The Music Lesson

(De muziekles)
c. 1662-1664
Oil on canvas
73.3 x 64.5 cm. (28 7/8 x 25 3/8 in.)
The Royal Collection, The Windsor Castle
there are 12 hotspots in the image below
The Music Lesson, Johannes Vermeer

Comparing the girl with her reflection we can notice that the back of her head, directly seen, is more conventionally perceived, more recognizable, perhaps more touching, her reflected face, its detail dissolved, its humanity suspended in light, has a deeper kind of completeness. The face is reflected not only in the mirror but also in the painter's temperament. For the first time we have the sense that he has a use, however oblique, for the whole of human appearance.

Lawrence Gowing, Vermeer, 1952

Facsimile of the signature of Johannes Vermeer's Music Lesson
			Johannes Vermeer
signed lower picture frame at right IVMeer (IVM in monogram)

c. 1662-1664 - Arthur K. Wheelock Jr. (Vermeer: The Complete Works, New York, 1997)

c. 1662-1663
Walter Liedtke Vermeer: The Complete Paintings, New York, 2008)

The plain-weave linen support has a thread count of 15 x 14 per cm2. The original tacking edges have been removed. Cusping occurs on all sides, more pronounced along top and bottom edges. The canvas has been lined.

The light brownish gray ground contains lead white, chalk, and a little umber, with aggregates of lead white particles. The paint is thinly and smoothly applied although some texture is present, as on the nearest edge of the bass viol, which stands out due to curling impasto.

The bottom half of the painting has a strong blue cast. The dark tiles in the foreground are blue while those further back in the composition are dark gray and contain no blue pigment. The shadow of the carpet on the table in the right foreground is dominated by a bright blue, which may be discolored. A pinhole with which Vermeer marked the vanishing point of the composition is visible in the paint layer.

* Johannes Vermeer (exh. cat., National Gallery of Art and Royal Cabinet of Paintings Mauritshuis - Washington and The Hague, 1995, edited by Arthur Wheelock)

literature

Johannes Vermeer's Music Lesson with frame
image thanks to Mike Buffington

  • (?) Pieter Claesz van Ruijven, Delft (d. 1674);
  • (?) his widow, Maria de Knuijt, Delft (d. 1681);
  • (?) their daughter, Magdalena van Ruijven, Delft (d. 1682);
  • (?) her widower, Jacob Abrahamsz Dissius (d. 1695);
  • Dissius sale, Amsterdam, 16 May 1696, no. 6;
  • Giovanni Antonio Pellegrini, Amsterdam/The Hague (1718), Venice (1741);
  • his widow, Angela Carriera, Venice (1741-42);
  • Joseph Smith, Venice and Mogliano (1742-62);
  • King Georg III, Windsor Castle, as by Frans van Mieris, (1762 acquired with the Smith Collection);
  • since 1762 Royal Collection, Windsor Castle and Buckingham Palace (inv. 109).
  • London 1876
    Exhibition of Works by Old Masters and by Deceased Masters of British School. Royal Academy of Arts.
    The Music Lesson (no. 211)
  • London 1895
    Temple, A. G. Catalogue of the Loan Collection of Pictures. Art Gallery of the Corporation of London.
    92-93, no. 127.
  • London 1929
    Exhibition of Dutch Art, 1450-1900. Royal Academy of Arts.
    144, no. 305 and pl. 78.
  • London 1929
    Dutch Art. An Illustrated Souvenir of the Exhibition of Dutch Art at Burlington House, London. Burlington House.
    89, no. 107 and ill.
  • London 1946
    Catalogue of Exhibition of the King's Pictures. Royal Academy of Arts.
    108, no. 305.
  • The Hague 1948
    Masterpieces of the Dutch School from the Collection of H.M. the King of England on the Occasion of 50-year Reign of Queen Wilhelmina. Mauritshuis.
    30, no. 10 and ill.
  • London 1952
    Dutch Pictures 1450-1750. Royal Academy of Arts.
    1: no. 515, 2: ill. 45.
  • London 1971
    Dutch Pictures from the Royal Collection. The Queen's Gallery. Buckingham Palace.
    19 and 74, no. 10.
  • Philadelphia 1984
    Sutton, Peter. Masters of Seventeenth-Century Dutch Genre Painting. Philadelphia Museum of Art.
    344-345, no. 119 and ill. 109.
  • London 11 February - 30 October, 2005
    Enchanting the Eye: Dutch Painters of the Golden Age. The Royal Collection, Buckingham Palace.
  • London March, 2011
    Masterpiece a Month: Presiding Genius
    Johannes Vermeer - A Lady at the Virginals with a Gentleman (The Music Lesson). The Dulwich Picture Gallery.
  • Cambridge, England 5 October, 2011 – 15 January, 2012
    Vermeer’s Women: Secrets and Silence. The Fitzwilliam Museum.
    204, no. 26 and ill.
  • London 26 June - 8 September, 2013
    Vermeer and Music: Love and Leisure in the Dutch Golden Age.
    (62, no. 21 and ill.)
Johannes Vermeer's Music Lesson in scale
1662
vermeer's life

Vermeer's income in the 1660s was probably higher than in the 1670s. In the1660s, sales of paintings and especially his mother-in-law's (Maria Thins) substantial financial contributions together probably ranged from 850 to 1,500 guilders a year. A mason earned about 500 guilders.

Vermeer is elected for the first time headsman of the Guild of Saint Luke in Delft at the age of 30 for a two year term. However, by this time many artists resident in Delft had left for the more prosperous Amsterdam and so his election may have had less significance than once believed. He was the youngest artist to become headmaster since the guild was organized in 1611.

Many of the luxury items seen in Vermeer's interiors such as the virginal seen in The Music Lesson were economically out of reach of the artist. They may have been lent to him by affluent men of culture or clients such as Diego Duarte, a rich Antwerp banker, in whose important art collection was cited "a young lady playing a clavecin, with accessories, by Vermeer." The virginal seen in Vermeer's The Music Lesson was built by Johannes Ruckers. These rare instruments were sold at about 300 guiders, about half the cost of Gerrit Dou, a Frans van Mieris. An averge Dutch house might cost 1,000 guilders. In Delft, hese instruments were owned by the official town musician Scholl.

dutch painting

Pieter Saendredam ( b. 1597) dies in Haarlem.

Despite its decline, Delft remained and important city of passage for artists passing from Haarlem, Utrecht and Amsterdam. It contained a number of fine art collections. Ferries parted many times a day to the nearby The Hague and Amsterdam was less than a days away on an inexpensive horse-towed barge.

european painting & architecture André Le Nôtre designs park and gardens of Versailles Louis XIV begins to build palace of Versailles; he makes Charles Lebrun his chief artistic adviser.
music Composer Henry Lawes dies at London October 21 at age 66.
literature

 

science & philosophy  
history

New Amsterdam colonist John Bowne is arrested for permitting Quakers to hold meetings in his Flushing house, completed last year at what will become 37-01 Bowne Street, Queens (see Mathematician-physicist-philosopher-theologian Blaise Pascal dies at the Jansenist Port-Royal monastery in Paris August 19 at age 39.

Publication of a world atlas in eleven parts by Joan Blaeu in Amsterdam.

Remonstrance, 1657). Bowne is convicted of having violated Governor Peter Stuyvesant's ban on Quaker assemblies. He is jailed and banished, but when he reaches Holland and appeals to the Dutch West India Company, it acquits him of all charges, frees him, and rebukes Governor Stuyvesant, thereby establishing the right to free practice of religious worship.

Blaise Pascal proposes the introduction of a public transport system in Paris. Coaches would travel along predetermined routes and take passengers for a small fee. The first coach goes into service during the following year.

Founding of the Academia Leopoldina in Vienna

The Royal Society receives charter from Charles II.

Holland and France form an alliance against possible attack by England.

1663
vermeer's life

In the early and mid-1660s Vermeer paints a series of extraordinary pictures of single women in the corner of a room absorbed in their activity. Even their most striking passages of observation are always subordinated to the impression made by the whole composition.

A French diplomat and art connoisseur Balthasar de Monconys visits Vermeer in Delft. In his diary he notes 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.

De Monconys comes initially as a tourist, evidently unaware of Vermeer's presence. A few weeks later, he went to pay his respects in The Hague to Constantijn Huygens, an important art connoisseur and theorist of Dutch culture. De Monconys admired his art collection and described it in detail. However, one can only imagine how amazed Huygens must have been to hear that the Frenchman had been in Delft, without visiting Vermeer. It seems a reasonable assumption that Huygens urged de Monconys to meet with the Delft painter, given the Frenchman’s predilection for fine art. Not long afterward, de Monconys did indeed visit with Vermeer at his house, and wrote the following account in his diary journal, which was published in 1665, the year of his death: "In Delft I saw the painter Verme(e)r 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." Simply put, de Monconys thought the painting he saw was worth less than a tenth of the price mentioned.

c. 1663 a son named Johannes, named after himself, is born to Vermeer.

dutch painting

Rembrandt depicts himself as a bit player in his painting The Raising of the Cross.

Jan Steen paints The Drawing Lesson.

Pieter de Hooch: At the Linen Closet.

Adriaen van de Velde paints Cattle near a Building.

Pieter de Hooch, who had moved away from Delft to Amsterdam to seek more patronage, returns to Delft at least once in this year.

european painting & architecture

Bernini: Scala Regia, Vatican, Rome

Building of Castle Nymphenburg, near Munich.

Nicolas Poussin paints The Four Seasons.

France's minister of finance Jean-Baptiste Colbert appoints painter Charles Le Brun director of the Gobelins, which will grow under Le Brun's direction from a small tapestry manufactory into a vast enterprise that supplies all of the royal houses. The Academy of Painting and Sculpture is reorganized, with Le Brun as its director.

music

Mar 7, Tomaso Antonio Vitali, composer, is born.

Pascal: L'Equilibre des liqueurs (posth.)

literature

The Académie des inscriptions et belles-lettres (the Academy of the Humanities) is founded in Paris.

John Milton marries Elizabeth Minshull.

science & philosophy

Isaac Newton discovers the binomial theorem.

Physicist Otto von Guericke invents the first electric generator. It produces static electricity by applying friction against a revolving ball of sulfur, and Guericke will show in 1672 that the electricity can cause the surface of the sulfur ball to glow.

history

Dutch forces hold the best pepper ports of India's Malabar Coast, giving them a virtual stranglehold on the spice trade once controlled by Portugal.

A Third Navigation Act adopted by Parliament July 27 forbids English colonists to trade with other European countries. European goods bound for America must be unloaded at English ports and reshipped, even though English export duties and profits to middlemen may make prices prohibitive in America.

1664
vermeer's life

In a death inventory of the English sculptor Jean Larson, who lived in the Hague, is listed "a head by Vermeer." Some critics believe it may have bee the Girl with a Pearl Earring.

In the early to mid-1660s Vermeer refined all the qualities of his mature style. In his orderly designs, Vermeer gave new life to familiar patterns of contemporary genre painting by closely studying the subtleties of appearance.

dutch painting

Pieter de Hooch paints Young Woman Weighing Gold

Jan Steen: paints The Christening Feast.

Frans Hals, one of the most fashionable portraitists of his time and now in his late sixties, paints two of his most significant group portraits, the Regents and Regentesses of the Old Men's Alshouse at Haarlem. Owing to his dire poverty he will be given a small allowance by the town of Haarlem.

european painting & architecture

Nicola Poussin paints Apollo and Daphne

John Vanbrugh, Eng. architect and dramatist, is born.

Christopher Wren: Sheldonian Theatre, Oxford.

Francisco de Zurbaran, Spanish painter, dies.

music

The French horn becomes an orchestral instrument.

Oratorio: Christmas Oratorio by Heinrich Schütz at Dresden.

literature

William Shakespeare - the second impression of the Third Folio, which added seven plays to the thirty-six of the First Folio and the Second: Pericles, Prince of Tyre and six works from the Shakespeare Apocrypha.

Thomas Killigrew and the King's Company stage Killigrew's The Parson's Wedding with an all-female cast. Killigrew attempts a similar all-female production of his play Thomaso, though the project is never realized.

science & philosophy

Robert Hooke discovers the Great Red Spot (an extremely persistent storm) on Jupiter and uses it to determine the period of Jupiter's rotation, which is astonishingly less than ten hours despite Jupiter's great size.

Giovanni Alfonso Borelli, calculates the orbit of a comet and finds that it is a parabola (not a circle, ellipse, or line as expected in various earlier theories).

Descartes' Traité de l'homme et de la formation de foetus (treatise on man and the formation of the fetus), printed posthumously, describes animals as purely mechanical beings; that is, there is no "vital force" that makes animals different from other material objects.

Christiaan Huygens proposes that the length of a pendulum with a period of one second should be the standard unit for length.

history

Aug 29, Adriaen Pieck/Gerrit de Ferry patented a wooden firespout in Amsterdam.

New Amsterdam handed over by Peter Stuyvesant to the English, who renames the city New York

Amsterdam passes a regulation banning the sale of "rotten, spoiled, or defective spinach, cucumbers, and carrots, ears of corn, radishes, or other fruits [vegetables] because pride could not be taken in or from such things."

Slavery is introduced into the Caribbean island of Montserrat and will not be abolished until 1834.

The Black Death kills 24,000 in old Amsterdam while the English are taking Nieuw Amsterdam. The plague spreads to Brussels and throughout much of Flanders, and in December it kills two Frenchmen in London's Drury Lane. Men who put the dead into the deadcarts keep their pipes lit in the belief, now widespread, that tobacco smokers will somehow be spared.

Samuel Pepys buys forks for his household, but most Englishmen continue to eat with their fingers and will continue to do so until early in the next century lest they be considered effete or, in the opinion of some clergymen, even sacrilegious. A man going out to dinner has for centuries brought his own spoon and knife, the spoon being folded into the pocket and the knife carried in a scabbard attached to the belt; more men now carry folding forks as well.

The Kronenbourg Brewery founded in Alsace will continue into the 21st century to produce beer.

The Chess Players, Cornelis de Man

The Chess Players
Cornelis de Man
1670
Oil on canvas, 97.5 x 85 cm.
Museum of Fine Arts, Budapest, Hungary

The quintessential, pristine Dutch interior of the Music Lesson scarcely reflects Vermeer's personal circumstances and may have been largely contrived. It is a well known fact that the luxury objects such as carpets, marble flooring, silver trays and musical instruments all which appear in the same room were seldom found in any but the wealthiest homes. Oppositely, none of common household objects listed in the artist's posthumous inventory such as cradles, beds and shabby furniture ever upset Vermeer's perfect compositions. Genre interior artists like Vermeer were selective in what they painted.

In general, the density of furnishings in Dutch homes must have been much higher than what ever appeared in Vermeer's paintings (see image left). Vermeer's uncluttered and perfectly ordered spaces were deliberately set up and painted in order to convey an idea of harmony and peace of refined and elegant living that would have appealed to the married couples who hung them in their homes. They are closer to cinematic mise-en-scène than to snapshots of real-life circumstances.

Thus, Vermeer might qualify as a metteur en scène, "putter on scene," (the French title given to a film director), who carefully arranges the sets, props, actors, costumes, and lighting on his set.

Jacob Cats, Quid Non Sentit Amor

Jacob Cats
"Quid Non Sentit Amor"
Proteus, ofte, Minne-beelden verandert in sinne-beelden
1627
National Gallery of Art Library, Washington D.C.

The relationship between music and love as a pictorial theme was frequently explored by Dutch 17th-century painters with varying shades of meaning. In The Music Lesson, Vermeer alludes metaphorically to the harmony of two souls in love, suggested by the unattended bass viol on the floor before the couple. The juxtaposition of the two instruments, the virginal and the bass viol, may refer to an emblem by Jacob Cats, "Quid Non Sentit Amor" that describes how the sound of one instrument resonates on the other just as two hearts can exist harmoniously even if separated.

Jesuit Church on the Oude Langendijk, Abraham Rademaker

The Jesuit Church on the Oude Langendijk in Delft
1700-25
Abraham Rademaker
Brush and gray ink, 132 x 202 mm.
Gemeentearchief, Delft

Although much has been theorized about Vermeer's working methods in conjunction with the room(s) in which he worked, we do not know in how many different rooms he worked in, or even the house in which his studio was located. However, informed specialists believe that Vermeer worked in at least three different environments during his twenty-year career. What is certain is that he did not work in the modest circumstances in which artists such as Rembrandt and Adriaen van Ostade enjoyed portraying themselves.

It has been reasonably hypothesized that Vermeer worked in his the same house as his living quarters. From 1660, we know that Vermeer was living with his mother-in-law, Maria Thins on Oude Langendijk, directly across his father's inn Mechelen on the Market Square in the center of Delft. Vermeer's biographer John M. Montias believed that the Thins house is pictured on an 18th-century drawing of a Jesuit church on Oude Langendijk by Abraham Rademaker (the Thins/Vermeer house is the furthest one to the right but may also be one or two houses over to the right, just outside the drawing). The drawing shows us a series of modest houses, each one having a ground floor, an upstairs floor, some with an extra floor and an attic.

The Music Lesson provides most probably a very good idea of how Vermeer's studio was structured.

Title page of Sinne- en minnebeelden, Jacon Cats

Title page of Sinne- en minnebeelden
Jacob Cats
Asmterdam (1627)
Gemeentearchief, Delft

Art historians believe that emblematic literature constitutes one of the prime resources for comprehending the hidden meaning in Dutch genre painting. In the present work, an emblem by Jacob Cats, "Quid Non Sentit Amor," has often been called into play.

Although Cats was hardly known outside of Holland, among his own people for nearly two centuries he enjoyed an enormous popularity. His countrymen is shown their affection by his nickname, "Father Cats." His diffuseness and the antiquated character of his matter and diction, have, however, come to be regarded as difficulties in the way of study, and he is more renowned than read.

Cats took his doctor's degree in law at Orléans, practiced at The Hague, and, after visits to Oxford and Cambridge, settled in Zeeland, where he accumulated wealth by land reclamation. Becoming a magistrate, he was successively pensionary of Middelburg and Dordrecht and, from 1636 to 1651, grand pensionary of Holland. He took part in diplomatic missions to England in 1627 to Charles I and in 1651-52, unsuccessfully, to Cromwell. His background gave him an international outlook, and he was in sympathy with many of the English Puritan writers.

Although Cats was a scholar and diplomat, he was primarily a writer of poetic emblem books, a type of literature popular in the 17th century that consisted of woodcuts or engravings accompanied by verses pointing a moral. These books offered provocative texts and intriguing images that educated young readers in the subjects of love, such as choosing one's partner, marital fidelity and the possible pangs of love. He used this form to express the major ethical concerns of early Dutch Calvinists, especially those dealing with love and marriage. By being the first to combine emblem literature with love poetry, and by his skill as a storyteller, he achieved enormous popularity. The sources on which he draws are chiefly the Bible and the Classics and occasionally Boccaccio and Cervantes.

His first book, Sinne- en minnebeelden (1618; "Portraits of Morality and Love"), contained engravings with text in Dutch, Latin, and French. Each picture has a threefold interpretation, expressing what were for Cats the three elements of human life: love, society, and religion. Perhaps his most famous emblem book is Spiegel van den ouden ende nieuwen tijdt (1632; "Mirror of Old and New Times"), many quotations from which have become household sayings. It is written in a more homely style than his earlier works, in popular rather than classical Dutch. Two other works, Houwelyk (1625; "Marriage") and Trou-ringh (1637; "Wedding Ring") are rhymed dissertations on marriage and conjugal fidelity. In one of his last books, Ouderdom, buyten-leven en hof-gedachten (1655; "Old Age, Country Life, and Garden Thoughts"), Cats wrote movingly about old age.

The Music Lesson (detail), Johannes Vermeer

Most Flemish virginals had their soundboards painted with flowers, fruit, birds, caterpillars, moths and even cooked prawns, all within blue scalloped borders and intricate blue arabesques. Natural keys were normally covered in bone, and sharps were of oak or, less commonly, chestnut. The case exteriors were usually marbled like the ones in Vermeer's Lady Standing at the Virginals and Lady Seated at the Virginals. Occasionally the inside of the lid bore a decorative scene; more often it was covered with block-printed papers embellished with a Latin motto, usually connected with morality or music.

Some typical mottos include:
SIC TRANSIT GLORIA MVNDI (Thus passes the glory of the world)
MVSICA DVLCE LABORVM LEVAMEN (Sweet music is the solace of labour)
MVSICA DONVM DEI (Music is the gift of God)

The Motto on the virginals in Vermeer's Music Lesson reads:
MVSICA LETITIAE CO[ME]S MEDICINA DOLOR[VM]
(Music is the companion of joy, balm for sorrow)

The Music Lesson (diagram), Johannes Vermeer

By the time Vermeer painted the Music Lesson he was in full command of the painting medium. He had learned to exploit every stylistic and technical component in order o enhance the meaning of his images, including linear perspective, the most formidable tool for creating an illusionist image.

Perspective was held in high esteem since it enabled the artist to deceive the viewer into believing that the painted scenes were real, one of the prime concerns of Dutch realism. One of the few surviving accounts of Vermeer's art by a contemporary signaled his works as "perspectives." Perspective was also important because it provided the mathematical basis for painting a fact which could itself elevate its traditional lowly hierarchical status from the Mechanical Arts to the Liberal Arts. This concept must have been of considerable importance to Vermeer who later dedicated his most ambitions work to the edification of the status of the painter in the renowned The Art of Painting.

In ancient times, the Liberal Arts were those considered to be fitting pursuits for free and noble citizens, being above the labor of handicrafts. Arithmetic, Geometry, Astronomy and Music represented the scientific Liberal Arts because they were based on mathematics. Grammar, Dialectic and Rhetoric represented the rational side because they dealt with language. Both painting and sculpture on the other hand were classed among the mechanical arts because they required manual labor.

Vermeer used perspective not only to create depth but to clarify his message. In the present work, if we trace the orthogonals of the perspectival system, we find that they converge upon the eye to the spiritual heart of the painting, the standing young musician.

Painting conservators have recently discovered that instead of the complicated mathematical calculations necessary to build a coherent perspective on a flat surface of a painting, Vermeer availed himself of an ingenious, yet devilishly simple technique evidently in common usage among Dutch artists who prized perspective in their art. X-ray examinations of Vermeer's extant paintings have proved that in theirteen works with complicated perspective problems, there is a tiny hole (later filled in with paint) which in every case coincides exactly to the perspective's vanishing point. In this hole was once inserted a pin (most likely to a wood panel temporarily fastened to the back of the canvas) to which a string was attached. By rubbing chalk on the string, the painter could pull it taught and with a snap produce a perfectly straight orthogonal on the surface of the canvas which could then be traced. During the later stages of the painting process, the complicated perspective of the tiles could be easily verified by pulling the string straight just above the surface of the canvas.

music icon "A Toye" [1.30 MB]
Giles Farnaby (c. 1563-1640)

from: Ancient Instruments – Tuxedo (various artists)
http://www.emusic.com/album/10589/10589854.html

17th-centruy Flemish virginals

The virginal (or virginals), together with the harpsichord, has its origin probably in the medieval psaltery with a keyboard applied, to be able to play polyphonic music (i.e. melody with accompanying chords). It is mentioned for the first time c. 1460 in a treatise by Paulus Paulirinus of Prague. Although limited in its tonal resources, the virginal occupied a crucial position in the musical life in the 16th and 17th centuries as it was smaller, simpler and cheaper than the harpsichord which is rather rarely represented in paintings, drawings etc.

The main center of virginal- and keyboard making in general was undoubtedly Antwerp/Flanders, with the renowned families of Ruckers and Couchet. Italy was the second center, and since King Henry's VIII's purchase of five virginals it enjoyed considerable appreciation in England. Until the 18th century the virginal remained in use both as solo instrument, even in private circles of music making, as well as for accompaniment of the singing voice or melodic instruments, like the viola da gamba.

The virginal usually appears with a rectangular case, although polygon forms in various sizes were built as well. The metal strings, here only in single choir, runs roughly parallel to the keyboard. They are plucked by plectra mounted on jacks. The jacks (one for each key) are arranged in pairs and placed along a line running from the front of the instrument at the left to the back at the right. They pluck in opposite directions, so that the pairs of jacks are separated by closely spaced pairs of strings. Each pair of jacks is usually served by a single slot in the soundboard, together with another slot below in a thin guide above the keys. Leather on the soundboard and lower guide provides a quiet bearing surface for the jacks.

The typical Flemish "muselaar" type (probably invented by Hans Ruckers) has the keyboard to the right side, their strings plucked at a point near the centre for virtually their entire range, producing a powerful, flute-like tone. Though since the jacks and keys for the left hand are inevitably placed in the middle of the instrument's soundboard, any mechanical noise from these is amplified and the central plucking point in the bass strings makes repetition difficult because the motion of the still-sounding string interferes with the ability of the plectrum to connect again. Thus the muselar is better suited to chord — and melody-music without complex bass parts.

The spinet virginal has its keyboard placed off-centre to the left. The jacks run in a line close to the left-hand bridge; therefore the point at which the jacks pluck the strings is close to the mid-point in the treble and well away towards the left end in the bass. Thus the timbre of the spinet gradually changes from flute-like in the treble to reedy in the bass.

Zy blinckt, en doet al blincken, engraving from P. C. Hooft

"Zy blinckt, en doet al blincken"
engraving from P. C. Hooft
Emblemata Amatoria, 1611

Although not all of Vermeer's paintings make use of symbolism, literary references and background paintings to sharpen the focus of the theme of his compositions, The Music Lesson has been linked to multiple sources.

Vermeer expert Arthur Wheelock cites an emblem entitled "Zy blinckt, en doet al blincken" (it shines and makes everything shine) drawn from P. C. Hooft's Emblemata Amatoria as a very probable connection.

"Hooft's emblem contains two vignettes, Cupid holding a mirror reflecting sunrays in the foreground, and a man standing near a woman playing a keyboard instrument in the background. The accompanying verses explain that just as a mirror reflects the sunlight it receives, so does love reflect its source in the beloved. What love one possesses comes not from oneself, but from the beloved. Although the image of Cupid with the mirror depicts quite literally the message of Hooft's verses, the figures in the background - the man looking with rapt attention at his beloved, whose music has so moved him - expand upon them metaphorically. The compositional relationships between the emblem and the Music Lesson suggest that Vermeer had a similar concept in mind when conceiving his work. Not only do the figures in the background of the emblem bear a striking resemblance to those in the Music Lesson, the emphasis on the mirror in the emblem parallels the prominence given to the woman's reflection in the mirror in Vermeer's painting."

The Music Lesson (detail), Johannes Vermeer

In representational painting, there exist two basic kinds of shadows, those attached, so to speak, to the objects and those projected by the objects. Attached shadows lie directly on the objects by whose shape, spatial orientation and distance from the light source they are created. Perceptually, attached shadows and projected shadows are quite different. The attached shadow is sensed as an integral part of the object, so much that in practical experience it is generally not noted. A cast shadow, instead, is read as an imposition or interference by one object on another. One of the foremost difficulties of the painter is to determine the color and paint quality for rendering them both.

A cast shadow not only defines more accurately the position of a given object in space, it creates shapes and forms of their own which may be transformed into compositional elements. Vermeer seems to have been particularly interested in cast shadows and art specialists have noted that their shapes are frequently altered to suit the artist's compositional goals.

In the Music Lesson, a shadow is projected from the window down towards the tiled floor, its flow being slightly interrupted by the left-hand corner of the standing virginal. The resulting diagonal lines play a vital part in bonding the right-hand side of the composition, with its accumulation of objects, and the empty left-hand side.

In the same painting we find for the first time in Vermeer's oeuvre evidence of another phenomenon which reveals the artist's powers of observation and his interest in cast shadow: the double shadow of the ebony-framed mirror. The wider, external shadow is caused by the acute angle of incoming light as it enters from the window nearer to the background wall. But it is partially weakened, and here the double shadow appears, because the light from the middle window shines on part of the original shadow. The same phenomenon appears on the shadows cast by the right-hand lid of the virginal. Similar double shadows can be seen in the Concert and A Lady Standing at the Virginal.

Painters were advised to avoid double shadows since they might confuse the viewer.

Tableau 2, Piet Mondrian

Tableau 2
Piet Mondrian
1922
Oil on canvas, 55.6 × 53.4 cm.
Solomon R. Guggenheim Museum, New York

Art connoisseurs have long underlined the remarkable sense of geometry which seems to pervade Vermeer's compositions. In the work of no other European painter do we find an equal prevalence of straight lines, rectangles and triangles. Perhaps for this reason, Vermeer's art had been championed by some exponents fo the art-for-art's-sake movement where didactic, moral or utilitarian functions had been banished from the artist's creed. The American painter Philip Hale: "if ever a man believed in art for art's sake it was he. He anticipated the modern idea of impersonality in art...he makes no comment on the picture. One does not see by his composition what he thought of it all." As late as 1981, Arthur Wheelock wrote that although abstract design principles are generally associated with the 20th century, "One cannot approach this work [The Music Lesson] without realizing that Vermeer calculated his compositional elements every bit as carefully as did Mondrian.

Curiously, 17th-century art writings make no mention of a purely aesthetic or geometric organization of the painting's surface. As art historian Paul Taylor has written, composition, or ordenitie, was first foremost a matter choosing and arranging the motif in order that they might together clarify and strengthen the painting's narrative and not its aesthetic or visual balance. Does this mean that Vermeer was not aware of the geometrical order of his compositions?

Although we do not know how aware Vermeer was, geometry had gained importance in philosophical and scientific circles. As Nobert Schneider observed, "One need only to think of the subtitle of Spinoza's Ethics: 'ordine geometrico demonstrata' (arrange according to geometric principles). Spinoza asserts that ethics can be based on a geometric model in which axioms and propositions follow each other with logical necessity. At that time, geometry stood for clarity and demonstrability, values which may have appealed to Vermeer.