Artikelen

• De bouwhistorie van het Huis te Linschoten

  Huis te Linschoten is situated in the Hoge Polder in the municipality of Montfoort (province of Utrecht). In 1629 the Utrecht resident Johan Strick (1583-1648) bought a farm there. In 1638 he had the private house replaced by a 'maison de campagne'. As dean of the chapter of Old Munster Strick had a seat in the Provincial Council of Utrecht and possibly he had their architect Frederick Matthijsz. van Lobbrecht make the design.

  The panes bearing the coat of arms were made by Jan Gerritsz. van Bronckhorst (circa 1603-1661). Soon the stable of the farm was also replaced by a building with ground floor, two storeys and an attic. Two towers were built against the facade of the house from 1638 and finally a moat was dug around the house. Bricks were supplied by the brick maker Jan Aertsz. from Rozendaal between Haastrecht and Oudewater.

  The fireplace in the hall indicates the Utrecht architects Gijsbert Theunisz. van Vianen (circa 1612-1707) and Pieter Jansz. van Cooten (circa 1612-1663) to whom the castle of Renswoude and Huis de Wiers have also been attributed. The building had just been completed before the wedding of the only son Johan Strick to the aristocratic Christina Taets van Amerongen on November 30, 1647.

  Although the back part of the house was given a hipped roof, the new building could hardly be called a success because of the different tiles and also because it made the impression of standing back-to-front due to the high back part of the house and the low front part. In 1672 the house was plundered by the troops of Louis XIV.

  In 1721 an attempt was made to create greater unity of the building by bringing the front part of the house on the same level as the back part. In the second quarter of the 19th century the interior was partly rebuilt by Jan David Zocher jr. As the house had only seldom been occupied through the centuries, interiors from the 17th century (the hall) and the 18th century (the dining room) and the 19th century (the blue room) have been preserved.

  Huis te Linschoten is situated in the Hoge Polder in the municipality of Montfoort (province of Utrecht). In 1629 the Utrecht resident Johan Strick (1583-1648) bought a farm there. In 1638 he had the private house replaced by a 'maison de campagne'. As dean of the chapter of Old Munster Strick had a seat in the Provincial Council of Utrecht and possibly he had their architect Frederick Matthijsz. van Lobbrecht make the design.

  The panes bearing the coat of arms were made by Jan Gerritsz. van Bronckhorst (circa 1603-1661). Soon the stable of the farm was also replaced by a building with ground floor, two storeys and an attic. Two towers were built against the facade of the house from 1638 and finally a moat was dug around the house. Bricks were supplied by the brick maker Jan Aertsz. from Rozendaal between Haastrecht and Oudewater.

  The fireplace in the hall indicates the Utrecht architects Gijsbert Theunisz. van Vianen (circa 1612-1707) and Pieter Jansz. van Cooten...

  Huis te Linschoten is situated in the Hoge Polder in the municipality of Montfoort (province of Utrecht). In 1629 the Utrecht resident Johan Strick (1583-1648) bought a farm there. In 1638 he had the private house replaced by a 'maison de campagne'. As dean of the chapter of Old Munster Strick...

  Joop van Schaik

  141-151

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• De introductie van het Hollands classicisme in Zweden, aan de hand van twee woonhuizen van de familie De Geer

  When the architects Jacob van Campen, Pieter Post and Philips Vingboons introduced classicism in the Dutch Republic in the thirties and forties of the seventeenth century, this architectural principle soon got anchored in the world of commissioners, architects and dilettantes. But it did not remain restricted to the latter group; due to merchants' and architects' frequent travels, Dutch classicism developed into an international design principle.

  In the course of the seventeenth century various Dutch architects worked abroad or in their own studios at assignments commissioned from abroad. Besides, many a foreign architect travelled to the Dutch Republic in order to follow an education. The distribution of architecture treatises also increased the scope of Dutch classicism.

  The Dutch Republic proves to have played a more active role in early modern Europe than is suggested in current architecture historiography. The Dutch Republic was not just the recipient of new architecture trends from Italy and France, but also functioned as a centre from where these trends emanated towards North-East Europe in the period 1640-1700.

  The contacts between the Dutch Republic and Sweden represent a special chapter in the history of architecture of North- East Europe. Two private houses, belonging to the Dutch ironmongers Louis de Geer and his son Louis de Geer jr. play an important part in the introduction of Dutch classicism in Sweden.

  Fitting in with the traditions of his time, Louis de Geer occupied himself with horticulture and architecture besides his iron and copper trade. His private house, dating from 1646, was the first Dutch classicist building in Stockholm. An analysis of the drawing of the facade, detail drawings and ground plans, point in the direction of a dilettante-architect with the background of a craftsman. And not of a painter, unlike most 17th century architects.

  Possibly Louis de Geer asked Joost Henne, a Dutch mason in his employment during the building period, to make a design for his house with the aid of sample drawings. At the end of the Thirty Years' War building activity quickly increased in Stockholm; many members of the Swedish nobility followed De Geer's example. However, the 'Riddarhus' is the most extravert example of all Dutch classicist buildings in Stockholm.

  The facades were designed by Justus Vingboons. In 1668 Louis de Geer's son Louis de Geer jr. commissioned an architect to design a country estate near his copper mill in Finsprong. The notes and watermarks on ground-plan and elevation drawings point to a Dutch architect.

  A recently unknown series of drawings in the National Museum in Stockholm and an already known series of drawings show strong similarity with the method of the architect Adriaan Dortsman as far as drawing technique, measurements and scale are concerned. Besides, a number of style components in Finsprong are also to be found in other works by Dortsman, such as the Walloon Orphanage, country estate Gunterstein, the Round Lutheran church and the private house Amstel 216.

  The intensive contact between the Netherlands and Sweden in the seventeenth century primarily consisted of trade contacts, but they also resulted in contacts in the field of culture. Ordering drawings from Dutch architects both by Dutchmen and by Swedes occupied an important place in this respect.

  Louis de Geer's private house in Stockholm introduced Dutch classicism in Sweden and also stimulated contacts with Dutch architects. Examples are the Riddarhus of Justus Vingboons. The country estate Finsprong was a recently unknown example of Dutch classicism in Sweden. The commissioning of the country estate Finsprong to Adriaan Dortsman signifies a supplement to Dortsman's oeuvre and Dutch and Swedish history of architecture.

  When the architects Jacob van Campen, Pieter Post and Philips Vingboons introduced classicism in the Dutch Republic in the thirties and forties of the seventeenth century, this architectural principle soon got anchored in the world of commissioners, architects and dilettantes. But it did not remain restricted to the latter group; due to merchants' and architects' frequent travels, Dutch classicism developed into an international design principle.

  In the course of the seventeenth century various Dutch architects worked abroad or in their own studios at assignments commissioned from abroad. Besides, many a foreign architect travelled to the Dutch Republic in order to follow an education. The distribution of architecture treatises also increased the scope of Dutch classicism.

  The Dutch Republic proves to have played a more active role in early modern Europe than is suggested in current architecture historiography. The Dutch Republic was not just the recipient of new...

  When the architects Jacob van Campen, Pieter Post and Philips Vingboons introduced classicism in the Dutch Republic in the thirties and forties of the seventeenth century, this architectural principle soon got anchored in the world of commissioners, architects and dilettantes. But it did not...

  Badeloch V.C.M. Noldus

  152-164

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• Buitenzorg en omliggende tuinen

  In 1745 the first House of Buitenzorg was founded in the Dutch East Indies, situated at the present Bogor near Jakarta (Indonesia). Governor-General G.W. Baron van Imhoff was the commissioner. This house and its successors (after fire and earthquake) and the surrounding park are depicted on numerous drawings, prints and paintings. Little is known about the landscape gardening around the house before 1817.

  Just one single drawing (1772) by Johannes Rach gives an impression of the first gardens. The garden consists of l) a formal front garden constituted by hedges; 2) a shady middle garden around Post Philippina; 3) geometrical 'parterres de broderie', linking up with the main buildings and the promenade; 4) wood plantation behind the promenade, closed off by a row of palms; 5) and finally an orchard, annex menagerie at the side.

  From north to south the character of the gardening style changes from formally geometrical to more scenic and natural. The character of the layout clearly has a utility function (orchards, shady marketplace, and possibly a coffee, tea and coconut plantation) and an aesthetic function (special hedge garden and parterres de broderie, both symmetrical in layout).

  It looks as if Buitenzorg thus served as a model for agricultural and horticultural projects in this region. After 1817 the garden was changed and expanded to 's Lands Plantentuin (National Botanical Garden) or in Indonesian Kebun Raya, one of the largest and best-known tropical botanical gardens in the world. This latter function of botanical garden was completely in line with the scheme laid out by the commissioner of the first house of Buitenzorg, Baron van Imhoff.

  In 1745 the first House of Buitenzorg was founded in the Dutch East Indies, situated at the present Bogor near Jakarta (Indonesia). Governor-General G.W. Baron van Imhoff was the commissioner. This house and its successors (after fire and earthquake) and the surrounding park are depicted on numerous drawings, prints and paintings. Little is known about the landscape gardening around the house before 1817.

  Just one single drawing (1772) by Johannes Rach gives an impression of the first gardens. The garden consists of l) a formal front garden constituted by hedges; 2) a shady middle garden around Post Philippina; 3) geometrical 'parterres de broderie', linking up with the main buildings and the promenade; 4) wood plantation behind the promenade, closed off by a row of palms; 5) and finally an orchard, annex menagerie at the side.

  From north to south the character of the gardening style changes from formally geometrical to more scenic and natural. The character of...

  In 1745 the first House of Buitenzorg was founded in the Dutch East Indies, situated at the present Bogor near Jakarta (Indonesia). Governor-General G.W. Baron van Imhoff was the commissioner. This house and its successors (after fire and earthquake) and the surrounding park are depicted on...

  Carla S. Oldenburger-Ebbers

  165-170

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