Journal articles on the topic '1640-1652'

La mayor crisis que tuvo España en el Siglo XVII fue la llamada Guerra de Cataluña, que se produjo desde 1640 a 1652. Los religiosos que vivían en el territorio catalán quedaron separados del resto de su Provincia religiosa, que era la Provincia de la Corona de Aragón. Los agustinos, como otras Órdenes, pidieron al prior general la creación de una Provincia independiente, siguiendo el ejemplo de la separación de Cataluña del resto de España. En varios capítulos provinciales privados defendieron esa independencia y entre los agustinos catalanes hubo algunos que escribieron textos importantes a favor de ella, como fue el caso de fr. Gaspar Sala y alguno más. También hubo otros agustinos que estuvieron a favor de la unión con España e incluso huyeron a otros lugares durante la guerra. Destacan entre ellos fr. Andrés Júdice y fr. Gabriel Rius, que escribió a favor de la unión. Terminado el conflicto, los agustinos catalanes se reintegraron en la Provincia aragonesa con normalidad y olvidaron los hechos ocurridos.

Resumen: Durante la guerra de Cataluña (1640-1652) a la amenaza del corso berberisco se añade la amenaza de una invasión francocatalana al ahora expuesto Reino de Valencia. Contando con una estructura defensiva inadecuada, con Peñíscola como única fortificacion moderna, se elaborarán planes de refuerzo de las fortificaciones existentes, la mayor parte de ellas de tipo medieval. Este plan se enmarca en el momento en el que las operaciones militares se están llevando a cabo en el frente occidental, desde y contra el Reino de Aragón, y consistirá en el refuerzo de las mencionadas estructuras preexistentes, terraplenando y recuperando el foso y empleando como mano de obra a los propios habitantes de la ciudad. Como tantos otros planes, en su mayor parte no se llevarán a cabo, pero revelan el interés de las ciudades y de la monarquía por su protección. Abstract: During the War of Catalonia (1640-1652) to the threat of the piracy was added the threat of a Franco-Catalan invasion of the now exposed Kingdom of Valencia. With an inadequate defensive structure, with Peñíscola as the only modern fortification, plans will be drawn up to reinforce the existing fortifications, most of them medieval. This plan is framed at a time when military operations are being carried out on the western front, from and against the Kingdom of Aragon, and will consist of reinforcing the aforementioned pre-existing structures, terracing and recovering the moat and using as workforce to the inhabitants of the city. Like so many other plans, for the most part they will not be carried out, but they reveal the interest of the cities and the monarchy for their protection.

On 21 October 1639 and 29 May 1652 the English Channel off the Downs and Dover was the scene of two highly significant events. The first of these was the crushing defeat inflicted on a Spanish armada by a Dutch fleet under the command of Maerten Harpertszoon Tromp while an English squadron commanded by Sir John Pennington watched from a distance and did nothing. On the second of the two dates Tromp and the English admiral Robert Blake clashed in the armed encounter off Dover which sparked off the first Anglo-Dutch War.

The study is devoted to the first publicly accessible opera house Teatro San Cassiano (Venice, 1637), the establishment of which became a cardinal factor in the transformation of opera from aristocratic court entertainment to creative industry. The author considers the issues related to the history of the theater’s construction and the actions of its owners, the Venetian nobles, the Tron brothers, aimed at turning opera into a profitable business. The article reveals possible prototypes and reasons for the constructive solutions in the theater, in particular the boxes and the U-shaped audience hall. The author gives the parametric characteristics of the components of the Teatro San Cassiano building — the stage, the audience hall, and the boxes. It is noted that the tiered Theatro San Cassiano became a prototype for other theatres not only in Venice, but also in other cities of Italy and Europe. Thus, among the Venetian theaters of the 17th century, the public theaters, such as SS Giovanni e Paolo (1638), Novissimo (1640), San Moise (1640), and San Giovanni Crisostomo (1678), were inspired by San Cassiano; outside Venice there were Teatro Falcone (Genoa, 1652) and Teatro Tordinona (Rome, 1671). The article emphasizes market competition that was one of the key factors in the dynamic spread of opera and the formation of opera infrastructure in Europe. After the establishment of San Cassiano, the development of opera acquired a clearly defined vector: from elitist entertainment to creative industry.

Resum: Aquest article analitza tres casos diferents jutjats i sentenciats per la Visita del General de Catalunya durant les primeres dècades del segle XVII. L’estudi d’aquests processos ens permet acostar-nos al paper que tingué la institució fiscalitzadora a l’hora de controlar els oficials públics de la Diputació del General de Catalunya, observar-ne el desplegament arreu del territori i, finalment, sintetitzar quin era l’estat de les relacions entre la Diputació del General i la Visita del General just acabada la Guerra dels Segadors. Els dos primers casos s’emmarquen dins de la Visita duta a terme entre 1629 i 1630 i, més concretament, en la inspecció forana que els delegats designats pel consistori central de Barcelona dugueren a terme a la col·lecta (i. e. demarcació fiscal) de Vilafranca de Conflent. El tercer cas té lloc pocs anys després del final de la Guerra dels Segadors (1640-1652), essent-ne els actors principals el consistori dels diputats i oïdors de comptes del trienni de 1654-1656 i els visitadors de 1654-1655. Paraules clau: Història institucional, Generalitat de Catalunya, Visita del General, Monarquia Hispànica, segle XVII. Abstract: This article studies three different cases judged by the Visita of the Generality of Catalonia within the first decades of the 17th Century. Thanks to its study, we can comprehend the role developed by the Visita in controlling the actions of the public officers of the Generality of Catalonia during the whole century, how the Generality was established around the territories of the Principality of Catalonia and the political relations amongst the major institutions in Catalonia in the mid-1650’s. The first two cases that we want to analyse took place during the inspection conducted by the Visita of the Generality of Catalonia of 1629-1630 within the tax district of Vilafranca de Conflent, which focused their attention on its public officers. The third case, which took place after the conclusion of the Reaper’s War (1640-1652), pays particular attention to the relation between the diputats and the oïdors de comptes of the Generality of Catalonia of 1654-1656, the commanders of the institution, and the visitadors of 1654-1655. Keywords: Institutional history, Generality of Catalonia, Visita of the Generality of Catalonia, Spanish Monarchy, 17th Century.

Through the example of the representatives of the central power within a border march not fully integrated yet to monarchy in the early XVII th century, this article intends to show to which extent two political and military major crises (1640-1652 : Catalan upheaval ; 1702-1714/1720 : Spanish Succession wars and the Quadruple Alliance wars) play a fundamental part within the process, quite advanced indeed, of bringing closer to the centre and integrating that territory inside the monarchy, through the implication of a reliable local elite to the royal service finding thus in those critical moments the way to affirm their faithfulness. An opening of the Bourbons during the XVIII th century offers the opportunity to raise a few questions about the future of those local actors inside a state that is striving to create a completely faithful administration, independent of the old local oligarchies. Through the Val d'Aran's case, and reaching beyond that simple frame, are unveiled the processes that monarchy used to control and incorporate its periphery.

Se analiza parte de la producción bibliográfica de un autor representativo de la «guerra de los papeles» en Cataluña de 1640-1652, y sus problemasbibliográficos, atribuibles a las circunstancias históricas y políticas. La obra del polemista Francesc Martí i Viladamor es un ejemplo del uso del impreso como herramienta de propaganda ideológica en un momento conflictivo. El estudio se basa en el análisis bibliográfico de los impresos conservados y su comparación con otros que guardan relación, y documentos de archivo de entidades contemporáneas. Se abordan algunas cuestiones referidas a cuatro publicaciones concretas que hasta el momento no se habían resuelto en otros estudios. 1. La datación y atribución de las tres ediciones de Noticia universal de Cataluña, publicadas sin pie de imprenta casi simultáneamente: Sebastià deCormellas (diciembre de 1640), Llorenç Déu (enero-febrero de 1641) y Sebastià de Cormellas de nuevo (junio de 1641), además de la edición deLisboa de mediados de 1641. 2. La distinción de los estados de la primera emisión de Cataluña en Francia, publicación que las autoridades retiran del mercado. Un año despúes, el cambio político permite sacar de nuevo la segunda emisión. 3. El estudio de la recopilación editorial Por el Principado de Cataluña, desconocida hasta el momento, formada por la agregación de seis obraspreviamente publicadas. 4. El pie de imprenta de Manifiesto de la fidelidad catalana como obra publicada por la Imprimerie royale de París, descartando la atribución habitual al taller de Plantin.Puede quedar establecida, de forma definitiva, la bibliografía de este autor, corrigiendo los repertorios y estudios previos, donde abundan lasatribuciones y dataciones erróneas y faltan algunas obras cuya autoría no era segura.

<p>熱蘭遮堡可謂台灣荷治時期（1624-1662）最重要的建築，自1624年荷蘭東印度公司來台設立據點，至其於1662年撤離，該堡壘持續在軍事、貿易與治理方面扮演關鍵角色。由於其重要性，過去已有不少學者進行該堡壘之考證與研究，並嘗試重建其原貌，但至今尚未有學者提出完整與可信的重建成果。筆者先前〈17世紀荷治福爾摩沙的熱蘭遮堡：其建築營造歷程及與歐洲早期現代堡壘設計思維之關聯〉（黃恩宇，2021）這篇論文，已根據歷史文獻、歷史圖像、以及近代歐洲/荷蘭之堡壘設計觀念，探討荷治時期各階段熱蘭遮堡形式、構造與相關歷史事件，並指出1640年代中期乃熱蘭遮堡最具代表性的時期。當時該堡壘的三大部位皆已成形，包括上層主堡（方形平面加四個稜堡）、下層主堡（四角星型平面加四個圓堡）與外堡（含兩個稜堡與一個圓堡），堡內長官公署亦已完工，而堡內教堂則於1645年落成。 基於上述原因，本研究選擇1640年代中期的熱蘭遮堡建築樣貌作為重建之對象。論文除了檢視過去栗山俊一、曾國恩與林會承的研究成果外，亦參酌四類可供重建之依據。首先為堡壘位址的現地資訊，包括建築遺構、等高線與地籍圖。第二，須梳理17世紀荷蘭東印度公司相關的歷史文獻，其中對本研究最重要的乃1639年的〈特使庫克巴克爾致巴達維亞總督視察報告〉與公司士兵司馬爾卡頓所撰寫的《東西印度驚奇旅行記》。第三，須分析與1640年代中期熱蘭遮堡較有關的歷史圖像，包括1635至1652年間的七幅圖像。第四，熱蘭遮堡建築樣貌重建時，特別是各個稜堡之重建，須呼應當時荷蘭的堡壘設計觀念與原則，即所謂「舊荷蘭系統」。 藉由梳理與分析上述四類重要依據，1640年代中期熱蘭遮堡的上層主堡、下層主堡、外堡等三個部位即可合理重建，包括這些部位的位置、高度、平面及其他細節。依照堡壘建築重建成果，亦製出一個1:400比例尺的實體模型。更者，本文亦將熱蘭遮堡重建平面，整合至先前〈1640年代中期台灣熱蘭遮市鎮空間平面重建研究〉（黃恩宇，2019）提出的「1640年代中期熱蘭遮市鎮平面重建圖」，以呈現當時熱蘭遮市鎮的整體樣貌。本文的1640年代中期熱蘭遮堡建築樣貌重建成果，及其與同時期熱蘭遮市鎮平面之整合，將可作為未來熱蘭遮堡遺址考古發掘之參考，亦可作為後續各種相關研究之依據。</p> <p>&nbsp;</p><p>Fort Zeelandia is the most important building complex in Dutch Formosa (1624-1662). Since the Dutch East India Company (VOC) came Taiwan in 1624 to set up a trading post, until its withdraw in 1662, this fort ceaselessly played a critical role in military, trade and governance. Due to its importance, many scholars have conducted research on this fort and tried to reconstruct its original appreance; however, so far, no scholar has proposed a complete and persuasive result of reconstruction. A previous paper, &ldquo;Fort Zeelandia in the 17th-century Dutch Formosa: Its Construction Process and Relationship to the Early Modern Ideas of European Fortification Design&rdquo; (Huang, 2021), has explored the form, construction and related historical events of Fort Zeelandia in different stages of the Dutch rule period according to historical documents, historical paintings and early modern ideas of European/Dutch fortification design. This paper also points out that the mid-1640s was the most representative period of this fort. At that time, its three major parts of Fort Zeelandia had been built, including the &ldquo;upper main fort&rdquo; (as a square plan with four bastions), the &ldquo;lower main fort&rdquo; (as a four-pointed-star plan with four round towers) and the &ldquo;outer fort&rdquo; (which has two bastions and one round tower), and so had the Governor&rsquo;s House inside the fort. Moreover, the church inside the fort was completed in 1645. Based on the above-mentioned reasons, this study chose the architectural appearance of Fort Zeelandia in the mid-1640s as the object of reconstruction. In addition to reviewing the previous research results of Kuriyama Syunichi, Guo-En Ceng and Hui-Cheng Lin, four important sources for the reconstruction work were also taken into consideration in this paper. The first is about the site data of the fort, including the building remains, contour map and cadastral map. Second, some of the historical documents related to the 17th-century Dutch VOC should be referred to; the most important two doucments are the &ldquo;Nicolaes Couckebacker&rsquo;s Inspection Report to the Governor-general in Batavia&rdquo; in 1639 and Die wundersamen Reisen des Caspar Schmalkalden nach West- und Ostindien 1642&ndash;1652 written by the VOC soldier Caspar Schmalkalden. Third, the historical paintings related to the Fort Zeelandia in the mid-1640s should be analyzed, including seven paintings between 1635 and 1652. Fourth, the reconstruction of the architectural appearance of Fort Zeelandia, especially the reconstruction of its each bastion, should correspond with the idea and principle of Dutch fortress design at that time, i.e. the so-called &ldquo;Old-Netherlands System&rdquo;. By means of the clarification and analysis of the above four important sources for the reconstruction work, the three major parts of Fort Zeelandia in the mid-1640s, i.e. the upper main fort, the lower main fort and the outer fort, were reasonably reconstructed, including their location, heights, plans and other details. In accordance with the reconstruction result, a physical model in a scale of 1:400 was made. Furthermore, this paper also combined the reconstructed plan of Fort Zeelandia with the plan of Zeelandia City also in the mid-1640s which was reconstructed in a previous paper, &ldquo;Reconstruction of the Ground Plan of Zeelandia City in Taiwan in the Mid-1640s&rdquo; (Huang, 2019), so that a whole picture of Zeelandia City at that time can be presented. The reconstruction result of the architectural appearance of Fort Zeelandia, together with its plan combination with the that of the city, can be used as a reference for the archaeological excavation on the site of Fort Zeelandia and as a basis for the follow-up research in the future.</p> <p>&nbsp;</p>

El texto aborda la evolución del análisis historiográfico que se ha llevado a cabo sobre la Cataluña moderna entre finales del siglo XVI y principios del XVIII. Aunque la frontera moderna de Cataluña puede ser múltiple, nos centramos esencialmente en aquella que va desde el Valle de Arán hasta el Mediterráneo. El texto abre con una primera reflexión sobre el camino hacia el cambio de modelo, luego evoca los efectos de las guerras con Francia, con algunos ejemplos concretos, como el de Cerdaña, y, por último, expone la realidad percibida y llevada a cabo con la nueva “fortificación” de la frontera catalana a finales del siglo XVII, cuando el control de Francia se hace evidente. Palabras clave: Frontera, fronterización, fortificaciónTopónimos: Francia, España, Cataluña,Período: época moderna ABSTRACTThe text addresses the evolution of the historiographical analysis that of modern Catalonia between the end of the 16th and the beginning of the 18th century. Although the modern border of Catalonia may be multiple, the focus will essentially be upon the border that runs from the Arán Valley to the Mediterranean. The text opens with an initial reflection on the path towards a change of model, before evoking the effects of the wars with France, with some specific examples, such as that of Cerdanya, and finally presenting the reality perceived and manifested with the new “fortification” of the Catalan border at the end of the 17th century, when French control became evident. Keywords: Border, bordering, fortificationPlace names: France, Spain, CataloniaPeriod: modern era REFERENCIASAyats, A., Louis XIV et les Pyrénées catalanes de 1659 à 1681. Frontière politique et frontières militaires, Trabucaire, Canet, 2002.Bély, L., “La representación de la frontera en las diplomacias durante la Época Moderna”, Manuscrits, 26, (2008), pp. 35-51.— “Westphalie, Pyrénées, Utrecht: trois traités pour redessiner l'Europe”, en O. 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AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jaspersdr. in 1613 and was admitted to the guild in 1614. He probably returned to Rotterdam in 1614 and spent the rest of his life there. After his first wife's death in 1622 he married again in 1623, this time to Lijsbeth Cornelisdr., the widow of Lowijs Porcellis. Many archive records indicate that Cool was a very prosperous man. After the death of his second wife in 1652. he bought himself a place in the Rotterdam almshouse; he also pledged to paint a group portrait of the governors. He died in 1660. An important starting point in reconstructing the artist's oeuvre is the portrait of the governors of 1653 (cat.no. 28), the authorship of which is substantiated by archive records. However, the portrait of Piet Hein, painted in 1629 (cat.no. I, 1st version), attributed on the basis of the inscription on Willem Hondius' print, is not an authentic Cool but probably an old copy after a portrait which he had painted a few years earlier. A systematic investigation of Rotterdam portraits from the period between 1620 and 1660 has yielded a closely related group of portraits which may be regarded as the work of one man and which include the 1653 governors piece. Combining this information with additional data and further indications has facilitated the reconstruction of Jan Daemen Cool's oeuvre. Pride of place in that oeuvre is occupied by a group of four family portraits painted between 1631 and 1637 and now in the museums at Lille (cat.no. 4), Edinburgh (cat.no. 6), Rotterdam (cat.no. 16) and Brussels (cat.no. 19). Hitherto these portraits have usually been assigned to Jacob Gerritsz. Cuyp. They are all situated in a landscape and represent an important step in the development of this type of family group in Dutch portraiture. A series of portraits of individual sitters painted be-for 1640, including companion pieces, some them identifiable a people who lived in Rotterdam, arc entirely consistent in style and execution with the aforementioned g group portraits. Elements in the portrait of Johan van Yck with his wife and son, painted in 1632 (cat.no. 5), correspond very closely with these works, but there are also discrepancies which suggest cooperation with another painter or later overpaints. A series of individual portraits dating to 1640 - 1654 link the first group of paintings and the late governors piece, the composition of which is quite exceptional in the entire production of such paintings in 17th-century Holland. Here, as in his early family groups, the artist shows himself to be quite an adroit arranger of f gures. Although this painting and two others of 1654 clearly show that he continued to paint after enterning the almshouse, ture is no extant work from the last years of his life. Along the Rotterdam portraits of the rest ched period are a few - likewise unsigned - family groups which are strongly influenced by Cool but are obviously the work of a less proficient hand (figs. 5 and 6). Comparison with a signed portrait of 1649 (fig. 7) enables them to be assigned to the painter Isaack Adamsz. de Colonia (ca. 1611-1663), presumably a pupil of Cool's. Although the work of Jan Daemen Cool bears a resemblance to that of such artists as Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn, his oeuvre has a distinctive character that is most in evidence in his group portraits. There are obvious correspondences with painters such as Jacob Gerritz. Cuyp of Dordrecht, to whom various works by Cool were hitherto attributed, and Willem Willemsz. van Vliet of Delft - artists who likewise developed their own characteristic styles.

AbstractPhilips Wouwerman(s) was undoubtedly the most accomplished and successful Dutch painter of equestrian scenes in the 17th century. Even so, neither a critical study of his work nor a documented biography has been published. The present essay not only presents the results of archive research but also outlines his artistic development. Besides the seven dated pictures by the artist known by Hofstede de Groot, several others have been discovered. Wouwerman was born in Haarlem, the eldest son of the painter Pouwels Joosten and his fourth wife, Susanna van den Bogert. Two other sons, Pieter and Johannes Wouwerman, were also to become painters. Wouwerman's grandfather originally came from Brussels. Philips probably received his first painting lessons from his father, none of whose work has been identified however, making it impossible to determine the extent of his influence on the son's work. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals. He is subsequently reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker. In Hamburg he married Annetje Pietersz van Broeckhof. On 4 September 1640 Wouwerman became a member of the Haarlem painters' guild, in which he held the office of vinder in 1646. In the following years his presence in Haarlem is mentioned repeatedly. In view of the many southern elements in his landscapes it has frequently been suggested that Wouwerman travelled to France or Italy. However, there is no documentary evidence of his having left Haarlem for any length of time. Wouwerman died on 19 May 1668 and was buried on 23 May 1668 in the Nieuwe Kerk in Haarlem. He evidently attained a certain degree of prosperity, going by the relatively large sums of money each of his seven children inherited on his widow's death in 1670 and by the various houses he owned. No confirmation can be found of Arnold Houbraken's often quoted remark that Wouwerman's daughter Ludovica brought a dowry of 20,000 guilders with her in 1672 when she married the painter Hendrik de Fromantiou (1633/34 - after 1694). Wouwerman's oeuvre consists mainly of small cabinet pieces with horses, such as battle and hunting scenes, army camps, smithies and interiors of stables. He also painted sensitively executed silvery-grey landscapes, genre pieces and a few original representations of religious and mythological scenes. Wouwerman was also exceptionally prolific. Although he only lived to the age of 48, more than a thousand paintings bear his name. Even when one bears in mind that a number of these paintings should actually be attributed to his brothers Pieter and Jan, Philips left an extraordinarily large oeuvre. Only a small number of drawings by his hand are known. His pupils include Nicolaes Ficke, Jacob Warnars, Emanuel Murant and his brothers Pieter (1623-1682) and Jan Wouwerman (1629-1666). He had many followers and his paintings were much sought after in the i8th and early 19th centuries, especially in France. Important collections created during that period, including those which form the nuclei of the museums in St Petersburg, Dresden and The Hague, all contain a large number of his works. Establishing a chronology with respect to Philips Wouwerman's work is extremely problematic. His extensive oeuvre notwithstanding, only a comparatively small number of paintings are dated. The style of the signature enables us to date pictures only within wide margins: the monogram composed of P, H, and W was only used before 1646; thenceforth he used a monogram composed of PHILS and W. Wouwerman's earliest dated work, of 1639 (sale London, Christie's, October 10, 1972), is of minor quality. However, during the 1640s his talents improved rapidly. During that period he was strongly influenced by the Haarlem painter Pieter van Laer (1599 - after 1642) with respect to both style and subject matter. This tallies with Houbraken's remark that Wouwerman laid his hands on sketches and studies by Van Laer after that artist's death. Van Laer's influence is evident in Attack on a Coach, dated 1644, in the collection of the Prince of Liechtenstein, Vaduz. Several figures and details are quotations from works by Van Laer. Most of Wouwerman's compositions of the mid-1640os are dominated by a diagonally placed hill or dune covering most of the horizon, a tree - often dead - as a repoussoir and a few rather large figures, usually with horses. Landscape with Peasants Merrymaking in front of a Cottage in the City Art Gallery, Manchester, Battle Scene in the National Gallery, London and Landscape with a Resting Horseman in the Museum der Bildcnden Künste, Leipzig, all dated 1646, are proof that Wouwerman gradually developed his own style; nonetheless, Van Laer continued to be an important source of inspiration. As demonstrated by the four known dated paintings of 1649, the artist had replaced his sombre palette for a more colourful one by that time, and had also adopted a predominantly more horizontal scheme for his compositions. During that same period Wouwerman' pictures came to reflect a growing interest in landscape, and in the first half of the 1650s he produced a number of paintings which bear witness to his mastery of the landscape idiom. In a Landscape with Horsemen, of 1652, in a private British collection, painted in silvery tones, the figures and horses are reduced to a fairly insignificant staffage. Genre elements continued to play an important role in most of his paintings, though. One of his most successful works of that period is the Festive Peasants before a Panorama, dated 1653, in the Minneapolis Institute of Arts. Perhaps nowhere else in his oeuvre did the artist succeed in producing such a happy synthesis of genre and landscape elements. In the second half of the 1650s Wouwerman painted many of the fanciful hunting scenes - often with a vaguely Italian setting and brighter local colours - which were particularly sought after in the 18th and early 19th centuries. Only a few dated works from the last decade of his life have been preserved, but they do show a tendency towards more sombre colours and suggest a slight decline in his artistic skills. Van Laer's stylistic influence on Wouwerman had almost disappeared by then, although it continued to play a major role in terms of subject matter. After the middle of the 19th century Wouwerman's popularity waned, but more recently his work has met with increasing acclaim.