Пост 147. . Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 62

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·

120. Montias 1982, pp. 79, 207.

121. Montias in Delft I994, p. 43.

I22. See the translation of the passage from Huygens's diary in Liedtke I995-96, p. 9.

123. Hofrichter in Milwaukee 1992-93, pp. 9-10, makes this comparison and also

relates Bramer's cavernous temples to those depicted by Rembrandt at about the

same time. A dear example of Bramer's response to Rembrandt in the 1630s is

The Raising of Lazarus in the Narodni Galerie, Prague (Delft I994, pp. I22-24,

no. 25, where Rembrandt's large etching is compared). Rembrandt's Judas

Returning the Pieces of Silver (private collection, England) is also supposed to

have influenced Benjamin Cuyp and Paulus Lesire about I630 in Dordrecht (see

Chong and Wieseman's essay in Dordrecht I992-93, p. I8, fig. 11 ). In any event,

their dramatic biblical scenes of the I630s form an obvious parallel with

Bramer's work and make De Vlieger's response to Rembrandt in Christ on the

Sea of Galilee (fig. 72 here), which was painted in Delft in I637, less surprising

than it otherwise might be. Two similar treatments of the subject by De Vlieger

are known (see Kuretsky in Washington, Detroit, Amsterdam I980-8I, no. 74).

124. As noted by Montias in Delft I994, p. 43, citing Bredius's Kunstler-Inventare

(without further specifics). Montias (1982, p. 207) and Slatkes (1992-93, p. 16)

claim that Bramer and other Delft artists bought their colors from Volrnarijn

in the late I640s, which is a rare instance of posthumous sales (he died in I645 ).

I25. Delft I994, p. 43.

126. De Bie 166I, p. 252, quoted and partially translated in Delft I994, pp. 27-28.

I27. As maintained in C. Brown I981, p. 53; see also Appendix C, pp. 162-63,

on decorative murals in Holland. On Van Honthorst's ceiling painting in

the Getty Museum, Los Angeles, see Judson and Ekkart 1999, pp. 2I-22,

and no. 286, fig. I7I.

128. See also Bramer's Ceiling Design with the Seven Virtues (Hermitage, Saint

Petersburg), in Delft I994, p. 200, fig. 26 (also pp. 63-67 on the decorative

commissions).

129. Terwen and Ottenheym 1993, pp. I63-72, figs. 189b ( colorplate of the center

of the ceiling), 198a (general view of the room today). See also Ottenheym's

essay in Rotterdam, Frankfurt I999-2000, pp. 46-48.

130. See The Hague 1998-99a, pp. 311, 360, on these artists.