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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