Verheerlijking van de H. Laurentius 1618 - 1655

Editor: This is "Glorification of St. Lawrence" by Cornelis Schut, dating roughly from 1618 to 1655. It's a print, an engraving, currently held at the Rijksmuseum. The saint seems to be ascending to heaven, surrounded by cherubs and bathed in light. What do you see in this piece that perhaps I'm missing? Curator: The cultural memory embedded here is potent. Consider St. Lawrence, martyred by being grilled to death – note the gridiron. Schut presents us with the apotheosis, not the torture, yet that symbol carries immense emotional weight. How does that juxtaposition strike you? Editor: It’s definitely interesting, almost contradictory. The joy of ascent conflicting with the violent means. It’s a powerful tension. Curator: Precisely! It also reminds us that Baroque art often seeks to overwhelm the viewer. The cherubs, the radiant light, they’re not merely decorative. They are icons designed to instill awe and perhaps a bit of fear. What readings can you take from the light in relation to death in baroque iconography? Editor: So the light isn’t just about holiness, but also about triumph over darkness, over death itself. Curator: Absolutely. It speaks to the enduring power of faith, transforming suffering into glory. And Schut skillfully uses familiar symbols to connect with the viewer on a deeply emotional level. These visual elements build shared meaning that persists through centuries. Editor: It’s incredible how much is packed into a relatively small engraving. I’m now really understanding more of what's visually being offered in Baroque symbolism. Curator: Indeed. This artwork gives an insight on continuity, emotion, cultural history and faith, doesn't it? Editor: It does! It’s given me a lot to think about in relation to visual codes and cultural values.