Ageing of Groot Constantia
November 20, 2009
The common belief that the historic manor-house of Groot Constantia was erected by Simon van der Stel at the end of the seventeenth century is completely fallacious. Although the proud structure of the present day probably rests on the foundations of Governor Simon’s original building, there is not a vestige of a superficial trace of resemblance between the two buildings.
In her beautiful Historic Houses of South Africa, Miss Dorothea Fairbridge advanced what is on the surface, a perfectly logical argument, that “Simon van der Stel built the house which is the best example of seventeenth century architecture left to the country”. She had never come across any evidence to the contrary, she wrote; while there is ample evidence to show that it was built by Simon van der Stel. The glowing description of Kolbe, in the face of his fierce hatred for the Van der Stels, implied great beauty: and who but a Van der Stel would have decorated the floor of his house with the star in red stone that we find at Groot Constantia? The severe simplicity of the gables also suggested a link with Van der Stel: they radiated “that feeling of classical severity that made me think they were built for Simon van tier Stel”.
She was probably strengthened in her belief by the writings of Mrs. A. F. Trotter at the turn of the present ‘century, a lady who did her research on a bicycle, and who was an artist of no mean ability. “Here”, wrote Mrs. Trotter, ”he built a house … gabled like the houses of the fatherland . . . yet individual and distinct; the first great homestead of the Cape”. She was sceptical, however, of the genuineness of the white-washed lime walls and speculated whether Constantia . . . “being built early, arid almost certainly of good bricks from the Netherlands, was originally left unplastered”. An intelligent observation, ’suggested no doubt by Sparrman’s reference in 1772 to “the old or red Constantia”. However, this probably refers to the type of wine manufactured on the estate, rather than to the colour of the house, for Sparrman was an enthusiastic botanist deeply interested in the viticulture of the Cape. After the fire, it was shown that the original building was built of small red Klinker bricks, but there is evidence that, at the time of remodelling at any rate, the building was plastered and whitewashed.
Nothing new was added to our knowledge of the history of Groot Constantia until 1926. On December 19th of that year, the manor-house was completely gutted by fire. Nothing was saved, and only the bare walls remained.
In the following year, the Public Works Department, entrusted the task of restoring the house to the well-known Cape architect, F. K. Kendall, who subsequently published his findings in book forth, entitled The Restoration of Groot Constantia. His conclusions, persuasively drawn, suggested that at one stage almost the entire house had been rebuilt and considerably enlarged. He accepted the drawing of J. W. van der Heydt as being in conformity with his findings in the walls and probably representing the original appearance fairly accurately. Previous to this, the Van der Heydt drawing done in 1741 from a point in the orchard above the house had been regarded in the same light as the illustrations in most of the travel chronicles relating to the Cape.
Examination of the front wall of the house revealed that small Dutch Klinker bricks existed up to the level of the window-sills, but that above that level a larger and more modern brick was used. In the central gable an indiscriminate mixture of Klinker and “modern” was found. At the end of the building, in the wall of the front (drawing) room two narrow voids were discovered, stretching from floor level to two segmental arches, and filled up with Klinker bricks. This provided the clue to the front of the house, for Kendall was able to show that these levels corresponded with those of the casement windows set further back in the wall, and that originally these spaces contained casement windows as well. He postulated that when the house was remodelled, the sash-window was already in vogue in the Cape, and the front was broken down to the level of the sills to include them in the walls; and, to prevent incongruity of sashes and casements in the same room, the latter were walled up in the drawing room. The appearance of Klinker bricks mixed indiscriminately in the upper part of the building with the modern suggests that when the original building was broken down, a great quantity of bricks was in good enough condition to be used again.
Kendall then proceeded to correlate these findings with the Van der Heydt drawing. He located the exact spot in the orchard from which the artist had looked down upon the farm, and he discovered that, allowing for modern developments, as far as the skyline, avenue of oaks, the sea and the mountain were concerned, it was “a remark-ably conscientious and accurate representation in all respects”. He concluded that the omission of the gable was probably accurate. Moreover, the windows, with the aid of a magnifying glass, can all be shown to be casements: not only are they of casement proportion, but the heads of the front ones are in line with those at the end of the house. The accurately-drawn dormer is so eccentrically situated that it was probably one of a pair on the front roof; and indeed this would be corroborated by his remark that “from the upper front windows you have a charming vista of meadows, vineyards and several pretty country seats”, were Kolbe not so unrealiable a chronicler.
The ridge of the roof in Van der Heydt’s drawing is on the same level on all three sides, whereas the present building has a much higher ridge on the front roof than on the sides, necessitated by the extra width of the middle portion of the house. When the plaster was stripped off the back cross-wall, it was found that it was built throughout of a mixture of Klinker and “modern” bricks, and that it had been inserted into the wing walls by chases cut into them to receive it. It thus appeared that this back wall was a product of the remodelling, for its sash-windows corresponded with those in the front of the house. This theory was borne out by the discovery of portions of an old wall well on the inside of the present one, running lengthwise through the middle of the dining-hall. Whitewashed and plastered with lime and showing unmistakable signs of previous exposure, this wall was originally the outside wall of the house. The implications of this are fourfold. Firstly, it eliminated all speculation of Van der Stel regaling his friends with gigantic feasts in the dining hall as we know it to-day; Valentijn must have enjoyed the “matchless fine and delicious fruit” of. his host in more modest surroundings and even Le Vaillant in 1780 was not privileged to be entertained here. In place of a dining-hall, Van der Stel had a fine wide gallery or passage covered with a lean-to roof and opening through a door in the centre onto a concrete platform from which led down steps into the courtyard below, as is the present arrangement. The discovery of this platform, at a slightly lower level than the floor of the hall, supplied conclusive evidence of the extent of the cross-wall. Records refer to this gallery, and there are instances of similar design in other old Cape houses—possibly this was the original one.
The second point that this discovery settles is the question of the pitch of the roof. Had a wider span been used on the front roof, this portion would have been much higher, as it is to-day; but it would have been difficult to build, especially at a time when the construction of such a building was more of an experiment than anything else.
The fact that the original walls of the house that were uncovered were lime plastered and whitewashed seems to allay the fears of Mrs. A. F. Trotter that the original structure was left unplastered. As early as 1675 there is a reference to prisoners being sent to Robben Island “to gather mussel-shells and others, for the burning of lime”, and all descriptions of the settlement remark upon the whiteness of the houses. There is no reason why Simon van der Stel should have been different in the construction of his own house.
The fourth point concerns the so-called Van der Stel arms worked into the stones on the floors of the entrance porch and dining-hall. In both cases the design is identical with that in the banqueting hall in the centre of the room. It therefore appears obvious that these floors were laid at the time when the banqueting hall was built–that is, when the house was remodelled. On the other hand, we know from Kolbe that Simon van der Stel discovered and worked a quarry of the red stone used in the design in the Steenberg, and it was much used in floors and steps. Also the floor design undoubtedly indicates the arms of Van der Stel impaled upon the star of the Sixes, the family of his wife. One can therefore speculate that the design laid down at the time of remodelling the house was a copy of an earlier design dating from the time of the Van der Stels.
The period of remodelling of the façade and courtyard of the house cannot be determined with accuracy, but, according to the evidence of old-records and references in travel-books, and the style of architecture, the year 1792 appears to be the most likely date.
When Hendrik Cloete purchased Groot Constantia from Jan Serrurier in December 1778 for 60,000 Cape guilders, the estate “was in a ruinous state, the buildings were all destroyed and scarcely a vineyard was bearing” according to an attestation by his son Peter Laurence Cloete, in 1827. He also stated that his father had “rebuilt all the buildings on it, and increased the plantations”. As Hendrik Cloete had bought the estate by a mortgage bond for the full amount to be paid off in instalments, and since he had paid an additional 30,000 Cape guilders for the slaves and movable property, it is conceivable that for no small space of time his financial position did not warrant the spending of a large sum of money on the erection of an expensive and lavish building not essential for the good running of his farm. By 1791, however, he had met with sufficient success to invite the architectural giants of his time-Thibault and Anreith—to construct a wine-cellar at the back of his house. There is a quaint tradition that Anreith worked on the pediment behind e screen, and would not allow his patron a glimpse of the work until it was completed.
It does not appear that the house was altered until after the completion of the wine-cellar. Being a good farmer, Cloete built the most necessary things first. Then, as Mr. Kendall writes, “it is highly probable that the proprietor would finish his constructive energies with a flourish by adding magnificence .and comfort to the house itself”. By being in constant touch with Anreith and Thibault in connection with the wine-cellar (”the production of which must have in itself been a strong incentive to beautify the house”) Cloete invited them to remodel his house according to the latest style.
The earliest illustration of the present facade of the house—with a window in place of •a statue in a niche—appeared in Milbert’s Voyage Pittoresque a L’Isle de Franee au Cap de Bonne Esperanee (1812 Paris). A sketch by Bowler in 1854 likewise shows a window in place of the niche. This would suggest that the statue and niche are of ‘later erection: but this is contradicted by Kendall, who—feeling it unlikely for two windows to be placed one above the other in the same gable—examined the inside of the gable for previous patching and repair—and found no trace. He therefore concluded that the niche and statue are as old as the gable itself, and that Bowler copied unfinished details from the earlier artist; or, by some strange co-incidence, they both independently made the same mistake. Cloete family tradition assigns the statue of Plenty to an earlier date than 1854—indeed, Dorothea Fairbridge says to before the time of Anreith. This is hardly possible since Anton Anreith’s arrival at the Cape predated the erection of the front gable by at least fourteen years! There is a reference to “a vile painting, of a strapping girl, and ugly enough, reclining on a pillar” (not pillow as Kendall writes) by a Frenchman De Saint-Pierre, who visited the Cape in the seventeen-seventies. “I took it for a Dutch allegorical figure of Chastity : but they told me it was a portrait of Madame Constance, daughter of a Governor of the Cape”. ‘This is confusing from our point of view, but the reference is to a painting and not a statue, and it must be assumed that De Saint-Pierre at least recorded his basic facts accurately. The present-day statue of a girl leaning against a rest is very suggestive of this earlier painting, and provided De Saint-Pierre’s description is correct, we can speculate that Cloete requested Anton Anreith merely to copy the old design, rather than create a new one. For it is quite possible that the statue of Plenty was designed by Anreith as well. Hendrik Cloete would have been in close contact with him in connection with the wine-cellar pediment, and when Thibault began remodelling the house, Anreith was invited to assist. The fortunate partnership of Anreith and Thibault might well be personified in the front gable of Groot Constantia.
Writing from Cape Town on the 1st of October, 1792, Cornelis de Jongh, an accurate and pleasant Dutch visitor to the Cape, praises Hendrik Cloete as “an artistic argriculturalist who has made innumerable improvements to his farm, having built a new wine-cellar, altered the house, and planted new species of tree and vine . . . “ I feel justified in accenting this entry as indicative of the date at which the “alterations” were completed, or at least, under way.
This date is in conformity with the place of Groot Constantia in the ordered sequence of evolution of the architectural style at the Cape: the façade is certainly the product of a later development than existed in the time of Simon van der Stel. It is more likely the “country” version of the double-storeyed town house with the dak kamer on the roof, such as the Martin Melk house next to the Lutheran Church in Strand Street. At the same time it was probably the precursor of the common triangular-topped square gable seen so extensively in the country districts, particularly in the Worcester-Robertson area. But its Renaissance cap distinguishes it as something apart, and earlier in conception than these.
There is something very comforting about Groot Constantia, lying so close to the great Mother City, and yet breathing the life of another, an easier and more carefree world of the past. All the old ghosts are there—Hendrik Cloete with le Valliant, Lady Anne Barnard and a whole train of distinguished guests; and Kolbe, Valentijn and “if you dream there long enough, you will see wandering among the flickering shadows, the shadow of Simon van der Stel”.
E. H. BURROWS. Africana Notes and News, December, 1948 Vol. VI, No. 1
Top image is Groot Constantia in 1812
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