Mass of St. Gregory 1610 - 1630

Editor: So, here we have Simon Frisius’s engraving, "Mass of St. Gregory," from between 1610 and 1630. It's incredibly detailed, almost overwhelming with figures. What do you see in this piece, in terms of its broader message? Curator: I see a carefully constructed image of power and the intersection of the spiritual and earthly realms, but not without critical commentary. Look at the placement of Christ. Isn't he depicted as if wounded, manufactured? It suggests an institution grappling with its own legitimacy amidst societal shifts. Editor: Yes, now that you point it out, Christ does seem almost like a… stage prop. I hadn’t thought of the image that way, but what societal shifts are you referring to? Curator: This piece comes from a period marked by intense religious and political upheaval—the Reformation, the Counter-Reformation, rising nationalism. What is Frisius trying to say by placing a wounded, manufactured Christ front and center during a liturgical celebration? It begs us to examine who benefits from perpetuating images of suffering, and the control exerted by religious institutions. Editor: It almost feels like a critique of the performative aspect of religion, with Christ as the ultimate symbol being wielded for political gain. Curator: Precisely! The very staging of the Mass – the grand architecture, the sheer number of figures present – speaks to a consolidation of power. How do you think the intended audience might have reacted to this image? Did it reinforce their faith or sow seeds of doubt? Editor: I hadn't considered the level of political commentary embedded in the art. The amount of scrutiny placed on power dynamics adds an entirely new depth to the work! Curator: Right, art doesn't exist in a vacuum, and it's by investigating it under the right sociopolitical scope that we reveal an artist’s position. Editor: Exactly. I am more motivated to visit the Metropolitan Museum of Art to further my education and delve deeper into Frisius' commentary!