ARCHITECTüRAL PAINTING: ETIQUETTE, ARCHITECTURE AND GARDENS OF LOVE IN ME EARLY SEVENTEENTH-CENTURY NETHERLANDS by DIAMVA BEAUFORT A thesis submitted to the Depanment of An Histol in conformity with the requirements for the degree of Master of Arts Queen's University Kingston. Ontario. Canada April, 1997 copyright O Dianna Beaufort. 1997 National Library Bibliothèque nationale (*( of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue WeUington Otmwa ON KiA ON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence dowing the exclusive pennettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distri'buer ou copies of hidher thesis by any means vendre des copies de sa thèse de and in any fonn or formai, making quelque manière et sous quelque this thesis available to interested forme que ce soit pour mettre des persons. exemplaires de cette thèse à la disposition des personnes intéressées. The author retains ownership of the L'auteur conserve la propriété du copyright in hidher thesis. Neither droit d'auteur qui protège sa thèse. Ni the thesis nor substantial extracts la thèse ni des extraits substantiels de fiom it may be printed or otherwise celle-ci ne doivent être imprimés ou reproduced with the author's auirement reproduits sans son permission. autorisation. Abstract This study Ïnveaigates the manifestation of Italim arctutectural tom and mulaiai of French ashiaas wahm the genre of arduteciural pauiong. To adiieve th6 ta&, sewral pamtmgs (pnmanly of exterior courtyard scaies) by the most prolific art& in ths field were chosen. These amts mclude Dirck van Delen, whose oeuvre is key to this thesis, Banolorneus van Bassen, Hendnk Aerts, Hendnk van Steaiwijck the Elder and Yaunger, and Hans and Paul Vredeman de Vries. in order to understand the infiItratjan of foreign modes, chapter 1 discusses the groundwork lard by cuba1 circumstances, mcluding the mpaa of, f9r example, C~c~~tantijn Huygens and his love of thmgs French and ftalian. while chapter 2 focuses un the artists practlsing penpeaiw pamûng, outlming basic histoncal fia an4 bnefly, the tramg and ccmsequential infiuences on the art& productians. Chapter 3 concerns the use of theoreucal ûeaûses, particularly of Mian ongin. and contemporary architecture III the executm of architectural pamting. The strmg prewb set by buitenpkaatsen and their gardai, courtyard and structural make-up is also analyzed. Chapter 4 combmes the iconography of many perspectrve pamtmgs wrth thetr ardiltectural seümg. The ûequent presence of moralizing stories in hsgenre IS taken mto account, but the emulatm of French fàshions emerges as an equally importaut theme. While worldly sopbisû~on,exemplified by French eiiqueüe and âshiai may have been deerned a stgn of mperbia. the very afktatms of Fraidi wciety stood as syinbols of success. Fm& modes, mannen, leisure acûvities, and courtiy love &ames were therefbre represented m the collecbble gaice of penpectiw pamtmg. Gimthe suitab* of grand penpeciiw settmgs for the representation of statu, perspective paintmg also becamc a fônun fbr portraiture, as several portraits ofpersaaages m courtyards illustrate. Table of Contents Abstrad .................................. ................................................................... i Ackn<lwl- .................................... ......................................... + ..........iü List of 111ustlafjons ........................................................................................ .IV Chapter 1 . The Cultural Background ...................................................................1 Chapter 2: The Artists .................................................................................. -7 Hans VredaMn de Vries ................................................7 Paul Vredanan de Vries ....................................................8 hdnkvan Steaiwijck die Elder and the Yoimger ...................8 Hmdnk Aerts ........................................................... 9 Bartolomeu~van Bassai ................................................. 10 hrck van Del en ...................................................... 10 Grad Houckgeest and Daniel & Biieck ........................ 12 Samuel van Hoogsû&n ............................................. 13 C'3:The Adufemm...................................................................... 14 Theury and Sowce Books ............................................................ 14 Hans Vredanan de Vries .........................................15 SeriIo ...................................... .20 Marolots .................................. ..21 De Btay .....................................,,77 Rubais .............................. .24 Pélenn, Cousai and Du Cerceau ................... ...25 PalIadio, Scarom and Vignola ................................ 26 Philrps Viboais ............................................ 28 The Mure of My .....................................29 Cartemp~rar~- ................................... .........31 laab van Caqen................... ...33 Preter Post ........................... ..............35 hhpsVmgboans .......................................36 Bartolomeus van Bassen ......................................37 Biir tenplacrtsrn..................................................... .... .40 Gardai Art and Ardidecture ......................................................... 47 Chapter 4: Tbe Staffige and Thnies ................................................... .., C 7 Elemaits ofthe Gardai of love................................................. 54 Ccmtemporary ReWGaues: Buirenpart&w ....................................... 58 Dawd Vinckbcms ............................................ 59 Ekw mn de Velde ............................................. -62 Wilian Buytewech................................... 64 Moral hders..................................................................... 65 Games, Love, and Leisure Soctety ........................................................ 71 nie Figures: Thexr Sources and Sipficance ............................................ 76 Dtrck van Delen ......................................................78 Van bsseq krts, and Van Stemwjck ............................. 82 Portrads wdm Ardidectural Parnemg ........................................................83 A Caxûnuatim .......................................................................... 89 ERRATUM Pages 5 and 6 do no1 exist. Fint and foremost 1 want to express my smcerest thanks to my parents for their uowavermg support and always wantmg the besf for me, for cuxtnbuting to my educatiai and for keeping me an track m mes of despair. Also 1 wish to express sped th& to Wendy and Richard hr their mrts wd~Katie. for makmg me bu&, and for helping me through those cornputer dilemmas. I would Iike to thank Dr Volker Manuth for tahg me under his wmg and guidmg this thesis. His "kmd cnûcisrns" managed to a& changes hile dl allowing me to focus on the posrtive and fèel encouraged. 1 am gratefiil fbr access to his knowledge and wtsdom. and for hs leadership in the mident-curated Wisdom. ffiowledge & Magie exhibition, whicb provideci many of us wrth mvaluable, praaical experience. Many thanks to the library staff, Nina Boyd and Rom Roberts, for their reliable assistance tn findmg jus the book 1 was lmkmg hr, and fbr those Off'our chats. To Drs Bernard Vermeâ fbr those delightfhi and msigtitfiil leüers, to Dr J. Douglas Stewart for tbgto ûme to a to my fellm midents m the department for their fnaicishrp, to my &end Lynne Needham for always beiievmg in me, and to the Heilig family for providmg me with a "rd home" m Amsterdam, 1 thank you. Finaiiy I want to express my appmiation to Dr Katheme Brush and Dr Comme Mandel for rnakmg Art History 040 at U.W .O. so fkbulous and inspirational. List of lllus trations (measurements in centimetres) 1. Jan van Eyck, Madonna m the Ch&, c. 1437-38. Berlrn, Gemaldegaiene, Staathche Museen. Panel, 31.1 x 13.3. 2. Jan Gossaert, Samt Luke drawinn the Vimin~c. 15 12- 15. Prague, National Gallery. Panel, 229.8 x 204.2. 3. Hans Vredeman de Vries. plate 1 3 from Perspective. .. (The Hague, 1605). 4. Sebastiano Serlio, 'Tragrc Scene" fiom The Second Booke of Architecture (London, 16 1 l), fbl. 25. 5. Hans Vredeman de Vries, ''The Five Senses" fiom Architectura ... (l'le Hague, 1606). a. Connthia/Gustus b . ionica/Odor c. DoricdAuditus 6. Dirck van Delen, Architectural View, s.d. 1625. Rodez, Musée Denis Puech. Panel. 58.5 x 33. 7. Attnbuted to Hendnk van Steenwjck the Elder, Permective, 1588. Dessau, Gemildegalene. (Support and size un)mown). 8. Hans Vreûeman de Vries. plate 14 liom Perspective... (?he Hague, 1 605). 9. Dtrck van Delen, Terrace of a Palace wrth Portrait gr ou^, s.d. 1642. Brussels, Museum of Fine Arts. (Support and size imknm). 10. Ham Vredeman de Vries, plate 43 hmPetspectzve . .. (The Hague, 1604). 1 1. Dirck van Delen, Garden of a Palace WI& Men ~laymnSiuüles. Gateshead, Shipky Art Gailcy. Panel. 67.5 x 82.3. 12. Hendnk Aerts, [ma- Renaissance Palace, s.d. 160- (2?). Merdam, Rijksmuseum. Canvas, 93 x 127.5. 13. Hendnk van Steenwijck the Younger, Cours d'un Palais Renaissance, s.d. 16 10. London, Nationai Gallery. Copper, 40.2 x 69.8. 14. Hendnk vaa Steaiwijck the Ymger, An lma- Town Sauare, s.d. 16 14. The Hague, Mauntshuis. Copper, 47 x 70. 15. Dirck van Delen,