manfred sellink philips galle - VU-DARE Home

More documents

Recommendations

Info

in Antwerp in this period, see Voet 1969-72, vol. 2, pp. 262-278. Also compare chapter 1. 299. See the detailed study Gieben 1976, its slight ly revised version Giehen 1977 and Savelsherg 1992b pp. 102-104. Also see Gonzalez de Zarate 1992, vol 2, pp. 249-253, nos, 759-772 300. The first edition is described in detail in Gieben 1976, pp. 242-257. Gieben surmises that this issue must have appeared shortly after 1.585, direcdy following Farnese's seizure of Antwerp. It was then that the Franciscans, after having been banned by the Calvinist city council in 1579, were allowed to return to the city. The series is mentioned in the Memorieboek of Gerard Grammay - the Antwerp tax-collector and a collector of prints published by Hieronyraus Cock and Philips Gallc - which is dated 1580; cp. Denuce 1932, p. 10:"Blaeders van Philips Galle Franciscus, 16 stucken" ("Sheets by Philips Gallc Francis, 16 pieces"). 301 These letterpress pages are in the Aibcrtina in Vienna, and are pasted, together with the sixteen engrav ings, in an album (HB 75, pp. 34-41). Unfortunately the dedication, is on the verso of the title page, and could thus not be transcribed accurately. Nothing is known of a print er called Gerard Fabri (Faber?) in Antwerp nor of his widow. There was, however, a certain Elisabeth Fabry, widow of a bookseller, active m Louvam; cp. Rouzet 1975a, p. 63. 302. Cp. Gieben 1977, pp. 284-300. 303. Due to several iconographic peculiarities, Servus Gieben speculates on the fact that a Spanish immi grant must have been involved In the commission and conception of the series (Gieben 1977, pp. 280-283). On the same grounds, he also refutes the possibility that a Franciscan friar acted as intellectual advisor during the conception of the first edition. Although I differ in opin ion on the last matter, the suggestion that a Spanish patron was involved is certainly plausible. The Southern Netherlands were a Spanish territory, and, even more important, Spain was an increasingly important market for devotional books and prints. On this subject, see De Nave 1992. 304. For an extensive description of die second edi tion, see Gieben 1977, pp. 257-280. Notes Chapter 4 214 305. Sedulius, who arrived in Antwerp in 1585 (cp. note 189), dedicated the Life of St. Francis to Francis of Tolosa, the newly appointed minister general of the Franciscan Order. On the same page the ecclesiastical approbaiio was added, given by the An twerp canon Michiel Hetsroey. As usual the clerical approval speaks of Philips Galle - who as head of the workshop would address such a request to the ecclesiastical authorities - as if he were himself the engraver of the scries:a Philippo Gallaeo fbrmis aeneis mcisa " While the plates were undoubtedly made in the Galle workshop, it is nearly impossible to attribute them to one specific en graver. The two etchings are reminiscent of Pieter van der Borcht, by far the most important etcher in Antwerp.They must have been made - due to time-pressure? - outside the Galle workshop, as Philips Galle only rarely published prints in this tech nique. In 1636 the plates were still in possession of the Galle family: "Het leven van Sinte-Franciscus negenthien platen" ("The life of St. Francis, 19 plates"); Duverger 1984, vol. 1/4, p. 20. 306. On the seven preparatory drawings in the Alhertina in Vienna, see Bencsch 1928, p. 23, no. 187 (St. Francis receives the stigmata, attributed to Maarten de Vos) and p. 43, nos. 15-20 (six other drawings, catalogued as workshop of Maarten de Vos). Also see Zweite 1968 (pp. 110-111), who rejects the attribution of the first sheet to De Vos, The notable differences in style and quality between the single sheet and the odier six drawings, can be explained from the fact that there were two different draughtsmen involved: St. Francis receives the stigmata was one of the compositions added to the second edition of 1587, the others were drawn for the first edition. 307. For a short theological summary of the Franciscus alter Christus tradition, seen in the light of early Renaissance painting in Italy, compare Van Os 1974, pp. 115-118. On die Iconography of the tide page, cp. Gieben, pp. 261-261 and 299. 308. "D. SERAPHIC! FRANCISCI/ TOTIUS EVANGELICAE PERF-/ECTIONIS EXEMPLARIS, AD -/MIRANDA HISTORIA" Engraved in the upper cartouche of the tide page. 309. The last plate of the Life of St. Francis (1587), for example, also shows five Franciscan saints - including St. Clare of Assisl, the founder of the female Order of the poor Clares - togedier widi St. Francis himself. Philips
Galle also published a series often founders of religious orders, which included St. Francis.This undated series was engraved by Hieronymus Wienx after designs by Galle himself.seeMauquoy-Hendrickx 1978-83, voL2,pp. 183- 184, nos. 994-1005. It Is most interesting to note that at a later date - by a different engraver and without the address of Philips Galle - a portrait of the founder of the Order of the Jesuits (Imgo Lopez de Loyola) was added to this series. Galle also issued a female equivalent of the founders, again engraved by Hieronymus Wierix after Galle s designs, which included St. Clare; cp. Mauquoy- Hendrickx 1978-83, vol. 2, pp. 184-185, nos. 1006-1009. 310. On this series, see Sirnoni 1984, p. 161 It is also mentioned briefly in Knipping 1939-40, vol. 1, p. 202 and Zweite 1968,p. 95.The copperplates were still in the possession of the Galle workshop in 1636: "De Heylige van de Minnebroeders veerthien platen" ("The saints of the friars minor, 14 plates"); Duverger 1984, vol 1/4, p. 20. The only copy which I was able to study (the print- room in Dresden) had each engraving pasted separately in an album, which made it impossible to study the type set text. 311. See Kirschbaum 1968-76, vol. 7, pp. 17-18. Sedulius choose the appropriate verses from Job 29:16 to be engraved in the margin: "Pater eram pauperum, et causam quam neselebam diligentissime inquirebam " ("And I was father to the poor: and the cause which I knew not I searched out"). 312. Not in Hollstein. The series consists of an engraved title page, an engraved dedication to Marie de Meleun, countess of Ligne, 43 numbered engravings with (engraved) verses in the margin. Galle apparendy issued both a Latin and a French version. In both editions the verses in the margin, composed by Cornells Kiliaan, are in Latin. They do, however, differ in the language of the afterword, a one-page text written by Philips Galle and set in letterpress. Only m the (more common) French edi tion, the afterword Is followed with three pages, set in let terpress, entitled "les noms des figures avec leurs inter pretations "These only give the French translations of the Latin verses underneath the engravings. Both Galle's son Theodoor and grandson Johannes reissued the entire series. As usual the copperplates were still in the posses sion of the Galle workshop in 1636:"Alderleij sinnen vijf- fenveertich platen" ("All kinds of virtues, 45 plates"); Duverger 1984, vol. 1/4, p. 21. Notes Chapter 4 215 313. The series is briefly described in: Praz 1964, p. 462, Van den Branden 1978, pp. 176-178, no. 50 (on account of the verses by Kiliaan) and Landwehr 1988, p. 159, no. 414. Although engravings from the Proso- pographia are occasionally illustrated In iconographie and iconological studies on Dutch and Flemish art, no study on the series exists. The iconographie sources of several engravings (Labour, Diligence and Health) are studied more in detail inVeldman 1991, p. 285 andVeldman 1992, pp. 256-258, In the near future I will devote a more elab orate study on the genesis of this booklet, its sources and its influence. 314. "PHILIPPE GALLE/ AU LECTEUR S[ALUTATE]./ Tu as icy, amy Lecteur, les images de Patience,/ Penitence, Experience, Humilité, Pieté, &c au / très semblales Vertus, comme pareillement/ les images des vices, & et d'autres choses, lesquelles/ tu voiras ornées & embellies de leurs symboles & apper-/ tenances peculieres; fort nécessaires â tous peintres, engra-/ veurs, entailleurs, orfèvres, statuaires & mesmes aux/ Poètes rimeurs & rhetoriciens vulgaires, pour eux conseil-/ 1er à ce livre, qui leur furnira des moye[n]s por pouvoir imi - / ter toutes sortes deffigies: affm que lors qu'il leur pren dra/ fantasie de peindre ou feindre quelque chose, ilzn'ayent/ besoing d'avoir tousiours leur recours, a ceux qui sont es/ arts les plus practiqués & expérimentés, Si est-ce que fay/ trouvé bon & util de ne grossir & combler ce livre d'un tas/ de figures qui sont en grand nombre: mais seulement de/ celles qui sont les plus rares & moins usitées. A l'occasion/ dequoy i'ay laissé là les sept arts lib- eraulx, Les vertus eardi-/ nales. Les péchez prineipuax & choses de pareilles denrées/ desquelles sont abondamment furnies les bouticques. le/ me suis servi peu ou point de la façon de peindre des an-/ ciens: daultant qu'icelle est maintenant tenue pour ob-/ scure & particulière aux payens, & que la nostre est plus/ claire, ik l'invention des Chrestiens est plus en vogue &/ reputation. Que si i'ap- perçoy que ce travail nostre te reus-/ sisse agréable, l'en seray Dieu aidant aguillonné pour/ oser doresnavant faire & produire daultres ouvrages de/ pareille estoffe." 315. Cp. Sellink 1992, pp 52-55 (also the slightly changed version in chapter 3) and Fufrrmg 1992, pp. 67- 69, with further references. 316. Xomme par cy devant mes enseignes sont esté l'autel & et cigoigne:/ ainsi m'est au present la sacrée Bible & le chapelet."
Page 1 and 2:
MANFRED SELLINK PHILIPS GALLE (1537
Page 3 and 4:
*. Quoted from Guicciardini 1567; s
Page 5 and 6:
meer thoonen can/ Als t'gen' ons Th
Page 7 and 8:
on the Galle family byVan den Bemde
Page 9 and 10:
50. On the here illustrated engravi
Page 11 and 12:
From 1600, he was scaling down his
Page 13 and 14:
7, p. 77, no, 155;TIB.56,p.212,no.6
Page 15 and 16:
1969-72, vol. 2, pp. 262-278. judgi
Page 17 and 18:
128. See appendix 1A. 129. "15.10.1
Page 19 and 20: Stradanus/Galle hunts; see Benisovi
Page 21 and 22: scapes will be catalogued in detail
Page 23 and 24: * ".„„ in aere incisas et dilig
Page 25 and 26: the notion of Gothic versus Italian
Page 27 and 28: 31 The portrait accompanies a lette
Page 29 and 30: 54. The use of a cache-tettre - or
Page 31 and 32: eras dick semper, sed nescio eras i
Page 33 and 34: 100. This Erst edition ofLe Mire s
Page 35 and 36: line of verse praises Galle as the
Page 37 and 38: * This chapter is a slightly revise
Page 39 and 40: Hollstein, loc. cit., nos. 299-315
Page 41 and 42: *. :< Ie/ me suis servi pen ou poin
Page 43 and 44: New HoUstein, Maarten van Heemskerc
Page 45 and 46: Around 1578 Galle published Goltziu
Page 47 and 48: (St. Paul bitten by a viper) is sig
Page 49 and 50: verso of each preceding engraving.A
Page 51 and 52: 88. Cp.Voet 1980-83, vol 1, p. 172.
Page 53 and 54: That Goltzius did not engrave any w
Page 55 and 56: lso dated 1577 (TIB, 56, pp. 249-25
Page 57 and 58: dees ordinantie ghesneden is, en in
Page 59 and 60: in the hands of any human, David ch
Page 61 and 62: changes in the nudity of some women
Page 63 and 64: Stradanus produced the Galle worksh
Page 65 and 66: 236. On the biographical data, comp
Page 67 and 68: was more or less concentrated in It
Page 69: In the first half of the seventeent
Page 73 and 74: Genealogy of the Galle family up to
Page 75 and 76: 5. Petrus Nuyts, baptized 12 May 16
Page 77 and 78: VIRORUM DOCTORUM BE DISCIPLINES BEN
Page 79 and 80: VIRORUM DOCTORUM DE DISCIPLINIS BEN
Page 81 and 82: skilled in all arts, Including ours
Page 83 and 84: 35. Maxot, Clement* (E5) 36. Dante
Page 85 and 86: 1587-edition. Besides changes in th
Page 87 and 88: IXXUSTRIUM GA1XIAE BELGICAE 8CRIPTO
Page 89 and 90: Peck, Pieter Pigge, Albert Reyvaert
Page 91 and 92: COAT OF ARMS OF THE AUSTRIAN HABS-
Page 93 and 94: lib. Verses in letterpress in lower
Page 95 and 96: 8 ARI08T0, LUBOVICÖ (1587) 16.7 x
Page 97 and 98: 13 BACKERS, PETRUS BE (1604) 16.7 x
Page 99 and 100: lib. Verses in letterpress in lower
Page 101 and 102: The Hague (Koninklijke Bibliotheek,
Page 103 and 104: engraved: "D6"- Used in 1572b-editi
Page 105 and 106: Italomm ..... (1600), no. 14; Imagi
Page 107 and 108: 40 DANTE AIIGHXERX (1572) After Gio
Page 109 and 110: aequa mis " (eight lines) In margin
Page 111 and 112: 49 ERASMUS, DESIDERIUS (1567) After
Page 113 and 114: gionis amor./ Sed dum romuleo nimiu
Page 115 and 116: n. Erased in margin left: "14." Use
Page 117 and 118: 61 GDIS, DA MI AO DE (1587) After A
Page 119 and 120: Used in: Iliustrium Galliae ..... (
Page 121 and 122:
In margin right: "4?". I. As descri
Page 123 and 124:
75 LANGUE, CHARLES DE (1587) 16.8 x
Page 125 and 126:
I. As described. Used in 16Ö4- and
Page 127 and 128:
Used in; Imagines ..... (1587), no.
Page 129 and 130:
ans styli,/ Inveheris minus, et par
Page 131 and 132:
the Reformation. Engraved by Philip
Page 133 and 134:
y:"Nic. RhedingerusVratisl." Used i
Page 135 and 136:
Used in: Illosixiuni Galliae (1604)
Page 137 and 138:
108 PIUS II {1567} 16.2 x 12.1 cm.
Page 139 and 140:
113 POLXZIANO, ANGELO (1572) After
Page 141 and 142:
n. Erased In margin left: "6.b" Use
Page 143 and 144:
124 SCHOTT, ANDREAS (1587) 17.0 x 1
Page 145 and 146:
S 'B8", replaced by "Bened. Arias M
Page 147 and 148:
(Voet 1980-83, nos. 2335-2341). Eng
Page 149 and 150:
141 VETTOR1, PIETRO (1587) After Co
Page 151 and 152:
Wildhaus 1484 - Kappel 1531; Swiss
Page 153 and 154:
3 BONIFACE DC 18.1 x 11.8 cm. Under
Page 155 and 156:
Appendix 2 F 18 Galle's other portr
Page 157 and 158:
XL The portrait has been heavily re
Page 159 and 160:
centre is the cartouche with the ti
Page 161 and 162:
Lit.: Collon-Gevaert 1966, p. 98, n
Page 163 and 164:
Generalis secundus, Obijt Romae/ XI
Page 165 and 166:
12 BROETIUS, PASCHASRJS 13.3 x 9.5
Page 167 and 168:
TITLE PAGE Letterpress text Filling
Page 169 and 170:
10 GRIFFOLINI, FRANCESCO (1587) 16.
Page 171 and 172:
20 CARLO 8IGONIO (1600) 17.1 x 12.2
Page 173 and 174:
INSTRUCTION ET FONDEMENTS DE M E N
Page 175 and 176:
3 SKELETON SEEN FROM BEHIND 23.6 x
Page 177 and 178:
SEA AND RIVER GODS (15S6) 18 engrav
Page 179 and 180:
8 ACHELOUS 16.5 x 9.9 cm, In lower
Page 181 and 182:
NYMPHS (1587) 18 engravings The ser
Page 183 and 184:
n. Borderline added around composki
Page 185 and 186:
ORNAMENTAL DESIGNS FOR CIRCULAR PLA
Page 187 and 188:
DE DEIS GENTIUM IMAGINES (1581) 30
Page 189 and 190:
6 AMPHITRITE 13,0x8.0 cm. In lower
Page 191 and 192:
18 MINERVA 13.1 x8.Q cm. In lower m
Page 193:
29 PAN 13 J x 8.1 cm. In lower marg
show all

manfred sellink philips galle - VU-DARE Home

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?