Joan Derk van der Capellen tot den Pol weer toegelaten tot de Staten van Overijssel en afschaffing van de drostendiensten Possibly 1783

Editor: Here we have a commemorative metal relief, most likely from 1783, entitled "Joan Derk van der Capellen tot den Pol weer toegelaten tot de Staten van Overijssel en afschaffing van de drostendiensten," currently residing at the Rijksmuseum and attributed to Johan George Holtzhey. There's a definite neoclassical air about the allegorical figures; what can you tell us about it? Curator: The imagery on this piece certainly resonates with the ideals of the Enlightenment. The seated figure of Justice, holding her symbols of power, displays civic authority. Do you notice how her gaze is directed, seemingly bestowing approval upon the farmer figure to the right? Editor: I do. He's standing there with his arms crossed over his shovel, looking... almost sheepish? Curator: Precisely. It's suggestive, isn't it? His humble posture contrasts with Justice's grandeur. The inscription, circling 'SVVM CVIQVE', meaning 'to each his own', ties together Justice, freedom, and the farmer. The composition may symbolize the restoration of rights and the abolishment of old power structures, wouldn’t you agree? Editor: Yes, it highlights those tensions wonderfully. Is there also some intended link with ancient coinage, as a medium? Curator: A great observation. The coin format itself alludes to a long history of using symbols and portraiture for propagating political ideas. Holtzhey isn’t just crafting an object; they are embedding this specific moment in a cultural memory, one that reaches back to ancient ideals of justice and governance. This medallion preserves both a portrait and political ambitions, inviting reflection across time. Editor: So, the symbols, materials, and references work together to reinforce its message and ensure it resonates even now? Curator: Indeed. The images here aren't static; they’re dynamic carriers of meaning, speaking volumes about power, reform, and memory itself. We see layers of the past shaping present identities.