La Vera Perfettione del Disegno di varie sorti di recami, page 10 (recto) 1567

Editor: Here we have "La Vera Perfettione del Disegno di varie sorti di recami, page 10 (recto)," created in 1567 by Giovanni Ostaus. It's a print made with engraving and intaglio on paper, currently residing at the Met. The grid pattern is quite striking! What do you make of the relationship between the geometric grid and the floral-esque patterns inscribed within it? Curator: Indeed, the structural arrangement provided by the grid is critical to understanding this image. Observe how the artist has meticulously employed line and shape to create a series of complex, interlocking motifs within each square. Editor: Right, and it’s not just a random assortment; some of these shapes seem to echo each other. Curator: Precisely. Note the interplay between positive and negative space, and how that contrast accentuates certain forms over others. Consider the orientation of shapes. Is it meant only to serve function? Are they distributed to generate harmony or imbalance? Editor: So, even without knowing its specific historical purpose, we can analyze the design based on form alone? Curator: The grid structure orders each pattern, but each unit’s orientation or alteration also calls out to each other in space. In this way, a composition's elements create visual echoes which give order and harmony, allowing visual delight for those working on tapestries to others more broadly. By focusing on form, the principles guiding Renaissance art and craft, begin to come alive again. Editor: I see what you mean! Focusing on the relationships between elements like that really opens up a new perspective on something that initially seemed very utilitarian. Curator: Exactly, it’s this formal dance, if you will, that constitutes much of the art’s communicative power and value. Editor: Thank you; I am now noticing relationships everywhere! Curator: You're very welcome.