William III in Delftware. Seen in the Rijksmuseum

William III Delftware bust in Rijksmuseum | 威廉三世代尔夫特陶瓷半身像在国立博物馆

The Netherlands is famous for its ceramics, so it’s no surprise that a visit to the Rijksmuseum leads to a room filled with beautiful examples of this art form, many of which hold significant historical value. Among the photos I took, one features a ceramic bust of a man, who turns out to be King-Stadtholder William III of Orange. When I visit museums, I seldom read all the labels next to the objects. Taking many photos and later researching them online allows me to explore the artefacts I saw more thoroughly. This way I get a stronger impression of the places I visited.

In the display glass case, William III of Orange is shown alongside that of his wife, Queen Mary II of England, Scotland, and Ireland, about whom I wrote a few weeks ago, showcasing another bust of her that is exhibited in the same room as the ceramics. The placement of hers there is no coincidence – Queen Mary II was known for her love of the Dutch ceramics – the tin-glazed earthenware known as Delftware. During her lifetime in the 17th century, Delft in the Netherlands was a renowned centre for the production of this type of ceramic, which became highly popular across Europe. Interestingly, the ceramic busts of the royal couple, although placed next to each other, were produced by two different Delftware manufacturers, as indicated by information from the Rijksmuseum.

William III Delftware bust in Rijksmuseum

William III Delftware bust in Rijksmuseum, portreys the Stadtholder of several Dutch provinces, who lived in the second half of the 17th century. He played a crucial role in defending the Netherlands against French invasions during the Franco-Dutch War. In 1677, William III married Mary Stuart, the daughter of James II of England, a union that would later have significant political implications. In 1688, William III was invited by English nobles to overthrow his Catholic father-in-law, James II, in an effort to ensure that England remained a Protestant country. His successful invasion led to the joint monarchy of William III and Mary II in England, marking the beginning of a constitutional monarchy where the powers of the crown were limited by Parliament.

William III Delftware bust in Rijksmuseum stands as a testament not only to the historical significance of the monarch but also to the rich tradition of Dutch ceramics. Delftware, the tin-glazed earthenware produced in Delft, gained widespread acclaim across Europe for its quality and artistic value. The bust is attributed to the renowned Delft pottery factory De Metaale Pot. De Metaale Pot was known for its high-quality ceramics and artistic achievements. The factory became particularly famous for its ability to produce large, sculptural earthenware pieces, a feat made possible by employing a skilled French modeller.

The production of porcelain, or more specifically tin-glazed earthenware known as Delftware, in the Netherlands began to flourish in the 17th century during the Dutch Golden Age. Initially, the Dutch East India Company imported Chinese porcelain on a large scale, which was highly popular in Europe. European artisans, particularly those in Delft, aimed to replicate its appearance. However, due to the lack of suitable raw materials and technology, European ceramicists had to rely on tin-glazing – a technique that, interestingly, originated in the Middle East and was introduced to Europe through Spain and Portugal several centuries earlier. When the supply of Chinese porcelain was interrupted due to internal issues in China, Dutch craftsmen saw an opportunity to produce similar items locally on a large scale. Delft became the main centre of ceramic production in the Netherlands.

Previously known for its beer production, Delft saw a shift to ceramics as the brewing industry declined. Craftsmen in Delft developed a method that allowed them to create wares that resembled Chinese porcelain but were actually made from clay coated with tin glaze, giving them their characteristic white colour. Unlike Chinese porcelain, which is made from a special fine clay (kaolin) and fired at very high temperatures to create a hard, translucent material, European faience (such as Delftware) is made from a coarser clay and is fired at lower temperatures. This results in a more porous material that is then covered with a tin glaze to achieve the desired white, opaque finish. Delftware became popular for its quality and aesthetics, as well as for the ability to decorate the items with blue patterns that imitated Chinese porcelain. The ceramic industry in Delft thrived, and at its peak in the 17th century, the city was home to about 30 ceramic factories.

Among the most important Delftware producers in the 17th century were De Metaale Pot, which, under the leadership of Lambertus van Eenhoorn, became one of the most prominent factories in Delft, known for its innovation and production of large ceramic sculptures, such as busts and vases. Another notable producer was De Grieksche A, which was known for producing high-quality ceramics and was a favourite supplier of Queen Mary II. De Grieksche A specialised in more elegant and artistic forms, which attracted wealthy clients. Lastly, De Porceleyne Fles, is one of the most famous Delftware producers and, remarkably, the only factory from the 17th century that has survived to this day and continues to produce Delftware.

Other Delftware artefacts on display in the Rijksmuseum in Amsterdam

Delftware is still produced today, although on a smaller scale than in the 17th century. De Porceleyne Fles (now Royal Delft) remains active and continues to produce traditional Delftware using the same techniques that were employed during the golden age of Dutch ceramics. While Delftware is now produced in other parts of the world, often as tourist souvenirs, authentic Delftware from Delft is still highly valued for its artistic and historical significance.

William III in Delftware. Seen in the Rijksmuseum

Lessons Learned in the Rijksmuseum: Inside the Lives of the Dutch Bourgeoisie

When one thinks of the Rijksmuseum, the first association is often with the masterpieces of the Dutch Golden Age. However, the museum is much more than just a collection of fine art; it is a rich tapestry of Dutch history, culture, and daily life. This history is vividly portrayed not only in the paintings but also in the museum’s extensive collection of everyday objects.

Rijksmuseum, located in Amsterdam, is the largest and most renowned museum in the Netherlands, dedicated to Dutch art and history. Established in 1798, the museum is a treasure trove of cultural heritage. It is divided into several key sections, including the Dutch Golden Age paintings, a vast collection of historical artifacts, decorative arts, and a comprehensive display of Dutch colonial history.

Rijksmuseum at first glance

The wealth of the Dutch bourgeoisie primarily stemmed from the dynamic development of international trade during the 17th century, known as the Dutch Golden Age. During this period, the Netherlands became one of the world’s most powerful trading centers, largely due to the activities of organizations such as the Dutch East India Company and the Dutch West India Company. Trade in spices, silk, porcelain, and even slaves generated enormous profits, fueling the growth of cities, infrastructure, and culture. Investments in banking, shipping, and innovative agricultural practices further strengthened the position of the Dutch bourgeoisie, making it one of the wealthiest and most influential social classes in Europe at that time.

To understand how the Dutch bourgeoisie lived during this era, we can first look at the details captured in the paintings. The Dutch painters of the Golden Age were, in fact, portraitists of the wealthy bourgeoisie. They didn’t just capture their faces but also depicted how they lived, what they ate, and the interiors of their homes. These paintings reveal a wealth of details. If we compare this to how many of us share glimpses of our lives on social media today, it’s clear that the Dutch of the Golden Age did something similar, but instead of using photography, they employed and generously paid skilled portraitists to document their lives.

In the first painting we see a lively and joyful scene where a family gathered around the table enjoys a meal together. The home interior is warm and cosy. We see an indulgent feast and carefree atmosphere, subtly hinting at the potential for excess and moral laxity in the pursuit of pleasure. The paintings illustrate as well how the contents of Dutch bourgeois tables evolved, reflecting their growing wealth and refined tastes. In one painting, we see a roasted turkey, a symbol of luxury and abundance. In another, oysters – a delicacy considered a rarity. We see the transition from simple, local foods to more exotic and luxurious dishes, a result of the expanding global trade networks. The depiction of the civic guard members and the banquet celebrating a peace treaty clearly show how important fashion and elegance were in Dutch society. The men are dressed in richly decorated uniforms, which not only emphasise their roles and social status but also reflect their prestige and concern for appearance. It is notable that women are absent from these paintings, highlighting the male dominance in these formal and public spaces, particularly in military and official contexts.

Another key element in the museum that illustrates what a wealthy Dutch home might have looked like is the collection of dollhouses, which showcase complete homes, meticulously furnished down to the finest detail. The dollhouses on display at the Rijksmuseum were far from being mere children’s toys. These miniature homes were crafted as a hobby for wealthy women in the 17th and 18th centuries. They are not only works of art in their own right but also serve as detailed records of domestic interiors of the time.

The museum houses several exquisite examples, including the famous dollhouse of Petronella Oortman (on the upper photo), crafted between 1686 and 1710. This dollhouse is a meticulous replica of a grand canal house in Amsterdam. Every room is furnished with tiny, yet incredibly detailed versions of the furniture, textiles, and household items that would have been found in an affluent home of that era. Through these miniature worlds, visitors can explore the daily life of the Dutch bourgeoisie, from the layout of the kitchen to the luxury of the parlour. The attention to detail is astounding, with miniature paintings, hand-painted wallpaper, and even tiny porcelain dishes adorning the tables.

Finally, the museum’s collection also includes individual pieces of furniture and everyday objects displayed throughout various sections. The furniture collection includes everything from simple pieces such as beds, chests, and wardrobes to more elaborate and intricately carved cabinets. Some of these 17th-century pieces reflect the Calvinist values of austerity and modesty that were prevalent in Dutch society at the time. However, other items in the collection reveal the splendour of the homes of the Dutch elite, where no expense was spared in displaying wealth and taste. One prime example is the collection of cabinets. These are not only masterpieces of furniture craftsmanship, featuring countless compartments and intricate wood carvings, but they also serve as canvases for miniature works of art, with tiny paintings created using various techniques.

The furniture showcased in the Rijksmuseum was crafted from high-quality materials, including rich woods such as oak and walnut, which were commonly used in Dutch furniture making during the Golden Age. These pieces often featured intricate inlays and embellishments made from materials like ebony, mother-of-pearl, and sometimes bone or other fine materials. Notable makers of these exquisite pieces included famous Dutch cabinetmakers of the 17th century, such as Herman Doomer and Pierre Gole, who were renowned for their skill in creating finely crafted furniture. These artisans often worked in major cities like Amsterdam, The Hague, and Leiden, where they combined local craftsmanship with imported materials and influences from across Europe. Their work was highly sought after by the Dutch elite and continues to be admired in museums around the world today.

Lessons Learned in the Rijksmuseum: Inside the Lives of the Dutch Bourgeoisie

The Legacy of Cosmas and Damian in Alberobello

During our visit to Alberobello, in the Puglia region of Italy, our main goal was to see the well-known district of trulli houses. Before heading there, we took some time to walk around the newer part of town and have a relaxed lunch. While exploring the streets, we came across the main church and decided to step inside. The church, though modest by Italian standards, contained statues of Saints Cosmas and Damian, which quietly drew our attention.

The church plays an important role in the religious life of Alberobello’s residents. Built in the 19th century, during a period of growth for the town, it was dedicated to Saints Cosmas and Damian, who are especially revered in this part of Puglia as patrons of health and medicine. In recognition of their local significance, the decision was made to build a church that could accommodate a larger congregation.

Each year, on 27 September, the town holds celebrations in honour of the saints, drawing both residents and visitors. The festivities typically last several days, from 25 to 28 September, and include religious services, a procession through the trulli-lined streets, and cultural events such as concerts and fireworks. During the main procession, the saints’ statues and relics are carried through the town by parishioners in traditional dress, accompanied by music and banners.

The tradition of honouring patron saints, deeply rooted in Christian history, continues to thrive in modern Europe. Originally centred on saints believed to offer protection and guidance to certain groups, professions or places, the practice has evolved, yet remains a meaningful part of communal life. Today, patron saints are still celebrated through festivals, public holidays, and ceremonies, not only in religious settings but also in secular life – influencing city patronage, schools, and even sports teams. In southern Italy, such traditions often serve as a bridge between faith and regional identity, helping to preserve local customs and foster a sense of belonging. Alberobello’s devotion to Saints Cosmas and Damian is one such example, rooted in a long-standing belief in the saints’ protective powers, particularly in times of illness or crisis.

Saints Cosmas and Damian, also known simply as Cosmas and Damian, were twin brothers and Christian martyrs from the late 3rd century. Highly venerated in both the Eastern Orthodox and Roman Catholic traditions, they were born in Arabia and practised medicine in the Roman province of Syria, likely in the city of Aegeae (modern-day Ayas, Turkey). As physicians, they were known for their skill and their refusal to accept payment, earning them the title of unmercenaries — those who offer healing freely. Their medical work was closely tied to their Christian faith, which they often shared with their patients.

Cosmas and Damian offer a meaningful way to introduce the contrasting ideas of mercenaries and unmercenaries. In the Christian tradition, mercenaries are typically seen as those who act from self-interest – offering their services, particularly in warfare, for material gain. In contrast, unmercenaries represent a different ethic – one of selfless service, charity, and devotion. Cosmas and Damian devoted their lives to healing without financial reward, guided instead by compassion, faith, and a strong sense of spiritual duty. This made them not only remarkable physicians but also enduring moral figures whose legacy extended well beyond medicine. While mercenaries operate on transactional value, unmercenaries embody a vision of care grounded in love and justice. Their story invites reflection on how acts of healing – and care more broadly – can rise above economic interests to become sacred gestures of human solidarity.

During the reign of Roman Emperor Diocletian, known for his severe persecution of Christians, Cosmas and Damian were arrested for their faith. Despite enduring torture, they remained steadfast and were ultimately beheaded. Their unwavering belief, along with the miraculous healings attributed to them, led to their canonisation. They are said to have survived multiple execution attempts before their final death – with legends describing them being thrown into the sea, burned alive, or crucified, only to escape each time through miraculous means. Their cult spread rapidly across the Roman Empire, and churches dedicated to them began appearing as early as the 5th century. One of the most notable is the Basilica of Santi Cosma e Damiano in the Roman Forum, established by Pope Felix IV, which remains an important site of devotion.

Today, Cosmas and Damian are recognised as the patron saints of physicians, surgeons, and pharmacists, and are often invoked for protection against illness, particularly during times of plague. Their feast day is celebrated on 26 September in the Eastern Orthodox Church, and on 27 September in the Roman Catholic Church. Their legacy lives on in the many churches, hospitals, and medical institutions named in their honour. Their popularity remains strong in southern Italy, Brazil (notably in Salvador and Rio de Janeiro), and parts of the Middle East. In Brazil, the feast is marked by the distribution of sweets to children, symbolising the saints’ kindness and generosity. In Italy, many towns – especially in Puglia, Campania, and Calabria – have chosen Cosmas and Damian as their patron saints, reflecting their enduring significance across cultures and centuries.

Below other photos from the Cosmas and Damian church in Alberobello.

The Legacy of Cosmas and Damian in Alberobello