1981a,
p. 76.
75. "Venez, amis, prendre refection:/ Iettez de
vous le faix, qui tant vous foule:/ C'est mon amour, qui
tout soulage et saoule./ N'abusez pas de vostre election:/
Mais hastez vous, la table est desia mise,/ Couverte aussy
d'un met2,qui eternile"Divinamm nuptiarum,second edi­
tion, 1574, fol. A3, verso. As with odier verses of the
Divinamm nuptiarum and Christijesu vitae speculum, I here
quote the French versions from die second editions of
1574, Heyns's French legends are not only slighdy longer
than the Latin legends composed by Arias Montano, but
also certainly far more straightforward in pointing out the
general meaning of an image.
76. Cp, Hansel 1991, pp. 114-115.
77. "le suis de Dieu la crainte et reverence,/ Qui
tout premier te viens faire assistence:/ Et ma lumière est
le commencement/ De Sapience. Or me preste l'oreille,/
Et me z amendant, avec prière et veille/ Pense à ta fin, et
dernier Jugement." Divinamm nuptiarum, second edition,
1574, fol. B3, verso. In the story of the bride this person­
ification is one of the messengers of a king searching for
a bride worthy of his choice.
78. Rather typically the above verses already urge
the reader to keep the Last Judgement in mind. It is pre­
cisely at that moment when ones soul is judged and the
promise of salvation can, at least for some, finally be nil-
fined.
79. "O bien-heureuse à la table de Dieu,/ Saoule
toy bien de joye en ce beau lieu/ Où recevras en signe de
victoire/ Pour un present la couronne de gloire./ Puis que
tu as suivy l'Espoux Divin,/ Nopces seras avecques luy
sans fin." Divinamm nuptiarum, second edition, 1574, fol.
H2, verso. The composition is reminiscent of images of
Mary received in Heaven by Christ. In this case, of course,
Mary sits at her rightful place in Heaven at the left-hand

side of Christ.
SO.
6
'Apres cela, luy estant representees en un
miroir plusieurs images (lesquelles on peut veoir en un
livre apart) elle contemple la vie, les actions et passions de
IESUS CHRISTUS qui de son gré s'est offert à elle pour
Espoux Divinarum nuptiarum, second edition. 1574,
fol. A3, recto. That, instead of a separate album ("un livre
apart"), the prints of Christî jesu viiae speculum could also
be integrated in the Divînamm nupîîarum is made clear by
the printed remark on the verso of engraving no. 16; "Icy
doit suyvre la vie de I esus-Christ." Dhnnarum nuptiamm,
second edition, 1574, fol. E3, verso.Also compare note 52
81. Cp. Hansel 1991, pp. 104-106,114-115.
82. Also compare, for instance, Nadine
Orenstein s study on the prints and politics of the Calvmist
engraver and print publisher Hendrick Hondius
(Orenstein 1995a).
83. On the Huis der Liefde in connection with the
circle of friends around die Officina Plantiniana, see Voct
1969-72, vol. 1, pp. 21-30 and Hamilton 1981a, pp. 65-
82. Galle s religious views in this period, in relation with
both Coornhert and the spiritualist movement, are dis­
cussed in Sellink 1991-92, pp. 149-153. It is characteris­
tic that Coornhert translated several of Arias Montano's
verses from both the Divinamm nuptiamm and the Christi
jesu viiae speculum in Dutch and published them in his
Ued-Boeck of 1575; cp. Bonger 1978, pp. 343, 377-378.
An interesting painting concerning spiritualist circles in
Antwerp is JVf aarten de Vos s Moses showing the tables of law
to the Israelites (1574/75) in the Mauritshois, a portrait his­
torié of the family and friends of the wealthy Antwerp
merchant Pieter Panhuys. As shown in a study by
J.W. Zondervan - by times speculating on the identity 7
of
the sitters - this group portrait can be interpreted as a cir­
cle of friends closely associated with the Huis der Liefde,
such as Plantin,Joris Hoefiiagel, Rcmbcrt Dodoens and
perhaps the young Joost Lips (also known as Justus
Lipsius); cp. Zweite 1980, pp. 159-163 and Zondervan
1982.As far as can be ascertained by physiognomical com­
parisons, Philips Galle - of whom no contacts with the
Panhuys family are known - is not portrayed, nor are other
prominent familialists as Ortels and Arias Montane
84. On this engraving see Van den Branden 1978,
p. 212. no. 72; the text by Kiliaan is transcribed in Kiliaan
Notes Chapter 4
194
1880,p. 126.The engraving is undated, unsigned and only
bears the address of Philips Galle. Technique and subject
matter suggest that the print was made around 1575-1580;
Kiliaan, however, composed verses on behalf of the Galle
workshop from c. 1575 until the very end of the centu­
ry. In the early seventeenth century Galles pupil,son-in-
law and former workshop assistant Karel de Mallery
engraved a different head of Christ witii die same text in
the margin; ep.Van den Branden 1978, p. 212, no. 73.
85. The here illustrated Christ blessing the world has
its counterpart in the Virgin praymg.T'iús set of engravings
- undated and unsigned, with only the address of Philips
Galle in the margins - is described in Casanovas 1963-66,
vol. 1, p. 166, nos. 386-387; also see Gonzalez de Zarate
1992, vol. 5, pp. 157-158, nos 1962-1963. As Casanovas
mentions the two prints seem to follow a prototype by
Maarten de Vos, are engraved by Julius Golmus and are
dated 1586; cp. Hollstem, vol 44, p. 155, no. 695 and
p. 162, no. 744. One has to take in account, however, that
the subject of the blessing Christ with a sceptre in his left
hand was very popular m Antwerp at the end of the six­
teenth century. Compare, for example, the many prints by
the Wierix family with the same subject: Mauquoy-
Hendrickx 1978-83, vol. 2, pp. 88-91, nos. 493-504.
Amongst these an engraving, also with a pendant image
of the praying Virgin, after Johannes Stradanus and pub­
lished by Galle; ibid., p. 89, no. 498.
86. Puraye 1969, p. 23. Galle's contribution is
undated, but as it mcluded at the very beginning of the
album - which Ortels had started compiling in 1574 - the
drawing will have been made around 1575-80. Also see
Rogge 1897, p. 175 (album, of Emanuel van Meteren,
dated 1577) and KalfT 1911, p. 24 (album of Jacob van
Marnix van Sinte-Aldegonde, dated 1579). The fourth
known drawmg by Galle in an album amicorum shows the
head Hercules and is dated 1582 (album of Janus
Gruterus). Cp. Heesakkers 1987 and Veldman 1991,
pp. 262-263.
87. Galles introduction is dated March 1575.Ail
printing must have been finished in June, when a presen­
tation copy was sent to Philip II; cp. Hansel 1991, p. 121.
For a complete description, cp. Voet 1980-83, vol, 1,
pp. 172—174, no. 172.Voet erroneously describes a copy in the
Museum Plantin-Moretus with verses in letterpress, only die
version with engraved verses seems to exist. The contents of
the series is analyzed in detail in Hansel 1991, pp. 118-127.

88. Cp.Voet 1980-83, vol 1, p. 172. A well docu­
mented case of a financial co-operation between Galle
and Plantin is, for instance, Petrus Canisius s Inslitutiones
Christianae of 1589. See below.
89. On the attribution to Groenning, see Mielke
1967, pp. 171-173, 179-180. At a later date Hans Mielke
apparently was of opinion that the designs for the engrav­
ings from no. 23 upwards were by another hand, namely
Crispijn van der Broeck; Hansel 1991, p. 121, n. 166. In
my opinion the suggestion of two different inventors is
not corroborated by any difference in style or technique.
In Peter van der Coelen s study on illustrated bibles pub­
lished by Claes Jansz.Visscher who reissued the David
series in 1637 - Sadeler's hitherto unnoticed signature on
print nos. 10 and 16 was brought to light;Van der Coelen
1995, pp. 107-108. On Johannes Sadeler's early engrav­
ings, see Limouze 1990, pp. 22-24,
90. "Ira, dolorq[ue] pms, prudentia, spesq[uel,
fidesqjue]/ Proelia pro natis coniugibusqjuej adeunt./
Excipit mstructu[m] his animu[m] victoria pulcra,/
Quam neqjue] avara notis inficit invidia." ("Wrath,pious
distress, prudence, hope and faith engage into combat on
behalf of the children and wives.The mind equipped with
these virtues gains a fine victory that will not even be
blemished with criticism by miserly envy")
91. Galle specifically compares Philip to David -
"adeo ut alter nobis David extitisse videatur" - and com­
pares their abilities to lead their people with divine inspi­
ration and wisdom through all the turbulent events of the
tune. David, hoc est virtutis, 1575, introduction,fol.A3 recto
- A4 recto; cp. Hansel 1991, pp. 118-121
92. "Quae Montani sententia mihi saepius excep-
ta adeo placuit, animoque insedit meo, ut hoc unum argu-
mentum, inter ea, quae selectissima existimaveram, cum
primis dignisssimum arbitratus fuerim, quod
Chalcographicae arris mihi pietatis cu[m] primis colen-
dae causa comparatae et exercitae diligentia et industna
expressum et exornatum ad piorum, et Catholicae reli-
gionis studiosorum usum et oblectamentu[m] exhiberem.
Idq[ue] cum superiore anno coepissem, non ornnrno per
smgulas partes, explicatum,(namque hoc longissimi operis
et otii fuisset) sed turn iustis et maiusculis imaginibus
demonstratum, turn vero prospectivae ope lo[n]ngius
etiam indicatum tabulis octo et quadriginta in breve coac-
tum tanden conspiciendum iis exposui, qui sanctorum
Notes Chapter 4
195
librorum sacraria adeuntes, quid in vita honestum ac pium,
atque ad res publiée privateque recte gerendas,
demumq[ue] ad animorum salutem utile opor-
tunumq[ue] sit, cognoscere ac discere cupiunt" David hoc
est virtutis, 1575, fol. A2 verso - A3 recto. Compare
Hansel 1991, pp. 121-122.
93. "Quae quamquarn a me utpote paupere,
rudiori, leviorique materia parata fuerint, poterunt pro
praestantissimi cuiusque víri facúltate et ingenio vel lanea
vel holoserica, vel argéntea et áurea, gemmis etiam inter-
textis splendentia confici, multis praeterea artis et elegan-
îiae partibus augeri et amplifican " David hoc est virtutis,
1575, fol A3 recto. Compare Hansel 1991, p. 122. On a
comparable combination of purposes compare, for exam­
ple, Sellink 1992, pp. 53-54 and chapter 3.
94. Cp. Casanovas 1963-66, vol. I, p. 178, nos. 6-
9 and Hansel 1991, pp. 127-128, where a later, mid-sev­
enteenth-century edition by Johannes Galle is described.
The series is unmentioned in the literature on Groenning.
The signature "Ger. Gron. inven." on the first engraving,
however, leaves litde doubt on his role as designer. The
name of the engraver is not mentioned on any of the
prints, but style and technique make a reasonable case that
Philips Galle must have been the engraver himself. Galle s
address is also found on the first print of the series, as is
the name of Arias Montano:' i
Galle exeudehat" and "Arias
Mont. caneb/'The prints can also be compared to anoth­
er major series - here not discussed, as the iconography is
rather traditional and straightforward - that Galle pub­
lished after Groenning s designs: lite life of the Virgin, six­
teen circular (undated) plates engraved by Hieronymus
Wierix. Cp. Mauquoy-Hendrickx 1978-83, vol. 1, p. 121,
nos. 642-657.
95. In earlier representations of the parable in
Netherlandish art the preaching of Christ - who was
speaking to his followers from a ship moored at the sea-
coast - was emphasized; cp. Filedt Kok 1986, pp. 176-177,
no, 60.This aspect is completely lacking in Galles Parable
of the sower.
96. "Maturata almo, demissa ac semina c[o]elo,/
Sponte sua et frlieras edere, nata bonos,/ Pectore vulgari
pereunt excepta, quod hostes/ Occupât, expositis diripit
eq[ue] vijs" ("Seed, ripened and descended from the gen­
erous Heaven, born to bear good fruit spontaneously per­
ishes when it lands in a vulgar mind, which hosts the
enemy that picks it [the seed] away from die open road")

97. "Gratus ager concepts refert ubi semina
multo/ Foenore, messores et iuvat agricoiam/
Nobilitatq[ue] solum, pretio nee vincitur ullo/ Nec domi
ni alterius iura movenda timet" ("When the grateful held
returns the received seed with high interest, it pleases the
reapers and the farmer. It [the seed] ennobles the soil, goes
beyond every price, and does not fear to change owner­
ship.")
98. Cp. TIB. 56, pp. 292-295, nos. 75:1-4 (the
numbers 1 and 2 of the series have been placed in the
wrong order).The iconography of die series and its rela­
tion to other series of prints with the same subject has
been studied in detail inVeldman 1987b. As IljaVeidman
pointed out the highly unusual iconography was already
misunderstood in the seventeenth century. In a later edi­
tion published by Galle s grandson Johannes the sequence
of the series was completely changed, implying that the
biblical source of the book of Esdras (also see below) was
no longer reco^mized; compare Yeldman 1987b, p. 227.
99. IljaVeidman first substantiated this attribution
by comparing the series to drawings by Groenning in the
Rijksprentenkabinet and the Leiden prmtroom;Veidrnan
1987b, p. 225.
100. On Ghyselinck see Heesakkers 1976, passim.
As a young man Ghyselinck was a freelance proofreader
working for Plantin between 1564 and 1566;Voet 1969-
72, vol. 2, p. 176. After his studies in France the Flemish
humanist and physician returned to Antwerp and occa­
sionally acted as an editor of publications of the Offkina
Pianiiniana; Cockx-Indestege 1989, p. 133, no. 65. Galle
must have been acquainted with Ghyselinck through
Plantin.The Antwerp humanist only rarely seems to have
written verses for prints; compare, for instance, two
engravings by Anthonie Wierix dated 1586: Mauquoy-
Hcndrickx 1978-83, vol. 2, pp. 195-196, nos. 1070 and
1073.
101. Compare Veldman 1987b, p. 225. As
Groenning s compositions are, both in style and iconog­
raphy clearly indebted to print designs by Maartcn van
Heemskerck it is not strange to find that the Four powers
have long been attributed to diis Haarlem painter;
seeKernch 1829, p. 89 and Hollstein, vol. 8, p. 248, nos.
588-591.
102. "An Bromio quidquam iucundius? hie tamen
Notes Chapter 4
196
omnes/ Ecce tibi victos victor inermis agit./ Hie genus,
formam, sexum et simul omnia mutat:/ Ille homini
mentem surripit ille hominem." ("Is there anything, any
thing at all, more pleasing than Bromius? For see, although
unarmed he carries away all the vanquished with him as
victor. He changes birth, appearance, sex - everything. He
robs men of their spirit and deprives them of their human­
ity 5
'). The English translation is quoted from Veldman
1987b, p. 225.
103. "AtVerum, etVeri virtus de nomine dicta,/ E
Patris aetherei prodita Diva sinu,/ Lux orbi irradians,nullo
violabilis aevo,/ Omnia sola regit: omnia sola potest."
("But the Veritable and the virtue, called by the name of
Truth, the goddess sprung from the lap of the Heavenly
Father, she alone rules over all, the radiant light of the
world, immune to time: she alone is powerful"). The
(slightly corrected) English translation is quoted from
Veldman 1987b, p. 225.
104. On Goltzius, see Hirschmann 1919,Reznicek
1961 and the Nederlands Kunsthistonsch Jaarboek of 1991-
92 (vols, 42-42), which is entirely devoted to this artist.
Particularly important for the biography of Goltzius are
Miedema 1991-92 and Nichols 1991-92; to Hessel
Miedema s analysis of Kare! van Mander's biography of
Goltzius should be added: Van fviander 1994, vol. 1
pp. 384-407, which gives a full English translation ofVan
Mander s text. As mentioned by the editors in the intro­
duction to the above Nederlands Kunsthistonsch Jaarboek
(p. 9) an assessment of Goltzius's earliest period as a print-
maker - that is to say up to 1582 - is still a desideratum.
Important in this respect are: Hirschmann 1919, pp. 47-
57, De la Fontaine Verwey 1969 and Veldman 1990,
pp. 23-26 - both on the relation between Goltzius and
Coornhert - and Sellink 1991-92, on certain aspects of
the Goltzius s collaboration with Galle. An excellent sur­
vey of Goltzius as an engraver and publisher after 1582 is
given by Filedt Kok 1991-92. A concise, but very to the
point overview of Goltzius s complete graphic oeuvre,
placed against the background of print publishing in the
Netherlands at the end of the sixteenth century, is found
in Orenstein 1993-94, pp. 177-183. A general survey of
Goltzius as a printmaker, with next to none attention to
his Antwerp iconography, is given in Silver 1993b.
105. Cp. Orenstein 1993-94, pp. 175-177.The only
major engraver and publisher active in the northern part
of the Netherlands at the time was Herman Jansz. Muller.

That Goltzius did not engrave any work for fviuller after
his arrival in Haarlem can easily be explained. It is telling
that as an engraver Muller in these years mainly worked
for Antwerp publishers Hieronymus Cock and, after the
latter s death, Gerard de Jode. He also occasionally
engraved works for Philips Galle; cp. note 31. As a pub­
lisher the Amsterdam printmaker concentrated on issu­
ing books (cp. Bouman 1978) and only started publish­
ing his own prints and those of his son and virtuoso
engraver Jan Muller at a later date; cp. Filedt Kok 1994a,
pp. 225 227 and Filedt Kok 1995, pp. 22-29 (catalogue).
106. Cp. Filedt Kok 1991-92, p. 159 and p. 202
n. 1, for a list of these engravings. For illustrations and
descriptions of diese engravings, see Strauss 1997, vol. 1,
passim. Strauss s catalogue is not only inaccurate in its
descriptions of Goltzius s early prints, but also is rather
arbitrary in dating these works. Other descriptive cata­
logues of Goltzius s oeuvre are, in chronological order:
Bartseh 1803-21, vol. 3; die impeccable and still very use
ful Hirschmann 1921; Hollstein, vol. 8 (following
Hirschmann to the letter) andTIB. 3 (illustrating Bartsch's
catalogue, combined with the commentary volume near­
ly identical to Strauss 1977).
107. The few engravings Goltzius made for Aux
quatre vent 1
; - 13 after designs by JVlaarten deVbs and one
after his own design. - are undated; for a short list cp. Filedt
Kok 1991-92, p. 202, n. 1. However, as they are highly
comparable to the engravings produced for Galle, one can
safely assume that they were also made around 1578-79.
One wonders if Galle left his young employee any time
~ or even gave him permission for that matter - to work
for a rival print-shop in Antwerp. It is certainly possible
that Goltzius only could start working forVolcxken
Diericx after he had finished specific commissions for
Philips Galle. Unfortunately there is very litde docu­
mentary evidence available regarding the organisation of
Netherlandish print-shops in this period; compare chap­
ter 1.
108. Two religious prints undoubtedly engraved
after 1579 are the above-mentioned sheets from the sec­
ond edition of the Acts of the apostles, issued in 1582; com­
pare note 52.The later profane works, which are not dis­
cussed here, are: five (or perhaps more) engravings from
the series Medkeae familiae victoriae, a series on military tri­
umphs of the de'Jvledici family, published by Galle in 1583
and certainly dated too early by Strauss as 'circa 1578*
Notes Chapter 4
197
(Strauss 1977, vol. 1, pp. 44-53, nos. 12-16;the four undat­
ed sheets from the Story of Lucretia, again dated by Strauss
as'circa 1578'(Strauss 1977, vol 1, pp. 54-61, nos. 17-20),
however, Reznicek s dating of the two existing prepara­
tory drawings as '1580 or shortly after 5
(Reznicek 1961,
pp, 292-294, nos. 140-141) is much more in accord with
the technique of this series; the undated series of the Five
senses, unconvincingly dated by Strauss as 'circa 1578', but
in technique very close to undoubtedly later series as the
Set/en virtues (dated by Reznicek as 'after 1580'; Reznicek
1961, p. 264); 15 (or more?) sheets from the series the
Equile loannis Austriaci (The royal stable of Don juan of
Austria), published by Galle around 1580 (Strauss 1977,
vol 1, pp. 184-191, nos. 91-105). Goltzius may have
worked on these last engravings in the years 1579-80,
when Hieronymus Wierix - who had started working on
these 'portraits' of horses - was in serious trouble and even
imprisoned due to charges of homicide; cp. Mauquoy-
Hendrickx 1978-83, vol. 2, pp. 314-317, nos, 1715-1728
and vol. 3b, pp. 520-521.
109. Compare Sellink 1991-92, pp. 154-155 and
Filedt Kok 1996, pp. 163-164.The verses underneath this
portrait were composed by Janus Dousa, with whom Galle
was acquainted in his Haarlem period. Dousa"s original
ode was, rn fact, longer than the version engraved in the
margin of this portrait; cp. Dousa 1584, p, 33 and Dousa
1609, p. 241, where the engraving is wrongly attributed
to Hubert Goltzius. For a full transcription and transla­
tion of these verses, cp. SelHnk 1991-92, p. 158,
110. The eight Beatitudes: Hollstein, vol. 8, p. 17.
no. 63; Hirscfimann 1921, p. 32, no. 62; Strauss 1977, vol.
1, pp. 78-79, no. 29; Consoling the sad: TIB. 56, p. 254
no. 68:6. More detailed stylistic comparisons between
works by Galle and Goltzius can be found .in Sellink 1991,
pp. 146-147.
111. One of them is the here illustrated sheet die
Eight Beatitudes; for further examples, see the catalogues
Hirschmann 1921 and Strauss 1977, passim.
112. The life of Christ: Hollstein, vol 8, p. 17,
nos. 56-61; Bartseh 1803-21, vol. 3, p. 14, no. 14 and pp.
27-28, nos. 61-64; Hirscfrmann 1921, pp. 29-31, nos. 56-
61; Strauss 1977, vol. 1, pp. 66-76, nos. 23-28. The allegories
of faith: Hollstein, vol. 8, p. 18, nos. 64-75; Bartseh 1803-
21, vol. 3, p. 28-30, nos. 65-74; Hirschmann 1921, pp. 32-
37, nos. 64-75; Strauss 1977, vol. 1, pp. 124-147, nos. 54-65.

113. This refers 10 the words of Hebrew 1:3, as the
Latin inscription near the heart informs us, where is
described how Christ takes his place at the right-hand
side of God, after having redeemed mankind of its sins.
114. New Hollstem, Maarten van Heemskerck
vol. 2, p. 125, no. 435-Veldman 1990, pp. 88-89, no. 7.2.
An overview of die iconographic tradition of the Forts
pieiatis is given in Wadell 1969, specifically pp. 62-65.
115. Cp.Veldm.an 1987, pp. 197-199 and Veldrnan
1990, p. 89, where the engraving is discussed in relation
to the religious opinions of Heemskerck and Coornhert
respectively.At a much later date (probably around 1590),
Philips Galle himself published a slightly changed version
of Coornhert's engraving, including Fides cleaning the
hearts. This print was incised by Adriaen Collaert after a
design by Ambrosius Francken the Elder; cp.Wadell 1969,
p. 121, no. 105.This engraving - most probably published
in Antwerp after the Counter-Reformation set foot in
1585 - seems to support Veldrnan s thesis that the iconog­
raphy of the Coornhert- Heemskerck engraving was not
specifically Protestant of nature.
116. The very literal translations of abstract scrip­
tural passages into complex and highly original iconog­
raphy are also very similar to Coornhert's own engrav­
ings of this period, as is the use of the allegory as didactic
method par excellence; cp.Veldrnan 1990, pp 31-33.
117. For a survey of the life and works of
Coornhert, see Bonger 1978. His opinions in matters of
ethics and religions are elucidated in Bonger 1987 and
the essays by various authors in Bonger 1989a. Of special
concern is Berkvens-Stevelinck s study on Coornhert as
a theologian: Berkvens-Stevelinck 1989.
118. Coornhert returned to Holland from exile in
November 1576, he then settled in Haarlem in March of
1577. On Coornhert's controversial activioes in this peri­
od - leading to a ban on writing and publishing on reli­
gious matters by the authorities of the Staten van Holland
in 1579 - compare Bonger 1978, pp. 83-118. Galle pub­
lished the following text by Coornhert before his return
to exile: De return usus et abusu, a moralizing book of
emblems issued by Galle and Plantin jointly in 1575.They
issued the book - illustrated with engravings by
Hieronyrnus Wierix after designs by Gerard Groenning -
under the name of the Frisian humanist Bernard Fur me -
Notes Chapter 4
198
rus, most probably to avoid potential conflicts with die
authorities on account of publishing works of an author
in exile. On the contents of the book and a reconstruc­
tion of events, see the recent dissertation Puhlmann 1992.
The moral issues discussed in De rerum usu et abusu are
entirely in keeping with Coornhert's opinions, as dis­
cussed above.
119. The problematic issue of how and when
Coornhert's late prints were published, are discussed in
Veldrnan 1990, pp. 27-29. It is interestmg to note that most
of these engravings were only published posthumously in
1597 by Hendrick Spiegel, a long-standing friend of
Coornhert. Even then these works only appeared with
the address of Spiegel's eleven (!) year old son Marten; a
simple trick to avoid liability for controversial publica­
tions on the part of Spiegel senior?
120. The complete engraved text in the central car­
touche of the title page reads: "Virtutum/ viuorumq[ue]/
Quibus capitaliurn nomejn]/ inditum est, septenario/
numero prorxitorum, en-/ comia una com praemijs/
poenisq[ue] quae eorurn cul-/ tores manent, exemplis/
testimonijsq[ue] sacra-/ rum litterarum/ adumbrata."
("Eulogies on what are known as the principal virtues and
the mortal sins, depicted according to their usual number
of seven, together with the rewards and punishments that
await their respective admirers, adorned with examples
and testimonies from the Holy Scripture.)" For a descrip­
tion of the full series, see Hollstein, vol. 8, p. 20, nos. 85-
100;TIB. 3, vol. 1, pp. 77-92, nos. 77-92 and vol. 2, pp. 82-
85; Bartsch 1803-21, vol. 3, pp. 31-33, nos. 77-92;
Hirschrnann 1921, pp. 38-41, nos. 85-100 and Strauss
1977, vol. 1, pp. 164-179, nos. 74-89. The series has the
address of Philips Galle on the title page, but lacks date
and place of publication. The author of the verses is
unknown.The following paragraph is an abbreviated and
translated version of an earlier article (Sellink 1991-92),
where the iconography of the series is discussed in detail.
121. On the iconography of sins, virtues and good
works in relation to the Last Judgement, cp. Knipping
1939-40, vol. 1, p. 37 and vol. 2, pp. 114-122, 308-311;
Harbison 1976, pp. 92-139,
122. TIB. 56, pp. 257-264, nos. 69:1-8. The Seven
acts of mercy is closely related in style, technique, compo­
sition and subject matter to two other series produced by
Galle in the same period: The seven spiritual acts of mercy, a

lso dated 1577 (TIB, 56, pp. 249-256, nos. 68:1-8), and
The seven sacraments, dated 1576 (TIB. 56, pp. 241-248,
nos. 67:1-8).There are also several, as yet unpublished sin­
gle sheers from the Galle workshop that come remark­
ably close to both these series and to the early engravings
by Goltzius.This again raises the question if Goltzius did
not perhaps engrave more (unsigned) engravings on behalf
of his Antwerp patron.
123. "Virtuturn penms dictarum praeditus almis/
Par levibus ventis [ajethera summa petit. / Ast horum terra
vitiorum mole gravatus/ Mergetur terr[a]e viscera ad ima
nigr[a]e."
124. The central representation of this as yet
unpublished engraving (cp. SeHmk 1991-92, p. 156, note
12) is a copy in the same direction after Goltzius's Last
judgement.Thc engraving has its counterpart in the Seven
spiritual acts of mercy, with an image of Christ in the cen­
tre and seven roundels with renderings of the spiritual
acts: correcting the sinners, teaching the ignorant, show­
ing the doubting the right way, praying for ones neigh­
bour, consoling the sad, bearing injustice with patience
and forgiving sins. Both engravings are undated and
unsigned. Style and technique are quite similar to engrav­
ings from the Galle workshop. Furthermore, the subject
of the spiritual acts of mercy is extremely rare and has, as
far as I know, in this period only been illustrated by Philips
Galle (cp. note 122).
125. On the Dutch Revolt in the period 1575-81,
see inter alia Parker 1981, pp 163-192; Groenveld 1979,
pp. 96-101, 197-198 and, most recently, Duke 1990. A
summary of the religious conflicts in this period can be
found inWoltjer 1986.
126. On this series, see Horst 1990.
127. In his study on the series by Huys, Daniel
Horst convincingly shows that it is impossible to deter­
mine the specific nature of the Reformatorian tenden­
cies (Lutheran, Calvinist or spiritualist) which have influ­
enced its iconography; Horst 1990, pp. 16-21. Seen in
hindsight, however, Calvinism became the dominant
Reformed conviction in the Netherlands in the last quar­
ter of the century. For this reason, I have preferred the use
of this word instead of a more vague and neutral term
such as Reformatorian. On the general issue of the
(impossibilities of interpreting the relation between reli­
Notes Chapter 4
199
gion and art in this period, also cp. Zijp 1987.
128. "God wil dat alle menschen saligh worden: so
wil hy immers niet datter een mensch onsaligh worde "
Quoted from Bonger 1978, p. 248.
129. "Tot Gode, die vande wegh net eynde is,
komtmen alleenlyck doort hantteren vande deughde, die
d'eenighe wegh is tot Gode waart Dus werdt de
dueghde niemanden angheboren vande ouders,maar alien
menschen angheboden van Gode ende byden menschen
vrywilligh verkoren ende anghenomen." Quoted from
Coornhert 1942, p. 143.
130. Coornhert himself, as early as 1552, had
engraved the subject of the Last Judgement in combina­
tion with the acts of mercy These series - incised after
designs by rVlaarten van Heemskerck - renders six, instead
of seven works of mercy; New Hollstein, Maarten van
Heemskerck, vol. 2, pp. 37-43, nos. 330-336.This version
is, in fact, more faithful to the text of the Gospels (Matthew
25:37-40).The seventh act (burying the dead) was only
added in the third century by Lactam; cp. Kirschbaum
1968-75, vol. l,pp. 246-251.
131. Besides Goltzius's Virtutum vitiorumque
encomia and Galle s Seven acts of mercy, these are: Allegory
on ike necessity of prudence (engraved by Goltzius, discussed
below) and the series Four last things? engraved by Goltzius
after designs by Johannes Stxadanus.This last series devi­
ates from the traditional iconographic sequence (compare
note 34) by replacing the Dying hour by the Resurrection;
cp. Strauss 1977, vol. 1, pp. 30-37, nos. 6-9.
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,
pp. 30-31, no. 75; Hirschmann 1921, p. 37, no. 77 and
Strauss 1977, vol. 1, pp, 82-83, no. 31. Also cp. Knipping
1939-40, vol. 2, p. 310 (wrongly described as Philips Galle
after Maarten van Heemskerck),
133. " dat niemandt verdoemt en sal zijn om
Adams, maer elck om zijn eyghen zonde." Quoted from
Bonger 1987, p. 185.
134. Cp.note 112.
135. Cp. Berkvens-Stevelinck 1990, pp. 24-26.

136. Cp. Veldman 1990, pp. 23-24, where
Coornherts possible influence on Goltzins s religions
opinions is discussed. Often quoted in this respect is a let­
ter addressed to Coornhert dated 9 January 1576, where
Goltzius is (briefly) mentioned as his disciple; Nichols
1991-92, p. 86. As the letter concerns an argument on reli­
gious issues, this reference is interpreted to imply that
Goltzius was more than just a pupil in the art of engrav­
ing. Even if the five words "en ook Golsen uw discipef
have such a connotation, Coornherts influence on his
then 18-year old pupil only lasted a short while. Besides
the respect that he must have had for his former master -
as the magnificent, posthumous portrait of 1592 proves -
there are no indications at all that Coornhert influenced
Goltzius on matters of ethics and religions to such a degree
as he did in the case of Philips Galle. Interesting, but in
my opinion quite unconvincing, are Walter Melion's
scholarly attempts to classify a part of Goltzius s later oeu-
vre as strongly Counter-Reformatorian of character
(Mellon 1995, especially pp. 119-133).
137. Cp. Reznicek 1961, pp. 51-52.
138. The above signature is quoted from the
Annunciation, part of the series Life of Christ; cp. note 112.
A nearly identical inscription is found on the undated sin­
gle sheet Misericordia del; Strauss 1977, vol. 1, pp. 80-81,
no. 30. Most other early engravings are signed with the
monogram 'HG', while signatures where Goltzius is men­
tioned as 'inventor' are usually found on works after 1578.
139. On the series Seven sacraments and Seven spiri­
tual acts of mercy, compare notes 122 and 124.
140. A concise history of the turbulent events in
Antwerp in diese years, with farther bibliographic refer­
ences, can be found in Thijs 1990, pp. 23-32. A thorough
history of die Reformation in Antwerp, unfortunately
ending in the year 1577, is provided by Marnef 1996. On
the printing of books and engravings in relation to the
Reformation in Antwerp, see De Nave 1985 and Imhof
1994.
141. The situation in Haarlem in this period is ana­
lyzed in detail in the excellent recent study by joke Spaans;
Spaans 1989, pp. 40-52.
142. Coornherts ideals of religious tolerance,
which certainly seem related to Galle s opinions on such
Noies Chapter 4
200
matters, are discussed in Bergsma 1989 en Bonger 1989b.
143. These series must have been - due to their
insistence on doctrines of good works and the sacraments
- unacceptable to the adherents of the Reformed
Churches. Cp. Sellink 1991-92, pp. 149-150.
144. On the series Allegories of faith, cp. note 112,
There are two other engravings from this series also
undoubtedly referring to contemporary events. Using the
same title of Puniiio iirannomm (Punishment of tyranny),
two unnumbered engravings illustrate - again solely using
examples from the Old and New Testament - how evil
tyrants are in the end always punished by God. As Galle,
although a Catholic, is known to have been a supporter
ofthe growing independence of the Dutch provinces from
the Spanish Crown (compare chapter 1 and Vermaseren
1957), one can safely assume that these engravings were
deliberately referring to the hardships the Netherlands
had to endure from the policies of Philip II.
145. Curiously enough the prolific Stradanus still
lacks a thorough monographic study. Besides the modest
and outdated study by Orbaan - a dissertation published
in 1903 (Orbaan 1903) - and the rather short and gener­
al article by GuntherThiem (Thiem 1957-59), the most
useful information on the artist (and on prints after his
design by Galle) can be found in a number of detailed
studies on specific works written by Dorine van Sasse van
Ysselt (cp.Van Sasse vanYsselt 1980,1988,1990 and 1994).
Some information on the relation between Stradanus and
Galle can also be found in Sellink 1987. A large and impor­
tant collection of his sketches, in the Cooper-Hewitt
Museum in New York, is described briefly in Benisovieh
1956. Within a few years the New Hollstein series will
also devote several volumes to all prints after designs by
Stradanus, a catalogue that could be most helpful to any­
one studying Netherlandish or Italian art of the period.
One can only hope that this catalogue - to which I will
be contributing as an editor - will be as satisfying as the
recently appeared three-volume set on Maarten deVos as
a print designer, edited by Chris Schuckman (Hollstein,
vols. 44-46). On DeVos a combined monograph and cat­
alogue raisonne of his paintings exists: Zweite 1980.
146. "Hy heeft te Florencen in de Kerck van de
Nunziata ghedaen een groot heerlijck stuck, wesende een
Crucifix, daer de Krijghsknechten onder ander oock de
spongie in een edick-vat nat maken oft doppen; ghelijck

dees ordinantie ghesneden is, en in Print uytcomt/'
Together with the English translation above quoted from
Van Mander 1994, vol 1, pp. 328-329.
147. On the drawing, now in the Stedelijk
Prentenkabinet in Antwerp, see Depauw 1988, pp. 62-64,
no. 3; on the print ep. TIB. 56, p. 137, no. 43. A second
edition of the engraving exists, published by Galle s son
Theodoor, here the date 1574 is replaced by die address
of Galle junior; on authority ofDorine van Sasse vanYsselt
the entry by Carl Depauw (loc, cit.) seems to (wrongly)
assume that these two editions are in fact two separate
prints.The verses in the lower margin were composed by
Galles friend Benito Arias Montano, but are not men­
tioned in Hansel 1991.
148. For a list of engravings after Srradanus issued by
Cock and his widow,cp.Riggs,pp.358-360,nos. 188-192.
149. Cp.Thiem 1957-59, pp. 98-99.
150. It is unknown if Philips Galle, besides the
Altarpiece with Christ on the cross, issued any other engrav­
ings after Srradanus before the latter s visit to Flanders in
1576. Unfortunately most of Srradanus s religious prints
are undated, judging by subject matter and references to
engravers and dedicatees, most of the religious Gaile-
Stradanus prints are of much later date; also see below. The
non-religious subjects and the more general matters regard­
ing their collaboration are further discussed in chapter 1.
151. Compare, for example, the Baptism of Christ
(TIB. 56, p. 113. no. 30) after Stradanus s painting in the
S. Maria Novella and the here illustrated Christ driving the
money-makers from ike temple in the S. Spirito (TIB. 56, p.
129, no. 36). There are two drawings related to this last
painting in the UfRzi, neither seem to be a preparatory
drawing for the print; cp. Kloek 1975, n.p.,nos. 199-200.
152. There is also a second edition of the engrav­
ing with the address of Johannes Galle. In at least two col­
lections (the Rijksprentenkabinet and the Albertina) the
engraving is kept with a possible - but in my opinion
incorrect - attribution to Goltzius.This once again illus­
trates the difficulty of attributing unsigned works from
the Galle workshop to Goltzius or other masters; com­
pare note 122,
153. On the subject of the Madonna of the Rosary
Notes Chapter 4
201
in Netherlandish art, see Knippmg 1939-40, vol. 2, pp. 51-
55. In passing Knipping seems to refer to the Srradanus
engraving, without, however, giving any particulars (ibid,
p. 52).
154. This second Madonna of the Rosary also seems
to have been unnoticed in literature until now. The
engraving is dedicated to Johannes Crabbe from Lou vain,
superior of the Augustinian friars in the province of
Flanders from 1580 until 1589. As a fervent religious and
political opponent ofWilliam of Orange and the Calvinists
- he was at one time imprisoned on account of his opin­
ions - Galle would not have been likely to dedicate a print
to Crabbe before 1585.
155. Cp. note 52 and 56.
156. On the series, see Hollstein, vol. 7, p. 76,
nos. 108-145 (where both of Galle s Passion series after
Stradanus are mixed up);TIB. 56, pp. 133-134, nos. 40:1-
2 (Philips Galle fecit); Mauquoy Hendrickx 1978-83, vol.
3a, p. 387, no. 1919 (the portrait by Wienx). The exact
printing history of the series is difficult to reconstruct.
Galle apparently first issued an unnumbered edition, as
described above. Fie then decided to number the plates 1
up to 37. Judging by the average quality of these num­
bered impressions this was done at an early stage-
Apparently one plate (The raising of the cross, between nos.
26 and 27) was forgotten, as this unnumbered engraving
is often found added in between the complete sequence
of numbered impressions.Thirty-eight preparatory draw­
ings for the series are in the collection of the UfBzi, see
Thiem 1957-59, pp, 104-106 and Kloek 1975, n.p.,
nos. 201-239.
157. Wierix 5
s portrait of Stradanus is engraved after
a combination of a drawn self-portrait by the artist - now
in die Fondation Custodia in Paris - and after a separate
ornamental design by Stradanus m the Uffizi; see Thiem
1957-59, pp. 110-11; Kloek 1975, n.p., no. 292 and Boon
1992, vol. 1, pp, 368-369, no. 286.
158. This is supported by the existence of a free
copy of Stradanus s portrait by Goltzius.This engraving is
also undated, but bears all the characteristics of Goltziuss
early portrait engravings from the years 1579/80; cp. Filedt
Kok 1996, pp. 162-163, Galle's passion series must have
been published before 1584. In his U riposo of 1584, the

Florentine author Raffaello Borghin: menrions the series
- amongst many other prints by Galle after the former's
design - in his account of Stradanus s life and work: tE
et il
sesto [one of'seiLibn dei DIsegni,che tuaavia s'intagliaoo
in Anversa per mano di Filippo Gale eccelente mtaglia-
tore"], et ultimo fara vedere tutti i misteri dell a Passione
del Salvador del mon do m 40 pezzi/'Borghini 1967, p. 584.
159. In 1580 Galles future son-in-law was first
mentioned as "meesterssoon" (a son of a registered mas­
ter) in the official records of the guild of St. Luke; Van
Lerius 1864-76, vol. 1, p. 273. judging by the close simi­
larities in style and technique the young Collaert - who
was to marry Galles daughter justa in 1586 - must have
been trained as an (undocumented) apprentice at the Galle
workshop. Also see chapter 1.
160. On the series, see Hollstein, vol. 3, p. 211
nos. 50-69 (Johannes Collaert fecit); idem., vol. 7, p. 76,
nos. 108-145 (where both of Galles Passion series after
Stradanus are mixed up, compare note 156); idem, vol. 16,
pp. 13-14, nos. 13-14 (De Passe fecit); Mauquoy
Hendrickx 1978-83, vol. 1, p. 17, no. 123 (Wierix fecit).
In 1605 Galle's sonTheodoor published a series of reversed
and reduced copies, entitled Passio et resurrectio domini nos-
tri ksu Christi (as yet not mentioned in literature). In turn
Theodoor'son Johannes Galle reissued the original series
- with the addition of his address and some slight changes
in the numbers - completely in the seventeenth century.
161. Compare, for instance, Desire Guilmard's
description of prints by Philips, Theodoor and Cornelis
Galle with elaborate ornamental borders in the extensive
collection of the Bibliothèque Nationale in Paris;
Guilmard 1880-81, vol. 1, pp. 490-491.
162. The individual members of the Galle work­
shop are discussed more in detail in chapter 1.
163. On Alessandro de'Medici s commissions to
Stradanus in Florence in the years 1585-87, see Van Sasse
vanYsselt 1980. Galles Passion series is just briefly men­
tioned; ibid., p. 235, note 59.
164. This Visitation is unrecorded in literature. It is
extremely unusual in the history of Netherlandish print-
making to have the age of an engraver added to a print.
This only seems to have been done when the printmak-
er in question was very young - the signature thus attest
Notes Chapter 4
202
ing to the remarkable talents of the youngster - or, as it
probably was done in this case, when the print was more
or less the public debut of a young printmaker. Galle may
have been inspired by the example of the Wierix broth­
ers, who around 1565 engraved a number of engravings
after Albrecht Diirer with their ages explicitly mentioned;
Mauquoy-Hendrickx 1978-83, vol. 3b, p. 616, s.v. Diirer.
The ages here given range from 12(1?) up to 16.
165. On Galle s engraving of the Trinity, see
Hollstein, vol. 44, p, 151, no. 680;TIB. 56, p. 205, no. 53;
the print was already copied in 1575 by PetrusValck.There
is only one earlier engraving, a print by Johannes Ditmar,
published by Pieter Baltens and dated 1573; Hollstein, vol.
44, p. 147, no. 659. For a chronological list of all dated
prints after Maarten de Vos, see ibid., pp. 333-334. DeVos s
preparatory drawing for the Irinity, now in the Albertina
in Vienna, is indented for transfer; cp. Benesch 1928, p. 23,
no, 183 and Zweite 1980, p. 183. A major exhibition on
De Vos as a draughtsman is planned in the Museum
Plantin-Moretus in the fall of 1998.
166. On the shift of interest from painting to print
designs in the production of Maarten deVos in the peri­
od 1575 to 1585, compare Zweite 1980, pp. 183-194. On
the poor financial situation of many painters in Antwerp
around 1585-86, see Van Roey 1966, specifically p. 113.
167. Compare the index of publishers in Hollstein,
vol. 44, pp. 328-332. One of those few smaller Antwerp
engravers-print publishers who has been subject of recent
study is Pieter Baltens, who by chance is the publisher of
the first known DeVos print (cp. note 165), cp. Kostyshin
1994. Maarten de Vos also kept working with Antwerp
printmakers who had left the city after 1585, such as the
Sadeler family and especially Crispijn de Passe who were
working in Frankfort and Cologne; cp.Veldman 1993,
pp. 47-51. It does seem that De Passe became the prime
engraver and publisher of works after Maarten deVos in
the period after 1588. Unfortunately most of De Passes
engravings are undated.
168. A more general discussion of the nature of
Galles relations with various print designers can be found
in chapter 1.
169. These three objects relate to die choice King
David was given as Instruments of punishing himself and
his people: pestilence, famine or war Not wanting to die

in the hands of any human, David chose the curse of pesti­
lence.
'170. Hollstein, vol. 44, p. 62, no. 250. The engrav­
ing hears the name Maarten de Vos and the address of
Galie as its publisher. On the verses by Kiliaan, cp.Van den
Brariden 1978, p. 212, no. 71.There is a related drawing
by DeVos, showing another version of the same subject,
in Museum Plantin-Moretus; cp. Knipping 1939-40,
vol. 2, p. 103, fig. 66.
171. On die iconography of the subject during the
Counter-Reformation, compare Knipping 1939-40,
pp. 103-104.
172. Hollstein, vol. 44, pp. 226-228, nos. 1137-
1146. Sehuckman here classifies the engravings as 'anony­
mous', thus disregarding the signature of Adriaen Collaert
added on the second state of the tide page. Neither the
signature on this (early) state, nor the style and technique
of the series warrants this neglect.
173. This print is part of die Galie/Goitzrus series
Allegories of faith (1578), which is discussed In detail above;
cp. note 112.
174. The iconography of penance in the late six­
teenth century, including several of the here mentioned
engravings, is examined in Knipping 1939-40, vol. 2,
pp. 898-95.
175. On the Tetragrammaton, compare Knipping
1939-40, vol. 2, pp. 6-7 and Kirschbaum 1968-75, vol 3,
pp. 310-311. The seventeenth-century Amsterdam pub­
lisher Claes jansz.VIsseher nearly always replaced anthro­
pomorphous images by radiations of light with the
Tetragrammaton; cp. note 73. In this respect it is interest­
ing to note that Visscher issued the third edition of the
Typus divinae induigentiae without any iconographic
changes.
176. In style and iconography the Typus divinae
induigentiae is comparable to the Ten commandments, a series
of eleven engravings after Maarten de Vos on which the
Galie workshop was working in the years 1585-87;
Hollstein, vol. 44, pp. 22-26, nos, 72-82 andVeldman
1995a, pp. 232-235, Work on this series must have start­
ed in 1586 at the very latest. Some of the preparatory
drawings are dated 1586, when work was obviously still
in progress. As the series of the Ten commandments is ded­
icated to the Antwerp Bishop Laevinus Torrentius, these
Notes Chapter 4
prints will have been issued in 1587 - when Torrentius
arrived in Antwerp and was formally consecrated - or
shortly after.
177. IljaVeldman - currently working on a mono­
graphic study on Crispijn de Passe - kindly pointed out
to me that as late as 1588 he was still employed by
Christophe Plantin, engraving illustrations for a breviary.
These prints, which in the end were not published, are
briefly discussed In Delen 1934-35, vol. II/2, p. 169.
178. After leaving Flanders Crispijn de Passe set up
his own business of publishing prints in Aachen and
Cologne. Furthermore, given the number of talented
engravers available in Antwerp in these years, there was
no need at all for Galie to collaborate with prmtrnakers
in other cities, For a short biography of Crispijn de Passe,
with further bibliographical references, see Luijten 1993-
94, p. 313 .It is certainly possible that De Passe was already
an apprentice in one of the Antwerp print-shops before
he was enlisted In the guild records. Most probably this
was not the Galie workshop, as his style and technique
have little in common with Its standardized output. The
finely hatched lines of the burin are, in fact, more remi­
niscent of the prints by the Wierix brothers.
179. Hollstein, vol. 44, pp. 13-14,nos. 19-24 (Adam
and Eve), pp, 18-19, nos. 56-61 (Noah) and pp. 41-42,
nos. 148-153 (Jonah), In commission for the Galie work­
shop Crispijn de Passe also engraved an undated series of
nine archangels after Maarten deVos; ibid,, pp. 170-171,
nos. 756-764. The four drawings, all related to the series
of Jonah, are In the Stedelijk Prentenkabinet, Museum
Plantin-Moretus in Antwerp; see Remsch 1967, pp. 59-
61, nos. 13,1-4.
180. Hollstein, vol. 44, pp. 228-229, no. 1148. Jan
Boghe (or Bochius In its Latinized version) was appoint­
ed town clerk immediately after the fall of Antwerp in
the fall of 1585, He belonged to the circle of humanist
around Plantin,and also composed the verses on Goltziuss
portrait of the printer; cp. appendix 2E, no. 111 Boghe
had cooperated withVerstegan on the latter s martyrolo-
gy Theatrum audeliiaiis,published in Antwerp in 1587. For
this illustrated book Boghe had also composed verses to
accompany each engraving; compare Petti 1959.
181. On the iconography of the three ages of the
world, also see Knipping 1939-40, pp. 240-246.
182. The dedication reads: 'TUustrissimo as rev-
erendissimo D[omi]no Gulielmo Alano Angliae Cardi-

nali/ D[omi]no suo observandissinio Richardus
Vcrsteganus omnem exoptat felicitatcm." On Allen, see
DNB, vol 1, pp. 314-327.
183. Verstegan (later also spelt as Verstegen) was
born In London, from a family with Dutch ancestors.
Around 1588 he settled in Antwerp where he would later
befriend several members of the Moretus family, espe­
cially Balthasar Moretus. On Verstegan and writings, see
Rombauts 1933. On the reputation of the English College
at Douai, cp. Knipping 1939-40, vol. 1, p. 177 with fur­
ther bibliographical references.
184. Hollstcin, vol. 7, p. 77. no. 158; idem, vol. 44,
p. 123, no, 542.The symbolic representations in the mar­
gin, taken from the Old Testament books Ecclesiastes and
Song of Solomon, are most uncommon in connection
with the flight into Egypt.These were traditionally added
as attributes in images of the Immaculate Conception
itself; cp. Knipping 1939-40, vol. 2, pp. 202-203. This
scheme of presenting a subject within an ornamental bor­
der containing medallions with other images became fash­
ionable in Antwerp in the third quarter of the sixteenth
century; also compare note 161. In her study on illustrat­
ed missals and books of hours published by Plantin, Karen
Bowen m several cases convincingly substantiates that such
designs were influenced by Italian manuscripts; Bowen
1997, passim.
185. Hollstcin, vol. 44, p. 166, no. 738,This undat­
ed engraving has to be dated after 1585, as the engraver
Johannes Colbert only started signing his engravings from
the Galle workshop after this date.The verses in the mar­
gin were composed by Adriaen Rockox, a member of one
of the most influential noble families in Antwerp. If there
is a connection between the subject of the print and the
Antwerp cathedral, where Rockox was appointed as a
canon In 1597, cannot" be ascertained.
186. Hollstcin, vol. 44, p. 218, no. 1047.
187. The Maarten deVos altarpiecc and its iconog­
raphy is examined in detail in Zweite 1968 and Zweite
1980, pp. 224-232, p. 314, no. 98.The work is also dis­
cussed within the iconographic tradition of Saint Francis
in Flemish art in Savelsberg 1992b, pp. 352-354, no. 186,
188. On quite unclear grounds Armin Zweite
(Zweite 1980, p. 314) dates the painting as 'c. 1600'. As
Notes Chapter 4
204
the engraving, which follows the painting in all
details,must have been made before 1598 - and was prob­
ably, as said above, produced around 1590 - this presumed
date of the painting must also be reconsidered. Design and
furnishing on the chapel devoted to Saint Diego seems
to have started shortly after his canonization in 1588
(Zweite 1968, p. 125). It seems logical to assume that at
tliis occasion the altarpiece was commissioned to DeVos.
'189. After 1591 Sedulius held several other posi­
tions within the Franciscan Order in Flanders. He did
return to Antwerp in 1603, but at that time Philips Galle,
with a few notable exceptions, had stopped publishing
prints. From circa 1600 onwards most of the engravings
of the Galle workshop were issued with the address of
Theodoor Galle. A brief biographical outline of Sedulius,
with further references, is given in Savelsberg 1992b,
pp. 353-354.
190. De Liggeren (the records of the guild of St.
Luke) mention two apprentices (leerjonghers) of Collaert
in the year 1594; Van Lerius 1864-76, vol. 1, p. 380, On
the other hand, one has to take into account that Adriaen
Collaert could occasionally have worked for the Galle
family, even when he had his set up his own workshop.
Karen Bowen kindly pointed out to me that, for instance,
Karel de Mallcry and Johannes Collaert are sometimes
referred to in payments from the Plantin Press to
Theodoor Galle long after they left the Galle workshop.
191. Celebrated women of the Old Testament, an
engraved tide page and twenty numbered engravings by
Johannes Collaert: Hollstcin, vol. 4, p. 211, nos. 13-32;
idem, vol.44,pp. 57-60,nos. 223-242 andVan den Branden
1978, pp. 160-161, no. 44. Celebrated women of the New
Testament, an engraved title page and fifteen numbered
engravings by Adriaen Collaert, Johannes Collaert and
Karel deMaUery:Hollstein,voL4,p.211, nos. 33-46; idem,
vol. 44, pp. 116-119, nos. 508-522 and Van den Branden
1978, pp. 162-165, no. 45. Both series were published by
three generations of the Galle family (Philips, Theodoor,
Johannes).The plates of both series were described in the
1636-inventory of Theodoor Galles widow Cadierina
Moerentorf: "De vroukens van 't Nieuw Testament ses-
thien platen .... De vroukens van l
t Oudt Testament
ecnentwintich platen" ("The women of the New
Testament, 16 plates .....The women of the Old Testament,
21 plates"); Duverger 1984, vol. 1/4, p. 20.The iconogra­
phy of the Old Testament women - including interesting

changes in the nudity of some women in consecutive
editions - is discussed in Snijders 1992, pp. 65-81.
192. The subject of Christ and the women from
the Gospels had been previously published by Philips
Gallc as a separate series. This set of six engravings was
engraved by Galle himself around 1575-80 after designs
by Anthonie van Blocklandt: TIB. 56, pp. 121-126
nos. 33:1-6; Hollstein, vol. 2, p. 59, nos. 17-18; idem, vol.
7, p. 76, nos. 102-103, Jost 1960, pp. 63-68 and pp. 177»
181, nos. Ill, 18-23.Also closely related in subject is Galle s
series the Nine female worthies - three heroines from the
Bible, three from classical antiquity and three female saints
- again after designs by Maarten deVos: Hollstein, vol. 44,
pp. 263-264, nos. 1319-1327. The more traditional male
equivalent series the Nine worthies has, as far as Is known,
not been mentioned in literature. Although they do not
bear the signature of De Vos - and are thus not catalogued
in the recent Hollstein volumes - the similarities in style
and technique certainly make such an attribution plausi­
ble. On the subject of die nine worthies in relation to the
Augustmian trichotomy of history, see Veldman 1986
pp. 88-94. On the tradition of the nine worthies in the
Netherlands, see the forthcoming publication Van Anrooij
1997.
193. Various aspects of the position of women in
the Netherlands in the sixteenth century are discussed in
Bange 1985b. The importance of using exemplary mod
els from the Bible hi this period is discussed in Muller
1985 and illustrated with several examples in Bange 1985a,
pp. 195-203. Also compare Knipping 1939-40, vol. 1,
pp. 273-275.
194. Galle s (unsigned) engravings of eight exem­
plary women Qael, Ruth, Abigail,Judith, Esther, Susanna,
the Virgin, Mary Magdalene) from the Old and New
Testament were first published by Martinus Peeters around
1560; cp.TIB. 56, pp. 221-228, nos. 63:1-8; Hollstein, vol
8, p. 248, nos. 476-483; New Hollstein, Maarten van
Heemskerck, vol 1, pp. 221 -226, nos. 265-272. Circa 1578
Galle had also published a single engraving by Goltzius
of the Virgin surrounded by seven biblical mothers (Eve,
Sarah, Leah, Rachel, the mother of Samson, Anne and
Elisabeth); cp. Strauss 1977, vol. 1, pp. 90-91, no, 37.
195. The series of Old Testament women is dedi­
cated to Paulina van Schooten, married to Engelbert
Maes, councillor to the Groote Road in Mechelen.The
Notes Chapter 4
205
Old Testament series is dedicated to Margaretha
Boogaerts, wife of Jo ban van Drenckwairt, Baron of
Dormael and advisor to the court in Brussels. As the lat­
ter s prestigious post as chief treasurer, to which he was
appointed in 1597, is not mentioned, the series must obvi­
ously have been made before this year. A very similar (and
dated) series of prophets, engraved after designs by
Nlcolaes van Hoey, was published by Galle in 1594;
cp. Hollstein, vol. 17,pp. 43-44, nos. 13-20;Van de Branden
1978, pp. 166-167, no. 46.
196. Cp.Vermaseren 1957 and chapter 1,
197. Cp, the index of dated De Vos prints in
Hollstein, vol, 44, pp. 333-334. One, however, has to take
into account the fact that especially the works engraved
by Crispijn de Passe in Germany are in most cases undat­
ed. During the tax assessment of 1584/85 - intended to
finance the defence of the city against the siege by the
armies of Duke Parnese, both Galle and De Vos were
amongst the few members of their professions to be levied
as (moderately) wealthy; see Van Roey 1966, p. 113 (De
Vos) andVanRoey 1988-89,p.428 (Galle).Earlier,in 1574
when the citizens of Antwerp were levied to thwart off
the looting Spanish soldiers, De Vos was still assessed for
double the amount in comparison to Galle; cp. Register
1574, pp. 274-275.
198. Little is still known about the contracts and
financial relations between publishers and designers In six­
teenth and seventeenth century. What is known is that,
simply on the basis of the time it took finish the job, all
designers - even Rubens - were certainly paid less than
engravers for their work.The most valuable information
on the subject can be found in the archives of the Plantin
Press; cp. Voet 1969-72, vol. 2, pp. 223-224, 227-228,
Depauw 1996-97 and Bowen 1997, pp. 82-92. Also see
chapter 1.
199. On the ratio of adherents of the Catholic and
Reformed convictions in Antwerp around 1585 and the
dramatic changes hereinafter, see the quintessential study
Boumans 1952,Van Roey 1975 andThijs 1990, pp. 33-
40. On DeVos, also compare Zwelte's brief Introductory
biography: Zweite 1980, pp. 19-37.
200. "iconibus exprimebat pictor celeberrimus
Io[axines] Stradanus." Quoted from the tide page of the
Encomium musices (c. 1590), discussed more in detail below.

201 Stradanus s religious paintings and drawings of
this period have received scant attention from scholars,
Some Information is to be found inThiem 1957-59.
202. According to the inscription in the margin,
the print,unrecorded in literature,is engraved after a draw­
ing Stradanus made after his own painting. Even though
the engraving bears the usual address of his father
("Ph[i]l[ip]s Galle excudit"), the dedication is strangely
enough signed by Theodoor. It is addressed to Denys de
Villiers, an erudite scholar and canon in Doornik who
was acquainted with the Galle family; compare, for exam­
ple, letters to Abraham Ortels dated 1591 and 1592
(Hessels 1887, p. 486 and p. 516). Several other prints from
the Galle workshop are dedicated to De Villiers, cp. the
following note.
203. Both engravings are again dedicated by
Theodoor Galle to De Villiers and can thus probably be
dated around 1.590 as well. Most of the prints Galle
engraved on behalf of his father must probably be dated
before 1594, when he was recorded in Rome (see chap­
ter 1). After his return in 1596, Theodoor slowly started
to issue prints with his own address.
204. Unrecorded in literature. This engraving is
dedicated in friendship by Philips Galle to Bernard de
Perrin de Montgaillard, a French Cistercian monk of
noble origin and a famous preacher. Montgaillard was
accommodated in Antwerp as a special guest of the bish­
op during six months in 1591, he returned in 1593 to stay
for six more years; compare BN, vol. 15, pp. 169-174.
205. "Hoc opus pinxit loan.fnes] Stradanus in
monasterio D.Annaem, in suburbijs Pratensib.[us]."The
engraving is unrecorded in literature and is dedicated in
friendship by Philips Galle to Maximiliaan van Winghc,
a Brussels canon at the church of St. Gudule and a descen­
dant of a well-known patrician family (compare notes 240
and 249).
206. The painting, now in the CasaVasari in Arezzo,
is discussed in Van Sasse vanYsselt 1980, pp. 227-231. On
other commissions by this Medici cardinal, compare die
Galle/Stradanus series Passio, mors et resurrectio as discussed
above.
207. "LAET IER in scriven scone woerdeo op de
temtacione van De benauteit van den Duvele de mens-
Notes Chapter 4
206
schen quellende tot quaet gheneghenheijt/' Compare
Kloek 1975, n.p., no, 243;Van Sasse vanYsselt 1980,
p. 228.
208. Mauquoy-Hcndrickx 1978-83, vol. 1, p. 39,
no. 275.
209. In some collections dais engraving is classified
as Cornells Cort, an attribution that is correctly refuted
by Bierens de Haan; Bierens de Haan 1948, p. 133.The
preparatory drawing is in the Albertina lnVienna;Benesch
1928, p, 21, no. 152. Style and technique of the engrav­
ing make an attribution to Philips Galle very plausible;
compare, for instance, TIB. 56, pp. 210, nos. 58-59. The
latter engraving of the Pietà interestingly enough has the
very same inscription taken from Isaiah 53. Perhaps the
two prints, which are of exactly the same size, were intend­
ed as a diptych, combining the Old Testament préfigura­
tion of Christ's suffering and its New Testament fulfil­
ment.
210. Cp.Van dc Brandcn 1978, passim.
211 Hol3stein,vol-4,p.203„no. 196. On the icono­
graphie tradition, compare Kirschbaum 1968-75, vol. 7,
pp. 572-579.
212. Hollstcin, vol. 4, p. 203, no. 197. Cp.
Kirschbaum 1968-75, vol, 8, pp. 264-265.
213. The engravings are unrecorded in art-histor­
ical literature. As the verses were composed by Cornells
Kiliaan, the series is, however, briefly described in Van de
Branden 1978, p. 206, no. 60.There also exist unrecord­
ed copies in reverse of the four sheets, published by the
Paris printmaker Jacques Honervogt.
214. Of course the series also illustrates the inher­
ent dangers of a more unhappy course of events at the
end of the life of sinners. Each engraving also shows sev­
eral devils, trying (in this case in vain) to get hold of the
soul of the dying man.
215. Hollstem. vol. 4, p. 201, nos. 18-36. On the
Wierix scries of the virtues and sins, see Mauquoy-
Hendrickx 1978-83, vol. 2, pp. 245-246, nos. 1364-1372
(virtues) and pp. 246-247, nos. 1372-1379 (sins). Life of St
John the Baptist (10 engravings, with verses by Kiiiaan) is
possibly one of the last major religious series after

Stradanus produced the Galle workshop. Cornells Galle
was born in 1576 and probably left Antwerp around 1595
(together with his brother Theodoor?) to go to Italy;
Hollstein, vol. 7 5 p. 64, nos, 35-44 (as Cornells Galle II)
and Van de Branden 1978, pp. 207-208, no. 64.
216. See Bibliotheca Belgica, vol. 1, pp. 304-305.
On Boghe,see note 180. Philips Galle dedicated die series
to two other Antwerp magistrates: Edward van der Dilft
and Charles Malineus. These two were burgomasters
together in the years 1589 to 1591 and 1594 to 1596.The
Encomium musices must obviously have been published
during one of their joint terms of office.
217. Nearly no study at all has been done on
Adriaen Colbert, nor on any ofhis family members (Hans,
Johannes I, Johannes II and Carel Collaert) for that mat-
ter.The list of engravings In Hollstein (vol. 4, pp. 210-207)
is notoriously inaccurate. The most useful information is
to be found m Delen 1934-35, vol. II/2, pp. 101-102.
218. Galle and Stradanus, however, did keep work­
ing together on new enlarged editions of their hunting
series, of which the first had been published in 1578.
Several of the preparatory drawings for this series are dated
1596. On the completely inextricable sequence of con­
tinuously changing editions of these hunts, compare chap­
ter 1 and Bok-van Kammen 1983.
219. THIS issue is discussed more in detail in chapter 1.
220. The engraving is unrecorded in literature.
Besides being mentioned in passing In die biography of
his fadier inThieme/Becker (vol. 32, p. 149), there is, to
the best of my knowledge, no literature on Scipio
Stradanus. The work is dedicated by Scipio to a certain
Jacob Danus, a Flemish jurist and advisor to the Medici
court.
221. Mauquoy-Hendrickx 1978-83, vol. 2, p. 193,
no. 1052.
222. On Galle s engraving, see note 209. On the
Wierix print, also with the same reference to Isaiah 53,
cp. Mauquoy-Hendrickx 1978-83, vol 1, p. 100, no. 571.
223. Mauquoy-Hendrickx 1978-83, vol. 1, p. 99,
no. 566.
Notes Chapter 4
207
224. Cp. Mauquoy-Hendrickx 1978-83, vol, 1,
p. 99-100, nos. 565-573.The subject apparently was dear
to Hieronymus Wierix, as he also engraved die Sudarium
with his family in adoration of this relic conspicuously In
the foreground; Mauquoy-Hendrickx 1978-83, loc. cit.
225. Of course time and again complaints were
made by artists and publishers about illegal copies and
pirate editions. Their concerns, however, nearly always
involved financial motives (the dangers of loosing market
to others) rather than anxieties about 'intellectual' copy­
right. In one famous, but highly unusual instance Titian
applied for (and received) a privilege from the Venetian
authorities, that protected him with regard to every pub­
lication after any ofhis designs for no les than fifteen years
(cp. Landau 1992 and Sellink 1994, pp. 207-210, no. 70).
One has to take into account, however, that Titian him­
self published engravings after his designs and hereby tried
to protect his own market. Such a privilege only was legal­
ly valid in Venice and the Veneto. On the numerous con­
temporary copies (some of them by Philips Galle) outside
the Venetian jurisdiction, Titian had no influence at all.
226. As far as is known, Philips Galle published
three engravings of religious subjects made by Francken:
Faith purifying human hearts with Christ's blood by Adriaen
Collaert (cp.note 115), Christ at the house of Simon the l^per
by Cornelis Galle (Van den Branden 1978, p. 214, no. 81)
and the unrecorded Allegory on human vanity engraved by
Theodoor Galle. All engravings are undated, but were
probably produced in the period 1590-95. More inter­
esting than these single engravings, is the only series Galle
published after designs by Francken. Six engravings by
Karel de Mallery of a rarely illustrated (profane) subject,
the Fable of the father, the son and the ass (c. 1590/95). See
Hollstein, vol. 1 l,p. 160,nos. 125-128 andVan de Branden
1978, pp. 170-173, no. 48. On the iconography of this sub­
ject - earlier in the century reproduced in five woodcuts
by die Amsterdam prrntmaker Cornelis AnthonisE. - see
Filedt Kok 1986, pp. 275-276 T no. 153.
227. On account of the verses by Cornells Kiliaan
in the margin, the series is discussed in Cockx-mdestege
1991. Theodoor Galle "s compositions are strongly remi­
niscent of a series of founders of religious orders, designed
by his father and engraved by Hieronymus Wierix;
Mauquoy-Hendrickx 1978-83, vol. 2, pp. 183-184, nos.
994-1005, also compare note 309.

228. On Gerrit Pietersz.,seeVanThiel 1988, which
includes a short list of all known paintings, drawings, etch­
ings and engravings after his designs (p. 367).
229. Hollstein, vol. 7, p. 61, no. 375 (Mankind before
the Deluge).The third engraving is Company making music
in the open air, with verses by Cornells Kiliaan in die mar­
gin; HoUstein, vol. 7. p. 61, no. 376 and Van de Branden
1978, o. 210, no. 67.
230. The verses in the margin - dwelling on the
meaning of the verses from the Gospel of St. Matthew -
were composed by Laurens Beyerllnck, a young student
in theology, who was to become a well-known Antwerp
humanist. Around the same time he also wrote the vers­
es underneath a portrait that Philips Galle Issued;
cp. appendix 2E, no. 125.
231. Compare Freedberg 1971. The iconographic
tradition of the subject and its popularity in Dutch (or
more precisely Haarlem) mannerist art, is discussed in
Stechow 1972 and McGee 1991, pp. 228-234. Especially
compare two earlier engravings of the same subject by Jan
Sadeler, engraved circa 1581 after drawings by Dirk
Barendsz.; Filedt Kok 1986, pp. 416-417, nos. 309.1-2.
232. Galles predecessor Hieronymus Cock also
published relatively few works after Italian prototypes.
While working for Hieronymus Cock,for instance, Philips
Galle had engraved a plate after a design by Luca Penni.
Even then, it has to be taken in account that Penni was
working in France and that the young Galle may have
acquired the preparatory drawing there himself during a
trip he made in 1560; cp. Riggs 1971, pp. 158-159. Some
other Italian artists whose works were incidentally repro­
duced by engravers from Cock's print-shop, were: Giulio
Romano, Andrea del Sarto, Bronzlno, Leonardo,
Primaticcio and Raphael.
233. The literature on print collecting In general
is summarized in the closing paragraphs of chapter 2.The
market for Italian prints in Holland and Flanders in this
period has rarely been studied. Compare Riggs 1971
pp. 156-165 and jan van derWaals's very useful account
of the (much later) collection of Michiel Hinloopen;Van
der Waals 1988, pp. 13-27 and 123-126. On the taste for
prints in Italy see Bury 1985. In light of the entirely dif­
ferent markets for prints in Italy and the Low Countries,
the engravings by Cornells Cort are of great interest. The
Notes Chapter 4
208
marked contrasts between his Antwerp and Italian peri­
od aptly illustrate these differences. Cp. Sellink 1994,
pp. 6-17.
234, It is highly interesting to note that around
1595 such a large number of artists specifically from
Haarlem and Antwerp, including many printmakers, went
to Italy for a longer period of time. Most of them - includ­
ing such engravers as Goltzius, Jacob Matham, Cornells
andTheodoor Galle, Pieter dejode and Gijsbert van Veen
- returned after one or two years, while others, like the
Sadeler family, preferred to stay in Italy. A thorough study
on this issue would be most welcome. A recent overview
of Netherlandish sixteenth-century artists travelling to
and working in Italy (concentrating on Rome) is given
in the exhibition catalogue Dacos 1995. Of special inter­
est is the essay by Bert Meijer on the period after 1550
(Meijer 1995), which unfortunately has very little infor­
mation on prints and printmakers. Also compare the
slightly earlier Meijer 1993, an introduction to a, at least
regarding the sixteenth century, rather disappointing issue
of the Nederlands Kunstkistorisch jaarboek devoted to the
artistic relations between Italy and the Netherlands. On
Van Mander's account of Italian artists in general, see Noe
1954.
235. One of these exceptions, is, for example, an
engraving after Titian's famous Tarquin and Lucretxa. This
unsigned print is copied after one of Cornells Corts two
engraved versions of this painting; compare Bierens de
Haan 1948, pp. 175-177, nos. 193-194, copy d (In reverse
to BdH 194). On Titian s painting, see Jafie 1987, pp. 162-
165 with further references. Nearly all the engravings
Galle published after Italian prototypes are undated, but
seem - judging by names of engravers, dedicatees, subject
and technique - to have been issued after 1590. One of
the very few dated prints in this respect is an engraving
after Federicos Barocci's well-known and often repro­
duced altarpiece of the Visitation in the Chiesa Nuova,
installed in 1586.Already in 1589 Galle published a repro­
duction of this altarpiece, not following the painting itself
but through means of a slightly earlier engraving by
Gijsbert van Veen (1588): HoUstein, vol. 32, pp. 134-135,
no. 3, also see my discussion of Van Veen's engraving in
Dacos 1995, pp. 382-383, no. 223. Galles (anonymous)
version is wrongly listed by HoUstein (vol. 7, p. 75, no. 97)
as being engraved by himself; the engraving is dedicated
to the (Spanish?) jurist and inquisitor Petro Scudero.

236. On the biographical data, compare chapter 1,
237. Hollstein, vol. 7, p, 49, no. 2.The unrecorded
first state referred to was found in the printroom of the
Bibliothèque National in Paris,There is also a third edi­
tion, a reissue - as In the case of most prints from die Galle
workshop - by Theodoor Galle. The engraving is dedi­
cated by Paggi - who proudly describes himself as a
Genoese patrician, well-versed in the art of painting - to
one Giovanni Carol! Auria (or perhaps D 6
Auria).The
engraving is possibly related to a painting with the same
subject In the museum in Douai; cp. Thleme/Becker,
vol. 26, p, 141.
238. On Cornells Galle s first version, see Hollstein,
vol. 7, p. 55, no. 114.This engraving follows (in reverse) a
popular composition byVanni of which several versions
are known; cp. Brandi 1930-31, pp. 72 73.The unrecord­
ed and yet again reversed version is, regarding style and
technique, very similar to Cornells Galle's signed engrav­
ings.There are several other comparable cases, such as the
Virgin in the clouds, also after Francesco Vanni (ibid, p. 55,
no. 115). In this case, it again seems quite certain mat
Cornells Galle s first version without the address of a pub­
lisher was intended for the Italian market. The name of
the engraver is spelled "'eornelio gallo sculpsit" instead of
the usual "Cornelius [or Corn.] Galle." A reversed copy
of this engraving - with the address of Philips Galle, but
without the signature of Cornells - is also unrecorded in
literature.
239. Compare note 297.
240. The engraving here attributed to Cornells
Galle is mentioned by Blerens de Haan in his discussion
of Cort s original engraving; Bierens de Haan 1948,
pp. 54-56, no. 33, copy d. The engraving only has the
address of Philips Galle, The Galle workshop produced at
least three other engravings after the Zuccari.The first is
the Ascension of the Virgin after a famous altarpiece by
Taddeo in Rome - engraved by the same (anonymous)
engraver as Barocci's Visitation (cp. note 235); illustrated
in Filedt Kok 1986, p. 352, fig. 233a. The second is the
Adoration of the Magi, a beautiful engraving by Cornells
Galle after Federico Zuccaro, with Latin verses by Laurens
Beyerlmck in the margin. This unrecorded sheet is also
one of the few prints from the Galle workshop, of which
another state - also with the address of Philips Galle - is
known to exist with major changes to the composition.
Notes Chapter 4
209
Finally Theodoor Galle engraved a Vision of St Jerome after
Federico Zuccaro s painting in the Escorial made in the
years 1585-88, dedicated to the Doornik canon
Hieronymus van Winghe; Hollstein, vol. 7, p. 84, no. 140,
241. On Cort In general, compare Sellink 1994,
Within a few years my catalogue of all engravings by Cort
- including all more or less contemporary copies - is to
appear in the New Hollstein series.
242. On the structure of the workshop and all its
known assistants, compare chapter 1
243. Besides being briefly mentioned In Hymans
1907 (p. 138), the engraving is unrecorded. A copy In the
same direction was made by the unknown engraver li
Ben.
W." and published by Johannes Wierix around 1605
cp. Mauquoy-Hendrickx 1978-83, vol, 1, p. 106, no. 602
and vol. 3/b, p, 589, no, 1673, copy b. The emblematic
structure and the use of three languages is clearly related
to similar prints made in Antwerp around 1600 as illus­
trations to Jesuit publications, see below,
244. Translated from the Dutch verses: "Siet dees
wapenen Christ! u hier voor ooghen gestelt,/ Hebben
verwonnen tvleesch, doot, werelt en s'duyvels gewelt."
245. Cp. Sellink 1992a, pp. 18-19, fig. 5.1 was at the
time unaware of an elaborate study on precisely this
emblem, compare Strengholt 1976. Ad Leerintveld of the
Koninklijke Bibllotheek in The Hague kindly drew my
attention to this article.
246. The woodcut emblem and the Latin verses in
De Beze's kones are reproduced in Strengholt 1976,p. 96.
Of course, De Beze was the author of the verses - which
were already published separately in 1569 - underneath
the emblem. Fie probably the conceived the iconography
of the image as well. Most information on the icono-
graphic tradition of the emblem is taken from the above
study by the historical linguist Strengholt, who was not
aware of Galle s version of the subject.
247. Added to original iconography - and not
found in any other known version of the emblem - are
the dove, the laurel wreath, the candle, the stone on which
Faith stands, the imperial globe and the spurs,
248. "Quid docet hoc frenum? R. Mentis cohibere
furorem."

249- The engraving is unrecorded in literamre.The
engraving is dedicated to the Doornik scholar and canon
Antonius van Winghe, member of a well-known patri­
cian family and related to the archaeologist Philips van
Winghe, with whom Galle was acquainted; cp, Hessels
1887, p. 411, where Galle is dianked - in a letter dated
Rome 1589 - by Philips for introducing him to Stradanus.
Galle may also have known Antonius through
rViaximiliaan and Hieronyrnus (a brother of the above
Philips) van Winghe (cp. notes 205 and 240) or through
Denys deVilliers, a fellow canon at Doornik and also an
acquaintance of the Galle family (see note 202) .A reduced
copy by Karel de Mailery was published around the mid­
dle of the seventeenth century by Galles grandson
Johannes.
250. For some (illustrated) examples of this genre,
published by the Plantm Press around 1600, compare note
272. On the Jesuit appreciation of illustrated books, see
below.
251. Pontificum maximorum effigies (1572); see
chapter 2 and appendix 2F. The four additional portraits
are catalogued in appendix 2F, nos. ad 1-4.
252. The copy here referred to Is in the Koninklijke
Bibliotheek Albert I in Brussels.
253. Compare note 187.
254. The canonization of the Dominican monk
inspired several paintings and engravings to be made
around 1600, compare Kirschbaum 1968-76, vol. 6,
pp. 557-559.
255. On this subject, compare Fagiolo 1984.
256. The engraving is unrecorded in literature.The
design was made by Antonio Tempesta, who was the most
important pupil of Galle s friend Stradanus. It would seem
that Philips Galle received this design through the hands
of his son Cornells, who was still living and working in
Italy If (in part) intended for the Italian market, Cornells
was probably also involved in its distribudon. One can
suppose that a print such as Hendrik Hondius's monu­
mental Panorama of Rome, dated by Nadine Orenstem on
stylistic grounds as c, 1600, was also issued with the Holy
Year at least in back of the publisher's mind, especially as
the panorama was issued with papal privilege;
Notes Chapter 4
210
cp. Orenstein 1990 and Orenstem 1995a, pp. 248-249.
257. The series is unrecorded in literature. In 1636
the plates were still in possession of the Galle family: "De
Kercken van Roomen in acht platen" ("'The churches of
Rome, 8 plates"); Duverger 1984, vol. 1/4, p. 19. There
exists a copy in reverse of the entire series, published by
Thomas de Leu.
258. On such an Adas of Rome, cp.Van derWaals
1988, pp. 41-68.
259. On Michael van Ophoven, see BN, vol. 16,
pp. 225-228.
260. The large-size engraving (47 x 32 cm.) is
unrecorded in literature.The print must have been pub­
lished after 1599, the last date mentioned in the family
tree, and before 1605. In the latter year the censor Silvester
Panic, who signed the approbatw in the lower margin, died.
There is also a second edition of the engraving with the
address of Galle's grandson Johannes.
261. On the iconography of St. Dominic,
cp. Kirschbaum 1968-76, vol. 6,pp. 72-79. In 1611 Galle s
son Theodoor published an extensive print series on the
life and miracles of the saint, written by the Antwerp friar
Johannes Nys and illustrated with 34 plates.
262. Compare Marinus 1989, pp. 134-138.
263. Hollstein, vol. 7, p. 78. nos. 241-274. I thank
Dirk Imhof of the Museum Plantin-Moretus for draw­
ing my attention to the fact that Philips Galle issued two
separate editions: one with a supplementary text part in
French, and one with the same text in Dutch. Payments
for letterpress text printed by the Plantin Press were made
in March and April of 1603. Although a third edition was
published by - most unusual for any engraving from the
Galle workshop - the Antwerp publisher Johannes Boel
in 1628, the plates were in 1636 still in possession of the
Galle family: "Het Leven van Smte-Catharina van Senen
vierendertich platen" ("The life of St. Catherine of Siena,
34 plates"); Duverger 1984, vol. 1/4, p. 21.The Life of Saint
Catherine will be catalogued in Imhof's forthcoming cat­
alogue of Jan Moreens - to be published in 1998 - as
nos. 0-56 and 0-57.
264. On the iconography of St, Catherine - which

was more or less concentrated in Italy - in general, see
Kirschbaum 1968-76, vol. 7, pp. 300-306. On the devo­
tion of the saint in Flanders around 1600, cp. Knipping
1939-40, vol. 1, pp. 219-221.
265. It is rather puzzling to note that complete
copies of the series - such as the one in the Museum
Plantm-Moretus, bound in one volume with an unillus-
trated Dutch publication on the saint, written by Philips
Numan and dated 1593 (inv. R 56) - include two intro­
ductory pages printed (verso and recto) in letterpress,
dated Rome 1559(!)«This concerns a short Latin intro-
ducnon and an explanation of the views of Pope Clemens
VIII on whether Saint Catherine could be rendered with
the stigmata or not, written by one Marcus Vestrlus
Barblanus. This could imply that Philips (or Cornells)
Galle issued the series first in Rome and later in Antwerp.
Another possibility is that Galle and Ophoven simply
copied these texts from an (unknown) earlier Italian pub­
lication on Saint Catherine. In any case, it seems certain
that Ophoven and the Antwerp Black Friars were involved
in the production of Galle's Antwerp reissue.Van Ophoven
may have been the one who translated the Latin verses
into Dutch, as printed at the very back (pp. *recto to *4
recto) of the same Antwerp copy of Galle's publication.
266. Hollstein, vol. 9, p. 204, nos. 71-82. Pleter de
Jode's series afterVanni consists of a tide page and 11 prints
with each 3 subjects taken from the life of St. Catherine.
On Florimi as a print publisher, cp. Kortekaas 1992; also
see note 297.
267. Even the here illustrated tide page and the
portrait of St. Catherine were copied from the title page
of Florimi s original series.The title page shows the por­
traits of prelates, priests and friars who played a role in the
life of die Sienese saint or were Important in the propa­
gation of her devotion, One can identify just to mention
a few: Pope Pius II, who canonized Catherine in 1461,
and die Dominican friar Raimondo da Capua, her con­
fessor and compiler of the first biography
268. Rather appropriately the series was - apart
from Pleter de Jode, who was probably hired on account
of the high reputation of Flemish printmakers in gener­
al - entirely a Sienese project, asVarmi was a native of Siena
as well. Florimi dedicated his series to Christine of
Lorraine, wife of the Grand Duke ofTuscany, Ferdinand©
de'Medici.
Notes Chapter 4
211
269. This copy - pardy in reverse, partiy in the same
direction - of the entire series, was engraved and pub­
lished In 1608 by Philip Thomassm m Rome. The latter
has added French and Italian translations of the original
Latin verses. Another copy was printed with Latin, Italian
and Spanish verses at an unknown date; compare Insolera
1996, pp. 63-67, nos. 8-9, where this copy is (erroneous­
ly) described as a second original version produced by
Florimi and De jode jointly.
270. The following paragraphs are more or less the
same as 'The history of Gerommo Nadal's Evangelicae his-
toriae imagines', as found in the English version of Sellink
1996-97, translated by Karen Bowen.
271. On the production of Plantin In the period
1585-89, also seeVoet 1984 (especially pp. 368-369) and
Voet 1988.
272. For examples of early Illustrated religious
works by Jesuits authors published by the Plantin Press,
see Imhof 1996-97, pp. 97-90, nos. 1-3 (Petrus Canisius,
Johannes David andThomas Sailly). On the scholarly Leys,
see Van Houdt 1996; on the very popular Politers, active
in the second half of the seventeenth century 7
, compare
Rombauts 1930. A general study on illustrated spiritual
books published in the Southern Netherlands in the six­
teenth and seventeendi centuries has recently appeared:
Insolera 1996. This catalogue is useful concerning the
analysis of Counter-Reformatorian tendencies In illus­
trated books, but is most inadequate in its information on
authors, engravers and (print)publishers.The classic study
on the emblematic character of so many illustrated devo­
tional books Is of course: Praz 1964 and its sequel Praz
1974.
273. A brief, but adequate description of the activ­
ities of the Jesuits in Antwerp from 1585 to c. 1650 can
be found in Thijs 1990, pp. 64-73 and 80-91 (mainly
regarding their confraternities devoted to the Virgin) .The
quintessential study of the Jesuits in the Netherlands is
still Poncelet 1927-28, especially vol. 2, pp. 480-516
(scholarly and literary activities); reeendy appeared the
useful collection of studies Deneef 1992.
274. See Bollandus 1640a (Latin version) and
Bollandus 1640b (Dutch version), published by Balthasar
Moretus I, with engravings by Cornells Galle the Elder.

275. This discussion is roosdy limited to painting
and architecture; cp. Haskell 1980, pp. 63-93. It was
Thomas Buser (Buser 1976) who, reacting on an earlier
version of HaskelTs book, referred to the importance of
the engraved illustrations in Geronimo Nadal s Evangdicae
historiae imagines (discussed in detail below). Buser, how­
ever, seems to have been unaware of the existence of sev­
eral comparable contemporary illustrated works. Also see
Haskell's reaction; Haskell 1980, pp. 398-400,
276. " de vrucht die uyt de boecken komt, is
dies te meerder en achtbaerder, hoe sy haer vcrder door
de heele wereld uytstreckt ende langher van duere is als
de menschen selve, van wie sy voortkomt." Quoted from
Thijs 1990, p. 103.
277. See Hubert Jedin s classic studies on the
Council of Trent and the nature of the early Counter-
Reformation (Jedin 1963b and jedin 1973), as well as his
detailed analysis of the importance attached to art in its
decrees (Jedin 1963a). A concise survey of the importance
of the Council of Trent for the visual arts in general is
given in Blunt 1987, pp. 103-136. Regarding the Low
Countries a recent overview on this problem is found in
Freedberg 1992, with further references.
278. On Molanus, cp. note 71. Also see David
Freedberg's study on the complex relations between icon-
oclasm, Reformation and Counter-Reformation in the
second half of the sixteenth century in the Netherlands:
Freedberg 1972, and the reprint of this dissertation,
enhanced with a critical preface and additional literature.
279. The most important study of Nadal's book,
with all relevant documentary sources, remains Rooses
1888. For a brief overview, with further relevant litera­
ture references, see: Mauquoy-Hendrickx 1978-83, vol.
3/1, pp. 491-501, Orenstein 1993-94, pp. 179-180 and
Insolera 1996, pp. 135-141, nos. 44-45. On die composi­
tional drawings by Bernardo Passeri, cp.Wadell 1980.The
influence of these compositions on Italian religious art is
briefly discussed in Buser 1976.
280. Stated in a letter (dated Antwerp, 5 November
1585) to the German Jesuit Ludovicus Tovardus in
Cologne.Tovardus seems to have been the first to contact
Plantin concerning Nadal's manuscript; Rooses 1888, p.
283.
Notes Chapter 4
2Î2
281. Publishing an album of prints separately from
the complete edition with a typographically printed text,
was not unusual in Antwerp. Compare, for Instance,
Johannes David's Veridicus Christianas (discussed below) or
Vincent Hensbergh s short treatise on the rosary, of which
the plates were issued by Theodoor Galle; cp, Imhof 1996
97, p. 93, no. 6.
282. For the successive editions of the book and
the descriptions of the individual plates, see Mauquoy-
Hendrickx 1978-83, vol. 3/1, pp. 400-429, nos. 1989-
2141.
283. On the complex printing history of the
Veridicus Christianas, which has, as yet, never been clari­
fied fully, see: Simoni 1976, pp. 68-70; Landwehr 1988,
pp. 94-95, nos. 182-184, Insolera 1996, pp. 141-145, nos.
46-47 and Imhof 1996-97, pp. 88-89, no. 2. Dirk Imhof
also kindly allowed me access to his manuscript catalogue
of books produced by Jan Moretus at the Plantin Press (to
be published in 1998), which gives a detailed account of
the printing history of the Veridicus, solving most prob­
lems (nos. D-6 to D-8). Biographical information on
Johannes David can be found in Simoni 1976, widi fur­
ther references, and Waterschoot 1996.
284. It is interesting to note that, while the tones
has the imprint of Philips Galle, all records and transac­
tions of die Plantin Press regarding these plates - as of all
odier plates the Galle workshop produced on behalf of
Jan Moretus from c. 1600 onwards - are related to
Theodoor Galle. This is clearly an Indication that the
younger Galle was by then effectively running the fami­
ly workshop.The plates were still owned by the Galle fam­
ily in 1636, when they described In the inventory of
Theodoor Galle's widow Catharina Moerentorf:
"Viridicus Christianus hondert platen" (The true
Christian, hundred plates); Duverger 1984, vol. 1/4, p. 21.
At an unknown date Philips Galle's grandson Johannes
reissued some (or all?) plates; cp. Simoni 1976, pp. 68-70.
The plates themselves cannot be attributed with certain­
ty to any particular engraver in the Galle workshop, the
production of which became more and more character­
ized by uniformity in style, technique and quality.
285. See note 35.
286. Also compare Waterschoot s recent overview
of the emblematic books published by die Plantin Press

In the first half of the seventeenth century: Waterschoot
1996, pp. 454-458.
287. On this particular engraving, see Knipping
1939, vol. 1, pp. 127-128 and Mai 1992, p. 567, no. 152.1.
288. The Insiitutiones Chrisiianae and its printing
history is described in detail in Voet 1980-83, vol. 1,
pp. 541 - 543,no. 884 (Canisius).Voet erroneously describes
exacdy the same publication under the name of Giovanni
Battista Romano: ibid., vol. 5, pp. 2005-2006, no. 2149.
289. It here concerns Romano's Doitrina Christiana
nella quale illustrated with - qualified by Leon Voet
as rather crude - woodcuts and published in Rome in
1587; Voet 1980-83, vol. 1, p. 542. There are no indica­
tions at all that Romano, who died in 1589, was to any
extent involved in the Plantin/Galle adaptation of his
book.
290. The various techniques used by Plantin in his
illustrated books - at first primarily woodcuts, slowly
reverting to etchings and engravings - are discussed in
Voet 1969-72, vol. 2, pp. 194-243,Voet 1975 and, briefly,
in Sellink 1996-97. Also see the wealth of details on this
subject in Karen Bowen's recendy published dissertation
on the illustrated missals published by Plantin: Bowen
1997
291. The series is catalogued in detail in appendix
2H. On similar, slightly later print series of Jesuit saints
and the life and works of the order's founder Inigo Lopez
de Loyola by the Wierix brothers, see chapter 2, note 91.
Also see note 309.
292. There are three editions of the series, which
only differ on the first plate: A first edition without title
by Philips Galle, a second with title, also with the address
of Philips Galle and a third byTheodoor Galle.The plates
were still owned by the Galle family In 1636, when they
described in the Inventory of Theodoor Galle's widow
Catharina Moerentorf: "Van den goeden Engel in vier
platen" ("The good Angel, four plates"); Duverger 1984,
vol 1/4, p. 20.
293. Cp.Knippmg 1939-40,vol. 2,pp. 173-177 and
Kirschbaum 1968-76, vol. 1, pp. 640-641 and vol. 4,
pp. 127-128.
Notes Chapter 4
213
294. The iconography of St. Francis in the
Southern Netherlands is examined in detail in Savelsberg
1992b, largely replacing the older studiesVerjans 1938 and
Verjans 1944-45. Savelsberg also gives a historical survey
of the Minorites and Capuchins in the Low Countries in
the sixteenth and seventeenth centuries. On the situation
in Antwerp in the last two decades of the sixteenth cen­
tury, also cp.Marinus 1989, pp. 134-141.As the differences
between the three Orders of the Franciscans (the
Conventuals, the Friars Minor and the Capuchins) do not
matter in this iconographic discussion, they are not taken
Into account here.
295. The designer of the engraving, which is
unrecorded in literature so far, is not mentioned.The com­
position, however, is reminiscent of Stradanus's devotion­
al prints. Although die engraving is undated, it must prob­
ably have been made around 1590, that is to say before
Collaert started his own workshop. On behalf of Galle,
Adriaen Collaert also engraved a St Francis receives the. stig­
mata which does have the signature of Stradanus; this
engraving is illustrated in Savelsberg 1992b, n.p., fig. 30.
296. The original painting by Vanni is in the church
of San Bonaventura in Frascati. Compare Röttgen 1973,
pp 99-101, no, 24 (who dates die painting 1598/99) and
Savelsberg 1992b,p. 64, n. 107. Savelsberg wrongly assumes
diat Galle s engraving is a copy after an engraving by
Cornells Cort; reproduced as such in Ibid., n.p., fig. 17.
This latter engraving is dated 1600 - Cort died in 1578!
- and Is signed "C.G formis" and is most probably an early-
work of the Roman engraver Camillo Cungi, a follower
of Cort who used this particular signature; cp. Bierens de
Haan 1948, p. 236.
297. On Vanni's painting, of which two versions
seem to have existed, see Davidson 1958. On Florimi and
his contacts with Vanni and Cornells Galle, see Kortekaas
1992, p. 181. In the eighteenth century, the usually well-
informed print-dealer and collector Pierre jean Mariette
already mentioned the fact that Vanni himself made a
preparatory drawing - then in the Crozat collection -
which he gave to Cornells Galle tobe engraved;Davidson
1958, p. 4 and Mariette 1851-60, vol. 6, p. 29.The second
(Antwerp) version, unrecorded so far, was first published
by Philips Galle, and later by his son Theodoor.
298. On the problems of copyright and privileges

in Antwerp in this period, see Voet 1969-72, vol. 2,
pp. 262-278. Also compare chapter 1.
299. See the detailed study Gieben 1976, its slight­
ly revised version Giehen 1977 and Savelsherg 1992b
pp. 102-104. Also see Gonzalez de Zarate 1992, vol 2,
pp. 249-253, nos, 759-772
300. The first edition is described in detail in
Gieben 1976, pp. 242-257. Gieben surmises that this issue
must have appeared shortly after 1.585, direcdy following
Farnese's seizure of Antwerp. It was then that the
Franciscans, after having been banned by the Calvinist city
council in 1579, were allowed to return to the city. The
series is mentioned in the Memorieboek of Gerard
Grammay - the Antwerp tax-collector and a collector of
prints published by Hieronyraus Cock and Philips Gallc
- which is dated 1580; cp. Denuce 1932, p. 10:"Blaeders
van Philips Galle Franciscus, 16 stucken" ("Sheets by
Philips Gallc Francis, 16 pieces").
301 These letterpress pages are in the Aibcrtina in
Vienna, and are pasted, together with the sixteen engrav­
ings, in an album (HB 75, pp. 34-41). Unfortunately the
dedication, is on the verso of the title page, and could thus
not be transcribed accurately. Nothing is known of a print­
er called Gerard Fabri (Faber?) in Antwerp nor of his
widow. There was, however, a certain Elisabeth Fabry,
widow of a bookseller, active m Louvam; cp. Rouzet
1975a, p. 63.
302. Cp. Gieben 1977, pp. 284-300.
303. Due to several iconographic peculiarities,
Servus Gieben speculates on the fact that a Spanish immi­
grant must have been involved In the commission and
conception of the series (Gieben 1977, pp. 280-283). On
the same grounds, he also refutes the possibility that a
Franciscan friar acted as intellectual advisor during the
conception of the first edition. Although I differ in opin­
ion on the last matter, the suggestion that a Spanish patron
was involved is certainly plausible. The Southern
Netherlands were a Spanish territory, and, even more
important, Spain was an increasingly important market
for devotional books and prints. On this subject, see De
Nave 1992.
304. For an extensive description of die second edi­
tion, see Gieben 1977, pp. 257-280.
Notes Chapter 4
214
305. Sedulius, who arrived in Antwerp in 1585
(cp. note 189), dedicated the Life of St. Francis to Francis
of Tolosa, the newly appointed minister general of the
Franciscan Order. On the same page the ecclesiastical
approbaiio was added, given by the An twerp canon Michiel
Hetsroey. As usual the clerical approval speaks of Philips
Galle - who as head of the workshop would address such
a request to the ecclesiastical authorities - as if he were
himself the engraver of the scries:a Philippo Gallaeo
fbrmis aeneis mcisa " While the plates were undoubtedly
made in the Galle workshop, it is nearly impossible to
attribute them to one specific en graver. The two etchings
are reminiscent of Pieter van der Borcht, by far the most
important etcher in Antwerp.They must have been made
- due to time-pressure? - outside the Galle workshop, as
Philips Galle only rarely published prints in this tech­
nique. In 1636 the plates were still in possession of the
Galle family: "Het leven van Sinte-Franciscus negenthien
platen" ("The life of St. Francis, 19 plates"); Duverger
1984, vol. 1/4, p. 20.
306. On the seven preparatory drawings in the
Alhertina in Vienna, see Bencsch 1928, p. 23, no. 187
(St. Francis receives the stigmata, attributed to Maarten de
Vos) and p. 43, nos. 15-20 (six other drawings, catalogued
as workshop of Maarten de Vos). Also see Zweite 1968
(pp. 110-111), who rejects the attribution of the first sheet
to De Vos, The notable differences in style and quality
between the single sheet and the odier six drawings, can
be explained from the fact that there were two different
draughtsmen involved: St. Francis receives the stigmata was
one of the compositions added to the second edition of
1587, the others were drawn for the first edition.
307. For a short theological summary of the
Franciscus alter Christus tradition, seen in the light of early
Renaissance painting in Italy, compare Van Os 1974,
pp. 115-118. On die Iconography of the tide page, cp.
Gieben, pp. 261-261 and 299.
308. "D. SERAPHIC! FRANCISCI/ TOTIUS
EVANGELICAE PERF-/ECTIONIS EXEMPLARIS,
AD -/MIRANDA HISTORIA" Engraved in the upper
cartouche of the tide page.
309. The last plate of the Life of St. Francis (1587),
for example, also shows five Franciscan saints - including
St. Clare of Assisl, the founder of the female Order of the
poor Clares - togedier widi St. Francis himself. Philips

Galle also published a series often founders of religious
orders, which included St. Francis.This undated series was
engraved by Hieronymus Wienx after designs by Galle
himself.seeMauquoy-Hendrickx 1978-83, voL2,pp. 183-
184, nos. 994-1005. It Is most interesting to note that at
a later date - by a different engraver and without the
address of Philips Galle - a portrait of the founder of the
Order of the Jesuits (Imgo Lopez de Loyola) was added
to this series. Galle also issued a female equivalent of the
founders, again engraved by Hieronymus Wierix after
Galle s designs, which included St. Clare; cp. Mauquoy-
Hendrickx 1978-83, vol. 2, pp. 184-185, nos. 1006-1009.
310. On this series, see Sirnoni 1984, p. 161 It is
also mentioned briefly in Knipping 1939-40, vol. 1, p. 202
and Zweite 1968,p. 95.The copperplates were still in the
possession of the Galle workshop in 1636: "De Heylige
van de Minnebroeders veerthien platen" ("The saints of
the friars minor, 14 plates"); Duverger 1984, vol 1/4, p.
20. The only copy which I was able to study (the print-
room in Dresden) had each engraving pasted separately
in an album, which made it impossible to study the type
set text.
311. See Kirschbaum 1968-76, vol. 7, pp. 17-18.
Sedulius choose the appropriate verses from Job 29:16 to
be engraved in the margin: "Pater eram pauperum, et
causam quam neselebam diligentissime inquirebam "
("And I was father to the poor: and the cause which I
knew not I searched out").
312. Not in Hollstein. The series consists of an
engraved title page, an engraved dedication to Marie de
Meleun, countess of Ligne, 43 numbered engravings with
(engraved) verses in the margin. Galle apparendy issued
both a Latin and a French version. In both editions the
verses in the margin, composed by Cornells Kiliaan, are
in Latin. They do, however, differ in the language of the
afterword, a one-page text written by Philips Galle and
set in letterpress. Only m the (more common) French edi­
tion, the afterword Is followed with three pages, set in let­
terpress, entitled "les noms des figures avec leurs inter­
pretations "These only give the French translations of the
Latin verses underneath the engravings. Both Galle's son
Theodoor and grandson Johannes reissued the entire
series. As usual the copperplates were still in the posses­
sion of the Galle workshop in 1636:"Alderleij sinnen vijf-
fenveertich platen" ("All kinds of virtues, 45 plates");
Duverger 1984, vol. 1/4, p. 21.
Notes Chapter 4
215
313. The series is briefly described in: Praz 1964,
p. 462, Van den Branden 1978, pp. 176-178, no. 50 (on
account of the verses by Kiliaan) and Landwehr 1988,
p. 159, no. 414. Although engravings from the Proso-
pographia are occasionally illustrated In iconographie and
iconological studies on Dutch and Flemish art, no study
on the series exists. The iconographie sources of several
engravings (Labour, Diligence and Health) are studied
more in detail inVeldman 1991, p. 285 andVeldman 1992,
pp. 256-258, In the near future I will devote a more elab­
orate study on the genesis of this booklet, its sources and
its influence.
314. "PHILIPPE GALLE/ AU LECTEUR
S[ALUTATE]./ Tu as icy, amy Lecteur, les images de
Patience,/ Penitence, Experience, Humilité, Pieté, &c au
/ très semblales Vertus, comme pareillement/ les images
des vices, & et d'autres choses, lesquelles/ tu voiras ornées
& embellies de leurs symboles & apper-/ tenances
peculieres; fort nécessaires â tous peintres, engra-/ veurs,
entailleurs, orfèvres, statuaires & mesmes aux/ Poètes
rimeurs & rhetoriciens vulgaires, pour eux conseil-/ 1er
à ce livre, qui leur furnira des moye[n]s por pouvoir imi -
/ ter toutes sortes deffigies: affm que lors qu'il leur pren­
dra/ fantasie de peindre ou feindre quelque chose,
ilzn'ayent/ besoing d'avoir tousiours leur recours, a ceux
qui sont es/ arts les plus practiqués & expérimentés, Si
est-ce que fay/ trouvé bon & util de ne grossir & combler
ce livre d'un tas/ de figures qui sont en grand nombre:
mais seulement de/ celles qui sont les plus rares & moins
usitées. A l'occasion/ dequoy i'ay laissé là les sept arts lib-
eraulx, Les vertus eardi-/ nales. Les péchez prineipuax &
choses de pareilles denrées/ desquelles sont abondamment
furnies les bouticques. le/ me suis servi peu ou point de
la façon de peindre des an-/ ciens: daultant qu'icelle est
maintenant tenue pour ob-/ scure & particulière aux
payens, & que la nostre est plus/ claire, ik l'invention des
Chrestiens est plus en vogue &/ reputation. Que si i'ap-
perçoy que ce travail nostre te reus-/ sisse agréable, l'en
seray Dieu aidant aguillonné pour/ oser doresnavant faire
& produire daultres ouvrages de/ pareille estoffe."
315. Cp. Sellink 1992, pp 52-55 (also the slightly
changed version in chapter 3) and Fufrrmg 1992, pp. 67-
69, with further references.
316. Xomme par cy devant mes enseignes sont esté
l'autel & et cigoigne:/ ainsi m'est au present la sacrée Bible
& le chapelet."

317 The vices are all brought together at the end
of the series, following the virtues and other general
notions, just before the four continents. Distrust in God:
"le déteste la lumière, & me difHe de Dieu; ayant tant
seulement tout/ mon espoir & appuy sur mon argent."
318. "La sainctc Croix, les clefs, & le calice sont les
vrays enseignes de/ l'Eglise de Dieu gouvernée par son
Sainct Esprit."
319. "Toute puissance, diet S. Paul, vient du ciel. Et
pour estre telle, ie porte/ non en vain l'espee & la baguette
droicte"
320. Cp. Freedberg 1971 Galle probably felt free
to represent Truth as a nude woman, as this was a well-
established iconographie tradition. Compare, for instance,
Galles own the Power of truth, engraved circa 1575 after
Gerard Groenning {fig. 48).
321. "je suis toute nue: nullement fardée, claire &
resplendissante comme le/ Soleil, gouvernée ôc conduicte
par le S. Esprit "The other nude personification is Grace
of God.
322. "Les deux visages & le cercle que ic porte,
vous signifient que fay la/ cognoissance tant du passé que
du futur."
323. Cp. Corbett 1984, p. 132.
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.
Notes Chapter 4
216
More details on triumphal entries and religious proces­
sions in Antwerp in the second half of the seventeenth
century can also be found injacquot 1955b (Bruegel and
Heemskerck in the period 1559-1566).
329. Cp.Van de Branden 1883, p, 254.
330. Doutrepont seems to have been the first to
point out the possible relation between the festivities in
1594 and the persomfications in Galle's Prosopographia;
Doutrepont 1937, pp. 148-149. It is interesting to note
that there exists a, from iconographic perspective, related
group of circa 70 drawings of allegorical figures by
Maarten deVos - now in the Stedelijk Prentenkabinet in
Antwerp - that is most probably connected to Ills designs
for Archduke Ernest s entry; cp. Depauw 1988, pp. 70-74,
nos. 5-6. A more detailed analysis of the series and, above
all, comparison with contemporary publications on this
state entry will hopefully provide more Insight and visu­
al evidence into the genesis of the Prosopographia.
331. These rumours started at the time of the marriage of
Galle's son Theodoor with Moretus's eldest daughter
Catharine and continued for some time to come. This
prompted the two families to obtain certificates proving
the contrary fromWulem van Bergen, bishop of Antwerp
(Museum Plantin-Moretus, arch. 100, ff. 263-286). This
was especially important as any suspicion of unorthodox
religious convictions could seriously damage their repu­
tation as a publisher of religious works. Compare Lips
1967, pp. 127-128 andVoet 1969-72, vol. l,p. 194.

Genealogy of the Galle family up to Philips Galle
(It should be noted that the data of this genealogy are,
with a few exceptions, taken from existing publications
and are not transcribed from the original archival records;
see chapter 1, notes 32 and 34.)
I.
Diederik Galle I, lived around 1400,married to the daugh­
ter of Goswyn van Vaernewijck.
From his marriage: Goswyn Galle, continues II.
II.
Goswyn Galle, lived around 1 430, married to Maria
Taccoen.
From his marriage: Diederik Galle II, continues III.
ni.
Diederik Galle II, man-at-arms in service of Charles the
Bold, duke of Burgundy, died in 1453; married to Isabelle
van Utenhove, died 16 february 1472; both were buried
in the church of St. Peter in Ghent.
From his marriage:
1. Roelant Galle I, continues IV.
2. Jan Galle, Benedictine monk in Ghent.
3. Claude Galle, married to Phihppote de Neve.
4. Etienne Galle, married to Cadiarina Mesdach
in Ghent in 1493.
IV.
Roelant Galle I, officer in service of emperor Charles V,
married to Julienne Peeters.
From his marriage: Roelant Galle II, continues V.
V.
Roelant Galle II, married to Barbara van den Poorten,
daughter of joos van den Poorten.
From his marriage:
1 Roelant Galle III, died young.
2. Joos Galle I, died unmarried.
3. Franciscus Galle I, continues Via.
4. Philips Galle, continues VXb.
Via.
Franciscus Galle, married to Margarita Simons.
1. Franciscus Galle II, Carmelite monk, born
c. 1575, died in 1645.
2. joos Galle II, married to Anna Huvener from
Holland, his sons Michiel Galle i and Jan Galle started
Appendix 1Â
217
new branches of the Galle family in Antwerp and Ghent
respectively. Philips Galle and his family were well
acquainted with die family of (the same?) Michiel Galle
in Antwerp: in 1600 Philips was present as godfadier at
the baptism of Michiels daughter Barbara, while Michiel
was godfather at the baptism of Philips' grandson Michiel
Galle II in 1607 (see appendix IB, no. I).
VXb.
Philips Galle I, engraver and print publisher, born in
Haarlem in 1537, died 11 March 1612. Married on 9 June
1569 to Catharina van Rollant - daughter of Dirk van
Reliant (died In Haarlem before May 1547, alderman in
1522-23,1532 and 1535,burgomaster in 1542) and jooste
vanTeylingen - born In Haarlem in 1536/37, died 4 June
1599. Both were buried in the Antwerp cathedral.
From his marriage:
1. Theodoor Galle, continues appendix IB.
2. Cornells Galle I, continues appendix 1C.
3. Justa Galle, continues Vic.
4. Catharina Galle L date of birth unknown, died
in 1623. Married the engraver and print publisher Karel
deMallery (31 July 1571 - c. 1635) in the Antwerp cathe­
dral on 10 January 1598 (witnesses Philips Galle and
Philips de Mallery, father of Karel). From this marriage at
least one son was born ~ Philips de Mallery the Younger
who continued to practice the art of engraving.
5. Philips Galle II, baptized in the Antwerp
cathedral on 30 May 1581 (godfather Christophe Plantin,
godmother Florentia Geeraerts). burled In the Antwerp
cathedral on 9 May 1604.
Vic.
Justa (Josina) Galle,date ofbirth unknown, died after 1639.
Married the engraver and print publisher Adrlaen Collaert
in the Antwerp cathedral on 28 October 1586 (witness­
es Philips Galle and Johannes Collaert, brother? of
Adriaen)
From her marriage:
1. Catherina Collaert, baptized 19 April 1589
(godfather Abraham Ortels, godmother Catherina
Plantin, daughter of Christophe Planem),
2. Jan (Johannes) Collaert, baptized 1 May 1591
(godfather Michiel Galle I (see above), godmother Jeanne
Collaert); possibly the engraver known as Johannes
Collaert the Younger.
3. Philips Collaert I.baptized 15 May 1593 (god­
father Philips Galle, godmother Jacqueline Huys); proba­
bly died before 1608.

4. Adriacn Collaert II, baptized 15 November
1594 (godfather Jan Moretus (Moerentorf), godmother
Volcxken Diericx, widow of Hieronyrnus Cock); proba­
bly died young,
5. Adriaen Collaert III, baptized 24 October
1596 (godfather Theodoor Galle, godmother Elisabeth
Galle).
6. Karel (Carel) Collaert, baptized 14 August
1598 (godfather Karel de Mallcry (see above), godmoth­
er Adrienne Galle); engraver and print publisher in
Antwerp, died in '1654.
7. Theodoor Collaert, baptized 13 July 1601
(godfather Philips Galle, godmother Catherma Moretus,
wife of Theodoor Galle).
8. Cornells Collaert,baptized 8 June 1605 (god­
father Cornelis Galle, godmother Elisabeth Collaert).
9. Philips Collaert II, baptized 29 January 1608
(godfatherJohannes BaptistaVrints, godmother Catherma
Galle I, sister of Josina); died in 1638.
Alter Adriaen Collaert's death on 29 June 1618, Justa
remarried the engraver and print publisher Pieter de Jode.
Appendix 1A/B
218
Appendix IB
Genealogy of the Galle family fromTheodoor Galle
onwards
I.
Theodoor Galle, engraver and print publisher, baptized in
the Antwerp cathedral on 16 July 1571 (godfather Jacob us
Schil, godmother Volcxken Diericx, widow of
Hieronymus Cock), buried on 18 December 1633.
Married m the Antwerp cathedral on 2 August 1598 to
Catherina Moretus (Moercntorf) - eldest daughter ofjan
Moretus and Martina Plantin, daughter of Christophe
Plantin - born 12 december 1580, died between February
and May 1636.Witness to the marriage was Philips Galle.
From his marriage:
1. Catharina Galle II, continues Ha.
2. Johannes Galle, continues lib.
3. Michiel Galle II, baptized in the Antwerp
cathedral on 27 April 1607 (godfather Michiel Galle I -
see appendix 1A, no. Via - godmother Henricxken
(Flenriette) Plantin, youngest daughter of Christophe
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 1I T 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.

5. Petrus Nuyts, baptized 12 May 1628, died
before October 1638.
6. Maria Anna Nuyts, baptized 23 November
1629, died after October 1638.
7. Michiel Nuyts, baptized 13 June 1632 (god­
father Johannes Galle), died before October 1638,
At an unknown date between June 1632 and February
1636 Catharina Galle II died. Martinus Nuyts remarried
her namesake Catharina Galle III, daughter of Michiel
Galle (see appendix 1A, no.Via). Catharina III died after
October 1642.
From his marriage:
1. Catharina Adriana Nuyts, baptized 15 June
1637, died after October 1638.
2. Johannes Baptista Nuyts, Jesuit priest, baptized
12july 1638 (godfatherJohannes GaUe),died 5 November
1684.
nb.
Johannes Galle I, engraver and print publisher, baptized
in the Antwerp cathedral on 27 September 1600 (godfa­
ther Jan Morems, godmother Justa Galle, eldest daughter
of Philips Galle), died 20 December 1676. Married in the
Onze-Lieve-Vrouwe church in Antwerp on 6 April 1636
to Maria vanlbngerloo - daughter ofPieter vanTongerloo
and Anna Viruli - baptized 2 July 1613, died 21 July 1641.
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 Johannes 3
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.
Appendix IB
219
3. Maria Galle, baptized 21 August 1646 (god­
father jacobus Macquereel, godmother Maria de Sweert).
4. Norbertus Galle, continues IEL
5. Guilielmus Galle, baptized 2 December 1651
(godfather Franciscus Macquereel, godmother Maria van
Mockenborch), died after 1672.
6. Anna Galle, baptized 5 July 1654 (godfather
Balthasar Moretus II, book publisher and son of Balthasar
Moretus I, godmother Anna de Grayer), died in the cra­
dle.
7 Johanna Galle, baptized 5 November 1656
(godfather Cornells Galle II, son of Cornells Galle I, god­
mother Johanna van Erssagen), died ten months old.
8. Catharina Galle IV, baptized 18 february 1659
(godfather Martinus van Bisthoven, godmother Maria
Simonis), died in the cradle.
9 Jacobus Ignatius Galle, baptized 30 July 1664
(godfather jacobus Pantius, godmother Sara de Grayer).
IIL
Norbertus Galle I, painter, baptized in the Antwerp cathe­
dral on 22 October 1648 (godfather Henricus Aertssens,
godmother Anna Alewyns), buried on 18 October 1694.
From his marriage at least one son was born: Norbertus
Galle II, house painter, who in 1688 was enlisted as'wijn-
meestcr' (son of a registered master) in the guild of St.
Luke.

Genealogy of the Galle family from Cornells Galle Í
onwards
I.
Cornells Galle I, engraver and print publisher, born in
Antwerp in 1576, burled on 29 March 1650. Married on
5 July 1623 in Brussels to Maria vander Moten, date of
birth unknown, died 1651/52 in Antwerp.
From his marriage:
1. Cornelis Galle II, continues II.
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.
From 1. his marriage: Cornelis 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.
Appendix 1C
220
From his marriage:
1. Cornelis Galle IV,baptized 13 June 1672 (god­
father Cornells Galle II, godmother Elisabeth Borrekens).
2. Nicolaes Galle, baptized 7 August '1673 (god­
father Nicolaes Muytincx, godmother Francisca Nys).
3. Cornells Siger Galle, baptized 14 July 1675
(godfather Siger van Hontsum, priest and Pronotary
Apostilac, godmother Anna Borrekens)
4. Cornelis Philips Galle, baptized 31 December
1676 (godfather Cornelis Galle II, godmother Elisabeth
Borrekens.

VIRORUM DOCTORUM BE DISCIPLINES
BENBMERENTXUM EFFIGIES (1567)*
36 engravings
No copy of this first edition of Galles portrait series has
been found yet. Its existence was first noted by Van
Someren who refers to an incomplete set of engravings
with an introduction (dated 1567) by Philips Galle in a
German private collection.Van Someren lists 31 portraits,
to which six more could be added until now. A title page
has not been found so far. According to Van Someren 19
Images were accompanied by verses, while 13 prints only
had the name of the portrayed person engraved in the
margin underneath. The 1567-series was, again accord­
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
and theologians portrayed were active in the sixteenth
century. Excluding some more outspoken reformers as
Hus, Savonarola and Calvin, nearly all belonged to the
moderate, humanist movement within both the Protestant
and Catholic churches.
The verses are in all cases different from the 1572- and
later editions and are also engraved in a completely dif­
ferent type of letter. In style and technique these letters
are very similar to those on Galles engravings with vers­
es by Hadrianus Junius, published in Haarlem between
1560 and 1570. The verses under the portrait of Junius -
using the Latin "me" several times - suggest that he might
have been the author of these verses himself. On the other
hand it may just have been a rhetoric figure of speech.
I-Iowever, taking the frequent collaboration between Galle
and Junius in this period in account it is certainly possi­
ble that Junius has been the author of several (or all?) vers­
es of the 1567-edition.
*> This tide Is a provisional title, taken by anal­
ogy to the I572~edition;this series of portraits - complete
or Incomplete - can perhaps be found in collections under
entirely different titles.
Lit.:
Van Someren 1888-91, vol. I, p. 122; SeOink 1992a, p. 23
Copies:
Trie Hague (Koninklijke Bibhotheek,Den Haag, 12 por­
traits from 1567-edition, bound with 1572b-edition),
Washington (Library of Congress, Washington, 10 por­
Appendix 2 A
221
traits from 1567-edition, bound with 1572- and 1587-
editions*), Washington (Library of Congress,
Washington, 11 portraits from 1567-edition, bound with
1572-edition*)
As the portraits from die reconstructed 1567-edition have
no number, the order of the scholars included is in the
first place alphabetical (I). The sequence in which Van
Someren examined the portraits in a bound volume of
the series is also given (Ha), followed by those engravings
which Van Someren did not mention as belonging the
1567-ediuon (lib). The portraits which have not been
traced in this edition, but which were mentioned as such
by Van Someren are marked with an asterisk.
I
Adrian VI
Agricoia, Rodoiphus
Alciati, Andrea*
Aventinus, Johannes
Beatus Rhenanus
Bembo, Pierro
Bueer, Martin
Bugenhagen, Johannes
Calvin, jean
Camerarius, Joachim
Erasmus, Desiderius
Fisher, John
Fusch, Gilbert*
Gelli, Gian Battista*
Grapheus, Cornelius*
Hosius, Stanislaus*
Hus,Johannes
Junius, Hadrianus
Laski,Jan
Lazlus, Wolfgang*
Luther, Martin
Macropedius, Georgius*
Marot, Clement*
Mattioll, Pierre Andrea*
Melanchton, Philippus
More, Thomas
Philandrier, Guillaume*
Pirekheirner, W'illibald*
Pius II*
Sartorius, Johannes*
Savonarola, Girolamo

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
Appendix 2 A
222

VIRORUM DOCTORUM DE DISCIPLINIS
BENEMERENTIUM EFFIGIES XOIII (1572)
44 engravings
in 1572 Philips Galle published a second series of 44
famous men, this rime devoted to European humanists
and scholars In general. The verses were written by the
Spanish humanist Benito Arias Montano, a friend of Galle
and then living and working in Antwerp; the verses under
the image of Arias Montano himself were composed by
Hadnanus Junius. Two versions of this series were pub­
lished, a first (1572a-edition) with all the verses printed
In letterpress - probably printed by Christophe Plantin -
and a second (1572b-edition) with (nearly) identical vers­
es engraved In the margin underneath the portraits.
Galle reused at least 25 portraits of his 1567-
series, all of them with new verses. In several engravings
of the 1572a-edition traces of the older inscriptions are
still visible.When printing the 1572a-edition Philips Galle
did not erase the existing inscriptions but covered them
with a piece of paper. He could then use the blank space
underneath the image to print the texts In letterpress in
a second printing at the Plantin press. At a later date - pos­
sibly at the occasion of publishing of the 1587-edition -
all the margins were made blank in order to engrave the
same verses and print the 1572b-edition.
1572a
On the recto of the title page an alphabetical table of con­
tents Is printed in letterpress: "NOMINUM HOC
LIBELLO/ DEPICTORUM/ Index./ underneath
the index is the approbatio by the Antwerp canon
Sebasnanus Baer (Delft ?? - Antwerp 1576/77), also in let­
terpress: "Nihil habet S. Romanae Ecclesiae fidei contra-
/ rium aut, Reipub. offensivum. Quod attestor/
Sebasnanus Baer Delphius, insignis Ca-/ thed. Ecclesiae
S.Marlae Hantwerp./ Plebanus et Canonicus."(five lines).
The tide page (page Al) Is followed by page A2, which
has an introduction in letterpress on both sides, written
by Philips Galle:
"PHILIPPUS GALLAEUS PICTOR ET
CHALCOGRAPHUS/ B ON ARUM ARTIUM AMA-
TORIBUS, SJ Qukurnque bonas disciplinas et ingen­
uas arces Ipsarum tan-/ turn causa diligunt, ij cum avari-
tiam oderint, quae et ingenia/ hominum corrumpit et
artes etiani obscurat, ab omni inviden/ tla prorsus alieni,
singularique erga virtutem afFectu ducn, non/ possunt
Appendix 2 B
223
non amare eos, quos exceilens animi virtus aliqua no-/
bilitaverit. Quam quidem ob rem, cum ipse a pueritia
usque/ naturae quadam propensione Picturae artem, et
earn etiam, qua Pictura longe la-/ teque propagatur,
Chalchographicen, coluerim et exercuerim; non solum
mearum/ artium peritissimos omnes amavi, sed quos-
cunque bonarum literarum disciplina-/ rumque eogni-
tione plurimum valere cognoveram, et praesentes (si mihi
eosdem/ videre aut ailoqui contingeret) vehementer
dilexi et colui, vel absentes, aut vita/ etiam functos ammo
venetatus sum semper, omniumque laudes et praedlcare
li-/ benter audio, et ipse quantum in me est, perpetuo
praedico. Dignos enim iudi-/ co omnes, qui aliquam vitae
utilitatem, praesertim in bonis artibus promovendis/
attulerint, quorum nomen ab ijs qui ingenio valent, et
similium artium studio/ tenentur, gratissima commenda-
tione commemoretur. Haec igitur mihi causa/ fuit,
quamobrem nonnullorum in bonis artibus illustrium viro­
rum, qui nostra/ aetate vel paulo ante floruerunt,vei adhuc
cum multa ingenij et eruditionis lau-/ de vivunt,tum mini
notorum, et quibus cum consuetude aliqua intercessit,
effi-/ gies ad vivum expresserim, turn eorum quos non-
dum viderkn ex optimis et cer-/ tissimis exemplaribus
undique conqulsitis depictas In prívalo cubículo, ubi
artem/ exerceo meam, maximi ornamenti nomine collo-
caverim.Verumenimvero cum/ illorum famae colendae,
atque eorundem armcls, cognatis, studiosis, et concivibus/
iuvandis id a me quod praestari posset, deberi intelligerem,
selectissimas et cer-/ tissimas, quas habere potueram, in
aere Incisas et diligenter expressas, cum meae/ atque
aliarum bonarum artium amatoribus communicare con­
stituí. Equidem/ plures habere percuperem, quibus et ipse
delectarer, et ad publicam noticiam/ exprimendis et
exhibendis operam darem. Sed quondam quasdam nactus
fue-/ ram non usque adeo veram virorum referentes for-
mam, et incena pro certis tra-/ dere,neque ingenui animi,
neque mei Institui esse existimaren!, has in praesentia-/
rum, quibus animum studiumque nostrum testaremur,
exhibendas duximus:plu/ res etiam post hac secundo libro
exhibituri, modo boni studiosique viri, aut Civi/ tatum
Magistratus, apud quos huiusmodi doctorum virorum
effigies ad nominis/ rnonumentum depictae habentur,
exempfum aliquod a perito arris pictore exprés-/ sum,
sive cum coloribus, sive ex nigro et albo tantum, perinde
enim nobis fuerit:/ aut si sculptum habeant, vel m numis-
matis formam relatum, nobis tradendum/ hue Antverpiain
mittant ad Christophorum Plantinum Prototypographum
Re-/ gium, aut ad Abrahamum Ortelium Geographum,
viros nonssimos: a quibus ipse/ reddita huiusmodi exem-

pla cum accepero, quantum omni diligenria atque indu-
/stria consequi potero, virorum de boms artibus bene-
merentium farnae celebrita-/ tique consulam: ut qui ex
ingeniorum fmctibus editis notitiam sui ad absentes/
atque ad posteros propagaverunt, non tantum animorum
specimine, sed corpo-/ rum etiam Ipsa nota sintV Porro
singulorum quos nunc exhibemus elogia, Benedictus
Arias Montanus,/ (qui diseiplinarum omnium et nos-
trarum etiam artiuni,picturae et sculpturae/ peritos pluri-
mum diligit,) binis Distachis artifseiose complexus est,
quae non mi-/ nus varietate et elegantia, quam veritate
laudum Lectores iuvabunt. Namque/ ut effigies ipsae vari-
ae, certae onines tamcn sunt, ica Tctrastichorum sentenua
cum/ summa veritatis ohservatione eleganter distincta est.
Eius viri quamvis repu-/ gnantis efEgiem ex elegantl
Pulrbuisi Pictoris exemplari expressarn suo loco po-/
suimus, quern quo gradu inter doctos haberi oporteat,
opera ab ipso edlta et eden-./ da docebunt. Noluit ille qui-
dem nobis hac in parte suam operam aut sententiam/
adhibere, sed non potuit iuri meo detrahere, qui ex arte
picturam afFin-/ gere vel ipso non vacate poteram,
amicamque ac concivem meum/ Adr. lunium virum doc-
rissimum ad carmen addendum/ appclIarc.Valcte et nos­
trum studium, ut/ candidos animos decet, probate/
Antverpiae. vj. Cal.Mart./ CIC[in reverse].IC[in reverse].
LXXII"
"Philips Galle, painter and engraver, greets all those who
love the arts.
Everyone who loves scholarship and the liberal arts for
their own sakes - as he hates avarice spoiling mankind's
nature and even obscuring the arts -, who entirely lacks
jealousy and is led by an extraordinary inclination to
virtue, such a man simply has to esteem men who acquired
fame by their outstanding intellectual virtues.That is why,
although I have honoured and practised from my youth
up the art of painting as well as the art of engraving that
propagates the painting far and wide, I myselfhave admired
not only those men that excel most m my own arts, but
also those who, as I understood, were advantageous to the
knowledge of the humanities and other branches of learn­
ing. I have always loved and honoured the scholars who
were present - whenever there was a possibility to see and
speak them while I held those in reverence who were
not, or who had even passed away. I like to hear such men
being praised, continuously eulogizing them myself to the
best of my ability. In my opinion all those who have been
of benefit to life, especially m advancing the arts, are wor­
Appendix 2 B
224
thy of having their name commemorated with gratitude
by men who excel m talent and have a zeal for similar
arts.
This is the reason, therefore, that I have
engraved the portraits - drawn from life - of several men
who are illustrious in the liberal arts, both those who lived
shortly before our time, as well as those who still live,
highly praised for their talents and their learning, both
those whom I have seen and talked to and those whom I
have not yet seen. As the best possible decoration I have
hung dieir portraits, painted after the best and most reli­
able examples and brought together from everywhere, in
the workshop where I practise my art.
However, since I understand that I should do
the best I can to honour their fame and to help their
friends, relatives, pupils and fellow citizens, I have decid­
ed to share with those who love my own art as well as
other fine arts, the most exquisite and reliable portraits I
have been able to acquire, engraved m copper and faith­
fully rendered. For sure I would like to obtain more of
these portraits, both to take delight in them myself as well
as to take great pains to engrave and publish them, so that
they may become public knowledge.
But as I have come by some portraits that do
not truly represent the features of these men, and since I
am rather on the safe side and also of the opinion that it
is neither honourable nor fitting to my purpose to include
such portraits, we considered that [only] the following
[accurate portraits] must be shown now, and thereby tes­
tify our aim and zeal. Hereafter we will publish more
images in a second book, if only the good and studious
men or magistrates who possess portraits of such learned
men painted In remembrance of their names, send a copy,
made by a skilled artist - whether In colour or in black
and white only since it is the same to me -, or, in case
they own a sculpture or a medal, to hand it over to us in
Antwerp, addressed to the royal prototypograph
Christophe Plantin or to the geographer Abraham Ortels,
both well-known men.
After I have personally received from them
such images, I will, with all carefulness and assiduity, take
the best possible care of the fame and celebrity of the men
to whom the liberal arts owe much. It is my aim that those
scholars who have propagated their names to the people
who did not know them in person or who lived after they
did, will gam fame not only by the products of their minds,
but also by the very appearance of their features.
Moreover, on every person we now present
Benito Arias Montano (who very much appreciates the

skilled in all arts, Including ours, painting and sculpting)
has skilfully written, in two distiches, eulogies that will
please the readers no less by their variety and refinement,
than by the truth of their praise. For just as the portraits
themselves are varied, but all reliable, likewise the mean­
ing of the tetrastiches is elegantly distinct, while the truth
is remarkably well heeded. Although he himself refused,
we have placed the portrait of this man [Arias Montane]
at its appropriate place, engraved after a refined original
by the painter Pieter Pourbus.The works he has edited or
will edit, will show which rank he should have among
scholars. For this portrait he did not want us to use his
own work or his own text, but he could not deprive of
my rights. I was able to add a skilfully made portrait with­
out calling in his help, asking my friend and fellow citi­
zen Hadrianus Junius, a very learned man, to add a verse.
Farewell and approve of my zeal, as sincere men should
do.Antwerp, February 24,1572." (translated from the Latin
by jan Bloemendal)
The 44 portraits then follow, numbered from A3 to F6,
with all verses set In letterpress.
1572b
On the recto of the tide page an alphabetical table of con­
tents is printed in letterpress using a different, slightly larg­
er font:"NOMINUM HOC LI-/ BELLO DEPICTO-
RUM/ INDEX/ .„,."; underneath the same approbatio
is added, also in letterpress:''Nihil habet S. Romanae
Plebanus et Canonicus." (four lines instead of five). The
tide page (page Al) is followed by page A2, which has the
1572a~introduetion In letterpress on both sides, again
using a different type of letter and with some slight dif­
ferences in spelling: "PHILIPPUS GALLAEUS/ PIC-
TOR ET CHALCOGRAPHUS/ BON ARUM
ARTIUM AMATORIBUS, S./ ..... Antverpiae, vj. Kal.
Mart./ CIC[in reverse]. IC[in reverse]. LXXIL"Tne 44
portraits then follow, numbered from A3 to F6, with all
verses engraved in the margin underneath.
In nearly all the verses in the 1572b version
there are some minor differences in comparison with the
1572a-edItion. Sometimes grammatical errors have been
corrected, In other instances the engraver has made new
mistakes.There have been changes to the portraits as well:
the six men placed in an oval (Boccaccio, Dante,Dodoens,
Ficino, Petrarca and Poliziano) have inscriptions engraved
in the borders around the portrait; in the case of Clement
Marot a caption has been engraved above the portrait; the
Appendix 2 B
225
image of pope Pius II has been replaced by a second ver­
sion, engraved in reverse and on the engraving of
Theodoor Poelman his age and the date 1572 have been
added.
Lit.:
Cockx-Indestege 1968-94, vol. 1, p. 91, no. 1219; Van
Someren 1888-91, vol. I, pp. 123--124;Bataillon 1942, pp.
158-159; Hansel 1991, pp. 90-100; Sellink 1992a, pp. 23-
24
Copies:
Antwerp (Stedelijk Prentenkabinet, Museum Plantm-
Moretus, Antwerpen, 1572b-edition, bound with 1587-
edition), Antwerp (Bibliotheek, Museum Plantin-
Moretus, Antwerpen, 1572a-edition, bound with
Lamps on 1572), Berlin (Staatsblbllothek zu Berlin -
Pi^ussischerKulturbesitz,1572b-edItIon),B!oomirigtori
(Indiana University, Bloomington, Brussels (Komnkhjke
Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert
Ier, Bruxelles, 1572b-edition),Brussels (Prentenkabinet,
Koninklijke Bibliotheek Albert I, Brussel; Cabinet des
estampes, Bibliothèque Royale Albert Ier, Bruxelles,
1572b-edition, bound with 1595-edition), Budapest
(Bibliotheca Nationalis Hungariae Széchényiana,
Budapest, Cambridge (Printroom, Fitzwilliam Museum,
Cambridge, Cambridge (USA) (Harvard University,
Cambridge (USA), Columbia (University of Missouri,
Columbia, Edinburgh (National Library of Scodand,
Edinburgh, Florence (Biblioteca Nazionale, Firenze,
bound with 1587-edition, Ghent (Universiteitsbiblio­
theek, Rijksuniversiteit Gent, Leiden (Universiteitsbib­
liotheek, Rijksuniversiteit Leiden, London (The British
Library, London, Madrid (Gabinete de estampas y bellas
artes, Biblioteca Nacional, Madrid, 1572b-edition,
incomplete, bound with individual portraits from several
other editions), Paris (Bibliothèque Nationale, Paris, two
copies: 1572a-edition,bound with 1587-edition and three
portraits of 1567-edition; 1572-edition, Paris (Cabinet
des estampes, Bibliothèque Nationale, Paris, 1572a-edi-
tion, bound with 1604- and 1606-editions), Escorial
(Biblioteca del Monasterio San Lorenzo de el Escorial,
Escorial, 1572a~edition), Stockholm (Kongelige Biblio-
teket,Stockholm, 1572b-edition),The Hague (Konink­
lijke Bibliotheek, Den Haag, 1572b-edition, bound with
twelve portraits from 1567-edition), Toronto (Toronto
Public Library, Metropolitan Bibliographic Center,
Toronto, Washington (Library of Congress, Washington,
rwo copies: one bound with 1587-edition and 10 por-

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

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)
Appendix 2 B
227

IMAGINES L. DOCTORUM VIRORUM 5
Appendix 2 C
QUI
BENE DE STUDIIS LÍTERARUM MERUERE
(1587)
50 engravings
In 1587 Philips Galle published his third series of por­
traits of illustrious scholars. In his introduction Frans van
Ravelingen, who wrote all the verses accompanying the
portraits, states that this publication is to be considered as
the promised supplement to the 1572-senes. Only two
portraits had been used in the 1567-edidon (Aventinus
and Beatus Rhenanus), while no engravings of the 1.572-
edition have been used at all. Again most of the scholars
chosen come from the late fifteenth or the sixteenth cen­
tury, although a handful from the later middle ages have
been added (e.g. Thomas ab Aquino and several Italian
jurists).
The tide page is followed by an unnumbered sheet.Recto:
one page with a Latin introduction, set in letterpress and
written by Frans van Ravelingen:
"LITERARUM ETV LITERATORUM STU --/ DIO
SIS S./ Promissum OV lEaXlVOYpETOV Ov8' a^aTTjAGV
Ov8 ateX£VTT|tOV esse deberé, nemo nisi make fidei/
negat: non minus enim ad solutionem more bono/
promissio obhgat, quam iure stricto stapulatio aut/ oblig­
an o. Fatetur id et suo exemplo docet Phi-/ lippus Gallaeus.
Cum enim, ut semper reip, et ijs/ qui isti profuerurit
prodesse opere maxumo studuit; /ante axmos quindecim
Eruditorum virorum effigies aliquot ederet, au-/ etiorem
editionem promittebat. Quae quidem graves ob causas
usque/ adhuc dilata est; non autem prorsus sublata. Nam
ecce cum foenore satis-/ facit. non primum opus auget;
novum nec hactenus visum dat. its tamen,/ uti, pro
cuiusque arbitratu, priori annecti possit et separatim ha-
/ beri.Verum uno opus hoc priori cedet, titulis, inquarn,
et indicibus/ Iixiaginúm.Prioribus lux affulsit a Benedicto
Aria Montano, his tene-/ brae erunt a tcnebris ingenij
mei.Audax tamen post tantum virum hoc/ iter trivi: mm
quod petenti id Gallaeo, amico avito et paterno, recusare/
durum fuisset; turn quod sperem, aetatcrn meam adules-
centem tudorem/ fore a stilo et censura. Ceterum quisquís
sine dolo malo index es, Ima-/ gines vituperare;Versus, si
Ita visum,laudare noli.Patiar. Olirn vo~/ labo.Vale et fhierc.
Kal. SEXT. CiCfin reverse]. IC[ín reverse!. LXXXVII./
Fr. PL Raphelengius."
228
"Greetings to those who are well-disposed to the liberal
arts and men of letters.
That a promise must neither be revocable, nor wily, nor
unaccomplished [Homer, Iliad, book 1, verses 526-527],
no one will deny, save someone of bad reputation. For a
promise obliges no less to fulfilment by common decen­
cy, than an agreement and an obligation bind by exact
rules of law. Philips Galle agrees to this and proves it by
his own example. For when he edited some portraits of
learned men fifteen years ago, doing his very best to be
of benefit to public interest and its protagonists, he
promised an enlarged edition. Until now, due to serious
reasons, this has been delayed, but not entirely cancelled.
For behold, he has given satisfaction with Interest. He does
not enlarge the first work, but releases a new one, as yet
unpublished. Issued, however, in such a way that it can,
according to your own taste, both be used as an appen­
dix to the first book and be held separately. But in one
aspect this work will be inferior to the first edition; I am
referring to the captions and the verses underneath the
portraits.To the previous ones lustre was added by Benito
Arias Montano, while these will remain in obscurity due
to the insignificance of my talent.Yet 1 have recklessly fol­
lowed this great man's footsteps: both because it would
have been difficult to refuse Galle's request, for he is an
ancestral and paternal friend, and because I hope that my
youthful age will make me less liable to stylus and criti­
cism. Besides, to anyone that judges without a malicious
intention: do not scoff at the portraits, but also do not
praise the verses, even if you want to. That I will allow.
That I will once want. Farewell and enjoy yourself. August
1, 1587." (translated from the Latin by Jan Bloemendal)
Verso: a table of contents in letterpress and underneath
the approbatio by the Antwerp canon Michiel Hetsrocy
(Bruegel c. 1540 - Antwerp 1593): "APPROBATIO./
Michael Hctsroey a Bruegel, Canomcus Antverpiensis
vidit et/ approbavit. X. lulij, Anno M. D. LXXXVII./
Michael Hetsroey, manu propria." (four lines).Then fol­
low 50 portraits, numbered 1 to 50, with verses engraved
in the margin underneath. All die portraits seem to have
been engraved by Philips Galle.
Galle reissued this series twice. In 1595 die 1587-edition
was published widi a slighdy different tide page and new
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

1587-edition. Besides changes in the tide page, the por­
traits of Vighus van Aytta van Zwichem, Joost de
Bamhoudere, Francesco Jimenez de Cisneros, Charles de
Langhe, Cornelis fviuys, Jacopo Sadoleto and Janus
Secundus were included in different states as found in the
1595-editIon.
lit.:
Cockx-Indestege 1968-94, vol 1, p. 90, nos. 1211-1212;
VanSomeren 1888-91,vol. l,pp. 124-125;BataUlon 1942,
pp. 158-159; Sellink 1992a, pp. 24-25
Copies:
1587-editiom
Amsterdam (Universiteitsbibliotheek, Universiteit van
Amsterdam), Amsterdam (Rijksprentenkabinet,
Rijksmuseum, Amsterdam), Antwerp (Stedelijk
Prentenkabinet, Museum Plantdn-Moretus, Antwerpen,
two copies, one bound with 1572b-edition), Brussels
(Koninklijke Bibliotheek Albert I, Brussel; Bibiiothèque
Royale Albert Ier, Bruxelles, bound with the album ami-
corum of Jacobus Boschuyvius, dated 1588), Cambridge
(Printroom, Fitzwilliarn Museum, Cambridge, Cam­
bridge (USA) (Harvard University, Cambridge (USA),
Dresden (Kupferstichkabinett der Staadichen Kunst
sammlungen,Dresden), Florence (Biblioteca Nazionale,
Firenze, bound with 1572-edition, Ghent (Univer­
siteitsbibliotheek, Rijksuniversiteit Gent, Leiden
(Universiteitsbibliotheek, Rijksuniversiteit Leiden,
Louvsdn, (Centrale Bibliotheek, Katholieke Universiteit
Leuven, Madrid (Gablnete de estaxnpas y belias artes,
Biblioteca Nacional, Madrid, two copies, one incom­
plete), New Haven (Yale University, New Haven, Paris
(Cabinet des estampes, Bibiiothèque Nationale, Paris,
bound with 1572a-edition, Regembiarg (Fürst Thurn
undTaxis'schc Hofbibliothek, University Park (Univer­
sity of Pennsylvania, University Park, Washington
(Library of Congress.Washington, bound with 1572?-edi-
tion and 10 portraits from 1567-edition)
1595-edition:
Brussels (Prentenkabinet, Koninklijke Bibliotheek
Albert I, Brussel; Cabinet des estampes, Bibiiothèque
Royale Albert Ier, Bruxelles, two copies, one bound with
1572b-edition), Edinburgh (National Library of
Scouand, Edinburgh
Appendix 2 C
229
1606-edition:
Minnesota (University of Minnesota, Minnesota, Paris
(Cabinet des estampes, Bibliothèque Nationale, Paris,
bound with 1572a- and 1604-editions)
The 50 portraits from the 1587-edition are first listed in
alphabetical order (Î) and then according to the numbered
sequence in the series (H). There are no changes in the
numbers in the 1595- and 1606-edidons.
I
AeeorsG
Ariosto, Ludovico
Aventinus, Johannes (1567)
Aytta van Zwichem ,Viglius van
Azpilcueta, Martinus ab
Bartolo da Sassoferrato
Beatus Rhenanus (1567)
Belon, Pierre
Benavides, Marco Mantova
Castro, Angelo da
Castro, Paolo da
Collenucclo, Pandolfo
Corti, Francesco
Costa, Christophorus a
Crato,Johannes (1567)
Damhoudere, Joost de
Da ntisc us, Johannes
Decio, Filippo
Eder, Georg
Escluse, Charles de 1'
Furio y Ceriol, Federico
Gois, Damiao de
Griffollni, Francesco
Hortensius, Lambertus
Janus Secundus
Jimenez de Cisneros, Francesco
Langhe, Charles de
Maino, Jason de
Manuzio, Aldo
Manuzio, Paolo
Mayno, Jason de
Melissus, Paulus de
Mercator, Gerard
Monceaux, François de
Miinster, Sebastian

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

IXXUSTRIUM GA1XIAE BELGICAE 8CRIPTO-
RUM ICONES ET ELOGI (1604)
58 engravings
In 1604 Philips Galle published a fourth series of por­
traits. This publication focused exclusively on Dutch and
Flemish scholars, to a large extent illustrating Aubert Le
Mire's Ehgia Ulustrium Belgii scriptorum published in
Antwerp 1602. Galle reused 17 portraits from his earlier
series: 11 from the 1572-edition (of which five had orig­
inally been engraved for the 15&7-edidon), five from the
1587-edltions and the second version ofTorrentius* por­
trait from the 1595-edition. In some cases the earlier vers­
es were maintained, in other cases they were replaced by
new inscriptions. Besides Le Mire's verses, poems by sev­
eral other Flemish authors were used for specific portraits.
All the earlier engravings were Included in new states, as
at the top of every portrait the age and the year of death
were added.
The verso of die tide page Is blank. On the recto of the
next sheet is an introduction to the book, set in letter­
press and most probably written by Aubert Le Mire:
"CANDIDO LECTORI,/ SEU SPECTATORI S./
Illustrium GaUIae Belgicae nostrae Scriptorum Elo / gia
nuper dedi, mi Lector seu Spectator. Quern com-/ turn
nostrum et si levern ac temiem, cum permultis/ gratum
esse anima adverterern, coepi et Imagines eo-/ rumdem
variis e locis studiose fideliterque conquirere. Eius in-/
dustriae specimen hie vides; quae, nisi fallor, Optimo cuiv-
is gra-/ ta erit pariter acceptaque. AfHcit enim excitatque
rnlrI6.ce/ amnios, oculosque pascit atque oblectat, vivas
eorum effigies,/ quorum scripta atque ingenij monu-
menta legendo admiramur,/ velut in theatro seu pegmate,
longo ordine positas, coram intue-/ ri. Romanorum sane
vetus institutum fuit, bene de Repub. me-/ ritorum imag­
ines in templis dedicare; Imperatornm strenuo-/ rumque
Ducum icones, inter signa, militibus praeferre; ceratas/
maiorum effigies longa serie in atriis collocare. Niminim
ut his/ velut ealcaribus ad virtutis avitae aemulationem
compelleren-/ tur. Sic et eruditorum hominum Imagines
istae, in aes cura no-/ stra msculptae, non delectabunt
modo, sed ad imkandum quo-/ que, ut spero, in suo
quemque genere, vehementer inflamma-/ bunt. Ceterum
non aetatis ordinem secuti sumus, sed faculta-/ turn seu
disciplmarum. Inibi et digmtatum ratio aliqua est ha-/
bita, et similes. Quo ad ems fieri potuit, velut in satura,
fere con-/ iunximus.Vale } et aequi bom consule."
Appendix 2 D
231
"Greetings to the sincere reader or viewer
Dear reader or viewer, not so long ago I have edited eulo­
gies of illustrious authors of our Netherlands. Since I
noticed that this undertaking of mine, trivial and insignif­
icant as it may be, gave satisfaction to a large number of
people, I also assiduously and conscientiously started to
collect their images from a variety of sources. Here you
can see the results of this activity. If I am not mistaken,
this will be just as pleasing and rewarding to aU outstand­
ing men. For It affects and excites the mind to the utmost,
and it entertains and delights die eyes to see the lifelike
portraits of those men whose writings and monuments
of their talent we admire when reading, their features
placed in a long series, like in a theatre or on the stage.
The Romans indeed had the custom to ded­
icate images of those who had been of use to the state in
their sanctuaries, to carry the portraits of the comman­
ders-in-chief among the banners In front of the soldiers,
and to place waxen portraits of their forefathers together
In long rows in their atrium. Of course these were brought
together as stimuli to improve on the ancestral virtue.
Similarly these images of learned men,
engraved In copper with all our care, will not only delight,
but will also to a large extent inspire, as i hope, to imitate
everyone in his own domain. Besides, we have not fol­
lowed a chronological order, but a division regarding die
skills and disciplines. Whatever has been possible in this
respect, we have usually united like In a miscellany
Farewell, and judge fair and just." (translated from the
Latin by Jan Bloemendal)
On the verso of this page follow a table of contents and
the approbatio by the Antwerp canon Egbert van Spidiout
(Zutphen ?? - Antwerp 1627), all set in letterpress; "Vidit,
et laudavit Egbertus Spitholdius Canonicus et Plebanus/
Antverplensis 21.maj,Anno 1604." (two lines).Then fol­
low 52 numbered portraits. The portraits were engraved
In the Galle workshop, an identification of the engraver(s)
has not been possible.
In 1608 Galle's son Theodoor published a revised and
enlarged edition of the Blustrium scriptorum icones, dedi­
cated to Albert of Austria, viceroy of the Southern
Netherlands. Six portraits were added:Thomas a Kempis,
Gilbert Fusch (first used in the 1567-edirion) sjoost Lips,
Christophe Plantin (not the 1572-version by Philips
Galle, but an engraving by Hendrick Goltzius), Marrinus
Rythovius and Petrus Simons. In most cases the remain-

ing verses from the 1572- and 1587-editions were now
replaced by other inscriptions written by a number of
authors. The verso of the changed tide page is blank, the
approbatio is now engraved on the title page Itself. On
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
following page an engraved dedlcanon to Albert of Austria
is printed; the verso is blank. Then follows an engraved
eulogy of Aubert Le Mire, written by Joost Lips; the verso
is again blank. Then follow 57 portraits, of which four are
without a number.
A large number of engravings from this last
series of portraits of scholars published in the Galle work­
shop was reused in Johannes Franciscus Foppens*
Bibïioikeca Belgica, published in two volumes in Brussels in
1739.
Lit.:
Van Someren 1888-91, vol. l,p. 125;Sellink 1992a, p. 25
Copies:
1604-edition:
Paris (Cabinet des estampes, Bibliothèque Nationale,
Paris, bound with 1572a- and 1606-editions), The
Hague (Koninklijke Bibliotheek, Den Haag), Vienna
(Oesterreichische Nationalbibliothck, Wicn, incomplete,
lacking portraits of Erasmus and Modius)
1608-edirion:
Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster­
dam), Antwerp (Stedelijk Prenten-kabinet, Museum
Plantm-Moretus, Antwerpen, Brussels (Koninklijke
Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert
Ier, Bruxelles, bound with Lampson 1572),London (The
British Library, London, New York (New York Public
Library, New York Vienna (Oesterreichische National­
bibliothck, Wien, two copies, one copy mingled with Le
Mire 1609)
The 52 portraits from the 1604-edition are first listed in
alphabetical order (la), followed by the six additions in
Theodoor Galle's 1608-edition (lb).Then follow the por­
traits according to the numbered sequence in the series
(Ha); the additions in die 1608-edirion - which main­
tained the same order as the 1604-edition - are given sep­
arately (Hb). Portraits with numbers in square brackets arc
without a number in the 1608-edition, although they do
Appendix 2 D
232
have a fixed place in the sequence of the known copies.
After the names of the portraits used in earlier editions
the date of the first application in the portrait series is
given in round brackets.
la (1604)
Adrian VI
Agricola, Rodofphus (1567)
Alardus of Amsterdam
Ayala, Balthasar
Aytta van Zwichem„Viglius van (1587)
Backere, Petrus de
Baudouin, Francois
Beverns, Johannes
Blois, Louis de
Busbecq, Ogier Ghislain de
Canlsius, Petrus
Canter, Willem
Cleynaerts, Nicolaas
Commynes, Philippe de
Damhoudere, Joost de (1587)
Dinter, Edmund van
Donck, Martinus
Epo, Boedus
Erasmus, Desiderius (1567)
Everaerts, Nicolaes
Galen, Mattheus van
Garet, Johannes
Gemma Frisius (1572)
Gemma, Cornelius (1572)
Goropius Becanus, Johannes (1572)
Grudius, Nicolaus
Hunaeus, Augustinus
Jansenius, Cornelius
Janus Seeundus(1587)
Lampson, Domemque
Langhe, Charles de (1587)
Latomus, Jacobus (1572)
Linden, Willem van der
Lievensjan
Macropedius, Georgius (1567)
Maulde, Frans de
Muyden, Gabriel van der
Muys, Cornells (1587)
Nannius, Petrus
Ortels, Abraham (1572)
Pamele, Jacob van

Peck, Pieter
Pigge, Albert
Reyvaert, Jacob
Richardot, François
Sasbout, Adam
Sormius, Franciscus
Tapper, Ruard
Torrenrius, Laevinus (second version, 1595)
Valerius, Cornelius
Vesalius, Andreas (1572)
Warn esius, Johannes
îb (1608 additions)
Fusch, Gilbert (1567)
Lips,Joost
Plantin, Christophe (second version)
Rythovius, Marti nus
Simons, Petrus
Thomas à Kempis
Ha (1604)
1. Adrian VI (1567)
2. Sormius, Franciscus
3- Torrenrius, Laevmus (second version, 1595;
without a number in the 1608~edition)
4. Jansemus, Cornelius
5. Linden, Willem van der
6. Richardot, François
7. Pamele, Jacob van
8. Tapper, Ruard (1567)
9. Latomus, jacobus (1572)
10. Pigge, Albert
11. Galen, Mattheus van
12. Donck, Martinus
13. Blois, Louis de
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
Appendix 2 D
233
24. Peck, Pieter
25. Wamesius, Johannes
26. Epo, Boetius
27. Ayala, Balthasar
28. Vesalius, Andreas (1572)
29. Gemma Frisius (1572)
30. Gemma, Cornelius (1572)
31. Goropius Becanus, Johannes (1572)
32. Agricola, Rodolphus (1567)
33. Alardus of Amsterdam
34. Beverns, Johannes
35. Hunaeus, Augustmus
35b. Erasmus, Desiderius (1567)
36. Nannius, Petrus
37. Valerius, Cornelius
38. Qeynaerts, Nicolaas
39. Langhe, Charles de (1587)
40. Canter, Willem
41. Lievens.Jan
42. Dinter, Edmund van
43. Commynes, Philippe de
44. Busbecq, Ogier Ghislain de
45. Orteis, Abraham (1572)
46. Janus Secundus (1587)
47. Grudius, Nicolaus
48. Macropedius, Georgias (1567)
49. Muys, Cornelis (1587)
50. Lampson, Domenique
51 Maulde, Frans de
Hb (1608 additions)
6b. Rythovius, Martinus
7[b]. Simons, Petrus
12b. Thomas à Kempis
30b. Fusch, Gilbert (1567)
[51b.] Lipsjoost
[51 cj Plantin, Christophe (second version)

TITLE PAGE TO: VIRORUM DOCTORUM DE
DISCiPLINIS BENEMERENTIUM EFFIGIES
(1567)
Used In:
Viromrn ..... (1567), title page
No impression of tins tide page has been found yet; its
existence is presumed from the description of an incom­
plete set of the 1567-edition by Van Someren (cp. appen­
dix 2A)„
TITLE PAGE TO: VIRORUM DOCTORUM DE
DISCIPLINIS BENEMERENTIUM EFFIGIES
XLIffi (1572)
17/1 x 12.0 cm.
On banderole, at top centre: "SAPIENTIAL/
HOMINUM/ CULTRICI/ P" (four lines).
In cartouche, underneath image: "VIRORUM DOC­
TORUM DE DISCIPLINIS/ BENEMERENTIUM
EFFIGIES XLIIII/A PHILIPPO GALLEO/Antverpiae
1572" (four lines).
Used in:
Virorum (1572), tide page
Lit.:
TIB. 56, p. 445, no. 105
The tide page is the same to both the 1572a-edition (with
text in letterpress) and the 1572b-edition (with engraved
text)
TITLE PAGE TO: IMAGINES L„ DOCTORUM
VIRORUM, QUI BENE DE STUDIIS LITE-
RARUM MERUERE (1587/1595/1606)
Letterpress, woodcut-ornament, 16.5 x 12.0 cm. (subject)
On upper half, above ornamental woodcut, in letterpress:
"IMAGINES L./ DOCTORUM/VIRORUM,/ QUI
BENE DE STUDIES/ LITERARUM MERUERE;/
Cum singulorum Elogijs:/ Nunc primum editae et aeri
incisae/ OPERA/ PHILIPPI GALEAE I." (nine lines).
Appendix 2E
234
Underneath ornamental woodcut, in letterpress:
"Antverpiae M. D. LXXXVIL"
la.
As described. Tide page to 1587-edition.
IB.
Underneath ornamental woodcut "M. D. LXXXVIL"
replaced by "M. D. XCV.", also in letterpress. Tide page
to 1595-edition.
Ic.
Underneath ornamental woodcut "M.D. XCV." replaced
by "M. D. CIVI", also in letterpress,Tide page to 1606-
edition.
Used in:
Imagines ..... (1587), tide page; Imagines ..... (1595), tide
page; Imagines ..... (1606), title page
TITLE PAGE TO: ILLUSTRIUM GAIXIAE BEL-
GICAE SCRIPTORUM ICONES ET ELOGIA
(1604/160B)
17.4 x 11.6 cm.
In cartouche, at centre ofimage:"ILLUSTRIUM/ GAL-
LIAE BELGICAE/ SCRIPTORUM/ ICONES ET
ELOGIA./ Ex museio Auberti Miraei/ Canonic!
Antvcrp." (six lines).
On pedestal, at bottom centre; "Antverpiae/ Apud
Philippum Gallaeum/ CIC[in reverse]. IC[in
reverse]COIL" (three lines).
I.
As described.Tide page to 1604-edition.
n.
Address of Philips Galle on pedestal at bottom centre
replaced by: "Adprobavit Egb. Spitholdius/ S.T.L. et
Censor/ 20. Aug. 1607." (three lines); in lower margin,
underneath platemark, added in letterpress: "Antverpiae/
Apud Theodorum Gallaeum/ CIC[in reverse] IC[in
reversejCVIir (three lines).Tide page to 1608-edItion.
Used in:
Ulustrium Galliae (1604), title page; Illustrium Galliae
(1608),tide page

COAT OF ARMS OF THE AUSTRIAN HABS-
BURG DYNASTY {1608}
17.1 x 10.8 cm.
At top centre: "BELLO ET PACE."
At bottom centre: "Area rubicans cum fascia alba medi­
an! dirimente,/ Insigne est Austrijs: quo colore duplici
belli/ et pacis,significatur BELLO ET PACE eos prestare
(three lines)
In lower right corner: "L Lips."
Used in:
Illustrium Galhae (1608), introduction
verses by joost Lips. This engraving direcdy follows the
tide page of the 160S-edition.
EULOGY OF ALBERT OF AUSTRIA (1608)
17.2 x 10.4 cm.
Filling entire engraving: "SEREN[ISSI]MO ET
POTEN[TISSI]MO/ ALBERTO AUSTRIO/ BEL-
GARUM PRINCIPI,/ CLARORUM BELGI SCRIP-
TORUM/ ICONES ET ELOGIA,/ SPECTANTIUM
VOLUPTATI,/ EXTERORUMQ. COGNITIONI/
DE MULTIS ELECTA, / AUB. MIRAEUS BRUXELLV
LIB. VOLENSQV DI CAB AT CONSECRABATQ./
CIC[IN REVERSE]. IC[IN REVERSE]CVII. KAL.
IULII." (twelve lines)
Used in:
Illustrium Galliae .„„ (1608), introduction
Text by Aubert Le Mire. This engraving direcdy follows
the coat of arms in the 1608-edirion.
EULOGY OF AUBERT LE MIRE (1608)
17.3 x 10.3 cm.
FÜling entire engraving: " IN AUBERTI MIRAEÍ R.VV
ELOGIA BELGICA/ SCAZON/ IUSTI LIPSI./
MIRAEE docte, qui facis meas Belgas,/ AEtate,sive incu­
ria tenebrosos/ Nostra, nitere rursus atque splendere:/
Qui singulorum patriam atque natales,/ Animique dotes,
scripta et ingenl fructus/ Signas pente, et acrimonia men-
Appendix 2E
235
ris:/ Quid ribi reponent pro laboribus Belgae?/Tituli hunc
honorem, SOL MIRAEE BELGARUM." (twelve lines)
Used in:
Illustrium Galliae (1608), introduction
Text by joost Lips. This engraving directly follows die
eulogy of Albert of Austria in the 1608~edition,
1
ACCORSO (1587)
After EneaVico
16.9x11.9 cm.
In lower margin: "ACCURSIUS FLORENTINUS./ Id
quod In obscuris noctu candela tenebris/ Id legum
rudibus juris es in tcnebris./ Saeplus obscuris caeci erra-
rent Labyrinthis,/ Ni tu GLOSSARUM praevia filia
dares." (five lines)
In margin right: "16".
Used in:
Imagines ..... (1587), no. 16; Imagines (1595), no. 16;
Imagines ..... (1606), no. 16
Lit.:
TIB. 56, p. 445, no. 106; Dwyer 1990, p. 62, fig. 5
Accorso (Franciscus Aeeursius), Bagnolo c. 1185 -
Bologna c. 1260: Italian jurist and glossator, wrote on
Roman law. Engraved by Philips Galle, verses by Frans
van Ravelingen. Copied in reverse after an engraving
attributed to EneaVico in Benavidess Ulustriam iurecon-
suliomm imagines (1566).
2
ADRIAN VI (1567)
After Jan van Scorel
17.6 x 12.2 cm.
In lower margin: "Hadrianus Traiectensis Pont, Max,/
Virtuti pretium saeclis fult omnibus ampiium,/ Imbuo
dum caroll pectus pietate tenellum./ Os pueri fmgens,

exi vice regis iberos:/ HInc dominae irnperiurn romae,
et fasrigia rerum/ Conscendi. toti scripturus iura super-
ba/ Orbi, at sancta fuit vita, et mens Integra semper." (seven
lines)
I.
As described. Used in 1567-edition.
Madrid (Gabinete de estarnpas y Bellas artes, Biblioteca
Nacional, Madrid), Vienna (Sammiung Schioss Ambras,
Kunsthistorisches Museum,Wien)
Ha.
Verses in lower margin replaced by new text in letterpress:
"HADRIANUS TRAIECTENSIS/ PONTIFEX
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
margin right, also in letterpress: "A4". Used in 1572a-
edition.
nb.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "Hadrianus Traiectensis
Pont. Max. [one line]/ " (five lines); added in margin
right, also engraved: "A4". Used m 1572b-edition.
IIL
Erased in margin right: "A4". Used in XII Cardinalium
IV.
(1598)
Added in upper right corner coat of arms of Hadrianus
VI; added above portrait, at top centre: "Sedit An. L M.
VHLD.VI. Obit XVIII. Kal Octob. CIC[in reverse]. IC[in
reverseJXXIII. AEt. LXIIII/'Verses In lower margin
replaced by: "HADRLANUS VI. PONT. MAX./ Edit
Utricesiurn minima de fomite luceni,/ Lampada
Lovanium, Roma dat esse Pharum./ Fax ammae cmen
niniium est vieiiia doloso,/ Et quae lente oritur flamrna,
cito ernoritur./ Disce rneo exemplo tenui dc lumine
Solcm/ Sperare, et Soils disce amere obmirn." (seven
hues); added in margin left "1." Used in 1604- and 1608-
editlons and Foppens 1739.
Used in:
Virorum ..... (1567), no. ??;Virorum ..... (1572), no.A4;
XII Cardinalium ...... (1598), no. 14; iUustrium Galliac
Appendix 2E
236
(1604), no. l,Iilustrium Galllae ..... (1608), no. 1; Foppens
1739, vol. I, p. 22
Lit.:
TIB. 56, p. 466, no. 148; Hoogewerf 1923, p. 13
Adrian VI (Hadrianus VI, Adriaan Florensz. Boeyens),
Utrecht 1459 - Rome 1523; Dutch theologian and
prelate, tutor of die future emperor Charles V and at one
point head of the Spanish government.The first (and last)
Dutch pope (1522-23), tried to reform the Catholic
Church from within. Engraved by Philips Galle, verses by
?? (1567-edition), Benito Arias Montano (1572-edition)
and Aubert Le Mire (1608-edirion). The engraving is
probably copied after a lost painting by Jan van Scorch
3
AGR1COLA, ROBOLPHUS (1567)
After Lucas Cranach
17.7 x 12.3 cm.
In lower margin: "Rodolphus Agricola/ Pro meriris quae
digna satis te docte rodolphc/ Musa canet, frisii speni 'que
decus' que soli?/ Dum logicae salebras In apertam eoni-
icis artcm,/ Et resonat numens dulcibus ista chclys,/
Ausonia ingemuit, peregrinae rnurmura linguae./ Tarn
mulccre aures moUiter ilia suas " (seven lines)
I.
As described. Used in 1567-edition.
Vienna (Sammiung Schioss Ambras, Kunsthistorisches
Museum, Wien), Vienna (Oesterreichische National-
bibliothck (Portratsamrnlung), Wien)
Ha.
Verses in lower margin replaced by new text in letterpress:
"RGDOLPHUS AGRICOLA/ GROENINGUS./ Si
tibi maturis tantuni licuisset ab annis/ Quod medium sta
tuis perficere Agricola/ Auctorcs alij poterant quievisse
diserti,/ Quidquid enim ratio postulat, ipse dabas." (six
lines);added in margin right,also in letterpress:" C7". Used
in 1572a-edition

lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "RODOLPHUS AGRI-
COLA GROENINGUS. [one line]/ tautum [instead
of tantum] ..... persicere [instead of perficere] tacuisse
[instead of quievisse] ..... ipse dabas [no period]" (five
lines); added in margin right, also engraved; "C7". Used
in 1572b-edition.
XIL
Portrait slightly reworked; added above portrait, at top
centre: "Vita excessit Heidelbergae An. Chrisri CIC[in
reverse]. CCCCLXXXV"; erased in margin right: "C7";
added in margin left: "32." Used in 1604-cdition.
IV.
Verses in lower margin replaced by :"RUD OLFUS AGRI-
COLA, GRONINGANUS./Talis eras, tali splendebas ore
Rudolfe/ Agricole.o Frisij solque decusque soli./ Scilicet
hoc uno meruisti Frisia, laudis/ Quidquid habet Latium,
Graecia quidquid habet." (five lines). Used in 1608-
e did on.
Used in:
Virorum (1567), no. ??;Virorum (1572), no. C7;
Illustrium Galliae (1604),no.32;illustrium Galliae .....
(1608), no. 32
Lit.:
Ekkart 1988;Sellink 1992a, p. 23
Rodolphus Agricola (Roelof Huusman, also called
Phrisius),Baflo 1444 - Heidelberg 1485; Dutch jurist and
humanist, wrote on both classical and biblical subjects,
translated several classical Greek works. Engraved by
Philips Galle, verses by ?? (1567-cdition), Benito Arias
Montano (1572-edition) and Aubert Le Mire (1608-
edition).The engraving is copied in reverse after a proto­
type painted by Lucas Cranach around 1530, of which
several versions still exist.
4
ALARDUS OF AMSTERDAM (1604)
After Jacob Cornelisz van Oostsanen
15.1 x 11.3 cm.
Appendix 2E
237
Above portrait, at top centre: "Obijt Lovanij A. CIC[in
reverse]. ICjin reverse]!.!."
In lower margin: "ALARDUS AMSTELREDAMUS
BATAVUS/ THEOLOGUS ET PHILOLOGUS./
Tororn te study's impendis Alarde luvandis,/ Sollicitatque
tuas Haeresis orta manusV Et, si quid Logica est prae-
cellere in arte, Rudolphum/ Agrlcolam acqualis gloria,
teque manet" (six lines)
In margin right: "Aub. Miraeus."
In margin left: "33"
Used in:
Illustrium Galliae (1604),no.33;Illustrium Galliae .....
(1608), no. 33; Foppens 1739, vol. I, p. 38
Lit.:
Kolker 1963, pp. 343-345
Alardus of Amsterdam (Alardus Amstelredamus, Alard van
Amsterdam), Amsterdam 1491 - Louvain 1544; Dutch
humanist and theologian, compded the Opera Omnia of
Agricola, vigorous opponent of the Reformation.
Engraved in the Galle workshop, verses by Aubert Le Mire.
Copy in reverse after a woodcut by Jacob Cornelisz van
Oostsanen (Hollstein 163)
5
ALCIATI, ANDREA (1567)
17.6 x 12.2 cm.
In lower margin,in letterpress:" ANDREAS ALCIATUS,
ME-/ DIOLANENSIS./ Eloquio lus Romanum luce-
bat et arte, id/Turb a obscurarant barb ara Legulei./ Andreas
prisco reddit sua Jura nitori,/ Consultosque facit doctius
inde loqui" (six lines)
In margin right, also in letterpress: "F4".
I.
1567-edition. Mentioned by Van Someren (p. 122), not
yet found.
As described. Used in 1572a-edition.

lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription; "ANDREAS ALCIATUS
IURECONSULTUS [one line, instead of MED I OLA
NENSISJ/ " (five lines); added in margin right, also
engraved: 5!
F4". Used in 1572b-edition and Italorum .....
(1600).
Used in:
Virorum ..... (1567), no. ??; Virorum ..... (1572), no. F4;
Italorum ..... (1600), no. 19
Lit.:
TIB. 56, p. 446, no. 108
Andrea Alciati (Andreas Alciatus), Alzato 1492 - Pavia
1550; Italian jurist and humanist, author of the influen­
tial Emhkmata (1531), published by Plantin from 1565
onwards (Voet 1980-83,nos. 22-32). Engraved by Philips
Galle, verses by Benito Arias Montano.
6
APIANUS, PETRUS (1572)
17.6 x 12.4 cm.
In lower margin, in letterpress: "PETRUS API ANUS,
LEYSNICZENSIS./ Ut puros florum succos summa
omnia gustans/ Carpit apes, cellis condit et ambrosiarn:/
Sic coelo tu, sic terns Apiane legebas/ Condere quae posses
optima quaeque libris." (five Hnes)
In margin right, also in letterpress: i8
Ej 5?
.
la.
As described. Used in 1572a-edition.
Ib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "PETRUS API ANUS [no
comma] LEYSNICZENSIS./ Ut puros storum [instead
of florumj " (five lines): added in margin right, also
engraved: "Ej". Used in 1572b-edition.
Used in:
Virorum ..... (1572), no. El
Lit,:
TIB. 56, p. 447, no. 109
Appendix 2E
238
Petrus Apianus (Petrus Bienowitz), Lcisnig 1495 -
Ingolstadt 1552; German astronomer and geographer,
author of the Cosmograpkia (1524), published by Plantin
in 1574 (Voet 1980-83, no. 573). Engraved by Philips
Galle, verses by Benito Arias Montano.
7
ARIAS MONTANO, BENITO (1572)
After Pieter Pourbus
17.6 x 12.2 cm.
In lower margin, in letterpress: "BENEDICTUS ARIAS
MONTANUSV Hispalin illustras patriam, MONTANE,
secunda/ Doetrinae farna, et fertilis eloquij./ Surgit
Idumaeae per te nova gloria linguae,/Vatibus et sacris lux
rediviva datur./ Macte bonis animi, vir magne, et postera
saecla/ Munere victuro demereare Pater." (seven lines)
In margin right, also in letterpress: "Bj".
Ia.
As described. Used in 1572a-edition.
Ib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "BENEDICTUS ARIAS
MONTANUS [no period]/ ..... fama [no comma] .....
animi vir magne et [no comma's]
95
(five Hnes); added
in margin right, also engraved: "BI". Used in 1572b-
edition.
Used in:
Virorum ..... (1572), Bl
Lit,:
TIB. 56, p. 476, no. 170; Doe^ch 1927, pp. 29-40; Hansel
1.991, p. 197; De Nave 1992, p. 241, no. 104
Benito Arias Montano (Benedictus Arias Montanus),
Frenegal de la Sierra 1527 - Sevilla 1598; Spanish philol­
ogist and dieologian, editor of Plantin's Biblia Polyglotta,
advisor to Philip II and personal friend of Plantin and
Philips Galle in Antwerp. Several of Ills works were pub­
lished by Plantin (Voet 1980-83, nos. 577-591) and Galle
(Hansel 1991). Engraved by Philips Galle, verses by
Hadrianus Junius. According to Galle s introduction to the
1572-edition after an (as yet unknown) painting by Pieter
Pourbus.

8
ARI08T0, LUBOVICÖ (1587)
16.7 x 1L8 cm.
In lower margin: "LUDOVICUS ARIOSTUS./ Ut
Methymnaeo se Graecia Arionejactat,/ Sic Ariosto sejac-
titet Italia./ Nomine sunt similes: verurn me judice vati/
Victor! palmam cedito Graie Italo" (five lines)
In margin right: "49".
I.
As described. Used in the 1587-, 1595- and 1606-edi-
tions and in Italorum ..... (1600).
n.
Erased in margin right: "49".
Amsterdam (Rijksprentenkabinet, Rijksmuseum,
Amsterdam)
Used in:
Imagines (1587), no. 49; Imagines (1595), no. 49;
Italorum ..... (1600), no. 13; Imagines ..... (1606), no. 49
Lit.
TIB. 56, p. 448, no. 112
Ludovico Ariosto (Ludovicus Ariostus), Reggio Emilia
1474 - Ferrara 1533; Italian poet in service of the court
at Ferrara, author of the Orlando Furioso (1532), published
in a French translation by Plantin (Voet 1980-83,no. 592).
Engraved by Philips Galle, verses by Frans van Ravelingen.
9
AVENTINUS, JOHANNES (1567) '
17.0x11.9 cm.
In lower margm:"IOHANNES AVENTINUS BOIUS./
Scripsit Aventinus LINGUAE PRIMORDIA GRAE»
CAE,/Ac patriae ANNALES historiamque suae./ Multa
etiarn caecis quae sunt suppressa tenebris,/ Haec quorum
tibi sit, Lector, imago loco" (five lines)
In margin right: "38"
Appendix 2E
239
I.
In lower margin: "I OH ANNES AVENTINUS
BÄVARUS". Proof without verses used in 1567-edition.
Dresden (Kupferstichkabinett der Staatlichen Kunst­
sammlungen, Dresden), The Hague (Koninklijke Biblio­
theek, Den Haag, bound with 1572b-edition)
II.
As described. Used In 1587-, 1595- and 1606-editions.
Used in:
Virorum (1567), no. ??; Imagines (1587), no. 38;
Imagines ..... (1595), no. 38; Imagines ..... (1606), no. 38
Lit,:
TIB. 56, p. 449, no. 113
Johannes Aventinus (JohannesTurmaier), Abensberg 1477
- Regensburg 1534; German humanist and historian, his­
toriographer to the Dukes of Bavaria, sympathized with
the Reformation. Engraved by Philips Galle, verses by
Frans van Ravelingen.
10
AYALAj BALTHASAR (1604)
16.0 x 10.9 cm.
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
ATOR/ REGIUS MACHLINIENSIS. / FeLIX Ingenlo,
retiior graVIs, arte dlsertVs/ LIngVIsqVe, et CLarVs IVre
perltVs erat:/ RegIVs In beLLo IVdeX, desCrlpsIt, et
ILLa/ BeLLICa, qVae aeqVaLI IVra bILanCe dabat:/
prlnCIpIbVsqVe VIrls gratVs, deCoratVs honoro/
officio, seros oCCIdlt ante dies" (eight lines)
In margin left: "27"
In margin right: "hid. de Weert Syndlcus Antverp."
I.
As described. Used in 1604- and 1608-editions.

II.
Portrait slightly reworked. Used in Foppens 1739.
Used in;
Illustriurn Gaüiae ..... (1604),no.27;Illustrium Galliae
(1608), no. 27; Foppens 1739, vol. I, p. 121
Balthasar Ayala, Antwerp 1548 - Aalst 1584; Belgian jurist
in service of the Duke of Parma, member of the Grote
Raad m Malines. Engraved in the Galle workshop, vers­
es by Joos de Weerdt.
11
AYTTA VAN ZWICHEM, VIGLIUS VAN (1587)
After Frans Pourbus the Elder
16.9 x 11.8 cm.
In lower margin:"VIGLIUS ZUICHEMUS, FRISIUS./
Atria lustitiae haud opus, est servare dracones;/ Pervigil
est Divae Viglius ante fores,/ Hinc ilium ob vigilcs ani-
mos vigilesq[ue] labores,/ Praeposuit summo Belgica
Consilio." (five lines)
In margin right: "6".
I.
As described. Used in 1587- and 1595-cdinons.
n.
Added above portrait, at top centre: "Moritur Bruxellis
septuagenarius CIC[in reverse]. IC[in reversejLXXVHI.
postrid, Non. Maias."; verses in lower margin slighdy
changedr'VIGLIUS ZUICHEMUS, FRISIUS,I.C.[,I.C.
added]/ ...." (five lines); erased in margin right: "6",
replaced by "Fr. Raphelengius", added in margin left:
"19." Used in 1604-, 1606- and 1608-edirions.
IH.
Portrait heavily reworked, erased in margin left:'"19". Used
In Foppens 1739.
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
Appendix 2E
24Ö
Lit.:
TIB. 56, p. 493, no. 204;Wescher 1927; HoogewerfFl957-
59, pp. 63-64.
Viglius (Wigle) van Aytta van Zwichem (Viglius
Zuiehemus),Barrahuis 1507 - Brussels 1577; Dutch jurist,
diplomat and statesman, political opponent of Alva, loyal
to the Spanish Crown. Engraved by Philips Galle, verses
by Frans van Ravelingen, Copied in reverse after a paint­
ing by Frans Pourbus the Elder, of which one of the many
versions is in the Kunstmuseum, Dusseldorf.
12
AZPILCUETA, MART1NUS AB (1587)
After EneaVico
16.9 x 11.7 cm.
In lower margin: "MARTINUS NAVARRUS AB
ASPILCUETA./ His etiammcrito Doctor Marrine tabel-
lis/ Conspiceris genij ob regia dona tui:/ Rex cluis Inge-
rno,rex codice juris utroque;/ Hispano regi jure Navarre,
places." (five lines)
In margin right: i£
8".
Used in:
Imagines (1587), no. 8; Imagines (1595), no. 8;
Imagines (1606), no. 8
Lit.:
TIB. 56, p. 479, no. 176; Dwyer 1990, p. 62, fig. 29
Martinus ab Azpilcueta (Martinus Navarrus, also called
Doctor Navarrus),Barasoain 1492 - Rome 1586; Spanish
priest, canonist and moralist, several of his studies were
published by Plantin (Voet 1980-83, nos. 615-617).
Engraved by Philips Galle, verses by Frans van Ravelingen.
Copied in reverse after an engraving attributed to Enea
Vico in Benavidcss Illustrium iureconsukorum imagines
(1566).

13
BACKERS, PETRUS BE (1604)
16.7 x 11.2 cm.
Above portrait, at top centre: "Obijt Gandavi in patna
prid. Id. Febr. CIC[in reverse]. ICjin reverse]CI. AEt.
LXXXIV."
In lower margin: "PETRUS BACHERIUS, DOMINI-
CANUS,/ DOCTOR THEOLOGUS, POETA, ET
ECCLESIASTES EXIMIUS./ Haee sunt Baccherij, quae
cernltis, ora diserti,/ Cuius lingua sacrum nil nisi manna
pluit./ Haerese on [partly In Greek letters] vixit mastijx
imrrutis, et idem/ Mitis amor Charltum, Pieridumq[uel
fuit." (six lines)
In margin left: "15."
I.
As described. Used in 1604- and 1608-editiQns.
n.
Erased in margin left: "15" Used in Foppens 1739.
Used In:
Illustrium Galliae (1604),no. 15;IHustrium Galliae .....
(1608), no. 15; Foppens 1739, vol. II, p. 952
Petrus de Backere (Petrus Backerius), Ghent 1517-1601;
Belgian theologian and inquisitor, Dominican monk, two
of his works were published by Plantin (Voet 1980-83,
nos. 619-620). Engraved in the Galle workshop, verses by
Aubert Le Mire.
14
BARTOLO DA SASSOFERRATO (1587)
After Enea Vico
17.0 x 11.9 cm.
In lower margin: "BARTOLUS DE SAXOFERRATO./
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".
Appendix 2E
241
Used in:
Imagines ..... (1587), no. 14; Imagines ..... (1595), no. 14;
Imagines (1606), no. 14
lit,:
TIB. 56, p. 450, no. 115; Dwyer 1990, p. 62, fig.
Bartolo da Sassoferrato (Bartolus de Saxoferrato),
Sassoferrato 1313/14 - Perugia 1357; Italian jurist and
glossator. Engraved by Philips Galle, verses by Frans van
Ravelingen. Copied with several alterations after an
engraving attributed to EneaVico in Benavides's Illustrium
iureconsullomm imagines (1566).
15
BAUDOUIN, FRANCOIS (1604)
15.3 x 10.7 cm.
Above portrait, at top centre; "Decessit Lutetiae
Parisiorum III. Id. Novemb. CIC[in reverse]. IC[in
reverse]LXXIIL AEt. LIII
In lower margin: "FRANCISCUS BALDUINUS
ATREBAS LC./ Franciscus est hie Balduinus nomine,/
Re Baldus alter, nomen ipsum quod notat:/ Non crassa,
ut Hie, doctus ipse Pallade,/ Sed maximam qui Imis ad
prudentiam/ Utriusque, veteris et novae scientiam/
HIstoriae, et eruditionis lunxerat." (seven lines)
In margin left: "21."
In margin right:'To. Auratus Poeta Regius"
Used in:
Illustrium Galliae ..... (1604),no. 21;Illustrium Galliae
(1608), no. 21
Francois Baudouin (Franciscus Balduinus), Arras 1520 -
Paris 1573; French jurist and theologian, fiercely opposed
Calvin and Beze in his publications, uncle of Francois de
Monceaux. Engraved in the Galle workshop, verses by
Jacques Aurata.

16
BEATUS RHENANUS (Î567)
17.7 x 12.4 cm.
In lower margin:"Beams Renanus/ Scptimii sacri cineres,
et clausa favillis/ Vesuviams anima docu plinii,/ Multurn
se debere tibi Rhénane fatcntur:/ At ora durae hoc
amplius germaniae,/ Cui veteres sedes dextre, populos que
dedisà/ Quos domina rerum roma quonda[m] scrrpscr-
at " (seven lines)
I.
As described. Used in 1567-edition.
AmsterdamfRijksprentenkabinet, Rijksmuseum, Am­
sterdam), The Hague (Koninklijke Bihliotheck, Den
Haag, bound with 1572b-editLon)
n.
Verses in lower margin replaced by: "BEATUS
RENANUS SFXEZES TADIENSIS./ Piurima scripta
Notis preclara, Beate, beasti,/ Estque heata tuo Teutonis
ora stylo;/ Quapropter varijs felix celebrabere terns;/
Dumq[ue] beas alios te simul ipse beas." (four lines); added
in margin left: "35.''Used in 1587-, 1595-, 1606-cditions.
Used in:
Virorum ..... (1567), no. ??; Imagines ..... (1587), no. 35;
Imagines (1595), no. 35; Imagines .... (1606), no. 35
lit.:
TIB. 56, p. 450, no. 116
Beams Rhenanus (Beat Bild, Beat Rinower), Schlettstadt
1485 - Strasbourg 1547; German humanist and philolo­
gist, friend of Erasmus, whose Opera Omnia (Basle 1540)
he edited. Engraved by Philips Galle, verses by ?? (1567-
edition) and Frans van Ravelirigen (1587-edition).
17
BELON, PIERRE (1587)
16.7 x 11.7 cm.
In lower margin: "PETRUS BELLONIUS./ Quotquot
sunt sparslm mundo miracla, latebant;/ Belloni at cunc
Appendix 2E
242
tis nota facis populis:/ Quin iam pyramidum occiderat
Babylonia moles./ Doctorum calamis cedite pyramides."
(five lines)
In margin right: "41".
Used in:
Imagines .... (1587), no. 41; Imagines (1595), no. 41;
Imagines ..... (1606), no. 41
Lit.:
TIB. 56, p. 451, no. 117
Pierre Belon (Petrus Bellonius, also called Cenomanus),
Le Mans 1517 - Paris 1564; French physician, chemist and
zoologist, several of his works were published by Plantin
(Voct 1980-83, nos. 637-639). Engraved by Philips Galle,
verses by Frans van Ravelingen.
18
BEMBO, PIETRO (1567)
After Titian
17,9 x 12.4 cm.
In lower margin: "Petrus Bembus. card./ Urbis ego
euganeae civis, pía cura parentum/ Me bembum dixit,
fama super aethera notum./ Conditor historiae venetae
volitabo per ora/ Docta virum: pars purpurei baud
postrema senatus./ Roma meo est olim cálamo feliciter
usa,/ Imperii decimus leo quum tractaret habenas." (seven
lines)
I.
As described. Used in 1567-edition.
Madrid (Gabinete de estampas y bellas artes, Biblioteca
Nacional, Madrid), Vienna (Sammlung Schloss Ambras,
Kunsthistorischcs Museum, Wien)
Ha.
Verses in lower margin replaced by new text in letterpress:
PETRUS B EMBUS,VE NET US. / Bembc decus clarum
Ausoniae, te Roma discrtum est/ Mirata antiquis eximi-
jsque parem:/ Divinas patriae auxisti,et muñera linguae,/
Ut sit iam priscis non minor eioquijs." (five lines); added
in margin right, also in letterpress: "A3". Used in 1572a-
edition.

lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription; "PETRUS BEMBUS,
VENETXJS./ .....Arisoriiae [instead ofAusoniae] .....patriae
ut auxisti et munera linguae [ut added, two comma's left
out] .....** (five lines); added in margin right,also engraved;
"A5". Used In 1572b-edition.
m.
i S
Erased in margin right: A5". Used In XII Cardinalium
(1598).
Used in:
Virorurn (1567), no. ??; Virorum ..... (1572), no. A5:
XII Cardinalium (1598), no. 8
Lit.:
TIB. 56, p. 452, no. 118
Pietro Bembo,Venice 1470 - Rome 1547; Italian poet and
humanist, appointed as a cardinal in 1539. Engraved by
Philips Galle, verses by ?? (1567-edition) and Benito Arias
Montano (1572-edition). Copied in the same direction
after an engraving by Giulio Bonasone (Bartsch 344) or
EneaVico (Bartsch 242),both considered to be after a lost
painting by Titian.
19
BENAVTBES, MARCO MANTOVA (1587)
After Enea Vico?
16.9 x 11.8 cm.
In lower margin:"MARCUS MANTUA BONAVTTIS. /
Quam diu juridicis remanebit gloria scriptis/ Et quam diu
sanis ullus bonos studijs;/ Tamdiu scripta hbrique tui,
Bonavite, manebunt,/ Et parlter nomen per tua scripta
tuum" (five lines)
In margin right:"23".
Used in:
Imagines ..... (1587), no. 23; Imagines ..... (1595), no. 23;
Imagines ..... (1606), no. 23
Lit.:
TIB. 56, p. 472, no. 161
Appendix 2E
243
Marco Mantova Benavides (Marcus Mantuanus
Bonavitis), Padova 1489 - 1582; Italian humanist and
jurist, professor of Law in Padova, author of the Illustrium
iureconsuhorum imagines (first published by Antonio Lafreri
in 1566, with engravings attributed to EneaVico) on
which Philips Galle based most of his portraits of Italian
jurists. Engraved by Philips GaUe, verses by Frans van
Ravelingen. Copied after an engraving by EneaVico.
20
BEVERUS, JOHANNES (1604)
16.9 x 11.4 cm.
Above portrait, at top centre: "Excessit e vita Lovanij
postnd. Non. Novemb. CICjm reverse]. IC[in
reverse] LXIII. AEt. XLVHI."
In lower margin: "IOANNES BEVERUS HANNO/
PHILOSOPHUS./ Dum Sophiam Illustras, et inania
SEVERE pellis/ Somnia, fis promus condus Aristotelis./
Nunc coelo colis, et quas rerum hie dicere caussas/ Non
poteras plenis mde vides oculis." (six lines)
In margin left: "34."
In margin right:" Auk Miraeus."
I.
As described. Used in 1604- and 1608-editions.
XL
Erased in margin left: "34 is
. Used in Foppens 1739.
Used in:
Illustrium GaJliae ..... (1604),no,34;Illustrium Galliae
(1608), no. 34; Foppens 1739, vol. I, p. 580
Johannes Beverus (Johannes Serjacobs), Beveren 1515 -
Louvain 1563: Belgian scholar, professor of philosophy in
Louvain. Engraved in the Galle workshop, verses by
Aubert Le Mire.

21
BLOïS, LOUIS DE (1604)
16.8 x 11.5 cm.
Above portrait, at top centre:"ObltVIL Id. lanuar. ClC[in
reverse], IC[in reverse]LXVI. AEt. LIX."
In lower margin: "LUDOVÏCUS BLOSÏUS ABBAS
LAETIENSIS/APUD H ANN O NES. / Gallia Bernardo,
Francisco Roma trmmphat,/ Boetica non unum tolllt in
astra virum./ Relligionis opes magno non invidet orbi/
Quas habet in BLOSIO LAETIA laeta suo " (six lines)
In margin left:" 13".
I.
As described. Used in 1604 - and 1608-editions.
n.
Erased in margin left: "13"; added in margin right: "Max.
Habbecanus Bruxell. Soc. Iesu."
Brussels (Prentenkabinet, Koninklijke Bibliotheek
Albert I, Brussel; Cabinet des estampes. Bibliothèque
Royale Albert Ier, Bruxclles)
HL
Erased in margin right: "Max. Habbecanus Bruxell. Soc.
lesu." Used in Foppens 1739.
Used in:
Iliustrium Galliae (1604),no. 13;Hlustrium Galliae
(1608), no. 13; Foppens 1739, vol II, p. 827
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.
Engraved in the Galle workshop, verses by Maximiliaan
van Habbeke.
22
BOCCACCIO, GIOVANNI (1572)
After Giorgio Vasari
17.6 x 12.2 cm.
In lower margin, in letterpress: 'TOHANNES BOC-
Appendix 2E
244
CATIUS FLO-/ RENTINUS./ Artibus humanis
coluerunt tcmpora clarum/ Te tua, Boccati, tunc bene
docta minus:/ Argumenta illo tamen et tu plurima seclo/
Scribis, quae et nostris temporlbus placeant" (six lines)
In margin right, also in letterpress: "E8".
I.
As described. Used in 1572a-edition.
II.
Caption with Boccaccio's name engraved in oval border
around portrait: "JOHANNES BOCCATIUS FLO-
RENTINUS. 5
'; verses in letterpress in lower margin
replaced by identical inscription; "Artibus huminis
coluerunt .,„.." (four lines); added In margin right, also
engraved:"E8'\ Used m 1572b-edition,
Used in:
Virorum (1572), no. E8
Lit.:
TIB. 56, p. 452, no. 1.20; Burgers 1988, p. 11.8, no 105
Giovanni Boccaccio, Florence 1313 - Cextaldo 1375;
Italian poet and humanist, author of the Decamerone
(1353), published In a French translation by Plantin (Voet
1980-83, no. 735). 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
35 in turn copied after a painting by GiorgioVasari of which
several versions exist. The original painting is now in the
collection of the Oriel College in Oxford.
23
BUCER, MARTIN (1567)
17.5 x 12.4 cm..
In lower margin: "Martinus Bucerus/ Ludibrium sortis,
vane lactams artci,/ Doctrinae pangís semina ubique
tuae./ Praereptum fato tumulaverat anglia corpus,/ Quod
cadit in tristes atra fa villa rogos./ Regia sed clnebres virgo
miserata repostos/ Urnae supremo inssit honore dari"
(seven lines)

The Hague (Koninklijke Bibliotheek, Den Haag, bound
with 1572b~edition)
Used in:
ViroFurn (1567), no. ??
Lit.:
TIB. 56, p. 45Lno. 119
Martin Bucer (Martin Buister, Martmus Bucerus),
Sehlettstadt 1491 - Cambridge 1551; German theologian
and reformer, as a Dominican monk converted by Luther
around 1520, active as a preacher in die region of Hessen.
Engraved by Philips Galle, verses by ??
24
BUBE S GUXLLAUME (1572)
After jean Clouet?
17.8x12.2 cm.
In lower margin, in letterpress: "GUIL1ELMUS
BUDAEUS,/ PARISIENSIS./ Romanae et Graecae qui
signet pondera librae/ Budaeo nemo est plenior aut
melior./ Qui juris solvat nodos monumentaque linguae/
Cecropiae ostendat plurima nemo prior." (six lines)
In margin right, also in letterpress:"E2".
la.
As described, Used in 1572a~edidon.
Ib.
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
in margin right, also engraved: "E2". Used In 1572b-
ediuon.
Used in:
Virorum ..... (1572), no. E2
lit.:
TIB. 56, p. 452, no. 121
GuillaumeBude (GuilielmusBudaeus),Paris 1468 - 1540;
French humanist and philologist in service of the French
Appendix 2E
245
Crown, acquainted with humanists as Erasmus and
Thomas More. Engraved by Philips Galle, verses by Benito
Arias Montano. After a painting by Jean Clouet?
25
BUGENHAGEN, JOHANNES (1567)
After Lucas Cranach
17.6 x 12.4 cm.
In lower margin; "Ioannes Bugenhagius Pomeranus./ SI
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)
Paris (Cabinet des estampes, Bibliothèque Nationale,
Paris), The Hague (Koninklijke Bibliotheek, Den Haag,
bound with 1572b-edItion), Vienna (Oester-reichische
Nationalbibliothek (Porträtsammlung), Wien)
Used in:
Virorum ..... (1567), no. ??
Lit,:
TIB. 56, p. 453, no. 122
Johannes Bugenhagen (also called Pomeranus), WolUn
1485 - Wittenberg 1558; German theologian and
reformer, friend of Luther, professor of theology in
Wittenberg. Engraved by Philips Galle, verses by ?? After
a painted prototype by Lucas Cranach the Elder, dated
1543.
26
BUSBECQ, O GIER GHÏSLAIN DE (1604)
16,1 x 10.7 cm.
Above portrait, at top centre:" Vita decessitV.Kal.Novemb.
CIC[in reverse], IC[in reversejXCL"
In lower margin: "AUGERIUS GISLENUS BUSBE-
QUIUS./ Te voce, Augen, mulcentem Caesaris aures/
Laudavit plausis Austrius Ister aquis./ Te Duels Ismarij
flectentem pectora verbis/Thrax rapido obstupuit

Bosphorus e pelago./Te gessisse domum pro nata Caesaris,
ingens/ Sequaiïaconspexit,Parisijq[ue] lares" (seven lines)
In margin left: "44."
In margin right:"I. Lcrnutius."
I.
As described. Used in 1604- and 1608-editions and
Foppens1739.
n.
Erased in margin left: "44".
Amsterdam (Rijksprentenkabinet, Rijksrnuseum,
Amsterdam)
Used in:
Illustrium Galliac (1604),no.44;IHustrium Gallia e .....
(1608), no. 44; Foppens 1739, vol. I, p. 111
Lit:
Van Crombruggen 1955, p. 115, p. 152; Le Loup 1983-
84, p. 114, no. 25
Ogier Ghislain de Busbecq (Augerius Busbequius),
Comines 1522 - Rouen 1592; Belgian diplomat and
scholar, who inter alia collected manuscripts in service of
the Habsburg court. Later in service of the French queen.
His report of a diplomatic journey to the Turkish court
was published by Planrin (Voet 1980-83, nos. 851-852).
Engraved In the Galle workshop, verses byjanus Leernout.
27
CALVIN,JEAN (1567)
17.6 x 12.3 cm.
In lower margin: "loannes Calvinus./ De vitulo fmgit
frustra adversaria nomen/ Secta rnihi: sunt qui deducant
norninis ortum/ Ex Indefesso dictandi scripta calorc:/ In
medium revocant alii diro omlne caussam/ Calvitii: at
ludant, dum innoxia spicula spargunt,/ Dum favet et
fhiitur nostris mea gallia chartis." (seven lines)
Coborg (Kupfcrstichkabinett der Kunstsammlungen
Veste Coburg, Coburg, hand-coloured impression with
different, handwritten verses ), Paris (Cabinet des estam­
pes, Bibliothèque Nationale, Paris),The Hague
Appendix 2E
246
(Koninklijke Bibliotheek, Den Haag bound with 1572b-
edition), Vienna (Oesterreichische Nationalbibliothck
(Portratsammlung), Wien)
Used in:
Virorum ..... (1567), no. ??
Lit.:
SeUink 1992a, pp. 22-23
jean Calvin (Jean Cauvin, Johannes Calvinus), Noyon
1509 - Geneva 1564; French theologian and reformer,
author of the influential Institutio religionis Chrisiianae
(1536). Engraved by Philips Galle, verses by ??
28
CAMERARIUS, JOACHIM (1567)
17.2 x 12.3 cm.
In lower margin:"loachirnus Camerarius/ Quismerita te
laude fcrat camerarie? gentis/ Qui gloria antiquae et
decus,/ Sic certe germani oculus nitidissimus orbis,/
Dicendus es vel me arbitro./Te graiac pariter patrem latl-
ae que camoenae/Venerantur, agnoscunt: colunt." (seven
lines)
I.
As described. Used in 1567-edmon.
Vienna (Sammlung Schloss Arnbras, Kunsthistorisches
Museum, Wien)
Ha.
Verses in lower margin replaced by new text in letterpress:
"IOACHIMUS CAMERARIUS/ PAPENBERGE-
NIS./ Humanis studijs ciarus, Joachime, fuisti,/ Fax
Graeca affulsit faxque Latina tibi./ Nec tc Germani
Medicum videre priorem,/ Caetera sed celebrent qui
magis ilia probant" (six lines); added in margin right, also
i !
in letterpress: D6". Used in 1572a~edition.
lib.
Verses in letterpress in lower margin replaced by engraved,
slighdy different inscription:"!OACHIMUS CAMERA­
RIUS PAPENBERGENIS. [one line]/ ..... assulsit
[instead of affulsit] >s
(five lines); added in margin right,also

engraved: "D6"- Used in 1572b-editian.
Used in:
Viroram (1567), no. ??;Virorum ..... (1572), no. D6
lit.:
TIB. 56, p. 453, no. 123
Joachim Camerarlus (Liebhard Kammermeister),
Bamberg 1500 • Leipzig 1574; German philologist, ped­
agogue and theologian, moderate reformer, friend of
Melanchton.Engraved by Philips Galle, verses by ?? (1567-
edition) and Benito Arias Montano (1572-edition).
29
CANISIUS, PETRUS (1604)
17.0 x 11.3 cm.
Above portrait, at top centre: "Decessit Friburgi
Helvetiorum An. Sal. CIC[in reverse]. IC[in
reverse jXCVIILAEt, LXXVII"
In lower margin; "PETRUS CANISIUS NEOMAGUS
SOC. IESUTHEOLOGUS,/ Obscure quae fama rogo,
quae ilamma superstes/ Corda redaeeendit vividiore
face?/ Nempe novum caelo placidumq[ue] CANISIUS
Astrum/ lam propior CHRISTO fulgurat igne novo?/
Sic fundit flammas, cui Sideris auctor IESUS,/ Ipsa Fides,
radius; Spes, lubar; ignis, Amor" (seven lines)
In margin left: "17."
I.
As described. Used in 1604- and 1608-editions.
n.
Erased in margin left; "17." Used in Foppens 1739.
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
Appendix 2E
247
tined in 1925. Many of his works were published by
Plantin and his successors (Vbet 1980-83, nos. 873-903).
Engraved in the Galle workshop, verses byAubert Le Mire.
30
CANTER, WILLEM (1604)
16.0 x 11.0 cm.
Above portrait, at top centre:**Obit Lovanij XV Kal. Iunij.
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,
Plinius alter eras./ Dum tamen alternam mens indefessa
quietem/ Abnuit, es vitae prodigus ipse tuae." (five lines)
In margin left:"40"
In margin right; "A. Miraeus."
I.
As described. Used in 1604- and 1608-editions,
XL
Erased in margin left:"40"; vaguely visisble in margin left:
"61" (trace of another state?). Used in Foppens 1739.
Used in:
Ulustrium Galliae .....(16Q4),no.40;lUustrium Galliae
(1608), no. 40; Foppens 1739, vol I, p. 394
WiHem Canter (Guilielmus Canterus), Utrecht 1542 -
Lou vain 1575; Dutch philologist and Ladnist, several of
his works were published by Plantin (Vbet 1980-83, nos.
909-911). In the upper left corner a sandglass is engraved,
referring to his untimely death as referred to in the vers­
es. Engraved in the Galle workshop, verses by Aubert Le
Mire.

Appendix 2E
31 engraving attributed to EneaVIco in Benavides s îUusirium
CASTRO, ANGELO DA (1587)
16.8 x 11.5 cm.
In lower margin: "ANGELUS DE CASTRO./ Cuius
depicta hie atquc ora silentia ccrnis,/ Doctorum Italiae
pars quoq[ue] magna virum est,/Vivum olim vidit leges
et iura docentem/ Urbs Patavi studijs splendida Picrijs."
(five lines) In margin right: "20".
Used in:
Imagines (1587), no. 20; Imagines (1595), no. 20;
Imagines .... (1606), no. 20
Lit.:
TIB. 56, p. 454, no. 124
Angelo da Castro, Siena? c. 1410 - Padova? c. 1480; Italian
jurist and canonist, son of Paolo da Castro. Engraved by
Philips Galle, verses by brans van Ravelingen.
32
CASTRO, PAOLO DA (1587)
After Enea Vico
16.9 x 11.8 cm
In lower margin: "PAULUS DE CASTRO./ Te quoque
in arte sua fecit Themis alma magistrum,/ Et consulto-
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".
Used in:
Imagines (1587), no. 19; Imagines (1595), no. 19;
Imagines (1606), no. 19
Lit.:
TIB. 56, p. 454, no. 125; Dwyer 1990, p. 62, fig. 9
Paolo da Castro, Castro c. 1360 - Padova 1441; Italian
jurist, professor of law in Padova, father of Angelo da
Castro. Engraved by Philips Galle, verses by Frans van
Ravelingen. Copied with several alterations after an
248
iureconsuliômm imagines (1566).
33
CLEYNAERTS, NIC OLA A S (1604)
16.2 x 10.7 cm.
Above portrait, at top centre: "Moritur Granatae in
Hispania anno fere ClCjm reverse]. IC[in reversejXLIL"
In lower margin: "NICOLAUS CLENARDUS DIS
TEMIUS BRABANTUS./ Monstrat iter Solymum
CAMPENS1S; Grains Apollo est/ RESCIUS; elahi
Ciccroriis ab ore videtur/ Linguae Suada tuae NANNI,
blandique lepores./ CLENARDUS variare vices, tripli-
cique sonare/ Ore docet,grataque levât novitatc laborem."
(six lines)
In margin left: "38"
In margin right: "Aub. Miraeus."
Used in:
Illustrium Galliae (1604),no.38;lUustrium Galliae .....
(1608), no. 38
Nicolaas Cleynaerts (Nicolaus Clenardus), Diest 1495 -
Granada 1542; Belgian humanist, scholar of the Greek,
Hebrew and Arab language, several of his studies were
published by Plantin (Voet 1980-83, nos. 996-1005).
Engraved in the Galle workshop, verses by Aubert Le Mire.
34
COLLENUCCÎO, PANBOLFO (1587)
16.8 x 11.7 cm.
In lower margin: "PANDULPHUS COLLENUCIUS
PISAURUS./ Laus haec, quam dabo, sola CollenucI/
Déclarât satis erucitionem:/ Eius eloquium Sacri
Imperator/ Caesar Imperij audijt, probavit." (five lines)
In margin right: "45".
Used in:
Imagines (1587), no. 45; Imagines (1595), no. 45;

Italomm ..... (1600), no. 14; Imagines ..... (1606), no, 45
Lit.:
TIB. 56, p. 455, no. 127
Pandolfo Collenucclo, Pesaro 1444 - 1504; kalian poet,
historiographer and diplomat in service of several North
Italian courts. Engraved by Philips Galle, verses by Frans
van Ravelingen.
35
COMMYNES, PHILIPPE DE (1604)
16.7 x 11.5 cm.
Above portrait, at top centre: "Oh ijt in Pictonibus XVL
Kal. Septemb. CIC[in reverse], IC['in reverse] IX. AEtat.
LXIV"
In lower margin: "PHILIPPUS COMINAEUS FLAN--
DER EQUES,/ HISTORICORUM PRINCEPS./
Vidit, et invidit me Gailica bella notasse/ Crispus Romana
primus in Historia:/ Si te Roma suo, dixit, serrnone beasset,
/ Comminaee fores primus in Historia." (six lines)
In margin left: "43,"
In margin right: "Aub. Miraeus."
Used in:
Illustrium GaiHae .....(1604), no. 43; IUustrium Galliae .....
(1608), no. 43
Philippe de Commynes (Philippe de la Clyte, Philippus
Commaeus), Commes 1445 - Argenton 1509; Belgian
chronicler and diplomat in service of the French Crown,
one of his studies was published by Plantin (Voet 1980-
83, no. 1011). Engraved in the Galle workshop, verses by
Aubert Le Mire.
36
CORTI, FRANCESCO (1587)
16.9 x 11.6 cm.
In lower margin: "FRANCISCUS CURTIUS./
lurisconsulti quamvis sint nomine eodem/ Bini sitque
Italo natus uterque solo;/ Quem cernís solus his picta
Appendix 2E
249
habet ora tabellis;/ Sint licet arte pares, hoc minor alter
erit." (five lines)
In margin right: "24".
Used in:
Imagines ..... (1587), no. 24; Imagines (1595), no. 24;
Imagines (1606), no. 24
lit.:
TIB. 56, p. 457, no. 130; Dwycr 1990, p. 62
Francesco Corti (Franciscus Curtius), Pavia (birthdate
unknown) - 1495; Italian jurist, uncle of: Franceschino
Corti (also known as Franciscus Curtius),Pavia (birthdate
unknown) - Padova 1533; Italian jurist and diplomat.The
verses suggest that the younger Corti is depicted.
However, comparison with his portrait in Benavides s
Illustrium iureconsultorum imagines (1566) shows that the
appearance of Franceschino is completely different in
comparison to Galles portrait.This would imply that the
elder Corti is portrayed; his features are, however, not
included in Benavides s book. Engraved by Philips Galle,
verses by Frans van Ravelingen.
37
COSTA, CHRISTOPHORUS A (1587)
16.8 x 11.8 cm.
In lower margin: "CHRISTOPHORUS A COSTA/
Noscendis mulrum tu Costa cxcellis in herbis,/ Nominis
at passim hand cognita fama tui est:/ Sed ineritis, ut spero,
tuis tua gloria crescet,/ Et per te hortensi crescet honor
studio." (five lines)
In margin right: "30".
Used in:
Imagines (1587), no. 30; Imagines ..... (1595), no. 30;
Imagines (1606), no. 30
lit,:
TIB. 56, p. 456, no. 128
Christophorus a Costa, Mozambique (birthdate
unknown) - Burgos 1580; Spanish botanist, one of his
works was published by Plantin (Voet 1980-83, no. 1038),
translated and edited by Charles de l'Escluse. Engraved by

Philips Galle, verses by Frans van Ravelingen.
38
CRATO, JOHANNES (1567)
After Marrino Rota
17.0 x 11.7 cm.
In lower margin: 'TOAN. CRATO A CRAFTHEIM,
DIVI FERD. I. ET MAXIMIL./ .II. IMPP. CAESS.
AUGG. ARCH I AT. ET CONS./ Cratonis METHOD-
US THERAPEUTIC A prodijt ausis,/ Doctrinae ad nor-
mam, doctc Galene, tuae,/ Caesareae merito medicus
cluet inclytus aulae;/ Et paucos videas dexteritate pares."
(six lines)
In margin right:"28",
I.
In lower margin: "IOAN CRATO A CRAFTHEIM,
DIVI FERD. I. ET MAXIMIL./ .II. IMPP. CAESS.
AUGG.ARCHIAT. ET CONS." (two lines). Proof with­
out verses.
The Hague (Koninklijke Bibliotheck, Den Haag, bound
with 1572b-edition)
n.
As described. Used in 1587-, 1595- and 1606-cditions.
Used In:
Imagines (1587), no. 28; Imagines (1595), no. 28;
Imagines (1606), no. 28
Lit.:
TIB. 56, p. 456, no. 129
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.
Appendix 2E
250
39
DAMHOUDEREJOOST DE (1587)
16.9 x 11.9 cm.
In lower margin: 'TODOCUS DAMHOUDERUS/
Eximijs tot sparsa viris urbs inclyta Brugae,/ (Est quae
natal! patrla terra tuo)/ Atque tujaje PRAXES, cunctis
opus utile doctis,/ Tcque tuumque poll nomen ab astra
ferunt." (five lines)
In margin right: "26".
I.
As described. Used in 1587- and 1595-editions.
n.
Added above portrait, at top centre: "Vlvere desijt
Aritverpiae XL Kal. Febr. CIC[in reverse]. IC[in
reverse]LXXXI. AEt. LXXIV."; verses in lower margin
slighdy changed:"IODOCUS DAMHOUDERIUSJ.C
[instead of IODOCUS DAMHOUDERUS.]/ (five
lines); erased in margin right: "26", replaced by:
"Fr. Raphelengius added in margin left: "22" Used in
1604-, 1606- and 1608-editions.
Used mt
Imagines (1587), no. 26; Imagines (1595), no. 26;
Illustrium Galliae (1604), no. 22; Imagines (1606),
no. 26 (numbered 22); Illustrium Galliae (1608), no.
22
Lit.:
TIB. 56, p. 457, no. 131
joost de Damhoudere Qodocus Damhouderius), Bruges
1507 - Antwerp 1581; Belgian jurist in service of the
Spanish Crown, author of several influential studies on
criminal law. Engraved by Philips Galle, verses by Frans
van Ravclingen.

40
DANTE AIIGHXERX (1572)
After Giorgio Vasari
17.7 x 12.2 cm.
In lower margin, in letterpress: "DANTES ALIGERUS
FLO-/ RENTINUS./ lactat et ipsa suumVatem Florentia
Dantem,/ Doctrma antiquis iudicioque parem./ Quid
deceat, quid non deceat, quae meta malls sit,/ Quaeque
bonis, raulta cum gravitate canit." (six lines)
In margin right, also in letterpress:

43
DINTER, EDMUND VAN (1604)
16.2 x 11.9 cm.
Above portrait, at top centre."Decessit Bruxellis XIII.Kal.
Manias CICjin reverse]. CCCCXLVIIL"
In lower margin: "EMUNDUS DINTERUS, BRA
BANTIAE HISTORIOGRAPHUS,/ EIUSQ. DUG!
BUS EX ORDINE IIII.A SECRET IS./ Hie vir,hic est,
tibi quern promitti saepius audis,/ Hie praeco historicus,
terra Brabanta, tuus./ Hoc duce magna Ducum attollet
se farna tuorum,/ Et Latij Heroas ambitiosa premet" (six
lines)
In margin left: "42"
In margin right: "Aub. Miraeus."
I.
As described. Used in 1604- and 1608-edirions.
n.
Erased in margin left: "42". Used in Foppens 1739.
Used In:
lUustrium Galliac ...,.(1604),no.42;lUustriumGaIliae .....
(1608), no. 42; Foppens 1739, vol. I, p. 261
Edmund van Dinter (Emundus Dinterus),Dinthcr c. 1375
- Brussei c. 1.448; Dutch diplomat and historiographer in
service of the Duchy of Brabant, author of a history of
the dukes of Burgundy. Engraved in the Galle workshop,
verses by Aubert Le Mire.
44
BOBOEN5, REMBERT (1572)
17.5 x 12.4 cm.
In lower margin, in letterpress: "ROMBERTUS
DODONAEUS/ MECHLINIENSIS./ Monbus et fide
te testor Rombcrte valcrc,/ Usus nempe mis saepius hos~
pirijs./ Quid Medicus valeas Mechlinia dicet et horti/
Quos struis, in plantis quantus cs, atque libris." (six lines)
In margin right, also in letterpress:"C5"
I.
As described. Used in 1572a-edition.
Appendix 2E
252
Ha.
Caption with name of Dodonaeus engraved in oval bor­
der around portrait: "ROMBERTUS DODONAEUS
MECHLINIENSIS"; verses in lower margin and num­
ber in margin right still in letterpress: "ROMBERTUS
DODONAEUS/ MECHLINIENSIS./ Moribus et fide
" (six lines).
Amsterdam (Rijksprentenkabinet, Rijks-museum,
Amsterdam)
Xib-
Verses in letterpress in lower margin replaced by engraved,
slighdy different inscription: "Moribus atque [instead of
et] fide testor Remberte [instead of et testor Romberte]
valere [no comma]/Te, usus [instead of Usus] .....sa[e]pius
hospitio. [instead of saepius hospitijs] ..... horti. [period
added] (four lines]: added in margin right, also
engraved: 44
C5". Used in 1572b-edirion.
Used in:
Virorum ..... (1572), no, C5
Lit,:
TIB. 56, p. 459, no. 135; De Nave 1993, p. 139, no. 96
Rembert Dodoens (Rembertus or Rombertus
Dodonaeus), Malines 1517 - Leiden 1585; Belgian physi
cian and botanist, author of the widely used Cruydeboeek,
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,
45
DONCEL, MARTINUS (1604)
16.8 x 11.1 cm.
Above portrait, at top centre: "Obijt Amorfortiae XVI.
Kal. Malas, CíC[in reverse], IC[in reverse]XC. AEt.
LXXXV"
In lower margin:"MARTIÑUS DUNCANUS QUEM-
PENAS/ THEOLOGUS LOVANIENSÍS./ Signasti
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

aequa mis " (eight lines)
In margin left: "12."
I.
As described. Used in 1604- and 1608-editions.
n.
Erased in margin left: "12". Used in Foppens 1739.
Appendix 2E
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 -
Amersfoort 1590; Dutch priest, vigorous opponent of the
anabapdsts and the protestant reformers. Engraved in the
Galle workshop, verses by Aubert Le Mire.
46
BOUSÄ, JANUS (1572)
15.7 x 12.0 cm,
In lower margin, in letterpress: "IOHANNES DOUSA
DOMINUS/ A NORTHWIC./ Nobilis et genere est et
carmine Dousa iocoso,/ Moribus integris nobilis ille
etiam est./ DIspeream mihi ni semper placuitque
placebitque/ Ingenij purl doctaque nobtfitas " (six lines)
In margin right, also in letterpress:"Bö".
In.
As described. Used in 1572a-edition.
Ib.
Verses in letterpress m lower margin replaced by engraved,
slightly different inscription: "IOHANNES DOUSA
DOMINUS A NORTHWIC [one line}/ ..... Ingenium
purum, doctaq[ue] [instead of Ingenij puri doctaque] "
(five lines); added In margin right, also engraved: "B6".
Used in 1572b-edition.
Used in:
Virorum ..... (1572), no. B6
lit.:
Sellink 1991-92, pp. 154-155
253
JanusDousa (Johan van derDocs),Noordwijk 1545 - The
Hague 1604; Dutch poet and historiographer, leading
calvinist statesman, friend of Philips GaUe in Haarlem.
Most of his publications before 1585 were published by
Plantin (Voet 1980-83, nos, 1107-1114). Engraved by-
Philips Galle, verses by Benito Arias Montane, This por­
trait is clearly related to the other two portraits of Dousa
engraved by Philips Galle (see below).
DOUSA, JANUS (1568)
10.7 x 8.3 cm.
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
acre/ Foelicem hoc uno nomine Douziadem/ Nec me
luminibus tantis compono, secundum/ O solum liceat
esse, Seeunde, tibl/ Verum olim; nunc sat, illud si dicere
possim/ Inter Nortuices ingeniosus eram." (eight lines).
Around portrait, engraved In oval border: "DULCES
ANTE OMNIA MUSAE IANUS DOUZA A
NOORTWYCK arm. aetatis 23".
Paris (Cabinet des estampes, BibHothèque Nationale,
Pans)
lit.:
Ampzmg 1628, pp. 359-360; Schrevelius 1648. p. 376;
Puraye 1969, p. 64, fig. 82; Heesakkers 1976, frontispiece,
pp.65-67;Veldman 1977,p. 107; Sellink 1991»92,pp. 154-
155
Engraved by Phlips Galle, verses by Janus Dousa.
Separately published portrait, not included in any of the
portrait series.Besides the impression in Paris, there Is also
an impression with the same text included in the album
amicomm of Abraham Ortels (cp. Puraye 1969, loc. cit.)
There the portrait is added to Dousa s personal entry in
this album, die text in letterpress under the portrait also
has two changes m Dousa s own handwriting: "ammose"
in line two reads "Hadriane 3
' and "uno"' in line four is
changed into "etiam".The portrait has been included in
Dousa's Epigrammaium in 1569 (Dousa 1569) without the
text in letterpress in the margin, probably due to reasons
of space, see: Heesakkers 1976. The same text has been

engraved underneath the following portrait of Dousa by
Galle, dated 1570.
46b
DOUSA, JANUS (1570)
17.5 x 12.5 cm.
In lower margin: "Qui Batavum gentis Cornices, qui
sculpere Erasmu[m],/ Ausus et effigiem lum animose
tuarn;/ Hie idem, docile Gallus me expressit in acre/
Foehcem hoc uno nomine Douziadem./ Nec me
lurninibus tantis compono, secundum/ O solum lice[a]t
esse, Secunde, tibi/ Verum ohm. nunc sat, illud si dicere
possim/ Inter Nordvices ingeniosus eram." (eight lines).
Above portrait, at cop centre:"Dulces ante omnia musae/
lanus douza a noortwyck/ aetatis suae 25. 1570" (three
lines).
I.
As described.
Haarlem (Gemeentearchlef, Haarlem)
II,
Copperplate trimmed considerably at left side and at bot­
tom: engraved text in lower margin cut off completely,
coat of arms In the upper left comer cut off par daily; plate
size Is now 10.8 x 7.0 cm.
C©burg (Kupferstichkabinett der Kunstsammlungen
Veste Coburg, Coburg)
Lit.:
Van Boheemen 1986, pp. 88-89, no. 76; Sellink 1991.-92,
pp. 154-155
In the upper left corner of the portrait the coat of arms
of the Dousa-dynasty is engraved. Engraved by Philips
Galle, verses by Janus Dousa. This portrait shows a some­
what older Dousa than the earlier engraving from 1568,
the verses,however, are still the same. In turn,this engrav­
ing was copied in reverse by Galle for his 1572-series of
portraits (see above) with new verses by Benito Arias
Montane. A reduced version (state II, without the verses)
of this portrait was included in Dousa s Nova Poemata
(Dousa 1575).
Appendix 2E
254
47
EBER S GEORG (15S7)
16.9 x 11.9 cm.
In lower margin:"GEORGIUS EDER./ Quantum com­
munis capiat respublica fruetum,/ Cum doccis Princeps
consilljs ffuitur:/ Hoc satis est visum cum tu clarissime
Doctor/ Magni a consilijs C[a] esaris,Eder eras." (five lines)
In margin right: "27".
Used in:
Imagines (1587), no. 27; Imagines .... (1595), no. 27;
Imagines (1606), no. 27
Lit,:
TIB. 56, p. 460, no. 137
Georg Eder, Freising 1523 - Vienna 1587; German jurist
and theologian, councillor to Emperor Ferdinand I, author
of several polemical treatises against the Reformation.
Engraved by Philips Galle, verses by Frans van Ravelmgen.
48
EPO, BOETRJS (1604)
16.0 x 10.8 cm.
Above portrait, at top centre: "Obijt Duaci XVII. Kal.
Decernb, CIC[in reverse]. IC[in reversejXCIX,
Septuagenario malor."
In lower margin: "BOETIUS EPO FRISIUS, COMES
PALATINUS,/ EC. ET ANTECESSOR DUA-
CENOS./ Adspicis hunc mult a vultus gravitate veren-
dum?/ Epo, Fresiadum gloria, talis erat./ Hie grudia
Astraeam deduxit ab urbe Duacum,/ (Scarpus ubi leni
fiumine fmdit agros)/ Et legum Annates, ter denos amplius
annos,/ lura Palatini promermt Comitis" (eight lines)
In margin left: "26."
Used m:
Illustrium Galliae (1604), no. 26; Illustrium Galliae .....
(1608), no. 26
Boetius Epo (Bote Ypes), Roordahuizum 1529 - Douai
1599; Dutch jurist, author of numerous studies on civil
and canon law, professor in Douai. Engraved in the Galle
workshop, verses by Aubert Le Mire.

49
ERASMUS, DESIDERIUS (1567)
After Hans Holbein the Younger
17.7 x 12.2 cm.
In lower margin: "Desiderius Erasmus Roterodamus./
Roterodamo mini tellus natalis origo,/ Non postrenal
inter batavas hinc nominis urbes./ Me celebrant clarum
famae praeconia magnae./ Barbaries per me cessk quod
fmibus exul:/ Divims dederim lucem quod rebus amae-
nam:/ Et Latii imbuerim linguas sermonis honore." (seven
lines)
I.
As described. Used In 1567-edition.
Madrid (Gabinete de estampas y bellas artes, Biblloteca
Nacional, Madrid)
n».
Verses In lower margin replaced by new text in letterpress:
"DES, ERASMUS ROTERODAMUS./ Quis tibi
Erasme bonos studiorum rrhlle labores/ Detrahat? atque
tuos quis neget esse sales?/ AEtas at nostros tua si contin-
geret annos,/ Scripsisses multa et recnus et brevius." (five
lines); added in margin right, also in letterpress:"B3 Used
in 1572a-edirion.
lib.
Verses m letterpress In lower margin replaced by engraved,
slightly different inscription: "DES. ERASMUS
ROTERODAMUS. / Quis Erasme [instead of Quis tibi
Erasme] " (five lines); added in margin right, also
engraved: "B3". Used in 1572b-ediuon.
ML
Portrait slighdy reworked. Added above portrait, at top
centre: "Obijt Basileae in Helvetijs V Id. lul. CIC[in
reverse]. IC [in reverse]XXXVLAEt.LXX. 5
Verses inlower
margin replaced by: "ERASMUS ROTERODAMUS/
Lubrica si tibi mens fiiit, et spinosior aequo,/ Ingenium
certe nobile, Erasme, fuit./ Felix, si rnixtas labruscas dul-
cibus vuis/ Prodiga desisset vinea ferre tua." (five lines);
erased in margin right: "B3", replaced by: "lanus Vitalis";
added in margin left: "35.b. !!
Used in 1604- and 1608-
editions.
Appendix 2E
255
Used in:
Virorum (1567), no. ??; Virorum ..... (1572), no. B3;
Illustrium Galliae (1604), no. 35b; ïllustrium GaJliae
Lit.:
(1608), no. 35b
TIB. 56, p. 461, no. 138; Burgers 1988, p. 118, no. 106;
Bodar 1989
Desiderius Erasmus, Rotterdam 1466 - Basle 1536; Dutch
humanist and theologian, (Catholic) critic of the Roman
Church. Several of his works were published by Plantin
(Voet 1980-83, nos. 1126-1135). Engraved by Philips
Galle, verses by ?? (1567-edition), Benito Arias Montano
(1572-edition) and Janus Vitalis (1604-edition).The vers
es by the Sicilian poet Janus Vitalis have been cited from
one of the editions of Paolo Giovio's Elogia doctorum viro­
rum, first published in 1546. Copied in reverse after an
engraving by Frans Fiuys, published by Hieronymus Cock
m 1555 (Hollstein 132). In turn, this print follows die pro
totype of Hans Holbein's painted portrait of Erasmus In
Longford Casde, of which numerous copies and versions
exist. No copies have been listed, as it is impossible to
determine whether a print follows Galle's engraving or
one of the many other prints after Holbeins painting.
50
ESCLUSE, CHARLES DE U (1587)
After Martino Rota
16.7 x 11.1 cm.
In lower margin:"CAROLUS CLUSIUS./Tu qui PAN-
NONIIS nascentia lilia in hortis,/ Quaeque horns radiant
lilia in HESPERUS,/ Ac Eores aliasque herbas producis
in oras,/ Clusi, et in hoc horto flosculus unus eris." (five
lines)
In margin right: "29".
Used in:
Imagines ..... (1587), no. 29; Imagines ..... (1595), no. 29;
Imagines (1606), no. 29
Lit,:
TIB. 56, p. 455, no. 126

Charles deTEsclusc (Carolus Cluslus),Arras 1526 - Leiden
1609; French physician and botanist, as a protestant fled
from France and worked in Vienna, Frarikfurt and Leiden,
Plantin published several of his studies (Voet 1980--83mos.
1006-1010). Engraved by Philips Galle, verses by Frans
van Ravelingen. Copied In reverse after an engraving by
Martino Rota, dated 1575 (Bartsch 62). Galle could well
have known this print from the Album Amicorum of his
friend Abraham Ortels. In this album Escluses portrait was
included, together with a handwritten dedication dated
Antwerp 1579.
51
EVERAERTS, NICOLAES (1604)
16.9 x 11.6 cm.
Above portrait, at top centre: "Ohijt Machliniae CIC[in
reverse]. ICjm reverse]XXXILV Id. Aug. AEtat. LXX"
In lower margin:"NICOLAUS EVERARDUS/ PRAE
SES MACHLINIENSIS./Jura velut tencbris iamdudum
offiisa iacebant,/ Poeneq[ue] Lethaeae sub pede mortis
erant./ Astraea ad Grudios redijt te vindice campos/
Iuraq[ue] Romani quae coluere patres." (six lines)
In margin left: "18."
In margin right: "Aub. Miraeus."
I.
As described. Used in 1604- and 1608-editions.
n.
Portrait reworked; erased in margin left: "18". Used in
Foppens 1739.
Used m:
Illustrium Galliae ..... (1604),no. 18;Illustrium Galliae .....
(1608), no. 18; Foppens 1739, vol. II, p. 907
Nicolaes Everaerts (Nicolaus Everardi), Gnjpskerk 1462
- Malines 1532; Dutch jurist, chairman of the Grote Raad
in Malines (1528-32), acquainted with Erasmus, father of
Nicolaus Grudius and Janus Secundus. Engraved m the
Galle workshop, verses by Aubert Le Mire.
Appendix 2E
256
52
FICINO s MARSILIO (1572)
After Giorgio Vasari
17.5 x 12.1 cm.
In lower margin, in letterpress: "MARSILIUS FICI-
NUS,/ FLORENTINUS./ Quid referam de te magnum,
Ficine, quod ipse/ Non superes multis partibus atque
modis?/ Si quaeram certum veterum, Ficine, Sophorum/
Discipulum, quern te certius inveniam?" (six lines)
In margin right, also in letterpress: "Fj",
I.
As described. Used in 1572a-edition.
XL
Caption with name of Ficino engraved In oval border
around portrait: "MARSILIUS FICINUS FLORENTI­
NUS"; verses in letterpress in lower margin replaced by
engraved, slightly different inscription:"Quid referam de
..... Sopborum [instead of Sophorum] (four lines);
added in margin right, also engraved:"Fj". Used in 1572b-
edition and Italorum (1600).
Used im
Virorum .... (1572), no. Fl; Italorum ..... (1600), no. 7
Lit,:
TIB. 56, p. 461, no. 139; Burgers 1988, p. 118, no. 105
Marsilio Ficino (Marsilius Ficinus),Figlinc 1433 - Careggi
1499; Italian Neo-Platonic philosopher in service of the
Medici court in Florence. Engraved by Philips Galle, vers­
es by Benito Arias Montane. Copied in reverse after an
engraving with six famous Italian writers, published by
Hicronymus Cock (Riggs 1972, no. 195).This engraving
is in turn copied after a painting by Giorgio Vasari of which
several versions exist. The original painting is now in the
collection of the Oriel College in Oxford.
53
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-

gionis amor./ Sed dum romuleo nimium tibi cine fulms/
Perstas, nee caussam regis amare potes,/ Mors properata
tibi est cervice cruenta rescissa,/ Munus nbi infelix pur­
pura missa venlt." (seven lines)
I.
As described. Used in 1567-edition,
Brussels (Prentenkabinet, Koninklijke Bibliotheek
Albert I, Brussel; Cabinet des estampes, Bibliothèque
Royale Albert Ier, Bruxelles)
Ha.
Verses in lower margin replaced by new text in letterpress:
"JOHANNES FISCHERUS EPISCOPUS/ ROFFEN
SIS, ANGLUS/ Moribus, ingenio, calamo, sermone
Britannus/ Mirandus prisca proprietate cadit./ Cum
cecidit, ferro haec cervix praecisa cruento,/Virtus, inge-
nmm, concidit et pietas." (six lines); added in margin right,
also in letterpress: "AT\ Used in 1572a-edinon.
nb.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "IOHANNES FIS
CHERUS EPISCOPUS ROFFE[N]SIS, A[N]GLUS.
[one line]/ Miraudus [instead of Mirandus] ..." (five
lines); addeD in margin right, also engraved: "A7". Used
in 1572b-edirion.
HL
Erased in margin right: "A7"; in verses in lower margin
"proprietate" changed in "pro pietate". Used in XII
Cardinalium ..... (1598).
Used in:
Virorum ..... (1567), no. ??;Virorum (1572), no. A7;
XII Cardinalium ..... (1598), no. 10
lit.:
TIB. 56, p. 462, no. 140
John Fisher (Johannes Fischerus, Johannes Roffensis),
Beverley 1459 - London 1535; English cardinal and bish­
op of Rochester, humanist and friend of Erasmus, behead­
ed by Henry VIII due to his opposition against the kings
divorce from Catherine ofAragon,sanctified in 1935. One
of his works was published in translation by Plannn (Voet
Appendix 2E
257
1980-83, no. 1175). Engraved by Philips Galle, verses by
?? (1567-edition) and Benito Arias Montano (1572-edi-
tion).
54
FURX0 Y CERIOL 5 FEBERICO (1587)
16.9 x 11.6 cm.
In lower margin: "FRIDERICUS FURIUS./
Doctiloquos inter, Furl, non ultime Iberos,/ Hesperidum
per te succrevit gloria regno;/ Dum magni Senecae ves­
tigia magna sequutus,/ Magnus es in REGIS (fans
melioribus) aula " (five lines)
In margin right: "44".
Used kit
Imagines ..... (1587), no. 44; Imagines (1595), no. 44;
Imagines ..... (1606), no. 44
lit.:
TIB. 56, p. 462, no. 141; Puraye 1969, p. 54, fig. 66
Federico Furioy Ceriol (Federicus Furius),Valencia 1532
-Valladolid 1592; Spanish humanist and historian in ser­
vice of Charles V and Philip II. Engraved by Philips Galle,
verses by Frans van Ravelingen. Copied in reverse after
an anonymous portrait dated 1575. Galle could well have
known this print from the Album Amicorum of his friend
Abraham. Ortelius. In this album Furio s engraved features
were included with several handwritten verses.
55
FUSCH, GILBERT (1567)
17.7 x 12.4 cm.
In lower margin, in letterpress: "GILBERTUS LIM-
BURGIUS MEDICUS/ LEODIENSIS./ Fertur item
partes Medicus Limburgus honestas/ Inter Apollineos
promeruisse choros./ Is ferrugineis Aspae miracula ab
undis/ Ut constent, primus disserit atque docet." (six lines)
In margin right, also in letterpress: *'D2".

1.
1567-edition. Mentioned by Van Someren (p. 122), not
yet found.
Ha.
As described. Used in 1572a-editian.
lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "GILBERTUS LYM-
BORCH MEDICUS [on one line, without LEODIEN-
SIS]/ ..... Ut constent [no comma] (five lines); added
in margin right, also engraved:"D2". Used in 1572b-edi-
tion.
in,
Added above portrait, at top centre: "E vivis excessit
Leodici anno CIC[in reverse]. IC[in reverse]LX."Verses
in lower margin replaced by:"GILBERTUS PHIL ARE-
TUS, LEMBURGIUS, MEDICUS./ Princeps aquarum,
quas salubribus venis/ Produxit, aut producet alma
Natura,/ Spadana lympha, alumna Eburonum terrae/
Vires adepta in virus omne morborum;/ Hie nobilem te
fecit, et tenebroso/ Oblivionis vindicavit a regno." (seven
lines); erased in margin right: "D2", replaced by "L
Lipsius"; added in margin left: "30,b" Used in 1608-
edition.
IV
Erased in margin left:"30.b". Used in Foppens 1739.
Used in:
Virorum (1567), no. ??;Virorum ..... (1572), no. D2,
Illustrium Galliae (1608), no. 30b; Foppens 1739, vol.
I, p. 366
Lit.:
TIB. 56, p. 471, no. 159
Gilbert Fusch (Gilbert(us) Fuehs, Lymborch, Limburgus,
also called Philaretus), Limbourg 1504 - Liège 1567;
Belgian humanist and physician. Engraved by Philips
Galle, verses by Benito Arias Montano (1572-edition) and
Joost Lips (1608-edition).
Appendix 2E
258
56
GALEN, MATTHEUS VAN (1604)
15.5 x 10.8 cm.
Above portrait, at top centre: "Excessít e vivís Duaci
Flandrorum, an. CIC[in reverse]. IC[in re verse] LXXHI."
In lower margin: "MATTHAEUS GALEÑEIS, WEST-
CAPELLIUS,ZELANDUS,/ DOCTORTH.ET CAN
CELLARIUS DUACENSIS./ Tu de tenebris eruisti
plurima/ Confecta longo lam situ volurmna/ Prioris aevi,
et reddidisti pristinum/ lilis mtorem, et gloriae verum
decus." (six lines)
In margin left: "11."
I.
As described. Used in 1604- and 1608-editions.
n.
Erased in margin left: "1.1". Used in Foppens 1739.
Used in:
Dlustrium Galliae ..... (1604),no. 1 l;Illustrium Galliae .....
(1608), no. 11; Foppens 1739, vol. II, p. 865
Matthcus van Galen (Matthaeus Galcnus), Westkapelle
1528 - Douai 1573; Dutch (Catholic) theologian, profes­
sor in Douai, attended the Council ofTrent. Engraved in
the Galle workshop, verses by Aubert Le Mire.
57
GARET, JOHANNES (1604)
16.7 x 11.0 cm.
Above portrait, at top centre:"Obijt Lovanij in patria XII.
Kal. Fcbr. CIC[in reverse] ÍC[in reverse 1LXXI
In lower margm: "IOANNES GARETIUS CAN ONI-
CUS/ AUGUSTINIANUS./ Impia Cal vim damnans
coxnmenta, novenis/ Classibus adstruxi, Cerealia muñera
prorsus/ Transmuta ta, Dei, quod certi est regula, verbo,/
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.

n.
Erased in margin left: "14." Used in Foppens 1739.
Used in:
Illustrium Galliae (1604),no. 14;Illustrium Galliae ....
(1608), no. 14; Foppens 1739, vol. II, p. 644
Johannes Garet (Johannes Garetius), Lou vain c. 1499 ~
1571; Belgian theologian, canon at the Augustinian clois­
ters in Louvain,one of his studies was published by Plantin
(Voet 1980-83, no. 1237). Engraved in the Galle work­
shop, verses by Aubert Le fviire.
58
GELLI, GIAN BATTISTA (1567)
17.7 x 12.2 cm.
In lower margin,m letterpress:" JOHANNES BAPTISTA
GELLIUS,/ FLORENTINUS./ Sartorem vidit, vidit
Florenria dudum/ Baptistam patrio mira docere sono./
Ilium ergo merito virtutis honore decorat,/ Ambitione
procul qui coluit studia." (six lines)
In margin right, also in letterpress: *'F6".
I.
1567-edition. Mentioned by Van Someren (p. 122), not
yet found.
Ila.
As described. Used in 1572a-edition.
Ob.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "BAPTISIA GELLIUS
PHILOSOPHUS [one line]/ „... coluit studia [no pen-
od]" (five lines); added in margin right, also engraved:
"F6". Used in 1572b-editton.
Used in:
Virorum (1567), no. ??;Virorum (1572), no. F6
lit.:
TIB. 56, p. 463, no. 142
Gian Battista Gelli (Johannes Baptista Gellius), Florence
1498 - 1563; Italian poet, philologist and moralist, editor
Appendix 2E
259
of several works by classical authors. At several occasions
suspected ofLudierarhsm. Engraved by Philips Galle, vers­
es by Benito Arias Montano.
59
GEMMA FRISIUS (1572)
After Jan van Stalburch
17.6 x 123 cm.
In lower margin, in letterpress: "GEMMA PHRISIUS,
DOCKUMENSIS./ Astrorum cursus variantia et sidera
Gemma/ Privatis hominum condidit in domibus
./Subijcit idem oculis terras, maria omnia, mundum/ In
breve tarn, vastum denique cogit opus" (five lines)
In margin right, also in letterpress: tfc
C8".
la,
As described. Used in 1572a~edition.
Ib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "GEMMA PHRISIUS [no
comma] DOCKUMENSIS [no period]/ Cursus astro-
rum et variantia [instead of Astrorum cursus variantia et]
..... omnia [instead of omnia] (five lines); added in
margin right, also engraved: "C8". Used in 1572b-
edition.
1L
Added above portrait, at top centre: "Vita excessit Lovanij
VIII. Kal. lun. CIC[in reverse]. IC[in reverse]LV AEt.
XLVIL"; verses in lower margin slightly changed:
" GEMMA PHRISIUS, DOCKUMENSIS, [comma
instead of period]/ MEDICUS ET MATHEM ATI CUS.
[added]/ " (six lines); erased in margin right: "C8",
replaced by:"Ar. Montanus."; added in margin left: "29"
Used in 1604-edition.
in.
Verses in lower margin replaced by:"GEMMA FRISIUS,
DOCCOMIENSIS/ MEDICUS ET MATHEMATI-
CUS./ Ut simulat solem radiantis gemma pyropi,/ Sic
Gemmam artifici picta tabella manu./ Haec vultum dedit,
ipse animi monumenta perennis;/ Ne quid in exsdncto
non superesse putes " (six lines); erased in margin right:
"Ar.Montanus "Used in 1608-edition and Foppens 1739.

Used in:
Virorurn ..... (1572),no.C8;IUustrium Galiiae ..,..(1604),
no.29;Illustrium Galiiae ..... (1608) 5no.29; Foppens 1739,
vol. I, p. 331
Lit,:
TIB. 56, p. 464, no. 144; De Nave 1994, pp. 142-143, no. 33
Gemma Frisius (Gemma Reyneri, jemme Reinersz),
Dockum 1508 - Louvain 1555; Dutch physician, math-
emitician and astronomist, with Petrus Apianus author of
the second edition of the Cosmogmphia (1529), later pub­
lished by Plantm (Voet 1980-83, no. 573), father of
Cornelius Gemrna. Engraved by Philips Galle, verses by
BenitoAriasJVIOntario (1572-edirion) andAubert LeMire
(1608-edition). Copied in reverse after an engraving by
the Louvain engraver jan van Stalhurch, dated 1557
(Hollstcin 17). Some copies ofFoppens 1739 include the
third state of Galle's portrait, while others include a copy
by Edme de Boulonois in reverse.
60
GEMMAj CORNELIUS (1572)
17.3 x 12.2 cm.
In lower margin,in letterpress:"CORNELIU5 GEMMA
LOVA-/ NIENSIS./ Dixit Gemma suo Gemmae quern
protulit, haeres/ Esto virtutis proximus ipse meae./ Ipse
ego iam novi, notum peto et aethera, vive,/ Naturamque
orrmem noscere perge, vales." {six Imes)
In margin right, also in letterpress: "Dj".
la.
As described. Used in 1572a-edition.
Ib.
Verses in letterpress in lower margin replaced by engraved,
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:
Appendix 2E
260
"CORNELIUS GEMMA LOVANENSIS, MEDICUS.
[, MEDICUS. added]/ " (five lines); erased in margin
right: "Dlreplaced by: E
'Ar. Montanus."; added in mar­
gin left: "30." Used in 1604-edition.
ra.
Verses in lower margin replaced by: "CORNELIUS
GEMMA LOVANIENSIS,/ MEDICUS ET
PFIILOSOPHUS./ Gemma, cui superi patuerunt invia
mundi,/ Cui nubes superare vagas, sedesque repostas/
Mente datum sancta est, et toto currere caelo,/ Immortale
feres nomen, dum gemma feretur/ In digitis, fulvoque
decens radiabit in auro." (seven lines); erased in margin-
right: "Ar. Montanus",replaced by:"Io.Secundus".Used
in 1608-edition.
IV.
Erased in margin left: "30." Used in Foppens 1739.
Used in:
Viromrn (1572),no.Dl;Illustrium Galiiae ..... (1604),
no.30;Illustrium Galiiae (1608),no.30; Foppens 1739,
vol. I, p. 200
lit.:
TIB. 56, p. 463, no. 143; Dekker 1986, pp. 29, 73-74
(note 54)
Cornelius Gemma (Cornells Jemme), Louvain 1535 -
1578/79; Belgian physician and philosopher, son of
Gemma Frisius. Several of his works were published by
Plantin (Voet 1980-83, nos. 1242-1244); Arias Montane
recommended Gemma to hold a chair in Louvain
(cp. Hansel 1991, p. 94). Engraved by Philips Galle, vers­
es by Benito Arias Montano (1572-edition) and Janus
Secundus (1608-edition). It is curious to note that the
verses by Janus Secundus were written around 1530 on
Gemma Frisius and were obviously considered to be just
as appropriate for his son (cp. Dekker 1986).

61
GDIS, DA MI AO DE (1587)
After Albrecht Diirer
16.9 x 11.9 cm.
In lower margin: "DAMIANUS A GOES,/ Thucydides
gentis enarrat gesta Pelasgae/ Romams claret Livius in
Decasin/ Hie, alia ut taceam sera data scripta senecta,/
AETHIOPUM accepit nomen ab HISTORIA." (five
lines) In margin right: "42".
I.
As described. Used in 1587-, 1595- and 1606-editions.
II.
Erased in margin right: "42"; added in upper left corner
D urer-monogram: s
' AD [i nte rlac e d]".
Amsterdam (Rijksprentenkabinet, Rijksmuseum,
Amsterdam), Amsterdam (Pajksprentenkabinet, Rijks­
museum, Amsterdam)
Used in:
Imagines ..... (1587), no. 42; Imagines (1595), no. 42;
Imagines ..... (1606), no, 42
Lit.:
TIB. 56, p. 464, no. 145; Mende 1985, pp. 109-111
Damiao de Gois (Damianus a Goes), Aienquer 1502 -
Lisbon 1572; Portugese humanist and historian, friend of
Erasmus, imprisoned by the Inquisition on charges of con­
nections with reformers in Wittenberg, died in prison.
Engraved by Philips Galle, verses by Frans van Ravelingen.
After a lost painting or drawing by Albrecht Diirer,
62
GOROPIUS BECANUS JOHANNES (1572)
17.5 x 12.2 cm.
In lower margin, in letterpress: 'TOMANNES
GOROPIUS BECANUS./ Vidi ego mrare et Belgas,
Becane, tuis non/ Quemquam inter Belgas artibus esse
parem./ Hoc satis est, ipse hand dicam quae senno^nam
mi/ Te quod amo, invidulus non sinet esse fidein." (five
Appendix 2E
261
lines) In margin right, also in letterpress:"Cj".
U.
As described. Used in 1572a-edidon.
Ib.
Verses in letterpress in lower margin replaced by engraved,
slighdy different mscriprion:"IOHANNES GOROPIUS
BECANUS [no period]/ (five lines); added in mar­
gin right, also engraved: "Cj". Used in 1572b-edition.
IL
Added above portrait, at top centre: "Ob. Traiecti ad
Mosam IIIL KaL lun. CIC[in reverse]. IC[in
reversejLXXII.AEt.LIU"; verses in lower margin slight­
ly changed: " IOITANNES GOROPIUS BECANUS,
[comma added]/ MEDICUS ET PHILOSOPHUS. [line
added]/ ..... " (six lines); erased in margin right: "Cj",
replaced by: "B. Arias Montanus."; added in margin left:
"31 " In margin left small, damaged corner of the plate
has been cut off. Used in 1604-edinon.
III.
Verses in lower margin replaced by: "IOANNES
GOROPIUS, BECANUS./ Cimbrica conaris patriae
primordia linguae,/ Goropi Hebraeos ante locare sonos,/
Quantum opus hoc! quid non hum ana industria ten tat./
Vivus ab ingenij cum calet igne labor?" (five lines); erased
m margin right: "B. Arias Montanus" In lower margin the
damaged copperplate has been reduced; plate size: 16.2 x
12.2 cm. Used in 1608-edirion.
Used in:
Virorum ..... (1572),no. Cl;Illustrium Galhae .....(1604),
no. 31; Illustrium Galliae ..... (1608), no. 31
Lit.:
TIB. 56, p. 465, no. 146
Johannes Goropius Becanus (Johannes Geertszone, also
Johannes Gerartsen van Gorp), Hilvarenbeek 1519 -
Maastricht 1573; Dutch linguist and physician, who tried
to prove that the Antwerp dialect was the first language
spoken and used in paradise. Friend and, for several years,
financial partner of Plantin who published two of his
major studies (Voet 1980-83, nos. 1254-1255). Engraved
by Philips Galle, verses by Benito Arias Montano (1572-
edition) and Aubert Le Mire (1608-edition).

63
GRAPHEUS, CORNELIUS (1567)
17.6 x 12.2 cm.
In lower margin, in letterpress: "CORNELIUS SCRI-
BONIUS GRAPHEUS/ALOSTENSIS./ Magna tuum
celebrat Corneli Antverpia nomen,/Tradit et innumens
quos habet hospitibus./Te civem canit ilia pium fidumque
ministrum/ Scribere qui bene seis, publica qui gerere."
(six lines)
In margin right, also in letterpress: "C4".
I.
1567-cdition. Mentioned by Van Someren (p. 122), not
yet found.
Ha.
As described. Used in 1572a~edition.
lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "CORNELIUS
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.
Used in:
Virorum ..... (1567), no. ??;Vrrorum ..... (1572), no. C4
Lit.:
TIB. 56, p. 465, no. 147
Cornelius Grapheus (Cornells de Schrijver, also called
Scribonius), Aalst c. 1482 - Antwerp 1558; Belgian poet
and humanist, secretary to the city of Antwerp, con­
demned by the Inquisition in 1522, reinstated in his pub­
lic functions in 1540, friend of Erasmus. Engraved by
Philips Galle, verses by Benito Arias Montano.
Appendix 2E
262
64
GRIFFOLINI, FRANCESCO (15S7)
16.8 x 12.0 cm.
In lower margin:"FRANCISCUS ARETINUS./ Graeca
facis sermone legi, Francisce, Latino;/ SIve ea sanctorum
mystics scripta Patrum;/ Sive profana: magisne obnoxia
mystica Patrum.,/ Nescio sintne magis scripta profana
tibi." (five lines)
In margin right: "37".
Used in:
Imagines (1587), no. 37; Imagines ..... (1595), no. 37;
Italorum (1600), no. 10; Imagines ..... (1606), no. 37
Lit.:
TIB. 56, p. 448, no. Ill
Francesco Griffofmi (also called Aretinus),Arezzo 1420 -
Naples c. 1465; Italian Hellenist, translated several classi­
cal Greek works. Engraved by Philips Galle, verses by Frans
van Ravelingen.
65
GRDDIUS, NICOLAUS (1604)
15.7 x 11.4 cm.
Above portrait, at top centre: "Decessk Venetijs CIC[in
reverse]. IC[in reverse]LXL"
In lower margin: "NICOLAUS GRUDIUS BRABAN-
TUS/ I.C. ET POETA./ Quae cecmi raris olim tentata
poetis,/ Dum cythara Aonidas sub pia templa voco;/ Ilia
pio placuisse Vidae, non infima laus est;/ Stare ilia aeter-
num, gloria maior erit." (six lines)
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.

Used in:
Iliustrium Galliae ..... (1604),no.47;Illustrium Galliae .....
(1608), no. 47; Foppens 1739, vol. II, p. 916
Nicolaus Grudius (Nicolaus Nicolai), Louvain 1503/04
-Venice 1571; Belgian humanist and poet, councillor m
service of Charles V; son of Nicolaas Everaerts, brother of
Janus Secundus. Engraved in the Galle workshop, verses
by Aubert Le Mire.
66
HORTENSIUS, LAMBERTUS (1587)
16.8 x 11.9 cm.
In lower margin: "LAMBERTUS HORTENSIUS,
MONTFORTIUS/ Huius ubi HortensI spectas in imag
ine vultus,/Talia turn subeat dicere verba tibi:/ Romane
Hortensi concede huic; secula priscis/ Nomine req[ue]
pares nostra tulere vxros." (five lines)
In margin right:"! 1".
Used in:
Imagines ..... (1587), no. 11; Imagines ..... (1595), no. 11;
Imagines (1606), no. 11
lit.
TIB. 56, p. 466, no. 149; Coppens 1993, pp. 105-106,
no. 29
Lambertus Hortensius (Lambert Hofmans, Lambert van
der Hove), Ivlontfoort c. 1500 - Naarden 1574; Dutch
priest and historian, wrote an elaborate history of the city
of Utrecht. Engraved by Philips Galle, verses by Frans van
Ravelingen.
67
HOSIUS 9 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,
Appendix 2E
263
et superat./ Artibus hie cunctis dexterrimus, omnibus
arm is,/ Quels valet hostis atrox, Hosius exuperat." (six
lines)
In margin right, also in letterpress:"A6".
I.
1567-edidon. Mentioned by Van Someren (p. 122), not
yet found.
Ha.
As described. Used in 1572a-edition.
0b.
Verses in letterpress in lower margin replaced by engraved,
slighdy different inscription: "STANISLAUS HOSIUS
CARDINALIS EPISCOPUS [CARDINALIS added]/
VARMIENSIS CONC. TRIDE[N]T. PRAESES
[CONC ... PRAESES added]/ Instructus patria, pugnat,
pietate, geritq[ue] [instead of Pugnat acer patria instruc­
tus pietate, geritque]/ " (six lines), added in margin
right, also engraved: "A6'\ Used in 1572b-edition.
m.
Erased in margin right: "A6". Used in XII Cardinalium
.....(1598)
Used in:
Virorum ..... (1567), no. ??;Virorum ..... (1572), no. A6;
XII Cardinalium (1598), no. 12
Lit.:
TIB. 56, p. 467, no. 150
Stanislaus Hosius, Cracow 1504 - Rome 1579; Polish
humanist, bishop of Frauenburg (Ermiand) and cardinal,
Polish delegate to the Council of Trent. Important con­
tributor to the Counter-Reformation, author of the pop­
ular spiritual guidebook Confessiofidei Catholkae Christiana
(first published in 1553). Engraved by Philips Galle, vers­
es by Benito Arias Montana.

68
HXXNAEU8> AUGUSTINUS (1604)
16.9 x 11.5 cm.
Above portrait, at top centre: "Obijt Lovanij An. CIC[in
reverse]. IC[in revcrse|LXXVIII."
In lower margin: "AUGUSTINUS HUNNAEUS
MACHLINIENSIS,/ DOCTOR THEOLOGUS, ET
PHILOSOPHUS./ Quid facit HUNNAEUS? caecis ut
xnersa tcncbris/ Nunc mage Phoeboea lampadc clara
micent:/ Utqjuej suoslinquant contortasophismatamor-
sus,/ Exuat et laqueos Amphibolia suos:' (six lines)
In margin left: "35."
In margin right: "Laur. Beyerlinchius".
Used In:
Illustrium Galliae .....(1604),no.35;Illustnum Galliae
(1608) sno. 35;Foppcns 1739, vol. I, p. 112
Augustinus Hunaeus (Augustinus Huens or Hocns),
Malines 1521 - Louvain 1578; Belgian theologian, pro­
fessor of theology and philosophy in Louvain, many of his
studies were published by Plantin (Voet 1980-83, nos.
1414-1432). Engraved in the Galle workshop, verses by
Laurens Beyerhnck.
69
BUS, JOHANNES (1567)
17.3 x 12.2 cm.
In lower margm:"Ioannes Hus/ Hussiticaegentis parens,/
Quae virus exuxit meum./ Constantiae coetus patrum/
Flammis cremandum censuit./ Foecundus at cinis meac/
Sectae asseclam sobolem dedit(seven lines)
The Hague (Koninklijke Bibliotheek, Den Haag, bound
with 1572b-edition), Vienna (Oester-reichische
Nationalbibliothck (Portratsamm-lung), Wien, hand-
coloured impression with different, handwritten verses),
Vienna (Oesterreichische National-bibliothek
(PortraGammlung), Wien)
Used in;
Virorum ..... (1567), no. ??
Johannes Hus, Husinetz c. 1370 - Konstanz 1415; Czech
Appendix 2E
264
priest, radical reformer and follower ofWiclifF, burnt as a
heretic. Engraved by Philips Galle, verses by ??
70
JANSENIUS, CORNELIUS (1604)
17.7 x 11.8 cm.
Above portrait, at top centre:"E vita excessit Gandavi III
Idus April. CIC[in reverse]. IC[in reverse]LXXVL' 3
In lower margin: "CORNELIUS IANSENIUS L EPIS-
COPUS GAND./ Unus ut Assyrijs qui vivit odoribus
ales/ Exstincto superest posthumus ipse sibi;/ Sic tibi,
lansem, Phoenix secli unice nostri,/ A tenebris lux est,
morte pctitia sal us./ Corporis exuvijs posiris in funere,
vivit/ Spiritus ante Deum, fama per ora virum." (seven
lines)
In margin left:"4."
In margin right: "Max.Vrintius."
I.
As described. Used In 1604- and 1608-editions.
IL
Erased in margin left: "4." Used in Foppens 1739.
Used in:
Illustrium Galliae ..... (1604), no. 4; Illustrium Galliae .....
(1608), no. 4; Foppens 1739, vol. I, p. 203
Cornelius Jansenius, Hulst 1510 - Ghent 1576; Dutch
humanist and theologian, first bishop of Ghent. Engraved
in the Galle workshop, verses by Maximillaan deVriendt.
71
JANUS SECUNDUS (1587)
After Jan van Scorel
16.9 x 11.9 cm.
In lower margin: "IOANNES SECUNDUS HAGIEN-
SIS BATAVUS./ Ludo crat antiquis auris Boeotica;
verum/ Sustulit hoc alto dedecus ingenio/ Pindarus: ac
per te, divine, Secunde, Batavae/ Auris laudatur Musa
Batava vice." (five lines)

In margin right: "4?".
I.
As described. Used in 1587- and 1595-editions.
IX.
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
slighdy changed: "IOANNES SECUNDUS HAGIEN-
SIS BATAVUS, POETA. [, POETA. added]/ .... " (five
lines); erased in margin right: "47", replaced by "Fr.
Raphelengius."; added in margin left:"46."Used in 1604-
, 1606- and 1608-editions.
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.
46
lit.:
TIB. 56, p. 467, no. 151; Bruyn 1955, pp. 194-197
Janus Seeundus (Johannes Nicolai), The Hague 1511 -
Tournai 1536; Dutch poet and medal, engraver, son of
Nicolaes Everaerts, brother of Nicolaus Grudius.
Engraved by Philips Galle, verses by Frans van Ravelingen.
Copied in reverse after a painted prototype by Jan van
Scorel, of which several versions soil exist.
72
JIMENEZ DE GISNEROSs FRANCESCO (1587)
17.2 x 11.8 cm.
In lower margin: "FRANCISCUS SIMENIUS, CAR-
DINALIS HISPANLAE./ Cerneré te coelo deniissum
numen ab alto,/ Lector, Simenij dum conspicijs ora puta-
to:/ Edi qui VAROS curavit BIBLIA LINGUIS;/ Quo
mérito illius volat omnem fama per orbem." (five lines)
In margin right:"3".
I.
As described. Used in 1587- and 1595-edidons,
Appendix 2E
265
II.
Erased in margin right:"3". Used in XII Cardinaliurn
(1598) and 1606-edition.
Used in:
Imagines ..... (1587),no.3;Imagines ..... (1595),no.3;XII
Cardinaliurn ..... (1598), no. 2; Imagines ..... (1606), no. 3
TIB. 56, p. 488, no. 193
Francesco Jimenez de Cisneros (Francesco Ximenes,
Franciscus Simenius), Torrelaguna 1436 - Roa 1517;
Spanish humanist, cardinal and archbishop of Toledo,
Franciscan monk, friend of Erasmus. Engraved by Philips
Galle, verses by Frans van Ravelingen.
73
JUNIUS, HADRI ANUS (1567)
17.6 x 12.3 cm.
In lower margin: "Hadrianus lunius Medicus/ lunius a
priscae dicor cognomine gentis,/ Hospita terra maris me
batava horna tulit./ Felsina me docuit, titulos que adiunxit
honoris,/ At medicum experta est anglia clara diu. / Mox
varia ingenii vivus monumenta reliqui:/ Qui portus vitae,
cura sit Ista deo." (seven lines)
I.
As described. Used in 1567-edinon.
Coborg (Kupferstichkabinett der Kunstsammlungen
Veste Coburg, Coburg, hand-coloured impression),
Coburg (Kupferstichkabinett der Kunstsammlungen
Veste Coburg, Coburg), Madrid (Gabinete de estampas
y bellas artes, BIblioteca Nacional, Madrid)
IIa.
Verses In lower margin replaced by new text in letterpress:
"HADRIANUS IUNIUS HORN ANUS,/ Moverat
invidiam locus invidus et tibi nomen/ Juni alias notum
sed minus usque tuoV Invidiam vincis nota probitate fid-
eque/ Perge,bona et studia id quod facls, Ipse iuva." (five
lines);added in margin right, also in letterpress: "B4". Used
in 1572a-edition.

lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: ".HADRIANUS JUNIUS
HORNANUS [no period]/ .....sideque [instead of fidc-
qucj ..... facis [no comma] ipse iuva." (five lines); added in
margm right, also engraved:

75
LANGUE, CHARLES DE (1587)
16.8 x 1L8 cm.
In lower margin: "CAROLUS LANGIUS./ Utra in te
spectem virtu tcm munera, Langi,/ Doctrinam In studijs,
seu probitatem ammi;/ Concedis nulli: sola haec sub
judice lis est,/ An doctrina in te, vel probltas superct " (five
lines)
In margin right: "T\
L
As described. Used in 1587- and 1595 editions.
IL
Added above portrait, at top centre: "Excessit e vivis
Leoclici Eburonurn CIC[in reverse]. IC[in reverse] LXXIIL
IV. Kal Aug"; verses in lower margin slightiy changed:
"CAROLUS LANGIUS, FHILOLOGUS. [PHILOLO-
GUS. added] / ...„" (five lines); erased in margin right: st
7'\
replaced by:

slightly different inscription:" JACOBUS LATOMUS[no
period]/ " (five lines); added In margin right, also
engraved: "C2 5
Used in 1572b-edition.
n.
Added above portrait, at top centre: "Decessit Lovanij
CIC[in reverse] IC[in reversejXLIV. III. Kal. Iunias."
Verses in lower margin slightly changed: "JACOBUS
LATOMUS, D, THEOLOGUS. [, D THEOLOGUS.
added]/ " (five lines); erased in margin right:"C2", by
"B. Arias Montanus"; added In margin left: "9" Used in
1604-edition.
m.
Verses in lower margin erased and replaced by engraved,
slightly different inscription in smaller lettertypc:
"IACOBUS LATOMUS CAMBERONENESIS,
HANNO,/ DOCTOR THEOLOGUS LOVANIEN-
SIS. [CAMBERONENSIS ..... LOVANIENSIS added]/
IV.
" (six Hnes). Used in 1608-edition.
Erased in margin left: "9." Used in Foppens 1739.
Used in:
Virorum (1572),no. C2; Illustrium Galliac ..... (1604),
no. 9; lHustrium Galliac .... (1608), no. 9; Foppens 1739,
vol. II, p. 520
Lit.:
TIB. 56, p. 470, no. 157
jacobus Latomus (Jacques Masson), Cambron-Casteau
c. 1.475 - Lou vain 1544; Belgian theologian, professor in
Lou vain, vigorous opponent of both the Reformation and
humanists as Erasmus. Engraved by Philips Galle, verses
by Benito Arias Montano.
78
LÄZKJS, WOLFGANG (1567)
17.5 x 12.4 cm.
In lower margin, in letterpress:" WOLF GANG LAZIUS,/
GERMANUS./ Romanae historiae lucem Wolfgange
dedisti,/ Quae lam difficiles venerat in tenebras./ Scitu
Appendix 2E
268
digna olim ternpus sepelivit avarum/ Plurima,defossa haec
eruis et revocas." (six lines)
5 S
In margin right, also in letterpress: "D7
I.
1567-edltion. Mentioned by Van Someren (p. 122), not
yet found.
Ha,
As described. Used in 1572a--edition.
lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription:" WOLPHANGUS LAZIUS
VIENNENSIS [on one line, instead of WOLFANGUS
LAZIUS GERM ANUS on two lines]/
!5
(five lines);
added In margin right, also engraved: "D7'\ Used in
!572h-edition.
Used in:
Virorum ..... (1567), no. ??;Virorum ..... (1572), no. D7
lit,:
TIB. 56, p. 470, no. 158
Wolfgang Lazius, Vienna 1514 - 1565; Austrian histori­
ographer and physician in service of Emperor Ferdinand
I Engraved by Philips Galle, verses by Benito Arias
Montano.
79
HEVENS s JAN (1604)
17.1 x 10.7 cm.
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-
MUNDANUS,/ GRAECARUM LITTERARUM
PERITT1SSIMUS./ Amca priscorum mutas dum verba
Latinis,/ Et reddis vitae scripta sepulta suae;/ Invida te
Lachesis crudeli funere mersit,/ Quodq[ue] alijs aufers,
hoc tibi, dixit, habe." (six lines)
In margin left: "4L"

I.
As described. Used in 16Ö4- and 160S-editions.
XL
Erased in margin left: "41". Used In Foppens 1739.
Used in;
Illustrium Galliae (1604),no.41;Illustrium Galliae .
(1608), no. 41; Foppens 1739, vol. II, p. 678
Jan Elevens (Johannes Xivinaeus), Dendermonde 1547 -
Antwerp 1599; Belgian Hellenist, canon at the Antwerp
cathedral, nephew of Bishop Laevinus Torrentius, collab­
orated with Plantin and Moretus on several Greek pub­
lications of the OrEcina Plantiniana. Engraved in the Galle
workshop, verses by Aubert Le Mire,
80
LINDEN, WILLEM VAN DER (1604)
17.1 X 11.6 cm.
Above portrait, at top centre: iS
Obijt Gandavi postrid. Kal.
Novemb. CIC[in reverse]. IC[in reversejLXXXVIIL"
In lower margin: "GUILIELMUS LINDANUS EPIS-
COP. GANDENSIS./ Dordracum patria est, Grudiae
patria altera Athenae,/ like ammi altrices, corporis Ilia
mei./ Conspicuum sancta, coluit Rurmunda tiara,/ Et
Ganda in cineres officiosa meos./ Non meliore loco nasci,
potuive renasci;/ Non meliore coli, non meliore
mori. S5
(seven lines) In margin left: "5."
In margin right: "Max. Vrindus S.P.Q. Gand. a Secretls."
I.
Appendix 2E
As described. Used in 1604- and 1608-editions. 82
n.
Erased m margin left: "5." Used in Foppens 1739.
Used in:
Illustrium Galliae ..... (1604), no. 5; Illustrium Galliae .
(1608), no. 5; Foppens 1739, vol. 1, p. 410
Willem van der Linden Damaszoon (Guilielmus Damasi
Lindanus), Dordrecht 1525 - Ghent 1588; Dutch philol­
ogist and theologian, bishop of Roermond and Ghent,
author of an apologia of the Catholic Church against the
269
Reformation published by Plandn (Voet 1980-83, no.
1522) as were several other studies (nos, 1523-1529).
Lindanus had several arguments with Arias Montano and
Van Ravelingen on the Hebrew language, perhaps the rea­
son that he had not been Included in the earlier 1572-
and 1587-series. Engraved m the Galle workshop, verses
by Maximiliaan de Vriendt.
81
OPS, JOOST (1608)
16.7 x 11.5 cm.
Above portrait, at top centre: "lustus Lipsius natus est
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).
In lower margin:"IUSTUS LIPSIUS./ luste, decus patri­
ae, Latij sermonis ocelle,/ Ut sophia praestas, sic Pietate
nites./ Moribus antiquis resutRomaria,virisque 5/Sic vet­
eris per te stat decus imperij " (five lines)
Used in:
Illustrium Galliae ..... (1608), no. 51b
Joost Lips (Justus Lipsius), Overijse 1547 - Louvain 1606;
Belgian humanist, moralist and philologist, professor in
Leiden and Louvain. Most of his works were published-
by Plantin and his successors (Voet 1980-83, nos. 1530-
1566). Engraved in the Galle workshop, verses by Aubert
Le Mire.
LUTHER, MARTIN (1567)
17.8 x 12.3 cm.
In lower margin: "Martlnus Lutherus/ Terribili tanquam
tonitru perceüere mentes,/ Atque ánimos graiae
praestxingere fulmine gentis,/ Ac movisse velut solidae
penetrallia terrae, / Cecropii dicta est acérrima lingua per-
iclis./ Nec mea vis minor: hanc germania sensit, et
ister,/Ad scythas, et pictos sese difliudit, et afros." (seven
Unes)

Paris (Cabinet des estampes, Bibliothèque Nationale,
Paris), The Hague (Koninklijke Bibliotheek, Den Haag,
bound with 1572b-edition), Vienna (Oesterreichische
Nationalbibliothek (Porträtsarnm-lung), Wien), Vienna
(Oesterreichische Nationalbibliothek (Ponrätsanimlung)
Wien, hand-coloured impression), Vienna (Sammlung
Schloss Ambras, Kunsthistorisches Museum, Wien)
Used in:
Virorum (1567), no. ??
Martin Luther (Martinus Lutherus),Eisleben 1483 - 1546;
German theologian and reformer, as anAugustinian monk
initiated the Reformation with the proclamation of his
95 theses in Wittenberg. Engraved by Philips Galle, vers­
es by ??
83
MACROPEDIUS, GEORGIUS (1567)
17.4 x 12.2 cm.
In lower margin, in letterpress: "GEORGIUS MACRO-
PEDIUS,/ BATAVUS./ Quae referas nostris grate
spectanda theatris/ Argximenta sacrae suscipis historiae./
Idem animi numerosque potes cecinisse Georgi/
Strinxisse in numeros carrninis inque notas." (six lines)
In margin right, also in letterpress: "B5".
I.
1567-edition. Mentioned by Van Sonieren (p. 122), not
yet found.
Ma.
As described. Used m 1572b-edition,
lib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "GEORGIUS MACRO-
PEDIUS [on one line, without BATAVUS]/ (five
Hnes); added in margin right, also engraved: "B5". Used
in 1572b-edition.
m.
Added above portrait, at top centre:"Obijt Silvaeducis in
patriae An. CIC[In reverse]. IC[in reverse]LVIIL"; verses
Appendix 2E
270
in lower margin slightly changed: "GEORGIUS
MACROPEDIUS, PHILOLOGUS [on one line,
PHILOLOGUS added]/ five lines); erased in mar­
gin right: "R5", replaced by "Ar. Montanus added in
margin left: "48." Used in 1604-edition.
IV.
Verses in lower margin replaced by: "GEORGIUS
MACROPEDIUS, PHILOLOGUS/ Tu Seneca, et nos-
tri potes esse Terendus aevi,/ Sen struis ad faciles viva theatra
pedes,/ Sen ploras tragicas, Macropedi, carmine clades,/
Materiam sancris adsimilante modis./ Desine iam Lados
rnirari Roma cothurnos:/ Nescio quid mains Beigica
scena dabit." (seven lines); erased in margin right: "Ar.
Montanus.", replaced by: "Ant. Sanderus". Used In 1608-
edition.
V.
Erased in margin left: "48". Used in Foppens 1739.
Used in:
Virorum ... (1567), no. ??;Virorum (1572), no. B5;
Illustrium Galliac ..... (1604),no.48;IUustrium Galliae .....
(1608), no. 48; Foppens 1739, vol. I, p. 339
Lit.:
TIB. 56, p. 471, no. 160; Giebels 1978, pp. 5, 62-63;
Macropedius 1995, pp. 30-32
Georgius Macropedius (Joris van Lanckvelt), Gemert
1475 - Den Bosch 1558; Dutch humanist, philologist and
poet, author of several neo-latin dramas. Engraved by
Philips Galle, verses by Benito Arias Montano (1572-
edition) and Antonius Sanders (1604-edition).
84
MAINO, JASON DE (1587)
After EncaVico
16.7 x 11.8 cm.
In lower margin: "IASON DE MAYNO./ Alciati civis,
castris et miles ijsdcm./ Doctor tu luris nec minus ille
fait./ O Mediolanum docris urbs dives alumnis,/ Saepe
utinam Maynos Alciatosq[ue] feras." (five Hnes)
In margin right: "17".

Used in;
Imagines ..... (1587), no. 17; Imagines (1595), no. 17;
Imagines (1606), no. 17
Lit.:
TIB, 56, p. 474, no. 166; Dwyer 1990, p. 62, fig. 13
Jason de Mamo (lason de Mayno), Pesare 1435 - Pavía
1519; Italian jurist in service of Emperor Maximilian I
and King Louis XII of France, tutor of Andrea Alciati.
Engraved by Philips Galle, verses by Frans van Ravelingen.
Copied with several alterations after an engraving attrib­
uted to Enea Vico in Benavides s Hlustrium iurecansultomm
imagines (1566).
85
MANUZIO, ALBO (1587)
After Martino Rota
16.8 x 11.9 cm.
In lower margin: "ALDUS PIUS MANUTIUS./ Si
priscos libros, veterum si voivere scripta,/ Debemus
quidquid jam licet, Aide, ribi./ Magna quidem laus est
Scriptoribus; at tibi major,/ Qui reddis veteres
CHALCO GRAPHIA arte novos" (five lines)
In margin right: "32"
Used hit
Imagines ..... (1587), no. 32; Imagines (1595), no. 32;
Italorum ..... (1600), no. 16; Imagines (1606), no. 32
Lit.:
TIB. 56, p. 472, no, 162
Aldo Manuzio (Aldus Manutius, Teobaldi Manucci),
Bassiano 1452 - Venice 1515; Italian scholar, printer and
publisher of mainly humanist books, father of Paolo
Manuzio. Engraved by Philips Galle, verses by Frans van
Ravelingen. Copied in reverse after an undated engrav­
ing by Martmo Rota (Bartsch 78).
Appendix 2E
271
§6
MANUZIO, PAOLO (1587)
After Martino Rota
16.7 x 12.0 cm.
In lower margin: "PAULUS MANUTIUS, ALD. F./
Cunctis, Paule, patrem sequeris virtutibus Aldum,/
Docrrina superas, eloquio superas./ Chalcographa patris
nomen celebratur ab arte;/ Paule, tuum docto nomen ab
ELOQUIO." (five lines)
In margin right:"33".
Used in:
Imagines ..... (1587), no. 33; Imagines ..... (1595), no. 33;
Italorum ..... (1600), no. 17; Imagines (1606), no. 33
Lit.:
TIB. 56, p. 473, no. 163
Paolo Manuzio (Paulus Manutius),Venice 1511 - Rome
1574; Italian humanist, printer and bookpublisher, from
1561 head of theVaticanTipografia Romania, son of Aldo
Manuzio. Two of his studies were published by Plantin
(Voet 1980~83,nos. 1629-1630.Engraved by Philips Galle,
verses by Frans van Ravelingen. Copied in reverse after
an undated engraving by Martmo Rota (Bartsch 79).
87
MAROT, CLÉMENT (1567)
16.8 x 12.2 cm.
In lower margin, in letterpress: "CLEMENS MARO-
TUS,/ CADURCUS./ Gallorum Vatem qui te dixere
Maronem,/ Auspicijs, Clemens, non caruere suis:/ Nam
superas patrio rellquos sermone Poetas;/ Si cupis anti­
ques vertere, te superas." (six lines)
In margin right, also In letterpress: "E5".
I.
1567-edition. Mentioned by Van Someren (p. 122), not
yet found.
n.
As described. Used in 1572a-edition.

XIL
Added above portrait, at top centre: "CLEMENS,
MAROTUS, CADURCUS."; verses in letterpress are
replaced by engraved, slightly different inscription:
"Gallorum Vate [instead ofVatem] qui (four lines);
added in margin right, also engraved: "E5". Used in
1572b-edirion„
Used in:
Viroruni (1567), no. ??;VIrorum ..... (1572), no. E5
Lit,:
TIB. 56, p. 473, no. 164
Clément Marot (Clemens Marotus), Cahors 1496 - Turin
1544; French poet whose religious views came close the
Reformation, his French translations of the Psalms were
finished by the reformcrTheodore de Bèze and were pub­
lished by Plantin (Voet 1980-83, no. 722). Engraved by
Philips Galle, verses by Benito Arias Montano.
88
MATTIOLI, PIETRO ANDREA (1567)
17.2 x 12.3 cm.
In lower margin, in letterpress: "PETRUS ANDREAS
MATTHIOLUS/ SENENSIS./ Neglectam Medicis
daninoso crimine partem/ Naturae pulchra et munera
multipliers,/Andreas dum lustrat agros, dumque undique
quaerit,/ Admovit chartis lumen Apollineis." (six lines)
In margin right, also in letterpress: "D8".
I.
1567-edition. Mentioned by Van Someren (p. 122), not
yet found.
Ha.
As described. Used in 1572a-edkion.
lib.
Verses in letterpress in lower margin replaced by engraved,
slighdy different inscription: "PETRUS ANDREAS
MATTHIOLUS MEDICUS [on one line instead of
PETRUS ANDREAS MATTHIOLUS SENENSIS on
two lines]/ " (live lines); added in margin right, also
! I
engraved: "D8 . Used in 1572b~ediuon.
Appendix 2E
272
Used in:
Virorum ..... (1567), no. ??; Virorum ..... (1572), no. D8
Lit.:
TIB. 56, p. 474, no. 165
Pietro Andrea Mattioli (Petrus Andreas Matthiolus), Siena
1500 - Trent 1577; Italian physician and botanist in ser­
vice of Emperor Maximilian II. Engraved by Philips Galle,
verses by Benito Arias Montano.
89
MAULBE, FRANS BE (1604)
14.7 x 10.5 cm.
Above portrait, at top centre: "Obijt Aeria apud Artesios
Canomcus CIC[in reverse]. IC[in reverseJXC"
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;/
MODIUS Aonij gloria rara gregis." (five lines)
In margin left: "51
I.
As described. Used in 1604- and 1608-editions.
XL
Erased m margin left: "51Used in Foppens 1739.
Used in:
Illustrium Galliae ..... (1604),no.51;lUustrium Galhae
(1608), no. 51; Foppens 1739, vol. I, p. 300
Frans de Maulde (Franciscus Modius), Oudenburg 1556
-Aire-sur-la-Lys 1597;Belgian humanist, poet and philol­
ogist. Engraved in the Galle workshop, verses by Aubert
Le Mire.
90
MELANCHTONj PBXLIPPUS (1567)
17.6 x 12.3 cm.
In lower margm:"Philippus Melanthon/ Invidiae nemesin
vitasti docte philippe/ Magnam, qui accrbitatem tempe-

ans styli,/ Inveheris minus, et parens eonvitia fundis:/
Edoctus hoc, ni fallor, a musa attiea./ Saxona non spiras,
grato sed scripta lepore/ Soluta sen ligata sint condis
probe." (seven lines)
I.
As described.
Vienna (Oesterrelchische Narionalbibliothek (Portrat-
sammlung), WIen)
n.
Verses in lower margin slightly changed: "Philippus
Melancthon [instead of Melanthon]/ -....parens [instead
of pareus] .....hoc (ni fallor) [brackets Instead of commas]
lines).
lepore, [comma added] ..... sint, condis probe." (seven
The H&gne (Koninklijke Bibliotheek,Den Haag, bound
widi 1572b-edition)
Used in:
Virorum ..... (1567), no. ??
Philippus Melanchton (Philip Schwarzerd),Bretten 1497
-Wittenberg; German humanist and theologian, friend of
Luther and Erasmus, one of the leading moderate reform­
ers. Engraved by Philips Galle, verses by ??
91
MEXISSUS, PAUIXfS (1587)
16.9x12.0 cm.
In lower margin: "PAULUS MELISSUS FRANCUS,
COM.PAL. ET EQUES,/ LAUREATUSQUE POETA,
CIVÎS ROMANUS./ Seu tu Vergilium, aut elegeldia
docta Propertl,/ Carmina seu nitidi secteris salsa Catulli;/
Omnibus excellis: mérito tibí LAUREA serta/ Ferre dédit
Caesar, meritoque vocare Melissus." (six lines)
In margin right: st
50".
Used in:
Imagines (1587), no. 50; Imagines ..... (1595), no. 50;
Imagines (1606), no. 50
Appendix 2E
273
lit.:
TIB. 56, p. 475, no. 167
Paulus Melissus (Paul Schede), Mellrichstadt 1539 -
Heidelberg 1602; German Neo-Latin poet in service of
the Palatinate in Heidelberg, Engraved by Philips Galle,
verses by Frans van Ravelingen.
92
MERCATOR, GERARD (1587)
After Hendrick Goltzius
16.8 x 11.8 cm.
In lower margin: "GERARDUS MERCATOR./
Imprimis nostro, Gerarde, videbere libro,/ Qui populos,
urbes, regna videre facis/ Non opus est studio proficisci
ad regna vide[n]di;/ Scilicet in TABULIS regna videre
facis." (five lines)
In margin right: "39".
Used in:
Imagines ..... (1587), no. 39; Imagines ..... (1595), no, 39;
Imagines .... (1606), no. 39
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
Gerard Mercator (Gerard de Cremer),Rupelmonde 1512
- Duisburg 1594; Belgian geographer and cartographer,
acquainted with Philips Galle, one of his works was pub­
lished by Plantm (Voet 1980-83, no. 1662). Engraved by
Philips Galle, verses by Frans van Ravelingen. Copied in
reverse after an engraving attributed to Hendrick Goltzius
(Bartsch 176, Hollstein 201) and published by Nicolaus
Hogenberg, dated 1576 (state I and II), 1574 (state III)
and 1578 (state IV).
93
MONCEAUX, FRANÇOIS DE (1587)
16.7 x 11.7 cm.
In lower margin: "FRANCISCUS MONCAEUS
ATREBAS./ Virgilius Stygijs postquam rescisset in

umbris/ BUCOLICA in lucern tollcre SACRA caput;/
AhJ nostras, inquit, SACRIS Moncaeus honores/ Toilet;
erunt null o nostra profana loco." (five lines)
In margin right: "48".
Used In:
Imagines ..... (1587), no. 48; Imagines (1595), no. 48;
Imagines ..... (1606), no. 48
Lit.:
TIB. 56, p. 476, no. 169
Francois de Monceaux (Franciscus Moncaeus), lived in
Arras, active second half of the sixteenth century; French
humanist, poetjurist and diplomat in service of the French
Crown, nephew of Francois Baudouin. Editor of an edi­
tion ofVirgil's Bucólica. Engraved by Philips Galle, verses
by Frans van Ravelingen.
94
MORE, THOMAS (1567)
After Hans Holbein
17.6 x 12.2 cm.
In lower margin: "Thomas Moras/ Haec mori effigies,
quern nutrix ingeniorum/ Nobilium In lucem terra bri-
tanna tulit/ Cui linguam armarat periclaeo musa lepore,/
Et facili excultam carmine eondierat./ Regia dum orfen-
sa reprobat divorta mente,/ Demedtur cervix ense resec-
ta sen!" (seven lines)
I.
As described. Used in 1567-edition.
Brussels (Prentenkabinet, Koninklijke Bibliotheek
Albert I, Brussel; Cabinet des estampes, Bibliothèque
Royale Albert Ier, BruxeBes)
Ha.
Verses in lower margin replaced by new text in letterpress:
"THOMAS MORUS, ANGLUS./ An memorem doc-
turn magis, an te More fidelcm,/ An fortem, dubito; nam
omnia summa tenes./ Quae doctrina fuit,pietas quae pec-
tore in isto,/ Exitus edocuit, quern subis intrepidus." (five
lines);added in margin right,also in letterpress:"'A8".Used
in 1572a-edition.
Appendix 2E
274
nb.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "THOMAS MORUS [no
comma] ANGLUS no period]/ .....fidelem [no comma]
.... isto [no comma]/ Quern valide ipse subis, exitus
edocuit. [instead of Exitus edocuit, quern subis intre­
pidus]" (five lines), added in margin right, also engraved:
"A8". Used in 1572b-edition.
Used in:
Virorum ..... (1567), no. ??;Virorum ..... (1572), no. A8
Lit,:
TIB. 56, p. 477, no. 171
Thomas More (Thomas Morns),London 1477/78 - 1535;
English humanist, statesman and diplomat, friend of
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
by Hans Holbein the Younger of which the original paint­
ing, dated 1527, is in the Frlck Collection, New York.
95
MUNSTER, SEBASTIAN (1587)
16.8 x 12.2 cm.
In lower margin: "SEBASTIANUS MUNSTERUS./ Si
doctus cautum celebravit Homerus Ulysem,/ Quod varias
gentes, varies nosset populorum/ Mores; quis te non,
Munstere, celeb ret ametque,/ Qui nosti haec, quin et totl
nota efFicis orbi." (five lines)
In margin right:"40."
Used in:
Imagines (1587), no. 40; Imagines .... (1595), no. 40;
Imagines (1606), no. 40
Lit.:
TIB. 56, p. 477, no. 172
Sebastian Munster (Sebastianus Munsterus), Ingelheim
1489 ~ Basle 1552; German theologian and geographer,
author of the six-volume Cosmographia universalis (first
published in 1544), Franciscan monk, later converted to

the Reformation. Engraved by Philips Galle, verses by
Frans van Ravelingen.
96
MURET, MARC-ANTOINE DE (1507)
After Cornells Cort
17.0 x 12.0 cm.
In lower margin; "MARCUS ANTONIUS MURE-
TUS,/ lactabat toto tcllus Saturnia mundo,/ Solam se
doctos posse creare viros:/ Parce, ait Italiae Murctum
Gallia mittens,/Vos arte aequabit noster et ingenio(five
lines)
In margin right:"12".
Used in:
Imagines (1587), no. 12; Imagines ..... (1595). no. 12;
Imagines (1606), no. 12
Lit.:
TIB. 56, p. 478, no. 173; Bierens de Haan 1948, pp. 192-
193, no. 208
Marc-Antoine de Muret (Marcus Antonius Muretus),
Muret 1526 - Rome 1585; French humanist and moral­
ist, editor of several classical Latin texts.Two of his stud­
ies were published by Plantin (Voet 1980-83, nos. 1723-
24) Engraved by Philips Galle, verses by Frans van
Ravelingen. Copied in reverse after an undated engrav­
ing by Cornells Cort.
97
MUYDEN, GABRIEL VAN DER (1604)
16.2x10.4 cm.
Above portrait, at top centre: "Natus Anno. CIC[in
reverse], IC[in reverse]!. Obijt Lovanij CIC[in reverse].
IC[in reverse] LXI."
In lower margin: "GABRIEL MUDAEUS BRECH-
TANUS, l.C./ PRIMARIUS ANTECESSOR
LOVANIENSIS/ Adserlt ut Pietas sibi te MUDAEE; sed
et te/ Diva Themis totum vindicat esse suum:/ Decretum
est ut sis, quod Paulli norma stupescit,/ Toms et istius,
Appendix 2E
275
torus et alterius" (six lines)
In margin left: "20."
In margin right: "Avo nepos lac. Rolandius."
I.
As described. Used in 1604- and 1608-editions.
n.
Erased in margin left: "20." Used in Foppens 1739.
Used in:
Illustrium Galliae ..... (1604), no. 20; Illustrium Galliae .....
(1608), no. 20; Foppens 1739, vol. I, p. 325
Lit,:
Coppens 1993, pp. 106-107, no. 30
Gabriel van der Muyden (Gabriel Mudaeus), Bracht
c. 1500 - Louvain 1560; Belgian jurist, scholar of Roman
law, professor in Louvain. Engraved in the Galle work­
shop, verses by Jacques Roelants, grandson of Van der
Muyden.
98
MUYS, CORNELLS (1587)
After Maarten van Heernskerck
16.7 x 11.8 cm.
In lower margin; "CORNELIUS MUSIUS DEL-/
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".
I.
As described. Used in 1587- and 1595-editions.
n.
Added above portrait, at top centre: "Martyrio coronatur
Lugd. Batav. CIC[in reverse], IC[in reverse]. LXXILAEt.
LXXII"; erased in margin right: "10", replaced by "Fr.
Raphelenguis."; added in margin left: "49 " Used in 1604-,
1606- and 1608-editions and Foppens 1739.
Used in:
Imagines .... (1587), no. 10; Imagines ..... (1595), no. 10;

Iliustrium Galliae (1604),no. 49; Imagines (1606),
no. 10 (numbered 49); Iliustrium Galliae (1608), no.
49; Foppens 1739, vol. I, p. 215
Lit.:
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
Delft, murdered by the Gcuzen. fviuys was a friend of
Maarten van Hecmskerck and might, through the latter,
have been acquainted with Philips Galle. One of Muyss
studies was published by Plantin (Voet 1980-83,no. 1725).
Engraved by Philips Galle, verses by Frans van Ravelingen.
After a lost painting by Maarten van Hecmskerck, of
which several copies exist.
99
NANN1US, PETRUS (1604)
15.9 x 10.7 cm.
Above portrait, at top centre: "Vixit Arm. LVII. Obijt
Lovamj XII. Kal. Aug. CIC [in reverse]. IC[in
reverse] EVIL"
In lower margin. "PETRUS NANNIUS ALCMARI-
ANUS BATAVUS/ PHILOLOGUS ET PROFESSOR
BUSLIDIANUS./ Nanni Castalidum decus sororum,/
Quisquis te videat, tuosque fetus,/ Hand Nanum vocitet,
sed o Gigantern." (five lines)
In margin left: "36/'
I.
As described, Used in 1604- and 1.608-editions.
XL
Erased in margin left: "36." Used in Foppens 1739.
Used in:
Iliustrium Galliae ..... (1604),no.36;Iliustrium Galliae .
(1608), no. 36; Foppens 1739, vol. II, p. 994
Lit.:
Coppens 1993, pp. 244-245, no. 104
Petrus Nanmus, Alkmaar 1500 - Louvain 1557; Dutch
priest and philologist, professor in Louvain, editor of scv-
Appendix 2E
276
era! texts by classical authors. Engraved in the Galle work­
shop, verses by Andreas Schott. According to Van Someren
(p. 129) some copies of Foppens 1739 include the second
state of Galle ?
s portrait, while others Include an anony­
mous copy in reverse.
100
ORTELS, ABRAHAM (1572)
17.5 x 12.1 cm.
In lower margin, in letterpress: "ABRAHAMUS
ORTELIUS/ ANTVERPIANUS./ Ortcli dum propo-
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)
In margin right, in letterpress: "C6".
Ia.
As described. Used in 1572a-edition.
Ib-
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "ABRAHAMUS
ORTELIUS ANTVERPIANUS [on one line]/ "(five
lines); added in margin right, also engraved: "C6". Used
in 1572b-edirion.
XL
Added above the portrait, at top centre:"Obijt Antverpiae
IIII. Kal. lull. CIC[in reverse]. IC[in reverse]XCIIX.AEt.
LXXL"; verses in lower margin slightiy changed: "ABRA
HAMUS ORTELIUS ANTVERPIANUS. [period
added]/ " (five lines); erased in margin right: "C6"\
replaced by "Ar. Montanus"; added in margin left: "45."
Used in 1604-edition.
ÏÏL
Verses in lower margin replaced by: "ABRAHAMUS
ORTELIUS, COSMOGRAPHUS REGIUS./
Inventum nuper se iactat Ibcrus ob orbem:/ Ad radium
Orteli, sed nihil Ista tuum./ Namque una socias vet-
crcmq[ue] novumq[ue] tabella,/ Et novus ingenio est
orbis uterq[ue] tuo./ Ergo orbis matrem, si te, Natura,
vocamus,/ Orbis te,Ortcli,quisneget esse patrem?"(seven
lines); erased in margin right: "Ar. Montanus.", replaced

y:"Nic. RhedingerusVratisl." Used in 1608-edition.
Used in:
Virorum ..... (1572),no. C6;lUustrium GaUiae ..... (1604),
no. 45; lllustrium GaUiae (1608), no. 45
Lit.:
TIB. 56, p. 480, no. 177; Le Loup 1983-84, pp. 106-107,
no. 17; De Nave 1994, p. 145, no. 36
Abraham Grtels (Abrahamus Ortelius,Abraham Wortels),
Antwerp 1527 - 1598; Belgian humanist and geograph­
er, friend of Philips Galle and Christophe Plantin, both of
whom published work of Ortels (Plantin 1969-72, nos.
1817-1839). Engraved by Philips GaUe, verses by Benito
Arias Montano (1572-edition) and Nicolaus von
Rehdiger (1608-edition) Compare the other two relat­
ed portraits engraved by Philips Galle (see below).
100a
ORTELS, ABRAHAM (1579)
32.3 x 21.5 cm.
Above portrait, in médaillon at top centre:"VITAE SCO­
PUS" and monogram of Christ in Greek letters between
letters "ut" and the "Q".
Underneath portrait, in cartouche: "Spectandum dedit
Ortelius mortalib. orbem,/ Orbi spectandum Galleus
Ortelium. Papius" (two Unes)
Coburg (Kupferstiehkabinett der Kunst-sammlungen
Veste Coburg, Coburg), Paris (Cabinet des estampes,
Bibliothèque Nationale, Paris), Paris (Cabinet des estam­
pes, Bibliothèque Nationale, Paris)
Lit.:
Plantin 1883-1918, vol. 6, pp. 305-306; Denucé 1912-13,
pp.68-69,106-107;Koemanl964,pp.5,42-44;Voetl980-
83, vol. 4, pp. 1683-84, no. 1817
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
Appendix 2E
277
since then Included in Plantin's edition of this book.Verses
by Andreas de Paepe.
100b
ORTELS, ABRAHAM
After Hendrick Goltzius
$ 5.6 cm.
Around portrait: "Spectandum dedit Ortelius mortalibus
orbem, Orbi spectandum Galleus Ortelium. HG[inter­
twined], in".
Amsterdam (Rijksprentenkabinet, Rijks-museum,
Amsterdam, nakijken), Aoiwerp (Stedelijk Prenten­
kabinet, Museum Plantijn-Moretus, Antwerpen, Copen­
hagen (Kongelige Kobberstiksamling, Statens Museum
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
kabinet, Museum Boymans-van Beuningen, Rotterdam)
Lit.:
HoUstein, vol. 8, p. 61, no. 204ad;TIB. 3, p. 169, no. 180;
Hirschmann 1921, p. 167; Strauss 1977, vol. I, pp. 378-
379, no. 227; Reznicek 1961, vol. I, p. 398
The engraving has been attributed by some to Hendrick
Goltzius. Hirschmann, however, rejected this attribution,
while Hollstein listed the print without a number and
Strauss Included this portrait as "probably engraved by
another hand'. According to the inscription 'HG in" the
portrait has been engraved after a drawing by Goltzius.
This is supported by the fact that there also exists a draw
ing of Ortels s sister Catherine, dated 1586, in the Musée
Condé In Chantüly (cp. Reznicek 1961, loc. clt.). The
inscription indicates that Philips Galle himself engraved
this portrait of his friend; both style and technique sup­
port this attribution. The Inscription is exactly the same
as on Galle s 1579-portrait of Ortels and might thus have
simply been copied from this print, without actually refer­
ring to Galle as the engraver.Verses by Andreas de Paepe.

101
PAMELE, JACOB VAN (1604)
15.7 x 10.7 cm.
Above portrait, at top centre: "Excessit e vita Montdbus
Hannoniac XIII. Kal. Octobr. CIC[In reverse] ICjm
reverscJLXXXVII."
! !
In lower margin: IACOBUS PAMELIUS,EPISCOPUS
AUDOMAROPOLITANUS DESIGNATUS./ Os tibi
te dignnm Naturae dextra fmxit,/ PAMELE, m formasti
ingenium ipse muni. / Qui volet os spectare,tabe!lam banc
consuiat, et qui/ Novisse ingenium, scripca tua iile legat./
Audomarum dici poterat te Praesule felix,/ Maluit at
civem te Superum aula suum." (eight lines)
In margin left: "7."
In margin right: "Ianus Lernutius "
I.
As described. Used in 1604- and 1608-editions.
n.
Erased In margin left: "7". Used in Foppens 1739.
Used in:
Illustrium Galliae (1604), no. 7; Illustrium Galliae
(1608), no. 7; Foppens 1739, vol. II, p. 532
Lit.:
LeLoup 1983-84,p. Ill,no. 21
Jacob van Parnele (jacobus Pamelius),Brugge 1536 Mons
1.587; Belgian theologian, designated to be bishop of Saint
Omer, but suddenly died before he was consecrated.
Several of his studies were published by Planum Engraved
in me Galle workshop, verses by janus Leernout. For
another eulogy by Lcernouts on Van Pamelc, see Van
Crombrugge 1955, p.T65
102
PAN! GARO LA , FRANCESCO (1587)
16.8 x 11.7 cm.
In lower margin: "FRANCISCUS PANIGEROLA./ SI
quisquam eloquio ad sedes humana beatas/ Ducere corda
potest; tu potes, irrrmo facis./ Quin super i Etrusco cupiant
Appendix 2E
278
sermone profari;/ Sermone utantur Panigerola tuo " (five
lines)
In margin right: "9".
Used ire
Imagines (1587), no. 9; Imagines ..... (1595), no. 9;
Imagines (1606), no. 9
TIB. 56, p. 480, no. 178
Francesco Panigarola, Milan 1548- 1594; Italian jurist and
theologian, bishop of Asa. Panigarola, who acquired great
fame as a preacher, visited Antwerp around i 572. Engraved
by Philips Galle, verses by Frans van Ravelingen.
103
PECK, PEETER (1604)
17.3 x 11.3 cm.
Above portrait, at top centre: "Obijt Machliniae XVII.
Kal. Aug. An. Christi CIC[in reverse] IC[in reverse]
LXXXIX.AEtat.LX/'
In lower margin: "PETRUS PECKIUS ZIRICAEUS
I.C./ CONSILIARIUS MACHLINIENSIS./ Haec tibi
firms, Pecki, fait haec reverentia formae:/ Agnosco; haec
oeuli gratia, paxque tui./ Si quidquam e vultu est animi
deprendere mores,/ Haec quoq[ue] tranquillae mentis
Imago tuae est./ Hanc fades, hanc vita fuit confessa qui-
etem,/ In quam fortunae nil valuere vices. 5
' (eight lines)
In margin left:"24"
In margin right: "Pet. Peckius fil."
I.
As described. Used in 1604- and 1608-editions.
IL
Added in margin left: "loan Galle excud."
Paris (Cabinet des estampes, Bibliothèque Nationale,
Paris), Vienna (Oesterreichische National-bibliothek,
Wien, bound with second édition of Aubert Le Mires
Eiogia itltustrium .... (1609))

Used in:
Illosixiuni Galliae (1604),no.24;lUustrium Galliae
(1608), no. 24
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
1980-83,no. 1960),Engraved in the Galle workshop, vers­
es by Pecks son Pieter Peck the Younger.
104
PETRARCA, FRANCESCO (1572)
After GiorgioVasari
17.6 x 12.1 cm.
In lower margin, in letterpress: "FRANCISGUS
PETRARCHA,/ FLORENTINUS./ Vaubus ignotum
priscis Franciscus amorem/ Et coluit purum, versibus et
cecinit./ Primus item nostro fugientern ex Orbe Latanam/
Dum sequitur Musam, pellicit et revocat." (six lines)
In margin right, also in letterpress: "E7".
I.
As described. Used in 1572a-edition.
n.
Caption with name of Petrarca engraved in oval border
around portrait:"FRANCISCUS PETRARCFIA FLO­
RENTINUS"; verses in letterpress in lower margin
replaced by engraved, slighdy different inscription:
"Vatibus ignotum priscis Latinum [instead ofLatinamj
" (four lines); added in margin right, also engraved:
"E7". Used in 1572b-edition and Italorum ..... (1600),
Used In;
Virorurn ..... (1572), no. E7; Italorum .... (1600), no. 3
lit.:
TIB. 56, p. 481, no. 179; Burgers 1988, p. 118, no. 105
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
Appendix 2E
279
is in turn copied after a painting by GiorgioVasari of which
several versions exist. The original painting is kept in die
collection of the Oriel College in Oxford.
105
PfflLANDRIER, GUILLAUME (1567)
17.5 x 12.2 cm.
In lower margin, In letterpress: "GUILIELMUS PHI­
LANDER,/ CASTILIONIUS./Verba simul rebus con-
iungere docte Philander,/ Restituis veterum verbaque
resque patrum./ Arrificum regina ribi sua dona docenda/
Contulit, et genitrix conruiit eloquij." (six lines)
In margin right, also in letterpress:"E3".
I.
1567-edirion. Mentioned by Van Someren (p. 122), not
yet found.
Ha.
As described. Used in 1572a-edItion.
lib.
Verses in letterpress in lower margin replaced by engraved,
slighdy different inscription:"GUILIELMUS PHILAN­
DER GALLUS [instead of CASTILIONIUS, on one
line]/ ... Restitius [instead of Restituis] ..... genitrx
[instead of genitrix](five lines); added in margin right,
also engraved: "E3". Used in 1572b~edition.
Used in:
Virorurn (1567), no. ??;Virorurn ..... (1572), no. E3
lit,:
TIB. 56, p. 481, no. 180
Guillaume Philandrier (Guilielmus Philander) Chatillon-
sur-Seine 1505 -Toulouse 1565; French humanist,philol­
ogist and architect. Engraved by Philips Galle, verses by
Benito Arias Montano.

106
PIGGE, ALBERT (1604)
16.2 x 10.8 cm,
Above portrait, at top centre: "Obijt Ultraiecti ad Renum
fl. IV Kal Ian. CIC[in reverse]. IC[in reverse]LXIL"
In lower margin: "ALBERTOS PIGHIUS CAMPEN-
SIS. / Extrema hie Batavum profectus ora,/ Non bello ore,
ammo sed omniumque/ Praeclarus studio scienriarum/
Pro República,et optima Quiritum/ 5ede,acer stent hastis
in Lutherum" (six lines)
In margin left: "10."
In margin right: "Myrteus."
Used in:
Illustrium Galliae ..... (1604),no. 10;Illustrium Galliae .....
(1608), no. 10
Albert Pigge (AlbertusPighius),Kampen c. 1490 - Utrecht
1542; Dutch astronomist, theologian and papal diplomat,
in service of Pope Adrian VI and his successors. Engraved
in the Galle workshop, verses by Petras Myrteus.The vers­
es by the Italian poet Myrteus are quoted from one of the
editions of Paolo Giovio's Eloquia áocíorum viromm, first
published in 1546.
107
PIRCKHEXMER,WILLIEALD (1567)
After Albrecht Diirer
17,6 x 12.4 cm.
In lower margin: "Bilihaldus Pirckheimerus/ Laus clare
non postrema debeturtlbi/ Bilibalde,per tepresuhs munus
pii/ Quod aureo de fonte promptum legimus/ Et facta
achivae gentis armis inclyta/ Quin de veterlbus teutone
orae sedibus/ Non vanus augur hariolare scitule." (seven
lines) [Note: Inscription taken from copy A, which is prob­
ably a reversed copy of the 1567-edition]
I.
1567-edition, Mentioned by Van Someren (p. 122), not
yet found, (description taken from copy A)
Appendix 2E
280
IIa.
Verses in lower margin replaced by new text in letterpress:
"BILIBALDUS PIRCKHEYMERUS/ NURENBER-
GENSIS./ Quae nobis reddis Graeco de fonte Latina,/
Cornrnendant studium ingeniumque tuum:/ Et quae de
prisca scrlbls placuere moneta./ Caetera non genij sunt
Bilibalde tui." (six lines); added in margin right, also In let­
terpress: "D4". Used in 1572a-edition.
üb.
Verses in letterpress in lower margin replaced by engraved,
slighdy different inscription: " BILIBALDUS PIRCK­
HEYMERUS/ NURENBERGENSIS./ ..... studium
fertile et mgenium: [instead of studium ingeniumque
tuum:] " (six lines): added In margin right, also
engraved: "D4". Used in 1572b~edItion.
Used in:
Virorum (1567), no. ??;Viromm ..... (1572), no. D4
Lit.:
TIB. 10, vol. I, p. 93, no. 106; vol. II, pp. 234-238, no. 10
Willibald Pirckheimer, Eichstätt 1470 - Nuremberg 1530;
German humanist and diplomat in service of Maximilian
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-
tion). Copied in reverse after an engraving by Dürer
(Bartsch 106), the hands and the book are added (by
Galle?).
COPY A
17.6 x 12.2 cm.
In lower margin: "Bilibaldus Pirckheimerus/ Laus
augur hariolare scitule." (seven Hues)
Amsterdam (Rijksprentenkabinet, Rijksmuseum,
Amsterdam), Haarlem (Gemeentearchief, Haarlem)
lit,:
TIB. 56, p. 482, no. 181; wrongly illustrates this copy as
the original engraving by Galle.
Copy m reverse, with the verses of die 1567-edition.

108
PIUS II {1567}
16.2 x 12.1 cm.
In margin underneath, In letterpress;"Al'NEAS SILVIUS
SENENSIS, POSTEA/ PIUS. II. NOMINATUS./ Sum
Pius Aeneas fama notissimus Orbi,/ Quern rexi Pastor,
Scriptor et institui./ Quaestio nulla fere est, in qua non
docta reliqui/ Argumenta mei fertilis ingenij." (six lines)
In margin underneath, also in letterpress: "A3".
L
1567-edition. Mentioned by Van Someren (p. 122), not
yet found.
n.
As described. Used In 1572a-editlon.
Used in:
Virorum ..... (1567), no. ??;Virorum ..... (1572), no. A3;
Pontificum (1572), no. 13
lit.:
TIB. 56, p. 487, no. 192
Pius II (Enea Silvio Piccolimini, also called Aeneas
Sylvius), Corsignano (later renamed Pienxa) 1405 -
Ancona 1464; Italian humanist and poet, bishop mTriest
and Siena, elected as pope in 1458. Engraved by Philips
Galle, verses by ?? (1567-edition) and Benito Arias
Montano (1572-edition). In this portrait Pius II is shown
en profil, looking to die left. He wears the dara and in the
upper right corner are his coat of arms. In 1572 Galle
reused this portrait in his series of popes and engraved a
new, reversed version for the 1572b-edition, with the
inscriptions engraved in the margin.
109
PIUS II (1572)
17.6 x 12.2 cm.
In margin underneath: "AENEAS SILVIUS SENENSIS,
POSTEA/ PIUS II NOMINATUS./ Sum Pius AEneas
fama notissimus Orbi,/ Quern rexi Pastor, Scriptor et
Institui. / Quaestio nulla fere est, in qua non docta reliqui/
Appendix. 2E
281
Argumenta mei fertilis ingenij " (six lines; translation, see
above). In margin right:"A3".
Used in:
Virorum ..... (1572), no. A3; Italorum ..... (1600), no. 2
Engraved by Philips Galle, verses by Benito Arias
Montano. Copy in reverse after the earlier engraving by
Philips Galle. Galle engraved this new, reversed version of
Pius II for the 1572b-edition, with the inscriptions
engraved in the margin and without the coat of arms in
the upper right corner. Pius II Is portrayed en profil, look­
ing to the right; instead of the aara he wears a simple cap.
110
PLANTIN, CHBJSTOFHE (1572)
17.7 x 12.1 cm.
In lower margin, in letterpress: "CHRISTOPHORUS
PLANTINUS,/ TURONENSIS./ Qui Plantine bonas
hoc tempore iusserat art.es/ Crescere,te iussk praela parare
Bens./ Omnia chresa [in Greek letters], inquit, doctorum
scripta manebunt,/ Haec plus excudat dummodo
Christophorus. !S
(six lines)
In margin right, also in letterpress: S
*E4 ,S
.
fa.
As described. LJsed in 1572a-edltion.
Ib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "CHRISTOPHORUS
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:
Virorum (1572), no. E4
Lit,:
TIB. 56, p. 482, no. 182
Christophe Plantin (Cristoffel Plantijn, Christophorus
Plantinus), Saint Avertin 1514? ~ Antwerp 1589; French
printer, publisher and humanist, active in Antwerp and
Leiden (1582-85), friend of Philips Galle. Engraved by
Philips Galle, verses by Benito Arias Montano.

111
PLANTIN, CHRISTOPHE (1608)
20.2 x 13.3 cm.
Above portrait, at top centre: "CHRISTOPHORUS
PLANTINUS Archetypographus Regius,/ vixit annos
LXXV. obijtque Antverpiae CIC[in reverse]. IC[in
reverse]. LXXXIX." (two lines).
In lower margin: f
Tl an tinum tibi, spectator, proponimus,
ut cum./ Nomine perpetuo vivat et effigies./ Sic ubi pos-
teritas miracula tanta librorum/ Eius et innumerum sera
videbit opus;/ Tune es Chrlstophorus, tune iile es? dicat:
in unum/ Et sua conijeiens lumina fixa virum;/ Musarum
o pater, exclamet, dlgnissime salve:/ Reddita sunt studio
saccula docta tuo." (eight lines)
In margin right:"!. BOCHIUS."
I.
With address of Goltzius, before ail other inscriptions.
Amstexdam (Rijksprcntenkabinet.Rijksmuseum, Amster­
dam)
n.
With Latin verses in lower margin; added in margin right:
"A.l. Bochio "
in.
With inscription above portrait;slight changes in the hair.
IV.
As described. Used in 1608-edition.
Used in:
Illustrium Galliae ..... (1608), no. 51c
Lit,:
Hollstein, vol. , p , no. 207;TIB. 3, p no. 181, Strauss
1977, vol I, pp. 298-299, no. 175
Engraved by Hendrick Goltzius, verses by Johannes
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
Appendix 2E
282
1589, The described fourth state was included by
Theodoor Gallc in die 1608-edition of the portrait series,
where it was added, without a number, following portrait
no. 51b (Lips).
112
POELMAN, THEODOOR (1572)
17.7 x 12.1 cm.
In lower margin, in letterpress: "THEODORUS PUL-
MANNUS,/ CRANEBURGIUS./ Dum veterum cer­
tain esse studes Pulmarme librorum/ Et morum puram
dum cupis esse ndein:/ Iste tibi candor nornen laudemque
paravit,/ Fortuna at memo est non satis aequa tuo." (six
lines)
In margin right, also in letterpress: "D3".
I.
As described. Used in 1572a-edition.
n.
Added at left side: "AEtatis/ suae 65." (two lines); added
in lower right corner: "PEL Gal-/ laeus/ 1572" (three
lines). Verses in letterpress in lower margin replaced by
engraved, slightly different inscription: "THEODORUS
PULMANUS [instead of PULMANNUS] CRANE­
BURGIUS [on one line]/ " (five Hnes); added in mar­
gin right, also engraved: "D3". Used in 1572b-edition.
Used In:
Virorum (1572), no. D3
Lit.:
TIB. 56, p. 483, no. 184
Theodoor Poelman (Theodorus Pulmannus),
Kranenburg 1512 - Antwerp 1581; German humanist,
friend of Christophe Plannn, editor of several texts by
classical authors published by Plantin (cp.Voet 1980-83,
no. 2116). Engraved by Philips Gaile, verses by Benito
Arias Montane.

113
POLXZIANO, ANGELO (1572)
After Giorgio Vasari
17.6 x 12.1 cm.
In lower margin, in letterpress: "ANGELUS POLI-
T1ANUS,/ R.ORENTINUS./ Omarnenta ferat Latiae
qui fiorida linguae, et/ MiHe modis gratum tcmperet elo-
quium,/ Carmine qui placeat, placeat sermone soluto,/
Unus, crede mihi, Poliaanus erit," (six lines)
In margin right, also In letterpress; "F3".
I.
As described. Used in 1572a-edition.
n.
Caption with name of Poliziano engraved in oval border
around portrait: "ANGELUS POLITIANUS FLO-
RENTINUS"; verses in letterpress in lower margin
replaced by engraved, slighdy different Inscription:
"Grnamenta serat [Instead of ferat] ..... qui placeat [no
comma] placeat sermone soluto [no comma] ..„.'" (four
lines); added in margin right, also engraved: "F3". Used
in 1572b edition and Italorum ..... (1600).
Used is:
Virorum .... (1572), no. F3; Italorum ..... (1600), no. 8
lit.:
TIB. 56, p. 483, no. 183; Burgers 1988, p. 118, no. 105
Angelo Polizlano (Angelo Ambrogini), Montepulciano
1454 - Florence 1494; Italian humanist and poet in ser­
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
several versions exist. The original painting is kept in the
collection of the Oriel College in Oxford.
Appendix 2E
283
114
RANTZAU, HENRIK (15S7)
After Hendrick Goltzius
16.8 x 12.0 cm.
In lower margin: "HENRICUS RANZOVIUS./
Ranzoviae cui non est cognita gloria gentis?/ Henrici cui
non gloria Ranzovij?/ Qui genus antiquum varijs vir-
tutibus ornat./Vates et medicus. miles et Astrologus." (five
lines)
In margin right: "31".
Used in:
Imagines (1587), no. 31; Imagines ..... (1595), no. 31;
Imagines (1606), no. 31
lit.:
TIB. 56, p. 484, no. 185; Henmnges 1600, pp. 74-75
Henrik Rantzau (Henrlcus Rarrzovius), Steinburg 1526
- Breitenberg 1598; Danish humanist and statesman, gov­
ernor of Schleswig-Holstein on behalf of the Danish king,
just as Philips Galle, Rantzau collaborated with Georg
Braun and Frans Hogenberg in their publication of the
Civitates orbis terrarum, which began in 1573. Several of his
works were published by Plantin (Voet 1980-83, nos.
2123-2127). Engraved by Philips Galle, verses by Frans
van Ravelingen.The verses in the margin of Calles engrav­
ing are repeated in Henninges 1600 (p. 75), underneath
another portrait ofRanzovius (not by Galle). Here Philips
Galle is erroneously mentioned as author of these verses.
The engraving is most probably related to a slighdy ear­
lier engraving by Hendrick Goltzius (Hollstein 209).
115
REWAERT S 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-

eavit ab alto Were divinum prodit imago viruni(six lines)
In margin left: "23."
In margin right: "lanus LernutiusV.N."
I.
As described. Used in 1604- and 1608-edirions.
XL
Erased in margin left: "23" Used in Foppens 1739.
Used in:
Illustriurn Galliae ..... (1604) Tno.23;Illustrium Galliae
(1608), no. 23; Foppens 1739, vol. II. p. 533
Jacob Reyvacrt (Jacobus Raevardus), Lisseweg c. 1535 -
Bruges 1568: Belgian jurist, specialised in Roman law, sev­
eral of his studies were published by Plannn (Voct 1980-
83,nos.211-2119). Engraved in the Galle workshop, vers­
es by Janus Leernout. For another eulogy by Leernout on
Reyvaert, see Van Crombruggen 1955, p. 184.
116
RICHARDOT, FRANÇOIS (1604)
16.8 x 10.8 cm.
Above portrait, at top centre:"Excessit e vitaVII. Kal. Aug.
CIC[in reverse]. IC[in reverse] LXXIV"
In lower margin: "FRANCISCUS RICHARDOTUS
BURGUNDUS/ ATREBATIUM EPISCOPUS./ Tabs
eras, talem te RICHARDOTE ferebas,/ Ista fuit vultus
forma, decusq[ue] tui./Ars utinam eIoquium,moresq[ue]
effingere possis!/ Pulchrior in terns nulla tabella foret."
(six lines)
In margin left:* 4
6."
In margin right: "Aub. Miraeus."
Used in:
Illustrium Galliae (1604), no. 6: Illustriurn Galliae
(1608), no. 6
Francois Richardot (Franciscus Richardotus), Morey
1507 ~ Arras 1574; French theologian, bishop of Arras,
several of his works were published by Plantin (Voet 1980-
83, nos. 2143-2146). Engraved in the Galle workshop,
verses by Aubert Le Mire.
Appendix 2E
284
117
ROSSONI, DINO (1S87)
After Enea Vico
16.9 x 11.8 cm.
In lower margin: "DINUS MUXELLANUS./ Nec tu
carminibus nostris indictus abibis,/ Atque hie laude liber
non erit absque tua./ Illustrata a te stmt DECRETALIA,
tanti/ Pontlficis fuerunt optuma iussa tibi." (five lines)
In margin right:"22".
Used In:
Imagines (1587), no. 22; Imagines (1595), no. 22;
Imagines (1606), no. 22
Lit.:
TIB, 56, p. 479, no. 175; Dwyer 1990, p. 62, fig. 6
Dino Rossoni (Dinus Muxellanus, Dino del Mugello,
Dinus de Rossonibus), Mugello 1248 - Bologna 1302;
Italian jurist and glossator. Engraved by Philips Galle, vers­
es by Frans van Ravelingen. Copied with several alter­
ations after an engraving attributed to Enea Vico In
Bcnavidess Illustrium iureconsultomm imagines (1566).
118
HYTHOVIUS, MARTINUS (1608)
17.5x10.9 cm.
Above portrait, at top centre:"Vivcre desijt Audomaropoli
CIC[in reverse], IC[in reverseJLXXX."
In margin underneath: "MARTINUS RITHOVIUS
BRABANTUS,/ EPISCOPUS I. IPRENSIS./ Quae
micat in laeto pietas doctrinaq[uej vultu,/ Purus et anti-
quae relligionis amor,/ Est ignis, MARTINE, tuus, quo
postuma torres/ Pectora, quoq[ue] tuas pastor aduris
oves:/ Quo calet Ipra, calent Grudij, calet alma Dilinga,/
Sacra Tridentini Concilij acta calent." (eight lines)
In margin left:"6.b."
In margin right: "Ant. Sanderus, Gandensis".
I.
As described. Used in 1608-edition.

n.
Erased In margin left: "6.b" Used in Foppens 1739.
Used in:
IHustrlum Galliae (1608), no. 6b; Foppens 1739, vol
II, p. 848
Martinus Rythovius (Martinus Bouwens), Riethoven
1551 - Saint Gmer 1583; Dutch theologian, bishop of
Ypres, as a political and religious opponent to the
Orangists Imprisoned between 1577 and 1581. Engraved
in the Galle workshop, verses by Antonius Sanders.
119
SADOLETOJACOPO (1587)
17.1 x 11.8 cm.
In lower margin; "JACOBUS SADOLETUS, CARDI-
NALIS./ Ut Plato facunda decoravit dogmata lingua,/ De
priscae Sophiae dogmata sumpta sinu:/ Eioquij sic tu dec-
orasti flumine blando,/ De sacro CHRIST! dogmata
sumpta sinu." (five lines)
In margin right: "2".
I.
As described. Used In 1587- and 1595-editions.
n.
Erased in margin right:"2". Used in XII Cardinalium
(1598) and 1606-editlon.
Used in:
Imagines ..... (1587), no. 2; Imagines..... (1595), no. 2;XII
Cardinalium (1598), no. 6; Imagines (1606), no. 2
Lit.:
TIB. 56, p. 484, no. 186
jacopo Sadoleto, Modena 1477 - Rome 1547; Italian the­
ologian, bishop of Carpentras, cardinal and secretary to
the Popes Leo X and Clemens VII, one of the imtiators
of the Counter-Reformation. Engraved by Philips Galle,
verses by Frans van Ravelingen.
Appendix 2E
285
120
SANNAZARO, JACOPO (1587)
16.8 x 11.9 cm.
In lower margin:"IACOBUS SANAZARIUS./ AEvi ni
faceret semper veneranda vetustas,/ lam rnodicus priscis
varibus esset honos:/ Namque est ingenio nobis
Sanazarius acri,/ Quod Maro, quodq[ue] Umber,
quodq[ue] Catullus erat." (five lines)
In margin right: "46".
Used in:
Imagines (1587), no. 46; Imagines ..... (1595), no, 46;
Icalorum (1600), no. 11; Imagines ..... (1606), no. 46
lit.:
TIB. 56, p. 485, no. 188
Jacopo Sarmazaro (Jacobus Nazarius), Naples 1457/58 -
1530; Italian poet at the court in Naples. Engraved by
Philips Galle, verses by Frans van Ravelingen.
121
SARTORIU5, JOHANNES (1567)
17.6 x 12.3 cm.
In lower margin, in letterpress: "IOHANNES SARTO-
RIUS,/ AMSTERODAMUS./ Quae sit Romanis ratio,
quae norma loquendi,/ Discrepet ut Lario barbara lingua
sono,/ Hoc bene praeceptis dictat Sartorius, hoc est/
Sarciri, fuerant quae male rupta prius." (six lines)
In margin right, also in letterpress:"B7".
I.
1567-edidQn. Mentioned by Van Someren (p. 122), not
yet found.
Ha.
As described. Used in 1572a-edition.
Mb.
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

ight, also engraved: "B7". Used in 1572h-edition.
Used In:
Virorum .... (1567), no. ??;Virorum ..... (1572), no.B7
Lit.:
TIB. 56, p. 486, no. 189
Johannes Sartorius 0an Cleermaeckers Snijders,also called
himself Johannes Tosarrius Aquilovicanus), Amsterdam
c. 1500 - Delft? c. 1570; Dutch humanist and poet, as a
reformed preacher and teacher Sartorius was imprisoned
on several occassions in the Northern Netherlands.
Engraved by Philips Galle, verses by Benito Arias
rVtontano.
122
SASBOUT, ADAM (1604)
16.2 x 11.0 cm.
Above portrait, at top centre: "Decessit Lovanij AEtat.
XXXVI. Christi, CICfin reverse]. IC[in reverseJLIIL"
In.lower margin: "ADAMUS SASBOUTIUS, DELFUS,
FRANCISCANUS./ Adamus nornen, Batavi mea patria
Delfi,/ Progenies Sasbout non inhonora fuit./Traiectum
Latías, et Graecas tradidit artes,/ Lovanium Haebraeas
addidit, atq[ue] Sacras./ Quas ut proferrcm, (culpa est
sepeliré talentum,/ Et Domino usuras non soluisse suas,)/
Commoda visa niihi Francisci semita; at illam,/ Dum
sequor, in medijs cursibus eripior." (nine lines)
In margin left: "16".
In margin right: "Com. Musius clvi et amico P."
Used in:
Illustrium Galliae .....(1604), no. 16; Illustrium Galliae .....
(1608), no. 16
Adam Sasbout (Adamus Sasboutius), Delft 1516 Louvain
1553, Dutch theologian, Franciscan monk and professor
in Louvain, especially famous for his preachings. Plantin
published one of his studies (Voet 1980-83, no. 2182).
Engraved in the Galle workshop, verses by Cornells Muys.
Appendix 2E
286
123
SAVONAROLA, GIRO LAM O (1567)
17.7 x 12.4 cm.
In lower margin: "Hieronymus Savonarola/ Infelix bus-
turn cecidisti hieronyme, saecli/ Invidia, ostendi
numquam sua crimlna passi:/ Fatidicis clarii quam vis
oracula phoebi/Vicisse elogiis, eurnaea'que carmina die-
tus./ Certius baud quisquam surgentia dicere fata/
Numinis afflatu,aut venientia tempora norat" (seven lines)
I.
As described. Used in 1567-edition.
Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster­
dam), Vienna (Oesterrdchische Nationalbibliothek (Porträt­
sammlung) , Wien)
Ha.
Verses In lower margin replaced by new text in letterpress:
"HIERONYMUS SAVANAROLA,/ FERRARIEN-
SIS./ Quae tibi facundae vis et quae gratia linguae/ Sensit
mota tuis consilijs patria./ Sed quorsum rapid! eloquij ruat
ingenij et fons,/ Exitus admonuit, Savanarola, tuus." (six
lines); added in margin right, also in letterpress:"F2'\ Used
in 1572a-editIon.
üb.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "HIERONYMUS SAVA­
NAROLA, FERRARIENSIS. [on one line]/ ..." (five
lines); added In margin right, also engraved: "F2". Used
in 1572b-edition.
Used in:
Virorum ..... (1567), no. ??;Virorum ..... (1572), no. F2
Lit.:
TIB. 56, p. 486, no. 190
Girolamo Savonarola, Ferrara 1452 - Florence 1498;
Italian Dominican preacher, critic of the Medici court and
Pope Alexander VI, excommunicated and burnt in 1498.
Engraved by Philips Galle, verses by ?? (1567-edition) and
Benito Arias Montano (1572-edition)

124
SCHOTT, ANDREAS (1587)
17.0 x 11.8 cm.
In lower margin: "ANDRAEAS SCOTTUS SOCIET.
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)
In margin right: "13".
Used in:
Imagines .... (1587), no. 13
Lit.:
TIB. 56, p. 487, no. 191
Andreas Schott (Andraeas Schottus), Antwerp 1552 -
1629; Belgian Jesuit priest and theologian, humanist and
philologist. Author of XII Cardinalium , published by
Philips Galle in 1598. Plandn published one of Schott s
studies in 1586 (Voet 1980-83, no. 2193). Engraved by
Philips Galle, verses by Frans van Ravelmgen. This por­
trait was replaced in the 1595-edition by an engraving by
Theodoor Galle.
125
SCHOTT, ANDREAS (1595)
17.1 x 11.4 cm.
In lower margin:" ANDREAS SCOTTUS Societ. IESU./
Fulget ut aetherea Latonae filius axe: / Ardua stelliger is per
loca vectus equis./ Sic dum Palladias collustras lampade
terras,/ Aoniasqjue] tuo fonte recludis aquas,/ Limiina
diffundis Latia sublimis ab arce:/ Quels nostra insolita
saecula luce beas." (seven lines)
In margin left:"Theodor. Galle sculp"
In margin right:"Laurent.Beyerlinck Com"
I.
As described. Used In 1595-edition.
n.
Added in margin right:"13", Used in 1606-edidon.
Appendix 2E
287
Used in:
Imagines (1595), no. 13; Imagines ..... (1606), no. 13
Engraved by Theodoor Galle, verses by Laurens
Beyerlinck. This engraving replaced Philips Galle s earli­
er version in the 1587-edition.
126
SIMONS, PETRUS (1608)
16.8 x 10.6 cm.
Above portrait, at top centre:" Ohljt IprisV Octob. CIC[in
reverse]. IC[in reverse]CV. Aetat. LXVL"
In lower margin: "PETRUS SIMONIS EPISCOPUS
IPRENSIS./ IPRA tui vultum PETRI cognosce SIMO-
NIS, / Proximus a primo qui tibi PRAESUL erat. / Pabula
bis denos verbl tibi praebuit annos;/Vividus exemplis, elo-
quioque potens./ Nunc filet; at vivax aeternum clamat
imago./ PASTORIS vocem noveris IPRA tui." (seven
lines)
Used in:
Illustrium Galliae ..... (1608), no. 7b; Foppens 1739, vol
II, p. 1010
Petrus Simons (Petrus SImoens, Petrus Simonis), Tielt
1538 -Ypres 1605; Belgian theologian, appointed as bish­
op ofYpres In 1584. Engraved in the Galle workshop,
verses by Aubert Le Mire.
127
SONNÎUS, FRANCÎSCUS (1604)
After Frans Pourbus the Elder?
17.7 x 11.7 cm.
Above portrait, at top centre: "Decessit Antverpiae prid.
Kal. Quinct. CIC[In reverse]. IC[in reverse]LXXVI. Act.
LX."
In lower margim'FRANCISCUS SONNIUS, PRIMUS
ANTVERP-/ PIENSIUM EPISCOPUS./ En novus hie
tenebras dispellit Phoebus ab orbe/ Belgarum, hinc
nom en Belgica lingua dedit./ Eia age, pressa din, Virtus
animosa resurge,/ Atra nec haereseos nubiia commoveant

An vero impietas didicit si temnere Solem,/ Miraris?
gaudent crimina nocte tegi." (eight lines)
In margin left: "2."
In margin right: "Balth. Moretus "
Used in:
Illustrium Galliae ..... (1604), no. 2; Illustrium Galliae .....
(1608), no. 2
Lit.:
Dirkse 1986, pp. 66-67, p. 114; Tax 1994, p. 74, p. 85,
no. 5
Franciscus Sonnius (Frans van der Velde), Son 1506 -
Antwerp 1576;Dutch theologian,inquisitor and first bish­
op of Antwerp, important contributor to the Counter-
Reformation In the Netherlands. Several of his works
were published by Plantln (Voet 1980-83, nos. 2221-
2223).Engraved in the Galle workshop, verses by Balthasar
Moretus. After a painting by Frans Pourbus the Elder, of
which several versions exist, one of which (dated 1575)
is in the Koninklijk Museum voor Schone Kunsten,
Antwerp. According to Van Someren (p. 130) some copies
of Foppcns 1739 include the described portrait, while oth­
ers include a copy in reverse engraved by Nicolas de
Larmessin.
128
STOEFFLER, JOHANNES (1587)
17.3 x 11.9 cm.
In lower margin:
8 C
JOANNES STOUFFLERUS./
Stouffierus iile cuius hie imaginem/ Sculptarn videtis,
siderum/ Docens meatus, sidus inter siderum/ Elucet
imicum sophos." (five lines)
In margin right:"43".
Used ire
Imagines ..... (1587), no. 43; Imagines ..... (1595), no. 43;
Imagines (1606), no. 43
Lit.:
TIB. 56, p. 488, no. 194
Johannes StoefiQer (Johannes StoulIIerus, also called
StoufHerinus) Justingen 1452 -Blaubeuren 1531;German
Appendix 2E
288
astronomist and mathematician, professor in Tiibingen.
Engraved by Philips Galle, verses by Frans van Ravelingen.
129
TAPPER, RUARB (1567)
17.6 x 12.0 cm.
In lower margin: "Rieuardus Tapperus Theolog. D./
Roterodama suo tellusse tollit alumno:/ Enchusa estpartu
nobilitata meo./ Me sacra professum stupuerunt pulpita,
qua[m]vis/Torserit os rabido littera arnica can!./ Loetale
in sectas odium, calamum que disertujrn]/ Distrirrxi,coluit
lovanium et tumulat." (seven lines)
I.
As described. Used in 1567-edition,
Amsterdam (Rijksprentenkabinet, Rijks-musetim, Amster­
dam), Paris (Cabinet des estampes, Bibliothèque Natio­
nale, Paris)
Ha.
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
producere natos/ Per quos errorum discudat tenebras."
(five lines); added in margin right, also in letterpress;"B8".
Used in 1572a-edition.
îlb.
Verses in letterpress in lower margin replaced by identi­
cal engraved inscription: "RUARDUS TAPPERUS .....
(five lines); added In margin right, also engraved: "B8".
Used in 1572b-cdition.
ÎÏL
Added above portrait,at top centre:"Obijt Lovanij postrid.
Kal. Martias CIC[in reverse], IC[in reversejLIX. AEt.
LXXL"; verses in lower margin changed: "RUARDUS
TAPPERUS,ENCI IUSIANUS, D.TH. [,D.TH. added]./
Pugnat adhuc, dextraeque tuis doctae [instead of Pugnat
adhuc ac dextrae tuis docte] .....Lovanium. [periodinstead
of comma] ..... et usq[ue] tui [instead of et ilia tui] .....
natos, [comma added] iS
(five lines); erased in margin right:

S
'B8", replaced by "Bened. Arias Montânus."; added in
margin left :"8 "Used in 1604- and 1608-editions.
IV.
Erased m margin left:"8"
Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster­
dam)
Used in:
Virorum (1567), no. ??; Virorum ..... (1572), no. B8;
Illustrium Galiiae (1604), no. 8; lUustrium Galllae .....
(1608), no. 8
Lit.:
TIB. 56, p. 489, no. 195
Ruard Tapper (Ruard Tapper, Ruardus Tapperus, also
called Enchusianus), Enkhuizen 1487 - Brussels 1559;
Dutch theologian, professor in Louvain and head of the
inqmsidon in the Netherlands, attended the council of
Trent. Engraved by Philips Galle, verses by ?? (1567-edi-
tion) and Benito Arias Montano (1572-edition).
130
TARTAGLJA, NICOLO (1367)
17.4 x 12.3 cm.
In lower margin, in letterpress: "NICOLAU5
TARTAGLIA,/ BRIXIANUS./ DIvidas patriae cumu-
lat Tartagha linguae,/ Euclidem Etrusco dum docet ore
loqui./ Hie certain tractare dedit tormenta per artem,/
Et tonitru, et darrmis aemula mlmineis. 55
(six lines)
In margin right, also in letterpress:"F5".
I.
1567-edition. Mentioned by Van Someren (p. 122), not
yet found.
Ha.
As described. Used in 1572a-edition.
lib.
Verses in letterpress in lower margin replaced by engraved,
slighdy different inscnption:"NICOLAUSTARTAGLIA
GEOMETRA [instead of BRIXIANUS, on one line]/
Appendix 2E
" (five lines);added in margin right, also engraved:" F5"
Used in 1572b~edition,
Used in:
Virorum ..... (1567), no. ??;Virorum ..... (1572), no. F5
Lit,:
TIB. 56, p. 489, no. 196
Niccolo Tartaglia (Niccoio Fontana), Brescia c. 1500 -
Venice 1557; Italian mathematician, professor of mathe­
matics in several North Italian cities. Engraved by Philips
Galle, verses by Benito Arias Montano.
131
TARTAGNX, ALESSANDRO (1587)
16.9 x 11.8 cm.
In lower margin:"ALEXAND£R IMOLENSIS./ Ut qui
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)
In margin right:

In lower margin: "THOMAS KEMPENSIS, CANON -
ICUS/ RE GUITAR IS ORD. S. AUGUSTINE/Vita tibi
in latebris semper tint, inque libelfis,/ Nunc quoque si
liceat delituisse veils,/ O iubar, o Belgl clarum deeus, o
nova priscae/ Lux fidei,et vitae lex imitanda piae,/ Magne
Thoma, aeterni constans imitator lesu,/ Quod tua, vel
Mauro iudice, scripta prohant." (eight lines)
In margin left:"12b".
In margin right: "Max.Vrintius Gandensis".
Used in:
Illustxium Gailiae ..... (1608), no. 12b
Thomas a Kempis (Thomas Hemerken van Kempen),
Kempen 1379/80 - Zwolle 1471; Dutch mystic theolo­
gian, author of the influential De imitatione Christi. One
of his works was published in a Spanish translation by
Plantin (Voet 1980-83, no. 2318). Engraved in the Galle
workshop, verses by Maxrmiliaan de Vriendt.
133
THOMAS AB AQUINO (1587)
17.2 x 11.8 cm.
In lower margin: "S. THOMAS AQUINAS./ Si sacra
Christiadum liceat conferre profanis,/ Alcidcm contra te
faciam haereticos./ Tu tollis, veluti Alcides vicisse tot
hydras/ Creditur, anudous dira venena tins. 5
' (five lines)
In margin right:" 1
Used in:
Imagines (1587), no. 1; Imagines ..... (1595), no. 1;
Italorum ..... (1600), no. 2; Imagines ..... (1606), no. 1
Lit,:
TIB. 56, p. 447, no. 110
Thomas ab Aquino (Thomas Aquinas), Roccasecca 1225
- Fossanuova 1274; Italian scholastic theologian and
philosopher, author of the Summa Theohgica, sanctified In
1323 and declared Doctor of the Church in 1567. Several
of his works were published by Plantin (Voet 1980-83,
nos. 2312-2317). Engraved by Philips Gallle, verses by
Frans van Ravelingen.
Appendix 2E
290
134
TIRAQUEAU, ANDRE (1587)
16.7 x 11.9 cm.
In lower margin:"ANDRAEASTIRAQUELLLJS./ Qui,
Tiraquelle, dabas Parisino jura Senatu,/ magnum emi-
nensque Curiae magn[a]e decus:/ Est ornata tuis veluu
Themis inclyta scripris,/ Sic noster ornatur tua effigie
liber." (five lines)
In margin right: "25".
Used in:
Imagines ..... (1587), no. 25; Imagines ..... (1595), no. 25;
Imagines ..... (1606), no. 25
lit.:
TIB. 56, p. 490, no. 197
André TIraqucau (Andreas Tiraquella), Fontenai-le-
Comte c. 1480 - Paris 1558; French jurist, member of the
parliament in Paris, councillor to the French court.
Engraved by Philips Galle, verses by Frans van Ravelingen.
135
TORRENTIUS, LAEVINUS (1587)
17.1 x 11.7 cm.
In lower margin: "LAEVINUS TORRENTIUS/ EPIS
COP. ANTVERP./ Gemma velut fuivo splendet preciosa
metallo,/ Sic inter doctos emicat esse piurn:/ Hie utroque
cluet, plus et doctus; nihil ergo,/ SI sacer Antverpa est
pracsul in urbe, novum." (she lines)
In margin right:"4".
Used in:
Imagines (1587), no. 4
lit.:
TIB. 56, p. 490, no. 198; Marinus 1989, p. 218; Sellink
1992a, p. 24;Grieten 1995
LaevinusTorrentius (Licven van derBeke), Ghent 1525 -
Brussels 1595; Belgian humanist, bishop of Antwerp,
important contributor to the Counter-Reformation in
Flanders. Several of his studies were published by Plantin

(Voet 1980-83, nos. 2335-2341). Engraved by Philips
Galle, verses by Frans van Ravelingen. This portrait was
replaced by an engraving by Gijsbert van Veen in the 1595-
edition.
136
TORRENTRJS, LAEVINUS (1595)
17.1 x 11.2 cm.
In lower margin: "LAEVINUS TORRENTIUS/ EPIS-
COP- ANTVERR/ Christiadum columen vatum,
Torrentius ille/ Laevinus tali pingitur cfiigie:/ Sed pietas,
sed prisca fides, prudentia, mores/ Ne lateant, docti per-
lege scripta viri." (six lines)
In margin right: "loan. Bochius"
In upper left corner: "Gisb.Vemus fecit. 5
'
I.
As described. Used in 1595-edidon.
n.
Added above portrait, at top centre: "Decessit Bruxellis
VLKal.Maias CIC[in reverse]. IC[in reverseJXCVAEtat.
LXX."
Amsterdam (Rijksprentenkabinet, Rijksmuseum, Amster­
dam)
m,
Added in margin left: "3." Used in 1604-edition.
IV
Erased in upper left corner: "Gisb.Venius fecit".
Vienna (Oesterreiehische Nationaibibliothek, Wien,
bound with second edition of Aubert Le Mires Elogia
itlustrium .... (1609))
V.
Erased in margin left: "3 " Used in 1606- and 1608-
editions.
VI.
Background, clothes and face reworked. Used in Foppens
1739.
Appendix 2E
291
Used in:
Imagines ..... (1595), no. 4; Illustrium Galliae (1604),
no. 3; Imagines (1606), no. 4; Foppens 1739, vol. II,
p. 793
Lit.:
Hollstem, vol., p., no. 22; Grieten 1995
Engraved by Gijsbert van Veen, verses by Johannes Boghe.
This engraving replaced Philips Galle s earlier version in
the 1587-edition.
137
UBALDE3CHI (1587)
After Enea Vico
16.9 x 11.3 cm.
In lower margin: "BALDUS PERUSINUSV Ut cum
Tyndaridon[partly in Greek letters] duo navita conspicit
astra,/ Scit súbito cursurn quo ferat aut referat:/ Sic vasto
Balde et tu Barróle in aequore juris,/ Certa estis dubijs
sidera causidicis" (five lines)
In margin right:"15".
Used in:
Imagines (1587), no. 15; Imagines ..... (1595), no. 15;
Imagines „... (1606), no. 15
Lit.:
TIB. 56, p. 449, no. 114
Ubaldeschi (also called Baldus or Baldeschi), Perugia 1327
- Pavía 1400; Italian jurist, wrote on secular and canon
law. Engraved by Philips Galle, verses by Frans van
Ravelingen. Copied with several alterations after an
engraving attributed to Enea Vico in Benavides' Illustrium
iureconsultorum imagines (1566).
138
VALERIANO, GIAMFIETRO (1587)
16.8 x 12.0 cm.
In lower margim "IOANNES PIERIUS VALERI-
ANUS./ Insus Pieria conscrlbis carmina vena,/ Et vates

vatern corrigis eximium/ Virgilium: dignos scripsisti
nomine libros,/ Fonte a Pierio nomen et omen habcns"
(five lines)
In margin right: "36",
Used in:
Imagines ..... (1587), no. 36; Imagines (1595), no. 36;
Italorum ..... (1600), no. 15; Imagines (1606), no. 36
Lit.:
TIB. 56, p. 491, no. 199
GiampietroYaleriano (PieriusValerianus),Belluno 1477 -
Padova 1558; Italian humanist and poet in service of die
Medici court. Engraved by Philips Galle, verses by Frans
van Ravelin gen.
139
VALERIUS, CORNELIUS (1604)
16.8 x 11.5 cm.
Above portrait, at top centre: "Decessit Lovanij III. Idus
Aug. ClC[in reverse]. IC[in reversejLXXIIX Act. LXVI."
In lower margin:"CORNELIUS VALERIUS ULTRA-
IECTENSIS/ ORATOR ET POETA/ Quisquis es, et
magni nescis decora alta VALERI/ Aclspice magnorum
nomina clara varum/ Lipsius hunc coluit, SCHOTTUS,
CANTERUS, et omnis/ Belgicas Nobilitas est venerata
ducem." (six Hnes)
In margin left:"37".
In margin right: "Aub. Miraeus".
I.
As described. Used in 1604- and 1608-edinons,
n.
Erased in margin left:"37". LJsed in Foppens 1739.
Used in:
Illustriurn Galliae (1604),no.37;lHustrium Galliae ....
(1608), no. 37
Cornelius Valerius (Cornells Wouters), Oudewater 1512
- Lou vain 1578; Dutch humanist, professor in rhetorics
in Louvain, many works by Valerius were published by
Plantin (Voet 2352- 2407), Engraved in the Galle work­
shop, verses by Aubcrt Le Mire.
Appendix 2E
292
140
VESALIUS, ANDREAS (1572)
After jan Stefan van Kalkar
17.7 x 12.6 cm.
In lower margin, in letterpress:" ANDREASVESALIUS,/
BRUXELLENSIS./ Corporis humani qui membra mi-
nuta secaret/Vcsalio nullus doctior extiterat./ Hie Medicis
auxit Pictoribus auxit et artern,/ Dum subit internas quae
lacuere vias " (six lines)
In margin right, in letterpress: E
'C3".
la.
As described. Used in 1572a--cdition.
Ib.
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription: "ANDREAS VESALIUS
BRUXELLENSIS [on one line]/ AN ATOM ICORUM
FACILE PRINCEPS [line added]/ .... minut [instead of
minuta] auxit, [comma added] ..." (six lines); added
in margin right, also engraved: "C3". Used in 1572b-
edition.
n.
Added above portrait, at top centre: "Perijt Zacyntho in
insula A. CIC [in reverse]. IC[in reverse]LXIV.AEt.LVIIL";
verses in lower margin slighdy changed:"ANDREAS .....
PRINCEPS. [period added]/ ...." (six hnes); erased in
margin right:"C3",replaced by:' s
B.Ar.Montanus": added
in margin left: "28." Used in 1604- and 1608-editions.
Used in:
Virorum (1572),no.C3;lUustxium Galliae ..... (1604),
no. 28; Illustriurn Galliae (1608), no. 28
lit.:
TIB. 56, p. 491, no. 200; Spielmann 1925; Hoogewerff
1957-58; Sellink 1992b, pp. 48-49
Andreas Vesalius (Andries van Wesel), Brussels 1514 -
Zakynthos 1564; Belgian physician and anatomist, author
of De humani corporisfabrica (first published in 1543), which
was published by Plantin in an adaptation by JuanValverda
de Hamasco (Voet 1980-83, nos. 2413-2416). Engraved
by Philips Galle, verses by Benito Arias Montano. After a
woodcut by jan Stefan van Kalkar in Vesalius s De humani
corporis fabrics.

141
VETTOR1, PIETRO (1587)
After Cornells Cort
16.8 x 11.9 cm.
In lower margin:"PETRUSVICTORIUS./ Prixnus dum
veteres Critica Victorius arte/ Eruis e tenebris, abluis ä
maculis;/ En correetorum grex gnarulus invidet: at te/
Esse tarnen primum laus tibi prima datur" (five lines)
In margin right: "34 ,s
.
Used m:
Imagines (1587), no. 34: Imagines (1595), no. 34;
Italorum (1600), no. 21; Imagines (1606), no. 34
lit.;
TIB. 56, p. 492, no. 201; Bierens de Haan 1948, pp. 197-
198, no. 216
Pietro Vettori (Petrus Victorius), Florence 1499 - 1585;
Italian humanist and philologist in service of the Medici
court, editor of texts by classical Latin and Greek authors.
Engraved by Philips Galle, verses by Frans van Ravelrngen.
Copied in reverse after an engraving by Cornells Cort,
dated 1574.
142
VIKET, PIERRE (1567)
17.7 x 12.3 cm.
In lower margin: "PetrusViret/Vireta sectaris tua,/ Quo
dissident gentilium/ Ritus sacris scrutans rnodo,/ Virete
verborum potens./ Exosus hinc magnis sophis,/ Arcana
qui detexeris." (seven lines)
The Hague (Koninklijke Bibliotheek, Den IIaag,bound
with 1572b»edirion)
Used in:
Virorum (1567), no.??
TIB. 56, p. 492, no. 202
Appendix 2E
293
Pierre Viret, Orbe 1511 - Orthez 1571; Swiss preacher,
main organizer of the Reformation in the region of Bern.
Engraved by Philips Galle, verses by ??
143
VXVES.JUAN LUIS (1567)
17.8 x 12.5 cm.
In lower margin: "loarmes Ludovicus Vives/ Forte puer,
iatebris maternae ubi prodiit alvi,/ Vives puer, cecinisse
olor phoebo sacer/ Dicitur, hand casso fatus sic omine:
vivis,/ Nam clara fama vivet aeternum: tethyn/ Dum sal-
sam auriferis undis augebit iberus,/ Sapientiae praecepta
pervivent tuae(seven lines)
I.
As described. Used In 1567-edrrion.
Vienna (Oesterreichische Natlonalbibliothek (Portrat-
sammlung), Wien)
Ha.
Verses in lower margin replaced by new text in letterpress:
"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
in margin right, also in letterpress: "B2". Used in 1572a-
edition.
Ub,
Verses in letterpress in lower margin replaced by engraved,
slightly different inscription:"LUDOVICUS VIVES [no
comma] VALENTINUS [no period]/ " (five lines);
added in margin right, also engraved: "B2". Used In
1572b-edition.
Used in;
Virorum ..... (1567), no. ??;Virorum (1572), no. B2
Lit.;
TIB. 56, p. 492, no. 203; De Nave 1992, p. 247, no. 110;
Coppens 1993, p. 261, no. 114
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

Plantin (Voet 1980-83, nos. 2467-2468). Engraved by
Philips Galle, verses by ?? (1567-edition) and Benito Arias
Montano (1572-edition).
144
WAMESmS JOHANNES (1604)
16.6 x 10.7 cm.
Above portrait, at top centre: "Obijt diutina invaletudine
Lovanij CIC[in reverse]. IC[in reverse]XC. XL Kal.
Sextil."
In lower margin: "JOANNES WAMESIUS EBURO/
IURECONSULTUS LOVANIENSIS./Talis erat Latiae
cultor, Graiaeq[ne] Camoenae,/ Quern coelo et Superis
forma dicavit anus:/ Antistcs legum ilie sacer,magnusq[ue]
sacerdos./ Uno urn [?] dicam nomine? Wamesius." (five
lines)
In margin left: "25".
In margin right: "Hub. Audelanrius".
Used in:
Illustrium Galliae ..... (16Q4),no.25;IHusrjiurn Galliae .....
(1608), no. 25
Johannes Wamesius, Liège 1524 - Louvain 1590; Belgian
jurist, professor of law in Louvain. Engraved in the Gaile
workshop, verses by Hubert Oudejans.
145
ZSAMBOKY,JANOS (1572)
17.5 x 12.3 cm.
In lower margin, in letterpress: "IOANNES SAMBU­
CUS, TIRNAVIENSIS/ PANNONIUS./ Si quisquam
doctus, plus, et si publica quisquam/ Commbda docto-
rum re studijsque iuvat;/ Hac nulli cedit Sambucus laude:
sed ipsa,/ Die mihl spectator, non probat hoc tacies?" (six
lines)
In margin right, also in letterpress: "D5".
I.
As described. Used in 1572a-edition.
Appendix 2E
294
n.
Verses in letterpress in lower margin replaced by engraved,
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
engraved: 54
D5". Used in 1572b-cdition.
Used in:
Virorum ..... (1572), no. D5
Lit.:
TIB. 56, p. 485, no. 187
janos Zsamboky (Johannes Sambucus), Tirnau 1531 -
Vienna 1584; Hungarian humanist and historiographer in
service of Emperor Maximilian II, acquainted with
Plantin, who published his emblembook in several edi­
tions (Voet 1980-83, nos. 2168-2175). In 1572 Philips
Galle also published an illustrated work by Sambucus:
Arcus aliquot triumphal. Engraved by Philips Galle, verses
by Benito Arias Montano.
146
ZWINGLI, HULDHYCH (1567)
17.6 x 12.3 cm.
In lower margin: "Udalricus Zwinglius/ Quid tibi cum
rabidi marris fiirialibus armis,/ Nocti ingem zwmgli mit?/
Translgeris costas puri porrcctus arena,/ Phalangls inter
principes,/ Debueras inter sacras senulsse camoenas,/ Ac
profuisse moribus." (seven lines)
Coburg (Kupferstichkabinett der Kunst-Sammlungen
Veste Coburg, Coburg), Coburg (Kupfer-stichkabinett
der Kunstsammlungen Veste Coburg, Coburg, hand
coloured impression with written verses), Paris (Cabinet
des estampes,Bibliothèque Nationale,Paris),The Hagne
(Koninklijke Bibliotheek, Den Haag, bound with 1572b-
ediüon), Vienna (Oester-reichische Nationalbibliothek
(Porirätsarnrnlung), Wien)
Used in:
Virorum (1567), no. ??
Huldrych Zwingli (Ulrich, Udalricus Zwinglius),

Wildhaus 1484 - Kappel 1531; Swiss humanist and
reformer, as a priest converted to the Reformation around
1520. Engraved by Philips Galle, verses by ^
Appendix 2E
295

PONTIFICUM MAXÏMORUM XXVII EFFIGIES
(1572)
After Philippe Soye
29 engravings
This series of portraits of popes is an adaptation of XXVII
Potiliftcorum maximomm, written by Onofrio Panvinio
(1529-1568) and first published in 1568 by the Roman
publisher Antonio Lafreri, In Laireri's original edition the
engravings were cut by Philippe Soye' Galle B
s engravings
are copies in reverse.
According to Philips Galle's introduction, set m letterpress
on the verso the title page (page AÍ),all the portraits were
engraved by himself The quality of the engravings vary,
some could certainly have been done by Galle, others are
somewhat cruder and are more likely to have been made
in his workshop,After the tide page (AÍ recto) and Gallc's
introduction (AÍ verso) follows a three page letterpress
introduction by Onofrio Panvinio, dated Rome January
1568 and dedicated toAlberico Cybo Malaspina (A2 recto
and verso, A 3 recto) .This seems to have been taken direct­
ly from Lafreri s
s original Roman edition. On A3 verso is
printed a letterpress text accompanying the first portrait
(Urban VI, A4 recto), dien follow consequentially on the
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
engravings arc known (both in the Koninklijke
Bibliotheek Albert I in Brussels). Each of these bound
books has a different version of the last portrait, pope Pius
V (nos. 28a and b) .In the last decade of the sixteenth- and
the first of the seventeenth century Philips Galle pub­
lished at least four more portraits of reigning popes, these
are here described as nos. adl~ad4,
Lit,:
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)
Appendix 2 F
296
1
TITLE PAGE
17.5 x 12.6 cm.
At centre, in cartouche: "PONTIFICUM/ MAXIMU/
NUMER./ XXVII EFFIGIES/ AD VIVUM/ TYPIS
AENEIS EX/ ROMANO PROTTYPO/ EXPRES-
SAE/ PHILLIPI GALLEI/ARTIFICIO/ANTVERPI-
AE/ 1572" (twelve lines).
The inscription is engraved in a cartouche which is set in
an ornamental border. Verso, in letterpress, is an intro­
duction by Philips Galle: "Philippus Galleus/ Pkturae et
historiae/ studiosis, S./ Pontificum septem et viginti, qui
a restitutae picturae mi-/ tils ad nostram usque aetatem
Ecclesiae praefuerunt, Imagi-/ nes ad vivum dclineatas,
in vestram gratiarn ex Romano pro-/ totypo nostra stylo
expressimus,adiuncta etiam brevi singu-/ lorum Historia.
Speramus autem opus Ipsum mm artis elegan-/tia Imlta-
tionis fide, rum precij facilitate, vobis esse proban-/ dum:
quod si connngat, plura etiam non minus utilla et grata/
quam nova, quae contento studio mollmur vestris usibus/
commoda futura, propediem edemus valete et/ honestis
homxneqne digms rebus ffuimrm," (thirteen lines).
2
URBAN VI
16.0 x 12.1 cm.
Underneath portrait,in cartouche: "URBANUSVI PAPA
NEAPOLITANUS".
UrbanVI (1378-89).The portrait is In profile to die left;
In the upper left corner is a coat of arms.

3
BONIFACE DC
18.1 x 11.8 cm.
Underneath portrait, in cartouche: "BONAFACIUS IX
PAPA NEAPOLITANUS".
Boniface IX (1389-1404).The portrait Is en trois quart to
the left; in the upper right corner is a coat of arms.
4
INNOCENT VII
18.0x11,9 cm.
Underneath portrait, in cartouche: "INNOCE[N]TIUS
VII PAPA SULMONE[N]SIS".
Innocent VII (1404-06). The portrait is in profile to the
left; in the upper right corner is a coat of arms,
5
GREGORY XII
18.1 x 12.1 cm.
Underneath portrait, in cartouche: "GREGORIUS XII
PAPAVENETUS' 8
.
Gregory XII (1406-15).The portrait is en trois quart to
the left; in the upper right corner Is a coat of arms.
6
AUEXANBERV
18.0 x 11.7 cm.
Underneath portrait, in cartouche: "ALEXANDER V
PAPA CRETE[N]SIS GRAECUS".
Alexander V (antipope in Pisa, 1409-10).The portrait is
in profile to the left; in the upper right corner is a coat of
arms.
Appgndm 2 F
297
7
JOHN XXIH
18.1 x 11.8 cm.
Underneath portrait, in cartouche: "IOANMES XXIII
PAPA NEAPOLITANUS".
John XXIII (antipope in Pisa, 1410-15). The portrait is
en face; in the upper right corner is a coat of arms.
8
MARTIN V
16.1 x 12.1 cm.
Underneath portrait, in cartouche: "MARTINUS V
PAPA ROM ANUS".
MartinV (1417-31).The portrait is in profile to the left;
in the upper right corner is a coat of arms.
9
EUGENIUS IV
18.2 x 11.9 cm.
Underneath portrait, in cartouche: "EUGENIUS III1
PAPAVENETUS".
Eugenius IV (1417-31).The portrait is en trois quart to
the right; in the upper left corner Is a coat of arms.
10
FELIX F¥
18.1 x 12.0 cm.
Underneath portrait, in cartouche: "FELIX IIIIDICTUS
! !
V DUX SABAUDIAF[sic] .
Felix IV, also known as Felix V (antipope 1439-49).The
portrait is en trois quart to the left; in the upper right cor­
ner is a coat of arms.

11
NICHOLAS V
18.0 x 12.0 cm.
Underneath portrait, in cartouche: "NICOLAUSV PAPA
SERGIADENSIS"
Nicholas V (1447-55) .The portrait is en trois quart to the
right; In the upper leit corner is a coat of arms.
12
CALLISTU3 IH
18.1 x 12.0 cm.
Underneath portrait, in cartouche: "CALIXTUS III
PAPA VALENTINUS H1SPANU".
Callistus III (1455-58).The portrait is en trois quart to the
right; in the upper left corner is a coat of arms.
13
PIUS II (1567)
16.2 x 12.1 cm.
In lower margin: "AEneas sylvius plus/ senensis pont.
max." (two lines).
Pius II (1458-64).The portrait is in profile to the left; In
the upper right corner is a coat of arms. Galle reused this
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
engraved a second, reversed version of this image; see
appendix 2E, no. 109
Appendix 2 F
298
14
PAUL II
18.1 x 11.9 cm.
Underneath portrait, in cartouche: "PAULUS II PAPA
VENETUS".
Paul II (1464-71).The portrait Is In profile to the right;
in the upper left corner is a coat of arms.
15
SIXTUS IV
16.1 x 12.2 cm.
Underneath portrait, in cartouche: "XYSTUS IV PAPA
SAVONENSIS LIGUR".
Sixtus IV (1471-84).The portrait is in profile to the right;
in the upper right corner Is a coat of arms.
16
INNOCENT VIXX
15.9 x 12.1 cm.
Underneath portrait, in cartouche: "INNOCENTIUS
VIII PAPA GENUENSIS".
Innocent VIII (1484-92).The portrait is in profile to the
left; in the upper left corner is a coat of arms.
17
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.

Appendix 2 F
18 Galle's other portrait of this first Dutch pope (appendix
PIUS HI
17.9 x 11.8 cm.
Underneath portrait, in cartouche: !8
PIUS III PAPA
SENENSIS".
Pius III (1503).The portrait is in profile to the left; in the
upper right corner is a coat of arms.
2E, no, 2), which is engraved after a different prototype,
22
CLEMENS VII
16.0 X 12.0 cm.
Underneath portrait, in cartouche: "CLEMENS VII
PAPÁ FLORENTINUS".
19 Clemens VII (1523-34). The portrait is en trois quart to
JULIUS n
16.2x12.4 cm.
Underneath portrait, in cartouche: "IULIUS II PAPA
SAVONENSIS LIGUR".
Julius II (1503-13). The portrait is en trois quart to the
left; in the upper right corner Is a coat of arms.
the right; in the upper right corner is a coat of arms.
23
PAUL in
16.2 X 12.2 cm.
Underneath portrait, in cartouche: "PAULUS III PONT,
OPT. MAX."
20 Paul III (1534-49). The portrait is en trois quart to the
LEO X
16.1 x 12.2 cm,
Underneath portrait, in cartouche: "LEO X PAPA FLO- 24
RENTINUS".
left; in the upper right corner Is a coat of arms.
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
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
right corner Is a coat of arms.

25
MARCELLUS Ii
17.9 x 11.8 cm.
Underneath portrait, in cartouche: "MARCELLUS 11
PAPA POLITIANENSIS TUSCUS".
Marcellus II (1555).The portrait is in profile to the left;
in the upper right corner is a coat of arms.
26
PAUL rv
1 6.1 x 12.2 cm.
Underneath portrait, in cartouche: "PAULUS IV PAPA
NEAPOLITANUS".
Paul IV (1555-59). The portrait is en trois quart to the
left; in the upper left corner is a coat of arms.
27
Pius rv
16.2 x 12.1 cm.
Underneath portrait, in cartouche: i8
PIUS IV PAPA
MEDIOLAMENSIS"
Pius IV (1559-65). The portrait is en trois quart to the
left; in the upper right corner is a coat of arms.
28a
PXUSV
16.0 x 12.3 cm.
Underneath portrait, in cartouche: "PIUS V PAPA
ALEXA NDRINUS".
PiusV (1565-72). First version of this portrait: in profile
to the left; in the upper right corner is a coat of arms.
Appendix 2 F
300
28b
PIUSV
16.2 x 11.6 cm.
In lower margin: "Pius quintus pontifex optimus max-
imus."
PiusV (1565-72). Second version of this portrait: in pro­
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
that the print is a later replacement, possibly by Galle him­
self.
Ad 1
SIXTUS V [c. 1585]
18.9 x 14.1 cm (trunmed margins)
In lower margin: "SIXTUS. V. PONT. MAX./ Philipp.
Galle. excud." (two lines).
Vienna (Graphische Sammlung Albertina, Wien)
Sixtus V (1585-90). Published by Philips Galle as a sepa­
rate engraving; engraved in the Galle workshop.
Ad 2
CLEMENS VIM [c. 1595]
11.4 x 7.8 cm (trimmed margins)
In lower margin: "SIXTUS VIII. PONT. OPT. MAX./
Dominus conscrvet eurn et vivificet eum, et beatum faei-
at eum." (two lines).
In margin right: "Ph[i]l[ip]s Galle excud. 8
'
I.
.As described.
Brussels (Prentenkabinet, Koninklijke Bibliotheek
Albert I, Brussel; Cabinet des estampes, Bibliothèque
Royale Albert Ier, Bruxelles)

XL
The portrait has been heavily reworked: the face has
changed and is turned somewhat more en face, the beard
is shorter and there is more emphasis on the effects of
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)
Appendix 2 F
301
PaulV (1605-1621).This portrait - published as a sepa­
rate engraving in 1605 or shordy after - is probably one
of the very last prints published with the address of Philips
Galle; engraved In the Galle workshop.

XII CARDÏNALIUM FÏETATE DOCTRINA
REBUS QUE GESTÏS MAXIME ÏLLUSTRIUM
IMAGINES ET ELOGIA (1598)
14 engravings
The series consists of a title page with a portrait of Albert
of Austria on the title page, twelve portraits of famous
Renaissance cardinals and concludes with a portrait of
pope Adrian VI, the only pope from the Netherlands. In
six cases Philips Galle reused engravings from his series of
portraits, respectively: Jimenez de Cisneros, Sadoleto,
Bembo, Fisher, Hosius and Adrian VI.These portraits have
hence been engraved by Philips Galle himself and not by
his sonTheodoor, as is die rest of the series.Andreas Schorr
was most probably the author of the texts in letterpress
and of the verses underneath the newly engraved por­
traits.
On the verso of the tide page (AÍ recto) the index and a
short bibliography is set in letterpress.Then follows, also
in letterpress, a three page Latin introduction signed
"Theodorus Gallaeus, Philippi F.Antverp." and dedicated
to Albert of Austria (page A2 recto and verso, A3 recto).
On page A3 verso is printed a letterpress text accompa­
nying the first portrait (Francesco Jimenez dc Gsneros,
A4 recto), then follow standard on die left page a text in
letterpress and on the right page the corresponding
engraving.. On the last page (D4 verso) the approbatio by
the Antwerp theologian and canon Silvester Pardo
(Bruges 1553 - Antwerp 1605) is printed in letterpress:
"Mac XII ..... Datum Antverpiae III. Non. Ja-/ nuarij,
Anno M.D.XCVIIL/ Silvester Pardo, S. Theol.
Licentiatus, Cathedr. Be-/ clesiae Ant. Canonicus,
Librorumque Censor." The letterpress text was set and
printed by the Plantin Press.
Lit.:
Bibliotheca Belgica, vol. VI, pp. 193-197; Belgica
Typographies, vol. I, p. 91, no. 1221
Copies:
Antwerp (Stedelijk Prentenkabinet, Museum Plantin-
Moretus, Antwerpen, complete series), Antwerp
(Stadsbibliotheek, Antwerpen, Augsburg (Staats- und
Stadtbibhothek, Augsburg, Brussels (Prentenkabinet,
Koninklijke Bibliotheek Albert I, Brussel; Cabinet des
estampes, Bibliothèque Royale Albert Ier, Bruxelles, two
copies, both complete series), Brussels (Koninklijke
Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert
Appendix 2 G
302
1er, Bruxelles, complete series), Chicago (Newberry
Library, Chicago, Dresden (Kupferstich-kabinett der
Staatliehen Kunstsammlungen,Dresden, complete series),
Ghent (Centrale Bibliotheek,Rijksuniversiteit Gent, two
copies, Gotha (Landes-bibliothek, Gotha, Hannover
(Niedersächsische Landesbibliothek, Hannover, Leeuw-
grden (Provinciale Bibllotheek Friesland, Leeuwarden,
Liège (Bibliothèque Générale, Université de Liège,
London (British Library,The British Museum, London,
Louvain (Centre General de Documentation, Univer­
sité Catholique de Louvain, Louvain-la-Neuve, Madrid
(Gabinetc de estampas y beilas artes,Biblioteca Nacional,
Madrid, complete series), Munich (Bayerische Staat-
bibliothek, München, two copies, Naples (Biblio-teca
Nationale "Vittorio Emmanuele III', Napoli, Paris (Cabi­
net des estampes,Biblio-thèque Nationale,Paris, complete
series), Purls (Bibliothèque Nationale, Paris, Paris
(Bibliothèque Mazarine, Paris, Paris (Bibliothèque de la
Sorbonne, Paris, EscorÏ&! (Bihlioteea del Monasterio San
Lorenzo de el Escorial, Escorial, complete series),
Washington (Folger Shakespeare Library,Washing-ton),
Washington (Library of Congress, Washington
1
TITLE PAGE WITH A PORTRAIT OF ALBERT
OF AUSTRIA (1598)
17.6 x 12.8 cm.
Underneath portrait, at centre of engraving:
i 8
ALBER
TUS CARD. AR CHIEF TOLETAN. ARCHIDUX
AUSTRIAE BELGICAR. PROVINCIAR.
GUBERN."
Slightly lower, in cartouche: "XII/ CARDINALIUM/
PIETATE DOCTRINA/ REBUSQ. GESTIS/
MAXIME ILLUSTRIUM/ IMAGINES/ ET ELO
GIA." (seven lines).
In lower left corner: "Theodorus/ Gallaeus/Antverp./ in
aes/ incidit." (four lines).
In lower right corner: "Philippus Gallaeus/ Antverpiae/
excudit/ CIC[in reverse]. IC[in reverse]. XCVIIL" (four
lines).
At bottom centre, in cartouche: "SERENISS. PRINCIPI
ALBERTO/ MAXIMILL II./ IMP. F. ARCHIDUC
AUSTRIAE/ S.R.E. CARDIN. ET ARCHIEP. TOLE-
TANO/ BELGICAE PROVINCIAL PRO REGE/
CATHOLICO GUBERNATORI" (srx lines).
In the upper half the portrait of Albert is engraved, at the

centre is the cartouche with the title, flanked by two per­
sonifications, at bottom centre is the cartouche with
Galle's dedication.
Albert of Austria, Neustadt 1559 - Brussels 1621; arch­
duke of Austria, son of emperor Maximilian of Austria,
cardinal since 1577, appointed as viceroy of the Southern
Netherlands in 1596. With papal permission Albert lai­
cized in 1599 in order to marry Isabella Clara Eugenia,
daughter of Philip II, with whom he reigned the Southern
Netherlands together
2
JIMENEZ DE CISNEROS, FRANCESCO (1587)
17.2 x 11.8 cm.
In lower margin: "FRANCISCUS SIMENIUS, CAR-
DINALIS HISPANIAE./ Cerneré te coelo deniissum
numen ab alto,/ Lector, Simenij dum conspieijs ora puta-
to:/ Edi qui VARUS curavit BIBLIA LINGUIS;/ Quo
mérito illius volat omnem fama per orbem." (five lines).
Engraved by Philips Galle, verses by Frans van Ravelingen.
Galle reused the engraving of Ximenes from the 1587-
edition of his portrait series; see appendix 2E, no. 72, sec­
ond state.
3
ALBORNOZ, EGIDIO ALVAREZ DE (1598)
16.6x11.9 cm.
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
alias inter caput extulit urbes,/ Ut casti maneant in
RelHgione nepotes." (six lines).
Egidio Alvarez de Albornoz (Aegidius Albornotius),
Cuenca, c. 1300 -Viterbo 1367; Spanish cardinal and arch­
bishop of Toledo, commander-in-chief of the papal
armies. Engraved by Theodoor Galle, verses by Andreas
Schott.
Appendix 2 G
303
4
BESSARION (1598)
16.8 x 11.3 cm.
In lower margin: "BESSARION CARD IN ATI S
NICENUS/ PATRIARCHA CONSTANTINOP./
Non tibi sit laudi sanctum eelehrasse Platonem/ Castaque
Socraticae frena pudicitiae;/ Verum quod per te migra­
nt GraeciaRomam,/ EtdidicetLatios Attica Musa sanos."
(six lines).
Bessarion,Trebizon 1403 - Ravenna 1472; Greek human­
ist and Greek-Orthodox bishop, converted to the Roman
Catholic Church shordy after 1439 and was appointed as
a cardinal in Rome in 1543. Engraved by Theodoor Galle,
verses by Andreas Schott.
5
SIRLETO, GUGLIELMO (1598)
16.3x11.4 cm.
In lower margin: "GULIELMUS SIRLETUS S.R.E.
CARDIN./ SEDIS APOSTOLICAE BIBLIOTHE-
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).
Guglielmo Sirleto (Gullielmus Sirletus),Guardavalle 1514
- Rome 1585; Italian humanist, head of the Vatican
libraries since 1549, appointed as a cardinal In 1565.
Engraved by Theodoor Galle, verses by Andreas Schott.
6
SADOLETOJACOPO (1587)
17.1 x 11.8 cm.
In lower margin: "IACOBUS SADOLETUS, CARDI-
NALIS./ Ut Plato facunda decoravit dogmata lingua,/ De
priscae Sophiae dogmata sumpta sinu:/ Eloquij sic tu de-
corasti flumine blando,/ De sacro CHRISTI dogmata
sumpta sinu." (five Unes),

Engraved by Philips Gallc, verses by Frans van Ravelingen.
Galle reused the engraving of Xirnenes from the 1587-
edition of his portrait series; see appendix 2E,no. 119, sec­
ond state,
7
CONTARINI, GASPARO (1598)
16.3 x 11.7 cm.
In lower margin: "CASPAR CONTARENUS VENE--
TUS CARD./ Lectus es inVenetum, Romanum deinde
Scnatum,/ Firrnior ingenio qui stat uterque tuo;/ At nunc
caelesti falges trabeatus in ostro,/ Sceptra Magistratus
aetherelqjiue] geris." (five lines).
Gasparo Contarini (Caspar Contarenus),Venice 1483 -
Bologna 1542; Venetian cardinal, negotiator with the
protestants, papal advisor on reforms in the Catholic
Church. Engraved by Theodoor Galle, verses by Andreas
Schott.
8
BEMBO, PIETRO (1567)
After Titian
17.9 x 12.4 cm.
In lower margin: "PETRUS BEMBUS, VENETUS./
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).
Engraved by Philips Galle, verses by Benito Arias
iMontano. After a lost painting by Titian. Galle reused the
engraving of Bernbo from the 1567- and 1572-editions
of his portrait series; see appendix 2E, no. 18, third state.
Appendix 2 G
304
9
COLONNA, POMPEO (1598)
16,4 x 11.6 cm.
In lower margin: "POMPEIUS COLUMNA ROMAN
CARDIN./ Magnus eras bello iam Caesaris arma secu­
táis;/ Infelix spectans at patriae excidium./ Marna ROMA
alijs praeda est: tu firma COLUMNA,/ Reque tuos civcis.
consilioque iuvans. ,!
(five lines).
Pompeo Colonna (Pompeius Columna, Pompeius
Columnensis), Rome 1479 - Naples 1532; Italian cardi­
nal, papal diplomat and commander-in-chief of the papal
armies, fell into disgrace on several occasions. Engraved
by Theodoor Galle, verses by Andreas Schott.
10
FISHER, JOHN (1567)
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
cadit./ Cum cecidit, ferro haec cervix praecisa cruento,/
Virtus, mgenium, concidit et pietas." (five lines).
Engraved by Philips Galle, verses by Benito Arias
Montano. Galle reused the engraving of Fisher from the
1567- and 1572-editions of his portrait series; see appen­
dix 2E„ no. 53, third state.
11
POLE, REGINALD (1598)
16.4 x 11.3 cm.
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).

Lit.:
Collon-Gevaert 1966, p. 98, no. 411
Reginald Pole, Stourton Castle 1500 ~ Lambeth 1558;
archbishop of Canterbury, political opponent of Henry
VIII, as papal nuncio negotiated with the Church of
England. Engraved by Theodoor Galle, verses by Andreas
Schott.
12
HOSIUS, STANISLAUS (1567)
17.7 x 12.4 cm.
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
BORROMEQ 5 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.
Appendix 2 G
305
14
ADRIAN VI (1567)
17.6 x 12.2 cm
In lower margin: "Hadrianus Traiectensis Pont. Max./
Regnat ubi in terns prudens vir, constat et almae/Virtuti
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).
Engraved by Philips Galle, verses by Benito Arias
Montano. Galle reused the engraving of Adrian VI from
the 1567- and 1572-editions of his portrait series; see
appendix 2E, no. 2, third state.

SOCIETATIS IESU PRAEPOSITOBUM
GENERA LitJM IMAGINES [c. 1600]
12 engravings
The series consists of a title page - dedicated to Claudio
Acquaviva (1543-1615), reigning General of the Jesuit
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
nique and date of the engravings - judging by the dates
on some portraits this series most have been published
after 1593, when Galle himself was rarely active as an
engraver - suggest that someone from Galle's workshop
(possibly Cornells Galle or Karei de Mallery) might have
been the engraver involved.
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
bered and are here presented in the order of the prints in
Brussels.
Copies:
Brussels (Prentenkabinet. Koninklijke Bibliotheek
Albert I, Brussel, Cabinet des estampes, Bibliothèque
Royale Albert Ier, Bruxelles, incomplete series, lacks no.
2), Madrid (Gabincte de estampas y bellas artes,
Biblioteca Nacional, Madrid, incomplete series jacks nos.
10-12),The Hague (Koninklijke Bibllotheek sDen Haag,
Incomplete series)
1
TITLE PAGE
12.0 x 8.4 cm.
At top centre: "IHS" (monogrammed) and, slightly lower,
in cartouche: "SOCIETATIS/ IESU" (two lines).
At centre of engraving, in cartouche: "PRAE-/ POSI-
TORUM/ GENERALIUM/ IMAGINES/ Item/ fran-
ciscl xaverii/ alphonsi salmeroms/ nieolai bobadillae,/ e
decern primis/ socijs" (ten lines).
At bottom centre, in cartouche: "Ad vivum delineatae et/
in aes incisae a Philippe/ Gallaeo Antverpiae" (three lines).
In lower margin: "AD R.P. CLAUDIUM AQUAVIVIUM/
PRAEPOSITUM GENER. QUINTUM." (two lines).
Appendix 2 H
306
The inscriptions are engraved in cartouches which are set
in an ornamental border, at the left side of die text Christ
with the Cross is depicted, to the right Mary, Mother of
God. The tide page is dedicated to Claudio Acquaviva,
the fifth General of the Jesuit Order. His portrait is not
included in the series.
2
THE ADORATION OF THE IHS MONOGRAM
11.9 x S.7 cm.
At top centre: "IHS" (monogrammed).
In lower margin: "In nomine IESU omne genu flectetur/
caeiestium terrestrium et infernorum" (two lines).
3
LOYOLA 4 IGNATIUS LOPEZ BE
12.0x8.7 cm.
Above portrait, at top centre: "IGNATIUS LOIOLA I./
Ad maiorem DEI gloriarn." (two lines).
Underneath portrait, at bottom centre: "P. IGNATIUS
LOIOLA, Cantabcr,Societatis IESU/ princeps et auctor.
Praepositus Generalis primus per annos XVI./ Obijt pri-
die Kal. Augusd, amino Christ! CICfin reverse]. IC[in
reverse]. LVLAEtatis LXV" (three lines).
In lower margin: "IGNATI, pater o, Socijs qui nomen
IESU/ Dux praeferssacrae militiaeque caput.' 8
(two lines).
Ignatius (Inigo) Lopez de Loyola, A^peikia 1491 - Rome
1556; Spanish priest, founder of the Jesuit Order, first
General of the Order, sanctified in 1622.
4
LAXNEZ S DIEGO
11.8x8.7 cm.
Above portrait, at top centre: "IACOBUS LAYNESIUS
II./ Apprehendite disciplinam." (two lines).
Underneath portrait, at bottom centre: "P. IACOBUS
LAYNESIUS, Almazanus, Socle-/ tatis IESU Praepositus

Generalis secundus, Obijt Romae/ XIX. die lanuarij,
anno Christi CIC [in reverse]. IC [in reverse]. LXX.AEtatis
LUI." (three lines).
In lower margin: "Gallia te rebus vidit succurrere fessis/
AtqueTridentinis Patribus auctor eras." (two lines).
I.
As described.
Brussels (Prentenkabinet, Koninklijke Bibliotheek
Albert I, Brussel; Cabinet des estampes, Bibliothèque
Royale Albert Ier, Bruxelles), Madrid (Gabmete de
estampas y hellas artes, Biblioteca Nacional, Madrid)
n.
The portrait has been reworked and both the portrait and
the inscriptions have been placed in an ornamental bor­
der.
Brussels (Prentenkabinet, Koninklijke Bibliotheek
Albert I, Brussel; Cabinet des estampes, Bibliothèque
Royale Albert Ier, Bruxelles)
Diego Lainez^Aknazan 1512-Rome 1565; Spanish priest,
converted Jewish theologian, second General of the Jesuit
Order.
5
BORGIA }
II. 8x8.7 cm.
FRANCESCO
Above portrait, at top centre: "FRANCISCUS BORGIA
III. / te, quod volui super terrain?" (two lines).
Underneath portrait, at bottom centre: "P. FRANCIS­
CUS BORGIA, Ex Duce Gandiae,/ Societatis IESU
Praepositus Generalis tertius. Obijt Romae,/ pridie Kal.
Octob. anno Christi CICpn reverse]. ICpn reverse].
LXXII. AEtat LXIL" (three lines),
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.
Appendix 2 H
307
6
MERCURIAN, EVRARB
12.0 x 8.8 cm.
Above portrait, at top centre: "EVERARDUS MER-
CURIANUS III!./ In nomine tuo falvum me fac. !i
(two
lines).
Underneath portrait, at bottom centre: "P. EVERARDUS
MERCURIANUS, Leodies,/ Societatis IESU
Praepositus Generalis quartus. Obijt Romae,/ Kal.
August!, anno Christi CICpn reverse]. IC[in reverse].
LXXX. AEtatis LXV" (three lines).
In lower margin: J!
Et plus, et prudens, Eburonum natus in
oris,/ Quartus eras Socijs, MERCURIANE, parens."
(two lines).
Evrard Mercurian (Everardus Mercurianus), Marcourt
1514/15 - Rome 1580; Belgian priest, fourth General of
the Jesuit Order.
7
BOBADILLA, NIGOLAUS
11.8 x 8.8 cm.
Above portrait, at top centre: "NICOLAUS BOBADIL­
EA./ Non confundar in/ aeternurn,' 8
(three lines).
Underneath portrait, at bottom centre: "P. NICOLAUS
BOBADILLA Palentinus,/ unus e primis decern
IGNATII Socijs. Obijt Laureti./ IX, Kalend. Octobris,
f 8
anno Domini CICpn reverse]. ICpn reverse]. XC. (three
lines).
In margin underneath: "Hie Parcas sine mente sanos,scep-
trumq[ue]Tiaram/ Immoto ridet cuncta supercIHo." (two
lines).
Nicolaus Bobadilla, Bobadilla ?? - Loreto 1590; Spanish
priest, one of the first nine companions of Ignatius de
Loyola.

8
SALMERON, ALFONSO
11.9 x 8,9 cm,
Above portrait, at top centre: s
'ALFON5US
SALMERON,/ Quam dulcia faucib. meis/ eloquia tua? !!
(three lines).
Underneath portrait, at bottom centre: "P. ALFONSUS
SALMERONToletanus,unus/ e primis decern IGNATII
Socijs. Obijt Neapoli Idibus/ februarij, anno Domini
CIC[in reverse]. IC[in reverse]. LXXXV" (three lines).
In lower margin: "Eloquium mirati olim Patres que
Tridenti./ Fulmina Parthenopes concio et ipsa frequent."
(two lines).
Alfonso SaImeron,Toledo ?? - Naples 1585;Spanish priest,
one of the first nine companions of Ignatius de Loyola,
9
JAVIER, FRANCESCO BE
12.1 x 8.8 cm.
Above portrait, at top centre: "FRANCISCUS
XAVERIUS./ Satis est, Domine: satis est." (two lines).
Underneath portrait, at bottom centre: "P. FRANC.
XAVERIUS, Navarrus, Societatis IESU/ Presbiter,
primus e Socijs Evangelium ad Indos portavit, anno
D[omi]ni/ CIC[m reverse]. IC[in reverse]. XLVIII Obijt
die II. Decemh. an. CIC[in reverse]. IC[in reverse], LIE
Aetat LV." (three lines).
In lower margin: "Salve heros, princeps qui CHRISTI
nomen ad Indos/ Portasu, atque fidem gentibus antipo-
dum." (two lines).
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.
Appendix 2 H
308
10
SALTAMOCffiUS, GUILIEUVXUS
12.0x8,8 cm.
Above portrait, at top centre: "GUILIELMUS SALTA-
MOCHIUS./ Humilibus dat gratiam." (two lines).
Underneath portrait, at bottom centre: "GUILIELMUS
SALTAMO CUIUS Arvernus, Societatis/ IESU
Coadiutor, a Calvinisds pro Religione Catholica coesus/
VII. Februarij, anno Christ! CIC[in reverse] IC[in
reverse]. XCIII.AEtaris XXXVIII." (three lines).
In lower margin: "Quo vitae meritum pietas firmavit,
eodem/ Mors pia testatam saiixit amore fidem." (two
lines).
Guilielmus Saltamochius, Auvergne ?? - 1593; French
priest and martyr, murdered by the Huguenots.
11
SALESIUS, JACOB
12.1 x8.9 cm.
Above portrait, at top centre: "IACOBUS SALESIUS./
Nomen Domini spes mea." (two lines) .
Underneath portrait, at bottom centre: "P. IACOBUS
SALESIUS Arvernus, Societatis/ IESU Theologus, a
Calvinisds pro Religione Catholica coesias/VIL February,
anno Christi CIC[in reverse]. IC[in reverse]. XCIII.
AEtaris XXXVIL" (three lines).
In lower margin: "Quae desiderio todes latuere sub ipso/
Proemio, Martyrij gloria parta probat." (two lines).
Jacob Salesius,Lesou ~ Auvergne 1593; French theologian
and martyr, murdered by the Huguenots.

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.
Appendix 2 H
309

ITALORUM BOCTRXNA XXXUSTRIUM IMAG­
INES (1600)
Published by Theodoor Gallc and jan Moretus
25 engravings
This series consists of a typographically printed tide page,
a one-page index set in letterpress on the verso of the tide
page and 25 portraits of Italian scholars from the late
Middle Ages onwards.The series is arranged more or less
chronologically, the plates themselves are not numbered.
The tide page informs the reader that the engravings were
incised by Philips Galle, while the work was published by
Theodoor Galle in collaboration with Jan Morems of the
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
Appendm 2 I
310
Barbara, Gian Francesco Poggio Bracciolini, Marco
Girolami Vida, Marcantomo Maioragio, Carlo Sigonio,
Fulvio Orsini, Ippolito Capilupi, Lelio Capilupo and
Giuseppe Castiglione. Judging by style and technique
these images have not been engraved by Philips Galle, but
by an unknown collaborator from the Galle workshop. As
yet, it is unknown who is the author of the verses in the
margin.
Lit,:
Johnson 1965, p. 81; die book will also be listed in Dirk
Imhof's forthcoming catalogue (1998) of books printed
and published by Jan Moretus, no. G-5.

TITLE PAGE
Letterpress text
Filling entire sheet: "ITALORUM/ DOCTRINA/
ILLUSTRIUM/ IMAGINES./ Philippus Gailaeus aeri
incidebat./ SEORSIM EDITAE/ GRAECORUM IX./
QUI PRIMI GRAECAS LITTER AS/ IN ITALIAM
TRANSQ. ALPES/ INVEXERUNT/ ICONES CUM
ELOGIIS/ PAULI IOVII, ET ALIORUM./ Opera
Theodori Gallaei Phil. F.Antverp./ANTVERPIAE,/ EX
OFFICINA PLANT!NIANA,/ ANNO SECULARI
SACRO/ M.CIC[in reverse].IC[in reverse].C." (seven­
teen lines).
1
PIUS II (1572)
17.6 x 12.2 cm.
In margin underneath: "AENEAS SILVIUS SENENSIS,
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).
In margin right: "A3".
Engraved by Philips Galle, verses by Benito Arias
Montane, Theodoor Galle reused the second version of
his father's portrait of Pope Pius II from the 1572b-
edition; see appendix 2E, no. 109.
2
THOMAS AB AQUINO (1587)
17.2 x 11.8 cm,
In lower margin: "S. THOMAS AQUINAS./ Si sacra
Christiadum liceat conferre profanis,/ Alcidem contra te
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
Appendix 2 I
311
Aquino from the 1587-edition; see appendix 2E,no, 133.
3
PETRARCA, FRANCESCO (1572)
After Giorgio Vasari
17.6 x 12.1 cm.
In oval border around portrait: "FRANCISCUS
PETRARCHA FLORENTINUS".
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).
In margin right: "E7".
Engraved by Philips Galle, verses by Benito Arias
Montano.Theodoor Galle reused his fathers portrait of
Petrarca from the 1572b-edition; see appendix 2E,
no. 104, second state.
4
DANTE AUGfflERI (1572)
After Giorgio Vasari
17.7 x 12.2 cm.
In oval border around portrait: "DANTE ALIGERUS
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
bonis, multa cum gravitate canit, 5
* (four lines)
In margin right: "E6".
Engraved by Philips Galle, verses by Benito Arias
Montano.Theodoor Galle reused his fathers portrait of
Dante from the 1572b-edition; see appendix 2E, no. 40,
second state.

5
ERMOLAO BARBARO (1600)
17.7 x 12.2 cm.
In lower margin:"!IERMOLAUS BARBARUS PATRI-
/ ARCH A AQUILE GIE NS IS. / Barbarus Euganeis iUux--
it Lucifer oris:/ Barbariem pcpulit. Phosphorus ut tene-
bras./ Talis erat; sic iile genas, vultumque gerebat:/ Ast
propc divino pulcrior ingcnio." (six lines).
Ermolao Barbaro (Hermolaus Barbarus),Venice 1453 -
Rome 1493; Italian Hellenist and collector of Greek
manuscripts, reputed for his studies on Aristotle. Engraved
in the Galle workshop, author of the verses unknown.
6
DANIEL BARBARO (1600)
17.9 x 12.3 cm.
In lower margin: "DANIEL BARBARUS./ Tu quoqjuc]
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).
Daniel Matteo Alvise Barbaro (Barbarus),Venice 1514 -
1570; Italian Hellenist, diplomat and bishop. Engraved In
the Galle workshop, author of the verses unknown.
7
FICLNO, MARSILIO (1572)
After Giorgio Vasarl
17.5 x 12.1 cm.
In oval border around portrait: "MARSILIUS FICINUS
FLORENTINUS".
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".
Appendix 2 1
312
Engraved by Philips Galle, verses by Benito Arias
Montano.Theodoor Galle reused his fathers portrait of
Ficino from the 1572b-ediuon; see appendix 2E, no. 52,
second state.
8
POIIZIAMO,ANGELO (1572)
After Giorgio Vasari
17.6 x 12.1 cm.
In oval border around portrait: "ANGELUS POLL-
TIANUS FLORENTINUS".
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).
In margin right: "F3 S
\
Engraved by Philips Galle, verses by Benito Arias
Montano. Theodoor Galle reused his father's portrait of
Poliziano from the 1572b-edition; see appendix 2E,
no. 113, second state.
9
POGGIO BRACCIOLXNI, GIAN FRANCESCO
(1600)
17.7 x 12.2 cm.
In lower margin: "IOAN FRANCISCUS POGGIUS/
FLORENTINUS. / Felle armata tibi manus est,multoque
cachinno/Tinxisri, et nudo scripta proterua sale/ Ludicra
sic recitas, cures ut seria, doctum/ Qui FABIUM Stygijs
asseris e tenebris " (six lines).
Gian Francesco Poggio (Poggius) Bracciolini,Terranuova
1380 - Florence 1459; Italian humanist and collector of
manuscripts of classical authors. Engraved in the Galle
workshop, author of the verses unknown.

10
GRIFFOLINI, FRANCESCO (1587)
16.8 x 12.0 cm.
In lower margin:"FRANCISCUSARETINUS./ Graeca
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).
In margin right: "37".
Engraved by Philips Galle, verses by Frans van Ravelingen.
Theodoor Galle reused his fathers portrait of Griffolini
from the 1587-edition; see appendix 2E, no. 64.
11
SANNAZARDJACOPO (1587)
16.8x11.9 cm.
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,
quodq[ue] Catullus erat" (five lines).
In margin right: "46".
Engraved by Philips Galle, verses by Frans van Ravelingen.
Theodoor Galle reused his fathers portrait of Sannazaro
from the 1587-edition; see appendix 2E, no. 120.
12
VIDA, MARCO GXROLAMO (1600)
17.9 x 11,7 cm.
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).
Appendix 2 I
313
Marco Girolamo Vida, Cremona c. 1485 - Alba 1566;
Italian poet, bishop of Alba, one of the protagonists of the
Counter-Reformation. Several of his studies were pub­
lished by Plantin (Voet 1980-83, nos. 2436-2439).
Engraved in the Galle workshop, author of the verses
unknown.
13
ARIOSTO, LUDQVTCO (1587)
16.7 x 11.8 cm.
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).
In margin right: "49".
Engraved by Philips Galle, verses by Frans van Ravelingen.
Theodoor Galle reused his father's portrait of Ariosto from
the 1587-edition; see appendix 2E, no. 8.
14
GOLLEMUCCIO, FANDOLFO (15S7)
16.8 x 11.7 cm.
In lower margin: "PANDULPHUS COLLENUCIUS
PISAURUS./ Laus haec, quam dabo, sola CollenucI/
Declarat satis erudltionem:/ Ems eloquium Sacrl
Imperator/ Caesar Imperij audijt, probavit," (five lines).
In margin right:"45".
Engraved by Philips Galle, verses by Frans van Ravelingen,
Theodoor Galle reused his father s portrait of Collenuccio
from the 1587-edition; see appendix 2E, no. 34.

15
VALERIANO, GIAMPIETRO (1587)
16.8 x 12,0 cm.
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"
(five lines).
In margin right: "36".
Engraved by Philips Galle, verses by Frans van Ravelingen.
Theodoor Galle reused his father's portrait of Collenuccio
from the 1587-edition; see appendix 2E, no. 138.
16
MANUZIO,ALDO (1587)
After Martino Rota
16.8 x 11.9 cm.
In lower margin: "ALDUS PIUS MANUTIUS./ Si
priscos libros, veterum si volvere scripta,/ Debemus
quidquid jam licet, Aide, ribi./ Magna quidem laus est
Scriptoribus; at tibi major,/ Qui reddis vc teres
CHALCOGRAPHIA arte novos." (five lines).
In margin right: "32."
Engraved by Philips Galle, verses by Frans van Ravelingen.
Theodoor Galle reused his fathers portrait of Aldo
Manuzio from the 1587-edition; see appendix 2E,no. 85.
17
MANUZIO, PAOLO (1587)
Aftcr Martino Rota
16.7x12.0 cm.
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).
Appendix 2 I
314
In margin right: "33".
Engraved by Philips Galle, verses by Frans van Ravelingen.
Theodoor Galle reused his father's portrait of Paulo
Manuzio from the 1587-edition; see appendix 2E, no. 86.
18
MARCANTONIO MAIORAGIO (1600)
18.2 x 12.3 cm.
In lower margin:"M. ANT. MAIORAGIUS./ Insubrum
sedes, ANTONI, ut semine terras/ Agricola, illustras fon-
tibus eloquij./ Reddit Aristoteles per te praecepta diser-
tus:/ Pulpita, scripta, fomm nunc Cicerona sonant." (five
lines).
fviarcantomo Maioragio (Marcus Antomus Maioragius),
Maioragio 1514 - Ferrara 1555; Italian orator and classi­
cist, especially famous for his commentaries on Cicero.
Engraved in the Galle workshop, author of the verses
unknown.
19
ALCIATX 5 ANDREA (1567)
17.6 x 12.2 cm.
In lower margin: "ANDREAS ALCIATUS IURE-
CONSULTUS/ Eloquio lus Romanum lucebat et arte,
id/ Turba ohseurarant barbara Legulei./ Andreas prisco
reddit sua jura nitori,/ Consultosque facit doctius Inde
loqui" (five lines).
In margin right: "F4".
Engraved by Philips Galle, verses by Benito Arias
Montano. Theodoor Galle reused Ins father's portrait of
Alciati - first engraved in 1567 - from the 1572b-edition;
see appendix 2E, no. 113, state lib.

20
CARLO 8IGONIO (1600)
17.1 x 12.2 cm.
In lower margin: "CAROLUS SIGONIUS
MUTINIENSIS./ Italiae decus, atque aevi fios, magnae
SIGONI/ Salve, en assurgit Roma supcrba ribi/ lura doces
Latij,Ciceronis scripta revolvis/ AEmulus; anuqua primus
in hisioria." (five lines).
Carlo Sigonio (Carolus Sigonius), Modena 1524 - 1584;
Italian humanist and historian, professor at the universi­
ties ofVemce, Padova and Bologna. Engraved m the Galle
workshop, author of the verses unknown.
21
VBTTORI, PXETRO (1587)
After Cornells Cort
16.8x11.9 cm.
In lower margin:"PE'IRUSVICTORIUS./ Primus dum
veteres Critica Victorius arte/ Eruis e tenebris, abluis a
maculis;/ En correctorum grex gnarulus invidet: at te/
Esse tamen primum laus tibi prima datur" (five lines).
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.
22
FULYÎO ORSINI (1600)
18.1 x 12.2 cm.
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
aeternae et Athenas:/ Axe sub, hinc, gemino fama loque-
tur anus." (five lines).
Appendix 2 ï
315
Fulvio Orsini (Ursinus) Rome 1529 - 1600; Italian anti­
quarian and librarian In service of the Farnese family.
Together with Jan Moretus, Theodoor Galle Issued two
illustrated editions on the collection of antique busts, gems
and coins In Orsini s collection. The first edition of
Musirmm imagines ex antiquis marmoribus appeared in 1598,
the second, enlarged edition in 1606. Other works were
also published at the Cfficina Planiiniana (Voet 1980-83,
nos. 2348-2350) Engraved in the Galle workshop, author
of the verses unknown.
23
IPPOLITO CAPILUPI (1600)
17.5 x 12.1 cm,
In lower margin: "HIPPOLYTUS CAPILUPUS
EPISC./ Ad Vénetos misit Legati muñere Quartus/ Dum
Pius ad Tiberis ñumina servat oves:/ Quern Pastoral!
redimitum témpora mitra,/ Carmineq[ue] insignem
Mantua clara dedit." (five lines).
Ippolico Capilupi, Modena 1511 -Rome 1589; Italian
humanist, poet, bishop and diplomat, brother ofLelio (see
below) A volume of poems was published by Plantin (Voet
1980-83, no. 913). Engraved in the Galle workshop, author
of the verses unknown.
24
LAELIO CAPILUPI (1600)
17.0 x 11.7 cm.
In lower margin: "LAELIUS CAPILUPUS./ MANTUA
Virgilio, atque edam te gaudet alumno,/ Namque tuo
illius carmina in ore sonant./ Quae collecta licet sint omni
ex parte Maronis,/ Non tamen haec eadem quae canit
ille, earns" (five lines).
Laelio Capilupi, Mantua 1497 - 1560; Italian humanist
and poet in service of the Conzaga family elder brother
of Ippolito (see above). Engraved in the Galle workshop,
author of the verses unknown.

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.
Appendix 2 I
316

INSTRUCTION ET FONDEMENTS DE M E N
POURTRAIRE (1589)
13 engravings
This print series consists of a title page in letterpress and
a one-page letterpress introduction in French followed by
13 numbered engravings .The first edition of the instruction
..... was published by Philips Galle in 1589. On the verso
of the tide page Philips Galle's introduction - together
with a dedication to Hieronymus Francken the Elder - is
printed in letterpress .The engravings were - as the signa­
tures on all engravings indicate - engraved by Galle, most
probably after his own designs. A second edition was
brought on the market by the Amsterdam print publish­
er Claes jansz.Visscher.
The complete series is extremely rare.The only complete
copy of Philips Galle's edition of 1589 known so far,
including the tide page and die introduction, is in the
Graphische Sammlung Albertina in Vienna. A complete
set ofVisscher's seventeenth century reissue - lacking the
tide page and introduction - is kept in the print collec­
tion of the Statens Museum for Kunst in Copenhagen.
Lit.:
Hollstein, vol 7, p. 83, nos, 789-801 ;TIB. 56, pp. 496-508,
nos. 207:1-13; Sellink 1992b
Copies:
Amsterdam (Rijksprentenkabinet, Rijksmuseum,
Amsterdam), nos. 10-11, Copenhagen (Kongelige
Kobberstiksamling, Statens Museum for Kunst,
Kobenhave), second edition, nos. 1-13, Dresden (Kupfer-
stichkabinett der Staadichen Kunstsammlungen,
Dresden), nos. 3-4,6,8-9,12, New York (Department of
Prints, Drawings and Illustrated Books, Metropolitan
Museum of Art, New York), nos. 7-9, Paris (Cabinet des
estampes, Bibliothèque Nationale, Paris), nos. 9-13,
Rotterdam (Museum Boljmans Van Beunmgen,
Rotterdam), no. 10, Vienna (Graphische Sammlung
Albertina, Wien), title page. Introduction and nos. 1-13
TITLE PAGE TO INSTRUCTION ET FONDE­
MENTS DE BIEN POURTRAIRE (1589)
Letterpress
Filling entire page:: "INSTRUCTION/ ET FONDE­
MENTS/ DE BIEN POURTRAIRE,/ Pour la jeunesse
aprennsue, et tous ceux qui/ s'adonnent a vouloir estre
Appendix 3 A
317
Peintres,/ Statuaires, Orfèvres, et sem-/ bables Artisans:/
Nouvellement faict et mis en lumière par/ PHILIPPE
GALLE./A Anvers,/ L'an M.D.LXXXÏX." (eleven Unes;
"Instructions in the rudiments of drawing die human fig­
ure. For apprenticed youth and ail who feel dispose to be
painters, sculptors, goldsmlths or like artisans. Conceived
and published by Philips Galle In Antwerp, in the year
1589.").
On the verso, also in letterpress: "PHILIPPE GALLE/ A
L'EXCELLENT ET EXPERT MAISTRE/
HIEROSME FRANCQ, PEINTRE/ DE LA REYNE
DE FRANCE, SALUTATE./ Ayant entendu, Seigneur
& amy, que les livrets conte-/nants quelques figures de
personnages nuds, que i'ay passé/ quelque temps mis en
lumière à l'Instruction de la jeunesse/ aprentisue, ont esté
passablement agréables à plusieurs; je/ me suis avisé leur
proposer les vrais commencements, les-/ quels, selon mon
advis, sont nécessaires à tous ceux qui s'ad-/ dorment à
vouloir estre Peintres, Orfebvres, Statuaires, ou/ sem­
blables Artisans. Car on voit le plus souvent que les apren-
ofs, bien que/ ja long temps se soyent exercez à pourtraire,
neantmoins besongnent encore/ comme pour dire en
ténèbres; ce qui procède de n'avoir eu l'intelligence des/
fondements. Aussi comment pourra celuy parfaitement
pourtraire ou pein-/ dre, qui n'a cognoissance des osse­
ments? ou comment pourra-il compren-/ dre les muscles
(lesquels â pâme se peuvent apercevoir au travers de la
peau,)/ s'il est du tout ignorant de l'Anatomie? Ce qui se
voit en plusieurs, mesmes/ de ceux qui prendraient en
maie part si on ne les comptoit entre les plus braves,/ &
toutefois monstrent par effect qu'ils n'y entendent rien.
Pour cela m f
a-il/ semblé estre expédient pour la jeunesse,
qu'elle aprenne à cognoistre la for-/ me & composition
des ossements des morts, & de goûter quelque peu de/
l'Anatomie. & à ceste cause ay-je mis en avant les pré­
sentes figures, à fin/ qu'elles servent aux nouveaux
Peintres, comme sont les Rudiments ou/ Grammaires aux
Escaliers, pour rnanuduction à plus haute science. le ne/
donne point icy quelque règle de proporcion ou mesure;
puis que cela plei-/ nement est accompli par ce grand
maistre Albert Durer: je ne leur mets ans-/ si devant les
yeux l'Anatomie de si près comme a faict le docteVesaiius;/
comme chose plus touchante aux Médecins &
Chrrugiens, qu'à nous au-/ très: Ains me contiens seule­
ment entre les bornes de ce qu'il m !
a semblé pro-/ pre à
nostre profession. Or comme je sçay que ces figures ont
à faire d'un/ bon tuteur & protecteur contre les envieux
& mes-priseurs; je les vous en-/ voye, comme en seure

garde de celuy que je ne doute avoir & volonté &/ moyen
de les défendre. Aussi ne passe pas mon désir plus oultre
que re-/ quiert la raison: & par cela s'il y a quelqu'un qui
sçache donner à la jeunesse/ ayde meilleure & plus pro­
pre pour parvenir au but qu'elle pretend; nous/ nous
resjoulrons avec elle de cela, ôc luy en sçaurons fort bon
gré./ Sur ce, seigneur êc amy, je prleray le Tout-puissant,
qu'il plaise vous/ continuer les samctes graces en toute
prospérité. D'Anvers, le seisiesme de/ Febvrier, M. D.
LXXXIX." (forty lines)
("PHILIPS GALLE, TO THE EXCELLENT AND
SKILLED MASTER HIERONYMUS FRANCKEN,
PAINTER TO THE QUEEN OF FRANCE, GREET­
INGS.
Having learned, worthy lord and friend, that
the little books containing divers depictions of nude fig­
ures, which I brought to light some while ago for the
instruction of apprenticed youth, had been received with
some favour by several persons, I was advised to lay the
true rudiments before them [apprenticed youth], namely
those matters which, in my judgment, arc needful for all
who feel disposed to become painters, goldsmiths, sculp­
tors or like artisans.
For most frequently one sees that apprentices,
although long engaged in the practice of draughtsman­
ship, nevertheless still toil in darkness, as it were, the which
proceeds from an incomprehension of fundamental mat­
ters. How can one draw or paint perfectly without knowl­
edge of the skeleton? Or how is he to understand the
muscles (which can only be perceived through the skin
with difficulty) if wholly unversed in anatomy? One
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
considered it fitting for the young to become conversant
with the form and composition of the bones of the dead,
and thus sample anatomy a litde. And to that end I have
put forward these present figures that they might serve
young painters as a guide to the highest learning, just as
the rudiments of grammar are for scholars.
I devote not one line here to proportion or to
measurement, for they have already been clearly expound­
ed by that great master Albrecht Durer. Nor do I place
anatomy before their eyes in the manner of the learned
Vesalius, as a matter more befitting doctors and surgeons
than us others. Thus I confine myself strictly to the prop­
er limits of our profession.
Appendix 3 A
318
Now, because I know that these depictions
must have a good guardian and patron against the envi­
ous and the disdainful, I send them to you, a trusty cus­
todian, whom I do not doubt has the will and means for
their safeguarding. Nor does my desire exceed that which
reason dictates, so if there is one who can furnish a bet­
ter and more fitting remedy to answer the purpose to
which it [the youth] lays claim,, then we rejoice in It, and
thank him full heartily.
Lord and friend, I pray the almighty for this:
may it please him unceasingly to bestow his divine gifts
upon you, in all prosper!ty.
Antwerp, 6 February 1589.")
1
SKELETON SEEN FROM THE FRONT
23.5 x 15.9 cm.
In lower left corner: !i
Ph[i]l[ip]s Galle fecit et excudit."
In lower right corner: "L"
I.
As described.
II.
In lower left corner: "Ph[i]l[ip]s Galle fecit." (period
added, "et excudit." erased); added in lower right corner:
"CIV[intertwined]isscher excudebat."
2
SKELETON IN PROFILE
23.6 x 15.9 cm.
In lower left corner: "Philippus Galle fecit et excudit."
In lower right corner: "2."
I.
As described.
II.
In lower left corner: "Philippus Galle fecit." (period
added, !!
et excudit." erased).

3
SKELETON SEEN FROM BEHIND
23.6 x 15.9 cm.
In lower left corner: "Ph[i]l[ip]s Galle fecit et excudit."
In lower right corner: "3."
I.
As described.
II.
In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu-
dit. !S
4
erased).
ECORCHE SEEN FROM THE FRONT
23.7 x 16.0 cm.
In lower left corner: "Philippus Galle fecit et excudit."
In lower right corner: "4."
I.
As described.
H.
In lower left corner: "Philippus Galle fecit" ("et excudit."
erased).
5
ECORCHE IN PROFILE
23.5 x 15,9 cm.
In lower left corner: "Ph[ijl[ip]s Galle fecit et excudit."
In lower right corner: "5."
I,
As descrlbed.
n.
In lower left corner: "Ph[i]l[ip]s Galle fecit 5
' ("et excu­
dit." erased).
Appendix 3 A
319
6
ECORCHE SEEN FROM BEHIND
23.5 x 15.8 cm.
In lower left corner: "Ph[i]I[ip]s Galle fecit et excudit,"
In lower right corner: "6."
I.
As described.
XL
In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu-
dit." erased).
7
A NUDE M A N SEEN FROM THE FRONT
23.6 x 15.9 cm.
At bottom centre: "Ph[i]I[ip]s Galle fecit et excudit."
In lower right corner: "7."
L
As described.
XL
At bottom centre: "Ph[i]l[ip]s Galle fecit" ("et excudit."
erased).
8
Ä NUDE M A N IN PROFILE
23.6 x 15.9 cm.
In lower left corner: "Philippus Galle fecit et excudit."
In lower right corner: "8,"
I.
As described.
XL
In lower left corner: "Philippus Galle fecit" ("et excudit."
erased)

9
A NUDE M A N SEEN FROM BEHIND
23.4 x 15.9 cm.
In lower left corner: "Ph[i]l[ip]s Galle feck et excudit."
In lower right corner: "9."
I.
As described.
II.
In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu­
dit." erased).
10
A NUDE W O M A N SEEN FROM THE FRONT
23.7x15.9 cm.
In lower left corner: "Ph[i)lfip]s Galle fecit excuditq[uej."
In lower right corner: "10."
I.
As described.
XL
In lower left corner: "Ph[i]I[ip]s Galle fecit" ("excu-
ditqjue]." 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).
Appendix 3 A
320
12
A NUDE WOMAN SEEN FROM BEHIND
23.5 x 15.9 cm.
In lower left corner: "Ph[i]l[ip]s Galle fecit et excuclit."
In lower right corner: "12."
I.
As described.
n.
In lower left corner: "Ph[i]l[ip]s Galle fecit" ("et excu­
dit." erased).
13
THREE NUDE CHILDREN
15.9 x 23.5 cm.
At bottom centre: "Ph[i]l|ip]s Galle fecit et excudit."
In lower right corner: "13."
1.
As described.
II.
At bottom centre: "Ph[i]l[ip]s Galle fecit" ("et excudit."
erased).

SEA AND RIVER GODS (15S6)
18 engravings
The series Sea and river gods consists of an engraved tide
page and 17 numbered engravings of water gods, pub­
lished by Philips Galle in 1586. As in case of the series
Nymphs (appendix 3C) the tide page explicitly mentions
Galle as both engraver and designer of the prints. In the
first decades of the seventeenth century the series was reis­
sued by the Antwerp publisher Carel Coilaert (active
1625/50), who only changed the address on the tide page.
All prints, excluding the title page, were again brought
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.
Lit.:
Hollstein, vol 7, p. 78, nos. 316-332;TIB. 56, pp. 345-353,
nos. 90:1-17; Sellink 1992b, p. 52
Copies:
Amsterdam (Rijksprentenkabinet, Rijksmuseum,
Amsterdam), tide page, nos. 1-17, Antwerp (Stedelijk
Prentenkabinet, Museum Plantin-Moretus, Antwerpen),
tide page, nos. 1-17, Cöborg (Kupferstichkabinett der
Kunstsainrnlungen Veste Coburg, Coburg), enlarged edi­
tion Johannes Galle, title page, nos. 1-34, Copenhagen
(Kongelige Kobberstiksamling, Statens Museum for
Kunst, Kobenhave), nos. 1-17, Dresden (Kupferstich­
kabinett der Staatlichen Kunstsammlungen, Dresden),
tide page, nos. 1-17, London (The British Library,
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
estampes, Bibliothèque Nationale, Paris) edition Philips
Galle, tide page, nos. 1-17 and edition Carel Coilaert, tide
page, nos. 1-17, Rotterdam (Prentenkabinet, Museum
Boij mans Van Beuningen, Rotterdam), nos. 1-3, 5-8,10-
15 and 16-17, Vienna (Graphische SarrrrnlungAlbertina,
Wien), title page, nos. 1-17
TITLE PAGE
16.4x10.0 cm.
Within cartouche, filling entire engraving: "SEMIDE-/
ORUM MARL/ NORUM AMNI-/ CORUMQUE
Appendix 3 B
321
SI-/ GILLARIAE IMA-/ GINES PERELE-/
GANTES./ in pieturae statuariaeque/ artis ryronurn
usum,/ a/ Philippo Gallaeo delineatae,/ scalptae, et ae-
ditae,/ Antverpiac Amblvaritor./ CIC[in reverse]. IC[m
reverse]. LXXXVL" (fourteen lines).
I.
As described.
n.
Erased at bottom centre: "CIC[in reverse]. IC[in reverse],
LXXXVL"; replaced by: "Carolus Coilaert excud."
1
OCEANUS
16.3 x 10.0 cm.
In lower margin: "OCEANUS."
In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two
lines).
In margin right: "1."
I.
As described.
XL
Borderline added around composition.
2
NEPTUNE
16.3 x 10.1 cm.
In lower margin: "NEPTUNUS."
In margin left: "Ph[i]l[ip]s Gall, inven,/ et scalp." (two
lines).
In margin right: "2."
I.
As described.
n.
Borderline added around composition; erased in margin
right: "2.", replaced by "3".

3
NEREUS
16.4 x 10.1 cm.
In lower margin: "NEREUS."
In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two
lines).
In margin right: "3."
I.
As described.
n.
Borderline added around composition; erased in margin
right: "3.", replaced by "5".
4
GLAUCUS
16.4 x 10.1 cm.
In lower margin: "GLAUCUS."
In margin left: "Ph[i]l[ipjs Gall, inven./ et scalp." (two
lines).
In margin right: "4."
I.
As described.
H.
Borderline added around composition; erased in margin
right: "4.", replaced by "7".
5
PROTEUS
16.4 x 10.1 cm.
In lower margin: "PROTHEUS."
In margin left: "Ph[ijl[ip]s Gall, inven./ et scalp." (two
lines).
In margin right: "5."
Appendix 3 B
322
I.
As described.
n.
Borderline added around composition; erased in margin
right: ?,
5.", replaced by "9".
6
PORTUNUS
16.5 x 10.1 cm.
In lower margin: "PORTUNUS."
In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two
lines).
In margin right: "6."
I.
As described.
XL
Borderline added around composition; erased in margin
right: "6.", replaced by "11".
7
NILUS
16.4 x 10.1 cm.
In lower margin: "NILUS."
In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two
lines).
In margin right: "7."
I.
As described.
n.
Borderline added around composition; erased in margin
right: "7.", replaced by "13".

8
ACHELOUS
16.5 x 9.9 cm,
In lower margin: "ACHEOLUS."
In margin left: "Ph[i]l[ip]s Gall, inven./ ct scalp." (rwo
lines).
In margin right: "8."
I.
As described.
IL
Borderline added around composition; erased in margin
right: "8.", replaced by "15"
9
DANUBIUS
16.6 x 10,1 cm.
In lower margin: "DANUBIUS."
In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp." (two
lines).
In margin right: "9."
I.
As described.
XL
Borderline added around composition; erased in margin
right: 8,
9." s replaced by "17".
10
RHENUS
16.5 x 10.1 cm.
In lower margin: "RHENUS."
In margin left: tf
Ph[i]l[ip]s Gall, inven./ et scalp." (two
lines).
In margin right: "10. i8
I.
As described.
Appendix 3 B
323
n.
Borderline added around composition; erased in margin
right: "10.", replaced by "19".
11
TXBRIS
16.5 x 10.2 cm.
In lower margin: "TIBRIS,"
In margin left: "Ph[i]l[ip]s Gall.inve./ et scalp." (two lines).
In margin right: "11."
I.
As described.
n.
Borderline added around composition; erased in margin
right: "11.", replaced by "21".
12
AOS
16.3 x 10.0 cm.
In lower margin: "ACIS."
In margin left: "Ph[i]l[ip]s Gall, inven,/ et scalp." (two
lines).
In margin right: "12."
I.
As described.
n.
Borderline added around composition; erased in margin
right: "12.", replaced by "23"
13
TAGUS
16.4 x 10.1 cm.
In lower margin: "TAGUS."

In margin left: "Ph[i]l[ip]s Gall, Inven/ et scalp." (two
lines).
In margin right: "13."
I.
As described.
n.
Borderline added around composition; erased in margin
right: "13.", replaced by "25",
14
RODANUS
16.5 x 10.1 cm.
In lower margin: "RODANUS."
In margin left: "Ph[i]l[ip]5 Gall.inve./ et fecit." (two lines).
In margin right: "Î4."
I.
As described.
XL
Borderline added around composition; erased in margin
right: "14.", replaced by "27".
15
LIGERIS
16.3 x 10.2 cm.
In lower margin: "LIGERIS."
In margin left: "Ph[i]lfip]s Gall.inve. / et scalp." (two lines).
In margin right: "15."
I.
As described.
XL
Borderline added around composition; erased in margin
right: "15.", replaced by "29",
Appendix 3 B
324
16
SCALBÎS
16.6 x 10.2 cm.
In lower margin: "SCALDIS."
In margin left: "Ph[i]l[ip]s Gall.inve./ et fecit." (two lines).
In margin right: "16."
I.
As described,
IX.
Borderline added around composition; erased in margin
right: "16.", replaced by "31".
17
TAMESIS
16.4 x 10.0 cm.
In lower margin: "TAMESIS."
In margin left: "Ph[i]l[ip]s Gall, inven./ et scalp.'' (two
lines).
In margin right: "17."
I.
As described.
XL
Borderline added around composition; erased in margin
right: "17.", replaced by "33".
Several impressions - including the one in the
Rijksprentenkabinet - lack a small piece (c. 1 cm^) of cop­
per in the lower right corner. Other impressions, like the
one in the Alberrina, already show a crack in the copper­
plate.

NYMPHS (1587)
18 engravings
The series Nymphs consists of an engraved ride page and
17 numbered engravings of water nymphs and was pub­
lished by Philips Galle in 1587. According to the title page
all engravings were engraved by Galle after his own
designs .The Nymphs are dedicated to the Antwerp burgher
and former alderman Rutger van der Haept, to whom
Galle also dedicated a series of landscapes and cityscapes
after Hendrik van Cleve; see Hollstein, vol. 4, p. 170, nos.
1-38 and ibid., vol. 7, p. 80, nos. 423-460.The prints were
reissued in Antwerp at an unknown date by his grandson
Johannes Galle. In this new edition die nymphs were min­
gled with dieir male counterparts, namely the 17 engraved
sea and river gods, first published by Philips Galle in 1586
(cp. appendix 3B).
Lit.:
Hollstein, vol. 7, p. 78, nos. 299-315;TIB. 56, pp. 354-362,
nos. 91:1-17; Sellink 1992b, p. 52
Copies:
Amsterdam (Rijksprentenkabinet, Rijksmuseum, Am­
sterdam), tide page, nos. 1-17, Antwerp (Stedelijk
Prentenkabinet, Museum Plantin-Moretus, Antwerpen),
title page, nos. 2-3, 12-13, 15, 17, Brussels (Prenten­
kabinet, Koninklijke Bibliotheek Albert ï, Brussel;
Cabinet des estampes, Bibliothèque Royale Albert Ier,
Bruxelles), ride page, nos. 1-17, Coburg (Kupferstlch-
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,
Dresden (Kupferstichkabinett der Staatlichen Kunst-
sammlungen, Dresden), tide page, nos. 1-17, London
(The British Library, London), tide page, nos. 1-17,
Madrid (Gabmete de estampas y bellas artes, Biblioteca
Nacional, Madrid), title page, nos. 1-7, New York
(Department of Prints, Drawings and Illustrated Books,
Metropolitan Museum of Art, New York), tide page, nos.
1-10, 13-14, 16, Paris (Cabinet des estampes, Biblio­
thèque Nationale, Paris), tide page, nos. 1-1.7, Vienna
(Graphische Sammlung Albertlna, Wien), tide page, nos.
1-17
Appendix 3 C
325
TITLE PAGE
16.4 x 9.9 cm.
In upper half of the engraving: "NIMPHARUM
OCEANI-/ TIDUM, EPHYDRIDUM PO-/
TAMIDUM, NAIAD UM, LY-/ NADUMQUE
ICONES, IN/ GRATIAM PICTURAE STU-/
DIOSAE IUVENTUTIS/ DELINIATAE, SCALP-/
TAE,ETEDITAR/A/ PHILIP. GALLALO./ Antverpij/
1587." (twelve lines).
In lower half of the engraving: "NOBILÍ/ ORNATIS-
SIMO QUE/ VIRO DfOMI]NO RUTGERO/VAN-
DER HAEPT PATRI-/ CIO ANTVERPIANO
OMNI-/AM ELEGANT!ARUM, GRAPHI-/ DIS
IMPRIMIS SUMMO AD MI-/ RATORI IMPRIMIS
SUMMO ADMI-/ RATORI, ATQUE FAUTORI BE-
/ NÍGNISSIMO PH[I]L[ÍP]S GALLEUS./ AE.-DD."
(ten lines) .
I.
As described,
n.
Added above inscription on upper half: "SEMIDEO-
RUM MARINORUM"; erased in upper half "PHILIP",
replaced by "IOANNE"; erased in upper half "1587".
The second state was used by Johannes Galle as the tide
page to the combined series of the Nymphs and the Sea
and river gods.
1
AMPHITRITE
16.3 x 10.0 cm.
In lower margin: "AMPHITRITE/ 8
In margin left: "1."
In margin right: "Ph[i]l[ip]s. Gall./ inventor." (two lines).
I.
As described.
n.
Borderline added around composition; erased in margin
left: "1."; added in margin right: "2".

2
THETIS
16.4 x 10.0 cm.
In lower margin: "THETIS."
In margin left: "2."
I.
As described.
IL
Borderline added around composition; erased in margin
left: "2."; added in margin right: "4"
3
GALATEA
16.5 x 9,9 cm.
In lower margin: "GALATHEA."
In margin left: "3."
I.
As described.
II.
Borderline added around composition; erased in margin
left: "3,"; added in margin right: "6",
4
ACID ALIA
16.4 x 10.0 cm.
In lower margin: "ACIDALIA."
In margin left: "4."
L
As described.
II.
Borderline added around composition; erased in margin
left: "4."; added in margin right: "8".
Appendix 3 C
326
Traces of changing the position of the right hand are
vaguely visible in all known impressions.
5
HIPPOCRENE
16.6 x 10.0 cm.
In lower margin: "HIPPOCCRENE."
In margin left: "5."
L
As described.
n.
Borderline added around composition; erased In margin
left: "5."; added in margin right: "10".
6
ARETHUSA
16.4 x 10.0 cm.
In lower margin: "ARETHUSA."
In margin left: "6."
I.
As described.
n.
Borderline added around composition; erased in margin
left: "6."; added In margin right: "12".
7
SALMACIS
16.4 x 10.0 cm.
In lower margin; "SALMACIS."
In margin left: "7."
I.
As described.

n.
Borderline added around composkion; erased in margin
left: "7 "; added in margin right: "14".
8
PABUSA
16.4 x 9.9 cm.
In lower margin: "PADUSA."
In margin left: "8."
I.
As described.
n.
Borderline added around composition; erased in margin
left: "8."; added in margin right: "16".
Traces of changing the position of the fingers of the left
hand are vaguely visible on all known impressions.
9
LERNA
16.4x10.0 cm.
In lower margin: "LERNA."
In margin left: "9."
I.
As described,
IL
Borderline added around composition; erased in margin
left: "9."; added in margin right: "18".
10
CÀMERINA
16.4 x 10.0 cm.
In lower margin: "CAMERINA."
In margin left: "10."
Appendix 3 C
327
I.
As described.
n.
Borderline added around composition; erased in margin
left: "10."; added in margin right: "20".
11
GARGA
16.4 x 9.9 cm.
In lower margin: "GARGA."
In margin left: "11."
I.
As described.
XL
Borderline added around composition; erased in margin
left: "11."; added in margin right: "22".
12
ÂMBRACIA
16.3 x 9.9 cm.
In lower margin: "ÂMBRACIA."
In margin left: "12."
I.
As described.
Borderline added around composition; erased in margin
left: "12."; added in margin right: "24".
13
MAREOTIS
16.5 x 10.0 cm.
In lower margin: "MAREOTIS."

In margin left: "13."
I,
As described.
IL
Borderline added around composition; erased in margin
left: "13."; added in margin right: "26".
14
LYNOPE
16.4 x 9.9 cm.
In lower margin: "LYNOPE."
In margin left: "14."
I.
As described.
IL
Borderline added around composition; erased in margin
left: "14."; added in margin right: "28"
15
AGANIPPE
16.3 x 9.9 cm.
In lower margin: "AGANIPPE."
In margin left: "15."
I.
As described.
XL
Borderline added around composition; erased in margin
left: "15."; added in margin right: "30".
Appendix 3 C
328
Î6
LARGIA
16.6 x 10.0 cm.
In lower margin: "LARGIA."
In margin left: "16,"
I.
As described.
IL
Borderline added around composition; erased In margin,
left: "16."; added in margin right: "32".
17
STIX
16.4 x 10.0 cm.
In lower margin: "STIX."
In margin left: "17."
In margin right: "Ph[i]l[ip]s Gall./ inven. et sculp." (two
lines).
I.
As described.
IL
Borderline added around composition; erased m margin
left: "17."; added In margin right: "34".

ORNAMENTAL DESIGNS FOR CIRCULAR
PLATES WITH SEA GODS
4 engravings
These four ornamental engravings were engraved by
Adriaen Collaert, most probably - as another comparable
series (appendix 3E) - after designs by his father-in-law
Philips Galle.
Lit.:
Holistein, vol 4, p. 203, nos. 408-411; idem, vol 7, p. 83,
nos. 1-4;Hymans 1907,p. 243,271;De Groot 1988, p. 53,
nos. 62.1-4; SeUink 1992b, p. 52
Copies;
Amsterdam (Rijksprentenkabinet, Rijksmuseum, Am­
sterdam), Brussels (Prentenkabinet, Koninklijke
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."
Appendix 3 D
329
3
NEPTUNE IN A SHELL DRAWN BY HORSES
16.9 x 16.6 cm.
In lower margin, from left to right: i8
3 Adrianus Collaert
fecit. Philippus Galle excudit."
4
GALATEA ON A SHELL
17.0 x 16.7 cm.
In lower margin, from left to right: "4 Adrianus Collaert
fecit. Ph[i]l[ip]s Galle excudit."

ORNAMENTAL DESIGNS FOR OVAL PLATES
WITH SEA GODS
4 engravings
The engravings were incised by Adriaen Collaert after
designs by Philips Galle; compare appendix 3D.
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."
Appendix 3 E
330
4
A SEA GODDESS
11.5 x 15.7 cm (trimmed margins).
In lower margin, from left to right: "Philipp. Gall, inven­
tor et excud. 4. Hadrian. Collaert scalp. 5
'

DE DEIS GENTIUM IMAGINES (1581)
30 engravings
In 1581 Philips Galle published this series of ancient gods.
The images were engraved by Philips Gaile after his own
designs, as mentioned on the title page of the second edi­
tion. The accompanying Latin verses were composed by
the Antwerp humanist Hugo Favolius (1523-1585).The
series consists of the engraved tide page - the verso of
which Is blank followed by a one-page Latin introduc­
tion set in letterpress. The introduction is written by
Philips Galle and is dedicated to Carolus de Lathern
attending at the court of Matthias of Austria, Viceroy of
the Netherlands between 1577 and 1581. The verso of
this page is blank, then follow 29 unnumbered engrav­
ings.
At an unknown date - most probably after 1605 - Galle B
s
eldest sonTheodoor reissued the series.The tide page was
replaced and all engravings were numbered.This edition,
of which only two copies have been found so far, appar-
endy did not include the letterpress Introduction.
Lit,:
Bibliotheca Belgica, vol. 2, p. 14; Hollstein, vol. 7, p. 79,
nos. 352-380; Cockx-Indestege 1983-85, p. 514; Sellfnk
1992b, pp. 53-54
Copies:
Amsterdam (Rijksprentenkabinet, Rijksmuseum,
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,
nos. 1-29, New York (New York Public Library, New
York), edition Philips Galle, tide page, nos. 1-29 and edi­
tion Theodoor Galle, nos. 1-29, Paris (Cabinet des estarn-
pes, Bibliothèque Nationale, Paris), tide page, nos. 1-29,
Rotterdam (Prentenkabinet, Museum Boijmans Van
Beuningen, Rotterdam), tide page, nos, 1-29, Vienna
(Graphische Sammlung Alhertma, Wien), edition Philips
Galle, title page, nos. 1-29 and edition Theodoor Galle,
title page, nos. 1-29, Washington (Folger Shakespeare
Library, Washington), tide page, nos. 1-29
Appendix 3 F
331
TITLE PAGE I
14.3 x 9.2 cm.
In oval cartouche, in centre of composition: "DE DEIS/
GENTIUM/ IMAGINES ALL/ QUOTICONICAE,/
AENEIS TABULIS/ PER/ PHILIPP. GALLEUM/
EXARATAE;/ ET VARUS DISTICHIS/ AB/ HUG.
FAVOLIO/ ILUSTRATAR" (thirteen lines).
In cartouche, at top centre: "1581."
In cartouche, at bottom centre: "ANTVERRIAE".
Tide page to the first edition of De deis gentium imagines
of 1581. This plate was replaced by a new tide page in
Theodoor Galle's reissue,
TITLE PAGE II
13.6 x 8.4 cm.
In oval cartouche, in centre of composition: "DEORUM/
GENTELIUM IMAGINES/ IN/ PICTURAE STATUA-
RIUAEQ./ ARTIS TIRONUM/ USUM./ A Philippo
Gailaeo/ dellneatae et sculptae." (eight lines)
In cartouche, at bottom centre: "ANTVERPIAE/
Theodorus Gallaeus excudit./ Cum privilegio." (three
lines).
Tide page to Theodoor Galle's reissue of De deis gentium
imagines, replacing Philips Galle's earlier one.
INTRODUCTION
Letterpress
"GENEROSO AC NOBILI/ ADOLESCENTI CAR­
OLO DE/ LATHEM, DOMINO DE COURT S./
Estienne etc. Sereriisslmi Principis Mathiae Au-/ strij,
Belgiae Gubematoris TAulico, D. suo/ mter primos obser­
vando, Philippus Gallaeus S.D./ Cum hunc líbellum cui
de Gentium dijs inscriptionem/ fecimus, una cum suis
ekorubus in manibus haberem,/ Generose Adolescens,
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

suis numcris ab-7 soiirtum, vel excelientis auctorltate viri
patrocinio fartum, te-/ ctumquc.Tot habet haec ars nos­
tra hodie aversos alicnosque/ a se animos.A quibus longe
te ahesse re ipsa quotidie compro-/ ba$,cuni Ingenuorum
honiinum sculpturas picturasque non/ modo admirer is,
vcrum criam ribi quanuvis accumules, ac/ velut in untirn
acervum congeras, Quid? quod arcano quo--/ dam natu­
rae ductu (cui iam ipsa accessit rndustria) ita huic/ arti
addictus es,ne ceteras praecellentis tui ingenij dotes com-
/ memorera, ut non obscurum subinde artificij specimen
ex-/ hibeas? Accipe igitur generose Adoleseens, hoc
qualecumquc/ nostrae in te observanriae testimonium, et
pro tua cum aucto-/ ritate, turn benevolentia, a zoilis ac
sciolis has nostras lucti-/ bratiunculas vindicate.
Antverpiae, Anm D. supra sesqui-/ millesimum octoges-
imi prirm mense Febr." (28 lines).
1
SATURN
13.1 x 8.1 cm.
In lower margin: "SATURNUS./ Fulciger antiquis vixit
Saturnus in agris,/ Aurca cum Latio siajecla fuere solo."
(three lines).
I.
As described.
n.
Added: "1".
2
OPS
13.2x8.2 cm.
In lower margin; "OPS. quae et CYBELE./ Magna Deum
mater, Phrijgia comitata caterva est/ Quod froges pri-
mum hinc dicant caerisse creari." (three lines),
I.
As described.
II.
Added: "2".
Appendix 3 F
332
3
JUPITER
13.1 x 8.0 cm.
In lower margin; "IUPITER./ Est Pater, est Gustos, est
Rex hominumq[ue] Deumq[ue]/ Jupiter excelsa qui
tonat arce poll." (three lines).
I.
As described.
n.
Added: "3".
JUNO
13.2 x 8.1 cm.
In lower margin: "ÍUNO./ Alma jovis summi coniunx
Saturnia Juno/ Temperie verna, vivida quaequae regit"
(tlrree lines).
I.
As described.
n.
Added: "4".
5
NEPTUNE
13.1 x 8.0 cm.
In lower margin: "NEPTUNUS./ Cunctaru[m] Deus
atq[ue] Parens Neptunus aquarum,/ Axibus, et glaoeis
aequora sternit equis." (three lines).
I.
As described.
n.
Added: "5".

6
AMPHITRITE
13,0x8.0 cm.
In lower margin: "AMPHITRITE./ Ceruleo pollens
coniunx Neptunia regno/ Amphitrita vagos pandit arnoe-
na sinus.* s
(three lines).
I.
As described.
XL
Added: "6".
1
PLUTO
13.1 x 8.1 cm.
In lower margin; "PLUTO./Tartara Plutonem nocturnis
plena tenebris/ Monstraque de coelo precipitata tenent."
(three lines).
I.
As described.
n.
Added: "7".
8
PROSERPINA
13.2x8.0 cm.
In lower margin: "PROSERPINA./ jura dat Infernis
Coniunx Plutonia Regius,/ Caeditur utqjue] illi victima
nocas Herae." (three lines).
I.
As described.
XL
Added: "8",
Appendix 3 F
333
9
APOLLO
13.1 x 8.0 cm.
In lower margin: "APOLLO/ Conspicuusq[ue] Lyra, et
Grynaeo P[ojebus opaeo/ Et telis, triplex fundit ab ore
iubar" (three lines).
I.
As described.
n.
Added: "9".
10
DIANA
13.0 x 8.1 cm.
In lower margin: "DIANA/ Astrorum decus et
nemorufm] Latonia custos./ Pert venatores per iuga
summa canes." (three lines).
I.
As described.
Added; "10".
11
MARS
13.2 x 8.1 cm.
In lower margin:
, 9
MARS/ Contritu intumuit lunonis
graminis alvus/ Bellicaq[ue] in lucem prodijt haec
soboles" (three Hnes).
I.
As described.
EE.
Added: "11",

12
BELLONA
13,1 x 8.1 em.
In lower margin: "BELLONA./ Sanguíneo excurrit. tris-
tiqjue] horrenda flagello/ Et Bellona regit túrbida Mariis
equos/' (three lines)
I.
As described.
II.
Added: "12".
13
VULCAN
13.2x8.0 cm.
In lower margin: "VULCANUS/ Et Iovis, et magnae
lunonis fdius, usq[ue]./ Fulrnina supremo fert iacienda
lovi" (three lines).
I.
As described.
IL
Added: i!
13 i!
14
VENUS
13.1 x 8.0 cm.
In lower margin: "VENUS/ Possidet alma Venus cunc-
tarum semina rerum/' Mater adulter!], nataqfue] Diva
salo." (three lines).
L
As described.
n.
Added: "14".
Appendix 3 F
334
15
BACCHUS
13.0 x 8.0 cm.
In lower margin: "BACCHUS/ Lacunae Bacchus dator
est, spumantia miscet/ Pocla, capistratus tigribus alta
petit." (three lines).
I.
As described.
n.
Added: "15".
16
CERES
13.0 x 8.1 cm.
In lower margin: "CERES/ Diva potens rrugum, trique-
tra venerabilis ora/ Semine spicifero regna Sicana beat."
(three lines).
I.
As described.
IL
Added: "16".
17
MERCURY
13.0x8.1 cm.
In lower margin: "MERCURIUS/ Mercurios venator
opum Cyllenia proles./ Est Mercatorum, Fraudum,
Furumq[ue] magister." (three lines).
I.
As described.
n.
Added: "17"

18
MINERVA
13.1 x8.Q cm.
In lower margin: "PALLAS/ Exijt armatis Pallas ut saeva
lacerris,/Armata nectit bella superba mann." (three lines).
L
As described.
IL
Added: "18".
19
AEOLUS
13.0x8.1 cm.
In lower margin: "AEOLUS/ Hippodates ventos vasto
premit Aeolus antro,/ Arbitrio emiottens quos velit ipse
suo." (three lines).
I.
As described.
n.
Added: "19".
20
NEMESIS
13.1 x 8.0 cm.
In lower margin: "NEMESIS/ Trux Nemesis ut lacto cita
rulmirie flamma,/ Mortalesq[ue] docet reddere cuiq[ue]
suum." (three lines).
I.
As described.
IL
Added: "20"
Appendix 3 F
335
21
VESTA
13.0 x 8.0 cm.
In lower margin: "VESTA/ Non aliud Vestarn, quam
vjvafe] intellige flamma[e],/ EfEgiem nullam Vesca nec
ignis habet." (tliree lines).
I.
As described.
n.
Added: "21".
22
THEMIS
13.2 x 8.0 cm.
In lower margin: "THEMIS/ Est coelo terraqjue] Themis
prognata, recenset/ Quae labyrintheis divina oracula ver­
bis." (three Hnes).
On tablet In lower right corner: "DEUM TIMETO/
QUOD TIBI/ NO.. AB ALTE/ RI NE FACITO/
TORI/ ..... ISTA/ SUPEROSVE-/ UTOR./ BEN-
EFICIUM/ ..... PONITO./ BENEFICUS/ GRATIS
ESTO." (twelve lines).
I.
As described.
n.
Added: "22".
23
HERCULES
13.0 x 8.1 cm.
In lower margin: "HERCULES/ Talis erat membrls bir­
ds Tyrinthius Heros/ Et clava pharetraq[ue] gravis spo-
lioqfue] leonis." (three lines).
I,
As described.

XL
Added: "23".
24
IIEBE
13.2 x 8.0 cm.
In lower margin: "HEBE,/ Est poculis praefecta lovis,
praefecta iuventac/ Herculis atq[ue] uxor lunoms filia
magnae" (three lines),
I.
As described.
XL
Added: "24".
25
CUPID
13.2 x 8.0 cm.
In lower margin: "CUPIDO/ Films hie veneris, faabus
telisqjue] Cupido/ Insiructus, vexai pectaranostraDeus."
(three lines).
I.
As described.
n.
Added: "25".
26
AURORA
13.1 x 8.1 cm.
In lower margin: "AURORA/ Rosida puniceo Pallantias
exit amictu/ Lucifcrumqfue] suis Candida portat equis,"
(three lines).
Appendix 3 F
336
X.
As described.
XL
Added: "26".
27
AESCULAPIUS
13.1 x8.0 cm.
In lower margin: "AESCULAPIUS/ Hie Deus extinc-
tum cressis Epidaurius herbis/ Restituit patrys
Androgeona focis," (three lines).
X.
As described.
XL
Added: "27".
2%
POMONA
13.0x8.1 cm.
In lower margin: "POMONA/ Rus Pomona tenet ramos
amat ipsa fcrentes/ Poms coiit dextra pignora grata gcrit."
(three lines).
I.
As described,
IX,
Added: "28".

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".
Appendix 3 F
337