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With headquarters at Rotterdam one may make certain small journeys into the neighbourhood—to Dordrecht by river, to Delft by canal, to Gouda by canal; or one may take longer voyages, even to Cologne if one wishes. But I do not recommend it as a city to linger in. Better than Rotterdam’s large hotels are, I think, the smaller, humbler and more Dutch inns of the less commercial towns. This indeed is the case all over Holland: the plain Dutch inn of the neighbouring small town is pleasanter than the large hotels of the city; and, as I have remarked in the chapter on Amsterdam, the distances are so short, and the trains so numerous, that one suffers no inconvenience from staying in the smaller places.
Gouda (pronounced Howda) it is well to visit from Rotterdam, for it has not enough to repay a sojourn in its midst. It has a Groote Kerk and a pretty isolated white stadhuis. But Gouda’s fame rests on its stained glass—gigantic representations of myth, history and scripture, chiefly by the brothers Crabeth. The windows are interesting rather than beautiful. They lack the richness and mystery which one likes to find in old stained glass, and the church itself is bare and cold and unfriendly. Hemmed in by all this coloured glass, so able and so direct, one sighs for a momentary glimpse of the rose window at Chartres, or even of the too heavily kaleidoscopic patterns of Brussels Cathedral. No matter, the Gouda windows in their way are very fine, and in the sixth, depicting the story of Judith and Holofernes, there is a very fascinating little Düreresque tower on a rock under siege.
If one is taking Gouda on the way from Rotterdam to Amsterdam, the surrounding country should not be neglected from the carriage windows. Holland is rarely so luxuriant as here, and so peacefully beautiful.
A chapter from
A Wanderer in Holland, 1905
AMSTERDAM
By E. V. Lucas
Amsterdam is notable for two possessions above others: its old canals and its old pictures. Truly has it been called the Venice of the North; but very different is its sombre quietude from the sunny Italian city among the waters. There is a beauty of gaiety and a beauty of gravity; and Amsterdam in its older parts—on the Keizersgracht and the Heerengracht—has the beauty of gravity. In Venice the canal is of course also the street: gondolas and barcas are continually gliding hither and thither; but in the Keizersgracht and the Heerengracht the water is little used. One day, however, I watched a costermonger steering a boat-load of flowers under a bridge, and no words of mine can describe the loveliness of their reflection. I remember the incident particularly because flowers are not much carried in Holland, and it is very pleasant to have this impression of them—this note of happy gaiety in so dark a setting.
An unprotected roadway runs on either side of the water, which makes the houses beside these canals no place for Charles Lamb’s friend, George Dyer, to visit in. Accidents are not numerous, but a company exists in Amsterdam whose business it is to rescue such odd dippers as horses and carriages by means of elaborate machinery devised for the purpose. Only travellers born under a luckier star than I are privileged to witness such sport.
In the main Amsterdam is a city of trade, of hurrying business men, of ceaseless clanging tramcars and crowded streets; but on the Keizersgracht and the Heerengracht you are always certain to find the old essential Dutch gravity and peace. No tide moves the sullen waters of these canals, which are lined with trees that in spring form before the narrow, dark, discreet houses the most delicate green tracery imaginable; and in summer screen them altogether. These houses are for the most part black and brown, with white window frames, and they rise to a great height, culminating in that curious stepped gable (with a crane and pulley in it) which is, to many eyes, the symbol of the city. I know no houses that so keep their secrets. In every one, I doubt not, is furniture worthy of the exterior: old paintings of Dutch gentlemen and gentlewomen, a landscape or two, a girl with a lute and a few tavern scenes; old silver windmills; and plate upon plate of serene blue Delft. (You may see what I mean in the Suasso rooms at the Stedelijk Museum.) I have walked and idled in the Keizersgracht at all times of the day, but have never seen any real signs of life. Mats have been banged on its doorsteps by clean Dutch maidservants armed with wicker beaters; milk has been brought in huge cans of brass and copper shining like the sun; but of its life proper the gracht has given no sign. Its true life is houseridden, behind those spotless and very beautiful lace curtains, and there it remains.
One of the wittiest of the old writers on Holland (of whom I said something in the second chapter), Owen Feltham the moralist, describes in his Brief Character of the Low Countries an Amsterdam house of the middle of the seventeenth century. Thus:—
When you are entered the house, the first thing you encounter is a Looking-glasse. No question but a true Embleme of politick hospitality; for though it reflect yourself in your own figure, ’tis yet no longer than while you are there before it. When you are gone once, it flatters the next commer, without the least remembrance that you ere were there.
The next are the vessels of the house marshalled about the room like watchmen. All as neat as if you were in a Citizen’s Wife’s Cabinet; for unless it be themselves, they let none of God’s creatures lose any thing of their native beauty.
Their houses, especially in their Cities, are the best eye-beauties of their Country. For cost and sight they far exceed our English, but they want their magnificence. Their lining is yet more rich than their outside; not in hangings, but pictures, which even the poorest are there furnisht with. Not a cobler but has his toyes for ornament. Were the knacks of all their houses set together, there would not be such another Bartholmew-Faire in Europe. . . .
Their beds are no other than land-cabines, high enough to need a ladder or stairs. Up once, you are walled in with Wainscot, and that is good discretion to avoid the trouble of making your will every night; for once falling out else would break your neck perfectly. But if you die in it, this comfort you shall leave your friends, that you dy’d in clean linnen.
Whatsoever their estates be, their houses must be fair. Therefore from Amsterdam they have banisht seacoale, lest it soyl their buildings, of which the statelier sort are sometimes sententious, and in the front carry some conceit of the Owner. As to give you a taste in these.
Christus Adjutor Meus;
Hoc abdicato Perenne Quero;
Hic Medio tuitus Itur.
Every door seems studded with Diamonds. The nails and hinges hold a constant brightnesse, as if rust there was not a quality incident to Iron. Their houses they keep cleaner than their bodies; their bodies than their souls. Goe to one, you shall find the Andirons shut up in net-work. At a second, the Warming-pan muffled in Italian Cutworke. At a third the Sconce clad in Cambrick.
The absence of any lively traffic on the canals, as in Venice, has this compensation, that the surface is left untroubled the more minutely to mirror the houses and trees, and, at night, the tramcars on the bridges. The lights of these cars form the most vivid reflections that I can recollect. But the quiet reproduction of the stately black façades is the more beautiful thing. An added dignity and repose are noticeable. I said just now that one desired to learn the secret of the calm life of these ancient grachts. But the secret of the actual houses of fact is as nothing compared with the secret of those other houses, more sombre, more mysterious, more reserved, that one sees in the water. To penetrate their impressive doors were an achievement, a distinction, indeed! With such a purpose suicide would lose half its terrors.
For the greatest contrast to these black canals, you must seek the Kalverstraat and Warmoes Straat. Kalverstraat, running south from the Dam, is by day filled with shoppers and by night with gossipers. No street in the world can be more consistently busy. Damrak is of course always a scene of life, but Damrak is a thoroughfare—its population moving continually either to or from the station. But those who use the Kalverstraat may be said almost to live in it. To be there is an end in itself. Warmoes Straat, parallel with Damrak on the other side of the Bourse, behind the Bible Hotel, is famous for its gigantic restaurant—the hugest in Europe, I believe—the Krasnapolsky, a palace of bewildering mirrors, and for concert halls and other accessories