Today, I am writing a post which was requested by Gigi La Bella Donna to answer questions concerning a fresco painted by Floriano Ferramola.
Artist: Floriano or Fioravante Ferramola (1478 - 1528) was an Italian painter active mainly in Brescia. Ferramola frescoed an Annunciation for the church of the Carmine in Brescia, and also painted for the church of Santa Maria delle Grazie in Brescia. He is also known for his frescoes painted for the Palazzo Calini in Brescia, one of which may be viewed in London at the Victoria and Albert Museum. Original Location of the Art Works: Palazzo Calini Gambara was built by the Calini in the sixteenth century and then inherited by the Gambara family. The Palazzo is located at the intersection of via del Carmine and via delle Battaglie. A staircase leads to the main floor where there are three rooms with windows facing via del Carmine, which were once completely frescoed. Another room, towards Vicolo Tre Archi, was rich in stuccoes and completely frescoed, a nearby room was once the private chapel. Video from the Museum in Brescia about the Fresco in question.
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Notes about the fresco series from the Victoria and Albert Museum
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References:
- Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. Woodfall & Kinder, Angel Court, Skinner Street, London; Digitized by Googlebooks from Oxford University copy on Jun 27, 2006. p. 59.
- Nicoli Cristiani, Federico (1807). Della Vita delle pitture di Lattanzio Gambara; Memorie Storiche aggiuntevi brevi notizie intorno a' più celebri ed eccelenti pittori Bresciani. Spinelli e Valgiti, Brescia. pp. 156–157.
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Recently, a post on the Ask the SCA Laurels Anything Facebook Group had me thinking about the messages we give to members about what it takes to become a laurel. Indeed, most of the questions of late have been about the same thing, "What do I have to do to become a laurel?" phrased in innumerable ways. Rather than flood that feed with my own thoughts, here is my commentary, which will undoubtedly delivered in many parts.
PART 1: What is a laurel?
A laurel is a person who has been recognized by a kingdom within the SCA for their excellence in the arts and sciences. Most often referred to as a Master or Mistress of the Laurel.
Excuse me, but in the world of documentation and policy, this is a rather vague description, isn't it? And, that is kind of the point with descriptions in documentation and policy or organizations. The descriptions are intentionally somewhat vague to allow the group to interpret what that description may mean at the time any decision may be made. So, that description, excellence in the Arts and Sciences, can mean a host of different things about the work and achievements of different people across the span of the history of the organization.
So, if you were asking yourself, why don't I understand what that description means, well, you are in good company. Every person who participates in the Arts and Sciences will ask themselves that question if they are seeking to take the journey to recognition as a Laurel.
PART 1b: What do they mean by excellence and why are they described as a Master or Mistress?
During the middle ages, craftsmanship of goods, standards of quality, and prices were controlled by groups called guilds. In order to conduct business in a town or community, you may be required to be a member of a guild. In order to become a member of a guild, one may be required to become an apprentice for a designated time with a member of the guild. Once the apprenticeship was complete, the person then could seek full membership and conduct their business within the trade. The members of the guild were recognized for their Mastery of the trade, and thereby called Masters. In the SCA, we have co-opted that description, of Master/Mistress for our purposes.
Mastery of the trade (Excellence)-- what constitutes mastery? In the Renaissance, mastery of the trade could be very specific. Cennino d'Andrea Cennini wrote "IL Libro dell' Arte" (The Craftsman's Handbook) during this period to provide a guide for anyone who wanted to enter his profession, painting. He describes what one needs to consider to become a painter:
"This occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist... The painter is give freedom to compose...as a labor of love for all those who feel within them a desire to understand; or as a means of embellishing."
To be a good apprentice, one should have "natural enthusiasm, [with] their intellect will take delight in drawing, provided their nature attracts them to it of themselves, without any master's guidance, out of loftiness of spirit. And then, through this delight, they come to want to find a master, and bind themselves to him with respect for authority, undergoing an apprenticeship in order to achieve perfection in all this...through a sense of enthusiasm and exaltation."
From this point forward in Cennini's text is a description of each skill a painter should master in chapter descriptions. He concludes the text indicating with the indication that if God "will grant them grace to study well and to retain it well, so that by their labors they may live in peace and keep their families in this world, through grace," one may become a master.
O conclude through Cennini's description that if you are enthusiastic and inspired to do art, and you practice it well to the ability to inspire and entertain others with that art, then you can one day be a master.
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There are many works written during the Middles Ages and Renaissance describing what it takes to become a Master/Mistress in an Art or Science. The one collective requirement that they all cite is a desire or inspiration to perform that art or science to its mastery.
Part C: Art or Science, or both?
Is it art? Not a question we will be answering here today, but I return to Cennini for a subtle description differentiating between art and science:
"Man afterward pursued many useful occupations, differing from each other; and some were, and are, more theoretical than others. They could not all be alike, since theory is the most worthy, [and] close to that, man pursued some related to the one which calls for a basis of that, coupled with skill of hand."
"Skill of hand" or "theoretical pursuit", according to Cennini, ..."justly deserve to be enthroned" next to each other. The theorist must compose as inspiration directs as the artist is inspired to create. Cennini further explains that those who have the skill can do both, create the art which inspires and compose the knowledge of the theorist to describe that art. He hoped that his book would do a little of both with what ability he had to share his knowledge and art.
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I hope you found this commentary helpful and I am sure there will be more as inspiration dictates. Thank you for reading.
Reference: Cennini, C. (1954). The Craftsman’s Handbook/trans. by DV Thompson. New York.
PART 1: What is a laurel?
A laurel is a person who has been recognized by a kingdom within the SCA for their excellence in the arts and sciences. Most often referred to as a Master or Mistress of the Laurel.
Excuse me, but in the world of documentation and policy, this is a rather vague description, isn't it? And, that is kind of the point with descriptions in documentation and policy or organizations. The descriptions are intentionally somewhat vague to allow the group to interpret what that description may mean at the time any decision may be made. So, that description, excellence in the Arts and Sciences, can mean a host of different things about the work and achievements of different people across the span of the history of the organization.
So, if you were asking yourself, why don't I understand what that description means, well, you are in good company. Every person who participates in the Arts and Sciences will ask themselves that question if they are seeking to take the journey to recognition as a Laurel.
PART 1b: What do they mean by excellence and why are they described as a Master or Mistress?
During the middle ages, craftsmanship of goods, standards of quality, and prices were controlled by groups called guilds. In order to conduct business in a town or community, you may be required to be a member of a guild. In order to become a member of a guild, one may be required to become an apprentice for a designated time with a member of the guild. Once the apprenticeship was complete, the person then could seek full membership and conduct their business within the trade. The members of the guild were recognized for their Mastery of the trade, and thereby called Masters. In the SCA, we have co-opted that description, of Master/Mistress for our purposes.
Mastery of the trade (Excellence)-- what constitutes mastery? In the Renaissance, mastery of the trade could be very specific. Cennino d'Andrea Cennini wrote "IL Libro dell' Arte" (The Craftsman's Handbook) during this period to provide a guide for anyone who wanted to enter his profession, painting. He describes what one needs to consider to become a painter:
"This occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist... The painter is give freedom to compose...as a labor of love for all those who feel within them a desire to understand; or as a means of embellishing."
To be a good apprentice, one should have "natural enthusiasm, [with] their intellect will take delight in drawing, provided their nature attracts them to it of themselves, without any master's guidance, out of loftiness of spirit. And then, through this delight, they come to want to find a master, and bind themselves to him with respect for authority, undergoing an apprenticeship in order to achieve perfection in all this...through a sense of enthusiasm and exaltation."
From this point forward in Cennini's text is a description of each skill a painter should master in chapter descriptions. He concludes the text indicating with the indication that if God "will grant them grace to study well and to retain it well, so that by their labors they may live in peace and keep their families in this world, through grace," one may become a master.
O conclude through Cennini's description that if you are enthusiastic and inspired to do art, and you practice it well to the ability to inspire and entertain others with that art, then you can one day be a master.
---------------------------
There are many works written during the Middles Ages and Renaissance describing what it takes to become a Master/Mistress in an Art or Science. The one collective requirement that they all cite is a desire or inspiration to perform that art or science to its mastery.
Part C: Art or Science, or both?
Is it art? Not a question we will be answering here today, but I return to Cennini for a subtle description differentiating between art and science:
"Man afterward pursued many useful occupations, differing from each other; and some were, and are, more theoretical than others. They could not all be alike, since theory is the most worthy, [and] close to that, man pursued some related to the one which calls for a basis of that, coupled with skill of hand."
"Skill of hand" or "theoretical pursuit", according to Cennini, ..."justly deserve to be enthroned" next to each other. The theorist must compose as inspiration directs as the artist is inspired to create. Cennini further explains that those who have the skill can do both, create the art which inspires and compose the knowledge of the theorist to describe that art. He hoped that his book would do a little of both with what ability he had to share his knowledge and art.
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I hope you found this commentary helpful and I am sure there will be more as inspiration dictates. Thank you for reading.
Reference: Cennini, C. (1954). The Craftsman’s Handbook/trans. by DV Thompson. New York.
As a research librarian, I am frequently asked in the SCA for a little research help.
Here is a short library guide on Medieval cooking. Enjoy.
Guides to completing Medieval Cooking Research
http://www.medievalcookery.com/notes/rresearch.pdf
https://www.researchgate.net/publication/318543063_Food_and_Cookbooks_Medieval
Food as Culture
http://historytothepublic.org/cooking-middle-ages-present-day/
Research Blogs
Medieval Cuisine by Euriol of Lothian --Amazing site and has been researching since 1989. Bibliographies, notes, classes, journals, and lists of other Historical cookery enthusiasts.
The Recipe Project – International group of scholars interest in the history of recipes.
Quatr.us – written by Karen Carr, PhD from University of Michigan
Museum Collections
The Medieval Diet – British Library –collection of over 50 hand written medieval cookery manuscripts.
Food History – The library of Congress Research Guide to Historical Food Study
Imagining the Culinary Past in France – Getty Museum
Bibliographies
Medieval Culinary Texts compiled by Marth Carlin, Professor of History, University of Wisconsin
Old Cook provided Maitre Chiquart (French Medieval Cooking Association)
Selected Works on Gastronomy – Library of Congress
Cooks and Kitchens --Larsdatter
Here is a short library guide on Medieval cooking. Enjoy.
Guides to completing Medieval Cooking Research
http://www.medievalcookery.com/notes/rresearch.pdf
https://www.researchgate.net/publication/318543063_Food_and_Cookbooks_Medieval
Food as Culture
http://historytothepublic.org/cooking-middle-ages-present-day/
Research Blogs
Medieval Cuisine by Euriol of Lothian --Amazing site and has been researching since 1989. Bibliographies, notes, classes, journals, and lists of other Historical cookery enthusiasts.
The Recipe Project – International group of scholars interest in the history of recipes.
Quatr.us – written by Karen Carr, PhD from University of Michigan
Museum Collections
The Medieval Diet – British Library –collection of over 50 hand written medieval cookery manuscripts.
Food History – The library of Congress Research Guide to Historical Food Study
Imagining the Culinary Past in France – Getty Museum
Bibliographies
Medieval Culinary Texts compiled by Marth Carlin, Professor of History, University of Wisconsin
Old Cook provided Maitre Chiquart (French Medieval Cooking Association)
Selected Works on Gastronomy – Library of Congress
Cooks and Kitchens --Larsdatter
Balancing Act: Developing a fully fleshed out wardrobe for your persona.
Are you sitting around the house at this moment thinking about your garb and wondering if you have enough clothing to attend the next inter-kingdom war? Do you get overwhelmed when thinking about planning a wardrobe? Let's start with the basics... your persona.
“A persona is the sum of name, background story, dress, equipment and interests in historical context. How far you take your persona development depends entirely on your own goals, preferences and comfort level” (Gibbons, 2008, para.2).
Dress is only one element of persona.
Before you invest a great deal of time and money into a wardrobe, decide carefully on your background story and your interests in the historical context and in the SCA. If you plan to spend most of your time shooting target archery and participating in archery events exclusively, then perhaps you may not want to spend a great deal of time and money on court clothing. One outfit for court may do as you may not be wearing it very often. If you plan to participate in equestrian activities, what is the appropriate attire for horseback riding for your persona? Ideally, your focus should be, what would my persona wear on a daily basis, for special activities, and for special occasions based on the level of historical context I plan to incorporate relating to my background story. In short, what you really need to plan is your SCA Capsule Wardrobe.
A capsule wardrobe was a phrase invented by Susie faux, the owner of a London boutique called Wardrobe in the 1970s. According to Faux, a capsule wardrobe is a collection of the essential items of clothing that are the back bone of your wardrobe that are augmented with seasonal pieces.
Are you sitting around the house at this moment thinking about your garb and wondering if you have enough clothing to attend the next inter-kingdom war? Do you get overwhelmed when thinking about planning a wardrobe? Let's start with the basics... your persona.
“A persona is the sum of name, background story, dress, equipment and interests in historical context. How far you take your persona development depends entirely on your own goals, preferences and comfort level” (Gibbons, 2008, para.2).
Dress is only one element of persona.
Before you invest a great deal of time and money into a wardrobe, decide carefully on your background story and your interests in the historical context and in the SCA. If you plan to spend most of your time shooting target archery and participating in archery events exclusively, then perhaps you may not want to spend a great deal of time and money on court clothing. One outfit for court may do as you may not be wearing it very often. If you plan to participate in equestrian activities, what is the appropriate attire for horseback riding for your persona? Ideally, your focus should be, what would my persona wear on a daily basis, for special activities, and for special occasions based on the level of historical context I plan to incorporate relating to my background story. In short, what you really need to plan is your SCA Capsule Wardrobe.
A capsule wardrobe was a phrase invented by Susie faux, the owner of a London boutique called Wardrobe in the 1970s. According to Faux, a capsule wardrobe is a collection of the essential items of clothing that are the back bone of your wardrobe that are augmented with seasonal pieces.
For the 1490s Italian Renaissance woman, a capsule wardrobe may have consisted of:
OUTERWEAR:
3 or 4 Vesta (dresses)-----[2 basic for daily wear, 1 semi nice occasion, 1 very nice formal occasion]
3 or 4 pairs of manici (tie in sleeves)
2 or 3 Sbernia (outer robe) or Soprabito (overcoat) FALL/WINTER ------- [Basic, nice, formal]
2 or 3 Camora (shorter outer robe) or Mantello (cape) SPRING/SUMMER
UNDERWEAR:
7 Camacia/Chemise
7 Braes (underpants)
7 pairs of hosen (socks)
ACCESSORIES:
Shoes / Jewelry /For the Head / pockets / aprons /
Hot weather: Fans
Cold weather: Gloves/ Fur
Remember all layers were not worn all the time. Women swam in their underwear, worked in the garden with no sleeves, and often in the kitchen with no sleeves, dress half laced, and no jewelry. Activity is your guide for dressing choices. Just as you would for your modern day wardrobe.
So, once you have assembled your capsule wardrobe, you are ready for any long event or war.
OUTERWEAR:
3 or 4 Vesta (dresses)-----[2 basic for daily wear, 1 semi nice occasion, 1 very nice formal occasion]
3 or 4 pairs of manici (tie in sleeves)
2 or 3 Sbernia (outer robe) or Soprabito (overcoat) FALL/WINTER ------- [Basic, nice, formal]
2 or 3 Camora (shorter outer robe) or Mantello (cape) SPRING/SUMMER
UNDERWEAR:
7 Camacia/Chemise
7 Braes (underpants)
7 pairs of hosen (socks)
ACCESSORIES:
Shoes / Jewelry /For the Head / pockets / aprons /
Hot weather: Fans
Cold weather: Gloves/ Fur
Remember all layers were not worn all the time. Women swam in their underwear, worked in the garden with no sleeves, and often in the kitchen with no sleeves, dress half laced, and no jewelry. Activity is your guide for dressing choices. Just as you would for your modern day wardrobe.
So, once you have assembled your capsule wardrobe, you are ready for any long event or war.
Every so often, someone sends me a picture of a portrait so that I can offer a suggestion as to how a garment is constructed or, perhaps could I provide a pattern for said garment in portrait. Could I also include the many details as to how much fabric will be needed, what notions should be acquired and give a time estimation as to how much time the process will take to complete the item?
Many assume these are simple answers, but for a tailor, the answer is not a simple one to construct. The following image is a constant among images that are sent to me, so for the purposes of edification, I will use this image as exemplar for the following demonstration of how a garment could be understood through the perspective of a skilled tailor.
Step one: Know your garment and audience. I.E.
1.What do you know about the garment in the photo?
2.Who wore it?
3.When?
4.For what purpose?
5.What do you know or what can you surmise about the materials and construction?
6.How is going to wear the reconstruction?
7.Are they similar in appearance and statue to the exemplar in the image?
8.If they are not, what modifications will be necessary to create a similar effect?
Many assume these are simple answers, but for a tailor, the answer is not a simple one to construct. The following image is a constant among images that are sent to me, so for the purposes of edification, I will use this image as exemplar for the following demonstration of how a garment could be understood through the perspective of a skilled tailor.
Step one: Know your garment and audience. I.E.
1.What do you know about the garment in the photo?
2.Who wore it?
3.When?
4.For what purpose?
5.What do you know or what can you surmise about the materials and construction?
6.How is going to wear the reconstruction?
7.Are they similar in appearance and statue to the exemplar in the image?
8.If they are not, what modifications will be necessary to create a similar effect?
Background of the Tailor:
With a cursory google search, this is the betrothal portrait of Bianca Maria Sforza who lived 1472 to 1510. She was the niece of the Duke of Milan, Ludovico Sforza, also known as il Moro. Records indicate that her marriage by proxy was completed in 1493 so one may determine that the portrait was painted by Ambrogio de Predis, who was court artist in Milan at the time painted this portrait.
Il Moro was looking for a strong alliance and simply, this was a marriage for the money with a beautiful wife thrown in. The portrait is a conspicuous display of Sforza wealth. The headdress was reportedly worth 600 ducats or around 15,000 dollars USD today. The portrait was only a small indication of the wealth that accompanied her in her dowry, 400,000 ducats or, if you do the math, that’s 10.4 million. You can bet this lady knew her value.
If we take a look at the reversed color image of the photo, we can see more of the detail of the headdress.
With a cursory google search, this is the betrothal portrait of Bianca Maria Sforza who lived 1472 to 1510. She was the niece of the Duke of Milan, Ludovico Sforza, also known as il Moro. Records indicate that her marriage by proxy was completed in 1493 so one may determine that the portrait was painted by Ambrogio de Predis, who was court artist in Milan at the time painted this portrait.
Il Moro was looking for a strong alliance and simply, this was a marriage for the money with a beautiful wife thrown in. The portrait is a conspicuous display of Sforza wealth. The headdress was reportedly worth 600 ducats or around 15,000 dollars USD today. The portrait was only a small indication of the wealth that accompanied her in her dowry, 400,000 ducats or, if you do the math, that’s 10.4 million. You can bet this lady knew her value.
If we take a look at the reversed color image of the photo, we can see more of the detail of the headdress.
This is a cap edged in pinned jewels with a jewel emblem hanging from a strand of black beads or pearls around her head. The cap stops at her neck. A section of the gathered hair is exposed below it is wrapped in some sort of casing tied with ribbon ornamented with pearls. This continued the length of the hair until it disappears from view out of the portrait. So, to summarize, we have a cap or coif of some sort bound athe neck around a length of hair. The edge is pinned with jewels and attached to a strand of black beads or pearls around her head is a brooch with the emblem of the Sforza. Then the length of hair is encased in some fabric casing and wrapped in pearl ornamented ribbon. Now, that I know what I am looking at, how do I begin to construct a pattern? |
Step two: Figuring out the coif.
A word about head shape, there are many head shapes, but the position of a coif on the head is directly affected by how much shape your face has. Do you have a five finger forhead like image 1? Or is your face more similar to Bianca’s, which is an image three? (word to the wise, don’t guess. Take a picture of your profile to figure it out.)
A word about head shape, there are many head shapes, but the position of a coif on the head is directly affected by how much shape your face has. Do you have a five finger forhead like image 1? Or is your face more similar to Bianca’s, which is an image three? (word to the wise, don’t guess. Take a picture of your profile to figure it out.)
Because Bianca’s face is rather vertical, the back of her head is more rounded. Notice how much of her hair covers the top and side of her head outside of the coif. The width of the head would also have an effect on the pattern. Unfortunately, we do not have very many images of Bianca Maria Sforza to work with. A determination about the width of the head must be made as well. This will also have a direct influence over how much of the side of the head is covered as well. From the two portraits, one might conclude that Bianca had beautiful hair and liked to have a great deal of it exposed for view. So the coif would minimally cover the back portion of her head. |
Step three: Are there any extant garments that we could use for guidance on construction?
Here is a coif from a Medieval museum in Spain. The position and construction is similar to the coif worn by Maria. From the back, I can see two halves have been sewn together and the lower edge at the neck has a band of some sort. Two ties extend from the band, but they give no indication of exactly where they should be secured.
Next I would make a few test coifs for trial and error before committing expensive fabric, embroidery, jewels, or time to ornamentation.
Once you have settled on a pattern that fits your head in the most pleasing manner according to the reference portrait, you are ready to cut you fabric, embroider, bead, pin to your hearts’ desire.
Then on to the hair casing and the beaded ribbon.
Allora—there you go.
Once you have settled on a pattern that fits your head in the most pleasing manner according to the reference portrait, you are ready to cut you fabric, embroider, bead, pin to your hearts’ desire.
Then on to the hair casing and the beaded ribbon.
Allora—there you go.
The Ventuolo, or Flag fan, by some accounts was a Renaissance favored accessory, but clearly from the altar piece presented here, the figure sitting next to the bed, visiting with the birth mother is holding a ventuolo, and may be demonstrating to us that the ventuolo, more than favored accessory, was a useful object. Most certainly in our modern where we attempt to recreate the period, a ventuolo may be a useful object to have among your accessories. We are not the only ones interested in the ventuolo. |
We are not the only ones interested in the ventuolo. Thomas Coryat wrote about the flag fan in his travelogue: "The first fannes that I saw in Italy did I observe in this space betwixt Pizzighettone and Cremons. But afterward I observed them common in most places of Italy where I travelled. These fannes both men and women of the country do carry to cool themselves withall in the time of heat, by the often fanning of their faces. Most of them are very elegant and pretty things." |
Types of Flag Fans
Plaited Straw of Various Colors
From the History of the Fan by G. Wooliscroft-Rhead, "The rigid flag fan consists of an oblong parallelogram with a handle fitted to one of its longer sides. These were made either of plaited straw of various colors, of linen painted and embroidered, of parchment or vellum, or of silk, woven or embroidered, often with lozenge-shaped diapering" (p. 97-98). |
Linen Embroidered
Painted Linen with lozenge-shaped diapering
Painted Paper or Parchment "The fanne consisteth of a painted peece of paper and a little wooden handle; the paper which is fastened into the top is on both sides most curiously adorned with excellent pictures, either of amorous things tending to dalliance, having some witty Italian vrses or fine emblems written under them; or of some notable Italian city with a brief description there of added there unto." (Coryat's Crudites, 1611). "The banner form of fan became fashionable with the Venetian women of the fifteenth and sixteenth centuries. These were of two kinds: the one, of a more ornate character, was used by matrons; the other abanico di novia, of a delicate whiteness, used only by engaged maidens or the newly married" (Wooliscroft-Rhead, 99). |
Clearly, from Coryat's description of the fans, they were the rage. They were a popular item and a trifle enjoyed by many so it would be clear as to why we don't have any extant pieces to enjoy. They were used everyday and discarded when old, worn out, or soiled. |
Cut Parchment or Paper with or without silk embroidery
References
Coryat, Thomas (1905)[Originally 1611]. Coryat's Crudities. Glasgow: James MacLehose and Sons. pp. 22–121 Annotation: The book is an account of a journey on foot through France, Italy, Germany, and other European countries in 1608 by Thomas Coryat of Odcombe. Besides the fan, it introduced the use of the fork to England and it popularized the idea of the Grand Tour as a part of the standard Aristocratic education. Wooliscroft-Rhead, G. (1910). The History of the Fan. Published by Kegan Paul, Trench, Trubner & Co. Annotation: The first comprehensive study of its subject and remains an exemplary exegesis on a niche in the decorative arts. |
In the cathedral of Milan stood a silver statue of the Virgin Mary and, sometime around 1400, an anonymous devotee of the Virgin adorned the statue with a robe woven out of ears of wheat. At some point, the statue when destroyed was replaced with a painting of the Madonna in a blue gown with ears of wheat woven into the cloth. A mantle of the sun’s rays encircled the neckline of the gown. Several similar portrayals of the Madonna were created during the 15th century across Europe in manuscript, statuary, frescoes, altarpieces, and other art. Many scholars agree that this representation of the Madonna harkens to ancient portrayals of the Sacred Feminine. |
To the ancient mind, the body of a woman and the body of the Earth seemed similar in function. Just as the female form produced life so did the earth. The Earth was portrayed as a Great Goddess, mother of all, everywhere, serving as ruler over food that springs forth.
Greco/Roman mythos claimed the Sacred Feminine mythos in the form of the goddess Demeter (Ceres), whose symbolic attribute was the virgin hold a sheaf of wheat.
Greco/Roman mythos claimed the Sacred Feminine mythos in the form of the goddess Demeter (Ceres), whose symbolic attribute was the virgin hold a sheaf of wheat.
In fact, the island of Sicily was an entirely devoted to the worship of Demeter, according to the histories of Pindar, Ovid and Herodotus.
Christianity claimed a portion of the Sacred Feminine mythos with the Blessed Virgin as fertile soil, the wheat being God’s seed, and baby Jesus, as the bread of life.
Astrology as the symbol for Virgo is typically a Virgin dressed in blue gown hold a sheave of wheat. Tarot represented as the Empress or High Priestess usually dressed in blue mantle, robe, cape or gown with wheat growing in the background or sheave held in the hand. This imagery is continued today in Masonic sacred imagery, logos for bread and other wheat products. |
Nobles during the Renaissance era had a preoccupation with objects, art, and thought of classical antiquity. It was not uncommon for emulations in a variety of forms to occur among aristocratic entertainments and diversions as well as artistic creations for the home. Therefore, when the opportunity arose, through a Venetian ball at Gulf Wars, to create a representation of a wheat dress to wear to the ball. I could not acquiesce. Never let it be said that I would ever hesitate in diving down a very deep rabbit hole. Here is my rendition of the wheat dress:
I seem to be on a kick with focusing on the works of scholars who have come before us lately. We have a lot to learn from those who have studied before us, if we pay attention. No need to reinvent the wheel when the original is amazing and still works.
Stella Mary Newton, an English fashion designer and dress historian, was an advisor to the National Gallery, a guest lecturer for Cambridge University and founded a postgraduate course in the History of dress at the Courtauld Institute of Art. She brought the use of history of fashion to bear in art history to the dating of paintings. In her article, “The Study of Costume in Painting” for Studies in Conservation, Newton discusses the study of dress in works of art. Here are some notes of commentary from the article.
There are three primary venues for the study of period dress: literature, extant garments, and works of art. Literature refers to sumptuary laws, letters, diaries, writings of moralists, and inventories. Extant garments referring to any articles of clothing that can be scientifically dated to be within the period studied. Finally, works of art, any creation--sculpture, paintings, drawings, frescos, illumination, etc.
(I believe any recreation must consider all three venues of information.)
Newton reviews the limitations of each venue.
Limitations of Literature
1. In literature, the study of dress is hampered by technical language. Without context, original meaning is lost. Have you ever heard someone refer to an unknown item? It becomes a "Thing", a "Whatisit", or we refer to it by some mashup of words. I think of how we describe pants that are short, i.e. bloomers, pedal pushers, knickers, clam diggers, capris, floods, etc. Some of these terms are related to a purpose for wearing. I can only assume since we attempt to define with a string of descriptive terminology, so did those in the past.
Stella Mary Newton, an English fashion designer and dress historian, was an advisor to the National Gallery, a guest lecturer for Cambridge University and founded a postgraduate course in the History of dress at the Courtauld Institute of Art. She brought the use of history of fashion to bear in art history to the dating of paintings. In her article, “The Study of Costume in Painting” for Studies in Conservation, Newton discusses the study of dress in works of art. Here are some notes of commentary from the article.
There are three primary venues for the study of period dress: literature, extant garments, and works of art. Literature refers to sumptuary laws, letters, diaries, writings of moralists, and inventories. Extant garments referring to any articles of clothing that can be scientifically dated to be within the period studied. Finally, works of art, any creation--sculpture, paintings, drawings, frescos, illumination, etc.
(I believe any recreation must consider all three venues of information.)
Newton reviews the limitations of each venue.
Limitations of Literature
1. In literature, the study of dress is hampered by technical language. Without context, original meaning is lost. Have you ever heard someone refer to an unknown item? It becomes a "Thing", a "Whatisit", or we refer to it by some mashup of words. I think of how we describe pants that are short, i.e. bloomers, pedal pushers, knickers, clam diggers, capris, floods, etc. Some of these terms are related to a purpose for wearing. I can only assume since we attempt to define with a string of descriptive terminology, so did those in the past.
Because of Lisa Casario Pompeo and her #FiveDayArtChallenge nomination - I am posting a gallery of photos of some interesting explorations into other mediums and ideas.
As a member of the SCA, we can imitate elements of the life of period individuals, but we must assume all elements of crafting and life at one point or another if we want to do it well. We cannot live as the Sforzas, hiring artisans to build and adorn our castle, so we must make our story ourselves. So, in that interest, I have often dived into the rabbit hole of exploring other crafts that would benefit my play in the SCA.
Woodworking and pyrography is a personal family affair. My father is a boat builder and craftsman and can do amazing things with wood. My brother makes truly lovely art pieces out of wood, bowls and other vessels.
Woodworking and pyrography is a personal family affair. My father is a boat builder and craftsman and can do amazing things with wood. My brother makes truly lovely art pieces out of wood, bowls and other vessels.
Because of Lisa Casario Pompeo and her #FiveDayArtChallenge nomination - I am posting a gallery of photos of my scrollwork. There are days when I can lose myself in the creation of this type of art. There is no reward that measures the pure pleasure of watching paint and ink come to life. Every time, I complete a scroll I hope the receiver will enjoy it as much as I did in creating it. I nominate my lovely peer Navah, so I don't have to be the only one "enjoying" this challenge. While she is a wonderful brewer, she makes equally beautiful jewelry and I hope she will post some of her creations to share.
Coming for Day 4: Other projects.
Baronessa Franca Donato
Vandy Pacetti-Donelson is a milliner, costumer, illuminator and calligrapher, and researcher who is interested in all that is the Italian Renaissance. A true Florida Native originally from Saint Augustine, she now calls Daphne, Alabama her home. Vandy is known in the Society for Creative Anachronism as Baronessa Franca Donato, OL and resides in the Barony of the Osprey in the Kingdom of Merides.
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