IX. SUMMARY
In this paper a description is given of the "Zeeuws Planetarium", an instrument built in
1783-1786 for Mr. J. A. van de Perre de Nieuwerve (1738-1790), an aristocrat of Middel
burgand former representative in Zeeland of the Stadholder Prince William V of Orange.
Having resigned office, Van de Perre devoted himself to the study of theology and
science. It would seem that the building of a planetarium comes as a result of a profound
interest taken in astronomy. A review is given of the local tradition of the study of the
stars and planets (ch. 11). It shows that the most important observer in 18th-century
Middelburg was the town architect Jan de Munck (1687-1768). who built his own astro
nomical observatory from which he made observations for several decades. However, no
traces of these astronomical activities have been found in Van de Perre. It is clear that
motives other than astronomy made Vande Perre decide to design a planetarium (ch. 111).
One of these motives is related to the general interest taken in science, which was all the
fashion among the the highest social classes in the 18th century. Hence scientific instru
ments for demonstration purposes were collected on a large scale, a planetarium being
the epitome of luxury. The grand orreries in Great Britain and the "sphères mouvantes"
in France were well known. These instruments reflected the wealth and social status of
their owners. Apart from this aspect, another motive, based on theology, made Van de
Perre design the "Zeeuws Planetarium". He looked on the planetarium as representing
the almighty power of God, serving to illustrate the "wheelwork of the heavens".
The apparatus itself was built by a team of local craftsmen, the instrumental part mainly
by the horologist Joseph van den Eeckhout and the instrument maker Jona Francis
Robert (ch. IV). The design of the interior appears to be a mixture of English, French and
Dutch influences.
A Latin inscription on the exterior says that the planetarium is designed on the principles
of Martin and Ferguson but has the added improvement of e.g. an eccentric path of the
planets (ch. VI).
A study of the wheelwork confirms this statement (chs. VI and VII).
The main design of the instrument follows the successful double-cone setting and gear
ratios of the simple planetaria (orreries) of Benjamin Martin (1705-1782). The influence of
James Ferguson (1710-1776), like Martin a well-known popularizer of experimental
philosophy in Great Britain, is mostly restricted to one gear ratio. Another ratio as well as
the copper ecliptic seem to be imitations of a Dutch planetarium built on similar principles
by Jan van den Dam in 1738 (see tables 5 and 6).
French influences are noticeable in the way in which the inclined planes of each planet are
realized, while other details of the mechanism (like the Earth-Sun system) seem to be
original designs.
Looking at these facts, it is curious that Van den Eeckhout. the constructor, should have
been so secretive about the mechanism of the planetarium. It is this secretiveness that led
to the "Zeeuws Planetarium" being considered in Middelburg and on the island of
Walcheren as "perhaps the most precious instrument in Europe, indeed partly an
imitation of others, but nevertheless more perfect than any comparable Piece of Art" for
a long time (ch. V).
Although this view was certainly not accurate, the instrument does have its merits.
History has added an extra dimension to this monument of man's scientific pursuits and
his absorption in the laws of Nature (ch. VIII).
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