Franciscus van Assisi in extase 1582 - 1622

Curator: Here at the Rijksmuseum we have an engraving by Raffaello Schiaminossi from sometime between 1582 and 1622 entitled, "Franciscus van Assisi in extase." Editor: That's quite a scene. Francis looks totally blissed out, doesn't he? Two angels are tending to him and... wait, is that a skull peeking out from the background? Kinda morbid. Curator: It is, yes. Skulls were often included in artwork as a symbol of mortality, or vanitas, so its presence suggests a reflection on life, death, and spiritual ecstasy. Editor: I see... So it's not just about the ecstasy; it's about what that ecstasy reveals in the face of death? That interplay really gives it an interesting charge. I mean, you’ve got this earthy monk seemingly levitating as if gravity has just checked out, nestled in the arms of heavenly figures, all rendered with this incredible detail—it's almost feverish. Curator: This piece exemplifies the Mannerist style popular at the time, characterized by elongated figures and dramatic compositions. Also, Schiaminossi was an important printmaker of his time; prints had a huge social impact, allowing images to be circulated widely. They allowed artists like Schiaminossi to explore devotional subjects and participate in religious dialogues beyond the confines of altarpieces or private collections. Editor: Right, it's like visual evangelism through art! But that line work is insane! How did he get such detail on a print? Curator: The engraving technique, carving lines into a metal plate and then using ink, allowed for incredible precision. Look closely, and you'll notice a Latin inscription just below the image, which translates to, "Tell my beloved that I languish with love," revealing more about Saint Francis’s deep spiritual yearning. Editor: What an apt message, framed here against that constant reminder from the skull... Okay, I get it now— it's less about death, more about that transcendent moment when the earthly fades and you catch a glimpse of something… more. Curator: Indeed, by understanding these aspects, we come to see how much social and historical context really matters when we interpret such works of art. Editor: True that, otherwise, you just see a blissful monk with a gothic touch and a mischievous grin!