Les Singuliers et Nouveaux Portraicts... page 5 (recto) 1588

Editor: Here we have "Les Singuliers et Nouveaux Portraicts… page 5 (recto)," from 1588. It's a print, an engraving made using intaglio techniques, currently housed at The Met. It shows these incredible intricate patterns inside of what looks to be a book, it gives off a sense of restrained opulence. What strikes you when you look at it? Curator: The level of detail, indeed! It’s essentially a manual for lacemaking. Consider the context: these patterns were empowering women to participate in the economy at a time when their roles were severely limited. Do you see how these "portraits," or patterns, aren’t just decorative, they represent agency? Editor: Agency, interesting. I guess I hadn’t really thought about it that way, I was mainly drawn to the aesthetic qualities of the design itself. Curator: Exactly! It’s beautiful, yes, but also subversive. Each swirl and knot offered a path toward self-sufficiency in a patriarchal society. Imagine women gathering, sharing these designs, building networks and skills. How might the mermaids at the top relate to this discussion of agency? Editor: I see your point; the mermaids could be symbols of female power or independence, literally half in and half out of the traditional social structure? Like, belonging to both worlds and confined to neither. It kind of blows my mind to look at lace in a whole new way now. Curator: It's all connected. These weren't just pretty decorations; they were threads in the larger tapestry of societal negotiation. Lace itself becomes a quiet protest. Editor: Thinking about this practically changes the impact of this page of patterns. Curator: Absolutely! Recognizing this changes how we read this “page." It’s not only a record, but it gives clues on self-determination of these skilled artisans.