Propaganda. The Theater of Power in the Early Modern Age

A Pope transformed into the Antichrist, a ruler appearing as a victor from ancient history, a military leader celebrated as a savior of faith, an enemy depicted as a cruel monster. The early modern age created a remarkably effective set of images, stories, and symbols, the purpose of which was not merely to inform. They were meant to gain followers, consolidate obedience, justify war, and convince the audience that the presented interpretation of society and the world was the correct one.

The word propaganda today usually evokes the idea of lies, manipulation, and totalitarian regimes. Its origin, however, is less menacing. It comes from the Latin propagare, meaning to spread or multiply, and the modern history of this term is associated with the papal Congregation for the Propagation of the Faith (Sacra Congregatio de Propaganda Fide) founded in 1622.

It only acquired a negative meaning much later. If we want to understand the early modern age, we must therefore put aside the experience of the 20th century for a moment. Propaganda does not have to be false. Its essence lies more in its intention – it selects facts, gives them a certain meaning, and tries to influence the attitudes and actions of the audience. A report about a victorious battle could include truthful data, yet conceal its own losses, emphasize God's favor, and present the ruler as the sole protector of the land. The opponent would then interpret the same event quite differently. Propaganda did not offer the world for impartial judgment; it led the viewer to the desired conclusion.

Visitors will see how image, word, and festive spectacle – from books, prints, and paintings to theatrical festivities – were transformed into effective means of persuasion. The exhibition tells not only the story of what people saw in the past, but also why they were supposed to see it that way. For each work, we can ask – who created it and paid for it, to whom was it intended, what emotions was it supposed to evoke, what does it emphasize and what does it conceal? Such questions restore their original urgency to the images. They show that a portrait, a medal, a leaflet, a festive procession, a theatrical performance, or fireworks were not merely an embellishment of political history. They helped to shape history.