Abstract
In the Fall of 1584 the Duke of Parma, the Habsburg governor of the Netherlands, built his famous bridge across the river Scheldt, blocking all access from the sea to the city of Antwerp. This ‘infernal machine’, as it was known, was a marvelous and fearsome technological accomplishment, designed to starve the rebellious city into submission. For Parma, this work was to be either ‘his sepulcher or his path to Antwerp’. It was almost both. On 5 of April 1585 the rebels sent a flotilla of fire ships down the river and succeeded in blowing up a 200 foot span of the bridge, almost killing the Duke.1
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
G. Parker, The Dutch Revolt, rev. edn (London: Peregrine Books, 1988), pp. 214–15.
For a statistical analysis of the Gulf War images in three leading news magazines and for further bibliography on the news coverage of the Persian Gulf War, see M. Griffin and J. Lee, ‘Picturing the Gulf War: Constructing an Image of War in Time, Newsweek, and U.S. News & World Report’, Journalism & Mass Communication Quarterly, 72 (Winter 1995), pp. 813–25.
F. Hellwig, ‘Introduction’, in F. Hogenberg, Geschichtsblätter, ed. F. Hellwig (Nordlingen: A. Uhl, 1983), p. 12.
A. Th. Van Deursen, Plain Lives in a Golden Age: Popular Culture, Religion and Society in Seventeenth-Century Holland, trans. M. Ultee (Cambridge: Cambridge University Press, 1991), p. 140;
F. Dahl, ‘Amsterdam, Earliest Newspaper Center of Western Europe’, Het Boek, 25 (1938–9), pp. 161–97;
M. Schneider and J. Hemels, De Nederlandse krant 1618–1978, 4th edn. (Baarn: Het Wereldvenster, 1979);
and C. Harline, Pamphlets, Printing and Political Culture in the Early Dutch Republic (Dordrecht and Boston: M. Nijhoff, 1987).
For the speed with which accounts reached the public, see H. Weinsberg, Das Buch Weinsberg: Kölner Denkwürdigkeiten aus dem 16. Jahrhundert, ed. F. Lau, vol. 4 (Bonn: P. Hanstein, 1898), p. 19. Internal evidence from groups of pamphlets also indicates hasty publication; accounts often went to press with details unresolved and were updated as information continued to come in. The pamphlets on the battle at Nieuwpoort in 1600 are good examples of this process.
See W. P. C. Knuttel, Catalogus van de pamfletten-verzameling berustende in de Koninklijke Bibliotheek (The Hague: Algemeene Landsdrukkerij, 1899–1920), cat. nos 1126–48.
See the titles in volume one of the Knuttel Catalogus, and the titles common to the prints catalogued by G. van Rijn, Atlas van Stolk. Katalogus der historie-, spot- en zinneprenten, betrekkelijk de geschiedenis van Nederland, verzameld door A. van Stolk (Amsterdam and The Hague: F. Muller, 1895–1933), as well as those catalogued in the Frederick Muller collection, De Nederlandsche geschiedenis in platen (Amsterdam: F. Muller, 1863–82).
Both pictures are oil on panel, 108 x 197 cm, and are in the collection of the Stedelijk Museum Alkmaar. The first panel is reproduced in F. Grijsenhout, ‘Non gloria, sed memoria. Die Erinnerungsfunktion des Wortes in der Niederländischen Malerei’, in Leselust. Niederländische Malerei von Rembrandt bis Vermeer, ed. S. Schultz (Frankfurt: Schirn Kunsthalle, 1993), p. 94. To the best of my knowledge, the second panel has not been reproduced in an accessible publication.
This painting, also in the collection of the Stedelijk Museum Alkmaar, was painted in oil on panel by an unknown artist and measures 160 × 187 cm. It is reproduced in Schutters in Holland. Kracht en Zenuwen van de stad, eds. M. Carasso-Kok and J. Levy-van Halm (Zwolle: Waanders, 1988), p. 196.
For reproductions of these tapestries, see C. A. van Swigchem and G. Ploos van Amstel, Ses unieke wandtapijten. Strijd op de zeeuwse stromen, 1572–1576 (Zwolle: Waanders, 1991).
Reproduced in Bruid in de Schuit: De Consolidatie van de Republik 1609–1650, eds S. Groenveld and H. L. Ph. Leeuwenberg (Zutphen: Walburg, 1985), p. 102.
For Heemskerck’s epitaph in the Oude Kerk, Amsterdam, see C. Lawrence, ‘Hendrick de Keyser’s Heemskerk Monument: The Origins of the Cult and Iconography of Dutch Naval Heroes’, Simiolus, 21 (1992), pp. 265–95.
For the ‘Allegory’, see H. Schneider’s ‘Der Maler Jan Tengnagel’, Oud Holland, 39 (1921), pp. 11–27.
Editor information
Editors and Affiliations
Copyright information
© 2000 Palgrave Macmillan, a division of Macmillan Publishers Limited
About this chapter
Cite this chapter
De Boer, L. (2000). Hogenberg and History: Popular Imagery of the Golden Age and the Making of Dutch History. In: Zuidervaart, L., Luttikhuizen, H.M. (eds) The Arts, Community and Cultural Democracy. Cross-Currents in Religion and Culture. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-62374-7_12
Download citation
DOI: https://doi.org/10.1007/978-1-349-62374-7_12
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-62376-1
Online ISBN: 978-1-349-62374-7
eBook Packages: Palgrave History CollectionHistory (R0)