Page seven, verso, of "Livre de Moresques" was created in the mid-16th century by Francesco di Pellegrino, and is an ornamental design printed from woodcuts. The repeating geometric and floral motifs that define moresque patterns were popularized in Europe through cultural exchange, migration, and conquest. These patterns, drawn from Islamic art, became particularly fashionable during the Renaissance. As the appetite for these designs grew, pattern books like this served as guides for artisans seeking to incorporate moresque elements into their work. But we should remember that this appropriation was not a neutral exchange. It occurred against a backdrop of complex cultural encounters, marked by both admiration and antagonism. The adoption of moresque designs in Europe speaks to the entangled histories of cultural appropriation, where the lines between homage and exploitation are often blurred. It reflects how the circulation of images and patterns can carry meanings far beyond their aesthetic qualities, influencing perceptions of identity, otherness, and power.