Cinderella = Gypsy?

Zingarella, Boccaccio Boccaccino, 1504-1505
Uffuzi Gallery, Florence
Inventory of 1890 item number 8539


Apparently Zingarella is an Italian word for Gypsy. This leaves me wondering about the connection between Zingarella and Cinderella. Was she actually a Gypsy? Were her step-family merely trying to insult her...perhaps for being poor and dirty (a conventional prejudice about gypsies)?

If Cinderella were an abusive nickname what was her birth name? And why didn't she use it later in life? Or did she, and perhaps that's why we think of Cinderella as a myth?

I am at home sick today and it's clearly leaving me too much time to think.

Like, what is the connection between brazziarie (sp?)--the Italian name for partlet--and brasserie/bra. I've read in numerous books that 'the origin of the name bra is unknown' but the connection seems pretty plausible/obvious to me!

The erie absense of black folks

I found another Portrait of Maria Salviati
the one in the frame is by Jacopo Carucci after Pontormo, 1543-1545
Inventory Number 3565 from the 1890 inventory of the Uffizi collection.

Looking at the second painting I can't help wondering...is there another little bi-racial girl hidden under all that black paint?

Three words: SHEER BLACK PARTLET

Haven't you always secretly wanted one?

















Portrait of Victoria Colonna
Cristofano Dell'Altissimo, 1552-1568
Polo Museum, Fiorentino

Inventory of 1890 Item #204

I'm poking about the online inventories of the Uffizi in Florence today. It's a bit confusing because they maintain their info based on the cataloging event, which means you have to search each group seperately.

I found the search engines through: http://translate.google.com/translate?hl=en&sl=it&tl=en&u=http%3A%2F%2Fwww.uffizi.firenze.it%2Fmusei%2F%3Fm%3Dcostume

Click on "Digital Archives" in the menu on the left. Searching the inventories has been working for me.

And Whooppee! They have another shoe!

Zoccolo Zoccolo. Calzatura formata da una parte in legno composta da un elemento orizzontale lanceolato sorretto da due rialzi di forma triangolare. In una delle due estremità superiori è fissato con tre borchie metalliche su ciascun lato, un tessuto, Gros de Tours a pelo strisciante, di forma romboidale con piccola nappina dello stesso filato a decorazione. Accessori
XVI-XVII 1580 1620 fine/inizio

(Per google translate "Socket socket. Footwear consists of a wooden part consists of a horizontal lanceolate supported by two triangular elevations. In one of the two upper ends are fixed with three metal studs on each side, a fabric, Gros de Tours sleeping creeping, diamond-shaped with a small tassel of the same yarn decoration. Accessories")

OK, carving and covering cork chopines kinda scares me but I think even I could probably make these!

OMG. I apologize.

For years I have been muttering inside my head about people who inserted permenent puffs into their clothes rather than pulling out their shifts, smocks, shirts, camicias, or what have you.

I though the static puffs were a modern costumers' convience.

I stand corrected.



Maniche Su fondo ocra piccoli motivi di tulipano marrone disposti secondo teorie di fasce parallele sfalsate. Ai gomiti e all'attaccatura della spalla "sbuffi" di raso di seta bianca. Piccoli lacci nella parte alta della manica. Abiti (which Google translates as "Sleeves on small ocher brown tulip motifs arranged in parallel bands staggered theories. Elbow and shoulder to root of "puffs" of white silk satin. Small laces at the top of the sleeve. Clothes"}
XVI-XVII 1580 1620 fine/inizio
Ca' Mocenigo Centro Studi di Storia del Tessuto e del Costume

Clearly, I don't spend enough time doing research.

I just discovered that many of the Venetian museums have pooled their artifact collections together into a single, searchable, database at: http://www.archiviodellacomunicazione.it/Sicap/opac.aspx?WEB=MuseiVE&LNG=ENG

I searched for "tessuto" and found this!


"Arte spagnola
Tessuto Velluto chermisi tagliato ad un corpo con applicazioni in raso di seta prodotto dall' orditura di fondo in seta gialla e da una trama di fondo verde Tessuti
XVI 1500 1599 inizio
Ca' Mocenigo Centro Studi di Storia del Tessuto e del Costume "

It's very like the applique work I am doing on my pavillion and it's giving me some great pointers for how I can use the couched thread for detailing overall.

I'm such a happy camper!

Macrame Sample: What do you think?

I noticed while I was working on my test sample that the pattern for the points in the extant piece is clearly a few threads larger than the blocks-and-knots section, and the original blocks are proportionally larger (wider) than mine. Maybe 12 or 16 threads wide instead of the 8 threads I use.

Still the sample is finished and I'm pretty happy with the result.






















I'll probably try crossing the threads at the top and bottom of the knot sections to help the illusion that they are loops of cord and I might make the crossover in the center of the point shorter by 1 square knot. I'm generally not interested in making exact copies of anything so I think I am content with my symetrical pattern. It will certainly be easier for me to work!

It looks like I will need to fringe about 18" of my fabric to get enough free thread to work the macramé and tassle. I'll end up cutting off about 5" of thread in the end but I think I'll need that much (plus the 4" from the tassle) to be able to manipulate the threads.

Providing that I can lay my hands on a 4 yard piece of sheer-ish linen fabric I think I've found my Over and Above Mini-Challenge project.