Around 1900 the artisan became a national symbol throughout Europe. While the peasant had been lionized ever since the Romantic era, the craft guilds were denigrated as remnants of feudalism. This... Show moreAround 1900 the artisan became a national symbol throughout Europe. While the peasant had been lionized ever since the Romantic era, the craft guilds were denigrated as remnants of feudalism. This changed with the Arts and Crafts movement. Towards the end of the nineteenth century, the artisan began to appear as a representative of the nation at international exhibitions, which focused increasingly on vernacular arts and traditions. In this way, craft products became a part of the national heritage, while artisans were cherished as sources of national authenticity. In the early twentieth century, traditional crafts were increasingly appreciated by artists, collectors and consumers, and many of their most extraordinary products were seen as embodying the nation’s Volksgeist or folk-spirit. Show less
Recent historical studies tend to confirm the antimodernist interpretation, emphasizing the strong premodern roots of nations and nationalism. However, a broad comparative analysis of the rise of... Show moreRecent historical studies tend to confirm the antimodernist interpretation, emphasizing the strong premodern roots of nations and nationalism. However, a broad comparative analysis of the rise of the nation-state during the Age of Revolution shows that earlier notions of nationhood did not have a significant role in the creation of nation-states in Europe and the Americas. They were not the consequence of a glorious national revolt, but of a clash between the Old Regime and new ideals of political legitimacy. Many of these conflicts led to civil wars and the survival of the nation-state was mostly determined by the geopolitical constellation. The boundaries of the nation were defined in terms of civilization, whereas language and culture were largely irrelevant. Within these new nation-states, a universalist nationalization process began. In many instances, citizenship was awarded easier to foreigners than to “uncivilized” inhabitants, while Classical Antiquity was preferred over the national past. Show less
Even though Dutch historians have been investigating seventeenth-century material culture with regard to lifestyle and home furnishing extensively since the early 1980s, no such research has been... Show moreEven though Dutch historians have been investigating seventeenth-century material culture with regard to lifestyle and home furnishing extensively since the early 1980s, no such research has been done on the material world of the United Provinces’ diplomats abroad. This article seeks to provide insights into the main material cultural aspects of the seventeenth-century Dutch embassy: the building’s exterior, lay-out, and furnishing. A detailed inventory of Baron Hendrick van Reede van Renswoude’s movables, the first ambassador of the Lords States General to the Spanish court (1656-1669), is the main source for a detailed case study on the accommodations of the Dutch ambassador. His residence in Madrid, its indoor and outdoor spaces were equipped with the customary attributes of an early modern European diplomat. Although less lavish, opulent and refined than the French or Spanish, the Dutch diplomat’s material cultural world fitted in with the general diplomatic culture, which was increasingly influenced by the ethos of the nobility across Europe in the seventeenth century. At the same time, local conditions and lifestyle conventions shaped the ambassadorial building’s exterior and interior. The fact that Dutch diplomats, like almost all European diplomats,took residence in rented furnished local houses, undermined the implicit separateness of the embassy as a distinctly national space that reflected a typical lifestyle, a political or religious message. Show less
