Tomb of Pope Alexander VII 1678

Editor: Standing before Bernini's "Tomb of Pope Alexander VII" from 1678 in St. Peter's Basilica, the drama carved from marble is truly arresting. There’s a sense of movement and theatricality. What draws your eye when you consider this elaborate monument? Curator: Beyond the performative drama, I’m fascinated by the sheer labor and extraction involved. Consider the diverse marbles used here: Where did they come from? Who quarried them? And what specific socioeconomic factors led to their deployment in memorializing papal authority? Editor: So, you're thinking less about the religious symbolism and more about the physical making of it? Curator: Precisely. Look at the drapery of Death’s shroud, fashioned from jasper, if I recall correctly. It isn't just decorative; it's a raw material transformed through skillful labor to communicate a certain meaning, laden with wealth, power and exploitation. The choice of materials and the resources required speak volumes about the values being upheld. Editor: I guess I hadn't thought about the impact of material choice like that, beyond aesthetics. How does the process of creation itself factor into your view? Curator: Immensely. The artistic skill transforms raw material into spectacle. But, each strike of the chisel leaves a mark; the workers disappear but the traces remain within this artifact, begging us to think critically. Also the transportation of these rare marbles at the time—the resources needed for that... Editor: Wow, it does change how you look at it! Seeing it as more than just a tribute, but an outcome of materials and immense physical work with deep rooted contexts. Thanks for pointing that out. Curator: My pleasure. Remember, it's in understanding the artifice and material reality that we can begin to truly understand these historical power structures.