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ationship with the Dutch authority in Batavia, and the Second, the importance of trading relation between the China Empire and the Dutch authority was prioritized despite the interest of the Chinese in Batavia. Thus, it can be concluded that the condition of the Chinese in Batavia cannot be separated from a wider context of overseas trading between China and Batavia.

However, the flow of ethnoscape from China mainland to Batavia cannot be limited only to the colonial context, as actually implied by Kasirun by mentioning that the Chinese had come long before the Dutch of which he did not extend in his next explanation. Explanation from Taylor's book provides me the information about this context. Taylor implies that the flow of the Chinese to this city also took place during the city was known as Jayakarta. Taylor mentions that:

WHEN THE DUTCH NAVIGATOR Cornelis Houtman first put in at Jacatra on 13 November 1596, the town was a minor port lying across the mouth of the Ciliwung River on the northwest coast of Java. Its inhabitants, principally members of the Sundanese ethnic group and numbering several thousands, lived within a bamboo enclosure; there was a small settlement of Chinese traders and arrack brewers outside the wall on the north side. (3)

This implies that the global context of this city was rooted back long before the Dutch named it as Batavia and the Chinese settlement in this city was dated back to this period. Therefore, a line can be drawn here: the landscape of this city always deals with the context of global trade and the ethnoscape; the Sundanese, the Dutch, the Chinese, and any other ethnics brought along by its position as the hub for global trade. However, this perception led me to wonder whether this information was also given and depicted in the narrative of the museum. Before I extend this further, let me go back to the point where I started.

Going back to the point of the dialogue between the baroque and China ornament, what I am trying to relate here is that the construction of the building cannot be separated from the structure of perception and practices of the social space of Batavia at that time; from how the Dutch privileging the Chinese ethnic in social structure of Batavia. The physical and social distance of the Chinese ethnic through the division of city space is brought together in the artistic construction if the building. This constructs the closed-tied relation between the colonial power and the Chinese.

On the other hand, this also signifies the superiority and power of the colonial ideoscape over other ethnics. By selecting and visualising Chinese cultural identity, the building distancing itself from other cultural identities practiced by other ethnics living in Batavia. It seems that the multicultural [3] aspect of this city is silenced and made invisible in the structure of this building. It shows that central and periphery relation structured the social reality of Batavia is represented in the construction of the building. In his report, Worsfold mentions that outside the three divisions of the city '[o]n the outskirts of the town, along the country roads, where the cocoa palm and banana plantations begin, are the bamboo cottages of the Sundanese natives' (35). Thus if a line is drawn from the centre to the periphery, the series will start from the Dutch/European, Chinese [4] , and to 'native of Batavia' .