Plate Nine, from A New Book of Ornaments 1704

Editor: "Plate Nine, from A New Book of Ornaments," created in 1704 by Simon Gribelin II. It's a stunningly detailed engraving on paper. What jumps out at me is how ornate it is, a real explosion of Baroque energy. What do you make of this, our expert? Curator: "Explosion" is a fabulous word for it. It's like a jewel box overflowing with symbols and swirling designs. Notice how Gribelin uses the formal language of ornament, common at the time, but infuses it with... well, almost a playful wit. It’s serious design, sure, intended for silversmiths or furniture makers, but those cherubs! What do they suggest to you? Editor: They feel like they’re pulling the curtain back, almost teasing us with a glimpse into something mischievous, a hidden world behind the formal façade. Is that stretching it a bit too far? Curator: Not at all! Remember, the Baroque loved to play with illusion and surprise. Think about stage sets from the time: these weren’t just pretty, they were designed to astonish. So, could this print itself be a little stage, a little performance of abundance and wit? Imagine that helmet ending up as silver centerpiece! Who wouldn't be astonished! Editor: So it’s more than just decoration. It’s also about spectacle, performance…a feeling of awe. That definitely shifts how I see it. Curator: Exactly. And I love the feeling of movement – everything's connected, echoing something else in this work. Do you get that feeling, now? That there are some new questions to be asked about your own way of seeing and interpreting art, about *any* artwork? It’s less about knowing, and more about perceiving what is at play. Editor: Absolutely. I went from seeing a decorative object to recognizing its potential as an artistic idea! Thanks.