International studio (82.1925)

inceRnAtionAL

were on the actual walls, such
maps, taking their place of ac-
cent with the faience, the silver
mugs and the regimented chairs.
They were carefully dusted.
Vermeer lights them from the
window openings on the left,
but no housewife allowed the
winds to flop them. There is
always a temptation to assume
some peculiar bond of sympathy
in a man who loves a map and
knows not why. The Dutch of
Vermeer's day knew why; and
we have probably no grounds
for reading things into the
painter's appreciation of the
decorative accidents of a con-
temporary vogue.

For the Dutch towns of Ver-
meer's day boasted cartogra-
phers unapproached unless by
Sanson of Abbeville. In the
eighteenth century cartographic
supremacy passed to France
where Delisle was born in the
year Vermeer died; as in turn
after the middle of the nine- "woman with a water jug" by jan vermeer

teenth century it rested with Courtesy V the Metropolitan Museum of Art

Germany. But Antwerp and Amsterdam were astronomer Halley gave the world his wind chart

the centres for this work until after Vermeer had and an improved chart of compass variation,

laid aside his then unappreciated brushes forever. These mileposts in cartography may serve to

A few of the facts may be recalled. The first map remind us that the span of the painter's brief

on Mercator's projection, the planisphere for career was a time when Europe, led by the Low

mariners, came into general use at the time of Countries, had reason to take pride, and to feel

Vermeer's birth. He was a child in arms when the liveliest interest, in its new and useful science

J. A. Colom was publishing his "Fiery Column of map making.

of Navigation," and Waghener's "Mariner's Mir- The "Geographer" paintings add a touch, if

ror" had been making its mark in its many any were needed, to the impression of Vermeer's

editions in many languages. Vermeer was a boy interest in maps. Besides the Frankfort picture

of ten when Willem Janszon Blaeu, publisher of which carries a date not relied upon, 1668, and

the Zee Spiegel collection of charts, began bring- the uncertain "Geographer" mentioned by Mr.

ing out his new atlas; ultimately it reached the Lucas, which may be traveling, there is, or was,

extent oi twelve folio volumes. When Vermeer an example at Brussels in the collection of Vicomte

was of age the house founded by Hondius, the du Bus de Gisegnies. The sitter for all these

purchaser of Mercator's copper plates, had pro- paintings may have been Antony van Leuwen-

duced four hundred and fifty-one charts. The hoek, the naturalist, who on the application of

brother-in-law of Hondius was the publisher of Vermeer's widow was charged with the adminis-

the Seaman's Light charts. Vermeer was thirty- tration of the painter's estate by the court of

three when Kircher issued his chart of currents, insolvency. Leuwenhoek is also thought to have

Muridus Sublerraneus. Jean Picard in France was been the sitter for another scientist picture, "The

measuring the arc of the meridian when Vermeer Astronomer," in the collection of Baron Alphonse

was thirty-seven. Hachures first took the place de Rothschild in Paris.

of molehills in David Viviers' map of the Paris It probably would not escape the notice of a

environs when the painter was forty-two. In the wooden Indian that there is more than virtuosity

decade following his death at forty-three the in Vermeer's management of his paint, more than

NOVEMBER I 9 2 j

one tiventy-Jive