Maria Thins, Vermeer's Mother-in-Law

Maria Thins (c. 1593–December 27, 1680) was a Dutch Catholic patrician of notable wealth and social standing, primarily recognized as the mother-in-law of Vermeer. Born in Gouda, the sixth largest Dutch city in the Netherleands, ^{Gouda is situated on the Gouwe River, nearly twenty miles to the east of Delft and about the same distance to the southwest of Utrecht. In early modern times, the town had the reputation of having healthy air, which made it safe from the plague. According to a contemporary account, it was inhabited by people "who wished to retire from the bustle and confusion of large towns and who chose to live here for the beauty of the site and to find peace and rest."} to Catharina van Hensbeeck (d. 1633) and William Thin (d. 1601). Her ancestors had been wealthy and charitable citizens.^{John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, NJ: Princeton University Press, 1989), 109.} Her father died in June 1601 when she was eight or nine years old. Her mother was remarried in 1605 to Gerrit Gerritsz. Camerling, a prominent citizen of Delft. Maria was related by marriage to the great Mannerist painter, Abraham Bloemaert of Utrecht (1564–1651), who some art historians have candidated as Vermeer's master.

Maria was part of a devout Catholic family that faced religious restrictions of the time, including the prohibition of Catholic assemblies.^{By the middle of the seventeenth century, the Catholics of Gouda could worship in any of four "hidden" churches. Some proselytizing activity went on, especially after 1611, when the Society of Jesus resolved to send Jesuit missions to twenty-one Dutch cities, including Gouda and Delft. A mid-eighteenth-century chronicle of the history of the Society of Jesus singled out the Gouda mission as having been particularly successful in recruiting new adherents to the faith: performing marriages, baptizing.} She was connected with a number of patrician families in the Netherlands, many of whose members had remained faithful to the old religion.^{John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, NJ: Princeton University Press, 1989), 109-110.}Despite these challenges, the family maintained their faith. Their residence, where Maria lived as a child, known as the De Trapjes (The Little Steps), served as a clandestine venue for Catholic Mass during a time when such gatherings were prohibited. In 1619, local authorities disrupted a religious assembly at this location. She had two sisters and a brother, Elisabeth, Cornelia, and Jan. Cornelia became a nun. Since none of them married, Maria ultimately inherited a large estate.

Marriage

Maria married Reynier Bolnes, a well-off brickmaker who hailed from the same city, on January 8, 1622, in Gouda. She was virtually an old maid at the time she married Reynier,^{John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, NJ: Princeton University Press, 1989), 115.} at twenty-nine. Their union began with the promise of stability and economic advantage but ultimately descended into turmoil due to Reynier’s erratic and violent behavior. Until 1635, when Catharina was three years old, Maria Thins and Reynier got along, or at least kept their relatives and neighbors out of their disputes.^{John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, NJ: Princeton University Press, 1989), 116.} The couple had three children: Catharina, Willem (died 1663), and Cornelia. Catharina, their eldest daughter, was born around 1631 and later married Vermeer. She lived until 1688. Willem, another of their children, remained with his father after the couple's eventual separation, but specific details about his birth and death are not well-documented. Another daughter, Cornelia, lived with her mother following the separation, though records of her life, including her birth and death dates, are scarce. Another nother indication of the devout ties of the Thins family to the Roman Catholic Church is the decision of Maria's sister, Elisabeth, to become a nun in Louvain, where she ied in her convent in 1640. "By the time Maria was eight, her mother and father were collecting depositions from their neighbors to use against each other. According to various accounts, Bolnes often beat his wife and occasionally his daughters. "^{Walter Liedtke,"De Hooch and Vermeer," in Walter Liedtke, Michiel C. Plomp, and Axel Rüger, Vermeer and the Delft School (New York: Metropolitan Museum of Art, 2001), 149.}

Reynier’s abusive tendencies not only created personal discord but also had broader ramifications for their household. Maria took the unusual step of separating from her husband—an action that was both legally and socially complex in the seventeenth-century Dutch context, particularly for Catholics, as their faith placed strong emphasis on the sanctity of marriage.^{The Catholic Church viewed marriage as a sacrament and thus indissoluble. However, it recognized that extreme situations might necessitate a separation. While divorce (in the modern sense of dissolving a marriage) was not an option for Catholics, separation of bed and board (separatio a mensa et thoro) was permitted under certain circumstances, including abuse.} "Thins twice applied for a formal separation in 1640, which she finally achieved in November 1641. Her daughters, Catharina and Cornelia, were placed in her custody, her son Willem in his father's."^{Walter Liedtke,"De Hooch and Vermeer," in Walter Liedtke, Michiel C. Plomp, and Axel Rüger, Vermeer and the Delft School (New York: Metropolitan Museum of Art, 2001), 149.} Maria’s separation required significant legal maneuvering and reflected her resourcefulness and determination to protect herself and her children from Reynier’s behavior.

Following the separation, Maria moved to Delft with her girls, where she established herself as the head of her household on the Oude Langendijck. Willem remained with his father in Gouda, where Reynier's business began to fail. The property was located in the Papenhoek (Papists’ Corner), a Catholic enclave in Delft. Despite the separation, Maria maintained her economic independence and authority. Nonetheless, Reynier's behavior left a lasting impact, not only on Maria but also on her daughter Catharina.

Following her divorce from Reynier in 1641, Maria received a substantial settlement of 15,606 guilders, a significant sum at the time.^{In cases of separation, especially if the husband was at fault (e.g., abuse), the wife might receive a significant portion to support herself and any children. The exact percentage varied, but awards between 25% and 50% of a husband’s total wealth were not uncommon, depending on circumstances and the wife’s standing. If this settlement represented around 25%-50% of Reynier’s assets, his total wealth could be estimated at 31,000 to 62,000 guilders. This level of wealth would classify him as a relatively affluent individual, given that skilled workers typically earned about 300-500 guilders annually at the time.} To provide context, an apprentice or journeyman earned about 1 guilder per day, while a master artisan earned approximately 2 guilders daily. By 1653, Reynier Bolnes was bankrupt.

Vermeer's Marriage with Catharina

On the evening of April 4, 1653, a significant meeting took place at the home of Maria Thins, in regards to the marriage of her daughter to the young Vermeer. Present at the meeting were Leonaert Bramer (1596–1674), a respected painter and older colleague of Vermeer; Bartolomeus Melling, a former captain and sergeant-major who had served in Brazil and was currently a flag bearer for the States-General; and Johannes Ranck (1620–1670), a lawyer from Delft. The group represented both Catholic and Protestant interests, with Bramer seemingly advocating for the Catholic side and Melling for the Protestant, as they attempted to persuade Maria to formally consent to her daughter's marriage to Vermeer. Also present was Maria Thins' sister, Cornelia (died in 1661), who provided emotional support. "The visitors asked Maria Thins whether she would sign a document permitting the marriage vows or banns to be published and registered. Maria replied that she would not sign such an act of consent. Despite this—a subtle distinction—she would put up with the vows being published; she said several times that she wouldn't stand in the way of this. In other words, she didn't welcome the marriage but wouldn't block it.^{Anthony Bailey, Vermeer: A View of Delft (New York: Holt Paperbacks, 2002), 61-62.} Melling's involvement suggests he was likely Protestant, consistent with his role as an officer in the States-General.

"The next morning, the notary Ranck drew up a deed attesting to Maria Thins's acceptance of the vows being published. This document was witnessed by Bramer, Melling, Gerrit van Oosten, and the Delft lawyer Willem de Langue, who had frequent dealings with Bramer and the Vermeer family. De Langue, a serious picture collector, may have introduced Vermeer to works by artists such as Rembrandt, Roelandt Savery, and Bramer. He was also acquainted with Johannes Renialme, an Amsterdam art dealer once registered in the Delft Guild of St. Luke, whose stock included Italian paintings that Vermeer might have studied. The banns were registered by Vermeer and Catharina at the Town Hall on April 5. Unexpectedly, Gerrit ter Borch (1617–1681), one of the most talented Dutch artists, appeared in Delft, seemingly blessing the occasion with his presence. Ter Borch, fifteen years Vermeer’s senior, was known for his intimate interior scenes and had previously worked in Haarlem, Amsterdam, and The Hague before settling in Deventer. "^{Anthony Bailey, Vermeer: A View of Delft (New York: Holt Paperbacks, 2002), 62.}

Given her strong-willed and pragmatic nature, Maria had carefully weighed the potential benefits and risks of the union. Vermeer must have presented qualities or circumstances that convinced Maria he would be a suitable match, potentially bringing some advantage or stability to Catharina’s family. Biut, Vermeer’s Protestant background posed a significant obstacle, as Maria’s family was devoutly Catholic. This challenge could likely be addressed by Vermeer’s promise to convert or perhaps his formal conversion to Catholicism, a step that would have been essential to securing Maria’s approval for the marriage. Such a conversion would not only align Vermeer with the family’s religious values but also ensure the children from the marriage would be raised Catholic, as required by the Church. This concession, in fact, was a critical factor in overcoming Maria’s initial reservations about the match. While Vermeer’s parents appeared to have been respectable and financially stable, his family history was not without blemish. His grandfather, for instance, had been implicated in a coin counterfeiting scheme that nearly resulted in his execution. This notorious incident would have raised concerns, but Maria likely deemed Vermeer’s personal character or prospects sufficient to offset such reservations. For Vermeer, the marriage offered the opportunity to wed a young woman he favored while also gaining entry into Delft's well-connected and prosperous Catholic community, which could provide both social and financial advantages.

Maria’s experiences within her marriage and its dissolution reveal the tensions between societal norms, personal agency, and the legal frameworks of her era. Her ability to navigate these challenges underscores her resilience and the critical role she played in shaping the fortunes of her family, including supporting Johannes her daughter Catharina in the subsequent years.

Roeland de Pottere, Adriaen Hanneman — fig. 2 ***Roeland de Pottere***
Adriaen Hanneman
1661
Oil on canvas, 49 x 62 cm.
Rijksmuseum Twenthe, Amsterdam

In any case, two weeks after the publishing of the wedding bans, the ceremony likely took place in Schipluiden, a stronghold of Catholicism, which is a bout and hour's walk from Delft. It has been speculated that Roeland de Pottere (1584–1675),^{Roeland de Potterewas a Jesuit priest notable for his extensive missionary work in the Dutch Republic during a period of religious tension. Born on December 5, 1584, in The Hague, he pursued studies in philosophy and law at Douai and earned a licentiate in law from Orléans. On January 9, 1608, he entered the Jesuit novitiate in Tournai and was ordained a priest on September 13, 1615. In 1621, de Pottere was assigned to Delft to assist the ailing Jesuit priest Petrus Makeblijde. Following Makeblijde's death in 1630, de Pottere assumed leadership of the Delft mission, overseeing its operations during a time when Catholic practices were officially suppressed. He established a clandestine church and a school for girls of noble families, providing education and religious instruction.} a Jesuit priest who played a significant role in supporting the Catholic community in Delft, officiated the ceremony. This indicates that Vermeer most likely converted to Catholicism, as de Pottere was known for his opposition to interfaith marriages and likely would not have officiated without Vermeer's conversion.

The question of Vermeer’s conversion to Catholicism remains unresolved due to a lack of definitive archival evidence. However, the circumstances of his life strongly suggest that he embraced the Catholic faith, whether outwardly or inwardly we do not know. Born into a Protestant family, Vermeer’s parents were baptized in the Reformed Church but were not full members, indicating a less formal connection to Protestantism.

Living in Delft

The newlyweds lived in Maria Thins’ spacious home on Oude Langendijk, in the Catholic quarters referred to as the Papenhoek (Papists’ Corner) in Delft, near a Jesuit station. This arrangement allowed Vermeer access to financial stability and a supportive environment, critical for his meticulous and slow artistic production process. However, it also meant navigating Maria's authority in domestic and financial matters. Despite his growing reputation, Vermeer’s income was inconsistent. Maria's wealth often provided a safety net for the large family, which grew to include 11 children. Her resources and status helped maintain their household even during lean times. During the economic hardships of the Franco-Dutch War (1672–1674), Maria's financial support became even more critical, although she had to reduce assistance due to her own income losses during that period.

The household exhibited strong Catholic influences, as reflected in the names of Vermeer's children—Maria, Elizabeth, Cornelia, Aleydis, Beatrix, Johannes, Gertruyd, Franciscus, Catharina, and Ignatius—which were inspired by Catholic and Jesuit saints. The family also kept devotional objects such as a crucifix and religious paintings, further indicating their adherence to Catholic practices. Jesuit priests likely played a role in ensuring the couple’s children were raised in the faith, a standard requirement for mixed marriages involving Catholics.

Among Vermeer’s children, several names reflect strong Catholic influences, highlighting the role of faith in the household. The most explicitly Catholic name is Ignatius, chosen in honor of St. Ignatius of Loyola, the founder of the Jesuit order, which played a significant role in the Catholic Counter-Reformation and missionary work. Similarly, Franciscus likely refers to St. Francis Xavier, a co-founder of the Jesuits and a celebrated missionary saint, revered in Catholic communities, including Delft. Aleydis points to St. Aleydis (or Alice) of Schaerbeek, a notable Catholic saint from the Low Countries, reflecting regional Catholic devotion. The name Maria honors both the Virgin Mary, central to Catholic faith, and the children's grandmother, Maria Thins, herself a devout Catholic. Elizabeth likely references St. Elizabeth of Hungary, known for her charity and piety, and also honors Maria Thins’ sister, a nun. Catharina serves as a dual tribute to Vermeer’s wife and St. Catherine of Alexandria, a prominent Catholic martyr. Lastly, Beatrix may reflect devotion to St. Beatrix of Rome, a Catholic saint and martyr, though the name also carries familial resonance.

These names not only signify deep ties to Catholic tradition but also suggest the influence of Jesuit teachings and Maria Thins’ active role in shaping the family’s religious identity. Furthermore, except for Vermeer's firstborn son, Johannes, none of the children were given names from Vermeer's family. Vermeer expert Michael Montias suggests that the first son, who was baptized Johannes, after his father, was as supposed to become a Catholic priest. ^{John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, NJ: Princeton University Press, 1989), esp. 103–104.} Furthermore, Vermeer’s grandson, Aegidius, the son of his daughter Maria Vermeer and her husband Johannes Cramer, is explicitly noted to have become a Catholic priest. This highlights the enduring influence of Vermeer’s household’s Catholic devotion across generations.

Moreover three works in Vermeer’s artistic output, St. Praxedis (questionalbe attribution) and Christ in the House of Martha and Mary align with Catholic themes, but most notably in his Allegory of the Catholic Faith, which includes Jesuit symbolism and theological motifs. While no direct record of his conversion exists, the combination of his personal, artistic, and familial choices strongly suggests that he embraced Catholicism.

In the 1660s, Maria attained a comfortable standard of living of 15,000 or more guilders a year. Here family had links to de Pottere, who was active in Delft. The Jesuit community not only provided spiritual support but also influenced Maria Thins' household, as seen in the devotional items present there, such as Catholic art and books like the catechism by Petrus Canisius (1521– 1597).^{Petrus Canisius, a Dutch Jesuit priest and Doctor of the Church, significantly contributed to the Counter-Reformation through his catechetical works. He authored three catechisms tailored to different audiences: the comprehensive Summa Doctrinae Christianae (1555) for advanced students and clergy, the concise Catechismus Minor (1556) for intermediate learners, and the simplified Parvus Catechismus Catholicorum (1558) for children and beginners. These texts were noted for their clarity and doctrinal precision, with over 200 editions published during his lifetime, profoundly influencing Catholic education in German-speaking regions. Additionally, Canisius is credited with adding the phrase "Holy Mary, Mother of God, pray for us sinners" to the Hail Mary prayer, reflecting his impact on Marian devotion.} De Pottere's ministry was characterized by his dedication to pastoral care, often conducted under the threat of persecution. He ministered to the sick during outbreaks of disease, administered sacraments in secret, and maintained a network of covert worship spaces. His efforts contributed to the resilience of the Catholic community in Delft and surrounding areas.

By 1663, tensions had escalated within the Thins-Vermeer household due to Willem's violent behavior toward his mother and his sister. "According to one legal document, several witnesses, including Tanneke Everpoel [presumably the family maid], testified that Willem created a violent commotion, causing people outside to come to the front door to listen. He swore at his mother and called her an old popish swine, a she-devil, and other words that couldn't decently be repeated. He pulled a knife on his mother and tried to stab her. He threatened Catharina with a stick, although she was pregnant 'to the last degree.' The stick, added a neighbor named Willem de Coorde, had an iron spike on one end, which Willem thrust at Catharina. The redoubtable Tanneke prevented Willem from hitting Catharina with it. (One wonders where Vermeer was. Upstairs quietly painting?) Like his father, who had several times attacked Maria and Catharina, Willem seemed prone to moments of uncontrollable violence. He also had a serious and otherwise unexplained 'accident' soon after this, which left Maria Thins with a seventy-four-guilder fee to pay the two surgeons involved, and the cost of wine—provided by Vermeer’s mother at Mechelen—that was meant to help him recover."^{Anthony Bailey, Vermeer: A View of Delft (New York: Holt Paperbacks, 2002), 71-72.}

In 1664, Maria finally took decisive action to protect Catharina and her household. She sought legal measures, including restraining orders and interventions, which were rare for women of her time but reflected Maria's determination and resourcefulness. The upshot of all this was that Willem was confined in a house of correction, a private institution in the Vlamingstraat run by Hermanus Taerling for a "delinquent and mentally ill persons." This cost 310 guilders a year.^{Anthony Bailey, Vermeer: A View of Delft (New York: Holt Paperbacks, 2002), 72. https://amzn.to/3Oc2yt3} In 1665, she was legally was entrusted with her son's property. Although still confined the the hosue of correction Willem continuted to cause trouble until 1667. She wrote a will, which limited Willem's share to the legal minimum of one sixth of her estate. She mentioned that he had been calling her names since his youth. Willem died in 1676.

Maria Thins passed away on December 27, 1680, in Delft. In her will, she took measures to ensure the welfare and education of her grandchildren, aiming to protect their inheritance from potential creditors of her daughter Catharina. Her prudent management of her estate reflects her enduring commitment to her family's well-being. She crafted her will to maximize her grandchildren's support and education, preventing, for unknown reason, her estate from going to Catharina's creditors. The grandchildren were assigned a guardian, Hendrick van Eem, to look out for their interests. Catharina, considered responsible, was encouraged by her mother to ensure that her children were educated so that they could support themselves. Her daughter Catharina moved to Breda. Catharina Bolnes received "Holy Oil" on 23 December 1687, before being buried on 2 January 1688.

Maria's funeral was particularly elaborate, featuring fourteen pallbearers and the church bell ringing for two intervals, indicating her high social standing and wealth. Willem received a similar funeral with fourteen pallbearers and the bell ringing for one interval.

Recent archival research has revealed that Vermeer's funeral, held on December 16, 1675, was notably elaborate, far beyond the painter's own means. The records indicate that his coffin was accompanied by fourteen pallbearers, and the church bells tolled in his honor. Such a grand ceremony was uncommon, especially considering Vermeer's financial difficulties at the time of his death. It is speculated that his affluent mother-in-law, Maria Thins, may have financed the funeral expenses.^{The discoveries regarding the funerals of Maria, her son Willem, and Vermeer were made by Bas van der Wulp, of "Erfgoed Delft," Delft’s cultural heritage department (https://erfgoeddelft.nl/).}