DIVISION II

DIVISION IIEXTERIOR FEATURES—DOORS, WINDOWS, GABLES & ORNAMENTSFrom 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.WOUDRICHEM, NORTH BRABANT (DATED 1611)WOUDRICHEM, NORTH BRABANT (DATED 1611)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 thecurves of the arches and support or surround the arms, panels, or other decorations.LEEUWARDEN, FRIESLANDLEEUWARDEN, FRIESLANDThe doorway at Delft (page87) 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 (page88) 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 page44, 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 (page89). 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.DELFT, SOUTH HOLLANDDELFT, SOUTH HOLLANDDELFT, SOUTH HOLLAND (DATED 1547)DELFT, SOUTH HOLLAND (DATED 1547)HAARLEM, NORTH HOLLAND (DATED 1632)HAARLEM, NORTH HOLLAND (DATED 1632)LEEUWARDEN, FRIESLAND (DATED 1675)LEEUWARDEN, FRIESLAND (DATED 1675)LEIDEN, RHIJNLAND (DATED 1612)LEIDEN, RHIJNLAND (DATED 1612)The circular arch followed the pointed although simultaneously a modified form of the latter, of which that from Haarlem (page89) 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 (page91), and Leeuwarden (page86) 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.LEIDEN, RHIJNLAND (DATED 1615)LEIDEN, RHIJNLAND (DATED 1615)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 (page85) 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 arewell 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 (page93) 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 (page89) 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 (page96). 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.VLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELANDMany 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 (page94), 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.MARSSUM, FRIESLAND (DATED 1713)MARSSUM, FRIESLAND (DATED 1713)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 (page95) is carried to an extreme degree; but, be it noted, all the fittingshave 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 (page95) 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.KAMPEN, OVERIJSSEL (DATED 1665)KAMPEN, OVERIJSSEL (DATED 1665)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 (page97); 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 (page99), 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.ARNHEM, GELDERLANDARNHEM, GELDERLANDWOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLANDWOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLANDWOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLANDWOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLANDLate 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 (page101), 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 gabledfront at Gorinchem (page103), 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.LEIDEN, RHIJNLAND (DATED 1655)LEIDEN, RHIJNLAND (DATED 1655)VEERE, ZEELAND—THE “SCOTCH HOUSE”VEERE, ZEELAND—THE “SCOTCH HOUSE”WOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLANDWOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLANDWINDOW SHUTTER FROM VELSENWINDOW SHUTTER FROM VELSENWindows were first glazed with leaded lights. Small squares of glass, as at Dordrecht (page98), 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.NIJMEGEN, GELDERLAND. FROM A WATERCOLOUR DRAWING BY SYDNEY R. JONES.NIJMEGEN, GELDERLAND.FROM A WATERCOLOUR DRAWING BYSYDNEY R. JONES.WINDOW SHUTTER FROM NIJMEGENWINDOW SHUTTER FROM NIJMEGENWINDOW SHUTTERS FROM LEIDENWINDOW SHUTTERS FROM LEIDENWINDOW SHUTTER FROM DORDRECHTWINDOW SHUTTER FROM DORDRECHTWooden 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 (pages98to100). The glazing of windows was first enclosed by casements, with hinges to open and shut. After casements came sash windows, whichwere substituted for the older form. There are many shown in the illustrations. Those from Flushing (page105), 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 page102.WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM MONNIKENDAMWINDOW SHUTTER FROM MONNIKENDAMThe 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 (page104) and Dordrecht (page107), 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.WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEMZWOLLE, OVERIJSSELZWOLLE, OVERIJSSELIt is impossible to consider here in detailthe 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 (pages106and109). A good example of shaping, achieved by the use of oppositive curves, is that from Arnhem (page108), and the stonework of the copings extends to the strapwork ornament.KAMPEN, OVERIJSSEL (DATED 1626)KAMPEN, OVERIJSSEL (DATED 1626)MARSSUM, FRIESLANDMARSSUM, FRIESLANDKAMPEN, OVERIJSSEL (DATED 1634)KAMPEN, OVERIJSSEL (DATED 1634)GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)Two gables from Leiden (page109) 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 (page113) has such a gable, and it is dated 1735. Another, from Amsterdam (page110), 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 page111. 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.KAMPEN, OVERIJSSELKAMPEN, OVERIJSSELVLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELANDThere 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 mouldingsnor other projection at the top. Chimneys a little more elaborate than was usual are shown by the two illustrations from Hoorn and Zutphen (page112). 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.MONNIKENDAM, NORTH HOLLANDMONNIKENDAM, NORTH HOLLANDIsolated 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 (page108), 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.HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDOf 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 (page115) and Haarlem (pages114to116). Equally symbolic of pride of home are the carved coats-of-arms which keep green, by visible sign, thememory of the builder and the honour of his house. One such armorial decoration from Workum, dated 1644, is illustrated on page115. 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.DORDRECHT, SOUTH HOLLAND (DATED 1523)DORDRECHT, SOUTH HOLLAND (DATED 1523)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 Haarlemappearing in an oval panel surrounded by a scrollwork frame, are illustrated (page115). Interesting is the wall-panel at Franeker (page114), 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 (page116); others, higher up the building, represent biblical scenes from the Book of Exodus.ARNHEM, GELDERLANDARNHEM, GELDERLANDThe 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 accomplishthat 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.HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDThe houses at Woudrichem (page117)—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 page118, 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 page119. An enlarged drawing of one of the window-heads (page118) 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.AMSTERDAM, NORTH HOLLANDAMSTERDAM, NORTH HOLLANDOn page118is represented a small section of the horizontal mosaic band that appears over the archway at Nijmegen (page41). 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 (page120).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 page121.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 (page123) 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 (page35); another specimen, from St. Anna, near Nijmegen, is reproduced on page122.WOOD DETAILS FROM GELDERLAND AND SOUTH HOLLANDWOOD DETAILS FROM GELDERLAND AND SOUTH HOLLANDZUTPHEN, GELDERLANDZUTPHEN, GELDERLANDOther wrought ironwork was used for various purposes on doors andwindows, 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 (page123). 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 (page122).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 (page122), 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 (page122) 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 (page124) is made up of iron scrolls, welded together, and four projecting arms point to north, south, east and west.HOORN, NORTH HOLLANDHOORN, NORTH HOLLANDFRANEKER, FRIESLAND (CURVED GABLES DATED 1573)FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)The leadwork to be observed on domestic buildings is not of remarkable interest. There are no wonderful decorated rain-water heads such as may beseen elsewhere, and lead heads, when used at all, are for the most part comparatively plain, square projections. The examples from Zutphen, reproduced on page122, 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 page124. 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.CARVED STONE LETTERING FROM HAARLEMCARVED STONE LETTERING FROM HAARLEMCARVED STONE PANEL FROM FRANEKERCARVED STONE PANEL FROM FRANEKERCARVED STONE PANEL FROM ZUTPHEN (DATED 1615)CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)CARVED STONE PANEL FROM SNEEKCARVED STONE PANEL FROM SNEEKCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM WORKUMCARVED STONE PANEL FROM WORKUMCARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)CARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMThe 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.WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)BRICK AND STONE MOSAIC FROM ZWOLLEBRICK AND STONE MOSAIC FROM ZWOLLEBRICK AND STONE MOSAIC FROM NIJMEGENBRICK AND STONE MOSAIC FROM NIJMEGENDoorways, 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.BRICK AND STONE MOSAICS FROM WOUDRICHEMBRICK AND STONE MOSAICS FROM WOUDRICHEMThe 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.ZWOLLE, OVERIJSSEL (Dated 1609)ZWOLLE, OVERIJSSEL (Dated 1609)DETAIL OF DIAPER-WORK FROM FRANEKERDETAIL OF DIAPER-WORK FROM FRANEKERThe 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, areadmirably 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.WORKUM, FRIESLANDWORKUM, FRIESLANDIt 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.IRON WALL-TIESIRON WALL-TIESIRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGENIRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGENIRON WALL-TIE FROM NIJMEGENIRON WALL-TIE FROM NIJMEGENOVAL WINDOW, WITH STANCHION BAR, FROM LEIDENOVAL WINDOW, WITH STANCHION BAR, FROM LEIDENIRON WEATHER-VANE FROM BROEKIRON WEATHER-VANE FROM BROEKLEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHENIRON TERMINAL FROM MIDDELBURGIRON TERMINAL FROM MIDDELBURGLEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHENIRON WALL-TIE FROM BEUGENIRON WALL-TIE FROM BEUGENIRON DOOR-KNOCKERIRON DOOR-KNOCKERIRON DOOR-FURNITURE FROM MIDDELBURGIRON DOOR-FURNITURE FROM MIDDELBURGIRON WEATHER-VANE FROM HEESIRON WEATHER-VANE FROM HEESLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORN

DIVISION IIEXTERIOR FEATURES—DOORS, WINDOWS, GABLES & ORNAMENTSFrom 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.WOUDRICHEM, NORTH BRABANT (DATED 1611)WOUDRICHEM, NORTH BRABANT (DATED 1611)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 thecurves of the arches and support or surround the arms, panels, or other decorations.LEEUWARDEN, FRIESLANDLEEUWARDEN, FRIESLANDThe doorway at Delft (page87) 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 (page88) 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 page44, 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 (page89). 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.DELFT, SOUTH HOLLANDDELFT, SOUTH HOLLANDDELFT, SOUTH HOLLAND (DATED 1547)DELFT, SOUTH HOLLAND (DATED 1547)HAARLEM, NORTH HOLLAND (DATED 1632)HAARLEM, NORTH HOLLAND (DATED 1632)LEEUWARDEN, FRIESLAND (DATED 1675)LEEUWARDEN, FRIESLAND (DATED 1675)LEIDEN, RHIJNLAND (DATED 1612)LEIDEN, RHIJNLAND (DATED 1612)The circular arch followed the pointed although simultaneously a modified form of the latter, of which that from Haarlem (page89) 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 (page91), and Leeuwarden (page86) 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.LEIDEN, RHIJNLAND (DATED 1615)LEIDEN, RHIJNLAND (DATED 1615)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 (page85) 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 arewell 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 (page93) 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 (page89) 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 (page96). 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.VLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELANDMany 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 (page94), 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.MARSSUM, FRIESLAND (DATED 1713)MARSSUM, FRIESLAND (DATED 1713)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 (page95) is carried to an extreme degree; but, be it noted, all the fittingshave 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 (page95) 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.KAMPEN, OVERIJSSEL (DATED 1665)KAMPEN, OVERIJSSEL (DATED 1665)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 (page97); 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 (page99), 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.ARNHEM, GELDERLANDARNHEM, GELDERLANDWOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLANDWOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLANDWOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLANDWOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLANDLate 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 (page101), 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 gabledfront at Gorinchem (page103), 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.LEIDEN, RHIJNLAND (DATED 1655)LEIDEN, RHIJNLAND (DATED 1655)VEERE, ZEELAND—THE “SCOTCH HOUSE”VEERE, ZEELAND—THE “SCOTCH HOUSE”WOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLANDWOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLANDWINDOW SHUTTER FROM VELSENWINDOW SHUTTER FROM VELSENWindows were first glazed with leaded lights. Small squares of glass, as at Dordrecht (page98), 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.NIJMEGEN, GELDERLAND. FROM A WATERCOLOUR DRAWING BY SYDNEY R. JONES.NIJMEGEN, GELDERLAND.FROM A WATERCOLOUR DRAWING BYSYDNEY R. JONES.WINDOW SHUTTER FROM NIJMEGENWINDOW SHUTTER FROM NIJMEGENWINDOW SHUTTERS FROM LEIDENWINDOW SHUTTERS FROM LEIDENWINDOW SHUTTER FROM DORDRECHTWINDOW SHUTTER FROM DORDRECHTWooden 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 (pages98to100). The glazing of windows was first enclosed by casements, with hinges to open and shut. After casements came sash windows, whichwere substituted for the older form. There are many shown in the illustrations. Those from Flushing (page105), 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 page102.WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM MONNIKENDAMWINDOW SHUTTER FROM MONNIKENDAMThe 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 (page104) and Dordrecht (page107), 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.WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEMZWOLLE, OVERIJSSELZWOLLE, OVERIJSSELIt is impossible to consider here in detailthe 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 (pages106and109). A good example of shaping, achieved by the use of oppositive curves, is that from Arnhem (page108), and the stonework of the copings extends to the strapwork ornament.KAMPEN, OVERIJSSEL (DATED 1626)KAMPEN, OVERIJSSEL (DATED 1626)MARSSUM, FRIESLANDMARSSUM, FRIESLANDKAMPEN, OVERIJSSEL (DATED 1634)KAMPEN, OVERIJSSEL (DATED 1634)GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)Two gables from Leiden (page109) 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 (page113) has such a gable, and it is dated 1735. Another, from Amsterdam (page110), 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 page111. 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.KAMPEN, OVERIJSSELKAMPEN, OVERIJSSELVLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELANDThere 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 mouldingsnor other projection at the top. Chimneys a little more elaborate than was usual are shown by the two illustrations from Hoorn and Zutphen (page112). 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.MONNIKENDAM, NORTH HOLLANDMONNIKENDAM, NORTH HOLLANDIsolated 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 (page108), 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.HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDOf 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 (page115) and Haarlem (pages114to116). Equally symbolic of pride of home are the carved coats-of-arms which keep green, by visible sign, thememory of the builder and the honour of his house. One such armorial decoration from Workum, dated 1644, is illustrated on page115. 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.DORDRECHT, SOUTH HOLLAND (DATED 1523)DORDRECHT, SOUTH HOLLAND (DATED 1523)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 Haarlemappearing in an oval panel surrounded by a scrollwork frame, are illustrated (page115). Interesting is the wall-panel at Franeker (page114), 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 (page116); others, higher up the building, represent biblical scenes from the Book of Exodus.ARNHEM, GELDERLANDARNHEM, GELDERLANDThe 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 accomplishthat 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.HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDThe houses at Woudrichem (page117)—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 page118, 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 page119. An enlarged drawing of one of the window-heads (page118) 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.AMSTERDAM, NORTH HOLLANDAMSTERDAM, NORTH HOLLANDOn page118is represented a small section of the horizontal mosaic band that appears over the archway at Nijmegen (page41). 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 (page120).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 page121.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 (page123) 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 (page35); another specimen, from St. Anna, near Nijmegen, is reproduced on page122.WOOD DETAILS FROM GELDERLAND AND SOUTH HOLLANDWOOD DETAILS FROM GELDERLAND AND SOUTH HOLLANDZUTPHEN, GELDERLANDZUTPHEN, GELDERLANDOther wrought ironwork was used for various purposes on doors andwindows, 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 (page123). 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 (page122).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 (page122), 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 (page122) 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 (page124) is made up of iron scrolls, welded together, and four projecting arms point to north, south, east and west.HOORN, NORTH HOLLANDHOORN, NORTH HOLLANDFRANEKER, FRIESLAND (CURVED GABLES DATED 1573)FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)The leadwork to be observed on domestic buildings is not of remarkable interest. There are no wonderful decorated rain-water heads such as may beseen elsewhere, and lead heads, when used at all, are for the most part comparatively plain, square projections. The examples from Zutphen, reproduced on page122, 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 page124. 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.CARVED STONE LETTERING FROM HAARLEMCARVED STONE LETTERING FROM HAARLEMCARVED STONE PANEL FROM FRANEKERCARVED STONE PANEL FROM FRANEKERCARVED STONE PANEL FROM ZUTPHEN (DATED 1615)CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)CARVED STONE PANEL FROM SNEEKCARVED STONE PANEL FROM SNEEKCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM WORKUMCARVED STONE PANEL FROM WORKUMCARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)CARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMThe 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.WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)BRICK AND STONE MOSAIC FROM ZWOLLEBRICK AND STONE MOSAIC FROM ZWOLLEBRICK AND STONE MOSAIC FROM NIJMEGENBRICK AND STONE MOSAIC FROM NIJMEGENDoorways, 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.BRICK AND STONE MOSAICS FROM WOUDRICHEMBRICK AND STONE MOSAICS FROM WOUDRICHEMThe 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.ZWOLLE, OVERIJSSEL (Dated 1609)ZWOLLE, OVERIJSSEL (Dated 1609)DETAIL OF DIAPER-WORK FROM FRANEKERDETAIL OF DIAPER-WORK FROM FRANEKERThe 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, areadmirably 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.WORKUM, FRIESLANDWORKUM, FRIESLANDIt 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.IRON WALL-TIESIRON WALL-TIESIRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGENIRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGENIRON WALL-TIE FROM NIJMEGENIRON WALL-TIE FROM NIJMEGENOVAL WINDOW, WITH STANCHION BAR, FROM LEIDENOVAL WINDOW, WITH STANCHION BAR, FROM LEIDENIRON WEATHER-VANE FROM BROEKIRON WEATHER-VANE FROM BROEKLEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHENIRON TERMINAL FROM MIDDELBURGIRON TERMINAL FROM MIDDELBURGLEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHENIRON WALL-TIE FROM BEUGENIRON WALL-TIE FROM BEUGENIRON DOOR-KNOCKERIRON DOOR-KNOCKERIRON DOOR-FURNITURE FROM MIDDELBURGIRON DOOR-FURNITURE FROM MIDDELBURGIRON WEATHER-VANE FROM HEESIRON WEATHER-VANE FROM HEESLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORN

DIVISION IIEXTERIOR 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.WOUDRICHEM, NORTH BRABANT (DATED 1611)WOUDRICHEM, NORTH BRABANT (DATED 1611)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 thecurves of the arches and support or surround the arms, panels, or other decorations.LEEUWARDEN, FRIESLANDLEEUWARDEN, FRIESLANDThe doorway at Delft (page87) 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 (page88) 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 page44, 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 (page89). 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.DELFT, SOUTH HOLLANDDELFT, SOUTH HOLLANDDELFT, SOUTH HOLLAND (DATED 1547)DELFT, SOUTH HOLLAND (DATED 1547)HAARLEM, NORTH HOLLAND (DATED 1632)HAARLEM, NORTH HOLLAND (DATED 1632)LEEUWARDEN, FRIESLAND (DATED 1675)LEEUWARDEN, FRIESLAND (DATED 1675)LEIDEN, RHIJNLAND (DATED 1612)LEIDEN, RHIJNLAND (DATED 1612)The circular arch followed the pointed although simultaneously a modified form of the latter, of which that from Haarlem (page89) 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 (page91), and Leeuwarden (page86) 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.LEIDEN, RHIJNLAND (DATED 1615)LEIDEN, RHIJNLAND (DATED 1615)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 (page85) 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 arewell 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 (page93) 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 (page89) 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 (page96). 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.VLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELANDMany 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 (page94), 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.MARSSUM, FRIESLAND (DATED 1713)MARSSUM, FRIESLAND (DATED 1713)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 (page95) is carried to an extreme degree; but, be it noted, all the fittingshave 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 (page95) 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.KAMPEN, OVERIJSSEL (DATED 1665)KAMPEN, OVERIJSSEL (DATED 1665)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 (page97); 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 (page99), 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.ARNHEM, GELDERLANDARNHEM, GELDERLANDWOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLANDWOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLANDWOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLANDWOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLANDLate 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 (page101), 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 gabledfront at Gorinchem (page103), 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.LEIDEN, RHIJNLAND (DATED 1655)LEIDEN, RHIJNLAND (DATED 1655)VEERE, ZEELAND—THE “SCOTCH HOUSE”VEERE, ZEELAND—THE “SCOTCH HOUSE”WOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLANDWOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLANDWINDOW SHUTTER FROM VELSENWINDOW SHUTTER FROM VELSENWindows were first glazed with leaded lights. Small squares of glass, as at Dordrecht (page98), 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.NIJMEGEN, GELDERLAND. FROM A WATERCOLOUR DRAWING BY SYDNEY R. JONES.NIJMEGEN, GELDERLAND.FROM A WATERCOLOUR DRAWING BYSYDNEY R. JONES.WINDOW SHUTTER FROM NIJMEGENWINDOW SHUTTER FROM NIJMEGENWINDOW SHUTTERS FROM LEIDENWINDOW SHUTTERS FROM LEIDENWINDOW SHUTTER FROM DORDRECHTWINDOW SHUTTER FROM DORDRECHTWooden 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 (pages98to100). The glazing of windows was first enclosed by casements, with hinges to open and shut. After casements came sash windows, whichwere substituted for the older form. There are many shown in the illustrations. Those from Flushing (page105), 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 page102.WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM MONNIKENDAMWINDOW SHUTTER FROM MONNIKENDAMThe 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 (page104) and Dordrecht (page107), 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.WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEMZWOLLE, OVERIJSSELZWOLLE, OVERIJSSELIt is impossible to consider here in detailthe 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 (pages106and109). A good example of shaping, achieved by the use of oppositive curves, is that from Arnhem (page108), and the stonework of the copings extends to the strapwork ornament.KAMPEN, OVERIJSSEL (DATED 1626)KAMPEN, OVERIJSSEL (DATED 1626)MARSSUM, FRIESLANDMARSSUM, FRIESLANDKAMPEN, OVERIJSSEL (DATED 1634)KAMPEN, OVERIJSSEL (DATED 1634)GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)Two gables from Leiden (page109) 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 (page113) has such a gable, and it is dated 1735. Another, from Amsterdam (page110), 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 page111. 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.KAMPEN, OVERIJSSELKAMPEN, OVERIJSSELVLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELANDThere 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 mouldingsnor other projection at the top. Chimneys a little more elaborate than was usual are shown by the two illustrations from Hoorn and Zutphen (page112). 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.MONNIKENDAM, NORTH HOLLANDMONNIKENDAM, NORTH HOLLANDIsolated 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 (page108), 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.HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDOf 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 (page115) and Haarlem (pages114to116). Equally symbolic of pride of home are the carved coats-of-arms which keep green, by visible sign, thememory of the builder and the honour of his house. One such armorial decoration from Workum, dated 1644, is illustrated on page115. 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.DORDRECHT, SOUTH HOLLAND (DATED 1523)DORDRECHT, SOUTH HOLLAND (DATED 1523)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 Haarlemappearing in an oval panel surrounded by a scrollwork frame, are illustrated (page115). Interesting is the wall-panel at Franeker (page114), 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 (page116); others, higher up the building, represent biblical scenes from the Book of Exodus.ARNHEM, GELDERLANDARNHEM, GELDERLANDThe 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 accomplishthat 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.HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDLEIDEN, RHIJNLANDThe houses at Woudrichem (page117)—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 page118, 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 page119. An enlarged drawing of one of the window-heads (page118) 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.AMSTERDAM, NORTH HOLLANDAMSTERDAM, NORTH HOLLANDOn page118is represented a small section of the horizontal mosaic band that appears over the archway at Nijmegen (page41). 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 (page120).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 page121.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 (page123) 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 (page35); another specimen, from St. Anna, near Nijmegen, is reproduced on page122.WOOD DETAILS FROM GELDERLAND AND SOUTH HOLLANDWOOD DETAILS FROM GELDERLAND AND SOUTH HOLLANDZUTPHEN, GELDERLANDZUTPHEN, GELDERLANDOther wrought ironwork was used for various purposes on doors andwindows, 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 (page123). 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 (page122).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 (page122), 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 (page122) 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 (page124) is made up of iron scrolls, welded together, and four projecting arms point to north, south, east and west.HOORN, NORTH HOLLANDHOORN, NORTH HOLLANDFRANEKER, FRIESLAND (CURVED GABLES DATED 1573)FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)The leadwork to be observed on domestic buildings is not of remarkable interest. There are no wonderful decorated rain-water heads such as may beseen elsewhere, and lead heads, when used at all, are for the most part comparatively plain, square projections. The examples from Zutphen, reproduced on page122, 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 page124. 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.CARVED STONE LETTERING FROM HAARLEMCARVED STONE LETTERING FROM HAARLEMCARVED STONE PANEL FROM FRANEKERCARVED STONE PANEL FROM FRANEKERCARVED STONE PANEL FROM ZUTPHEN (DATED 1615)CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)CARVED STONE PANEL FROM SNEEKCARVED STONE PANEL FROM SNEEKCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM WORKUMCARVED STONE PANEL FROM WORKUMCARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)CARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEMThe 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.WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)BRICK AND STONE MOSAIC FROM ZWOLLEBRICK AND STONE MOSAIC FROM ZWOLLEBRICK AND STONE MOSAIC FROM NIJMEGENBRICK AND STONE MOSAIC FROM NIJMEGENDoorways, 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.BRICK AND STONE MOSAICS FROM WOUDRICHEMBRICK AND STONE MOSAICS FROM WOUDRICHEMThe 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.ZWOLLE, OVERIJSSEL (Dated 1609)ZWOLLE, OVERIJSSEL (Dated 1609)DETAIL OF DIAPER-WORK FROM FRANEKERDETAIL OF DIAPER-WORK FROM FRANEKERThe 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, areadmirably 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.WORKUM, FRIESLANDWORKUM, FRIESLANDIt 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.IRON WALL-TIESIRON WALL-TIESIRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGENIRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGENIRON WALL-TIE FROM NIJMEGENIRON WALL-TIE FROM NIJMEGENOVAL WINDOW, WITH STANCHION BAR, FROM LEIDENOVAL WINDOW, WITH STANCHION BAR, FROM LEIDENIRON WEATHER-VANE FROM BROEKIRON WEATHER-VANE FROM BROEKLEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHENIRON TERMINAL FROM MIDDELBURGIRON TERMINAL FROM MIDDELBURGLEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHENIRON WALL-TIE FROM BEUGENIRON WALL-TIE FROM BEUGENIRON DOOR-KNOCKERIRON DOOR-KNOCKERIRON DOOR-FURNITURE FROM MIDDELBURGIRON DOOR-FURNITURE FROM MIDDELBURGIRON WEATHER-VANE FROM HEESIRON WEATHER-VANE FROM HEESLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORN

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.

WOUDRICHEM, NORTH BRABANT (DATED 1611)WOUDRICHEM, NORTH BRABANT (DATED 1611)

WOUDRICHEM, NORTH BRABANT (DATED 1611)

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 thecurves of the arches and support or surround the arms, panels, or other decorations.

LEEUWARDEN, FRIESLANDLEEUWARDEN, FRIESLAND

LEEUWARDEN, FRIESLAND

The doorway at Delft (page87) 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 (page88) 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 page44, 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 (page89). 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.

DELFT, SOUTH HOLLANDDELFT, SOUTH HOLLAND

DELFT, SOUTH HOLLAND

DELFT, SOUTH HOLLAND (DATED 1547)DELFT, SOUTH HOLLAND (DATED 1547)

DELFT, SOUTH HOLLAND (DATED 1547)

HAARLEM, NORTH HOLLAND (DATED 1632)HAARLEM, NORTH HOLLAND (DATED 1632)

HAARLEM, NORTH HOLLAND (DATED 1632)

LEEUWARDEN, FRIESLAND (DATED 1675)LEEUWARDEN, FRIESLAND (DATED 1675)

LEEUWARDEN, FRIESLAND (DATED 1675)

LEIDEN, RHIJNLAND (DATED 1612)LEIDEN, RHIJNLAND (DATED 1612)

LEIDEN, RHIJNLAND (DATED 1612)

The circular arch followed the pointed although simultaneously a modified form of the latter, of which that from Haarlem (page89) 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 (page91), and Leeuwarden (page86) 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.

LEIDEN, RHIJNLAND (DATED 1615)LEIDEN, RHIJNLAND (DATED 1615)

LEIDEN, RHIJNLAND (DATED 1615)

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 (page85) 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 arewell 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 (page93) 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 (page89) 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 (page96). 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.

VLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELAND

VLISSINGEN (FLUSHING), ZEELAND

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 (page94), 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.

MARSSUM, FRIESLAND (DATED 1713)MARSSUM, FRIESLAND (DATED 1713)

MARSSUM, FRIESLAND (DATED 1713)

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 (page95) is carried to an extreme degree; but, be it noted, all the fittingshave 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 (page95) 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.

KAMPEN, OVERIJSSEL (DATED 1665)KAMPEN, OVERIJSSEL (DATED 1665)

KAMPEN, OVERIJSSEL (DATED 1665)

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 (page97); 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 (page99), 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.

ARNHEM, GELDERLANDARNHEM, GELDERLAND

ARNHEM, GELDERLAND

WOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLANDWOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLAND

WOODEN DOOR, WITH IRON FITTINGS, FROM DORDRECHT, SOUTH HOLLAND

WOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLANDWOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLAND

WOODEN DOOR, WITH CARVED LINTEL, FROM HAARLEM, NORTH HOLLAND

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 (page101), 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 gabledfront at Gorinchem (page103), 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.

LEIDEN, RHIJNLAND (DATED 1655)LEIDEN, RHIJNLAND (DATED 1655)

LEIDEN, RHIJNLAND (DATED 1655)

VEERE, ZEELAND—THE “SCOTCH HOUSE”VEERE, ZEELAND—THE “SCOTCH HOUSE”

VEERE, ZEELAND—THE “SCOTCH HOUSE”

WOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLANDWOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLAND

WOODEN WINDOW-FRAME, WITH IRON FITTINGS AND LEAD GLAZING, FROM DORDRECHT, SOUTH HOLLAND

WINDOW SHUTTER FROM VELSENWINDOW SHUTTER FROM VELSEN

WINDOW SHUTTER FROM VELSEN

Windows were first glazed with leaded lights. Small squares of glass, as at Dordrecht (page98), 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.

NIJMEGEN, GELDERLAND. FROM A WATERCOLOUR DRAWING BY SYDNEY R. JONES.NIJMEGEN, GELDERLAND.FROM A WATERCOLOUR DRAWING BYSYDNEY R. JONES.

NIJMEGEN, GELDERLAND.FROM A WATERCOLOUR DRAWING BYSYDNEY R. JONES.

WINDOW SHUTTER FROM NIJMEGENWINDOW SHUTTER FROM NIJMEGEN

WINDOW SHUTTER FROM NIJMEGEN

WINDOW SHUTTERS FROM LEIDENWINDOW SHUTTERS FROM LEIDEN

WINDOW SHUTTERS FROM LEIDEN

WINDOW SHUTTER FROM DORDRECHTWINDOW SHUTTER FROM DORDRECHT

WINDOW SHUTTER FROM DORDRECHT

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 (pages98to100). The glazing of windows was first enclosed by casements, with hinges to open and shut. After casements came sash windows, whichwere substituted for the older form. There are many shown in the illustrations. Those from Flushing (page105), 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 page102.

WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEM

WINDOW SHUTTER FROM HAARLEM

WINDOW SHUTTER FROM MONNIKENDAMWINDOW SHUTTER FROM MONNIKENDAM

WINDOW SHUTTER FROM MONNIKENDAM

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 (page104) and Dordrecht (page107), 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.

WINDOW SHUTTER FROM HAARLEMWINDOW SHUTTER FROM HAARLEM

WINDOW SHUTTER FROM HAARLEM

ZWOLLE, OVERIJSSELZWOLLE, OVERIJSSEL

ZWOLLE, OVERIJSSEL

It is impossible to consider here in detailthe 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 (pages106and109). A good example of shaping, achieved by the use of oppositive curves, is that from Arnhem (page108), and the stonework of the copings extends to the strapwork ornament.

KAMPEN, OVERIJSSEL (DATED 1626)KAMPEN, OVERIJSSEL (DATED 1626)

KAMPEN, OVERIJSSEL (DATED 1626)

MARSSUM, FRIESLANDMARSSUM, FRIESLAND

MARSSUM, FRIESLAND

KAMPEN, OVERIJSSEL (DATED 1634)KAMPEN, OVERIJSSEL (DATED 1634)

KAMPEN, OVERIJSSEL (DATED 1634)

GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)

GORINCHEM (GORCUM), SOUTH HOLLAND (DATED 1566)

Two gables from Leiden (page109) 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 (page113) has such a gable, and it is dated 1735. Another, from Amsterdam (page110), 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 page111. 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.

KAMPEN, OVERIJSSELKAMPEN, OVERIJSSEL

KAMPEN, OVERIJSSEL

VLISSINGEN (FLUSHING), ZEELANDVLISSINGEN (FLUSHING), ZEELAND

VLISSINGEN (FLUSHING), ZEELAND

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 mouldingsnor other projection at the top. Chimneys a little more elaborate than was usual are shown by the two illustrations from Hoorn and Zutphen (page112). 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.

MONNIKENDAM, NORTH HOLLANDMONNIKENDAM, NORTH HOLLAND

MONNIKENDAM, NORTH HOLLAND

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 (page108), 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.

HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLAND

HAARLEM, NORTH HOLLAND

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 (page115) and Haarlem (pages114to116). Equally symbolic of pride of home are the carved coats-of-arms which keep green, by visible sign, thememory of the builder and the honour of his house. One such armorial decoration from Workum, dated 1644, is illustrated on page115. 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.

DORDRECHT, SOUTH HOLLAND (DATED 1523)DORDRECHT, SOUTH HOLLAND (DATED 1523)

DORDRECHT, SOUTH HOLLAND (DATED 1523)

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 Haarlemappearing in an oval panel surrounded by a scrollwork frame, are illustrated (page115). Interesting is the wall-panel at Franeker (page114), 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 (page116); others, higher up the building, represent biblical scenes from the Book of Exodus.

ARNHEM, GELDERLANDARNHEM, GELDERLAND

ARNHEM, GELDERLAND

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 accomplishthat 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.

HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLAND

HAARLEM, NORTH HOLLAND

HAARLEM, NORTH HOLLANDHAARLEM, NORTH HOLLAND

HAARLEM, NORTH HOLLAND

LEIDEN, RHIJNLANDLEIDEN, RHIJNLAND

LEIDEN, RHIJNLAND

LEIDEN, RHIJNLANDLEIDEN, RHIJNLAND

LEIDEN, RHIJNLAND

The houses at Woudrichem (page117)—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 page118, 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 page119. An enlarged drawing of one of the window-heads (page118) 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.

AMSTERDAM, NORTH HOLLANDAMSTERDAM, NORTH HOLLAND

AMSTERDAM, NORTH HOLLAND

On page118is represented a small section of the horizontal mosaic band that appears over the archway at Nijmegen (page41). 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 (page120).

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 page121.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 (page123) 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 (page35); another specimen, from St. Anna, near Nijmegen, is reproduced on page122.

WOOD DETAILS FROM GELDERLAND AND SOUTH HOLLANDWOOD DETAILS FROM GELDERLAND AND SOUTH HOLLAND

WOOD DETAILS FROM GELDERLAND AND SOUTH HOLLAND

ZUTPHEN, GELDERLANDZUTPHEN, GELDERLAND

ZUTPHEN, GELDERLAND

Other wrought ironwork was used for various purposes on doors andwindows, 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 (page123). 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 (page122).

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 (page122), 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 (page122) 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 (page124) is made up of iron scrolls, welded together, and four projecting arms point to north, south, east and west.

HOORN, NORTH HOLLANDHOORN, NORTH HOLLAND

HOORN, NORTH HOLLAND

FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)

FRANEKER, FRIESLAND (CURVED GABLES DATED 1573)

The leadwork to be observed on domestic buildings is not of remarkable interest. There are no wonderful decorated rain-water heads such as may beseen elsewhere, and lead heads, when used at all, are for the most part comparatively plain, square projections. The examples from Zutphen, reproduced on page122, 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 page124. 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.

CARVED STONE LETTERING FROM HAARLEMCARVED STONE LETTERING FROM HAARLEM

CARVED STONE LETTERING FROM HAARLEM

CARVED STONE PANEL FROM FRANEKERCARVED STONE PANEL FROM FRANEKER

CARVED STONE PANEL FROM FRANEKER

CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)

CARVED STONE PANEL FROM ZUTPHEN (DATED 1615)

CARVED STONE PANEL FROM SNEEKCARVED STONE PANEL FROM SNEEK

CARVED STONE PANEL FROM SNEEK

CARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEM

CARVED STONE PANEL FROM HAARLEM

CARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEM

CARVED STONE PANEL FROM HAARLEM

CARVED STONE PANEL FROM WORKUMCARVED STONE PANEL FROM WORKUM

CARVED STONE PANEL FROM WORKUM

CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)

CARVED STONE PANELS FROM MIDDELBURG, ZEELAND (HOUSE DATED 1590)

CARVED STONE PANEL FROM HAARLEMCARVED STONE PANEL FROM HAARLEM

CARVED STONE PANEL FROM HAARLEM

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.

WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)

WOUDRICHEM, NORTH BRABANT (DATED 1606 AND 1593)

BRICK AND STONE MOSAIC FROM ZWOLLEBRICK AND STONE MOSAIC FROM ZWOLLE

BRICK AND STONE MOSAIC FROM ZWOLLE

BRICK AND STONE MOSAIC FROM NIJMEGENBRICK AND STONE MOSAIC FROM NIJMEGEN

BRICK AND STONE MOSAIC FROM NIJMEGEN

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.

BRICK AND STONE MOSAICS FROM WOUDRICHEMBRICK AND STONE MOSAICS FROM WOUDRICHEM

BRICK AND STONE MOSAICS FROM WOUDRICHEM

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.

ZWOLLE, OVERIJSSEL (Dated 1609)ZWOLLE, OVERIJSSEL (Dated 1609)

ZWOLLE, OVERIJSSEL (Dated 1609)

DETAIL OF DIAPER-WORK FROM FRANEKERDETAIL OF DIAPER-WORK FROM FRANEKER

DETAIL OF DIAPER-WORK FROM FRANEKER

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, areadmirably 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.

WORKUM, FRIESLANDWORKUM, FRIESLAND

WORKUM, FRIESLAND

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.

IRON WALL-TIESIRON WALL-TIES

IRON WALL-TIES

IRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGENIRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGEN

IRON DATE-SIGN FROM ST. ANNA, NEAR NIJMEGEN

IRON WALL-TIE FROM NIJMEGENIRON WALL-TIE FROM NIJMEGEN

IRON WALL-TIE FROM NIJMEGEN

OVAL WINDOW, WITH STANCHION BAR, FROM LEIDENOVAL WINDOW, WITH STANCHION BAR, FROM LEIDEN

OVAL WINDOW, WITH STANCHION BAR, FROM LEIDEN

IRON WEATHER-VANE FROM BROEKIRON WEATHER-VANE FROM BROEK

IRON WEATHER-VANE FROM BROEK

LEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHEN

LEAD SPOUT-HEAD FROM ZUTPHEN

IRON TERMINAL FROM MIDDELBURGIRON TERMINAL FROM MIDDELBURG

IRON TERMINAL FROM MIDDELBURG

LEAD SPOUT-HEAD FROM ZUTPHENLEAD SPOUT-HEAD FROM ZUTPHEN

LEAD SPOUT-HEAD FROM ZUTPHEN

IRON WALL-TIE FROM BEUGENIRON WALL-TIE FROM BEUGEN

IRON WALL-TIE FROM BEUGEN

IRON DOOR-KNOCKERIRON DOOR-KNOCKER

IRON DOOR-KNOCKER

IRON DOOR-FURNITURE FROM MIDDELBURGIRON DOOR-FURNITURE FROM MIDDELBURG

IRON DOOR-FURNITURE FROM MIDDELBURG

IRON WEATHER-VANE FROM HEESIRON WEATHER-VANE FROM HEES

IRON WEATHER-VANE FROM HEES

LEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORN

LEAD FINIAL FROM HOORN

LEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORN

LEAD FINIAL FROM HOORN

LEAD FINIAL FROM HOORNLEAD FINIAL FROM HOORN

LEAD FINIAL FROM HOORN

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