Portret van Theodorus Gaza c. 1597 - 1599

Editor: We're looking at "Portret van Theodorus Gaza," a print by Theodor de Bry from around 1597-1599, held here at the Rijksmuseum. It's an engraving, and the detail is incredible. It feels quite formal, almost reverential, with that elaborate frame around the portrait. What catches your eye in this piece? Curator: I'm immediately drawn to the visual language, the symbolic program interwoven throughout. The oval frame itself evokes the classical world, then look closer at the creatures populating the decorative border – spiders and butterflies. How do these figures alter our perception? Editor: I hadn’t considered that! Spiders and butterflies – one is industrious, perhaps, and the other about transformation? Curator: Precisely. The industriousness speaks to Gaza’s work as a scholar, his dedication to translating Greek texts. But what does the transformation through the butterfly suggest? How might we view Gaza's own life or influence in this light? Editor: It sounds like his legacy had evolved? The frame also contains cherubic figures. How would those be perceived in relation to Gaza’s serious face? Curator: These winged putti are figures from classical antiquity, reinforcing the theme. They are cultural messengers from Gaza's own sources. They also are an acknowledgment of Gaza's successful journey through time, acting like eternal heralds. De Bry links the portrait to a chain of ideas that gives greater context to his accomplishments. How does this change your first impression? Editor: I was only thinking of the image as something stately and imposing. I now notice those subtle details contributing to a richer, multifaceted meaning. The portrait now evokes legacy, impact and the ongoing journey of classical knowledge into the Renaissance. Curator: Yes, it makes you wonder: what symbols will future generations use to understand us? What story do they want to convey?