[6] In 1663 Vermeer had been visited by Balthasar de Monconys, but had no painting to show, so it was possibly done "in order to have an outstanding specimen of his art in his studio.

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.

A number of the items, a plaster mask, perhaps representing the debate on paragone,[10] 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.

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.

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 double-headed eagle, symbol of the Habsburg Holy Roman Empire, which possibly adorns the central golden chandelier, may represent the former rulers of the Low Countries.

On 24 February 1676, his widow Catharina bequeathed it to her mother, Maria Thins, in an attempt to avoid the sale of the painting to satisfy creditors.

[25]: 338–339  The executor of Vermeer's estate, the famous Delft microscopist Antonie van Leeuwenhoek, determined that the transferral of the work to the late painter's mother-in-law was illegal and, according to John Michael Montias, at least a curious transaction.

[32] It was finally acquired by Adolf Hitler for the collection of the Linzer Museum at a price of 1.82 million Reichsmark through his agent, Hans Posse on 20 November 1940.

[28] The painting was rescued from a salt mine near Altaussee at the end of World War II in 1945, where it was preserved from Allied bombing raids, with other works of art.

[33] The Americans presented the painting to the Austrian Government in late 1945 since the Czernin family were deemed to have sold it voluntarily, without undue force from Hitler.

[34] The Czernin family made several attempts to claim restitution, each time being rejected,[28] although this played a role in securing an official certification of Hitler's death in 1956.