Going Dutch_ How England Plundered Holland's Glory - Lisa Jardine [185]
14 They had left The Hague on the evening of 7 June: ‘En Angleterre aveq Carleton’, 7 June 1618 (Dagb., p.9).
15 J.A. Worp (ed.), De briefwisseling van Constantijn Huygens (1608–1687), 1 (1608–1634) (’s-Gravenhage: Martinus Nijhoff, 1911), p.21.
16 A.G.H. Bachrach, Sir Constantine Huygens and Britain, 1 (Leiden and Oxford: Brill and Oxford University Press, 1962), pp.113–17.
17 See H.J. Louw, ‘Anglo-Netherlandish architectural interchange c.1600–c.1660’, Architectural History 24 (1981), 1–22 and 125–144; 4.
18 Bachrach, Sir Constantine Huygens, p.139.
19 Bachrach seems to suggest that this occasion followed immediately after the June encounter with King James, but that is not what is suggested by the documents. See ibid., pp.139–40.
20 Ibid., p.218.
21 See ibid., pp.179–80. Huygens also had a significant encounter with Charles, Prince of Wales (the future Charles I). See Bachrach, Huygens and Britain, p.161.
22 Fifty years later, Huygens expressed admiration for another solo viol-player in the English style, Dietrich Stoeffken. See T. Crawford, ‘“Allemande Mr. Zuilekom”. Constantijn Huygens’s sole surviving instrumental composition’, Tijdschrift van de Vereniging voor Neederlandse Muziekgeschiedenis 37 (1987), 175–81; 177.
23 See J. Zijlmans, ‘Life at the Hague Court’, in Keblusek and Zijlmans, Princely Display, pp.30–46; 37.
24 On shared and distinctive musical traditions in England and the northern Netherlands in this period see J.A. Westrup, ‘Domestic music under the Stuarts’, Proceedings of the Musical Association (1941–42), 19–53; R.A. Rasch, ‘Seventeenth century Dutch editions of English instrumental music’, Music and Letters 53 (1972), 270–3. On Huygens’s own musical production see T. Crawford, ‘“Allemande Mr. Zuilekom”’, 175.
25 See Brotton, The Sale of the Late King’s Goods.
26 See e.g. Bachrach, Sir Constantine Huygens, p.110 and footnote 1.
27 George Gage, Toby Matthew and Inigo Jones accompanied the Earl of Arundel on his art-collecting travels around Italy, where they acquired their expertise as Continental agents buying and selling art (see also Toby Matthews’s letter to Carleton about acquiring Rubens and van Dyck in 1620).
28 Cit. Muller, ‘Rubens’s museum’, p.571.
29 Ibid., p.575.
30 This account of Rubens’s transaction with Carleton is based on Simon Schama, Rembrandt’s Eyes (Harmondsworth: Allen Lane for Penguin Press, 1999), pp.175–6.
31 W.N. Sainsbury (ed.), Original Unpublished Papers illustrative of the Life of Sir Peter Paul Rubens, as an artist and diplomatist, preserved in H.M. State Paper Office (London: Bradbury & Evans, 1859), p.27.
32 Ibid., p.39.
33 Ibid., p.45.
34 Muller, ‘Rubens’s museum’, p.575.
35 Sainsbury, Original Unpublished Papers, p.38.
36 See Bachrach, Sir Constantine Huygens, p.142. See also S. Schama, The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age (London: Collins, 1987), p.258.
37 R. Hill, ‘Ambassadors and art collecting in early Stuart Britain: The parallel careers of William Trumbull and Sir Dudley Carleton, 1609–1625’, Journal of the History of Collections 15 (2003), 211–28; 216.
38 A.G.H. Bachrach, Sir Constantine Huygens and Britain, 1 (Leiden and Oxford: Brill and Oxford University Press, 1962), pp.110–11.
39 SP 84/85/176 Mytens to Carleton, London, 18 August 1618, cit. R. Hill, ‘Sir Dudley Carleton and his relations with Dutch artists 1616–1632’, 255–74; 268; (SP 84/86/103).
40 P. McEvansoneya, ‘The sequestration and dispersal of the Buckingham collection’, Journal of the History of Collections 8 (1996), 133–54.
41 See Keblusek and Zijlmans, Princely Display.
42 According to Schama it was in the course of this art-buying spree that Huygens discovered Jan Lievens and Rembrandt as Protestant, Dutch Republic artists