The Flemish are among the most important if under-appreciated immigrant groups to have shaped the history of medieval and early modern Scotland. Originating in Flanders, Northern Europe's economic powerhouse (now roughly Belgium and the Netherlands), they came to Scotland as soldiers and settlers, traders and tradesmen, diplomats and dynasts, over a period of several centuries following the Norman Conquest of England in the eleventh century. Several of Scotland's major families – the Flemings, Murrays, Sutherlands, Lindsays and Douglases for instance– claim elite Flemish roots, while many other families arrived as craftsmen, mercenaries and religiously persecuted émigrés. Adaptable and creative people, Flemish immigrants not only adjusted to Scotland's very different environment, but left their profound mark on the country's economic, social and cultural development. From pantiles to golf, from place names to town planning, the evidence of Flemish influence is still readily traceable in Scotland today. This book examines the nature of Flemish settlement in Scotland, the development of economic, diplomatic and cultural links between Scotland and Flanders, and the lasting impact of the Flemish people on Scottish society and culture.
This book provides a vivid and accessible history of first-generation immigrants to England in the later Middle Ages. Accounting for upwards of two percent of the population and coming from all parts of Europe and beyond, immigrants spread out over the kingdom, settling in the countryside as well as in towns, taking work as agricultural labourers, skilled craftspeople and professionals. Often encouraged and welcomed, sometimes vilified and victimised, immigrants were always on the social and political agenda. Immigrant England is the first book to address a phenomenon and issue of vital concern to English people at the time, to their descendants living in the United Kingdom today and to all those interested in the historical dimensions of immigration policy, attitudes to ethnicity and race and concepts of Englishness and Britishness.
Flemish artist Sir Peter Paul Rubens (1577-1640) was one of the most internationally admired painters in seventeenth-century Europe, whose patrons included the rulers of France, Spain, Mantua and the Netherlands. Demonstrating Rubens' fluidity and freedom of invention, this work exemplifies his role as diplomatic envoy to Britain.
The word ""Flemish"" refers to the people living in the North of Belgium and France and the South of the Netherlands. The Flemish, also called ""Flemings,"" are of Germanic (Frank) origin. When the Franks invaded what is now Belgium, they settled between the sea and the ""charcoal forest,"" a dense old-growth forest of beech and oak, which extended to the Rhine and formed a natural boundary during the Late Iron Age through Roman times into the Early Middle Ages. The county of Flanders was created 864 when the French king Charles the Bald granted it as a fief to his son-in-law Baldwin with the Iron Arm. Flanders was a part of France but distinguished itself from the rest of the country with its Germanic Flemish population and close economic ties to England. Unlike other French fiefs it was never returned to the French king's control, instead Flanders became a part of the duke of Burgundy's possessions in 1384, which would evolve into present day Belgium.
Immigrants from the Low Countries constituted the largest population of resident aliens in early modern England. Possessing superior technology in a number of fields and enjoying governmental protection, the Flemish were charged by many native artisans with unfair economic competition. With xenophobic sentiments running so high that riots and disorders occurred throughout the sixteenth century, Elizabeth I directed her dramatic censor to suppress material that might incite further disorder, forcing playwrights to develop strategies to address the alien problem indirectly. Representations of Flemish Immigrants on the Early Modern Stage describes the immigrant community during this period and explores the consistently negative representations of Flemish immigrants in Tudor interludes, the impact of censorship, the playwrighting strategies that eluded it, and the continuation of these methods until the closing of the theatres in 1642.
In this volume, the renowned linguist Nicoline van der Sijs glosses over some 300 Dutch loan words that travelled to the New World between the 17th and the 20th century.
By examining their production practices in a variety of genres?including manuscript illustration, glass painting and staining, tapestry manufacture, portrait painting, and engraving?this book explores how Netherlandish artists migrating to England in the early modern period overcame difficulties raised by their outsider status. This study examines, for the first time in this context, the challenges of alien status to artistic production and the effectiveness of cooperation as a countermeasure. The author demonstrates that collaboration was chief among the strategies that these foreigners chose to secure a position in London's changing art market. Curd's exploration of these collaborations primarily follows Pierre Bourdieu's model of "establishment and challenger" in which dominance in a field of cultural production depends upon how much cultural, political, and economic capital can be accumulated and the effectiveness of the strategies used to confront competition. The analysis presented here challenges received opinion that a collaborative work is only a joint effort of artists working together on a single monument by demonstrating that the participation of patrons and middlemen can also shape the final appearance of a work of art. Furthermore, this book shows that the strategic use of collaboration served the goal of competition by helping to establish foreign artists in the London art market and suggests that their coping strategies have implications for the study of immigrant behaviors today.