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

Editor: We’re looking at "Plate 12: a cartouche flanked by two winged infant satyrs riding on the heads of two rams," an engraving by Stefano della Bella from 1647. I’m immediately drawn to the ornate detail and the whimsical creatures. What’s striking to you about this piece? Curator: Well, beyond the undeniable charm, what grabs me is the social function of such imagery in the Baroque era. This print, part of a series, wasn't simply decorative. Consider how prints circulated, acting as models for other artists, artisans, and even wealthy patrons commissioning elaborate decorations. What's being communicated here, through these symbols and their arrangement? Editor: It looks like an emblem, perhaps something heraldic? A space to be filled in. Curator: Exactly. These cartouches became framing devices within larger displays of power. Imagine this design scaled up, emblazoned on a palace façade, or integrated into an interior design. The putti and rams, classical motifs repurposed for a Christian aristocracy, legitimized wealth and lineage, didn’t they? In essence, this wasn't just art for art's sake. It was imagery serving power, meticulously designed for widespread dissemination. Where would an object like this been placed to ensure it met its public? Editor: Perhaps in printmaker's workshops, or architectural studios? And of course, purchased by nobles wanting to signal status! I had initially only thought of it as an aesthetic object, but now I understand that its political dimension is equally vital. Curator: Precisely. These designs gained significance not just for their aesthetic qualities, but also in relation to the social performance and claims they enabled.