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diff --git a/old/60658-8.txt b/old/60658-8.txt deleted file mode 100644 index c7ace95..0000000 --- a/old/60658-8.txt +++ /dev/null @@ -1,2589 +0,0 @@ -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.) - - - - - - - - - - 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 -flèches 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 façade 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. - -Mediæval 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 façade 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--mediæval 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 mediæval 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 -æsthetically 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 façade 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 mediæval 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, mediæval 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 mediæval 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, mediæval 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 repoussé 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 Liège. 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 repoussé -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. - - - - - - -End of Project Gutenberg's Old Houses in Holland, by Sydney R. 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