Rest on the Flight into Egypt, a round composition 1631 - 1641

Curator: Right, let's have a closer look at "Rest on the Flight into Egypt, a round composition," dating back to somewhere between 1631 and 1641, crafted by Stefano della Bella. It’s an engraving, and it’s currently residing here at The Met. What strikes you first? Editor: An air of serenity, a hush, a very personal quiet. It’s small, isn’t it? Almost like a little jewel, something to hold close, with incredibly delicate lines giving an effect both monumental and fleeting. Curator: Indeed. Della Bella was a master of miniature. Notice how the circular format pulls us into this intimate family moment. This intaglio print uses the line beautifully. Think of the copper plate itself—the labor, the pressure, the inking. Editor: It's amazing to consider the actual physicality. We have Joseph over on the side there, and then, Mary cradling the child. Joseph seems detached, a guardian, whilst Mary…well, her eyes are closed, lost in the moment. The landscape offers some semblance of comfort too. Curator: You're picking up on a profound stillness, almost melancholy? This was a particularly tumultuous period across Europe; wars, famines. The image perhaps alludes to a yearning for tranquility in the face of hardship, and you're right, her pose and expression give such an emotional context. Editor: The flight to Egypt itself is already fraught with turmoil. Here they’ve found some semblance of rest. Still, there’s labor involved. The simple labor of surviving. The printmaking process, the paper it's printed on, these are things, matter processed. And beyond, its function… how was this consumed? Who handled it? I wonder if this little print traveled with people seeking solace. Curator: That’s an incredibly astute observation. Its portable nature would lend itself to private devotion and a direct tangible connection to faith. Each touch layering another narrative into its being. Editor: Exactly! It makes me rethink the role of printed images and this beautiful piece, shifting how I view its emotional narrative. Curator: This little jewel really contains a whole universe, doesn't it? I find it quietly moving, a humble monument. Editor: Indeed. The interplay of the image itself with the means of its production is rather fascinating. I'll have to see Della Bella differently.