print, engraving, architecture
baroque
old engraving style
classicism
pen-ink sketch
cityscape
history-painting
engraving
architecture
Dimensions height 505 mm, width 369 mm
Editor: This is Giovanni Battista Falda’s “Triomfboog ter ere van paus Clemens X,” created around 1670. It's an engraving of an elaborate archway, and the sheer level of detail is captivating. What kind of context can you provide to help unpack the significance of this piece? Curator: This engraving offers us a window into the carefully orchestrated public image of the papacy during the Baroque era. Temporary triumphal arches like this were erected to commemorate significant events or to welcome important figures, functioning as powerful tools of propaganda. Falda's print preserves a fleeting moment in the performance of papal authority. Notice how the arch frames the figure on horseback in the distance; how does this design influence your perception? Editor: It definitely amplifies the power of that central figure! The arch becomes almost a stage, directing our focus and reinforcing the idea of authority. What else was going on politically or socially that would make these displays so important? Curator: The 17th century was a period of immense religious and political upheaval. The Catholic Church was still grappling with the aftermath of the Reformation and the rise of Protestantism. Patronage of the arts became a crucial way for the papacy to reassert its power, prestige, and connection to a glorious Roman past. These triumphal arches linked the Pope to the tradition of Roman Emperors, visually cementing papal power in the cityscape. Have you noticed the figures bearing globes flanking the top of the arch? What do you infer from that? Editor: The globes must speak to the Pope's universal authority. I didn't realize just how calculated and significant these images could be. Curator: Exactly. The print makes visible the power relations operating within Baroque Rome and helps us to consider how the built environment participates in those relationships. Editor: I'll never look at Baroque art the same way again! Thanks for opening my eyes to the politics embedded in this seemingly celebratory image.
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