Heilige Simeon van Trier als kluizenaar after 1594

This engraving by Charles van Boeckel depicts Saint Simeon of Trier as a hermit, and it’s a fascinating example of how prints can embed social commentary. The image is made using the intaglio process, where the image is incised into a metal plate, inked, and then printed. Look closely, and you’ll see how the dense network of lines creates a rich tonal range, from the dark shadows of the saint’s humble shelter, to the bright, open landscape. The making of an engraving like this was laborious, requiring highly skilled artisans. Van Boeckel, or someone working in his studio, would have spent days, weeks, or even months, meticulously cutting the image into the metal. Notice the contrast between the saint’s simple, hand-built dwelling and the cultivated fields beyond, dotted with workers. In that sense, the print speaks to broader issues of labor, class, and the value of manual work. Was Simeon escaping work, or finding a different kind of labor in his spiritual pursuit? Either way, the print invites us to consider the relationship between art, work, and faith in a changing world.