33 research outputs found

    De eerste Kamer, of: de zin van rivaliteit

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    Rede uitgesproken door Prof.dr. J.Th.J. van den Berg Ter gelegenheid van zijn afscheid als hoogleraar Parlementaire Geschiedenis aan de Universiteit Leiden op 29 september 2006Populariserende publicati

    Het belang van het Binnenhof

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    Het Haagse Binnenhof is tegenwoordig een vanzelfsprekendheid. Er gaat geen dag voorbij dat de vergaderzaal van de Tweede Kamer, de Ridderzaal en de gebouwen langs de Hofvijver niet in de media te zien zijn en plaatsen als het Torentje, de Trêveszaal of Nieuwspoort zijn inmiddels begrippen op zich. Een nationale overheid in Nederland zonder ‘politiek Den Haag’ is dan ook nauwelijks meer voor te stellen. Toch is het historische Binnenhof als zetel van regering en parlement de voorbije eeuwen niet altijd onomstreden geweest. Gedurende de negentiende en twintigste eeuw stond de huisvesting van de belangrijkste politieke organen van ons land vrijwel voortdurend ter discussie. Plannen om het regeringscentrum te verplaatsen, de voormalige grafelijke residentie tot de grond toe af te breken en te vervangen door grootschalige nieuwbouw bleven echter grotendeels onuitgevoerd. In dit boek laat historicus Diederik Smit aan de hand van een analyse van bovengenoemde discussies zien hoe het Binnenhof in voorbije tweehonderd jaar kon uitgroeien tot hét politieke centrum van het land: van een vervallen en verlaten complex tot het hart van de Nederlandse democratie.Political Culture and National Identit

    Gewapend met kennis : 500 jaar militaire boekcultuur in Nederland

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    Het idee dat oorlogvoering niet alleen een praktisch vak is, maar ook een goede theoretische onderbouwing nodig heeft, ontstond al aan het eind van de vijftiende eeuw. Daarbij speelde de boekdrukkunst als nieuw communicatiemiddel een cruciale rol, want juist via het gedrukte woord konden kennis en informatie op krijgskundig gebied gemakkelijk en breed worden verspreid. Aan dit aspect is tot nu toe nauwelijks aandacht besteed en er bestaat van geen enkel land een algemene studie over militaire boekcultuur. Gewapend met kennis presenteert een eerste overzicht van de rijke Nederlandse militaire boekcultuur: van de eerste militaire vakbibliotheek, in 1600 ontstaan aan de Leidse universiteit, tot de eerste druk van het bekende Handboek voor de soldaat uit 1933. De eerste werken werden gedrukt door Christoffel Plantijn in Antwerpen, maar al snel werden Den Haag en Amsterdam het centrum van de Nederlandse militaire publicistiek. Tot in de achttiende eeuw was de Nederlandse Republiek zelfs internationaal een belangrijke producent van militaire literatuur. De auteur had voor zijn onderzoek toegang tot het omvangrijke en unieke historisch boekbezit aanwezig in het cultureel erfgoed van Defensie. Gewapend met kennis bevat een schat aan materiaal voor onderzoekers, geïnteresseerden en erfgoedinstellingen, en geeft de militair een ander gezicht.LEI Universiteit LeidenSponsors uitgave proefschrift: J.E. Jurriaanse Stichting Stichting Fonds voor de Geld- en Effectenhandel Stichting dr Hendrik Muller's Vaderlandsch Fonds, Frederik Mullerfonds Mevr. I. de la Fontaine Verwey-le Grand Anonieme schenkerMedieval and Early Modern Studie

    Koninklijk erfgoed van het verlies. Het Haagse Willemsparkhof in negentiende-eeuwse Europese context

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    In contrast to other European countries 19 th century-court architecture in the Netherlands has not left a strong imprint on public memory. Just as most historical cities, most palaces in the Netherlands were restored in 17 th century Dutch Classicist Style, suggesting that after the Golden Age nothing happened. This article shows that such an impression is misleading. Focusing on the new monarchy of the Restoration era (1813-1848) it becomes clear that the first Orange kings William I and II started impressive building campaigns in both the Southern and Northern Netherlands, comparable to those of the 17 th century. Prince Frederick Henry and the Anglo-Dutch King-Stadtholder William III. Remarkably, in the early 19 th century the most magnificent palaces in neoclassicist style - except for Soestdijk - were built by the prince royal in and around Brussels. Nevertheless, the Belgian revolution of 1830 ended the role of the Orange dynasty in Brussels, after which royal and princely palaces, summer houses, and art collections were appropriated by the new Belgian monarchy. Although most of them are still in use, their origin has been completely forgotten. Strangely, this also happened to King William II's new palaces of the 1830s and 1840s in Windsor Tudor Style. This so-called William II Gothic was very popular at the time, but from the 1870s no longer fashionable in Protestant court circles after having been appropriated by Roman-Catholic architects for church building. The King was influenced by the memory of his Oxford college days, as can still be seen in the Gothic Hall of his Kneuterdijk Palace in The Hague, designed by himself as a Painting Gallery modelled after the hall of Christ Church College. A much larger project, however, the so-called Zorgvliet Palace at his huge private domain Williams Park between his The Hague palaces and the beach of Scheveningen, had a different origin. With the help of the English architect Ashton, the King made plans for a residential palace that would surpass his lost Brussels palaces and compete with the royal 'court scapes' of Versailles, Windsor and Potsdam. Connected by kinship and marriage to the Hohenzollern, William II shared the Prussian longing for castellated palaces as developed by Schinkel for his sisters, brothers and nephews in Germany. Nevertheless, palace building was stopped abruptly after the liberal revolution of 1848, when the Orange court lost its political power and almost went bankrupt because of overspending. After William II's death in 1849 the court had to sell its magnificent art collection, and William III - who disliked Roman Catholics and the Gothic Revival - sold most of his father's palaces. For almost three decades palaces in the Netherlands were only built by the king's relatives, such as his uncle Prince Frederick who owned the famous estate Muskau at the German-Polish Border as well as the Dutch estate The Horsten near The Hague. With the help of the Prussian architect Wentzel and the Muskauer landscape designer Petzold, Frederick introduced the Schinkel Style in the Netherlands. Nevertheless, enriched by the inheritance of his brother Prince Henry grand duke of Luxembourg, William III started a last royal building campaign in the 1870s, supporting the Baroque Revival of his favourite Eberson. Just as in the case of his father, his new plan for a residential castle at Zorgvliet failed, however, and after the king's death in 1890 the royal domains in and around The Hague were sold to the city government and some private investors. Ironically, near Lord Portland's former summer house Zorgvliet or Catshuis (used today as the official residence of the Prime Minister), the Carnegy Foundation built the famous Peace Palace in French Neo-Renaissance Style in the early 20 th century, which could be seen as the final outcome of the royal dream of a Williams Park Court

    Koninklijk erfgoed van het verlies. Het Haagse Willemsparkhof in negentiende-eeuwse Europese context

    Get PDF
    In contrast to other European countries 19 th century-court architecture in the Netherlands has not left a strong imprint on public memory. Just as most historical cities, most palaces in the Netherlands were restored in 17 th century Dutch Classicist Style, suggesting that after the Golden Age nothing happened. This article shows that such an impression is misleading. Focusing on the new monarchy of the Restoration era (1813-1848) it becomes clear that the first Orange kings William I and II started impressive building campaigns in both the Southern and Northern Netherlands, comparable to those of the 17 th century. Prince Frederick Henry and the Anglo-Dutch King-Stadtholder William III. Remarkably, in the early 19 th century the most magnificent palaces in neoclassicist style - except for Soestdijk - were built by the prince royal in and around Brussels. Nevertheless, the Belgian revolution of 1830 ended the role of the Orange dynasty in Brussels, after which royal and princely palaces, summer houses, and art collections were appropriated by the new Belgian monarchy. Although most of them are still in use, their origin has been completely forgotten. Strangely, this also happened to King William II's new palaces of the 1830s and 1840s in Windsor Tudor Style. This so-called William II Gothic was very popular at the time, but from the 1870s no longer fashionable in Protestant court circles after having been appropriated by Roman-Catholic architects for church building. The King was influenced by the memory of his Oxford college days, as can still be seen in the Gothic Hall of his Kneuterdijk Palace in The Hague, designed by himself as a Painting Gallery modelled after the hall of Christ Church College. A much larger project, however, the so-called Zorgvliet Palace at his huge private domain Williams Park between his The Hague palaces and the beach of Scheveningen, had a different origin. With the help of the English architect Ashton, the King made plans for a residential palace that would surpass his lost Brussels palaces and compete with the royal 'court scapes' of Versailles, Windsor and Potsdam. Connected by kinship and marriage to the Hohenzollern, William II shared the Prussian longing for castellated palaces as developed by Schinkel for his sisters, brothers and nephews in Germany. Nevertheless, palace building was stopped abruptly after the liberal revolution of 1848, when the Orange court lost its political power and almost went bankrupt because of overspending. After William II's death in 1849 the court had to sell its magnificent art collection, and William III - who disliked Roman Catholics and the Gothic Revival - sold most of his father's palaces. For almost three decades palaces in the Netherlands were only built by the king's relatives, such as his uncle Prince Frederick who owned the famous estate Muskau at the German-Polish Border as well as the Dutch estate The Horsten near The Hague. With the help of the Prussian architect Wentzel and the Muskauer landscape designer Petzold, Frederick introduced the Schinkel Style in the Netherlands. Nevertheless, enriched by the inheritance of his brother Prince Henry grand duke of Luxembourg, William III started a last royal building campaign in the 1870s, supporting the Baroque Revival of his favourite Eberson. Just as in the case of his father, his new plan for a residential castle at Zorgvliet failed, however, and after the king's death in 1890 the royal domains in and around The Hague were sold to the city government and some private investors. Ironically, near Lord Portland's former summer house Zorgvliet or Catshuis (used today as the official residence of the Prime Minister), the Carnegy Foundation built the famous Peace Palace in French Neo-Renaissance Style in the early 20 th century, which could be seen as the final outcome of the royal dream of a Williams Park Court
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