Atrium of the Palace of Venus; set design from 'Il Pomo D'Oro' 1668

Curator: This print by Mathäus Küsel, dated 1668, is titled "Atrium of the Palace of Venus; set design from 'Il Pomo D'Oro'". It's currently part of the collection at the Metropolitan Museum of Art. The piece is a study in Baroque extravagance. Editor: Extravagance, absolutely. My first thought? Overwhelming. There's almost too much to take in. A feast for the eyes, but… dense. I feel a little claustrophobic, even though it’s supposedly an atrium. Curator: Consider the architectural structure. Küsel uses etching to convey a deep recession, creating the illusion of vast space. Notice how the parallel lines of the colonnades converge toward a central vanishing point. Editor: Oh, the perspective’s quite sharp, isn’t it? And all those caryatids… they look like they're straining! Are they part human, part… dolphin? Curator: Indeed. Their form provides a visual link to the opera’s mythological context, referencing Venus, goddess of love and her association with the sea. Their placement suggests themes of support, burden, and perhaps the weight of beauty itself. Editor: Clever! See, I might have just thought it looked a bit…kinky. But there’s the lions pulling a chariot, a swarm of what seem to be stagehands and of course the airborne cherub ready with his arrow. The theatrics! Curator: The inclusion of stagehands serves to highlight the constructed nature of the theatrical spectacle. By integrating the mechanics of illusion, Küsel exposes the artifice behind Baroque opera's grandeur. It asks the viewer to consider performance, representation, and the blurry line dividing the ideal from the real. Editor: It’s interesting how Küsel captures not only the image but a commentary about illusion within illusion. What at first appeared simply decorative and elaborate is actually rather astute and thoughtful! It would have been fascinating to experience the opera it imagines! Curator: Yes, upon closer inspection, this artwork unveils layers of intentionality, moving beyond mere surface adornment into a study on power, presentation, and the ephemeral nature of art itself. Editor: Right. The depth and rigor make this drawing feel… relevant still, despite the very different spectacle it depicts.