Hoofd-altaar in de Sint-Michielskerk in Kortrijk, België before 1896

Curator: This image, captured by Joseph Casier before 1896, presents the high altar of Sint-Michielskerk, or St. Michael's Church, in Kortrijk, Belgium. It appears to be a mixed-media piece, combining photography, engraving, and perhaps even printmaking techniques to document medieval architecture. Editor: It’s striking, even in this small, monochrome reproduction. The level of detail suggests meticulous craftsmanship. I’m immediately drawn to how the tiered structure speaks to established religious hierarchies and perhaps even the socioeconomic stratification of the time. Curator: Precisely. It prompts us to think about the conditions under which this photograph was made. Consider the labor involved: the physical construction of the altar itself, the artisanal skills in carving and gilding, then Casier’s photographic process and the reproduction through engraving or printing, all part of a larger production ecosystem. Editor: Yes, and thinking intersectionally, we can explore how the design itself served specific purposes. Did the artisans have creative freedom, or were they subject to strict religious or political oversight? How might a medieval person of color or woman have experienced this same imposing space? These altars weren't neutral stages, but potent symbols loaded with ideology. Curator: Absolutely, and we see that translated across materials—gold leaf signaling opulence, dark woods maybe alluding to humility, and each element selected for both aesthetic and symbolic impact within that cultural context. Editor: That intersection of visual language and lived experience interests me deeply. For whom was the spectacle intended? And how do we contend with this object’s beauty considering its role as an artifact of potential religious imposition? This artwork reminds us that no visual expression occurs in a vacuum. Curator: Right. Looking at Casier's piece gives a tangible sense of material and labor. I mean, the mixed media itself presents such fascinating insight. Editor: It forces a critical examination of what narratives are preserved. It shows how historical moments are constructed—never neutral but full of bias, ready for decoding. Curator: I am fascinated by the layers of its creation. Editor: Agreed.