headaches & moving was Re: [Authentic_SCA] Re: teneriffe lace?
> Despite the urge to slap 'em, that's usually the best thing to dowith
> a rotten doctor. There _are_ good ones out there, really...you justYeah, but you know how it is when you've been through three in one
> have to look.
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!
- 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.
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!
--- In Authentic_SCA@y..., Danielle Nunn-Weinberg <dannw@m...> wrote:
> A while back I remember reading about an hypothesis that the fabric
> the gown painted on Eleanora of Toledo (I believe it was this
> under discussion http://sunsite.dk/cgfa/bronzino/p-bronzino4.htm)
> actually exist in one of her garments but was instead painted from
> of textile that Bronzino had in his studio. Can anyone point me to
> article or book which discusses this? I need this info for a
> and didn't make note of the info when I first read it....