There are, within the old buildings of Holland, interior effects of rare charm. They are hidden away from the outer world behind high gabled fronts of sober houses, beyond the thresholds of country farms. These interiors are rich in memories of the past. They tell of bygone times and bring vivid pictures of civic and home life to the imagination. Solidly built, they were erected with due thought to permanence, that they should stand from generation to generation; that men’s memories might be honoured by their children and their children’s children. That it should be continuous and abiding was the keynote of the old work which to this day is fresh and beautiful, full of life and vitality, although the makers of it have long since gone and are forgotten. And while things were made to be durable, so also were they made to please the eye and gratify the senses. Good construction, accompanied by much enrichment, gave results tending towards extreme elaboration. Rooms became imposing by their massive ceiling beams supported by sculptured corbels; panelling, or maybe Spanish leather or tapestry, upon the walls; carved oaken doors; fireplaces in wood and stone adorned with columns, figures and other devices; coloured tiles of many patterns; cast-iron firebacks and wrought metalwork; panels of painted glass in the windows; floors of oak, veined marble, or glazed quarries; brass candelabrums hanging from the ceilings, with movable furniture and ornaments disposed in many places.

A good impression of a seventeenth-century room may be gathered from the accompanying illustration from Dordrecht (page 128). The walls are panelled in oak up to a certain height; above is a deep white frieze, admirably adapted for displaying the blue-and-white ware and pictures which rest against it. The chimney-piece is sumptuous, alternately gay and sober, charming below the mantel with brightly-coloured tiles and shining metal utensils, dignified above with panelling and projecting frieze. Forming the dividing line between mantel and fireplace is a mantel-cloth of blue material, inscribed with the homely maxim “Oost West, Thuis Best,” and bearing a brace of crossed tobacco-pipes worked at each end of it. A good specimen of a brass candelabrum is attached to the central ceiling beam, while the floor is covered with matting. Solid oak furniture, massive and heavy, completes this picture of material comfort and pleasantness. Equally characteristic is the room at Leeuwarden (page 129). Similar features will be observed—panelling and carved woodwork; ceiling joists and beams, which are here supported by moulded corbels; blue-and-white ware, tiles, and a blue velvet mantel-cloth. The hearth is of squares of black and white marble. Upon it stands a copper fire-holder; behind is a cast-iron fireback adorned with an armorial subject. In the lead-glazed window are two circular panels of painted glass.

Another example of a brass candelabrum, similar to the one above-mentioned, is shown by the drawing from Haarlem (page 127). It is of a type that was customary. Many such still exist in old-world rooms, suspended from high ceilings by chains or rods. Apart from their uses for purposes of illumination, they are highly successful as centre ornaments, for it will be seen how effectively they were made, with curved decorated brackets branching from shaped shafts. Patterns are various, but there are certain essentials common to all and a general resemblance between each. Thus, a particularly beautiful candelabrum in the Town Hall at Zwolle, with an image of the Virgin and pierced, leaf-like brackets, is but an elaboration of the simple familiar form. Some carry three lights only, ordinarily there are ten or twelve; while an example noticed at Haarlem, with twenty-seven candles, probably represents the extreme capacity of this old-fashioned system of lighting.

Of interior features, first in importance come the fireplaces. Great thought was given to the decoration of them, the appearance of many being rich beyond description. Numerous kinds of materials were used for their adornment; brick and stone, wood, marble and slate, coloured tiles and terra-cotta, all giving value to the imposing compositions. And although the materials were so various, they were skilfully combined to produce harmonious results. Fireplaces were brought forward from the walls and not set back within them. The openings were of ample size, wide and high. The jambs, enriched with mouldings or appearing as columns, supported massive hoods that extended upwards to the ceiling.

The fireplace at Maastricht (page 131) is a good specimen of the late Gothic type. It belongs to the year 1510, this date being carved on the centre scroll. Upon the sandstone jambs are worked Gothic mouldings which spring from shaped stops resting on square bases. The broad frieze is rich with carvings of angels, conventional flowers, cusps, and two shields, bearing the arms of Maastricht and LiÈge. The rear of the opening is lined with pressed terra-cotta tiles that exhibit a variety of designs in low relief. Against it is set an iron fireback ornamented with a heraldic device. The wooden figures on the mantel-shelf are merely placed thereon and are not inherent to the design.

Details of fireplaces changed with the passing of Gothic influences, although the olden form was still retained. Classic columns, or less frequently, human figures and grotesques, were substituted for moulded jambs. They commonly supported a carved oak frieze surmounted by a projecting cornice. Such chimney-pieces are by no means rare in Holland and may generally be ascribed to the seventeenth century. One, from Leeuwarden, has already been illustrated on page 129. Another example, from Middelburg, is here given (page 133). The columns are of white marble, but the jambs behind them, together with the bases and corbels, are of slate and are decorated with strapwork patterns. The oak mantel is inlaid with bands and panels of light wood. Tiles of blue, white and yellow cover the back, and border the upright sides of the iron hearth.

The chimney-piece at Amsterdam (page 130) is of an unusual pattern. It is situated in the room of the Bricklayers’ Guild and is of early seventeenth-century workmanship. The opening is framed of stone. Over the mantel-shelf is a curved pediment with the arms of Amsterdam carved upon it. Fitted to the chimney-breast above is a small oval painted panel enclosed by brickwork.

The fireplace from the Westerwold (page 135), now at Groningen, belongs to a later period than the preceding example. A wooden chimney-shelf and pilasters, almost black in colour, support the tapering hood. The back of the fireplace is faced with blue-and-white tiles and red bricks. A protecting fireback rests against it, while a hanger, hooked within the opening, holds the metal pot over the fire. The effect of this fireplace and its accessories, admirably decorative in themselves, is further enhanced by the pure white surrounding walls, and by the parti-coloured floor laid with red and yellow quarries.

Cast-iron firebacks have been noticed in the previous illustrations. They were generally used where fires burned on open hearths. The castings are rather light and thin, and were taken from wooden models. They are ornamented with floral and heraldic subjects, or designs suggested by classical myths and bible stories. Of the four examples illustrated on pages 132 and 134, two have armorial bearings, surrounded by rich borders, cast upon them. The one from Leiden is dated 1609, and the other, from Nijmegen, 1650. Both of the remaining specimens from Jisp and Middelburg, are decorated with figure subjects, bordered by fruit and scrolls and flowers. All the work is in rather low relief.

Fuel, in the form of peat or charcoal, was responsible for certain utensils in which it could be conveniently burned. One such is given on page 139. It is an iron fire-standard suited for holding peat, and was drawn in the Museum at Dordrecht. The lines of the design are good, especially to be observed in the engaged scrolls and shaping of the top. It is, withal, serviceably made. Small boxes containing fire, placed upon the floor in front of chairs, served as foot-warmers (page 148). They are of square or oval shape. The sides are frequently patterned and the lids perforated. Fires were also contained in iron pots which stood upon oak stools within the fireplaces; or they burned in little iron hearths, which were set towards the centre of the rooms, with no provision made for carrying away the smoke. The former system is exemplified by the drawing from Leeuwarden (page 137), and the latter by an illustration from a cottage at Marken (page 136).

A small crane is often seen attached to the back of the fireplace. A kettle or pot rests upon it, which might, if desired, be swung over or away from the fire. The specimen here reproduced (page 136) is from Leeuwarden. It has one simple movement, that of swinging backwards and forwards. The curved arm is made of brass, and shaped to resemble a fish. Out of the mouth comes the iron kettle-holder with a small chain affixed, handy for drawing it to and fro. Allied to the crane, and used for a similar purpose, is the hanger that was suspended from the flue. The two specimens appearing on page 139 are from Middelburg, and both are constructed of iron. They can be made to hang high or low, one by means of a ratchet, and the other by a catch, which fits into pierced holes and is shown in detail.

The set of fire-irons, also from Middelburg (page 139), furnishes admirable examples of useful objects, suitably adorned. The plate to which the fire-irons hang, with scallop-like indentations at its upper edge, is enriched with incised decoration, depicting a ship, trees, birds, letters, and the date of 1787. The tongs at the extreme left are so fashioned that one arm, being hollow, may be used as a blowpipe. Next in order is a ladle adapted for scooping up ashes from the hearth. Upon the flat handle is further incised ornamentation, based upon floral motives. The central object is a blowpipe, and a second pair of tongs completes the set. With the exception of some of the ends and terminations, which are of brass, these implements are made of iron, brightly polished.

In the glazed tiles, inseparably associated with Delft and other places in Holland, the Dutch had admirable material for interior decoration. Some tiles were pure white; others had conventional floral forms painted upon them. Many, again, were decorated with devices derived from scriptural, nautical, rural, historical, and classical sources. Units such as these, beautiful in themselves, were capable of giving lively and gay effects when arranged together. How satisfactorily they were used will have been already observed in the fireplaces previously described.

But, apart from giving value to fireplaces, they were employed in other ways. Notable rooms are to be seen whose good appearance depends primarily upon the skilful manipulation of tiles. Two such are illustrated, one in colour (opposite). They are from Hindeloopen, and are now in the Frisian Museum at Leeuwarden. The original woodwork of the coloured drawing belongs to the seventeenth century. The back of the fireplace, as well as the walls surrounding it, is faced entirely with tiles from floor to ceiling. Those towards the floor have blue and white patterns upon them; above, and in the window recess, they are white but for the narrow blue borders round the angles. These tiles were made at Makkum. Upon the floor are glazed quarries of red and black, laid in alternate colours. The room of the other illustration (page 137) dates from the eighteenth century. It has similar tiles on the walls and quarries on the floor. Floors were also laid with other coloured quarries, blue and green and yellow; while in larger houses stone and marble were employed with pleasing results.

Panelling was by no means infrequently applied to interior walls. It was often marked by elaboration rather than simplicity, although there are not wanting examples of rooms wainscoted with plain framed woodwork divided into panels by stiles and rails. Of ornamental panels there are certain definite kinds. Characteristic are those adorned with linen-fold patterns. Another design that was favoured is shown in the illustration taken from Zwolle (page 138), where carved vine ornaments appear between two curved and moulded scrolls set back to back. This particular example is attributed to the beginning of the sixteenth century. At a later date round-headed arches and pilasters were introduced, such as those exemplified from Leiden on this page, as well as carved friezes and moulded cornices. It is remarkable to note the great similarity between the development of panelling in Holland and in England. The earlier patterns employed in both countries are practically identical, while Dutch seventeenth-century woodwork bears great resemblance to that of our Jacobean period.

Wooden doors harmonised with the wainscot of the walls. They were divided into panels and often richly carved. Doorways were given importance by the pilasters and cornices that surrounded them. The door from Groningen (below) furnishes a seventeenth-century specimen, elaborately carved with forms peculiar to the time.

The metal fittings attached to doors—locks, bolts, hinges, handles, and the like—are of good design and workmanship. Two lock-plates (page 143), from the Rijks Museum at Amsterdam, belong to the sixteenth century. They are both made of iron. One, bearing the date of 1587, is decorated with projecting ornaments; the other is adorned with applied metalwork, pierced and carved. Further examples of iron door-furniture, simply but effectively treated, are illustrated by the handle from Middelburg and the bolt from Dordrecht (page 143).

A feature common to Dutch rooms is the small cupboard in the wall, wherein many and sundry articles were stored. The recess is sometimes merely covered by a curtain that may be drawn to and fro, such as can be seen at the left hand of the window in the coloured reproduction from Leeuwarden given here. But generally a wooden door was fitted to the opening. Some of these doors, with one or two panels, are quite plainly made. Others, highly decorated with carvings and metalwork, furnish examples of beautiful craftsmanship. Two are here illustrated (pages 143 and 144), which show how well and cunningly artificers in wood and metal exercised their skill. Both are of sixteenth-century workmanship, and are now in the Rijks Museum. Apart from the good wood-carving, the ironwork on each is notable. The three hinges, attached to the larger door, all have peculiarly graceful branched terminations; while the hinge of the second example is pierced and engraved with a floral pattern. The lock-plates, also, are admirably devised.

The further illustration of a Hindeloopen room from Leeuwarden (page 141) is especially interesting, for around the walls are cupboard-like apartments that afforded accommodation for sleeping. They are closed by wooden doors which have open-work panels at their heads to permit the passage of air. The beds, resembling a ship’s berths, are reached by flights of steps, two of which will be seen in the reproduction. These steps are movable and curiously shaped and painted, as is demonstrated by the flight in the foreground with its side boards made to imitate birds and flowers. Other old Dutch interiors—cheerful with coloured plates, tiles and quarries, shining brass and carved woodwork—furnish instances of this particular disposition of sleeping accommodation.

The old furniture was of a kind that well harmonised with the fitted woodwork and other decorations of the rooms. It is not unusual to find pieces of the seventeenth and eighteenth centuries amid surroundings similar to those for which they were originally intended. The rooms at Dordrecht (page 128) and Groningen (page 135) both have suitable furniture that valuably contributes to the success of the schemes. All is more or less directly useful; rooms were not crowded with objects that were neither utilitarian nor good to look upon. Most commonly occurring are chairs and tables, chests and cabinets. The earlier oak work was jointed and pegged together. It was very solidly made and ornamented in a reasonable way. Some of the large cabinets offer splendid examples of skilful handiwork, and an elaborate specimen, from Haarlem, appears on page 145. Two characteristic tables are also illustrated, one from Edam (page 145) and one from Amsterdam (page 146). In the eighteenth century it became the fashion in certain parts of Holland to heavily paint fitted and movable furniture with coloured patterns, the natural beauty of the wood being thus obscured. All kinds of objects were ornamented, and in a somewhat amateurish way. The favoured motifs were floral scrolls, little flowers, birds and animals, scriptural scenes, with pastoral and sea views.

Brass was much used in the making of domestic utensils. Familiar objects for many purposes were fashioned of this material. Brightly polished and shining, they were quite in accord with the prevailing gayness of the rooms and well harmonised with the fitted woodwork, furniture, tiles and other metalwork. Fireplaces were adorned with sundry articles of brass, some being purely ornamental, others achieving some useful mission. The brass chimney-crane (page 136) belongs to this latter class, as does the fire-side set reproduced on page 147. The latter is a particularly handy contrivance, for, being movable, it can be transferred from room to room. The stand takes the form of a baluster stem which rests upon an ornamental basic tripod; it is surmounted by a circular attachment that supports the kettle. Upon three curved arms, branching outwardly, the brush and tongs and shovel are hooked. This set is of eighteenth-century workmanship. The stand is 1 foot 11½ inches high, the tongs 23 inches long, the brush 21 inches long, and the shovel 23 inches long. An example of the portable foot-warmers for placing on the floor in front of chairs, such as have been already mentioned, is here illustrated (page 148). It is made of brass and has eight sides. Each upright side decorated with repoussÉ work, circular bosses alternating with panels of flowers. The slightly curved top has a medallion in the centre, engraved with the letters and date “i. w. hm. 1733.” It is surrounded with floral scrolls, geometrically arranged, and between the patterns are pierced holes through which the heat is distributed.

The candlestick (page 148), also of brass, belongs to the eighteenth century. It has two curved brackets which are adjustable, as will be seen by the hinged attachments in the illustration. The height is 18¼ inches and the width, from bracket to bracket, is 12? inches. Another old-fashioned object used for lighting is the brass lantern with arched top (page 148). All the three windows are surrounded by a border of floral openwork, very finely pierced with a pattern common to the eighteenth century. The fourth side, forming the back, has a panel in the centre.

The cover of the warming-pan, given on page 147, furnishes an excellent specimen of perforated and engraved brasswork. The central figures represent Venus and Cupid, while interwoven with the strap and foliated ornaments are grotesque figures, beasts and birds. Each little part of the design is engraved, and around the outer margin of the pan is a Dutch inscription which embodies the date of 1602. Further well-executed piercing and engraving, but of a later date than the above, appear on the tea-caddy here illustrated (page 148). This latter object is 6 inches high and 4 inches wide. The pastille-burner (page 148) is made wholly of brass. Upon the baluster stem and circular base are rococo designs beaten-up in relief. Made of wickerwork, the coffer reproduced on page 147 is adorned with handsomely shaped and perforated brass mounts that extend around it.

The corridor at Hoorn (page 149) belongs to the seventeenth century. It has a timber roof springing from the two side-walls in the form of a barrel-vault. Upon the concave surface are longitudinal and transverse ribs whose intersections are emphasised by carved bosses. The vault is supported at each side by decorated wooden brackets. Another detail associated with a place of access is the wrought-iron railing from Zierikzee (page 146).

And lastly, three typical village interiors are given. Two, from Volendam (above) and Marken (page 151), have simple fireplaces faced with ordinary blue and white Dutch tiles. Another shows a room in a wooden house at Marken (page 152), the timbering of the walls being visible.

But it is the old towns of Holland, rather than the villages, that hold the charms for those who sojourn in that fascinating country; towns rich in associations that unbrokenly date back to a buried and untraceable antiquity. In them history has been made. There stand the old and sober gabled buildings, silent monuments to the thoughts, ideals and ambitions of those who built them. And, clustering around the market-places where life yet centres as it did in days gone by, or reflected in still waters, the houses keep their secrets well.

Sydney R. Jones.