European Painting and Sculpture

CORNELIS DE MAN
(Dutch, 1621-1706)

Interior of the New Church in Delft with theTomb of William the Silent
Oil on canvas
Gift of the Charter Collectors Group 1985.8

This imposing church interior represents a view from the outer aisle of the New Church in Delft, looking across the choir and down the nave to the distant organ. Although partially screened by columns, the tomb of William the Silent, also known as William of Orange, fills the choir. He began the Dutch fight for independence from Spain and, when assassinated in 1584, became a national martyr. Erected in 1622, almost forty years after William was assassinated in Delft, the tomb was designed by the great Dutch sculptor and architect, Hendrick de Keyser.

William the Silent was considered the father of his country. His tomb became a fitting symbol of the Dutch Republic shortly after the Treaty of Munster formally recognized the Dutch Republic as an independent nation in 1648. This interest in nationalistic symbolism increased as the Dutch became involved in three naval wars with the English during the second half of the 1600s. If this tomb proclaims the immortal fame of William, the prepared grave at the right is a reminder that all flesh eventually will turn to dust.

For a brief period, from about 1650 to 1665, Delft attracted several distinguished painters who transformed the genre of architectural painting through the exploration and manipulation of perspective. De Man's picture belongs to this great tradition, which culminated in the rare and enigmatic pictures of Jan Vermeer of Delft.