Prints as communication of power: Cardinal Carlo Barberini and the synods of his abbeys

The interest shown by Cardinal Carlo Barberini (Rome, 1630‐1704; cardinal from 23 June 1653) in the images connected with the synods he convened in the two abbeys nullius dioeceseos of Subiaco and Farfa reflects the importance he gave to his power over these two institutions, of which he was commend...

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Bibliographic Details
Published in:Renaissance studies 2021-04, Vol.35 (2), p.255-286
Main Author: Fidanza, Giovan Battista
Format: Article
Language:English
Subjects:
Cardinal Carlo Barberini
Catholicism
Clergy
commendatory abbot
Dominique Barrière
Francesco Bufalini
Patronage
Power
prints
Prints and printmaking
Renaissance period
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Summary:The interest shown by Cardinal Carlo Barberini (Rome, 1630‐1704; cardinal from 23 June 1653) in the images connected with the synods he convened in the two abbeys nullius dioeceseos of Subiaco and Farfa reflects the importance he gave to his power over these two institutions, of which he was commendatory abbot. This position implied not only the spiritual and temporal government of the abbeys and their dependent territories (like that of a bishop), but the right to gather their income. These synods may be regarded as a sort of public enthronement, further enhanced by the related prints commissioned by the cardinal. This article presents new information found during archival research on Carlo Barberini as patron of prints. Unpublished documents in the Barberini Archives of the Vatican Library relate to seven etchings, payments made to the printmakers and printers, and other interesting technical details. The etchers commissioned by Cardinal Barberini – the Frenchman Dominique Barrière and the Italian Francesco Bufalini – were relatively famous. The copper plates used for the prints studied here are also identified.
ISSN:0269-1213
1477-4658
DOI:10.1111/rest.12669