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2000 Jaargang 99 Robert Hook Hollandd ean : Dutch influenc architecturs hi n eo e Alison Stoesser-Johnston The use of these publications by English architects and arti- Introductie)!! sans and the design of Wollaton Hall were not based on any Dutch classicism was a recent arrival in England when first-hand personal impressio f classicisno Italymn i . Thid ha s Robert Hooke made his first architectural designs in the late emergence th waio t r fo t f Inigeo o Jone s architectsa visis Hi . t 1660s. 'e constructioPrioth o t r f Hugo n h May's Eltham to Italy in 1613-'14 in the entourage of Thomas Howard, 2nd Lodg 1663-'64n i e e firsth , t exampl f Dutceo h classicisn mi Earl of Arundel, his close interest in Roman antiquities and England, classical elements straight from Italy and via Flan- intimate knowledge of Palladio's drawings are most ders had been used in English architecture for nearly a hund- dramatically exemplifie Banquetins hi n di g Hous f 1619-22eo . red years. Initially these had been mainly of a decorative na- Not only, however, has Jones here used Palladian "vocabulary" ture but vvith the construction of Inigo Jones' Banqueting 7 but hè has combined it with the application of Scamozzian House (1619-'21) there was a dramatic change in the way orders, the Composite being superimposed on the lonic. This classicism was adapted to English architecture. Jones drew combination of Palladian elements with Scamozzian also on the examples of Palladio and Scamozzi in his architecture influence beginninge th d f Dutcso h classicism.8 Jones' design using both Palladio's treatise, / quattro libri, personal know- was not only a major innovation in England but it also inspired ledge of his architecture and, in the case of Scamozzi, per- Jaco n Campe s va bfirs hi tn i narchitectura l commission i n sonal contact e applieH . d their conception f proportioso d nan Amsterdam, the Coymans House built in 1625. The relatively beauty, combining these vvith elements from English archi- flat facade with just a slight central focus, the use of no tecture. Hooke, together RogeSi d r an rPratt s y witwa ,Ma h pediment but rather an attic (Jones uses a balustrade), the one of a younger generation of architects who assumed Scamozzia f alternatino e us n e orderth g d pedimentsan l al e sar Jones' astylar classicist versio f tow o ncountrd an n y house elements similae Banquetinth o t r g House. n Campen'Va 9 s building from the 1660s onwards.2 In order to put Hooke, his desig o impresses n d Salomo e Brand y tha è includeh t s a t i d f Dutco architecture hus s modelhi d san e into contexte w , the model of true architecture among Hendrik de Keyser's shall first examine in brief the introduction of classicism into works in his Architectura Moderna (1631).'" De Bray's vvork, Englan cross-fertilizatiod dan architecturan i n l ideas between which was the first Dutch architectural treatise. was enormously England and the Netherlands. influential in the Netherlands. However, although it was known in England t seemi , havo st e exerted little direct influence.1' Classicism in England and the Netherlands In England, as in Holland, the interest in the correct application In England, as in the Netherlands, the first development to- of the orders as the main form of classicism used in town and wards classicis recognitioe th s importance mwa th f no e th f eo country housegivo duriny t s ewa e 17 wa sgth t h centure th o yt applicatio f mathematicao n ! principle architecturn i s n I . e3 idea of harmonious proportions and rhythm, underlined by the England thifirsd ha st been publicized through Leonard Dig- correct relationship of the fenestration to the wall surface. In ges' A Boke Named Technicon (1556) and John Shute's First Jones' other royal projects, such as the Queen's House, the and Chief Groundes of Architecture (1563).4 the latter based emphasis was in this direction. In country houses Inigo Jones on Serlio's Regale generaü di architettum (1537). Decora- instituted this trend with astylar designs such as that for Mal- tional elements derived from classicism had arrived in Eng- travers House, 1638. In Holland, after the Coymans House land from Antwerp via Hans Vredeman de Vries' Architectura was built, Jacob van Campen was already turning to the more (1563) and Compertimenta (1566). Strapvvork designs, for essential harmon f classicisyo t mHuia Boschn ste , Maarssen, example, prove particularle b o dt y influential. Added decorative icourse n th 1628 n f theiI eo . r careers Pieter PosPhilipd an t s influence came also from Wendel Dietterlin's Architectura von Vingboons also moved away from using order o astylat s r Aufttei/ung, Symettria und Proportion der Fünff Seulen..., facades wit a subtlh e articulation. e tendenc1Th 2 o movt y e publishe Nürnbern i d n 1593.gi 5 Wollaton Hall, designey db away from the traditional ground plan in country houses Robert Smythso 1588n supera ni s i , b exampl adaptae th f eo - toward a compacs t block with symmetrical layout based tion of designs of Serlio and the decorational elements of on Palladian villa s alswa so commo o bott n h England an d Vredema Vries.e nd 6 Holland.13 PAGINA S I2I-I37 122 BULLETIN KNOB 2OOO-4 niches vvith windows could have been derived from the end Dutch classicism in England fa^ades of the wings of Van Campen's Noordeinde Palace. The prototype for Dutch classicism in England is Eltham From Arent van 's Gravesande's Sebastiaansdoelen (1636), Lodge, designed by Hugh May, 1663-4. (afb. l)14 It is inte- f e Haguegarlando alsderiveTh y e n ous i Ma loni,n e so dth c resting y shoulthaMa t d have choses principahi s na l model capitals and the shape of his roof, which springs slightly in- the Mauritshuis (1633-'44 n CampenVa y b ) , which, together wards from the edge of the cornice.20 wit e Huygenshuihth s (1634-'37) determino t s wa , e styleth e of Dutch architecture from the I630s onwards.15 May must The combination of correct application of orders and sober have looked very closel t exampleya f Dutco s h classicisn mo e ideath f morf o so e us thae Dutc e fagadeon nth hd an s his visits to Holland in the I650s.lf) In addition to the architect, representeElthan i y mMa Lodgey b d , reappean i r Mauritshuis. elements of Van Campen's Huis ten Bosch in Robert Hooke's work. Whereas May, however first-hand ha , d Maarssen also appea Elthan i r m Lodge. Another architecn o t knowledge of Dutch classicist architecture, Hooke had to rely whose work May drew to a lesser extent was Arent van on printed source d personaan s l contacts f vvhoo s e mwa on , s Gravesande.' 17 May's compact block house constructe- dal y himself'Ma . Through this approach Hooke was addition ,i n most entirely of brick with a pedimented fagade on the front to Van Campen and Van 's Gravesande, to become familiar elevation seem t firssa fa^adee t e th sigh th f o f copo o st te yon wit e workth h f Pieteo s r Post, Daniel Stalpaer d Philipan t s Mauritshuis. Like the Mauritshuis Eltham Lodge has seven Vingboons. Before we look at the impact these had on fron e read bayth an tn r so fa§ades frone th , t fa§ade being arti- Hooke's wor detailn ki wora , d shoul e saidb d about Hooke. culated by the fenestration and the tour colossal lonic pilas- his life and his milieu. ters, which break slightly forward from the facade. On closer examination it is clear that the colossal lonic pilaster order, Hooke's life whic n CampeVa h e nfirs th use tr timdfo e n 1628i th e d an , accen è e placeslightlh tth n do y vvider middle windoe th n wi Hooke was born the son of a curate, John Hooke, in Fresh- frontispiece, have also been used by May in Eltham Lodge. vvater, Isle of Wight, on July 18 1635. As a child, apart from The shallovv and plain cut of the windows is also derived a love of tinkering, hè had an aptitude for drawing and, at the from Huis ten Bosch. The reflection of the front fac.ade in the f thirteeno e ag , equipped wit n endowmena h f £10o t 0 after e symmetrtvvth o e hald adjacenth an l f o y t room Elthan i s m the suïcide of his father, hè was apprenticed to the painter, Lodge is akin to that of Huis ten Bosch, the earliest example Sir Peter Lely . è theh Thi s tastnd hi s an eproveo t t no d f suco h symmetr Holland.n yi detai1A 8 Campen l useVa y db n enrolled as a pupil at Westminster School, London, which Sir at Noordeinde e HagueTh , , (!639-'47) together with lonic Christopher Wren also attended later n 165I . o è 3went h n o t pilasters, which is replicated by May at Eltham Lodge, is the Christ Church College. Oxford University, where hè became cornicione architravata (no frieze). However, whereas Van the assistant of Dr. Thomas Willis. Through Willis Hooke Campen has used it with his lonic pilasters on the ground came to the attention of Robert Boyle, who made him his floo s combiner ha level y Ma ,t wit di colossae hth l lonic order.19 "assistant tbr chemical experiments" and introduced him to Also from Noordeinde comes the idea of the heavy modillioned the circle ofvirtuosi, the "experimental philosophical clubbe".
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