St. Thomas in Glory between St. Mark and St. Louis of Toulouse 1507

Editor: So, this panel painting from 1507 is called "St. Thomas in Glory between St. Mark and St. Louis of Toulouse" by Vittore Carpaccio. I'm immediately struck by how this earthly scene with the saints sort of bleeds into the divine above. What do you make of it all? Curator: Bleeds, yes, exactly! It's like the veil between worlds has been lifted, hasn’t it? What strikes me is the almost theatrical staging – look at those angels holding the curtain back, revealing the Madonna and Child amidst fluffy clouds. I feel invited into this vision. Do you sense a feeling of reverence, despite its accessibility? Editor: Absolutely, there's a formal, reverent air. The symmetry adds to it, but at the same time, all those little cherubs make me giggle! What's with the chubby baby faces peeking out of the clouds? Curator: (chuckles) Carpaccio’s cherubs are certainly distinctive! For me, they’re a reminder that even the most sacred subjects were infused with humanity and perhaps a touch of whimsy. Think of the Renaissance fascination with idealised beauty mixed with genuine affection. It makes the heavenly accessible, less severe. I like that, don’t you? Editor: I see your point. The approachability does kind of soften the formal tone. It’s like Carpaccio wanted us to be awed but also not intimidated by the glory of it all. I learned so much today, thank you! Curator: Indeed. Art whispers secrets across centuries, doesn't it? We merely need to lend an ear, and sometimes a chuckle! A most fruitful exploration, indeed.