Journey through the North Sea rivers

Type: History Thesis Title: Journey through the North Sea rivers Author: Lopes, João Batista Gaspar Summary: As part of the “North Sea Exhibition Workshop”, this individual paper is a reflexion concerning the riverside architecture of the cities being studied. During the 16th, 17th and 18th century, Antwerp, Amsterdam and London became world renowned cities in international commercial trade becoming key elements in the development of the area around the North Sea. The waters of the Schelde, the Amstel and the Thames go through these cities, embellished by many architectural examples of the era, representing the Golden Age in the cities that have much in common in their growth and presence in the world.

Mentor: Everhard Korthals Altes Faculty: Faculty of Architecture and the Built Environment Department: Department of Architecture Program: Cities of the North Sea Exhibition Workshop Hand-in date: 2017-06-26 Language: English Study number: 4587383 Email: baptistalopes@hotmail.com

Journey through the North Sea rivers

Journey through the North Sea rivers written by JoĂŁo Batista Gaspar Lopes 4587383 tutored by Everhard Korthals Altes

Cities of the North Sea: Antwerp, Amsterdam & London Technical University of Delft | Faculty of Architecture and the Built Environment MSc 2 Architectural History Thesis 2016/2017

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

Contents Introduction

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Chapter I - Antwerp

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- a city within a city - mind over river - imposing Lady

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Chapter II - Amsterdam

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- spinning on the limit - a day by the Carrè - stranger waters meet - silver and gold unite the waters - a gentleman’s street

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Chapter III - London

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- open gates - up the river, through the arches, over time - closed walls

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Conclusion

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Bibliography

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Illustration List

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Introduction

London, Amsterdam and Antwerp have forever been connected by the water of the North Sea, having become three power forces in cultural, economical and financial aspects of the trading activities in this area of Europe.

The urbanity of these metropolises evolved throughout the centuries but the biggest growth was witnessed during the 16th all the way to the 18th century when arts and architecture became important elements in the city. This evolution included city extensions, new religious discoveries, intertwined with disasters and revolutions around the countries and regions these cities are a part of.

The waters of the Sea penetrate through the land and transform themselves in the rivers that accompany these three cities in their conquest on becoming recognizable trading markets in the European continents and the global eye. What we now see as monument and queue to enter, back in the day was a representation of the advances made in a civilization that thrived to be the best version of themselves.

The archive collection of the TU Delft Library hold a series of maps and pictures that portray these three cities in their prime years of growth; from public interiors to churches, cathedrals and river passages, the collection is used in this paper as a representation of the Golden Years in London, Amsterdam and Antwerp.

Through these classic maps, we can see an evolution in the cities skyline, in the cities priorities and what were the elements that made them grow upwards and outwards. From medieval fortification to countryside landscapes, these cities are filled with history and events that left scars through their streets until today that deserve to be looked at and honored.

London goes from a medieval lifestyle to an urban paradise in a heartbeat, Antwerp reaches a peak in its history so high that only made the fall much more meaningful while Amsterdam quietly became a force to be reckoned with in the fields of art, architecture and even urban organization.

“Oh, how long have I languished in lonely exile!

Like a poor fading flower” 1

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H. Heine, “Buch der Lieder - Die Nordsee”, 29th verse, Hamburg, 1827

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Chapter I - The Schelde

Antwerp is located in a very good geographical position. Having been part of the Dutch seventeen provinces for many years, adding to its prominent location and connection to the North Sea. The city had for a long time an important place in international trade and commerce of goods.

During the 16th century, the city holds a great importance in the economic history of Europe. Replacing Bruges1, Antwerp during this century was the major commercial center of the Low Countries, having been replaced in the 17th century by Amsterdam. However during this period, we see the city rise at a fast pace, making this one of the reasons for the commerce shift from the Mediterranean Sea1 to the North Sea; some authors go to extreme lengths to even mention that during this period, Antwerp was “the center of the entire international economy”2.

What was so special about Antwerp?

Was the city ever gonna become a trade center again?

the biggest city in the Low Countries at the time, Antwerp starts to gain importance in the region

Antwerp during the 15th century

tumultuous period for the city, as it is in a great trading position, it suffers a lot of revolts and attacks during this time

Antwerp during the 16th century

(rise of the city as a harbor city, replacing Bruges that didn’t have the capability of withholding the commerce traffic)

(considered the greatest harbor city of Continental Europe, exporting and importing all kinds of goods) (religious revolts mark the history of the city) (Fall of Antwerp - attacks from Spanish soldiers)

churches in the city become more than a religious place, they en-globe education, art and community activities

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Antwerp during the 17th century (Amsterdam gains more importance in the international market, replacing Antwerp as the North Sea trader)

in “Urban history 14 - Sixteenth Century Antwerp and its Rural Surroundings”, page 1 in “Temps du monde”, page 118

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

Antwerp Riverside Citadel Cathedral of Our Lady

Up the Scheldt, to the Sea Away from Spain, away from misery The city to our side we see We just want to be free Winter is here, we just want to roar but Amsterdam now sits by the pier Glourious? Never more

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Antverpia Constructionis Eius, primordia et inovementa Author: Pieter Verbiest Map 199 | Date: 1662 | Size: 485 x 323

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a city within a city

The Antwerp citadel was ordered by King Philip II and the Duke of Alba to help control and protect from rebellion attacks to the city. For a while, during the Spanish Fury 1 (when Spanish troops ruled the city) the fortification served as the base for these soldiers.

Built between 1567 and 1572, the pentagonal shape is topped with a bastion in each vertex. Within its walls, a number of buildings were lodged; barracks, powder magazines, bomb-proof rooms and even a chapel were some of the parts of the complex. As if it was a city within a city.

The Citadel played an important role in Antwerp’s fortification, coveted by the many rivals of the city, its main purpose was to keep the city under control. This monumental structure witnessed several events that marked the city’s history; after being ruled by the Spanish for a long time, this international trade city gained a lot of importance in the Low Countries, however in 1830 when invaded by the French army, the Dutch were forced to abandon the city 2, creating the split between the “Dutch” and the “Belgians”.

The South Castle of Antwerp 3 had a very important role in the city plan and Pieter Verbiest saw the need of highlighting this in his map. A clear barrier is seen on the map between the old city and the fields around it but the etcher is able to highlight churches and buildings that marked the daily life of Antwerp’s society. This physical barrier is inevitably demolished in 1881 to give room to a new neighborhood of the city, ‘Het Zuid’.

a. detail of ‘Antverpia’ | 1572

b. Waterpoort - Citadel entrance | 1874

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Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

Born and raised in Antwerp in the beginning of the 17th century, Pieter Verbiest dreamed of becoming an engraver, cartographer and publisher. He was a member of the Artists Guild of St. Luke and while in it he made a number of small views of the Seventeenth Provinces that were published as an atlas in 1636.

His work was rather modest and not very well known, however his publication “Novus Tabulurum Geographicorum Belgicae Liber” 4 atlas became an important piece in map depictions history. Some pieces in this book include the Dutch exploration of Australia’s East coast and the Spanish proposal of California as an island. One of the first world maps in the Mercator projection is a creation of his, altering the way maps were created and the way cities were demonstrated.

Nowadays the only part of this fortification that protected the South of Antwerp is the Mastvest, a public park that contains the last canal that surrounded the wall of the complex. Until today, many remains of the monument are still found during excavations 5 in the area of the city that was once protected and attacked in the same structure.

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c. demolition of the Citadel | 1874

d. excavation discoveries | 2015

e. Zeeland map | 1632

f. Dioecesis Episcopatus Anverpiensis | 1680

in Zonderland Blog, written by Rolf Falter, April 2012 in KAAN news, discussion about the new design project in the same site March 2015 another denomination for Antwerp’s Citadel in Historische kaarten kustzone, database created by the Flemish Maritime Institute in “EosMagazine”, issue of March 2015

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Antwerpen in de 18e, 17e, 16e eeuw Author: Map 134 | Date: 18th century | Size: 335 x 530

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mind over river

Antwerp is a city in the North of Belgium, marked by its direct connection with the North Sea through the river Scheldt. For many years Antwerp held on an important role in trading and in the European markets, being even nowadays Europe’s second largest port1.

In the 16th century the city was the “stage” of many protests and revolts.

The Spanish Fury is still considered the greatest massacre in the city’s history. Being that the city was the cultural, economic and financial center of the Seventeen Provinces, the Spanish troops invaded Antwerp 2; for days the city witnessed gruesome attacks that made all the provinces come together to fight against the Spanish. Despite the efforts, this affected Antwerp’s market and fame, since many major trading cities now feared to go to Antwerp because of the events, while investing in the city became a higher risk than ever. With the decline of Antwerp, Amsterdam got the chance to rise as a major trading city in the North Sea.

The Dutch Revolt came from the unification of the Seven Northern Provinces against the Spanish ruler. Being largely Protestant, this part of the Low Countries rebelled against the Roman-Catholic ruler 3, forming the independent Dutch Republic. For the first time in history the provinces saw a separation between them, and Antwerp and Amsterdam never seem further apart from each other.

Initially Antwerp unified with the North Provinces to fight against the Spanish, however, after many years of war, Antwerp surrendered. The Dutch Republic, after Antwerp’s fall, blocked the Scheldt, preventing the city of access to international trade through the North Sea 4. Blocked from the sea and still under Spanish ruling, Antwerp’s population fled to the North, mostly the Protestant religion supporters and the skilled tradesman, contributing to the Dutch Golden Ages and ending the glory period in Antwerp’s history.

g. Spaanse Furie tot Antwerpen | 1618

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For two centuries the city was blocked from the North Sea; eventually, Antwerp recovered, but with the new found trade city of Amsterdam, the city by the Scheldt was never able to come back to its previous glory. After this, the now independent Republic assumed itself as a major power in the cultural and economical world, making Amsterdam a new prominent city on the international trade.

The print in the collection comes as a representation over time of Antwerp’s riverfront. Between the 16th and the 18th centuries boat activity was drastically altered and the population reduced. The bottom etching (16th century) shows Antwerp and how it was driven by the river waters, while the top one (18th century) shows a city that just sits by the still waters of the Scheldt, almost with no relation to them. This print in the collection clearly shows the differences over the centuries in the city; it depicts a 16th century Antwerp that is marked by its city gates turned to the river and its boat activity, contrasting with an 18th century Antwerp ruled by the towers of the churches and a finished Cathedral of Our Lady.

h. ship bridge during The Fall of Antwerp | 1613

j. ice skating in the Scheldt| 1553

i. Dutch Revolt map | 16th century

k. frozen Scheldt | 1528

in Antwerp Port Authority - 2014 Annual Report in Encyclopedia Britannica - The Revolt And The Formation Of The Republic (1567–79): “it is clear, however, that the terror organized by Alba burst like a bombshell in this political, social, economic, and religious climate.”

3. in Encyclopedia Britannica - The Revolt And The Formation Of The Republic (1567–79): “Causes of the revolt” 4. in Encyclopedia Britannica - Battle of Antwerp: 2nd paragraph 1.

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Cathédrale d’Anvers dédié à la St. Vierge Author: Wenceslaus Hollar Map 134 | Date: 1648 | Size: 447 x 326

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imposing Lady

Before this Gothic style Cathedral stood, on the same site the Chapel of Our Lady was situated dating back to the 9th century. In 1352 the construction of the new church began, which only after 170 years was considered concluded.

In 1533 the tower was largely gutted by a fire, post-ponding the construction of the second tower, which eventually was never built 1. Throughout the years the Cathedral suffered a lot of blows and viewed several protests and wars in its city, having been completely restored during the 20th century. “amongst narrow cobbled streets and crooked houses” 2

As it was in the middle ages, the Cathedral stands in the center of the city, ruling the skyline of Antwerp from every point of view. Turned to the west, the Cathedral of Our Lady stands impotent, looking over the Scheldt river and daily traffic, surrounded by the city streets and alleys, but not enclosed by the city walls anymore.

Wenceslaus Hollar was an artist in the 17th century that through his life travels pursued his career as an etcher and painter, eventually settling in Antwerp where he lived and did most of his work. The Cathedral of Our Lady etching is probably one of his most famous works of religious architecture 3; from 1648, the etching notoriously differs from others as it was one of the firsts to depict the church as it was actually built.

l. Cathedral of Our Lady seen from the streets | -

m. artist’s vision of the completed cathedral | 18th century

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Works depicted the Cathedral differ mainly from the way they represent the towers. Some pieces show both towers constructed, while in reality the South tower was never finished; these prints come almost as a representation of what the cityscape could have looked like, showing hope that one day the construction might eventually be finished. It never was.

In his most famous fashion, Hollar uses elements that so mark his work as the procession of people that enter the church, depicting regular daily actions happening in the church, a horse-drawn coach and several other figures common in his other etchings. Also, through the history of the building, in all its reconstructions and blows, a series of Romanesque, Baroque and Gothic elements got mixed in the architecture 4, and Hollar can vividly capture them in the etching making the yearly development of the monument almost touchable.

During the French occupation of Antwerp, the interior of the Cathedral suffered some alterations, however, a remarkable piece of art by Pieter Rubens still sits inside. Considered one of the most influential artists of the Flemish Baroque Era 5, he lived in Antwerp and created several paintings still present in the Cathedral. The altar piece he created, as well as three other pieces for the transepts still sit today inside Antwerp’s cathedral.

n. Iconoclasm | 17th century

o. fire in the cathedral | 17th century

p. The Resurrection of Christ | 1612

in Cathedral of Our Lady official website: years 1521-1559 paragraph S. Läseke “Medieval Origins of the Cathedral of Our Lady in Antwerp, Belgium”, 2011 3. in Radio Praha: “He spent some time in Antwerp. His picture for instance of Antwerp Cathedral is one of his most famous pictures, outside Britain” 4. in Cathedral of Our Lady official website: “it assembles the various styles of the times gothic, renaissance, baroque, rococo, and so on - without ever taking on a definitive form” 5. in Cathedral of Our Lady official Website: “The master of Flemish baroque”

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Chapter II - The Amstel

As said before, the Fall of Antwerp caused a lot of turmoil in the city, affecting its position as the most important port of the North Sea. The geographical position of Amsterdam and its flux of immigrants 1 made the city a perfect intermediate post in trading between the Mediterranean, North and Baltic Sea.

Amsterdam gained this importance in world trade during the Dutch Golden Ages. A period in the history of The Netherlands in the 17th century when the Dutch trade, science, military and art were amongst the most acclaimed in the world 2. It came to end a period when the Dutch stopped being part of the Spanish Empire and craved to become a powerful force on the European continent, and the world. Historian K.W. Swart described the primordial years of this era as the “Dutch Miracle” to commemorate the way the country became an economic power.

How did this come about?

What marked this city in this so important era, and how was like living in it?

William of Orange lived during this period of revolts against high taxes and religious rules

Amsterdam 16th century

artists saw Amsterdam as great white canvas that could be explored through their techniques

Dutch Golden Age

bridges, canals and water ways are needed in the city for city growth and topographical reasons

(confined inside its medieval city wall, the Dutch revolt against the Spanish and their rulings in the kingdom)

(Amsterdam gains world wide recognition as a great force in trade, science and art) (immigrants, including several artists who moved to the city)

Grachtengordel and city expansion (new neighborhoods start being developed in Amsterdam, along side new canals and boat ways) (Dutch culture as we know it is being shaped)

during the 16th century, after the Dutch Republic was formed, the Spanish ruler made some of the South Province’s population to leave Antwerp if they were against the taxing regime and the traditional Roman-Catholic church.

2. in “The Dutch Golden Age Exhibition” at Mauritshuis: “the Dutch nation became one of the wealthiest and most powerful in the world, employing its naval prowess to dominate international trade and create a vast colonial empire” 1.

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

Rondeel & Doelen Toren Herengracht

Amstelsluizen

Munttoner

Keisersgracht

Right by the Ij lays the city of the art Different rules here apply, and ships already depart Everyday the Amstel goes by however we stay We no longer want to cry... let’s make it everyday

Amstel Bridge

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Gesicht van den Amstel, buiten de Stads muiren Author: Petrus Schenck Map 161 | Date: 1710 | Size: 110 x 162

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spinning on the limit

From the South, entering the city of Amsterdam was a journey by itself.

Along the banks of the Amstel, one would encounter a series of bridges that were architectural pieces with their own identity and history. Surrounded by several windmills, the Utrecht and Weesper city gates and the Amstel sluice, the Hogesluis bridge was the first passage over the river when entering the city.

The map depicts the view from the Hogesluis bridge towards the outskirts of the city. At this side of Amsterdam, one of the main water entrances from the southeast, the city wall presence marks the city’s skyline which is toped by a series of windmills that have vital functions for the use of land and produce. Out of many purposes that the mills used to have, pumping water out of low lands and placing it back in rivers was one of them 1. The Amstel, the river that passes by the East side of Amsterdam was one of the ‘collectors’ of the water retrieved from the city’s terrain.

These stone wind powered structures are seen in fortifications of Dutch cities very often. All around the country, dealing with water levels was already a concern in this period; in order to keep the land dry and suitable for farming and living, techniques of drainage and pumping were perfected over the years, making city extensions in Amsterdam possible.

The Hogesluis bridge, built in 1662, was part of one of Amsterdam’s 4th city expansion, built together with the city wall at the same height. It connected the two margins of the Amstel, linking the Westerblokhuis and Oosterblokhuis bastions that guarded this side of the city 2. The bridge was composed of thirtyfive arches, being that only the central ones allowed entrance in the city; the continuous repetition of semi-circular shapes makes the Hogesluis bridge much comparable with an aqueduct or a Roman construction.

a. mills by the Singel | 1880

b. De Buiten - Amstel met panorama van de stad | 1750

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The main alteration to the bridge where the noble civilians in Petrus Schenck map walk on was the demolition of the central two arches to create movable bridge valves. This river passage that was replaced in 1882 by the concrete and stone design of Willem Springer has been completely renovated over the years 3, being that the most recent renovation came to allow trams to pass on the bridge that follows Sarphatistraat. With its arches spanning over the river, Sarphatistraat unifies the South canals with the Eastern Islands. The street in named after Samuel Sarphati who had a great influence in the expansion and beautification of Amsterdam 4. “except the man who Sarphatistraat found the most beautiful place in Europe...” 5

With Amsterdam continuous growth, the bridge no longer was the city’s limit, however, the area represents a place in the city where the countryside and urban met.

c. Amstels Brugh and Weesperpoort | 1665

d. Hogesluis bridge | 1938

e. Hogesluis Amstel | 1671

f. Hogesluis bridge | 2013

in “Functions of the windmills in Holland” - “The most important probably was pumping water out of the lowlands and back into the rivers beyond the dikes so that the land could be farmed.”

2.

F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 313 “In de nieuwe fortificatie van het Amsterdam na de Vierde Uitleg stroomde de Amstel via de Amstelbrug, zoals de Hogesluis toen heette, de stad in. De brug bestond uit vijfendertig gewelven tussen de bolwerken Wester- en Oosterblokhuis.”

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F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 313 “De nieuwe Hogesluis, naar ontwerp van Willem Springer, was gebouwd op verlaagde pijlers waarop ijzeren liggers waren gelegd met een betonnen afdekking en een asfaltlaag.”

4.

In “Creator of a new city - Historical Newspaper” - “The idealistic physician-entrepreneur Samuel Sarphati put all its energy into improving the city” 5.

Nescio, “Amsterdam Stories”, 2012 1.

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D’ Amstel sluys en Brugh Author: Jan Luyken Map 161 | Date: 1694 | Size: 259 x 338

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a day at the Carrè

Amstel river crosses the city of Amsterdam on the East side, where a small fisherman village transformed itself into the city of Amsterdam as we know it today.

The two banks of the river are crossed by several well-known bridges like the Magerebrug, Blauwbrug and Hogesluis.

In the first plan of the print we see the Amstelsluizen, that still sits in the river today. Originally built in 1673 as part of the 4th expansion plan of the city, they had the purpose of improving the water changes from the tides of the Amstel and the Burgwallen. In the middle of the locks we see a brick house which was used for the lock keeper. At its East, the Carrè Theater sits since 1887, meant to be a permanent circus venue, now is one of the most popular monuments in the Amstel riverside, hosting mainly opera and musical performances.

Mathematician and physicist Joannes Hudde proposed and accompanied this construction during the time he was mayor of Amsterdam 1. The structure that sits on the waters of the Amstel had the main purpose of leveling the water 2 in the historic Amsterdam’s center, but it was also meant to control the pollution level in the city 3. In the 19th century the construction of the Oranjesluizen that solved the water levels problem led to the renovation of the Amstelsluizen and even to the complete disassembly of the Westerdokssluis 4.

Johannes Luyken was a Dutch poet, illustrator and engraver who had a different belief in religion and it stands for making him turn to the poetry artistry 5.

One of his most famous works is the “The Book of Trades”, illustrating the various

g. Amstelsluis uit Amsterdam | 1876

h. Amstelsluizen | 21st century

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

i. De Brouwer | 1694

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j. A busy Hogesluis with the theatre Carrè on the river Amstel, Amsterdam | 1938

trades present during the Dutch Golden Age; as an artist, Luyken had an eye to capture his most ludicrous ideas, being described as “appalling engravings containing all the tortures that the madness of religion could devise” 6. He had a way of capturing the actual essence of the place, reconstructing times and places in his works. He was passionate about depicting people in the day to day life.

Admiring the simplicity was one of the inspirations for his art.

We can almost sense that in this etching present in the collection. As the vessels go upstream towards the outside of the city, the different gables of the houses accompany them. In the back we see the Hogesluis, still with its arches marking the entry and exit point of Amsterdam. And just next to it, the windmill, marking the position of the brick fortification that enclosed the city limit; together with the sluice system, the mills helped to control the water levels in the city.

Further into the city, right after the sluice, the margins of the Amstel are united once more by the Magere Brug, also known as the Skinny bridge, giving way to the Carrè Theater. It was first built in 1691, and since then renovated and re-built several times. To allow entrance and exit in the city, the bridge was movable, by two guards that had to work carefully and simultaneously; with such a dangerous and delicate process not only was the bridge automated 7, it was also replaced in the 19th century. While the new architect, Pieter Kramer wanted to design a new bridge made out of steel, the city council thought it was best to keep the design as much alike as the original ones; nowadays the bridge is still held by an impressive wooden structure, illuminated by night, having been considered one of the most beautiful bridges in the city.

F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 312 “op voorstel van de wiskundige en fysicus Joannes Hudde die in 1672 tot burgemeester van Amsterdam was benoemd.”

2. in “Amstelsluizen in Amsterdam“, Rijskmonumenten - “dienden de sluizen met name de waterverversing van de getijrivier de Amstel en de burgwallen” 3. in “1673: De Amstelsluizen”, Regional Public Water Authority Amstel - “Door het groeiende aantal inwoners (...) Amstelsluizen gebouwd.”

4. in “Amstelsluizen in Amsterdam“, Rijskmonumenten - “In 1872 werd de kwestie van de waterverversing grotendeels opgelost doordat de toen aangelegde Oranjesluizen het IJ konden afsluiten. In de 19de eeuw werd ook de westelijke spuisluis ontmanteld” 5. in “Short story of the religious life and peaceful death of Joannes Luiken”, 1977 6.

J. Karl Huysmans, “À rebours”, 1884 7.

F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 311 “De handbediening verdween (...) nooit meer aanschouwd kunnen worden door de wachtenden’” 1.

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Het Rondeel en Doelen - Toren tot Amsterdam 1630 Author: Abraham Rademaker Map 162 | Date: 1725 | Size: 67 x 106

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stranger waters meet

As Amsterdam was gaining popularity as a major trading city in Europe, the need to protect it became higher through the years. The city’s major concern were possible attacks from Utrecht so the construction of a brick wall around the city was ordered in 1480 1, including several city gates, defense towers and the Rondeel and the Doelen Toren. This brick stronghold marked the spot where the Amstel river meets the waters of the city’s canals.

Maintaining the height of the rest of the walls, the Rondeel was used to store and keep heavy artillery. With the expansion plans of Amsterdam being implemented, new canals like the Singel and Herengracht started being constructed, bringing with them new city limits and walls which eventually made the Rondeel loose its function 2. In 1633 the round structure seen in the collection print was sold and then demolished to give place to “The Roundel”, an inn named in memory of the old monument 3. Later on, in 1882, the tavern suffered some extensions and remodels, eventually becoming the Hotel L’Europe which stands on the site today. In the current location, the hotel building and canal are still shaped following the semi-circular shape that the Rondeel introduced in the city plan.

k. detail of Amsterdam Map | 1737

l. The Rondeel tavern | 1885

m. Kloveniersburgwal | 1869

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The Doelen Toren, also called “Utrecht Silenced” 4 after the battles with the city, was part of the city wall of the time but it was also part of the Kloveniersdoelen (a building complex to serve as a gathering and rehearsal space for companies and military 5). For some years, after the Rondeel was demolished, the tower ruled the canal’s skyline by itself, having suffered several extensions to accommodate more functions. In 1882 the tower was demolished to give room to the Doelen Hotel, which like the Hotel L’Europe serves almost as an homage to the previous monument on this site.

The Binnen Amstel is a rather important area in the city of Amsterdam.

Through the waters of the Amstel, the Singel and the Rokin one can enter the city by boat to almost every direction following the canal waters and the arches of the bridges. Several quays and wharfs were in this area, some still present in today’s city plan like the ones in Kloveniersburgwal and ‘s-Gravelandseveer. The waters that surround the old Regulierspoort site are surrounded by river passages that cross the waters that met in front of the round facade of the Rondeel. The Halvemaansbrug is one of these bridges that unite the two Amstel embankments.

Originally built in 1626, this river passage came to relieve the heavy traffic in the streets of the area. It 1863 the bridge was fully renovated following a modern bridge construction in cast iron and wood 6; since then it has been renovated a few times, however the speculation behind its name still stands. It is believed that the bridge is named after the “half-moon” shape of the site where the old Rondeel sat, now the Hotel L’Europe 7.

The Doelensluis, or Roobrug is the river passage we see to the left of the Rondeel in the print by Abraham Rademaker. During the construction period of “The Roundeel”, the tavern of this new Amsterdam district, the bridge was renovated to a stone bridge 8 to fit with the architecture of the new building. Even though the site suffered a lot of interventions and renovations, the bridges stayed in position, having become symbols of the area, with their own history and identity.

G. Mak, “Amsterdam: A brief life of the city”, 1999 - page 57 “in 1480 tensions between the cities rose to dangerous levels again, and a veritable maritime battle took place on the Zuidrzee (...)

During that mini civil war, Amsterdam’s administration finally decided to begin building a city wall.”

2. in Hotel L’Europe Website 1593 - “the end of the defence function which the Rondeel” 3.

F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 298 - “Op de fundamenten van het Rondeel kwamen achtereenvolgens een logement, een herberg en het huidige Hotel L’Europe. “ 4.

G. Mak, “Amsterdam: A brief life of the city”, 1999 - page 58“... near today’s Doelen Hotel, there stood a similar tower, appropriately named Swijgt Utrecht, or “Utrecht Silenced”.”

5.

A. Rademaker “Kabinet van Nederlandsche outheden en gezichten, Volume 1” - page C2 & C3 6.

F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 300 “Hij bestond uit vier aanbruggen van gegoten gietijzeren bogen met troggewelfjes waarop houten dekken waren gelegd die met keien in zand waren bestraat. Het was in die dagen een nieuw constructie die bij vaste bruggen werd toegepast.”

7.

by Sebas Baggelaar en Simon van Schaik - “de vorm van het halfront aan den Aemstel” 8.

F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 298 “In 1663 is de houten brug vervangen door een stenen brug met zes gewelven.”

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Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

De Binnen Amstel, na de Munts Tooren Author: Jan de Beijer Map 163 | Date: 1780 | Size: 252 x 371

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silver and gold unite the waters

The Mint Tower was part of the medieval fortification of the old city, being an element of Regulierspoort (one of the three main gates to the city). The old gate was composed by two towers and a guard house, however, in 1618 the gate suffered a fire and only the bottom part of the tower was spared from the disaster 1. Hendrick de Keiser redesigned the top portion of the tower a year after, embellishing the bell tower with the spire and the globe which are still part of the design today 2. He worked together with the Hemony brothers, as he had done in the Westerkerk, for the carillon, which as now been replaced for a more modern thirty-six bell instrument.

John Jordan, known as ‘the Engelsman’ came to Amsterdam by the time the Doelensluis was being reconstructed. He stayed for some time in this area, for farming reasons. The man who is believed to have been the owner and creator of the inn “The Rondeel” built in the square five houses that he used for farming and to keep sheep. The houses had such a presence in the square that the city decided to name it Schapenplein (The Sheep Market). The square’s name changed to Sophiaplein in 1877 after the expansion of the city and it only adopted the name of Muntplein in 1917 3; when part of the country was occupied by the French troops, circulation of silver and gold was no longer safe so Amsterdam started to mint its own coins inside the tower, hence the name ‘Mint Tower’ 4.

The coins were made inside the guard house, however, the on we see today is not the original one. Although having survived the fire of 1618, its structure was too weak and in the 19th century it was re-build after being demolished. Nowadays the Neo-Renaissance 5 building marks the square where it sits and accompanies all the traffic that every day passes by. Trams, cars, cyclists and pedestrians all move on top of the Muntplein, which is in fact, a big bridge that unites the Singel and the Amstel.

The Muntsluis is the ‘bridge structure’ where this square sits on. Designed

by Van der Mey, it connects three water ways and four streets, being traffic often a problem in the city. Van der Mey had a great concern with unifying the old with the new structure, so he designed a small kiosk 6. Although it occupied part of the space on the traffic road, the small stand has the same octagonal shape as the

n. Oude Reguliers Poort | 1693

o. Het Muntgebouw en toren | 1640

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p. De Munt met de Engelse huizen op het Schepenplein | 1730

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q. De groei van de Munt | 1942

Munttoren, creating a unification with the surroundings. The bridge was created as one unique element in 1915, however, several passages had existed in place to connect the banks of the canals around the old city gate.

Leading to the Muntplein, the old quay of the Rokin is now the famous flower market of Amsterdam. Where people would disembark the vessels or sell produce directly from the water, now sit permanent stands that sell souvenirs and typical Dutch flowers throughout the year 7. Together with the constant circulation seen in the square the area is still a very active place in the city, as it was in the 17th and 18th centuries. The Hotel L’Europe (the old Rondeel), the Munttoren (old Regulierspoort) join the different bridges and waters that form the Binnen Amstel.

After being the apprentice of Cornelis Prank 8 (the most famous topographical draftsman of the Netherlands), Jan de Beijer settled in Amsterdam where with Pieter Fouquet published the “Atlas of Fouquet” during the 18th century; a collection of 102 prints of Amsterdam, including this print of the Munttoren.

The artist is most known for his works of the Rhine river banks, however, with this publication ,the etcher leaves many representations of 18th century Amsterdam and Haarlem, cataloging history, changes in the city and crucial moments in Amsterdam’s growth as a North Sea city.

R. van Capelleveen, “Koning Eenoog: geschiedeniscolumns”, 2009 - “Het onderste gedeelte van de Munttoren maakte eens deel uit van de Regulierspoort in de middeleeuwse stadsmuur. In 1618 brandde de poort af, maar dit gedeelte bleef gespaard.”

2.

R. van Capelleveen, “Koning Eenoog: geschiedeniscolumns”, 2009 - “Hendrick de Keyser, die later de Westerkerk ontwierp, voegde een jaar later de klokkentoren toe, met torenspits en opengewerkte bol.”

3.

F. V. Smit, “Bruggen in Amsterdam”, 2010 - page 31 “Het Schapenplein heette na de uitbreiding van 1877 Sophiaplein - in 1917 kreeg het de naam Muntplein.”

4.

R. van Capelleveen, “Koning Eenoog: geschiedeniscolumns”, 2009 - “toen tijdens de Franse bezetting van Amsterdam de munt hier tijdelijk was ondergebracht.”

5. in “Munttoren Amsterdam”, Amsterdam for visitors, 2014 - “The guardhouse was replaced in 1877 by the present building in neo-renaissance, conducted under the direction of W, Springer.”

6.

W. de Boer, P. Evers, “Amsterdamse bruggen 1910-1950”, 1983 - page 13 “is Van der Mey’s standaardoplossing te zien voor de verbinding van oud met nieuw.”

7.

R. van Capelleveen, “Koning Eenoog: geschiedeniscolumns”, 2009 - “Vroeger voeren kwekers de Amstel (...) opvallend breed aanbod.”

8. in “Jan de Beijer”, Brabants Historisch Informatie Centrum, 2009 - “ging hij als tekenaar in de leer bij topografisch kunstenaar Cornelis Pronk in Amsterdam.”

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Herengracht Author: Petrus Schenck Map 161 | Date: 1710 | Size: 116 x 156

De Keisers Gracht Author: Petrus Schenck Map 161 | Date: 1710 | Size: 110 x 161

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a gentleman’s street

In 1613 with the extending the city to the outside of the Singel, the Grachtengordel was built, including three new canals (Herengracht, Keizersgracht and Prinsengracht), parallel to each other, bending to the East to connect with the Amstel river. As Amsterdam’s East and West India Companies sailed trough the seas of the globe, the population was getting wealthier 1 and the fourth city expansion proved to be needed due to the lack of space. During two centuries these canals were the city limits of Amsterdam, marked by its equal size plots. “it is an outstanding example of a type of building, architectural or technological composition or landscape, that proposed significantly human history” 2

The Herengracht (Gentlemen Rulers of the City of Amsterdam) was the first one to be dug out, running parallel to the still existing city wall. The construction was appointed by the mayor and the city carpenter and by the time it was finished, exquisite examples of the “canal houses”architecture are present and here several mayors, regents and merchants resided 3. Along the water of this canal, one can see that most houses occupy two plots or more; this happened because the wealthiest people in the city lived in this area, so they would build a house that would take more than one plot, while in the rest of the city the high and narrow house is more typical. Just by looking at the foreground of the print we see that most entrances to the houses have a staircase leading to the main entrance. Since their residents were in most cases merchants 4, they would use the attic and basement spaces for storage of goods; the elevated staircase would protect the house from possible flooding but also create an entrance to a shop or to these storage units.

In the same period in time, the Keisergracht started to be built, however doubts in the construction made it pause right from the beginning. It was considered that this new excavated street would not have water (as it had been done recently in Den Haag), however, the future resident wished to reach their new homes by boat 5 so the construction finished in 1618. Throughout the canal all the lots have different gables and even different colors; these architectural elements were not just decorative; they were meant to disguise the sharp end of the pitched roofs as well as give a different identity to each of the narrow plot houses. The variety of gables is immense, going from the Baroque style ‘neck gable’, to the more simple ‘step’ and ‘spout’ gables that used the practicality of brick and sandstone construction 6.

r. De bocht van de Herengracht | 1672

s. De bocht van de Herengracht bij de Nieuwe Spiegelstraat te Amsterdam | 1672

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In 1658 the all three canals were meant to be enlarged to the East side of the city to allow the water of the Amstel to flow to the Ij, through the Oosterdock however only the Herengracht construction reaches the Ij. At this time population in Amsterdam was less than expected due to a plague in the city 7. This made the demand for houses much smaller at the time so most of the plots were vacant, in the Nieweu Herengracht area mostly, and made available for charities 7.

Petrus Schenck moved to Amsterdam in 1675 to work under Gerard Valck, and for a while he lived by Lauriergracht; this canal was part of the Third expansion of the city (a movement of constructions to the West of the city including new houses/architectures, streets and canals for a different social hierarchy). Here Petrus met his future wife to which she would give him all his children that would continue his shop after his passing. An area really close to Herengracht and Keisergracht, it meant a lot to the artist who saw his life shape here and in this new coming metropolis. Later he moved to Dam Square where he would open his own shop of maps and art.

t. Afbeelding der stat Amsterdam : met haar laetste Vergrooting.| 1665

u. Lindengrach | 1920

1. in “Amsterdam Canal Houses: A Short and Skinny History “, 2014 - “Amsterdam’s East and West India Companies were plying the waters of the world, engaging in exotic and very profitable trade; and that money was all coming back to Amsterdam” 2. in UNESCO Committee for World Heritage, 2010 3. in “Canals”, Amsterdam info - “In the 17th century, the richest merchants and the most influential regents and mayors of the city lived on this canal.”

4. in “Amsterdam Canal Houses: A Short and Skinny History “, 2014 - “These houses served as both homes and workplaces for many of the merchants, and you can still see evidence of this today (...)”

5. in “Canals”, Amsterdam info - “Initially a wide boulevard without water was planned here, (...) so they could reach their house by boat” 6. in “Canal House Gables”, 2014 - “from 1600 onwards, the step and spout gables were introduced. (...) the bell-gable with an asymmetrical Louis XV style.”

7.

In De Stichting Mentorschap Amsterdam - “De Nieuwe Herengracht (zie historie) maakt deel uit van de zogenaamde ‘vierde uitleg’. Voor die uitbreiding was besloten in 1656. De bevolkingstoename was minder dan gedacht o.a. door de pest waar zo’n 24.000 mensen aan stierven. Veel percelen lagen braak en werden ter beschikking gesteld aan stedelijke en liefdadigheidsinstellingen.”

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Chapter III - The Thames

Between the 17th and 18th century, representing the skyline of a city had a deeper meaning than one might assume. An external view of our regular metropolis world demonstrated a city’s unity within itself and its’ urban identity. These maps and etchings showed to the general public a way of viewing the city, it’s growth and their presence in it.

The Thames river became the perfect stage to represent the changes in London. Marked by its’ mixture in architecture styles and its’ church towers, the city was becoming a big metropolis in the European continent.

As one takes on a journey up the river noticeable changes become evident; a great deal of them because of the Great Fire of London that devastated the old city center and now society sought answers through these illustrations.

What was the city after this disaster?

What did it represent?

maps of cityscapes and skylines start to become important in viewing the city

London before 1666

darker, more deep maps appear as a re-interpretation of the city’s meaning and functions

Great Fire of 1666

bridges gain more importance in the maps, portraying the identity of the city and its’ new developments

(great importance to the London bridge, still with buildings on top)

(London bridge loses buildings on top and its reconstruction plans take place) (Westminster bridge comes to existence)

City Expansion to the south bank of the Thames (London bridge is refurbished and reconstructed on 1902 and 1970 respectively) (Westminster bridge is refurbished in 2005)

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

London Bridge London skyline

Tower of London

Westminster bridge Lambeth Palace

Sunday it us like a blast when London crumbled to the ground.

Since the fire years have past and a new meaning as been found The Thames we must cross coaches no longer pass As we are drawn by Wencelaus we are more than just a mass

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T’ Gasthuis van Lambeth Author: Caspar Philips Jacobsz Map 116 | Date: 1790 | Size: 132 x 165

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open gates

Originally called the Manor of Lambeth for now 800 years the Lambeth Palace is the residence of Archbishop of Canterbury and one of the few medieval domestic buildings in London 1. Located on the south bank of the Thames since the 13th century, the official residence of the bishop changed from Canterbury to here due to its’ closeness to the Royal Court and to Westminster.

The Guard Room, the Chapel and the Crypt are the only original buildings still standing while the rest of the complex, including the private gardens have all been renovated. In one of these renovations the Lambeth Palace Library was built, holding a great collection of material related to ecclesiastical history and church archives; open to public in 1610 2, the renowned library is one of the most recent buildings in the complex. In contrast, The Lollard’s Tower (chapel) is the oldest building, still marked with evidence of its use for imprisonment of John Wyclif’s heretical followers 3. The entrance of the palace, the Morton’s Tower is very different from the rest of the architecture present. Made from a bright red brick, the gate is marked by its high towers and the double gate for carriage entrance.

Throughout the years, the palace was purposely kept in a Gothic style however the wood and stone carvings that mark the details of the Great Hall present a classic manner to the architecture 4.

Although the Great Fire didn’t reach this side of the city, the palace still bares scars from the English Civil and World War II; in fact, scorch marks of a bomb that it the chapel during The Blitz of WWII are still present there nowadays 5. The several renovations it has gone through go from the construction of the buildings to fit the touristic demands of the city to simple treatments in the Bath stone that composes the construction Each of the ‘patch-ups’ brought more turmoil to the appearance of the palace that is marked by its Gothic revival style, however called by many as a “new old-fashioned hall” 6.

a. Lambeth Palace with a Distant View of Westminster and The Strand | 1685

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Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

During the 17th century, the geographical spread of London started to be thoroughly evaluated as a necessity for the great influx of people wanting to be a part of a thriving society. These expansions in the city of London were more noticeable on the north bank of the Thames, however, the great empty fields on the south side presented great opportunities and possibilities 7. The Lambeth Palace was the only building of national importance located on the south bank, with poor access via road traffic but with a ferry connection between Lambeth and Westminster, owned by the archbishop 8. Caspar Jacobsz depicts this horseferry connection in the collection print on the right side of the palace, where now the Lambeth Bridge sits. After thirty-two years of planning, proposals and constructions, in 1738 the Westminster bridge was opened to the public as the second bridge crossing the Thames, to relieve coach congestion from the London bridge and replacing several passenger traffic that happened on the Thames, including the Lambeth - Westminster ferry. Throughout the years several more river passages were built, however the Lambeth area was never to become a new West End; even after the Lambeth bridge construction, directly connecting the Palace with the north side, the area kept its own identity, a place where small industries, warehouses and taverns refused to turn their back on tradition 9. In this print the Thames is stripped from the bridges that surround the Palace nowadays, however, the boat circulation and transport activity around the site shows us this traditional side of an 18th century expanding London.

b. The Guard Room | 1809

c. Morton’s Tower, Lambeth Palace | 18th cent.

A. Saunders, “The Art and Architecture of London”, 1984 - page 381 “with Lambeth Palace, is one of the two most important medieval buildings in South London.”

2.

A. Saunders, “The Art and Architecture of London”, 1984 - page 382 “oldest public library in the country, for it was founded in 1610, (...), preserved and enriched through the centuries.”

3.

A. Saunders, “The Art and Architecture of London”, 1984 - page 381 “no strong evidence has been found to contradict the tradition that Wyclif’s heretical followers were imprisoned here.”

4.

A. Saunders, “The Art and Architecture of London”, 1984 - page 381 “The most imposing is the great gatehouse (...) executed in the classical manner.”

5.

A. Saunders, “The Art and Architecture of London”, 1984 - page 381 “Through the generations, the Chapel (...) suffering severe damage during the Civil and Second World Wars” 6. in “The Diary of Samuel Pepys”, 1825 - July 1665 entry 7.

P. Whitfield, “London a life in maps”, 2006 - page 95 “By far the greater part of this growth was north of the river, bu the empty fields on the southern side could not long resist being drawn into London’s grasp.”

8.

P. Whitfield, “London a life in maps”, 2006 - page 95 “ the Archbishop of Canterbury, who owned the Lambeth - Westminster ferry for horse treaffic and carriages” 9.

P. Whitfield, “London a life in maps”, 2006 - page 95 “ the district retained a character of its own, a place of small industries (...) refused to turn their back on its tradition of raucous beggary” 1.

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

A view of the WestmĂźnster bridge Author: Georg Balthasar Probst Map - | Date: 1760 | Size: 273 x 403

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up the river, through the arches, over time

London was growing. The traffic jams and immense circulation of coaches marked the city growth during the 1600’s; although mostly focused on the north bank of the river, the possibilities on the quiet south bank of the river start to be explored. The Westminster Bridge represents a turning point in London’s evolution to become a city bigger than anything seen before.

Liking the Westminster and Lambeth districts, the bridge was proposed in 1664 but only finished construction in 1750. For years, the closest connection between the two river banks was the London Bridge 1; by the time this second crossing over the Thames’ waters was built the houses in the London bridge were being taken down and accesses on the South side were being improved. Not everyone was in favor of this new river passage; during the time the project took to be approved was filled with protests from the City Corporation, citizens of Southwark and the London Bridge shopkeepers. To make it possible, the revolted waterman who controlled all traffic in the Thames and the Archbishop of Canterbury (who owned the Lambeth - Westminster ferry) were monetarily 2 compensated because water traffic would be reduced due to the new road connections that were being created in the city.

Years after its construction, the Westminster Bridge, originally designed by Swiss engineer Charles Labelye, proved to be structurally weak and of expensive maintenance, so lead by Thomas Page a new, cast-iron bridge replaced the old 15 arch structure. In 1769 the Blackfriars would be built to further relieve traffic from the center of the city, and with it, the architect Robert Mylne proposed a restructuring of the road plan in the south bank 3. Even after the remodels of the accesses to London through the South, the fact that the character of the area maintained mostly the same, lead some to believe the entrance of such grandiose city was still disgraceful and didn’t represent the wealth and magnificence that London and Westminster wanted to portray 4.

d. Rhinebeck panorama | 1806

e. new Westminster bridge | 19th century

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“Saint George’s Fields are fields no more; The trowel supersedes the plough Swamps huge and inundate the yore Are changed to civic villas now.” 5

Georg Balthasar Probst was most known for his depictions of European cities, landmarks and landscapes. He strove to express the growth and transformation of a regular city to what we now call a metropolis. His work includes several prints of London, mostly during the time the bridges of the city were being remodeled or constructed. In this print that depicts the Westminster bridge the background is dominated by towers, mostly from churches and cathedrals. Surrounded by great Londoner landmarks like the Palace of Westminster and the more modern London Eye, the Westminster bridge has a vibrant green color that matches the color of the seats in the House of Commons; a great contrast is established with the Lambeth bridge and its red color inspired by the seats in the House of Lords 6.

f. Westminster Bridge from the River, Looking South | 1750

g. General plan to explain the different trusts and tolls | 1790

h. new Westminster bridge | 20th century P. Whitfield, “London a life in maps”, 2006 - page 60 “Westminster Bridge was opened, London’s second crossing of the Thames to be built since Roman times” 2.

P. Whitfield, “London a life in maps”, 2006 - page 95 “ London’s resentful watermen, who controled all passenger traffic (...) was awarded a further £ 21,000.”

3.

P. Whitfield, “London a life in maps”, 2006 - page 95 “ so that all the traffic to and from London bridge would not be compeled through the city (...) road plan for the south bank” 4.

T. Smollett, “The Expedition of Humphry Clinker”, 1771 - “which is a most disgraceful entrance to such an opulent city (...) magnificence of London and Westminster are afterwards unable to destroy.”

5.

P. Whitfield, “London a life in maps”, 2006 - page 95 6.

B. Jones, C. Lewis “The Bumper Book of London: Everything You Need to Know About London and More”, 2012 - p. 127.

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London Author: Rombout van den Hoeye Map 116 | Date: 1638 | Size: 396 x 504

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up the river, through the arches, over time

The etching made by Rumbout van den Hoeye, Londinum Celeberrimum Angliae Emporium, is a representation the London skyline before the fire of 1666, that fits in the artists collection of cities’ skylines.

From London to Copenhagen, all the way to Seville, den Hoeye, amongst his other paintings, has an impressive collection of depictions of cityscapes, almost as a comparison piece between each other. We can obviously note how the view is always seen from the river, portraying boats and port activity that marked all these cities at the time; from the North to the Mediterranean Sea the primary mean of transportation at the time was the boat and maritime commercial activity made these cities stand out in international trade markets. An exaggeration is purposely given to certain elements in the skyline, like the with of the Thames, to elude to this idea of a grandiose city, bigger than anything 1. A great deal of importance is also given to churches and their towers that rise from in-between the buildings that compose the city’s fabric, creating almost a sense of small clusters and divisions, as if they marked each district according to which church you normally attend (more towers, means more public, leading to bigger cities).

“London was, but is no more” 2

Londinum Celeberrimum Angliae Emporium, etched by Rumbout van den Hoyey represents the London skyline before the fire of 1666, in an admiration of the metropolis of the time. With the changing of the public towards the city and the metropolis, several new artists saw the need of representing this new world by altering and “etching over” previously made maps. This piece was one of the most used as a basis for these alterations, making it more important in a period where London’s views and ways of thinking were changing.

i. Cock Inn, Leadenhall Street | 17th century

j. London bridge with medieval houses and street | 17th century

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Concerned with the lack of unity and urban identity of London, artists represented the fire, describing the sounds of the city burning and the ruinous cracks and the danger now present in the city, in exchange for the views based on admiration and content towards London. Clement de Jonghe was one of the artists “altering” this piece, trying to represent the bind they found themselves in. There was a need to keep pace with a geographically international market so de Jonghe chose to use this already painted and known map, adding the flames and smoke, in an attempt to give a more present change of the city and to affect people’s memory of London. A message of continuity amidst this constant change.

A city that rose from the ashes was a common description for the new London that was being demonstrated to the world. The Great fire of 1666 was a devastating event for the medieval city; for three straight days the city burned to the ground 3, however, the rapid reconstruction and growth of the now brick and stone city was impressive and shared with the rest of Europe 4. Around 1676, a decade after the event, several publications started circulating the world, depicting London in its new form, not surrendering to the Italianate proposed city plans and honoring the old city fabric 5. The city continued growing in popularity and citizens, becoming more well known in the international market. It eventually took the place of Amsterdam as the most important city of the North Sea, and even of Europe.

k. Great Fire of London | 1666

in British Library, “as the elaborate decoration plays on the city’s prosperity and fame.

Among the grandeur, (...) rowing their boats up and down an unrealistically-wide Thames” 2. in John Evelyn’s diaries of 1666 3.

P. Whitfield, “London a life in maps”, 2006 - page 53 “The destruction continued for three days, until miraculously the wind dropped” 4.

P. Whitfield, “London a life in maps”, 2006 - page 53 “In the aftermath, the most amazing thing is the speed with which rebuilding took place.”

5.

P. Whitfield, “London a life in maps”, 2006 - page 53 “Grand schemes for a newly designed Italianate city (...) how a new and more elegant London had risen from the ashes.”

1.

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

London Author: Georg Balthasar Probst Map 166 | Date: 1760 | Size: 330 x 1110

View of London bridge Author: Map 117 | Date: 1758 | Size: 122 x 204

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up the river, through the arches, over time

The London Bridge has suffered several transformations over the years, but it still remains as a big symbol of London’s expansion over to the south bank of the river Thames. It started out by being a medieval style bridge, toped with houses that formed a continuation of the urban fabric of Old town London. Being that London was a walled city at the time 1, the bridge would mark the South entrance to it, as well as being part of the wall; for this, two gates were present in the bridge that also included 19 openings for boat passage that sat on top of piers composed of timber and stone rubble 2, and a Chapel that was renovated in between the 600 years the bridge stood up.

The bridge was affected by two fires (1633 and 1666) that partly destroyed it on the North side. This gave room for several renovations and alterations that came from new medieval architects trying to make the architecture of the river passage fit to the now being rebuilt London and the style in the city 3. The beauty once seen in the London bridge was replaced my big houses that expanded well over the edges of the bridge, covering almost every stone arch that spanned the bridge.

“Keep Left (East)” 4

At this time, 1750, the bridge was an element in a lot of people’s commute, making the traffic congestion considerably high. A new act by the mayor made for the first time in London’s history traffic regulation that defined all traffic should keep Left (East).

“The Bridge without houses”

Even after all the renovations on the beginning of the 18th century, the bridge was too fragile and the houses were eventually taken down by 1763. This made the bridge gain a completely different appearance, along side with the stone work added on both sides of the bridge to make the roadway wider.

The piers where the arches stood are still the same and they would stand as structural elements of the bridge until it was completely taken down. Over the years the natural alterations of the tide change and water levels started to affect the bridge and its’ foundations, making the passage of boats much more difficult and dangerous for the navigators 5. This opened a competition for the construction of a completely new bridge, won by John Rennie however after passing away the construction was continued by his son Sir John Rennie; while this new river passage was being built, the old bridge was still in use, being demolished later on.

Five years after the construction was finished, the coming of the railway to London started a phenomenon never seen before, the commute. This made the traffic in the bridge heavy and hectic both on the road and the water. London was really transforming into one of the biggest metropolitan cities in the world. The new five arched stone bridge spanned over the Thames for almost fifty years until the granite foundation started to cave in on one side due to the enormous amount of traffic that passed by it every day. In 1968 Rennie’s bridge was sold to an entrepreneur,

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who took it apart piece by piece and re-used Rennie’s stone work to assemble a new bridge in Arizona, United States of America.

As the Newest bridge was being constructed in concrete and granite, traffic still circulated in Rennie’s bridge, and only after was it dismantled. The bridge is marked by modern construction methods like the pumping of the river water for foundation placement or the use of prefabricated concrete segments to compose a bridge that today still is one of the most important in the city.

l. The view of London Bridge from East to West | 1597

m. The East Side of London Bridge | 1710

n. detail of London Bridge with houses on it | 1772

o. The New London Bridge | 1831

p. The Newest London Bridge | 2013 P. Jackson, “London Bridge”, 1971 - page 15 “It must be remembered that in the unsettled and warlike Middle Ages London was a walled city entered only by its fortified gateways” 2.

P. Jackson, “London Bridge”, 1971 - page 8-9 “Each pier was built on a platform which consisted of loose stone rubble (...) across which were laid three oak beams (...) In all there were twenty piers supporting nineteen arches of withs varying” 3.

P. Jackson, “London Bridge”, 1971 - page 44 “the new style of architecture in which not only the bridge, but the whole London was being rebuilt after the Great Fire.”

4.

P. Jackson, “London Bridge”, 1971 - page 46 “Lord Mayor, Sir Gerard Conyers decreed(...)”

5.

P. Jackson, “London Bridge”, 1971 - page 71 “with the change of the tide, the difference in the water level above and bellow the bridge were so considerable (...)”

6.

P. Jackson, “London Bridge”, 1971 - page 105-106 “This was the coming of the railway (...) commuters in and out of the city traveled by road” 1.

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Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

Castrum Royale Londinense, vulgo the Tower Author: Wenceslaus Holler Map | Date: 1647 | Size: 144 x 252

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closed walls

This map depicts the Tower of London, located on the East side of the city limits of London at the time. Founded in 1066, the tower is one of the oldest monuments in the city, still standing today 1, marked by its’ alterations over the years and the different functions it had over time.

The primary purpose of the monument was to be used as a royal residence, however that barely happened in its’ history 2. It started out being used as a prison for high end people and not for the common civilian. Making their lives in normal conditions, entrapped in the walls that surround the main tower and cathedral, these people were imprisoned for short periods, but that was enough for the tower to gain a bad reputation in London.

“Sent to the Tower” 3

Religious propaganda and several writers and novelists of the 16th century spread out this fame of the Tower of London being a place of torture and death. It didn’t help that whenever royal families would actually live there, several mysteries surrounded their lives as the tower wasn’t open to the public yet. Many royals were imprisoned inside the walls of the tower, mainly in the White tower; for many of these people, the tower would end up being their place of death as well 4, however the list of executions before World War I is very short.

Since the ordering of its construction by William the Conqueror, the tower as suffered several extensions and renovations. Despite this, the tower remains a great medieval structure; it is composed of several buildings and towers, however the main center building, the White Tower, is the one from which the name of this complex derives from. Surrounded by two concentric defensive walls, the tower now has an historical and nostalgic purpose, however people involved in its administration and maintenance (like the notorious guards and their changing wardrobe) reside there 5. Although its function has been completely altered through the years, undoubtedly the tower leaves its mark in London’s history, as a representation of the city’s sombre events and darkest secrets.

Wenceslaus Hollar was a Czech etcher well known for his work as an artist and painter. Moved to England to become a servant for different authors and publishers 6, however when the Civil War started in England he moved to Antwerp, where he etched some of his most famous works, not just about the Low Countries’ city, but England as well.

“He’s probably the only artist to draw London both before and after the Great Fire of London of 1666. His pictures of London are very lively. His figures for example are always doing something. They are not just static figures, whether they are on ships or in the streets of London.” 7

His architectural drawings are all to scale, which is a characteristic of his work, as this one of the tower of London, with much emphasis in cities like Antwerp and Strasbourg. Having to move out of England because of the war didn’t stop his passion for etching, creating some great works about London, all from memory,

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Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

make his work even more remarkable. His most famous painting is the Cathedral of Saint Mary, in Antwerp (a piece also in the collection).

Eventually he moved back to London, where he would stay until his death, but this depiction of the tower stayed in the publics’ memory. The view he chose with the Traitor’s Gate in front, sitting by the Thames, with passenger boats in the foreground and two ships with sails reefed became a position we see repeated over the centuries as it is a more monumental way of viewing the tower. The less dramatic, dark view of the writers and the church was exchanged by this more majestic, riverside picture.

r. The South View of the Tower of London | 1737

q. Arrest of Anne Boleyn | 1865

s. The Tower of London | 1831

J. Charlton, “The Tower of London: its Buildings and Institutions”, page 15; ‘despite demolitions, alterations and reconstructions, the imposing structure of the Tower remains, a great medieval concentric castle (...)’

2.

J. Charlton, “The Tower of London; its Buildings and Institutions”, page 15; ‘This tower is a Citadell (...) a royall place for assemblies and treaties. A Prison of estate (...) the armourie for warlike provision: Treasurie of the ornaments and jewels of the crowne and generall conserver of the most Recordes (...)

3. sentence said by the king when prisoners were sent to the tower of London circa 4.

P. Whitfield, “London a life in maps”, 2006 - page 21 “For most of these people their place of improsiment became their place of death” 5.

J. Charlton, “The Tower of London: its Buildings and Institutions”, page 15-16; “Even now, when its purpose is largely historical (...) 150 men, women and children live in the Tower today” 6. in Radio Praha: “Hollar came to London in the services of the Count of Arundel, Thomas Howard” 7.

G. Tindall, “The Man Who Drew London”, 2003

1.

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Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

Conclusion

Three cities, three different worlds, three different stories, however much in common is found in these places that eagerly want to become something larger than themselves.

The buildings represented in the selected prints accommodated more than mere functions. They emerged as a representation of the evolution of the city; an affirmation of the power acquired up until then and what might arise in the future. They were important not only for the waterfront but also for the general development of the city plan and presence in the European continent. During a period in history where city expansions were influenced by economy, military and religion factors, the representation of these in prints became important to reaffirm this newfound individuality and pride to the city and their visitors. By taking a journey up the rivers that pass by the three cities one can still observe structures that represent this evolution period in the cities that followed each other as the main trading city of the North Sea.

Artists like Wenceslaus Hollar, Petrus Schenck, Abraham Rademaker created pieces that stand out as being an homage to the urban development to date and to the one that’s to come. Inspired by many others, and taught by some more, these artists transformed the way we view cities, the way we look at architecture and how important a print or etching can be in the analysis of urban life and development.

Analyzing the history of the North Sea during the 16th, 17th and 18th century, Antwerp, Amsterdam and London become extremely important in the advances made in the commercial trade and the city development that intrinsically comes with it. The three cities are driven by the same roots, however their challenges and conquers differ completely.

The international trading market is something that vividly influenced the cities, almost following a storyline as Amsterdam takes Antwerp’s place as the major North Sea city and London follows the Dutch capital the same way.

These are three examples of cities that by their own needs, desires and wishes were able to change themselves throughout time. The prints serve as a demonstration of how similar these cities are, and how they let themselves be influenced by each other. There are traits like the stock exchange architecture or the religion domain that link them together directly, however this paper shows how similar they can be in city extensions and its influence in riverside representation or in the movement of the river water into and through the city, together with its influence in urban movement and spacial effect.

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Bibliography 01.

R. Tijs, Antwerpen Atlas van een Stad in Ontwikkeling, Tielt 2007

02.

M. Limberger, Urban History 14 (11000-1800) - Sixteenth-Century

Antwerp and its Rural Surroundings, Turnhout, 2008 03.

H. Kehrer, Alt Antwerpen, Munich, 1917

04.

S. Frank V., Bruggen in Amsterdam, Utrecht 2010

05.

H.D.Pfann, Amsterdam then and now, Amsterdam 1974

06.

G. Mak, Amsterdam: A brief life of the city, Amsterdam 1999

07.

W. de Boer, P. Evans, Amsterdamse bruggen 1910 - 1950 1983

08.

J. Summerson, Georgian London, London 1988

09.

A. Saunders, The Art and Architecture of London, Oxford 1984

10.

P. Jackson, London Bridge, London 1971

11.

J. Charlton, The Tower of London: its Buildings and Institutions,

London 1978 12.

M. Greenberg, Metropolitan Tragedy: Genre, Justice and the city in

Early Modern England, London 2015 13.

P. Whitfield, London - A Life in Maps, London, 2006

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Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

Illustration List I a. in “Civitates orbis terrarum”, vol. I, 1572, by Georg Braun and Frans Hogenberg b. in Historic Archive of Antwerp c. in Historic Archive of Antwerp d. in Kaan news website, photographed by Jesse Willems e. in “Geschiedenis en Cartobibliografie van de provincie Zeeland tot 1860”, map etched by Pieter Verbiest f. in Unknown, etched by Pieter Verbiest g. in Frederik Muller Historieplaten Collection, Rijksmuseum, by unknown h. in Frederik Muller Historieplaten Collection, Rijksmuseum, by Frans Hogenbergs i. in Unknown, by unknown j. in “Antwerpen Atlas van een Stad in Ontwikkeling”, by Pieter van der Heyden k. in “Alt Antwerpen”, by Bernard van den Putte l. in “Alt Antwerpen”, by unknown m. in Unknown, by unknown n. in Cathedral of Our Lady official website, by G. Boutta o. in Cathedral of Our Lady official website, by unknown p. in Cathedral of Our Lady interior, painting by Peter Paul Rubens

II a. in unknown, drawn by J.M.A. Rieke, 1880 b. in “Amsterdam, then and now” 1974, etched by Joseph Fridrich Leopold c. in “Bruggen in Amsterdam” 2010, etched by Jan Veenhuysen d. in unknown, photographed by Jeroen Epema e. in Fitzwilliam Museum, Cambridge, painted by Jacob van Ruysdael, 1671 f. in unknown, photographed by unknown 2013 g. in “Bruggen in Amsterdam” 2010, etched by Léopold Flameng, h. in unknown, photographed by unknown i. in “The book of Trades” 1694, etched by Johannes Luyken j. in “Schilder van stad, land en water” 2000, painted by Cornelis Vreedenburgh, 1938 k. in unknown, map by Gerrit de Broen l. in “Collectie Stadsarchief Amsterdam: kabinetfoto’s” | Stadsarchief Beeldbank, photographed by A. Jager m. in “Collectie Stadsarchief Amsterdam: tekeningen en prenten” | Stadsarchief Beeldbank, print by P. Blommers n. in “Beschryvinge Amsterdam” 1693 by Casparus Commelin o. in “Amsterdam, then and now” 1974, etched by J. Smit p. in “Amsterdam, then and now” 1974, etched by H. de Leth q. in “Bruggen in Amsterdam” 2010, drawing by A. Van Walraven r. in Rijksmuseum Amsterdam, painted by Gerrit Adriaensz s. in Rijksmuseum Amsterdam, painted by Gerrit Adriaensz t. in Gemeente Amsterdam Stadsarchief Beeldbank, etched by Marcus Doornik u. in unknown, photographed by unknown

III a. in “Museum of London Collection” painted by F.W.Smith b. in “The Microcosm of London, or, London in miniature. Volume 1” 1809, illustrated by Thomas Rowlandson

Journey through the North Sea rivers Arch. History Thesis | Cities of the North Sea Exhibition

c. in Lambeth Palace website, painting by unknown d. in Museum of London Collection, painting by unknown e. in unknown, photographed by unknown f. in unknown, painted by R.Ackermann g. in “Cary’s Survey Of The High Roads From London To Hampton Court, Bagshot, Oakingham” 1790, illustrated by John Cary h. in unknown, photographed by unknown i. in unknown, illustrated by unknown j. in unknown, illustrated by unknown k. in The British Museum, etching by Clement de Jonghe l. in “London Bridge”, engravend by John Norden m. in “Britannia Illustrata”, engraved by Sutton Nicholls n. in “London Bridge”, engraved by T. White o. in “London Bridge”, engraved by John Rennie p. in unknown, photographed by unknown q. in “Cassell’s Illustrated History of England, Volume 2”, etched by John Cassell r. in British Museum, etched by Samuel & Nathaniel Buck s. in British Museum, engraved by William Miller •

all main prints and illustrations were retrieved from the online database of the Trésor Collection from the TU Delft Central Library

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