Part 3

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.