Vrede van Rijswijk 1697

Editor: So, this medal, “Vrede van Rijswijk,” was created in 1697 by Christian Wermuth. It’s crafted from metal using engraving, a form of printmaking. The imagery seems intensely symbolic. I'm struck by the stark contrast between the two sides. What story do you think it’s trying to tell, looking at these allegorical elements? Curator: It’s a beautiful meditation on the end of conflict, isn’t it? Look at one side – a broken drum, the tools of war silenced, paired with text praising God now that "der Krieg hat nun ein End" (the war has now ended). Juxtapose that with the other side, a cornucopia overflowing, spilling its bounty into what appears to be an ornamented bowl or font. Plenty is restoring peace, literally being poured upon the nations. Do you catch a sense of relief? Editor: Absolutely. There's a powerful sense of release. Like exhaling after holding your breath for a long time. The overflowing cornucopia is such a classical symbol of abundance... so that ornate bowl represents peace? Curator: I think it goes beyond simple peace; it embodies harmony, reconciliation. Notice how both scenes, destruction and restoration, feel formally composed in perfect balance. It’s more than just the cessation of violence; it is envisioning restored relations – as if prosperity itself is washing over old grievances, ready to bring new growth. Does it strike you as optimistic or naive? Editor: Hmm, a bit of both perhaps. There's definitely idealism in wanting that image to represent the future of formerly warring nations, especially now after more than 300 years. What really sticks with me is how tangible they made these grand themes; taking abstract ideas like ‘peace’ and embodying them with real objects: a broken drum, ripe fruit spilling over, words of hope… Curator: Exactly. Art has always found unique ways to explore such intricate perspectives and cultural dialogues with just a few symbols.