One of the great cities of Europe celebrates its 750^th birthday this year – Amsterdam, capital of the Netherlands, famous for tolerance, trade, and tulips. While the earliest settlements in the region are around a thousand years old, Amsterdam was first mentioned in writing on October 27, 1275, in a privilege by Count Floris of Holland which exempted the city from a bridge toll. Amsterdam quickly developed from these humble beginnings into a local fishery and trade hub, turned itself into a global commercial and cultural center, and is today a modern metropolis. Let’s sail through these developments with board games!

The City on the Water

Amsterdam is an amphibious city. Water flows around it (the Ijsselmeer, over which most people used to come into the city), water flows through it (the Amstel river, after which it is named, and the canals dug later), and even the land on which the buildings stand was won from the watery marshes in a feat of human ingenuity. The need to work together in this communal enterprise did not only strengthen the peasants and craftspeople who had won this land themselves (instead of receiving it from a noble), but also their willingness to put up with each other regardless of differences – the first instance of the famous Amsterdam tolerance.

Amsterdam’s rise was also closely connected to the water: On the one hand, Dutch herring fishers found out about how to cure fish on the ship, enabling them to sail further and catch more instead of having to head home after the first big catch. And in the 14^th century, the count of Holland decreed that all Dutch beer imports from Hamburg, then northern Europe’s brewery, must go through Amsterdam. The city thus became a trade hub, first for these staples of fish and beer, but the local merchants soon branched out to luxury goods, too, especially as the great voyages of discovery brought Europe in direct touch with south and southeast Asia as well as the newly-discovered Americas.

When the Reformation swept Europe in the 16^th century, Amsterdam, unlike many other Dutch cities, did not adopt the new Protestant faith. Yet the city kept its unusual approach to differences of faith and tolerated the local Protestants. Neither Protestantism nor tolerance were acceptable to the ruling Habsburg monarch, Philip II of Spain, who had inherited the suzerainty over the Low Countries from his father, emperor Charles V. Yet while both Philip and Charles were ardent Catholics, they had a very different relationship with the Low Countries. Charles had been born and brought up there, living his happiest years not far from Amsterdam. Philip was a Spaniard in everything, regarding the Dutch with suspicion. And as they started rebelling against him – for the Protestant faith, for municipal independence from the monarch, and for the exemption of taxes funding Habsburg wars in faraway lands – he was resolved to bring them back into the fold by force.

The various factions of the Dutch struggle for independence are the player roles in Revolution: The Dutch Revolt, 1568—1648 (Francis Tresham, Phalanx Games) – Catholics, Habsburgs, Nobility, Burghers and Reformers. Amsterdam remained initially Catholic (and thus loyal to Philip), yet other concerns would be more pressing to the city than religion: When the Dutch rebels blockaded the city from the sea, thus causing the collapse of any trade profits and the food supply to the city, Amsterdam’s anti-Habsburg faction was ascendant. The city threw its lot in with the rebels in 1578. Its Catholic minority, however, would be treated as the Protestants had been before. Tolerance went both ways in Amsterdam.

Amsterdam had escaped its ruin from the naval blockade. Further south, Antwerp, the most important Dutch port, was not so fortunate. While the blockade strangled Antwerp’s trade, tens of thousands of Antwerp merchants and artisans left the city to find greener pastures elsewhere – most of them in Amsterdam. Thus, while the Dutch provinces were engulfed in warfare with the Habsburgs (which would only end with Dutch independence in 1648), the convergence of capital and know-how in Amsterdam turned the city into the commercial capital of the world.

The Center of the World

Amsterdam in the early 17^th century was buzzing with commercial activity. The merchants did not only find new trade routes, they also invented new ways of doing business altogether: The Vereenigde Oostindische Compagnie (United East India Company), or VOC for short, founded in 1602, was the first chartered company in the world. Anyone could buy a share in the company and thus partake in its profits – or sell the shares to others in what would become the Amsterdam Stock Exchange (also the first of its kind in the world). Amsterdam ships carried goods all over the worlds, Amsterdam shipwrights built them, Amsterdam craftspeople produced many of the finest objects for sale, and Amsterdam painters and writers catered to the pursuits of the minds. In the mid-17^th century, a staggering 30% of all the new books in the world were published in Amsterdam, taking advantage of the liberal approach to the exchange of ideas in the metropolis.

This commercial heyday of Amsterdam – often called the city’s Golden Age – is the most common backdrop for board games set in the city. Chartered: The Golden Age (Alexander Kneepkens/Wolfgang Kramer, Jolly Dutch Productions) explores the founding of chartered enterprises and stock markets, its sequel Chartered: Building Amsterdam (Alexander Kneepkens/Arnold van Binsbergen, Jolly Dutch Productions) takes a more spatial approach where the construction of warehouses represents the growing companies – and once two groups of warehouses meet, their companies merge.

Construction boomed in Golden Age Amsterdam – the city had much outgrown its medieval limits. In an ambitious scheme to not only expand, but also re-order the city’s flow of people and goods, Amsterdam took on its characteristic form, the city center surrounded by three belts of interconnected canals (grachten).

Amsterdam’s canals and the narrow houses built along them (for taxes were paid according to the width of the building’s front) have their own board game dedicated to them: Grachtenpand (Zach Hoekstra, Wulfhorn Games).

To my knowledge, no board game portrays the construction of the grachten. That’s a shame, because the scheme that led to their creation is worthy of the most cunning table strategist: Mayor Frans Oetgens knew of the plan to expand Amsterdam and dig the canals before it was public, so he and his associates bought up vast stretches of land at bargain prices and sold them back to the city at astronomical profits.

This act of self-interested entrepreneurship embodies Amsterdam’s preoccupation towards individual gain. It speaks to Amsterdam’s character as an individualist, bourgeois city that its most recognizable sights are not palaces and cathedrals, but these canals and the private houses along them.

Another very Amsterdam trait which has stood the test of time is the love of flowers, especially tulips. Yet never was this passion greater than in the 17^th century, when it intermingled with the other great passion of Amsterdammers – commerce. Unlike the controlled trade of goods and shares in Amsterdam’s port and stock exchange, the Amsterdam Tulip Bubble developed unregulatedly in taverns where buyers and sellers met over a glass of wine. The price of tulips skyrocketed in one of the first documented speculation crazes – until the bubble burst, as is the inevitable outcome of Tulip Bubble (Kouyou, Moaideas Game Design): Players want to partake in the profitable trade, yet must try to sell before the end of the mania, for all their tulips in hand will be worth nothing at game end.

The allure of 17^th century Amsterdam, this great laboratory of capitalism, is so great that it has become a widespread board game setting – just behind Vikings, zombies, and trading in the Mediterranean. Even the behemoth board game franchise Ticket to Ride has an instalment set in Amsterdam. Ticket to Ride: Amsterdam (Alan R. Moon, Days of Wonder) deviates from the tried-and-true setting of trains in favor of route-building in Golden Age Amsterdam 200 years before the first rail was laid. I especially appreciate that the game sticks with the original names for places in Amsterdam, so that players who don’t speak Dutch can attempt to pronounce Korenmetershuisje (Little House of the Grain Measuring Officials) and Oost-Indisch Huis (East India House).

Finally, the great master of eurogames has also designed a Golden Age Amsterdam game: Merchants of Amsterdam (Reiner Knizia, Rio Grande Games). And despite Knizia’s reputation of producing mathematically sound, but often themeless games, it might be the one which captures Amsterdam in 17^th century best: Not only is the central mechanism that of a Dutch auction (that is, an auction which starts at a very high price which continues falling until someone buys the asset in question at the price asked), but its map depicts the Amsterdam surrounded by four world regions with which the players can trade – Amsterdam, the commercial center of the world.

The Modern Metropolis

Amsterdam’s preeminence could not last forever. Despite its naval and commercial advantages, the Dutch Republic was a small country compared to England or France, and eventually fell to these rivals. The rampjaar (catastrophe year) of 1672, in which England challenged the Republic on the seas and France invaded the Netherlands, ended the Dutch Golden Age. Amsterdam was only saved from French occupation when the Dutch pierced the dikes and flooded a large area of their own country to prevent the French onslaught.

As the Dutch Republic shrunk in importance, so did Amsterdam. London, Paris, Vienna, and Berlin eclipsed it as centers of modernity in Europe. Even within the Netherlands, the city fell behind: Its disadvantageous geography meant that Rotterdam, situated directly on the North Sea instead of the Ijsselmeer, became the country’s premier port. Amsterdam, however, remained a center of the arts, and an iconic city of individualism and tolerance.

In the 20^th century, these values brought Amsterdammers to adopt a liberal attitude toward prostitution (openly practiced around the Old Church) and drugs (marijuana is not legal, but its consumption in specialized establishments (coffeeshops) is tolerated). That openness has made Amsterdam a dream destination for those wishing to uproot traditional lifestyles (at least for a moment) – from Yoko Ono and John Lennon staging their “Bed-In” for world peace in Amsterdam to the ubiquitous bachelor party trips there. Surprisingly, not a single board game seems to be dedicated to this side of Amsterdam.

When board games are set in modern Amsterdam, they often allude to traditional Dutch themes: Gift of Tulips (Sara Perry, Weird Giraffe Games) has its players once more compete for the finest flower bouquets at the city’s annual tulip festival. Amsterdam’s rich artistic history also often features: In Masters of Crime: Shadows (Lukas Setzke/Martin Student/Verena Wiechens, KOSMOS), the players aim to conduct a painting heist, whereas in EXIT: The Game – The Hunt Through Amsterdam (Inka Brand/Markus Brand, KOSMOS), they want to recover a lost Vincent van Gogh painting. My detective instincts say that these are the same painting! Finally, Amsterdam’s slide to modern metropolis sans its erstwhile very specific features is exemplified by the game set in Amsterdam with the single highest number of ratings on BoardGameGeek: Mechanically, the crime/mystery game Shadows: Amsterdam (Mathieu Aubert, Libellud) could be set in any big city. There’s nothing Amsterdam-specific about private detectives looking for evidence and avoiding the police’s official investigation. Yet the artwork on the tiles sometimes gives a little glimpse – for example, houses along the gracht.

Games Referenced

Revolution: The Dutch Revolt, 1568—1648 (Francis Tresham, Phalanx Games)

Chartered: The Golden Age (Alexander Kneepkens/Wolfgang Kramer, Jolly Dutch Productions)

Chartered: Building Amsterdam (Alexander Kneepkens/Arnold van Binsbergen, Jolly Dutch Productions)

Amsterdam (Stefan Feld, Queen Games)

Grachtenpand (Zach Hoekstra, Wulfhorn Games)

Tulip Bubble (Kouyou, Moaideas Game Design)

Ticket to Ride: Amsterdam (Alan R. Moon, Days of Wonder)

Merchants of Amsterdam (Reiner Knizia, Rio Grande Games)

Gift of Tulips (Sara Perry, Weird Giraffe Games)

EXIT: The Game – The Hunt Through Amsterdam (Inka Brand/Markus Brand, KOSMOS)

Masters of Crime: Shadows (Lukas Setzke/Martin Student/Verena Wiechens, KOSMOS)

Shadows: Amsterdam (Mathieu Aubert, Libellud)

Further Reading

A good introduction on Amsterdam’s history is Shorto, Russell: Amsterdam. A History of the World’s Most Liberal City, Doubleday, New York City, NY 2013.

Our fourth and final post in the Wallenstein series! As biographies go, this one ends with the death of the protagonist… before we take a look at the world he left behind, and round it out with a little overview of how contemporaries and later historians saw Wallenstein. Let’s go!

You can read all posts in the series here:

• Wallenstein: Rise
• Wallenstein: Zenith
• Wallenstein: Decline
• Wallenstein: Fall

Wallenstein’s Death

As we have seen in the last post, Wallenstein had contrived to make many enemies. His only supporter, Emperor Ferdinand, feared to be upstaged by the seemingly all-powerful general. The news in late 1633 – Wallenstein treating with the Swedes, Wallenstein letting Thurn go free, Wallenstein not defending Regensburg and Bavaria, Wallenstein refusing to support the Spanish mission to the Netherlands – mixed with their tendentious interpretations by the Bavarian and Spanish parties at court convinced the emperor that Wallenstein planned betrayal. To forestall this, the Imperial War Council secretly decided to relieve Wallenstein of his command on December 31, 1633.

Wallenstein and his intimates did not know about the dismissal, but they sensed the shifting wind. His brother-in-law Adam Erdmann, Count Trčka, and his marshal Christian von Ilow had Wallenstein’s officers sign a statement of loyalty to their commander in his winter quarters at Plzeň on January 12. They hoped that this show of unity in the army would remind the emperor that he needed his general. The opposite was the case: Ferdinand took it as another sign of treason.

When Wallenstein had been dismissed in 1630, it had caused both the emperor and the electors immense anxiety about his possible reaction. He had taken it meekly then, but what would he do now? As the emperor and his advisors had resolved that Wallenstein was a traitor, they expected the worst – insubordination, rebellion, joining his army with the Swedes. That needed to be forestalled. A secret court found Wallenstein guilty of treason on January 24, 1634. The court reached out to three of Wallenstein’s officers which they deemed reliable – Wallenstein’s second-in-command, Matthias Gallas, the commander of the embattled left wing at Lützen, Ottavio Piccolomini, and the tenacious defender of Dessau Bridge, Johann von Aldringen. To them, they gave the delicate task of delivering Wallenstein to Vienna – dead or alive.

The three executors of the imperial sentence faced a daunting task. Wallenstein was popular with the common soldiers whose pay was guaranteed by their general, not by the emperor whose coffers were notoriously empty and whose will to pay the army notoriously limited. The officers seemed more promising, as they were honor-bound to the emperor, but they had also sworn loyalty to their commander. Gallas got in touch with those they deemed reliable and instructed them not to follow any orders from Wallenstein, Trčka, or Ilow.

By that time, Wallenstein’s health had deteriorated even more. He was barely able to leave his bed and sometimes could not even sign documents. All the while, he waited for a reply from Hans Georg von Arnim on the potential peace with the electors of Saxony and Brandenburg.

Trčka acted on Wallenstein’s behalf in the day-to-day affairs, confident in his command over the soldiers. Only deep into February did it dawn on him and Wallenstein’s other intimates that imperial agents were prising the army away from them – officer by officer, regiment by regiment.

Nothing was left to Wallenstein but flight. On February 23, he and those faithful to him made away to Cheb, accompanied by a few regiments of loyal troops. They had been joined by the regiment of Colonel Walter Butler on the way and counted on the garrison of Cheb under the command of John Gordon. Both Butler and Gordon had been contacted by the three conspirators who urged them not to obey Wallenstein. For the time being, Butler and Gordon prevaricated.

As Cheb is in the northwestern corner of Bohemia, Wallenstein could easily leave Bohemia for Saxony or be joined by Swedish forces. That put time pressure on Butler and Gordon. If Wallenstein fled, they would be held responsible. If they arrested him, he would be freed again if the Swedish arrived. Thus, they resolved to murder him and his associates.

Gordon invited Trčka, Ilow, and a few more Wallenstein intimates for dinner up in Cheb’s castle on February 25^th – together with Wallenstein, who declined on grounds of his constant bad health. Gordon and Butler, both present at dinner, had a group of soldiers commanded by captain Walter Devereux come in, declare for the emperor, and murder Wallenstein’s associates. With all of them dead, Devereux took his small group down to Wallenstein’s residence in the town. They found Wallenstein in bed already. As he got up, Devereux stabbed him to death.

Wallenstein’s death is handled in a rather detached manner in Cuius Regio (Francisco Gradaille, GMT Games, forthcoming): Like every other leader, Wallenstein has an initial and a last year of service (1625 and 1634, in his case). In the leader deployment phase before the campaigns of 1635, the player will have to remove Wallenstein. Death – be that from plague, battle, or murder – is inevitable and pre-ordained.

The Catholic player in Thirty Years War: Europe in Agony, 1618—1648 has more freedom. As we have discussed in the last two instalments of the series, Wallenstein can be dismissed and recalled in the game. And if he proves to be too influential (and comes close to the threshold at which his influence would give the Protestants a Major Victory), he can also be assassinated (and thus be removed from the game permanently). There is, however, no inevitability of Wallenstein’s death: As his influence is only raised from recruiting troops, taking cities, and successfully attacking with him, the Catholic player can just forgo those, not use Wallenstein anymore and let him live out his old age in peace. Somehow, this never occurred to the historical Ferdinand II. Implicitly, the game’s treatment of Wallenstein’s assassination posits that the active threat which Wallenstein posed in Ferdinand’s view was nothing but a fabrication of the emperor’s paranoia, and that the emperor remained firmly in command at all times.

Twilight of the Thirty Years’ War

Wallenstein had grown rich on land which had been taken from those the emperor had declared rebels. He ended up on the other side of this bargain. His estates in Bohemia and Silesia were seized (Mecklenburg was lost to the Swedes anyway). A good deal went as spoils to all the officers involved in the conspiracy against him. Gallas, Piccolomini, and Aldringen became great magnates, and those on the lower rungs of the plot did not go unrewarded either, down to an additional month’s pay for all the soldiers in the garrison of Cheb whose only contribution had been to stand by idly while Wallenstein was murdered. The rest of Wallenstein’s estates were sold by the emperor to fix some of his short-term financial problems. Wallenstein’s widow Isabelle kept nothing. Only when she pleaded mercy (instead of justice) from the emperor did she receive a small estate to live on.

Wallenstein had died when the war had already been raging for sixteen years. It would last another fourteen before peace was finally made in 1648. Any time Emperor Ferdinand II had been in a position of strength, he had not made concessions to form a lasting peace, but instead increased his demands, prompting the interventions of first Denmark, then Sweden, and finally France (shortly after Wallenstein’s death).

Ferdinand II died in 1637. At the time of peace, the new emperor Ferdinand III was mostly ruined. Protestantism survived, protected by German princes and foreign powers. Sweden controlled the Baltic Sea. Any hopes of imperial hegemony in the empire or of Habsburg hegemony in Europe were dashed. After Spain had conceded Dutch independence, it fought on against France, and lost that war, too, along with its European primacy.

Afterlife

Wallenstein remained fascinating to his contemporaries after his death, and would continue for centuries. Assessments close to his own time hewed closely to the religious beliefs of the writer: Catholics tended to see Wallenstein as a traitor (following the official account of the emperor), Protestants made him into a Machiavellian mercenary leader, often contrasted with the heroic “Lion from the North” Gustavus Adolphus.

Later treatments focused on individual aspects such as Wallenstein’s purported dependence on astrology. You will have noticed that this is the first time since our first post that astrology is mentioned – because there is no evidence that Wallenstein was more interested in it than his contemporaries, let alone that he made decisions based on horoscopes. The speculations on this issue are based in the accounts of those who bore witness against Wallenstein shortly before and after his death, taking pains to stress anything which might indicate that Wallenstein was anything but a devout Catholic. The idea of Wallenstein, the Star-Seeker, is particularly prevalent in the German mind, as playwright Friedrich Schiller dedicated a trilogy of plays to Wallenstein’s last weeks – and presents the general as an indecisive fatalist, done in by his own passivity as well as the cabals of those around him. That’s (masterful) fiction – but it hews close enough to history (Schiller had taught history at the University of Jena and even written a major book on the Thirty Years’ War) to influence anyone whose first contact with Wallenstein was through Schiller’s plays.

By the time document-based historiography had been firmly established in the 19^th century, pre-established views on Wallenstein had become so solidified that historians still argued within their confines – mostly on the matter if Wallenstein had, in fact, betrayed the emperor. Slowly, the view that he had not gained ground.

Interpretations of Wallenstein in the 19^th and 20^th century often were inspired by current politics: Catholic German nationalists hailed Wallenstein as a proto-Greater German unifier. Czech historians like Josef Pekař adopted their compatriot as a proto-nationalist transcending the multi-national Habsburg Empire. Hellmut Diwald saw in Wallenstein the necessary authoritarian answer to overcome foreign domination of Germany (and subsequently plunged himself into New Right revisionism).

When stories of “Great Men” had decidedly fallen out of favor in academic history, Golo Mann revived the genre with his biography of Wallenstein, testing the limits of academic writing with his literary ambitions. His book dispelled some of the myths around Wallenstein and retained others.

Currently, Wallenstein’s heritage as a Bohemian, a nobleman, a (converted) Catholic, and a magnate have received more attention. History is never completed, but only enriched with more perspectives. Wallenstein’s life and its subsequent interpretations are thus also lessons in historiography.

Games Referenced

Cuius Regio (Francisco Gradaille, GMT Games, forthcoming)

Thirty Years War: Europe in Agony, 1618—1648 (David A. Fox/Michael Welker, GMT Games)

Further Reading

A recent biography which succeeds at dispelling the Wallenstein myth is Mortimer, Geoff: Wallenstein. The Enigma of the Thirty Years’ War, Palgrave Macmillan, London 2010.

For an older, more encompassing biography with literary aspirations, see Mann, Golo: Wallenstein. His Life Narrated, Holt, Rinehart, and Winston, New York City, NY 1976.

On the reception of Wallenstein and his changing image from his contemporaries all the way through the 20^th century, see Bahlcke, Joachim/Kampmann, Christoph: Wallensteinbilder im Widerstreit: Eine historische Symbolfigur in Geschichtsschreibung und Literatur vom 17. bis zum 20. Jahrhundert [Conflicting Conceptions of Wallenstein: A Symbolic Figure from History in Historiography and Literature from the 17^th to the 20^th Century], Böhlau, Cologne/Weimar/Vienna 2011 [in German].

For a short introduction to the Thirty Years’ War, see Schmidt, Georg: Der Dreißigjährige Krieg [The Thirty Years’ War], C.H. Beck, Munich 2010 [in German].

A magisterial monography on the entire war is Wilson, Peter H.: Europe’s Tragedy. A New History of the Thirty Years’ War, Penguin, London 2009.