Catharina van Bragança in Londen op het water verwelkomd, 30 september 1662 1662

This etching by Matthäus Merian the Younger captures Catharina van Bragança’s arrival in London on September 30, 1662. Note the composition, teeming with activity yet meticulously organized. The horizontal orientation emphasizes the breadth of the Thames, populated with numerous vessels. Merian uses line and form to create a sense of depth, with boats in the foreground rendered with greater detail than those in the distance, which gradually fade into the cityscape of London. The image presents a structured view of a historical event, but it also prompts us to consider the semiotics of power and representation. The orderly arrangement of the boats and figures can be interpreted as a symbolic demonstration of royal authority and social hierarchy. What does it mean to stage and represent power through such displays? How do such images shape public perception and collective memory? Consider how the formal elements of the artwork are not merely aesthetic choices but are integral to the communication of cultural values and political messages.