The number of surviving documents that pertain to Vermeer, his family, and his art is tantalizingly few, yet still greater than those regarding the majority of Dutch painters.While 60 documents contains appraisals and prices of the works of Rembrandt van Rijn, only a handful mention the art of Vermeer. Although historians have only recently fleshed out Vermeer's artistic stature within his society, little is known of his immediate family and almost nothing of Vermeer the man. The following is a concise chronology of the painter's artistic, personal, and civic life.
1573 - Balthasar Claes Gerrits, Vermeer's maternal grandfather, is born in Antwerp. He was about twelve years old when the Spanish captured the town in 1585, and still lived there in 1595 at the time of the birth of his daughter Dingenum, or Digna, Vermeer's future mother. Shortly afterward, he leaves for the northern provinces. It is unknown whether he stayed in Delft on the way, but it is believed he arrived arrived in Amsterdam during the closing years of the century. His son, known as Reynier Baltens, is believed to have been born there around 1600.
1591 - Vermeer's father, Reynier Jansz. (c. 1591–1652), is born at Beestenmarkt number 14 in a house called Nassau, in Delft. His father was the tailor Jan Reyersz., and his mother was Cornelia (also known as Neeltge Goris). Neeltge is active as uijtdraegster,In 17th-century Dutch society, the "uijtdraegster" was a woman engaged in the trade of second-hand goods, often managing the liquidation of estates. Derived from the verb "uitdragen," meaning "to carry out" or "to peddle," these women played a vital role in the urban economy by redistributing and recycling items such as clothing, household goods, and occasionally artworks. Neeltge Goris, the grandmother of Johannes Vermeer, worked as a uijtdraegster in Delft, potentially influencing her son Reynier Jansz.'s interest in dealing with second-hand paintings, which may have shaped Vermeer's exposure to art. This profession underscores the importance of women in the informal trade and commerce of the Dutch Republic, contributing to both their livelihoods and the sustainability of urban economies. or a second hand goods dealer, liquidating estates of deceased people. Paintings frequently form part of estates. Five months after her husband’s funeral, she marries her neighbour Claes Corstiaensz. who owned the house with The Three Hammers. At the time, Neeltge was about thirty, and Claes was forty-nine.
1597 - The first documentary evidence of Vermeer's ancestors in Delft is a deed witnessed by a notary, dated January; Jan Reyerszoon, a tailor, relinquishes a debt acknowledgment in his possession to someone living outside the town in exchange for cash. Jan Reyerszoon (son of Reyer) is Vermeer's paternal grandfather.
1611 - From 1611 on, Claes Corstiaensz. is always referred to in notarial documents as Master Claes, musician (speelman). In the inventory drafted posthumously for his son Dirck, six musical instruments are listed, presumably inherited from his father by Dirck, who was himself a hatter. These were: a lute, a trombone, a shawn or pipe, two viols, and a cornet. These were likely the instruments Claes played by Claes and his family (the first picture in the inventory of Vermeer's father's effects was of an Italian pipe-player, probably the pipe was the first instrument he learned to play). Vermeer's father's apprenticeship as a silk weaver (kaffawerker), lasts four years, for this was a highly specialized craft demanding a good understanding of design in order to create the complex patterns traditional for that type of cloth.
1615 - On June 27, Vermeer's father marries Digna Baltens (d. 1670) in Amsterdam. When Digna signs a statement to the effect that she is unmarried at the time, she with a cross. Later she learns to sign her name in full. The marriage is performed on 18 July. Reynier Jansz. was 24 years old.
1617 - With the exception of the stonecutter Anthony Jansz., all the male members of Vermeer's father's family were self-employed craftsmen or shopkeepers, members of guilds, typical products of the lower-middle classes. Their wives kept house and sometimes helped them with their work. When the husband died, his widow would either "take over" or find some other occupation. So, in 1617, after the death of her second husband, Claes Corstiaensz., Neeltge Goris embarked on a career as a mattress-maker, selling feather beds and quilts. On occasion she is also employed to wind up estates, which meant drawing up inventories of the dead person's effects and organizing the sale of his possessions. She also runs lotteries. Burdened by the debts run up by her husband Claes Corstiaensz. between 1611 and 1615 (for reasons that are unclear), she could not permit herself the luxury of idleness. Albert Blankert, John Michael Montias, and Gilles Aillaud. Vermeer. (Woodstock and New York: Overlook Duckworth, 2007), 21.
1619 - Vermeer's maternal grandfather, Balthasar Gerrits, was originally apprenticed to some trade that involved metalwork, probably clockmaking, as that was the occupation he returned to late in life. In 1609, he is working as a clerk, or "merchant's assistant." His skills as a clockmaker and metal-worker and this expertise led him—and his son Balthens—into deep trouble in the early 1620s in The Hague, where he worked as the diemaker for a group who were arrested for counterfeiting German coins. The senior parties in this scam were beheaded. Balthasar Gerrits and Reynier Balthens were interrogated by the authorities but gave evidence against their employers and were eventually released without charge; whether they were ever free of nightmares after their close brush with the executioner's sword is doubtful.
1622 - On January 8, Reynier Cornelisz. Bolnes and Maria Thins, both from Gouda, marry before the Aldermen in Gouda. Catharina Bolnes, who was to be the wife of the painter, was a child of this marriage. January 1625 "Reynier de Vos" is named as witness in a document and signs "Reyn'ier Jansz. Voos." This is the first known use of the last name Vos.
1624- Reynier Jansz. and two friends were involved in a quarrel with a corporal of the regiment garrisoned in Delf during an ice skating outingt. The soldier was wounded, and the three young men fled the scene. The mothers of Reynier Jansz. and one of his friends negotiated with the military authorities to pay twenty-four guilders each in compensation. They also agreed to celebrate the corporal's recovery with a jug of wine. Unfortunately, the wounded soldier died shortly afterward. Reynier Jansz.'s mother was then forced to pursue the third assailant to claim the "blood money" that had not been paid. Ten years later, the painter's father was again involved in a fight, together with four friends, this time with a captain of the States' Admiralty. Reynier Jansz. seems to have played a conciliatory role in the affair, which had no serious consequences, although knives were drawn. The two incidents illustrate the kind of disreputable company kept by Vermeer's father in his youth.
1625 - On January, 2, "Reynier de Vos"Vos means "fox" in Dutch. is named as witness in a document and signs "Reynier Jansz. Voos." This is the first known use of the last name Vos."Reynier de Vos" is named as witness in a document and signs "Reyn'ier Jansz. Voos." The reason for the change of name is unknown.
It is believed that Vermeer was born in his father's inn, called The Flying Fox, in Voldersgracht at what now corresponds to civic number 25 or 26 (the second and third furthest buildings from the right of the photograph (taken from the tower of the Nieuwe Kerk). Number 25 is currently occupied by the hotel and restaurant called De Vliegende Vos.
1625 - On July 6 and August 4, it appears from notarial acts that Vermeer's father, together with two other men, wound the soldier Willem van Bylandt in a brawl in the inn Mechelen. While Reynier Vos is still a fugitive, he and his wife, Digna, and the mother of one of the two other perpetrators settle this matter by the payment of blood money to Van Bylandt.
1629 - On February 9, Reynier witnesses a document in which, for the first time, he is identified as a "herbergier" ("innkeeper").
1631 - Reynier Janz. Vos becomes a member of the Guild of Saint Luke as a "Master Art Dealer" (Mr. Constvercoper). This title allows him to buy and sell paintings in Delft. He pays six guilders, the entry fee for a Delft citizen.
1632 - Vermeer, Reynier's second son, is baptized as "Joannis" in the Nieuwe Kerk on October 31.
1640 - On 6 September, Reynier Jansz. residing at Voldersgracht, declares tha that Barent Batista, the son of the painter Jan Batista (van Fornenburgh), had been living in his house and had departed from Delft in 1631 to become a soldier in the East Indies. The document is witnessed by the painters Pieter van Groenewegen and Balthasar van der Ast. On this occasion, Reynier Jansz., for the first time as far as is known, added the last name "Vermeer" to his signature. The reason for the change in name is unknown. The marriage between Reynier Bolnes and Maria Thins, future mother-in-law, comes to an end. The divorce is complicated due to furniture and paintings that belonged to the Thins family as their heritage were part of the estate. Maria's brother Jan and her sister Cornelia, demand these items through a court judgment. Following the order, the belongings are divided into three portions and allocated by drawing lots.
1641 - Reynier Janz. Vos buys a large, heavily mortgaged house and inn known for the past hundred years as "Mechelen," after the Brabant city, for 2,700 guilders on the Markt (Great Market), in Delft. The establisment has seven hearths. The interest amounted to almost as much as the rent for the Flying Fox. The advantage, however, was the inn's superior location. From the records we have, it seems that Reynier Janz.'s customers in Mechelen were mainly drawn from the respectable middle classes: a captain's wife, a military contractor (an acquaintance of his stepbrother Reynier Baltens), and a doctor. Undoubtedly, Reynier had risen in the word since the street brawling of his earlier years Presumably, the location of Mechelen provided a natural meeting place for artists and collectors. The landlord is in an ideal position to act as middleman between the painters and their clients. Most likely, he buys pictures speculatively and displays them on the walls in the hope of making a sale at some future date. Nonetheless, Vermeer's father's endeavor to juggle the roles of innkeeper and art dealer apparently did not lead to wealth. This could have been due to his customers' delinquencies or their need for prodding to settle their tabs—as in 1651, Reynier van Heuckelom was in arrears by 126 guilders for room and board, an amount surpassing the yearly interest on the inn's mortgage
1641 - Around 1640, the marriage between Reynier Bolnes and Maria Thins ended. The divorce was problematic, involving disputes over furniture and paintings that were part of the Thins family's property. Jan, Maria's brother, and Cornelia, her sister, demanded these goods through a judgment of the court of aldermen. By order of the court, the goods were divided into three parts and then distributed by drawing lots.
Three days before the acquisition of Mechelen by Vermeer's father, Jan Thins, the brother of Vermeer's future mother-in-law Maria Thins, buys a house on the Oude Langendijk in Delft three days earlier. In this house Vermeer will keep his studio and spend much of his adult life.
1642 - On July 5, Reynier Jansz. appears as a witness, signing with his last name "Vosch " in front of the notary and acquaintance of Vermeer family, willem de Langue.
1647 - Vermeer's sister, Gertruy, marries Antony van der Wiel, a Delft ebony worker and frame-maker. Gertruy is twenty-seven and her brother Johannes is fifteen. The married couple goes to live in a house called "De Molen" in the Vlamingstraat, east of the Nieuwe Kerk.
Vermeer likely began his mandatory apprenticeship, typically lasting between four to six years, in the late 1640s under a painting master. This assumption is based on his admission to the Delft guild in 1653. However, the specific details of his apprenticeship, including his mentor and location of study, remain unknown, as there are no surviving records from this period indicating his whereabouts. Various masters and cities have been speculated upon, with some conjecturing that Vermeer might have studied in Amsterdam with either Jacob van Loo or Quellinus, considering the similarities between Vermeer's early works and those of these Amsterdam painters.
1652 - On October 12, Vermeer's father, Reynier Janz. Vos, is buried at the age of 61 in the Nieuwe Kerk, Delft.
1653 - On April 5, Vermeer registers his intentions to marry Catharina Bolnes, the youngest daughter of Maria Thins and Reynier Bolnes. The night before, the well-known Delft painter Leonard Bramer and a certain Captain Melling declare that Maria Thins refuses to give her consent in writing but she states that "she would suffer the (marriage) banns be published and would tolerate it." On April 20, Johannes and Catharina Bolnes get married in Schipluiden, a small village an hour's walk south of Delft. On April 22, Vermeer and the successful painter Gerrit ter Borch from Deventer co-sign a document in Delft. On December 29, Vermeer is registered as a member of the Guild of Saint Luke, in Delft. He pays just one and a half guilders out of the total master's fee of six guilders.
1654 - On January 10, Vermeer serves as witness to a notarized obligation of debt and is described as "master painter."
1655 - On December 14, Vermeer and his wife co-sign a document, positioning themselves as secondary sureties and co-principals for a debt left by the late Reynier Jansz. Vos. The document is signed "Johannes Reijninjersz Vermeer," with "Vosch" crossed out. Vermeer signs and dates his Saint Praxedis, presumably, a copy of a work by the Italian artist, Felice Ficcherelli (1605–1660). During the devastating Delftse Donderslag on 12th October, 1654, Mechelen suffered damage.
1656 - Vermeer pays off the remaining part of the master's fee to the Guild of Saint Luke and signs one of his earliest known works, The Procuress. One year after the Delftse Donderslag, the States of Holland pay compensation to Vermeer’s mother Digna, who runs the inn after her husband’s death and was still living there at the time of the devastating gunpowder disaster. Redazione, "Two new facts about Johannes Vermeer's life discovered," Finestre sull'Arte, November 3, 2023, accessed November 3, 2023.
1657 - In the initial draft of her will, Maria Thins bequeaths to Vermeer's daughters jewels and the sum of three hundred guilders to Vermeer and Catharina. Vermeer takes a loan of two hundred guilders from Pieter Claesz. van Ruijven. This affluent Delft citizen later buys at least 19 of Vermeer's paintings. When signing documents, Vermeer switches from using the old Gothic script to the more modern Roman script. On June 27, the inventory of the Amsterdam-based art dealer Johannes de Renialme lists "een graf besoeckende van der Meer..." (a Visit to the Tomb by Van der Meer [Vermeer]).
In February, the framemaker Anthony van der Wiel, who had married Vermeer's sister Gertruy, registers at the Guild of Saint Luke as an art dealer.
1660 - On December 27, "A child of Johannes Vermeer [living] on the Oude Langedijck" is buried in the Oude Kerk in Delft. This is the earliest evidence that Vermeer and his family were residing in Maria Thins' home in the Papists' corner of the city.
1661 - In December, another of Vermeer's children is burried the Oude Kerk, in a grave bought by their grandmother Maria Thins.
1662 - Vermeer is appointed one of the headmen (hoofdman) of the Guild of Saint Luke. This appointment is often seen as a testimony of the high esteem in which the artist was held at the time. However, at that time many painters resident in Delft had left for the more prosperous Amsterdam. On May 15, Maria Thins revises her testament initially made on 18 June 1657. In addition to bequests to her daughter Catharina, her goddaughter Maria, and Vermeer's other children, she grants her son-in-law Vermeer an annual sum of 50 gulden..
1663 - Balthasar de Monconys, a French diplomat and art connoisseur, visits Vermeer in Delft. He notes in his diary that he was unable to see any paintings there and had to visit the house of a baker, where he saw a painting with a single figure."In Delft I saw the Painter Vermeer who did not have any of his works: but we did see one at a baker's, for which six hundred livres had been paid, although it contained but a single figure, for which six pistoles would have been too high a price in my opinion."(Journal de voyages de Monsieur De Monconys, II, Lyon, 1666, 149.) De Monconys remarks that the price paid was far too high. The baker may be Heindrick van Buyten, a well-to-do baker and prominent citizen of Delft, who owned at one time or another at least three paintings by Vermeer. On November 12, Vermeer is listed as an outgoing (second-year) headman of the Guild of Saint Luke in Delft. The incoming headman is Anthonie Palamadesz, a renowned Delft painter known for his interior scenes.
1664 -Vermeer's first son, Johannes, is born? In the death inventory of English sculptor Jean Larson, who resided in The Hague, is listed "a head by Vermeer." In the In the Schuttersboek (Shooters' Book) of the Delft Civic Guard, Johannes Vermeer is listed as member of the first squadron of the oranje vendel commanded by Abraham Coeckebacker. The acclaimed Delft painter (a family friend of the Vermeers) Leonaert Bramer, had been a sergeant in the same company and a member of a select group known as the Brotherhood of Knights (broederschrappe). Two other important figures in the life of Vermeer had played a role in the Delft Civic Guard. The first was Captain Teding van Berckhout, who headed the second banner of the third quarter. Van Berckhout had once noted in his personal diary a visit to Vermeer's studio.Van Berckhout was the well-connected scion of a prominent Hague regent family but preferred life in Delft, with which his family had ties: one of his aunts had been the wife of Admiral Maarten Tromp. His mother was from Delft's van Beresteyn brewing family, and his father Adriaen, a member of the Council of State of the province of Holland, was commemorated by an ornate plaque in the Nieuwe Kerk in Delft. Van Berckhout moved there the following year, becoming an active member of the town council and naturally an acquaintance of Van Bleyswijck. He served as harbourmaster of Delfshaven in 1676 and as a Delft alderman and burgomaster in a number of the following years Although Van Berckhout's entry was very brief, it proves that the Delft artist enjoyed a certain fame since he was referred to as the "celebrated painter named Vermeer." He showed van Berckhout examples of his art, which made the diarist think that 'the most extraordinary and most curious part consisted in the "perspective."A fuller analysis would have been welcome, but that was all; at least, unlike Monconys, van Berckhout did not go away disappointed. One of the pictures he saw would have been The Art of Painting, which never left Vermeer's family during his lifetime.In any case, his membership probably brought him into contact with rich collectors and potential clients.
1665 -In their will, Pieter van Ruijven and his wife Maria de Knuijt bequeath five hundred guilders to Vermeer. This kind of a bequest is very unusual and presumably testifies a close relationship between Vermeer and Van Ruijven. Vermeer's wife is excluded in he predeceases her. An average Dutch house might cost one thousand guilders. On 15 January, from an act of 25 November 1676 it emerges that on January 13, 1665, Maria Thins is appointed guardian of the estate of her troublesome son,
Willem Bolnes
1667 - Vermeer's name is mentioned in Dirck van Bleyswijck's Description of the City of Delft as the successor of the deceased painter Carel Fabritius. Maria Thins empowers Vermeer to collect various debts owed to her and to reinvest the money according to his will and discretion. On July 10, another of child of Vermeer is buried in the Nieuwe Kerk, in Delft. in 1667. Vermeer witnesses a legal document in which he was referred to as "Johannes van der Meer, artful painter," the son signed "Johannes Vermeer."
In 27 September,Maria Thins, Vermeer's mother-in-law, makes a testament leaving five-sixths of her goods to her daughter, Catharina Bolnes, the wife of the painter, and one-sixth to her son Willem Bolnes. She justifies this division by referring to the misbehavior of Willem.
1669 - Vermeer paints, signs, and dates The Geographer. Vermeer's mother, Digna, leases Mechelen for three years to a shoemaker, Leendert van Ackerdijck, for 190 guilders a year. This was only 65 guilders more than Digna's annual payments for mortgage interest. (Van Ackerdijck got free use of the inn's beer and wine racks and promised to repair at his own expense any breakage or damage). Pieter Teding van Berckhout, a young scion of a landed gentry family of The Hague, visits Vermeer twice and writes his impressions in a diary. Vermeer and his wife bury another child on Juy in the Oude Kerk.
On 13 February, Vermeer's mother, Digna Balthens is buried in the Nieuwe Kerk. Vermeer's sister, Gertruy Reynier Vermeer, follows her mother to the grave on 2 May. So the two women who had brought up Vermeer—his sister and his mother—are suddenly gone. On July 13, Vermeer inherits Mechelen from his mother.
1669–-1678 In a list of painters by the Amsterdam physician Jan Sysmus there occurs: "Van derMeer, Jonkertjes en casteelfjes. Delft, hiet Otto." (Van der Meer, small paintings of dandies and castles. Delft, first name Otto." In view of the addition "Delft" Sysmus meant our Vermeer. He was mistaken about his first name ("Otto"), but he was often ill-informed about first names; compare his note on Bramer: "te Delft, heel-ties, heet Adriaen" ("in Delft, figures, is called Adriaen") instead of Leonaert.
1670 - On October 28, Vermeer is again appointed to be one of the two representatives of the painters among the headmen of the Guild of Saint Luke, with Louis Elsevier being the other. The Guild's artists were somewhat thinned out from its glory days twenty years before. But, buffeted by life's losses, Vermeer may have been glad of his guild duties. Regarding the division of Vermeer's parents' estate, the lawyer Frans Boogert first writes Vermeer's name as "Johannes van der Meer" before crossing out "van der Meer" and writing above it "Vermeer." There were or recently had been quite a few other van der Meers in Delft including an apothecary, a physician, and a schoolmaster. Several artists in the United Provinces had that surname, and some of them even had the same Christian name as Johannes, which would cause confusion.
1671 - On October 28, Vermeer is listed as the outgoing headman of the Guild of Saint Luke in Delft, along with the incoming headman Cornelis de Man.
1672 - Vermeer leases Mechelen to an apothecary for six years. Vermeer travels with two other headmen of the Guild of Saint Luke to The Hague in order to appraise a collection of disputed Italian paintings. They testify before a notary that the works are "not only not outstanding Italian, but to the contrary great pieces of rubbish and bad paintings."
1673 - On June 27, another child of Vermeer is buried in the family grave, purchased by Maria Thins, in the Oude Kerk. On July 21, Vermeer sells two bonds totaling eight hundred guilders, one of which, worth 500 guilders, is in the name of Magdalena Pieters (1655–1682), daughter of Pieter Claesz van Ruijven, from whom Vermeer had borrowed money.·In September, Vermeer appears before the magistrates of Gouda to collect part of an inheritance coming from an aunt of Maria Thins.
1674 - Vermeer's name appears on the register of the Delft militia. According to a Delft edict of 1655, Schutterij (the Dutch word for guardsmen) were "the most suitable, most peacefully and best qualified burgers or children of burgers." Vermeer's oldest daughter, Maria (c. 1654–after 1713), marries Johannes Gillisz Cramer, silk merchant, and lives with her husband on the Verwersdijk. As far as the archives tell us, their first child, a girl, is not born until 1683 and was named after her mother, Maria Vermeer, and great-grandmother. On May 4, Vermeer travels to Gouda to settle some of his late father-in-law's affairs.
1675 - In the last document in which Vermeer's name appears he was alive, the artist borrowed one thousand guilders from Jacob Rombouts in Amsterdam, using as collateral a restricted obligation under the custody of the Orphan Chamber of Gouda for 2,900 guilders, to the usufruct of which Maria Thins was entitled.
1675 - On July 20, Vermeer borrows 1,000 guilders in Amsterdam. Vermeer is buried in an "Own Grave" (Eijgen Graff) in the Oude Kerk, which, according to the burial register, took place on December 16, 1675. The grave was owned by his mother-in-law Maria Thins. Several of Johannes and Catharina’s children were also buried in the same plot before Vermeer’s death. A recently discovered register regarding the people buried in the Delft's Oude Kerk notes that fourteen pallbearers carried Vermeer's coffin and that the church bell tolled once for him. This indicates Vermeer’s funeral would have required a significant financial expenditure. Bas van der Wulp, of "Erfgoed Delft," Delft’s cultural heritage department who made the discovery, explains that such a ceremony was clearly luxurious, adding that although he had read about funerals in Delft with twenty pallbearers, these were reserved for members of the town's elite.Admin_l6ma5gus, "Johannes Vermeer was Given a Funeral with 14 Pallbearers and Bells Rnging, According to an Archive" Pledge Times, January 18, 2023, accessed November 3, 2023. It was initially hypothesized that the painters' guild might have financed the artist's elaborate funeral. However, upon examining the funeral expenditures of other artists, none seemed to match the expenses attributed to Vermeer's interment. Vermeer's brother-in-law, Willem Bolnes, Maria Thins' troublesome son who passed away one year later in 1676, received a funeral of comparable extravagance. When Maria Thins died in 1680, she was honored with a similar ceremony, distinguished only by two tolls of the bell instead of the single toll afforded to her son-in-law.Van der Wulp posits that Thins likely paid for her son-in-law's funeral, considering advancing the costs to her daughter, as they were probably not yet aware of the financial difficulties Vermeer faced at the time.
The Delft Archives conserves this document, dated 30 September, 1676, which nominates the naturalist Antonie Leeuwenhoek as the executor of Vermeer's last estate.
1676- On February 20, and inventory of movable objects from Vermeer's estate is compiled. Anthonie Leeuwenhoek, inventor of the microscope and famous scientist from Delft, is appointed executor of Vermeer's estate. On January 26, Catharina Bolnes sells two of her late husband's paintings to the baker Hendrick van Buyten (1632–1701 ) to settle a debt of 617 guilders 6 stuivers. On September 30, the Lords Aldermen of Delft appoint Antonie van Leeuwenhoek (1632–1723), inventor of the microscope, executor of Vermeer's estate. Considering her dire financial situation due to the war with France, Catharina Bolnes seeks letters of cession for her creditors from the high court of Holland and Zeeland. Her request is granted. On March 25, Vermeer's brother-in-law Willem Bolnes is buried..
1677 - On February 2 and 5, Leeuwenhoek appears before the Lords Aldermen of Delft to settle Vermeer's debt with Jannetje Stevens, who then transfers back to Vermeer's estate twenty-six paintings in the possession of Jan Coelenbier.Coelenbier returned the paintings to Leeuwenhoek, who planned to auction them. Under the agreement, Jannetje was to receive 342 guilders—100 less than she had claimed—from the estate. Moreover, the estate was to obtain the first 500 guilders from the auction proceeds to presumably repay Coelenbier.
A public sale of the paintings is planned. Maria Thins notifies that The Art of Painting ("de Schilderconst") was transferred to her by her daughter and that the painting should not be included in the sale of Vermeer's estate in the Guild Hall of Saint Luke. Leeuwenhoek denies the legality of the transfer. The auction takes place in the Guild Hall, March 15. No records of the sale survive.
1680 - On December, 27, after Maria Thins' burial, her daughter Catharina inherits her assets.
1682 - Following the death of his wife and daughter of Vermeer's patrons, Maria de Knuijt and Pieter van Ruijven, the Delft printer Jacob Dissius draws up an inventory of his possessions; at this time he owns 19 Vermeers.
1684 and 1687 - Catharina Bolnes, widow of the painter, living in Breda, receives financial support from the Weeskamer of Gouda.
1685 - The estate of Jacob Abrahamsz. Dissius and his late wife, Magdalena van Ruijven, which included twenty paintings by Vermeer, is divided between Jacob Dissius and his father, Abraham Dissius.
1687 - While visiting her daughter Maria Vermeer and Johannes Cramer at their "Blue Hand" residence on Verwersdijk, Catharina passes away in Delft. She is given her Last Sacraments on December 30 and is buried three days later. Her relatives could afford to pay twelve pallbearers. She leaves five children under twenty-five years of age who were still unmarried.
1688 - On October 25, Jan Vermeer III, the grandson of the painter, is baptized 1690 - Joannes Cramer, Vermeer's son-in-law, tries in vain to obtain (on dubious grounds) money from the Orphan Chamber of Gouda.
1696 - On May 16, 134 paintings from unnamed sources are auctioned at the Oude Heeren Logement (Old Men's Lodging House) in Amsterdam, perhaps in the building's courtyard where auctions were usually held. Included are twenty-one paintings by Vermeers that brought a total of 1,503 guilders and 10 stuivers, then a substantial sum, enough to buy a comfortable house. The auction lists more than ninety other paintings, some of which fetched higher prices than Vermeer's works, although we do not know whether all the paintings in the catalog came from Dissius. Included were three church interiors by Emanuel de Witte). In the seventeenth century, Vermeer's work is appreciated by a relatively small circle of connoisseurs. The Dissius auction represents one of the few contemporary events that provides insight into the ownership and valuation of Vermeer's paintings shortly after his death in 1675.
1781 - Joshua Reynolds mentions The Milkmaid as among the paintings he saw during a visit to the Netherlands.
1789 - Andreas Bonn, professor of anatomy in Amsterdam, refers to Vermeer as one of the most remarkable of Dutch painters. In his lengthy discourse, Bonn praised a number of Dutch artists, allotting a few words to each, when he came to depictions of "Companies of burghers" ("burger-gezelschappen") he mentioned "the satin and velvet costumes of ter Borch and Metsu; the elaborate figures and neat accessories of Dou, Slingelandt, van Mieris senior and junior, and the Delft van der Meer."
1800 - Christiaan Josi, a Dutch art dealer and engraver, praises the outstanding merits of Vermeer's painting.
1822 - Vermeer's View of Delft is acquired by the newly opened Mauritshuis in The Hague.
Delft Timeline: 1075-1836*
The city of Delft is born beside a canal, the Delf, a term which derives from the Dutch word "delven," meaning to "delve " or "dig." Or it may come from "Court of Delft:' the name of the body that administered the farmlands near the canal. Delft's establishment as one of the Netherlands' oldest cities is uniquely due to its geography. Unlike many Dutch cities that developed around waterways, Delft was situated in a reclaimed land area, characterized by an irregular pattern of water channels leading to the Maas River. Over time, the land where Delft was founded accumulated sand and clay, creating a stable foundation for stone construction. While initially at a lower elevation, the city's ground level rose above the surrounding farmlands due to the soil's compaction as the land was drained by canals.
In the 12th and 13th centuries, Delft is situated near three significant powers: the count of Holland, the count of Flanders, and the prince-bishop of Utrecht. The count of Holland, whose lineage traced back to vassals of the German emperor around 950 in northern Holland, often played a dominant and ambitious role. The count of Flanders is a vassal to the French king, while the prince-bishop of Utrecht, though politically weaker, has ecclesiastical jurisdiction that included Delft. Conflicts among these authorities are frequent.
After conquering Holland, around 1075, Godfrey III, Duke of Lower Lorraine (c. 997–1069) establishes his manor on an elevated point where the Delf crosses the creek wall of the silted-up Gantel creek system (the largest tidal creek during the Late Iron Age and Roman period). While the land around Delft is good for grazing and for cultivating grains, the abundance of running water in the city will eventually allow two major industries to flourish: textile manufacturing and beer brewing. However, the combination of these two industries will also cause problems. The textile industry pollutes Delft's clean water, which is an essential ingredient for beer.
Around 1100, the Oude Delft is dug up in order to widen a section of the Gantel creek system and drain the surrounding land. When a second canal is dug parallel to the Delf at the end of the 12th century, the names Oude Delft and Nieuwe Delft are given to them (the latter nowadays bears successively the street named Lange Geer, Koornmarkt, Wijnhaven, Hippolytusbuurt, and Voorstraat). The land between the Oude Delft and Nieuwe Delft is raised with clay during the digging of the Nieuwe Delft. The remaining sandy ridge between the two canals is firm enough for driving the poles to build houses on.
This forms the basis of the city
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. In the Golden Age, this higher-lying land in the center of the swampy city becomes a popular place to live for wealthy merchants. Many mansions, often the status of national monument, are still found on the Oude Delft. From a rural village Delft develops into a small city. Delft becomes an important market town, proven by the size of its central market square.
In 1200, the Stadhuis (City Hall) is built. It survives various expansions and renovations in the 1500s, and the city fire in 1536.
The oldest known brewery in The Netherlands, Heilige Geestkerkhof, dates to 1210.
In the 13th century, the Vliet waterway between Delft and The Hague is already heavily trafficked. In theory it is possible to sail from the north end of Delft all the way to Leiden. From there one could travel to Haarlem and Amsterdam via the Haarlemmermeer, or to Utrecht via the Oude Rijn. But there is an important obstacle in between them: the Leidschendam, over which larger ships have to transfer their cargo to barges on the other side. Moreover, the owners of the dam demand a fee.
On April 15, 1246, Count Willem II of Holland (1227–1256) grants Delft its city charter extending basic rights of self-government to the approximately 1,400 people living there, marking the official beginning of the city. Shortly thereafter, he communicates with the town's Magistrates and Citizens regarding the building of city defenses, involving land from the "Court of Delft." This implies that Delft had an organized administrative system and may have been granted city rights earlier. This organized system is also indicated by a document from about forty years prior, wherein Count Willem I referenced Delft's taxation system when conferring rights to the Egmond abbey. Trade and industry continue to flourish.
Delft is then composed of three original grachten (inner-city canals)In the same years The Hague is small village
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now called the Oude Delft, Nieuwe Delft, and the Braantse Turftmarkt, Burgwal, and Verwersdijk. The charter exempts Delft's citizens from paying tolls in Willem's county, which gives a huge boost to trade. More importantly, the Delft residents will have a large degree of self-government in the field of regulations and law. The bailiff and seven aldermen may issue ordinances and try transgressions themselves. Initially, this city law only applies to the area of the Nieuwe Delft, which is the canal along the current Koornmarkt, Wijnhaven, Hippolytusbuurt, and Voorstraat. In 1268, the residents along the Oude Delft receive the same privileges.
A weekly market is mentioned in city law as early as 1246. It is held at "Marktveld," and to this day—know as Markt or Market Square— takes place on the same day and in the same place. It is operated by or on behalf of Count Willem II of Holland, whose stewards collect money from the merchants who sell their wares there. The Count also owns the weigh house, the cloth hall and other buildings that are crucial to the economy of Delft. As the name suggests, Marktveld (market + field) was not paved, and since the terrain is relatively low, rain must have turned it into a plain of mud.
In 1246, the Oude Kerk (Old Church) is founded as St. Bartholomew's Church on the site of previous churches dating back up to two centuries earlier. The tower with its central spire and four corner turrets is added between 1325–1350. In the same year the June market of Delft begins.
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The Count's permission specifies an exact distance from the Oude Delft between the Dirklangensteeg (then the Arnoudt Snemenbrug) and the Binnenwatersloot. Its eastern limit later becomes the bank of the singel, or outer moat.
As far back as the Middle Ages, streets in Delft are indicated by names to make it easy to find a particular house or its resident. The oldest known street name of Delft is Oude Delft, which already appears in a document from 1268. For centuries names rise and disappear by themselves. Everyday usage determines a street's name: soil conditions (think of the Rietveld); shape (Bree street); age (Oude and Nieuwe Langendijk) of an important building (Gasthuislaan, Oude Kerkstraat); activity (Voldersgracht, Verwersdijk, Smitsteeg) or a well-known resident (Dirklangenstraat, Harmenkokslaan, Jacob Gerritstraat).
In 1286, the Bagijnhof is founded by a group of lay religious women who lived in community without taking vows or retiring from the world, called beguines. Since Bagijnhof is privately owned the beguines are allowed to continue to live there after the Reformation takes hold of Delft, when all the Catholic monasteries present in the city will be destroyed or closed.. The Bagijnhof later becomes a stronghold of Roman Catholicism with two schuilkerken (secret churches).
Around 1300, an outer moat is dug as part of Delft's defenses.
Around 1300, a dam, called the Leytsche Dam, is constructed in the Vliet between Delfland and Rijnland to protect Delft against flooding, as part of the Sijtwende (flood defense). Unfortunately, it—the polder level in Rijnland is on average about 1 meter higher than that in Delfland—also has a negative effect because it prevents Delft from building a direct waterway connection to northern cities, such as Leiden, Haarlem, and Amsterdam. It will have a profound influence on the development of the area and will eventually become the cause of many disputes between surrounding cities.
In the 1300s and 1400s, an impressive number of decorated and illuminated manuscripts are produced in Delft.
Although the Zeevisch-Markt (Fish Market) building bears a plaque reading 1342, it is probably not founded in that year. Fish is already a substantial part of the menu for the first inhabitants of Delft, and it had already been traded for centuries in the surrounding areas.
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In 1348, the Voldersgracht and the Langendijk running east-west between the Nieuwe Delft gracht and the Oosteinde gracht complete the delineation of Markt Plein (Market Square) balanced on either end by the Stadhuis and the Nieuwe Kerk.
On January 1, 1350, the tower of Oude Kerk is completed, but it already leans. While the construction continues the builders attempt to compensate and straighten the inclination of the bell tower floor by floor. Today only the spires alone are truly straight. At the time, the 75-meters high tower dominated the surrounding landscape until it is overcome in the 1600s by the construction of the Nieuwe Kerk. Citizens of Delft affectionately refer to the church as Oude Jan (Old Jan ) or Scheve Jan (Crooked Jan).
In 1355, Willem V of Holland (1350-1389) grants the citizens of Delft permission to build bulwarks of earth around the area that the city had the rights to administer. The bulwarks are made from sand, clay, and silt accumulated when the waterways were dug. They are topped by stone and brick walls. The wide waterway ringing the bulwarks becomes known as the singel (belt). It is soon followed by completion of the first two city gates at the north and south end of the Oude Delft, the only navigable waterways into and out of the growing city. By this year
Delft had the same boundaries and inner waterways that it would have three hundred years later
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In 1381, construction of the Nieuwe Kerk (New Church) begins, following a miraculous appearance of the Virgin in 1381. Initially the church is built of wood. Three years later, construction begins in stone, in Gothic style, which will be completed in 1430. Construction of the stone tower continues for a century, between 1396 and 1496. When finished, it is 109 meters high. The nave and aisles are finished in the 1430s, the choir in 1476. The name of the architect is unknown. The original stained glass windows are destroyed in the 16th and 17th centuries.
In 1389, the city of Delft receives permission from Albert I, Duke of Bavaria (German; 1336–1404), the feudal ruler of Holland, to dig its own connection between the Schie and the Merwede (nowadays the Maas River), which provides an outlet to the Atlantic Ocean. During these years, Delft heavily depends on trade, especially the export of dairy and beer to Brabant, Zeeland, and Flanders; delays in shipping prove disastrous for such perishable goods. Additionally, raw materials must be imported to keep the local economy thriving. At the point where the canal crossed Schielands Hoge Zeedijk, Delft founds its own harbor: Delfshaven. Until then, ships had to sail to or from Delft, through Rotterdam or Schiedam. However, this route is winding, and inter-city conflicts sometimes close the vital passage of goods. When the canal is finished, Delft is able to send and receive seafaring vessels and avoid tolls levied by Rotterdam. In the same year, Duke Albrecht I establishes an elected water board. The project takes years to realize. But the canal is an enormous and complicated undertaking. Part of the Schie, from Delft to Overschie, could be used for the canal system, but some parts have to be dug. Land has to be purchased from many different owners; digging is done by hand. Quays are built on both sides of the canal, and a settlement is built at the mouth.
In 1394, Duke Albrecht I gives the citizens of Delft permission to build a new city wall.
In 1396, the construction of the Schiedam and Rotterdam Gates begins. It will take until after 1514 before they are completed.
Marktveld is shortened by approximately 34 meters to accommodate the construction of the Nieuwe Kerk.
Due to the scarcity of wood, from the 15th century the Netherlands is largely dependant on veer (peat) for or fuel. Peat is formed when dead plant material—especially from mosses—accumulates over time. When compressed and dried, it becomes turf, which makes an excellent fuel that burns slow and heats well without much smoke. The demand for peat in Delft is so intense that the surrounding countryside is unable to meet it, being as it is indispensable for energy supply; from domestic use to baker's ovens. Moreover, in Delft the most important economic sectors, brewery, and pottery, are huge energy guzzlers. Tons of peat have to be brought in by ship. By the end of the 19th century, peat is replaced by coal.
At the end of the 14th century, the Meisjeshuis is founded by well-known Delft resident. The building is initially called Heilige-Geestzustershuis (Holy Spirit Sister House), in which nurses take care of sick people. In 1587, it is transformed into an orphanage for poor girls. The orphanage has workshops and learning quarters where girls study religion, crafts, cooking, and mathematics.
Around 1400, the Oostpoort (Eastern Gate) is built. It is the only remaining gate of the old city walls. Around 1510, the towers are enhanced with an additional octagonal floor and high
spires.
At this time, Delft has around 6,500 inhabitants.
By the 1400s, the shape of the binnenstad,
or inner city, of Delft comprises everything within the surrounding moat, which is wider than the canals inside the city. The city is roughly rectangular, about 1.6 km long and 0.8 km wide. The inner sides of the city's protective embankments are made of earth and a brick wall covered with thorn bushes. A number of windmills stand even taller than the embankments' towers, providing clear views of the surrounding countryside. Four of the gates are situated at the ends of major inter-city canals. For tax purposes, the city is divided into sixteen districts; for defensive purposes, four districts. The city gates are not open day and night. When dusk falls, the large doors are locked and cannot be opened again until sunrise. On Sundays and public holidays, the gates are closed during the sermon so that peace in the city is not disturbed. Only pedestrians can get in and out via the small door or latch—but no more horses, wagons, or carriages. Gatekeepers, who work in day and night shifts, supervise who enters or leaves the city.
Around 1400, a group of women in Delft chooses a spiritual life and moves from Geerweg to a house on Oude Delft, behind the tower of the Oude Kerk. Shortly afterward, they decide to close themselves off from the outside world as a monastic community to fill their lives with prayer, in absolute obedience to the leader, the mater (mother), without personal belongings and unmarried. They found the Agathaklooster (Convent of Saint Agatha) with the help of wealthy citizens in Delft, adopting the rules of the third order of Saint Francis. In 1402, they are placed under the protection of the Count of Holland, Duke Albert of Bavaria. The Bishop of Utrecht, as the head of Delft's diocese, formally establishes the convent in 1403. The Agathaklooster flourishes in the late 1400s, becoming the richest monastery in Delft and earning the right to house 125 nuns, who mostly come from patrician families. It also receives many distinguished guests in its guesthouse. Eight nuns still live in the cloister in 1607. The last of them is buried in 1640.
Delft pottery originates in the early 1400s. At this moment, very simple pottery is being produced in various places in the Netherlands, in small pottery factories established where clay is found and where there is a good supply of peat or wood for firing the kilns. Initially, the factories are only located in the west of Holland, but later spread throughout the country. To make these simple pottery objects, the clay, which is modeled into the desired shape, is first fired, creating a red/brown finish. Afterward, the objects are sometimes decorated with patterns in contrasting color schemes, with paint made of watery clay or slip. They are then given a transparent lead glaze and fired again to make them watertight and easier to keep clean. This lead glaze is relatively expensive, so the early pieces of pottery are only glazed in areas that could become easily dirty, such as a spout, the bottom, or the inside.
In 1412, a 17-meter strip of Marktveld is given over to serve as a cemetery in front of the Nieuwe Kerk, which stands until the 19th century. This cemetery continued under the market. In 2004, part of the cemetery was examined during an archaeological excavation in front of the entrance to the Nieuwe Kerk. During this investigation, a wall was found near the statue of Hugo de Groot that marked the western boundary of the cemetery. However, this wall was not found in the drainage trench. It now appears that the burials extended much further towards the town hall than this previously discovered boundary. Nothing was yet known about the southern edge of the cemetery. This new research shows that it extended laterally less than 3 meters from the facades of the houses along today's Market Square.
In 1421, significant floo disrups vital overland trade routes to the south of Delft, impacting the economy. During the 1400s, the prosperity of Rotterdam is closely connected to that of Delft, as the smaller and younger city along the Rotte River had recently been connected to Delft by a network of canals.
In 1436, Delft acquires the rights to the Marktveld from Duke Philip of Burgundy. The city council can now decide how the space is used and arranged.
On September 7, 1445, Philip the Good, Duke of Burgundy (French: 1396–1467), issues a charter (Privilegie) for Delft city fathers, the vroedschap, to appoint the first Veertigraad, a 40-member council of the richest, most honorable, most notable men from regent families to help the schout (sheriff) and schepenen (magistrates) govern the city. The Veertigraad gradually cedes city management to the burgemeesters and pensionaris. Typically, a young man born into a regent family replaces a father or older brother who has died or, after the 1618 reorganization, reached the mandatory retirement age of 70.
In 1484, The Marktveld is paved for the first time, and the well that had always been there disappears. The site is raised by 90 centimeters, using the manure surplus from the surrounding area.
Around 1450, the St. Ursula Monastery is founded. The number of monasteries within the walls of Delft comes to ten, while there are two more outside the city walls: Koningsveld and the Monastery Sion to the north of the city.
In 1470, about 5% of the Delft population lives in monasteries, which occupy about 8% of the urban space.
In 1477, the first Bible in Dutch is published in Delft, and it is much smaller than the Gutenberg Bible, as only the Old Testament is printed. Yet its almost 1,300 pages require publication in two folio volumes. The text is an anonymous adaptation of an—again anonymous—translation. It is the first book to be printed by Jacob Jacobszoon van der Meer and Mauricius Yemantszoon van Middelburg, but the printer-financier relationship between the two is not clear.
In the later part of the 15th century, Haarlem, and Delft developed their own versions of a strong beer imported from Germany. Gouda specialized in a lighter, cheaper beer. Other Dutch towns soon impose excise taxes on beer from Gouda and Delft, just as these towns had done with German beer.
In the 16th century, the reputation of the monasteries among the population declines. Apart from the religious unrest caused by the Reformation movement, many people in Delft feel that there were too many monasteries. During the many years of economic setbacks and famine, people disapprove of the tax benefits that these institutions enjoyed.
Around 1500, there is a religious boom. Delft has two large parish churches, each with dozens of altars. About 150 priests earn a good living performing mass and other ceremonies in the service of the churches, brotherhoods, guilds, or wealthy families.
In 1503, a cult arises in the Oude Kerk in relation to a statue of Our Lady of Seven Sorrows. This devotion is stimulated by Duke Philip the Fair, who hopes to promote the sentiment of unity in the Netherlands by means of a "national" cult for the Virgin Mary. In Delft, the principal protagonist is Dirck Adamszoon van der Burch, vice-pastor of the Oude Kerk. He reports in letters to the court which miracles had occurred and how devotion had thrived. Pilgrims come from far and wide to partake in special masses, sermons, and processions.
In the 1500s, the municipal government and churches of Delft are more inclined to commission works of art from masters established in other cities than from those active locally. This is largely a consequence of the increasing importance of the Oude Kerk and the Nieuwe Kerk, which require objects grander and more public in nature than those produced by cloistered monks and nuns.
In the 1500s, the authorities and churches in Delft prefer to commission artworks from well-known artists in other cities rather than local talent. This trend is partly due to the prominence of the Oude Kerk and Nieuwe Kerk, which demand art that is more public and monumental than what monastic orders of Delft typically produced or required. Consequently, commissions for significant art pieces like large painted triptychs, sculptural groups, or substantial church furniture tend to go to experienced artists from bigger cities who have a track record of creating such works.
In 1510, the Nieuwe Kerk, which was formerly flanked by two rows of houses that had previously formed the boundary of the Marktveld, reaches its definitive size.
In 1514, the population of Delft is 10,700.
Around 1520, the renovation of the Oude Kerk comes to a standstill due to a lack of money. The colossal north aisle of the otherwise austere architecture marks the end of the rich Roman life of the Middle Ages.
On May 3, 1536, a large part of the city is destroyed by the Great Fire of Delft. The fire is said to have been caused by a bolt of lightning that struck the tower of Nieuwe Kerk, although some Delft historians believe this may be confused with another event on Ascension Day in 1441, when lightning struck the still-unfinished tower. An alternative version has it that on the day of the fire there is a strong westerly wind. A farmyard fire on the Buitenwatersloot may have gotten out of hand, and pieces of burning hay, straw, or reed were blown into the air. One house after another catches fire, and the fire spreads quickly eastward, up, and over the city wall. The Oude Kerk catches fire because the roof was then made of thatched hay. Part of the wooden tower burns down, and the organ, bells, and the stained-glass windows are lost. Fanned by a strong east wind, the fire ravages virtually everything west of the Nieuwe Kerk; houses of the time are mainly built with timber. Hundreds of families are forced to leave the city. Delft is rebuilt with stone instead of wood. Only a few buildings standing today pre-date the fire. Before the fire, the majority of the buildings of Delft featured predominantly late Gothic, Renaissance style, or a blend thereof, and substantial building and renovation activities occurred, coinciding with a robust economic expansion. However, these developments are confined within the Medieval city fortifications. This factor renders Delft's development distinctly divergent from that of other cities, such as Amsterdam, where, in the 17th century, suburban districts emerged, characterized by new canal rings.
In 1536, the population of Delft is 15,000.
In 1537, the plague strikes Delft. Over 2,000 people die.
In the 1540s and 1550s, stately houses go up around the Groote Markt (Great Market Square, Markt, or Market) near the Nieuwe Kerk, along the Oude Delft canal, and in other neighborhoods where many dwellings were burned down during the Great Fire. They changed little in plan, but their street facades—or orgevels—in Holland the "gables" rise from the ground—are constructed almost exclusively of stone, in a mixture of Late Gothic and Renaissance styles. The new houses built along tree-lined canals, where Delft’s rich burgers live, prompt the common people to quip: "they sit on cushions and rule the city." In this period, property owners in Delft, including those residing in the wealthier streets on the west side, are more concerned with roofs, walls, and stone facades than with home decoration.
In the second half of the 1500s, Delft’s two major industries—brewing and textile manufacturing—declined sharply, primarily because of competition from other towns and a spirit of free enterprise that did away with medieval systems of protecting trade. Moreover, the two products are also incompatible, as one polluted and the other required clean water. A number of other occupations, such as spinning, weaving, tailoring, peat-cutting, carting, and shipping, depended on the production of cloth and beer.
Between 1557 and 1558, the plague strikes again. About 6,000 people in Delft, or 20% of the population, die. According to the physician Pieter van Foreest (1521–1597), one of the most prominent physicians of the Dutch Republic, the plague that came to Delft in 1557 originated with the farmers from the surrounding countryside who supplied the town with produce.
From 1558 to 1595, Pieter van Foreest, one of the Netherlands' greatest doctors, served as Delft's doctor. While his colleagues based their practices on theories from classical antiquity, he modernized medical practices, publishing hundreds of case histories and describing in detail treatments and results. The University of Leiden, founded in 1575, engaged him to set up the medical training. He managed to persuade the city council of Delft to draft rules for the practice of medical professions and prevent quackery. He became the personal physician to William of Orange and conducted the investigation after the prince was murdered in 1584.
In 1560, the Vleeshal, or Meat Hall, is constructed. New neighborhoods and other civic buildings made during the early to mid-seventeenth century further contribute to Delft’s distinctive character. Much of the city's attraction for visitors comes from the fact that the squares and canals were bordered by buildings that date mostly from about 1550 to 1650. The population of Delft is 10,700.
In 1566, the Beeldenstor (in Dutch, roughly "image storm" or "statue storm") spreads to Delft, destroying many artworks in public and religious places. The Convent of Saint Agatha, however, is well protected and is spared.
In 1572, William of Orange (Willem van Oranje; 1533–1584) of the House of Orange took up residence in the former Convent of Saint Agatha, today’s Het Prinsenhof. By then, Delft is one of the leading cities of Holland and is equipped with the necessary city walls to serve as a headquarters.
1568–1648: Duration of the Eighty Years' War. Delft is at the time one of the largest and most powerful cities in Holland. Early in the war, Protestant noblemen led by Willem of Orange, who desired to overthrow Spanish rule, styled themselves as Watergeuzen (Sea Beggars). In early July, they make their way north, capturing city by city. By the end of the summer, Delft joins the revolt, which soon includes the six largest cities of Holland: Dordrecht, Haarlem, Delft, Leiden, Gouda. Amsterdam is the last to join.
In 1572, Delft joins the revolt against Spain, and shortly afterward Calvinists take over the parish churches, abolish monasteries, and force priests and monks to renounce their faith or leave the city. Much of the Catholic heritage is destroyed or burned.
In October 1573, an attack by Spanish forces is repelled in the Capture of Delfzijl (The Battle of Delft). The battle is fought by a small Anglo-Dutch force under
Thomas Morgan and an attacking Spanish force under
Francisco de Valdez (Spanish; 1522?–580?). The Spanish are repelled and forced to retreat. The Spanish lose in all, around 700 men, mostly on the outskirts. Delft, among other Dutch towns and cities, had been saved, and this means that Leiden has a better hope of relief. After his initial attempts, Valdez informs the Duke of Alba of his defeat, showing him that victory could not be achieved without a larger force along with siege artillery. In the same year, The Kolk, which is a canalized watercourse on the south-western corner of the city walls, takes its initial triangular form from a bastion that had been constructed in 1573, when the city fortifications were modernized.
After the Act of Abjuration is proclaimed in 1581, Delft becomes the de facto capital of the newly independent Netherlands, as the seat of the Prince of Orange.
In 1583, the Dutch humanist, diplomat, lawyer, theologian, and jurist Hugo Grotius (1583–1645) is born in Delft. He lays the foundations for international law, and his concept of natural law has a strong impact on the philosophical and theological debates and political developments of the 17th and 18th centuries.
During the late 15th century, Delft is home to two notable painters, one of whom is referred to as the Master of the Virgin among Virgins. This anonymous artist, whose designation comes from a particular panel located in Amsterdam, has been linked to Delft through evidence of woodcuts based on his designs. These woodcuts were published by prominent Delft printers, including Jacob van der Meer—renowned for producing the Delft Bible in 1477, which was the first book printed in Dutch—and his successor, Christiaen Snellaert.
On 10 July, 1584, William is shot dead by the Roman Catholic zealot Balthazar Gerards in the Prinsenhof. Since the family's traditional burial place in Breda is still in the hands of the Spanish, he is buried in the Delft Nieuwe Kerk (New Church), inaugurating a tradition for the House of Orange that has continued to the present day. Willem's dream of religious tolerance is short-lived. Violence forces Catholics to give up their place of worship. Roman Catholic churches are seized and sacked. Works of art and liturgical objects that express "Popish idolatry" are destroyed in the iconoclastic fury. Catholics and adherents of other banned religions must resort to hidden and illegal churches in existing buildings. Initially, authorities take action against this phenomenon. Later governments take an increasingly pragmatic stance since it had become clear that a large part of the population would never join the Reformed Church—many government officials embrace the official church only to maintain their job and social position. The use of hidden churches is therefore increasingly tolerated. Around this time, Delft also occupies a prominent position in the field of printing. A number of Italian glazed earthenware makers settled in the city and introduce a new style.
At the end of the 16th century the status of Delft as a military stronghold has declined. By that time, the front gate of the Schiedam is already in ruin, and in 1590-1591, extensive renovations are carried out.
In 1591, Vermeer's father, Reynier Jansz. (c. 1591–1652), is born on Beestenmarkt number 14 in a house called Nassau, in Delft. His parents were the tailor Jan Reyersz., who had moved from Flanders to Delft by 1597 and Cornelia (alias Neeltge Goris, who died 1627). Neeltge Goris is active as uijtdraegster, or a second hand goods dealer, liquidating estates of deceased people. Paintings are frequently part of estates.
In 1592, a citizen of Antwerp, carpet and tapestry weaver François Spierinx (c.1576?-1630?), flees persecution in Antwerp and establishes his business in Delft. Delft offers him the vacant Saint Agnes Convent, near the East Gate, free of charge to stimulate the local tapestry business. Soon, great numbers of "embroiderers" and "tapestry-workers" flock from the South. Richly decorated pieces only appear at the end of the seventeenth century. However, this imported textile industry is only a moderate success. Other than Spierinx, only a few Delft cloth traders become rich. The industry is primarily intended to keep the poorest of the population off the street and offer women and children a meager additional income.
In 1592, Moijses van Nederveen receives permission from the Delft city council to set up a powder mill outside the Waterslootsepoort, just across the border from Delft in Vrijenban, roughly at the location of the current Kogelgieterij. In the powder mill, nitre, sulfur, and coal are mixed with horsepower to form gunpowder. This is a dangerous process. The mill will explode in 1604 and again in 1742.
In 1595, the Marktveld is repaved, in which a compass rose is installed in front of the Nieuwe Kerk.
In 1596, the painter Leonaert Bramer (1596–1674) is born in Delft. He creates genre, religious, and history paintings and becomes close to the family of Johannes Vermeer.
At the end of the 16th century, the city council officially establishes a few street names for the first time. These concern four streets on the site of the former Sint-Ursula monastery at Gasthuislaan. Because many Flemish textile workers live there, they name the streets after the cities of Tournai, Lille, Ypres, and Bruges.
In 1601, a group of twelve merchants and manufacturers of Delft decide to ready a ship for a voyage to the East Indies. The following year, however, the States General force all the existing overseas trading companies to form a single Dutch East India Company, putting an end to competition between them.
The 1660s, the so-called Dutch Golden Age, was a period of remarkable economic, cultural, and scientific flourishing in the Netherlands, which, like many cities in the Netherlands, was shared by Delft. Key factors included maritime trade dominance via the Dutch East India Company, the establishment of a modern financial system, and advancements in art, exemplified by painters like Rembrandt and Vermeer. Additionally, it saw notable progress in the sciences and politics, positioning the Netherlands as one of the world's major powers. The prosperity enjoyed by Holland's middle classes did not extend to everyone. Much less wealth seeped down to the lowest classes than is often assumed from the neat streets and well-ordered households that appear in so many of the era's paintings. The workhouse, the poorhouse, slum living and child labor were all evident. A laborer worked 14 hours or more a day for a few pennies; an able seaman, who ran a 50-50 chance of not coming back from an Indies voyage, made two or three guilders a week. Recent research shows that the Golden Age was far from golden for perhaps half the population.
In 1602, the VOC (Dutch East India Company) is founded as the world's first shareholders' company. It is an amalgamation of small, independent trading companies to which the States-General of the Dutch Republic grant far-reaching privileges. The most important of these is a monopoly on all trade east of the Cape of Good Hope. The company's main goal is to acquire a share of the profitable trade made in spices, textiles, and precious metals produced in this vast region, which includes Persia and India, the Malaysian Peninsula, the Indonesian archipelago, China, and Japan. The VOC consists of six Chambers (Kamers) in port cities: Amsterdam, Delft, Rotterdam, Enkhuizen, Middelburg, and Hoorn. The company rapidly expands becoming the largest employer in the Republic, and the growth of its power is felt immediately, even in the smaller participating cities. Delft, with a total investment of 469,400 guilders, is one of the smaller chambers. Although Delft is inland, it has access to the Atlantic Ocean through the port city of Delfshaven, a municipality of Delft, thereby allowing the import of vast quantities of precious Chinese porcelain. Some pieces are visible in Vermeer's paintings.
In 1615 - Vermeer's father, then a silk weaver (kaffawerker), marries Digna Baltens (d.1670) in Amsterdam. When Digna signs a statement to the effect that she is unmarried at the time, she with a cross. Later she learns to sign her name in full. The marriage is performed on 18 July. Reynier Jansz. is 24 years old.
In 1620, only about one-fourth of the population of Delft belongs to the Reformed Church. The city harbors many Catholics and Mennonites, as well as a range of religious minorities. Many citizens, however, prefer to remain unaffiliated with any church. Protestants and Catholics participate equally in many areas of public life in Delft; for example, in the guilds, which regulate economic life, and in the civic-guard companies. Vermeer's parents baptize, Gertruy, their first child, in Delft.
In the beginning of the 17th century, there are about 100 breweries in Delft.
Between 1602 and 1680, the Delft chamber of the VOC alone sends out eighty-two ships, in sizes ranging from about one to six hundred tons. Managers of the company maintain a yacht at the quay just west of the Schiedam Gate. The boat runs back and forth to Delfshaven, where ships returning from the East are unloaded into the small damlopers (dam runners) that carry the goods to warehouses in Delft. Since the decline in the brewery industry, Delft investors begin to seek new ventures in land, government loans, and shares of the VOC.
On May 29, 1611, the Guild of Saint Luke is founded, although the guild had existed long before. It is named after its patron saint, the Evangelist Luke. According to legend, the evangelist had painted a portrait of the Virgin Mary. Further, Luke's gospel is known as the most visual account in the Bible, including details and atmosphere. In Delft, as in every other artistic center, artists, and artisans come together primarily to limit the import of artworks from outside the city. The guild system is designed to improve the crafts and protect their quality. Members are required to pass a compulsory master's test, which guarantees the quality of the products and keeps them at a high level. Other protective measures are used to combat the increase in counterfeit goods and control foreign imports. For example, this is accomplished by limiting only painters belonging to the guild to sell paintings. The board of the guild comprises six members (two potters, two stained-glass artists, and two painters) under the leadership of a dean who is a member of the council of forty, a municipal advisory body. The painters are the most influential members. Membership of the guild brings along benefits as well as obligations and rules. A member is not allowed to take over another member's job except in cases of force majeure, such as illness or drunkenness. A simple sick benefit system exists, providing income and medical aid in case a member becomes seriously ill. Members are expected to attend the funerals of other members. Fees and fines for trespassing these rules are collected by a footman.
In 1613, the States General contracts Spierinx to produce a series of grand tapestries for the sum of 16,933 guilders. On May 17, 1616, Karel van Mander (1548–1606) rents a house belonging to the St. Anna convent for this purpose. Spierinx owns an art collection that boasts fine prints and drawings, including works from Italy and a superb collection by the painter Lucas van Leiden (1494–1533).
In 1614, the Kolk is excavated to create a more functional harbor.
In 1614, a milestone is reached in the development of Delft poverty relief, which would later be imitated in many other cities and earn a place in history books as the Delft model. Until then, it had been impossible to prevent poverty and begging. Attempts were made to employ the poor in the textile sector, but the number of poor people was far too large and the earnings were very low. Moreover, not everyone was able to work. In 1614, the city council takes a drastic step. The responsibilities of the deaconate and the Holy Spirit are transferred to and centralized in the Chamber of Charitate. The city is then divided into six well-organized districts, each with a deacon and a charity master who oversee the needy.
In 1614, the city council grants the surgeons' guild permission to set up an anatomy room in the baptistery of the Oude Kerk, with thirteen trained and competent surgeons. Their guild is supervised by the university-trained physicians employed by the city or the hospital, numbering no more than three or four. The surgeons gather in the Oude Kerk for more than four decades, until they move to a new space in 1656.
In 1615, Reynier Jansz. Vos and Digna Baltens, the future parents of Vermeer, are married shortly afterward they move to Delft, where they run an inn on the Market Square. Birth of Emanuel de Witte (died 1692) in
On August 1, 1616, riots break out in the city in protest of a new excise tax on corn. The civic guard is called out but has trouble organizing due to the crowded streets. After this incident, the civic guard is reorganized geographically into four districts, with bands stretching across the city, instead of by type of weapon.
From March 3 to March 4, 1618, Delft City Hall burns down. Everything is destroyed except the limestone tower; its bells are melted beyond repair, and are later re-cast as the Nieuwe Kerk's first bells in 1660. According to witness statements in the Orphanage Room, the fire from the night before had not been extinguished properly and flared up at night, leading to disastrous consequences. The floor of the Orphanage Room collapses into the Secretariat. Civilians rush to save what can be saved and manage to bring precious paintings and piles of papers to safety, but much is lost. Eventually, the entire town hall burns down, except for the heavy stone towers. It is rebuilt in Dutch Renaissance style, following a design by Hendrick de Keyser (1565-1621), who also designed Prince Willem's mausoleum in the Nieuwe Kerk.
In 1618, the Delft mintmaster and brewer Melchior Wyntgis (15??–1626 or later) compiles an inventory of his art collection in Brussels. The collection contains 170 paintings, the total value of which he estimates at more than 12,500 guilders. A large number of them are by masters from the Southern Netherlands, and the entire collection gives the impression of being an art dealer's stock in trade.
On August 1, 1620, the Pilgrim Fathers leave Delfshaven aboard the Speedwell. Since then, the town's Oude Kerk has been known as the Pelgrimskerk (Pilgrim Fathers Church).
Starting in the 1620s, earthenware producers in Delft, Haarlem, and probably Rotterdam attempt to create high-quality imitations of Chinese porcelain. However, it is only after a prolonged period of experimentation that they succeed in making thin, light, white-glazed earthenware decorated in blue in the Chinese style.
In 1621, the Bank of Delft is established.
In 1621, an English trading company known as the Merchant Adventurers is persuaded to establish its headquarters in Delft. As a result, the city gains an import monopoly on undyed English woolen cloth. Moreover, the activities involved in processing and transporting the cloth to other parts of the Netherlands and elsewhere in Europe are expected to create new jobs in Delft.
In 1620, the Kolk is completed.
In 1622, Delft has 20,150 inhabitants; by 1680, the number increases to approximately 22,000.
In August 1623 and April 1624, the English trading company Merchant Adventurers hosts grand celebrations in the Prinsenhof to honor Elizabeth Stuart, the daughter of King James I, and her consort, King Frederick V of Bohemia.
In 1625, Delft establishes a bank of exchange in the newly rebuilt Town Hall to facilitate international financial transactions. Cloth dyers from other regions set up businesses in Delft, along with several English printers.
In c. 1627–1630, Vermeer's father, Reynier Janz., who since 1652 calls himself "Vos," rents an inn on the Voldersgracht in Delft called The Flying Fox (De Vliegnde Vos). The reason for the change of name is unknown.
In 1628, Leonaert Bramer, friend of Vermeer's family and believed by some to have been Vermeer's master, returns to Delft after a visit to Italy.
In April 1629, a captain and merchant from Delfshaven named Piet Hein (1577–1629) is appointed lieutenant admiral of the Dutch navy. Two months later, he dies in a skirmish with privateers near Dunkirk and is buried in Delft's Oude Kerk, in a tomb financed by the Delft chamber of the VOC
In 1631, Reynier Vos, Vermeer's father, establishes himself as an art dealer. He joins the Guild of St. Luke (the painters' guild) on October 13. In addition to being an art dealer, he is also a weaver who produces caffa, a fabric similar to silk.
In 1632, the scientist Antonie van Leeuwenhoek and the artist Johannes Vermeer are born in Delft. Van Leeuwenhoek perfects the microscope and makes several groundbreaking discoveries, including the first accurate description of red blood cells. As the financial administrator of the Town Council, he later takes charge of Vermeer's estate after the artist's death and arranges for his widow to auction off his paintings. The population of Delft at this time is 21,000.
In 1634, English cloth merchants decide to relocate their business to Rotterdam, abandoning Delft. All subsequent attempts to rejuvenate the Delft textile industry prove futile. With the closure of the bank of exchange in the mid-1630s, Delft becomes significantly less cosmopolitan.
In the mid-1630s, the VOC disappoints investors, and the Delft office remains in operation only until 1676, when it is transferred to Rotterdam. A company formed with Delft capital to send ships on whaling missions to Greenland from Delfshaven fails to materialize.
From about 1645 to 1653 Vermeer receives his artistic training with an as yet unknown master or masters, either in Delft or possibly in another city.
In 1640, Delft is home to eleven potteries, each featuring a single kiln and employing an average of fifteen painters and servants. Vermeer's father signs a deposition as "Vermeer." Again, the reason for the change in name is unknown.
In 1641, Reynier Janz. Vos buys a large house and inn called "Mechelen" for 2,700 guilders on the Grote Markt (Great Market), in Delft. Three days earlier, Jan Thins (brother of Maria Thins, Vermeer's future mother-in-law) bought a house on the Oude Langendijk, Delft. In this house Vermeer will keep his studio and spend most of his adult life.
By 1645, only twenty-five breweries remain operational. However, the rapid expansion of the faience industry between 1650 and 1670 creates numerous new jobs, countering the notion that the decline in breweries and the textile industry deals a fatal blow to the city's economy. Families who had amassed fortunes in brewing or cloth production, and increased their wealth through wise investments in East India trade, continue to invest in public monuments and support a thriving local school of painting throughout most of the 17th century.
Between 1644 and 1647, due to civil unrest in China, the importation of Chinese porcelain drops from 200,000 pieces to 125,000 pieces in 1647, and to a mere 15,000 pieces in 1652. This decline stimulates production among Delft potters.
As the pottery industry gains prominence in Delft, potters' standing within the Guild of St. Luke evolves. By 1648, two of the six headmen are potters. Although an attempt in 1678 to form their own guild fails, the potters eventually establish their own organization within the guild in 1689.
On October 12, 1652, Reynier Janz. Vos, Vermeer's father,is buried in the Nieuwe Kerk, Delft.
In 1653, the De Koninklijke Porceleyne Fles (Royal Delft Porcelain Factory) is founded by David Anthonisz van der Pieth. Until the late 18th century, the company produces earthenware for clients in the Netherlands and across Europe, commonly known as Delftware. Delftware ranges from simple household items—plain white earthenware with little or no decoration, to incredibly ornate pieces.
In 1650, when Vermeer is 18 years of age, the population of Delft stands at 24,000. Slightly more than half of the citizens are native to Delft.
In the mid-17th century, an estimated 50,000 paintings in Delft households belong to middle-class families.
By the mid-1600s, the production of Delft pottery skyrockets.
On April 5, 1653, Vermeer marries Catharina Bolnes, who is a year and a half his senior. She comes from a respected Catholic family in Gouda. Among the witnesses to the civil marriage is the successful Delft painter Leonaert Bramer (1596–1674). The night before, Bramer, and a certain Captain Melling declare that Maria Thins refused to give her consent in writing but she states that "she would suffer the (marriage) banns be published and would tolerate it." The religious ceremony occurs on April 20 in Schipluyden (or Schipluiden) according to Catholic rites and is therefore likely clandestine. The newlyweds initially reside in the Mechelen house, where Vermeer's father operates an inn on the Market Square. On December 29, Vermeer gains admission to the Guild of St Luke as a master painter. He pays a portion of his enrollment fee: 1 florin and 10 stivers. He completes the payment (a total of 6 florins) on July 24, 1656. On April 22,Vermeer and the successful painter Gerrit ter Borch from Deventer co-sign a document in Delft.
On October 12, 1654, a gunpowder magazine known as t Secreet van Hollandt explodes in an event referred to as the Delftse Donderslag (Delft Thunderclap), devastating much of the city. The explosion, caused by 40 tonnes (80,000 to 90,000 pounds) of the Netherlands' black powder reserve, results in over a hundred deaths and thousands of injuries. Fortuitously, many citizens are away attending a market in Schiedam or a fair in The Hague. Carel Fabritius, a colleague of Vermeer and Rembrandt's most gifted pupil, dies while painting a portrait, along with some of his limited body of work. Another Delft painter, Daniel Vosmaer, loses an eye. Remarkably, a baby girl is found alive after 24 hours, still sitting in her high chair and holding an apple. Arnold Bon, a bookseller and publisher, laments Fabritius's death in verse but finds solace in Vermeer's emerging talent.
Immediately following the catastrophic Thunderclap of 1654, Delft's mayors resolve to relocate the Pesthuis, a hospital for plague victims, to a location outside the city. In alignment with contemporary medical insights, patients suffering from the highly contagious disease are to be isolated even post-mortem. Funds are allocated to purchase land for a cemetery, which appears on a map as early as 1656.
In 1654, painter Jan Steen (c. 1626–1679) takes over one of the few remaining breweries—De Slang (The Snake), alternatively known as De Roskam (The Currycomb), on the city's main canal. However, he relinquishes it three years later due to financial setbacks. Steen's failure is partly attributable to a nationwide economic slump induced by the First Anglo-Dutch War (1652-54).
In 1655, the Schie Canal is completed with a towpath along its western side. Spearheaded by the Delft city council, the project aims to facilitate commerce with Delfshaven. The trekschiuten (tow-boat ferry service) operate from the Zuidkolk, adjacent to the Kethel or Schiedam gate. They offer hourly departures in both directions and connect to Overschie, near the Maas River. From there, one can travel straight to Delfshaven, turn right to Rotterdam, or left to Schiedam. With 13 to 15 daily services to Rotterdam in both directions (except Sundays), Delft becomes a critical junction in Southern Holland's tow barge network. The undertaking involves negotiations with numerous landowners and necessitates the construction of various infrastructures like bridges, rights of way, and toll exemptions.
On December 14, 1655, Vermeer and his wife co-sign a document declaring themselves secondary sureties and co-principals for a debt incurred by the deceased Reynier Jansz. Vos. The document is signed "Johannes Reijninjersz Vermeer," with "Vosch" crossed out.
In 1656, Vermeer pays the remaining part of the master's fee in the Guild of Saint Luke. Vermeer signs one of his first known paintings, The Procuress.
In the 17th century, an estimated 120,000 passengers annually make the journey between Delft and Rotterdam via tow barge.
In 1657, Maria Thins, Vermeer's mother-in-law, in the first draft of her testament, leaves to Vermeer's daughters jewels and the sum of three hundred guilders to Vermeer and Catharina.
On 30 November, 1657, Vermeer and his wife acknowledge a debt of 200 guilders to Pieter Claesz van Ruijven (1624- 1674), who lent them the money on the same day. This is the first record of a relationship between the artist and his most important patron, who will eventually acquire as many as twentyone paintings by Vermeer.
After being proclaimed king by the English Parliament, the exiled Charles II declines invitations from France and Spain to set sail for England from their territories. Instead, he accepts an offer from the Dutch States General while residing in Breda. On May 26, 1660, Charles II arrives in Delft by yacht to a triumphant reception. He departs from The Hague on May 23, 1660, reaching London six days later.
By the late 1600s, Delft emerges as the primary producer of pottery in the Netherlands. This rise is partly attributed to the decline of the local brewing industry, enabling artisans to occupy larger facilities previously owned by breweries.
In the late 1660s, the city commissions Leonaert Bramer to decorate the Great Hall of the Prinsenhof. The canvas murals he creates depict scenes suitable for both governance and entertainment, including musicians, waiters, and banqueters.
By the 1650s, the trekschiuten system of horse-towed boats becomes remarkably efficient. One could travel from Delft to The Hague in as little as one hour and forty-five minutes, with departures every hour, or reach Amsterdam in approximately twelve hours. These tow boats operate with high frequency, experience minimal delays, and can sail in nearly all weather conditions. While primarily serving as passenger transports, they are also occasionally used for carrying cargo—such as gin from Schiedam distillers to Delft.
On December 27, 1660,Vermeer and his wife bury a child in the Oude Kerk. The same document states that the couple is living in the house of Maria Thins on the Oude Langendijk, in Delft.
On October 18, 1662, Vermeer ascends to the position of vice-dean of his guild. To boost its financial resources, the guild raises the apprenticeship enrollment fee from 10 stuivers to 2 florins and 10 stuivers.
On August 11, 1663, Vermeer receives a visit in Delft from the French art enthusiast and alchemist Balthasar de Monconys. Monconys notes in his diary that he finds the asking prices for paintings in Holland excessively high. Later that year, on October 18, Vermeer is elected dean of the painter's guild for a one-year term.
After 1664, Delft no longer records any cases of the plague. Probable date of birth of Johannes, one of the two known sons of Vermeer.
In 1665, the population of Delft reaches 25,000. Pieter van Ruijven and his wife Maria Knuijt, Vermeer's patrons leave a considerable sum five hundred guilders to Vermeer in their last will and testament. This kind of a bequest is very unusual and presumably testifies a close relationship between Vermeer and Van Ruijven. Vermeer's wife is excluded in he predeceases her. An average Dutch house might cost one thousand guilders.
In 1667, Vermeer's name is mentioned in Dirck van Bleyswijck's Description of the City of Delft as the successor of the deceased painter Carel Fabritius. Maria Thins empowers Vermeer to collect various debts owed to her and to reinvest the money according to his will and discretion.
By 1670, one-fourth of Delft's populace is engaged in pottery production. Of the over 100 breweries that once existed in the early 1600s, only 15 remain. Meanwhile, the city houses 28 pottery factories, many of which are equipped with a second kiln.
On February 13, 1670, Vermeer's mother passes away at her Vlamingstraat residence. On July 13, Vermeer inherits the Mechelen inn located on the Market Square. Later, on October 18, he is elected as the dean of the guild for a one-year term, along with the outgoing headman Louijs Elsevier. Vermeer's mother is buried in the Nieuwe Kerk, in Delft, February 13. Gertruy Reynier Vermeer, Vermeer's sister, is buried in the Nieuwe Kerk, in Delft. In 1671, Vermeer inherits 148 guilders from his sister Geertruyt.
In 1672, Vermeer leases his deceased father's inn, Mechelen, to an apothecary for six years. Once he is elected as an official of the Guild of Saint Luke.
In 1672, French King Louis XIV invades the Netherlands, marking the Het Rampjaar (the disaster year). On January 1 of the same year, Dirck van Bleyswyck publishes Beschryvinge der Stadt Delft (Description of the City of Delft). Forced by illness to abandon his travel plans, van Bleyswyck opts to delve into the history of his hometown from his sickbed. Despite his love for Delft, he observes a generational shift, as the younger generation seems increasingly interested in foreign cultures at the expense of local heritage. This change in sentiment, van Bleyswyck believes, can be attributed to the republic's prosperity and global expansion by the latter part of the 17th century.
On January14, 1672, Vermeer leases the Mechelen to an apothecary for a period of six years. Later, on 23 May, Vermeer is summoned to The Hague with several other painters to appraise a collection of twelve Italian paintings. This appraisal was needed due to a dispute between the art dealer, Gerrit van Uylenburgh, and their potential buyer, Friedrich Wilhelm, the Grand Elector of Brandenburg.
On April 9, 1672, Delft dispatches troops to defend against the French invasion. By June 29, jobless protesters from Schiedam have occupied the Delft City Hall. On September 10, half of the Veertigraad (Council of Forty), composed of Delft's wealthiest citizens, are replaced by pro-Orangist officials.
On May 3, 1672, Johannes Vermeer and fellow Delft painter Hans Jordaens travel to The Hague. Along with other artists like Karel Dujardin, they assess thirteen "Italian" paintings being sold by Gerrit Uylenburgh to the Elector of Brandenburg and deem them of poor quality.
On June 27, 1673, another child of Vermeer and his wife was laid to rest in the Old Church in Delft in a grave purchased by Vermeer's mother-in-law, Maria Thins. Later, on 21 July, Vermeer visited Amsterdam and sold two bonds totaling 800 guilders to Hendrick de Schepper. One of these bonds, valued at 500 guilders, had initially been issued in the name of Magdalena Pieters van Ruijven, who was the daughter of Vermeer's patron, Pieter Claesz. van Ruijven.
In 1674, Vermeer's name appears on the register of the Delft militia. In the words of a Delft edict of 1655, Schutterij (the Dutch word for guardsman) were "the most suitable, most peacefully and best qualified burgers or children of burgers." On 4 May, Vermeer travels to Gouda to settle some affairs of his recently deceased father-in-law, Reynier Bolnes. On 10 June, Maria Vermeer, the eldest daughter of the artist, marries Johannes Gillisz. Cramer, a merchant.
In 1675, in the last document in which Vermeer's name appears he was alive, the artist borrowed one thousand guilders from Jacob Rombouts in Amsterdam, using as collateral a restricted obligation under the custody of the Orphan Chamber of Gouda for 2,900 guilders, to the usufruct of which Maria Thins was entitled.
On December 1, 1675, Vermeer was buried in an "Eijgen Graff" (Own Grave) in the Oude Kerk. The grave was owned by his mother-in-law Maria Thins. A number of Johannes and Catharina’s children had previously been buried in the same plot prior to Vermeer’s death. A recently discovered register regarding the people buried in the Delft's Oude Kerk states that Vermeer's coffin was carried by fourteen pallbearers and that the church bell tolled once for him. This indicates Vermeer’s funeral would have required a significant financial expenditure. Bas van der Wulp, a member of the city archives who made the discovery, explains that such a ceremony was clearly luxurious, adding that although he read about funerals in Delft with twenty pallbearers, these were reserved for members of the town's elite. Vermeer’s wealthy mother-in-law, Maria Thins, received a little more at her funeral, “two intervals of bells.” Maria Thins' troublesome son, Willem, later also received a similar funeral. Van der Wulp believes that Thins probably paid for her son -in-law's funeral thinking of eventually advancing the costs to her daughter, as they were probably not yet aware of the financial misery in which Vermeer was in at that time.
On
February 2 and 5, 1677, Leeuwenhoek appears before the Lords Aldermen of Delft to settle Vermeer's debt with Jannetje Stevens, who then transfers back to Vermeer' estate twenty-six paintings in the possession of Jan Coelenbier. A public sale of the paintings is planned. Maria Thins notifies that The Art of Painting ("de Schilderconst") was transferred to her by her daughter and that the painting should not be included in the sale of Vermeer's estate in the Guild Hall of Saint Luke. Leeuwenhoek denies the legality of the transfer. The sale of the paintings takes place in the Guild Hall, March 15. No records of the sale survive.
. In the late 1660s, the city of Delft pays Leonaert Bramer for decorating the Great Hall of the Prinsenhof with canvas murals, which appear to have depicted scenes appropriate both to government (what may be The Rape of the Sabine Women on the long wall; figures of Justice and Charity on the sides of tl1e fireplaces) and to entertainment (musicians, waiters, and banqueters).
In 1680, Delft's population is recorded as 25,000. On December 27, Maria Thins is buried and her daughter Catharina Bolnes inherits her possessions.
On January 2, 1688, Catharina Bolnes, Vermeer's wife, is buried in Delft's Oude Kerk. Her death certificate indicates that she had moved to a Verversdijk residence, known by the sign of the Blue Hand.
In 1687, Catharina dies in Delft during a visit to her daughter Maria Vermeer and Johannes Cramer at their house the "Blue Hand" on Verwersdijk. She is given her Last Sacraments on December 30 and is buried three days later. Her relatives could afford to pay twelve pallbearers. She leaves five children under twenty-five years of age who were still unmarried.
Around 1700, Delft's population stands at approximately 22,000. Many foreigners leave the city, but Delftware factories peak in number, reaching over thirty establishments. Employee counts per factory are estimated to range from fifteen to sixty.
In 1732, the population of Delft decreases to 15,000.
By 1749, the population further dwindles to 13,900.
Between 1834 and 1836, the Rotterdam and Schiedam Gates, landmarks featured in Vermeer's View of Delft, are taken down.
