Vroedschapspenning van de stad 's-Hertogenbosch 1714 - 1720

Curator: This metal Vroedschapspenning—or council-penny—of 's-Hertogenbosch, dates from 1714 to 1720, made using engraving and intaglio techniques, likely by Theodorus Casparus van Berckel. What impressions does this artwork spark in you? Editor: Well, first off, the baroque detail is insane. It’s like holding a tiny, incredibly dense world in your palm, all silver and shimmering. A little severe, but undoubtedly majestic. Curator: Majestic is an apt descriptor. Considering the engravings, there are interesting points to observe, specifically how they structure the coin's space. We have symmetry across both sides, with complex iconography packed into these very tight dimensions. Take the cityscape; see how the buildings almost touch the heavens, projecting an idea of ambition and reach. Editor: Totally! And the other side presents this... procession, right? With what appears to be armed people and some type of carriage, perhaps indicating a city defense parade? Like a moment frozen in the amber—or should I say, silver—of civic pride. Curator: Exactly. Consider the use of allegorical figures and Latin inscriptions, "AGIMUR IN PACE," conveying the idea of being "moved in peace," it reflects aspirations towards civic tranquility and responsible governance in 's-Hertogenbosch at that time. Also observe the sun above the city, the city's buildings reflecting this light. This is not mere design but ideological architecture. Editor: So much visual and semiotic information to decode, almost as if one needs a miniature Rosetta Stone to comprehend its full historical implications. Still, regardless, one gets a very distinct message of power. Curator: Precisely. What one might even call “hard power.” However, these aren’t bombastic claims but more like subtle reassurances carved on money, handled and circulated throughout society. As such, a means of power sustained. Editor: What amazes me the most is this sort of old "bling," this idea of immortalizing mundane political procedures on decorative metal objects, all hammered and cut to awe at. It truly speaks to a very different worldview. Curator: I find myself appreciating the fusion of art, ideology, and craftsmanship. What appears merely ornate is actually intensely constructed and deliberately manufactured in both aesthetic and historical intent. Editor: Definitely food for historical thought – I’ll perhaps handle all coins now, imagining all possible embedded narratives, conspiracies, and symbolic weight behind the artwork's medium!