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317 The vices are all brought together at the end
of the series, following the virtues and other general
notions, just before the four continents. Distrust in God:
"le déteste la lumière, & me difHe de Dieu; ayant tant
seulement tout/ mon espoir & appuy sur mon argent."
318. "La sainctc Croix, les clefs, & le calice sont les
vrays enseignes de/ l'Eglise de Dieu gouvernée par son
Sainct Esprit."
319. "Toute puissance, diet S. Paul, vient du ciel. Et
pour estre telle, ie porte/ non en vain l'espee & la baguette
droicte"
320. Cp. Freedberg 1971 Galle probably felt free
to represent Truth as a nude woman, as this was a well-
established iconographie tradition. Compare, for instance,
Galles own the Power of truth, engraved circa 1575 after
Gerard Groenning {fig. 48).
321. "je suis toute nue: nullement fardée, claire &
resplendissante comme le/ Soleil, gouvernée ôc conduicte
par le S. Esprit "The other nude personification is Grace
of God.
322. "Les deux visages & le cercle que ic porte,
vous signifient que fay la/ cognoissance tant du passé que
du futur."
323. Cp. Corbett 1984, p. 132.
324. In a letter of 21 April 1994, Anthony Wells-
Cole (Temple Newsam House, Leeds) kindly informed
me on the existence of several English houses where
(around 1600) the Prosopographia was used as an icono­
graphie model for decoration; compare the forthcoming
publication Wells-Cole 1997.
325. On the drawing book, compare chapter 3.
326. See Praz 1964, pp. 472-475.
327. Compare Vcldman 1991, p. 285 (Cartari) and
Veldman 1992, pp. 256-258 (Valeriano). It is interesting
to note that Galle included the features ofValeriano in his
1587-series of portraits; cp. appendix 2E,no. 138.
328. Cp. Doutrepont 1937. On triumphal entries
in this period general, see Snoep 1975 andjacquot 1955a.
Notes Chapter 4
216
More details on triumphal entries and religious proces­
sions in Antwerp in the second half of the seventeenth
century can also be found injacquot 1955b (Bruegel and
Heemskerck in the period 1559-1566).
329. Cp.Van de Branden 1883, p, 254.
330. Doutrepont seems to have been the first to
point out the possible relation between the festivities in
1594 and the persomfications in Galle's Prosopographia;
Doutrepont 1937, pp. 148-149. It is interesting to note
that there exists a, from iconographic perspective, related
group of circa 70 drawings of allegorical figures by
Maarten deVos - now in the Stedelijk Prentenkabinet in
Antwerp - that is most probably connected to Ills designs
for Archduke Ernest s entry; cp. Depauw 1988, pp. 70-74,
nos. 5-6. A more detailed analysis of the series and, above
all, comparison with contemporary publications on this
state entry will hopefully provide more Insight and visu­
al evidence into the genesis of the Prosopographia.
331. These rumours started at the time of the marriage of
Galle's son Theodoor with Moretus's eldest daughter
Catharine and continued for some time to come. This
prompted the two families to obtain certificates proving
the contrary fromWulem van Bergen, bishop of Antwerp
(Museum Plantin-Moretus, arch. 100, ff. 263-286). This
was especially important as any suspicion of unorthodox
religious convictions could seriously damage their repu­
tation as a publisher of religious works. Compare Lips
1967, pp. 127-128 andVoet 1969-72, vol. l,p. 194.