The authenticity of the portrait of the Amsterdam poet Roemer Pieterszoon Visscher (1547-1620)-depicted as an old man with a beard and distinctive hat-has been a subject of debate ever since it was printed in Jacobus Scheltema's Anna en Maria Tesselschade, de dochters van Roemer Visscher (1808).Although the portrait formed the basis for the likeness of Roemer Visscher in popular nineteenth-century depictions of the mythical Muiderkring,its accuracy was quickly put into question.In 1887, the matter resulted in a heated argument between Joseph Alberdingk Thijm (1820-1889) and Nicolaas de Roever (1850-1893) in the journal De Amsterdammer. The latter suspected that the iconic portrait was one of many historical falsifications of Jan Stolker (1724-1785) and was thereafter falsely incorporated into contemporary images that featured literary and intellectual frontrunners of the nation's Golden Age. According to De Roever,a far more likely representation of the seventeenth-century poet and his coat of arms was included on the militia piece Schutters van de compagnie van kapitein Egbert Vinck (1586).Unfortunately,the painting was lost and the composition survived only through a drawing by Jacob Colijn from almost a century later.By that time only a sketchy en profil portrait of Roemer Visscher was available. Due to a lack of conclusive evidence, the dispute eventually ended in an impasse.Although later research supported De Roever's suspicions and rejected the well-known portrait of Roemer Visscher as an accurate likeness, knowledge about the real portrait of the popular poet was still limited. However,a long lost early eighteenth-century portrait by Arnoud van Halen (1683-1732) sheds new light on the subject matter. The small oval painting was part of the so-called Panpoeticon Batavum,an eighteenth-century collection of author's portraits placed in a wooden cabinet,which features the highlights of Dutch literary and intellectual history. By presenting this portrait of Roemer Visscher,we can now,for the first time, connect the face with the words of one of the leading early modern Dutch poets.

中文翻译：

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Achter het masker van de Muiderkring：Een nieuw portret voor Roemer Visscher (1547-1620)

后者怀疑这幅标志性肖像是扬·斯托克 (Jan Stolker，1724-1785 年) 的众多历史伪造之一，此后被错误地融入了以国家黄金时代的文学和知识领跑者为特色的当代图像中。根据 De Roever 的说法，民兵作品 Schutters van de compagnie van kapitein Egbert Vinck（1586 年）中更可能包含了 17 世纪诗人及其纹章的表现。不幸的是，这幅画丢失了，只有作品幸存下来通过将近一个世纪后雅各布·科林 (Jacob Colijn) 的一幅画。到那时，只有罗默·维舍尔 (Roemer Visscher) 的粗略全貌肖像可用。由于缺乏确凿的证据，纠纷最终以僵局告终。虽然后来的研究支持了德罗弗 出于怀疑并拒绝了著名的罗默·维舍尔肖像作为准确的肖像，关于这位流行诗人的真实肖像的知识仍然有限。然而，阿诺德·范·哈伦（Arnoud van Halen，1683-1732 年）的一幅失传已久的 18 世纪早期肖像画为这一主题提供了新的线索。这幅椭圆形小画是所谓的 Panpoeticon Batavum 的一部分，这是一个 18 世纪的作者肖像收藏，放置在一个木柜中，展示了荷兰文学和思想史的亮点。通过展示 Roemer Visscher 的这幅肖像，我们现在可以第一次将这张脸与一位主要的早期现代荷兰诗人的话联系起来。Arnoud van Halen（1683-1732）的一幅失传已久的 18 世纪早期肖像为这一主题提供了新的线索。这幅椭圆形小画是所谓的 Panpoeticon Batavum 的一部分，这是一个 18 世纪的作者肖像收藏，放置在一个木柜中，展示了荷兰文学和思想史的亮点。通过展示 Roemer Visscher 的这幅肖像，我们现在可以第一次将这张脸与一位主要的早期现代荷兰诗人的话联系起来。Arnoud van Halen（1683-1732）的一幅失传已久的 18 世纪早期肖像为这一主题提供了新的线索。这幅椭圆形小画是所谓的 Panpoeticon Batavum 的一部分，这是一个 18 世纪的作者肖像收藏，放置在一个木柜中，展示了荷兰文学和思想史的亮点。通过展示 Roemer Visscher 的这幅肖像，我们现在可以第一次将这张脸与一位主要的早期现代荷兰诗人的话联系起来。