Twee deels vergulde zilveren kronen uit de Sint-Pieterskerk in Leuven, opgesteld op een tentoonstelling over religieuze objecten uit de middeleeuwen en renaissance in 1864 in Mechelen before 1866

Editor: Here we have a gelatin silver print by Joseph Maes, dating before 1866. It captures two partly gilded silver crowns from the Church of Saint Peter in Leuven, displayed at an exhibition in Mechelen in 1864. There's a formality in how these opulent, almost theatrical crowns are presented, staged so simply. What story do you think this image tells? Curator: Well, seeing this photograph, what strikes me is its documentarian role, capturing the spectacle of religious artifacts for a public audience during a period of rising nationalism and interest in medieval history. Exhibitions like the one in Mechelen were crucial for shaping public perceptions and fostering a sense of shared heritage. Consider how the choice to photograph these crowns, rather than other objects, elevates them. Editor: So, you see the photograph itself as participating in the construction of national identity? Almost like a political act? Curator: Precisely. Photography was becoming a powerful tool for inventorying and showcasing cultural patrimony. The act of displaying these crowns in Mechelen, a significant city in Belgian history, reinforces their symbolic weight. It subtly aligns religious power with civic pride. How does knowing that shift your initial view of them as 'theatrical'? Editor: It makes me think about who was invited to witness this exhibition, and who was left out. I guess the "theatrical" aspect now reads more like "propaganda" or something... Thanks, I learned a lot about the layers of political meaning museums have, especially in the 19th Century. Curator: And I was reminded about how artworks become vehicles for larger narratives that circulate within society! It is a good day of learning!