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136. Cp. Veldman 1990, pp. 23-24, where
Coornherts possible influence on Goltzins s religions
opinions is discussed. Often quoted in this respect is a let­
ter addressed to Coornhert dated 9 January 1576, where
Goltzius is (briefly) mentioned as his disciple; Nichols
1991-92, p. 86. As the letter concerns an argument on reli­
gious issues, this reference is interpreted to imply that
Goltzius was more than just a pupil in the art of engrav­
ing. Even if the five words "en ook Golsen uw discipef
have such a connotation, Coornherts influence on his
then 18-year old pupil only lasted a short while. Besides
the respect that he must have had for his former master -
as the magnificent, posthumous portrait of 1592 proves -
there are no indications at all that Coornhert influenced
Goltzius on matters of ethics and religions to such a degree
as he did in the case of Philips Galle. Interesting, but in
my opinion quite unconvincing, are Walter Melion's
scholarly attempts to classify a part of Goltzius s later oeu-
vre as strongly Counter-Reformatorian of character
(Mellon 1995, especially pp. 119-133).
137. Cp. Reznicek 1961, pp. 51-52.
138. The above signature is quoted from the
Annunciation, part of the series Life of Christ; cp. note 112.
A nearly identical inscription is found on the undated sin­
gle sheet Misericordia del; Strauss 1977, vol. 1, pp. 80-81,
no. 30. Most other early engravings are signed with the
monogram 'HG', while signatures where Goltzius is men­
tioned as 'inventor' are usually found on works after 1578.
139. On the series Seven sacraments and Seven spiri­
tual acts of mercy, compare notes 122 and 124.
140. A concise history of the turbulent events in
Antwerp in diese years, with farther bibliographic refer­
ences, can be found in Thijs 1990, pp. 23-32. A thorough
history of die Reformation in Antwerp, unfortunately
ending in the year 1577, is provided by Marnef 1996. On
the printing of books and engravings in relation to the
Reformation in Antwerp, see De Nave 1985 and Imhof
1994.
141. The situation in Haarlem in this period is ana­
lyzed in detail in the excellent recent study by joke Spaans;
Spaans 1989, pp. 40-52.
142. Coornherts ideals of religious tolerance,
which certainly seem related to Galle s opinions on such
Noies Chapter 4
200
matters, are discussed in Bergsma 1989 en Bonger 1989b.
143. These series must have been - due to their
insistence on doctrines of good works and the sacraments
- unacceptable to the adherents of the Reformed
Churches. Cp. Sellink 1991-92, pp. 149-150.
144. On the series Allegories of faith, cp. note 112,
There are two other engravings from this series also
undoubtedly referring to contemporary events. Using the
same title of Puniiio iirannomm (Punishment of tyranny),
two unnumbered engravings illustrate - again solely using
examples from the Old and New Testament - how evil
tyrants are in the end always punished by God. As Galle,
although a Catholic, is known to have been a supporter
ofthe growing independence of the Dutch provinces from
the Spanish Crown (compare chapter 1 and Vermaseren
1957), one can safely assume that these engravings were
deliberately referring to the hardships the Netherlands
had to endure from the policies of Philip II.
145. Curiously enough the prolific Stradanus still
lacks a thorough monographic study. Besides the modest
and outdated study by Orbaan - a dissertation published
in 1903 (Orbaan 1903) - and the rather short and gener­
al article by GuntherThiem (Thiem 1957-59), the most
useful information on the artist (and on prints after his
design by Galle) can be found in a number of detailed
studies on specific works written by Dorine van Sasse van
Ysselt (cp.Van Sasse vanYsselt 1980,1988,1990 and 1994).
Some information on the relation between Stradanus and
Galle can also be found in Sellink 1987. A large and impor­
tant collection of his sketches, in the Cooper-Hewitt
Museum in New York, is described briefly in Benisovieh
1956. Within a few years the New Hollstein series will
also devote several volumes to all prints after designs by
Stradanus, a catalogue that could be most helpful to any­
one studying Netherlandish or Italian art of the period.
One can only hope that this catalogue - to which I will
be contributing as an editor - will be as satisfying as the
recently appeared three-volume set on Maarten deVos as
a print designer, edited by Chris Schuckman (Hollstein,
vols. 44-46). On DeVos a combined monograph and cat­
alogue raisonne of his paintings exists: Zweite 1980.
146. "Hy heeft te Florencen in de Kerck van de
Nunziata ghedaen een groot heerlijck stuck, wesende een
Crucifix, daer de Krijghsknechten onder ander oock de
spongie in een edick-vat nat maken oft doppen; ghelijck