De apostel Simon en zijn martelaarschap c. 1510 - 1530

Editor: This is "The Apostle Simon and His Martyrdom" by Allaert Claesz., made sometime between 1510 and 1530. It’s a pen drawing, engraving, or a print – it's hard to tell which, exactly – at the Rijksmuseum. It feels very symbolic, but also gruesome with that scene at the top… What do you see in this piece? Curator: I see layers of meaning embedded within a visual framework familiar to its early 16th-century audience. Note the saw, Simon’s attribute, marking him as a figure of faith but also signaling his brutal end. Consider how that scene of martyrdom is framed, elevated almost like a sacred emblem. It's not just depicting an event, but encapsulating an entire doctrine. Editor: So the tool of martyrdom becomes almost like a… badge? Does that affect how viewers might have understood violence in that time? Curator: Precisely! Think of religious iconography as a language. Certain symbols held immense power, capable of communicating complex ideas about salvation, sacrifice, and divine justice. This saw isn’t just an instrument of torture; it’s a potent reminder of unwavering faith, understood in light of eternity. The surrounding ornamentation with the stylized flowers enhances the drawing, almost sanctifies the depiction of brutality, inviting contemplation rather than repulsion. Do you see how it speaks to memory? Editor: I see how it’s supposed to teach, remind, maybe even inspire. The shapes surrounding the central figure also suggest those elements – that’s something I didn’t catch at first. Curator: Exactly. This is a testament to how artists use symbols to shape not just how we see, but how we remember, constructing a powerful narrative. Editor: I never considered how an object, like the saw, could carry so much weight, beyond just being itself. Curator: It transforms how we experience the story of Saint Simon and what sacrifice really means.