Hans de Jode

In the latter city where he likely lived the rest of his life, he was part of the circle of Dutch and Flemish artists with contacts to the Imperial court.

In his petition Vignois recounts the events that had led to his arrest: on the evening of 25 August 1647 he and his fellow painters Hans de Jode, Carel Codde and Bartholomeus Appelman were strolling through The Hague when two men started following and harassing them.

The influence of the painterly and dramatic style of the Rome-based artist Salvator Rosa on de Jode's work seems to support such visit to Rome.

[5] De Jode left Italy for Vienna no later than 1659, the year in which he painted the View of the Tip of the Seraglio with Topkapi Palace (Kunsthistorisches Museum).

[6] The only lifetime record on de Jode was made on the occasion of his wedding with Elisabeth Gaillet on 8 January 1662 in the Schottenkirche (Scottish church) in Vienna.

Witnesses at the wedding were two Flemish artists from Antwerp, the painter Jan de Herdt and the printmaker Franciscus van der Steen.

The Bamboccianti painters with their representations of low-life scenes of every-day life amidst landscapes informed the choice of some of his paintings.

[6] Two of de Jode's signed landscapes now in the Castelvecchio Museum in Verona, which are dated 1657, clearly show the influence of these disparate inspirations.

[7] His View of the Tip of the Seraglio with Topkapı Palace (1659, Kunsthistorisches Museum) is regarded by some as evidence that he visited Constantinople in the 1650s.