Triomfboog van Genua (achterzijde), 1594 1594 - 1595

Editor: So, this is a print of the "Triomfboog van Genua (achterzijde)"— the Triumphal Arch of Genoa, backside—dating back to 1594-1595, by Pieter van der Borcht the Elder. It's a detailed architectural drawing. What strikes me is the almost obsessive level of detail... the figures, the stonework, the sense of depth. It’s like a miniature world contained in this arch. What do you see in this piece? Curator: It's a world designed to impress, wouldn't you say? These arches were more than just decoration. Imagine it – a city state eager to show off its power. Each sculpture, each carefully placed detail, whispers of civic pride. Notice how the artist balanced the weight of the architecture with that very fine, almost delicate engraving style. Think about what it would feel like to pass *through* this. Were you humbled? Intimidated? A little of both? Editor: I definitely feel intimidated! It seems almost over the top. Was that typical of the time? Curator: Mannerism revels in the exaggerated, the artificial. This arch is no exception. Forget naturalism; it’s about invention, complexity for its own sake. See how every surface seems to be doing something? Now look closely: can you imagine the event this commemorates? How would they want to be remembered? Editor: Wow, I hadn’t really thought about that, how everything had a deliberate, constructed message. Curator: Exactly. It's a feast for the eyes and the mind, inviting us to delve into the aspirations and anxieties of 16th-century Genoa. It definitely makes me think about perspective in that era. Editor: Absolutely! I appreciate this more knowing how meticulously constructed its message is.