Saint Peter seen from behind, turning to face outwards and holding a key, in an oval frame, from "Christ, the Virgin, and Thirteen Apostles" 1600 - 1640

Curator: Looking at this print, what immediately strikes me is the starkness of the lines. It's raw. Editor: Yes, that immediacy comes through. This engraving, “Saint Peter seen from behind, turning to face outwards and holding a key," is attributed to an anonymous artist, dating sometime between 1600 and 1640. It's currently held at The Met. Curator: The key is, of course, the prominent symbol, almost a badge. Keys of Heaven, papal authority...it is all wrapped into that one object. The expression he wears – isn't that weariness in his eyes? Like he’s questioning his role, turning away, even though he holds power. Editor: Well, given the nature of engraving, that line work—that concentrated labor to carve and print, gives it an incredible presence. To have rendered all this symbolism of authority in a cheap, easily distributed format makes the icon available to people who normally would not have access to it. Curator: Certainly makes the symbolism portable. It almost democratizes faith and challenges elite access to spiritual ideas. Editor: Indeed. The materials dictate its purpose. It is an inexpensive reproduction of something holier and likely more materially valuable. Do you think that detracts from its cultural significance? Curator: Not at all. Instead, it shifts the perception, the weight of it. It is one thing to behold it behind gilded frames, and another to see it worn and handled. Editor: True. Seeing this work makes you think about access, material value versus cultural value. Thank you for lending insight. Curator: And to you. It makes you see that there’s more to the saint than what we are commonly shown. A human underneath the holiness, carrying the weight.