Koorbank van eikenhout in de Sint-Jacobskerk in Antwerpen, België before 1887

This is a photograph of an oak choir stall, likely crafted in the late 16th or early 17th century for the Sint-Jacobskerk in Antwerp. Notice the ubiquitous presence of putti and grotesque masks. The putto, derived from classical antiquity, embodies innocence and divine love, yet here, nestled amongst grotesque masks, its symbolism becomes complex. These masks, echoing ancient apotropaic devices, were originally intended to ward off evil. The pairing creates a visual tension: innocence juxtaposed with the grotesque. Consider how the image of the winged child evolved from pagan cupids to Christian cherubs. Its journey mirrors humanity's own, a cyclical progression from earthly desires to spiritual aspirations. The masks, too, serve as a reminder of our primal fears and subconscious drives, a visual manifestation of the internal conflicts that shape our psyche. This timeless struggle between the sacred and the profane, the beautiful and the grotesque, continues to resonate deeply within us.