De Haar

English translation

The text above is the record as published by the Rijksdienst voor het Cultureel Erfgoed, in Dutch. The English below is a machine translation made by TreeAlive, not by the Rijksdienst voor het Cultureel Erfgoed; it has not been checked by a person. Where the two differ, the original is the record. Report a translation error: privacy@treealive.com

Description

Description of component 1: MAIN BUILDING KASTEEL DE HAAR.

Medieval entirely moated red brick castle on pentagonal ground plan, circa 1400, probably the successor of an older fortified house, in the period 1892-1912 restored and partially rebuilt in neo-gothic and neo-renaissance style by Dr. P.J.H. Cuypers, making extensive use of much original masonry.

The front or east facade built up in neo-renaissance style according to design by Dr. P.J.H. Cuypers as replacement of the original low wall, which until the restoration enclosed the open courtyard. Brick masonry with wooden cross windows and leaded glass windows. The front facade is closed on the left side by a round tower, the so-called Gevangenistoren (Prison Tower) and the side facades of the medieval great hall wing. This Gevangenistoren of six storeys with octagonal, slate-covered pointed roof, is furnished with roof spire/weathervane. Below the cornice brown painted wooden, continuous gallery with heraldic representations with the coats of arms of the Haar (three lozenges) and Zuylen (three columns) and shutters with the heraldic colours silver and gules (heraldically coloured). Windows partly with wooden shutters painted in the colours silver and gules. The walls of the Gevangenistoren built up with brick of various sizes, including original masonry. The side facade of the Great Hall Wing, which forms the fifth angle of the original medieval ground plan, with stepped gable, cross windows and gallery in timber framing and brick. Later added connecting passage between Gevangenistoren and Side Facade Great Hall Wing probably beginning twentieth century.

Front facade of three storeys above the basement storey with main entrance in the form of a gatehouse tower with spire, with brick access bridge 'de Welkom', furnished with natural stone balustrades and decoration (griffins, lions) and pedestals. Wooden drawbridge on iron bearers between 'De Welkom' and the main entrance. Main entrance closed with wrought-iron double gate door, decorated with heraldic motifs (columns, lozenges) dated 1900. Beside it small wrought-iron gate door. Upper storey with tower to the left and partly furnished with crenellated wall (corbelled). To the right of gatehouse tower corbelled bay-like extension with stepped gable over second and third storey. The front facade is closed on the right side by a round tower, the so-called Riddertoren (Knights' Tower). The Riddertoren of six storeys with octagonal, slate-covered pointed roof furnished with roof windows with the heraldic colours silver and gules (heraldically coloured) and roof spire/weathervane in the place of the original herald as tower crowning. Below the cornice brown wooden, continuous gallery with heraldic representations with the coats of arms of the Haar (three lozenges) and Zuylen (three columns) and shutters with the heraldic colours silver and gules (heraldically coloured). On the north side of the Riddertoren a tower-shaped built-out spiral staircase tower with hexagonal slate-covered pointed roof. The walls of the Riddertoren built up with brick of various sizes, including original masonry. Windows partly with wooden shutters painted in the colours silver and gules.

North facade, original front facade, interrupted by built-out rectangular tower next to former main entrance, over three storeys above basement, closed on the left side by the Riddertoren. Below continuous hipped roof a brown wooden gallery along the lower half of the third storey with heraldic representations with the coats of arms of the Haar (three lozenges) and Zuylen (three columns) and shutters with the heraldic colours silver and gules (heraldically coloured). This gallery interrupted by the rectangular tower and continuing along the western facade to the so-called Duiventoren (Dovecote Tower). Wooden cross windows and leaded glass windows (sashes) with wooden shutters, painted in heraldic colours (silver and gules).

West facade over three storeys above basement, interrupted by the so-called Duiventoren. Wooden cross windows and leaded glass windows (sashes) with wooden shutters, painted in heraldic colours (silver and gules). Below continuous hipped roof on the north side of the Duiventoren a brown wooden gallery along the lower half of the third storey with heraldic representations with the coats of arms of the Haar (three lozenges) and Zuylen (three columns) and shutters with the heraldic colours silver and gules (heraldically coloured). This gallery is the continuation of the gallery along the northern facade to the so-called Duiventoren. Gallery running from the south side (right) of the Duiventoren across the entire south facade, made of timber framing with brick with wooden cross windows and leaded glass windows (sashes) with wooden shutters, painted in heraldic colours (silver and gules). Western wall interrupted by the Duiventoren of six storeys with octagonal, slate-covered octagonal pointed roof, furnished with roof windows with the heraldic colours silver and gules (heraldically coloured) and roof spire/weathervane. Below the cornice of the Duiventoren continuous gallery of timber framing filled with brick; window openings with shutters with the heraldic colours silver and gules (heraldically coloured). On the third storey, on the south side of the Duiventoren a tower-shaped built-out oriel with slate-covered roof and open-worked tower crowning. The walls of the Duiventoren built up with brick of various sizes, including original masonry. Windows partly with wooden shutters painted in the colours silver and gules.

South facade, over three storeys above basement, closed on the right side by the Riddertoren. Below continuous hipped roof a gallery along the lower half of the third storey made of timber framing with brick with wooden cross windows and leaded glass windows with wooden shutters, painted in heraldic colours (silver and gules). This gallery interrupted by a tower-shaped built-out oriel with slate-covered roof and open-worked tower crowning. Wooden cross windows and leaded glass windows with wooden shutters, painted in heraldic colours (silver and gules).

The walls of the South Facade built up with brick of various sizes, including original masonry.

Interior.

Basement storey respectively lower house partly excavated and partly furnished with new buttresses and vaults. In the basement various kitchens and other service rooms located around central space (including the main kitchen, the scullery, the vegetable kitchen, the dairy kitchen, the butchery and the flower cellar).

The large main kitchen as the most original room of the house with solidly built brick walls of 1.40 thickness, dating from the fifteenth century. Centrally in it a double charcoal range by Drouet, Paris with red copper water reservoirs and brass draw-off taps. Furthermore various containers for sauces ('au bain Marie'). Below the range connection with smoke channel, for the discharge of air and carbon monoxide via the fireplace chimney in the kitchen. In the chimney a fan wheel, set in motion by an open fire below the hood of the chimney for air refreshment. Connected via pulleys and chains with 2 spits. The walls of this kitchen bevelled with tiles furnished with columns and lozenges, which motifs also in the chimneypiece.

Direct connection with staircase and original service lift from the basement to the 'Office' or service room adjacent to the Dining Room.

Further in the basement, the Children's Dining Room with woodcarving, frescoes and wall panelling, tiled Wine Cellar, tiled Flower Cellar, various kitchens and cellars partly with tile walls, doors, panelling and frescoes.

Bel-étage

Representative parts of the house, grouped around the original courtyard, roofed over during the restoration. These rooms feature a richly executed decorative programme, devoted to various aspects of medieval life according to the conceptions of Cuypers and van Zuylen with numerous references to family history from the fourteenth, fifteenth and sixteenth centuries. Themes in iconography and decoration Hall, Ballroom and Knights' Room: the 'Knighthood' in the service of Christendom and Woman.

Furthermore many details from the medieval animal world and plant kingdom depicted, with fabulous creatures and stylised plants and flowers. In the Hall also hangs a tapestry, Brussels, sixteenth century, which belongs to the same series as both tapestries in the Ballroom; it depicts the struggle between good and evil with the crucified Christ in the centre, surrounded by 'apocalyptic' warriors.

Hall

The Hall was situated on the site of the old courtyard, partly reduced for the sake of rooms on the (uncompleted) north side. Roofed by Cuypers with a so-called Monier construction. Coloured leaded glass windows on the third floor. Idea of exterior space expressed in grey painted walls with imitation pointing. Extremely rich iconography in the form of sculpture and painted motifs and representations mainly relating to family history in historical perspective, combined with various aspects of life in the Middle Ages.

The most important people and themes in the Hall:

In the entrance hall image of Jan van de Haar.

North wall (directly to the right from the vestibule) from top to bottom:

I. A to E. The large stained-glass window with presentation of the Great Charter in 1375 to the Diocese by Arnold van Hoorne, fiftieth Prince-Bishop of Utrecht presented. Heraldic representations of the bishop, the Utrecht cities: Amersfoort and Rhenen and those of the chapters of the Cathedral, St. Peter, Old Minster, St. John and St. Mary.

II. Below this the coats of arms of the 37 nobles who signed the charter, including also those of the van Zuylens and van de Haar.

III. Below right a relief of St. George, the patron of knights with to the right his monogram and the shield of Zuylen. In the three tympana: in the centre the Holy Virgin Mary with the Christ Child. In the corners two angels in adoration. Left the Holy Stephen (St. Etienne).

IV. In front of the tracery:

A. most left: Elias van de Haar, Bailiff of the Diocese,

B. Jacob van Zuylen van de Vecht,

C. His wife Christine van Zuylen van Nijevelt.

D. Boekel van de Haar.

E. Diederica van Maerssen, wife of

F. Frederik van Zuylen van Nijevelt, castellan of Vreeland, on the corner near the other gallery.

V. First row mainly occupied by animal figures. The next row with fables of Aesop. The third row with motifs from Animal World and Plant Kingdom; in the lowest row four sculptured heads of the four social classes worker, burgher, soldier and scholar.

East wall, (from top to bottom)

I. A. to C. Stained-glass windows with a number of figures from the Zuylen family. (the alliance of the Nyevelts, 1482).

II. Below this a set of four images, from left to right:

A. Steven van Zuylen van Nijevelt, lord of Maarssen, Land Commander of the German Order of the Land of Utrecht (1498-1527).

B. Dirk van Zuylen van de Haar, first burgomaster of Utrecht.

C. His spouse Josyna van Drakenborch.

D. (Most right) Willem van Zuylen van Nijevelt, statesman, military man, man of letters and signatory of the Pacification of Ghent.

III. On the parapet between the six arcades: reliefs with scenes from the Courtly Love world. Falcon hunting, tournament, dance, chess game, court life and abduction.

South wall

Stained-glass window with representation from crusade. (Warnald van Zuylen van Abcoude).

West wall

Three stained-glass windows with:

A. Dirk van Zuylen van de Vecht and Sweder van Zuylen van Beverweerd.

B. In the centre window Etienne van Zuylen van Anholt

C. Right window with Frederik van Zuylen van de Vecht and his son Etienne van Zuylen III.

Across the entire south and east wall at the height of the first floor a gallery on whose balustrade eight musicians; the 'conducting' figure with the facial features of Dr. P.J.H. Cuypers.

Here below left the access door to the Ball or Festive Hall flanked by almost life-size images of Dirk van Zuylen van Nijevelt and his wife and niece Elisabeth van Zuylen van Nijevelt.

To the left and right of the access to the Library the images of Josyna van de Haar and Dirk van Zuylen van Nijevelt.

Sculpture and wooden wall cladding of the Hall with many fabulous creatures and subjects drawn from the plant and animal kingdom depicted. In the Billiard Room on the capitals of the pillars six coats of arms or blazons of six different branches of the van Zuylens. A Billiard Room with panelling with animal motifs. Bench decorated with the likenesses of Herodotus, Homer and Dante.

The hall is laid with a floor, partly of marble and partly of mosaic with geometric figures, circles, half circles, combined with squares.

Knights' Room

Stained-glass window above access door to the Knights' Room with likeness of Frank van Borsselen, flanked by two knights.

Room with original dimensions, restored according to old plan as trapezoidal space with narrow windows with pointed arches. Walls hung with dark green velvet wallpaper with heraldic motifs in silver thread (the Haar and Zuylen). On the original dimensions a painting of a knight applied, ready for the attack.

On the frieze three figures as typical representatives of Knighthood: King David, Emperor Charlemagne and Holy Roman King William II, count of Holland and Zeeland. Beams of the ceiling with coats of arms and signs (Star of David) referring to van Zuylens and related families. Two monumental Chandeliers, with galloping knights placed around 1910. Design derived from Viollet-le-Duc's "Dictionnaire raisonné du mobilier français".

Above double door to Library the coats of arms of the van Zuylens and the Rothschilds. In the panelling Flemish wall tapestry (Tournai), first half of the sixteenth century, depicting a Roman Triumphal Procession.

Festive or Ballroom

Festive or Ballroom with sculpture in relief 'Le Château de l'Amour', the Castle of Love with minstrel gallery resting on marble columns with sculptured figures (virtues of woman). Following the example of minstrel gallery from Viollet-le-Duc's Dictionnaire Raisonné. Decorative wall paintings with Gothic and Art Nouveau motifs. Part of the walls two sixteenth-century Brussels wall tapestries, the 'Creation of the World in Six Days with the Fall' and 'the Triumph of Christ'. Along the top of the two long sides of the hall sculptured reliefs in Renaissance style with dancing couples, musicians and hunting scenes. Extremely richly coffered ceiling with decoration in Art Nouveau motifs with original electric lighting. Parquet floor with Stars of David. Adjacent authentic salon 'Toilette des Dames'.

Library

Library or 'Book Room'. Originally intended as dining room; also called 'Salle de Famille'. On the chimney the direct descent or genealogy of Baron Etienne van Zuylen is depicted from top left to bottom right.

Southern Netherlandish or Flemish wall tapestry in panelling possibly with history of Jephthah. In panelling also a door, originally for the archive cabinet with representations of the creation story.

Dining Room

Dining Room with large fireplace element, on which Adam and Eve in Paradise are depicted. Furthermore on the left the marriage of Tobias and Sara and on the right that of Isaac and Rebecca. Dining table designed by Cuypers and accompanying chairs with original upholstery. Two service tables with wrought-iron base with heraldic column and marble tops. Above these two Flemish wall tapestries, depicting a Flemish village scene and Summer after paintings by David Teniers the Younger. Wall cladding and curtains originally from the time of the restoration. Chandelier after seventeenth-century model.

First and second floor

Bedrooms, bathrooms and service rooms, partly with panelling, woodcarving, painted decorations, frescoes, built-in four-poster beds in international neo-styles. Curtains partly original from the time of the restoration.

The various floors are connected by a lift, installed during the restoration at the service staircase in the north wing.

Hot-air heating with pipes and radiators, installed during the restoration (circa 1900) by Engineering Office Huygen in Rotterdam. Installation connected with boiler house in Châtelet via specially made passage through the moat.

Valuation

The MAIN BUILDING KASTEEL DE HAAR is of general cultural-historical importance:

- as a striking expression of international romantic-historicising restoration conceptions of a medieval castle from the end of the nineteenth century;

- as an intact and well-preserved expression of an aristocratic residential culture around 1900, which has its equal only in a number of international examples;

- as a pinnacle from the oeuvre of architects Dr. P.J.H. and Jos. Cuypers;

- as a rich and well-preserved expression of Dutch applied interior arts around 1900 with fixed decorative elements such as sculpture, woodcarving, panelling, wallpapers, marble and natural stone floors, tile tableaux, leaded-glass windows, wrought iron, bronze and copperwork;

- because of its rarity value;

- because of its intactness;

- because of its high industrial-archaeological value (kitchen furnishing, bathroom furnishing, hot-air heating);

- because of its high ensemble values.