Peaceable Kingdom 1844

Editor: This is Edward Hicks’ *Peaceable Kingdom*, painted in 1844 using oil paint. The more I look at it, the more surreal it seems, almost dreamlike. All those animals together – it’s striking. What do you see in this piece, from an iconographic perspective? Curator: This painting is rich with symbolism, and I see layers upon layers of cultural memory embedded within the imagery. Consider the lion and the lamb – a direct reference to the biblical prophecy of Isaiah, envisioning a time when nature’s inherent conflict resolves itself in divine peace. It represents hope and reconciliation. Editor: So it’s more than just animals being friendly? Curator: Precisely. Each animal carries historical and psychological weight. The children in the painting can symbolize innocence and the potential for a harmonious future. Notice how they’re interspersed with the wild beasts? That deliberate placement is intended to reflect on the role of innocence in brokering peace, and how easily it can be lost. What do you think of the grouping in the background? Editor: That seems to be a depiction of William Penn's treaty with the Native Americans. Another promise of peace… Curator: Indeed! Hicks draws a parallel between spiritual and historical events, suggesting they are reflections of the same divine ideal. The symbolism asks us to consider how societies shape their own iconography to create meaning and cultural unity over time. What resonates most deeply with you in the symbolic relationships depicted here? Editor: I guess I'd not thought about the image of the lion and lamb being about something psychological or about cultural unity. It feels relevant even today, that search for an impossible peace. Curator: And that relevance, that yearning, ensures the power of this imagery endures through cultural memory, prompting renewed examination with each generation.