Pedal Harp 1810 - 1825

Editor: Here we have the "Pedal Harp," crafted between 1810 and 1825 by Erard Freres et Co. This piece, currently residing at the Metropolitan Museum of Art, seems to embody opulence with its use of gold and metal. What do you notice first about the object's structure and the composition? Curator: The initial striking feature is the geometry - the severe, yet elegant, triangular frame contrasted by the organic curve of the neck. Notice the parallel lines; how they both confine and liberate the visual space within the instrument. The vertical fluting on the column is meticulously executed; a pure expression of Neoclassical principles. The gold is applied not merely as decoration, but as an articulation of form, guiding the eye across planes and highlighting structural elements. Editor: The way you describe the lines as both containing and freeing is interesting. Do you see any sort of relationship between the fluting on the column and the strings themselves? Curator: Precisely. The strings form a delicate, almost ethereal plane, visually echoing the rigorous structure of the fluted column. Consider the interplay: solid versus void, regularity versus variation. How does the gilded surface of the harp interact with the play of light? Does it amplify or diminish the object's geometric purity? Editor: I think it amplifies it, like the light accentuates the deliberate lines and the contrasts. It does make me wonder what it might sound like, if we could hear it played! Curator: Indeed, and to fully consider the experience of the object. It is imperative to acknowledge not only its form, but the material itself, for only then do we experience a piece that approaches semiotic totality. Editor: That's fascinating. I've certainly gained a new appreciation for how the materials and design choices coalesce to create a unique artistic experience, one deeply rooted in form and function.