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

Mary II Stuart, the Protestant Queen of England

Sometimes, when you travel to different countries and visit museums, you come across works by local artists that depict people or events significant to that country’s history. You might realise you’ve seen the same figure or story before — just in a different context. I had exactly that kind of déjà vu while going through photos of artworks I’d taken at the Rijksmuseum in Amsterdam. While walking through the museum, I didn’t have time to read every plaque. The artworks were so captivating that I simply photographed whatever caught my eye. One of those images turned out to be a bust of a noblewoman.

After returning home, I used Google Lens to identify the creator of the bust and the person it portrayed. I learned that the artist was Jan Michiel Rysbrack, and the bust depicted Mary II Stuart, Queen of England. That discovery piqued my curiosity, so I went online to find out more. To my surprise, I realised I had already written about her a few years ago — in a post on the history of … Scotland.

The sculptor, a renowned Flemish artist, made significant contributions to British art in the 18th century. Born in 1694 in Antwerp – now part of Flanders, the Dutch-speaking region of Belgium – he moved to London in 1720. Back in 1700, Antwerp was still part of the Spanish Netherlands, a region in the southern Low Countries that remained under Spanish control from the 16th century until the early 18th century. Because of my work, I’ve often travelled to Belgium, and my recent trip to the neighbouring Netherlands might be the perfect occasion to write a post on the fascinating history of this region sometime soon.

For now, however, I’ll turn my attention to Mary Stuart, and explore why a Queen of England from a Scottish dynasty is featured so prominently in one of the main galleries of the Rijksmuseum in Amsterdam.

Mary II Stuart was born in 1662 at St. James’s Palace in London. She was the eldest daughter of James, Duke of York (later James II of England) and his first wife, Anne Hyde. Mary belonged to the Scottish Stuart dynasty, which had ruled England since the early 17th century. Although her father was a Catholic, Mary was raised as a Protestant – a decision that would prove crucial later in her life. Her uncle, Charles II, who was king at the time of her birth, was publicly Protestant, though he is believed to have converted to Catholicism on his deathbed. During his reign, it was politically expedient to maintain a Protestant public image in order to secure Parliament’s support and preserve stability. As for James, Mary’s father, the exact date of his conversion remains uncertain, but it is thought he became Catholic in the late 1660s. He kept his faith private for several years to avoid political repercussions, but by 1673, his conversion was publicly known. Nonetheless, keeping Mary’s Protestant upbringing was seen as vital to reassure Parliament and the English public that the Protestant succession would continue.

At the age of 15, in 1677, Mary married her first cousin, William of Orange – a Protestant and the son of William II, Prince of Orange, and Mary, Princess Royal of England, who was the daughter of Charles I of England. The marriage was part of a wider political effort to secure Protestant alliances for the British throne. At the time, Charles II, King of England and Mary’s uncle, was in poor health and – at least officially – remained Protestant.

William III of Orange was not King of the Netherlands in the modern sense of the term. Instead, he held the title of Stadtholder of the Dutch Republic from 1672. The Dutch Republic was a confederation of provinces in what is now the Netherlands, and the role of Stadtholder was neither hereditary nor equivalent to a monarchy. It was an appointed position, granted by the provinces, and primarily served as a military commander and political leader, rather than a sovereign ruler.

The Dutch Republic, officially known as the Republic of the Seven United Netherlands, was established in the northern part of the Low Countries in 1648, after gaining independence from Spain. Southern provinces such as Flanders, Brabant, and Hainaut remained under Spanish Catholic rule, a territory known as the Spanish Netherlands.

Mary’s father, James II, ascended to the English throne in 1685, but his Catholic faith and increasingly autocratic rule led to growing discontent across the kingdom. William’s marriage to Mary placed him in a strong position to challenge his father-in-law. In 1688, William III of Orange invaded England in what became known as the Glorious Revolution. James II fled to France, and William and Mary were jointly offered the throne by the English Parliament. Mary II reigned alongside William III until her death in 1694, and she was buried in Westminster Abbey. William continued to rule alone until his own death in 1702.

In the years that followed, the Jacobites — supporters of the deposed Stuart king James II and his descendants — sought to restore the Stuart monarchy to the thrones of England, Scotland, and Ireland, but ultimately failed in their efforts. Great Britain remained Protestant, and the Hanoverian dynasty eventually solidified its rule. The name Jacobite comes from Jacobus, the Latin form of James.

Mary II Stuart, the Protestant Queen of England

Meet the Romans. Seen in Altes Museum in Berlin

Meet the Romans (people who have lived in ancient Rome, as not all of those on photos above were native Romans). From Caesars to ordinary citizens. The busts which you can see on the photographs you can find in Berlin at the Old Museum (Altes Museum) in the Roman collection on the first floor.

The Altes Museum is one of the oldest and most significant museums in Berlin, Germany. It was built between 1823 and 1830. The museum houses a number of important collections, including the Roman Collection, which is located on the first floor. The Roman Collection is one of the most extensive collections of ancient Roman art in the world, and it includes a wide range of objects, from small figurines to large statues and architectural fragments. The Roman Collection was formed over the course of several decades, beginning in the early 19th century. Many of the objects in the collection were acquired through archaeological excavations carried out by German archaeologists in Italy, Greece, and other parts of the Mediterranean. These excavations yielded a rich treasure trove of Roman art and artifacts, which were brought back to Germany and added to the collection.

Meet the Romans. Seen in Altes Museum in Berlin