This work consists of six paper plates based on fourteenth and fifteenth century dishes known as 'Belle Donne' or 'Coppe Amatorie' depicting portraits of women. The poetic text surrounding the portraits on these paper plates resemble the painted scrolls on the original plates which indicated the woman's name followed or preceded by the adjective 'bella'.

In a descriptive sheet accompanying the paper plates, the artist explains: 'The invented text describes the plates, which were not realistic but idealized portraits or caricatures of the women. The portraits reflect the styles of dress influenced by court life in each area, and the styles of local artists. These plates were not destined for daily use - they were decorative dishes presented on special occasions such as courtship, engagement and marriage.'

The ceramicists copied the images from available etchings, Lorenz returning them to print form again in the form of these paper plates. The plates are collographs made from spaghetti, sealed with vinyl glue and then inked in six colours. The book is presented in a narrow wooden crate suitable for shipping glass or china with slats on both sides through which the faces on the plates can be seen. The six plates are slotted into two sets of triptychs resembling wooden cupboards. The individual plates each have a handmade triangular brass hook which allows them to be displayed individually on a wall.

Each of the six plates incorporates one of the following captions: "She is round. She is idealized. She hangs on the wall. She is not to be used. She is not disposable. She's a dish".

One of the plates is based on a majolica plate currently on display in Room 17 at the Victoria and Albert Museum. The plate (Museum number: C.2221-1910) is described as 'Dish. Perhaps by the 'In Castel Durante' painter, c.1525'.