From this period come "The Allegory of Faith" (c. 1670; Metropolitan Museum of Art, New York) and "The Love Letter" (c. 1670; Rijksmuseum, Amsterdam). Originally, Vermeer's works were largely overlooked by art historians for two centuries after his death. A select number of connoisseurs in the Netherlands did appreciate his work, yet even so, many of his works were attributed to better-known artists such as Metsu or Mieris. The Delft master's modern rediscovery began about 1860, when German museum director Gustav Waagen saw "The Art of Painting" in the Czernin gallery in Vienna and recognized the work as a Vermeer, though it was attributed to Pieter de Hooch at that time. Research by Théophile Thoré-Bürger culminated in the publication of his catalogue raisonné of Vermeer's works in the "Gazette des Beaux-Arts" in 1866. Thoré-Bürger's catalogue drew international attention to Vermeer and listed more than 70 works by him, including many that he regarded as uncertain. The accepted number of Vermeer's paintings today is 34. Upon the rediscovery of Vermeer's work, several prominent Dutch artists modelled their style on his work, including Simon Duiker. Other artists who were inspired by Vermeer include Danish painter Wilhelm Hammershoi and American Thomas Wilmer Dewing. In the 20th century, Vermeer's admirers included Salvador Dalí, who painted his own version of "The Lacemaker" (on commission from collector Robert Lehman) and pitted large copies of the original against a rhinoceros in some surrealist experiments. Dali also immortalized the Dutch Master in "The Ghost of Vermeer of Delft Which Can Be Used As a Table", 1934. Han van Meegeren was a 20th-century Dutch painter who worked in the classical tradition. He became a master forger, motivated by a blend of aesthetic and financial reasons, creating and selling many new "Vermeers" before turning himself in for forgery to avoid being charged with capital treason for collaboration with the Nazis, specifically, in selling what had been believed to be original artwork to the Nazis. On the evening of 23 September 1971, a 21-year-old hotel waiter, Mario Pierre Roymans, stole Vermeer's "Love Letter" from the Fine Arts Palace in Brussels where it was on loan from the Rijksmuseum as a part of the Rembrandt and his Age exhibition.