An obelisk is a four-sided, tapering monolithic pillar that ascends with majestic precision, culminating in a pyramidion—a small, pointed pyramid at its peak. Originating in ancient Egypt, these towering forms have long captivated the imagination for their awe-inspiring height and celestial symbolism, earning them the moniker “skyscrapers of the past.”(1) Their impressive presence has fascinated many, including Delft potters, who sought to capture their grandeur in ceramic form. This article explores the long and fascinating journey of the obelisk, from its sacred ancient origins to its reimagining as a prized object in European gardens and interiors, culminating in the exquisite Delft faience obelisks that still inspire collectors and scholars today.

Obelisks first emerged in Egypt’s Early Dynastic Period (ca. 3150–2612 BC), predating even the construction of the Pyramid of Djoser.(2) Known as tekhenu, meaning “to pierce”, these monoliths pointed skyward in a direct dialogue with the divine.(3) Atop each stood the pyramidion, for the Egyptians symbolizing the benben, the primordial mound from which creation sprang. This form embodied the presence of the god Atum, who first emerged from the cosmic waters, and it was closely associated with solar worship and the sun god Ra.

Also associated with the mythical Benu bird—believed to have cried life into existence and destined one day to announce its end—the obelisk symbolized the daily cycle of renewal. The temple for sun god Ra at Heliopolis (a city formerly known as Iunu, meaning “pillar”) housed a sacred benben stone at the very spot where, according to myth, the sun’s first ray touched the earth.(4) This solar symbolism was later affirmed by Pliny the Elder (AD 23–79), the renowned Roman author, naturalist, and philosopher, who wrote that obelisks represented the rays of the sun. An inscription on one such obelisk, dedicated to the sun god, reads: “You shine in the benben”, further supporting this interpretation.(5) The pyramidions that capped many obelisks were sometimes gilded in gold or other reflective metals, allowing them to catch the sunlight—serving as literal embodiments of divine illumination.

Always erected in pairs, Egyptian obelisks conveyed duality and cosmic balance, while honoring both royal achievements and divine power. Each pair was believed to have a celestial counterpart, reinforcing the belief in harmony between heaven and earth.(6) During the New Kingdom (ca. 1570–1069 BC), pharaohs commissioned more obelisks than ever before, hoping these monuments would outlive them, ensuring their names remained objects of veneration for centuries to come.(7)

With the advent of Hellenistic rule, Egyptian obelisks caught the attention of the Greeks, who dubbed them obeliskos, or “small spit”—a nod to their slender form.(8) The term, with minimal evolution, remains in use today.

Following last Greek queen Cleopatra VII’s death and the Roman annexation of Egypt in 30 BC, obelisks were transported to Rome as imperial trophies. Here, they were repurposed to emphasize the emperor’s imperial power and the Roman sun god Sol, along with his Greek counterpart Apollo, as the new celestial patrons of the obelisk.(9)

Obelisks thus transformed from sacred markers of cosmic power into emblems of imperial and civic grandeur. Their presence in the Roman landscape marked both cultural appropriation and ideological continuity. Although Europe’s access to Egypt diminished following the Islamic conquest in the seventh century, Egyptian narratives remained present in Christian lore—from the Pharaoh’s daughter to the Israelites’ flight—preserving Egypt’s place in the Western imagination.

The Renaissance reawakened Europe’s fascination with Egypt. Archaeological rediscoveries of Egyptian and Egyptianizing monuments, especially in Italy, alongside classical texts by authors such as Herodotus, reignited interest in ancient forms.(10) This early Egyptomania culminated in the re-erection of ancient obelisks by the popes, who crowned them with crosses, transforming them into Christian symbols of ecclesiastical authority (Fig. 1).

In the visual arts, Egyptian motifs experienced a similar revival. The great Baroque sculptor Gian Lorenzo Bernini (1598–1680) incorporated an obelisk into his Fountain of the Four Rivers (1648–51) in Rome’s Piazza Navona. Its fame spread northward, evidenced by a 1652 engraving by Dutch artist Johannes Lutma (Fig. 2). The obelisk had become a universal symbol of power, light, and continuity—now cloaked in a new Christian vocabulary.

In the Netherlands, obelisks gained popularity as decorative elements in elite gardens. Stadholder Frederik Hendrik (1584–1647) and Amalia van Solms (1602–1675) incorporated  several wooden lattice obelisks at Huis ten Bosch, visible in a painting by Jan van der Heyden (Fig.3). These green ‘living’ obelisks served as plant guides, blending horticulture with architectural form.

Later, at Het Loo Palace in Apeldoorn, the summer residence of King William III (1650-1702) and Queen Mary (1662-1695, a wooden obelisk was part of the garden.(11) In an engraving by Laurens Scherm, the wooden obelisk is rendered as a minor, almost hidden detail, though still identifiable (Fig. 4). Two similar obelisk forms appear on a pair of Delft faience urns now held at Het Loo (Fig. 5).

Archaeological evidence from Het Loo, along with an inventory from 1713, confirms the presence of Delft faience obelisks, then referred to as “pyramids”, in the palace’s interior.(12) In addition, the term bloempyramidetjes is mentioned, referring to the famous flower pyramids, also known as tulip vases. Architect and designer Daniël Marot (1660/61–1752), in the service of William and Mary, likely influenced their design. In one engraving of a mausoleum for the Austrian Queen Maria Theresia (by Daniël Marot after Jean Bérain((1637–1711)), candle-bearing obelisks bear a striking resemblance to flower pyramids.(13) Replacing the candleholders with spouts reveals a near-identical form. While traditionally known as “flower pyramids,” their slender, vertical, tapering form would make “flower obelisks” a more fitting designation.

Obelisks made from a variety of materials were commonly displayed on mantelpieces, side tables, and consoles. It is therefore plausible that Delftware obelisks likewise adorned various areas within the interior, contributing to the overall decorative scheme. A print by the fore mentioned Jean Bérain shows that Delft obelisks were also used as decorative elements on buffets.(14)

Next to unmarked obelisks, marked examples show they have been produced at De Grieksche A (The Greek A) during the ownership of Adrianus Kocx (1686–1701), and at De Metaale Pot (The Metal Pot) under Lambertus van Eenhoorn and his widow Margaretha Teckmann (1691–1724), and her successor Cornelis Koppens (1724–1757).(15) Both potteries can be considered purveyors to the royal household.

Delft obelisks were produced in a small variety of models, sizes, and decorative styles. The earliest model features a tapering foot with shell decoration on all four sides and various finials. These were produced in at least two different heights—approximately 36 cm (14.1 in.) and 49 cm (19.3 in.), at both major potteries. A few are known with a square base on ball feet (see Fig. 8).

Due to the technical complexity and high production costs, Delft obelisks remained exclusive objects, reserved for the elite. Although the production was limited, examples have survived in both private and museum collections. Five Delft obelisks are held by the Rijksmuseum, all made at De Metaale Pot. The most extraordinary is a polychrome pair in the cashmere palette, marked LVE for Lambertus van Eenhoorn (Fig. 6). Elsewhere, two small black obelisks are known, one at the Metropolitan Museum (inv. no. 50.211.35 ) and another in a private collection.

In addition to notable examples held by the Prinsenhof Delft (inv. no. LM 36-A), Museum Arnhem (inv. no. AB 8300), and the Museum of Fine Arts, Boston (inv. no. 2013.1734), a remarkable pair produced by De Grieksche A under Adrianus Kocx is part of the collection at Paleis Het Loo (Fig. 7). Based on ceramic shards found in the palace gardens, this pair closely resembles the original obelisks once owned by Queen Mary.

Over the years, the Aronson Collection has included several important Delft obelisks. Among them is a pair marked AK for Adrianus Kocx, featuring Chinoiserie motifs and Baroque shell designs (D1608). The current collection holds an 18th-century pair marked CK for Cornelis Koppens (Fig. 8). While similar in decoration, this pair differs in size from a comparable set formerly in the Aronson Collection (inv. no. D2212). (16) Together, these pieces reflect the enduring appeal of the obelisk form well into the 18th century.

Only a few dozen Delft obelisks are known today. Alongside engravings and historical records, they offer us a modest yet meaningful glimpse into their significance and use. From the sacred temples of Heliopolis to the formal gardens of Apeldoorn, the obelisk has carried profound symbolic weight across millennia. As an architectural form, it embodies themes of eternity, divine illumination, and sovereign power. In Delftware, the obelisk was reimagined—not as a towering monument of stone, but as a refined ceramic expression of beauty, intellect, and courtly taste. These objects merge the symbolic with the decorative. In doing so, they stand not only as elegant works of art, but as enduring echoes of a timeless human aspiration: to reach skyward, toward the light.

 

Notes

1. Habachi, 1977, p. xiii.
2. Mark, 2016
3. Ibid.
4. Habachi, 1977, p. 5.
5. Ibid.
6. Mark, 2016
7. Ibid.
8. Habachi, 1977, p. 3.
9. Sara E. Cole, 2017
10. Richard A. Fazzini and Mary E. McKercher, 2025.
11. Lambooy, 2020, p. 175
12. Erkelens, 1996, p. 126 and Lambooy, 2020, p. 175
13. Lambooy, 2020, p. 167
14. Erkelens, 1996, p. 116
15. Erkelens, 1996, p. 126
16. The height of the other pair, with inv. no D2212, is 32.5 cm. (12.8 in.)

Literature

Cole, Sara E., Egyptian Obelisks and Their Afterlife in Ancient Rome, 2017

Erkelens, A.M.L.E.,  Porcelijn van Koningin Mary II, Zwolle, 1996

Fazzini, Richard A. and Mary E. McKercher, Egyptomania: Sphinxes, Obelisks, and Scarabs, Encyclopaedia Britannica, 2025

Habachi, Labib, The Obelisks of Egypt: Skyscrapers of the Past, London, 1977

Lambooy, Suzanne, Koninklijk Blauw, Zwolle, 2020

Mark, Joshua J., Egyptian Obelisk, 2016