Bernard and St. Benedict, are all fairly representative of his style. There is a Crucifixion in the Hermitage Museum of Saint Petersburg, and two Triumphs of Silenus in the gallery of Vienna. Other pieces of varying importance are in the galleries of Rotterdam, Munich, Cassel, Brunswick, Karlsruhe, Mainz, Copenhagen, Strasbourg and Rennes. Parrots In his depiction of Saint Luke painting the Virgin, which Heemskerck painted twice for two painter's guilds, there is some confusion in the literature about a parrot. In both paintings he painted a parrot, but the parrot in a cage has been sawn off the first painting and is no longer visible. Death In Amsterdam he made a will, which has been preserved. It shows that he had lived long enough and prosperously enough to make a fortune. At his death, he left money and land in trust to the orphanage of Haarlem, with interest to be paid yearly to any couple who should be willing to perform the marriage ceremony on the slab of his tomb in the cathedral of Haarlem. It was a superstition in Catholic Holland that a marriage so celebrated would secure the peace of the dead within the tomb. Reputation Heemskerck was widely respected in his own lifetime and was a strong influence on the painters of Haarlem in particular. He is known (along with his teacher Jan van Scorel) for his introduction of Italian art to the Northern Netherlands, especially for his series on the wonders of the world, that were subsequently spread as prints. Karel van Mander devoted six pages to his biography in his Schilder-boeck. Public collections Courtauld Institute of Art Museum Boijmans Van Beuningen, Rotterdam Museum of New Zealand Te Papa Tongarewa National Gallery, London Rijksmuseum Amsterdam University of Michigan Museum of Art Museo Municipal de Bellas Artes Juan B. Castagnino, Rosario References Sources Includes an English translation of van Mander's biography of Heemskerck. Further reading Tatjana Bartsch, Maarten van Heemskerck. Römische Studien zwischen Sachlichkeit und Imagination. (München: Hirmer 2019) (Römische Studien der Bibliotheca Hertziana Bd. 44). Arthur J. DiFuria, Maarten van Heemskerck's Rome: Antiquity, Memory, and the Cult of Ruins. (Leiden: Brill 2019). Marco Folin - Monica Preti, Les villes détruites de Maarten van Heemskerck. Images de ruines et conflits religieux dans les Pays-Bas au XVIe siècle, (Paris: Institut national d'histoire de l'art, 2015). Tatjana Bartsch - Peter Seiler (ed.), Rom zeichnen. Maarten van Heemskerck 1532–1536/37. (Berlin: