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headaches & moving was Re: [Authentic_SCA] Re: teneriffe lace?

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  • historian@reconstructinghistory.com
    ... with ... Yeah, but you know how it is when you ve been through three in one month and you re tired of taking time off from work... This one damn near got a
    Message 1 of 55 , Jun 29, 2001
      > Despite the urge to slap 'em, that's usually the best thing to do
      with
      > a rotten doctor. There _are_ good ones out there, really...you just
      > have to look.

      Yeah, but you know how it is when you've been through three in one
      month and you're tired of taking time off from work...

      This one damn near got a slap from me, I'll tell you! He had to use
      a pediatric (read: itty bitty) scope to look up my cute-but-highly-
      unfunctional nose, pronounced that I had a deviated septum and bone
      spurs so bad that he couldn't get up one side, and then proceeded to
      tell me I didn't have any sinus trouble. Almost chubbied up my fist
      and clocked 'im, I did!

      Kass
    • Christina_Lemke@hotmail.com
      Hi Gwendoline, The information is in: Orsi Landini, Roberta. L amore del lusso e la necessità della modestia. Eleonora fra sete e oro , in _Moda alla corte
      Message 55 of 55 , Jul 4, 2001
        Hi Gwendoline,

        The information is in:
        Orsi Landini, Roberta. "L'amore del lusso e la necessità della
        modestia. Eleonora fra sete e oro", in _Moda alla corte dei Medici.
        Gli abiti restaurati di Cosimo, Eleonora e don Garzia_. Firenze:
        Centro Di, 1993.
        (the book contains several articles, one - by Janet Arnold - is in
        English, the others in Italian)

        On page 37, there is a photo of the fabric (the sample is in Florence
        at the Bargello).
        On page 42, the author says:
        La veste di Eleonora del famoso ritratto del Bronzino conservato agli
        Uffizi dà splendida testimonianza di questo tipo pregiatissimo di
        produzione, del genere in assoluto più ricco, per difficoltà
        techniche e per quantità di metalli preziosi, fra quelli mai prodotti
        nelle storia della tessitura. Eleonora non possedeva la veste con cui
        il pittore la ritrasse, o meglio non la possedeva di quei colori -
        non è registrato fra i suoi abiti nessun broccato con pelo nero, un
        colore non frequente nel suo guardaroba -, ma certamente al Bronzino
        fu consegnata dalla Guardaroba o da Eleonora stessa la pezza
        di "drappo ornato" che doveva fare net ritratto "bella mostra" di sé,
        anzi rappresentare la migliore produzione cittadina.

        Rough translation:
        Eleonora's dress shown on Bronzino's famous painting which is kept at
        the Uffizi gives splendid testimony of this highly prized type of
        production, the richest in an absolute degree, both for the technical
        difficulties and for the amount of precious metal used, in the story
        of weaving. Eleonora did not possess the dress the painter showed her
        in, or rather, she did not have it in these colours - no brocade with
        a black pile is registered among her clothes - but certainly Bronzino
        received the piece of "ornamented cloth" either from the Wardrobe or
        from Eleonora herself to make it present itself beautifully and also
        to represent the best in the city's production.

        It seems that Eleonora preferred fabrics in a solid colour to
        patterned ones, but she liked her garments to be embroidered, so the
        dress she was buried in was typical for her style. She was interested
        in textiles and employed a weaver who lived and worked in the Palazzo
        Pitti and made fabrics especially for the ducal family's clothes and
        for their home furnishings.

        Hope that helps!
        Best regards,

        Christina

        --- In Authentic_SCA@y..., Danielle Nunn-Weinberg <dannw@m...> wrote:
        > Greetings,
        >
        > A while back I remember reading about an hypothesis that the fabric
        used in
        > the gown painted on Eleanora of Toledo (I believe it was this
        portrait
        > under discussion http://sunsite.dk/cgfa/bronzino/p-bronzino4.htm)
        didn't
        > actually exist in one of her garments but was instead painted from
        a length
        > of textile that Bronzino had in his studio. Can anyone point me to
        an
        > article or book which discusses this? I need this info for a
        school paper
        > and didn't make note of the info when I first read it....
        >
        > Cheers,
        > Gwendoline
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