Schutterij van St. Joris of de Edelen Voetboog te Dordrecht, schutterspenning voor de honoraire leden Possibly 1784

Editor: Here we have a metal sculpture, "Schutterij van St. Joris of de Edelen Voetboog te Dordrecht, schutterspenning voor de honoraire leden", possibly from 1784 by Johannes Josephus van Baerll. It is a fascinating little medal, a token made for an honorary member. What’s striking is the level of detail they achieved in such a small format. How do you read this as a material object? Curator: Considering it as a material object illuminates the context of its creation and circulation. It's neoclassical, but let’s consider the engraving. What was the labor required for such detailed work? This wasn’t mass-produced using modern technologies. Each line represents time, skill, and deliberate choices related to materials—the cost and availability of metals at the time are vital considerations. Editor: So you’re focusing on the labor that went into its creation and how materials would affect that? Curator: Precisely! Also, who was its intended audience? Honorary members of a civic guard. Consider the social status associated with owning and displaying such an item. How does this reinforce the social hierarchy? The intrinsic value of the metal combined with artistic labor signifies not just wealth, but a very public endorsement and association. The materiality elevates this beyond simple representation and aligns with tangible social standing. It literally embodies the honor. Editor: That makes me think differently about the work. So much can be read into what went into making the artwork, who it was for and the purpose behind it. Curator: Exactly. It shifts the focus from simply admiring the image to understanding the medal’s active role in its specific socio-economic reality, through material choices, craftsmanship, and purpose.