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