Libro quarto. De rechami per elquale se impara in diuersi modi lordine e il modo de recamare...Opera noua, page 8 (recto) 1532

Editor: This is page 8 from *Libro quarto. De rechami per elquale se impara in diuersi modi lordine e il modo de recamare...Opera noua*, dating to 1532, by Alessandro Paganino. It's a print, so intaglio and drawing I suppose. The patterns look very formal, geometric, but with these odd little faces peeking out, creating a whimsical feeling. How do you read it? Curator: Ah, this takes me back! It's more than just whimsical, isn't it? It’s a dance between control and letting loose. Look how the formal structure is subverted by these grotesque masks. Think carnival, think the world turned upside down, that spirit infuses even the most structured forms. They remind me of characters from commedia dell'arte poking fun at high society. Editor: Commedia dell'arte in a pattern book? Curator: Well, why not? Embroidery was everywhere; even if those who wore them were from "high society," everyone loves a joke. To me, they aren't separate, but constantly informing each other, high and low art influencing each other's path. The rigid symmetry only enhances the surprise. The lines are confident, assured, born out of a society that loves refinement. Yet, are the grotesque faces really that out of place in a society rife with social struggles and personal anxieties? It would almost be stranger for a 16th-century artisan not to represent a complete portrait of human character. What do you think? Editor: That’s…unexpected, to be honest. I wouldn't have thought to look at it that way. Seeing those faces as commentary definitely adds another layer. Curator: Isn’t it glorious? It goes to show that even seemingly simple patterns can hold a whole world of meaning if you dare to look beyond the surface. Editor: It's incredible how much a fresh perspective can transform how you see something.