Portret van kardinaal Philip Thomas Howard of Norfolk 1675 - 1679

Editor: This is a portrait of Cardinal Philip Thomas Howard of Norfolk, made between 1675 and 1679 by Albertus Clouwet. It's an engraving on paper, giving it this delicate, linear quality. I’m really drawn to the almost stoic expression on the Cardinal's face, framed by the elaborate detail of the surrounding emblems. What symbols stand out to you in this engraving? Curator: Well, the coat of arms in the upper corners immediately speak to Howard's lineage and status. The papal tiara and keys, prominently displayed, underscore his position within the Catholic Church and allude to papal authority. More than just heraldic devices, these symbols were tools for communicating power and belonging in a highly visually literate society. The engraving itself, with its crisp lines, is a testament to the power of print in disseminating such visual language, wouldn’t you agree? Editor: Absolutely, the precision conveys a sense of importance and permanence. Was the choice of emblems a standardized practice, or would Howard have had input? Curator: While there were conventions, prominent figures often influenced the visual presentation of their identity. Consider how the surrounding Latin text further clarifies his identity: *Cardinal of Norfolk*. Think about what that identifier represents culturally and politically during that period. Wouldn't a patron want to project a very specific persona? Editor: That’s a fascinating point about crafting a specific persona. I hadn't considered how carefully managed these symbols would have been to broadcast not just who he *was*, but who he wanted people to *think* he was. Thanks for highlighting the power of emblems! Curator: My pleasure! It’s amazing how much history and identity is embedded in these visual symbols and how they continue to resonate across time.