SEE THE CITY FROM A DIFFERENT ANGLE
English brochure to use during a guided tour in the
Zonneberg Caves
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Zonneberg Caves
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Welcome
& safety
INTRODUCTION
DRAWINGS
The origins
of
limestone
Second
World War
First
Catholic
chapel, SWW
BAKERY
The Flower
Medallion
Crucifix
Advertisements
The Muses
The block
breaker
Flint
Bats
more
INFORMATION
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Welcome to
the Zonneberg caves
On behalf of Maastricht Underground
and Natuurmonumenten (Society for the
Preservation of Nature Monuments in the
Netherlands) we extend to you a warm
welcome to the Zonneberg Caves location.
You will visit the Zonneberg Caves as part of a
huge network of around 22,000 underground
tunnels dug into this hill. The tunnel walls of
this enormous maze carry the signs of >
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chopping and cutting by block breakers as well
as many writings, drawings and sculptures.
Much of this was brought about for tourism
one hundred years ago. These signs of
chopping and cutting are the silent witnesses
of hard labour around the extraction of
marlstone in this area for 700 years. >
In this document we describe the highlights
you may encounter during the guided tour.
Your guide will point out these highlights,
allowing you to look up all relevant information
in this document.
Some of the stops are not listed in this
document and some stops described in this
document are not part of the tour. The guide
will have to be selective in painting a varied
and full picture of events that happened at
this location through the centuries. On various
guided tours you will be visiting different
locations! Please feel free to ask questions.
We hope you will enjoy your guided tour!
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Safety
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First of all we ask your attention for some
safety aspects:
• Gasoline lamps can be hot! Do you, or
someone near you, carry such a lamp? In
that case, please make sure that no one can
touch the top of the lamp.
•Some floors are uneven. Please take care
when walking on such floors.
•Please stay with your group and follow
the directions given by your guide. Do
not wander off through the tunnels in
the unlikely event that your guide is
incapacitated, but stay put until help has
arrived. Help is on its way for sure; no
further action is required.
•Please do not touch the walls or any objects
on the walls.
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Introduction
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The temperature in this network of tunnels is
a constant 11°C / 52°F (summer and winter,
day and night). The humidity is around 98%.
The rock also holds a lot of water. This is also
the reason why most of the drawings were
produced using charcoal; paint would go
mouldy and peel off the walls. Charcoal can
remain on the walls as a powdery coating for
hundreds of years as long as nobody touches
it. We must therefore ask you NOT to scratch
the walls or to touch the drawings!
A great many inscriptions can be admired on
the walls, the oldest of which in these tunnels
dates from 1551.
In the early 1900s, it was mainly local artists
who came here to give free rein to their
creativity on the walls and hoped in this way
to attract new clients and commissions. The
competition between the four different cave
networks led the owners of the caves to invite
artists to create artworks in the caves. >
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A touristic publication dating from 1898
describes the tour of the caves in great detail.
These excursions were at the time exclusively
available to the well-to-do. An admission ticket
cost ‘two guilders for the first visitor and 50
cents for every additional visitor.’ To put this
into perspective, an overnight stay at a hotel
with breakfast cost just one guilder at the time.
After the Second World War, mass tourism
really started to grow. A number of educational
illustrations were added during that period,
along with even more drawings, carvings, and
sculptures.
The climate in these caves also attracts many
hundreds of bats in the winter months, coming
here to hibernate. >
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During the Second World War, various facilities
were set up in these tunnels in order to be
able to house almost 50,000 people in them
for a period of time. However, Maastricht was
ultimately never on the front line of the war,
so the large-scale evacuation never proved
necessary. Nonetheless, you will undoubtedly
encounter signs of this evacuation plan during
this tour.
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Drawings
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Most of the drawings that you will see were
produced using charcoal. This is due to the
climate inside the hill and its tunnels. The
limestone is also permeated with moisture,
so any paint used would go mouldy and peel
off, especially as the paint used in the past
was made using egg yolks. Charcoal is an
inert and porous material that remains well
preserved on the surface of the walls as a
layer of powder. Some drawings, such as that
of Ahasverus (the Wandering Jew) and that of
the dragon, are more than a hundred years
old; but if you were to rub your fingers over it,
it would be easily erased. By not touching the
drawings, we can ensure they will adorn these
walls for hundreds more years. >
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The drawing of Ahasverus - a cobbler, also
known as the Wandering Jew - was produced
in the early 1900s by Messrs Van der Veur
and Simays. It is a wonderful example of
the deeply-rooted religious traditions in this
southern part of the Netherlands, a source of
inspiration for many artists. >
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The drawing of the dragon was produced
in 1907 by T. Bottema, who studied here in
Maastricht at the city’s school of drawing and
later became known for his illustrations in
works including the Dik Trom series of Dutch
children’s books and the children’s bible.
His best-known design is that for an insurance
company, Nationale Nederlanden: a lady with
an umbrella, a gentleman with a walking stick,
and a dog.
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The origins of
limestone
This drawing dating from the early 1900s
gives an impression of how things looked here
around 70 million years ago.
The mammoth (on the right) didn’t evolve until
many millions of years later, and the various
dinosaurs (in the middle) are also not correct
in this picture. >
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In that period, the end of the Cretaceous
period, the area that is now Western Europe
lay submerged under a fairly shallow
subtropical sea. The nearest coastline was 50
km to the east.
The sea creatures and other creature that
lived here included the Mosasaurus. This
reptile was the largest and hungriest creature
swimming around in this area. It grew up
to 17 metres in length, and ate everything it
encountered, including other mosasauri.
If you also consider that the Cretaceous Sea
extended from Ireland to Ukraine, you can
imagine the huge amount of calcium-rich
deposits that accumulated. >
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20 meters / 66 ft.
Soil
10 meters / 33 ft.
Limestone
10 meters / 33 ft.
Tunnels
60 meters / 197 ft.
Jeker
Meuse
The layer in which these tunnels were
created is chiefly made of remnants of
algae, foraminifera, single-celled organisms,
and other tiny creatures, resulting in a
homogeneous layer of rock that makes an
excellent building stone. The elephant on the
left of the drawing has been drawn next to the
dinosaurs as a reference point, to give visitors
an idea of the size of these creatures.
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Second
World War
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In the final years of the Second World War,
preparations were made in these tunnels for
the potential evacuation of around 50,000
inhabitants of Maastricht. In the event that
Maastricht should find itself on the front line,
sandwiched between the Nazis on one side of
the Meuse and the Allies on the other, a large
proportion of the population was to make use
of this evacuation plan. The main initiator and
designer of this plan was the Maastricht
architect Harrie Koenen.
The plan included a large number of facilities
including a bakery, a hospital including
operating theatres, a psychiatric ward, toilets,
electric lights in the main tunnels, a public
address system, three water pumping stations
with large water storage facilities (see photo),
two Catholic chapels, and one Protestant
chapel, amongst many other features. >
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>
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In the end, the official large-scale evacuation
never took place, as Maastricht was liberated
from the east by the American troops and was
never on the front line. Nevertheless, towards
the end of the war, a few thousand people did
make use of the tunnels for ten days. These
were mainly people who lived in the city centre,
where the bridges were the targets of various
bombardments. All kinds of provisions such as
crates containing medicines, blankets, crockery
etc. were not used because the plan was never
officially executed. In any case, it became clear
during those ten days that the plan would not
have worked adequately anyway; the toilets
stank and were unhygienic, the straw storage
areas were swarming with rats and mice, and
not all facilities were operational yet.
With hindsight, there are plenty of reasons to be
glad that the end of this troubled period for
Maastricht finally came on 14 September 1944,
after four years, four months, and four days of war.
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First Catholic chapel
Second World War
The evacuation plan dating from the Second
World War also featured places of worship; two
Catholic chapels, and one Protestant chapel.
You are now at the first Catholic chapel, with
the altar and the cross on top.
On the wall to the left of the chapel is a
depiction of ‘Our Lady of Perpetual Help,’
modelled on a Polish icon. >
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This drawing was created in a different way
from most of the other drawings; the surface
was first blackened, and the parts that were
to be made white were then scratched away (a
technique known as sgraffito).
Actual church services were held in this
chapel, and during the war years a child was
even baptized here. A number of Stations of
the Cross are shown on the walls of the tunnel
leading straight to the chapel. There should
be fourteen of them, but there are only eight
and a half. Viewed from the chapel, you can
see an unfinished drawing on the left wall of
this tunnel. This drawing marks the moment
at which the national anthem was played over
the public address system to announce the
liberation of the city. People naturally stopped
what they were doing and normal life resumed.
Next to this half-finished drawing, you can also
see a number of empty spaces that were never
used.
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Bakery
Second World War
This bakery formed part of the evacuation
plan from the Second World War. Five hot-air
ovens were to be installed, with a combined
maximum capacity of 10,000 loaves per day.
Ovens no. 1 (straight in front of you) and no. 2
(to the right) are still accessible. Oven no. 3 is
positioned behind oven no. 2. The war ended
before ovens 4 and 5 could be installed.
These ovens were multi-burners; >
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they could be heated from below with tree
branches, coal, wood, paper, peat, and any
other kind of combustible material that
was available. These ovens each had two
baking sheets positioned one above the other
which were heated by means of the hot air
channelled into the hot oven.
The round tubes at the top were used to heat
water. Water pumping station no. 1 is located
near this bakery. Some of the pumped water
was conveyed to these ovens with the aid of an
extra pump situated in the alcove between the
two ovens. The water was heated by pumping it
through the round tubes.
These ovens would have been in use 24 hours
a day, and the smoke would have escaped via
the enormous 35-metre-tall factory chimney
that you can see above oven no. 2. >
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Above the ground, on the plateau beside the
Lichtenberg farmstead (Hoeve Lichtenberg),
you can see about 2 metres of concrete pipe
sticking out of the field. This is the top of the
chimney.
The only drawing visible on the wall in this
section reminds us of the fact that Mrs Regina
Beks gave birth to her sixth child, her son
Frits, here during the last few days of the war.
The first-aid post had relocated to the bakery
as it was the only place that could be kept
relatively warm. The drawing was produced
at the request of Frits Beks who visited the
Zonneberg tunnel network on the occasion of
his fiftieth birthday.
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The flower
Second World War
In his own words, written on the back of this
photograph of the flower: ‘Sgraffito of marl
wall / coated with black bone meal / scraped
using piece of electrical conduit.’
This drawing may have been created here as a
kind of signpost for the guides, young people
from the nearby Veldeke college, who had been
given an intensive training course on the basis
of a diagrammatic map teaching them the way
through the illuminated main tunnels. >
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If the necessity arose, they had to lead the
sheltering people outside, or from outside
to one of the 27 zones into which the tunnel
network was divided. The city’s residents were
allocated to one of these zones depending on
the city district in which they lived.
The main tunnels were given names. We still
use those names today, including Alphaweg
(Alpha Way), KLM-weg (KLM Way), and
Bloemenweg (Flower Way), part of Route E, the
walls of which still bear a red letter E.
From ‘the Flower,’ you have a clear view of
Bloemenweg which - in contrast with the
North Caves, with their very chaotic layout demonstrates an extremely well-structured
plan.
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Medallion
This sculpture - created by J. Sondijker - was
originally situated elsewhere in this tunnel
network, along with many other drawings and
sculptures. That section was known as the
‘Museum’ and was cut open by the cement
industry. It is now no longer accessible, and the
many artworks are disintegrating. >
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This medallion of ‘Maastricht Vooruit’ - the
touristic association of the time - dating from
1899 was detached at the back, cut into blocks,
moved here, and reassembled.
At the centre we see the Angel of Maastricht
holding the city’s coat of arms: a five-pointed
white star on a red background. To the right
of the angel we see the St. Servaas bridge,
the oldest bridge in the Netherlands. A bridge
has existed on this site since the Roman
era, and until well into the 19th century the
St. Servaas bridge was the northernmost
permanent crossing point on the Meuse. Half
hidden behind the central figure, we can see
the Basilica of St. Servatius (St. Servaas). To
the far right we see St John’s Church (Sint
Janskerk). This gothic church on the Vrijthof
square can be recognized by its tall red tower,
dating from the mid-15th century. >
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This tower was built using limestone from the
Sint Pietersberg hill.
As the tallest tower in Maastricht, it is also
battered by the most wind and rain. In order
to make the stone extra resistant to the
onslaught of the weather, the story goes that
it was coated with ox blood in the Middle Ages.
Every time this was done, 300 oxen had to
be slaughtered. These days, a special paint
is used. Every so often, the tower is restored
where necessary and repainted.
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Crucifix
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This crucifix dates from the early 20th century
and - like many drawings in these tunnels was produced by Messrs Van der Veur and
Simays. This larger-than-life crucifix is also
jokingly called ‘Jesus with the short legs’.
You can see that he has short legs and very
long arms. The reason for this is that the
artists would first produce a drawing on the
wall before starting to carve. At that time, the
standard practice was to use an oil lamp to
project the shadow of a model onto the wall
and to use this as a basis for the artwork. As
the light source was usually positioned on
the ground behind the model - in this case a
person with raised arms - and the effect of
this angle was that the silhouette was out of
proportion.
Colour has been used here, but it is not paint.
To ensure that the colours used in the artwork
remained on the wall, pure pigments have
been used. >
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As such pigments are very expensive, charcoal
has been chosen for most of the other works.
The text above the figure of Jesus - I.N.R.I. stands for the Latin ‘Iesus Nazarenus Rex
Iudaeorum’ (Jesus of Nazareth, King of the
Jews).
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Advertisements
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Circa 1900, when tourism slowly started to
grow, it was generally only the wealthier
people who were able to take a holiday.
Those who were also able to travel were truly
wealthy.
Several companies realized that many
visitors came here to the caves and tunnels
and - in consultation with the cave owners,
and sometimes perhaps even at their
request - decided to ‘decorate’ the walls with
advertisements. >
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There are advertisements for local hotels and
artisans, but also for large-scale nationally
and today even internationally well-known
companies such as ‘Bols’ (Dutch ‘jenever’ gin),
‘Alpha’ (margarine), and ‘Van Houten’ (cocoa).
>
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The latter two are represented by large
illustrations in colour. The imposing Van
Houten advert - a few metres tall, depicting a
boy shouting - is still very impressive. >
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The unique thing about these advertisements
is that they are older than the advertisements
painted onto the side façades of houses above
ground at a later date.
These were in turn later superseded by the
enamel boards and later still by radio and
television commercials.
These cave illustrations were therefore the
first advertisements aside from the actual
packaging of the products.
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The Muses
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The ‘Salon der Muzen’ (the Salon of the Muses)
was created here in the early 1900s by
J. Sondijker, the third artist to have produced
various works here alongside Van der Veur and
Simays.
There seems to be no relevance to the
underground situation, and this artwork was
therefore probably created here purely for the
sake of tourism.
Particularly when viewed by the light of a
single oil lamp or carbide lamp, it must have
made a big impression on the visitors.
In particular, the details that we see in the hair
and the lace collar of Kalliope (Calliope) bear
witness to the great skill of the artist.
The figures represent the nine daughters of
Zeus, each representing the various arts and
sciences as their patroness. >
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Walking close to the wall with the four ladies
from right to left, keeping your eye on the
trumpet held by Klio (Clio), the instrument
appears to gradually get longer.
The effect can be easily explained by the
slanting angle of the wall, but it’s a very
intriguing illusion for most children.
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The ‘block breaker’
The Romans started quarrying and using this
limestone around 2000 years ago in order to
treat the land with marl and for use as building
stone. However, they did not quarry it by
means of tunnels. They used open quarries cut
into the side of the hill.
The creation of the tunnels began in the first
half of the 13th century, when the city walls
and the large churches were built. >
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Building stone has been quarried here over a
period of 700 years, with varying degrees of
intensity.
This ultimately resulted in a network of around
22,000 tunnels with a total length of around
230 kilometres. As a result of cave-ins and
industrial quarrying on the surface (ENCI), a
large proportion has disappeared.
The ‘block breakers’ who worked here
centuries ago were generally farmers who
owned land on top of the hill. Everything
beneath their land was also their property.
In contrast with the North Caves, in which the
farmers quarried the rock beneath their land
themselves, the quarrying of these tunnels
was mainly contracted to professional block
breakers, the best known of whom in the 16th
century was Pieter Stas. This is clear from the
many inscriptions that he left in these tunnels.
>
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These professional marl workers were able
to work in a much more structured manner,
more economically, and in particular more
safely. With marl of this quality, they knew that
they had to work on a 1:1 ratio. That meant
that for every tunnel cut away, a pillar of the
same dimensions had to be left standing to
prevent the roof from falling in. The ‘healthy
width’ of a tunnel is 4 metres.
Working long days in the poor light of a single
oil lamp, at a temperature of 11 °C and in 98%
humidity is of course very unhealthy. These
days we know that a lack of daylight makes
people susceptible to a depressive state of
mind. The rheumatic and asthmatic conditions
that were seen in so many of these people
wouldn’t have improved their enjoyment of life
much. In addition, they were very poorly paid.
>
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Ultimately, the first half of the 20th century
brought an end to the underground quarrying
of stone in the Sint Pietersberg hill. The
useable layers of stone were as good as
exhausted, and the cement industry - in the
form of ENCI - began quarrying the hill from
the surface in 1926, for instance by blowing
up parts of it using dynamite and turning the
loose limestone into Portland cement in its
huge kilns.
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Flint
Throughout the tunnel network, you can see
a layer of a darker type of stone, running as
a horizontal line through the hill. This is flint,
one of the hardest types of stone in existence.
When the marl workers hit this layer with their
simple saws and chisels, the flint simply broke
their tools. This layer was also referred to as
the ‘vloek’ (cursing) layer…
They were able to avoid the first layer because
they found they could cut out good stone for
about 1.5 to 2 metres below it. >
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They then stopped cutting downwards because
they knew that ‘our’ flint layer was the 23rd
from the bottom. This - added to the fact that
those layers got closer together the deeper
they went - meant that digging deeper would
result in more broken tools than useable
blocks of marl.
In contrast with the North Caves, the flint layer
here lies lower, deeper below the surface, so
the tunnels could be dug deeper.
Contrary to what you may have heard, striking
two pieces of flint together won’t produce
sparks or fire. In the Stone Age, when flint was
used to make arrowheads, axes, and scrapers,
people lit fires through friction which created
heat.
Flint was not used to light fires until the Iron
Age.To create sparks, the flint needed to be
struck with a piece of iron.
Scientists have not yet reached a universally
accepted conclusion on how flint is formed.
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Bats
The Sint Pietersberg hill, owned by the
Vereniging Natuurmonumenten (Society for
preservation of nature monuments in the
Netherlands) since 1995, is also a well-known
bat reserve.
In the winter months, when temperatures
outdoors drop below freezing and there are
no flies or other insects to eat, the bats find
shelter in the caves.
Of the 19 species of bat known to live in the
Netherlands, 15 spend the winter in these
tunnels, seven of which are on the ‘Red List’ of
threatened species. >
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They crawl into the smallest holes and gaps,
or hang upside-down high up on the walls to
hibernate.
Their body temperature drops to 1 °C above
the ambient temperature, and their heart rate
shows to just two beats per 15 minutes.
They are not bothered by light or noise, but
warmth - even just the warmth of a torch disturbs the hibernation of these mammals.
Waking up costs them two weeks of sleep
energy, so if they wake up too frequently, they
won’t survive the winter.
The smallest species hibernating in these
caves and tunnels is the Pipistrelle bat
(Pipistrellus), so small it would fit inside a
matchbox. It weighs about the same as a sugar
lump. The largest species are the Greater
mouse-eared bat and the Pond bat, which are
said to be the size of a woman’s hand. >
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The bats are counted every year, and that’s
how we know that more than a thousand bats
spend the winter in this network of caves and
tunnels alone.
In the spring, when the outdoor temperature
starts to rise, the scrawny, hungry bats fly out
again and spend the summer in trees, church
towers, or under roof tiles, some flying as far
as 300 km away.
There, they feast on insects to gain weight and
strength, and to build up a good layer of fat to
see them through the next winter.
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More
information
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We have come to the end of this guided tour
through the Zonneberg Caves. We hope you
enjoyed your walk in this authentic part of the city
of Maastricht. We would like to hear your opinion
on this guided tour. To do so, please go to the
Tripadvisor website – Grotten Zonneberg
For information on other locations of
Maastricht Underground, go to
www.maastrichtunderground.nl
or ask your guide.
For further information on Maastricht and how
you can make your stay extra special, surf to
www.vvvmaastricht.nl
or see our colleagues at the Tourist
Information Office, Kleine Staat 1, Maastricht.
>
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More information about St Pietersberg and its
natural environment:
www.natuurmonumenten.nl
More information about geology,
the cretaceous period and fossils visit the
Maastricht Natural History Museum,
De Bosquetplein 7, Maastricht:
www.nhmmaastricht.nl
© Maastricht Underground / VVV Maastricht
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SEE THE CITY FROM A DIFFERENT ANGLE
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Tel. +31 43 325 21 21
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