Solomon and the Queen of Sheba 1549

Editor: Here we have "Solomon and the Queen of Sheba," a pen engraving from 1549 by Dirck Volckertsz Coornhert. I’m immediately struck by how ornate and busy it is, like a tapestry woven from tiny, incredibly detailed figures. It feels theatrical. What do you make of this dramatic scene? Curator: Theatrical is spot on. For me, the real juice of this piece is in how Coornhert manages to pack so much detail, so much… *stuff* into one little drawing, and still manage to make it feel surprisingly intimate. Think about it – a queen’s visit to a king isn’t a private thing. Did it feel that way to you too? Editor: I didn’t see it as intimate initially, but now that you mention it, I get that the way the Queen of Sheba looks is soft. Almost tender. The people behind her look sympathetic. There's something being passed down the line as others see it. So, how does the Queen factor into how it unfolds as intimate rather than grandiose? Curator: Ah, the Queen! Yes. I believe Coornhert's subtle genius shines through in her posture; this Queen isn’t here to flaunt power, as Solomon very certainly is, enthroned like that. Instead, there's an offering. A display of vulnerability, perhaps even a request. Her kneeling tells of something more. Doesn’t this kneeling transform the space for you? What kind of meaning might that unlock, and give to everyone present? Editor: Absolutely. The kneeling positions us in a different role when examining this engraving. We have so many perspectives presented from where we stand to engage this scene as an active viewing experience. I initially saw the drama of royalty but, you’re right. It is way more than just theatre. Curator: It’s in this vulnerability that Coornhert turns historical drama into something deeply human, wouldn't you say? And the crazy part is… we do too. That's why this image is still striking to us all. It’s alive with people whose positions mirror, too.