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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #60658 (https://www.gutenberg.org/ebooks/60658)
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-The Project Gutenberg EBook of Old Houses in Holland, by Sydney R. Jones
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Old Houses in Holland
-
-Author: Sydney R. Jones
-
-Editor: Charles Holme
-
-Illustrator: Sydney R. Jones
-
-Release Date: November 9, 2019 [EBook #60658]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK OLD HOUSES IN HOLLAND ***
-
-
-
-
-Produced by Jeroen Hellingman and the Online Distributed
-Proofreading Team at http://www.pgdp.net/ for Project
-Gutenberg (This file was produced from images generously
-made available by The Internet Archive/American Libraries.)
-
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-
-
-
-
-
-                         OLD HOUSES IN HOLLAND
-
-
-                         TEXT AND ILLUSTRATIONS
-                        BY SYDNEY R. JONES, WITH
-                       SOME ADDITIONAL PLATES IN
-                       COLOUR AFTER OTHER ARTISTS
-
-                        Edited by Charles Holme.
-
-
-                                MCMXIII
-                           "THE STUDIO" LTD.
-                        LONDON, PARIS, NEW YORK
-
-
-
-
-
-
-
-
-
-PREFATORY NOTE
-
-
-The Editor desires to express his indebtedness to the following, who
-have rendered valuable assistance in the preparation of this volume:
-Mr. A. Pit, Director of the Nederlandsch Museum voor Geschiedenis
-en Kunst, and other officials of the Rijks Museum, Amsterdam;
-Messrs. P. C. J. A. Boeles and D. Draaisma, of the Friesch Museum,
-Leeuwarden; Dr. B. van Rijswijk, Secretary of the Vereeniging
-Oud-Dordrecht; Mr. W. Polman Kruseman, Secretary of the Zeeuwsch
-Genootschap der Wetenschappen, Middelburg; and the Directors of the
-British Museum, the Victoria and Albert Museum, the National Gallery,
-and the Wallace Collection, London.
-
-
-
-
-
-
-
-
-
-ILLUSTRATIONS IN COLOUR
-
-
-After--
-
-Pieter de Hooch "Interior of a Dutch House"
-                                                            Frontispiece
-  ,,   ,,  ,,   "Interior with Woman peeling Apples"   Opposite page  16
-  ,,   ,,  ,,   "Dutch Interior"                          ,,     ,,   44
-Johannes Vermeer "The Letter"                             ,,     ,,   66
-Catherine Bisschop-Swift "The Mirror"                     ,,     ,,   80
-Sydney R. Jones "Nijmegen, Gelderland"                    ,,     ,,   98
-Baron J. A. Hendrik Leys "Seventeenth-Century Dutch
-    Interior"                                             ,,     ,,  130
-Sydney R. Jones "Hindeloopen Room at the Frisian
-    Museum, Leeuwarden"                                   ,,     ,,  140
-
-
-Enamelled Earthenware Tiles (early 18th century)
-                                                Opposite pages 136 & 138
-Delft Dishes (18th century)                        ,,     ,,   144 & 146
-
-
-
-
-
-
-
-
-
-CONTENTS.
-
-                                                                    PAGE
-
-Introduction                                                           1
-
-Illustrations:--
-
-    Breda, North Brabant                                               5
-    Monnikendam, North Holland                                         7
-    Veere, Zeeland                                                     9
-    Nijmegen, Gelderland (dated 1544)                                 11
-    Dordrecht, South Holland                                          13
-    Leiden, Rhijnland (dated 1612)                                    15
-    Haarlem, North Holland                                            17
-    Brigdamme, Zeeland                                                18
-
-
-I.--The Development of Domestic Architecture                          19
-
-Illustrations:--
-
-    Groningen (1509)                                                  21
-    Boxmeer, North Brabant                                            22
-    Gorinchem (Gorcum), South Holland                                 23
-    Breda, North Brabant                                              24
-    Middelburg, Zeeland                                               25
-    Franeker, Friesland                                               26
-    Dordrecht, South Holland                                          27
-    Dordrecht (dated 1702)                                            28
-    Haarlem, North Holland                                            29
-    Spaarwoude, North Holland                                         30
-    St. Laurens, near Middelburg, Zeeland                             31
-    Haarlem, North Holland                                            32
-    Alkmaar, North Holland (dated 1609)                               33
-    Hoorn, North Holland (dated 1612)                                 34
-    Middelburg, Zeeland                                               35
-    Hoorn, North Holland                                              36
-      ,,    ,,     ,,                                                 37
-    Woudrichem, North Brabant                                         38
-    Leiden, Rhijnland                                                 39
-    Middelburg, Zeeland                                               40
-    Nijmegen, Gelderland (dated 1606)                                 41
-    Zutphen, Gelderland                                               42
-       ,,        ,,        (dated 1547)                               43
-    Veere, Zeeland                                                    44
-    Haarlem, North Holland                                            45
-    Delft, South Holland                                              46
-    Haarlem, North Holland (dated 1637)                               47
-    Alkmaar, North Holland (dated 1673)                               48
-    Franeker, Friesland (dated 1634)                                  49
-    Corbel from Dordrecht                                             50
-    Mosaic brick and stonework from Dordrecht                         50
-    Dordrecht, South Holland (dated 1608)                             51
-    Workum, Friesland (dated 1663)                                    52
-    Arnhem, Gelderland (dated 1642)                                   53
-    Amsterdam--Rembrandt's House (dated 1606)                         54
-    Zwolle, Overijssel--The Guild Hall (dated 1571)                   55
-    Vlissingen (Flushing), Zeeland (dated 1614)                       56
-    Dordrecht, South Holland (dated 1626)                             57
-    Kampen, Overijssel (dated 1631)                                   58
-      ,,        ,,     (dated on dormers 1634, 1626, 1730, 1630
-        and 1619)                                                     59
-    Groningen--The "Goudkantoor" (dated 1635)                         60
-    Groningen (1661)                                                  61
-    Franeker, Friesland (dated 1662)                                  62
-    's Hertogenbosch, North Brabant (dated 1671)                      63
-    Iron Wall-tie from Alkmaar                                        64
-    Alkmaar, North Holland (dated 1672)                               65
-    's Gravenhage (The Hague), South Holland--"T'Goutsmits Keur
-    Huijs"                                                            66
-    Velsen, North Holland                                             67
-    Spaarwoude, North Holland                                         68
-    Zutphen, Gelderland                                               69
-    Halfweg, North Holland                                            70
-       ,,     ,,     ,,   --showing construction of farmhouse         70
-    Spaarndam, North Holland                                          71
-    Schooten, North Holland                                           72
-    The Ferry House, near Gennep, North Brabant                       73
-    Beek, Gelderland                                                  74
-    Brigdamme, Zeeland (dated 1622)                                   75
-    Beek, Gelderland                                                  76
-    Bloemendaal, North Holland                                        77
-    Broek, North Holland                                              78
-      ,,    ,,     ,,                                                 79
-    Well at Beugen, North Brabant                                     80
-    Beek, Gelderland                                                  81
-    Bridge at Zuiderwoude, North Holland (dated 1799)                 82
-
-
-II.--Exterior Features--Doors, Windows, Gables and Ornaments          83
-
-Illustrations:--
-
-    Woudrichem, North Brabant (dated 1611)                            85
-    Leeuwarden, Friesland                                             86
-    Delft, South Holland                                              87
-      ,,    ,,     ,,    (dated 1547)                                 88
-    Haarlem, North Holland (dated 1632)                               89
-    Leeuwarden, Friesland (dated 1675)                                89
-    Leiden, Rhijnland (dated 1612)                                    89
-      ,,       ,,     (dated 1615)                                    90
-    Vlissingen (Flushing), Zeeland                                    91
-    Marssum, Friesland (dated 1713)                                   92
-    Kampen, Overijssel (dated 1665)                                   93
-    Arnhem, Gelderland                                                94
-    Wooden Door, with iron fittings, from Dordrecht                   95
-      ,,    ,,   with carved lintel, from Haarlem                     95
-    Leiden, Rhijnland (dated 1655)                                    96
-    Veere, Zeeland--The "Scotch House"                                97
-    Wooden Window-frame, with iron fittings and lead glazing, from
-        Dordrecht                                                     98
-    Window Shutter from Velsen                                        98
-      ,,     ,,     ,,  Nijmegen                                      99
-      ,,     ,,     ,,  Leiden                                        99
-      ,,     ,,     ,,  Dordrecht                                     99
-      ,,     ,,     ,,  Haarlem                                      100
-      ,,     ,,     ,,  Monnikendam                                  100
-    Zwolle, Overijssel                                               101
-    Kampen, Overijssel (dated 1626)                                  102
-      ,,        ,,     (dated 1634)                                  102
-    Marssum, Friesland                                               102
-    Gorinchem (Gorcum), South Holland (dated 1566)                   103
-    Kampen, Overijssel                                               104
-    Vlissingen (Flushing), Zeeland                                   105
-    Monnikendam, North Holland                                       106
-    Haarlem, North Holland                                           106
-    Dordrecht, South Holland (dated 1523)                            107
-    Arnhem, Gelderland                                               108
-    Haarlem, North Holland                                           109
-    Leiden, Rhijnland                                                109
-    Amsterdam, North Holland                                         110
-    Wood details from Gelderland and South Holland                   111
-    Zutphen, Gelderland                                              112
-    Hoorn, North Holland                                             112
-    Franeker, Friesland (curved gables dated 1573)                   113
-    Carved stone lettering from Haarlem                              114
-      ,,    ,,   panel from Franeker                                 114
-      ,,    ,,    ,,    ,,  Zutphen (dated 1615)                     115
-      ,,    ,,    ,,    ,,  Sneek                                    115
-      ,,    ,,    ,,    ,,  Haarlem                                  115
-      ,,    ,,    ,,    ,,  Workum                                   115
-      ,,    ,,    ,,    ,,  Middelburg (house dated 1590)            116
-      ,,    ,,    ,,    ,,  Haarlem                                  116
-    Woudrichem, North Brabant                                        117
-    Brick and Stone Mosaic from Zwolle                               118
-     ,,   ,,   ,,     ,,   Nijmegen                                  118
-     ,,   ,,   ,,     ,,   Woudrichem                                118
-    Zwolle, Overijssel (dated 1609)                                  119
-    Detail of Diaper-work from Franeker                              120
-    Workum, Friesland                                                120
-    Iron Wall-ties                                                   121
-     ,,  Date-sign from St. Anna, near Nijmegen                      122
-     ,,  Wall-tie from Nijmegen                                      122
-     ,,  Weather-vane from Broek                                     122
-     ,,  Terminal from Middelburg                                    122
-    Lead Spout-heads from Zutphen                                    122
-    Oval Window with Stanchion-bar, from Leiden                      122
-    Iron Wall-tie from Beugen                                        122
-     ,,  Door-furniture from Middelburg                              123
-     ,,  Door-knocker                                                123
-     ,,  Weather-vane from Hees                                      124
-    Lead Finials from Hoorn                                          124
-
-
-III.--Interiors and Decoration                                       125
-
-Illustrations:--
-
-    Brass Candelabrum from Haarlem                                   127
-    Seventeenth-century Room from Dordrecht, South Holland           128
-            ,,           ,,   ,,  Leeuwarden, Friesland              129
-    Fireplace in the Bricklayers' Guild, Amsterdam                   130
-       ,,     from Maastricht, Limburg (dated 1510)                  131
-    Cast-iron Fireback from Leiden                                   132
-    Cast-iron Fireback from Nijmegen                                 132
-    Fireplace from Middelburg, Zeeland                               133
-    Cast-iron Fireback from Middelburg                               134
-       ,,        ,,     ,,  Jisp                                     134
-    Fireplace from The Westerwold, Groningen                         135
-    Interior of a wooden house at Marken, North Holland              136
-    Brass Chimney-crane from Leeuwarden                              136
-    Hindeloopen Room at the Frisian Museum, Leeuwarden               137
-    Carved Oak Panel from Zwolle (16th century)                      138
-    Iron Hangers, Fire-irons and Fire-standard                       139
-    Oak Panelling from Leiden                                        140
-    Hindeloopen Room at the Frisian Museum, Leeuwarden               141
-    Carved Door from Groningen (17th century)                        142
-    Iron Lock-plate (16th century)                                   143
-     ,,      ,,     (dated 1587)                                     143
-     ,,  Lock and Bolt                                               143
-     ,,  Door-handle and Escutcheon                                  143
-    Carved Door of Wall-cupboard, with pierced and engraved iron
-        fittings                                                     143
-    Wall-cupboard with iron lock and hinges (16th century)           144
-    Carved Table from Edam                                           145
-      ,,   Cabinet from Haarlem                                      145
-    Table from Amsterdam                                             146
-    Wrought-iron Stair-Railing from Zierikzee                        146
-    Brass Warming-pan (dated 1602)                                   147
-    Wickerwork Coffer with brass mounts (18th century)               147
-    Brass Fire-side set (18th century)                               147
-     ,,   Candlestick   ( ,,    ,,   )                               148
-     ,,   Tea-caddy     ( ,,    ,,   )                               148
-     ,,   Pastille-burner                                            148
-     ,,   Foot-warmer (dated 1733)                                   148
-     ,,   Lantern (18th century)                                     148
-    Corridor in "St. Pietershofje," Hoorn, North Holland             149
-    Tiled Fireplace from Volendam, North Holland                     150
-     ,,      ,,      ,,  Marken, North Holland                       151
-    Interior of a wooden house at Marken, North Holland              152
-
-
-
-
-
-
-
-
-
-INTRODUCTION
-
-
-It is in the old towns of Holland that the architectural expression
-of the Dutch people is to be sought. Theirs was an intimate and human
-architecture, concerned with everyday events, and it developed out of
-the civil and domestic life. Many of the towns continue to be busy
-and prosperous, and new buildings here and there crowd in upon the
-picturesque groups of houses that for centuries have clustered round
-the great churches and market-places: in others, the active days of
-commerce are over, the merchants come no more, and the streets and
-waterways are quiet. But all Dutch towns having any pretension to
-age possess, to a wonderful degree, what may be termed an old-world
-atmosphere. Much of their charm, it is true, is due to the rivers and
-canals that encircle and intersect them in all directions, imparting
-a sense of quaintness and novelty; but it is the extraordinary number
-of old buildings still existing, unchanged in form since the days
-when they were erected and mellowed by ages of sun and rain, that ever
-appeal to the eye and imagination. The fantastic gables and red roofs,
-above which rise slender spires and belfries surmounted by leaden
-fl�ches and wrought vanes, together with the waterways and canal life,
-the windmills, and changing skies, are as characteristic now as when
-the masters of the great Dutch School of painting were living and
-working. Such scenes were to them inspiration; to picture the intimate
-events associated was their delight. If the painters have gone--and
-with them the arquebusiers and governors and burgomasters--the gables,
-the sunlit courts, and many other familiar features remain.
-
-The peculiar geographical conditions that have always existed in
-Holland have affected in no small degree the development of the land
-and the temperament of the people. Most of the country is below sea
-level. Behind the dunes and dykes the sea threatens inundation; the
-fear of accident by flood has kept the nation watchful and in perpetual
-war with its ancient enemy. The influence of this natural check has
-been far-reaching. It has produced the system of canals, determined
-the character of the landscape, made accordant life and work, method,
-regularity and order, and brought philosophy and fortitude to the
-national mind. In the domain of building, as in other spheres, water
-has been a powerful underlying agent affecting the evolution of style,
-just as the mountains, forests and deserts of other countries have
-imparted distinction to architecture.
-
-Side by side with the external conditions imposed by Nature, conditions
-that, if accepted, might well be expected to have produced an attitude
-of extreme lack of initiative in those living amongst them, the Dutch
-have ever been an enterprising people. The same spirit that defied
-and conquered the inroads of the sea characterised their dealings
-in the domain of commerce. Trade was to them the great business of
-life. From very early times, and continuing for a long period, the
-prosperity of the Low Countries was foremost in Europe. The towns
-became centres of busy and pulsative life, the homes of virile civil
-and domestic communities. Many old buildings still existing, town
-halls, weigh houses, trade and guild halls, warehouses and merchants'
-premises, bear witness to those strenuous days. An architecture in
-close touch with the events of the times developed through, and by
-reason of the successes achieved by industry and sustained advances
-of conquest and colonization.
-
-The phase of domestic art which is reviewed in this volume was
-essentially the expression of a nation urgently concerned with the
-material, matter-of-fact side of everyday life, and bore close kindred
-to its needs, its aspirations and its achievements; it was corporeal
-rather than spiritual in aspect, reflective of the market-place, the
-fireside and the home. And while the continuous building tradition
-of certain other countries was allied to ecclesiasticism, or was a
-movement instigated by the aristocracy, in Holland it was democratic
-in general trend, an art bound up in the interests of the people and
-existing for their good and welfare. It was urban rather than rural in
-its principles. Unlike the English growth, where the native building
-art developed vigorously and lingered longest in the countryside--as
-many an old village, manor-house or farm will demonstrate--the
-equivalent vernacular Dutch development was pre-eminently of the
-towns, and trade was the influence that gave it life. In a country
-notable for its manufactures and commercial activities men congregated
-together for mutual gain. A sturdy race they were, unimpressionable,
-but kindly and charitable, and their comfortable homes were in keeping
-with their temperament.
-
-To better appreciate the course of architectural development,
-it will be well to briefly cite the main circumstances connected
-with these towns and with the country's history. Records of Dutch
-towns prior to the twelfth century are scanty, although at that time
-orderly government had begun to develop. Then followed the municipal
-charters, many dating from the thirteenth century. These charters
-were granted by the feudal lords to the townspeople and secured to
-them certain rights and protection in return for taxation and levies;
-justice was administered by various governing bodies and magistrates,
-and the municipal finances were properly supervised. There thus
-grew up a strong communal movement which was steadily developed
-and strengthened. Then it was that the cities began their era
-of great prosperity and each became practically self-governing
-and semi-independent. Revenue was derived from the river commerce
-and markets, over-sea trading, and from the industries which were
-fostered. So powerful did they become, so energetic was their municipal
-life, so well organised their trade, that these cities came to be
-reckoned, together with the neighbouring towns of Flanders, the most
-prosperous and wealthy in the world. As time went on the chief cities
-became members of the Hanseatic League, which influential association
-embraced trading colonies in places as far apart as London, Visby on
-the island of Gotland, Novgorod the Great in Russia, Hamburg, Amsterdam
-and Kampen on the Zuider Zee. Through the impetus of this remarkable
-movement, the long-continued commercial relations between England and
-Holland were established. About the middle of the thirteenth century
-Hanse merchants settled in London, obtained privileges from Henry III.,
-founded the Steelyard, and there developed a flourishing trade. The
-intercourse between the two countries was very considerable, and it
-was of the utmost importance to the Netherlands that nothing should
-happen to weaken their good relations with England. For England
-was then the principal wool-producing country of Europe, the only
-place, in fact, able to supply it in large quantities, and the men
-of the Low Countries, famed above all for their skill as weavers
-and depending upon the woollen industry for their greatest wealth,
-were eager buyers of English wool in the raw state. In the fifteenth
-century, through dissension and war, the cities of Holland were ejected
-from the Hanseatic League; but the Dutch, with their fine ships and
-business acumen, continued to prosper and carried their conquests by
-trade into far-distant lands.
-
-It was while at the height of their material success that the provinces
-of Holland came under the dominion of the house of Burgundy. The
-peculiar independent constitution of the cities promoted rivalry
-between them, rather than a common national interest which would
-have been best for the preservation of their just rights. They were
-heavily taxed and oppressed and were continually at variance with the
-ruling power, fighting for the redress of their grievances. By the
-first half of the sixteenth century the kingdom of the Netherlands
-had passed to the Emperor Charles V., King of Spain, and Philip,
-his son, inherited his father's throne. He thereby became monarch
-of vast territories. Philip determined to utterly subjugate the
-provinces and carried out a policy of relentless persecution. The
-people rebelled, brutal punishment followed, and they became victims of
-the worst excesses of the Inquisition. Deeds of cruelty, tyranny and
-murder, almost unparalleled in history, were enacted. In those dark
-days arose that great champion of the people, "William the Silent,"
-Prince of Orange, the "father of his fatherland." Intent on defending
-the liberties of the nation, he gathered around him a company of
-gallant spirits, and, principally at his own expense, commenced what
-at first appeared to be a hopeless struggle. But early victories,
-hardly won, roused a cowed populace to action. The nation embarked
-upon the memorable Eighty Years' War, which resulted in the Spanish
-yoke being overthrown and the founding of the Dutch Republic. William
-was basely assassinated at Delft in 1584, and Maurice, his second
-son, succeeded him as Stadtholder. He was ambitious, shrewd, and
-skilled in the arts of war, and under his rule, and that of his
-brother Frederick Henry, who succeeded him in 1625, the fortunes of
-the Dutch gradually rose high. Through times of trial and suffering,
-hardships endured and conquests won, they emerged valorous and strong,
-a nation of heroes. Triumphs of arms by land and sea, successes of
-the merchant fleets and navigators who explored remote parts of the
-world, the founding of colonies, and ingenuity on the part of the
-workers in home manufactures, characterised a notable period of great
-prosperity; the Dutch became supreme in trade, chief rulers of the
-sea, and accumulated vast wealth. As the seventeenth century advanced
-commercial welfare continued to increase. Admirals Tromp and De Ruyter
-swept the seas, gaining brilliant naval victories; in 1667 the safety
-of London itself was threatened by the appearance of the Dutch fleet
-in the Thames. But the mastery of the sea eventually passed to England
-and from that time the fortunes of the Dutch declined. The election
-of William III.--who had married Princess Mary, daughter of the Duke
-of York--to the English throne in 1689 marked the close of Holland's
-greatest days.
-
-Early Dutch secular architecture is in the spirit of the late
-Gothic style. The most valuable monuments of that period are the
-civic buildings which herald a time when public life--as opposed to
-ecclesiastical--assumed an importance and dignity capable of being
-symbolized in brick and stone; when power acquired by trade found
-expression in its own distinctive forms, and the wealthy burghers of
-the towns erected municipal buildings which stand for all time as the
-embodiment of their ideals. Such is the Town Hall at Middelburg by
-Ant. Keldermans the Younger, one of that famous family of architects
-of Malines. It is a stone erection of fine proportions, enriched with a
-wealth of detail, sculptured figures, sunk panelling and many turrets;
-tiers of dormers break up the roof surface and the whole is surmounted
-by a noble and boldly conceived tower. At Veere, not far distant,
-is a smaller example (opposite) built in 1474 by another member of
-the Keldermans family. While owning some similarity to its fellow
-at Middelburg, the treatment is simpler, but the proportions are
-exquisite, and the peculiar grace of the belfry is outstanding. The
-characteristic richness of surface decoration which was then common
-may also be seen on the sandstone fa�ade of the "Gemeenlandshuis"
-at Delft, with its elaborate traceries and parapet belonging to the
-early sixteenth century. The aforementioned are stone buildings
-and betray the influence of French Gothic, but the especially
-individual Netherlandish interpretation of Gothic was developed in
-the brick architecture. Brickwork was much employed and the nature
-of the material--not so responsive as stone in the hands of the
-craftsmen--limited the possibilities of ornamental treatment. Detail
-had to be simplified and adapted to the means available for carrying
-it out; the example from Nijmegen (p. 11), dated 1544, furnishes an
-instance of how it was handled. It is in this early brickwork that the
-germs of the Dutch transitional Renaissance style are to be traced;
-its root principles were derived not only from the public buildings,
-but from the churches also--vast piles whose bold masses and ornaments
-were logically developed out of the material, and whose millions of
-little bricks, jointed together, stand as impressive memorials of
-patient labour.
-
-Medi�val domestic work followed in the wake of the civic. Not many
-examples remain. Of those that have survived most belong to the late
-fifteenth or the first half of the sixteenth century. The current
-forms of the period were employed--panelling and projecting surface
-decoration, more often in brickwork than stone; arched window-heads
-ornamented with tracery; circular brick turrets surmounted by conical
-roofs; stepped gables having pinnacles rising from the copings;
-steep roofs pierced by dormers; and the somewhat florid, rich, but
-carefully wrought detail.
-
-In contrast to the scarcity of Gothic domestic buildings, those
-of the Transitional period--from Gothic to Renaissance--are very
-numerous. Many examples are to be found in the old towns where rows
-of houses, much out of the perpendicular, rise from the canalsides
-and paved roadways. They are narrow and very high and are surmounted
-by gables which are often of fantastic shape and curious outline,
-picturesque from the draughtsman's point of view and full of subject
-for the painter. Strange though it now seems, and quite beyond
-reasonable explanation, the greatest art movement that Holland has
-ever known flourished at the close of those troublous times when she
-was at war with Spain. It was then that the painters, with startling
-suddenness, came into their full powers, and Hals, Rembrandt, Van der
-Helst, Gerard Dou, Paul Potter, Jan Steen, Ruysdael and De Hooch, with
-a host of brilliant companions, followed in quick succession. They
-created a new art, a school of painting with original conceptive
-views and unrivalled executive skill. Contemporaneously with this
-artistic activity developed the peculiarly specific Dutch style of
-domestic architecture. Existing examples prove how energetically the
-building craft was then carried on, and show how its characteristics
-were matured during the closing years of the sixteenth century and
-onwards through the century following. Many of the Town Halls and
-Weigh Houses, which set the fashion for the private dwellings, are of
-this time; Leiden 1598, Haarlem 1602, Nijmegen 1612, Bolsward 1614,
-Workum 1650, and numerous others.
-
-It was in the sixteenth century that the influence of the Renaissance
-gained ground in Holland, and with it came new canons and new impulses,
-revived interest in classical literature and art. And in connection
-with it, it is significant to note that Erasmus, one of the most
-distinguished of the Humanists, was born at Rotterdam in 1466;
-during a life of much travel and varied residence he was often in
-the Low Countries, prosecuting his own self-culture and advocating
-his doctrines.
-
-The Transitional period lasted long and the buildings associated with
-it in many ways resemble those of England, erected in the style known
-as Elizabethan. The real significance of the revolutionary Renaissance
-art was not grasped or understood. The Gothic form of house long held
-its own and to it was added the heavy Dutch interpretation of the newer
-style, a rendering showing French rather than Italian feeling. But
-nevertheless, however well or ill applied, the use of Classic motifs
-in architecture became a firmly-established and general practice.
-
-But the great changes in religious and intellectual thought that
-transpired during the sixteenth century did not so quickly influence
-the domain of architecture as might be supposed. No sudden breach
-with the inherited style occurred, although the ancient life and
-faith were passing. The Gothic tradition, which had been handed
-down from generation to generation, continued on. The national
-temperament was opposed to innovation, and the Dutch people clung to
-that which had been evolved through long years of experiment; they
-were unwilling to give up those forms that had been satisfying to
-their forefathers. So the new fashion in architecture was at first
-but tardily accepted and made little headway against the olden
-practices. Early tentative efforts were confined to novelties of
-detail introduced in gable ornaments, window-heads and doorways; the
-traditional forms of building remained unaltered, and fresh types of
-ornament were simply added to them for no very definite or intelligent
-reason. As time went on the Renaissance influence gradually became
-more established, but there was evidently no unanimity of opinion on
-the merits of it. Some looked upon it with favour; others viewed it
-with suspicion and preferred to keep to that which had served so well
-for preceding generations. As a consequence, the development was not
-uniform throughout the country. Thus a house at Alkmaar, bearing the
-late date of 1673, has arched window-heads and step gable terminated
-with a pointed arch quite in the Gothic manner; while a fa�ade erected
-at Zwolle one hundred and two years earlier unmistakably betrays its
-Classic origin by the details with which it is adorned.
-
-After a changeful period, during which the architectural impulses
-were halting between the acceptance of the new and the retention of
-the old, men who directed public taste eventually adopted what they
-understood to be the Renaissance ideas. Behind them was a strong tide
-of inherited tradition which continued to flow on. To it they brought
-their own interpretation of the new movement, and the two forces ran
-side by side for many years.
-
-Foremost among the earlier architects who turned to classicism for
-fresh inspiration were Lieven de Key, Hendrik de Keyzer and Cornelius
-Danckerts. Hendrik de Keyzer was born at Utrecht in 1565 and died at
-Amsterdam in 1621. He was appointed architect to the city of Amsterdam
-in 1594, and his name is connected with buildings both in that town
-and elsewhere. One of his most notable works is the monument erected
-at Delft to the memory of William the Silent. Cornelius Danckerts was
-associated with de Keyzer and lived from 1561 to 1631. Born at Ghent
-about the year 1560, Lieven de Key worked principally at Haarlem and
-Leiden. He was the author of the celebrated Meat Market at Haarlem,
-a remarkable building which has evoked both praise and disparagement;
-it was completed in 1603. He was responsible for the design of other
-civic buildings as well as numerous private dwellings. Such men as
-these had their followers and founded schools of architecture in the
-places of their professional activities. There was thus a vigorous
-body of men working at Haarlem; while Amsterdam, which had become
-virtually the political and commercial capital as well as the centre
-of the arts, had its own assembly of architects who were particularly
-energetic in the city and exercised great influence in the adjacent
-districts. The results of their accomplishments are still apparent,
-and the many large and sober gabled houses suggest to the imagination
-the comparative splendour of seventeenth-century Amsterdam.
-
-The buildings of this period are quaint and charming. If somewhat
-lacking in serious architectonic qualities, they are inseparably
-connected with the national sentiments; they stand as lasting evidences
-of human emotion expressed through the medium of brick and stone. The
-streets lined with ancient houses are witnesses of a great past, and
-bring to remembrance those strong and earnest men who honoured hearth
-and threshold and fought to save their fatherland from tyranny and
-threatened ruin. Above all, the structures bear upon them the impress
-of the intellectual life which was concerned with their production. The
-work itself is thoroughly Dutch in character, full of suggestion, and
-the materials are well handled. That of the early Renaissance is the
-best, and in it the two streams of thought--medi�val and classic--are
-seen harmoniously blended. A good example from Leiden, by Lieven de
-Key, is illustrated opposite; signs of the new influence are obvious in
-the details, yet it has the traditional form of stepped gable; while
-there is a freedom of handling discernible in the disposition of the
-ground floor features which was dictated by convenience rather than
-symmetrical arrangement. All the work, however, was not so reasonable
-as this. Gables of extraordinary and curious outline began to appear,
-remarkable certainly for fertility of invention, but often lacking
-in delicacy and restraint. Isolated stone ornaments, unconnected with
-constructive principles, were applied to vacant wall spaces. They were
-decorated with lion-heads, armorial bearings, strapwork, cartouches,
-winged heads and panels in relief, all vigorously carved. Many of
-the subjects were seemingly derived from published pattern books and
-decorative designs, and lack that independence of conception which
-distinguishes all inspired craftsmanship.
-
-Evidence goes to prove that the men who made the designs for the
-buildings had not yet become detached from the building trades. They
-were not architects within the present meaning of that term. They
-were described as masons, stonecutters, and the like, and no doubt
-were master-builders who, in addition to supplying the design, had
-a personal hand in the execution of the work of their own particular
-craft. The idea that a trained director should conceive the work as a
-whole, and marshal all the supplementary arts to proper subjugation,
-had not yet been evolved. Architecture as a separate force was not
-recognised.
-
-Results automatically grew out of the united efforts of the sculptors,
-bricklayers, carpenters and masons who were engaged on the same
-production. So de Key, in addition to acting as a designer, was
-the city mason of Haarlem; H. de Keyzer was sculptor to the city of
-Amsterdam; and these are typical instances of the conditions then
-prevailing. It is also not surprising to find in this country, where
-government by municipalities was so well developed, that the architects
-were often official servants of the towns. Two such are mentioned
-above; Dryfhout was town architect of Middelburg, and Ambrosius van
-Hanenberch held a similar position at 's Hertogenbosch. [1] The demand
-for qualified men to protect and guide the public artistic needs was
-appreciated, a wise and excellent practice from which present-day
-authorities in England might well take a lesson.
-
-With the advancing seventeenth century came a keener desire for the
-employment of purer forms of Renaissance art. Architects turned their
-thoughts to the Italian ideal, which they modified, yet preserved
-in its essential characteristics. Chief among the exponents of the
-developed style were Jacob van Campen and Phillippus Vinckboons,
-both of Amsterdam; and Pieter Post of Haarlem. The massive Town Hall
-of Amsterdam--now the Royal Palace--by van Campen, is one of the
-most important buildings of this period. It was erected between the
-years 1648 and 1655. But the severe classic ideas, directing towards
-uniformity and symmetrical arrangements, were never really at home, nor
-did they displace the weakening influence of inherited tradition. In
-the general mass of work the Dutch national genius continued to
-assert itself. Up to the time when the native architecture became
-devoid of character and personality, the houses and trade buildings
-in which the people lived and worked--even if of strange appearance
-or sometimes fantastic beyond description--retained an unmistakable
-flavour of the vernacular and owned something of that playfulness
-and quaint invention that were the heritage of medi�val times.
-
-It is fitting to conclude this Introduction by referring to the
-effect of Dutch upon English architecture. For our style of domestic
-building has in the past owed something to knowledge gained from the
-Low Countries; details have been derived from the Dutch and their
-practices adopted. Most obviously the influence is to be seen in the
-Eastern counties, although it penetrated more or less throughout the
-country; Staffordshire can show it as well as Norfolk, Wiltshire as
-well as Kent. To those men of the Netherlands who early engaged in
-English commerce the germs of this influence are to be traced. Not
-that many of these foreigners were actively connected with the building
-trades, but, during a long period of trading intercourse and settlement
-by merchants and artisans, they, as a matter of course, left distinct
-impressions of their own ideas. Onward from the fourteenth century
-the influx of Flemings and Dutchmen into England was considerable
-and the reasons for their coming various. Apart from the traders,
-skilled artisans were encouraged to settle for the purpose of
-improving the home manufactures. Oppression, too, was responsible
-for many immigrants; to cite an instance, thousands of people left
-Holland when the harsh Duke of Alva, acting for Philip of Spain,
-was in 1567 appointed commander of the forces, and numbers of
-them found refuge in England. But the presence of foreigners such
-as these, most of whom were not engaged in the building crafts,
-had only an indirect effect upon the local architecture. It was the
-imported artificers, coming from Germany as well as the Netherlands,
-who brought a new development to English building. "Throughout the
-reign of Elizabeth," writes Professor Blomfield, "their influence
-was in the air and predominant." The results of it are obvious in
-work then erected, notably in the long series of country houses with
-strapwork ornament, peculiar decoration of porches and fireplaces,
-and much patterned woodwork. Again, with the advent of Dutch William
-to the English throne, further new features were introduced and they
-are especially traceable in the admirable brickwork of the Queen
-Anne style. But the lasting and altogether good effect of Dutch
-influence was on traditional, rather than academic architecture, on
-those quiet and unpretentious buildings of the countryside. Here the
-foreign motives were almost imperceptibly blended with those existing,
-neither suddenly nor inharmoniously. A feature was added here, a detail
-there, yet the work remained truly English in character. Old villages
-can yet show buildings that bear upon them traces of an alien hand, or
-embody ideas drawn from other than local sources of inspiration. Such
-are the East Kentish cottages at Sandwich, Ickham, Reading Street and
-Sarre; the halls and manor-houses of Norfolk, Suffolk, and Essex, with
-corbie-stepped and curved gables; the high brick barns of the Eastern
-counties; and endless picturesque groupings of certain distinction
-that exist up and down the land. The industrious settlers from over
-the water certainly brought something to our traditional architecture,
-gave it qualities that helped to make it what it was. And when they
-came to erect their dwellings on foreign soil, they cherished the
-memory of their own country, and turned their thoughts to home and
-to the houses on the tree-lined streets and waterways of Holland.
-
-
-
-
-
-
-
-
-
-DIVISION I
-
-THE DEVELOPMENT OF DOMESTIC ARCHITECTURE
-
-
-The only really abundant building materials in Holland were
-bricks. Stone was available in limited quantities, but not readily
-so. Brick-earths there were in plenty, and brick-building has been
-practised continuously from the dawn of Dutch architecture to the
-present day. The inhabitants, after long and intimate association,
-became very proficient in the use of bricks, skilful in applying
-them, and apt to quickly realize the possibilities afforded by this
-material. There is, therefore, a great deal of old work of exceptional
-interest which is, in addition, valuable for the suggestions it
-presents.
-
-The creation and development of an architectural style, depending
-upon brickwork as the medium for its execution, call into being
-considerable powers of ingenuity. For the limitations of bricks
-are definite and circumscribed; the unit is small and its size not
-subject to variation. Moreover, enrichment can only be obtained by
-careful disposition and arrangement of the units, and the almost
-unlimited scope possessed by stone, wood or plaster--both in respect
-to size of parts and effects of surface decoration--is nearly
-non-existent. Difficulties such as these have to be realised and
-overcome, but good results are not easily secured. The preconceived
-ideas in the mind, the general proportions, and the disposition of
-features, are governed to a degree by the nature of the building
-material. And for these reasons, the bonding of the walling, colour
-arrangements, width and finish of the mortar joints, and the precise
-manner of forming details, all contribute markedly to the ultimate
-appearance of the whole. Good brickwork depends, even more than other
-forms of building, upon a complete understanding of the capabilities
-of the medium; skill in manipulating it is secondary only to capacity
-for design.
-
-It was in the use of bricks that the Dutch were especially
-successful. Qualified by experience gained through years of experiment,
-their achievements were dexterous and often daring. They were
-thoroughly at home with brickwork, alive to its restrictions as well as
-its possibilities, and they handled it in a spontaneous and reasonable
-way. All the features and details of some buildings had to be suitably
-designed for execution in this not very pliable material--gables
-(page 21), windows, doorways (shown above), decoration, mouldings
-and traceries. Problems such as these, definitely existing, were
-satisfactorily solved. The craftsmen thought in brickwork, as it
-were, and forms were more or less dictated by the means available
-for carrying them out. Not that stone was ignored; on the contrary,
-it was doubtless used when it could be obtained, as our illustrations
-plainly show. Thus, it was employed not only for ornamental details
-but often for the entire structures. Wood had its uses too, as may be
-seen in the half-timbered houses at Dordrecht or the wooden-fronted
-ones at Gorinchem (Gorcum), illustrated opposite; and plaster entered
-into the construction of many country buildings. But the prevailing
-conditions brought about an advanced development of brickwork and
-through it the vital building tradition was evolved.
-
-The old bricks themselves were particularly well shaped and the
-proportion of height to length gave a long and narrow appearance. How
-narrow they actually were will be realised when it is stated that it
-not infrequently happens we find them no more than 1-1/4 inches high.
-Some of the sizes noted are 1-1/4 inches by 6-3/4 inches to 7 inches at
-Workum; 1-1/2 inches by 7 inches at Breda (page 24); 1-1/2 inches by
-8-1/2 inches, and 1-3/4 inches by 7 inches to 8-1/2 inches at Haarlem;
-and 2 inches by 9 inches at 's Hertogenbosch. They were laid with five,
-six, or seven courses to the foot, and sometimes the door and window
-openings were formed with smaller sized bricks than those used for the
-main walling. It was only rarely that comparatively large bricks were
-employed. Some may be seen in the walls of the old Abbey at Middelburg,
-and "Thvis van Leeninge" (page 25), situated in the same town, has
-bricks measuring 2-1/2 inches by 9-1/2 inches; while a building at
-Franeker, in Friesland, is carried out in unusually large bricks,
-which vary in size from 3 inches to 3-1/2 inches by 10-1/2 inches
-to 11-1/2 inches. The joints are widest in the older work and were
-either finished with dark mortar, no lighter in tone than the bricks,
-or were raked out and pointed up with light mortar. The bond almost
-universally adopted was that known by the name of "English" and not,
-as is often erroneously stated, "Flemish." English bond consists of
-alternate courses of headers and stretchers; that is to say, one course
-of bricks, all placed longways, upon a course all laid endways, and so
-continuously up the wall. Flemish bond, rarely to be seen in Holland,
-has alternate headers and stretchers in every course. Dutch brickwork
-shows a wide range of colouring. Some is very dark and of a purple
-tint; some is yellow, particularly in the neighbourhood of Dordrecht;
-red bricks there are in every town; while at Breda they gradate from
-lemon yellow to a delicate salmon pink. It will be perceived that
-materials such as these offered means for harmonious combinations. The
-possibilities were appreciated, and about the country there exist
-many happy effects which were secured by blending the various coloured
-bricks. It was a favourite method to build walls with parti-coloured
-bands running horizontally through them in the manner shown from
-Franeker (page 26), where four courses of red bricks interchange
-with one of yellow. Mouldings and surrounds to openings often
-contrasted with the prevailing colour of the building. As an
-illustration of this, the example from Dordrecht (below) may be
-cited; the walls are formed with yellow bricks and the decorated
-window-heads with red. In addition to effects obtained by colour
-harmonies, enrichment was secured by applying moulded and shaped
-brickwork. It was confined principally to the doorways, windows and
-string courses, and how successful this system of ornamentation can
-be will be realised by further reference to the two above-mentioned
-drawings. Among other familiar features of Dutch buildings are the
-mosaic decorations which generally occupy the arched spaces over
-window-heads. Made up of simple units--square or shaped bricks and
-little pieces of stone--they were set together to form repeating
-patterns and devices. Many of the houses, such as that at Dordrecht
-(page 27), attain distinction by reason of these interesting and
-freely rendered details, and they will be more fully considered in
-the following chapter on exterior features.
-
-Pantiles were almost universally used for roof-coverings in the towns,
-while in the country thatching was freely employed. Under certain
-conditions the good qualities of pantiles show conspicuously. Where the
-country is level and the landscape low, and big changing sky-effects
-constantly recur, they look particularly homely and suitable. Their
-curved surfaces quickly respond to play of light, becoming successively
-bright in the sunlight or mellow-toned in the shadow. They have the
-appearance, too, of being well able to withstand the wind and the
-rain. Holland is a country having the attributes for the successful use
-of these tiles; moreover, they blended in every way with the prevailing
-brick architecture, both of the towns and of the villages, as is shown
-by the illustrations from Haarlem (page 29) and St. Laurens (page
-31). They were not always of that bright red colour usually associated
-with pantiles. Many were made from a grey clay and look not unpleasing;
-especially in the town and neighbourhood of Zutphen they can be well
-observed. The thatched roofs of the countryside do not present any
-special characteristics. They were contrived to accomplish their
-purpose in a straightforward way. Brought down directly from ridge
-to eaves, or arranged pyramidally, they have no added decoration in
-straw-work. The ridge was protected by a course of half-round tiles
-of which the farmhouse at Spaarwoude (page 30) furnishes an example,
-and the roof of this building, arranged part in thatch and part in
-pantiles, is an instance of a fairly prevalent practice.
-
-Passing from the consideration of building materials to that of
-planning, it may be stated as a general rule that the ground plans of
-the old work were usually determined by the exigencies of practical
-requirements. The very narrow frontage of many of the houses gave
-little latitude for variation of interior disposition: for it will be
-noticed that the majority of the houses were built with gable-ends
-facing to the streets, and these consequently became the principal
-elevations. The measurement from front to back of each was thus much
-greater than that from side to side. The economical and practical
-way of treating such an area would be to arrange a passage at the
-side, directly through from front to back, which would, as well,
-give access to the rooms and stairs; and this is what was generally
-done. Such a passage, sketched from the outside pavement, is shown on
-this page. This expedient was not necessary when the building had a
-wider frontage, and in such a case the way through was often placed
-more or less centrally, in the manner illustrated from Alkmaar on
-page 33. On the other hand, the narrow house at Hoorn (page 34) has
-a central entrance, and here it gives immediate access to the front
-room. But the passage was an important feature of Dutch planning and
-gave the fundamental idea for general disposition.
-
-The internal arrangements were disclosed by the elevations and a
-guiding principle of Gothic design was thereby followed. The positions
-of lofty rooms, ways of access, staircases and different floor levels,
-were as much as possible made obvious on the outside of the buildings.
-This practice led to many happy results. Not fettered by artificial
-conventions or limited by unyielding laws, the designers were able to
-give scope to their invention. Utility and convenience set the theme
-for spontaneous fancy to adorn. These were the motive powers, the
-guiding impulses that lay behind the early work, and they continued
-to operate with more or less force for many generations. The series of
-houses in the "Balans" at Middelburg (page 35) furnishes a good example
-of a group that owed its inception to such influences. While there is
-harmony between part and part no two are alike. One house is higher
-than its fellow; one comes forward over the paved way while another
-recedes. Doorways and windows are conveniently, but not too evenly
-disposed. The brightly painted window-shutters give lively colour, and
-isolated features--such as the staircase turret seen on the right--show
-with telling effect. Gables of differing shape break the skyline.
-
-Utilitarian in lighting the rooms of the roofs, the dormers
-�sthetically serve to carry the eye up to the ridges. The whole
-impression, if irregular, is picturesque to a degree. Contemplating
-an effect such as this, so powerful in its human appeal to the eye
-and mind, it is difficult to appreciate those arguments which are
-advanced against principles capable of giving such satisfying results.
-
-The most characteristic essential of domestic architecture in
-Holland is the steeply-pitched gable. It was derived from Gothic
-sources. Gables owning this influence almost invariably have the
-lines of their two ascending sides broken by a series of steps which
-continue upwards from base to apex. They are consequently called
-"stepped," and such gables will be observed in the drawing from
-Middelburg mentioned above. The acute rake of the gables determined
-the slant of the roofs. This circumstance, together with the fact
-that houses usually had little frontage to the streets, gave great
-roof spaces incapable of being adequately lighted by windows inserted
-in the walls. So the fore part consisted of a room (or rooms) which
-was generally assigned to servants, and the rear area, lighted by
-dormers, was used for storing and kindred purposes, one all-important
-among the latter being that of "drying washing." These dormers were
-quite important factors in architectural composition; each had hinged
-and painted shutters and a little steep roof. Sometimes they were
-elaborated, as may be seen, for instance, in the drawing from Hoorn
-(page 37). The dormer eventually became a much developed feature. In
-examples such as those shown from Leiden (page 39), where two of the
-houses are not ended by a gable, the main roof would be hipped back. A
-certain number of dwellings were built with one of the longest sides
-occupying the main frontage. The house at Hoorn (page 36) was so
-constructed. The floor-joists, carried through the walling, are exposed
-to view; they project beyond the face of the ground floor wall and
-support an overhanging upper storey. Similar examples occur at
-Vlissingen (Flushing), and there the joist-ends are carved with
-representations of small human heads, each of different design.
-
-Very noticeable, both in early and later work, is the great height
-of ground-floor rooms and passages. They not uncommonly measure from
-eleven to thirteen feet, or even more, from floor to ceiling. The
-windows, proportionate to the rooms, are extremely lofty. Over entrance
-doorways are fanlights of conspicuous size, which are occasionally
-nearly as large as the doors themselves. Some houses, with very high
-front rooms abutting on the street, have at the back two stories
-contained within this same height. The example from Woudrichem (page
-38) is disposed in this way; the fore part of the hall, from which
-the drawing was made, together with the adjoining room are almost
-twice as lofty as the passage seen beyond; the stairs give access to
-the imposed intermediate floor. Heights of rooms gradually diminish
-upward from the ground, and the string-courses that externally mark
-the position of the floors, are consequently nearest together far up
-the walls and gables.
-
-It will be seen by the foregoing how construction and practical
-arrangement went hand in hand with design, neither one being divorced
-from the other. Especially is this demonstrated by the Gothic
-buildings and those which primarily betray a Gothic origin. The house
-from Middelburg (page 40) is given as an example. It is a highly
-successful piece of grouping, and the features show with admirable
-effect. The walls are of brickwork and the dressings of stone. On the
-gable-end bands of stone alternate with courses of bricks, while set
-back in the angle the well-placed turret, steep-roofed and soaring,
-dominates the composition. How accurately the value of horizontal and
-vertical elements was estimated, and how cunningly they were opposed
-to each other, will be observed. The gateway from Nijmegen (page 41)
-was conceived in much the same spirit as the above, and here again
-the turret was effectively employed. Both it and the pointed archway
-are in quite the Gothic manner; but the crow-stone, or terminating
-member of the gable, the band of diaper executed in brick and stone,
-and the details of the windows (near to which the date of 1606 appears)
-point to other influences.
-
-On the exterior walls of the house from Zutphen (page 43) can be seen
-the sunk panels, set back from the main face of the brickwork, which
-served for the insertion of windows. They often extend from near the
-ground to well up the gable. The dividing projections, turned with
-arches at their extremities, give bold upright lines. In the example
-cited these lines have evidently been broken by the rebuilding of the
-first-storey wall. It is dated 1547. The upper part, showing the sunk
-panel bordered by moulded bricks, the arched head--in this instance
-pointed and supported on each side by small circular turrets--and
-the shuttered window, is given in detail on page 42.
-
-A noticeable treatment of the ground floor elevation is exemplified
-by the two drawings from Alkmaar and Hoorn (pages 33 and 34), already
-considered, and by that from Veere (page 44). Each is constructed
-principally in woodwork, and the many windows amply serve to light the
-lofty rooms. The wooden mullions are simply shaped and enriched, while
-over them is a moulded cornice. Above the lower series of windows in
-the Alkmaar example is a projecting hood, which affords protection from
-the weather. The date of 1609 is carved upon it, and other buildings
-having this characteristic usually belong to the opening years of the
-seventeenth century. A more artistic and satisfactory solution to the
-difficult problem of adequately lighting the entire side of a high room
-or shop would not easily be found in the old work of any other country.
-
-It is not possible to make any hard and fast division between Gothic
-and Renaissance work. The actual dates of the buildings form no
-conclusive key, for it has been demonstrated in the Introduction
-how the later development did not advance evenly throughout the
-country. Houses built in the traditional way, and in a mixture of
-styles, are to be seen in almost all old towns (page 45). Sometimes
-one influence shows predominantly, sometimes another. The brick and
-stone fa�ade at Delft (page 46) has all the attributes of Gothic work,
-pointed arches, overhanging stories, stepped gable and pinnacles. But
-the spirit of the carved details is different. The heads in circles,
-cherubs, vases, cornucopias, lion-heads, dolphins, eagles and acanthus
-ornament are all subjects far removed from Gothic ideas, as are the
-delicately carved corbels from which the arches spring.
-
-Two other houses that owe much to Gothic influences are those from
-Haarlem (page 47) and Alkmaar (page 48). The first-named was built in
-1637 and the second in 1673. The more recently dated example shows,
-in point of style, the earlier architectural form. Both have the
-customary stepped gable and window-heads, the Alkmaar examples being
-elliptically arched and those at Haarlem pointed. But in the latter
-instance the keystones are furnished with Renaissance ornaments,
-as is the crowning pediment of the gable.
-
-The three following buildings mark a further step forward in
-architectural development. In general disposition of masses they
-accord with olden practices, but the decorative details approximate
-Renaissance ideas. "De Crimpert Salm" at Dordrecht (page 51), of 1608,
-presents a rich appearance, but the profuse elaboration of the front
-was not achieved by accident or haphazard use of material. The balance
-of the design was obviously well considered. Horizontal motives,
-intensified below the first-floor level, give a stable base for the
-lavishness overhead; above, they repeat with less force and are finally
-carried up the gable by the steps. The vertical lines, obtained
-principally by the window openings and frames, are similarly reduced
-towards the top, and there the curved elements are concentrated. Upon
-a low wall of stone and brick stands the woodwork front of the ground
-floor. Next in order comes a broad band of mosaic decoration executed
-in brick and stone (page 50), bounded at each end by lion-heads in high
-relief, and divided centrally by a stone panel with a salmon carved
-upon it. Other mosaics show in the arched spaces over the windows of
-the next storey (page 50), while the equivalent space in the gable is
-filled with arranged brickwork. Moulded bricks and stonework, plain and
-carved, all contribute to the exuberance of the scheme. The small
-example from Franeker (page 49) is built in brick and stone and was
-erected in 1634. It has the traditional gable but the old type of step,
-small in height and width, was not followed. Two steps only suffice to
-reach the gable-head and the side of each is finished with shaped
-stonework, a method of completion not employed in earlier times. Later
-in date than these two houses, that from Workum (page 52) gives an
-instance both of the persistence of established practice and of the
-human desire for newness and change. The builder evidently could
-neither forget nor abandon the general form of house arrangement that
-he knew so well, and to it he kept. This is especially obvious in the
-gable which mounts up in quite the Gothic way. The pilasters on the
-ground and first storey, however, plainly show that an attempt was
-made to keep in touch with the prevailing mode of the period. Each is
-terminated by a Corinthian capital and festoons of fruit are carved
-upon the panels. In these particulars the work, which was completed
-in 1663, was in agreement with the then advancing Classic taste. The
-bricks used in the walls are plum coloured and measure but 1-1/4
-inches wide.
-
-Designers were thus getting farther away from Gothic architecture. The
-political and religious events of the sixteenth and seventeenth
-centuries revolutionized old beliefs. Time-honoured faiths were not
-only given up, but were viewed with positive distrust. The powers
-that had swayed the people of the Middle Ages, the mysticism, ideals,
-and poetry of their lives, were unrealities to the great majority of
-seventeenth-century Hollanders; such doctrines fell meaningless upon
-their senses, and were to them but unintelligible and empty forms. They
-not unnaturally turned from a creed in whose name loathsome crimes
-had been committed and countless lives had been sacrificed. It was
-a time of new life and faith. This change in the trend of thought is
-amply reflected in the domestic architecture. The Gothic tradition,
-already more or less alienated from the public sympathies, had almost
-spent itself. Its vitality was gone and only as a survival, a mere
-shadow of former glory, was it carried on. The old order gave place
-to the new. But it was long before a fresh system of planning came
-to be generally accepted and medi�val methods of construction and
-workmanship still persisted. Classic motives, however, were
-increasingly applied to the elevations. All the features, and the
-entire decoration of many of the houses, were often the direct
-outcome of Renaissance influences. In some few cases--such as the
-gateway at Arnhem of 1642 (page 53)--the whole schemes were conceived
-in the Classic spirit and were evidently designed by men of advanced
-intelligence, who were able to comprehend the significance of the
-style in which they worked.
-
-Rembrandt's house at Amsterdam (page 54) is an able achievement,
-sober and dignified. The walls are built of ochre-coloured bricks,
-with stone used for the dressings. The date of 1606 appears on the
-upper storey. It has no gabled front, but a projecting cornice and
-pediment make division between the roof and wall surface. Above
-are two dormers placed in balanced order; while the roof, steeply
-rising and hipped and having a chimney at each end of the ridge,
-completes the studied arrangement. So far the work is in the style
-of the Renaissance, and it is only by the windows below that earlier
-influences are recalled: but the two themes are so well blended as
-to be perfectly harmonious. The net result is simple and reasonable
-and by no means lacking in scholarship. Very different is the Guild
-Hall at Zwolle (page 55), erected thirty-five years earlier. Its too
-fussy elaboration is in sharp contrast with the comparative
-restraint of Rembrandt's house, just mentioned. Classicism was
-applied without the Classic spirit and with little understanding
-of its real import. The general effect is rich and complex, but the
-composition lacks breadth and is overladen with ornament. Some of the
-details disclose good craftsmanship, notably the frieze which runs
-across the entire front at the first floor level, carved with cupids
-on horseback, old men with tridents, satyrs and flowing foliage,
-and broken at intervals by lion-heads worked on the bases of the
-pilasters. At the second storey is a Doric frieze, with sculptured
-circular ornaments and heads of bulls appearing in the metopes between
-the triglyphs. The gable, medi�val in feeling, is curly in outline;
-it is further complicated by the introduction of reclining satyrs and
-lascivious demi-gods that quaintly break the skyline. The designer
-evidently proposed to himself the Italian ideal, but did not grasp
-the meaning or refinement of it. Many details came to be used in
-a similar way, such, for instance, as those shown from Dordrecht
-(page 50) and Flushing (page 56), but, although often of admirable
-workmanship, they were never coherent parts of a self-evolved whole.
-
-A house of somewhat unusual appearance is that in the Voorstraat at
-Dordrecht, dated 1626 and illustrated on page 57. At the top is an
-open arcade constructed wholly in bricks, with the exception of the
-stones upon which the arches rest. The brick walls are relieved by
-stonework, while projecting pilasters separate the large lead-glazed
-and shuttered windows.
-
-Houses that depended upon dormers for their controlling architectural
-idea were common in the seventeenth century. The front wall is usually
-only one storey high and the dormers rise from it at the line of the
-eaves. When the frontage is wide and the building long and low, as
-is the case at Kampen (page 59), these features--shaped and carved
-and fundamentally valuable in lighting the rooms of the roof--show
-with good effect. A smaller house in the same town, given on page
-58, has a single dormer only. It contributes the necessary interest
-to what would otherwise be a very dull effort of building. On the
-frieze at its base is a carved stone representation of the Nativity,
-while below appears the inscription "IN BETHLEHEM 1631."
-
-Those principles that imparted to the domestic architecture of Holland
-its picturesqueness, and so gave to it its most valued possession,
-were strained to the uttermost as the freshness of the Transitional
-style declined. The influences bequeathed from former ages were running
-out. Extreme freedom of design, although showing certain originality
-and character, was not accompanied by necessary restraint. Architects
-sometimes cast aside all the limitations of their art and gave
-themselves up to unreasonable over-elaboration and the grotesque;
-they ignored the fact--true for all time--that construction must form
-the basis for ornamental detail. But it must not be thought that this
-was always so. There is, however, certain work of this period that
-cannot seriously be accepted as good. Brickwork and stone continued
-to be employed and were still associated with excellent workmanship,
-as was the carpentry. There was evidently yet, as the many dated
-buildings prove, a large body of men who had complete mastery of
-their particular crafts, men versed in that traditional skill which
-had come down unbrokenly from medi�val days. Prominence was given to
-the numerous door and window openings, which were heavily moulded and
-often surmounted by pediments. Gables were shaped in endless ways and
-upon them almost every conceivable combination of curves was employed.
-Pilasters and cornices, swags and festoons, with strap ornament,
-scrolls and ornate iron wall-ties, all generally of debased
-Renaissance character, contributed to the rich profusion.
-
-Whither events in architectural history were tending will be seen
-in the following illustrations. The "Goudkantoor" at Groningen (page
-60), bearing a motto and date of 1635, and a house near to it of the
-year 1661 (page 61), have quaint gables, curiously shaped and laden
-with carved stone decorations. On the walls below the same complex
-treatment continues, especially on the "Goudkantoor," the entrance
-doorway of which is emphasised by the work surrounding it. At Franeker
-(page 62) is an extreme development of the step gable, with the four
-steps supporting masses of coarsely-designed ornamentation. The
-heavy pediments to the windows are conspicuous, as are the many
-stone details. Two panels are inscribed with "ANNO 1662." With the
-above-mentioned may be compared the two gables at Alkmaar (page 65)
-which betray the same source of origin. Each is crowned by a stone
-pediment, and the steps have carvings resting upon them. Applied
-to the wall of the farthermost house, and placed centrally between
-the windows of the second storey, is a notable iron wall-tie of much
-larger size than was usual. An enlarged drawing of it is reproduced
-on page 64. Another variation of gable outline is illustrated from
-'s Hertogenbosch (page 63). In this case the stone-capped sides follow
-the lines of sweeping curves, and on them, facing outwardly, are little
-carved bunches of fruit and flowers. The front face of this building is
-remarkable for the use of pilasters. They are boldly carried up from
-bases to the head of the gable. The pillars, executed in unrelieved
-brickwork, have stone capitals of the Ionic order which carry an
-entablature. There appears the date of MDCLXXI. The bricks are 2 inches
-wide by 9 inches long and are laid about five courses to one foot.
-
-It eventually came to pass that the gabled treatment, which had
-been the guiding principle of house design for so many generations,
-was given up. And with the disappearance of it there went that
-which had given character to the architecture of Holland. The links
-of the tradition were broken. The old sources of inspiration no
-longer served. Inherited ability and skill, originality and vigour,
-were being lost, and the last traces of native ideas are to be
-found in inconspicuous buildings such as that given from The Hague
-(page 66). Although hipped roofs, wide projecting cornices and other
-Renaissance features were employed, as is shown by the drawings from
-Velsen (page 67), and Zutphen (page 69), a pure Renaissance domestic
-architecture did not become established. When the traditional style,
-owning both Gothic and Renaissance motives, had ceased to hold its
-ground, the stream of design--which until then had flowed continuously
---ebbed low, and houses became uninteresting and commonplace. Away in
-the country the town architecture is mirrored in the brick buildings
-of the numerous villages. Less pretentious in appearance, their style
-is well suited to the simpler conditions that there obtain; for the
-crowded activity of the town waterways is absent on the calm canals
-that wind between meadows, and give communication from village to
-village; on the quays life moves placidly. Spaarndam (page 71)
-furnishes a typical village view, with its gabled brick and
-white-fronted houses, screened by delicate greenery. The Ferry House,
-near Gennep (page 73), has more ornate gables, curved and stepped, and
-on the front is diaper brickwork.
-
-There also developed a type of building peculiar to the countryside. It
-is shown by the many farmhouses and cottages. Their outward forms
-were determined by constructional principles, and added adornment was
-but little employed. They are unobtrusive examples of honest work,
-not claiming especial distinction, yet in thorough harmony with their
-natural environment. They were brought into being by prevailing needs,
-and are the local representatives of that phase of native art which
-is to be found in almost every country. Such village homes exist in
-all parts of Holland. The style of them shows little variation in the
-different localities. They are equally suited to the windswept
-Friesland landscape, the watered provinces of North and South Holland,
-or the beautiful country of North Brabant, with its hedgerows and woods
-and distant hills. Grouping, perchance, around old brick churches and
-sheltered by trees, as at Spaarwoude (page 68), they are pleasant and
-rustic to see.
-
-Under one great thatched or tiled roof all the covered accommodation
-necessary for farm life is contained. One side of the building
-is occupied by living apartments, the remainder providing a huge
-barn, stalls for cattle, and other conveniences for the farmer's
-work. These buildings were solidly constructed on a timber basis
-in the manner shown by the sectional view from Halfweg (page 70),
-where centre and side aisles are divided from each other by the stout
-upright timbers. Extreme durability was the keynote and the materials
-were employed according to their quality. This traditional form of
-building, practised for many generations, continues in use to the
-present day. An illustration of the exterior of a similar homestead
-to that mentioned above, and from the same village, also appears on
-page 70. The great roof, hipped at each end and covered with pantiles,
-will be observed. Beneath the eaves are the domestic rooms, in this
-instance all upon the ground floor; often they extend to a second
-storey in the roof, which is then lighted by dormers. The cottages
-follow the same general constructive principles as the farms, and
-have similar low walls and large roofs. A lean-to was frequently
-added to give an additional room, and the main roof brought down
-over it at a less steep pitch. The roof space, valuable as a store,
-is in many cases reached from the exterior by a ladder. In addition
-to the customary steeply-pitched roofs, those of the Mansard pattern
-occur less frequently, as is exemplified by the drawing from Schooten
-(page 72).
-
-Country work does not exhibit a great variety of building
-materials. Bricks, being made from the natural product and consequently
-readily available, were principally used for the walls. Rather than
-left in their normal state, they were often thinly coated with plaster
-on the outer face, and the lower parts, for about two feet upwards
-from the ground, were tarred. Houses and cottages of this description
-together form a characteristic group in the country architecture of
-Holland. They were built upon a traditional system which grew out of
-the accumulated experience that was transmitted from generation to
-generation. Customary examples are shown in the two drawings from Beek
-(pages 74 and 76), and by that from Broek in Waterland (page 78). The
-farmhouse from Brigdamme (page 75) is of a similar character; at the
-entrance are two stone gate-piers, dated 1622. Two influences are to
-be traced in the farm at Bloemendaal (page 77). The main building has
-the white plastered walls and large roof--which in this case comes
-forward to cover an open verandah--while the adjoining gable is of
-natural coloured bricks and more in the style of town work.
-
-Houses with wooden walls are prevalent, especially in North
-Holland. Upon a low brick wall, tarred, and varying in height from
-18 to 30 inches, the timber frame was erected. Boards were simply
-nailed to it and the framing was commonly left exposed to view on
-the exterior. The boarding was well coated with paint or tar for
-protection against the weather. A roof of thatch or tiles, well
-projecting at the eaves, covered the whole. There was thus provided,
-by simple and economical means, a type of building well suited for
-its purpose. The village of Broek has many examples of timber houses,
-such as those here given on page 79; while near by, at Monnikendam,
-Volendam, and on the Island of Marken, are numerous others.
-
-An extravagant use of paint is conspicuous in the country as well as
-the towns. It is renewed at frequent intervals and, in the main,
-it is well applied. Shutters and doors and window frames, and
-frequently the whole house front, are freely covered with it. But
-the effects are not unpleasing. They give to the villages an air of
-gaiety and freshness. Plain schemes of colour are wisely adhered to,
-while throughout a district one general note will be followed. On the
-island of Walcheren it is apple-green and white; north of Amsterdam
-bluey-green and cream; while the woodwork of the house at Beek (page
-81) is painted in the tones of buff that find favour in the locality
-of Nijmegen.
-
-There are many other domestic features worthy of note to be seen in
-the villages of Holland; quaint appliances for wells, ingeniously
-worked (page 80), or little bridges that span dividing dykes,
-and connect homesteads with the highways. One from Zuiderwoude,
-near the edge of the Zuider Zee, is illustrated on this page. It is
-built of brick relieved by a little stonework. On the keystone of the
-arch appears the date of 1799. The wooden gates above give access
-to the farm and the fields. The Dutch, too, have a marked fondness
-for natural beauty, as is demonstrated by the skill they display in
-laying-out open spaces. All towns can show flower gardens and lawns,
-or old fortifications overlooked by gaunt watch-towers, transformed
-into pleasant parks. Nijmegen and Arnhem are noteworthy in this
-respect. Very charming, too, are the village streets, of which that at
-Brigdamme (page 18) is a typical instance. They are lined with many
-trees that afford kindly shade in summer and shelter from the wind,
-and gratify the eyes with traceries of green.
-
-
-
-
-
-
-
-
-
-DIVISION II
-
-EXTERIOR FEATURES--DOORS, WINDOWS, GABLES & ORNAMENTS
-
-
-From the time when Dutch houses were built in a definite recognised
-style the features were always treated with skill and care. The
-many and crowded openings were accentuated. Doorways became imposing
-through the enrichment that surrounded them and windows were similarly
-emphasised. Panels, carvings, and ironwork decorated the walls, while
-the crowning gables, crow-stepped or curved, completed the richness of
-the buildings. Upon all these details, whether for a public building
-or private dwelling, great labour was expended. A careful examination
-of them discloses much inventive readiness and meritorious execution.
-
-Particular prominence was given to external doorways. The manner
-of their treatment varied widely. They were regarded as more than
-mere ways of access and upon them the best skill of the craftsmen
-was frequently concentrated. A personal note would be added by
-the introduction of the owner's arms or initials, the date of the
-work, or some quaint conceit of peculiar and subtle meaning. Among
-the examples extant, those of the early period incline to greatest
-simplicity. They were based on the current forms that were employed
-in ecclesiastical and civic architecture. The openings are spacious
-and are surrounded by mouldings. The arches at the heads are pointed,
-trefoil, or elliptic shapes. When there are label-mouldings above
-they follow the curves of the arches and support or surround the arms,
-panels, or other decorations.
-
-The doorway at Delft (page 87) is a good example of work dictated by
-Gothic influences. From carved stops at each side spring the simple
-mouldings that extend round the opening. It is surmounted by a label,
-near the centre of which is a three-sided space, enclosed by mouldings
-and filled by a winged cherub's head carved in relief, while the
-label is terminated by a finial. The wooden door is noteworthy. It
-is composed of six boards and upon the outer face of each are shallow
-grooves running continuously from top to bottom. Projecting nailheads
-arranged in vertical lines, together with other ironwork, give further
-interesting ornamentation. Another doorway from the same town (page
-88) is built of stone and moulded bricks. The space at the head,
-contained within a trefoil arch, has carved upon it a shield--lacking
-armorial bearings--supporters, and a scroll with the date of 1547. The
-semi-circular arch which surrounds the trefoil is one of the series
-that repeat across the building. That other early type of house,
-peculiar for its windowed ground floor front constructed in wood,
-such as is given from Veere on page 44, had its entrance doorway made
-with three plain stout timbers, one at each side and one across the
-top as a lintel. An elaboration of the simple wooden doorway occurs
-at Leiden (page 89). It is crowned by mouldings, below which appears
-an ogee arch shaped in wood. The parti-coloured effect of the door
-itself is achieved by the application of contrasting tints of paint.
-
-The circular arch followed the pointed although simultaneously a
-modified form of the latter, of which that from Haarlem (page 89) is an
-instance, continued to be used. Of circular-arched doorways there are
-endless examples which were erected in a manner that became general
-and customary. They were usually built in stone and bricks. Those
-from Leiden (below), Flushing (page 91), and Leeuwarden (page 86)
-are characteristic. The Leiden doorway of 1615, with moulded opening
-and carved archstones, is doubtless the earliest of the three and most
-nearly allied to the work of the preceding century. The two remaining
-examples incline to later influences, particularly to be observed in
-the enrichment of the jambs.
-
-Changing taste brought a new treatment to external doorways. They
-were affected by the same forces that altered the outward character
-of late sixteenth and seventeenth-century houses. Renaissance detail
-gradually became established and doorways of the seventeenth-century
-were frankly treated in a Classic way, rich in pilasters, capitals,
-friezes, pediments and mouldings, with an especial preference for an
-adapted form of the Ionic order. Stone was now almost exclusively
-used for this feature, unaccompanied by brick. "Delvitt's Poort"
-at Woudrichem (page 85) shows a rather advanced development for
-the period of 1611 to which it belongs. The whole of it is painted,
-with the carved details picked out in different colours. Two doorways
-illustrated here are well designed and proportioned. They are
-distinguished by the elaboration that appears at their heads. Upon the
-frieze immediately above the arch of the Kampen example (page 93) will
-be seen the inscription and date of 1665, over which is a broken
-pediment surmounted by particularly well-rendered armorial bearings
-carved in stone. The frieze at Leeuwarden (page 89) is similarly
-inscribed, the date in this case being 1675, while within the heavily
-moulded pediment is a coat of arms. Less complicated is the doorway
-from Leiden of 1655 (page 96). It is crowned by mouldings and decorated
-below by festoons in relief. The above will show the fashion of the
-time, tending towards correctness in design, with details carefully
-thought out and well executed.
-
-Many eighteenth-century doorways were unduly florid and may well
-be described as rococo. That from Marssum in Friesland (below),
-belonging to the year 1713, is of this kind. The overladen ornament and
-peculiarities of design suggest the unreality of a poor stage-setting,
-rather than serious architecture; while the incongruity of the work
-can only be appreciated by an inspection of the original, situated as
-it is among cottages in a quiet village street. Later in the century
-French influence was predominant. Details, such as are noticeable in
-the Arnhem doorway (page 94), were based on the Louis XV. style which
-not only affected the work of the towns but permeated into the heart
-of the country. The small cottage doors and doorways in villages such
-as Broek have all the attributes of the then prevailing mode.
-
-The wooden doors were much enriched either with applied ironwork,
-or mouldings and panels. Metal locks, bolts, hinges and nails are
-conspicuous in the early specimens. The use of ironwork on the door
-from Dordrecht (page 95) is carried to an extreme degree; but, be it
-noted, all the fittings have a practical purpose. It was only after
-needs had been provided for that embellishment was added, discernible
-in the shaping of the lock-plates and hinges and the arrangement of the
-nailheads. The centre of the more recent example from Haarlem (page 95)
-is occupied by a large sunk panel surrounded by mouldings, a section of
-which is given. A good piece of woodcarving is that appearing on the
-lintel, having for its subject a ship sailing on rough water.
-
-Windows of houses were almost always square-headed. They appear so in
-existing examples belonging to the Gothic period. The traceries and
-pointed heads, usual in early civic buildings, were rarely adopted
-for house windows, although arched spaces, filled with tracery, were
-not uncommonly built over them. A fine series of such window-heads is
-to be seen on the stone front of the "Scotch House" at Veere (page
-97); there are others at Kampen and on a house in the Groenmarkt at
-Dordrecht. Except in cases where the openings were small, they were
-divided vertically by mullions and transversely by cross-bars. The
-lower windows were closed by wooden shutters. Two examples, from
-Nijmegen and Dordrecht (page 99), both of Gothic design and of
-sixteenth century workmanship, are illustrated. The Dordrecht shutter
-is constructed of beautifully grained pieces of oak, jointed and
-pegged together.
-
-Late Gothic windows have also pointed and elliptical arches over
-the heads unenriched by decoration. They were customarily built in
-brickwork, with the window spaces flush, or set back from the face
-of the walling. Pointed arches ceased to be generally used after
-the coming of the Renaissance. The elliptical shape, however,
-continued, and the establishment of the circular arch was but a
-short and natural step in development. These two forms obtained
-for many succeeding years. Instances of either type are presented
-in the drawing from Zwolle (page 101), and innumerable others are
-shown by the illustrations in this volume. They were not given up
-until displaced by classic pediments, or the overhead feature was
-altogether abandoned. The gabled front at Gorinchem (page 103), built
-in stone and brick, has circular arches appearing over the windows.
-The enclosed spaces are richly decorated by stone carvings, and the
-character of the work seems to be advanced for the period to which it
-apparently belongs. Much interesting sculpture is also distributed
-over the gable and walls of this building.
-
-Windows were first glazed with leaded lights. Small squares of glass,
-as at Dordrecht (page 98), or diamond panes were used. But during the
-seventeenth century the employment of wooden bars became universal and
-leadwork went out of fashion. The openings were divided centrally by
-transoms, the lower windows receding inwards considerably more than
-the upper ones.
-
-Wooden shutters, opening outwards, were still customary. They were
-occasionally large enough to cover the whole window, but usually
-only the lower half was furnished with them. Seventeenth-century
-shutters are not comparable, in point of carved enrichment, with
-those of Gothic times; the woodwork, frequently devoid of ornament,
-is fastened to the window-frames by iron strap-hinges, and fitted
-with bolts and catches. They are, however, brightly painted and
-are interesting in consequence, giving colour to the architectural
-groups. Many harmonious schemes are to be observed; green and white;
-white, green and red; yellow and black; red and black; and numerous
-others. The coloured drawing from Nijmegen (opposite) shows shutters
-painted in red and black; while several specimens, from North and
-South Holland, are given (pages 98 to 100). The glazing of windows
-was first enclosed by casements, with hinges to open and shut. After
-casements came sash windows, which were substituted for the older
-form. There are many shown in the illustrations. Those from Flushing
-(page 105), appearing on a house dated 1625, differ somewhat from the
-usual type, being surrounded by mouldings and carvings. Dormer windows
-also, as has already been stated, became much-developed features during
-the seventeenth and eighteenth centuries. Three characteristic
-specimens are given: two from Kampen, of the years 1626 and 1634, and
-a later dormer, from Marssum, belonging to the eighteenth century, all
-shown on page 102.
-
-The distinguishing gables--so often mentioned, and intimately
-associated with house development--exhibit infinite varieties of
-treatment. Between the early stepped shapes, and the fantastic outlines
-of later days, there is an innumerable succession. They followed the
-trend of design prevalent at the time of their erection. Thus, the
-two gables, from Kampen (page 104) and Dordrecht (page 107), are in
-keeping with the current forms of the late Gothic period. They are
-both built of stone and decorated on the face with sunk panels and
-carvings. The Kampen gable has pinnacles rising from the coping of the
-steps, usual features in work of the time; while the twisted finials at
-Dordrecht, associated with the first quarter of the sixteenth century,
-are worthy of notice.
-
-It is impossible to consider here in detail the numerous vicissitudes
-through which the development of the gable passed during the many years
-that Gothic and Renaissance motives were acting together as guiding
-influences. Roughly and briefly, medi�val character was observed in
-respect to construction and general management of masses--evident by
-the stepped and curved gables--with a marked tendency to Classic
-feeling in the handling of details. Work was carried out wholly in
-brick, or in brick relieved by stone. Among the large number of
-different outlines that are in evidence, those based on the original
-stepped form show predominantly. But the spirit of the times is
-discernible in the culminating pediments, mouldings, and stone
-decorations. Four typical gables, all sketched in North Holland,
-are illustrated (pages 106 and 109). A good example of shaping,
-achieved by the use of oppositive curves, is that from Arnhem (page
-108), and the stonework of the copings extends to the strapwork
-ornament.
-
-Two gables from Leiden (page 109) are well carried out in
-brickwork. How effectively window-heads and copings were handled,
-yet withal in a perfectly workmanlike way, is demonstrated by the
-larger drawing; the brickwork is flush and obliquely tailed into the
-horizontal courses of the wall.
-
-Long sweeping curves were much employed in the shaping of later
-gables. The house opposite the bridge in the Franeker illustration
-(page 113) has such a gable, and it is dated 1735. Another, from
-Amsterdam (page 110), has similar characteristics. Both are enriched
-with stone representations of fruit and flowers, vases and festoons,
-all quite in the spirit of late seventeenth and eighteenth-century
-work.
-
-The sides of the gables of farmhouses and country cottages, straight
-and unshaped, are not uncommonly protected by barge-boards. The two
-timbers, running from base to apex, may have mouldings worked at the
-edge of them; or the undersides are diversified by repeating curves,
-with pendants appearing at the lower ends. Both methods are figured
-in detail in drawings 1, 2, and 4 on page 111. Fascia-boards, applied
-to overhanging stories of wooden houses, are similarly decorated;
-two are exemplified in numbers 6 and 7. The wooden finials, which
-are planted on the outer faces of the gables at their highest points,
-are variously shaped and perforated, and the details numbered 1, 2,
-3 and 5 give four examples of them.
-
-There is an absence of interesting chimneys in Holland, for the gable
-ends of the high and narrow-fronted houses, bordering the street,
-obscured from view these objects of usefulness. Solely utilitarian,
-therefore, they generally remained, shafts of the simplest form,
-serving the purpose for which they were devised, owing nothing to
-beauty or ornament and little to precedent. When hipped roofs were
-employed, instead of gables, chimneys came into greater prominence. But
-even then--with an absence of developed, traditional forms to give
-the basis for the evolution of a settled type--they did not constitute
-important decorative factors in the architectural scheme. Many stacks
-have neither mouldings nor other projection at the top. Chimneys a
-little more elaborate than was usual are shown by the two illustrations
-from Hoorn and Zutphen (page 112). They deviate somewhat from the plain
-rectangular shape, and both have moulded heads; while the Hoorn example
-has a pyramidal hood covered with lead and supported by four metal
-uprights.
-
-Isolated stone ornaments are numerous. They were inserted into walls
-with freedom and wheresoever caprice or fancy suggested--high up on
-gables, around doorways, over windows, or distributed on what would
-otherwise have been unrelieved spaces. The rich appearance of the
-buildings is in no small measure due to the extravagant use of these
-details. That bizarre kind of ornament, known by the name of strapwork,
-and well shown in the Arnhem gable (page 108), was freely used, as
-was carved work based upon Italian motives. Among the latter may be
-mentioned the more or less conventional representation of human forms,
-fruit and flowers, birds, fishes and beasts, with prominence given
-to heads of lions, or the complete animal in the attitude sejeant,
-popularly used as a gable termination.
-
-Of a more homely and personal character are the frequently occurring
-panels bearing, in well-cut figures and letters, dates, mottoes,
-and inscriptions; four are exemplified by the accompanying drawings
-from Zutphen (page 115) and Haarlem (pages 114 to 116). Equally
-symbolic of pride of home are the carved coats-of-arms which keep
-green, by visible sign, the memory of the builder and the honour of
-his house. One such armorial decoration from Workum, dated 1644, is
-illustrated on page 115. All these little enrichments, so constantly
-seen, are more than mere examples of craftsmanship; they essentially
-express the sentiments of the man who caused the stones to be laid.
-
-Things to be observed in everyday life naturally furnished subjects
-for carvings in stone. The forces of Nature, greatly influential
-in Holland--that is to say, water and wind and all that resulted
-therefrom--were turned to for inspiration. Decoratively treated
-water, with ships, windmills, and other appliances relevant to
-human convenience or suggestive of enterprise, were especially
-favoured. A windmill from Sneek, high in relief and painted black,
-red, gold and white, together with a ship from Haarlem appearing in
-an oval panel surrounded by a scrollwork frame, are illustrated (page
-115). Interesting is the wall-panel at Franeker (page 114), with a
-scene from local history depicted upon it; there is much spirit shown
-in the carving of the men and horses, while the water, drawbridge, and
-distant houses are well managed. The house known as "Inde Steenrotse,"
-situated on the Dwars Quay at Middelburg, dated 1590, is noteworthy for
-its large panels in high relief. It was built by a wealthy mason. Five
-of the carved subjects portray various episodes connected with the
-working of stone and two are here given (page 116); others, higher
-up the building, represent biblical scenes from the Book of Exodus.
-
-The mosaic decorations are of unusual interest, for they are of a kind
-more or less peculiar to this country. They were formed by inlaying
-small pieces of brick and stone set together to make repeating patterns
-or panels. As was customary, materials were used with just regard for
-their suitable adaptability to purpose; not employed unreasonably,
-or strained to accomplish that for which they were not fitted. The
-units were simple and results legitimate. This ornamental work was
-principally used to enrich the arched spaces over window-heads; less
-frequently it appears in bands carried horizontally across the
-buildings.
-
-The houses at Woudrichem (page 117)--inscribed "Iden Salamander 1606"
-and "Zuden Gulden Engel 1593"--have notable examples of mosaics in the
-window-heads. Two of the patterns are shown in detail on page 118,
-together with two others from a house near by. All were achieved
-by manipulating little shaped pieces of brick to form devices,
-especially noticeable being the starlike figures with radiating
-points. Work of a similar kind appears on the house at Zwolle, dated
-1609, and illustrated on page 119. An enlarged drawing of one of the
-window-heads (page 118) gives the precise arrangement of the brick and
-stonework. There is quite a Moorish feeling evident in this design,
-with the two main portions of inlay enclosed by arch-shaped lines
-curved horseshoe fashion. The horseshoe arch was essentially a product
-of Morocco, and the analogy with the East is further strengthened by
-the fact that mosaic was a medium extensively used by Byzantine and
-Saracenic artists. These circumstances all suggest the origin of the
-employment of such work in Holland.
-
-On page 118 is represented a small section of the horizontal mosaic
-band that appears over the archway at Nijmegen (page 41). Simpler
-patterns were also formed with ordinary narrow bricks and mortar. Two
-examples are here given, both carried out in red and yellow bricks,--a
-frieze at the first storey level of a house at Workum and shaped
-spaces from Franeker (page 120).
-
-Turning to external metalwork the most characteristic objects are the
-iron wall-ties. They were applied to walls to give them stability. But
-the possibilities for artistic treatment which the wall-ties offered
-were by no means overlooked, as is demonstrated by the many and varied
-forms produced by the blacksmiths, who regarded these accessories,
-before all things, as the particular field for the display of their
-skill. Endless varieties are to be found, certain patterns being
-local to specific districts. Upon ordinary houses--and they were
-practically invariably used--they are usually no more elaborate
-than might be achieved by direct work on the anvil; of honest but
-unambitious appearance and shaped in simple ways, such as are shown
-by the illustrations on page 121. But the wall-ties of more important
-buildings are often complicated affairs; beautiful examples of design
-and craftsmanship which were wrought with labour. They are rich in
-scrolls and curves with foliated ornament, and one of the examples here
-given (page 123) has the date of 1798 worked within it. Iron letters
-and figures also decorate the fronts of many houses. Each is detached
-and secured to the wall by a single stay. They are arranged to denote
-dates or monograms. An example has already been seen at the base of
-a gable at Middelburg (page 35); another specimen, from St. Anna,
-near Nijmegen, is reproduced on page 122.
-
-Other wrought ironwork was used for various purposes on doors and
-windows, as well as to heighten the effect of certain features. A good
-instance of its application is demonstrated by the key-escutcheon,
-with supporting iron decorations, from Middelburg (page 123). The
-workmanship is of a traditional kind, with Gothic forms recalled by
-the cusps on the pierced plates. The iron door-knocker, appearing
-on the same page, is an interesting example of curious design and
-belongs to the sixteenth or seventeenth century. For windows, ironwork
-was used in the stout stay-bars and stanchions, instances of which,
-fitted to an oval opening, are furnished from Leiden (page 122).
-
-The magnificent wrought vanes of Holland, surmounting lofty belfries
-on public buildings, are justly famous and are reflected in the less
-elaborate shapes that adorn the roof points or gable terminations
-of business and dwelling-houses. One, from Middelburg (page 122),
-is a beautiful example of an iron terminal. The crowning figure and
-fleur-de-lis are gilded, while signs and symbols of the Zodiac are
-worked around the outer and inner open-framed globes. Simpler vanes are
-common throughout the country, attached to farmhouses or stables. That
-from Broek (page 122) is shaped like a swan; one may be seen at
-Veere which takes the form of a ship. The shaft of the weathercock
-from Hees (page 124) is made up of iron scrolls, welded together,
-and four projecting arms point to north, south, east and west.
-
-The leadwork to be observed on domestic buildings is not of remarkable
-interest. There are no wonderful decorated rain-water heads such as
-may be seen elsewhere, and lead heads, when used at all, are for the
-most part comparatively plain, square projections. The examples from
-Zutphen, reproduced on page 122, illustrate two ordinary forms. An
-interesting feature, prevalent in North Holland, is the lead finial
-placed at the apex of a hipped roof. There are many examples in the
-streets of Hoorn, three of which are shown on page 124. Notice should
-be taken of the delicate little fretwork heads; the repouss� patterns
-on the upright sides; and the iron vane which surmounts one of the
-examples. These objects, although of little practical use, have a
-decorative value that well justifies their existence. In all these
-exterior features and details, whether executed in wood or stone,
-metal or brick, there is especial evidence of the type of mind that
-was concerned with their production; they pertinently give the key to
-temperament and character. Such work resulted from deliberate thought
-and calculation, rather than from imaginative impulse. Sometimes
-it verged on dulness, yet there is always traceable a certain solid
-strength and vigour. This is well seen in the stone carvings, here
-illustrated, whose subjects are often lacking in originality or follow
-some oft-repeated theme. They are excellently carved, however, and
-attain interest in consequence. For the individuality of the masons
-is reflected in the inanimate stone. They gave life to their work
-and freshness to old subjects. Each man followed his own bent. Some
-were a little in advance of their time, some behind it, so there are
-endless variations to patterns that superficially agree. A new turn
-was given to a scroll here, a different arrangement there; just small
-things that served to raise work from the conventional and commonplace.
-
-The olden craftsmen respected tradition. Forms that became established
-by custom were handed down from generation to generation. Certain
-ornaments continued to be used, almost unaltered, over a very long
-period. Not that patterns were slavishly followed; on the contrary,
-each man gave his own interpretation of what he knew had served
-so well, and fashioned his work in his own way. But he remembered
-something of that which had gone before. Traditions of ornamentation
-were just as much founded upon accumulated experience as were the
-main styles of architecture. The worker saw around him the forces of
-Nature, active yet unchanging, the abiding waterways, the ancient
-churches standing as they had done in times long past, and it was
-in a spirit of respect for the permanence of spiritual and material
-things that he pursued his craft. This was altogether good. Methods
-of workmanship, the treatment of features, and types of enrichment,
-were gradually evolved. They were governed by ordered principles that
-slowly grew together and became established, principles that served
-to check the introduction of inharmonious innovations which would
-have been out of sympathy with all those forms that, as a whole,
-were customary and usual.
-
-Doorways, windows, gables and ornaments, therefore, by their
-particular appearance, mark various steps in a long-continued process
-of development. Period followed period. After the pointed-arched
-doorways came the circular-headed; gables of simple outline in course
-of time became more complex; fashions in the shaping of wall-ties
-changed. But nothing happened suddenly. Craftsmen were content to
-solve their own problems without any show of haste. It was by such
-methods that incongruities were avoided.
-
-The national temperament always asserted itself and each individual
-as he carved his stone, laid his bricks, worked his wood, or wrought
-his iron, did his small part to keep alive the inherited traditions,
-and pass them on so that they should be vigorous to meet the needs
-of future generations.
-
-The ornamental features that appear on the exterior walls impart to
-the buildings of Holland much of that quaintness for which they are
-distinguished. Although the decorations are so plentifully applied,
-they do not often appear misplaced or offend the eye. For the natural
-conditions of the country have always been peculiar. The low-lying
-lands and ever-present water demand a special type of architecture
-which shall be in thorough sympathy with the surroundings, as well
-as outwardly express the character of those people who live amongst
-them. Much is possible and good in Holland which would be out of place,
-or even bad, elsewhere. The many houses, appearing where they do, are
-admirably conceived. Rich with ornaments, date panels, little carvings,
-mosaics and ironwork--such as are shown by the illustrations in this
-section--with coloured bricks fashioned in many ways, and doorways
-and windows highly decorated, they cannot fail to appeal to those
-who see them in their natural environment. There is a personal note
-about each dwelling. They are houses that look like homes, places to
-be treasured by succeeding generations. And the evidences of pride
-of possession to be seen in the isolated panels carved with arms,
-dates and inscriptions, or similar motives worked around doorways,
-especially give to the brick and stone-built walls a home-like and
-fireside quality. Students of English architecture will have observed
-how homely ideas affected the appearance of the houses of Holland
-just as they did those of England. Similar sentiments obtained in both
-countries and indirectly brought kindred features to the buildings.
-
-It requires but little imagination to people once again the streets
-and waterways with men and women and of their lives are on every
-hand. The stones they lovingly caused to be carved are there; the
-heavy studded doors that yielded to their hands are still framed by
-old entrance ways. The work was done that it should last and yet it
-stands, solid and good. The glory of the house may have departed;
-yet there still remains the material record of lives well-spent and
-duties well-performed. And in this the carved monograms and dates
-are full of meaning.
-
-
-
-
-
-
-
-
-
-DIVISION III
-
-INTERIORS AND DECORATION
-
-
-There are, within the old buildings of Holland, interior effects of
-rare charm. They are hidden away from the outer world behind high
-gabled fronts of sober houses, beyond the thresholds of country
-farms. These interiors are rich in memories of the past. They tell
-of bygone times and bring vivid pictures of civic and home life to
-the imagination. Solidly built, they were erected with due thought to
-permanence, that they should stand from generation to generation; that
-men's memories might be honoured by their children and their children's
-children. That it should be continuous and abiding was the keynote
-of the old work which to this day is fresh and beautiful, full of
-life and vitality, although the makers of it have long since gone and
-are forgotten. And while things were made to be durable, so also were
-they made to please the eye and gratify the senses. Good construction,
-accompanied by much enrichment, gave results tending towards extreme
-elaboration. Rooms became imposing by their massive ceiling beams
-supported by sculptured corbels; panelling, or maybe Spanish leather
-or tapestry, upon the walls; carved oaken doors; fireplaces in wood
-and stone adorned with columns, figures and other devices; coloured
-tiles of many patterns; cast-iron firebacks and wrought metalwork;
-panels of painted glass in the windows; floors of oak, veined marble,
-or glazed quarries; brass candelabrums hanging from the ceilings,
-with movable furniture and ornaments disposed in many places.
-
-A good impression of a seventeenth-century room may be gathered from
-the accompanying illustration from Dordrecht (page 128). The walls are
-panelled in oak up to a certain height; above is a deep white frieze,
-admirably adapted for displaying the blue-and-white ware and pictures
-which rest against it. The chimney-piece is sumptuous, alternately gay
-and sober, charming below the mantel with brightly-coloured tiles and
-shining metal utensils, dignified above with panelling and projecting
-frieze. Forming the dividing line between mantel and fireplace is
-a mantel-cloth of blue material, inscribed with the homely maxim
-"Oost West, Thuis Best," and bearing a brace of crossed tobacco-pipes
-worked at each end of it. A good specimen of a brass candelabrum
-is attached to the central ceiling beam, while the floor is covered
-with matting. Solid oak furniture, massive and heavy, completes this
-picture of material comfort and pleasantness. Equally characteristic
-is the room at Leeuwarden (page 129). Similar features will be
-observed--panelling and carved woodwork; ceiling joists and beams,
-which are here supported by moulded corbels; blue-and-white ware,
-tiles, and a blue velvet mantel-cloth. The hearth is of squares of
-black and white marble. Upon it stands a copper fire-holder; behind
-is a cast-iron fireback adorned with an armorial subject. In the
-lead-glazed window are two circular panels of painted glass.
-
-Another example of a brass candelabrum, similar to the one
-above-mentioned, is shown by the drawing from Haarlem (page 127). It
-is of a type that was customary. Many such still exist in old-world
-rooms, suspended from high ceilings by chains or rods. Apart from
-their uses for purposes of illumination, they are highly successful as
-centre ornaments, for it will be seen how effectively they were made,
-with curved decorated brackets branching from shaped shafts. Patterns
-are various, but there are certain essentials common to all and a
-general resemblance between each. Thus, a particularly beautiful
-candelabrum in the Town Hall at Zwolle, with an image of the Virgin
-and pierced, leaf-like brackets, is but an elaboration of the simple
-familiar form. Some carry three lights only, ordinarily there are
-ten or twelve; while an example noticed at Haarlem, with twenty-seven
-candles, probably represents the extreme capacity of this old-fashioned
-system of lighting.
-
-Of interior features, first in importance come the fireplaces. Great
-thought was given to the decoration of them, the appearance of many
-being rich beyond description. Numerous kinds of materials were used
-for their adornment; brick and stone, wood, marble and slate, coloured
-tiles and terra-cotta, all giving value to the imposing compositions.
-And although the materials were so various, they were skilfully
-combined to produce harmonious results. Fireplaces were brought forward
-from the walls and not set back within them. The openings were of ample
-size, wide and high. The jambs, enriched with mouldings or appearing as
-columns, supported massive hoods that extended upwards to the ceiling.
-
-The fireplace at Maastricht (page 131) is a good specimen of the late
-Gothic type. It belongs to the year 1510, this date being carved
-on the centre scroll. Upon the sandstone jambs are worked Gothic
-mouldings which spring from shaped stops resting on square bases. The
-broad frieze is rich with carvings of angels, conventional flowers,
-cusps, and two shields, bearing the arms of Maastricht and Li�ge. The
-rear of the opening is lined with pressed terra-cotta tiles that
-exhibit a variety of designs in low relief. Against it is set an
-iron fireback ornamented with a heraldic device. The wooden figures
-on the mantel-shelf are merely placed thereon and are not inherent
-to the design.
-
-Details of fireplaces changed with the passing of Gothic influences,
-although the olden form was still retained. Classic columns, or
-less frequently, human figures and grotesques, were substituted for
-moulded jambs. They commonly supported a carved oak frieze surmounted
-by a projecting cornice. Such chimney-pieces are by no means rare in
-Holland and may generally be ascribed to the seventeenth century. One,
-from Leeuwarden, has already been illustrated on page 129. Another
-example, from Middelburg, is here given (page 133). The columns are of
-white marble, but the jambs behind them, together with the bases and
-corbels, are of slate and are decorated with strapwork patterns. The
-oak mantel is inlaid with bands and panels of light wood. Tiles of
-blue, white and yellow cover the back, and border the upright sides
-of the iron hearth.
-
-The chimney-piece at Amsterdam (page 130) is of an unusual pattern. It
-is situated in the room of the Bricklayers' Guild and is of early
-seventeenth-century workmanship. The opening is framed of stone. Over
-the mantel-shelf is a curved pediment with the arms of Amsterdam
-carved upon it. Fitted to the chimney-breast above is a small oval
-painted panel enclosed by brickwork.
-
-The fireplace from the Westerwold (page 135), now at Groningen, belongs
-to a later period than the preceding example. A wooden chimney-shelf
-and pilasters, almost black in colour, support the tapering hood. The
-back of the fireplace is faced with blue-and-white tiles and red
-bricks. A protecting fireback rests against it, while a hanger,
-hooked within the opening, holds the metal pot over the fire. The
-effect of this fireplace and its accessories, admirably decorative in
-themselves, is further enhanced by the pure white surrounding walls,
-and by the parti-coloured floor laid with red and yellow quarries.
-
-Cast-iron firebacks have been noticed in the previous illustrations.
-They were generally used where fires burned on open hearths. The
-castings are rather light and thin, and were taken from wooden models.
-They are ornamented with floral and heraldic subjects, or designs
-suggested by classical myths and bible stories. Of the four examples
-illustrated on pages 132 and 134, two have armorial bearings,
-surrounded by rich borders, cast upon them. The one from Leiden is
-dated 1609, and the other, from Nijmegen, 1650. Both of the remaining
-specimens from Jisp and Middelburg, are decorated with figure subjects,
-bordered by fruit and scrolls and flowers. All the work is in rather
-low relief.
-
-Fuel, in the form of peat or charcoal, was responsible for certain
-utensils in which it could be conveniently burned. One such is given on
-page 139. It is an iron fire-standard suited for holding peat, and was
-drawn in the Museum at Dordrecht. The lines of the design are good,
-especially to be observed in the engaged scrolls and shaping of the
-top. It is, withal, serviceably made. Small boxes containing fire,
-placed upon the floor in front of chairs, served as foot-warmers
-(page 148). They are of square or oval shape. The sides are frequently
-patterned and the lids perforated. Fires were also contained in iron
-pots which stood upon oak stools within the fireplaces; or they burned
-in little iron hearths, which were set towards the centre of the rooms,
-with no provision made for carrying away the smoke. The former system
-is exemplified by the drawing from Leeuwarden (page 137), and the
-latter by an illustration from a cottage at Marken (page 136).
-
-A small crane is often seen attached to the back of the fireplace. A
-kettle or pot rests upon it, which might, if desired, be swung over or
-away from the fire. The specimen here reproduced (page 136) is from
-Leeuwarden. It has one simple movement, that of swinging backwards
-and forwards. The curved arm is made of brass, and shaped to resemble
-a fish. Out of the mouth comes the iron kettle-holder with a small
-chain affixed, handy for drawing it to and fro. Allied to the crane,
-and used for a similar purpose, is the hanger that was suspended from
-the flue. The two specimens appearing on page 139 are from Middelburg,
-and both are constructed of iron. They can be made to hang high or
-low, one by means of a ratchet, and the other by a catch, which fits
-into pierced holes and is shown in detail.
-
-The set of fire-irons, also from Middelburg (page 139), furnishes
-admirable examples of useful objects, suitably adorned. The plate
-to which the fire-irons hang, with scallop-like indentations at its
-upper edge, is enriched with incised decoration, depicting a ship,
-trees, birds, letters, and the date of 1787. The tongs at the extreme
-left are so fashioned that one arm, being hollow, may be used as a
-blowpipe. Next in order is a ladle adapted for scooping up ashes from
-the hearth. Upon the flat handle is further incised ornamentation,
-based upon floral motives. The central object is a blowpipe, and a
-second pair of tongs completes the set. With the exception of some
-of the ends and terminations, which are of brass, these implements
-are made of iron, brightly polished.
-
-In the glazed tiles, inseparably associated with Delft and other
-places in Holland, the Dutch had admirable material for interior
-decoration. Some tiles were pure white; others had conventional floral
-forms painted upon them. Many, again, were decorated with devices
-derived from scriptural, nautical, rural, historical, and classical
-sources. Units such as these, beautiful in themselves, were capable
-of giving lively and gay effects when arranged together. How
-satisfactorily they were used will have been already observed
-in the fireplaces previously described.
-
-But, apart from giving value to fireplaces, they were employed
-in other ways. Notable rooms are to be seen whose good appearance
-depends primarily upon the skilful manipulation of tiles. Two such are
-illustrated, one in colour (opposite). They are from Hindeloopen, and
-are now in the Frisian Museum at Leeuwarden. The original woodwork of
-the coloured drawing belongs to the seventeenth century. The back of
-the fireplace, as well as the walls surrounding it, is faced entirely
-with tiles from floor to ceiling. Those towards the floor have blue and
-white patterns upon them; above, and in the window recess, they are
-white but for the narrow blue borders round the angles. These tiles
-were made at Makkum. Upon the floor are glazed quarries of red and
-black, laid in alternate colours. The room of the other illustration
-(page 137) dates from the eighteenth century. It has similar tiles
-on the walls and quarries on the floor. Floors were also laid with
-other coloured quarries, blue and green and yellow; while in larger
-houses stone and marble were employed with pleasing results.
-
-Panelling was by no means infrequently applied to interior walls. It
-was often marked by elaboration rather than simplicity, although
-there are not wanting examples of rooms wainscoted with plain framed
-woodwork divided into panels by stiles and rails. Of ornamental panels
-there are certain definite kinds. Characteristic are those adorned
-with linen-fold patterns. Another design that was favoured is shown
-in the illustration taken from Zwolle (page 138), where carved vine
-ornaments appear between two curved and moulded scrolls set back to
-back. This particular example is attributed to the beginning of the
-sixteenth century. At a later date round-headed arches and pilasters
-were introduced, such as those exemplified from Leiden on this page,
-as well as carved friezes and moulded cornices. It is remarkable
-to note the great similarity between the development of panelling
-in Holland and in England. The earlier patterns employed in both
-countries are practically identical, while Dutch seventeenth-century
-woodwork bears great resemblance to that of our Jacobean period.
-
-Wooden doors harmonised with the wainscot of the walls. They were
-divided into panels and often richly carved. Doorways were given
-importance by the pilasters and cornices that surrounded them. The
-door from Groningen (below) furnishes a seventeenth-century specimen,
-elaborately carved with forms peculiar to the time.
-
-The metal fittings attached to doors--locks, bolts, hinges, handles,
-and the like--are of good design and workmanship. Two lock-plates
-(page 143), from the Rijks Museum at Amsterdam, belong to the sixteenth
-century. They are both made of iron. One, bearing the date of 1587,
-is decorated with projecting ornaments; the other is adorned with
-applied metalwork, pierced and carved. Further examples of iron
-door-furniture, simply but effectively treated, are illustrated by
-the handle from Middelburg and the bolt from Dordrecht (page 143).
-
-A feature common to Dutch rooms is the small cupboard in the wall,
-wherein many and sundry articles were stored. The recess is sometimes
-merely covered by a curtain that may be drawn to and fro, such as can
-be seen at the left hand of the window in the coloured reproduction
-from Leeuwarden given here. But generally a wooden door was fitted to
-the opening. Some of these doors, with one or two panels, are quite
-plainly made. Others, highly decorated with carvings and metalwork,
-furnish examples of beautiful craftsmanship. Two are here illustrated
-(pages 143 and 144), which show how well and cunningly artificers in
-wood and metal exercised their skill. Both are of sixteenth-century
-workmanship, and are now in the Rijks Museum. Apart from the good
-wood-carving, the ironwork on each is notable. The three hinges,
-attached to the larger door, all have peculiarly graceful branched
-terminations; while the hinge of the second example is pierced and
-engraved with a floral pattern. The lock-plates, also, are admirably
-devised.
-
-The further illustration of a Hindeloopen room from Leeuwarden (page
-141) is especially interesting, for around the walls are cupboard-like
-apartments that afforded accommodation for sleeping. They are closed by
-wooden doors which have open-work panels at their heads to permit the
-passage of air. The beds, resembling a ship's berths, are reached by
-flights of steps, two of which will be seen in the reproduction. These
-steps are movable and curiously shaped and painted, as is demonstrated
-by the flight in the foreground with its side boards made to imitate
-birds and flowers. Other old Dutch interiors--cheerful with coloured
-plates, tiles and quarries, shining brass and carved woodwork--furnish
-instances of this particular disposition of sleeping accommodation.
-
-The old furniture was of a kind that well harmonised with the fitted
-woodwork and other decorations of the rooms. It is not unusual to find
-pieces of the seventeenth and eighteenth centuries amid surroundings
-similar to those for which they were originally intended. The rooms
-at Dordrecht (page 128) and Groningen (page 135) both have suitable
-furniture that valuably contributes to the success of the schemes. All
-is more or less directly useful; rooms were not crowded with objects
-that were neither utilitarian nor good to look upon. Most commonly
-occurring are chairs and tables, chests and cabinets. The earlier
-oak work was jointed and pegged together. It was very solidly made
-and ornamented in a reasonable way. Some of the large cabinets offer
-splendid examples of skilful handiwork, and an elaborate specimen,
-from Haarlem, appears on page 145. Two characteristic tables are
-also illustrated, one from Edam (page 145) and one from Amsterdam
-(page 146). In the eighteenth century it became the fashion in certain
-parts of Holland to heavily paint fitted and movable furniture with
-coloured patterns, the natural beauty of the wood being thus obscured.
-All kinds of objects were ornamented, and in a somewhat amateurish way.
-The favoured motifs were floral scrolls, little flowers, birds and
-animals, scriptural scenes, with pastoral and sea views.
-
-Brass was much used in the making of domestic utensils. Familiar
-objects for many purposes were fashioned of this material. Brightly
-polished and shining, they were quite in accord with the prevailing
-gayness of the rooms and well harmonised with the fitted woodwork,
-furniture, tiles and other metalwork. Fireplaces were adorned with
-sundry articles of brass, some being purely ornamental, others
-achieving some useful mission. The brass chimney-crane (page 136)
-belongs to this latter class, as does the fire-side set reproduced on
-page 147. The latter is a particularly handy contrivance, for, being
-movable, it can be transferred from room to room. The stand takes the
-form of a baluster stem which rests upon an ornamental basic tripod; it
-is surmounted by a circular attachment that supports the kettle. Upon
-three curved arms, branching outwardly, the brush and tongs and shovel
-are hooked. This set is of eighteenth-century workmanship. The stand
-is 1 foot 11-1/2 inches high, the tongs 23 inches long, the brush 21
-inches long, and the shovel 23 inches long. An example of the portable
-foot-warmers for placing on the floor in front of chairs, such as have
-been already mentioned, is here illustrated (page 148). It is made of
-brass and has eight sides. Each upright side decorated with repouss�
-work, circular bosses alternating with panels of flowers. The slightly
-curved top has a medallion in the centre, engraved with the letters
-and date "i. w. hm. 1733." It is surrounded with floral scrolls,
-geometrically arranged, and between the patterns are pierced holes
-through which the heat is distributed.
-
-The candlestick (page 148), also of brass, belongs to the eighteenth
-century. It has two curved brackets which are adjustable, as will
-be seen by the hinged attachments in the illustration. The height
-is 18-1/4 inches and the width, from bracket to bracket, is 12-1/8
-inches. Another old-fashioned object used for lighting is the brass
-lantern with arched top (page 148). All the three windows are
-surrounded by a border of floral openwork, very finely pierced with
-a pattern common to the eighteenth century. The fourth side, forming
-the back, has a panel in the centre.
-
-The cover of the warming-pan, given on page 147, furnishes an excellent
-specimen of perforated and engraved brasswork. The central figures
-represent Venus and Cupid, while interwoven with the strap and foliated
-ornaments are grotesque figures, beasts and birds. Each little part
-of the design is engraved, and around the outer margin of the pan
-is a Dutch inscription which embodies the date of 1602. Further
-well-executed piercing and engraving, but of a later date than the
-above, appear on the tea-caddy here illustrated (page 148). This
-latter object is 6 inches high and 4 inches wide. The pastille-burner
-(page 148) is made wholly of brass. Upon the baluster stem and circular
-base are rococo designs beaten-up in relief. Made of wickerwork, the
-coffer reproduced on page 147 is adorned with handsomely shaped and
-perforated brass mounts that extend around it.
-
-The corridor at Hoorn (page 149) belongs to the seventeenth century. It
-has a timber roof springing from the two side-walls in the form of a
-barrel-vault. Upon the concave surface are longitudinal and transverse
-ribs whose intersections are emphasised by carved bosses. The vault is
-supported at each side by decorated wooden brackets. Another detail
-associated with a place of access is the wrought-iron railing from
-Zierikzee (page 146).
-
-And lastly, three typical village interiors are given. Two, from
-Volendam (above) and Marken (page 151), have simple fireplaces faced
-with ordinary blue and white Dutch tiles. Another shows a room in
-a wooden house at Marken (page 152), the timbering of the walls
-being visible.
-
-But it is the old towns of Holland, rather than the villages, that
-hold the charms for those who sojourn in that fascinating country;
-towns rich in associations that unbrokenly date back to a buried and
-untraceable antiquity. In them history has been made. There stand
-the old and sober gabled buildings, silent monuments to the thoughts,
-ideals and ambitions of those who built them. And, clustering around
-the market-places where life yet centres as it did in days gone by,
-or reflected in still waters, the houses keep their secrets well.
-
-
-Sydney R. Jones.
-
-
-
-
-
-
-
-
-
-NOTE
-
-
-[1] "Biographical Sketches of Dutch Architects."--MSS. by
-J. B. Weenink.
-
-
-
-
-
-
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-
-The Project Gutenberg EBook of Old Houses in Holland, by Sydney R. Jones
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Old Houses in Holland
-
-Author: Sydney R. Jones
-
-Editor: Charles Holme
-
-Illustrator: Sydney R. Jones
-
-Release Date: November 9, 2019 [EBook #60658]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK OLD HOUSES IN HOLLAND ***
-
-
-
-
-Produced by Jeroen Hellingman and the Online Distributed
-Proofreading Team at http://www.pgdp.net/ for Project
-Gutenberg (This file was produced from images generously
-made available by The Internet Archive/American Libraries.)
-
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-
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-</pre>
-
-<div class="front">
-<div class="div1 cover"><span class="pagenum">[<a href="#toc">Contents</a>]</span><div class="divBody">
-<p class="first"></p>
-<div class="figure cover-imagewidth"><img src="images/frontcover.jpg" alt="Original Front Cover." width="506" height="720"></div><p>
-</p>
-</div>
-</div>
-<div class="div1 titlepage"><span class="pagenum">[<a href="#toc">Contents</a>]</span><div class="divBody">
-<p class="first"></p>
-<div class="figure titlepage-imagewidth"><img src="images/titlepage.png" alt="Original Title Page." width="461" height="720"></div><p>
-</p>
-</div>
-</div>
-<div class="titlePage">
-<div class="docTitle">
-<div class="mainTitle">OLD HOUSES IN HOLLAND</div>
-</div>
-<div class="byline">TEXT AND ILLUSTRATIONS<br>
-BY SYDNEY R. JONES, WITH<br>
-SOME ADDITIONAL PLATES IN<br>
-COLOUR AFTER OTHER ARTISTS
-<br>
-<span class="sc">Edited by Charles Holme.</span></div>
-<div class="docImprint"><span class="docDate">MCMXIII</span><br>
-&#x201c;THE STUDIO&#x201d; LTD.<br>
-LONDON, PARIS, NEW YORK</div>
-</div>
-<p><span class="pagenum">[<a id="xd29e121" href="#xd29e121">iii</a>]</span></p>
-<div class="div1 preface"><span class="pagenum">[<a href="#toc">Contents</a>]</span><div class="divHead">
-<h2 class="main">PREFATORY NOTE</h2>
-</div>
-<div class="divBody">
-<p class="first">The Editor desires to express his indebtedness to the following, who have rendered
-valuable assistance in the preparation of this volume: Mr. A. Pit, Director of the
-<span lang="nl">Nederlandsch Museum voor Geschiedenis en Kunst</span>, and other officials of the <span lang="nl">Rijks Museum</span>, Amsterdam; Messrs. P.&nbsp;C.&nbsp;J.&nbsp;A. Boeles and D. Draaisma, of the <span lang="nl">Friesch Museum, Leeuwarden</span>; Dr. B. van Rijswijk, Secretary of the <span lang="nl">Vereeniging Oud-Dordrecht</span>; Mr. W. Polman Kruseman, Secretary of the <span lang="nl">Zeeuwsch Genootschap der Wetenschappen, Middelburg</span>; and the Directors of the British Museum, the Victoria and Albert Museum, the National
-Gallery, and the Wallace Collection, London.
-</p>
-</div>
-</div>
-<div class="div1 contents"><span class="pagenum">[<a href="#toc">Contents</a>]</span><div class="divHead">
-<h2 class="main">ILLUSTRATIONS IN COLOUR</h2>
-<ul>
-<li> <span class="sc">After</span>&#x2014;
-</li>
-<li><span class="seg">Pieter de Hooch</span> &#x201c;<a href="#p003">Interior of a Dutch House</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><i>Frontispiece</i></span></li>
-<li><span class="seg"><span class="ditto"><span class="s">Pieter</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">de</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Hooch</span><span class="d"><span class="i">,,</span></span></span> </span> &#x201c;<a href="#p016">Interior with Woman peeling Apples</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><i>Opposite</i></span> <span class="seg"><i>page</i></span> 16</span></li>
-<li><span class="seg"><span class="ditto"><span class="s">Pieter</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">de</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Hooch</span><span class="d"><span class="i">,,</span></span></span> </span> &#x201c;<a href="#p044-2">Dutch Interior</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s"><i>page</i></span><span class="d"><span class="i">,,</span></span></span> </span> 44</span></li>
-<li>Johannes Vermeer &#x201c;<a href="#p066-2">The Letter</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s"><i>page</i></span><span class="d"><span class="i">,,</span></span></span> </span> 66</span></li>
-<li>Catherine Bisschop-Swift &#x201c;<a href="#p080-2">The Mirror</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s"><i>page</i></span><span class="d"><span class="i">,,</span></span></span> </span> 80</span></li>
-<li>Sydney R. Jones &#x201c;<a href="#p098-3">Nijmegen, Gelderland</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s"><i>page</i></span><span class="d"><span class="i">,,</span></span></span> </span> 98</span></li>
-<li>Baron J.&nbsp;A. Hendrik Leys &#x201c;<a href="#p130-2">Seventeenth-Century Dutch Interior</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s"><i>page</i></span><span class="d"><span class="i">,,</span></span></span> </span> 130</span></li>
-<li>Sydney R. Jones &#x201c;<a href="#p140-2">Hindeloopen Room at the Frisian Museum, Leeuwarden</a>&#x201d; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s"><i>page</i></span><span class="d"><span class="i">,,</span></span></span> </span> 140</span>
-</li>
-<li><a href="#p136-3">Enamelled Earthenware</a> <a href="#p138-2">Tiles</a> (early 18th century) &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><i>pages</i></span> 136 &amp; 138</span></li>
-<li><a href="#p144-2">Delft</a> <a href="#p146-3">Dishes</a> (18th century) &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class="tocPageNum"><span class="seg"><span class="ditto"><span class="s"><i>Opposite</i></span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s"><i>pages</i></span><span class="d"><span class="i">,,</span></span></span> </span> 144 &amp; 146</span></li>
-</ul>
-<p><span class="pagenum">[<a id="xd29e275" href="#xd29e275">iv</a>]</span></p>
-</div>
-</div>
-<div id="toc" class="div1 contents"><span class="pagenum">[<a href="#toc">Contents</a>]</span><div class="divHead">
-<h2 class="main">CONTENTS.</h2>
-<table class="tocList">
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7">
-</td>
-<td class="tocPageNum">PAGE</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc"><a href="#intro" id="xd29e286">Introduction</a></span>
-</td>
-<td class="tocPageNum">1</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc">Illustrations</span>:&#x2014;
-</td>
-<td class="tocPageNum"></td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p005">Breda, North Brabant</a>
-</td>
-<td class="tocPageNum">5</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p007">Monnikendam, North Holland</a>
-</td>
-<td class="tocPageNum">7</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p009">Veere, Zeeland</a>
-</td>
-<td class="tocPageNum">9</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p011">Nijmegen, Gelderland (dated 1544)</a>
-</td>
-<td class="tocPageNum">11</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p013">Dordrecht, South Holland</a>
-</td>
-<td class="tocPageNum">13</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p015">Leiden, Rhijnland (dated 1612)</a>
-</td>
-<td class="tocPageNum">15</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p017">Haarlem, North Holland</a>
-</td>
-<td class="tocPageNum">17</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p018">Brigdamme, Zeeland</a> </td>
-<td class="tocPageNum">18</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc">I.&#x2014;<a href="#ch1" id="xd29e356">The Development of Domestic Architecture</a></span>
-</td>
-<td class="tocPageNum">19</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc">Illustrations</span>:&#x2014;
-<span class="pagenum">[<a id="xd29e836" href="#xd29e836">vi</a>]</span></td>
-<td class="tocPageNum"></td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p021">Groningen (1509)</a>
-</td>
-<td class="tocPageNum">21</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p022">Boxmeer, North Brabant</a>
-</td>
-<td class="tocPageNum">22</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p023">Gorinchem (Gorcum), South Holland</a>
-</td>
-<td class="tocPageNum">23</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p024">Breda, North Brabant</a>
-</td>
-<td class="tocPageNum">24</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p025">Middelburg, Zeeland</a>
-</td>
-<td class="tocPageNum">25</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p026">Franeker, Friesland</a>
-</td>
-<td class="tocPageNum">26</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p027">Dordrecht, South Holland</a>
-</td>
-<td class="tocPageNum">27</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p028">Dordrecht (dated 1702)</a>
-</td>
-<td class="tocPageNum">28</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p029">Haarlem, North Holland</a>
-</td>
-<td class="tocPageNum">29</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p030">Spaarwoude, North Holland</a>
-</td>
-<td class="tocPageNum">30</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p031">St. Laurens, near Middelburg, Zeeland</a>
-</td>
-<td class="tocPageNum">31</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p032">Haarlem, North Holland</a>
-</td>
-<td class="tocPageNum">32</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p033">Alkmaar, North Holland (dated 1609)</a>
-</td>
-<td class="tocPageNum">33</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p034">Hoorn, North Holland (dated 1612)</a>
-</td>
-<td class="tocPageNum">34</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p035">Middelburg, Zeeland</a>
-</td>
-<td class="tocPageNum">35</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p036"><span class="seg">Hoorn, North Holland</span></a>
-</td>
-<td class="tocPageNum">36</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p037"><span class="seg"><span class="ditto"><span class="s">Hoorn,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">North</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Holland</span><span class="d"><span class="i">,,</span></span></span> </span></a>
-</td>
-<td class="tocPageNum">37</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p038">Woudrichem, North Brabant</a>
-</td>
-<td class="tocPageNum">38</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p039"><span class="seg">Leiden, Rhijnland</span></a>
-</td>
-<td class="tocPageNum">39</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p040">Middelburg, Zeeland</a>
-</td>
-<td class="tocPageNum">40</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p041">Nijmegen, Gelderland (dated 1606)</a>
-</td>
-<td class="tocPageNum">41</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p042"><span class="seg">Zutphen, Gelderland</span></a>
-</td>
-<td class="tocPageNum">42</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p043"><span class="seg"><span class="ditto"><span class="s">Zutphen,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Gelderland</span><span class="d"><span class="i">,,</span></span></span> </span> (dated 1547)</a>
-</td>
-<td class="tocPageNum">43</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p044-1">Veere, Zeeland</a>
-</td>
-<td class="tocPageNum">44</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p045">Haarlem, North Holland</a>
-<span class="pagenum">[<a id="xd29e550" href="#xd29e550">v</a>]</span></td>
-<td class="tocPageNum">45</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p046">Delft, South Holland</a>
-</td>
-<td class="tocPageNum">46</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p047">Haarlem, North Holland (dated 1637)</a>
-</td>
-<td class="tocPageNum">47</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p048">Alkmaar, North Holland (dated 1673)</a>
-</td>
-<td class="tocPageNum">48</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p049">Franeker, Friesland (dated 1634)</a>
-</td>
-<td class="tocPageNum">49</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p050-1">Corbel from Dordrecht</a>
-</td>
-<td class="tocPageNum">50</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p050-2">Mosaic brick and stonework from Dordrecht</a>
-</td>
-<td class="tocPageNum">50</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p051">Dordrecht, South Holland (dated 1608)</a>
-</td>
-<td class="tocPageNum">51</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p052">Workum, Friesland (dated 1663)</a>
-</td>
-<td class="tocPageNum">52</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p053">Arnhem, Gelderland (dated 1642)</a>
-</td>
-<td class="tocPageNum">53</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p054">Amsterdam&#x2014;Rembrandt&#x2019;s House (dated 1606)</a>
-</td>
-<td class="tocPageNum">54</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p055">Zwolle, Overijssel&#x2014;The Guild Hall (dated 1571)</a>
-</td>
-<td class="tocPageNum">55</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p056">Vlissingen (Flushing), Zeeland (dated 1614)</a>
-</td>
-<td class="tocPageNum">56</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p057">Dordrecht, South Holland (dated 1626)</a>
-</td>
-<td class="tocPageNum">57</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p058"><span class="seg">Kampen, Overijssel</span> (dated 1631)</a>
-</td>
-<td class="tocPageNum">58</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p059"><span class="seg"><span class="ditto"><span class="s">Kampen,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Overijssel</span><span class="d"><span class="i">,,</span></span></span> </span> (dated on dormers 1634, 1626, 1730, 1630 and 1619)</a>
-</td>
-<td class="tocPageNum">59</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p060">Groningen&#x2014;The &#x201c;Goudkantoor&#x201d; (dated 1635)</a>
-</td>
-<td class="tocPageNum">60</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p061">Groningen (1661)</a>
-</td>
-<td class="tocPageNum">61</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p062">Franeker, Friesland (dated 1662)</a>
-</td>
-<td class="tocPageNum">62</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p063">&#x2019;s Hertogenbosch, North Brabant (dated 1671)</a>
-</td>
-<td class="tocPageNum">63</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p064">Iron Wall-tie from Alkmaar</a>
-</td>
-<td class="tocPageNum">64</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p065">Alkmaar, North Holland (dated 1672)</a>
-</td>
-<td class="tocPageNum">65</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p066-1">&#x2019;s Gravenhage (The Hague), South Holland&#x2014;&#x201c;T&#x2019;Goutsmits Keur Huijs&#x201d;</a>
-</td>
-<td class="tocPageNum">66</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p067">Velsen, North Holland</a>
-</td>
-<td class="tocPageNum">67</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p068">Spaarwoude, North Holland</a>
-</td>
-<td class="tocPageNum">68</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p069">Zutphen, Gelderland</a>
-</td>
-<td class="tocPageNum">69</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p070-1"><span class="seg">Halfweg, North Holland</span></a>
-</td>
-<td class="tocPageNum">70</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p070-2"><span class="seg"><span class="ditto"><span class="s">Halfweg,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">North</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Holland</span><span class="d"><span class="i">,,</span></span></span> </span>&#x2014;showing construction of farmhouse</a>
-</td>
-<td class="tocPageNum">70</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p071">Spaarndam, North Holland</a>
-</td>
-<td class="tocPageNum">71</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p072">Schooten, North Holland</a>
-</td>
-<td class="tocPageNum">72</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p073">The Ferry House, near Gennep, North Brabant</a>
-</td>
-<td class="tocPageNum">73</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p074">Beek, Gelderland</a>
-</td>
-<td class="tocPageNum">74</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p075">Brigdamme, Zeeland (dated 1622)</a>
-</td>
-<td class="tocPageNum">75</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p076">Beek, Gelderland</a>
-</td>
-<td class="tocPageNum">76</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p077">Bloemendaal, North Holland</a>
-</td>
-<td class="tocPageNum">77</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p078"><span class="seg">Broek, North Holland</span></a>
-</td>
-<td class="tocPageNum">78</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p079"><span class="seg"><span class="ditto"><span class="s">Broek,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">North</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Holland</span><span class="d"><span class="i">,,</span></span></span> </span></a>
-</td>
-<td class="tocPageNum">79</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p080">Well at Beugen, North Brabant</a>
-</td>
-<td class="tocPageNum">80</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p081">Beek, Gelderland</a>
-</td>
-<td class="tocPageNum">81</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p082">Bridge at Zuiderwoude, North Holland (dated 1799)</a> </td>
-<td class="tocPageNum">82</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc">II.&#x2014;<a href="#ch2" id="xd29e840">Exterior Features&#x2014;Doors, Windows, Gables and Ornaments</a></span>
-</td>
-<td class="tocPageNum">83</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc">Illustrations</span>:&#x2014;
-</td>
-<td class="tocPageNum"></td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p085">Woudrichem, North Brabant (dated 1611)</a>
-</td>
-<td class="tocPageNum">85</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p086">Leeuwarden, Friesland</a>
-</td>
-<td class="tocPageNum">86</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p087"><span class="seg">Delft, South Holland</span></a>
-</td>
-<td class="tocPageNum">87</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p088"><span class="seg"><span class="ditto"><span class="s">Delft,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">South</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Holland</span><span class="d"><span class="i">,,</span></span></span> </span> (dated 1547)</a>
-</td>
-<td class="tocPageNum">88</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p089-1">Haarlem, North Holland (dated 1632)</a>
-</td>
-<td class="tocPageNum">89</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p089-2">Leeuwarden, Friesland (dated 1675)</a>
-</td>
-<td class="tocPageNum">89</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p089-3">Leiden<span class="corr" id="xd29e899" title="Not in source">,</span> Rhijnland (dated 1612)</a>
-</td>
-<td class="tocPageNum">89</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p090"><span class="seg"><span class="ditto"><span class="s">Leiden,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Rhijnland</span><span class="d"><span class="i">,,</span></span></span> </span> (dated 1615)</a>
-</td>
-<td class="tocPageNum">90</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p091">Vlissingen (Flushing), Zeeland</a>
-</td>
-<td class="tocPageNum">91</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p092">Marssum, Friesland (dated 1713)</a>
-</td>
-<td class="tocPageNum">92</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p093">Kampen, Overijssel (dated 1665)</a>
-</td>
-<td class="tocPageNum">93</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p094">Arnhem, Gelderland</a>
-</td>
-<td class="tocPageNum">94</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p095-1"><span class="seg">Wooden Door,</span> with iron fittings, from Dordrecht</a>
-</td>
-<td class="tocPageNum">95</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p095-2"><span class="seg"><span class="ditto"><span class="s">Wooden</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Door,</span><span class="d"><span class="i">,,</span></span></span> </span> with carved lintel, from Haarlem</a>
-</td>
-<td class="tocPageNum">95</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p096">Leiden, Rhijnland (dated 1655)</a>
-</td>
-<td class="tocPageNum">96</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p097">Veere, Zeeland&#x2014;The &#x201c;Scotch House&#x201d;</a>
-</td>
-<td class="tocPageNum">97</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p098-1">Wooden Window-frame, with iron fittings and lead glazing, from Dordrecht</a>
-</td>
-<td class="tocPageNum">98</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p098-2"><span class="seg">Window Shutter from</span> Velsen</a>
-</td>
-<td class="tocPageNum">98</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p099-1"><span class="seg"><span class="ditto"><span class="s">Window</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Shutter</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Nijmegen</a>
-</td>
-<td class="tocPageNum">99</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p099-2"><span class="seg"><span class="ditto"><span class="s">Window</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Shutter</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Leiden</a>
-</td>
-<td class="tocPageNum">99</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p099-3"><span class="seg"><span class="ditto"><span class="s">Window</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Shutter</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Dordrecht</a>
-</td>
-<td class="tocPageNum">99</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p100-1"><span class="seg"><span class="ditto"><span class="s">Window</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Shutter</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Haarlem</a>
-</td>
-<td class="tocPageNum">100</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p100-2"><span class="seg"><span class="ditto"><span class="s">Window</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Shutter</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Monnikendam</a>
-</td>
-<td class="tocPageNum">100</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p101">Zwolle, Overijssel</a>
-</td>
-<td class="tocPageNum">101</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p102-1">Kampen, Overijssel (dated 1626)</a>
-</td>
-<td class="tocPageNum">102</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p102-2"><span class="seg"><span class="ditto"><span class="s">Kampen,</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Overijssel</span><span class="d"><span class="i">,,</span></span></span> </span> (dated 1634)</a>
-</td>
-<td class="tocPageNum">102</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p102-3">Marssum, Friesland</a>
-</td>
-<td class="tocPageNum">102</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p103">Gorinchem (Gorcum), South Holland (dated 1566)</a>
-</td>
-<td class="tocPageNum">103</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p104">Kampen, Overijssel</a>
-</td>
-<td class="tocPageNum">104</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p105">Vlissingen (Flushing), Zeeland</a>
-</td>
-<td class="tocPageNum">105</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p106-1">Monnikendam, North Holland</a>
-</td>
-<td class="tocPageNum">106</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p106-2">Haarlem, North Holland</a>
-</td>
-<td class="tocPageNum">106</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p107">Dordrecht, South Holland (dated 1523)</a>
-</td>
-<td class="tocPageNum">107</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p108">Arnhem, Gelderland</a>
-</td>
-<td class="tocPageNum">108</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p109-1">Haarlem, North Holland</a>
-</td>
-<td class="tocPageNum">109</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p109-2">Leiden, Rhijnland</a>
-<span class="pagenum">[<a id="xd29e1131" href="#xd29e1131">vii</a>]</span></td>
-<td class="tocPageNum">109</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p110">Amsterdam, North Holland</a>
-</td>
-<td class="tocPageNum">110</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p111">Wood details from Gelderland and South Holland</a>
-</td>
-<td class="tocPageNum">111</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p112-1">Zutphen, Gelderland</a>
-</td>
-<td class="tocPageNum">112</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p112-2">Hoorn, North Holland</a>
-</td>
-<td class="tocPageNum">112</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p113">Franeker, Friesland (curved gables dated 1573)</a>
-</td>
-<td class="tocPageNum">113</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p114-1"><span class="seg">Carved stone</span> lettering from Haarlem</a>
-</td>
-<td class="tocPageNum">114</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p114-2"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">stone</span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg">panel from</span> Franeker</a>
-</td>
-<td class="tocPageNum">114</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p115-1"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">stone</span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s">panel</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Zutphen (dated 1615)</a>
-</td>
-<td class="tocPageNum">115</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p115-2"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">stone</span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s">panel</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Sneek</a>
-</td>
-<td class="tocPageNum">115</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p115-3"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">stone</span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s">panel</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Haarlem</a>
-</td>
-<td class="tocPageNum">115</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p115-4"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">stone</span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s">panel</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Workum</a>
-</td>
-<td class="tocPageNum">115</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p116-1"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">stone</span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s">panel</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Middelburg (house dated 1590)</a>
-</td>
-<td class="tocPageNum">116</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p116-2"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">stone</span><span class="d"><span class="i">,,</span></span></span> </span> <span class="seg"><span class="ditto"><span class="s">panel</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Haarlem</a>
-</td>
-<td class="tocPageNum">116</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p117">Woudrichem, North Brabant</a>
-</td>
-<td class="tocPageNum">117</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p118-1"><span class="seg">Brick and Stone Mosaic</span> from Zwolle</a>
-</td>
-<td class="tocPageNum">118</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p118-2"><span class="seg"><span class="ditto"><span class="s">Brick</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">and</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Stone</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Mosaic</span><span class="d"><span class="i">,,</span></span></span> </span> Nijmegen</a>
-</td>
-<td class="tocPageNum">118</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p118-3"><span class="seg"><span class="ditto"><span class="s">Brick</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">and</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Stone</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Mosaic</span><span class="d"><span class="i">,,</span></span></span> </span> Woudrichem</a>
-</td>
-<td class="tocPageNum">118</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p119">Zwolle, Overijssel (dated 1609)</a>
-</td>
-<td class="tocPageNum">119</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p120-1">Detail of Diaper-work from Franeker</a>
-</td>
-<td class="tocPageNum">120</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p120-2">Workum, Friesland</a>
-</td>
-<td class="tocPageNum">120</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p121"><span class="seg">Iron</span> Wall-ties</a>
-</td>
-<td class="tocPageNum">121</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p122-1"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Date-sign from St. Anna, near Nijmegen</a>
-</td>
-<td class="tocPageNum">122</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p122-3"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Wall-tie from Nijmegen</a>
-</td>
-<td class="tocPageNum">122</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p122-3"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Weather-vane from Broek</a>
-</td>
-<td class="tocPageNum">122</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p122-4"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Terminal from Middelburg</a>
-</td>
-<td class="tocPageNum">122</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p122-5">Lead Spout-heads from Zutphen</a>
-</td>
-<td class="tocPageNum">122</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p122-6">Oval Window with Stanchion-bar, from Leiden</a>
-</td>
-<td class="tocPageNum">122</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p122-7">Iron Wall-tie from Beugen</a>
-</td>
-<td class="tocPageNum">122</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p123-1"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Door-furniture from Middelburg</a>
-</td>
-<td class="tocPageNum">123</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p123-2"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Door-knocker</a>
-</td>
-<td class="tocPageNum">123</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p124-1"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Weather-vane from Hees</a>
-</td>
-<td class="tocPageNum">124</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p124-2">Lead Finials from Hoorn</a> </td>
-<td class="tocPageNum">124</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc">III.&#x2014;<a href="#ch3" id="xd29e1421">Interiors and Decoration</a></span>
-</td>
-<td class="tocPageNum">125</td>
-</tr>
-<tr>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="7"><span class="sc">Illustrations</span>:&#x2014;
-</td>
-<td class="tocPageNum"></td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p127">Brass Candelabrum from Haarlem</a>
-</td>
-<td class="tocPageNum">127</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p128"><span class="seg">Seventeenth-century Room from</span> Dordrecht, South Holland</a>
-</td>
-<td class="tocPageNum">128</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p129"><span class="seg"><span class="ditto"><span class="s">Seventeenth-century</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Room</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Leeuwarden, Friesland</a>
-</td>
-<td class="tocPageNum">129</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p130"><span class="seg">Fireplace</span> in the Bricklayers&#x2019; Guild, Amsterdam</a>
-</td>
-<td class="tocPageNum">130</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p131"><span class="seg"><span class="ditto"><span class="s">Fireplace</span><span class="d"><span class="i">,,</span></span></span> </span> from Maastricht, Limburg (dated 1510)</a>
-</td>
-<td class="tocPageNum">131</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p132-1">Cast-iron Fireback from Leiden</a>
-<span class="pagenum">[<a id="xd29e1482" href="#xd29e1482">viii</a>]</span></td>
-<td class="tocPageNum">132</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p132-2">Cast-iron Fireback from Nijmegen</a>
-</td>
-<td class="tocPageNum">132</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p133">Fireplace from Middelburg, Zeeland</a>
-</td>
-<td class="tocPageNum">133</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p134-1"><span class="seg">Cast-iron Fireback from</span> Middelburg</a>
-</td>
-<td class="tocPageNum">134</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p134-2"><span class="seg"><span class="ditto"><span class="s">Cast-iron</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Fireback</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Jisp</a>
-</td>
-<td class="tocPageNum">134</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p135">Fireplace from The Westerwold, Groningen</a>
-</td>
-<td class="tocPageNum">135</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p136-1">Interior of a wooden house at Marken, North Holland</a>
-</td>
-<td class="tocPageNum">136</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p136-2">Brass Chimney-crane from Leeuwarden</a>
-</td>
-<td class="tocPageNum">136</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p137">Hindeloopen Room at the Frisian Museum, Leeuwarden</a>
-</td>
-<td class="tocPageNum">137</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p138">Carved Oak Panel from Zwolle (16th century)</a>
-</td>
-<td class="tocPageNum">138</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p139">Iron Hangers, Fire-irons and Fire-standard</a>
-</td>
-<td class="tocPageNum">139</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p140">Oak Panelling from Leiden</a>
-</td>
-<td class="tocPageNum">140</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p141">Hindeloopen Room at the Frisian Museum, Leeuwarden</a>
-</td>
-<td class="tocPageNum">141</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p142">Carved Door from Groningen (17th century)</a>
-</td>
-<td class="tocPageNum">142</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p143-2"><span class="seg">Iron Lock-plate</span> (16th century)</a>
-</td>
-<td class="tocPageNum">143</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p143-2"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Lock-plate</span><span class="d"><span class="i">,,</span></span></span> </span> (dated 1587)</a>
-</td>
-<td class="tocPageNum">143</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p143-3"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Lock and Bolt</a>
-</td>
-<td class="tocPageNum">143</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p143-4"><span class="seg"><span class="ditto"><span class="s">Iron</span><span class="d"><span class="i">,,</span></span></span> </span> Door-handle and Escutcheon</a>
-</td>
-<td class="tocPageNum">143</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p143-5">Carved Door of Wall-cupboard, with pierced and engraved iron fittings</a>
-</td>
-<td class="tocPageNum">143</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p144">Wall-cupboard with iron lock and hinges (16th century)</a>
-</td>
-<td class="tocPageNum">144</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p145-1"><span class="seg">Carved</span> Table from Edam</a>
-</td>
-<td class="tocPageNum">145</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p145-2"><span class="seg"><span class="ditto"><span class="s">Carved</span><span class="d"><span class="i">,,</span></span></span> </span> Cabinet from Haarlem</a>
-</td>
-<td class="tocPageNum">145</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p146-1">Table from Amsterdam</a>
-</td>
-<td class="tocPageNum">146</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p146-2">Wrought-iron Stair-Railing from Zierikzee</a>
-</td>
-<td class="tocPageNum">146</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p147-1">Brass Warming-pan (dated 1602)</a>
-</td>
-<td class="tocPageNum">147</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p147-2">Wickerwork Coffer with brass mounts (18th century)</a>
-</td>
-<td class="tocPageNum">147</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p147-3"><span class="seg">Brass</span> Fire-side set (<span class="seg">18th century</span>)</a>
-</td>
-<td class="tocPageNum">147</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p148-1"><span class="seg"><span class="ditto"><span class="s">Brass</span><span class="d"><span class="i">,,</span></span></span> </span> Candlestick (<span class="seg"><span class="ditto"><span class="s">18th</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">century</span><span class="d"><span class="i">,,</span></span></span> </span>)</a>
-</td>
-<td class="tocPageNum">148</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p148-2"><span class="seg"><span class="ditto"><span class="s">Brass</span><span class="d"><span class="i">,,</span></span></span> </span> Tea-caddy (<span class="seg"><span class="ditto"><span class="s">18th</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">century</span><span class="d"><span class="i">,,</span></span></span> </span>)</a>
-</td>
-<td class="tocPageNum">148</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p148-3"><span class="seg"><span class="ditto"><span class="s">Brass</span><span class="d"><span class="i">,,</span></span></span> </span> Pastille-burner</a>
-</td>
-<td class="tocPageNum">148</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p148-4"><span class="seg"><span class="ditto"><span class="s">Brass</span><span class="d"><span class="i">,,</span></span></span> </span> Foot-warmer (dated 1733)</a>
-</td>
-<td class="tocPageNum">148</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p148-5"><span class="seg"><span class="ditto"><span class="s">Brass</span><span class="d"><span class="i">,,</span></span></span> </span> Lantern (18th century)</a>
-</td>
-<td class="tocPageNum">148</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p149">Corridor in &#x201c;St. Pietershofje,&#x201d; Hoorn, North Holland</a>
-</td>
-<td class="tocPageNum">149</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p150"><span class="seg">Tiled Fireplace from</span> Volendam, North Holland</a>
-</td>
-<td class="tocPageNum">150</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p151"><span class="seg"><span class="ditto"><span class="s">Tiled</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">Fireplace</span><span class="d"><span class="i">,,</span></span></span> <span class="ditto"><span class="s">from</span><span class="d"><span class="i">,,</span></span></span> </span> Marken, North Holland</a>
-</td>
-<td class="tocPageNum">151</td>
-</tr>
-<tr>
-<td></td>
-<td class="tocDivNum"></td>
-<td class="tocDivTitle" colspan="6"><a href="#p152">Interior of a wooden house at Marken, North Holland</a> </td>
-<td class="tocPageNum">152</td>
-</tr>
-</table>
-<p><span class="pagenum">[<a id="xd29e1771" href="#xd29e1771">1</a>]</span></p>
-</div>
-</div>
-</div>
-<div class="body">
-<div id="intro" class="div1 introduction"><span class="pagenum">[<a href="#xd29e286">Contents</a>]</span><div class="divHead">
-<h2 class="main">INTRODUCTION</h2>
-<p></p>
-</div>
-<div class="divBody">
-<p></p>
-<div class="figure p003width" id="p003"><img src="images/p003.jpg" alt="&#x201c;INTERIOR OF A DUTCH HOUSE.&#x201d; from an old drawing by PIETER DE HOOCH." width="623" height="720"><p class="figureHead">&#x201c;INTERIOR OF A DUTCH HOUSE.&#x201d; <span class="sc">from an old drawing by</span> PIETER DE HOOCH.</p>
-<p class="first">(In the National Gallery, London.)</p>
-</div><p>
-<span class="pagenum">[<a id="pb3" href="#pb3">3</a>]</span>
-</p>
-<p class="xd29e1787"><span class="xd29e1787init">I</span>t is in the old towns of Holland that the architectural expression of the Dutch people
-is to be sought. Theirs was an intimate and human architecture, concerned with everyday
-events, and it developed out of the civil and domestic life. Many of the towns continue
-to be busy and prosperous, and new buildings here and there crowd in upon the picturesque
-groups of houses that for centuries have clustered round the great churches and market-places:
-in others, the active days of commerce are over, the merchants come no more, and the
-streets and waterways are quiet. But all Dutch towns having any pretension to age
-possess, to a wonderful degree, what may be termed an old-world atmosphere. Much of
-their charm, it is true, is due to the rivers and canals that encircle and intersect
-them in all directions, imparting a sense of quaintness and novelty; but it is the
-extraordinary number of old buildings still existing, unchanged in form since the
-days when they were erected and mellowed by ages of sun and rain, that ever appeal
-to the eye and imagination. The fantastic gables and red roofs, above which rise slender
-spires and belfries surmounted by leaden fl�ches and wrought vanes, together with
-the waterways and canal life, the windmills, and changing skies, are as characteristic
-now as when the masters of the great Dutch School of painting were living and working.
-Such scenes were to them inspiration; to picture the intimate events associated was
-their delight. If the painters have gone&#x2014;and with them the arquebusiers and governors
-and burgomasters&#x2014;the gables, the sunlit courts, and many other familiar features remain.
-</p>
-<p>The peculiar geographical conditions that have always existed in Holland have affected
-in no small degree the development of the land and the temperament of the people.
-Most of the country is below sea level. Behind the dunes and dykes the sea threatens
-inundation; the fear of accident by flood has kept the nation watchful and in perpetual
-war with its ancient enemy. The influence of this natural check has been far-reaching.
-It has produced the system of canals, determined the character of the landscape, made
-accordant life and work, method, regularity and order, and brought philosophy and
-fortitude to the national mind. In the domain of building, as in other spheres, water
-has been a powerful underlying agent affecting the evolution of style, just as the
-mountains, forests and deserts of other countries have imparted distinction to architecture.
-</p>
-<p>Side by side with the external conditions imposed by Nature, conditions that, if accepted,
-might well be expected to have produced an attitude of extreme lack of initiative
-in those living amongst them, the Dutch have ever been an enterprising people. The
-same spirit that defied and conquered the inroads of the sea characterised their dealings
-in the domain of commerce. Trade was to them the great business of life. From very
-early times, and continuing for a long period, the prosperity of the Low <span class="pagenum">[<a id="pb4" href="#pb4">4</a>]</span>Countries was foremost in Europe. The towns became centres of busy and pulsative life,
-the homes of virile civil and domestic communities. Many old buildings still existing,
-town halls, weigh houses, trade and guild halls, warehouses and merchants&#x2019; premises,
-bear witness to those strenuous days. An architecture in close touch with the events
-of the times developed through, and by reason of the successes achieved by industry
-and sustained advances of conquest and colonization.
-</p>
-<p>The phase of domestic art which is reviewed in this volume was essentially the expression
-of a nation urgently concerned with the material, matter-of-fact side of everyday
-life, and bore close kindred to its needs, its aspirations and its achievements; it
-was corporeal rather than spiritual in aspect, reflective of the market-place, the
-fireside and the home. And while the continuous building tradition of certain other
-countries was allied to ecclesiasticism, or was a movement instigated by the aristocracy,
-in Holland it was democratic in general trend, an art bound up in the interests of
-the people and existing for their good and welfare. It was urban rather than rural
-in its principles. Unlike the English growth, where the native building art developed
-vigorously and lingered longest in the countryside&#x2014;as many an old village, manor-house
-or farm will demonstrate&#x2014;the equivalent vernacular Dutch development was pre-eminently
-of the towns, and trade was the influence that gave it life. In a country notable
-for its manufactures and commercial activities men congregated together for mutual
-gain. A sturdy race they were, unimpressionable, but kindly and charitable, and their
-comfortable homes were in keeping with their temperament.
-</p>
-<p>To better appreciate the course of architectural development, it will be well to briefly
-cite the main circumstances connected with these towns and with the country&#x2019;s history.
-Records of Dutch towns prior to the twelfth century are scanty, although at that time
-orderly government had begun to develop. Then followed the municipal charters, many
-dating from the thirteenth century. These charters were granted by the feudal lords
-to the townspeople and secured to them certain rights and protection in return for
-taxation and levies; justice was administered by various governing bodies and magistrates,
-and the municipal finances were properly supervised. There thus grew up a strong communal
-movement which was steadily developed and strengthened. Then it was that the cities
-began their era of great prosperity and each became practically self-governing and
-semi-independent. Revenue was derived from the river commerce and markets, over-sea
-trading, and from the industries which were fostered. So powerful did they become,
-so energetic was their municipal life, so well organised their trade, that these cities
-came to be reckoned, together with the neighbouring towns of Flanders, the most prosperous
-and wealthy in the world. As time went on the chief cities became members of the Hanseatic
-League, which influential association embraced trading colonies in places as far apart
-as London, Visby on the island of Gotland, Novgorod the Great in Russia, Hamburg,
-Amsterdam and Kampen on the Zuider Zee. Through the impetus of this remarkable movement,
-the long-continued <span class="pagenum">[<a id="pb6" href="#pb6">6</a>]</span>commercial relations between England and Holland were established. About the middle
-of the thirteenth century Hanse merchants settled in London, obtained privileges from
-Henry III., founded the Steelyard, and there developed a flourishing trade. The intercourse
-between the two countries was very considerable, and it was of the utmost importance
-to the Netherlands that nothing should happen to weaken their good relations with
-England. For England was then the principal wool-producing country of Europe, the
-only place, in fact, able to supply it in large quantities, and the men of the Low
-Countries, famed above all for their skill as weavers and depending upon the woollen
-industry for their greatest wealth, were eager buyers of English wool in the raw state.
-In the fifteenth century, through dissension and war, the cities of Holland were ejected
-from the Hanseatic League; but the Dutch, with their fine ships and business acumen,
-continued to prosper and carried their conquests by trade into far-distant lands.
-</p>
-<p></p>
-<div class="figure p005width" id="p005"><img src="images/p005.png" alt="BREDA, NORTH BRABANT" width="429" height="720"><p class="figureHead">BREDA, NORTH BRABANT</p>
-</div><p>
-</p>
-<p>It was while at the height of their material success that the provinces of Holland
-came under the dominion of the house of Burgundy. The peculiar independent constitution
-of the cities promoted rivalry between them, rather than a common national interest
-which would have been best for the preservation of their just rights. They were heavily
-taxed and oppressed and were continually at variance with the ruling power, fighting
-for the redress of their grievances. By the first half of the sixteenth century the
-kingdom of the Netherlands had passed to the Emperor Charles V., King of Spain, and
-Philip, his son, inherited his father&#x2019;s throne. He thereby became monarch of vast
-territories. Philip determined to utterly subjugate the provinces and carried out
-a policy of relentless persecution. The people rebelled, brutal punishment followed,
-and they became victims of the worst excesses of the Inquisition. Deeds of cruelty,
-tyranny and murder, almost unparalleled in history, were enacted. In those dark days
-arose that great champion of the people, &#x201c;William the Silent,&#x201d; Prince of Orange, the
-&#x201c;father of his fatherland.&#x201d; Intent on defending the liberties of the nation, he gathered
-around him a company of gallant spirits, and, principally at his own expense, commenced
-what at first appeared to be a hopeless struggle. But early victories, hardly won,
-roused a cowed populace to action. The nation embarked upon the memorable Eighty Years&#x2019;
-War, which resulted in the Spanish yoke being overthrown and the founding of the Dutch
-Republic. William was basely assassinated at Delft in 1584, and Maurice, his second
-son, succeeded him as <i>Stadtholder</i>. He was ambitious, shrewd, and skilled in the arts of war, and under his rule, and
-that of his brother Frederick Henry, who succeeded him in 1625, the fortunes of the
-Dutch gradually rose high. Through times of trial and suffering, hardships endured
-and conquests won, they emerged valorous and strong, a nation of heroes. Triumphs
-of arms by land and sea, successes of the merchant fleets and navigators who explored
-remote parts of the world, the founding of colonies, and ingenuity on the part of
-the workers in home manufactures, characterised a notable period of great prosperity;
-the Dutch became supreme in trade, chief rulers of the sea, and accumulated vast wealth.
-As the seventeenth century advanced commercial welfare <span class="pagenum">[<a id="pb8" href="#pb8">8</a>]</span>continued to increase. Admirals Tromp and De Ruyter swept the seas, gaining brilliant
-naval victories; in 1667 the safety of London itself was threatened by the appearance
-of the Dutch fleet in the Thames. But the mastery of the sea eventually passed to
-England and from that time the fortunes of the Dutch declined. The election of William
-III.&#x2014;who had married Princess Mary, daughter of the Duke of York&#x2014;to the English throne
-in 1689 marked the close of Holland&#x2019;s greatest days.
-</p>
-<p></p>
-<div class="figure p007width" id="p007"><img src="images/p007.png" alt="MONNIKENDAM, NORTH HOLLAND" width="560" height="720"><p class="figureHead">MONNIKENDAM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Early Dutch secular architecture is in the spirit of the late Gothic style. The most
-valuable monuments of that period are the civic buildings which herald a time when
-public life&#x2014;as opposed to ecclesiastical&#x2014;assumed an importance and dignity capable
-of being symbolized in brick and stone; when power acquired by trade found expression
-in its own distinctive forms, and the wealthy burghers of the towns erected municipal
-buildings which stand for all time as the embodiment of their ideals. Such is the
-Town Hall at Middelburg by Ant. Keldermans the Younger, one of that famous family
-of architects of Malines. It is a stone erection of fine proportions, enriched with
-a wealth of detail, sculptured figures, sunk panelling and many turrets; tiers of
-dormers break up the roof surface and the whole is surmounted by a noble and boldly
-conceived tower. At Veere, not far distant, is a smaller example (opposite) built
-in 1474 by another member of the Keldermans family. While owning some similarity to
-its fellow at Middelburg, the treatment is simpler, but the proportions are exquisite,
-and the peculiar grace of the belfry is outstanding. The characteristic richness of
-surface decoration which was then common may also be seen on the sandstone fa�ade
-of the &#x201c;Gemeenlandshuis&#x201d; at Delft, with its elaborate traceries and parapet belonging
-to the early sixteenth century. The aforementioned are stone buildings and betray
-the influence of French Gothic, but the especially individual Netherlandish interpretation
-of Gothic was developed in the brick architecture. Brickwork was much employed and
-the nature of the material&#x2014;not so responsive as stone in the hands of the craftsmen&#x2014;limited
-the possibilities of ornamental treatment. Detail had to be simplified and adapted
-to the means available for carrying it out; the example from Nijmegen (p. 11), dated
-1544, furnishes an instance of how it was handled. It is in this early brickwork that
-the germs of the Dutch transitional Renaissance style are to be traced; its root principles
-were derived not only from the public buildings, but from the churches also&#x2014;vast piles
-whose bold masses and ornaments were logically developed out of the material, and
-whose millions of little bricks, jointed together, stand as impressive memorials of
-patient labour.
-</p>
-<p>Medi�val domestic work followed in the wake of the civic. Not many examples remain.
-Of those that have survived most belong to the late fifteenth or the first half of
-the sixteenth century. The current forms of the period were employed&#x2014;panelling and
-projecting surface decoration, more often in brickwork than stone; arched window-heads
-ornamented with tracery; circular brick turrets surmounted by conical roofs; stepped
-gables having pinnacles rising from the copings; steep roofs pierced by dormers; and
-the somewhat florid, rich, but carefully wrought detail.
-<span class="pagenum">[<a id="pb9" href="#pb9">9</a>]</span></p>
-<p></p>
-<div class="figure p009width" id="p009"><img src="images/p009.png" alt="VEERE, ZEELAND" width="595" height="720"><p class="figureHead">VEERE, ZEELAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb10" href="#pb10">10</a>]</span></p>
-<p>In contrast to the scarcity of Gothic domestic buildings, those of the Transitional
-period&#x2014;from Gothic to Renaissance&#x2014;are very numerous. Many examples are to be found
-in the old towns where rows of houses, much out of the perpendicular, rise from the
-canalsides and paved roadways. They are narrow and very high and are surmounted by
-gables which are often of fantastic shape and curious outline, picturesque from the
-draughtsman&#x2019;s point of view and full of subject for the painter. Strange though it
-now seems, and quite beyond reasonable explanation, the greatest art movement that
-Holland has ever known flourished at the close of those troublous times when she was
-at war with Spain. It was then that the painters, with startling suddenness, came
-into their full powers, and Hals, Rembrandt, Van der Helst, Gerard Dou, Paul Potter,
-Jan Steen, Ruysdael and De Hooch, with a host of brilliant companions, followed in
-quick succession. They created a new art, a school of painting with original conceptive
-views and unrivalled executive skill. Contemporaneously with this artistic activity
-developed the peculiarly specific Dutch style of domestic architecture. Existing examples
-prove how energetically the building craft was then carried on, and show how its characteristics
-were matured during the closing years of the sixteenth century and onwards through
-the century following. Many of the Town Halls and Weigh Houses, which set the fashion
-for the private dwellings, are of this time; Leiden 1598, Haarlem 1602, Nijmegen 1612,
-Bolsward 1614, Workum 1650, and numerous others.
-</p>
-<p>It was in the sixteenth century that the influence of the Renaissance gained ground
-in Holland, and with it came new canons and new impulses, revived interest in classical
-literature and art. And in connection with it, it is significant to note that Erasmus,
-one of the most distinguished of the Humanists, was born at Rotterdam in 1466; during
-a life of much travel and varied residence he was often in the Low Countries, prosecuting
-his own self-culture and advocating his doctrines.
-</p>
-<p>The Transitional period lasted long and the buildings associated with it in many ways
-resemble those of England, erected in the style known as Elizabethan. The real significance
-of the revolutionary Renaissance art was not grasped or understood. The Gothic form
-of house long held its own and to it was added the heavy Dutch interpretation of the
-newer style, a rendering showing French rather than Italian feeling. But nevertheless,
-however well or ill applied, the use of Classic motifs in architecture became a firmly-established
-and general practice.
-</p>
-<p>But the great changes in religious and intellectual thought that transpired during
-the sixteenth century did not so quickly influence the domain of architecture as might
-be supposed. No sudden breach with the inherited style occurred, although the ancient
-life and faith were passing. The Gothic tradition, which had been handed down from
-generation to generation, continued on. The national temperament was opposed to innovation,
-and the Dutch people clung to that which had been evolved through long years of experiment;
-they were unwilling to give up those forms that had been satisfying to their forefathers.
-So the new <span class="pagenum">[<a id="pb12" href="#pb12">12</a>]</span>fashion in architecture was at first but tardily accepted and made little headway
-against the olden practices. Early tentative efforts were confined to novelties of
-detail introduced in gable ornaments, window-heads and doorways; the traditional forms
-of building remained unaltered, and fresh types of ornament were simply added to them
-for no very definite or intelligent reason. As time went on the Renaissance influence
-gradually became more established, but there was evidently no unanimity of opinion
-on the merits of it. Some looked upon it with favour; others viewed it with suspicion
-and preferred to keep to that which had served so well for preceding generations.
-As a consequence, the development was not uniform throughout the country. Thus a house
-at Alkmaar, bearing the late date of 1673, has arched window-heads and step gable
-terminated with a pointed arch quite in the Gothic manner; while a fa�ade erected
-at Zwolle one hundred and two years earlier unmistakably betrays its Classic origin
-by the details with which it is adorned.
-</p>
-<p></p>
-<div class="figure p011width" id="p011"><img src="images/p011.png" alt="NIJMEGEN, GELDERLAND (DATED 1544)" width="552" height="720"><p class="figureHead">NIJMEGEN, GELDERLAND (DATED 1544)</p>
-</div><p>
-</p>
-<p>After a changeful period, during which the architectural impulses were halting between
-the acceptance of the new and the retention of the old, men who directed public taste
-eventually adopted what they understood to be the Renaissance ideas. Behind them was
-a strong tide of inherited tradition which continued to flow on. To it they brought
-their own interpretation of the new movement, and the two forces ran side by side
-for many years.
-</p>
-<p>Foremost among the earlier architects who turned to classicism for fresh inspiration
-were Lieven de Key, Hendrik de Keyzer and Cornelius Danckerts. Hendrik de Keyzer was
-born at Utrecht in 1565 and died at Amsterdam in 1621. He was appointed architect
-to the city of Amsterdam in 1594, and his name is connected with buildings both in
-that town and elsewhere. One of his most notable works is the monument erected at
-Delft to the memory of William the Silent. Cornelius Danckerts was associated with
-de Keyzer and lived from 1561 to 1631. Born at Ghent about the year 1560, Lieven de
-Key worked principally at Haarlem and Leiden. He was the author of the celebrated
-Meat Market at Haarlem, a remarkable building which has evoked both praise and disparagement;
-it was completed in 1603. He was responsible for the design of other civic buildings
-as well as numerous private dwellings. Such men as these had their followers and founded
-schools of architecture in the places of their professional activities. There was
-thus a vigorous body of men working at Haarlem; while Amsterdam, which had become
-virtually the political and commercial capital as well as the centre of the arts,
-had its own assembly of architects who were particularly energetic in the city and
-exercised great influence in the adjacent districts. The results of their accomplishments
-are still apparent, and the many large and sober gabled houses suggest to the imagination
-the comparative splendour of seventeenth-century Amsterdam.
-</p>
-<p></p>
-<div class="figure p013width" id="p013"><img src="images/p013.png" alt="DORDRECHT, SOUTH HOLLAND" width="476" height="720"><p class="figureHead">DORDRECHT, SOUTH HOLLAND</p>
-</div><p>
-</p>
-<p>The buildings of this period are quaint and charming. If somewhat lacking in serious
-architectonic qualities, they are inseparably connected with the national sentiments;
-they stand as lasting evidences of human <span class="pagenum">[<a id="pb14" href="#pb14">14</a>]</span>emotion expressed through the medium of brick and stone. The streets lined with ancient
-houses are witnesses of a great past, and bring to remembrance those strong and earnest
-men who honoured hearth and threshold and fought to save their fatherland from tyranny
-and threatened ruin. Above all, the structures bear upon them the impress of the intellectual
-life which was concerned with their production. The work itself is thoroughly Dutch
-in character, full of suggestion, and the materials are well handled. That of the
-early Renaissance is the best, and in it the two streams of thought&#x2014;medi�val and classic&#x2014;are
-seen harmoniously blended. A good example from Leiden, by Lieven de Key, is illustrated
-opposite; signs of the new influence are obvious in the details, yet it has the traditional
-form of stepped gable; while there is a freedom of handling discernible in the disposition
-of the ground floor features which was dictated by convenience rather than symmetrical
-arrangement. All the work, however, was not so reasonable as this. Gables of extraordinary
-and curious outline began to appear, remarkable certainly for fertility of invention,
-but often lacking in delicacy and restraint. Isolated stone ornaments, unconnected
-with constructive principles, were applied to vacant wall spaces. They were decorated
-with lion-heads, armorial bearings, strapwork, cartouches, winged heads and panels
-in relief, all vigorously carved. Many of the subjects were seemingly derived from
-published pattern books and decorative designs, and lack that independence of conception
-which distinguishes all inspired craftsmanship.
-</p>
-<p>Evidence goes to prove that the men who made the designs for the buildings had not
-yet become detached from the building trades. They were not architects within the
-present meaning of that term. They were described as masons, stonecutters, and the
-like, and no doubt were master-builders who, in addition to supplying the design,
-had a personal hand in the execution of the work of their own particular craft. The
-idea that a trained director should conceive the work as a whole, and marshal all
-the supplementary arts to proper subjugation, had not yet been evolved. Architecture
-as a separate force was not recognised.
-</p>
-<p>Results automatically grew out of the united efforts of the sculptors, bricklayers,
-carpenters and masons who were engaged on the same production. So de Key, in addition
-to acting as a designer, was the city mason of Haarlem; H. de Keyzer was sculptor
-to the city of Amsterdam; and these are typical instances of the conditions then prevailing.
-It is also not surprising to find in this country, where government by municipalities
-was so well developed, that the architects were often official servants of the towns.
-Two such are mentioned above; Dryfhout was town architect of Middelburg, and Ambrosius
-van Hanenberch held a similar position at &#x2019;s Hertogenbosch.<a class="noteref" id="xd29e1848src" href="#xd29e1848">1</a> The demand for qualified men to protect and guide the public artistic needs was appreciated,
-a wise and excellent practice from which present-day authorities in England might
-well take a lesson.
-</p>
-<p></p>
-<div class="figure p015width" id="p015"><img src="images/p015.png" alt="LEIDEN, RHIJNLAND (DATED 1612)" width="570" height="720"><p class="figureHead">LEIDEN, RHIJNLAND (DATED 1612)</p>
-</div><p>
-</p>
-<p>With the advancing seventeenth century came a keener desire for the employment of
-purer forms of Renaissance art. Architects turned their <span class="pagenum">[<a id="pb16" href="#pb16">16</a>]</span>thoughts to the Italian ideal, which they modified, yet preserved in its essential
-characteristics. Chief among the exponents of the developed style were Jacob van Campen
-and Phillippus Vinckboons, both of Amsterdam; and Pieter Post of Haarlem. The massive
-Town Hall of Amsterdam&#x2014;now the Royal Palace&#x2014;by van Campen, is one of the most important
-buildings of this period. It was erected between the years 1648 and 1655. But the
-severe classic ideas, directing towards uniformity and symmetrical arrangements, were
-never really at home, nor did they displace the weakening influence of inherited tradition.
-In the general mass of work the Dutch national genius continued to assert itself.
-Up to the time when the native architecture became devoid of character and personality,
-the houses and trade buildings in which the people lived and worked&#x2014;even if of strange
-appearance or sometimes fantastic beyond description&#x2014;retained an unmistakable flavour
-of the vernacular and owned something of that playfulness and quaint invention that
-were the heritage of medi�val times.
-</p>
-<p></p>
-<div class="figure p016width" id="p016"><img src="images/p016.jpg" alt="&#x201c;INTERIOR WITH WOMAN PEELING APPLES.&#x201d;&#xA;from an oil painting by PIETER DE HOOCH." width="588" height="720"><p class="figureHead">&#x201c;INTERIOR WITH WOMAN PEELING APPLES.&#x201d;
-<span class="sc">from an oil painting by</span> PIETER DE HOOCH.</p>
-<p class="first">(<i>In the Wallace Collection, London.</i>)</p>
-</div><p>
-</p>
-<p>It is fitting to conclude this Introduction by referring to the effect of Dutch upon
-English architecture. For our style of domestic building has in the past owed something
-to knowledge gained from the Low Countries; details have been derived from the Dutch
-and their practices adopted. Most obviously the influence is to be seen in the Eastern
-counties, although it penetrated more or less throughout the country; Staffordshire
-can show it as well as Norfolk, Wiltshire as well as Kent. To those men of the Netherlands
-who early engaged in English commerce the germs of this influence are to be traced.
-Not that many of these foreigners were actively connected with the building trades,
-but, during a long period of trading intercourse and settlement by merchants and artisans,
-they, as a matter of course, left distinct impressions of their own ideas. Onward
-from the fourteenth century the influx of Flemings and Dutchmen into England was considerable
-and the reasons for their coming various. Apart from the traders, skilled artisans
-were encouraged to settle for the purpose of improving the home manufactures. Oppression,
-too, was responsible for many immigrants; to cite an instance, thousands of people
-left Holland when the harsh Duke of Alva, acting for Philip of Spain, was in 1567
-appointed commander of the forces, and numbers of them found refuge in England. But
-the presence of foreigners such as these, most of whom were not engaged in the building
-crafts, had only an indirect effect upon the local architecture. It was the imported
-artificers, coming from Germany as well as the Netherlands, who brought a new development
-to English building. &#x201c;Throughout the reign of Elizabeth,&#x201d; writes Professor Blomfield,
-&#x201c;their influence was in the air and predominant.&#x201d; The results of it are obvious in
-work then erected, notably in the long series of country houses with strapwork ornament,
-peculiar decoration of porches and fireplaces, and much patterned woodwork. Again,
-with the advent of Dutch William to the English throne, further new features were
-introduced and they are especially traceable in the admirable brickwork of the Queen
-Anne style. But the lasting and altogether good effect of Dutch <span class="pagenum">[<a id="pb18" href="#pb18">18</a>]</span>influence was on traditional, rather than academic architecture, on those quiet and
-unpretentious buildings of the countryside. Here the foreign motives were almost imperceptibly
-blended with those existing, neither suddenly nor inharmoniously. A feature was added
-here, a detail there, yet the work remained truly English in character. Old villages
-can yet show buildings that bear upon them traces of an alien hand, or embody ideas
-drawn from other than local sources of inspiration. Such are the East Kentish cottages
-at Sandwich, Ickham, Reading Street and Sarre; the halls and manor-houses of Norfolk,
-Suffolk, and Essex, with corbie-stepped and curved gables; the high brick barns of
-the Eastern counties; and endless picturesque groupings of certain distinction that
-exist up and down the land. The industrious settlers from over the water certainly
-brought something to our traditional architecture, gave it qualities that helped to
-make it what it was. And when they came to erect their dwellings on foreign soil,
-they cherished the memory of their own country, and turned their thoughts to home
-and to the houses on the tree-lined streets and waterways of Holland.
-</p>
-<p></p>
-<div class="figure p017width" id="p017"><img src="images/p017.png" alt="HAARLEM, NORTH HOLLAND" width="595" height="720"><p class="figureHead">HAARLEM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p018width" id="p018"><img src="images/p018.png" alt="BRIGDAMME, ZEELAND" width="630" height="442"><p class="figureHead">BRIGDAMME, ZEELAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb19" href="#pb19">19</a>]</span></p>
-</div>
-<div class="footnotes">
-<hr class="fnsep">
-<div class="footnote-body">
-<p class="footnote"><span class="label"><a class="noteref" id="xd29e1848" href="#xd29e1848src">1</a></span> &#x201c;Biographical Sketches of Dutch Architects.&#x201d;&#x2014;MSS. by J.&nbsp;B. Weenink.&nbsp;<a class="fnarrow" href="#xd29e1848src">&#x2191;</a></p>
-</div>
-</div>
-</div>
-<div id="ch1" class="div1 chapter"><span class="pagenum">[<a href="#xd29e356">Contents</a>]</span><div class="divHead">
-<h2 class="label"><i>DIVISION I</i></h2>
-<h2 class="main">THE DEVELOPMENT OF DOMESTIC ARCHITECTURE</h2>
-<p><span class="pagenum">[<a id="pb21" href="#pb21">21</a>]</span></p>
-</div>
-<div class="divBody">
-<p class="xd29e1889"><span class="xd29e1889init">T</span>he only really abundant building materials in Holland were bricks. Stone was available
-in limited quantities, but not readily so. Brick-earths there were in plenty, and
-brick-building has been practised continuously from the dawn of Dutch architecture
-to the present day. The inhabitants, after long and intimate association, became very
-proficient in the use of bricks, skilful in applying them, and apt to quickly realize
-the possibilities afforded by this material. There is, therefore, a great deal of
-old work of exceptional interest which is, in addition, valuable for the suggestions
-it presents.
-</p>
-<p></p>
-<div class="figure p021width" id="p021"><img src="images/p021.png" alt="GRONINGEN (1509)" width="332" height="592"><p class="figureHead">GRONINGEN (1509)</p>
-</div><p>
-</p>
-<p>The creation and development of an architectural style, depending upon brickwork as
-the medium for its execution, call into being considerable powers of ingenuity. For
-the limitations of bricks are definite and circumscribed; the unit is small and its
-size not subject to variation. Moreover, enrichment can only be obtained by careful
-disposition and arrangement of the units, and the almost unlimited scope possessed
-by stone, wood or plaster&#x2014;both in respect to size of parts and effects of surface
-decoration&#x2014;is nearly non-existent. Difficulties such as these have to be realised
-and overcome, but good results are not easily secured. The preconceived ideas in the
-mind, the general proportions, and the disposition of features, are governed to a
-degree by the nature of the building material. And for these reasons<span class="corr" id="xd29e1897" title="Source: . The">, the</span> bonding of the walling, colour arrangements, width and finish of the mortar joints,
-and the precise manner of forming details, all contribute markedly to the ultimate
-appearance of the whole. Good brickwork depends, even more than other forms of building,
-upon a complete understanding of the <span class="pagenum">[<a id="pb22" href="#pb22">22</a>]</span>capabilities <span class="corr" id="xd29e1902" title="Source: or">of</span> the medium; skill in manipulating it is secondary only to capacity for design.
-</p>
-<p></p>
-<div class="figure p022width" id="p022"><img src="images/p022.png" alt="BOXMEER, NORTH BRABANT" width="637" height="434"><p class="figureHead">BOXMEER, NORTH BRABANT</p>
-</div><p>
-</p>
-<p>It was in the use of bricks that the Dutch were especially successful. Qualified by
-experience gained through years of experiment, their achievements were dexterous and
-often daring. They were thoroughly at home with brickwork, alive to its restrictions
-as well as its possibilities, and they handled it in a spontaneous and reasonable
-way. All the features and details of some buildings had to be suitably designed for
-execution in this not very pliable material&#x2014;gables (page <a href="#pb21" class="pageref">21</a>), windows, doorways (shown above), decoration, mouldings and traceries. Problems
-such as these, definitely existing, were satisfactorily solved. The craftsmen thought
-in brickwork, as it were, and forms were more or less dictated by the means available
-for carrying them out. Not that stone was ignored; on the contrary, it was doubtless
-used when it could be obtained, as our illustrations plainly show. Thus, it was employed
-not only for ornamental details but often for the entire structures. Wood had its
-uses too, as may be seen in the half-timbered houses at Dordrecht or the wooden-fronted
-ones at Gorinchem (Gorcum), illustrated opposite; and plaster entered into the construction
-of many country buildings. But the prevailing conditions brought about an advanced
-development of brickwork and through it the vital building tradition was evolved.
-</p>
-<p></p>
-<div class="figure p023width" id="p023"><img src="images/p023.png" alt="GORINCHEM (GORCUM), SOUTH HOLLAND" width="720" height="511"><p class="figureHead">GORINCHEM (GORCUM), SOUTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p024width" id="p024"><img src="images/p024.png" alt="BREDA, NORTH BRABANT" width="462" height="720"><p class="figureHead">BREDA, NORTH BRABANT</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p025width" id="p025"><img src="images/p025.png" alt="MIDDELBURG, ZEELAND" width="534" height="720"><p class="figureHead">MIDDELBURG, ZEELAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p026width" id="p026"><img src="images/p026.png" alt="FRANEKER, FRIESLAND" width="384" height="489"><p class="figureHead">FRANEKER, FRIESLAND</p>
-</div><p>
-</p>
-<p>The old bricks themselves were particularly well shaped and the proportion of height
-to length gave a long and narrow appearance. How narrow <span class="pagenum">[<a id="pb26" href="#pb26">26</a>]</span>they actually were will be realised when it is stated that it not infrequently happens
-we find them no more than 1� inches high. Some of the sizes noted are 1� inches by
-6� inches to 7 inches at Workum; 1� inches by 7 inches at Breda (page <a href="#p024" class="pageref">24</a>); 1� inches by 8� inches, and 1� inches by 7 inches to 8� inches at Haarlem; and
-2 inches by 9 inches at &#x2019;s Hertogenbosch. They were laid with five, six, or seven
-courses to the foot, and sometimes the door and window openings were formed with smaller
-sized bricks than those used for the main walling. It was only rarely that comparatively
-large bricks were employed. Some may be seen in the walls of the old Abbey at Middelburg,
-and &#x201c;Thvis van Leeninge&#x201d; (page <a href="#p025" class="pageref">25</a>), situated in the same town, has bricks measuring 2� inches by 9� inches; while a
-building at Franeker, in Friesland, is carried out in unusually large bricks, which
-vary in size from 3 inches to 3� inches by 10� inches to 11� inches. The joints are
-widest in the older work and were either finished with dark mortar, no lighter in
-tone than the bricks, or were raked out and pointed up with light mortar. The bond
-almost universally adopted was that known by the name of &#x201c;English&#x201d; and not, as is
-often erroneously stated, &#x201c;Flemish.&#x201d; English bond consists of alternate courses of
-headers and stretchers; that is to say, one course of bricks, all placed longways,
-upon a course all laid endways, and so continuously up the wall. Flemish bond, rarely
-to be seen in Holland, has alternate headers and stretchers in every course. Dutch
-brickwork shows a wide range of colouring. Some is very dark and of a purple tint;
-some is yellow, particularly in the neighbourhood of Dordrecht; red bricks there are
-in every town; while at Breda they gradate from lemon yellow to a delicate salmon
-pink. It will be perceived that materials such as these offered means for harmonious
-combinations. The possibilities were appreciated, and about the country there exist
-many happy effects which were secured by blending the various coloured bricks. It
-was a favourite method to build walls with parti-coloured bands running horizontally
-through them in the manner shown <span class="pagenum">[<a id="pb28" href="#pb28">28</a>]</span>from Franeker (page <a href="#p026" class="pageref">26</a>), where four courses of red bricks interchange with one of yellow. Mouldings and
-surrounds to openings often contrasted with the prevailing colour of the building.
-As an illustration of this, the example from Dordrecht (below) may be cited; the walls
-are formed with yellow bricks and the decorated window-heads with red. In addition
-to effects obtained by colour harmonies, enrichment was secured by applying moulded
-and shaped brickwork. It was confined principally to the doorways, windows and string
-courses, and how successful this system of ornamentation can be will be realised by
-further reference to the two above-mentioned drawings. Among other familiar features
-of Dutch buildings are the mosaic decorations which generally occupy the arched spaces
-over window-heads. Made up of simple units&#x2014;square or shaped bricks and little pieces
-of stone&#x2014;they were set together to form repeating patterns and devices. Many of the
-houses, such as that at Dordrecht (page <a href="#p027" class="pageref">27</a>), attain distinction by reason of these interesting and freely rendered details,
-and they will be more fully considered in the following chapter on exterior features.
-</p>
-<p></p>
-<div class="figure p027width" id="p027"><img src="images/p027.png" alt="DORDRECHT, SOUTH HOLLAND" width="480" height="720"><p class="figureHead">DORDRECHT, SOUTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p028width" id="p028"><img src="images/p028.png" alt="DORDRECHT (DATED 1702)" width="294" height="581"><p class="figureHead">DORDRECHT (DATED 1702)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p029width" id="p029"><img src="images/p029.png" alt="HAARLEM, NORTH HOLLAND" width="720" height="525"><p class="figureHead">HAARLEM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Pantiles were almost universally used for roof-coverings in the towns, while in the
-country thatching was freely employed. Under certain conditions the good qualities
-of pantiles show conspicuously. Where the country is level and the landscape low,
-and big changing sky-effects constantly recur, they look particularly homely and suitable.
-Their curved surfaces quickly respond to play of light, becoming successively bright
-in the sunlight or mellow-toned in the shadow. They have the appearance, too, of being
-well able to withstand the wind and the rain. Holland is a country having the attributes
-for the successful use of these tiles; moreover, they blended in every way with the
-prevailing brick architecture, both of the towns and of the villages, as is shown
-by the illustrations from Haarlem (page <a href="#p029" class="pageref">29</a>) and St. Laurens (page <a href="#p031" class="pageref">31</a>). They were not always of that bright red colour usually associated with pantiles.
-Many were made from a grey clay and look not unpleasing; especially in the town and
-neighbourhood of Zutphen they can be well <span class="pagenum">[<a id="pb32" href="#pb32">32</a>]</span>observed. The thatched roofs of the countryside do not present any special characteristics.
-They were contrived to accomplish their purpose in a straightforward way. Brought
-down directly from ridge to eaves, or arranged pyramidally, they have no added decoration
-in straw-work. The ridge was protected by a course of half-round tiles of which the
-farmhouse at Spaarwoude (page <a href="#p030" class="pageref">30</a>) furnishes an example, and the roof of this building, arranged part in thatch and
-part in pantiles, is an instance of a fairly prevalent practice.
-</p>
-<p></p>
-<div class="figure p030width" id="p030"><img src="images/p030.png" alt="SPAARWOUDE, NORTH HOLLAND" width="720" height="397"><p class="figureHead">SPAARWOUDE, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p031width" id="p031"><img src="images/p031.png" alt="ST. LAURENS, NEAR MIDDELBURG, ZEELAND" width="720" height="504"><p class="figureHead">ST. LAURENS, NEAR MIDDELBURG, ZEELAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p032width" id="p032"><img src="images/p032.png" alt="HAARLEM, NORTH HOLLAND" width="361" height="582"><p class="figureHead">HAARLEM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Passing from the consideration of building materials to that of planning, it may be
-stated as a general rule that the ground plans of the old work were usually determined
-by the exigencies of practical requirements. The very narrow frontage of many of the
-houses gave little latitude for variation of interior disposition: for it will be
-noticed that the majority of the houses were built with gable-ends facing to the streets,
-and these consequently became the principal elevations. The measurement from front
-to back of each was thus much greater than that from side to side. The economical
-and practical way of treating such an area would be to arrange a passage at the side,
-directly through from front to back, which would, as well, give access to the rooms
-and stairs; and this is what was generally done. Such a passage, sketched from the
-outside pavement, is shown on this page. This expedient was not necessary when the
-building had a wider frontage, and in such a case the way through was often placed
-more or less centrally, in the manner illustrated from Alkmaar on page <a href="#p033" class="pageref">33</a>. On the other hand, the narrow house at Hoorn (page <a href="#p034" class="pageref">34</a>) has a central entrance, and here it gives immediate access to the front room. But
-the passage was an important feature of Dutch planning and gave the fundamental idea
-for general disposition.
-</p>
-<p></p>
-<div class="figure p033width" id="p033"><img src="images/p033.png" alt="ALKMAAR, NORTH HOLLAND (DATED 1609)" width="463" height="720"><p class="figureHead">ALKMAAR, NORTH HOLLAND (DATED 1609)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p034width" id="p034"><img src="images/p034.png" alt="HOORN, NORTH HOLLAND (DATED 1612)" width="539" height="720"><p class="figureHead">HOORN, NORTH HOLLAND (DATED 1612)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p035width" id="p035"><img src="images/p035.png" alt="MIDDELBURG, ZEELAND" width="720" height="534"><p class="figureHead">MIDDELBURG, ZEELAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p036width" id="p036"><img src="images/p036.png" alt="HOORN, NORTH HOLLAND" width="636" height="589"><p class="figureHead">HOORN, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>The internal arrangements were disclosed by the elevations and a guiding principle
-of Gothic design was thereby followed. The positions of <span class="pagenum">[<a id="pb33" href="#pb33">33</a>]</span>lofty rooms, ways of access, staircases and different floor levels, were as much as
-possible made obvious on the outside of the buildings. This practice led to many happy
-results. Not fettered by artificial conventions or limited by unyielding laws, the
-designers were able to give scope to their invention. Utility and convenience set
-the theme for spontaneous fancy to adorn. These were the motive powers, the guiding
-impulses that lay behind the early work, and they continued to operate with more or
-less force for many generations. The series of houses in the &#x201c;Balans&#x201d; at Middelburg
-(page <a href="#p035" class="pageref">35</a>) furnishes a good example of a group that owed its inception to such influences.
-While there is harmony between part and part no two are alike. One house is higher
-than its fellow; one comes forward over the paved way while another recedes. Doorways
-and windows are conveniently, but not too evenly disposed. The brightly painted window-shutters
-give lively colour, and isolated features&#x2014;such as the staircase turret seen on the
-right&#x2014;show with telling effect. Gables of differing shape break the skyline.
-<span class="pagenum">[<a id="pb37" href="#pb37">37</a>]</span></p>
-<p></p>
-<div class="figure p037width" id="p037"><img src="images/p037.png" alt="HOORN, NORTH HOLLAND" width="519" height="720"><p class="figureHead">HOORN, NORTH HOLLAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb38" href="#pb38">38</a>]</span>
-Utilitarian in lighting the rooms of the roofs, the dormers �sthetically serve to
-carry the eye up to the ridges. The whole impression, if irregular, is picturesque
-to a degree. Contemplating an effect such as this, so powerful in its human appeal
-to the eye and mind, it is difficult to appreciate those arguments which are advanced
-against principles capable of giving such satisfying results.
-</p>
-<p></p>
-<div class="figure p038width" id="p038"><img src="images/p038.png" alt="WOUDRICHEM, NORTH BRABANT" width="408" height="583"><p class="figureHead">WOUDRICHEM, NORTH BRABANT</p>
-</div><p>
-</p>
-<p>The most characteristic essential of domestic architecture in Holland is the steeply-pitched
-gable. It was derived from Gothic sources. Gables owning this influence almost invariably
-have the lines of their two ascending sides broken by a series of steps which continue
-upwards from base to apex. They are consequently called &#x201c;stepped,&#x201d; and such gables
-will be observed in the drawing from Middelburg mentioned above. The acute rake of
-the gables determined the slant of the roofs. This circumstance, together with the
-fact that houses usually had little frontage to the streets, gave great roof spaces
-incapable of being adequately lighted by windows inserted in the walls. So the fore
-part consisted of a room (or rooms) which was generally assigned to servants, and
-the rear area, lighted by dormers, was used for storing and kindred purposes, one
-all-important among the latter being that of &#x201c;drying washing.&#x201d; These dormers were
-quite important factors in architectural composition; each had hinged and painted
-shutters and a little steep roof. Sometimes they were elaborated, as may be seen,
-for instance, in the drawing from Hoorn (page <a href="#pb37" class="pageref">37</a>). The dormer eventually became a much developed feature. In examples such as those
-shown from Leiden (page <a href="#p039" class="pageref">39</a>), where two of the houses are not ended by a gable, the main roof would be hipped
-back. A certain number of dwellings were built with one of the longest sides occupying
-the main frontage. The house at Hoorn (page <a href="#p036" class="pageref">36</a>) was so constructed. The floor-joists, carried through the walling, are exposed to
-view; they project beyond the face of the ground floor wall and support an overhanging
-upper storey. Similar examples occur at Vlissingen (Flushing), and there the joist-ends
-are carved with representations of small human heads, each of different design.
-</p>
-<p></p>
-<div class="figure p039width" id="p039"><img src="images/p039.png" alt="LEIDEN, RHIJNLAND" width="503" height="720"><p class="figureHead">LEIDEN, RHIJNLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p040width" id="p040"><img src="images/p040.png" alt="MIDDELBURG, ZEELAND" width="562" height="720"><p class="figureHead">MIDDELBURG, ZEELAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p041width" id="p041"><img src="images/p041.png" alt="NIJMEGEN, GELDERLAND (DATED 1606)" width="465" height="720"><p class="figureHead">NIJMEGEN, GELDERLAND (DATED 1606)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p042width" id="p042"><img src="images/p042.png" alt="ZUTPHEN, GELDERLAND (see opposite page)" width="629" height="556"><p class="figureHead">ZUTPHEN, GELDERLAND (see opposite page)</p>
-</div><p>
-</p>
-<p>Very noticeable, both in early and later work, is the great height of ground-floor
-rooms and passages. They not uncommonly measure from eleven to thirteen feet, or even
-more, from floor to ceiling. The windows, proportionate to the rooms, are extremely
-lofty. Over entrance doorways are fanlights of conspicuous size, which are occasionally
-nearly as large as the doors themselves. Some houses, with very high front rooms abutting
-on the street, have at the back two stories contained within this same height. The
-example from Woudrichem (page <a href="#pb38" class="pageref">38</a>) is disposed in this way; the fore part of the hall, from which the drawing was made,
-together with the adjoining room are almost twice as lofty as the passage seen beyond;
-the stairs give access to the imposed intermediate floor. Heights of rooms gradually
-diminish upward from the ground, and the string-courses that <span class="pagenum">[<a id="pb44" href="#pb44">44</a>]</span>externally mark the position of the floors, are consequently nearest together far
-up the walls and gables.
-</p>
-<p></p>
-<div class="figure p043width" id="p043"><img src="images/p043.png" alt="ZUTPHEN, GELDERLAND (DATED 1547)" width="488" height="720"><p class="figureHead">ZUTPHEN, GELDERLAND (DATED 1547)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p044-1width" id="p044-1"><img src="images/p044-1.png" alt="VEERE, ZEELAND" width="634" height="516"><p class="figureHead">VEERE, ZEELAND</p>
-</div><p>
-</p>
-<p>It will be seen by the foregoing how construction and practical arrangement went hand
-in hand with design, neither one being divorced from the other. Especially is this
-demonstrated by the Gothic buildings and those which primarily betray a Gothic origin.
-The house from Middelburg (page <a href="#p040" class="pageref">40</a>) is given as an example. It is a highly successful piece of grouping, and the features
-show with admirable effect. The walls are of brickwork and the dressings of stone.
-On the gable-end bands of stone alternate with courses of bricks, while set back in
-the angle the well-placed turret, steep-roofed and soaring, dominates the composition.
-How accurately the value of horizontal and vertical elements was estimated, and how
-cunningly they were opposed to each other, will be observed. The gateway from Nijmegen
-(page <a href="#p041" class="pageref">41</a>) was conceived in much the same spirit as the above, and here again the turret was
-effectively employed. Both it and the pointed archway are in quite the Gothic manner;
-but the crow-stone, or terminating member of the gable, the band of diaper executed
-in brick and stone, and the details of the windows (near to which the date of 1606
-appears) point to other influences.
-</p>
-<p></p>
-<div class="figure p044-2width" id="p044-2"><img src="images/p044-2.jpg" alt="&#x201c;DUTCH INTERIOR.&#x201d; From an oil painting by PIETER DE HOOCH." width="632" height="558"><p class="figureHead">&#x201c;DUTCH INTERIOR.&#x201d; <span class="sc">From an oil painting by</span> PIETER DE HOOCH.</p>
-<p class="first">(In the Ryks Museum, Amsterdam.)</p>
-</div><p>
-<span class="pagenum">[<a id="pb45" href="#pb45">45</a>]</span></p>
-<p></p>
-<div class="figure p045width" id="p045"><img src="images/p045.png" alt="HAARLEM, NORTH HOLLAND" width="566" height="720"><p class="figureHead">HAARLEM, NORTH HOLLAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb46" href="#pb46">46</a>]</span></p>
-<p></p>
-<div class="figure p046width" id="p046"><img src="images/p046.png" alt="DELFT, SOUTH HOLLAND" width="452" height="720"><p class="figureHead">DELFT, SOUTH HOLLAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb47" href="#pb47">47</a>]</span></p>
-<p></p>
-<div class="figure p047width" id="p047"><img src="images/p047.png" alt="HAARLEM, NORTH HOLLAND (DATED 1637)" width="493" height="720"><p class="figureHead">HAARLEM, NORTH HOLLAND (DATED 1637)</p>
-</div><p>
-<span class="pagenum">[<a id="pb48" href="#pb48">48</a>]</span></p>
-<p></p>
-<div class="figure p048width" id="p048"><img src="images/p048.png" alt="ALKMAAR, NORTH HOLLAND (DATED 1673)" width="541" height="720"><p class="figureHead">ALKMAAR, NORTH HOLLAND (DATED 1673)</p>
-</div><p>
-<span class="pagenum">[<a id="pb49" href="#pb49">49</a>]</span></p>
-<p></p>
-<div class="figure p049width" id="p049"><img src="images/p049.png" alt="FRANEKER, FRIESLAND (DATED 1634)" width="524" height="720"><p class="figureHead">FRANEKER, FRIESLAND (DATED 1634)</p>
-</div><p>
-<span class="pagenum">[<a id="pb50" href="#pb50">50</a>]</span></p>
-<p></p>
-<div class="figure floatRight p050-1width" id="p050-1"><img src="images/p050-1.png" alt="CORBEL FROM DORDRECHT" width="113" height="578"><p class="figureHead">CORBEL FROM DORDRECHT</p>
-</div><p>
-</p>
-<p>On the exterior walls of the house from Zutphen (page <a href="#p043" class="pageref">43</a>) can be seen the sunk panels, set back from the main face of the brickwork, which
-served for the insertion of windows. They often extend from near the ground to well
-up the gable. The dividing projections, turned with arches at their extremities, give
-bold upright lines. In the example cited these lines have evidently been broken by
-the rebuilding of the first-storey wall. It is dated 1547. The upper part, showing
-the sunk panel bordered by moulded bricks, the arched head&#x2014;in this instance pointed
-and supported on each side by small circular turrets&#x2014;and the shuttered window, is
-given in detail on page <a href="#p042" class="pageref">42</a>.
-</p>
-<p></p>
-<div class="figure floatLeft p050-2width" id="p050-2"><img src="images/p050-2.png" alt="MOSAIC BRICK AND STONE WORK FROM DORDRECHT (see opposite page)." width="329" height="295"><p class="figureHead">MOSAIC BRICK AND STONE WORK FROM DORDRECHT (see opposite page).</p>
-</div><p>
-</p>
-<p>A noticeable treatment of the ground floor elevation is exemplified by the two drawings
-from Alkmaar and Hoorn (pages <a href="#pb33" class="pageref">33</a> and <a href="#p034" class="pageref">34</a>), already considered, and by that from Veere (page <a href="#pb44" class="pageref">44</a>). Each is constructed principally in woodwork, and the many windows amply serve to
-light the lofty rooms. The wooden mullions are simply shaped and enriched, while over
-them is a moulded cornice. Above the lower series of windows in the Alkmaar example
-is a projecting hood, which affords protection from the weather. The date of 1609
-is carved upon it, and other buildings having this characteristic usually belong to
-the opening years of the seventeenth century. A more artistic and satisfactory solution
-to the difficult problem of adequately lighting the entire side of a high room or
-shop would not easily be found in the old work of any other country.
-</p>
-<p></p>
-<div class="figure p051width" id="p051"><img src="images/p051.png" alt="DORDRECHT, SOUTH HOLLAND (DATED 1608)" width="429" height="720"><p class="figureHead">DORDRECHT, SOUTH HOLLAND (DATED 1608)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p052width" id="p052"><img src="images/p052.png" alt="WORKUM, FRIESLAND (DATED 1663)" width="524" height="720"><p class="figureHead">WORKUM, FRIESLAND (DATED 1663)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p053width" id="p053"><img src="images/p053.png" alt="ARNHEM, GELDERLAND (DATED 1642)" width="440" height="720"><p class="figureHead">ARNHEM, GELDERLAND (DATED 1642)</p>
-</div><p>
-</p>
-<p>It is not possible to make any hard and fast division between Gothic and Renaissance
-work. The actual dates of the buildings form no conclusive key, for it has been demonstrated
-in the Introduction how the later development did not advance evenly throughout the
-country. Houses built in the traditional way, and in a mixture of styles, are to be
-seen in almost all old towns (page <a href="#pb45" class="pageref">45</a>). Sometimes one influence shows predominantly, sometimes another. The brick and stone
-fa�ade at Delft (page <a href="#pb46" class="pageref">46</a>) has all the attributes <span class="pagenum">[<a id="pb56" href="#pb56">56</a>]</span>of Gothic work, pointed arches, overhanging stories, stepped gable and pinnacles.
-But the spirit of the carved details is different. The heads in circles, cherubs,
-vases, cornucopias, lion-heads, dolphins, eagles and acanthus ornament are all subjects
-far removed from Gothic ideas, as are the delicately carved corbels from which the
-arches spring.
-</p>
-<p></p>
-<div class="figure p054width" id="p054"><img src="images/p054.png" alt="AMSTERDAM&#x2014;REMBRANDT&#x2019;S HOUSE (DATED 1606)" width="359" height="720"><p class="figureHead">AMSTERDAM&#x2014;REMBRANDT&#x2019;S HOUSE (DATED 1606)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p055width" id="p055"><img src="images/p055.png" alt="ZWOLLE, OVERIJSSEL&#x2014;THE GUILD HALL (DATED 1571)" width="578" height="720"><p class="figureHead">ZWOLLE, OVERIJSSEL&#x2014;THE GUILD HALL (DATED 1571)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p056width" id="p056"><img src="images/p056.png" alt="VLISSINGEN (FLUSHING), ZEELAND (DATED 1614)" width="631" height="488"><p class="figureHead">VLISSINGEN (FLUSHING), ZEELAND (DATED 1614)</p>
-</div><p>
-</p>
-<p>Two other houses that owe much to Gothic influences are those from Haarlem (page <a href="#pb47" class="pageref">47</a>) and Alkmaar (page <a href="#pb48" class="pageref">48</a>). The first-named was built in 1637 and the second in 1673. The more recently dated
-example shows, in point of style, the earlier architectural form. Both have the customary
-stepped gable and window-heads, the Alkmaar examples being elliptically arched and
-those at Haarlem pointed. But in the latter instance the keystones are furnished with
-Renaissance ornaments, as is the crowning pediment of the gable.
-</p>
-<p></p>
-<div class="figure p057width" id="p057"><img src="images/p057.png" alt="DORDRECHT, SOUTH HOLLAND (DATED 1626)" width="472" height="720"><p class="figureHead">DORDRECHT, SOUTH HOLLAND (DATED 1626)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p058width" id="p058"><img src="images/p058.png" alt="KAMPEN, OVERIJSSEL (DATED 1631)" width="435" height="720"><p class="figureHead">KAMPEN, OVERIJSSEL (DATED 1631)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p059width" id="p059"><img src="images/p059.png" alt="KAMPEN, OVERIJSSEL (DATED ON DORMERS 1634, 1626, 1730, 1630, AND 1619)" width="720" height="503"><p class="figureHead">KAMPEN, OVERIJSSEL (DATED ON DORMERS 1634, 1626, 1730, 1630, AND 1619)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p060width" id="p060"><img src="images/p060.png" alt="GRONINGEN&#x2014;THE &#x201c;GOUDKANTOOR&#x201d; (DATED 1635)" width="552" height="720"><p class="figureHead">GRONINGEN&#x2014;THE &#x201c;GOUDKANTOOR&#x201d; (DATED 1635)</p>
-</div><p>
-</p>
-<p>The three following buildings mark a further step forward in architectural development.
-In general disposition of masses they accord with olden practices, but the decorative
-details approximate Renaissance ideas. &#x201c;De Crimpert Salm&#x201d; at Dordrecht (page <a href="#p051" class="pageref">51</a>), of 1608, presents a rich appearance, but the profuse elaboration of the front was
-not achieved by accident or haphazard use of material. The balance of the design was
-obviously well considered. Horizontal motives, intensified below the <span class="pagenum">[<a id="pb64" href="#pb64">64</a>]</span>first-floor level, give a stable base for the lavishness overhead; above, they repeat
-with less force and are finally carried up the gable by the steps. The vertical lines,
-obtained principally by the window openings and frames, are similarly reduced towards
-the top, and there the curved elements are concentrated. Upon a low wall of stone
-and brick stands the woodwork front of the ground floor. Next in order comes a broad
-band of mosaic decoration executed in brick and stone (page <a href="#pb50" class="pageref">50</a>), bounded at each end by lion-heads in high relief, and divided centrally by a stone
-panel with a salmon carved upon it. Other mosaics show in the arched spaces over the
-windows of the next storey (page <a href="#pb50" class="pageref">50</a>), while the equivalent space in the gable is filled with arranged brickwork. Moulded
-bricks and stonework, plain and carved, all contribute to the exuberance of the scheme.
-The small example from Franeker (page <a href="#pb49" class="pageref">49</a>) is built in brick and stone and was erected in 1634. It has the traditional gable
-but the old type of step, small in height and width, was not followed. Two steps only
-suffice to reach the gable-head and the side of each is finished with shaped stonework,
-a method of completion not employed in earlier times. Later in date than these two
-houses, that from Workum (page <a href="#p052" class="pageref">52</a>) gives an instance both of the persistence of established practice and of the human
-desire for newness and change. The builder evidently could neither forget nor abandon
-the general form of house arrangement that he knew so well, and to it he kept. This
-is especially obvious in the gable which mounts up in quite the Gothic way. The pilasters
-on the ground and first storey, however, plainly show that an attempt was made to
-keep in touch with the prevailing mode of the period. Each is terminated by a Corinthian
-capital and festoons of fruit are carved upon the panels. In these particulars the
-work, which was completed in 1663, was in agreement with the then advancing Classic
-taste. The bricks used in the walls are plum coloured and measure but 1� inches wide.
-</p>
-<p></p>
-<div class="figure p061width" id="p061"><img src="images/p061.png" alt="GRONINGEN (1661)" width="461" height="720"><p class="figureHead">GRONINGEN (1661)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p062width" id="p062"><img src="images/p062.png" alt="FRANEKER, FRIESLAND (DATED 1662)" width="510" height="720"><p class="figureHead">FRANEKER, FRIESLAND (DATED 1662)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p063width" id="p063"><img src="images/p063.png" alt="&#x2019;S HERTOGENBOSCH, NORTH BRABANT (DATED 1671)" width="464" height="720"><p class="figureHead">&#x2019;S HERTOGENBOSCH, NORTH BRABANT (DATED 1671)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p064width" id="p064"><img src="images/p064.png" alt="IRON WALL-TIE FROM ALKMAAR (see opposite page)" width="173" height="384"><p class="figureHead">IRON WALL-TIE FROM ALKMAAR (see opposite page)</p>
-</div><p>
-</p>
-<p>Designers were thus getting farther away from Gothic architecture. The political and
-religious events of the sixteenth and seventeenth centuries revolutionized old beliefs.
-Time-honoured faiths were not only given up, but were viewed with positive distrust.
-The powers that had swayed the people of the Middle Ages, the mysticism, ideals, and
-poetry of their lives, were unrealities to the great majority of seventeenth-century
-Hollanders; such doctrines fell meaningless upon their senses, and were to them but
-unintelligible and empty forms. They not unnaturally turned from a creed in whose
-name loathsome crimes had been committed and countless lives had been sacrificed.
-It was a time of new life and faith. This <span class="pagenum">[<a id="pb66" href="#pb66">66</a>]</span>change in the trend of thought is amply reflected in the domestic architecture. The
-Gothic tradition, already more or less alienated from the public sympathies, had almost
-spent itself. Its vitality was gone and only as a survival, a mere shadow of former
-glory, was it carried on. The old order gave place to the new. But it was long before
-a fresh system of planning came to be generally accepted and medi�val methods of construction
-and workmanship still persisted. Classic motives, however, were increasingly applied
-to the elevations. All the features, and the entire decoration of many of the houses,
-were often the direct outcome of Renaissance influences. In some few cases&#x2014;such as
-the gateway at Arnhem of 1642 (page <a href="#p053" class="pageref">53</a>)&#x2014;the whole schemes were conceived in the Classic spirit and were evidently designed
-by men of advanced intelligence, who were able to comprehend the significance of the
-style in which they worked.
-</p>
-<p></p>
-<div class="figure p065width" id="p065"><img src="images/p065.png" alt="ALKMAAR, NORTH HOLLAND (DATED 1672)" width="497" height="720"><p class="figureHead">ALKMAAR, NORTH HOLLAND (DATED 1672)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p066-1width" id="p066-1"><img src="images/p066.png" alt="&#x2019;S GRAVENHAGE (THE HAGUE), SOUTH HOLLAND&#x2014;&#x201c;T&#x2019;GOUTSMITS KEUR HUIJS&#x201d;" width="324" height="698"><p class="figureHead">&#x2019;S GRAVENHAGE (THE HAGUE), SOUTH HOLLAND&#x2014;&#x201c;T&#x2019;GOUTSMITS KEUR HUIJS&#x201d;</p>
-</div><p>
-</p>
-<p>Rembrandt&#x2019;s house at Amsterdam (page <a href="#p054" class="pageref">54</a>) is an able achievement, sober and dignified. The walls are built of ochre-coloured
-bricks, with stone used for the dressings. The date of 1606 appears on the upper storey.
-It has no gabled front, but a projecting cornice and pediment make division between
-the roof and wall surface. Above are two dormers placed in balanced order; while the
-roof, steeply rising and hipped and having a chimney at each end of the ridge, completes
-the studied arrangement. So far the work is in the style of the Renaissance, and it
-is only by the windows below that earlier influences are recalled: but the two themes
-are so well blended as to be perfectly harmonious. The net result is simple and reasonable
-and by no means lacking in scholarship. Very different is the Guild Hall at Zwolle
-(page <a href="#p055" class="pageref">55</a>), erected thirty-five years earlier. Its too fussy elaboration is in sharp contrast
-with the comparative <span class="pagenum">[<a id="pb68" href="#pb68">68</a>]</span>restraint of Rembrandt&#x2019;s house, just mentioned. Classicism was applied without the
-Classic spirit and with little understanding of its real import. The general effect
-is rich and complex, but the composition lacks breadth and is overladen with ornament.
-Some of the details disclose good craftsmanship, notably the frieze which runs across
-the entire front at the first floor level, carved with cupids on horseback, old men
-with tridents, satyrs and flowing foliage, and broken at intervals by lion-heads worked
-on the bases of the pilasters. At the second storey is a Doric frieze, with sculptured
-circular ornaments and heads of bulls appearing in the metopes between the triglyphs.
-The gable, medi�val in feeling, is curly in outline; it is further complicated by
-the introduction of reclining satyrs and lascivious demi-gods that quaintly break
-the skyline. The designer evidently proposed to himself the Italian ideal, but did
-not grasp the meaning or refinement of it. Many details came to be used in a similar
-way, such, for instance, as those shown from Dordrecht (page <a href="#pb50" class="pageref">50</a>) and Flushing (page <a href="#pb56" class="pageref">56</a>), but, although often of admirable workmanship, they were never coherent parts of
-a self-evolved whole.
-</p>
-<p></p>
-<div class="figure p066-2width" id="p066-2"><img src="images/p066-2.jpg" alt="&#x201c;THE LETTER.&#x201d; from an oil painting by JOHANNES VERMEER." width="618" height="720"><p class="figureHead">&#x201c;THE LETTER.&#x201d; <span class="sc">from an oil painting by</span> JOHANNES VERMEER.</p>
-<p class="first">(In the Ryks Museum, Amsterdam.)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p067width" id="p067"><img src="images/p067.png" alt="VELSEN, NORTH HOLLAND" width="549" height="720"><p class="figureHead">VELSEN, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p068width" id="p068"><img src="images/p068.png" alt="SPAARWOUDE, NORTH HOLLAND" width="632" height="218"><p class="figureHead">SPAARWOUDE, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>A house of somewhat unusual appearance is that in the Voorstraat at Dordrecht, dated
-1626 and illustrated on page <a href="#p057" class="pageref">57</a>. At the top is an open arcade constructed wholly in bricks, with the exception of
-the stones upon which the arches rest. The brick walls are relieved by stonework,
-while projecting pilasters separate the large lead-glazed and shuttered windows.
-</p>
-<p>Houses that depended upon dormers for their controlling architectural idea were common
-in the seventeenth century. The front wall is usually only one storey high and the
-dormers rise from it at the line of the eaves. When the frontage is wide and the building
-long and low, as is the case at Kampen (page <a href="#p059" class="pageref">59</a>), these features&#x2014;shaped and carved and fundamentally valuable in lighting the rooms
-of the roof&#x2014;show with good effect. A smaller house in the same town, given on page
-<a href="#p058" class="pageref">58</a>, has a single dormer only. It contributes the necessary interest to what would otherwise
-be a very dull effort of building. On the frieze at its base is a carved stone representation
-of the Nativity, while below appears the inscription &#x201c;<span class="sc">IN BETHLEHEM 1631</span>.&#x201d;
-<span class="pagenum">[<a id="pb69" href="#pb69">69</a>]</span></p>
-<p></p>
-<div class="figure p069width" id="p069"><img src="images/p069.png" alt="ZUTPHEN, GELDERLAND" width="492" height="720"><p class="figureHead">ZUTPHEN, GELDERLAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb70" href="#pb70">70</a>]</span></p>
-<p></p>
-<div class="figure p070-1width" id="p070-1"><img src="images/p070-1.png" alt="HALFWEG, NORTH HOLLAND" width="627" height="315"><p class="figureHead">HALFWEG, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p070-2width" id="p070-2"><img src="images/p070-2.png" alt="HALFWEG, NORTH HOLLAND SHOWING CONSTRUCTION OF FARMHOUSE" width="442" height="254"><p class="figureHead">HALFWEG, NORTH HOLLAND SHOWING CONSTRUCTION OF FARMHOUSE</p>
-</div><p>
-</p>
-<p>Those principles that imparted to the domestic architecture of Holland its picturesqueness,
-and so gave to it its most valued possession, were strained to the uttermost as the
-freshness of the Transitional style declined. The influences bequeathed from former
-ages were running out. Extreme freedom of design, although showing certain originality
-and character, was not accompanied by necessary restraint. Architects sometimes cast
-aside all the limitations of their art and gave themselves up to unreasonable over-elaboration
-and the grotesque; they ignored the fact&#x2014;true for all time&#x2014;that construction must
-form the basis for ornamental detail. But it must not be thought that this was always
-so. There is, however, certain work of this period that cannot seriously be accepted
-as good. Brickwork and stone continued to be employed and were still associated with
-excellent workmanship, as was the carpentry. There was evidently yet, as the many
-dated buildings prove, a large body of men who had complete mastery of their particular
-crafts, men versed in that traditional skill which had come down unbrokenly from medi�val
-days. Prominence was given to the numerous door and window openings, which were heavily
-<span class="pagenum">[<a id="pb72" href="#pb72">72</a>]</span>moulded and often surmounted by pediments. Gables were shaped in endless ways and
-upon them almost every conceivable combination of curves was employed. Pilasters and
-cornices, swags and festoons, with strap ornament, scrolls and ornate iron wall-ties,
-all generally of debased Renaissance character, contributed to the rich profusion.
-</p>
-<p></p>
-<div class="figure p071width" id="p071"><img src="images/p071.png" alt="SPAARNDAM, NORTH HOLLAND" width="585" height="720"><p class="figureHead">SPAARNDAM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p072width" id="p072"><img src="images/p072.png" alt="SCHOOTEN, NORTH HOLLAND" width="632" height="451"><p class="figureHead">SCHOOTEN, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Whither events in architectural history were tending will be seen in the following
-illustrations. The &#x201c;Goudkantoor&#x201d; at Groningen (page <a href="#p060" class="pageref">60</a>), bearing a motto and date of 1635, and a house near to it of the year 1661 (page
-<a href="#p061" class="pageref">61</a>), have quaint gables, curiously shaped and laden with carved stone decorations. On
-the walls below the same complex treatment continues, especially on the &#x201c;Goudkantoor,&#x201d;
-the entrance doorway of which is emphasised by the work surrounding it. At Franeker
-(page <a href="#p062" class="pageref">62</a>) is an extreme development of the step gable, with the four steps supporting masses
-of coarsely-designed ornamentation. The heavy pediments to the windows are conspicuous,
-as are the many stone details. Two panels are inscribed with &#x201c;<span class="sc">ANNO 1662</span>.&#x201d; With the above-mentioned may be compared the two gables at Alkmaar (page <a href="#p065" class="pageref">65</a>) which betray the same source of origin. Each is crowned by a stone pediment, and
-the steps have carvings resting upon them. Applied to the wall of the farthermost
-house, and placed centrally between the windows of the second storey, is a notable
-iron wall-tie of much larger size than was usual. An enlarged drawing of it is reproduced
-on page <a href="#pb64" class="pageref">64</a>. Another variation of gable outline is illustrated from &#x2019;s Hertogenbosch <span class="pagenum">[<a id="pb74" href="#pb74">74</a>]</span>(page <a href="#p063" class="pageref">63</a>). In this case the stone-capped sides follow the lines of sweeping curves, and on
-them, facing outwardly, are little carved bunches of fruit and flowers. The front
-face of this building is remarkable for the use of pilasters. They are boldly carried
-up from bases to the head of the gable. The pillars, executed in unrelieved brickwork,
-have stone capitals of the Ionic order which carry an entablature. There appears the
-date of MDCLXXI. The bricks are 2 inches wide by 9 inches long and are laid about
-five courses to one foot.
-</p>
-<p></p>
-<div class="figure p073width" id="p073"><img src="images/p073.png" alt="THE FERRY-HOUSE, NEAR GENNEP, NORTH BRABANT" width="720" height="448"><p class="figureHead">THE FERRY-HOUSE, NEAR GENNEP, NORTH BRABANT</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p074width" id="p074"><img src="images/p074.png" alt="BEEK, GELDERLAND" width="626" height="505"><p class="figureHead">BEEK, GELDERLAND</p>
-</div><p>
-</p>
-<p>It eventually came to pass that the gabled treatment, which had been the guiding principle
-of house design for so many generations, was given up. And with the disappearance
-of it there went that which had given character to the architecture of Holland. The
-links of the tradition were broken. The old sources of inspiration no longer served.
-Inherited ability and skill, originality and vigour, were being lost, and the last
-traces of native ideas are to be found in inconspicuous buildings such as that given
-from The Hague (page <a href="#pb66" class="pageref">66</a>). Although hipped roofs, wide projecting cornices and other Renaissance features
-were employed, as is shown by the drawings from Velsen (page <a href="#p067" class="pageref">67</a>), and Zutphen (page <a href="#pb69" class="pageref">69</a>), a pure Renaissance domestic architecture did not become established. When the traditional
-style, owning both Gothic and Renaissance motives, had ceased to <span class="pagenum">[<a id="pb76" href="#pb76">76</a>]</span>hold its ground, the stream of design&#x2014;which until then had flowed continuously&#x2014;ebbed
-low, and houses became uninteresting and commonplace. Away in the country the town
-architecture is mirrored in the brick buildings of the numerous villages. Less pretentious
-in appearance, their style is well suited to the simpler conditions that there obtain;
-for the crowded activity of the town waterways is absent on the calm canals that wind
-between meadows, and give communication from village to village; on the quays life
-moves placidly. Spaarndam (page <a href="#p071" class="pageref">71</a>) furnishes a typical village view, with its gabled brick and white-fronted houses,
-screened by delicate greenery. The Ferry House, near Gennep (page <a href="#p073" class="pageref">73</a>), has more ornate gables, curved and stepped, and on the front is diaper brickwork.
-</p>
-<p></p>
-<div class="figure p075width" id="p075"><img src="images/p075.png" alt="BRIGDAMME, ZEELAND (DATED 1622)" width="529" height="720"><p class="figureHead">BRIGDAMME, ZEELAND (DATED 1622)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p076width" id="p076"><img src="images/p076.png" alt="BEEK, GELDERLAND" width="633" height="483"><p class="figureHead">BEEK, GELDERLAND</p>
-</div><p>
-</p>
-<p>There also developed a type of building peculiar to the countryside. It is shown by
-the many farmhouses and cottages. Their outward forms were determined by constructional
-principles, and added adornment was but little employed. They are unobtrusive examples
-of honest work, not claiming especial distinction, yet in thorough harmony with their
-natural environment. They were brought into being by prevailing needs, and are the
-local representatives of that phase of native art which is to be found in almost every
-country. Such village homes exist in all parts of Holland. The style of them shows
-little variation in the different localities. They <span class="pagenum">[<a id="pb78" href="#pb78">78</a>]</span>are equally suited to the windswept Friesland landscape, the watered provinces of
-North and South Holland, or the beautiful country of North Brabant, with its hedgerows
-and woods and distant hills. Grouping, perchance, around old brick churches and sheltered
-by trees, as at Spaarwoude (page <a href="#pb68" class="pageref">68</a>), they are pleasant and rustic to see.
-</p>
-<p></p>
-<div class="figure p077width" id="p077"><img src="images/p077.png" alt="BLOEMENDAAL, NORTH HOLLAND" width="720" height="383"><p class="figureHead">BLOEMENDAAL, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p078width" id="p078"><img src="images/p078.png" alt="BROEK, NORTH HOLLAND" width="632" height="257"><p class="figureHead">BROEK, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Under one great thatched or tiled roof all the covered accommodation necessary for
-farm life is contained. One side of the building is occupied by living apartments,
-the remainder providing a huge barn, stalls for cattle, and other conveniences for
-the farmer&#x2019;s work. These buildings were solidly constructed on a timber basis in the
-manner shown by the sectional view from Halfweg (page <a href="#pb70" class="pageref">70</a>), where centre and side aisles are divided from each other by the stout upright timbers.
-Extreme durability was the keynote and the materials were employed according to their
-quality. This traditional form of building, practised for many generations, continues
-in use to the present day. An illustration of the exterior of a similar homestead
-to that mentioned above, and from the same village, also appears on page <a href="#pb70" class="pageref">70</a>. The great roof, hipped at each end and covered with pantiles, will be observed.
-Beneath the eaves are the domestic rooms, in this instance all upon the ground floor;
-often they extend to a second storey in the roof, which is then lighted by dormers.
-The cottages follow the same general constructive principles as the farms, and have
-similar low walls and large roofs. A lean-to was frequently added to give an additional
-room, and the main roof brought down over it at a less steep pitch. The roof space,
-valuable as a store, is in many cases reached from the exterior by a ladder. In addition
-to the customary steeply-pitched roofs, those of the Mansard pattern occur less frequently,
-as is exemplified by the drawing from Schooten (page <a href="#pb72" class="pageref">72</a>).
-</p>
-<p></p>
-<div class="figure p079width" id="p079"><img src="images/p079.png" alt="BROEK, NORTH HOLLAND" width="720" height="525"><p class="figureHead">BROEK, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Country work does not exhibit a great variety of building materials. Bricks, being
-made from the natural product and consequently readily available, were principally
-used for the walls. Rather than left in their normal state, they were often thinly
-coated with plaster on the outer face, and the lower parts, for about two feet upwards
-from the ground, were tarred. Houses <span class="pagenum">[<a id="pb80" href="#pb80">80</a>]</span>and cottages of this description together form a characteristic group in the country
-architecture of Holland. They were built upon a traditional system which grew out
-of the accumulated experience that was transmitted from generation to generation.
-Customary examples are shown in the two drawings from Beek (pages <a href="#pb74" class="pageref">74</a> and <a href="#pb76" class="pageref">76</a>), and by that from Broek in Waterland (page <a href="#pb78" class="pageref">78</a>). The farmhouse from Brigdamme (page <a href="#p075" class="pageref">75</a>) is of a similar character; at the entrance are two stone gate-piers, dated 1622.
-Two influences are to be traced in the farm at Bloemendaal (page <a href="#p077" class="pageref">77</a>). The main building has the white plastered walls and large roof&#x2014;which in this case
-comes forward to cover an open verandah&#x2014;while the adjoining gable is of natural coloured
-bricks and more in the style of town work.
-</p>
-<p></p>
-<div class="figure p080width" id="p080"><img src="images/p080.png" alt="WELL AT BEUGEN, NORTH BRABANT" width="621" height="442"><p class="figureHead">WELL AT BEUGEN, NORTH BRABANT</p>
-</div><p>
-</p>
-<p>Houses with wooden walls are prevalent, especially in North Holland. Upon a low brick
-wall, tarred, and varying in height from 18 to 30 inches, the timber frame was erected.
-Boards were simply nailed to it and the framing was commonly left exposed to view
-on the exterior. The boarding was well coated with paint or tar for protection against
-the weather. A roof of thatch or tiles, well projecting at the eaves, covered the
-whole. There was thus provided, by simple and economical means, a type of building
-well suited for its purpose. The village of Broek has many examples of timber houses,
-such as those here given on page <a href="#p079" class="pageref">79</a>; while near by, at Monnikendam, Volendam, and on the Island of Marken, are numerous
-others.
-</p>
-<p></p>
-<div class="figure p080-2width" id="p080-2"><img src="images/p080-2.jpg" alt="&#x201c;THE MIRROR&#x201d;. from an oil painting by CATHERINE BISSCHOP-SWIFT." width="508" height="720"><p class="figureHead">&#x201c;THE MIRROR&#x201d;. <span class="sc">from an oil painting by</span> CATHERINE BISSCHOP-SWIFT.</p>
-<p class="first">(<i>In the Municipal Museum, Amsterdam.</i>)</p>
-</div><p>
-<span class="pagenum">[<a id="pb81" href="#pb81">81</a>]</span></p>
-<p></p>
-<div class="figure p081width" id="p081"><img src="images/p081.png" alt="BEEK, GELDERLAND" width="720" height="477"><p class="figureHead">BEEK, GELDERLAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb82" href="#pb82">82</a>]</span></p>
-<p></p>
-<div class="figure p082width" id="p082"><img src="images/p082.png" alt="BRIDGE AT ZUIDERWOUDE, NORTH HOLLAND (DATED 1799)" width="630" height="397"><p class="figureHead">BRIDGE AT ZUIDERWOUDE, NORTH HOLLAND (DATED 1799)</p>
-</div><p>
-</p>
-<p>An extravagant use of paint is conspicuous in the country as well as the towns. It
-is renewed at frequent intervals and, in the main, it is well applied. Shutters and
-doors and window frames, and frequently the whole house front, are freely covered
-with it. But the effects are not unpleasing. They give to the villages an air of gaiety
-and freshness. Plain schemes of colour are wisely adhered to, while throughout a district
-one general note will be followed. On the island of Walcheren it is apple-green and
-white; north of Amsterdam bluey-green and cream; while the woodwork of the house at
-Beek (page <a href="#pb81" class="pageref">81</a>) is painted in the tones of buff that find favour in the locality of Nijmegen.
-</p>
-<p>There are many other domestic features worthy of note to be seen in the villages of
-Holland; quaint appliances for wells, ingeniously worked (page <a href="#pb80" class="pageref">80</a>), or little bridges that span dividing dykes, and connect homesteads with the highways.
-One from Zuiderwoude, near the edge of the Zuider Zee, is illustrated on this page.
-It is built of brick relieved by a little stonework. On the keystone of the arch appears
-the date of 1799. The wooden gates above give access to the farm and the fields. The
-Dutch, too, have a marked fondness for natural beauty, as is demonstrated by the skill
-they display in laying-out open spaces. All towns can show flower gardens and lawns,
-or old fortifications overlooked by gaunt watch-towers, transformed into pleasant
-parks. Nijmegen and Arnhem are noteworthy in this respect. Very charming, too, are
-the village streets, of which that at Brigdamme (page <a href="#pb18" class="pageref">18</a>) is a typical instance. They are lined with many trees that afford kindly shade in
-summer and shelter from the wind, and gratify the eyes with traceries of green.
-<span class="pagenum">[<a id="pb83" href="#pb83">83</a>]</span></p>
-</div>
-</div>
-<div id="ch2" class="div1 chapter"><span class="pagenum">[<a href="#xd29e840">Contents</a>]</span><div class="divHead">
-<h2 class="label">DIVISION II</h2>
-<h2 class="main">EXTERIOR FEATURES&#x2014;DOORS, WINDOWS, GABLES &amp; ORNAMENTS</h2>
-<p><span class="pagenum">[<a id="pb85" href="#pb85">85</a>]</span></p>
-</div>
-<div class="divBody">
-<p class="xd29e2496"><span class="xd29e2496init">F</span>rom the time when Dutch houses were built in a definite recognised style the features
-were always treated with skill and care. The many and crowded openings were accentuated.
-Doorways became imposing through the enrichment that surrounded them and windows were
-similarly emphasised. Panels, carvings, and ironwork decorated the walls, while the
-crowning gables, crow-stepped or curved, completed the richness of the buildings.
-Upon all these details, whether for a public building or private dwelling, great labour
-was expended. A careful examination of them discloses much inventive readiness and
-meritorious execution.
-</p>
-<p></p>
-<div class="figure p085width" id="p085"><img src="images/p085.png" alt="WOUDRICHEM, NORTH BRABANT (DATED 1611)" width="415" height="584"><p class="figureHead">WOUDRICHEM, NORTH BRABANT (DATED 1611)</p>
-</div><p>
-</p>
-<p>Particular prominence was given to external doorways. The manner of their treatment
-varied widely. They were regarded as more than mere ways of access and upon them the
-best skill of the craftsmen was frequently concentrated. A personal note would be
-added by the introduction of the owner&#x2019;s arms or initials, the date of the work, or
-some quaint conceit of peculiar and subtle meaning. Among the examples extant, those
-of the early period incline to greatest simplicity. They were based on the current
-forms that were employed in ecclesiastical and civic architecture. The openings are
-spacious and are surrounded by mouldings. The arches at the heads are pointed, trefoil,
-or elliptic shapes. When there are label-mouldings above they follow the <span class="pagenum">[<a id="pb86" href="#pb86">86</a>]</span>curves of the arches and support or surround the arms, panels, or other decorations.
-</p>
-<p></p>
-<div class="figure p086width" id="p086"><img src="images/p086.png" alt="LEEUWARDEN, FRIESLAND" width="628" height="553"><p class="figureHead">LEEUWARDEN, FRIESLAND</p>
-</div><p>
-</p>
-<p>The doorway at Delft (page <a href="#p087" class="pageref">87</a>) is a good example of work dictated by Gothic influences. From carved stops at each
-side spring the simple mouldings that extend round the opening. It is surmounted by
-a label, near the centre of which is a three-sided space, enclosed by mouldings and
-filled by a winged cherub&#x2019;s head carved in relief, while the label is terminated by
-a finial. The wooden door is noteworthy. It is composed of six boards and upon the
-outer face of each are shallow grooves running continuously from top to bottom. Projecting
-nailheads arranged in vertical lines, together with other ironwork, give further interesting
-ornamentation. Another doorway from the same town (page <a href="#p088" class="pageref">88</a>) is built of stone and moulded bricks. The space at the head, contained within a
-trefoil arch, has carved upon it a shield&#x2014;lacking armorial bearings&#x2014;supporters, and
-a scroll with the date of 1547. The semi-circular arch which surrounds the trefoil
-is one of the series that repeat across the building. That other early type of house,
-peculiar for its windowed ground floor front constructed in wood, <span class="pagenum">[<a id="pb90" href="#pb90">90</a>]</span>such as is given from Veere on page <a href="#pb44" class="pageref">44</a>, had its entrance doorway made with three plain stout timbers, one at each side and
-one across the top as a lintel. An elaboration of the simple wooden doorway occurs
-at Leiden (page <a href="#p089-3" class="pageref">89</a>). It is crowned by mouldings, below which appears an ogee arch shaped in wood. The
-parti-coloured effect of the door itself is achieved by the application of contrasting
-tints of paint.
-</p>
-<p></p>
-<div class="figure p087width" id="p087"><img src="images/p087.png" alt="DELFT, SOUTH HOLLAND" width="511" height="720"><p class="figureHead">DELFT, SOUTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p088width" id="p088"><img src="images/p088.png" alt="DELFT, SOUTH HOLLAND (DATED 1547)" width="483" height="720"><p class="figureHead">DELFT, SOUTH HOLLAND (DATED 1547)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p089-1width" id="p089-1"><img src="images/p089-1.png" alt="HAARLEM, NORTH HOLLAND (DATED 1632)" width="272" height="580"><p class="figureHead">HAARLEM, NORTH HOLLAND (DATED 1632)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p089-2width" id="p089-2"><img src="images/p089-2.png" alt="LEEUWARDEN, FRIESLAND (DATED 1675)" width="384" height="575"><p class="figureHead">LEEUWARDEN, FRIESLAND (DATED 1675)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p089-3width" id="p089-3"><img src="images/p089-3.png" alt="LEIDEN, RHIJNLAND (DATED 1612)" width="231" height="570"><p class="figureHead">LEIDEN, RHIJNLAND (DATED 1612)</p>
-</div><p>
-</p>
-<p>The circular arch followed the pointed although simultaneously a modified form of
-the latter, of which that from Haarlem (page <a href="#p089-1" class="pageref">89</a>) is an instance, continued to be used. Of circular-arched doorways there are endless
-examples which were erected in a manner that became general and customary. They were
-usually built in stone and bricks. Those from Leiden (below), Flushing (page <a href="#p091" class="pageref">91</a>), and Leeuwarden (page <a href="#pb86" class="pageref">86</a>) are characteristic. The Leiden doorway of 1615, with moulded opening and carved
-archstones, is doubtless the earliest of the three and most nearly allied to the work
-of the preceding century. The two remaining examples incline to later influences,
-particularly to be observed in the enrichment of the jambs.
-</p>
-<p></p>
-<div class="figure floatLeft p090width" id="p090"><img src="images/p090.png" alt="LEIDEN, RHIJNLAND (DATED 1615)" width="379" height="576"><p class="figureHead">LEIDEN, RHIJNLAND (DATED 1615)</p>
-</div><p>
-</p>
-<p>Changing taste brought a new treatment to external doorways. They were affected by
-the same forces that altered the outward character of late sixteenth and seventeenth-century
-houses. Renaissance detail gradually became established and doorways of the seventeenth-century
-were frankly treated in a Classic way, rich in pilasters, capitals, friezes, pediments
-and mouldings, with an especial preference for an adapted form of the Ionic order.
-Stone was now almost exclusively used for this feature, unaccompanied by brick. &#x201c;Delvitt&#x2019;s
-Poort&#x201d; at Woudrichem (page <a href="#pb85" class="pageref">85</a>) shows a rather advanced development for the period of 1611 to which it belongs.
-The whole of it is painted, with the carved details picked out in different colours.
-Two doorways illustrated here are <span class="pagenum">[<a id="pb92" href="#pb92">92</a>]</span>well designed and proportioned. They are distinguished by the elaboration that appears
-at their heads. Upon the frieze immediately above the arch of the Kampen example (page
-<a href="#p093" class="pageref">93</a>) will be seen the inscription and date of 1665, over which is a broken pediment surmounted
-by particularly well-rendered armorial bearings carved in stone. The frieze at Leeuwarden
-(page <a href="#p089-2" class="pageref">89</a>) is similarly inscribed, the date in this case being 1675, while within the heavily
-moulded pediment is a coat of arms. Less complicated is the doorway from Leiden of
-1655 (page <a href="#p096" class="pageref">96</a>). It is crowned by mouldings and decorated below by festoons in relief. The above
-will show the fashion of the time, tending towards correctness in design, with details
-carefully thought out and well executed.
-</p>
-<p></p>
-<div class="figure p091width p091" id="p091"><img src="images/p091.png" alt="VLISSINGEN (FLUSHING), ZEELAND" width="535" height="720"><p class="figureHead">VLISSINGEN (FLUSHING), ZEELAND</p>
-</div><p>
-</p>
-<p>Many eighteenth-century doorways were unduly florid and may well be described as rococo.
-That from Marssum in Friesland (below), belonging to the year 1713, is of this kind.
-The overladen ornament and peculiarities of design suggest the unreality of a poor
-stage-setting, rather than serious architecture; while the incongruity of the work
-can only be appreciated by an inspection of the original, situated as it is among
-cottages in a quiet village street. Later in the century French influence was predominant.
-Details, such as are noticeable in the Arnhem doorway (page <a href="#pb94" class="pageref">94</a>), were based on the Louis XV. style which not only affected the work of the towns
-but permeated into the heart of the country. The small cottage doors and doorways
-in villages such as Broek have all the attributes of the then prevailing mode.
-</p>
-<p></p>
-<div class="figure p092width" id="p092"><img src="images/p092.png" alt="MARSSUM, FRIESLAND (DATED 1713)" width="384" height="573"><p class="figureHead">MARSSUM, FRIESLAND (DATED 1713)</p>
-</div><p>
-</p>
-<p>The wooden doors were much enriched either with applied ironwork, or mouldings and
-panels. Metal locks, bolts, hinges and nails are conspicuous in the early specimens.
-The use of ironwork on the door from Dordrecht (page <a href="#p095-1" class="pageref">95</a>) is carried to an extreme degree; but, be it noted, all the fittings <span class="pagenum">[<a id="pb94" href="#pb94">94</a>]</span>have a practical purpose. It was only after needs had been provided for that embellishment
-was added, discernible in the shaping of the lock-plates and hinges and the arrangement
-of the nailheads. The centre of the more recent example from Haarlem (page <a href="#p095-2" class="pageref">95</a>) is occupied by a large sunk panel surrounded by mouldings, a section of which is
-given. A good piece of woodcarving is that appearing on the lintel, having for its
-subject a ship sailing on rough water.
-</p>
-<p></p>
-<div class="figure p093width" id="p093"><img src="images/p093.png" alt="KAMPEN, OVERIJSSEL (DATED 1665)" width="499" height="720"><p class="figureHead">KAMPEN, OVERIJSSEL (DATED 1665)</p>
-</div><p>
-</p>
-<p>Windows of houses were almost always square-headed. They appear so in existing examples
-belonging to the Gothic period. The traceries and pointed heads, usual in early civic
-buildings, were rarely adopted for house windows, although arched spaces, filled with
-tracery, were not uncommonly built over them. A fine series of such window-heads is
-to be seen on the stone front of the &#x201c;Scotch House&#x201d; at Veere (page <a href="#pb97" class="pageref">97</a>); there are others at Kampen and on a house in the Groenmarkt at Dordrecht. Except
-in cases where the openings were small, they were divided vertically by mullions and
-transversely by cross-bars. The lower windows were closed by wooden shutters. Two
-examples, from Nijmegen and Dordrecht (page <a href="#p099-1" class="pageref">99</a>), both of Gothic design and of sixteenth century workmanship, are illustrated. The
-Dordrecht shutter is constructed of beautifully grained pieces of oak, jointed and
-pegged together.
-</p>
-<p></p>
-<div class="figure p094width" id="p094"><img src="images/p094.png" alt="ARNHEM, GELDERLAND" width="318" height="578"><p class="figureHead">ARNHEM, GELDERLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p095-1width" id="p095-1"><img src="images/p095-1.png" alt="WOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLAND" width="386" height="594"><p class="figureHead">WOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p095-2width" id="p095-2"><img src="images/p095-2.png" alt="WOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLAND" width="359" height="585"><p class="figureHead">WOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Late Gothic windows have also pointed and elliptical arches over the heads unenriched
-by decoration. They were customarily built in brickwork, with the window spaces flush,
-or set back from the face of the walling. Pointed arches ceased to be generally used
-after the coming of the Renaissance. The elliptical shape, however, continued, and
-the establishment of the circular arch was but a short and natural step in development.
-These two forms obtained for many succeeding years. Instances of either type are presented
-in the drawing from Zwolle (page <a href="#p101" class="pageref">101</a>), and innumerable others are shown by the illustrations in this volume. They were
-not given up until displaced by classic pediments, or the overhead feature was altogether
-abandoned. The gabled <span class="pagenum">[<a id="pb98" href="#pb98">98</a>]</span>front at Gorinchem (page <a href="#pb103" class="pageref">103</a>), built in stone and brick, has circular arches appearing over the windows. The enclosed
-spaces are richly decorated by stone carvings, and the character of the work seems
-to be advanced for the period to which it apparently belongs. Much interesting sculpture
-is also distributed over the gable and walls of this building.
-</p>
-<p></p>
-<div class="figure p096width" id="p096"><img src="images/p096.png" alt="LEIDEN, RHIJNLAND (DATED 1655)" width="573" height="720"><p class="figureHead">LEIDEN, RHIJNLAND (DATED 1655)</p>
-</div><p>
-<span class="pagenum">[<a id="pb97" href="#pb97">97</a>]</span></p>
-<p></p>
-<div class="figure p097width" id="p097"><img src="images/p097.png" alt="VEERE, ZEELAND&#x2014;THE &#x201c;SCOTCH HOUSE&#x201d;" width="478" height="720"><p class="figureHead">VEERE, ZEELAND&#x2014;THE &#x201c;SCOTCH HOUSE&#x201d;</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p098-1width" id="p098-1"><img src="images/p098-1.png" alt="WOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLAND" width="283" height="400"><p class="figureHead">WOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p098-2width" id="p098-2"><img src="images/p098-2.png" alt="WINDOW SHUTTER FROM VELSEN" width="241" height="476"><p class="figureHead">WINDOW SHUTTER FROM VELSEN</p>
-</div><p>
-</p>
-<p>Windows were first glazed with leaded lights. Small squares of glass, as at Dordrecht
-(page <a href="#pb98" class="pageref">98</a>), or diamond panes were used. But during the seventeenth century the employment of
-wooden bars became universal and leadwork went out of fashion. The openings were divided
-centrally by transoms, the lower windows receding inwards considerably more than the
-upper ones.
-</p>
-<p></p>
-<div class="figure p098-3width" id="p098-3"><img src="images/p098-3.jpg" alt="NIJMEGEN, GELDERLAND. FROM A WATERCOLOUR DRAWING BY SYDNEY R. JONES." width="635" height="691"><p class="figureHead">NIJMEGEN, GELDERLAND. <span class="sc">FROM A WATERCOLOUR DRAWING BY</span> SYDNEY R. JONES.</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p099-1width" id="p099-1"><img src="images/p099-1.png" alt="WINDOW SHUTTER FROM NIJMEGEN" width="253" height="584"><p class="figureHead">WINDOW SHUTTER FROM NIJMEGEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p099-2width" id="p099-2"><img src="images/p099-2.png" alt="WINDOW SHUTTERS FROM LEIDEN" width="244" height="439"><p class="figureHead">WINDOW SHUTTERS FROM LEIDEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p099-3width" id="p099-3"><img src="images/p099-3.png" alt="WINDOW SHUTTER FROM DORDRECHT" width="290" height="583"><p class="figureHead">WINDOW SHUTTER FROM DORDRECHT</p>
-</div><p>
-</p>
-<p>Wooden shutters, opening outwards, were still customary. They were occasionally large
-enough to cover the whole window, but usually only the lower half was furnished with
-them. Seventeenth-century shutters are not comparable, in point of carved enrichment,
-with those of Gothic times; the woodwork, frequently devoid of ornament, is fastened
-to the window-frames by iron strap-hinges, and fitted with bolts and catches. They
-are, however, brightly painted and are interesting in consequence, giving colour to
-the architectural groups. Many harmonious schemes are to be observed; green and white;
-white, green and red; yellow and black; red and black; and numerous others. The coloured
-drawing from Nijmegen (opposite) shows shutters painted in red and black; while several
-specimens, from North and South Holland, are given (pages <a href="#pb98" class="pageref">98</a> to <a href="#pb100" class="pageref">100</a>). The glazing of windows was first enclosed by casements, with hinges to open and
-shut. After casements came sash windows, which <span class="pagenum">[<a id="pb100" href="#pb100">100</a>]</span>were substituted for the older form. There are many shown in the illustrations. Those
-from Flushing (page <a href="#p105" class="pageref">105</a>), appearing on a house dated 1625, differ somewhat from the usual type, being surrounded
-by mouldings and carvings. Dormer windows also, as has already been stated, became
-much-developed features during the seventeenth and eighteenth centuries. Three characteristic
-specimens are given: two from Kampen, of the years 1626 and 1634, and a later dormer,
-from Marssum, belonging to the eighteenth century, all shown on page <a href="#pb102" class="pageref">102</a>.
-</p>
-<p></p>
-<div class="figure floatLeft p100-1width" id="p100-1"><img src="images/p100-1.png" alt="WINDOW SHUTTER FROM HAARLEM" width="228" height="362"><p class="figureHead">WINDOW SHUTTER FROM HAARLEM</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p100-2width" id="p100-2"><img src="images/p100-2.png" alt="WINDOW SHUTTER FROM MONNIKENDAM" width="277" height="337"><p class="figureHead">WINDOW SHUTTER FROM MONNIKENDAM</p>
-</div><p>
-</p>
-<p>The distinguishing gables&#x2014;so often mentioned, and intimately associated with house
-development&#x2014;exhibit infinite varieties of treatment. Between the early stepped shapes,
-and the fantastic outlines of later days, there is an innumerable succession. They
-followed the trend of design prevalent at the time of their erection. Thus, the two
-gables, from Kampen (page <a href="#pb104" class="pageref">104</a>) and Dordrecht (page <a href="#pb107" class="pageref">107</a>), are in keeping with the current forms of the late Gothic period. They are both
-built of stone and decorated on the face with sunk panels and carvings. The Kampen
-gable has pinnacles rising from the coping of the steps, usual features in work of
-the time; while the twisted finials at Dordrecht, associated with the first quarter
-of the sixteenth century, are worthy of notice.
-</p>
-<p></p>
-<div class="figure p100-3width"><img src="images/p100-3.png" alt="WINDOW SHUTTER FROM HAARLEM" width="269" height="378"><p class="figureHead">WINDOW SHUTTER FROM HAARLEM</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p101width" id="p101"><img src="images/p101.png" alt="ZWOLLE, OVERIJSSEL" width="554" height="720"><p class="figureHead">ZWOLLE, OVERIJSSEL</p>
-</div><p>
-</p>
-<p>It is impossible to consider here in detail <span class="pagenum">[<a id="pb102" href="#pb102">102</a>]</span>the numerous vicissitudes through which the development of the gable passed during
-the many years that Gothic and Renaissance motives were acting together as guiding
-influences. Roughly and briefly, medi�val character was observed in respect to construction
-and general management of masses&#x2014;evident by the stepped and curved gables&#x2014;with a marked
-tendency to Classic feeling in the handling of details. Work was carried out wholly
-in brick, or in brick relieved by stone. Among the large number of different outlines
-that are in evidence, those based on the original stepped form show predominantly.
-But the spirit of the times is discernible in the culminating pediments, mouldings,
-and stone decorations. Four typical gables, all sketched in North Holland, are illustrated
-(pages <a href="#pb106" class="pageref">106</a> and <a href="#p109-1" class="pageref">109</a>). A good example of shaping, achieved by the use of oppositive curves, is that from
-Arnhem (page <a href="#pb108" class="pageref">108</a>), and the stonework of the copings extends to the strapwork ornament.
-</p>
-<p></p>
-<div class="figure floatLeft p102-1width" id="p102-1"><img src="images/p102-1.png" alt="KAMPEN, OVERIJSSEL (DATED 1626)" width="253" height="389"><p class="figureHead">KAMPEN, OVERIJSSEL (DATED 1626)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p102-2width" id="p102-2"><img src="images/p102-2.png" alt="MARSSUM, FRIESLAND" width="353" height="438"><p class="figureHead">MARSSUM, FRIESLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p102-3width" id="p102-3"><img src="images/p102-3.png" alt="KAMPEN, OVERIJSSEL (DATED 1634)" width="249" height="347"><p class="figureHead">KAMPEN, OVERIJSSEL (DATED 1634)</p>
-</div><p>
-<span class="pagenum">[<a id="pb103" href="#pb103">103</a>]</span></p>
-<p></p>
-<div class="figure p103width" id="p103"><img src="images/p103.png" alt="GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)" width="461" height="720"><p class="figureHead">GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)</p>
-</div><p>
-<span class="pagenum">[<a id="pb104" href="#pb104">104</a>]</span></p>
-<p>Two gables from Leiden (page <a href="#p109-3" class="pageref">109</a>) are well carried out in brickwork. How effectively window-heads and copings were
-handled, yet withal in a perfectly workmanlike way, is demonstrated by the larger
-drawing; the brickwork is flush and obliquely tailed into the horizontal courses of
-the wall.
-</p>
-<p>Long sweeping curves were much employed in the shaping of later gables. The house
-opposite the bridge in the Franeker illustration (page <a href="#p113" class="pageref">113</a>) has such a gable, and it is dated 1735. Another, from Amsterdam (page <a href="#pb110" class="pageref">110</a>), has similar characteristics. Both are enriched with stone representations of fruit
-and flowers, vases and festoons, all quite in the spirit of late seventeenth and eighteenth-century
-work.
-</p>
-<p>The sides of the gables of farmhouses and country cottages, straight and unshaped,
-are not uncommonly protected by barge-boards. The two timbers, running from base to
-apex, may have mouldings worked at the edge of them; or the undersides are diversified
-by repeating curves, with pendants appearing at the lower ends. Both methods are figured
-in detail in drawings 1, 2, and 4 on page <a href="#pb111" class="pageref">111</a>. Fascia-boards, applied to overhanging stories of wooden houses, are similarly decorated;
-two are exemplified in numbers 6 and 7. The wooden finials, which are planted on the
-outer faces of the gables at their highest points, are variously shaped and perforated,
-and the details numbered 1, 2, 3 and 5 give four examples of them.
-</p>
-<p></p>
-<div class="figure p104width" id="p104"><img src="images/p104.png" alt="KAMPEN, OVERIJSSEL" width="304" height="571"><p class="figureHead">KAMPEN, OVERIJSSEL</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p105width" id="p105"><img src="images/p105.png" alt="VLISSINGEN (FLUSHING), ZEELAND" width="537" height="720"><p class="figureHead">VLISSINGEN (FLUSHING), ZEELAND</p>
-</div><p>
-</p>
-<p>There is an absence of interesting chimneys in Holland, for the gable ends of the
-high and narrow-fronted houses, bordering the street, obscured from view these objects
-of usefulness. Solely utilitarian, therefore, they generally remained, shafts of the
-simplest form, serving the purpose for which they were devised, owing nothing to beauty
-or ornament and little to precedent. When hipped roofs were employed, instead of gables,
-chimneys came into greater prominence. But even then&#x2014;with an absence of developed,
-traditional forms to give the basis for the evolution of a settled type&#x2014;they did not
-constitute important decorative factors in the architectural scheme. Many stacks have
-neither mouldings <span class="pagenum">[<a id="pb106" href="#pb106">106</a>]</span>nor other projection at the top. Chimneys a little more elaborate than was usual are
-shown by the two illustrations from Hoorn and Zutphen (page <a href="#pb112" class="pageref">112</a>). They deviate somewhat from the plain rectangular shape, and both have moulded heads;
-while the Hoorn example has a pyramidal hood covered with lead and supported by four
-metal uprights.
-</p>
-<p></p>
-<div class="figure p106-1width" id="p106-1"><img src="images/p106-1.png" alt="MONNIKENDAM, NORTH HOLLAND" width="362" height="350"><p class="figureHead">MONNIKENDAM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Isolated stone ornaments are numerous. They were inserted into walls with freedom
-and wheresoever caprice or fancy suggested&#x2014;high up on gables, around doorways, over
-windows, or distributed on what would otherwise have been unrelieved spaces. The rich
-appearance of the buildings is in no small measure due to the extravagant use of these
-details. That bizarre kind of ornament, known by the name of strapwork, and well shown
-in the Arnhem gable (page <a href="#pb108" class="pageref">108</a>), was freely used, as was carved work based upon Italian motives. Among the latter
-may be mentioned the more or less conventional representation of human forms, fruit
-and flowers, birds, fishes and beasts, with prominence given to heads of lions, or
-the complete animal in the attitude sejeant, popularly used as a gable termination.
-</p>
-<p></p>
-<div class="figure p106-2width" id="p106-2"><img src="images/p106-2.png" alt="HAARLEM, NORTH HOLLAND" width="366" height="393"><p class="figureHead">HAARLEM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>Of a more homely and personal character are the frequently occurring panels bearing,
-in well-cut figures and letters, dates, mottoes, and inscriptions; four are exemplified
-by the accompanying drawings from Zutphen (page <a href="#pb115" class="pageref">115</a>) and Haarlem (pages <a href="#pb114" class="pageref">114</a> to <a href="#pb116" class="pageref">116</a>). Equally symbolic of pride of home are the carved coats-of-arms which keep green,
-by visible sign, the <span class="pagenum">[<a id="pb107" href="#pb107">107</a>]</span>memory of the builder and the honour of his house. One such armorial decoration from
-Workum, dated 1644, is illustrated on page <a href="#pb115" class="pageref">115</a>. All these little enrichments, so constantly seen, are more than mere examples of
-craftsmanship; they essentially express the sentiments of the man who caused the stones
-to be laid.
-</p>
-<p></p>
-<div class="figure p107width" id="p107"><img src="images/p107.png" alt="DORDRECHT, SOUTH HOLLAND (DATED 1523)" width="636" height="658"><p class="figureHead">DORDRECHT, SOUTH HOLLAND (DATED 1523)</p>
-</div><p>
-</p>
-<p>Things to be observed in everyday life naturally furnished subjects for carvings in
-stone. The forces of Nature, greatly influential in Holland&#x2014;that is to say, water
-and wind and all that resulted therefrom&#x2014;were turned to for inspiration. Decoratively
-treated water, with ships, windmills, and other appliances relevant to human convenience
-or suggestive of enterprise, were especially favoured. A windmill from Sneek, high
-in relief and painted black, red, gold and white, together with a ship from Haarlem
-<span class="pagenum">[<a id="pb108" href="#pb108">108</a>]</span>appearing in an oval panel surrounded by a scrollwork frame, are illustrated (page
-<a href="#pb115" class="pageref">115</a>). Interesting is the wall-panel at Franeker (page <a href="#pb114" class="pageref">114</a>), with a scene from local history depicted upon it; there is much spirit shown in
-the carving of the men and horses, while the water, drawbridge, and distant houses
-are well managed. The house known as &#x201c;Inde Steenrotse,&#x201d; situated on the Dwars Quay
-at Middelburg, dated 1590, is noteworthy for its large panels in high relief. It was
-built by a wealthy mason. Five of the carved subjects portray various episodes connected
-with the working of stone and two are here given (page <a href="#pb116" class="pageref">116</a>); others, higher up the building, represent biblical scenes from the Book of Exodus.
-</p>
-<p></p>
-<div class="figure p108width" id="p108"><img src="images/p108.png" alt="ARNHEM, GELDERLAND" width="632" height="594"><p class="figureHead">ARNHEM, GELDERLAND</p>
-</div><p>
-</p>
-<p>The mosaic decorations are of unusual interest, for they are of a kind more or less
-peculiar to this country. They were formed by inlaying small pieces of brick and stone
-set together to make repeating patterns or panels. As was customary, materials were
-used with just regard for their suitable adaptability to purpose; not employed unreasonably,
-or strained to accomplish <span class="pagenum">[<a id="pb110" href="#pb110">110</a>]</span>that for which they were not fitted. The units were simple and results legitimate.
-This ornamental work was principally used to enrich the arched spaces over window-heads;
-less frequently it appears in bands carried horizontally across the buildings.
-</p>
-<p></p>
-<div class="figure floatLeft p109-1width" id="p109-1"><img src="images/p109-1.png" alt="HAARLEM, NORTH HOLLAND" width="306" height="215"><p class="figureHead">HAARLEM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p109-2width" id="p109-2"><img src="images/p109-2.png" alt="HAARLEM, NORTH HOLLAND" width="365" height="416"><p class="figureHead">HAARLEM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p109-3width" id="p109-3"><img src="images/p109-3.png" alt="LEIDEN, RHIJNLAND" width="315" height="522"><p class="figureHead">LEIDEN, RHIJNLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p109-4width"><img src="images/p109-4.png" alt="LEIDEN, RHIJNLAND" width="304" height="409"><p class="figureHead">LEIDEN, RHIJNLAND</p>
-</div><p>
-</p>
-<p>The houses at Woudrichem (page <a href="#pb117" class="pageref">117</a>)&#x2014;inscribed &#x201c;Iden Salamander 1606&#x201d; and &#x201c;Zuden Gulden Engel 1593&#x201d;&#x2014;have notable examples
-of mosaics in the window-heads. Two of the patterns are shown in detail on page <a href="#pb118" class="pageref">118</a>, together with two others from a house near by. All were achieved by manipulating
-little shaped pieces of brick to form devices, especially noticeable being the starlike
-figures with radiating points. Work of a similar kind appears on the house at Zwolle,
-dated 1609, and illustrated on page <a href="#p119" class="pageref">119</a>. An enlarged drawing of one of the window-heads (page <a href="#pb118" class="pageref">118</a>) gives the precise arrangement of the brick and stonework. There is quite a Moorish
-feeling evident in this design, with the two main portions of inlay enclosed by arch-shaped
-lines curved horseshoe fashion. The horseshoe arch was essentially a product of Morocco,
-and the analogy with the East is further strengthened by the fact that mosaic was
-a medium extensively used by Byzantine and Saracenic artists. These circumstances
-all suggest the origin of the employment of such work in Holland.
-</p>
-<p></p>
-<div class="figure floatRight p110width" id="p110"><img src="images/p110.png" alt="AMSTERDAM, NORTH HOLLAND" width="316" height="425"><p class="figureHead">AMSTERDAM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>On page <a href="#pb118" class="pageref">118</a> is represented a small section of the horizontal mosaic band that appears over the
-archway at Nijmegen (page <a href="#p041" class="pageref">41</a>). Simpler patterns were also formed with ordinary narrow bricks and mortar. Two examples
-are here given, both carried out in red and yellow bricks,&#x2014;a frieze at the first storey
-level of a house at Workum and shaped spaces from Franeker (page <a href="#pb120" class="pageref">120</a>).
-</p>
-<p>Turning to external metalwork the most characteristic objects are the iron wall-ties.
-They were applied to walls to give them stability. But the possibilities for artistic
-treatment which the wall-ties offered were by no means overlooked, as is demonstrated
-by the many and varied forms produced by the blacksmiths, who regarded these accessories,
-before all things, as the particular field for the display of their skill. Endless
-varieties are to be found, certain patterns being local to specific districts. Upon
-ordinary houses&#x2014;and they were practically invariably used&#x2014;they are usually no more
-elaborate than might be achieved by direct work on the anvil; of honest but unambitious
-appearance and shaped in simple ways, such as are shown by the illustrations on page
-<a href="#pb121" class="pageref">121</a>. <span class="pagenum">[<a id="pb111" href="#pb111">111</a>]</span>But the wall-ties of more important buildings are often complicated affairs; beautiful
-examples of design and craftsmanship which were wrought with labour. They are rich
-in scrolls and curves with foliated ornament, and one of the examples here given (page
-<a href="#pb123" class="pageref">123</a>) has the date of 1798 worked within it. Iron letters and figures also decorate the
-fronts of many houses. Each is detached and secured to the wall by a single stay.
-They are arranged to denote dates or monograms. An example has already been seen at
-the base of a gable at Middelburg (page <a href="#p035" class="pageref">35</a>); another specimen, from St. Anna, near Nijmegen, is reproduced on page <a href="#pb122" class="pageref">122</a>.
-</p>
-<p></p>
-<div class="figure p111width" id="p111"><img src="images/p111.png" alt="WOOD DETAILS FROM GELDERLAND AND SOUTH HOLLAND" width="629" height="704"><p class="figureHead">WOOD DETAILS FROM GELDERLAND AND SOUTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p112-1width" id="p112-1"><img src="images/p112-1.png" alt="ZUTPHEN, GELDERLAND" width="282" height="384"><p class="figureHead">ZUTPHEN, GELDERLAND</p>
-</div><p>
-</p>
-<p>Other wrought ironwork was used for various purposes on doors and <span class="pagenum">[<a id="pb112" href="#pb112">112</a>]</span>windows, as well as to heighten the effect of certain features. A good instance of
-its application is demonstrated by the key-escutcheon, with supporting iron decorations,
-from Middelburg (page <a href="#pb123" class="pageref">123</a>). The workmanship is of a traditional kind, with Gothic forms recalled by the cusps
-on the pierced plates. The iron door-knocker, appearing on the same page, is an interesting
-example of curious design and belongs to the sixteenth or seventeenth century. For
-windows, ironwork was used in the stout stay-bars and stanchions, instances of which,
-fitted to an oval opening, are furnished from Leiden (page <a href="#pb122" class="pageref">122</a>).
-</p>
-<p>The magnificent wrought vanes of Holland, surmounting lofty belfries on public buildings,
-are justly famous and are reflected in the less elaborate shapes that adorn the roof
-points or gable terminations of business and dwelling-houses. One, from Middelburg
-(page <a href="#pb122" class="pageref">122</a>), is a beautiful example of an iron terminal. The crowning figure and fleur-de-lis
-are gilded, while signs and symbols of the Zodiac are worked around the outer and
-inner open-framed globes. Simpler vanes are common throughout the country, attached
-to farmhouses or stables. That from Broek (page <a href="#pb122" class="pageref">122</a>) is shaped like a swan; one may be seen at Veere which takes the form of a ship.
-The shaft of the weathercock from Hees (page <a href="#pb124" class="pageref">124</a>) is made up of iron scrolls, welded together, and four projecting arms point to north,
-south, east and west.
-</p>
-<p></p>
-<div class="figure p112-2width" id="p112-2"><img src="images/p112-2.png" alt="HOORN, NORTH HOLLAND" width="276" height="578"><p class="figureHead">HOORN, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p113width" id="p113"><img src="images/p113.png" alt="FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)" width="720" height="566"><p class="figureHead">FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)</p>
-</div><p>
-</p>
-<p>The leadwork to be observed on domestic buildings is not of remarkable interest. There
-are no wonderful decorated rain-water heads such as may be <span class="pagenum">[<a id="pb114" href="#pb114">114</a>]</span>seen elsewhere, and lead heads, when used at all, are for the most part comparatively
-plain, square projections. The examples from Zutphen, reproduced on page <a href="#pb122" class="pageref">122</a>, illustrate two ordinary forms. An interesting feature, prevalent in North Holland,
-is the lead finial placed at the apex of a hipped roof. There are many examples in
-the streets of Hoorn, three of which are shown on page <a href="#pb124" class="pageref">124</a>. Notice should be taken of the delicate little fretwork heads; the repouss� patterns
-on the upright sides; and the iron vane which surmounts one of the examples. These
-objects, although of little practical use, have a decorative value that well justifies
-their existence. In all these exterior features and details, whether executed in wood
-or stone, metal or brick, there is especial evidence of the type of mind that was
-concerned with their production; they pertinently give the key to temperament and
-character. Such work resulted from deliberate thought and calculation, rather than
-from imaginative impulse. Sometimes it verged on dulness, yet there is always traceable
-a certain solid strength and vigour. This is well seen in the stone carvings, here
-illustrated, whose subjects are often lacking in originality or follow some oft-repeated
-theme. They are excellently carved, however, and attain interest in consequence. For
-the individuality of the masons is reflected in the inanimate stone. They gave life
-to their work and freshness to old subjects. Each man followed his own bent. Some
-were a little in advance of their time, some behind it, so there are endless variations
-to patterns that superficially agree. A new turn was given to a scroll here, a different
-arrangement there; just small things that served to raise work from the conventional
-and commonplace.
-</p>
-<p></p>
-<div class="figure p114-1width" id="p114-1"><img src="images/p114-1.png" alt="CARVED STONE LETTERING FROM HAARLEM" width="386" height="104"><p class="figureHead">CARVED STONE LETTERING FROM HAARLEM</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p114-2width" id="p114-2"><img src="images/p114-2.png" alt="CARVED STONE PANEL FROM FRANEKER" width="365" height="535"><p class="figureHead">CARVED STONE PANEL FROM FRANEKER</p>
-</div><p><span class="pagenum">[<a id="pb115" href="#pb115">115</a>]</span>
-</p>
-<p></p>
-<div class="figure floatLeft p115-1width" id="p115-1"><img src="images/p115-1.png" alt="CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)" width="349" height="230"><p class="figureHead">CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p115-2width" id="p115-2"><img src="images/p115-2.png" alt="CARVED STONE PANEL FROM SNEEK" width="318" height="173"><p class="figureHead">CARVED STONE PANEL FROM SNEEK</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p115-3width p115-3" id="p115-3"><img src="images/p115-3.png" alt="CARVED STONE PANEL FROM HAARLEM" width="307" height="348"><p class="figureHead">CARVED STONE PANEL FROM HAARLEM</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p115-4width" id="p115-4"><img src="images/p115-4.png" alt="CARVED STONE PANEL FROM HAARLEM" width="248" height="394"><p class="figureHead">CARVED STONE PANEL FROM HAARLEM</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p115-5width p115-5"><img src="images/p115-5.png" alt="CARVED STONE PANEL FROM WORKUM" width="253" height="405"><p class="figureHead">CARVED STONE PANEL FROM WORKUM</p>
-</div><p>
-<span class="pagenum">[<a id="pb116" href="#pb116">116</a>]</span></p>
-<p></p>
-<div class="figure p116-1width" id="p116-1"><img src="images/p116-1.png" alt="CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)" width="646" height="406"><p class="figureHead">CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p116-2width" id="p116-2"><img src="images/p116-2.png" alt="CARVED STONE PANEL FROM HAARLEM" width="271" height="219"><p class="figureHead">CARVED STONE PANEL FROM HAARLEM</p>
-</div><p>
-</p>
-<p>The olden craftsmen respected tradition. Forms that became established by custom were
-handed down from generation to generation. Certain ornaments continued to be used,
-almost unaltered, over a very long period. Not that patterns were slavishly followed;
-on the contrary, each man gave his own interpretation of what he knew had served so
-well, and fashioned his work in his own way. But he remembered something of that which
-had gone before. Traditions of ornamentation were just as much founded upon accumulated
-experience as were the main styles of architecture. The worker saw around him the
-forces of Nature, active yet unchanging, the abiding waterways, the ancient churches
-standing as they had done in times long past, and it was in a spirit of respect for
-the permanence of spiritual and material things that he pursued his craft. This was
-altogether good. Methods of workmanship, the treatment of features, and types of enrichment,
-were gradually evolved. They were governed by ordered principles that slowly grew
-together and became established, principles that served to check the introduction
-of inharmonious innovations which would have been out of sympathy with all those forms
-that, as a whole, were customary and usual.
-<span class="pagenum">[<a id="pb117" href="#pb117">117</a>]</span></p>
-<p></p>
-<div class="figure p117width" id="p117"><img src="images/p117.png" alt="WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)" width="524" height="720"><p class="figureHead">WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)</p>
-</div><p>
-<span class="pagenum">[<a id="pb118" href="#pb118">118</a>]</span></p>
-<p></p>
-<div class="figure p118-1width" id="p118-1"><img src="images/p118-1.png" alt="BRICK AND STONE MOSAIC FROM ZWOLLE" width="320" height="185"><p class="figureHead">BRICK AND STONE MOSAIC FROM ZWOLLE</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p118-2width" id="p118-2"><img src="images/p118-2.png" alt="BRICK AND STONE MOSAIC FROM NIJMEGEN" width="331" height="114"><p class="figureHead">BRICK AND STONE MOSAIC FROM NIJMEGEN</p>
-</div><p>
-</p>
-<p>Doorways, windows, gables and ornaments, therefore, by their particular appearance,
-mark various steps in a long-continued process of development. Period followed period.
-After the pointed-arched doorways came the circular-headed; gables of simple outline
-in course of time became more complex; fashions in the shaping of wall-ties changed.
-But nothing happened suddenly. Craftsmen were content to solve their own problems
-without any show of haste. It was by such methods that incongruities were avoided.
-</p>
-<p></p>
-<div class="figure p118-3width" id="p118-3"><img src="images/p118-3.png" alt="BRICK AND STONE MOSAICS FROM WOUDRICHEM" width="291" height="555"><p class="figureHead">BRICK AND STONE MOSAICS FROM WOUDRICHEM</p>
-</div><p>
-</p>
-<p>The national temperament always asserted itself and each individual as he carved his
-stone, laid his bricks, worked his wood, or wrought his iron, did his small part to
-keep alive the inherited traditions, and pass them on so that they should be vigorous
-to meet the needs of future generations.
-</p>
-<p></p>
-<div class="figure p119width" id="p119"><img src="images/p119.png" alt="ZWOLLE, OVERIJSSEL (Dated 1609)" width="502" height="720"><p class="figureHead">ZWOLLE, OVERIJSSEL (Dated 1609)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p120-1width" id="p120-1"><img src="images/p120-1.png" alt="DETAIL OF DIAPER-WORK FROM FRANEKER" width="334" height="291"><p class="figureHead">DETAIL OF DIAPER-WORK FROM FRANEKER</p>
-</div><p>
-</p>
-<p>The ornamental features that appear on the exterior walls impart to the buildings
-of Holland much of that quaintness for which they are distinguished. Although the
-decorations are so plentifully applied, they do not often appear misplaced or offend
-the eye. For the natural conditions of the country have always been peculiar. The
-low-lying lands and ever-present water demand a special type of architecture which
-shall be in thorough sympathy with the surroundings, as well as outwardly express
-the character of those people who live amongst them. Much is possible and good in
-Holland which would be out of place, or even bad, elsewhere. The many houses, appearing
-where they do, are <span class="pagenum">[<a id="pb120" href="#pb120">120</a>]</span>admirably conceived. Rich with ornaments, date panels, little carvings, mosaics and
-ironwork&#x2014;such as are shown by the illustrations in this section&#x2014;with coloured bricks
-fashioned in many ways, and doorways and windows highly decorated, they cannot fail
-to appeal to those who see them in their natural environment. There is a personal
-note about each dwelling. They are houses that look like homes, places to be treasured
-by succeeding generations. And the evidences of pride of possession to be seen in
-the isolated panels carved with arms, dates and inscriptions, or similar motives worked
-around doorways, especially give to the brick and stone-built walls a home-like and
-fireside quality. Students of English architecture will have observed how homely ideas
-affected the appearance of the houses of Holland just as they did those of England.
-Similar sentiments obtained in both countries and indirectly brought kindred features
-to the buildings.
-</p>
-<p></p>
-<div class="figure p120-2width" id="p120-2"><img src="images/p120-2.png" alt="WORKUM, FRIESLAND" width="392" height="451"><p class="figureHead">WORKUM, FRIESLAND</p>
-</div><p>
-</p>
-<p>It requires but little imagination to people once again the streets and waterways
-with men and women and of their lives are on every hand. The stones they lovingly
-caused to be carved are there; the heavy studded doors that yielded to their hands
-are still framed by old entrance ways. The work was done that it should last and yet
-it stands, solid and good. The glory of the house may have departed; yet there still
-remains the material record of lives well-spent and duties well-performed. And in
-this the carved monograms and dates are full of meaning. <span class="pagenum">[<a id="pb121" href="#pb121">121</a>]</span>
-</p>
-<p></p>
-<div class="figure p121width" id="p121"><img src="images/p121.png" alt="IRON WALL-TIES" width="485" height="720"><p class="figureHead">IRON WALL-TIES</p>
-</div><p>
-<span class="pagenum">[<a id="pb122" href="#pb122">122</a>]</span></p>
-<p></p>
-<div class="figure p122-1width" id="p122-1"><img src="images/p122-1.png" alt="IRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGEN" width="621" height="74"><p class="figureHead">IRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p122-2width"><img src="images/p122-2.png" alt="IRON WALL-TIE FROM NIJMEGEN" width="151" height="382"><p class="figureHead">IRON WALL-TIE FROM NIJMEGEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p122-3width" id="p122-3"><img src="images/p122-3.png" alt="OVAL WINDOW, WITH STANCHION BAR, FROM LEIDEN" width="304" height="255"><p class="figureHead">OVAL WINDOW, WITH STANCHION BAR, FROM LEIDEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p122-4width" id="p122-4"><img src="images/p122-4.png" alt="IRON WEATHER-VANE FROM BROEK" width="149" height="358"><p class="figureHead">IRON WEATHER-VANE FROM BROEK</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p122-5width p122-5" id="p122-5"><img src="images/p122-5.png" alt="LEAD SPOUT-HEAD FROM ZUTPHEN" width="159" height="337"><p class="figureHead">LEAD SPOUT-HEAD FROM ZUTPHEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p122-6width" id="p122-6"><img src="images/p122-6.png" alt="IRON TERMINAL FROM MIDDELBURG" width="202" height="423"><p class="figureHead">IRON TERMINAL FROM MIDDELBURG</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p122-7width" id="p122-7"><img src="images/p122-7.png" alt="LEAD SPOUT-HEAD FROM ZUTPHEN" width="151" height="336"><p class="figureHead">LEAD SPOUT-HEAD FROM ZUTPHEN</p>
-</div><p>
-<span class="pagenum">[<a id="pb123" href="#pb123">123</a>]</span></p>
-<p></p>
-<div class="figure p123-1width" id="p123-1"><img src="images/p123-1.png" alt="IRON WALL-TIE FROM BEUGEN" width="263" height="281"><p class="figureHead">IRON WALL-TIE FROM BEUGEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p123-2width" id="p123-2"><img src="images/p123-2.png" alt="IRON DOOR-KNOCKER" width="358" height="583"><p class="figureHead">IRON DOOR-KNOCKER</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p123-3width"><img src="images/p123-3.png" alt="IRON DOOR-FURNITURE FROM MIDDELBURG" width="278" height="319"><p class="figureHead">IRON DOOR-FURNITURE FROM MIDDELBURG</p>
-</div><p>
-<span class="pagenum">[<a id="pb124" href="#pb124">124</a>]</span></p>
-<p></p>
-<div class="figure floatLeft p124-1width" id="p124-1"><img src="images/p124-1.png" alt="IRON WEATHER-VANE FROM HEES" width="267" height="504"><p class="figureHead">IRON WEATHER-VANE FROM HEES</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p124-2width" id="p124-2"><img src="images/p124-2.png" alt="LEAD FINIAL FROM HOORN" width="281" height="338"><p class="figureHead">LEAD FINIAL FROM HOORN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p124-3width p124-3"><img src="images/p124-3.png" alt="LEAD FINIAL FROM HOORN" width="229" height="498"><p class="figureHead">LEAD FINIAL FROM HOORN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p124-4width"><img src="images/p124-4.png" alt="LEAD FINIAL FROM HOORN" width="254" height="320"><p class="figureHead">LEAD FINIAL FROM HOORN</p>
-</div><p>
-<span class="pagenum">[<a id="pb125" href="#pb125">125</a>]</span></p>
-</div>
-</div>
-<div id="ch3" class="div1 chapter ch3"><span class="pagenum">[<a href="#xd29e1421">Contents</a>]</span><div class="divHead">
-<h2 class="label">DIVISION III</h2>
-<h2 class="main">INTERIORS AND DECORATION</h2>
-<p><span class="pagenum">[<a id="pb127" href="#pb127">127</a>]</span></p>
-</div>
-<div class="divBody">
-<p class="xd29e3101"><span class="xd29e3101init">T</span>here are, within the old buildings of Holland, interior effects of rare charm. They
-are hidden away from the outer world behind high gabled fronts of sober houses, beyond
-the thresholds of country farms. These interiors are rich in memories of the past.
-They tell of bygone times and bring vivid pictures of civic and home life to the imagination.
-Solidly built, they were erected with due thought to permanence, that they should
-stand from generation to generation; that men&#x2019;s memories might be honoured by their
-children and their children&#x2019;s children. That it should be continuous and abiding was
-the keynote of the old work which to this day is fresh and beautiful, full of life
-and vitality, although the makers of it have long since gone and are forgotten. And
-while things were made to be durable, so also were they made to please the eye and
-gratify the senses. Good construction, accompanied by much enrichment, gave results
-tending towards extreme elaboration. Rooms became imposing by their massive ceiling
-beams supported by sculptured corbels; panelling, or maybe Spanish leather or tapestry,
-upon the walls; carved oaken doors; fireplaces in wood and stone adorned with columns,
-figures and other devices; coloured tiles of many patterns; cast-iron firebacks and
-wrought metalwork; panels of painted glass in the windows; floors of oak, veined marble,
-or glazed quarries; brass candelabrums hanging from the ceilings, with movable furniture
-and ornaments disposed in many places.
-</p>
-<p></p>
-<div class="figure p127width" id="p127"><img src="images/p127.png" alt="Brass Candelabrum From Haarlem" width="327" height="394"><p class="figureHead">Brass Candelabrum From Haarlem</p>
-</div><p>
-</p>
-<p>A good impression of a seventeenth-century room may be gathered from the accompanying
-illustration from Dordrecht (page <a href="#p128" class="pageref">128</a>). The walls are panelled in oak up to a certain height; above is a deep white frieze,
-admirably adapted for displaying the blue-and-white ware and pictures which rest against
-it. The chimney-piece is sumptuous, alternately gay and sober, charming below the
-mantel with brightly-coloured tiles and shining metal utensils, dignified above with
-panelling and projecting frieze. Forming the dividing line between mantel and fireplace
-is a mantel-cloth of blue material, inscribed with the homely maxim &#x201c;<span lang="nl">Oost West, Thuis <span class="pagenum">[<a id="pb130" href="#pb130">130</a>]</span>Best</span>,&#x201d; and bearing a brace of crossed tobacco-pipes worked at each end of it. A good specimen
-of a brass candelabrum is attached to the central ceiling beam, while the floor is
-covered with matting. Solid oak furniture, massive and heavy, completes this picture
-of material comfort and pleasantness. Equally characteristic is the room at Leeuwarden
-(page <a href="#pb129" class="pageref">129</a>). Similar features will be observed&#x2014;panelling and carved woodwork; ceiling joists
-and beams, which are here supported by moulded corbels; blue-and-white ware, tiles,
-and a blue velvet mantel-cloth. The hearth is of squares of black and white marble.
-Upon it stands a copper fire-holder; behind is a cast-iron fireback adorned with an
-armorial subject. In the lead-glazed window are two circular panels of painted glass.
-</p>
-<p></p>
-<div class="figure p128width" id="p128"><img src="images/p128.png" alt="SEVENTEENTH-CENTURY ROOM FROM DORDRECHT, SOUTH HOLLAND" width="558" height="720"><p class="figureHead">SEVENTEENTH-CENTURY ROOM FROM DORDRECHT, SOUTH HOLLAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb129" href="#pb129">129</a>]</span></p>
-<p></p>
-<div class="figure p129width" id="p129"><img src="images/p129.png" alt="SEVENTEENTH-CENTURY ROOM FROM LEEUWARDEN, FRIESLAND" width="518" height="720"><p class="figureHead">SEVENTEENTH-CENTURY ROOM FROM LEEUWARDEN, FRIESLAND</p>
-</div><p>
-</p>
-<p>Another example of a brass candelabrum, similar to the one above-mentioned, is shown
-by the drawing from Haarlem (page <a href="#pb127" class="pageref">127</a>). It is of a type that was customary. Many such still exist in old-world rooms, suspended
-from high ceilings by chains or rods. Apart from their uses for purposes of illumination,
-they are highly successful as centre ornaments, for it will be seen how effectively
-they were made, with curved decorated brackets branching from shaped shafts. Patterns
-are various, but there are certain essentials common to all and a general resemblance
-between each. Thus, a particularly beautiful candelabrum in the Town Hall at Zwolle,
-with an image of the Virgin and pierced, leaf-like brackets, is but an elaboration
-of the simple familiar form. Some carry three lights only, ordinarily there are ten
-or twelve; while an example noticed at Haarlem, with twenty-seven candles, probably
-represents the extreme capacity of this old-fashioned system of lighting.
-</p>
-<p></p>
-<div class="figure p130width" id="p130"><img src="images/p130.png" alt="FIREPLACE IN THE BRICKLAYERS&#x2019; GUILD, AMSTERDAM (17TH CENTURY)" width="380" height="575"><p class="figureHead">FIREPLACE IN THE BRICKLAYERS&#x2019; GUILD, AMSTERDAM (17TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p130-2width" id="p130-2"><img src="images/p130-2.jpg" alt="&#x201c;SEVENTEENTH-CENTURY DUTCH INTERIOR.&#x201d; from an oil painting by BARON J. A. HENDRIK LEYS." width="561" height="720"><p class="figureHead">&#x201c;SEVENTEENTH-CENTURY DUTCH INTERIOR.&#x201d; <span class="sc">from an oil painting by</span> BARON J.&nbsp;A. HENDRIK LEYS.</p>
-<p class="first">(<i>In the Ryks Museum, Amsterdam.</i>)</p>
-</div><p>
-</p>
-<p>Of interior features, first in importance come the fireplaces. Great thought was given
-to the decoration of them, the appearance of many being rich beyond <span class="pagenum">[<a id="pb132" href="#pb132">132</a>]</span>description. Numerous kinds of materials were used for their adornment; brick and
-stone, wood, marble and slate, coloured tiles and terra-cotta, all giving value to
-the imposing compositions. And although the materials were so various, they were skilfully
-combined to produce harmonious results. Fireplaces were brought forward from the walls
-and not set back within them. The openings were of ample size, wide and high. The
-jambs, enriched with mouldings or appearing as columns, supported massive hoods that
-extended upwards to the ceiling.
-</p>
-<p></p>
-<div class="figure p131width" id="p131"><img src="images/p131.png" alt="FIREPLACE FROM MAASTRICHT, LIMBURG (DATED 1510)" width="482" height="720"><p class="figureHead">FIREPLACE FROM MAASTRICHT, LIMBURG (DATED 1510)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p132-1width" id="p132-1"><img src="images/p132-1.png" alt="CAST-IRON FIREBACK FROM LEIDEN" width="317" height="376"><p class="figureHead">CAST-IRON FIREBACK FROM LEIDEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p132-2width" id="p132-2"><img src="images/p132-2.png" alt="CAST-IRON FIREBACK FROM NIJMEGEN" width="312" height="433"><p class="figureHead">CAST-IRON FIREBACK FROM NIJMEGEN</p>
-</div><p>
-</p>
-<p>The fireplace at Maastricht (page <a href="#p131" class="pageref">131</a>) is a good specimen of the late Gothic type. It belongs to the year 1510, this date
-being carved on the centre scroll. Upon the sandstone jambs are worked Gothic mouldings
-which spring from shaped stops resting on square bases. The broad frieze is rich with
-carvings of angels, conventional flowers, cusps, and two shields, bearing the arms
-of Maastricht and Li�ge. The rear of the opening is lined with pressed terra-cotta
-tiles that exhibit a variety of designs in low relief. Against it is set an iron fireback
-ornamented with a heraldic device. The wooden figures on the mantel-shelf are merely
-placed thereon and are not inherent to the design.
-</p>
-<p></p>
-<div class="figure p133width" id="p133"><img src="images/p133.png" alt="FIREPLACE FROM MIDDELBURG, ZEELAND" width="572" height="720"><p class="figureHead">FIREPLACE FROM MIDDELBURG, ZEELAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p134-1width" id="p134-1"><img src="images/p134-1.png" alt="CAST-IRON FIREBACK FROM MIDDELBURG" width="306" height="397"><p class="figureHead">CAST-IRON FIREBACK FROM MIDDELBURG</p>
-</div><p>
-</p>
-<p>Details of fireplaces changed with the passing of Gothic influences, although the
-olden form was still retained. Classic columns, or less frequently, human figures
-and grotesques, were substituted for moulded jambs. They commonly supported a carved
-oak frieze surmounted by a projecting cornice. Such chimney-pieces are by no means
-rare in Holland and may generally be ascribed to the seventeenth <span class="pagenum">[<a id="pb134" href="#pb134">134</a>]</span>century. One, from Leeuwarden, has already been illustrated on page <a href="#pb129" class="pageref">129</a>. Another example, from Middelburg, is here given (page <a href="#p133" class="pageref">133</a>). The columns are of white marble, but the jambs behind them, together with the bases
-and corbels, are of slate and are decorated with strapwork patterns. The oak mantel
-is inlaid with bands and panels of light wood. Tiles of blue, white and yellow cover
-the back, and border the upright sides of the iron hearth.
-</p>
-<p>The chimney-piece at Amsterdam (page <a href="#pb130" class="pageref">130</a>) is of an unusual pattern. It is situated in the room of the Bricklayers&#x2019; Guild and
-is of early seventeenth-century workmanship. The opening is framed of stone. Over
-the mantel-shelf is a curved pediment with the arms of Amsterdam carved upon it. Fitted
-to the chimney-breast above is a small oval painted panel enclosed by brickwork.
-</p>
-<p></p>
-<div class="figure floatRight p134-2width" id="p134-2"><img src="images/p134-2.png" alt="CAST-IRON FIREBACK FROM JISP" width="311" height="433"><p class="figureHead">CAST-IRON FIREBACK FROM JISP</p>
-</div><p>
-</p>
-<p>The fireplace from the Westerwold (page <a href="#p135" class="pageref">135</a>), now at Groningen, belongs to a later period than the preceding example. A wooden
-chimney-shelf and pilasters, almost black in colour, support the tapering hood. The
-back of the fireplace is faced with blue-and-white tiles and red bricks. A protecting
-fireback rests against it, while a hanger, hooked within the opening, holds the metal
-pot over the fire. The effect of this fireplace and its accessories, admirably decorative
-in themselves, is further enhanced by the pure white surrounding walls, and by the
-parti-coloured floor laid with red and yellow quarries.
-</p>
-<p></p>
-<div class="figure p135width" id="p135"><img src="images/p135.png" alt="FIREPLACE FROM THE WESTERWOLD, GRONINGEN" width="528" height="720"><p class="figureHead">FIREPLACE FROM THE WESTERWOLD, GRONINGEN</p>
-</div><p>
-</p>
-<p>Cast-iron firebacks have been noticed in the previous illustrations. They were generally
-used where fires burned on open hearths. The <span class="pagenum">[<a id="pb136" href="#pb136">136</a>]</span>castings are rather light and thin, and were taken from wooden models. They are ornamented
-with floral and heraldic subjects, or designs suggested by classical myths and bible
-stories. Of the four examples illustrated on pages <a href="#pb132" class="pageref">132</a> and <a href="#pb134" class="pageref">134</a>, two have armorial bearings, surrounded by rich borders, cast upon them. The one
-from Leiden is dated 1609, and the other, from Nijmegen, 1650. Both of the remaining
-specimens from Jisp and Middelburg, are decorated with figure subjects, bordered by
-fruit and scrolls and flowers. All the work is in rather low relief.
-</p>
-<p></p>
-<div class="figure p136-1width" id="p136-1"><img src="images/p136-1.png" alt="INTERIOR OF A WOODEN HOUSE AT MARKEN, NORTH HOLLAND" width="626" height="370"><p class="figureHead">INTERIOR OF A WOODEN HOUSE AT MARKEN, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p136-2width" id="p136-2"><img src="images/p136-2.png" alt="BRASS CHIMNEY-CRANE FROM LEEUWARDEN" width="388" height="310"><p class="figureHead">BRASS CHIMNEY-CRANE FROM LEEUWARDEN</p>
-</div><p>
-</p>
-<p>Fuel, in the form of peat or charcoal, was responsible for certain utensils in which
-it could be conveniently burned. One such is given on page <a href="#p139" class="pageref">139</a>. It is an iron fire-standard suited for holding peat, and was drawn in the Museum
-at Dordrecht. The lines of the design are good, especially to be observed in the engaged
-scrolls and shaping of the top. It is, withal, serviceably made. Small boxes containing
-fire, placed upon the floor in front of chairs, served as foot-warmers (page <a href="#pb148" class="pageref">148</a>). They are of square or oval <span class="pagenum">[<a id="pb138" href="#pb138">138</a>]</span>shape. The sides are frequently patterned and the lids perforated. Fires were also
-contained in iron pots which stood upon oak stools within the fireplaces; or they
-burned in little iron hearths, which were set towards the centre of the rooms, with
-no provision made for carrying away the smoke. The former system is exemplified by
-the drawing from Leeuwarden (page <a href="#p137" class="pageref">137</a>), and the latter by an illustration from a cottage at Marken (page <a href="#pb136" class="pageref">136</a>).
-</p>
-<p></p>
-<div class="figure p136-3width" id="p136-3"><img src="images/p136-3.jpg" alt="ENAMELLED EARTHENWARE TILES (EARLY 18TH CENTURY)" width="720" height="487"><p class="figureHead">ENAMELLED EARTHENWARE TILES (EARLY 18TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p137width" id="p137"><img src="images/p137.png" alt="HINDELOOPEN ROOM AT THE FRISIAN MUSEUM, LEEUWARDEN" width="495" height="720"><p class="figureHead">HINDELOOPEN ROOM AT THE FRISIAN MUSEUM, LEEUWARDEN</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p138width" id="p138"><img src="images/p138.png" alt="CARVED OAK PANEL FROM ZWOLLE (16TH CENTURY)" width="307" height="414"><p class="figureHead">CARVED OAK PANEL FROM ZWOLLE (16TH CENTURY)</p>
-</div><p>
-</p>
-<p>A small crane is often seen attached to the back of the fireplace. A kettle or pot
-rests upon it, which might, if desired, be swung over or away from the fire. The specimen
-here reproduced (page <a href="#pb136" class="pageref">136</a>) is from Leeuwarden. It has one simple movement, that of swinging backwards and forwards.
-The curved arm is made of brass, and shaped to resemble a fish. Out of the mouth comes
-the iron kettle-holder with a small chain affixed, handy for drawing it to and fro.
-Allied to the crane, and used for a similar purpose, is the hanger that was suspended
-from the flue. The two specimens appearing on page <a href="#p139" class="pageref">139</a> are from Middelburg, and both are constructed of iron. They can be made to hang high
-or low, one by means of a ratchet, and the other by a catch, which fits into pierced
-holes and is shown in detail.
-</p>
-<p>The set of fire-irons, also from Middelburg (page <a href="#p139" class="pageref">139</a>), furnishes admirable examples of useful objects, suitably adorned. The plate to
-which the fire-irons hang, with scallop-like indentations at its upper edge, is enriched
-with incised decoration, depicting a ship, trees, birds, letters, and the date of
-1787. The tongs at the extreme left are so fashioned that one arm, being hollow, may
-be used as a blowpipe. Next in order is a ladle adapted for scooping up ashes from
-the hearth. Upon the flat handle is further incised ornamentation, based upon floral
-motives. The central object is a blowpipe, and a second pair of tongs completes the
-set. With the exception of some of the ends and terminations, which are of brass,
-these implements are made of iron, brightly polished.
-</p>
-<p></p>
-<div class="figure p138-2width" id="p138-2"><img src="images/p138-2.jpg" alt="ENAMELLED EARTHENWARE TILES (EARLY 18TH CENTURY)" width="720" height="498"><p class="figureHead">ENAMELLED EARTHENWARE TILES (EARLY 18TH CENTURY<span class="corr" id="xd29e3272" title="Not in source">)</span></p>
-</div><p>
-</p>
-<p>In the glazed tiles, inseparably associated with Delft and other places in Holland,
-the Dutch had admirable material for interior decoration. Some tiles were pure white;
-others had conventional floral forms painted upon them. Many, again, were decorated
-with devices derived from scriptural, nautical, rural, historical, and classical sources.
-Units such <span class="pagenum">[<a id="pb140" href="#pb140">140</a>]</span>as these, beautiful in themselves, were capable of giving lively and gay effects when
-arranged together. How satisfactorily they were used will have been already observed
-in the fireplaces previously described.
-</p>
-<p></p>
-<div class="figure p139width" id="p139"><img src="images/p139.png" alt="IRON HANGERS, FIRE-IRONS AND FIRE-STANDARD" width="720" height="448"><p class="figureHead">IRON HANGERS, FIRE-IRONS AND FIRE-STANDARD</p>
-</div><p>
-</p>
-<p>But, apart from giving value to fireplaces, they were employed in other ways. Notable
-rooms are to be seen whose good appearance depends primarily upon the skilful manipulation
-of tiles. Two such are illustrated, one in colour (opposite). They are from Hindeloopen,
-and are now in the Frisian Museum at Leeuwarden. The original woodwork of the coloured
-drawing belongs to the seventeenth century. The back of the fireplace, as well as
-the walls surrounding it, is faced entirely with tiles from floor to ceiling. Those
-towards the floor have blue and white patterns upon them; above, and in the window
-recess, they are white but for the narrow blue borders round the angles. These tiles
-were made at Makkum. Upon the floor are glazed quarries of red and black, laid in
-alternate colours. The room of the other illustration (page <a href="#p137" class="pageref">137</a>) dates from the eighteenth century. It has similar tiles on the walls and quarries
-on the floor. Floors were also laid with other coloured quarries, blue and green and
-yellow; while in larger houses stone and marble were employed with pleasing results.
-</p>
-<p></p>
-<div class="figure p140width" id="p140"><img src="images/p140.png" alt="OAK PANELLING FROM LEIDEN" width="277" height="569"><p class="figureHead">OAK PANELLING FROM LEIDEN</p>
-</div><p>
-</p>
-<p>Panelling was by no means infrequently applied to interior walls. It was often marked
-by elaboration rather than simplicity, although there are not wanting examples of
-rooms wainscoted with plain framed woodwork divided into panels by stiles and rails.
-Of ornamental panels there are certain definite kinds. Characteristic are those adorned
-with linen-fold patterns. Another design that was favoured is shown in the illustration
-taken from Zwolle (page <a href="#pb138" class="pageref">138</a>), where carved vine ornaments appear between two curved and moulded scrolls set back
-to back. This particular example is attributed to the beginning of the sixteenth century.
-At a later date round-headed arches and pilasters were introduced, such as those exemplified
-from Leiden on this page, as well as carved friezes and moulded cornices. It is remarkable
-to note the great similarity between the development of panelling in Holland and in
-England. The earlier patterns employed in both countries are practically identical,
-while Dutch <span class="pagenum">[<a id="pb142" href="#pb142">142</a>]</span>seventeenth-century woodwork bears great resemblance to that of our Jacobean period.
-</p>
-<p></p>
-<div class="figure p140-2width" id="p140-2"><img src="images/p140-2.jpg" alt="HINDELOOPEN ROOM AT THE FRISIAN MUSEUM, LEEUWARDEN. from a water color drawing by SYDNEY R. JONES." width="500" height="720"><p class="figureHead">HINDELOOPEN ROOM AT THE FRISIAN MUSEUM, LEEUWARDEN. <span class="sc">from a water color drawing by</span> SYDNEY R. JONES.</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p141width" id="p141"><img src="images/p141.png" alt="HINDELOOPEN ROOM AT THE FRISIAN MUSEUM, LEEUWARDEN" width="529" height="720"><p class="figureHead">HINDELOOPEN ROOM AT THE FRISIAN MUSEUM, LEEUWARDEN</p>
-</div><p>
-</p>
-<p>Wooden doors harmonised with the wainscot of the walls. They were divided into panels
-and often richly carved. Doorways were given importance by the pilasters and cornices
-that surrounded them. The door from Groningen (below) furnishes a seventeenth-century
-specimen, elaborately carved with forms peculiar to the time.
-</p>
-<p>The metal fittings attached to doors&#x2014;locks, bolts, hinges, handles, and the like&#x2014;are
-of good design and workmanship. Two lock-plates (page <a href="#p143-1" class="pageref">143</a>), from the Rijks Museum at Amsterdam, belong to the sixteenth century. They are both
-made of iron. One, bearing the date of 1587, is decorated with projecting ornaments;
-the other is adorned with applied metalwork, pierced and carved. Further examples
-of iron door-furniture, simply but effectively treated, are illustrated by the handle
-from Middelburg and the bolt from Dordrecht (page <a href="#p143-1" class="pageref">143</a>).
-</p>
-<p></p>
-<div class="figure p142width" id="p142"><img src="images/p142.png" alt="CARVED DOOR FROM GRONINGEN (17TH CENTURY)" width="382" height="570"><p class="figureHead">CARVED DOOR FROM GRONINGEN (17TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p143-1width" id="p143-1"><img src="images/p143-1.png" alt="IRON LOCK-PLATE (16TH CENTURY)" width="282" height="253"><p class="figureHead">IRON LOCK-PLATE (16TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p143-2width" id="p143-2"><img src="images/p143-2.png" alt="IRON LOCK-PLATE (DATED 1587)" width="249" height="265"><p class="figureHead">IRON LOCK-PLATE (DATED 1587)</p>
-</div><p>
-</p>
-<p>A feature common to Dutch rooms is the small cupboard in the wall, wherein many and
-sundry articles were stored. The recess is sometimes merely covered by a curtain that
-may be drawn to and fro, such as can be seen at the left hand of the window in the
-coloured reproduction from Leeuwarden given here. But generally a wooden door was
-fitted to the opening. Some of these doors, with one or two panels, are quite plainly
-made. Others, highly decorated with carvings and metalwork, furnish examples of beautiful
-craftsmanship. Two are here illustrated (pages <a href="#p143-1" class="pageref">143</a> and <a href="#pb144" class="pageref">144</a>), which show how well and cunningly artificers in wood and metal exercised their
-skill. Both are of sixteenth-century workmanship, and are now in the Rijks Museum.
-Apart from the good wood-carving, the ironwork on each is notable. The three hinges,
-attached to the larger door, all have peculiarly graceful branched <span class="pagenum">[<a id="pb144" href="#pb144">144</a>]</span>terminations; while the hinge of the second example is pierced and engraved with a
-floral pattern. The lock-plates, also, are admirably devised.
-</p>
-<p></p>
-<div class="figure p143-3width" id="p143-3"><img src="images/p143-3.png" alt="IRON LOCK AND BOLT" width="386" height="316"><p class="figureHead">IRON LOCK AND BOLT</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p143-4width" id="p143-4"><img src="images/p143-4.png" alt="IRON DOOR-HANDLE AND ESCUTCHEON" width="235" height="345"><p class="figureHead">IRON DOOR-HANDLE AND ESCUTCHEON</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p143-5width" id="p143-5"><img src="images/p143-5.png" alt="CARVED DOOR OF WALL-CUPBOARD, WITH PIERCED AND ENGRAVED IRON FITTINGS" width="230" height="306"><p class="figureHead">CARVED DOOR OF WALL-CUPBOARD, WITH PIERCED AND ENGRAVED IRON FITTINGS</p>
-</div><p>
-</p>
-<p>The further illustration of a Hindeloopen room from Leeuwarden (page <a href="#p141" class="pageref">141</a>) is especially interesting, for around the walls are cupboard-like apartments that
-afforded accommodation for sleeping. They are closed by wooden doors which have open-work
-panels at their heads to permit the passage of air. The beds, resembling a ship&#x2019;s
-berths, are reached by flights of steps, two of which will be seen in the reproduction.
-These steps are movable and curiously shaped and painted, as is demonstrated by the
-flight in the foreground with its side boards made to imitate birds and flowers. Other
-old Dutch interiors&#x2014;cheerful with coloured plates, tiles and quarries, shining brass
-and carved woodwork&#x2014;furnish instances of this particular disposition of sleeping accommodation.
-</p>
-<p></p>
-<div class="figure p144width" id="p144"><img src="images/p144.png" alt="WALL-CUPBOARD WITH IRON LOCK AND HINGES (16TH CENTURY)" width="350" height="585"><p class="figureHead">WALL-CUPBOARD WITH IRON LOCK AND HINGES (16TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p144-2width" id="p144-2"><img src="images/p144-2.jpg" alt="DELFT DISHES (18TH CENTURY)" width="720" height="351"><p class="figureHead">DELFT DISHES (18TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p145-1width" id="p145-1"><img src="images/p145-1.png" alt="CARVED TABLE FROM EDAM" width="362" height="335"><p class="figureHead">CARVED TABLE FROM EDAM</p>
-</div><p>
-</p>
-<p>The old furniture was of a kind that well harmonised with the fitted woodwork and
-other decorations of the rooms. It is not unusual to find pieces of the seventeenth
-and eighteenth centuries amid surroundings similar to those for which they were originally
-intended. The rooms at Dordrecht (page <a href="#p128" class="pageref">128</a>) and Groningen (page <a href="#p135" class="pageref">135</a>) both have suitable furniture that valuably contributes to the success of the schemes.
-All is more or less directly useful; rooms were not crowded with objects that were
-neither utilitarian nor good to look upon. Most commonly occurring are chairs and
-tables, chests and cabinets. The earlier oak work was jointed and pegged together.
-It was very solidly made and ornamented in a reasonable way. Some of the large cabinets
-offer splendid examples of skilful handiwork, and an elaborate specimen, from Haarlem,
-appears on page <a href="#pb145" class="pageref">145</a>. Two characteristic tables are also illustrated, one from Edam (page <a href="#pb145" class="pageref">145</a>) and one from Amsterdam (page <a href="#pb146" class="pageref">146</a>). In the eighteenth century it became the fashion in certain parts of Holland to
-heavily paint fitted and movable furniture with coloured patterns, the natural <span class="pagenum">[<a id="pb145" href="#pb145">145</a>]</span>beauty of the wood being thus obscured. All kinds of objects were ornamented, and
-in a somewhat amateurish way. The favoured motifs were floral scrolls, little flowers,
-birds and animals, scriptural scenes, with pastoral and sea views.
-</p>
-<p></p>
-<div class="figure floatLeft p145-2width" id="p145-2"><img src="images/p145-2.png" alt="CARVED CABINET FROM HAARLEM" width="367" height="420"><p class="figureHead">CARVED CABINET FROM HAARLEM</p>
-</div><p>
-</p>
-<p>Brass was much used in the making of domestic utensils. Familiar objects for many
-purposes were fashioned of this material. Brightly polished and shining, they were
-quite in accord with the prevailing gayness of the rooms and well harmonised with
-the fitted woodwork, furniture, tiles and other metalwork. Fireplaces were adorned
-with sundry articles of brass, some being purely ornamental, others achieving some
-useful mission. The brass chimney-crane (page <a href="#pb136" class="pageref">136</a>) belongs to this latter class, as does the fire-side set reproduced on page <a href="#pb147" class="pageref">147</a>. The latter is a particularly handy contrivance, for, being movable, it can be transferred
-from room to room. The stand takes the form of a baluster stem which rests upon an
-ornamental basic tripod; it is surmounted by a circular attachment that supports the
-kettle. Upon three curved arms, branching outwardly, the brush and tongs and shovel
-are hooked. This set is of eighteenth-century workmanship. The stand is 1 foot 11�
-inches high, the tongs 23 inches long, the brush 21 inches long, and the shovel 23
-inches long. An example of the portable foot-warmers for placing on the floor in front
-of chairs, such as have been already mentioned, is here illustrated (page <a href="#pb148" class="pageref">148</a>). It is made of brass and has eight sides. Each upright side decorated with repouss�
-<span class="pagenum">[<a id="pb146" href="#pb146">146</a>]</span>work, circular bosses alternating with panels of flowers. The slightly curved top
-has a medallion in the centre, engraved with the letters and date &#x201c;i. w. hm. 1733.&#x201d;
-It is surrounded with floral scrolls, geometrically arranged, and between the patterns
-are pierced holes through which the heat is distributed.
-</p>
-<p></p>
-<div class="figure floatRight p146-1width" id="p146-1"><img src="images/p146-1.png" alt="TABLE FROM AMSTERDAM" width="382" height="304"><p class="figureHead">TABLE FROM AMSTERDAM</p>
-</div><p>
-</p>
-<p>The candlestick (page <a href="#pb148" class="pageref">148</a>), also of brass, belongs to the eighteenth century. It has two curved brackets which
-are adjustable, as will be seen by the hinged attachments in the illustration. The
-height is 18� inches and the width, from bracket to bracket, is 12&#x215b; inches. Another
-old-fashioned object used for lighting is the brass lantern with arched top (page
-<a href="#pb148" class="pageref">148</a>). All the three windows are surrounded by a border of floral openwork, very finely
-pierced with a pattern common to the eighteenth century. The fourth side, forming
-the back, has a panel in the centre.
-</p>
-<p></p>
-<div class="figure p146-2width" id="p146-2"><img src="images/p146-2.png" alt="WROUGHT-IRON STAIR-RAILING FROM ZIERIKZEE" width="379" height="421"><p class="figureHead">WROUGHT-IRON STAIR-RAILING FROM ZIERIKZEE</p>
-</div><p>
-</p>
-<div class="figure p146-3width" id="p146-3"><img src="images/p146-3.jpg" alt="DELFT DISHES (18TH CENTURY)" width="720" height="355"><p class="figureHead">DELFT DISHES (18TH CENTURY)</p>
-</div><p>
-<span class="pagenum">[<a id="pb147" href="#pb147">147</a>]</span></p>
-<p></p>
-<div class="figure floatLeft p147-1width" id="p147-1"><img src="images/p147-1.png" alt="BRASS WARMING-PAN (DATED 1602)" width="204" height="586"><p class="figureHead">BRASS WARMING-PAN (DATED 1602)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p147-3width" id="p147-3"><img src="images/p147-3.png" alt="BRASS FIRE-SIDE SET (18TH CENTURY)" width="214" height="581"><p class="figureHead">BRASS FIRE-SIDE SET (18TH CENTURY)</p>
-</div><p>
-</p>
-<p>The cover of the warming-pan, given on page <a href="#pb147" class="pageref">147</a>, furnishes an excellent specimen of perforated and engraved brasswork. The central
-figures represent Venus and Cupid, while interwoven with the strap and foliated ornaments
-are grotesque figures, beasts and birds. Each little part of the design is engraved,
-and around the outer margin of the pan is a Dutch inscription which embodies the date
-of 1602. Further well-executed piercing and engraving, but of a later date than the
-above, appear on the tea-caddy here illustrated (page <a href="#pb148" class="pageref">148</a>). This latter object is 6 inches high and 4 inches wide. The pastille-burner (page
-<a href="#pb148" class="pageref">148</a>) is made wholly of brass. Upon the baluster <span class="pagenum">[<a id="pb150" href="#pb150">150</a>]</span>stem and circular base are rococo designs beaten-up in relief. Made of wickerwork,
-the coffer reproduced on page <a href="#pb147" class="pageref">147</a> is adorned with handsomely shaped and perforated brass mounts that extend around
-it.
-</p>
-<p></p>
-<div class="figure p147-2width p147-2" id="p147-2"><img src="images/p147-2.png" alt="WICKERWORK COFFER WITH BRASS MOUNTS (18TH CENTURY)" width="391" height="317"><p class="figureHead">WICKERWORK COFFER WITH BRASS MOUNTS (18TH CENTURY)</p>
-</div><p>
-<span class="pagenum">[<a id="pb148" href="#pb148">148</a>]</span>
-</p>
-<div class="figure floatLeft p148-1width p148-1" id="p148-1"><img src="images/p148-1.png" alt="BRASS CANDLESTICK (18TH CENTURY)" width="315" height="477"><p class="figureHead">BRASS CANDLESTICK (18TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p148-2width" id="p148-2"><img src="images/p148-2.png" alt="BRASS TEA-CADDY (18TH CENTURY)" width="285" height="388"><p class="figureHead">BRASS TEA-CADDY (18TH CENTURY)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p148-3width p148-3" id="p148-3"><img src="images/p148-3.png" alt="BRASS PASTILLE-BURNER" width="214" height="271"><p class="figureHead">BRASS PASTILLE-BURNER</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatLeft p148-4width" id="p148-4"><img src="images/p148-4.png" alt="BRASS FOOT-WARMER (DATED 1733)" width="201" height="292"><p class="figureHead">BRASS FOOT-WARMER (DATED 1733)</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure floatRight p148-5width" id="p148-5"><img src="images/p148-5.png" alt="BRASS LANTERN (18TH CENTURY)" width="291" height="456"><p class="figureHead">BRASS LANTERN (18TH CENTURY)</p>
-</div><p>
-<span class="pagenum">[<a id="pb149" href="#pb149">149</a>]</span></p>
-<p></p>
-<div class="figure p149width p149" id="p149"><img src="images/p149.png" alt="CORRIDOR IN &#x201c;ST. PIETERSHOFJE,&#x201d; HOORN, NORTH HOLLAND" width="592" height="720"><p class="figureHead">CORRIDOR IN &#x201c;ST. PIETERSHOFJE,&#x201d; HOORN, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p></p>
-<div class="figure p150width" id="p150"><img src="images/p150.png" alt="TILED FIREPLACE FROM VOLENDAM, NORTH HOLLAND" width="631" height="461"><p class="figureHead">TILED FIREPLACE FROM VOLENDAM, NORTH HOLLAND</p>
-</div><p>
-</p>
-<p>The corridor at Hoorn (page <a href="#pb149" class="pageref">149</a>) belongs to the seventeenth century. It has a timber roof springing from the two
-side-walls in the form of a barrel-vault. Upon the concave surface are longitudinal
-and transverse ribs whose intersections are emphasised by carved bosses. The vault
-is supported at each side by decorated wooden brackets. Another detail associated
-with a place of access is the wrought-iron railing from Zierikzee (page <a href="#pb146" class="pageref">146</a>).
-</p>
-<p>And lastly, three typical village interiors are given. Two, from Volendam (above)
-and Marken (page <a href="#pb151" class="pageref">151</a>), have simple fireplaces faced with ordinary blue and white Dutch tiles. Another
-shows a room in a wooden house at Marken (page <a href="#pb152" class="pageref">152</a>), the timbering of the walls being visible.
-</p>
-<p>But it is the old towns of Holland, rather than the villages, that hold the charms
-for those who sojourn in that fascinating country; towns rich in associations that
-unbrokenly date back to a buried and untraceable antiquity. In them history has been
-made. There stand the old and sober gabled buildings, silent monuments to the thoughts,
-ideals and ambitions of those who built them. And, clustering around the market-places
-where life yet centres as it did in days gone by, or reflected in still waters, the
-houses keep their secrets well.
-</p>
-<p class="signed"><span class="sc">Sydney R. Jones.</span>
-<span class="pagenum">[<a id="pb151" href="#pb151">151</a>]</span></p>
-<p></p>
-<div class="figure p151width" id="p151"><img src="images/p151.png" alt="TILED FIREPLACE FROM MARKEN, NORTH HOLLAND" width="612" height="720"><p class="figureHead">TILED FIREPLACE FROM MARKEN, NORTH HOLLAND</p>
-</div><p>
-<span class="pagenum">[<a id="pb152" href="#pb152">152</a>]</span></p>
-<p></p>
-<div class="figure p152width" id="p152"><img src="images/p152.png" alt="INTERIOR OF A WOODEN HOUSE AT MARKEN, NORTH HOLLAND" width="571" height="720"><p class="figureHead">INTERIOR OF A WOODEN HOUSE AT MARKEN, NORTH HOLLAND</p>
-</div><p>
-</p>
-</div>
-</div>
-</div>
-<div class="back">
-<div class="transcriberNote">
-<h2 class="main">Colophon</h2>
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-</p>
-<h3 class="main">Metadata</h3>
-<table class="colophonMetadata">
-<tr>
-<td><b>Title:</b></td>
-<td>Old Houses in Holland</td>
-<td></td>
-</tr>
-<tr>
-<td><b>Author:</b></td>
-<td>Sydney Robert Jones (1881&#x2013;1966)</td>
-<td><a href="https://viaf.org/viaf/90634708/" class="seclink">Info</a></td>
-</tr>
-<tr>
-<td><b>Editor:</b></td>
-<td>Charles Holme (1848&#x2013;1923)</td>
-<td><a href="https://viaf.org/viaf/102321797/" class="seclink">Info</a></td>
-</tr>
-<tr>
-<td><b>Language:</b></td>
-<td>English</td>
-<td></td>
-</tr>
-<tr>
-<td><b>Original publication date:</b></td>
-<td>1913</td>
-<td></td>
-</tr>
-<tr>
-<td><b>Keywords:</b></td>
-<td>Architecture, Domestic -- Netherlands</td>
-<td></td>
-</tr>
-<tr>
-<td><b>OCLC/WorldCat:</b></td>
-<td><a href="https://www.worldcat.org/oclc/1049962846" class="seclink">1049962846</a></td>
-<td></td>
-</tr>
-<tr>
-<td><b>Open Library (Book):</b></td>
-<td><a href="https://openlibrary.org/books/OL6558833M" class="seclink">OL6558833M</a></td>
-<td></td>
-</tr>
-<tr>
-<td><b>Open Library (Work):</b></td>
-<td><a href="https://openlibrary.org/works/OL15242999W" class="seclink">OL15242999W</a></td>
-<td></td>
-</tr>
-</table>
-<h3 class="main">Revision History</h3>
-<ul>
-<li>2018-07-05 Started.
-</li>
-</ul>
-<h3 class="main">External References</h3>
-<p>This Project Gutenberg eBook contains external references. These links may not work
-for you.</p>
-<h3 class="main">Corrections</h3>
-<p>The following corrections have been applied to the text:</p>
-<table class="correctionTable" summary="Overview of corrections applied to the text.">
-<tr>
-<th>Page</th>
-<th>Source</th>
-<th>Correction</th>
-<th>Edit distance</th>
-</tr>
-<tr>
-<td class="width20"><a class="pageref" href="#xd29e899">vi</a></td>
-<td class="width40 bottom">
-[<i>Not in source</i>]
-</td>
-<td class="width40 bottom">,</td>
-<td class="bottom">1</td>
-</tr>
-<tr>
-<td class="width20"><a class="pageref" href="#xd29e1897">21</a></td>
-<td class="width40 bottom">. The</td>
-<td class="width40 bottom">, the</td>
-<td class="bottom">2</td>
-</tr>
-<tr>
-<td class="width20"><a class="pageref" href="#xd29e1902">22</a></td>
-<td class="width40 bottom">or</td>
-<td class="width40 bottom">of</td>
-<td class="bottom">1</td>
-</tr>
-<tr>
-<td class="width20"><a class="pageref" href="#xd29e3272">138</a></td>
-<td class="width40 bottom">
-[<i>Not in source</i>]
-</td>
-<td class="width40 bottom">)</td>
-<td class="bottom">1</td>
-</tr>
-</table>
-</div>
-</div>
-
-
-
-
-
-
-
-<pre>
-
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