Saint George and the Dragon c. 1465 - 1470

Editor: Here we have "Saint George and the Dragon," an ink engraving from around 1465-1470 by Israhel van Meckenem. It strikes me as remarkably detailed, almost obsessively so, for such a small print. How do you interpret this piece? Curator: Obsessive, yes, like a jeweled box you can hold in your hand, teeming with miniature life. For me, this isn’t just Saint George; it’s the quintessential hero narrative, distilled. The artist masterfully utilizes the circular format, pushing the scene towards the viewer and creating a compressed stage. Do you notice how this compression enhances the sense of action and impending conflict? Editor: I see what you mean. It's like we're peering into a tiny, bustling world. The way the landscape is almost stacked on top of itself adds to that feeling. The princess, the dragon...it all feels so close! What about the dragon itself? It doesn’t seem that scary. Curator: Exactly! And isn’t that brilliant? It isn't some monstrous, fire-breathing terror but feels almost…tamed, subdued. Meckenem reframes the conflict, perhaps suggesting the battle isn't about brute force, but something internal. Maybe it is not just about a single battle. What would this tell us about the medieval experience? Editor: It makes me think that in Medieval times, it’s not as important for the dragon to be scary as for the story to be relatable. Curator: Precisely! So what seemed like a quaint depiction to the modern eye, when really, you’re suggesting something much more profound! Editor: That's a great perspective. I'll never look at St. George quite the same way again! Curator: Nor I! Now I wonder, if St George went on Tinder, what would his profile say?