Искусствовед

209. See Van Ackere I972 for numerous examples. 210. For example, in Gombrich 1972 and Gombrich 1975. 211. See Liedtke 2000, pp. 94-104, where the same argument is presented in greater detail. 2I2. The quote and these details are taken from Montias I982, p. 252. One would like to know if Mesch acquired some of Tristram's De Mompers. 213. See the essay by Vander Ploeg and Vermeeren in The Hague I997-98a, p. 59. 2I4. See my discussion of Van Coninxloo's role in New York 1985-86, pp. 282-83 (borrowed by Sutton in Amsterdam, Boston, Philadelphia I987-88, p. 21). 215. See Jansen on landscape painting in Middelburg in Amsterdam I984, pp. 100-10I (including the work of Christoffel van den Berghe, Maatheus Molanus, Jacob van Geel, who was active in Middelburg about I6I5-26, and Johannes Goedaert). On landscape painting in Rotterdam, see De Jager's essay in Rotterdam I994-95, pp. 95-104 (on Abraham van de Rande, Jacob de Villeers, Willem

188. As discussed in Rotterdam I99I, no. 10. 189. Montias 1982, p. I53, without citing a source . I90. See L . de Vries 1975, p. 25 and n. 6, and Liedtke 1982a, p. 29. 191. See the biography and sources cited in Rotterdam 1991, p. 163, and also The Hague I998-99a, p. 317. I92. Wheelock I975-76, p. 169. I93· On the Court Style of architectural painting, see Liedtke I991a. For a more  extensive discussion of the points made in this paragraph, see Liedtke 2000,  pp. 94-97. Of particular interest, perhaps, is the Florentine architect Costantino de' Servi (I554-I622), who worked under Inigo Jones's supervision (about  1610-12) for Henry, Prince of Wales (d. 1612) and in I6I5 designed a palace  for Prince Maurits to be built at the Binnenhof (on the site of the  Stadholder's Quarters, fig. 6). De' Servi made designs and wood modelli for  the project, a practice Van Bassen adopted later on. I94. See chap. I, n. 21. 195. See Liedtke 199Ia, pp

167. See Liedtke I985 and Liedtke 1996. I68. Montias 1982, pp. 198-99, also citing two other "temples" by Van Bassen, one with Saint John healing the cripple and another with the story of Zacharias (John's birth foretold in the temple by the angel Gabriel). 169. See Wagner 1971 on Van der Heyden, and the catalogue in Manke 1963 for De Witte's various invented and actual views. Jantzen 1910 (or Jantzen 1979) is still useful as a survey of Dutch and Flemish architectural painting. 170. The Rotterdam specialists Anthonie de Lorme and Jan van Vucht are discussed in Liedtke 2000, pp. 99-100, 102, 108. See also Rotterdam I99I, no. 48, for one of Van Vucht's more elaborate efforts. In a contract of I635 Van Vucht agreed to deliver annually a picture with twelve columns, and in the fifth year a painting with forty-eight columns. I7I. See Kuyper I980, chap. 7, and Ottenheym's essay "'Possessed by Such a Passion for Building&

152. For example, Weiher 1937, Wiirtenberger 1937, Bouchery 1957-58, and  Plietzsch I956 (see also Plietzsch I960, p. 34), which are reviewed in Liedtke  I984b. On Pot's frightful allegory of the death of William the Silent, see Van  Bleyswijck 1667-[80 ], vol. 1, p. 127, and Eisler 1923, pp. 90, 148. I53· For all of these artists, see Philadelphia, Berlin, London 1984. Codde-like  interiors by Duck and by Jan de Heem in Leiden date from as early as 1628  (Salomon I998a, fig. I, and Philadelphia, Berlin, London I984, p. I75, fig. 1).  Van de Venne is of interest mostly as an illustrator, but see his Musical Company in the Rijksmuseum, Amsterdam (no. AI769), which is dated  I63[?] (Bol I989, fig. 88). On Van de Velde, see Keyes I984. 154. See Montias 1982, pp. 51, 121, 134. 155. See Delft 1998, pp. I98-201, figs. 256-60, and nos. I37, I38. 156. As discussed in Liedtke 1984b; Liedtke I988; and Liedtke 2000, chap. 4,  where the term "South Holland" (meani