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