Artwork

Title Page for Balthasar Cordier, Catena Sexaginta Qvinqve Graecorvm Patrvm in S. Lvcam...

Title Page for Balthasar Cordier, Catena Sexaginta Qvinqve Graecorvm Patrvm in S. Lvcam... is an ink print by the Baroque artist Cornelis Galle I. It dates from 1628 and is held in the collection of the National Gallery of Art.

About this work

Overview

This 1628 engraving, executed on laid paper, serves as the title page for Balthasar Cordier’s collection of sixty‑five Greek patristic texts. The composition is densely populated, featuring two robed figures holding books and a crown beneath a tumult of angels, mythic animals, and allegorical characters, all framed by an elaborate coat of arms.

Subject & Meaning

The central figures appear to represent scholarly authority, while the surrounding celestial and bestial elements evoke the transmission of early Christian doctrine amid both divine and worldly forces. The Latin inscription identifies the work as a compilation of early Christian writings, linking the visual program to the intellectual content of Cordier’s volume.

Technique & Style

Engraved by Cornelis Galle the Elder, the image displays the precise line work and fluid handling characteristic of Antwerp printmaking in the early seventeenth century. Galle’s skill in rendering intricate details—such as the tangled hair of the female figure and the texture of the animal fur—demonstrates his mastery of the burin on copper plates, later transferred to paper.

History & Provenance

Born in Antwerp in 1576, Galle trained under his father Philip before refining his craft in Rome and returning to his native city. He worked both as an engraver and a printseller, producing images after his own designs and those of other artists. This title page reflects his role in the commercial production of scholarly publications during the period.

Context

The work belongs to the vibrant Antwerp print culture that supplied illustrated books to a European readership. Its elaborate decorative scheme aligns with the Baroque taste for complexity and symbolism, while the inclusion of a coat of arms underscores the patronage networks that supported such publications.