De Koninklijke Franse standaard buitgemaakt bij de slag bij Seneffe, 1674 1674

Curator: Here we have an engraving from 1674, titled “De Koninklijke Franse standaard buitgemaakt bij de slag bij Seneffe”, commemorating the capture of a French standard during the Battle of Seneffe. It's quite a piece of historical propaganda. Editor: My first impression is how visually busy it is, like a decorative plate crammed with text and symbols. There’s a tension between the bold lettering at the top and the swirling ornamentation—it almost feels overwhelming, yet it's compelling in its detail. Curator: Yes, that’s typical of Baroque prints; the engraver, whose name appears to be Philippe Vleugart, is really packing a lot in. Look at how the central image of the sun – representing Louis XIV, of course – is framed by all sorts of weapons. They’re literally making spoils out of his symbols! Editor: It's interesting to note that the image itself—the sun radiating down—is fairly conventional, but the specific medium chosen is a key piece of information here. Printing allowed for widespread distribution of the symbolic spoils from this battle, right? An easy mass consumption of visual representations of victory and a strong attempt at demeaning the enemy king. Curator: Absolutely. It was definitely intended as a widely disseminated piece of...let's say, alternative history. I mean, just below the central emblem, there’s even a sonnet and an epigram – adding textual spin to the visual. All components in service to the claim of the Virgin Mary dictating these victories. Editor: And look closely; those pen drawing strokes must have taken someone a long time. It's not simply information being delivered, there's definitely a level of craft, even artistry, embedded into its means of dissemination. It is quite ornate and attractive for its time. Curator: Precisely. The battle itself was indecisive tactically, but this print tries to spin it as a glorious triumph. History, as they say, is written by the victors…or, at least, those with the printing press. It is propaganda in its purest form. Editor: It also speaks volumes about how much value was put into images. Think of how many hands might have worked on this before the final engraving to be distributed! It really goes to show how integrated craft was within a cultural context that we generally don't fully explore. Curator: Thinking about it all together, it is much more than meets the eye—or at least, a casual modern glance. Editor: It is a potent cocktail of religious iconography, classical references and outright military and political swagger; really gives you pause for thought, indeed.