Overlijden van paus Pius VII 1823

Curator: This coin-like relief commemorates the death of Pope Pius VII in 1823, crafted in metal by Johann Thomas Stettner. My first impression? It’s profoundly solemn. A quiet moment frozen in metal. Editor: Immediately, my eyes lock onto the cool sheen of the material itself, the almost ghostly quality of the relief. Metal—particularly in small scale like this—becomes currency, not just financially but socially, spiritually. Curator: It really encapsulates Neoclassical sensibilities. Note the clear, precise lines of Pius in prayer. I get a real sense of piety. There's an inherent human drama captured— the Pope seemingly caught between mortality represented in front of him, and faith shown behind him with The Virgin Mary. Editor: The artist has really wrangled metal into doing something so complex. Look at the depth achieved. You begin to think of the tools involved, the hours shaping and polishing, not to mention the socio-political forces enabling this commemoration in the first place. It makes me think, how did these kinds of objects circulate and what purpose did they serve in legitimizing power and authority? Curator: Power, yes, but also something deeply personal. Think of the era. Europe was reshaping after the Napoleonic Wars. Pius, a figure of immense spiritual authority, had endured imprisonment by Napoleon. This relief serves almost like a memento mori, the fleetingness of even the most influential lives. The virgin embodies solace from beyond, contrasting so strongly to the crucifix that occupies much of the other face. Editor: You know, and perhaps ironically so, I keep getting drawn back to the idea of process here, of consumption. These medals aren’t just artistic expressions, they’re commodities – each struck, each distributed, solidifying the Vatican’s presence. A fascinating intersection of sacred iconography and the raw mechanisms of late-stage production that reflects both its age and modernity. Curator: In a sense, perhaps. The craftsmanship certainly adds an intimate touch. This, for me, becomes a point of reflection and a recognition of mortality’s strange dance with immortality. The piece almost transcends the confines of commemoration itself. Editor: Indeed. It speaks to how deeply interconnected materiality, social structures, and belief systems were and, of course, still are. I leave considering more deeply the very weight of those little metal rounds and what kind of pressure they could bring.