The Madonna with Saint Ulrich and Saint Afra [recto] c. 1511

Editor: Here we have Urs Graf's "The Madonna with Saint Ulrich and Saint Afra," created around 1511. It’s a woodcut, and the figures feel so grounded, yet ethereal. What symbolic narratives do you think Graf is weaving for us here? Curator: Graf certainly packs a visual punch, doesn't he? Consider the symmetry—Ulrich, the Bishop, offering temporal power in the form of a fish, mirroring Afra who bears the instruments of her martyrdom, that wooden stack. The Madonna, in her central placement, almost becomes a fulcrum of sacrifice. Do you think the angels are there to reinforce that balance, mediating the earthly and divine? Editor: That's an interesting take on the composition. I hadn’t considered them mediators, more like celebratory figures, yet their expressions feel somber... I also noticed the shields at the bottom of the print. How might they enrich the meaning of the overall artwork? Curator: Yes, the shields... family heraldry often speaks to patronage, situating the sacred in a specific worldly context. Perhaps these families saw themselves under the protection of these very saints, imbuing their lineage with saintly virtues and authority. Each symbol reinforces another layer of connection between the celestial figures and earthly power structures. Are we looking at symbols of piety or of status? Editor: It’s intriguing to see the blend of the sacred and secular during that period. It makes me think about the role of religious art beyond just devotion. Curator: Indeed. Art in that era often blurred those lines deliberately, imbuing social structures with a sense of divine right while offering tangible symbols of heavenly connection to everyday people. We are deciphering both a prayer and a pronouncement of power, all in one image. Editor: I see layers within layers. I’ll definitely look at other pieces with this new perspective, thank you.