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Jan Martense Schenck, (1631 in Amersfoort, Utrecht, Netherlands - Aug, 27 1687) arrived in New Netherlands on June 28, 1650, on the ship ''De Valckener'' (the Falconer) with his sister Annetje and brother Roelof. He bought a parcel of land on ''Molen Eylandt'' (Mill Island) in the Dutch town of Nieuw Amersfoort in what is now the Mill Basin section of Brooklyn, New York. He purchased the land with a grist mill on it from Elbert Elbertse Stoothoff who had arrived in Nieuw Amsterdam in 1637 aboard the Vrede (Peace). The land was half of a tract Stoothoff purchased from Englishmen John Tilton Jr. and Samuel Spicer. John Tilton Jr. formerly resided in Lynn, Massachusetts, due to his Anabaptist beliefs he along with his wife were among the founding colonists of Gravesend, with Lady Deborah Moody.〔Daughters of the American Revolution magazine, Volumes 23-24 By Daughters of the American Revolution ()〕 Tilton and Spicer had bought the land from the Canarsie Indians on May 13, 1664. Dutch efforts to establish the colony of New Netherland brought significant population change to the area we today call Brooklyn. When the Dutch arrived in the early 1600s, the area was inhabited by the Canarsie, one of thirteen Algonquin tribes. The Canarsie had resided here for thousands of years and called the area where Jan Martense Schenck settled Keskateuw. Between the 1630s and the 1680s, conflict and disease decimated the local Canarsie population, and after trading their land to the Dutch, only a few remained. By the time Jan Martense Schenck built his house, the area that is now Brooklyn was populated mostly by Europeans, the majority of whom were Dutch, with significant numbers of English and smaller numbers of people of other European backgrounds, including Italians (see the tea set displayed nearby). The Dutch had also begun importing enslaved Africans to New Netherland in the 1620s, and by 1698 approximately fifteen percent of the population of what is now Brooklyn was of African descent, nearly all of them enslaved. ==House== According to Schenck family tradition, Jan Martense Schenck, the man who built this house, arrived in New Netherland in 1650. He is first documented in Flatlands in 1660. On December 29, 1675, he purchased the land on which he built the house, along with a half interest in a nearby gristmill. The house was probably in place by 1675. The Schenck family owned the house for three generations, finally selling it in 1784. Beginning in the 1920s, as real-estate development increased, a number of preservation plans that might have maintained the house on site were put forward but were never realized. Finally in 1952, the Brooklyn Museum made a commitment to save the house, dismantled it, and stored it for about ten years until plans to install it in the Brooklyn Museum were finalized. The house was opened to the public in 1964. The house originally stood in the town of Flatlands, one of six rural towns that were to become the borough of Brooklyn. Established under the Dutch colony of New Netherlands, which became the English colony of New York in 1664, Flatlands was first called New Amersfoort, after Amersfoort in the Netherlands. The area was originally inhabited by the Carnarsie Indians. The house is a simple two-room structure with a central chimney. Its framework is composed of a dozen heavy so-called H-bents, visible on the interior of the house, that resemble goal posts with diagonal braces. This is an ancient northern European method of construction that contrasts with the boxlike house frames that evolved in England. The house had a high-pitched roof that created a large loft for storage. The roof was covered with shingles, and the exterior walls were clad with horizontal wood clapboard siding. A section of the clapboard has been removed at one corner to expose a reconstruction of the brick nogging used as insulation. The interior walls were stuccoed between the upright supports of the H-bents. A kitchen was added at a right angle to the house probably in the late 1790s. In the early nineteenth century a porch with four columns was also added. Finally, sometime about 1900, dormer windows were installed above the porch. The interior of the house was also changed. The large central chimney was removed, probably about the same time as the kitchen wing was added, and new chimneys and fireplaces were built on the outer walls. Old photographs of the interior of the house on site in Flatlands show it with early twentieth century wallpapers and an assortment of nineteenth-century furniture, all of which was discarded when the house went to the Brooklyn Museum. During the 275 years that the house stood in its original location, it underwent many changes to accommodate the needs and tastes of new generations. The Brooklyn Museum’s curators might have chosen to exhibit and interpret the house to any point in its long history, but they wanted to add an early Dutch colonial house to the series of existing period rooms. This necessitated stripping away later additions and changes, such as the kitchen wing and porch, to rediscover the original two-room structure. The present reconstruction is based on careful analysis of surviving original elements and other surviving Dutch colonial houses. About 1730, when Martin Schenck, Jan’s eldest son, owned the house, it underwent several changes to accommodate his growing family. For a long period after about 1730, the two-room core of the house changed very little, and therefore the curators chose this moment in the early eighteenth century to which to interpret the house. Of course, many conjectural decisions were made, such as the precise locations of the exterior doors and the size and locations of the windows. On the interior, the location of the staircase to the loft and the form of the large open hearths and built-in bed box also involved conjecture, but were based on historical precedent. In the original Brooklyn Museum installation, there were two bed boxes on the exterior wall of the north room. When the house was moved to its present location in 2006, it was decided that if the house did have a bed box it more logically was on an interior wall next to the hearth as you now will see it. None of the original Dutch colonial furniture owned by the Schencks is known to have survived. The curators have assembled the interior-decorating scheme utilizing objects from the collection to typify an interior of a prosperous family of Dutch descent living in colonial English Flatlands. There are, therefore, both Dutch and English objects and furniture. The curators use many clues to assemble an accurate interior. Wills and inventories of possessions of families of a similar economic level inform us about what might be found in a similar household. Period paintings help answer questions concerning the disposition of furniture about the room, possible color schemes, and the sort of textiles that might have been used. Through paintings, for example, we learn that mid-Eastern carpets were too valuable to place on the floor but rather were displayed on tabletops and then in turn covered with white linen cloths during meals. For many years the house was painted gray. Recent analysis of the exterior paint layers on the original clapboard surviving in the corner at the short end of the building revealed that the house was originally white and then red. Since the interior of the house is interpreted to the first decades of the eighteenth century, the Brooklyn Museum decided that the house might have received its second coat of paint, the red layer, by that time. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jans Martense Schenck house」の詳細全文を読む スポンサード リンク
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