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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.