Apostel Tomas met winkelhaak 1517 - 1577

Curator: This is a striking Renaissance engraving, Apostle Thomas with a Try Square, dating from between 1517 and 1577. Editor: It’s incredibly stark, almost severe. The use of line is so precise, so unwavering, that it gives the figure an almost architectural quality. Curator: Indeed. Although its creator is currently listed as anonymous, it's a fine example of Italian Renaissance printmaking. Notice the careful articulation of drapery, creating depth despite the limitations of the engraving technique. Editor: The try square – a builder’s tool– he holds is really unusual, isn't it? Is that why he’s associated with architecture, because that's what sticks out the most! The instrument takes on this symbolic weight. I wonder, what does that right angle truly signify? Justice? Precision? Even moral rectitude? Curator: That is very interesting! Iconographically, St. Thomas is often represented with a spear or a lance, referencing his martyrdom. The inclusion of the try square suggests an alternative or additional layer of symbolism connected to Saint Thomas as the patron saint of architects and builders. This is made of straight lines with only 90 degree angles, as you mentioned, to underscore reason, logic, or perfection. Editor: And consider the gaze; that downcast expression hints at a thoughtful, perhaps even skeptical, nature, as Thomas is known for doubting Christ's resurrection until he saw the wounds himself. Curator: Yes! This print, housed right here at the Rijksmuseum, makes for a remarkable study in how objects and posture can communicate complex ideas about identity and belief. Editor: It’s impressive how such a simple, linear image can hold so many layers of meaning and history.