Part of a natural trumpet from the wreck of the Dutch East India ship Hollandia, made by Georg Friedrich Steinmetz 1700 - 1735

Editor: This object is "Part of a natural trumpet from the wreck of the Dutch East India ship Hollandia, made by Georg Friedrich Steinmetz," dating back to sometime between 1700 and 1735. The tarnished brass and broken form are intriguing; what stories of colonialism and maritime tragedy do you think this fragment whispers? Curator: This broken trumpet speaks volumes about the complex intersections of trade, empire, and cultural exchange during the Baroque era. Consider the Dutch East India Company, a powerful entity that shaped global economies through often brutal means. This trumpet, likely intended for ceremonial or military use, represents the imposition of European power structures onto other lands. How does the idea of a musical instrument, typically associated with harmony, clash with the violent history of colonialism it silently embodies? Editor: That's a stark contrast, indeed. The beauty of the craft versus the brutality of its context. Is the Baroque style itself somehow implicated in this dissonance? Curator: Absolutely. The Baroque, with its elaborate ornamentation and displays of grandeur, served as a visual language of power. Think about it – the trumpet's likely use in signalling commands, asserting dominance, and even intimidating local populations. Moreover, a shipwreck suggests a disruption of those systems. This object, salvaged from the deep, presents us with an opportunity to reflect on accountability. How do we contend with this legacy and re-evaluate commonly understood narratives of progress and sophistication? Editor: I see. So, the brokenness isn’t just physical; it represents a broken system, a flawed narrative. Thanks; I had not thought of it that way. Curator: Exactly. The fragment’s presence compels us to question the narratives we inherit.