but that there is something dissimilar. We never get a really exact picture.
It is an attempt doomed to failure at the start. But these, and other con-
siderations were accompanied by equally important questions, although of
another kind. Is it necessary, is it desirable, is it justifiable to sketch the
reconstruction of the picture of such a great, unusual personality as Johannes
Vermeer has been, with our "subjective" feelings? Should not the writer
beware of adorning him with the lovely garment that the romantic mind
of man has created so gladly--sometimes all too gladly? It may seem
hard to many people if we take that robe away from him which the last
generation was accustomed to meet him in, but it is necessary if we want
to learn to know him in reality and exactly. Moreover, the figure of
Johannes Vermeer is too dignified--and above all, too simple--to bedizen
him with the tawdry trifles from our twentieth century bazaar. But the
deciding factor which made me resolve to give as objective a portrait as
possible of the artist was the trust I might put in my readers that they
would know how to read with heart and soul and complete the lightly
traced portrait in their own spirit to the highest possible perfection and
make it grow to a living figure.

The available material is not sufficient to complete the reconstruction
in every aspect. I have used it to the best of my ability, and refrained from
felling in the gaps which nevertheless remain in the picture. The art-expert
has not ventured on territories which do not belong to him and which--
as he thinks--are full of gins and traps rendering the treading there--
for think--not without danger. In those cases where I have touched on
the borders of these territories, I have stopped my review and left it to the
psychologist to work it out further if he wishes to.

Having once come to the decision of limitation, partly from outside
compulsion, and having made it a condition for myself to sketch as objec-
tive a picture as possible, then it seemed to me that nothing, not even the
smallest fraction which belongs to Vermeer's life and work and which
could enlarge or clarify our insight into the being of his personality and
artistry, ought to be suppressed or neglected. The sources from which the
details have been obtained are not always pure and limpid, not always
equally flowery, all details are not always equally important, but these
less pleasant qualities should not prevent them from being mentioned.
That is one of the disadvantages of a logical and consistent adhesion to
principles.

During the years 1914-1918 the projection drawings of Vermeer's inte-
teriors were completed. This solved only one of the problems which had

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