manfred sellink philips galle - VU-DARE Home

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).