1 more question.
What do any of you think this veil is made out of?
--- In SCA-Milliners@yahoogroups.com, Hope Greenberg
> Cynthia said:
> <> >http://www.kfki.hu/%
> >I LOVE that one! I hadn't seen it before.
> I didn't provide much information with this image so here's some
> put it in context. I love how cosmopolitan and mobile this couple
> It's especially interesting to wonder how her clothing reflects
> Florentine, Bruges, and perhaps London fashion, as filtered through
> Memling's ideas. I've never found out whether she actually went
> husband to London.
> The work was commissioned by Angelo di Jacopo Tani, the Florentine
> manager of the Medici bank in London, for the altar of his newly
> Chapel of St Michael in Cosimo de'Medici's church of the Badia
> The commission coincided with Tani's wedding in 1466 to Caterina
> Tanagli, with whom he is portrayed on the closed wings. Their
> escutcheons are mounted on the polygonal base of the niches.
> St Michael appears as the saint to whom the chapel was dedicated.
> together, the grisailles depict the victory of St Michael over
> who was threatening the Virgin and Christ Child.
> The painting was completed before the birth of the couple's first
> daughter in 1471, and was dispatched to the port of Pisa from
> Southampton in 1473. The ship was intercepted by a Polish warship
> operating on behalf of the Hanseatic League and the painting was
> to Danzig (Gdansk), where it was to remain.
> The closed altarpiece shows the donor and his wife kneeling in
> each before a niche containing respectively a statue of the Virgin
> Child and St Michael battling with demons. Their escutcheons are
> on the polygonal base of the niches. These were identified as
> to the Florentines Angelo di Jacopo Tani (1415-1492) and Caterina
> Francesco Tanagli (1446-1492). Tani was an agent of the Medici bank
> Bruges in 1450, before becoming its manager in 1455. He was ousted
> Tommaso Portinari in 1465. Tani married in Florence in 1466, and
> wife bore a daughter (one of several) on 8 June 1471. He drew up
> will on 12 December 1467, the same month as he was sent back north
> save the London branch from bankruptcy. The holy figures
> here evidently relate first and foremost to the devotion of the
> The coats-of-arms were originally reversed - in other words, the
> arms appeared in the woman's panel, and vice versa.
> Before departing for London in December 1467, Tani founded a chapel
> dedicated to St Michael at his employer's church in Fiesole and
> his will. He probably also made funeral arrangements in the
> manner. He will then have required an altarpiece, which he ordered
> Memling some time after the end of 1467 during his stay in the
> The painting was, therefore, largely executed during his stay in
> between 1467 and 1469, from where he could monitor its progress.
> iconography of the altarpiece is clarified by its destination. St
> Michael has been selected here first and foremost as the saint to
> the chapel was dedicated, and only in the second place as Tani's
> This also explains the absence of the woman's patron. Taken
> the grisailles depict the victory of St Michael over Satan, who was
> threatening the Virgin and Christ Child.