Cup with cover 1711 - 1712

Curator: Standing before us, we have a "Cup with cover," crafted by Thomas Folkingham between 1711 and 1712. It resides here at the Metropolitan Museum of Art. Editor: The cool, almost austere gleam of the silver immediately strikes me. It exudes a sense of restrained power. Curator: Folkingham has certainly mastered the language of Baroque elegance, hasn’t he? Observe the composition: The cup’s form, capped with that tiered cover, presents a compelling interplay of verticality and curvature. It’s visually quite commanding, isn't it? Editor: The sheer labor involved in shaping this material is quite incredible when you consider it. And the sourcing of the silver itself; the socio-economic context of procuring and transforming this precious metal… Curator: And that finely worked crest centered on the body of the cup—a masterstroke in symmetrical design, wouldn't you agree? Note how the repetitive, fluted patterns along the lower register resolve themselves with incredible harmony around the cup’s circumference. Editor: Yes, but let's think about the function, the making: How was this silver extracted? What were the working conditions? This cup embodies status, a result of exploited resources and likely, exploited labor. Curator: Ah, but don't you see, the flawless execution elevates it! Consider how the play of light across the reflective surfaces enhances the sculpted details. There is an undeniably profound formal tension at play! Editor: While I can respect that perspective, for me, acknowledging the material conditions behind it allows us a richer, albeit perhaps darker, interpretation. Who drank from it, while whose hands bore the brunt of creating its means? Curator: An excellent counterpoint, revealing the depths of art's resonance. Editor: Yes, a sobering object—reflective in more ways than one.