 Tallship "Batavia" |
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Tallship "Batavia" |
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Dutch Tiles: Introduction
My interest in Dutch tiles grew slowly. My first love was the Tile Stoves [Kachelöfen] which I found in Germany, Austria and Switzerland. On my early travels in Europe the museums, palaces, and castles revealed so many unexpected delights. I had neither heard of, nor seen, tile stoves and their beauty made an immediate impression. That items intended for the prosaic function of heating could also be so lovely was a revelation.
While going to every museum, palace and castle I also made my first
acquaintance with Dutch tiles, without actually realizing their significance.
One of the most famous locations for tiles still to be seen in situ outside the
Netherlands is probably the kitchen in the Amalienburg Hunting Lodge built in
the park surrounding Schloss Nymphenburg in Munich. Nymphenburg was built as a
summer residence for the Bavarian Prince Electors [Kurfürsten] and grew over a
period of about 200 years. It was begun as a celebration of the birth of Max
Emanuel, heir to the Wittelsbachs' Prince Ferdinand Maria and his wife
Henriette Adelaide in 1662/3.
Prince Elector Max Emanuel continued building at Nymphenburg, following in his
mother's footsteps. He had been Governor [Stadholder] in the Southern Netherlands
and had travelled in the Northern Netherlands and was familiar with Dutch tiles
and with the popular fashion for Chinese decoration. He added buildings, the
Pagodenburg and Badenburg, at Nymphenburg designed in the Chinese style.
The Amalienburg was begun in 1734 by architect François Cuvilliés, an architect
from the Spanish Netherlands, for Prince Elector Carl Albrecht. It is a
delightful little building with silver, blue and yellow Rococo decor
and a central circular Hall of Mirrors (Spiegelsaal). Tiles used in the Amalienburg had
been largely intended for use in the Residenz, but a fire had damaged
construction and the tiles salvaged were routed to the Amalienburg.
It is judged that the Amalienburg tiles were made by factories in Delft and
Rotterdam in cooperation. Although most Dutch tiles were produced in cities
other than Delft, Delft produced tiles and tile-pictures that were elegant and
of the highest quality. These tile tableaux were exported for specialized markets
for use in the castles and palaces. Rotterdam also made high quality tiles and
tile-pictures for export.
My one visit to Amalienburg was many years ago and in those days I didn't have a
camera with flash even when one was allowed to take photos in museums and so on.
I have only my memories for a first hand account aided by coloured illustrations
in books. Unfortunately, copyright restrictions prevent me from reproducing these.
As it is on the tourist route, I wonder - does anyone out there have a guaranteed
copyright-free picture to contribute?
You must try to visualize it: the Amalienburg kitchen is divided by pillars
into two parts. One part was for cooking and the other acted as a dining room
where the aristocracy could enjoy gracious indoor picnics, no matter what the
weather. The walls are completely lined with tiles. Visualize three polychrome
flower-vase tableaux which stretch the width of the fireplace dominating the
whole room. These pictures measure 13 by 6 tiles. Columns garlanded with flowers
adorn the pillars. White wall tiles highlight tiles with blue Biblical motifs,
manganese decorations, Dutch landscapes and polychrome panels depicting Chinese
scenes.
The flowers, lots and lots of flowers, are diverse- tulips, the flower which is
so important to the Netherlands, daffodils, lilies, carnations among others. The
flower urns have a variety of scenes on their sides, and have blue handles. A
parrot stands on his perch at one side of the urn and a cock stands on the other.
There are butterflies and little birds flying in and around the flowers and a
peacock is perched on one side of the vase. Romance reigned.
Tile Stoves (Kachelöfen)
Romance reigns also in tile stoves. Centuries pass between stoves made with tiles
in simple shapes and the gorgeous fully developed tile stoves. My original
intention was to show how these early tiles changed over time and finally
blossomed into the stoves which we can still see in museums and palaces. Belated
thoughts over copyright obliged me to abandon that approach, as far as illustrations
are concerned. Shapes known in nature and universally in use are, I hope, free
for all and free-hand drawing when and if I can manage it! If anyone has a photo
to contribute which is copyright-free, it would be welcome.
The German-speaking countries where these stoves flourished used the word Kachel
for the stove tiles and the word Fliesen for wall tiles. The tin-glazed stove tiles
are largely relief tiles (they provide better heating) mixed with flat ones and
plaques with pictures, text (poetry, religious or philosophical thoughts and sayings).
They can be monochrome or polychrome.
The tile stove to end all tile stoves has to be one found in the Schweizerisches
Landesmuseum (Swiss National Museum) in Zurich. In 1620 it was made for an apartment
in the "Alten Seidenhof" (Old Silk Court) in Zurich and has been installed in the
Museum, along with the room's original coffered ceiling and magnificent panelling.
The stove was made by Ludwig Pfau (1573-1630), a member of one of the leading families
of potters (Hafner) in Winterthur, a town northeast of Zurich. Winterthur was renowned
for the quality of the stoves made there and their fame spread.
This polychrome tile stove stands on decorated animal-shaped feet; there is a seat
on either side of the stove, with a step for each. The whole is decorated with
figures, faces, fables, men on horseback, verses or texts in decorated plaques;
the top is crowned with scrolls and figures; it is imagination come to life. Many
interesting tales could have been told around these stoves; the children could have
gathered for instruction; the old could have kept warm. I'm sure Keats would have
applied his lovely lines to tile stoves and the Amalienburg as in "A thing of
beauty is a joy for ever: Its loveliness increases; it will never pass into nothingness."
Destruction resulting from wars, both political and religious, and construction
projects has left the world a much poorer place when so many wonderful works of
art, wonderful buildings and other creative works have been destroyed. We should
appreciate and care for those we have left. [TOC]
A Very Brief History Of Tiles
Tiles developed over the centuries as one product of earthenware pottery.
Medieval tilers used lead glazes on the red-firing clay which hardened in
the firing process, the surface becoming transparent, thus protecting the
clay and making it stronger and waterproof. Designs could be inlaid
before glazing by stamping them into the clay, then filling these areas
with slip ( white liquid clay). Tiles could also be simply covered with
slip before glazing, giving them a different colour from tiles without a
layer of slip. These could be then be used to make decorative patterns.
The earliest tiles were used for flooring. These were largely for
churches, "stately homes", or other institutional buildings. Only the
wealthy could afford them.
Enter tin-glazed tiles:
However the opportunities for sophisticated decorations required the
development of the tin glazes emerging from the Middle Eastern countries.
Detailed and beautiful decorations could be created. Islamic conquests
spread the glories of Islamic art and architecture further north through
Spain. Spanish pottery spread through Italy [via Majorca, hence majolica
and the French word faience from Faenza where it was popular] then further
north to Antwerp in Flanders (Southern Netherlands) and then further into
Northern Netherlands. Colours used in majolica tiles were blue, orange,
green, yellow and purple. Over time, the Spanish and Italian influences
waned as other influences took precedence and Dutch tiles developed their
own special characteristics.
Early in the 17th century the United Dutch East India Company imported
blue and white Chinese porcelain and this became all the rage. It was
expensive. The Dutch potters tried to imitate the Chinese porcelain but
the process for true porcelain was not yet available to them. However, in
the town of Delft from the 17th century, the potters created a very
superior earthenware product which became known as delftware. The
stages in making delftware were briefly as follows: clay was shaped, dried
and given a first firing. Tiles were then glazed with liquid white tin
glaze. The design was pricked through on a piece of paper, the spons,and
when laid on the tile, the pattern was transferred to the tile by pouncing
through the holes with charcoal. The outline of the pattern was clear
enough for the painter to complete the painting. The tiles were then
fired a second time. The firings were at a temperature of 1000 oC
(1800 oF) In special cases, some tiles were fired a third time in a muffle-kiln
at a lower temperature in order to emphasize colours which would not
react well to the high kiln temperatures. The use of Chinese patterns in
blue on white on high quality delftware made the similarity to Chinese
porcelain sufficient to make the products very popular. Delftware was
exported in vast quantities. Tiles were only a part of the Delft output,
but the fame of the "Delft blue" pottery was such that the name of Delft
became synonymous with Dutch tiles. Habit is hard to break. The main
centers for tile manufacture were Rotterdam, Utrecht, and the Friesland
towns of Makkum, Harlingen and Bolsward.
When majolica floor tiles proved to be too delicate for heavy usage, tiles
moved to the walls. Single tiles and tile-pictures (multiple tiles
combining to make a picture-religious, floral, etc.) were used in
kitchens, around fireplaces and as baseboards where floors met walls. As
the Netherlands is built on rivers, canals, and alongside the sea, tiles
were used as insulation and protection against water seeping into
houses. Tiles and tile pictures were exported to countries such as
Portugal, Spain, France, Germany and Britain. The aristocracy of these
countries valued the workmanship and spectacular effects achieved by the
tile makers.
One of the great tilers was Guido Andries. Andries had moved from Italy
to Antwerp at the beginning of the 16th century, where he changed his name
from Guido di Savini. Antwerp and Guido Andries will be discussed in a
separate section.
By the 19th century advances in machinery for making pottery and the use
of wallpapers undermined the demand for the hand-made tiles. As fashions
change, however, an interest in hand crafts returned. Collectors both
private and institutional, antiquarians and the small humble tourist, have
been both good and bad for tiles. Good when tiles are saved from the
wrecker's ball but bad if it encourages the dismantling of remaining
in-situ locations- farms, cottages, houses, big and little. Building
codes and demolition regulations should be as strong as possible so as to
save this fragile heritage. [TOC]
Influences of History on the Development
The period of history known as the Eighty Years' War, 1568-1648, was the
period in which revolt against Spain broke out in the Netherlands, thus
changing history and serving as a pivotal force in the development of the
Dutch tile industry.
The Netherlands (Lowlands) at that time, consisted of modern day Belgium
and the current Netherlands (Holland) The area was ruled by Spain and the
religion was primarily Roman Catholic. In 1555, when rule was passed from
the Emperor Charles V to his son Philip II, conditions in the
Netherlands changed for the worse.
The Catholicism in the Netherlands was of a somewhat milder kind than that
practiced in Spain. Many non-Catholic religions such as Lutheranism,
Anabaptism and Calvinism coming in from neighboring countries were
growing in popularity. Philip reacted harshly to these trends. He was a
fanatical Catholic and would tolerate no deviations. He did not
understand the people, did not speak their languages and disapproved of
the noblemen's way of life. Antwerp and Amsterdam were busy trading
ports; rivers and canals transported goods throughout the country;
commerce flourished. Taxes levied by Spain were resented. It would not
be the only time in history that imposition of taxes from a foreign ruler
would cause trouble! The Inquisition was applied with vigor and
brutality. Revolt broke out.
This is the same Philip who in 1554 had married Mary I of England ("Bloody
Mary"), daughter of Henry VIII. Mary died in 1558. She was followed by
Elizabeth I. Elizabeth gave aid and comfort to Philip's enemies, for her
own purposes of course, by raiding Spanish ships, confiscating goods and
money and generally making Philip's life as miserable as possible.
Elizabeth knew that the revolt would delay any attempt to invade England
so gave the northern provinces a certain amount of help. Philip
retaliated finally in 1588 by sending The Spanish Armada against England.
We all know how that turned out!
Philip II died in 1598. In 1639, the Dutch won a great sea battle, the
Battle of the Downs, against the
Spaniards. This Dutch victory did for the Dutch what the victory over the
Spanish Armada had done for England. Spain lost control of the seas and
Spanish control in the Netherlands was
soon broken. In 1648 the Treaty of Munster ended the Eighty Years' War
and the United Provinces were liberated from Spain. The Netherlands had
won their fiercely fought struggle for independence.
The combination of political and religious upheavals in different parts of
Europe led many craftsmen to migrate. Artists and craftsmen were driven
out of their homelands and neighboring countries benefited from the
influx of talented people. Tile makers in Antwerp left during the Spanish
persecutions and moved, for example, to the Northern Netherlands and
England. In 1685, Louis XIV of France, made history by the Revocation of
the Edict of Nantes which had given the Huguenots (Protestants) freedom of
religion ( in 1598) and rights to careers and justice. The exodus of
between 200,000 and 300,000 of these skilled people was a loss to France
but a gain to many countries e.g. England, Holland (some went on to South
Africa), Germany, Switzerland and America. All these dates we had to
learn in school take on a new meaning when they fit into our hobbies and
our own research!
Visited by Margot Allingham (mallingham@bcitra.bc.ca)
of the Tile Industry in The Netherlands
