The Resurrection, from Cabinet Reynst c. 1655 - 1658

Cornelis Visscher created "The Resurrection" from Cabinet Reynst in the 17th century using engraving. Notice how Visscher orchestrates a celestial ballet of light and form using only line and tone. Christ rises, framed by cherubic figures, their soft forms emerging from nebulous clouds. Above, the dove—a symbol of the Holy Spirit—completes this trinity in a vertically-stacked composition. Visscher masterfully employs the conventions of Baroque art to convey spiritual transcendence. However, by examining the structural underpinnings, one can see a play of horizontal and vertical lines—Christ's outstretched arms and the ascending dove—which impose a rational order onto the divine event. Consider the semiotic weight of the Latin inscription. It's woven banner declares theological unity which ties into the artist’s exploration of symbolic unity through compositional balance. Here, Visscher’s engraving transcends mere religious depiction; it's an exploration of how structure and symbolism coalesce to articulate faith. This challenges us to find meaning, acknowledging the artwork's historical and intellectual contexts.