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