Christuskind als Salvator Mundi 1618 - 1655

Curator: Here we have a Baroque engraving by Cornelis Schut, dating roughly from 1618 to 1655. It’s entitled “Christuskind als Salvator Mundi,” depicting the Christ Child as Savior of the World. Editor: The image feels at once grand and tender. It's small, seemingly quickly rendered, but there's a surprising weight in the child’s gaze. Curator: The iconographic elements are crucial. Note the orb topped with a cross—the *globus cruciger*. It symbolizes Christ's dominion over the world, a common motif in depictions of royal and divine power. Even at such a young age. Editor: It’s intriguing to see the divine presented with this level of human vulnerability, which, given the period, certainly implies accessibility to power. Curator: Exactly! This engraving allows for individual devotion, bringing the sacred down to a personal scale, emphasizing that personal salvation is available for all. Also, notice how the Christ Child is stepping on the heads of baby angels; some believe that it symbolizes his superiority to angels. Editor: Which certainly reinforces themes of human elevation, even glorification, within a religious structure, one in need of defense during a politically charged and religious wars. It’s like propaganda as devotion. Curator: And it works, in that it makes it intensely human, even relatable, despite the lofty religious connotations of ultimate dominion. Editor: It is precisely that tension between earthly depiction and the celestial implications that make it so fascinating, that allows for endless interpretation and reflection. Thank you for offering that reading, it is really intriguing! Curator: You're welcome. Seeing through the eyes of those devoted to the power of their faith makes art resonate anew.