St. George's Chapel Choir, Windsor (from Elias Ashmole's "The Order of the Garter," 1672) 1663

Editor: So this is Wenceslaus Hollar’s "St. George's Chapel Choir, Windsor" from 1663. It’s an etching and engraving. It gives me the impression of immense space, but also detailed control because of the linearity and geometric shapes. What catches your eye, Professor? Curator: The meticulous rendering of the architectural space is striking. Consider how the perspective is constructed – the converging lines pull the eye deep into the composition, but it is less an exploration of subject than a deployment of line. Do you see how the ceiling, for instance, is treated with the same level of detail as the closer architectural elements? Editor: Yes, it creates a flattening effect almost. It feels like a tapestry of lines as much as a depiction of a real space. Curator: Precisely. It is a network of linear forms first. How the light interacts with the linear form produces a tension. Note the relatively uniform distribution of tone created by Hollar's meticulous etching and engraving, resisting a clear hierarchy of focus or tonal variation which also affects perception of depth. It flattens what we perceive, leading us to consider not the narrative, but the arrangement and distribution. Editor: So the artistic merit is less about portraying the chapel accurately and more about the skill with which Hollar manipulated line and form? Curator: It asks us to engage less with content or narrative and more with the very elements from which such representations are built. The Chapel is present, but the *technique* is emphasized, a comment in itself. What did you find most valuable in this work? Editor: I think understanding how the choices regarding line affect the perception of depth really reframed how I see the entire composition. It’s definitely more than just a picture of a chapel.