The angel ascending in the flame on the altar of Manoah and his wife 1558 - 1561

Editor: Philips Galle’s engraving, “The Angel Ascending in the Flame on the Altar of Manoah and his Wife,” made around 1560, is striking! The circular composition almost feels like looking through a portal into another world. How do you interpret this work? Curator: Well, immediately, the central image of the angel ascending from the altar draws me in. Consider the sociopolitical context of 16th-century Europe. This isn’t just a biblical scene; it’s a visual argument, grappling with faith and power. Think about the Reformation—the questioning of established authority. Editor: How does that connect to the print itself? Curator: Look closely. The dramatic, almost theatrical, Mannerist style serves to emphasize the miraculous. Galle is making a statement about divine intervention, but perhaps also subtly commenting on the instability of the earthly realm reflected in the figures of Manoah and his wife. Notice how their postures contrast with the confident angel. Where do you think Galle's sympathies might lie? Editor: The angel certainly looks more idealized than the very human couple. I hadn’t thought about it as commentary on the Reformation though. I see that now. Curator: And isn't the medium itself—the print—significant? It makes this powerful religious imagery accessible and reproducible. Consider its impact, spreading ideas during a period of religious upheaval and increasing literacy. Editor: It's fascinating to consider how prints democratized art. I guess I was focused on just the story itself. Curator: Exactly! And by thinking about these artworks with socio-historical context in mind, the subject, form and medium come together as statements. I learned how powerful allegory can be, when presented as a digestible image!