manfred sellink philips galle - VU-DARE Home

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