The Andries van der Muelen tazza

The Andries van der Muelen tazza

The edge writing surrounding the well reads: S.P.Q.A. ANDREAE VANDER MVULEN OB EGREGIAM OPERAM IN SOPIENDIS DISSIDIIS, OVAE RELIGIONIS ERGO INGRVEBANT GRATITVD MONVMENT (in English: ‘S.P.Q.A. [Senatus Populusque Antverpiensis] The Senate and the people of Antwerp donate Andreas van der Muelen, because of his meritorious work whilst calming down the disputes that were risen because of religion, this token of gratitude’)

Antwerp

The well of the tazza is decorated with an allegorical representation of the religious disputes in Antwerp at the time. To the right stands the legislative city’s virgin of Antwerp, dressed in a classical robe, in her left hand she holds the stone tables of the law and a caduceus in her other hand. her left foot rests on a group of scientific instruments, a.o. a measuring rod and a balance scale, probably referring to the collapse of trade due to aforementioned religious disputes. To the right of the city’s virgin stand a sheep and to her left, in the central part of the scene, a flock of sheep, referring to tranquility and peace. However, the quiet flock is brutally attacked by a wolf, represented in the foreground. Three shepherd’s dogs keep the wolf at distance. The sheep surround a diagonally placed square altar block, embellished at the angles with ram’s heads. To the side of the altar block we see the coat of arms of the city of Antwerp. The left arm is shown in its entirety: a stronghold with three opened, crenellated towers, surmounted by the two Antwerp hands. Only the Antwerp hands of the right coat of arms are visible. The castle is hidden behind the head of a sheep. From the altar block three plumes of smoke are pouring out, symbolising the three religions: Lutheranism, Calvinism and Catholicism. in the background we see a fantasy cityscape, in which a cupula can be detected, possibly referring to the heavenly Jerusalem, the cradle of feuding religions.

Surrounding this extremely specific decoration in the well of the tazza, very accurately depicted for the period in which it was created, the following edge writing was applied: S.P.Q.A. ANDREAE VANDER MVULEN OB EGREGIAM OPERAM IN SOPIENDIS DISSIDIIS, OVAE RELIGIONIS ERGO INGRVEBANT GRATITVD MONVMENT (in English: ‘S.P.Q.A. [Senatus Populusque Antverpiensis] The Senate and the people of Antwerp donate Andreas van der Muelen, because of his meritorious work whilst calming down the disputes that were risen because of religion, this token of gratitude’).

Andries van der Muelen (1549-1611)

Iconoclasm

The silver-gilt showpiece was manufactured in Antwerp in 1582-1583, during a troubled period in the city, both in the areas of religion, politics and economics. in 1566 the Beeldenstorm (Iconoclasm) occurred and this event was considered as the starting point of the Eighty-years’ War (until 1648), the revolt of the Seven United Provinces against the Spanish (Catholic) empire, (consecutively lead by Philip II, Philip III and Philip IV). In response to the Iconoclasm the Spanish ruler Philip II sent Fernando Álvarez de Toledo y Pimentel, commonly known as the Duke of Alva, to the Low Countries to bring peace by force and to impose Catholicism as the state religion. Members of the nobility, such as William of Orange, fled to the Holy Roman Empire to organise resistance from there. For the vast majority of the period Antwerp fell under Spanish rule, but when the tazza was created the city was governed by Calvinist rebels. Therefore the years between 1577 and 1585 were called the period of the Antwerp of Calvinistic republic. In the areas that were taken over by Protestants, such as Antwerp, the Catholics were mistreated and sometimes confronted with violence. The Spanish army fought against the Protestants but also attacked Catholics. Moderate Catholics and Protestants sought ways to make peace together, because both groups felt a strong resistance against the Spanish army. To keep the peace, under guidance of William of Orange they developed a number of rules, obligations and restrictions to make it easier for Catholics and Protestants to live together. These measurements were listed in the religion-peace, which was announced on 12/06/1578.

Committee of nine

In the following year (1579) a committee of nine commissioners was founded, with three representatives from each religion (Catholic, Lutheran and reformed Calvinistic), that had to guarantee the Religion-Peace in the city of Antwerp. 11 On 29/06/1579 three Catholic and three Calvinistic members were introduced. The Catholics were represented by Marten Lopez, Nicolaes Malepaert and Jan Goddijn (Jehan Godin). However, the first, Marten Lopez declined the position and was replaced by Andreis van der Muelen. 12

The reformed members were Cornelis de Rénialmé, Pieter Aernouts and Jan van Rodo. The six aforementioned Catholic and Calvinistic members elected three Lutherans, Clement Kersboom, Lucas Roose en Jan Anthonis, in order to supplement the committee and on 24/07/1579 the complete group was mentioned in the Register of the Commission for the Maintenance of Religions-Peace in Antwerp (1579-1581): 13 On the date of today ordered on behalf of my Lords mayors and aldermen, and I order these gentlemen Cornelis de Rénialmé, Pieter Aernouts, Jan van Rodo, Jehan Godin, Nicolaes Malepaert, Andries van der Meulen, Clement Kersboom, Lucas Roose and Jan Anthonis, as nine good men and persons reciprocally and mutually adopted for the maintenance of the Religions-Peace, lately published within this city, after listing the XII articles of the points serving to keep the tranquility and peace of this city and, at the same time, to accept and to execute and complete their services, all this in conformity of the various points mentioned therein, when authorised. Of which deed XXIIIJ July 1579′).

Marked, on the outside rim of the tazza, from left to right: a rose twig in cut-out shield (= maker’s mark of the silversmith Geeraert de Rasier); a hand below a crown (Town mark of Antwerp Antwerpen); date letter X (=1582/1583)