Plate 37: view of the church of San Bartolomeo all'Isola on Tiber Island, Rome, flanked by bridges, from the series 'Ruins of the antiquity of Rome, Tivoli, Pozzuoli, and other places' (Vestigi della antichità di Roma, Tivoli, Pozzvolo et altri luochi) 1606

Curator: Aegidius Sadeler II created this engraving titled "View of the church of San Bartolomeo all'Isola on Tiber Island, Rome," back in 1606. What strikes you first about this image? Editor: The density, for one. It feels visually cramped, with buildings almost piled on top of each other and the dark stonework everywhere. Almost a claustrophobic cityscape, even with all that water present. Curator: Notice how Sadeler has structured the composition. The dark water leads the eye to the center, to that singular island, then up toward the skyline—a masterful use of linear perspective. Editor: The island certainly presents as a kind of ark, doesn't it? Considering the Tiber's history of flooding. Perhaps symbolizing sanctuary, particularly with the prominent church steeple reaching upwards. I am struck by the implied dichotomy between earthly structures and divine salvation within such tight parameters. Curator: The artist gives a great deal of attention to architectural details—the rough-hewn texture of the stone bridges and buildings. Note how he renders the texture through dense clusters of hatch marks that reflect light irregularly to amplify that rough and rugged texture. Editor: Right, those very textures give off the symbolic heft of endurance and resilience. Given the presence of both bridges, what do you think Sadeler conveys about connection or the accessibility of the sacred, if it can be accessed by two bridges. It evokes this layered relationship between earthly transit and spiritual ascension. Curator: An interesting insight. I tend to focus more on Sadeler's sophisticated use of form and light. He organizes our vision so methodically, moving from darker foreground to increasingly lighter areas. The architectural details become secondary to his use of tone and line. Editor: I do acknowledge the elegance in the design, even with its crowding of elements. Though I come away considering how the symbolism suggests a deeply interconnected world, where both spiritual solace and architectural grandeur exist. Curator: A truly compelling observation. His compositional structure undeniably mirrors symbolic undertones, I can allow that. Editor: Exactly. By uniting an earthly and divine perspective.