Wandluchter met leeuwenkop en slang 1599

Editor: Here we have a "Wandluchter met leeuwenkop en slang," or wall sconce with a lion's head and snake, created by Hans Rogiers van Harelbeke in 1599, made of bronze. The snake form is so prominent; it's what my eyes are immediately drawn to. What's your perspective on this work? Curator: From a materialist lens, consider the bronze itself. Bronze, an alloy of copper and tin, suggests a significant investment of labor in both mining and smelting. Who had access to this kind of light source, and what does it tell us about their economic status and control of resources? The snake form, too – a decorative element demanding considerable skill – implies a specific kind of patronage and craft production. Editor: That's a great point! So, instead of just seeing a pretty object, we should consider the means through which it was made, the resources required, and how they connect to social hierarchies. Curator: Precisely! The Baroque style often celebrated opulence and the capabilities of human artisanship. Think about the process: each curve of the snake, each detail of the lion’s face required skilled labor. Also, what does the combination of a snake and lion evoke? Are they merely decorative, or do they participate in a broader system of symbolism connected to power or wealth within the period? Editor: So the context of production and materials opens up another dimension of the object, like an archeological lens into 16th-century society! It really highlights that objects hold material and symbolic value. Curator: Absolutely. It's a conversation about production, skill, patronage, and, ultimately, the tangible stuff of social life made manifest. Editor: That’s given me a completely different way of thinking about decorative art, going beyond just aesthetics! Thank you.