Kroning van de H. Rosalia 1616 - 1657

Editor: Here we have Paulus Pontius's engraving, "The Coronation of Saint Rosalia," likely created between 1616 and 1657. It's such a detailed print! The contrast between light and shadow is really striking. What immediately jumps out to you when you look at it? Curator: What strikes me is the institutional power this image projects. Saint Rosalia, initially a local saint of Palermo, only became more widely venerated during the plagues of the 17th century. So, prints like these weren’t simply devotional images, but functioned almost as propaganda, promoting her cult, solidifying religious authority in a time of crisis. Do you see how prominently the Church officials are placed, almost flanking the Holy Family? Editor: Yes, now that you mention it, I do! It’s interesting how the religious figures are presented in a seemingly political, organized fashion, meant to be viewed publicly. The angel hovering above with a wreath appears less important than the robed figures below offering the crown, which seems backward to my thinking. Curator: Precisely. Consider the location of this print. Displayed in churches, public squares, or even reproduced in smaller, cheaper versions for personal devotion, each exposure reinforces the socio-political standing of the church. Do you notice how the skull and the open book signal sacrifice, devotion and also authority to be observed. Editor: So, this print served a purpose beyond simple admiration of a Saint? Curator: Exactly! This isn't just about religious faith; it's about civic order and institutional influence at a critical moment. Editor: I never thought about art as a political tool in that way. Thank you! Curator: My pleasure. Art's meaning is rarely self-contained, it often speaks to how a society sees itself.