Eminentisimo c. 17th century

Curator: This print, "Eminentisimo," from the 17th century by Giovanni Batista Pasqualini, is quite striking. The detailed etching and engraving create a really dramatic scene, especially given its subject matter. Editor: I agree. It has such a solemn atmosphere. We see Saint Sebastian pierced by arrows, surrounded by these divine figures and religious symbols, and the overall effect is incredibly intense. I wonder, what were some of the social and political contexts surrounding pieces like this? Curator: That’s a crucial question. Remember that religious imagery during the Baroque period served a powerful didactic function, particularly after the Council of Trent. Think about the role art played in reinforcing Catholic doctrine and the power of the Church during the Counter-Reformation. What do you observe about the print’s composition and its potential effect on viewers at that time? Editor: It feels intentionally hierarchical. God is at the top, then the Virgin Mary and what looks like another saint or cleric on the side. The dying Sebastian at the bottom feels like he's a bridge to the earthly realm… it's all very meticulously organized. Was the prominence of such religious artwork influenced by specific patrons or institutions? Curator: Precisely! Works like these were often commissioned by wealthy patrons, including members of the clergy. Consider who this piece memorializes according to the script at the bottom, then think about what statement those associated with him were trying to make. Who did they want this Cardinal to influence and what kind of visual messaging were they wanting to relay to the Cardinal and those in his circle? Editor: It’s amazing to think about how art functioned not just as something beautiful, but as a very deliberate tool. I am certainly going to analyze art differently from now on. Curator: That's wonderful to hear! Seeing art as embedded in historical power structures reveals deeper layers of meaning.