W&M 2020 2 William's Background

Total Page:16

File Type:pdf, Size:1020Kb

W&M 2020 2 William's Background 22/04/2020 1 2 3 4 5 6 1 22/04/2020 Robert Dudley Earl of Leicester William the Silent Prince of Orange Governor-General of the 1544-1584, leader of the Dutch Netherlands 1586-1588 Revolt against the Spanish from 1568 7 8 Maurice of Nassau Prince of Orange Philip William Prince of 1618-1625 Stadtholder of six of the Orange 1584-1618, eldest seven provinces 1585-1625, second son son of William the Silent but of William the Silent who continued the a Spanish hostage most of his War of Independence. Mauritius is life named after him 9 10 Frederick Henry Prince of Amalia of Solms-Braunfels Orange 1625-1647 youngest wife of Frederick Henry, son of William the Silent guardian of her grandson stadtholder of five provinces Prince William later William III. Portrait by Van Dyck 11 12 2 22/04/2020 Frederick Henry and Amalia by van Honthorst Frederick Henry and Amalia with three of their daughters by van Honthorst 1647 13 14 The Triumph of Frederick Henry by Jordaens Frederick Henry at the Battle of ‘s-Hertogenbosch 1629 15 16 Terrine of Amalia of Solms-Braunfels in the Rijksmuseum Frederick Henry’s Palace near the Hague built 1621-1647 17 18 3 22/04/2020 Four Generations of the House of Orange attributed to Pieter Nason 1662-1666 Medals for Frederick Henry’s victories in 1629, 1637 and 1645 19 20 William II Prince of Orange 1647-1650 son of Frederick Henry and father of William III 21 22 William II by Van Dyck 23 24 4 22/04/2020 Princess Mary’s betrothal with her Equestrian portrait of William II future husband William II of Orange attributed to Anselm van Hulle 1641 by Sir Anthony van Dyck, Rijksmuseum 25 26 Princess Mary and William II of Orange 1647 William II and Mary Henrietta by van by Gerard von Honthorst, Rijksmuseum Honthorst 27 28 Medal for marriage The disembarkation of Mary greeted by of William II and William by van Honthorst Mary Henrietta 29 30 5 22/04/2020 Mary Henrietta by van Honthorst William II by Gerrit van Honthorst 31 32 Mary with servant by Adriaen Hanneman in the Mauritshuis 33 34 Mary in mourning Medals by Sebastian Dadler commemorating the sudden death of William II in 1650 35 36 6 22/04/2020 Mary by Johannes Lingelbach and Bartholomeus van der Heist 1652 Ratification of the Treaty of Munster in 1648 which ended the 80 years War but which William II refused to attend, by Gerard ter Borch National Gallery London 37 38 Amalia of Solms-Braunfels in mourning Painting thought by some to show William II’s attack on Amsterdam 1650 39 40 Prince’s Day by Jan Steen celebrating William’s birthday Great Assembly of the States General 1651 41 42 7 22/04/2020 Frederick William The Great Elector of Brandenburg 1640-1688, grandson of William the Silent who was Grand Pensionary Johann de Witt appointed guardian to William along with Amalia and Mary 43 44 Cornelis de Graeff who ruled the Netherlands with de Witt during the first stadtholderless period William Frederick of Nassau 1650-1672 stadtholder of Friesland and Groningen 45 46 English and Dutch merchants clashed over trade with their empires 47 48 8 22/04/2020 49 50 Maarten Tromp Robert Blake 51 52 Battle in the First Dutch War Battle in the First Dutch War 53 54 9 22/04/2020 Blake’s ship at Battle of Portland February 1653 Battle of Leghorn March 1653 55 56 Delft Tile Ship Model 1642 Battle of Gabbard June 1653 57 58 Dutch Warship 59 60 10 22/04/2020 Jan van Riebeeck arriving in Table Bay in April 1652 by Charles Bell 61 62 William III as a child by van William with his Aunt Maria Honthorst by van Honthorst 63 64 Medal with William aged 4 in Roman William aged 5 costume by van Honthorst 65 66 11 22/04/2020 William as a child by Adriaen Hanneman, Rijksmuseum Archibald Campbell 9th Earl of Argyll and his Countess formerly Anna Mackenzie, one of William’s governesses in 1657 (she married Argyll in 1670) 67 68 Delftware plate with William aged 10 William attended Leiden University (which had been found by William the Silent) William by Cornelius Johnson from 1659 to 1666 69 70 71 72 12 22/04/2020 Ball given for Charles II by his sister Mary at the Hague Banquet for Charles II at the Hague February 1660 73 74 Frederick of Nassau-Zuylestein Orangist broadsheet attributed to Jan de Baan after Lely. William’s uncle and adviser from 1661 with connections to England. After his death in 1672 his son continued the role and became Earl of Rochford in 1695 75 76 William by Jan de Baen 77 78 13 22/04/2020 William as a youth by Jan Davids William III as a child by Abraham Ragueneau 79 80 The Second Dutch War 1665-7 81 82 Battle of Lowestoft 3 June 1665 showing the Royal Charles and the Eendracht by Hendrik van Minderhout, National Maritime Museum 83 84 14 22/04/2020 James dressed Mars after his victory at Lowestoft by Henri Gascar Battle of Lowestoft 3 June 1665 Burning of the Dutch Flagship by van Dierst 85 86 James’s Seal St James’s Day Battle August 1666 87 88 89 90 15 22/04/2020 Dutch attack on Sheerness Chatham 91 92 Burning of British Ships in the Medway 20 June 1667 by Jan van Leyden 93 94 German Print of de Ruyter’s raid in the Medway 95 96 16 22/04/2020 Royal Coat of Arms from the Royal Charles in the Rijksmuseum Drawing of the Royal Charles by van der Velde New fortifications at Plymouth by Hendrik Danckerts 97 98 Congress of Breda 1667 French Royal Family c 1669 by Jean Nocret 99 100 Louis XIV after Lefebvre 1673 Louis XIV crossing the Rhine 12 June 1672 by Adam Frans van der Meulen 101 102 17 22/04/2020 The Burning of HMS Royal James at the Battle of Solebay 28 May 1672 by Peter Monamy, The Third Dutch War 1672-4 National Maritime Museum 103 104 The Burning of HMS Royal James at the Battle of Solebay 28 May 1672 by Willem van de Velde, National Maritime Museum 105 106 Murder of the de Witt brothers August 1672 Events of 1672 107 108 18 22/04/2020 The mutilation of the de Witt brothers painted by Jan de Baen 109 110 Gaspar Fagel succeeded as Grand Pensionary and was more sympathetic to William Appointment as Captain-General in 1672 111 112 William of Orange by Jan de Baen The Gouden Leeuw at the Battle of Texel 21 August 1673 by Willem van de Velde, National Maritime Museum 113 114 19 22/04/2020 115 116 William Bentinck (1649-1709) who nursed William back to health from smallpox in 1675 and became one of his most trusted advisers, by Hyacinthe Rigaud. Earl of Portland in 1689 he resigned his offices in 1700 jealous of Arnold van Keppel but retained William’s confidence. William by Johannes Voorhout c 1672 117 118 William by Caspar Netscher after 1672 before 1684 Recapture of Naarden 1673 119 120 20 22/04/2020 Broadsheet on William’s life produced 1675 121 122 123 124 125 126 21 22/04/2020 127 128 129 130 131 132 22 22/04/2020 133 134 135 136 137 138 23 22/04/2020 Princess Mary 1677 the year William of Orange about the time of of her marriage, by Sir Peter his marriage 1677 after Lely Lely 139 140 Henry Crompton Bishop of London 1675-1713 by Kneller. He married William and Mary in 1677 and crowned them in 1689 when Archbishop Sancroft refused 141 142 William with servant William by Nicolaes Maes c 1678 143 144 24 22/04/2020 William fighting alongside the William by Lely before 1680 Duke of Monmouth 1678 145 146 Titus Oates and the Popish Plot 1678-1681 147 148 John Locke the philosopher (1632-1704) who fled to the Netherlands in 1683 after the Rye House Plot. He was influenced by the followers of Baruch de Spinoza who had died in 1677 Exclusionist Crisis in which both sides asked William for help and he made his second visit to England 1681 149 150 25 22/04/2020 The late Duke of Monmouth beheaded on James Scott Duke of Monmouth 1683 Tower Hill 15 July 1685 on a playing card, seven after William Wissing, National Portrait of spades Gallery. He also fled to the Netherlands and invaded England in 1685 151 152 Court Ball at the Hague 1686 George Lord Jeffreys (Judge Jeffreys) c. 1678-80 by William Wolfgang Claret 153 154 Emperor Leopold I (r 1658-1705) Charles II of Spain (r 1665- William’s ally against France in the 1700) another ally in the League of Augsburg 1686 League of Augsburg 155 156 26.
Recommended publications
  • Henry, Duke of Gloucester C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Adriaen Hanneman Dutch, c. 1603/1604 - 1671 Henry, Duke of Gloucester c. 1653 oil on canvas overall: 104.8 x 87 cm (41 1/4 x 34 1/4 in.) framed: 128.91 x 111.13 x 11.43 cm (50 3/4 x 43 3/4 x 4 1/2 in.) Andrew W. Mellon Collection 1937.1.51 ENTRY The splendidly dressed youth in this three-quarter-length portrait looks out assuredly at the viewer. With a commanding gesture, he rests his right hand on a baton before him while he turns to his left and places his near hand over the hilt of a gold-topped rapier. His buff-colored doublet, richly brocaded with gold and silver threads, has split sleeves that reveal a white blouse with large, pleated cuffs. His breastplate is crossed by a blue ribbon that lies under his flat, white collar and tassel. The broadly painted brown rock cliff behind him and the distant landscape vista to the left provide a neutral background for this elegant figure. The identities both of the sitter and of the artist who painted him have been the subject of much speculation in the literature. [1] Descamps, the first to mention the painting while it was in the possession of Count Heinrich von Brühl (1700–1763) in Dresden, identified the work as a portrait of Willem II by Adriaen Hanneman. [2] Smith cataloged it in 1831 as a portrait by Sir Anthony van Dyck (Flemish, 1599 - 1641), and most, although not all, subsequent writers followed suit.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
    The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam .................................................................................................................
    [Show full text]
  • Andries De Graeff, Voorbeeld Van Culturele Elite? Tweede Opdracht
    Figuur 1 Andries de Graeff Gerard ter Borch II, 1674 41 x 30 cm, privébezit Olieverf op doek 30 oktober 2009 Andries de Graeff, voorbeeld van culturele elite? Tweede opdracht Dr Madelon Simons, cursusjaar 2009-2010 Cursus De Amsterdamse culturele elite Master Kunstgeschiedenis De Nieuwere tijd Universiteit van Amsterdam Pieter Vis, 6132294 Pieter Vis, 6132294 Andries de Graeff, voorbeeld van culturele elite? Over culturele elite Wie het geluk had om in 2004 – voor de restauratie - het Paleis op de Dam te bezoeken, heeft in de Burgerzaal een aantal marmeren bustes gezien. De kwaliteit van deze beelden en de allure van de twee verdieping hoge ontvangstruimte doen de bezoeker al heel snel vermoeden dat het hier om hooggeplaatste personen gaat. Het waren inderdaad portretbustes van Amsterdamse burgemeesters zoals De Graeff, Munter, Tulp en Witsen die zich als Romeinse senatoren lieten afbeelden. En juist dit soort figuren interesseren ons, zowel in historisch opzicht als ook vandaag de dag, getuige de enorme populariteit van de glossy societytijdschriften en dito columns in kranten. Waarom is dit, waarom willen we alles weten van mensen, die in de publieke belangstelling staan? Is het jaloezie of Figuur 2 Met de klok mee vanaf links onder de leedvermaak als een dergelijk persoon een faux pas maakt burgemeesters A.de Graeff, N.Tulp, J.Munter, of zijn we nieuwsgierig naar mensen die een bepaald N.Witsen rolmodel vormen? De neiging bestaat om deze personen hors categorie te beschouwen, die zich als elite kan onttrekken aan normen en waarden, die als het ware eigen regels kan vaststellen. Maar is het wel mogelijk om te spreken van publieke personen alsof zij een aparte categorie vormen, die als groep bestudeerd kan worden? Nu is dit laatste vraagstuk vermoedelijk gemakkelijker te beantwoorden als men de Gouden Eeuw in de Amsterdamse situatie onder de loep neemt.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Masters of war: state, capital, and military enterprise in the Dutch cycle of accumulation (1600-1795) Brandon, P. Publication date 2013 Link to publication Citation for published version (APA): Brandon, P. (2013). Masters of war: state, capital, and military enterprise in the Dutch cycle of accumulation (1600-1795). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 Chapter 1 The making of the federal-brokerage state This chapter examines the rise and consolidation of the Dutch federal-brokerage state. Perhaps the best starting point to do so is the extensive discussions on the fundamentals of the Dutch constitution that occurred merely a few years after the end of the war that established the new-born state as a European great-power.
    [Show full text]
  • Rembrandt's Bankruptcy
    Cambridge University Press 0521858259 - Rembrandt’s Bankruptcy: The Artist, His Patrons, and the Art Market in Seventeenth-Century Netherlands Paul Crenshaw Frontmatter More information REMBRANDT’S BANKRUPTCY < This study examines the causes, circumstances, and effects of the 1656 bankruptcy by Rembrandt van Rijn. Following a highly successful early career, Rembrandt’s idiosyncratic art and lifestyle came to dominate his reputation. His evasion of responsibility to his creditors was so socially disreputable that laws in Amsterdam were quickly altered. The poor management of his finances magnified other difficulties that he had with family, paramours, friends, neighbors, and patrons. Collectively, Rembrandt’s economic and social exigencies affected his living and working environment, his public station, and his art. This study examines all of these aspects of Rembrandt’s bankruptcy, including his marketing practices, the appreciation of his work, and his relations with patrons, in addition to the details of the bankruptcy itself. Several patterns of short-sighted decision making emerge as Rembrandt conducted his affairs within a constantly changing framework of relationships, a shifting set of obligations, and evolving artistic pursuits. Paul Crenshaw is assistant professor of art history and archaeology at Washington University in St. Louis. © Cambridge University Press www.cambridge.org Cambridge University Press 0521858259 - Rembrandt’s Bankruptcy: The Artist, His Patrons, and the Art Market in Seventeenth-Century Netherlands Paul Crenshaw
    [Show full text]
  • The Amsterdam Civic Guard Pieces Within and Outside the New Rijksmuseum Pt. IV
    Volume 6, Issue 2 (Summer 2014) The Amsterdam Civic Guard Pieces within and Outside the New Rijksmuseum Pt. IV D. C. Meijer Jr., trans. Tom van der Molen Recommended Citation: D. C. Meijer Jr., “The Amsterdam Civic Guard Pieces Within and Outside the New Rijksmuseum Pt. IV,” trans. Tom van der Molen, JHNA 6:2 (Summer 2014) DOI:10.5092/jhna.2014.6.2.4 Available at https://jhna.org/articles/amsterdam-civic-guard-pieces-within-outside-new-rijksmu- seum-part-iv/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 6:2 (Summer 2014) 1 THE AMSTERDAM CIVIC GUARD PIECES WITHIN AND OUTSIDE THE NEW RIJKSMUSEUM PT. IV D. C. Meijer Jr. (Tom van der Molen, translator) This fourth installment of D. C. Meijer Jr.’s article on Amsterdam civic guard portraits focuses on works by Thomas de Keyser and Joachim von Sandrart (Oud Holland 6 [1888]: 225–40). Meijer’s article was originally published in five in- stallments in the first few issues of the journal Oud Holland. For translations (also by Tom van der Molen) of the first two installments, see JHNA 5, no. 1 (Winter 2013). For the third installment, see JHNA 6, no.
    [Show full text]
  • Hugo Grotius Pioneer of Modern International Law
    The Netherlands in a Nutshell highlights from dutch history and culture Amsterdam University Press The Netherlands in a Nutshell The Netherlands in a Nutshell highlights from dutch history and culture Amsterdam University Press www.entoen.nu © 2008 Frits van Oostrom | Stichting entoen.nu isbn 978-90-8964-039-0 nur 688/840 Published by Amsterdam University Press, the Netherlands www.aup.nl Design: Kok Korpershoek, Amsterdam, the Netherlands All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents 7 Foreword 9 The canon of the Netherlands 112 Main lines of the canon When we, as individuals, pick and mix cultural elements for ourselves, we do not do so indiscriminately, but according to our natures. Societies, too, must retain the ability to discriminate, to reject as well as to accept, to value some things above others, and to insist 6 on the acceptance of those values by all their members. [...] If we are to build a plural society on the foundation of what unites us, we must face up to what divides. But the questions of core freedoms and primary loyalties can’t be ducked. No society, no matter how tolerant, can expect to thrive if its citizens don’t prize what their citizenship means – if, when asked what they stand for as Frenchmen, as Indians, as Britons, they cannot give clear replies.
    [Show full text]
  • Johan De Witt En Engeland Gratis Epub, Ebook
    JOHAN DE WITT EN ENGELAND GRATIS Auteur: Ineke Huysman Aantal pagina's: 176 pagina's Verschijningsdatum: 2019-03-05 Uitgever: Catullus, Uitgeverij EAN: 9789492409454 Taal: nl Link: Download hier Johan De Witt en Engeland. Een bloemlezing uit zijn correspondentie. Nederlands, pagina's, Teleboek, Bussum, Nederlands, p. Nederlands, 7 pagina's, Nederlands, VIII, 63 p, Zoeken in de catalogus Zoeken binnen de site. Johan de Witt Johan de Witt en Engeland een bloemlezing uit zijn correspondentie Selectie van enkele tientallen brieven uit de correspondentie van raadspensionaris Johan de Witt die betrekking hebben op de relatie tussen de Republiek en Engeland, met toelichtingen en vertalingen in modern Nederlands. Johan de Witt Johan de Witt en Frankrijk een bloemlezing uit zijn correspondentie Selectie van de brieven van en aan Raadpensionaris Johan de Witt , met toelichting en hertaling. Brieven aan Johan de Witt; Dl. Johan de Witt Staetsstukken uit de pen van Mr. Japikse Johan de Witt Nederlands, p. Johan de Witt Bericht van de heer raedt-pensionnaris Johan de Witt, noopende de secrete correspondentie-penningen; nevens de verklaringe van de Tentoonstelling Johan de Witt Dordrecht, 16 Oct. Vorige 1 actief 2 3 4 5 6 7 8 9 23 Volgende. Witt, Johan de 57 Andriessen, P. Hij was getrouwd met een zus van Wendela Bicker. Deze gewesten trokken Utrecht mee. Het Eerste Stadhouderloze Tijdperk was een feit. De Witt was er een groot voorstander van. Hij noemde het de periode van "De Ware Vrijheid". Beslissingen die de hele Republiek aangingen, werden door regenten van de zeven provincies gezamenlijk genomen, weliswaar op basis van meerderheid van stemmen, maar onder strakke leiding van Holland.
    [Show full text]
  • Johan De Witt En Frankrijk Portret Van Johan De Witt Door Adriaen Hanneman, 1652, Museum Boijmans Van Beuningen
    Johan de Witt en Frankrijk Portret van Johan de Witt door Adriaen Hanneman, 1652, Museum Boijmans Van Beuningen. Samengesteld door Ineke Huysman en Roosje Peeters Johan de Witt en Frankrijk Een bloemlezing uit zijn correspondentie Met tekeningen van Jean-Marc van Tol © 2020 Ineke Huysman en Roosje Peeters; Uitgeverij Catullus, Soest. www.johandewitt.nl Omslagillustratie: Jean-Marc van Tol, naar Adam Frans van der Meulen, Lodewijk xiv steekt bij Lobith de Rijn over, 12 juni 1672, Rijksmuseum Amsterdam. Druk en afwerking: Wilco, Amersfoort. Alle brieven zijn online raadpleegbaar via: http://resources.huygens.knaw.nl/BriefwisselingJohandeWitt isbn 9789492409539 nur 685 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand en/of openbaar gemaakt in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen of op enige andere manier zonder voorafgaande schriftelijke toestem- ming van de uitgever. www.catullus.nl Inhoud 7 Voorwoord 9 Inleiding 19 Johan de Witt 27 Briefvouwen 43 De grand tour Johan en Cornelis de Witt in Frankrijk: 1645-1647 59 Mijn groote swackheyt Willem Boreel aan Johan de Witt: 10 september 1653 65 Purperen regen Johan de Witt aan Andreas Colvius: 16 januari 1654 73 ‘Tsa, tsa, déloge, déloge!’ Hendrik van Deutecom aan Johan de Witt: 6 augustus 1654 81 Een buitengewone meteoor Louis le Blanc aan Johan de Witt: 3 september 1654 87 Escapades aan het hof Abraham de Wicquefort aan Johan de Witt: 25 januari 1658 95 Een list van
    [Show full text]
  • Necessity Is the Mother of Invention
    Necessity is the mother of invention The lottery loans of Holland during the War of the Spanish Succession Matthijs Hoekstra 3006476 History: Cities, states and Citizenship First reader: Oscar Gelderblom Second reader: Joost Jonker Introduction 3 1. The first lottery loans: England and the Estates-General 6 2. The first lottery loan of Holland 15 3. The prize ledgers 25 4. The investors of the lottery 37 5. The redemption of the lottery of 1711 43 Conclusion 52 Literature 53 Appendix: Investors of the lottery 58 - 2 - Introduction At several moments in the 18 th century Holland raised capital through lottery loans. This thesis examines what lottery loans are, why they were organized, and who invested in them. Lottery loans haven’t received much attention in debates about the development of early modern public finance. In his history of the lotteries of the Low Countries Fokker wrote in 1862 that lotteries organized by the Estates were a sign of the moral decline of the Republic. Where first lotteries had been used to raise money for charity, now the Estates used lotteries for their own benefits. 1 In his seminal work The Financial Revolution in England Dickson wrote that an ‘addiction of contemporaries to gambling on a massive scale’ was a contradictory trend to the progress in finance made in the 17 th and 18 th century. 2 Murphy, on the other hand, claims the boundaries between gambling and investment remained indistinct in the late 17 th century, and therefore connects the lotteries with the financial revolution. 3 Gelderblom and Jonker examined how market forces shaped Holland’s issuing policy.
    [Show full text]
  • POWER of the PORTRAIT: Production, Consumption and Display of Portraits of Amalia Van Solms in the Dutch Republic
    POWER OF THE PORTRAIT: Production, Consumption and Display of Portraits of Amalia van Solms In the Dutch Republic by Saskia Beranek B.A., Pennsylvania State University, 2001 M.A., Duke University, 2003 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Saskia Beranek It was defended on March 29, 2013 and approved by Jennifer Waldron, Associate Professor, English Joshua Ellenbogen, Associate Professor, History of Art and Architecture Stephanie Dickey, Bader Chair in Northern Baroque Art, Queen's University, Art Co-Advisor: C. Drew Armstrong, Associate Professor and Director of Architectural Studies Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by Saskia Beranek 2013 iii POWER OF THE PORTRAIT: Production, Consumption and Display of Portraits of Amalia van Solms in the Dutch Republic Saskia Beranek, PhD University of Pittsburgh, 2013 Portraits of Amalia van Solms, wife of Frederik Hendrik of Orange-Nassau and one of the most significant women in the Dutch Republic, were widely circulated and displayed during her lifetime (1602-1675). This study focuses on cases where specific audiences and sites of display can be isolated. When portraits can be viewed in their original context, they speak not only to those elements intrinsic to the image such as symbolism or fashion, but also to issues extrinsic to the image: social practices, cultural ideals, and individual identities.
    [Show full text]