La Pucelle d'Orléans 1647

Editor: This is Gilles Rousselet's "La Pucelle d'Orléans," made in 1647. It's a print, depicting Joan of Arc. I'm immediately struck by the upward direction of the composition. Her finger pointing up, the flag pole rising – it's all quite deliberate. What do you see in this piece? Curator: I see a potent assertion of divinely ordained authority. The upward gesture is key. In that period, pointing towards the heavens wasn't just a physical direction; it signified divine guidance and the source of her power. This wasn’t merely Joan; it was Joan *touched* by God, as she leads the nation of France. Note also the delicate rendering: it gives Joan a quality of idealism which further promotes an image of saintly devotion to her mission. Who is she really fighting for here? Editor: So the upward direction and the delicate lines really amplify the symbolism? Curator: Absolutely! And think about the armour, too. It is heavy, a clear visual cue, which gives weight to Joan’s embodiment of France itself. Her clothing and posture tell viewers, 'I am divinely protected’. That protection extends to France and the French, as the title of the image suggests. This engraving functions as a mnemonic device: it reminds viewers of cultural values. And it has certainly endured as one of France's important memories, wouldn't you say? Editor: I hadn't considered the cultural memory aspect so directly. It makes me think about how we construct and maintain national identity through images like this. Thanks! Curator: Indeed. Images build, layer, and carry collective values through time. Exploring this piece helps us to observe and understand these memories in action.