Going Dutch: How England Plundered Holland's Glory (23 page)

The entertainment is a romance in verse, in which the gentlemen charm the beautiful ladies, and the ladies confess that their souls have been ravished by the dashing young men and their dancing, and was printed for immediate circulation among the participants (two copies survive). Significantly (since traditionally historians tell us that the three royal Princesses and their entourages were constantly at odds with one another), it was an occasion for shared enjoyment between the three courts – Princess Mary attended, as did the Dowager Amalia’s daughter, suitably chaperoned.

The ballet had the desired effect – its performance was reported with enthusiasm in the European capitals, and its success equated with the continued buoyancy of the Orange–Stuart cause. Sir Alexander Hume, the Princess Royal, Mary Stuart’s head of household, described the event to Sir Edward Nicholas, Charles II’s Secretary of State in exile:

Her Royall Highnesse [Princess Mary] and the Princesse Dowager [Amalia van Solms] haue interchanged visites and converse very civilly together. Yesternight at her Highnesses desire the Princesse Dowagere gaue her daughter Mademoiselle d’Orange leaue to accompany our Princesse to a balette [ballet] that some 9 or 10 young gentlemen presented to the Queen of Bohemia and her Highnesse at a place in the town of purpose fitted for it, which lasted from 9 or 10 a clock at night till 4 of the morning, and if it had not been to satisfy our Princesse, the other would not have suffered her daughter to be so late abroad.
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The event made the gossip columns, including the social column of the Paris daily newspaper:

Yesterday evening at The Hague, some noble gentlemen presented a grand Ballet of sixteen scenes, with an excellent musical score, followed by a formal dance performed by the most accomplished noble ladies in the region: amongst whom were the Queen of Bohemia, the Princess Royal, Princess Louise Palatine [Amalia van Solms’s daughter], The Demoiselles of Orange, of Tremouïlle, of Mérode, of Berghen, and several others.
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Elizabeth of Bohemia herself gave an account of the masque to the exiled Charles II, while reassuring her nephew that his sister, the Princess Royal, was finally recovering her health and spirits after the successive blows of the death from smallpox of her husband, William II, and the birth eight days later of her son, William III:

My deare Neece recouers her health and good lookes extremelie by her excersice the twice dauncing with the maskers has done her much good. We had it two nights the first time it was deadlie colde but the last time the weather was a little better, the subiect your Majestie will see was not extraordinarie but it was verie well danced, our dutch old minister sayde nothing against it from the pulpet, but a little French preacher Carré saide in his sermon wee had committed as great a sinne as that of Sodome and Gomora, which sett all the churche a laughing.
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Later Elizabeth described in detail how well-turned-out the leading ladies had been at the masque:

Your Sister was very well dressed like an Amazone the Princess of Tarente like a shepeardess Madamoiselle d’Orenge a Nimph, they were all very well dressed Mistris Lane was a Suiters wife, but I wish of all the sights Your Majestie had seene Vander dous, there neuer was seene the like, he was a Gipsie Nan Hide [Anne Hyde, later first wife of James II] was his wife, he had pantalon close to him of red and yellow striped with huffled sleeues he looked iust like a Jack a lent, they were 26 in all and did dance till five in the morning.
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Elizabeth also boasted to her nephew that her ‘fidlers were better’ than his.
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It has been suggested that after 1650 Elizabeth of Bohemia’s court was sustained largely by wishful thinking, and that its activities were severely curtailed by the exiled Queen’s lack of secure financial support. However, the most recent study of her correspondence has revealed that Elizabeth’s ‘celebrity’ reputation, as the beloved and glamorous figurehead of Protestant hopes in Europe, ensured that ample private funds were made available to her by Lord Craven and others, to support a continuing lavish lifestyle, and thereby to sustain an aura of royal entitlement around the house of Orange–Stuart in the United Provinces.
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The
Ballet de la Carmesse
was a public demonstration that the extravagant Anglo–Dutch social life at The Hague continued, apparently undaunted by current political difficulties. ‘We serve you alone, and you are victorious,’ the performers in the masque proclaim triumphantly to their royal audience.
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Although the musical counterpart for the text no longer survives, it is clear that musically the ballet
La Carmesse
was particularly accomplished. It was written and performed by the French violinist Guillaume Dumanoir, a prominent figure on the musical scene at the royal court in Paris. Dumanoir had held his first position as ‘dancing master’ at The Hague, but had subsequently moved to Paris, where he became a member of the ‘King’s twenty-four violins’ – the main string orchestra at court, which played at all court balls and masques, and on all other royal formal occasions. He perhaps accompanied Mary back to The Hague in 1655, where he wrote and performed in Elizabeth of Bohemia’s ballet on two consecutive nights, after which he returned to Paris. His presence and involvement make it certain that the ballet was of a standard which would have been recognised as equalling the best such occasions at the courts of Paris or (formerly) London. Other musicians participating as string players, as voice soloists, or as members of the elaborately scored choruses for grouped men’s voices can be recognised as outstanding performers in their own right, locally or abroad.
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The
Ballet de la Carmesse
elegantly fulfils Constantijn Huygens’s requirements for a successful contribution to the glamorous lifestyle of his Orange and Stuart employers. Although there is no record of his attendance, we may picture his delight at the quality of the musicianship, and the elegance of the dancing by the court figures who participated. As Elizabeth reported to Charles II, ‘the subject your Majestie will see was not extraordinarie but it was verie well danced’.

At the conclusion of the ballet, the ‘Ladies’ ball’ began. When Dumanoir and his musicians once again struck up, Mary herself, followed by the high-ranking ladies in attendance, took the floor, and proceeded to dance the night away until four in the morning. From Dumanoir’s surviving suites of dance music we may imagine the gavottes, courantes, sarabandes, allemandes, bourrées and gigues they danced – all vigorous dances carried out to the heavily rhythmic beat of the orchestra of violins.

As we watch Constantijn Huygens mediate the traffic in musicians and fine instruments between Paris, London, Brussels, Antwerp and The Hague, we experience the process of international exchange under his tutelage, which resulted in the flowering of a coherent, continuous musical taste spanning these locations.
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The illusion of separation – of distinct centres of musical development to which we may attach the designations ‘Dutch’, ‘English’ or ‘French’ – is belied by the easy commerce in taste-forming opinions, performers, composers and instruments between these locations, even (as we shall see) at times when officially the participants’ countries of residence were at war. Musical historians have seen fit to judge Huygens a minor talent as a lyricist and composer, but that is not really the point. He presided over a formidable network of musical connoisseurs and practitioners, whose tastes and talents he ‘played’ with every bit as much virtuosity as the viol or the theorbo.

To close this chapter, let us return to that other vibrant centre of cultural activity in the Netherlands in the seventeenth century, Antwerp, and to probably the most famous, and certainly the most successful, of the artists working in the region at that time – Pieter Paul Rubens. Rubens set style standards in Antwerp in fine art in the first half of the seventeenth century – his influence extending to acceptable types of composition, and cost per figure by the hand of the master, rather than his studio – and as a prominent member of the local community he also did so in other areas of luxury expenditure, in particular in architecture.

By 1615, Rubens and his family occupied one of the most architecturally distinguished houses in the whole of Antwerp. He had acquired what became known permanently as the Rubenshuis, on the Wapper canal, in 1610, thereby confirming and consolidating his reputation as the most successful artist in the area. Before he and his first wife Isabella moved in, he added an entire Italianate wing to the already extensive and fine-looking dwelling. The frontage of the resulting mansion stretched 120 feet, divided by a central gateway. To the left, the Flemish façade was broken by narrow rectangular windows, lead-paned and quartered. To the right, the middle- storey windows of the Italianate addition were handsomely arched and set in banded masonry frames. The large studio on the ground floor measured fully forty-six by thirty-four feet, and was thirty feet high – an impressive space in which to set up the large canvases on which Rubens and his artist- apprentices worked. The house also possessed the fashionably formal, classically themed Dutch garden which has already been noted, incorporating architectural features and antique statuary.

Again, this architectural project connects with the English émigrés in Antwerp. Between 1648 and 1660, an English family competed with the Duartes for the title of most lavish in its hospitality towards the English émigré community. This was the household of the émigré William Cavendish, Duke of Newcastle, and his much younger second wife, Margaret.

Cavendish, a trusted military commander in Charles I’s army, had been forced to leave England precipitately after the battle of Marston Moor, at which the Royalists suffered their most crushing defeat of the entire Civil War, throwing into question Cavendish’s competence as a general. He made his way to Henrietta Maria’s court in exile in Paris, where in 1645 he contracted his second marriage, to Margaret Lucas, one of her ladies-in- waiting. From there the newlyweds had moved on to the Netherlands.
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Having lived in some splendour on vast estates in the north of England, Cavendish now found himself reduced to living with Margaret in temporary lodgings in Rotterdam.

On a trip to Antwerp, probably in search of some art purchase, since he was in the company of the English agent Endymion Porter, Cavendish was shown Pieter Paul Rubens’s elegant house on the Wapper canal, just around the corner from the Duartes’ house on the Meir, which his widow was offering for rent (Rubens had died two years earlier). Although emptied of Rubens’s own works, the room designated as his ‘museum’ may still have contained the many plaster casts of antique statues and friezes with which he had replaced the originals he had sold to the Duke of Buckingham twenty years earlier.
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Cavendish took a great liking to the baroque neoclassical style of Rubens’s remodelling of an already appropriately grand residence. Returning to The Hague, he notified Prince Charles at the end of September 1648 (as he was required by court protocol to do) that he was leaving the court in exile and moving his entire household to Antwerp.
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There he and Margaret would remain ‘till it shall please God to reduce the sufferings of England to such a condition of peace or war as may become honest men to return home’.
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The Rubens House was certainly suitable in scale and conspicuously fashionable style for the émigré who was the grandson of Bess of Hardwick, and whose own remodelling of the family estate at Bolsover Castle in England subsequently gained him a considerable reputation for its ostentation in the ‘baroque mannerist’ architectural style.
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Here the Cavendishes installed themselves ostentatiously. Margaret, an intellectual and poet, held soirées and entertained lavishly. William established a highly esteemed indoor riding school, possibly in Rubens’s studio itself. There he would entertain the grandees of Antwerp and the Spanish Netherlands, demonstrating how to perform ‘
manège
’, the art of elaborate formal patterned movement on horseback (still partially recollected in ‘dressage’ today), to the amazement of his audience – which sometimes included the enthusiastic horsewoman Queen Christina of Sweden. The first edition of Cavendish’s important work on horsemanship,
Méthode et invention nouvelle de dresser les chevaux
, was published in 1658 in Antwerp, in French. Lavishly produced, with large illustrative plates, it caused a sensation.
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The Cavendishes’ household at the Antwerp Rubenshuis became a cultural magnet for displaced Royalists. By the mid-1650s, English émigrés, including the exiled King himself, were habitually making their way there for cultural solace. The intellectual soirées, musical recitals and balls there were also frequented by cultivated resident Dutch sympathisers like Huygens, who visited regularly. The Duarte family participated, and Utricia Swann joined them whenever she was in town, sometimes performing songs written by William Cavendish, and set by herself. The Cavendishes entertained on as grand a scale as they could under the circumstances, their household financed by large loans taken out against lands and goods sequestered in England (when finally William Cavendish rushed home to be part of the welcoming party for Charles II in 1660, he had to leave Margaret behind as ‘surety’ for his Dutch creditors).