Note to the reader

This Appendix list the references to Samuel van Hoogstraten in Arnold Houbraken's De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols, Amsterdam 1718-1721 and includes one related remark from Houbraken's Philaléthes brieven, verhandelende verscheide schriftuurlyke, natuur- en outheidkundige nutte aanmerkingen, Amsterdam n.d. [1712]. Readers needing Houbraken's Dutch can consult the second, 1753 edition of De groote schouburgh online. Posted by the digitale bibliotheek voor de Nederlandse letteren (www.dbnl.nl) in 2009, the fully indexed site features both a facsimile and a modern transcription (URL: http://www.dbnl.org/tekst/houb005groo01_01/. Accessed March 1, 2013).

I: 9-10 (EXCER PT FROM THE INTRO DUCTION)

It was a strange notion of my master Samuel van Hoogstraten to dedicate his tragedy Dieryk and Dorothé, or the Salvation of Dordrecht to Envy with these words: ‘But because, to follow common practice, I seem required to choose some patron, well then, I offer these verses to the infuriated and fierce teeth of famished Envy.’ [It is] truly a daring undertaking to taunt envy and challenge it. We would sooner emulate his unsurpassed art lessons than such boldness. For envy strikes soon enough and unprovoked, as do meddlers, without their opinion being asked for.

I:15 (EXCER PT FROM THE INTRO DUCTION)

At the commencement of this work we had neither thought nor intended to bring female artists onto the stage, or to insert glass painters in my book next to others, but we decided to do so for various reasons.

I. Because we saw that we were preceded in this by Van Mander, who compiled a whole list of ingenious women, and who calls glass painters and painters in egg, glue and water paints, painters as well. As does Samuel van Hoogstraten, seeing that the same [works in lesser media] are also made with the help or use of the brush.

I:90 (FOO TNOTE TO A THEORE TICAL DIGRESSION ON LE TTING THE WORK OF ART SPEAK FOR ITSELF)

* Samuel van Hoogstraten, on page 332 of his ninth book on the Art of Painting, is of one mind with Van Mander about this [the lines drawn by Apelles and Protogenes].