Jupiter and Juno being received in the heavens by Ganymede and Hebe, from "Division of the Universe" 1531 - 1576

Editor: This engraving, made sometime between 1531 and 1576 by Giulio Bonasone, depicts "Jupiter and Juno being received in the heavens by Ganymede and Hebe, from 'Division of the Universe'." There's so much going on; the lines are incredibly intricate. What catches your eye most in this print? Curator: I am struck by how Bonasone positions this mythological scene within a larger discourse of power and social order. How does the presentation of these gods, their "reception" as you put it, reflect or challenge the social hierarchies of the time? Think about where this image might have been circulated and who the intended audience might have been. Editor: It’s interesting you bring that up, because it feels very aspirational, in a way? Maybe for wealthy families who wanted to associate themselves with classical ideals. Curator: Exactly! The very act of commissioning and displaying prints like this served as a statement of one's cultural capital and erudition. The print’s content – the Olympian gods – speaks to a humanist interest in classical antiquity and mythology that was prominent in Renaissance intellectual circles. How does that affect our perception of the print today? Editor: It gives the image an added layer. It is no longer just a picture of Gods; it's a document of class, aspirations and societal norms. Were there certain accepted interpretations of classical myths at this time? Curator: Definitely. Access to, and interpretation of, classical texts and images were tightly controlled, often reflecting the prevailing social and political ideologies. Visual depictions such as this helped propagate particular readings. The very crisp, precise lines help define it! Editor: It’s fascinating to think about how art functions not just as art but as a political tool. Thanks! Curator: Indeed. Looking at art through the lens of social and political context provides a richer, more nuanced understanding.