J. L. PRICE
Preface
My interest in Dutch history was first awakened by the Dutch seventeenth-century paintings in the National Gallery which I visited frequently on Sundays while I was a student in London. I was in trigued by what I then saw as the sharp contrast in both subject matter and style between these paintings (together with some sixteenth-century Flemish art) and the art of the Renaissance, Mannerism and Baroque in nearby rooms of the gallery. Culture and Society in the Dutch Republic during the Seventeenth Century, published in 1974, was an attempt to understand the society which had produced such distinctive art. While most of my published work since has been on the political and social history of the Dutch Republic, I have never lost my fascination for the culture of the Dutch Golden Age, and I believe that sufficent time has passed since my first attempt to justify another visit to this important but in some ways enigmatic moment in the history of Western culture.
The present book is an extended essay rather than a detailed study, and attempts to suggest the peculiar flavour of the culture of the Dutch Republic during its period of greatness, economic and political as well as cultural, in the seventeenth century. My debt to the work of other scholars is immense, and pioneering work in a number of areas has appeared in the last three decades. Much light has been cast on many previously obscure aspects of the Dutch Golden Age, while a more sympathetic reading of the eighteenth century has helped to put the preceding century in a rather different perspective. The work of art historians, especially in iconography, has also been invaluable, though I have my reservations about the more extreme conclusions that have been drawn from their explorations. Similarly fascinating studies have appeared on the way menand women viewed and understood the world around them, and some at least of these are included in the Select Bibliography. Such works have helped me to reach what I hope is a better understanding of the period, though I am more conscious now of what I do not know than was my younger self. There is one significant omission in this essay: I regret that I have said nothing about music despite its important role in Dutch life. The explanation for this is that I know and understand too little to venture into this area, but I urge readers to add a sound track of metrical psalms and sea shanties to this book, to remember that many fly-sheets were intended to be sung to well-known tunes, and that music was part of the entertainment in the smarter brothels of Amsterdam towards the end of the century, besides being a necessary accomplishment for young ladies in more elevated social circles.
Finally I take this opportunity to redeem a promise I made some years ago to a remarkable Special Subject group. So this is for Anna Baldwin, Emma Bergin, Victoria Crawley, Robin Danby, Victoria Frodsham, Jennifer Gray, Marie Lamont, and Mark Stow and also for Diva, sorely missed.
1
Context
The cultural achievements of the Dutch Golden Age were extraordinary by any standards, but their context makes these achievements particularly intriguing, perhaps unlikely, and certainly unpredictable. Even the political turmoil and social upheavals which produced the Dutch state may also help to explain why its culture should have turned out to be so distinctive. The Dutch Republic was born in the course of the Revolt of the Netherlands in the late sixteenth century and the subsequent Eighty Years War for independence from rule by Spain. However, the new state which emerged from this struggle was the unplanned result of what might be seen as its relative failure Spanish military strength brought the south of the Habsburg Netherlands back to obedience, leaving only a rather disparate group of provinces in the north to continue the struggle and achieve independence. Against all expectation this ill-assorted group of allies not only halted the Spanish advance but by 1609 had effectively created a new state, though one which both contemporaries and later historians have considered rather unusual if not bizarre in many respects.
There was nothing inevitable about the emergence of the Dutch state and certainly its eventual borders were far from pre-determined. The separation of the southern provinces from the northern was largely a result of war, and of the Spanish armys ability to reconquer much of the south. Also, while the general shape of the new state was more or less established by the beginning of the seventeenth century, its definitive boundaries were uncertain until the final peace with Spain in 1648. The Dutch Republic had no natural geographical boundaries apart from the sea. In the east the frontier followed the line which had separated the Habsburg Netherlands from theneighbouring regions of the Holy Roman Empire on the eve of the Revolt, and this had been fixed by accidents of political history rather than by any natural barriers. Indeed, the northern Netherlands remained at least nominally a part of the empire until 1648. In the south the divide between the Republic and the Spanish Netherlands was in the end determined by military actions, with the Dutch state eventually managing to hold onto a strip of Flanders and the northern part of Brabant. There were also no very compelling historical links uniting the seven northern provinces which came to compose the core of the new state. Indeed, the eastern provinces had only been brought into the Habsburg Netherlands in the course of the early sixteenth century, Gelderland a bare twenty years before the outbreak of the Revolt. There was no pre-existing Dutch nation on which a state could be built, despite the assertions of later nationalist historians; rather the Dutch nation was the creation of the Dutch state and it took over two hundred years for a sense of national identity to prevail over provincial loyalties. There was, of course, a range of common elements which would prove sufficient in the long run to provide the foundations of a sense of a common identity for these rather disparate provinces. They had more or less a common language, though again standard Dutch was a seventeenth-century creation and the Fries language was also common in the northern-most regions, and all were clearly part of a broader Netherlands cultural area. However, it should be remembered that, on the eve of the Revolt, Holland and Zeeland were probably closer culturally to Flanders and Brabant than they were to the eastern provinces of the future Republic. Similarly, the sharp economic and social disparities between the most advanced provinces Holland in particular and the rest were already becoming apparent before the Revolt, though they were not yet as marked as they were to become in the course of the seventeenth century.