Artikelen

• Architectuur en herinnering in de middeleeuwen

  How did people write about historical architecture in the MiddleAges? To what extent were they interested in ancient buildings? It is natural to assume that important buildings, for instance the great cathedrals, were also admired after the time of their realisation and that reports of this admiration have been preserved. However, such reports are probably rare. I do not know the reason of this, although I suppose that my research has not been sufficiently comprehensive.

  It is likely that there is more to be found in the extensive literary heritage of the Middle Ages, but who has the patience and possibility to tracé and read all the sources collected by, for instance, Max Manitius in his ‘Geschichte der Lateinischen Literatur des Mittelalters’ (1911-1931).

  Few buildings have been written about so much as the Hagia Sophia in Istanbul. This can be explained by the circumstance that famous authors have reported on it in great detail, among others Procopius and Paulus Silentiarius. What is found about ancient architecture in medieval chronicles is often just a single record, written in the manner of a minutes secretary.

  The first archaeologist who does make mention of ancient buildings, William Worcestre, limits his descriptions to stating the major measurements of the buildings ‘Itinerarium’ from 1478). Fortunately, there are a few sources from which a certain attachment to ancient architecture is evident.

  After the fire in the choir of Canterbury Cathedral in 1174 the clergy apparently preferred reconstruction of their choir, which dated from 1130. Consequently, they declared to be opposed to the idea of replacing the burnt choir by new construction. Similar sentiments also existed after the demolition of the Oudmunster in Utrecht in 1587.

  A fertile source that I have only superficially dealt with, are the reports of Jerusalem pilgrims and crusaders, in which some attention is indeed paid to the early Christian churches there. A research into the travelling literature in medieval Europe might yield more than 1 have been able to find so far.

  How did people write about historical architecture in the MiddleAges? To what extent were they interested in ancient buildings? It is natural to assume that important buildings, for instance the great cathedrals, were also admired after the time of their realisation and that reports of this admiration have been preserved. However, such reports are probably rare. I do not know the reason of this, although I suppose that my research has not been sufficiently comprehensive.

  It is likely that there is more to be found in the extensive literary heritage of the Middle Ages, but who has the patience and possibility to tracé and read all the sources collected by, for instance, Max Manitius in his ‘Geschichte der Lateinischen Literatur des Mittelalters’ (1911-1931).

  Few buildings have been written about so much as the Hagia Sophia in Istanbul. This can be explained by the circumstance that famous authors have reported on it in great detail, among others Procopius and...

  How did people write about historical architecture in the MiddleAges? To what extent were they interested in ancient buildings? It is natural to assume that important buildings, for instance the great cathedrals, were also admired after the time of their realisation and that reports of this...

  Wim Denslagen

  98-106

  • Download PDF
• Een kloosterdeur uit Warffum

  Sometime in the early 20th century the Groninger Museum acquired a primitively constructed door of an early date and presumably from Warffum. Recent research of the door revealed the identity of the building concerned, notably the ‘Johannietenklooster’ (monastery of the knights of St John) in the aforesaid village. The door is circular-arched and composed of two wide, thick oak parts and connected by means of two forged tail hinges.

  With the passage of time the inside was completely clamped with pinewood parts. This fact could have been marked by the date 1586 and some other signs carved in the wood. A heart-shaped shield in which the Maltese cross, the emblem of the monastic order of the knights of St John, has been carved twice, dates back to the original period. The door probably dates from the early 16th century.

  Sometime in the early 20th century the Groninger Museum acquired a primitively constructed door of an early date and presumably from Warffum. Recent research of the door revealed the identity of the building concerned, notably the ‘Johannietenklooster’ (monastery of the knights of St John) in the aforesaid village. The door is circular-arched and composed of two wide, thick oak parts and connected by means of two forged tail hinges.

  With the passage of time the inside was completely clamped with pinewood parts. This fact could have been marked by the date 1586 and some other signs carved in the wood. A heart-shaped shield in which the Maltese cross, the emblem of the monastic order of the knights of St John, has been carved twice, dates back to the original period. The door probably dates from the early 16th century.

  Sometime in the early 20th century the Groninger Museum acquired a primitively constructed door of an early date and presumably from Warffum. Recent research of the door revealed the identity of the building concerned, notably the ‘Johannietenklooster’ (monastery of the knights of St John)...

  K. Meindersma

  107-111

  • Download PDF
• Middeleeuwse 'prefab' in de Nederlanden? De Hollandse kerken van de Antwerpse loodsmeester Evert Spoorwater

  The first study, which touched upon the phenomenon of commercial gothic in the Netherlands, was carried out twenty years ago by the Dutch architectural historian Ruud Meischke. Meischke proposed that in the fifteenth century, as a consequence of high transportation costs and tolls, stones for building were increasingly cut into shape in the quarries in the southern Netherlands rather than at the building site.

  At the end of the century major parts of churches were delivered as a kind of 'prefab' that could be assembled on the spot. Since Meischke published his challenging thesis about prefabrication and export architecture, it has attracted the attention of an international scholarly audience. However, it still lacks a profound basis and until now it was not known in which ways the changes in the 'late gothic' building practice influenced architectural design.

  By comparing details of many churches in the Netherlands, my paper will elaborate on the ways in which prefabrication in the quarries of Brabant generated the spread of specific architectural strategies and architectural forms. I will argue that the physical separation of cutting and assembling implied several technical limitations which, amongst other factors, can explain the preference for columns instead of compound piers in Holland.

  In particular, the constructional imperfections indicate that this construction system depending on the column provided the flexibility required for the assemblage of export architecture. Furthermore, I will suggest that the increasing importance of commercial stone trade was significant for the standardisation of an architectural repertoire.

  I made detailed studies of the mouldings of the most important churches in the Low Countries. By connecting the results of this 'categorised analysis' to archival material, it has been possible to discern products developed by the masons workshops at the quarries. In analysing commercial gothic, my research shows that the development of architectural design and changes in the building industry went hand in hand from their earliest beginnings.

  The first study, which touched upon the phenomenon of commercial gothic in the Netherlands, was carried out twenty years ago by the Dutch architectural historian Ruud Meischke. Meischke proposed that in the fifteenth century, as a consequence of high transportation costs and tolls, stones for building were increasingly cut into shape in the quarries in the southern Netherlands rather than at the building site.

  At the end of the century major parts of churches were delivered as a kind of 'prefab' that could be assembled on the spot. Since Meischke published his challenging thesis about prefabrication and export architecture, it has attracted the attention of an international scholarly audience. However, it still lacks a profound basis and until now it was not known in which ways the changes in the 'late gothic' building practice influenced architectural design.

  By comparing details of many churches in the Netherlands, my paper will elaborate on the ways in which...

  The first study, which touched upon the phenomenon of commercial gothic in the Netherlands, was carried out twenty years ago by the Dutch architectural historian Ruud Meischke. Meischke proposed that in the fifteenth century, as a consequence of high transportation costs and tolls, stones for...

  Merlijn Hurx

  112-134

  • Download PDF
• De Delftse stadsbrand van 1536 en de verbreiding van booggevels

  Among the many large town fires in the 16th century the fire of Delft in 1536 was the most extensive. The extent of this disaster is to be compared to a large bombing during the last World War. A lot of the rebuilt houses still exist, some even with the old facades. Four drawings from around 1785 of disappeared facades complete the picture and gave rise to this article (ill. 4. 10-12).

  After the fire the walls of churches and monasteries largely survived and the wooden roofs and vaults could be restored. The houses needed total renewal. There is not much evidence of guidance in this matter by the town council. Building regulations were temporarily suspended, but the use of joint walls was promoted, which saved brick and made the houses more spacious.

  After the disaster the Delft building trade had plenty of work clearing the rubble and carrying out emergency restorations for several years. Rich people were able to employ a building contractor from outside the town. This led to new types of facades with freer compositions. All known contacts were made through Dordrecht, which as the major commercial town maintained the relations with the Southern Netherlands. A lot of sculpture on the Delft facades also appears to be of Dordrecht origin.

  The new styles must have been imported along this route. (ill. 2, 3. 4. 5). In the retinue of this vanguard forms of facades were built that suited the various groups of commissioners (ill. 4-9). In cooperation with Dordrecht contractors new variations of facades were realised, applied by the latter in the entire working space of the southern Netherlands. Due to the division of the northern and southern Netherlands after 1600 Dordrecht lost its prominent position to Amsterdam. Delft reverted to a simple country town again. Just as Dordrecht it was one of the few Dutch towns that did not expand during the 17th century. The aftermath of the important Delft-Dordrecht period in the 16th century left its traces throughout the southwest Netherlands (ill. 11-12). Without an insight into the far-reaching consequences of a town fire it is impossible to understand why these prestige objects are found here.

  Among the many large town fires in the 16th century the fire of Delft in 1536 was the most extensive. The extent of this disaster is to be compared to a large bombing during the last World War. A lot of the rebuilt houses still exist, some even with the old facades. Four drawings from around 1785 of disappeared facades complete the picture and gave rise to this article (ill. 4. 10-12).

  After the fire the walls of churches and monasteries largely survived and the wooden roofs and vaults could be restored. The houses needed total renewal. There is not much evidence of guidance in this matter by the town council. Building regulations were temporarily suspended, but the use of joint walls was promoted, which saved brick and made the houses more spacious.

  After the disaster the Delft building trade had plenty of work clearing the rubble and carrying out emergency restorations for several years. Rich people were able to employ a building contractor from outside the...

  Among the many large town fires in the 16th century the fire of Delft in 1536 was the most extensive. The extent of this disaster is to be compared to a large bombing during the last World War. A lot of the rebuilt houses still exist, some even with the old facades. Four drawings from around...

  Ruud Meischke, Henk J. Zantkuijl

  135-147

  • Download PDF
• Beproefde gevels

  The patron saint of the bricklayers' guild varied from town to town: St Barbara occurs regularly, but also the Four crowned ones (Antwerp and Dordrecht) and even St Joseph in case there was cooperation with the carpenters (Leiden). Throughout the Netherlands the history of these guilds dates back to the Middle Ages, but the oldest written regulations concerning the masterpiece were not drawn up until around the '40s of the 16th century.

  Usually this period is not considered to be the Middle Ages anymore, because by that time the Renaissance dawned in the Low Countries. The new form language and a different procedure - with craftsmen attracted from elsewhere - may have to do with the fact that regulations were tightened up. Making citizenship and payments obligatory was a primary point, besides marking off the trade as compared to related trades and in particular the necessity to make various test pieces.

  Sometimes it is not clear whether this concerned entry into the guild as a craftsman or obtaining the master's title, whereby it is sometimes stated that only this latter, highest level could entail the training of apprentices. The earliest description of the masterpiece is to be found in Haarlem in 1542. In the second half of the 16'h century most South-Holland towns followed, of which the regulations and the number of tests - usually four - can be compared with each other and, in fact also with those of the town of Antwerp.

  As regards the place of execution a distinction is apparent between towns such as Amsterdam (ill. 10), Delft, Amersfoort and Leeuwarden, where the masterpieces were brought together in one single building, and towns such as Haarlem, Dordrecht and Leiden, where they were to be seen throughout the town, both for the benefit of private individuals and in order to contribute to the beauty of the town in general.

  In Dordrecht this is explicitly stated. A town regulation from 1727 simultaneously saw to it that these masterpieces could no longer be erected on the main streets, but only on back streets. This measure was not intended to cheer up the poor districts with beautifully executed masonry from now on. The test facades displayed an unchanging traditionalism, whereas practice and fashion meanwhile prescribed quite different (taut) forms, which automatically appeared in the well-to-do main streets.

  Actually, this is a modernist building regulation regarding external appearance. In the 17th century the wooden façades had been successfully banished from the streetscape, not so much because of the fire risk, but because they were considered disfigurements of the townscape and were out of fashion. In the eyes of the guild stepped gables with basket arches and corbelling, just as ingeniously built brick vaults, represented the highest degree of workmanship.

  Since Romanticism and the advent of preservation of monuments in the second half of the 19th century, gable ends and ornamental brickwork were highly appreciated, but previously good taste had prescribed quite different forms for about a century and a half. In 1727 the Dordrecht town council relegated stepped gables and basket arches to the back streets; later in that century they demanded that façades be exclusively built on the building line, not with inclined elevations or fitted with canopies.

  The patron saint of the bricklayers' guild varied from town to town: St Barbara occurs regularly, but also the Four crowned ones (Antwerp and Dordrecht) and even St Joseph in case there was cooperation with the carpenters (Leiden). Throughout the Netherlands the history of these guilds dates back to the Middle Ages, but the oldest written regulations concerning the masterpiece were not drawn up until around the '40s of the 16th century.

  Usually this period is not considered to be the Middle Ages anymore, because by that time the Renaissance dawned in the Low Countries. The new form language and a different procedure - with craftsmen attracted from elsewhere - may have to do with the fact that regulations were tightened up. Making citizenship and payments obligatory was a primary point, besides marking off the trade as compared to related trades and in particular the necessity to make various test pieces.

  Sometimes it is not clear whether this concerned entry into...

  The patron saint of the bricklayers' guild varied from town to town: St Barbara occurs regularly, but also the Four crowned ones (Antwerp and Dordrecht) and even St Joseph in case there was cooperation with the carpenters (Leiden). Throughout the Netherlands the history of these guilds dates...

  Dirk Jan de Vries

  148-156

  • Download PDF