Gezicht op de kerk Sint-Jan van Lateranen te Rome 1745 - 1775

Editor: Here we have "Gezicht op de kerk Sint-Jan van Lateranen te Rome," or "View of the Church of St. John Lateran in Rome," an engraving from sometime between 1745 and 1775, made by Jean-François Daumont. It depicts the church and surrounding cityscape. I’m struck by the precision of the lines, it really gives it a sense of architectural clarity, but what's most fascinating to you about this particular print? Curator: Well, I find it interesting to consider this print not just as a representation, but as a product of labour. The Baroque era was fueled by extensive building programs; think about the material resources—the paper, the ink, the metal plates—all required human intervention at every stage of their creation. Where were these materials sourced, who processed them, and under what conditions did Daumont produce this image? Editor: So you're saying the print itself embodies the socio-economic systems of the time? Curator: Precisely. The choice of engraving, a technique that allows for mass production, speaks to a desire for wider circulation of imagery. Was this intended for a wealthy patron’s collection, or for broader public consumption, shaping perceptions of Rome’s architectural power? And how does that influence our reading of the image today? Editor: I see, so it is important to examine the print not just for what it depicts, but how its existence and distribution reflects the economic landscape it was produced within. Curator: Exactly. Consider, too, the perspective: that precise line work you noticed. What level of skill and training was required, and what social status did that grant the artist? Think about the distinction, too, between architecture and *engraving* - ‘high art’ versus ‘craft’. That distinction isn't necessarily fixed or natural. Editor: That gives me a lot to think about. Thanks! I’ll definitely look at art with more material awareness from now on. Curator: My pleasure!