Maximilian and Henry VII of England, plate 11 from Historical Scenes from the Life of Emperor Maximilian I from the Triumphal Arch c. 1515 - 1520

Editor: This is "Maximilian and Henry VII of England," a print by Erhard Schön, dating back to around 1515-1520. I'm immediately struck by the almost staged formality of the scene. What strikes you most about it? Curator: I'm drawn to how it visualizes power dynamics, playing with themes of diplomacy, but also control. Considering its place within the larger Triumphal Arch commissioned by Emperor Maximilian I, it’s less a straightforward historical record and more a piece of political theatre. It promotes a certain idea about Maximilian’s legacy. Editor: Political theatre… that makes sense. It does seem like a carefully constructed image. How does its being a woodcut, a print, affect its meaning? Curator: Exactly. The choice of a woodcut, made for mass production, is key. This wasn’t meant for private contemplation. The print format allowed for broad dissemination of this constructed narrative of Maximilian as a wise, peace-brokering ruler. It begs us to think about who this image was made for. Who would have been the target audience of this propagandistic assertion? Editor: So it’s like early modern spin. Curator: Absolutely. Consider also the imagery. We've got the ship in the background suggesting naval power, the flags…each symbol serves a purpose, constructing the desired message. Even Henry’s somewhat subservient pose perhaps served a role. But there are omissions, aren't there? What is missing? Editor: True. So much we don't know and that the artist likely chose not to include. I hadn't really thought about the implications of it being a print before, or about who the intended audience would be. This print speaks volumes beyond its initial appearance. Curator: And remember, those silences can often be the loudest statements. It pushes us to question whose stories get told and how power shapes historical narratives.