Corona delle Nobili et Virtuose Donne: Libro I-IV, page 56 (recto) 1601

Editor: This engraving, "Corona delle Nobili et Virtuose Donne," from 1601 by Cesare Vecellio, showcases what appears to be a personification of sight, surrounded by intricate patterns. The entire page seems designed and considered. I’m struck by the juxtaposition of fine art imagery alongside the more functional or decorative printed elements. What do you see here? Curator: Well, beyond the immediate image, I'm drawn to consider the very production of this printed page. Think about the labour involved in creating this book, "Corona delle Nobili et Virtuose Donne," specifically targeting noble and virtuous women. Engraving demands specialized skills; what were the economics involved in producing such a lavish object? Was this a commission, and how did that influence the imagery? Editor: So, you're focusing on the physical and social process... How does that connect to the image itself? Curator: Absolutely! We cannot separate the content from the conditions that shaped it. For instance, who were these noble women? Did the illustrations of sight influence their consumption or fashion practices? And how was the notion of virtue materially represented within the context of female fashion? These prints functioned not just as images, but as commodities. Editor: It’s fascinating to think about this image not just as art, but also as a consumer good aimed at a specific market. The level of decorative labour enhances that idea too! Curator: Precisely. By focusing on production, materials, and the social conditions of its creation and consumption, we challenge these imposed boundaries between "art" and other types of labor such as decorative craft. Ultimately this lens asks that we challenge assumptions of value, virtue, and access during the period, too. Editor: I never considered prints as something so enmeshed with economics and society, but it makes so much sense now! Thanks for that illuminating perspective.