Plate 12: a cartouche flanked by two winged infant satyrs riding on the heads of two rams, from 'Nouvelles inventions de Cartouches' 1647

Editor: So, this is Stefano della Bella's "Plate 12: a cartouche flanked by two winged infant satyrs riding on the heads of two rams," from 1647. It's an engraving and etching. I'm immediately struck by how playful and decorative it feels. What do you see in this piece? Curator: I see a microcosm of the Baroque era's complex relationship with power and representation. Della Bella was creating designs for the court. Consider the cartouche itself, a blank space intended to be filled, likely with heraldry or a royal cipher. The cherubic figures and the rams… They’re not just ornamentation; they're symbols of power, fertility, and, importantly, dominance. How do you see the positioning of these figures affecting the meaning? Editor: It’s like the cherubs are taming or maybe legitimizing the raw power of the rams, creating an image that is both strong and… palatable? I guess? Curator: Precisely! Think about who this imagery would be deployed by. Rulers sought to project an image of divinely sanctioned authority, but they also wanted to appear benevolent, almost fatherly, to their subjects. The softened imagery acts as propaganda. Does that reading sit well with you, given its Baroque sensibilities? Editor: Definitely! It's not just decoration; it's a very carefully constructed message about authority and its trappings. Seeing it as soft propaganda really adds another layer. Curator: Absolutely. And remember, the Baroque wasn't just about grandeur. It was born out of religious and political upheaval. The symbolism of Della Bella's cartouche attempts to stabilise and legitimise. What a valuable glimpse into history, right? Editor: It is, actually! I won't just see it as fancy decoration now, I'll think about the message being projected.