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