Mary, Queen of Scots 1587 - 1592

Curator: Let’s take a look at “Mary, Queen of Scots,” an engraving made between 1587 and 1592. The artist here is Léonard Gaultier, and this print is currently held at the Metropolitan Museum of Art. Editor: Immediately, I’m struck by the somber tone. There's a sense of severity conveyed in her expression and attire; she is both regal and stoic. Curator: I agree. Structurally, Gaultier has employed a strong sense of linear precision. Notice the meticulous detailing of her lace collar and the tight, controlled cross-hatching to model form, characteristic of the engraving process. This formal execution underscores her status. Editor: Absolutely, and the choice of this medium carries weight, as prints were more easily disseminated. To me, this engraving signals an intent to portray Mary as a martyr of the Catholic faith amidst the rising tides of Protestantism in England. Curator: Indeed, the inclusion of the inscription reinforces this point. The frame acts almost like a stage for Mary, presenting her as a figure to be memorialized. Gaultier is presenting her in an ideal state to a receptive audience. Editor: And this presentation obscures a lot of the real political machinations in her lifetime, instead romanticizing and arguably weaponizing her memory for propagandistic ends. The composition is so tightly framed. You can sense the political pressures closing in. It emphasizes both her isolation and the deliberate framing of her legacy. Curator: I think you have made some incisive arguments there. Considering the print, in its formal presentation, alongside its contemporary political utility, enhances our reading considerably. Editor: It definitely encourages us to delve into both the artistic strategies and sociopolitical agendas at play during that turbulent period.