Personifikationen der Wissenschaften (Supraporte_) 

Editor: So this is Gaspare Diziani's "Personifikationen der Wissenschaften," or "Personifications of the Sciences," done in ink. It's undated, but held at the Städel Museum. I'm struck by how light and airy it feels, even though it's just ink on paper. The figures seem to float. What do you see in this piece? Curator: Immediately, I see a fascinating exploration of classical ideals meeting Baroque dynamism. These figures, representing different sciences, aren't just portraits; they're embodiments of knowledge, each holding specific symbolic attributes. Look at "Mathematica" with her globe—a clear visual metaphor for understanding the cosmos, power over the world. Do you notice how Diziani uses line weight to create depth? Editor: Yes, it's subtle but effective. And I see the names inscribed by each figure... So, they're literally labeled. I suppose that makes interpretation straightforward? Curator: Perhaps, but let's dig a little deeper. Consider the positioning and gestures. They all gaze upwards, or outwards – not inwards. This reflects the Baroque era's fascination with outward expression, and the Enlightenment's optimism and belief in progress through knowledge. They are meant to inspire upward aspiration, even hope. Editor: That makes sense! So it’s not just about identifying the sciences, but about understanding what those sciences *meant* to people at the time? Curator: Exactly. These aren't static symbols; they're visualizations of cultural values, of the driving forces of that era. It’s interesting to notice the "sketchwork", meaning there is likely a planned finished product, either painting or architecture; these sketches create the blueprint of progress. Editor: Wow, I hadn’t thought about it that way. I was just seeing pretty sketches, but they’re so much more connected to their time. Curator: Precisely. It goes to show how symbols can unlock deeper understandings, and how we project ideas through art.