Abstract

How baroque was Spinoza in his treatment of the prophets? I examine this question by comparing the pictorial treatments of Moses from the Netherlands to Spinoza’s treatment of Moses at the beginning of the Theological Political Treatise. I concentrate on two representations of Moses descending from mount Sinai, one by Ferdinand Bol and the other by Rembrandt. Of particular importance is the idea of hierarchy. I will argue that Spinoza takes an ambiguous position in relation to baroque, on the one hand following the baroque’s drastic spatiotemporal condensation that questions hierarchies, but on the other refusing the baroque’s representation of unmediated or unjustified sovereign violence.