After the Council of Trent, the tasks and functions of cardinals were not so much redefined as recalibrated and restructured, and in the process of negotiation within and beyond the papal Curia, this led to an increasing visibility of porporati. This development also affected the function of portraits, and is first of all visible in the production of portrait prints. The idea for this seems already to have been formulated in the 1570s by Alfonso Chacon, the first compiler of a complete set of cardinals’ biographies; in 1628, Andrea Brogiotti published a set of woodcut portraits of Urban VIII, along with all living cardinals; and in 1657, De Rossi turned this one-off concept into an ongoing series of cardinals’ portraits, starting from the College of Cardinals under Alexander VII (Figs. 9.1 and 9.2). This practice was continued by his successors until the late eighteenth century. As a result, the iconography of the cardinal's portrait print, consisting of a bust length depiction showing the sitter with a mozzetta (the shoulder-length mantle) and biretta (the square, ridged cap), became standardized. At the same time, a production of paintings started that followed largely the same visual format.