What is Veluwe anxiety? That’s a good question. Both Jan and I experienced it a bit. Jan, as a culturally raised Catholic, mentioned having very little connection to this region. It should be noted that Jan also prefers villages and cities over landscapes. For him, a landscape is usually the space left between built-up areas. With both parents born in Apeldoorn, you would expect me to know the Veluwe well. But nothing could be further from the truth. I vaguely remember the Julianatoren amusement park, and we didn’t spend much time in the surrounding countryside. What I do recall is a kind of reservedness in Apeldoorn, which didn’t particularly appeal to me either. Jan and I have regularly visited the Kröller-Müller Museum, but that usually didn’t lead to an extended visit to the surrounding area. The fact that everyone wanted to go to the Veluwe wasn’t a reason for us to do the same.
One of the nice things about getting older is learning that you’re allowed to revisit preconceived notions. In the spring of 2021, we took the plunge and went to the Veluwe. Through a website, we found an atelier-style home in Hoog Soeren. Despite the cold and poor weather—which prevented us from fully enjoying our stay—we were convinced. This is beautiful; this is truly fascinating. Let us take you along on our journey of discovery through the part of the Veluwe that captured our hearts.
The Veluwe covers 1,000 km² (100,000 hectares), of which 912 km² is designated as a Natura 2000 area. The borders are not very clearly defined. Roughly speaking, it lies between the Veluwe border lakes, the Nederrijn River, the IJssel River, and the Gelderse Valley. The National Park De Hoge Veluwe is located in the southwest of the Veluwe and is 5,400 hectares in size. That is about one-twentieth of the entire Veluwe area. It was the largest national park in the Netherlands until October 2024, when the Van Gogh National Park was established. One might question whether this comparison is fair, but that aside. Near Apeldoorn lies Kroondomein Het Loo, which, at 10,400 hectares, is the largest estate in the Netherlands.
The landscape of the Veluwe was formed during the penultimate Ice Age, about 150,000 years ago. Prior to the ice coverage, large rivers deposited thick layers of sand and gravel with thinner layers of clay. During the last Ice Age, the glaciers did not reach the Netherlands, but the ground was permanently frozen. The strong winds of that time deposited cover sands, particularly along the edges of the Veluwe. When the climate warmed, the Veluwe became forested. From the Middle Ages onward, people began using the wood for industry and the land for intensive agriculture. As a result, the Veluwe became deforested, leading to the formation of sand drifts and dunes, which in turn caused population decline. Due to deforestation, no primeval forest remains; most of the Veluwe’s forests were planted for timber production. Today, the Veluwe consists of deciduous and coniferous forests (mainly Scots pine), sand drifts, and heathlands, with several streams and fens. It is the most important heathland area in the Netherlands, covering 15,000 hectares. The management of the Veluwe is divided among various entities, with the Royal Forestry Service Het Loo managing the largest area, 97 km².
The Veluwe was owned by various estate owners, the most famous being the Dutch Royal Family and Anton Kröller. While Anton Kröller himself is less well-known today, the museum and art collection his wife Helene Kröller-Müller created with his wealth are renowned. This Rotterdam entrepreneur was one of the richest, most powerful, and most controversial figures in the Netherlands during the first half of the 20th century. Before World War I, he was a successful businessman. During the war, he, along with a small group of businessmen, significantly influenced the foreign and economic policies of the Netherlands. After the war, his company Müller & Co operated globally. He was also involved in the founding of Hoogovens (a Dutch steel company) and KLM and maintained a close friendship with the German Prince Hendrik. The Kröller-Müller Museum, covering 25 hectares, opened in 1939. The couple also had the St. Hubertus hunting lodge built in 1920 on their estate. The hunting lodge, designed in 1914 by the renowned architect H.P. Berlage, included not only the building but also the interiors, furniture, and surrounding landscape.
Other owners of the Veluwe include the Province of Gelderland, Natuurmonumenten (a Dutch nature conservation organization), Staatsbosbeheer (the Dutch Forestry Commission), and the Stichting Het Nationaal Park De Hoge Veluwe (a foundation).
The section of the Veluwe owned by the Dutch Royal House is called Kroondomein Het Loo. The foundation for Kroondomein Het Loo was laid by Stadtholder William III. In 1684, he purchased the castle Het Oude Loowith its accompanying park (approximately 200 hectares) and a share of the 3,000-hectare forest near Hoog Soeren from Johan Carcelius van Ulft. In 1685, he commissioned the construction of a large, new hunting lodge next to the old castle, which would later become Paleis Het Loo (Het Loo Palace). William III wanted a French garden designed for the new hunting lodge that could rival the gardens of Versailles in France. Many buildings and artworks were created, with water playing a prominent role. For instance, a pipeline was installed from the elevated springs near Hoog Soeren, allowing the fountain in the palace garden, known as the King's Fountain, to spray water up to 14 meters high.
After the French occupation, King William I was granted the use of Paleis Het Loo. While it remained state property, the right to use it was given to the Royal Family. William I worked on completing the English landscape park. From 1813 to 1890, Kings William I, II, and III used the palace. The palace park was expanded to cover an area of more than 600 hectares. During the reign of Queen Wilhelmina, the estate was significantly enlarged through major purchases, which now form Kroondomein Het Loo. Together with the state domain, consisting of the forestry area Hoog Soeren and the palace park, this forms Kroondomein Het Loo. Between 1895 and 1932, large parts of the Veluwe were fenced off, mostly because the landowners wanted to hunt. At the initiative of Queen Wilhelmina’s husband, Prince Hendrik, a large portion of the Kroondomein Het Loo was reforested. He introduced the German forestry model and, in 1907, reintroduced wild boars to the area for hunting purposes. Anton Kröller introduced deer from Eastern Europe and mouflons from the Mediterranean region for the same reason. As of 2022, King Willem-Alexander is no longer permitted to hunt on the grounds. Every autumn, Kroondomein Het Loo is closed for three months to allow the natural environment to recover. In 1971, the management and use of the palace park and the Hoog Soeren forest were transferred to the Dutch State.
Next to Palace Het Loo, there is another remarkable building located in the Kroondomein Het Loo. Built on the Aardmansberg in 1861 by order of King Willem III, it was named the Aardhuis. Originally intended for military meetings, it later became a hunting chalet primarily used by Prince Hendrik. The design was somewhat inspired by Emperor Wilhelm II's grand hunting lodge in southern Germany. The building fell into disrepair during the 1970s. Since 1973, it has been a national monument. Queen Juliana repurposed it as an educational center focused on flora and fauna. Following a renovation in 2018, the Aardhuis now serves as a visitor center for the Kroondomein Het Loo, complete with a restaurant. A period room and a large hall remain authentic, decorated with stag antlers and other hunting-related items. The chalet-style building was designed by King Willem III's court architect, Henri Camp, who held the title of "Architect to the King" from 1849 to 1874. Interestingly, Camp was Catholic, which was highly unusual for the Protestant Royal House. The Swiss chalet style, popular in the second half of the 19th century, was inspired by traditional wooden chalets in Switzerland and Austria. This style reflected a romantic movement opposing industrialization, expressing a longing for nature and rural simplicity. It aligned with the Arts and Crafts movement that originated in England, advocating for craftsmanship and traditional techniques. The Aardhuis is a large, black-painted, two-story building with a gabled roof and wide overhangs. It features continuous terraces and verandas, while the roof edges and balcony railings are adorned with ornate wood carvings, characteristic of the style.
The Aardhuis is located north of the N344, the road connecting Voorthuizen to Apeldoorn—one of the few main roads crossing the Veluwe. South of this road lies the village of Hoog Soeren, part of the municipality of Apeldoorn. The village sits at an elevation of 85 meters above sea level, though not the highest point of the Veluwe, which is Signaal Imbosch near Rheden, at 109 meters. Since 2012, Hoog Soeren has been designated as a protected village site, and it’s easy to see why. It is truly stunning and extraordinarily unique.
Hoog Soeren cured us of any reservations we might have had about the Veluwe. What makes it so beautiful? The village is nestled against the woods, surrounded by open fields still used for agriculture. The area features many elevation changes, and the interplay between open and wooded landscapes provides continuous views of the surroundings.Particularly remarkable is the structure of its unpaved roads. The village has only three paved roads with official names. The road from Apeldoorn is called Soerensweg, which transitions into Pomphulweg. Kampsteeg leads into the village from Amersfoortseweg. All other addresses are listed simply as "Hoog Soeren" followed by a house number, which are displayed collectively at street corners. This road layout highlights the scenic, rural character of Hoog Soeren. Where else in the Netherlands can you still find this?
The Veluwe attracts many tourists. Hoog Soeren, despite being a village of 235 residents (in 2023, mainly people aged 65+), also has many restaurants, two hotels, and a golf course. These are located along the paved roads, but you won’t experience what makes Hoog Soeren truly special there. In 2021, we stayed in the atelier of the house 'Mjölnir'. The name comes from Norse and Germanic mythology and means Thor’s or Donar’s thunder hammer (which is also where Thursday gets its name). Gustaaf Frederik van de Wall Perné (1877-1911) and his wife Eugénie van Vooren (1873-1958), both artists living in Amsterdam, had a wooden summer retreat built in 1905, which also served as an atelier. The building was later moved (reportedly by rolling it) to a location further in the fields, where it still stands today. It is a municipal monmuent. In 1938, a stone house was built next to the atelier, which closely resembles it. Eugénie (who went by the name Jules) lived there for the rest of her life. Gust, as he was called, was a versatile artist. He painted, illustrated, designed book covers, furniture, clothing, tapestries, and wrote. He was friends with contractor-architect, furniture, and interior designer Chris Wegerif and his wife, the well-known textile artist Agatha Gravestein. Chris Wegerif led the Dutch Arts and Crafts movement from 1898, with an art craft store in The Hague and a furniture workshop in Apeldoorn.
Gust van de Wall Perné's most famous work is De Veluwsche Sagen, which he 'wrote and illustrated' as stated on the fifth edition. Born in Apeldoorn, he was very familiar with the Veluwe, which he called the 'Vale Ouwe'('Faded Old One'). The book is a collection of folk tales that made a deep impression on him as a child. It reflected the spirit of the times, when rural traditions were in danger of disappearing. In response, there was growing interest in folk music, wood carving, and weaving, aligned with the Arts and Crafts movement. With his easel under his arm, he ventured out. He managed to capture the mystical atmosphere and the deep colors of the forest edges and the abandoned heath in his own way, which matched his stories. De Veluwsche Sagenwas published in two volumes. The first appeared in 1909, and shortly after his death, his heirs published a second volume, compiled from his legacy. In 2011, the CODA museum in Apeldoorn held an exhibition about Gust's work. They also released a map with a bike route titled ‘Mystieke paden’ (Mystical Paths), a scenic route along the places where Gust van de Wall Perné found his Veluwsche Sagen.
Gust van de Wall Perné designed the atelier house that now stands at Hoog Soeren 66a. This is the house where we stayed, although it has been altered countless times. It was designed in the then-popular chalet style, but with a Norwegian variant and more modern details. These can be seen in the crossing beams at the roof and in the terrace railings. The colors he used were dark: oxblood red, deep purple, and black. Later, light-colored bricks were added to the entrance side. The details on the gable boards are beautifully carved in wood: werewolf heads and tails. His romantic spirit is visible in the tower, inspired by him but only built after his death, located next to the atelier. In 1928, his wife commissioned architect Cor de Graaff from Laren (whom she knew from the Dutch East Indies) to turn a painting of a castle on the Loire River in France into a building plan. Gust had left this painting on his easel, intending to work on it later. He had already bought the adjacent plot of land for this in 1911. He died of lead poisoning before the deed could be signed, but his wife carried it through. The small castle was originally meant to be a garden house but functioned as a guesthouse. Eugénie was a designer of, among other things, jewelry, and created textile works and taught. It is said that she had her loom placed by the west window, and her husband had his easel by the large north window, overlooking the ripening rye fields. You can easily imagine this.
This year, we wanted to explore Hoog Soeren a bit more. We booked a different house this time: the recently restored house named ‘De Roode Pan’ owned by the Vereniging Hendrick de Keyser. This association preserves historically valuable houses and their interiors for the future. Some of these houses are holiday homes. Currently, there are 24, and we have stayed in 14 of them. What is special about De Roode Pan is that it was built as a simple summer house. It was one of the first summer houses in the village. It was designed by Stephanus Parqui (Sté, 1871-1933) and completed in 1910. Sté, together with his brother Cor, ran a joint 'partnership for the practice of architecture and master carpentry.' They also managed a large portfolio of real estate built by their father, Cornelis Boogaard Parqui, a timber merchant and contractor. Sté built the house for his family, which included his wife Jeannette Malcomesius (1871-1950, daughter of a prominent clergyman), son Cornelis (Kees, 1897-1990), and daughter Ellen (Zus (Sis), 1899-1985). The family moved from Rotterdam to The Hague for Kees's health. The children’s governess, Miss Gerritje Wenteler (Titi), always came with them to Hoog Soeren, staying with the family for sixty years. Zus married Jan Langebergh Sr. (1896-1979) in 1925. They had a daughter, Heidi Langebergh (1934-2019). Zus and her daughter Heidi moved permanently into De Roode Pan in 1977. After Zus's death, Heidi only used the house as a holiday home. In 2019, Heidi left the house and gardens to Hendrick de Keyser, with the wish to preserve its authenticity and use it for vacation purposes. The association restored the house and gardens from 2020 to 2023.
Since 1902, the families of the Parqui brothers have spent every summer at the Eik-en-Dal hotel in Hoog Soeren, which opened its doors in 1901. In 1906, they rented the partly vacant Jachthuis near the hotel. In 1909, the Parqui-Malcomesius family traveled to the Vierwaldstättersee (Switzerland) and Lake Lugano (Italy). That same year—when there was no room at the Jachthuis near hotel Eik-en-Dal—it was decided to build a summer house in Hoog Soeren. It was difficult to acquire land because the village was entirely surrounded by the Kroondomein Het Loo. A small plot in the corner of a rye field could be purchased in January 1910. This led to the design of a small house, which was completed by June 1910.
In the house, there is a watercolor painting of the house (in an otherwise empty setting) with two pine trees at the bottom. Between them is the following text:
De Roode Pan, 1910
“Once where this house now stands
ripened the rye of Campen.
In times still of rain barrels
and water tanks, and of petroleum lamps,
“De Roode Pan” arose,
designed by S. Parqui,
springing from his imagination,
so that this house would be
a refuge for young and old,
where everyone who cherishes simplicity
would find happiness in God’s nature.
And those of the later generations
who enjoy this little plot,
let them think gratefully back
to those who established ‘het Pandomeintje.”
The house was a simple two-story building under a large asymmetrical roof with red roof tiles. On both sides of the roof, there is a dormer, and there is also a small balcony above the door at the front. At the top of the ridge of the roof at the front of the house, there is a statue of the forest-heath god Pan (half man, half goat, god of nature and rural life, with a reed flute in his mouth). This statue was made and painted by Sté himself. Below it, there is a plaque with the name ‘De Roode Pan’. Sté himself wrote the fairytale of De Roode Pan. With much humor, the theme of Pan was explored by the family in the ‘Pangarden’. This ‘Pangarden’ is part of one of the few cottage gardens in the Netherlands, which became popular in the country from 1860 onwards. The visitor to the garden would feel as though they were entering a fairy tale world. In the garden, there was a sculpted statue of Pan (1925, now kept in storage and in need of restoration), a Pan altar (1920), a gong, a mast for the Pan flag, a wooden mushroom, a pigeon loft, and various smaller birdhouses.
The house features many references to animals in the Veluwe. The gable boards at the bottom are adorned with wild boar heads. The squirrel ladder leads to the owl balcony. Squirrels are also depicted on the indoor staircase and the wainscoting in the room. The interior of the roof is tamponed. This is a technique where a brush or sponge is used to tap a still-wet painted surface with a mold to create illustrations. On the roof, alongside squirrels, birds, and owls can be recognized. The walls between the rooms on the upper floor do not extend all the way to the ceiling, allowing the artwork to remain visible in its entirety.
The house is compact in design and made entirely of wood. A narrow hallway leads to a small kitchen and the living and dining room. Near the stairs, there is a door to what was formerly the master bedroom. This room remains in its original state, with two fully crafted wooden beds that form a unit with the entire space. The living/dining room is equipped with a veranda on both the south and west sides. Upstairs, there is a larger bedroom at the front, two small bedrooms at the back, and a small bedroom in the middle on the south side. The bedrooms facing the facade have balconies. The rooms upstairs are connected by a hallway. In the hallway, a slanted ceiling creates storage space.
The house's invitation to fun can be seen in the notes of Zus: "On the far side of the vast cornfield lay the small house of the painter van de Wall Perné. It stood like a fairytale, with Thor's thunder hammer above the door. [...] A great friendship developed between us, and we placed a pine log to which we communicated various messages through flag signals. They were the only city dwellers in the village and shared in the lives of the people." In one of the photo albums, you can still find the meaning of the signal flags.
In 1915, the east and north sides of the house were altered. A large balcony was added, with three owls incorporated into the railing, and a squirrel-shaped (fire) ladder leading from the balcony down to the ground. Three years later, Sté bought the remaining land and the small farmhouse from Van Campen, creating space for expansion. In 1919, in the corner of the newly planted orchard, a five-sided gazebo with a thatched roof was erected. This was later referred to as the ‘old gazebo.’ It started as a sunny garden house with lazy wicker chairs, pale pink striped curtains, and cushions. After World War II, De Roode Pan was requisitioned for nine years due to the housing shortage. During this time (until 1955), the family continued to use the tea pavilion as their own living room. Later, it became Jeannette’s work pavilion, where she found peace and wrote letters. Eventually, it turned into a guest pavilion for young people.
In 1922, the entrance gate was built, leading to the house from the adjacent meadow without stairs. A water connection was established in 1928; until then, water was delivered in barrels from the village. In 1930, the kitchen was extended, creating space for a toilet. Prior to this, one had to go outside to the privy. Above the kitchen, a small chimney room was created, which is now the bathroom. On the north side, the house was extended where the window once was. This extension became a music room, where a spinet was placed, with a bench on the other side to enjoy the music while looking outside. You can now listen to the fairytale of De Roode Pan through a QR code; composed, played, and recorded by the family itself. The extension received a playful wooden frame from the living room, decorated with owls and snakes. In 1931, a second gazebo was built in the northwest corner of the garden. It now serves as a crafting pavilion.
In 1959, Kees and Zus repaired and replaced anything that had become worn; this was done in honor of the 50th anniversary of the house. Zus also restored the Pan plaque, which was again restored in 1982. In 1977-1978, the house was fitted with new electrical wiring and central heating. For a long time, the latter was considered too risky in a completely wooden house. The house is now heated by a hybrid system with a heat pump, and underfloor heating has been installed downstairs. The water is heated by a ventilation-heat pump boiler, hidden in the floor hatch in the hallway. All of this was done with great respect for the original building.
The house, along with its interior, was transferred to Hendrick de Keyser. The restoration architect inspected the entire house to ensure nothing was overlooked before the restoration work began. Upstairs in the bedroom, she knocked on one of the walls, and it sounded hollow. Behind the nailed-up partition, she found a magic lantern and several glass slides of the family. The magic lantern, a precursor to the slide projector, still works. It is kept in the master bedroom downstairs and can still be used. During the restoration, Hendrick de Keyser made use of the many photo albums that Zus left behind. Zus also published the book ‘Terugblik op het oude heidegehucht Hoog-Soere’n in 1983, which reads like a photo album of the whole village. Three albums about De Roode Pan can now be found in the house. A handwritten note and a piece of the original room curtains were also found. Based on this and old photos, these curtains were carefully recreated, with four colored stripes along the edges.
Sté Parqui felt deeply connected to Hoog Soeren, even though he primarily spent the summers there. In 1920, he donated a stained-glass window to the Protestant chapel, depicting Jesus at the well with a Samaritan woman. He was inspired by the water-trolley-pushing residents of Hoog Soeren. Since the late 19th century, religious services had been held at the site where the chapel now stands. In the absence of a church in Hoog Soeren, services were held in the dilapidated farmhouse of Cornelis Eikendal, where the interior walls had been removed, and in the Jachthuis. The foundation stone of the current chapel was laid in August 1904 by Henderika van Laar, who was then the youngest pupil of the Sunday school. The inscription on the front facade read ‘EVANGELISATIE LOKAAL DER NED. HERV. GEM. (evangelical room of the Dutch reformed church)’. Above the entrance, there was a canopy, and at the rear of the church's gable roof, a simple open bellcote was placed.
It is important to know that the Veluwe is predominantly a Protestant region. There is a difference between the northern and western parts of the Veluwe, which are mainly Reformed (part of the Bible Belt), and the eastern and southern parts, which are more moderate. Throughout De Roode Pan and the pavilions, wooden plaques with uplifting texts can be found. The family also felt connected to the chapel in the village. In 1924, the family donated a bell with the inscription "HIJ DIE U ROEPT IS GETROUW" (He who calls you is faithful) and a clock with a dial. A condition was set that every deceased person from Hoog Soeren would be tolled until the border of Hoog Soeren. This tradition is still followed today. The rustic fence for the church was also an idea of Sté.
In 1933, as a memorial to Sté Parqui, who passed away that year, a red beech tree was planted next to the church, with a plaque reading "Parqui beech planted in love, 15-4-33." In 2002, the beech was replaced by a younger tree, and the plaque was relocated in 2004 to mark the 100th anniversary of the chapel. The beech stands almost in the center of the village, where several unpaved roads intersect. If you look 360 degrees around, you will see a large black wooden barn, a tree with benches underneath where two girls are chatting, restaurant Het Jachthuis with spacious terraces, Mjölnir and the tower, a field, a road leading to Het Roode Pan, a road that eventually leads to the woods of the Kroondomein Het Loo, a house, and the chapel. This is truly special. And the lesson we learned? Do not fear, set aside your doubts and go for it. You can really be surprised.
2024
With thanks to De Roode Pan, the Veluwe summer idyll of the Parqui family, by Niek Smit, 2019.
