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In addition to a chapter on the illustrated meditative treatises of Benito Arias Montano, Jeronimo Nadal, and Antonius Sucquet, there are chapters on the prints as catalysts of penitential and communicative self-reformation, as well as on prints as meditative sources of works in other media, such as Otto van Veen's Carrying of the Cross.
The seventeen chapters that follow divide Jesuit emblem production into two phases: based on the notion of the spiritual itinerary, Jeronimo Nadal's proto-emblematic Adnotationes et meditationes in Evangelia of 1595, emulated by Jan David, Antoine Sucquet, and other Jesuits active within the order's Flemish-Belgian province, codified the use of the annotated pictura as a source for meditative and contemplative reflection on the soul's relation to Christ; Jesuit emblematists of the mid- and later seventeenth century, among whom the most distinguished practitioner-theorists were Claude-Francois Menestrier and Jakob Masen, consolidated the move away from the pithy epigrammatic form and enigmatic content codified by Andrea Alciato as an elite pastime in the Emblematum liber of 1531.
Ad Imaginem may be the most thorough survey of seventeenth-century Jesuit print culture in existence, and it opens up a wondrous and often bizarre world of illustrated gospels, meditative images, emblem books, spiritual exercises, and virtual pilgrimages by creative masters such as Johannes David, Antoine Sucquet, Philips Fruytiers, and the prolific and absurdly erudite Louis Richeome, one of the most obsessive iconophiles of the Baroque era.