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Hollstein, loc. cit., nos. 299-315 and TIB. 56, pp. 354 362,
nos. 91:1-17. See appendices 3B and 3C.
26. Bolten 1985, p. 11.
27. Pauly 1964-75, vol. 1, p. 43, p. 218.
28. Nymphs: "Nimpharum oceanitidurn, ephy-
dridum pQtarmdum,naiaduni,lynadurnque icones,in gra-
tiarn picmrae studiosae iuventutis deliniatae, scalptae, et
editae a phiiip. gallaeo. Antverpij 1587." ("Pictures of
nereids, water-nymphs, river-nymphs, naiads and lynads;
drawn, engraved and published by Philips Galle for the
sake of youth studying an. Antwerp 1587"); see appen­
dix 3B. Sea and riMer^orfs:"Semideorum marinoram amni-
corumque sigillariae imagines perelegantes, in picturac
statuariaeque artis tyronum usum, a Philippo Gallaeo
delineatae, scalptae, et aeditae. Antverpiae Anibivaritor.
1586 ." ("Very elegant pictures of sea and river demigods;
drawn, engraved and published by Philips Galle for the
use of beginners in the arts of painting and sculpture.
Antwerp 1586."); see appendix 3C.
29. The drawing of Datiukius - die personifica­
tion of the Danube - was on sale in 1991 at die Jan de
Maere art galllery in Brussels, where it was attributed to
Adriaen Collaert, Thera Folmer-von Oven has kindly
informed me that, on close inspection, it is also possible
to make out the outline of the river godTibris.The same
drawing was sold as sixteenth-century anonymous in a
sale at Sotheby's, Amsterdam, on 13 November 1991, no.
325. For the engraving see TIB. 56, p. 349, no. 90:9.
30. These two series were published by Philips
Galle; Hollstein, vol 4, p. 203, nos. 408-411; the second
series is not in Hollstein, but it too bears the signatures of
Collaert and Galle. See appendices 3D and 3E.
31. On the uses of prints and print collections in
the Netherlands see Robinson 1980-81, pp. xxvii-xxxv,
Schatborn 1981-82, pp. 11-18 and Van derWaals 1988,
pp. 13-27.
32. "De dels gentium imagines aliquot iconicae,
aeneis tabulis per philipp. galleum exaratae; et variis dis-
tichis ab hug. favolio ilustratae. antverpiae" ("Some pic­
tures concerning the gods of the pagans, cut from copper
plates by Philips Galle and elucidated in various distich­
es by Hugo Favolius"; see Hollstein, vol. 7, p. 78, nos. 352-
Notes Chapter 3
183
380; Bibliotheea Belgiea, vol. 2, p. 143 and appendix 3F.
On Favolius and the verses by this Flemish neo-iatin poet
accompanying engravings, see Cockx-Indestege 1983-
85.This series was also intended as a model book, as can
be understood from the second edition of the tide page
•• published by Theodoor Galle - where the following
words are added to the tide: "arris tironum, usum" ("for
the use of novices in the arts").
33. Thirion 1965.
34. Compare Galle's text on the tide page (note 5)
and in the introduction (appendix 3A). Like most orna­
ment prints this series was published for artists and arti­
sans, a distinction which was anyway not very clearly
drawn in the sixteenth century. For instance, the Dutch
engraver Wolter Drollich offered his prints characteristi­
cally as "useful to all artists, such as engravers and painters,
goldsmiths, sculptors, carpenters, bricklayers, etc." (
voor alle constenaers, als platsnijders en/ schildrs gout-
smeeden beelrsnyders kistemakers/ metselaers, etc. seer
nut ende dienstlijcken"); De Groot 1988, pp. 62-63
no. 73.
35. This can also be gathered from Boken's cata­
logue, as most of the listed examples are from the second
half of the seventeenth or from the eighteenth century.
Flis very first example - the Teikenbouxkenby Pieter Feddes
mentioned above - shows "combined elements charac­
teristic of both the drawing book and the model book,"
as Bolten himself admits; Bolten 1985, p. 25. In their
respective reviews of Boken's book, both Paul Knolle and
Charles Ford criticized the inconsistent criteria of defin­
ing model books and drawing books. Both seem to accept
some kind of essential difference between the two. For
instance, Knolle stated: "One can hardly cavil with mak­
ing a distinction between the drawing book and the model
book as such." (Knolle 1980,p. 178).This,however,is what
I call into question as regards instructive prints from the
late sixteenth and early seventeenth centuries. An illumi­
nating essay on the very practical professional training of
Netherlandish artists in this period has recently been pub­
lished by Hessel Miedema (Miedema 1986-87). A more
general overview 7
of instruction in drawing is given in
Kemp 1979, pp. 121-421.
36. De Lairesse 1713, p. 82: om beelden te
vergaaren; dat's te zeggen om de praktijk, en met om de
theorie"; see De Klerk 1986-87, p. 286. For the history