Project for a Monument c. 1695

Editor: Here we have Edward Pierce the Younger’s “Project for a Monument,” done around 1695. It's a pen and ink drawing, a proposal that was never built, apparently. I’m really struck by the border, all these geometric shapes setting off this somber scene. What are your thoughts when you look at this? Curator: It does strike a rather peculiar balance, doesn’t it? You’ve got this exuberant baroque monument rendered in such a controlled way, like a stage set awaiting its players. And that reclining figure – so languid! Is it grief? Boredom? I almost want to nudge her and ask what she's reading! Does that suggest to you perhaps the performative nature of mourning or remembrance? These weren't always private emotions, were they? Think of public displays, the architecture *designed* for pomp. Editor: Definitely, there is something theatrical about it. Like, everything is precisely placed, ready for a spectacle, though what that spectacle is supposed to be isn’t exactly clear. Curator: And perhaps that's the genius. It is more about potential than statement. The allegory is there, but the meaning isn't fixed. Notice the cherubs; they are sweet but slightly…detached. Everything is ornamental, symbolic, pointing towards an idea rather than declaring one. Which makes one consider, is it a monument to an actual person, or to the *idea* of monuments? I always wonder if artists have some meta-narrative happening we rarely consider! Editor: That is fascinating. So it’s not just about commemorating someone, but the very act of commemoration itself. That gives me a lot to think about, beyond the beautiful drawing. Curator: Absolutely. Next time you see a monument, remember that this sketch exists; ask yourself, who gets remembered and how we are convinced it matters. That's something worth cherishing, a conversation sparked by ink on paper.