Dangerous Drugs: The Self-Presentation of the Merchant-Poet Joannes Six van Chandelier (1620-1695)

by Ronny Spaans

Amsterdam University Press, 2020
Cloth: 978-94-6298-254-3 | eISBN: 978-90-485-3258-2

ABOUT THIS BOOK | TOC

ABOUT THIS BOOK

n the 17th century, the Dutch Republic was the centre of the world trade in exotic drugs and spices. They were sought after both as medicines, and as luxury objects for the bourgeois class, giving rise to a medical and moral anxiety in the Republic. This ambivalent view on exotic drugs is the theme of the poetry of Joannes Six van Chandelier (1620-1695). Six, who himself ran the drug shop ‘The Gilded Unicorn’ in Amsterdam, addresses a number of exotic medicines in his poems, such as musk, incense, the miracle drug theriac, Egyptian mumia, and even the blood of Charles I of England. In Dangerous Drugs, these texts are studied for the first time. The study shows how Six, through a process of self-presentation as a sober and restrained merchant, but also as a penitent sinner, thirsting for God’s grace, links early modern drug abuse to different desires, such as lust, avarice, pride and curiosity. The book shows also how an early modern debate on exotic drugs contributed to an important shift in early modern natural science, from a drug lore based on mythical and fabulous concepts, to a botany based on observation and systematic examination.

TABLE OF CONTENTS

Cover

Table of Contents

List of Illustrations

Figures

Acknowledgements

Part I: Introduction

1. Theory and reception

Fig. 1.1: Pieter Schenk, Asia, c. 1670–c. 1713. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 1.2: Joachim von Sandrart, Portrait of Caspar Barlaeus, c. 1637–1643. Brush on paper. (© Rijksmuseum, Amsterdam).

Fig. 1.3: Hendrick Goltzius, Portrait of Dirck Volckertsz Coornhert, c. 1591–1592. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 1.4: Kalverstraat 2–4, with ‘De Vergulde Eenhoorn’. ‘De Vergulde Eenhoorn’ was demolished at the beginning of the 20th century, 1900. Photograph. (© Amsterdam Stadsarchief).

Fig. 1.5: The ledger of the Exchange Bank in Amsterdam, 1670, nr. 71, p. 457. Photograph. (© Amsterdam Stadsarchief).

Part II: Medicinal and Sacred Drugs

2. The sober druggist

Fig. 2.1: Claes Jansz. Visscher, Flax and hemp industry. In the background a ropework can be seen. 1608. Etching. (© Rijksmuseum, Amsterdam).

3. Drugs in the Wunderkammer

Fig. 3.1: Jan van Somer, Sijbrand Feitama, 1685. Parchment drawing. (© Amsterdam Historical Museum).

Fig. 3.2: Illustration of unicorns and a bezoar goat with a bezoar stone in Pierre Pomet, Der aufrichtige Materialist und Specereÿ-Händler […], 1717. (© University Library of Oslo).

Fig. 3.3: Human heads were also found in other early modern cabinets of curiosities. Here an illustration from Benedicto Ceruti and Andrea Chiocco, Musaeum Franc. Calceolarii jun. Veronensis, 1622. (© University Library of Oslo).

Fig. 3.4: Jacob Matham (attributed to), after Hendrick Goltzius, Avarice, c. 1585–1589. Engraving. (© Rijksmuseum, Amsterdam).

4. Drugs as remedies

Fig. 4.1: Illustration of Cornelis van Dalen (I) & Crispijn van de Passe (II), the title page of Johan van Beverwijck, Alle de wercken, zo in de medicyne als chirurgie, 1656. (© Rijksmuseum, Amsterdam).

Fig. 4.2: Wenceslaus Hollar, Murey snail. A snail from the same family as the purple snail, c. 1644–1652. Etching. (© Rijksmuseum, Amsterdam).

Fig. 4.3: Cornelis Ploos van Amstel after Gerbrand van den Eeckhout, Botanicus, c. 1780–1787. Ink and brush. Illustration on title page of Petrus Nylandt, De Nederlandtse Herbarius of Kruydt-boeck. (© Rijksmuseum, Amsterdam).

Fig. 4.4: Ninove Abbey, illustration from Antonius Sanderus, Flandria Illustrata, 1735. (© University Library of Oslo).

Fig. 4.5: Anonymous, The Taste, c. 1683–1684. Etching. (© Rijksmuseum, Amsterdam).

Fig. 4.6: Jan Luyken, Health, c. 1688. Etching. (© Rijksmuseum, Amsterdam).

Fig. 4.7: Wenceslaus Hollar, Mineral Spring in Spa, c. 1625–1677. Etching. (© Rijksmuseum, Amsterdam).

Fig. 4.8: Johann Gelle, Christ as Apothecary, 1609. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 4.9: Nicolaes Jansz. Clock, A Cuckold, c. 1586–1602. Engraving. (© Rijksmuseum, Amsterdam).

5. Drugs as material and linguistic cosmetics

Fig. 5.1: Anselmus Boëtius de Boodt, Civet cat, c. 1596–1610. Brush. (© Rijksmuseum, Amsterdam).

Fig. 5.2: Harmen de Mayer, Portrait of Petrus Wittewrongel, 1650. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 5.3: Lucas Vorsterman (I), after Adriaen Brouwer, Superbia. An old woman is putting on make-up, c. 1619–1675. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 5.4: Anonymous, Mary with Child, 1590–1599. Engraving. (© Rijksmuseum, Amsterdam).

6. Drugs as explosives

Fig. 6.1: Andries van Buysen (Sr.), Portrait of the Poet Jan Vos, 1726. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 6.2: Caspar Luyken, The Delft Thunderclap, 1698. Etching. (© Rijksmuseum, Amsterdam).

Fig. 6.3: Romeyn de Hooghe (attributed to), after Romeyn de Hooghe, Sibyl of Delphi, 1688. Engraving. (© Rijksmuseum, Amsterdam).

7. Drugs as Sacred Offerings

Fig. 7.1: Onofrio Panvinio, after Jan Snellinck (I), after Maarten van Heemskerck, Triumph Procession with Incense, 1618. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 7.2: Crispijn van de Passe (I), after Maerten de Vos, The fall of Icarus, c. 1602–1607. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 7.3: Pieter Nolpe, after Claes Moeyaert, Maria de’ Medici as Cybele, 1638. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 7.4: Jacob Folkema, after Govert Flinck, Portrait of Reyer Anslo, 1713. Engraving. (© Rijksmuseum, Amsterdam).

8. Drugs as intoxicants

Fig. 8.1: Pietro Aquila, after Pietro da Cortona, The Triumph of Bacchus, c. 1660–1692. Etching. (© Rijksmuseum, Amsterdam).

Fig. 8.2: Illustration of Furor poeticus in Cesare Ripa, Iconologia, 1644. (© Privately owned).

Fig. 8.3: Johannes Lutma, Portrait Bust of Joost van den Vondel, c. 1634–1689. Paper. (© Rijksmuseum, Amsterdam).

Fig. 8.4: Illustration of a Bird of Paradise in Ambroise Paré, De chirurgie, ende alle de opera, ofte wercken, 1636. (© Privately owned.)

Part III: Divine Blood for Sale

9. The human body as a drug

Fig. 9.1: Illustration of Mumia, in: Pierre Pomet, Der aufrichtige Materialist und Specereÿ-Händler […], 1717. (© University Library of Oslo).

Fig. 9.2: Philips Galle, after Frans Floris (I), The Anointing of King Solomon, c. 1557–1570. Engraving. (© Rijksmuseum, Amsterdam).

Fig. 9.3: Theodoor Galle (possibly), after Peter Paul Rubens, Crucifixion of Jesus, with the drinking of Christ’s blood. The symbolism of Six’s poem is thus also to be found in Dutch art. 1612–1616. Engraving. (© Rijksmuseum, Amsterdam).

10. Conclusion

Appendix I: ‘Rariteiten te koop’

Appendix II: Family and business network of Joannes Six van Chandelier

Bibliography

General index

Index of poems by Joannes Six van Chandelier

Plate 2: Unknown, Dutch apothecary or drug store from the 17th century. The druggist stands in the front, and to the right probably his mother, with an orange in her hand. The scene could have been Six’s ‘De vergulde eenhoorn’. 1686. Oil on panel. (© Ap

Plate 3: Egbert van Heemskerk, An Alchemist in His Study, 17th century. Oil on canvas. (© Science History Institute, Philadelphia).

Plate 5: Jacob Marrel, Two Tulips with Shell , Butterfly, Spider and Ladybug,, 1640. Brush on parchment. (© Rijksmuseum, Amsterdam).

Plate 6: Pieter Gallis, Still Life with Fruit. Both peach and melon are depicted in Six’s ‘literary still lifes’. 1673. Oil on canvas. (© Rijksmuseum, Amsterdam).

Plate 7: Job Adriaensz. Berckheyde, The Merchant of Colours, c. 1670–1690. Oil on panel. (© BPK Bildagentur / Museum der Bildenden Kunste, Leipzig / Ursula Gerstenberger).

Plate 8: Jacob Jordaens, Triumph of Frederick Henry, 1651. Oil on canvas. (© Koninklijke Verzamelingen, The Hague / State of the Netherlands. Photographer: Margareta Svensson).

Plate 9: Jacob van Campen, Part of the Triumphal Procession, with Gifts from the East and the West, 1651. Oil on canvas. (© Koninklijke Verzamelingen, The Hague / State of the Netherlands. Photographer: Margareta Svensson).

Plate 10: Paolo Antonio Barbieri, The Spice Shop. The apothecary is making theriac. 1637. Oil on canvas. (© Bridgeman Images).

Plate 11: Gerard Dou, The Quacksalver, 1652. Oil on panel. (© Museum Boijmans Van Beuningen, Rotterdam. Loan: Stichting Museum Boijmans Van Beuningen / photographer: Studio Tromp, Rotterdam).

Plate 12: Frans Hals, Portrait of Johannes Hoornbeeck, 1645. Oil on canvas. (© Koninklijke Musea voor Schone Kunsten van België, Brussels / photographer: J. Geleyns – Art Photography).

Plate 13: Peter Paul Rubens, The Discovery of Tyrian Purple. According to the myth, Hercules and his dog were walking on the beach on their way to court a nymph named Tyro. The dog bit a sea snail, and the snail’s blood dyed the dog’s mouth. Seeing this,

Plate 14a: Unknown, Charles I, 1600–1649. Reigned 1625–1649 (The Execution of Charles I), c. 1649. Oil on canvas. (© National Galleries of Scotland. On loan from Lord Dalmeny since 1951).

Plate 14b: Detail of Unknown, Charles I, 1600–1649. Reigned 1625–1649 (The Execution of Charles I), c. 1649. Oil on canvas. (© National Galleries of Scotland. On loan from Lord Dalmeny since 1951).

Plate 15: Anonymous, Allegory of Charles I of England and Henrietta of France in a Vanitas, after 1949. Oil on canvas. (© Birmingham museum of Art).

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