Quiet at Kinderdijk

This year, a bit unusually for me, II took a short trip to the Netherlands with a large travel agency. I was keen on visiting museums and having guided tours, but I didn’t feel like preparing for the trip at all. I was happy to rely entirely on others. I knew on one day we would be going somewhere to take a boat ride among old windmill scenes.

It was a beautiful, very warm July morning. When we boarded the boat, there were no other groups around, and ours had fewer than 20 people. It was quiet and peaceful, with just the sound of water as we sailed.

In truth, I didn’t even know the name of the place until I got back home. When I overheard it in passing, I thought I’d misheard. I don’t speak Dutch, but I know German well, and children and dyke didn’t seem to go together. But the place is indeed called Kinderdijk, which roughly translates as Children’s Dyke. You can see nineteen old Dutch windmills there, and you can even go inside some of them. In fact, most of these windmills are still inhabited today by people, even whole families, who take care of them and are paid for their efforts by the Dutch government. It’s all about preserving heritage. Even the boat we sailed on was captained by a Dutch woman who lives in one of the windmills.

There’s a small ticket office where you can buy entry tickets as well as tickets for the boat ride, a little café, and a souvenir shop. There are also a few toilets, so it’s a great place to enjoy a visit. The photos below show a place full of tranquillity. Unfortunately, that wasn’t entirely the case. During our one-hour cruise, it was indeed just us, but it eventually got crowded. Several groups tried to enter the showcase windmill at the same time. So, I decided not to go in, as I wouldn’t have had the chance to take any clear photos anyway. Still, I consider the morning very successful. The charm was further enhanced by the coffee and apple strudel I enjoyed while gazing at the windmills and boats on the canal.

Now to the name, that at first sight seems a bit weired. Why is a place where you can enjoy old windmills called Kinderdijk, literally Children’s Dyke? The name actually comes from a local legend associated with the St. Elizabeth’s Flood of 1421. During this great flood, which struck the Netherlands, the water breached the dikes and flooded many villages and areas around the river. According to the legend, after the waters receded, the villagers saw a cradle floating on the waves. Inside the cradle was a baby who had survived the flood, and next to the baby was a cat. The cat was jumping from one side of the cradle to the other to keep it balanced and prevent it from tipping over. This sight deeply moved the villagers, and so the place where the cradle was found was named Kinderdijk, in memory of the rescued child.

Kinderdijk is located in the province of South Holland, about 15 kilometres east of Rotterdam, at the confluence of the Lek and Noord rivers. It sits in a low-lying area known as the Alblasserwaard polder, a region traditionally vulnerable to flooding. The windmills were strategically built here to drain excess water from the polder into the rivers. The site is managed by a non-profit foundation established to preserve and maintain this UNESCO World Heritage site. It is responsible for the upkeep of the windmills, the visitor centre, and other facilities, as well as for providing educational resources and managing visitor access. The foundation works closely with local, regional, and national authorities, including the Dutch government and water boards, to ensure that Kinderdijk’s cultural and historical significance is maintained while allowing the public to experience and learn from the site. While there you can also visit the old Wisboom Pumping Station, where you can learn about the broader context of Dutch water management, explaining how windmills were a critical part of an elaborate system that continued to evolve and were eventually replaced with more modern machinery, yet still serving the same purpose of keeping the land dry.

Quiet at Kinderdijk

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