This is Pieter Schenk’s portrait of the theologian Benjamin Ursinus, made around 1705. The print captures Ursinus within an oval frame, his figure composed of intricate lines etched with remarkable precision. The eye is immediately drawn to the contrast between the dark, patterned robe and the delicate, almost ethereal quality of Ursinus’s face and wig. Schenk masterfully employs the texture of the print medium, playing with light and shadow to define form. The fine lines create a sense of depth and volume, especially in the cascading curls of the wig, which frame Ursinus's face like a halo. Look at how Schenk uses the contrast between the ornate details of the clothing and the relative simplicity of Ursinus's face to emphasize his spiritual authority. The use of the oval format flattens the picture plane. However, this aesthetic choice serves to intensify the gaze directed at the viewer. Ultimately, Schenk's portrait invites us to consider the relationship between surface appearance and the deeper, less visible aspects of faith and intellect.