Пост 52 (21). Вермеер и Дельфтская школа. Часть первая. Примечания

47. For an introduction to the subject of Huygens as artistic adviser to Frederick Hendrick, see The Hague 1997-98a, pp. 31-32, and the essay by Vander Ploeg and Vermeeren, pp. 34-60; and Ottenheym's essay on architecture in The Hague I997-98b, pp. 105-25. See Huygens 19n-17 for his correspondence.

48. As is evident, for example, in Washington, The Hague I99S-96, p. so. Broos relates that when Pieter Teding van Berkhout was on his way to visit Vermeer on May 14, I669, he encountered Huygens and two other gentlemen, an ambassador and a member of the Dutch parliament: ''Although it does not say explicitly that all four men visited Vermeer, we may assume that Huygens and his friends did not linger at the city gate." But would Huygens, then seventy-three years old, and his political colleagues drop their plans in order to tag along with young Teding van Berkhout? And if they did, would the diarist have failed to record the fact?

49. Montias 1989, chap. 13.

50. See Liedtke 1995-96, pp. 9-n, for Huygens's account of Rembrandt and Lievens in Leiden

51. See Van de Wetering in Melbourne, Canberra 1997-98, pp. 58-62, on art lovers visiting studios in the seventeenth century.

52. On Van de Venne, see Royalton-Kisch 1988 and Bol 1989; on De Gheyn, see Van Regteren Altena 1983; on Hanneman, see Ter Kuile 1976; on De Bisschop, see Amsterdam 1992a; on Van Campen, see Amsterdam 1995; and on Post, see Terwen and Ottenheym 1993.

53· Huygens had close relationships with many Catholics; Van Campen became a convert in later life. Frederick Hendrick protected the Remonstrants from abuse by orthodox Calvinists (see Israel 1995, pp. 491-96, 512-25, 534-36).

54. On Huygens's enthusiasm for the camera obscura, see Wheelock 1977b.

55.  A good introduction to the subject is Sluijter's essay in Leiden 1988, especially pp. 36-45 on "Lief-hebbers vande Konste?'

56. This account ofTeding van Berkhout's visits to artists is talcen from Montias 1993, p. 48, in which Schmidt 1986, p. 2n, n. 41, is cited. See also Giltaij in Rotterdam 1991, p. 219, n. 3, and Broos in Washington, The Hague 1995-96, p. so. Montias gives the original French and an English translation (used here). According to his transcription, the next line after the one ending "consists in the perspective" concerns a walk to the marketplace, speaking with a few friends, and then calling on a cousin, C. Bogart, "to see his paintings?' But the next line after "perspective" in the diary itself, to judge from the photograph of the page in Washington, The Hague 1995-96, p. 50, fig. 4, is "Je vis ensuite rna Tante Lodensteyn, avec laquelle je retournoijs a La Haye?' See also Plomp 1996a for a tour of Delft in the company of Teding van Berkhout.