This invented architectural setting

Includes:: a domed building, possibly a temple set on a podium, & a semi-circular

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The fountain in the foreground is surmounted by a statue of Hercules fighting Hydra. Two of the other statues may represent Mercury & Minerva. The elegantly dressed figures are by another painter, perhaps Jan Olis (about 1610
- 1676) or Anthonie Palamedesz. (1601
- 1673). This type of finely executed painting, representing a fanciful architectural setting, carefully constructed according to perspectival rules & populated with very elegantly dressed people, was probably painted for aristocratic & courtly patrons connected with the Court of Orange in the Netherlands. Van Delen painted imaginary architecture, particularly church interiors & palaces, in a style influenced by that of Hendrick van Steenwyck the Younger (died 1649).

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This painting, signed on one of the stones to the left of the tree, is one of the most varied of van der Heyden's architectural fantasies. The dating to the late 1660s is confirmed by the costume of the figures, which may have been painted by Adriaen van de Velde (1636
- 1672). The architectural details appear to be largely imaginary, though they may incorporate features from real buildings. The classical stone gateway with its decoration of Corinthian pilasters, which is highlighted by the cloud formation in the sky, left of centre, may be intended as a reminiscence of one of the 17th-century gates of Amsterdam, although it does not resemble any of them closely. It is contrasted with the Gothic house of brick in the foreground & the dying tree. A new growth of trees & foliage covers the curved town wall on the right.
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The celestial globe on the table in the background & the open book on the right suggest that the man wearing a scholar's cap & gown is an astrologer. The illustration of a hand in the book may refer to palmistry. According to a widespread belief in the 17th century the combination of astrology & palmistry could be used to foretell a person's fate. However, aware of the ultimate futility of his efforts, the scholar's slumped pose & absent gaze indicate a melancholic state of mind. As such his depiction exists within a tradition of images of scholars going back to Dürer (1471
- 1528), in which the subjects are shown contemplating the futility of their studies in view of the inevitability of their mortality.
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On the table is a celestial globe, & behind it a terrestrial one. The pose of the figure & his abstracted manner indicate that the painting may belong to the visual tradition of Melancholia, made famous by Durer's work, in which it was suggested that ...

The only known double portrait by Gossaert. The sitters have not been identified. On the badge on the man's hat a young naked couple with a cornucopia are depicted, clearly providing a contrast with the age of the subjects, & perhaps an ironic comment on their present state. ...

The book & sword, symbolising the word of God & the saint's martyrdom respectively, identify the man as Saint Paul. The roundel in the top-left corner shows the Sacrifice of Isaac. In Paul's Epistle to the Hebrews (11: 17) Abraham's sacrifice of his son is cited as an example of faith. Rembrandt seems to have been particularly interested in Saint Paul, whom he represented many times. The last digit of the date is damaged, but is probably a '9' & the painting belongs to a group of half-length apostles & saints from the years around 1659-60. ...

The two-masted vessel in the centre foreground has the English ensign & flies a St George's cross. In the left middle distance is a man-of-war flying the Union flag & St George's cross. A preparatory drawing (London, Royal Collection) identifies the v ...

An English two-masted armed ketch flying a white flag with Saint George's cross is in the right foreground. A small vessel, probably a 'weyschuit' (a small Dutch open boat with a straight raking stern, usually rigged with a sprit) is approaching her. Ther ...

This painting is probably intended to show a battle in the English Civil War. It was presumably painted during the artist's stay in Engl&, & was exhibited at the Royal Academy in 1850. ...