Several important references to the British taste for col lecting engraved portraits in the late sixteenth and first half of the seventeenth century are to be found in Griffiths 1995; also compare Van der Waals 1984, pp. 250-251, on the collection of Samuel Pepys. On the portraits in the collection of the seventeenth-century Amsterdam art lover Michie! Hmloopen, see Van der Waals 1988, pp. 69- 78. 133- On Cocks volume of portraits compare note 4, A more detailed discussion on the genesis of this vol ume - pointing out that Cock must have started working on this project before 1565 - is to be found in Sellink 1994, pp. 147-152. Notes Chapter 2 180
* This chapter is a slightly revised version of an article in Simiolus (Sellink 1992b). I again would like to thank Jan Piet Filedt Kok, Jan Konst, Renée Pohirnann and, in particular, Ilja Veldman s for their comments and advice during the preparations in writing this article. I am also grateful to Chris Heesakkers for his translations of the Latin inscriptions, 1. Bolten 1985,reviewed by Charles Ford in Print Quarterly (Ford 1987).This book is a translated and slight ly altered version of his dissertation (Bolten 1979), reviewed by Paul Knolle in Simiolus (Knolle 1980). 2. Bolten 1985, pp. 18-25. 3. Bolten 1985,pp. 90-95. In his catalogue Bolten also includes a list of non-original drawing books', i.e. books published in the Netherlands but based on exist ing prototypes, mainly Italian. The earliest in this section is the Diagraphia, sive ats delineatona published by Johannes janssonius in Amsterdam in lóló.This was a compilation made from drawing books published in Italy at the begin ning of die seventeenth century. On sixteenth-century drawing books in general, compare Dickel 1987, pp. 66- 102. On the late medieval and early Renaissance draw ing books, compare the two recent studies Elen 1995 and Scheller 1995. 4. Hollstein, vol. 7, p. 83, nos, 789-801;TIB. 56, pp. 496-508, nos. 207:1-13 (excluding the title page and the introduction) .The series was first mentioned by Galle s friend Franciscus Sweerts, in Sweerts 1628, p. 642. In near ly all the literature Galle is mentioned as the author of an unknown theoretical treatise, entitled Instruction etjonde- ments de bien pourtraire. The fact that the prints have not been recognised as this treatise seems to have been due to the rarity of the title page and the introduction, print ed in letterpress on both sides of one sheet. The only com plete copy of the series I know is in the Graphische Sammlung Albertina in Vienna; incomplete series and loose engravings can be found in a number of collections. Perhaps this rarity was due to artists using the engravings as drawing examples. For a full description of the series, see appendix 3A„ 5. For the text of the title page see appendix 3 A. 6. The term acorché is often employed for sculp tural musclemen, but can also be used for drawings and Notes Chapter 3 181 prints of this subject. The latter were employed as hand ier and cheaper substitutes for the three-dimensional models. Both appeared in the last decades of the sixteenth century and soon became part of the standard equipment of an artist's workshop. Concerning the use of the word, see for instance Osborne 1970, p. 358. On the origin and use of the ecorche see Ameisenowa 1963. 7. Quoted from Albern'% Depkmra;AlbcTU 1972, pp. 74-75. The relation between art and anatomy in the fifteenth and early sixteenth century is discussed in Schulz 1985. 8. On Passarotti, his drawing and his lost treatise, see Hoper 1987, vol i, p. 7 and vol. 2, pp. 189-190 and Cazort 1996-97, pp. 158-160, no. 46.The here illustrated drawing was part of an album with anatomical drawings presented to the Polish King Stanislaus Augustus in the eighteenth century. As Monique Kernel! kindly informed in a letter of 10 April 1997, these anatomical drawings will be subject of a forthcoming article (Kornell 1997). She also pointed out the paralell of Galle's prints to a set of drawings in the collection of Christ Church, Oxford, attributed to the slightly younger Italian artist Enea Salmeggia. See Byam Shaw 1976, vol l,pp. 301-302,nos. 1204-1211 .The enthusiasm which artists showed towards anatomy and anatomical studies in general is discussed in Ameisenowa 1963, pp. 20-62.The most recent and thor ough account of this subject can be found in Cazort 1996- 97, especially in Monique {Cornell's essay on books of anatomy for artists (Kornell 1996-97). Information on die anatomical drawing example is also given in Bolten 1985, pp. 233-236. 9. On the importance of anatomy to Italian artists in the latter half of the sixteenth century, see Ciardi 1984, Acidini Luchmat 1989, pp. 35-42, Kornell 1989a, pp. 842-847 and Kornell 1989b. 10. Veldman 1977a, p. 120, 11. Veldman 1977a, pp. 97-112 and p. 119 12. Hollstein, vol, 4,p. 58 ;no. 218;Bierens de Haan 1948, p. 199, no. 218; Ameisenowa 1963, p. 58, Sellink 1994, pp. 195-205, no. 69 and Cazort 1996-97, pp. 148- 150, nos. 39-40. On Cort's engraving, Stradanus s prepara tory drawings and several Italian copies, see Cetto 1967, pp. 171-172. In an earlier Italian prmt called The Academy
- Page 1 and 2: MANFRED SELLINK PHILIPS GALLE (1537
- Page 3 and 4: *. Quoted from Guicciardini 1567; s
- Page 5 and 6: meer thoonen can/ Als t'gen' ons Th
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- Page 19 and 20: Stradanus/Galle hunts; see Benisovi
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- Page 27 and 28: 31 The portrait accompanies a lette
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- Page 31 and 32: eras dick semper, sed nescio eras i
- Page 33 and 34: 100. This Erst edition ofLe Mire s
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- Page 39 and 40: Hollstein, loc. cit., nos. 299-315
- Page 41 and 42: *. :< Ie/ me suis servi pen ou poin
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- Page 45 and 46: Around 1578 Galle published Goltziu
- Page 47 and 48: (St. Paul bitten by a viper) is sig
- Page 49 and 50: verso of each preceding engraving.A
- Page 51 and 52: 88. Cp.Voet 1980-83, vol 1, p. 172.
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IXXUSTRIUM GA1XIAE BELGICAE 8CRIPTO
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Peck, Pieter Pigge, Albert Reyvaert
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COAT OF ARMS OF THE AUSTRIAN HABS-
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lib. Verses in letterpress in lower
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8 ARI08T0, LUBOVICÖ (1587) 16.7 x
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13 BACKERS, PETRUS BE (1604) 16.7 x
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lib. Verses in letterpress in lower
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The Hague (Koninklijke Bibliotheek,
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engraved: "D6"- Used in 1572b-editi
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Italomm ..... (1600), no. 14; Imagi
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40 DANTE AIIGHXERX (1572) After Gio
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aequa mis " (eight lines) In margin
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49 ERASMUS, DESIDERIUS (1567) After
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gionis amor./ Sed dum romuleo nimiu
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n. Erased in margin left: "14." Use
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61 GDIS, DA MI AO DE (1587) After A
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Used in: Iliustrium Galliae ..... (
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In margin right: "4?". I. As descri
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75 LANGUE, CHARLES DE (1587) 16.8 x
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I. As described. Used in 16Ö4- and
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Used in; Imagines ..... (1587), no.
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ans styli,/ Inveheris minus, et par
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the Reformation. Engraved by Philip
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y:"Nic. RhedingerusVratisl." Used i
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Used in: Illosixiuni Galliae (1604)
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108 PIUS II {1567} 16.2 x 12.1 cm.
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113 POLXZIANO, ANGELO (1572) After
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n. Erased In margin left: "6.b" Use
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124 SCHOTT, ANDREAS (1587) 17.0 x 1
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S 'B8", replaced by "Bened. Arias M
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(Voet 1980-83, nos. 2335-2341). Eng
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141 VETTOR1, PIETRO (1587) After Co
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Wildhaus 1484 - Kappel 1531; Swiss
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3 BONIFACE DC 18.1 x 11.8 cm. Under
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Appendix 2 F 18 Galle's other portr
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XL The portrait has been heavily re
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centre is the cartouche with the ti
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Lit.: Collon-Gevaert 1966, p. 98, n
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Generalis secundus, Obijt Romae/ XI
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12 BROETIUS, PASCHASRJS 13.3 x 9.5
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TITLE PAGE Letterpress text Filling
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10 GRIFFOLINI, FRANCESCO (1587) 16.
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20 CARLO 8IGONIO (1600) 17.1 x 12.2
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INSTRUCTION ET FONDEMENTS DE M E N
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3 SKELETON SEEN FROM BEHIND 23.6 x
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SEA AND RIVER GODS (15S6) 18 engrav
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8 ACHELOUS 16.5 x 9.9 cm, In lower
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NYMPHS (1587) 18 engravings The ser
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n. Borderline added around composki
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ORNAMENTAL DESIGNS FOR CIRCULAR PLA
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DE DEIS GENTIUM IMAGINES (1581) 30
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6 AMPHITRITE 13,0x8.0 cm. In lower
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18 MINERVA 13.1 x8.Q cm. In lower m
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29 PAN 13 J x 8.1 cm. In lower marg