A profile of a man outlined in blue stands out in contrast to a burst of yellow background (Figure 26). The contours of his face, such as the smile lines on his cheeks, are softly detailed by a lighter blue. His hair is stylistically delineated with more blue paint, with clouds of tendrils framing his face, while clear strokes of the paintbrush give us the impression of a youthful head, full of hair. If we move the drug jar slightly, or we switch views, the pointed brim of his hat works to create a further dramatic outline, while the back of his hat, his hair and his neck follow the swooping contour of the drug jar he is so carefully depicted on (not visible from the photographic angle featured in Figure 26). If we move again, we are confronted with a banderole of writing, shaping the contours of his face, as if giving this man a voice. However, there is difficulty in reading and making meaning of the inscription ‘AENBEININRIA•’. If we move the drug jar 180 degrees, an entirely new image appears. The backs of such jars were often painted with abstract vegetal forms that fill the spaces with blobs of paint, undulating lines of colour, that twist and swirl, compelling the holder to rotate the drug jar to enliven the patterns (see the examples in Figure 27). Such description of form draws the viewer’s attention to the very form of the object one is beholding. Cylindrical, these drug jars are ergonomically made to be held. Most well known for their vibrant colours and their display in apothecary shops, they would have frequently been taken off the shelf to use the contents within. The ergonomic shape aided in removing the vessel from the pharmacy’s shelves, as well as transporting it for whomever needed the contents, often medicinal. The fact that these vessels were used to transport spices from the ‘East’, and the patterns and motifs decorating them incorporated designs from Middle Eastern and Spanish ceramics, also underlined their connections to trade and their geographic origins from ‘somewhere else’, with mobility an inherent part of the albarello’s identity.