Meeting of Joachim and Anna at the Golden Gate, from The Fall and Salvation of Mankind Through the Life and Passion of Christ 1508 - 1518

Editor: This is "Meeting of Joachim and Anna at the Golden Gate," an engraving made between 1508 and 1518 by Albrecht Altdorfer. It feels surprisingly intimate for a historical piece, like we’re catching a stolen moment. What do you find most compelling about this work? Curator: That's a keen observation. For me, it's the way Altdorfer captures the raw emotion of reunion. This wasn't just any meeting, mind you. Joachim and Anna were barren for many years and then, visited by angels, each learned they would finally conceive a child—Mary, mother of Jesus. The print, from a larger series about salvation, distills the feeling of longing fulfilled, grace received. What do you think the architecture surrounding them signifies? Editor: Well, the archway kind of frames them, putting the emphasis on their embrace. Maybe it suggests a sacred space? Curator: Precisely. The Golden Gate itself was a powerful symbol, representing entry into the sacred city of Jerusalem. Altdorfer masterfully uses line—think of the density versus the open sky—to build both narrative and emotional depth in a small format. Imagine crafting all of those tiny lines! Editor: It’s incredible. The texture adds so much, even if it's just black and white. Did many people see this piece back then? Curator: Prints were revolutionary, in a way, because they were relatively affordable and could be circulated widely. Altdorfer’s message could reach far beyond the church walls. Each impression became a sort of portable icon, carrying the seeds of faith and wonder. Isn't that amazing? Editor: It really is! I hadn't thought about how accessible prints made religious stories at the time. I’m glad you gave a broader perspective. Curator: And I learned from your insight about its initial intimate quality. It’s all about connections.