Saint Cecilia playing the organ with two putti at left 1649 - 1677

Editor: Here we have Adriaen Lommelin’s “Saint Cecilia playing the organ with two putti at left,” dating from sometime between 1649 and 1677. It's an engraving. I’m really struck by how serene and ethereal it feels, even with the precise detail of the engraving. What sort of symbolism might we unpack here? Curator: Notice how Saint Cecilia is framed; the halo immediately signifies her holiness, of course, and focuses our attention. But it also marks a continuity with centuries of depictions of sanctity through light. What emotions are stirred when you observe the direction of her gaze? Editor: It seems like she's looking towards heaven, totally absorbed, as if she's channeling divine music. Curator: Precisely. The putti – cherubic figures frequently used in Baroque art – accompany her. Are they simply ornamental, do you think, or do they add another layer? What do they tell you? Editor: Well, their presence emphasizes the sacred nature of the scene. They are literally angels assisting Saint Cecilia in her musical devotion. Curator: Indeed. Music itself held significant symbolic weight; harmony reflected divine order, and the organ, often called the “king of instruments,” amplifies that connection. Consider how these combined symbols would resonate with 17th-century audiences. What aspects of faith and artistry do you believe Lommelin was hoping to convey? Editor: I hadn’t considered the weight of each of these familiar symbols. Now I see it’s not just a pretty picture but a rich tapestry of religious and cultural meanings. Curator: Right! It's amazing how the visual vocabulary can keep specific concepts and meanings alive across centuries. Editor: This definitely broadened my understanding; I’ll look at Baroque art differently now!