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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