Dirck Volkertszoon Coornhert (1522 - 29 october 1590) can be called one of the most interesting characters before and during the Eighty Years War. His legacy as a writer, publicist and theologian have had a lasting impression on the Netherlands.
Born in Amsterdam as the youngest son of a cloth merchant his education would be in good hands. Though his father disinherited him after marrying Cornelia Simons. She was twnety-nine where Coornhert was seventeen at the time. A short while later they ended up in Haarlem, nearby Amsterdam. Next to Coornhert's house stood a school where classical works were made, as indeed commissions. A certain Maarten van Heemskerck made an impression on Coornhert and they decided to work together. Coornhert became an etcher and engraver and many of their prints became popular.
After translatingworks of Cicero, Boethius and Seneca into Dutch, Coornhert ended up as the city of Haarlem's secretary. In this position he became quite well known with William the Silent, Prince of Orange. The Reformation and William's protest against the Spanish king made this association a dangerous one. Coornhert got locked up and eventually banished, before returning and helping out as the secretary of the new Dutch Republic.
The Eighty Years War's cause can be partially found in the Reformation and the religious freedom in the Netherlands. Coornhert was quite outspoken to both sides of the conflict. As a Catholic himself, Coornhert was critical on the prosecution of 'heretics' and in the Dutch Republic Coornhert was critical on the Reformers, for instance the predestination thought by Calvinists.
Coornhert thaught moderation and tolerance:"Each wants to dictate another's creed ... This is done by those who formerly taught that such things do not become the Christian".
Through Coornhert's life we can see a line of art and knowledge, properties of a Renaissance humanist. Both sharp in mind and hands. Learning all aspects of life. We can see this on Coornherts portrait:
Books and the staff of Asklepios for science and learning;
Sketches, etching and painters equipment and supplies for the art and his craft;
Musical instruments like lutes for his musicianship and composing;
A longsword, sideswords/rapiers and (parrying) daggers, together with gloves representing the Art of Fencing.
Indeed, Coornhert was a fencer. Some of Maarten van Heemskerck's sketches (printed by Coornhert) can be found back in a manuscript, which once belonged to the contemporary Paulus Hector Mair (1517 - 10th of december 1579). A fencer and avid collector of fencing manuscripts, situated in Augsburg.
Being situated in Haarlem for a good portion of his life (and travelling to the Holy Roman Empire during his banishment) would put Coornhert in a position to have an education in the martial arts from a young age. After the Sacking of Antwerp, Amsterdam became the primary harbour of the lowlands. The connection between the southern harbor of Italy (Venice) and a portal to the north (England, Scandinavia, landwards towards Germany). Indeed, Coornhert would have a martial education in the longsword as a sportsweapon and other one-handed weapons which were common during that day. Another contemporary fencer, Joachim Meyer (1537 - 24th of february 1571) brought the Rapier (sidesword) to Germany. Meyer was to be far from the only one, seeing the recurrence of this weapon in paintings, sketches, etchings and the like during the 16th and 17th century.
Sadly we do not know much about what Coornhert practised with the sideword. However, we try to honour his legacy with the Coornhert Sidesword Gathering. Two days filled focused on the sidesword and Coornhert's broader legacy. Join us on this international event with various instructors and participants!
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