Пост 50 (19). Вермеер и Дельфтская школа. Часть первая. Примечания

21. Evelyn 1952, p. 20. The general appearance of the long-lost Koningshuis (ICing's Palace) at Rhenen, designed by Bartholomeus van Bassen, is known from two drawings by Pieter Saenredam: see Schwartz and Bok 1990, pp. 192-95, figs. 203, 205, and p. 271, nos. 104, 105.

22. Evelyn 1952, p. 19 (entry for July 29, 1641). The diarist apparently refers to he distance from Leiden to Utrecht, which is about the same as that from Delft to Utrecht. 

23. Ibid., pp. 29-30 (entry for September r, 1641). In The Hague 1997-98a, p. 42, Van der Ploeg and Vermeeren mention Evelyn's visit but give the wrong date (1640) and overlook the attribution to Van Couwenbergh. On Honselaarsdijk, see also Morren, Meischke, and Van der Wyck 1990 and The Hague 1997-98b, pp. 111-16.

24. Snoep 1969, p. 287, quoting from the inventory compiled by the painter Mattheus Verheyden in 1758 (published in Slothouwer 1945, pp. 278-88). As Snoep demonstrates by referring to an inventory of 1707 and original account books, Verheyden's attributions were not always on the mark.

25. Boston, Toledo 1993-94, no. 14, and The Hague 1997-98a, no. 25. White (1987, p. 282), noting Frederick Hendrick's interest in Rubens, cites a letter from Huygens to the artist asking for a chimney piece. The prince "would only ask for three or four figures at most and that the beauty of the women should be realised con amore, studio e diligenza" (Rubens 1887-1909, vol. 6, p. 239, letter ofJuly 2, 1639 ). White guesses that a painting entitled Sylvia in Rubens's estate might be the work in question, but is it not The Crowning of Diana in Potsdam-Sanssouci?

26. Maier-Preusker 1991, pp. 164-65, 175, nos. C9, C25 (included among works known only from literary sources).

27. As noted in Snoep 1969, p. 291, citing Evelyn (wrongly as in 1639 ). Catalogued in Maier-Preusker 1991 as nos. A29 (fig. 51), A61. On the Oranjezaal, see also Van Gelder 1948-49.

28. On the illusionistic frieze of figures formerly at Honselaarsdijk, which was apparently painted by Pieter de Grebber and Paulus Bor, see Snoep 1969, pp. 289-91, figs. 6, 6a, 6b, 9-12; Morren, Meischke, and Vander Wyck 1990, pp. 206-8; Amsterdam I995, pp. I25-28; and The Hague I997-98a, pp. 43-44, fig. I2.

29. These works are lost, and the building was pulled down in I783. See Maier-Preusker 199I, pp. 165-66; the chronological list on pp. I74-76; and nos. C10, C13, C16.

30. As noted in Van Gruting 1995-96, pp. 67-70 (kindly brought to my attention by Marten Jan Bok). On the theme of Diana and her companions in decorations at the Dutch palaces, see Snoep 1969, p. 289, citing earlier literature. For other examples by Van Couwenbergh, see Maier-Preusker 199I, nos. Ar6-Ar9. For Van Honthorst's portrait of Frederick Hendrick's wife, Amalia van Solms, as Diana (I632) and other Dutch portraits "en Diane;' see Tiethoff-Spliethoff's essay in The Hague 1997-98b, p. 171, fig. I59.