Пост 146. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 61

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 b9een 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 Hague 1998-99a, p. 294, ill.

97. Van Gelder 1948-49, p. I58, no. 17, fig. 23, and p. 164, no. 109, figs. 22, 24, and

Maier-Preusker I99I, nos. A29, A6I. The doors and especially the trophies of arms and armor recall two of Rubens's tapestry designs in the Decius Mus cycle: see New York 1985-86, nos. 2I6, 2I7. Could the octagonal cupola have been painted by Van Couwenbergh rather than by an unknown "pupil of Van Campen" (Brenninkmeyer-de Rooij I982, pp. I50-5I, fig. 27)? The foreshortened putti dangling among the clouds recall the staircase ceiling "painted with the 'Rape of Ganymede' and other pendant figures" by Van Couwenbergh

in Honselaarsdijk palace and described by Evelyn in 1641 (see chap. 1, p. 10, and, on Evelyn, n. 23).

98. See chap. I, n. 28.

99. See Delft 1994, p. 21.

100. As noted in Maier-Preusker I99I, p. I72.

101. On the Cologne period, see ibid., pp. I72-74, 210, figs. 20, 21, 55, 56.

102. For example, Eric Jan Sluijter in Delft I98I, p. I74·

103. Slatkes I992-93, p. I6. On Volmarijn, see above, n. 71. Despite the adjustment

suggested here, Slatlces's essay is highly illuminating on the subject of Bramer's relationships with such Caravaggesque painters as Louis Pinson, Wouter Crabeth the Younger from Gouda (Bramer's housemate in Rome about I6I9-22 ), and Van Couwenbergh.

104. See, for example, Van Couwenbergh's Cimon and Pero of I639 in the Staatliche

Kunsthalle, Karlsruhe, and the sexy Diana scene (resembling a coed bathhouse with dead game) dated 1653 in a private collection, Vienna (Maier-Preusker I99I, nos. A16, A27, figs. 41, 48).

105. The painting by Hendrick van Vliet was previously published in Liedtke  I992-93a, p. 28, fig. 23. The subject and style recall Crijn Volmarijn's Christ with Nicodemus of 1631 in the Ten Cate collection, Hilversum (see above, n. 7I ).

I06. Van Bleyswijck I667-[8o ], vol. 2, p. 852.

107. See Eric Jan Sluijter in Delft 1981, p. I75, fig. 173, making too much of

Verschoor. De Witte's early history paintings are discussed in Manke I963 and in Liedtke 2ooo, p. I22. On the De Hooch, see Sutton I980a, no. 3. Vermeer's lost but recorded history pictures are cited below, p. I50 and n. 87.

108. On Bramer as a possible teacher of Vermeer, see Wheelock in Milwaukee I992-93, pp. I9-22. One might wonder whether Bramer's teacher was his father, Hendrick, whom Huys Janssen describes as possibly "the same as the painter of equestrian pieces" (Delft I994, p. I3). However, what little evidence is known contradicts this, as is noted in Plomp I986, p. 104, n. 4.

109. For Van de Venne's biography, see Royalton-Kisch 1988, p. 38. C. Brown (I995a, p. 46) considers Wichmann's suggestion that Bramer studied with Van de Venne "very attractive", but the hypothesis is rejected by J. W Noldus in Dictionary of An I996, vol. 4, pp. 656-57.