The text below dates from 2013. It is the previous unpublished version of a paper I presented at the annual meeting of the Sixteenth Century Studies Conference in San Juan, Puerto Rico. At the moment there are no notes with the text. I plan to update the text to include at least a bibliography. The title of the paper I presented in San Juan is “Mennonite Printers, Anticonfessionalism, and the Persistence of Dissent in the Netherlands.” Except for updating the title for this post, I have only edited the text of the 2013 paper very lightly.
Part of the reason for publishing the 2013 paper as a blog post now is that my grad student, Brookelnn Cooper, is finishing off her MA research paper, and she is making the case for Colom as the printer / publisher of Menno Simons’ Blasphemy. For more about the Blasphemy, see my post about it here.
This post consists of a gallery of early modern Dutch Mennonite artists (or those who were a part of Mennonite milieus, even though they might not have been congregational members). The list is far from exhaustive, but it provides a quick sense of just how involved in the arts Mennonites were. For more details about Mennonite artists, or Anabaptist portrayed in art, click the tags “art” or “portrait”. Read more →
Amsterdam’s Doopsgezind (aka Mennonite) church on the inner city canal ring called the Singel is a major landmark in the history of Dutch dissenters. Its modern address is Singel 452. The building did not and still does not look like a church from the outside. Since Mennonites did not enjoy rights of public worship in most part of the Netherlands until the 19th century, they usually made the outside of their meeting houses to look like a regular building (for more, see the Wikipedia article on clandestine churches). The Singelkerk is a major example of a Dutch clandestine church.
The Singel Church was the epicentre of the so-called “War of the Lambs” in the middle of the 17th century (see the building’s symbol). Read more →
Romeyn de Hooghe (1645-1708) is a major figure in the world of European art history in the era of the Dutch Golden Age. What’s more, he played a significant role in Anglo-Dutch politics around the time of the Glorious Revolution as a supporter of William of Orange / William III. He’s been the subject of a significant number of exhibitions and academic studies recently. For example, the National Gallery of Art in Washington, DC, has just finished an exhibit on “The Book Illustrations of Romeyn de Hooghe” (13 Sept. 2014 to 25 Jan. 2015). In this post I introduce an anonymous etching that I think might be by him (or maybe by his student Adriaan Schoonebeek).
Note: Since first publishing this post I have updated it a few times. One revision was from Feb. 8, and more thorough revisions are from Feb. 11 and 23. The main change in the most recent, thorough revisions is to downplay the importance of the 1660 edition of Hortensius.