manfred sellink philips galle - VU-DARE Home
manfred sellink philips galle - VU-DARE Home
manfred sellink philips galle - VU-DARE Home
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
97. "Gratus ager concepts refert ubi semina<br />
multo/ Foenore, messores et iuvat agricoiam/<br />
Nobilitatq[ue] solum, pretio nee vincitur ullo/ Nec domi<br />
ni alterius iura movenda timet" ("When the grateful held<br />
returns the received seed with high interest, it pleases the<br />
reapers and the farmer. It [the seed] ennobles the soil, goes<br />
beyond every price, and does not fear to change owner<br />
ship.")<br />
98. Cp. TIB. 56, pp. 292-295, nos. 75:1-4 (the<br />
numbers 1 and 2 of the series have been placed in the<br />
wrong order).The iconography of die series and its rela<br />
tion to other series of prints with the same subject has<br />
been studied in detail inVeldman 1987b. As IljaVeidman<br />
pointed out the highly unusual iconography was already<br />
misunderstood in the seventeenth century. In a later edi<br />
tion published by Galle s grandson Johannes the sequence<br />
of the series was completely changed, implying that the<br />
biblical source of the book of Esdras (also see below) was<br />
no longer reco^mized; compare Yeldman 1987b, p. 227.<br />
99. IljaVeidman first substantiated this attribution<br />
by comparing the series to drawings by Groenning in the<br />
Rijksprentenkabinet and the Leiden prmtroom;Veidrnan<br />
1987b, p. 225.<br />
100. On Ghyselinck see Heesakkers 1976, passim.<br />
As a young man Ghyselinck was a freelance proofreader<br />
working for Plantin between 1564 and 1566;Voet 1969-<br />
72, vol. 2, p. 176. After his studies in France the Flemish<br />
humanist and physician returned to Antwerp and occa<br />
sionally acted as an editor of publications of the Offkina<br />
Pianiiniana; Cockx-Indestege 1989, p. 133, no. 65. Galle<br />
must have been acquainted with Ghyselinck through<br />
Plantin.The Antwerp humanist only rarely seems to have<br />
written verses for prints; compare, for instance, two<br />
engravings by Anthonie Wierix dated 1586: Mauquoy-<br />
Hcndrickx 1978-83, vol. 2, pp. 195-196, nos. 1070 and<br />
1073.<br />
101. Compare Veldman 1987b, p. 225. As<br />
Groenning s compositions are, both in style and iconog<br />
raphy clearly indebted to print designs by Maartcn van<br />
Heemskerck it is not strange to find that the Four powers<br />
have long been attributed to diis Haarlem painter;<br />
seeKernch 1829, p. 89 and Hollstein, vol. 8, p. 248, nos.<br />
588-591.<br />
102. "An Bromio quidquam iucundius? hie tamen<br />
Notes Chapter 4<br />
196<br />
omnes/ Ecce tibi victos victor inermis agit./ Hie genus,<br />
formam, sexum et simul omnia mutat:/ Ille homini<br />
mentem surripit ille hominem." ("Is there anything, any<br />
thing at all, more pleasing than Bromius? For see, although<br />
unarmed he carries away all the vanquished with him as<br />
victor. He changes birth, appearance, sex - everything. He<br />
robs men of their spirit and deprives them of their human<br />
ity 5<br />
'). The English translation is quoted from Veldman<br />
1987b, p. 225.<br />
103. "AtVerum, etVeri virtus de nomine dicta,/ E<br />
Patris aetherei prodita Diva sinu,/ Lux orbi irradians,nullo<br />
violabilis aevo,/ Omnia sola regit: omnia sola potest."<br />
("But the Veritable and the virtue, called by the name of<br />
Truth, the goddess sprung from the lap of the Heavenly<br />
Father, she alone rules over all, the radiant light of the<br />
world, immune to time: she alone is powerful"). The<br />
(slightly corrected) English translation is quoted from<br />
Veldman 1987b, p. 225.<br />
104. On Goltzius, see Hirschmann 1919,Reznicek<br />
1961 and the Nederlands Kunsthistonsch Jaarboek of 1991-<br />
92 (vols, 42-42), which is entirely devoted to this artist.<br />
Particularly important for the biography of Goltzius are<br />
Miedema 1991-92 and Nichols 1991-92; to Hessel<br />
Miedema s analysis of Kare! van Mander's biography of<br />
Goltzius should be added: Van fviander 1994, vol. 1<br />
pp. 384-407, which gives a full English translation ofVan<br />
Mander s text. As mentioned by the editors in the intro<br />
duction to the above Nederlands Kunsthistonsch Jaarboek<br />
(p. 9) an assessment of Goltzius's earliest period as a print-<br />
maker - that is to say up to 1582 - is still a desideratum.<br />
Important in this respect are: Hirschmann 1919, pp. 47-<br />
57, De la Fontaine Verwey 1969 and Veldman 1990,<br />
pp. 23-26 - both on the relation between Goltzius and<br />
Coornhert - and Sellink 1991-92, on certain aspects of<br />
the Goltzius s collaboration with Galle. An excellent sur<br />
vey of Goltzius as an engraver and publisher after 1582 is<br />
given by Filedt Kok 1991-92. A concise, but very to the<br />
point overview of Goltzius s complete graphic oeuvre,<br />
placed against the background of print publishing in the<br />
Netherlands at the end of the sixteenth century, is found<br />
in Orenstein 1993-94, pp. 177-183. A general survey of<br />
Goltzius as a printmaker, with next to none attention to<br />
his Antwerp iconography, is given in Silver 1993b.<br />
105. Cp. Orenstein 1993-94, pp. 175-177.The only<br />
major engraver and publisher active in the northern part<br />
of the Netherlands at the time was Herman Jansz. Muller.