Contents
Lotte Jensen
Part one – The modernist paradigm contested
Azar Gat
Andrew Hadfield
David A. Bell
Part two – The genealogy of national identity
Cesc Esteve
Kim P. Middel
Figure 5.1 Arngrímur Jónsson (1568-1648). From: Arngrimi Jonæ Opera Latina Conscripta, vol. 4, ed. Jakob Benediktsson (Copenhagen: Munksgaard, 1957)
Figure 5.2 Title page of the original edition of Crymogæa (1609). Edition: Arngrimi Jonæ Opera Latina Conscripta, vol. 2, ed. Jakob Benediktsson (Copenhagen: Munksgaard, 1951), 1
Jan Waszink
Gregory Carleton
Adam Coward
Part three – Negative mirror imaging
Yolanda Rodríguez Pérez
Gijs Rommelse
Figure 10.1 Portraying Cromwell as ‘the usurper’, Dutch artists created a sharp distinction between the English republic, which they labeled as ‘godless, treacherous and tyrannical’, and the Dutch republican tradition. Anonymous etching, 1653. Rijksmuseum
Figure 10.2 Cromwell as the ‘despicable tailed man’, 1652. His tail is covered with coins, presumably referring to English mercantilist envy. Assisted by a Frisian, an Irish and the royalist Prince Rupert of the Palatinate, a Hollander and a Zeelander are
Figure 10.3 English dogs barking to the Dutch lion while a Dutch sailor is about to clip off their tails with red-hot pliers. Cromwell uses a stick to wake the Dutch lion. Etching by Crispijn van de Passe, 1652. Rijksmuseum (Amsterdam).
Alan Moss
Figure 11.1 Caspar Luyken, ‘Maagdenburg door Tilly veroverd terwijl weerloze burgers worden afgeslacht’ [Magdeburg conquered by Tilly, while defenceless inhabitants are butchered], in Johann Ludwig Gottfried, Historische kronyck …, vol. 1 (Leiden: Pieter
Figure 11.2 Romeyn de Hooghe, ‘Franse Tiranny gepleeght op de Hollandtse dorpen’ [French Tyranny in the Villages of Holland], in T. van Domselaer, Het ontroerde Nederlandt, door de wapenen des konings van Vrankryk. Part 1 (Amsterdam: M. Willemsz. 1674-76)
Part four – Maps, language and canonisation
László Marácz
Figure 12.1 Front page of the 1685 version of the Golden Bible of Amsterdam printed and translated into Hungarian by Miklós Kis Misztótfalusi (1650-1702). The College Library of the Transtibiscan Church District and Library of Theology, Debrecen, http://b
Lieke van Deinsen
Figure 13.1 Jan Goeree, The Panpoëticon Batavûm. Engraved title page, 1720. University Library Radboud University Nijmegen.
Figure 13.2 Paulus Constantijn la Fargue, De vergaderzaal van het genootschap ‘Kunst wordt door arbeid verkreegen’, painting, 1774. Museum De Lakenhal (Leiden).
Michael Wintle
Figure 14.1 Guillaume Delisle, Map of Europe (Paris, 1700).28
Figure 14.2 ‘Germaniae. L’Empire d’Allemagne’ (Amsterdam, J. Covens and C. Mortier, c. 1715).30
Figure 14.3 James Rennell, Map of Hindoostan, 1782, detail of the cartouche, illustrated at Goss, The Mapmaker’s Art (see note 26), plate 7.16 opposite p. 251.
Figure 14.4 ‘Le nouveau jeu de geographie des nations’, designed by Charles-Francois-Henry Desmartins, engraved by Pierre Brissart, published by A.H. Jaillot, 1675.37
Figure 14.5 John Spilsbury, map of ‘Europe Divided into its Kingdoms’ as a jigsaw, 1766-7. British Library, Maps 188.v.12. 41
Figure 14.6 Oval map embroidery sampler, English, late 18th century, showing map of Europe. © Fitzwilliam Museum, Cambridge. T.142-1938.
Part five – Nation in the age of revolution
Jane Judge
Bart Verheijen
Figure 16.1 Anti-conscription song, spring 1811. Archives Nationales (AN), F/7/3489, Police des livres imprimés (1810-14), March 1811.
Figure 16.2 Orangist pamphlet, which circulated in March 1813, when many Orangist songs were sung to celebrate the birthday of the hereditary prince William Frederick. Archives Nationales (AN), F/7/3064, Rapports du directeur de la police en Hollande, Pau
List of illustrations
List of Contributors
Index
