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67. Compare Bataillon 1941, pp. 144-151. Marcel<br />

Bataillon, rightly so in my opinion, stresses this moderate,<br />

Erasmian strain. Hansel interprets the 1572-series slight­<br />

ly different as "an Utopian dream of a humanist 'Res pub­<br />

lics literaria'" where conviction is not of any importance;<br />

Hansel 1991, p. 99.<br />

68. On die close relations between Plantin and his<br />

circle on the one hand, and the Huts der Liefde on the<br />

other, see Hamilton 1981a, pp. 65-82. A brief and rather<br />

general overview of spiritualism in the Netherlands in the<br />

sixteenth century is given in Zijp 1986. On Ortels s reli­<br />

gious views see Boumans 1954.<br />

69. For a description of the growing numbers of<br />

Calvimsts in Antwerp up to 1585, cp. Thus 1990,<br />

pp. 9-32.<br />

70. A short survey of the religious conflicts in<br />

these years is given by Woltjer 1986; for a full discussion<br />

of these problems, see Duke 1990. Aspects of the relation<br />

between art and religion in these troubled years are dis­<br />

cussed by Zijp 1987.<br />

71. For a full description of the Imagines doctorum<br />

virorum, see appendix 2C. On the portrait of Beams<br />

Rhenanus, compare appendix 2E, no. 16. The letterpress<br />

tide page, introduction and index were printed by Plantin;<br />

Museum Plantin-Moretus, Arch. 20, fol. 307.<br />

72. On Ravelingen, see Voet 1969-72, vol. 1, pp.<br />

147-151,pp. 169-178. For unknown reasons Ravelingen s<br />

own portrait is not included in the Imagines doctorum vxro-<br />

rum. Encouraged by the fall of Antwerp the Calvinist<br />

Ravelingen left Antwerp with his (Catholic) wife within<br />

a few months after his father-in-law Plantin had returned<br />

to Antwerp after a stay of more than two years in Leiden.<br />

Together with jan Moretus (or Moerentorf), another son-<br />

of-law of the architypographus,'Kzv£ling£n had been charge<br />

of the Plantin Press in Antwerp during Plantin s stay in<br />

Leiden.<br />

73. Consagra 1993, pp. 381-412.<br />

74. The letters of Ortels to Crato were published<br />

in 1847 (Ortels 1847), In another context one of these<br />

letters was discussed briefly by Popham in his article on<br />

the relation between Pieter Bruegel and Ortels (Popham<br />

1931) On Ortels's fascination for prints in general see<br />

Buchanan 1982.<br />

Notes Chapter 2<br />

174<br />

75. "Ago gratias pro tua efHgic, et symbolum<br />

tuum perplacet, et omnibus numeris absofutum judico";<br />

Antwerp, 6 December 1572 (Ortels 1847, p. 82). For the<br />

reference to Rota's pen drawing see note 77.<br />

76. "Vides hie mam effigiem. Prima est earum<br />

quae parantur sec undo volumini: vix potui persuadere<br />

Gallaeo sculptori (mihi tamen amico) ut banc etiam mis<br />

[sic] annecteret, eo quid sciebat inter Plantini futuram.<br />

Gallaeus ipsemet seulpsit: hoc nostrae amicitiae tribuit;<br />

pleraque enim pars a pueris discipulis caelabitur. Forte<br />

nonnihil in ea desiderabis;si praesens adfuisses,non dubito<br />

vivum melius referret; sed ipse de his."; no date, no place<br />

(Ortels 1847, p. 94). As Ortels mentions the news of the<br />

capture of count Maximilian de Bossu (11 October 1573)<br />

the letter must have been written in the second half of<br />

October, before the letter of 7 November 1573 (see the<br />

following note). Ortels may have contacted Gaile on this<br />

matter somewhat earlier. In a letter to Crato he writes:<br />

"Effigiem tuam nondum expressam ex Plantino intelli-<br />

t w<br />

go";Ari erp, 8 August 1573 (Ortels 1847, p. 83).<br />

77. "Misi ante quindecim plus minus dies effigiem<br />

tuam a Gallaeo nostro caelatam: non dubito, quin earn<br />

receperis. Postea accepi eamdem a Rota (cujus nomen ex<br />

editis ab eo monochromatis mihi innotuit) calamo delin-<br />

eatam, ex qua Gallaei, si visum tibi fuent, corrigi poter-<br />

it: tuam de eo [sic] sententiam expectamus. lisdem Uteris,<br />

quibus effigiem injeceram, significavi me Schufio tra-<br />

didisse exemplar Theatri nostri et duo additamenta";<br />

7 November 1573 (Ortels 1847, p. 84). This course of<br />

events could explain the existence of proof impression of<br />

Crato s portrait - without the verses in the margin - as<br />

found m a bound volume of portraits in the Komnklijke<br />

Bibliotheek, The Hague (inv. 1701 C8(2), also cp. note<br />

19). Aside from several images of the 1567-editions (cp.<br />

appendix 2A), I have no knowledge of any other proof<br />

impressions of portraits by Galle.<br />

78. "Effigies tua ad manus meas pervenit,Domine<br />

ornatisssime. Secundi Libri effigierurn fere spem abjico;<br />

tarn rnultis atque aliis occupatum video Galicum";<br />

Antwerp, 5 February 1576 (Ortels 1847, pp. 85-86).<br />

79. "Ciarorum virorum efBgies adhuc sub Gallaei<br />

manu premuntur; propediem eas promittit; quamprimum<br />

autem prodierint, eas ad te curabo.";Antwerp, 16 October<br />

1582 (Ortels 1847, p. 91).<br />

80. "Gallaeus claros suos viros se datururn eras et

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