![]() ![]() ![]() Life and dying and death, and he would collect these specimens using different nets that he collected. People became fascinated by the idea of the pond as a space or a place of life, but also putrefaction. Was especially interested in the pond environment. Really look like a snake in terms of its scales,īut also its movement. He would pose themĬarefully in the plaster to make sure that the movement of the animal imitated First coating them in oil, I guess, so they could be removed from the cast. Then he would create a plaster cast around them. Just before creating the cast by immersing the animals in urine or vinegar and And you would create a castįrom them from plaster. Īnd so what he did was he would collect specimens and that includes the shells as well as the living organisms. It and through much trial and error developed this This particular type of rustic pottery was that he initially wanted to master making refined pottery. He dabbled in geology, he was a botanist. Palissy, who is the inventor of this type of ceramic, it's This is so true of the 16th century, a period that we often refer to as the scientific revolution. We know that Renaissance thinkers were interested in studying nature and trying to understand Look incredibly lifelike and that's because heĬast these from life. And we see all these different plants that you would find at a pond. Lizards, you see a frog, a crawfish or a lobster, snakes, shells. By microcosm we're talking about an environment, a world, but in miniature. This is a platter by a follower of Bernard Palissy, and it is this incredibleĭish that is showing us essentially a microcosm of a pond. And we're looking at a platter that you wouldn't wanna eat off of. That dates to the time of the Renaissance in France. We're in the galleries at The Metropolitan Museum of Art, looking at an object ![]()
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