manfred sellink philips galle - VU-DARE Home
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side of Christ.<br />
SO.<br />
6<br />
'Apres cela, luy estant representees en un<br />
miroir plusieurs images (lesquelles on peut veoir en un<br />
livre apart) elle contemple la vie, les actions et passions de<br />
IESUS CHRISTUS qui de son gré s'est offert à elle pour<br />
Espoux Divinarum nuptiarum, second edition. 1574,<br />
fol. A3, recto. That, instead of a separate album ("un livre<br />
apart"), the prints of Christî jesu viiae speculum could also<br />
be integrated in the Divînamm nupîîarum is made clear by<br />
the printed remark on the verso of engraving no. 16; "Icy<br />
doit suyvre la vie de I esus-Christ." Dhnnarum nuptiamm,<br />
second edition, 1574, fol. E3, verso.Also compare note 52<br />
81. Cp. Hansel 1991, pp. 104-106,114-115.<br />
82. Also compare, for instance, Nadine<br />
Orenstein s study on the prints and politics of the Calvmist<br />
engraver and print publisher Hendrick Hondius<br />
(Orenstein 1995a).<br />
83. On the Huis der Liefde in connection with the<br />
circle of friends around die Officina Plantiniana, see Voct<br />
1969-72, vol. 1, pp. 21-30 and Hamilton 1981a, pp. 65-<br />
82. Galle s religious views in this period, in relation with<br />
both Coornhert and the spiritualist movement, are dis<br />
cussed in Sellink 1991-92, pp. 149-153. It is characteris<br />
tic that Coornhert translated several of Arias Montano's<br />
verses from both the Divinamm nuptiamm and the Christi<br />
jesu viiae speculum in Dutch and published them in his<br />
Ued-Boeck of 1575; cp. Bonger 1978, pp. 343, 377-378.<br />
An interesting painting concerning spiritualist circles in<br />
Antwerp is JVf aarten de Vos s Moses showing the tables of law<br />
to the Israelites (1574/75) in the Mauritshois, a portrait his<br />
torié of the family and friends of the wealthy Antwerp<br />
merchant Pieter Panhuys. As shown in a study by<br />
J.W. Zondervan - by times speculating on the identity 7<br />
of<br />
the sitters - this group portrait can be interpreted as a cir<br />
cle of friends closely associated with the Huis der Liefde,<br />
such as Plantin,Joris Hoefiiagel, Rcmbcrt Dodoens and<br />
perhaps the young Joost Lips (also known as Justus<br />
Lipsius); cp. Zweite 1980, pp. 159-163 and Zondervan<br />
1982.As far as can be ascertained by physiognomical com<br />
parisons, Philips Galle - of whom no contacts with the<br />
Panhuys family are known - is not portrayed, nor are other<br />
prominent familialists as Ortels and Arias Montane<br />
84. On this engraving see Van den Branden 1978,<br />
p. 212. no. 72; the text by Kiliaan is transcribed in Kiliaan<br />
Notes Chapter 4<br />
194<br />
1880,p. 126.The engraving is undated, unsigned and only<br />
bears the address of Philips Galle. Technique and subject<br />
matter suggest that the print was made around 1575-1580;<br />
Kiliaan, however, composed verses on behalf of the Galle<br />
workshop from c. 1575 until the very end of the centu<br />
ry. In the early seventeenth century Galles pupil,son-in-<br />
law and former workshop assistant Karel de Mallery<br />
engraved a different head of Christ witii die same text in<br />
the margin; ep.Van den Branden 1978, p. 212, no. 73.<br />
85. The here illustrated Christ blessing the world has<br />
its counterpart in the Virgin praymg.T'iús set of engravings<br />
- undated and unsigned, with only the address of Philips<br />
Galle in the margins - is described in Casanovas 1963-66,<br />
vol. 1, p. 166, nos. 386-387; also see Gonzalez de Zarate<br />
1992, vol. 5, pp. 157-158, nos 1962-1963. As Casanovas<br />
mentions the two prints seem to follow a prototype by<br />
Maarten de Vos, are engraved by Julius Golmus and are<br />
dated 1586; cp. Hollstem, vol 44, p. 155, no. 695 and<br />
p. 162, no. 744. One has to take in account, however, that<br />
the subject of the blessing Christ with a sceptre in his left<br />
hand was very popular m Antwerp at the end of the six<br />
teenth century. Compare, for example, the many prints by<br />
the Wierix family with the same subject: Mauquoy-<br />
Hendrickx 1978-83, vol. 2, pp. 88-91, nos. 493-504.<br />
Amongst these an engraving, also with a pendant image<br />
of the praying Virgin, after Johannes Stradanus and pub<br />
lished by Galle; ibid., p. 89, no. 498.<br />
86. Puraye 1969, p. 23. Galle's contribution is<br />
undated, but as it mcluded at the very beginning of the<br />
album - which Ortels had started compiling in 1574 - the<br />
drawing will have been made around 1575-80. Also see<br />
Rogge 1897, p. 175 (album, of Emanuel van Meteren,<br />
dated 1577) and KalfT 1911, p. 24 (album of Jacob van<br />
Marnix van Sinte-Aldegonde, dated 1579). The fourth<br />
known drawmg by Galle in an album amicorum shows the<br />
head Hercules and is dated 1582 (album of Janus<br />
Gruterus). Cp. Heesakkers 1987 and Veldman 1991,<br />
pp. 262-263.<br />
87. Galles introduction is dated March 1575.Ail<br />
printing must have been finished in June, when a presen<br />
tation copy was sent to Philip II; cp. Hansel 1991, p. 121.<br />
For a complete description, cp. Voet 1980-83, vol, 1,<br />
pp. 172—174, no. 172.Voet erroneously describes a copy in the<br />
Museum Plantin-Moretus with verses in letterpress, only die<br />
version with engraved verses seems to exist. The contents of<br />
the series is analyzed in detail in Hansel 1991, pp. 118-127.