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skilled in all arts, Including ours, painting and sculpting)<br />
has skilfully written, in two distiches, eulogies that will<br />
please the readers no less by their variety and refinement,<br />
than by the truth of their praise. For just as the portraits<br />
themselves are varied, but all reliable, likewise the mean<br />
ing of the tetrastiches is elegantly distinct, while the truth<br />
is remarkably well heeded. Although he himself refused,<br />
we have placed the portrait of this man [Arias Montane]<br />
at its appropriate place, engraved after a refined original<br />
by the painter Pieter Pourbus.The works he has edited or<br />
will edit, will show which rank he should have among<br />
scholars. For this portrait he did not want us to use his<br />
own work or his own text, but he could not deprive of<br />
my rights. I was able to add a skilfully made portrait with<br />
out calling in his help, asking my friend and fellow citi<br />
zen Hadrianus Junius, a very learned man, to add a verse.<br />
Farewell and approve of my zeal, as sincere men should<br />
do.Antwerp, February 24,1572." (translated from the Latin<br />
by jan Bloemendal)<br />
The 44 portraits then follow, numbered from A3 to F6,<br />
with all verses set In letterpress.<br />
1572b<br />
On the recto of the tide page an alphabetical table of con<br />
tents is printed in letterpress using a different, slightly larg<br />
er font:"NOMINUM HOC LI-/ BELLO DEPICTO-<br />
RUM/ INDEX/ .„,."; underneath the same approbatio<br />
is added, also in letterpress:''Nihil habet S. Romanae<br />
Plebanus et Canonicus." (four lines instead of five). The<br />
tide page (page Al) is followed by page A2, which has the<br />
1572a~introduetion In letterpress on both sides, again<br />
using a different type of letter and with some slight dif<br />
ferences in spelling: "PHILIPPUS GALLAEUS/ PIC-<br />
TOR ET CHALCOGRAPHUS/ BON ARUM<br />
ARTIUM AMATORIBUS, S./ ..... Antverpiae, vj. Kal.<br />
Mart./ CIC[in reverse]. IC[in reverse]. LXXIL"Tne 44<br />
portraits then follow, numbered from A3 to F6, with all<br />
verses engraved in the margin underneath.<br />
In nearly all the verses in the 1572b version<br />
there are some minor differences in comparison with the<br />
1572a-edItion. Sometimes grammatical errors have been<br />
corrected, In other instances the engraver has made new<br />
mistakes.There have been changes to the portraits as well:<br />
the six men placed in an oval (Boccaccio, Dante,Dodoens,<br />
Ficino, Petrarca and Poliziano) have inscriptions engraved<br />
in the borders around the portrait; in the case of Clement<br />
Marot a caption has been engraved above the portrait; the<br />
Appendix 2 B<br />
225<br />
image of pope Pius II has been replaced by a second ver<br />
sion, engraved in reverse and on the engraving of<br />
Theodoor Poelman his age and the date 1572 have been<br />
added.<br />
Lit.:<br />
Cockx-Indestege 1968-94, vol. 1, p. 91, no. 1219; Van<br />
Someren 1888-91, vol. I, pp. 123--124;Bataillon 1942, pp.<br />
158-159; Hansel 1991, pp. 90-100; Sellink 1992a, pp. 23-<br />
24<br />
Copies:<br />
Antwerp (Stedelijk Prentenkabinet, Museum Plantm-<br />
Moretus, Antwerpen, 1572b-edition, bound with 1587-<br />
edition), Antwerp (Bibliotheek, Museum Plantin-<br />
Moretus, Antwerpen, 1572a-edition, bound with<br />
Lamps on 1572), Berlin (Staatsblbllothek zu Berlin -<br />
Pi^ussischerKulturbesitz,1572b-edItIon),B!oomirigtori<br />
(Indiana University, Bloomington, Brussels (Komnkhjke<br />
Bibliotheek Albert I, Brussel; Bibliothèque Royale Albert<br />
Ier, Bruxelles, 1572b-edition),Brussels (Prentenkabinet,<br />
Koninklijke Bibliotheek Albert I, Brussel; Cabinet des<br />
estampes, Bibliothèque Royale Albert Ier, Bruxelles,<br />
1572b-edition, bound with 1595-edition), Budapest<br />
(Bibliotheca Nationalis Hungariae Széchényiana,<br />
Budapest, Cambridge (Printroom, Fitzwilliam Museum,<br />
Cambridge, Cambridge (USA) (Harvard University,<br />
Cambridge (USA), Columbia (University of Missouri,<br />
Columbia, Edinburgh (National Library of Scodand,<br />
Edinburgh, Florence (Biblioteca Nazionale, Firenze,<br />
bound with 1587-edition, Ghent (Universiteitsbiblio<br />
theek, Rijksuniversiteit Gent, Leiden (Universiteitsbib<br />
liotheek, Rijksuniversiteit Leiden, London (The British<br />
Library, London, Madrid (Gabinete de estampas y bellas<br />
artes, Biblioteca Nacional, Madrid, 1572b-edition,<br />
incomplete, bound with individual portraits from several<br />
other editions), Paris (Bibliothèque Nationale, Paris, two<br />
copies: 1572a-edition,bound with 1587-edition and three<br />
portraits of 1567-edition; 1572-edition, Paris (Cabinet<br />
des estampes, Bibliothèque Nationale, Paris, 1572a-edi-<br />
tion, bound with 1604- and 1606-editions), Escorial<br />
(Biblioteca del Monasterio San Lorenzo de el Escorial,<br />
Escorial, 1572a~edition), Stockholm (Kongelige Biblio-<br />
teket,Stockholm, 1572b-edition),The Hague (Konink<br />
lijke Bibliotheek, Den Haag, 1572b-edition, bound with<br />
twelve portraits from 1567-edition), Toronto (Toronto<br />
Public Library, Metropolitan Bibliographic Center,<br />
Toronto, Washington (Library of Congress, Washington,<br />
rwo copies: one bound with 1587-edition and 10 por-