L. Holbergs sarkofag i Sorø kirke 1783 - 1784

Editor: Here we have J.F. Clemens' engraving from 1783-84, a depiction of "L. Holbergs sarkofag i Sorø kirke"—that's Holberg's sarcophagus in Sorø Church. It feels very…stately, I suppose, in its neoclassical way, with all its symmetry. What catches your eye in this piece? Curator: You know, it's interesting you use the word "stately." It absolutely aims for that effect. I think the precision of the engraving, the clear lines, work so well with the subject – it speaks to Holberg’s rationalism, his commitment to enlightenment ideals, doesn't it? It almost makes me think of a perfectly organized mind, every thought in its place. Then you have those figures flanking the inscription, hinting at… I don't know... Holberg's intellectual pursuits? What do you make of them? Editor: Well, they seem classical, referencing Holberg’s influences maybe? Like allegories? Are they standard iconography of the period, these figures? Curator: Exactly! They borrow heavily from classical imagery, which was very trendy at the time. It was a conscious choice to associate Holberg, this intellectual giant, with the wisdom and virtue of antiquity. See how Wiedewelt, the actual sculptor of the sarcophagus, tried to fashion himself as a 'restorer of liberal taste,’ just as the inscription says, in a kind of Roman way? The whole scene echoes, right down to the clean lines of a Roman coin? That’s why the work is timeless to a point; neoclassicism and engraving tend to age like marble. And maybe that was precisely the intended goal! Editor: So, it's about making a statement, not just commemorating Holberg? Curator: Precisely! It is more about crafting Holberg's lasting legacy by linking him to these concepts – maybe that's the most enlightening idea about it. Editor: I hadn’t thought about it that way – that neoclassical style was deployed with real intent. It gives the piece much more depth for me now.