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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.
88. Cp.Voet 1980-83, vol 1, p. 172. A well docu mented case of a financial co-operation between Galle and Plantin is, for instance, Petrus Canisius s Inslitutiones Christianae of 1589. See below. 89. On the attribution to Groenning, see Mielke 1967, pp. 171-173, 179-180. At a later date Hans Mielke apparently was of opinion that the designs for the engrav ings from no. 23 upwards were by another hand, namely Crispijn van der Broeck; Hansel 1991, p. 121, n. 166. In my opinion the suggestion of two different inventors is not corroborated by any difference in style or technique. In Peter van der Coelen s study on illustrated bibles pub lished by Claes Jansz.Visscher who reissued the David series in 1637 - Sadeler's hitherto unnoticed signature on print nos. 10 and 16 was brought to light;Van der Coelen 1995, pp. 107-108. On Johannes Sadeler's early engrav ings, see Limouze 1990, pp. 22-24, 90. "Ira, dolorq[ue] pms, prudentia, spesq[uel, fidesqjue]/ Proelia pro natis coniugibusqjuej adeunt./ Excipit mstructu[m] his animu[m] victoria pulcra,/ Quam neqjue] avara notis inficit invidia." ("Wrath,pious distress, prudence, hope and faith engage into combat on behalf of the children and wives.The mind equipped with these virtues gains a fine victory that will not even be blemished with criticism by miserly envy") 91. Galle specifically compares Philip to David - "adeo ut alter nobis David extitisse videatur" - and com pares their abilities to lead their people with divine inspi ration and wisdom through all the turbulent events of the tune. David, hoc est virtutis, 1575, introduction,fol.A3 recto - A4 recto; cp. Hansel 1991, pp. 118-121 92. "Quae Montani sententia mihi saepius excepta adeo placuit, animoque insedit meo, ut hoc unum argu- mentum, inter ea, quae selectissima existimaveram, cum primis dignisssimum arbitratus fuerim, quod Chalcographicae arris mihi pietatis cu[m] primis colen- dae causa comparatae et exercitae diligentia et industna expressum et exornatum ad piorum, et Catholicae reli- gionis studiosorum usum et oblectamentu[m] exhiberem. Idq[ue] cum superiore anno coepissem, non ornnrno per smgulas partes, explicatum,(namque hoc longissimi operis et otii fuisset) sed turn iustis et maiusculis imaginibus demonstratum, turn vero prospectivae ope lo[n]ngius etiam indicatum tabulis octo et quadriginta in breve coac- tum tanden conspiciendum iis exposui, qui sanctorum Notes Chapter 4 195 librorum sacraria adeuntes, quid in vita honestum ac pium, atque ad res publiée privateque recte gerendas, demumq[ue] ad animorum salutem utile opor- tunumq[ue] sit, cognoscere ac discere cupiunt" David hoc est virtutis, 1575, fol. A2 verso - A3 recto. Compare Hansel 1991, pp. 121-122. 93. "Quae quamquarn a me utpote paupere, rudiori, leviorique materia parata fuerint, poterunt pro praestantissimi cuiusque víri facúltate et ingenio vel lanea vel holoserica, vel argéntea et áurea, gemmis etiam inter- textis splendentia confici, multis praeterea artis et elegan- îiae partibus augeri et amplifican " David hoc est virtutis, 1575, fol A3 recto. Compare Hansel 1991, p. 122. On a comparable combination of purposes compare, for exam ple, Sellink 1992, pp. 53-54 and chapter 3. 94. Cp. Casanovas 1963-66, vol. I, p. 178, nos. 6- 9 and Hansel 1991, pp. 127-128, where a later, mid-sev enteenth-century edition by Johannes Galle is described. The series is unmentioned in the literature on Groenning. The signature "Ger. Gron. inven." on the first engraving, however, leaves litde doubt on his role as designer. The name of the engraver is not mentioned on any of the prints, but style and technique make a reasonable case that Philips Galle must have been the engraver himself. Galle s address is also found on the first print of the series, as is the name of Arias Montano:' i Galle exeudehat" and "Arias Mont. caneb/'The prints can also be compared to anoth er major series - here not discussed, as the iconography is rather traditional and straightforward - that Galle pub lished after Groenning s designs: lite life of the Virgin, six teen circular (undated) plates engraved by Hieronymus Wierix. Cp. Mauquoy-Hendrickx 1978-83, vol. 1, p. 121, nos. 642-657. 95. In earlier representations of the parable in Netherlandish art the preaching of Christ - who was speaking to his followers from a ship moored at the sea- coast - was emphasized; cp. Filedt Kok 1986, pp. 176-177, no, 60.This aspect is completely lacking in Galles Parable of the sower. 96. "Maturata almo, demissa ac semina c[o]elo,/ Sponte sua et frlieras edere, nata bonos,/ Pectore vulgari pereunt excepta, quod hostes/ Occupât, expositis diripit eq[ue] vijs" ("Seed, ripened and descended from the gen erous Heaven, born to bear good fruit spontaneously per ishes when it lands in a vulgar mind, which hosts the enemy that picks it [the seed] away from die open road")
Page 1 and 2: MANFRED SELLINK PHILIPS GALLE (1537
Page 3 and 4: *. Quoted from Guicciardini 1567; s
Page 5 and 6: meer thoonen can/ Als t'gen' ons Th
Page 7 and 8: on the Galle family byVan den Bemde
Page 9 and 10: 50. On the here illustrated engravi
Page 11 and 12: From 1600, he was scaling down his
Page 13 and 14: 7, p. 77, no, 155;TIB.56,p.212,no.6
Page 15 and 16: 1969-72, vol. 2, pp. 262-278. judgi
Page 17 and 18: 128. See appendix 1A. 129. "15.10.1
Page 19 and 20: Stradanus/Galle hunts; see Benisovi
Page 21 and 22: scapes will be catalogued in detail
Page 23 and 24: * ".„„ in aere incisas et dilig
Page 25 and 26: the notion of Gothic versus Italian
Page 27 and 28: 31 The portrait accompanies a lette
Page 29 and 30: 54. The use of a cache-tettre - or
Page 31 and 32: eras dick semper, sed nescio eras i
Page 33 and 34: 100. This Erst edition ofLe Mire s
Page 35 and 36: line of verse praises Galle as the
Page 37 and 38: * This chapter is a slightly revise
Page 39 and 40: Hollstein, loc. cit., nos. 299-315
Page 41 and 42: *. :< Ie/ me suis servi pen ou poin
Page 43 and 44: New HoUstein, Maarten van Heemskerc
Page 45 and 46: Around 1578 Galle published Goltziu
Page 47 and 48: (St. Paul bitten by a viper) is sig
Page 49: verso of each preceding engraving.A
Page 53 and 54: That Goltzius did not engrave any w
Page 55 and 56: lso dated 1577 (TIB, 56, pp. 249-25
Page 57 and 58: dees ordinantie ghesneden is, en in
Page 59 and 60: in the hands of any human, David ch
Page 61 and 62: changes in the nudity of some women
Page 63 and 64: Stradanus produced the Galle worksh
Page 65 and 66: 236. On the biographical data, comp
Page 67 and 68: was more or less concentrated in It
Page 69 and 70: In the first half of the seventeent
Page 71 and 72: Galle also published a series often
Page 73 and 74: Genealogy of the Galle family up to
Page 75 and 76: 5. Petrus Nuyts, baptized 12 May 16
Page 77 and 78: VIRORUM DOCTORUM BE DISCIPLINES BEN
Page 79 and 80: VIRORUM DOCTORUM DE DISCIPLINIS BEN
Page 81 and 82: skilled in all arts, Including ours
Page 83 and 84: 35. Maxot, Clement* (E5) 36. Dante
Page 85 and 86: 1587-edition. Besides changes in th
Page 87 and 88: IXXUSTRIUM GA1XIAE BELGICAE 8CRIPTO
Page 89 and 90: Peck, Pieter Pigge, Albert Reyvaert
Page 91 and 92: COAT OF ARMS OF THE AUSTRIAN HABS-
Page 93 and 94: lib. Verses in letterpress in lower
Page 95 and 96: 8 ARI08T0, LUBOVICÖ (1587) 16.7 x
Page 97 and 98: 13 BACKERS, PETRUS BE (1604) 16.7 x
Page 99 and 100: lib. Verses in letterpress in lower
Page 101 and 102:
The Hague (Koninklijke Bibliotheek,
Page 103 and 104:
engraved: "D6"- Used in 1572b-editi
Page 105 and 106:
Italomm ..... (1600), no. 14; Imagi
Page 107 and 108:
40 DANTE AIIGHXERX (1572) After Gio
Page 109 and 110:
aequa mis " (eight lines) In margin
Page 111 and 112:
49 ERASMUS, DESIDERIUS (1567) After
Page 113 and 114:
gionis amor./ Sed dum romuleo nimiu
Page 115 and 116:
n. Erased in margin left: "14." Use
Page 117 and 118:
61 GDIS, DA MI AO DE (1587) After A
Page 119 and 120:
Used in: Iliustrium Galliae ..... (
Page 121 and 122:
In margin right: "4?". I. As descri
Page 123 and 124:
75 LANGUE, CHARLES DE (1587) 16.8 x
Page 125 and 126:
I. As described. Used in 16Ö4- and
Page 127 and 128:
Used in; Imagines ..... (1587), no.
Page 129 and 130:
ans styli,/ Inveheris minus, et par
Page 131 and 132:
the Reformation. Engraved by Philip
Page 133 and 134:
y:"Nic. RhedingerusVratisl." Used i
Page 135 and 136:
Used in: Illosixiuni Galliae (1604)
Page 137 and 138:
108 PIUS II {1567} 16.2 x 12.1 cm.
Page 139 and 140:
113 POLXZIANO, ANGELO (1572) After
Page 141 and 142:
n. Erased In margin left: "6.b" Use
Page 143 and 144:
124 SCHOTT, ANDREAS (1587) 17.0 x 1
Page 145 and 146:
S 'B8", replaced by "Bened. Arias M
Page 147 and 148:
(Voet 1980-83, nos. 2335-2341). Eng
Page 149 and 150:
141 VETTOR1, PIETRO (1587) After Co
Page 151 and 152:
Wildhaus 1484 - Kappel 1531; Swiss
Page 153 and 154:
3 BONIFACE DC 18.1 x 11.8 cm. Under
Page 155 and 156:
Appendix 2 F 18 Galle's other portr
Page 157 and 158:
XL The portrait has been heavily re
Page 159 and 160:
centre is the cartouche with the ti
Page 161 and 162:
Lit.: Collon-Gevaert 1966, p. 98, n
Page 163 and 164:
Generalis secundus, Obijt Romae/ XI
Page 165 and 166:
12 BROETIUS, PASCHASRJS 13.3 x 9.5
Page 167 and 168:
TITLE PAGE Letterpress text Filling
Page 169 and 170:
10 GRIFFOLINI, FRANCESCO (1587) 16.
Page 171 and 172:
20 CARLO 8IGONIO (1600) 17.1 x 12.2
Page 173 and 174:
INSTRUCTION ET FONDEMENTS DE M E N
Page 175 and 176:
3 SKELETON SEEN FROM BEHIND 23.6 x
Page 177 and 178:
SEA AND RIVER GODS (15S6) 18 engrav
Page 179 and 180:
8 ACHELOUS 16.5 x 9.9 cm, In lower
Page 181 and 182:
NYMPHS (1587) 18 engravings The ser
Page 183 and 184:
n. Borderline added around composki
Page 185 and 186:
ORNAMENTAL DESIGNS FOR CIRCULAR PLA
Page 187 and 188:
DE DEIS GENTIUM IMAGINES (1581) 30
Page 189 and 190:
6 AMPHITRITE 13,0x8.0 cm. In lower
Page 191 and 192:
18 MINERVA 13.1 x8.Q cm. In lower m
Page 193:
29 PAN 13 J x 8.1 cm. In lower marg
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