Entrance of William III into The Hague (Inhaling van S.K. Maj. aende Westeynder brug door de E.A. Magistraet van s'Gravenhage / Reception de sa Majesté au pont du Westende) from Bidloo, Inkomste van Koning Willem III 1691

Curator: What a frenzy of carriages, people, and windmills! It feels like a perfectly orchestrated, chaotic dance. Editor: Indeed. This print, titled "Entrance of William III into The Hague," was created around 1691 by Romeyn de Hooghe. It depicts the reception of King William III upon his arrival at The Hague, and you can see it today at the Metropolitan Museum of Art. The use of engraving allows for incredible detail. Curator: Engraving is perfect for the occasion, actually. It almost mirrors the rigid structures of power and authority. Do you think it portrays an honest snapshot, or a deliberately constructed image of royal power? Editor: It’s fascinating how the print functions both as historical record and a form of political communication. Think of how carefully images were circulated then; this engraving would reinforce the legitimacy of William's reign. Notice how his entrance is framed not just by architecture, but by throngs of cheering citizens. It says, "This is a popular leader." Curator: I’m immediately drawn to the contrast between the meticulous architecture and the bustling crowd. Look how tiny people are, compared with city itself. One gets this slightly dizzying feeling. Were the buildings that much bigger then, or is it something else entirely? Editor: It's playing with perspective, but also signaling a hierarchy, where the state—embodied by the cityscape—overshadows individual lives. That enormous decorated arch serves as an imposing visual statement! Curator: An imposing stage, I think! All those players just add to the overall impression, no? Do you know how this particular event would be celebrated in our day? Editor: Perhaps a motorcade and televised speeches. This print gives a glimpse into 17th-century political spectacle, which really highlights the controlled display of power. The medium itself shapes how we remember historical events. Curator: It makes you wonder what versions of engravings we have in the modern era... Interesting thoughts. Editor: Looking closely, it’s a fascinating moment in history, transformed into a visual argument through line and form. Curator: Precisely, thank you.