Portret van Willem IV, prins van Oranje-Nassau 1750

Pieter Tanjé's portrait of Willem IV, etched in the 18th century, presents us with a fascinating array of symbols. Enclosed by a laurel wreath, signifying triumph and eternal life, Willem is flanked by cherubs, ancient symbols of divine love and wisdom. These motifs are hardly unique to this portrait. The cherubic figure, for example, reappears throughout the Renaissance and Baroque periods, often associated with religious ecstasy and spiritual awakening. Yet, here, they seem to serve a dual purpose, legitimizing power through divine association. The juxtaposition of military regalia with symbols of innocence speaks volumes. Consider, too, the sword bearing the inscription "vigilando ascendimus," or "by watching, we rise." This martial symbol, common in depictions of power, transcends its immediate context. Its presence touches on a collective memory, a subconscious desire for order and protection, that has coursed through Western art for centuries. These images are not merely decorative; they are charged with cultural memory. The motifs and gestures engage us on a deep, almost subconscious level, evoking intense emotional states. The cyclical progression of these symbols, resurfacing and evolving across time, only reinforces their enduring power.