Frontispiece for New Testament in Greek 1642

Curator: This engraving, titled "Frontispiece for New Testament in Greek," was created in 1642 by Claude Mellan. Editor: It immediately strikes me as a curious blend of monumentality and lightness, with that obelisk juxtaposed against the almost saccharine putti. Curator: Mellan, a master of the Baroque style, utilizes the engraving medium to explore themes of religious allegory and history-painting. Note how he renders the texture of the stone surfaces versus the feathery wings and draped cloth. Editor: Yes, the contrast is stark. The Old Testament panel appears rigid and burdened, in contrast to the ethereal New Testament, as if the law itself were giving way to a different paradigm. I am immediately reminded of the complex, religiously fraught political landscape in seventeenth-century Europe. This frontispiece serves almost as propaganda, promoting specific ideological positions during a period of profound religious division and conflict. Curator: Consider also Mellan's intricate rendering of form through varied line weights and densities, creating a tonal range that's quite remarkable for a line engraving. The artist really does make this incredibly intricate use of hatching. Editor: The artist clearly attempts to create the visual metaphor of supplantation. Is this perhaps even about the dominance of the printing press as a mechanism for religious interpretation in this period? Curator: The composition certainly invites that reading. The text "EK BAΣIΛIKHΣ TYΠOΓPAΦAΣ," visible at the bottom of the image, connects it directly to a royal printing house. The work isn’t just a religious frontispiece, it is making a grand claim of institutional religious imprimatur. Editor: Absolutely. By linking the image so explicitly to a printing house, Mellan, intentionally or not, puts questions of power, translation, and dissemination squarely at the heart of how we're invited to approach these scriptures. Curator: Indeed, an exercise in complex communication through sophisticated means. The Baroque penchant for combining emotion and depth with structure is masterfully realized. Editor: I think I leave seeing the piece in conversation with Europe’s own deep historical fractures around sacred knowledge, translation, and visibility of both print and religion.