1. The development of architecture in Holland XVI century
The movement in the development of Dutch architecture of this period also consisted in borrowing and processing the language of the forms of Italian Renaissance. After Shoy and Shay’s writings on Dutch architecture, which should be used with caution, we owe our information mainly to the collections of Isendik, Everbek and Crook, as well as to special monographs by Graul, Galland, Goedicke and others.
The three steps of this development can be distinguished along the whole line. The first, transitional stage, is still Late-Gothic in its essence, but little by little it perceives a number of individual Italian motifs and freely processes them. The second studies with love according to the sources of the form of the Italian Renaissance and successfully, with a sense, and sometimes in a peculiar way, for a common purpose, uses them in the Dutch buildings. The third awakens the above-mentioned national-Dutch resistance and turns foreign forms into northern ones, developing them skillfully and with great imagination in the form of a Dutch high renaissance with a baroque trend. For example, the magnificent Gothic town hall in Midelburg with its wide façades with false arcades, made in 1512 according to the design of Antonis Keldermans the Elder from Mecheln, and the equally luxurious town hall in Odenard (1525), whose elegant facade, which rests on the gallery with pointed arches, belongs to the most luxurious in Belgium. Acquaintance with the forms of the Renaissance occurs primarily, as in Germany, and not at all earlier than there, through the engravings and paintings of the masters who visited Italy. We have already seen that renaissance cupids with garlands appear in Memling’s paintings in the last decade of the 15th century; in a more pronounced form, the forms of the Renaissance are only on the buildings in the paintings of Mabuse, who visited Italy in 1508, and Orlais, who also apparently visited Italy. The early ornamental engraving of the master IG (1522), despite the significant influences of the Renaissance, does not play at all such a role here as in Germany. From the drawings of the Emperor's Entrue joyeus, kept in Bruges, we see that the forms of the Renaissance here, already in 1515, were not alien to the solemn festivities.
Renaissance motifs appear in publicly available plastics, primarily in the rich Late Gothic small architecture of the Dutch fireplaces, Lettners, the seats of the choir and gravestone monuments in the first decades of the century. The most ancient are the horns of abundance, cupids and garlands on the gothic fireplace of the town hall in Bergen op Tsuom. Balusters, acanthus cups and wreath carriers are in 1520 on the tombstone of Professor Bogart in the church of Sts. Petra in Leuven. Round boards covered with patterns decorate the balusters of two fireplaces in the town hall in Kurtra earlier in 1527. The cannelled pilasters support the pediment on one tombstone of the fraternal church in Zutphen.
The main builder of the transitional time, in essential features of the Late Gothic even in large buildings, was Rombout Keldermans from Mecheln (died in 1531), architect Charles V. The project of the late Gothic town hall in Ghent, which his friend Dominique built with him (not Hermann Neefsu) de Wagemaker, wears a date of 1517. This is a two-story spectacular building, with charming corner turrets and windows, with wide arches, canopies and balustrades, dressed in openwork carving of a flaming style, it was finished in 1535. gothic favors the more striking is that the second half of the town hall, built in 1595–1602, rises three floors in the style of the classical high renaissance. Nothing shows more clearly a change in taste between 1535 and 1595. In addition, Keldermans in 1517 also works on the palace of Margaret of Austria in Mecheln, the present building of judicial institutions, although in the courtyard it still retains its late Gothic forms, but in general, begun in 1507, it is the earliest Dutch building in renaissance style. It is possible that the originator of the project was Guyot de Beauregard, mistakenly mixed with the sculptor Guyot de Bogran. There is no doubt, however, that this simple building, decorated with gabled windows and balconies in the form of balustrades, was influenced by contemporary French architecture, as pilasters in the Renaissance taste are only available on the portal and on the high roof gable. The so-called fishermen’s house of Romboot Keldermans in Mecheln already has Renaissance-style sinks in its Late Gothic window eaves, and its latest work, the building at the corner of the market in Mecheln (1529), now redeemed for the museum, is decorated with Renaissance-style medallions.
The main works of the clearly expressed mixed style are the picturesque courtyard of the episcopal chambers in Lyutgikha, now the courthouses, with low, richly decorated columns of candelabra style, built by Erar van der Mark and François Borey, then the large courtyard gallery of the Antwerp Stock Exchange (1531), imbued with not so many forms renaissance, how much its proportions, built by Dominique de Wagemaker, the finisher of the spire of the tower of the Antwerp Cathedral, and Paul Sneidinx, and resumed after the fires of 1581 and 1858. - finally, built by Io Gann Vallot and Christian Siksden is a magnificent office, “La Greffe”, in Bruges (1535–1537), whose rich, heavy early renaissance on the stretched gable sides is still aggravated by Gothic crabs. Equally high houses with gables, built by guilds or merchants in the squares of the Flemish cities, still remain Gothic in their general impression, although all of their details were taken from the treasury of redesigned renaissance forms. The oldest houses of this genus belong to the six-storey house of the guild of riflemen in Antwerp, the overhead parts of the decorations of which consist in the lower floors of slender half-columns into rustic, and in the upper floors of germs and candelabra, and the famous “Salmon House” in Mekheln, Doric, Ionic and Corinthian half-columns of which one above the other are arbitrarily shortened and decorated.
How this transition took place in tower construction is well shown by the wooden tower of the main church in Gaarlem, erected in 1520, has long served as a model for its gothic features, a kind of construction of its floors narrowed upwards with galleries and a through bulbous head.
The opinion of some Belgian scholars that this mixed style and the whole following Dutch high renaissance of Spanish origin, so that even Marshal called the whole Dutch renaissance before Cornelis Floris the “Hispanic-Flemish style,” he already refuted Graul.
2. Renaissance in architecture
Real, pure forms of the Renaissance also appear earlier in the decorative small architecture than in large buildings. The tombstone of Count Engelbrecht II and his wife in the cathedral in Breda already in 1527 shone with such pure forms of the Renaissance that it was attributed to the Italian. The famous, richly decorated marble fireplace with luxurious wooden panels fitted into it in the Schöffen Hall in Brugge, made around 1530 by Lancelot Blondel (1496 to 1561), by Guyot de Bogran and others, despite the gothic socles of their chandelier columns, gives the impression of a clean renaissance . The magnificent oak carved tambour door by Paul van den Schelden in the town hall in Odenarde (after 1530) shows arbitrarily processed but exclusively Italian forms. The choral seats of Amsterdam’s Jan Terven in the main church in Dordrecht (1538–1541) are distinguished by authentic Italian forms. The famous altar decoration of Jan de Mona in Notre-Dame in Gale (1531) shows that his master saw Italy, and the pulpit in the New Church in Delft (1548) and in the Hague main church (1550) resemble the famous department of Benedetto da Mayano in Santa Croce in Florence. Earlier, the not quite preserved majestic Lettner made of marble and alabaster by Jacques Dubreuk arose in the church of St. Valtrudie in Mons; his drawing of 1535 has been preserved. In each line he discovers that his master had passed the Italian training on the other side of the Alps.
Dubrek, to whom Guedique dedicated detailed work, should be considered the founder of a purely Italian renaissance in the field of the great architecture of the Netherlands. Already in 1539 he led the redevelopment of the Bussu castle, and in 1545 began for the ruler Maria of Hungary the construction of the first large and in the true Renaissance style, built in the Netherlands, the Binhe castle; in 1548, the hunting castle of Mariemont followed; but all three already in 1554 were destroyed by the French.
The first theoretician of this trend, already called contemporaries the father of the classical style in the Netherlands, was the painter Peter Kokwan Alst (1502–1550). His Flemish translation of Vitruvius appeared in 1539, and the Flemish and French translations of Serlio after 1545 and 1546. His own works, however, of which almost the only fireplace of 1543 in the Antwerp Town Hall was preserved, fill Italian forms with northern content. The most noble Dutch building in its purest style was, it seems, the former town hall in Utrecht (1545–1547), well known from drawings; two upper floors of it, towering above the arcades of the gallery of the lower floor, were decorated with extremely elegant dividing pilasters. Pilasters decorated with arabesques were borrowed from the Italian early renaissance. Of the works in the style of this elegant Dutch early Renaissance, the decorative parts of which were made of quarry stone embossed on the brick surface of the building, only separate door and window frames in Utrecht, Dordrecht and Amsterdam on the outer parts of the buildings remained; Our drawing shows the beautiful portal of the old mint in Dordrecht. The interior of the council hall in Kampen (1543–1548) should be called. The skillful lining of the walls with elegant candelabra-style columns and picturesque inlays, the ceilings and benches rolling on the joists, interrupted by a magnificent stone fireplace, breathe the air of a lush, cheerful Lombard early Renaissance. Utrechtis were also Sebastian van Neuen (died in 1557) and his son Jacob (circa 1533–1600), who decorated the palace of Cardinal Granwell in Brussels with three orders of classical columns in the spirit of the purest late Italian Renaissance. This palace was rebuilt in 1771 and in 1834 converted to the university. From Luttiha, the famous painter Lambert Lombard (1506 to 1566) was born, the alleged author of the classic Italian portal of the 1558 church of Sts. Jacob in Luttich.
Being based on the form of the Italian Renaissance, a new, purely Dutch Renaissance style developed, with the lines of its gables, cartouches, grotesques, seamen and curls, earlier than in Germany, which turned into a shackle that more closely corresponded to the basic Gothic view. And the main master of this trend, Cornelis de Vriendt, nicknamed Floris (1514 to 1575) from Antwerp, brought this “Florisovsky” style to the North Baroque perfection. Cornelis Floris, known also as a sculptor, published in 1556 his projects of grotesques and cartouches, followed by his brother Jacob Floris published the same books in 1564, 1566, 1567. The main building of Cornelis Floris, which was also played by Paul Sneidinks, is the city hall in Antwerp (1561 to 1564). Above the rustic lower floor and its galleries with semicircular arches rise the first floor with Tuscan-Doric pilasters and the second with Ionic, even higher, under the roof, there is a balcony floor surrounded by a balustrade. On the wide façade, pierced only by rectangular windows and furnished with pilasters, a middle ledge, richer dissected, with a gothic pediment, still crowned with obelisks, protrudes. But in general, the building was conceived in the spirit of the late Renaissance. In addition, according to his works, Cornelis Floris is also an architect in the field of small architecture, and his famous tabernacle is more than 30 meters high in the church of Sts. Leonard in Leo (1550–1552) is remarkable for the strength of his lines. It should be noted that Florist uses grotesques and curls carefully.
Floris is supported by Hans Vredeman de Vries of Leyvardin (1527–1604), who performed numerous decorative works not only in Holland and Flanders, but also in the Braunschweig region, in Hamburg and in Danzig; in addition, he combined his cartouche projects (1555), grotesques (1563), caryatids, tombstones and furniture, engraved by famous Antwerp engravers of his time, such as Hieronymus Coc, Phillip Halle, and Peter de Iode, in several books; in 1577, he published the late Vitruvius theory of architecture, which was late for his time. He combined a brilliant fantasy with the full ability to own antique orders and modern styles of curls and shackles. But, as Galland says, "he never took seriously the ancient art and its construction rigor." Vredeman de Vries after Floris was the most influential representative of the isolated Dutch renaissance.
In Holland, at the same time, the architect and sculptor Cornelis Blomart (from 1525 to 1594 and later) from Bergeik, who settled in Utrecht, pursued a slightly different direction, manifested especially in Delft and in Dordrecht in the first half of the century. He had a special method to build, alternating stripes of brick and rubble stone, and dismantling the facades with protruding arcades with niches in which, for example, the Gothic three-petal was used in the warehouse at Wiinstraat No. 70 in Dordrecht, attributed to him by Galland. arch. The real forms of the Renaissance are only in his most significant work, the cathedral department in Herzogenbusch (1570), still in a simple, noble form.
The Dutch character of gables, mostly stepped or straight, less often rounded Flemish, is determined more and more by brick construction with layers of rubble, often crossing pilasters in the form of horizontal stripes. Speakers semi-columns or pilasters are often limited to the upper floor or even the gable, and sometimes completely eliminated, so that forms of Renaissance or Baroque are outlined only in the door and window platbands and in the main gables. Within this style, some buildings, adjacent to the earlier-classical Utrecht direction, reveal a peculiar, full of strength style in connection with the picturesque and richly decorated facades: such is, for example, the Sint Jans hotel in Horn; although devoid of any orders of columns, it has, however, a classic flat triangular pediment above the windows and a stepped main pediment, the ledges of which are filled with seated figures; Such is the magnificent building of the cheese office in 1582 in Alkmar with a lower floor in rustic, punched by semi-circular arches, and a second Tuscan sandstone strip crossing its pilasters lying under the two upper Corinthian and Ionic floors. Such is the beautiful, powerful Hague Town Hall, with its lodge on the roof instead of the ridge, with its strong second floor, dissected by striped pilasters, and a simple rubble of the lower floor with gabled windows and a rich semicircular portal, positioned to the side of the facade axis with a slender corner tower.
A number of north Dutch buildings represent attempts to extract colorful beauty from matching bricks with rubble stone inserts. Sometimes colored watering replaces stone. Some houses in Monnickendam and Edam have patterns of green glaze on a red background and red on a yellow one. On one house in Delft there is a frieze of 1585 with patterns of yellow, white and red.
Buildings of brick and rubble are then developed into the national-Dutch style, which reached its highest point in magnificent meat rows in Gaarlem in 1602. The interconnected buildings leading to them are the town halls in Oudevatere (1580), in Franeker (1591), in Venloo (1598) and even a building in Leiden (1597), the earliest work of Liven de Key, the author of the best Gaarlem building. The final separation of Dutch and Flemish art was completed in architecture in works of this kind.
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