Abstract

In 1638, Caspar Barlaeus penned the Medicea hospes, a description of Amsterdam’s festive reception of French Queen Marie de Médicis in September of that year. The first of its kind in the Dutch Republic, the sumptuously illustrated volume featured seventeen etchings, including seven views of the celebrations that took place within the city. This essay examines the illustrations in the Medicea hospes with respect to Barlaeus’s prose. I suggest that the images depart from the pictorial conventions of European ceremonial books and instead engage native artistic and literary traditions to evoke peace and prosperity in a Dutch idiom. I situate the visual and textual aggrandisement of Amsterdam within the context of urban rivalries and the political framework of the 1630s, a time when the vroedschap attempted to influence foreign policy in favor of a truce with Spain, and assert the city’s economic and cultural preeminence at home and abroad. The Medicea hospes, I argue, affirmed a positive image of Amsterdam and served as a political vehicle for the vroedschap’s peace efforts.

摘要

1638年，卡斯珀·巴劳厄斯（Caspar Barlaeus）写下了Medicea hospes，这是当年9月阿姆斯特丹对法国女王玛丽·梅迪基斯女王的节日招待的描述。该画册是荷兰共和国的首个此类作品，其插图精美地刻有十七幅蚀刻版画，其中包括该市内举行的庆祝活动的七幅视图。本文考察了梅迪西娅·侯赛德关于巴劳斯散文的插图。我建议这些图像应与欧洲礼仪书籍的绘画惯例背道而驰，而应采用当地的艺术和文学传统，以荷兰的成语来唤起和平与繁荣。我将阿姆斯特丹的视觉和文字强化置于城市竞争和1630年代政治框架的背景下，vroedschap试图通过与西班牙休战来影响外交政策，并主张该市在国内外的经济和文化优势。该Medicea酒店HOSPES，我认为，肯定阿姆斯特丹的正面形象，并担任了政治车辆vroedschap的和平努力。