Huygens and Hofwijck: The Inventive World of Constantijn and Christiaan Huygens 9789048557325

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Huygens and Hofwijck The inventive world of Constantijn & Christiaan Huygens

Contents

I

Preface

3

Acknowledgments

4

Ithaka Prize

7

Constantijn Huygens in The Hague: a courtier in the capital

1596-1687

8

Constantijn Huygens and Hofwijck: a courtier as a landscape architect

1639-1687

44

III

Christiaan Huygens: an inventive scientist at Hofwijck

1687-1695

114

IV

Hofwijck’s heirs: care and neglect

1695-1750

148

Hofwijck in alien hands: division and impending demolition

1750-1913

156

Hofwijck in safe hands: a narrow escape

1913-1914

168

The restoration of house and garden from 1914 onwards: a long way up

1914-2000

174

The restored garden around 2005: a successful reconstruction

2000-2016

200

II

V VI VII VIII

Map of the Netherlands in the seventeenth century

208

Genealogical table

210

Literature

212

Notes

216

Origin of images

226

Index of personal names

228

The authors

231

Colophon

232

Preface Seen from outer space, Earth looks phenomenal. Whenever possible during my space missions, I floated in front of a window to enjoy the extraordinary view. A blue globe surrounded by a black universe: a world without boundaries. In the seventeenth century, the scientist Christiaan Huygens observed the universe from the garden of Hofwijck. There he stood peering into the night sky with his telescopes containing lenses ground by himself. Christiaan Huygens, physicist, mathematician, astronomer and Hofwijck resident, was fascinated by the universe. In 1656 he described for the first time that Saturn has rings. Later he worked on Cosmotheoros, his book on the discovery of the universe in which he even speculated on the existence of extraterrestrial life. My interest in the universe and space travel started when, as a twelve year old boy, I began to read science fiction books I was given by my grandmother. Then I knew for sure that one day I would look at Earth from outer space. When Christiaan was that age, he was an observant and curious boy, fascinated by nature. During weekend visits to Hofwijck - in those days the country house of the Huygens family - he watched the ripples in the water of the Vliet canal and the reflection of the sunlight on the water. Christiaan grew up to be a versatile scientist. His Father Constantijn Huygens, architect of Hofwijck, supported him in this. Poet, musician and diplomat, Constantijn himself had a great interest in science and corresponded with leading international scientists. I am a great admirer of Christiaan Huygens, not only because of his astronomical discoveries, but also because of his versatility as a scientist. It is almost inconceivable that anyone could make so many different inventions and discoveries. Christiaan was the first scientist in his time to use mathematics as the main tool in his scientific research. In addition, he tested many of his theoretical discoveries in practice, often with instruments designed and built by himself. It is wonderful that at Hofwijck children can now discover and experiment just as Christiaan did at the time. I visited Hofwijck for the first time in 2012, together with my fellow astronauts Don Pettit and Oleg Kononenko. We had just returned from a 193-day stay in space. It was a special experience to be in the home of our world-famous countryman Christiaan. Don and Oleg also had this sense of historical perspective. The story, the inhabitants as well as the design of Hofwijck - the estate garden has the shape of the human body - are unique. In 2013 Hofwijck was completely restored and renovated. Two new museum floors on Constantijn and Christiaan Huygens were added: ‘The Golden Age of Constantijn’ and ‘Christiaan under the Stars’. In 2015 the ice cellar was uncovered and restored. Now there is a new entrance building with modern facilities, connecting the house and the garden. The important story of Hofwijck can thus be told even better to its visitors. Hofwijck, Constantijn and Christiaan are close to my heart. I love space travel, science and history. My daughter’s name is Sterre (Star in English), which was the pet name Constantijn Huygens gave to his beloved wife Suzanna van Baerle. My son is called Stijn, which is short for Constantijn. I am proud to be a Hofwijck ambassador and wish the Hofwijck estate a wonderful and prosperous existence in the near and distant future. The story of Hofwijck, Constantijn and Christiaan Huygens must live on in the hearts of future generations. André Kuipers, astronaut and Hofwijck ambassador

3

Acknowledgments Hofwijck is the creation of one man. Now 380 years ago, Constantijn Huygens acquired land along the Vliet in Voorburg and built the Hofwijck country estate there. What he had in mind was a place where he could now and then withdraw from his busy life in The Hague. A place where he could quietly devote himself to the important things in life, namely his family and friends, his poetry and music, and nature. The name is telling: at Hofwijck Constantijn left the court. Hofwijck is a very personal creation. The man who was involved in the construction and laying out of royal residences and the associated gardens in and around The Hague for the stadholder couple Frederik Hendrik and Amalia van Solms, and who had seen gardens in all the styles common at the time on his travels abroad, opted for a unique concept for his own country estate. The floor plan is in the shape of a human body, an idea Constantijn borrowed from the Roman architect Vitruvius. Nowadays Hofwijck is no longer the rural oasis of peace it used to be for Constantijn. The modern and hectic life has enclosed Hofwijck. The train literally drives through the garden, the highway is audible, a residential area and Stationsplein embrace Hofwijck on the other side. Only on the banks of the Vliet little seems to have changed, you can still imagine how the barges slowly passed by. On his jetty on the Vliet Constantijn received his guests who arrived by ship from The Hague. That tradition has been preserved, because many of the current visitors also enter Hofwijck via that jetty. It can safely be called a miracle that the core of Hofwijck has been preserved in its original state. After an eventful history, the low point was reached in 1913. In that year the house and garden were put up for sale. The danger that the house would be demolished after it was sold for the construction of luxury villas was not inconceivable. The establishment of the Hofwijck Association, successful fundraising and the Association’s purchase of the country estate in 1914 prevented this disaster scenario. The survival of Hofwijck was thus assured. In this book, Kees van der Leer and Henk Boers describe the history of Hofwijck and its inhabitants, from the very beginning until the reconstruction of the garden in 2004. We are very grateful to them for taking on this project. For the realization of this English edition, a crowdfunding was organized by Huygens’ Hofwijck volunteers Bob Commerell, Ellen van Hasselt and Hans Dikker Hupkes. Many good donors made this edition possible. A special word of thanks is due here to designer Ronald Meekel of same-d and to Jane Choy-Thurlow, who took care of the translation with the assistance of Rachel van der Wilden. Since the transformation that was realized in the years 2001-2016, Hofwijck has again become the country house of Constantijn Huygens’s son Christiaan, the scientist. Since then, Hofwijck has been looking at the Golden Age through the eyes of both Huygens. This results in a wide range of subjects, from literature, visual arts, music and the House of Orange-Nassau to history and science. We sincerely hope that the public will be able to enjoy the beautiful Huygens’ Hofwijck for many years to come.

Voorburg, 2022 Peter van der Ploeg Director Huygens' Hofwijck

4

The two main characters in this book Constantijn Huygens, the builder of Hofwijck and his son Christiaan, the famous scientist. In the background the Hofwijck country estate, drawn by Constantijn's eldest son, also called Constantijn

5

0.1

6

Ithaka Prize This book won the sKBL-Ithaka Prize in 2016. In a laudatio, pronounced by jury chairman Paul Schnabel, the clear contents of this well-crafted publication were praised. With this, this smallest historical country estate in the Netherlands, called Hofwijck, obtained a beautiful publication. The name Hofwijck, coined by designer/owner Huygens himself, explains the reason for its creation: it served as a refugium for Huygens, who worked as secretary to Stadholder Frederik Hendrik of Orange. While Huygens often longed for the peace and tranquility of his deliberately small home, many leading Amsterdam merchants and regents built beautiful country houses in our regions. In this way, they could escape the crowded, noisy and very polluted Dutch cities during the long summers. Some even claim that the provinces of Holland and Utrecht had thousands of these beautiful places. The Netherlands is still rich in castles, historic country estates and country houses. Of the still existing historic estates, the Dutch state protects no less than 551 ensembles where the inextricable link between the designed entity of the house and the surrounding greenery has been more or less perfectly preserved. Within that group, Hofwijck is exceptional because of its layout, which is based on pure classical-Italian style. It does give this special estate an extra unique character. Immediately after winning the sKBL-Ithaka Prize the authors declared that they would use the € 5,000 that the prize provided for an English edition. That intention came true and the members of the jury of the sKBL-Ithaka Prize and the board of the Foundation Castles, Historic Country Houses & Estates (sKBL) are very grateful to them for that. Not only does the erudite Constantijn Huygens and his son Christiaan deserve international attention, but his Hofwijck, with its classic architectural design, is a unique European monument. While many associate England, Germany and France with arcadian country living, this is somewhat unjustified because the Netherlands still has many castles and old country houses with breathtaking landscapes. It is exceptional that our historical country house culture is based on civilian roots, unlike all our surrounding countries where land ownership was predominantly a noble privilege. The provinces of North and South Holland, Utrecht, Gelderland and Overijssel still have a lot of green/red monumental heritage. There ancient architecture unites intimately with beautiful parks often with avenues and ancient trees and shrubs amidst stunningly beautiful landscapes. We are grateful to Kees van der Leer and Henk Boers but above all to Constantijn Huygens for being, through this book, the ambassador of an extensive but internationally not well known Dutch heritage. Huis Landfort, Megchelen, January 2022 René W.Chr. Dessing, chairman sKBL/secretary sKBL-Ithaka Prize (www.skbl.nl)

7

1596-1687

I Constantijn Huygens in The Hague a courtier in the capital A long time ago I had intended to look for places in The Hague that once played a role in the life of Constantijn Huygens, the famous seventeenth-century secretary of various House of Orange Stadholders, who was so versatile that his qualities and activities can hardly be condensed in one line. He was born at the end of the sixteenth century and reached an advanced age. As a result, his many letters, poems and notes form a valuable source for our knowledge of the years that went into our history as the Golden Age.

The birthplace in the Nobelstraat (1596-1599)

on the square and the espaliers in front of it. It turns out that the

Current location: Nobelstraat 16

Nobelstraat is not very long, but I still haven’t found number 16.

My walk had started in the early morning twilight, a quiet

Suddenly, shortly after the crossing over the Prinsestraat,

Sunday morning in September. On arriving in the old center of

the Nobelstraat splits in two and I find myself completely

The Hague, I see how the light of dawn hesitates in the dense

unexpectedly confronted by a picturesque group of ancient houses,

morning haze that, like a misty autumn shroud, makes the narrow

that stands like a medieval square in the middle of the Nobelstraat.

alleys of the old city center seem even narrower. I am standing

The houses lean against each other in a triangle, like inseparable

at the old ‘Koningspoort’ (King’s Gate) in the Molenstraat, next

brothers-in-arms, together defending the ancient atmosphere

to the garden at the rear of the Noordeinde Palace. In that palace

against the advancing high-rise buildings behind and next to

garden Constantijn Huygens often strolled as a child with Louise

them. While I look with amazement, a second surprise awaits me.

de Coligny, the widow of William of Orange, murdered in 1584, whose Father Christiaan Huygens served as secretary.1 This

A few meters before this little square I suddenly see Nobelstraat

‘Koningspoort’ with its old black ceiling beams forms a fitting

famous Constantijn Huygens. Constantijn, the witty multilingual

frame for the winding Oude Molstraat whose tranquil medieval

poet, who meticulously recorded what he saw, did and thought,

contours become increasingly blurred in the misty distance and

throughout his life. Constantijn, the gifted composer of 800

finally disappear altogether. But with every step I take, the mist

pieces of music, who played the lute, theorbo, guitar, viola da

changes a bit, so that all those beautiful little houses of the Oude

gamba and harpsichord excellently. He also contributed a great

Molstraat appear one by one, only to fade away behind me again

deal to the organ being allowed in the church service to support

immediately afterwards. The pale, yellow shrouded streetlights

congregational singing. Constantijn, the perceptive art connoisseur

look like real gas lanterns. Such a fog always reminds me of a

who was one of the first to discover Rembrandt’s talent.

Sherlock Holmes tale, and so does this journey. After all, my

Constantijn, the diligent secretary, the advisor and estate manager

number 16 on the left. This is the sought-after birthplace of the

walk is also a scavenger hunt, a search for the exact place where

of several Princes of Orange, who as ‘Constanter’ faithfully served Constantijn Huygens was born on Wednesday September 4, 1596 at the fatherland and the House of Orange for more than 60 years. 10 o’clock in the evening, as the second son of Christiaan Huygens, Constantijn, the competent diplomat who personally knew and secretary to the Council of State, and Susanna Hoefnagel.2

corresponded with many leading contemporaries in Holland and elsewhere in Europe. Constantijn, the progressive educator and

The Nobelstraat

Father of the equally famous Christiaan, the renowned physicist,

It has long been known that his birth place had to be near here, somewhere in the Nobelstraat.3 But where exactly had been

mathematician, astronomer and inventor. Constantijn, the versatile Calvinist and humanist,5 connoisseur of classical antiquity, the

forgotten, until a few years ago when the yearbook of the Historical

‘homo universalis’, a protagonist in the culture of our fascinating

Society Die Haghe revealed that Nobelstraat number 16 must

Golden Age. Constantijn, the lover of botany and architecture.

have been the birthplace of Constantijn.4 The second street on

Constantijn, the creator of a special country estate in Voorburg in

the right is the Nobelstraat. The dense mist can barely disguise

which house and garden portray a hymn of praise for the harmony

how devastatingly the ravages of time have taken their toll. On

between man and the cosmos, but in which the awareness of

the left there are now only new buildings. However, on the right

transience is also deeply anchored. Constantijn, the courtier who

the old houses have remained, such as the beautiful Venduehuis

became an inspired gardener.

8

1.1 Christiaan Huygens (15511624), the Father of Constantijn. Anonymous master, undated 1.2 Susanna Hoefnagel (15611633), the mother of Constantijn. Michiel van Mierevelt, undated 1.3 The Hague at the beginning of the seventeenth century. In the circle on the left is the birthplace of Constantijn Huygens. Part map C. Bos and J. Faes, 1616 ‘

1.1

1.2

Nobelstraat

1.3

But what I see on this misty Sunday, instantly brings me back to

century house as a monument to that memorable birth, not even

the cold reality of this early morning. For number 16 turns out to

an inscription. Just a small triangular monument of old cottages

be just a number plate on the twenty-first century red bricks of

as a reminder of the atmosphere of centuries ago. A monument in

the façade of a newly built complex with shops and apartments.

stone that still captures the view that little Constantijn may have

This modern façade has completely swallowed up and wiped

seen from his birthplace.

out the birthplace of Constantijn. So no beautiful sixteenth-

9

1.4 The house where Constantijn Huygens was born as of the mid-twentieth century in the Nobelstraat. The house of birth is immediately to the left of the building with the signboard. Photo, 1957. Shortly after this photo was taken, this house was demolished for new construction

1.5 De Vijverberg, late sixteenth century. Map J. II de Gheyn, 1598

Youthful memories At the time, Father Christiaan had rented the house from the mayor of The Hague, squire Aernt Bol who owned three adjacent buildings in the Nobelstraat. In his book, Mijn jeugd (My Youth) Constantijn later notes an amusing anecdote about the house of his birth and Bol. When his mother was still pregnant with him, one day she walked in the garden behind their house. She saw through the hedge how neighbour Bol was collecting honeycombs from his beehives. When she got a piece of honey from him and tasted it, she felt

1.4

the unborn Constantijn move. ‘No wonder I became such a sweet tooth later on,’ concluded Constantijn. He also proudly mentioned that he, as the only one of all the children, was ‘raised with the mother’s milk.’6 By the way, the house where he was born almost killed little Constantijn. In a recently found manuscript, Father Christiaan described how the one-and-a-half year old Constantijn was alone with his slightly older brother Maurits playing by the burning fire and almost fell through the iron fire screen into the fire. Maurits who is now about two and six months, came to me, his father, in the room, where I was lying sick with rheumatism, crying, without being able to speak, that his little brother Constantijn was by the fire in distress.7 Constantijn himself also pays attention to this life-threatening

1.5

event in Mijn jeugd. He writes: When I was eighteen months old, playing alone by the fire with my little brother Maurits, I

My return walk runs naturally along all the other places in The

accidentally stuck my neck through the iron bars around the fire

Hague where Constantijn lived during the rest of his life. Across

in such a way that I couldn’t pull it back. My life would have

the Plaats to the beautiful Vijverberg with the attractive historic

been in great danger if it had not been for my brother, deeply

façades, along the Voorhout with the many tall trees in front

distraught by my distorted face and also by my wailing, who had

of the impressive houses, via the Houtstraat, over the stately

rushed to the room next door, where my father, suffering from

Plein, and so through the Poten to the Central Station. But here

gout, was lying sick in bed [...] and had repeatedly mentioned

too I discover at each commemorative place that I am much too

my name in tears. [...] My father, without thinking of his illness,

late. None of the houses in The Hague where Constantijn lived,

immediately sped out of his bed and rescued me from a danger

played music, wrote poetry and worked has been preserved in

that was by no means imaginary.

its original form. The beautiful façades that later replaced the originals can hardly conceal the embarrassing lack of respect for

It was here on the Nobelstraat that the 2-year-old Constantijn

the former occupant.

amazed his parents by repeating all 36 verses of the Ten

There is not much left to mark these sites. Just one simple

Commandments completely, flawlessly and clearly articulated in

commemorative stone in a façade, and above all some fleeting

French and by learning all 24 letters of the alphabet in one day

thoughts of all that took place here in the seventeenth century

and always pointing out the right sequence for each letter.8

around Constantijn and his family. Below is a short description and a retrospective anno 2000.

10

1.6 Marnix of St. Aldegonde (1538-1598). Engraving, seventeenth century 1.7 Louise de Coligny (1555-1620), the widow of the murdered William of Orange. Atelier Michiel van Mierevelt, circa 1604 1.8 The Vijverberg as seen from the Plaats with the scaffold known as The Green Sod, the public place of execution with grass where sand was sprinkled to soak up the blood. Dutch School, 1597 1.6

1.7

1.8

The rented house on the Vijverberg (1599-1613)

country we were given winter jackets, of which the sleeves were

Current location: unknown

decorated from the wrist to the shoulder with gilded velvet buttons in a single row. Father, who was as witty as he was wise, seized the

Around 1599 the Huygens family moved to the Vijverberg,

opportunity and gave each button the name of a musical note so

Father Christiaan, Mother Susanna and their children Maurits,

that we could recite the scale in order up and down without any

Constantijn and Elisabeth. Here, on the Vijverberg, in the exact

effort.

house that we no longer know, Constantijn spent a large part of his youth, and his three sisters were born, Geertruyd in 1599,

When Constantijn is 5 years old he received singing lessons from

Catharina in 1601 and lastly, in 1602, Constantia or Constance.

his Father and a year later on the viola da gamba. He learns to play the lute at the age of 7. His teacher for this instrument is

A special upbringing

Jeronimus van Someren, ‘a decent young man, who understood

The special and very comprehensive upbringing that the two

his art very well’. Later he is also taught harpsichord and organ by

boys in particular receive takes place to a large extent in the house on the Vijverberg. This included education in various

Pieter de Vois, the blind organist of the Grote Kerk in The Hague.11 Constantijn turns out to be very musical and is making such

subjects and followed the principles of Marnix of St. Aldegonde,

good progress that he was soon allowed to play for companies of

a family friend of their father. Physical strengthening exercise

prominent persons. Meanwhile, lessons in French, the language of

through swimming and fencing was important, but also the

the court and diplomacy, have also started. To this end, in 1604,

development of the mind through classical education, language

Joannes Brouart is appointed, a young man from Brussels who had

skills and travel. The cultivation of piety, character and moral virtues is highly regarded.9 This education is given by their

been brought up at the court of a French nobleman and who was

father, mother and by specially appointed private tutors at home.

man into his home as a member of the household and, according

Father consciously chooses this method. He does not want to

to Constantijn: pressed him with great insistence that he would not

send his children to the ‘useless and incompetent schoolmasters’

let any Dutch word escape him, no matter what, so that we silly

of the public school, ‘triflers’ who give the youth unnecessary

boys would be firmly convinced that this strange man, with whom

ballast and who, because of the large number of their pupils

we constantly had to talk, play and walk, understood absolutely

cannot possibly make an effort for each of them individually.

nothing of Dutch.

therefore a complete master of the language. Father took the young

Constantijn was eternally grateful to his Father for this conscious choice and the dedicated further education.

In order to be able to move naturally and elegantly in the highest

Various passages from Mijn jeugd bear witness to this. The

social circles, the boys are given dance lessons at an early age.

fierce expressions of disgust for the schoolmasters come from

Of course, this results in strong reprimands, but in vain, from the

this description. Incidentally, he also indicates the secret of the

Calvinistic members of the family. Acting is also practiced, both

effectiveness of his father’s teaching method:

to ‘learn to speak freely and to overcome shyness [...]’. Hereby

So much is certain, that with little effort I have absorbed the

unnaturalness should be avoided. Verses should be recited with

things that usually took the youth years to learn with the foolish

a calm face, with an appropriate inflection of the voice and a

and narrow-minded schoolmasters. After all, we were given that

graceful hand gesture, not with an artificial gesticulation, which

task playfully and never with a stern face.10

is the common mistake. And so, at home, in the house on the Vijverberg, the boys performed two plays, in French. Among the

Constantijn gives a few entertaining examples of the ‘playful’

spectators is, as guest of honor, Louise de Coligny, the widow

learning method used in the house on the Vijverberg. For

of the murdered William of Orange. One evening a tragedy was

instance, he explains how Father and Mother used all kinds of

performed, in which brother Maurits as Isaak stole the show and

food as examples in difficult grammatical exercises. In doing so

exceeded all expectations.

they deliberately saved the desserts, cakes and the children’s

The next evening a piece with more cheerful content was played,

favorite sweets until the end. The music lesson is also a feast for

and now it was Constantijn who gave a surprising twist to the

the children: It was winter and according to the custom of our

whole thing:

11

1.9 Sketch designs by Constantijn Huygens for his collection of Latin poems: Momenta Desultoria, 1644 1.10 The Court with the stables of Prince Maurits in Rijswijk. Esaias van de Velde, 1625

1.9

I remember introducing Cupid with a zither in my hand and almost naked body, and the next incident, which made the large group laugh, turned out to be an omen. When, as my role entailed I fired my arrows out of my little tube, flying here and there in all directions, one of them struck the left side of the breast of a respectable young lady, whose name I keep quiet about here, but who then had a great reputation for her modesty. Afterwards, when she was a little older, she did not sparingly give proof that she had been wounded by Amor’s bolt, truly not to her advantage. When Constantijn is almost 9 years old, the lessons in Latin begin. Because Brouart had moved elsewhere, another tutor is appointed: Jacobus Anraet, ‘a nobleman, who was already then extraordinarily experienced [...] in belles lettres’. His Father helps by writing himself an excellent summary of the grammatical rules, but also: by enticing us boys through a small reward in jingling coins, so that when he returned from the court or sometimes from a longer journey, he would, as it were, pay a certain number of lines that we had advanced, with as many pennies, thus rewarding work that we do in our own interest. The making of epigrams in Latin is also encouraged.12 With the new tutor, Johan Dedel, a Leiden student, the rules of verse are practiced.13 Sometime later lessons in Greek, arithmetic, geography, physics, painting and drawing follow.14 Constantijn is particularly fascinated by optics,15 a passion that his eldest sons would later inherit. In between, the ‘sedentary’ subjects are alternated with exercises that refresh body and mind: running, hunting, swimming, horseback riding, fencing and other weapon exercises. The latter is also useful if the fatherland should need to be defended.16 This also shows how

1.10

A rented house on the Poten (1613-1614) Current location: unknown

the entire education focuses on what is useful for a preferably civil service career, at the service of people and the fatherland.

In 1613 the Huygens family moves to the Poten, probably because the rent for the house on the Vijverberg became too

The boys regularly visit the stables of Prince Maurits in

high.18 Constantijn devotes a few lines of poetry in Latin to

Rijswijk, where the boys have to complete a questionnaire

saying goodbye to the old house. These are special verses from

drawn up by Father Christiaan.

which his eye for flowers, trees, fruit and other natural beauty

May 1612 is a dramatic month. Elisabeth, Constantijn’s eldest

speaks. But not only that, Constantijn paints this nature as the

sister, dies suddenly of acute appendicitis. Everyone is deeply

entourage for human joy, conviviality and sorrow. This is a

affected. Constantijn writes several epitaphs in different

concept that will recur more often in his later poems and which

languages.17

he will concretely portray later in life in a garden he designed himself in Voorburg.

12

1.11 Glass pane from the house of the Leiden professor of Botany, in which Constantijn Huygens carved his name as a student in 1617.

1.13 Lange Voorhout with the rental house of the Huygens family circled. Section of map C. Bos and J. Faes, 1616

1.12 Constantijn Huygens at a young age. Lithograph P. Blommers

1.11

1.12

1.13

Farewell to the house I am going to leave

laughter - and you too, even finer row of lilies on the right, with

Finally goodbye, dear house. Farewell flowering garden and

the scent you spread a delight to the wanderer’s wide open

you too, pleasant berceau (soon no more meant for our eyes),

nostrils; and you, sweet apples, pears, plums, which I am now

wrapped in the dense entanglement of hops, ensures that

forced to leave behind, yet unripe; in short, garden, berceau,

Phoebus’s warmth does not become too hot; who, bathed in

house, idyllic spots: all that you have to offer, I say goodbye with

sunshine, has so often listened to our singing (with a light noise

this one last word.19

of leaves as a dissenting voice), and to the love affairs of Phyllis and Amaryllis. And you too, Thessalian Vale of Tempe, farewell

It is not known to which house in the Poten the Huygens family

now, I mean you, your pergola, surrounded on all sides by vines

moves. The family did not live there long. They move again in

and sagging through the hanging fruits of green trees, witnessing

1614. This time to the stately Voorhout.20 It is also the year in

a hundred thousand footsteps from me and as many a thousand

which Constantijn writes his first lines of verse in Dutch, a hymn

(surely!) from others; from time to time wet from my tears, but

of praise where nature played a vital role.

also from time to time completely bubbling with pranks and

13

1.14 Sir Dudley Carleton (15731632), the English ambassador in The Hague. Michiel van Mierevelt, 1628 1.15 Sir Edward Cecil (15721638) Count of Wimbledon. Michiel van Mierevelt. 1631 1.16 Jacques III de Gheyn (1596-1641), Huygens' artistic travel companion. Rembrandt, 1632. See also 2.47 1.14

1.15

1.16

1.17 Het Lange Voorhout as seen from the Kneuterdijk. In the foreground to the left of the carriage is the so-called 'Huis van Cabau', which was the residence of Francois van Aerssen in Constntijn's time. To the left of The Cabau House is the van Boelen house which the family Huygens rented. Drawing J. Van Calli, 1690

14

1.18

1.18 Poem of Constantijn Huygens from 1618 which he signed with the initials: the intact C for himself and the broken D for Dorothea 1.19 The house of Noël de Caron where Huygens stayed for some time. Watercolor A. Booth, 1629 1.20 Wimbledon House with a confined wilderness on the side: trees in elongated sections. Huygens would apply this later in his garden as well. Engraving H. Winstanley, 1628 1.19

1.20

Two houses on the Voorhout (1614-1624/1624-1627) Current locations: Lange Voorhout 9, respectively Lange Voorhout 4421 In 1614 the house of Pieter Boelen is rented.22 This house was located on the south side of the Voorhout, east of the house of Cabau. The diplomat François van Aerssen lives in Cabau’s house and a few years later he would play an important role in Constantijn’s life. The widow Van Dorp lives in the same row with her three stepdaughters, including Dorothea. A great deal happens in these years. With his neighbour Dorothea van Dorp, Constantijn experiences in 1616 his first, overwhelming love adventure in the Haagse Bos.23 That adventure has such a disappointing ending that Constantijn has less flattering ideas about women for years. In the same year, the Brothers Maurits and Constantijn go to study law in Leiden. This is practical with a view to a career in the civil service, but above all for making useful contacts. One of their fellow students in Leiden is Johan (Jan) Brosterhuysen.24 Years later, it was through him that Constantijn got to know Jacob van Campen, the painterarchitect who, as a like-minded person, became an important ally in Constantijn’s successful attempts to shape a new harmonious architecture in Holland. Inspiring trips to England and Venice After completing his studies, the young Constantijn makes a trip to England in 1618, a first step towards becoming proficient in diplomacy.25 In addition, his knowledge of English and other foreign languages is of course a great advantage.26 He travels with Sir Dudley Carleton, the English ambassador who lives on the Lange Voorhout, near the Kloosterkerk [current location: Lange Voorhout 10], so diagonally opposite the house of the Huygens family.27 Jacques III de Gheyn, the son of the famous engraver, who turns out to be a good guide when visiting paintings and other works of art, also travels with the company. Constantijn makes copies of some of the paintings in watercolor, which he later distributed to friends.28 Huygens stays with Noël de Caron, the representative of the Republic in England, who lives on his estate just south of London. In letters to his parents and Brother Maurits, Constantijn writes that he has visited many palaces and gardens, including Hampton Court, Whitehall Palace and Wimbledon House. Wimbledon House is the parental home of Sir Edward Cecil, colonel of the English cavalry in the service of the States of Holland, who would later experience various sieges,

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1.21 Queens House in Greenwich, drawn on December 19, 1651 by Huygens's youngest son Philips 1.22 Inigo Jones (1572-1653), court architect. William Hogarth, undated 1.23 Salomon de Caus (1576-1626), garden architect. Engraving, 1619

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such as at Den Bosch, with the State troops.29 Huygens visits him at Wimbledon House and attends parties there. Undoubtedly he also visits the garden by the house, with a part on the edge like a confined ‘wilderness’: four elongated compartments with trees.30 Later he sees the still under construction Queen’s House in Greenwich, designed by Inigo Jones, the architect of the English King James I.31 He is impressed by the work of this court architect, who built in the austere classicist style of the Italian Palladio. This in turn was based on the ideas of Vitruvius, an architect from Roman antiquity.32 When King James I unexpectedly visits de Caron, Constantijn is introduced to the King and is allowed to play the lute for him. That this lute play generates royal applause, is extensively described by the proud Constantijn. The announcement to the King that Huygens played the lute as an ‘amateur’ and not professionally only increases the royal enthusiasm. Elisabeth Stuart, the daughter of James I, was soon to play an important role in the life of Constantijn.33 Elisabeth was married in 1613 to Frederick V of the Palatinate. The couple went to live in the beautiful castle of Heidelberg, where they had the ‘Hortus Palatinus’ laid out around 1614: a beautiful terrace garden full of flowers, fig trees, orange trees, other exotic plants, fountains, a water organ, cascades and other waterworks, designed by Salomon de Caus.34 A dampener on the stay in England is the news that Constantijn’s sister Catherina had died. Although saddened by the tidings, he decides, on the advice of those around him, not to go into mourning.35 In October 1618, the return journey is undertaken in the company of English theologians, who were to attend the Synod of Dordrecht.36 Not long after his trip to England, in April 1620, Constantijn is allowed to join his neighbor, the diplomat François van Aerssen, as secretary of an envoy to Venice. During this journey Huygens keeps a Journaal in which he records both major and minor events.37 The journey passes through Heidelberg, where Constantijn admires the now famous Hortus Palatinus and the Bibliotheca Palatina. He writes with awe about the garden and its caves with ‘mosaic work’ and the fountains and ‘powerful streams of water’ that surpassed the gardens of France. Part of the terrace garden consisted of a rectangle with a fountain in the middle and four pavilions at the corners. The library with its many classical manuscripts, makes a big impression on Huygens and he called it more valuable than the Vatican library.38 Elisabeth Stuart and her husband are not currently in Heidelberg. They had left a few

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1.24 King James I of England (1566-1625). Attributed to John the Critz the Elder

1.25 The Hortus Palatinus at Heidelberg. Jacques Fouquiéres, circa 1620 1.26 François van Aerssen (15721641), diplomat. Michiel van Mierevelt, 1636 1.27 Andrea Palladio (1508-1580), architect. Attributed to Giovanni Battista Maganzi, 1576 1.28 Vincenzo Scamozzi (1548-1616), architect. Paolo Veronese, undated

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months earlier for Prague, where they were crowned King and Queen of Bohemia in November 1619. However, this lasted only one winter, as they were expelled a year later. That is why they came to be known as the Winter King and Queen for the rest of their lives. In Italy Constantijn excels by his skill in speaking Italian. He gave a speech to the Doge of Venice, which, according to the young Constantijn, made a great impression.

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1.29 Elisabeth Stuart (15961662) at a young age. R. Peak the Elder, circa 1606

1.33 Giardino Giusti, the garden near Verona, visited and described by Huygens. Gravure Johann Christoph Volkaner in Ville Giardini e paesaggi del Veneto, 1709

1.30 Teatro Olimpico in Vicenza visited by Huygens 1.31 Loggia del Capitanio in Vicenza where Huygens stayed

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1.32 The villa Contarini near Piazzola on the Brenta. In this villa, probably designed by Palladio, Huygens had dinner with Mr. Contarini

1.34 Giardino Giusti, the reconstructed garden at Verona with cypress trees, sticking straight into the air 1.35 Villa La Malcontenta on the Brenta near Venice. During his cruise on the Brenta Huygens passed this villa designed by Palladio

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1.36 The Winter King and Winter Queen riding to the hunt. Watercolor A. van de Venne, 1625 1.37 Constantijn Huygens at the age of 25. Self-portrait drawn in June 1622 in London

1.38 The Kneuterdijk with at number 18 the house of Johan van Oldenbarneveldt, where from 1621 the Winter King and Winter Queen lived with their thirteen children. Section of map C. Bos and J. Faes, 1616 1.39 Title sheet Batave Tempe with the Voorhout and on the left the Winter Queen's House, Bohemia Court. Engraving A. van de Venne, 1622

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persuade King James I of England to effectively support his daughter Elisabeth, the expelled Winter Queen, by joining forces with the Republic of the Netherlands against the Spaniards. In London, Constantijn is impressed by the masques that were regularly performed at court. In May Constantijn returns to The Hague. Shortly before, the Winter King and Queen had also arrived here. Because these exiles were not welcome anywhere else, they sought shelter with their Orange relatives in Holland. In The Hague they were received hospitably. They were allowed to move into a beautiful house on the Kneuterdijk, which had belonged to Johan van Oldenbarneveldt and his son-in-law Cornelis van der Mijle [current address: Kneuterdijk 22]. This house was empty after all, because Van Oldenbarneveldt had been beheaded in 1619 and his son-in-law had fled elsewhere for safety reasons. Their house on the Kneuterdijk had been confiscated by the States of Holland, so that the Winter King and his Queen with their thirteen children could live here in royal and luxurious style, entirely at the expense of the States of Holland.40 The artistic Winter Queen in particular provided an unprecedented cultural impulse in The Hague’s court life.

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He also admires several beautiful palaces and other buildings, such as the Teatro Olimpico in Vicenza, built between 1580 and 1585 by Palladio and Scamozzi. He even stays in the Loggia del Capitanio designed by Palladio in 1571. He also visits several gardens including the Giardino Giusti near Verona, which still exists today, with its terraced gardens, geometric plant beds surrounded by clipped hedges, grottos and garden statues. He is impressed by the music of Monteverdi, during a performance in Venice, where the composer conducts the music company himself. On August 7 Huygens returns safely to his family in The Hague, but not for long. In January 1621 Constantijn makes another diplomatic trip to England as ambassador’s secretary.39 This time the aim is to 1.39

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1.40 Banqueting House in London, the opening of which Huygens attended 1.41 Drebbel's design for a microscope. Drawing, undated 1.42 Inventor Cornelis Drebbel (1572-1633), painted in London, Anthony van Dijck, circa 1632

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1.43 Wilton Garden with various waterworks designed by Isaac de Caus. Etching P. Stent, 1640. See also 3.46 1.44 Moor Park visited by Huygens, designed by Lady Lucy Russell, with four 'summer houses' on the corners and a circular walk, as Huygens later applied in his own orchard

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Back in The Hague around 1621 Constantijn writes his first major

Whitehall Palace, London, built by Inigo Jones. In Banqueting

poem in his parental home on the Voorhout entitled Batave

House he finally sees a masque himself. In England he meets

Tempe, dat is ’t Voor-hout van ’s Gravenhage (Batave Tempe,

the Alkmaar ‘inventor’ Cornelis Drebbel, who was in the service

that is the Voorhout of The Hague). In it Constantijn sings of

of James I. Drebbel was the first to construct a compound

the Voorhout in summer with its tall lindens and the cheerful

microscope, a fascinating means for Huygens to look at the tiny

twittering birds. This time the lindens form the leafy backdrop for the busy everyday life in The Hague with fascinating street

miracles of ‘this second treasury of nature’. As he wrote himself, he always carried a microscope in his pocket.44 No wonder that

scenes, which Constantijn describes in a witty way. The Winter

Huygens devotes several pages to this new friend in Mijn jeugd.45

Queen, greatly admired by Huygens, is also discussed. From

Furthermore, Huygens dines with the friendly Lady Lucy Russell

her residence, ‘Hof van Bohemen’ (Court of Bohemia), on the

at Moor Park in Hertfordshire.46 Undoubtedly Huygens then

Kneuterdijk she regularly walks with her colorful retinue across

walked around in the special garden she had designed herself,

the Voorhout and surprises many a Dutchman, who was not used

dating from around 1609. The garden had a square section with

to such a regal display. Probably as an extra tribute to this former

on each corner a ‘summerhouse’ and on two sides a closed walk

Queen Huygens illustrates his Batave Tempe with an engraving of

between these houses as in a cloister. Inside the main square,

the Voorhout, on which the Hof van Bohemen on the Kneuterdijk

in accordance with the recommendations of the English garden

is also prominently displayed.

author Markham, there were four smaller squares, probably flowerbeds, with statues and fountains.47 The famous poet John

41

The first edition of the poem appears in 1622 and it immediately makes Huygens famous as a poet.42 The renowned Jacob Cats is

Donne dedicated a poem to Lady Lucy (Twit’nam Garden), which

full of praise and admiration. Constantijn’s next diplomatic tour

Huygens would later translate under the title Den Hof.48 In this

is to England, again as ambassador’s secretary with neighbour and

poem, the garden is compared to a second Paradise that drives

patron Van Aerssen.43 This ensures that Constantijn is knighted

away grief and stimulates love.

by King James I on 27 October 1622. It will be a special year for Constantijn, in which he sees a lot of culture and architecture

During this English trip Huygens is also invited to the house of

and meets various people who influenced the rest of his life.

the Killigrew family, a kind of cultural center where musicians,

He attends the opening of Banqueting House, the ‘ballroom’ of

poets and other art lovers gathered.

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1.45 Philosopher-scientist Francis Bacon (1561-1626). Unknown master, 1622 1.46 Henry Wotton (15681639), diplomat and writer. School of Michiel van Mierevelt, 1620

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He meets poets, including the aforementioned John Donne and Ben Johnson, the architect Inigo Jones, the musician Jacques Gautier and the garden expert Isaac de Caus. Ten years later, the latter was to design the remarkable gardens with impressive waterworks at Wilton House in Salisbury.49 Isaac was a brother of Salomon, who had designed the Hortus Palatinus in Heidelberg. At the Killigrew’s, Huygens also speaks to the diplomat Henry Wotton, an art connoisseur with a passion for architecture and garden design, and with the philosopher-scientist Francis Bacon.50 Bacon had inherited from his Father the famous Gorhambury House and then had sensational water gardens built there: in the middle of several other ponds lay a central square pond, containing a square island that was connected by a bridge to a circle around the pond. Presumably Huygens visited these famous water gardens during one of his English travels and also gained inspiration for his own garden plans.51 In 1625 Bacon published his book, Of Gardens, in which he described his vision of a ‘royal garden’, with advice on a good layout and planting, the correct placement of a mountain in the garden and the creation of a ‘natural wilderness’, side gardens and the main garden. Shortly before Bacon’s cousin, the aforementioned Henry Wotton, had written another interesting book about the architecture of house and garden: The Elements of Architecture. Wotton emphasizes that in a garden the wilderness has to be captured in an ordered manner or must be controlled. In doing so, sufficient variety must be ensured by planting plots of land with various tree species. For Wotton, nature was ‘the mother of all art’ and a building had to be designed symmetrically according to the proportions of the idealised human form.52 These thoughts, which came from the architect Vitruvius, would be applied in a unique way by Huygens years later in his own garden. Huygens had probably met Wotton earlier In The Hague. In the winter of 1614-1615 Wotton stayed ‘with a special mission’ in the English embassy building on the Lange Voorhout in The Hague, diagonally across from the house of the Huygens family. Huygens also mentions him in Mijn jeugd, when he writes of his lessons on the viola da gamba: When I was 16 or 17 years old, I zealously devoted myself to this and took advantage of the fact that some English noblemen lived near our house with Henry Wotton, the envoy of Great Britain, who understood violin playing perfectly.53 1.48

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1.47 John Donne (1572-1631), the famous English poet, Huygens translated several of his poems into Dutch. Isaac Olivier, circa 1620 1.48 Lange Voorhout with in the circle the house bought by Mother Huygens. Map section C. Bos and J. Faes, 1616

1.49/1.50 Title and first page of ‘t Kostelijk Mal, 1622 1.51 Pen drawing by Constantijn Huygens in ’t Kostelijk Mal on the madness of Fashion, 1622 1.52 The Lange Voorhout with on the right at the corner the house bought by Mother Huygens. Section of map J. van Londerseel, 1614 1.49

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In any case, Huygens was familiar with Wotton’s famous book. In 1639, shortly before he wanted to realize his own garden plans, he would make an analysis and an excerpt from it.54 In addition to writing various letters, Huygens also takes up the poet’s pen in England. Here he writes ’t kostelijk Mal, a poem in which he targeted the slavish imitation of the costly fashion and excessive clothing at court. Undoubtedly one factor that played a role in this was that he began to feel increasingly uncomfortable in England in his somewhat worn satin suit, in which he walked around like ‘a bald devil’ and which stood out shabbily from the richly dressed English youth.55

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1.53 Memorial plaque Lange Voorhout 44 placed in 1896 1.54 The Martinus Nijhoff building on Lange Voorhout 9, the site of the former Huygens's house 1.55 Ferderik Hendrik (1584-1647) and Amalia van Solms (1602-1675). Gerard van Honthorst, 1650 1.56 Cherry, walnut, lapwing flower with butterfly, by J. Hoefnagel 1.53

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Another move In January 1623 Constantijn returns to The Hague.56 New important poems follow. He writes a masque for the Winter Queen, which after some changes is probably performed in January 1624.57 On February 7, 1624 Father Christiaan dies. In that same year Mother Susanna buys a smaller house from Nicolaas de Voocht, also on the Voorhout, but now on the north side. Constantijn is in England again during this purchase.58 In a letter his mother sends him an enthusiastic description of the house: You will be surprised to see how beautiful and solid that house is. We will always have good value for our money and all the comforts: a large rear exit on the Denneweg [current Kazernestraat], stables, doghouse, also a good room at the back of the stable, everything new and well made, shed for peat and good water, a very nice cistern, a nice

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pump, in the hall seven doors of thick solid wood, the locks as if they were all silver, beautiful chimney mantles like those of Van de Hoonaert,59 the very nice reception room on the garden, two rooms on the street and two connected kitchens, which I would like to be bigger.60 Of course Constantijn will have a nice room in the new house. Dorothea van Dorp, who still corresponds with him, writes: yesterday I was in your room with your family! You will live there like a prince.61 The place of this second house on the Voorhout, where Mother Susanna and her children move to in 1624, is still easy to find in 2000. The house was on the left side of the current Hotel des Indes, on the spot where house number 44 now stands. Yet number 44 is no longer the original house of the Huygens family. In 1827 this house was radically rebuilt and also got another façade. At the end of the nineteenth century, on September 4, 1896, the Historical Society Die Haghe placed a simple commemorative plaque in the façade with the inscription in bold letters: Here Constantijn Huygens lived and worked 16241627.62 This plaque is still present in the façade of number 44. Finding the location of the first house on the Voorhout is more difficult. Nevertheless, in the end it turns out that this place too is identifiable. After all, it is known that the house of Cabau was located on the spot where now, at number 7, the former Naval Ministry stands. On its eastern side is number 9. There must have been the house of Boelen. Here the façade has been drastically changed in the course of the centuries, so that here, too, as well as that of number 7, nothing can be seen of the situation from the time of the Huygens family. 1.56

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1.57 A page from the diary of Huygens with his visit to the Prince on June 15, 1621 1.58 The Lantarenhof near Antwerp. Image from Caertbouck St. Michiel 1.59 Constantijn Huygens at the age of 28. Engraving W. Delff after Michiel van Mierevelt, 1625

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1.60 Constantijn Huygens on campaign. Litho P.W. van der Weyer, circa 1860

A permanent job

newly appointed secretary is particularly good at deciphering

In 1625 Constantijn finally gets the long-coveted permanent

intercepted enemy letters in code.70 He also maintains contacts

job. At the beginning of June he applies for the vacant position

with senior foreign officers who led a contingent of the State

of secretary to Stadholder63 Frederik Hendrik, born in 1584

Army. For example, in February 1629, Edward Cecil, commander

the only son from the fourth marriage of William of Orange to

of the English cavalry contingent, sends Huygens a map of

Louise de Coligny. Frederik Hendrick succeeded his half-brother

Brabant, ‘made by the enemy’. In an accompanying letter, Cecil

Maurits , who had died in April 1625. In his application letter

indicates that Frederik Hendrik would undoubtedly like to

Constantijn mainly refers to the many years of service his Father had rendered to the House of Orange.65 The fact that Huygens was

see this map because it gives a good picture of the occupied territories.71 The map probably played an important role in the

given this important position is partly due to the ‘intercession’ or

reconquest of Brabant by the Stadholder. On April 23, 1629, he

rather the recommendations of the Winter Queen and the English

and his troops head for Den Bosch.

64

Ambassador Carleton. Undoubtedly, the old ties between the Huygens family and Louise de Coligny also played a role. The

Despite all the hustle and bustle during the campaign months,

fact that he had been chosen by Prince Maurits in 1620 to write

Huygens manages to send hundreds of letters a month to his

the epitaph for the mausoleum of William of Orange will also

family and other acquaintances, including Amalia van Solms, the

have been an advantage in Huygens’s appointment.66 Finally, the fact that the Huygens family came from the Southern

wife of Frederik Hendrik. In these letters he details the course

Netherlands and did not belong to the Dutch ‘Regents’ clique’,

injuries sustained by soldiers and officers, and the constant threats from the enemy.72 He also writes about the Prince’s trips

of the sieges, the tensions in the army camp, the often serious

who often pursued interests other than those of the Oranges, will have also played a part in the appointment.67 It is not without

to surrounding villages on sunny summer days.73 His notes reveal

reason that Huygens writes extensively and with pride about

his compassion for the mercenaries and the inhabitants affected

his ancestors, who came from Brabant, in Mijn jeugd. Father

by the violence of war. After a siege of some four months Den

Christiaan came from Ter Heide, near Breda. His father’s family

Bosch surrenders. It brings Frederik Hendrik great fame and the

came from Weelde, a village near Turnhout, with a moated castle.

title: subduer of cities.

In addition, the family was associated with the Bax family, which were ‘among the most important in Brabant’. On the mother’s

The Stadholder was very satisfied with his secretary Huygens and

side, the roots of the Hoefnagel family were in Armentières, in

appointed him a member of the Nassau Domain Council in 1630,

French Flanders, and in Antwerp, where Huygens’s Grandmother

which took care of the financial management of the possessions of the Orange family.74 Nevertheless, Huygens especially

Vezeler was born. Near Antwerp lay the family house which had the shape of a tower and was therefore called the Lanterenhof. Grandfather Vezeler had this house rebuilt twice.68 Through inheritance it would later come into the possession of Constantijn. If he is in the neighborhood he invariably goes there with one or more guests. Huygens also cites with pride his kinship with Joris Hoefnagel, a brother of his mother, the famous miniature painter, whose refined paintings adorned many royal courts.69 After a brief visit to the Stadholder at his army camp in Waalwijk, Huygens is appointed secretary on June 18, 1625. It is the beginning of 62 years of faithful service to the House of Orange. Because the Eighty Years’ War against Spain is still raging, Huygens often has to join the Stadholder on the war front. The

1.61 The siege of 's Hertogenbosch by Frederik Hendrik. Pauwels van Hillegaert, 1629

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1.62 Constantijn Huygens as secretary with his clerk, surrounded by objects reflecting his varied interests, including an architectural drawing, a writer's pen, books, a lute, a world sphere and a celestial sphere. Thomas de Keyser, 1627

appreciates another part of his office. Not only is he involved in the political and military affairs of the Prince of Orange, but he also advises him in architectural and art matters. This had everything to do with Frederik Hendrik’s attempts to enhance the regal appearance of his court. Further on it will be pointed out that he has magnificent palaces built and decorated. Here he houses a beautiful painting collection, in which his artistic secretary Constantijn advises him with great pleasure and expertise.75 As a result of this task, but also out of his own interest in art, he visits various painting workshops, often accompanied by his brother Maurits and friends. 1.62

The discovery of Rembrandt Around 1628 Huygens visits the Leiden studio of Rembrandt and his younger friend Jan Lievens. At that time Rembrandt is working on a painting about the repentance of Judas, who had betrayed Jesus. The youthful Huygens is enthusiastic about the special way in which Rembrandt manages to depict the inner torment of Judas. He is one of the first to recognize Rembrandt’s remarkable talent. In Mijn jeugd he writes about this: This way I dare to say that Rembrandt in accuracy and vivacity of emotions the superior is to Lievens. Conversely, Lievens wins by a greatness in invention and in the audacity of subjects and forms. [...] As an example I mention the painting of the repentance of Judas, who returned the pieces of silver, the price for the innocent Lord, to the high priest. [...] The gesture of that one Judas, that one despairing Judas who cries out, who begs for forgiveness, who however no longer has any hope the wild gaze, the hair torn out,

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the clothes ripped, arms twisted, bleeding hands clenched; in a blind frensy he fell on his knees, his whole body writhing in

From the seven letters Rembrandt wrote to Huygens between

pitiful hideous deformity. This whole I put next to all the beauty,

1636 and 1639 about their delivery and the payment, it is clear

which through the centuries have been spawned. Homage,

that things did not go smoothly. These seven letters are the only Rembrandt letters that have survived.77 In 1639, the last two

Rembrandt.76

of the five paintings were completed. The court seems to be Through the mediation of Huygens, Rembrandt received the

moderately satisfied with this. Later there will be discussion why

commission to paint a series of Passion scenes for the Stadholder.

the enthusiasm of Huygens for Rembrandt cooled.

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1.66 Constantijn Huygens and Suzanna van Baerle, This unusual composition where Suzanna looks at the viewer from behind her husband is probably the only painted image of her. Jacob van Campen, circa 1635

Foolish and Wise Courtiers All in all, Huygens knows how to fulfill his role perfectly. Two years before he became a courtier in 1625, he wrote a poem entitled Een Zotte Hoveling (A Foolish Courtier). In it he denounced the affectation, vanity and unreliability of such a courtier. With a view to his own official ambitions, a year later a poetic counterpart follows with the title Een Wijze Hoveling (A Wise Courtier).78 This wise courtier has remarkably many qualities which Huygens had acquired and which now seem to come in useful in his new position. Both poems were included in the collection Zedeprenten, 19 character sketches, mainly of professionals.79 Occasionally Huygens responds to current events with his poems. Shortly after Piet Hein had ‘taken’ the silver fleet in September 1628, Huygens devotes a few Latin lines of poetry 1.66

to the portrait of this admiral applauded for his ‘great deeds’. At the same time he adds an English version.80 A large part of the loot flowed into the coffers of the Stadholder, the Prince of Orange. After all, he was the commander-in-chief of the army and the fleet. In love and married Shortly after his appointment as secretary to the Stadholder, Constantijn Huygens falls in love again, this time with the 1.65

beautiful Suzanna van Baerle. Now it is serious and wellchosen. She is a niece of Constantijn’s mother and a good friend of Huygens’s earlier love Dorothea van Dorp. She is not only beautiful but also gifted and creative. She speaks Italian and French, has an interest in the exact sciences and enjoys miniature painting.81 Actually, she was supposed to marry Constantijn’s brother Maurits. This was how the family had

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planned it. Suzanna is invited for an over-night visit on the Voorhout in the autumn of 1622. She accepts the invitation and

1.63 The repentance of Judas, the work that Rembrandt was painting when Huygens visited his studio, Rembrandt, 1629

the sisters Constance and Geertruyd work to make something special out of it.82 They decorates the guest room with new silk

1.64 Constantijn Huygens at age 39. Jan Lievens, 1627

Scheveningen with Suzanna, tell flattering things about Maurits

1.65 Constantijn Huygens at age 42. Drawing J. Lievens, 1639

wallpaper, embellish the guest bed with draperies, make trips to and during dinner the most delicious dishes are served.83 But Suzanna, who had a strong will of her own, turns out not to be anxious to marry and does not like Maurits. She would even turn down a marriage proposal from the famous poet P.C. Hooft. And when finally Constantijn fell in love with her, she also reacted

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1.67 The Binnenhof, to the left of the Hofvijver with the Reigersbos (...) and the Stadholder's 'cabbage garden'. Below this cabbage garden runs the Houtstraat with the house of Huygens, which is directly opposite the gate of the Binnenhof. Section of map, J. van Londerseel, 1614

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1.68 An enlarged detail from 1.67 with the cabbage garden and adjacent buildings

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initially very coolly. Constantijn travels to Amsterdam several times and writes her one poem after another, in which he gives her the beautiful pet name Sterre (Star).84 In February 1627 she yields and the marriage contract is signed.85 The wedding is celebrated on April 6, 1627 in Amsterdam. In the first months after the marriage Constantijn and his Suzanna live with his mother in the house on the Voorhout. Here he begins his great poem Dagwerk (Day work), dedicated to his Sterre.86 In this poem Huygens describes his married life with her and how they arrange their domestic affairs. He worked on it for ten years. Due to a tragic event, which is described below, the poem would remain unfinished. In the meantime Constantijn has bought a house in the Houtstraat, where he moves with his Sterre on October 14, 1627.87

The house in de Houtstraat (1627-1637) Current location: Plein 23 Constantijn bought his house in the Houtstraat from the unmarried noblewoman, Margaretha van Mechelen.88 It was publicly known that she had an affair with Prince Maurits, by whom some ‘natural sons’ were born. These bastard sons, by the way, participated fully in the life of the court in The Hague. The house stood on the north side next to the lodging of the city of Amsterdam. Four sons Here in the Houtstraat, Constantijn experiences the ten happiest

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years of his life, together with his Sterre. This is also where his four sons were born, the first, in 1628, Constantijn II, who soon, for brevity’s sake, is called Tien. In

Father Constantijn meticulously writes down all kinds of

1629, the next, Christiaan, abbreviated to Tiaen. He too appears

details of the boys growing up.89 This is done with the same

to be well-formed, although Mother during pregnancy, in

precision as his own Father had done in the past.

accordance with superstition from that time seriously feared the opposite. Indeed, before giving birth, she was terrified by

We mainly read about the childhood illnesses and about

a poor boy walking in the street, with a thick, crooked cheek,

the progress the boys make in reading and writing. The

which made his face look monstrous. Actually, the family on the

little Christiaan appears to have a strong will of his own

mother’s side felt that the newborn should not only be named

and is often very uncooperative. His older brother is much

after Christiaan, the grandfather on the father’s side. Grandfather

more amenable, but did not have such a good memory.

Jan on the mother’s side is also entitled to be named. That the child was not named Jan Christiaan after all, but simply Christiaan, was ultimately determined by fate.

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1.71 Johan Maurits of Nassau-Siegen (1604-1679), nicknamed the Brazilian. Jan de Baen, 1670

1.69 Constantijn Huygens, surrounded by his children. At the top daughter Suzanna. Top left Constantijn II, top right Christiaan. At the bottom Lodewijck and Philips. Adriaen Hanneman, 1639 1.70 Constantijn Huygens at the age of 36. Copper engraving P. Pontius after a portrait painted in 1632 by Anthony van Dijck 1.71

In 1631 Lodewijck comes into the world and the family calls him Toot. The last son, Philips, follows in 1633. Of course, Father Constantijn applies the much-praised rules of upbringing and teaching methods of Grandfather Christiaan for his own children: a humanistic education with playful learning as the main method.90 Even now, extra attention is paid to everything that is useful for an official career, in the service of the Stadholder. The education of the Huygens children is given at home by father, mother and later also by specially appointed home tutors. Mother Suzanna teaches the children to spell and read, using father’s poems such as Het Voorhout as training material for memory. Grandmother teaches her oldest grandchild the Wilhelmus. Father himself gives his children music and singing lessons and teaches them the first principles of Latin. Plans for a new home Meanwhile, a new house is being built on the Plein (square), diagonally opposite the house in the Houtstraat, almost a stone’s throw away. In 1634 Frederik Hendrik had given his welldeserving secretary Constantijn a piece of land there as a gift. Constantijn later wrote that this was done ‘notwithstanding great outbursts of jealousy.91 This land was part of the Stadholder’s vegetable garden, situated directly next to the Stadholder’s Reigersbos (Herons’ wood),92 next to the present Binnenhof. The rest of that ‘cabbage garden’ including the orchard was sold. Frederick Hendrik needed money because of the high costs of repairing and rebuilding the Stadholder buildings in the Binnenhof. And so the Plein was created, spacious and with many attractive buildings around it. Huygens’s new house will be 1.70

a beautiful building, which he will design according to his own ideas. Later, shortly after construction began, he was assisted in

Soon Christiaan is the first to remember all the verses and

the execution by the great master builder Jacob van Campen.93 In addition to building his own new house, Constantijn also had

other ‘trifles’ and even recite the Lord’s Prayer flawlessly.

to supervise the construction of the Mauritshuis, which is being

He is rather small for his age, so he and his younger brother

built alongside his own at the same time.

Lodewijck are often mistaken for twins. Furthermore, he has a gentle face and appearance, everyone

Jacob van Campen was also involved in this construction.

looked on him as ‘sweet as a girl’. Nevertheless, he does have

Huygens had agreed to supervise the building of the Mauritshuis

a clear tendency to assert himself and often wants to do better

because the principal for the Mauritshuis, Count Johan Maurits

than his older brother.

van Nassau, was in Brazil. Constantijn was happy to carry out the supervision for his neighbour, because in exchange it was agreed that the purchase and the transport of building materials for both houses would take place jointly. Due to his status the Count could often purchase building materials cheaper. He was

27

1.72

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1.72 Map of the building plans for the square shown in the lower right. To the right along the square runs the Houtstraat with to the right 'House van de Heer Secretarius Huijgens' and below it 'House van de Heer van Amsterdam'. To the left of the square is the 'Akerlant' with the 'Reigersbos' and to the right the parcels of land that Huygens received as a present, with the long narrow triangle which would become the

garden and below it the square plot on which the house was to be built. 1.73 Detail from 1.72 1.74 The stadholder's cabbage garden divided into sections with the narrow triangle on the left, the later garden of the Huygens House. To the left is the Akerland (cropland) with the Reigersbos. Section of map C. Bos and J. Faes, 1616

1.74

also able to arrange the often expensive transport at lower prices,

together with his brother-in-law David le Leu de Wilhem, then

so the joint purchasing is very advantageous for Constantijn.

takes care of the necessary supervision of the construction work.

Incidentally, Constantijn, as described earlier, is often absent

By the way, Suzanna had also collaborated with Constantijn about

travelling with the Stadholder on state affairs. His wife Suzanna,

the design and layout of the house. In his manuscript Domus,

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1.75 The poet Joost van den Vondel (1587-1679). Engraving after an etching by J. Lievens 1.76 Maria Tesselschade (1594-1649), poetess. Drawing H. Goltius, 1612 1.77 The lodging of Amsterdam on the Plein. To the left, behind this still existing, slightly modified façade, stood the Huygens's house on the Houtstraat. Design drawing probably I. The Moucheron, circa 1740 1.75

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which Huygens was to write about his new house in May 1639,

encouraging poems that his literate friends, including Joost van

he speaks with admiration of the role of his Sterre. The workmen

den Vondel, write to him. He abruptly stops the poem Dagwerk.

who were building the houses were ‘troublesome barbarians,

In the end it is Maria Tesselschade who finds the right words of

lethargic and slower than molasses’. Her supervision was therefore

consolation and encouragement. In a sonnet, Op het overlijden

a true work of art, all the more so since ‘in addition to the endless

van mevrouw van Sulecom (On the Death of Mrs. Van Sulecom)

vexations of this rabble’ she also had to endure ‘the difficult, hot

written to Hooft, but ultimately intended for Constantijn, she

days often alone when her husband was absent in the summer in connection with matters of state.’94 At the end of 1636 the new

recalls a number of verses by the English poet John Donne.

house was nearing completion. In February 1637 the house in

describe how the intensity of grief can be drowned out and

Houtstraat is sold.95 The Huygens family may continue to live

alleviated by forcing them into the straitjacket of poetry: Grief brought to numbers cannot be so fierce, For he tames it, that fetters it in verse. Thus the translation of Constantijn who is most struck by another touching thought that Maria presents to him via Hooft in her sonnet: And by writing down his suffering he doesn’t have to remember it.100

there until May 1, because the new house is not quite yet ready. A daughter and a sad farewell Suzanna is pregnant again. On March 13, 1637, a daughter was born as the fifth child. The delivery went well and the girl was called Suzanna, just like mother and grandmother. At the end of March, however, things started to go wrong.

Constantijn had himself translated these lines into Dutch. They

The new mother became seriously ill, for weeks she had a high fever. On the 1st of May the old house at the Houtstraat has to

That is what Constantijn ultimately does. He expresses his

be vacated. Constantijn thinks it is not responsible to house his

suffering in a moving farewell poem full of sensitive wordplay:

deathly ill wife in the new house. Therefore she was carefully

Op de dood van Sterre (On the death of Star)101 The last words

taken to the house of her sister and brother-in-law Van Dorp on the Lange Voorhout on April 29th96 [current address: Lange

of that poem contain an intense wish that he carried deep in his

Voorhout 15]. There she dies a few days later, bravely resigned in her early deathbed. Father Constantijn describes how, probably

heart until his death: I long to float together in eternal light my salvation, my love, my body, my God, my Sterre and me.

still in the Houtstraat, she said goodbye to the newborn Suzanna, kissed her, saying, as she would usually do, that she was a sweet little babe’97 Actually, Father wants to keep the boys away from

The house in the Houtstraat, where Constantijn lived with his

the sickbed because they ‘had no knowledge whatsoever of life’s

expand its accommodation, they had purchased the adjoining

hardness’. But little Christian was determined to go to his mother,

former Huygens's house in 1642. After having bought two more

whereupon he was lifted onto the bed and mother could say

adjacent plots on the other side, Amsterdam decided in 1736 to

goodbye to him with the words: come here my sweet little man, let me give you a kiss98 When Father asks if she also has a message

demolish these four adjoining buildings and replace them with

for little Constantijn, who is staying in Utrecht for an operation,

Constantijn spent the happiest years of his life with his Sterre,

Suzanna answers: Tieneken, my little friend, would you say that

and where also his famous son Christiaan was born. The new

mamma did not see you once, I know that you have not seen me

accommodation on this spot was completed around 1740 and

but now that cannot nor could have taken place I command you to be eager, to fear God, and to obey your father.99 At the beginning

is still there behind house number 23. By the way, this former

of May, Constantijn moves into the big house. But no matter how

impressive façade you can still see the coat of arms of Amsterdam,

beautiful it was, inside he experienced a great emptiness, because

with the year 1740. Unfortunately, there is no further reference to

his Sterre was extinguished forever and could not accompany

the uniqueness of this place.

them.

A commemorative plaque at this birthplace of Christiaan would

Paralyzed by sorrow, Constantijn is unable to take up his poet’s

be the least gesture as a miniscule plaster on the umpteenth

pen for months on end, despite the many comforting and

demolition wound in The Hague.102

family, stood there until 1736. Because Amsterdam wanted to

a large, stately home. This meant the end of the house where

section of Houtstraat has been renamed the Plein. At the top of the

29

The house on the Plein (1637-1687) Current location: Plein 2b The large house on the Plein became a jewel of architecture, innovative for Holland and for The Hague.103 This is how Constantijn intended it to be. With this building he wanted to create an example in Holland of ‘the true architecture’ according to the ancient rules. With this classicist house he wants to embellish the city and at the same time give shape to his outspoken ideas about architecture. The Three Virtues of Vitruvius As described earlier, during his travels to England he was already impressed by the architectural style of the English court architect Inigo Jones.104 He based his designs on the architecture of antiquity, seeing the sixteenth-century buildings of Palladio as the great example.105 Palladio in turn had used the ideas of Vitruvius, the Roman architect who lived in the century preceding the beginning of our era, in the time of Julius Caesar and Emperor Augustus. Vitruvius became best known as the author of a famous work on architecture entitled De Architectura. He argued that good architecture should be symmetrically ordered and harmoniously proportioned, exactly like a well-built human body.106 Constantijn Huygens had also admired these Palladio buildings during his trip to Venice. Symmetry and human proportions thus characterize the Huygens House on the square. Three beautiful sandstone ‘girls’ form the crowning glory of the façade, the Three Virtues of Vitruvius, standing on the tympanum which forms the mid-point of the façade. In his manuscript Domus, Huygens gives a detailed description of this house and explains what these ‘three beautiful girls’ represent.107 They embody the characteristics that a building must meet. One represents Stability. She wears a shield to ward off ‘gusty hail and wind’. The other represents Utility. She is depicted with snail and turtle, who carry on their back a house that fits exactly. But in the middle, at the highest point, in the center of the symmetry, stands Beauty, with compass and human figure in hand. After all, classic beauty is derived directly from the human body, as Vitruvius had already described in antiquity. That is why Constantijn studies the writings of Vitruvius extensively, together with Jacob van Campen. 1.78

30

1.78 The Plein with the Huygens House on the left and the Mauritshuis to its right. Striking is the yellow color of the gate and the shutters, a color that was later also used at Hofwijck. On the tympanum are the three beautiful girls depicting the Virtues of Vitruvius. Drawing J. van Call, 1690

31

1.79 The ideal dimensional ratios according to Scamozzi. Engraving in Scamozzi's book L’ Idea dell’ Architettura Universale, 1615

1.80 Images of the Huygens House as Huygens sent them to his acquaintances. From top to bottom: the front façade, the gate, a crosssection, the side façade from the garden side and the floor plan. Etchings T. Matham after P. Post, 1639

1.79

In addition, they also consult the book published in 1615 by the Italian architect Scamozzi: L’ Idea dell’ Architettura Universale.108 They will certainly have seen the image of the Vitruvian man that Scamozzi had depicted in his book. Scamozzi also described the application in architecture of the classic concepts of ‘honor, utility and amusement’. He further argued that true beauty in architecture was not in decoration but in correct proportions derived from nature and the mathematical proportions in which heaven and earth were created.109 Also the writings of Palladio are studied, in particular the Quatro Libri dell’ Architettura from 1570.110 Galleries as outstretched arms Sometime after the completion of the house Huygens has five drawings made by the ‘architect’ Pieter Post: the floor plan of the house, the front, the garden side, the cross-section and the front gate.111 He proudly sends etchings of these, made by Theodore Matham, to friends and acquaintances including Lady 1.80

32

1.81 The Vitruvian man. Drawing Leonardo da Vinci, circa 1490 1.82 Renowned painter Peter Paul Rubens (1577-1640), self-portrait, 1623 1.83 Lady Mary Killigrew. Anthony van Dijck, 1638

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1.82

1.83

1.84

1.84 Valentin Conrart (1603-1675), scribe and secretary to the King of France. Anonymous, 1635

1.85 The richly decorated courtyard of the Rubens House in Antwerp. Detail engraving J. Harrewijn, 1684

Killigrew, the English envoy Sir William Boswell, the English

nine steps leads to the entrance door, which gives access to a

architect Inigo Jones, Valentin Conrart, the secretary to the

vestibule that divides the symmetrical building into two equal

French King, and the painter Rubens. Huygens receives rave

parts. One part was intended for Constantijn and the other for

reviews, but Rubens is also critical. He feels that Huygens had

Suzanna. However, Suzanna’s untimely death eventually leads

not followed the Vitruvian rules of symmetry strictly enough

to Cousin Sweers, who took over the household, occupying

and that the façade was too simple for a city palace. The design

Suzanna’s part. Two forward protruding wings or galleries

required more ‘dignity and relief or decorum’, according to

form the forecourt. A staircase at the back of the house led to

Rubens. Rubens also finds the height of the entrance gate in

a terrace on the side so that the garden could be viewed from

Doric style too low in relation to the width. Compared with the

above.115

richly decorated façades of Rubens’s own house on the Wapper in Antwerp, decorated with sculptures and trompe l’oeuil paintings,112 the Huygens House in The Hague indeed appears

Huygens clearly sees human traits in his house: the two

austere.113 In response to Rubens’s criticism, Huygens writes

forms the skeleton and the rooms the intestines.116 The cosmos

that the simplicity is beautiful enough for him, provided that

has also been thought of as Huygens places iron ‘globes’ or

the rules of Vitruvian art are applied.114

spheres on top of the chimneys. One depicts the earth and

galleries are two outstretched arms, the architectural frame

the other the ‘heavenly atmosphere’. They thus refer to the The Huygens House consists of a main building, with a semi-

cohesion between the house and the universal order of the

basement and two upper floors. A double external staircase of

universe.117

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1.86 The garden next to the Huygens House on the Plein with on the left some tall trees of the Reigersbos and directly behind the façade of the Mauritshuis. Drawing J. the Bisschop, circa 1668

A garden with noisey neighbors For the garden, only a narrow, triangular strip of land is available next to the house, towards the Mauritshuis. This offered insufficient opportunities to realize a special garden design here. Johan van Brosterhuysen, a botanist friend, had, however, sent Huygens a list of evergreen plants that would give the garden a pleasant appearance even in winter.118 The only image that shows a piece of this garden dates from 1660. Next to the dividing hedge on the left, two parterre de broderie can be seen with small borders, dwarf box hedgings in a graceful curl pattern with colorful gravel decorations. Each parterre is surrounded by a semi-high hedge, with a lower hedge in front of it. Between these two hedges is a strip with an arrangement of independent flowering plants. On the left side the tall trees of the Stadholder’s Reigersbos form a beautiful décor. The protected blue herons that populate this forest are destined for the Stadholder’s hunting and 1.86

1.87 The House of Constantijn Huygens on the Plein in The Hague. To the right of the house are the tall trees of the Reigersbos with the wall of the Mauritshuis on the far right. Etching T. Matham after P. Post, 1639

34

1.88 The garden next to the Huygens House, with low box hedges, curl patterns and gravel decorations. Detail from 1.86 In a letter dated August 14, 1646, the then 17-year-old Christiaan wrote to his brother Constantijn that he had drawn life-size figures in their garden with charcoal

on the planks separating the garden from that of Count Maurits. They are figures from Holbein's Dance of the Dead, which he enlarged from tiny to the height mentioned above

1.88

consumption but due to their noisiness and their excrement are

Father at the time, receive dance lessons. According to his father,

less valued neighbours. It was not until the Stadholderless period

the eldest son Constantijn moves more gracefully than Christiaan,

of 1650-1672 that this heron colony, which was annoying to the

who was usually inclined to ‘turn his feet inwards and his knees

surrounding area, would come to an end for good.119 On other

forward’. Horseback riding is also on the program and if it had

images you can see that a stone wall, with a coach house and

frozen enough, there is also skating.

stabling at the end, forms the boundary on the Plein side. At the back of the house is a terrace with a staircase leading to the

Catherijn Sweers, an unmarried cousin, came to live in the house

garden.

to take care of the five of them. She would dutifully devote some 30 years of her life to running Constantijn’s household. She does

Learning with rewards and variation

not receive many words of thanks for that. The children turn

In the new house, the education of the children is taken up again.

out to be as witty as Father when it came to language: after a few

The well-known Huygens family rules still apply: encourage

Latin lessons they know the translation for Aunt Sweers: Aunt

by rewards, enforce nothing, and provide variation to keep

Zuerius. And of course this is always pronounced as Aunt Zeur

the attention alert. Again, Father Constantijn precisely notes the development of his children.120 In order to be able to move

(Aunt Complain). Yet in that world of so much wordplay, Aunt

naturally and elegantly in the highest circles, the boys, like their

his own country’. Father Constantijn is not very courteous either.

Zeur has an effective quote in answer: ‘a king is not honoured in

35

1.89 Henricus Bruno (16201664), tutor and poet. A. van Halen 1.90 Father Constantijn Huygens drawn by Constantijn II, circa 1660 1.91 Man with hat. Drawing Constantijn II, 1677

1.89

1.90

1.91

1.92

1.92 Jan Stampioen (1610-1653), mathematician, publisher and teacher. Engraving J. Cocquius, 1638 1.93 Canal in Voorburg with shed and wheelbarrow. Drawing Christiaan Huygens, May 25, 1658

1.93

When, after so many years of faithful service, she says farewell

At the same time, the French ‘writing master’ Renau is recruited.

and finally dies, he says in an epitaph, as sharp as it was bitter

Jeronimus van Someren teaches the two eldest how to play the

that she did nothing but ‘meddle and whine and command’. Of

lute. Master Steven, the son-in-law of the blind organist Pieter de

course, she could not really replace Sterre. Nobody could have

Vois, teaches viola da gamba and harpsichord. Painter Monincx

done that:

teaches the boys the basics of drawing. Mirkinius’s service

On the death of Miss Catherijn Zuerius, who died on 10

is quite satifactory, but he soon leaves because he wants to

October 1680

concentrate on his theology exam. He is succeeded by 18-year-old

Here lies cousin Catharijn, nothing more needs to be written.

Henricus Bruno, also a preacher’s son and a meritorious poet of

Because if I dare say,

Dutch and Latin verses.

What drove her in more than three and eighty years? than that she meddled and whined and commanded and died.121

Father himself practices arithmetic with Constantijn and Christiaan after dinner. He also teaches them the knowledge of

In July 1637, the first tutor, the 20-year-old preacher’s son

the earth and the universe. In order to promote geographical

Abraham Mirkinius, a student of theology, arrives in the

insight, he hung up Blaeu’s four world maps in the entrance hall,

household of Huygens.

where the children often played at the time. It strikes Father early

36

1.94

1.94 The house of Descartes at the Maliebaan in Utrecht. Built circa 1636. This country house with classical features was designed by Descartes together with the Utrecht city architect Struys. Remarkable is that this house has the same contours as the country house that Constantijn Huygens built a few years later in Voorburg

on that Constantijn excels in language and drawing.

In the same year 1644 the Frenchman Descartes, who

Many of his later drawings have been preserved, as well as the

had lived in the Republic of the Netherlands since 1628,

journals he would later write, with a keen eye for the particular

publishes his famous work Principia Philosophiae

in the landscape and in the everyday. Christiaan is more

(Principles of Philosophy). Descartes is a philosopher and

interested in mathematics, mechanics and music.

mathematician and the founder of rationalism, which

He excels in arithmetic and singing. Furthermore he is ambitious

stresses the unique importance of ‘reason’. Earlier, in 1637,

and persistent, not resting until he really understood what it was

he had published his Discours de la Méthode, pour bien

all about. In this respect, according to his father, he clearly has

conduire sa raison, et chercher la vérité dans les sciences.

the character of his deceased mother. In addition, he is handy,

(Discourse on the Method of Rightly Conducting One’s

makes his own lathe and designs mills and all kinds of other

Reason and of Seeking Truth in the Sciences), in which he

models. Tutor Bruno is somewhat dismayed about the latter,

described ‘rational’ principles for ‘orderly and systematic

because this ‘clever child prodigy’ Christiaan was not destined to

thinking’. Like Huygens, Descartes is under the influence

become a craftsman, was he?’122 Father Constantijn has no problems with it. With interest he sees

of stoic doctrines. Father Huygens had met him in 1632

how his oldest boys, led by Christiaan, also like to experiment.

also recognizes the importance of orderly and systematic

For instance, the youngsters in the attic of the large house peer

thinking. With this rationality Son Christiaan would make

through binoculars at the chimney of the Sebastian Guild on the

interesting discoveries. Furthermore, Father Huygens finds

corner of the Vijverberg. On that chimney Christiaan, together

Descartes’s thoughts on optics and lens grinding intriguing.

with his brother Constantijn, had hung a large sheet of letters. In this way he learns something about telescopes, distance and

These could help to ‘remove the ignorance of the world’.126 He supports Descartes wherever possible, especially in the

magnification. Lodewijck is intelligent but is initially not very

realization of his publications. He also prevents too much

eager to learn. Philips is sickly and learns with difficulty, later

government interference with this controversial thinker.

in the house of the Leiden professor Golius. Huygens

he improves. He learns the first principles of music and violin playing from his older brothers. Although, according to father, Suzanna’s daughter is so clever and smart that she could certainly grow up to be a learned woman like Anna Maria van Schurman, he still chooses for her the usual upbringing that should make her suitable for a good marriage.123 So she learns pleasant conversation, making music, sewing and embroidery.124 Father also lets his children teach and explain to each other, of course for an appropriate monetary reward. This turns out to work well and it is a good exercise in learning to help each other. During the summer months, when Father is on campaign with the Prince, the brothers send him letters in Latin and French, so that Father can be pleased by their progress. In 1644, Constantijn and Christiaan receive ‘mathematics’ from Stampioen, a fashionable teacher who also taught the Stadholder’s children.125 Christiaan, in particular, turns out to pick up mathematics remarkably well. Not only does he understand everything quickly, he is also resourceful in mathematical matters. Every day he comes up with all kinds of ‘clever notions’, which he writes down in a booklet.

1.95 René Descartes (1596-1650). After an original by Frans Hals, 1648

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1.96 Frans van Schooten (16151660), professor of mathematics at Leiden University. Philips Koninck, 1656 1.97 Marin Mersenne (15881648), theologian-philosopher, mathematician and music theorist. Engraving C. Duflos

1.96

1.97

1.98 Frederik Hendrik, Amalia van Solms and their three daughters. Gerard van Honthorst, 1647

1.98

At the beginning of 1645, Father realizes that Bruno had nothing

also improved. In the same year Huygens senior judges that his

more to teach the children. He decides to send the two elder boys

children were now old and mature enough to be able to chronicle

to Leiden University, where they were enrolled to study law in

the most important facts of their lives and so it is the right

May of the same year. The two boys board with Pietro Paravicino,

time for him to end writing the description of their childhood

who had a student pension at the Steenschuur in this university

years. Still, this was not the last thing he would write about his

town. Father Constantijn had given his two boys a ‘fatherly

children. Years later, at the age of 82, he would look back on

exhortation’ with strict rules of conduct and a meticulously

his life in a long poem in which he would also let his children

worked out day program: getting up at five o’clock, then reading

pass by again, each with a hymn of praise with appreciative and

a chapter of the New Testament in Greek, saying prayers in

encouraging words.131

Dutch, studying law from six to half past eight and then breakfast. Then there is a schedule for attending lectures, alternating with

The Court Districts

drawing or making music. After lunch some relaxation, then back

The house on the Plein is a short walk from the Stadholder

to college. If there is time left, it should be devoted to literature.

quarter in the Binnenhof. This is where Constantijn Huygens

After dinner walking or playing games or music. At ten o’clock

works when he is not travelling with Frederik Hendrik. It is

going to bed, preceded by Bible reading and prayer.127

Frederick Henderik who takes care of the creation of a regulated court life with some royal allure in Holland.132 His wife Amalia

In Leiden Constantijn turns out to be a good debater. Christiaan

van Solms already had experience with this. She had been lady-

is not very good at that. At Descartes’s insistence the two brothers

in-waiting in the wake of the Winter King Frederik V and his

also follow the lessons of Frans van Schooten, who teaches

wife Elisabeth Stuart. The Winter Queen had to get used to the

mathematics, but also gives a lot of attention to Descartes’s

fact that her lady-in-waiting became from one day to the next

theories.128 Again it is Christiaan who excels and, according to his

the superior of her former mistress through her marriage to the

father, soon gets the justified reputation of being the most learned

Stadholder of the House of Orange.

mathematician among the young people of Leiden. He stands out more and more, because he often discovers new solutions to old problems. He corresponds about this with a friend of Father’s, the famous Paris monk Marin Mersenne, in his time a renowned

Constantijn Huygens has his own place in the court of

mathematician. Proudly Father writes that Mersenne is full of

Frederik Hendrik. According to the ‘Order and regulations of

praise for the mathematical abilities of Christiaan and even calls

the court’ he as secretary and councilor sits at the second of the eleven tables during the meal with the Stadholder.133 Of

him ‘mon Archimède’.

course the Stadholder himself sits at the first table with the In 1646, with the Prince’s permission, Father brings his eldest

most important army commanders., Other high court officers

son to the Stadholder court to assist him as secretary. Shortly

such as the steward and the stable master were also seated

thereafter Christiaan, together with his brother Lodewijck, is

with Huygens.

sent to the Orange College in Breda, which had just opened,

Prince Maurits’s bastard sons are also seated at table two.

to complete his studies. After the capture of Breda by Frederik

Sitting so close to the Stadholder had not only the honor but

Hendrik in 1637, the Stadholder wanted to favor the city with

also material advantages. Closer to the Stadholder the best

an ‘Illustrious School with a Collegium’ and so around 1646 this House of Orange College was festively opened.129 Constantijn

dishes were served and not only more wine was served but also better quality.

Huygens had been appointed one of the governors, so that he felt obliged to let his children study at this college. Philips, the youngest son, is entrusted to the pedagogical skills of Johannes Lampe, pastor at Poederoijen,130 along with his two cousins.

In the house on the Plein, plans are born for a country estate on

When Father Constantijn visits Poederoijen in 1647, it turns

the Vliet in Voorburg, in order to escape the hectic life of the

out that Philips had grown considerably and his studies were

court.

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1.99 Arcade from Huygens House hall, after demolition reinstated in the south façade of the Rijksmuseum, Amsterdam 1.100 Two sandstone statues from the Huygens House, made around 1637 by P.A. Hooft. The left statue carries a ship's rudder and the right statue a horn of plenty 1.99

1.100

1.101 Floral cartouche around a bust of Constantine Huygens. Huygens received this painting from the artist with whom he maintained friendly relations. The painting was hung by Huygens in his house on the Plein. Daniel Seghers & Jan Cossiers, 1644

Construction begins in 1640 and in a short time the modest country house was already there. It is given the name Hofwijck, a name that has many meanings. However, it becomes much more than just a simple house. In fact, it becomes more than just a simple place to avoid the court from time to time. That country estate had to become the recreation of an earthly paradise, with the Vitruvian proportions as an important element. Whether this eventually succeeded will be discussed later. Troubled Awakening The Huygens House on the Plein stood here until May 1876. Then it was demolished, completely unnecessarily. Only the two stone statues and their pedestals on either side of the staircase in the front hall were saved plus the portico with three hard stone arches which stood opposite the front door.134 The statues

1.101

represent two women, one with a ship’s rudder and the other with a horn of plenty. It shows that good governance and peace lead to prosperity. Some seventeenth-century tile pictures with ships, pomegranates and human and animal figures from the Huygens House have also been preserved.135 On the site of the Huygens House came the Department of Justice, a building in neo-Renaissance style, designed by C.H. Peters with many, very many embellishments, the ‘curly madness’ that Constantijn Huygens so despised. On the spot where the garden stretched out in the direction of the Mauritshuis there is now part of the new building of the Lower House of Parliament. Because every word about the crazy demolition in The Hague does it too much credit, not another word should be devoted to this senseless destruction, so I hasten resolutely towards the

1.102 A photo of the Huygens House during its last years, circa 1860

station. Concrete memories of the Huygens family can no longer be found here. The train in the direction of Voorburg is already waiting. The gray morning fog still prevails. Yet the morning sun seems to gain ground and to color the approaching day more and more. Awaiting departure in the quiet compartment, I read a poem that Constantijn wrote somewhat ‘angrily’ in 1626 when his Sterre, Suzanna, did not immediately react to his proposal. The title of the poem is Kommerlijk Ontwaken (Troubled Awakening), which means something like waking up with doom and gloom. That is very appropriate for this morning, especially after such a trip with so much disappointment. It turns out to be a poignant poem, with moving words of hope and despair. But these are often words whose meaning faded as the centuries went by.

1.103 The neo-Renaissance building on the site of the former Huygens House

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1.104 Tiles with ships and pomegranates from the demolished Huygens House on the Plein, installed in the house of architect Peters, Surinamestraat in The Hague

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1.105 Six tiles depicting warriors, from Hofwijck, presumably used as a plinth against rising damp. These tiles were found in rubble and construction debris during the restoration of 1918, when the front building was demolished. The tiles were saved and preserved by the contractor at the time, Willem van der Knaap. In 2016 these tiles were donated to Hofwijck by his descendants135

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1.106 Part painted ceiling possibly from Huygens House with Venus and Amor surrounded by garlands. Stored in an attic of the Binnenhof Image in: Paula van der Heiden, Interiors of the Binnenhof. Photo Dick Valentijn

1.106

In order to fill my ‘empty’ moments on the train I try to translate

Just as I have written down the last sentence, the train stops in

Constantijn’s emotion into words that are closer to present usage.

Voorburg and I have to get off.

It is sometimes difficult to assess the extent to which a former

The station of Voorburg is as always a wonderful sensation, so

meaning is still evoked by a modern word. For example, do

high above the ground. From that elevated position, far below

people in the present day still remember that the Dutch word

me, long rows of marsh oaks on the station square draw my gaze

vaak (‘often’) also means sleep? Furthermore, the trick is of course

towards the Vliet, which I suspect to be somewhere in the hazy

to keep the rhythm and the number of syllables of Constantijn the

distance. And just where the patches of mist are at their brightest

same when translating.

in the red morning sun, a small miracle takes place. It is as if the

It was only when the train finally started to move that the words

poem I have just read is being portrayed before my eyes. Because

came, first slowly, then faster and faster:

with the morning sun getting stronger and higher, the dew and mist slowly rise. And as the dew drops evaporate in the morning sun, Hofwijck

Troubled Awakening

appears in the distance. The Hofwijck, which became

From the moment of my waking,

Constantijn’s second great love after the loss of Sterre. Hofwijck,

As I creep into myself through slumber’s breaking,

the only building that in its almost original form, has tangibly

Stands Star before my eyes,

preserved the memory of Constantijn. Just as steadfast as the

These tear-drench’d eyes her favour only dries,

actual meaning of the name with which the builder Constantijn

Like drops of morning-dew,

often adorned himself: Constanter.

When the sun upon them brightly shines anew.

The same Hofwijck that has braved three and a half centuries, has

‘Star,’ say I, ‘Morning-Star,

defied history, stands there now unreachably far in the distance,

Which far above me stands, so far, so far,

unapproachable, seemingly unmoved. A seventeenth-century

And still so far does glow,

cube with a pyramid-shaped roof, lifted high above the still water

Since Heaven’s high light in circular path does go,

of the surrounding pond by its stone base. No train passenger at

How can you Star be styl’d

Voorburg station realizes that this elevated view of Hofwijck is

And follow with me ways so proud and wild?

itself also historic. Precisely on the site of the Voorburg station

A comet you must be,

Constantijn Huygens, the creator, had had a mound with a

Which neither twinkles at nor nods to me.

belvedere erected on the ground directly opposite his Hofwijck

How can starlight freeze,

(right across from the station). This gave a beautiful view of the

And its quality of Starness wholly lose,

house with its garden, that portrays both the human body and the

And yet retain its name?

course of his life.

Does admit, my Star, that Nature must feel shame

Who of all those thousands of travelers who hurriedly glimpse

That she such place did grant you,

Hofwijck on a daily basis remembers how the creator, a courtier

What time mid Heaven’s bright course she did implant you,

from The Hague, spent his free time here as a gardener? Who

And laugh’d in sheer delight,

has read in archives and old books about the later generations of

And you next to the sun did dedicate?

residents, their colorful guests, cheerful visitors, whimsical loves

Though me you do forget,

and desparate loneliness? Who has ever heard about the care

Your brighter birth you can’t disown yet;

but also the neglect of Hofwijck by the heirs to whom Hofwijck

Among your sex remain

belonged? How many still realize that the country house

So many who still laugh and steady shine.136

barely escaped demolition when it fell into alien hands. Who remembers the fascinating story of how the old country house

Constantijn Huygens in Korenbloemen (Cornflowers)

was saved in the nick of time and ended up in safe hands? For centuries, the beautiful country house has kept and hidden all those stories safely behind its walls. The following pages are full of them.

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1.107 Hofwijck with the garden, as it was seen at the end of the twentieth century from the Voorburg railway station, which has been elevated since 1987. Both this station and the Hofwijck garden were laid out in the year 1987 after a design by the architectural firm Carel Weeber. As discussed below, this Weeber design with its long sight-lines and grand canal, showed characteristics of the neo-baroque style and was at odds with the classical, closed garden that Huygens had designed around 1640. The Weeber garden remained until about 2004. Then the garden was reconstructed as it was at Huygens's time. Aerial view, 1988 with on the right below the elevated station and on the left Hofwijck.

1.105

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1639-1687

II Constantijn Huygens and Hofwijck a courtier as a landscape architect Hofwijck: builder and occupant from 1639 until his death in 1687 When Constantijn Huygens was born in The Hague on September 4, 1596, he found himself in a turbulent time. The Eighty Years' War of the Netherlands against Spain was far from over and made the first half of the seventeenth century a constant battlefield. At the same time, the flourishing trade gave Holland steadily increasing wealth, but also multiple problems. The population greatly expanded, the cities were overcrowded and became hotbeds of unrest.

Hofwijck, the recreation of paradise Because the 28-year old Constantijn Huygens in 1625 became secretary and five years later a member of the Nassau Domain Council of the Stadholder Frederik Hendrik, Prince of Orange, he came close to the administrative center. This was a maelstrom full of tensions, intrigues and conflicts. This undoubtedly contributed to the fact that for his entire life he passionately searched for harmony and for moments of peace and quiet. Huygens found this harmony with the Roman architect Vitruvius, who indicated that harmony was mainly to be found in the proportions of the human body. Huygens hoped

2.1 Constantijn Huygens in middle age. Lithograph published by Soetens & Fils, circa 1850 2.2 Georgicorum or good country life. One of the oldestknown woodcuts from 1502 which shows the pleasures of country life with its rich yields. On the front right the 'dragon's blood tree', of which among other things the sap was used as a healing agent. On the left are the spoils of the hunt with fully laden vines in the background 2.1

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2.3 Mounted procession of Nassau princes with the sons of William of Orange in front, from the left: Maurits (15671625), Philips Willem (15541618) and Frederik Hendrik (1584-1647). Gerrit Claesz Bleker, circa 1625

2.4 The House at Honselaarsdijk. Engraving B.F. van Berckenrode, 1638 2.5 The Huis ter Nieuburg. Engraving J.J. Milheusser, 1694

2.3

to find peace and quiet in nature. So around 1639 he let his eye fall on Voorburg, a rural location on the Vliet at a short distance from The Hague. There he wants to create a ‘country estate’, or ‘villa suburbana’, a retreat, an earthly paradise of peace, quiet and contemplation.137 A paradise with recreational and spiritual possibilities. But also a paradise in which an urbanite, like a countryman, could be actively engaged with nature.138 That paradise could only be perfect, however, if the harmonious proportions of Vitruvius could also take shape in it. In the case of brick buildings this was now perfectly successful. Huygens’s self-designed house on the Plein in The Hague was a triumphant example and earned praise and admiration. In a country estate, however, nature plays a dominant role in conjunction with the house. Would that living nature also want to conform to the human forms of Vitruvius? Answering this question will be the big challenge for Huygens. 2.4

Moreover, Huygens was not the only one looking for such a place in the countryside to escape the busy city life. Many merchants accumulates great riches in the Golden Age. They buy old homesteads outside the city to turn them into beautiful country estates, in an Arcadian setting. This is a pleasant way for them to display their newly acquired status. The old nobility did not lag behind either. Under the leadership of the Princes of Orange several country houses were built. Prince Maurits had started modestly with a simple property in Rijswijk just outside The Hague. Here he had an aviary with special birds and a stud farm with 80 ‘favorite courtiers’, as he usually called his beloved horses.139 However, his brother and successor, the art-loving Stadholder Frederik Hendrik, goes much further. He is mainly active in the construction of lush pleasure grounds and impressive gardens. His equally artistic secretary Huygens is constantly and closely involved in this. They both share the great appreciation for the

2.5

harmonious architecture of the classical world. For Huygens, these building activities are undoubtedly a pleasant part of his

Huygens is able to draw on the many examples of gardens and

hectic job as secretary to the Prince of Orange. It is precisely

buildings he had admired during his previously described travels

during this period that the work is completed for Frederik

to England, Germany and Italy.140

Hendrik at his country houses, the hunting lodge Honselaarsdijk near Naaldwijk and Huis ter Nieuburg in Rijswijk. Jacob van

Huygens is one of the first Dutch civil servants who also wants

Campen, who has become a good friend of Huygens, plays an

to build his own country house. As a high-ranking court official

important role, especially as an artist and designer of decorations

he even knew something about what this should look like. In

and painted tableaux. Of course, in his advice to the Stadholder,

any case not as sumptuous and not as gaudy as most estates of

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2.6 The Rijswijkseweg, one of the roads in and out of The Hague, Drawing J. de Bisschop, 1651 2.7 Huis de Werve seen from the Laan van Werve. Etching C. Elandts, 1668

2.8 View of The Hague from the southeast, with in the middle the Trekvliet with the barge in the direction of Voorburg and on the left the Laak windmill To the right of the Trekvliet you can see a country road in poor condition. To the left of the Trekvliet runs the old, also often muddy, Rijswijkseweg. Etching C. Elandts, 1681

2.6

the old nobility and wealthy merchants. On the contrary, it

It is easily accessible from his house in The Hague by various

should become a modest country house but at the same time

directions, via the Trekvliet and the Vliet by barge or by coach.

exceptional. That modesty was perhaps an expression of his role

Over land was initially more difficult. There were two not very

as the obliging courtier who knows his proper place. Of course,

good country roads from The Hague to Voorburg. However, that

the size and extravagance of his house could not surpass that of

quickly changed when the Laan van Werve, as the current Laan

his employer Frederik Hendrik.

van Nieuw Oosteinde was still called, became a public toll road.

As for that aversion to flashiness, contrived and unnatural, the

Huygens was also able to reach the chosen spot with the carriage

origin of that is very clear. As a child Huygens had it repeatedly

from his house at the Plein in The Hague.

drummed into him by his father, as we can read in the stories about his upbringing. Moreover, gaudiness did not fit in with the ideas on form of Vitruvius and Scamozzi, architects who increasingly dominated the thinking of Huygens and other humanists. Thus the plans are born for a country estate, to be able to flee the hectic life of the court in rural tranquility. Was it because of the word ‘fleeing’ that Huygens, the expert in puns, set his eye on a spot on the Vliet in Voorburg? This site satisfies all his wishes. It is a rural location, on the water with beautiful views over the Vliet across the meadows towards Nootdorp and Delft. 2.7

2.8

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2.9 A seventeenth-century barge with covered deck and passengers. To the right on the shore is the bargeman about to hitch up the draught horse. Aquatint L. Portman, 1816

2.9

Even before the purchase of that Voorburg land is finalised. he

the specifications. I have spoken to the coachbuilder; he

has a carriage made. Huygens, however, as described earlier,

demands 300 guilders. Mr. Van Campen was not here,

is often away from home in the field with Frederik Hendrik.

otherwise he would have been present at those meetings.141

Fortunately there is his brother-in-law Philips Doublet II, married since 1632 to his sister Geertruyd, who lives nearby

A month later he reports from The Hague: I have discussed

at Clingendael House. So he asks this brother-in-law to finish

all kinds of details about the coach with the coachbuilder

the discussions with the coachbuilder and in the meantime

and I have consulted Mr. Van Campen142

to have the intended land on the Vliet appraised. On July

Those details which were discussed with the coachbuilder

22, 1639 Doublet writes the following to Huygens about

are mentioned extensively in the letter:143 the front seats

this: At your request I had the land valued and hereby send

should be a bit lower than the back seats, but just as wide and the back seats should lean backwards a little. Also the quality of the wood is agreed, the place where the armrests should be, and the hoist on which the coach will hang. For the leatherwork the saddler, Marcelis, is named. A few weeks later, a final report from brother-in-law Doublet follows. He writes that he has spoken further with the coachbuilder and also has taken care of other things which the carriage needs.144

2.10 Philips Doublet (1590-1660) and 2.11 Geertruyd Huygens (1599-1680). Michiel van Mierevelt, 1629 2.10

2.11

47

2.12 The Country Estate Randenbroek. Drawing N. Heerman, 1675 2.13 Trees drawn by J. Brosterhuysen, undated 2.14 Jan Brosterhuysen (15961650) and his friend Jacob van der Burgh (1599-1659). Drawing D. Bailly, 1624

2.12

2.13

2.14

The correspondence shows how much Huygens appreciates

on the advice of Jacob van Campen, also translate the last book

the opinion of Jacob van Campen, even when building a

of Palladio about the temples of the Ancients. The renowned

coach. Probably the first contact between the two was made by Jan Brosterhuysen, a Leiden fellow student of Huygens.

book by Wotton, The Elements of Architecture, will also be discussed.149 As described earlier, Wotton points out in his

Brosterhuysen is a botanist, poet, musician and etcher of trees

book, following in the footsteps of Vitruvius, the importance of

and landscapes. For Brosterhuysen nature was most beautiful and

human proportions in architecture. There was an idea to add

extraordinarily instructive [...] also regarding the nobleness of plants, their beauty and their use.145 Brosterhuysen occasionally

this translation by Wotton to the publication of the translated

sends Huygens plants, seeds, botanical verses, and advice on

of Wotton is ready.150

Vitruvius. Brosterhuysen reports in his letter that his translation

watering flowers and sowing plants in boxes. On December 9, 1632, he writes Huygens a letter in which he asks permission for

Meanwhile, at Randenbroek, he is an important aid in the

a certain Jacob van Campen to hunt in Gelderland and Utrecht.

construction of an extensive orchard, a botanical garden and

Jacob van Campen is a friend of Brosterhuysen and in 1626 he

a beautiful arboretum. This will be one of the first arboreta in

had inherited the Randenbroek estate near Amersfoort. This

the Netherlands, based on a design by Van Campen himself.

property he had soon turned into a delightful oasis with house,

Undoubtedly Brosterhuysen played an important role in this.151 The great merit of Huygens and Jacob van Campen is that they

ponds, fountains, a flower garden, a peak with an observation point, a hillside vineyard and a large park with various types of trees.146 Hunting at that estate would be a welcome activity. However hunting was traditionally reserved for the nobility. Maybe Huygens, as secretary of the Stadholder, could arrange something for the commoner Jacob van Campen. Brosterhuysen knows exactly Huygens’s weak spot by writing that although Jacob van Campen is not of nobility, he is a good architect and a good artist. Just to be on the safe side, he adds in passing that Van Campen would like to offer a painting by his hand to Huygens. Once the hunting permit has been arranged, Huygens will indeed receive a portrait of himself in 1634, painted by Jacob van Campen, with an accompanying letter from Brosterhuysen dated May 2, 1634: Here is the long-awaited painting by Van Campen. He attributes the long delay only to his innate ‘indolence’; there is no other excuse; however, he hopes that your lordship will find some satisfaction in it.147 From this first moment, a fruitful collaboration arises between the two kindred spirits who are inspired by the architecture and proportions of classical antiquity. Its application would create true beauty and bring a harmoniously perfect world. Brosterhuysen is also involved in the study of classical architecture. Around 1640 Brosterhuysen temporarily moved in with Van Campen at Randenbroek, where he devotes himself to translating Vitruvius’s extensive work into Dutch.148 On February 6, 1642 he writes to Huygens from Randenbroek that he had progressed with the translation of Vitruvius up to halfway through the last volume. When he is finished he will,

2.15

48

2.18 Hendrik Casimir Count of Nassau (1612-1640). Engraving J. Houbraken

2.15 Jacob van Campen. Engraving in his book Images of the City Hall of Amsterdam, 1665 2.16 Vitruvius presents his Architectura to Emperor Augustus. Engraving S. le Clerc, 1685 2.17 Portrait of Constantijn II Drawing J. van Campen, 1635 2.16

2.18

do not leave the study as such, but also put the studied thoughts

At the end of 1639 the time is approaching when the

and ideals into tangible forms, such as in the Huygens House on

plans for the country estate will be realized. Because

the Plein. That the cooperation also leads to a good friendship is

the carriage is also almost ready, Huygens starts looking

shown in the year 1635. When the plague broke out in The Hague

for suitable horses. For this he calls upon Count

that year, Huygens’s wife Suzanna and their sons Constantijn

Hendrik Casimir of Nassau. This results in a courteous

and Lodewijck were allowed to stay for quite some time in safety

correspondence that shows something of the friendly

at Randenbroek. The double portrait of Huygens and Suzanna

way in which a count and a court official treated each

painted by Jacob van Campen probably dates from this period

other in those days.

as well. Early 1637 will be a stressful period. It was noticed that

On September 29, 1639 Huygens writes to Count

little Constantijn held his head crooked all day long. Consulted

Hendrik: Would Your Excellency like to think about the

doctors mentioned several causes, but in the end it was found that the neck muscle was shorter on one side than on the other

two mares we were talking about? My little carriage is almost ready.153 The count writes immediately in reply: I

side. After long hesitation and various treatments, which had

have written to Friesland for you and hear that there are

little effect, Huygens decides to have his son operated on in

two beautiful black horses of four or five years for sale. I

March 1637 by Professor Van der Gall in Utrecht. This rather

have instructed a friend of mine to go and see them and,

drastic surgery did have the desired result.152

if they are good, to buy them for you.154 However, apparently it will still take a few months before the matter is settled. It was not until February 6, 1640, that Huygens writes to the Count: Your coachman brought me the two mares about which I bothered you. They look good. Thank you very much for your help. But the coachman didn’t say anything about the payment and your letter doesn’t say anything about that either. I will not have any rest until I have paid for the animals. Otherwise I would be too ashamed of my impertinence. I would rather be held for a fool than a villain.155 The Count reassures Huygens in courteous terms the same month: The small gift that my coachman has brought you is only a small proof of my affection for you and deserves no fine words of thanks. On the contrary, I hope that you will not see the boldness with which I offered it in a bad light.156 With an equally courteous answer on February 24, 1640, Huygens wrote: Thank you, Your Excellency, for the highly appreciated gift. My tone now is very different from that of my previous letter, but then I feared one of the worst accusations that could strike a decent man. Now that you have silenced me, I must obey.157

2.17

49

2.19 The successive purchase of the plots in Voorburg for the construction of Hofwijck, inscribed in the bird's-eye view engraving of Hofwijck from 1653. Nowadays the Heerwech is called Westeinde and the Lijtwech Princess Mariannelaan

December 15, 1639

ex p

First expansion

Fi rst

Se

co n

d

ex p

an sio n an sio n

Ma rc De h 17, ce 16 m 42 be r1 6, 16 40

Lijtwech

Third Extension March 20, 1642

Heerwech

First expansion

December 15, 1639

Vliet

2.19

In December 1639 the first purchase of a plot of land in Voorburg takes place. On December 10, when the purchase was concluded orally, Huygens devotes a two-line Latin poem to his new ‘villa’.158 The meticulous Huygens keeps his own records of his purchases, possessions and associated costs. On the cover of his administration book he records the state and administration of the goods of Constantijn Huygens, Lord of Zuylichem, etcetera.159 Regarding the first purchase in Voorburg he records among other things: In December 1639 after much searching to find something in the area of Voorburg and along the Vliet, where I could build a house and plant a garden, where I could withdraw in times of illness or otherwise, I bought from Mr. Jacob Adrichem, living in Delft, a plot of land, located on the west side adjoining the edge of the aforementioned village. Jacob van Adrichem from Delft, the vendor of the land, had

2.20

2.21

160

several properties in Voorburg including the still existing farm ‘Onder de Linden’ on the Oosteinde.161 Probably Van Adrichem had problems paying off the high mortgage on his property and was more or less forced to sell.

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2.20 Constantijn Huygens circa 1639. Engraving L. Vorsterman after Jan Lievens 2.21 Jacob van Adrichem, the vendor of the Voorburg plots. Michiel van Mierevelt, 1637

2.22 Constantijn Huygens during the construction of Hofwijck. Michiel van Mierevelt, 1641

On December 15, 1639, the transfer of ownership is registered before the Voorburg bailiff and aldermen. In

Because Van Mierevelt dies a few months after the completion of this portrait, Huygens writes that the painter seems to have depicted it with a dying hand

the deed the area of the land is of course indicated and the adjoining owners are mentioned. A list is also given of the annual charges such as ground rent and interest. Finally, the price paid is mentioned. Because this deed marks an important milestone in the history of Hofwijck, the (almost) complete text follows below: We Cornelis van Vliet, bailiff, Maerten Cornelisz van der Spek and Jan Maertensz, aldermen in the municipality of Voorburg, declare and acknowledge that one Mr. Jacob van Adrichem, living within the city of Delft, appeared before us, and acknowledged, as the appearer, before him and his heirs to this well and lawfully sold, ordered and transported on behalf of the noble Mr. Constantijn Huygens, knight, Lord van Zuylichem, secretary and counselor of His Highness, 4 morgen, 1 hont and 39 rods (36.037 m2),162 both arable and pasture land, situated in the aforesaid municipality of Voorburg, with cultivated area on it. Adjoining to the east Cornelis Dircxz Veen, married to the widow of Walraven Maartensz, from the Vliet to the Heerwech [present day Westeinde] and from there also the avenue of the estate of De Werve called Mathenes [present day Laan van Nieuw Oosteinde], to the south the Vliet, to the west the heirs of Thonis Jeroensz, also to the Heerwech and from there also Cornelis Claesz, and to the north the Lijtwech (later. also called Achterwech, present day

2.22

Princess Mariannelaan], and all this with the charge of a leasehold of 20 pennies per year due to the owner

The plot of arable and pasture land purchased from Jacob van

of the aforementioned estate of De Werve, standing

Adrichem in December 1639 is the land on which Huygens

on 11 ‘honts’ of the aforementioned land, furthermore

would eventually realize the main design of his country estate.

3 guilders per year, interest due to the vicarage in

The construction is therefore started in the beginning of 1640,

Voorburg plus an interest of 30 pennies per year due

according to a meticulously detailed plan. Nevertheless, in the

to the church there, which from now on will be at the

following years Huygens adds a few small adjacent plots of

expense of the aforementioned gentleman purchaser

land to his Voorburg estate. So on December 16, 1640 he buys

[. ...] and he acknowledged to the person appearing

from Cornelis Claesz for 900 guilders an adjacent piece of land,

for the aforementioned sale and transfer that he had already been commendably paid and had received the

located on the north side of the Heerwech, west of the previously acquired plot of land from Van Adrichem.164 According to the

sum of 6000 guiilders in full in cash.

deed of sale, the area of this plot of land, the boundaries of which

All without fraud. Thus in witness thereof, I,

are again precisely defined, is probably 3 ‘hont’. In his State

bailiff mentioned above, have confirmed this letter with my attached seal. and signed by me and the

and Administration, Huygens writes that the plot of land is in fact 4 hont en 73 rods (6.713 m2) >} This was shown in a survey

aforementioned aldermen [...].

carried out in 1637 by surveyor Floris Jacobs and recorded in a document which Huygens had in his possession.165 On the same

Done on the 15th of December anno 1639.

163

northwest side another expansion takes place on March 17, 1642. The Lady Dorothea Clara de Jonghe sells Huygens 3 hont (4.281 m2) ‘cultivated land’ also for 900 guilders.166 This plot of land according to a note by Huygens, is in reality larger, the same

51

2.23

size as the plot purchased in December 1640. How these latter

bustle full of unrest, injustice and backbiting. Just as the Bible,

purchases are finally fittingly added to the original plan for the

the ‘Book of Books’, is God’s written word, so nature is God’s

country estate will be described further on.

living word. In the detailed description of his country estate, which Huygens gives in his poem Vitaulium Hofwijck,169 he

A final purchase for the Voorburg country estate is made by Huygens on March 20, 1642.167 On that day he buys a house and

includes nature in the Book of Books.170 Gardening in a country

ground from Cornelis Claesz Nestman for 1,100 guilders, situated

estate, growing plants, pruning and grafting, is therefore not so

right next to the main boundary of the country estate on the east

much an artisanal fashion fad of the well-to-do. It is much more a

side. This house is located on the exact spot where the Laan van

direct study of God’s tangible revelation, and at least as important

Werve ends and leads to the Heerwech in Voorburg. The deed

as reading God’s written word. It is the search for the restoration

indicates that an annual ground rent must be paid to Nicolaas

of the perfect world, the recreation of the Garden of Eden, the

Verloo, the then Lord of De Werve. This house will of course be

earthly paradise, which had been lost in the Fall. Meanwhile,

the stabling for the horses and Huygens’s carriage. It will also

an important question still arises. How is it possible that the

serve as the home of the gardener in charge of maintenance and

devout Huygens, in his preoccupation with the Divine nature,

the supervision of the entire outdoor area. On the land belonging

dares expect salvation from the ideas of a ‘pagan’ master builder,

to this house, Huygens creates a ‘kruidhof’, where he grows

who Vitruvius was, of course? Can you recreate something like

peaches and apricots, to make sun-ripened jams. In winter these

a biblical Garden of Eden with pagan ideals and thoughts? This

fragile fruit trees are protected by a wooden ‘warm greenhouse’.

may seem contradictory, but that contradiction is just in name.

Poetically Huygens writes about this:

It was admittedly the pagan Vitruvius who emphasized that the most beautiful harmonious proportions were to be found in the

My herb garden is part of this, and if I’ve chosen well, then it’s

human body. But by doing so he had (re)discovered a truth that

my peaches bed, my cultivation of apricots: a wooden hot frame,

was already valid from creation and had in fact been expressed

well-protected with planks, which houses conserves made by the

by the Bible itself. After all, the biblical story of creation tells us

glowing sun.

that man is the crown of paradise and of creation. Man is even

168

created in God’s image and likeness. More beautiful proportions The Huygens country estate becomes exceptional, precisely

of form are therefore not possible. The ideas of Vitruvius literally

because of its simplicity. This exceptional character is partly due

put the biblical crown on the re-creation of paradise. Precisely

to the leading role that nature itself was assigned in Huygens’s

such a garden will undoubtedly become a paradise in God’s

plan. For him and many of his God-fearing contemporaries,

image and resemblance. That Huygens, following in the footsteps

nature is much more than a simple possibility to escape the urban

of Vitruvius, emphasized the classical beauty of the human

52

2.23 The Herenstraat with the corner of the Zwartelaan, formerly the end of the Laan van Werve. On the left corner stands the former stables of Huygens. Postcard, circa 1910

2.24 Illustration from W. Goeree, Schilderkunstig Ontwerp der Menschkunde, dedicated to Constantijn Huygens, 1683

On February 15, 1640, Huygens stays overnight with Jacob van Campen in Haarlem, where Van Campen also had a house at that time.173 The realization of the plans for Huygens’ s country estate will certainly not have remained undiscussed there. The next day the two of them attend a party that Pieter Cornelisz Hooft gave in his house in Amsterdam for his circle of friends. That evening provides a nice anecdote and then a useful note about the weather conditions in that period. When the busy Huygens announced that he had to leave the company on time for the return trip, the ladies present, including Maria Tesselschade prevented him. They locked him in their circle and refused to let him through. It must have been easy for the flattered 2.24

Huygens to be persuaded to stay a little longer.174

body is noticed by his contemporaries. When in 1683 Willem Goeree published his book on the depiction of man in drawing and painting, he expressly dedicated it to ‘the famous art lover Constantijn Huygens’.171 But would those classical forms, so beautifully found in Vitruvius and in the buildings of Scamozzi and Palladio, indeed also fit in with living nature, in which God himself ultimately reveals himself? It is Huygens’s country estate that has to answer this question. Thus we return to the beginning of 1640, the moment when the building of the country estate, the construction of the house and the layout of the garden begins. Hofwijck, a paradise in God’s image and likeness The realization of the Huygens country estate is accomplished in close consultation with Jacob van Campen. Huygens later writes in his poem Vitaulium Hofwijck that Van Campen made the design for the Voorburg country estate, but that he himself kept an important say in the matter.172 Undoubtedly they will have spoken many times about the wonderful opportunity that the construction of the Huygens country estate offered, with the help of Vitruvius, to create a complete paradise of harmony on earth. It was the perfect opportunity to capture both architecture and nature at the same time in a total plan of classical shapes and sizes. This idea, too, came from Vitruvius. He had written that house and garden should form an inseparable unity, in fine mutually harmonious proportions, as beautiful as the perfect

2.25 Jacob van Campen (1596-1657), architect. Lithograph published by Soetens & Fils

proportions of the human body.

53

2.26 The soil types between the Vliet, the Heerwech and the Lijtwech, inscribed on the bird's-eye view engraving of Hofwijck, 1653

SeTw coe nedd eexu Fi E piatb rset nrsei rest iodi xep n ng aunit sbiore nid M17a ing rm chaa De 17r,t 1 ce16 1664 md 42 beec r e1 m 2 6, b 16er 4016 4

0

Lijtwech Lijtwech

Infertile sandy soil

First expansion

December 15, 1639

Third Extension March 20, 1642

Heerwech Heerwech

Third Extension March 20, 1642

Fertile clay soil

First expansion

December 15, 1639

Vliet Vliet

2.26

Huygens does not return to The Hague until February 22 by a

sandy soil, where at most ‘fruitless trees’ could grow. This is

horse and cart over the frozen Haarlemmermeer. That such a trip

where the wild garden would be located on the north side of the

over a frozen lake was possible, points to the severe winter of

Heerwech. The land south of the Heerwech, between the Heerwech

early 1640. Work on the country house in Voorburg will therefore

and the Vliet, is a fertile mixture of sand, peat and clay. This was

not have started immediately after the land purchase. However,

traditionally soil on which vegetables were grown. This piece

after the frost disappears, the spade goes directly into the ground. With some regret, Huygens observes that this means the end of the

of land is therefore destined for the domestic garden, with the fruit orchard.176 The house was to be built right next to the Vliet,

meadow that was so abundantly covered with clover that the cows

in a pond, like a stone bottle in a cooler.177 The soil that became

could eat without restriction. But the sacrifice of the pasture serves

available during the digging of the pond was used to raise the two

a good cause, so there must be no problem with that.175

islands next to the house. Fruit-bearing trees would also be found on these islands. Incidentally, the idea to completely surround the

Huygens has fitted his Hofwijck nicely into the surroundings with

country house with water was not a unique one. Huygens was able

his Vliet, ditches and roads, as he found them. It is nature itself that

to see various examples of this in Voorburg, such as De Werve, De

directs the main layout of his country estate in Voorburg. Huygens

Loo and De Binckhorst, country estates that originated from former

consciously makes use of the contrast between the wild character

castles. It is not for nothing that Huygens later calls his country

of nature and certain trees, and the cultivated arrangement of a

house his castle and himself a lord of the castle.

garden. In England he had seen beautiful examples of this. The

And what was the state of affairs in the meantime with all the

ground between the Lijtwech and the Heerwech was until then

plans for the application of Vitruvius? Would living nature allow

used for pasture and growing hemp. These plots consist of infertile

itself so easily to be forced into the lines of symmetry and human

54

2.27 Huis de Werve, completely surrounded by the water of the old castle moat. One of the border illustrations on the map of the homestead De Werve in Voorburg. Cornelis Elandts, 1666

2.28 The moated Binckhorst near Voorburg. Etching H. Spilman, 1738

2.29 The human body reflected in the plan of Hofwijck. On the left is the left half of Hofwijck's symmetrical ground plan, on the right the corresponding half of the human body. The scale on the left shows that the 'wild' upper garden is twice as long as the orchard, while the orchard is again twice as long as the House and entry way. Drawing R. Jongepier after R.J. van Pelt

2.27

2.29

purchase of the land, Huygens had already seen that the total length of the plot between the Vliet and the Lijtwech was easy to divide into seven units, so that the ideal Vitruvian proportions of 1:2:4 were easy to apply. De Heerwech cut the plot in such a way that the piece of land between Vliet and Heerwech formed 3/7 of the total and could therefore be the upper body. The piece between Heerwech and Lijtwech was 4/7 of the total and could therefore be the lower body. However, for practical reasons 2.28

Huygens ‘stretched’ the Vitruvian rules of art a bit. In order to fit the whole between the dividing ditches he kept the design at the

proportions? The latter does not seem to succeed without a

far end 10% shorter than the total length. He compensates for

struggle. In his poem Vitaulium Hofwijck Huygens describes how

this shortening by creating wide alder avenues at the end of the

as many as a thousand lines are put on paper when designing the

upper garden. Huygens finds this ‘adaptation’ permitted: After all,

garden and erased again. But then, after many attempts and some

Vitruvius himself had indicated that ‘symmetria and proportio’

‘stretching’, suddenly there is the sought-after design.178 A design as ingenious as it is simple: if you have to apply human

had to be in balance with ‘utilitas’ or utility.180 And so it turns out to be possible, also in nature, Vitruvius, from

proportions, you simply take a human body as the plan of the

head to toe! The symmetrically placed avenues with their rows

country estate. Place the trees so that together they form the

of trees form the legs, the arms, and the shoulders. The orchard,

contours of a human form. A design that literally and figuratively got hands and feet, according to Huygens.179 At the time of the

the ‘tame’ garden, stands for the chest, the heart of the body. As indicated above, even the Heerwech, which traditionally runs

55

2.30 The Hofwijck country estate in bird's-eye view. Detail from a proof with Huygens's handwritten annotations. The contours of the human body shown in orange are drawn by the authors. Engraving P. Post, 1653

2.30

between the ‘wild’ garden and the ‘tame’ garden, fits perfectly

In addition to these ‘small symmetries’, there are the ‘large

into the plan. It almost automatically forms the waist, the

symmetries’ indicated earlier: for example, the linden avenues

separation between the lower and upper body, the belt

are twice as long as the length of the islands next to the house

between pants and doublet.181

and the upper garden four times this length.185 The fact that the ‘equilateral’ was also successful is described

The house also harmoniously blends in with human

separately. Left and right of the centerline everything is exactly

measurements. It becomes the head of the Vitruvian garden

the same. If Hofwijck’s divisions were to be placed on the

body.182 Parts of the upper body also get the ideal Vitruvian

two scales of a balance the ‘tongue’, the pointer, would stand exactly in the middle.186 It is with great satisfaction that Huygens

ratio of 1:2:4.

resolutely concludes that no doubt is now possible. This is the The house itself is square and has a length of 30 Rhineland

final design to be realized. The designers and the ground are

feet. In the garden design, this length of the house becomes

ready for it.

the ‘modulus’, the basic unit of measurement.183 That is why

To be on the safe side, Huygens later clarifies once more the

Huygens calls the house the center.184

ground plan of his country estate in his poem Vitaulium Hofwijck. Whoever may criticize that plan in fact despises

The entrance way to the house then becomes twice as long

himself, and thus the most beautiful of God’s creations, he writes.

and the forecourt four times the length of the house. This

After all, before a spade went into the ground, Huygens had

explains why the house is relatively small compared to the

first looked at his own body and that is how the main layout

garden. A larger house, and thus a larger modulus, would

came about. In his defense there is even a subtle reference to the

have made it impossible to apply the ratio 1:2:4 within the

biblical story of paradise. That biblical story describes how God

boundaries of the purchased land. Huygens therefore makes

at the end of each day of creation ‘saw that it was good’. As the

the dimensions of his house subordinate to the overall garden

re-creator of paradise on the Vliet, Huygens reminds us of these

design.

words at the end of his defense:

56

2.31 The Oude Hof on the Noordeinde after the extensive renovation and expansion. Engraving G. van Giessen, 1735 2.32 Pieter Post (1608-1669), architect. Thomas de Keyser, 1643

2.31

Who carps at symmetries like this must hate himself,

Incidentally, Huygens had entrusted Pieter Post with direct

His own shape which God made.

control of the work on his Voorburg estate. This was the

Before spade touched the soil,

master builder who often worked with Jacob van Campen,

I let the precepts of the wise guide my design.

as was the case with the construction of the Mauritshuis in

Examining myself, I sought no model more.

The Hague. Van Campen then made the main design and

Two windows, then, for sight, nostrils as well and ears,

Pieter Post helped with the elaboration and subsequently

Two shoulders either side, two hips where they belong,

supervised the execution. He often had his own input as a

A thigh to either side, a knee, a foot, a leg:

designer during the process. Sometimes he converted the

That shape is God’s own work and it is therefore good.187

ideas into a feasible design. This is also the case with the Huygens country estate. In the poem Vitaulium Hofwijck,

These lines of poetry also show how consistently the house is

Huygens names master builder Pieter Post the midwife

seen as the head of the country estate: a head with windows

who, through his drawings, helped Hofwijck to come into

like eyes, nostrils and ears. Each floor of this house gets its own eyes to look out over the meadows, its own nose to smell spring

the world, which was born out of Van Campen’s brain.190 As far as this control of the execution is concerned, it was

and autumn and its own ears to hear the wind and the birds.

a happy coincidence that Pieter Post often happened to be in the neighborhood after all, because it was precisely

Afterwards, when he reads everything again, Huygens is a bit

in 1640 that he and Van Campen were involved in the

frightened by the extent to which he has exposed himself. He

extensive conversion of the Oude Hof in The Hague into a

feels like Adam and Eve in paradise, who discovered that they

comfortable City Palace, the present Noordeinde Palace.191

were naked, and took fig leaves to cover their shame. So in his preface to his poem Vitaulium Hofwijck Huygens asks himself somewhat shyly where he can find such fig leaves to cover his nudity. How he finally managed to do this, follows later. Huygens has not been given much time to supervise the work that has started in the meantime. After all, the spring and summer months are always used for the fight against the Spaniards.188 This was also the case in 1640. In May he set off on campaign with Frederik Hendrik, only to return at the end of September to The Hague. Only once can he leave the battlefield. Thus we learn from the diary entries of Huygens that he is sent to The Hague by Frederik Hendrik on July 8, 1640. Of course he uses this unique opportunity to survey the work carried out at his estate. Very early in the morning he leaves Rotterdam, first inspecting the plot of land of his country estate and then proceeding to The Hague. It is also possible that he went to take a special look at the plot of land next to his recently acquired property in Voorburg, the adjoining piece he was to buy a few months later from Cornelis Claesz. On July 10th he has to go back to the army camp.189

2.32

57

2.33

This involvement of Pieter Post can also be read in various

out this morning, so the drawing hasn’t arrived yet. I hope you

letters. On October 23, 1640 Post sends the following letter to

will receive the drawing before this letter arrives.193

Huygens with a drawing related to ‘the plantation’, the garden of Huygens. There is also talk of a fence, probably also for the

In February 1641, Post again reports on the progress in Voorburg.

country estate in Voorburg: a drawing of the ‘plantation’ is sent.

He writes that he intends to come to The Hague, and asks

I would like to write more about this, but I think I can better

Huygens to report this to his brother-in-law Philips Doublet, Lord

make the intention clear orally. I’m waiting with that because

of Sint Anneland.

the intention is to come to The Hague with Mr. Van Campen

From the letter it turns out that Jacob van Campen is also

soon, because of the building at the Noordeinde. I have pinned

involved with the trees on the estate: Would you be so kind as

a small note on Mr. Van Campen’s fence drawing, because of

to let the Lord of Sint Anneland know that I am coming to The

the heaviness of the uprights and the bars.192

Hague? I have written to Mr. Van Campen, both about the trees and about the iron ornament on the chimney.194

Apparently Pieter Post found the fence designed by Van Campen too massive. It is even more likely that Huygens

This ‘iron on the chimney’ gets the necessary attention because

himself had asked him to pass this remark on to Van Campen.

in the designs of Huygens and Van Campen it is not only

Further on it will become clear that Huygens praised the fences

functional, but also an important architectural detail. This was

in his garden for their inviting openness. He himself was

already the case at the Huygens House on the Plein. There the

deliberately innovative in this: a fence could not be a medieval

four monumental chimneys were crowned with four iron spheres

barricade, but had to offer hospitality and transparency, almost

as ornaments. Huygens found them so iconic that he dedicated

like an open door.

many a poem to these spheres. What the chimney ornaments Post writes about eventually looked like can be seen in an eighteenth-

Post’s drawing does not arrive at the expected time. Post

century drawing by De Moucheron. There the iron ornament is

inquires, discovers the cause and writes on October 31, 1640

drawn like a crown of leaves: four branches bent towards each

from Haarlem: To be all the more certain that the drawing

other, carrying a rod with three small bulbs.

would arrive well, I gave it to the bargeman.

Other drawings give the idea of an upright laurel wreath of leafy

However, I noticed that the skipper skipped a voyage and sailed

branches.

58

2.34

2.33 Voorburg from the southeast. On the left Hofwijck with the striking 'iron chimney ornament'. Anthony Jansz. van der Croos, 1666

2.35 House near the Pheasant Park of the House Honselaarsdijk with the same shape as Hofwijck. Detail from etching, published by C. Allard, 1700

2.34 The inner court of the Rubens House in Antwerp with the trompe l'oeuil paintings. Detail engraving J. Harrewijn, 1684

2.36 Hofwijck with its iron chimney ornament and grisailles. Detail drawing probably I. de Moucheron, early eighteenth century

2.35

names of all kinds of objects, also in Latin.197 If Bruno has fulfilled his intention, and travelled regularly to Voorburg, he will undoubtedly have reviewed the progress of the work. It is amusing to read in between the lines how Bruno presents the old educational idea of reward in this letter as a find of his own. Wouldn’t he have known how many times Huygens himself had used that idea to encourage his children? The progress of the work will have been most visible in the construction of the house at the head end of the estate. It will not be an ordinary Dutch house. It will be a cube of brick, rising from the water on a stone substructure, with a pyramid-shaped roof, ending in a square chimney, crowned with a beautiful iron ornament. In this way, the classic simplicity and harmonious proportions of Vitruvius are captured in fine brickwork. For the decorations shallow recesses are made in the walls, in harmony with the openings of windows and doors. Inside the niches grisailles are placed, presumably on panels, paintings that create the illusion from afar that there are statues in the niches. The oldest and later images of Hofwijck show putti198 , garlands of flowers, classical figures, and the words ‘Hofwijck’ and ‘otium’ on the walls.199 With this last word Huygens points out the importance of leisure activities and the ‘re-creation’ of the mind. It is unknown whether Huygens ever saw the aforementioned 2.36

trompe-l’oeil paintings that Rubens had made on the outside façade of his house in Antwerp from around 1610. Because

Huygens’s acquaintances are very interested in his building

Huygens works with grisailles, the simplicity of the cube shape in

activities. In April 1640, for example, Jean Louis Calandrini, a

brick remains completely untouched, while the decorations appear

Dutch merchant living in Geneva, writes that he would like to

three-dimensional at some distance. This is how this became one

have ‘the drawings’ of Huygens’s house.195 Huygens also sent ‘the plans’ to Marie Lansame, dowager of Zomerghem. This widow,

of Jacob van Campen’s first buildings to be executed entirely in undecorated brick.200 Incidentally, the appearance of Huygens’s

who lived in Ghent, had written to Huygens shortly before with

country house looks like a more beautiful version of a ‘playhouse’,

a request for support. She is very enthusiastic about the plans he

a square pavilion that had been built a few years before at the

had sent: it is not a Dutch house, it would be better to call it a

estate in Honselaarsdijk. As discussed earlier, Huygens and

‘huus van bellevijderis’ or a castle.196

later Jacob van Campen were closely involved in the realization of this country estate of Frederik Hendrik. There are also clear

Meanwhile, Pieter Post is not the only one to keep an eye on the

similarities in the main form of Hofwijck with the middle building

work. Henrick Bruno, the tutor of the children of Huygens, thinks

of Randenbroek, Jacob van Campen’s country house, which

it’s a good idea to go to Voorburg every now and then. On June

he inherited from his mother in 1627 and had rebuilt shortly

26, 1640, for example, he writes to Huygens: ‘Walking in your beautiful garden, I thought about whether it would not be useful

afterwards.201 Meanwhile, the creation of the garden is also progressing steadily.

for the young people to test each other repeatedly; one could

Hofwijck gets a garden that is at the beginning of the Dutch

encourage this through rewards. It would also be good to go often

classicist style. The house and garden of this ‘villa suburbana’

with them to Voorburg and the shops there, to teach them the

form a conscious unity and are completely attuned to each other.

59

This whole consists of squares or rectangles, which are divided into two equal symmetrical parts by a longitudinal axis. Length and width correspond to the classical harmonious proportions. The rectangular gardens are enclosed by tree-lined avenues

2.38 The Gardeners Labyrinth (1594) by D. Mountain and Van de Byen (1597) by Dirck Outgaertsz Cluyt, two books Huygens had in his library. Cluyt was the first hortulanus and beekeeper of the Hortus Botanicus in Leiden.

and ditches and have, in part due to the high hedges, a private, inward-looking character. Topiary and other decorations are used

When making planting choices for his garden, Huygens

very sparingly. The function of a classicist estate as Hofwijck, in

makes grateful use of the advice of Jan Brosterhuyzen,

addition to granting status, is above all to offer decoration and

who, as indicated earlier, possessed a great deal of botanical

utility, both spiritually and materially. Spiritual utility plays

knowledge. Perhaps he also consulted Leiden professor

a role in the sense of contemplation and relaxation in nature.

Carolus Clusius, the author of the Rarorium Plantarum

Material utility consists of physical yields such as fruit from the orchard, nuts and sweet chestnuts from the trees on the islands,

published in 1601. Huygens had this book in his library.205 Undoubtedly he also uses other gardening manuals and

honey from the beehives, grass and hay from the orchard, pigeons

florilegia from his collection, such as the Gardeners

and swans kept outdoors, including for the consumption of meat,

Labyrinth by Didymus Mountain from 1608 and the Hortus

vegetables and herbs from the herb garden near the gardener’s

Eistettensis by Basilius Besler from 1613.206

house, rose petals for perfume from the rose pots next to the bridge or from the islands, herbs and flowers from the peninsulas and natural wood from the coppice and mature trees.202 And then there is the pond. Not only does it provide fish for meals, but sometimes it also provides ice for the ice cellar or for ice skating.203 And in the summer, when the water has such beautiful reflections, it seems as if there are two Hofwijcks, or four islands, everything around the pond has suddenly doubled. No alchemist can compete with that.204

2.37 Warande of the Brussels Palace of the Duke of Brabant, as Huygens presumably saw it. In the dotted rectangle a situation that probably inspired Huygens. Engraving by Lucas Vorsterman the Younger, 1659

60

2.39 Carolus Clusius (1526-1609), botanicus. Gravure T. de Bry

2.40 Part of the map of the Hofstede Oostenburg with the oldest known picture of a part of the garden of Hofwijck at the bottom right. The compass is drawn on the spot of Hofwijck's upper garden. To the right is the orchard of Hofwijck. Manuscript mao P.F. van der Sallem, 1643

2.40

Then suddenly a major problem arises, which seriously jeopardizes the completion of the garden plan. Nature is not so willing after all. The recreation of paradise comes up against a piece of earthly imperfection. The sandy soil in the upper garden is so bad that the newly planted oak trees die off in large numbers.208 It seems like a diabolical move to prevent the return of the

2.41 Title page of B. Besler, Hortus Eystettensis (1613), a book that Huygens also owned

earthly paradise. Huygens therefore has a clear name for 2.41

this ‘treacherous’ sandy ground. Indignantly he calls that sand ‘the peat ash from hell’. But in spite of his indignation, he can’t fail to make a nice pun. Those poor trees through standing on that hellish sand were, just like him, standing ‘on hot coals’. And their withered crowns showed how badly their soles were toasted.209 Pieter Post sensibly advises that this ‘infernal sand’ should be dug out. The practical Huygens wonders where all this ‘poisonous soil’ should go. He’s already having terrifying visions of thousands of horse-drawn carriages that have to drive back and forth to get rid of that ‘dirty sand’. And where to go? The neighbors won’t want it. A wordplay brings the solution: he had to ‘store’ (bergen

2.40

in Dutch means store) what he had to take away, so in his And so various types of trees are planted according to the precise,

upper garden he makes a nice round ‘mountain (berg)’ out

accurately measured ground plan, tree by tree, species by species.

of all that poisonous sand. Huygens has a ‘green hat’ made

The location of each tree in the total was exactly calculated and

of grass and a ‘variety of herbage, speckled with daisies’,

indicated. In this way, each tree plays an indispensable role

which nicely camouflages the bad contents underneath.

in the whole. Frederik Hendrik gives Huygens, as a gift for his

In this way a virtue is made of necessity, because that high

country house, many Abies alba, silver firs, which were high mast

‘mountain’ also provides a nice view.210

trees, evergreen conifers, unique for Holland, from the forests of the Orange family near Breda.207

2.42 Hofwijck, seen from the Broeksloot in Voorburg. On the left is the Voorburg corn mill, on the right Hofwijck. This is the oldest known picture of Hofwijck. Drawing on parchment A.J. van der Croos, 1643

2.42

61

2.43 Image of a man, presumably Pieter Post. Frans Hals, 1640 2.44 One of many examples of a 'mountain' in a seventeenth-century garden, here in the Botanical Garden of Oxford University

2.43

2.45 The marriage of Prince William II (1626-1650) and Mary Stuart (1631-1660), May 12, 1641. Engraving, 1651 2.46/2.47 Pendant-Portraits of Maurits Huygens (left) (15951642) and Jacques III de Gheyn (1596-1641). Rembrandt, 1632

2.44

In 1641 Huygens is again regularly on the road with Frederik

is, well considered, an even more ingenious find than the name

Hendrik. This time the campaign is more successful than the year

Hofwijck. Because in that one name Vitaulium the wordsmith

before. At the end of October Huygens is back in The Hague with

Huygens hides all the secrets of his country estate, more than he

the Stadholder. Meanwhile, the construction of the country estate

could accommodate in the name Hofwijck.

in Voorburg was completed. Immediately after the inauguration of Hofwijck, busy times start for Hofwijck, a paradise like a court of life

Huygens. Probably Huygens had already foreseen that. Hence he

On February 12, 1642, a cheerful group of people goes to the new Huygens country estate to ‘christen’ it festively.211 The company

organized the festive ‘christening’ of his country estate in February

consists of Constantijn Huygens, his brother Maurits, his sisters

springtime.

and did not want to postpone it until the much more inviting

Geertruyd and Constance, his brothers-in-law Philips Doublet and David le Leu de Wilhem, and some friends from The Hague. No

Protracted negotiations, in which Huygens was also involved, had

doubt they will have had a feast there and no doubt Huygens will

finally resulted in a marriage in 1641 between William II, the son

have played the lute for his family and friends on this memorable

of Frederick Henry, and Mary Henrietta Stuart, the eldest daughter

day.

of the English royal couple Charles I and Henrietta Maria. At the

During this meeting, the name of the country estate will also be

beginning of March 1642 Henrietta Maria came to the Netherlands

revealed. That will be Vitaulium in Latin and Hofwijck in Dutch.

with her daughter and a great entourage. It causes Huygens many

A nice game will be made of it. Anyone who forgets the name and

headaches and took a lot of time to satisfy the demanding English

is unable to repeat it must as a fine drink six pints of beer in a

royal household. On May 20, Huygens travels to Amsterdam in

row and then, in the hall of Hofwijck or outside in the courtyard

the retinue of Frederik Hendrik and Henrietta Maria. He makes

standing on one foot, repeat the inflected forms: Hofwijcks, to Hofwijck, Hofwijck, O Hofwijck, on Hofwijck.212 History does

a lightning quick visit to Hooft and his wife, solemnly promises

not tell what was the most difficult part of this punishment exercise: standing on one leg after six pints of beer, or flawlessly

On his way back over the peatland he goes to Hofwijck, where he has a meal with friends,214 and realizes that he has yet to write

enunciating the inflections without slurring.

to Hooft about his promise. So he writes a little poem with the

to come a little longer later, and leaves for The Hague on May 23.

revealing title Commitment to visit Mr. Hooft and sends it with an accompanying note: While riding along the bumpy peatland, which The name Hofwijck is a find, a find with clever wordplay. The name tells us that the country estate is meant to enable us to avoid (wijcken in Dutch) the court.213 That avoidance leads from the court to a place (wijck in Dutch), with a different kind of court, a garden. Which court is meant by that garden is mainly found in the Latin name Vitaulium. For Vitaulium means not only avoid the court (vitaulium = vitare aulam = avoid of the court), but at the same time court of life (vitaulium = vitae aula = court of life). This is reminiscent of the biblical court of Eden that housed the tree of life. It is also reminiscent of a court through which all human life itself passes, from the cradle to the grave. The name Vitaulium reveals even more. This court of life has been recreated thanks to Vitruvius. (vitaulium = vitruvii aula = court of Vitruvius). It can’t be a coincidence that the name Vitaulium starts with the first letters of the architect who found the secret of paradisiacal harmony. Vitruvius is at the beginning, at the origin of Vitaulium. That name Vitaulium 2.45

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enabled me to eat at my Hofwijck in the afternoon, this promise

their wills, both gentlemen stipulated that after the death of one,

shot straight from my heart.215

the portrait would be joined to that of the other, so that they would eventually stay together. When Jacques died in 1641, a

The arrival of the Queen of England in Holland not only brings Huygens many worries, but also a new friend, whom he will

year earlier than Maurits, the portrait in question indeed came to the latter, so that the paintings were reunited.218 Constantijn was

greatly appreciate. Utricia Ogle joins the entourage of Henrietta

very incensed about all this and vented his wrath on Rembrandt

Maria. Utricia was born in Holland, had a Dutch mother, but an

in 1633 by writing eight satires in Latin, two or three lines, full

English father. He had named her Utricia, after her birthplace

of mockery, of his painting of Jacques de Gheyn.219 However,

Utrecht. Huygens is enchanted with her unschooled, but

Constantijn maintained a strong silence about the corresponding

exceptional voice and helps her with singing lessons. Soon she is a counterpart of brother Maurits. One of these scoffing poems is welcome guest, who in the woods of Hofwijck sings so beautifully

freely translated as:

that even the song of the nightingales is silenced, just as the dawn makes the brightest stars fade.216

The difference between De Gheyn himself and this picture, Is just as much as between reality and old wives’ tales.

On May 29, 1642, Huygens leaves for the army again. There it is so quiet that he has enough time to write a large number of

In the eighth poem even Rembrandt’s name is mentioned:220

epigrams and satirical poems. On September 22 however he leaves prematurely rushing to The Hague, after the news that his

The hand is Rembrandt’s, the face is De Gheyn’s. Admire it

brother Maurits is seriously ill. Constantijn arrives just in time,

reader, even if it’s not really De Gheyn.

deeply moved, to say goodbye to his brother. Would Constantijn at this sad moment have recollected the consternation that

Was this, at the time quite a scandalous affair, the reason why

Maurits had caused by his friendship with the painter Jacques

the contact between Constantijn and Rembrandt was reduced to

de Gheyn III. Maurits and Jacques were Leiden study comrades.

almost zero and Rembrandt received virtually no commissions

A lifelong friendship developed between them, which at a

from the Stadholder Prince of Orange, who liked to be advised

certain point became so intimate that Jan Brosterhuysen wrote to

by Huygens? Another frequently mentioned cause is the tastes of

Constantijn in November 1630 about this couple in French: ‘Sir, your brother is very familiar with him.’217 In 1632 the two friends

the Stadholder and his wife, who, it is said, did not appreciate

had their portraits painted by Rembrandt, on two small panels of

‘classicist baroque style’ such as that of Rubens.221

Rembrandt’s style of painting and increasingly preferred the

approximately the same size, made of the same piece of wood. Maurits was depicted on the left panel and Jacques on the right.

Constantijn’s brother Maurits dies in September 1642, barely

The paintings were clearly meant as two pendants, signs of ‘true

six months after the festive inauguration of Hofwijck. He leaves

and faithful’, as was customary in those days with spouses. In

behind a wife and children.222

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Maurits’s deathbed and his rock-solid faith in God make a deep

trees that often come from the ‘wild’ forests are neatly confined

impression on Huygens. The sadness is no less for it. Maurits

in large compartments. Yet this remains the area with the

will not live to see Hofwijck grow into a court of life. It confirms

‘mountain’, under which the infernal sand is hidden. Initially an

Huygens again in the knowledge that the earthly court of life

obelisk was placed on this hillock with a plaque commemorating

always ends in death and the encounter with God in the last

Huygens’s beloved wife Suzanna, who had died in 1637. Next to

judgement.

the wild garden is the gardener’s house with a ‘hot house’ full of apricots and peaches. There, too, evil lurks in wait. A friendly

Huygens has also depicted this final destination of the human

request to nocturnal thieves to leave this fruit alone is only

course of life in his country estate. This is evident from his poem

counterproductive. Even the shape of the upper garden is not

Vitaulium Hofwijck in which he gives the reader an extensive tour of the estate.223 This tour not only provides insight into its

harmoniously perfect. The symmetry appears to be affected. The

construction, but also into the symbolism that the owner has

garden, almost deliberately disturbs the symmetry of the main

consciously applied to it. For example, a walk through the garden

plan. Of course, a man-made paradise cannot really be as perfect

turns out to be at the same time a walk through the life of man,

as a God-created paradise.

ground that Huygens later purchased and added on to the wild

the person whose body is depicted in the same avenues that are the subject of the walk. Man consisting of three ‘worlds’: body,

After crossing the Heerwech the upper body, the ‘tame garden’

soul and spirit. They come up in this order during the walk. The

follows. Wide avenues lead to the orchard, the heart and soul of

walk starts in the upper garden, the wild garden, which Huygens expressively also called ‘the forecourt of his castle’.224 It is the

the garden body. Or, as the host puts it: this place is the key to my heart.225 Perfect harmony reigns here. Huygens often sits in one of

lower body of the human figure, the most bodily side of his

his four ‘summer houses’ or ‘pleasure arbors’ on every corner of

existence. It symbolizes earthly life, with its imperfections. The

the orchard. The number four is reminiscent of the four elements:

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2.48 Proof of the image for the poem about Hofwijck published by Huygens in 1653, with annotations by Huygens himself. Engraving P. Post, 1653 2.49 Utricia Ogle (1617-1674). Drawing J. de Bisschop 2.50 House on the water with orchard in compartments and summer houses on the corners as applied at Hofwijck by Huygens. Drawing in W. Lawson, A new Orchard and Garden, 1618

2.49

fire, water, air and earth. These four arbors are so-called green cabinets, greenery covered palisades, in the shape of an open arbor. Huygens liked to sit there on his own, like a true hermit. The two arbors on the street side are his special favorite. Hidden behind the ivy and the honeysuckle he could watch and listen unseen to those passing-by over the Heerwech. Here he could also listen undisturbed to ‘the honest courtship’ of the farmer’s son Kees and his beloved Trijn. That was a sincere wooing. It looked like Adam and Eve in paradise. Others could take an example from that.

2.50

So said Constantijn, who of course could not fail to draw various pedantic conclusions for lovers and engaged couples.226 The other two gazebos have yet another advantage. They are

Hofwijck, a paradise with a hidden melody

situated right next to the two peninsulas with the ‘giardini

Hofwijck is full of melodies, from the early morning until the late

segreto’. These ‘secret gardens’, somewhat hidden behind high

evening. It is nature itself that takes care of that. Because as the

hedges, consist of various plant beds with herbs, special flowers

years go by and the trees grow bigger, Hofwijck becomes a paradise

and ornamental shrubs. With the pots full of roses next to the

for birds. This to the great joy of Huygens, who has always had

entrance to the house, they form the few decorative elements on

a great interest in those ‘swift warblers’. In his poem written in

Hofwijck.

his youth, Batava Tempe, he already describes the many birds that populate the high lindens of the Voorhout: the starling, the

The walk continues through the islands to the Vliet with its

quails, the nightingale, the goldfinch, the turtle dove, the thrush,

‘open leisure space’, a small jetty in the water, a place par

the jackdaw, the crow, the heron, the stork, the swallow and

excellence, to enjoy the silence and the stars, and to think again

the cuckoo. Unfortunately, the city is full of noise and din from

about important matters of life and death. This is the world

people, horses and wagons. Of course, this disturbs all those birds.

of the spirit. The journey finally ends at the house itself, the head of the garden.227 On the bridge to the house there are four

However, this noise has a pleasing effect writes Huygens. Because

children’s figures depicting the four seasons, the continuous

come to Hofwijck to nest in the many trees. Especially the linden

cycle of comings and goings, of life and death.

228

At the end

of that clamor the birds are chased out of the city and they all avenues are full.

of the day, the house is the place to sleep, invariably referred

And if they are fed up with the lindens, there are plenty of other

to by Huygens as his ‘daily death’ and his ‘pillow-death’.229 Fortunately, this ‘pillow-death’ is not the end and death doesn’t

trees to choose from. As thanks the birds sing with the upmost joy.231 Satisfied Huygens lists the names of the many species he

get the last word. Huygens’s children are also still around, and

has seen and heard at Hofwijck: the bullfinch, the linnet, the

they visit regularly. They are always welcome, even if they

starling, the thrush and the nightingale. Yet there is a moment

turn Hofwijck upside down and even if they, the five of them,

when all those birds remain silent in awe. That is when the

make the little Hofwijck look even smaller than the narrow (still

beautiful Utricia Ogle comes to Hofwijck to sing in the woods.

existing) Achterom alley in The Hague.

No nightingale can compete with that. Huygens dedicates many

Thus the country house has a future and continuity. It’s a good

laudatory poems to her. Often he calls her endearingly ‘Ogeltje’,

thing that the Stompwijk cows, in the meadow on the other side of the Vliet, call out to the sleeping Huygens early every

and rhymes this with ‘gij toverende vogeltje’ (thou magical little bird).232 When, in August 1642, he once again hears the powerful

morning. Incidentally, this mooing of the cows does not belong

voice of his little ‘ogeltje’ and compares it to the ‘gargle’ of the

to the most eloquent sounds heard at Hofwijck.

nightingale, he is struck by a nice play on words:

Music and the sound of music played an important role at Hofwijk. This cannot be otherwise with the musically gifted

It is no Ogel, after that gargle:

Huygens.

It saves a letter; it is an organ (organ).233

230

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2.51 Portrait of a woman, probably Maria Casembroot (1621-1703). Pieter Nason

2.54 'Christus ooghen' depicted in R. Dodonaeus Cruydt book from 1554

2.52 Greek marble bust of Pythagoras (572 BC - 500 B.C.), mathematician and musician, mid-fifth century

2.55 'Christuspalm' depicted in B. Besler, Hortensus Eystettensis from 1613

2.53 Catching birds with a net. Engraving C.J. Visscher, 1609

2.51

2.56 Title page of country house poem De Binckhorst from 1613 with a few lines about the transience of life 2.57 The Binckhorst at the Trekvliet, surrounded by trees. Etching C. Elandts, 1641

2.52

By the way, Hofwijck is not an innocent paradise for all

music and cheese-and-bread (caese en broot in Dutch), what

birds. From a letter that Christiaan Huygens wrote to his

could one wish for better?237

brother Lodewijck on October 18, 1658, it can be deduced that the estate was ‘framed with thrush bows’. Thrush bows

In addition to all those audible melodies, Hofwijck possessed

were snares, mostly made of twigs, to which rowan berries

a hidden sound, a musical harmony that Huygens himself

were attached as bait in order to catch thrushes and other

created in his garden. That had everything to do with the ancient

birds: Dear Brother,

Pythagoras238 Vitruvius was not the only one who had engaged in

This includes the thrush bows and the berries you asked for,

the Greek philosopher Pythagoras had also been searching for

although I don't know if Jan Jansen will be able to miss a lot

this. Vitruvius found the harmony of human body proportions

of bows because he catches thrushes a lot nowadays. I send

as a solution. Pythagoras had another, also original solution.

my servant Harmen to Hofwijck with a letter to his E. (Jan

It found a connection between mutually melodious sounds

Jansen) to order the necessary and to give it to the skipper

and the length of a string. Thus he calculated the harmonious

on Heusden as he sails by [...].235

measurements as the distance between those sonorous sounds.

234

the search for harmonious proportions. Hundreds of years earlier

Undoubtedly Huygens is aware of all these theories of musical harmony. Within the ground plan according to Vitruvius he uses a ratio for his garden design, which is a reflection of such melodic sounds. For example, the previously discussed Vitruvian ratio 1:2:4, which Huygens applies in his Hofwijck, forms a musical octave. Thus Hofwijck becomes an example of a pure Vitruvian disposition in which at the same time beautiful sound harmonies are applied, hidden in these measured proportions of house and garden. Proportions that produce false tones, Huygens will certainly have avoided. Huygens finds that musical harmony in his garden is so important that he indicates in his poem Vitaulium Hofwijck that unmusical guests are not welcome there. After all, they would only wander around as dissonants, as false sounding tones. 2.53

Unmusical is for Huygens by definition unharmonious. He also counts religious or political quarrels among the false

In addition to the songbirds, Huygens himself also regularly

notes, and they are therefore also forbidden in his garden. This, too, does not belong to the melodious forms of the estate.239 Nor

provides sonorous melodies at Hofwijck, especially when there

does it belong to the pure sounds of the hundreds of birds. By

are guests. He plays many instruments with skill and inspiration,

now they feel perfectly at home at Hofwijck. For in the meantime

especially the lute, but also the viola da gamba, theorbo, guitar

it has become a paradise full of trees.

and harpsichord. Sometimes Huygens plays the harpsichord,

Which trees Huygens had planted, for example, he listed

together with Maria Casembroot, another friend, whom he greatly appreciates for her musicality.236 After a congenial meal with

precisely in the poem he published about his Hofwijck in 1653.

Maria and with music, her name entices him in March 1661 to

Hofwijck, a paradise as a country house poem

the following lines of poetry:

In the time of Constantijn Huygens, poems about a named country estate become fashionable.240 In such a poem the owner

Do not despise God's gifts: the guest meal was as good,

sings the praises and justifies his estate. The garden and nature

as a meal can be, that nourishes mind and body:

are central to this. The pleasures of the outdoors are of course

greens, mutton, ham, pancake and tripe,

extensively described. But the reality of the diligent work needed

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to create and maintain the estate is not forgotten either. The city is depicted as a villain: a source of unrest and noise, full of gossip and misery. The country estate is a necessary refuge, where the weary court official, regent or wealthy merchant enjoys a wellearned rest and healing silence. Like a true country gentleman he is busy with nature, next to the Bbible God’s second Revelation. He receives guests and enjoys the pleasures and ‘unbought’ products of his country estate. Religious digressions and sermons punctuate the lines of the country house poem. One of the first country house poems was written in 1613 by Philibert van Borsselen under the revealing title: De Binckhorst, or the praise of the blissful and peaceful country life. The poem is dedicated to Jacob Snouckaert, the poetic owner of De Binckhorst, who uses the old castle near The Hague as a country estate to escape the turmoil of the city and to recover in the peace

2.56

of the country from his onerous work as counselor at the Court of Holland. In De Binckhorst, Van Borsselen shows the reader the garden with square beds full of flowers and conifers. There are berceaux or leafy corridors of poplars and white mulberry trees, laid out by Snouckaert himself. From here the owner and his guests, sheltered from the sun, can enjoy the view of the vegetable garden, the herb garden, the orchard and the oak woods. The maze at De Binckhorst reminds the poet of the maze of life. It has lovely flowers such as named in the seventeenth century ‘Goudblom, Munt, Borse-cruyd. Fluweel-bloem, Duysent-schoone, Croon-cruyd, Eer-en-prijs’. Even more abundant are the harmful ‘Hertgespan, Tormentil, Agrimoni, Sorg-saed, Cruys-blom, Weegbree, Guychel-heyl en Tydloosen’. The wanderer can only get safely through the maze if he chooses God’s word as a faithful guide [...] and always keeps ‘Christus ooghen’ (koekoeksbloem)’ and ‘Christuspalm’ in mind.241 As a leisure activity Snouckaert is involved in pruning, grafting

2.57

and watering the flowers. Every season has its own activities. In autumn, the landlord gets tasty honey from his beehives and in

a newly picked flower that, put in water still lasts for a while,

winter he reads edifying books, dressed in a warm housecoat.

but then, just like man, soon sees the end approaching. Jacob

Regularly he treats his guests to an ‘unbought banquet’ with self-

Snouckaert himself dies in 1618. Van Borsselen had already

shot game and home-grown vegetables. Sometimes the lord of

written an epitaph in the country house poem for this ‘tranquil’

the castle climbs his tower to look at the city and its pernicious

landlord of De Binckhorst:

bustle, full of ambition, greed and deceit. How perfect the tranquility of the countryside feels then. But the country house

Here the body, whose spirit in life once rested peacefully on his

poem also speaks of the transience and brevity of life. That is like

restful land, now rests in the Lord.242

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2.58 Title page Jacob Cats Outdoor Life at Zorgvliet, 1655

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2.59

widow, pointing to her late husband Frederik Hendrik. Gerard van Honthorst, 1650

2.59 The Ockenburg country estate. 2.63 Title page of manuscript country Engraving A. Matham, in Jacob Westerbaen's country house poem, 1654 house poem Vitaulium Hofwijck with drawings by Constantijn Huygens, 1651 2.60 Hofwijck with yellow shutters, 2.64 Emblematic Print of The Birth yellow door and dovecote, drawing by of Prince William III. At the sickbed of Christiaan Huygens, 1658 the Netherlands, weakened by discord, 2.61 Mary Stuart (1631-1660) as a widow. stands Constantijn Huygens, pointing to the only hope of the fatherland: Jan Mijtens, 1651 William III, the Prince of Orange. Engraving anonymous, 1672 2.62 Amalia van Solms (1602-1675) as

Soon almost every self-respecting estate owner with some literary

and had married a rich widow. This allowed him to concentrate

ambition writes such a country house poem. Around 1656 Jacob

on his great passion: country life, horticulture, arable farming,

Cats sings the praises of his Hague country estate Sorghvliet in

hunting and fishing. Ockenburgh is the name of the country

the poem Ouderdom, buitenleven en hofgedachten op Sorghvliet

estate that he built around 1652 in the ‘clingen’, the barren dunes

(Old Age and Ideas on Country Life at Sorghvliet.) Two years

not far from the sea at Loosduinen and The Hague. He was one

earlier, in 1654, Jacob Westerbaen had published his country

of the first to convert the infertile dune soil there into fertile soil,

house poem Ockenburgh and dedicated it to his good friend

where the most delicious fruits soon grew. Westerbaen greatly

Constantijn Huygens.

admires the poetry of Huygens.

Westerbaen was a doctor from The Hague, who wrote poems

Huygens admires Westerbaen for his knowledge of nature and

2.60

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2.62

methods of adapting nature. He likes to go to Ockenburgh to dine with Westerbaen. There is a regular correspondence between the two gentlemen. Verses are exchanged, as well as advice and data on cultivation methods. Westerbaen regularly sends Constantijn fruits from his estate. On October 15, 1656 Constantijn receives a special delivery from Westerbaen for Hofwijck, with an accompanying letter full of advice: Herewith a cage with young pigeons, of the best kind [...] to 'plant' on Hofwyck. When the loft is ready the first can be set in...] In due course they will fly out to look for food in the surroundings, something that can be found in abundance at Voorburg with its arable land full of rye and hemp.243 Westerbaen instructs Huygens in detail how to lure the pigeons back after they have fledged. For the pigeons, Huygens has a special pigeon loft installed on the west wall of the house. This ‘pigeon house’ can be clearly seen on a drawing of Hofwjck made by son Christiaan in 1658. Remarkable on this drawing is the yellow color of the shutters that decorate the house.244 The pigeons had a useful function in the seventeenth century: they were eaten with gusto, sometimes they were used as couriers. Furthermore, at Hofwijck the pigeon manure was undoubtedly also an excellent

2.63

fertilizer for enriching the vegetable garden. The manure was also used to make the laundry whiter.245 Constantijn Huygens writes a beautiful ode to Westerbaen’s Ockenburgh. In it he praises the peaches, apricots and melons of this ‘well-planted estate’, fruits that he himself had regularly been allowed to taste there. Jacob Cats, too, is not indifferent and writes a long verse for Westerbaen’s country house poem. In it he summarizes the carefree pleasures of a country house in the line: We live carefree, we sleep without women Constantijn Huygens writes his country house poem Vitaulium Hofwijck in 1651, during the four busiest months he ever experienced.246 On November 14, 1650 Prince William III is born, eight days after his Father unexpectedly died of smallpox. It is the beginning of the First Stadholderless Era, a period full of unrest and uncertainty, which lasted until 1672. A fierce conflict develops between mother Mary Stuart and grandmother Amalia van Solms over which one of them was to have custody of the newborn prince.247 Constantijn Huygens mediates in this conflict,

2.64

which costs him a great deal of time and causes many headaches.

house. There he discovers the universal harmony, thanks to the

Meanwhile he writes his country house poem as a welcome

miracle of the human proportions and thanks to a hidden melody.

distraction during his daily business. In 2,824 lines of poetry,

There he recognizes the Garden of Eden, a paradise on earth

creator Huygens leads the reader past the secrets of his country

full of trees and birds. Every leaf of a tree is a message from God

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2.65

and every glimpse of the garden provides a wise lesson in life

slowly. It takes many decades before such a tree paradise is fully

for those who want to see it. Above all the hospitality is deeply

grown and at its most beautiful. That is why we enter Hofwijck in

anchored in the earth itself by the thousands of roots of the long

the poem at such a beautiful moment, as if time in that one night

rows of trees that form the entrance as outstretched arms with

is suddenly a century further:

hands full of linden blossom. Transience and death also come up for discussion. This view of death is even one of the reasons

I want to show you, Hofwijck as if it sprang by night,

why Constantijn Huygens wrote his country house poem. At the

Grown sudden, like a devils bread (mushroom), to maturity,

beginning of his poem he sighs: Who knows the length of his life’s

And more than this, I want to make us walk it round

thread? Doesn't often the purest string snap first? As a skillful

As if our yesterday a century were past.248

lutenist he knows from his own experience: once the string starts to ‘fluff’ it snaps.

A hundred years on, would Hofwijck actually still exist? Isn’t all the work of human hands fragile and doomed to disappear sooner

When he started the poem, Huygens was almost 54 years old.

or later? Thus there was a second reason to sing the praises of

Even if he would deny it, his gray hair would certainly betray

Hofwijck as it was and as it was going to be in a country house

him. He had long ago dedicated a poem to the Voorhout. Of

poem. Paper has a longer life than shrubs and stones. By the time

course Hofwijck was not allowed to lag behind in that respect.

Hofwijck will have moldered into earth again and into a ruin

Moreover, that would undoubtedly result in a satirical epitaph:

overgrown with grass, by that time Hofwijck will still flourish in

Here lies a man who understood the simple farmer’s art of

the poem on paper:

planting and digging but who could not even adorn his own creation with a song. So whether I will live a long time or only

So frail are human works, paper outlasts them all,

a few more years, I must prevent such an epitaph, thus said

Time wears the shrub and stone:

Huygens.

In time it will be said, 'Here once his Hofwijck stood,

Furthermore, he indicates that in his poem he wants to leave

now rubble weeds and earth',

Hofwijck as he thinks it will be in 100 years’ time. That is why he

And then shall Hofwijck stand, still flowering in its pride.249

pretends that Hofwijck has risen from nothing in one night, like mushrooms. This device is quite understandable: Hofwijck stands

So now a hymn of praise to Hofwijck, a hymn of praise that

and falls with the trees, which grow and prosper but extremely

stands the test of time. When it’s finished, Huygens can’t resist

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2.65 Title page of the first edition of the country house poem Vitaulium Hofwijck, published by Adrian Vlac in 's Gravenhage, 1653, with the dedication of Constantijn Jr., the 'deliverer' of Vitaulium Hofwijck, to his aunt Geertruyd

2.67 Shortly before Vitaulium Hofwijck, several other works by Huygens were published, including Heilige Dagen (1645) and Ogentroost (1647), followed by various reprints

2.66 Geertruyd Huygens (1599-1680) as a widow at the age of 69, with a timepiece in her left hand and behind her 'father time', symbols of her approaching death. Caspar Netscher, 1668

2.68 Ogentroost or Euphrasia stricta, a famous herb against eye ailments, as depicted among others in Remberti Dodonaeus, Cruijdt-Boeck from 1644. Huygens used this name as the title of a poem for a friend who went blind in one eye

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trivializing this masterpiece again. In a foreword ‘To the reader’

on words for Hofwijck in his ode: Although the ‘Hof’ (country

he asks himself who actually wants to see or listen to this

house) in Voorburg ‘wijckt’ (deviates) from many other buildings

Hofwijck. Isn’t Hofwijck ‘dressed up with lies and decorated

in terms of size and scope, it is no less elegant than any other

with tinsel’? He lists a number of variants of the name Hofwijck

building.

which are not all equally flattering, such as ‘Of-wijck van den wegh (Off the street), Hoef-wijck (Hoof district) and Hol-wijck

Westerbaen, the creator of Ockenburgh, even comes up with five

(Hay district)’. ‘Stof-wijck’ (Dust district) is also a good play

odes, in which he compares Hofwijck, especially thanks to the

on words and a compliment to the inventor. Yet in the end

observation tower in the upper garden, to a theater and a ‘peeping

there is salvation for the poem Vitaulium Hofwijck. Classical

Tom’. As will be discussed below, Huygens had to some extent

philosophers and renowned church fathers come to help

encouraged these hymns of praise by organizing a ‘competition’:

Huygens with baskets full of their own judgements. All these

who could come up with the most beautiful name in poetic form

pronouncements support his own rules of poetry, and prove he is

for the belvedere in Hofwijck’s upper garden.

correct. Constantijn accurately writes down all those quotations in the margin of the manuscript in which he writes the poem. In

When the poem is finished, son Constantijn is allowed to ‘deliver’

this way he dresses his ‘misformed’ brainchild with a colorful

the first edition in 1653. He arranges practical matters with the

robe of ’comments’ of the greatest thinkers, and of course with

printer and writes a ‘dedication’ to his aunt Geertruyd, father’s

quotes from the Bible. And so it becomes something after all:

sister. In it he mentions that Father had described the material pleasures of the estate in such a way that they touch the soul.

Now you must see Hofwijck, be for better or worse:

And as to the described ‘walk’ he had written such a treatise that

The child is misformed, but he's richly dressed.250

his descendents would still be able to enjoy it, even if the estate had disappeared. Constantijn II. actually calls it inconceivable

Some literary friends of Huygens also put pen to paper to help

that his Father was able to complete such a long and exceptional

harness this brainchild. All their odes on the estate and its poetic

poem in four of the busiest months of his life. Because Father

owner are printed, as was customary at the time, as ‘preliminary

Constantijn sees his new Hofwijck as his child, Constantijn II is in

matter’ for the great country house poem. Graswinckel wrote an ode, as did Boxhorn and Bruno. Bruno, the

fact the half-brother of the estate, and Aunt Geertruyd the eldest aunt of both.251 When the poem is printed, the author liberally

tutor of the sons of Constantijn Huygens, thought up a nice play

distributes it to his acquaintances, with an accompanying letter.

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2.69 Two pages from the first edition of Vitaulium Hofwijck, published in 1653 by the Hague printer Adrian Vlac. On the left page below is an ode to Vitaulium Hofwijck, with some clever comparisons and puns, written by Henricus Bruno, poet and also tutor to Huygens's sons

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On the righthand page are the first lines of the country house poem, in which Huygens sighs that the signs already point to the end of his life. While still able he would like to sing the praises of his Hofwijck

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2.70 Lodewijck Huygens. Jacob van Loo, 1663 2.71 A seventeenth-century circle game. Engraving in J. De Brune, Emblemata (1661) 2.72 Amalia van Brederode (1626- circa 1664). Unknown master, circa 1650

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2.73 Wilton House with garden and ornamental water works. Engraving I. de Caus, 1645

Especially in the early years of the First Stadholderless period,

in Dutch and the second in French253 Herein he describes, among

uncertainty prevails in the Republic. Amalia van Brederode

other things on May 11, 1652, a visit to Stonehenge and to Wilton

creates, as a counterbalance to the overall predominant feeling

House and its gardens, which had in the meantime been opened to

of melancholy, the Ordre de l' Union de la Joye. With dancing,

the public upon paying an entrance fee. In the house he admires a

making music and reciting poems in which hilarious absurdities

painting of the King, sitting on a white horse. He found the garden

and making fun of themselves are not shunned, they try to drive

beautiful and symmetrical, but not really in harmony with the

away the malaise. In the poetry that Huygens dedicates to Amalia

house. The ornamental waterworks were remarkable but not all

he adresses her as ‘her gaiety’. He pokes fun at himself by appearing

in working order: Close to the house, there are flower beds with

at a gathering dressed as the servant of the cook’s boy. A lower

beautiful fountains, which usually do not spout continuously.

place on the social ladder was not conceivable. Constantijn II. and

Along all the avenues there were cypresses 18 or 20 feet high and

Christiaan, Constantijn’s two oldest, still unemployed, sons also

stone statues everywhere. On the other side, there was a small

join the society, presumably in the hope that via this ‘network’ they might find a job more easily.252 In order to gain ‘work experience’,

wood on either side, through which a beautiful, large brook flowed

the third son, Lodewijck, is allowed in 1651 to go with a diplomatic

little building, where on the roof reached via an outside staircase,

delegation to England under the leadership of Jacob Cats. Following

there was a fish pond, with a constant flow of fresh water brought

in the family tradition, Lodewijck keeps a Journaal or diary during

in and out via pipes. In the cottage was one of the most beautiful

this journey from December 20,1651 to July 15, 1652, the first part

and charming grottos I have ever seen.254

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and further ponds with fountains. At the end of all this stood a

2.74 The Buen Retiro Royal Palace in Madrid. J. Leonardo, circa 1637 2.75 Constance le Leu de Wilhem (1633-1713). J. van der Stock 2.76 Part of the Hofwijck map with legend filled in by Huygens himself with the placement of trees and garden elements. Detail from 2.48 2.74

2.75

In 1655 Christiaan and Lodewijck make a journey through

Hofwijck, a paradise with trees

France. Lodewijck records the most important events in a

As mentioned before, Hofwijck is mainly a garden with trees.

Journaal (diary). It states how they bought a doctoral degree in

Even though those trees may grow very slowly, the sight is soon

Angers on September 1 for 50 guilders, as Father had wanted.255

impressive. In the spring, after just a few years the orchard

It did not bring them any closer to the job that Father had so

is particularly colorful. On July 4, 1645, an 11-year-old niece

desired for these sons. In October 1660 Lodewijck leaves again

Constance le Leu de Wilhem writes to her uncle Huygens in her

with a diplomatic mission. This time the mission goes to Spain

best French: Mama said that I should write to tell you, that I went to

with the aim of normalizing diplomatic relations. Lodewijck

Hofwijck, where it was as beautiful as paradise, and that she would

goes along as the ‘gentilhomme extraordinaire’ of Ambassador

like to go every day and that she is very sorry that uncle is not there

Godard Adriaan van Reede van Amerongen. It is true that this

to eat cherries and berries that make the garden completely red..258

is an unpaid position, but hopefully this trip will increase Lodewijck’s chances of getting a paid job. Lodewijck speaks

In his poem Vitaulium Hofwijck and on the corresponding map,

Spanish and is an excellent interpreter. Lodewijck also kept a Journaal of this trip.256 In it he describes, among other things,

Huygens precisely indicates which trees were planted in the

the extensive collection of paintings of the Spanish King and

Huygens deliberately takes into account the difference between

the palace gardens. The small front garden was already full

‘wild’ and ‘tame’ trees when placing the trees. Wild trees do not

of pansies, the gardens at the rear were enclosed, ‘hollow

require any specific maintenance, on the contrary, tame trees need

underneath [...] and large underground passages with buttresses’.

to be pruned and cared for regularly. On the north side and on either

The country house opposite the palace had a garden full of

side of the upper garden, the estate is shielded by the long sections

weeds, tall trees, poorly maintained grottos and ponds with an

of the alder woods [letter W on the map]. The non-symmetrically

island in the middle. Other gardens are also visited, often with

placed areas are also planted with alders. In the upper garden are

fountains, grottos and berceaux, but Lodewijck is not impressed.

further symmetrically placed oblong beds with an oak coppice [T],

He often finds them ‘poorly designed’.

birch trees [V] and mast trees [S]. A central avenue in the upper

Ponds and avenues of trees make the most impression, and some of the ornamental waterworks, that often did not work.257 In

garden leading to the hillock [R] is surrounded by oak trees, as well

August 1661 the company returns to The Hague. It would take

body [OP]. Huygens calls his upper garden a ‘tame wilderness of wild orderliness’.259 After all, this ‘wood’ consists of ‘wild’ growing

until 1672 before Constantijn II and Lodewijck got an official job.

garden. It is a beautifully varied collection. As will be shown below,

as the two long symmetrical avenues that form the legs of the garden

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2.77 Wimbledon House with the 'orchards of the wilderness'. Colored version of 1.20

2.77

trees, trees which do not need special maintenance. They do, however, stand ‘tamed’, or orderly together in compartments. In this way the ‘tamed wilderness’ of the upper garden is created. Perhaps Huygens was inspired by the gardens of Wimbledon House, where he, as previously described, regularly visited Sir Edward Cecil during his English travels. Here he undoubtedly saw the large compartments with the ‘orchards of the wilderness.’260 Along the Heerwech there is a wall of white poplars [AA] on both sides. These also form two beautiful ‘walls’ for daily passers-by from Voorburg and elsewhere. The high poplars are at the same time a good protection for other trees, flowers and herbs. The two symmetrical main avenues to the house [H] on the south side of the Heerwech are planted with lindens [AB]. These two linden avenues form the two arms of the estate. Around the corner, in the direction of the square in front of the house, are the ash trees, as the shoulder of the body [BC]. The square itself is surrounded by maples [D], with a silver fir at the corners between two maples. The orchard is full of fruit trees, divided orderly, species by species, into four symmetrical squares [F]. This is the ‘tame garden’, a cultivated arrangement of ‘tame’, grafted trees, regularly pruned and cared for. The peach trees are in the herb garden, drawn in the middle at the bottom of the map [Σ]. Next to the house are the two islands, one on the left and one on the right, that Huygens called ‘the most beautiful gardens’.261 Here are among others his ‘home-grown’ mast trees [K], randomly planted between other trees, which will be discussed below. As in the upper garden, these are wild trees, which do not require any special maintenance, and also stand ‘tamed’ together in compartments. That is why Huygens calls the islands his wilderness to the east and west (of the house).262 Along the Vliet elms have been planted, close to each other so that they form an ‘elm shield’, a wall of elms that protects the estate from the wind. However, it is not a wall that should deter passersby, like a castle wall in the old days. Rather, it is a wall that would make passers-by from Nootdorp or Delft curious and wonder what other admirable things may be hidden behind that beautiful tree wall. After all, the roots of the elms also help to protect the embankment from the waves splashing against the shore from the passing ships. The wooden shoring, the willow and the rushes on the waterfront alone were not strong enough. The elm trees give Huygens the opportunity to reflect in his poem on the three functions that the trees perform. They are there, he writes, ‘for

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2.78/2.79 Mast trees at Hofwijck, with at the top the male tree or a silver fir with upright cones and below a female tree or Scots pine with hanging cones. During this time, tree and plant names were often named after human characteristics

2.80 The entrance to House Hofwijck with the stone rose pots. In the background the east island with the high mast trees. Detail from sample print Vitaulium Hofwijck, 1653 2.81 The entrance to Hofwijck, copied by A. Schoemaker, for his famous eighteenth-century Atlas

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2.81

honor, utility and amusement, the three famous axioms’. Honor is

warns his grandchildren that they cannot wash their hands in

the admiration the trees evoke in passers-by and guests, utility is

innocence when they ungratefully deal with his inheritance, by

protection from the wind and other weather gods, amusement is

chopping down the wood he had grown (washed in Dutch) to use

the pleasure the owner experiences in many ways from the trees

as firewood.271 There are only three exceptions to the chopping

and the dense foliage.263 Finally, the poem Vitaulium Hofwijck shows that there are mast

ban: when there is a serious lack of money to make ends meet, if the war with Spain were to break out again, and if the trees get so

trees between the ‘pleasure arbors’ on the edges of the orchard.

old or sick that they are better replaced by healthy young ones.

These are not indicated on the map. The dense hedges, which

Huygens has done the latter himself several times. He even writes

Huygens mentions as protection against neighbors and others

a comic poem about it. At a certain point he has to cut down

looking in are again drawn on the map, but are not indicated with a letter.265 There are also some trees on the islands, which

and burn his Breda mast trees, his ‘females’. Just right, he thinks,

are mentioned in the poem and which are not mentioned on the

turn to burn too:

264

because women in the world cause so many fires, now it’s their

map. This applies to the sweet chestnuts, the nut trees and the rowans that Huygens refers to in his poem when he praises the

Spruce trees burned at Hofwijck

abundance of trees on his islands next to the house. They are

Put all my females on the fire:

beautiful utilitarian trees, which provide edible nuts and berries.

get rid of this stuff; what are they doing here?

Huygens is most proud of his home-grown evergreen Abies alba

They're setting fires in all the countries.

trees on the islands along the Vliet. He speaks with satisfaction

Now it's their turn to burn.272

of ‘my true children, my sprouts’ and ‘my own little men’. Very gratified he sees how city folk, farmers, friend and stranger on

Finally, in 1682, at an advanced age, Huygens has a large number

the polder dike on the other side of the Vliet stand still full of

of old mast trees cut down and replaced by younger ones. They are

admiration for these Abies alba trees, which surround Hofwijck like two protective wings.266 Even in winter, when everything

very close to his heart, but he wants to leave his heirs a vigorous

withers, these little men remain green, awake and vigilant.267

do in a heavy storm to prevent the ship from sinking. Of course

wood. So the mast trees are cut down as masts. Exactly like sailors Huygens dedicates a number of beautiful lines of poetry to this

Abies alba trees are also discussed in a letter that Laurens

event.273

Buysero, the owner of the Duynzigt country estate near Rijswijk, sent to Huygens on July 13, 1644.268 The letter first of all mentions

The fact that Huygens in his country house poem emphatically

Pieter Post’s involvement in gardens and trees, among other

and meticulously mentions the names of the trees and other

things. Then he writes to Huygens about the mast trees:

plants that determined the layout of his estate resulted in the

the males grew much more and better against the fence near the

creation of a special florilegium: not a florilegium with beautiful

Vliet than they did with me, but the females (in the upper garden) do better by me.269 Males and females are the designation for

images, but a list, scattered through the lines of poetry, of the trees,

two types of mast trees, where the name is derived from human

plants and fruit, which he had collected at his estate and given a deliberate place.274 As described, the map accompanying his

characteristics. A male is a silver fir with upright cones, and a

poem indicated the chosen place for each species. Here and there

female is a Scots pine with hanging cones.270

Huygens also mentions a single flower or flowering shrub, but

When Huygens describes his trees, he also comes to the alder

only if it had been placed there for an obvious reason, such as the

[W] and the oak [T]. After a few years their branches are

ivy and the honeysuckle behind which he hid in his green arbor

chopped off and then the trees grow again. He utters the words

by the orchard to listen to passers-by and the daisies that had to

‘sawable wood’, but at the same time it really frightens him.

camouflage the mound of infertile sand that had been dug up.

Because in his beloved wood the word sawing is of course out

Roses also bloom there, under the mast trees on the islands. They

of the question. That’s why in Vitaulium Hofwijck he hastens to implore his descendants not to chop down any trees. Again

fulfill a useful role because the falling rose petals are excellent fertilizer for the trees.275 On either side of the stone entrance to the

there is a nice play on words with the word ‘washing’. Huygens

house there are also roses in stone pots to ‘sparkle and blush’.276

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2.82 The poet-historian Pieter Cornelisz Hooft (15811647). Resident of the Muiden Castle near Amsterdam. Engraving J. von Sandrart, 1642

2.85 The deathbed of Frederik Hendrik in 1647. On the left at the foot end is secretary Constantijn Huygens. Engraving C. van Dalen de Jonge after A. van de Venne, 1710

2.83 Caspar Barlaeus (15841648), pastor and collector. Etching T. Matham after J. von Sandrart

2.82

Some rose petals are used by Huygens for one of his hobbies, making perfume. Always a valued gift, but also useful for personal use, for example for perfuming gloves. Huygens is an avid collector of recipes for these perfumes, but also for pomades, perfume bags and medicinal waters.277 With the help of Jan Brosterhuysen he also sets up a home pharmacy. When he still lived in the Houtstraat he had already been engaged in collecting, as was fashionable at the time, dried plants and exotic fruits, seeds, dried extract from opium pods, aloe and laudanum, fossils, special stones and other naturalia.278 Around 1630 he corresponded with Caspar Barlaeus, clergyman, Latin poet and professor in Amsterdam, who was also fascinated by all those rarities in which he could behold the divine omnipotence, wisdom and goodness. From time to time Barlaeus sent Huygens a ‘curiosity’ so that Huygens could share in the wonder. The grateful Huygens had answered Barlaeus on January 1, 1630: It is your own fault that I have not written to you for so long. You send me so many things of yours to see that I spend all my free time on them. I myself have collected many such things, which I stored in as many as 900 boxes.279 2.83

From the solemn moment of its inauguration in February 1642 onwards, Huygens makes regular use of his country estate. Various notes in his diary from that early period bear witness to this. Earlier it was mentioned that he ate at Hofwijck with friends around May 23, 1642. From the diary entries it is also noted that Huygens makes a trip to Gorinchem and Monnickeland in October 1642. Monnickeland was in Gelderland and had been bought by Huygens together with his brother Maurits and a nephew on August 2 of that year. On the way back to The Hague Huygens has a meal at Hofwijck on October 13. The same diary entry mentions that Huygens spent the night in Hofwijck on April 12, 1643 in transit via Haarlem to Muiden.280 There he visits Hooft and his friends with five acquaintances from The Hague.281 The 16th of that month they go to Amsterdam and return in the evening by carriage to The Hague. There a new ‘commitment to Mr. Hooft’ is made, in which the quintet promises to visit Hooft again the next year.

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2.84 Intersection of the Oranjezaal in the Huis ten Bosch with paintings glorifying the deceased Prince Frederik Hendrik. Etching J. Mathijs after P. Post

2.85

The friends are also invited for a return visit to ‘Hofwijck on the water’, and ‘Pasgeld on the meadow’.

282

Pasgeld was a country

estate, also on the Vliet just outside Delft.

Lovely Saturday, are you still far from coming? Hurry anyway, and help me get back to Hofwijck's sweeter dreams. Come, horses for the carriage, I feel that I’m coming closer,

On May 26 Huygens departs again for the front. It was not until

and The Hague, good night, I yawn, but for Hofwijck sleep.284

September 23 that he returned to The Hague. In the following years most of the year is also taken up by the war and there is

Hofwijck, a paradise of hospitality, amusement and reflection

no summer time left for the pleasures of the country estate until Frederik Hendrik dies in 1647.283 The following year the Peace

Hofwijck’s hospitality is anchored in the garden design in an

of Münster is finally signed. This marks the end of the Eighty

courtyard. The two linden avenues that form the entrance to the

Years’ War and the end of the long campaigns. Although the death of Frederik Hendrik heralds a trying and exhilarating time,

house were designed as two arms, welcoming and embracing the guests with a broad, inviting gesture.285 The gates were also

full of political intrigues against Huygens and his function, the

specially designed as a gesture of welcome. These gates are not

following years give him more time for relaxation and being at

closed defensive barricades like those of medieval castles. On

home. Then Hofwijck finally becomes the place for which the

the contrary, the gates are ‘torn apart’, into open gates with bars

country estate was meant, a paradise for hospitality, amusement

through which everyone can look unhindered. The gates are

and reflection. A place for the weekend, a place to look forward

therefore inviting open doors. There are two avenues and two

to all week long:

gates to indicate that guests are doubly welcome.286

exceptional way. This becomes apparent as soon as we enter the

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The host has bread and wine ready. But the estate has a lot more to offer. The shelves in the storage cellar, the vegetable and herb garden, the woods and the orchard, everything is at the service of the guests. The horticulturist Jan Maertensz is drummed up to catch fish, and that’s what’s so nice about a country estate: you can just take everything directly from nature, without paying for it. They are ‘unbought’ fish and birds, ‘unbought’ beans and pears. Whether it’s the children or visitors, all the pleasures are used to

2.86 Constantijn Huygens with guests at Hofwijck see how 'the blessing', the fishing net, is pulled in. On the entrance to the house next to the drawbridge the statue of Hermes is visible. The new window layout with the eighteenth century French balconies is remarkable. The curl patterns in the apparently newly renovated garden on the east

make them feel at home.287 A beautiful spectacle for the guests are the mute swans, swimming silently and gracefully around Hofwijck. A special floating deck [letter I on the map] had been constructed in the pond for these swans. The presence of swans is special, because not everyone was allowed to keep swans. It was an exclusive right that was often associated with a feudal manor. In order to prevent someone else stealing the swans of the lord, they often wore a metal collar or were given a brand on the beak with the mark of the lord of the manor. To prevent them from flying away they were usually clipped.288 Strict inspections were often carried out with heavy corporal punishment or high fines for ‘abusing, chasing or shooting’ these proud animals. Disturbing or destroying the nests was also severely punished. Presumably Huygens acquired this right to possess swans when purchasing the seigniory of Zuylichem.289 Such a right was highly coveted, not only because it clearly bestowed status, but also because swan meat was a much-appreciated delicacy, which a gentleman put on the table 2.87

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Island also suggest that the artist Constantijn Huygens 'historically' placed it next to Hofwijck with a later façade and garden layout. Drawing presumably I. de Moucheron, early eighteenth century 2.87 Swans swimming around Hofwijck. Photo, 1998

2.88 Elisabeth of Bohemia (1618-1680), the daughter of the Winter Queen. Gerard van Honthorst, 1636

2.91 Hofwijck with along the Vliet two teahouses and an elm surround. On the left in the distance you can see De Hoonaert. Drawing J. de Bisschop, 1660

2.89 Elisabeth Stuart (1596-1662), the Winter Queen. Gerard van Honthorst, 1642

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2.90 Hofwijck with on the left one of the 'glasswindowed cabinets' or teahouses. Detail from 2.91

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2.92 View of Voorburg from the south. In the foreground the Vliet with on the left part of the garden of Hofwijck with a hedge ending at one of the two teahouses. Etching C. Decker, 1667

when he had special guests to dinner. Swan down also had useful applications. Moreover, the question is whether those visitors would like to look at the swans for any length of time, since nearby is one of the biggest attractions of Hofwijck: the orchard. The guests can pick and eat fruit themselves in the orchard. This is undoubtedly the highlight of many a visit to Hofwijck. There is a lot to partake of. Huygens lists it all: untouched plums, golden green apples, berries and red cherries, and of course the pears. These have been cultivated by many grafts resulting in excellent sorts. For a pear grafting is actually like ‘cheating’, a kind of lawful adultery in the orchard.290 The hospitable access to the orchard has its limits. The bars in the fence are there for a reason. The privileged guests

2.91

are allowed to enter the orchard and walk around freely in the four compartments full of fruit trees. However, their servants have to stay outside. Huygens is worried that in their youthful recklessness they will damage the orchard. Rather than allowing them into the orchard, he gives them a few pennies so that they can go and buy fruit on the market in Voorburg.291 Besides fruit treats in the orchard, there is much more amusement and fun at Hofwijck. Along the Vliet, Huygens has had a ‘bowling alley’ constructed with clay sand and shell grit [letter M on the map]. He not only plays skittles with his children there, but also with distinguished guests.292 The latter is evident from a letter dated December 31,1653, which Huygens writes to Princess Elisabeth of Bohemia, the scientifically-gifted daughter

2.92

of Elisabeth Stuart, the Winter Queen. In this letter he writes about Hofwijck: that it is very attractive, as this summer the

speaks of the ‘Vliet der Vliets’, the liveliest river and the busiest

Queen, your mother, was pleased to judge so benevolently, when

canal of Holland.295 At a certain moment Huygens also had two

she did me the honor of spending an afternoon with skittles and

tea houses with glass windows installed on the Vliet side. Here

a little bite of cherries.293 The ‘jetty on the Vliet’ [letter Y on the map] is also close to the

he can sit comfortably, even in inclement weather. He often

bowling alley. Huygens calls it his ’passing the timer’. From here

Hofwijck. He writes this on September 15, 1653, in a letter to

the host can sit alone or enjoy the view over the Vliet with his

Utricia Ogle, the singer who sang so beautifully at Hofwijck. In

guests. Of course this also includes admiring the dozens of ships

the letter he tells that he had remained awake a large part of the

that pass by every day. Sailing ships or barges pulled by horses

previous night, fascinated reading a superb English book. That

or ‘men-in-the-line’ along the towpath. Huygens likes to have a

happened at Hofwijck: Here in my little lonely place I built, after

chat with the skippers. He prefers to walk a little way with them

your ladyship had visited it, two beautiful 'glazed-windowed

along the dike on the Vliet, which connects his two islands. They

houses' on the waterfront. I now make more use of them than the

come from all over and offer him an excellent opportunity for one

entire Hofwijck castle.296 These garden tea houses on the Vliet are depicted, among other

of his hobbies: studying dialects. No wonder that Huygens gives this little dike an honorary title with the words: ‘the sweetest of all my sweetest paths’.294 It is so busy on the Vliet that Huygens

makes use of them, more often even than the entire ‘castle’

things, on the drawing that Jan de Bisschop made of the Vliet near Hofwijck around 1660.

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2.93 The De Hoonaert estate with the neighbors of Hofwijck who liked to come to Hofwijck for archery. Detail from 2.91

2.94 The wooden needle on the 'mountain' of Hofwijck. The Latin poem written by Huygens below the scene alludes to the lightning that destroyed this wooden 'pyramid' in 1651: Let Memphis remain silent about the stone wonders of the pyramids: a wooden pyramid aroused the envy of heaven. Detail from 2.48

2.95 The observation tower on the Hofwijck 'mountain'. The Latin poem says: So much has the harmful flame, so much has the anger of Jupiter: what used to be a blind beacon is now in its new form both a beacon and an observation tower. At the foot of the tower, guests entertain themselves with archery. Detail from 2.48

2.93

Whether Huygens ever served tea in these houses for his guests

every decent cap should have a feather on it. But God punishes

is not known, but it is quite likely. When Hofwijck was built, tea

his vanity without pardon. On September 2, 1651, the needle is

first came to Holland. In the beginning it was only a drink for the

knocked over during a terrible thunderstorm. Somewhat bitterly,

well-to-do. Huygens is well acquainted with the use of tea, as later

Huygens remarks that his pyramid with the wooden obelisk

correspondence shows. Sometimes tea is also used for medicinal purposes. Constantijn II for example, sent some tea to his brother

apparently arouses the wrath of heaven and the world-famous stone pyramid of Memphis does not.300 Fortunately, the plate

Christiaan in 1664 as a remedy for toothache. In an accompanying

with the memory of his happy marriage to Suzanna, his Sterre,

letter he let it be known that he had not had toothache since he had taken to drinking tea every day after a meal.297 The tea

remains undamaged. After the disaster, it was found at the foot

consumption gradually took on such great proportions that

of the ‘mountain’.301 Huygens devotes four lines of poetry to the incident,302 and drew lessons from this event: he decides not to

Huygens writes a poem with the meaningful title Tea Drunkards.

raise the needle again but to replace it with an observation tower.

Young and old have a common problem with tea:

At the foot of the needle, there had also been an elevation with a lookout, but the trees grew taller and taller. So it became more and

With young and old

more difficult to see The Hague and the sea over the tops. The new

is an equal defect,

wooden tower reached by 20 steps, makes that possible again. So this became a lucky accident.

to find the happy mean Already they are all tea-crazy.

Huygens invites his literary friends to come up with a suitable

298

Huygens and his guests also enjoy the ‘mountain’ in the upper

name for the tower. The winner may then call himself the godfather of this ‘new wooden child’.303 Of course the intention is

garden [QR on the map]. Initially Huygens had an obelisk

to ‘dress up’ the name with some lines of poetry.

placed on that ‘cap of grass’ as a symbol of transience, a wooden

Huygens’s good friend Jacob Westerbaen in particular makes a

‘needle’ on four spheres. This is beautifully depicted on the map accompanying his country house poem.299 A plate with his own

special effort to win the prize. He sends some five poems about

name and that of his deceased wife was attached to this needle.

The first name he suggests is ‘Rodenburgh’ (Red hot mountain), in

It was both a reminder of his Sterre but also a kind of homage to

memory of the infernal sand under the ‘mountain’. But this name

the owner-creator of the garden. Huygens apologetically says that

is not about the tower, so it does not count. Coming up with a

2.94

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the new building at Hofwijck in which he suggests a few names.

2.95

2.96 Jacob Westerbaen (1599-1670), minister, doctor and poet. Engraving C. de Visscher, 1654 2.97 The Ockenburg country estate. Engraving A. Matham in Jacob Westerbaen's country house poem, 1657 edition

Besides the distant view, the tower has even more amusement in store. If you like, you can participate in archery, the socalled ‘gaaischieten (popinjay shooting)’. At the bottom of the ‘mountain’ there is a target for the less experienced. Higher up on a long pole stands the jay, described by Huygens as a wooden parrot, the bottom of which is stuck with feathers.304 The more experienced may try to hit it or shoot it off. A number of archers are clearly visible in the image on the right that Huygens adds to his map of this new situation. Among the more experienced is undoubtedly Huygens’s learned neighbor Thomas van den Hoonaert, son of the poet and tragedy writer Rochus van den Hoonaert. Thomas lives on the other side of the Vliet in the De Hoonaert estate and often comes to Hofwijck for archery. Huygens would not be Huygens if he did not know how to use the name Hoonaert for a play on words: he calls them ‘mockers of vice’ (honen means mock in Dutch), so they are confounders of vice, or lovers of virtue.305 Among the less practiced, Diane van der Linden is counted. On September 4, 1651, Huygens writes a poem about her, entitled Doeldicht op Hofwijck (Target Poem at Hofwijck). The poem contains a telling wordplay. The ‘four’ arrows shot by Diane at Hofwijck all missed the target, just as a blind man never hits the mark. On the other hand, the ‘four arrows’ (flares) from her fiery eyes never miss their target.306 Not only in summer, even in winter Hofwijck can provide 2.96

amusement. When it has frozen enough, the pond around the house provides age-old Dutch amusement. The children are

good name turns out to be difficult. Passers-by often don’t even understand what this little building represents. Maybe that’s why it’s a good idea to adorn it with the name: the ‘Je ne scay quoy of Hofwijck Castle’, or ‘I don’t know what it represents’. A better suggestion is the name: ‘the Schouwburg (literally Viewing mountain) of Hofwijck’. After all, if you climb the tower up to the top, from here you can see many a village and polder, yes almost half the globe, where everyone, big or small, plays his part. In the last poem Westerbaen mentions the possibility that Voorburg will one day be walled in again. In that case Hofwijck within that fortress would be the castle and the observation tower a true spy. And so he comes up with the last name: ‘Peeping Tom of Voorburg’. Huygens greatly appreciates these poems by Westerbaen. He includes all five as ‘preliminary matter’ for his Hofwijck poem. Probably Westerbaen is the only one who made suggestions for a name. So he could therefore call himself the proud godfather of this wooden child at the Westeinde. 2.97

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2.98

2.98 Valentin Conrart (15931675), scribe and secretary to King Louis XIV. Engraving C. le Fèvre and L. Cossin, 1675

2.100 Constantijn II with his aunt Catharine Sweers at Hofwijck. Drawing J. de Bisschop, circa 1660

2.99 The turf bank, which was also found at Hofwijck, dates back to the Middle Ages. Here a turf bank from the Roman de la Rose, circa 1500

2.101 Constantijn Huygens circa 1655. Engraving J. Suyderhoeff in the second edition of Huygens's Momenta Desultoria, published in 1655

2.99

2.101

happy that Father has chosen a pond rather than grass, because

At Hofwijck there is also a lot of fruit, apples, cherries and

they can now skate gracefully around the house and tie a

melons, the first of which we ate yesterday. I think our Aunt

thousand ribbons around Hofwijck.307 Indeed, Hofwijck is a little

(Catharine Sweers) will inform Father about all this in her

paradise for the growing children where they like to visit.308

letters.310

They enjoy the abundant fruit and when they are a bit older,

In the same year, Christiaan’s Brother Lodewijck confides that

when Father is elsewhere, they invite acquaintances for a walk

he would give a dinner at Hofwijck for Brother-in-law Doublet

or dinner at Hofwijck. Actually they are, just like father, rather

and Mr. Amat. To give a little more import to this culinary feast,

proud of that beautiful country estate and like to talk about it

he had also invited Messrs Chaise, Busero, Gleser, Van Leeuwen

with others. In 1655 in Paris, for example, Christiaan met the

and Armanviliers. Of course, a renowned cook belongs to such a

French writer Valentin Conrart, the secretary of the French

distinguished company. Hence Christiaan engages Maître Jacques,

King. A few years later, Conrart wrote to Father Constantijn that

the French cook that Father Huygens had also hired for the party

Christiaan, whom he called ‘your excellent Archimedes’, had

in 1660, when his daughter Suzanna married Philips Doublet.311 Christiaan swears that his Brother will not tell his Father that he

given him such a lovely description of ‘the beautiful avenues of your earthly paradise’.309 In July 1662 Christiaan writes to his Brother Lodewijck:

‘borrowed’ his cook for dinner.312 Evidently the meal at Hofwijck was a great success. Shortly afterwards, Christiaan reports to

2.100

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2.102 The god Hermes, preliminary studies for the title page of Momenta Desultoria with a picture of the god Hermes, drawn by Constantijn Huygens, 1644

2.104 The humanist Justus Lipsius (15471606). Peter Paul Rubens after A. Janssens, circa 1615

2.103 Title page after a drawing by Constantijn Huygens for his collection of Latin poems: Momenta Desultoria, 1644 2.102

2.103

filled library full of carefully chosen books therefore belongs to a seventeenth-century country estate. In the course of time, Huygens assembles a large collection of books from various countries, including gardening manuals, florilegia, herbals, books on pomology (ophthalmology), landscaping, outdoor life and land surveying.316 A special place in the library is reserved for ‘the books and papers’ of Justus Lipsius, which Huygens acquired in 1647.317 Lipsius was a South Netherlands humanist, with a great admiration for classical thought. He deserved credit for applying the ‘stoic ideal of living in harmony with nature’ to the garden. It will be discussed later that Huygens also applies such ideas in his garden. Neither are musical instruments, such as the lute and violin, absent from Huygens’s country estate. Earlier it was described that at Hofwijck a great deal of music was played, sometimes for or sometimes with the guests. Reflection also means having conversations with friends, under a leafy canopy in the upper garden, sitting on the turf, as Huygens called his ‘pratebank’ (conversation bench).318 A turf bank is a raised seating area in the garden, made up of stacked turf, or a wall of braided willow or bricks, covered with grass. Profound discussions can of course also be held while walking in the garden. For this purpose Huygens had specially constructed his ‘Athenian gallery’, a stoa or colonnade, in which the mast trees form the columns and the hedgerows form the separation from the orchard.319 This created a circular walk around the 2.104

orchard, from arbor to arbor, shielded from the outside world by the hedges. The women and children were directed into the

Lodewijck that he is about to leave for Hofwijck to have dinner

orchard. They had to make do with the fleeting earthly fruits,

with seigneur Chiefe and the two cousins.313 Aunt Zuerius also

while the gentlemen were occupied with higher spiritual food

goes with him, no doubt she is the manager in the kitchen this time.

while walking. Emancipation did not yet appear in a seventeenthcentury dictionary.320 This conversation, that ‘higher spiritual

Occasionally Hofwijck is also a refuge. When the plague was rife

food’, was often about ‘God’s books’: one about God’s revelation

in 1664 the ‘hermitage’, as Christiaan Hofwijck then calls it, is a

in the Bible and the other about God’s revelation in nature.

safer place to stay than the city.314 All in all, for Constantijn Huygens Hofwijck is an ideal place

In this way the empty hours are meaningfully filled and not

for leisure activities, for spending the ‘idle hours’. That’s why

a fine accomplishment such as a good poem as the result of his

Huygens put the word otium on the side of Hofwijck, the Latin

idle hours. That is then not intended to be disparaging, but must

word for leisure. Huygens’s empty hours will not have been very

straightaway dispel the slightest idea that he had been working

empty. Often there are guests, and in any case there are plenty of

on it professionally. The latter would be a very offensive idea for

recreational opportunities.

a distinguished gentleman. All in all Hofwijck is the ideal place

wasted with idleness. Sometimes Huygens deliberately mentions

for pleasure and reflection. No wonder that Huygens sometimes For the humanist Huygens, otium also means recreation of soul and spirit.315 Reflection is an important part of this. A well-

enthusiastically describes his country estate as ‘mon château enchanté (my enchanting castle)’.321

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9.10 9.11 9.12 -

2.105 Under the entrance to the house Huygens had an ice cellar made, among other things for cold drinks in summer for himself and his guests, and to combat fever. The fact that he concerned himself with ice can be seen from this drawing of a horse-drawn ice saw that was in his estate. For the Hofwijck pond this saw was far too large. Perhaps Huygens had the drawing made for the Stadholder. On the right you can see how a ship trapped in the ice can be freed, by sawing the ice into large blocks and removing them as drift ice, possibly with a sail and wind force. Drawing A.B. Spijk, 1646

86

2.106 A hand ice saw from the end of the eighteenth century, with which ice from the pond could be sawn into pieces, after which the blocks were pulled out of the water with hooks

2.106

87

2.107 The statue of the god Hermes on the entrance to Hofwijck. Detail from 2.110 2.108 The image of the hero Perseus on the entrance to Hofwijck. Because Hermes gave Perseus the sickle with which he killed a monster, both statues occur more often in combination. Detail from 2.110 2.107

2.109 Hermes, here used by Huygens for the title page of the second, augmented impression of his Korenbloemen (Cornflowers), published in 1672

2.108

In the evening the grateful guests leave Hofwijck by carriage or by

In front of this entrance, Huygens pauses for a moment to

barge to be back home before sunset. After all, little Hofwijck does

look at the immobile drama, a so-called decorative program

not have accommodation for guests.322

that with the statues on the bridge and the grisailles on the

After the farewell song and a farewell kiss, the host is left alone.

façade behind it is depicting transience. Presumably this was

That suits him very well and he looks for a quiet sheltered place

designed by Jacob van Campen, who was famous in his time

to look at the moon and the stars. Actually he finds he’s sorry

for these kinds of representations. What it looked like can be

when he hears Voorburg’s church clock striking ten o’clock. It is

seen on a drawing that Jan de Bisschop made around 1660.

difficult for him to leave his Vliet-side seat. What’s more, sleep

In front are four figures, four little children, depicting the

still reminds him of death and his little country house then seems

four seasons, the natural cycle of coming and going, birth and

like a cell, a coffin:

death. In the darkness they are gloomy shadows that refer to the endless alternation of life and death. Slightly closer to the

I am going to die for one time and part from my shore

house are two more figures. The one on the left is Hermes,

and bury me at my castle in my rest.323

the god of trade and thieves. Or was he standing there deep into the night above all as the god guarding the dark river

So he walks slowly through the dark night to the dark house, past

of death under the drawbridge to Hofwijck? This was the

the black trees, and the swans, which float silently and hauntingly

bridge that Huygens had to cross to be buried in his cell in his

white on the dark water. Thus he comes to the moonlit stone

sleep. Fortunately, Hermes in particular was able to provide

entrance in front of the house. That slowly rising ‘walled dike’

useful services during that crossing. According to the ancient

was the pride of Huygens. It was a reminder of the Rialto Bridge in

Greeks, his special task was to guide the soul of the dying

Venice, which he had admired in his youth. That’s why he didn’t

man to the kingdom of the dead on the other side of the water.

want to call it a bridge, it was too special for that.

2.109

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2.111 Rowans color Hofwijck orange in autumn 2.112 The 'Lords-and-Ladies' also contributes to the orange splendor of Hofwijck

2.111

2.112

The staff that this god is holding in his hand must also assure

But in the darkness of the night, the dark contours of the tall mast

Huygens that he is in good hands with Hermes. After all, that

trees are now especially visible on the islands. They embrace the

staff is the Caduceus, the staff with the two snakes. That was

vulnerable Hofwijck as two protective wings. Or would Huygens

an important attribute in guiding souls to the underworld.

have seen the black wings of the angel of death in the gloom

In Huygens’s days, however, the same staff was mainly seen

of the night? During the night, the cell is in any case properly

as the symbol of the poetic. Thus Hermes and his staff also

locked. According to Huygens Hofwijck looks like a real castle.

became the patron god of poets and poetry. The statue on the

Hospitality is now out of the question. Thieves and other riffraff

right is Perseus, the demigod who was given the sickle by

are not welcome. Although there wasn’t much to take, Huygens

Hermes with which he beheaded the monster Medusa and thus saved the virgin Andromeda.324 He symbolizes the liberation

himself had designed a special security system of which he was

from oppressive bonds. For Huygens and his contemporaries,

formed a barrier against the kitchen door that was located under

he especially personified the Prince of Orange, who freed the

the bridge at water level.

Dutch Virgin from Spanish tyranny. Behind Perseus in a niche

Everything worked noiselessly and easily and could be operated

on the front façade is a beautiful grisaille, a painted statue

with the touch of a finger. That’s how a country house should be

holding the helm in his hand. Again a reassuring reference to

built!325

justly proud. When the drawbridge was raised, it simultaneously

the Stadholder, Prince of Orange who as a skipper next to God holds the helm of Holland firmly in his hands, thus ensuring

The drawbridge, stranger! What do you say about the cell?

fortune and prosperity. And in autumn thousands of rowan

Go, call it a castle or call it a dovecote, it closes with a

berries on the islands next to the house color the sky around

drawbridge.326

Hofwijck orange, a clear signal of ‘Orange forever’. Was it during nighttime reflections that Huygens began to 2.110 The entrance to Hofwijck with the decoration by Jacob van Campen. Drawing J. de Bisschop, circa 1660

wonder whether a country estate with so much opulence was appropriate? Weren’t all those expenses a waste of good money? Had Huygens heard critical comments from passers-by who walked over the Heerwech or sat in the barge on the Vliet? Or would one of the guests on the turf bank have asked those questions? In any case, Huygens thought a lot about it. Thus in several places in the poem Vitaulium Hofwijck we come across doubts about the rich property of the country estate. They are doubts that are conspicuous in the midst of the certainty with which Huygens in that same poem formulates many wise lessons for life derived from various particularities in his country estate.

Hofwijck, a paradise with slanderers, doubts, and wise lessons in life Hofwijck is above all created and appreciated by Huygens for the peace, relaxation and contemplation that the country house offers him. Hereby, being involved with nature as a concrete revelation of God plays an important role. At the same time, through careful study of this outdoor life, there are many wise lessons of life to be learned. Many seventeenth-century regents, senior civil servants and wealthy merchants see yet a third advantage in the possession of a country estate.

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2.113 The coats of arms of Constantijn Huygens and Suzanna van Baerle. The arm with the arrow refers to the knighthood of Huygens and the French lily to the Order of St. Michiel. Color print Mouton and Co, 1897 2.114 Zuylichem Castle. Drawing Constantijn II, 1657 2.115 Sir William Temple (1628-1699), diplomat. Engraving G. Vertue, 1679 2.113

2.114

2.115

Such a country estate, with its generously designed house and

Incidentally, there is an example known where Huygens depicts

garden, is an excellent opportunity to let everyone see the

his country estate in a grand manner. This happens in 1676

wealthy status and high social position of the owner. It is no

during the peace negotiations in Nijmegen. The diplomat and

coincidence that it is precisely in this day and age that the heavy

English ambassador to the Republic, Sir William Temple, who

closed entrance gates are replaced by large beautifully decorated open ones. It is possible to look through them unhindered. Thus,

was a friend of Huygens, acts here as the plenipotentiary of the English King.331 In September of the same year Huygens writes

the seventeenth-century viewer can be impressed, unrestricted

him a letter in French, in which he announces some innovations

but at an appropriate distance, by the allure that the house and

to Hofwijck.

garden radiate to the outside world. The illustrious guests who

On careful reading, however, the changes described turn out to

were given the privilege of entering through the gate are naturally

be practically impossible and comically absurd. The description

flattered by the fitting surroundings in which they are received.

seems mainly to be meant as an exaggeration to poke fun at the

It is therefore with special pride that many owners are portrayed

events in Nijmegen. Or perhaps the letter contains a hidden

standing with their wife and children in front of their impressive

message? Huygens states: that the woods of Hofwijck have been

country house.

enlarged and embellished with four new shady avenues that

There are more status symbols to underline the well-to-do

stretched over a remarkable length. This was found so beautiful

position: a family tree, suggesting noble descent, an aristocratic

and so surprising that the ‘superior’ experts felt that it was

coat of arms, a noble title, and the possession of a manor or a

worthwhile for all the grand viziers and super potentates in

seigniory with the associated rights and privileges. Huygens also

Nijmegen to leave the state negotiations in order to admire the

participates in the hunt for all these trophies, and with success.

grandeur of this new Hofwijck, instead of amusing themselves

As described earlier, he was knighted by the English King in

with Cleve's trivialities.

1622. Eleven years later he received the Order of St. Michael from the French King.327 Finally through purchasing the estates

These trivialities referred to the vast Cleve gardens of

of Zuylichem and Monnickeland, he became Lord of Zuylichem

letter, Huygens had equipped his woods with a number of

(1630) and Monnickeland (1642) and through a gift Lord of

super(bowling) balls, balls that were so extraordinarily round that

Zeelhem (1647).328 In addition to status and income seignories

they rolled down those new long avenues on their own and thus

sometimes brought problems. For example, Huygens had to

disappeared from sight.

pay large sums for the repair and maintenance of the dike near

As sender Huygens gives himself the ironic title

Zuylichem. This involved troublesome legal proceedings and

The Marquis of Hofwijck, skittle swindler of the ducats of Great

many headaches.329 It is striking in all this that Huygens rarely uses his Hofwijck

Britain’.332

country estate as a status symbol. If he ever gives in to that

For the rest, it is clear that Huygens is struggling with the

temptation, for instance by calling Hofwijck a castle, he

question as to whether his country house is not a reprehensible

immediately hastens to downplay it again.

waste of good money, lush pasture and fertile farmland. In the

He repeatedly emphasizes the simplicity and modest size of his

poem Vitaulium Hofwijck he addresses this problem several

country house. In 1659, for instance, he even wrote a poem in

times. He does this in an evocative way by putting critical words

which, with some apologies for the comparison, he sees Hofwijck

in the mouths of those ‘cacklers’, passers-by on the water or on foot.333 It then gives him every chance to vehemently defend

as a private privy or a ‘toilet’:

Johan Maurits van Nassau. Furthermore, according to the

his estate. The costly maintenance of a country estate such as Huis te Hofwijck

Hofwijck is also discussed. Every year more than 100 crowns

This 's Hofwijck, a castle barely as big as a cell,

have to be put down for maintenance such as trimming hedges,

Just fitting for a cat, or for a very large mouse.

hoeing weeds, raking the orchard, and so on. But for many

When I enter here, you usually say, I'm going in the house:

reasons Hofwijck is worth all this money. In any case, it is a good

But I say (with excuse) I'm going 'to the toilet'.330

investment for the descendants.

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2.116 A wood in Voorburg. Drawing Christiaan Huygens, August 2, 1658 2.117 The Trekvliet with a barge near the Laakmolen seen towards The Hague. Litho J.B.A. Jobard after O. Howen, 1825 2.118 The Vliet near Voorburg with a hay wagon and Hofwijck on the right in the distance. Drawing J. van Goyen, 1653 2.116

Hofwijck, a paradise in Voorburg Voorburg was by nature destined to accommodate country houses and their gardens. The Vliet canalized by the Romans on the edge of the row of dunes offered spots by the water, with extensive views over the meadows and good ground for a garden. Moreover, thanks to that Arcadian Vliet there were also excellent connections to The Hague and Delft. The barge offered a good means of transport for guests to easily reach Voorburg. No wonder that from the seventeenth century onwards various wealthy merchants, regents and civil servants from The Hague, Delft and later also from Rotterdam chose this village on the Vliet for the construction of their country estate. Voorburg was initially more difficult to reach by road from The Hague, but this improved in 1658 when the Laan van Werve became a public toll road.

2.117

2.118

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2.119 2.119 Map of De Werve estate at Voorburg with on the left Hofwijck located between the Vliet, the Heerwech and the winding Lijtwech. The marked red line is the Laan van Werve, as a good connecting road between The Hague and Hofwijck. The road ended directly at the gardener's house and stables of Hofwijck on the corner with the Heerwech. Cornelis Elandts, 1666

Hofwijck was situated exactly at the end of the Laan van Werve. For Huygens, this new route through Voorburg provides an excellent connection to his house on the Plein. Is it because of the invasion of these people from The Hague and Delft ‘Hagenaars’ and ‘Delftenaren’ that in the same year, 1658, a new street of ‘double French paving stone’ is laid in the Voorburg Westeinde to replace the old one? All residents of the Westeinde have to pay, including Huygens. After all, the new paving runs past Hofwijck: Received from Mr van Zuylichem the sum of 63 guilders for 3 rod, 6 feet, 7 inches new street, in front of his house and ground, standing and located on the north side of the Heerestraat.334 Property in Voorburg therefore brings not

2.120 Reminder for Constantijn Huygens on behalf of the Lord of de Werve, March 1659

only pleasure and amusement, but also costs, a lot of costs. In addition to the one-off costs mentioned above, there are also amounts that have to be paid each year for the property in Voorburg. Thus Huygens has to pay an annual ground rent to the De Werve Estate:335 20 ‘stuivers’ (pennies) over the northern

2.120

part of the land he had bought from Jacob van Adrichem and 10 ‘stuivers’ on the stables with accompanying ground, obtained

Huygens feigned ignorance here. These obligations were

from Cornelis Claesz Nestman. In 1659 a conflict arises over this

clearly stated in the deeds of sale that Huygens had co-signed.

leasehold. In March of the year in question the Voorburg notary

Moreover, he had also noted the amounts in his own State and

Van Leeuwen informs Constantijn Huygens that for several years

Administration book. The vicarage and the church of Voorburg

now he had been negligent in paying the ground rent, which he

are also entitled to an ‘interest’, an annual amount on the land

had by virtue of old documents owed to François van Halewijn,

from Van Adrichem: ‘3 guilders per year, an interest accruing

the Lord of De Werve. Huygens states that he did not know that he owed a ground rent, but he would check.336 Undoubtedly,

to the vicarage in Voorburg plus an interest of 30 ‘stuivers’ per

92

year accruing to the church there’, as mentioned in the deed of

2.121 Benedictus Spinoza (1632-1677), philosopher. Engraving E. Ade, 1865 2.122 The Kerklaan in Voorburg with the harbor. The protruding house to the right at the end of this 'water' is the house where Spinoza rented a room [nowadays Kerkstraat 37-39]. Drawing H. Tavernier, 1784 2.121

2.122

purchase from 1639 of the said land. The smaller pieces of land

pleasure and amusement that the country estate afforded will not

that Huygens later bought are each encumbered with ‘half of

have been any less on that account.

an interest of 5 guilders 5 ‘stuivers’ per year [...] due to the Old Gasthuis (hospital) in Delft’.

The fact that Hofwijck is conveniently located close to the church in Voorburg is evident in 1644. On September 28 of that

In his State and Administration, the precise Huygens calculates

year, Brother-in-law David le Leu de Wilhem writes a letter to

that the amount that he looses for ground rent and interest

Huygens, who is at the time on campaign with the Stadholder,

on the land amounts to a total of 11 guilders 3 ‘stuivers’ and 2 ‘pennies’.337 Because 1 guilder contains 20 ‘stuivers’ this

the Prince of Orange near Sas van Gent. He writes Huygens that

has been converted into 58 ‘stuivers’ and 2 ‘pennies’. Adding

Voorburg. He adds that she plans to sleep at your Hofwijck’.341 Brother-in-law suspects that this plan comes from her sister,

up all the amounts mentioned in the original deeds yields

cousin, Constantia Boudaen will be married next Sunday in

exactly 60 ‘stuivers’. The cause of this difference can be found in the church archives of Voorburg.338 This shows that

the beautiful Suzanna. Whether the sleepover at Hofwijck

Huygens regularly receives a discount on the deed amount of

whether Huygens appreciated this hospitality organized in his

30 ‘stuivers’. For example, the records of the church warden

absence. Anyway, the 18-year-old Constantia is married in the

of Voorburg in 1653 state: Received from Mr. van Zuylichem

Voorburg church. This is done ‘with the glove’ (marriage by

instead of Mr. Jacob van Adrichem, for his land in Voorburg 30

proxy) since the groom, the much older François Caron, remains

st(uivers). Total after discount 28 ‘stuivers’ and 2 ‘pennies’. The

on Java as director-general in the service of the East India

discount is mainly given if interest is paid for several years at

Company. Almost 50 years later Suzette Caron, a daughter of

a time, which happens regularly in later years. In his State and

Constantia, was to play an important role at Hofwijck in the life

Administration Huygens does not record the 30 ‘stuivers’ but

of Huygens’s second son Christiaan.

indeed really happened, history does not relate. Nor is it known

1 guilder, 8 ‘stuivers’ and 2 ‘pennies’. This has been converted into the amount of 28 ‘stuivers’ and 2 ‘pennies’ mentioned in

Around 1663 the aforementioned Christiaan and his older

1653. This results in a total amount of exactly the mentioned

Brother Constantijn are especially interested in another person,

difference of 2 ‘stuivers’ less and 2 ‘pennies’ more.

who lives in Voorburg from spring 1663 to early 1670: Benedict Spinoza.342 Spinoza lives until May 1668 with master-painter

Further the Voorburg ground tax registers show that Constantijn

and ‘corporal’ Daniel Harmensz Tijdeman at ‘the water’ or the

also owes a ground tax, a tax for the ownership of the land and the house.339 In the calculation of this tax, the surface area is set

harbor inlet on the southwest side of the Kerklaan. Then he

at 4 morgen and 3 hont. This results in an annual ‘ground tax for all the land’ of 25 guilders and 8 pennies. In his State and

bought a house, halfway down this street on the south side, next to Huize De Poort.343 Both addresses are within walking distance

Administration Huygens indicates in brackets that the correct

of Hofwijck. With Spinoza the Huygens brothers have a special

surface area is in reality almost 6 morgen. In this respect he has

interest in common: grinding lenses and searching for methods

an annual windfall. The ‘morgen money or lock money’ will

to improve lenses. At Hofwijck the Huygens brothers are also

also be calculated over 4 morgen and 3 honts. This means 8

grinding lenses. Especially in the summer and autumn of 1664,

guilders and 14 pennies. This lesser surface area is also used to

when Christiaan and his Brother Constantijn stay at Hofwijck

calculate another tax: the ‘duty on the sowed and planted land’.

for a long time because the plague was raging in The Hague,

Finally, the ‘ground tax on of the house in Hofwijck’ requires

they must have spoken regularly with Spinoza. That Spinoza

another 6 guilders and that of ‘the stable structure’ 2 guilders and 18 pennies.340 From 1653 onwards, payments also had to be

visited Christiaan Huygens is evident from correspondence. On

taken into account for the new lock. The passing ‘cacklers’ with

the English Royal Society, that he had exchanged views with

their comments had been right. It was not only the purchase of

Christiaan Huygens about Boyle’s treatise on microscopes,

the land that cost a lot of money. The annually recurring charges

telescope lenses and on the observation of Jupiter and Saturn.

keep the money flowing, year in and year out. However, the

And on the following October 1, Spinoza wrote that he had

moves with Tijdeman to the Herenstraat where Tijdeman had

May 1, 1665, Spinoza wrote to Henry Oldenburg, secretary of

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2.123 Voorburg with the corn mill heightened in 1683, next to the Hofwijck upper garden. Drawing after A. de Haen in the Atlas Schoemaker, 1730 2.124 The corn mill of Voorburg at the Achterweg, the former Lijtwech. Bottom right corner of the former Hofwijck upper garden. The mill was demolished in 1916. Postcard, circa 1900 2.123

2.124

seen ‘at the house of Mr. (Christiaan) Huygens’ the Mundus

Constantijn’s replies have not been preserved, nor has the

Subterraneus by the German scholar Kircher. Undoubtedly

correspondence that presumably existed between Christiaan and

Spinoza also looked at Hofwijck through the telescope of

Spinoza. Whether Father Huygens also had personal contact with

Christiaan to the planets. 344

Spinoza in Voorburg and if the latter often visited Hofwijck, is

Spinoza is mentioned in several letters that the brothers write to each other after Christiaan left for Paris in April 1666. For

more difficult to establish. But it is quite probable.350 After many years it turns out that not everyone in Voorburg is

example, on October 14, 1667, Christiaan writes to his Brother

equally happy with the presence of the tree paradise Hofwijck. On

that he still remembered the little lenses ‘which the Jew from

the Lijtweg [the current Parkweg], right next to Hofwijck’s upper

Voorburg had in his microscopes, which were admirably ground, although not over the entire surface.’345 Were Spinoza to

garden stands the corn mill. This mill is marked on old maps and

continue grinding larger lenses, he must certainly let Constantijn

1511. Initially, the mill on the Lijtweg was favorably situated. The

know how he gets on.

346

As Constantijn does not respond

is already mentioned in a ground lease document of September 30, wind usually came from the west and there was an open area of

quickly enough, the impatient Christiaan writes another letter

pasture and arable land. It was precisely on this side that Huygens

in December asking whether Constantijn had heard anything

built his Hofwijck with the large woods full of tall trees. The

more about what ‘the Israelite’ was doing in Voorburg.347 Various

miller must have seen with increasing concern how those trees

letters from Christiaan to his Brother show that the latter kept in

grew higher and higher. In the long run this would prove fatal

touch with Spinoza, even when Christiaan was in Paris.

348

When

for the mill to catch the wind. To put an end to all the problems,

Christiaan describes his inventions in a letter to his brother, he

on July 13, 1683 François van Halewijn, Lord of De Werve, gives

hastily added: I do not need to ask you for your secrecy. For even

permission for the construction of a new, much higher corn mill on the same place.351 Until its demolition in 1912, this new mill

if the invention does not succeed, I would not want you to tell the Israelite (Spinoza) anything about it [...].349 Unfortunately,

fulfilled its services in Voorburg unhindered.

2.125 View of Voorburg from the southeast with the tower of the Oude Kerk on the left. Drawing P. Monincx, the drawing teacher of the Huygens children, circa 1645

2..125

94

2.126 Gardeners at work. Engraving in D. Mountain, The Gardeners Labyrinth (1594) 2.127 Gravestone of Aelbrecht Verschouw, garden supervisor at Hofwijck, in the Oude Kerk in Voorburg

2.126

2.127

As evening approaches at Hofwijck, It is always a special moment

gable still stands in the Herenstraat. Later Verschouw bought

for Constantijn. The night sky above Voorburg has an irresistible

the country estate Zijdervliet. The previously mentioned garden

fascination for him. The most beautiful day can’t compete. He

overseer, Laurens (Louwtje) de Kleine sometimes goes too far.

doesn’t want to go inside until he has seen ‘the other heavenly

This is apparent from an admonishing rhyme that Huygens writes

candle’, the moon. Again and again it is the church bell of

about him. Of course there is again subtle wordplay:

Voorburg that indicates it is high time for sleep. This clock reminds Huygens not only of the time but also of the village,

Gardener’s punishment

where that tower forms such a beautiful center point. Satisfied

My gardener began to chop off my alders’ mature branches,

with the hospitality and the attractive surroundings, which this

just like that, without an order,

town on the Vliet offers Huygens and his Hofwijck, he gives

I thought, this was a bit audacious: what are you doing, I said,

Voorburg the greatest possible compliment in his poem Vitaulium

Louwtje, you cut down my own wood (hout) and on your own

Hofwijck. In it he calls Voorburg ‘a village that knows no equal’,

account (op eigen houtje)!355

in short, an unparalled village!

352

Jan Maertensz is probably not of the lowest status either. Hofwijck, a paradise with mortal gardeners

Perhaps he is the one mentioned in the sale contracts of the

Most of Hofwijck’s gardeners also come from Voorburg. The

land for Hofwijck in 1639 and 1640 as alderman of Voorburg.

garden supervisor, also called hortulanus or garden overseer,

He owned a house in the northeast corner of the Cleijne Laan,

had the use in Voorburg of the previously mentioned stables next to the upper garden, which Huygens had bought from

the current Schoolstraat. Next to this house he had a large hemp garden between the Cleijne Laan and the Kerklaan.356 When Jan

Nestman at the time. One of these gardeners is mentioned

Maertensz died a few years after his appointment, in 1654, the

in the poem Vitaulium Hofwijck, where Huygens names Jan

great appreciation for him appears in the following epitaph that

Maertensz, who jumps in the boat to catch fish for the visitors.353 He is the overseer of the garden in the period when Vitaulium

Huygens had already written for him ‘in advance’ at Hofwijck on November 8th:

Hofwijck was written, according to the aforementioned State and Administration. In it Huygens noted not only his possessions

Epitaph in stock

but also the names of his garden overseers and some of their details.354 Thus he records that the first overseer was called

Even if no living man says it, the trees would say so:

Job Cornelis Smael. He was contracted on May 7, 1641 for

Namely where he was lying and laboring night and day,

‘the maintenance of Hofwijck’s grounds’. On May 22, 1645

At Hofwijck where his heart lay buried before it died.357

Here lies Jan Maertensz, not where he should lie:

the ‘maintenance of Hofwijck’s house, grounds etcetera’ is subcontracted to Aelbrecht Verschouw, court messenger, for 250

Incidentally, it is remarkable how quickly some gardeners

guilders a year. In addition, he has free accommodation ‘in the

died after their appointment. Apparently, garden overseer was

stables bought from Cornelis Claesz Nestman’. Verschouw dies

a strenuous profession and to have such an epitaph in stock

on February 4, 1646. That date can be read on his tombstone in

testified to foresight. Huygens’s last head gardener whom we

the church at Voorburg, where he was buried. After the death

know about, is called Carel van den Bussche. His date of death is

of Verschouw, his son-in-law Laurens Pauwelsz de Kleine, also a court messenger, takes over the work on the same conditions.

known. Huygens notes in his diary on September 28, 1680 that his ‘hortulanus Van den Bussche’ died.358 He also receives an

At the beginning of March 1650, according to Huygens’s notes,

appreciative epitaph.359

he is replaced by Jan Maertensz. From the names it appears that Huygens did not appoint just anyone as garden overseers

Epitaph for Carel van den Busche

of Hofwijck. Albrecht Verschouw was a court messenger, who

Here lies my gardener, there is nothing more to say

was clearly prospering financially. He married a daughter of the

than that his name is Carel, and that he is stiff and old.

Voorburg alderman Cornelis Jasperszn Rotteveel and bought the

So long has been digging and raking through Voorburg’s soil

house Vossenburch in 1635. This beautiful house with stepped

that he has had to stay laying (lying) near it and in it

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2.128/2.129 The country estate Vrijburg near Voorburg, like Hofwijck 'lying all around in the water'. Drawings A. de Haen de Jongere, 1730

2.128

2.129

In any case, Huygens greatly appreciates his garden overseer.

On March 11, 1656 Huygens recorded all these musings in a

He literally and figuratively enjoys the fruits of their labor and is

poem which he entitled Hovenier (Gardener):

pleased to see how they let buds bloom into colorful blossoms that eventually produce the most delicious fruits.

Gardener

In this way they often manage to combine the fruit with joy, or to

First I grow bones (buds), and then flowers, and then fruits:

combine the useful with the pleasant. But all in all it is also good

But also flowers and no fruits from the ground.

to remember that there are also ‘fruitless’ or useless pleasures,

Hear, ye who always gladly found joy and fruit together,

which were nevertheless honorable.

There are many fruitless and honest pleasures.360

2.130 View over the Broeksloot. On the left is the 'mountain' of Hofwijck with the observation tower (1). To the right Hofwijck (2) and Vrijburg (3) with its striking tower, the residence of Huygens's Rijckaert in-laws. Drawing J. van der Haagen, 1660

1

2

96

2.131/2.132/2.133 Three portraits of a young woman, drawn by Constantijn II Usually assumed to be Suzanna Huygens, the sister of Constantijn II. However, it is at least as likely that this represents his wife Suzanne or Santje. Drawings Constantijn II, 1660

2.131

2.132

2.133

Hofwijck, a paradise with hospitable neighbors

of Huygens. That Vrijburg and Hofwijck were almost at viewing

On the northwest side of Hofwijck, between the Achterweg

distance can still be seen on a drawing made by Joris van der

and the Broeksloot on the Voorburg Westeinde, there was

Haagen in 1660. A kind of bird’s-eye view shows on the right

a noteworthy country estate: the Huis te Vrijburg.361 In the

in the foreground Rijckaert ‘s house with its striking tower and

seventeenth century it had many distinguished owners, including Cornelis Haga, who became famous as the first Dutch ambassador

on the left the observation tower of Hofwijck, which rises on the ‘mountain’ in Hofwijck’s upper garden.362 Jacob Rijckaert is

to Turkey. After his death Vrijburg was sold by the heirs in 1656

married to Constance Bartolotti. From this marriage four children

to a wealthy merchant with the telling name of Jacob Rijckaert

were born, including in 1642 daughter Suzanne. This Suzanne

(Rijk-Rich). Through this purchase Rijckaert became the neighbor

is married on August 28, 1668 to her neighbor Constantijn

3

97

2.134

2.135

2.134/2.135 Two portraits from the collection of the Huygens family. Until now it was assumed that they depicted Philips III Doublet (1633-1707), the brother-in-law of the Huygens brothers, and his wife Suzanna Huygens. (1637-1725), living in Clingendael. Given the similarity of the portrait on the left with that of Constantijn II (see pictures 2.170 and 3.87), it is also possible that it depicted Constantijn II

(1628-1697) and his wife Suzanne Rijckaert (16421712) around the year of their marriage in 1668. Caspar Netscher, 1667 and 1669

2.136 Santje at the east island van Hofwijck. Drawing Constantijn II, August 7, 1669 2.137 The Vrijburg estate on the northwest side of Hofwijck, mid-seventeenth century home of the Rijckaert family. In the shelter of the wall in front of the house there are beehives in long rows. Drawing P.C. la Fargue, 1757

Father of the intended bride, Jacob Rijckaert, was in fact rich but not ‘genteel’. After all, he had had no official career or noble ancestors who had left him a decent inheritance. He had obtained his wealth through the spice trade and that was by definition not very distinguished. It is true that his wife Constance Bartolotti was of good descent, but that was not really sufficient compensation. Jacob’s purchase of that attractive estate in Voorburg also did little to increase his reputation. Constantijn’s other girlfriend, Isabella Dedel, would be a much better choice. Belletje (Bell) as she was called is, moreover, the daughter of a good friend of Father Constantijn. Father Constantijn, however, doesn’t care about all those objections and family gossip. He often dines at the Rijckaerts when he is at Hofwijck. After all, they live close by, on the west side of his ‘wilderness’, as he, somewhat apologetically, calls his beautiful tree paradise in Voorburg. He greatly appreciated this hospitality.364 On October 29, 1656 he writes a poem about this at Hofwijck with appreciative words for the lady of the house. Probably thinking of the discussion within his family, he sees in the name Rijckaert the letters ‘aerdich’ (friendly). Therein lies the true wealth! In the first lines of poetry he mentions that he had studied his great poem about Hofwijck once more and then decided to treat himself to an evening off. For ‘a gentleman alone’ Hofwijck had a great advantage, namely good neighbors on the south side plus ‘goodhearted’ people on the west side of his ‘wilderness’ Hofwijck. By those neighbors on the south side he means the Van den Hoonaert family, who live on the other side of the Vliet, diagonally opposite Hofwijck, on the country estate of the same name. The good-natured neighbors on the west side are of course the Rijckaerts. All he has to do is put on a sad face and he gets a nice 2.136

meal, for gratis and for nothing!

Huygens, the eldest son of the founder of Hofwijck. Where and

To Mrs. Rijckaert

when Constantijn II met Suzanne Rijckaert is unclear. They had

[...] been in each other’s company for years before there is any question The rest hardly seems something special of marriage. He lovingly calls her ‘Santje’, a pet name that is soon Compared with the comfort of Hofwijck; adopted by the other family members.

That who lives there quietly and on his own,

Yet not everyone in the Huygens family is enthusiastic about

With good neigbors in the south,

a marriage between the two. From letters, which the family

And a Ryckaerdig sort of people

members send to each other, it appears that Brother Christiaan

West to his wilderness

has his reservations and certainly the in-laws, the Doublet family at Clingendael in The Hague363 had the necessary objections. The

Is tolerated company,

98

that neither has to pay or give credit,

2.137

nor take care for the kitchen.

Hofwijck, a paradise without Eve

Because, whenever he looks sad:

Long before Huygens established his Hofwijck as an attempt to

He gets board for free

bring a piece of the lost paradise back to earth, he already had

Hofwijck, October 29, 1656.365

this story of paradise in mind. For long before Hofwijck was built he proposed marriage to Suzanna van Baerle, whom he

The fact that Constantijn II eventually married Suzanne Rijckaert

adored. This he did, thinking of the story of paradise, with the

was still touch and go. The groom can’t choose, as girlfriend Belletje also has her charms.

question whether she wanted to play Adam and Eve with him.368 That was actually an extraordinarily blunt question for someone

Probably Father Constantijn finally made the decision for his

who could be so poetic. Suzanna initially refused, which in turn

wavering son. That happens after his son Constantijn got Belletje

resulted in beautiful poems by Huygens that were as desperate as

pregnant. That was the last straw: marrying a pregnant bride

they were highly literary, and finally in 1627 in a marriage with

is out of the question, so it is definitely Santje. And so, thanks

his Suzanna, his Sterre. But when Hofwijck was built his favorite

to this seventeenth-century logic, the Rijckaerts nevertheless become in-laws.366 In the summer of 1668, Constantijn II and

‘star’ was extinguished, having died in 1637 shortly after the

Santje are married. The costs of the wedding were paid by

and Eve in the Hofwijck paradise? It’s no secret that Huygens

Father Constantijn. He also pays for the diamond ring for the

had lady friends up to an advanced age, who were in any case

bride. From the records of the wedding costs it appears that the

gifted and musical, but often also beautiful and sometimes

ring took up half of all expenses. Presumably the wedding is

young.

held in the Gouden Hooft, an establishment still existing in the center of The Hague.367 The young couple moves in with Father

One of the first to evoke passionate thoughts in Huygens is Anna

Constantijn in the big house on the Plein. Here Santje turns out to perform her household management duties extremely well.

birth of their fifth child. Huygens never remarried. So no Adam

Morgan, a daughter of Charles Morgan, Governor of Bergen op Zoom.369 Her mother was Elisabeth van St. Aldegonde,

99

2.138 Constantijn Huygens at the age of 55. Marble portrait medallion F. Dieussart, 1651

2.139 Christiaan Huygens at the age of 50. Marble portrait medallion J.J. Clérion, 1679

2.138

2.139

a daughter of the famous writer of the Wilhelmus. Anna’s first

1652, he visited Anna. Father Constantijn thanked his old flame

husband was Sir Lewis Morgan, with whom she lived in Wales.

in a letter dated June 6, 1652: It is really too much madam, so

He died in 1635. The earliest known contact with Huygens

much kindness with which you have showered my son in your

dates from 1643. Huygens sends her a letter on April 22 in

beautiful country of Wales. It would have sufficed if you had kept

which he says: ’You really did not have to thank me for such a small service.’370 Perhaps this ‘small service’ had something

a friendly eye on him in London [...]. I am very grateful to you for all those proofs of old friendship.373

to do with the death of Anna’s father, who had died in that year. In 1644 Anna came to the Republic to arrange a funerary monument for her Father in the church of Bergen op Zoom. This monument was designed by the Flemish sculptor François

Whether Anna Morgan ever visited Hofwijck is not known. As

Dieussart.

described earlier, most of his later lady friends did visit Hofwijck.

Huygens advises Anna on this design and soon romantic

One of these is Béatrix de Cusance,374 a musical lady who was

feelings arise between them. The practical Anna gives Huygens

unlucky in love. She had married the Duke of Lorraine, but

a ‘mosquito net’, a handy protection against these insects during

soon after it came to light that he was still married to someone

the annual summer campaigns with the Stadholder’s army. The

else. The pope refused to declare the first marriage invalid.

grateful Constantijn sends her a beautiful poem. Poetic and full

Huygens meets the beautiful Béatrix for the first time in 1652 in

of puns on the word ‘net’ (just) he declares his love to Anna, who had just become a widow. First the poem was called Aan

Antwerp during a musical gathering with the Duarte family.375 This house on the south side of the Meir is a center of cultural

mevrouw Morgan (To Mrs. Morgan), later Huygens changed the

and musical activities. Proudly Huygens mentions that she had

title:

come especially because she had heard that he would be there too. He courteously addresses the many letters he sent her to ‘the

A lover to a widow on a mosquito net given to him by her

Countess of Lorraine’. He writes about falling in love and also

This is just appropriate:

sends her presents such as a cameo with a relief of Adam and

a net, and from a 'nette' (respectable) widow.

Eve and an accompanying poem that he ends with ‘Madame, my

But widow, my dear widow, I was already captive;

kindred in Adam and Eve’.376

in your net widowhood I would have lingered for a long time: should there still be water to go to the sea or in the snow? 371 And so it goes on for another six verses. It is kind that the widow is worried and wants to avoid his skin being pricked. But does she also have an eye for a worse pain: a stab through the kidneys, a flash of love, a heart, deeply touched by the rays from her eyes? The net is too late because the wound has long since been inflicted. The widow herself must, freely translated, just (net), take care of the healing. But it won’t come to that. The tomb is completed in 1646 and in the same year the widow marries Walter Strickland, the English ambassador to The Hague. Shortly before, Brother-in-law David le Leu de Wilhem had sent Huygens a letter about the inheritance Mrs. Morgan

2.140 The house of the musical family Duarte on the Meir in Antwerp. Photo, 1905

had received. In it he calls her ‘votre pretendue maitresse (your mistress, it is said)’.372 It is not known whether Huygens was very disappointed with her marriage to someone else. In any case, the friendship remained cordial, even after this second marriage. When Lodewijck Huygens stayed in England in

100

2.140

2.141 Béatrix de Cusance (1614-1663). Anthony van Dijck, 1634

2.142 Maria Casembroot. Detail from 2.51 2.143 Utricia Ogle. Detail from 2.49 2.144 Title page of the Pathodia, published in Paris, 1647

2.142

2.143

2.144

Another example of a candid correspondence can be found in

the bottom of my heart, your very humble servant’.378 He writes

Huygens’s letters to Utricia Ogle, the lady friend with a beautiful

verses especially for her, which he also puts to music and

singing voice, whom he greatly admires. She is married to Sir

which they perform together. The Pathodia sacra et profana, the

William Swann, an Englishman who served in the army of the Prince of Orange377 One of his poems, in which he extensively

only collection of music by Huygens that has been preserved,

sings her praises, he signs with ‘your cousin in Adam and from

to the title page. In this way a good listener knows that he is

is dedicated to her. Huygens subtly adds the word ‘occupati’ a busy man, who practices the music in his leisure time and not professionally. After all, the latter would not be fitting for a distinguished gentleman.379 Finally, there is also Maria Casembroot, Huygens’s friend who can play the harpsichord so beautifully. She is the most devoted but also the most mysterious visitor that Hofwijck has known. She sent a basket of apples as a present to Huygens. Was this her way of indicating that she wanted to be with him as Adam and Eve in the story of paradise? She could have known that the apple in this biblical story had fatal consequences. In answer Huygens sends Maria a psalm verse and later an edifying book as if he wants to banish every bodily thought to higher spheres.380 That seems rather clear but this psalm verse and this edifying book have later created the unpleasant impression that Maria Casembroot was apparently ugly: to a beautiful woman you send something other than an edifying book or a psalm verse. The opposite is true. In one of his poems Huygens describes Maria Casembroot as wise, fresh, beautiful, unmarried and young.381 The latter was probably the problem. That edifying book and that psalm are an act of despair by Huygens. In reality, he fell in love with Maria at the age of 52. But Maria was 25 years younger and he felt that he could go no further than sending edifying books. In the end he consoles himself by playing duets with her on the harpsichord. He with the left hand, she with the right, so different, but so harmonious, just as in a good marriage. About this interplay he writes one of his most beautiful poems: Twee ongepaarde handen op een klavecimbel (Two unpaired hands on a harpsichord).382 It remained limited to this music making. Maria never married, loyal to Huygens until his death.383 Hofwijck, a paradise for future generations At the age of 55, Huygens did not need telling ‘all is not lost that is delayed.’ ‘I do not know how to ward off my death with a long life,’ he wrote poetically in 1651.384 From that moment on, however, there would still be 36 years of life to follow. It would be 36 active years in more ways than one. After the death

2.141

of Frederik Hendrik in 1647, Huygens had to travel again, as

101

2.145 Constantijn Huygens, in 1657. Engraving C. de Visscher after a drawing by Christaan Huygens, in Korenbloemen (Cornflowers). See also 2.153 2.146 Stadholder Willlem II (1626-1650). Detail Gerard van Honthorst, 1653

2.145

2.146

2.147 The 3-year-old Prince of Orange William III (1650-1702), dressed in Roman costume. Gerard van Honthorst, 1653 2.148 Title page of Korenbloemen, 1658

2.147

2.148

secretary, counsel and financial advisor of the new Stadholder William II, the son of the deceased Frederik Hendrik. This time, however, they are not long marches but short visits to various

2.149 The Zuylichem oak, drawn by Philips Huygens in 1651

cities. As indicated earlier, however, the still young William II dies unexpectedly in November 1650. In 1651 Huygens is

1657 is also the year in which Huygens suffers a

officially appointed as counselor and financial controller to

heavy blow. His youngest, 23-year-old son Philips dies

the still underage Wiliam III, who was born eight days after the

unexpectedly in May of a fatal disease with a high fever,

death of his father. This position brings with it a lot of work

far from home, in the Prussian town of Marienburg. A year

and worries and means a great deal of traveling again and not being at Hofwijck. Despite this great workload, the flow of

earlier he had left as part of the rettinue of a diplomatic mission to Sweden and Poland.385 During this trip he also

literary productions steadily continues. These are all highlights.

made himself useful to his Brother Christiaan by delivering

The poem Vitaulium Hofwijck, written in 1651, was published

a letter to Hevelius, a scholar who, like Christiaan, was

in 1653. Shortly afterwards the comedy Trijntje Cornelis was

concerned with Saturn. In a letter from Dantzig of May

completed, but it was not in print until 1657. Several Reformed

1656 Philips writes to his Brother that Hevelius was

brethren protest against the outspoken character of this comedy.

very happy ‘with the letter and the notes’ and that he

Nevertheless, it is a great success, so that a second impression

was writing a tract about Saturn’s ears. Philips is also

soon follows. Another masterpiece is the collection

enthusiastic about the lenses that the skilled Hevelius

Korenbloemen, Nederlandse Gedichten in XIX boeken

himself ground for his telescopes. He had shown him a

(Cornflowers, Dutch Poems in XIX books), which was published in 1658. This collection contains several earlier poems, including

magnifying glass that was at least as good as Christiaan’s.386 The death of his youngest son is a severe blow for

Stedestemmen, (City Voices) Vitaulium-Hofwijck and Dagwerk,

Constantijn. It was especially sad that no family members

but also new poems such as Spaanse wijsheid (Spanish Wisdom).

were present at his deathbed.

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2.150 A panoramic view of the Zeestraat, the Scheveningseweg. Engraving C. Elandts, 1681 2.151 The gateway to the Scheveningseweg, inspired by the triumphal arch of the Roman emperor Constantine. Engraving R. de Hooghe after J. de Bisschop, 1667 2.152 The extravagant writer Margaret Cavendish (1623-1673) 2.152

to the Dutch House of Orange. Huygens must try using all his diplomatic skills to persuade the French King to return the Principality of Orange. 2.150

During the negotiations in Paris Huygens receives the question from the city council of The Hague whether his design for ‘a brick road’ from The Hague to Scheveningen could still be carried out.388 At the end of 1653, shortly after having seen the newly constructed Amersfoort road,389 he had drawn up a detailed plan to build a similar road through the dunes, with suggestions as to how this road could be financed. The arguments Huygens had enumerated in the memorandum were again a good application of ‘the three famous axioms: honor, utility and amusementt’, which he had mentioned earlier in his country house poem Vitaulium Hofwijck.390 With such a grand avenue The Hague would gain credit from visitors for improving accessibility. It would be especially beneficial for the ‘Scheveningers’ who then no longer have to slog through the sand with heavy baskets of fish on their heads but could walk along the paved road with light tread. In addition, the fish would be fresher upon arrival. By levying a toll the city council could also benefit and at least recoup the investment. The road would provide entertainment for the walker who could now easily and quickly reach the beach to enjoy the fresh air. Two rows of four trees wide lined the road and with the earthen banks formed a good protection against drifting dune sand. They also protected the passers-by from the bright sun and gave the road an attractive appearance. In spite of these arguments, the city council had initially done nothing with the plan, so Huygens had stored away his memorandum with the calculations and appendices.

2.151

Shortly after receiving the request from the city council, Huygens gives permission from Paris to ‘break open’ the cabinet in which the memorandum was stored391 and then it is again

In 1657 and 1658, Constantijn Huygens again visits the Duarte

submitted to the city council. The latter has the road constructed

family in Antwerp. Here he meets the sensational Margaret

under the supervision of surveyor Johan van Swieten, so that

Cavendish, a woman who designed her own extravagant clothing,

the ‘stone’ street could be ceremoniously opened on December

but who was also active as a writer of among other things, scientific 5, 1665.392 Two years later Huygens publishes his poem De Zeestraat van 's-Gravenhage op Scheveningen (The Sea Street works. Later correspondence with this lady showed that Huygens greatly appreciated her scientific insights.387

from The Hague to Scheveningen), 1024 lines of poetry in which the poet incorporates various moralizing reflections and

In 1661 Huygens bids farewell to The Hague and Hofwijck for

in which he does not leave his own merits unmentioned en

a long time. He is sent to France. The French King had taken

passant. The poem is illustrated with a beautiful etching made

possession of the Principality of Orange. By doing so he also

by Jan de Bisschop: an impressive gateway inspired by the

appropriated the tolls and tax revenues that from of old accrued

triumphal arch of Emperor Constantine in Rome.

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2.153 Portrait of Constantijn Huygens, after a drawing by his son Christiaan, as a 'Title print' in his collection of poems Korenbloemen (Cornflowers), below in the first edition of 1657, published by the Hague printer Adriaan Vlac. Engraving C. de Visscher, 1657 In the poem On the title print, printed next to the portrait, Huygens compares his poems with cornflowers, which actually blossom

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by chance and like weeds among the corn. But they give the wheat a colorful sheen, like elegant children flaunting their blue satin clothes. Furthermore, he says that he has worked steadfastly for the country, for the House of Orange and for the church, hence the name Constanter above the engraving

105

2.154 Constantijn Huygens during the 'Oath of Loyalty' by the residents of Orange on May 7, 1665. During the ceremony a sun halo appears high above the wall. Etching I. de Visscher after P. Post, 1665

2.156 Clingendael, The Hague country estate of the Doublet family. Engraving L. Scherm, circa 1700 2.157 De Waal near Zaltbommel, signed by Constantijn II on March 14, 1669

2.155 Franchini's Fountain, drawn by Christiaan Huygens, 1668

2.158 The outer ramparts of Zuylichem Castle signed by Constantijn II on July 27, 1666 2.155

2.156

be alternately full of joy and full of sorrow, but always full of vitality, up to a great age, although gout later becomes more severe. In 1666 Huygens’s eldest son Constantijn almost drowned in the river Waal near Zuylichem. Exactly what happened is no longer known, but in this year Constantijn II makes a drawing of a panoramic view of the Bommelerwaard from a window in the House at Zuylichem. On the back of this drawing it is written in Latin: ‘At Zuylichem July 27, 1666, on which day I risked my life in the river Waal’.395 A few weeks later Christiaan refers to this incident in a letter to his Brother Lodewijck: The accident of Brother Zeelhem (Constantijn II) was terrible to pass out of sight of his loved ones and close friends. I congratulate him wholeheartedly on escaping in such a happy way.396

2.154

Meanwhile, after years of difficult negotiations, thanks to the skillful diplomacy of Huygens in 1665 the Principality of Orange was returned393 On the way back to Holland and

2.157

to Hofwijck, Huygens visits many cities as a tourist. On his birthday, September 4, 1665, he is located near Freiburg. There he composes a few verses, full of melancholy and weariness of life: On the day of my birth Once more September comes, and the fourth day, Day when I first saw day! How many more Septembers, and fourth days, Lord, will you suffer me? What do I hope on earth, why not now leave? I wait, lord, your reprieve.394 The next month he is back in The Hague and at Hofwijck, and there are still 22 years of life ahead of him. These years will 2.158

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2.159 Constantijn Huygens at the age of 75. Caspar Netscher, circa 1672 2.160 Printed version of the judgment of the Court of Holland against Lodewijck Huygens, Lord High Steward of Gorinchem

2.160

2.161 Funeral cortege of Michiel de Ruyter. The 80-year-old Huygens walks Immediately behind the bier. Engraving J. van de Arch, 1677

2.159

At the beginning of 1668 Father Constantijn stays in Veere on the behest of Princess Amalia to solve some problems there. Here he has a good deal of contact with Justus de Huybert, the secretary of the States of Zeeland. He visits Hofwijck and is so enthusiastic about it that he thanks Huygens several times in his letters for the warm welcome. Years later he is still talking about it. In 1668 Christiaan makes a drawing of a mechanical construction that

2.161

allows a fountain to spout, which was designed by Mr Franchini and already in use in Paris.397 Hofwijck has no fountains so he sends the drawing to Brother-in-law Doublet: perhaps this is something for his Clingendaal. In 1671 Constantijn Huygens is

On March 18, 1677, Constantijn Huygens I represents the Prince at

staying in England to persuade the Stuarts to pay their debts to

the solemn funeral of Michiel de Ruyter.

the House of Orange. De Huybert writes to him: I do not believe

Proudly, the very elderly Huygens ‘with trailing cloak and long

that there is any place in (England) more beautiful, pleasant or

fluttering ribbons on his hat’ is the first to walk behind the coffin carried by 18 bearers.400 One year later, amidst many verses, long

airy than Hofwijck and Voorburg.398 In 1669, shortly before his birthday, Huygens treats himself to an

and short, he records his life and his life experiences in the poem

autumn trip to Haarlem, Amsterdam, Utrecht and Amersfoort,

De Vita Propria.401 This chronological life story comprises some

visiting several acquaintances along the way, to see their houses

2,000 verses, ending in a 200-line self-portrait. Huygens writes this

and gardens. He describes it all in a long poem that he gives

autobiography in Latin because this story was only meant for his

the title Uitwandeling (Wanderings). Still, he is only too happy

male descendants. For each of his children he has an appreciative

when, after that round trip, he approaches the Voorburg Vliet and

or encouraging word. Son Constantijn is praised for his versatile

Hofwijck again. For wherever he goes, and whatever beauty he

talents. He could have competed with the greatest on earth in this

has seen, Hofwijck remains incomparable:

respect, were it not for the fact that he, like his father, had more weighty work to do. His successful upbringing had made him

Approaching my dear Vliet and at night I was content

suitable for the office of secretary to which the Stadholder Prince

with Hofwijck's small abode, and with The Hague after that,

of Orange had appointed him. Christiaan is praised as a renowned

that I never find a match wherever I go.399

scholar with his ‘flight through the highest heavenly spheres’. He also excels in drawing and music. For the discredited Lodewijck

In 1672 the two still unemployed sons of Constantijn finally get

there are encouraging words and an indictment against all those

the coveted official job: Constantijn II is appointed secretary

who damaged the reputation of the Huygens family. Unfortunately,

to Stadholder William III and Lodewijck becomes Lord High

Philips died early, so his promising talents did not come to

Steward (Drost) of Gorkum (Gorinchem). Two years later

fruition. The only daughter Suzanna is praised for her maternal

Lodewijck marries Jacomina Teding van Berkhout, a scion of a

role and her marriage to Huygens’s distinguished son-in-law

prominent Delft family.

Philips Doublet.

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2.162 Hofwijck seen from the western island. Drawing Constantijn II, 1660 The dark spots in the drawing have been caused by the infamous 'ink glutton' that can occur after a certain period of time due to the rusting of iron particles and the action of acids in the iron gallus ink used.

For Hofwijck, Constantijn also has many words of praise.

there are the birches with their twinkling drops bleeding

This, too, is a precious child who, moreover, ‘didn’t need a

from their wounds, and the thousands of treetops rising

midwife’.

up into a wood in the sky, in which the holm oaks403 form

He beseeches his heirs to always keep this ‘fertile sprout’ in the family and therefore never to sell it:402 Now that I

galleries with living columns. Then there is, built in the

am describing my children, [...] another vigorous sprout

drink it chilled with the meal), in that pond full of fish that

spontaneously presents itself which does not want to be

keeps replenishing, my little palace, not pompous but in

overlooked in the series. The child of which I speak, and

moderation and well-measured to protect his lord from sun

speak elatedly, Hofwijck, my country estate, to which I gave

and rain. [...] There is only one thing I would like to repeat:

birth myself in such a way that no midwife was ever needed

let no one of our descendants think that the little country

[...] .Dry hemp fields I transformed into oak woods, from a

estate, so dear to me, will be for sale to any person from

dense pine wood I raised a ‘mountain’, already attracting

outside the family; it must always recognize a Huygens as

attention from afar. I planted alders, which every year

its owner and pass to heirs with this name, so reads my

supplied my hearth with wood from different roots. Then

will.404

108

pond (like a wine jug put in water when Bacchus wishes to

2.163 Hofwijck also had followers, such as the fountain master's house next to the Kleve amphitheater, built around 1653 for Huygens' neighbor Johan Maurits van Nassau, after a design by Jacob van Campen and Pieter Post. This house probably resembles the previously built Hofwijck. Engraving, early eighteenth century

It seems as if Huygens appreciates Hofwijck even more with the

At this time Huygens often walks around Hofwijck in the company

passing of the years. He goes there more and more often and sits

of his lively, little dog. Jokingly, he gave the animal an appropriate

on his jetty or in one of his tea houses on the Vliet. Here he feels

name, ‘Geckie’ (Silly Little fool). How many times will he have

content as a real hermit. Around 1680 he writes his last great poem, which he entitles Kluiswerk (Hermitage).405 Again his

laughed at the silly antics of the little animal. To his great sorrow

country estate in Voorburg plays a leading role. Hofwijck is even

to the animal is shown by the two moving epitaphs he writes. The

given the honor of being the cause of Huygens’s long life:

world wouldn’t be any the worse if all those great lunatics fell

Geckie dies in October 1682. How strongly Huygens was attached

dead and his little Geckie were alive. He must have certainly given Hofwijck's glory, the splendid castle,

his Geckie a nice spot in the earth of Hofwijck, where they spent so

the savage wilderness of oaks, tall and numerous,

much time together:

the pines erect and straight, to equip ships, the living river along my navigated coasts,

My Geckie's epitaph

my doubly water surrounded cell,

This is my puppy’s grave;

my fish market without cost, my nightingale’s murmur,

No more than this be said,

they cunningly entice me, they help me live a long life,

I’d wish (and were it so, the world were none the worse)

and of that great favor only give Him the honor.406

My little Geckie alive, all this world’s great ones dead. Hofwijck, October 25, 1682.408

The years fly by. How often would Huygens at Hofwijck have thought back to his friends and acquaintances almost all of whom

In the second poem he also wishes he could raise his little Geckie

he had lost in the meantime. Hooft had already died in 1647,

from the dead. There are plenty of fools in this world, but there is

Maria Tesselschade in 1649, Jan Brosterhuysen a year later, Jacob

no second of that little one to be found.409

van Campen in 1657, Pieter Post in 1669, followed by Jacob Westerbaen in 1670. Huygens’s only surviving sister Geertruyd

At the beginning of 1682 Huygens has many mast trees cut down at

dies in 1680. Their brother, sisters, sister-in-law and brothers-in-

Hofwijck. Their balding crowns showed that they were past their

law had already preceded her.

prime. He is aware that he would no longer experience the full maturity of the newly planted trees. That pleasure is for the next

Huygens derives a great deal of pleasure in his last years from

generation, according to the poem dedicated to these mast trees:

his animals. The nightingales still sing at the top of their voice at Hofwijck. Nesting birds are very welcome to use his ‘Hofwijck

On uprooting my mast trees on Hofwijck

cell’ as housing. After all, there is plenty of space now.

Breda’s males, thank you for your lovely greenery.

Just as Huygens can avoid the court in Hofwijck so the birds

Young you favored to me with it, young I was mindful of it.

avoid the intruding noise of The Hague. What Hofwijck is to

With passing time reason says that we have to separate:

Huygens is Stoorwijck (avoid disturbance) for the birds:

I see it from your crowns: you are shrinking from cold feet. I am going to stand where you stood, true Dutch portable wood,

To the little birds that came to nest outside between my

From where fruit and joy will come, for young and old.

windowpanes

If I don't experience the advantage ('I won't be able to experience

Come in, foolish little ones;

it'),

there is nothing to be imposed on you,

how can I do better than to grant it to my beloved children?

why would I deny you life and a home.

I only wish for long enough years and days,

I live here childless, bring or breed yours' in here,

that I can deliver them Hofwijck in beauty and fertility.410

my cell is spacious enough for you and the whole family. I tell you from beak to beak (for you cannot read anyway):

Indeed, Huygens may have had to replace trees before. He probably

what Hofwijck is to me, Stoorwijck will be to you.

considered replanting with larger trees, so that the ‘tree lines’,

Hofwijck, May 4, 1681.

which were so important for the symmetrical structure of the

407

109

2.164 Sir William Temple (16281699), diplomat. Peter Lely, undated 2.165 John Evelyn (1620-1706), land owner and writer. Robert Nanteuil, 1650

2.164

2.165

2.166 Constantijn Huygens at an advanced age. Engraving A. Blotelingh after Caspar Netscher included in the second edition of Korenbloemen, 1672

2.166

garden, remained intact. How the displacement and replanting of mature trees could best be done was described in detail by John Evelyn in his book Sylva or a Discourse of Forest-Trees and the Propagation of Timber published in 1662. Son Christiaan knew Evelyn. When he stayed in London in April 1661 he and Evelyn visited a clockmaker together to look at some of the timepieces.411 Perhaps the tree book, on which Evelyn was working, came up for discussion. It is claimed that Christiaan tried to acquire a copy of this book even before it was officially presented by the Royal Society on October 25, 1662.412 In any case, a copy of Sylva was in his estate, perhaps from his father’s library. In a letter to Sir William Temple, the English Ambassador to the Republic, dated June 2, 1682, Huygens mentions the uprooting of the trees: You will be sorry to hear that I had to cut down all my pines at Hofwijck, because they were dying. With the proceeds I put my orchard in order. My heirs are instructed to give you the keys (of Hofwijck) at any time, so that you can walk in the familiar avenues whenever you want. In this way, I, as ‘ancien Hofwijcquiste (old Hofwijcker)’, wanted to keep you informed of the changes.413 Huygens corresponded with this ambassador on more occasions about his garden and the trees. For example, in September 1680 he informed him that he had laid out a fruit garden at Hofwijck.414

2.123

In March 1679, Huygens corresponds open-heartedly with Sir William’s sister, Lady Gifford, about the relativity of life. He writes to her that there was little chance of them seeing each other again in this life. But, he continues: I hope that this will be the case in the next. In the short time I have left to live, I will always think of the many favors that I have had from you. I hope that later on you will think kindly of the poor lord of Hofwijck.415 2.167 Title sheet Sylva, J. Evelyn, print from 1714

The year 1680 brings a change for the elderly Huygens. Son Constantijn, who since his marriage in 1668 to Suzanne Rijckaert and the birth of their son Constantijn III, in 1674, lived with Father in the large house on the Plein, decided to move to the Korte Vijverberg, which was within walking distance. Suzanne had inherited a large sum of money from her mother, who died in 1679, so the couple could afford their own house. Several people from The Hague found it strange that the couple left their old Father so alone and had not waited until after his death. As retort to all that stupid chatter Huygens writes his last long poem Kluiswerk (Kluis is Hermitage): The children still live nearby and he knows how to spend his days with his hobbies, thankful for everything God gives him.

110

2.168 Constantijn Huygens at the age of 90. Engraving A. Blotelingh after B. Vaillant, 1686

2.169 The text for a possible epitaph as suggested by Constantijn Huygens in his will. Printed version in A.D. Schinkel, Details, 1851

2.170 Note in burial register, Grote Kerk The Hague, March 10, 1624, with the purchase of the family grave by 'Susanna Houffnagels, widow of Secretary Huijgens', the mother of Constantijn. In the margin there are notes on later burials among others Suzanna van Baerle.

2.168

On October 2, 1682 Huygens writes his will, in his own hand on thin unsealed paper, nine pages long. The remarkably firm handwriting in no way betrays the advanced age of the writer. The division of the estate is marked by the affection for his children, who are all equally dear to him.416 2.169

2.170

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2.171 Constantijn Huygens II (1628-1697), self-portrait, 1685 2.172 Christiaan Huygens (1629-1695). Pastel drawing B. Vaillant, 1686 2.173 A dignified funeral by the light of flambeaux. Aquatint L. Portman, 1816

2.171

2.172

The most detailed attention of the will, however, goes out to the

That your life will be as full as mine,

beloved Hofwijck, two pages out of nine. In order to safeguard

So that you will have white hair, whiter than mine,

Hofwijck’s continued existence, Huygens stipulates that

And will say, as I did, come, Lord, it is enough. 418

Hofwijck must remain in the family. It therefore becomes the common property of the three brothers. Huygens meticulously

On Good Friday, March 28, 1687, Constantijn Huygens, dies, 90

regulates who gets the ownership and the usufruct, and

years, 6 months and a few days old. On April 4th he is buried

thus is allowed to make concrete use of the country estate:

in the family grave in the Grote Kerk in The Hague, in the

the eldest son first, after his death the second son, then the third. After that it is the grandsons’ turn in a similar order. In

ambulatory of the choir, behind the high altar, the fifth grave in the first row near the pillars.419 The burial register mentions that

mutual consultation, however, the order may be deviated from.

the church bells are rung seventeen times for the distinguished

Nothing of Hofwijck, however, may be sold or rented. Sales

deceased. As befits a genteel burial, it takes place in the darkness

should only take place in the absence of food, from which

of the evening. A cortege of 15 funeral carriages, illuminated by

God would hopefully protect everyone. Now Hofwijck is not lucrative, except for some annually chopped wood for the

numerous flambeaux, takes him to his final resting place, next to his beloved Sterre.420 In his will, the deceased has indicated that,

convenience of the family.

if the heirs so wished, they would be allowed to place a modest

Furthermore, the estate only costs money. So Huygens writes

marble memorial in the wall above the grave of him and his wife,

that the wages of a good gardener are already 250 guilders a

together with the family coat of arms and an epitaph enclosed

year. In order to secure the maintenance of the estate, a bond of

in the will. It is probable that this memorial was never placed or

4,000 guilders is therefore set apart. From the interest proceeds

was removed fairly quickly afterwards.421

of that bond a gardener, the maintenance and repair costs, the ground tax and other annual charges can then be paid. The bond always goes with the possessor of Hofwijck, and remains there during the time of this possession. Huygens very emphatically prescribes that the owner of Hofwijck must diligently care for and maintain the woods and in particular the oak trees and let them grow to their ‘complete perfection’.417 By the end of 1684 Huygens had already written his last birthday poem, in anticipation of his 89th birthday. In it he wishes his children: 2.173

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2.174 Lodewijck Huygens (1631-1699) drawing by his Brother Constantijn, undated 2.175 Suzanna Huygens (1637-1725). Pastel drawing B. Vaillant, 1686 2.176 The funerary monument of Van Wassenaer-Obdam placed in the Grote Kerk in The Hague in 1667. The Huygens's family tomb is located directly behind it

2.174

2.175

The first heirs

Philips Doublet III, two daughters (Constantia Theodora and

In the year of his death, 1687, Huygens’s eldest son, Constantijn II,

Philippina) and a son (Philips) at the Clingendael country estate

turns 59. He lives with his wife Santje (Suzanne Rijckaert) and

just outside The Hague. Philips III had, in addition to a large

their only son (Constantijn III) at the Korte Vijverberg, a five-

fortune, inherited Clingendael in 1680 from his mother Geertruyd

minute walk from his father’s house on the Plein. Huygens’s

Huygens, a sister of Constantijn I. His Father Philips Doublet II

second son, Christiaan, turns 58. He is now a well-known

had died earlier.

scholar, famous for his discoveries in the cosmos, physics, and mathematics. Hence he was appointed in 1666 as a prominent member of the French Académie des Sciences. But because of the political upheavals in France around 1685 he had lost both his Parisian residence and his French annual annuity for good. Since then he has been living with his Father again in the big house on the Plein. As compensation for this loss of income, Father had, with the permission of William III, passed on to him a ‘prebende’, an annual sum of about 1,000 guilders from the Prince of Orange, which still dated from the time of Frederik Hendrik. Huygens’s third son, Lodewijck, turns 56. The way he had functioned as Lord High Steward422 of Gorkum had been most unfortunate. He had wanted to extend his powers, which was not appreciated. At the same time he had abused his office by accepting gifts. For this in 1676, the Court of Holland had sentenced him to a fine of 6,000 guilders.423 Thanks in part to the urgent plea of Father Huygens, Stadholder William III had nevertheless retained Lodewijck in his office of Lord High Steward. Also later on, when Lodewijck caused new problems, the Stadholder continued to support him. In 1686 he was appointed as Gorkum’s delegate on the Board of Admiralty on the Maas (Meuse)424 He lives with his wife Jacomina Teding van Berkhout in Rotterdam. The couple had five children, all boys (Constantijn IV, Lodewijck, Paulus, Maurits and Christiaan). Huygens’s only daughter, Suzanna, reaches the age of 50 in the year of her father’s death. She lives with her husband 2.176

113

1687-1695

III Christiaan Huygens An inventive scientist at Hofwijck Hofwijck: co-heir and occupant 1687 up to his death in 1695 During the last years of his life, Father Constantijn Huygens undoubtedly enjoyed the company of his son Christiaan, who lived with him. These more or less unavoidable years of residence were preceded by eventful years, in which Christiaan often stayed elsewhere, but just as often returned to his father's house in The Hague. Meanwhile he became increasingly renowned as a scholar in various fields. Below is a short overview of his youth and study years.

Commuting to Paris

that his clever and inventive Christiaan would contribute to

As described earlier, in 1647 Father Constantijn had transferred

the yet to be acquired fame of this recently founded Orange

his sons Christiaan and Lodewijck from the Leiden university to

College. Christiaan will certainly not have been happy about this

the Orange College in Breda, simply because he was a governor

move, because it meant that he could not attend the inspiring

of this college. His good friend Jan Brosterhuysen had been

mathematics lessons of professor Van Schooten in Leiden. He

appointed professor of Greek and Botany here a year earlier,

compensated for this by corresponding extensively with this

partly thanks to Huygens. Here he made himself useful by planting a medicinal herb garden.425 No doubt Father hoped

valued mathematics teacher. In 1649 Lodewijck Huygens got involved in a fight in Breda, where swords were drawn.

3.1

114

3.2

3.1 Christiaan Huygens, according to a note on the painting: 'lord of Zeelhem', standing in an idyllic landscape with Hofwijck and front extension. Painting attributed to Jan Mijtens, 1652. Considering the clothing style, the depicted front extension from 1688 and the knowledge that Christiaan inherited the title 'lord of Zeelhem' in 1687, a much later dating (1688) is more likely. Because Jan Mijtens died in 1670, this painting is probably by Daniel Mijtens II

3.2 Christiaan Huygens. Caspar Netscher, 1671 3.3 The founding meeting of the Académie des Sciences in the presence of Louis XIV. On the right, an enlargement showing Christiaan Huygens, second from the right. Henri Testelin, 1666

3.3

Father Huygens wrote the rector of the college an angry letter,

Huygens decided to recall his sons from Breda and so they lived

in which he blamed him for weak discipline. Wearing swords

with their Father for some time, without a diploma.426

at a university should simply be forbidden.

After his return on December 22, Christiaan moved back in with his father. He too was destined for a civil service career. However, his already slim chances were reduced to virtually nil when in 1650 William II died unexpectedly and the

The following year, as a way of rounding off his study and

Stadholderless Era began. For political reasons, the Orange

marking the end of his youth, Father Constantijn decided to

Stadholders preferred to choose their civil servants from families

send Christiaan with a diplomatic mission to Denmark. The

that had no ties to the established regents, such as the Huygens

mission, which left on October 13,1649, was led by Count

family, who came from the Southern Netherlands. But almost

Hendrik van Nassau. In a letter to Van Nassau a few days

all other lucrative jobs were firmly in the hands of this ‘regent

before the departure, a worried Father Huygens emphasized

clique’ and members of the Huygens family were not counted

that the Count was taking a very special child: I send you

among them. No Orange Stadholder therefore meant as much as

not so much the most precious of my sons, for I love them

no work.

all equally, but I dare to say the most precious of the four, in the sense that he stands out above the rest in brainpower

Christiaan did not mind at all. As a great stroke of luck he was

and knowledge. And I am sure that those who are capable

now able to devote himself completely to his growing passion:

of judging will recognize that he lacks nothing in every field

mathematics, mechanics, optics, astronomy and everything

of science with which a young man of his class should be

related to them. He wanted to capture the great cogwheel that

equipped:

moved the earth and the stars in mathematical formulas and

. [...] I do not wish to conceal, sir, that I consider this child to

to test and apply them in practice. He succeeded admirably.

be very outstanding, not only in the study of law which he has

Much to the delight of his proud father, it resulted in praise,

just completed, but also in the French, Latin, Greek, Hebrew,

recognition of his special qualities and membership of the

Syriac and Chaldean languages. Furthermore, he is an

renowned ‘Royal Society of London for the promotion of

extraordinarily clever mathematician, musician and painter

natural science’. But above all, it led to an official appointment

and finally the most gentle character one can imagine.

to the prestigious French Académie des Sciences in 1666,

I hope you will find that it is not only fatherly affection that is

with a large allowance, the highest of all. So in that year he

expressed here and ask you not to force him to drink, for he

moved to the French capital, where he was allowed to live for

cannot.427

free in some luxurious rooms of Louis XIV’s library. But the competitive atmosphere, the envy and the conflicts between 3.4 Count Hendrik of Nassau-Siegen (1611-1652). Unknown artist

the academicians and the imminent war between Holland and France were not conducive to Christiaan’s mental condition and health. He became seriously ill. Doctors spoke of a melancholic illness and a decline of vital spirits. By the end of 1670 Christiaan had returned to his father’s house, where he regained his strength rather quickly. Back in Paris, around 1675, he fell ill again with the same symptoms, whereupon his family brought him back to The Hague. When he went back to Paris two years later, his worried family gave him a Miss La Cour as housekeeper, hoping that her personal care would help Christiaan to remain in better health. But to no avail. In 1681, melancholy struck again and Christiaan was brought home again, by his sister and her husband Philips Doublet.

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3.5 Christiaan Huygens with one of his instruments. Engraving L. Lingeman after J.H. Rennefeld 3.6 Lens grinding machine. Drawing and handwriting Christiaan Huygens, 1685

3.5

When he wanted to return to Paris after a few years, however, it turned out that they were no longer really waiting for him there. His Académie allowance and other expenses were no longer paid either. With clearly wounded pride, Father once again wielded his pen to stand up for his famous son. On March 9, 1684 he wrote a letter to Henri de Behringer, one of his Parisian friends and chief steward of the French King. Perhaps the sickly Christiaan was not destined to live a long life. To hesitate any longer in bringing his learned son back to Paris could well mean that the French were killing the golden goose. As usual, Father called his son Christiaan ‘my Archimedes’: My Archimedes still lives here with me, waiting for Monsieur de Marquis De Louvois to take the trouble to answer him, as was promised at the end of last year. Now, exercising patience is not such a bad thing and, as far as I am concerned, there is no rush, because in the meantime I am thoroughly enjoying the conversation with this dear and precious child. But like everyone else, I would like clarity so that I can take the necessary measures in time here at home. Now that my days are almost numbered, I would like to know what is required of us. If it is not too much trouble for you to find out, I would be very grateful if you could inform me so that I can again advise my Archimedes on what to do. Have you heard the reports of the planetary device that his contemplative and ever-active mind has invented and has for some time been applied to the loud acclaim of most scholars? [...] If God does not give this boy a good and long life (which I often fear), then one will always mourn this loss, as one mourns the death of an excellent chicken that could still have laid many beautiful eggs. For in this brain many surprising things are still being hatched.428 The letter did not have the intended effect. The political climate

3.6

and the appreciation for Christiaan at the French court had

telescopes, including a large tubeless telescope, microscopes and

changed to such an extent that he was no longer welcome in

later also an air-vacuum pump. Many instruments or parts, such

Paris. Therefore he had no choice but to stay in The Hague,

as lenses, had been made by Christiaan himself, often together

remembering his special ‘feats of arms’.

with his Brother Constantijn. Several of the many letters they wrote to each other were therefore about lenses and telescopes. With his telescopes Christiaan had made important astronomical

Looking back in father's house

discoveries, such as the ring of Saturn and its moon Titan.

Father’s house on the Plein was also home to his learned son’s

He also discovered the rotation of Mars and the nebula in the

large collection of scientific instruments, such as the pendulum

constellation of Orion. He had published his first telescopic

clock with the ‘cheeks’, the metal recoil bows, Christiaan’s

observations in 1659 in his Systema Saturnium. In it, he also

great discovery from 1656, which made it possible to measure

calculated the distance from the sun to the earth as well as the

time to the nearest second. He had given a first description of

diameter of various planets. He was less proud of his invention of

this in his Horologium in 1658. There were also a lens-grinder,

the magic lantern, for which he drew macabre figures, because it

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3.7 Johan de Witt (16251675). Studio Adriaen Hanneman

3.9 Design for an air pump. Drawings and handwriting Christiaan Huygens, 1668

3.8 Macabre figures for a magic lantern, drawn by Christiaan Huygens. A rapid succession of images created the ghostly image of moving skeletons. Drawing by Christiaan Huygens 3.7

3.8

3.9

3.10 One of the first drawings of the ring around Saturn. In the center a large representation. On the left Christiaan drew under the word Saturn a reduced version with to its left, as a small dot, under the name 'comes' [companio] the 'moon' Titan. Drawing and handwriting Christiaan Huygens, December 27, 1657

could only serve for ordinary popular entertainment. In 1660 the Dutch edition of his earlier Latin booklet on probability followed: Tractaat handelende over berekening in spelen van geluk. (On Calculation in Games of Chance). At that time Christiaan corresponded and discussed mathematical matters with Johan de Witt, the Pensionary of Holland. He was to become the founder of life insurance mathematics, where probability plays a major role. Christiaan was also successful in the field of technical devices. For instance, in November, 1661, he reported to his Brother Lodewijck that he had succeeded in greatly improving Boyle’s air pump and getting it to function properly. Christiaan had met Robert Boyle, together with other members of the Royal Society, during a trip to England in April, 1661, and had spoken about Boyle’s air pump.429 Shortly after returning to The Hague he made his own device. This vacuum pump became widely known and confirmed Christiaan’s name as an experimental researcher. It even became a special attraction, because many people wanted to attend a demonstration with this pump in Huygens’s house on the Plein.430 The contacts between Christiaan and Spinoza have already been mentioned.431 This scholar, who was much criticized at the time for his ‘liberal ideas’, lived in Voorburg from 1663 to 1670. 3.11 Sketch of a magic lantern. Drawing Christiaan Huygens, 1694

Spinoza undoubtedly visited his fellow villager Christiaan at

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3.12 Benedict Spinoza (1632-1677). Unknown artist, 1665 3.13 A telescope lens ground and signed by Christiaan Huygens on February 5, 1686 3.14 Pendulum movement. Drawing by Christiaan Huygens, 1664

3.12

3.13

3.14

3.15

3.15 Coach drawn by Christiaan Huygens in a letter of January 20, 1668 to his Brother-in-law Philips Doublet

Hofwijck during this period, when the latter was in Voorburg, as

Christiaan demonstrated a design for a wind force meter at the

in 1664 when the plague was in The Hague. Between 1663 and

Paris Académie des Sciences. He argued that such a meter could

1666 Spinoza and Huygens apparently spent a great deal of time

be used, for instance, to calculate how big the sails of a windmill

together discussing astronomy and a number of natural science

had to be to produce a certain power. From 1670 onwards there

problems, such as the errors in Descartes’s calculation of the laws

were contacts with Giovanni Domenico Cassini, an Italian

of motion.432 In Paris Christiaan, who was always practical, also devoted

astronomer who was appointed director of the Paris Observatory in 1671.433 There was correspondence about Saturn and about

himself to designing coaches with better suspension and thus less

telescopes.434 Years later Christiaan was to send his small tract

jolting over bumpy roads. He drew the designs as quick sketches

‘Astroscopia compendiaria’ (Stargazer Compendium) to Cassini

in 1668 in letters to Brother Lodewijck. His brother-in-law Philip

with a request for any comments.435 In 1672 Christiaan presented,

Doublet was also very interested in the new carriages. In 1669

again in Paris, a greatly improved so-called double barometer.436

3.16 The houses on the west side of Kerklaan, today's Kerkstraat in Voorburg, close to Hofwijck. For the full view, the artist omitted the east side of the street. To the left before the tall trees is the Kerkhavensloot with a high bridge in the middle for access to the houses behind it. To the right of the end of the Kerkhavensloot is the protruding house with a stepped gable [current address Kerkstraat 3739]. Spinoza lived in this house from 1663 to 1668. Precisely in this period Christiaan Huygens asked his Brother Constantijn to find out what Spinoza was doing here and whether he also managed to grind large lenses. Behind all these houses was the former garden of Jan Maertensz, the gardener of Hofwijck. Etching I. Besoet and H. Bakhuysen, 1760

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3.17 The astronomer Giovanni Domenico Cassini (1625-1712). Engraving N. Dupuis 3.18 Wind power meter. Drawing by Christiaan Huygens, 1693 3.19 The Kerkstraat in the early twentieth century with the still existing 'Spinoza House' at the end of the harbor inlet Postcard, sent December 1906 3.17

3.18

In 1673, a year after the assassination of Johan de Witt, Christiaan showed his gunpowder engine, a device ‘for hoisting large stones and turning mills’, but which, unlike a horse, has the advantage ‘that it costs nothing in maintenance during the time it is not in use’. In the same year 1673, one of Christiaan’s most important works was finally published in France: ‘Horologium oscillatorium’ (The Pendulum Clock). In fact, he had already started working on it in 1660, but, as with other discoveries, it took years before the precise Christiaan considered his findings ready for 3.19

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3.20 Title page Horologium oscillatorium, 1673 3.21 Pendulum system for a maritime clock. Drawing Christiaan Huygens in Horologium oscillatorium, 1673 3.22 Balance spring. Drawing Christiaan Huygens for Journal des Sçavans, 1675

3.20

3.21

3.22

3.24 Pendulum clock. Drawing Christiaan Huygens in Horologium oscillatorium, 1673

publication. Horologium oscillatorium was published in Paris. It comprised five volumes and testified to Christiaan’s typical and innovative way of working. Always his mathematical insights and calculations formed the basis of his research, discoveries and improvements. He often considered his theoretical discoveries satisfactory only when he had been able to demonstrate their effect by means of a mechanical instrument. For example, he had calculated the correct ‘cycloidal form’ of the metal recoil arcs so revolutionary for his pendulum clock in a precise mathematical way and then fitted them to his clock. In practice it worked. In the preface dedicated to the French King, Christiaan wrote that his scientific research was mainly aimed at useful applications for a more pleasant life or for a better understanding of nature. With regard to the latter, Christiaan also succeeded in describing impact and centrifugal forces mathematically and in formulating

3.23 Gunpowder engine. Drawing and manuscript Christiaan Huygens, 1673

3.24

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3.25 Pendulum Movement. Drawing accompanying the pendulum and collision rules by Christiaan Huygens, published posthumously in De Motu Corperum (1703) and in Opera Reliqua (1728) 3.26 Light as wave motion. Drawing Christiaan Huygens in Traité de la lumiére, 1690 3.27 Lens grinder, drawn by Christiaan Huygens in 1692

3.25

collision laws. Although Christiaan observed their operation in

Brother Constantijn, who was the most skilled. Christiaan was

nature, he could not demonstrate a mechanical explanation based

still living with his Father when he died, presumably he sat at his

on moving particles of matter. The latter was so essential to him

deathbed.

that he stopped working on his almost press-ready manuscripts on

As described earlier, in 1679, some eight years before his death,

the subject. They were not to be published until after his death.

the elderly Father Constantijn had written a retrospective on

Furthermore, Christiaan had already made pioneering discoveries

his life in his De Vita Propria for his descendants. He had

about the way in which light propagated itself. In 1679 Louis XIV

written a personal message for each of his children and a proud

had commissioned his Académie des Sciences to map out his

compliment for Christiaan. The fame of this famous son was

empire. Christiaan made a fine contribution by designing a new

assured, thanks to his pioneering discoveries: As long as the

spirit level that was easy to use in practice. Surveyors could use

earth and the stars rotate, as long as time ticks in the regularity

this to easily calibrate their instruments. He also made one for his

of the pendulum, as long as the planet Saturn is cleansed of the

Brother Lodewijck. Christiaan thought that he would be able to

insulting ears which you have relegated to the realm of fables,

make good use of it as the Lord High Steward of Gorkum.437 On his return to The Hague Christiaan had once more taken up

and remains adorned with the stately ring which you have

his old hobby, the grinding of lenses, again together with his

stars will your name be extinguished.438

3.26

discovered to its glory, so long will you live on, and not before the

3.27

3.28 Properties of cycloid. Drawing and handwriting Christiaan Huygens, 1658 3.29 Lens, ground and signed by Constantijn Huygens II on November 14, 1683

3.28

3.29

121

3.30 The mathematical philosopher René Descartes (1596-1650). Jan Baptist Weenix, 1649 3.31 The astronomer and mathematician Philippe de la Hire (1640-1718) 3.32 Christiaan Huygens at the age of 56. Engraving by G. Edelinck, 1685 3.33 Christiaan Huygens in mourning clothes. Pierre Bourguignon, 1687 3.30

3.31

3.32

A drawn-out division of property For Christiaan, the loss of his Father seems to hit hardest. Of all the children, he had already been most affected by his mother’s death, as an 8-year-old. He had insisted on being allowed to be with his dying mother. According to a diary entry made in 1637, Father Huygens finally allowed him to do so.439 The same diary also reveals the pride with which Father noticed years later the special gifts of this son and the appreciation he already received from experts, including a friend of father, the mathematician Father Mersenne. Constantijn II and Christiaan were students in Leiden in 1645, and they were taught not only traditional mathematics but also the innovative algebra of Descartes, also an acquaintance of their father. According to father’s diary, Christiaan in particular excelled in this. Whenever Christiaan was in Holland, he moved in with his father. He had always found companionship, support and encouragement there. Following Mersenne’s example, Father himself had proudly and affectionately begun to call him ‘my Archimedes’, certainly after Christiaan had experienced increasing recognition in Europe as an inventive and clever scholar of mathematics, physics and astronomy.440 However, the voice of the caring Father had now become silent, for good. From this moment on Christiaan felt, in spite of his age, like a real orphan and would for years afterwards walk around

3.33

in the somber mourning clothes of an orphan boy. This was later recorded by his nephew Constantijn IV, then aged 12, who

pesanteur’ (Discourse on the cause of gravity).

remembered his uncle most clearly. As a 58-year-old Christiaan

Among the matters Christiaan referred to that needed to be

had himself portrayed by the painter Bourguignon in these ‘orphan’s clothes’.441 Did this feeling of desolation contribute to

addressed was the settlement of the estate. In fact, father’s

Christiaan’s lapsing into deep melancholic moods again soon

seal was missing. However, the three brothers and Philips

after his father’s death and even to his showing signs of insanity?

Doublet, the husband of sister Suzanna, sign a declaration on

Christiaan himself did not write down much of his grief. In a

July 6, 1687, in which they, as joint heirs, agree to respect and

few letters the loss is mentioned briefly and dispassionately. For

accept the handwritten testament of the deceased, despite the

instance he writes on May 1, 1687, to the French astronomer

‘manquement of the behoorlyck Seal’. The practical arrangements

Philippe de la Hire: Sir, the death of my father, which took place

subsequently fell mainly on Christiaan’s shoulders. His elder

on March 28th and all the things that come with these events and

Brother Constantijn II is very busy as Secretary to the Prince of

even more my bad condition, which has not yet entirely left me,

Orange and, moreover, he stays most of his time elsewhere, far

are the reason why I have not yet finished making my writings

away, with the prince at Palace het Loo in Apeldoorn. Christiaan

ready to send them to you, although the major part can already

receives a lot of support from his Brother Lodewijck and from

be copied.442 Only three months later Christiaan would send La Hire the

‘brother Sint Anneland’, or Doublet, who is usually named after

intended manuscript with his weight theory. A few years later

quickly. In particular, the valuation of the manor of Zeelhem

it was published under the title ‘Discours de la cause de la

forms a problem.

122

handwritten last will was not legally valid, because the required

his seigniory. The division of the estate did not proceed very

3.34 The Huygens House on the Plein, seen in the direction of the Poten. On the right the wall along the forecourt of the Mauritshuis. Drawing by J. de Bisschop, seventeenth century

Christiaan also appears to have other things on is mind. Shortly after the death of his father, he takes steps to get married to a lady from Rijswijk. Is it a hasty, desperate act, prompted by the fear of being alone? In any case, he conceals his marriage plans from his brother. But Constantijn finds out fairly quickly at Palace het Loo. He hears about it from acquaintances. When he learns who the chosen lady is, he is shocked and writes a concerned letter to the aspiring bridegroom Christiaan on September 4: Our friends have written me that you have set your heart on 'la B.' from Rijswijk [...]. In matters such as these,

A month and a half later, Constantijn writes another worried

you have to consider many things, such as the origin,

letter from het Loo, this time asking repeatedly what the state of

wealth and reputation of the person in question. Even if

affairs is regarding the estate. Has the valuation of the various

you decide to take a woman at our age, it is necessary to

goods been completed?

think carefully whether she is the right choice.443

Christiaan answers on October 29, 1687, from The Hague with a letter to which a list is added of the real estate and securities to

Christiaan understands the message and takes it to heart.

be divided up and their value.

Nothing more is heard of his marriage plans, nor of ‘la

For instance, the house on the Plein is valued at 32,000 guilders,

B’. Christiaan does not seem to have been bothered by

Zeelhem at 12,000. Hofwijck, of course, does not appear on this

it either. Other matters soon take full possession of him

list. Father Huygens had stipulated in his will that Hofwijck

again.

would remain the joint property of the three brothers. The sum total of all real estate and securities amounts at first instance to a value of 116,000 guilders.

3.34

123

When the extension is finished, Christiaan has his portrait painted, as the new ’Lord of Zeelhem’, proudly standing in front of Hofwijck with its new front extension. It is clear that the extension is less high than in the earlier pencil sketch. The roof, also, differs considerably from the first plan drawn. It was more of a tympanum-like roof over the top floor. There is no trace of a flat roof. Such a special observatory was probably never built. In later remarks, Christiaan or his 3.35/3.36 The front and rear of the planetarium Christiaan Huygens, completed in 1682 3.37 Design of the Hofwijck extension. Above a front view, below a plan of the first floor. On the right a detail with the balustrade of an observatory between the roofs. Drawing by Christiaan Huygens, 1687

From this figure, however, 4,000 guilders had to be deducted for bonds, which according to the will were to be set apart to pay the regular maintenance of Hofwijck from the annual interest. The overview shows that this 4,000 guilders consisted of a ‘bond on Delft of 3,240’ and part of a ‘bond on Holland’ for 760. Eventually, according to the survey, 112,000 guilders in value has to be divided. Each heir is entitled to a fourth part, so 28,000 guilders. The enumeration is followed by a proposal, in which the real estate and securities are arranged in such a way that there are four equal combinations of 28,000 guilders.444 On December 9, 1687, the final division of the real estate and personal effects is formally laid down in a ‘State and partition of the estate’.445 Hereby, the valuation and combination of real estate and securities proposed in the letter of October 29 is adopted: Constantijn II receives the house on the Plein valued at 32,000 guilders. By agreeing that he would pay Christiaan 4,000 guilders, the 28,000 to which he was entitled according to the calculations remained. Christiaan receives, in addition to these 4,000 guilders, the seigniory of Zeelhem (12,000 guilders), further a bond on Holland (10,800 guilders) plus a ground lease on Pothoven (1,200 guilders). Thus he too receives a total value of 28,000

The empty Hofwijck without his Father is entirely different from the

guilders. Similarly, Lodewijck receives land in Monnickeland

Hofwijck of his carefree childhood, when he could romp and play

and the Fijnaert and some securities. Finally, the part for Doublet

there on warm summer days with his brothers and sister.

mainly consists of a house in the Fijnaert, a house on the

Or later, when he walked there with his Father and others, picked

Paviljoensgracht in The Hague and further securities as well.

fruit, made music and looked at the beautiful starry sky. Yet he finally agrees, according to a letter he writes to Brother Lodewijck

An extension to Hofwijck

from The Hague on December 20, 1687: After our last discussions

After the distribution of the inheritance was finalized,

on Wednesday, which as usual prevented me from sleeping the

Constantijn II, as head of the family and as the new Lord of

next night, I have thought repeatedly about the Hofwijck case and

Zuylichem, decides to live with his family in the house on the

having considered it very carefully. I have decided to succeed

Plein. Naturally, this stately home suited his status as secretary

Brother Zuylichem in the usufruct of Hofwijck, both to save renting

to the Prince of Orange, a position he had held since 1672. For

a house or a room in The Hague, but also because I think that, if

the housing problems of Christiaan, the new Lord of Zeelhem,

I enlarge the house to make room for my library, I will be able to

that were looming, the heirs have a solution that is as simple

live there comfortably. I don't think you can easily guess in what

as surprising. They propose that he should live at Hofwijck.

way I designed this extension, which we will discuss at the first

At first Christiaan is hesitant, he even has sleepless nights

appointment.447

because of it. After all, up to now he had been used to spacious accommodation. He also needs space for his instruments and

How Christiaan had planned this extension can be seen in a quick

for his extensive collection of books, which had meanwhile

pencil sketch that he drew on the back of a letter he had received

grown by the copies he was allowed to choose from his father’s library.446 Would all this fit into the small Hofwijck? Moreover, as

from a Mr Vegelin van Claerbergen, dated December 14, 1687448 The sketch shows an extension to the front of Hofwijck. The extension

a country house Hofwijck is rather lonely and further away from

has a façade that is the same height and width as the existing façade.

his Brother and his pleasant and helpful sister-in-law, sister and

The arrangement of windows is also the same as the old one, which

brother-in-law.

makes it seem as if the existing façade has been moved slightly

124

Brother Constantijn always talked about telescopes in the garden or behind the window of Hofwijck and never about a roof platform. Although the front extension was renovated somewhat later, it was still there at the beginning of the twentieth century. Apart from the details mentioned, photos from this period clearly show that the addition extended over the basement level and the ground floor, with the tympanum with a round window above. 3.38

3.38 The addition to Hofwijck in the early twentieth century. Photo in magazine Buiten, May 1914

3.39 Christiaan Huygens, standing in front of Hofwijck with the new front extension, 1688. Above, an enlarged detail of this front extension. See also 3.1.

3.39

forward. The floor plan drawn next to it shows that Christiaan

Colbert. It was made by Johannes van Ceulen, an instrument

actually wanted to double the smaller spaces for the basement,

maker from The Hague. When it was completed in 1682,

the large hall and the hall above it. Above the extension a roof

Colbert had died. Consequently Christiaan was not paid the

has been drawn, slightly lower than the existing roof behind it.

agreed amount and kept the beautiful instrument himself.

A nice detail is the small plateau Christiaan sketched between the two roofs, with a beautiful balustrade as a border. This was

When Christiaan has spent five days at Hofwijck, he describes

probably intended as a small observatory. The execution of the

his first ‘lonely’ experiences to his Brother Constantijn in a letter

renovation is speeded up. However, Christiaan increasingly

dated May 4, 1688. He also thanks him for his hospitality in

worries about the financing of it and about other money matters.

his house. He had actually wanted to pay for this, but this was

On January 25, 1688, he confides to Lodewijck in a letter: 'What

resolutely refused:

constrains me is that I have debts to pay [...] and that I will need

Hofwijck, May 4, 1688. For the last five days I have been here in

a lot of money for my building in order to purchase materials

my new accommodation where I am busy from morning till night

myself, as people have recommended.

to arrange everything in anticipation of the completion of my

449

gallery, where my books and some of my furniture will find their At the end of April, 1688, Christiaan moves to Hofwijck. The

place. During this time I have not been to The Hague and have

‘gallery’ or porch, as Christiaan uses a fancy French word to

not received any news from there either.

describe his annex, is almost ready by then. The furnishing

Thus I am making my first attempt at living on my own, to which

could begin. Given the limited space on Hofwijck, various

I shall have to try to get used. What does sadden me a little

larger instruments and tools will have stayed behind in

is that in the afternoon and evening I have to eat alone,

‘the laboratory’, the workroom in the house on the Plein.

something I share with the crowned heads. A few days before

If he so wished, Christiaan could also go there for certain

I left your house, I received from madam your wife the 4,000

investigations. One thing that will certainly go with him

guilders you owed me under our division, after deducting what I

to Hofwijck is the (still existing) large planetarium which

had to pay for the gold-leather wallpaper.450 I thought it would also be proper for her to also charge me

Christiaan designed in 1681 on behalf of the French minister

125

3.40 Charles Perrault (1628-1703), fairy tale writer and member of the French Académie. Philippe Lallemand, 1672 3.41 Isaac Newton (16431727), mathematician and physicist. Godfrey Kneller, 1689

3.40

3.41

3.42 John Locke (1632-1704), philosopher. Godfrey Kneller 3.43 Maritime clock, presumably taken as a trial around 1685 on a ship of the East India Company. Drawing Christiaan Huygens

3.42

for what I and my servant had cost you in food for more than four months. But she dismissed the idea, assuring me that you would certainly disapprove if she acted otherwise. So I remain very grateful to you both, and thank you for so many good and pleasant meals, and for letting me use one of the most beautiful rooms in your house for so long.451 Because of all the domestic activities there is not much time for research and studying, let alone for finding a permanent home. Hofwijck is apparently meant to be used mainly during the summer months. Christiaan complains about his dissatisfaction in an undated letter which he sends during his first Hofwijck days to Charles Perrault, a French writer, famous for his fairy tales: You, who are so busy, you are at present without activities, and I, who have no activities except my studies, have since the death of my Father been completely occupied with domestic concerns, worrying about mean matters, and trying to find myself a real home, which I cannot yet say I have found. Not much has come of my studies, however. I live in a country house that my Father had built near The Hague. Here I am busy setting up my library.452 When Christiaan is more settled in, he continues his studies at Hofwijck with the book Philosophiae naturalis principia mathematica (The mathematical foundations of natural science), published in 1687. The author, Isaac Newton, had sent it to him personally from England. Christiaan uses this work partly for his

3.43

experiments with maritime clocks, in which he would immerse for shipping to be able to determine the correct position. The

December 14 still found time to admire at his leisure Wilton House with its famous gardens and waterworks.454 Meanwhile

famous English philosopher John Locke comes to see him to

Christiaan is getting used to his life at Hofwijck, although the

discuss the extent to which Newton’s mathematical calculations

financial burdens continue to torment him. Also, his health once

were correct. In the summer of 1688 Christiaan devotes praise to

again leaves much to be desired. As he notes on November 8,

Newton’s work in Acta Eridutorium (Acts of the Erudite).

1688, he almost suffocated that night because vomit was clogging

himself around this period. A good maritime clock was important

his windpipe and making breathing difficult. Storm over Hofwijck

He blames it on eating artichokes and grated apple and drinking

In November, 1688, Brother Constantijn leaves for England with

beer that was too young and lukewarm.

the Prince of Orange William III. In the Glorious Revolution he and his Dutch army were to drive out his Catholic father-in-law

Meanwhile, he and the other family members anxiously await

James II and so capture the English crown.

news from the war front in England. Fortunately, it all turns out

The diary notes and the letters of Constantijn Huygens give an

well for the Prince of Orange and his secretary. On December 28

exceptional eyewitness account of these events, which were followed with excitement in Holland.453 From the notes it appears

they enter London, whereupon James flees to France. Christiaan

that William III, during the exhilarating march to London, on

scholars who live in England and whom he would like to meet in

126

is somewhat jealous of Constantijn, thinking of the many

3.44 James II, King of England (1633-1702). Godfrey Kneller, 1684

3.46 One of the waterworks at Wilton House. Engraving I. de Caus, 1645

3.45 The Battle of the Boyne, where William III defeated his father-in-law James II on July 12, 1690. Jan van Huchtenburg

3.44

3.45

person. At the same time at lonely Hofwijck he thinks back with melancholy to those beautiful days, when he and his Brother used to grind magnifying glasses and observe the stars in the sky. On the penultimate day of 1688 he shares his thoughts with Constantijn, after which he wishes his Brother a happy New Year: Hofwijck, December 30, 1688. At present we are eagerly awaiting the news of your arrival in London and of the reception which will be accorded to the Prince there, and which will undoubtedly be splendid to behold. [...] If you stay there you will see that by the spring many will make a journey to England, and perhaps I will be among them. I have lived at Hofwijck until now and think I will stay here all winter. There were some unpleasant evenings, when the weather was bad, but I find that you get used to everything. I only wish I could stay here in peace and quiet, without the gentlemen of France with some kind of misery or the gentlemen of the States with their constant 200th penny pursuing me. When will we work together again on the big lenses[…] In the course of time you will get to know in London the celebrities who know about our great Art. [...] I think the members of the Royal

3.46

Society will be on vacation by now. Still, I am sure you will have a chance to meet Mr. Boyle and other members. I wish I were at

almost lying on the ground. I will see if there is any other way of

Oxford, if only to make the acquaintance of Mr. Newton, whose

getting it up again, because otherwise it will cost me another 200

beautiful inventions, which I found in the little work he sent me,

francs, which I also paid for the other one. It's all very annoying,

I admire exceedingly. I would like to send you a letter for him, as

which makes me doubt all the more whether I will be able to stay

I am sure you know an easy way to send it to him. Our sister will

here, given the amount of taxes I am overwhelmed with. If I could

write to you about the news from The Hague [...]. I wish you a

have predicted the future, I would not have rushed so much to

happy New Year.455

do all those renovations and all those repairs that I have done

Christiaan himself is not feeling very happy in the New Year.

now.457 Incidentally, all those money worries seem to point more to

The tax burden, which is steadily increasing due to the high

a chronic worrier and an overly anxious side to Christiaan’s

state military expenditure, oppresses him. He feels forced to

character. After all, he had inherited a not inconsiderable sum

economize and considers getting rid of his carriage. However, he

of money and also received a generous annual payment of some

doubts whether this will be enough to be able to stay at Hofwijck.

1,000 guilders from the Orange benefice. At his death he would

To make matters worse, a heavy storm rages over Hofwijck which

leave 41,700 guilders in securities.

causes the necessary damage. So there are even more expenses. From his lonely country home he sends two letters to his Brother

Hofwijck as a health oasis

in England containing the following somber passages: Hofwijck February 5, 1689. I would very much like to stay in

Meanwhile, on February 23, 1689, Prince of Orange William III and his wife Mary II Stuart458 are crowned King and Queen of

this lonely house where I am now. But with these great extortions

England. Secretary Constantijn II notes various details about this

I am afraid that this will not succeed, even if I get rid of my

in his diary. In the future Christiaan would address his letters to

carriage, which I am about to do.456 Hofwijck March 15, 1689. Last Friday's storm felled two of my

his Brother with due pride to ‘My Lord of Zuylichem, Secretary

large trees by the road, and they fell exactly on the fence, which

very worried about his Brother Constantijn. He also has health

had not yet been repaired. It was already a bit wobbly and is now

problems, felt that William did not value him and was now

to his Royal Majesty of England in London’. Christiaan is also

127

3.47 The landing of William III at Brixham, on November 5, 1688, the beginning of the Glorious Revolution. Jan Wijck

3.49/3.50 William III (16501702) and Mary II Stuart (1662-1694), 'William and Mary'. After Godfrey Kneller, circa 1688

3.48 Allegorical print on the marriage of William and Mary. Engraving R. de Hoogh, 1689

3.47

3.48

considering returning to Holland. The latter would jeopardize

to take it easy now to try to recover a little, for you must feel

Christiaan’s trip to England, which he had been looking forward

well before going on a journey. I will write to you next time

to so much. Moreover, he had offered Brother Lodewijck to come

about Brother van Zuylichem who seems to be constantly

and stay at Hofwijck during his absence in order to regain some

contemplating coming back. One cannot say that he is entirely

strength. This Brother also suffered from failing health with a lot

wrong, considering that he does so much for others and others do

of depression.

nothing for him. Adieu my brother, I have a headache that forces

Christiaan did not feel well either. He wrote about this from Hofwijck to Lodewijck in the spring of 1689, a spring in which

me to stop.459 Hofwijck, May 14, 1689. [...] As for my plans for England, I

Hofwijck was adorned with tempting spring colors again. No

doubt very much that anything will come of them, as I find

wonder Christiaan now calls his Hofwijck ‘this beautiful place’

that Brother van Zuylichem has not installed himself there as I

with some enthusiasm. The May letter to Lodewijck, moreover,

had thought. Instead, he seems to be constantly contemplating

contains a nice glimpse into the interior of Hofwijck: You must

leaving the service. [...] One of the reasons for undertaking the

have no doubt, dear brother, that I would not be delighted to

trip (to England) after all, is that I would like to give you an

allow you to stay at Hofwijck during the time I am travelling

empty house to spend some time in and to see what the good air

in England. I would also have written to you the day before

(of Hofwijck) could contribute to the improvement of your health.

yesterday if my headache or fever, the cause of which I do not

But at the same time I have thought that with some adjustments

know, had not prevented me from doing so. [...] I am going

there is also room for you if I stay there myself. I could give you

3.49

128

3.50

3.51 The physicist and inventor Robert Boyle (16271691). Johan Kerseboom, 1689

3.53 Nicolas Fatio de Dullier (1664-1753), mathematician and astronomer. Drawing, circa 1700

3.52 Edmund Halley (16561742), astronomer and mathematician. Thomas Murray, 1687

3.51

3.52

3.53

the room and the small side room next to it. I could sleep in the

desperately needed the money. Couldn’t Constantijn put in a good

room downstairs, where there is a small bed, which I used last

word for him with the King? After all, the King had been very

summer. I also have my library which I could use as a room to

friendly to him when he had met him in London. Moreover, it was

retreat to during the day. Downstairs is also a little room for a

a similar function that their beloved Father had performed with so

house servant, since my coachman has left; the maid you bring

much appreciation. After much hesitation and against his better

could sleep next to mine. As for the cost of housekeeping, that too

judgment, Constantijn brings up the request with the King on

can be easily arranged. I ask you to accept this offer, to come and

September 23. The latter answers resolutely that this was not a job

try in this beautiful place the milk cure which has been suggested

for Christiaan, because he should keep his mind on much higher

to you and which I imagine gives some good hope. You will

matters than simply bothering with stewards.

certainly not inconvenience me and are most cordially welcome with your dear wife.460

Amorous affairs at Hofwijck Christiaan resigns himself to this refusal and throws himself back

Fortunately for Christiaan, Constantijn decides to stay with the

into his studies, his publications, his correspondence with other

Prince in England. On June 16, 1689, he arrives in London with

scholars and amorous affairs.

his brother, accompanied by Constantijn’s wife and son. The

Those amorous affairs come within reach again thanks to his niece

stay would last 12 weeks, 12 wonderful weeks in Christiaan’s

Suzette Caron or Madame de la Ferté. To his great joy, Christiaan

life. He visits places of interest, attends a meeting of the Royal

sees her in The Hague a few days after his return from London.

Society and meets several important English scientists such as

She, too, had just returned from London, where she had been

the mathematician and physicist Isaac Newton, the naturalist and

talking regularly with Constantijn, the King’s secretary, about a

chemist Robert Boyle, the astronomer Edmund Halley and the

passport and about her difficult financial situation. Could she

philosopher John Locke. He also speaks there again with the Swiss

possibly receive a pension from the King? Suzette was a daughter

mathematician and astronomer Nicolas Fatio de Dulier, who had

of Constantia Boudaen, who had spent the night at Hofwijck in

previously worked with Christiaan in Paris and who had later

1644, on the day she married François Caron in Voorburg. Later

visited him in The Hague. On August 24, 1689, Christiaan departs

the couple settled in Paris. The daughter Suzette was married

for Holland again on the same boat that had taken William III to

in 1669 to the French nobleman François de Civille, lord de la

England. On the way, a great alarm is raised when they see three

Ferté. She had been imprisoned in France as a Protestant, had

ships in the distance, which they fear are enemy French boats. To everyone’s relief, Christiaan discovers with his binoculars after

fled with other Huguenots, and had come to The Hague in 1686.462 Christiaan still knew the beautiful, almost twenty years younger

some time that they are Dutch. Fortunately it was a false alarm

Suzette from his Paris period. He had even held her youngest

and so the company arrives safely in Brielle on August 30th. After

daughter during the baptism.

a very appropriate meal at ‘The King and the Queen of England’,

So in early September 1689 he sees Suzette again.

Christiaan arrives in The Hague by carriage the same evening. The

He informes his Brother in England about this reunion.

next morning he is back at Hofwijck. He hurries to write to Brother

Significantly, he adds that her husband, whom he cynically calls

Constantijn from Hofwijck about the course of the crossing and the

‘le Chevalier (the knight)’, was not present. Apparently he had his

latest news from The Hague. He concludes with a single sentence

reasons: I have seen Madame de la Ferté, but not yet Monsieur le

about the great pleasure England had given him:

Chevalier, who perhaps wants to avoid me. She has changed a

Hofwijck, September 3, 1689. [...] I had not thought to stay more than six weeks in England, but little by little it became more.

great deal and is not feeling very well.463 Nevertheless, the reunion seems a good omen and a promise.

Thank God, I have not been bored at all.461

Suzette was admittedly still married, so marriage was not in the cards for Christiaan even now, but perhaps she could break the

In the same letter Christiaan writes that on his arrival in

loneliness with her company. Yet it would be another two years

Holland he heard that there was a vacancy in the Royal Council.

before anything was heard of Christiaan and Suzette again, as if a

Uninhibited, Christiaan reports that he would like to fill this

silent cloak of love wanted to keep them from gossip for the time

position. It would provide him with a handsome income and he

being.

129

3.54 The first design for a carriage, drawn by Christiaan Huygens in a letter to Brother Lodewijck of January 6, 1668 3.55 Design for a carriage, drawn by Christiaan Huygens in a letter to Brother Lodewijck, June 22, 1668

3.54

3.55

A rental room in The Hague

thanks at all for offering you my home. I did not suffer any

In view of the coming winter, Christiaan is now busy looking

inconvenience from that, yes, even gained some benefit from

for a room in The Hague. He has to because in the meantime he

it. If staying in the country does you good, you can come

has got rid of his carriage for reasons of economy. Whether this

back next summer without any problems, because in order

was his self-designed carriage history does not relate. In any

to contribute to the recovery of your health, a slightly more

case, Christiaan has no means of transportation of his own. Of

cramped housing, which by the way does not bother me, is

course, there are always barges, but they have their limitations.

not a problem. I have been thinking about various topics of

Perhaps, when looking for accommodation in The Hague,

your letter. As for a communal house in The Hague, in case

something can be combined with Brother Lodewijck. He is also

you were to take one, I am always sympathetic to having a

considering living in The Hague, although he is rather hesitant

room and a side room there, provided you feel the same way.

about it, thinking that it might not be wise to leave Rotterdam.

Although I have no intention of living there before the winter

It might give the impression that he is fleeing his Gorkum

that is now approaching (for in summer I shall always be at

responsibilities. If he wants to, Christiaan may at least come and

Hofwijck) it is still very convenient and almost necessary to

spend the coming winter with Lodewijck in Rotterdam.

have a pied-à-terre in The Hague, so that I shall not be obliged

Christiaan to Lodewijck:

to leave with the half-past six barge all the time. [...] I cannot

Hofwijck, September 27, 1689. I find here your letter of last

tell you yet whether I shall take advantage of your other offer

Saturday, after returning from Clingendael where I stayed the

to come and spend the coming winter with you in Rotterdam.

night so that I did not have to leave in the evening when it was

[...] I shall see if I can find furnished rooms in The Hague at a

at its most beautiful. [...] As for your thanks, you owe me no

reasonable price [...].464

3.56 Horse with carriage. Drawing Christiaan Huygens

130

3.57 Title page Traité de la lumière, 1690 3.58 The house 'De Crabbe' on the Noordeinde in The Hague 3.59 Wave motion. Drawing Christiaan Huygens in Traité de la lumiére, 1690

3.57

3.59

The aforementioned Treatise on Light appears in print in early 1690. Of course, it describes Christiaan’s pioneering theory that light spreads like waves, as does sound, and that this requires time. He compares light in his Treatise to the waves that spread in circles on the surface of the water when a stone is thrown into the water. No doubt he had often observed this when, as a child at Hofwijck, he threw pebbles into the Vliet. Through Brother Constantijn he sends a copy of his Traité to Fatio, Newton, Boyle, Halley, Locke and other learned acquaintances in England

3.58

on February 7, 1690. Indeed, even before winter sets in, Christiaan manages to find a reasonable room in the center of The Hague on the Noordeinde,

Meanwhile, he is also working on a telescope with a long focal

right next to the famous inn ‘De Crabbe’ [current location

length, which will allow him to study the stars even better.

De Crabbe: Noordeinde 18].465

He would like to use the working space and the instruments

Christiaan to Constantijn:

in Constantijn’s house at the Plein. As usual this will not be a

Hofwijck, October 18, 1689. As it is impossible for me to pass

problem, but a message to the lady of the house there would be

the winter here in solitude, especially as I have no carriage, I

nice, according to a letter of March 24, 1690: I don't think that

am going at the end of the month to The Hague where I have

madam, your wife, would mind me working in your laboratory:

rented rooms on the Noordeinde, not far from the Hoogstraat.

nevertheless I would like you to announce my plans to her and

I wish you were here in person too. We could then observe Mars and Jupiter together, the former of which is now close

to make sure that she approves.469 Constantijn replies to Christiaan on March 28, followed by a

to the earth and shows itself clear and large every evening.

letter dated April 25.470 He hopes that the new powerful viewer

Being here alone and with no one to talk to, I have trouble

Christiaan is working on will be a success. He further writes,

making decisions. Since my return I have been working on the

via a letter, to have learned from his son Tien, that Christiaan is

publication of my Traité de la Lumière (Treatise on Light), more

tormented by toothache and Brother-in-law Van Sint Anneland

than half of which is finished.466 The rented room at the Noordeinde comes up again in the

by gout. All this he regrets very much. Incidentally, Constantijn

letter Christiaan writes to his Brother in England on December

free access to the laboratory to work there. He also sighed that

23, 1689: I have now spent 5 weeks in The Hague at the

he would rather assist Christiaan in the laboratory than cross

Noordeinde, behind the residence of Mr. Van Buttinghe [current location: presumably Noordeinde 12],467 a little narrow but

over to Ireland with the King, where the deposed James II was

good enough to stay there. I prefer this to the too melancholy

At the end of June 1690, King William III with his army and

solitude of Hofwijck in the middle of winter. I have almost

Constantijn did indeed cross over to Ireland, where on July 11,

completed the edition of the Traité de la Lumière et de la

in the historic battle of the Boyne, James was defeated for good.

Pesanteur (Treatise on Light and Gravity) of which I gave you

Constantijn’s diary contains an extraordinary eyewitness account

copies.

of these stirring days.471

468

has informed his wife by return mail that she can give Christiaan

staying. He had not yet given in and was causing a lot of unrest.

131

3.60 Catenary not a parabola. Drawing and handwriting Christiaan Huygens, 1646 3.61 Gottfried Leibniz (1646-1716), philosopher, naturalist and mathematician. Christoph Bernhard Francke, 1695

3.61 3.60

In 1690 and in the years that followed Christiaan corresponds

Christiaan’s depth gauge was never tested in practice.472

regularly from Hofwijck and from The Hague with the German philosopher, naturalist and mathematician Gottfried Leibniz.

After Christiaan has spent the summer months of 1690 at

In this correspondence important mathematical thoughts are

Hofwijck again, he leaves for his rented quarters in The Hague on

developed about differential and integral calculus. Christiaan

November 2. After he has barely installed himself there, a minor

had previously shown that Galilei’s famous catenary could not

disaster occurs. He informs Brother Constantijn about this on

be a parabola. What form and what mathematical formula that

November 1, 1690:

catenary did have, was of course the next question. Christiaan

Hofwijck, November 1, 1690. [...] Tomorrow I am leaving my

and Leibniz search separately, but each by his own method,

country house (Hofwijck) to retire, as I did last winter, to The

for the answer and eventually both came up with exactly the

Hague in my furnished rooms. I had this letter with me in The

same mathematical equation. Nicolas Fatio, traveling with

Hague, until today I add to it the news of what just happened

students in Holland, visits Christiaan at Hofwijck to talk about

on the Voorhout, where the gun arsenal was turned into a ruin

Leibniz and mathematical matters. At Hofwijck, Christiaan also

by a quantity of gunpowder that had caught fire. [...] This gave

writes his Invention to measure the unfathomable depths of

a terrible blast which blew away the roofs and windows of

the sea and immediately gain knowledge of the ground, as well

neighboring houses, including that of Brother Sint Anneland. [...]

as sand, shells, etc. The manuscript has as its date August 2,

Several persons were wounded [...]. I went to the room of Sister

1690. It is yet another scientific instrument designed by him for

of Sint Anneland, where the windows were broken but nothing of

practical purposes, and probably also the very last. Presumably

her porcelein.473

132

A forced marriage candidate Meanwhile the family, led by the businesslike brother-inlaw Doublet and the caring wife of Constantijn, devises a little plan to help Christiaan get rid of his loneliness and his financial worries in one fell swoop. He has to

3.62 A harmonic cycle. Drawing Christiaan Huygens, 1691

marry his niece Constantia le Leu de Wilhem. This was the niece who some 45 years ago had written so movingly that Hofwijck with all those red berries and cherries was as beautiful as paradise. Cousin Constantia was of about the same age and had money. Christiaan, however, as he himself put it, ‘had absolutely no appetite for this’. If she had been a bit younger now, perhaps, but not anymore.

Shortly thereafter, Constantijn is back in Holland for a while.

Sister-in-law Suzanne does not give up and joined

Naturally, visits take place back and forth. Constantijn and

Christiaan for dinner at Hofwijck with the ‘marriage

Christiaan are often together. Fun is had at the Voorburg fair, Niece

candidate’. This was a success and it seems that Christiaan

de la Ferté comes to visit and Niece Constantia le Leu de Wilhem is

is going to bite. Unfortunately, he becomes ill and this,

visited. This last visit does not result in a marriage either. Christiaan

of course, did not stimulate his amorous feelings. End of

has apparently bought a horse again, or at least he exchanges a

hope and end of this farce in three acts. The information

mare. This too is all recorded in Constantijn’s diary:

about these attempts at coupling comes from first-hand

Saturday, September 22, 1691. Brother Christiaan and Saint

sources: Sister-in-law Suzanne describes the situation

Anneland were visiting again. [...] About half past four I left by

in her letters to her husband Constantijn. The latter then

barge for Leiden. Brother Christiaan got off at Hofwijck.

records everything in his diary: Wednesday, June 13, 1691. Received a letter from my

Tien was waiting for me.477 Monday, October 15, 1691. Brother Christiaan came from Hofwijck

wife, who wrote that Brother van Sint Anneland (after

to have dinner with me. He exchanged a mare for one of my army

first asking if she would be willing to do this) had now

horses with an additional amount of money.478

proposed to Brother Christiaan himself to marry Niece

Wednesday, October 17, 1691. At half past twelve I went with my

Constantia de Wilhem, so that he could live a bit more

wife to Brother Christiaan at Hofwijck. There we had dinner with

generously. He had been very surprised by this and said

Brother Van Sint Anneland, sister, niece's daughter, Sanne van

that, if she had been 12 or 14 years younger, he might

Oyen and Slydrecht (Jan Teding van Berkhout), and in the afternoon

have thought of it, but that now he had no appetite for it

walked around the Voorburg fair. There we met the tall Miss Haga

at all.474 Thursday, June 28, 1691. Had a letter from my wife.

with Miss Van der Werven.479 Saturday, October 20, 1691. Brother Christiaan ate with me after I

She wrote that she and Sister and Brother and Niece

had gone with him to buy books at Moetjes and van Bulderen. In the

Constantia de Wilhem had been away to dinner outside

morning I was with Brother Christiaan at Sint Anneland, to see his

(at Hofwijck) with Brother Christiaan. She thought that he

maps of Joliveau.

had shown a little more enthusiasm for Constantia than

Monday October 22, 1691. Was out in the morning to have the tools

before and thought that the matter about which she had

made for a magnifying glass (with a focal length) of 120 feet for the

recently written to me might yet go through.475 Wednesday, July 18, 1691. Received a letter from my wife.

Royal Society. In the evening Cousin Sevenaer and her daughter

The latter wrote that Brother Christiaan was still looking

were visiting me, then Cousin de la Ferté and her daughters.480 Tuesday, October 23, 1691. In the afternoon Christiaan ate at my

thin and poorly after his illness, which did not seem to

place. Before dinner we were at Van der Burch etc.

arose his amorous feelings.476

Wednesday, October 24, 1691. Was with Brother Christiaan in the morning at Van der Burch for telescopic tools for the glass I wanted 3.63 Constance le Leu de Wilhem. Detail from 2.75

to give to the Royal Society. Thursday, October 25, 1691. Was with Brother Christiaan in the afternoon[...] at Cousin Constantia de Wilhem's.481 After this, Constantijn II leaves again for England with the King. In October 1691 Christiaan’s only publication on music appears in the journal Histoire des Ouvrages des Sçavans. In this article, entitled Lettre touchant le cycle harmonique (Letter concerning the harmonic cycle) Christiaan gives a mathematical approach to tonal relationships and is the first to describe a ‘transposing’ keyboard design with a sliding keyboard using logarithms. He used a division of the octave into 31 equal parts, whereby the playing of all desired

3.63

keys was possible.482

133

3.64/3.65 Cover page and page from almanac 1686 with notes of Christiaan Huygens on microscope observations at Hofwijck in 1692 3.66 Micro-organism observed and drawn by Christiaan Huygens at Hofwijck in 1692. Detail page almanac 1686 3.67 Antoni van Leeuwenhoek (1632-1723), the first microbiologist. Drawing by G.Gandolfi 3.64

3.65

3.66

3.67

3.69 Aquatic microscope, with the observed eel. Drawing Christiaan Huygens, 1692

3.68 Design for a microscope. Drawing Christiaan Huygens, 1678

In 1692 he again devotes himself, with a microscope he

to do with physics and also discuss the ‘little animals’ in water

had improved, to studying the miraculous world of micro-

and other liquids, animals ‘so small that a million of them fit into

organisms. On many occasions he had looked at the

a grain of wheat’.484

astonishingly small animals in a drop of water and in male

Also, a letter from Van Leeuwenhoek reveals that Christiaan

seed and had seen the capillaries in fish tails with his aquatic

Huygens had ‘done him the honor of visiting him, during which

microscope483 That microscopic world was the discovery of Antoni van

they had discussed the movement of the globe.’

Leeuwenhoek, with whom Christiaan had previously been in

use in his investigations with centrifugal forces. Huygens was

contact. Thus both gentlemen corresponded about phenomena

very taken with this gift485

134

Van Leeuwenhoek had given Huygens an experiment bottle to

3.70 Boat, drawn by Christiaan Huygens, during his research on collision laws 3.71 Design drawing Christiaan Huygens for a maritime clock with a triangular pendulum, 1672

3.70

3.71

For Christiaan, the problem of transportation rears its head again

have the feeling as if they were seasick. The ground moves with

at that time. Apparently, he quickly sold on the army horse

such violence that not only are the houses shaking, but also

mentioned in October 1691. Could he perhaps use the horses and

everything hanging from attics or walls is strongly tossed back

carriage of the son of Brother Constantijn? He cautiously inquires

and forth.

of his Nephew Constantijn III, whose family pet name is Tien.

Christiaan Huygens is quietly reading at Hofwijck at that

Brother Constantijn learns of the request through his wife and

moment. He too feels the earthquake and notes the following

answers Christiaan himself from London, with best wishes for the new year: Tien has written to my wife about the permission

about it in Latin:488 Earthquake. September 18, 1692. In Hofwijck near Voorburg

you had asked to use his horses a few times during his absence.

at half past two in the afternoon, while I was reading a book, I

She still agrees to this. But as they are expensive horses, for

suddenly and not without fright felt an earthquake. The house

which there has been a bid 850 pounds, she would be glad if

shook distinctly, and moved to and fro, so that in the dining

this were done with great care. They absolutely must not be

room paintings were smashed against the gold leather covering

left outside in front of the house in the snow or rain. As for

the walls. The stone floor on which I stood was lifted slightly,

the carriage at The Hague, which cost more than 400 francs to

and collapsed again, and this several times for about 10 or 12

repair she wants it to stay for when Tien comes home. When the

seconds. The moat around the house, 60 feet wide, moved with

weather was bad, she herself did the same and used his small

some wide waves to the sides. Servants in the kitchen, which is

carriage, which you may do. Another good option is to have

below the dining room, had felt the same movement, and had

the horses harnessed to some rental carriage. There are always

rushed anxiously to me. There was no wind. For some time I

various varieties in The Hague.486

was under the impression that the arsenal of the Duinkerkers had been completely destroyed by gunpowder, as it was daily

An even more convenient mode of transport, which Constantiijn

expected that that town would be besieged by our army, and set

does not mention for the moment, is of course the barge.

on fire with flares and artillery. But from so great a distance there

No doubt Christiaan used this regularly as well. He already

could hardly have been such great air pressure and not a sound

mentioned the awkwardly early hour of the last sailing from

or bang heard. Two days later we understood that no move had

The Hague to Hofwijck. At Hofwijck he daily sees dozens of

been made at Dunkirk, and that it had therefore really been an

these boats being towed by a horse, or sometimes by the skipper

earthquake. And this one also frightened everyone in Amsterdam

himself, every day. He sketches them and they inspire him

and Antwerp. To an Amsterdam observer it seemed as if waves

to think about the towing movements. Can this movement be

were moving from north to south (from north-northwest to south-

described by a mathematical formula? In the fall of 1692, he tries

southeast), and that everything was shaking. It is said that towers

to make a device, with which he can simulate towing movements

in particular swung in an amazing manner, and that in some of

and investigate further. In his observations on the water, he also

them the bells began to ring of their own volition. My caretaker,

notes that movement and speed are relative. The speed of the

engrossed in work in the garden, had felt nothing; I think because

barge relative to the flowing Vliet water is different from the

he was moving himself. Shortly after the movement ceased, I

movement relative to the Vliet bank. Meanwhile, Christiaan’s

went upstairs to inspect the barometer.

experiments with maritime clocks continue. Various test models

It stood at 12 degrees, whereas the previous days it had stood

are taken on distant voyages. Yet he does not succeed in making

at 14° and 16°. But the next day it dropped further to 10°; and

a reliable maritime clock that would run accurately despite wave

it rained abundantly. Everywhere in Zeeland, in Flanders in

movements and other disturbances at sea.

the forts of King William, Liege, Cologne, Paris, London, and in Scotland the same movement has occurred. In Hamburg it does

An earthquake at Hofwijck

not seem to have been observed. In Liege it was more violent, not

On a sunny Thursday afternoon, September 18, 1692, around

without some damage. The time there was a quarter past two, so

2:30 p.m. the inhabitants of Holland, France, Germany and England feel the ground move beneath their feet.487 Eyewitnesses

earlier than here.

describe seeing the street undulate like the sea and many people

cause of such a quake: If the Earth is rising and sinking by some

Naturally, the scientist Christiaan wonders what could be the

135

3.72 View of the Vijverberg and surrounding buildings from the Grote Kerk of The Hague. Engraving A. Rademaker after a lost drawing made by Constantijn Huygens II on June 4, 1665

3.72

kind of waves, it must be hollow under the ground, or resting

my mind when I saw that a glass, which was in front of me, also

on water that then moves like this. But from where does its

shook so much that wine spilt out and everyone immediately

movement come? More likely is a cavity in which vapors collect,

exclaimed, an earthquake, an earthquake! We all ran out of the

although they do not ignite as they do in the air when it thunders.

tent to the house where the King was staying. Halfway there we

From the distance over which this sequence extends, could

saw, among others, cook Ulrich who shouted: 'Il y a une alarme

anything be deduced about the depth of the cavities and of the

au quartier du Roy (There is an alarm in the King's quarters)'

vapors?

and we then heard the drum begin to sound the alarm. The earthquake, which lasted no more than two minutes, was then

At the time of the earthquake, Christiaan’s Brother Constantijn is

over. The King, at the shout of 'Sauve le Roy (save the King)' in

on campaign with King-Stadholder William III near Grammene

the throng of people who wanted to go out, had fallen, and De

on the river Leie near Deinze in East Flanders. He is in camp

Montpoullian (lieutenant-general) had cut his shin. Borselen

having a meal when the sudden quake causes some panic. He

(diplomat), who came from Ghent in the evening, said that the

notes the following in his travel journal:

quake had been very strong there and the streets were full of

While we were sitting at the table at about 2:30 in the afternoon

damaged chimneys and gables everywhere.489

and dessert was being served, an earthquake occurred and shook our table back and forth. I thought it was from a horse or

Santje, Constantijn’s wife, also feels the earthquake in the large

something, which had gotten tangled in the ropes. But I changed

house on the Plein in The Hague. She reports this in a letter to

3.73 View of the Oude Hof on the Noordeinde from the Grote Kerk of The Hague. Drawing Constantijn Huygens II, June 4, 1665

136

3.74 Girls' heads, drawn around 1660 by Christiaan Huygens, right through the calculations in his workbook. 3.75 Girls' heads, drawn by Christiaan Huygens on a narrow draft strip

3.74

3.75

her husband, who writes about it in his diary:

In the summer of the following year Suzette is again at Hofwijck.

My wife wrote that at the time of the earthquake [...] she was

This time Constantijn’s wife’s report is more revealing, as is the

walking in our garden and had seen the long wall shake

note Constantijn makes of it in his diary. Madame de la Ferté

completely and that some people in The Hague had been lifted

had clearly been forthcoming so Christiaan could no doubt have

up chair and all and others had become indisposed by the

enjoyed himself with her:

movement.490

Thursday, July 2, 1693. Received a letter from my wife. She wrote that Brother Christiaan had again had Madame de la Ferté with

A late love at Hofwijck

him in the country (at Hofwijck) and that he had been able to

In this same autumn of 1692 Suzette and her youngest daughter

enjoy himself to his heart’s content because, according to reports,

stay with Christiaan at Hofwijck for about ten days. Sister-in-law of course hastily reports this latest news to her husband, who is

she had not been very reluctant.492 Was this her last visit? The popular press is silent on the matter.

still staying with the King elsewhere.

Christiaan seemingly suffers from her absence. At the bottom of a letter, written to him by Leibniz in June 1694, Christiaan notes,

At the beginning of October Constantijn is in The Hague for a

in addition to melody notations, the words of a French song.

short time where, as usual, he receives Christiaan for a visit and

Translated, these words full of longing for an absent lover read

of course for dinner. Again it is Constantijn’s diary in which it is

thus:

noted: Thursday, October 2, 1692. In the morning Brother Christiaan was

What a cruel torment, what a dreadful time

with me, about whom my wife had written me that he had had

Is for a heart, tender and faithful,

Madame de la Ferté with her youngest daughter staying with him

your absence.

at Hofwijck for eight to ten days. He ate with us in the afternoon

All pain cramps together in her.

and evening.491

But above all, how cruel she is To a happy lover.493

137

3.76 Design drawing Christiaan Huygens in his workbook for a mobile chassis with folding mast for a tubeless telescope, 1692

138

3.77 Notes Christiaan Huygens on theories of motion in his workbook, 1692

139

3.78 Tubeless telescope. On the left of shelf ƒ a ball joint makes the objective attached to it rotatable. A cord was used to adjust the height of the whole along the mast. Drawing Christiaan Huygens, 1684

140

3.79 Design sketch for a tubeless telescope. Drawing and handwriting Christiaan Huygens, 1683 3.80 Design sketch for a 44foot square tube telescope. To the right, various set-up options. Drawing and handwriting Christiaan Huygens, 1693

3.79

A telescope for gentlemen of distinction Yet Christiaan is not sitting still at Hofwijck. He is working on the large telescope, for which he of course made the lens himself. Such a telescope is also an attraction for guests at Hofwijck, thus a new entertainment for the old country house. He writes about it to Constantijn, who is travelling with the King on a southern campaign against the French: Hofwijck, September 1, 1693. During your campaigns I spend my time quietly at Hofwijck, where a few days ago I had a nice square wooden tube made for my lens (with a focal length) of 45 feet, mainly to please gentlemen of standing, who ask me to show them the moon and the planets, and who have too much trouble with the tubeless viewer, which I prefer myself.494 At the end of September Constantijn is back in The Hague. Of course he goes to admire the new attraction at Hofwijck for himself. He writes about it in his diary: Wednesday, September 30, 1693. Brother van Zeelhem ate with

3.80

us. In the afternoon I went with him to Hofwijck. There we saw his wooden tube, the 45-foot telescope.495 The following spring Constantijn wants to go to Hofwijck again to see a new ‘pendulum clock’ invented by Christiaan. He is unsuccessful the first time, but six months later he gets to see and hear all the more at Hofwijck. During this last visit Constantijn probably also managed to convince his Brother of the absurdity of his plan to move to Utrecht. Christiaan hoped, wrongly, to avoid paying some of the taxes he hated. Again it is Constantijn’s diary that tells us: Friday, May 21, 1694. Brother van Zeelhem had had dinner with me and was going to take the barge in the evening to stay at Hofwijck. He would wait for me so I could see his new pendulum clock. But since I was lingering a bit too long in the evening, he was already gone when I arrived there with Sint Anneland.496 Friday, October 8, 1694. In the afternoon Brother Christiaan ate with us. [...] In the afternoon I rode with him to Hofwijck and saw his newly discovered pendulum. He had a telescope in the window, with which you could see the stars during the day. He told me that three Jesuits from India in Armenian clothing had been with him. I also saw the manuscript of his book on the planets.497 Saturday, October 9, 1694. [...] Brother Christiaan wanted to live in Utrecht at this time in order to partly avoid paying the 200th penny tax. But after giving this matter some more thought, he realized that it would be of little benefit to him. Therefore he again rented his room in The Hague, which he had given up.498

3.81 Christiaan Huygens with telescopes. Lithograph Tresling and Co, 1870

141

The world observer Christiaan had started working on the book on the planets, mentioned in Constantijn’s diary, at Hofwijck shortly after he had installed his new telescope there. In this book Cosmotheoros (Observer of the World) Christiaan gives extensive reflections on the universe with its planets, with the Earth and other wandering stars. He describes in detail his ‘conjectures’ as to whether life exists on those other planets and stars. Christiaan thinks there is. Earth, like the other stars and planets, is part of the universe. All are spherical, rotate on their axis, have gravity and clouds and receive the light of the sun. Therefore, it is illogical to think that life occurs only on Earth. Moreover, God created the Earth so that His creatures could admire and sing of His greatness. Why would God not have had this intention with the other planets? So elsewhere in the universe there are bound to be animals and people like us. Christiaan will undoubtedly have discussed many of these conjectures with his Brother Constantijn on the many occasions when they gazed at the stars together. Cosmotheoros was therefore written as a long letter, in Latin, to Constantijn: It can hardly be otherwise, dear Brother, than that someone who, with Copernicus, is of the opinion that the earth, which we inhabit, is one of the wandering stars which revolve around the sun and receive their light from the same, must at times think that it is not unreasonable to suppose that all the other celestial spheres, like ours, have their ornament and perhaps also their inhabitants.499 Especially in England, the appearance of this book by the widely respected Christiaan was awaited with great curiosity. On March 5, 1694, Constantijn had already written to him about it from Whitehall, where he was again staying with the King: The people here [...] wait with great impatience for the moment when your book on the planets will see the light.500

On January 7, 1695 it became clear that bookseller Adriaan

3.82 Solar system and Saturn with ring. Image from Cosmotheoros, 1698

on February 23, 1695, asking how things were going with the

Moetje(n)s was willing to publish the book. From The Hague,

‘planetography’ and the book about it.502 Christiaan writes back

Christiaan writes to Constantijn that same day:

to him about this on March 4, 1695. In the same letter he tells

Mrs. van Zuylichem told me a few days ago that in your last letter

about having read a eulogy for the dead English queen. He

you had inquired as to how far I was with my book on the planets,

criticized it extensively and did not like it. He ends his letter by

which people were so eager to see in England. I can tell you that

asking whether Brother Constantijn might also have written a

today I spoke with Moetjes, the printer in question, and we have

similar poetic eulogy.

reached an agreement. In 15 days they will start working on it and

It would be the last words Christiaan wrote to Constantijn:

it will be ready within two months. Perhaps you will be back here

The Hague, March 4, 1695. Herewith the answer to your letter

by then.501 After two months, the first part of the book is indeed finished.

of February 23, which I only received at the end of last month. In

Constantijn, however, is still in England. In early January,

would begin printing my Cosmotheoros. Book dealer Moetjens is

Mary Stuart, the Queen of England, had died. The burial of the

the cause that this has not yet progressed as it should. Although

embalmed body would not take place until the following March

the first part has now been printed, he is making me wait further

15. This results in a much longer stay in England. The funeral

because he is giving priority to other works, which he has to

procession is watched by Constantijn from his conveniently

deliver at the Frankfurt Fair. He has given me his word that he

located room. Meticulously, he notes everyone he had invited to

will continue next month. In the meantime, I am still making

watch the spectacle with him.

corrections and additions in this work, which makes me regret

Incidentally, he had not heard from Christiaan for some time.

the delay less. [...] I have read an English poem on the death of

That’s why he had written to him again from Kensington, London,

the Queen, which is said to have earned the author 100 guineas.

142

my previous letter I already told you that within a few days they

3.83 Saturn, drawn by Christiaan Huygens on December 8, 1675 with notes 3.84 Notes by Christiaan Huygens regarding his observations of Saturn at Hofwijck, August 24, 1693. Next to Saturn, Christiaan drew a standard for his telescope 3.85 Vignette of printer and bookseller Adrian Moetjens, 1701 3.83

3.85

A melancholic disorder Christiaan’s illness had begun much earlier in France and regularly recurred. Each time he suffered a serious setback, he seemed to collapse mentally, especially when he felt his honor was being compromised. His mental powers declined sharply due to deep depressions that beset him with various physical complaints such as severe headaches. Worriedly Father Constantijn had written in 1676 about ‘a melancholy illness from which my precious son is suffering in Paris’. Christiaan himself had subsequently reported several times on his poor health and his ‘melancholy moods’. He had consulted several doctors about this. One attributed it to stomach problems, another to black bile. One thought that if he had problems he should immediately stop studying and thinking, another thought that he should avoid eating raw vegetables. Christiaan himself was of the opinion that eating the red fruit that grew abundantly at Hofwijck contributed to his getting better. A letter from Christiaan around 1692 from Hofwijck to Constantijn: It is, as you write to me, not only because of the loneliness that the work does not go smoothly, but also because I have had so much trouble these days with toothache again and with the resulting headache.504 On May 20, 1693, he writes to the French mathematician Guillaume de l’Hospital: I have not yet recovered greatly from an illness that has tormented me very much for three weeks now with pain in the liver and gall.505 More letters to Constantijn follow a year later with other details: Hofwijck, June 6, 1694. I am no longer at the mercy of these interruptions and irregularities of the pulse, but feel it again from time to time. I do fear that I shall find no other remedy than abstinence from studying which I consider so much lost time.506 Hofwijck, July 27, 1694. I have been feeling better for some time as far as the irregular pulse rate is concerned, and in 3 or 4 days I have made good progress on my Treatise on the Planets. When

3.84

the sickness comes, I feel a little pressure near the heart and I don't know if you see more in it than I do, I don't like it. [...]

then feel the pulse becoming irregular, I notice that it skips a

Have you written nothing on this subject?

few beats and then, with a strongly irregular beat, begins again.

503

It is not known when Constantijn received this letter. Curiously,

I then have to get up, walk and immediately stop any thinking.

he did not record in his diary the receipt of this letter, to which

Doctor Liebergen says that this is due to pressure at the opening

he had so much looked forward. Was it the hustle and bustle

of the stomach [...]. As a remedy he advises me to refrain from

surrounding the Queen’s funeral that took too much of a toll on

eating foods and pulses that are too raw, but I still believe that

him? Was it the disturbing reports of Christiaan’s increasingly ill

the refreshment of the blood, thanks to eating cherries and red

health that soon began to fill his diary?

berries, has made me better.507

143

3.86 Christiaan Huygens in blue-gray dressing gown with a long blond wig. In the background an evening sky. Nicolaes Maes, circa 1680

3.86

During the days that he is bedridden with illness, Christiaan receives a great deal of support from Grietje, the sister of Mathijs, the gardener at Hofwijck. In the autumn of 1694 the gloom and melancholy set in again, with weeks of sleepless nights. Christiaan seems especially afraid of losing his inspiration, yes, even his ability to think. The idea that one can no longer rely on one’s own intellect must have brought the rationally minded Christiaan to the brink of madness. Around November, in his notebook, among the formulas and calculations, he jots down some Latin lines of poetry. The lines seem intended to encourage himself. However, especially the last sentences speak of deep despair and great fear: Sleep but in deep rest: a sleepless night corrupts the life of the day that awaits. Stay strong, avoid ailments that undermine your body. A languishing body makes mind and spirit quickly disappear. A deathly ill body full of pain and full of melancholy poisons actions and thoughts with a bitter gloom and thereby makes one's own judgment highly suspect.508 On March 23, 1695, Christiaan records his last will with the notary Adam van der Smalingh in The Hague. In the deed, the notary declares that Christiaan is physically ill, but of sound mind. The will, which may only be opened after Christiaan’s death, is sealed with a red silk thread and four seals. After this, it soon becomes clear that Christiaan’s health is rapidly deteriorating. Santje keeps her husband Constantijn, who was still staying with the King in England, closely informed

3.87 Constantijn II, in later life. Drawing J. de Bisschop

through various letters. With the help of these letters Constantijn punctiliously records the rapid and dramatic course of the illness

very worst thoughts. Sister and she did everything to help him

in his diary, apparently matter-of-factly, but sometimes with an

get rid of them, but to no avail. It was fortunate that he did not

outcry of deep emotion. Some diary excerpts:

contract a fever, because otherwise, they feared, he would not last

Saturday, April 16, 1695. Received mail from my wife in the

long, he was so weak. [...] The second letter of April 22 mentions

morning, three dispatches at once. She wrote in all of them that

that Brother had taken a bath the previous day, as he had done

Brother Christiaan was still in a very bad condition, and in the last that he could not sleep, that he himself feared he would go

before in Paris.510 Friday, April 29, 1695. My wife writes that Brother Christiaan

mad, and that it was very dark in his room. No one was allowed

had a grievous illness which looked very much like madness and

to visit him because if he talked a lot his condition immediately

in which he sometimes raves and said such desperate things, that

worsened. She also wrote that he greatly longed for my coming

one was frightened by it. Liebergen said it was the black bile.’511 At the end of May 1695, Constantijn comes to The Hague for a

and thought that the joy of seeing me would make him better. Tuesday, April 26, 1695. At 10 o'clock in the evening letters

509

short time with the King. He arrives there on May 24. The next

arrived from The Hague. In the first dated the 14th my wife writes

day he hurries to see Christiaan, who was in a bad state on his

that Brother was in very bad shape and that he was having the

sickbed.

144

3.88 Encampment of the stadholder's army on the market square at Limal. Drawing Constantijn Huygens II, September 17, 1675

Constantijn notes the following about this in his diary:

to see him in the utmost misery. Otherwise, he wished me luck

Wednesday, May 25, 1695. My wife told me of the wretched

on the journey ahead.513

condition of Brother Christiaan, which grieved me greatly. [...] In the afternoon I visited Brother Christiaan with my wife,

During the campaign that follows, Constantijn again makes

whom I found in a very bad condition. He complained mainly

many diary entries that paint a remarkable picture of a

of pain in his body and of bedsores. My wife told me that all

seventeenth-century army in the field.

instruments with which he could injure himself had been taken away from him because he had started to cut himself with a

Once again Constantijn pays close attention to all the human

shard of glass. He had also stabbed himself with pins and put

misery that particularly affects innocent civilians. Beautiful

a marble in his throat. A servant who heard him choking had

are the drawings he makes of various places where he stays for

rushed in and got it out again, clapping his back. [...] Sometimes he would have hallucinations and imagine hearing

shorter or longer periods.514 In between all the notes are the necessary messages about

people talking, who were not there and said that the people,

Christiaan. His wife sends him letter after letter about this. In

who heard of his opinions and feelings about religion, would

early June the army is at Borselen, five hours from Ghent:

tear him apart. The only hope he had was that this would not be

Friday, June 17, 1695. Received a letter from my wife. She

taken as the ravings of a madman. Sometimes he shouted loudly

writes that Brother Christiaan was again worse than before and

and said wicked things.512

had been delirious for 2 or 3 days. That he now imagined that people wanted to put poison in his food and therefore he would

In early June 1695, Constantijn has to leave again. The war

not eat. He became so thin that it was incomprehensible that a

against France calls him with the King to the battlefield in Flanders. The parting from Christiaan is painful:

person could still be alive.515 Friday, June 24, 1695. Had a letter from my wife of the 22nd.

Friday, June 3, 1695. Brother Christiaan had slept reasonably

She writes, that with Brother Christiaan it was still the same,

well the previous night and had not raved too much. But the doctors, Liebergen and Van Wouw, thought him very weak and

and no sign of improvement. Poor man!516 Friday, July 8, 1695. Had a letter from my wife in the morning.

said he must take strong food or he would not get through.

She writes, that with Brother Christiaan it was still the same

When I came to his door in the evening with my wife, he

and that the doctors said, that he could live like this for another

informed me through his servant that I could come in if I wanted

year.517

145

3.89 De Crabbe, the second house from the right, and surrounding houses on the Noordeinde. The house where Christiaan died was next to De Crabbe.

3.90 An unexecuted monument to Christiaan Huygens to be erected on Lange Voorhout in The Hague. A test model stands in the garden of the Koninklijke Hollandsche Maatschappij der Wetenschappen in Haarlem. Lithograph design P.J.H. Cuypers, 1908

The end of a great scholar In July 1695, the army is at Namur. Here, on July 11 Constantijn hears the news that his Brother Christiaan had died. The latter had fallen asleep for good on Friday July 8 in his rented room at Noordeinde [current location: probably Noordeinde 14 or 16], where he usually spent the winter months. Seemingly unmoved, Constantijn notes in his diary what his wife writes to him about the last days of this favorite brother. Or was he above all numbed by the grief? He also mentions his businesslike wife’s fear that Christiaan may have remembered his beloved Suzette too generously in his will. Is it because of the shock of the death report that Constantijn writes Wednesday instead of Monday at

3.89

the 11th of July? By now the King is also aware of the death of Constantijn’s famous Brother and inquires about it with interest: Wednesday, July 11, 1695. Had letters from The Hague in the morning. My wife writes from Saturday the 9th that she had written me in her previous letter (of Wednesday the 6th) that things were still the same with Brother Christiaan, but that there had been a sudden change last Thursday, so that together they had found it advisable to have a minister (Mr. Olivier), an acquaintance of Brother, visit him. He spoke to him at length, said two prayers for him. But he replied in the same way as I had heard him speak the other day. Whatever was said or not said to him, he could not be dissuaded from his opinion, which saddened them all greatly. She further wrote that he deteriorated so much that night that someone came to fetch my wife at 3:30 in the morning. When she got there, she found him unconscious. This went on until Friday morning, when he passed away very gently. Since my departure he had lost so much weight that it was impossible to imagine. It was thought that he would be buried next Thursday. After that they would open his will. It was said that Madame de la Ferté was also in it, but we had to wait and see what the truth was. [...] Having received the said letter from my wife, I was too restless to speak to the King and decided to do so in the evening. [...] I waited until after half past nine and was finally called in. [...] The King, who was to eat alone upstairs, said, after I had untied the papers 'Well, you have suffered a loss'. When I said yes, he asked 'How did it go, what did he die of?'518 Friday July 15, 1695. Had a letter from Santje from the 13th. She wrote that Brother would be buried the next day day.519 3.90

146

3.91 Christiaan Huygens was later depicted on banknotes and coins. Left Christiaan Huygens and Hofwijck on a Dutch banknote, designed by J.F. Doeve, put into circulation in 1955. At the right Christiaan and his Father Constantijn depicted on an ECU coin from 1989, a precursor to the Euro. The Latin text in the edge is a quote from Christiaan engraved in one of his self-sharpened lenses: ‘they brought the distant stars closer to our eyes’. 3.91

And so it happened. On Thursday, July 14, 1695, Christiaan is buried in the crypt with his parents in the old church of The Hague: the Grote or St. Jacobskerk, amid repeated solemn ringing of bells. As at the funeral of his father, many flambeaux illuminate the procession in the darkness of the night. In front of the coffin the family crest is carried that will be placed on the family tomb in ‘the east side of the choir’. Fourteen times the funeral bells are rung for the deceased. A diligent sexton notes the receipt of the dues in the burial book: ‘July the 14th. A grave opened for the lord of Zelem 6 [gulden]. [...] Ringing of the bells: fourteen times for the lord of Zelem 45 [guilders] 10 [stuivers]. [...] The hanging of the coats of arms: a coat of arms of the lord of Zelem 40 [guilders]’.520 In the course of the years the funeral plaque would disappear again, just as that of his Father Constantijn. And just as a tombstone was probably never placed for Father Constantijn, neither was one for Christiaan. Thus, there is now no monument that precisely designates the final resting place of one of the greatest scientists Holland ever produced. 3.92 The Grote Kerk in The Hague, where Christiaan Huygens is buried, as are many of his family members. Etching D. Marot the Younger, early eighteenth century

147

4.1/4.2 Lodewijck Huygens (1631-1699) and Jacomina Teding van Berkhout (16451711). Jan Mijtens, seventeenth century

1695-1750

IV Hofwijck's heirs care and neglect Chronology 1695-1750521

succession for the Hofwijck country house in his will. It was now the turn of his eldest grandson, Constantijn III, the eldest

1695 - 1699

son of Constantijn II. Under Christiaan and Lodewijck the

After the death of Christiaan Huygens522, the brothers Constantijn II

house had been neglected. Constantijn III has repairs made,

and Lodewijck are the remaining heirs of Hofwijck. Lodewijck lives at Hofwijck with his wife Jacomina Teding van Berkhout.

which he managed to charge to his aunt Jacomina Teding van Berkhout, Lodewijck’s widow, after a lawsuit.525 A notarial deed

Constantijn II, in the last years of his life, is still occupied with the

dated April 26, 1703 shows that he was no longer alive at that

completion of Christian’s book Cosmotheoros. However, he would

time.526

not live to see the final publication in 1698. He dies in 1697. Lodewijck dies in 1699.524 With Lodewijck Huygens has also died

1703 - 1746

the last son of the creator of Hofwijck.

According to the arrangement laid down in Constantijn’s will,

The following years of the history of the habitation are described

Hofwijck will now pass to his last grandson Constantijn IV,

below in chronological order.

the eldest son of Lodewijck. Constantijn IV, born in 1675, is

523

28 years old when he received possession and usufruct of 1699 - 1703

Hofwijck. Under him Hofwijck experiences the colorful autumn

Constantijn Huygens had precisely indicated the order of

of the Huygens period.

4.1

148

4.2

4.5 Hofwijck with elongated French balconies and 'curly garden patterns from the baroque style'. Detail drawing presumably I. de Moucheron, early eighteenth century

4.3 Medallion portrait Constantijn Huygens II by J. Cavelier, 1690 4.4 The god Saturn as 'father time' with Christiaan Huygens's most important discoveries, the pendulum clock and the ring around Saturn. This homage to Christiaan was probably commissioned by his nephew Constantine IV. H. Carré II, 1737 4.3

4.4

4.6 Hofwijck on the map by Kruikius, with in the modernized garden circular patterns and a rotated square. To the right of the lower garden of Hofwijck is the Voorhoff. Detail map by Kruikius brothers, 1712

During his Hofwijck period, Constantijn IV devotes himself with great dedication to collecting and reading his grandfather’s writings, letters and notes. He arranges these carefully and chronologically into a ‘diary’, which would be published some century and a half later. He makes transcripts of his grandfather’s Latin letters, perhaps with the intention of publishing them, in accordance with the wish expressed by his grandfather in his will. He also creates ‘memorials’ for his deceased relatives in other ways. He probably commissions the painting Hendrik Carré made in 1737 of ‘Father Time’, depicting the greatest discoveries of Christiaan Huygens. He also had Johannes Leemans II make two matching paintings, two still lifes with books, scientific instruments, two plaster portrait medallions and a simple ‘anamorphosis’, an almost burned-out candle, reflected in a shiny cylinder. Recent research has led to the conclusion that the medallions show the profile of Constantijn IV’s parents: Lodewijck Huygens and his wife.527

In 1708 Constantijn IV marries Philippina Doublet, his niece and also granddaughter of Constantijn I. Philippina is the daughter of Philips III Doublet and Suzanna Huygens, the only daughter of Constantijn I. So two grandchildren of Constantijn live at Hofwijck at the same time.

4.5

Constantijn IV adapts the house and garden to the latest fashion in several respects. The square windows in the façades are replaced with so-called French balconies, elongated windows turning inwards to floor level, with a safety railing at the bottom. French influences are also visible in the garden: the austere Dutch classical style is supplemented by elements from the more exuberant French baroque. Boxwood parterres are created, which are filled with often gracefully curling flowers or colored gravel. The art of stylising and garden ornaments also make their appearance at Hofwijck. These changes are clearly visible on Isaac de Moucheron’s drawing of Hofwijck in the early eighteenth century528 and on the map of Delfland published in 1712 by the brothers Nicolaes and Jacob Kruikius. This Kruikius map shows that the main structure of paths and water-filled ditches from the time of builder Constantijn is still present, as well as the pond, the islands and the hillock. However, innovations have been made in the orchard and on the islands. For example, each of the islands has an elongated section with an octagon and a central circle within it, all presumably constructed from low hedges. In the fruit orchard, a large section 4.6

149

4.7 Bird's eye view of Hofwijck and the Voorhoff around 1712. Drawing by R. Jongepier based on the map by Kruikius, 1712

150

4.7 Een deel van Hofwijck met rechts daarnaast in het midden De Voorhof.f Detail tekening Robbert Jongepier naar Kruikius, 2007

4.8

4.8 Hofwijck in the Land Tax Register of 1733. The library room mentioned here is probably the small building drawn in the orchard on the west side in figure 4.7. The orangerie is the former Voorhoff, which can be seen in the middle on the right of the orchard. The gardener's house on Heerwech, which still belongs to Hofwijck, diagonally across from the orchard, is mentioned in the cadastral register under number 96

can be seen with two central paths, at right angles to each other, which cross in the middle. The four ends are also interconnected to create a remarkable pattern of a square with a quarter-turn square within it. Presumably the various compartments thus created were filled with flowers or colored gravel. It is clear that the emphasis has now shifted to the central axis, in which even a gatehouse or a pavilion has been placed overlooking the waterfilled ditch on the Heerwech. In 1727 Hofwijck is enlarged with the addition of the Voorhoff, an old farmstead with arable land, measuring 2 morgen and 4 hont, bordering Hofwijck directly on the east side.529 Constantijn IV uses this as an orangery, where during the cold and wet winter months his precious orange trees and other vulnerable pot plants could overwinter. Around 1733 the real estate in Holland and therefore also in Voorburg is revalued by the government with regard to the land tax and the dues accruing from it. It is all recorded in a land tax register.530 Hofwijck is described under number 214 as ‘a country house of pleasure with a library room and orangery’.531 Over the years the estate of Grandfather Huygens had almost completely come into the possession of Constantijn IV and his wife. As a result, the couple also lived in the house on the Plein just as in Grandfather’s time. In the Voorburg auction books traces are visible of Constantijn IV’s involvement with the trees at Hofwijck. For instance in 1721 he has several lots of oak and alder wood sold as coppice-wood at Hofwijck. A few years later he sells alders and elms near the Vliet, the islands, the forecourt and the avenues. In the orchard 20 cherry trees, 3 pear trees and 2 plum trees are sold. In the upper garden 19 oaks will be cut down. The buyer must bring ropes and hoists so that no damage is done to the elm hedges and yews, timbered outbuildings, statues, bridges and fences.532 Constantijn IV dies in August 1739. On the 17th of the same month he has a ‘first class’ burial in the Grote Kerk in The Hague.533 Hofwijck is now registered in the name of his wife Philippina.534 She dies seven years later in 1746. From their marriage a daughter, Susanne Louisa, had been born in September 1714. They had already buried their previously born son Lodewijck Philips at an early age on September 7, 1711. Susanne is thus the only heir who inherits both Hofwijck and the house on the Plein.

151

4.9 The Kloosterkerk on the Lange Voorhout in The Hague. Drawing by J.E. La Fargue, 1770

4.10/4.11 Still life with mirror anamorphosis and portrait medallions of Lodewijck Huygens and wife, commissioned by their son Constantijn IV. Johannes Leemans II, circa 1710 The compass and ruler indicate the achievements of Constantijn Huygens I in the field of architecture. The books depicted bear titles that appeared in the Huygens Library, books on

drawing, optics, anamorphoses and physics experiments, the specialty of Christiaan Huygens, which also held the great interest of his Father Constantijn. The almost-burnt candle reminds the viewer of the finite nature of life. The whole forms a tribute by Constantijn IV to his deceased parents and his famous grandfather and his learned son

4.9

1746 – 1750

and his new country estate Wildrust more than adequate housing.

Susanne Louisa Huygens is the last direct descendant of

Soon he sells, in parts, the Voorburg country house. First to be

Constantijn I to bear the name Huygens. By inheritance she is a

sold is the Hofwijck upper garden, which had probably been

lady of Zuylichem, Zeelhem and Sint Anneland.

completely cleared by this time. According to the deed Willem

In November 1747 she marries Willem van Wassenaer, lord of

van Wassenaer sells on August 14, 1749 to Hendrik van Leeuwen

Ruyven and the highest official of the Delfland area water control council Hoogheemraad of Delfland.535 Shortly after his marriage

for 1,050 guilders this part of Hofwijck, which was described

Van Wassenaer buys the Wassenaar country estate Wildrust in

measuring 2 morgen 3 hont, located to the east of the Molenlaan,

January, 1748. He has little interest in Hofwijck. Already on

bordered to the west by the buyer himself, to the south by the

December 18, 1748 and the following April he has an auction held in Voorburg.536 Among the items sold are chestnuts, beeches,

Heereweg and to the north by the Achterweg.

as: A plot of fertile land, situated on the Westeinde of Voorburg,

oaks, alders, lindens, 44 orange trees in tubs, a wooden games

A year later the rest of Hofwijck followed.537 On November 1, 1750 Willem van Wassenaer and Susanne Louisa

house, 3 lead statues and their pedestals, a beehive, ladders, a

Huygens authorize the Delft notary Prijn to transfer the ownership

copper watering can, an orangery shovel and other garden tools. It

of ’t Voorhoff, the Hofwijk farmstead and the gardener’s house

is likely that Willem van Wassenaer finds the house on the Plein

opposite Hofwijck to three named buyers. ‘t Voorhoff goes for

4.10

152

4.11

4.13 The Huygens House on the Plein at the time of Susanne Louisa, the last great-granddaughter of Constantijn Huygens. Engraving J.M. Kok, 1750

4.12 Lange Voorhout with the Kloosterkerk on the left. Susanne Louisa Huygens and her husband were buried in this church. Engraving by G. van Giessen, 1730

4.12

4.13

3,675 guilders to Gerrit van der Spek, the owner of the small

505 guilders for it. And so, 111 years after Constantijn I created

shipyard that bordered it on the south side.

his beloved country house, Hofwijck ends up in alien hands.

On November 4, 1750 the ownership of Hofwijck is transferred

Susanne would live for many years afterwards, without Hofwijck.

to Jacob des Tombe. For 4,500 guilders he receives: A pleasant

After her husband’s death in 1764, she sells the Wassenaar

and well situated country estate, named Hofwijck, consisting

country house Wildrust to retire completely to the quiet house on

of a beautiful mansion with several rooms and quarters and a

the Plein, with the family portraits and other memories. She dies

separate house or library, with a well planted garden, decorated with stone and lead statues with their pedestals, avenues and

in December 1785, at the age of 70, from ‘decline of strength’.538 The house on the Plein was also sold to a stranger, as happened

a pond full of fish, together measuring about 2 morgen 200

earlier with Hofwijck. The manuscripts of Constantijn I and II

roeden [...] stretching in front from the Heerewegh to the Vliet at the back[…] to the east the Voorhoff and to the west Hendrik

in this house were auctioned and in 1937 came largely into the possession of the Royal Library in The Hague.539 The manuscripts

van Leeuwen. Also on November 4, 1750 the gardener’s house

of Christiaan went to the University of Leiden, which had

of Hofwijck is transferred to Johannes van Bennekom. He pays

previously inherited his scientific works.

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4.14 Catalogue of lenses written by Constantijn Huygens IV. Around 1720, Constantijn IV made a list of the lenses and related objects that he had obtained by inheritance and that came from his two uncles Constantijn II and Christiaan. The catalog, a page of which is reproduced below, was probably made with a view to an intended auction of the 85 enumerated objects

154

4.15 Introduction to the catalog of lenses written by Constantijn Huygens IV. This also mentions the planetarium and a maritime clock. The auction did not take place, the collection remained intact. However, in 1725 a 170-foot lens was sold privately to Isaac Newton and a second one to another member of the Royal Society

155

1750-1913

V Hofwijck in alien hands division and impending demolition Chronology of 1750-1913540 1750 - 1759

He moves to Bergen op Zoom shortly after he sold several

The new owner of Hofwijck, Jacob des Tombe, is captain of

‘damaged lead statues’ at an auction. In 1788 he sells Hofwijck

the Delft militia and married to his cousin Susanna Helena

by mutual agreement to Cornelis Johan Bloys van Treslong. The

des Tombe. With great zeal he refurbishes his newly acquired

price is 7,200 guilders. The garden, which at that time consisted

estate according to his own tastes. The painter Jacob Xavery is

entirely of pasture, is not included in this sale. Two years later it

commissioned to embellish the interior. Above the door to the

is sold again by public auction, also to Cornelis Johan Bloys van Treslong.545 The country house is once again in one hand.

reception room and above the mantelpiece he paints some of his famous ‘whites’ (trompe l’oeils), in white and grey tones with a three-dimensional effect. He also has a new gardener’s house,

1788/’90 - 1837

coach house and stable built at Hofwijck. In 1752 Des Tombe also

Cornelis Johan Bloys van Treslong is at the time of acquiring

regains the upper garden of Hofwijck by buying the plot for 2,384

Hofwijck, according to the deed of sale, ‘captain in the service

guilders from Hendrik van Leeuwen, who had bought it three years earlier for a considerably lower amount.541 Des Tombe also

of the Admiralty in West Friesland and the North Quarter’.

has an auction of household goods. In 1754 he sells alder wood,

Treslong. When they moved into Hofwijck, they already had

oak and beech trees, hedges, fruit trees, box and four large lead

a daughter named Johanna. The family lives in the country

statues with their pedestals.542 On May 16, 1759, Jacob des Tombe

estate permanently, both in summer and winter. Two of their

sells Hofwijck to Jacob Guiot for 6,500 guilders.543

children are born here. Presumably he makes some alterations to Christiaan’s extension.546 In 1795 Bloys van Treslong becomes

1759 – 1781

dike reeve of Delfland, a position he would hold until 1806. In

Jacob Guiot, like his predecessor, comes from Delft. He dies eight

1802 he becomes a member of the Voorburg ‘municipality’, as the

years after the purchase, in July 1767, after which his widow

local government is then called following the French influence

Barbara Durven remains at Hofwijck. She died in 1781. Hofwijck

of the time. In 1811 he is appointed justice of the peace for the

is then auctioned. In the meantime the estate appears to have been

Voorburg area, a position that would be called subdistrict judge

enriched with hothouses in which grapes and peaches are grown.

from 1838 onwards. In 1832, a new land register is introduced

There is also a collection of animals in a small menagerie. In

in order to standardize the levying of land taxes nationwide and

addition to other buildings, there is also a salon or a pavilion. The

to promote legal certainty concerning real estate. To this end,

highest bidder for this pleasant country house and garden is the

all plots and all buildings are redescribed and mapped in detail.

Rotterdam regent Jacob Philippus Bogaert. He pays 11,800 guilders

As a result, we have a clear picture of the location of the various

plus 500 guilders for gardening tools and other movable goods.544

segments.

1781 – 1788/’90

The upper garden still appears to be in use as pasture.

In the year in which he acquired Hofwijck, Jacob Philippus

The Heerwech, which has cut right through Hofwijck for

Bogaert, was a member of the Rotterdam Council and the

centuries, is now called Voorweg and is referred to as a ‘coppice-

Rotterdam delegate to the Chamber of Accounts of Holland. As

wood’ road. The Hofwijck pavilion is located directly on this

patron of the Batavian Society, Jacobus Philippus is known for

road. Diagonally across from the pavilion is a barn. On the east

his strong patriotic sympathies in these troubled times. Around

side there are several patches of orchard, both near the road

1787 tensions mount between the pro-Orange Dutchmen and the

and along the Vliet. On the east side near the road there is also

anti-Orange Patriots in many cities, including Voorburg. Here the

a hothouse. A U-shaped lane as a coppice-wood runs along the

bomb bursts in August 1787. Various Patriot houses are plundered

Vliet and along the outside of the former islands, both on the west

and the residents molested. Hofwijck is also plundered. Shortly

side and on the east side. The former western entrance avenue is

after this looting Bogaert has done with Voorburg and Hofwijck.

now coppice-wood. This is also where a peat enclosure is located.

156

He is married to his cousin Cornelia Geertruida Bloys van

5.1 Hofwijck on a first version of the 1812 Voorburg cadastral registry map with the 1832 plot numbers. Hofwijck includes the plot numbers C602 - C619 and C363 C364 602 road with coppice

[Voorweg] 603 coppice 604 turf shed 605 garden 606 barn

608 hothouse

house and ground [gardener's house and coach house] 611 coal shed 612 house and ground [House Hofwijck with forecourt] 613 and 614 garden 615 pond 609, 616, 617 and 618 orchard 619 avenue with coppice 364 meadow [the upper garden] 363 road as wood coppice [Achterweg] 610

5.2 Hofwijck on the Vliet. One of the few nineteenthcentury images showing Hofwijck with the extension at the rear, partly over the bridge. An old grisaille niche bears the name Hofwijck. Lithograph in Hollandsch Penning-magazijn voor de jeugd, 1836

5.2

607 pavilion

363

604 619 614

613

603

364

602 606

605 607

612 609

615

608

610 616

618 617

611

5.1 Comparison with Kruikius's map of 1712 shows that in 1832 the library on the west side of the former orchard is no longer present, but there is a pavilion, which is also indicated in 1712 as a small building on Heerwech

The House Hofwijck with its forecourt is located in the pond as

On April 13, 1837, Cornelis Johan Bloys van Treslong dies at

of old. On the east side next to the pond are the aforementioned

Hofwijck. His children and heirs decide to sell their father’s

orchards. On the west side of the pond is a garden, as well as

Voorburg possessions, including Hofwijck, at a public auction

on the north and northwest side of the forecourt. On the east

on October 30, 1837.547 Hofwijck is split into two lots: the lot on

side of this square is a house with ground with next to it a

the south side of the road, with the house, and the upper garden

coal shed. The latter house is probably the eighteenth-century

lot on the north side. The road between the two lots of Hofwijck,

gardener’s house and coach house that Jacob des Tombe had

previously called Heerwech or Voorweg, is now called Straatweg

built. Hofwijck has an area of 2,222 ha on the south side of the

for a change. The part of the country estate with the Hofwijck

road, while the upper garden covers 2,365 ha.

house on it is bought for 7,500 guilders by Willem Slotboom and Catharinus Henricus Roelants. The upper garden goes to another buyer. With this sale in 1837 the severance of the upper garden is final. This lower part of the former country estate would never again be reunited with the upper part on the south side of the road. 1837 - 1840 The 1840’s are marked by an economic downturn. Many owners can no longer afford the high cost of a country estate, so many estates are put up for sale. Investors and industrialists often become the new owners, whereby splitting up, demolition and reallocation often promise a better economic return. Slotboom and Roelants are respectively ‘master plumber’ in The Hague and lieutenant-quartermaster at the War Ministry. From contemporary descriptions we know that Hofwijck is not in such good shape at

5.3 The Voorburg corn mill. Front right is the northeast corner of Hofwijck's old enclosure/upper garden. Postcard, circa 1900

this time.

157

5.4 The candle factory with smelter and foundry at Hofwijck on a cadastral registry amendment map of July 1843. The four red squares on the right are the factory buildings with smelter, foundry and candle factory. The red square in the upper left is a new garden house by the road

5.4

5.5 Cadastral registry map accompanying the division and partial sale of Hofwijck on August 24, 1844. On the sold left part there is a hothouse, pavilion, shed and peat barn. On the right part lie the factory buildings

5.5

In the spring of 1838 Mr. Veegens visits Hofwijck, where at that

1840 - 1845

moment the contents are being auctioned.548 He writes that his

The new owners, Constantijn Dominique de Quertemont and

expectations were high, but that the deception was great: many

Lenders de Graaff, do not acquire Hofwijck because of the

trees gone, the former upper garden was a meadow with an inn.

charm it once had to offer as a country house. Constantijn de

Even the famous hillock had disappeared, as had the well-

Quertemont is a tax collector in Wateringen and acted mainly

known Rialto bridge. Inside, it was like a market ‘with grabbing

as a money lender. Leendert de Graaff is a manufacturer. He

housewives and young lasses. Two years after purchasing

is setting up on the east side of the Hofwijck grounds a ‘steam

Hofwijck, Willem Slotboom takes over fellow buyer Roelants’s

smelter foundry and candle factory’. Probably the former

share for 4,000 guilders in August 1839. On November 6, 1840,

gardener’s house annex carriage house next to the forecourt

sixteen months after this acquisition, Slotboom sells Hofwijck in

is converted into ‘the large factory building for smelting and

its entirety again for 7,500 guilders.549

molding with next to it new buildings for candle drawing and

5.6 Hofwijck on the map by S.W. van der Noorda drawn from his similar map of 1838. The garden looks rather wild. To the right of the House the L-shaped gardener's house and coach house can be seen. This later version of the map also shows the railroad line from 1869. Below left of Hofwijck lies Den Honert or The Hoonaert, where in the seventeenth century the family of the same name lived, with whom Huygens had a friendly relationship

158

5.9 Cadastral registry amendment map of 1851 showing in red the barn on the Straatweg built by Groen van Prinsterer for the storage of fuels and the like

5.7 Jonkheer Edzard Tjarda van Starkenborgh Stachouwer tot Wehe (1797-1872), industrialist and landowner. Painting made by his son Willem 5.8 Guillaume Groen van Prinsterer (1801-1876), the saviour of Hofwijck. Photo, circa 1870

5.7

5.8

bleaching’. A new garden pavilion is built on the street side.

scenario. Rustwijk is saved from destruction by the purchase

Manufacturer De Graaff himself will live in House Hofwijck.

on March 3, 1849, by the wealthy Princess Marianne, in the

The factory buildings will be close to this historic residence.

name of her lover Johannes van Rossum.552 For Hofwijck things

But apparently Hofwijck as a candle factory is not as lucrative

initially look bleak. In order to realize a quick sale with the

as the owners had expected. After a few years part of Hofwijck is sold again.550 About half of what was bought earlier is sold

highest possible proceeds the dilapidated estate was divided into

on August 24, 1844. The buyer of this part of Hofwijck - the

auction took place on April 10, 1849, in the inn De Zwaan in

westernmost part - is again a manufacturer, Edzard Tjarda

Voorburg in the presence of the notary Hermanus van Zegwaard.

van Starkenborgh Stachouwer tot Wehe. Eight months later

Eight days later the same notary held the final auction. The

Van Starkenborgh Stachouwer tot Wehe also bought the other,

same person turns out to be the highest bidder for each of the

eastern part of Hofwijck from manufacturer De Graaff and his co-owner for 5,300 guilders.551 However, the factory buildings,

lots. This highest bidder was Abraham Wijnand Renaud, master

with the exception of ‘the small candlestick factory’, are not

declared that he had bought Hofwijck for his patron, ‘the most

included in the sale and are removed by the seller in due

distinguished master Guillaume Groen van Prinsterer, Knight

course.

of the order of the Dutch Lion, Councillor of State Extraordinay

six lots, each of which was to be auctioned separately.553 The

painter and glazier in Voorburg. At the end of the auction he

in special service, member of the Lower House of the States 1845 - 1849

General, residing in The Hague. The new owner is a great

The long name of the buyer, Edzard Tjarda van Starkenborgh

admirer of Huygens. There is now no question of demolition.

Stachouwer tot Wehe, conceals a industrialist from the nobility, as well as landowner and investor. Since 1842 he has lived in

1849 – 1877

the extensive country estate Rustwijk in Stompwijk. Rustwijk

Guillaume Groen van Prinsterer was born on August 21, 1801,

is the new name of the old De Hoonaert or Den Honert estate,

at the Vreugd en Rust country estate on Voorburg’s Oosteinde. In

diagonally across from Hofwijck on the other side of the Vliet.

May 1828 he married Elisabeth Maria Magdalena van der Hoop.

Shortly after the purchase of Hofwijck, however, the new

After the death of his parents, his sister Cornelia Adriana had inherited Vreugd en Rust in 1837.554 Guillaume was given the

owner moves to Maarsen in Utrecht. In 1849 he sells both his properties on the Vliet ‘for demolition’. Yet in that dangerous

large house on Korte Vijverberg in The Hague.555

year both Rustwijk and Hofwijck would escape this doom

From 1829 to 1833 he was secretary of the Cabinet of the King. From 1849 he was a member of the Lower House. He developed into a prominent anti-revolutionary statesman, with a great interest in history from his early years. When he had to give a lecture in Voorburg in 1826 for the Department of Public Welfare, it was entitled: Constantijn Huygens, especcially as inhabitant of Hofwijck. In this lecture he made no secret of his admiration for this resident. When he learns in 1849 that Hofwijck was to be sold for demolition, he does not hesitate for a moment. Although Groen van Prinsterer had bought the country house Oud-Wassenaar in Wassenaar four years earlier, he decides to buy Hofwijck as well at the announced auction in order to secure its continued existence.556 This is how he saved the abused Hofwijck for a purchase price of 7,040 guilders plus 963.92 in auction fees. Nineteen years later he is forced to undertake a new rescue

5.10 Hofwijck with its now white plastered façades in a deplorable state, shortly before a sale 'for demolition'. In the background is the country estate 'In de Wereldt is veel Gevaer'. Lithograph H.J. Backer after J.F. Christ, 1846

attempt, to prevent a far-reaching degradation of his Hofwijck. This time his action would be in vain.

159

5.12 Map from 1868 of the expropriated plots of Hofwijck on behalf of the railroad line through Voorburg shown here in purple 5.14 Map for the construction of a gas pipeline through Voorburg in 1910. In purple the railroad is indicated, with Hofwijck on the left and the slightly curved entrance avenue in green. Number 3 is the old ditch of Hofwijck next to the Huygensstraat

5.11 The former Hofwijck upper garden with Voorburg station on the railroad line that ran at ground level until 1987. Left behind the station the old Voorburg corn mill is visible. Postcard, circa 1900

5.12

The railroad In the 1860’s the ‘Nederlandse Rijn-Spoorweg-Maatschappij’

moved slightly to the east, so that at least the pavilion on the road

(Netherlands Rhine Railway Company) develops a plan for a

will be spared. The written objection lists seven examples of the

railroad between The Hague and Gouda. The railroad threatens

damage the railroad will cause Hofwijck:

to cut off a large point on the east side of Hofwijck because the

According to the proposed plan the cutting through of the country

planned track runs straight across the country estate. Also the

estate Hofwijck' situated in the Municipality of Voorburg will

former upper garden, now owned by the heirs of Maria Theresia

result in:

Catharina de Vogel van Aalst, widow Van der Kun, who died in

A That the house of the said country estate is cut off from its

1866, is severely amputated.

entrance way to the street; B Cutting off the house from the building standing on that spot,

On February 24, 1868, a committee of the Provincial Executive of

serving as a storage place for fuels and various other goods;

South Holland is having a hearing in Voorburg to hear objections

C Destruction of the pavilion on the street;

to the plan. Through the notary Hermanus van Zegwaard, Groen

D Destruction of the existing mooring at the Trekvliet;

van Prinsterer, as owner of Hofwijck, protests vehemently against

E Cutting off the walk on the north-east side of the house;

the serious way in which the plans would affect Hofwijck. In an

F Destruction of the vegetable garden with surrounding walls

attempt to limit the damage to the historically important country

situated north-east of the house;

estate as much as possible, he proposes that the railroad line be

G Destruction of the hothouse as a livelihood located northeast of

5.13 Part of the cadastral registry map, dated May 25, 1869, showing how the railroad would run through Voorburg and Hofwijck, drawn at the top right 5.13

160

5.15 Cadastral map, circa 1878, showing the train track through Hofwijck. The track is referred to as 'Baan'. This map shows how the remaining western entrance avenue runs slightly curved to the house. The land plots next to the access avenue are marked as forest. In the pond is the house with a barn to the right. The plots next to the pond consist of garden lots

3

5.14

5.16 The Huygensstraat with to the right of the old ditch the eastern garden part of Hofwijck that was cut off by the railroad line. To the right, behind the trees, the outline of the house of doctor Beguin can be seen. Photo, circa 1890

5.15

and in the aforementioned country estate

C-366, C-363 and C-601, for a total amount of 19,261 guilders.

H The above objections to the above plan of expropriation are

The Hofwijck plot of land of about 22 ares that will be situated

made and indicated, in order to have the direction of the railroad

on the northeast side of the railroad line is sold to a third party.

slightly changed if possible and in such a way that the pavilion on

On this land the station’s cafe and the house of doctor Beguin,

the street is preserved, and the grounds of the above estate on the

among other things, are built. After this drastic event, Groen

southeast side of the house are taken for that railroad, and not as

van Prinsterer makes an overview a summary of the financial

is currently the case, the grounds located northeast of the Mansion

consequences.

are cut through for it.557

After deducting various costs, the expropriation yielded a positive balance of 7,009.47 guilders. This gain is compared

The objection does not have the intended effect. Just one month later, on March 28, 1868, the Royal Decree for the expropriation of

in the survey with the approximately 8,000 guilders that the purchase of Hofwijck had cost at the time.559 The conclusion was

land in Voorburg and other municipalities for the benefit of The

clear. The railroad had ‘earned back’ almost the entire purchase

Nederlandse Rijn-Spoorweg-Maatschappij takes effect. Meanwhile,

price. Groen invests part of the compensation in renovating the

negotiations with the landowners about compensation are in full

remaining part of the country house. He has new slates installed

swing. According to an internal memo, on March 30,1868, the

on the roof, repairs the shoring, and has 600 alders and 150 ash

Nederlandse Rijn-Spoorweg-Maatschappij increases the offer for

trees planted next to winding paths and lawns.

the owner of Hofwijck from 6,150 to 7,000 guilders in connection with the fact that the owner has to build a new entrance to his property. The parties finally agree on a price of 7,100 guilders, after which the final deed is sent to Mr. Groen van Prinsterer in May 1868, containing the purchase price mentioned above.558 The official deed states that Mr. Guillaume Groen van Prinsterer, Commander of the Order of the Dutch Lion, Councillor of State, residing in The Hague, has sold: to the management of The Netherlands Rhine Railway Company in Utrecht 50 rods and 55 ells of land in Voorburg, section numbers C-619, C-616, C-740, C-777, C-775, C-776, C-607 and C-757, designated for expropriation for the purpose of the ooncessionaire railroad from Gouda to The Hague. [...] The Nederlandse Rijn-Spoorweg-Maatschappij accepts the land as of today [...]. The buildings and timber currently present on the sold land shall be cleared by or on behalf of the seller before work is started on it, of which he shall be notified in writing fourteen days in advance. Similarly, on September 22, 1868, the heirs of the late Maria Theresia Catharina de Vogel van Aalst sells a total of 4 acres 9 rods and 8 ells of Voorburg land, deed numbers C-758, C-364, C-365,

5.16

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5.19 Catalogue of the 1896 exhibition commemorating the 300th anniversary of the birth of Constantijn Huygens, at the Gemeentemuseum in The Hague

5.17 Elisabeth Henriëtta Maria Philipse (1839-1927), owner of Hofwijck, and her husband Bonifacius Cornelis de Jonge (1834-1907), amidst their children in front of their country estate Vreugd en Rust 5.18 A steam train heading for Gouda passes the not yet elevated railroad line across the Vliet near Hofwijck. Photo, late nineteenth century 5.17

A few years before the train would cut through Hofwijck, Groen van Prinsterer had rented Hofwijck, thus giving the country

5.19

house a useful purpose. From 1863 onwards this tenant was P.H. van Overzee. When Van Overzee died, his widow

In 1896 the Die Haghe Association commemorates the 300th

Alexandrina Petronella Johanna van Overzee-Groshans continued

anniversary of the birth of Constantijn Huygens with an

to live at Hofwijck until her death on September 17, 1903.560 Guillaume Groen van Prinsterer dies in The Hague on May 19,

exhibition in the Hague Gemeentemuseum (present Kunst

1876. The division of his estate takes place on July 30, 1877,

visits Hofwijck and describes in detail the state in which he

before the Hague notary Jan de Bas Janszn.561 Hofwijck, with an appraised value of 8,600 guilders, is assigned to Groen’s niece

found the house and garden in:565 The double row of poplars along the road that separated

Jacqueline Adrienne Henriette Hoffman.

Hofwijck into two parts can no longer be found. The wood north

Museum). In the same context the famous historian Th. Morren

of the road is for the greater part occupied by the station and 1877 - 1913

the railroad, which also cuts off the eastern part of the park

During the decades around the turn of the century Hofwijck sees

on the south side of the road.[…] [Of the two wide entrance

a succession of owners, tenants and residents. The new owner of

avenues to the house, the western one is still intact (i.e., it was

Hofwijck, Jacqueline Adrienne Henriette Hoffman, is a daughter

reconstructed in 1869). Where the eastern entrance avenue

of Cornelia Adriana Groen van Prinsterer, the eldest sister of

used to begin, doctor Beguin's house now stands northeast of

Guillaume Groen van Prinsterer. This sister had inherited Vreugd

the railway. Once we have entered the gate and followed the

en Rust, situated close to Hofwijck, in 1837. Cornelia Adriana was married to Marie Aert Frederik Henri Hoffman.562 From this

avenue to the house, we can no longer form any clear idea of

marriage Jacqueline Adrienne Henriette was born an only child.

the square areas planted with fruit trees and intersected by

The Hoffman couple is very wealthy and owned, in addition to

straight lanes, we now find the remaining part of the garden

Vreugd en Rust, several Voorburg farmsteads and accompanying land.563 In April 1889 Jacqueline Adrienne Henriette Hoffman dies

planted with low hedges, through which romantic winding

childless, after her husband Otto baron van Wassenaar Catwijck,

on the left and right the two remaining ends of the original

had died two years earlier. The possessions are divided among

‘east and west avenues’ planted with sturdy lindens. But the

various heirs. Vreugd en Rust goes, with Hofwijck, to a niece of the deceased, Elisabeth Henrietta Maria Philipse.564 She is a

square itself is round instead of square and where once maples

daughter of Maria Clazina, a younger sister of Guillaume Groen

But when we turn our gaze to the house, then we first see how

van Prinsterer and Johan Antony Phillips.

vandalism has reigned supreme there. The beautiful Rialto

the original layout of the garden without a map. Instead of

paths lead in different directions. On the little square we see

and pines alternated, there are now tall lindens and acacias.

bridge has disappeared and the lane leading to the house now runs diagonally uphill and is lined with lindens. The entrance, formerly bright and cheerful, is now dark and gloomy. The little extension in front of the house with its two stiff green doors and the round window under the sloping roof, is more reminiscent of the entrance to a cemetery, than the entrance to a country house. [...] We entered the ‘East Island’ through a little old door, which was still closed off from the park by a stone wall, as before. Instead of the wood of firs we thought we’d find, we now find the grounds, as far as they still exist, transformed into a vegetable garden. Walking along the canal we miss the row of elms which once protected the bank: as well as the ‘jetty on de Vliet’ [...].566 5.18

162

5.20 Folder with drawings of scenes at Hofwijck made in 1906 by painter-draughtsman Aijzo Epeus van Humalda van Eijsinga, Hofwijck resident. This Leeuwarden-born squire received drawing lessons from Theo van Hoijtema, a

famous painter and drawer of animals in the art nouveau style, a style that Aijzo adopted. When he moved to Laren around 1920, he had a beautiful garden at his disposal in which he kept several kinds of poultry

163

5.21 The Westeinde with the old entrance gate to Hofwijck and the dividing wall on the right. Photo, early twentieth century 5.22 Hofwijck with the high windows, the zinc roof and the garden, shortly before it was bought by the Hofwijck Association. Postcard, circa 1910

5.21

5.22

5.24 Hofwijck, shortly before its purchase by the Hofwijck Association, with tall trees and on the right a flower bed with a chicken coop behind it and on the left a bench with two people. Postcard, sent 2 January 1910 5.25 The front building of Hofwijck with the two green doors and the lindens, which reminded the writer Veegens 'rather of the entrance to a cemetery'. Photo, circa 1900

5.23

5.26 The reduction of Hofwijck on the western boundary by the purchase of a plot of land by De Zwart, followed by the filling in of the purchased part of ditch along Hofwijck. The remaining part of the original boundary ditch is the blue, dotted narrow strip that stops at the slightly indented sold plot along Westeinde. Cadastral map, early twentieth century

5.24

5.19

5.25

164

5.23 The recently appointed mayor of Voorburg, D. Baron Mackay, tenant of Hofwijck. Photo in magazine De Prins, November 1929

5.26

5.27 The rented Hofwijck around 1910. Postcard, sent in 1911 5.28 Municipal architect Michiel Antonie de Zwart (1853-1922), in the Middendorp garden, amidst members of the volunteer fire department. Photo, circa 1900 5.27

5.29 Correspondence between C.J.M. Wertheim and M.A. de Zwart. Postcard, January 17, 1920 5.30 Letter from Mr. Zuyderhoudt to C.J.M. Wertheim regarding the rent of Hofwijck, June 19, 1913

5.28

After the widow Van Overzee died at Hofwijck on September

property in accordance with its purpose as a private house,

17, 1903, after 40 years of faithful tenancy, the country estate is

but was authorized to use the house in whole or in part ‘for the

rented by painter Aijzo Epeus van Humalda van Eijsinga from

collection and exhibition of items relating to the person or era

May 1904 to March 1907.

of the former occupant of Hofwijck Constantijn Huygens’. In the

This is followed by Anthonie van Dijk as tenant from June 1909

end it is Wertheim who makes the purchase. From July 1, 1913,

to January 1910.

the countdown begins.

From October 1910 to October 1911 Pieter Carel Zuyderhoudt, an ‘engineer and industrialist’ born in Batavia, is listed as the tenant.567 The latter had married Miss Fanny Enthoven on October 3,1910.568 Immediately after this marriage the couple moves into the rented Hofwijck. A new situation arises when on August 21, 1911 Elisabeth Henriëtta Maria Philipse, who had been a widow since February 1907, sells her Hofwijck to Fanny Enthoven.569 Fanny Enthoven is the daughter of the wellknown industrialist Lodewijk Cornelis Enthoven, co-owner of the famous Enthoven metal foundry factory in The Hague, where among other things beautiful bridges, lampposts and garden ornaments are manufactured.570 On November 27, 1911, she

5.29

sells a northwestern part of Hofwijck’s garden, a narrow strip measuring 52 centimetres, to the Voorburg contractor Pieter Willem de Zwart, bordering on the neighbouring house Casa Nuova.571 The dividing ditch belonging to this strip is to be filled in by De Zwart. Therefore he has to provide at his own expense a good separation with a stone wall and an iron fence. On November 7, 1912, Hofwijck gets a new tenant in the person of mayor Daniël Baron Mackay. He occupies Hofwijck until January 7,1913.572 In the same year Hofwijck is put up for sale by Fanny Enthoven. Hofwijck now threatens to fall into demolition hands. It is the Voorburg town architect Michiel Antonie de Zwart who sounds the alarm. He probably had first-hand knowledge of the proposed sale. The De Zwart family in fact maintains good relations with the Enthoven family.573 De Zwart informs among others Clement Jean Marie Wertheim from The Hague, ‘mining engineer and retired East Indian official’ about these disastrous sale plans.574 The latter does not hesitate for a moment. In a desperate attempt to prevent Hofwijck’s demise he manages to rent Hofwijck for five years from July 1, 1913.575 Wertheim made no secret of his intentions. A few provisions in the lease bear witness to this. The lessee has the right to buy the leased property for a purchase price of 32,000 guilders in the course of the first year of the lease, i.e. no later than June 30, 1914. The tenant was obliged to use and occupy the leased

5.30

165

5.31 A dinner in the salon of Hofwijck. One of the gentlemen is presumably squire Aijzo van Humalda van Eijsinga

Hofwijck. Above it hangs a painting of Hofwijck. On the right a view into the room of the extension with a chair that can also be seen on. 5.33 and 5.34

5.32 The salon with a sideboard in the middle on the right in the high-ceilinged passage to the extension of

5.31

5.33/5.34/5.35 Photos of the Hofwijck interior in Art Nouveau style. Considering the drawing and painting materials on the sofa, this interior is probably from the period of Aijzo van Humalda van Eijsinga. Peacocks were a favorite subject of this artist. Photo 5.34 shows the room

of the extension of Hofwijck with a peacock drawing in the art nouveau style. Photo 5.33 was taken in the same room. Photo 5.35 shows the other wall or another room with drawing and painting materials and a stove in the left corner

5.32

5.33

166

5.34

5.35

167

1913-1914

VI Hofwijck in safe hands a narrow escape The Hofwijck Association: owner as of 1914 Shortly after he had provisionally secured the survival of the historic country house through a lease, Wertheim calls a meeting with a number of supporters on July 16, 1913, to establish a Hofwijck Association.576 Very appropriately, this founding meeting is held at the threatened and dismantled estate. In addition to the host are present, Dr. H.E. van Gelder, municipal archivist and director of the Gemeentemuseum in The Hague, A. Le Comte, director of the Delft museum Lambert van Meerten, Jonkheer C.H.C.A. van Sypesteyn, former steward of the Crown Domain in The Hague,577 Dr. J.A. Worp, man of letters from Huis ter Heide578 and M.A. de Zwart, municipal architect in Voorburg.579 Apologies for absence was received from A. Labouchere, industrialist living at Huis te Werve in Rijswijk, D. Baron Mackay, mayor of Voorburg and professor Dr. J. Verdam, professor in Leiden.

A first rescue attempt Host Wertheim welcomes those present ‘to Huygens's house’ and tells them that Mr. De Zwart had brought to his attention that Hofwijck would be sold for speculative purposes and would fall into demolition hands. Next he gives an overview of the rescue operation so far. Dr. Van Gelder, who was also devising plans to save Hofwijck, had contacted him and they decided to work together on a definite rescue plan. Hence this meeting. His ambitious proposals are: To purchase the rented house and garden and restore it to the condition it was in when occupied by the famous members of the Huygens family. To assemble a collection of objects, books, prints and manuscripts relating to Constantijn Huygens and his lineage. To solicit contributions from corporations and individuals to defray the costs of acquisition, restoration and maintenance and to distribute circulars to that effect. To appoint five subcommittees for, respectively, financial advice, historical advice, the restoration of the house from the outside, the restoration of the house from the inside and the garden, and finally for the collections. To offer the honorary chairmanship to the Mayor of The Hague. Then Dr. Van Gelder is given the floor. Following Wertheim’s proposals, he suggests the formation of an association. It is decided accordingly. A board is then promptly constituted. The absent Mackay is elected chairman while the also absent Labouchere is appointed treasurer. Wertheim becomes vicechairman and Worp secretary. Mackay would accept his appointment shortly after the meeting, Labouchere would not. In 6.1 The neglected Hofwijck in which the founding meeting of the Hofwijck Association was held on July 16, 1913. Engraving J. Briedé, May 7, 1914

168

his place Dr. C. Hofstede de Groot, an art critic from The Hague, is eventually elected.

6.2 Hendrik Enno van Gelder (1876-1960), director of The Hague Gemeentemuseum (present Kunst Museum). Hendrik Haverman, 1923 6.3 Adolf Le Comte (1850-1921), artist and director of Museum Lambert van Meerten 6.2

6.3

6.4

6.4 Jacob Adolf Worp (1851-1917), man of letters and historian, the first secretary of the Hofwijck Association 6.5 Art historian Cornelis Hofstede de Groot (1863-1930)

6.5

During the break that follows, attendees are given a tour of the house and grounds. Then the various subcommittees are formed. Mackay and Wertheim are to deal with the finances, Van Gelder, Verdam and Worp with historical advice, while Le Comte is to take charge of the restoration of the exterior together with De Zwart, the municipal architect. The combination of restoration of the garden and the interior of the house, which at first glance seems not so obvious, is explainable from the point of view of staffing. Together with Labouchere,580 Jonkheer Van Sypesteyn, the author of the book Oud-Nederlandsche Tuinkunst (Old Dutch Garden Art) published in 1910, sits on this committee. He is also an expert collector of building fragments and interior parts of demolished historic buildings and country estates. He often buys wrought iron gates that were discarded from dismantled country estates.581 He also collects garden ornaments, including seventeenth-century garden vases, plant tubs, and old topiary trees. He was able to meaningfully reuse all of this when he rebuilt his ancestral Sypesteyn Castle at Nieuw-Loosdrecht and reconstructed the gardens there as well.582 He thus had extensive 6.6 Letter by C.M.J. Wertheim dated July 14, 1913 for meeting about plans for Hofwijck, which led to the establishment of the Hofwijck Association

6.7 Hofwijck seen towards the railroad embankment and the Huygensstraat, around 1917. In the background a stone wall of a former vegetable garden. The west island has since been cleared of shrubs and other wild growth

169

6.8 Abel Labouchere ( 18601940), director Porceleyne Fles. Photo in Bouwkundig Weekblad, 1903

6.10 Daniel Baron Mackay (1878-1962), mayor of Voorburg, the first chairman of the Hofwijck Association

6.9 Jonkheer Catharinus Henri Cornelis Ascanius van Sypesteyn (1857-1937), standing in front of the family castle he rebuilt. Photo, circa 1920 6.8

6.9

6.10

6.11/6.12 Report Hofwijck Association of 1913-1918 with in appendix III the list of members and the composition of the board

6.11

6.12

experience in the restoration and reconstruction of a historic

A narrow escape

building and garden. Van Gelder and Worp will focus on the

In order to raise the necessary money, lectures were given

collections. The Amsterdam professor Dr. D.J. Korteweg is also

throughout the country, an attractive circular is drawn up

added to the committee. Finally, at the meeting an additional committee is appointed,

and many organizations, associations, authorities and private individuals are approached.583 The circular pointed out the

consisting of Van Gelder and Wertheim. They are to deal with

danger that the old country house Hofwijck would be demolished

administrative matters, such as sending circulars to recruit

and the garden sold for building land, and that therefore, after

members and funds, and obtaining approval of the statutes.

the loss of Huygens's large house on the Plein in The Hague, this

All the above-mentioned people, both those present and those

last remaining home of one of our greatest Dutchmen, where his

absent at the inaugural meeting, become members of the newly

son Christiaan, who was so admired throughout Europe, spent

founded Hofwijck Association. Their example would soon be

his last years of life, would also be lost to posterity.

followed by other distinguished persons including the Leiden emeritus professor Dr. H.G. van de Sande Backhuyzen, the

Despite the striking words in the circular and the resounding

Utrecht state archivist Dr. S. Muller Fzn., the Hague banker

names of the members of the Hofwijck Association, the money

Dr. D.F. Scheurleer and F.A. Hoefer, a member of the national

appears to have trickled in very slowly. During the meeting

monument committee.

of March 18, 1914, the hopeful mood of the first days has turned into downright gloom. Although the secretary is able to

Incidentally, in the early years of the Society the rule is that

announce that the statutes have been approved by Royal Decree

not everyone who wanted to become a member of the Society

of November 15, 1913, it is all doom and gloom. The 10,000

could. The members are in fact appointed. However, anyone

circulars that have been distributed have so far yielded only

could apply to be a Hofwijck benefactor. At the foundation of the

3,633 guilders in one-time donations and 505 guilders in annual

Association the number of benefactors is 121.

contributions.

170

6.13

6.14

6.15

6.13 View from Hofwijck, from a French balcony. Photo by C. Steenbergh, placed with an article about the restoration plans in magazine Buiten of May 16, 1914 6.14 Hofwijck seen from the east, with front extension and entrance avenue lined with lindens. On the right a small part of the outbuilding on the site of the old candle factory. Photo in magazine Buiten of May 16, 1914 6.15 Hofwijck seen from the west side with the front extension. The window of the ice house can be seen in the side of the entrance. Photo in magazine Buiten of May 16, 1914 6.16/6.17 Front and back of the adapted fundraising circular for the purchase and restoration of Hofwijck, March 1914 6.16

6.17

The final date on which Hofwijck could still be purchased,

But even this appeal to patriotic sentiments does not really help

July 1, 1914, was fast approaching. An attempt to persuade Mr

or bring in much more money.

Zuyderhoudt to extend this deadline to the full five-year lease period had failed. Mr. Muller remarks that the matter had not

The hour of truth approaches. It is with feelings of

been properly handled. There are perhaps 250 compatriots who

disappointment that most members attend the meeting of

have heard of Hofwijck, certainly not many more. Therefore

May 20, 1914, which they fear may be one of their last.

Hofwijck should have been publicized in newspapers and magazines first and then asked for money. Incidentally, he had

However, it became a meeting with a big surprise, which is

set a good example himself with an article about Hofwijck in

expressed by the minutes secretary as follows: After the minutes

the Nieuwe Rotterdamsche Courant of November 28, 1913.

had been read and approved, Mr Van Gelder made the surprising

After a long discussion it is decided to make a last attempt by

announcement that Mr and Mrs A. Freiherr von Weinberg-

approaching various people personally, by placing an appeal in the newspapers and magazines584 and by slightly modifying the

Huygens from Frankfort a. M[ain] had made a gift to the Society

circular.

of 10,000 guilders for the purchase and another 10,000 guilders for the restoration of Hofwijck.586 They attached the conditions to

The wording in the new circular is more emphatic: It goes

this gift that Hofwijck, when restored, would be transferred to the

without saying that the Hofwijck Association cannot achieve its

state or to the municipality of The Hague, and that a member of

goal without the strong financial support of all those who feel the

the Huygens family, to be appointed by them, would be included

significance that by realizing its plans, a duty of gratitude is being

among the members of the Society.587

fulfilled towards a great and justly famous Dutch family, of which especially Constantijn, the distinguished poet and statesman, and

After this announcement had been received with applause,

Christiaan, the world-famous mathematician and physicist, have

Mr Van Gelder goes on to say that the Mayor and Aldermen of

contributed so much to the fame of our fatherland.

The Hague were sympathetic to the idea of taking over Hofwijck

585

171

6.18 Hofwijck seen from the Vliet. Photo by C. Steenbergh, in magazine Buiten of May 16, 1914

and that the State might be willing to contribute to the costs

now been pledged, plus 745 guilders and 50 cents in annual

of its restoration. He modestly conceals the fact that he had

contributions. In addition, there seem to be a few more sums to

personally travelled to Frankfurt am Main to inform the Von

come. Some have reacted disappointingly: Mr. Korteweg says that

Weinberg couple about Hofwijck’s precarious situation.588 The

people are ridiculing and angry about the 100 guilders donated

gift of 10,000 guilders means that some 22,500 guilders has

by the Queen, since it is common knowledge that the royal family

172

6.19 Several newspapers and magazines paid attention to the temporary preservation of Hofwijck. Below a notice from magazine De Prins of August 9, 1913 6.20 Cover of Hofwijck title deed that was conveyed to the Hofwijck Association on July 3, 1914

6.19

6.20

owes so much to Constantijn Huygens. He asks whether it is

would be far better if the State took over Hofwijck, because the

not possible for the Queen to increase this sum. The president

State owns so much of Huygens and will therefore be able to turn

says that, in connection with this case, he has already had a

it into an interesting museum.

conversation with one of the court dignitaries, who promised to investigate how the sum had been determined.

On July 3, 1914, Daniël Baron Mackay, chairman, Dr. Jacob Adolf Worp, secretary and Dr. Cornelis Hofstede de Groot,

These and other disappointments, however, can no longer

treasurer of the Hofwijck Association, registered in The Hague,

dampen the festive mood of the meeting. Sufficient funds

appear before Godefriedus van der Stuyt, civil-law notary in the

have now been raised to allow the matter to proceed. For

district of ’s Gravenhage, at the office located in Scheveningen.

the remaining deficit a mortgage can be arranged. It is then

The authorized representative of Mrs. Fanny Enthoven and her

unanimously decided to buy Hofwijck and to take a mortgage

husband appears at the same meeting. The parties declare to

on the amount that will be needed, which is estimated at a

have bought and sold respectively for the price of 32,000 Dutch

maximum of 10,000 guilders.

guilders the country house Hofwijck, with woods, garden and

Mr. Muller also remarks that one should not rush into deciding

water, situated in Voorburg at the Westeinde [...] consisting of

to whom Hofwijck should be transferred. After all, he said, it

1 hectare, 47 acres, 90 centares.589

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1914-2000

VII The restoration of house and garden from 1914 onwards a long way up After the Hofwijck Society obtained ownership of the estate, preparations for restoration are immediately made.590 The goal is clear: the house and garden should be returned as much as possible to the appearance as intended by its creator Constantijn Huygens.

A short survey of the state of affairs shows the extent of the

in water and no longer the beautiful bottle in a cooling cooler,

mutilation that had occurred over the centuries. The house

as Huygens had designed the house. Also the entrance no longer

stands dismantled and desolate in a drab pond full of mud. The

resembles the beautiful Rialto Bridge of the creator. It looks like a

beautiful chimney iron ornament has disappeared, as have the

neglected spit of land full of capriciously knotted lindens, where

roof tiles, the stained-glass windows, the shutters, the grisailles

grass and tree roots stick out in all directions. The house has

and the statues full of symbolism. Due to the front extension, the

degenerated into the battered head of an equally battered garden

house lost many of its elegant proportions. Because this extension

body. In fact, there is nothing left of this garden so meticulously

was placed on the site of the former bridge, the house is now

designed by Huygens. All the human forms of Vitruvius have

directly connected to the entrance and no longer surrounded by

disappeared from it. Many of the straight ditches have been filled

water on all sides. Neighbors see mainly a plump ‘pepper pot’

in and the tight symmetrical avenues replaced by winding paths.

7.1 The desolate Hofwijck from the dike between Vliet and pond. The small building on the right of the former forecourt is probably the barn mentioned on a map from about 1875. Photo, 1914

7.1

174

7.2 View from Hofwijck to former forecourt and orchard. The more than 150 years old pollarded lindens border the forecourt. In view of the imminent felling the bare trees have been numbered. To the right the railroad line is visible and the Stations Koffiehuis (station café). Photo, 1914

7.2

7.3 The entrance path to Hofwijck from the Westeinde. The trees to the left of the path have already been cleared. The nearly 100-year-old maples on the right have been numbered for the purpose of felling. Photo, 1914

7.3

7.4 View across the earth-filled orchard ditch to the forecourt and front extension surrounded by pollarded lindens. Photo, 1914

7.5

7.5 The kitchen shortly after the purchase. The kitchen at the time was divided into four rooms. This photo gives a view through to the current kitchen. Photo, 1914 7.6 The kitchen with a partition wall on the left that was removed during the first restoration. Photo, 1914

7.4

7.6

7.7 View from the front extension across the entrance way to the former orchard. The pollarded lindens next to the entrance have since been cut down. The root sprouts of these are still present, however. Photo, 1914 7.8 The salon with the tall entrance doors and on the right the entrance to a side room in the front extension. Photo, 1914 7.9 The salon with paneling, tall windows with the French balconies, and a fireplace with painting on the Vliet side. Photo, 1914

7.8

7.10 The second floor was divided into two rooms by a partition wall, on the left of the photo. Here the room on the west side with a fireplace in the corner. Photo, 1914 7.11 The second floor room on the east side, again with a fireplace in the corner. Photo, 1914

7.7

7.9

The paradisiacal orchard of the past looks like a wild wasteland, as was already described, as vividly as it is disconcerting, by Th. Morren during his visit to Hofwijck in 1896. How ‘battered’ the condition was that the committee found can be clearly seen on the 18 razor sharp photos that architect De Zwart, as a member of the restoration committee, had taken by the Hague photographer Happel: nine photos of the desolate exterior including the overgrown garden and nine of the dilapidated interior of Hofwijck. On some of these photos Xavery’s eighteenth-century ‘whites’, which Jacob des Tombe had applied to the interior, can still be seen.591 7.10

7.11

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7.12/7.13/7.14/7.15 The old situation of the 'Huygens house named Hofwijck' with extension and ice cellar under the entrance. Drawings by architect A. Mulder, October 1914

7.12

7.13

5.18

7.14

7.15 7.16/7.17 The restoration plans for Hofwijck, with removal of the front extension and partial restoration of the situation from Huygens's time, including the old 'drawbridge' and the ice cellar under the entrance. However, due to World War I the restoration was postponed. Drawings by architect A. Mulder, October 1914

7.16

7.17

The long journey back to Huygens

in old prints. That is why in this plan the front extension will be

The first few years are difficult. The restoration proves to be

demolished and the façade with the surrounding water, the old

major and expensive and there is a constant lack of money.

bridge and the entrance will be restored. In these plans the cellar

For practical reasons, in May 1914, the subcommittee for the

under ‘the stone bridge’ would also be restored.593

restoration of the interior and garden was merged with that of the exterior to form a single restoration committee consisting of the

However, the outbreak of World War I forces the postponement of

members already in office, supplemented by the state archivist

these first restoration proposals, partly due to the great shortage

F. Muller. Van Sypesteyn becomes the chairman.

of building materials. But it does become a period in which there is plenty of discussion. Even though the ground plan and several

The first restoration plan, including a restoration budget and

pictures of Hofwijck from Huygens’s time are available, it is not

eight drawings, is drawn up that same year by the state architect for monuments, A. Mulder.592 In a brief explanation he writes that

always clear how certain details looked.

he based his restoration plans on the situation as described by

The question of whether a total restoration should be undertaken,

the master builder Huygens in his Hofwijck poem and as shown

even though the funding is not yet in place, is also discussed at

176

7.18/7.19 Measurement and depiction of how the remaining garden looked in Huygens's time, with notes by Van Sypesteyn on relevant sections of text from the country house poem in the left copy.

At the top of the right-hand image is the signature of Wertheim, who coloured the ditches, the pond and the Vliet in blue. Drawings by M.A. de Zwart, 1917

7.18

7.19

length. Some members of the Board feel that restoration should

However, it is decided to temporarily rent out the garden to

be phased as money comes in. As far as the house is concerned,

vegetable growers. A.O. de Leeuw, former garden manager of

a total restoration is ultimately preferred. For any shortfalls, the

Princess Marianne is asked for advice about the rent that could be

board has to take out a mortgage. A garden can more easily be

asked for the Hofwijck ground.594 In this way extra money would

restored in parts.

be raised for the restoration fund and the ground would also serve a useful function in these times of war and food shortage.

Another point of discussion is the order. Some board members

In addition, the gardeners could be required to remove the roots

want to start with the reconstruction of the garden ‘for advertising

of felled trees in order to deliver the land clean at the end of the

reasons’, and only then with the house. The majority, however,

lease.

gives priority to the restoration of the house, partly because

The restoration committee is asked to investigate how the garden

during the restoration work the surrounding grounds can easily

that still remains today may have looked in the past.

be damaged by transport and other work. There are also some

De Zwart makes an accurate survey and drawing of this, with

interested parties who want to rent the house. The board decides

an indication of the ditches, bridges, avenues, type of trees and

against this.

summer houses.595

177

7.20 Herman van der Kloot Meijburg (1875-1961) with his family in front of his home. Photo, circa 1913 7.21 One of the publications of Van der Kloot Meijburg about architecture, 1918

7.22 Restoration drawing of House Hofwijck by Van der Kloot Meijburg, March 1918. The cellar under the entrance staircase indicated in the drawing was not restored, but filled up with rubble and sand. 7.23 The first page from the restoration diary of Van der Kloot Meijburg with notes about the chimney, May 8, 1918

7.20

7.21

The first restoration of the house

bridge, he notes that it was rebuilt at least twice.

At the suggestion of the restoration committee, in early 1918 the

In the first extension, the façade remained largely intact, later it

Voorburg architect Herman van der Kloot Meijburg is appointed

was partially demolished. The restoration plan was approved so

restoration architect for the house.596 He was preferred to others

that work began on May 8, 1918.

because of his restoration experience elsewhere and his fine publications on architecture.

During this period Van der Kloot Meijburg keeps a restoration

Within a few months he submits a plan that would require some

diary in which he meticulously notes details and makes sketches of found details.598 First of all, the heavy chimney that disturbs

30,000 guilders.597 In an extensive accompanying overview he

the rear façade is demolished. Meanwhile, the demolition of

notes that the ‘pictures in Constantijn Huygens’s Hofwijck fairly

the front extension, which the restoration committee assumes

accurately reflect the old situation’. For example, he has found

dates from the end of the eighteenth century, also starts.599 The

traces of the former cross-window frames seen in these images.

cellar under the house was connected to a cellar under the front

About the front extension between the house and the entrance

extension through an opening in the old façade.

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7.24 The ice cellar recovered and restored in 2015 under the entrance to Hofwijck with the gangway to the kitchen. Photo, 2015

7.25 The side window in the former ice cellar in the entrance to Hofwijck, Photo, 1914 7.26 The ice cellar drawn by Van der Kloot Meijburg as a measurement sketch seen from the west, and on the floor plan of the old situation with the cellar side window in the lower right corner. Drawings, 1918 7.25

Under the entrance, renamed by the architect as ‘abutment’, there is also a vaulted room which, in view of its use at that time, Van der Kloot Meijburg calls the ‘milk cellar’.600 This cellar is the old ice cellar from Huygens’s time and is still intact. The location is special because ice cellars were usually situated in a raised area or a small building next to a pond in the park.601 At Hofwijck this cellar was part of the design of the house standing in the pond with the accompanying drawbridge over the pond. The door of the ice cellar was thus located very practically, just above water level, opposite the outside door to the kitchen. The supply of goods often took place by barge. This was then moored under the bridge, after which goods were unloaded into the kitchen through one door. Through the other door, the more perishable goods could be stored in the ice cellar. This was also convenient for filling this room with the ice blocks chopped from the pond. Initially, light was only brought into the cellar through the door; later, the remaining window frame on the west side of the abutment was ‘enlarged’ to bring more light into the cellar. Mulder’s earlier restoration plan of 1914 proposed to brick up the window frame of this ‘cellar under the stone abutment’, to

cellar side window

remove the wine racks, to descale and re-plaster the walls and vault, and to touch up and grout the old exterior walls. Van der Kloot Meijburg did not adopt these plans for the ice cellar. However, the basement window was bricked up, and the space was then filled with rubble.602 Not until 2015 would the ice cellar be excavated and restored again. 7.26

7.27 The reconstruction of the vault of the icehouse. Photo, 2015

7.28 The museum-furnished icehouse. Photo, 2015

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7.29 Hofwijck seen from the east island which has since been cleared of shrubs and trees. Photo, circa 1917 7.30 Hofwijck during the first restoration. On the right the old garden wall along the railroad track that was demolished in 1919 with reuse of the stones in the façade. To the left is the

station café where the board and committees met regularly. Postcard, 1918 7.31 Hofwijck shortly after the second phase of restoration that was completed around 1927 and during which, among other things, the iron chimney ornament was installed. Photo, circa 1927

The stones released during the demolition of the front extension were neatly cleaned and descaled for reuse. During the week of June 24, 1918, bricking up of the front façade begins, and a week

7.29

later the restoration of the abutment and the original entrance begins.603 On December 6, restoration of the remaining three façades begins. The pond is drained and the foundation is found to be in good condition. Some traces suggest that this foundation had been restored before. Along the back and side walls there are posts about 40 cm from the wall with their tops below the water line. Perhaps there used to be a circulation around the house or the posts serve to hold the stone deposit placed against the façade below the waterline. In the façades, the long eighteenth-century window frames with inward-turning windows that extend to the floor, the so-called French balconies,604 are replaced and reduced to the shorter cross frames in the style of the creator Huygens. The rebates show that this was used to contain stained glass. A small piece of this stained glass is recovered. New stained-

7.30

glass windows are ordered from the famous firm of Crabeth. The niches in the façades are also put back in order. In one of the niches on the front façade a wooden plug with a rusty nail hole and a small ‘dowel or anchor’ is found. This is how grisailles, presumably painted on wood, were fixed in the shallow alcoves in the past. Meanwhile, the restoration of the interior is also in full swing. Chimney mantles and the later added thin walls are removed, as well as paneling and old wallpaper. Under the wallpaper one finds newspapers from 1830. In the basement and on the first floor blue tiles are found, probably from the former basement floor or from the fireplace. At the beginning of January 1919, workmen break down one of the old garden walls to make up for the shortage of facing bricks for the façade. Finally, the façades are grouted, the zinc roof is replaced with slates, and the gutters

7.31

and the chimney are restored. four times the said size, i.e. 120 feet. For the time being, however, On March 22, 1919, the architect writes in his diary with

the bottom of the money chest is again in sight. A number of

satisfaction that the last part of this first phase of restoration has

things has to be postponed until the next restoration, such as

been completed, except for the stained-glass work, which would

the renewal of the bridge over the water, the stone surround of

be completed shortly thereafter. With the demolition of the front

the front door, the floor in the salon and other interior aspects. It

extension, the house regains its original measurements of 30

would take until 1926 before there would again be enough money

Rhineland feet [9.42 m], the entrance way has regained a length

and inspiration to complete the second and, for the time being,

of twice this size, i.e. 60 feet, and the forecourt would then have

last restoration of the house.

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7.32 The Herenstraat with doctor Beguin's house on the left and the Stations Koffiehuis (station café) on the right, where Hofwijck's board and committees held regular meetings. Both buildings stand on the northeastern tip of Hofwijck, which was cut off by the railroad line. Postcard, sent in 1905

7.32

7.33

7.34 Hofwijck shortly after the second restoration phase, still without grisailles, seen in the direction of the railroad line and Huygensstraat. The west island is used as a vegetable garden. The late-medieval dividing ditch along the island, which was filled in in 1932, is still completely intact. Photo, circa 1930

7.33 Doctor Beguin. Photo published in magazine De Prins on August 18, 1923, to mark his 50th anniversary

The first garden plans

although the terrain had ‘collapsed in many places due to silted

The plan to restore the remainder of the garden to its original

up ditches’, the measurements perfectly matched Huygens’s

state had not come to much in the meantime. The restoration

ground plan. The examination of the old canals was also entirely

of the house had deliberately been given priority and this had

satisfactory: their old course and the old excavations were

subsequently absorbed almost all of the funds. Nonetheless, the

visible everywhere in the solid clay. In April, various activities

restoration committee led by Van Sypesteyn ‘as a result of a

were contracted out for 1,400 guilders, including the felling

commission from the meeting of the Association of November 6,

of all trees and the ‘excavation of the canals’. Because of the

1917’ had drawn up a report about the condition and the

exceptionally high price of wood the construction of revetments

restoration of the grounds in front of the house. At the request of the restoration committee, municipal architect M.A. de Zwart had

was abandoned and the deepening of the dividing ditches was also postponed.605 The planting of the avenues was postponed

drawn a garden design based on the print Vitaulium Hofwijck.

until the autumn of 1918. The situation did not improve when in

The meeting had made 2,000 guilders available for the restoration.

October 1918 the garden expert and chairman of the restoration

After the area had been cleared of shrubs, it was concluded that

committee Van Sypesteyn stopped his efforts for Hofwijck.

7.34

181

7.37 Dirk Frederik Tersteeg accepts his appointment as a member of the restoration committee. Letter, October 17, 1919

7.35 Garden architect Dirk Frederik Tersteeg (1876-1942) with his dog

7.38/7.39 Proposal by garden architect Tersteeg, shortly after his appointment, to plant several trees along the linden avenue and the forecourt. This plan was probably carried out. Letter, December 4, 1919

7.35

This happened after repeated disagreements with the board about the competence of the restoration committee. The Board wanted to limit the role of this committee to at most an advisory one and to take on the restoration and the supervision thereof itself. When the board subsequently wanted to have this vision confirmed by the meeting of the Association of October 24,1918 via an amendment to the by-laws, Van Sypesteyn had had enough. He wrote a letter in which he reproached the board for not having informed him of this intention in advance and resigned.606 In the spring of 1919 Mr Westbroek of The Hague Parks and Public Gardens Department is asked to make an estimate of the costs if this Gardens Department would restore the Hofwijck garden to its original form. Westbroek is given all the documents drawn up by the restoration committee about the garden for inspection. On this basis Westbroek draws up a detailed plan, including an estimate of the costs. As an explanation he writes: In compiling this budget we have asked ourselves how a Dutch

7.37

nobleman four centuries ago would have laid out and planted his garden in order to enjoy it as much as possible. Based on the study of the original ground plan and old pictures he still believes he has to make some corrections to the earlier drawings with proposals from the restoration committee. For example, he believes that, from the point of view of beauty, it

7.36 Measurement and plan for re-excavating the old ditches in the garden of Hofwijck, 1919

7.36

182

7.38

7.40/7.41 Coniferous trees, depicted in a later edition of J. Evelyns Sylva, first published in 1662, of which Huygens owned a copy. On the left an illustration of a silver fir, planted by Huygens as a 'mast tree male' at Hofwijck. On the right a Scots pine 'mast tree female', also planted on Hofwijck. Engravings, 1776

7.42 Unrealized plan to sell the orchard of Hofwijck with the construction of a congierge house on the peninsula. Drawing by Van der Kloot Meijburg, 1921

7.40

7.41

7.42

7.43 Not executed plan for the construction of a harbor with allotment of the orchard of Hofwijck. In light brown the planned access road and quay right in front of House Hofwijck. Drawing by Gemeente Werken Voorburg, September 1923

is not reasonable to assume that the sections of the garden to the southwest and northeast of the house that are marked as mast tree woods would have been planted exclusively with mast trees, but rather that this would have been a select collection of coniferous plants that were arranged there in tasteful groups. Westbroek also comments on the square in front of the house. He thinks it is inconceivable that this large square, in addition to the maple trees encircling it as indicated on the drawing, would have been completely unplanted. He also believes that the avenues were less wide than indicated and that the original design would have used lower shrubs and box hedges. He estimates the cost of the entire reconstruction, including the paving of the entry avenue and square, at 7,700 guilders. This includes 35 lindens, 18 ash trees, 22 maples, 17 oaks, 17 beeches, 20 elms, 200 elm springs, 500 cone-bearing conifers, 50 fruit bushes and 28 fruit trees.607 The board is so shocked by the amount that it decides

7.43

not to go into it further. To keep up the courage, board member Wertheim makes a nice sum of 1,500 guilders available to plant some ‘timber trees’. Meanwhile, garden architect Tersteeg, an expert in the field of historical garden design, is appointed to fill the vacancy in the restoration committee.608 In addition to excavating the old ditches around the former orchard, in 1920 the restoration and planting of the old entry avenue and the forecourt is deemed sufficient for the time being, so that at least part of the old main design according to Huygens’s concept becomes visible again. From the amount made available by Wertheim, 35 lindens, 18 ash trees and 22 maples are planted via Tersteeg.609 The old orchard grounds are rented out again as horticultural land. A difficult sequel The years that followed are characterized by desperate attempts to scrape together the necessary funds for the final restoration of the house and for a somewhat acceptable garden layout. Van der Kloot Meijburg soon begins to doubt whether this would ever succeed. In 1921 he comes up with a proposal to sell the grounds in front of Hofwijck as a building site, so that the proceeds would at least enable the restoration of the house to be completed. The Board decides not to take this ‘emergency measure’ for the time being. In 1923 a dangerous moment arises when the city council of Voorburg announces that they want to buy or if necessary expropriate a strip of land of Hofwijck on the Vliet side and a piece of the pond in order to build a landing stage here. Voorburg 7.39

183

7.44 Report Van der Kloot Meijburg about the completion of the sculpture at the entrance of Hofwijck, January 11, 1927. This sculpture refers to the stone door frame containing the Huygens family crest

7.44

7.45

7.45 The stone front door frame with the Huygens family crest, completed in 1927 7.46 Restoration drawing of the Hofwijck chimney ornament. Drawing by Van der Kloot Meijburg, December 1926

7.46

also offers to buy a piece of the forecourt at the same time, for a

and that it is feared that reconstructing this ‘rather childish artifice’

total sum of 25,675 guilders. Acceptance means the end of the

will produce a less than aesthetic result, according to the minutes

money worries, but also the end of the dream to one day give

of the Association meeting. Moreover, a drawing by Christiaan

Hofwijck back its beautiful garden around the house. So, after

showed that by about 1658 the bridge was already fixed. The front

some hesitation, the Hofwijck board and members’ meeting finally

door will have a bluestone frame in which the family coats of arms

decide to rigorously reject the offer. They will have to bow to the

of Constantijn will be placed.

power of expropriation, but they will not budge, said a combative chairman. Nothing more is heard of a possible expropriation. The

The cellar under the bridge is not mentioned anywhere in the

municipality chooses to cut its losses and digs a harbor on the

minutes. However, the inside of the house now receives all the

other side of the railroad.

attention. Original beamed ceilings are brought back into view. Doors are ‘returned to their old glory’ again, after the example of

In 1925 the architect calculates that the remaining restoration

the old door with beautiful hinges found under the wallpaper.

of the house, garden and interior will require 35,000 guilders.610 Personal contributions from members of the board and others,

A new fireplace with classical columns is installed in the salon.

as well as an appeal in the press, have raised almost 23,000

architect, the choice finally falls on black and white marble tiles,

guilders in recent years, leaving a shortfall of 12,000 guilders.

laid in an artistic pattern.

It is also decided to lay a stone floor here. In consultation with the

When in September 1926 the municipality of The Hague promises a subsidy equal to this amount, this is the start of the final restoration of the house.611 After extensive discussion, the decision

Still a responsible reconstruction of the garden does not get off

is made not to reconstruct the old drawbridge that Huygens had

refurbishment of ‘the main entry avenue, the construction of the

so proudly written about in his country house poem. There will

middle avenues and a hedge on the railroad side’. The possibility

be a fixed bridge at the end of the restored entrance to the house.

of renting out the middle ground to a florist is being considered.

The decisive factor is the observation that no one knows what the

Furthermore, the board hesitates with large-scale planting because

drawbridge looked like, that not a single part of it has been found

the required maintenance is not guaranteed.

the ground. There is still a small amount of money left for the

In the year 1926, the restoration committee is expanded. As a ‘literary member’ Jan Prins is appointed to this committee. He had drawn attention to himself by dedicating a special poem to Hofwijck. Especially the lines about the house, waiting for the completion of the restoration will have appealed to the committee: The house Closed, dead and forgotten, as if through a depth of mourning By the motionless water darkened, stands the abandoned building, 7.47 Jan Prins (1876-1948). Photo, undated

7.48 Hofwijck after the second phase of restoration. Behind left is the wooden bridge to the orchard. Photo, 1928

stands as if with an entire past of coldness and misrecognition, neglected under the silence, the house in the coming night.612

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7.49 Hofwijck with the gatehouse (1) built in 1929 and the orchard newly planted after 1945, with in the southwest corner a summerhouse with tiles (2) built in 1928 to a design by M.A. de Zwart. To the right runs the national highway to Utrecht, built around 1938. Aerial view, 1958

7.50 View of the Vliet with on the right the country house 'In de Wereldt is veel Gevaer' and 'villa Johanna'. Because the main road to Utrecht has not yet been built and the railroad line still runs at ground level, House Hofwijck is visible in the distance with no obstructions, with a roof colored in a fantasy red. Postcard, circa 1905

However, the construction of a garden shed and three bridges

bridge and entrance door had been completed by July 1927, and

over the inner ditches is started, in accordance with the old

the interior is as good as done. The restoration period was at an

plan. Tersteeg proposes to divide the orchard into beds with

end.614 Now was the time for exploitation.

young fruit trees. He envisages North Holland sugar pears, Gieser Wildeman stewing pears, and as apple trees the Eysdener

Incidentally, the municipality of The Hague declares itself willing

Klumpke, a cooking apple and a Sweet Pippin, 44 trees in total.613

to finance any operating deficits up to a maximum amount of 2,500 guilders per year. Due to the worsening economic crisis this

At the members meeting of May 19, 1928, the chairman notes that

amount was later reduced to 2,000 guilders. Subsidies are also

the Association has reached a turning point in its existence. The

received from the municipality of Voorburg.

7.49

1

2

185

7.51 Letter from Van der Kloot Meijburg regarding completion of restoration work, July 30, 1927 7.52 Bill from florist J.H. de Leeuw, June 1927, for garden maintenance performed at Hofwijck 7.53 Hofwijck at the end of the restoration period, still without grisailles and without statues on the bridge. Photo, circa 1927

7.51

7.52

Shortly after the house was completed, C.M.J. van der Borst was

For the time being he moves into Hofwijck.

appointed caretaker, effective September 1, 1927. He is a retired

In 1929 a spacious porter’s house for the caretaker and his wife is

conductor and turns out to be excellent. In addition to the usual

built to a design of architect Van der Kloot Meijburg. Because the

caretaker duties, he is responsible for garden maintenance, for

municipality of Voorburg did not want to waive its requirement

which local companies had been hired until then. He is also

that this house be built within the building line, a modified

expected to give guided tours later on.

design was carried out. The house will be built across the full

7.53

186

1.1.4 Historisch beeldmateriaal

7.54 Construction drawings of the front and left side façade and floor plan of the Hofwijck gatehouse. Drawings by Van der Kloot Meijburg, 1929 7.55 The Hofwijck gatehouse. On the right the Belvédère villa built by Pieter Willem de Zwart around 1912. To the right of Belvédère is Casa Nuova, Afb. 3 Voorgevel Poortgebouw Hofwijck, oorspronkelijke situatie. (Bron: bouwtekening 1929 door architect H. Van der Kloot Meijburg.) which had also belonged to De Zwart. Photo, circa 1980

7.54

7.56 A proposal for restoration of the Hofwijck garden by the director of the Hague Municipal Parks ad Public Gardens Department, S.G.A. Doorenbos, December 1935. In this unrealized proposal boxwood and yew trees as well as rhododendrons, Italian poplars and lindens are placed symmetrically within the old main structure, but both the placement and the tree types deviate greatly from Huygens's original design

Afb.4: Linker zijgevel Poortgebouw Hofwijck, oorspronkelijke situatie. Poortgebouw Hofwijck, oorspronkelijke situatie. (Bron: bouwtekening 1929 door architect H. Van der Kloot Meijburg.)

width of the entry avenue, creating a real gatehouse where the

is reported that the planned work on the quay as well as the tree

beginning of the access avenue runs underneath.

planting along the Vliet has been abandoned because the means

In spite of having a beautiful building, financial constraints

to do so were lacking.

7

naturally arise once again. Nevertheless, in the autumn of 1929 5 maples, 11 beeches, 4 ash trees and 4 oaks are planted at Hofwijck.615 But at the Association meeting of January, 1930, it

A discussion ensues about which trees should have been planted there. The elms indicated by Huygens are considered less suitable because of Dutch elm disease. Rowan trees are preferred. In

7.56

the board meeting of November 1931, the reconstruction of the islands next to the house is discussed. Tersteeg is commissioned to make a design for this. The intention is to plant some large trees on the eastern island with a seventeenth-century garden in front of it. The western island is to be divided into a garden area and a vegetable garden area for the caretaker behind a large hedge. The board also wants to give the orchard a more gardenlike character. For the time being the plans are postponed, it would cost more than they could afford. That all this is realized fairly quickly, is thanks to the special employment creation scheme that the government establishes in these crisis years. Thus in 1933 unemployed gardeners and florists, with special government support, lay out a park with ‘symmetrical planting’ on the Hofwijck islands.

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187

7.57 Unimplemented plan for construction of a new (Hofwijck) street, shaded red here, across Hofwijck's linden avenue

7.59 Death announcement card Jacob Adolf Worp, August 28, 1917

7.59

All in all, the board is nevertheless satisfied with the final result. This satisfaction is expressed in the minutes of the annual general meeting of September 1942, as follows: Better and expert maintenance of the garden has given it a fresh appearance and the colorful flower borders along both islands give

7.57 7.58 Cadastral registry map showing on the west side the ditch next to Hofwijck (marked in yellow here) that was to be filled in for street construction by virtue of a council decision of March 23, 1932, with the water supply to Hofwijck being regulated via a tube from now on

something colorful to the strict austerity of our mid-seventeenthcentury symmetry. Yet the last years of the Second World War leave a certain mark on Hofwijck. The kitchen floor is claimed as accommodation for the air defense service. During a short period Hofwijck is also used for ‘two offices for evacuation purposes’. Optimism, however, is indestructible. A single remark by Hofwijck’s secretary testifies to this when, shortly after the liberation, he enters the following in the minutes: The condition of the house and the garden is now quite good again. The fact that our orchard has been used to grow potatoes for the sake of food supply is of course not favorable, but as soon as this is no longer necessary, additional fertilization should bring improvement. Our linden avenue has had to be thinned out, in consultation with the Voorburg Parks Department, for the sake of wood supply. It is likely that the trees that have remained will grow better and more extensively because of more

7.58

space. Another pleasing development that could be reported from the

In the meantime, however, the western island had lost its

war years was the support from the municipality of Voorburg.

original island character. In 1932 the Hofwijck board had given

From 1942 onwards, the latter completely took over the garden maintenance.617 The Secretary calls the success of this remarkable.

the municipality of Voorburg permission to fill in the common boundary ditch on the west side of the country estate, with a view to constructing a street and houses.616 At the expense

It certainly contributes to the attractiveness of Hofwijck. It is

of the municipality a fence was placed on the new boundary,

the Huygens Museum increased spectacularly. This museum has

in line with the existing partition wall near the gatehouse. By

been housed in Hofwijck since 1928 and around 1940, thanks

placing a hedge against the fence, according to the minutes,

to a stamp card tour campaign organised by the Dutch Tourist

‘annoying views’ were prevented and ‘a very good situation’

Information Office, it became increasingly well-known and well

was created there. On the east side, a small part of the island

visited.

also gratifying to note that during the sad years of war, visits to

was also lost due to the construction of a small municipal unloading harbour. This had been constructed years earlier

The birth of the Huygens Museum Hofwijck

on the other side of the railroad line. However, due to the

Already during the inaugural meeting of the Hofwijck Association,

construction of a main road on that side of the railroad the

a committee was set up to work on ‘acquiring a collection of

small harbour now had to be moved to the Hofwijck side. According to the Board, resistance to this move was futile this

objects, books, prints and manuscripts relating to Constantijn Huygens and his lineage’.618 A sad event lays the foundation for

time. Hofwijck was thus forced to cede one point of the eastern

this collection. In August, 1917, board member and co-founder

island.

Dr. Worp dies. Shortly after his death his widow announces that her late husband had bequeathed a large part of his library, especially everything on Huygens and his lineage, to Hofwijck. In

188

7.60 View across the tracks at Hofwijck with the former Hofwijck gardener's house on the corner of Herenstraat-Zwarte Laan on the left and the station café on the right. Postcard, circa 1910

7.60

7.61 The station café next to the railroad crossing near Hofwijck, regularly the meeting place of the board of the Hofwijck Association. This image shows the café with the new façade installed after a fire. Postcard, circa 1920

7.61

April 1918 board member Dr. H.E. van Gelder is appointed ‘curator The board meeting of December 8, 1927 is to be very special. of the collections’.

There is regular discussion about the interior. The aim is to

Because Hofwijck is still undergoing restoration at that time, he

decorate the salon with the best items as a mid-seventeenth-

gives the library to the State Archive for safekeeping. This decision century room, the upper room could then be given a museal almost has a fatal outcome.

character.

In 1927 the entire library ‘due to the carelessness of the staff’ is

The chairman opens the meeting in the Voorburg train station

sent with other books to the library in Leuven. At the expense

café, as had happened so often in recent years. Afterwards,

of the State Archives Van Gelder follows the books to arrange

however, the meeting moves to Hofwijck, whose restoration had

for their return. This succeeds, but some of the books have

meanwhile been completed.

disappeared and what comes back is mutilated by an ugly stamp of At the end of the meeting the house is visited, with the furniture, the Leuven library.

which according to the minutes, ‘obtained the general approval.’

Especially the completion of the restoration of Hofwijck in 1927

The subsequent members meeting of May 19,1928 is also held

and the knowledge that supervision was guaranteed by the

at Hofwijck. It is decided to set the date for the opening of the

presence of a caretaker leads to the rapid growth of the collection.

restored Hofwijck and the museum on June 12 at 3 p.m.

In September 1927 Mr. W.H. Staats Evers Warnsink donates

7.62 The 'doll of Suzanne' donated to Museum Hofwijck in 1927. Photo in Cieslik's Puppenmagazin 1993

to Hofwijck a doll and a prayer book belonging to Suzanna Huygens, the only daughter of the creator of Hofwijck.619 In 1927, the board succeeds in raising enough money through a collection so that the important portrait of creator Constantijn Huygens, painted by Michiel Jansz van Mierevelt, could be purchased from the Irish owner for 400 pounds. The collection yields so much money that enough remains to furnish the salon where the acquired portrait would hang, with some original

7.63

7.64 The portrait of Constantijn Huygens acquired through various contributions. Michiel van Mierevelt, 1641 7.65 Call for contributions for the purchase of the portrait of Constantijn Huygens by Mierevelt. Newspaper article September 14, 1927

furniture from the time of Hofwijck's foundation.620

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7.63 Prayer book by Suzanna Huygens with gold fittings, donated to Hofwijck in 1927

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7.66 Telegram with invitation to meeting on May 7, 1925 in the station café 7.67 Picture of Hofwijck's chairman Hofstede de Groot in the newspaper Algemeen Handelsblad of June 13, 1928 with the report on the opening of Hofwijck

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7.68 Jhr. Mr. C. Feith, Secretary-General of the Ministry of Education, Arts and Sciences. Photo in magazine De Prins, May 1919 7.69 Jhr. Mr. C. Feith on the bridge at the opening of the restored Hofwijck, 1928

7.68

The minutes record the agreed details: The Minister of Education,

The opening is followed by new acquisitions. Thus Dr. A.F.

Culture and Science will be invited to the opening, furthermore

Philips from Eindhoven donates a copper chandelier for the

all patrons, about 240 people, and some authorities. The

salon in April 1929. Secretary Van Gelder goes to select it

Secretary will make a short speech. Tea will be served. If the

personally. Mr. Schimmelpenninck surprises the Association

weather is good the opening will take place outside, where

meeting of January, 1922, with a gift for the collection: a very

benches will be placed, otherwise inside if necessary; a tent was

rare copy of the portrait of Constantijn Huygens, printed on

considered less suitable. The entry avenue may not be used for

satin by C. J. Visscher after a drawing by Christiaan.

cars.

In November 1930, Van Gelder manages to learn of the sale

It is a beautiful afternoon. With a few strokes of the knocker the

of a fine portrait, painted by Abraham de Vries, depicting

door of Hofwijck is officially opened by the Secretary-General

Constantia Huygens, Constantijn’s sister. However, he fears

of the Ministry of Education, Arts and Sciences, Mr. C. Feith.

that it will be difficult to raise the required 1,200 guilders. But

Then he is the first to sign the guest book, followed by the

chairman Schiff surprises and delights the meeting by saying

mayors of The Hague and Voorburg. Just over 180 guests present

‘that he can overcome that difficulty by donating the portrait’.

follow their example on this special day. Secretary and curator

Of course this announcement is heard ‘with great gratitude’

Van Gelder gives a comprehensive speech in which he gives a

and accepted with much thanks. The secretary does not fail

brief outline of the origins of the Hofwijck Association and the

to include a detailed description of this acquisition and its

significance of Constantijn and Christiaan Huygens. He ends his speech with the words: We have opened the doors

importance for the Hofwijck collection in his annual report

again, the house invites everyone who has a sense of true

of the excellent Dutch women from Huygens's circle, whose

greatness to a respectful pilgrimage. […] May Hofwijck become a

presence at the old Hofwijck must certainly have cheered him

place known and loved by all, who with admiration pronounce

up many times in his 'solitude'.

621

for 1930/31. We may see in the gifted Constantia an example

the name of the great men who lived and worked here.

7.70 7.69

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7.73 Hague clock in the Hofwijck collection, circa 1690 made by Pieter Visbagh according to the principles of Christiaan Huygens, who had obtained a patent for this in 1657. Salomon Coster was granted the exclusive right to make clocks according to these principles. His widow sold the business with these rights to Visbagh in 1660

7.74 Ebony cabinet ‘entirely in the taste of Huygens’, purchased in 1933

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It is not always clear whether an object should be added to the Hofwijck collection or not. In November 1931, the secretarycurator reports that he has been able to save a good example of a double bedstead from a house. He would like to put it in the attic. After much discussion the meeting agrees, on the condition that the origin of this curious interior piece is explicitly mentioned and that it did not originally belong to Hofwijck. In June 1932, the reception room is enriched with the installation of an antique clock, a so-called Hague clock from the second half of the seventeenth century, in which several inventions of Christiaan Huygens were applied, especially the ‘onrust’ (‘balance wheel’).622 The clock, made by clockmaker H. van Driessen, was a legacy of Mr. Gratama, who died in 1931. In 1933 the Society buys at auction a number of letters and poems, written by Constantijn Huygens in his own hand. Among them is a letter Huygens sent from Paris to Abraham van Wicquefort in 1663, in which he writes about seeds he will try in his ‘Hermitage’, by which he undoubtedly meant Hofwijck. It is proudly noted that this acquisition is of double interest to Hofwijck. The letter was not known to Worp and therefore did not appear in his published collection of Huygens letters. Worp did include another letter from Vorsterman to Huygens, which

7.71

was also purchased. In his annual report, the secretary notes that Worp had included only one sentence from this letter in his publication, even though the letter contained so much more interesting information. In the same year, the furniture is supplemented ‘with a beautiful black ebony cabinet that would have fitted Huygens’s taste perfectly’. In 1939 the anniversary of Huygens’s purchase of the land for Hofwijck is celebrated. Mr. Van Gelder gives a comprehensive speech about Huygens and Hofwijck, Mr. Vorrink, member of the board of the Society for the Promotion of Word Art, speaks about the Hofwijck poem. Newspaper NRC publishes an extensive report on July 9, 1939,

7.72 7.70 A photo in the magazine Katholieke Illustratie of June 20, 1928, on the occasion of the opening of the 'Constantijn Huygens Museum' 7.71 Painting Constantia Huygens by Abraham de Vries, donated to the museum in 1930

7.72 The Hofwijck salon, with a pot-bellied stove for heating. On the ceiling the copper candle chandelier donated in 1929 by Mr. Philips of Eindhoven. Postcard, undated

with some pertinent details: When Mr. Van Gelder had delivered his fine speech, Mr. Kamp, Mrs. Schröder and her attendant are seen coming out of the house, all three in the dress of Huygens's time. […] After the introduction to the Hofwijck poem by Mr. Vorrink, which was very much appreciated, Mr. Kamp read a few passages from it, which he did excellently and very vividly, as

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7.75 Commemoration of the 300th anniversary of Christiaan Huygens's birth, presumably by members of the Royal Academy of Sciences. Photo in magazine Panorama, April 23, 1929

7.75

if he had been Huygens himself. Mrs. Schröder follows with her

Museum activities

singing of two psalms set to music by Huygens [...], a French song

Although the Hofwijck country house, interior and garden are

and two Italian songs. Despite the hindrance of the wind, which

the Association’s finest museum pieces and its greatest attraction,

made the trees rustle, one could follow her well.

old board minutes make it clear that the benefits of changing exhibitions were also considered. The upper floor was made

In 1943 a special seventeenth-century drawing, made in 1660 by

suitable for this purpose. Such a first ‘summer exhibition,’

Jan de Bisschop, is purchased for 75 guilders, depicting a view

especially designed to attract the public, is organized in 1930.

along the Vliet with Hofwijck in the background. Unfortunately, a

In the upper room a small exhibition is set up with pictures of

few years later it turns out that this drawing had been stolen from

seventeenth-century country houses located in the vicinity of

the Lugt collection. The valuable drawing had to be returned to

The Hague dating from the time of Hofwijck’s creation. A large

its rightful owner.

part of these images came from the possession of the Hague

Over the years various books are acquired that had belonged

Municipal Archives. Pleased, the annual report states that the

to the library of Constantijn or that had been provided with a

attendance throughout the year has not been unsatisfactory and

personal dedication by the great poet.

that the small exhibition has certainly contributed to this.

7.76 Hofwijck along the Vliet. The drawing by Jan de Bisschop that was purchased by the Hofwijck Museum and turned out to have been stolen. See also 2.91

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The Board’s decision that the exhibitions at Hofwijck should have something to do with Huygens did not last long. As an experiment, in 1940 ‘the young sculptress Miss Marian Gobius living in Voorburg is given permission to exhibit some of her work in the small upper room. The experiment was apparently a success. Other exhibitions of young, promising artists are to follow. In 1952, for instance, expressionistic paintings by Constant, Corneille and Carel Visser, artists who quickly gained great fame, are exhibited at Hofwijck. In 1955 there is an exhibition of work by the later famous Kees van Bohemen. The following year sees the debut exhibition of Co Westerik, an artist who would also achieve fame.623 In 1955 Hofwijck also participates in the (third) outdoor

7.77

exhibition of De Nieuwe Ploeg under the title: Beelden in en om Hofwijck (Sculptures in and around Hofwijck).624 The exhibition includes sculptures by Constant, Lotti van der Gaag, Marian Gobius, Theo van Nahmer, Rudi Rooijackers and Carel Visser. Such open-air exhibitions were rare in those days. 7.65

7.78

7.77 Hofwijck from the air with on the top left next to Hofwijck the railroad, the highway and the Huygensstraat and on the bottom right next to Hofwijck the Hofwijckstraat. Photo, 1958

7.78/7.79 Posters of exhibitions at Hofwijck, 1953 and 1955

7.79

The following year, again with the kind help of the Hague

From 1940 onwards the number of visitors to Hofwijck rose

Municipal Archives, a small exhibition is held, relating to

spectacularly, thanks to the stamp card tours organized by the

Voorburg. This exhibition naturally attracts many Voorburgers, so

VVV Dutch Tourist Information Office. About 1,400 ‘stampers’

that the annual number of visitors in 1931 remains stable at the

visit Hofwijck annually, a large number compared to the usual

usual number of 350.

300 visitors in the preceding years.

Although it is not easy to provide sufficient variation in the changing exhibitions, the board continues to set clear standards.

Besides exhibitions in the upper room, special activities are

A request from a resident of Voorburg for permission to exhibit

sometimes organized in the salon below.

his collection of weapons at Hofwijck is refused. The board members feels ‘that one should stick to Huganiana.’ The Annual Report for 1935 indicates that the number of visitors had

7.80 Museum statement for Hofwijck, circa 1939

remained stationary. This is followed by a special mention: Among the visitors was H.R.H. Princess Juliana. She had, however, not given notice of her intention and was therefore not received by any of the members of the board. With some regret the secretary notes in the report: We missed the opportunity to inform her more extensively and better than the caretaker could about the importance of Hofwijck. For that matter the secretary regularly praises the janitor and his wife. They always perform their duties with great dedication and are always friendly to visitors.

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7.84 The entrance to Hofwijck with the four statues representing the four seasons and the grisailles Apollo and Flora on the façade. Photo, 1962

7.81 Pol Dom (1885-1978), painter and graphic artist 7.82 Dirk Bus (1907-1978) with one of his sculptures 7.83 Child's head, found during dredging works in the Hofwijck pond

7.85 The white-tiled kitchen with sink and pump. Postcard, circa 1970

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In the Forties, for instance, there are occasional ‘propaganda

drawings.625 First, he paints two test pieces on eternit, which are

evenings’ at Hofwijck, with readings from Huygens’s poems, ‘in

installed in the niches of the façade in 1950. The Board is pleased

elegant costumes from Huygens’s time’. Huygens’s songs are also

to note that the artist had succeeded in adapting to the artistic

performed with piano accompaniment or with the accompaniment

concepts of Huygens's day and yet still expresses the character

of old instruments. However, the Board misses a great opportunity

of our time. Unfortunately, the paint appears to be peeling off

when in 1941 the cabaret department of the Dutch Radio

within two years, so in 1952 these panels must be replaced with

Broadcasting Corporation asks permission to make a broadcast

paintings in a paint more resistant to outdoor air and bad-weather.

from Hofwijck with recitation and singing. The board is only

In 1954, Pol Dom places the grisailles in the remaining niches.

willing to grant permission if the secretary-curator Van Gelder can

Thus, afterward, from their niches Apollo, Flora, Old Age, Cultura

give ‘an introduction to the evening’ beforehand. The Broadcasting

and Authorship adorn the façades. In lower cartouches the name

Corporation refuses but offers to broadcast such an introduction

Hofwijck, the founding year 1641 and the word Otium are applied.

on another evening. The Hofwijck board does not find this acceptable, so there is no radio broadcast from Hofwijck. Another proposal, which the committee actually favors, is not accepted because of practical objections. Poet Martinus Nijhoff has, according to the 1946 Annual Report, put forward the idea ‘of using Hofwijck as a kind of home for intimate literary gatherings’. However, this could only be realized by having a young couple live at Hofwijck who would organize these meetings from time to time. This was in conflict with the museal character of Hofwijck, so this idea was rejected as well. The same happens with an attempt by the ‘Knights of St. John’ to hold regular meetings in Hofwijck. They had lost their old residence in Doorwerth Castle near Arnhem as a result of the war and thought they had found a nice alternative in Hofwijck. Why this does not happen, despite the benevolent attitude of the Board, is also recorded in the annual report of 1946: when during a discussion it appeared that the gentlemen actually wanted to establish a pied-à-terre here - they apparently had been thinking of a lavish country house and did not know the modesty of Huygens ‘a little leisure house’ - we broke off negotiations by mutual agreement. The Grisailles After the war the time finally appears to have come to complete Hofwijck by reintroducing grisailles in the wall niches and a number of statues on the bridge. Three young ‘artists’ had been commissioned by the ‘committee for the support of artists in The Hague’ to make a test piece for the paintings in the niches. The result was not satisfactory. The question was asked whether it would not be better to ask a theater designer. In the end the commission goes to artist Pol Dom. He should make representations in the niches based on seventeenth-century

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7.86 The style room with central heating and a grand piano. Postcard, circa 1970 7.87 The Christiaan room on the upper floor with the pendulum clock in the background from the church in Scheveningen, with which Christiaan experimented with. Postcard, circa 1970

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7.87

This word Otium is an ode to Huygens’s leisure activities, which

earlier in the pond. Of course the result will be festively presented

led to the creation of Hofwijck. The other niches show garlands

on Wednesday, August 11. On July 19,1954, the proud chairman

of flowers and putti with flower garlands. The paintings would

of the Hofwijck Association remarks: Hofwijck has become much

last 25 years. Then they had to be renewed again, adding two new

more attractive because of the fresh colors of the interior painting

‘imitation sculptures’ at the bottom of the façade, two cartouches with attributes of Ars [art] and Mesura [geometry].626 In 1954 the

and the panels applied outside.

refurbishment of the interior and of the bridge is also completed.

Hofwijck does not have a reception room big enough to

On the bridge reconstructions are made of the four statues that

accommodate the many guests, a tent had been erected in the

once marked Huygens’s entrance: four children who symbolize

garden 'out of the rain', where the speeches were held. The

the four seasons of coming and going. Dirk Bus makes the stone

masterpiece of the museum collection, the house itself, had now

sculptures after the example of a child’s head that was found

become a real showpiece.

On August 13, 1954, newspaper Het Vaderland writes: Since

7.91 7.88 Grisaille on the Vliet side, depicting 'Cultura' and 1641, the year in which the main construction of the country estate was completed. It is unclear why the name of the estate was not placed on the waterfront 7.89 Grisaille on the east façade, depicting 'Authorship' and 'Otium', the re-creation of body and mind 7.90 Grisaille on the west façade, depicting 'Old Age', with the name of the country estate below it 7.91 A putti on the west façade between the upper windows. Grisailles designed by Pol Dom Photos, 1962 7.88

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7.92 The ascent to the top floor of Huygens‘ Hofwijck with ‘Christiaan under the stars’ 7.93 ‘Christiaan under the stars’, display case with the Visbagh clock

7.92

7.93

Since 2015, the top floor of museum Huygens' Hofwijck has been dedicated to Christiaan Huygens under the slogan Christiaan under the stars. For several months in 2016, several objects from the time of Christiaan Huygens or invented by him were exhibited here. Many of these objects were loans from the collection of Museum Boerhaave at Leiden

7.94 Eel viewer by Johan Joosten van Musschenbroek, Leiden, circa 1690. During the last years Christiaan spent at Hofwijck, he used an eel viewer during his microscopic research 7.95 Composite microscope with container, France, circa 1750

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7.95

7.96

7.97

7.99 7.98

7.96 Composite 'Huygens eyepiece' with ocular lens, Master Dirck ('the chimney sweep') 1682-1687

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7.97 Cardboard terrestrial telescope, England, circa 1675 7.98 Terrestrial telescope with imitation shark skin (treated black leather), circa 1750

7.99 A seventeenth-century pendulum clock in the collection of museum Huygens' Hofwijck. It is claimed that the long pendulum came from the church at Scheveningen, where Christiaan experimented with the pendulum movement in the tower

7.101 Reconstruction of a planetarium on the top floor of Huygens' Hofwijck

7.102 Video presentation on the top floor of Huygens' Hofwijck showing Christiaan at work. A magic lantern can be seen on the left and a so-called ball or marble track on the right. Christiaan Huygens tried to explain and describe everyday observations mathematically. For example, he discovered that bullets or marbles rolling down a so-called cycloid track (see 3.28) always take the equal amount of time to reach the lowest point, regardless of the height from which they depart. The ball that starts at the highest point acquires a higher speed so that it overtakes the other ball that started lower down so that they always both arrive at the lowest point at the same time. Christiaan Huygens used this cycloid property to make a pendulum clock run more evenly. The marble track shown on the right is a gift from Museum Boerhaave to Museum Huygens' Hofwijck

7.103 Telescope, Christiaan Huygens, 1683 During the 2016 exhibition in Huygens' Hofwijck, this unique telescope by Christiaan Huygens was also shown on loan from Museum Boerhaave. This is the only known complete telescope made by Huygens that remains to this day. The telescope is made up of five tin tubes. When it is fully extended, the telescope is 5.3 metres long. Cornelis Langendelff from The Hague manufactured the tubes, and the eyepiece was made by 'Master Dirck', a local craftsman known as 'the chimney sweep'. Christiaan made the objective himself; the lens bears his signature. This is probably a 'terrestrial telescope', a telescope designed for making observations here on earth

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7.104 The Weeber garden at Hofwijck with a twentiethcentury grand canal and boxwood beds full of herbs and other plants, as seen from Voorburg's elevated train station. Photo, 1989

7.104

7.105 The elevated railroad track, visible to the left of the Weeber-garden. Several pruned plane trees stand between the boxwood sections. Photo, 1989

7.105

A raised railroad line through the garden

The digging of such a grand canal and the simultaneous

In 1987, the railroad line which until then had run at ground

excavation and removal of the herbaceous peninsulas are

level, is raised to the same height as the adjacent national

intended to solve a practical problem, namely the realization

highway. With the construction of the railroad embankment,

of a storage basin for water, which is required by the Delfland

the gardens around the house and the former upper garden are

Water Board. From a garden historical point of view, this

redesigned and laid out by architect Carel Weeber according to

accentuation of the central axis by means of a canal with tall

his own ideas. Weeber, however, chooses to make a reference

trees is very regrettable. In a classicist layout, such as that

to Huygens’s former upper garden around the new station. The

of Hofwijck, both the longitudinal and transverse axes are

central axis of the original garden, which ran under the railroad line and the national highway, is accentuated by colored panels, designed by Peter Struycken. Next to the viaduct, on the corner of the Parkweg and Laan van Nieuw Oosteinde, a black column 12 meters high, designed by André Volten, will be placed on the spot where Huygens’s upper garden once ended. The supports of the viaduct will be placed in such a way that they reinforce the line structure of the former upper garden. But apart from that, no elements from the original design of Huygens’s upper garden will be used, not even in the choice of trees for the station square. These will be fashionable, fastgrowing swamp oaks, which should provide a visual connection between the station square, the orchard and Hofwijck House. This connection will be reinforced by digging a kind of baroque grand canal to accentuate the central axis of Hofwijck and by placing swamp oaks along this grand canal. 7.106

7.107 7.106 The column erected in 1991 at the corner of Parkweg and Laan van Nieuw Oosteinde, on the spot where once the northeast side of Hofwijck's garden ended. Photo, 2004 7.107 Hofwijck seen over the railroad track, which here still runs at ground level. Postcard, sent 1955 7.108 The old railroad track at ground level through the garden of Hofwijck. Photo, 1958

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7.109 The wide ditch near the southern part of Weeber's herb garden. The peninsula that used to be against the west side of the Huygens orchard has been removed. The elevated train station can be seen in the background. Photo, 1989

7.109

7.110 Boxwood beds filled with lavender, sage, rosemary, and other herbs. Photo, 1995

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7.111 The elevated railroad track with station and Weeberdesigned neo-baroque garden at Hofwijck with grand canal and herbal parterres installed by the municipal parks department. Three elongated water lily pools have been placed on the station square, the former upper garden of Hofwijck. Underneath is the white roof of the now elevated station visible on the spot where Hofwijck's former viewing tower once stood. Aerial view, 1988

equivalent. By emphasizing the longitudinal axis the lay-out now

Carel Weeber was responsible for the main plan of Hofwijck’s

gets characteristics of the baroque style. A classicist garden like

garden.

Hofwijck, however, is originally closed and introverted and does

He left the embellishment of the garden to the municipal park

not have, like gardens from the baroque period, connections with

service. They provide the design with a planting of trees, shrubs

the surroundings or long lines of sight. In the original design the

and perennials consisting of contemporary cultivars, which also

central axis of the Hofwijck garden near the Westeinde was, in

have nothing to do with seventeenth-century planting. Thus this

addition to the transversal hedges, even visually interrupted by a

radical garden reconstruction of 1987 brings the garden even

double row of white poplars.

further away from the original plan of Huygens.

7.111

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2000-2016

VIII The restored garden around 2005 a successful reconstruction In the year 2000 the management of the Hofwijck garden is returned to the owner, the Hofwijck Association, by the municipal parks department of Voorburg. At that time the Association asks itself how the museal character of the garden could be strengthened so that the garden would become a fully-fledged outdoor museum. The board decides to appoint a hortulanus, a garden manager, just as Huygens already had working for him. By appointing the hortulanus of the Muiderslot as hortulanus of Hofwijck in November 2001, Hofwijck has acquired an official specialized in seventeenth-century gardens.

The beginning of the reconstruction Shortly afterwards it was decided to aim for a total reconstruction

A factor in the reconstruction of various garden elements

of Constantijn Huygens’s gardens as he laid them out around

is that the measurements are based on the size of the

1640.627 Through a garden archaeological survey it soon becomes

house, the modulus, which measures 30 Rhineland

clear that no traces of the soil from the earlier layout were still

feet [9.42 m]. Various garden elements are then given

present. During the past fifty years the soil archive of Hofwijck

dimensions that reflect the ideal Vitruvian ratio 1:2:4.

had been almost completely destroyed. With the construction

As described before, the entrance to the house is twice

of through pipeline routes for gas, electricity and data cables,

the length of the house and the forecourt four times said

the islands on both sides of the house, as well as the forecourt,

length. The width of the garden at the forecourt is equal

had been completely dug up. The same applied to the orchard,

to the length of the entry avenue, namely 2/7 of the total

which was also excavated to a great depth during the 1987 garden

garden length. That Huygens sometimes allowed himself

construction.

some leeway has already been discussed. It also turned out to be justified to use the aforementioned ground

In drawing up the plans, a difficult choice has to be made

plan engraving with the poem to determine the actual

between ‘restoration’ or ‘reconstruction’. Restoration would mean

dimensions of the garden elements. The scale of the plan

that all elements of the garden would return in exactly the same

is approximately 1:1000, which means that a deviation of

form and in the same place as in Huygens’s time. This proves

0.2 millimeters in the print only results in a deviation of

to be virtually impossible, due to all the changes that had taken

1 Rhineland foot when determining the actual

place over the centuries. So the decision is made to reconstruct

dimensions.

the garden as closely as possible to its original form by, for example, restoring the correlated measurement proportions within a changed setting. The original basic dimensions had been preserved in the house. In 2003 the restoration work is started and completed in the spring of 2004. A working group consisting of various disciplines succeeds, together with the hortulanus and landscaping firm Van der Tol, in restoring the remaining part of Huygens’s garden to its original state. Hedges and rows of trees are bringing back the contours of the human body. The basic material for this reconstruction, in addition to the existing proportions and extensive archival research, is the seventeenthcentury source par excellence: the poem Vitaulium Hofwijck and the accompanying engraving. It is important to know that the poem and the engraving reflect the reality of the time, the actual garden and the trees mentioned by name as the creator Huygens had envisioned them. The poem Vitaulium Hofwijck is therefore considered ‘topographical poetry’ with mainly factual observations, as well as some references and life lessons.628

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8.1 Un-executed design for a Europa stamp with the ground plan of Hofwijck and the human proportions. Design L. Radstaak, 1986

8.2 The start of the garden reconstruction work on January 13, 2004, with the removal of the planting of the Weeber garden. Photo, January 2004

8.4 Boxwood hedges and herbs from the Weeber garden are in a pile for removal. Photo, January 2004

8.3 Two pruned plane trees from the Weeber garden are ready to be replanted elsewhere in Voorburg. Photo, January 2004 8.2

8.3

Practical obstacles and choices in the garden reconstruction

in order to create a new street here, the Hofwijckstraat. Returning

Various developments which over the course of time have left

the avenue to its original location would only be possible if

their mark on the remaining part of Huygens’s garden form

neighboring plots were bought up and the tall lindens that were

difficult obstacles. Whereas the arrival of the railroad around

present were moved or cut down and replaced with new ones.

1868 had already cut away a considerable area on the east

In addition, the widening of the Vliet in previous centuries

side of the garden, the remaining west side of the garden had

had caused the dike between the Vliet and the pond to move

not remained intact either. As described previously, in 1911 a

towards the house, reducing the size of the pond. Obviously, this

northwestern strip of the Hofwijck garden was sold to De Zwart,

widening of the Vliet could not be undone. Restoring the pond

who added this narrow strip to his land and house Casa Nuova.

to its original size would mean that the dike would become so

During the first ‘restoration’ of 1914-1928 the entrance avenue to

narrow that it would be impossible to restore Huygens’s elm trees

Hofwijck and its lindens was therefore placed slightly further east

and hedges to the dike.

than the original avenue. Furthermore the border ditch that ran in

The orchard would also have to be moved slightly in the

the direction of the Vliet and of which half belonged to Hofwijck,

direction of Westeinde, but the ditch that forms the boundary

was expropriated and filled in by the municipality around 1932,

here is already so narrow that this was not possible.629

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8.5 Replacement of the western peninsula removed by Weeber. Photo, March 2004 8.6 Preparations for the construction of a 'giardino segreto' or secret garden on the western peninsula, with the site for a green arbor on the left. Photo, April 2004 8.7 The western peninsula with the still empty flower boxes. At the tip of the forecourt, the first planting of a hornbeam hedge can be seen with a

8.11

silver fir tree in front of it. Photo, May 2004 8.8 Around the 'giardino segreto' the hornbeam planting is now also ready. Next to it the green arbor rises. Photo, June 2004 8.9 Employees of Van der Tol Landscapers lay a swan platform in the pond, designed by E.C. Koopman and R. Kolp. Photo, June 2004

along the Vliet. On the left B. Bregman, then manager/conservator of Hofwijck. On the right A. Hertog, foreman of Van der Tol Landscapers. Photo, April 2004 8.11 The construction of a wooden walkway across the grand canal. Photo, April 2004 8.12 The wooden decking laid with white shells as an access path to the orchard and as a passage through the Athenian gallery. Photo, June 2004

8.13 The now overgrown raised railroad embankment on the right. The shell path from the forecourt ends on this. On the left, a silver fir tree stands in the southeast corner of the forecourt. To the right the east island with initial planting, shell paths and the oxblood red painted wooden bridge. The tall tree on the right is a remnant of an earlier planting, which would later be removed in stages. Photo, June 2004

8.10 Planting of the hornbeam hedge

8.12

8.13

203

8.14 The dog grave on the east island of Hofwijck with Huygens's poem for his little Geckie 8.15 The seventeenth-century mowing policy in the orchard: paths mowed in the high growing grass of the flower meadow

8.14

8.15

In the final garden reconstruction, therefore, although not

The maintenance of the garden

everything was exactly brought back, the original proportions

The maintenance of the garden is carried out as much as possible

of the various garden elements were as described earlier.630

in the seventeenth-century manner, in which again the utility

This allowed the important symmetry from Huygens’s design to

aspect plays an important role. In several places the grass is

remain intact.

allowed to grow substantially, to be mowed in no more than five

And so on the western and eastern island the layout from

different periods when it is long enough. Between these times,

Huygens’s design is reinstated. Thereby a tombstone is placed

narrow paths are mowed in the high grass to keep the orchard

on the east island with a eulogy Huygens wrote for his deceased

passable. In the past, tall grass was important because it could be

dog Geckie. The orchard with the Athenian gallery and the

sold to farmers as fodder. When mowing, a blade bar mower is

peninsulas with the giardini segreto or ‘hidden gardens’ full of flowers and herbs631 as well as the green arbors on the west side

used where possible. This makes it look as if the grass has been

of the orchard, returns to the front garden. On the east side the

which after drying, was used as fodder. The hedges are pruned

garden ends abruptly against the railroad embankment. This is

partly by hand and partly electrically, so that the result is close to

the reality that is not camouflaged.632

what the Huygens gardeners also intended.

8.16

8.17

A special point of attention is the color of the woodwork in

Horticultural manuals and herbal books, such as that of the sixteenth-

the garden, such as bridges and arbors. An oxblood red color

century Rembert Dodoens, also discuss this red color for structures in

was chosen. In Huygens’s time this dark red pigment based

the garden. Several examples and illustrations of this have survived,

on iron oxides was not only popular for aesthetic reasons but

including the gardens of Caspar Anckelmann in Hamburg (1669) and

also because of its good preservative effect. As early as 1522,

the garden pavilion designed by Pieter Post in the gardens of Huis ten

this application is mentioned in one of Erasmus’s table talk

Bosch (1665), where the red trellis clearly shines through the trimmed

writings.633

climbing plants.

204

cut with a scythe or sickle, as used to be the case with grass,

8.19 One of the paths of the Athenian gallery, surrounded by tall hedges, with the southwestern green arbor painted red at the corner

8.19

8.20 The ivy and honeysuckle covered northwestern green arbor, painted oxblood red. Behind it are the pine tree 'men', which form the columns of the Athenian gallery. To the right is the avenue of lindens. Photo, March 2011

8.20

8.21 The opening of the reconstructed Hofwijck garden by the then Queen Beatrix. Walking beside her are the Voorburg mayor Van Haersma Buma and Ad Leerintveld, the chairman of the Hofwijck Association. Photo, July 5, 2005

A surprisingly abundant adornment of flowers And so the remaining part of Hofwijck’s garden is been restored to the situation as described by Huygens in his country house poem. The tree species that he had indicated have been planted again and in the orchard the early seventeenth-century fruit varieties are growing again. The garden soon receives well-deserved monument status, a status that the house had acquired much earlier. In 2005 the renewed Hofwijck garden was festively opened by the then Queen Beatrix. Moreover thanks to the tireless efforts of the many Hofwijck volunteers the garden is thriving. In 2011 the reconstructed Hofwijck garden is declared ‘fully grown’. To mark the occasion, a special Florilegium Hofwijck is presented during the Midsummer Night of that year, the first florilegium of 8.21 8.22 The hidden garden on the western peninsula, next to the southwestern green arbor, clad with ivy and honeysuckle 8.23 Wild honeysuckle and ivy at the green arbor

8.18

8.22

8.16 Green arbors with red-painted woodwork in the garden of Huis ten Bosch. Jan van der Heyden, circa 1665

a country house in which the trees and plants were not drawn or printed but photographed.634 By 2015, the hedges have reached a

8.17 Caspar Anckelmann's garden in Hamburg with the redpainted woodwork. Drawing, 1699 8.18 'Models of pleasure arbors'. Engraving in J. van der Groen, Den Nederlandtsen Hovenier, 1670. For the reconstruction of the Hofiwjck garden the model on the right in the middle was chosen

8.23

sufficient height and the garden once again breathes the salutary peace of a private world that Huygens had envisioned and a stroller can once again philosophize undisturbed in the Athenian gallery. The two islands next to the house also once again display all the characteristics of the ‘tamed wilderness’ envisaged by Huygens.

205

8.24 The Florilegium Hofwijck, from 2011. Below and on the right some examples, photo in 2011 at Hofwijck during spring, summer, autumn and winter 8.25/8.26 Alder catkins 8.27 Pear blossom 8.28 Dandelion 8.29 Daisies 8.30 Dog rose 8.31 Cornflower 8.32 Elm blossom

8.33 8.34 8.35 8.36 8.37 8.38

Linden blossom Rowanberry Sweet chestnut Plum Walnut Silver fir

8.24

8.26

8.27

8.28

8.29

8.30

8.31

8.32

8.33

8.34

8.35

But the restored garden has another special surprise in store, a surprise that Huygens himself must have seen regularly, but hardly mentions in his poem: from early spring and throughout the summer until far into the late autumn, the garden is adorned with an ever-changing array of colors, including stinzen flora, blossoms, wildflowers, berries, grasses, lichens and mushrooms, all species that were already present in the seventeenth century. Thanks to a targeted planting policy and the mowing policy mentioned earlier, these flowers returned to Hofwijck. In the choice of plants for the herb and flower beds on the peninsulas and the roses on the bridge the seventeenth-century book by Jan van der Groen, Den Nederlandtsen Hovenier, was a useful guide. It is interesting to mention that Jan van der Groen knew Constantijn Huygens and his country house poem. In his chapter ‘de loflijkheyt des Land-levens’ (‘the glory of land life’) he writes that Huygens recently ‘poetically described his country house Vitaulium, or Hofwijck, with dignified verses’. The fact that Huygens did not mention most of the flowers and plants in his country house poem at the time has everything to do with the earlier observation that, besides the trees, he only mentioned flora which he had assigned a place and function in

8.25

206

8.39 Design for the reconstruction of the Hofwijck garden, 2003. Drawing E.C. Koopman of the Landscapers Van der Tol. Coloring B. Bregman

8.36

8.37

8.40 Aerial view from 2007 of the reconstructed garden of Hofwijck. The replaced white shells on the paths and forecourt are clearly visible. Below right the white roof of the station, on the spot where once the Hofwijck lookout tower stood. On the left is the elevated railroad track and the 'Utrechtse Baan'

8.38

the garden. The ubiquitous wild flowers with their splendor of

the street in Huygens’s days. The large wall under the Utrechtse

color were not among them, but undoubtedly he and his guests

Baan (highway) between Hofwijck and the Huygensstraat is given

enjoyed them no less. Meanwhile, the developments continue. In

a special work of light art, designed by Geert Mul. Various colorful

2013 the renewed station square was completed. In the paving of

images, including a human body, a celestial body and a pendulum

the structure of Hofwijck’s garden, which used to be here, is made

clock, remind us of Constantijn and Christiaan Huygens.

visible.

In another respect, 2013 was also a special year. Now that the

A strip of the square is now renamed the ‘Huygenstraverse’. Along

garden ‘body’ has returned to its seventeenth-century form, the

the Westeinde, the former Heerwech, a few white poplars are

house as the ‘head’ of Hofwijck could not be left behind. And so

planted on the square side, as they stood here on both sides of

plans were made and realized for a whole ‘New Hofwijck’.

Water ways and pond Shell paths and bowling alley Jetty and bridges House, gatehouse and abors Hedges Orchard Herb gardens Woods Grass path

8.39

8.40

207

Map of the Netherlands in the seventeenth century

16

The map shows several places mentioned in this book

1

Alkmaar

27

Monnickeland

2

Amersfoort

28

Muiden

3

Amsterdam

29

Naaldwijk

4

Antwerpen

30

Naarden

5

Apeldoorn

31

Nootdorp

6

Bergen op Zoom

32

Poederoijen

7

Borsele

33

Rijswijk

8

Breda

34

Rotterdam

9

Brussel

35

Rozendaal

10

Deinze

36

Sas van Gent

11

Delft

37

Scheveningen

12

Den Bosch

38

Sint Anne land

13

Den Haag

39

Sluis

14

Deurne

40

Stompwijk

15

Dordrecht

41

Ter Heide

16

Duinkerken

42

Turnhout

17

Gent

43

Utrecht

18

Gorcum

44

Veere

19

Gouda

45

De Vliet

20

Haarlem

46

Voorburg

21

Heerhugowaard

47

Waalwijk

22

IJzendijke

48

Wassenaar

23

Leiden

49

Wateringen

24

Leuven

50

Zeelhem

25

Luik

51

Zuylichem

26

Maarssen

Map of the Netherlands, also called Neder Duitsland (Lower Germany), by Willem Janszoon Blaeu, 1604

208

39 22

10 36

17

9

24

50

25

7

44

13 37 29 33 46 48 7745 49 11 31 23 40 34

38

65 35

20

19

15

1

3

27

4 28

26

8 18 42

47

32 51

21

43

30

41 2

12

5

14

209

Genealogical table 1592 X

Christiaan Huygens

Susanna Hoefnagel (1561-1633)

(1551-1624)

1627

1633 Maurits

1632

X Petronella Constantijn I X Suzanna

(1595-1642)

Campe (? - 1663)

(1596-1687)

van Baerle (1599-1637)

Philips Doublet II (1599-1680) (1590-1660)

(1598-1612)

daughter of Jan van Baerle and Jacomina Hoon

Catharina (1601-1618)

two daughters and a son Philips III (1633-1707)

four sons and a daughter

Lodewijck

(1629-1695 unmarried)

Philips

Suzanna

(1633-1657 unmarried)

(1637-1725)

X

Philips Doublet III (1633-1707)

daughter of Paulus Teding van Berkhout and Jacomina van der Vorst

daughters of Jacob Rijckaert and Constance Bartolottie

five sons among whom Constantijn IV

a son Philips IV and two daughters among whom Philippina

1708 Constantijn III

Constantijn IV

(1674-1704 unmarried)

(1675-1739)

Susanne Louisa (1714-1785)

210

X David le Leu de Wilhem (1602-1667) (1588-1658)

1660

X

Jacomina Teding van Berkhout (1631-1699) (1645-1711)

Christiaan

Constantia

three daughters among whom Constance and a son Maurits

1674

1668 Constantijn II X Suzanne Rijckaert (1628-1697) (1642-1712)

1633

Geertruyd X

Elisabeth

X

X Willem baron van Wassenaer (1713-1764)

Philippina Doublet (1672-1746)

Lodewijk Philips (dies young)

Philippina Doublet (1672-1746)

Constance (1633-1713)

Christiaan Huygens

Maurits

Constantijn II

Petronella Campe

Suzanne

Constantijn III

Constantijn I

Suzanna van Baerle

Christiaan

Geertruyd

Elisabeth

Lodewijck

Jacomina

Constantijn IV

Susanne Louisa

Susanna Hoefnagel

Willem baron van Wassenaer

Philippina Doublet

Philips Doublet II

Philips

Catharina

Suzanna

Philips Doublet III

Constantia David le Leu de Wilhem

Constance

Philippina Doublet

Lodewijk Philips

211

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Den Haag’, in: Jaarboek Kasteel Keukenhof (Hilversum, 2009)

Tineke ter Meer, ‘Het geboortehuis van Constantijn Huygens’,

Kees van der Leer en Tiny de Liefde-van Brakel, Prinses Marianne,

in: Jaarboek Die Haghe (1994), p. 21-25

1810-1883, een leven van liefde en kunst (Waanders, 2010)

Th. Morren, ‘Het Huygenshuis in het Voorhout’, in: Jaarboek Die

Kees van der Leer, ‘De oude hofstede Heldenburg’, in: 100 jaar

Haghe (1897-a), p. 113-140

Laan van Heldenburg (Historisch Voorburg, jrg. 17, nr. 2, 2011),

Th. Morren, ‘Huygens’ Hofwijck te Voorburg’, in: Jaarboek Die

p. 4-31.

Haghe (1897-b), p. 159-207

Kees van der Leer, ‘Het Huis te Vrijburg’, in: 100 jaar Vrijburgstraat

P.E. Muller, De dichtwerken van Philibert van Borsselen

(Historisch Voorburg, jrg. 18, nr. 1, 2012), p. 4-37

(Groningen, 1937)

Kees van der Leer, ‘Noordenburg’, in: Hoeven aan de Broeksloot

Steven Nadler, Spinoza (z.p., vijfde druk, 2007)

(Historisch Voorburg, jrg. 19, nr. 1 en 2, 2013), p. 100-120

Saam Nijstad en Ad Leerintveld, In opdracht van Huygens.

Kees van der Leer en Bettina Wouters, De Kerkstraat met

De ontdekking van bijzondere stillevens met boeken ter ere van

herbergen, De Hopkamer en ander vertier (Voorburg, 2013)

Constantijn en Christiaan Huygens (Voorburg, 2008)

Kees van der Leer, Spraakmakende personen in Voorburgse

Koen Ottenheym, Wolbert Vroom, e. a.: Vincenzo Scamozzi,

prentkunst. Uit de collectie van Gerard Duijvestein (Voorburg,

architect te Venetië (Amsterdam, 2008)

2016)

Robert-Jan van Pelt, ‘Mens en kosmos in Huygens’ Hofwijck’,

Kees van der Leer, ‘Damzigt, een Voorburgse buitenplaats met een

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Ton Petrus (vert.), Vitruvius Handboek bouwkunde (Amsterdam,

Kees van der Leer, De Vliet langs Leidschendam en Voorburg

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(Historisch Voorburg, jrg. 24, nr. 1-2, 2018)

Pieter Rabus (vert.), Christiaan Huygens, Cosmotheoros de

Kees van der Leer, Vreugd en Rust (Historisch Voorburg, jrg. 26, nr.

Wereldbeschouwer (Utrecht, 1989)

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Rudolf Rasch, Driehonderd brieven over muziek van, aan en rond

Drs. A.M.Th. Leerintveld, Huygens over hovelingen. Eerste

Constantijn Huygens (Hilversum, 2007)

Dr. J.A. Worp-lezing (Voorburg, 1993)

A.W. Reinink, J.G. Vermeulen, IJskelders. Koeltechnieken van

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weleer (Nieuwkoop, 1981)

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P.J.A.N. Rietbergen, ‘Den Haag, 20 april 1660: de bruiloft van

Ad Leerintveld, Constantijn Huygens Nederlandse gedichten 1614-

Susanna Huygens’, in: De zeventiende eeuw (jrg. 3, nr. 2, 1987),

1625 (Den Haag, 2001)

p. 180-190

Ad Leerintveld, De Zeestraat van ’s-Gravenhage naar

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Scheveningen. Constantijn Huygens (Voorburg-Den Haag, 2004)

5 juli 1995

Ad Leerintveld, ‘Zeven brieven van Rembrandt aan Huygens’,

H.C. Rogge, Brieven van Nicolaes van Reigersberch aan

in: De Praetebanck (Voorburg, april 2006)

Hugo de Groot (Amsterdam, 1901)

Ad Leerintveld, ‘Ex libris: ‘Constanter’. Boeken uit de bibliotheek

Wim Ruitenbeek, Pelle Andersen-Harild, De Kobbelzwaan

van Constantijn Huygens’, in: Jaarboek voor de Nederlandse

(Amsterdam, 1979)

boekgeschiedenis (2009), p. 151-176

A.D. Schinkel, Bijdrage tot de kennis van het karakter van

Ad Leerintveld en Peter van der Ploeg, ‘Het leven van Constantijn

Constantijn Huygens, ontleend uit aanteekeningen wegens het

Huygens’, in: Ad Leerintveld, Carlotte Lemmens, Peter van der

beheer zijner goederen (Den Haag, 1842)

214

A.D. Schinkel, Nadere bijzonderheden betrekkelijk Constantijn

Tom Turner, European Gardens, history, philosophy and design

Huygens en zijne familie (z.pl., 1851)

(Londen, 2011)

A.D. Schinkel, Nadere bijzonderheden betrekkelijk Constantijn

Dr. H. Uittien, De Volksnamen van onze planten (Zutphen, 1946)

Huygens en zijne familie. Tweede stuk (z.pl., 1856)

J.H.W. Unger, Dagboek van Constantijn Huygens (Amsterdam,

Lucy L.E. Schlüter, Niet alleen. Een kunsthistorisch-ethische

1885) [in de noten aangeduid als Dagb.] plaatsbepaling van tuin en huis in het ’ Convivium religiosum’ van Barbara Uppenkamp en Ben van Beneden, Palazzo Rubens. Erasmus (Amsterdam, 1995) De meester als architect (Antwerpen, 2011) Gary Schwartz, Rembrandt, zijn leven, zijn schilderijen (Maarssen,

D. Veegens, ‘Een wandeling naar Hofwijck’, in: De Honingbij

1984)

(Zaltbommel, 1842), p. 99-104

Jan Pauw Schutten, Schaduwleven. Het dagboek van Constantijn

Rienk Vermij, Christiaan Huygens. De mathematisering van de

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werkelijkheid (Diemen, 2004)

A.J. Servaas van Rooyen, ‘Het huis van Huygens op het Plein’, in:

Lea van der Vinde, Vrouwen rondom Huygens (Voorburg, 2010)

Jaarboek Die Haghe (1897), p. 141-158

A.W. de Vink, ‘De huizen aan de Kneuterdijk no. 22’, in: Jaarboek

Dr. W.H. van Seters, ‘Prof. Johan van Brosterhuysen (1596-1650).

Die Haghe (1921/22), p. 120-192

Stichter en Opziener van de Medicinale Hof te Breda’,

Dr. W.J.A. Visser, ‘Vincent van Gogh en ’s Gravenhage’, in: Jaarboek

in: Jaarboek Geschied- en Oudheidkundige Kring

Die Haghe (1973), p. 9-19

‘De Oranjeboom’ (1953), p. 106-151

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straatnaam (Voorburg, 1989), p. 34-37

Zeeland (Goes, 2002, 3de druk)

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Dr. Jacob Smit, De Grootmeester van woord- en snarenspel. Het

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leven van Constantijn Huygens (Den Haag, 1980)

Willemien B. de Vries, Wandeling en verhandeling. De ontwikkeling

Mieke Smits-Veldt, Maria Tesselschade. Leven met talent en

van het Nederlandse hofdicht in de zeventiende eeuw (1613-1670)

vriendschap (Zutphen, 1994)

(Amersfoort, 1998)

Mieke B. Smits-Veldt en Martha S. Bakker, In een web van

Constant van Wessem, Koning-stadhouder Willem III (Den Haag,

vriendschap (Amsterdam, 1999)

1939)

Drs. C.J.J. Stal, ‘Bewoners en eigenaren’, in: Het kabinet der

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Koningin (Den Haag, 1991)

Haghe (1897), p. 12-34

Dr. L. Strengholt, Constantijn Huygens Zee-straat (Zutphen, 1981)

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Dr. J.A. Worp, De briefwisseling van Constantijn Huygens,

Roy Strong, The Renaissance Garden in Engeland (Londen, 1979)

VI delen (Den Haag, 1911-1917) [in de noten aangeduid als WBr.]

Ton van Strien (samenst.), Korenbloemen. Gedichten van

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Ton van Strien en Kees van der Leer, Hofwijck het gedicht en de

Henry Wotton, The Elements of Architecture (Editie Benjamin

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Blankenbehler, 2009, een ongewijzigde kopie naar de 1903 versie

Ton van Strien en Willemien B. de Vries, Constantijn Huygens

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Thera Wijsenbeek-Holthuis (red.), Het Lange Voorhout (Zwolle,

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‘seate of selfe-fruitation’ (onuitgegeven dissertatie, Cambridge,

Kees Zandvliet, Maurits prins van Oranje (Zwolle, 2000)

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Dr. F.L. Zwaan, Dagh-werck van Constantijn Huygens (Assen, 1973)

J.J. Terwen, K.A. Ottenheym, Pieter Post (1608-1669) Architect

Dr. F.L. Zwaan, Constantijn Huygens’ Hofwijck (Jeruzalem, 1977)

(Zutphen, 1993)

Ruud de Zwart, ‘Pieter Willem de Zwart, gemeenteopzichter

P. Timareten, Verzameling van Gedenkstukken in Nederland. Deel

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II, ’s Gravenhage en Scheveningen (’s Gravenhage, 1778)

Voorburg (jrg. 16, nr. 2, 2010), p. 4-11

Tom Turner, Garden History, philosophy and design (Londen, 2005)

Abbreviations

215

Notes

AHMH Archives Huygensmuseum Hofwijck, Voorburg KB Royal Library, The Hague HGA The Hague Municipal Archives GALV Leidschendam-Voorburg Municipal Archives UA Utrecht Archive UBL Leiden University Library NA The Hague National Archives Dagb. J.H.W. Unger, Dagboek van Constantijn Huygens (Diary of Constantijn Huygens) (Amsterdam, 1885) Vitaulium Hofwijck Constantijn Huygens’s poem Vitaulium Hofwijck (The Hague, 1653) WBr. Dr. J.A. Worp, Briefwisseling van Constantijn Huygens (The correspondence of Constantijn Huygens), VI parts (Den Haag, 1911-1917) WGed. Dr. J.A. Worp, De gedichten van Constantijn Huygens (the poems of Constantijn Huygens), IX parts (Arnhem, z.j.) Oeuvr. Hollandse Maatschappij van Wetenschappen, Oeuvres complètes de Christiaan Huygens, XXII parts (The Hague, 1888-1950) Journ. Historisch Genootschap te Utrecht, Journaal van Constantijn Huygens de zoon, III parts (Utrecht, 1876-1888)

1 After the death of William of Orange, Christiaan Huygens became secretary of the Council of State. Kan (1946), p. 9. Contacts with Louise de Coligny remained close. Worp (1917/18), p. 4 and p. 6. Louise de Coligny’s affection for little Constantijn came not only because of Father Christiaan’s position, but especially because Constantijn, he noted, practiced the music she loved. Kan (1946), p. 29. Some other expressions of the friendly relations with the Oranges: Maurits, the eldest Brother of Constantijn, was named after Prince Maurits, his godfather. One of Constantijn’s godfathers who was present at his baptism in The Hague’s Hofkapel was Justus van Nassau, a bastard son of Prince William. Kan (1946), pp. 15-16. 2 On Susanna Hoefnagel, see Mieke B. Smits-Veldt, ‘Susanna Hoefnagel, the mother of Constantijn Huygens (1561-1633)’, in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 13-24. 3 Constantijn Huygens noted down his memories of the first 35 years of his life around 1630 in a writing entitled: Mijn Jeugd (My Youth). The notes were written in Latin. For a translation into Dutch see: Kan (1946). In My Youth Constantijn Huygens himself mentions that he was born ‘in ’s-Gravenhage in a rented house, owned by (mayor) Bol in the so-called Nobelstraat [...].’ Kan (1946), p. 14. 4 Ter Meer (1994), pp. 21-25. 5 In humanism, reason and a designed reality plays a predominant role. Trust in one’s own reason is essential, as is the dignity of the human being, development, formation and selfdevelopment. The humanist has an aversion to dogmatism and propagates a return to the original sources. In this regard, there was a strong reliance on ancient, Greek and Roman civilization. Well-known humanists include Petrarch (1304-1374), Boccaccio (1313-1375), Erasmus (circa 1466-1536), and Lipsius (1547-1606). 6 Kan (1946), p. 15. 7 Eyffinger (ed.) (1987), p. 81. On this manuscript, found in 1986, in which Christiaan Huygens describes the youth of his sons Maurits and Constantijn, see: Drs. A.R.E. de Heer and Dr. A. Eyffinger, ‘De jongelingsjaren van de kinderen van Christiaan en Constantijn Huygens’ (The youthful years of the children of Christiaan and Constantijn Huygens), in: Eyffinger (ed.) (1987), pp. 76-78. The full text of this manuscript is printed on pp. 79-88 of this publication, with a summary on pp. 153-154. On this manuscript, see also: Elisabeth Keesing, ‘The Fate of a Manuscript,’ in: Freijser (1988), pp. 117-120. 8 Kan (1946), pp. 18-19. 9 Hofman (1983), p. 35. 10 Kan (1946), p. 19. 11 Rasch (2007), part I, p. 118. 12 A notebook has been preserved of the young Constantijn from 1607 and 1608 in which he wrote a number of self-created verses in Latin. WGed. I, 1607-1608, pp. 1-11. 13 Kan (1946), pp. 20-35. 14 Some subjects were taught by separate individuals. For example, Constantijn mentions that he received drawing lessons from Hendrik Hondius and that he had ventured into ‘the finer painting with watercolor, which we call miniature painting,’ under the guidance of his relative Jacob Hoefnagel (a son of the famous miniature painter Joris Hoefnagel, a Brother of Constantijn’s mother). He gave the resulting paintings to friends as gifts. Can (1946), pp. 66-68. Lessons in philosophy and logic were given by the Scotsman George Eglisham. Kan (1946), pp. 96-99. Later this Scot was also asked to explain the globe to his pupils. Kan (1946), p. 105. 15 Kan (1946), p. 103. Huygens mentions as his teacher the Jesuit François d’ Aiguillon, who had written six books on optics.

216

16 Kan (1946), ppp. 107-108. The exercises took place under the leadership of Pierre du Moulin, a captain who had been a model for painter De Gheyn in drawing various movements and positions of the infantry exercises and who ‘both in the handling of the weapons and in the suppleness of body’ was unequalled by anyone. Constantijn received riding lessons from the French nobleman De Beaumont, who later became chief equerry to Frederik Hendrik. Kan (1946), pp. 50-51. 17 Kan (1946), pp. 95-96. WGed. I, 1612, pp. 40-42. 18 Worp (1917/18), pp. 10-11. See also Dagb. p. 8. 19 WGed. I, 1613, pp. 48-49: Domui discessurus valedicio. Translation from the Latin in Ter Meer (1994), p. 22. 20 Worp (1946), p. 11. 21 For further details on the houses on the Voorhout see: Thera Wijsenbeek-Olthuis and Hans Fölting, ‘Eigenaren en bewoners van de panden op het Voorrhout’ (Owners and occupants of the houses on the Voorhout) in: Wijsenbeek-Olthuis (1998), pp. 241-280, especially LV7 (Cabau, p. 248), LV9 (Boelen, pp. 248-249), LV10 (Carleton, p. 258), LV15 (Van Dorp, p. 250), LV44 (Huygens, p. 266) and KN22 (Winter Queen, pp. 279-280). See also: Morren (1897-a), pp. 113-140. 22 Morren (1897-a), p. 122, note 1. 23 On Dorothea van Dorp, see: Van der Vinde (2010), pp. 33-37 and Lisa Jardine, ‘In search of the ‘real’ Dorothée van Dorp’, in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 37-52. 24 Worp (1917/18), p. 11. Worp also mentions the friendship with the scholar Daniel Heinsius, which developed during this Leiden period. 25 This first English trip lasted from June 7, 1618 to November 2, 1618. 26 Constantijn Huygens mastered seven other languages besides Dutch: French, Latin, Greek, Italian, English, Spanish, and German, plus to a lesser extent Hebrew and Portuguese. On Huygens’s multilingualism, see Joby (2014). 27 This building, Lange Voorhout 10, still houses the English embassy. 28 Hofman (1983), p. 40. 29 See on Cecil, among others: WBr. I, no. 46, June 12, 1618, and p. 23, note 4. 30 Van Geffen (2008), pp. 89-91. 31 Van Geffen (2008), p. 99. On Huygens’s correspondence from England, see among others: WBr. I, no. 44-58, 1618-1619. 32 On Huygens’s first encounter with architecture of Jones, see Bacharach (1962), pp. 117 and 142. 33 On Huygens’s travels to England and his contacts with the Winter Queen, see Nadine Akkerman, ‘Cupid and the First Queen at The Hague. Constantijn Huygens and Elisabeth Stuart’, in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 73-96. See also Jardine (2008), pp. 102-134. 34 For an illustration of a ‘water work’ of Caus and other examples, see: De Jong (1993), pp. 46-47. 35 WBr. I, no. 47, 26 June 1618 and no. 48, 1618. 36 Hofman (1983), p. 41. 37 On this see Journaal van de reis naar Italië, written in French, see Blom (2003-a). For Huygens’s correspondence during this trip, see also: WBr. I, no. 78-88, 1620. 38 See Blom (2003-a), pp. 65-69. Two years after Huygens visited the Bliotheca Palatina, Heidelberg fell victim to the Thirty Years’ War, a struggle between Protestants and Catholics, during which the palace and gardens were destroyed. Much of the library was donated to the Vatican by the conquerors. 39 This second English trip lasted from January 23, 1621, to April 30, 1621. For Huygens’s letters from London during this trip, see: WBr. I, nos. 97-106, 1621. 40 On this house on Kneuterdijk, see: De Vink, (1921/22), pp. 120-192. 41 Batave Tempe freely translated means: lovely valley in Holland. For Huygens’s early Dutch poems see: Leerintveld (2001). 42 For the correspondence surrounding this printing process, see: Leerintveld (2001), vol. 2, pp. 25-37. The first edition was soon followed by several reprints. For a list, see: Eyffinger (1987), pp. 59-61, Concise bibliography, no. 3, poems, nos. 179 to 206. 43 This third English trip lasted from December 5, 1621 to February 13, 1623. For correspondence during this period, see: WBr. I, nos. 97-200, 1621-1623. 44 WBr. VI, no. 6928, February 12, 1674. 45 Kan (1946), pp. 117-123. 46 WBr. I, no. 125, February 4, 1622. Lady Russell was married to Edward Harrington Earl of Bedford, so Huygens calls her Mrs. Bedford in the letter to his parents. Lady Lucy was for some time the ‘patron’ of the poet John Donne. 47 For this garden, see Strong (1979). For a drawing of the garden at Moor Park, see: Strong (1979), p. 145. Gervase Markham published The English husbandman in 1613 and The English housewife in 1615, two books that also appeared in Constantijn Huygens’s library.

Markham promoted ‘good husbandry’, a set of guidelines for the design of gardens and their maintenance. See Van Geffen (2008), p. 93. Huygens also had a similar book in his library: De Veltbouw ofte Landwinninghe from 1588. 48 WGed. IV, 1633, pp. 261-262: Den Hof. Huygens translated some 19 poems by Donne. They were included in Huygens’s Korenbloemen (1658), pp. 1089-1120, in the chapter ‘Uyt Engelsch Dicht van Doctor John Donne. 49 On Wilton House, see Jardine (2008), pp. 66-69 and 239-243. 50 Smit (1980), pp. 102-103 and Van Geffen (2008), p. 73, note 4, pp. 82-83 and p. 87. 51 Van Geffen (2008), p. 82 and p. 94-97. 52 Van Geffen (2008), p. 84. 53 Kan (1946), pp. 24-25 and p. 151 note 42. 54 Van Geffen (2008), p. 83. 55 Hofman (1983), pp. 50-51. See also WBr. I, no. 155, 8 June 8, 1622 and no. 169, August 10, 1622. 56 This third English voyage lasted from December 5, 1621 to February 13, 1623. 57 On the Winter Queen and the masques, see Nadine Akkerman, ‘Cupid and the First Queen at The Hague. Constantijn Huygens and Elisabeth Stuart’, in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 77-91. 58 This fourth English trip lasted from February 26, 1624 to July 5, 1624. This time the envoy resulted in a treaty between England and the Republic of the Netherlands. Worp (1917/18), p. 23. 59 Presumably Huygens’s mother is referring here to Rochus van de Hoonaert, an acquaintance of the Huygens family, whose son Thomas was to build the country estate De Hoonaert on the Vliet in Stompwijk in 1648. See C. H. Voorhoeve, ‘Buitenplaatsen, herbergen en oude huizen, in: Daams en De Kort sr. (1988), p. 137. 60 WBr. I, no. 225, 1624. Retranslated in Smits-Veldt and Bakker (1999), pp. 19-20. 61 WBr. I, no. 234, April 30, 1624. Retranslation in Smits-Veldt and Bakker (1999), p. 29. 62 Morren (1897-a), p. 139 and Servaas van Rooyen (1897), pp. 157-158. Contrary to Servaas van Rooyen’s statement the memorial stone for Huygens was therefore not placed in Houtstraat but on Lange Voorhout. See also note 102. 63 The Stadholder was the deputy of the sovereign. During the Eighty Years’ War (15681648) in 1581 the then sovereign, the Spanish king Philip II, was renounced by the Dutch provinces as lord of the sovereign. The Republic of the Seven United Netherlands decided to maintain the Orange Stadholder. He was given the function of commander of the army. The legislative and executive powers came into the hands of the States General, in which mainly aristocratic regents from the northern provinces held sway. In the early years of the Republic of the Netherlands a certain conflict of interests prevailed between these regents and the Stadholder. Hence, when choosing his officials, the Stadholder often preferred a person who did not come from such a noble regent family from the northern provinces. 64 Maurits was born in 1567 from the marriage of William of Orange and Anna of Saxony. 65 See for the application and appointment of Huygens: WBr. I, 269, 1625. See also: Hofman (1983), pp. 131-138 as well as Rogge (1901), p. 55. 66 See about this inscription on the tomb of William of Orange: Blom (2003), part 2, pp.170175. 67 For the appointment documents, see: Jorissen (1871), Appendix H, pp. 386-389. 68 Kan (1946), pp. 7-14. 69 See on Joris Hoefnagel, among others: Thea Vignau-Wilberg, ‘Flowers for His Mother: An Unknown Cabinet Miniature by Joris Hoefnagel’, in: Master Drawings (Volume XLV, number 4, 2007). 70 Hofman (1983), p. 180. On the campaigns in which Huygens took part, see: Worp (1917/18), as well as AHMH: Dossier exhibition Huygens with Orange on the Campaign (2012). 71 Edward Cecil’s letter was purchased by Huygens Museum Hofwijck in 2012. See also AHMH: Dossier exhibition Huygens with Orange on the campaign (2012). 72 See for instance the bullet wound inflicted on the Count of Nassau-Siegen mentioned by Huygens and the war wound inflicted on the Prince of Talmont: Haeseker (2010), p. 64. See also Haeseker (2010), pp. 158-159 on the battle injuries of army commander Christiaan of Brunswick followed by an amputation of the left hand described by Huygens. 73 AHMH: Dossier exhibition Huygens with Orange on the Campaign (2012). 74 Hofman (1983), p. 143. 75 For the role of painting in Huygens’s life as well as his role in the artistic aspirations of Stadholder Frederik Hendrik, see: Broekman (2013). She mentions that this important role is evident from, among other things, the large number of painters who sought contact with Huygens as well as from the contacts he himself sought with painters. Huygens also wrote several poems on the portraits he had had painted of himself and family members. On p. 80 Broekman mentions the painter Cornelis Hendriksz Vroom from whom Huygens ordered a

painting that was presumably intended to be hung at Hofwijck. Van Gelder (1957) mentions 35 portraits that Huygens had commissioned of himself. 76 Van den Boogert (2006), pp. 3-4. Kan (1946), pp. 78-79. 77 The full texts of these seven letters are reproduced, with the mention of the collections where they are located, in Leerintveld (2006), pp. 6-7. 78 Leerintveld (1993). 79 ‘Zedeprenten’ was included in 1625 as the sixth book of the seven-book collection Otia (Free Hours). 80 WGed. II, 1629, p. 206: In Effigiem P. Heinij, resp: The same. 81 On Suzanna van Baerle see: Frans R.E. Blom and Ad Leerintveld: ‘Vrouwen-schoon met Mannelicke reden geluckigh verselt. De perfecte match met Susanna van Baerle’, in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 97-114. 82 On these sisters see: Frans Blom, ‘Van prive naar publiek. De zussen Geetruyd en Constance in Huygens’ poesie’ (From private to public. The sisters Geertruyd and Constance in Huygens’s poetry), in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 25-36. 83 WBr. I, no. 188, October 1622. 84 For these poems see: Frans R.E. Blom and Ad Leerintveld, ‘Vrouwen-schoon met Mannelicke reden geluckigh verselt. De perfecte match met Susanna van Baerle’, in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 99-103. 85 For this marriage contract see: Hofman (1983), pp. 210-211. 86 See about Dagwerk among others: Smit (1980), pp. 147-149. See also: Zwaan (1973). 87 Worp (1917/18), p. 28. 88 For this house in Houtstraat see: Servaes van Rooyen (1897), pp. 141-146. 89 The full text of these notes by Constantijn Huygens is printed in: Drs. A.R.E. de Heer and Dr. A. Eyffinger, ‘Constantijn Huygens beschrijft de jeugd van ziin kinderen’ (Constantijn Huygens describes the childhood of his children), in: Eyffinger (ed.) (1987), pp. 89-152 with a summary on pp. 155-165. On these diary entries by Huygens, see also: Dekker (1995), pp. 35-46. 90 Various pedagogical principles were borrowed by grandfather Christiaan Huygens from the manual on education prepared by Marnix van St. Aldegonde, a friend of grandfather. Leerintveld (1993), p. V. 91 Huygens writes this in his Staet en Adminstratie van alle mijne Goederen. See on this: Schinkel (1842), p. 61. 92 This herons’ wood extended on the so-called Akerland (Aker is an old name for oak tree) as a narrow strip of high trees on the east side of the Binnenhof, from the court pond towards the Poten. With the arrival of Stadholder Maurits, a protected colony of blue herons nested here since 1585, intended for the Stadholder’s falconry. In 1636 this herons’ wood was added to the garden of the Mauritshuis, on condition that the heron colony would not be disturbed. It was not until the Stadholderless era of 1650-1672 that the heron colony, which was a nuisance to the surrounding area, came to an end. See on this: H.G. Bruin, ‘Het Plein en het Huis’ (The Square and the House), in: Blom, Bruin and Ottenheym (1999), pp. 49, 75-76. See also Blok (1940). 93 On Jacob van Campen and his involvement with the house on the Plein see: Huisken, Ottenheym, Schwartz (ed.) (1995). See also H.G. Bruin, ‘Het Plein en het Huis’, in: Blom, Bruin and Ottenheym (1999), pp. 63-65. 94 Blom, Bruin and Ottenheym (1999), p. 21. 95 Huygens sold his house in Houtstraat to Schotte, councillor at the Supreme Court. His widow sold the house on May 16, 1643, to her closest neighbor, the ‘mayors and rulers of the city of Amsterdam. See about this: Servaas van Rooyen (1897), p. 145. 96 Suzanna’s sister Sara van Baerle was married to Philips van Dorp. Keesing (1993), pp. 209-210. 97 Because of the emotional charge, Suzanna’s words on her deathbed have been chosen to be rendered in the original script 98 Eyffinger (1987), p. 107. 99 Eyffinger (1987), p. 101. 100 Smits-Veldt (1994), pp. 72-77. See also Smit (1980), pp. 193-195. On the Roemers sisters see Olga van Marion, ‘Geen Homerus! Zelfpresentatie in twee poeticale gedichten van Anna and Tesselschade Roemers’ (No Homer! Self-presentation in two poetic poems by Anna and Tesselschade Roemers), in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 53-72. 101 WGed. III, 1638, p. 46. The poem was placed as a conclusion behind Huygens’s poem Dagwerk in 1638, with the full title: Cupido Dissolvi. Op de dood van Sterre. Dagwerk, (On the Death of Sterre. Daywork) as indicated earlier, is the unfinished poem Huygens worked on from 1627 to describe his married life with Suzanne van Baerle. In 1658 it was published in Huygens’s collection of poems Korenbloemen. 102 In 1892, the Die Haghe Association decided ‘to place a stone with an inscription in his memory at the house in Houtstraat, where Huygens lived [...]. Because there was uncertainty

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as to where exactly this house had stood, this was not carried out. Instead, on September 4, 1896, the board of Die Haghe placed a commemorative stone in the façade of the Huygens's house at 44 Lange Voorhout. They would rather have placed this stone at the birthplace of Huygens, but at the time they did not know where exactly this had been. See about this: Morren (1897-a), pp. 139-140 and Servaas van Rooyen (1897), pp. 157-158. See also note 62. 103 For this house on the Plein see: Blom, Bruin and Ottenheym (1999) and Servaas van Rooyen (1897), pp. 141-158. 104 Inigo Jones lived from 1573 to1652. He studied architecture in Italy, where he was impressed by Palladio’s ideas and works. 105 The Italian architect Palladio lived from 1508-1580. Originally, he was a stonemason named Andrea di Pietro della Gondola. A humanist, he studied the ideas and architecture of classical antiquity and applied them to his structures. Soon he was called Palladio, after the Greek goddess of wisdom, Pallas Athene. 106 On this symmetria and proportio of Vitruvius, see: K.A. Ottenheym, ‘Huygens en de klassicistische architectuurtheorie’ (Huygens and the classical theory of architecture), in: Blom, Brown and Ottenheym (1999) pp. 96-99. Symmetria is more than the mirror image in current parlance. Vitruvius means by symmetria especially the overall consistency of measures and proportions. 107 On these three ‘beautiful girls’ see: Eymert-Jan Goossens, ‘De rol van de beeldhouwkunst’ (The role of sculpture), in: Huisken, Ottenheym, Schwartz (1995), p. 208. 108 On Scamozzi, see: Ottenheym, Vroom, et al. (2008). 109 K.A. Ottenheym, ‘Huygens en de klassicistische architectuurtheorie’ (Huygens and the classical theory of architecture), in: Blom, Brown and Ottenheym (1999) p. 87. See also: Ottenheym, ‘Inleiding’ (Introduction), in: Ottenheym, Vroom, et al. (2008), part III, p. 10. 110 On the writings that Huygens and Van Campen studied, see: K.A. Ottenheym, ‘Huygens en de klassicistische architectuurtheorie’ (Huygens and the classical theory of architecture), in: Blom, Brown and Ottenheym (1999), pp. 87-89. Vincenzo Scamozzi (1548-1616) was a pupil of Andrea Palladio (1508-1580), who in turn was influenced by Leon Battista Alberti (1404-1472). They all drew on Vitruvius (circa 75 B.C. to 75 A.D. Daniele Barbaro (15141570) was one of the first to translate and comment on Vitruvius, in a book entitled I dicci Libri dell' Architettura di M Vitruvio published in 1556, followed by a second edition in 1567. Both Wotton and Huygens had this book in their libraries. 111 On these drawings, see: H.G. Bruin, ‘De Plein end het Huis’ (The Square and the House), in: Blom, Bruin and Ottenheym (1999), pp. 69-70. See also Schinkel (1851), pp. 82-84. Schinkel mentions that he owned the copper plate that was engraved after Post’s sectional drawing of the house on the Plein and that it was so well preserved that fairly good prints could still be made of it. For Pieter Post, see Terwen, Ottenheym (1993). 112 Trompe-l’oeil paintings are paintings on a flat surface that appear deceptively threedimensional. When executed in black and white or gray, as at Hofwijck, they are called grisailles. 113 Uppenkamp and Van Beneden (2011), pp. 12-13 and p. 128. 114 K.A. Ottenheym, ‘Huygens en de klassicistische architectuurtheorie’ (Huygens and the classical theory of architecture), in: Blom, Brown and Ottenheym (1999), p. 101. 115 H.G. Bruin, ‘De Plein end het Huis’ (The Square and the House), in: Blom, Bruin and Ottenheym (1999), pp. 72-75. 116 WGed. III, 1636, p. 31: Domus Mea. 117 K.A. Ottenheym, ‘Huygens en de klassicistische architectuurtheorie’ (Huygens and the classical theory of architecture), in: Blom, Brown and Ottenheym (1999), p. 97. 118 De Jong (1993), p. 48. 119 H.G. Bruin, ‘De Plein end het Huis’ (The Square and the House), in: Blom, Bruin and Ottenheym (1999), p. 76. 120 For these notes, see: Eyffinger (1987), pp. 123-152. 121 WGed. VIII, 1680, p. 248: Op de dood van Ioff.w Catherine Zuerius, gestorven 10 octo 1680, (On the death of Ioff.w Catharine Zuerius), 122 Andriesse (1993), p. 62. 123 Anna Maria van Schurman was a poet and artist, who also acquired fame as the first woman in Holland who (in 1636) was allowed to attend lectures at the university (in Utrecht). She had to attend lectures behind a curtain, so that male students could not see her. See about her: Katlijne van der Stighelen and Jeanine de Landtsheer, ‘Een suer-soete Maegd voor Constantijn Huygens. Anna Maria van Schurman (1607-1678)’, in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 147-202. 124 See, among others, Van der Vinde (2010), p. 28. Huygens’ Museum Hofwijck is in possession of the original doll that Suzanna played with in her childhood. See about this doll: Ebeling (1993), pp. 35-37. 125 Vermij (2004) p. 12. 126 Jorink (2006), p. 16. On Descartes and Huygens see also: Hofman (1983), pp. 110-121.

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127 Andriesse (1993), pp. 71-72. 128 Some other pupils of Van Schooten are Johan de Witt and Jan Hudde, who would later make a name for themselves in mathematics and with whom Christiaan Huygens corresponded. Andriesse (1993), e.g. p. 74. 129 Van Seters (1953), p. 122. 130 Father Huygens chose Reverend Lampe because the two sons of his now-deceased Brother Maurits were also housed there. Eyffinger (1987), p. 145. 131 See Blom (2003). 132 On court life under Frederik Hendrik and Amalia van Solms, see Keblusek and Zijlmans (ed.)(1997). 133 De Boer (1997), p. 3. See also Keblusek and Zijlmans (1997), pp. 39-40. 134 The two statues and the arches are in the collection of the Rijksmuseum in Amsterdam. On these sculptures see also: Eymert-Jan Goossens, ‘De rol van de beeldhouwkunst’ (The role of sculpture), in: Huisken, Ottenheym, Schwartz (1995), pp. 207-208. 135 These tile pictures with the ships and the pomegranates (see 1.104) were bricked into the buildings Surinamestraat 42 and 44 in The Hague, designed by architect C.H. Peters. Peters had measured and drawn the Huygens House in detail shortly before its demolition. See about this: H.G. Bruin, ‘De Plein end het Huis’ (The Square and the House), in: Blom, Brown and Ottenheym (1999), pp. 78-80. In 1918, several tiles were also found during a restoration of Hofwijck (see 1.105). With thanks to Jacques Plugge for this information. 136 WGed. II, 1626, pp. 166-167: Kommerlick ontwaken. Davidson (1996) was used for translations into English of some of the poems. 137 It will become clear from the following that Huygens’s description of his garden in his poem Vitaulium Hofwijck contains remarkably many references to the biblical paradise story. On Hofwijck as paradise see also Van Strien, ‘Hofwijck, het gedicht’, in: Van Strien and Van der Leer (2002), p. 13. 138 The seventeenth-century appreciation of country life was inspired among others, by Virgil, who had devoted a chapter to the praise of country life in his didactic poem on agriculture, the Georgica, written between 37 and 28 BC. Huygens had in his library several works by Virgil. 139 On the menagerie and horses of Prince Maurits, see Zandvliet (2000), pp. 44-46 and pp. 305-321. 140 On the influence of Huygens’s travels on his own designs and those of the Stadholder, see Sellers (Amsterdam, 2001), pp. 153-160. This influence was not only noticeable at Honselaarsdijk and Nieuburg, but also at other Stadholder projects including in Vlissingen, The Hague, Breda, Buren and IJsselstein. See for this: Sellers (Amsterdam, 2001), p. 101ff. 141 WBr. II, no. 2179, July 22, 1639. 142 WBr. II, no. 2205, August 17, 1639. 143 This original letter is in the collection of the UBL. 144 WBr. II, no. 2219, 1639. 145 De Jong (1993), p. 47. 146 See on Randenbroek: Koen Ottenheym, ‘Architectuur,’ in: Huisken, Ottenheym, Schwartz (ed.) (1995), pp. 176-179. 147 WBr. I, no. 906, May 2, 1634. 148 For a modern translation of Vitruvius’s work on architecture, see: Peters (1999). 149 In 2009, ‘Architecture Revived’ published a new edition of The Elements of Architecture with a preface by Benjamin Blankenbehler, an unaltered copy after the 1903 version of the 1624 original. See Wotton (1624/1903/2009). 150 WBr. III, no. 2942, February 6, 1642. Ultimately, a publication of a translated Vitruvius was not realized by Huygens. Other translators and publishers would precede him. Van Geffen (2008), p. 85. 151 On Randenbroek, see: Van Hoorn (1991). 152 For a detailed description of this medical procedure, see: Haeseker (2010), pp. 44-45. 153 WBr. II, no. 2251, September 29, 1639. 154 WBr. II, no. 2252, September 30, 1639. 155 WBr. III, no. 2310, February 6, 1640. 156 WBr. III, no. 2316, February 15, 1640. 157 WBr. III, no. 2317, February 24, 1640. 158 WGed. III, 1639, p. 129: Inscriptio Villae. 159 This manuscript is in the collection of the KB. This Staat en Administratie (State and Administration) was published in full in print in: Schinkel (1842). For the purchase of ‘Land at Voorburg’ and resulting costs, see: Schinkel (1842), pp. 77-82. 160 Schinkel (1842), p. 83. For the earlier history of the land plots purchased by Huygens, see: Van der Leer (2004), p. 8. These plots were listed as hemp and heathland at the end of the sixteenth century. The fertile ground on the Vliet was mainly used as arable ground so for growing vegetables.

161 For the history of Onder de Linden see: Van der Leer (1998-b), pp. 34-37. 162 The surface measures used in the seventeenth century are the roede, the hont and the morgen. For Voorburg, the following Rhineland measurement ratios apply: 1 morgen = 6 hont = 600 roeden = 0.8516 hectare = 8,516 square meters. The morgen derives its name from the area that a farmer could plough in one morning. The hont is the abbreviation of hundred: 1 hont is after all 100 rods. The rod derives its name from the yardstick that underlies it. 163 GALV: Oud-rechterlijk archief Voorburg, inv. nr.6 fol. 203-verso. 164 GALV: Oud-rechterlijk archief Voorburg, inv. nr.6 fol. 226-verso. 165 Schinkel (1842), p. 79. 166 GALV: Oud-rechterlijk archief Voorburg, inv. nr.6 fol. 255-verso. The two plots of 3 hont each that Huygens purchased belonged in the sixteenth century to the first plot that Huygens had bought before that, but had been split off from it by an earlier sale. By purchasing these two plots, Huygens restored the original plot boundaries. Van der Leer (2004), p. 8. 167 GALV: Oud-rechterlijk archief Voorburg, inv. nr.6 fol. 256. The (almost) complete texts of the last three acquisitions in Voorburg by Huygens are printed in: Van der Leer (1996), pp. 85-87. 168 Vitaulium Hofwijck, line 937-940. 169 The lines from the poem Vitaulium Hofwijck quoted in the following are from the retranslation in Ton van Strien, ‘Hofwijck, het gedicht’, in: Van Strien and Van der Leer (2002), pp. 19-71. The line numbers referred to are those from the above-mentioned retranslation. 170 Vitaulium Hofwijck, line 1677. 171 W. Goeree, Natuurlyk en Schilderkonstig Ontwerp der Menschkunde: lerende niet alleen de Kennis van de Gestalte, Proportie, Schoonheyd, Muskelen, Bewegingen, Actien, Passien en Welstand der Menschbeelden tot de Drawkunde, Schilderkunde, Beeldhouwery, Bootseer en Giet-Oeffening toepassen [...] (Amsterdam, 1682) 172 Vitaulium Hofwijck, line 87. 173 Marten Jan Blok, ‘Famiie, Vrienden en opdrachtgevers’ (Family, friends and patrons), in: Huisken, Ottenheym, Schwartz (ed.) (1995), p. 44. 174 Smits-Veldt (1994), pp. 84-85. See also Strengholt (1987), p. 74. 175 Vitaulium Hofwijck, line 1014-1022. 176 Vitaulium Hofwijck, line 37-52. 177 Vitaulium Hofwijck, line 2405-2406. 178 Vitaulium Hofwijck, line 89. 179 Vitaulium Hofwijck, line 90-94. On Hofwijck as an ‘anthropomorphic garden’ see: Van Pelt (1994). For a critical reflection on this, see: Van Geffen (2008). The many examples mentioned by Van Geffen of English garden elements that may have inspired Huygens, do not alter the fact that in Hofwijck Huygens realized a unique overall design, in which he took the human body as a starting point. Moreover, Huygens used elementary forms that had already been used in classical antiquity and long before, for example in Mesopotamia and Persia. See for this Turner (2005), p. 104 and Turner (2008), p. 26. See also Turner (2011), p. 26. 180 AHMH: Henk Boers, Dossier tuinrestoratie (garden restoration) Hofwijck (from 2003). See also K.A. Ottenheym, ‘Huygens en de klassicistische architectuurtheorie’ (Huygens and the classical theory of architecture), in: Blom, Bruin and Ottenheym (1999), p. 102. 181 Vitaulium Hofwijck, lines 44-45. 182 Vitaulium Hofwijck, line 981. 183 A Rhineland foot is 31.4 cm, so the size of the house is 9.42 m square. The length of the house is 30 feet (or 2.5 rood), the length of the entrance to the house is 60 feet and the forecourt is 120 feet. 184 Vitaulium Hofwijck, line 976. 185 Bregman (2000), pp.10-12. 186 Vitaulium Hofwijck, lines 969-976. Mirror-image, or equivalence, as Huygens calls it, is, as indicated earlier, part of the broader concept of symmetria as formulated by Vitruvius. 187 Vitaulium Hofwijck, lines 977-984. 188 Several of these and following historical facts concerning Huygens are taken from Worp (1917/1918). 189 Dagb. p. 35. On Huygens’s visits to Hofwijck, see also: Willemien B. de Vries, ‘Inleiding,’ in: Van Strien and De Vries (2008), volume 2, part 3, pp. 8-10. 190 Vitaulium Hofwijck, lines 613-617. 191 Terwen and Ottenheym (1993), p. 38. 192 WBr. III, no. 2558, October 23, 1640. 193 WBr. III, no. 2562, October 31, 1640. 194 WBr. III, no. 2654, February 24, 1641. 195 WBr. III, no. 2349, April 22, 1640. Huygens had written Calandrini a letter on April 1st prior to this, offering to send him ‘the prints of his house’. WBr. III, no. 2336, April 1, 1640. 196 WBr. III, no. 2407, June 16, 1640 and no. 2449, July 15, 1640. 197 WBr. III, no. 2423, June 26, 1640. Contrary to what is written in Zwaan (1977), p. XV,

among others, these are probably the prints of the house on the Plein that Huygens sent to Calandrini and Marie Lansame, and not of Hofwijck. 198 Putti are painted or sculpted plump child figures, usually male and nude. 199 See the etching accompanying the poem Vitaulium Hofwijck (1653), the drawing of Hofwijck by Jan de Bisschop (1660) and that of Isaac de Moucheron, early eighteenth century. 200 Later, more such buildings designed by Van Campen would follow, all of them churches, such as those in Hoge Zwaluwe and Renswoude. 201 Koen Ottenheym, ‘Architectuur,’ in: Huisken, Ottenheym, Schwartz (ed.) (1995), pp. 176-180. See also Cor van den Braber, ‘The Randenbroek of Jacob van Campen (1595-1657), in: Flehite (2013). Van den Braber mentions that the white niches on the facades of Hofwijck, on which Huygens had grisailles painted, were ‘directly imported from Amersfoort’, i.e. made after the example of the façades of Randenbroek. Furthermore the floor plans of Randenbroek and Hofwijck are almost identical and ‘Hofwijck has just like Randenbroek a pyramidal roof, with almost the same roof pitch’. 202 For this and similar data see: AHMH: Henk Boers, Dossier tuinrestauratie (garden restoration) Hofwijck (from 2003). 203 At Hofwijck there was an ice cellar under the entrance to the house, where snow and ice from the pond was stored in severe winters to cool perishable food later, but also as a lifesaving cooling in case of high fever. In 1914 this cellar was still found under the staircase. This will be discussed in more detail below. 204 Vitaulium Hofwijck, line 2701-2712. 205 Van Geffen (2008), p. 95. 206 Henk Boers and Kees van der Leer, ‘Vitaulium Hofwijck as florilegium,’ in: Boers and Van der Leer, Van den Berg, Lambrechts (2011), pp. 16-17. 207 The mast wood near Breda was the oldest planted coniferous forest in our country, intended for wood production. The planting took place from 1515 onwards using seed from Nuremberg. See Caspers (1999), p. 10. 208 The cause of the death of the trees was the too high acidity of the old lime-poor inner dune sand with red ferruginous layers, which the tree roots could not penetrate. 209 Vitaulium Hofwijck, lines 607-610. 210 Huygens undoubtedly saw the ‘mountains’ in various English gardens during his English travels. It was also mentioned earlier that Jacob van Campen had also built a ‘mountain’ with an observation tower at Randenbroek. At other country estates hills were sometimes also built in the garden, such as the ‘cat-hills’ with panoramic views hills’ at the Hof in Bergen from around 1643. Jacob Cats had a ‘hill erected amidst the greenery’ on his Sorghvliet (also built in 1643) that served him as a place of meditation. Sjoerd Schaper, ‘Het Hof in Bergen’, in: De Jong (1988), p. 33. For another example, see the ‘mountains’ at the now defunct country estate Doolomberg near Amersfoort, in: Hamer and Meulenkamp (1987). 211 The dedication date, February 12, 1642, is mentioned by Huygens in his letter to Barlaeus of February 13, 1642. WBr. III, no. 2948, February 13, 1642. 212 On these inflections, see: WGed. III, 1642, p. 174: Vitaulium inauguratum, February 9, 1642. Huygens signs this poem written on February 9, 1642 with Le Marquis de Vitaule. See also WGed. V, 1652, pp. 26-27: Ad inaugurationem Vitaulij qua extat tom. I. Moment. p. 58. 213 See also WGed. III, 1642, p. 214: Mijn rust op Hofwijck (My rest at Hofwijck). 214 Dagb. p. 38. 215 WBr. III, no. 3000, May 25, 1642; WGed. III, 1642, p. 181: Commitment of visit to Mr. Hooft. 216 Vitaulium Hofwijck, lines 405-421. 217 WBr. I, no. 554, October 10, 1630. 218 On the friendship between Maurits Huygens and Jacques de Gheyn, see Schwartz (1984), pp. 95-97. 219 WGed. II, 1633, pp. 245-246: In Iacobi Gheinij effigiem plane dissimilen. Sommmata (Scoffs on an absolutely unlikable portrait of Jacques de Gheyn). Translation from the Latin in: Schwartz (1984), p. 97. 220 Only years after the death of his Brother Maurits were seven of the eight Latin satirical poems published by Constantijn Huygens. The eighth satirical poem in which Rembrandt’s name appeared was not published. 221 Van den Boogert (2006), p. 5. 222 Maurits Huygens married Petronella Campe in May 1633. From this marriage were born successively Christiaan, Maurits, Jacob, Constantijn and Martha Maria. Wildeman (1897), pp. 21-22. On Maurits Huygens see also: Frederiks (1894). 223 Vitaulium Hofwijck, line 137-2164. 224 Vitaulium Hofwijck, line 887-888. 225 Vitaulium Hofwijck, line 1387. 226 Vitaulium Hofwijck, line 1731-1952. 227 Van Pelt (1994) sees the walk through the garden also as a walk through the microcosm,

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from the wild world of the upper garden, via the harmonious world of the orchard to the contemplative world at the jetty on the Vliet. He also sees in it the three qualities of man: body, soul and spirit. 228 Vitaulium Hofwijck, line 2542-2548. 229 Vitaulium Hofwijck, line 2465-2466. 230 On Huygens’s musicality, see Rasch (2007). 231 Vitaulium Hofwijck, line 1099 -1112. 232 WGed. III, 1642, pp. 211-212: To Miss Utricia Ogle. 233 WGed. III, 1642, p. 212: Nor (Ditto). 234 Such birds as siskins, larks, quail, and starlings were caught primarily for consumption. Also, a country estate owner would often make good cheer with friends and acquaintances by donating bundles of edible birds tied together that had been caught at his country estate. Matthey (2002), p. 90; see also Van der Leer (2009), p. 124. 235 Oeuvr. XXII, pp. 782 and 783, October 18, 1658. 236 Maria Casembroot was a daughter of Leonard Casembroot and Anna Schadee. Keesing (1993), p. 211. Presumably she was related to Samuel Casembroot, who had owned the Middendorp estate on Voorburg’s Kerkstraat since 1639. See also Ton van Strien, ‘Virtuoso en vertuous. Maria Casembroot (1621-?)’, in: Kloek, Blom and Leerintveld (ed.) (2010), pp. 115130. Moreover the year of death of Maria Casembroot is known: She died unmarried in The Hague in 1703 and was buried there on May 17th of this year. She was baptized in Rotterdam on April 4, 1621. See above: www.kazenbroot.nl. 237 WGed. VI, 1661, p. 308: Dank in ernst aan juffrouw Casembroot. (Thanks in earnest to Miss Casembroot). 238 On the musical measure relationships, see: Willemien B. de Vries, ‘Introduction,’ in: Van Strien and De Vries (2008), volume 2, part 3, pp. 1-2. An example of a Dutch garden in which musical proportions were applied is the Hof in Bergen from 1645. See on this subject: Sjoerd Schaper, ‘The Hof in Bergen,’ in: De Jong (1995), pp. 35-41. Schaper sees this garden of the Hof in Bergen, where the emphasis lies on musical proportions, as a counterpart to Hofwijck, where human proportions are central. He does not mention the possibility that elements of musical proportionality can also be recognized in the human proportions at Hofwijck. 239 Vitaulium Hofwijck, lines 428-453. 240 See on country house poems: De Vries (1998). 241 Muller (1937), pp. 76-77, lines 129-153. 242 On the Binckhorst see: Kees van der Leer, ‘Het Gelukzalig landleven haas gang en rad’, (The blissful country life next to gallows and wheel) in: Van der Leer (2002), pp. 69-98. 243 WBr. V, no. 5511, October 15, 1656. 244 In the seventeenth century, the yellow paint color was a color that lasted a long time and was relatively cheap. 245 Giezen-Nieuwenhuys, Wilmer (1987), pp. 8-9. 246 On the poem Vitaulium Hofwijck and its retranslation see: Van Strien and De Vries (2008). 247 See about this conflict about the guardianship of William III: Van Wessum (1939), pp. 1726. On the role of Huygens in this conflict, see: Hofman (1983), pp. 249-258. 248 Vitaulium Hofwijck, lines 127-130. 249 Vitaulium Hofwijck, line 27-30. 250 Vitaulium Hofwijck, line 135-136. 251 For this dedication, written by Constantijn II, see Swan (1977), pp. 292-294. 252 See about this Ordre de la Joye: De Boer (1997), p. 7. 253 See about this Journaal of Lodewijck Huygens: Bachrach and Collmer (1982). The part of this Journaal written in Dutch is on pp. 177-248 and the part in French on pp. 249-293. 254 Bachrach and Collmer (1982), pp. 270-272. 255 Andriesse (1993), p. 129. 256 On this Spanish trip and the Spanish Journaal, see Ebben (2005). 257 On the Spanish gardens, see among others: Ebben (2005), pp. 267-285. 258 WBr. IV, nr. 4006, July 4, 1645. See also Elisabeth Keesing, ‘De kinderen onderling: een hechte familietrouw’, (The children among themselves: a close family loyalty) in: Freijser (ed.) (1988), p. 65. 259 Vitaulium Hofwijck, line 145. 260 See for a picture of the garden at Wimbledon: Strong (1979), p. 61. See also Van Geffen (2008), pp. 90-91. 261 Vitaulium Hofwijck, line 1978. 262 Vitaulium Hofwijck, line 2033. 263 Vitaulium Hofwijck, line 2053-2104. 264 Vitaulium Hofwijck, line 1483-1488. 265 Vitaulium Hofwijck, line 1149-1160. 266 Vitaulium Hofwijck, line 1979-2016. 267 WGed. V, 1655, p. 246: Mast trees on Hofwijck.

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268 Buysero became councillor and registrar in 1637 and councillor and accountant to the Orange governor/Stadholder in 1647. He died in March 1674. See about Laurens Buysero and his son Diederick: Hora Siccama (1915), pp. 130-131. See also: WBr. II, nr. 1182, note 3. The country estate Duynzigt was located in Rijswijk at the Broeksloot, on the east side of Steenvoorde and is indicated with name on the map of Kruikius from 1712. 269 WBr. IV, no. 3601, July 13, 1644. 270 Already in classical antiquity pine cones were considered fertility symbols because of their large seed production and because of their anthropomorphic characteristics. See on this subject: De Cleene (2008), p. 101. Another example of such anthropomorphic designations are ‘memme’ (‘female breasts’) flowers or honeysuckle, which grew on the pleasure arbors and whose fruits resemble women’s breasts. The difference between male and female mast trees was already described by Rembertus Dodoens in the fourth edition of his Cruijde-boeck of 1644 and by Stephaan Blankaart in his Den Nederlandschen Herbarius of 1698. Such a custom, using human characteristics for botanical names, had been in vogue for centuries and gradually changed from 1753 when Linaeus published his Species plantarum, in which he introduced a scientific name based on objective characteristics. See on this point Van Gelder (2012), pp. 147-147 and p. 169. See also Uittien (1946), pp. 64-73. 271 Vitaulium Hofwijck, line 160-162. 272 WGed. V, 1655, p. 214: Sparrebomen verbrand op Hofwijck (Spruce trees burned on Hofwijck). See a similar poem in WGed. V 1654, p. 141: ‘k roei al de wifjes uit mijn hof. (I eradicate all the females from my court). 273 WGed. VIII, 1682, pp. 298-299: Op het rooien van mijn mastbomen op Hofwijck en Noch (Idem) (On the uprooting of my mast trees on Hofwijck and Noch) (Idem). 274 Henk Boers and Kees van der Leer, ‘Vitaulium Hofwijck as florilegium’, in: Boers and Van der Leer, Van den Berg, Lambrechts (2011), pp. 14-21. 275 Vitaulium Hofwijck, line 2047-2050. 276 Vitaulium Hofwijck, line 2509-2510. 277 De Boer (1997), pp. 6-7. 278 See also Smit (1980), p. 151. Also in his Dagwerk Huygens’s passion for collecting is discussed, as well as his home pharmacy and ‘kostelicke reuken’. See on this subject: Zwaan (1973), pp. 302-311. 279 WBr. I, no. 482, January 1, 1630. See also WBr. I, no. 480, December 22, 1629. See on cabinets of curiosities: Jorink (2006), pp. 215-276. 280 Dagb. p. 39. 281 See on Hooft and Huyghens: Boers, Molenaar, Van der Stroom (2004), p. 46. 282 WGed. III, no. 1643, pp. 276-277: Verbintinus aan de heer Hooft (Commitment to Mr. Hooft). 283 For Huygens’s involvement with the Orange Hall that Amalia van Solms had installed in memory of her deceased husband at Huis ten Bosch, see: Leerintveld and Van der Ploeg (2013), pp. 92-101, as well as Broekman (2005), pp. 68-70. 284 WGed. VI, no. 1656, p. 79: Rust op Hofwijck (Rest at Hofwijck) Retranslation in: Van Strien (1996), pp. 39 and 100. 285 Vitaulium Hofwijck, lines 1084-1085. 286 Vitaulium Hofwijck, lines 1062-1068. 287 Vitaulium Hofwijck, lines 2653-2664. 288 Ruitenbeek, Andersen-Harild (1979), p. 20. 289 Tarling (2009), p. 30. 290 Vitaulium Hofwijck, lines 1465-1473. 291 Vitaulium Hofwijck, lines 1361-1379 292 See about ball games and bowling: Botermans and Visser (1991), pp. 24-36 and pp. 57-61. 293 WBr. V. nr. 5323,1653. 294 Vitaulium Hofwijck, line 2210. 295 Vitaulium Hofwijck, lines 2182-2184. 296 WBr V. nr. 5310, 5/15 September 1653. 297 Oeuvr. V. nr. 1206, p. 17, January 17, 1664. 298 WGed. VIII, nr. 1673, p.104: Thee-dronkards. 299 A ‘mountain’ in garden art was common in Renaissance gardens. A mountain pyramid with an obelisk is described and depicted in the Hypnerottomachia Poliphili, a book that Huygens had in his library. Francis Bacon, with whom Huygens had contacts, also describes the implementation of a mountain in the garden in his Of Gardens. 300 Huygens’s aforementioned comment is expressed in the lines of verse in Latin below the two illustrations accompanying the map. With thanks to Drs. S. Jeurissen for the translation and interpretation of the said Latin lines of text. 301 Vitaulium Hofwijck, lines 747-772. 302 WGed. IV, 1651, p. 265: Mijn pyramide op Hofwijck omver (My pyramid on Hofwijck overturned).

303 Vitaulium Hofwijck, line 797-799: ‘Everyone shall rebaptize it (the new tower) according to his judgment: I accept the wisest doper’s name to my advantage, and he shall be godfather of the new wooden child.‘ On this ‘contest’ see also: Van der Leer (2004), pp. 10-13. 304 Vitaulium Hofwijck, line 535-537. See on gaaischieten (gaai shooting) Botermans and Visser (1991), pp. 65-69. Although Huygens speaks of a wooden parrot in this context, the word gaai does not originally refer to a ‘parrot’ as we know it today, but to a collar parakeet, a brightly colored bird brought to the West from India by Alexander the Great in the 4th century BCE. Jay shooting is first mentioned in 1394 when the parrot was not yet prevalent in the West. 305 Vitaulium Hofwijck, lines 495-498. 306 WGed. IV, 1651, p. 265: Doeldicht. 307 Vitaulium Hofwijck, lines 2741-2746. 308 See about the Huygens children at Hofwijck also: Elisabeth Keesing, De kinderen onderling: een hechte familietrouw’, (The children among themselves: a close family loyalty) in: Freijer (ed.) (1988), pp. 74-75. 309 Oeuvr. III, no. 884, p. 249, February 18, 1661. Translation quote from Elisabeth Keesing, De kinderen onderling: een hechte familietrouw’, (The children among themselves: a close family loyalty) in: Freijer (ed.) (1988), p. 81. 310 Oeuvr. IV, no. 1036, p. 179, February 18, 1661. 311 On this marriage of Suzanna Huygens and Philips Doublet see: Stink (1851), pp. 25-34. For a description of the wedding day by Father Constantiin Huygens, see his letter to Beatrix de Cusance in: Oeuvr. III, no. 744, pp. 67-72, 22 April 1660. See also: Rietbergen (1987). 312 Oeuvr. IV, no. 1004, p. 110, April 12, 1662. 313 Oeuvr. IV, no. 1029, p. 165, June 27, 1662. 314 On the plague in 1664, see among others: Oeuvr. V, no. 1245, p. 89, July 25, 1664 and no. 1253, p. 107, Aug. 29, 1664. 315 See on Otium: Willemien B. De Vries, ‘Inleiding,’ in: Van Strien (2008), band 2, volume 3, p. 18. That the garden is a place for recreation of the spirit was first formulated by Petrarch in 1366 in his De vita solitaria. Humanists, including Erasmus, Lipsius, Bacon and Huygens adopted this view. On this, see De Vries (1998), pp. 168-169. 316 The total size of Huygens’s library was about 10,000 volumes. A good picture of this library is provided by the three auction catalogs in which books from the Huygens library were auctioned: in 1688 (after Constantijn’s death), in 1695 (after Christiaan’s death) and in 1701 (after Constantijn II death). See Leerintveld (2009). 317 On this Lipsius cabinet, see Leerintveld (2009), p. 166. 318 Vitaulium Hofwijck, line 359. The context shows that this turf bank was placed in the garden. 319 Stoa means colonnade, a circular way as found in Greco-Roman town squares. The school of the Stoics was founded by Zeno around 300 BC. The principles of the Stoics formed the basis for humanistic thought. Stoics stressed that true peace, a state free of passions, can only be achieved through harmony with nature. The garden is the perfect place for this. See on this subject: Aufenanger (1985), pp. 45-46. 320 Vitaulium Hofwijck, lines 1483-1496. 321 WBr. V, nr. 5313, November 3, 1653. 322 Vitaulium Hofwijck, lines 2157-2164. 323 Vitaulium Hofwijck, lines 2491-2492. 324 In garden art, Hermes and Perseus go together more often. Hermes plays a crucial role in the story of Perseus and Andromeda, because he is the one who hands Perseus the sickle with which the monster is killed. See on this: Claudia Schellekens, ‘Stijd en verseoning?’ (Struggle and reconciliation?). Het iconografische beeldprogramma van de tuinen te Melbourne Hall, Derbyshire, England (The iconographic imagery of the gardens at Melbourne Hall, Derbyshire England), in: De Jong (1995), pp. 86-89. 325 Vitaulium Hofwijck, lines 2561-2567. 326 Vitaulium Hofwijck, lines 2555-2557. 327 See about the Order of St. Michael: Schinkel (1856), pp. 27-30 and pp. 42-43. Schinkel mentions that he acquired the original charter and accompanying documents of Huygens’s appointment as a knight in the said Order. 328 See for Zuylichem: Schinkel (1842), pp. 7-16; Zeelhem, also written as Zelem or Zelhem, was given to Huygens in 1647 ‘uyt genereuse goedertierentheyt’ by William II: www.dbnl.org. See also: Schinkel (1842), pp. 17-25, who wrongly assumes that Huygens had bought Zeelhem; Monickeland: Schinkel (1842), pp. 26-31. Zuylichem lies on the south bank of the river Waal in the Bommelerwaard in Gelderland; Zeelhem lies in present-day Belgian Limburg below Hasselt; Monnickeland was in Gelderland between Brakel and Loevestein. Other possessions (besides the house on the Plein and Hofwijck) mentioned in Huygens’s Staat en Administratie: the homestead Lantarenhof near Antwerp: Schinkel (1842), pp. 32-41; the farm Fijnaert in North Brabant near Rozendaal: Schinkel (1842), pp.

54- 60. Furthermore Huygens had shares in polders including the Catharinepolder and the Oranjepolder near IJzendijke and the Schorren near Sluis, all in Zeeuws Vlaanderen, plus plots in the Heer Hugowaard in North Holland: Schinkel (1842), pp. 42-54. In England, Huygens participated in a reclamation at Hatfieldchase, and in Switzerland in the construction of a canal to Lake Geneva: Schinkel (1842), pp. 64-76. Participation in the reclamations and canal construction proved risky and generated more worry than income. Huygens profited more from the dividends on a share in the West India Company and the interest on bonds and other money lent. Schinkel (1842), pp. 83-105. On Huygens’s possessions, wealth and social position, see also: Hofman (1983), pp. 210-223. In Sint-Annaland in Zeeland the farm ‘Nooitgedagt’, built by Constantijn Huygens in 1662, still stands. See on this: Smallegange (2002), p. 14. 329 See on these problems: Hofman (1983), pp. 211-212. 330 WGed. VI, 1659, p. 259: Huis te Hofwijck. 331 See on William Temple: Hora Siccama (1915), pp. 687-688. 332 WBr. VI, no. 7032, September 14/24, 1676. 333 Vitaulium Hofwijck, lines 2357-2428. 334 De Vink (1903), pp. 314-315. 335 GALV: leenregisters De Werve. 336 GALV, archive De Werve. 337 Schinkel (1842), p. 81. 338 GALV: Account of the churchwarden at Voorburg, various years. 339 GALV: Gaarboek der verpondingen Voorburg, various years. 340 Schinkel (1842), p. 82. 341 WBr. IV, no. 3780, September 28, 1644. See about Caron and Constantia Boudaen: WBr. IV, p. 51, note 1. 342 See about Spinoza in Voorburg: De Bruin (1988). See also Nadler (2007), pp. 259-260 and 336 as well as Gullan-Whur (1998), pp. 154-255. 343 After Fabian van Boheemen and Ruud Bosscher had discovered the name of the landlord of Daniel Tijdeman in the Kerkstraat, Kees van der Leer was able to establish through extensive archival research that this house in which Spinoza rented a room was indicated in the Voorburg property register as number 50. Via inheritance, deeds of sale etc. this eventually led to the present Kerkstraat 37/39. In 2022, an edition dedicated to Spinoza will appear in the series Historisch Voorburg 344 Nadler (2007), p. 282. 345 Oeuvr. VI, no. 1606, p. 155, October 14, 1667. 346 Oeuvr. VI, no. 1608, p. 158, November 4, 1667. 347 Oeuvr. VI, no. 1615, p. 168, December 9, 1667. See also on Spinoza and lenses: Oeuvr. VI, no 1611, pp. 163-164, December 2, 1667. 348 Nadler (2007), p. 283. 349 Oeuvr. VI, no 1638, pp. 213-215, May 11, 1668. 350 In his book Life and times of Rembrandt (New York, 1930), Hendrik van Loon describes how an ancestor, Jan van Loon, shortly after attending Rembrandt’s funeral on October 8, 1669, contacted Constantijn Huygens, who had known the painter. Huygens invited him to stay at Hofwijck for a few days, where the two men had long conversations about matters of faith and about Rembrandt, whose death increasingly filled Van Loon with thoughts of depression. Van Loon is assailed by a high fever, which forces him to stay longer at Hofwijck than anticipated. Host Constantijn Huygens provides a distraction by inviting Spinoza, who lives a few minutes’ walk away in Voorburg, to Hofwijck several times. To dispel the depressive thoughts, Huygens advises Van Loon to write a book about the life of Rembrandt. Despite the accuracy of various historical data, the book, including the letters written at Hofwijck included in it, is based on fiction. 351 Gorris et al. (1977), pp. 101-102. 352 Vitaulium Hofwijck, line 2783. 353 Vitaulium Hofwijck, line 2656. 354 For the garden overseers see: Schinkel (1842), p. 81. 355 WGed. VI, 1656, p. 269: Tuinmans straf. (Gardeners punishment) 356 On August 26, 1651, i.e. shortly before his death, Jan Maertensz sold large parts of this hemp garden to adjacent homeowners, especially on Kerklaan, the present Kerkstraat. GALV, ORAVb, inv. no. 8, fol. 26-35. 357 WGed. V, 1654, p. 136: Epitaph. 358 Dagb. p. 84. 359 WGed. VIII, 1680, p. 253: Grafschrift van Carel van de Bussche (Epitaph of Carel van de Bussche). 360 WGed. VI, 1656, p. 46: Hovenier (Gardener) 361 See about Vrijburg: Van der Leer (2012). 362 See about this observation tower and the ‘mountain’ of Hofwijck: Van der Leer (2004), pp. 9-13.

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363 Suzanna Huygens, the youngest sister of Constantiin II, was married in 1660 to Philips (III) Doublet. 364 See also: Van der Leer (1996), p. 55. Mistakenly, following other authors, De Loo is still referred to here as Rijckaert’s country estate. 365 WGed. VI, 1656, p. 70: Aen me vrouw Rijckaert. Thanks to Anne Jacobs for his information in transcribing the poem. 366 On Huygens and the Rijckaert family, see: Van der Leer (2012), pp. 18-24. 367 See on this subject: Leerintveld (1994). 368 Keesing (1993), p. 88. 369 See on Anna Morgan: Jardine (2008), pp. 182-184. 370 WBr. III, no. 3239, April 22, 1643. 371 WGed. IV, 1645, pp. 53-54: Een minnaar aan een weduwe op een muggennet hem door haar geschonken (A lover to a widow on a mosquito net given him by her). 372 WBr. IV, no. 4417, August 1, 1614. 373 WBr. V, no. 5230, June 6, 1652. 374 See about Béatrix de Cusance: Huysman and Rasch (2009), as well as Van der Vinde (2010), pp. 103-110. See also: Ineke Huysman,‘Bewondering of berekening. De geschenkenuitwisseling tussen Beatrix de Cusance en Constantijn Huygens’ (Admiration or calculation. The gift exchange between Béatrix de Cusance and Constantijn Huygens), in: Kloek, Blom, Leerintveld (ed.) (2010), pp. 203-223. 375 See about the Duarte family: Huysman and Rasch (2009). See also Rasch (2007), letters number 4692, 4839 and 4910. 376 WGed. V, 1653, p. 33 note 4. 377 See on Utricia Ogle: Rudolf Rasch, ‘Aensienlicxte der Vrouwen, Aenhoorlixte daer toe. Utricia Ogle in de ogen (en oren) van Constantijn Huygens’, in: Kloek, Blom and Leerintveld (ed.) (2010), pp. 131-148. 378 WGed. IX, 1655, pp. 5-7: To my lady Swann. 379 The Pathodia was published in Paris in 1649. On this collection of music see: Rasch (2007), I, p. 226. 380 WGed. IV, 1648, p. 134: Aan mejuffrouw Casembroot, haar zendend psalm 61 (To Miss Casembroot, sending her psalm 61). See also WGed. VII, 1666, p. 99: Met een stichtelijk boek voor gezonden appelen (With an edifying book for sent apples). 381 WGed. IV, 1651, p. 251: Maria Casembroot. 382 WGed. IV, 1648, p. 131: Twee ongepaarde handen op een klavecimbel (Two unpaired hands on a harpsichord). 383 Keeping (1993), p. 197. See also Ton van Strien, ‘Virtuoso en vertuous. Maria Casembroot (1621-?)’, in: Kloek, Blom and Leerintveld (ed.) (2010), p. 127. 384 Vitaulium Hofwijck, line 21. 385 See about this trip of Philips: Blom (2003b), part 2, pp. 309-311 and pp. 458-459. 386 The letters of Philip to his Brother Christian are in the UBL, Hug 45-2. See also: Andriesse (1993), pp. 136-138. 387 See on Cavendish: Nadine Akkerman and Marguérite Corporaal, ‘Margaret Cavendish, Constantijn Huygens en de Bataafse tranen’, in: Kloek, Blom and Leerintveld (2010), pp. 224-239. 388 See about this ’steenstraat’ (stone street) or zeestraat (sea street): Strengholt (1981) and Leerintveld (2004). 389 See about the Amersfoortse road: Abrahamse en Blijdenstijn (2010). This Amersfoortse road ran from De Bilt to Amersfoort, right through sand drifts and was constructed from about circa 1649 to a design by Jacob van Campen, according to design principles of classical antiquity. Poets praised this road as the ‘Wegh der weegen’ (Road of all Roads). During his Uitwandeling (Walk out) in 1669 Huygens also praised this road with the lines: ‘Door d’ allerbreedste straet van d’ allerbreedste straten. Die van voor Amersfoord tot bij de Bildt belendt. See WGed. VII, 1669, pp. 289-292: Uitwandeling van ... Augustus tot ... September. 1669. 390 Vitaulium Hofwijck, line 2053. 391 Strengholt (1981), p. 6. 392 Based on Huygens’s notes, Johan van Swieten made the final drawings and supervised the execution of the work. Information Kees Stal, 2015. 393 On the negotiations on Orange, see Hofman (1983) pp. 266-295. 394 WGed. VII, 1665, pp. 89, 90: Op mijn geboortedag (On my birthday). 395 Heijbroek (ed.) (1982), p. 13. 396 Oeuvr. VI, no. 1557, p. 76, August 13, 1666. 397 De Jong (1993), p. 51. 398 WBr. VI, no. 6789, March 5, 1671. 399 WGed. VII, 1669, pp. 289-292: Uitwandeling from .... August to .....september. 1669. 400 Smit (1980), p. 286.

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401 See on De Vita Propria: Blom (2003-b). 402 Blom (2003-b), I, pp. 22-23 and pp. 145-155. 403 In Blom (2008-b), on p. 153 the Latin word ‘Robore’ is translated with holm oak. However, no holm oaks occurred on Hofwijck. They are less suitable for the Dutch climate and would certainly not have formed trunks like pillars here, but rather remained shrub-like. Presumably Huygens is referring to the Quercus robur, the pedunculate oak that stood in the garden. 404 Blom (2008-b), pp. 153-155. 405 WGed. VIII, 1683, pp. 308-322: Kluiswerk (Vault work). 406 WGed. VIII, 1683, p. 322: Kluiswerk (Vault work). 407 WGed. VIII, 1681, p. 263: Aan kleine vogeltjes (To little birds). 408 WGed. VIII, 1682, p. 303: Mijn Geckies grafschrift (My Geckie's epitaph). 409 WGed. VIII, 1682, p. 303: Noch (Ditto). 410 WGed. VIII, 1682, p. 298: Op het rooien van mijn mastbomen op Hofwijck (On the grubbing of my mast trees at Hofwijck) 411 On this visit of Christiaan Huygens with Evelyn, see Jardine (2008), p. 296. Christiaan was in London as a participant in an official delegation of the Republic attending the coronation of Charles II. The stay in England lasted from March 19, 1661 to May 14, 1661. In the Journaal that Christiaan wrote about his visit to England, he mentions the name Evelyn several times. A second trip to England took place in 1663, where Christiaan again met Evelyn on September 10th. Andriesse (1993), p. 207. 412 Jardine (2008) mentions on p. 248 that Christiaan Huygens wrote a letter in 1662, asking to receive a copy of Sylva for his father. Jardine refers without further indication to Oeuvres Complètes. In Oeuvr. IV, no. 1046, August 18, 1662, Evelyn and Sylva are mentioned in a letter from Christiaan Huygens to Robert Moray, one of the founders and president of the Royal Society. 413 WBr. VI, no. 7188, June 2, 1782. 414 WBr. VI, no. 7156, September 4, 1680. 415 WBr. VI, no. 7105, March 7, 1679. 416 On the legacy of Constantijn Huygens see: A.M.Th. Leerintveld, ‘Ter goeder memorie van mynen naam; de nalatenschap van Constantijn Huygens’, in: Freijser (ed.) (1988), pp. 97-115. 417 Schinkel (1851), pp. 40-42. 418 WGed. VIII, 1684, p. 344: Aan mijn kinderen op mijn 89ste verjaardag (To my children on my 89th birthday). 419 The purchase of a family tomb in the Grote of St. Jacobskerk (St. Jacobschurch) in The Hague by Susanna Hoefnagel, the mother of Constantijn Huygens, is mentioned by her in a short diary entry. See for this: Dagb. p. 6. She noted here on February 7, 1624 that her husband, after an illness of 7 weeks, ‘had been discharged ‘seer christelyck in den Heer’ after which he was ’buried on the 11th of that month in the ‘groote kerck in ’s Haege, achter op ‘t Coor, int selve graf daer my saeliger moeder (Elisabeth Vezeler) en 2 doghters (Elisabeth en Catharina) begraven syn geweest, alwaer ick nu een kelder van heb laeten maeken’. The burial book of the church mentioned above (HGA) mentions this purchase by Susanna Hoefnagel on March 10th. The burial book also indicates that subsequently the following people were buried in this grave: July 2, 1629 councillor Zuerius, May 21, 1633 juffrouw Huygens (Susanna Hoefnagel), May 16, 1637 the lady of Sulichem (Suzanna van Baerle, the wife of Constantijn Huygens). That Constantijn himself was also buried in this grave is not mentioned in the, unfortunately incomplete, burial book, but is known from other data. The location of this grave is described in the burial book as follows: from the end of the 12th row in the south wall of the choir to right behind the high altar in the middle, there are 7 graves in the first row near the pillars. The 5th grave is the grave that was bought by Susanna Hoefnagel. In the later burial books this part right behind the high altar, where in 1667 the large monument of Van Wassenaer Obdam was placed, was called the east wall. 420 Timaretes (1778), p. 136. See also: Schinkel (1851) p. 48 note 1. 421 Schinkel (1851), pp. 44-45. Timaretes (1778), pp. 131 and 136, mentions among ‘the many other persons who have been mournfully interred in this Grote or St. Jacobs kerk, and of whom there are no Memorials at all left or any epitaphs found’ on p. 136: Constantijn Huygens. The text he reproduces thereby suggests that there was once a memorial stone, which in any case was no longer present at that time (1778). On July 8, 1857, the Society for the Study of History in The Hague placed a commemorative plaque in St. Jacobs kerk on the south side of the choir with the text: ‘Tomb of Constantyn and Christiaan Huygens’. On this see Dr. G.J. van der Flier, ‘Constantyn Huygens as a Christian’, in: Jaarboek Die Haghe (1897), pp. 111-112. This memorial stone is now located under the ‘Charlemagne stained glass window’. 422 A drossaard, drost or baljuw was a judicial administrative officer (Lord High Steward). 423 The verdict in this much talked about trial was published in 1676 in print, including witness statements, under the title Bericht van den Hove van Hollandt wegens sententie gewesengens den Drost van Gorinchem, nevens een korte memorye op de selve sententie (1676). 424 Hofman (1983), pp. 303-304.

425 See about Brosterhuysen and the Medicinale Hof in Breda: Van Seters (1953). 426 Andriesse (1993), pp. 81-85. 427 WBr. V, no. 4988, October 9, 1649. 428 Oeuvr. VIII, no. 2331, pp. 483-484, March 9, 1684. 429 Andriesse (1993), pp. 204-204. 430 Van Gent and Van Helden (1995), pp. 24-25. 431 See the earlier chapter Hofwijck, a paradise in Voorburg. On the contacts between Christiaan Huygens and Spinoza, see also: Nadler (2007), pp. 233-235, 249, 260, 281-283, 326, 331, 336-337 and 381, as well as Gullan-Whur (2000), a.o. pp. 200-201. 432 Nadler (2007), p. 282. 433 The U.S. space probe launched in October 1997 for a scientific space journey past Jupiter and Saturn was named Cassini-Huygens. It is planned to continue following the now already successful probe until 2017. 434 On the Cassini-Huygens correspondence, see among others: Oeuvr. VII, no. 1809, p. 31, May 1670; no. 1888, pp. 179-181, June 1672; Oeuvr. VIII, no. 2346, pp. 506-507, July 6, 1684; no. 2358, pp. 523-524, August 1, 1684; Oeuvr. IX, no. 2427, pp. 84-85, July 5, 1686; no. 2434, p. 94, September 26, 1686. 435 Oeuvr. VIII, no. 2346, p. 506, July 6, 1684; no. 2358, pp. 523-524, August 1, 1684. 436 Van Gent and Van Helden (1995), pp. 28-29. 437 Van Gent and Van Helden (1995), p. 30. 438 Blom (2003b), p. 149. 439 Drs. A.R.E. de Heer, Dr. A. Eyffinger, ‘De jongelingsjaren van kinder van Christiaan and Constantijn Huygens’ (The boyhood years of the children of Christiaan and Constantijn Huygens) in: Eyffinger (ed.) (1987), p. 107. 440 Drs. A.R.E. de Heer, Dr. A. Eyffinger, ‘De jongelingsjaren van kinder van Christiaan and Constantijn Huygens’ (The boyhood years of the children of Christiaan and Constantijn Huygens) in: Eyffinger (ed.) (1987), p. 141. 441 Crommelin (1949), p. 155. Incidentally, it seems that this story about the adult Christiaan’s ‘orphan’s clothing’ is based on a misinterpretation of the letter from the 12-yearold nephew Constantijn. In Oud-Holland of 1950 the story of a year earlier is corrected by the statement that the 12-year-old Constantijn did not write about ‘a portrait of his uncle of such orphan clothing as was most in his mind’, but that it should read: ‘of such orphan (appearance) and clothing’. See also Nijstad and Leerintveld (2008), pp. 16-17. 442 Oeuvr. IX, no. 2455, pp. 130-133, May 1, 1687. 443 Oeuvr. IX, no. 2482, pp. 209-210, September 4, 1687. 444 Oeuvr. IX, no. 2500, pp. 241-243, October 29, 1687. 445 UBL, Hug. F 44.14. 446 On the library of Constantijn Huygens, see Leerintveld (2009). 447 Oeuvr. IX, no. 2507, p. 252, December 20, 1687. 448 Oeuvr. IX, no. 2504, p. 248, December 14, 1687. 449 Oeuvr. IX, no. 2511, pp. 257-257, January 25, 1688. 450 Presumably Christiaan applied this gold-leather wallpaper to Hofwijck. In any case, a note by Christiaan dated September 18, 1692, to be quoted hereafter, shows that the walls of the dining room of Hofwijck were covered by gold leather. 451 Oeuvr. IX, no. 2522, pp. 295-296, May 4, 1688. 452 Oeuvr. IX, no. 2527, pp. 301-302, s.d., 1688. 453 On this trip to England and the eventual ‘conquest’ of London, see: Journ. I, pp. 12-51. 454 Journ. I, p. 35. See also Jardine (2008), pp. 67-69. 455 Oeuvr. IX, no. 2529, pp. 304-305, December 30, 1688. 456 Oeuvr. IX, no. 2533, pp. 310-312, March 15, 1689. 457 Oeuvr. IX, no. 2531, pp. 308-309, February 5, 1689. 458 Mary II was the eldest daughter of the English king James II from his first marriage to Anna Hyde. 459 Oeuvr. IX, no. 2538, pp. 317-318, May 14, 1689. 460 Oeuvr. IX, no. 2536, pp. 315-316, April 24, 1689. 461 Oeuvr. IX, no. 2544, pp. 333-336, September 3, 1689. 462 On Suzette Caron, or Madame de la Ferté, see: Hora Siccama (1915), pp. 245-246. 463 Oeuvr. IX, no. 2545, pp. 336-337, September 9, 1689. 464 Oeuvr. IX, no. 2550, pp. 346-347, September 27, 1689. 465 In one letter Christiaan gives as his address: ‘In the Noordeinde, next to De Crabbe’. See among others: Oeuvr. IX, no. 2686, June 1, 1691, p. 105. The current location of De Crabbe is Noordeinde 18. To the right is a house number 20. To the left of De Crabbe is number 12, with two other houses behind it, numbers 14 and 16. In the following it will be indicated that Christiaan’s rented room was probably located in Noordeinde 14 or 16. 466 Oeuvr. IX, no. 2552, pp. 349-350, October 18, 1689. 467 By Mr. Van Buttinghe is meant Jan Diederik Hoeufft, lord of Buttinghe and Zandvoort,

member of the States General. See Hora Siccama (1915), pp. 328-329. Christiaan writes that he lives behind the residence of Mr. Van Buttinghe. Since Van Buttinghe is a distinguished gentleman, he must have lived on the street side, at Noordeinde 12, so Christiaan’s rented room must have been at the back of Noordeinde 14 or 16. Oeuvr. IX, no. 2552, pp. 349-350, October 18. 468 Oeuvr. IX, no. 2555, pp. 353-354, December 23, 1689. 469 Oeuvr. IX, no. 2575, pp. 395-396, March 24, 1690. 470 Oeuvr. IX, no. 2576, pp. 397-398, March 28, 1690 and no. 2583, pp. 412-413, April 25, 1690. 471 Journ. I, pp. 285-318. In mid-August 1690 William III left Ireland again by ship for England. 472 Van Gent and Van Helden (1995), p. 31. 473 Oeuvr. IX, no. 2631, pp. 530-531, November 1, 1690. 474 Journ. I, pp. 445-446. 475 Journ. I, p. 452. 476 Journ. I, p. 460. 477 Journ. I, p. 494. 478 Journ. I, p. 503. 479 Journ. I, p. 504. Presumably Miss Haga is a niece of Cornelis Haga, an earlier occupant of the Vrijburg country estate on the Broeksloot. See on this subject: Van der Leer (2012). 480 Journ. I, p. 505. 481 Journ. I, p. 506. 482 R.A. Rasch, ‘Meer kruisen en mollen’ (More crosses and molls), in: Dagblad NRC, June 29, 1995. 483 Marian Fournier, ‘Revolver voor de microscope’ (Revolver for the microscope), in: Dagblad NRC, June 29, 1995. 484 On contacts with Van Leeuwenhoek, see among others: Oevr. VIII, no. 2099, p. 28, February 15, 1677; no. 2099, p. 28, February 15, 1677; no. 2156, pp. 140-143, December 26, 1678; no. 2171, pp. 166-167, May 15, 1679; Oeuvr. IX. no. 2532, p. 310, March 6, 1689; no. 2571, p. 390, March 6, 1690. See also Oeuvr. VIII, no. 2119, p. 64 (including notes), March 26, 1678, in which Christiaan writes to his Brother Constantijn about Van Leeuwenhoek and his own observations of small animals in sperm. On the latter and on microscopes, see also the correspondence between N. Hartsoeker and Christiaan Huygens, e.g. Oeuvr. VIII, no. 2117, pp. 58-61, March 14, 1676 and no. 2118, pp. 62-63, March 25, 1678. 485 Oeuvr. IX, no. 2571, p. 390, March 6, 1690, note 1. 486 Oeuvr. X, no. 2725, pp. 219-221, January 1, 1692. 487 Buisman (2006), pp. 184-188. 488 Oeuvre XIX, pp. 311-312, September 18, 1692. 489 Journ. II, pp. 124-125. 490 Journ. II, pp. 126-127. 491 Journ. II, p. 131. 492 Journ. II, p. 229. 493 Oeuvr. X, no. 2866, pp. 649-651, July 9, 1694. 494 Oeuvr. X, no. 2817, pp. 487-488, September 1, 1693. 495 Journ. II, p. 272. 496 Journ. II, p. 347. 497 Journ. II, p. 422. 498 Journ. II, pp. 422-423. 499 Rabus (1989), First book, pp. 1-2. 500 Oeuvr. X, no. 2844, pp. 581-582, March 5, 1694. 501 Oeuvr. X, no. 2888, pp. 703-704, January 7, 1795. 502 Oeuvr. X, no. 2890, pp. 707-708, February 23, 1795. 503 Oeuvr. X, no. 2891, pp. 708-710, March 4, 1795. 504 Bolt (1921), p. 9. 505 Oeuvr. X, no. 2806, pp. 451-452, May 20, 1693. 506 Oeuvr. X, no. 2872, pp. 662-664, July 27, 1694. 507 Oeuvr. X, no. 2855, pp. 615-616, June 6, 1694. 508 Translation Kees van der Leer. For the French version of the Latin verses, see: Bolt (1921), p. 13. 509 Journ. II, pp. 472-473. See also Journ. II, pp. 476-477. 510 Journ. II, p. 476. 511 Journ. II, p. 477. 512 Journ. II, pp. 485-486. 513 Journ. II, p. 487 514 See various examples of drawings of Constantijn Huygens II: Heijbroek (ed.) (1982). 515 Journ. II, p. 492; see also Journ. II, pp. 491, 493-494.

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516 Journ. II, pp. 495-496. See also Journ. II, p. 497. 517 Journ. II, p. 502. 518 Journ. II, pp. 503-504. 519 Journ. II, p. 508. 520 HGA: Klapper op Doop-Trouw-Begraafregisters 1624-1815, lade 49. 521 This chapter is a summary of a more detailed description in: Kees van der Leer, ‘Hofwijck, de buitenplaats,’ in: Van Strien and Van der Leer (2002), pp. 114-123. 522 The will of Christiaan Huygens and its additions are reproduced, for example, in: Schinkel (1851), pp. 53-62. 523 HGA: Klapper op Doop-Trouw-Begraafregisters 1624-1815, lade 49. 524 HGA: Klapper op Doop-Trouw-Begraafregisters 1624-1815, lade 49. 525 See for this lawsuit: NA: Toeg. nr. 3.03.01.01: Archief Hof van Holland, inv. nr. 106: XVIe memoriaalboek van Mr. Anthony van Kinschot, fol 343 verso. See also Morren (1897-b), pp. 204-207. 526 HGA: Toeg. nr. 372: Notarial archive for 1842, inv. nr. 1321, file nr. 33. Suzanne Rijckaert dies in 1712. HGA: Klapper op Doop-Trouw-Begraafregisters 1624-1815, lade 49. 527 An anamorphosis is a technique that uses optical distortions and mirror effects. The anamorphosis used here in one of the pendants is a mirror anamorphosis. See further about the described pendants: Nijstad and Leerintveld (2008). 528 This drawing that De Moucheron made of Hofwijck was until recently mostly attributed to the painter-draughtsman Frederik de Moucheron (1633-1686). His son Isaac (1667-1744) was also a meritorious draughtsman and wallpaper painter, as well as an architect and garden designer. Especially the French balconies on the drawing, which were only used in Holland after 1700, justify the conclusion that the drawing was made by Isaac. It seems unlikely that these French balconies were implemented at Hofwijck before 1686, which would mean that they were used in Holland very early on. After all, this would have happened during the life of Constantijn I and such an infringement on the previously so consistently used classicist forms by the creator himself is not likely. The same applies to the curly patterns on the eastern island of Hofwijck, which are at odds with the strictly applied rules of Vitruvius, and would certainly have been condemned by Constantijn as a ‘curly mould’. It is remarkable that on the drawing mentioned above there is no trace of an extension to the front of the 1688 house. For the time being it can be assumed that De Moucheron himself wanted to depict Hofwijck in a ‘historicizing’ way with the classical contours from the time of Constantijn I, so without a later extension, but he depicted the rest of the entourage as he saw it at that time. 529 GALV: Gaarboek der verpondingen. 530 NA: Toeg. nr. 3.01.29: Financie van Holland, inv. 530. 531 In later deeds this library room is described as a ‘separate housing or library room’. This does not refer to Christiaan’s extension but to a separate building, presumably in the form of a garden pavilion, which may have been built by Constantijn IV. Such a garden room with library was more common. This could very well be the little building drawn in the orchard on the west side on Kruikius’s map of 1712. 532 GALV: Oud-rechterlijk archief Voorburg, inv. nrs. 51 and 53, fol. unnumbered. 533 HGA: Klapper op Doop-Trouw-Begraafregisters 1624-1815, lade 49. 534 GALV: Leenregisters De Werve. 535 Fölting (1985), p. 204. 536 GALV: Oud-rechterlijk archief Voorburg, inv. nr. 55, fol. unnumbered. 537 GALV: Oud-rechterlijk archief Voorburg, inv. nr. 14, fol. 150 verso and fol. 180 verso. 538 HGA: Klapper op Doop-Trouw-Begraafregisters 1624-1815, lade 49. 539 On the ‘wanderings’ of the manuscripts of Constantijn I and II, see: A.M.Th. Leerintveld, ‘Ter goeder memorie van mynen naam; de legacy van Constantijn Hygens’, in: Freijser (ed.) (1988), pp. 110-112. 540 This chapter is a summary of a more detailed description in: Kees van der Leer, ‘Hofwijck, de buitenplaats’, in: Van Strien and Van der Leer (2002), pp. 123-136. 541 GALV: Oud-rechterlijk archief Voorburg, inv. nr. 14, fol. 216 verso. 542 GALV: Oud-rechterlijk archief Voorburg, inv. nr. 56, fol. unnumbered. 543 GALV: Oud-rechterlijk archief Voorburg, inv. nr. 15, fol. 111 verso. 544 GALV: Oud-rechterlijk archief Voorburg, inv. nr. 17, fol. 171 verso. 545 GALV: Oud-rechterlijk archief Voorburg, inv. nr. 18, fol. 168 verso and fol. 226 verso. 546 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 352, restoration report Van der Kloot Meijburg 1918/1919, which mentions that the extension was changed at least once. 547 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. 548 Veegens (1842). 549 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. 550 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. 551 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck.

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552 Van der Leer and De Liefde-van Brakel (2010), p. 47. 553 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. 554 Mast (2000), pp. 257- 258. 555 Stable (1991), pp. 80-82. 556 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. 557 GALV: Collectie Zonneveld (Zonneveld Collection) inv. no. 83. 558 UA: Toeg. nr. 922: Koopakten en grondplannen; enc. nr. 954: Expropriation for construction. 559 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 350: rekening rentmeester (account steward) Hofwijck. 560 GALV: Bevolkingsregister (Population Register) 1860-1921 deel 47. A reading error led to the incorrect story that the famous pastor Van Oosterzee from Utrecht would have lived at Hofwijck. 561 HGA: Toeg. nr. 373 inv. nr. 18.43 minuut 3539. 562 Aalbers (2001), p. 216. 563 For the extensive Voorburg possessions of the Hoffman couple and their heirs, see: Van der Leer (2008), (2011) and (2013). 564 GALV: Kadastrale leggers no. 91. 565 Morren (1897-b), pp. 197-200. 566 Morren (1897-b), pp. 197-200. 567 GALV: Bevolkingsregister (Population Register) 1860-1927 deel 47. 568 Enthoven (1991), p. 166 under 3. 569 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. 570 Enthoven (1991), pp. 81, 84. 571 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. Pieter Willem de Zwart Jr. was a Brother of Michiel Anthonie de Zwart, the municipal architect of Voorburg. 572 GALV: Bevolkingsregister (Population Register) 1860-1927 deel 47. 573 Visser (1973), pp. 24-29. 574 AHMH: notulenboek (Minutes book) July 16, 1913-June 23, 1959. 575 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 351: Lease Deed Hofwijck. 576 The data in this chapter are all taken from AHMH: notulenboek (Minutes book) July 16, 1913-June 23, 1959, unless otherwise indicated. 577 See about C.H.C.A. van Sypesteyn: Van der Leer (1997) and De Vries (2002). 578 See about J.A. Worp: www.historici.nl. 579 See about M.A. de Zwart: De Zwart (2010). Municipal architect Michiel Antonie de Zwart is a son of Pieter Willem, and like his Father town warden of Voorburg. 580 See about Abel Labouchere: Labouchere (2007). 581 See among others: Van der Leer (1995). 582 Van der Leer (1997), pp. 109-116. 583 For press activities, see among others: AHMH: Persberichten (Press Releases) 1914-1926. 584 A fine example of such an article is: J.L. Walch, ‘Hofwijck’, in: Buiten Geillustreerd Weekblad (1914), pp. 234-237. 585 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 360: De Vereniging Hofwijck (The Hofwijck Association) 1913-1918. 586 Het Vaderland was one of the first newspapers to report on May 30, 1914 that, despite all the ‘efforts, travel and writing’, not enough money had been raised and so Hofwijck was threatened with demolition. But, the newspaper continued: ‘Then a foreigner who was writing a dissertation at the time about the world-famous Christiaan heard about the case. He had the case explained to him, and he donated with a princely gesture a one-time amount of 20.000 guilders [...]. That is gratifying, wonderful! But it is shameful for the Netherlands. Holland is rich, people make a lot of money there - and it gives Hofwijck half of what one German gives. ‘Similar reports appeared shortly afterwards in De Nieuwe Rotterdamsche Courant, Het Algemeen Handelsblad, De Telegraaf, De Delftsche Courant and De Standaard. The renowned Frankfurter Zeitung also devoted an extensive article to Hofwijck’s narrow rescue on June 8, 1914. In this publication the generous giver was named a German scholar who had written a dissertation on Huygens. ‘In Holland, this swift and friendly act of a German admirer of a Dutch genius has produced more sympathy for Germany than years of diplomatic labor,’ the paper said. AHMH: Press Releases 1914-1926. 587 On behalf of the Von Weinberg family, Mr. J. Wentholt is installed as a member and later as a board member. 588 Kuiper (1995). 589 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 349: Transportakten Hofwijck. 590 The data in this chapter are all taken from AHMH: Notulenboek (Minutes) July 16, 1913June 23, 1959 and from HGA: Toeg. no. 515.2: Hofwijck, inv. no. 354, the minutes of the restoration committee 1917-1928, unless otherwise indicated. 591 See about these photos: AHMH: Map 30, nota I.G. Happel, March 21, 1918. See also:

AHMH: /Fotoarchief (Photo archive) as well as: HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 364: Photos interior and exterior Hofwijck early twentieth century. 592 See for this restoration plan and accompanying explanatory notes: AHMH: Map 45: ‘Budget for the repair of the Huygens’s house called Hofwijck in Voorburg’, October 1914. Added are four drawings of the existing condition of the house and four drawings of the intended condition after restoration. See for this: AHMH: Beeldarchief (Image Archive). The total amount of these restoration plans is f 16,052.46. 593 In these restoration plans, the following is proposed for the aforementioned cellar under the entrance: break out and brick over the window frame, remove the wine racks, descale and re-plaster the walls and vault, touch up and grout the old cellar outer walls. AHMH: Map 45. 594 AHMH: Map 45, letter Mackay to Hofstede de Groot, October 31, 1915. 595 A copy of this drawing with notes by Van Sypesteyn is in the collection of castle museum Sypesteyn in Nieuw Loosdrecht. Other copies with, among others, notes by Wertheim in AHMH: Beeldarchief (Image Archive). 596 For correspondence on this appointment, see: AHMH: Map 45, letter Le Comte to Van der Kloot Meijburg, December 12, 1917. In his reply letter of December 13, 1917, Van der Kloot Meijburg writes that he is happy to take on the restoration because he can thus ‘cooperate in giving back to our country and our town (Voorburg) a historical monument’. 597 For the restoration budget Van der Kloot-Meijburg 1918 with accompanying notes see: AHMH: Map 45. 598 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 352: Papers concerning the restoration of Hofwijck. 599 See about this front extension: AHMH: Map 45, letter restoration committee to the chairman of the Hofwijck Association, April 11, 1918. 600 This cellar is mentioned and indicated on the drawings accompanying Mulder’s first Hofwijck restoration plan of October 1914 and also mentioned in the explanatory notes to the Hofwijck restoration design by Van der Kloot Meijburg of March 1918. See AHMH: Map 45. 601 See about ice cellars: Reinink, Vermeulen (1981). As far as is known, the Hofwijck ice cellar is the oldest ice cellar still in existence in the Netherlands. 602 During the restoration of the ice cellar in 2015, the old cellar vault turned out to be filled with rubble and sand. The old tiled floor, the walls, the layout and the design of the cellar vault were still present to a significant extent. 603 By removing the extension and restoring the entrance avenue and the bridge, in fact the original ‘modulus (basic unit of measurement)’ of Hofwijck was restored, which made it sensible to also restore the dimensions in the garden that were based on it in later garden restorations. 604 These French balconies had wrought iron railings on the outside to prevent falling out. These French balconies were first used in the Netherlands in the eighteenth century. They can be seen beautifully on the drawing that Isaac de Moucheron (1677-1744) made of Hofwijck. Isaac was a son of the Dutch painter Frederik de Moucheron (1633-1686). See also note 528. 605 AHMH: Map 45, Report Van Sypesteyn on behalf of the restoration committee, April 11, 1918. 606 On the differences of opinion between Van Sypesteyn and especially the chairman and the secretary of the Association, see AHMH: Map 30. 607 HGA: Access No. 566: Archief plantsoeningdienst, (Archives of Planting Services) inv. nos. 318, 319. 608 See AHMH: Map 45, letter of October 17, 1919 in which Tersteeg accepted his appointment as a member of the restoration committee. 609 See AHMH: letter Tersteeg dated December 4, 1919 with budget for ordering and having said trees planted for 1,500 guilders. 610 See AHMH: Map 35: a.o. ‘Budget for the completion of the Restoration of Hofwijck in Voorburg’ by Van der Kloot Meijburg, 1925. 611 See AHMH: Map 45, letter from the Municipality of The Hague, in which the Hofwijck Association is promised a subsidy of 12,000 guilders on the condition that the statutes of the Association include the stipulation that its possessions will become the property of the Municipality of The Hague when the Association is dissolved. 612 Jan Prins, Verschijningen, 1924. 613 See for this proposal: AHMH, letter Tersteeg, February 22, 1928. It is not clear whether this plan was carried out. 614 The completion of the restoration work on Hofwijck had taken place on July 28, 1927 whereby architect Van der Kloot Meijburg had found everything in order, according to his letter of July 30, 1927 to the Hofwijck board. This letter was accompanied by a ‘Settlement Statement’ with an overview of the total expenses, including the unforeseen additional work. See AHMH: Map 45, 1927. 615 AHMH: Map 34, letter to H.W.A. Voorhoeve, Veursche Kwekerij in Veur, August 28, 1929. 616 See among others letter from Gemeente Voorburg about ‘bringing into exploitation

the grounds between Hofwijck and Middenburg’ and the accompanying ‘construction of a projected street which is partly situated on the terrain of Hofwijck’, dated March 17, 1927. AHMH: Map 34. See also AHMH: Map 43, letter Van der Kloot Meijburg, March 6, 1928, in which he mentions an altered street plan, which was less damaging to Hofwijck. Eventually Hofwijck only had to relinquish the ownership of half of the ditch on the west side so that the municipality, the owner of the other half, could fill in this ditch for the construction of the Hofwijckstraat. AHMH: Map 35. 617 This situation lasted until the year 2000. From 2001 Hofwijck appointed a hortulanus to manage the garden and supervise a landscaping company to which the garden maintenance was outsourced. 618 The data in this chapter are all taken from AHMH: Notulenboek (Minutes) July 16, 1913June 23, 1959, unless otherwise indicated. 619 On this doll, as mentioned in an earlier note, see: Ebeling (1993), pp. 35-37. See about this donation also: AHMH: Map 34, letter W.H. Staats Evers Warnsink, dated September 2, 1927. 620 See about the acquisition of the painting by Van Mierevelt: AHMH: Map 34, brochure and newspaper reports September 1927. 621 HGA: Toeg. nr. 515.2: Hofwijck, inv. nr. 363: Text speech opening museum. 622 The ‘onrust’ (‘balance wheel’) is a little wheel in a clock that regularly turns back and forth. Christiaan Huygens had discovered and applied ‘cheeks’ which made the balance wheel run much more regularly and the pendulum clock indicate the time more accurately. 623 See about the exhibitions of Westerik on Hofwijck: Van den Boogert (1999), a.o. pp. 5-6. 624 See about De Nieuwe Ploeg: Gras (2007). De Nieuwe Ploeg was an initiative of the Voorburg residents Frits Becht and Wim Beeren, who organized meetings, manifestations and exhibitions of modern artists. 625 It is unclear why the reconstruction of the grisailles by Pol Dom did not use the drawing by Jan de Bisschop from 1660 which clearly shows the two original grisailles on the front facade. 626 Kuiper (1995). 627 For this garden reconstruction see: Vereniging Hofwijck (2003). 628 Gelderblom (ed.) (1994), p. 132. 629 Previous attempts by the board of the Hofwijck Association to restore the Hofwijck garden to some extent to the appearance of the garden in Huygens’s time, usually referred to restoration, while strictly speaking they were always attempts at reconstruction in the sense that is meant in the reconstruction report annex garden plan of the Hofwijck Association in 2003. 630 For the practical reasons indicated, the pond and the linden avenue have remained in their present location, as well as the ditch next to the linden avenue and the west side of the orchard. 631 These ‘hidden gardens’ on the peninsulas is Huygens’s application of the famous ‘giardino segreto’ that occurred in various Italian Renaissance gardens and that Huygens undoubtedly saw during his Italian trip. 632 For a complete overview of all the obstacles to a restoration and the arguments for a reconstruction, see Vereniging Hofwijck (2003), pp. 75-77. 633 In Erasmus’s Convivium religiosum of 1522, a table talk mentions the abnormal green color of the fences and palisades that host Eusebius had installed in his garden. The color red is the general norm, red is considered the most appropriate among all shades of green in a garden. That the host had chosen a green color anyway was for a purely personal reason. ‘To each his own taste, even in a garden matter’, Erasmus concluded. 634 See for this Florilegium Hofwijck: Boers and Van der Leer, Van den Berg, Lambrechts (2011).

225

Origin of images

Images not listed below are from a website. Photographers of

Kees van der Leer Collection, Voorburg 1.3 / 1.59 / 2.2 / 2.9 /

certain images are listed at the end

2.19 / 2.23 / 2.24 / 2.26 / 2.28 / 2.31 / 2.59 / 2.65 / 2.69 / 2.71 / 2.87 / 2.96 / 2.97 / 2.113 / 2.124 / 2.145 / 2.148 / 2.153 / 2.160 /

Albertina Museum, Wenen 2.110

2.169 / 2.173 / 3.19 / 3.38 / 5.3 / 5.8 / 5.10 / 5.11 / 5.16 / 5.19 /

Archief Eemland, Amersfoort 2.12

5.22 / 5.23 / 5.24 / 5.27 / 6.1 / 6.13 / 6.14 / 6.15 / 6.18 / 6.19 / 7.21

Atlas van Stolk, Rotterdam 2.154 / 2.161

/ 7.25 / 7.30 / 7.32 / 7.33 / 7.50 / 7.60 / 7.61 / 7.69 / 7.70 / 7.72 /

Bibliotheek Turijn 2.49 / 2.143

7.75 / 7.85 / 7.86 / 7.87 / 7.107 /

British Museum, Londen 1.36 / 1.62 / 1.65

Koninklijke Bibliotheek, Den Haag 1.9 / 1.18 / 1.21 / 1.51 / 1.57

Centraal Museum Utrecht 3.30

/ 2.56 / 2.63 / 2.101 / 2.102 / 2.103 / 2.105 / 2.109 / 2.144 / 2.150

Château de Belvoir 2.141

/ 2.151

De Hermitage, St. Petersburg 1.42

Koninklijk Kabinet van Schilderijen Mauritshuis, Den Haag 1.66

Denver Art Museum 1.28

/ 1.69 / 1.71 / 1.101

Dulwich Picture Gallery, Londen 1.16 / 2.47

Koninklijke Musea voor Schone Kunsten van België, Brussel 3.73

Erfgoed Delft 2.130

Koninklijke Nederlandse Akademie van Wetenschappen,

Erfgoedbibliotheek Hendrik Conscience, Antwerpen 1.58

Amsterdam 3.33

Frits Lugt Collectie, Parijs 2.90 / 2.91 / 3.87 / 7.76

Kurpfältzisches Museum, Heidelberg 1.25

Gemeentearchief Leidschendam-Voorburg 2.120 / 5.14 / 5.15 /

Metropolitan Museum of Art, New York 1.29 / 3.67

5.26

Musée du Louvre, Parijs 1.95

Gerard Duijvestein Collectie, Voorburg 1.12 / 1.39 / 1.60 / 1.70 /

Museum Boerhaave, Leiden 3.29 / 3.35 / 3.36 / 4.4 / 7.96 / 7.97 /

2.1 / 2.7 / 2.8 / 2.20 / 2.57 / 2.92 / 2.117 / 2.121 / 2.168 / 3.5 / 3.16

7.98 / 7.103

/ 3.81 / 5.2 / 5.6

Museum Boymans van Beuningen, Rotterdam 2.118

Haags Gemeentearchief 1.4 / 1.5 / 1.17 / 1.54 / 1.77 / 1.78 / 1.80 /

Museum de Lakenhal, Leiden 1.11

1.86 / 1.87 / 1.88 / 2.4 / 2.5 / 2.6 / 2.40 / 2.45 / 2.64 / 2.84 / 2.122

Museum voor Communicatie, Den Haag 8.1

/ 2.128 / 2.156 / 2.172 / 3.34 / 3.72 / 3.92 / 4.9 / 4.12 / 4.13 / 7.23

Museum Plantin-Moretus, Antwerpen 2.104

Haags Historisch Museum 1.1 / 1.8 / 2.33 / 3.2 / 4.3 / 6.2

Museum Stadskasteel Zaltbommel 2.114

Hamburger Kunsthalle 8.16

Nationaal Archief, Den Haag 1.72 / 1.73 / 4.6 / 4.8

Henk Boers Collection, Amsterdam 2.106 / 2.167 / 7.35 / 8.18

National Portrait Gallery, Londen 1.47 / 2.89 / 3.44

Herzog August Bibliothek, Wolfenbüttel 3.12

Oeuvres complètes de Christiaan Huygens 2.155, deel VI / 3.11,

Huygensmuseum Hofwijck, Voorburg 1.2 (loan of Frans

deel XIII-2 / 3.14, deel XVII / 3.43, deel XVIII / 3.62, deel XX

Halsmuseum) / 1.55 (loan of Rijksmuseum) / 1.105 / 2.10 en 2.11

Paleis het Loo, Apeldoorn (loan of de Geschiedkundige

(loan of Frans Halsmuseum) / 2.22 / 2.30 / 2.36 / 2.48 / 2.66 / 2.70

Vereniging Oranje-Nassau) 1.7 / 1.61 / 2.3 / 2.61 / 2.88 / 2.146 /

/ 2.76 / 2.80 / 2.86 / 2.94 / 2.95 / 2.138 / 2.139 (loan of Museum

2.147 / 3.49 / 3.50

Boerhaave) / 2.175 / 4.5 / 5.20 / 5.21 / 5.25 / 5.29 / 5.30 / 5.31 /

Paleis Versailles 3.40

5.32 / 5.33 / 5.34 / 5.35 / 6.6 / 6.7 / 6.11 / 6.12 / 6.16 / 6.17 / 6.20

Private Collection 1.6 / 1.10 / 1.14 / 1.15 / 1.20 / 1.22 / 1.23 /

/ 7.1 / 7.2 / 7.3 / 7.4 / 7.5 / 7.6 / 7.7 / 7.8 / 7.9 / 7.10 / 7.11 / 7.12

1.27 / 1.33 / 1.43 / 1.44 / 1.45 / 1.46 / 1.49 / 1.50 / 1.56 / 1.63 /

/ 7.13 / 7.14 / 7.15 / 7.16 / 7.17 / 7.18 (bruikleen van Kasteel-

1.75 / 1.82 / 1.84 / 1.92 / 1.96 / 1.97 / 1.102 / 1.104 / 1.106 / 1.107

Museum Sypesteyn) / 7.19 / 7.22 / 7.26 / 7.29 / 7.31 / 7.34 / 7.36

/ 2.13 / 2.15 / 2.18 / 2.25 / 2.27 / 2.35 / 2.37 / 2.39 / 2.41 / 2.50 /

/ 7.37 / 7.38 / 7.39 / 7.42 / 7.43 / 7.44 / 7.45 / 7.46 / 7.48 / 7.49

2.53 / 2.58 / 2.82 / 2.83 / 2.98 / 2.99 / 2.119 / 2.149 / 2.163 / 2.164

/ 7.51 / 7.52 / 7.53 / 7.54 / 7.56 / 7.57 / 7.58 / 7.59 / 7.62 / 7.63 /

/ 2.165 / 2.176 / 3.7 / 3.17 / 3.32 / 3.41 / 3.42 / 3.47 / 3.51 / 3.52 /

7.64 / 7.65 / 7.66 / 7.71 / 7.73 / 7.74 / 7.77 / 7.80 / 7.83 / 7.84 /

3.86 / 3.88 / 3.90 / 3.91 / 4.10 / 4.11 / 5.7 / 5.17 / 5.28 / 6.3 / 6.4 /

7.88 / 7.89 / 7.90 / 7.91 / 7.108 / 7.111 / 8.21 / 8.39 / 8.40

6.5 / 7.20 / 7.78 / 7.79 / 7.110 / 8.17

Kadaster Zuid-Holland 5.1 / 5.4 / 5.5 / 5.9 / 5.12 / 5.13

Prado Museum, Madrid 1.24

Kasteel-Museum Sypesteyn, Nieuw-Loosdrecht 6.9

Robbert Jongepier Collection, Voorburg 1.3 / 1.13 / 1.38 / 1.48 /

Katholieke Universiteit Leuven 2.38

1.52 / 1.67 / 1.68 / 1.74 / 2.29 / 4.7

226

Rubenshuis, Antwerpen 1.85 / 1.48

Photo Henk Boers 1.35

Rijksdienst voor het Cultureel Erfgoed, Amersfoort, Rijswijk

Photo Ben Bregman 1.34

1.101 links / 2.32 / 2.72

Photo Michel Groen pag 6-7

Rijksdienst Kunsthistorische Documentatie, Den Haag,

Photo Charles Groeneveld 1.2 / 2.10 / 2.11 / 2.169 / 2.22 / 2.66 /

fotocollectie 1.37 / 2.21 / 2.42 / 2.75 / 2.134 / 2.135 / 2.168 / 3.1

2.69 / 4.1/ 4.2 / 5.20 / 7.12 / 7.13 / 7.14 / 7.15 / 7.16 / 7.17 / 7.18

/ 3.63

/ 7.19 / 7.22 / 7.25 / 7.28 / 7.24 / 7.35 / 7.37 / 7.38 / 7.39 / 7.42 /

Rijksmuseum, Amsterdam 1.26 / 1.64 / 1.76 / 1.89 / 1.98 / 1.99 /

7.43 / 7.47 / 7.56 / 7.63 / 7.71 / 7.74 / 7.104 / 7.105 / 7.101 / 7.102

1.100 / 2.46 / 2.85 / 2.100 / 2.125 / 2.129 / 2.137 / 2.157 / 2.158 /

/ 8.14

2.159 / 2.171 / 2.174 / 3.45 / 3.48

Photo Nora Lambrechts 8.23 / 8.25 / 8.26 / 8.27 / 8.28 / 8.29 /

Schoemaker Collection 2.81 / 2.123

8.30 / 8.31 / 8.32 / 8.33 / 8.34 / 8.35 / 8.36 / 8.37

Staatliche Museen Preußischer Kulturbezitsz, Berlijn 2.62 / 2.136

Photo Kees van der Leer 3.58 / 3.89 / 7.27 / 7.92 / 7.93 / 8.15 /

Stichting Hoekenburg, Voorburg 5.18 / 7.55

8.19 / 8.20 / 8.22 / 8.38

Stichting Taets van Amerongen, Renswoude 2.51

Photo Ronald Meekel 1.104 / 2.111 / 2.112 / 2.33 / 7.94 / 7.95 /

Stichting Teding van Berkhout 4.1 / 4.2

7.99 / 7.103

Tate Britain, Londen 1.83

Photo Henri G.A.M. Soeterik 7.109 / 8.2 / 8.3 / 8.4 / 8.5 / 8.6 / 8.7

Teylers Museum, Haarlem 2.14 / 2.17

/ 8.8 / 8.9 / 8.10 / 8.11 / 8.12 / 8.13

Universiteitsbibliotheek Leiden 1.90 / 1.91 / 1.93 / 2.60 / 2.116 / 2.131 / 2.132 / 2.133 / 2.162 / 3.6, Hug 28, fol. 151 / 3.8, Hug 10, fol. 76verso / 3.9, Hug 3, fol. 127verso / 3.10 / 3.15, Hug 45 / 3.18, Hug 2, fol. 98 / 3.23, Hug 26, fol. 88 / 3.27, Hug 28, fol. 138verso / 3.28 / 3.37, Hug 45 / 3.54, Hug 45 / 3.55, Hug 45 / 3.56, Hug 45 / 3.60, Hug 17, fol. 28 / 3.64 / 3.65 / 3.66 / 3.68, Hug 9, fol. 57 / 3.69, Hug 6, fol. 37 / 3.70, Hug 26A, fol. 30 / 3.71, Hug 2, fol. 160 / 3.74 / 3.75, Hug 28, fol. 229 / 3.76, Hug 6, fol. 31 verso / 3.77, Hug 6, fol 88 / 3.78, Hug 28, fol. 212 / 3.79 / 3.80, Hug 6, fol. 88 / 3.83 / 3.84, Hug 28, fol. C1verso / 4.14, Hug 32, fol. 161 / 4.15, Hug 32, fol. 160 / Universiteitsbibliotheek Utrecht 1.19 Universiteitsmuseum Utrecht 3.13 Utrechts Archief 1.94 / 5.12 Wallraf-Richartz Museum, Keulen 2.43 Zuiderzeemuseum, Enkhuizen 2.106

227

Index of personal names

This index contains the personal names that appear in the main text, the captions and the notes. Names of painters and other artists are usually only mentioned if they are also mentioned in the main text. Adrichem, Jacob van: 50, 51, 92, 93 Aerssen, François van: 14, 15, 16, 17, 19 Anckelmann, Caspar: 204, 205 Anraet, Jacobus: 12 Bacon, Francis: 20, 218, 227 Baerle, Suzanna van (Sterre) (wife of Constantijn I): 3, 25, 26, 29, 36, 39, 42, 82, 90, 99, 111, 112, 210, 211, 217, 222 Barlaeus, Caspar: 78, 219 Bartolotti, Constance, mevrouw Rijckaert: 97, 98, 210 Bax, familie: 23 Beatrix, Queen: 205 Beguin, doctor: 161, 162, 181 Behringer, Henri de: 116 Bennekom, Johannes van: 153 Besler, Basilius: 60, 61, 66 Bisschop, Jan de: 34, 46, 65, 81, 84, 88, 89, 103, 123, 144, 192, 219, 225 Blaeu: 36, 208 Bloys van Treslong, Cornelia Geertruida: 156 Bloys van Treslong, Cornelis Johan: 156, 157 Boelen, Pieter: 14, 15, 22, 216 Bogaert, Jacob Philippus: 156 Bohemen, Kees van: 193 Bohemia, Elisabeth of: 81 Bol, Aernt: 10, 216 Borselen: 136 Borsselen, Philibert van: 67, 214 Borst, C.M.J. van der: 186 Boswell, William: 33 Boudaen, Constantia: 93, 129, 221 Bourguignon, Pierre: 122 Boxhorn: 71 Boyle, Robert: 93, 117, 127, 129, 131 Brederode, Amalia van: 74 Bregman, Ben: 203, 207, 212, 213, 219, 227 Brosterhuysen, Johan: 15, 34, 48, 60, 63, 78, 109, 114, 215, 223 Brouart, Joannes: 11, 12 Bruno, Henricus (Henrick): 36, 37, 38, 59, 71, 72 Bulderen, van: 133 Burch, van der: 133 Bus, Dirk: 194, 195 Bussche, Carel van den: 95, 222 Buttinghe, van: 131, 223 Buysero, Laurens: 77, 220 Calandrini, Jean Louis: 59 Campen, Jacob van: 15, 25, 27, 30, 45, 47, 48, 49, 53, 57, 58, 59, 88, 89, 109, 213, 217, 218, 219, 222 Carré, Hendrik: 149 Carleton, Dudley: 14, 15, 23, 216 Caron, François: 93, 129, 221 Caron, Noël de: 15, 16 Caron, Suzette (Madame de la Ferté): 93, 129, 133, 137, 146, 223 Cassini, Giovanni Domenico: 118, 119, 223 Casembroot, Maria: 66, 101, 220, 222 Cats, Jacob: 19, 68, 69, 74, 219 Caus, Isaac de: 19, 20, 74, 127 Caus, Salomon de: 16, 20, 216 Cavendish, Margaret: 103, 222 Cecil, Edward: 14, 15, 23, 76, 216, 217 Civille, François de (lord de la Ferté) (le Chevalier): 129

228

Clusius, Carolus: 60 Colbert: 125 Coligny, Louise de: 8, 11, 23, 216 Comte, Adolf le: 168, 169, 225 Conrart, Valentin: 33, 84 Constant: 193 Corneille: 193 Cour, Miss La: 115 Crabeth, firm of: 180 Cusance, Béatrix de: 100, 213, 221, 222 Dedel, Isabella (Belletje): 98 Dedel, Johan: 12 Descartes, René: 37, 38, 118, 122, 218 Dieussart, François: 100 Dodoens, Rembert: 204, 220 Dom, Pol: 194, 195, 225 Donne, John: 19, 20, 29, 217 Dorp, Dorothea van: 15, 22, 25, 216 Doublet, Constantia Theodora: 113 Doublet, Philippina: 113, 149, 151, 210, 211 Doublet, Philips II: 47, 58, 62, 115, 210, 211 Doublet, Philips III: 84, 98, 106, 107, 113, 118, 122, 124, 133, 139, 149, 210, 211, 221, 222 Doublet, Philips IV: 113, 210 Drebbel, Cornelis: 19 Driessen, H. van: 191 Duarte, family: 100, 103, 222 Durven, Barbara: 156 Dijk, Anthonie van: 165 Enthoven, Fanny: 165, 173 Enthoven, Lodewijk Cornelis: 165 Erasmus: 204, 215, 216, 221, 225 Evelyn, John: 110, 182, 222 Fatio de Dilier, Nicolas: 129, 131 Feith, C: 190 Franchini: 106, 107 Frederik V (Winter King): 17, 18, 38 Gaag, Lotti van der: 193 Gall, van der: 49 Gautier, Jacques: 20 Gelder, Hendrik Enno van: 168, 169, 170, 171, 189, 190, 191, 194, 217, 220 Gheyn, Jacques de II: 10, 216 Gheyn, Jacques de III: 14, 15, 62, 63, 219 Gifford, Lady: 110 Gobius, Marian: 193 Goeree, Willem: 53, 219 Golius: 37 Graaff, Leendert de: 158, 159 Graswinckel: 71 Gratama: 191 Groen, Jan van der: 205, 206 Groen van Prinsterer, Cornelia Adriana: 162 Groen van Prinsterer, Guillaume:159, 158, 160, 161, 162 Groen van Prinsterer, Maria Clazina: 162 Guiot, Jacob: 156 Haersma Buma, van: 205 Haga, Cornelis: 97, 223 Haga, juffrouw: 133 Halewijn, François van: 92, 94 Halley, Edmund: 129, 131 Happel, I.G.: 175, 225

Harmen: 66 Hein, Piet: 25 Hertog, A.: 203 Hevelius: 109 Hire, Philippe de la: 122 Hoefer, F.A.: 170 Hoefnagel, Jacob: 216 Hoefnagel, Joris: 23, 216, 217 Hoefnagel, Susanna: 8, 9, 11, 22, 111, 210, 211, 216, 222 Hoffman, Jaqueline Adrienne Henriette: 162, 224 Hoffman, Marie Aert Frederik: 162 Hofstede de Groot, Cornelis: 168, 173, 190, 225 Hooft, P.A.: 39 Hooft, Pieter Cornelisz: 25, 29, 53, 63, 78, 109, 219, 220 Hoonaert, familie van de(n): 22, 98, 158 Hoonaert, Rochus van de(n): 81, 217 Hoonaert, Thomas van de(n): 83 Hoop, Elisabeth Maria Magdalena 159 Hudde, Jan: 218 Humalda van Eijsinga, Aijzo Epeus van: 163, 165, 166 Huygens, Catharina (sister of Constantijn I): 11, 16 Huygens, Christiaan (father of Constantijn I): 8, 9, 10, 11, 12, 22, 23, 26, 27, 217, 210, 211, 228 Huygens, Christiaan (son of Constantijn I): 3, 4, 5, 7, 8, 26, 27, 29, 35, 36, 37, 38, 66, 68, 69, 74, 75, 82, 84, 85, 91, 92, 93, 94, 98, 100, 102, 104, 106, 107, 110, 112, chapter III (p. 114147), 148, 149, 152, 153, 154, 156, 170, 171, 184, 190, 191, 195, 196, 197, 207, 210, 211, 216, 221, 222, 223, 224, 225 Huygens, Christiaan (son of Lodewijck): 113 Huygens Constantia (Constance) (sister of Constantijn I): 11, 25, 62, 190, 191, 210, 211 Huygens, Constantijn I: 3, 4, 5, 7, chapter I (p. 8-43) and II (p. 44-113), 114, 115, 143, 147, 148, 149, 152, 153, 154, 162, 165, 171, 173, 178, 184, 188, 189, 190, 191, 192, 197, 200, 206, 207, 210, 211, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 231 Huygens, Constantijn II: 26, 27, 29, 35, 36, 37, 38, 49, 71, 72, 75, 82, 84, 91, 98, 99, 107, 108, 110, 112, 113, 116, 118, 121, 122, 123, 124, 125, 126, 127, 129, 131, 132, 133, 134, 135, 141, 142, 143, 144, 145, 146, 148, 149, 153, 210, 211, 223, 224 Huygens, Constantijn III (son of Constantijn II) (Tien): 110, 113, 131, 133, 135, 148, 201, 211 Huygens, Constantijn IV (son of Lodewijck): 113, 122, 148, 149, 151, 152, 154, 155, 210, 211, 224 Huygens, Elisabeth (sister of Constantijn I): 11, 12 Huygens, Geertruyd (sister of Constantijn I): 11, 25, 47, 62, 71, 109, 113, 210, 211, 217 Huygens, Lodewijck (son of Constantijn I): 26, 27, 37, 38, 49, 66, 74, 75, 84, 85, 100, 106, 107, 113, 114, 117, 118, 121, 122, 124, 125, 128, 130, 148, 149, 152, 210, 211, 220 Huygens, Lodewijck II: 113 Huygens, Lodewijk Philips (son of Constantijn IV): 151 Huygens, Maurits (brother of Constantijn I): 10, 11, 15, 62, 63, 64, 78, 210, 211, 216, 218, 219, 220 Huygens, Maurits (son of Lodewijck): 113 Huygens, Paulus (son of Lodewijck): 113 Huygens, Philips (son of Constantijn I): 16, 26, 27, 38, 102, 107, 210, 211, 222 Huygens, Suzanna (daughter of Constantijn I): 26, 27, 29, 37, 84, 97, 98, 107, 113, 122, 149, 189, 210, 211, 218, 221, 222 Huygens, Susanne Louisa (daughter of Constantijn IV): 151, 152, 153 James I: 16, 18, 19 James II: 126, 127, 131, 223 Jansen, Jan: 66 Johnson, Ben: 20 Jones, Inigo: 16, 19, 20, 30, 33, 216, 218 Jonghe, Dorothea Clara de: 51 Juliana, Princess: 193 Kamp: 191 Killigrew, family: 19 Killigrew, Mary: 33

Kleine, Laurens Pauwelsz de: 95 Kloot Meijburg, Herman: 178, 179, 183, 184, 187, 224, 225 Kolp. R.: 203 Koopman, E.C.: 203, 207 Korteweg, D.J.: 170, 172 Kruikius, Nicolaes en Jacob: 149, 150, 157, 220, 224 Labouchere, Abel: 168, 169, 170, 213, 224 Lampe: 38 Lansame, Marie: 59 Lawson, William: 65 Leemans, Johannes II: 149, 152 Leerintveld, Ad: 205 Leeuw, A.O. de: 177 Leeuw, J.H. de: 186 Leeuwen, Hendrik van: 152, 153, 156 Leeuwenhoek, Antoni van: 134, 223 Leibniz, Gottfried: 132, 137 Leu de Wilhem, Constance (Constantia) le: 75, 133 Leu de Wilhem, David le: 28, 62, 93, 100, 210, 211 Liebergen: 143, 144, 145 Lievens, Jan: 24, 25, 29, 50 Linden, Diana van der: 83 Lipsius, Justus: 85, 216, 221 Locke, John: 126, 129, 131 Louis XIV, King: 84, 115, 121 Lugt: 192 Maertens(z), Jan: 51, 80, 95, 118, 222 Marcelis, the saddler: 47 Mackay, Daniël baron: 164, 165, 168, 170, 173, 225 Marianne, Princess of the Netherlands: 50, 51, 159, 177, 231 Markham: 19, 217 Matham, Theodoor: 32, 33, 34, 68, 78, 83 Mathijs, the gardener: 144 Mechelen, Margaretha van: 26 Mersenne, Marin: 38, 122 Mierevelt, Michiel Jansz van: 9, 11, 14, 17, 20, 23, 47, 50, 51, 189, 225 Mirkinius, Abraham: 36 Moetje(n)s: 133, 142, 143 Moni(n)cx: 36, 94 Monteverdi: 18 Montpoullian, de: 136 Morgan, Anna: 99, 100, 222 Morgan, Lewis: 100 Morgan, Charles: 99 Morren, Th.: 162,175, 214,216,217, 218, 224 Moucheron, Isaac de: 29, 58, 59, 80, 149, 219, 224, 225 Mountain, Didymus: 60, 95 Mul, Geert: 207 Mulder, A: 176, 179, 225 Muller, F.: 174, 220 Muller, S. Fzn.: 170, 171, 173 Mijle, Cornelis van der: 18 Nahmer, Theo van: 193 Nassau, Hendrik van: 115 Nassau Hendrik Casimir Count of: 49 Nassau, Johan Maurits van: 27, 90, 109 Nederlandse-Rijn-Spoorweg-Maatschappij: 160, 161 Nestman, Cornelis Claesz: 51, 52, 57, 92, 95 Newton, Isaac: 126, 127, 129, 131, 153, 155 Nijhoff, Martinus: 194 Ogle, Utricia: 63, 65, 81, 101, 220, 222

229

Oldenbarneveldt, Johan van: 18 Olivier, predikant: 146 Orange, Frederik Hendrik of: 4, 7, 8, 23, 24, 25, 27, 38, 44, 45, 47, 57, 59, 61, 62, 63, 68, 78, 79, 101, 102, 113, 216, 217, 218 Orange, Maurits of: 12, 23, 26, 45, 216, 217, 218 Orange, William of: 8, 11, 43, 45 Orange, Wiliam II of: 8, 62, 69, 102, 115, 221 Orange, William III of: 68, 69, 102, 107, 113, 126, 127, 128, 129, 131, 136, 146, 215, 220, 223 Overzee, P.H van.: 162 Overzee-Groshans, Alexandrina Petronella Johanna van: 162, 165 Oyen, Sanne van: 133 Palladio: 16, 17, 18, 30, 32, 48, 53, 218 Paravicino, Pietro: 38 Perrault, Charles: 126 Peters, Cornelis Hendrik: 39, 40, 218 Philips, A.F.: 190, 191 Philipse, Elisabeth Henriëtta Maria: 162, 165 Philipse, Johan Antony: 165 Post, Pieter: 32, 34, 54, 55, 56, 57, 58, 59, 61, 62, 65, 77, 78, 106, 109, 204, 218 Prins, Jan: 184, 225 Pythagoras: 66 Quertemont, Constantijn Dominique: 158 Reede van Amerongen, Godart Adriaan van: 75 Rembrandt: 8, 14, 24, 25, 62, 63, 207, 220, 221 Renau: 36 Roelants, Catharinus Henricus: 157, 158 Rooijackers, Rudi: 193 Rossum, Johannes van: 159 Rotteveel, Cornelis Jasperszn: 95 Rubens, Peter Paul: 33, 59, 63, 85 Russell, Lucy: 19, 216 Ruyter, Michiel de: 107 Rijckaert, family: 96, 98, 222 Rijckaert, Jacob: 97, 98, 210 Rijckaert, Suzanne (Santje) (wife of Constantijn II): 97, 98, 99, 110, 113, 136, 144, 146, 210, 211 Sande Backhuyzen, H.G.: 170 Scamozzi: 17, 18, 32, 46, 53, 214, 218 Scheurleer, D.F.: 170 Schiff: 190 Schimmelpenninck: 190 Schooten, Frans van: 38, 114, 218 Schröder, mevrouw: 191 Schurman, Anna Maria van: 37 St. Aldegonde, Marnix van: 11, 98, 223 St. Aldegonde, Elisabeth van: 99 Slotboom, Willem: 157, 158 Smael, Job Cornelis: 95 Snouckaert, Jacob: 67 Solms, Amalia van: 4, 22, 23, 38, 68, 69, 218, 220 Someren, Jeronimus van: 11, 36 Spek, Gerrit van der: 153 Spinoza: 93, 94, 117, 118, 119, 221, 223, 230 Staats Evers Warnsink, W.H.: 189, 225 Stampioen, Jan: 36, 37 Starkenborgh Stachouwer tot Wehe, Edzard Tjarda van: 159 Steven, Master: 36 Strickland, Walter: 100 Stuart, Elisabeth, the Winter Queen: 16, 17, 18, 19, 22, 23, 38, 81, 216, 217 Stuart, Maria Henriëtte (Mary): 62, 68, 69 Stuart, Maria II (Mary): 128, 142 Swann, William: 228

230

Sweers (Zuerius), Catharina: 33, 35, 36, 85, 218 Swieten, Johan van: 103, 222 Sypesteyn, Catharinus Henri Cornelis Ascanius van: 168, 169, 170, 176, 177, 181, 182, 224, 225 Teding van Berkhout, Jacomina: 107, 113, 148, 210 Teding van Berkhout, Jan: 133 Temple, William: 90, 110, 221 Tersteeg, Dirk Frederik: 182, 183, 185, 187, 225 Tesselschade, Maria: 29, 53, 109, 217 Tombe, Jacob des: 153, 156, 157, 175 Tombe, Susanna Helena des: 156 Tijdeman, Daniël Harmensz: 93, 221 Veegens: 158, 164, 224 Vegelin van Claerbergen: 124 Verdam, J.: 168 Verloo, Nicolaas: 52 Verschouw, Aelbrecht: 95 Vezeler, Elisabeth: 23, 222 Visscher, C.(J.)(de): 66, 83, 102, 104, 106, 190 Visser, Carel: 193 Vitruvius: 4, 16, 20, 30, 31, 32, 33, 39, 44, 45, 46, 48, 49, 52, 53, 54, 55, 56, 59, 62, 66, 174, 200, 218, 219, 224 Vlac, Adriaen: 71, 72, 104 Vogel van Aalst, Maria Theresia Catharina de: 160, 161 Vois, Pieter de: 11, 36 Volten, André: 198 Vondel, Joost van den: 29 Voocht, Nicolaas de: 22 Voorburg, municipality: 185, 186, 188, 200 Vorrink: 191 Vorsterman, L.: 60, 191 Vries, Abraham de: 190, 191 Wassenaer, Willem van: 152 Wassenaar Catwijck, Otto baron van: 162 Weeber, Carel: 43, 198, 199, 201, 203 Weinberg-Huygens, mevrouw A. von: 171, 172, 225 Wertheim, Clement Jean Marie: 165, 168, 169, 170, 177, 183, 225 Werven, Miss van der: 133 Westerbaen, Jacob: 68, 69, 71, 82, 83, 109 Westbroek: 182, 183 Westerik, Co: 193 Wicquefort, Abraham van: 191 Witt, Johan de: 117, 119, 218 Worp, Jacob Adolf : 168, 169, 170, 173, 188, 191, 216, 217, 219, 224 Wotton, Henry: 20, 21, 48, 218 Wouw, van: 145 Xavery, Jacob: 156, 175 Zegwaard, Hermanus van: 160 Zwart, Michiel Antonie de: 165, 168, 169, 175, 177, 181, 185, 224 Zwart, Pieter Willem de: 164, 165, 187, 201, 215, 224 Zuerius, counselor: 222 Zuyderhoudt, Pieter Carel: 165, 171

The authors

Henk Boers is connected as a hortulanus to the historical gardens

Drs. Kees van der Leer studied economic sciences at the

of Het Muiderslot near Amsterdam and Hofwijck near The Hague.

Economic College of Rotterdam, the present Erasmus University.

His special interest lies in living cultural heritage, especially

A few years after his graduation he got a job as a teacher and

ornamental and utility plants and domesticated animal breeds.

vice-principal at the Zandvlietcollege in The Hague. As co-

Based on his years of experience with research, management and

owner and occupant of the Voorburg country house ’In de

maintenance of historic gardens, he has designed and supervised

Wereldt is veel Gevaer’ he is interested in the history of old

the restoration or reconstruction of the above gardens.

country houses and other historical buildings.

At the Muiderslot, under his leadership between 1984 and 2016,

He is chairman of the aforementioned Cremers Foundation,

the early seventeenth-century gardens, the herb garden and

whose collection of books is on loan to the Landfort Heritage

warmoeshof were reconstructed and in 2006 the historic plum

Foundation.

orchard was replanted. All of this with historically responsible early seventeenth-century planting. He wrote several articles about the castle and gardens of the Muiderslot. In 2020 he wrote De kasteeltuinen van het Muiderslot (The Gardens of Amsterdam Castle Muiderslot) together with Yvonne Molenaar.

He is co-founder of the Historical Society Zwijndrecht, the Historical Society Voorburg and board member of the Foundation Heritage Princess Marianne. In both 2012 and 2013 he won the public prize in the poetry The historical garden of Hofwijck was restored between 2002 and

competition ’Dichter op Hofwijck’, organized on the occasion of

2004, partly under his leadership. In this garden the planting and

National Poetry Day.

the dimensional relationships from the time of Constantijn

Besides the publications on Hofwijck listed in the literature

Huygens have been restored. He wrote several articles about

list, he wrote several books on special persons, houses, country

the Hofwijck garden, including, together with Ben Bregman,

houses and gardens. For a complete list of publications see:

Huygens' Hofwijck in oude luister hersteld (Huygens’s Hofwijck

www.keesvanderleer.nl. Soon he will publish a book about

restored to its former glory). Together with Kees van der Leer

the house in the Kerkstraat in Voorburg, where the famous

he published De reconstructie van de tuin van Hofwijck (The

philosopher Spinoza lived at the end of the seventeenth century.

reconstruction of the Hofwijck garden) (magazine Cascade, 2009).

This house was only a few minutes walk from Hofwijck.

From 2006 to 2021 he was secretary of the ’Gilde van Tuinbazen’

Spinoza’s contacts with the Huygens brothers are described

(Dutch Head Gardener’s Guild). Members of this guild are all

in this book. He is currently preparing a new biography about

gardeners of castles and country houses, men and women, who

the remarkable life of Princess Marianne (1810-1883), daughter

strive to expand and record the horticultural knowledge that

of the Dutch King Willem I. She not only owned country

is still there. Since 2017 he has been a board member of castle

houses and other properties in Voorburg, but also a castle in

museum Sypesteyn in Nieuw-Loosdrecht.

Reinhartshausen near Wiesbaden (Germany). She also had a

He is also secretary of the Cornelie Marie Cremers Foundation

large castle built in Camenz, today’s Kamieniec Ząbkowicki in

(Cremersstichting), which manages a unique book collection on

Poland, to a design by the famous architect Schinkel and the

country houses and gardens.

garden architect Lenné.

231

Colophon

The first Dutch-language edition of this book by the Hofwijck

The following individuals and organizations have

Association was presented on November 26, 2015 at the festive

made this publication possible with their financial

inauguration of ‘the Hofpoort’, the renovated gatehouse, also the

contribution:

new entrance to Hofwijck’s garden (the outdoor museum) and the house (with the indoor museum). It also marked the completion of

H. Boers

the extensive project The New Hofwijck, in which also the main

B. Commerell

building, the grisailles and the ice house were restored and new

A. Davidse

exhibition floors were created.

H. Dikker Hupkes

In 2016, this book received the prestigious Ithaka Prize. The

T.C.M. v.d. Graaff - Trouwborst

corresponding amount formed the basis for the creation of this

A.M.A. Hardon - Ovink

English-language edition.

E.H. van Hasselt A.V. Huygens

Texts

A. M. Keihl

chapter I: Kees van der Leer

C.L. van der Leer

chapter II-VIII: Kees van der Leer en Henk Boers

R.J. Ligthelm Mentink en Roest BV

Design

F.E. Nieboer

Ronald Meekel, same-d, Voorburg

F. J. Ooms J.M.J. van Oosten

Publisher

M. R. Oostendorp - Lawrence

Amsterdam University Press B.V. 2022

Slijperij J.M. van Rangelrooij M. L. Stikvoort

Translation into English

Vendue Notarissen Den Haag

Jane E. Choy-Thurlow with assistance from Rachel van der Wilden

W. Wiegeraadt

Control of final texts: Bryony Cole and many others

ISBN/EAN: 978-94-6372-229-2

© 2022, the individual authors Huygens’ Hofwijck has endeavored to settle the rights relating to the images. Those who nevertheless believe they have certain rights may contact the aforementioned organization.

232