From time to time, we plan to write about some of the extraordinary prints in the fine art print collection presented to the college in the 1980s by Hugh Chapman. The print shown here is by the Flemish artist Peter Paul Rubens (1577-1640), considered one of the finest of the Baroque period in Western art. “Sancte Roche Ora Pro Nobis” (“Saint Roch Pray for Us”) is an engraving produced in 1626 by Paulus Pontius from Rubens’ drawing. Famous even during his lifetime, Rubens was supported by wealthy patrons including Vincenzo Gonzaga, Duke of Mantua. He also received many commissions from other wealthy members of the nobility. Pontius was an engraver who worked closely with Rubens and was especially known for his portrait engravings. The artwork depicts the sick and other supplicants upon a sheaf of wheat, symbol of prosperity and plenty, seen below an altar, while above, and seemingly accessible by stairs, are Saint Roch, patron saint of dogs who was known for assisting those afflicted by the plague and other diseases, with hat, staff and dog, surrounded by Christ and an angel bearing the sign: “Eris in Peste Patronus” (“You will be a defender of those suffering from pestilence”).

Epidemics arose regularly in Europe in the early modern period during which Rubens flourished. Therefore, it would not have been unusual for him to produce a work combining disease and religion as salvation. Although there is not much in this artwork representative of architecture beyond the altar and a building with windows, the baroque period of architecture was characterized by sensuality, curving lines, emotional and decorative elements, all visible in this work. These forms were favored by the popes, monarchs and the wealthy nobility of Europe, including those who commissioned Rubens.

At the bottom right is the dedicatory phrase “”Cum privilegijs Regis Christianissimi, Serenissimae Infantis et Ordinum Confederatorum,” which translates “With privileges of the Most Christian King and of the Most Serene Infanta and allied orders.” Bret Mulligan, Assistant Professor of Classics, who confirmed the translation, added these most interesting notes: “‘Most Christian King’ is a title reserved for the King of France and ‘Most Serene Infanta’ is a title reserved for daughters of the Portuguese House of Braganza. (They continued using the Latin Infans as a cover for the older gender neutral Infante, but after the 16th century the girls were styled Infanta in the vernacular.) And it turns out ‘With privilege’ and ‘With privileges’ are legal technical terms from before the French Revolution.”