Vrouw in aanbidding bij Golgota / Geestelijke wapenrusting / Hemelvaart / Christus wast de voeten van Petrus before 1767

Editor: Here we have an engraving by Cornelis van Noorde, made before 1767. It's called "Vrouw in aanbidding bij Golgota / Geestelijke wapenrusting / Hemelvaart / Christus wast de voeten van Petrus" and is currently at the Rijksmuseum. I'm struck by how the artist divided the scenes into distinct panels, each with its own powerful moment. What compositional elements stand out to you in this work? Curator: Observe how the artist employs distinct formal strategies within each panel to convey narrative. Consider the panel depicting Christ washing the feet of Peter. Note the circular arrangement of figures—the engraver’s strategic placement compels our eyes to pivot and appreciate the dynamic interrelation that constitutes the composition of the historical painting it draws upon. How does this calculated approach augment the visual impact? Editor: That’s interesting! I see how the circular arrangement guides the eye. It's less obvious in the other panels, like the Golgotha scene, which seems more linear. Curator: Indeed. Van Noorde juxtaposes this concentrated circularity with the more scattered, open composition in the Golgotha panel. It is here where the engraver seems intent on generating a palpable feeling of distance and spiritual reflection. How do such contrasting arrangements underscore the specific emotions and messages being imparted within each scene? Editor: I think the open space in Golgotha emphasizes the loneliness and despair, whereas the crowded scenes suggest community or intimacy. I had not really thought about the relationship between each pane. Curator: The interplay between these panels, and how Van Noorde manipulates pictorial space, is critical to our formal understanding of this work. Do you believe each segment offers its discrete reading experience, or might their interaction be intended? Editor: That is something I will have to ponder some more. Thanks for making me think differently. Curator: It is in contemplating these internal formal relationships that we refine our engagement with the image.