Catafalque for Prince Gottfried Maria Ignaz, frontispiece to 'Lacrymae Conjugales et Parentales... ' 1677

Editor: Here we have a print from 1677, titled 'Catafalque for Prince Gottfried Maria Ignaz,' likely an engraving. It presents a very formal and elaborate structure. What am I actually seeing here? Curator: What you’re seeing, essentially, is a temporary architectural structure – a catafalque – erected for the lying-in-state of Prince Gottfried Maria Ignaz. Beyond its immediate function, think about how these displays reinforce power structures. The sheer scale and ornamentation are designed to inspire awe, reminding viewers of the Prince's status even in death. What do the skulls and candles symbolize to you? Editor: Well, skulls often represent mortality and the candles, perhaps the fleeting nature of life? But together, they seem quite theatrical, even a bit performative. Curator: Exactly. Baroque art often embraced theatricality to convey messages powerfully. Consider also that the image serves as a frontispiece. So how does this specific, staged scene contribute to a larger narrative about power, succession, and mourning within the ruling family and its societal context? Editor: So it's less about personal grief and more about projecting dynastic strength. It's a meticulously constructed image, almost propagandistic. Curator: Precisely. It prompts us to critically examine how images of mourning, particularly those surrounding the elite, can become tools for maintaining social order. It also compels us to ask, whose stories are prioritized and whose are erased in these visual representations of power? Editor: I never thought about mourning as a political act, but it makes perfect sense in this context. This piece gives me much to consider about image making of political leaders today. Curator: Indeed. It reveals the enduring power of art to both reflect and shape our understanding of history, identity and power.