Archive for ricamo a reticella

A History of Lace in Seven Portraits: Queen Elizabeth I

Posted in Fashion, Fine & Decorative Arts, Lace, Liz Hager, Painting, Textiles with tags , , , , , on July 8, 2009 by Liz Hager

By LIZ HAGER
© Liz Hager, 2009. All Rights Reserved.

Editor’s Note: This is the third installment in VR series on lace in portraiture. Other chapters include: Prologue, Beatrice d’Este, Nicholaes Tulp, Louis XIV, Clement III, The Duchess of Alba, Gloria Swanson; or click here for all posts in the series.

Attributed to George Gower, Queen Elizabeth I, ca. 1588,
Oil on panel,  105 x136 cms.
(Woburn Abbey)

When she ascended to the throne in 1558, Elizabeth I inherited a relatively backwater island country, bankrupt, torn by religious strife, and perennially under threat of attack by continental powers France & Spain. Over her 45-year reign, she led England’s extraordinary transformation into a 16th-century superpower. By the time of her death (1603), not only was England free of extra-border threats, but the country was well-positioned for virtually limitless colonial expansion. At the heart of this transformation was the British navy.

George Gowers’s portrait of the Queen (one of three copies) was painted to commemorate the defeat in 1588 by the British of the Spanish Armada. The battle was arguably one of the most significant military victories in British history, for it catapulted England to maritime domination, which supported colonial expansion. For centuries afterward, Britain would reap the economic rewards of its far-flung empire.

17th century Chart showing route of Armada
(courtesy British Library)

The Battle

The conflict pitted Catholic Spain—its preeminent force backed by considerable New World gold and silver—against Protestant England, a country with little wealth, few friends, and scant defenses. In the fall of 1588, the 124-boat Armada arrived in the English Channel. . . only to suffer humiliating defeat.  The heavy Spanish galleons were thwarted by stormy Channel weather and outmaneuvered by the more nimble British fleet under the command of Sir Francis Drake. Attempting to retreat, the Armada found its direct route to Spain blocked by the British, and the ships were forced to sail around the perilous north coast of Scotland. Storms wrecked a good number of vessels; the remaining few straggled home. The message of British naval supremacy was clear.

The Queen

Elizabeth was an intelligent and pragmatic woman, keenly aware that she was as much a symbol as an individual. By 1588 the epithet “Virgin Queen” would have been in common use, although her power was in no way diminished. Further, Elizabeth was adept at deploying her images in service of propaganda, always cognizant that she must overcome perceptions of weakness represented by a female monarch without heirs.

Gower presents her as Eliza Triumphans, an iconic pose that reinforces Elizabeth as the savior of her country at the height of her political powers. The Queen is in her mid 50s—aging, yet still vital and commanding. The painting is larger than life-size, meant to impress. Further, the Queen is surrounded by symbols of her power, including a luxurious costume studded with hundreds of jewels. She rests her hand on a globe in a gesture that symbolizes her monarchical reach. Her fingers hover over the Americas; the first English child was born at the English settlement in Virginia, just before the portrait was painted.

After 1560, Elizabeth was rarely depicted without her cache of jewels. As opulent accoutrements, they signaled the affluence and separateness of Elizabeth, the Monarch, as well deflected attention from the deteriorating physical condition of Elizabeth, the individual. Pearls, said to be her favorite jewel, symbolize virginity. As a display of her purity, virtuousness, and even agelessness, the pearls would have reminded her subjects that she was “married” to them.

The extravagant and delicate white lace collar also refers to her virginity, curiously (or perhaps deliberately) mimicking the ornamental gold halos of 14th century Madonnas.

Pattern for Reticella Lace from pattern book of Cesare Vecellio, 1591Reticella Lace, from Pattern Book of Cesare Vecellio, publishing 1591.

The Lace

True lace is generally thought to have originated in the 15th century, although its birthplace—Flanders or Italy—is still disputed. Lace-making skills may have been brought to Britain by Protestant refugees, fleeing the continent in the latter half of the 16th century.

The ruff, a Spanish style, was introduced to Tudor England by Katherine of Aragon. Elizabeth may not have been the first to add lace to the ruff, but certainly she pushed the fashion to dizzying heights. In order to wear her collars higher and stiffer than her subjects, Elizabeth consumed endless yards of cut-work, purle (lace knitting), needlework and bone lace, all of which required elaborate stays and starching to hold the many embedded jewels and other ornamentation properly.

QEI-Armada-unknown-1588-89Attributed to George Gower, Queen Elizabeth I (detail), ca. 1588,
Oil on panel,  105 x136 cms.
(Woburn Abbey)

Elizabethean portraiture provides excellent documentation of the evolution of the ruff—from a tight pleated collar of lace, newly fashionable in the 1560s, through the enlarged and unfolding style of the 1570s and 80s, to the extravagant grandeur depicted in the Rainbow Portrait (1600).

Reticella cloth, late 19th century.

The lace of the Armada collar was most certainly needlework lace, as Elizabeth was known to have preferred the Italian styles. Its gossamer quality and repeating geometric design (with lovely end wheels) suggests a reticella, an early form of true lace said to have originated in the Ionian islands. As 17th century portraits report, reticella was hugely popular among European nobility,  and made only to a limited extent in England. Elizabeth would have liked its scarcity.

Wider Connections

National Portrait Gallery—117 portraits of Queen Elizabeth I
Roy Strong—The Cult of Elizabeth: Elizabethan Portraiture and Pageantry
Elizabeth Brydges (Lady in Waiting to QE1) 1589 portrait.  Note the outer scallops of lace in the shape of Royal Crown.
British Library—Defeat of the Armada
Reticella history

A History of Lace in Seven Portraits: Beatrice d’Este

Posted in Fashion, Fine & Decorative Arts, Lace, Liz Hager, Painting, Textiles with tags , , , , on June 27, 2009 by Liz Hager

By LIZ HAGER

Editor’s Note: This is the second installment in VR series on lace in portraiture. Other chapters include Prologue, Elizabeth I, Nicholaes Tulp, Louis XIV, Clement III, The Duchess of Alba, Gloria Swanson; or click here for all posts in the series.

 

Da Vinci—Bearice d'Este

Leonardo da Vinci or Ambrogio de Predis, Beatrice d’Este, ca. 1490
Oil on canvas
(Biblioteca Ambrosiana, Milan, Italy)

Our history begins with Beatrice d’Este, despite the fact that in this portrait she wears no lace. Although lace is explicitly mentioned in documents as early as the 13th century, the first detailed portraits of figures wearing lace generally don’t appear until the 16th century, when lace was widely fashionable among the nobility and growing merchant classes.

It is somewhat curious that Beatrice wears no lace in this portrait. Lace, which could require as many as ten hours of concentrated work to produce a single square inch, was available and highly-coveted. Indeed, an Este family inventory dating from 1493 lists, among a vast array of jewels and personal property, ricamo a reticellapunti and lavoro ad ossa (bone lace), all common laces of the period.

And yet, the portrait is emblematic of its time. Completed at the dawn of the Renaissance (commonly set at 1492), the painting hints at the transformation of the world to come, during which great power and wealth would be accumulated by families in a position to profit from the re-emerging trade along Silk Route. And those families would impress the world with their unapologetic and ostentatious display of wealth, the legacy of which has reached us in the form of various “masterpieces.”

Beatrice was a member of the Este-Sforza family, which joined by marriage two of the oldest reigning and already powerful houses in Italy. The house of Este, which held court in Ferrara, traced its lineage to the 11th century Dukes of Saxony and Bavaria. Beatrice’s father, Ercole I ruled the Ferrara commune for 34 years, catapulting the city-state (and the Estes with it) to an unmatched level of economic prosperity and cultural prominence. The family was renowned for its love of letters and patronage of the arts.

By comparison, the Sforza (“force”) dynasty were young upstarts. At the time of this portrait, the Sforzas controlled another rising city-state, the Duchy of Milan. (Although this would not be for long, as the French ousted Beatrice’s husband Ludvico Sforza, the Duke of Milan, in 1498, and this led to centuries of skirmishes between various European factions for control of Milan.)

The houses of Este and Sforza had always been on friendly terms. Since Ludvico was one of the most powerful princes in Italy, he might have been expected to eventually woo the Este daughters. His first choice for a wife was Beatrice’s older sister, Isabella. Ercole I readily saw in the alliance an opportunity to ally Ferrara with powerful Milan as a safeguard against the rival Papal State and Venice. Unfortunately, Isabella was already spoken for. So Ercole proffered up his younger daughter (then under 10 years old). The two were subsequently married in the winter 1490 when Beatrice was 16.

The true attribution of Beatrice’s portrait is still in doubt. Ludvico Sforza was accomplished as a warrior, businessman, and a patron of the arts, who over time commissioned both Ambrogio de Predis and Leonardo for various projects.  De Predis was already employed in the Sforza court when Ludvico first invited Leonardo to Milan in 1483 to design an equestrian statue of his father, Duke Francesco Sforza. (Though the Leonardo model was never cast, a “replica” prances today outside the Ippodromo in Milan.)  The Duke may have had his doubts throughout the duration of the project, but the patron and artist must have stayed on good terms. Leonardo remained at court, helping the couple with all manner of additional projects, even the interior decor for the marriage celebration. Regrettably, no documentation of a portrait by Leonardo of either the Duke or his wife exists. Further complicating matters, de Predis was known to have assisted Leonardo with many of his Milanese commissions.

We may never know who executed this portrait, but that need not deter from an appreciation of its singularity.  Following the portraiture convention established by painters of the Quattrocentro, the artist has chosen to portray his sitter in profile. In doing so, he magnificently captures essence of his sitter, a girl on the threshold of womanhood.  Bedecked in the adornments—silk, velvet, pearls and embroidery (brocade) crafted of spun gold threads—afforded her by birthright and marriage, Beatrice looks forward in noble serenity. And at the same time her profile with its upturned nose and slight smile betrays an innocence that must have been the basis of the oft-repeated epithet: la più zentil donna in Italia” (“the sweetest lady in Italy”).

Wider Connections

Sir Kenneth Clark—Leonardo da Vinci (Revised Edition)
Cristoforo Romano: bust of Beatrice d’Este
Fashion: Beatrice d’Este’s tomb
Ambrogio de Precis only signed and dated work: Maximilian I
Niccolò Machiavelli—The Prince

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