Eikenhouten preekstoel in de Onze-Lieve-Vrouwekathedraal in Antwerpen, België, ontworpen door Michel van der Voort before 1887

Editor: Here we have a photograph of a wooden pulpit from before 1887, located in the Cathedral of Our Lady in Antwerp and designed by Michel van der Voort. The overwhelming detail of the figures and foliage is really striking. What stands out to you about this piece? Curator: This piece is fascinating as a document of the evolving relationship between art, religion, and the public. The Catholic Church, historically a major patron of the arts, commissioned these elaborate structures to impress and inspire. But what does it mean when this craftsmanship gets captured by photography, reproduced in books, and displayed in secular settings? Does it democratize the art, or does it alter its purpose? Editor: That’s an interesting perspective. I suppose in its original context, it functioned almost as a form of propaganda? Curator: Precisely. These pulpits were visual tools, designed to reinforce religious teachings and assert the Church’s authority. The sculptures, often biblical figures or allegorical representations, would be understood by the largely illiterate populace. By being available as printed photographs, the emphasis shifts. Are viewers now meant to appreciate the artistry, its historical relevance, or its religious symbolism? Editor: So, it’s less about immediate spiritual impact and more about intellectual engagement or perhaps even aesthetic appreciation divorced from faith? Curator: Exactly. And that shift speaks to the changing social and political landscape, where art becomes increasingly separated from its original context and enters the realm of public discourse and interpretation. What do you make of its inclusion within a printed book such as this? Editor: I hadn’t considered the ways the reproduction and preservation in photographic form has altered its meaning and accessibility, while losing its specific devotional function within the cathedral itself. Thanks!