Hieronymus Holzschuher, 1469-1529, Patrician of Nuremberg [obverse] 1529

Curator: This is a portrait medal of Hieronymus Holzschuher, a patrician of Nuremberg, created by Matthes Gebel in 1529. Cast in metal, it offers us a glimpse into Renaissance society. What strikes you most about this piece? Editor: Well, the detail is incredible for such a small, metal object. I’m fascinated by how this object embodies status and power in the Renaissance. What statements do you think objects like this made, culturally? Curator: Exactly. These portrait medals were often commissioned by the elite to perpetuate their image and legacy. They weren't merely likenesses, but active constructions of identity within a complex social fabric. Consider how the Holzschuher family used its power – were they patrons of the arts? Did they align with particular political or religious factions? Editor: That makes sense. It’s interesting to consider how they might use these medals to shape their public persona. His expression seems serious, almost severe. Is that a reflection of the times? Curator: Possibly. However, the very act of commissioning this medal suggests a self-awareness and control over how he would be perceived. Power, lineage, and piety were critical during the Renaissance. We must ask, how did families like Holzschuher maintain and perpetuate that authority visually, materially? What impact did figures such as these have on society in terms of social justice, equality, and class? Editor: So it’s more than just a portrait, it's a carefully constructed statement about wealth and status? The medal serves as a three-dimensional representation of wealth. Curator: Precisely! By analyzing visual culture of the period, we can uncover fascinating details. So, what did you learn? Editor: I will never see another Renaissance portrait as “just” a portrait again! Curator: It’s a tool that reveals stories about wealth and power that extend even into contemporary times!