De eerste protestantse tempels in de Nederlanden. Een onderzoek naar vorm en perceptie

In the autumn of 1566, soon after the fierce iconoclasm troubles, the Protestant urban communities erected several temples in the Low Countries. After one year only, these temples were destroyed as a result of the order given by the regent Margaret of Parma. Archival sources and tangible material are very rare and have survived for only a few of these. Three temples in Antwerp had an elliptically shaped ground plan and had been constructed of wood on a stone basement. The temple at Gent, known from a description and a sketch by Van Vaernewijck, was octagonal in shape and made with wooden posts and bricks with a straw roof. Here, a ‘classically’ designed pulpit was placed in the center. Men and women were seated separately. Temples were also erected in Oudenaarde, Haarlem, Gorcum and Leiden. However, no additional information has been found in these cases. The choice of materials and finishing used in the temple construction suggests continuation of an age-old shed building practice. The preference for a centrally planned design is likely to have been prompted by a liturgical need to bring together as many people as possible within hearing distance of the preacher. However, one cannot exclude an influence of Renaissance treatises, such as the Flemish translation of the fifth book of Serlio published by Mayken Verhulst, the wife of Pieter Coecke van Aelst, at Antwerp in 1553. The appearances as well as the functional organisation of the temples are related to contemporary and later French examples such as 'Le Paradis' at Lyon (1563) or the temples of Dieppe (1600) and Caen (1611). Protestant communities had close connections with each other on an international level and concepts about temple building were undoubtedly widely held. Although an influence of the Temple of Salomon, traditionally presented as round shaped, is often suggested, contemporary descriptions do not confirm this view. Only in later texts this connection is made, possibly inspired by the early 17th-century Protestant building and legitimisation practice, where the topic of the Temple of Salomon is used very often

M & L Jaargang 30/4

Joris Snaet - Het Justitiepaleis van Brussel (1866-1883). [The Brussels Courthouse (1866-1883).]Wat ooit de trots was van de jonge Belgische natie, is momenteel een monument met een onzekere toekomst. Naast associaties met het Griekse Parthenon, het Romeinse Capitool, Babylonische paleizen en Egyptische labyrinten, deden over het Brusselse justitiepaleis ook tal van duistere politieke machinaties en geheime complotten de ronde. Veel verhalen en legendes rond dit gebouw, dat opvalt omwille van zijn buitenmaatse proporties en surrealistische inplanting in een voormalige woonwijk, konden na grondig bronnenonderzoek naar het rijk der fabels verwezen worden. Vandaag is het gebouw in het licht van een aantal actuele gebeurtenissen en nieuwe ideeën opnieuw stof voor discussie.Opmerkelijk genoeg bestaan tot op heden over dit belangrijke paleis nog maar weinig studies, iets waar bouwhistoricus Joris Snaet verandering in brengt. Hij worstelde zich doorheen het omvangrijke bronnenmateriaal inclusief verhalen, legenden én de verslagen van de Kamer van Volksvertegenwoordigers om uit te komen bij nooit eerder gepubliceerde plannen en informatie over het verloop van de bouwwerken van het justitiepaleis. Niet zonder enige trots brengt het tijdschrift M&L, in dit vierde nummer van haar 30ste jaargang, de resultaten van een indrukwekkend onderzoek naar een uniek en waardevol monument.Summar

De eerste protestantse tempels in de Nederlanden. Een onderzoek naar vorm en perceptie

In the autumn of 1566, soon after the fierce iconoclasm troubles, the Protestant urban communities erected several temples in the Low Countries. After one year only, these temples were destroyed as a result of the order given by the regent Margaret of Parma. Archival sources and tangible material are very rare and have survived for only a few of these. Three temples in Antwerp had an elliptically shaped ground plan and had been constructed of wood on a stone basement. The temple at Gent, known from a description and a sketch by Van Vaernewijck, was octagonal in shape and made with wooden posts and bricks with a straw roof. Here, a ‘classically’ designed pulpit was placed in the center. Men and women were seated separately. Temples were also erected in Oudenaarde, Haarlem, Gorcum and Leiden. However, no additional information has been found in these cases. The choice of materials and finishing used in the temple construction suggests continuation of an age-old shed building practice. The preference for a centrally planned design is likely to have been prompted by a liturgical need to bring together as many people as possible within hearing distance of the preacher. However, one cannot exclude an influence of Renaissance treatises, such as the Flemish translation of the fifth book of Serlio published by Mayken Verhulst, the wife of Pieter Coecke van Aelst, at Antwerp in 1553. The appearances as well as the functional organisation of the temples are related to contemporary and later French examples such as 'Le Paradis' at Lyon (1563) or the temples of Dieppe (1600) and Caen (1611). Protestant communities had close connections with each other on an international level and concepts about temple building were undoubtedly widely held. Although an influence of the Temple of Salomon, traditionally presented as round shaped, is often suggested, contemporary descriptions do not confirm this view. Only in later texts this connection is made, possibly inspired by the early 17th-century Protestant building and legitimisation practice, where the topic of the Temple of Salomon is used very often

De Mariale bedevaartskerk van Scherpenheuvel. Een onderzoek naar dynastieke relaties en de verspreiding van ontwerpen en denkbeelden over architectuur

The church of Scherpenheuvel was built from 1609 during the reign and with the support of Archdukes Albrecht and Isabella, who were personally closely involved in the adoration of the miraculous statue of the Virgin Mary. The church building forms the centre of the seven-cornered concentrically laid-out town square already designed for it, which at that time embodied the most modern views on ideal town planning. The dome-shaped church is built in an utterly modern Italian architectural language and its concept implies a complete break with the local tradition (Illustr. l, 2, 3). Until now the court architect of the Archduke and Archduchess, Wenceslas Cobergher, who had spent a long period in Rome, was considered to have provided the inspiration for the church building. Within the direct family context of the Archduke, however, we come across a building project of which the form language and meanings show strong similarity with Scherpenheuvel. On March 11, 1585 Carlo Emanuele I, duke of Savoie and Prince of Piemont, married his cousin, Catalina Michaela and younger sister of the Archduchess Infanta Isabella, in Zaragoza. When Catalina unexpectedly dies in 1597, the duke decides to bury her in the church of Mondovi, a Marian pilgrims' church designed on the basis of an oval-shaped central ground plan, which had been started a few years previously. It is likely that Albrecht was told about this project just before and during his honeymoon, when he stayed in the duchy of Savoie for some months. The occurrence of this architecture project within the family context of Archduke Albrecht makes it very likely that he had claimed a more prominent role for himself in the active design process of the church of Scherpenheuvel than was assumed until recently. Contemporary examples show that other monarchs also regarded this as an appropriate regal occupation and used these architectural designs to visualize their political aspirations

De Mariale bedevaartskerk van Scherpenheuvel. Een onderzoek naar dynastieke relaties en de verspreiding van ontwerpen en denkbeelden over architectuur

The church of Scherpenheuvel was built from 1609 during the reign and with the support of Archdukes Albrecht and Isabella, who were personally closely involved in the adoration of the miraculous statue of the Virgin Mary. The church building forms the centre of the seven-cornered concentrically laid-out town square already designed for it, which at that time embodied the most modern views on ideal town planning. The dome-shaped church is built in an utterly modern Italian architectural language and its concept implies a complete break with the local tradition (Illustr. l, 2, 3). Until now the court architect of the Archduke and Archduchess, Wenceslas Cobergher, who had spent a long period in Rome, was considered to have provided the inspiration for the church building. Within the direct family context of the Archduke, however, we come across a building project of which the form language and meanings show strong similarity with Scherpenheuvel. On March 11, 1585 Carlo Emanuele I, duke of Savoie and Prince of Piemont, married his cousin, Catalina Michaela and younger sister of the Archduchess Infanta Isabella, in Zaragoza. When Catalina unexpectedly dies in 1597, the duke decides to bury her in the church of Mondovi, a Marian pilgrims' church designed on the basis of an oval-shaped central ground plan, which had been started a few years previously. It is likely that Albrecht was told about this project just before and during his honeymoon, when he stayed in the duchy of Savoie for some months. The occurrence of this architecture project within the family context of Archduke Albrecht makes it very likely that he had claimed a more prominent role for himself in the active design process of the church of Scherpenheuvel than was assumed until recently. Contemporary examples show that other monarchs also regarded this as an appropriate regal occupation and used these architectural designs to visualize their political aspirations

M & L Jaargang 32/1

Koen De Groote De stadswording van Aalst. Of hoe een Merovingische nederzetting uitgroeide tot een laatmiddeleeuwse stad. [The urban formation of Aalst, or how a Merovingian settlement became a late medieval town.]Sinds het begin van de jaren 80 van vorige eeuw wordt er in Aalst archeologisch onderzoek verricht. De aanvankelijk kleine interventies en waarnemingen worden later grootschaligere en geplande onderzoeken. Al deze opgravingen groot en klein blijken belangrijke puzzelstukken te zijn in de reconstructie van het Aalsterse verleden. Archeoloog Koen De Groote toont ons hoe stedelijke archeologie in voortdurende dialoog dient te staan met cartografische, historische en bouwhistorische gegevens en hoe een dergelijke interdisciplinaire aanpak uiteindelijk toelaat een beeld te schetsen van het ontstaan en de vroegste ontwikkeling van Aalst.Joris Snaet en Tom Verbist De grote aula van de Leuvense Universiteit. [The Great Hall of the Leuven University.]Generaties Leuvense studenten hebben in de vertrouwde Grote Aula van het huidige Maria-Theresiacollege colleges gevolgd, wellicht zonder te beseffen dat ze zich bevonden in één van de opmerkelijkste historische gebouwen van de Leuvense universiteit. Als getuige van de Hollandse Periode (1815-1830) was de Alma Mater toen immers voor korte tijd een rijksinstelling. Het bewaren van de klassieke vormentaal en het authentiek karakter, met aandacht voor de hedendaagse functionele eisen, was het leitmotiv van de zorgvuldig voorbereide restauratiecampagne. Joris Snaet kadert de geplande ingreep stevig in het archivalisch bronnenmateriaal en Tom Verbist beschrijft de praktische uitwerking van deze weloverwogen ingreep.Summar

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Herman Van den Bossche, Roger Deneef en Jo Wijnant De Alpentuin Het Bloemdal in het Provinciaal Domein van Huizingen. Apotheose van een tuinenbeweging en beschermd monument. [The Alpine Garden Het Bloemdal at Huizingen, Apotheosis of a garden design movement and protected monument.]Marcel M. Celis, Joris Snaet en Lode De Clercq Antoine en Emile Beernaert, steenhouwers (ca. 1850-1924). [Antoine and Emile Beernaert, stonecutters (1850-1924).]Lode De Clercq De assimilatie van een aantal zachte Franse kalksteensoorten in het midden van de 19de eeuw in België en hun conservatieproblematiek. [The nineteenth century assimilation of French soft limestones in Belgium and their conservation.]Jacques Vereecke en Bénédicte Reynders De restauratie van het stenen grafmonument van de architecten Suys op het kerkfhof van Laken. [The restoration of the funerary monument to the architects Suys on the Laken cemetery.]Summar

The Architecture of the Jesuits in the Southern Low Countries. A State of the Art

Book to be found online at http://www.academia.edu/4345352/La_arquitectura_jesuitica.status: publishe

Innovation and Tradition in Seventeenth- and Early Eighteenth-Century Vaulting Techniques in the Southern Low Countries: A First Assessment

status: publishe

De schilderijenreeks van de Romeinse zaal van het Hof Bladelin in Brugge

Het Hof Bladelin, oorspronkelijk een patriciërswoning uit 1450 aan de Naaldenstraat in Brugge, werd later een filiaal van de machtige Medicibank. In de zogenaamde Romeinse zaal bevindt zich een merkwaardige schilderijenreeks, die een kopie is van fresco's van Rafaël in het Vaticaan. Joris Snaet, Lieve Watteeuw en Jos Vaesen stellen de kunsthistorische en materiaaltechnische vooronderzoeken voor die aan de gang zijn ter voorbereiding van de dringend noodzakelijke restauratie van dit merkwaardig ensemble.status: publishe