manfred sellink philips galle - VU-DARE Home

* 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