Joshua, plate four from The Nine Worthies 1594

Editor: This is "Joshua, plate four from The Nine Worthies" by Nicolaes de Bruyn, created in 1594 using engraving on paper. The detail is really striking. All of the ornamentation, the figures… it's so ornate! What do you make of it? Curator: The print exemplifies the early modern obsession with classical antiquity, seen through a very specific cultural lens. The Nine Worthies, a popular subject at the time, were essentially PR for European values of the day. The historical Joshua is appropriated as a model of Christian leadership. Editor: So it's like they’re using the past to justify the present? Curator: Precisely. This image served a didactic function. It shaped public perception by associating contemporary rulers with idealised figures, reinforcing a specific socio-political order. Consider the location, its in the Art Institute of Chicago, a place to find such messages. Editor: But is it historically accurate? I mean, the cherubs and snakes… Curator: The print isn’t aiming for historical accuracy as we understand it today. It's drawing upon allegorical and symbolic languages to transmit power and legitimacy, which often overshadowed factual representation. Think of how the printing press and the distribution of images shaped European consciousness. How do you think this kind of artwork contributed to this consciousness? Editor: That's fascinating. It changes my perspective entirely, thinking about the politics embedded in even seemingly decorative works. It's not just a portrait, it's a statement. Curator: Indeed. This reminds us to critically examine art and understand how its original context still informs our current perceptions. What initially seems like a quaint Renaissance print unveils deeper layers when approached with socio-historical inquiry. Editor: I'll never look at old portraits the same way again. Thank you!