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Schama explores the mysterious contradicti*** of the Dutch nation that invented itself from the ground up, attained an unprecedented level of affluence, and lived in c***tant dread of being corrupted by happiness. Drawing on a vast array of period documents and sumptuously reproduced art, Schama re-creates in precise detail a nation's mental state. He tells of bloody uprisings and beached whales, of the cult of hygiene and the plague of tobacco, of thrifty housewives and profligate tulip-speculators. He tells us how the Dutch celebrated themselves and how they were slandered by their enemies.

"History on the grand scale...An ambitious portrait of one of the most remarkable episodes in modern history."--New York Times

"Wonderfully inclusive; with wit and intense curiosity he teases out meaning from every ***ect of Dutch seventeenth-century life."--Robert Hughes

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Simon Schama is University Professor of Art History and History at Columbia University in New York. His publicati*** include Patriots and Liberators, The Embarrassment of Riches, Citizens, Dead Certainties, Landscape and Memory, and Rembrandt's Eyes.

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"What other people", wrote the nineteenth-century critic-politician Théophile Thoré, "has written its history in its art?" Unlike the art of Renaissance Italy, Dutch art, he thought, was so much the record of the here and now, of "la vie vivante," anchored in a specific time and place. It was the record of "the men and the matter, the sentiments and habits, the deeds and gestures of a w*** nation." And the quality of social document inherent in much of Dutch art does indeed make it an irresistible source for the cultural historian.

Treating art as a kind of historical evidence, though, has dangers for the unwary. Thoré also supposed it to be "a sort of p***ography of their great seventeenth century," a phrase that has been used time and again to suggest the kind of descriptive li***lism...

Surprisingly, then, the Dutch art invites the cultural historian to probe below the surface of appearances. By illuminating an interio***orld as much as illustrating an exterior one, it moves back and forth between morals and matter, between the durable and the ephemeral, the concrete and the imaginary, in a way that was peculiarly Netherlandish...Thoré thought nature morte absurdly inappropriate a term for the heaps of fruit, flowers, or fishh that in some Dutch pictures sat carefully on white linen, on others tumbled over silver and glass. Still life was a misnomer, he wrote, for these things still live; they respire. Life in death; animation in immobility; the illusion of vitality and the reality of inertia: all these polarities seemed deliberately made to rebound off each other. Even a...

A great deal of this relatively happy situation was due to Holland's pivotal position in the seventeeth0-century grain trade. Growing little herself, the Republic virtually controlled the production of wheat and rye in Poland, East Prussia, Swedish Pomerania and Livonia, by virtue of her dominance over Baltic shipping. Amsterdam, Rotterdam and Middelburg all had massive silo granaries, where the surplus of one year could be stocked to provide against the shortfall of the next. And as a result, prices fluctuated relatively little, with the exception of the 1650s, when the combination of bad harvests in the east and naval wars with both the English and Scandinavian powers interrupted normal supplies... And the impression given from food historians is that, rather than spend a disproportionat...

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Schama explores the mysterious contradicti*** of the Dutch nation that invented itself from the ground up, attained an unprecedented level of affluence, and lived in c***tant dread of being corrupted by happiness. Drawing on a vast array of period documents and sumptuously reproduced art, Schama re-creates in precise detail a nation's mental state. He tells of bloody uprisings and beached whales, of the cult of hygiene and the plague of tobacco, of thrifty housewives and profligate tulip-speculators. He tells us how the Dutch celebrated themselves and how they were slandered by their enemies.

"History on the grand scale...An ambitious portrait of one of the most remarkable episodes in modern history."--New York Times

"Wonderfully inclusive; with wit and intense curiosity he teases out meaning from every ***ect of Dutch seventeenth-century life."--Robert Hughes