Portret van Peter Martyr Vermigli 1597 - 1599

Editor: We're looking at a portrait here at the Rijksmuseum, "Portret van Peter Martyr Vermigli," an engraving by Robert Boissard, made between 1597 and 1599. It has such a serious, scholarly mood. What symbols or cultural references jump out at you in this work? Curator: Well, the open book is the most obvious. It signifies knowledge and learning. But consider Vermigli's gaze; he's looking directly at us, engaging the viewer, as if inviting us into a theological debate. The angels adorning the arched frame suggest divine inspiration, situating him within a tradition of religious thinkers. And then look at the inscription beneath: a testament, in Latin, to his enduring legacy. Does it feel like the artist aimed to sanctify him? Editor: Definitely, he seems to want to underline his legacy. So, how do all of these elements work together to communicate Vermigli's importance? Curator: Think of portraiture in the late 16th century: it’s about more than just likeness. The setting, the attributes, the very *style* of the engraving – these all contribute to a carefully constructed image. Boissard uses familiar tropes: Vermigli as theologian, scholar, man of God. And, tell me, what feeling does the uniformity in colour of the entire print inspire? Editor: I suppose the fact that it’s monochrome gives it an aged, historical feel. Curator: Precisely. The choice of medium, engraving, is no accident either; it connects this portrait to a broader visual culture of printed images disseminating ideas and shaping reputations. It’s about remembrance but equally, I feel, about asserting continued relevance. Editor: I see. It’s more than just a picture, it's a statement about Vermigli's place in history. Curator: Exactly! Every detail reinforces a message. And sometimes, as Iconographers, we must see the entire object, not simply what is immediately visible. Editor: I learned so much about how portraits can function as complex visual arguments. Thanks for your time!