A Wanderer in Holland — Reading Notes

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In Category - Geography
Lucas, E. V. (Edward Verrall), 1868-1938, Marshall, Herbert, R. W. S., 1841-1913 [Illustrator] Project Gutenberg 2005 Not confirmed
Netherlands -- Description and travel; Art, Dutch Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 97,324
Reading time 424 min
Text sections 14

A Wanderer in Holland — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 97,324 words, 7 hr 4 min estimated reading time, and 14 detected text sections.

The text analysis averages about 23.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Netherlands -- Description and travel,” connecting these edition facts with the source record’s subject description.

E. V. Lucas's 1905 travelogue blends sharp-eyed observations of Dutch cities, art, and daily life with quotations from 17th-century English travelers, offering a layered portrait of Holland's architecture, canals, and character.
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Editorial Edition Score 4.9/5

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russels had stood for a franc, now symbolises that far more serious item the florin; and f. 1.50, which used to be a trifle of one and threepence, is now half a crown.

Even in our own country, where we know something about the cost of things, we are continually conscious of the fallacy embodied in the statement that a sovereign is equal to twenty shillings. We know that in theory that is so; but we know also that it is so only as long as the sovereign remains unchanged. Change it and it is worth next to nothing--half a sovereign and a little loose silver. But in Holland the disparity is even more pathetic. To change a sovereign there strikes one as the most ridiculous business transaction of one's life.

Certain things in Holland are dear beyond all understanding. At The Hague, for example, we drank Eau d'Evian, a very popular bottled water for which in any French restaurant one expects to pay a few pence; and when the bill arrived this simple fluid cut such a dashing figure in it that at first I could not recognise it at all. When I put the matter to the landlord, he explained that the duty made it impossible for him to charge less than f. 1.50 (or half a crown) a bottle; but I am told that his excuse was too fanciful. None the less, half a crown was the charge, and apparently no one objects to pay it. The Dutch, on pleasure or eating bent, are prepared to pay anything. One would expect to get a reasonable claret for such a figure; but not in Holland. Wine is good there, but it is not cheap. Only in one hotel--and that in the unspoiled north, at Groningen--did I see wine placed automatically upon the table, as in France.

Rotterdam must have changed for the worse under modern conditions; for it is no longer as it was in Lady Mary Wortley Montagu's day. From Rotterdam in 1716 she sent the Countess of Mar a pretty account of the city: "All the streets are paved with broad stones, and before the meanest artificers' doors seats of various coloured marbles, and so neatly kept that, I will assure you, I walked all over the town yesterday, _incognita_, in my slippers, without receiving one spot of dirt; and you may see the Dutch maids washing the pavement of the street with more application than ours do our bed-chambers. The town seems so full of people, with such busy faces, all in motion, that I can hardly fancy that it is not some celebrated fair; but I see it is every day the same.

"The shops and warehouses are of a surprising neatness and magnificence, filled with an incredible quantity of fine merchandise, and so much cheaper than what we see in England, I have much ado to persuade myself I am still so near it. Here is neither dirt nor beggary to be seen. One is not shocked with those loathsome cripples, so common in London, nor teased with the importunities of idle fellows and wenches, that choose to be nasty and lazy. The common servants and the little shopwomen here are more nicely clean than most of our ladies; and the great variety of neat dresses (every woman dressing her head after her own fashion) is an additional pleasure in seeing the town."

The claims of business have now thrust aside many of the little refinements described by Lady Mary, her description of which has but to be transferred to some of the smaller Dutch towns to be however in the main still accurate. But what she says of the Dutch servants is true everywhere to this minute. There are none more fresh and capable; none who carry their lot with more quiet dignity. Not the least part of the very warm hospitality which is offered in Dutch houses is played by the friendliness of the servants.

Every one in Holland seems to have enough; no one too much. Great wealth there may be among the merchants, but it is not ostentatious. Holland still seems to have no poor in the extreme sense of the word, no rags. Doubtless the labourers that one sees are working at a low rate, but they are probably living comfortably at a lower, and are not to be pitied except by those who still cherish the illusion that riches mean happiness. The dirt and poverty that exist in every English town and village are very uncommon. Nor does one see maimed, infirm or very old people, except now and then--so rarely as at once to be reminded of their rarity.

E. V. Lucas's A Wanderer in Holland (1905) is a travel narrative that moves from city to city—Rotterdam, Delft, The Hague, Amsterdam, and beyond—while weaving in commentary on Dutch painting and literature. The book's structure is episodic, each chapter focusing on a locale, but Lucas frequently interrupts his itinerary with digressions: a quotation from an earlier English traveler, a note on a painting, or a reflection on the character of the people. The excerpts show a writer attentive to surfaces—the cleanliness of houses, the stillness of canals—and to the contrast between the tranquil grachts and the bustling Kalverstraat. Lucas also includes a list of illustrations after Old Dutch Masters, signaling that art is as much a subject as geography.

The Canal as Mirror and Threshold

Lucas returns repeatedly to the image of the canal as a reflective surface. In Amsterdam, he notes that the absence of lively traffic leaves the water “untroubled the more minutely to mirror the houses and trees.” The reflection, he suggests, is more alluring than the actual buildings: the houses in the water are “more sombre, more mysterious, more reserved.” He imagines penetrating their doors as “an achievement, a distinction, indeed!”—so much so that “with such a purpose suicide would lose half its terrors.” This hyperbolic fancy is characteristic of Lucas’s tone: he treats the canal as both a literal feature and a threshold to a more desirable, imagined world. The observation is precise—the tramcars’ lights form “the most vivid reflections”—but the emotional weight is placed on the silent, black façades and the calm they represent.

Crowds, Commerce, and the Jews’ Quarter

Lucas contrasts the quiet canals with Amsterdam’s crowded streets. Kalverstraat, he writes, is “by day filled with shoppers and by night with gossipers”; its population “may be said almost to live in it.” The Warmoes Straat houses the Krasnapolsky restaurant, “a palace of bewildering mirrors.” But the most densely populated area is the Jews’ quarter, which Lucas describes with a mix of ethnographic curiosity and hyperbole: “more parents and children to the square foot than any residential region in Europe.” He struggles through it at sundown on a Saturday, gathering an impression of “seething vivacity.” He notes that Spinoza was born in the Ghetto, at 41 Waterloo Plein, and that Rembrandt lived at No. 4 Jodenbree Straat for sixteen years. The passage also mentions diamond dealers in cafés, turning over stones with a long little-finger nail. Lucas’s tone is observational, not analytical; he reports what he sees without probing social conditions.

Pile-Driving and the City’s Foundation

In a technical aside, Lucas explains that Amsterdam is built on sand, with wooden piles driven through black mud to reach solid ground. Some piles are as long as 52 feet. Watching them driven in, he finds it “impossible to believe that stability can ever be attained, every blow of the monkey accounting for so very many inches.” He contrasts this with pile-driving in England, where progress is faster. The passage grounds the city’s picturesque appearance in a precarious engineering reality. Lucas’s interest in the practical underpinnings of Dutch life—canals, foundations, trade—runs through the book. Here, the sand that saves the city is also a metaphor for endurance: “Amsterdam may be a city builded on the sand; but none the less will it endure.” The observation is typical of Lucas’s method: he moves from a concrete detail to a general reflection, without overstating the connection.

Lucas’s A Wanderer in Holland is best read as a series of impressions rather than a systematic guide. He is more interested in the character of a place—its light, its quiet, its crowds—than in a chronological itinerary. Readers who enjoy the digressions on art and literature will find the book’s texture rewarding; those seeking practical travel information may be frustrated. The excerpts suggest that Lucas’s strongest writing comes when he lingers on a single scene, such as the canal reflections or the Jews’ quarter, and lets the detail accumulate. The illustrations by Herbert Marshall and the reproductions of Old Masters add a visual dimension that complements the text.

Years among these shelves taught me that A Wanderer in Holland holds its landscapes like a whispered confidence, layered with old travelers’ voices beside the canals. It makes me think of another quiet companion, Round about the Carpathians — A Reader’s Guide, whose mountains seem to lean in and listen. Each book, a patient friend who never raises its voice.

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