Isabella, infante van Spanje, treedt toe tot de Orde der Franciscanessen 1651 - 1707

Curator: Looking at this delicate silver relief from the late 17th century, a miniature sculpture, one is struck by its blend of portraiture and allegorical narrative. It's entitled "Isabella, Infante of Spain, Joins the Order of the Franciscans", dating between 1651 and 1707, attributed to Denis (II) Waterloos. What are your initial thoughts? Editor: My immediate reaction is to this overwhelming feeling of both religious submission and royal assertion. It's austere, somber almost, with a glint of defiance in Isabella’s gaze—especially in juxtaposition to the second relief. Curator: Precisely. If we analyze the production of this medallion as a piece of material culture, we find two distinct die-struck images rendered in high relief, reflecting a carefully calibrated message. The obverse shows the Infanta herself, inscribed with her name and title, marking the sovereign's position; however, the reverse depicts an allegorical figure. The winged figure rides what appears to be some bestial dragon/goat chimera holding an item which could be related to Isabella's allegiance to the church, it's more baroque theatricality Editor: From my perspective, what's so compelling is how this piece encapsulates the political and religious constraints placed upon women of Isabella's standing. Her individual identity seems purposefully blurred into her social and historical context. This narrative on the reverse could symbolize power in a male dominated political sphere but on terms not determined by women. Curator: Note, though, the precision in the material; the high polish gives a feeling of reverence through skillful craft. What of that choice of material—silver, a valuable metal, speaks to notions of luxury but can easily be tainted. Editor: This is a fitting observation, I feel that Isabella’s story—as both royalty and a woman dedicated to the church—points to a constant negotiation of public image, a performative act captured for eternity on a small circular medallion in silver. Curator: Yes, a careful balancing act indeed reflected in both theme and material; considering social dynamics embedded into precious metals—what’s left now is the legacy of skilled artistry. Editor: Exactly. Considering the social politics ingrained within this medallion reminds us about a constant awareness of position, be it power or performance, both intricately interwoven in this one artwork.