Among the books I have been reading on early modern commerce is Vermeer's Hat: The Seventeenth Century and the Dawn of the Global World. The hat in question is that worn by the gentleman in the painting The Officer and the Laughing Girl, now in the Frick in New York. The author of Vermeer's Hat, Timothy Brook, traces the head covering to beaver trapping in North America. Indeed, the details in Vermeer's paintings allow Brook to describe the beginnings of what we would recognize as "bourgeois life" in Holland (and the West generally).
Alongside these changes, of course, traditional life went on (and still goes on) its course, as can be seen by The Milkmaid (on loan from the Rijksmuseum in Amsterdam), currently on view at the Metropolitan Museum of Art. It is part of a small exhibit on Vermeer, the kind that doesn't overwhelm you. The Milkmaid, we learn, is not a one-of-a-kind work. Vermeer was relying on a long tradition of milkmaids in art, as can be seen in the examples here.
At the same time, even The Milkmaid, with its seemingly traditional subject, alerts us to a small sign of the changes introduced into Dutch households by world commerce. Alongside the foot warmer at the bottom right in The Milkmaid is a row of "Delft tiles." (Click painting to enlarge.) Brook mentions that in the decade of the 1650s Chinese porcelains began to take their place in Dutch art and life. Dutch potters, however, unable to match Chinese blue-and-white, made passable imitations, at the low end of which were blue-and-white wall tiles. In the process, they created a kind of folk art through what Brook calls (quoting Anthony Bailey) "long-distance plagiarism."