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249- The engraving is unrecorded in literamre.The
engraving is dedicated to the Doornik scholar and canon
Antonius van Winghe, member of a well-known patri­
cian family and related to the archaeologist Philips van
Winghe, with whom Galle was acquainted; cp, Hessels
1887, p. 411, where Galle is dianked - in a letter dated
Rome 1589 - by Philips for introducing him to Stradanus.
Galle may also have known Antonius through
rViaximiliaan and Hieronyrnus (a brother of the above
Philips) van Winghe (cp. notes 205 and 240) or through
Denys deVilliers, a fellow canon at Doornik and also an
acquaintance of the Galle family (see note 202) .A reduced
copy by Karel de Mailery was published around the mid­
dle of the seventeenth century by Galles grandson
Johannes.
250. For some (illustrated) examples of this genre,
published by the Plantm Press around 1600, compare note
272. On the Jesuit appreciation of illustrated books, see
below.
251. Pontificum maximorum effigies (1572); see
chapter 2 and appendix 2F. The four additional portraits
are catalogued in appendix 2F, nos. ad 1-4.
252. The copy here referred to Is in the Koninklijke
Bibliotheek Albert I in Brussels.
253. Compare note 187.
254. The canonization of the Dominican monk
inspired several paintings and engravings to be made
around 1600, compare Kirschbaum 1968-76, vol. 6,
pp. 557-559.
255. On this subject, compare Fagiolo 1984.
256. The engraving is unrecorded in literature.The
design was made by Antonio Tempesta, who was the most
important pupil of Galle s friend Stradanus. It would seem
that Philips Galle received this design through the hands
of his son Cornells, who was still living and working in
Italy If (in part) intended for the Italian market, Cornells
was probably also involved in its distribudon. One can
suppose that a print such as Hendrik Hondius's monu­
mental Panorama of Rome, dated by Nadine Orenstem on
stylistic grounds as c, 1600, was also issued with the Holy
Year at least in back of the publisher's mind, especially as
the panorama was issued with papal privilege;
Notes Chapter 4
210
cp. Orenstein 1990 and Orenstem 1995a, pp. 248-249.
257. The series is unrecorded in literature. In 1636
the plates were still in possession of the Galle family: "De
Kercken van Roomen in acht platen" ("'The churches of
Rome, 8 plates"); Duverger 1984, vol. 1/4, p. 19. There
exists a copy in reverse of the entire series, published by
Thomas de Leu.
258. On such an Adas of Rome, cp.Van derWaals
1988, pp. 41-68.
259. On Michael van Ophoven, see BN, vol. 16,
pp. 225-228.
260. The large-size engraving (47 x 32 cm.) is
unrecorded in literature.The print must have been pub­
lished after 1599, the last date mentioned in the family
tree, and before 1605. In the latter year the censor Silvester
Panic, who signed the approbatw in the lower margin, died.
There is also a second edition of the engraving with the
address of Galle's grandson Johannes.
261. On the iconography of St. Dominic,
cp. Kirschbaum 1968-76, vol. 6,pp. 72-79. In 1611 Galle s
son Theodoor published an extensive print series on the
life and miracles of the saint, written by the Antwerp friar
Johannes Nys and illustrated with 34 plates.
262. Compare Marinus 1989, pp. 134-138.
263. Hollstein, vol. 7, p. 78. nos. 241-274. I thank
Dirk Imhof of the Museum Plantin-Moretus for draw­
ing my attention to the fact that Philips Galle issued two
separate editions: one with a supplementary text part in
French, and one with the same text in Dutch. Payments
for letterpress text printed by the Plantin Press were made
in March and April of 1603. Although a third edition was
published by - most unusual for any engraving from the
Galle workshop - the Antwerp publisher Johannes Boel
in 1628, the plates were in 1636 still in possession of the
Galle family: "Het Leven van Smte-Catharina van Senen
vierendertich platen" ("The life of St. Catherine of Siena,
34 plates"); Duverger 1984, vol. 1/4, p. 21.The Life of Saint
Catherine will be catalogued in Imhof's forthcoming cat­
alogue of Jan Moreens - to be published in 1998 - as
nos. 0-56 and 0-57.
264. On the iconography of St, Catherine - which