The Holy Trinity; Christ on the cross flanked by two angels, the Holy Spirit as a dove and God in heaven above the cross, a rectangular composition with half-circle at the top, after Reni 1683 - 1687

Editor: So, this engraving, "The Holy Trinity; Christ on the cross flanked by two angels..." after Reni, made between 1683 and 1687 by Robert van Audenaerde, presents such a striking vision. The detail achieved is really remarkable. I find it quite imposing. How do you interpret this work? Curator: Well, seeing it through a historical lens, consider the role of the Church at the time. Images like this were powerful tools of religious instruction. The Baroque style aimed to inspire awe and devotion. Look at the placement of God the Father looming above Christ—what kind of statement is that making? Editor: It seems like reinforcing the hierarchical structure, showing divine authority... Did prints like these circulate widely, beyond the church walls themselves? Curator: Exactly! Prints democratized imagery. Suddenly, these potent symbols entered private homes, influencing piety and social order far beyond the reach of sermons. Did everyone interpret the work the same way then, I wonder? Editor: I never thought about it that way. It's almost propaganda in a way, controlling narratives. It's eye-opening to think how art served a public, almost political role even then. Curator: Precisely. Now, knowing that, how does it change your understanding of its composition, of Christ presented between the two Angels, between Earth and Heaven? Does the way it’s staged have implications? Editor: Thinking about its broader distribution shifts the focus away from solely its aesthetic beauty to how this kind of engraving shaped religious belief and consolidated power in the hands of religious authority. I see it in the very meticulous way this print was made. Thanks for highlighting that. Curator: Absolutely. Reflecting on the role of these images provides us with some invaluable perspective.