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*. Quoted from Guicciardini 1567; see note 1.
1. "Dirick Volcaerts Core[n]-hert et Filippo
Galle amendue d'Harlem eccelle[n]tissimi intagliatori
Guicciardmi 1567, p. 101 In the enlarged Dutch
translation of 1612 this reads; "Dierick Volckaertsen
Corenhert, ende Philips Galle, beyde van Haerlem, uyt-
nemende gheschickt m coper re steken Guicciardini
1612, p. 82. This historiographical overview makes no
claim at all to be complete, it is only intended as a short,
introductory survey of the reputation of Philips Galle until
the second half of the nineteenth century. A short review
of the literature after 1850 can he found in note 33. On
Goltzius's portrait of Philips Galle, see Seliink 1991-92,
pp, 154-155.
2„ "Divick Volcaerts e Filippo Galle, amendue
d'Arlem, e Luca Leidem con mold altri, chi tutti sono stati
in Italia a irnparare e disegnare le cose antichi p[er]
tornarsene, si come hanno fatto la piu parte, a casa
eccjeilentiJ/Yasari 1878-85, vol. 7, p. 589.These last words
are the source of the traditional, hut most probably wrong,
supposition that Philips Galle travelled to Italy (also see
below) .Vasari misquotes Guicciardini who ends his list of
painters with the remark that nearly(!) all - compare
Vasari s misleading words "chi turn sono stati in Italia" -
of them had gone to Italy to study classical art.
3. "Cresciutogli al fine maggiormente 1'ammo
ha fatto sei Libri di disegni, che tuttavia s'intagliano in
Anversa per mano di Filippo Gale eccellente intagliatore,"
then follows the list of preparatory drawings kept by
Stradanus. See Borghini 1967, pp. 583-584; also see chap­
ter 4, note 158. Borghini s words are summarized, for
instance, in the eighteenth century by jean Baptist
Descanips,in his biography ofStradanus;Descamps 1753=
64, vol l,p. 160.
4. "Resta[n]t duo lumina artis non proprie
encausticae, ut quida[m] putant, sed quae in laminis aeries
et quovis e metaJlo ducrilibus, averse coeli scalprique trac-
tu pingit iconas historiasque omnes, quas illitu atramenti
cuiusdam encaustici, imo colorum quorumvis adversis
lamellae in gypseis tabulis chartis 've reddu[n]t. II sunt
Theudericus Volcardus Amstelrodamaeus divino homo
ingenio, sed fati adversi,et Philippus Gallaeus Harlemaeus
magistro illo, dij imrnortales, quanto superior; nisi quod
inchoatam cum laude artem ille intermislt; in hoc cum
surgente aetate etiam arris gloria gliscit." Junius 1588
Notes Chapter 1
147
p. 140. The English translation is quoted from Veldman
1977a, p. 99. On Galle s friendship and collaboration with
Junius, also see chapters 2 and 4. On Junius s Batavia* also
see Vermaseren 1949.
5.
i!
Ik moet van Koornhert ook, en van Galle
meest, gewagen/ Gewisslijck Galle mag niet over sijn ges­
lagen,/ Sijn yser was te eel, sijn printen sijn't wel waerd,/
En door geleerde luy en hunne snee vermaerd "Then fol­
lows the Latm quotation from Junius, restated by Ampzing
in Dutch:"Daer sijn noch twee lichten vande Plaet-snee-
konste overig, Dirk Volkertszen van Amsterdam, een man
van groot verstand, maer ongeluckig, ende Philips Galle
van Haerlem, desen sijnen meester verre overtreffende:
die [Coornhert] heeft de konste onderlaten, die hy met
lof aengevangen hadde, in desen [Galle] wast de ere van
de konst met de jaeren op," Ampzing 1628, p. 359.
Ampzing also translates the Latin verses underneath Galles
portrait of Janus Dousa: "Die Hollands Graven t'saern, en
ook Erasmus wesen,/ En 't uwe lunius gesneden heeft
voor desen,/ Die heeft het mijne mee in koper uytge-
druckt,/ Ik houde dat my dat met weymg is geluckt."
These lines of verse were written by Dousa himself and
prasse Galles earlier portraits of Erasmus, Junius and the
counts of Holland. On the relevance of these references
to Galle s portraits, see chapter 2. Dousa s portrait itself is
described in appendix 2E, no. 46a.
6. " op dit toneel [the art of engraving] ver-
toone[n] sich eerst Dirck Cornhart en Phlips Gallus.
Beyde dese recommandeert Had. Junius in zijn Batavia,
die hij noemt lichte van de konst niet een caustice daer
4
t vier by quam3 maer daer in kopere platen met een
averechts graveer-yser gesneden wort, en snij en alder-
hande beeldekens, en historie van alle materie. Dese Dirck
Cöorrxhart was van Amsterdam, een man van groot ver-
stant en couragie, maer ongeluckigh in sijn doen; het was
hem al tegen, dit was de meester van Phlips Gallus, maer
dese was haest boven sijn meester, help Godt met hoe
groot verschil, dat oock niet wonder was dewijl d'eene
de konst die hy met eere aen ghevangen hadde liet varen,
d*ander dagelijcks toenam in de konst ghelijck wasdom,
dese heeft verscheyde conterfeytsels gesneden, dat Douza
oock erkent, wiens uytbeeldinge Phlips Gallus in 't koper
gesneden d f
onsterfTelijckheyt toe-geheylicht heeft " then
follows the translation of the verses underneath Galle s
portrait of Dousa: "Die Graven van het lant, die soo
beroemde man,/ Gebroeyt uyt Rotterdam [Erasmus], en
lunium treffen kan,/ Dees heeft oock my gemeen, 't is