For centuries printmaking has been used as a tool for religious propaganda, spreading images of idolized figures to followers across the world for use in daily ritual. Jan Visscher’s posthumous portrait of the Belgian Cardinal Zacharias de Mez appears in an early, unlettered proof state and lacks all identifying features beyond his coat of arms. While he maintains a challenging, omniscient gaze, he is more recognizable to the masses as a religious figure through his miter, robe, and crucifix.