Beleg van Brussel (rechterhelft), 1697 1697

Jacobus Harrewijn created this engraving, "Siege of Brussels," in 1697. It depicts the city during a key moment in the Nine Years' War, offering a bird's-eye view of the siege. Beyond its function as a historical record, the print reflects the complex politics of its time. Brussels, then part of the Spanish Netherlands, was under attack by French forces. Harrewijn’s print celebrates the allied forces—English, Dutch, and Spanish—who defended the city. Note the allegorical figures surrounding the city map; these are not just aesthetic elements. They embody power, victory, and divine approval of the allied forces, reinforcing a narrative of rightful defense against French aggression. What does it mean to create an image that not only documents but also legitimizes a specific political stance? Consider how such representations shape our understanding of historical events and national identities. It prompts us to question whose stories are being told. Whose perspectives are being amplified, and whose are being marginalized?