Пост 148. . Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 63

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, I64I).

I37. See Delft 1994, pp. 2I -25, on three fresco projects by Bramer ( I653, I657, 1660 ).

I38. The last comparison is made in ibid., p. 55, fig. IO (C. Saftleven's Trials of  Job ofi63I in the Staatliche Kunsthalle, Karlsruhe).

139. See Van Regteren Altena I983, vol. 1, pp. 87-89, vol. 2, cat. 11, nos. 510-31.

I40. Delft 1994, pp. I34-36, no. 30.

141. The subject deserves further study; Elsheimer's work in Rome and Hendrick Goudt's engravings after several of his paintings were central to the development. On nocturnes of various kinds, see Munich 1998-99.

142. Plomp in Delft I994, pp. 183-84, 311-I9 (complete list ofknown material).

143. Ten Brink Goldsmith 1984, p. 32.

144. Delft 1994, p. 317, no. 30; see also Ten Brink Goldsmith 1984, p. 23.

145. Delft 1994, p. 314, nos. 22, 23. Ten Brink Goldsmith (1984, p. 23) refers to the Aeneid and The Lift of Alexander the Great as "listed in the I69I catalogue of the book collection of Dr W. Snellonius, who was apparently a famous scholar." According to Van der Aa 1852-78, vol. "S", pp. 251-52, the short-lived Willebrord Snell van Royen (1591-1626) was an authority on optics and triangulation who

had several major publications to his credit. But this Snellonius cannot be the scholar in question. Perhaps another member of the family was the owner.

146. See Van den Brink 1993 on the series of drawings by Bramer, and The Hague 1997-98a, nos.5, 29, on VanDyck's canvas for the Stadholder's Quarters (the Amaryllis and Mirtillo at Schloss Pommersfelden) and on the Pastor Fido series of paintings made about 1635 for one of Amalia van Solms's rooms at Honselaarsdijk. On G. B. Guarini's play as translated into Dutch by Hendrick

Bloemaert (I650), see Roethlisberger 1993, no. H111, and pp. 594-95.

147. Bramer's Straatwerken are discussed and catalogued in Hempstead 1991.

148. See above, pp. 56-57 and nn. 71, 72.

149. Compare Gerard Dou's canvas Prince Rupert of the Palatinate and His Tutor in Historical Dress of about 1631 and the pendant by Jan Lievens, Prince Charles Louis of the Palatinate with His Tutor Wolrad von Plessen in Historical Dress) of 1631, both in the Getty Museum, Los Angeles. Although one would never guess it from the title, these two pictures are the sole subject of C. Brown 1983. The tutor in Dou's painting may be, like Plessen, a member of the Palatinate suite. Wansink ( I987, p. 9) doubts that Van Vliet's tutor and children are also portraits, but the possibility deserves further consideration.

150. See Westermann I997, pp. I93-200, on "Pier the Droll: Sources of Farcical Jan"

I5I. See above, p. 44 and n. 9.