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

Art Historical Context

Behold *Plate 1: Ferdinand Mars, standing on a pedestal*, an exquisite 1636 engraving from Guillielmus Becanus's publication *Serenissimi Principisinandi, Hispani Infantis*. This print glorifies Cardinal-Infante Ferdinand of—a brilliant military leader and Habsburg prince—as the Roman god of war, Mars. Poised triumphantly atop a amid allegorical female nudes symbolizing victory and valor, it captures the era's fervor during the Thirty Years', when Ferdinand's triumphs, like the 1634 Battle of Nördlingen, elevated him to heroic status. Such imagery served as potent propaganda, blending classical mythology with contemporary politics to exalt royal power. Crafted by Flemish masters Pieter de Jode II and Cornelis Schut, with contributions from Johannes Meursius, this Baroque engraving exemplifies the period's intricate techniques. De Jode's precise burin work on copper plates allowed for rich tonal contrasts and ornamental details—evident in the architectural pedestal and dynamic figures—making it ideal for dissemination across Europe. Measuring 15 3/8 × 11 7/8 inches, it's classified among prints of fêtes, ornament, and architecture, highlighting the fusion of grandeur and narrative in 17th-century printmaking. Housed in the Metropolitan Museum of Art's Elisha Whittelsey Collection, this piece invites us to ponder how art immortalized fleeting glories, turning a prince into a deity for posterity. A testament to Flemish Baroque virtuosity, it reveals the cultural interplay of war, worship, and wonder.