Forgotten staircase

he Forgotten Staircase: Ottoman–Dutch Relations and the Missed Opportunity of an Exhibition Dutch history is often told as an autonomous success story of rebellion, trade, and progress. Less visible, but historically highly significant, is the role of the Ottoman Empire in this development. It is precisely this underexposed dimension that could have taken center stage in the exhibition on the “Great Staircase” at Paleis Het Loo. Although the palace has taken a valuable initiative by restoring Ottoman-inspired paintings, the exhibition remains cautious in its content and misses an important opportunity to present history in a more inclusive and honest way. A historical connection that goes further than is commonly known During the Eighty Years’ War, a remarkable relationship developed between the Dutch rebels and the Ottoman Empire. The well-known slogan “Rather Turkish than Papist,” attributed to the Sea Beggars, reflects not only propaganda but also a geopolitical reality: Spain’s enemy could be a potential ally. The Ottoman Sultan Selim II closely followed the Dutch revolt and opened ports to Dutch ships. This gave Dutch merchants access to the Mediterranean and to trade routes essential for their economic growth. In 1612, the Ottoman Empire formally recognized the Dutch Republic—decades before the Peace of Münster confirmed it internationally. The appointment of Cornelis Haga as ambassador in Istanbul marked the beginning of lasting diplomatic relations. At the same time, William of Orange actively sought the Sultan’s support. This interaction also had military implications: as the Ottomans pressured Spain on other fronts, Spanish resources were divided—a factor that indirectly contributed to the survival of the Dutch revolt. The Great Staircase as a forgotten symbol This historical relationship also found its way into the imagination of the Dutch elite. William III, who later became King of England, had Ottoman scenes depicted on the grand staircase of his residence, Paleis Het Loo. These paintings, long forgotten and only recently restored, testify to a fascination with the Ottoman world and an acknowledgment of its political and cultural significance. Yet the current presentation of these works in the palace remains superficial. The paintings are displayed as aesthetic objects, without fully developing their deeper historical context. The complex relationship between the Republic and the Ottoman Empire—a relationship of mutual interest, diplomacy, and strategic cooperation—remains underrepresented. A missed opportunity for connection Since 2023, discussions have taken place with curators, art historians, and the palace management to integrate this history more explicitly into the exhibition. Proposals were also made to strengthen the involvement of Dutch-Turkish communities, including encounters with a Turkish tent, lectures, culinary and musical events, and cultural figures. (see program compiled by the Testa family with a visit to Paleis Het Loo, including former Turkish ambassador Selçuk Ünal) --------------------------------------------- --------------------------------------K.v.K. Haarlem S 225614 Opgericht 7 Juni 1991 Postbankrekening: 62.93.434 Het doel was drievoudig: --------------------------------------------- --------------------------------------K.v.K. Haarlem S 225614 Opgericht 7 Juni 1991 Postbankrekening: 62.93.434 1. Awareness – making visible the international dimensions of the Dutch Golden Age and the role of the Ottoman Empire within it 2. Engagement – creating a point of recognition for Turkish Dutch communities within national history 3. Heritage and culture – highlighting mutual cultural influences, such as the impact of Ottoman music on European composers like Wolfgang Amadeus Mozart and works such as Die Entführung aus dem Serail Despite these proposals, no concrete follow-up materialised. This points to a broader reluctance within cultural institutions to engage with complex and potentially sensitive historical relationships. Instead, there is often a preference for safer, more contemporary themes—such as migration histories of so-called guest workers—which, however, risk reinforcing stereotypes rather than challenging them. Critical reflection The exhibition on the Great Staircase could have told a powerful story of international cooperation, mutual dependency, and cultural exchange. Instead, it remains limited to an aesthetic and partial interpretation. This is not only a missed historical opportunity, but also a missed societal one. By taking Ottoman–Dutch relations seriously, it would have been possible to create a more inclusive narrative in which different communities could recognise themselves. After all, history is shaped not only by national heroes, but also by international networks and influences. Conclusion The restoration of Ottoman paintings at Paleis Het Loo is an important first step. But without deeper and critical contextualisation, their meaning remains limited. The “Great Staircase” could have become a symbol of historical connections between the Netherlands and the Ottoman world. For now, however, it remains primarily a missed opportunity—a staircase that is visible, but whose history is only partially ascended. A missed opportunity in historical perspective --------------------------------------------- --------------------------------------K.v.K. Haarlem S 225614 Opgericht 7 Juni 1991 Postbankrekening: 62.93.434 --------------------------------------------- --------------------------------------K.v.K. Haarlem S 225614 Opgericht 7 Juni 1991 Postbankrekening: 62.93.434 --------------------------------------------- --------------------------------------K.v.K. Haarlem S 225614 Opgericht 7 Juni 1991 Postbankrekening: 62.93.434 8 The Great Staircase is not merely an architectural element, but a visual and ideological programme. The wall paintings and decorative schemes implicitly refer to a worldview in which power, trade, and diplomacy converge. The presence of “Ottoman figures” in the iconography offers an excellent opportunity to critically address the early modern relations between the Dutch Republic and the Ottoman Empire. Although the exhibition acknowledges this theme, its elaboration remains superficial. Figures such as Cornelis de Bruijn—who, through his travel accounts and drawings, formed an important bridge between Europe and the Ottoman world—are mentioned, but his work is insufficiently contextualised. His connections with Stadtholder-King William III of Orange, for example, could have served as an entry point for a deeper analysis of diplomatic and cultural exchange. The role of artists such as Duval (as a court painter and draughtsman) is also underexposed, even though these figures were precisely those who translated political and cultural ideas into visual form. Intercultural relations: acknowledged but not developed The exhibition states that it seeks to highlight the ties between the Dutch court and the Ottoman Empire. This aligns with broader historiographical insights, such as the political and military relations during the Eighty Years’ War, in which contacts with both the Ottoman Empire and Morocco played a role. Yet this dimension remains fragmented. No coherent narrative is offered that situates these relations within larger geopolitical structures. The well-known slogan “Rather Turkish than Papist,” for instance, could have served as a powerful starting point for a critical reflection on religious tolerance, strategic alliances, and identity formation in the early modern Netherlands. --------------------------------------------- --------------------------------------K.v.K. Haarlem S 225614 Opgericht 7 Juni 1991 Postbankrekening: 62.93.434 The absence of collaboration with international archives—such as those in Istanbul—and the lack of in-depth case studies mean that the Ottoman perspective remains more decorative than substantive. The tension between aesthetics and content As in earlier exhibitions at Paleis Het Loo, the emphasis lies heavily on design and visitor experience. The scenography is refined and visually appealing, but this aesthetic approach appears to soften the intellectual sharpness. Visitors are guided through thematic fragments without a clear analytical thread being developed. This becomes even more apparent when comparing the exhibition with the ambitions expressed in correspondence and research proposals (including the involvement of Răzvan Rus and contacts with international partners). The intellectual potential of the project—referencing Huis te Heemstede and panoramic depictions of Constantinople—is only partially realised in the final exhibition. Institutional caution An underlying issue appears to be a certain institutional reluctance. As with earlier proposals to give a more prominent place to the role of Islam and the Ottoman Empire in Dutch history, the exhibition settles into a safe middle ground. Controversial or less familiar perspectives are acknowledged but not fully developed. This creates a paradox: the intention is to be more inclusive and multi-voiced, yet the necessary depth of engagement is avoided. This reflects broader tendencies within Dutch museum culture, where themes such as colonialism, religion, and intercultural relations are often approached cautiously. Conclusion The exhibition “The Great Staircase” at Paleis Het Loo is a visually strong and well-intentioned attempt to reinterpret an important historical ensemble. Yet it falls short of its own ambitions in terms of content. The treatment of Ottoman–Dutch relations is fragmented, the historical context insufficiently developed, and the critical depth limited. By placing greater emphasis on international collaboration, multiple perspectives, and more daring interpretations, this exhibition could have become a groundbreaking project. Instead, it remains an aesthetically compelling but intellectually cautious presentation—a missed opportunity for an institution of the stature of Paleis Het Loo. --------------------------------------------- --------------------------------------K.v.K. Haarlem S 225614 Opgericht 7 Juni 1991 Postbankrekening: 62.93.434