manfred sellink philips galle - VU-DARE Home

* ".„„ in aere incisas et diligenter expressas/';
quoted from Galle s introduction to the Virorum doctomm
effigies (1572). See for the full text appendix 2B. Portrait
series are here understood as a compilation of prints with
the litelike - or at least intentionally so - features of more
or less contemporary persons, issued as a single, coherent
publication. The related traditions of publishing illustrat­
ed books with engraved 'portraits' of famous men from
classical antiquity (nearly always copied after coins) and
with the often fictitious 'portraits* showing a genealogi­
cal or historical lineage (kings, counts or dukes of ...„),
will of course be taken in account when discussing the
origins of engraved portrait series. Prints of saints are not
discussed, as they are in general intended as images of
devotion and not as straightioxvvard portraits. On the dif­
ferent views concerning the genesis of the portrait in
European art in general, see Pope-Hennessy 1979,
Martindale 1988 and Campbell 1990 and their biblio­
graphic references. The Latin introductions to Galle s
series of portraits as well as the verses underneath the por­
traits have been translated from Latin into Dutch by Jan
Bloernendal, whom I kindly thank for all his generous
assistance.These translations were made possible by a grant
from the Kunsthistorische Onderzoeksschool at Utrecht
Umversity.This chapter has, as all others, found much ben­
efit by the comments by Ilja Veldman and Peter Hecht; I
also express my gratitude to jan Piet Filedt Kok, Chris
Heesakkers and Rudi Ekkart for their critical remarks.
1. After more than a century the only accurate,
though brief descriptions of Galle s series are still to be
found in Van Someren 1888-91, vol. 1, pp. 122-127. The
accuracy ofVan Someren 5
s descriptions in this rich, under­
rated study of engraved portraits in the Netherlands is
probably due to his work as a bibliographer at the famous
auction house of Frederik Muller's in Amsterdam. He was
later to be an assistant librarian and chief librarian respec­
tively, at the universities in Amsterdam and Utrecht (I
thank Freek Heijbroek for providing me with this infor­
mation) .A short characterization of the four different edi­
tions, seen in the light of Philips Galle as a print publish­
er, is given in Sellink 1992a, pp. 22-25. In the appendices
2A to 21, all series of portraits of scholars published by
Philips Galle are described in detail: 1567-edition (appen­
dix 2A), 1572-edition (appendix 2B), 1587-edition
(appendix 2C), 1604-edition (appendix 2D), a combined
alphabetical catalogue of the four preceding series (appen­
dix 2E), popes (appendix 2F) S cardinals (appendix 2G)5
Jesuits (appendix 2H) and, finally,Theodoor Galle s series
Notes Chapter 2
167
of Italian scholars (appendix 21). Related, but separately
published portraits of Janus Do usa, Hadrianus Junius and
Abraham Ortels are included in appendix 2E. Not includ­
ed are Galles two series of counts of Holland (see notes
119 and 121) and several separately published portraits
that are not discussed in this chapter. Amongst the latter
are portraits of the Italian cardinal and librarian Cesare
Baronio (cp. Müller Hofstede 1964, pp. 445-446 and
Imhof 1996-97, p. 96) portraits of his friends Maarten van
Heemskerck andjohannes Stradanus (cp. Filedt Kok 1996,
pp. 162-163), one, or possibly two engravings of the
painter and antiquarian Hubert Gokzius (Le Loup 1983-
84, pp. 87-89) and a portrait of Alessandro Farnese
(Mauqouy-Hendrickx 1978-83, vol.3/l,p.364,no. 1807.
2. In this chapter and in all its related appendices,
most (first and second) names are given in die vernacu­
lar version in the native language of the person involved,
rather than using Latinized or Graecized versions:
Abraham Ortels instead of Abrahamus Ortelius, Jean
Calvin instead of Johannes Calvinus, and Pietro Vettori
rather than PetrusVictorius, In accordance with the sen­
sible guidelines used in Con temporaries of Erasmus
(Bietenholz 1985-87, vol. 1, pp. xii-xiii) the vernacular is
used whenever a predominant form could be established.
Humanist names in latin or Greek are preferred in the
case their vernacular counterparts are less certain or when­
ever the vernacular is much less known and would make
a person difficult to identify: Gerard Mercator instead of
Gerard de Cremer,Rodolphus Agrícola instead ofRoelof
Huusman, andjohannes Dantiscus rather thanjoharrn von
HófemSaintejpopes^mpero^kmgSjand queens are given
in English under their first name (e.g. King Philip II). For
names of places, modern vernacular forms are used, with
the exception of those for which there is a commonly
excepted English version (such as Brussels, Antwerp, and
The Hague).
3. One of the first to recognize the importance
of Galle as one the prime initiators of the genre is the
Felgian book collector M.C. van Hulthem; see Van
Hulthem 1836-37, vol. 2, pp, 158-159.
4. Lampson 1572. On Lampson as an art theo­
rist, see Becker 1973 and Mellon 1991, pp. 143-159.The
Effigies are reprinted in facsimile and commented upon
in Lampson 1956. Two portraits, both engraved by
Cornelis Cort, are discussed extensively in Sellink 1994,
pp. 147-152, nos. 53-54.The copperplates were still in the