manfred sellink philips galle - VU-DARE Home
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100. This Erst edition ofLe Mire s hook was pub<br />
lished by the widow of the Antwerp printer jan Bellerus<br />
(Le Mire 1602); an enlarged (unillustrated) edition was<br />
issued in 1609 in Antwerp by David Marrinus (Le Mire<br />
1609). On Aubert Le Mire (Brussels 1573 - Antwerp<br />
1640), see Prims 1927-49, vol. 22, pp. 73-74 and BN, vol.<br />
14, pp. 882-895 and Flanagan 1975. He was a nephew of<br />
jean Le Mire Qoharmes Miraeus), who was consecrated<br />
as the fourth bishop of Antwerp in 1604. Aubert Le Mire<br />
was on this occasion appointed as the personal secretary<br />
of his uncle.<br />
101 Cp. appendix 2D for a detailed description.<br />
The approhatio - usually given when the finished manu<br />
script is ready to go to press - is dated May 1604. One<br />
may assume that Galle would have been able to print and<br />
publish the book within a few months after the censor had<br />
given his approval. In this case it was the Antwerp canon<br />
Egbert van Spithout, a colleague of Le Mire's.<br />
S i<br />
102. The tide page reads: ILLUSTRIUM/ GAL-<br />
LI AE BELGICAE/ SCRIPTORUM/ ICONES ET<br />
ELOGIA./ Ex museio Auberti Miraei/ Canonici<br />
Antverp." Cp. appendix 2E, tidepage 1604.<br />
103. "Illustrium Galliae Belgicae nostrae<br />
Scriptorum Elogia nuper dedi, mi Lector sen Spectator.<br />
Quern conatum nostrum et si levem ac tenuem, cum per-<br />
mulris gratum esse anirna adverterem, coepi et Imagines<br />
eorumdem variis e locis studiose ndeliterque conquirere.<br />
Eius industriae specimen hie vides cp. appendix 2D.<br />
104. Verses were included by such contemporary<br />
authors as the Antwerp humanist Johannes Aurata,<br />
Johannes Boghe (the scholarly Antwerp town clerk from<br />
1585 to 1609, acquainted with Plantin),Maximiliaan van<br />
Habbeke (an Antwerp Jesuit theologian), the Bruges<br />
humanist and poet Jan Lernout, his fellow townsman<br />
Hubert Oudejans (secretary to Joost Lips and more com<br />
monly known as Audeiantius), the youngYpres canon and<br />
historian Antonius Sanders, the Ghent town clerk and<br />
poet Maximiliaan Vriendt and joost de Weerdt, an<br />
Antwerp magistrate. With the exclusion of jan Lernout -<br />
also known as Janus Lemutius, a scholar and poet who<br />
was inter alia acquainted with Janus Dousa and Victor<br />
Ghyselinck (compare note 61) - most of these authors can<br />
be considered as occasional poets. On Lernout (who con<br />
tributed three verses: Ogier Ghislain de Busbecq, Jacob<br />
van Pamele and Jacob Reyvaert), see Van Crombruggen<br />
1955.<br />
Notes Chapter 2<br />
177<br />
105. The title page and the preface speak of scrip-<br />
tores", which literally translated from the Latin is "writ<br />
ers". Due to its modern connotation with a litterateur this<br />
term is here avoided. Le Mire clearly refers to scholars<br />
whose fame and erudition is, as befits them,spread through<br />
their publications. Also misleading is the frequent use of<br />
the words "Gallia Belgica" (cp. notes 102 and 103), in later<br />
days often used to define the Southern Netherlands, or<br />
roughly the present-day Belgium. The inclusion of-just<br />
looking at the first letter of the alphabet - the Utrecht<br />
born Adrian VI, Rodolphus Agricola from Gronmgen,<br />
Alardus of Amsterdam and the Frisian Viglius van Aytta<br />
van Zwichem, makes it clear that Le Mire did not take<br />
the recent separation of the northern provinces in<br />
account.<br />
106. It is curious to note that underneath the por<br />
trait of Cornelius Gemma one can read verses from the<br />
pen offanus Secundus, originally composed on the virtues<br />
of his father. One wonders if Le Mire made a simple mis<br />
take, confusing father and son, or thought these lines to<br />
be more appropriate for the younger Gemma. Cp.Dekker<br />
1986, pp. 29 and 73-74 and appendix 2E, nos. 59-60. AH<br />
the other portraits mentioned can also be found in appen<br />
dix 2E (sub voce). In the index of the illustrium scriptorum<br />
icones of 1604 the names of the scholars portrayed have<br />
been grouped together as described above. In some cases<br />
subdivisions have been made.The theological writers, for<br />
instance, have been divided in two different groups, name<br />
ly the secular and regular clergy.<br />
107 Why exactly these scholars were added is<br />
unclear. The engraving of Fusch was available since 1567<br />
and might just have been forgotten in the first edition of<br />
the Hlustrium scriptorum icones. Lips and Simons were still<br />
alive in 1604 and died shortly thereafter.The portraits of<br />
Rythovius and Thomas a Kempis perhaps only turned up<br />
after 1604. Plantin was French of origin and could there<br />
fore, strictly speaking, not be included. In 1608 his por<br />
trait was added (as an afterthought?) at the very end with<br />
out a number. Compare appendix 2D.<br />
108. Cp.Veldman 1974, p. 378. Not only would his<br />
service to William of Orange have made Hadrianus Junius<br />
z persona non grata in Antwerp around 1604, his religious<br />
views were already considered to be quite suspect by his<br />
contemporaries. Most interesting are two letters by Junius<br />
in which he defends himself against (Catholic) accusa-<br />
nons of leading his pupils astray; compare Veldman 1974,