Dated from the 1660’s and almost always signed with the monogram that also appears in this painting, de Man’s interiors depict the Old and New Churches of Delft and enhance the flight of columns and the reflections of light on the white walls, in contrast with the austere gray of the funeral monuments and the stone floor. His compositions often propose a central motif from which two opposing series of architectural elements in perspective run off at an angle. It is precisely this, more than the faithful representation of the building itself, that is the true motif of the painting. So too here, where elements from both churches in Delft coexist, making it difficult to identify the place portrayed.
