At the Los Angeles County Museum of Art:
Man's Cape
Italy, last 1/4 of the 16th Century
Man's Cape 1480
Italy, Florence
Tuesday, January 24, 2012
Extant Italian Capes
For those who are looking for ideas for the Over and Above mini-challenge.
At the Los Angeles County Museum of Art:
Man's Cape
Italy, last 1/4 of the 16th Century
Man's Cape 1480
Italy, Florence
At the Los Angeles County Museum of Art:
Man's Cape
Italy, last 1/4 of the 16th Century
Man's Cape 1480
Italy, Florence
Over and Above, It's a go!
The Realm of Venus "Over and Above" mini-challenge is officially going forward so I guess I'd better decide what I'm going to be making.
I've been working on a test version of a macrame pattern using the thin crochet cotton I'm using for my partlet project. It's a bit thicker than the threads of my linen fabric would probably be, so I think it will be a pretty good gauge for figuring out how much of the fabric I would have to fringe to be able to work the macrame, as well as if my looking and pondering and counting and planning enabled me to come up with a reasonable version of the pattern.
Image #377 from Ricci's Old Italian Lace, Volume 1, 1913
As you can see the pattern is basically a series of tasseled knotted points depending from a band of alternating blocks and knots.
I've gotten the band portion finished in my sample but I'm not quite happy with it. I think it needs more of a gap between the blocks of Diagonal Hitch and the knot. Maybe if I crossed the sets of starting threads on the knot? Hmmn. Something to ponder while I work up the point and tassel section.
I've been working on a test version of a macrame pattern using the thin crochet cotton I'm using for my partlet project. It's a bit thicker than the threads of my linen fabric would probably be, so I think it will be a pretty good gauge for figuring out how much of the fabric I would have to fringe to be able to work the macrame, as well as if my looking and pondering and counting and planning enabled me to come up with a reasonable version of the pattern.
Image #377 from Ricci's Old Italian Lace, Volume 1, 1913
As you can see the pattern is basically a series of tasseled knotted points depending from a band of alternating blocks and knots.
I've gotten the band portion finished in my sample but I'm not quite happy with it. I think it needs more of a gap between the blocks of Diagonal Hitch and the knot. Maybe if I crossed the sets of starting threads on the knot? Hmmn. Something to ponder while I work up the point and tassel section.
Saturday, January 21, 2012
Concurrences: Being my musings on project ideas for the "Over and Above" Challenge at The Realm of Venus
The focus of the challenge is on outerwear, mainly coats of various sorts, but since I already have a stunning loose gown which I rarely get to wear I'm going to be working on a Venetian-style veil.
Poking about for inspirational pictures on the web has shown me that while Venetian veils share a common theme as to size (huge!) there is a great deal of variety in shape, color, texture, opacity, decoration and manner of wearing.
Shape: I see evidence of rectangles, triangles and half-circles being common veil shapes. Additionally I find several illustrations that suggest the veil may be a rectangle which has been folded across the breadth and stitched together along one of the long edges. (Thus making a 1/2 open pouch shape rather like a coif) Admittedly, the pouchy bagginess of the drape of these veils could have been achieved in other ways--such as the judicious use of pins--but I find the possibility of a structured veil intriguing.
Color: Along with black, white, and the legendary yellow, I find evidence beige, blue, gold, red, pink and green. Notably, one example appears to be a two-color shot silk organza whose overall effect is a coral-pink.
Texture: I see evidence of veils in a variety of textures, fine to coarse, plus both smooth and textured weaves. In addition, the veils appear to have a variety of 'hands' from a liquid drape to a rather crunchy stiffness.
Opacity: While I had believed that the veil would be slightly-translucent-to-opaque in most cases, it appears that the reverse may be true. In the majority of illustrations I have seen the veil material is in the translucent-to-sheer end of the range and it is frequently very nearly transparent. It should be noted, however, that once removed from the head an opaque veil simply looks like a shawl, tablecloth, or random piece of fabric drapery so it is likely that I have misinterpreted some objects that a period viewer would have recognized as opaque veils.
Decoration-Overall: In addition to the many examples of various types of woven stripes, I find hints of more elaborate patterns. Whether these patterns were confined to bands at the edges of the veil and whether woven or applied is unclear.
Decoration-Edge: Plain hems, fringe, plain lace, tassels and ornamented lace are all seen.
While there may well have been meaning ascribed to veils of different colors, etc. (the language of the veil :) ), it seems likely that, in some cases at least, the color, shape and materials of one's veil were a personal aesthetic decision.
So, I have been mulling over options for a new veil. I am on a personal mission to bring more pattern into SCA events so I rather like the idea of of a striped veil. I also really like handwork and trying new things so I've been thinking a lot about edge treatments. Hmm. What to do?
Which brings me to the afore-mentioned concurrences...
Veil Option 1:
Sheer with woven textured stripes
Mores Italiae, 1575
Mores Italiae, 1575
Agnolo Bronzino, 1550
Corded silk Organza (available on e-bay)
Veil Option 2:
Sheer with woven gold stripes
Cesare Vecellio 1589-90
Bartolomeo Veneto 1520's
Silk organza with gold stripes (available on ebay)
Veil Option 3:
Translucent with an amazing edging
I'm thinking a sheer linen with lace edging...maybe in knotwork?
Poking about for inspirational pictures on the web has shown me that while Venetian veils share a common theme as to size (huge!) there is a great deal of variety in shape, color, texture, opacity, decoration and manner of wearing.
Shape: I see evidence of rectangles, triangles and half-circles being common veil shapes. Additionally I find several illustrations that suggest the veil may be a rectangle which has been folded across the breadth and stitched together along one of the long edges. (Thus making a 1/2 open pouch shape rather like a coif) Admittedly, the pouchy bagginess of the drape of these veils could have been achieved in other ways--such as the judicious use of pins--but I find the possibility of a structured veil intriguing.
Color: Along with black, white, and the legendary yellow, I find evidence beige, blue, gold, red, pink and green. Notably, one example appears to be a two-color shot silk organza whose overall effect is a coral-pink.
Texture: I see evidence of veils in a variety of textures, fine to coarse, plus both smooth and textured weaves. In addition, the veils appear to have a variety of 'hands' from a liquid drape to a rather crunchy stiffness.
Opacity: While I had believed that the veil would be slightly-translucent-to-opaque in most cases, it appears that the reverse may be true. In the majority of illustrations I have seen the veil material is in the translucent-to-sheer end of the range and it is frequently very nearly transparent. It should be noted, however, that once removed from the head an opaque veil simply looks like a shawl, tablecloth, or random piece of fabric drapery so it is likely that I have misinterpreted some objects that a period viewer would have recognized as opaque veils.
Decoration-Overall: In addition to the many examples of various types of woven stripes, I find hints of more elaborate patterns. Whether these patterns were confined to bands at the edges of the veil and whether woven or applied is unclear.
Decoration-Edge: Plain hems, fringe, plain lace, tassels and ornamented lace are all seen.
While there may well have been meaning ascribed to veils of different colors, etc. (the language of the veil :) ), it seems likely that, in some cases at least, the color, shape and materials of one's veil were a personal aesthetic decision.
So, I have been mulling over options for a new veil. I am on a personal mission to bring more pattern into SCA events so I rather like the idea of of a striped veil. I also really like handwork and trying new things so I've been thinking a lot about edge treatments. Hmm. What to do?
Which brings me to the afore-mentioned concurrences...
Veil Option 1:
Sheer with woven textured stripes
Mores Italiae, 1575
Mores Italiae, 1575
Agnolo Bronzino, 1550
Corded silk Organza (available on e-bay)
Veil Option 2:
Sheer with woven gold stripes
Cesare Vecellio 1589-90
Bartolomeo Veneto 1520's
Silk organza with gold stripes (available on ebay)
Veil Option 3:
Translucent with an amazing edging
I'm thinking a sheer linen with lace edging...maybe in knotwork?
Thursday, January 19, 2012
Just one more from the Walters Art Museum, Baltimore
Kitchen Interior, Dirck de Vries, Netherlandish, ca. 1600
And this is why we love the Walters Art Museum, Baltimore
Because they have Great Stuff! For Example:
Gondola Ride (A page from a larger work "Book of Italian Costumes")Niclauss Kippell (German) 1588
And they plan Great Exhibits! I know where I'll be this fall. In celebration of my birthday I'm going to their upcoming show:
Revealing the African Presence in Renaissance Europe
This is particularly timely for me because I have spent the last few days working on a page of black folks in period art. One of my personal challenges as a reenactor of color has been finding a plausible persona which *includes* (rather than ignores) my actual ethnic heritage. I've been scouring the web looking for the occasional images I can remember seeing of people of African heritage just living their lives in Venice, or Amsterdam, or wherever. They are there, yes, but terribly hard to locate...and then here comes The Walters Art Museum with an entire show which not only discusses the history and art of the period but also what has happened to the works over time.
(Apparently the little Medici girl in the painting below was painted out in the 19th Century and rediscovered during cleaning. Wrap your head around that.)
I can hardly wait for the show!
Portrait of Maria Salviati de Medici and Gulia de Medici, Jacopo Pontormo, 1600
Walters Art Gallery, Baltimore, Maryland
Gondola Ride (A page from a larger work "Book of Italian Costumes")Niclauss Kippell (German) 1588
And they plan Great Exhibits! I know where I'll be this fall. In celebration of my birthday I'm going to their upcoming show:
Revealing the African Presence in Renaissance Europe
This is particularly timely for me because I have spent the last few days working on a page of black folks in period art. One of my personal challenges as a reenactor of color has been finding a plausible persona which *includes* (rather than ignores) my actual ethnic heritage. I've been scouring the web looking for the occasional images I can remember seeing of people of African heritage just living their lives in Venice, or Amsterdam, or wherever. They are there, yes, but terribly hard to locate...and then here comes The Walters Art Museum with an entire show which not only discusses the history and art of the period but also what has happened to the works over time.
(Apparently the little Medici girl in the painting below was painted out in the 19th Century and rediscovered during cleaning. Wrap your head around that.)
I can hardly wait for the show!
Portrait of Maria Salviati de Medici and Gulia de Medici, Jacopo Pontormo, 1600
Walters Art Gallery, Baltimore, Maryland
Wednesday, January 18, 2012
Saturday, January 14, 2012
Have you ever heard of Matthaus Schwarz?
I hadn't until today. Trust me, you must go read the last two paragraphs on this page, look at the pictures and then tell me if it makes your little seamstress' heart beat faster!
http://theborgias.wetpaint.com/page/Italian+Renaissance+Clothing+and+Fashion
(Can you imagine? There are more than 130 little pictures of him in his new outfits...I can only dream of the day when I can say the same!)
http://theborgias.wetpaint.com/page/Italian+Renaissance+Clothing+and+Fashion
(Can you imagine? There are more than 130 little pictures of him in his new outfits...I can only dream of the day when I can say the same!)
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