The Word of God and the Armies of Heaven upon White Horses; The Angel Locks Satan into the Abyss; The Beseigers of the Holy City Are Consumed by Fire and the Devil Thrown into the Lake of Fire and Sulphur; The Angel Showing New Jerusalem to Saint John before 1585

Editor: This is a page from a book, featuring four separate engravings by Adriaen Collaert, who lived from 1560 to 1618. It's called *The Word of God and the Armies of Heaven upon White Horses*; *The Angel Locks Satan into the Abyss*; *The Beseigers of the Holy City Are Consumed by Fire and the Devil Thrown into the Lake of Fire and Sulphur*; *The Angel Showing New Jerusalem to Saint John*. The compositions are so tiny and intricate! What do you see in terms of the arrangement of these images on the page? Curator: Formally, the arrangement suggests a grid, but one disrupted by the organic quality of the page itself. The engravings present circular compositions within a square frame, creating an interplay between geometric forms. Consider the use of color: how does the application of pigments affect the balance and rhythm across the four scenes? Editor: The warm tones definitely draw the eye, but the details are so small it's hard to focus on any one section for long. Curator: Indeed. It seems that the effect relies more on the contrast between the organic and geometric forms, as well as on the distribution of light and dark values, than on the legibility of the individual scenes. This balance creates a tension that drives the viewer's experience. Editor: I never thought of it that way. Seeing the relationship between the squares, circles, and color really highlights the artistry!