Propaganda. The Theater of Power in the Early Modern Age

A Pope transformed into the Antichrist, a monarch 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 period created a remarkably effective set of images, stories, and symbols whose purpose was not merely to inform. They were meant to gain followers, solidify 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. However, its origin is less ominous. It comes from the Latin propagare, meaning to spread or propagate, 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 acquired a negative meaning much later. If we want to understand the early modern period, we must therefore put aside the experience of the 20th century for a moment. Propaganda does not have to be untrue. 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 on a victorious battle might contain true data, yet conceal one's own losses, emphasize divine favor, and present the monarch as the sole protector of the land. The opponent then interpreted the same event quite differently. Propaganda did not offer the world for impartial assessment; it led the viewer to the desired conclusion.

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