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dees ordinantie ghesneden is, en in Print uytcomt/'<br />
Together with the English translation above quoted from<br />
Van Mander 1994, vol 1, pp. 328-329.<br />
147. On the drawing, now in the Stedelijk<br />
Prentenkabinet in Antwerp, see Depauw 1988, pp. 62-64,<br />
no. 3; on the print ep. TIB. 56, p. 137, no. 43. A second<br />
edition of the engraving exists, published by Galle s son<br />
Theodoor, here the date 1574 is replaced by die address<br />
of Galle junior; on authority ofDorine van Sasse vanYsselt<br />
the entry by Carl Depauw (loc, cit.) seems to (wrongly)<br />
assume that these two editions are in fact two separate<br />
prints.The verses in the lower margin were composed by<br />
Galles friend Benito Arias Montano, but are not men<br />
tioned in Hansel 1991.<br />
148. For a list of engravings after Srradanus issued by<br />
Cock and his widow,cp.Riggs,pp.358-360,nos. 188-192.<br />
149. Cp.Thiem 1957-59, pp. 98-99.<br />
150. It is unknown if Philips Galle, besides the<br />
Altarpiece with Christ on the cross, issued any other engrav<br />
ings after Srradanus before the latter s visit to Flanders in<br />
1576. Unfortunately most of Srradanus s religious prints<br />
are undated, judging by subject matter and references to<br />
engravers and dedicatees, most of the religious Gaile-<br />
Stradanus prints are of much later date; also see below. The<br />
non-religious subjects and the more general matters regard<br />
ing their collaboration are further discussed in chapter 1.<br />
151. Compare, for example, the Baptism of Christ<br />
(TIB. 56, p. 113. no. 30) after Stradanus s painting in the<br />
S. Maria Novella and the here illustrated Christ driving the<br />
money-makers from ike temple in the S. Spirito (TIB. 56, p.<br />
129, no. 36). There are two drawings related to this last<br />
painting in the UfRzi, neither seem to be a preparatory<br />
drawing for the print; cp. Kloek 1975, n.p.,nos. 199-200.<br />
152. There is also a second edition of the engrav<br />
ing with the address of Johannes Galle. In at least two col<br />
lections (the Rijksprentenkabinet and the Albertina) the<br />
engraving is kept with a possible - but in my opinion<br />
incorrect - attribution to Goltzius.This once again illus<br />
trates the difficulty of attributing unsigned works from<br />
the Galle workshop to Goltzius or other masters; com<br />
pare note 122,<br />
153. On the subject of the Madonna of the Rosary<br />
Notes Chapter 4<br />
201<br />
in Netherlandish art, see Knippmg 1939-40, vol. 2, pp. 51-<br />
55. In passing Knipping seems to refer to the Srradanus<br />
engraving, without, however, giving any particulars (ibid,<br />
p. 52).<br />
154. This second Madonna of the Rosary also seems<br />
to have been unnoticed in literature until now. The<br />
engraving is dedicated to Johannes Crabbe from Lou vain,<br />
superior of the Augustinian friars in the province of<br />
Flanders from 1580 until 1589. As a fervent religious and<br />
political opponent ofWilliam of Orange and the Calvinists<br />
- he was at one time imprisoned on account of his opin<br />
ions - Galle would not have been likely to dedicate a print<br />
to Crabbe before 1585.<br />
155. Cp. note 52 and 56.<br />
156. On the series, see Hollstein, vol. 7, p. 76,<br />
nos. 108-145 (where both of Galle s Passion series after<br />
Stradanus are mixed up);TIB. 56, pp. 133-134, nos. 40:1-<br />
2 (Philips Galle fecit); Mauquoy Hendrickx 1978-83, vol.<br />
3a, p. 387, no. 1919 (the portrait by Wienx). The exact<br />
printing history of the series is difficult to reconstruct.<br />
Galle apparently first issued an unnumbered edition, as<br />
described above. Fie then decided to number the plates 1<br />
up to 37. Judging by the average quality of these num<br />
bered impressions this was done at an early stage-<br />
Apparently one plate (The raising of the cross, between nos.<br />
26 and 27) was forgotten, as this unnumbered engraving<br />
is often found added in between the complete sequence<br />
of numbered impressions.Thirty-eight preparatory draw<br />
ings for the series are in the collection of the UfBzi, see<br />
Thiem 1957-59, pp, 104-106 and Kloek 1975, n.p.,<br />
nos. 201-239.<br />
157. Wierix 5<br />
s portrait of Stradanus is engraved after<br />
a combination of a drawn self-portrait by the artist - now<br />
in die Fondation Custodia in Paris - and after a separate<br />
ornamental design by Stradanus m the Uffizi; see Thiem<br />
1957-59, pp. 110-11; Kloek 1975, n.p., no. 292 and Boon<br />
1992, vol. 1, pp, 368-369, no. 286.<br />
158. This is supported by the existence of a free<br />
copy of Stradanus s portrait by Goltzius.This engraving is<br />
also undated, but bears all the characteristics of Goltziuss<br />
early portrait engravings from the years 1579/80; cp. Filedt<br />
Kok 1996, pp. 162-163, Galle's passion series must have<br />
been published before 1584. In his U riposo of 1584, the