Portret van Raymund du Puy 1610 - 1633

Editor: We’re looking at a print of Raymund du Puy, dating from 1610 to 1633, attributed to Cornelis Galle I. It’s a Baroque-style engraving, and I'm struck by the almost confrontational directness of his gaze. What stories do you see woven into this portrait? Curator: It's vital to unpack the narratives encoded within this image. Du Puy, as Grand Master of the Knights Hospitaller, existed within a complex nexus of religious, military, and political power. His direct gaze speaks to that authority, but what of the symbols surrounding him? The Maltese cross, the putti with flags, even the canons—they’re not just decorative. How do they work to legitimize and project a particular image of power and identity? Editor: The inscription below also seems significant; can you speak to its relevance? Curator: Absolutely. It underscores Du Puy's position as a founder and leader within the Order, rooting him within a historical and religious lineage. Think about the intended audience of this print. It’s designed not just to commemorate him, but also to disseminate a specific message about the Hospitallers and their role within Europe's religious and political landscape. How might the portrayal of du Puy contribute to broader European perceptions of religious orders during that period? Editor: I hadn’t thought about it that way. I was focused on the individual, but now I see how the image works within a much larger system of representation and power. Curator: Exactly! This isn't just a portrait; it's a carefully constructed piece of propaganda reflecting the values and the aims of a powerful institution during a tumultuous time. Editor: Thank you. I’ll never look at portraits the same way again! Curator: And I will be more attentive to the interplay of medium, power, and religious identity in similar works going forward!