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189
Figure 8: Diego Velázquez, The Fable of Arachne (Las Hilanderas), c. 1656-58, c.164 x 250 
Prado.
fable is depicted. 
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Carsten Wirth
190
arts, that is, the dimension of time.
vision and image come into being.
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191
A
PPENDIX
“V
ERMEER
S
PERSPECTIVISTIC
D
RAWING
the camera objective. 
77
is spherical
increasingly occur.
Music Lesson 
construction instead of the use of the camera obscura. In the reconstruction I pursued, the
drawing of perspective had a function for the use of the camera. Findings that point to a
the camera obscura.
78
77
Here we must distinguish between plano-convex and biconvex lenses.
78
Accordingly, the finding by Laurenze-Landsberg (see her contribution to this volume), which was
interpreted as a grid of lines drawn by perspectivistic construction, need not be an argument against the
camera obscura. Further, the same can be said for the grid patterns mentionedby Steadman for variations
of flooring design.
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Carsten Wirth
192
Procuress.
Finding 1: Punctures (Wadum)
remaining trace. 
construction aid for all objects depicted in perspective in the picture.
79
Music Lesson. How
exemplary fashion using a drawing by Hummel. 
by refocusing. Further, in the method I propose the perspective is not traced, but depicted by the
painter’s brush.
79
An analysis of the pentimenti shows that some individual objects were alternated with others and then
removed. Minimal shifts in the contours on the one side and the appearance and disapperance of entire
objects like maps or chairs testify to a procedure (trial and error) that seem to contradict the chronology
of a perspectivist construction.
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193
Finding 2: Compass traces (by Marlies Giebe)
painting The Procuress was completed in Dresden, and was documented and discussed in detail by
Marlies Giebe.
80
After removing multiple crusted layers of varnish, in the area of the Westerwald jug there
appeared 
.
that is, on the already painted picture: 
shortening distances of its decoration.
81
for orientation while he painted the jug – not the scratches made later. After applying the color, he
a perspective construction. 
understood as one solution to such problems.
80
Marlies Giebe, “J.Vermeers ‘Kupplerin’ – Restaurierung und maltechnische Befunde” Johannes Vermeer,
Bei der Kupplerin. Ed. Uta Neidhardt and Marlies Giebe, Dresden 2004. – I would kile to thank Marlies
Giebe for the explanations of her findings at the symposium: Johannes Vermeer “Bei der Kupplerin” –
Werk, Maltechnik und Konservierung, Dresden 2005.
81
Ibid.
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195
Painting Technique in the Seventeenth Century in Holland 
and the Possible Use of the Camera Obscura by Vermeer
Karin Groen
I
NTRODUCTION
with the brush.
1
Divine inspiration’. The
Figure drawing was not Torrentius’ metier. Another surprise for Huygens: were not people the
has elusiveness and perfection. Unfortunately the enigmatic painting Still-Life, Allegory on
temperance 
1
Huygens [1629, 1994] 91. 
Karin Groen
196
51 cm, signed and dated: T.1614. Rijksmuseum Amsterdam.
paintings. 
attributed to the camera obscura.
2
The camera is thus regarded as a source of style and the artist
copied the quirks of the device. 
2
Alpers [1983] 31.
197
Vermeer’s particular style.
3
instance the accentuated perspective seen in his pictures,
4
the heightened colours, the heightened
several works, for instance in the side of the boat in View of Delft . Arthur Wheelock states that The
girl in a red hat
resemblance to the soft focus image of the same object seen through a camera obscura.
5
Vermeer
service of realism, so important in Dutch seventeenth century painting.
L
INEAR
PERSPECTIVE
pictures.
6
explained by the use of the camera obscura. 
Alpers.
7
3
Wheelock [1988] 36.
4
A striking example is Soldier and laughing girl in the Frick Collection, New York.
5
Wheelock [1988] 100. Wheelock [1996] 162, Seymour [1964]. 
6
Wadum [1995] 67-78. 
7
Alpers [1983] 30.
Karin Groen
198
seventeenth century Holland . 
of either camera obscura. 
P
AINTINGS
INVESTIGATED
AND
METHODS
OF
EXAMINATION
examination of  Girl with a pearl earring of c. 1665-66 at the Mauritshuis in The Hague will be
discussed (Fig. 2). 
Cabinet of Paintings Mauritshuis, The Hague.
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