of the shirt underneath. He has short puffy breeches and orange stockings, an expensive and fashionable garment that is also found in other works of the time, as in a well-known self-portrait by Rubens. The tapestry and the chair, both repoussoirs, lead the viewer into the painting. As in The Allegory of Faith, the ceiling can be seen. Experts attribute symbols to various aspects of the painting. A number of the items, a plaster mask, perhaps representing the debate on paragone, the presence of a piece of cloth, a folio, and some leather on the table have been linked to the symbols of Liberal Arts. The representation of the marble tiled floor and the splendid golden chandelier are examples of Vermeer's craftsmanship and show his knowledge of perspective. Each object reflects or absorbs light differently, getting the most accurate rendering of material effects. The map, remarkable for the representation of light on it, shows the Seventeen Provinces of the Netherlands, flanked by 20 views of prominent Dutch cities. It was published by Claes Janszoon Visscher in 1636. This map, but without the city views on the left and right can be seen on paintings by Jacob Ochtervelt and Nicolaes Maes. Similar maps were found in the Bibliothèque Nationale in Paris and in the Swedish Skokloster. In the top left of the map two women can be seen; one bearing a cross-staff and compasses, while the other has a palette, brush, and a city view in the hand. Symbolism and allegory Vermeer had a theoretical interest for painting. The subject is presumed to be Fama, Pictura, or Clio, the Muse of History, evidenced by her wearing a laurel wreath, holding a trumpet, possibly carrying a book by Herodotus or Thucydides, which matches the description in Cesare Ripa's 16th century book on emblems and personifications entitled Iconologia. However, according to Ripa History should look back and not down as in this painting. Following Vermeer's contemporary Gerard de Lairesse, interested in French Classicism and Ripa, there is another explanation; he mentions history and poetry as the main resources of a painter. The woman in blue could be representing poetry, pointing to Plutarch who observed that "Simonides calls painting silent poetry and poetry painting that speaks", later paraphrased by the Latin poet Horace as ut pictura poesis. If so, the map is representing history. The double-headed eagle, symbol of the Habsburg Holy Roman Empire,