King Charles II Enthroned, being Crowned by Peace [reverse] 1661

Editor: Here we have "King Charles II Enthroned, being Crowned by Peace", a metal engraving from 1661 by Thomas Simon. It depicts Charles enthroned, being crowned. I'm immediately struck by its sense of self-conscious grandeur, like it's aware of its own importance. How do you read the politics embedded within this image? Curator: Well, consider the moment it was created. 1661! The Restoration. For over a decade, England experienced radical upheaval, even regicide. This medal isn't just a portrait; it’s a carefully crafted piece of propaganda aimed at solidifying Charles II's legitimacy. Note how Peace crowns him - this suggests divine approval, right? A visual attempt to erase the recent turmoil and present Charles as divinely appointed and restoring order. Editor: That makes perfect sense. It’s performing power, almost. But did such imagery actually sway public opinion after such a tumultuous period? Curator: Precisely, performing power. And absolutely. Medals like these circulated amongst elites, parliamentarians, and were presented to dignitaries. Think of it as early spin-doctoring. They sought to cultivate a specific image. The inclusion of Peace suggests a yearning for stability after years of conflict, aiming to portray Charles as the bringer of that longed-for tranquility. And the baroque style certainly amplifies the drama! Editor: So, the medal functions less as objective record and more as… public relations? That challenges how I initially understood historical artworks. Curator: Exactly! Recognizing art as actively shaping opinion, participating in a larger social conversation, shifts our understanding of its purpose entirely. What else strikes you about how it constructs its message? Editor: Looking at it that way, I see now it's less about pure artistry and more about the careful, calculated construction of royal authority. Thank you, that's a really insightful way to think about this piece and the role of art. Curator: And for me, your initial reaction highlighted the performative aspect. It reinforces that these objects actively ‘do’ things in the world; they are not passive records.