Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)

JÚLIA TÁTRAI AND LÁSZLO LENGYEL: Archduke Albert († 1621) on the Catafalque: A Picture of Old-New Acquisition

and series of engravings with a religious theme based on his own drawings and those of other artists (for example Maerten de Vos, Johannes Stradanus). His son Philip (1598—?) and Michel Natalis were among his students.

42 Contemporaneous sources always mention Mallery as an engraver. He is named as a koperstecker^ in the list of members' and account books of the Antwerp guild of Saint Luke and as a plaet-snyder irít cleyn in Cornelis de Bie's (1661) collection of biographies.

44 Furthermore, in the inscription for the portrait engraving of Lucas Vorsterman the title Cakographus Antwerpiae can be read alongside Mallery's name. In the lines written in verse by Cornelis de Bie about the art of Mallery he is praised as an engraver for the meticulous execution of his works that have an edifying purpose. In de Bie's opinion, the care that Mallery put into making his engravings can only be compared with the wonderful etchings of Jacques Callot.

45 Without questioning Mallery's significance in his time, looking at the artist's engravings executed in a somewhat cold, late Mannerist style, it does not strike us that an affinity exists between Mallery and the virtuosic and witty Jacques Callot. His importance is indicated by his having occupied the position of dean in the Antwerp guild of Saint Luke between 1620-1621, and by the fact that his portrait is found in the Icones principiim virorum (...) series of engravings made after the drawings and paintings of Anthonis van Dyck. This series was a collection of portraits of notable personalities of the period

—artists, military commanders, scholars and statesmen

—and was published several times. Edited by Martinus van den Enden in Van Dyck's lifetime this publication contains eighty portraits. Van Dyck's portrait of Mallery exists in various versions, such as a chalk drawing, and some paintings (fig. 9), two of them in grisaille. The above mentioned engraving by Lucas Vorstermann was made after the grisaille in the Boughton House.

46 The portraits of Mallery made between 1627 and 1635 are half-length depictions of the artist when he was about sixty years old, with a musing expression, the folds of his clothes collecting on his chest. Behind his back is a broken pillar, the symbol of transience. The final question concerns the context in which the name of the engraver, Karel van Mallery, highly esteemed in his time, is mentioned in the painting representing Archduke Mbert on his catafalque. Thus far we have only been able to make conjectures on the meaning of the abbreviations. It would be logical that he was the artist since his name appears in the inscription. However, as mentioned earlier, there is no known painting by Mallery or even any description of one in sources, yet it is still possible that there was another painter by the name of Mallery. In this period the only active artist with this name apart from Karel van Mallery was