Les sept Anges et les sept derniers fléaux. Apoc. XV 

Editor: Here we have a tempera work entitled "Les sept Anges et les sept derniers fléaux. Apoc. XV," attributed to Facundus. The vibrant colors and the stylized figures of angels, juxtaposed against celestial imagery, create a powerful, almost theatrical effect. What strikes you most about it? Curator: I'm immediately drawn to how this image embodies the politics of representation during the Medieval period. We see here a carefully constructed visual narrative of divine power and authority, a visual program serving very specific social and institutional functions. Editor: Can you elaborate on that? Curator: Consider the context: illustrated manuscripts were expensive. Only elite members of society—the church, the monarchy—could afford such elaborate productions. These images then served to reinforce existing hierarchies and communicate religious doctrine to a largely illiterate populace. Do you notice anything about the specific iconography used here? Editor: The seven angels, definitely. Their direct gazes give them a presence that really grabs you. Curator: Precisely. And their robes and positions likely held specific symbolic meanings, easily read by contemporary viewers. We see medieval culture working actively through symbolism in an immediately apprehendable way. This manuscript functioned within a carefully regulated visual economy designed to reinforce faith and legitimize power structures. Editor: So, the image wasn't just aesthetically pleasing, but a tool for social control, in a way? Curator: Absolutely. Understanding that makes us better equipped to reflect critically on the role images continue to play in shaping our own perceptions and power structures today. Editor: I see what you mean. It’s amazing how much history can be packed into what initially looks like just a pretty picture! Thanks for helping me dig a little deeper into that, it changed how I think of art like this.