H. Thomas van Aquino 1680 - 1725

Arnold van Westerhout created this engraving of H. Thomas van Aquino in the late 17th or early 18th century. It presents us with an idealized image of the Saint in the context of the religious institutions of his day. The image creates meaning through conventional visual codes. We see Thomas, dressed in Dominican robes, his adversaries – representing heresy and paganism – crushed beneath him. This dynamic tableau asserts the triumph of orthodox Catholic doctrine. The cherubs, crucifix, and portrait connect Thomas to God and the Church. Italy at this time was marked by Counter-Reformation piety and Baroque exuberance. It was a society where the church was a key institution for social mobility. Engravings like this played a crucial role in disseminating religious imagery. They shaped popular understanding of religious figures and theological concepts. Researching the printmaking industry of the period, and the institutions that supported it, can help us to understand the complex dynamics of faith and power in this era. The meaning of art is always contingent on such context.