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That Goltzius did not engrave any work for fviuller after
his arrival in Haarlem can easily be explained. It is telling
that as an engraver Muller in these years mainly worked
for Antwerp publishers Hieronymus Cock and, after the
latter s death, Gerard de Jode. He also occasionally
engraved works for Philips Galle; cp. note 31. As a pub­
lisher the Amsterdam printmaker concentrated on issu­
ing books (cp. Bouman 1978) and only started publish­
ing his own prints and those of his son and virtuoso
engraver Jan Muller at a later date; cp. Filedt Kok 1994a,
pp. 225 227 and Filedt Kok 1995, pp. 22-29 (catalogue).
106. Cp. Filedt Kok 1991-92, p. 159 and p. 202
n. 1, for a list of these engravings. For illustrations and
descriptions of diese engravings, see Strauss 1997, vol. 1,
passim. Strauss s catalogue is not only inaccurate in its
descriptions of Goltzius s early prints, but also is rather
arbitrary in dating these works. Other descriptive cata­
logues of Goltzius s oeuvre are, in chronological order:
Bartseh 1803-21, vol. 3; die impeccable and still very use
ful Hirschmann 1921; Hollstein, vol. 8 (following
Hirschmann to the letter) andTIB. 3 (illustrating Bartsch's
catalogue, combined with the commentary volume near­
ly identical to Strauss 1977).
107. The few engravings Goltzius made for Aux
quatre vent 1
; - 13 after designs by JVlaarten deVbs and one
after his own design. - are undated; for a short list cp. Filedt
Kok 1991-92, p. 202, n. 1. However, as they are highly
comparable to the engravings produced for Galle, one can
safely assume that they were also made around 1578-79.
One wonders if Galle left his young employee any time
~ or even gave him permission for that matter - to work
for a rival print-shop in Antwerp. It is certainly possible
that Goltzius only could start working forVolcxken
Diericx after he had finished specific commissions for
Philips Galle. Unfortunately there is very litde docu­
mentary evidence available regarding the organisation of
Netherlandish print-shops in this period; compare chap­
ter 1.
108. Two religious prints undoubtedly engraved
after 1579 are the above-mentioned sheets from the sec­
ond edition of the Acts of the apostles, issued in 1582; com­
pare note 52.The later profane works, which are not dis­
cussed here, are: five (or perhaps more) engravings from
the series Medkeae familiae victoriae, a series on military tri­
umphs of the de'Jvledici family, published by Galle in 1583
and certainly dated too early by Strauss as 'circa 1578*
Notes Chapter 4
197
(Strauss 1977, vol. 1, pp. 44-53, nos. 12-16;the four undat­
ed sheets from the Story of Lucretia, again dated by Strauss
as'circa 1578'(Strauss 1977, vol 1, pp. 54-61, nos. 17-20),
however, Reznicek s dating of the two existing prepara­
tory drawings as '1580 or shortly after 5
(Reznicek 1961,
pp, 292-294, nos. 140-141) is much more in accord with
the technique of this series; the undated series of the Five
senses, unconvincingly dated by Strauss as 'circa 1578', but
in technique very close to undoubtedly later series as the
Set/en virtues (dated by Reznicek as 'after 1580'; Reznicek
1961, p. 264); 15 (or more?) sheets from the series the
Equile loannis Austriaci (The royal stable of Don juan of
Austria), published by Galle around 1580 (Strauss 1977,
vol 1, pp. 184-191, nos. 91-105). Goltzius may have
worked on these last engravings in the years 1579-80,
when Hieronymus Wierix - who had started working on
these 'portraits' of horses - was in serious trouble and even
imprisoned due to charges of homicide; cp. Mauquoy-
Hendrickx 1978-83, vol. 2, pp. 314-317, nos, 1715-1728
and vol. 3b, pp. 520-521.
109. Compare Sellink 1991-92, pp. 154-155 and
Filedt Kok 1996, pp. 163-164.The verses underneath this
portrait were composed by Janus Dousa, with whom Galle
was acquainted in his Haarlem period. Dousa"s original
ode was, rn fact, longer than the version engraved in the
margin of this portrait; cp. Dousa 1584, p, 33 and Dousa
1609, p. 241, where the engraving is wrongly attributed
to Hubert Goltzius. For a full transcription and transla­
tion of these verses, cp. SelHnk 1991-92, p. 158,
110. The eight Beatitudes: Hollstein, vol. 8, p. 17.
no. 63; Hirscfimann 1921, p. 32, no. 62; Strauss 1977, vol.
1, pp. 78-79, no. 29; Consoling the sad: TIB. 56, p. 254
no. 68:6. More detailed stylistic comparisons between
works by Galle and Goltzius can be found .in Sellink 1991,
pp. 146-147.
111. One of them is the here illustrated sheet die
Eight Beatitudes; for further examples, see the catalogues
Hirschmann 1921 and Strauss 1977, passim.
112. The life of Christ: Hollstein, vol 8, p. 17,
nos. 56-61; Bartseh 1803-21, vol. 3, p. 14, no. 14 and pp.
27-28, nos. 61-64; Hirscfrmann 1921, pp. 29-31, nos. 56-
61; Strauss 1977, vol. 1, pp. 66-76, nos. 23-28. The allegories
of faith: Hollstein, vol. 8, p. 18, nos. 64-75; Bartseh 1803-
21, vol. 3, p. 28-30, nos. 65-74; Hirschmann 1921, pp. 32-
37, nos. 64-75; Strauss 1977, vol. 1, pp. 124-147, nos. 54-65.