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275. This discussion is roosdy limited to painting
and architecture; cp. Haskell 1980, pp. 63-93. It was
Thomas Buser (Buser 1976) who, reacting on an earlier
version of HaskelTs book, referred to the importance of
the engraved illustrations in Geronimo Nadal s Evangdicae
historiae imagines (discussed in detail below). Buser, how­
ever, seems to have been unaware of the existence of sev­
eral comparable contemporary illustrated works. Also see
Haskell's reaction; Haskell 1980, pp. 398-400,
276. " de vrucht die uyt de boecken komt, is
dies te meerder en achtbaerder, hoe sy haer vcrder door
de heele wereld uytstreckt ende langher van duere is als
de menschen selve, van wie sy voortkomt." Quoted from
Thijs 1990, p. 103.
277. See Hubert Jedin s classic studies on the
Council of Trent and the nature of the early Counter-
Reformation (Jedin 1963b and jedin 1973), as well as his
detailed analysis of the importance attached to art in its
decrees (Jedin 1963a). A concise survey of the importance
of the Council of Trent for the visual arts in general is
given in Blunt 1987, pp. 103-136. Regarding the Low
Countries a recent overview on this problem is found in
Freedberg 1992, with further references.
278. On Molanus, cp. note 71. Also see David
Freedberg's study on the complex relations between icon-
oclasm, Reformation and Counter-Reformation in the
second half of the sixteenth century in the Netherlands:
Freedberg 1972, and the reprint of this dissertation,
enhanced with a critical preface and additional literature.
279. The most important study of Nadal's book,
with all relevant documentary sources, remains Rooses
1888. For a brief overview, with further relevant litera­
ture references, see: Mauquoy-Hendrickx 1978-83, vol.
3/1, pp. 491-501, Orenstein 1993-94, pp. 179-180 and
Insolera 1996, pp. 135-141, nos. 44-45. On die composi­
tional drawings by Bernardo Passeri, cp.Wadell 1980.The
influence of these compositions on Italian religious art is
briefly discussed in Buser 1976.
280. Stated in a letter (dated Antwerp, 5 November
1585) to the German Jesuit Ludovicus Tovardus in
Cologne.Tovardus seems to have been the first to contact
Plantin concerning Nadal's manuscript; Rooses 1888, p.
283.
Notes Chapter 4
2Î2
281. Publishing an album of prints separately from
the complete edition with a typographically printed text,
was not unusual in Antwerp. Compare, for Instance,
Johannes David's Veridicus Christianas (discussed below) or
Vincent Hensbergh s short treatise on the rosary, of which
the plates were issued by Theodoor Galle; cp, Imhof 1996
97, p. 93, no. 6.
282. For the successive editions of the book and
the descriptions of the individual plates, see Mauquoy-
Hendrickx 1978-83, vol. 3/1, pp. 400-429, nos. 1989-
2141.
283. On the complex printing history of the
Veridicus Christianas, which has, as yet, never been clari­
fied fully, see: Simoni 1976, pp. 68-70; Landwehr 1988,
pp. 94-95, nos. 182-184, Insolera 1996, pp. 141-145, nos.
46-47 and Imhof 1996-97, pp. 88-89, no. 2. Dirk Imhof
also kindly allowed me access to his manuscript catalogue
of books produced by Jan Moretus at the Plantin Press (to
be published in 1998), which gives a detailed account of
the printing history of the Veridicus, solving most prob­
lems (nos. D-6 to D-8). Biographical information on
Johannes David can be found in Simoni 1976, widi fur­
ther references, and Waterschoot 1996.
284. It is interesting to note that, while the tones
has the imprint of Philips Galle, all records and transac­
tions of die Plantin Press regarding these plates - as of all
odier plates the Galle workshop produced on behalf of
Jan Moretus from c. 1600 onwards - are related to
Theodoor Galle. This is clearly an Indication that the
younger Galle was by then effectively running the fami­
ly workshop.The plates were still owned by the Galle fam­
ily in 1636, when they described In the inventory of
Theodoor Galle's widow Catharina Moerentorf:
"Viridicus Christianus hondert platen" (The true
Christian, hundred plates); Duverger 1984, vol. 1/4, p. 21.
At an unknown date Philips Galle's grandson Johannes
reissued some (or all?) plates; cp. Simoni 1976, pp. 68-70.
The plates themselves cannot be attributed with certain­
ty to any particular engraver in the Galle workshop, the
production of which became more and more character­
ized by uniformity in style, technique and quality.
285. See note 35.
286. Also compare Waterschoot s recent overview
of the emblematic books published by die Plantin Press