In a domestic interior of the period the Amsterdam panel with its life-size motifs flooded by a consistent fall of light must have created the impression of a real bouquet filling an actual niche in the wall. The sheer variety of flowers and the apparent originality of the open-arched composition (which evidently anticipates designs by Ambrosius Bosschaert the Elder [1573–1621]) suggest that Verhulst was an influential figure in the area of Delft and The Hague. Cut flowers and chipped stone intimate that all things pass away no matter how fresh or durable but the main interest of Vosmaers painting for his contemporaries would have been not symbolism but botany and more broadly the wonders of nature where God creates forms that humankind can only catalogue and imitate. Source: https://www.artikelschreiber.com/en/.