Heilige Ambrosius als bisschop met bijenkorf 1623 - 1660

Editor: This is a baroque engraving from between 1623 and 1660 by Pieter de Bailliu, titled "Saint Ambrose as Bishop with a Beehive," currently held at the Rijksmuseum. It depicts a rather stern-looking bishop next to… a beehive? How do you interpret this work? Curator: For me, the engraving itself speaks volumes. The labor involved in creating these fine lines, the tools, and the printing process—it highlights a deliberate choice to disseminate this image widely. This wasn't about unique, precious art; it was about reproduction and accessibility to the masses. Consider, too, the patronage system: who commissioned this print and why? Was it for propaganda, religious education, or personal devotion? Editor: So the beehive... is that purely symbolic, or is there a material connection? Curator: It’s likely both. Bees were a common symbol, representing diligence and eloquence. But I’d push us to consider: where would de Bailliu encounter beehives? The paper he printed on may have used beeswax! And in churches, beeswax candles were essential. This piece points to a network of material relations—the raw materials, the labor of beekeeping and candlemaking, that underpinned the religious and economic landscape of the time. What stories do you think those material processes tell us about the people consuming these images? Editor: That’s fascinating! I hadn’t thought about the beeswax candles. The connection to labor suddenly makes the image so much more grounded. Curator: Precisely. By focusing on materiality, we unveil a much richer historical narrative embedded in even a seemingly straightforward religious portrait. It’s less about veneration and more about understanding the web of social and economic forces that shape both the creation and consumption of art. Editor: I see what you mean. Thanks, I definitely have a lot to think about. Curator: And hopefully look at art in a different light from now on.