De zieltogende Anjouse Monarchie (plaat c), 1711 1711

Curator: This engraving, created in 1711 by Abraham Allard, is titled "De zieltogende Anjouse Monarchie," or "The Dying Anjou Monarchy." It's a political print now held in the Rijksmuseum. Editor: It has a slightly absurd quality, doesn't it? A costumed figure seems to be leading a dancing…goat? And the other characters are rather raucously playing instruments. It strikes me as mocking and joyful at once, maybe even a bit bawdy. Curator: I find that complexity interesting given the very charged political context. We have to consider the War of the Spanish Succession and its profound impact on the European balance of power. Images such as this critiqued the claim of Philip of Anjou to the Spanish throne, and it seems Allard sought to destabilize perceptions of this monarchical legitimacy. Editor: Indeed, look at how Allard employs symbolic caricature here. The goat might represent a Spanish noble, and its erratic movements mirror political instability, but what is the figure holding? Some sort of palm frond? Curator: Possibly an attribute to show the exotic otherness of Anjou kings in order to signal how unsuitable the French are as colonizers and imperial administrators. And those gathered figures around them play musical instruments. They have little emotional expressions though. The music making is quite organized as an attack of sorts, suggesting the people may unite and drive out these figures. Editor: This brings forward a sense of national identity. Here the iconology of monarchy blends with satire. It’s potent commentary. The shadows of the figures could refer to past events haunting the monarchy with present decisions being shadowed by earlier misjudgments. There’s this enduring symbolic dialogue with power itself, with ideas of its reach and how a singular decision could dictate the many through fear of judgement from leadership figures such as the church and royals alike. Curator: Agreed, this piece speaks powerfully to the intersection of visual culture and sociopolitical realities in the early 18th century. This is something that connects with contemporary themes in a manner of speaking. It prompts crucial discussions about power and national identity. Editor: Absolutely. I appreciate seeing those historical symbols revitalized, provoking new interpretations, and fostering contemporary contemplation.