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In the first half of the seventeenth century: Waterschoot<br />
1996, pp. 454-458.<br />
287. On this particular engraving, see Knipping<br />
1939, vol. 1, pp. 127-128 and Mai 1992, p. 567, no. 152.1.<br />
288. The Insiitutiones Chrisiianae and its printing<br />
history is described in detail in Voet 1980-83, vol. 1,<br />
pp. 541 - 543,no. 884 (Canisius).Voet erroneously describes<br />
exacdy the same publication under the name of Giovanni<br />
Battista Romano: ibid., vol. 5, pp. 2005-2006, no. 2149.<br />
289. It here concerns Romano's Doitrina Christiana<br />
nella quale illustrated with - qualified by Leon Voet<br />
as rather crude - woodcuts and published in Rome in<br />
1587; Voet 1980-83, vol. 1, p. 542. There are no indica<br />
tions at all that Romano, who died in 1589, was to any<br />
extent involved in the Plantin/Galle adaptation of his<br />
book.<br />
290. The various techniques used by Plantin in his<br />
illustrated books - at first primarily woodcuts, slowly<br />
reverting to etchings and engravings - are discussed in<br />
Voet 1969-72, vol. 2, pp. 194-243,Voet 1975 and, briefly,<br />
in Sellink 1996-97. Also see the wealth of details on this<br />
subject in Karen Bowen's recendy published dissertation<br />
on the illustrated missals published by Plantin: Bowen<br />
1997<br />
291. The series is catalogued in detail in appendix<br />
2H. On similar, slightly later print series of Jesuit saints<br />
and the life and works of the order's founder Inigo Lopez<br />
de Loyola by the Wierix brothers, see chapter 2, note 91.<br />
Also see note 309.<br />
292. There are three editions of the series, which<br />
only differ on the first plate: A first edition without title<br />
by Philips Galle, a second with title, also with the address<br />
of Philips Galle and a third byTheodoor Galle.The plates<br />
were still owned by the Galle family In 1636, when they<br />
described in the Inventory of Theodoor Galle's widow<br />
Catharina Moerentorf: "Van den goeden Engel in vier<br />
platen" ("The good Angel, four plates"); Duverger 1984,<br />
vol 1/4, p. 20.<br />
293. Cp.Knippmg 1939-40,vol. 2,pp. 173-177 and<br />
Kirschbaum 1968-76, vol. 1, pp. 640-641 and vol. 4,<br />
pp. 127-128.<br />
Notes Chapter 4<br />
213<br />
294. The iconography of St. Francis in the<br />
Southern Netherlands is examined in detail in Savelsberg<br />
1992b, largely replacing the older studiesVerjans 1938 and<br />
Verjans 1944-45. Savelsberg also gives a historical survey<br />
of the Minorites and Capuchins in the Low Countries in<br />
the sixteenth and seventeenth centuries. On the situation<br />
in Antwerp in the last two decades of the sixteenth cen<br />
tury, also cp.Marinus 1989, pp. 134-141.As the differences<br />
between the three Orders of the Franciscans (the<br />
Conventuals, the Friars Minor and the Capuchins) do not<br />
matter in this iconographic discussion, they are not taken<br />
Into account here.<br />
295. The designer of the engraving, which is<br />
unrecorded in literature so far, is not mentioned.The com<br />
position, however, is reminiscent of Stradanus's devotion<br />
al prints. Although die engraving is undated, it must prob<br />
ably have been made around 1590, that is to say before<br />
Collaert started his own workshop. On behalf of Galle,<br />
Adriaen Collaert also engraved a St Francis receives the. stig<br />
mata which does have the signature of Stradanus; this<br />
engraving is illustrated in Savelsberg 1992b, n.p., fig. 30.<br />
296. The original painting by Vanni is in the church<br />
of San Bonaventura in Frascati. Compare Röttgen 1973,<br />
pp 99-101, no, 24 (who dates die painting 1598/99) and<br />
Savelsberg 1992b,p. 64, n. 107. Savelsberg wrongly assumes<br />
diat Galle s engraving is a copy after an engraving by<br />
Cornells Cort; reproduced as such in Ibid., n.p., fig. 17.<br />
This latter engraving is dated 1600 - Cort died in 1578!<br />
- and Is signed "C.G formis" and is most probably an early-<br />
work of the Roman engraver Camillo Cungi, a follower<br />
of Cort who used this particular signature; cp. Bierens de<br />
Haan 1948, p. 236.<br />
297. On Vanni's painting, of which two versions<br />
seem to have existed, see Davidson 1958. On Florimi and<br />
his contacts with Vanni and Cornells Galle, see Kortekaas<br />
1992, p. 181. In the eighteenth century, the usually well-<br />
informed print-dealer and collector Pierre jean Mariette<br />
already mentioned the fact that Vanni himself made a<br />
preparatory drawing - then in the Crozat collection -<br />
which he gave to Cornells Galle tobe engraved;Davidson<br />
1958, p. 4 and Mariette 1851-60, vol. 6, p. 29.The second<br />
(Antwerp) version, unrecorded so far, was first published<br />
by Philips Galle, and later by his son Theodoor.<br />
298. On the problems of copyright and privileges