manfred sellink philips galle - VU-DARE Home

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