Искусствовед

131. This appears to have been Post's usual approach. He was the architect of the  Huis ten Bosch, but the decoration of the Oranjezaal was left to Huygens and  a team of painters working under the supervision of Jacob van Campen. Post  himself was clearly not the painter of the circular balustrade with cupids in  the main room of the Huis aan de Boschkant in The Hague or the illusionistic ceilings of other houses he built in the I64os; on the latter, see Terwen and  Ottenheym 1993, pp. I22-23, figs. 141a, 141b (photographs of about I900 ). 132. Delft I994, pp. 200, 262-65. 133. By Plomp in ibid., p. 200, fig. 25 (the same drawing is discussed on p. 245  with no reference to the illustration). I34. Ibid., p. 63, fig. 2I, and p. 207, n. 61. See also Milwaukee 1992-93, nos. 54, 55,  for drawings depicting musicians and other figures at foreshortened balconies. I35. As noted by Plomp in Delft 1994, p. I84. 136. Evelyn I952, pp. 29-30 (entry for September I,

110. Baldinucci I845-47, vol. 4, p. 527. 111 . For the engraving and inscription, see Delft I994, p. 20, fig. 5, and p. 68. Meyssens also states that the works Bramer made for Farnese were both large and small. 112. See Delft I994, p. 53, and C . Brown I995a on Farnese and Scaglia. On Wals, see Repp I985. 113. Huys Janssen in Delft I994, pp. I4-I6, and C . Brown 1995a, p. 47. 114. See MacLaren/Brown 199I, pp. I90-9I. 115. On this point, see Slatkes 1992-93, p. I4. 116. The document is listed by Huys Janssen in Delft 1994, p. 16. The preceding lines on Tassi depend upon Plomp and Ten Brink Goldsmith's essay in the same catalogue, pp. 52-53, figs. 6, 7 (shipwreck scenes by Tassi and Bramer), and pp. 98-99, no. 14. 117. C. Brown I995a. 118. For Bramer's painting on slate in the Museum Bredius, see Delft 1994, pp. 90-91, no. 9 , where Wichmann's reference to Petti is supported. 119. Hofrichter in Milwaukee 1992-93, no. 4·

93. As noted by Maier-Preusker 1991, under no. CI6, citing this engraving in Slothouwer I945, fig. 42, where the connection with Van Couwenbergh was missed. The subject, if not the composition, recalls Rubens's free copy after Titian (Nationalmuseum, Stockholm). 94. Maier-Preusker I99I, no. C54. See also C55, recording a painting done for the cloth hall (Lakenhal) in I645, at the city of Delft's expense. At the time, the cloth hall had just b 9 een moved to part of the Prinsenhof 95. Slothouwer I945, pp. I51, 308, under 737 fol. 12v, and Maier-Preusker I99I, no. C56. 96. See chap. I, p. IO, and especially n. 26. In the same passage of the Oude Hofthere were two paintings, views of Honselaarsdijk and Huis ter Nieuburch, for which Reynier Claessen was paid I60 guilders apiece in I647 (Slothouwer I945, p. 309, under 737 fol. 92 ). Perhaps this artist is related to the Jacob Classon who painted a landscape with a view ofHuis ten Bosch: see The Ha

76. See Rotterdam, Frankfurt 1999-2000. 77. For these works by De Gheyn, see Van Regteren Altena 1983, cat. IIP,  nos. 3-6, 13, pis. 4-7, 11. 78. The attribution of A Teacher Instructing His Pupils (fig. 6o) to Van Vliet  and its relationship to the works by De Gheyn were first considered in  Wansink 1987, pp. 8-9, figs. 10-12. A date of about 1626-28 seems plausible.  The De Gheyns are catalogued in Van Regteren Altena 1983, cat. IIP,  nos. 18, I9, pls. I7, 19. 79 . Possibly of circumstantial interest is the Lot and His Daughters by Van  Couwenbergh that was owned by Judith Willems dr van Vliet when she  died, in I650 (Maier-Preusker 1991, p. I67) - of interest, that is, if she was Van Vliet's daughter. 8o. Ibid., p. I65. 81. See ibid., pp. I76-86, figs. 13- I8. 82. Compare ibid., figs. I, 2, 10; the woman in figs. 6, 7, 9 ; the man in figs. I5,  18-20. There are many other examples not illustrated in the article. 83. See ibid., pp. 173, 183-84, fig