Portret van paus Innocentius XIII 1724 - 1762

Curator: Standing here before us is "Portret van paus Innocentius XIII," a print crafted sometime between 1724 and 1762 by Girolamo (II) Rossi. It's currently held in the Rijksmuseum. Editor: It’s strikingly formal. The textures seem so delicately etched, especially around the face and vestments, making me wonder about the printing process of the era. Curator: As an engraving, it speaks volumes about the social standing and religious authority Pope Innocent XIII held. His regalia and expression, encased within this elaborate oval frame—wreathed in leaves and inscribed with papal emblems—underscore the iconography of power. It echoes classical traditions. Editor: I’m immediately drawn to the details. I want to know more about the labour that went into carving those intricate lines into the plate. The amount of labor feels… almost devotional, but channeled into replicating and disseminating power. What kind of workshops produced pieces like this? Curator: Exactly, it’s a reflection of its time; Rossi worked in a historical context that idealized certain figures. The Pope’s image served to convey messages. Prints like these were critical in projecting an idealized persona across Europe. This engraving ensures his image and power would persist. Editor: Considering the materiality and scale, its existence as a reproducible print means that papal imagery was reaching further than ever before. Each impression carried the weight of the Roman Catholic Church with it. Curator: And that is precisely the key: to see the figure, but to feel the echoes of history through symbols. The visual rhetoric present says volumes, particularly when replicated for popular consumption. Editor: It prompts us to consider the mechanics of power. Both the symbolic power but also the literal mechanisms by which imagery of authority and dominance are consumed and propagated. Curator: So, when we consider "Portret van paus Innocentius XIII," we are seeing both the man and the machine of iconography. Editor: Yes, a machine whose gears turn thanks to the labour of artists, printers, and distributors. It’s not just about divine right but about human craft.