Back in the 16th-century Netherlands, the high and mighty often used waterproof stoneware jugs, which were practical and fancy signs of wealth. A few years ago, during the construction of a parking garage in Delft, an example was found which has a fascinating link to Poland: it is decorated with the portrait of King Stephen Báthory, who ruled the Polish-Lithuanian Commonwealth from 1576 to 1586, as well as with several coats of arms, including those of Royal (Polish) Prussia and the city of Gdańsk. Moreover, it is dated 1586 and carries the maker’s initials: JEM, which points to Jan Emens Mennicken. Mennicken was a prolific potter from the Duchy of Limburg, in modern-day Belgium. His stoneware jugs were of the highest quality, and can be found in multiple museums.
Since the jug was apparently made for the Polish market, it is unclear how it ended up in Delft. Perhaps it was bought by a Dutch merchant in Gdańsk? Another intriguing explanation has to do with diplomacy. In 1586, the year of the jug’s production, Báthory sent an ambassador to the Netherlands. This Krzysztof Głoskowski was meant to persuade the Dutch to stop their revolt against the Spanish Habsburgs. He delivered a Latin speech before the States-General, which at that time assembled in… Delft! The exchange of gifts was an important part of diplomatic practice. It is possible, though uncertain, that Mennicken was commissioned by the Polish court and/or the city of Gdańsk to produce the jug, after which Głoskowski may have offered it to the States-General as a token of friendship, a reminder of the importance of Gdańsk as a trading partner of the Dutch and a symbol of Báthory’s authority.
A 3D reconstruction of the jug can be viewed here.
*I originally wrote this post for the social media outlets of the Dutch Embassy in Poland. This was post no. 42.
Hoekstra placed himself in that same 17th-century tradition by quoting the famed Dutch poet Joost van den Vondel, who praised Gdańsk in 1635 to boost the grain trade. Almost 400 years later, Vondel’s poem thus once again served to bolster Dutch-Polish relations. Also, Vondel’s definition of Gdańsk as “queen of the northern region” is a translation of a Latin verse about Gdańsk by the Polish poet Sarbiewski/Sarbievius, published in 1634. In other words: Hoekstra quoted Vondel quoting Sarbiewski. This is some serious intertextuality! Moreover, my own paper on early modern diplomacy has become part of the modern diplomatic process. And so have I: the fact that I’m a “Dutch historian” is especially relevant in this context (Hoekstra missed the opportunity to say that I’m also Polish, however).
Poland and the Netherlands share a rich history in sports. Right now, for instance, the two countries together host the Volleyball World Championship for women. An interesting older Dutch-Polish connection relating to women’s sports dates from 1928, when Amsterdam hosted the Summer Olympics. It was the first time women were allowed to participate in athletic and gymnastic events at the Olympic competition. The world champion in the field of discus throwing, the Polish Halina Konopacka, won the gold medal in that discipline, smashing both her personal and the world records. In addition, it was the first Olympic gold medal ever won on behalf of Poland. Konopacka was considered a beautiful athlete, which earned her the nickname “Miss Olympia”.
On this day in 1869, the city of Groningen witnessed a wondrous spectacle: the re-enactment of the entrance of King Jan III Sobieski of Poland into Vienna, in September 1683. At 7 pm, a masquerade of over seventy lavishly clad Dutch students began its passage through the city center, both on foot and on horseback. Such student masquerades were a common phenomenon in the nineteenth-century Netherlands, and they often portrayed specific historical events. An accompanying booklet enthusiastically relates Sobieski’s victory over the Turks at the Battle of Vienna, on 12 September 1683, and it also lists the masquerade’s participants, the roles they played, and the route they took through Groningen. Moreover, the booklet contains a small print based on a larger, colored illustration by the local artist Otto Eerelman. It depicts the masquerade as a long string of men in historical costumes of Polish and Austrian or German soldiers and clergymen, many wielding sabers, war hammers, lances, and flags. At the center of the print stands the masquerade’s main figure: Sobieski. Naturally, the print gives a fictional impression of the event, but one can imagine the excitement the masquerade must have caused in Groningen, which for one evening in 1869 played the role of Vienna welcoming Jan III Sobieski in 1683.
On 12 September 1683, King Jan III Sobieski of Poland achieved a decisive victory at the Battle of Vienna. In July that year, Turkish forces had laid siege to the imperial city as part of a campaign designed to strengthen the Ottoman Empire’s influence in Europe. Emperor Leopold I allied himself with Sobieski, who rode to Vienna’s aid and took command of the city’s relief. After the final battle took place, the Turks were routed and forced to retreat, eventually losing their foothold in Hungary and Transylvania.
De titelpagina van het gedicht vermeldt dat de tekst in september 1656 op een schip voor Gdańsk is geschreven “door een Hollandisch Domine gebooren tot Polnisch Liss [Leszno]”. Die aanduiding wijst op Arnoldus. Het Poolse gedicht wordt voorafgegaan door een voorwoord in het Nederlands, waarin de auteur bescheiden stelt geen van beide talen goed te beheersen: “van alles kan ik een beetje, maar niks beheers ik volledig”. Bovendien maakt het voorwoord duidelijk dat Arnoldus betaald kreeg door een Nederlandse “admiraal” – vermoedelijk een van de scheepsvoogden die een paar maanden daarvoor met een vloot naar Gdańsk waren gevaren. Met andere woorden: Arnoldus handelde onder patronage van de Nederlanders.