Pope Alexander VII (Fabio Chigi), (b. 1599, Pope 1655–67) 1655 - 1667

Editor: Here we have a metal relief, "Pope Alexander VII", crafted between 1655 and 1667 by Gasparo Morone. The piece depicts a profile portrait of the Pope, encircled by an inscription. The level of detail is impressive, but the work's monochrome presentation evokes a certain austerity. How do you interpret this work in its historical context? Curator: The piece offers an intriguing lens through which to view the papacy and its projection of power during the Baroque era. Consider that papal medals, like this one, served as instruments of propaganda, intended not merely to commemorate, but to shape public perception of the Pope and his reign. Where do you see that being presented within the artwork? Editor: The inscription itself seems to praise the embellishment of the Vatican, which would reinforce the idea of power and wealth... Curator: Precisely. The choice of metal, likely bronze or silver, further underscores the intent of permanence and grandeur. But beyond the visual language of power, we should ask ourselves how the context of its display affects its meaning. Was it intended for circulation amongst the elite, or broader dissemination? Was it awarded or bought? What effect would a medal like this have? Editor: That’s a fascinating perspective! I hadn’t thought about the nuances of its audience and distribution affecting the overall impact. It makes me wonder if the “success” of a medal was actually a measurement of approval ratings… Curator: Indeed! Medals offer us a microcosm of the political and cultural landscape of the time, encapsulating the intricate dance between power, patronage, and public image. These sorts of portrait medals show the way leaders in past years crafted their influence using artistry.