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line of verse praises Galle as the engraver of the count of
Holland and of the portrait of Erasmus, here probably
referring to the likeness of the humanist in the 1567-edi-
tion of portraits. Cp. appendix 2E, nos. 46 and 46a.
121. CompareVoet 1980-83, vol. 5, pp. 2410-2414,
nos. 2475-2477 and Kostyshyn 1994, vol 2, pp. 928-930,
no. B 78.Voet assumes that Galle was the initiator of this
series and was de facto the sole publisher. The reproduced
tide page is discussed in: Perry Chapman 1986, pp. 240-
241. For a general outline of the ieonographic tradition
in which both of Galle s series stand, see Van Luttervelt
1957, pp. 77-91. On the tradition of producing genealog­
ical series of woodcuts in the sixteenth century, see Klant-
Vlielander Hein 1972, pp. 28-34; also compare
Burimgham 1995 on the use of engraved portraits as pro
paganda in France in the late sixteenth century.The most
recent state of the art concerning the research on the
Haarlem panels with the counts of Holland and Zeeland
is given in Van Bueren 1993, pp. 484-489 and, concern­
ing a related series in The Hague, in De Jong 1996. The
records of payment in 1570 (as quoted by Van Bueren) for
a framed series of hand-coloured engravings of the counts
of Holland - to be hung in town hall in the mayor's office
- could certainly refer to Galle s 1569-series,
122. Cp. chapter 3, Sellink. 1992, pp. 48-49 and
appendix 2E, no. 140.
123. Cp. Dekker 1986, p. 253, no. 9 and appendix
2E, no. 41.
124. Cp. Hansel 1991, p. 96 and appendix 2E, nos.
22, 40,52,104 and 113.
125. Wethey 1969-75, vol. 2, pp. 154-155, no. X
11; also see appendix 2E, no. 18.
126. Compare Bodar 1989 (Erasmus), Ekkart 1988
(Agricola) and Chapins 1995, pp. 134-137 (Calvin). In the
case of Erasmus, Galle could, for example, have been famil­
iar with a portrait of the famous humanist, presumably
painted by Holbein, in the collection of the Haarlem mag­
istrate Quirinus Talesius (1505-1573); compare Van
Bueren 1993, p. 324. It is not known which of the many
versions of the Holbein's portrait was owned by this for­
mer secretary to Erasmus. For a survey of portraits of
Dutch scholars, compare Van Someren 1881-91, vol l,pp.
122-192 (series and illustrated books) and vols. 2-3 (alpha­
Notes Chapter 2
179
betical list of individual portraits) and Moes 1897-1905
(passim). Several comparable ieonographic surveys have
appeared on other countries (Spain, United Kingdom). A
general review of research on Dutch and Flemish por­
traiture is given by Ekkart 1989.
127. Landau 1994, pp. 359-368 (epilogue). On new
subject matters, see Riggs 1971, pp. 180-202 (Cock) and
Sellink 1992a (Galle). See note 112 on Lafreri. For a sur­
vey of Dutch and Flemish publishers at the end of the six­
teenth century, with extensive bibliographical references
to publishers in other countries, see Orenstein 1993-94.
The various essays in Riggs 1993 concentrate on the out­
put of printmakers and print publishers in Haarlem and
Antwerp between 1540 and 1640. In all of these publi­
cations portraits receive little attention.
128 Landau 1994,p.367.0n Cock,cp.Riggs 1971.
129. Landau 1994, p. 367. For a more elaborate dis­
cussion of the collecting of prints in the Netherlands, see
Robinson 1981-82. On the appreciation of prints in the
Low Countries also compare the references in the intro­
duction ofDeJongh 1997, pp. 21-26.
130. Landau 1994, pp. 363-364. The stocklist is
transcribed in Ehrle 1908, pp. 54-59.
131. The general concept of Quicchelberg's trea­
tise is discussed in Haj ós 1958 and the more recent Jansen
1993. On Quicchelberg's remarks on the collecting of
prints, see Silver 1993a, pp. 15-16 and Landau 1994, pp.
366-367. On the Kunsikammer in general, see the classic
Schlosser 1908 and Scheicher 1993.
132. Compare, for instance, the recendy acquired,
so-called Heemskerck-album in die Rijksprentenkabinet in
Amsterdam (De Bruin 1990) and a rediscovered
Netherlandish album of c. 1560 in the British Museum
(GrifEths 1996). It is also interesting to see that the print
collection of Ferdinand, archduke of Tyrol - one of the
very few remaining print collections from the late six­
teenth century which is still mtact and now kept in the
Kunsthistorisches Museum in Vienna as the 'Sammlung
Schloss Ambras* - also contains several volumes of por­
traits; compare Parshall 1982, pp. 158-162. Several of the
original volumes in this collection include portraits by
Philips Galle, mainly from his earliest series of 1567. On
print collecting in Italy around 1600, see Bury 1985.