Inwijding van het oude mannen- en vrouwenhuis Oudaen van de diaconie van de Nederduitsch Hervormde gemeente te Utrecht 1759

Editor: This is "Inwijding van het oude mannen- en vrouwenhuis Oudaen van de diaconie van de Nederduitsch Hervormde gemeente te Utrecht" – quite a title! It was made in 1759 by Johan George Holtzhey. As a print in metal and engraving, it has this flattened quality and the imagery feels more symbolic than literal. What jumps out to you? Curator: I find the coin intriguing due to its bipartite division. One side presents the architectural representation of the old men’s and women’s home, radiating with linear emanating light. Consider the implications of juxtaposing this physical structure with the inscriptions on the other side, surrounded by symbolic flourishes. Do you observe any other details? Editor: Well, the building side seems very grounded, literally depicted, whereas the other side, with the inscription, feels almost ethereal with the heraldic imagery on top. There's a clear separation in visual language between the practical and the symbolic. Why do you think Holtzhey chose such contrasting approaches on a single coin? Curator: Precisely. It's crucial to examine the formal relations at play here. The inscription's circular arrangement mirrors the coin's form, creating a self-contained system of meaning, wouldn't you agree? Editor: I do, especially since it lacks the rays of light that come from the building's roof, even if its meaning might seem opaque today. Curator: It reinforces the function of numismatic objects, or art more generally. Through its lines and shapes, Holtzhey’s medal invites contemplation beyond its literal message. Editor: I now see it is as more than just an artifact, but also an engagement of space within such a limited area, and each side does so differently! Curator: Yes, that tension and connection is central to the object.