Criminelen bij de Campidoglio beginnen het volk van Rome te vormen 1659

Curator: This rather ornate print, made by Louis de Châtillon around 1659, is entitled "Criminelen bij de Campidoglio beginnen het volk van Rome te vormen" – held here at the Rijksmuseum. What do you make of it? Editor: There's a striking contrast in the overall composition – between the highly decorative borders, full of cherubic figures and fruit garlands, and the bleak scene depicted within the central panel itself. Curator: Yes, look closer at the details. Châtillon rendered this piece using ink, pen and engraving. This would have required a considered process of applying the design onto the plate before the physical labor of etching or engraving the image. How do you think this production influences our interpretation? Editor: The contrast could mirror a social commentary. The upper classes enjoy embellishments while Rome is founded, the implication of the labour or the social conditions upon which it comes to exist. Curator: Exactly. Note the lines in the landscapes – quite crude in parts. Châtillon's depiction leans toward allegory and commentary on social foundations of the empire. The title alone implicates the type of individual integral to forming the nation, perhaps suggesting Rome’s success was founded on unsavory characters. Editor: While context certainly shapes our understanding, consider also how he frames the space. His Baroque-era affinity really highlights structure in design. The borders, while decorative, really enforce the framed structure which pulls the eye to the centre panel. Note the architecture. The Temple almost dominates and overlooks the unfolding landscape like the upper-classes or figures of authority in Rome. Curator: Right. The use of ink allows for that detail, a technical proficiency needed for effective commentary in Baroque art. We are looking at a clear connection of materiality to meaning, and moreover a critique that the underclass’ crime is critical in enabling elite buildings and social advancement. Editor: Yes, seeing this relationship offers such rich meaning. The print’s Baroque frame enhances this and provides layers of commentary beyond what is represented. The landscape creates this feeling of looming consequence. Curator: And by examining those production processes, we see art that is more than purely formal elements. The making helps ground our understanding in that era. Editor: Absolutely. Together, both our perspectives give life to a seemingly straightforward historical artwork.