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50. On the here illustrated engraving from the
series Triumphs of Petrarch, see Hollstein, vol. 7, p. 79, nas.
389-394; ibid., vol. 8, p. 244, nos. 341 -346; New Hollstein,
Maarten van Heemskerck, vol, 2, pp. 173-177, nos. 491-
496;TIB. 56, pp. 297-302, nos. 077:1-6.
51. On the series of the Four elements, see TIB. 56,
pp. 324-327, nos. 86:1-4 andVeldman 1991, pp. 270-272.
On the series of counts, see below and chapter 2, where
Galles series of portraits are discussed in detail.
52. On the relationship between Heemskerck and
Galle, cp.Veldman 1977a, Veldman 1986 and the New
Hollstein volumes on Heemskerck, also compiled by Ilja
Veldman.
53. A notable exception is Kingjosiah restores the
law of the Lord, a series of eight engravings with verses by
the theologian and schoolmaster Hieronymus Varlenius.
See Veldman 1977a, p. 108 and New Hollstein, Maarten
van Heemskerck, vol l,pp. 126-131, nos. 143-150.
54. On Coornhert and his relation with Galle, see
Veldman 1989,Velelman 1990 and chapter 4; a general sur­
vey of Dutch humanism in this period can be found in
Veldman 1995b.
55. For examples of such innovative subjects see
chapters 2 (portraits), 3 (model books and drawing books)
and 4 (religious subjects). Also compare Veldman s elabo­
rate study on Philips Galle as a draughtsman and inventor.
Veldman 1991, Besides the four drawings in alba amkorum
of friends (see chapter 4, note 86), only two drawings by
Galle are still known to exist: Vulcan overpowered by Pallas
Athene, in the Albertina in Vienna (Benesch 1928, p. 22,
no. 176) and Perseus and Andromeda (Gerszi 1971, vol. 1,
p. 46, no. 90). Both were reproduced as an engraving, the
first byTheodoor Galle, the second by Johannes Collaert.
Also see Veldman 1991, p. 262.
56. On the series Misery of human life, see TIB. 56,
pp. 276-281, nos. 72:1-6 andVeldman 1991, pp. 265-270.
57. On the notion of the pictor doctus, see the clas­
sic study Lee 1967. That Galle, especially in his later
Antwerp period, had the ambition to position himself as
a learned publisher and an experienced printrnaker is quite
explicit in case of publications such as his portraits (chap­
ter 2), his drawing book (chapter 3) and his Prosopographia
(chapter 4).
Notes Chapter 1
153
58. Compare Delen 1934-35, vol II/2, pp. 94-95
and - in relation to other portraits published by Galle -
chapter 2. The series has only been found in die Royal
Library in Brussels so far.
59. "In dees afcomsten der Gra-/ven van Hollant
en is niet/ dat den Catholycken ghe-/loove contrarie is,
oftye/mande mach verergeren./ Hieronymus Vairlenus/
Vicarius des Bisscops va[n]/ Harlem onderteeckent./
Gheprimt tot liarlem met/ graoe ende privilegie by/
Philips Galle/ 1569" (In this lineage of the Counts of
Holland there can be found nothing that contradicts
Catholic faith, nor anything that could give offence to
people. Signed by Hieronymus Vairlenus, vicar to the
bishop of Haarlem. Printed in Haarlem, with good grace
and privilege, by Philips Galle, 1569"). Why Philips Galle
applied for a privilege and an approbatio is unknown.
Though formally required for all books, they were then
still rare for prints - more so in Holland than in Flanders.
It may have been the political aspect of the subject -
certainly in these turbulent and unstable years - that
prompted the printrnaker to obtain such an official
approval and thus safeguard the commercial aspects of this
enterprise. A short survey of privileges in the Northern
Netherlands in the sixteenth and seventeenth centuries
can be found in Orenstein 1993-94, pp. 173-174 and in
Orenstem 1996 s pp. 90-94
60. Compare, for instance, Rouzet 1975a, p. 67.
The, regularly repeated, opinion that Galle already had a
print-shop in Antwerp in 1564 is based on the misinter­
pretation of a manuscript in the archives of the Museum
Plantm-Moretus in Antwerp. This handwritten Latin
manuscript (Arch. 82, fol. 380) is not, as Anne Rouzet
assumed, a letter by Galle addressed to the humanist Petrus
Scoliers. It is a draft for the letterpress introduction to a
series of etched landscapes with biblical subjects after
designs by Hans Bol, published by Galle in 1574 (also see
note 77).Although the manuscript (handwritten by Galle
himself?) is indeed dated 1564, this is clearly a mistake by
the author: the otherwise identical typeset text reads
"Antverpiae,/ ex nostra Chalcographia,Anno a Christo/
nato M CCCCC. LXXIIIL" ("Antwerp, from our print-
shop, in the year of our Saviour 1574").The reason why
this manuscript is found in the Plantin archives is obvi­
ous, as Christophe Plantin usually printed all text set in
letterpress on behalf of Philips Galle (see below).