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Helias van den Bossche’s Allegory on the Truce Negotiations between Spain and the Dutch States General (1609)

This 1609 engraving, Allegory of the Truce and the Union of the Parties, visually represents the Twelve Years' Truce, a ceasefire between Spain and the United Provinces of the Netherlands during the Eighty Years' War. The print, filled with symbolic imagery, celebrates the cessation of hostilities and the hoped-for peace and unity between warring factions. 

At the center of the composition, a triumphal chariot carries Pax (Peace) and Justitia (Justice), accompanied by Misericordia (Mercy) and Veritas (Truth). These personifications signify the moral and political ideals underpinning the truce. The chariot’s movement implies the advance of harmony, while in contrast, Mars, the god of war, is restrained in the foreground, his aggression subdued—a clear allegory for the end of conflict.

To the left, Archduke Albert of Austria and Isabella Clara Eugenia, the sovereign rulers of the Spanish Netherlands, sit on thrones, engaging with representatives of the States General. Their gestures indicate negotiation and agreement. The presence of Jan Neyen, a Capuchin friar instrumental in the peace talks, emphasizes the diplomatic nature of the accord.

On the right, Maurice of Nassau, Stadtholder of the Dutch Republic, and Ambrogio Spinola, a Spanish general, jointly lead a parade of the Seventeen Provinces, represented as female figures. This inclusion highlights the unity of the Dutch and Spanish territories, at least symbolically, even if the provinces had politically diverged. 

The background contains two crucial visual elements. On the left, a forge illustrates the biblical prophecy from Isaiah 2:4—“They shall beat their swords into ploughshares”—depicting the transformation of instruments of war into tools of peace. On the right, a fortified city, possibly a reference to the city of Antwerp or another important strategic location, signifies stability and the return to normalcy. 

Encircling the composition are medallions containing the portraits of key historical figures involved in the truce. At the top, Maurice of Nassau, Archduke Albert, and Frederick Henry of Orange are depicted, while at the bottom, Spinola and Henry de Buquoy, both Spanish commanders, are featured. These figures provide historical context and emphasize the major players in the agreement. 

The Twelve Years' Truce (1609–1621) was a significant moment in the Eighty Years' War, marking a temporary halt in hostilities between Spain and the Dutch Republic. Though not a formal peace treaty, it allowed the Dutch to consolidate their independence, which was later solidified in the Peace of Westphalia (1648). The truce was met with relief and optimism, as evidenced by the production of numerous allegorical engravings, pamphlets, and celebrations. This engraving is a masterful representation of the political and ideological landscape of early 17th-century Europe. Through classical allegory and rich iconography, it conveys the triumph of diplomacy over war, the reconciliation of divided factions, and the hope for lasting peace.

Allegorical Analysis

Helias van den Bossche’s engraving engages directly with the political and religious context surrounding the Twelve Years’ Truce. In contrast to contemporary works, such as those by David Vinckboons, van den Bossche does not employ the traditional Personification van het Bestand. Instead, he places Pax and Iustitia prominently on a triumphal chariot, led by Misericordia (Mercy) and Veritas (Truth), a reference to the four Daughters of God. These figures symbolize divine justice and the ideal of peace rooted in reconciliation, following the biblical tradition from Psalm 85:11: “Righteousness and peace kiss each other.”

The engraving features all major political figures involved in the truce negotiations. On the left, Archdukes Albertus et Isabella are seated, with Ioan de Ney positioned between them in an advisory role. From the right, the former adversaries, Mauritius (Prince Maurice of Nassau) and Spinola (Ambrogio Spinola), approach, leading the XVII Provinci (Seventeen Provinces). The focal point of the composition is Spinola’s symbolic embrace of Maurice while gesturing towards the triumphal chariot—an act of reconciliation between the warring factions. This embrace reinforces the overarching theme of the engraving: the aspiration for unity and peace following decades of conflict. 

The composition aligns itself with a medieval tradition of allegorical representation, particularly the Kiss of Justice and Peace, an image that had gained renewed significance in the late 16th century, particularly in Antwerp. The engraving employs biblical imagery to frame the truce as both a political necessity and a divinely sanctioned event. The fusion of Pax and Iustitia reflects the belief that a just peace (pax iusta) could only be achieved through divine grace rather than mere human negotiation. The inscription from Isaiah 2, “They shall beat their swords into plowshares, and their spears into pruning hooks”, further reinforces this theme, indicating that the peace achieved through the truce was seen as a transformative moment in European history.

The placement of Misericordia, Veritas, Iustitia, and Pax within the scene underscores a theological argument: that peace is inseparable from justice and truth. This is in stark contrast to the shifting political philosophies of the 17th century, where pax (peace) increasingly came to dominate over iustitia (justice). Van den Bossche’s work, however, adheres to the earlier medieval perspective in which peace and justice remained inseparable, emphasizing their divine origin.

-Pro-Spanish Orientation and Visual Rhetoric

Despite its allegorical nature, the engraving exhibits a distinctly pro-Spanish orientation. The triumphal procession moves from right to left, directing attention toward the seated Archdukes Albert and Isabella and the Templum Religioni in the background. The depiction of the Seventeen Provinces as a unified entity, following Spinola and Maurice, suggests a reconciliatory stance favoring Spanish sovereignty. Furthermore, Spinola’s prominent role in the composition—initiating the embrace and pointing to the triumphal chariot—positions him as an agent of peace, despite his prior military campaigns against the Dutch Republic.

This visual rhetoric contrasts with the political reality of the time. While Maurice had opposed the truce, preferring continued military engagements, Johan van Oldenbarnevelt had played a leading role in securing the agreement. It is therefore noteworthy that van den Bossche chose to depict Maurice, rather than Oldenbarnevelt, alongside Spinola. This deliberate choice serves to emphasize the moment of military reconciliation rather than the political negotiations behind the truce. The depiction of Mars (the god of war) as a captive in the foreground further reinforces this message, symbolizing the subjugation of war in favor of peace.

-Artistic and Historical Context

Van den Bossche’s engraving belongs to a broader tradition of allegorical representations of peace, which flourished in the early modern period. Similar themes can be found in Crispijn de Passe the Elder’s Victoriae Praemium, in which Iustitia and Pax sit together, crowned with a liberty cap, signifying the triumph of just governance. However, unlike de Passe’s work, which focuses on the sovereignty and achievements of the Dutch Republic, van den Bossche’s engraving places the truce within a wider European and religious context, emphasizing Spain’s role in the peace process.

Van den Bossche’s work reflects the complex realities of early 17th-century diplomacy. While it visually idealizes the reconciliation of former enemies, it also subtly suggests the fragile nature of the peace. The engraving does not merely commemorate the truce but also articulates the political and theological tensions underlying it—reminding viewers that true peace was contingent upon justice, divine favor, and the endurance of political unity.

Rarity

The view is very rare on the market.