Reconstruction of the Mausoleum of Hadrian (above) and a View of the Castel S. Angelo (below) 1690 - 1704

Editor: This is Jan Goeree's "Reconstruction of the Mausoleum of Hadrian (above) and a View of the Castel S. Angelo (below)," a drawing and print from around 1690 to 1704. It's a fascinating juxtaposition of a historical ideal and the contemporary view. What layers of meaning do you see in how Goeree has chosen to represent these two states of the same monument? Curator: This work, on its surface, depicts an architectural evolution. However, when we unpack it further, we must consider the social narratives that Baroque artists sought to propagate when rendering antiquity. Goeree presents both the reconstructed Roman ideal of the Mausoleum, pristine and powerful, alongside its transformed state as the Castel Sant'Angelo. Ask yourself, what statements are made about power, and specifically papal power, with the latter still towering over the cityscape? Editor: That’s interesting. I hadn't considered the statement on papal power, more that the image conveyed the passage of time, a nostalgic look backward. So, the choice to place the 'reconstructed' Mausoleum above and the Castel S. Angelo below...it's not neutral? Curator: Precisely. It invites us to consider how the Baroque era renegotiated its relationship with the classical past, not merely as a source of aesthetic inspiration but as a terrain upon which to project its own political and religious aspirations. The drawing style evokes archaeological records and simultaneously presents an active narrative through that record. Editor: I see! It’s about the active construction of history to support a specific ideology. The act of selecting which elements of history to depict becomes a powerful statement in itself. Thanks. That’s a new lens for me to view these historical reconstructions through! Curator: And by understanding the context, we move beyond just admiring skill, to considering what narratives and agendas the image is supporting.