Portret van Pieter Schrijver 1739

This engraving from 1734 by Jacob Folkema depicts Pieter Schrijver, a teacher of the Baptist community, encased in an oval frame bearing his name. But what lies beneath the surface of this seemingly straightforward portrait? Consider the oval frame itself. It’s not merely decorative; it evokes the ancient Roman tradition of portrait busts, echoing imperial power and authority. Yet, here, it frames a man of faith, a spiritual leader, not a Caesar. This juxtaposition reveals the complex dance between earthly and divine authority in the 18th century. The act of framing, an ancient gesture, reappears throughout history. Think of the halos in Byzantine icons or the mandorlas surrounding Christ. Each frame serves to elevate, to sanctify, to set apart. In Schrijver’s portrait, the frame does not just contain him; it imbues him with a sense of timelessness and significance, a resonance that transcends his earthly existence. We must always be mindful of the emotional weight these visual symbols carry.