manfred sellink philips galle - VU-DARE Home

possession of the GaUe family m 1636, when an invento­
ry was made of the death estate ofTheodoor Galle's
widow; see Denuce 1927, p. 144 and Duverger 1984, vol.
1 /4, p. 21 .Theodoor Galle must have published these por­
traits of artists after 1.601, as in this year the plates were
listed in the inventory of the death estate of Volcxken
Diericx; Duverger 1984, vol. 1/1, p. 27. Galle's edition
was, however, available in 1604 when the'pictorum cele-
brium totius Germaniae Inferioris, folio, Gallae" were
mentioned in the stocklist of the Amsterdam publisher
Cornelis Claesz.;Van Selm 1987, p. 255.
5. A recent overview of this tradinon and its clas­
sical sources is given in Joost-Gaugier 1982. The classic
study on the concept of'genius' and its development dur­
ing the Renaissance is Zilsel 1926. On the importance of
Petrarca's writings regarding this notion, also see Bolgar
1977, pp. 239-264. On the genesis of Petrarca's De viris
illustribus and his use of medieval and classical sources, see
Kessier 1978.
6. The first edition of Giovio's Elogia with
(woodcut) illustrations was published by Pietro Perm in
Basle in 1577 (Giovio 1577). On the history of the book
see Rave 1959. On Vasari's Viie, see Boase 1979, pp. 43-
72 and especially Pat Rubin s excellent analysis ofVasari s
art-historical writings: Rubin 1995, pp. 148-186 (1550-
edition) and pp. 187-230 (1568-edition).Rubin also gives
some brief information on Vasari's search for portraits of
artists, ibid. pp. 204-208 (with further hihhograpliic ref­
erences).
7. Ampzing 1628, p. 359; his lines are written in
verse: "Ik meet van Koornhert ook, en van Galle meest,
gewagen/ Gewisslijck Galle mag niet over sijn geslagen,/
Sijn yser was te eel, sijn printen sijn !
t wel waerd,/ En
door geleerde luy en hunne snec vermaerd.'' Compare
chapter 1, notes 5 and 6.
8. In addressing himself to both categories in his
introduction to Galle's Mustrium scriptorum tones {1604} -
"Candido lectori, sen spectator! S." (Greeted, dear reader
or, if you prefer, viewer) - the author Aubert Le Mire
already underscored the ambiguity of print series with
substantial verses in the margin. Compare appendix 2D.
9. Also see below. More information on Galle's
religious views can be found in Sellink 1991-92, espe­
cially pp. 150-154 and in chapter 4.
Notes Chapter 2
168
10. An excellent analysis of the overwhelming
importance of the Counter-Reformation in Antwerp is
given inThijs 1990. General historical surveys of Antwerp
in the sixteenth century and early seventeenth century -
with contributions by several authors - can be found in
Bousse 1975, Couvreur 1989 and Van der Stock 1993.
11. See below. On the business of printing, pub­
lishing and distributing books throughout Europe by
Plantin and his successors, seeVoet 1969-72, especially vol.
2, Plantin s relations with Antwerp prmtmakers - both
buying prints from his colleagues as well as selling others
to them - are discussed in Delen 1932. Delen briefly dis­
cusses the relations between Galle and Plantin; ibid., pp.
17-20.
12. Foppens 1739. It is unknown how Foppens
obtained the original copperplates. In 1636 the list of cop­
perplates in the death estate ofTheodoor Galle's widow
Catharina Moerentorf (a daughter ofjan Moretus) includ­
ed "Geleerde van Neederiant tweentsestich platen 5
"
(Dutch scholars, 62 plates). See Denuce 1927, p. 146 and
Duverger 1984, vol. 1/4, p. 21. The reversed copies in
Foppenss study were originally engraved on behalf of
Isaac Bullart s two-volume study of kommes illustres in
European history, cp. Bullart 1682. Copies after Galle's
engravings are not listed in the catalogue of all portraits
(appendix 2E),but will be catalogued in the forthcoming
New Hollstein volumes on Philips Galle. Due to practi­
cal reasons this research is far from complete and will be
limited, with the exception of Bullart and Foppens, to
more or less contemporary copies from the late sixteenth-
and early seventeenth century.
13. See appendices 2F, 2G and 2H.
14. Cp. appendix 2E, no. 3, states I and Ila. Due
to careless printing several impressions from the 1572a-
edition - the first version of the Virorum dodorum effigies,
printed with inscriptions m letterpress - show slight traces
of these earlier inscriptions in the margin. See below.
15. Here illustrated is Terra, the personification of
the earth from a series with die four elements, dated 1564;
see TIB. 56, p. 324, no. 86.1.
16. For the differences between the inscriptions
on Galle's engravings in his Haarlem and Antwerp peri­
od respectively, see the illustrations in TIB. 56, passim. On