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31 The portrait accompanies a letter, written in
Dutch and dated Antwerp, 7 July 1598;Hessels 1887, pp.
759-760, 912. Galle here informs Van Meteren on the
death of his uncle Abraham Ortels ten days earlier.
According to a handwritten note by Galle - 'Thilippus
galle schenkt dit synen vrient,iacop Cools." - the portrait
was not intended for Van Meteren himself but was a gift
to Jacob Cole, another nephew of Ortels. Gaile's letter is
now kept in the Universiteitsbibliotheek,
RijksuniversiteiE Leiden, inv. BPL 2766.
32. Galle s command of Latin can be deduced
from the many signed introductions, some of them rather
elaborate, to various print series in this language. He could,
however, have had the assistance of one his learned
humanist friends in this respect. The scarce autographic
manuscripts by Galle are all written in Dutch.
33. On Junius, see Veldman 1974 and Veldman
1977a, pp. 97-112 and specifically p. 107 on the collabo­
ration between Galle and Junius. Veldman here erro­
neously assumes that it was Junius who wrote the intro­
duction to the Virorum doctorum effigies {1572}. This
preface, on the contrary, is from the pen of Philips Galle
who here thanks (as quoted above) "„... amicumque ac
concivem meum Adr. lunium virum doctissimum
(my friend and fellow townsman, the learned Hadrianus
Junius) for the verses he has composed on the portrait of
Benito Arias Montane. For the complete text, see appen­
dix 2B.The close cooperation between Van Heemskerck
(designer), Jumus (lyricist) and Galle (engraver and pub­
lisher) is elucidated in Veldman 1986, passim.
34. Galle has engraved two portraits of Junius .The
first is dated 1562 , the other, as illustrated in jig. 4, was
made on behalf of die Virorum doctorum effigies {1567), See
appendix 2E, nos. 73 and 73a.
35. Only four portraits show scholars from previ­
ous centuries: the famous Dutch humanist Agricola, the
radical reformer Johannes Hus, the humanist Pope Pius
II and the illustrious Dominican preacher Savonarola. For
a complete description of the Virorum doctorum effigies
(1567), see appendix 2A. On the reproduced portraits, see
appendix 2E, nos. 27 (Calvin), 129 (Tapper) and 90
(Melanchton). All the other portraits mentioned are list­
ed in the alphabetical catalogue.
Notes Chapter 2
171
36. Compare, for example, the far more complete
series of portraits of reformers issued by Hendrik Hondius
in 1599 and, in an enlarged edition, around 1610; see
Orenstein 1992, pp. 62-64, 312-331 and 392-400.
Surprisingly Hondius added Erasmus as well as Savonarola
- two persons who could not be more different - to his
list of reformers. Series with portraits of reformers became
very popular in (Protestant) Germany in the last two
decades of the sixteenth century, cp. Rave 1959, pp. 153-
154.
37. Involvement with religious matters seems to
have been interpreted in a broad sense by Galle and his
collaborators; compare appendix 2A for a complete list of
all the portraits in the 1567-edition. A scholar like Andrea
Alelad - the Italian lawyer and author of the famous
Embiemata - could, for instance, have been chosen on
account of his Contra vitam monastkam ad Bemardum
Maíiiant epístola. Alci&ti wrote this treatise, levelled against
several aspects of monastic life, before 1517. Although it
was never published, the manuscript circulated in a small
circle of friends like Erasmus, who received it through a
mutual acquaintance. The author himself regarded the
book as a sin of his youth and seems to have been afraid
that publication of the contents might harm his reputa­
tion with ecclesiastical authorities.
38. For the list of copies known to exist in pub­
lic collections, cp. appendices 2A-D.
39. Cp. note 17. Besides the twelve portraits Van
Someten mentioned, several other comparable impres­
sions have been traced, See appendix 2E, passim. Here
reproduced is the portrait of Huldrych Zwingli, see
appendix 2E, no. 146.
40. Although the lack of sources makes any con­
clusion hypothetical, the few remaining albums with
prints from the late sixteenth century strongly suggest that
a client generally selected and compiled an album of prints
according to his own taste and (iconographic) interest,
rather than buying a ready-made compilations. On the
collecting of prints in the sixteenth and seventeenth cen­
tury see below;
41. On the Reformation in Haarlem, see:
Overmeer 1904 and the more recent, excellent study by
Joke Spaans (Spaans 1989,pp. 23-47). A general overview
of the political and religious developments in the Nether-