manfred sellink philips galle - VU-DARE Home

nali/ D[omi]no suo observandissinio Richardus
Vcrsteganus omnem exoptat felicitatcm." On Allen, see
DNB, vol 1, pp. 314-327.
183. Verstegan (later also spelt as Verstegen) was
born In London, from a family with Dutch ancestors.
Around 1588 he settled in Antwerp where he would later
befriend several members of the Moretus family, espe­
cially Balthasar Moretus. On Verstegan and writings, see
Rombauts 1933. On the reputation of the English College
at Douai, cp. Knipping 1939-40, vol. 1, p. 177 with fur­
ther bibliographical references.
184. Hollstcin, vol. 7, p. 77. no. 158; idem, vol. 44,
p. 123, no, 542.The symbolic representations in the mar­
gin, taken from the Old Testament books Ecclesiastes and
Song of Solomon, are most uncommon in connection
with the flight into Egypt.These were traditionally added
as attributes in images of the Immaculate Conception
itself; cp. Knipping 1939-40, vol. 2, pp. 202-203. This
scheme of presenting a subject within an ornamental bor­
der containing medallions with other images became fash­
ionable in Antwerp in the third quarter of the sixteenth
century; also compare note 161. In her study on illustrat­
ed missals and books of hours published by Plantin, Karen
Bowen m several cases convincingly substantiates that such
designs were influenced by Italian manuscripts; Bowen
1997, passim.
185. Hollstcin, vol. 44, p. 166, no. 738,This undat­
ed engraving has to be dated after 1585, as the engraver
Johannes Colbert only started signing his engravings from
the Galle workshop after this date.The verses in the mar­
gin were composed by Adriaen Rockox, a member of one
of the most influential noble families in Antwerp. If there
is a connection between the subject of the print and the
Antwerp cathedral, where Rockox was appointed as a
canon In 1597, cannot" be ascertained.
186. Hollstcin, vol. 44, p. 218, no. 1047.
187. The Maarten deVos altarpiecc and its iconog­
raphy is examined in detail in Zweite 1968 and Zweite
1980, pp. 224-232, p. 314, no. 98.The work is also dis­
cussed within the iconographic tradition of Saint Francis
in Flemish art in Savelsberg 1992b, pp. 352-354, no. 186,
188. On quite unclear grounds Armin Zweite
(Zweite 1980, p. 314) dates the painting as 'c. 1600'. As
Notes Chapter 4
204
the engraving, which follows the painting in all
details,must have been made before 1598 - and was prob­
ably, as said above, produced around 1590 - this presumed
date of the painting must also be reconsidered. Design and
furnishing on the chapel devoted to Saint Diego seems
to have started shortly after his canonization in 1588
(Zweite 1968, p. 125). It seems logical to assume that at
tliis occasion the altarpiece was commissioned to DeVos.
'189. After 1591 Sedulius held several other posi­
tions within the Franciscan Order in Flanders. He did
return to Antwerp in 1603, but at that time Philips Galle,
with a few notable exceptions, had stopped publishing
prints. From circa 1600 onwards most of the engravings
of the Galle workshop were issued with the address of
Theodoor Galle. A brief biographical outline of Sedulius,
with further references, is given in Savelsberg 1992b,
pp. 353-354.
190. De Liggeren (the records of the guild of St.
Luke) mention two apprentices (leerjonghers) of Collaert
in the year 1594; Van Lerius 1864-76, vol. 1, p. 380, On
the other hand, one has to take into account that Adriaen
Collaert could occasionally have worked for the Galle
family, even when he had his set up his own workshop.
Karen Bowen kindly pointed out to me that, for instance,
Karel de Mallcry and Johannes Collaert are sometimes
referred to in payments from the Plantin Press to
Theodoor Galle long after they left the Galle workshop.
191. Celebrated women of the Old Testament, an
engraved tide page and twenty numbered engravings by
Johannes Collaert: Hollstcin, vol. 4, p. 211, nos. 13-32;
idem, vol.44,pp. 57-60,nos. 223-242 andVan den Branden
1978, pp. 160-161, no. 44. Celebrated women of the New
Testament, an engraved title page and fifteen numbered
engravings by Adriaen Collaert, Johannes Collaert and
Karel deMaUery:Hollstein,voL4,p.211, nos. 33-46; idem,
vol. 44, pp. 116-119, nos. 508-522 and Van den Branden
1978, pp. 162-165, no. 45. Both series were published by
three generations of the Galle family (Philips, Theodoor,
Johannes).The plates of both series were described in the
1636-inventory of Theodoor Galles widow Cadierina
Moerentorf: "De vroukens van 't Nieuw Testament ses-
thien platen .... De vroukens van l
t Oudt Testament
ecnentwintich platen" ("The women of the New
Testament, 16 plates .....The women of the Old Testament,
21 plates"); Duverger 1984, vol. 1/4, p. 20.The iconogra­
phy of the Old Testament women - including interesting