Gezicht op het interieur van de Sint-Pietersbasiliek, te Rome after 1760

Curator: The etching before us is titled "Gezicht op het interieur van de Sint-Pietersbasiliek, te Rome," or "View of the Interior of Saint Peter's Basilica, Rome," dating to after 1760. Editor: Wow, there’s an intense feeling of cavernous space—and the almost mechanical precision of the lines! It’s quite cold, despite all the grandeur it’s trying to portray. Curator: It’s intaglio, specifically an engraving, which allows for that incredible detail. Think about the labour involved: each line meticulously etched into the metal plate, a slow, repetitive process to depict this interior. The architecture becomes a product, and the printmaking serves to disseminate it. Editor: And what an interior to disseminate! The sheer scale speaks to the power structures at play. The Church, through art, constructs not only physical buildings, but ideologies. This perspectival rendering forces us, the viewers, into a submissive position within the immense power of the Catholic Church, wouldn't you agree? Curator: Absolutely. The artist is consciously using perspective, mimicking the Basilica's overwhelming scale, to impress the viewer. The architecture itself is as much a material manifestation of faith as the rituals performed inside. Consider the consumption of such prints; they offered access, albeit mediated, to those who could not physically visit Rome, reinforcing the Church's central authority. Editor: But who had access? The labour behind the piece is fascinating, but it likely circulated within a small sphere of relative privilege, which means its ideological impact may be narrower than it first appears. Think about the artistic labor required compared to the audience it was designed for. Curator: Precisely. While architecture, prints, and all related art productions may signify inclusion, access was—and is—unevenly distributed. Editor: It's amazing how much an image like this speaks about power and its relationship to art. Thanks for walking me through this. Curator: Indeed. Understanding the labor behind an object only deepens our analysis. Thank you for joining me.