Saint Paul preaching at center, standing in a crowd in a columned interior, pointing upwards toward putti who hold a scroll 1681 - 1725

Editor: We're looking at "Saint Paul preaching…" an engraving by Arnold van Westerhout, dating from around 1681-1725. It's currently housed at The Met. The sheer number of figures crammed into the space creates this really intense, almost overwhelming feeling. What do you make of all this imagery? Curator: The overwhelming feeling is key. Look how Westerhout has arranged these figures. Saint Paul is centrally located, bathed in light, with a clear halo. That immediate iconography links him to holiness, obviously. Then, the upward gesture...notice the putti above, bearing a scroll. It's a visual dialogue between the earthly and the divine. What resonates with you about that dynamic? Editor: Well, the pointing, I guess, makes it pretty clear. I was going to ask: who is this for? Who looks at this and *gets* it? Curator: That's a great question! This was made during the Baroque era. Think about the period: the Catholic Church's efforts during the Counter-Reformation. Images like these were meant to inspire and to teach. The very *density* of the figures emphasizes the broad reach of Paul’s message. The drama is a memory device, etching the scene into the viewer's mind. Editor: So, it's not just decorative; it’s functional. It *does* something. I mean, I’d clock it as Baroque, what with the drama. I never would have thought to think about that memory angle though. Curator: Exactly. Baroque art is deeply concerned with communicating ideas and solidifying collective memory. That merging of function and imagery is fundamental to its power and staying power. It truly speaks volumes. Editor: I get it! Thinking about how it might have been understood by its contemporary audience and what message it was broadcasting is fascinating! I'm actually going to see this engraving again.