Design for the Base of a Crucifix, Plate 2 from: 'Neü inventierte Crucifix= Stöcke' 1745 - 1755

Editor: Here we have Jacob Gottlieb Thelot's "Design for the Base of a Crucifix," an engraving from around 1750. It feels very ornate, almost excessively so. How should we understand its visual impact and production in its time? Curator: I’m interested in the labour required to produce such an intricate design and how that labour might have been valued – or devalued. Consider the economic structures in place: who commissioned the piece? What materials were used and where did they originate? This tells us something about trade networks and the consumption habits of the wealthy during the Baroque period. Editor: So you're thinking less about the religious symbolism and more about the practical side of how this crucifix stand would come into being? Curator: Exactly. While religious meaning is significant, a materialist lens encourages us to consider the social and economic factors intertwined with the design’s creation. The act of embellishment, the specific form of this ornament, speaks to an investment in materiality. What sort of artisan would carve the object following these design? What's the social status associated with such activity? What amount would such intricate handcraftsmanship command? Editor: I see what you mean. Thinking about it that way really shifts the focus. So, understanding who made it and how helps us understand what it *meant* back then? Curator: Precisely. The design’s existence prompts inquiries into labour, access to materials, and consumerism within a society stratified by class and patronage. By understanding those structures, it informs our interpretation of the design and its time. Editor: That’s a really fascinating perspective, I’ll definitely think more about the means of production in future. Thanks for sharing that!