Tombe van Thomas van Aquino in Toulouse 1610

Editor: This engraving, "Tomb of Thomas Aquinas in Toulouse" by Egbert Van Panderen from 1610, depicts a group of people praying at what I presume is his tomb. It feels very staged and official, and not quite as emotional as I would imagine such a visit to be. What's your interpretation of this work? Curator: As a historian, I see this image operating on several levels within the religious and political landscape of the 17th century. The very act of creating and distributing this print reinforced the Church's power and narrative surrounding sainthood and pilgrimage. Consider how printmaking allowed for wide dissemination of this image, furthering the cult of Thomas Aquinas. Editor: So, it's like propaganda in a way? Highlighting a specific story they want people to remember? Curator: Exactly. The meticulous detail in the engraving lends authority, and the composition frames Aquinas's tomb as a site of active devotion and, potentially, of miracles, doesn't it? How might this depiction have encouraged pilgrimage and contributed to the local economy of Toulouse? Think also about the patrons who commissioned this piece, maybe the Dominican order. Editor: I didn't even think about the economic impact! It makes sense that promoting pilgrimage would benefit not just the Church but also the city itself. The inclusion of the Latin inscription suggests it was meant for a scholarly audience, perhaps? Curator: Indeed. It served as both a visual and textual record. What does this reveal about the intended audience and the print's purpose within academic or religious circles? Editor: This really changes my perspective! It's not just about prayer, it's about power, economics, and carefully constructing a specific image. Curator: Precisely. Art like this reminds us how imagery is deeply interwoven with socio-political forces. Editor: I'm starting to see that everything from artistic style to distribution played a key role. Thanks!