Peter Paul Rubens and the Counter-Reformation crisis of the Beati Moderni (Routledge, 2017), takes up the question of the issues of the implication of imprinted and imprinting images and objects—including engravings, drawings, paintings, sculptures, deathmasks, and wax seals—in the formation of recent saints—or 'Beati moderni' (modern Blesseds) as they were called—in the new environment of increased strictures and censorship that developed after the Council of Trent with respect to legal canonization procedures and cultic devotion to the saints. A particular focus on how the new regulations pertained to the creation of emerging cults of those not yet canonized, including Filippo Neri, founder of the Oratorians. Centrally involved in the book is a revisionist account of the fate and meaning of altarpiece paintings infamously commissioned and then rejected by the Roman Oratorians from Rubens. The book offers the first comparative study of Jesuit and Oratorian imprints of their respective would-be saints, and the controversy they ignited across Church hierarchies.