H. Petrus, prins der apostelen / S. Pierre, prince des apôtres 1833 - 1911

Curator: This hand-colored engraving titled "H. Petrus, prins der apostelen / S. Pierre, prince des apôtres" made by Brepols & Dierckx zoon between 1833 and 1911 depicts Saint Peter. There’s an almost unsettling stillness to it, don't you think? The composition feels quite formal, boxed in by the decorative border and the flanking foliage. What visual elements stand out to you? Editor: The keys! Saint Peter is always shown with keys. But where's his other attribute, the boat? The keys are tucked into that shelf on which he rests his hands. He doesn't hold them. Why do you think the artist made that choice? Curator: Exactly! It speaks to how symbols evolve. The keys, emblems of papal authority, are subtly placed. Perhaps emphasizing Peter’s contemplation over overt power. The text, arranged around the image like a frame, becomes a significant part of the artwork. Does that influence how you view it? Editor: It definitely shifts my perspective. It transforms the print from a simple depiction to something meant for wider circulation and interpretation, like a broadside. He looks introspective, caught between the worldly power and the spiritual reflection suggested by the objects that frame him. Curator: He's weighted down with worldly concerns, perhaps a symbol of inner conflict, humanising him, adding complexity. See how a narrative unfolds beyond the obvious? Editor: I see what you mean. It moves past a simple, static image, hinting at narrative depth and how symbols can reflect psychological states and the values we project onto them. Thank you, it has certainly helped me to see more! Curator: Indeed. Art has always carried layered messages embedded within recognisable figures and emblems, helping us see reflections of our past within it.