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introduction to the Virorum doctorum i£figits (1572), fol.
A2; compare for the entire text and translation appendix
2B. Also see Hansel 1990, p. 92.
21. Cp.Tanner 1984, pp. 223-224.
22. On Giovio s collection of portraits, see Mimtz
1901, Pavoni 1985 and the elaborate dissertation by Linda
Susan Klinger: Klinger 1992, vol, 1, pp. 65-95 (on the his­
tory of the collection) and pp. 96-156 (comparing Giovio s
Museo with other collections). Also compare the recent
biography of Giovio: Price Zimmerman 1995. For a
recent discussion on the Renaissance studiolo, with a spe­
cial focus on Urbino, see Cheles 1985, pp. 35-52. A gen­
eral outline of die studiolo throughout the Renaissance is
given in Liebenwein 1977.
23. For a concise overview of such galleries in uni­
versities and colleges, seen against the background of the
collecting of portraits in the Renaissance in general, see
Ekkart 1977, esp. pp. 4-5.
24. On die genesis of the Leiden portrait gallery,
cp. Ekkart 1975; on Merula's memorandum, cp. ibid. pp.
58-60.That the newly founded Leiden University took
an interest in corrmiemorating the likeness of its most
famous professors,is also shown by the commission it gave
in 1592 to Hendrick Goltzius to engrave the portraits of
Julius Caesar Scaliger and his son Joseph Justus Scaliger.
These engravings were sent to scholars all over Europe;
cp.Pelinck 1966 and Strauss 1977, vol. 2, pp. 556-559, nos.
309-310.
25. OnTorrentius s collection of paintings, seeVan
Damme 1995; Galle s portraits of this bishop are listed in
appendix 2E, nos. 135-136. The importance Erasmus
attached to portraits is discussed in Bodar 1989, pp. 29-
60.
26. For a general discussion of the album amieorum
in the Netherlands in the sixteenth century, see
Heesakkers 1989. On four contributions by Philips Gallc
to such albums,see Sellink 1991 -92,p. 157,n.l7 (Abraham
Ortels, Emanuel van JVieteren and Jacob van Marnix van
Sint-Aldegonde) and Yeldrnan 1991, p. 262 (Janus
Gruterus). Galle did not include a portrait of himself, but
on these occasions, as befits a prolific draughtsman, drew
his own inventions corresponding with the written vers­
es.
Notes Chapter 2
170
27. The letters of Plantin and those written to
Ortels arc available in late nineteenth-century editions,
cp.Plantin 1883-1918 (passim) and Hessels 1887 (passim).
On Dousa see, for instance, his correspondence with
Victor Ghyselinck: Heesakkers 1976, pp. 98-100.
28. Hessels 1887, p. 42(3. This probably refers to
the circular portrait of Ortels - engraved by Philips Galle
after a design by Hendrick Goltzius - of which a silver
plate existed. In an earlier letter to his friend Benito Arias
Montane, dated 15-18 September 1581, Christophe
Plantin mentions such a portrait which is intended as gift
by Ortels to the Spanish humanist: "Ortelius mihi suam
efHgiem in argenti lamina manu Gallci incisam et deau-
ratani cum inscriptione a tergo orbiculari forma et ligno
ebenico adornatam tradidit ad te mittendam,Plantin
1883-1918, vol. 6, pp. 305-306 and Hansel 1991, pp. 179-
180. The editors of Plantin s correspondence wrongly
assume that the above quotation refers to yet another por­
trait of Ortels by Philips Galle in 1579: an oval portrait,
engraved in an elaborate ornamental border and used by
Plantin as a frontispiece to his editions of Ortels Tkeatmm
orbis terrarum. For this second, oval portrait see Denuce
1912-13, pp. 68-69.The first, circular portrait - with die
inscription "HG. in." - has been attributed by some to
Hendrick Goltzius. This attribution is generally (and
rightly) doubted as the verses by Andreas de Paepe clear­
ly mention Galle as the engraver.This engraving was, how­
ever, most probably made after a lost drawing by Goltzius,
who also drew a (still existent) portrait of Ortels sister;
see Reznicek 1961, vol 1, p. 398 and Strauss 1977, vol. 1,
pp. 378-379, no. 227. Descriptions of both portraits are
given in appendix 2E, nos. 100a and 100b.
29. Compare Hartley 1991.
30. Hessels 1887, p. 472. On Goltzius s portrait of
Philips Galle, also see chapter 4 and Sellink 1991-92, pp.
154-155.The verses underneath this portrait were writ­
ten by Galle s friend jamis Dousa. One does not, howev­
er, find a contribution by Galle in the album amieorum of
the Dutch humanist, whereas other mutual friends and
acquaintances (such as Plantin Junius, Ghyselinck and Van
Meteren) had contributed verses, portraits and the like;
cp. Heesakkers 1981 .A general survey of portraits of artists
by Goltzius and his circle and intended as tokens of friend­
ships is given in Filedt Kok 1996,