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verso of each preceding engraving.Ali engravings are now<br />
numbered in the plate, with the numbers 1-28 {Divinamm<br />
nuptiamm) and 1-50 (Ckristi jesu vitas, speculum) respec<br />
tively. The typographical texts were again printed by<br />
Coppens van Diest. Added to die Divinamm Nuptiarum<br />
were also a Latin and a French introduction, an ecclesias<br />
tical approhatio and a royal privilege. As in the case of the<br />
first edition of 1573, most existing copies of these two<br />
series are found bound together; also see below.<br />
69. SeeVoet 1969-72, vol. 1, pp. 80-83.<br />
70. SeeVoet 1980-83, voL2,pp.956-957,no. 1215.<br />
In contrast to the first two editions, the Galle/Plantin reis<br />
sue of the Diuinarum nuptiarum was not supplemented by<br />
an edition of the Christijesu vitae speculum.<br />
11. The fact that Galle decided to replace the orig<br />
inal tide page, could have another reason as well. After the<br />
council in Trent the Catholic Church became more and<br />
more alert on the decency of religious images. Although<br />
the nudity of Adam and Eve could be substantiated by the<br />
verses of Genesis and could also be explained as a symbol<br />
of mankind's original innocence, Galle may have heeded<br />
warnings against indecency as frequendy worded by, for<br />
example, the Louvain theologian Johannes Molanus. Cp.<br />
Freedberg 1971 and Freedberg 1972, pp. 151-153.<br />
72. On Theodoor Galle s reissue of Ckristi jesu<br />
vitae speculum, cp. Hansel 1991, p. 102. Not having seen<br />
this edition, it must in my opinion have been published<br />
after 1600 as the younger Galle only then seriously start<br />
ed to take over his fathers activities as a print publisher<br />
In contrast to the Divinamm nuptiarum the plates of the<br />
Christijesu vitae speculum were still in the 1636-invento-<br />
ry of Theodoor Galle s widow Catherina Moerentorf:<br />
"Het Leven Ckristi eenenvijftich platen" ("The Life of<br />
Christ, 51 plates* 8<br />
); Duverger 1984, vol 1/4, p. 21. On<br />
Visscher's edition of the Divinamm nuptiamm see<br />
Mauquoy Hendrickx 1979-83, vol. 3a, p. 397. This ver<br />
sion follows the!580-edition with the Latin text by<br />
Arnold Freitag.<br />
73. On this problem, cp.Van der Coelen 1995,<br />
pp. 114-115.<br />
74. The most elaborate discussion of the contents<br />
of these two series of prints, seen in the light of Arias<br />
Montano as author of the verses and the intellectual<br />
Notes Chapter 4<br />
193<br />
'inventor 5<br />
of the iconography of the images, is Hansel<br />
1991, pp. 101-1115 {Divinamm nuptiarum) and pp. 115-<br />
118 (Christijesu vitae speculum), illustrating all engravings.<br />
Several comments on the iconography of the two series<br />
are based on her analysis. Arias Montano's conception of<br />
the Divinamm nuptiarum may have had earlier roots. In<br />
1562 the theologian, as a member of the Spanish delega<br />
tion at the council of Trent, spoke on two subjects, one<br />
of which was matrimony. Compare Hamilton 1981a,<br />
p. 76.<br />
75. "Venez, amis, prendre refection:/ Iettez de<br />
vous le faix, qui tant vous foule:/ C'est mon amour, qui<br />
tout soulage et saoule./ N'abusez pas de vostre election:/<br />
Mais hastez vous, la table est desia mise,/ Couverte aussy<br />
d'un met2,qui eternile"Divinamm nuptiarum,second edi<br />
tion, 1574, fol. A3, verso. As with odier verses of the<br />
Divinamm nuptiarum and Christijesu vitae speculum, I here<br />
quote the French versions from die second editions of<br />
1574, Heyns's French legends are not only slighdy longer<br />
than the Latin legends composed by Arias Montano, but<br />
also certainly far more straightforward in pointing out the<br />
general meaning of an image.<br />
76. Cp, Hansel 1991, pp. 114-115.<br />
77. "le suis de Dieu la crainte et reverence,/ Qui<br />
tout premier te viens faire assistence:/ Et ma lumière est<br />
le commencement/ De Sapience. Or me preste l'oreille,/<br />
Et me z amendant, avec prière et veille/ Pense à ta fin, et<br />
dernier Jugement." Divinamm nuptiarum, second edition,<br />
1574, fol. B3, verso. In the story of the bride this person<br />
ification is one of the messengers of a king searching for<br />
a bride worthy of his choice.<br />
78. Rather typically the above verses already urge<br />
the reader to keep the Last Judgement in mind. It is pre<br />
cisely at that moment when ones soul is judged and the<br />
promise of salvation can, at least for some, finally be nil-<br />
fined.<br />
79. "O bien-heureuse à la table de Dieu,/ Saoule<br />
toy bien de joye en ce beau lieu/ Où recevras en signe de<br />
victoire/ Pour un present la couronne de gloire./ Puis que<br />
tu as suivy l'Espoux Divin,/ Nopces seras avecques luy<br />
sans fin." Divinamm nuptiarum, second edition, 1574, fol.<br />
H2, verso. The composition is reminiscent of images of<br />
Mary received in Heaven by Christ. In this case, of course,<br />
Mary sits at her rightful place in Heaven at the left-hand