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New HoUstein, Maarten van Heemskerck, vol. 1, pp. 132-
137, nos. 151-158; Saunders 1978, pp. 93-95, p. 394.
15. All eight preparatory drawings of this series
are in the collection of the Statens Museum for Kunst in
Copenhagen; cp. Garff 1971 ,n.p„, nos, 72-79.The lapse of
time of one year between the production of the drawings
(dated 1563) and the engravings (dated 1564),corresponds
with other series by Heemskerck. It thus provides us with
an indication of the time - usually one or two year - it
subsequendy took Galle to obtain both Heemskercks
drawings and the verses by Junius, to engrave the plates
and to see the series through press.The relation between
(preparatory) drawings and prints in general - with
numerous examples, several of which concern Philips
Galle - is elucidated in Heusinger 1987.
16. "Asuerus fulvo placitam diademate velat/
Reginam, et celebri tedas epulo ornat amatae,"
17. In the conception of such series as the Story
of Esther Heemskerck could very well have been influ­
enced by the popular plays with such subjects that were
regularly staged by the chambers of rhetoric in the major
Dutch cities. As Ilja Veldman points out: "many of the
themes of the plays presented by the Wijngaardranken
[one of the two Haarlem chambers, MS] do, though, cor­
respond to subjects which regularly occur in
Heemskercks prints" (Veldman 1977a, p. 131). Akhough
it is impossible to determine the exact nature of such bor­
rowings, as most of the moral plays produced by the
Haarlem chamber are lost, it is a fact that inter alia the sto
ries of Esther and Samson have been themes of plays per­
formed; cp. Veldman 1977a, p. 131, n. 26. On die general
influence of such plays and of the (Latin) dramas put on
stage by the Latin School in Haarlem on the work of
Maarten van Heemskerck, see Veldman 1977a, pp. 123-
141 and Saunders 1978,pp. 70-151. On the general,much
more implicit use of Old Testament stories as a moral
guide, see Veldman 1995a.
18. HoUstein, vol. 7, p. 79, nos. 395-400; idem, vol.
8, p. 244, nos. 347-352;TIB. 56, pp. 282-287, nos. 73:1 -6;
New HoUstein, Maarten van Heemskerck, vol. 2, pp. 161-
165, nos. 476-481. A detailed iconographic analysis can
be found inrVeldman 1977a, pp. 85-90;Veldman 1986, pp.
26-35 and Veldman 1992, pp. 252-253.The two prepara­
tory drawings known - the nos. 2 and 5, respectively in
the Albertina in Vienna and in the Rijksprentenkabinet,
Notes Chapter 4
187
Amsterdam - are both dated 1560; see Benesch 1928, p.
16, no. 101 and Boon 1978, vol. 1, p. 109, no. 310. This
implies that the production of the series took at least three
years.
19. "Arcta parat locupies pemimpere limina frus-
tra,/ Obstat enim fulvi vesana cupido metalli./Vulgus et
adversa naturae lege camelum/ Imnianem urget acus exile
subire foramen "Transcribed from the verses in letterpress
in the margin of the first state, which also has the fol­
lowing, slighdy different Dutch equivalent printed in let­
terpress: "De rijcke dringt wel met onstadiger loop an,/
Maer tgelts mirme doet hem wt d'enge poort bhvejn]/
Door des nalds oge wil boer, reenter, en coopman,/Tegens
nature den kemele voortdrijven "The English translation
is quoted from Veldman 1977a, p. 84.The engraving illus­
trates St.Matthews Gospel 7:13-14 (on the narrow gate­
way) and 19:23-24 (on the metaphor of the camel and
the needle).
20. "Sed terns debentur opes, quos linquere fati/
Lex immota iubet: fisum his mors tollit acerba/ Illecebrae
banc, nec honor, nec saeva potentia placa[n]t,/ Sic que
pecunipetas Orci manet aula rapacis." Again transcribed
from the typographically printed verses in the margin of
the first state, which also has die following, slighdy dif­
ferent Dutch equivalent in letterpress: "Tgelt hoort ter
werelt, men moets hier al verlaten,/ Die daer op
betrouwefn], sterven met ghequelle,/ Want ter doot en
can macht,eer,noch weeidebarejn],/ Dan vindt de ghelt-
soecker de ghevreesde helleThe English translation is
quoted from Veldman 1977a, p. 89.
21. Cp.Veldman 1977a,p. 112, In the Wretchedness
of wealth, for instance, the influence of Coomhert's ethi­
cal opinions is also clearly discernible; cp.Veldman 1977a,
pp. 89-90.
22. The one notable exception is the Misery of
human life, a remarkable series of six prints devoted to the
unlucky fate of the human raee.This series is most unusu­
al in its pessimism and its lack of any reference to the (reli­
gious) hope of salvation and to life after death. Cp.Veldman
1992, pp. 265-270.
23. On the moralizing tradition in Netherlandish
Christian humanism in the fifteenth and sixteenth cen­
turies and its influence on the (graphic) arts, see Veldman
1990-91 and Veldman 1995b. On the dangers of (over)--