Hoop op vrede, rekenpenning geslagen ter ere van Filips IV, koning van Spanje, op last van de Staten van Rijssel 1634

Editor: This is a fascinating piece! It's a bronze or copper coin from 1634, commemorating Philip IV of Spain, commissioned by the States of Rijssel. It feels almost like a tiny sculpture rather than just currency. What strikes me is the sheer density of symbolism packed into such a small space. What's your interpretation? Curator: Precisely! This 'rekenpenning,' or reckoning penny, highlights the intersection of power, propaganda, and artistry. Think about Rijssel – now Lille – a contested territory during the Thirty Years' War. Commissioning this medal wasn't just about honoring Philip IV. It was a political statement, projecting allegiance and hoping for peace. Editor: So the symbolism of peace on the coin isn't necessarily reflective of reality at that time? Curator: Not at all. It's an aspiration, a carefully constructed image of stability in a time of immense upheaval. The inclusion of Philip's portrait, surrounded by Latin inscriptions, served to reinforce his authority and divine right to rule, while coats of arms are strategically arranged. Can you spot any of these on the reverse side of the coin? Editor: Yes, they look like family crests. Were coins like these common forms of political messaging then? Curator: Absolutely. In an era before mass media, such objects served as powerful tools to shape public perception. They circulated not only as currency but also as tokens of loyalty and instruments of political persuasion. Editor: So it’s more than just a coin. It's a portable piece of political theater! Curator: Exactly. And understanding its context unlocks a deeper appreciation of its significance and intent. Editor: That’s really broadened my perspective. I always considered coins just as a means of economic exchange, not complex political objects! Curator: Indeed, seeing art as enmeshed within historical and social contexts can unlock surprising insights!