De \u27meesters van het steenwerck\u27 en de Sint-Laurenskerk te Rotterdam

After Besemer\u27s building-historical research (note 2) in this article an effort has been made to investigate the place of the St Laurens church in the architecture of its time. A comparison with similar projects in the surroundings, for which more data were available in the records, proved to be necessary. In the County Holland the Brabant stone trade had secured the market with an increasingly sizeable supply of hewn material. For the commissioners the choice of the material, the delivery period and obtaining a reasonable price were particularly important. For this purpose a master of the stonework was enlisted as an adviser, who only came over from time to time, on call, sometimes for just one piece of advice, for other works for many years\u27 guidance from a distance. In Rotterdam the hand of such a master is to be recognised at the points of time when the two large orders of stone were made. The first adviser must have been called in around 1463, when the contracts for the stone of the nave were concluded. It is likely that the Utrecht cathedral architect Jacob van der Borch was charged with this task. A second leader was necessary around 1488, when the large bulk of stonework for the choir and the transepts had to be arranged. By that time the use of stone had increased to such an extent that more stonemasons and advisers were available. It is clear that the major masters, Anthonis Keldermans and Cornelis de Wael were passed over and a local figure was charged with the leadership. The latter concurred with the nave, which resulted in a complete interior, but effected a fascinating and original composition of the choir section. A master of the St John\u27s church in Gouda may have played this role. At any rate, the St Laurens church originated from a co-operation between the Brabant stone trade and the Dutch masters and their advisers

Het Amsterdamse fabrieksambt van 1595-1625

The fact that architecture in the Northern Netherlands was flourishing in the early 17th century, at the moment when the war against Spain was taking a favourable turn, manifested itself most clearly in Amsterdam. The building trade of this rapidly growing town ('stadsfabrieksambt' / public works) was expanding. Everything that the town wished to be built was designed and made by public works. In 1595 its leadership was renewed, Hendrick Jacobsz Staets was appointed town carpenter, Cornelis Danckertsz town bricklayer and Hendrick de Keyser (1565-1621) town mason and sculptor. As the archives of public works were lost, little is known about the cooperation between these three. Too many ill-founded contemplations have been devoted to the assumed bad relationship between Staets and De Keyser. However, gradually we have learned more about Hendrick de Keyser's private work for other towns and for private persons. We have compared this private work with the many small buildings the town had built between 1600 and 1621. It proves to form a unity with these. It seems likely that Staets initially also designed buildings - which was customary for a town carpenter - and called in De Keyser for the decorative work. After approximately 1605, however, De Keyser designed all new construction for the town. His work shows a personal use and an autonomous development of the motifs of Architectura Moderna (1577) of Hans Vredeman de Vries. The major aspects he derived from it are the differences in design of each floor, the window coverings which were incorporated into the main frames separating the floors, and the enlivenment of the wall sections by means of niches or chinks. Around 1610 Hendrick De Keyser's style was getting more mature. The small natural-stone blocks in the window arches made way for a few larger blocks. Thus a new fashion in the architecture of facades started. He also experimented with triangular arches after the model of the Porta Pia by Michelangelo. The many interruptions in the cornices made his work a typical example of Dutch Mannerism. On the other hand, his work also reveals pre-Classicist characteristics. And in this, too, he follows the work of Vredeman de Vries. Nowadays the latter is too often regarded as a source of inspiration for incoherent gables, in spite of the fact that among his examples there are more buildings with hipped roofs than with gables. The oldest pre-Classicist building in Amsterdam was the weighhouse at Dam square, dating back to 1563. From that moment on buildings with Classicist and Mannerist characteristics arose in the town. Until after 1630 Jacob van Campen and Philips Vingboons definitely guided architecture into the direction of Classicism

Beschouwingen rond de huizencollectie van de Vereniging Hendrick de Keyser

The private Hendrick de Keyser Association, founded in 1918, now owns approximately 350 premises on the basis of which further study of the Dutch dwelling is possible. Research was not the object of the Association; its main concern was to save the premises by acquisition, restoration and responsible management. In the first decade the Association acquired 62 premises, which were restored in an austere manner. In 1928 all the houses appeared full-page in a memorial book containing 14 different contributions: Oud-Hollandse bouwkunst en haar behoud. In 1939 the Association owned 85 premises; after an introduction they were described chronologically by F.A.J. Vermeulen in the subsequent jubilee book of which reprints appeared in 1943 and 1944. After the Second World War the collection steadily increased to 170 in 1968, which induced monument conservers R. Meischke and H.J. Zantkuijl to write Het Nederlandse Woonhuis van 1300-1800. A typology of houses was made on the basis of the internal structure, paying particular attention to the woodwork of the houses, such as the timber frames, wooden beams and lower fronts. Side rooms, entresols, upstairs flats and rear annexes were described and for the first time types like the broad and the double house were discussed. After 1969 the collection of houses doubled, which gave rise to a four-volume publication, started in 1993, on the occasion of the 75th anniversary of the Association, and completed in 2000. Each volume consists of a description of related landscapes and an approximately similar number of houses. Each volume by itself is autonomous and includes a general, often thematically coloured introduction. The structure of the building trade was chosen as a main theme in an attempt at surveying architecture and technology as a unity. Through building-historical and dendrochronological research it is now possible to date the woodwork accurately, something that used to be so elusive. For the new publication the old team of the Amsterdam Bureau for the conservation of monuments was available again: Zantkuijl, Raue and Meischke, together with the young art historian Paul Rosenberg who described each house once again and added historical data. The author works out a number of conclusions in the article, such as the organisation of the building trade, the role of carpenters and bricklayers, the influence of commissioners, the guilds and the urban building practice, the trade in building materials and the role of qualified architects

De 'meesters van het steenwerck' en de Sint-Laurenskerk te Rotterdam

After Besemer's building-historical research (note 2) in this article an effort has been made to investigate the place of the St Laurens church in the architecture of its time. A comparison with similar projects in the surroundings, for which more data were available in the records, proved to be necessary. In the County Holland the Brabant stone trade had secured the market with an increasingly sizeable supply of hewn material. For the commissioners the choice of the material, the delivery period and obtaining a reasonable price were particularly important. For this purpose a master of the stonework was enlisted as an adviser, who only came over from time to time, on call, sometimes for just one piece of advice, for other works for many years' guidance from a distance. In Rotterdam the hand of such a master is to be recognised at the points of time when the two large orders of stone were made. The first adviser must have been called in around 1463, when the contracts for the stone of the nave were concluded. It is likely that the Utrecht cathedral architect Jacob van der Borch was charged with this task. A second leader was necessary around 1488, when the large bulk of stonework for the choir and the transepts had to be arranged. By that time the use of stone had increased to such an extent that more stonemasons and advisers were available. It is clear that the major masters, Anthonis Keldermans and Cornelis de Wael were passed over and a local figure was charged with the leadership. The latter concurred with the nave, which resulted in a complete interior, but effected a fascinating and original composition of the choir section. A master of the St John's church in Gouda may have played this role. At any rate, the St Laurens church originated from a co-operation between the Brabant stone trade and the Dutch masters and their advisers

Selected Factors Affecting Sewing Machine Care and Maintenance

Clothing, Textiles and Merchandisin

In vivo and in vitro studies on bovine papilloma virus

An abattoir survey reported an overall teat papillomatosis prevalence of 36% in 721 cattle examined. Affected animals possessed an average of five papillomas on each of two affected teats. Significant sex differences occurred in the prevalence of the disease, and nulliparous female cattle had significantly fewer affected teats than parous females. Morphologically separable lesions were seen and on histological examination were shown to be papillomas, fibropapillomas and focal epithelial hyperplasia-like lesions. Bovine papilloma virus was extracted from all three lesion types. Electron microscopic examination revealed that BPV extracted from teat papilloma, fibropapilloma and focal epithial hyperplastic lesion had significantly different particle diameters. Polyacrylamide gel electrophoresis of BPV from cutaneous fibropapillomas showed a major capsid protein band which has a consistently higher apparent molecular weight than teat lesion extracts. Epidemiological evidence suggested the presence of at least two separate virus/ host interactions were present since the distributions of the individual teat lesions differed in both number and shape of curves When single case, single lesion type BPV extracts were inoculated into experimental calves, four morphologically separable lesions resulted. BPV from teat and cutaneous fibropapillomas produced cutaneous fibro-papillomas which were morphologically indistinguishable from each other; BPV from anogenital fibropapillomas produced cutaneous fibropapillomas morphologically separable from those above; BPV from teat papilloma and focal epithelial hyperplastic lesions produced papilloma and focal epithelial hyperplastic lesions respectively on transmission to normal bovine skin. BPV was extracted from all transmitted lesions. Experimental calves were challenged with BPV from all five lesion types and a differential immunity was demonstrated. The fibropapilloma calves were immune to challenge with most but not all fibropapilloma isolates, but susceptible to challenge with teat papilloma and focal epithelial hyperplasia isolates. Conversely papilloma and focal epithelial hyperplasia BPV infected calves remained susceptible to all fibropapilloma isolates and regression of fibropapillomas was not accompanied by the regression of the former lesions. It was considered that two broad virus categories occurred with papilloma and focal epithelial hyperplasia BPV forming one and fibropapilloma BPV the other category. Within these two categories there were morphological and developmental differences suggesting further heterogeneity which may be confirmed with the use of larger numbers of experimental animals. When inoculated intracerebrally, two fibropapilloma BPV isolates produced meningiomas. One isolate was from a single case of cutaneous fibropapillomas. The other was from cutaneous fibropapillomas which appeared along scarification lines of a calf experimentally inoculated with BPV extracted from a pooled sample of alimentary lesions. A third calf, intracerebrally inoculated with BPV from single case teat focal epithelial hyperplastic lesions, developed similar lesions at intradermal sites but did not develop a meningioma,, In vitro, foetal bovine skin, conjunctiva, palate and meninges derived cell cultures were shown to be sensitive to transformation by BPV extracted from fibropapillomas but not papillomas and focal epithelial hyperplastic lesions. Only two skin cultures were sensitive and both of these came from near-term foetuses. Cultures from the pia mater and arachnoidea were sensitive while dura mater derived cultures were not. The in vitro transformation assay was developed and shown to be more sensitive and precise than haemagglutination, however the two systems probably measure different parameters. No significant differences occurred in the transformation titre of two BPV isolates when different tissues of the same foetus and the same tissues of different foetuses were used. BPV transformed cells were shown to be tumourigenic in nude mica but not in calves following intracerebral, subcutaneous, intradermal and submucosal injection., However, inoculated calves showed an increased in vivo resistance to challenge with fibropapilloma derived BPV but not papilloma or focal epithelial hyperplasia derived BPV. BPV-transformed cells showed an increased lifespan when compared with control cultures. (Abstract shortened by ProQuest.)

Een tekenboekje uit 1812 en 19de-eeuwse huisplattegronden

Een tekenboekje uit 1812 en 19de-eeuwse huisplattegronden The 'drawing book' from 1812 was compiled by the building contractor and architect Johannes van Straaten (1781-1856). He exerted himself for the education of young building engineers. The booklet provided training in contract drawing, which concerned the very precise drawings belonging to building specifications. As examples Van Straaten designed a few modern houses. Since not much was built in those days, these examples are important. The booklet contains two kinds of examples, the first being a group of four civilian houses, the second three large houses for the rich. Only the former group of four is dealt with here, forming a coherent series of simple to more luxurious houses. The façades are modern, the floor plans still show the old-fashioned layout with three successive rooms. However, they are provided with modern elements such as doublé doors (porte-brisé) between rooms and alcove niches for beds. The most important aspect was the change in the form of staircases. The staircases were now placed against the side wall, with the corridors running between the staircase and the rooms. The front and back rooms were equally wide and connected en suite. This new form of staircase proved to be suitable for complete houses as well as for flats and left its mark on 19th century housing

Een tekenboekje uit 1812 en 19de-eeuwse huisplattegronden

Een tekenboekje uit 1812 en 19de-eeuwse huisplattegronden The \u27drawing book\u27 from 1812 was compiled by the building contractor and architect Johannes van Straaten (1781-1856). He exerted himself for the education of young building engineers. The booklet provided training in contract drawing, which concerned the very precise drawings belonging to building specifications. As examples Van Straaten designed a few modern houses. Since not much was built in those days, these examples are important. The booklet contains two kinds of examples, the first being a group of four civilian houses, the second three large houses for the rich. Only the former group of four is dealt with here, forming a coherent series of simple to more luxurious houses. The façades are modern, the floor plans still show the old-fashioned layout with three successive rooms. However, they are provided with modern elements such as doublé doors (porte-brisé) between rooms and alcove niches for beds. The most important aspect was the change in the form of staircases. The staircases were now placed against the side wall, with the corridors running between the staircase and the rooms. The front and back rooms were equally wide and connected en suite. This new form of staircase proved to be suitable for complete houses as well as for flats and left its mark on 19th century housing

De herbouw van het huis Amerongen (1673-1685)

The proceedings during the reconstruction of Amerongen castle in the years 1673-1685 were exceptionally well-documented thanks to the extensive correspondence of the client Godert Adriaan van Reede with his wife Margaretha Turnor, his son, his secretary and his friend Johan Maurits van Nassau-Siegen, and thanks to some well-preserved reports and drawings of the building contractor Hendrick Schut. From the start the client had probably formed a idea of his new castle; its design, however, was supervised by Schut, who was also the building contractor and master carpenter of the work, assisted by the master mason Cornelis van Rietvelt and the stone mason Jan Prang. In February 1673 the castle was set fire to by French troops and completely destroyed. From September 1673 Van Reede himself was in the Netherlands for a few years and could therefore prepare the reconstruction in person and supervise the start of the work. First it was mostly a matter of clearing rubble and chiselling off all the still usable bricks. In spite of permanent financial problems he succeeded in keeping up the pace. In the autumn of 1676, two years after the commencement of the work, the shell of the building was completed. While the interior was worked at in stages during the subsequent years, from 1679 the stable building and the two staff residences were also erected on the outer bailey. With the placing of the marble chimneys in the large hall in 1685 the work was largely completed. Although the old foundations were used for the reconstruction, a completely new building, with a new plan was created, to some extent based on the example of The Hague Mauritshuis. Instead of a complex of four wings around an inner courtyard, a closed three-nave building block was constructed. This switch to a completely different type of house fits in with a wider tradition in the development of castle architecture in the Province of Utrecht in the seventeenth century. The history of Amerongen castle shows that such a monumental building was the result of an intensive cooperation between craftsmen and clients, while both parties also consulted their own advisers: Schut and Van Rietvelt appear to have held consultations with Adriaan Dortsman in Amsterdam from time to time, while Van Reede and his wife were advised by their son and by Johan Maurits van Nassau-Siegen, who in his turn may have conferred with Maurits Post. In the preparatory phase various versions of the design circulated, in which different ideas for the spatial composition were demonstrated. Once the construction had started, there were constant consultations about all parts of the work, again by showing various versions on which everyone could give his or her opinion

De laatste oude huizen van Rotterdam. Haringvliet Zz

The approximately ten houses preserved along the Haringvliet after 1940, provide an insight into the development of Rotterdam merchant houses. This unique type of house was built because of local conditions. As a result of the soft building land and high flood tides the warehouse was downstairs and the living space upstairs in these houses. Thus the weight of the goods was divided over the floors and the walls were less burdened. The joint walls prescribed here made complete rebuilding of the houses almost impossible. Their history consisted in minor and major conversions. Because the street was raised by a total of nearly two metres, the inner height of the warehouses was diminished, so that the facades had to be renovated several times.Around 1675 the first floor of these expensive houses became a favourite project. This floor could only be constructed above the warehouse and covered the entire depth of the house. A frequently used lay-out was developed, with a light well in the middle and two large rooms both in the front and the back part of the house. On each of the exterior walls there was a hall, and on both sides of the light well a large room. In both parts of the house there were staircases, of which the one in the back part was most important. In the light well there was a low connecting room deriving its name from the crowning lantern.On one side there was a hallway with stucco vaults, in many cases extending up to the façade, from where the light flowed in. This hallway was connected to the front door by a monumental, little-used staircase. The domestic rooms were accommodated in the back part under the first floor. The entrance to these rooms was through the warehouse.Gradually the household began to require more space, just as the merchant's administration. Around 1700 the warehouse was abandoned in the larger houses and replaced by a room on the street side with one or two windows next to the monumental front door. Only one entrance was left in these large houses, which was used by everyone alike. Consequently, along the harbours two types of houses were to be found, the traditional one with a warehouse downstairs and the more modern type with a domestic ground floor.A design for a contest dating from 1860 proposes a similar house, on a site that is strongly reminiscent of the house along the Haringvliet. It is the final stage in the development that took place along the Haringvliet. The houses built in the new districts a few years later, were smaller and more practical. The new functions. such as office space and household facilities could no longer be accommodated within the walls of the houses