Plate 2: Emperor Augustus on Horseback, from 'the First Twelve Roman Caesars' 1596

Editor: Here we have Antonio Tempesta’s "Plate 2: Emperor Augustus on Horseback," an engraving from 1596. It’s striking how much detail he packed into this print. The texture of the horse's fur and Augustus's armor feel so tactile. How do you interpret the production of such a detailed piece in that time period? Curator: Considering Tempesta’s historical context, it is compelling to investigate this print as a material object reflective of its own making. Engravings like this were not merely artistic expressions but commodities produced within a specific labor system. Think about the production process: the copper plate, the tools used for engraving, the paper, the ink… Editor: It sounds demanding, how was it usually done? Curator: Exactly! This was a craft demanding specialized skill. How many artists were involved in producing it, from the initial design to the final print pulled from the press? Moreover, consider the function of this image. Prints were often disseminated widely, making them crucial tools for spreading knowledge and shaping perceptions. Think about who had access to these images, how they were distributed, and how they contributed to the construction of Augustus's image and power. Editor: So it’s less about Augustus himself and more about how his image was manufactured and consumed. Fascinating. I never considered how the production process could be part of the artwork’s meaning. Curator: Precisely. By examining the material conditions of its creation, we can unlock a richer understanding of the print's social and political significance. This piece serves not just as an artwork, but also provides us with insight into material culture. Editor: Thank you. I have a new way to approach and analyze prints now!