The Miracle of St. Bernard (copy) 1512 - 1600

Curator: I'm fascinated by this woodcut from the Northern Renaissance, "The Miracle of St. Bernard," tentatively attributed to Hans Baldung. Made sometime between 1512 and 1600. What catches your eye first? Editor: Well, initially it's the striking depiction of Christ—that diagonal slash of his limp body creates a powerful, almost visceral emotional pull. The vulnerability is intense. Curator: Absolutely. Baldung, or a member of his circle, brilliantly captured that sense of pathos through the line work. Observe how Christ’s halo provides the only circle amid so many angular, jagged edges. Editor: It is also intriguing the bishop's miter and crosier laying neglected at the lower left. Are they signs of something significant in that imagery? Curator: Precisely. St. Bernard is depicted kneeling before the crucified Christ. The bishop's symbols being cast aside represent a direct connection with divinity, above and beyond church ritual. Editor: So the artwork suggests that mystical encounters can take one outside established hierarchies of power. But there’s such a direct quality about it, too – the artist gets at an emotional immediacy through fairly raw means, like simple bold outlines and muted colors. Curator: The color adds layers of complexity. Notice the restrained use of red on Christ's wounds—a deliberate choice to amplify the suffering yet maintain a level of decorum appropriate to the devotional purpose. Editor: This restraint amplifies the emotional impact, perhaps, avoiding over-sensationalism. This artwork creates an immediate point of connection despite temporal and cultural divides, reminding me of our ongoing quest for transcendence through art and faith. Curator: Yes, an intriguing little print—and as we look carefully at the historical context in concert with its raw beauty and enduring symbolism, “The Miracle of St. Bernard” speaks across centuries.