"Kongegravene i Ringsted Kirke". Planche XIII 1858

Editor: Here we have Heinrich Hansen's 1858 print, "Kongegravene i Ringsted Kirke," depicting the royal tombs at Ringsted Church. It’s a pencil and engraving on paper. The subject is quite somber, but the technique feels precise and clinical. What do you make of it? Curator: The precision, for me, speaks volumes about the project of the 19th century—a drive to catalogue and claim historical narratives, specifically national ones. We must remember that archaeology, during this period, was not simply about uncovering the past, but about constructing specific stories about identity and power. Think about the way historical narratives often exclude marginalized groups. Editor: So you’re saying that Hansen's rendering of these tombs isn't just a neutral depiction? Curator: Precisely! This is an intervention. Hansen, through his choice of subject and his meticulous rendering, is participating in the construction of a Danish national identity rooted in a romanticized, perhaps even idealized, past. Consider who *gets* to be remembered in these official historical narratives. Editor: It’s fascinating to consider how this print, seemingly objective, can be so loaded. It definitely prompts me to think about the role of artists in shaping our understanding of history and how that inevitably involves leaving people out of the frame. Curator: Indeed. Recognizing these biases is the first step to a more inclusive and nuanced understanding. Hopefully this prompts a deconstruction of what’s visible—and more importantly, invisible. Editor: This was a thought-provoking exploration of the print. Thank you for that insight.