22-595: Old England may refer to: Old England (department store) , a famous former retailer in central Brussels, Belgium Old England (horse) , a racehorse Merry Old England "Old England", a song by The Waterboys on their album " This Is the Sea " Old England, an Art Nouveau building in Brussels housing the Musical Instrument Museum " The Roast Beef of Old England ",
44-521: A 1731 English patriotic ballad. Early medieval England , specifically before the Norman invasion See also [ edit ] Angeln Ye olde Old English (disambiguation) England English (disambiguation) New England (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Old England . If an internal link led you here, you may wish to change
66-405: A steel superstructure, he negotiated the rather narrow lot that sloped significantly and curved along the line of the street, designing a six-storey building that used a main façade balanced around a projecting central oriel bay, itself crowned by a high arched attic . The building's expansive curtain walls of glass over the entire façade maximise the influx of natural light, which is accented by
88-733: The Mont des Arts/Kunstberg , the building stands next to the Place Royale/Koningsplein and across the street from the Magritte Museum . It is served by Brussels-Central railway station and Parc/Park metro station on lines 1 and 5 of the Brussels Metro . From 1886 onwards, the company's primary location was actually in the main building of the former Hôtel de Spangen , a complex of residences built mostly by Corneille Juste Philibert Philippe, Count of Spangen, between 1775 and 1782 on
110-485: The Place Royale/Koningsplein in central Brussels. The property was eventually sold and partitioned to several different enterprises, including a hotel, and eventually the Old England company, which successively acquired more of the complex in stages in 1905, 1909, and 1911. In 1913, Old England completed renovations that demolished the 18th-century interiors in order to better accommodate its retail functions. The building
132-573: The bare iron/steel-and-glass curtain-wall façade being employed on such a large scale (most earlier department stores had clad their metal frame in some kind of masonry, at least on the façade). Horta would employ the same strategy on his famous À L'Innovation store in Brussels, completed in 1901, as would Henry Gutton on his Grand Bazar de la rue de Rennes in Paris, a branch of the Magasins Réunis department store chain, finished in 1907. The building
154-410: The boundary between interior and exterior. This became a preferred technique for the construction of retail shop windows and department stores, to encourage the practice of window-shopping. Though Saintenoy was not nearly as famous as Horta, Hankar, Henry van de Velde or Gustave Serrurier-Bovy , the four most noteworthy practitioners of Art Nouveau in and from Belgium, he was well known at the turn of
176-497: The century for his numerous buildings that use the style, most notably several smaller town houses around Brussels, most of which still survive today and form part of the city's important heritage centred around the style. The Old England department store opened a new branch location not far from its original building on the Place Royale in 1899, designed by Saintenoy in collaboration with the engineer Emile Wyhowski de Bukanski. Using
198-518: The city's important heritage centred around the style. With his interest in archaeology, from the time he served as the general secretary of the Royal Society of Archaeology, he embarked upon a teaching career in 1910, as a professor of the history of architecture at the Académie Royale des Beaux-Arts in Brussels, a position he occupied for some thirty years. At the end of World War I , Saintenoy
220-495: The construction of retail shop windows and department stores, to encourage the practice of window-shopping. Though Saintenoy was not nearly as famous as Horta, Hankar, Henry van de Velde or Gustave Serrurier-Bovy , the four most noteworthy practitioners of Art Nouveau in and from Belgium, he was well known at the turn of the century for his numerous buildings that use the style, most notably several smaller townhouses around Brussels, most of which still survive today and form part of
242-474: The groundwork for the widespread development of the style called Art Nouveau in Belgium and France. Horta's buildings in particular made free and conspicuous use of industrialised methods of construction, with steel frames and large-scale glass panels as infill, allowing for interiors to be bathed in light and in large measure dissolving the boundary between interior and exterior. This became a preferred technique for
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#1732848731221264-406: The items from the street, ultimately drawing them inside to shop more aggressively, and providing a modicum of transparency in the process of selling by declaring implicitly that the company had nothing to hide from consumers. None of these architectural strategies were new for the department store or retail shop as a building type, but Saintenoy's Old England store is one of the earliest examples of
286-418: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Old_England&oldid=1231430507 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Old England (department store) The Old England department store
308-473: The octagonal oriel tower at the north-west corner of the building that begins on the fourth floor and terminates in a lacy steel pergola that uses the structural frame of a cupola 's spire. Its ornament, painted a dark green like the rest of the structure, curves around the frame to create supporting brackets that mimic the forms of vines and tendrils of plants, hallmarks of the "industrial" type of Art Nouveau design. The structure thus constitutes an essay in
330-459: The restoration of monuments from the Middle Ages , an activity in which Schadde was occupied. He returned to Brussels to complete his training, and in the 1890s, became strongly influenced by the architecture of Victor Horta , Paul Hankar , and the rationalist architectural theories of Eugène Viollet-le-Duc , also famous for his work restoring Gothic buildings. Horta and Hankar's buildings laid
352-435: The structural properties of iron and steel, which maximises its utility as a department store. The vibrant green colour, accented by the yellow and orange enamelled signage proclaiming the store's name, set it off from the light masonry and stucco structures around it, functioning thus as a landmark in the streetscape. The large expanses of glass for the exterior envelope allowed potential customers to easily and casually peruse
374-492: The structure between 1989 and 1994. Its exhibits include significant sections on Brussels' role in the history of manufacturing musical instruments, including the birthplace of the saxophone as the home of Adolphe Sax . Paul Saintenoy Paul Saintenoy (19 June 1862 – 18 July 1952) was a Belgian architect, teacher, architectural historian, and writer. Born in 1862 in Ixelles , a municipality of Brussels, Belgium, Saintenoy
396-473: Was a large retailer in central Brussels , Belgium, partially housed in a notable Art Nouveau building constructed in 1899 by Paul Saintenoy out of girded steel and glass. Nowadays, its former buildings house the Musical Instruments Museum (MIM), founded in 1877, which forms part of the group of Royal Museums for Art and History (RMAH). Located at 2, rue Montagne de la Cour / Hofberg on
418-567: Was appointed a member of the Royal Commission of Monuments and Sites where he played an important role in the reconstruction of Belgium following the devastation of the war. Saintenoy's house in Brussels became a protected historic monument in 1992. One of his children, Jacques Saintenoy (1895–1947), also became an architect. Saintenoy married Louise Ponselet, who is the niece of Jan Verhas . The little Louise figured on several paintings of her uncle. They had two children: He died in 1952 and
440-584: Was bought by the Belgian Government in 1978 after Old England moved out in 1972. It took over fifteen years to complete restoration and renovation work on the structure, which really began in 1989, and was in fairly bad shape. The same year, it was listed as a protected monument by the Monuments and Sites Directorate of the Brussels-Capital Region. The Musical Instruments Museum (MIM) moved into
462-634: Was designed by the architect Paul Saintenoy , who was strongly influenced by the architecture of Victor Horta , Paul Hankar , and the rationalist architectural theories of Eugène Viollet-le-Duc , also famous for his work restoring Gothic buildings. Horta and Hankar's buildings laid the groundwork for the widespread development of the style called Art Nouveau in Belgium and France. Horta's buildings in particular made free and conspicuous use of industrialised methods of construction, with steel frames and large-scale glass panels as infill, allowing for interiors to be bathed in light and in large measure dissolving
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#1732848731221484-682: Was the son of the architect Gustave Saintenoy and Adele Cluysenaar, as well as the grandson of the famous architect Jean-Pierre Cluysenaar . The family's residence in Brussels was the Hôtel Saintenoy, which became a listed monument in 1992. Beginning in 1881, Saintenoy studied architecture at the Royal Academy of Fine Arts in Antwerp , where he received training under the Antwerp architect Joseph Schadde . There he became interested in archaeology and
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