Kansel van voren gezien 1659

Jean Lepautre’s etching presents a vision of an ornate pulpit, likely conceived as a design rather than a depiction of an existing structure. Atop the pulpit we see cherubic figures holding a cartouche, emblems that echo classical ideals of beauty and innocence. These symbols, meant to elevate and inspire, remind us that such motifs have ancient roots, appearing in various guises from antiquity to the Renaissance and beyond. Consider, for instance, the recurring motif of the putto. Originating in classical art as representations of Cupid, these figures evolve, resurfacing in Christian art to signify angelic beings. This metamorphosis showcases how symbols are continually reinterpreted, mirroring the shifting cultural and religious landscapes. The faces emerging from the base of the pulpit, though, bear a more grotesque mien, perhaps symbolizing the tension between the sacred word and earthly temptations. Note how the artist plays with our subconscious, triggering deep emotional states, as the juxtaposition of cherubs and grotesque masks work as a powerful force, and as an echo of the internal struggle between good and evil. These are not static relics but dynamic carriers of meaning.