Letter A c. 1645 - 1650

Curator: Well, this "Letter A," an engraving crafted around 1645-1650 by Jeremias Falck, certainly jumps out. Look at the ornate detail! Editor: My first thought is "whimsical gothic." It’s like a fairytale illuminated manuscript gone slightly wild, complete with grumpy cloud-fish gargoyles. I didn't expect to be charmed and slightly menaced by the letter "A" today. Curator: Exactly! Falck’s piece exists within the grand Baroque tradition, known for its extravagance, emotional intensity, and pushing the boundaries of form and expression. But within that, typography becomes this playground, a stage for these fantastical figures. Editor: So it’s decoration first, and alphabet…eventually? The swirls and flourishes feel almost overwhelming. Like the letter itself is trying to escape into pure, unadulterated ornamentation. Who needs legibility when you have this much character? Curator: That tension, that playful conflict between form and function is central to understanding its cultural impact. These weren't just ornamental studies. Typography held incredible symbolic and practical power. Think of the printing press—knowledge democratized! Falck acknowledges this importance, but through fantasy. It is, at once, both elevated and grounded. Editor: It’s also kind of…funny? The solemn "A" with these grumpy fish sprites floating about. There's this dark humor that I find delightful. And you’re right, this was made right after the printing press changed everything! Who knew letters could have such personality? Curator: Falck’s imagination allows us to re-examine not just the aesthetic choices of the Baroque period, but the broader cultural value placed on knowledge, communication, and visual display. Editor: I find myself wondering what stories those little cloud creatures would tell if they could. Perhaps one involves their long wait for us to say "A-ha!" Curator: That is something to consider indeed.