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See also:RENAISSANCE See also:ARCHITECTURE IN See also:BELGIUM AND See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
HOLLAND
The See also:Gothic development in the 15th See also:century in Belgium, as evidenced in her magnificent See also:town halls and other public buildings, not only supplied her requirements in the century following, but hindered the introduction of the Classic Revival, so that it is not till the second See also:half of the 16th century that we find in the town See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall of See also:Antwerp a See also:building which is perhaps more See also:Italian in See also:design than any See also:work in See also:Germany. There are, how-ever, a few instances of earlier Renaissance, such as the Salm See also:Inn (1534) at See also:Malines; the magnificent See also:chimneypiece, by See also:Conrad See also:van Noremberger of See also:Namur, in the See also:council chamber of the palais de See also:justice at See also:Bruges (1529); and the palais de justice of See also:Liege (1533), formerly the See also:bishop's See also:palace, in the See also:court of which are features suggesting a See also:Spanish See also:influence. The influence of the cinque-See also:cento See also:style of See also:Italy may be noticed in the See also:tomb of the See also:count de Borgnival (1533) in the See also:cathedral of See also:Breda, and in the See also:choir stalls of the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church at Enkhuisen on the See also:borders of the Zuyder Zee, both in Holland, and in the choir stalls of the cathedral of See also:Ypres in Belgium; the See also:carving of these bears so See also:close a resemblance to cinque-cento work in design and See also:execution that one might conclude they were the work of Italian artists, but their authors are known to have been Flemish, who must, however, have studied in Italy. Again, in the stained-See also:glass windows of the church of St Jacques at Liege, the details are all cinque-cento, with circular See also:arches on columns, festoons of leaves and other See also:ornament, all apparently derived from Italian See also:sources, but necessarily executed by Flemish painters, as stained-glass windows of that type are not often found in Italian churches.
Of public buildings in Belgium, the most noted example is that of the town hall at Antwerp, designed by See also:Cornelius de See also:Vriendt (1564). It has a frontage of over 300 ft. facing the Grande See also:Place, and is an imposing structure in four storeys, arcaded on the See also:lower See also:storey and the classic orders above, with mullioned windows between on the
three other storeys, the uppermost storey being an open loggia, which gives that See also:depth of See also:shadow obtained in Italy by a projecting See also:cornice. It is almost the only building in Belgium without the usual gable, the centre See also:block being carried up above the See also:eaves and terminated with an See also:entablature supporting at each end a huge See also:obelisk, and in the centre what looks like the See also:miniature See also:representation of a church. The only other classic building is the Renaissance portion of the town hall at See also:Ghent, which is very inferior to the older Gothic portion.
What is wanting in the town halls, however, is amply replaced by the magnificence of the houses built for the various See also:gilds, as for instance those of the Fishmongers at Malines (158o), of the Brewers, the Archers, the Tanners and the See also:Cordeliers (rope-makers) at Antwerp, and, in the Grande Place at See also:Brussels, the gilds of the Butchers, the Archers, the Skippers (the gable end of which represents the stern of a See also:vessel with four cannons protruding), the Carpenters and others. Besides these, and especially in Antwerp, are to be found a very large See also:series of warehouses, which in the richness of their decoration and their monumental See also:appearance See also:vie with the gilds in the See also:evolution of a distinct style of Renaissance architecture—a type from which the architect of the See also:present See also:day might derive more See also:inspiration than from the modest See also:brick houses of See also:Queen See also:Anne's See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time.
In domestic architecture, the best-preserved example of the 16th and 17th centuries is the Musee See also:Plantin at Antwerp, the earliest portion of which See also:dates from 1535. This was bought by Ch. Plantin, who was employed by See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip of See also:Spain to See also:print all the breviaries and missals for Spain and the See also:Netherlands; the See also:fortune thus acquired enabled him and his successors to See also:purchase from time to time adjoining properties which they rebuilt in the style of the earlier buildings. After 1637 the buildings followed the style of the See also:period, but up to that date they were all erected in brick with See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone courses and window dressings See also:round a central court. Internally the whole of the See also:ancient fittings are retained, including those of the old See also:shop, the show-rooms, reception rooms and the residential portion of the See also:house, with the wainscotting and Spanish See also:leather on the walls above, panelled ceilings, See also:chimney-pieces, stained glass, &c., the most See also:complete representation of the domestic style of Belgium.
Of ecclesiastical architecture in the Renaissance style there are scarcely any examples See also:worth noting. The tows of the church of St See also:Charles See also:Borromeo at Antwerp (1595–1610) is a See also:fine See also:composition similar in many respects to See also:Wren's steeples, and the See also:nave of St Anne's church at Bruges is of See also:simple design and See also:good proportion. The Belgian churches are noted for their immense pulpits, sometimes in See also:marble and of a somewhat degraded style. The finest features in them are the magnificent See also:rood-screens, in which the tradition of the Gothic examples already quoted seems to have been handed down. In the cathedral at See also:Tournai is a fine specimen by Cornelius de Vriendt of Antwerp (1572), and there is a second at See also:Nieuport, both similar in design to the example from Bois-le-Duc now in the See also:Victoria and See also:Albert Museum; and in the church of St Leonard at Lean is a See also:tabernacle in stone, over 50 ft. high, in seven stages, with numerous figures by Cornelius de Vriendt (1550).
In Holland, nearly all the See also:principal buildings of the Renaissance date from the time of her greatest prosperity when the Dutch threw off their See also:allegiance to the Spanish See also:throne (1565). With the exception of the palace at See also:Amsterdam (1648-1655), an immense structure in stone with no architectural pretensions, there are no buildings in Holland in which the influence of the purer style of the Italian revival can be traced. Internally the See also:great hall of the palace and the See also:staircase in the See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XIV. style are fine examples of that period.
The earliest Renaissance town hall is that of the See also:Hague (1564), situated at the See also:angle of two streets, which is an extremely picturesque building, in fact one of the few in which the architect has known how to See also:group the principal features of his design. The Renaissance addition made to the old town hall of See also:Haarlem is a characteristic example of the Dutch style. The walls are in red brick, the decorative portions, consisting of superimposed pilasters with mullioned and transomed windows, cornices and gable end, all being in stone. Inside this portion of the town hall, which is now a See also:gallery and museum, is an ancient hall (not often shown to visitors) in which all the decorations and fittings date from the 17th century. There is a second example of an ancient hall in the Stadthuis at See also:Kampen, one of the dead cities of the Zuyder Zee, which served originally as a court of justice, and retains all its fittings of the 16th century, including a magnificent chimneypiece in stone, some 25 ft. high and dated 1543.
The town hall at See also:Bolsward in See also:Friesland is another typical specimen of Dutch architecture, in which the red brick, alternating with stone courses See also:running through the semi-detached columns which decorate the See also:main front, has given variety to the usual treatment of such features. The See also:external See also:double See also:flight of steps with elaborate See also:balustrade, and the See also:twisted columns which See also:Rank the principal See also:doorway, are extremely picturesque, if not quite in accordance with the principles of See also:Palladio or Vignola.
A similar flight of steps with balustrade forms the approach to the entrance doorway (on the first See also:floor) of the town hall at See also:Leiden, where the See also:rich decoration of the centre block and its lofty gable is emphasized by contrast with the See also:plain design of the See also:chief front.
In the three chief cities in Holland, the Hague, Amsterdam and See also:Rotterdam, there are few buildings remaining of 17th-century work,so that they must be sought in the See also:south at See also:Dordrecht and See also:Delft, or in the See also:north at Leiden, Haarlem, See also:Alkmaar, See also:Hoorn, Enkhuisen, or, See also:crossing the Zuyder Zee into Friesland, in See also:Leeuwarden, Bolsward, Kampen and See also:Zwolle, the dead cities. In all these towns ancient buildings have been preserved, there being no resaon to pull them down. Of the entrance gateways at Hoorn there is an example See also:left, of which the lower portion might be taken for a See also:Roman triumphal See also:arch, so closely does it adhere to the design of those monuments, extending even to a See also:long Latin inscription in the See also:frieze. The See also:tower (1531–1652), built to protect the entrance to the See also:harbour, has no gateway. There are some old buildings in Kampen, in one of which the entrance gateway is a simple and fine composition in brick and stone, the chief characteristics of the gateways here being the enormously high See also:roofs of the circular towers flanking them. A finer and more picturesque grouping of roofs exists in the entrance gateway (Amsterdam See also:Gate) at Haarlem, which is perhaps, however, eclipsed by those of the Waaghuis at Amsterdam with its seven conical roofs.
The Waaghuisen, or weighing-houses for cheeses, are, next to the town halls, the most important buildings in Holland, and in fact vie with them in richness of design. The example at Alkmaar possesses not only an imposing front with gable in three storeys, but a lofty tower with See also:belfry. At See also:Deventer the main building is See also:late Gothic (1528), in brick and stone, with an external double flight of steps and balustrades added in 1643.
The Fleesch See also:Halle (See also:meat-See also:market) at Haarlem, also in brick and stone, is of a very See also:rococo style, but notwithstanding all its vagaries presents a most picturesque appearance.
The domestic architecture of Holland and the shop fronts retain more of their See also:original dispositions than will be found in any other See also:country. At Hoorn, Enkhuisen and other towns, there has virtually been no See also:change during the last 200 years. In the more flourishing towns as Amsterdam and Rotterdam, the increasing prosperity of the inhabitants led then in the latter portion of the 17th and in the 18th centuries to adapt features borrowed from the See also:French work of Louis XIV. and Louis XV., without, however, their refinement, luxuriance or variety, so that although substantial structures they are extremely monotonous in See also:general effect. (R. P.
End of Article: RENAISSANCE ARCHITECTURE IN BELGIUM AND
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