Vroedschapspenning van de stad 's-Hertogenbosch 1765

Editor: This is the Vroedschapspenning of the city of 's-Hertogenbosch, made in 1765 from metal by Theodorus Everardus van Berckel. I am struck by the use of allegory and the seemingly contradictory imagery. It feels very formal and... well, official. What historical context am I missing here? Curator: This piece reflects the sociopolitical climate of the Dutch Republic in the mid-18th century. Look at the iconography. We see both the vigilance of the city government on one side, embodied in the figure of "Invigilate", and then, on the other side, the importance of concord and unity expressed through the lyre player and the motto “Diversa sed Concordes," loosely translated as “Different but in Concord." How might this duality speak to the function of local government during that period? Editor: So, it’s literally about governing… I guess I’m missing a key point, because to me, “different, but in concord” feels a bit too idealistic. What was really happening at that time? Curator: Exactly. The Dutch Republic, while a major power, faced internal divisions between different provinces and factions, like the Orangists and Patriots. A medal like this would serve as a form of propaganda or perhaps aspiration. What statements do you think such idealized imagery are making about the city's aspirations in light of those socio-political rifts? Editor: That’s a helpful reading. It isn't simply a historical record, but an active statement advocating for a certain ideal of governance at a time of tension. The medal seems to be promoting this need for internal unity as being vitally important. Curator: Precisely! And that tension between ideals and reality, the power dynamics embedded within seemingly simple images, are what makes objects like these so fascinating and instructive to our current context. Editor: Thanks! I learned to consider art as part of public messaging; an instrument for civic cohesion during periods of societal instability.