Christuskind 1666 - 1707

Editor: We’re looking at "Christuskind," an engraving probably made sometime between 1666 and 1707, attributed to Gérard Edelinck. The dramatic lighting and cherubic figures give it this very Baroque, theatrical feel. How do we understand this piece within its time? Curator: It’s crucial to consider the role of the Catholic Church at this moment. Think about the Counter-Reformation and the visual rhetoric employed to reinforce religious doctrine. How does this image function as a piece of propaganda, asserting the power of the Church? Editor: I see it now, it is as though this infant is defeating evil itself! He's holding the cross over a defeated devilish serpent. With an army of cherubs, of course! Curator: Exactly! Note the inscription, "Per mortem destruxit eum qui habebat mortis imperium, id est, diabolum." In a time when literacy wasn't universal, the engraving disseminates a message – Christ’s death destroys the power of the Devil. Consider, too, who would have commissioned or purchased such prints. Editor: So, was it meant to circulate widely? Were these affordable? Curator: Yes, engravings allowed for mass production and dissemination of imagery, especially among the rising merchant classes. Think of the Rijksmuseum and its patronage from wealthy merchants; does it make sense this artwork found its way to this particular location? Editor: I guess they may want to show off how virtuous and blessed they are by purchasing it... Thank you, that adds a whole other layer of understanding to the image. Now it feels less purely devotional and more like a display of socio-political alignment. Curator: Precisely. It becomes an object embedded in a web of cultural and political forces. It isn't just about faith, but about power, representation, and societal influence.