Пост 143. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 58

43. See chap. I, n. 29. On Van Couwenbergh's family portraits, see Maier-

Preusker 199I, pp. 206-8, figs. 52-54, and nos. A37-A42.

44. Montias 1982, p. 194.

45. See Eric Jan Sluijter in Delft 1981, pp. 176-77, on this point.

46. Ekkcart (I995, no. 68) discusses Johannes Verkolje's Portrait of a Huntsman)

1672, in the Museum Boijmans Van Beuningen, Rotterdam, and refers to

other works. See also Verkolje's family portrait with musical instruments of

1671 in the Ruzicka Foundation, Kunsthaus, Zurich. However, Verkolje,

from Amsterdam, settled in Delft only about 1673. Haak (1984, p. 453, fig.

995) represents Delft portraiture with a canvas painted by Michiel Nouts in

1656 (Rijksmuseum, Amsterdam), but almost nothing is known about the

artist, including his whereabouts at the time.

47. Compare Bailly's Portrait of a Man, Possibly a Botanist of I641 (Metropolitan Museum) with portraits by Van Miereveld and Willem van Vliet (for example, fig. 47). See my discussion of the Bailly portrait in Metropolitan Museum, I984, no. 29.

48. See Montias 1982, p. I2I. Delff's house was valued at 3,200 guilders in I63I,

and Palamedesz's at 3,400 guilders in 1638, when the median price of houses

owned by painters registered in the Delft guild was 1,383 guilders.

49. Both quotes are from ibid., p. 181.

50. C. Brown 198I, p. 43.

51. The reference here is to Jantzen 1910 and Eisler 1923; both scholars had written about Delft in earlier essays.

52. Montias 1982, p. 139 (see also pp. 101-2).

53. Eric Jan Sluijter, pp. I72-77, and J. Michael Montias, p. 197, both in Delft

1981. Montias's essay is a translation ofMontias I978-79.

54-. Montias I982, p. 177 (see also pp. 256-57), and in conversation (November

1999 ).

55· Amsterdam 1993-94-, p. r86, figs. 25, 26. The engraving, Allegory of the Well-Being of the United Provinces, was reprinted in 16o8 and in I6I9 to reflect

upon political events.

56. Van Mander/Miedema I994--99, vol. I, p. 102 (fol. 211r). Miedema in Van

Mander/Miedema 1994--99, val. 2, p. 331, observes that, according to Van

Mander, large canvases were made as cheap substitutes for tapestries. This suggests that Jordaens's copies were full-scale. The document is also interesting for Rubens's first large hunting pictures, which were probably made as surrogate

tapestries (see my discussion of A Wolf and Fox Hunt in Bauman and Liedtke 1992, p. 196).

57· See Fock 1969 and Liedtke 1989, p. 294, pl. 173, for the Nassau Genealogy,

and Van Mander/Miedema 1994--99, vol. 2, p. 324, on the sources of Van

Mander's information.

58. Van Mander/Miedema 1994--99, vol. 1, p. 290 (fol. 258r); vol. 3, p. 217, n. 51, on the question of journeymanship with Van Cleve; vol. 4, pp. 173-74, on

documents concerning Jordaens's life. He was enrolled in the Antwerp

guild as an apprentice in 1572, joined as a master in 1581, took on a pupil in

1585, and is recorded in the accounts for 1585-86. Jordaens then moved to

Delft, where he is documented, for example, in 1597, 1605 (appraising with

Grimani), and 1612 (living on the Choorstraat). See also the biography in

Briels 1997, p. 344.

59. Briels 1997, p. 344 (n. 6 for the source). The landscape by Jordaens is reproduced in Briels 1987, fig. 318. The genre scene reproduced here (fig. 54; see also Briels 1997, p. 105, fig. 149) may be compared with paintings by Marten van Cleve (1527-1581) such as A Village Carnival of 1579 in the Hermitage, Saint Petersburg (Nikulin 1987, pls. 193, 194). For another genre painting by Jordaens, a Group at Table in the Gemaldegalerie, Dresden, see Van

Mander/Miedema 1994--99, vol. 4, p. 174-, n. 90, fig. 104.