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