629:
212:
593:
797:
430:
498:
481:
577:
522:
1669:
546:
461:
809:
422:
613:
52:
1018:
561:
1184:
341:
A hypothesis put forward in 2021 and explained in 2024 stating that the drawings in the two Berlin scrapbooks were not executed by
Maarten van Heemskerck and the Anonimi A and B, but with a few exceptions entirely by the sculptor Cornelis Floris II and dated between 1535/36 and 1538, was not taken up
345:
Not only the provenance history of the Roman sketchbook, but above all stylistic and handwritten comparisons confirm Van
Heemskerck's authorship. In addition, Van Heemskerck often reused Roman motifs from his drawings in later works, which would not have been possible if Cornelis Floris, who worked
261:
Heemskerck then went to lodge at the home of the wealthy curate of the Sint-Bavokerk, Pieter Jan
Foppesz (whose name van Mander writes as Pieter Ian Fopsen). They knew each other because Foppesz owned land in Heemskerk. The artist painted him in a now famous family portrait, considered the first of
847:
Heemskerck was widely respected in his own lifetime and was a strong influence on the painters of
Haarlem in particular. He is known (along with his teacher Jan van Scorel) for his introduction of Italian art to the Northern Netherlands, especially for his series on the wonders of the world, that
838:
In
Amsterdam he made a will, which has been preserved. It shows that he had lived long enough and prosperously enough to make a fortune. At his death, he left money and land in trust to the orphanage of Haarlem, with interest to be paid yearly to any couple who should be willing to perform the
346:
in
Antwerp, had been the author. The results of the art technological examination of 2024 also contradict the hypothesis, as the ink of the drawings in the Roman sketchbook has the same composition as the undoubtedly autograph sheets of larger format, some of which are signed and dated.
365:
The alteration in his style, brought about by his experience of Italy was not universally admired. According to van Mander, "in the opinion of some of the best judges he had not improved it, except in one particular, that his outline was more graceful than before".
1124:
BĂĽttner, Nils; Dietz, Georg Josef; Eising, Erik; Fontolan, Enrico; Kessler, Hans-Ulrich; Mattei, Francesca; Mazzetti di
Pietralata, Cecilia; Miedema, Nine Robijntje; Penz, Antje (2024). Heemskerk, Maarten van; Melzer, Christien; Bartsch, Tatjana (eds.).
497:
283:
label on the painting begins "This picture is a remembrance from its painter, Marten
Heemskerck; he has here dedicated his labours to St Luke as a proof of regard to his associates in his profession, of which that saint is patron".
417:
He was one of the first
Netherlandish artists to make drawings specifically for reproduction by commercial printmakers. He employed a technique incorporating cross-hatching and stippling, intended to aid the engraver.
682:) in 1543, and an altar-piece for the Drapers' Company at Haarlem, finished in 1546 and now in the gallery of the Hague. They show how Heemskerck studied and repeated the forms which he had seen in the works of
1072:"Weshalb die 'Römischen Skizzenbücher von Marten van Heemskerck' nicht von Heemskerck stammen können: Quellenkritische, überlieferungsgeschichtliche und kennerschaftliche Anmerkungen zu zwei Neuerscheinungen"
521:
826:, which Heemskerck painted twice for two painter's guilds, there is some confusion in the literature about a parrot. In both paintings he painted a parrot, but the parrot in a cage has been sawn off
839:
marriage ceremony on the slab of his tomb in the cathedral of
Haarlem. It was a superstition in Catholic Holland that a marriage so celebrated would secure the peace of the dead within the tomb.
480:
963:
Families in beeld, – Frauke K. Laarmann, Families in beeld: De ontwikkeling van het Noord-Nederlandse familieportret in de eerste helft van de zeventiende eeuw. Hilversum, 2002, Verloren,
250:, but was recalled to Heemskerk by his father to work on the family farm. However, having contrived an argument with his father he left again, this time for Delft, where he studied under
342:
by archaeological and art-historical research and was refuted by several contributions to the Berlin exhibition catalog “The Allure of Rome. Maarten van Heemskerck draws the city."
194:, and adopted his teacher's Italian-influenced style. He spent the years 1532–36 in Italy. He produced many designs for engravers, and is especially known for his depictions of the
788:
in the gallery of Vienna. Other pieces of varying importance are in the galleries of Rotterdam, Munich, Cassel, Brunswick, Karlsruhe, Mainz, Copenhagen, Strasbourg and Rennes.
262:
its kind in a long line of Dutch family paintings. His other works for Foppesz included two life size figures symbolising the Sun and the Moon on a bedstead, and a picture of
628:
1638:
442:
Heemskerck produced designs for a set of engravings, showing eight, rather than the usual seven wonders of the ancient world. His addition to the conventional list was the
749:, shows that he was well acquainted with anatomy and fond of florid architecture. Two altar-pieces which he finished for churches at Delft in 1551 and 1559, one complete (
1033:
592:
292:
He travelled around the whole of northern and central Italy, stopping at Rome, where he had letters of introduction from van Scorel to the influential Dutch cardinal
1584:
Tatjana Bartsch, "Kapitell. Colosseum. Überlegungen zu Heemskercks Bildfindungen am Beispiel von fol. 28 r. des römischen Skizzenbuches," Kathrin Schade e.a. (ed.),
545:
1291:
900:
460:
1577:
Tatjana Bartsch, "Transformierte Transformation. Zur 'fortuna' der Antikenstudien Maarten van Heemskercks im 17. Jahrhundert," Ernst Osterkamp (ed.),
804:
before he left Haarlem for Italy in 1532. It was cut down and sawn in two, and has since been rejoined, but is still short. The parrot was at the top.
576:
1700:
1556:
Tatjana Bartsch, "Maarten van Heemskercks Zeichnung des 'Brutus' und seine Verbindung zu Kardinal Rodolfo Pio da Carpi," Agnes Schwarzmaier (ed.),
266:"rather smaller but (it is said) after living models". His next home was in the house of a goldsmith, Justus Cornelisz, on the edge of Haarlem.
381:). Muys had returned from a period in France to the Netherlands in 1538 and became prior of the St. Agatha cloister in Delft (later became the
1371:
330:
While in Rome where he made numerous drawings of classical sculpture and architecture, many of which survive in two sketchbooks now in the
251:
1732:
827:
822:
801:
645:
1038:
624:. Exaggerated expressions and robust musculature created with relatively little paint are prime characteristics of Heemskerck's style.
446:
in Rome, which, unlike the others, he showed in ruins, as it was in his own time, with the speculative addition of a giant statue of
299:
It is evident of the facility with which he acquired the rapid execution of a scene-painter that he was selected to collaborate with
1414:
1666:, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Maarten van Heemskerck (see index)
1658:, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Maarten van Heemskerck (see index)
1396:
211:
1764:
875:
651:
1653:
1602:(Roosendaal: Koninklijke Van Poll, 1993-1994) (The new Hollstein Dutch & Flemish etchings, engravings and woodcuts, 1, 2).
1279:
1134:
1129:. Kupferstichkabinett, Bibliotheca Hertziana, Kulturforum Berlin. Berlin: Kupferstichkabinett - Staatliche Museen zu Berlin.
968:
890:
710:
1693:
895:
308:
1316:
649:
in presence of a poet crowned with ivy leaves, and a parrot in a cage – an altar-piece in the gallery of Haarlem, and the
1841:
664:
362:(in 1540), married twice (his first wife and child died during childbirth), and secured a large and lucrative practice.
1780:
1756:
1740:
1662:
1544:
Les villes détruites de Maarten van Heemskerck. Images de ruines et conflits religieux dans les Pays-Bas au XVIe siècle
1465:
715:
671:
in 1539–1543, composed of at least a dozen large panels, which including portraits of historical figures, preserved in
796:
1846:
1271:
1856:
1772:
599:
56:
1686:
300:
1866:
1861:
1836:
1149:
G.J. Dietz, A. Penz, C. Wintermann, "Materials, Techniques, and Reconstruction of the Small Drawing Book", in:
738:
560:
866:
813:
720:
632:
Painting by van Heemskerck depicting the abduction of Helen, queen of the Greek city-state Sparta, by Paris.
327:, who saw the battle-pieces which Heemskerk then produced, said they were well composed and boldly executed.
320:
1851:
1673:
1570:
Arthur J. DiFuria, "Remembering the Eternal: Maerten van Heemskerck's Self-Portrait Before the Colosseum,"
1057:
Fifteenth to Eighteenth Century Eighteenth Century Drawings in the Robert Lehman Collection: Central Europe
274:
1724:
1071:
769:, and scenes from the lives of St. Bernard and St. Benedict, are all fairly representative of his style.
385:). This lucrative and high-profile work in Delft earned Heemskerck a commission for an altarpiece in the
359:
1563:
Arthur J. DiFuria, "Maerten van Heemskerck's Collection Imagery in the Netherlandish Pictorial Memory,"
1372:"Marten van Heemskerck | The Virgin and Saint John the Evangelist | NG6508.1 | National Gallery, London"
753:), the other a fragment, in the museum of Haarlem, a third of 1551 in the Brussels Museum, representing
979:
944:
861:
679:
656:
583:
487:
331:
698:
in Lombardy, but he never forgot his Dutch origin or the models first presented to him by Scorel and
532:
219:
746:
1748:
660:
552:
695:
617:
1246:
848:
were subsequently spread as prints. Karel van Mander devoted six pages to his biography in his
633:
429:
398:
370:
369:
He painted large altarpieces for his friend, the art maecenas and later Catholic martyr of the
334:. He was to use them as source material throughout the rest of his career. Among these are the
293:
672:
885:
567:
1023:
One or more of the preceding sentences incorporates text from a publication now in the
242:. He was the son of a farmer called Jacob Willemsz. van Veen. According to his biography by
1831:
1826:
1804:
312:
195:
89:
960:
8:
1643:
933:
van Mander, Karl; Kerrich, Thomas (translation) (1829). "The Life of Martin Heemskerck".
508:
447:
386:
111:
1648:
338:, van Heemskerck being the first known artist to make a sketch of this now famous bust.
1440:
1162:
659:, are characteristic works of the period preceding van Heemskerck's visit to Italy. An
467:
279:
1581:(Berlin/New York: Walter de Gruyter, 2008) (Transformationen der Antike, 6), 113–159.
1275:
1267:
1262:
Het Schilderboek: Het Leven Van De Doorluchtige Nederlandse En Hoogduitse Schilders.
1130:
1091:
980:"Ter eeren S. Lucas heeft hy't bedreven/Dus ghemeen ghesellen heeft hy mede bedacht."
964:
734:
729:
504:
472:
390:
335:
1199:
1263:
1217:
1083:
880:
812:
Heemskerck painted this second altarpiece after he returned from Italy in 1538-40 (
781:
777:
491:, said to be the oldest-known imaginary reconstruction from historical descriptions
406:
243:
1346:
691:
304:
1798:
1530:
Maarten van Heemskerck. Römische Studien zwischen Sachlichkeit und Imagination.
1324:
1243:"Panorama with the Abduction of Helen Amongst the Wonders of the Ancient World"
324:
277:
for the altar of St. Luke in the Bavokerk. An inscription, incorporated into a
255:
191:
1087:
186:, was a Dutch portrait and religious painter, who spent most of his career in
1820:
1095:
1029:
1024:
932:
675:, Sweden since the Reformation, shows his style after his return from Italy.
394:
374:
231:
158:
808:
421:
1532:(München: Hirmer 2019) (Römische Studien der Bibliotheca Hertziana Bd. 44).
1347:"Loading... | Collections Online - Museum of New Zealand Te Papa Tongarewa"
737:). In 1552, he painted a view of a bull race inside the Colosseum of Rome (
683:
536:
451:
263:
122:
1649:
A catalogue of the prints which have been engraved after Martin Heemskerck
1553:(Berlin: Mann 2012) (humboldt-schriften zur kunst- und bildgeschichte, 8).
1496:
A Catalogue of the Prints which have been Engraved after Martin Heemskerck
935:
A Catalogue of the Prints which have been Engraved after Martin Heemskerck
612:
258:, learning to paint in his teacher's innovative Italian-influenced style.
51:
1678:
1242:
355:
1537:
Maarten van Heemskerck's Rome: Antiquity, Memory, and the Cult of Ruins.
1500:
Includes an English translation of van Mander's biography of Heemskerck.
1042:. Vol. 13 (11th ed.). Cambridge University Press. p. 199.
246:, he began his artistic training with the painter Cornelius Willemsz in
1633:
699:
382:
270:
22:
358:
in 1536, he settled back at Haarlem, where he became president of the
1111:
Der Blick des Pan. Cornelis Floris und die 'Heemskerck'-SkizzenbĂĽcher
870:
678:
He painted a crucifixion for the Riches Claires at Ghent (now in the
443:
402:
227:
142:
85:
60:
1579:
Wissensästhetik: Wissen über die Antike in aesthetischer Vermittlung
1621:
Maarten Van Heemskerck and Dutch Humanism in the Sixteenth Century.
1222:
Drama and Devotion: Heemskerck's "Ecce Homo" Altarpiece from Warsaw
1197:
754:
706:
132:
1609:(Charlottesville/Va., University of Virginia, Phil. Diss., 1987).
1593:
Maerten van Heemskerck, 1498 - 1574: 'constigh vermaert schilder'
904:
687:
668:
528:
247:
239:
235:
187:
107:
26:
1607:
The Paintings of Maerten van Heemskerck – a Catalogue Raisonné.
621:
425:
Maarten van Heemskerck, "Les ruines de la Casa dei Crescenzi"
162:
1639:
Works by Maarten van Heemskerck in the Rijksmuseum Amsterdam
1558:
Der 'Brutus' vom Kapitol: Ein Porträt macht Weltgeschichte.
727:). As late as 1551, he then produced a copy from Raphael's
316:
1634:
Entry on Maarten van Heemskerck in the RKD Artist database
1517:
Faszination Rom. Maarten van Heemskerck zeichnet die Stadt
1123:
816:). In this painting, the parrot is held by the baby Jesus.
254:, before moving on to Haarlem, where he became a pupil of
222:, Madrid; painted before Heemskerck left for Italy in 1532
1523:
The Allure of Rome. Maarten van Heemskerck draws the City
1151:
The Allure of Rome. Maarten van Heemskerck Draws the City
1127:
The Allure of Rome: Maarten van Heemskerck Draws the City
551:
A fanciful 16th-century interpretation of the Pharos, or
1519:. Ausst.-Kat. Berlin 2024 (MĂĽnchen, Hirmer-Verlag 2024).
1560:(München: Ed. Minerva, 2010) (exh.-cat. Berlin), 81–89.
1546:, (Paris: Institut national d'histoire de l'art, 2015).
646:
St. Luke painting the Likeness of the Virgin and Child
709:, the remains of which are today divided between the
705:
In 1550, Heemskerck painted a large, now dismembered
1059:. New York: Metropolitan Museum of Art. p. 133.
1511:
Maarten van Heemskerck. Das römische Zeichnungsbuch
1551:Rom zeichnen. Maarten van Heemskerck 1532–1536/37.
949:The Lives of the Netherlandish and German Painters
901:Museo Municipal de Bellas Artes Juan B. Castagnino
1818:
1153:, Exh.-Cat. Berlin 2024, Munich 2024,pp. 99–127.
319:as a triumphal arch (5 April 1536) in honour of
1595:(Heemskerk: Historische Kring Heemskerk, 1998).
1586:Zentren und Wirkungsräume der Antikenrezeption.
1076:21: Inquiries into Art, History, and the Visual
182:; 1 June 1498 – 1 October 1574), also known as
1525:. Exh.-Cat. Berlin 2024 (Munich, Hirmer 2024).
1694:
1663:Pieter Bruegel the Elder: Drawings and Prints
433:Maarten van Heemskerck, "Rome, the Colosseum"
1708:
1701:
1687:
1258:
1256:
1108:
1069:
471:, imagined in a 16th-century engraving by
397:, where he served for 22 years (until the
1198:AdSummus, for Art History with Michelli.
1051:
1049:
1011:
1009:
1007:
928:
926:
924:
922:
920:
1113:. 2 vol. Reimer Verlag - Edition Imorde.
1028:
1005:
1003:
1001:
999:
997:
995:
993:
991:
989:
987:
807:
795:
627:
611:
428:
420:
210:
1591:Erik Zevenhuizen - Piet de Boer (ed.),
1493:
1253:
876:Museum of New Zealand Te Papa Tongarewa
616:Detail of Ecce Homo Altarpiece (1544),
437:
409:which the Spaniards laid to the place.
273:in 1532, Heemskerck painted a scene of
1819:
1619:Ilja Veldman (Michael Hoyle, trans.),
1549:Tatjana Bartsch - Peter Seiler (ed.),
1046:
917:
639:Many works by van Heemskerck survive.
226:Heemskerck was born in the village of
57:Self-portrait detail from his painting
1682:
984:
855:
539:in 1572, from a drawing by Heemskerck
515:churches of the mannerist generation.
450:in the centre. They were engraved by
1614:Maerten van Heemskerck. Die Gemälde.
1588:(Münster: Scriptorium, 2007), 27–38.
1572:Nederlands Kunsthistorisch Jaerboek.
1513:. (Berlin, Hatje Cantz Verlag 2024).
896:University of Michigan Museum of Art
1670:Prints after Maarten van Heemskerck
1070:ThĂĽrlemann, Felix (28 April 2021).
947:; a more modern translation is in
13:
1757:Adam and Eve/Gideon and the Fleece
1644:Literature on Marten van Heemskerk
1504:
1421:. Musées de la ville de Strasbourg
1218:"Heemskerck's Style and Technique"
891:Musée des Beaux-Arts de Strasbourg
716:Adam and Eve/Gideon and the Fleece
711:Musée des Beaux-Arts de Strasbourg
507:, has the "old-fashioned" look of
393:. In 1553 he became curate of the
269:Before setting off for Italy on a
14:
1878:
1627:
939:. Translated from a biography in
309:Francesco de' Rossi (Il Salviati)
184:Marten Jacobsz Heemskerk van Veen
1773:Self-portrait with the Colosseum
1623:(Maarssen: Gary Schwartz, 1977).
1185:"The eight wonders of the world"
1016:
943:, Haarlem, 2020 (available as a
690:at Rome, and in the frescoes of
600:self-portrait with the Colosseum
591:
575:
559:
544:
520:
496:
479:
459:
50:
1605:Jefferson Cabell Harrison Jr.,
1458:
1433:
1407:
1389:
1364:
1339:
1317:"Museum Boijmans Van Beuningen"
1309:
1284:
1235:
1210:
1191:
1177:
1168:
1156:
945:Dutch online text from the DBNL
582:Fanciful interpretation of the
401:). In 1572 he left Haarlem for
349:
301:Antonio da Sangallo the Younger
1733:Saint Luke Painting the Virgin
1674:Dresden's Kupferstich-Kabinett
1419:musees-strasbourg.skin-web.org
1296:The Courtauld Institute of Art
1143:
1117:
1102:
1063:
973:
954:
823:Saint Luke painting the Virgin
739:Palais des Beaux-Arts de Lille
511:in Florence and other Italian
1:
910:
867:Museum Boijmans Van Beuningen
842:
721:Museum Boijmans Van Beuningen
527:A fanciful reconstruction of
412:
206:
1655:Vermeer and The Delft School
1565:Intellectual History Review,
1542:Marco Folin - Monica Preti,
1441:"Exchange: The Resurrection"
1292:"Heemskerck, Mary Magdalene"
814:Musée des Beaux-Arts, Rennes
751:St. Luke painting the Virgin
657:Museum of Fine Arts in Ghent
607:
275:St. Luke painting the Virgin
201:
7:
360:Haarlem Guild of Saint Luke
311:on the redecoration of the
216:Portrait of a Lady spinning
10:
1883:
1842:Artists from North Holland
1765:Christ Crowned with Thorns
1616:(Berlin: Boettcher, 1980).
1567:20, 2010 - Issue 1, 27–51.
1487:
1376:www.nationalgallery.org.uk
1351:collections.tepapa.govt.nz
1109:ThĂĽrlemann, Felix (2024).
862:Courtauld Institute of Art
830:and is no longer visible.
791:
680:Museum of Fine Arts, Ghent
584:Mausoleum of Halicarnassus
488:Hanging Gardens of Babylon
332:Kupferstichkabinett Berlin
20:
1791:
1716:
1088:10.11588/xxi.2021.1.79015
1034:Heemskerk, Martin Jacobsz
951:, H. Miedema, ed. 1994–9)
533:Statue of Zeus at Olympia
220:Thyssen-Bornemisza Museum
169:
152:
148:
138:
128:
118:
96:
67:
49:
42:
16:Dutch painter (1498–1574)
1847:Dutch Mannerist painters
1494:Kerrich, Thomas (1829).
1200:"Hanging Gardens—Images"
881:National Gallery, London
833:
553:Lighthouse of Alexandria
454:and published in 1572.
287:
180:Maerten Jacobsz van Veen
72:Maerten Jacobsz van Veen
1857:Dutch portrait painters
1600:Maarten van Heemskerck.
1445:exchange.umma.umich.edu
1415:"Heemskerck – peinture"
1039:Encyclopædia Britannica
1710:Maarten van Heemskerck
1397:"Search - Rijksmuseum"
1247:The Walters Art Museum
817:
805:
747:Gemäldegalerie, Berlin
636:
634:The Walters Art Museum
625:
434:
426:
399:Protestant reformation
371:Protestant Reformation
294:William of Enckenvoirt
223:
176:Maarten van Heemskerck
44:Maarten van Heemskerck
1867:Dutch Roman Catholics
1862:Painters from Haarlem
1837:People from Heemskerk
1741:Lamentation of Christ
1539:(Leiden: Brill 2019).
1498:. London: J. Rodwell.
937:. London: J. Rodwell.
886:Rijksmuseum Amsterdam
811:
802:this first altarpiece
799:
745:, dated 1561, in the
631:
615:
568:Great Pyramid of Giza
432:
424:
354:On his return to the
214:
1805:Wonders of the World
1574:59(1), 2009, 90-108.
1266:, with notes, 1995.
820:In his depiction of
570:(Bettman collection)
438:Wonders of the World
313:Porta San Sebastiano
196:Wonders of the World
190:. He was a pupil of
90:Habsburg Netherlands
1852:Dutch male painters
1612:Rainald Grosshans,
1535:Arthur J. DiFuria,
1470:castagninomacro.org
1174:Kerrich 1829, p.105
961:retrieved July 2009
800:Heemskerck painted
786:Triumphs of Silenus
767:Christ on the Mount
673:Linköping Cathedral
665:St. Laurence Church
509:Santa Maria Novella
387:Nieuwe Kerk (Delft)
161:, Haarlem council,
112:Spanish Netherlands
941:Het Schilder-boeck
856:Public collections
828:the first painting
818:
806:
637:
626:
468:Colossus of Rhodes
435:
427:
234:, halfway between
224:
1814:
1813:
1781:Portrait of a Man
1528:Tatjana Bartsch,
1280:978-90-284-1678-9
1187:. British Museum.
1136:978-3-7774-4344-7
969:978-90-6550-186-8
763:Flight into Egypt
743:Judgment of Momus
735:Frans Hals Museum
730:Madonna of Loreto
663:executed for the
505:Temple of Artemis
473:Martin Heemskerck
391:Guild of St. Luke
336:Capitoline Brutus
173:
172:
1874:
1703:
1696:
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1404:
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1382:
1368:
1362:
1361:
1359:
1357:
1343:
1337:
1336:
1334:
1332:
1323:. Archived from
1313:
1307:
1306:
1304:
1302:
1288:
1282:
1264:Carel van Mander
1260:
1251:
1250:
1239:
1233:
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1230:
1228:
1214:
1208:
1207:
1195:
1189:
1188:
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1175:
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1749:Crucifixion
1401:Rijksmuseum
1331:1 September
1321:boijmans.nl
774:Crucifixion
772:There is a
759:Crucifixion
719:), and the
661:altar-piece
356:Netherlands
119:Nationality
82:1 June 1498
1821:Categories
1204:plinia.net
911:References
843:Reputation
784:, and two
700:Jan Mabuse
413:Engravings
389:for their
383:Prinsenhof
271:Grand Tour
252:Jan Lucasz
207:Early life
129:Occupation
78:1498-06-01
35:Hermskerck
23:Dutch name
1768:(c. 1550)
1744:(c. 1540)
1717:Paintings
1096:2701-1550
871:Rotterdam
652:Ecce Homo
608:Paintings
444:Colosseum
403:Amsterdam
321:Charles V
228:Heemskerk
202:Biography
154:Patron(s)
143:Mannerism
86:Heemskerk
61:Colosseum
1801:(master)
1450:22 April
1381:22 April
1356:22 April
1301:22 April
755:Golgotha
707:triptych
139:Movement
21:In this
1792:Related
1488:Sources
1425:21 June
1227:23 July
1027::
905:Rosario
792:Parrots
776:in the
688:Raphael
669:Alkmaar
655:in the
529:Phidias
448:Jupiter
248:Haarlem
240:Haarlem
236:Alkmaar
188:Haarlem
165:council
133:Painter
108:Haarlem
59:of the
27:surname
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622:Warsaw
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379:Musius
178:(born
33:, not
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834:Death
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288:Italy
163:Delft
123:Dutch
1477:2022
1452:2021
1427:2023
1383:2021
1358:2021
1333:2014
1303:2021
1276:ISBN
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1229:2012
1131:ISBN
1092:ISSN
965:ISBN
694:and
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643:and
566:The
503:The
317:Rome
307:and
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97:Died
68:Born
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