Пост 149. . Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 64

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" (meaning the region that later became the province of South Holland) is borrowed from studies of seventeenth century portraiture. On the influence of Hans Vredeman de Vries, see

Schneede 1967; Liedtke 1970; and Rotterdam 1991, pp. 52-65.

157. See, most recently, the discussion in Liedtke 2000, pp. 152-54. Several collaborations

between Dirck van Delen (who painted the elaborate domestic interiors) and Dirck Hals (the numerous figures) are known, for example, in the National Gallery of Ireland, Dublin (I629); in the Frans Halsmuseum, Haarlem (1628); and in the Gemaldegalerie der Akademie, Vienna (1628).

See Potterton 1986, pp. 32-33, fig. 42, and Trnek 1992, pp. 166-70.

158. Keyes 1984, pp. 169-79.

159. The figures are clearly by Palamedesz in a number of paintings by Van Delen, and in one church interior of I644 the artists jointly signed: see Blade I976, pp. 59-61, 140-41,239, no. 72, fig. 64. Dumas (1991, p. 31, figs. 28, 29) plausibly considers the Interior of the Ridderzaal of 1651 (on loan from the Mauritshuis, The Hague, to the Rijksmuseum, Amsterdam) to be by Van Bassen and Palamedesz; however, in Van Thiel et al. I976, p. 190, it is ascribed to Van Delen.

I60. Cavalry fights, which might be considered a kind of genre scene (they are closely related to guardroom pictures), were strongly represented in Delft as a specialty of Palamedesz's brother, Palamedes Palamedesz (see cat. no. 49). But dozens of artists painted them in other cities (see Delft 1998), Esaias van de Velde being one of the most influential (see Keyes 1984, pp. 103-15).

Pictures of this type were often purchased in Delft, but they are not distinctive of the local school and are therefore not surveyed in this essay.

161. See Montias 1982, p. I98, citing pictures by Van Bassen and Van de Velde valued in a Delft lottery of 1626 at 108, 150, and 162 guilders.

162. See the present writer's entry in New York 1992-93, no. 13.

163. See, for example, Salomon 1998a, fig. I (1628), pls. II-V. Another work by Van Velsen that reveals the influence of Duck is a panel said to be signed and dated I632 depicting mercenary soldiers talcing over an old couple's farmhouse (sold at Lempertz, Cologne, November Io, I93I, no. I93; and again on November I5, I960, no. 216). Compare also Duyster's Soldiers beside a Fireplace of about 1630 in the Philadelphia Museum of Art (Philadelphia, Berlin, London 1984, no. 42, pl. 37).

164. Assuming that the seven-figure Merry Company in the Khanenko collection, Kiev (Collection Khanenko 1912, no. 10I) is actually by or after Palamedesz, not by Van Velsen in about 1631. The figure style, the conventional lighting and poses (three figures are seen from the rear), the small heads, the silly smiles, and the amount of furniture all indicate that this is a work by the older artist.

165. Eric Jan Sluijter in Delft 1981, p. 178, also finds Van Velsen of interest for Vermeer.

166. The document is described in Montias I982, p. 198. See Keyes 1984, p. 175, no. XVII, pl. 358 (location unknown). On the value assigned to the pictures by Van Bassen and Van de Velde, see above, n. I6I.