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interpreting the moral strains in Netherlandish art as an
equivalent of modern non-sectarian religious opin­
ions, see Schwarz 1988,pp. 176-177
24. TIB. 56,pp. 288-291, nos. 74:1 -4.The iconog­
raphy of the series is discussed in detail in Veldman 1991,
pp. 272-274 and Veldman 1992, pp. 241-242.
25. "Dolio ut indorrnit deses, stertitque supinus,/
Nec male consultum cura ilium tangit agclli,/ Defiuit
inculta et spern vinea fallit herilem/ Et lolium infelix pro
frugibus obsidet arva." English translation quoted from
Veldman 1992, p. 242.
26. TIB. 56, p. 182, no. 51. As usual in this period
the engraving has no address, but is simply signed"PGalle"
in the lower left corner and dated "1564" at bottom cen­
tre.
27. The engraving by Cort - the last sheet of a
series entitled Cycle of vicissitudes of human affairs - is
described in New Hollstein, Maarten van Heemskerck,
vol. 2, p. 168, no. 490.This comparison was recently made
by IIj a Veldman in her elaborate study on the print designs
by Philips Galle; cp,Veldman 1991. p. 270.There are also
striking similarities with the composition of the Triumph
of Christ or eternity, an engraving by Philips Galle after
Heemskerck, made around 1565 and the last print of the
series Triumphs of Petrarch; New Hollstein, Maarten van
Heemskerck, vol. 2, p. 174, no. 496.
28. "hidicabit Indices Index genera/ Ibi nichil
proderit dignitas Papa/ Sive sit Episcopus, sive Cardina/
Reus condempnabitur,nec dicetur qua/ Ibi mchil proder­
it multa allega/ Neque excipere neque replica/ Nec ad
Apostolicam sedem appella/ Reus Condempnabitur nec
dicetur qua/ Cogitate miseri qui et quales es/ Quid in
hoc ludicio dicere potes/ Quo nec locus erit Codice nec
diges/ Idem erit dominus ludex actor tes" The author of
the verses is unknown. As Chris Heesakkers has suggest­
ed to me, they might have been quoted from an existing
and much earlier text.
29. The platemarks of both compositions arc
identical: 258 x 209 mm. and 257 x 206 mm. respective­
ly The second version is not mentioned in literature.There
is no signature of the inventor, nor of the engraver; in the
lower right corner the address of Galle is engraved:
"Philippus Galle excude "There also exists a second edi­
Motes Chapter 4
188
tion with the address ofTheodoor Galle. The newly
engraved inscriptions around the quadrangle are of a type
that Galle only started using after his arrival in Antwerp
in 1570; cp. chapter 2, note 15. On the other hand the
engraving must have been made before 1579. In a Dutch
private collection the engraving is pasted on an elabo­
rately decorated and hand coloured border and added in
a Bible with a binding dated 1579.
30. On the iconography and popularity of the Last
judgement as subject in Netherlandish art in the sixteenth
century, cp. Harbison 1976.
31. Instead of "Reus Condempnabitur nec dice­
tur qua'Tine 8 now reads: "Reus Condempnabitur sciens
bene qua." It must also be noted, however, that the same
words in line 4 have not been changed, neither have the
anti-clerical phrases in lines 2 and 3. Other changes with­
in the quadrangle are found in lines 11 and 12, that now,
metrically more correct,read:"Quo nec erit Codici locus
nec diges/ Christus Index Daemofn] actor reus tes."
32. Also cp. Sellmk 1991-92, pp. 151-153.
33. A few years earlier, in 1565, Heemskerck had
also made a painting of the subject combining the four
last things into one composition. Karel van Mander
described this painting in the collection of Jacob Rauwert
in Amsterdam, particularly praising this work on account
of its great variety in human emotions and its numerous
nudes; cp.Van Mander 1994, vol. 1,pp. 244-245.The panel
is now in the collection of Hampton Court Palace; cp.
Crosshairs 1980, pp. 241-243, no. 98 and Harrison 1988,
vol. 2, pp. 874-891. On the engravings, see Hollstein, vol.
8, p. 248, nos. 564-567;TIB. 56, pp. 303-306, nos. 78:1 -4;
New Hollstein, Maarten van Heemskerck, vol. 2, pp. 137-
140, nos. 449-452. Asides from the signature of
Heemskerck as the inventor, the series is unsigned. Style
and technique are, nevertheless, so similar to the engrav­
ings of Galles own hand, that the attribution is quite jus­
tified. Moreover, the fact that later editions by Theodoor
and Johannes Galle exist, strongly suggest that Philips Galle
must have been the prime publisher of the senes.
34. For a general overview of the iconography of
the subject, see Malke 1976. On the Wierrx print, see
Mauquoy-Hendrickx 1978-83, vol 2, pp. 270-271, no.
1492; on the four engravings issued byVrints after Maarten
dcVos,sce Hollstein, vol.44,pp. 247-248,nos. 1239-1242.