Comments on: Secrets of a 17th-c. damsel – #3 http://flyingfox.jonathanjanson.com/2008/12/08/secrets-of-a-17th-c-damsel-3/ Words from the Essential Vermeer.com Wed, 09 Nov 2011 13:08:05 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Richard A. Smith RAS http://flyingfox.jonathanjanson.com/2008/12/08/secrets-of-a-17th-c-damsel-3/comment-page-1/#comment-2762 Richard A. Smith RAS Sat, 31 Jan 2009 22:50:40 +0000 http://flyingfox.jonathanjanson.com/?p=505#comment-2762 I neglected to mention that the SPHERE and likewise, the circle were well known as symbols of PERFECTION by the Emblemata or Emblem Books extant at that time and popular with and made for artists. Alciato, the Italian lawyer hoped to pass on ancient wisdom through the emblems that he published in 1533, which were then illustrated to a standard formula by Venius and others in the 17th century. They evolved over the years and country to country by enthusiasts for both religious and secular use. The Cupids of Vermeer are taken from this pastime. The RED SPHERE may be Terborch's way of patting-himself-on-the-back for the sensual JOKE in which he has compromisingly placed his friends. (and possibly students!) I neglected to mention that the SPHERE and likewise, the circle were well known as symbols of PERFECTION by the Emblemata or Emblem Books extant at that time and popular with and made for artists. Alciato, the Italian lawyer hoped to pass on ancient wisdom through the emblems that he published in 1533, which were then illustrated to a standard formula by Venius and others in the 17th century. They evolved over the years and country to country by enthusiasts for both religious and secular use. The Cupids of Vermeer are taken from this pastime.
The RED SPHERE may be Terborch’s way of patting-himself-on-the-back for the sensual JOKE in which he has compromisingly placed his friends. (and possibly students!)

]]> By: Richard A. Smith RAS http://flyingfox.jonathanjanson.com/2008/12/08/secrets-of-a-17th-c-damsel-3/comment-page-1/#comment-2759 Richard A. Smith RAS Sat, 31 Jan 2009 22:29:55 +0000 http://flyingfox.jonathanjanson.com/?p=505#comment-2759 Terborch knew, personally, Vermeer very well, I'm convinced. The dress's decorative panels in the Lady with a Pearl Necklace and the question of the circular enigmas on the table's edge remind of another Terborch anomaly. In "The Dispatch", on the toe of the left boot of the messenger waiting for a letter, sits a RED SPHERE. Why? The officer writing the letter has been identified as Netscher, Terborch's famous student. The comical figure of the messenger, waiting patiently, and being sniffed by the officer's hound, is Vermeer! Why? Terborch is, undeniably, one of the greatest portraitists of the Golden Age. If this messenger's head is mirrored and placed magically beside the head of Vermeer's Geographer, the two heads compare favourably. (more favourably than Mr. Wheelock's comparison to van Lieuenhoek?) Since the Geographer and the Astronomer are the same man (by the same hand), then the Geographer is the Astronomer, who identifies himself within the painting by indicating his birth month. How? The following was a previous response to the assertion that Van Lieuenhoek is the subject of the "scientists" Vermeer painted: "The men are the same age. Both born in 1632 as we can surmise by the usual Christian practice of early Baptism after birth. I doubt that they were born “twins” of the same month, which would need to be the case, in regards to The Astronomer. I doubt that Mr. Wheelock, whose work is very much admired, would rest his laurels on his speculation regarding this identity. The Astronomer, himself, reveals his identity within the picture. He points to it with, not an index finger, but a THUMB. The thumb, in common usage, is a phallic symbol of the era, which Vermeer revealed in his picture “The Lady and Her Maid”. The thumb being larger by a knuckle than reality would have it. Her other hand had no such problem. But, I digress, to introduce the Astronomer’s thumb as symbol and its placement on the celestial globe as significant. The thumb rests on the Aquarian symbol of the water bearer. Thus, the approximation of January to February is clearly indicated. The painting-within-a-painting of Moses being taken from the water by the daughter of Pharoah, which, incidentally, is the meaning of the name, Moses -”taken from the water”, aligns perfectly with this astrological speculation as well as the Name of the Astronomer. Who is HE? One need only count the full gestation period of a human from “the conception” (THUMB)to “the delivery”, which is painted for us in the dead centre of the globe, albeit below centre, to ascertain the month of birth which is indicated by the Scales of LIBRA - the month of OCTOBER - the same Month that our hero was baptised. VERMEER, whose name means “OF THE SEA”! Please take the time to investigate this assertion with the Hondius celestial globe and other sources at your disposal to assure yourself of the position of Vermeer's thumb. My take on the RED SPHERE is that red is one of two colours which, symbolically, are associated with sensuality. Yellow, being the other, was often used by Vermeer in close proximity particularly in the dress of women (skirts, underskirts), whereas, Terborch used red for the indicator of sensuality, in empty chairs, etc. Using a sphere of this colour can be assumed to have a knowing audience, which, most likely, would include the model for the messenger in The Dispatch - who is Vermeer. Terborch knew, personally, Vermeer very well, I’m convinced.
The dress’s decorative panels in the Lady with a Pearl Necklace and the question of the circular enigmas on the table’s edge remind of another Terborch anomaly. In “The Dispatch”, on the toe of the left boot of the messenger waiting for a letter, sits a RED SPHERE. Why?
The officer writing the letter has been identified as Netscher, Terborch’s famous student. The comical figure of the messenger, waiting patiently, and being sniffed by the officer’s hound, is Vermeer! Why?
Terborch is, undeniably, one of the greatest portraitists of the Golden Age. If this messenger’s head is mirrored and placed magically beside the head of Vermeer’s Geographer, the two heads compare favourably. (more favourably than Mr. Wheelock’s comparison to van Lieuenhoek?) Since the Geographer and the Astronomer are the same man (by the same hand), then the Geographer is the Astronomer, who identifies himself within the painting by indicating his birth month. How? The following was a previous response to the assertion that Van Lieuenhoek is the subject of the “scientists” Vermeer painted:

“The men are the same age. Both born in 1632 as we can surmise by the usual Christian practice of early Baptism after birth. I doubt that they were born “twins” of the same month, which would need to be the case, in regards to The Astronomer. I doubt that Mr. Wheelock, whose work is very much admired, would rest his laurels on his speculation regarding this identity.
The Astronomer, himself, reveals his identity within the picture. He points to it with, not an index finger, but a THUMB. The thumb, in common usage, is a phallic symbol of the era, which Vermeer revealed in his picture “The Lady and Her Maid”. The thumb being larger by a knuckle than reality would have it. Her other hand had no such problem. But, I digress, to introduce the Astronomer’s thumb as symbol and its placement on the celestial globe as significant.
The thumb rests on the Aquarian symbol of the water bearer. Thus, the approximation of January to February is clearly indicated. The painting-within-a-painting of Moses being taken from the water by the daughter of Pharoah, which, incidentally, is the meaning of the name, Moses -”taken from the water”, aligns perfectly with this astrological speculation as well as the Name of the Astronomer. Who is HE? One need only count the full gestation period of a human from “the conception” (THUMB)to “the delivery”, which is painted for us in the dead centre of the globe, albeit below centre, to ascertain the month of birth which is indicated by the Scales of LIBRA – the month of OCTOBER – the same Month that our hero was baptised. VERMEER, whose name means “OF THE SEA”!

Please take the time to investigate this assertion with the Hondius celestial globe and other sources at your disposal to assure yourself of the position of Vermeer’s thumb.
My take on the RED SPHERE is that red is one of two colours which, symbolically, are associated with sensuality. Yellow, being the other, was often used by Vermeer in close proximity particularly in the dress of women (skirts, underskirts), whereas, Terborch used red for the indicator of sensuality, in empty chairs, etc.
Using a sphere of this colour can be assumed to have a knowing audience, which, most likely, would include the model for the messenger in The Dispatch – who is Vermeer.

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