ID;Title;DescriptionHTML;Transcription;Room;Reconstructed as;Explanation;Category;Category URL;Confidence index (object);Confidence index (location);Image;Image caption;clickable?;Similar objects;VR text;VR text (edit);ecartico ID;Rijksmuseum handle;Adamnet categories;Creator-name;Creator-organisation OBJ-Voorhuys-1;Candle holders;Reconstructed as: Two candle holders (blakers)
Reason: In one of his almanacs' entry, De Graeff noted down that his wife brought four gilded candle holders, which she had made out of paper, to an acquaintance (see SAA 76, 210: 24-01-1690 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.41/start/0/limit/10/highlight/5]). No further specification of the appearance of these candle holders is given in the entry. As no contemporary visual reference of paper candle holders has been found, the 3D models have been based on a typical shape of a candle holder at that time. An alternative is that these candle holders could refer to early types of abat-jour with paper shades (see H. Havard 1887. Dictionnaire de l'ameublement et de la décoration depuis le XIIIe siècle jusqu'à nos jours, p.8). As to their position, the term used in the inventory does not suggest that they were hanged on a wall, but rather that they were placed on a piece of furniture, hence their position on one of the tables. ;Candle holders;Voorhuys;Two candle holders (blakers);In one of his almanacs' entry, De Graeff noted down that his wife brought four gilded candle holders, which she had made out of paper, to an acquaintance (see SAA 76, 210: 24-01-1690 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.41/start/0/limit/10/highlight/5]). No further specification of the appearance of these candle holders is given in the entry. As no contemporary visual reference of paper candle holders has been found, the 3D models have been based on a typical shape of a candle holder at that time. An alternative is that these candle holders could refer to early types of abat-jour with paper shades (see H. Havard 1887. Dictionnaire de l'ameublement et de la décoration depuis le XIIIe siècle jusqu'à nos jours, p.8). As to their position, the term used in the inventory does not suggest that they were hanged on a wall, but rather that they were placed on a piece of furniture, hence their position on one of the tables. ;Lighting devices;http://vocab.getty.edu/aat/300037583;3;4;;;TRUE;;;;;0;http://vocab.getty.edu/aat/300042991;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-2;Map of Zuid-Polsbroek;"Reconstructed as: Manuscript map of Zuid-Polsbroek made by Johannes Leupenius in 1668 and preserved in the De Graeff family archive (SAA 76, 454 [https://archief.amsterdam/inventarissen/file/36c8a66ccbbb5de7a34ea0fc1db0fa3f])
Reason: A manuscript map preserved in De Graeff family archive made by Johannes Leupenius in 1668 provides the closest comparisons for the item in the inventory (SAA 76, 454 [https://archief.amsterdam/inventarissen/file/36c8a66ccbbb5de7a34ea0fc1db0fa3f]). In his almanacs, De Graeff mentions several times additional copies of the map of Zuid-Polsbroek that Leupenius made for him (SAA 76, 190: 19-09-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/20/limit/10/highlight/10], 15-10-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/30/limit/10/highlight/2], 05-12-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/30/limit/10/highlight/8]; SAA 76, 201: 31-10-1681 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.32/start/40/limit/10/highlight/2]; SAA 76, 202: 15-06-1682 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.33/start/20/limit/10/highlight/4]). The position of the map in the reconstruction follows the order of objects in the inventory and takes into account that the other walls were occupied by the grisailles and by the entrance door.";Map of Zuid-Polsbroek;Voorhuys;Manuscript map of Zuid-Polsbroek made by Johannes Leupenius in 1668 and preserved in the De Graeff family archive (SAA 76, 454 [https://archief.amsterdam/inventarissen/file/36c8a66ccbbb5de7a34ea0fc1db0fa3f]);"A manuscript map preserved in De Graeff family archive made by Johannes Leupenius in 1668 provides the closest comparisons for the item in the inventory (SAA 76, 454 [https://archief.amsterdam/inventarissen/file/36c8a66ccbbb5de7a34ea0fc1db0fa3f]). In his almanacs, De Graeff mentions several times additional copies of the map of Zuid-Polsbroek that Leupenius made for him (SAA 76, 190: 19-09-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/20/limit/10/highlight/10], 15-10-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/30/limit/10/highlight/2], 05-12-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/30/limit/10/highlight/8]; SAA 76, 201: 31-10-1681 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.32/start/40/limit/10/highlight/2]; SAA 76, 202: 15-06-1682 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.33/start/20/limit/10/highlight/4]). The position of the map in the reconstruction follows the order of objects in the inventory and takes into account that the other walls were occupied by the grisailles and by the entrance door.";Map;http://vocab.getty.edu/aat/300028094;2;2;INV_512.jpg;Map of Zuid-Polsbroek currently preserved in the De Graeff family archive at the Amsterdam City Archives. ;TRUE;OBJ-Voorhuys-3;"Source: Inventory Reconstructed as Johannes Leupenius' map of Zuid-Polsbroek (1668) kept in the De Graeff family archive";Reconstructed as Johannes Leupenius' map of Zuid-Polsbroek (1668) kept in the De Graeff family archive. Source: Inventory.;4580;0;plattegrond,kaart,http://vocab.getty.edu/aat/300028094;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-3;Map of Amsterdam;Reconstructed as: Amsteldam by J. de Ram, ca. 1690, measures 77 x 91 cm
Reason: This map was chosen to base the 3D model on as it is the map of Amsterdam closer to the time in which the inventory was drawn up with dimensions suitable to hang it on a wall. The position of the map in the reconstruction is based on the order of objects in the inventory and takes into account that the other walls were occupied by the grisailles and by the entrance door.;Map of Amsterdam;Voorhuys;Amsteldam by J. de Ram, ca. 1690, measures 77 x 91 cm;This map was chosen to base the 3D model on as it is the map of Amsterdam closer to the time in which the inventory was drawn up with dimensions suitable to hang it on a wall. The position of the map in the reconstruction is based on the order of objects in the inventory and takes into account that the other walls were occupied by the grisailles and by the entrance door.;Map;http://vocab.getty.edu/aat/300028094;3;2;INV_513.jpg;Amsteldam;TRUE;OBJ-Voorhuys-2;"Source: Inventory Reconstructed as “Amsteldam” by J. de Ram (ca. 1690), one of the maps of Amsterdam closer to the year in which De Graeff’s inventory was drawn up. ";"Reconstructed as “Amsteldam” by J. de Ram (ca. 1690), one of the maps closer to the year De Graeff’s inventory was drawn up. Source: Inventory. ";6200;0;plattegrond,kaart,http://vocab.getty.edu/aat/300028094;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-4;Oak table with marble top;Reconstructed as: Side table with marble top and wooden foot in auricolar style (ca. 1650-1675) based on [https://www.rijksmuseum.nl/nl/collectie/BK-1955-45].
Reason: The inventory describes this piece of furniture as 'an oak table with marble top' ('Een eeken taaffel met een marmer blad'). The table that has been chosen as comparison for the 3D model has the style that was in fashion when the house was built and the voorhuis was furnished. Moreover, its decoration with cupids fits well the owners' taste. In fact, De Graeff had often chosen cupids as decorations in his house (e.g., on the ceiling of the main staircases, on paintings and as subjects of small sculptures). The position of the table in the reconstruction is based on the order of objects in the inventory.;Oak table with marble top;Voorhuys;Side table with marble top and wooden foot in auricolar style (ca. 1650-1675) based on [https://www.rijksmuseum.nl/nl/collectie/BK-1955-45].;The inventory describes this piece of furniture as 'an oak table with marble top' ('Een eeken taaffel met een marmer blad'). The table that has been chosen as comparison for the 3D model has the style that was in fashion when the house was built and the voorhuis was furnished. Moreover, its decoration with cupids fits well the owners' taste. In fact, De Graeff had often chosen cupids as decorations in his house (e.g., on the ceiling of the main staircases, on paintings and as subjects of small sculptures). The position of the table in the reconstruction is based on the order of objects in the inventory.;Furniture-table;http://vocab.getty.edu/aat/300039999;3;2;INV_517.jpg;Side table with marble top and wooden foot in auricolar style (photo: Rijksmuseum);TRUE;OBJ-Voorhuys-7;"Source: Inventory Reconstructed on the basis of the Rijksmuseum object BK-1955-45 for the correspondence of of characteristics and period style.";"Reconstructed based on Rijksmuseum object BK-1955-45 for the correspondence of characteristics & period style. Source: Inventory.";;http://hdl.handle.net/10934/RM0001.COLLECT.275865;meubilair;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-5;Curtain from Izmir;Reconstructed as: 17th century Ottoman velvet
Reason: This fabric has been chosen since it fits the characteristics of the item in the inventory ('Een Smirnase pluys gordijn'). This curtain has been reconstructed from a piece of original 17th century Ottoman velvet, which was a type of fabric very much sought after at that time. The presence of a pattern might explain why no colour information is associated to this item in the inventory, contrary to other instances of curtains listed elsewhere in the inventory, where specific indications of color are given.;Curtain from Izmir;Voorhuys;17th century Ottoman velvet;This fabric has been chosen since it fits the characteristics of the item in the inventory ('Een Smirnase pluys gordijn'). This curtain has been reconstructed from a piece of original 17th century Ottoman velvet, which was a type of fabric very much sought after at that time. The presence of a pattern might explain why no colour information is associated to this item in the inventory, contrary to other instances of curtains listed elsewhere in the inventory, where specific indications of color are given.;Textile-curtain;http://vocab.getty.edu/aat/300037564;3;1;INV_515.jpg;Piece of original 17th century Ottoman velvet sold at Christie's in London.;TRUE;;"Source: Inventory Reconstructed as a 17th century Ottoman velvet fabric ";"Reconstructed as a 17th century Ottoman velvet fabric. Source: Inventory. ";;0;kleding;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-6;Carved wooden bench;Reconstructed as: The miniature wooden carved bench in the voorhuis of Petronella Oortman's dollhouse, currently preserved at the Rijksmuseum [https://www.rijksmuseum.nl/nl/collectie/BK-NM-1010]
Reason: The miniature piece in the voorhuis of Petronella Oortman's dollhouse (c. 1686 - 1710) offers a contemporary comparison for the use of a wooden carved bench in the same room (entrance hall). The position of the bench in the reconstruction is based on the order of objects in the inventory.;Carved wooden bench;Voorhuys;The miniature wooden carved bench in the voorhuis of Petronella Oortman's dollhouse, currently preserved at the Rijksmuseum [https://www.rijksmuseum.nl/nl/collectie/BK-NM-1010];The miniature piece in the voorhuis of Petronella Oortman's dollhouse (c. 1686 - 1710) offers a contemporary comparison for the use of a wooden carved bench in the same room (entrance hall). The position of the bench in the reconstruction is based on the order of objects in the inventory.;Furniture-bench;http://vocab.getty.edu/aat/300038494;2;2;Grisailles_Oortman_poppenhuis.jpg;The miniature wooden bench in the voorhuis of Petronella Oortman’s dollhouse (c.1686 - 1710), currently at the Rijksmuseum. ;TRUE;;"Source: Inventory Reconstructed on the basis of the miniature wooden bench in the voorhuis of Petronella Oortman's doll house (ca.1686-1710)";"Reconstructed based on miniature wooden bench in the voorhuis of Petronella Oortman's doll house (ca.1686-1710). Source: Inventory.";;0;armstoel,meubilair;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-7;Marble table with walnut foot;Reconstructed as: Side table with marble top and wooden foot in auricolar style (ca. 1650-1675) based on [https://www.rijksmuseum.nl/nl/collectie/BK-1954-35]
Reason: The inventory describes this piece of furniture as 'a marble table with walnut foot' ('Een marmore taaffel met een notebome voet'). The table that has been chosen as comparison for the 3D model has the style that was in fashion when the house was built and the voorhuis was furnished. Moreover its decoration with cupids fits well the owners' taste (cupids sustaining two coats-of-arms) that fit well with the owners' taste. Not only De Graeff had often chosen cupids as decorations in his house (e.g. on the ceiling of the main staircases, on paintings and as subjects of small sculptures), but he was also very much concerned with the history of his family. Several genealogies and coat of arms were present in his house and in his garden. The position of the table in the reconstruction is based on the order of objects in the inventory.;Marble table with walnut foot;Voorhuys;Side table with marble top and wooden foot in auricolar style (ca. 1650-1675) based on [https://www.rijksmuseum.nl/nl/collectie/BK-1954-35];The inventory describes this piece of furniture as 'a marble table with walnut foot' ('Een marmore taaffel met een notebome voet'). The table that has been chosen as comparison for the 3D model has the style that was in fashion when the house was built and the voorhuis was furnished. Moreover its decoration with cupids fits well the owners' taste (cupids sustaining two coats-of-arms) that fit well with the owners' taste. Not only De Graeff had often chosen cupids as decorations in his house (e.g. on the ceiling of the main staircases, on paintings and as subjects of small sculptures), but he was also very much concerned with the history of his family. Several genealogies and coat of arms were present in his house and in his garden. The position of the table in the reconstruction is based on the order of objects in the inventory.;Furniture-table;http://vocab.getty.edu/aat/300039999;3;2;INV_514.jpg;Side table with marble top (photo: Rijksmuseum);TRUE;OBJ-Voorhuys-4;"Source: Inventory Reconstructed on the basis of the Rijksmuseum object BK-1954-35 for the correspondence of characteristics and period style. ";"Reconstructed based on Rijksmuseum object BK-1954-35 for the correspondence of characteristics and period style. Source: Inventory.";;http://hdl.handle.net/10934/RM0001.COLLECT.275863;meubilair;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-8;Two portraits in plaster;Reconstructed as: (Copies of the) bas-relief portraits of Pieter's parents, Cornelis de Graeff and Catharina Hooft. The originals are kept at the Rijksmuseum ([https://www.rijksmuseum.nl/nl/collectie/BK-KOG-1458-A] and [https://www.rijksmuseum.nl/nl/collectie/BK-KOG-1458-B])
Reason: The inventory records 'Two portraits in plaster' without giving any information about their subjects. Here we propose that they depicted De Graeff's parents. We know from an entry in his almanacs that De Graeff sent his parents' marble bas-relief portraits made by the sculptor Quellinus to one Anthony who would make their plaster casts (SAA 76, 190: 04-08-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/20/limit/10/highlight/7]). The portraits at the Rijksmuseum from which the 3D models have been made are the original marble portraits made by Quellinus from which the plaster copies have been casted. As discussed in C. Piccoli 2023. 'Home-making in 17th century Amsterdam: A 3D reconstruction to investigate visual cues in the entrance hall of Pieter de Graeff (1638-1707)', in G. Landeschi and E. Betts (eds.), Capturing the Senses. Digital Methods for Sensory Archaeologies (Cham: Springer), these portraits would also fit well with the representational character of this room and complement the other elements (the subjects of the maps and the grisailles) in conveying De Graeff's family history and status to the viewers. The position of the portraits in the reconstruction is based on the order of objects in the inventory.;Two portraits in plaster;Voorhuys;(Copies of the) bas-relief portraits of Pieter's parents, Cornelis de Graeff and Catharina Hooft. The originals are kept at the Rijksmuseum ([https://www.rijksmuseum.nl/nl/collectie/BK-KOG-1458-A] and [https://www.rijksmuseum.nl/nl/collectie/BK-KOG-1458-B]);The inventory records 'Two portraits in plaster' without giving any information about their subjects. Here we propose that they depicted De Graeff's parents. We know from an entry in his almanacs that De Graeff sent his parents' marble bas-relief portraits made by the sculptor Quellinus to one Anthony who would make their plaster casts (SAA 76, 190: 04-08-1670 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.21/start/20/limit/10/highlight/7]). The portraits at the Rijksmuseum from which the 3D models have been made are the original marble portraits made by Quellinus from which the plaster copies have been casted. As discussed in Piccoli 2021, these portraits would also fit well with the representational character of this room and complement the other elements (the subjects of the maps and the grisailles) in conveying De Graeff's family history and status to the viewers. The position of the portraits in the reconstruction is based on the order of objects in the inventory.;Sculpture-bas-reliefs;http://vocab.getty.edu/aat/300184633;3;3;INV_518.jpg;Bas-relief portraits (photo: Rijksmuseum);TRUE;;"Sources: Inventory and almanacs Reconstructed as plaster copies of the marble portraits of De Graeff’s parents, Cornelis de Graeff and Catharina Hooft, currently kept at the Rijksmuseum (BK-KOG-1458-A and B) ";"Reconstructed as plaster copies of marble portraits of Cornelis de Graeff & Catharina Hooft (at Rijksmuseum). Sources: Inventory, almanacs.";10823;http://hdl.handle.net/10934/RM0001.COLLECT.24782;beeldhouwwerk,beeld;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-9-HYP1;Floor pattern, hypothesis 1;"Reconstructed as: A regular pattern (mirroring the ceiling's structure) created by fitting 20.5 “Swedish red stones” (=red Öland) of 2 “voeten” (ca. 56.6cm) as bands in the floor, and the remaining of white Italian marble tiles. This option mirrors the ceiling partition more closely than hypothesis 2 and better corresponds to the current position of the side doors, but it creates an asymmetry on either of the most narrow sides of the floor.
Reason: The type and numbers of tiles follow the indications provided by De Graeff in his almanacs (SAA 188: 13-11-1666 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.17/start/30/limit/10/highlight/3]); the pattern mirroring the ceiling is a recurrent feature in houses of the time.";Floor pattern, hypothesis 1;Voorhuys;A regular pattern (mirroring the ceiling's structure) created by fitting 20.5 “Swedish red stones” (=red Öland) of 2 “voeten” (ca. 56.6cm) as bands in the floor, and the remaining of white Italian marble tiles. This option mirrors the ceiling partition more closely than hypothesis 2 and better corresponds to the current position of the side doors, but it creates an asymmetry on either of the most narrow sides of the floor.;"The type and numbers of tiles follow the indications provided by De Graeff in his almanacs (SAA 188: 13-11-1666 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.17/start/30/limit/10/highlight/3]); the pattern mirroring the ceiling is a recurrent feature in houses of the time.";Structural-floor;http://vocab.getty.edu/aat/300002060;2;1;Comp_floor_pattern.jpg;Example of the floor pattern which mirrors the coffered ceiling at Oudezijds Voorburgwal 38 (Museum Ons' Lieve Heer op Solder). Foto credits: Arjan Bronkhorst.;TRUE;;;;;0;interieuronderdeel;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-9-HYP2;Floor pattern, hypothesis 2;Reconstructed as: A regular pattern created by fitting 20.5 “Swedish red stones” (=red Öland) of 2 “voeten” (ca. 56.6cm) as bands in the floor, and the remaining of white Italian marble tiles. This hypothesis creates a perfectly symmetrical look, but it does not closely mirror ceiling partition and the central band is slightly off in relation to the position of the side doors. This observation therefore raises questions as to their original location and number.
Reason: The type and numbers of tiles follow the indications provided by De Graeff in his almanacs (SAA 188: 13-11-1666 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.17/start/30/limit/10/highlight/3]).;Floor pattern, hypothesis 2;Voorhuys;A regular pattern created by fitting 20.5 “Swedish red stones” (=red Öland) of 2 “voeten” (ca. 56.6cm) as bands in the floor, and the remaining of white Italian marble tiles. This hypothesis creates a perfectly symmetrical look, but it does not closely mirror ceiling partition and the central band is slightly off in relation to the position of the side doors. This observation therefore raises questions as to their original location and number.;The type and numbers of tiles follow the indications provided by De Graeff in his almanacs (SAA 188: 13-11-1666 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.17/start/30/limit/10/highlight/3]).;Structural-floor;http://vocab.getty.edu/aat/300002060;2;1;Comp_floor_pattern.jpg;Example of the floor pattern which mirrors the coffered ceiling at Oudezijds Voorburgwal 38 (Museum Ons' Lieve Heer op Solder). Foto credits: Arjan Bronkhorst.;FALSE;;;;;0;interieuronderdeel;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-10;Ceiling;Reconstructed as: Coffered ceiling.
Reason: The coffered structure of the ceiling is original, but the decorations that it had when the De Graeff family lived in the house are completely obliterated. The ceiling nowadays appears with a white and dark red paint. Entries in De Graeff's almanacs point towards the presence of gilded decorations made by the painter Jacob Smit (e.g. SAA 76, 203: 11-11-1683 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.34/start/40/limit/10/highlight/10]). However, no further specifications as to the extent and appearance of these gilded features are present in the almanacs. As suitable comparisons are still being searched for, the ceiling has been provisionally reconstructed as a wooden coffered construction.;Ceiling;Voorhuys;Coffered ceiling.;The coffered structure of the ceiling is original, but the decorations that it had when the De Graeff family lived in the house are completely obliterated. The ceiling nowadays appears with a white and dark red paint. Entries in De Graeff's almanacs point towards the presence of gilded decorations made by the painter Jacob Smit (e.g. SAA 76, 203: 11-11-1683 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.34/start/40/limit/10/highlight/10]). However, no further specifications as to the extent and appearance of these gilded features are present in the almanacs. As suitable comparisons are still being searched for, the ceiling has been provisionally reconstructed as a wooden coffered construction.;Structural-Coffered ceiling;http://vocab.getty.edu/aat/300002039;1;1;Ceiling_voorhuisH573.JPG;The ceiling of the 'voorhuis' when the building hosted the Museum of bags and Purses.;TRUE;;;;;0;interieuronderdeel;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-11;Walls;Reconstructed as: Plastered walls.
Reason: The voorhuis' walls are in their original location, but their look has changed over the generations of owners. Comparisons with preserved examples and depictions in paintings show that most likely they were originally plastered. ;Walls;Voorhuys;Plastered walls.;The voorhuis' walls are in their original location, but their look has changed over the generations of owners. Comparisons with preserved examples and depictions in paintings show that most likely they were originally plastered. ;Structural-Interior walls;http://vocab.getty.edu/aat/300002535;1;1;;;FALSE;;"Source: Almanacs Reconstructed on the basis of preserved examples elsewhere and of the grisailles in the voorhuis of Petronella Oortman’s doll house (ca. 1686-1710) ";"Reconstructed based on preserved examples and on grisailles in the voorhuis of Petronella Oortman’s doll house (ca. 1686-1710). Source: Almanacs.";;http://hdl.handle.net/10934/RM0001.COLLECT.250587;interieuronderdeel;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-12;Grisailles;Reconstructed as: Four oval-topped and six upper grisailles.
Reason: De Graeff specifically mentions the number, appearance and subjects of the grisailles that he commissioned Romeyn de Hooghe to do in 1691. The four larger oval-topped ones had allegorical subjects related to edifying properties, namely the Education, the Dedication, the Probity and the Piety, while the themes of the six upper ones are not mentioned (SAA 76, 211: 21-08-1691 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.42/start/30/limit/10/highlight/4], 19 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.42/start/40/limit/10/highlight/7] and 24-11-1691 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.42/start/40/limit/10/highlight/8]). De Hooghe's original drawings have not survived and it has been impossible to make drawings reproducing the exact allegories that De Graeff mentions. For this reason, pictures from the grisailles in the voorhuis of Petronella Oortman's dollhouse have been taken to texture the model. They in fact provide a contemporary example very similar to what De Graeff must have had in his voorhuis.;Grisailles;Voorhuys;Four oval-topped and six upper grisailles.;De Graeff specifically mentions the number, appearance and subjects of the grisailles that he commissioned Romeyn de Hooghe to do in 1691. The four larger oval-topped ones had allegorical subjects related to edifying properties, namely the Education, the Dedication, the Probity and the Piety, while the themes of the six upper ones are not mentioned (SAA 76, 211: 21-08-1691 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.42/start/30/limit/10/highlight/4], 19 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.42/start/40/limit/10/highlight/7] and 24-11-1691 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.42/start/40/limit/10/highlight/8]). De Hooghe's original drawings have not survived and it has been impossible to make drawings reproducing the exact allegories that De Graeff mentions. For this reason, pictures from the grisailles in the voorhuis of Petronella Oortman's dollhouse have been taken to texture the model. They in fact provide a contemporary example very similar to what De Graeff must have had in his voorhuis.;Grisaille (Painting technique);http://vocab.getty.edu/aat/300053386;2;2;Grisailles_Oortman_poppenhuis.jpg;The grisailles in the voorhuis of Petronella Oortman’s dollhouse (c. 1686 - 1710). ;TRUE;;;;;0;grisaille,schildering;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-13;Doors;"Reconstructed as: Panel doors at Trippenhuis (""Zalen 1e verdieping deur met oplegstukken"" drawing by Henny Brouwer at [https://magazines.rijksvastgoedbedrijf.nl/kei/2015/01/de-architectuur-curieus-maar-verbluffend]
Reason: The look of the reconstructed doors is just one of the possible options. There are several ways in which 17th century doors would have been constructed and in some cases they would have had painted decorations. De Graeff does not mention anything specific about the doors in the voorhuis in his almanacs. We know that other rooms in the house were painted: at the end of 1685 De Graeff mentions that he asked Paulus Fouchier to paint a Mercurius on the door of his house office (SAA 76, 205: 11-12-1685 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.36/start/50/limit/10/highlight/4]) and in January 1686 six 'room doors' ('Camerdeuren') and two small doors (one of which in the attic) with unspecified subjects (SAA 76, 206: 10-01-1686 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.37/start/0/limit/10/highlight/3]). A question remains open in relation to the position of the door on the most narrow side of the room (leading to the back of the house). A later large portal has substituted the 17th century doorway. The reconstructed location of the door is therefore inferred by taking into account the symmetry of the room and the volume of the service stairs which were originally behind the right part of the wall.";Doors;Voorhuys;"Panel doors at Trippenhuis (""Zalen 1e verdieping deur met oplegstukken"" drawing by Henny Brouwer at [https://magazines.rijksvastgoedbedrijf.nl/kei/2015/01/de-architectuur-curieus-maar-verbluffend]";The look of the reconstructed doors is just one of the possible options. There are several ways in which 17th century doors would have been constructed and in some cases they would have had painted decorations. De Graeff does not mention anything specific about the doors in the voorhuis in his almanacs. We know that other rooms in the house were painted: at the end of 1685 De Graeff mentions that he asked Paulus Fouchier to paint a Mercurius on the door of his house office (SAA 76, 205: 11-12-1685 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.36/start/50/limit/10/highlight/4]) and in January 1686 six 'room doors' ('Camerdeuren') and two small doors (one of which in the attic) with unspecified subjects (SAA 76, 206: 10-01-1686 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.37/start/0/limit/10/highlight/3]). A question remains open in relation to the position of the door on the most narrow side of the room (leading to the back of the house). A later large portal has substituted the 17th century doorway. The reconstructed location of the door is therefore inferred by taking into account the symmetry of the room and the volume of the service stairs which were originally behind the right part of the wall.;Structural-door;http://vocab.getty.edu/aat/300002803;3;2;Trippenhuis.png;"Panel doors at Trippenhuis (""Zalen 1e verdieping deur met oplegstukken"") drawing by Henny Brouwer.";TRUE;;;;;http://hdl.handle.net/10934/RM0001.COLLECT.250587;interieuronderdeel;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-14;Door handle;Reconstructed as: Door handle.
Reason: A type of door handle present in the voorhuis of Petronella Oortman's dollhouse and in paintings. Their presence is inferred.;Door handle;Voorhuys;Door handle.;A type of door handle present in the voorhuis of Petronella Oortman's dollhouse and in paintings. Their presence is inferred.;0;http://vocab.getty.edu/aat/300423603;4;1;;;TRUE;;;;;0;interieuronderdeel;Chiara Piccoli;University of Amsterdam OBJ-Voorhuys-15;Entrance door;Reconstructed as: Larger door similar to the others in the voorhuis (reconstructed based on the panel doors at the Trippenhuis)
Reason: The only information collected so far on the entrance door relates to the presence of door rings with some elaborate (but unspecified) pattern which is indicated in one of De Graeff's almanac entries (SAA 76, 187: 22-12-1665 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.16/start/30/limit/10/highlight/2]). Further research is needed to search for a suitable comparison for the appearance of this door.;Entrance door;Voorhuys;Larger door similar to the others in the voorhuis (reconstructed based on the panel doors at the Trippenhuis);The only information collected so far on the entrance door relates to the presence of door rings with some elaborate (but unspecified) pattern which is indicated in one of De Graeff's almanac entries (SAA 76, 187: 22-12-1665 [https://archief.amsterdam/inventarissen/scans/76/1.1.13.2.16/start/30/limit/10/highlight/2]). Further research is needed to search for a suitable comparison for the appearance of this door.;Structural-door;http://vocab.getty.edu/aat/300002819;3;1;;;TRUE;;;;;0;interieuronderdeel;Chiara Piccoli;University of Amsterdam