Trionfo Di Virtu. Libro Novo..., page 24 (verso) 1563

Curator: Here we have Matteo Pagano’s "Trionfo Di Virtu. Libro Novo..., page 24 (verso)," created in 1563. It's a captivating engraving, currently residing here at the Metropolitan Museum of Art. Editor: The intricacy is astounding. It looks like textile or embroidery patterns rendered meticulously on paper. The density of the mark-making is truly impressive. Curator: Absolutely. Consider the historical context: Pagano's pattern book functioned as a resource. These engravings provided designs for needlework and lace making—essential skills and significant labor for women of the Renaissance. Editor: Yes, these pattern books acted as a repository and a facilitator of those skills. It also calls into question what constitutes ‘high art’ versus 'craft'. Are we looking at the means of artistic expression for creators who would otherwise be excluded from the art world of their time? Curator: That’s a very compelling point. From a formal perspective, notice the bilateral symmetry and the geometry that is not quite perfect, but evocative of geometric forms nonetheless. The positive and negative spaces create tension—almost like a dance between order and subtle improvisation. Editor: It makes you think about the process and labor inherent to the production of textiles during this era and how repetitive actions construct value. These small patterns have potential energy, ready to become something else, made through someone's hands. Curator: Indeed, they reflect larger themes within Italian Renaissance society, linking creativity to commerce and domesticity. Editor: Reflecting on this engraving, one cannot help but acknowledge that it also prompts us to value labor and the artistry imbedded into utilitarian creations. Curator: Agreed, an engagement with "Trionfo Di Virtu" not only illuminates artistic practice, but challenges our preconceived hierarchies of art.