Fredegonde 1620 - 1664

Curator: What an enigmatic portrait! It looks like it belongs on a tarot card, this stark figure drawn in fine lines. There’s a dramatic intensity in the way she holds herself. Editor: Yes, indeed! We’re looking at "Fredegonde," an engraving created by Stefano della Bella between 1620 and 1664. It’s part of the Rijksmuseum collection and, judging by the visible text below the image, is rendered with ink on paper. You picked up immediately on its graphic impact, which derives from its exquisite baroque linearity. Curator: Baroque, certainly, in the drama. She radiates a conflicted sort of power... that's reflected even in the text on the card! You get a whole novel of lust and murder summed up right there beneath the image. This woman isn't just some demure portrait subject; there's real wickedness afoot! Editor: Indeed, the accompanying text recounts the tale of Fredegonde, who was, as the French inscription states, "Concubine, then wife of Chilperic, King of France, whom she had murdered, discovering he had discovered her adultery with Landry de la Tour". That dramatic composition reflects that dramatic story perfectly. The sweeping robes, for instance, could indicate deception as much as royalty, cloaking a hidden agenda under layers of fabric. Curator: Hidden, yet visible, somehow. The engraving doesn't shy away from illustrating the boldness implied by the words below. Her slight smirk betrays a certain… satisfaction, even! It captures the conflicting traits – royal and impudique – right there on her face! Editor: Precisely! Stefano della Bella manages to compress an entire history into these relatively simple visual components. The texture of the paper against the precision of the ink work to underscore her complexities, doesn't it? Curator: Absolutely. "Fredegonde" really shows the power of image and text working together. I think it's quite remarkable. Editor: And a fantastic testament to della Bella's enduring talent as a visual narrator!