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The folds of this jacket are handled so differently from picture to picture that it appears to be made of various kinds of fabric, although a side-by-side comparison of the shapes and the distribution of the spots on the fur trim of three paintings () assures us that it is one and the same article.

The fact that the painter would have so willfully distorted the garment's folds but so carefully attended to the positions and shapes of the spots, which perhaps even Vermeer's wife would never have noticed, is somewhat perplexing. Gabriel Metsu (1629–1667) painted them many times, sometimes green or blue, occasionally yellow, but most often red.

In three works it can be considered a sort of optical focal point, and so must have responded to important aesthetic requisites, although it is not out of the question that it had a sentimental significance for the artist.

Historians of costume tell us that the spotted fur trim of Vermeer's jacks was probably not precious ermine but cat, squirrel or mouse decorated with faux spots.

In fact, even in the inventories of the wealthiest women, ermine is never mentioned.

After submitting a masterpiece, a journeymen could be accepted as a master himself, open his own studio, and take on students.

Many, however, continued to work in the shops of other artists.

Van Hoogstraten, made this point about ] makes them withdraw, and I therefore desire that which is to appear in the foreground, be painted roughly and briskly, and that which is to recede be painted the more neatly and purely the further back it lies.

Neither one color nor another will make your work seem to advance or recede, but the perceptibility or imperceptibility [ "Interestingly Van, Hoogstraten did not apply this proposition, which he advances with great emphasis, to his own paintings in the period which were smoothly executed, in both foreground and background."by Barry Tsirelson: The so-called "Kunstkamer" painting can be cautiously described as depictions of other paintings, collections of antiquities, sculptures, curiosities and other works of art, or paintings within a single painting.

Quite often Kunstkamer paintings present images of existing paintings by popular contemporary artists, such as Rubens (1577–1640), David Teniers (1610–1690), Anthony van Dyck (1599–1641) etc.

The genre of Kunstkamer painting was developed in the first decade of the seventeenth century in Antwerp and within the following decade emerged into a specialty of Frans Francken the Younger (1587–1642), Jan Brueghel (1568–1625), Willem van Haecht (1593–1637) etc.

When the master-painter and guild were satisfied with an apprentice's progress, usually after two to four years, he became a journeyman.

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