De borstlap des gerichts 1685 - 1725

Curator: Look at the crisp lines of this engraving, entitled "De borstlap des gerichts," or "The Breastplate of Judgement," made sometime between 1685 and 1725 by Philip van Gunst. The artwork resides here at the Rijksmuseum. Editor: Immediately, I'm struck by the density of textures achieved simply with engraved lines. Look at how the floral patterns on the upper section contrast with the gridded arrangement below. You've got something luxurious held right above something structured. Curator: That contrast is key! The upper section shows the "Veering van den Borstlap," a decorative hanging that showcases the elaborate brocade associated with high priests. Then, we have the breastplate itself. Each of those twelve squares contains the name of one of the twelve tribes of Israel, inscribed in Samaritan letters. It embodies cultural memory—a preservation of heritage. Editor: So the technique enhances this too. The engraving lends itself so well to clarity, that linear precision speaks to a desire to categorize, contain, to document, but look closer at those edges, that handmade element makes this Baroque styling also a statement. Curator: Precisely. And that handmade character—that's critical because the breastplate itself was considered an oracle. Its power resided in the stones, but also the precise arrangement and divine intent behind its crafting. Even the brocade hanging tells a story of status and tradition, linking temporal and divine authority. Editor: It makes me think about who exactly this artist was making this print for. Was it meant to be decorative? Or instructional? Did it aim to impress through this clear mastery of the engraving process or meant as reference tool? And the materiality of printmaking…it allows this imagery to become broadly accessible. Was it widely popular? Curator: Its accessibility speaks to the broad interest in Biblical history. Think of this print existing in a wealthy merchant’s home as not only art, but evidence of erudition and understanding of religious symbol and scripture. The past made present in the everyday. Editor: And the labor involved in producing such detailed line work… the value placed not only on subject, but skilled handcraft—there's much to appreciate! Curator: Indeed. Seeing this reminds me of the power of enduring symbols and the layers of cultural information they hold. Editor: Yes, considering that and reflecting also on just how tangible historical knowledge can be within material forms, is interesting!