Historical Painting Techniques, Materials, and Studio Practice

Hague, 1996). The author is also grateful to Rob Ruurs of the University of Amsterdam
for a fruitful and stimulating discussion.
Notes
1. Van Berckhout may have been able to see the two town views, The Little Street
and The View of Delft, and certainly interior scenes such as The Music Lesson, A
Woman Holding a Balance, The Concert, and The Allegory of Painting. He might
have also seen The Love Letter, which is dated 1667 (Blankert) or 1669-1670
(Wheelock).
2. Ruurs, R. 1991. Functies van architectuurschildering, in het bijzonder het kerkinterieur.
Perspectieven: Saenredam en de architectuurschilders van de 17e eeuw: Boymans-van
Beuningen Rotterdam, 50.
3. Montias, J. M. 1991. "Perspectieven" in zeventiende-eeuwse boedelbeschrijvingen.
Perspectiven: Saenredam en de architectuurschilders van de 17e eeuw: Boymansvan
Beuningen Rotterdam, 28.
4. Bredius, A. 1915-1922. Kunstler-Inventare, Urkunden zur Cesichte der Hollandischen
Kunst des XVIten, XVIIten und XVIIItenjahrhunderts 1-7. Den Haag.Vol. 1:238.
5. Montias, op. cit., 24.
6. Montias, J. M. 1989. Vermeer and his Milieu: A Web of Social History. Princeton,
339 (doc. 364).
7. Vredeman de Vries, H. 1604. Perspective. Dat is de hoochgheroemde cOl'lste . . . . Den
Haag.
8. Marolois, S. 1628. Perspective contenant la tMorie, pratique et instructionfondamentale
d'icelle. Amsterdam.
9. Hondius, H. 1647. Crondige onderrichten in de optica of de perspective konste. Amsterdam.
10. Bosse, A. 1664. Franfois Desargues. Algemene manier tot de practyck der perspective
gelyck tot die der meet-kunde met de kleyn voet-maat [ ... J by-een-gevoeght door. Amsterdam.
11. Eisler, M. 1916. Der Raum bei Jan Vermeer. jahrbuch der Kunsthistorischen Sammlungen
der Allerhachsten Kaiserhauses. Wi en-Leipzig: Band XXXIII (4):213-91.
12. Wilenski, R. H. 1928. An introduction to Dutch Art. New York, 284-86.
13. Swillens, P. T. A. 1929. Een perspectivische studie over de schilderijen van Johannes
Vermeer van Delft. Oude Kunst (7): 129-61.
14. Swillens, P. T. A. 1950.joharmes Vermeer, Painter of Delft 1632-1675. Utrecht­
Brussels.
15. Hyatt Mayor, A. 1946. The photographic eye. The Metropolitan Museum of Art
Bulletin (5):15-26.
16. Gowing, L. 1953. Vermeer.
17. Seymour Jr., C. 1964. Dark chamber and light-filled room: Vermeer and the
camera obscura. The Art Bulletin XLVI (3):323-31.
18. Schwarz, H. 1966. Vermeer and the camera obscura. Pantheon (XXIV): 170-82.
19. De Monconys visited numerous artists during his travels all over Europe to meet
with fellow scientists.
20. Mocquot, M. 1968. Vermeer et Ie portrait en double mirror. Le club franfaise de
la medaille 18 (1):58-69.
21. Kunsthistorisches Museum, Vienna.
22. Isabella Steward Gardner Museum, Boston.
23. Finck, D. 1971. Vermeer's use of the camera obscura: a comparative study. The
Art Bulletin. (LIII):493-505.
24. Wheelock Jr., A. K. 1977. Perspective, Optics, and Delft Artists Around 1650. New
York.
25. de Boer, P. G. 1988. Enkele Delftse zeventiende eeuwse kerkportretten opnieuw bekekert.
Dissertatie: Delft.
26. Arasse, D. 1994. The Art of Painting. Paris.
27. Hulten, K. G. 1949. Zu Vermeer's Atelierbild. Konsthistorisk Tidskrift (XVIII):90-
98.
28. The first pin hole we discovered in the vanishing point of a Vermeer painting
was in the Lady Writing a Letter with her Maid from the National Gallery of
Ireland. We are grateful to Andrew O'Connor, chief conservator of the gallery,
fo r letting us examine the painting just after its recent rediscovery.
29. Ruurs, R. 1987. Saertredam: The Art of Perspective. Amsterdam, Philadelphia, Gronmgen.
30. Giltaij, J. 1991. Perspectiven, Saenredam en de architectuurschilders van de 17e
eeuw. Perspectiven: Saemedam en de architectuurschilders van de 17e eeuw: Boymansvan
Beuningen Rotterdam, 16.
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