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Stradanus produced the Galle workshop. Cornells Galle<br />
was born in 1576 and probably left Antwerp around 1595<br />
(together with his brother Theodoor?) to go to Italy;<br />
Hollstein, vol. 7 5 p. 64, nos, 35-44 (as Cornells Galle II)<br />
and Van de Branden 1978, pp. 207-208, no. 64.<br />
216. See Bibliotheca Belgica, vol. 1, pp. 304-305.<br />
On Boghe,see note 180. Philips Galle dedicated die series<br />
to two other Antwerp magistrates: Edward van der Dilft<br />
and Charles Malineus. These two were burgomasters<br />
together in the years 1589 to 1591 and 1594 to 1596.The<br />
Encomium musices must obviously have been published<br />
during one of their joint terms of office.<br />
217. Nearly no study at all has been done on<br />
Adriaen Colbert, nor on any ofhis family members (Hans,<br />
Johannes I, Johannes II and Carel Collaert) for that mat-<br />
ter.The list of engravings In Hollstein (vol. 4, pp. 210-207)<br />
is notoriously inaccurate. The most useful information is<br />
to be found m Delen 1934-35, vol. II/2, pp. 101-102.<br />
218. Galle and Stradanus, however, did keep work<br />
ing together on new enlarged editions of their hunting<br />
series, of which the first had been published in 1578.<br />
Several of the preparatory drawings for this series are dated<br />
1596. On the completely inextricable sequence of con<br />
tinuously changing editions of these hunts, compare chap<br />
ter 1 and Bok-van Kammen 1983.<br />
219. THIS issue is discussed more in detail in chapter 1.<br />
220. The engraving is unrecorded in literature.<br />
Besides being mentioned in passing In die biography of<br />
his fadier inThieme/Becker (vol. 32, p. 149), there is, to<br />
the best of my knowledge, no literature on Scipio<br />
Stradanus. The work is dedicated by Scipio to a certain<br />
Jacob Danus, a Flemish jurist and advisor to the Medici<br />
court.<br />
221. Mauquoy-Hendrickx 1978-83, vol. 2, p. 193,<br />
no. 1052.<br />
222. On Galle s engraving, see note 209. On the<br />
Wierix print, also with the same reference to Isaiah 53,<br />
cp. Mauquoy-Hendrickx 1978-83, vol 1, p. 100, no. 571.<br />
223. Mauquoy-Hendrickx 1978-83, vol. 1, p. 99,<br />
no. 566.<br />
Notes Chapter 4<br />
207<br />
224. Cp. Mauquoy-Hendrickx 1978-83, vol, 1,<br />
p. 99-100, nos. 565-573.The subject apparently was dear<br />
to Hieronymus Wierix, as he also engraved die Sudarium<br />
with his family in adoration of this relic conspicuously In<br />
the foreground; Mauquoy-Hendrickx 1978-83, loc. cit.<br />
225. Of course time and again complaints were<br />
made by artists and publishers about illegal copies and<br />
pirate editions. Their concerns, however, nearly always<br />
involved financial motives (the dangers of loosing market<br />
to others) rather than anxieties about 'intellectual' copy<br />
right. In one famous, but highly unusual instance Titian<br />
applied for (and received) a privilege from the Venetian<br />
authorities, that protected him with regard to every pub<br />
lication after any ofhis designs for no les than fifteen years<br />
(cp. Landau 1992 and Sellink 1994, pp. 207-210, no. 70).<br />
One has to take into account, however, that Titian him<br />
self published engravings after his designs and hereby tried<br />
to protect his own market. Such a privilege only was legal<br />
ly valid in Venice and the Veneto. On the numerous con<br />
temporary copies (some of them by Philips Galle) outside<br />
the Venetian jurisdiction, Titian had no influence at all.<br />
226. As far as is known, Philips Galle published<br />
three engravings of religious subjects made by Francken:<br />
Faith purifying human hearts with Christ's blood by Adriaen<br />
Collaert (cp.note 115), Christ at the house of Simon the l^per<br />
by Cornelis Galle (Van den Branden 1978, p. 214, no. 81)<br />
and the unrecorded Allegory on human vanity engraved by<br />
Theodoor Galle. All engravings are undated, but were<br />
probably produced in the period 1590-95. More inter<br />
esting than these single engravings, is the only series Galle<br />
published after designs by Francken. Six engravings by<br />
Karel de Mallery of a rarely illustrated (profane) subject,<br />
the Fable of the father, the son and the ass (c. 1590/95). See<br />
Hollstein, vol. 1 l,p. 160,nos. 125-128 andVan de Branden<br />
1978, pp. 170-173, no. 48. On the iconography of this sub<br />
ject - earlier in the century reproduced in five woodcuts<br />
by die Amsterdam prrntmaker Cornelis AnthonisE. - see<br />
Filedt Kok 1986, pp. 275-276 T no. 153.<br />
227. On account of the verses by Cornells Kiliaan<br />
in the margin, the series is discussed in Cockx-mdestege<br />
1991. Theodoor Galle "s compositions are strongly remi<br />
niscent of a series of founders of religious orders, designed<br />
by his father and engraved by Hieronymus Wierix;<br />
Mauquoy-Hendrickx 1978-83, vol. 2, pp. 183-184, nos.<br />
994-1005, also compare note 309.