Пост 84. Вермеер и Дельфтская школа. Часть 2. Дельфт и искусство до 1600 года, Вальтер Лидтке, 30

34. The question of a tradition of figure painting in Delft was raised by Marten Jan Bok in conversation (1999), and I am grateful for the insight. Some readers may miss here a reference to Anthonie Blocklandt, who is briefly considered below.

35. Quoted by Eisler (1923, p. 29), malcing the most of it.

36. On the building and rebuilding of these Delft churches, see the essays by G. Berends and R. Meischke (Oude Kerk) and by G. Berends (Nieuwe Kerk) in Delft I979-80, pp. 32-38, 38-40. Also useful is Kunstreisboek voor Nederland I969, pp. 392-95, and Wijbenga I990.

37. See Montias 1982, pp. I7-20.

38. On the rise of Protestantism in Delft, see M. A. Kok in Delft 1979-80, pp. 108-13 (p. III on this incident). On the strict discipline exercised by the Protestant Church in Delft from I572 onward, see Abels and Wouters I994,

vol. 2, which has a summary in something like English on pp. 406-I2.

39. Montias I982, p. I9, on both pulpits.

40. As noted in Bangs I997, p. 35, figs. 2I, 22, citing earlier literature.

41. Montias I982, pp. 9-10. On the glass in Gouda, see Van Eck and Coebergh-Surie I997.

42. Scheller I972, p. 42. Miedema in Van Mander/Miedema I994-99, vol. 4, p. 7I, also notes that Lucasz was paid in I539 for painting and repairing a statue of the Virgin for the tower in the Nieuwe Kerk in Delft.

43. As noted in J. Wijdeveld's brief essay on Musius, in Delft I979-80, p. I66.

44. See Veldman 1977, pp. 62-69.

45. Translated into Dutch by J. Wijdeveld in Oosterbaan I973, p. I42.

46. See J. Wijdeveld in Delft I979-80, p. I66.

47. Grosshans I980, no. 25, fig. 28.

48. The original is dated about I540 in ibid., no. V18, fig. I38 (the copy in the Wallraf-Richartz-Museum, Cologne).

49. This reference to Braun is borrowed from Veldman I977, p. 97, where Braun and Hogenberg I572-I6I8, vol. 3, fol. 29r, is cited.

50. Van Mander/Miedema I994-99, vol. I, p. 242 (fol. 246r).

51. Grosshans I980, no. 76, fig. 109. See also Van Mander/Miedema I994-99, vol. 4, pp. 84-85.

52. Van Bleyswijck I667-[80], vol. I, pp. 124-26.

53. Grosshans I980, no. 64, fig. 94.

54. Ibid., no. 89, figs. I22, I23, and Van Mander/Miedema I994-99, vol. 4, figs. 5I-55. Daniel and Ezekiel stand on the exterior.

55. Grosshans I980, no. 95, figs. I30, I3I, and Van Thiel et al. 1976, p. 264.

56. Grosshans I980, no. 99, fig. I35. See also Van Mander/Miedema I994-99, vol. 4, p. 84, fig. 56.

57· See Amsterdam I860 and Beydals I937.

58. As noted in Grosshans I980, pp. I5, 223, n. 6.

59. Miedema 1985, p. 93·

6o. Montias I982, p. 25, and Van Mander/Miedema I994-99, vol. 4, p. 84.

61. Van Bleyswijck I667-[80], vol. I, p. 248. See also G. Th. M. Lemmens in Delft I979-80, p. I47, and Montias 1982, p. 27. Van Scorel himself was the painter of the high altarpiece (destroyed) in the cathedral of Utrecht.

62. Montias I982, p. 27.

63. This paragraph is mainly based on G. Th. M. Lemmens's account in Delft I979-80, p. 147, fig. 270. On the Wezelaar Triptych (named for a Haarlem collector of the I890-x), see DeJonge I953 and London I970, no. S. Molly Faries, who studied the triptych's underdrawings, assigns it to an unidentified follower of Van Scorel (oral communication with Jeremy Bangs, reported in Bangs I997, p. 119 ).