Inname van Kaiserswerth en Bonn, ter ere van Frederik III, keurvorst van Brandenburg 1689

Curator: Wow, what a gleaming little thing! It almost feels cool to the touch. It’s very baroque. So elaborate and self-assured. What's the story behind this shimmering coin? Editor: This piece, created in 1689 by Jan Smeltzing, commemorates the capture of Kaiserswerth and Bonn. The full title is rather a mouthful: “Inname van Kaiserswerth en Bonn, ter ere van Frederik III, keurvorst van Brandenburg.” It's crafted from metal and presented as a relief sculpture, likely intended to function as both a commemorative medal and an engraving. Curator: Ah, yes, the inscription… It’s got that almost manic exuberance typical of baroque portraiture. It's as if someone had to literally STUFF Frederick’s entire personality into that tiny circle. How fascinating to honor him through capturing those battles. War victories celebrated by art; so intriguing. Editor: Absolutely! On one side, we have the portrait of Frederick III, Elector of Brandenburg, encircled by Latin text identifying him. On the other side, there is an allegorical scene: a winged figure – likely Victory – bestowing a laurel wreath upon a seated figure representing the Rhine river, complete with flowing water and aquatic features. Curator: Laurels for everyone! Water as power is so old, but every time I see a depiction of a god and a river together I see stories I've been hearing and telling since I was a toddler. Is that goddess giving him a crown too? He really has all the glory, poor river, made subservient in medal form! It tells so much about conquest. Editor: The crown isn't shown explicitly, but rather the act of Victory bestowing honor through the laurel, linking Frederick’s triumph to divine favor. The iconography is so revealing—the subjugated river becomes a symbol for territorial dominance. Each tiny element carries potent meaning, almost a form of propaganda designed to cement a specific narrative. Curator: Yes, totally! Think of how it would travel from hand to hand. In propaganda there’s always such a fragile tension. Exaggerated boasting and the fear that its lies might not work. And still, the execution itself – the artistry, even – is gorgeous. The metal practically sings under the light, doesn’t it? Editor: It does, and it makes me appreciate the power objects have had through time. A reminder that imagery isn't just aesthetic; it's historical memory, meticulously molded to tell particular stories. Curator: Exactly. So here's to the shiny small things that reflect the giant sagas we weave around ourselves, right? Editor: Precisely! It is nice to see what small tokens remind of an older world and older celebrations.