La Gloria et l'Honore di Ponti Tagliati, E Ponti in Aere, page 8 (recto) 1556

Editor: So, here we have Matteo Pagano’s 1556 engraving, "La Gloria et l'Honore di Ponti Tagliati, E Ponti in Aere, page 8 (recto)." It’s striking how ornamental and symbolic it is, though the grid underneath gives it a mechanical feel. What’s your take? Curator: The overwhelming presence of ornament points to a deep-seated human need to impose order and beauty onto the world, especially during the Renaissance. Look at how the floral motifs intertwine, seemingly natural yet entirely controlled. Consider, though: is it control, or a visual metaphor for nature’s own intertwined processes? Editor: That's interesting. I see the classical figure, seemingly nude, but she’s part of that grid too. Does that human element complicate the symbols, or strengthen them? Curator: Ah, precisely. The nude figure, almost a Venus, disrupts the geometry but is framed by the organic shapes, creating a dichotomy. Consider how her nudity signifies vulnerability and purity in the language of the Renaissance. The artist is saying that Gloria and Honore are both divinely blessed but constrained by order and rules. Are they celebrated or caged, do you think? Editor: I never thought about it as caged. So much symbolism hidden in plain sight. I assumed ornament was *just* decoration. Curator: It is easy to fall into that trap. These weren't 'just' decorations. The image is like a mnemonic device that tells the educated viewer, or artisan, much about cultural values. Do you think images can fulfill the same purpose today? Editor: Hmm. Maybe... though so many of our visual symbols are easily changed. It’s difficult to have a shared understanding over time. I appreciate learning how persistent these images were!