Preekstoel met de Heilige Geest 1740 - 1762

Editor: So, this is "Preekstoel met de Heilige Geest"—"Pulpit with the Holy Spirit"—an engraving from sometime between 1740 and 1762. It's by an anonymous artist, and part of the Rijksmuseum collection. I am immediately struck by the almost exuberant detail. It feels incredibly ornamental. What catches your eye when you look at this? Curator: It's like a rococo rollercoaster for the eyes, isn’t it? A dizzying dance of curves and flourishes all trying to lead the viewer upward! I love how it exemplifies the Baroque love for theatricality; this wasn't just about delivering a sermon, it was a performance. It’s like the artist is asking, “How much decoration is too much? Is there even a limit?!" See how the dove representing the Holy Spirit bursts forth from the top in a halo of light, framed by this architectural fantasy? Editor: Definitely! It's almost overwhelming, but in a captivating way. Thinking about that dove, does its placement mean something specific? Curator: Absolutely! In Christian iconography, the dove is almost always a symbol of the Holy Spirit. Placing it at the apex, above everything, literally elevates the divine presence. And think about the people who would have looked upon this. Remember that prints like this were often made to disseminate ideas to a wider audience, often as models for craftsmen. How do you feel about Baroque as an adjective here? Do you think this engraving shows off some elements of this style? Editor: Good point. The flamboyance seems to perfectly encapsulate that Baroque style that's so over the top, with nothing left unadorned. I hadn't fully grasped how something printed could reflect such theatricality, so seeing this has really opened my eyes. Thanks for the insight! Curator: My pleasure! And thanks for reminding me of the sheer audacious joy in detail the Baroque had to offer! A good reminder that sometimes, more *is* more, at least visually!