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