Пост 53 (22). Вермеер и Дельфтская школа. Часть первая. Примечания

57. This paragraph is based upon Giltaij in Rotterdam 1991, p. 219.

58. Ibid., p. 215, no. 43.

59. See Worcester 1979, no. 34, for an undated painting by Van Vliet that includes the monument, and a photograph of the monument itself. As Welu (in Worcester 1979, no. 34) notes, the monument is also seen in Van Vliet's view  of the Oude Kerk dated 1654 in the Rijksmuseum, Amsterdam (see fig. 122 here). De Witte's panel of about 1651-52 formerly in the VanDuyn collection, Rotterdam (Liedtlce 1982a, fig. 77), shows the Van Lodensteyn monument as the main focus of attention, whereas in the early painting exhibited here (cat. no. 91) it merely adds two picturesque putti to the scene.

6o. For the whole story, see Montias I989, pp. 207-9, 333-34 (doc. no. 341). Montias wisely cautions that their criticism may have been exaggerated by the Fromantiou faction and that there were few Italian pictures in the Netherlands by which connoisseurs might judge controversial works. On the Reynst collection, see A.-M. S. Logan 1979 (pp. 90-95 on The Hague debate).

61. In Montias 1982, pp. 222-26 (table 8.2), are found numerous unattributed pictures in Delft inventories, and many of them were presumably by artists working in Delft.

62. As noted by Vermeeren in The Hague 1998-99a, p. 57, and by Edwin Buijsen in lectures related to that exhibition: "Hoe 'Haags' waren de Haagse schilders in de Gouden Eeuw?" and ''The Market for Paintings in 17th-Century The Hague?'

63. Slive 1995, p. 139.

64. On the "discovery'' of Vermeer by the French art critic Theophile Thore (who used the pseudonym William Burger and is generally known as Thon~Blirger), see Blankert 1978, pp. 67-69, and Broos in Washington, The Hague 1995-96, pp. 59-61. On Fabritius's reputation in the nineteenth century, see C. Brown 1981, pp. 64, 81-83.

65. See Montias 1989, p. 2I2.

66. C. Brown I98I, p. 152 (doc. no. 23).

67. On the question of a commission, see most recently Liedtlce 2ooo, p. 82.

68. On Potter's painting, see The Hague 1994-95, no. 15.

69. Montias 1989, chap. 13.

70. Ibid., p. 261.

71. For the engraving and inscription, see Delft 1994, pp. 19-21, fig. 5.

72. See Liedtke 2ooo, pp. 153-54, 163-69, 176-77.

73· See Sluijter in Lei den 1988, p. 38 (also mentioned in Israel 1995, p. 750 ). For the source quoted in full, see A.-M. S. Logan 1979, pp. 83-84, n. 96.