Joseph kneeling in front of the Pharoah, after Raphael's Stanza di Eliodoro, from a series of 15 plates, depicting Raphael's works for the Vatican stanze and the Sistine Chapel tapestries 1650 - 1670

Editor: This engraving from between 1650 and 1670 by Pietro Santi Bartoli depicts "Joseph Kneeling Before the Pharoah," after Raphael. The composition feels so balanced, almost like a theatrical scene. What strikes you about this work? Curator: It's a dance of power and humility, isn't it? Notice how Bartoli uses the sharp lines of the engraving to highlight the Pharaoh's regal bearing, perched high on his throne. It’s a story etched in monochrome; Bartoli isn’t just copying Raphael, he's translating the colour and vibrancy of the fresco into the stark language of black and white. Editor: The contrast between Joseph kneeling and the Pharoah sitting is particularly striking, highlighting the social hierarchy. But I also see a kind of hopeful expectation on the faces of those around them. Curator: Exactly. The faces, almost studies in anticipation, reflect the tension of the moment. The line work isn't just descriptive; it adds a real emotional texture to the scene. Can you see the confidence and slight bemusement in Pharoah's expression? Editor: Yes, he seems… detached, but still observant. What about the Baroque influence? Is it mainly in the dramatic composition? Curator: The Baroque thrives on drama and dynamism. The composition—the exaggerated poses, the emotional intensity – screams Baroque. This piece acts as a miniature theatre of gestures, inviting us to consider not just what is happening but how it *feels* to be there. And there is such a confident artistry! Editor: That makes me appreciate the print more – it's not just a reproduction, but a powerful interpretation. Curator: Precisely! Bartoli is breathing new life into a familiar scene, one line at a time.