Polyptych. Madonna and Child, Saint James the Great and Saint Henry (detail) 1484

Editor: We’re looking at two panels here from Ambrogio Bergognone’s Polyptych. Madonna and Child, Saint James the Great and Saint Henry, dating back to 1484. Painted in oil on panel, they carry a solemn, reverential aura. What sort of reading do you get from these individual images? Curator: The most potent aspect of these works lies within the symbols each figure bears. Notice Saint James' pilgrim's staff and Saint Henry's imperial orb, attributes immediately marking them, providing historical context. They transcend mere representations to become embodiments of journeys, faith, and earthly power. Does the consistent use of colour evoke anything for you? Editor: Now that you point it out, their garments appear similar. A ruby-red cloak... It gives them a strange uniformity, which seems surprising considering one is holding a palm frond and the other holds an orb. Curator: Exactly! The symbolic value of red is multilayered – often associated with martyrdom, divinity, and power. Its consistent use prompts consideration of unity between sainthood and earthly rule during that time, especially because we can find examples of the saints trading emblems across cultures, which demonstrates how interconnected these communities were through symbol and cultural memory. What do you make of the positioning of their hands and the soft gaze they share? Editor: The positioning does look important, gesturing to their heart as if they’re communicating vulnerability, maybe offering an unseen blessing to one another. But also a level of humility with their serene demeanour! Is that a common approach with these depictions of royalty and holiness? Curator: Indeed. It reveals the internalized struggle within Renaissance iconography to reconcile worldly grandeur with spiritual purity. The symbol's the thing, after all, providing a key into their complex identities! What have you gathered from our short exploration? Editor: It makes me appreciate the level of depth these figures are granted beyond face-value aesthetics, revealing many different nuances that represent their position. Curator: Precisely, visual emblems enable Bergognone to create multiple narrative readings, cementing a continued connection across time and memory.