Пост 86. Вермеер и Дельфтская школа. Часть 2. Дельфт и искусство до 1600 года, Вальтер Лидтке, 32

86. See Montias I982, p. 55, for this quote and some of the information in this paragraph. On Van Buchell, see also Pollmann I999

87. Houbraken I7I8-2I, vol. I, p. I78; the author adds that as a result Grimani's later portraits were less highly regarded than his earlier works. See also Montias I982, p. 234, on an occasion in I62I when Van Miereveld ("assisted by Willem Willemsz. van Vliet") criticized a copy by Grimani, which the latter had boasted and bet would be better than the original.

88. Van Mander/Miedema I994--99, vol. I, p. 4-50 (fol. 298r), vol. 6, p. 104. See also Bredius I885, p. 3, and Montias I982, p. 287.

89. See Montias I982, pp. I38, I98, and especially 258.

90. Van Thiel I999, p. 114, nos. 76, 77, 295, pls. 112, 113. The series looks forward to Bramer's thirteen-panel series depicting The Passion: see Delft I994, pp. 112-14-, no. 21.

91. Van Thiel I999, no. 2, pl. I5o.

92. Ibid., no. I7, pls. I62, XXI.

93. On Wyntgis (or Wyntjens ), see Van Mander/Miedema I994-99, vol. 2, p. 75 (correcting Montias I982, p. 55), and Van Thiel I999, pp. 297-98. Van Mander's book of 1603, Den grondt der edel vry schilder-const, is dedicated to Wyntgis.

94. Montias I982, pp. 55-56.

95. See Osaka, Tokyo, Sydney I990, p. 49, fig. 27, no. 19a, for an attribution. See also Briels 1987, pp. 237-38, fig. 302.

96. Montias I982, p. 56, citing Bredius 1885, p. 2.

97. Montias (I982, p. 56) makes the point but gives the date of death as I604. Van Mander died in Amsterdam on September 11, 1606 (as noted, for example, by Pieter J. J. van Thiel in Amsterdam I993-94-, p. 310 ).

98. The quotes are from Montias I982, pp. 55, 58, 6o.

99. Ibid., p. 42.

100. The two quotes are parts of a single sentence in ibid., p. 43.

101. In this passage, Montias (ibid., p. 56) mistakenly refers to Rochus Jacobsz Delff (I572/79-I6I7) rather than to his father, Jacob Willemsz Delff (ca. I550- I60I ). For illustrations of several group portraits by J. W. Delff, including his fascinating portrait historic of 1584, The Reconciliation of jacob and Esau (Kunsthistorisches Museum, Vienna), see Ekkart I989.

102. For example, the Company of Corporal ]onge jan Adriaensz van Veen (Frans Halsmuseum, Haarlem), of which Van Mander wrote: "that was in the year I583 when I first came to live in Haarlem and I was very surprised to find such painters here. This is very effectively designed and all the sitters communicate their habits or inclinations by their gestures" (as quoted in Van

Thiel 1999, p. 386, under no. 242).

103. The remark made by Ineke Spaander under "Delft" in Dictionary of Art 1996, vol. 8, p. 667, to the effect that "the southern Netherlanders had a relatively minor influence on local painting" (in contrast to the decorative arts) is flatly wrong, and evidently a misunderstanding of something another writer wrote.

104. On Potter's supposed role, see Eisler I923, pp. I78-87, and Plomp in Delft I996, p. 39. C. Brown I98I, chap. 3, discusses "Fabritius and the 'Delft School.'" The names of Saenredam and Maes have been invoked in specialized studies of architectural painting and genre painting in Delft, respectively; the literature on and the parts played  by these artists are discussed in

Liedtlce 2ooo, pp. 87-92, 145-48, I62-63.