Пост 150. . Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 65

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': Frederik Hendrik and Architecture," in The Hague

1997-98b, pp. 105-25.

172. See Liedtke 1982a, pp. 28-29, fig. 6, pl. III, and MacLaren/Brown 199I, p.11;

also discussed in Liedtke 2000, pp. 95, 97.

I73· Dumas 1991, p. 98, fig. 5 (with earlier literature), and Liedtke 2000, fig. 126.

174. This view goes back to Jantzen I910. See L. de Vries 1984, pp. 138-39, rejecting

his own hypothesis that Saenredam intervened, in favor of the argument

presented in Liedtke 1982a, p. 38. The question is addressed again in Liedtke

2000, pp. 92-101.

I75· See Schwartz and Bok I990, pp. I49-51. Huygens's support of Saenredam

appears to have been directly related to his interest in the Romanesque

Mariakerk in Utrecht.

176. For biographies of the Vredeman de Vrieses, see most recently Briels 1997,

pp. 403-4. See Rotterdam 199I, nos. I, 2, for paintings designed by Hans

and executed by Paul in 1596 (both in the Kunsthistorisches Museum,

Vienna). Paul was born in Antwerp but his father was Dutch, having been

born and raised in Leeuwarden. On the triumphal entry into Amsterdam in

1613, see Snoep 1975, pp. 34-36.

177. Orenstein 1994, pp. 197-209 (pp. 188-9I for Hondius's own treatise of 1622 ).

178. Orenstein I996, p. 33.

179. De Bie 1661, p. 488. He also records that Hondius stayed in London and

Paris, where he visited the "art and treasure cabinets of various princes and

gentlemen:'

I80. Orenstein 1990; Dumas 1991, p. 649; and Orenstein 1996, p. 32. Dumas suggests

that the print was made in connection with the rebuilding of the

Stadholder's Quarters (the wing on the right, with the archway) in 1621.

181. See Rotterdam 1991, p. 8I, and the articles by Abraham Bredius cited there.

182. Sluijter-Seijffert I984, pp. 30, I63, nn. 30, 32, and p. 250.

183. See Liedtke 1991a, p. 4I, n. 4I, for references, and also Schwartz and Bok

I990, pp. 192-95; The Hague I997-98a; and The Hague 1997-98b.

I84. See Dumas I991, no. 42.

185. See (with caution) Kuyper I994, p. 299; see also pp. 268-74 (on Honselaarsdijk),

295-301 (on the palaces of Rhenen and Rijswijk). Compare Dumas

I99I, no. 42, on Rijswijk.

I86. Bernard Vermet in Dictionary of Art 1996, vol. 3, p. 353·

187. Thus it fell to Van Bassen to finish the work on the Saint Sebastiaansdoelen

(the civic-guard headquarters) on the Korte Vijverberg, which had been

begun by Van's-Gravesande in I636-37 (Dumas I99I, p. 703, fig. 3). The

building now houses the Haags Historisch Museum (and is the Rijksbureau

voor Kunsthistorische Documentatie of fond memory).