{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O654743"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O654743/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2011FB4717/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2011FB4717/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2011FB4717","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KK6291","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O654743/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O654743","accessionNumber":"19010","objectType":"Engraving","titles":[{"title":"Morysse and Damashin renewed and increased, very profitable for Goldsmythes and Embroderars","type":"series title"}],"summaryDescription":"<b>Object Type</b><br>This print is an engraving, an image made by cutting lines into the surface of a flat piece of metal, inking the plate and then transferring the ink held in the lines onto a sheet of paper.<br><br><b>Subject Depicted</b><br>A modern transcription of the title of this set of prints might read 'Moresque and Damascene Patterns Suitable for Goldsmiths and Embroiderers'. Moresque was a term used in the later 16th century to describe a type of decoration for flat surfaces consisting of abstract, interlacing, formal, curling stem and leaf patterns, usually devoid of any human or animal presence. Damascening is a metalworking technique developed in the Middle East, whereby gold, silver and copper is inlaid into base metal. The word is derived from the place name, Damascus, in Syria. The type of designs used for damascene work were often moresque in style; they were frequently also applied to other types of objects.<br><br>This design is a delicate pattern of scrolling leaves describing circles, arcs and curves. Apart from the small variations to be expected from a work drawn by hand on the printing plate, this design is symmetrical along an invisible line connecting the midpoints on the two longer sides. <br><br><b>Cultural Associations</b><br>The English word 'Moor' stems from the Latin word <i>Mauri</i>, which referred to the inhabitants of the Roman province of Mauretania. This included parts of the modern states of Algeria and Morocco, although not the modern Islamic Republic of Mauritania. The word 'Moor' usually refers to a Muslim of mixed Arab and Berber origin, from North Africa or southern Spain. The Moors occupied most of the Iberian peninsula in the early 8th century, but were pushed back to Granada by the Christian kingdoms of northern Spain by the mid-13th and were finally expelled in 1492.  Until the 18th century  a black person was commonly referred to in Britain as a 'moor' or 'blackamoor'; most famously, Othello was 'The Moor of Venice'. With black people experiencing varying degrees of marginalisation in mediaeval and early modern England, these labels often had a derogatory meaning.","physicalDescription":"Engraving","artistMakerPerson":[{"name":{"text":"Thomas Geminus","id":"A8421"},"association":{"text":"Printmaker","id":"AAT25164"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"printing ink","id":"AAT187371"}],"techniques":[{"text":"engraving","id":"AAT53225"}],"materialsAndTechniques":"Engraving, ink on paper","categories":[{"text":"Ornament prints","id":"THES49038"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2011FB4717","2017KK6291"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLD","id":"THES49658"},"free":"","case":"EO","shelf":"19","box":""}],"partTypes":[[{"text":"print","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"London","id":"x28980"},"association":{"text":"Published","id":"x30682"},"note":""}],"productionDates":[{"date":{"text":"1548-1555","earliest":"1548-01-01","latest":"1555-12-31"},"association":{"text":"Published","id":"x30682"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"4.2","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Cut to ","note":""},{"dimension":"Width","value":"7.8","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Cut to ","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"Thomas Geminus. Plate of Moresque ornament. London, 1548-1555. ","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Hind, A. M., Engraving in England in the Sixteenth and Seventeenth Centuries, 3 vols, Cambridge, Cambridge University Press, 1952- 1964, pp. 39-58."},{"reference":{"text":"","id":""},"details":"","free":"Magdalena Adamska, Maureski Thomasa Geminusa - Próba Rekonstrukcji Wzornika [Moresque Ornaments by Thomas Geminus - an Attempt to Reconstruct His Pattern Book]', <i>Amicissima. Studia Magdalenae Piwocka oblata</i> (Kraków, 2010), pp. 127-137;624-630."},{"reference":{"text":"","id":""},"details":"","free":"<u>Victoria and Albert Museum, Department of  Engraving, Illustration and Design & Department  of Paintings, Accessions 1919, London</u>: Printed Under the Authority of His Majesty's Stationery Office, 1921"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["19010"],"accessionNumberNum":"19010","accessionNumberPrefix":"","accessionYear":null,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-05-02","recordCreationDate":"2009-06-30","availableToBook":false}}