Maerten van Heemskerck's Collection Imagery in the Netherlandish Pictorial Memory

Abstract

In several of the 100‐plus drawings that Haarlem artist Maerten van Heemskerck made while he was in Rome in the 1530s, he depicts the sculpture collections he visited in the Vatican, on the Capitoline and in the cortili and gardens of numerous Roman palaces. This is some of the earliest Northern ‘collection imagery’, and the collection environment commands as much of his pictorial attention as the sculptures themselves. The central argument of the essay is that van Heemskerck’s novel images related to period conceptions of the uses and functions of memory, and suggests that his drawings had an important afterlife in the Flemish pictures of collections genre of the early seventeenth century.

Notes

¹ Most of van Heemskerck's Roman drawings are in two albums in Berlin's Kupferstichkabinett, inv. nos 79 D2 and 79 D2a, respectively; for a facsimile, see C. Hülsen and H. Egger, Die Römischen Skizzenbücher von Maarten van Heemskerck in Königlichen Kupferstichkabinett zu Berlin, 2 vols (Berlin: Bard, 1913–16, facsimile edition, Soest: Davaco, 1975).

² Van Heemskerck's surviving drawings portraying collection environments are Berlin, Kupferstichkabinett, 79 D2, fols 3v, 5r, 24r and 25r, and 79 D2a, fols 20r and 48r; his drawings that portray collections or parts of collections without settings are Berlin, Kupferstichkabinett, 79 D2, fols 23r, 27r, 29v, 46r, 47v, 53v, 63r, 72r.

³ Berlin, Kupferstichkabinett, 79 D2, fol. 5r and 79 D2a, fol. 48r, respectively. The Palazzo Medici has been called Palazzo Madama since 1540.

⁴ Berlin, Kupferstichkabinett, 79 D2, fols 24r and 25r, respectively.

⁵ K. W. Christian, ‘The della Valle Sculpture Court Rediscovered’, The Burlington Magazine, 145:1209 (2003), 847–50, and ‘Instauratio and Pietas: the della Valle Collections of Ancient Sculpture’, in Studies in the History of Art 70. Collecting Sculpture in Early Modern Europe, CASVA Symposium Papers, edited by N. Penny and E. Schmidt (Washington, DC: National Gallery of Art), 33–65; Empire Without End: Collections of Antique Sculpture in Renaissance Rome, 1350–1527 (New Haven and London: Yale University Press, forthcoming); see also M. C. Pauluzzi, ‘La famiglia della Valle e l'origine della collezione di antichità’, Donatella Lodico, ‘La collezione della Famiglia Sassi’ and F. Rausa, ‘La collezione del Cardinale Paolo Emilio Cesi (1481–1537)’, in Collezioni di Antichità a Roma Fra ‘400 e ‘500, edited by A. Cavallaro (Rome: De Luca, 2007), 147–217.

⁶ For Gossaert in Rome, see K. van Mander, Het Schilder‐boek (Haarlem: Paschier, 1604), fols 225r–226r; the most recent comprehensive study of Gossaert is A. Mensger, Jan Gossaert: die Niederlandische Kunst zu Beginn der Neuzit (Berlin: Dietrich Reimer Verlag, 2002); for van Scorel in Rome, see van Mander, Het Schilder‐boek, fols 234r–236v; the definitive modern study of van Scorel is M. Faries, ‘Jan van Scorel: His Style and its Historical Context’ (unpublished Ph.D. diss., Bryn Mawr College, 1972).

⁷ For van Heemskerck's study of Gossaert's post‐Roman paintings, see R. Grosshans, Maerten van Heemskerck: Die Gemälde (Berlin: Boettcher, 1980), 33–4.

⁸ Maerten van Heemskerck, Triumph of Bacchus, mid‐1530s, oil on wood, 56.3 × 106.5 cm, Vienna, Kunsthistorisches Museum, inv. no. 990; St. Luke Painting the Virgin, c.1550, oil on wood, 205.5 × 143.5 cm, Rennes, Musée des Beaux‐Arts, inv. no. 801.1.6.

⁹ F. W. H. Hollstein, The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts, 1450–1700: Maarten van Heemskerck, 2 vols, edited by G. Luijten, compiled by I. Veldman (Amsterdam: Roosendaal, 1994), no. 301.

¹⁰ Hollstein, Heemskerck, nos 586 and 589, respectively.

¹¹ ‘[…] practiseerde conterfeytende nar alle antijcke dinghen so beelden ruwijnen als de constige schilderijen van Raphael, en Michael Agnolo’. Van Mander, Het Schilder‐boek, fol. 235v, 19–21. Given the generic content of van Mander's description (he makes similar pronouncements of van Heemskerck) we cannot be sure that he ever saw any drawings by van Scorel.

¹² Charles VIII, Lettres, vol. 4 (Paris: 1903), 187–8, cited in M. McGowan, The Vision of Rome in Late Renaissance France (New Haven and London: Yale University Press, 2000), 56.

¹³ J. R. Judson, ‘Jan Gossaert and the New Aesthetic’, in The Age of Brueghel: Netherlandish Drawings in the Sixteenth Century, exhibition catalogue, edited by J. O. Hand (New York: Pierpont Morgan Library, 1987), 13–14 and cat. no. 62.

¹⁴ G. Geldenhauer, Viti Clarissimi Principis Phillip a Burgundià (Strasbourg, 1529), reprinted in J. Prinsen, Collectanea van Gerardus Geldenhauer Noviomagus Kroniet van het historisch Genootschap te Utrecht, series 3, no. 16 (Amsterdam: J. Müller, 1901), 233, says that Julius offered Philip five antiquities, but he only accepted two, one of Caesar and the other of Hadrian. The material remains of this transaction are unknown.

¹⁵ Van Mander, Het Schilder‐boek, fols 234v and 244v.

¹⁶ Van Mander, Het Schilder‐boek, fol. 244v.

¹⁷ Van Mander, Het Schilder‐boek, fol. 244v, alleges that van Heemskerck's impatient father cut his training under Willemszoon short. J. Harrison, ‘The Paintings of Maerten van Heemskerck: A Catalogue Raisoneé’ (unpublished Ph.D. diss., University of Virginia, 1987), 6, thinks van Heemskerck apprenticed with Willemszoon during the early 1510s, but not for the customary three‐year period; Harrison, Catalogue Raisoneé, n. 7, discounts the notion that van Heemskerck and van Scorel could have trained at the same time under Willemszoon.

¹⁸ Grosshans, Gemälde, 34, entertains the notion that between 1517 and 1523, when Gossaert was in Wijk, near Utrecht, van Heemskerck visited him. With no supporting or refuting evidence, such a claim must remain in the realm of speculation.

¹⁹ Van Mander, Het Schilder‐boek, fol. 225v. Grosshans has argued more convincingly that, like Dürer, van Heemskerck also sought out Gossaert's post‐Roman paintings and absorbed their sculpturesque mode of figuration. See Grosshans, Gemälde, 33–4.

²⁰ Van Mander, Het Schilder‐boek, fol. 235r, provides a detailed account of van Scorel's travels; van Scorel's drawing of Bethlehem (British Museum) is the single travel drawing with an attribution to van Scorel that scholars have never doubted.

²¹ S. Reiss, ‘Adrian VI, Clement VII, and Art’, in The Pontificate of Clement VI: History, Politics, Culture, edited by K. Gouwens and S. Reiss (Aldershot: Ashgate, 2006), 346–50.

²² ‘Ian Schoorel seer gheruchtich was / hebbend een onghemeen schoonder nieuw manier van wercken uyt Italien ghebracht / die yeghelijck bysonder Marten well bevallen heft / dede soo veel / dat hy te Haerlem by desen Meester is gheraeckt.’ Van Mander, Het Schilder‐boek, fol. 245r.

²³ Jan van Scorel, Entry Into Jerusalem, 1526–7, oil on wood, 79 × 147–66 cm, Centraal Museum, Utrecht, inv. nos 6078a and 7991.

²⁴ For van Scorel's use of motifs in Italian Renaissance paintings rather than ancient sculptural sources, see A. J. DiFuria, ‘Maerten van Heemskerck's Rome: Memory, Antiquity, and the Berlin Sketchbooks’ (unpublished Ph.D. diss., University of Delaware, 2008), 36–42.

²⁵ Jan van Scorel, Presentation in the Temple, 1528–30, oil on wood, 114 × 85 cm, Kunsthistorisches Museum, Vienna, inv. no. GG 6161.

²⁶ ‘Every passion borders on chaos, but the passion of the collector borders on the chaos of memory’ (‘Grenzen jeder Leidenschaft auf Chaos, aber die Leidenschaft der Kollektorgrenzen auf dem Chaos des Speichers’). W. Benjamin, Schriften, 2 vols (Frankfurt am Main: Suhrkamp, 1955), vol. 2, 108.

²⁷ See Christian, Birth of Antiquity Collections.

²⁸ Consensus in all van Heemskerck literature is that Willem van Enckevoirt is the cardinal whom van Mander mentions, Het Schilder‐boek, fol. 245v, 22–3. Van Enckevoirt was a cardinal in Rome until his death in 1534.

²⁹ A. Chastel, The Sack of Rome, translated by B. Archer (Princeton: Princeton University Press, 1983); M. Tafuri, ‘Il Sacco di Roma. 1527: fratture e continuità’, in Roma nel Rinascimento (Milan: Electa, 1985), 21–35; K. Gouwens, Remembering the Renaissance (Leiden and Boston: Brill, 1998); A. Esposito and M. V. Pineiro ‘Rome During the Sack: Chronicles and Testimonies from an Occupied City’, in The Pontificate of Clement VII, 125–42.

³⁰ See Chastel, Sack, 99; K. Bentz, ‘Cardinal Cesi and his Garden: Antiquities, Landscape and Social Identity in Early Modern Rome’ (unpublished Ph.D. diss., Pennsylvania State University, 2003).

³¹ See Chastel, Sack, 179–207.

³² See A. Ceen, Quartiere de’ Banchi: Urban Planning in Rome in the First Half of the Cinquecento (New York: Garland Press, 1986), 102–6 and 174–8.

³³ I. Veldman, Maerten van Heemskerck and Dutch Humanism (Amsterdam: Meulenhoff, 1977).

³⁴ A. J. DiFuria, ‘The Eternal Eye: Memory, Vision and Topography in Maerten van Heemskerck's Roman Ruin Vedute’, in Conference Proceedings for “Die roem. Zeichnungen Maarten van Heemskercks (Berlin, 8 Dec 08)”, edited by T. Bartsch, forthcoming.

³⁵ F. A. Yates, The Art of Memory (Chicago and London: University of Chicago Press, 1966); M. Carruthers, The Book of Memory: A Study of Memory in Medieval Culture (Cambridge: Cambridge University Press, 1990).

³⁶ Yates, Art, 82–105; Carruthers, Book, 47–60, 221–57. Further relating memory and imagery, Yates and Carruthers both present imagery from the late Middle Ages that manuscript illuminators devised in support of artificial memory systems.

³⁷ D. Rosand, ‘Remembered Lines’, in Memory and Oblivion: Proceedings of the XXIXth International Congress of the History of Art held in Amsterdam, 1–7 September 1996, edited by A. Wessel and J. Stumpel (Boston: Kluwer Academic Publishers, 1999), 811–16; Drawing Acts: Studies in Graphic Expression and Representation (Cambridge: Cambridge University Press, 2002), 88–97.

³⁸ DiFuria, ‘Maerten van Heemskerck's Rome’; ‘Eternal’.

³⁹ Yates, Art, 92–4.

⁴⁰ Carruthers, Book, 24.

⁴¹ T. DaCosta Kaufmann, ‘From Treasury to Museum: The Collections of the Austrian Habsburgs’, in The Cultures of Collecting, edited by J. Elsner and R. Cardinal (Cambridge, MA: Harvard University Press, 1997), 139–41, discusses the growth of the Habsburg collections before, during and after Maximilian's reign; C. Wood, ‘Maximilian as Archaeologist’, Renaissance Quarterly, 58:4 (2005), 1128–74; L. Silver, Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor (Princeton: Princeton University Press, 2008); for the French interest in antiquity during the first half of the sixteenth century, see F. Haskell and N. Penny, Taste and the Antique: the Lure of Classical Sculpture (New Haven and London: Yale University Press, 1981), 1–7; McGowan, Vision, 56–85.

⁴² Jan Gossaert, Neptune and Amphitrite, 1516, oil on wood, 124 × 188 cm, Berlin, Gemäldegalerie, inv. no. 1/727.

⁴³ Mensger, Neuzeit, 81–3, identifies fols 34a, 36b, 37a and 37b of Fra Giocondo's illustrated edition of De Architectura (1511).

⁴⁴ Van Scorel remained in Rome after Adrian's death, when work on the Sala di Costantino had recommenced. That van Scorel lingered until September of 1524, when the Sala was completed, led Bert Meijer to hypothesize that he participated in the final stages of the work in the Sala. See B. Meijer, ‘An Unknown Landscape Drawing by Polidoro da Caravaggio and a Note on Jan van Scorel in Italy’, Paragone, no. 291 (1974), 62–73.

⁴⁵ Van Mander, Het Schilder‐boek, fol. 235r, 39–46. The entire passage says that van Scorel drew ‘Landschappen / ghelichten / Stedekens / Casteelen / en geberghté nae t'leven / seer aerdigh om sien. Tot Hierusalem wesend maeckte kengis met den Guardiaen van t'Clooster tot Sion / die aldaer by den Joden Turcken in grooten aensien is: met desen Guardiaen reysde hy door al dat omligghende Landt / oock op de Jordaen / conterfeytende met der Pen nae t'leven t'Landtschap en de gheleghentheyt der selver: en maeckte in Nederlandt gecomen wesende / nae dit betreck een schoon Schilderije van Olverwe / hoe Iosua de kinderen Israels dar droogh voets door leyde’.

⁴⁶ ‘[…] des bleef hy t'Utrecht by een Deken van Oudemunster / geheeten Lochorst, een Hoofs Heer / en groot Const‐beminder. Voor desen maeckte hy verscheydé stucken van Water en Oly‐verwe: onder ander / daer vosr van verhaelt is / eenen Palmsondagh / te weten / daer Christus op den Esel rijdt nae Jerusalem: hier was de Stadt in nae t'leven: dar waren kinderen en Joden / die boom‐tacken en cleederen spreyden / en anderen omstandt’. Van Mander, Het Schilder‐boek, fol. 235v, 34–48.

⁴⁷ For the importance of setting in ancient rhetoric, see E. R. Curtius, European Literature and the Latin Middle Ages, translated by W. Trask (Princeton: Princeton University Press, 1983), 193–4.

⁴⁸ Geldenhauder, Viti, 209, suggests that Gossaert's Roman drawings had a display function at court.

⁴⁹ In a paper at the conference, Die roem. Zeichnungen Maarten van Heemskercks (Berlin, 8 December 2008) Kathleen Christian also argued for the innovative status of this feature, noting that only a drawing by Baldassare Peruzzi of Giovanni Ciampolini's sculpture garden comes close to van Heemskerck's in its depiction of the collection space, but that even this example does not ‘engage in the same careful depiction of architecture and display’ as van Heemskerck's.

⁵⁰ On this tendency of van Heemskerck's, see T. Bartsch, ‘Kapitell. Colosseum. Überlegungen zu Heemskercks Bildfindungen am Beispiel von. Fol. 28r des römischen Zeichnungsbuches’, in Zentren und Wirkungsräume der Antikrezeption. Zur Bedeutung von Raum und Kommunikation für die neuzeitliche Transformation der griechisch‐römischen Antike (Munster: Scriptorium, 2007), 27–38; DiFuria, ‘Maerten van Heemskerck's Rome’, 74–80; ‘Eternal’.

⁵¹ In Rome with van Heemskerck were Hermannus Posthumus and Lambert Sustris. See N. Dacos, Fiamminghi a Roma (Paris: Somogy, 2004). Freestanding sculpture appears on seventy‐seven sheets.

⁵² Van Heemskerck executed two double‐sheeted broad view panoramas from high vantage points joining Berlin, 79 D2, fols 18r and 55r, and on 79 D2a, fols 72v and 18v. He executed single sheet broad view panoramas on 79 D2 fols 16r and 58v.

⁵³ For Christian, see above, n. 5; W. Stenhouse, ‘Visitors, Display, and Reception in the Antiquity Collections of Late‐Renaissance Rome’, Renaissance Quarterly, 58:2 (2005), 397–434; the seminal works defining cultural memory in the sense I use the phrase here are J. Assman, ‘Kollektives Gedächtnis und Kulturell Identität’, in Kultur und Gedächtnis, edited by J. Assman and T. Holscher (Frankfurt am Main: Suhrkamp, 1988), 9–19, and P. Connerton, How Societies Remember (Cambridge: Cambridge University Press, 1989).

⁵⁴ Hollstein, Heemskerck, no. 589; A. Nesselrath, ‘Drei Zeichnungen von Marten van Heemskerck’, in Ars Naturam adiuvans: Festschrift für Matthias Winner (Mainz am Rhein: P. von Zabern, 1996), 252–71, published a drawing in Paris, Bibliothèque Nationale, Ga 80, fol. 53, attributing it to van Heemskerck. In its symmetry it is different in character from most of van Heemskerck's Roman drawings and its technique resembles van Heemskerck's preparatory drawings for prints. Thus, it might be a post‐Roman preparatory sketch for the print of the collection published by Hieronymous Cock (this article's Figure 8).

⁵⁵ Christian, ‘Instauratio’, 50.

⁵⁶ Baldassare Peruzzi: Pittura scena e architettura nel Cinquecento, edited by M. Fagiolo and M. L. Madonna (Rome: Istituto del Enciclopedio, 1987).

⁵⁷ R. Krautheimer, ‘The Tragic and Comic Scene of the Renaissance’, Gazette des Beaux‐Arts, 90 (1948), 328–46; DiFuria, ‘Maerten van Heemskerck's Rome’, 48–61, 118–26; ‘Eternal’.

⁵⁸ D. Coffin, The Villa in the Life of Renaissance Rome (Princeton: Princeton University Press, 1979), 247–8.

⁵⁹ ‘[…] molti ignudi […] di diverse attitudini […] fece conoscere il buon disegno che aveva nelle figure e l'intelligenza de’ muscoli e di tutti le membra.’ G. Vasari, Le Vite de’ Più Eccellenti Pittori Scultori ed Architettori, edited by G. Milanesi (Florence: G. C. Sansoni, 1878), vol. 6, 144.

⁶⁰ L. Barkan, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture (New Haven and London: Yale University Press, 1999), 321.

⁶¹ See E. S. King, ‘A New Heemskerck’, Journal of the Walters Art Gallery, 3 (1945), 61–73; Grosshans, Gemälde, cat. no. 19; Harrison, Raisoneé, cat. no. 19; M. Stritt, Die schöne Helena in de Romruinen. Uberlegungen zu einem Gemälde Maarten van Heemskercks (Frankfurt am Main: Stroemfeld Verlag, 2004).

⁶² In a 1564 inventory, Helen was in Cardinal Rodolfo Pio da Carpi's collection. See C. Franzoni, Gli inventari dell'eredetà cardinale Rodolfo Pio da Carpi (Pisa: Musei Civici Comune di Carpi, 2002), 60. It is unlikely, however, that Rodolfo commissioned the painting from van Heemskerck, because he was not in Rome during most of van Heemskerck's stay and had not yet begun collecting in earnest. See E. Filippi, ‘“Certe belle anticaglie da presso e da lontano …”: La presenza neerlandese nella collezione di Rodolfo Pio,’ in Alberto III e Rodolfo Pio da Carpi collezionisti e mecenati. Atti del seminario internazionale di studi. Carpi, 22 e 23 novembre 2002, edited by M. Rossi (Carpi: Comune di Carpi – Museo Civico/Soprintendenza Beni Storici e Artistici di Modena e Reggio Emilia, 2004), 122–35.

⁶³ M. R. Scherer, ‘Helen of Troy’, The Metropolitan Museum of Art Bulletin, 25:10 (1967), 368; J. Spicer, ‘Heemskerck's Rainbow: Symbol or Narrative Motif?’, in Pictura Verba Cupit: Essays for Lubomír Konecny, edited by B. Bukovinská (Prague: Artefactum, 2006), 151; DiFuria, ‘Maerten van Heemskerck's Rome’, 109–18.

⁶⁴ King, ‘New Heemskerck’, 65.

⁶⁵ See DiFuria, ‘Eternal’.

⁶⁶ I. Veldman, ‘Review, Die Römischen Skizzenbucher von Maarten van Heemskerck’, Simiolus, 9:2 (1977), 110 points out that the Roman drawings are ‘not made specifically as preliminary designs for a painting or print’; DiFuria, ‘Maerten van Heemskerck's Rome’, 109–30 details van Heemskerck's use of motifs from his ruin drawings in his post‐Roman paintings and prints.

⁶⁷ ‘Hy was een seer goet ordineerder / ae een Man die de heels Weerelt schier vervult heft met zin inventien / wesende oock een goet Architect / ghelijk in al zijn dinghen overbodichte sien is.’ Van Mander, Het Schilder‐boek, fol. 246v, 25–7.

⁶⁸ C. Cennini, Il Libro dell'Arte, edited by Franco Brunello (Vicenza: N. Pozza, 1971), 3, says that the painter has the freedom to compose and combine figures etc. as poets do: ‘come gli piace, secondo sua fantasia (as he pleases, according to his imagination)’.

⁶⁹ Hollstein, Heemskerck, nos 76, 293, 358, 378.

⁷⁰ Hollstein, Heemskerck, nos 77, 159, 304.

⁷¹ Haskell and Penny, Taste, cat. no. 75.

⁷² Hollstein, Heemskerck, nos 301 and 219, ‘The Elders Attempting to Seduce Susanna’, from the 1563 Story of Susanna also shows a sculpture garden that is reminiscent of these drawings.

⁷³ Hollstein, Heemskerck, no. 72.

⁷⁴ Van Mander, Het Schilder‐boek, fol. 247r.

⁷⁵ Maerten van Heemskerck, Caritas, c.1540, oil on wood, 71.5 × 36.5 cm., Kunsthistorisches Museum, Vienna, inv. no. 2683.

⁷⁶ S. Serlio, Sebastiano Serlio on Architecture, edited by V. Hart and P. Hicks (New Haven and London: Yale University Press, 1996–2001), book 2, fol. 25.

⁷⁷ For which, see De Vries in this issue.

⁷⁸ Hollstein, Heemskerck, no. 586; a drawing portraying the collection, Berlin, Kupferstichkabinett, inventory number 2783, dated ‘1555’ and signed ‘Heemskerck’ is thought to be a copy of a lost van Heemskerck original. However, in oral communication, Ilja Veldman, Kathleen Christian and I have noted that the space portrayed in the painting is backwards, as in the print, not the drawing. This could mean that van Heemskerck did not make the preparatory drawing for Coornhert's print. However, that Coornhert made the print puts van Heemskerck in close proximity to the drawing. Moreover, his signature on the Berlin copy suggests the perceived arc of his influence on such imagery.

⁷⁹ Barkan, Unearthing, 173–89.

⁸⁰ See Haskell and Penny, Taste; McGowan, Vision.

⁸¹ See McGowan, Vision, 86–7.

⁸² See C. Witcombe, Print Publishing in Sixteenth‐Century Rome: Growth and Expansion, Rivalry and Murder (London: Harvey Miller, 2008).

⁸³ Michael Sweerts, In the Studio, 1652, 73.5 × 58.8, oil on canvas, Detroit Institute of Arts, inv. no. 30.297.

⁸⁴ H. de la Fontaine Verway, ‘Pieter Coecke van Aelst and the Publication of Serlio's Book on Architecture’, Quarendo, 6 (1976), 166–94.

⁸⁵ T. Riggs, Hieronymus Cock (New York: Garland Press, 1978), 20–1, cannot identify as prolific a print collaboration as that between van Heemskerck and Coornhert.

⁸⁶ Riggs, Hieronymus Cock, 43–50.

⁸⁷ Hollstein, Heemskerck, 269–70.

⁸⁸ N. Bol, The So‐Called Maarten de Vos Sketchbook of Drawings After the Antique (The Hague: Ministry of Cultural Affairs, Recreation and Social Welfare, 1976).

⁸⁹ Jan Saenredam, Church of Santa Maria della Febbre, Rome, 1629, 37.8 × 70.5 cm, oil on panel, National Gallery of Art, Washington, DC, inv. no. 1961.9.34, based on a drawing among van Heemskerck's in Berlin, 79 D2a 7r, but now convincingly attributed to ‘Anonymous B’ by Ilja Veldman in ‘Heemskercks Romeinse tekeningen en “Anonymous B”’, Nederlands Kunsthistorisch Jaarboek, 38 (1987), 369–82.

⁹⁰ Hollstein, Heemskerck, no. 455.

⁹¹ Berlin, Kupferstichkabinett, 79 D2, 63r.

⁹² ‘[…] maer heest oock seer wonderlijck hem ghewent verscheyden handelingen der beste Meesters nar te bootsen / alsnu Hemskercken, Frans Floris, Blocklandts, dan Fredericks, en eyndlinghe des Spranghers.’ Van Mander, Het Schilder‐boek, fol. 284r, 37–40.

⁹³ C. Tümpel, ‘Discourse Held at the Celebration on the Occasion of the Presentation of de‐Jong‐van‐Beek‐en‐Donk‐Prize’, in Koninklijke Nederlandse Akademie van Wetenschappen, 13:3 (Amsterdam: Bijsondere Bijeenkomst der Afdeling Letterkunde, 1972), 9; H. Kurita, ‘A Visual Source for Poussin's “Sts Peter and John Healing the Lame Man”’, The Burlington Magazine, 140:1148 (1998), 747–8.

⁹⁴ Cornelis van Haarlem, Massacre of the Innocents, 1591, Frans Hals Museum, Haarlem.

⁹⁵ Z. Z. Filipczak, Picturing Art in Antwerp 1550–1700 (Princeton: Princeton University Press, 1987), 62–5. See also Marr's overview of the ‘pictures of collections’ genre in this issue.

⁹⁶ For example, Willem II van Haecht, The Cabinet of Cornelis van der Geest, 1628, 100 × 130 cm, oil on panel, Rubenshuis, Antwerp, on which, see Peterson in this issue.

⁹⁷ Willem II van Haecht, Apelles Painting Campaspe, 1630, 104.9 × 138.7, oil on panel, Mauritshuis, The Hague. On which, see Room for Art in Seventeenth Century Antwerp, edited by A. van Suchtelen (The Hague, Antwerp and Waanders: Mauritshuis, Rubenshuis and Zwolle, 2009).

⁹⁸ S. Quicchelberg, Inscriptiones vel tituli theatri amplissimi (Munich, 1565); E. M. Hajós, ‘The Concept of an Engravings Collection in the Year 1565: Quicchelberg, Insriptiones vel Tituli Theatri Amplissimi’, The Art Bulletin, 40:2 (1958), 151–6.