 Instead, according to Liedtke, the painting is best compared to contemporary Dutch paintings illustrating abstract concepts, including Adriaen Hanneman's "Allegory of the Peace" (1664; still in situ at the Eerste Kamer in the Binnenhof), a histrionic picture showing how reticent Vermeer was in this work; and Karel Dujardin's "Allegory of the Immortal Fame of Art Vanquishing Time and Envy" (1675; Historisches Museum, Bamberg); Gabriel Metsu's "The Triumph of Justice" (late 1650s; Mauritshuis, The Hague); Adriaen van de Velde's "The Annunciation" (1667; Rijksmuseum, Amsterdam)as well as works by Van Honthorst and early works of De Lairesse.Vermeer's imaginative use of symbolism in the painting indicates to Wheelock that the painter was not given specific instructions on the allegory but chose the various items himself.The original owner is unknown but may have been a Catholic in Delft, possibly the Jesuits in the city.