Пост 151. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 66

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. 33-35, fig. 1.

196. Dumas 1991, pp. I66-67, figs. 2-5, and Blom, Bruin, and Ottenheym 1994. Huygens's house was being completed just as Van Bassen took over the construction of the Saint Sebastiaansdoelen down the street (see above, n. I87).

I97. See White I982, pp. I7-I8, 63. See Liedtke 1982a, fig. 7, or Liedtke 2000, fig. I20, for the Van Bassen in a private collection.

198. See White I982, pp. 17-18, 63. Houckgeest's version is also illustrated in Liedtke 1982a, fig. 8.

199. In Liedtke 1991a, p. 41, caption to fig. 9, the last figure was reported to be Prince Maurits, following the identification in Staring I965.

200. Montias in Rotterdam 199I, pp. 23-25. The Van Bassen in Dordrecht was owned by a counselor of the court.

201. In I650 Van Bassen painted the crossing of Saint Peter's with invented vaults and decorations, and with the tomb of Pope Paul III in the niche it occupied until I628 (Briels 1987, p. 278, fig. 349 ). Houckgeest's painting of a similar

church, dated I642 (Prinsenhof, Delft), may derive from an earlier work by Van Bassen. On the Houckgeest, see L. de Vries 1975, pp. 32-33, fig. 7; p. 52, no. 7; p. 54, n. 33 (on the inscription and the likelihood of a Catholic commission).

See also Lokin in Delft 1996, pp. 47-48, fig. 35. The doubts about authorship, date, and even period of the work expressed by Giltaij in Rotterdam I99I, p. 165, n. 5, appear unfounded to the present writer.

202. Montias in Rotterdam I99I, p. 25. He does find a few Catholic collectors. Of course, they were not the best customers for views of churches that were restricted to Protestant use.

203. See Lakin's essay in Delft 1996, p. 44, fig. 31. Van Bronckhorst had agreed to paint the panel for I20 guilders, but the treasurer, Van der Graeff, threw in an extra 30 guilders "as a gift, since he complained and since the gentlemen

were of the opinion that he had asked too little".  Firsthand examination suggests that he had asked too much.

204. Neurdenburg 1948, p. 56, fig. 29.

205. On the Haarlem history painters, see Rotterdam, Frankfurt 1999-2000.

206. See chap. 1, n. 56. The "art of describing" is, of course, a reference to Alpers 1983 and the reductive view of Dutch art it propagates.

207. See Ottawa 1977 and, for a review of this exhibition catalogue, Roethlisberger 1979, p. I44.

208. On the "realistic imaginary church" in the work of Van Bassen and Houckgeest, see Liedtke I982a, chap. 2, and Liedtke 2000, pp. 97-10I (fig. I27 for the painting in Prague).