Large Pendant, Faith Standing at Centre 1593

Curator: Let's look at this engraving, "Large Pendant, Faith Standing at Centre," created by Daniel Mignot in 1593. Editor: It's quite ornate! I'm immediately struck by how meticulously rendered it is; a whole host of shapes that look like metalwork, all swirling around the central figure. The patterns and details draw you in, yet there's a stiffness about it. Curator: Mignot was a goldsmith, and these prints were pattern books—so yes, all this detail relates to the actual making of pendants for wealthy patrons. It reflects a specific social dynamic: consumption and display in the late 16th century, but also the role of artisans who were becoming known as individuals. Editor: I see it in the depiction of Faith herself, then. A woman standing—quite prominently, and semi-nude in the center. The inscription 'FIDES' leaves little to the imagination but it appears as though this virtue is intended to be seen and valued. Curator: Precisely. This is the Mannerist style. Consider how Mignot draws on allegorical traditions, reframing Faith within this elaborate design to amplify messages around the wealth and prestige attached to owning such jewelry. This pendant becomes not only a piece of adornment but a declaration of identity tied to faith. Editor: What strikes me is the sheer amount of skilled labor concentrated into a relatively small object. Every curl and flourish needed carving. What does this level of artisan investment say about the hierarchy of making back then? Curator: The labor behind objects like this is vital to consider! It encourages conversations about class and accessibility as well as those issues of religious and moral identity. To think of someone physically shaping these pendants, translating Mignot’s engraving into precious metal… it’s another way of understanding social relations of the time. Editor: For me, considering this image in the context of jewelry design shows just how much is hidden within even 'minor' arts. Curator: Exactly, and for me, it raises crucial questions about representation and self-fashioning within complex political contexts.