manfred sellink philips galle - VU-DARE Home
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pp. 383-384. On the problematic issue of Mereator s reli<br />
gious conviction, see De Nave 1994, pp. 17 and 51-56.<br />
109. "Optime autem forent historic veteris et novi<br />
testament!; figure illustrium virorum catholicorum (ut ita<br />
dicam,nam Erasrnum jam hereticurn hie habent) turn pas-<br />
sionis Christi, tum et poeseos cuiusque alias non scan-<br />
dalosae,"; Lisbon, June 15, 1561. Quoted from Bataillon<br />
1942, p. 146, also cp. Hessels 1887, pp. 22-23.<br />
110. Not only the first 17 savants belong to the<br />
clergy, but also several scholars in the other categories.<br />
111. The notable exception is Joost Lips, who, after<br />
bitter conflicts with the Protestant authorities in Leiden,<br />
fled from Holland and took up a position in Lou vain.<br />
112. Lafreri published his jurists in 1566 (cp. note<br />
82), a series of popes in 1568 (cp. note 46) and a volume<br />
of ancient heads from the collection of Fulvio Orsini in<br />
1570 (see below). On the Roman print publisher Antonio<br />
Lafreri - who was born in Orgelet in France and whose<br />
name is also given as Antoine Lafrery - amazingly little<br />
research has been done. The most important study is still<br />
Ehrle 1908. Particularly valuable are the observations in<br />
Landau 1994, especially pp. 302-308. A general introduc<br />
tion to Italian print publishers m the sixteenth and sev<br />
enteenth centuries can be found in Bellini 1975.<br />
113. A survey of the incidental (woodcut or<br />
engraved) portraits used in illustrated books before 1550<br />
are given in Müntz 1901, pp. 250-257 and Rave 1959, pp.<br />
121-127. A recent survey of the engraved portrait in the<br />
sixteenth century - not distinguishing between different<br />
traditions and genres and with conspicuously little atten<br />
tion paid to the role of publishers - can be found in Meier<br />
1995.<br />
114. Cp.Rave 1959,pp. 127-132 and Dwyer 1993,<br />
p. 467.<br />
115. On Hubert Goitziuss chiaroscuro prints,<br />
combining etchings with tone blocks, see Biallcr 1992,<br />
pp. 30-34, no. 2. Galle could have known this work<br />
through his employer, the Antwerp publisher Hieronymus<br />
Cock or through his Haarlem friend Maarten van<br />
Heemskerck. The painter evidently owned the French<br />
edition of Goltziuss book; cp.Velcknan 1977b, p. 111.<br />
Notes Chapter 2<br />
178<br />
116. On Lafreri s volume of coins from the collec<br />
tion Fulvio Orsini, published in 1570, see Dwyer 1993,<br />
p. 468. In 1573 Philips Galle first published his Deorum<br />
deammque with images of ancient gods on antique coins,<br />
all from the collection of his friend Abraham Ortels.These<br />
were etched by the Doetecum brothers and Gerard<br />
Groenning, including elaborate ornamental designs by<br />
Hans Vredeman deVries and Groenning himself. Cp. the<br />
description (with bibliography) of a much later edition of<br />
this intriguing series in De Groot 1988, pp. 121-126, no.<br />
178. Also see Bibliotheca Belgica, vol. 4, pp. 584-588;<br />
Mielke 1967, pp. 44-47, no. XX and the forthcoming New<br />
Hollstein volume on Gerard Groenning. Given this inter<br />
est, it is not surprising to see Galle's eldest son Theodoor<br />
in 1598 publish - as the first major undertaking on his<br />
own account - a lavishly illustrated volume of ancient<br />
heads, engraved after Fulvio Orsini"s famous collection of<br />
coins. See Orbaan 1911-17, vol. 1, p. 21 and 255-257,<br />
Fabri 1967, Dwyer 1993 and the recent dissertation by<br />
Manfred Katzlmcier-Frank (Katzlmcier-Frank 1993),<br />
which is, however, rather incorrect in its information on<br />
the output of the Galle workshop and in its biographical<br />
details on Theodoor Galle.<br />
117. Compare Rave 1959, pp. 133-141.<br />
118. Rave 1959, pp. 139-140;Tanner 1984, p. 229,<br />
no. 108a.<br />
119. The series has only been found in the Royal<br />
Library in Brussels so far. Its importance for the biogra<br />
phy of Philips Galle - the date, privilege and approbatio<br />
definitely proving that Galle was still in Haarlem in 1569<br />
- is also discussed more in general in chapter 1. Compare<br />
Delen 1934-35, vol. 11/2, pp. 94-95; Delen mentions the<br />
series briefly and believes it proves that Galle lived in<br />
Antwerp in 1569. It is indeed interesting to note that Galle<br />
on the first print mentions that the prints are also for sale<br />
in Antwerp: "Men vindtse oock te coope Thantwerpen<br />
op de men Borse by Geraert deJode" - one will also find<br />
them for sale in Antwerp, at Gerard de Jode's on the new<br />
Bourse. This not only proves Galle's early commercial<br />
interests in the city on the Scheldt, but also makes clear<br />
that Galle aimed at a wider market for such prints than<br />
his home town Haarlem.<br />
120. The earliest reference to this scries is proba<br />
bly the inscription underneath Galle's portrait of Janus<br />
Dousa, engraved in 1568 and published in 1569.The first