Linder Gallery

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  1. Linder coat of arms. This coat of arms, with three leaves in a diagonal band, is the arms of the Linder family, suggesting the identity of the commissioner of the work as Nuremberg merchant Peter Linder, active in Milan in the 1620s before moving to Venice, where he became console of the Fondaco deiTedeschi.
  2. Nymphs and Satyrs in the style of Hendrick van Balen (Antwerp, 1575–1632).
  3. View of Rome with the Palatine Hill in the style of Willem van Nieulandt the Younger (Antwerp, 1584–Amsterdam, 1635/6).
  4. Landscape in the style of Gillis van Coninxloo (Antwerp, 1544–Amsterdam, 1607).
  5. Triumph of Bacchus in the style of Frans Francken II (Antwerp, 1581–1642).
  6. Landscape with Figures.
  7. Nocturnal Landscape in the style of Lucas van Uden (Antwerp, 1595–1672).
  8. The Holy Family with St John in a Flower Garland in the style of Jan Brueghel the Elder (Brussels, 1568–Antwerp, 1625) and Hendrik van Balen (Antwerp, 1575–1632).
  9. River Landscape in the style of Jan Brueghel the Elder (Brussels, 1568–Antwerp, 1625).
  10. Portrait Miniature of Albrecht Dürer (Nuremberg, 1471–1528).
  11. Ignorance Destroying the Arts and Sciences in the style of Frans Francken II (Antwerp, 1581–1642).
  12. Perseus with the Head of Medusa in the style of Jan Boeckhorst (Münster, c. 1604–Antwerp, 1668).
  13. The Rest on the Flight to Egypt with the Miracle of the Leaning Palm in the style of Carlo Saraceni (Venice, c. 1579–1620).
  14. The Death of Lucretia.
  15. Seascape in the style of Andries van Eertvelt (Antwerp, 1590–1652).
  16. Apelles Painting Campaspe, in the style of Joos van Winghe (Brussels, c. 1544–Frankfurt, 1603).
  17. Belshazzar’s Feast in the style of Kasper van den Hoecke (1595–Antwerp, after 1648).
  18. Landscape with Figures in the style of Abraham Govaerts (Antwerp, 1589–1626).
  19. The Flight into Egypt (?) in the style of Paul Bril (Antwerp, 1554–Rome, 1626).
  20. Triumph of Neptune and Amphitrite in the style of Frans Francken II (Antwerp, 1581–1642).
  21. Landscape with Tobias and the Archangel Raphael Returning with the Fish.
  22. Still Life of Flowers in a Vase in the style of Osias Beert the Elder (Antwerp, c. 1580–1624).
  23. Extensive Landscape.
  24. Portrait miniature of Jan van Eyck (Maaseik, before c. 1395–Bruges, 1441).
  25. Portrait miniature of Lucas van Leyden (Leiden, 1494–1533).
  26. Double Portrait of Peter Linder and an Unidentified Artist. This is likely a self-portrait of the artist with his patron indicating a perspective scheme for the painting. The double portrait is similar to a double portrait of Muzio Oddi and Peter Linder by Daniele Crespi.
  27. Statue of Apollo.
  28. Statue of Pan (?).
  29. Armillary sphere (German, 16th century).
  30. Ebony and gilt table clock (probably Augsburg, 16th century).
  31. Pair of compasses.
  32. Gunner’s level, possibly by Ulrich Schniep (Wiesensteig, active from 1545-d. 1588).
  33. Statue of Minerva.
  34. Statue of Amor (?).
  35. Bookcase including a book by Euclid.
  36. Musical instruments. Along with astronomy, geometry and arithmetic, music was part of the quadrivium, which combined with the trivium of logic, rhetoric and grammar made up the seven liberal arts.
  37. Bust of Julius Caesar (?).
  38. Statue of Adam (?).
  39. Fountain with putto playing the bagpipes. This fountain bears a resemblance to the Singing Fountain in front of the Belvedere in Prague, where Kepler and Tycho Brahe carried out observations. The fountain could also represent hydraulics as part of mathematics.
  40. Obelisk. While this is an unlikely architectural feature, the obelisk had connections with astronomical measurement in the seventeenth century, being associated particularly with solar observation.
  41. Bust of Hercules (?).
  42. Statue of Eve (?).
  43. Perpetuum mobile by Cornelis Drebbel (Alkmaar, 1572–London, 1633). Powered by changes in air-pressure, this device (only barely visible) became well-known around 1612 and was a device of fascination to Flemish artists including Rubens.
  44. Bust of Nero.
  45. Hercules and a Centaur by Giambologna (Jean Boulogne; Douai, 1529–Florence, 1608).
  46. Bust of Septimius Severus (?).
  47. Sculpture of Cybele (?) and a lion.
  48. Bull by Giambologna (Jean Boulogne; Douai, 1529–Florence, 1608).
  49. Statue of Bacchus.
  50. Statue of Ceres.
  51. Triangulation instrument for military surveying.
  52. Ebony and gilt German clock, c. 1600.
  53. Beam compass, used to describe long-radius circles.
  54. Concave (‘burning’) mirror viewed from the back. This mirror is also found in a double portrait of Muzio Oddi and Peter Linder painted by Daniele Crespi.
  55. The bearded male figure is probably intended as an allegorical representation of Disegno (drawing or design), but could also be a portrait. It is possible that this is a likeness of German astronomer Johannes Kepler (1571–1630).
  56. The female allegorical figure in classical dress with palette and brushes, maulstick, mallet and a book appears to represent Painting, Sculpture and possibly Architecture. The laurel wreath and sun pendant indicate that she also represents Virtue. She appears to be resting on the male figure, suggesting the interpretation ‘The Arts and Virtue rest on Design’, where Design encompasses both mathematics and astronomy.