Пост 85. Вермеер и Дельфтская школа. Часть 2. Дельфт и искусство до 1600 года, Вальтер Лидтке, 31

64. Grosshans (1980, pp. I4, 70, n. 39) cites the 1625 Cologne edition of Van Opmeer's Opus Chronographicum Urbis Universi (1611), p. 76. See also Veldman I977, p. 98.

65. Van Mander/Miedema 1994-99, vol. I, p. 234 (fol. 244r).

66. Delft I979-80, p. I48, fig. 278; see also Amsterdam I986, vol. I, p. I21, fig. 20I, and Van Mander/Miedema 1994-99, vol. 4, p. 6o, fig. 30.

67. See Kloek's entries in Amsterdam 1986, vol. 2, nos. 230, 231; a summary account of Aertsen's work in Delft is given in Amsterdam 1986, vol. I, pp. I2I -22, where the Amsterdam fragments are reproduced in color and diagrammed. Van Mander/Miedema I994-99, vol. 4, p. 6o, figs. 3I-33, supports the reconstruction and notes that Van Mander's reference to the

"high" altar is incorrect since Van Scorel had been assigned that location.

68. Van Bleyswijck I667-[80], vol. I, pp. 249-50; noted in Montias I982, p. 28.

69. Van Mander/Miedema I994-99, vol. I, p. 274 (fol. 254-r), offering a slightly different translation.

70. Montias (1982, pp. 252, 257 [table 8.5]) counts fourteen originals and seventeen copies after Blocldandt in Delft inventories of 1610 to I679. In 1653 the Delft dealer Abraham de Cooge struck a deal with his colleague Matthijs Musson in Antwerp to sell a triptych by Blocklandt for whatever they could get above the sum of 800 guilders (Montias I982, pp. 210-11, 214).

71. The Gouda panel is overestimated in Amsterdam 1986, vol. I, p. I53 (fig. 254), where analogies with Floris, Parmigianino, Schiavone, and Bartholomaus Spranger are drawn. Wouter Th. Kloek in Dictionary of Art 1996, vol. 4, p. I49, throws in Federico Zuccaro and Jacopo Bertoia but concedes that the Rijksmuseum painting (reproduced in Van Thiel et al. I992, p. 43) is "somewhat parochial in conception”.

72. However, Blocldandt was probably the "Mr. Anthony'' whose property was assessed for tax purposes in I568 (the distressing "tenth penny'' tax) at 1,200 guilders; see Montias 1982, pp. 32-33.

73. Amsterdam 1986, vol. I, pp. I50, I52, fig. 252, vol. 2, no. 322. The stylistic comparison with Blocklandt was already made by Van Mander, who cited a Judith by Van Miereveld; see Van Mander/Miedema I994-99, vol. I, p. 382 (fol. 281r).

74. Compare, for example, the copy of a Spranger drawing catalogued in Kaufmann 1988, no. 20.10; Goltzius's engraving Eloquence dated I584 (Strauss 1977, vol. I, no. 205); and Goltzius's drawing Minerva and Mercury, 1588, which was

engraved in that year, probably by Jacob Matham (Reznicek I96I, no. KI34, pls. 80, 81). In the last, Minerva seems a model for Van Miereveld's Pallas, on the right in his Judgment of Paris. On the related painting in Stockholm ascribed to Van Miereveld, see Cavalli-Bjorkman 1986, no. 40.

75· See Radcliffe I985, pp. 102-3, figs. 5-7, and Strauss 1977, vol. 2, no. 283, for The Large Hercules.

76. This is convincingly argued in Radcliffe I985.

77. See Veldman 1977, p. I04.

78. This was one of Goltzius's later subjects. On Van Tetrode in Italy, see the entry and bibliography by Wilhelmina Halsema-Kubes in Dictionary of Art 1996, vol. 30, pp. 530-31.

79. The quotes are taken from Montias I982, p. 32. See also D. P. Oosterbaan's pages (I973) reprinted in Delft I979-80, p. 150, on the contract and the role of  Pieter van Opmeer.

80. See Boon I965 and Veldman I993

81. Sr. Montias 1982, p. 228, note h, citing the inventory as published in BrediusI9I5-22, vol. 4, pp. 1456-58.

82. Van Mander/Miedema 1994-99, vol. I, p. 229 (fol. 242v).

S3. Ibid., p. 357 (fol. 274v); see also vol. 4, pp. 45 (Francken), 46 ("Apert Francen"). Although Ketel studied in Delft with Blocldandt about 1565, he is not part of our story. Being from nearby Gouda, however, he provides an interesting parallel with Delft artists at the time. He was back in Gouda in 1567-73, then worked in London as a portraitist, was influenced by Federico Zuccaro (in London during I575), and then spent the rest of his life in Amsterdam (I58I-I6I6). His painting done in I588 of a civic-guard company in the Rijksmuseum, Amsterdam, is interesting to compare with any group portrait of the next twenty years, but its style could be considered more typical of the northern area of Holland than of the southern. See Amsterdam 1993-94, pp. 32-33, and index; Rudolf .O. Ekkart in Dictionary of Art 1996, vol. I7, pp. 923-24; and Van Mander/Miedema I994-99, vol. 5,

pp. 116-60, figs. 73-82.

84. Dumas I99I, p. 3I7, and Van Mander/Miedema I994-99, vol. 4, p. 46, with further references.

85. Van Thiel I999, pp. 86, I67, 199, no. 302, suggests that the original was probably painted by the Haarlem master about 1588-1588-92. See also Plomp in Delft I996, p. 2I, fig. 8, on Van der Houve's copy, which is in the Herzog Anton Ulrich-Museum, Brunswick.