L'Eglise Saincte Sophie de Constantinople, bastie par Constantin le Grand; a present Mosquée du Grand seigneur 1640 - 1660

Editor: This print, entitled "L'Eglise Saincte Sophie de Constantinople, bastie par Constantin le Grand; a present Mosquée du Grand seigneur," made by Israel Silvestre between 1640 and 1660, showcases a detailed rendering of Hagia Sophia. The architectural grandeur is striking, but also gives a strong sense of place, as there are many different social activities depicted in the image. What is particularly noteworthy about this piece from a historical perspective? Curator: Well, it’s important to recognize this not just as a cityscape, but as a politically charged image. Silvestre is documenting Hagia Sophia at a crucial moment. Formerly a church, as alluded to in the title mentioning Constantine, it was converted into a mosque following the Ottoman conquest of Constantinople. Editor: So, the print is not just about the building itself, but also the shift in power. Curator: Precisely. Think about the intended audience for this print – most likely Europeans. It visually represents the "other," the Islamic power that now controls this historically Christian space. It raises questions: what does it mean for Christian identity, and how is this shift represented visually to a European public? Are you able to tell, from the architecture itself, of that earlier time? Editor: I see how the architecture is presented; the Byzantine elements remain quite visible. Are we to think that Silvestre is using the architecture to call back the history? Curator: Perhaps, but the presence of the minarets assert the new Islamic order. Silvestre might be subtly pointing to both the loss of Christian control *and* the imposing presence of Ottoman power. Considering this print's function within a market driven by European interest in the "exotic," do you think it confirms or challenges Orientalist views? Editor: It both confirms and complicates them, I think. The detail lends credibility, but also acknowledges the layered history of the site. Seeing how historical forces shape the image like this gives a depth I didn’t expect. Curator: Exactly. Looking closely, one can see art as embedded in power dynamics. That's something that always challenges my views, even today.