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183. On Theodoor Galles stock of copperplates,
see the death estate of his widow Catherina Moretus in
1636; see Dermce 1.927 and Duverger 1984, vol. 1/4, pp.
17-36. Several plates were not originally from the Galle
workshop, but were acquired after 1601 from the estate-
ofVolcxken Diericx,the widow of Hieronymus Cock; see
Duverger 1984, vol. 1/1, p. 24.
184. The lasting popularity and influence of late
sixteenth-century Netherlandish prints in the seven­
teenth century, would be well worth a thorough study.
See several remarks and references in the historiographi-
cal survey in the beginning of this chapter; also see many
perceptive remarks in the separate entries in De Jongh
1997.
185. Compare the first edition by Philips Galle;
chapter 4, fig. 8, with further references. In contrast to his
father Theodoor, Johannes Galle does not seem to have
been very active as an engraver himself. He concentrated
on the trade of prints. It would be worthwhile to make a
study of the relations between Johannes Galle and the
Visscher family, who often reprinted plates from the stock
of their Antwerp colleagues. The estate of Johannes Galles
death estate in 1676 has not yet been published, but will
be included in a forthcoming volume of Duverger 1984.
It apparently contained no less than 82.000 prints and
copperplates;Van Hcurck 1930,p. 71 .According to a print­
ed advertisement a sale of the estate was planned on 15
February 1677, the catalogue was to be acquired from
Nicolaes Visscher in Amsterdam. A later advertisement,
dated February 18, informed the public that the sale was
delayed until March 8.1 kindly thank Chris Schuckman
for showing me copies of these advertisements. 1 have,
unfortunately, been unable to trace the original adver­
tisements, nor have I found the sales catalogue.
186. On the relations between Philips Galle and
the Plantin Press, see note 97. Many aspects of the col­
laboration between the Galle workshop and the
Moretuses in the seventeenth century are discussed in
Imhof 1996-97, passim.
187. Cornells Galle was recorded as a 'meesters-
soon 5
in 1610; see Van Lerius 1864-76, vol. 1, p. 464. He
had his first (registered) apprentice in 1613 (one Jasper
Batens; ibid. vol. 1, p. 497), indicating that he was by then
running his own workshop.
Notes Chapter 1
166
188. On Cornells Galles engravings made in Italy
on behalf of his father, see chapter 4. Hollstcins list of
engravings of Cornells Galle I is even more inaccurate
than those of his father and brother, especially due to the
fact that he has entirely confused works by the respective
generations Cornells I, Cornells II and Cornells Galle HI.
189. On Cornells II and III, see Van den Bemden
1863, pp. 42-50.
190. Nearly all of Philips Galles pupils became
important engravers in Antwerp with a workshop of their
own. Several of them became, like their former master,
dean of the guild of St. Luke, generally an indication of
their standing amongst colleagues; these were Theodoor
Galle in 1 610Johann.es Collaert in 1612, Karel de Mallery
in 1621-22 Jean Baptiste Barbé in 1627-28 and Johannes
Galle in 1638-39.
191. On collecting in the sixteenth and seventeenth
century, see chapter 2, notes 129-132.
192. See, to mention just a few examples: Boschloo
1993 (copies in frescos in Bologna);Bosters 1989 (the use
of engravings in borders of maps); Boulay 1960 and
Micheaux 1972 (on copies in French faience); Fabri 1982,
Thirion '1965 andThirion 1967 (regarding copies in fur­
niture of the seventeenth century); Cole 1993 and
Husband 1995 (on the use of prints in painted glass),
193. See, again just to quote a few examples: Zerner
1983, passim, on the diffusion through engravings in gen­
eral; Wijngaert 1943 andjermes, on the use Jesuits made
of Antwerp prints during their missions in the Far East;
Sims 1983 (on the influence of Antwerp prints on Persian
miniatures); IJzcrman 1926, on the trade of prints with
Dutch India; Braat 1980, on the sixteentii-century ship­
ment of prints found in Nova Zembla.