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236. On the biographical data, compare chapter 1,
237. Hollstein, vol. 7, p, 49, no. 2.The unrecorded
first state referred to was found in the printroom of the
Bibliothèque National in Paris,There is also a third edi­
tion, a reissue - as In the case of most prints from die Galle
workshop - by Theodoor Galle. The engraving is dedi­
cated by Paggi - who proudly describes himself as a
Genoese patrician, well-versed in the art of painting - to
one Giovanni Carol! Auria (or perhaps D 6
Auria).The
engraving is possibly related to a painting with the same
subject In the museum in Douai; cp. Thleme/Becker,
vol. 26, p, 141.
238. On Cornells Galle s first version, see Hollstein,
vol. 7, p. 55, no. 114.This engraving follows (in reverse) a
popular composition byVanni of which several versions
are known; cp. Brandi 1930-31, pp. 72 73.The unrecord­
ed and yet again reversed version is, regarding style and
technique, very similar to Cornells Galle's signed engrav­
ings.There are several other comparable cases, such as the
Virgin in the clouds, also after Francesco Vanni (ibid, p. 55,
no. 115). In this case, it again seems quite certain mat
Cornells Galle s first version without the address of a pub­
lisher was intended for the Italian market. The name of
the engraver is spelled "'eornelio gallo sculpsit" instead of
the usual "Cornelius [or Corn.] Galle." A reversed copy
of this engraving - with the address of Philips Galle, but
without the signature of Cornells - is also unrecorded in
literature.
239. Compare note 297.
240. The engraving here attributed to Cornells
Galle is mentioned by Blerens de Haan in his discussion
of Cort s original engraving; Bierens de Haan 1948,
pp. 54-56, no. 33, copy d. The engraving only has the
address of Philips Galle, The Galle workshop produced at
least three other engravings after the Zuccari.The first is
the Ascension of the Virgin after a famous altarpiece by
Taddeo in Rome - engraved by the same (anonymous)
engraver as Barocci's Visitation (cp. note 235); illustrated
in Filedt Kok 1986, p. 352, fig. 233a. The second is the
Adoration of the Magi, a beautiful engraving by Cornells
Galle after Federico Zuccaro, with Latin verses by Laurens
Beyerlmck in the margin. This unrecorded sheet is also
one of the few prints from the Galle workshop, of which
another state - also with the address of Philips Galle - is
known to exist with major changes to the composition.
Notes Chapter 4
209
Finally Theodoor Galle engraved a Vision of St Jerome after
Federico Zuccaro s painting in the Escorial made in the
years 1585-88, dedicated to the Doornik canon
Hieronymus van Winghe; Hollstein, vol. 7, p. 84, no. 140,
241. On Cort In general, compare Sellink 1994,
Within a few years my catalogue of all engravings by Cort
- including all more or less contemporary copies - is to
appear in the New Hollstein series.
242. On the structure of the workshop and all its
known assistants, compare chapter 1
243. Besides being briefly mentioned In Hymans
1907 (p. 138), the engraving is unrecorded. A copy In the
same direction was made by the unknown engraver li
Ben.
W." and published by Johannes Wierix around 1605
cp. Mauquoy-Hendrickx 1978-83, vol, 1, p. 106, no. 602
and vol. 3/b, p, 589, no, 1673, copy b. The emblematic
structure and the use of three languages is clearly related
to similar prints made in Antwerp around 1600 as illus­
trations to Jesuit publications, see below,
244. Translated from the Dutch verses: "Siet dees
wapenen Christ! u hier voor ooghen gestelt,/ Hebben
verwonnen tvleesch, doot, werelt en s'duyvels gewelt."
245. Cp. Sellink 1992a, pp. 18-19, fig. 5.1 was at the
time unaware of an elaborate study on precisely this
emblem, compare Strengholt 1976. Ad Leerintveld of the
Koninklijke Bibllotheek in The Hague kindly drew my
attention to this article.
246. The woodcut emblem and the Latin verses in
De Beze's kones are reproduced in Strengholt 1976,p. 96.
Of course, De Beze was the author of the verses - which
were already published separately in 1569 - underneath
the emblem. Fie probably the conceived the iconography
of the image as well. Most information on the icono-
graphic tradition of the emblem is taken from the above
study by the historical linguist Strengholt, who was not
aware of Galle s version of the subject.
247. Added to original iconography - and not
found in any other known version of the emblem - are
the dove, the laurel wreath, the candle, the stone on which
Faith stands, the imperial globe and the spurs,
248. "Quid docet hoc frenum? R. Mentis cohibere
furorem."