Titelprent voor de beschrijving van de intocht van de hertog van Anjou te Antwerpen, 19 februari 1582 1579 - 1581

Curator: Isn't this baroque print extraordinary? Dating from 1579-1581, it commemorates the joyful and magnificent entry of François, the Duke of Anjou, into Antwerp in 1582. Editor: Yes, it's a striking piece. All those figures! It feels immediately symbolic and dense – overflowing, even. But the mood seems rather… staged? Curator: Well, yes, it's intended as an allegorical representation. This title page—currently housed at the Rijksmuseum—was rendered with engraving and typography. I see the use of classical figures and architecture speaking to Antwerp's ambition and self-image. Editor: It’s interesting how the figures function almost as props framing the typography—it all feels meticulously constructed. I'm drawn to that reclining figure on top. Minerva? What do you make of her? Curator: Possibly! She could also represent Antwerp itself, reclining amidst prosperity. Note also the lion below; a symbol of strength, courage, and, of course, a traditional emblem for the Low Countries. Every detail is chosen to convey power and welcome. The lion reminds me how beloved those animals were and continue to be! Editor: Definitely— the lion provides a base note, grounding the aspirational tone set by those rather athletic-looking gods above. It’s as if they wanted to communicate a timeless glory—linking a current event to an established legacy. The figures act almost like living monuments. Curator: Precisely. The artist – sadly unknown – captured that moment when a city puts its best face forward. A carefully constructed narrative designed to impress. Editor: Thinking about this moment captured—all of these carefully arranged symbolic elements, makes me reflect on the ongoing construction of narratives through images, which surround us every day. Curator: Right? I look at this print and realize that some things never truly change.