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(St. Paul bitten by a viper) is signed by Hendrick Goltzius,<br />
another (the Resuscitation of Eutyckus) is attributed by some<br />
to Goltzius; cp. Strauss 1977, vol. 1, pp. 260-261, no. 154.<br />
There are at least two known preparatory drawings by<br />
Stradanus: St, Paul healing a cripple at Lystra (Christ Church<br />
College, Oxford) and St. Paul disputing with the sorcerer<br />
Elymas in Pafos (Bibliothèque Nationale, Paris); cp. Byam<br />
Shaw 1976, vol. 1, p. 325, no. 1331 and Lugt 1936, p. 47,<br />
no. 187.<br />
56. See above, note 17. The popularity of Old<br />
Testament subjects in Dutch seventeenth-century paint<br />
ing is discussed from various points of view in Turnpel<br />
1991. For a general discussion of the use of the Bible as<br />
subject matter in the art of the Counter-Reformation,<br />
compare Knipping 1939-1940, vol. 1, pp. 240-303.<br />
57. Gerard de Jode s Thesaurus was - as recently<br />
has been pointed out by Peter van der Coelen - first pub<br />
lished in Antwerp in 1579;Van der Coelen 1995, pp. Hu<br />
ll 1. De jode issued a second edition in 1585, again in<br />
Antwerp, while a third was most probably published<br />
posthumously by his widow after 1591; cp. Mielke 1975,<br />
p. 71 and De Bruin 1990, p. 196, n, 6. All these Antwerp<br />
editions are exceedingly rare. In fact, the most popular<br />
editions of the lîiesaurus are of a much later date. After<br />
1639, in continuously changing arrangements of prints,<br />
this illustrated Bible was reprinted in the Northern<br />
Netherlands several times by Claes jansz. Visscher, by Jan<br />
Philips^. Schabaelje and by Visscher s grandson Nicolaus.<br />
On these late editions, see Visser 1988 (Schabaelje) and<br />
Van der Coelen 1995 (Visscher). For a detailed analysis of<br />
the designers and engravers of De Jode s original edition,<br />
see Mielke 1975; in the last issue of the Bulletin van het<br />
Rijksmuseum of 1997 an article by Peter van der Coelen,<br />
Peter Fuhring and Chris Sehuekman is to appear which<br />
will provide new detailed information on the genesis of<br />
the Thesaurus. In contrast to the Thesaurus, the two etched<br />
series of biblical illustrations by the Antwerp printmaker<br />
Pieter van der Borcht were even never published in the<br />
city on the Scheldt. In 1583 the Leiden branch of the<br />
Officina Planiiniana issued both series; all later editions also<br />
appeared in the Northern Netherlands. As the introduc<br />
tion and the legends were written by the heterodox spir<br />
itualist Hendrikjansen van Barrefelt (also called Hiël),any<br />
Antwerp edition after 1585 would have been almost<br />
impossible. On the series by Van der Borcht, see Hamilton<br />
1981b andVander Coelen 1995,pp. 108-110,119.A gen<br />
eral survey of Netherlandish illustrated Bibles is given in<br />
Poortxnan 1983-86 and Van der Coelen 1991.<br />
Notes Chapter 4<br />
191<br />
58. Cp.Mauquoy-Hendrickx 1978-83, vol. l,nos.<br />
1-73 (Old Testament, almost exclusively series engraved<br />
for De Jode's Thesaurus), nos. 74-393 (New Testament)<br />
and nos. 394-604 (images of the Three Persons, including<br />
many illustrations of the life of Christ). Another 1000<br />
engravings are also religious of nature, mainly the lives of<br />
Mary, the aposdes and all other saints. These numbers do<br />
not include the book illustrations by the Wierix family<br />
of which 150 illustrate die Life of Christ in Geronimo<br />
Nadal s Evangelicae historiae imagines (Antwerp, 1593), one<br />
of the first major Jesuit book productions in Flanders; cp.<br />
Rooses 1888 and Mauquoy-Hendrickx 1978-83, vol. 3a,<br />
pp. 400-429, nos. 1989-2141 and pp. 491-496.<br />
59. TIB. 56, p. 135. no. 41; Jost 1960, pp. 27-33<br />
and pp. 182-183,no.III,24;FiledtKokl986,pp.418-419,<br />
no, 311. As yet the engraving is the very first dated work<br />
known by Blocklandt, then nearly 40 years old! Philips<br />
Galle published 32 engravings after Blocklandt, roughly<br />
80 % of his graphic oeuvre (41 prints). Besides one engrav<br />
ing by Hendrick Goltzius, Galle incised all of these works<br />
himself Excluding a series of four sheets with the Story<br />
of Adonis, all prints depict religious subjects. For a cata<br />
logue of prints after Blocklandt, see jost 1960, pp. 162-<br />
198.<br />
60. The verses read: "Discipulos frustum christus<br />
partitur in omneis/ Paniceum, sancit que novum, inte-<br />
xnerabile foedus,/ Atque suae necis hoc monumentum<br />
lege perermi/ Instituens, sese panis sub imagine tradit."<br />
("Christ divides the piece of bread between all of Ins fol<br />
lowers, and sanctifies a new sacrosanct covenant; and by<br />
instituting this remembrance of his death by eternal law,<br />
he gives himself in the appearance of the bread") ;ep.Junius<br />
1598, p. 184 andVeldman 1977a, p. 105, n. 41. Blocklandt<br />
was (and always stayed) a Catholic, as was Junius, whose<br />
orthodoxy, however, has been questioned on several occa<br />
sions; also cp. chapter 2. On the iconography of the Last<br />
Supper in Netherlandish sixteenth century, also see Siesling<br />
1981.<br />
61. An assessment of Blocklandt's stylistic devel<br />
opment, in the light of Netherlandish art in this period<br />
in general, is given in Kloek 1986, pp. 151-155. On the<br />
series of Lot, see Hollstein, vol 2, p. 59, nos. 6-13; idem,<br />
vol. 7, p. 74, nos. 4-11;TIB. 56, pp. 13-16, nos. 4:1-4 and<br />
Jost 1960, pp. 162-165, nos. Ill, 1-4. Ingrid jost wrongly<br />
dates the series around 1579;Jost I960, pp. 74-76. As Arias<br />
Montano, who composed die verses in the margin, left<br />
Antwerp in 1575, it is reasonable to assume that Galle pro-