TheJ.Prul Getty Museum Journal Volume11 /1983 For Loekie,Ditke, and Baruch 197

Jur van der Heyden and the Huydecopers of Maarsseveen

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the Getty Mu- From the 1620's on, Joan Huydecoper I was aware of Jan van der Heyden's country scene in to Maarsseveen:architecture to seum is not as unassuming as it looks (fig. 1).1The small what art could contribute to advertise it, and poetry to im- riverside inn where gentlemen pass the time of day while beautify it, mapmaking patronage he wielded in Amster- maidservants scrub the wash in a canal is not simply a pret- mortalize it. He used the and publishers to work for him ty view on the River. The inn displays the sign of the dam to put artists, scholars, less vigorous figure than his black pig, the arms of Maarsseveen,and it was there that in Maarsseveen. Joan Il, a the artists of Amster' the local sheriff, aldermen, and secretary met to dispense father, had clients of his own among (1637-l7 lZ). justice, law, and administration in the name of the lord of dam. One of them was Jan van der Heyden Heyden painted fourteen Maarsseveenand Neerdijk. When van der Heyden painted Between 1666 and 7674, van der (No other Dutch his panel in the latter half of the 1660's,the lordship was views in Maarssen and Maarsseveen. century is know to have worked occupied by the second Joan Huydecoper (1625-1704)' painter of the seventeenth protection to van whose father had acquired the title in 1641 and the land there at all.) In return, Joan ll bestowed public career, on which the inn stood in 1649. der Heyden in in the artist's his art, as head of the The Huydecopers were a powerful Amsterdam family' which was much more lucrative than terms firefighting and street lighting services in Amsterdam. Joan Huydecoper father and son served nineteen cultivated the between them as burgomaster of Amsterdam, from 1651to Huydecoper and van der Heyden both as well as the city fathers of Amsterdam' 1693. lt was thanks to Joan the elder's political influence in House of Orange more sucessful,and in the the city that he was able to get and keep the lordship of At this, the artist was apparently was toppled from power, he Maarsseveen, which in turn lent him added distinction early 1690's,when Huydecoper with van der Heyden in among the burgher fathers of Amsterdam. Both Huyde' seemsto have used his relationship the stadholder. copers worked hard to turn Maarsseveen from a backward a vain attempt to regain the íavor of to reconstruct the un- farming area into a sophisticated country paradise for the This article is a first attempt two famous Amster- Amsterdam elite, especially the members of their widely mapped paths of patronage linking years. No documents extended family. The place was important to them for damers over a period of twenty-five have yet been found. The status and profits-but also for the pleasure it added to concerning their relationship prints, and suggestive coin- their lives. The Huydecopers'own estateof Goudestein on known clues are paintings, laid down here the Vecht became a Dutch byword for gracious country cidences.lt is hoped that the broad lines living. can later be corrected and filled in.

leít center); V Helde (V and Vith thanks to Burton Fredericksen of the Getty Museum, who, the upper wooden beam of the embankment, is from B. Fredericksen's entry on the following a visit to Maarssen in 1979, sent me a photograph oíthe paint- H in monogram). This information of the catalogue of paintings in the Getty ing in figure 1, asking me to see if anything could be discovered about it' I painting íor a new edition am also indebted for indispensable help to D. Dekker' president of the Museum. and Maarsseveen, see below, note ó2. The Historische Kring of Maarssen' who identified the site depicted in the For other views oíMaarssen three times: by Smith painting, to Vallie Smits, and to the staff oí the Rijksarchief ' works ofJan van der Heyden have been catalogued (see Groot (see notes 7 and B) and Helga E.A.J. van der Wal was extremely generous in sharing with me his un' text at note 9), Hoístede de Amsterdam-Haar)em, 197 l. In equalled knowledge of Maarsseveen under the Huydecopers' Wagner, )an van der Heyden, 1637-1712, we will refer to van der Heyden's paintings by their The manuscript of this article beneíited from corrections by him and the rest of the article numbers, although Hofstede de Groot should always be con- by K. Fremantle. I would also like to thank Derk Snoep for his help, and Wagner Vries for allowing me to read the manuscript of his forthcom- sulted in addition. Lyckle de 'Wagner's dating of the Getty painting to about 1668 (p. 6i) is accep- ing book on Jan van der HeYden. tabie, and íits in with the conclusions of this article' 1. Accession no.78.PB.200. Oil on panel,46.5 x 60'5 cm' Signed (on 198 Schwartz

Figure 1. Jan van der Heyden, The Inn of thz Black Pig ('t Zwarte Varken) or The Arms of Maarsseveen('t'Wapen van Maarseueen). Malibu, The J. Paul Getty Museum 78.P8.200.

PROVENANCE Heyden has ever been recorded, and since the quality of In the inventoryof Jan van der Heyden'swidow Sarater the existing painting, with its handsome staffage figures, Hiel, who died in 1712,days after her husband,the fol- justifies the high valuation, there is no reason to doubt lowing painting is listed among the goodsto be left to her that the painting in the Getty is the one that belonged to son Samuel: "8. de Vegt met de Herberg vant Swarte the painter's wife and their son Samuel.3 The painting re- Varke. . . 80" (No. 8. The Vecht with the lnn of the mained in the family for at least twenty-five, and possibly Black Pig. [Value] 80 guilders).2The title incontestably seventy, more years. \íhen Samuel died in 1729, he left all describesthe subjectof the Getty painting, as we shall see. his belongings to his sister Sara; and in the inventory of her Since no other representationof the subject by van der goods, made after her death in 1738, the painting is still

2. A. Bredius, "De nalatenschap van Jan van der Heyden's weduwe," in the inventory are appraised higher than 80 guilders. (1912), Oud-HolIand 30 pp. 129-51, p. 135. The inventory was drawn up 4. l.H. van Eeghen, "De nakomelingen van Jan van der Heyden," on May 18. 1712. MaandblaÀ Amstelod.amrtm60 (1971), pp. 128-34. In an appendix to her 3. The staííage figures have been ascribed since 1812 to Adriaen van de article, on p. 134, van Eeghen identifies the paintings in the inventory oí Velde (1616-72) without anyone ever having cast doubt on the attribu- Sara's goods (September 74,1738) that were in her mother's estate. No. 9 tion. Only nine of the sixty-one evaluated paintings by van der Heyden Jan onn der Helden and the Huydecopersof Maarssgrcen 199

Figure2. The site of íigure 1 in 19B3:the junction of the Zandpad and Machinekade,Maarssen. Photo J.J.van Dijk.

listed under the same title. The forty-sevenpaintings in the purchasefor Louis XVI of the van der Heyden view of the estate,most of them by Jan van der Heyden, wereeval- the Dam now in the Louvre. ln Francethe transacrronwas uated by the painter Jan Maurits Quinkhard, who earned retailed as a legend: a wealthy descendantof the painter his fee easilyby parroting the descriptionsand valuations who had no intention oí parting with his ancesror's in the l7l2 inventory. Sara'spossessions were divided by suprememasterpiece was tricked on the floor of the ex- lot between her late brother Jan's daughters and their change into selling at the kingly price of six thousand husbands,Jan Brants and Minister JohannesDeknatel.a guilders.As Miss van Eeghenhas shown, the Dutch rec- The next known owner of the painting was the French ords tells a different versíon of the story. Through a expert, dealer,and collectorAlexandre Paillet,after whose perfectly normal sale,brokered by Jan de Bosch Jerz.,Jan death it wasauctioned in 1814.5During a long careerthat Jacob Brants unloaded for an incredible six thousand flourished under ancien régime,republic, consulate,and guildersan Amsterdam view by his wife'sgrandfather that empire,Paillet made his most famouscoup in 1783with the broker'sbrother later called a run-of-the-milloiece.ó

Each of the six issuesoí Maandblad Amstelodamumfor 1973contains an by Joh. C. Br eenín Jaarboek Amstelodamum I I ( 19 13), pp. 79-92, 91- 108, article by van Eeghenon Jan van der Heyden. The new archival informa- and 109-118. tion in thosearticles forms an indispensablesupplement to that published 5- Cataloguedes tableaux de f eu Alex.P aíIlet, par Ch. Paillet,fils, June 2, oí the 1738 inventory is identical to no. 8 in Samuel'sshare of the 1814, lot 8. F, Lugt, Répertoíredes cataloguesd.e ventes publíques, vol. l, mother's estate. ,1938, no. 8531. 200 Schwartz

'\ile know that Pailletsold another van der Heyden view in mitted it in thar year to the Jan van der Heyden com- 1799and tradedseveral others in the early 1800's,in addi- memorativeexhibition in Amsterdam.rt tion to the one that he kept.7 It seemsreasonable to According to a note on the copy of the Sotheby auction catalogue of. 1959 assumethat JanJacob Brants, the son ofJan Brantsand a June 24, at the Rijksbureau voor Saravan der Heyden ofthe third generation,had found an KunsthistorischeDocumentatie, it was Doodeheefverwho attractive market in Francefor parts of his inheritanceand anonymouslysubmitted the painting to that sale,where ir that the Getty painting was one of the works to go that was bought for Mr. Getty by Eric Estorickfor !7,800.12 route. At the Pailletsale, the panelwas knocked down to a col- THE SITE leagueof Paillet's,A.J.E. Lerouge (1766-183j),tor 672 To verify the accuracy of the title, The Vecht wíth the francs.s Lerouge, who already owned van der Heyden's Inn of the Black Píg, all one need do is follow the old Víew of Coudesteinnow in Apsley House, of which Paillet towpath downstream from Maarssenfor about a mile to was the former owner, sold that work, but not the Zwarte whereit joins the DiependaalseDijk. At that poinr a small Varken, in an auction in 1818after the death of his wife canal with a simple lock emptiesinto the Vecht from the (Lugt 8797).The painting may well have remained in his polder to the east. \íith a photograph of the painting in hands until he died in 1833.In any case,it was in France hand, one can easily identiíy the spot where Jan van der (fig. for that long. ln 1842John Smith includedit in the sup- Heyden made his view 2). Not much has changed plement to his Catalogt4eraisonné, saying that it had been sincethen. The lock hasbeen replaced with a new one ar a brought to by the London art dealerChaplin,e slight angle to the road above, and the house has been Since Smith and Chaplin did businesstogether, we may rebuilt on the samefoundations. The classicalsrone gate assume that the information was accurate. This adds behind the left genrleman'shand, which once marked the significanceto the fact that Smith did not know of the entranceto the grounds of Otterspoor or Gansenhoef, no painting when he published his van der Heyden catalogue longer exists (compare fig. 7). Ar presenr an eighteenth- in i834. It must have beenbetween 1834 and 1842,then, century gate is the only relic of Otterspoor. The house in that the painting entered the English art trade. the background of the photograph was built later than Having been able to construct a likely provenance for 1670. the painting, unbroken at that, from its creation down to "De Vegt": The Vecht River, the northernmost arm of the birth of modern art history, we might expect to have the Rhine, flowed-when the locks ar its source and arrived on safeground and be able to fill in the rest of the mouth allowed-from Utrecht to the former Zuidet Zee at ownerships from the published literature. Unfortunately, . Van der Heyden'sview cuts acrossa bend in the this is not the case.\le losesight of the painting complete- river at a point where the northern bank is firm and built ly until 1928,when it was sold at auction in Brussels,as up, and the southern so marshy that it could not, and still the property of Monsieur F., to the Amsterdam art dealer cannot, be farmed. If the scenecould be set in motion, the NicolaasBeets.10 In 1935it wasexhibited as his propertyin barge under the inn sign would go off to the right, then Brusselsin Clnq sièclesd'art: expositionuniuerselle et interna- come back into sight in front of the stone gate heading tionalede Bruxelles,no. 735. By 1937it had changedhands left, and disappear behind the grass shrubs above the once more; the Hilversum firm of H.P. Doodeheefversub- projecting beam with the artist's signarure: VHeyde. The

ó. Seevan Eeghen,op. cir. (note 4), p. 131,in combinationwith exhib. 1804for 3620francs and sold(by himl) in 1811 for 4200;this is the view cat. Le síèclede Rembrandt: tableaux hollandais des col\ectíonsplablíques of Goudestein in Apsley House which will be discussedbelow) and 160 fransaíses,Paris (Petit Palais), 1970-71, pp. 98-99, no. 105 (acques (sold by Paillet and his Dutch partner Coclers in 181I íor 8000 francs; a Foucart). The story was published by Filhol in his Galerie du Musée church exterior now in the \?allace Collection). The French dealer had NapoLéon,vol. 6, Paris, 1809,livraison 61, pl. 5. Paillet'sletter reporting been working with his Dutch colleaguefor at leasta decadeby then. On the purchaseto his principal, the French minister comte d'Angivillier, is August 27, 1801(9 fructidor an lX) therewas a salein Paris"de tableaux self-congratulatorybut not spectacular,and lacksthe detailsin Filhol. précieux des écolesflamande, hollandaiseet allemande apportés de Ia SeeF. Engerand, Inventairedes tableaux commandés et aclrctéspar Ladirec- Flandreet de Ia Hollandepar lescitoyens Paillet et Coclers"(Lugt 6305; tíondes batíments du roí(1709-1792), Paris, 1901 , p. 564. On another visit cf. exhib. cat. Le sièclede Rembrandt,cited in note 6, p.231, no. 224). to in 1785,Paillet paid the sameprice for Terborch's Soldíerand 8. The price is mentioned by Hofstede de Groot in his entry on the girl, which had belonged to that artist'sdescendants until then (íbíd.,p, Getty painting, under no.319. Lerougeis identified as the buyer in the s88). annotated copy of the catalogue in the Rijksbureau voor Kunsthis- 7. C. Hofstede de Croor, A catalogreraísonné of the worksof the most torische Documentatie in The Hague. The iníormation on Lerouge is eminent DtLtch paínters of the sevenceenthcenrrrry, vol. 8, London, 1927 from F. Lugt, Lesmarques de co|tections,vol. 1, Amsterdam, 1921 , p. 308, (reprintTeaneck and Cambridge1976), nos, 65 (anunidentifiable view in under no. 1706,Remy, and from the Lerougesales catalogue. Gouda sold by Pailletin l?99 for 1650francs),69 (bought by Pailletin 9. John Smith, SuppLement(vol. 9) ro the cotaLogu.eraisonnë of the works Jan qtander Heydenand the Huldecopersof Maarsseueen 201

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Figure3. JacobBosch, city surveyorof Amsterdam, Map of the site in figure 1, basedon measurementstaken rn 1662,1675, and 1681. Ca. 29 x 41 cm. RijksarchiefUtrecht, Huydecoper archive, Steur no. 1941. gate, thus, is on the near, not the far side of the river. sent the Amsterdam city surveyorJacob Bosch to Maarsse- Thanks to a small disputeover dividing linesand to Joan veen to map out parts of his holdings there. The ground- Huydecoper'sthoroughness, we have a groundplan of the plan in fig. 3, drawn by Boschprobably on the last of these site from the very yearsin which the painting was made. visits, incorporatesthe resultsof all three surveys.r3 On three occasions,tn 1667,1675, and 1681,Huydecoper The painter's viewpoint is near the squaremarked C in

of the most emínent Dutch, Flemishand French painaerc,London, 1842, p. 13. RijksarchiefUtrecht (officeof the state archivesfor Utrecht prov- 674, no. 19: "The Half-way House." The compositionis describedas if in ince; henceforth RAU), Huydecoper archive, Steur no. 1941. Approx. reverse. 79.5 x4I cm. The papers of the Huydecoper family, which produced 10. Brussels (Galerie Georges Peti$, May 21-ZZ, 1928, lot 25: noteworthy individuals from the sixteenth to the present century, were "L'auberge au bord du canal." recoveredin Goudestein,the family home in Maarssen,in 1945by Henri 11. Exhib. cat. I an van der Helden: beschrijuíngvan de tentoonstellíngin A. Ett. The voluminous but incompletearchive was brought to the state het Amsterd.amschHÍsrorisch Museum, Amsterdam (Sint Anthoniswaag), archives in Utrecht, the provincial capital, above the protests of the 1937,commemorating the painter'sbirth on March 5, 1637'Under no. B Amsterdam municipal archives.There it was felt that, the Huydecopers is "Het Rechthuis te Maarssen"- the Maarssencourthouse. being an Amsterdam family, the papersbelonged in that city. 12. Sale London (Sotheby's),24lune 1959,lot 82: "The Toll House at The presentinventory ofthe Huydecoperarchive by J. Steur, with over Maarssen."The title, description,and provenancein the salecatalogue two thousand entries, is being replaced with an improved version by are all inaccurate.The London newspaperspublished long articleson the Menno Polak. Unfortunately, work has come to a halt for the moment, sale,at which Rubens' Adorationof the Magí írom the WestminsterCol- with the inventory and the renumbering midway, so that some dossiers lection establisheda world auction record of Í275,000. Mr. Getty at- have Steur numbers and some provisional Polak numbers. As a result, tended the salewith Estorickrthev bid on the Rubensas well but did not the material is not as accessibleas it misht be.

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the lower right center, identified in the legend as "part of - ''ti{il!1,sï,.' the small house standing on the lane: four-tenths of a .'}":f:":':"'::''' rod." The houseseems to have been occupiedby a Huyde- coper servant named Peter(van) Roosendael,who perhaps operated the lock.raThe unimproved plots A and B had been sold by Huydecoperto Evert Pieterseand "Nephew" Schaap,whom he sometimescalled "Secretary" Schaap- no doubt the town secretaryof Amsterdam, Dirk Schaap, whosemother was a Huydecoper.Van der Heyden'spaint- ing shows the view that Pieterseor Schaap would enjoy from his front window if he were to build a house on his land. "De Herbergvant SwarteVarke": The Inn of the Black Pig. It may be a bit rubbed by now, but the flag in the Figure3a. Hendrik Spilman, 't Zwarte Varken. Pen and painting certainly shows the black pig of the arms of wash drawing, i1.5 x 17.7cm. Mid-eighteenth Maarsseveen.In fact, thosewere two ways of sayingthe centuÍy. Amersíoort, Flehite Museum, Atlas samething, and the inn wascalled 't Wapenvan Maarsse- Coenen van 's Gravesloot, no. 14,139-1(pre- veen as often as 't Zwarte Varken. Maarsseveen-more sentlyin careof the RijksarchiefUtrecht). Photo properly Oud- and Nieuw-Maarsseveen-wasadministra- RijksarchiefUtrecht. tively distinct from the neighboring village of Maarssen but completelydependent on it for all services.The Zwarte had been rounded out near the bridge. Spilman's point of Varken was in Nieuw-Maarsseveen,over which the view was in the lower right of fig. 3, near the inscription Huydecopersheld jurisdiction.) het sant padt. Bosch shows the building in an unpretentious perspec- To see the site in a larger context, we can turn to a map tive sketch that departsin a number of featuresfrom the of 1660 entitled "A small section of the seignory of housein the painting:the door is in the end, on the road, Maarsseveen," drawn by Jacob Bosch and published by the flagstaff projects írom the rooÍbeam rather than the Jacob Colom for Joan Huydecoper I (fig. 4).15The inn does eaves,and neither of the two chimneysis built into the not appear on the map, but the spot where it was soon to gable.Van der Heyden'sversion has an air of greaterau- rise is conveniently pointed out by the compass rose. thority, but the artist was able to do that even for his im- Foilowing the direcrion of the arrow north across a small aginary architectural concoctions. He was famous for triangular patch of ground, one arrives at the juncture of painting his buildingsdown to the mortar betweenthe the towpath and the Diependaalse Dijk. The sharp point bricks and notorious for the libertieshe took in manipulat- of ground beyond the juncture is the site of the Twarte ing their larger features,including their geographicalloca- Varken. (navigable tion. These were habits in which JacobBosch did not in- The vaart canal) in the foreground of the dulge.Both depictions,however, agree on the basics:the painting runs northeast for a few hundred yards into the Zwart-eVarken had a ground floor and attic only and was polder, where it intersects another small canal, the Zog- not very large.ln later yearsit underwent a modestexpan- wetering. There is a difference in elevation between the sion. If an undated drawing by Hendrik Spilman two of about a meter, which has to be overcome if water (1721-84),made for a print by Hermanus Schouten(active from the wetering is to be drained off via the q.taartinto the 1745-75),is at all accurate,the inn had a story addedby Vecht by a pump or bucket chain of the kind usually pow- the middle of the eighteenthcentury (fig. 3a).1aaThe ered by a windmill. positionsof door and chimneyscome closer to Boschthan The Diependaalse Dijk (Deep-dale Dike) and Zogweter- to van der Heyden.By then, too, the bend in the Vecht ing (Drainage Canal; a more picturesque cognate would be

14. RAU, Huydecoper archive,provisional no. 375, transcript of a let- 14a. Spilman's wash drawing is in the Coenen van 's Gravesloot Atlas, ter of February2, 1673,"aenmijn knechtPeter v Rosend:,"with instruc- Flehite Museum, Amersfoort, presently in the care of the RijksarchieÍ tions concerning damageto the Zwarte Varken. In an appendix to the Utrecht, Topograíische Atlas, no. I4-139-l.lt measures 11.5 x 17.7 cm. testament of Joan Huydecoper ll and Sophia Coymans, dated April 9, ln the Topograíische Atlas are also two impressions of the print by 1693,there is an entry concerninga pieceofproperty "on Sluyswijkfarm, Schouten. The better of the two is numbered Muller 877-2. (leased)for eighteenguilders yearly," with the name PieterRoosendaal in 15. Coenen van's Gravesloot Atlas, no. l4-I35-Z (seenote 14a). This is the margin. This descriptioncould well apply to the housemarked C on one of three similar maps of the same area made in 1660. The best of JacobBosch's drawing. Jan van der Helden and theHuydecopers of Maarsseueen203

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Figure4. Unknown engraverafter Jacob Bosch, Map of 'A small section of the seignory of Maarsseveen,"dated 1660.19 x 22.5 cm. Publishedfor Joan HuydecoperI by Jacob Colom, Amsterdam. Amersfoort, FlehiteMuseum, Atlas Coenen van 's Gravesloot, no. 14-135-2(presently in care of the Rijksarchief Utrecht). Photo Rijksarchief Utrecht.

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Figure5. "Depiction of the seignoryof Maarsseveen,Neerdyck, and Diependal," dated 1651. 54 x 100.8cm. Publishedíor Joan HuydecoperI by JacobColom, Amsterdam. Rijks- archiefUtrecht, TopografischeAtlas, Muller 168-2.

them is known to me only in an impressionin the Laurensvan der Hem chieí, The Hague, for acquainting him with this valuable source. Atlas in the Nationalbibliothek,Vienna, vol. 17, no. 14,and in an un- The van der Hem map, which seems to have served as the model for the captioned photograph in the RAU, TopografischeAtlas, nr. l68-5. For other two, is inscribed Meester lacob Bos Ldntmeeter íecr. lulius Mulhuijsen the van der Hem Atlas,a BlaeuAtias grangerized with hundredsoísplen- schulp. tot Amsterdam 81 lacob Colom. The city surveyor came to Maarsse- did seventeenth-centurymaps, see Karl Ausserer,"Der 'Atlas Biaeu'der veen fairly frequently. The second version is our fig.4, and the third a Wiener National-Bibliothek," Beírage4n hisrorischenCeographie, Leipzig, smaller copy printed in a Description ol tlv by Jacob van 1929.The author is indebtedto KeesZandvliet of the AlgemeenRijksar- Meurs (see note 46). 204 Schwartz

"Suckwatering") are important features in the historical about Jan Jacobsz.'sidea. The timing was important, topography of Maarsseveen.The liver-shaped area be- though. ln 1609the Twelve Years Truce was concluded, tween the Vecht and the DiependaalseDijk is alluvial land and the Dutch could breathe freely after forty yearsof war with clayeysoil suitablefor houses,orchards, and gardens, with Spain. Renewedinterest in the countryside was one and has probably been inhabited, like the ground across of the socialmanifestations of the détente. On the Amstel the river, with the church and castleof Maarssen,since and in the new polderin the Beemster,clusters of country the end of the first millennium. The scarcityof hairlinesin homesarose.ls In 1611the country housewas praisedfor this part of the map meansthat the land couldbe kept dry the first time in Dutch poetry by Philibert van Borsselen, with a minimum of drainage trenches. (On the other and in the sameyear ClaesJansz. Visscher's series of prints hand, lying outsidethe dike, it would be flooded when the on the countrysideof Haarlem gave a new impetus to the Vecht overran its banks.) The frequencyof such lines in- depiction of the inhabited landscapein art.reThe location creasesin the section betweenthe DiependaalseDijk and of Jan Jacobsz.'shouses was also significant: on the main the Zogwetering,indicating that the land there was marsh- passengerbarge line from Amsterdam to Utrecht and ier and had to be reclaimedby digging parallel trenches nearly on the doorstep of that city. and raising the ground between them. The seriousrecla- Jan Jacobsz.had been in the city council of Amsterdam mation beginsat the Zogwetering.This fairly broad chan. from the very day in 1578 the Catholic government was nel servedto drain offwater from the polder on both sides. replacedby a Protestantone.20 In Maarsseveenhis son sur- Beyond the Zogwetering,as an earlier, larger, and more rounded himself with other men of the first hour, by sell- businesslikemap by Colom shows (fig. 5), the polder ex- ing them and their familiesland for buitenplaatsenof their tended for a considerabledistance into the fens east of own. By mid-centurythe Cromhouts,Valkeniers, Pauws, Maarssen.róPart of this polder too was drained into the Bakxes,Schaaps, and Ranstsall owned land in Maarsse- Vecht at the Zwarte Varken. The spot in Jan van der Hey- veen.\lith the Scotts,Servaeses, and van Vlooswijks join- den's painting is not just a pretty view from an unbuilt ing them, the landownersof Maarsseveencame to form a country home-it is also the mouth of Maarsseveenand, redoubtableenclave of Amsterdam regentsin the territory as we shall see.its administrativeheart as well. of the Utrecht patricians. Moreover, it was the focal point of a perennial battle The mingling of interestsso characteristicof the Dutch between the owners of the claygroundson the Vecht and regents aiso extended to family connections and land the fens in the hinterland. In the seventeenthcentury rhe holdings.The Huydecopersinrermarried with Coymanses, issue was aggravatedwhen the Amsterdam merchants Trips, Bickers, Reaels,Hinlopens, and other influential who owned the riverbanks were elevatedin status nearly Amsterdam families. Children born of such marriages to the rank of the Utrecht aristocratsin possessionof the would inherit land and positionfrom both sides,so that a polders. clan network of Huydecopersand Huydecoperin-laws with related interestscame into being. THE HUYDECOPERSOF MAARSSEVEEN Perhapssomewhat more than the averageAmsterdam In 1608,an Amsterdam merchant and city father named regent, Jan Jacobsz.had a knack for profiting from his Jan Jacobsz.Bal, alias Huydecoper(pelt buyer; 1541- position.In 1613,Amsterdam decided ro carry out its first 1624),beganbuying land in Maarsseveen.In that year he major extensionplan beyond the mediaevalmoat, and Jan acquired a farm on the Vecht: Goudehoef(Golden Farm), Jacobsz.managed at the lasr momenr to be appointed to soon to be renamedGoudestein (meaning the same).The the committee responsiblefor deciding exacrly where ro farmhouse was converted into a modest country place place the new walls, which enclosed pieces of his which Jan Jacobsz.left to his sonJoan (1599-1661).17The property,2l practice of building small "Sunday houses"on farms had When he died in 1624, he left a sizeablefortune and originated, among the Amsterdammerswho could afford largetracts of land in Amsterdam and Utrecht province to it, in the sixteenth century, so there was nothing original Joan.In the classicstyle of family sagas,Joan used the fam-

16. RAU, TopografischAtlas, Muller 168-2.Dr. Marijke Donkersloot- Vecht," introduction to E. Munnig Schmidt and A.J.A.M. Lisman, de Vrij, Topografíschekaarten van NederLanduóór 1750: handgetekendeen Plaatsenaan àe Vecht en Angstel,Aiphen aan den Rijn, 1982, pp.7-23. gedrukte kaarten, aanweTígin de Nederlandserijksarchteuen, Groningen, For a study oÍaspectsof the Dutch country house,seeJhr. Dr. H.\y.M. I981, p. 92, no. i20. van der \7ijck, De Nederlandsebuítenplaats: aspecten uan ontwil

ily fortune for the acquisitionof political power and social standing.In 1624he marriedMaria Coymans,the daugh- ter of BalthasarCoymans, a Flemishbanker. It is a com- monplace of Dutch sixteenth- and seventeenth-century history that the Hollanderswere boors and the Flemings sophisticates,and Coymanswas no exception.In 1625he demonstrated impressiveartistic insight by giving Jacob van Campen his first known commission,for the Coymans residence on the Keizersgracht. In 1628 another of Coymans's sons.in-law,the Fleming Pieter Belten, had van Campen build a small but striking housein Maarssen village-Huis ten Bosch (The House in the Woods), op- positethe immemorial castleHuis ter Meer (The Manor on the Pond-not every Huis is merely a house). Huis ten Boschwas a few minutesfrom Goudestein,and Joanmust have felt the prick of competition. At that very time, when the death of his father and mother-in-law had brought in large inheritances,Joan was engagedin an extensive restoration of Goudestein;but he was not ready for any- thing asradically classical as Huis ten Bosch.Still, he liked to think of Goudesteinas a country housein the grand tra- dition. ln 1627 he spent nine guilderson a book (one of his few) on The Horrsesof ltaly in Print, and he seemsto haveconsulted van Campenon the renovationof Goude- stein.2zBasically, however, he adoptedan old-fashioned solution. \Uith Dutch economy, he patched a new wing Figure6. BalthasarFlorisz. van Berckenrode,"Map oí the onto the front of the old farmhouse-asymmetrically at house of Goudesteyn, belonging to Mr. loan Huydekooper," dated 1629. Pen that-and applied smatteringsof classicalforms here and and wash on vellum, 66 x 54 cm. Rijksarchief Utrechr, there. (For one of van der Heyden's depictions of the Topografische Atlas, van der Muelen archive, house, later in the century, see figs. 8-10.) Yet Joan no. 66. achievedthe successhe desired.Goudestein was the first true buitenplaars(country estate) on the Vecht, and it becamea symbol for a graciousstyle of life. stamp in Rome, Holland, and, a century and a half larer, The map of Goudesteinthat Joanordered from the dis- America. tinguishedcartographer Balthasar Florisz. van Berckenrode This was soon to change. Joan Huydecoper began splir- (fig. 6; BalthasarFlorisz. had shortly before,in 1625,pro- ting up his properties into small plots which he would duced a splendid large map of Amsterdam which was re- either sell or rent undeveloped, or upon which he would printed ín 1647 by Jacob Colom) shows the situation of build a house for sale or rental. Most of rhe plots were 1629.23Goudestein was (excepting the present author's just large enough for a comfortable house with grounds. house, under the M of Maersen)still the only hofstede The farming function of the country esrate was largely (country seat) on the Vecht. The grounds behind the suppressed. house, to the Zogweteringand beyond, were still being In 1637,Philips Vingboons (who in 1639-42 built a town farmed. It was exactly the kind of simple, industrious house for Huydecoper on the Singel in Amsterdam) de- country place that appealedto Republicansof the old signed Elsenburg, the earliest classical buitenplaats in

London (British Museum), 1980, pp. 9-18. P.A.F. van Veen, De Iijkheid.van de stadsuitlegin de Republiek,1580-1680, Maarssen, 1978, pp. soetícheydtd.es buyten'Levens, vergheselschapt met de boucken:het hofdicht als 158, 448. tak van een georgíschelítteratuur, The Hague, 19ó0. 22. R. Meischke,"De vroegstewerken van Jacobvan Campen," 20. No íamily history of the Huydecopershas ever been written. The Bulletinvan de KoninklijkeNederlandse Oudheídkundige Bond 65 (1966), biographical information in this article is largely from J. Elias, De pp. 131-45,p. 136. vroedschapvan Amsterd.am,2vols., Haarlem, 1903-05. 21. RAU, Van derMuelen archive, no. 66. Donkersloot, op. ci.. (nore 21. Ed Taverne, In'Iand van belofte,in de nieue stadt:ídeaal en werke- 16\,p. 92,no. 3 1 9. 206 Schwartz

Aldu-* verthoonen de WooningLen, Hoffteden en Ghebou*ten. g'elcgen ae'de Nu..d,ooft ;r,,le va.,de

lI;*': * Yct ï't '*n#"-

/" i-J'l ::' 'r' . 1$.'r?&#*uàpxi*

FigureT. "The appearanceof the dwellings,íarmhouses, and buildings lying on the northeast bank of the Vecht, from Oudaen Manor via the seignoryoíMaarsseveen to Vechtestein."Anonymous etching,about 1650.Two plates,measuring 21.3 x51.2 (leít) and 21.3 x51 cm. (right). University Library, Bodel Nijenhuis Collection, portfolio 335*N 20.

Maarsseveen, bordering Goudestein on the south. Other was closely concernedwith the building of Jacob van piecesof farmland were turned into orchards and gardens' Campen'snew town hal1. and their former tenant farmers presumably driven back During the 1630'sand '40's,the Huydecoperinfluence into the polder. By 1651 four new buitenplaatsenhad been in Maarsseveentook on a political dimension as well, built in the area covered by the map of 1629. Huydecoper seeminglyby accident.Much of Utrecht province still himself seems to have had ambitions as an architect. A belonged to monasteriesthat had been taken over from drawing by him dated May 7, 1653, sketches a glorious the Catholic church in the Reformation.The chapterswere country house-probably a revised Elsenburg-surround- kept alive, with all their holdings,as commercialenter- ed by a moat, with a cupola crowned by the Huydecoper prisesbehind an institutional fagade.Members of the gen- emblem, a centaur shooting an arrow. ln the courtyard is try from all over the country vied for, and paid well for, this quotation from Cicero: Non dominus domo, sed domus the prebends attached to some of these ecclesiasticalof- domino honestandaest (It is not the house that should adorn fices.25One of the charms of this trade was that the its owner, but the owner the house).2a These were chaptersstill controlledentire jurisdictions over which they Huydecoper's great days as a bouwheer (building patron), exercisedseigneurial rights. In 1637,Joan Huydecoper not just in Maarsseveenbut also in Amsterdam, where he bought from the Proosdijof St. jan in Utrecht the heer-

24. The drawing is among a sheaf by Pieter Post in the van Wassenaar 26. The story of Huydecoper'sinvestiture has neverbeen fully told. A van Catwijk archives in the Algemeen Rijksarchieí, The Hague. few detailsare to be found in l.H. van Eeeghen,"Wee het lant daer Meischke, op. ctr. (note 18), pp.9-12, with illustration. Van der Wijck, godtlose rechters sijn! Of Joan Huydecoper, heer van Tamen en op. cic. (note 18), pp. 15, 18, 19, with illustration. Huydecoper also Blockland," Motndblaà Amstelodamum6l (1976),pp. l1 12. The title oí worked with Post and with his relative Daniel Stalpaert. her articlequotes the inscriptionon JoanHuydecoper's file pertainingto 25. For a sketch of this uncharted area, see H.A. Hofman, Constantijn the affair: "\Woe the land with Godlessjudges." Hrilrgens (1596-1687): een cl,ristelíjk-l,umanistísch bourgeois'gentílhomme in The remarkshere are basedon oral informationírom E.A.J. van der dienst van het C)ranjehuís, Utrecht, 1983, pp. 57-o0. Huygens and his Wal, rvho is engagedon a study of the Huydecoperarchive. friend Jacques de Gheyn lll both held Utrecht prebends. Jan oLander Helden and tlrc Huldecopers of Maarsseueen 207

r r Hu-vs t oudaen langs ,le Heerlychevt van llacr{{eveen: tot o*l/,-" I

(seignory) Iíjkheid of Tamen and Blockland, ownership of dam by investing Huydecoper, between 164l and 1646, which brought with it the rights of lower nobility. The with the heerlijkheid oí Maarsseveen and Neerdijk, on spectacle of a wealthy commoner buying himself into the ground that had belonged to the States of Utrecht.26 On first estate infuriated the established nobility, who were August 13, 1641, the population of Maarsseveen turned losing ground fast all over rhe counrry. They were able to out to welcome its new lord and present him with a cup in have the sale invalidated as a violation of the acts of con- token of their loyalty. On that day the black pig of fiscation by which the Proosdryhad first acquired Tamen Maarsseveenbecame the central bearing on Huydecoper's and Blockland. arms, and "van Maarsseveen" was added to his name.2?At Now it was the turn of Huydecoper and his Amsterdam first Huydecoper was given only piecesof fen out back, but allies to be furious. As chance would have it, the proosrof b'y 1646 all of Nieuw-Maarsseveen was his domain, in- St. Jan was the count of Solms, brother of Amalia van cluding the lands he owned outright. From then on rhe Solms, consort of Stadholder Frederik Hendrik. Relations schorrt (sheriff), who named the schepenen (alderman) between Frederik Hendrik and Amsterdam were strained and secretary, was appointed by Huydecoper and was enough at the time, and Frederik Hendrik did nor wanr ro answerableto him alone. The Utrecht patricians conrinued aggravate things further. He managed to placate Amster- to harass the Huydecopers for half a century, but they

27. D.C. MeijerJr., "De AmsterdamscheSchutters-stukken in en 2, p. 1087.One seventeenth-centuryexpert on heraldry,the distin- buitenhet nieuweRijks.Museum, V" Od,HoIIand7 (1889),pp. 45-62, p. guishedhumanist Arnoldus Buchelius, was less charmed by thesedevel- 53. Meijer writes that the scene was depicted in an etching by H. Winter, opments.In hisjournal íor January 10, 1ó40, he wrote that pieter Belten but gives no further details. According to Dick Dekker, the only died in Utrecht while dining with Christiaen Petit and that hrs body was Maarsseveeners to pay fealty to Huydecoper that rvere ,,Sic day his tenants. removed to Maarssen "cum signis" (with heraldic distinctions). mer- As for the Huydecoper arms, Elias finds that they "provide the most in- catores nostri ludunt privilegiis nobilium" (This is how our merchants toy teresting insight to be had into the development oí burgher heraldry in with the privileges oí nobility). Mr. J.W.C. van Camperr, Notae qvoti- Amsterdam írom the end ofthe sixteenth century," op. cir. (note Z0), vol. clianae van Aernout van Buchell, Utrecht, 1940, p. l02. 208 Schwartz

could not dislodge the well-connected newcomers. ln who were horrified at the compromise that had been Amsterdam, Burgomaster Huydecoper floan served his worked out at their expense between The Hague and first term in 1651)may have had to be on guard against Amsterdam, pushed Huydecoperhard. He retaliated with chargesof conflict of interest.But on the Vecht, Joan a suit beforethe court of Utrechr, on August 28, 1649.The Huydecoper,heer van Maarsseveenen Neerdijk,was lord decisionwas in his favor.The improvementscame, but the of the manor. geèrfdenhad to pay for most of them.2e It was at this point thar Huydecoperbought Geesberge, THE MARKETING OF DUTCH COUNTRY LIFE which of coursealso benefitedfrom the new windmill and \íith the signing of the Treaty of Munster in 1648,the waterworks. ln the 1650'she divided it into five separare sealwas put on the independenceof the Dutch Republic. properties,which show on the 1660map completewith or- Ironically, the precedingeighty yearsof strugglewere also chardsand gardens.The Zwarte Varken, which went up at the yearsof greatestvigor and prosperityfor the Republic. the southern extermity of Geesbergeafter the estateshad Bv 1648a downward economictrend had setin that wasto been partitioned, was the only building pur up by bring about the end of the Golden Age. Huydecoper that can be considereda public facility.3oIt The Huydecopersheaded into the trough well enough was a public house where travelers and local residents paddedto be ableto hold onto Goudesteinuntil the twen- could refreshthemselves, but it was also the closestapprox- tieth century. But even they felt the pinch. The easygains imation in Maarsseveento a town hall. lt was here that, a in Maarsseveenhad been made in the 1630'sand '40's. few times a month, Huydecoper'sscholr dispensed civii About a mile of riverside frontage, from Elsenburg to justice in his name (criminal caseswere tried in Utrecht) Gansenhoeí had been bought and sold or rented, and his schepenenlaw, while his secretarydealt with ad- presumably at handsome profits. The reputation of ministrativematters.3 I Maarsseveenas a country paradisehad been established. The Geesbergeproperties, like the ren orhers that were But there was a lot more land to be developedbehind the parceled out and constructed in the former farmland of Vecht, and that was to prove more difficult. Goudestein,were more expensiveto developand maintain In 1649 Huydecoper bought Geesberge,a large estate than the riverside estates. They were less attractively north of Goudestein.zsThe moment was propitious. Dur- located and, given the bad times, probably harder to sell. ing the 1640'sthe Zogweteringdrainage system had been Huydecoperdid not feel that it was beneath hrm ro exert brought up to snuff. A double lock was built at the mouth the additionaleffort. Colom's mapsof Maarsseveen(1651 of the vaart, and a windmill was placed a bit inland to and 1660)were certainly made at his order, probably for pump larger quantities of water out of the weteríngand the purpose of attracting new buyers. The most openly uaart into the Vecht. Theseexpensive improvements were commercialof them is "A small section of the seignory of the focus of a bitter conflict betweenHuydecoper and the Maarsseveen,"in which the main topographical feature is Utrecht landowners who held most oí the polderland in the garden.32Perhaps from an earlier stage of the same Maarsseveenand Tienhoven. Huydecoper'sown proper- salescampaign is a remarkableprint entitled "The appear- ties were above the level of the Vecht, so he had nothing ance of the dwellings,farmhouses, and buildings lviirg on to gain from an investment in improved waterworks.The the northeastbank of the Vecht, from Oudaen Manor via polders, however, which lie one to three meters below the seignoryof Maarsseveento Vechtestein" (fig. 7).r, E*- Vecht level, were in bad need of better drainage, the cept for the telescopingof some of the intersticesbetween machinery for which had to stand on ground belongingto bu.itenplaatsen,especially in the upper register, the print Huydecoper. The geërfden(landowners) of Maarsseveen, is a strikingly faithful group portrait of the houseson rhe

28. Munnig Schmidt and Lisman, op. cit. (note 1B),p. 220. (RAU, Topografischeatlas, no. 169-2),dated 1780,indicates that the lord 29. This was only the start. One of the bulkiest folders in the of Maarsseveenturned the houseover to a certain C. Hoog in 1692,im- Huydecoperarchive, Steur no. 1727,wírh at leastforty documentsdating plying that it was his until then. Evidence aside, who else but írom 1648to 1684,is describedas "Documents pertaining to the conflicts Huydecoper would have put up a semi-officialbuilding in Maarsseveen? between the lord of Maarsseveenand the landowners of Maarsseveen 31, According to van der Val, the earliestreíerences to meetingsin't 'Wapen concerning the placing of the wind watermills and the draining of his van Maarsseveendate from shortly after 1660. estatessuch as Geesbergeand Calckhoven."The summaryaccount in 32. Until the lastquarter of the seventeenthcentury, according to van this article is basedon discussionswith E.A.J. van der \lal and notes by der Wijck, pleasuregardens, as opposedto kitchen gardens, were prac- \V. Smits. tically unknown in Dutch country houses. Op. cit- (note 18), p. 29. 30. There are no documents concerning Huydecoper'sownership oÍ Goudestein, he says, was one of rhe early exceptions. Even there, the Zwarte Varken. However, a largemanuscript map labeledas "Belong- however, most of the ground was reservedíor fruit trees and vegetable ing to the large map of lands and successiveowners in Maarsseveen" patches.The gentlemanÍarmers oí Holland were not the best customers Jan uan der Heydenand the Huydecopersof Maarsseueen 209

..,,._...,.,r,.,.l ;i..i." l:::,,t -

'sg {l 'flË IEgl** :,: [í Eff* lt t lE[t'ÍT . ":::,l \

Figure 8. Jan van der Heyden, Goudestein.Signed and dated 1674. Canvas, 53 x 69 .2 cm. London, Wellington Museum, Apsley House, no.1501.

Huydecoper side of the Vecht around i650. The Huyde- spot on the left side oí the second regisrer, across the lirrle coper interests extended from the middle of the upper bridge between Geesberge and De Calckoven (the lime register to the middle of the third one. Dominating this kiln), looking towards Gansenhoef and Orterspoor on the stretch oí the Vecht is of courseGoudestein, with its splen- right side of the upper register. did stand of high trees and sprawling houses. Architecture, cartography, and printmaking were not To place Jan van der Heyden's view once more, visually the only arts that Huydecoper employed to glamorize this time, and from a difíerent angle, it was taken from the Maarsseveen and himself, Poetry and painting also served

of the neighboring tenant farmers. colored and is cut and mounted on eight larger sheets, with more space For more information on the map itself, see above, note 15, and below, between the registers. at note 47. There are two Íeasons Íor suggesting that Huydecoper took the initia- 31. "Aldus verthoonen de Wooninghen, Hofísteden en Chebouwen, tive for having the print made: all the other topographical documents on gelegen aende Noord-oost zyde vande Vecht, van 'r Huys t'Oudaen this area through 1690-the maps oí 1629,1651,1660 and 1690-were (langs de Heerlycheyt van Maersseveen) tot aen Vechtesteyn." Only two made for him, and the unnecessary reference to the seignory oí Maarsse- impressions are known to me: one in the Bodel Nijenhuis Collection, veen in the title seems to point in his direction. Library, portfolio 335*, no.20, and another in the 34. Barlaeus's poem written in Goudestein on July 20, 1640, was pub, Laurens van der Hem atlas, Nationalbibliothek, Vienna, voi. 17, no. 12. lished in his collected poetry , Poemata. Edttio IV, altera plus parte dt4ctíor, The íormer, first published by van der Wijck on the end papers of his Amsterdam 1645-46, p. 342. book, cited in note 18, is mounted according to the apparent rntenrions Jan Vos dedicated his first play, Aran en Tínts, to Barlaeus on October oí the designer oí the ft>ur.plate etching. The one in VÍenna is hand- 27, t641. 210 Schwartz

their turn. For a housepoet, Huydecoperdid not have to ing the signingof the Treaty of Munster.Juxtaposing Joan look far. Perhaps through Caspar Barlaeus,the famous at the end of the Eighty Years \íar to his father at its humanist(and proíessorin the Amsterdamuniversity, an beginning,Vos establishedthe Huydecopersas an Amster- appointment made by the city), who himself wrote an ode dam legend by applying to them the old cliché "First in to Goudesteinin July 1640,Huydecoper came into contact war, first in peace,. . ."38 with Jan Vos (1615-67).3aVos was an uneducatedglazier From the 1640'son, Jan Vos circulated a number of who pridedhimself on knowing only Dutch and who com- poemson Goudestein,one of which deservesto be quoted bined in one person the enfanttenible and the sycophant. here sinceit was written as a caption to the 1660map. In a He burst upon the Amsterdamscene in 1641with Aranen seriesof verseson sixteenworks of art in Goudestein. from Tints, a tragic history basedin part on Shakespeare'sTitus the family arms in wax to a row of particularly bloody Androníansthat evoked some very shocked responses.In Biblical and classicalhistories by paintersidentified only later yearshe adaptedthemes that had alreadybeen dram- by their initials, there is a poem, "On the depiction of the atizedby Vondel and by JanZoet, who actuallysued him seignoryof Maarsseveen":"Behold the many housesand for plagiarism.35The first edition of the collectedworks of farms of Maarsseveen.Vere Netherland one city, this Jan Vos (1662)is dedicatedin its entirety to Joan Huyde- would still be her pleasure dome . . . ."re Prophetic coper, and contains no fewer than seventy-sixindividual words. In other poetic trifles,Vos sangof Goudestein'sar- poems on or for Jan Jacobsz.,Joan I, Joan II, Maria, tificial cave, fountain, menagerie,and a column formerly Leonora, Geertruid, Elizabet, Sophia, Constantia, and usedin Amsterdam for the branding of convicts and now JacobaHuydecoper, their housesin Amsterdam and Maars- supportinga sundialin a garden"where no one evengets seveen,their marriagesand deaths, their gifts from for- sunburned" (p. 460). eign dignitaries,and the attentionsthey bestowedupon Lesstrifling praisecame from Barlaeus,a0Vondel,al and the poet.36Jan Vos wasa better poet than one might think . The latter spenr three days in from the way he behaved,but no flattery was too lavish Goudestein ín 1656and thanked his host in three short, when it came to the Huydecopers.Vhen he was not call- flattering poems that he published two years later in the ing his patron a god ("They name you Maarsseveen,but first edition of his collected verse, Korenbloemen(pp. your doughty self and your incomparably beautiful wife 768-69).42ln the longest of the three, Huygens compares arebetter calledMars and Venus" is one of the leastblas- Maarsseveenfavorably to Voorburg, where his own famous phemous of the genre:z;,he was praising him as a mae- country house, Hofwijk, was built in 1641. He praises cenas,an appellationwhich has sincestuck. Vos himself "Maarsseveen'spalaces, neighborliness, pleasant air in all certainly benefitedfrom the favor of his patron, but large- kinds of weather, the purity of its river, and the generous ly at the expenseof the city Íather than of Huydecoper nature of its master," Goudestein had become a bucolic himself. From 1640to 1650,years in which Joan Huyde- legend. coper was councilorand at timesalderman and treasurer In 1659Huydecoper and Vos reachedthe climax of their of Amsterdam,Jan Vos advancedfrom humble glazierand public careerstogether. A public pageantdesigned by Vos self-taughtpoet to municipal glazier and director of the wound through the streetsof Amsterdam in honor of visit- town theater. ing membersof the House of Orange, who had been in- One of the most public of Vos's tributeswas a painted vited to the city by Huydecoper.Huygens, the Íntellectual poem on Govert Flinck's group portrait of Joan Huyde- servant of Orange, wrote a poem of "princely thanks" to coperat the headof the Amsterdamcivic guard celebrat- the burgomasters.43

35. The strong reactionsto Vos were not soon abated.The standard J8. On loan from the city of Amsterdam ro the Rijksmuseum, cat. nineteenth-centuryDutbh biographicaldictionary, van der Aa, calls 1976,p.278, inv. no. C 1. Aran enTítrts"the most misshapenmonstrosity ever to be spawnedby an In his provisional catalogueoí the pre-nineteenth-centurypaintings in overheatedimagination." A more generousopinion was voiced by Bal- the Amsterdams Historisch Museum, Amsterdam, I97511979,which in- thasar Huydecoper(1695-1778), the great-grandsonof Joan I and a cludesmore than one hundredgroup portraits, Albert Blankert remarks, distinguishedwriter and critic. For a modern edition of Vos's plays,with It is striking that in poem extensivehistorical and textual commentary, seeDr. W.J.C. Buitendijk, Vos's honor and attention are bestowed only on Huydecoper van Maarsseveenand on none oí the other lan Vos, toneelwerken,Assen, 1975. sitters.Equally curious is that in the central background one sees 36. AlIe de gedichtenntan den PoêetJan Vos, publíshed by Lescaille Jacob Huydecoper'sown houseon the Singel,built for him by Philips in tn 1662, year the death Amsterdam the after ofJoan I and beíoreJoan Vingboons in 1639, . . ln my opinion, this indicatesthat the ll came into his inheritance.The author's dedication is addressedto the painting was made in the first placefor Huydecoper and probably memory of Joan I and the publisher'sto Joan Il. entirelv at his expense. 37. Ibid., p. 354. Jan uan der Heydenand tlrc Huldecopersof Maarsseueen211

Joan Huydecoperalso manifested himself as a patron oÍ villagesand seignoriesin the Seeof Urrechr" contains a the arts by having his portrait paintednot only by Flinck dry listing of selectedridderhofsteden: knight's dwellings, but by CornelisJansen van Keulen,Bartholomeus van der ownershipof which entailedcerrain privileges and tax ex- Helst (twice; in one version with Goudestein in the emptions.Special emphasis is placedupon the yearsdur- background)and JurriaenOvens, and his bust carvedby ing which the Statesof Utrecht confirmedthe privilegesof Artus Quellinus. What the five arrisrs,with all their dif- these houses, 1536 in the case of three of them, and ferences,had in common is that they were recipientsof of- 1582-83for thirry more of a somewhatlower status.After ficial and semi-official commissions from the citv of a few detailsconcerning some Utrecht castles,the section Amsterdamduring Huydecoper'stenure. Having observed endsand the new one begins: the sameof so many of the poets,architects, mapmakers, But in ordernot to occupythe readeríor too long with publishers,and even surveyorsemployed by Huydecoper, all the seignoriessubservient to the see,we shallend with and the nature of their work for him, I think we may call that oí Maarsseveen, before going on to the remaíning Huydecoperan exploiterof artistsrather than a maecenas. countries and cities. If love of art played a role in his relationswith artists,this The Seignory of Maarsseveen, lying on the Vecht River between Maarssen and Breukelen, is admirable in its pres- investigationhas failed to detect it. ent state both for its pleasant landscape and clear flowing At the end of his life, Joan HuydecoperI brought Clio, streams as well as its splendid houses, lovely orchards, rhe museof history, under his wingsas well. Two biblio- ponds íull of íísh, luxuriant lanes and copses. All of this has graphicalcuriosities of 1660bear the mark of Huydecoper's been laid out comme il faut, íor enduring fame, by the Hon. and, quite unexpectedly,illustrate influence the impor- Joan Huydecoper, knight, lord of Maarsseveen etc., burgo- tanceof the ZwarteVarken, master and councillor of Amsterdam, in a few years, at his ln 1660,Jacob Aertsz. Colom (1599-1673)brought out orders, expense, and initiative. a new edition of his well-known handbook on the pro- A quotation from a seventeenth-century authority vinces and cities' of the southern and northern derives the etymology of Maarssen not from the ver- Netherlands, De ulerighecolom (The pillar of fire, a play nacular "marshes" but from the ancient Martii. The mid- on the name of the publisher-compiler).aaThe text was dle agesare passedover with a singlesentence establishing gleaned from the writings of Lodovico Guicciardini, the fact that Tienhoven (for whose drainage Huydecoper Emanuel van Meteren, Reinier Telle, and several other did not feel himself responsible)was given away by Bishop authorities,with contributions by Colom aswell. Sincethe Otto of Utrecht around the year 1200.What follows is the first edition of the work appearedaround 1635,Colom full text of a lengthy act issuedin the name of Charles V had acquireda considerablereputation for the accuracyoí on March ZZ, 7532,concerning the costsof maintaining a his maps and texts. "waterway,channel, or watering" that drained the lands The 1660edition, in oblong quarto, is undated; its year of Tienhoven and Vestbroek. According ro the terms of of publication wasfirst determinedthanks to a referenceto the act, the maintenancecosts of the drainagesystem- the above-mentionedAmsterdam pageantsof 1659,which specificallyincluding locks and dams at its mourh-were the author saystook place"last year" (p. 118).a5The most to be prorated among the owners of all the bordering striking piece of new information in the book, compared lands.The waterway in question was not the one that with the previousedition dated 1650,is a paragraphon emptiedat the ZwarteVarken; but the principlewas clear, the towns and castlesof Utrecht province and a sub- and the act must have been Huydecoper'strump in the chapter on Maarsseveen(pp. 176-78). "The foremost 1649lawsuit.

39. AIIeàe gedichten,citedin note 36, pp. 544-51.The poem is printed Maersseveniaecubo. " on the 1660map in the van der Hem atlas(see above, note 15). 43. D.P. Snoep, Praal en propagand.a:thtmfalia ín de Noordelijke 40. See above, note J4. Nederlandenín de 16d.een 17de eerLw,Alphen aan den Rijn, 1975, pp. 41. ln the 1650'sVondel dedicateda number of poemsand one play, 83-86. his translation oí Sophocles'Oedtpus, to Joan l, wrote a poem on his mar- 44. De vyerighecolom: klaer vertoonendein vyftich onderscheldenecuríeuse ble bust by Quellinusand one on the weddingoí Joan ll (to whom he caortende XVII Ned.erlantsceprovíncien..., Amsterdam n.d. The copy later dedicatedthe translation of Euripides' Iphigeniain Tauris\. consultedis in the Koninklijke Bibliotheek,The Hague,no. 357 F4. 42. l. A. Worp, De gedichten uan ConstantíjnHuy gens, vol. 6, I 656- I 66l, 45. P,A.M. Boelevan Hensbroek,"Lodovico Guicciardini, Descrittione Groningen, 1896,pp. ó3-64. Huygensstayed in Goudesteinon August di nttti í PaesíBassi: de oudste beschrijving der Nederlanden, in hare 19,20, and 21,1656,in the companyof (Willem?)Piso and (Marcusdel) verschillende uitgaven en vertalingen beschouwd," Bijdragen en Vogelaar. J.H.W. Unger, Dagboekuan ConstantlnHulgens, Amsterdam, MededeeLingenuan het HisrorischGenootschap I (1877), pp. 199-287, p. 1884, p. 59: " 19 Aug. Cum Maerssevenio,Vogelario et Pisone 2ó4,note 1. 212 Schwartz

The restof the chapterconsists of variousother exhibits to that in the 1660 edition, but in vol. Z there is one from Huydecoper'scase against the Utrecht corporations, change:the map of Maarsseveenis gone. That volume is e.g.:"As a result lof the 1532act], in the year 1535His lm. moreover predated 1660, apparenrly so that it could be perial Majesty granted the seignoryof Maarsseveenletters used to replacethe original second volume. of inspection and libertiesthat are today in the custodyoí This is the decadeduring which Jan van der Heyden the court of Maarsseveen."The reader is left with the painted The Zwarte Varken, or Tlrc Arms of Maarsseveen. 'We misleadingimpression that Maarsseveenis older as a seat know now that the court that met here was a cusro- of nobility than the famous rídderhofstedennamed in the dian of the imperial charter on which the oldest of Joan previoussection. Thanks to Huydecoper,moreover, it had Huydecoper'sseigneurial rights was based, and that the far surpassedthose estatesin glory. "ln my opinion," waterway in the foreground of the painting represented writes Colom, "a searchof our Netherlandsfor a pleas- Huydecoper'striumph over rhe hated Utrecht chapters. anter placewill fail to discovera more delightfulor comfor- No artist working for a Huydecopercould perceivethis to table spot; which is what led the discerningMr. Constan- be merely incidental information. Yet one cannor say ex- tijn Huygensto breakout in thesewords." This is followed actly what role it playedin van der Heyden'sdecision to by the texts of all three poems by Huygens. portraythe ZwarteVarken, whetherthe painting itselfwas The map of the Seeoí Utrecht oppositep. 153was also intended to convey any but visual information, or why the revised for the new edition. The waterwaysof Maarsse- panel remained in the hands of the artist. veen are shown in greaterdetail than any others on the There is a strong presumprionthat van der Heyden's map, and Huis ten Bosch has been replacedas the local relation to the Huydecopersdates from the lifetime ofJoan landmark by Goudestein.Colom's map of Maarsseveen I. The artist was born and raisedin the town of Gorcum (ííg.4),also dated 1660,is the samesize as the mapsin the (Gorinchem), and two other Gorcum arrisrs before him Vyerighecolom, but it was not put into the book. had won the favor of the Huydecopersin the 1650's.One In the same year, the text of the new edition of the of them wasJacob van der Ulft (1627-80),who is thought Vyerigh.ecolom was usedby another Amsterdam publisher, to have been van der Heyden'smaster. Starting in 1653, Jacob van Meurs, for a two-volume Descriptíonof the van der Ulft produced a seriesof drawings, paintings, and Netherlnndsin duodecimo.aóThis publication, dedicatedto prints of the Dam in Amsterdam as ir was going to look Joan Huydecoper,joins Colom's text to the platesfrom the when the new town hall and the tower.ofthe Nieuwe Kerk duodecimo Latin editions of Guicciardini's Desfflprion, were completed.In order to do so, he would have needed first brought out by Blaeu in 1634.47Three new platesare permission from the burgomasters and access to the added,one of them being "A small sectionof the seignory wooden models on which the views were based. (The of Maarsseveen,"in a reducedversion of fig. 4. tower of the Nieuwe Kerk was in fact never built. and the If Joan Huydecoperwas responsiblefor the insertion of town hall was changedduring consrruction.)In practice the text and map concerned(and who elsecould have this meant that he needed the cooperation of Joan been?),one can only concludethat the sixty.year-oldpatri- Huydecoper I. Not only was he the mosr active of the cian had lost whatever senseof proportion he may have burgomastersin matters pertaining to rhe new town hall once possessed.aT"Apparently others shared this impres- but he was also the cousinof the town architect.Daniel sion. The copy of the book cataloguedby Boele van Stalpaert,van Campen'scollaboràtor on the proJecr. Hensbroek(see note 47) lackedthe map oí Maarsseveen. Van der Ulft's composition(which was reproducedin And in 1662,the year of the interregnumbetween Joan Jacob van Meur's Desoiptíon of the Netherlands in the HuydecoperI and II, van Meurs brought our yet anorher editions oí 1660 and 1662,with due acknowledgment in edition of his book, with no dedication.Vol. 1 is identical the text of Huydecoper as rhe chie{ bouwheer)was the

46. Beschryvínghder Nederlanden;soo rrlrr Lorris Guíccardln aLsandere ver. Descríptionol the Netherlands"(RAU, Huyd.coper archives, no. 374), maerd.eSchríjvers kortelijk voorgesteb,en met níeuwe Bysonderheeden,'t which he had receivedthe day before,together with another book, a rat- zedert haerer tíjdt voorgeualten, d.oorgaensveníjkt- Híerbenevens síjn tan cane,and somedrawings. ln his journal íor the 25th, he speakssimply d'aenmerkelíjksteSteden met haereAftekeníngen uergiert, Amsterdam (Jacob of "some books," not identifying the Descriptionby title. On the Zóth, by van Meurs), 1660. the way, Joan's wife gave birth to a daughter. His father presented him 47. Boele van Hensbroek,op. cit. (note 45), pp. 262-65, no. xxrv. with a pot oí pickles. There is a complete copy in the Rijksmusuem Meermanno- 48. For the models of the town hall and Nieuwe Kerk, and van der Westreenianum,The Hague, no. M 103 29. J Ulft's use of them, seeexhib. cat. Het kleinebouwen; uier eeuwen maqueues 47a. lt could not have been ll who took the Joan initiative. In those inNederland,Utrecht (Centraal Museum), 1983,pp. 36-44. Houbrakcn,s yearshe hardly evervisited Maarsseveen. On October26,1660, he wrote life of van der UlÍt follows that of Verschuring and his son in volume 2 of to his father to thank him for "the two volumesin duodecimooí the the Groote Schouburph. Jan c)ander Helden and the Huydecopersof Maarsseween213

semi-official rendering of the Dam before Jan van der and uprisingsall over the country climaxed in the lynching Heyden beganpainting his viewsin the i660s.These too of PensionaryJan de Witt in The Hague.One consequence are basedin part on the town hall model rather than the of the crisiswas the return to power, after a stadholderless existing situation, implying that Jan van der Heyden was period of twenty-two years,of the House of Orange, in the rhe successorto van der Ulft as 'official portraitist oí the person of Villem lll. The Orangist Valkenier ejected the new Dam.'In 1660,the very year when van der Heyden's Bickersand de Graafs from the Amsterdam burgomaster- careeras a painterbegan, according to Houbraken,Jacob ship and replacedthem with men of his own, including van der Ulft served the first of his twenty terms as van Oudtshoorn, Hudde and, in 1673for the first of thir- burgomasterof Gorcum. teen terms, Huydecoper.Until his death in 1680,Valken- A second Gorcum painter, Hendrick Verschuring ier exercisedmore arbitrary power in Amsterdam, accord- (1627-90),was also closeto the Huydecopers.Houbraken ing to an Englishemissary, than the Grand Turk in Con- tellsthat on his way backfrom Italy, Verschuringran into stantinople.50And Huydecoperwas his man. Joan Huydecoper lI in Paris and let himself be persuaded In Maarsseveen,Huydecoper did no worse. \íhile large ro return to Italy with him. Astonishingly, Verschuring too stretchesof countryside in Utrecht province were being became a burgomasterof Gorcum. \íhether the Huyde- devastated,he managedto protect his property and that of copershad specialties to Gorcum and whether they had his associates.He and his brother-in-lawEverard Scott anything to do with the appointment of their favorite assembledthe Amsterdam owners of houseson the Vecht painters as burgomasterthere I do not know but hope to and persuadedthem to acceptthe enemy'soffer (a stand- find out. In any case,it seemssafe to assumethat Jan van ard feature of seventeenth-centurywarfare) to spare their der Heyden becamea Huydecoperprotégé in the footsteps estatesin exchangefor a largesum of money. He and Scott of van der Ulft and Verschuring as early as 1660,when he had a row about the relative value of their houses,on was twenty-three yearsold.a8 which the premium was based.(Huydecoper tried to gain On September 26, 1661, the first Joan Huydecoper exemptionfrom the French for his shareof the ransom and died, and his oldest son, also named Joan (1625-1704), almost succeeded.5l)The system was so effective that became lord of Maarsseveenand Neerdijk. His father's Huydecoperwas able to claim and receivereimbursement estatewas divided on April 26,1663,and he then camein- from the Frenchcommander whose soldiers cut treeson his to the town houseon the Singeland Goudestein.aeJoan I1 groundsfor firewood. At the sametime, Huydecoper peti- has alwaysbeen regardedas a lesserman than his father, tioned the Dutch political and military leadershigh and and no maecenas.ln 1662he was appointed to the Am- low neither to attack the French on his lands or to quarter sterdam town council. Four yearslater he becamea direc- Dutch troops there. Privately he admitted that he was tor of the Eastlndia Company, a public officethat he used more afraid of the Statestroops than of the French.52 as a basefor patronage,sending out a streamof cousins, To lend a bit of backbone to these arrangements,Huy- nephews,and inlaws to Company trading postsin the In- decoperhired his own Swissguards, two or three of whom dies and Ceylon. That office, important as it was for wereposted in the Zwarte Varken. An attempt by Huyde- Huydecoper'síortunes, was lessvital to his long-rangein- coper to charge the guardsmen'ssalaries to the French terestthan his elevationto burgomasterin 1673.The ap- failed. 'When pointment was anything but a simplecase of not being the dust had lifted, Huydecoperwas able to write able to keep a good man down. Huydecoperbelonged to a contentedly to his kinsman Minister lVesterhof (a Maars- clique around Gillis Valkenier when the latter committed seveen landowner and Huydecoper's candidate for the a putschin the Amsterdam city governmentduring the na- Maarssenpulpit after the death of its former occupanr, tional crisis of 1672, the rampjaar.The French invasion who was also a family member),"l found the contributing

49. LH. van Eeghen,"Een burgemeestershuisin de Jordaan," Maand- 52. Transcripts of letters by Joan Huydecoper ll, RAU, Huydecoper blaà Amstelodamum62 (1975), pp. 127-30' archive,provisional number 375, under the datesAugust 1, 3 ("To my 50. Elias, op. cit. (note 20), introduction, pp. cxtr-cxxx. schout, .. The troopsof [\íillem III] carry on worsethan the French"), 20, 25, October ("To nephew Servaes. . . I know for a fact that 51. J. den Tex, Onder v'reemdehercn: de republiek der Nederlanden, 7 Schot 1672-1674,Zutphen, 1982,p. 7A.The Frenchforeign minister Louvois' won't pay more more than /2500 for both his houses. . ., while his large accordingto an old story, gaveHuydecoper a letter to his commander in housealone is worth more than both of mine"), l2-,30,1672,March 1,6, Utrecht, the duke of Luxembourg, but sent another directly to that of' ló7J. Oí coursethere are other lettersand entriesírom theseyears with íicer contravening his own orders.Huydecoper's journal, however' leaves relevantiníormation. See also Wallie Smits, "Maarssen1672: de dans no room íor the suppositionthat he was in Parisin 1672' In 1668' I am ontsprongen," [Orgaan van de] HistoríschKríng Murssen 9 (1983), pp. told by E.A.J. van der Val, Huydecopersent Louvois a map of Maarsse' 70-74. 214 Schwartz

estates in Maarsseveen totally undamaged" (7 December brought in provided Jan van der Heyden a basis upon 1673).To his "nephew" Bax in lndia (as the Dutch called which he was able ro build up a considerablefortune. their East Indies), he wrote more revealingly: In the literatureon the van der Heydens as invenrors, their protector in the city government is identified as Praise be to merciíul God, who not only miraculously Hudde (1628-1704), the delivered our dear íatherland, but moreover forced the Johannes mathematician who enemy to leave Utrecht province. The same God also served twenty-one terms as burgomaster of Amsterdam sparedas ií by a wonder all my houses,most oí my planta- from 1672on. (Amsterdamhad four burgomasrersat a tions, the village of Maarssen,and all the holsredesexcept time, namedby co-optationfor terms of one year.)There for those of Miss Sonck [and several others who had not is evidencethat Huydecoperalso worked closely with the paid off the enemy and were therefore not helped by the brothers. A number of entries from Joan's unpublished merciful Godl. I myself,praise God, have been quite well, journal, for example,show that Nicolaas van der Heyden and despitethe ejection of a good many gentlemenfrom cultivated the burgomasterwith favors in kind, rendered the government,I have not only been maintained but ac- in Maarsseveen,for which he was repaid in Amsterdam tually those electedburgomaster, in spite of who, on ac- with official commissions.5a count oí India, would sooner have seenme dead. From April 26 to 29, 1674, Nicolaas was staying in Finally, to his brother-in-law Balthasar Coymans, on Maarsseveenwith Huydecoper, helping to plant in the June13, 1674: forecourt of Goudestein trees received from a fellow burgomaster.On the 26th van der Heyden presentedHuy- My appointment as burgomaster puts me in a position to decoperwith "some crabs and shrimps," and appoint not only a lot of strangers but also some oí my Huydecoper passed friends to lucrative and honorable offices. And so I im- them on, with twelve pipes, to "Mons. van Hoven." (Hardly mediately helped our brother Scott [Everard Scott, the a day in BurgomasterHuydecoper's life mutual brother-in-law oí Huydecoper and Coymansl to be passedwithout him receivinga gift-usually of fish-from promoted to alderman and councilor. a colleagueor protégé.) On July 5, 1674 , van der Heyden assistedHuydecoper in JOAN HUYDECOPERII AND Breukelen,near Maarsseveen,on an errand that combined THE VAN DER HEYDEN BROTHERS official and private business. Whether Huydecoper consideredthe van der Heyden From December2 to 5 of the sameyear, "surveyor van brothers friends or strangerswe do not know, but Jan van der Heyden" visited in Maarsseveenwith Huydecoper, der Heyden and his brother Nicolaas (1640-82)were cer- helping him to surveythe surroundinglanes of Goude- tainly among those he raisedto lucrativeand honorableof- stein. During the courseof the year, they also met three fices. During his first term as burgomaster,in july 1673, times in Amsterdam, twice in the company of Hudde, in Nicolaaswas appointedsupervisor of locks and of fortifica- order to work on a dredgingprojecr in the IJ River and to tions, with the rank of lieutenantin the artillerypaying a inspectthe harbor. This should nor be inrerpreted as mere yearlywage of 1500guilders. Around the sametime Nico- routine. It meant that the burgomasterswere taking van laasalso worked for the city asa surveyor,calling the house der Heyden's new position seriouslyand were upgrading where he lived De Landmeter after this function.53On his prestigein the city. November 15, 1673,Nicolaas and Jan werenamed super- Considering that in the precedingyear the van der visors of the city fire pumps, for which they eventually Heyden brothers had been appointed jointly to supervise receiveda yearlysalary of 315guilders. Far moreimportanr fire fighting in Amsterdam, one might be inclined to to their livelihood than their salary was the fact that the assumethat the favorspaid by Nicolaasvan der Heydento city began purchasing ail of its fire fighting equipment Huydecoperbenefited his brother as well. Sadly, rhis was from the brothers, for amounts that went into the tens of not the case.They were bitter rivals at that time, in the thousandsofguilders. Since 1669, Jan had beensupervisor midst of a conflict over the rights to some of their inven- of streetlighting,and supplier of the equipment and per- tions. Jan declaredthat Nicolaaswas undermining their sonnel to keep Amsterdam lit at night, at two thousand partnershipby experimentingwith fire hoseson his own. guilders a year. These positions and the orders they In April 1673a notarial sraremenrquores him as saying

5.1.I.H. van Eeghen,"Jan en Nicolaasvan der Heydenals uitvinders," 55. Van Eeghen,op. cit. (note 53),pp. 101-03. Maandblad Amstelodamum60 (1973),pp. 99-106, pp, 100-01. 5ó. \Tellington Museum,Apsley House,London, inv. no. 1501.See 54. All the íollowing entriesare from RAU, Huydecoperarchive, pro- also above, note 7 and text there. \Uagner 125. For the print, seebelow, visionalno. 375. note 67. lf the young trees in the forecourt are the ones that Nicolaas helped to plant, the painting must date from after April, Jan uan der Heydenand the Huldecopersof Maarsseueen 215

about Nicolaas: "l assurehim he will be sorry if he con- Amsterdam, he declaredthat he had been forced "enrirely tinuesthis work alone. I will seeto it that it hurts him bad- to neglectmy usual occupation,and shall be obliged to ly. I have a lot of credit in high places."55 abandon it altogetheronce I take on this function, which Jan was forced to make his own friends in high places, will placesuch heavydemands on me."ó0The council, of and he had one way to do it which trumped the bestefforts which Huydecoper was by then a member, would have of Nicolaas: art. In 1674, the year in which Huydecoper consideredthis argument when fixing van der Heyden's received and passed on some crabs and shrimps from annual budget of two thousand guilders. Indeed, in 1672 Nicolaas,Jan painted a splendid view of Goudestein (fig. Jan actually declined with a feebleexcuse an order from B) that Huydecoperwas still proud to publish in an engrav- Cosimo de' Medici, grand duke of Tuscany, for a painting ing seventeenyears later (fig. 10).sóWhether or not Jan ac- of the Dam in Amsterdam to match another one he had tually gave the painting to his patron is a moot point. lt bought from the painter in i668.61 does not appear in the inventory of his widow's goods in There can be no doubt, though, that van der Heyden 1712, nor can it be traced in the recordsof Huydecoper's was not telling the truth. The yearsaround 1670were his possessions.There can be no doubt, however,that it was most productive period as an arrisr, and no one knew this painted and displayedto glorify the lord of Maarsseveen. better than Joan Huydecoper. Between 1666 and 1674, (We know from Huydecoper'sjournal that he spent all of van der Heyden painted no íewer than fourteen different 1674 {rxing up Goudestein, after two years of abandon- viewsof five different placesin Maarssenand Maarsseveen: ment during the Frenchinvasion. He and his familystayed four of Herteveld, Everard Scort's buitenplaats;two of in the neighboring Silversteinwhen they were in Maarsse- Huis ten Bosch,then belongingto the Cromhouts; one of veen. It was not a bad period, after all the damagethe the Zwarte Varken; one oí the villagechurch, "with pigs French had done in Utrecht province,to show Goudestein among the staffage"; and six of Huydecoper's own to the world looking better than ever.) Goudestein.62Moreover, Huydecoper and his friends By 1674,Jan van der Heyden had been painting Goude- would certaÍnly have been awareof and interestedin van stein and its surroundings for at least eight years, as we der Heyden's Amsterdam paintings of the same period: shall see. His relationship with Huydecoper, in other views of the new town hall, for whose construction Joan I words, dates from long before the latter's first term as took much of the credit; compositecanal views on which burgomaster.Both men arrived together. If they did not the housesof Huydecoper in-laws like Bartolotti van der become acquainted through Joan's father, as suggested Heuvel and Coymans keeppopping up in odd places;and above, they could have met on the Vecht. Around 1664, of the lWesterkerk,where the Huydecopershad their pew. Jan twice painted Nijenrode Castle, three miles north of Vhat tuastrue is that Jan no longer had a burning need Maarssen,and in 1666,in a painting of Dusseldorí he in, to sell his paintings. ln addition to his refusalof Cosimo's sertedthe chapelof ZuilenCastle, two milessouth.sT Both order, there is harder evidence.Despite the demand for his these places are ridderhofsredenwhose inhabitants, more- work, he retained no fewer than seventv-threeof his own over, were van Reedes,members of an old aristocraticclan paintings to bequeath his wife and children.ó3 Among that was more than holding its own in the Republic.5sBy them are eight oí the paintingsfrom Maarssenand Maars- bringing van der Heyden to work in Goudestein,the new seveen,including several of Goudestein, Herteveld, and nobleman Huydecoper was following the example of old Huis ten Bosch.The Getty painting,which we have called aristocrats,the van Reedes. a family heirloom, is another. This contradicts the general Until the mid-1660's,Jan van der Heydenwas struggling opinion that the buitenplaatspaintings were commissions to make a living as a merchant,a hired worker, and an and leavesone wonderingwhat their function was. artist. His need to earn money from art led him in 1664to One likelihood is that van der Heyden used his paint- sell paintings through a semi.legalauctioneer.5e As his ings to adorn the offices where he received potential bond with Huydecoperdeveloped, his tacticschanged. He buyersofhis inventionsfrom all overthe country and even continued to paint, but devotedmore and more time to from Germany and Switzerland.If artisrsand collectors his inventions.On August 27, 1669,when presenringto were impressedby van der Heyden'sachievements as a the township his plan for lighting rhe streetsand canalsof technician and an organizer,his businessclients would

57. Wagner 141, 142,and 38. 60.Ibid., p,76. 58. Munnig Schmidt and Lisman,op. cit. (note l8), pp. 228,239. ó1. Nicolaas maintained his own contact with Cosimo. On September 59. l.H. van Eeghen, "Jan van der Heyden als schilder," Maand.blad 15, 1ó70, he sent the grand duke a chemical treatise with a letter in Latin. AmsteLodamum60 (19?3),pp.73-79, p.74. Dr. G.J. Hoogewerff, De twee reizen uan Cosimo de'Medíci prins van Toscane door d.eNederlanden (1667-1669), Amsterdam, 1919, pp. 388-90. 216 Schwartz

Figure9. "A section of the seignory of Maarsseveen," engraved by Philibertus Bouttats after a map presumably by Jacob Bosch and a painting by Jan van der Heyden. Five plates, the íour lower ones measuring ca. 45 x 65 cm. each, and the upper one, designed to be cut horizontally through rhe middle, 31.7 x 65.8 cm. Reproduced from a photomontage made for Jhr. Dr. H.\Y.M. van der Vijck, with whose kind permission it is reproduced here.

have been equally impressed by his skill as a patnter. There was another, more direct, way in which Jan van Another function oí the painted views would have been der Heyden used his art to sell his inventions, though this to flatter the owners of the houses depicted, an effect that has nothing to do with paintings. ln 1690 he published, as would be reinforced by the painter's refusal to sell the General Fire Chief of Amsterdam, his famous book on the works. In the caseof the Maarssen group of paintings, the fire pump (dedicated to the burgomasters, including Joan owners were burgomasters, councilmen, and treasurersof Huydecoper), illustrated with prints after his own draw- Amsterdam who were well worth flattering. ings of fires in Amsterdam. The publication was a success

62. Herteueld(4) -"Dito vanVoore, zonder lyst. 75" (thefollowing entry) ln the testament ofJan van der Heyden's widow (see above, note 2), The formerdescription corresponds with the paintingin Cincinnati two paintings of Herteveld are mentioned: (lilagner 67), the Iatter to a painting auctioned in Paris at the d'Aoust sale -"De plaats van Everhard Scott. 100" (no. Z9 ofthe share oÍJanJr.) onJune 5, 1921,lot 43. Wagner considers this a copy, but in any case ir -"De Plaats van Everhard Scott int Klyn. 20" (no. 19 in the share of can be taken to depict that composition. A reproduction in the Rijks- Samuel). bureau voor Kunsthistorische Documentatie confirms the subiect. ií not The former may be either of the three existing paintings of the house: the authorship. Wagner 131 in the Louvre, Wagner l3Z in Drumlanrig Castle, and Wag- 't Zwarte Varken (1\ ner 148, in the Pushkin Museum, Moscow, rvhich Vagner identifies as The Cetty painting, whose provenance, going back to the widow's in- Vechtvhet. The second entry, referring to a small painting worth only ventory, has been given above. nventy guilders, must pertain to a íourth work as yet unidentiíied. The víLLagechurch of Maarssen (1) Huis ten Bosch (2) Listed in the testament' The testament contains thete enrries: -"de kerk van Maarse onder andere met Verkens gestoffeerd.45" (no. 20 -"De plaats van Kromhout op zy. 80" (no. 27 in the share of Jan Jr.) in the share of Sara). Corresponds with Wagner 6ó in Polesden Lacey. Jan onn der Helden and theHuydecopers of Maarsseueen Zl7

_s, "s'/: '11' .L ..-/ l' .,) -'/, *.f ) .rI v k'-,i+i._!! m,t t. Figure 10, Middle leít of map reproducedin fisure 9. 45 x 65.3 cm. Rijksarchieí Utrecht. TopografischeAtlas, Muller 169.

on lts own; it wasreprinted in the eighteenthcenturv with tising it in a broadsheerrhar he illustratedwith new plates and in our cenrury a view of in facsimile.6a Goudesteincaptioned ,,Depiction In one of the small patenred casevan der Heydenmade similar use of one of hosepump for fire and garden;suitable for his viewsin the country, savrngcountry and that did concerna parnring. housesin caseof fire; and moreover fit to spray gardens, Togetherwith his sonJan(and therefore after March 16g2, plantationsand treeswhen it is when Nicolaas dry,"osThe print shows died andJan Junior took his place),van der Goudestein with a small fire in the tower berng Heyden patented a small version extin- oí his fire pump, adver- guishedby a man on the roof, while gardenerssprav rhe

Goud"esteín (6\ of Herteveld and Goudestein, Lisred in the testament, is unimpeachable. ó3. -"De plaats \íagner, op. cir. (nore l), p. ló. Coudenstein, van voore klyn. 20,'(no. 14 in the share oíJan 64. Beschryuingder J'.) níeuwlijks uitgeuond.enen geoctrojeerd.eslang-brand.- spurten -"Dito en haarewijTe van brand,blussen,tegenwoord.íg van achteren,klein, met leist.j0', (no. 35, idem) binnen Amsterdam ín These gebruik7tjnd,e, door derzelverlnventor entriescan be cancelledagainst Wagner 126(íormerly Jun u". a"JU"ij" en Jan vander Wetzlar col- Heidede lrtion, Amsterdam) Jonge,Generaale Brandmeesters der StadAmsterdam, and 128 (Arthur Grenfell sale,London, 26 Amster- June dam 1690. In 167? brought 1914,lot l6). Jan out an unillustrat.a bookl"t with Nic_olaas,accompanied by a single print Four additionaldepictions of Couclenstein after hi, d"r;;. are known: 65. The broadsheet -\íagner itselí is titled Beeríchten inrt rrrí, , 125,Vellington Museum, Apsley House,London op t gebntikd.er kLeíneslang'brand en uín'spt+ítjes, ín ongevar -Vagner 127,Btihrle collection,Zririch 7o van brand als om d.epran- tagiente sproeíjen -\ilagner There is an impressionbound into the 129,sold by Mensing,Amsrerdam, November 15, copy oÍ the 1690 193g,lot 4g book at the Amsterdam University --Wagner 130,Leningrad, Hermrraqe Library, ZAOZAl9.ln 1677 the recommendedthe small pump for Not all ofthe topographicalinformaiion P::,n:^ useby small businesseswith a in rhe paintings,especially those nlgn ttre nsk. 218 Schwartz

lawn and the trees.The houseis seenfrontally, írom a spot virtue, asit hasso many timesbefore, but the untarnished further right than in the ApsleyHouse painting. Van der conscienceof one who has acquitted himself faithfully of Heyden certainly had to obtain permissionfrom Huyde- his duty to city and nation can stare Envy in the face."68 coper to depict his well-known country housein this way. Seen against the background of the great events in One can seein the advertisementan advantagefor Huyde- Huydecoper'slife that year, in which slander and envy coperas well. The smallpump wasa greatboon to owners playeda prominent role, the print and the poem cannot of buitenplaatsen,especially in times of war. And the be dismissedas mere politeness. Nine Years \Uar with France was about to break out, in It was always difficult for an Amsterdam regenr to re- 1688. main on good terms with the House of Orange, and those The regentsof Amsterdam were usedto buying and sell- difficulties,in 1690,became too much for Joan. His father ing their influence and prestigeand were even unembar- had comeinto his title and his landsin Maarsseveenthanks rassedabout committing such dealsto paper.The patron- to Frederik Hendrik; he himself had risen to power in age that Huydecoper bestowed on van der Heyden was Amsterdamon the coattailsof Willem III, but now he was more iníormal, and we need not be surprisedthat it is not about to be toppled by his former patron. Holland was confirmed by document. But it seemsclear from the evi- again at war with France,and once more Amsterdam was dencepresented here that there was a lively give-and-take pressuredby the stadholderto subordinate its commercial betweenthe two from 1666through 1690,and that art intereststo his militaristic ones. Huydecoper, perhaps played a vital role in it. His brother Nicolaaswas not Jan becauseof his own financial ties to France, was one of the van der Heyden'sonly rival. ln the 1660'sthere were com- last of the city fathers to submit. But this time Valkenier peting fire fighting systemsbeing presentedto the city, wasgone, and the emergingstrong man, ]oan Corver, who and there were alwaysimitators attempting to undermine was practically an agent of Villem III, was not inclined to his position.óóVan der Heyden neededrunning "credit in protect Huydecoper.In February 1690Huydecoper backed high places,"and he acquired it, at leastin part, with the a proposalto keep the city out of the Statesof Holland un- prestigeof his art. til a former resolution, limiting certain poiitical prerogativesof the stadholderin Amsterdam, was passed A REGENT PROFITING FROM A PAINTER'SSTATUS? or defeated.The historian of the Amsterdam regents,J.E. When Huydecoper had the 1674 view of Goudestein Elias, calls it "pricking a lion with a needle." \íillem III published in a print, it was under very special cir- was at the height of his power when in 1689 he had cumstances.ln 1690 or i691 PhilibertusBouttats (ca. become king of England, and was not to be trifled with. 1654-after1700) engraved a vast map in five plates-"4 BetweenFebruary l6 and March 2, 1690,Joanrepented of section of the seignory of Maarsseveen"(fig. 9)-contain- his rashness,and thenceforth voted the Orange party line ing an inset of Goudestein on a curtain in the upper left in the town government.But Willem was in no mood to (fig. 10). The view is based on the painting in Apsley be forgiving. ln December 1690 he refusedto name Joan House, with the pediment above the door unaccountably Huydecoper'sson Josephas keeperof Muiden Castle. The replacedby a balustradelike the one that Vingboons Huydecoperswere on their way out,óe designedíor Elsenburg.ó? The map of 1690-91appeared in the jubileeyear of the One's attention is drawn by the horn-blowing angel Huydecoperaccession to Maarsseveen,but no mention of holding a laurel branch over Goudesteinand trampling an this is made on the map. It was certainly not the right mo- imperialorb and an allegoricalfigure of Envy. Ordinarily, ment to remind peopleof the circumstancesunder which one would be inclinedto seethis asa conventionaladorn- the apotheosisof the Huydecopershad taken place, and ment, like the goddesses,nymphs, shepherds,and putti the role played by \Uillem's grandfather and great-uncle, that fill the areas of the map that were not part of the FrederikHendrik and the count of Solms, respectively. seignory.However, in the yearwhen the map wasprobably This would defeatwhat seemsto be Huydecoper'spurpose begun, 1690, the poet Lucas Rotgans (1645-1710) in publishing the map: reingratiatinghimself with Willem. published a GeTangop Goudestein(Ode to Goudestein) The frame is dripping with pearl-shapedtears, a heraldic containingthe followinglines; "Slander may besiegeyour symbol for pardon from high. Moreover, the stylistic and

óó. Van Eeghen,op. cit. (note 53),p. 100,mentions a systemfor which 1749)and one in plates(Topografische Atlas, Muller 169),lacking the up- three Amsterdamers received a patent from the States oí Holland in per sheet, with the coats of arms. ln the Bodel Nijenhiis Collection, t664. Leiden University Library, is a completeimpression in loose plates(port- 67. Donkersloot,op. cit.(note l6), no. 318.There are two impressions folio 4 I , no. I 4l). Two of the five copperplates were found in Goudestein oí the map in the RAU, one mounted (Huydecoperarchive, Steur no. in 1945and are now in a privatecollection in the Netherlands. Jan van der Heydenand the Huldecopersof Maarsseveen219

Orange marquisareof Veere; two of Johan Maurits van Nassau'scapital of Kleve;70and sevenof the Orangepalace and shrine of Huis ten Bosch. Even more interesting are the nine paintingsof the NassauPalace in Brussels.It was herethat, a centurybefore, William the Silent,Villem lll's great-grandfatherand the pater patriae, had been lord lieutenantof the southern and northern Netherlandsin their last yearsas one country. His descendantwould have given a lot to move back in. These twenty-eight paintings makeJan van der Heydenas much a painrerto Villem III as to Joan Huydecoper. It cerrainly looks as though the city father was speculatingon the painter's good will with the prince in order to savehis own skin. Another intriguing aspectof the map is that the four lower plates of the main section contain not a single referenceto Huydecoper. There is no carrouche wirh a centaur,as in the maps of 1651and 1660.The heraldic emblememployed is the black pig of Maarsseveen.Only in the uppermost fifth plate, with the inscription, is rhere place for Huydecoper, in the rather personal form of the alliance arms of Joan and his wife. It would have been relatively simple to reprint the map with someone else's arms-\Willem's, for example.Unless appearancesdeceive, the initial on the horn of fame is not an H but a crowned \íH (for Villem Hendrik), of a type that was used con- stantly in Orange regaliaand Orangist propaganda.Could the map be an unspoken offer of the lordship of Maarsse- veen to Villem in exchange for being "maintained . . . despitethe ejection of a good many gentlemen" from rhe government of Amsterdam? Fígure11 . Romeinde Hooghe, title print of GovertBidloo, Mapmaking,printmaking, painting, poetry: II had 'lhe Joan Komstec)an Koníng Willem ín Holland, after all inherited his father's inrerestin the arts. But the Hague,1691. Utrecht University Library. typical Huydecoper style of exploitative parronage was now complicated by the overwhelming presenceof the iconographical vocabulary of the print is borrowed out- stadholder-king.Lucas Rotgans was a nephew of Huyde- right from Romein de Hooghe's prints glorifying Villem, coper's living in Cromwijk who published his Ode to especiallythe seriesillustrating Govert Bidloo'sbook on Goudestein "in payment of a debt of honor to [its] lord, \ff/illem's triumphal entry into The Hague in February for such excessivetokens of friendship." Rotgans took 169i (fig. 11).Huydecoper even used an engraverwho was his own steps not to be compromisedby his excessively working on that project,the FlemingBouttats. ftiendly uncle. Between i698 and 1700he published,in And the painter?Jan van der Heyden,if he wasnot per- eight books, the first profane epic in Dutch literarure, sonally acquaintedwith \íillem III, would have been Wilhem de Derde,glorifying Willem lll. known to him for his devoted inreresr in the House of Two Latin poets working in Amsterdam positions they Orange.It cannot be coincidencethat van der Heyden's had acquiredunder Huydecoperalso balanced their praise work includestwo paintingsof the Oude Kerk in Delft, of him with poemsto Orange.Janus Broukhusius-captain where the House of Orange has its family tomb; five of the of an Amsterdam guard company, cousin of Johannes

68. Quoted írom the collected works, Poéz), uan uerscheidemengelstof, 69. Elias,op. cit. (note 20), vol. l, pp. cxxxn-cxxrv. /en, n.p. 1715, p.262: "Laat Lastering uw Deugde belaagen, Dat moetze 70. The artist may have had more personalreasons for painting Kleve. menigwerf verdraagen; . . . Een ongekrenkt, en rein geweten Braveert de His in-lawscame írom the neighborhood,and he depictedother placesin Nydt in 't aangezicht; wanneer men zich in zyner pligt, Voor Stadt en that part of Cermany. Landt, heeft rrou gequeeten." 220 Schwartz

Hudde, and soldier-poetwhose career began when he won ver regime.The old mathematician and his equally learned an all-Amsterdam school competition for the best ode on colleagueNicolaas \íitsen lent an air of scholarly distinc- the election of Gillis Valkenier to burgomaster-composed tion to the Amsterdam government, and they always an elegy "Ad villam Marseveniam."TlHis friend Petrus voted as directed. Francius, a protégé of Huydecoper, while professor of This was fortunate for Jan van der Heyden, who was history and Latin at the university, wrote what he too able through Hudde and \íitsen to retain his valuable con- called an elegy, of about the same length as that by tracts with rhe city.?3He was even able to maintain íavor Broukhusius,and with nearly the sametitle: "ln villam with Villem IIl. In the mid-1690'she sold a fire pump to Marseveniam,.Guldesteindictam."72 In 1695 both men the Orange castleat Dieren.TaIt was one of the few items wrote sensitiveeulógies on the death of Mary Stuart, the bought in Holland for the refurbishing of the palace and wife of Willem III. certainlywould not have been purchasedif Willem had In L694,after Corver squeezedhim once and for all out taken umbrage at van der Heyden's role in the Huyde- of the burgomaster'schamber (not until 1739did a Huyde- coper affair. There were alwaysmore suppliersin the mar- coper reenter it), Joan Huydecoperretired to Goudestein. ket for fire pumps, as for art, and purchases were not Hudde had been quicker to seethe writing on the wall, alwaysguided exclusivelyby considerationsof quality. and he was able to stay on as burgomasterunder the Cor- Maarssen

71. lani BrotkhrrsÍiCarmína, Utrecht, 1684,dedicated in its whole to particularly irritating to Hudde, to whom van der Heyden wrote a subse- Huydecoper. The elegyon Goudesteinis on pp. Z1-24. quent letter of apology and explanation. In the end the inventor-artist 77. Petri Fruncií Poëmata.Edttio aLtera,Amsterdam, 1697, pp. 741-42. was happy to accept,for his son and himself, lessthan halí the raise he 73. Van der Heyden had a bad moment in 1685 when he petitioned had requested,while relinquishing all future claims against the city. See the burgomastersfor a raisein salaryfor himselfand his son. ln that year Breen, op. cir. (note 4), Appendix l. Hudde and Witsen were burgomasters,and Huydecoperwas not. ln the 74. S.\y-4. Drossaersand Th.H. Lunsingh Scheurleer, Inuentaríssen written request, van der Heyden struck an injured tone, accusingthe uan de ínboedelsin de verblíjven van de Oranjes en daamede gelijk te stellen burgomastersof underestimatingthe value of his inventions. This was stukken,1567-1795, vol. l, The Hague, 1974, p. 597.