Plate 1: Ferdinand as Mars, standing on a pedestal; from Guillielmus Becanus's 'Serenissimi Principis Ferdinandi, Hispaniarum Infantis...' 1636

Pieter de Jode II created this engraving, "Plate 1: Ferdinand as Mars," around 1636, during a period of intense political and religious conflict in Europe. It comes from Guillielmus Becanus's book celebrating the triumphant entry of Cardinal-Infante Ferdinand of Austria into Ghent. Here, Ferdinand is idealized as Mars, the Roman god of war, standing triumphantly over vanquished figures. The imagery suggests a divinely sanctioned victory, with cherubs and heavenly light underscoring Ferdinand's elevated status. This piece operates as propaganda, carefully constructing Ferdinand's image as a powerful, almost superhuman figure. Consider how the classical allusions and allegorical figures serve to legitimize his rule and power in a region marked by deep religious and political divides. The identities of those suppressed are not considered relevant. The grotesque bodies at the bottom serve to show those who would disagree are to be stamped down and forgotten. The engraving reveals the complex interplay between art, power, and identity in the 17th century, illustrating how images were strategically employed to shape public perception and reinforce social hierarchies.