tag:blogger.com,1999:blog-25463728363013028652024-03-14T12:10:31.240+01:00 Tacuinum MedievaleAnna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-2546372836301302865.post-10849551039501260922020-01-06T18:18:00.001+01:002020-01-06T18:34:36.438+01:00Giarrettiere: dalla pecora e dal bronzo / From sheep and bronze to garters<div class="" style="clear: both; text-align: center;">
Gli ultimi mesi del 2019 sono stati dedicati a un piccolo progetto, con l'obiettivo di partire dalle materie prime per arrivare all'oggetto finito.</div>
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<i>We spent the past months of 2019 working on a small project, with the aim to start from scratch and to obtain a finished object. </i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYH-OkwZNiM5gv3T0YhmusGCMS3-nUqY4bKbjYMCs8gXRw6wNpjcyZgfzchmI78-74jSOihKzXtAiNHm-7HZoyqpm-XfyMsbxzxsNigwYv6kC0hPY-4qn6soeTVJrGNBvnRnernAxbZNk/s1600/__DSC_3194.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1064" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYH-OkwZNiM5gv3T0YhmusGCMS3-nUqY4bKbjYMCs8gXRw6wNpjcyZgfzchmI78-74jSOihKzXtAiNHm-7HZoyqpm-XfyMsbxzxsNigwYv6kC0hPY-4qn6soeTVJrGNBvnRnernAxbZNk/s640/__DSC_3194.jpg" width="640" /></a></div>
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<b><b>Le giarrettiere / </b><i><b>Garters</b></i></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Un esempio di giarrettiere, indossate <br />
da un contadino.<i>/ An example of garters,</i>worn by a farmer.<br />
<a href="https://gallica.bnf.fr/ark:/12148/btv1b105072169/f100.item">BnF Lat. 9333, fol. 44 v.</a> <br />
(prima metà XV sec./ 1st half 15th cent.)</td></tr>
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L'oggetto che volevamo realizzare è un semplice paio di giarrettiere in lana, chiuse da una fibbia di bronzo, da accompagnare al set di abiti del falegname Pirondino. Le giarrettiere sono un oggetto un po' elusivo: le loro raffigurazioni risultano <span style="text-align: center;">rare sulle figure di ceto medio, mentre se ne intravede qualcuna su personaggi di ceti più bassi oppure se ne possono individuare varianti più ricche ed elaborate su personaggi più eleganti. In quest'ultimo caso, spesso si vede che ne è indossata solamente una: viene così enfatizzato l'aspetto estetico e decorativo rispetto all'effettiva funzione pratica. La funzione della giarrettiera, indossata sotto il ginocchio, è infatti quella di tenere ben tese e in posizione le calzabraghe, che la moda trecentesca pretende attillate e ben modellate per sottolineare la gamba maschile, come si vede dalle iconografie ma anche da alcuni riferimenti documentari. Ad esempio Francesco Datini, il ricco mercante di Prato, rimanda al sarto un paio di calzabraghe perché non erano abbastanza aderenti. Per i ceti più bassi, magari impegnati in lavori più pesanti, le giarrettiere potevano essere utili per tenere in posizione delle calzabraghe, sformate dal tempo e dal lavoro, che tendevano a spostarsi durante le attività fisiche più impegnative. Abbiamo quindi ipotizzato che l'abito da lavoro di un falegname potesse essere completato da questo accessorio, in grado di risolvere il problema delle calzabraghe che tendevano a scendere, più volte segnalato da Francesco. </span><br />
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<i>The object we wanted to make was a simple pair of woolen garters, closed by a bronze buckle, for carpenter Pirondino's outfit. Garters are an elusive item. You can rarely see them on middle-class characters, while you can sometimes spot them on people from the lower classes or you can see some posh and elaborated ones on rich people and noblemen. You can often see that elegant people wear only one garter: this means they use it a decorative item and that it doesn't have any practical purpose. The actual purpose of garters, normally worn under the knee, is to keep the hoses well stretched and in place, as well-fitted hoses that emphasyze men's legs are a cornerstone of late 14th century fashion. You can see this feature in many pictures but you can also find it in documents: for example, Francesco Datini, the rich merchant of Prato, sends back to his tailor a pair of hoses that weren't tight enough so they can be fixed. For working class men, garters would have been useful to keep the hoses in place and prevent them from slipping down, once they became loose and worn out because of hard work and time. Thus, we thought that a simple pair of garters could be a useful accessory for a carpenter's workwear and that they could solve the problem of slipping hoses, reported several times by Francesco.</i><br />
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<b>La stringa di lana / <i>The woolen band</i></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVQMqhcealBzMrClpgQ2jXIEVkdSbUJOt0vACQvLt_g6rgrJlppJJSUK9sjlvbg2GExOD9o81j3fUn8su6yIxFzfQpUCzUVQpHs6CjrMWPiLUNKRn-igfCryV5LAJtQLX1iFZH-E1mFeE/s1600/__DSC_3213.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1061" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVQMqhcealBzMrClpgQ2jXIEVkdSbUJOt0vACQvLt_g6rgrJlppJJSUK9sjlvbg2GExOD9o81j3fUn8su6yIxFzfQpUCzUVQpHs6CjrMWPiLUNKRn-igfCryV5LAJtQLX1iFZH-E1mFeE/s320/__DSC_3213.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lana di pecora Aland. / <i>Aland sheep wool</i>.</td></tr>
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Ho scelto di utilizzare la lana perché:<br />
- trattandosi di giarrettiere per l'abito da lavoro di un falegname, ho escluso la seta, troppo pregiata e delicata<br />
- nastri e giarrettiere di lana sono stati individuati negli scavi di Londra (p. 141-144) e la loro esistenza anche in Italia può essere intuita da alcuni passi di Statuti delle Arti della lana, in cui si vieta di realizzare "cinture e cinturine" di lana (non è chiaro il motivo del divieto - forse per evitare la dispersione del prezioso materiale, utilizzato per tessere grandi pezze di tessuto, in piccoli oggetti? Generalmente, comunque, la presenza di divieti di questo tipo presuppone l'esistenza in circolazione dell'oggetto vietato stesso).<br />
- la scelta della lana mi permetteva di partire dalla preparazione della materia prima.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjKatU2gdRv06Emy1fz8tJwAI-Edw8ZHQ6gICKuoNylvr1_msGhS8OCmogwVQILe6wLq48yxkR7Bx-LGwUDg5NkSU430KZGmzlTNMayT8MaK_mO8TFAR4nsGpZtDyz1G65z21LSbLDhA/s1600/__20191021_205548.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjKatU2gdRv06Emy1fz8tJwAI-Edw8ZHQ6gICKuoNylvr1_msGhS8OCmogwVQILe6wLq48yxkR7Bx-LGwUDg5NkSU430KZGmzlTNMayT8MaK_mO8TFAR4nsGpZtDyz1G65z21LSbLDhA/s320/__20191021_205548.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Filare con la rocca e il fuso. / <i>Spinning with distaff and spindle.</i></td></tr>
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<i>I chose wool because:</i><br />
<i>- being garters for a carpenter's working outfit, I avoided silk, as it was too precious and fragile</i><br />
<i>- woolen bands and garters have been found at London's docks (Textiles and Clothing 1150-1450, p. 141-144). They most likely existed in Italy too, as in some Statues of the Arte della Lana (wool industry) it's said it's forbidden to weave "belts and small bands" made of wool (the reason of the prohibition it's not clear - maybe to avoid the scattering of the precious material, that was supposed to be used to make big cloths, in small items? Anyway, even if it may sound weird, the ban of an item generally means that it actually existed).</i><br />
<i>- wool allowed me to start from the preparation of the raw material itself. </i><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;">Il filo, pronto per essere montato sul pettine. /<br />
<i>The thread, ready to be set on the rigid heddle.</i></td></tr>
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Ho scelto quindi di rifarmi a uno specifico reperto di Londra, il n. 387 (Fig 111 C), realizzato con fili di lana pettinata singoli, filati con torsione a Z, con la densità di 28/12 fili/cm rispettivamente in ordito e in trama, per una larghezza di soli 13 mm, tessuto con la tecnica "tabby" (tessitura piana). Non è stato possibile individuare la funzione originariamente svolta dal frammento, ma ho ritenuto che si trattasse di una costruzione talmente semplice da potersi adattare facilmente a un paio di giarrettiere.<br />
<i>I chose to pick a specific find from London, n. 387 (Fig. 111 C): it's made of worsted wool threads, singles, Z-spun, with 28/12 threads per cm in warp/weft. It's only 13 mm wide and it's a tabby weave. It wasn't possible to find out the original function of the fragment, but I think it's such a simple weave that it could have been easily used to make a pair of garters.</i><br />
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">Tessendo la stringa con il pettine-liccio. /<br />
<i>Weaving the band with the rigid heddle.</i></td></tr>
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La lana che ho scelto di utilizzare mi è stata regalata da Mervi. Si tratta di una lana grigia di una razza di pecora finlandese primitiva, molto rara, che si chiama Åland sheep: le razze primitive sono razze di pecore che non hanno subito sostanziali modificazioni nel tempo ed hanno quindi mantenuto caratteristiche arcaiche che le rendono simili alle razze medievali, o a quelle ancora più antiche. In questo caso, avevo a disposizione un grande quantità di fiocchi, costituiti generalmente da fibre più chiare mo<span style="text-align: center;">lto soffici, con la presenza di alcune fibre nere più spesse e rigide. La lana era stata lavata in precedenza, per cui ho solamente dovuto aprire le fibre con un pettinino per rimuovere lo sporco rimasto per poi procedere alla pettinatura vera e propria. Dal momento che i miei pettini medievali sono piuttosto grossi e non ero certa che riuscissero a preparare la lana in maniera sufficientemente uni</span><span style="text-align: center;">forme, ho utilizzato dei pettini moderni molto fini (Louet minicombs). Finalmente ho poi potuto iniziare a filare, con la rocca e il fuso: ho prima realizzato alcuni campioni per capire quanto doveva essere sottile il filo per corrispondere il più possibile al reperto, testandone anche la resistenza, assestandomi poi su uno spessore che ritenevo idoneo. Dopo la filatura, ho fatto una matassa, l'ho lavata in acqua tiepida, l'ho appesa ad asciugare con un peso per fissare la torsione e l'ho stirata con il vapore, sempre per rendere il filo più stabile.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz714eQ9GXcYq59R8j-0wRVPrTGB4pmGA4DXS9Y2a-Rbjh6CUwmi5_G9HwSmSpyNYi15wSyVsNWVHRqxHGqLwzk0sboc0WRy0NazZIlcUdXxX0scRe0PiH_AJ17etAQDlRUu3lkIVwZWo/s1600/__20191108_223152.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1051" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz714eQ9GXcYq59R8j-0wRVPrTGB4pmGA4DXS9Y2a-Rbjh6CUwmi5_G9HwSmSpyNYi15wSyVsNWVHRqxHGqLwzk0sboc0WRy0NazZIlcUdXxX0scRe0PiH_AJ17etAQDlRUu3lkIVwZWo/s320/__20191108_223152.jpg" width="209" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; padding-top: 4px; text-align: center;">Lo spessore della stringa e dei fili. /<br />
<i>The width of the band and the tickness of the threads.</i></td></tr>
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<i>I chose to use some grey wool, given to me by Mervi. This wool comes from from a rare, primitive Finnish breed, called Åland sheep: primitive breeds are breeds that haven't been crossed with other breeds or modified through time, so they keep some archaic features that make them similar to Medieval or even older breeds. </i><br />
<i>In this case, I had many locks that featured lighter, soft fibers mixed with some darker, thicker and hairy fibers. Wool had already been washed, so I only needed to remove some more dirt with a small comb before actually combing them. As my medieval wool combs are quite big and I wasn't sure they could comb the wool evenly enough, I used some very fine modern combs (Louet minicombs). After combing the wool, I dressed my distaff and picked one of my spindles to male some tests to see how thin the thread had to be to match with the find and how strong it needed to be, in order to be woven. After the spinning, I made a skein, I washed it in warm water, I hanged it to dry with a weight to settle the twist and finally I ironed it and steamed it. </i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbE4ab-vj_QGywzU-UAz6IUxbB5e8qKQMrsOXTMq_v0CFv-2hlqterO9nDAZS2kvCVGeQlVF9XwQo2_Tetg_mY6pJc-HTfczKeQtNWPe4TLCsm_nTzNFWhLhAOYuc7KpH1bXl7lxrkkRQ/s1600/__DSC_3122.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="639" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbE4ab-vj_QGywzU-UAz6IUxbB5e8qKQMrsOXTMq_v0CFv-2hlqterO9nDAZS2kvCVGeQlVF9XwQo2_Tetg_mY6pJc-HTfczKeQtNWPe4TLCsm_nTzNFWhLhAOYuc7KpH1bXl7lxrkkRQ/s400/__DSC_3122.jpg" width="158" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">La mia giarrettiera a confronto<br />
con il reperto originale. / <i>My band<br />and the original find.</i></td></tr>
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Per realizzare una tessitura "tabby" si può utilizzare il pettine liccio: ho quindi preparato l'orditura e montato l'ordito sul mio pettine. Alla fine, per ottenere la stessa larghezza del reperto ed avere comunque un filo abbastanza solido, ho diminuito il numero di fili dell'ordito (da 36 a 30, anche in funzione delle dimensioni del mio pettine liccio, che non è abbastanza largo per 36 fili) ed anche la densità dei fili di trama è leggermente inferiore (10 rispetto a 12). Come mi aspettavo, durante la tessitura ho dovuto fronteggiare la rottura di diversi fili, sia per la loro fragilità, sia per alcune irregolarità nel legno del pettine. Sono comunque riuscita a riparare i fili e a completare circa 120 cm di tessitura, da cui ho ricavato le 2 giarrettiere, che sono lunghe circa 43 cm più i margini per la rifinitura.<br />
Sono stata molto orgogliosa del risultato, nonostante le piccole discrepanze rispetto al reperto di riferimento, e ho sicuramente imparato molto sulla qualità della mia filatura. Il modo migliore per conoscere il proprio filo filato a mano, infatti, è usarlo.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18VovK68nyrdWkWMLmtH5QBIbs-78H4P7tuOxQAYzEpUIt1qkVk1axWdaodKaMtamCrMm1e7JSLORQvw1rIdtE0l0FsOhnijCzJgGHcPo_gIjnyF3wDxOPcLiQ1Hv1E43VVUODzHneyQ/s1600/__20191108_234012.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18VovK68nyrdWkWMLmtH5QBIbs-78H4P7tuOxQAYzEpUIt1qkVk1axWdaodKaMtamCrMm1e7JSLORQvw1rIdtE0l0FsOhnijCzJgGHcPo_gIjnyF3wDxOPcLiQ1Hv1E43VVUODzHneyQ/s200/__20191108_234012.jpg" width="200" /></a><i>To make a tabby woven band it's possible to use a rigid heddle: I prepared the warp and set it on my rigid heddle. </i><i>In the end, to be able to obtain the same width as the find, I reduced the number of threads in the warp as they are slightly thicker than the originals: so I had 30 instead of 36, considering also that my rigid heddle wasn't wide enough for 36 threads. The density of the weft is slightly lower too (10/cm instead of 12/cm). As I expected, during the weave I had to face the breakage of several threads, both because of their fragility and of some sharp spots on the heddle. Anyway I managed to fix them and weave about 120 cm of the band. Each garter is 43 cm plus some extra centimeters for finishing and for attaching the buckle. </i><br />
<i>I am very proud of the result, even if there are some small differences from the original find. I also learnt a lot about my spinning: the best way to get to know your handspun is actually to use it!</i><br />
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<b></b><b>Le fibbie / <i>The buckles</i></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyiwWKVwUThTU55G6pIh-pJXhbFZf57Np_LV9VHdzsZWBqQj5vVmqKNwX_iHj-cHo2q8vKdypR-0HjEzbm-uvn2pE1CjCqbyUvVq4zPZRuU9pTrdIeQDogXRfjy98UcDlEyggJ-Gz27iY/s1600/__2_20191109_123340.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="806" data-original-width="1600" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyiwWKVwUThTU55G6pIh-pJXhbFZf57Np_LV9VHdzsZWBqQj5vVmqKNwX_iHj-cHo2q8vKdypR-0HjEzbm-uvn2pE1CjCqbyUvVq4zPZRuU9pTrdIeQDogXRfjy98UcDlEyggJ-Gz27iY/s320/__2_20191109_123340.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Il modello in cera e il disegno dell'originale. <i>/ The wax<br />prototype and the drawing of the original.</i></td></tr>
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Francesco si è invece occupato della creazione delle fibbie. Per prima cosa abbiamo individuato il modello: anche in questo caso abbiamo scelto come riferimento un reperto degli scavi di Londra presente in <i>Dress Accessories 1150-1450</i>, uno dei pochi testi che fornisce informazioni abbondanti e precise su questo tipo di oggetti. Il reperto scelto è il n. 297 (p. 73), datato 1350-1400, una fibbia di tipo semplice, simile ad altre presenti anche in area italiana. Per prima cosa è stato realizzato un modello in cera, poi il modello in cera è stato usato per fare il negativo sulla terra, in cui è stato poi colato il bronzo fuso, utilizzando un fornetto per la fusione dei metalli. Le fusioni sono poi state rifinite e completate con l'ardiglione.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1xau8j6oxFRo2fQSQld-3Il5UAfBNauWgni6zFemIc-HjPgG4LxcEYPPP3MFanL5kXGsyySXJxva4nabeQTxo5hmHT1cQN5Mfe6R8x487e6FJeb-NupPh7Qfx_VxWmtg0jvoUSwJuaH0/s1600/__DSC_3161.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="864" data-original-width="1600" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1xau8j6oxFRo2fQSQld-3Il5UAfBNauWgni6zFemIc-HjPgG4LxcEYPPP3MFanL5kXGsyySXJxva4nabeQTxo5hmHT1cQN5Mfe6R8x487e6FJeb-NupPh7Qfx_VxWmtg0jvoUSwJuaH0/s320/__DSC_3161.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">La fibbia in bronzo e il disegno dell'originale. </span><i style="font-size: 12.8px;">/ <br />The bronze buckle and the drawing of the original.</i></td></tr>
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<i>Francesco took care of the buckles instead. First, we chose the shape: again, we chose one of the finds from London showed in Dress Accessories 1150-1450, one of the few books that gives detailed information about this kind of items. The chosen find is n. 297 (p. 73), dated 1350-1400. It's a simple buckle, not very different from other similar finds we have seen in Italy. First, Francesco made a wax prototype of the buckle, then he used it to prepare the mold in the sand and he melted the bronze, using a specific oven. Then, the buckles have been refined and the pin was added</i>.<br />
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<tr><td class="tr-caption" style="font-size: 12.8px; padding-top: 4px;">Il fornetto per la fusione del bronzo. / <i>The bronze oven.</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc_Zimd68d63Nu1uJIH34Ee7Zxx2aidwh8b82v4Dyija2bbH_9952FI5P_w-S-EqPXA4hHv0EGmlpOvri-vZ5Hi90mBR-RbKjyLe4kgpAZD5sU8QrWcqEIxZdtK1UMagC8CJpa1QUnV3M/s1600/__20191110_154142.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc_Zimd68d63Nu1uJIH34Ee7Zxx2aidwh8b82v4Dyija2bbH_9952FI5P_w-S-EqPXA4hHv0EGmlpOvri-vZ5Hi90mBR-RbKjyLe4kgpAZD5sU8QrWcqEIxZdtK1UMagC8CJpa1QUnV3M/s320/__20191110_154142.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; padding-top: 4px; text-align: center;">Le fibbie immediatamente dopo la fusione. /<br />
<i>The buckles righ after the casting.</i></td></tr>
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Si è trattato di un lungo processo per la realizzazione di un piccolo oggetto che probabilmente, durante gli eventi, passerà inosservato. Più di tutto, però, ci interessa aver fatto un passo avanti nella pratica e nella conoscenza di nuove tecniche e siamo orgogliosi di utilizzare un oggetto completamente realizzato da noi. / <i>It has been a long process to make a very small object, that probably won't even be noticed during the events. But most of all, what matters to us is that we made a step further in the practice and knowledge of new techniques and we are proud to use something completely made by us.</i></div>
Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com2tag:blogger.com,1999:blog-2546372836301302865.post-22276690561188927392019-12-29T13:08:00.004+01:002019-12-29T14:02:50.072+01:00"With one needle": un libro sul needlebinding / "With one needle": a book about needlebinding<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-n02NnM-ZcchRVwEXhtVNDCFaybSP0M4MI-k_05V2OLb2w2N_vn8dAbnyxsJESRH7z7SGb2NOz-4cwUFasQcQsoaNZZmc7uDGYrkikd2NhpWryPu2DlrAVahIIquL-QkC7Or9GVMBJCo/s1600/4b9a24fcb9031955759fb7b2d2cf77e3_f172.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="495" data-original-width="800" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-n02NnM-ZcchRVwEXhtVNDCFaybSP0M4MI-k_05V2OLb2w2N_vn8dAbnyxsJESRH7z7SGb2NOz-4cwUFasQcQsoaNZZmc7uDGYrkikd2NhpWryPu2DlrAVahIIquL-QkC7Or9GVMBJCo/s640/4b9a24fcb9031955759fb7b2d2cf77e3_f172.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"With One Needle. How to nålbind" - Mervi Pasanen</td></tr>
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La prima volta che ho incontrato Mervi è stato al suo workshop di needlebinding, a Battle of Wisby 2013. Non sapevo niente di questa tecnica, ma ero comunque curiosa di provare: scoprii così che il needlebinding, che letteralmente significa "legare con l'ago", è una tecnica molto antica (di cui ci sono testimonianze già 4000 anni fa) e ancora oggi diffusa in particolare in Nord Europa. Nota nel bacino del Mediterraneo a Egizi e Romani e diffusa presso le popolazioni vichinghe nei Paesi Scandinavi, questa tecnica viene utilizzata fino al Medioevo per realizzare prevalentemente guanti, calzini e berrette di lana. L'unico strumento necessario è un semplice grosso ago, realizzato in osso, legno o metallo.<br />
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<i>The first time I met Mervi was at her needlebinding workshop, duing Battle of Wisby 2013. I didn't know anything about this technique but I still wanted to try it. I found out that "needlebinding" means "to bind with a needle" and that is a very old technique. There are findings from 4000 years ago and it's still practiced nowadays in Northern Europe. Needlebinding was used by the Egiptian and the Romans, it was known by the Vikings and it was used also in the Middle Ages. It was mainly used to make gloves, socks and hats. The only tool required is a simple, big needle made of bone, wood or metal. </i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip2Cj4T_G1qkP8FQyaiUwIg-ROJCNS-kM3h_WmIe_pEuLseipgj1mteFiU96pTm5qd2kjXQHObGHwyC0xUU6ALIPgl16MBhJJi5crpc3wTL2pqnoHPN4dDkKIZhtnIUGkJHcJeiXyhRVU/s1600/43052464_10205073738158376_8241600971789041664_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip2Cj4T_G1qkP8FQyaiUwIg-ROJCNS-kM3h_WmIe_pEuLseipgj1mteFiU96pTm5qd2kjXQHObGHwyC0xUU6ALIPgl16MBhJJi5crpc3wTL2pqnoHPN4dDkKIZhtnIUGkJHcJeiXyhRVU/s320/43052464_10205073738158376_8241600971789041664_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">La versione finlandese del libro e i miei primi calzini realizzati<br />
con il needle binding. / <i>The finnish version of the book and my<br />needlebound socks.</i></td></tr>
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Ci è voluto un po' di tempo, ma durante una gita in Finlandia e grazie alla pazienza di Mervi, l'anno scorso ho ripreso in mano l'ago e ho completato il mio primo paio di calzini. Ho ricevuto anche il suo libro dedicato al needlebinding, che è stato una preziosa guida grazie alle chiare foto dei passaggi, anche se l'unica versione disponibile in quel momento era quella finlandese. Sono quindi stata ancora più felice di scoprire che era in programma anche una traduzione inglese: ora che ce l'ho tra le mani, posso finalmente apprezzarlo pienamente.<br />
Il libro è dedicato in particolare alla tradizione finlandese, che è rimasta ininterrotta dall'antichità ad oggi. Nel libro troverete:<br />
- una prefazione e un'introduzione storica sul needlebinding, da cui è possibile avviare ulteriori ricerche più dettagliate<br />
- un'introduzione sulla tecnica e sui materiali utilizzati (filati e aghi)<br />
- una sezione dettagliata e ricca di fotografie dedicata all'avvio del lavoro, in cui vengono illustrate le tecniche possibili, dalle più semplici a quelle più complesse che prevedono anche più colori, e le istruzioni per calare e crescere i punti.<br />
- la spiegazione delle diverse tipologie di punto utilizzate nel libro e le modalità di annotazione<br />
- le istruzioni su come realizzare le parti "critiche" di guanti e calzini, ovvero il pollice e il tallone<br />
- infine, un'ampia sezione con le istruzioni per realizzare numerose tipologie di guanti, calzini, cappelli e scialli con modelli e decorazioni diversi, corredate dalle indicazioni sulla tipologia e sulla quantità di lana richiesta per il progetto e accompagnati da foto a colori dei progetti finiti.<br />
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<i>It took me some time, but during a trip to Finland and thanks to Mervi's patience, last year I picked up my needle again and I made my first pair of socks. I also received her book about needlebinding, that was a very helpful guide with its clear pictures of the instructions, even though the only available version was the Finnish one. I was very happy to hear there was an English translation coming: now that I have it in my hands, I can fully appreciate it. </i><br />
<i>The book is focused on the Finnish tradition, "one of the few ones in the world that has remained unbroken through centuries". In the book you will find:<br />- a preface and an historical introduction about needlebinding, which is a good starting point for more research</i><br />
<i>- an introduction about the technique, tools and materials (yarn and needles)</i><br />
<i>- a very detailed section about the starts with lots of pictures, from the easy ones to the most difficult ones, with up to 3 colours, and the instruction about how to increase and decrease</i><br />
<i>- the description of the stitches used in the book and their notation</i><br />
<i>- the instructions on how to make the most sensible parts of socks and mittens, i.e. heels and thumbs</i><br />
<i>- a wide section with the instructions to make several kinds of mittens, socks, hats and shawls, with different patterns and decorations, complete with the kind and amount of yarn needed and pictures of the finished projects.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLCprckqt646oPNHH9XeYzPKhtTmYasbZm6whDNxiIb1u9DjrNi2gjiI79wRMAcTn1d3PJKQOPeS6E2-72NlXKFDQCkQWt871r9xxHOdll4RUEugzXCFdehhzhDY6TctSGgtzAOlPV6fk/s1600/c41e33518fa4978b4b6bfa138a93eee7_f180.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="505" data-original-width="800" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLCprckqt646oPNHH9XeYzPKhtTmYasbZm6whDNxiIb1u9DjrNi2gjiI79wRMAcTn1d3PJKQOPeS6E2-72NlXKFDQCkQWt871r9xxHOdll4RUEugzXCFdehhzhDY6TctSGgtzAOlPV6fk/s320/c41e33518fa4978b4b6bfa138a93eee7_f180.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Una pagina di esempio: come fare il pollice dei guanti. /<br />
<i>A sample plage: how to make the thumb in mittens.</i></td></tr>
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Il libro contiene tutto quanto è necessario sapere sul needlebinding per iniziare a praticarlo e per riuscire a portare a termine i propri progetti, senza sentirsi smarriti di fronte a una tecnica nuova e magari poco conosciuta, grazie alle istruzioni dettagliate e chiare che possono essere seguite passo-passo (anche per chi non conoscesse bene l'inglese). Un altro aspetto che apprezzo molto di questo libro è la versatilità degli oggetti che si possono realizzare: alcuni tipi di calzini o di guanti sono ispirati a dei reperti originali e possono quindi essere utilizzati anche per la rievocazione, ma possono essere indossati anche nella vita di tutti i giorni. Cosa c'è di meglio di un allegro paio di colorati guanti a righe in una grigia giornata di pioggia, o di un bel paio di calzettoni di lana per tenere i piedi al caldo in casa? Proprio per questo il libro non si rivolge esclusivamente ai rievocatori, ma a tutti gli appassionati di artigianato tessile, magari desiderosi di imparare una tecnica diversa dal più comune lavoro a maglia o uncinetto. Le potenzialità sono davvero infinite: una volta che avrete familiarizzato con la tecnica, potrete anche portare un progetto sempre con voi, visto il minimo ingombro degli strumenti necessari, e divertirvi ad osservare le espressioni stupite di chi vi vedrà utilizzare una tecnica mai vista prima!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBtoiOqLtl5lMp1w0EHoJGmo42JNbHc-TaBEtY63qvS2nXrNX4m_ACxXVBxywqmOPva7IV4jWT9MMShyiK3v6OIs74CsPXh5O4IYi8yvDFPJVDNMBOyyPuqI_zOdw1UFgk4CAZZkSR4UU/s1600/e260037921ba67358b74d5ced6b67ea7_f186.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="505" data-original-width="800" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBtoiOqLtl5lMp1w0EHoJGmo42JNbHc-TaBEtY63qvS2nXrNX4m_ACxXVBxywqmOPva7IV4jWT9MMShyiK3v6OIs74CsPXh5O4IYi8yvDFPJVDNMBOyyPuqI_zOdw1UFgk4CAZZkSR4UU/s400/e260037921ba67358b74d5ced6b67ea7_f186.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alcune opzioni per decorare i guanti. / <i>Many options for decorating gloves.</i></td></tr>
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<i><br />The book has everything you need to know to start needlebinding and to be able to happily finish your projects, without feeling lost in front of a new and not-so-well-known technique, as the instructions are clear and easy to follow.</i><i> I also love that you can needlebind socks and mittens for re-enactment, as some of the patterns are based on historical finds, but also for everyday life. What can make you happier than a colourful pair of striped mittens on a gray rainy day? What's better than a thick pair of wool socks to keep your feet warm? That's why the book is not only for reenactors, but for all the textile crafts enthusiasts who would love to learn a new craft, something different from the more common knitting or crochet. </i><i> There are endless possibilities, and once you have become familiar with the technique, you can bring your project along with you wherever you go, as you only need a small needle to work with. You will then have some fun looking at the suprised faces of people who will look at you while needlebinding and wonder what kind of new technique you are using! </i><br />
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<b>L'autrice / </b><i><b>The author</b>: Mervi Pasanen: </i><a href="https://swanrivercrafts.com/">Swan River Crafts</a><br />
Mervi è un'artigiana esperta e versatile, che da anni studia e insegna numerose tecniche antiche, tra cui la tessitura a tavolette e il needlebinding. <i>Mervi is an experienced and versatile textile crafter: she has been studying and teaching anciet techniques, i.e. tablet weaving and needlebinding, for many years.</i><br />
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<b>L'editore/ </b><i><b>The publisher</b>: </i><a href="http://chronocopiapublishing.com/index.php/books/one-needle-how-nalbind/#Reviews">Chronocopia Publishing</a><br />
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<b>La pagina Facebook del libro / <i>The Facebook page of the book</i></b>: <a href="https://www.facebook.com/With-One-Needle-How-to-N%C3%A5lbind-104463581040597/">With one needle - How to needlebind</a><br />
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<b>Dove trovare il libro/ </b><i><b>Where to find the book</b>:</i><br />
<i>- </i><a href="https://www.amazon.co.uk/dp/9198105663">Amazon</a><i><br />- </i><a href="https://www.handelsgillet.com/shop/books-en/one-needle-nalbind-av-mervi-pasanen/?fbclid=IwAR3_VbR-gVAU-jqTJAUXBsrgzSMWZxlIaoTIDkdc5EgtFJ0aC0IpvCekRGA">Handelsgillet</a><br />
<br />Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com0tag:blogger.com,1999:blog-2546372836301302865.post-12492413166373826912019-08-22T21:43:00.003+02:002019-08-23T10:45:45.752+02:00I vestiti di robbia / The madder dresses<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMewyeXWVLZIcTjLQ9VJvGpIrZa8-xQlLGwub3inlVZsrw-tIWphRhpxtWPxpzeYGGF1b2BU0zGx2Ov-LOw726T4e6q7HlO1eB6zo9M0oMDR6f0AuTH8fWUt6mlGDZFL_WOmoCkUIr5qI/s1600/_DSC_2126.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1248" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMewyeXWVLZIcTjLQ9VJvGpIrZa8-xQlLGwub3inlVZsrw-tIWphRhpxtWPxpzeYGGF1b2BU0zGx2Ov-LOw726T4e6q7HlO1eB6zo9M0oMDR6f0AuTH8fWUt6mlGDZFL_WOmoCkUIr5qI/s400/_DSC_2126.jpg" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Gli abiti finiti e la ricostruzione della scena tratta dalla miniatura (Ms. Casanat. 4182, tav. 119). /<br /><i>The finished garments and the reconstruction of the scene from the manuscript. </i>(Ms. Casanat. 4182, tav. 119)</span></td></tr>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><br />Dopo qualche anno di piccole o grandi sperimentazioni con la tintura e dopo aver finalmente acquisito una pentola sufficientemente grande, nella primavera del 2018 ho deciso che era il momento giusto per dedicarmi a un progetto più impegnativo: volevo avere un intero set di vestiti, composto da veste e sopraveste, tinto con la robbia, una materia tintoria con cui ho una certa familiarità e con la quale speravo di ottenere colori soddisfacenti, utilizzando diversi bagni. Ho trovato varie immagini, in particolare nei Tacuina Sanitatis, che mostrano l’accostamento di vesti e sopravvesti di tonalità simili. Ne ho scelta una in particolare, che mostrava anche l’allacciatura sul fianco, perché volevo utilizzare questa modalità di chiusura per ottenere un modello aderente (Ms. Casanat. 4182, tav. 119: "Pane Bianco"). </span><br />
<span style="color: #0b5394; font-family: georgia, times new roman, serif;">Un altro motivo per cui ho scelto questi modelli è la loro ampia diffusione testimoniata da diverse fonti coeve, in particolare dai Tacuina Sanitatis. Utilizzerò questi abiti per rappresentare un ceto medio cittadino, in particolare quando sarò impegnata nel progetto di ricostruzione della <a href="http://www.civitasalidosiana.org/?page_id=620" target="_blank">Spezieria di Diotaiuti</a>.</span><br />
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>After a few years of big or small experiments with plant dyeing, I bought a pot big enough and in Spring 2018 I decided to start a much bigger project. I wanted to plant-dye with madder a full set of clothing, made of a dress and an overdress. I am quite familiar with madder, so I hoped to achieve nice shades of colour, using several baths. I found a few pictures from Tacuina Sanitatis showing women wearing a dress and an overdress in similar colours. As a reference, I chose the one that also displayed a side lacing, as I was going to use this fastening technique to close it and to be able to obtain a fitted model (</i></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>(Ms. Casanat. 4182, tav. 119: "White bread"). Another reason why I chose this enluminure as a source is because the garments represented are common in many pictures of the period, expecially in the Tacuina Sanitatis. I will use this outfit mainly to represent a middle-class citizen, for example when taking part in the display of <a href="http://www.civitasalidosiana.org/?page_id=663" target="_blank">Diotaiuti's Apothecary shop.</a></i></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Dettagli costruttivi della veste. / <br /><i>The dress construction details.</i></span></td></tr>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Per prima cosa ho scelto i tessuti da utilizzare: per la veste, una lana bianca (twill) piuttosto leggera, che avevo già testato in passato per verificare che recepisse il colore, mentre per la sopraveste una lana bianca a tessitura piana più spessa, leggermente follata, acquistata da Faserhaus. Non immaginavo che la lana fosse così bella, si è rivelata un tessuto perfetto da tingere e veramente azzeccato per il progetto. Dal momento che il primo bagno di tintura è quello che offre il colore più intenso, mentre quelli successivi producono colori sempre più tenui, ho deciso di riservare il bagno più intenso alla sopraveste, capo che per eccellenza dovrebbe rappresentare lo status, utilizzato per uscire di casa e presentarsi in pubblico, nonché quello più pesante (in termini di peso del tessuto: circa 2 kg), mentre ho sfruttato il secondo bagno per la veste, più leggera (1,5 Kg) e di uso più quotidiano. Nel terzo bagno invece ho tinto altri scampoli di tessuto. </span><br />
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>First I chose the fabric: a light twill for the dress I had already tested to check it was dyeable and a thicker, plain white wool, tumbled to make it slightly felted, bought from Faserhaus. I couldn’t imagine this wool to be so amazing, it’s a perfect fabric to be dyed and used for heavier garments, such as overdresses or cloacks. Now I had to choose which fabric to dye first: the first bath gives the strongest and most intense colour, while the following baths give lighter and less strong colours. I decided to use the first bath for the overdress, which is the garment that was supposed to show its owner’s status when worn in public and also because it was the heaviest fabric (2 kg). The second bath was going to be used for the dress (and it’s much lighter: 1,5 kg), while the third bath was for some small pieces of leftover fabric.</i></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Esempi dei tre bagni di robbia. /<i>Samples of he three madder dyes.</i></span></td></tr>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">La pianificazione è tutto! Per riuscire a gestire meglio la stoffa all’interno del pentolone, ho deciso di tagliare i pannelli che compongono gli abiti prima della tintura, tagliando semplici triangoli, rettangoli e trapezi in base a modelli che avevo già realizzato, e lasciando ampi margini di cucitura anche in caso di restringimento del tessuto durante la tintura. Ho pesato la stoffa, suddiviso i tessuti per i 3 bagni, includendo anche un po’ di filo di lana che avrei utilizzato per cucire, e ho calcolato le quantità di mordente e di robbia che avrei dovuto utilizzare. </span><br />
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Mi sono servite circa 4 giornate di lavoro per tingere tutti i 5 kg di stoffa: 2 per effettuare la mordenzatura, 2 per la tintura. Per fortuna ho potuto sfruttare una stufa a legna e ampi spazi all’aperto.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">L'allacciatura della sopraveste: si vede bene<br />anche la tipologia del tessuto. / The lacing of the<br />overdress: note the fabric.</span></td></tr>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>Planning is everything! To be able to manage all that fabric in the pot, I decided to cut the dresses first, making simple squares, rectangles and triangles based on toiles I already had. I left decent sewing allowances and spare fabric, as the wool might shrink when dyed. I weighed all the fabric for the 3 baths, including also some wool sewing thread, then weighed the mordant and madder I was going to use. It took me 4 days to mordant and dye everything (about 5 kg of fabric). Luckily I could use a stove and an open space.</i></span><br />
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Sono rimasta quasi stordita dalla riuscita del primo bagno: il colore è risultato intenso e soprattutto uniforme oltre ogni mia aspettativa! Il lavoro di cucito è però iniziato dalla veste: ho usato uno dei miei modelli preferiti, con 2 pannelli laterali, ispirato al reperto D10584 (Norlund n. 42) dei reperti di Herjolfsnes. I bottoni sulle maniche sono bottoni cavi, realizzati da noi in ottone sulla base di reperti locali. Ho potuto inaugurare questo vestito a giugno 2018 al Middelaldercentret in Danimarca. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5XvAxhy7Sd6GzJIJhfVJ2fLjC0JhC-BLE8J3zKgYuSGkE_gd5LDvFWkkPJCzahJxtwawPyJnxX4EKea9myEqsQyD5w6tqq05LeU3ecPzU-99pClbwlgCAT-zSC31lvS6YxIrh3GGwP8/s1600/_DSC_0715.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1404" data-original-width="1600" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5XvAxhy7Sd6GzJIJhfVJ2fLjC0JhC-BLE8J3zKgYuSGkE_gd5LDvFWkkPJCzahJxtwawPyJnxX4EKea9myEqsQyD5w6tqq05LeU3ecPzU-99pClbwlgCAT-zSC31lvS6YxIrh3GGwP8/s320/_DSC_0715.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">I bottoni cavi. / <i>The hollow buttons.</i></span></td></tr>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">La sopraveste invece ha dovuto attendere i mesi autunnali ed invernali. La stoffa mi ha dato grandissima soddisfazione e si è rivelata molto adatta sia per il fitting del busto che per le morbide pieghe dell’ampia gonna. Le maniche, larghe 40 cm al polso, ricalcano i numerosi esempi dei Tacuina Sanitatis: credo sia una misura piuttosto comoda, che permette di muoversi e svolgere attività piuttosto agevolmente, magari ripiegandole un po’. Credo che dovrò intervenire per modificare leggermente la forma della manica sulla spalla, perché la stoffa è rigida e fa un po’ difetto. Una differenza, rispetto alla miniatura di riferimento, è la scollatura, che nel mio caso è molto più ridotta: è forse meno comune, ma comunque presente in altre fonti coeve. </span><br />
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>I was shocked to discover how good the first bath was: the colour is intense and more uniform than I could imagine! I had to start with sewing the dress though: I went for one of my favourite models, with 2 side-panels, based on Greenland find D10584 (Norlund n. 42). The buttons on the sleeves are hollow: we made them according to some local finds. I could wear this dress for the first time in June 2018 at Middelaldercentret in Denmark.</i></span><br />
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>The overdress had to wait for Autumn and Winter to come. The fabric was perfect both for the tight-fitting bust and for the wide gown. The sleeves, that are 40 cm wide on the edge, match many pictures from the Tacuina Sanitatis: I think they are still comfortable to move in and work with, and they can also be folded. I think I will have to alter the sleeve a bit as the fabric doesn’t behave as I would like on the shoulder. A detail that differs from the source is the neckline: mine is much smaller, and maybe less common, but still visible in other sources. </i></span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><span style="color: #0b5394;">La veste/ <i>The dress</i>, Middelaldercentret (Danimarca) 2018<br />La sopraveste / <i>The overdress, </i>Abbazia San Nazzaro Sesia, 2019</span></td></tr>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Visto che ci tenevo particolarmente a completare l’insieme anche con dei nuovi accessori adeguati, ho realizzato un cappuccio e delle calze in lana verde, tinta da Historical Textiles, e per l’acconciatura un nastrino che ho tessuto a tavolette con della seta tinta da Mervi con il legno del Brasile, che mi ha donato anni fa e che custodivo in attesa del progetto giusto. </span><span style="color: #0b5394;"><i><br /><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><br /></span>
</i></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>As I wanted to complete the ensemble with new, appropriate accessories, I made a hood and a pair of hoses out of some green wool dyed by Historical Textiles. I also had some filament silk that Mervi plant-dyed with brazilwood and gave me many years ago as a gift: I was saving it for a perfect project, and I used to make a tablet woven ribbon for the hair-style. </i></span><br />
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com1tag:blogger.com,1999:blog-2546372836301302865.post-69261994545158667982018-11-20T22:07:00.000+01:002018-11-21T11:02:47.788+01:00Medieval beauty: ricostruzione storica, autenticità ed estetica. / Medieval beauty: living history, authenticity and aesthetics.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLrfJbFermV69EiCuDY0ZCzzvKvqiX7L2Gcx9D29MBNaO4-WX1_nDLSMowIHVKveWKOf2xuDhVqdO427ePMQTB1wGovcCg1R9LmAc9sN-uRa6OSpDtVLHzxvniZWBBvYlPHTY3but6f8/s1600/IMG_9822-e1497614096547-768x1024.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLrfJbFermV69EiCuDY0ZCzzvKvqiX7L2Gcx9D29MBNaO4-WX1_nDLSMowIHVKveWKOf2xuDhVqdO427ePMQTB1wGovcCg1R9LmAc9sN-uRa6OSpDtVLHzxvniZWBBvYlPHTY3but6f8/s400/IMG_9822-e1497614096547-768x1024.jpg" width="300" /></a><span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">Elina è una rievocatrice esperta, attiva nell’ambito della rievocazione medievale in Finlandia dal 1995, autrice dal 2007 del blog “<a href="http://www.neulakko.net/" target="_blank">Neulakko</a>” e membro dei Merry Swan: è uno dei miei miti indiscussi a partire dal giorno in cui mi sono accorta di amare il XIV secolo. Gli articoli sul suo blog, in particolare quelli sui veli, sono sempre stati un punto di riferimento, così come i suoi abiti e il loro accostamento con gli accessori giusti sono fonte di ispirazione. Recentemente, alla conferenza dedicata alla ricostruzione storica “Reconference 2018” (i video sono disponibili <a href="https://www.youtube.com/channel/UCuNXj6rnlMjSh6D54sFJIZg/feed" target="_blank">qui</a>) Elina ha moderato una tavola rotonda sul tema dell’autenticità e dell’estetica: mi è sembrata quindi una buona occasione per chiederle di condividere alcune riflessioni su questi temi. Grazie mille Elina per la disponibilità!</span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>Elina is an experienced re-enactor, active in the medieval scene in Finland since 1995, author of the blog “<a href="http://www.neulakko.net/" target="_blank">Neulakko</a>” since 2007 and member of the group Merry Swan: she’s been one of my idols since the day I realized I was in love with 14th century. Her articles, especially the ones about veils, have always been a point of reference, just as her dresses and their combination with the right accessories are an endless source of inspiration. Recently, during the “Reconference 2018” (a conference about re-enactment, you can see the videos <a href="https://www.youtube.com/channel/UCuNXj6rnlMjSh6D54sFJIZg/feed" target="_blank">here</a>), Elina moderated a panel about authenticity and aesthetics: it seemed to me a good chance to ask her to share a few thoughts about this subject. Thank you so much Elina![ENGLISH FOLLOWS]</i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>Elina, cosa significa per te “avere un’estetica medievale”?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">È una parte rilevante nel mio tentativo di proporre una rappresentazione il più autentica possibile. Per me l’autenticità è importante per rendere giustizia alle persone del passato che rappresentiamo: dobbiamo farlo raccontando una storia che sia bilanciata, basata sulle fonti e soltanto su quello, la storia di persone che hanno vissuto in un tempo e in una società differenti, con credenze e mezzi di sostentamento molto diversi da quelli di oggi, ma di persone che erano comunque esseri umani con speranze, paure, amore e dolore proprio come noi. </span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>Perché è così difficile per noi persone moderne accettare di avere un aspetto diverso durante le rievocazioni? E perché invece dovremmo non solo accettare, ma abbracciare una diversa estetica?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">Credo sia perché il gusto estetico è radicato talmente tanto in profondità nella nostra cultura e in noi stessi che diventa per noi quasi invisibile. È facile pensare che quello che è bello per me, ora, sia qualcosa di universalmente bello! Ma abbandonare il gusto estetico moderno e seguire quello medievale può essere molto gratificante: spesso è proprio quello che serve per fare rimanere senza fiato le persone e sentirle esclamare “sembra che tu sia appena uscito da un manoscritto!”</span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>Qual è per te la rinuncia più difficile? C’è qualcosa del tuo aspetto quotidiano che ti manca quando sei in abiti medievali?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">Questa è facile: il trucco moderno! Mille volte! Non truccarmi è davvero difficile per me, perché adoro il make up e tutto quello che lo riguarda. Quindi, “nel medioevo” mi manca avere le sopracciglia, lunghe ciglia e la pelle perfetta. Ma in ogni caso, ormai sono così abituata a non truccarmi in rievocazione che ora mi sembra veramente strano e sbagliato quando, qualche volta, mi trovo a casa a fare esperimenti su come indossare il velo con un trucco completo.</span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>Invece, cosa ti piacerebbe introdurre nella tua quotidianità dal XIV secolo? C’è qualcosa che hai già adottato?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">Indossare il velo significa che non c’è mai una giornata in cui i capelli non siano a posto e amo il comfort e la libertà di movimento che le gonne ampie forniscono, ma non ho introdotto nessuno dei due nella mia vita quotidiana! Comunque, i miei amici non -lhistorist (che non si occupano di living history, NdR) hanno commentato che sono una specie di maestra nella stratificazione dei vestiti, e credo di aver acquisito questa abilità grazie alla moda medievale.</span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>Secondo te, quali sono le principali differenze tra l’estetica moderna e quella medievale?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">Ci sono moltissimi aspetti, come la differente percezione di bellezza e decoro. Ma credo che le differenze più profonde e interessanti siano legate alle manifestazioni di genere, all’identificazione di cosa è femminile e cosa è maschile. Ci sono enormi differenze riguardo a quali parti del corpo devono essere nascoste e quali mostrate. Per esempio, conosco molti uomini che si trovano in difficoltà con lo stile medievale che prevede abiti aderenti ai fianchi e calzabraghe, perché il concetto moderno di mascolinità non riguarda esattamente l’esibizione delle proprie cosce sottili... Per le donne invece credo sia difficile entrare nell’ottica di un differente concetto di coprirsi, perché veniamo da un mondo con un concetto di “decoro” molto diverso.</span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>Secondo la tua opinione, quali sono i punti chiave per una donna per ottenere un’estetica del XIV secolo convincente?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">La chiave è la silhouette: la forma dei vestiti dovrebbe ricalcare l’aspetto di quelli medievali, e il modo migliore per ottenerlo è tagliare gli abiti sulla base dei modelli medievali, senza dimenticare l’uso di copricapi appropriati!</span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>E per gli uomini?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">Braghe, calzabraghe e vestiti che siano ben modellati addosso, ad esempio non troppo larghi. E il suggerimento di un copricapo adatto è valido anche per loro!</span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><b>Qual è il tuo migliore consiglio per ottenere un look convincente?</b></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;">Dedica del tempo ad osservare l’arte medievale per assorbire il gusto estetico, guardando sculture, dipinti, miniature così come gli oggetti. Poi: guarda il tuo equipaggiamento e confrontalo con quello che hai imparato. Chiediti: chi avrebbe indossato o utilizzato questo oggetto? Generalmente questo processo porta a una semplificazione dell’equipaggiamento: meno decorazioni, meno COSE (questo è il mio suggerimento preferito, perché non costa niente!).</span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><span style="color: #3d85c6;"><span style="color: #3d85c6; font-size: 12.8px;">Elina moderna... </span><span style="font-size: 12.8px;">vs Elina medievale</span><br /><i>Modern Elina vs Medieval Elina.</i></span></td></tr>
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<i style="color: #3d85c6; font-family: Georgia, "Times New Roman", serif;"><b>Elina, what does “having a medieval aesthetic” mean to you?</b></i><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>It’s an important part in my attempt at doing a portrayal as authentically as possible. And authenticity is important to me because I believe that it is something we owe to the people of the past that we portray: to tell a story that is balanced, evidence based and just. A tale of people in a different time and society with very different beliefs and means of survival than today. But of people that were human with hopes and fears and love and sorrow just like us. </i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i><b>Why is it so difficult for us modern people to accept a different look during events? Why should we all embrace it instead?</b></i></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>I think it’s because aesthetics are set so deep in our culture and ourselves that they become almost invisible to us. It’s easy to think that what is beautiful to me now as something universal! But letting go of modern aesthetics and following the medieval look can be very gratifying: usually it’s doing just that that makes people gasp and say ”you look like you just stepped out of a manuscript”! </i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i><b>What’s the hardest thing for you? Do you miss anything of your everyday look when you are in medieval clothes? </b></i></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>This one is easy! Makeup! Times a hundred! Not wearing makeup is really hard for me because I love makeup and everything about it. So, in the middle ages I miss having eyebrows, long lashes and perfect skin. But then again - I’m so used to not wearing makeup by now that it looks really strange and wrong to me when I sometimes practice veil styles at home in full makeup. </i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i><b>On the other hand, what would you like to introduce in your everyday life from 14th century? Or is there something that’s already part of your daily life?</b></i></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #3d85c6;">Elina e suo figlio: anche i bambini possono essere <br />perfetti rievocatori! /<i>Elina and her son: children <br />can be super authentic re-enactors too</i>!</span></td></tr>
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>Wearing veils means there’s never a bad hair day and I love the comfort and freedom of movement the wide hems give. But not doing either in my everyday life! However, my non-lhistorist (lhistorist = person involved in living-history activities( friends have commented that I am somewhat of a master in layering clothes and that is something I think I have picked up from medieval fashion. </i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i><b>In your opinion, which are the main differences between modern aesthetics and medieval aesthetics?</b></i></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>There are so many things, like different perceptions of beauty and modesty. But I think the most profound and interesting differences are in the displays of gender: what is feminine and what is masculine. There are big differences in which parts of the body are to be hidden, what should be displayed. For an example, I know a lot of men struggle with the hip hugging styles and the hose, because modern masculinity is not so much about flaunting your slim thighs. For women the need to cover up is difficult, because we come from a world with very different standards of modesty. </i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i><b>According to you, which are the key points for a woman to get a good 14th century aesthetic?</b> </i></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>It’s all in the silhouette: the fit of the clothes should follow the medieval look - the easiest way is to use medieval patterns. Also wearing a proper headcovering!</i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i><b>And for a man?</b></i></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>Hose and braies and a dress that is well fitting, i.e not too loose. And wearing headgear goes for men too!</i></span><br />
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<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i><b>What is your best advice to obtain a convincing look? </b></i></span><br />
<span style="color: #3d85c6; font-family: "georgia" , "times new roman" , serif;"><i>Spend time looking at medieval art to absorb the aesthetic: mix looking at sculpture, paintings, miniatures as well as items. then: take a look at your kit and compare it with what you have learned. Ask yourself: who would have worn/used this? Usually this results in simplifying your kit: less embellishment, less THINGS. (This is my favourite tip because it doesn’t cost anything!)</i></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfPMQQbyLB-_yofQpi7q281ZKBRiudZ6GdKvZ0WI4sydKSojXrlO0hu8NAguxVLDDNZU2U1kcwBGUcEQ3-o_pyED4zhojFaKAvIueVvXK-zgNKnzJLqubuV5vmEUpjhpZNi2qbzMGshg/s1600/13428626_1170571363002687_1849788963152596310_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="694" data-original-width="960" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfPMQQbyLB-_yofQpi7q281ZKBRiudZ6GdKvZ0WI4sydKSojXrlO0hu8NAguxVLDDNZU2U1kcwBGUcEQ3-o_pyED4zhojFaKAvIueVvXK-zgNKnzJLqubuV5vmEUpjhpZNi2qbzMGshg/s640/13428626_1170571363002687_1849788963152596310_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">Elina con i Merry Swan al Middelaldercentret in Danimarca. / <br /><i>Elina with the Merry Swan at Middelaldercentret in Denmark.</i></span></td></tr>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com1tag:blogger.com,1999:blog-2546372836301302865.post-49989205867617993802018-09-12T18:56:00.001+02:002018-09-12T21:46:12.201+02:00Prendersi cura dei vestiti medievali / Taking care of medieval clothes <div dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;">
<span id="docs-internal-guid-ffc5bedf-7fff-0799-6647-a9f2bdede946"><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Visto che siamo verso la fine della stagione rievocativa, ho chiesto a Maria Neijman, esperta e consulente del settore tessile, rievocatrice da molti anni e autrice insieme ad Amica Sundström del sito <a href="https://historicaltextiles.org/" target="_blank">“Historical Textiles”</a> di condividere qualche suggerimento per la cura degli abiti che indossiamo in rievocazione. L’intervista, realizzata da Marie Hedén, è apparsa in svedese sulla pagina Facebook della <a href="https://www.facebook.com/Medeltidsveckan/" target="_blank">Medieval Week di Visby</a> </span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">ed è stata tradotta e ampliata da Maria e da me. </span></span></div>
<i><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">As the re-enactment season is going towards its end, I asked Maria Neijman, expert and textile consultant, well known re-enactor and author of the website <a href="https://historicaltextiles.org/" target="_blank">“Historical Textiles</a>” with Amica Sundström, if she could share some advice about how to take care of our medieval clothes.</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">The interview, made by Marie Hedén, appeared in Swedish on the Facebook page of the <a href="https://www.facebook.com/Medeltidsveckan/" target="_blank">Medieval Week</a> of Visby</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and has been translated and extended by Maria and me. [ENGLISH BELOW]</span></i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrPxwCcuTHmhlOu-h-kzCoHVYL07usH0Q2mH4lemNcd0RzIiKx3AjZT9aoRVU3jDo9MN01ZMxTcP19B2ND_EVhes-T9G1W489YCCx_k5BLbmnD6bGk9O3kM-ObB3fQ3s2R9-0Hi53moMw/s1600/_DSC_0426.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrPxwCcuTHmhlOu-h-kzCoHVYL07usH0Q2mH4lemNcd0RzIiKx3AjZT9aoRVU3jDo9MN01ZMxTcP19B2ND_EVhes-T9G1W489YCCx_k5BLbmnD6bGk9O3kM-ObB3fQ3s2R9-0Hi53moMw/s640/_DSC_0426.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maria ed io a Urbino, per un'esposizione dedicata ai tessuti e alla loro produzione - Oratorio S. Giovanni Battista. /<br />
<i>Maria and me in Urbino, for a textile display in the Oratorio di San Giovanni Battista.</i></td></tr>
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<span id="docs-internal-guid-c109a460-7fff-e5f4-deed-eb90e5e74760"><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b>Qual è la prima cosa da fare quando si torna a casa dopo una rievocazione?</b></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Disfare i bagagli! Non permettere ai vestiti umidi e sporchi di rimanere più del necessario in borse o bauli. Non è divertente disfare i bagagli un mese dopo e trovare i vestiti ammuffiti.</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span><br />
<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b>Parliamo di un tessuto alla volta: come ti prendi cura dei tuoi indumenti di lino?</b></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Gli abiti di lino possono essere lavati in lavatrice, in base a quanto sono sporchi, a 40 o 60 gradi con un normale detergente senza sbiancanti ottici. Non usare ammorbidenti, perché rivestirebbero le fibre e impedirebbero all’umidità di penetrare, rendendo in questo modo gli indumenti in lino più caldi del necessario. Inoltre, nel corso del tempo, gli ammorbidenti rompono la fibra del lino.</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Quando i vestiti sono lavati, assicurati di distendere le cuciture e di spianare i vestiti prima di appenderli su una gruccia o di appenderli al filo per la biancheria tramite delle mollette. Evita di appenderli di traverso direttamente sul filo, perché sarà molto difficile poi eliminare il segno del filo tramite la stiratura. Non asciugarli con l’asciugatrice. Non lo dirò mai abbastanza: NON ASCIUGARE IL LINO CON L’ASCIUGATRICE, MAI! Una stanza per l’asciugatura (asciugatoio) va bene, ma se vuoi sbiancare un po’ i tuoi vestiti di lino, potresti appenderli all’aria aperta e lasciarli asciugare al sole. Distendere le cuciture e la stoffa faciliterà il passaggio successivo, che è la stiratura. Distendi il lino quando è ancora umido: se i vestiti sono già completamente asciutti, inumidiscili con uno spruzzino. Imposta il ferro con il programma per lino o cotone, di solito alla temperatura più alta, e stira accuratamente l’indumento con il ferro. Fibre lisce e piatte sono più resistenti, se si tratta di lino. Una fibra liscia starà più pulita più a lungo e darà una sensazione di maggiore fresco a contatto con la pelle. I vestiti inoltre non si consumeranno tanto quanto farebbero se indossati quanto la fibra è arruffata. </span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Dopo averli stirati, riponi i vestiti quando saranno completamente asciutti, tenendoli ripiegati nei cassetti oppure appesi tramite delle grucce.</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">
<b>Passiamo poi agli abiti di lana…</b></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Se il vestito ha l’orlo infangato o delle piccole macchie, di solito è sufficiente scuoterlo o spazzolarlo con una spazzola per abiti mediamente rigida, puoi anche utilizzare l’aspirapolvere se vuoi. Assicurati di spazzolarlo dalle spalle all’orlo, anche sulle maniche. Se hai qualche macchia piccola o superficiale, puoi lavare soltanto la macchia: di solito basta lavarla via con un panno umido. Se le macchie sono più resistenti, potresti aver bisogno di lavarle con dello shampoo o del sapone per le mani. Usa un asciugamano posto sul retro della stoffa per assorbire l’acqua in eccesso e ricordati di risciacquare con cura in modo che il sapone non lasci degli aloni. Se per caso ti è capitato di sporcarti con l’olio della cotta di maglia, pesce o con simili macchie ostinate, dovrai lavare l’intero abito. Lavarlo a mano di solito è sufficiente, altrimenti puoi utilizzare il programma per la lana della lavatrice. Assicurati di usare detergenti adatti per la lana e di risciacquare ogni residuo di detersivo. Premi e strizza via l’acqua dall’abito, senza arrotolarlo con troppa forza, perché potresti danneggiare la stoffa e/o le cuciture. Stendilo su un piano: uno stendino con sopra un asciugamano è di solito una buona opzione. Quando è quasi asciutto puoi appenderlo sulla gruccia e lasciarlo ad asciugare in questa posizione, ma non appenderlo quando è troppo bagnato, perché il peso dell’acqua sulla lana umida o bagnata potrebbe far deformare il tessuto in lunghezza. A differenza del lino, dovresti tenere gli abiti di lana all’ombra quando li fai asciugare, perché il sole rende la lana secca e fragile. Ci sono appunti in fonti medievali in cui si chiede – di solito a un servitore – di spazzolare gli abiti di lana sia all’interno che all’esterno dopo l’uso: l’ho provato sulle mie calze e mi sono accorta che non si rompono così facilmente come accadeva quando non li spazzolavo. Quando i vestiti sono puliti, è ora di appenderli o metterli via: i vestiti puliti attirano meno i parassiti e gli abiti di lino li attirano meno di quelli di lana.</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Se un abito di lana necessita soltanto di una rinfrescata, assicurati di stenderlo all’aria aperta un giorno in cui l’aria è molto umida e in cielo ci sono nuvole gonfie di pioggia. Puoi anche spruzzarci un po’ d’acqua sopra, se l’abito è già stato bagnato: se no, potrebbe invece macchiarsi. Mettere gli abiti all’aria aperta funziona molto bene per l’uso normale: 9 volte su 10 fargli prendere aria è già un “lavaggio” sufficiente.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZURQpSytGSqoyXqdfOq5zhXG9ZIyeh_pwsVflgKHUOAd0sNBZp092H8oX9u47IZLJNj4OA9Zpbu1lc8X-RH92eKOkRAABaJsZaB5-Ppb555My9NuZM-Y4s4kqdck1mpOxMyOONjYQ64/s1600/35464422_1916815325044950_2795704731064860672_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZURQpSytGSqoyXqdfOq5zhXG9ZIyeh_pwsVflgKHUOAd0sNBZp092H8oX9u47IZLJNj4OA9Zpbu1lc8X-RH92eKOkRAABaJsZaB5-Ppb555My9NuZM-Y4s4kqdck1mpOxMyOONjYQ64/s320/35464422_1916815325044950_2795704731064860672_n.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">Le mie calze bucate alla gara per le<br />
"calze peggiori",organizzata dai Merry Swan<br />
al Middelaldercentret. Foto di Mervi Pasanen<br />
/ <i>My worn hoses during the </i><br />
<i>challenge for the "worst hoses" held by the<br />Merry Swans at Middelaldercentret.<br />Photo by Mervi Pasanen</i><br />
<i><br /></i></td></tr>
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<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b>Cosa ne dici del lavaggio a secco, effettuato in lavanderia, per gli abiti di lana?</b></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Non lavo mai a secco i miei abiti. È costoso, non è una scelta migliore per i tessuti ed è molto nocivo per l’ambiente: risparmia i tuoi soldi e fai un favore al pianeta.</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">
<b>Hai qualche suggerimento in particolare a proposito del lavaggio di tessuti tinti con tinture naturali?</b></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Sì, non lavarli. Se proprio devi, assicurati di effettuare un lavaggio veloce senza usare nessun tipo di detergente. I detersivi a volte cambiano il valore del pH e possono influenzare la tintura. Le calze di mio figlio sono passate dal viola al verde, per questo… </span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">A proposito di parassiti: cosa ne pensi della lavanda, del cedro o di altri oli essenziali? Funzionano davvero?</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Non c’è evidenza scientifica che funzionino davvero, ma non fa nemmeno male, e i vestiti fanno un buon profumo, per cui perché no? Per sconfiggere i parassiti, vale davvero la pena di provare tutti i trucchi che ci sono a disposizione. La pulizia è quello che tiene davvero i parassiti alla larga: prendi fuori e controlla gli indumenti di lana, ogni tanto, pulisci i ripiani con un panno umido, passa l’aspirapolvere negli angoli dell’armadio e assicurati di riporre gli abiti in modo che ci sia abbastanza aria tra uno e l’altro.</span><br />
<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b>Cosa fare se gli abiti si stanno consumando?</b></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Rattoppali e rammendali in tempo, prima che si rompano troppo. Le toppe possono essere messe sia all’interno che all’esterno dell’abito, ci sono fonti per entrambe le soluzioni. Toppe di colori diversi vanno bene, ma erano probabilmente più diffuse nei ceti più bassi della società. I più ricchi avrebbero ritenuto importante che i rammendi fossero più discreti. </span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">È inoltre noto che nel Medioevo c’era un fiorente mercato di abiti usati, per cui i vestiti continuavano ad essere passati di mano in mano e rivenduti ai ceti sociali più bassi quando erano consumati, rovinati o fuori moda.</span><br />
<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b>In cosa i tessuti di lana moderni si differenziano da quelli medievali?</b></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Se non scendiamo nel dettaglio dei filati utilizzati e delle tecniche di tessitura… prima di tutto, la lana e il tessuto vengono lavati in modo più aggressivo durante la fabbricazione: questo significa che la lanolina (il grasso della lana) scompare dalla lana, facendo sì che il tessuto non sia più così resistente allo sporco e all’acqua. Quindi, ingrassare nuovamente gli abiti di lana con la lanolina non è mai una cattiva idea, in particolare se si tratta di sopravesti, che possono così diventare più resistenti alla pioggia. La lanolina si può trovare dove vengono venduti pannolini lavabili per i bambini.</span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Buon lavaggio! </span><br />
<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">... e grazie mille a Maria per i preziosi consigli!</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Vestiti a prendere aria in un giorno nevoso: foto e abiti di Mervi Pasanen. / <br />
<i>Garments airing in a snowy day: picture and garments by Mervi Pasanen.</i></td></tr>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>ENGLISH</i></b></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>What is the first thing to do when you get home after an event?</i></b></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Unpack! Do not allow moist, dirty clothes to lie down packed longer than necessary. It's not fun to pack up a month later and find your clothes mouldy.</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>If we discuss material by material then, how do you take care of your linen items?</i></b></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Linen garments could be washed, depending on how dirty they are. They can be machine-washed at 40 or 60 degrees with a conventional detergent without optical bleach. Do not use fabric softner as they will encapsulate the fibers and prevent them from moisture as well, making them feel warmer than necessary. It also breaks down the linen fibers in the long run. </i></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>When the clothes are washed make sure to stretch the seams and smooth the garments before hanging them up on a clothes hanger of hung up with clothes pegs. Avoid hanging them over a line, you don’t want to try to iron that mark after the line afterwards . Do not tumble dry! This can’t be said enough! DO NOT TUMBLE DRY LINEN, EVER! Drying room is ok, but if you want to bleach your linen clothes a bit, you may want to hang them out and let them sun dry. Stretching the seams and smoothing out the fabric will facilitate the next step that is ironing. Stretch the linen when it is slightly moist, so if you garment have dried dry completely, then moisten with a spray bottle. Put the iron Cotton/ Linen heat, usually the highest heat, and smooth the garment properly with the iron. Smooth and flat fibers are more persistent fibers when it comes to linen. A flat fibre will stay cleaner for a longer time and will also feel cooler on your skin. The clothes are not torn as much as they do if you use them when the fibers are fluffy. When the clothes are ironed, store them when they are completely dry, keeping them folded in drawers or hanging on the hangers.</i></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoP_3G7AnPivaPw2yHs9HKcmqZghXN80PoXKRF1mlbC77zSws56akThZkDCUOBC9YkVtyE0uSSt_jXqR1t-FYKYZeGdIZRlAYa2K_6TVp1swfVO03djh4ZpDzGmpO7SNUkDyS0IOJi30Y/s1600/35349361_1916815818378234_3398546641379131392_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoP_3G7AnPivaPw2yHs9HKcmqZghXN80PoXKRF1mlbC77zSws56akThZkDCUOBC9YkVtyE0uSSt_jXqR1t-FYKYZeGdIZRlAYa2K_6TVp1swfVO03djh4ZpDzGmpO7SNUkDyS0IOJi30Y/s400/35349361_1916815818378234_3398546641379131392_n.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Antti, il vincitore indiscusso della gara per le calze<br />
peggiori. Serve decisamente un rammendo! Foto di<br />Mervi Pasanen. / <i style="font-size: 12.8px;">Antti, the winner</i><br />
<i>for the wost hoses contest. Some mending needed here!<br />Photo by Mervi Pasanen</i></td></tr>
</tbody></table>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>If we move on to the woolen garment then ...</i></b></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>If the garment has got a muddy hem or smaller stains, it is usually enough to shake them or brush with a medium-hard clothes brush (you can vacuum if you want). Always make sure to brush from the shoulder to the hem, even on your sleeves. If you have any small and superficial stains, you can just wash the stain: it is often enough to wipe away the stain with a damp cloth. But if the stains are harder, you may need to wash them with some shampoo or ordinary hand soap. Use a towel on the backside to soak up excess water and do not forget to rinse properly so that you do not get stains from the soap. If you have managed to get oil from chain mail, fish or similar really tough stains, you will need to wash the entire garment. Hand washing is often enough, but otherwise you can run the wool program on the washing machine. Be sure to use detergents intended for wool and rinse out any detergent residue. Press and squeeze the water out of the garment. Do not twist too hard, as it may damage the fabric or/and the seams. Dry it flat. A folded drying rack with a towel on top is usually a good option. When it is almost dry you can hang the clothes on the hangers and allow the rest to dry in this way. Do not hang up too early as the water weight from a damp / wet wool can make it stretch in length. Unlike linen you should keep the wool clothes out of the sun when drying them. Sun makes wool dry and brittle. </i></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>There are notes from the Middle Ages asking to brush (or rather get a servant to brush) their woolen garments both externally and internally after use. I have tested this on my hoses and I found that they don’t break as easily as when not brushing them. When the clothes are clean then it's time to hang or pack them away. Clean clothes are less attractive to pests, and linen clothes are less attractive than woolen clothes. If a wool garment only needs some light refreshment, be sure to hang them out one day when the rain is in the air and the clouds are heavy in the sky. You can also spray some water on the woolen garment if they have been washed before, otherwise water stains may occur. Airing works very well in normal use. 9 times out of 10 airing is enough of “washing”. </i></span></div>
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<i><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>How about dry-washing woolen garments?</b></span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">
I never dry clean my clothes. It’s expensive, not better for the fibers and very bad for the environment. Save your money and make the earth a favour. </span></i></div>
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<i><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Do you have any special recommendation about washing plant-dyed fabric?</b></span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">
</span><span style="font-family: "calibri"; font-size: 11pt; white-space: pre-wrap;">Yes, don’t wash them. IF you must, make sure to a quick wash and avoid using detergent, at all. The detergents are sometimes changing the pH value and can affect the dye. My son’s hose went from purple to green because of it...</span></i></div>
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<span style="font-family: "calibri"; font-size: 11pt; white-space: pre-wrap;"><b><i>Concerning pests: how about lavender, cedar and essential oils? Does it really work?</i></b></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>There is no scientific evidence that it will work. But it does not hurt either, and the clothes smell good, so why not. In the case of pests, you really want to try all the tricks you can. Cleaning is what keeps pests out. Take out your woolen things from wardrobes and check them every once in a while. Wipe shelfs with a damp cloth, vacuum corners and make sure to store your things with a bit of air in between them. </i></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>If your clothes are getting worn out?</i></b></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Patch and repair in time, before it breaks up too much. Patches can be set both inside and outside of the garment. There is evidence of both. Different colors are ok, although it is probably more likely in the lower circles of the social hierarchy. If you had money, it would have been important that the repairs were more discreet.</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>It is also known that there was a large second hand market for clothing in the Middle Ages, the clothes continued trickle down though the lower social classes when they were worn, injured or outdated.</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>How does today's wool fabrics differ from the Middle Ages?</i></b></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>If we do not go into the thread appearance and weaving techniques ... First of all, the wool and the fabric weave are washed harder during fabrication. This means that the lanolin (wool fat) disappears from the wool and the finished fabric will not become so resistant to dirt and water. So, to re-grease the wool garments with a lanolin is never wrong. This is especially important when you get to outer garments, which then get better resistance to rain. You can find lanolin where they sell washable diapers for kids. </i></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Happy cleaning!
... and thank you so much Maria for the precious advice!</i></span></div>
Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com2tag:blogger.com,1999:blog-2546372836301302865.post-24694374659776635992018-02-24T15:21:00.001+01:002018-02-24T15:39:08.176+01:00Belle Vesti, Dure Leggi - 10 febbraio 2018 <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9qd-hC1kqn1dyxRa19Yt6oFXUJlb-fIxLQa5KkbL3Kdc7T66kXssKzPAKvQ2DYPRQGaBjRdBpnLd8HXelOmBqM8lLil9ykTDSNyMb4Jtk74RSyYDoOVlz-z8I7GtaBpn2hyphenhyphen_IMuntlKs/s1600/27857843_419227071855481_6680685136616302782_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #0b5394;"><img border="0" data-original-height="960" data-original-width="684" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9qd-hC1kqn1dyxRa19Yt6oFXUJlb-fIxLQa5KkbL3Kdc7T66kXssKzPAKvQ2DYPRQGaBjRdBpnLd8HXelOmBqM8lLil9ykTDSNyMb4Jtk74RSyYDoOVlz-z8I7GtaBpn2hyphenhyphen_IMuntlKs/s400/27857843_419227071855481_6680685136616302782_n.jpg" width="285" /></span></a><br />
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">Sabato
10 febbraio si è svolta un'interessante giornata di studio e di confronto organizzata da </span></span></span><a href="https://www.facebook.com/storicieventi/"><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="font-family: "georgia" , "times new roman" , serif;">Storici
Eventi</span></span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">,
in collaborazione con l'Archivio di Stato di Bologna, che ha ospitato l'evento, con l'Associazione "Il Chiostro dei Celestini" e la </span></span></span><a href="http://www.compagnia13porte.com/"><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="font-family: "georgia" , "times new roman" , serif;">Compagnia
d'Arme delle 13 porte</span></span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">:
“Belle Vesti, Dure Leggi”, dedicato alla moda trecentesca e ad
alcune delle più interessanti fonti conservate presso l'istituto.</span></span></span>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><br />
</span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">Sono
intervenute la prof.ssa Maria Giuseppina Muzzarelli, esperta di
storia della moda e curatrice dell'edizione delle leggi suntuarie
dell'Emilia Romagna, e la dott.ssa Elisa Tosi Brandi, ricercatrice
che da tempo si dedica anche allo studio della moda del Quattrocento
e allo studio della figura del </span></span></span><a href="https://www.mulino.it/isbn/9788815253248"><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="font-family: "georgia" , "times new roman" , serif;">sarto</span></span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"> </span></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">tra
medioevo e rinascimento.</span></span></span>
</div>
<div style="font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 115%;">
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">Il
documento che ha ispirato l'incontro è il registro delle vesti
bollate del 1401: si tratta di un piccolo quaderno cartaceo sul quale
furono annotate, nel gennaio dell'anno 1401, 211 vesti che violavano
le leggi suntuarie recentemente emanate. La registrazione e la
conseguente apposizione di una bolla direttamente sulla veste
(probabilmente un piccolo dischetto metallico) permetteva a chi fosse
già stato in possesso di vesti ora vietate di continuare a
indossarle senza venire multato. La caratteristica straordinaria di
questa fonte bolognese sono le brevi descrizioni che integrano la
registrazione degli abiti. Da qui è nata l'idea di proporre un
concorso, nel quale 5 sarti si sarebbero sfidati nella ricostruzione
di uno degli abiti scelti dalla giuria (composta da Maria Giuseppina
Muzzarelli, Elisa Tosi Brandi, Diana Tura dell'Archivio di Stato di
Bologna, Massimiliano Lo Cicero di Storici Eventi e me): una sfida
notevole, dal momento che la principale fonte non era, come in altri
casi, una miniatura o un affresco, ma una semplice riga di testo, che
necessitava di ulteriori studi e approfondimenti per potersi
trasformare - di nuovo - in un abito.</span></span></div>
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">
Questi i 4 abiti scelti,
come descritti nella fonte originale:</span></span><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">
<br />#44. Donna Caterina di
Giacomo stracciaolo della cappella di San Giorgio presentò un sacco
di color monachino con maniche a mantello</span></span><br />
<div style="font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 115%; margin-bottom: 0cm;">
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">#77.
Donna Zanna moglie di Pietro Domenici merciaio della cappella di san
Giuseppe presentò una cotta di panno rosato con tre cordelle
all’altezza dei piedi e profilato di vaio, con bottoni di filo
d’argento e due manicotti frappati e ornati di filo d’oro.</span></span></div>
<div style="font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 115%; margin-bottom: 0cm;">
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">#78.
Donna Bettina di Giacomo di Antonio della Torre della Cappella di San
Tommaso del Mercato presentò un sacco di velluto nero con frangia di
seta nera a collo</span></span></div>
<div style="font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 115%; margin-bottom: 0cm;">
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">#157.
Donna Antonia di Nicolò Caccianemici….</span></span></div>
<div style="font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 115%; margin-bottom: 0cm;">
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">Inoltre
presentò un sacco a righe azzurre con maniche nere, con argento
sopra e frangia rossa<span style="font-size: 14pt;">.</span></span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><br /></span>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Saturday
10th of February a very interesting meeting about 14th century
fashion</i></span></span></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>took
place: “Belle Vesti, Dure Leggi”
(“Beautiful dresses, hard laws”), organized by <a href="https://www.facebook.com/storicieventi/">Storici
Eventi</a> together with the State Archive of Bologna, where the event took place, the association "Il Chiostro dei Celestini" and the <a href="http://www.compagnia13porte.com/">Compagnia
d'Arme delle 13 porte</a>.</i></span></span></span></div>
<span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>
Lectures were hold by professor Maria
Giuseppina Muzzarelli, expert in fashion history and curator of the
edition of the sumptuary laws of Emilia Romagna, and Elisa Tosi
Brandi, researcher in fashion history who has recently published
about 15th century fashion and <a href="https://www.mulino.it/isbn/9788815253248">tailors</a> in
the Middle Ages. </i></span></span></span><br />
<span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><br /></i></span></span></span>
<span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>The document which inspired the meeting is a register of forbidden dresses from 1401: it's a small paper notebook with the description of 211 garments that were no longer allowed because of new sumptuary laws. The garments were brought to the city authorities by their owners, they were registered on the notebook and they were marked with a stamp (bolla – very likely a metal stamp): this way, people who already owned dresses that were now forbidden could still wear them without having to pay a fee. One of the very special features of this source are the brief descriptions given for every dress: thus we decided to organize a contest, where 5 tailors could reconstruct one of the dresses chosen from the list by the panel of judges (composed of Maria Giuseppina Muzzarelli, Elisa Tosi Brandi, Diana Tura from the State Archives of Bologna, Massimiliano Lo Cicero from Storici Eventi and me). The challenge was not an easy one: the source this time was not an enluminure or a fresco, but only a few words, that needed comparisons with other sources and much more reaserch to become a dress - again.</i></span></span></span><br />
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><br /></i></span></span>
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>These are the 4 dresses among
which the tailors could choose, as described in the original
source:</i></span></span><br />
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>#44. Donna Caterina wife of
Giacomo </i>stracciaiolo <i>from the chapel of Saint George
presented a </i>monachino<i>-coloured </i>sacco <i>with
mantle-like sleeves.</i></span></span><br />
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">
Stracciaiolo <i>= seller of
second-hand clothes</i></span></span><br />
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">
Monachino <i>= reddish/brownish
colour </i></span></span><br />
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;">
Sacco <i>= a word used in the area of
Bologna referring to a rich winter overdress often lined and
decorated (most of the garments mentioned in the register
are </i>sacchi<i>).</i></span></span><br />
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>#77. Donna Zanna wife of Pietro
Domenici haberdasher from the chapel of Saint Joseph presented a coat
of pink fabric with 3 ribbons at the level of the feets and a profile
of vair, with buttons made of silver thread and 2 dagged tippets and
decorated with golden thread.</i></span></span><br />
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<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>#78.
Donna Bettina wife of Giacomo son of Antonio from the Tower of the
Chapel of Saint Thomas of the market presented a </i>sacco <i>of
black velvet with a fringe of black silk on the neck.</i></span></span></div>
<div style="font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 115%; margin-bottom: 0cm;">
<span style="color: #0b5394;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>#157.
Donna Antonia wife of Nicolò Caccianemici […] moreover presented
a </i>sacco <i>with light blue stripes and black sleeves,
with silver on it and red fringe.</i></span></span></div>
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<span style="font-style: normal;"><b><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: large;">I sarti e le ricostruzioni - The
tailors and the reconstructions</span></b></span></div>
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<span style="font-style: normal;"><b><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><br /></span></b></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b>- Alessio Orlandi "<a href="https://www.facebook.com/RolandoStracarolo/" target="_blank">Rolando Straçarolo de Bononia</a>" - #44 - <u>Primo classificato pari merito / <i>Winner with equal merit</i></u></b></span><br />
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span>
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b>Presentazione<i>/ Presentation: <a href="http://www.storicieventi.it/wp-content/uploads/2018/02/Rolando_belle_vesti_dure_leggi_n44.pdf" target="_blank">qui</a> (Italian only)</i></b></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eWxbxp0ZRouS5NqPl_GBtaYnLWSAFzY3bZhWLdTdFQdRFadCfnx98sBjjjWDxB4vdZ9E7gpH0eKyBUQGJReGFeLlFpTL93S7v5C8ULcL0aUddE-Qjc44GxmohsirSkk0ylLRMB9DhDs/s1600/27973341_417518375359684_3116181110738187698_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="614" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eWxbxp0ZRouS5NqPl_GBtaYnLWSAFzY3bZhWLdTdFQdRFadCfnx98sBjjjWDxB4vdZ9E7gpH0eKyBUQGJReGFeLlFpTL93S7v5C8ULcL0aUddE-Qjc44GxmohsirSkk0ylLRMB9DhDs/s320/27973341_417518375359684_3116181110738187698_n.jpg" width="213" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyXToAaS62m2Bi-wFCbkEF4t1aqmRJYCl1TKUzpr1ZxGQA0Wp7j1w7II_AxH6qWBnX2DN9mt1CNR28VTIixeX0wHoK8o05w0E_dGaL7YrmqqJpEmQh0F0TwafQEm0YC_O_vUY9gwGXuk/s1600/27797606_417266208718234_3584781668289888463_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1069" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyXToAaS62m2Bi-wFCbkEF4t1aqmRJYCl1TKUzpr1ZxGQA0Wp7j1w7II_AxH6qWBnX2DN9mt1CNR28VTIixeX0wHoK8o05w0E_dGaL7YrmqqJpEmQh0F0TwafQEm0YC_O_vUY9gwGXuk/s320/27797606_417266208718234_3584781668289888463_o.jpg" width="213" /></a></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i>- </i><b>Sara Trespidi "<a href="https://www.facebook.com/sambycreazioni/" target="_blank">Samby May creazioni sartoriali</a>" - #157 <i>- </i></b><b><u>Primo classificato pari merito / </u></b><i><b><u>Winner with equal merit</u></b></i></span><br />
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span>
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b>Presentazione<i>/ Presentation: <a href="http://www.storicieventi.it/wp-content/uploads/2018/02/veste-n-157-sara-trespidi.pdf" target="_blank">qui</a> (Italian only)</i></b></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b><i><i> </i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5zUm9etpXo0n863EiwbLT7mabAFKGg2NiYtCys1pUqPYtLx1EdwJ4Iu4Numx4QPHRtkds2t8zvCezQn24olsPH0_qnOQilW8COGVmfSlvh6TN6BKaNAlDqlHMj3cZIcsM6hh-vwpXHs/s1600/27750295_417518275359694_1637821500914408788_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="920" data-original-width="614" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5zUm9etpXo0n863EiwbLT7mabAFKGg2NiYtCys1pUqPYtLx1EdwJ4Iu4Numx4QPHRtkds2t8zvCezQn24olsPH0_qnOQilW8COGVmfSlvh6TN6BKaNAlDqlHMj3cZIcsM6hh-vwpXHs/s320/27750295_417518275359694_1637821500914408788_n.jpg" width="213" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWln9WieOeA1h1Y7QBLC637Wxm2H3KKRwJ_z6k1cRy8C7Ro0K6Jgjghi4H6tONk5EvD2uJEA23Fxr-mjlabnPj-Gg2W56IDKd4n82mrew5YKkCzaxSfHTGbioL8dJ7jqRdpL85An0-Bc0/s1600/27788182_417266988718156_3651669106291904529_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1069" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWln9WieOeA1h1Y7QBLC637Wxm2H3KKRwJ_z6k1cRy8C7Ro0K6Jgjghi4H6tONk5EvD2uJEA23Fxr-mjlabnPj-Gg2W56IDKd4n82mrew5YKkCzaxSfHTGbioL8dJ7jqRdpL85An0-Bc0/s320/27788182_417266988718156_3651669106291904529_o.jpg" width="213" /></a></i></b></span></div>
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><i><br /><br />- </i><b>Alessandra Formica "<a href="https://www.facebook.com/AFMsartoria/" target="_blank">AFM Sartoria</a>" - #157 </b></span><br />
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b><br />- Francesca Baldassari "<a href="https://www.facebook.com/francesca.baldassari." target="_blank">Gilda Historiae</a>" - #77</b></span><br />
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span>
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><b>Presentazione<i>/ Presentation: <a href="http://www.storicieventi.it/wp-content/uploads/2018/02/Gilda-Historiae_Bologna_0802.pdf" target="_blank">qui</a> (Italian only)</i></b><b><br /></b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5Ay9cP4sG1sRyrA_BtCeo8M1_rif3qqhw9vyDqtKqWo6eHsJTCyUE8vyXldFRJ32w9Y2W8RJcGClL2qSHvFBL585zA29Zsbzln3A8xs5aWr2e860FyCAcqJqAhmY_dp3eikMF1orcY0/s1600/27747797_417519398692915_6823320411570429001_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="921" data-original-width="1378" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5Ay9cP4sG1sRyrA_BtCeo8M1_rif3qqhw9vyDqtKqWo6eHsJTCyUE8vyXldFRJ32w9Y2W8RJcGClL2qSHvFBL585zA29Zsbzln3A8xs5aWr2e860FyCAcqJqAhmY_dp3eikMF1orcY0/s320/27747797_417519398692915_6823320411570429001_o.jpg" width="320" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTA3NbX1bVMygxYR-uXKBBUjQvCVKcg1wSIfJ77kuJft5TUtBz0JdfiNF0MUstRxklBOuZ5Uutsu1Cf1hEilFJCY_Hf7ly2SHPIi9C_3Bljn3vvFUWvuGG9Ttym28-QO3sEMRlepIbAc/s1600/27907884_417266735384848_3904049127527157617_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1069" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTA3NbX1bVMygxYR-uXKBBUjQvCVKcg1wSIfJ77kuJft5TUtBz0JdfiNF0MUstRxklBOuZ5Uutsu1Cf1hEilFJCY_Hf7ly2SHPIi9C_3Bljn3vvFUWvuGG9Ttym28-QO3sEMRlepIbAc/s320/27907884_417266735384848_3904049127527157617_o.jpg" width="212" /></a><b><br /><br />- Anna Fedeli "<a href="https://www.facebook.com/kimerastyle/" target="_blank">Kimera Style</a><span id="goog_670895414"></span><a href="https://www.blogger.com/"></a><span id="goog_670895415"></span>" - #77</b></span></div>
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<i><span style="color: #0b5394;">Tutte le foto di Tiziano Capelli: altre foto sulla pagina di <a href="https://www.facebook.com/pg/storicieventi/photos/?tab=album&album_id=417266145384907" target="_blank">Storici Eventi</a><br />Ricostruzione del Bollatore delle vesti a cura della Compagnia d'Arme delle 13 porte: <a href="http://www.compagnia13porte.com/Il%20bollaro.html" target="_blank">qui</a></span></i></div>
<br />Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com1tag:blogger.com,1999:blog-2546372836301302865.post-79524918533094510922018-01-13T19:26:00.000+01:002018-01-13T20:30:56.928+01:00La corona per le nozze di Damisella / The crown for Damisella's wedding<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-AX1-wKRJN2AgvnXaYU9VGU83_wVu8tJExSi6hSD7pQLc0Ys8dHF5R2MTDp5OlDHSK2j-0t20zZkloDZP1YahGwqdqv2vRrR_rIGUL80CIBk3g0PIfH89xV191RNL06ktLfLJCvtkApg/s1600/C_DSC6158.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" data-original-height="1065" data-original-width="1600" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-AX1-wKRJN2AgvnXaYU9VGU83_wVu8tJExSi6hSD7pQLc0Ys8dHF5R2MTDp5OlDHSK2j-0t20zZkloDZP1YahGwqdqv2vRrR_rIGUL80CIBk3g0PIfH89xV191RNL06ktLfLJCvtkApg/s400/C_DSC6158.jpg" width="400" /></span></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; vertical-align: baseline; white-space: pre-wrap;"><u>Anna:</u></span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">
Un <a href="https://tacuinummedievale.blogspot.it/2017/09/il-matrimonio-di-damisella-e-todeschino.html" target="_blank">abito</a> non esprime tutto il proprio potenziale se non è accompagnato dagli accessori giusti: i nostri abiti nuziali, ispirati al manoscritto </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Missale et horae ad usum fratrum minorum</span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, necessitavano di gioielli adeguati al rango dei personaggi che volevamo ricostruire – e della persona giusta in grado di realizzarli. Una tranquilla sera d'agosto abbiamo quindi telefonato al nostro amico Giovanni Rotondi, di </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Il Gatto e la Volpe, </span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">avanzando le nostre richieste...</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoID_ldLOfHigYHYyA2-VFphjg9EX1hwQbu06jEc85UCNgFNpfGcujQXoCjrckN66ggID53rRbKRw996tCvbfMViCMnsXbtZQoe4pLCVJeP7yt2Y0ZjqYIeKtdp2ZvbDHLRUxmBtEJt7U/s1600/export+%252839%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" data-original-height="528" data-original-width="470" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoID_ldLOfHigYHYyA2-VFphjg9EX1hwQbu06jEc85UCNgFNpfGcujQXoCjrckN66ggID53rRbKRw996tCvbfMViCMnsXbtZQoe4pLCVJeP7yt2Y0ZjqYIeKtdp2ZvbDHLRUxmBtEJt7U/s200/export+%252839%2529.jpg" width="177" /></span></a><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>La corona</b></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La principessa raffigurata nella miniatura di San Giorgio e il drago indossa una splendida corona, decorata con perle e pietre rosse e blu, simili a quelle che ornano la scollatura del vestito. L'uso di corone, per quanto nell'immaginario collettivo sia strettamente legato a regine e principesse, non era nel Trecento limitato solo a loro, pur essendo in molti casi un tratto distintivo nella loro raffigurazione. Compaiono infatti di frequente negli inventari nuziali di nobili fanciulle, in particolare in area centro-nord italiana, chiamate </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">corone</span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, ma anche </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ghirlande</span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, di cui è spesso esplicitamente menzionato il materiale prezioso. Le fonti scritte rimandano a veri e propri capolavori di gioielleria: le corone sono decorate con stelle, fiori e gigli, adornate da gemme e perle. Le leggi suntuarie tentano di limitarne l'uso: si trovano molti esempi di divieti del genere nella legislazione imolese del 1334 e in quella bolognese di tutto il secolo, rivolti in particolare all'utilizzo delle perle, e non mancano, a Bologna, casi di donne multate per essere state trovate con questo ornamento. Sembra inoltre che la corona sia un ornamento particolarmente apprezzato e utilizzato dalle spose:</span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> un esempio di questo uso potrebbe essere il celebre sposalizio di Nicolò da Bologna del 1350.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxNnDKNazIVWJl9jYz32Kh3vPx9U165sHQBQfXjqADyk7XL6GgyRgzGi5ya39ZM5C2N4b7r1HgcDMwzqvv6y6iUGQ42js-SlaZ9C3R4HNWpNnkka5yeovB5JtyByRMeV5CcUdYm-kOHVA/s1600/1350+ca+Nicolo+da+Bologna+The+Marriage+NAt+Gall+Of+Art+Washington+da+nga.gov.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="390" data-original-width="520" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxNnDKNazIVWJl9jYz32Kh3vPx9U165sHQBQfXjqADyk7XL6GgyRgzGi5ya39ZM5C2N4b7r1HgcDMwzqvv6y6iUGQ42js-SlaZ9C3R4HNWpNnkka5yeovB5JtyByRMeV5CcUdYm-kOHVA/s320/1350+ca+Nicolo+da+Bologna+The+Marriage+NAt+Gall+Of+Art+Washington+da+nga.gov.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">1350, Nicolò da Bologna,<br />
<i>Il Matrimonio/The Wedding</i>. NGA, Washington</td></tr>
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; font-style: italic; vertical-align: baseline;">A <a href="https://tacuinummedievale.blogspot.it/2017/09/il-matrimonio-di-damisella-e-todeschino.html" target="_blank">dress</a> needs the right accessories to give the right impression: our wedding garments, inspired by the manuscript Missale et horae ad usum fratrum minorum, needed jewels that could match the characters we wanted to reconstruct – and the right person to make them. A calm evening of August, we called our friend Giovanni Rotondi, who works for Il Gatto e la Volpe, to explain our requests</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; vertical-align: baseline;">.</span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span></span><br />
<span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>The crown</b></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The princess portrayed in the enluminure of Saint George and the dragon wears a magnificent crown, decorated with pearls and red and blue stones, like the ones that adorn the neckline of the overdress. In the 14th century, the use of crowns, in spite of being connected mainly to queens and princesses in collective thought, was not limited to them, even if crowns were one of their most typical features in pictures. In fact, crowns are frequently mentioned in inventories or dowries of noble young women, especially in the Northern and Central Italy: they are called </span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">corone </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(crowns) or also </span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ghirlande</span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (garlands), often described as made of precious materials. Written sources let us imagine true masterpieces of goldsmithing: they were decorated with stars, flowers, lilies, adorned with gems and pearls. Sumptuary laws tried to forbid the use of such jewels: for examples, it is possible to find this kind of prohibitions in the laws of the city of Imola dated 1334. The prohibition was active also in Bologna, during all the century, especially about the use of pearls. There can be found sources about the fines women had to pay because they were found wearing these ornaments.</span></span></div>
<span id="docs-internal-guid-e17a7a90-f07d-24e1-c0a1-c580563a5292"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It seems also that the crown was a typical bridal jewel: one of the many examples of pictorial evidence of this use could be the famous </span><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Wedding</span><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> by Nicolò da Bologna (1350).</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRsxU2m50M_Plb1iDBjBYcfMwPNaev5aWpk2E_V0jTstsSA8cu7ky7ynuu8Jc0C0ZToVN0KZWgCOMBnrmM2XhHd-BnCLCPnbBakT5MvGASjImv3K7ezAQ4jOO9c5H5_g7MVlj93qaDjng/s1600/munchen+residenz+crown+english+queen.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="348" data-original-width="450" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRsxU2m50M_Plb1iDBjBYcfMwPNaev5aWpk2E_V0jTstsSA8cu7ky7ynuu8Jc0C0ZToVN0KZWgCOMBnrmM2XhHd-BnCLCPnbBakT5MvGASjImv3K7ezAQ4jOO9c5H5_g7MVlj93qaDjng/s320/munchen+residenz+crown+english+queen.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">XIV secolo, corona di Bianca di Lancaster - <br />
Monaco, Schatzkammer der Residenz.</td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><u>Giovanni:</u></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0j9LR0UDgkpukmVaVqcTKQLCDWxNmjIrxj5utb9ykY2lloxQZF5XKr5GjhVpv2z4D0tslG2alIzLACHAYcvw_UujQaUSZ7gTCllIpxLsYoLpcZlNBiOKyxYgL4k3FyYblJC3yCBu84Ss/s1600/IMG-20170503-WA0010.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1018" data-original-width="1600" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0j9LR0UDgkpukmVaVqcTKQLCDWxNmjIrxj5utb9ykY2lloxQZF5XKr5GjhVpv2z4D0tslG2alIzLACHAYcvw_UujQaUSZ7gTCllIpxLsYoLpcZlNBiOKyxYgL4k3FyYblJC3yCBu84Ss/s320/IMG-20170503-WA0010.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Il modello in cera dell'elemento-cerniera e la <br />
placca ovale, ancora in lavorazione/ <br />
Wax model for the hinge-element and <br />
oval plaque, still work in progress</td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; white-space: pre-wrap;">Superato lo shock iniziale, ho cominciato a ragionare su come realizzare l’oggetto che soddisfacesse le esigenze di Anna.</span><br />
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Le indicazioni iniziali erano poche ma precise: pietre blu e rosa, perle e… la consapevolezza che non si sarebbe trattato di una delicata tiara bensì di “una cosa raffinata nonostante l'ignoranza di fondo”.</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Data la scarsità di fonti materiali, salvo pochi e ricchissimi esemplari appartenuti a personaggi di rango elevato, si è deciso di realizzare un oggetto </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ex-novo</span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> traendo ispirazione da diverse fonti, piuttosto che replicare una specifica opera di oreficeria. L’obiettivo era ottenere un oggetto il più possibile plausibile nelle forme, lavorazioni e materiali.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRKnQwfRA4MZqC76l3Ku8yFVSrWtIu0BmrbtL8pB1mVjrfV1fwYxcVh43GkXgi-pvnOEWXbFB4m4wPDoBAsjpRPTJd3qWz2L6wgElJRCdi6g4eKroFkc_EbbBhgiPi7-AtQ_XFpwxOtFc/s1600/20170720_134536.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1186" data-original-width="1600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRKnQwfRA4MZqC76l3Ku8yFVSrWtIu0BmrbtL8pB1mVjrfV1fwYxcVh43GkXgi-pvnOEWXbFB4m4wPDoBAsjpRPTJd3qWz2L6wgElJRCdi6g4eKroFkc_EbbBhgiPi7-AtQ_XFpwxOtFc/s320/20170720_134536.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Prove di assemblaggio dei primi moduli/<br />
Assembling tests of the first modules</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizS0y8qAp-tqn3Ic2DAXpGQAPhY72ZDSXndofWwA9DJFjcHRQRmykGh8Xp49hyphenhyphent5BzFENMf9YZZjQF2tNwc1yYBaKp-7JUOlFYd9tQ01TT9K_mEMf0JIWD0UuRdWMtjdrPpEEzVGf1tzs/s1600/20170813_174359+copia.jpg" imageanchor="1" style="clear: right; float: right; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 16px; margin-bottom: 1em; margin-left: 1em; text-align: center; white-space: pre-wrap;"><span style="color: black;"></span></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La prima fase è consistita nella ricerca di originali del XIV sec. da cui trarre ispirazione. Oltre a vere e proprie corone (in particolare quella di Bianca di Lancaster - Monaco, Schatzkammer der Residenz), sono stati presi in esame alcuni reliquiari </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">a busto</span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> caratterizzati da teste coronate (ad esempio il reliquiario di Sant'Orsola - Pinacoteca Comunale di Castiglion Fiorentino).</span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Dopo aver raccolto materiale sufficiente, si è passati alla fase di progettazione: un minuzioso lavoro “a sei mani”, in cui sono state vagliate non solo soluzioni estetiche e stilistiche ma anche le necessità tecniche e pratiche che la realizzazione di un oggetto del genere comportava. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0j9LR0UDgkpukmVaVqcTKQLCDWxNmjIrxj5utb9ykY2lloxQZF5XKr5GjhVpv2z4D0tslG2alIzLACHAYcvw_UujQaUSZ7gTCllIpxLsYoLpcZlNBiOKyxYgL4k3FyYblJC3yCBu84Ss/s1600/IMG-20170503-WA0010.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black;"></span></a></div>
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Dopo una serie di schizzi, è stato messo a punto il progetto semi-definitivo. Si è realizzato un primo modello in cartoncino, ulteriormente modificato nelle proporzioni dopo alcune prove.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizS0y8qAp-tqn3Ic2DAXpGQAPhY72ZDSXndofWwA9DJFjcHRQRmykGh8Xp49hyphenhyphent5BzFENMf9YZZjQF2tNwc1yYBaKp-7JUOlFYd9tQ01TT9K_mEMf0JIWD0UuRdWMtjdrPpEEzVGf1tzs/s1600/20170813_174359+copia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1097" data-original-width="1600" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizS0y8qAp-tqn3Ic2DAXpGQAPhY72ZDSXndofWwA9DJFjcHRQRmykGh8Xp49hyphenhyphent5BzFENMf9YZZjQF2tNwc1yYBaKp-7JUOlFYd9tQ01TT9K_mEMf0JIWD0UuRdWMtjdrPpEEzVGf1tzs/s320/20170813_174359+copia.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Prove di assemblaggio della struttura/Structure assembling tests</td></tr>
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Stabilito quale doveva essere l’aspetto finale, sono stati scelti i materiali da utilizzare: lastra di rame di diverso spessore (parte della struttura, fiori e castoni piccoli); elementi in ottone (parte della struttura, castoni grandi e profilati vari); quarzo rosa, calcedonio azzurro e perle di fiume (elementi decorativi).</span></span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYpHSeOhX1s4Sr6JEolO_svKv0U8cch686-6u9fxLX-jRKHzD6BApP-0Rkw7sCSy4jbOUB41F6MUJgjJI-rmLLXnl402PrheIbWpGIUpScov2dAllYKinZsnLsMkj8swuxZi15sF4dqEw/s1600/IMG-20170822-WA0003.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: black;"></span></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; white-space: pre-wrap;">La realizzazione comportava non pochi problemi: è sicuramente il manufatto più complicato che mi sia capitato di creare e non ero certo di riuscire in quella che era una vera e propria impresa! L’unico modo per scoprirlo era tentare…</span><br />
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<tr><td style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="993" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYpHSeOhX1s4Sr6JEolO_svKv0U8cch686-6u9fxLX-jRKHzD6BApP-0Rkw7sCSy4jbOUB41F6MUJgjJI-rmLLXnl402PrheIbWpGIUpScov2dAllYKinZsnLsMkj8swuxZi15sF4dqEw/s200/IMG-20170822-WA0003.jpeg" style="margin-left: auto; margin-right: auto;" width="123" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Corona sott'olio! (Sgrassaggio degli elementi)/<br />
Pickled crown! (degreasing)</td></tr>
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ho cominciato con il realizzare i primi elementi di prova e dopo alcuni tentativi, affrontando man mano i problemi riscontrati, ho capito come procedere.</span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; white-space: pre-wrap;">La corona si compone di otto moduli, costituiti da una placca ovale sormontata da un fiore (quattro grandi e quattro piccoli, alternati) ed arricchiti da perle imperniate e pietre montate su castoni. I moduli sono incernierati tra di loro mediante un ulteriore elemento verticale, soluzione costruttiva che permette anche una certa adattabilità del gioiello quando indossato.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuvCSnpWxRz-lZPGwiPj6Bw0vyU16JhyphenhyphenNbziUcIxmjke4WGoF5cPCGGGsYIr91ZdfZEAbx9fNkJamXyA1g7LIugmF7JSVjNuHmWNTtevdU2zceOEKuzzIJEOxeslQqdE1bGnPKQJ3rjY/s1600/IMG-20170823-WA0002.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="958" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuvCSnpWxRz-lZPGwiPj6Bw0vyU16JhyphenhyphenNbziUcIxmjke4WGoF5cPCGGGsYIr91ZdfZEAbx9fNkJamXyA1g7LIugmF7JSVjNuHmWNTtevdU2zceOEKuzzIJEOxeslQqdE1bGnPKQJ3rjY/s320/IMG-20170823-WA0002.jpeg" width="191" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dopo la prima lucidatura/<br />
After first polishing</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuvCSnpWxRz-lZPGwiPj6Bw0vyU16JhyphenhyphenNbziUcIxmjke4WGoF5cPCGGGsYIr91ZdfZEAbx9fNkJamXyA1g7LIugmF7JSVjNuHmWNTtevdU2zceOEKuzzIJEOxeslQqdE1bGnPKQJ3rjY/s1600/IMG-20170823-WA0002.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black;"></span></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; white-space: pre-wrap;">I fiori sono stati realizzati con la tecnica dello sbalzo e cesello, le placche ovali invece (costituite da due pezzi sovrapposti) traforate, punzonate ed incise. I due elementi sono stati saldati assieme per formare il modulo base, a seguire alla placca è stata saldata una profilatura (realizzata con un filo in ottone godronato a finto tortiglione) e le semi-cerniere (ottenute da un tubolare di ottone).</span><br />
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Il corpo degli elementi-cerniera verticali è stato realizzato tramite fusione a cera persa, a questo si sono saldate le semi-cerniere, sempre ottenute da tubolare.</span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I castoni grandi sono stati realizzati tramite fusione a cera persa, quelli piccoli in lastra saldata. Dopo una prima rifinitura dei moduli, i castoni sono stati fissati meccanicamente e le pietre incassate.</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Dopo una seconda lucidatura, tutti gli elementi sono stati dorati galvanicamente con una tonalità il più possibile vicina a quella della doratura </span><span style="background-color: transparent; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ad amalgama</span><span style="background-color: transparent; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> antica.</span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; white-space: pre-wrap;">La fase finale ha visto il montaggio delle perle e l’assemblaggio dell’intera struttura tramite perni in ottone dorato.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; white-space: pre-wrap;">La corona è composta da 216 elementi (senza considerare i perni) assemblati tra loro con saldature e fissaggi meccanici (imperniature e ribattiture), tra questi 38 pietre e 44 perle. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; white-space: pre-wrap;">Il peso totale è di 336 grammi.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNExYflkzQus_Gkabc9hJwdYwkIu9hanky2rMeaFICR4GSXm42Zojek_6ORUOgon6UVagNjnD565zRXc510VQIgT3cKJtX0-HBPuD7idehVTCHrwwGgCh7i1IKwesb0xJO7rp6RkGsFdA/s1600/corona.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="595" data-original-width="425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNExYflkzQus_Gkabc9hJwdYwkIu9hanky2rMeaFICR4GSXm42Zojek_6ORUOgon6UVagNjnD565zRXc510VQIgT3cKJtX0-HBPuD7idehVTCHrwwGgCh7i1IKwesb0xJO7rp6RkGsFdA/s320/corona.jpg" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Esploso di uno dei moduli/<br />
Exploded view of one of the modules</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGHyVYLOQQBu0C9cWdHjd1vEn0DIr0LZElrNs12rNFMbluRo-1ScDFRreqbrjF-6yJS-VnupKww5VEhpWnJUf7rqgIZznb_fGL_EfKVVqjFYZDa7DqCaKKOxMwqae_F-pUjuc4W-e4lA/s1600/20170830_140614.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1306" data-original-width="1600" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGHyVYLOQQBu0C9cWdHjd1vEn0DIr0LZElrNs12rNFMbluRo-1ScDFRreqbrjF-6yJS-VnupKww5VEhpWnJUf7rqgIZznb_fGL_EfKVVqjFYZDa7DqCaKKOxMwqae_F-pUjuc4W-e4lA/s320/20170830_140614.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Prova generale, prima della doratura/Last test before gilding</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRKnQwfRA4MZqC76l3Ku8yFVSrWtIu0BmrbtL8pB1mVjrfV1fwYxcVh43GkXgi-pvnOEWXbFB4m4wPDoBAsjpRPTJd3qWz2L6wgElJRCdi6g4eKroFkc_EbbBhgiPi7-AtQ_XFpwxOtFc/s1600/20170720_134536.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: black;"></span></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>After overcoming the first shock, I started to think how to make this kind of object.</i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>The initial indications were few but clear: blue and pink gemstones, pearls and… the awareness that the result would not be a gentle tiara but “something elegant despite the showiness”.</i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>Due the lack of material sources, other than few -and very luxurious- examples belonged to royalty, we decided to create a design from scratch, inspired by several sources, instead of simply replicating a specific goldsmith's work. The objective was to obtain an item as much plausible as possible with reference to style, techniques and materials.</i></span></span></div>
<i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 12pt; white-space: pre-wrap;">The first phase consisted in researching 14th century originals to be used as inspiration. </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGHyVYLOQQBu0C9cWdHjd1vEn0DIr0LZElrNs12rNFMbluRo-1ScDFRreqbrjF-6yJS-VnupKww5VEhpWnJUf7rqgIZznb_fGL_EfKVVqjFYZDa7DqCaKKOxMwqae_F-pUjuc4W-e4lA/s1600/20170830_140614.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: black;"></span></a><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 12pt; white-space: pre-wrap;">We took as references some bust-reliquaries with crowned figures (for example St. Ursula reliquary - Pinacoteca Comunale di Castiglion Fiorentino, Italy) in addition to actual crowns (in particular the one belonged to Blanche of Lancaster - Schatzkammer der Residenz, Munich, Germany).</i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbAbQfMnOKtPa_w_j9QHFUhckR1fajQ2SluL9waJKpvcka1TriZh6iCgvB_uUzFI-GTrvPm6UBiX4IfraD7Zm5Owr4Rxs_5adIJvaL4Eph9wzYBjXTtGhwKTo2FPkmmlZL0lVzjIDFWs/s1600/IMG-20170906-WA0009.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbAbQfMnOKtPa_w_j9QHFUhckR1fajQ2SluL9waJKpvcka1TriZh6iCgvB_uUzFI-GTrvPm6UBiX4IfraD7Zm5Owr4Rxs_5adIJvaL4Eph9wzYBjXTtGhwKTo2FPkmmlZL0lVzjIDFWs/s320/IMG-20170906-WA0009.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dopo la doratura/After gilding</td></tr>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>After gathering enough hints, the design phase was started: a thorough “six handed” work, in which not only aesthetic and stylistic solutions were considered, but also technical and practical issues related to the creation of such an object.</i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>After some sketches, the semi-definitive design was ready. A prototype was realized in cardboard, modified and adapted after some wearing-tests.</i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>After setting the final appearance, the materials to be used were chosen: two different thickness copper sheet (part of the structure, flowers, small bezels); brass elements (part of the structure, big bezels and various bars); pink quartz, blue chalcedony and river pearls (decorative elements).</i></span></span></div>
<i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 12pt; white-space: pre-wrap;">The physical realization implied several issues: it was surely the most complicated artifact I ever dealt with, I was not even sure to be able to win this challenge! The only way to figure it out was trying…</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbAbQfMnOKtPa_w_j9QHFUhckR1fajQ2SluL9waJKpvcka1TriZh6iCgvB_uUzFI-GTrvPm6UBiX4IfraD7Zm5Owr4Rxs_5adIJvaL4Eph9wzYBjXTtGhwKTo2FPkmmlZL0lVzjIDFWs/s1600/IMG-20170906-WA0009.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>I started making some test elements: after some attempts, solving the issues emerged in the process, I understood how to proceed.</i></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ofAZ_dqShHeDXAVEujYNhlY5AmXsRRbvw8wzmYMH6AbxkKUierKe-sgbcItDTXB5BfQc4ua_78RfkVLNbktL2ksnZxJfcp10vBUBjOMwvi9RpF5t2YP9VBM7FiU11Wrr17L0qnBycV0/s1600/20170906_181521.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1111" data-original-width="1600" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ofAZ_dqShHeDXAVEujYNhlY5AmXsRRbvw8wzmYMH6AbxkKUierKe-sgbcItDTXB5BfQc4ua_78RfkVLNbktL2ksnZxJfcp10vBUBjOMwvi9RpF5t2YP9VBM7FiU11Wrr17L0qnBycV0/s320/20170906_181521.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Montaggio delle perle/Setting the pearls</td></tr>
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<i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 12pt; white-space: pre-wrap;">The crown is composed by eight modules, each with a flower (four big and four small, alternated) on top of an oval plaque, adorned with pearls and set with stones. The modules are hinged together with another element: this mode of construction allows also a better fit of the jewel when worn.</i><br />
<i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 12pt; white-space: pre-wrap;">The flowers are made using the chasing and repoussé technique, the oval plaques (made by two overlapping pieces) are open-worked, punched and engraved. The two main elements are welded together to form the basic module, then a file-worked brass wire is welded to the edge of the oval plaque as the hinge knuckle.</i><br />
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>The secondary element is lost-wax cast in brass and has the hinge knuckles (made with brass tube) welded on it.</i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>The big bezels are lost-wax casted in brass, the small ones are made with copper sheet parts welded together.</i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>After a first polishing of the modules, the bezels have been riveted to place and the stones have been set.</i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>After a second polishing all the parts have been electro-chemically gold plated using a technique able to provide a shade as close as possible to the traditional fire-gilding technique.</i></span></span></div>
<i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 12pt; white-space: pre-wrap;">The final phase consisted in setting the pearls and the on the final assembly of the various elements with gilded brass pins.</i><br />
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<i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 12pt; white-space: pre-wrap;">The crown is composed of 216 parts (without considering pins and rivets) assembled together with welding and mechanical fastening; among them there are 38 semiprecious stones and 44 pearls.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWgt6fnHvd7bIYA_NUw9WrNz-2YyMiUT-kNRbfFmo7GvRVY_MyIm-oJ0UiULYYohUVpXyh_TsFsy0nBhFCwddKhniDZ5He23Kf35uvTNdvM__3GecjxgJGQSIrATpRCYJe0BJKxd8YjI/s1600/IMG-20170907-WA0021.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: black;"><br /></span></a></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>Total weight is 336 grams.</i></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWgt6fnHvd7bIYA_NUw9WrNz-2YyMiUT-kNRbfFmo7GvRVY_MyIm-oJ0UiULYYohUVpXyh_TsFsy0nBhFCwddKhniDZ5He23Kf35uvTNdvM__3GecjxgJGQSIrATpRCYJe0BJKxd8YjI/s1600/IMG-20170907-WA0021.jpeg" imageanchor="1" style="font-size: medium; margin-left: auto; margin-right: auto; text-align: center; white-space: normal;"><img border="0" data-original-height="1600" data-original-width="1021" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWgt6fnHvd7bIYA_NUw9WrNz-2YyMiUT-kNRbfFmo7GvRVY_MyIm-oJ0UiULYYohUVpXyh_TsFsy0nBhFCwddKhniDZ5He23Kf35uvTNdvM__3GecjxgJGQSIrATpRCYJe0BJKxd8YjI/s320/IMG-20170907-WA0021.jpeg" width="204" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dopo l'assemblaggio definitivo/After final assembly</td></tr>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><br /></i></span></span></div>
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<span style="background-color: transparent; font-size: 12pt; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>Come dice la <a href="https://www.youtube.com/watch?v=4FewCpVIOIU" target="_blank">Regina Elisabetta</a>, "Ci sono degli svantaggi nelle corone"... ma non in questo caso, perché il risultato è stato straordinario, sia per la sua bellezza che per la sua comodità. Sono veramente grata a Giovanni del lavoro meraviglioso che ha realizzato per me!
As <a href="https://www.youtube.com/watch?v=4FewCpVIOIU" target="_blank">Queen Elisabeth</a> says, "There are some disadvantages to crowns"... but not in this case, because the result is stunning, both for its beauty and its comfort. I am really grateful to Giovanni for the amazing work he did for me! </i></span></span></div>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com5tag:blogger.com,1999:blog-2546372836301302865.post-3530351219816483142017-09-18T18:26:00.001+02:002018-01-13T19:27:44.257+01:00Il matrimonio di Damisella e Todeschino - Damisella and Todeschino's wedding 16.9.2017<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnosc1tea1kvl-RNON6_0IsOGPtO0xIdtwGnYFlWcepCcjafynR6_hyP3OcDTEVt59JrnGlmVHXOUMI0mu3fhRG-bqN53BEmI_opEvYZvA-XH_8TjUF5LSKyA6Slp0V23tAteb6FKD2s8/s1600/DSC_0156.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1064" data-original-width="1600" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnosc1tea1kvl-RNON6_0IsOGPtO0xIdtwGnYFlWcepCcjafynR6_hyP3OcDTEVt59JrnGlmVHXOUMI0mu3fhRG-bqN53BEmI_opEvYZvA-XH_8TjUF5LSKyA6Slp0V23tAteb6FKD2s8/s400/DSC_0156.JPG" width="400" /></a></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Tutto è iniziato con questa foto, nell’agosto del 2016. Eravamo a Visby, a guardare la tempesta avvicinarsi dal mare: io e Francesco avevamo chiesto a Mervi di farci una foto insieme: “Questa foto la manderete agli amici e ai parenti quando li inviterete al vostro matrimonio!” Dopo uno scambio di occhiate, abbiamo risposto che sì, poteva essere una buona idea, dal momento che avevamo deciso di sposarci a settembre 2017: così Mervi è stata la prima persona a ricevere la notizia. </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La decisione era stata presa da tempo: il matrimonio sarebbe stato celebrato con rito civile, alla Rocca di Imola. Io e Francesco avremmo indossato abiti medievali veramente speciali, realizzati apposta per l’occasione. Eravamo sicuri che Mervi sarebbe stata la persona giusta a cui affidare il lavoro, la persona giusta ad affrontare questa avventura insieme a noi. </span></div>
<b id="docs-internal-guid-367f3b58-9569-3174-7852-4d96184d4402" style="font-weight: normal;"><br /></b>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Everything begun with this picture, in August 2016. We were in Visby, looking at the storm approaching from the sea: me and Francesco had asked Mervi to take a picture of the two of us together. “This is the picture you will send to your friends and relatives when you invite them to your wedding!” Me and Francesco stared at each other, we said that yes, it could be a good idea, as we had decided to get married in September 2017: so Mervi was the very first person to hear the news.</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The decision had been taken a long time before: the wedding was going to take place in the Rocca (Castle) of Imola, and me and Francesco were going to wear very special medieval clothes, made for the occasion. We were sure Mervi was the right person to take care of the work, the right person to join us in this adventure.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>.:Potete leggere il post di Mervi dedicato alla realizzazione degli abiti, con foto, <a href="https://hibernaatio.blogspot.fi/2017/09/making-of-annas-and-francescos-golden.html" target="_blank">QUI</a>:.</b></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>.: Check out Mervi's blogpost about the making of the dresses, with pictures, <a href="https://hibernaatio.blogspot.fi/2017/09/making-of-annas-and-francescos-golden.html" target="_blank">HERE</a>:.</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1Il5BHDj_XxuXWtZVv31iObhONAuqKsF42IGaHn5wDVTTxLWv5jedAUh-AoZfXhfZjsTED943ckn8nawKiB1VvDaVpOWMGRmaqlQoGqLM0GGVAZqfmhZd_fzl4XZ8YiCKQV_ZKTWmgs/s1600/D%252BT_fra.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1Il5BHDj_XxuXWtZVv31iObhONAuqKsF42IGaHn5wDVTTxLWv5jedAUh-AoZfXhfZjsTED943ckn8nawKiB1VvDaVpOWMGRmaqlQoGqLM0GGVAZqfmhZd_fzl4XZ8YiCKQV_ZKTWmgs/s400/D%252BT_fra.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Le nostre miniature di riferimento (riunite grazie a Photoshop!)<br />
<i>Our sources (re-united thanks to Photoshop!)</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgkR9_8wwxMC9khcu6tJ3jWPaFPukVq5D-YJ6AZqSbyt88eVBpjZze52fUO-aJUsZCqx3rsU9w0RjU37p1EqNoKsAChfAwtf6vqxtZPq90uTENrffHGEQuLhQBwoIsZ_RKU38LPMUC4M/s1600/Missale_et_horae_ad_usum_327v.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1544" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgkR9_8wwxMC9khcu6tJ3jWPaFPukVq5D-YJ6AZqSbyt88eVBpjZze52fUO-aJUsZCqx3rsU9w0RjU37p1EqNoKsAChfAwtf6vqxtZPq90uTENrffHGEQuLhQBwoIsZ_RKU38LPMUC4M/s320/Missale_et_horae_ad_usum_327v.jpeg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Missale et horae ad usum fratrum<br />
minorum, Lombardia, 1380, <br />
BNF Latin 757 327v. </td></tr>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La scelta dell’iconografia di riferimento</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I personaggi cui idealmente ci rifacciamo e che abbiamo ipotizzato di ricostruire sono sempre i nostri Todeschino Alidosi, fratello di Bertrando (signore di Imola dal 1362 al 1391), e sua moglie Damisella Gonzaga, figlia di Luigi Gonzaga, primo capitano del popolo di Mantova. Il loro matrimonio si svolse nel febbraio 1367 - esattamente 650 anni fa. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Per realizzare un progetto organico e coerente, abbiamo scelto di attenerci il più possibile a una singola fonte iconografica, integrandola con altri elementi di tipo documentario o archeologico quando necessario. I due personaggi che abbiamo scelto provengono dal (mio amatissimo) </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Missale et horae ad usum fratrum minorum</span><span style="background-color: white;"><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">BNF Latin 757</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">):</span></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- la principessa di San Giorgio e il drago</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- il committente del libro d’ore inginocchiato ai piedi della Vergine</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Entrambe le raffigurazioni ci sono sembrate adatte a rappresentare in maniera sostanzialmente realistica la moda dell’epoca, sia per lo stile complessivo delle miniature che per il ruolo dei personaggi.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV2IUTLsqQ4dVD1JEY7Caf0GyOlkQ4mwn4JivxEW-JrS6EdMsJbxQh5buMPfj_dRE9E80SGL-jdVQ0G3RzS61_rA_KCdCUArMcFyOwf1vJ1HAfYIuyucVMF8ikuYRKxIeeYvRlqhQEtD4/s1600/Missale_et_horae_ad_usum_109+v.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1452" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV2IUTLsqQ4dVD1JEY7Caf0GyOlkQ4mwn4JivxEW-JrS6EdMsJbxQh5buMPfj_dRE9E80SGL-jdVQ0G3RzS61_rA_KCdCUArMcFyOwf1vJ1HAfYIuyucVMF8ikuYRKxIeeYvRlqhQEtD4/s320/Missale_et_horae_ad_usum_109+v.jpeg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Missale et horae ad usum fratrum<br />
<span style="font-size: 12.8px;">minorum, Lombardia, 1380, </span><br />
<span style="font-size: 12.8px;">BNF Latin 757 109v. </span></td></tr>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Choosing the source</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The characters we ideally aim to represent are our dear Todeschino Alidosi, brother of Bertrando Alidosi (lord of Imola between 1362 and 1391), and his wife Damisella Gonzaga, daughter of Luigi Gonzaga, first captain of Mantova. Their wedding took place in February 1367 - exactly 650 years ago. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In order to start an organic and consistent proejct, we decided to build our work on a single iconographic source, integrated with written documents or archeological finds when needed. The two sources we chose come both from (my beloved) Missale et horae ad usum fratrum minorum </span><span style="background-color: white;"><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">BNF Latin 757</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">):</span></span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The princess from the scene of Saint George and the dragon</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The client of the Book of hours, kneeling in front of the Virgin </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Both these depictions seem to represent in a quite accurate way the fashion of the time, both for the overall style of the enluminures and the role of these characters.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtlOEu2p0ODN0l3qHGaxd1Yn0sefhFDGlG8h_awMsgkJ318JQpP1H1-PWNLGZMv95rImTacCrJX2opuD8xDd7QRw7iSjtEYe-gllQiw80qhp0oznMzOTFddhdGTWoWsBOlJsf74Grhcog/s1600/damisellaetodeschino.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtlOEu2p0ODN0l3qHGaxd1Yn0sefhFDGlG8h_awMsgkJ318JQpP1H1-PWNLGZMv95rImTacCrJX2opuD8xDd7QRw7iSjtEYe-gllQiw80qhp0oznMzOTFddhdGTWoWsBOlJsf74Grhcog/s400/damisellaetodeschino.jpg" width="300" /></a></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La stoffa</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifsmD6iJTqcygFSXo_GjJdUfJV6PsbGxK39jv7xv1gTbYjuAZktyrtdI2UwRHLws6p1icFErPDU3Jiy621ghx4PZM4M6KMkv7aowXtz9_3lVJZjA0p6qa6YEZVDaqEbGtBON-UyyzDwog/s1600/P_20170406_181130.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifsmD6iJTqcygFSXo_GjJdUfJV6PsbGxK39jv7xv1gTbYjuAZktyrtdI2UwRHLws6p1icFErPDU3Jiy621ghx4PZM4M6KMkv7aowXtz9_3lVJZjA0p6qa6YEZVDaqEbGtBON-UyyzDwog/s320/P_20170406_181130.jpg" width="240" /></a><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Il pezzo forte dell’intero progetto è stata fin dall’inizio la stoffa da utilizzare per le sopravesti. Desideravamo da anni trovare qualcuno in grado di riprodurre un broccato trecentesco, che avesse non solo un </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">pattern</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> documentato, ma che fosse anche realizzato con i materiali più corretti possibili: questa scelta ci ha portato quindi a escludere tessuti realizzati in rayon e lurex.Dopo una lunga ricerca, abbiamo trovato un artigiano italiano in grado di tessere a mano dei damaschi di seta e filo d’oro (composto da un’anima di cotone, ricoperto da una sottile lamella d’argento placcata in oro). Dal momento che non ci è sembrata una procedura abbastanza affidabile estrapolare il motivo decorativo della stoffa soltanto dall’iconografia -che pure a volte offre rappresentazioni di tessuti molto simili a reperti -, abbiamo deciso di conservare il colore della miniatura, ma di riprodurre il tessuto a </span><span style="background-color: white;"><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">partire da frammenti esistenti:</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- </span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><a href="https://digitaltmuseum.se/011013976728/detalj-av-den-bla-kapans-membranguldsbrokad-samt-kapans-bram-av-ursprungligen" target="_blank">Uccellino con il cardo e la luna</a>, produzione italiana (Lucca), ora al museo della cattedrale di Uppsala</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- <a href="http://www.metmuseum.org/art/collection/search/468131?sortBy=Relevance&amp;where=Lucca&amp;ft=*&amp;offset=0&amp;rpp=20&amp;pos=4" target="_blank">Cervo con cane, colomba e cigno</a>, produzione italiana, ora Metropolitan Museum</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La maggiore differenza dei nostri tessuti rispetto agli originali è la tecnica con cui sono stati realizzati: a differenza dei broccati medievali, dove il pattern è visibile solo sul dritto e i fili metallici sono inseriti solo in corrispondenza dei disegni, i damaschi presentano una struttura a double-face, in cui il filo di ordito (in seta) e il filo di trama (in oro) sono sempre presenti su tutta la superficie. Allo stato attuale, i damaschi ci sono comunque sembrati la soluzione più valida e convincente, a livello visivo e nella scelta dei materiali, per tentare una ricostruzione dei broccati medievali. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The fabric</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYHgUSonW34JwnqDdmg6yL6rgeFNrJWxaDZkCHLvgYKWHaK27YW2ECjwW4oH57YDBsxFJV52BTXsYPinoqUbCCpIHiovy3YyerBh3hxyxwGRgBi8N8q3e9K_xSLFRTWhxtc3sa_9YhXM/s1600/P_20170319_151854.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="907" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYHgUSonW34JwnqDdmg6yL6rgeFNrJWxaDZkCHLvgYKWHaK27YW2ECjwW4oH57YDBsxFJV52BTXsYPinoqUbCCpIHiovy3YyerBh3hxyxwGRgBi8N8q3e9K_xSLFRTWhxtc3sa_9YhXM/s320/P_20170319_151854.jpg" width="181" /></a><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The centerpiece of the project was the fabric to be used for the overdresses. We have been wanting for years to find someone capable of reproducing a 14th century brocade, that not only had a documented pattern, but that was also made of the correct materials - therefore excluding textiles made out of rayon and lurex. After a long research, we found and Italian weaver who could hand-weave damask made of silk and golden thread (a cotton thread with a thin leaf of silver, gilded). As it didn’t seem trustworthy enough to reproduce the pattern of the fabric only from the pictorial evidence - even if sometimes the textiles depicted match the actual sources quite well -, we decided to keep the colour of the dresses in the enluminures, but we chose to reproduce extant 14th century brocades:</span></div>
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- <a href="https://digitaltmuseum.se/011013976728/detalj-av-den-bla-kapans-membranguldsbrokad-samt-kapans-bram-av-ursprungligen" style="font-family: Arial; font-size: 11pt; font-style: italic; white-space: pre-wrap;" target="_blank">Bird with the thistle and moon</a><span style="background-color: white; font-family: "arial"; font-size: 11pt; font-style: italic; white-space: pre-wrap;">, Italian production (Lucca), now in Uppsala Cathedral</span></div>
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<span style="background-color: white; font-family: "arial"; font-size: 11pt; font-style: italic; white-space: pre-wrap;">- </span><a href="http://www.metmuseum.org/art/collection/search/468131?sortBy=Relevance&amp;where=Lucca&amp;ft=*&amp;offset=0&amp;rpp=20&amp;pos=4" style="font-family: Arial; font-size: 11pt; font-style: italic; white-space: pre-wrap;" target="_blank">Deer with dog, dove and swan:</a><span style="background-color: white; font-family: "arial"; font-size: 11pt; font-style: italic; white-space: pre-wrap;"> Italian production, now Metropolitan Museum of New York</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The main difference between our fabric and the original brocades is the weaving technique: in medieval brocades the gilded thread is only inserted where the figures appear and the pattern is visible only from the right side, damask instead has a double-face structure, therefore the silk threads (warp) and the gilded thread (weft) are both present all over the surface. Damask seemed for us the most convincing solution right now to try to reproduce medieval brocades, both for visual effect and choice of materials.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixQm9OvmgGpPhiRbbT9ppr95hbmMXzkNqcznjRYLjdQcgJ2YvojgRVU9PZ_WDadPZI3_roDA0yDnAAW-oShnRN8Trg7PshCiDX4U-BYJhwVCCKk2hLPaTS_Dr8iuAE6Uzyga_PyXtFY7Y/s1600/export+%252813%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="968" data-original-width="938" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixQm9OvmgGpPhiRbbT9ppr95hbmMXzkNqcznjRYLjdQcgJ2YvojgRVU9PZ_WDadPZI3_roDA0yDnAAW-oShnRN8Trg7PshCiDX4U-BYJhwVCCKk2hLPaTS_Dr8iuAE6Uzyga_PyXtFY7Y/s200/export+%252813%2529.jpg" width="193" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Missale et horae ad usum fratrum<br />
<span style="font-family: "times new roman"; font-size: 12.8px;">minorum, Lombardia, 1380, </span><br />
<span style="font-family: "times new roman"; font-size: 12.8px;">BNF Latin 757 322r.</span></td></tr>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Gli abiti di Todeschino</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Braghe di lino</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Calzabraghe in lana rossa (twill) leggera</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Camicia</span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Farsetto: abbiamo ritenuto l’elemento del farsetto imbottito fondamentale per conferire al corpo la tipica forma “a clessidra” (o “a levriero”, secondo i contemporanei), compatibilmente con la struttura fisica di Francesco. </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">È al farsetto che sono fissate le calzabraghe, tramite dei cordini: questa soluzione, già sperimentata con il pourpoint, permette di fissare le calzabraghe molto in alto e di coprire in modo molto efficace la braga, che non è mai visibile soprattutto nel caso di persone di alto ceto sociale. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Gonnella in seta leggera, con bottoni metallici.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Sopraveste in damasco di seta e oro, con bottoni realizzati di stoffa (assenti nell’iconografia originaria, ma necessari per poter indossare il capo), foderata di taffeta di seta azzurra, con le maniche foderate parzialmente di pelliccia di coniglio. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQV6QCBuzSJGAX7oyyY7ZhECmCTVLZD9kGX1c6tWai0YwoLoe4IL5ktDwaUn6Y_evtUEOvfqNBUrGVEX5v4DLlzPbmZnoxT_TLuG9OzThoCQZA4LVI1Q9vzWyoP0GCTMC2gXpl3bkbGQc/s1600/Fra_Roman+de+Guiron+le+Courtois%252C+73v.jpg+part.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="323" data-original-width="471" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQV6QCBuzSJGAX7oyyY7ZhECmCTVLZD9kGX1c6tWai0YwoLoe4IL5ktDwaUn6Y_evtUEOvfqNBUrGVEX5v4DLlzPbmZnoxT_TLuG9OzThoCQZA4LVI1Q9vzWyoP0GCTMC2gXpl3bkbGQc/s200/Fra_Roman+de+Guiron+le+Courtois%252C+73v.jpg+part.jpg" width="200" /></a></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Scarpe (realizzate da <a href="http://www.historicalitalianshoes.com/" target="_blank">Graziano Dal Barco - Historical Italian Shoes</a>): il committente indossa nella miniatura delle calze solate, ma non ce la siamo sentita di fare affidamento su questa soluzione il giorno del matrimonio, quindi abbiamo deciso di commissionare un paio di scarpe basate sulla coeva fonte del </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Giron Le Courtois (</span><span style="font-size: 11pt;">NAF 5243, 73v.)</span><span style="font-size: 11pt; white-space: pre-wrap;"> Le scarpe sono realizzate in cuoio marrone scuro e interamente cucite a mano</span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La cintura d’argento, montata su velluto di seta (realizzata da Giovanni Rotondi - Il gatto e la volpe), sarà oggetto di un post dedicato .</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6CcKz0svoKvV11WqwUN5effxAbAdeXVcVpSyC6fSCUBDvz2jCHk4vb7PjR3lNepj9TTeHy9oNds0g-2UrHYC331zIXVK30wlobHEea2NVPUwZOIeMxEYX-z7xP6jMaZOVqttlaHzYjro/s1600/IMG-20170918-WA0059.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6CcKz0svoKvV11WqwUN5effxAbAdeXVcVpSyC6fSCUBDvz2jCHk4vb7PjR3lNepj9TTeHy9oNds0g-2UrHYC331zIXVK30wlobHEea2NVPUwZOIeMxEYX-z7xP6jMaZOVqttlaHzYjro/s320/IMG-20170918-WA0059.jpg" width="180" /></a><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Todeschino’s garments</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Linen braies</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Hoses made of thin, red wool (twill)</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Smock</span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Doublet: we think that the padded doublet is an extremely important piece of clothing to shape the body according to the fashionable “hourglass” shape. </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> The hoses are fastened to the doublet with strings: this solution, we already tested with the pourpoint, allows to fasten the hoses in a very high position and to cover the braies more easily, as they are never visible, expecially on high-status charachters. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Kirtle in thin silk, with metal buttons</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Overdress made of silk and golden damask, with fabric buttons (absent on original source, but necessary to wear the garment), lined with light blue silk taffeta, with sleeves partially lined in rabbit fur.</span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Shoes (made by <a href="http://www.historicalitalianshoes.com/" target="_blank">Graziano Dal Barco - Historical Italian Shoes</a>): the client in the enluminure is wearing soled hoses, but we didn’t dare to count on this solution on the wedding day. So, we decided to order a pair of shoes based on a source from the same period, G</span><span style="font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">iron Le Courtois </span><span style="font-size: 11pt;">(</span><span style="font-size: 11pt; font-style: normal;">NAF 5243, 73v.) </span><span style="font-size: 11pt; white-space: pre-wrap;">Shoes are made of dark brown leather and completely hand-sewn.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The silver belt, mounted on silk velvet (made by Giovanni Rotondi - Il gatto e la volpe) will have a post on its own. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Camicia supportiva in lino, senza allacciature</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiLUohzDicQOb18kP9zTuAmrSTPFsDq7C0y_TKbVjYC1vVTd-jKneVfvZ1BRY4p-gDnWVckUbRCkhi8Idlz-zrizaIfS0SaoNtFoYXDMpHgjboC26OMOJccEYS1em2vxPyuVn4FNk2zs/s1600/IMG-20170918-WA0015.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiLUohzDicQOb18kP9zTuAmrSTPFsDq7C0y_TKbVjYC1vVTd-jKneVfvZ1BRY4p-gDnWVckUbRCkhi8Idlz-zrizaIfS0SaoNtFoYXDMpHgjboC26OMOJccEYS1em2vxPyuVn4FNk2zs/s320/IMG-20170918-WA0015.jpg" width="320" /></a></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Veste in taffeta di seta rosa, con allacciatura laterale a spirale. La particolarità di questo abito sono le maniche: nell’iconografia di riferimento, si vede chiaramente una decorazione a spirale realizzata probabilmente con delle perle. L’utilizzo di perle cucite sugli abiti viene - da un lato - spesso vietato nelle leggi suntuarie </span><span style="background-color: white;"><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(Bologna 1398</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ma viene anche documentato nei corredi più lussuosi (ad esempio l'inventario nuziale del 1391 di Rengarda Alidosi figlia di Bertrando, in cui compaiono perle ricamate su cappucci e cotte) </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. La realizzazione del ricamo, con perle di fiume di 3-4 mm di diametro, ha richiesto circa 15 ore di lavoro. La chiusura della manica si effettua tramite un sistema a gancetti e occhielli, molto popolare nel XV secolo, ma probabilmente già in uso nel secolo precedente, come si ricava da inventari di sarti e qualche reperto locale. </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Questa scelta è stata preferita ai più comuni bottoni perché avrebbero interferito con la continuità della decorazione e non sono inoltre visibili nella fonte. </span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Sopravveste di damasco di seta e oro, foderata di lana bianca con decorazione di perle di fiume e pietre (calcedoni e quarzi rosa) montate su castoni dorati. La sopraveste, allacciata lateralmente, è basata sulla gonna d’oro della regina Margherita di Svezia oggi conservata a Uppsala, l’unico reperto esistente di un abito di lusso femminile di epoca medievale. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Calze di lana</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8Dq0xhGOfWoHQ6kkcGpqlns8JG0ngYXr_zfoA47bZ5GnPred7m8HCGuW8OCBxqg5B1meQoUUEd559u6Or5oJmsZ9UkJsKYpyc1beoz2lR-ZGS-aGqTLcJnAKL6VLkoKVOnjcs_xTxzU/s1600/Anna2_Roman+de+Guiron+le+Courtois%252C+36r+part.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="317" data-original-width="381" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8Dq0xhGOfWoHQ6kkcGpqlns8JG0ngYXr_zfoA47bZ5GnPred7m8HCGuW8OCBxqg5B1meQoUUEd559u6Or5oJmsZ9UkJsKYpyc1beoz2lR-ZGS-aGqTLcJnAKL6VLkoKVOnjcs_xTxzU/s200/Anna2_Roman+de+Guiron+le+Courtois%252C+36r+part.jpg" width="200" /></a><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Scarpe (realizzate da <a href="http://www.historicalitalianshoes.com/" target="_blank">Graziano Dal Barco - Historical Italian Shoes</a>): l’ipotesi ricostruttiva è partita dalla piccola, elegante punta della scarpetta che appare sotto l’abito della principessa della miniatura. Per ricostruire il resto della scarpa, abbiamo scelto di adottare una decorazione traforata a fiori documentata in alcune immagini del Guiron Le Courtois (</span><span style="font-size: 11pt;">NAF 5243, 36r.),</span><span style="font-size: 11pt; white-space: pre-wrap;"> anche loro sono realizzate in cuoio e cucite a mano. </span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Anche la corona in rame dorato, pietre e perle sarà trattata in un altro post (realizzata da Giovanni Rotondi - Il gatto e la volpe). </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Damisella’s garments </b></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Supportive underwear in linen, without lacing</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS4uxIVbnTCBIT29qpafuGJu2Ja83OOO-faP7_MFLOzkWv1c_D6P1H8oCsZRo8mjY0efVJb7t2vxYpeBD81RbkNi5tXZTm3N_4eSszQ8pF73jjDu6tC9G3tAV3g62P8gS_Op8iqQjI574/s1600/IMG-20170918-WA0022.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1056" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS4uxIVbnTCBIT29qpafuGJu2Ja83OOO-faP7_MFLOzkWv1c_D6P1H8oCsZRo8mjY0efVJb7t2vxYpeBD81RbkNi5tXZTm3N_4eSszQ8pF73jjDu6tC9G3tAV3g62P8gS_Op8iqQjI574/s320/IMG-20170918-WA0022.jpg" width="211" /></a></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Dress in pink silk taffeta, with side spiral lacing. The special feature of this dress are the sleeves: in the picture, it’s clearly visible a spiral decoration, probably made of pearls. Pearls sewn to garments are - on one side - often prohibited by sumptuary laws </span><span style="background-color: white;"><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(Bologna 1398)</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">,</span></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> but it’s also mentioned in luxury inventories </span><span style="background-color: white;"><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(for example, Rengarda Alidosi, Bertrando's daughter, wedding inventory from 1391, in which appear pearls embroidered on hoods and dresses)</span><span style="color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. </span></span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The embroidery is made with freshwater pearls with 3-4 mm in diameter and it took about 15 hours of work. The sleeve is fastened with hooks and eyes, very popular in 15th century, but probably already in use in 14th century, as can be found in some tailor shop inventories and local finds. </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Hooks and eyes have been chosen instead of buttons because buttons would have interfered with the continuity of the pearl decoration and are not visible on the source as well. </span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Overdress in silk and gold damask, lined with white wool, with a decoration on the neckline made of freshwater pearls and gems (pink quartz and chalcedony) on gilded bezels. The overdress, with side lacing, is based on Queen Margareta’s golden gown, today preserved in Uppsala’s cathedral, the only extant ceremonial female garment from medieval times.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4Pent_t7n10Wnn5puITUpvhv_qEckdOYaynAW-z_ZBwxZ8ql-SOyYkjYVlwl9YzK1TMjQhEgIKal6yCjL0QHxDQjPHWPD16wl4hyphenhyphenT3x3c0xvvZx2I-ATWuBbT1GfWVHfIT_rN3savW0/s1600/IMG_20170916_160122_cut.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1125" data-original-width="1600" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4Pent_t7n10Wnn5puITUpvhv_qEckdOYaynAW-z_ZBwxZ8ql-SOyYkjYVlwl9YzK1TMjQhEgIKal6yCjL0QHxDQjPHWPD16wl4hyphenhyphenT3x3c0xvvZx2I-ATWuBbT1GfWVHfIT_rN3savW0/s320/IMG_20170916_160122_cut.jpg" width="320" /></a><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Woolen hoses</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Shoes (made by <a href="http://www.historicalitalianshoes.com/" target="_blank">Graziano Dal Barco - Historical Italian Shoes</a>): the recreation of the shoes started from the small, elegant point of the shoe that appears from underneath the dress of the princess in the enluminure. The rest of the shoe is an openwork with flowers based on Guiron Le Courtois </span><span style="font-size: 11pt; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">(</span><span style="font-size: 11pt; font-style: normal;">NAF 5243, 36r.)</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> these shoes are made of leather and hand-sewn. </span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; list-style-type: disc; text-decoration: none; vertical-align: baseline;"><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Also the crown, made of gilded copper, gems and stones will be described in another post (made by Giovanni Rotondi - Il gatto e la volpe).</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Non potremmo essere più riconoscenti nei confronti di tutte le persone che hanno contribuito alla realizzazione del nostro sogno, in particolare grazie Mervi Pasanen per aver accettato l’incarico non poco oneroso di tagliare, confezionare e cucire a mano tutti gli abiti, un’impresa non facile fin dall’inizio e complicata ulteriormente da qualche migliaio di chilometri di distanza! </span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">We couldn’t be more thankful towards all the people who made possible our dream, expecially to Mervi Pasanen who accepted the not-so-easy task to cut, put together and hand-sew all our garments, an hard challenge from the beginning, made even harder by a few thousand kilometers between us! </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Le foto ufficiali saranno caricate non appena disponibili </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- Official pictures will be uploaded as soon as they're available]</span></div>
Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com4tag:blogger.com,1999:blog-2546372836301302865.post-35606599850352011722017-05-23T22:29:00.000+02:002019-01-29T15:38:09.431+01:00Un cappuccio con il becchetto affrappato / A hood with a dagged liripipeIn questi ultimi mesi, le cose da fare sono state tante (alcune anche rievocative, naturalmente) e il tempo da dedicare al blog poco: voglio quindi prendermi un po' di tempo per condividere l'ultimo piccolo progetto a cui ho lavorato.<br />
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<i><span style="font-size: x-small;">380r, Latin 757 Missale et horae ad usum Fratrum Minorum, Bibliothèque nationale de France.</span></i></div>
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Ho realizzato un cappuccio destinato ad essere abbinato all'abito verde che al momento utilizzo per rappresentare Damisella Gonzaga.<br />
Pur avendo tenuto come riferimento il modello Norlund 78 - D10606, ho apportato qualche modifica alla forma: ho reso la foggia leggermente più grande, per coprire completamente la scollatura del vestito una volta indossato, l'ho reso più aderente intorno al viso e ho aggiunto 14 bottoni di metallo per renderlo più ricco e adatto ad essere abbinato all'abito signorile. La lana che ho utilizzato è in tessitura piana abbastanza compatta, caratteristica che la rende adatta ad essere tagliata a frappe in quanto tende a non sfilacciarsi.<br />
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Le particolarità di questo cappuccio sono due:<br />
1. La coda, becchetto o <i>liripipium</i>, è frastagliata: ho cercato di riprodurre il più fedelmente possibile, nell'intaglio e nella proporzione rispetto al corpo e alle mani, la miniatura che ho preso come riferimento. La fonte, tra l'altro, è la stessa che ho utilizzato per la<a href="http://tacuinummedievale.blogspot.it/2015/09/seta-e-perle-per-damisella-silk-and.html" target="_blank"> terzoll</a>a. Esempi di code affrappate sono presente in numerose fonti iconografiche e documentarie del periodo.<br />
2. La coda è attaccata al cappuccio tramite uno spillo: ho ripreso questo dettaglio da una novella del <i>Trecentonovelle</i> di Sacchetti (Novella CXXXVII), che racconta di come una donna fiorentina abbia usato questo <i>escamotage</i> per non essere multata per il possesso del cappuccio con il becchetto affrappato, evidentemente vietato dalle norme suntuarie della città.<br />
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<i>E' si truova una donna col becchetto frastagliato avvolto sopra il cappuccio; il notaio mio dice: "Datemi il nome vostro; però che avete il becchetto intagliato"; la buona donna piglia questo becchetto che è appiccato al cappuccio con uno spillo, e recaselo in mano, e dice ch'egli è una ghirlanda. </i></blockquote>
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<i>In the past few months, I had a lot of things to do (some of them were re-enactment related, of course) and I had very little time for the blog: so, I would like to take some time to share my last - very small - project. </i><br />
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<i>I made a hood that will be used together with the green dress I am wearing - at this time - to portray Damisella Gonzaga.</i><br />
<i>I used as a reference the model Norlund 78 - D10606, but I made a few changes to the shape: I made the shoulder part bigger to be able to cover the neckline, I made it more tight-fitting around the face and I added 14 metal buttons to make it richer. The wool I used is tabby-woven and quite strong, a feature that makes it suitable to be dagged, as it doesn't fray,</i><br />
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<i>This hood has 2 special features:<br />1. The liripipe is dagged: I tried to reproduce as close as possible the source, considering both the shape of the dagges and the proportions to the hands and body of the lady - the source, by the way, is the same I chose for the <a href="http://tacuinummedievale.blogspot.it/2015/09/seta-e-perle-per-damisella-silk-and.html" target="_blank">terzolla.</a> There are many examples of dagged liripipes both in visual and documentary sources of the time.</i><br />
<i>2. The liripipe is attached to the hood with a pin: I took this detail from a tale by Sacchetti (Trecentonovelle, tale number 137), that tells the story of a Florentine woman who used this trick not to pay a fee for wearing a hood with a dagged liripipe, that must have been forbidden according to the sumptuary laws of the city.</i><br />
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<i> "And he found a woman with a dagged liripipe wrapped around the hood: and the notary says: "Give me your name, as you have a dagged liripipe"; and the good woman takes the liripipe, that is attached to the hood with a pin, and takes it in her hand, and says it's a garland". </i></blockquote>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com6tag:blogger.com,1999:blog-2546372836301302865.post-14517949785158573032016-08-22T12:33:00.001+02:002016-08-22T12:33:43.470+02:00Qualche chiarimento sulla "cipriana" / A few more notes about the "cipriana" <span style="color: #0b5394;">Sono passati ormai 3 anni da quando ho indossato per la prima volta il vestito rosa che ritenevo fosse una "cipriana". Da allora ho avuto modo di raccogliere nuovi elementi su questo abito e credo sia giusto rettificare e aggiornare quanto scritto allora. </span><br />
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<i><span style="color: #0b5394;">It's been 3 years since I wore for the first time the pink dress that I thought was a "cipriana". Since then, I had the chance to collect more information about this dress and I think it's time to correct and upgrade what I wrote then. (English below). </span></i><br />
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<span style="color: #0b5394;">Nel mio <a href="http://tacuinummedievale.blogspot.it/2014/01/la-cipriana-rosa-my-pink-cipriana.html" target="_blank">vecchio post</a> mi ero affidata a quanto scritto dalla Pisetzky (Enciclopedia della moda: Storia del costume in Italia, vol. II, 1964, p. 97) a proposito delle "cipriane":</span></div>
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<span style="color: #0b5394;">1." Di particolare modello sono le vesti cipriane. A Napoli nel 1351 sono comprese nella <i>robba</i> quasi che la veste cipriana prenda qui il posto della guarnacca [...]. Queste vesti si allacciano davanti, dalla gola fino ai piedi, con una lunga fila di bottoni di argento dorato o di perle, ma scandalizzano i moralisti con le scollature tanto grandi che <i>hostendunt mamillas, et videtur, quod dicte mamillae velint exire de sino earum. </i>[mostrano il seno, e sembra che il suddetto seno voglia uscire dal vestito, traduzione mia]<i> </i>Vesti disoneste, come osserva il De Mussis che così le descrive, e si dimostra disposto a perdonare altre bizzarrie della moda che non ledono l'onestà, ma non questa perché l'abito è bello se non mostra i seni e la scollatura è così decentemente stretta, che <i>ad minus mamillae ab aliquibus non possent videri </i> [che almeno il seno non possa essere visto da altri]. Nitidissime immagini di cipriane ampiamente scollate (se pur non fino a questo punto) e ricche abbottonature, appaiono nella figurazione della famiglia del conte Porro nell'Oratorio di Lentate."<br />(le citazioni della fonte sono da: J. De Mussis, <i>Chronicon Placentinorum</i> in L.A. Muratori, <i>Antiquitates Italicae, </i>t. II, Diss. XXIII, col. 319 B.) </span></blockquote>
<span style="color: #0b5394;">Oltre alla fonte napoletana dunque è De Mussis l'unico a darci informazioni su questo particolare abito, nella descrizione dei costumi dei cittadini piacentini del 1388. </span><br />
<span style="color: #0b5394;">All'epoca, avevo desunto dalla Pisetzky che gli elementi caratteristici fossero:</span><br />
<span style="color: #0b5394;">- i bottoni dalla scollatura all'orlo</span><br />
<span style="color: #0b5394;">- l'ampia scollatura</span><br />
<span style="color: #0b5394;">e avevo individuato in base a questi due criteri sia delle vesti che delle sopravvesti.</span><br />
<span style="color: #0b5394;">In realtà, leggendo il passo di De Mussis per intero, lo scenario si rivela diverso. Dopo aver descritto dei ricchi soprabiti, dice:</span><br />
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<span style="color: #0b5394;"><i>2. Tamen talia indumenta sunt honesta, quia cum dictis indumentis non ostendunt mamillas. Sed habent alia indumenta inhonesta, quae vocantur Ciprianae, quae sunt largissime versus pedes, et a medio supra sunt strictae <b>cum manicis longis et largis</b> sicut alia predicta indumenta, et similis valoris, et super quibus ponunt similia jocalia et similis valoris. Et sunt impomellatae de antea a gula usque in terram pomellis argenti deaurati vel perlis. Quae Ciprianae habent gulam tam magnam quod ostendunt mammillas, et videtur, quod dictae mammillae velint exire de sinu earum. Qui habitus esset pulcher, si non ostenderent mammillas, et gulae essent sic decenter strictae, quod ad minus mammillae ab aliquibus non possent videri</i>. </span></blockquote>
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<span style="color: #0b5394;">2. "Tuttavia questi indumenti sono onesti, poiché con i detti indumenti [le donne] non mostrano il seno. Ma hanno altri indumenti disonesti, che sono chiamati Cipriane, che sono larghissime verso i piedi, e nella parte superiore sono strette,<b> con maniche lunghe e larghe</b> come gli altri predetti indumenti, e di simile valore, sopra le quali pongono simili gioielli e preziosi. E sono abbottonate davanti dalla gola fino in terra con bottoni d'argento dorato o perle. E queste Cipriane hanno la scollatura tanto grande che mostrano il seno, e sembra che il suddetto seno voglia uscire dal vestito. E questo abito sarebbe bello, se non mostrasse il seno, e se la scollatura fosse così decentemente stretta, in modo che almeno il seno non potesse essere visto dagli altri." (traduzione mia)</span></blockquote>
<span style="color: #0b5394;">Nel testo dunque è specificato anche che le cipriane sono molto ampie nella parte inferiore, ma aderenti sul busto, mentre il nuovo elemento fondamentale che si può desumere dal testo originale sono dunque le maniche lunghe e larghe "come gli altri predetti indumenti", descritti poco prima in questi termini:</span><br />
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<span style="color: #0b5394;"> 3. <i>Quae indumenta fiunt cum manicis largis per totum tam de subtus quam de supra ita longe, quod dictae manicae cooperiunt mediam manum et aliquae pendent usque in terram apertae esteriori tantum, acutae de subtus ad modum scuti Catellani longi, qui scutus est largus desuper, et strictus et acutus de subtus. </i></span></blockquote>
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<span style="color: #0b5394;">3."E questi indumenti sono con maniche larghe da ogni lato, sia di sotto che di sopra, così lunghe che dette maniche coprono metà della mano e alcune pendono fino a terra, un po' aperte esteriormente, acute nella parte inferiore come lo scudo catalano, scudo che è largo sopra e stretto e acuto sotto". (traduzione mia) </span></blockquote>
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<span style="color: #0b5394;">Grazie al particolare sulle maniche lunghe e larghe, risulta dunque evidente che le cipriane devono essere innanzitutto delle sopravvesti e non delle vesti (non si spiegherebbero, nel caso di una veste, le maniche ampie che lascerebbero vedere la biancheria intima). A questo punto, è chiaro anche che le donne della famiglia Porro ritratte a Lentate non indossano una cipriana, in quanto le loro maniche sono piuttosto dei "manicotti", sottili strisce di stoffa pendenti.</span><br />
<span style="color: #0b5394;">Basandoci sulle sue parole, dunque, ritengo che, tra quelle che avevo postato nel vecchio articolo, solamente quelle dei Tacuina Sanitatis siano immagini esemplificative del tipo di abito che intendeva descrivere De Mussis, e che il mio abito rosa non possa pertanto definirsi "cipriana". </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-duhY_cyKEi24UcRfRGw23oT2Z5Zr_dBhr0Ie0xJ9uNMaeMz3KQ6pQb6GtdvqEKDm-HBvL56QEpYVRgSJJGSfHScPXdaPzUCkFFwCF_asKv05_vRURsAdRXPbYEptyoi-UgbXXM__4Ig/s1600/_lentate+sul+seveso%252C+figlie+con+freccia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-duhY_cyKEi24UcRfRGw23oT2Z5Zr_dBhr0Ie0xJ9uNMaeMz3KQ6pQb6GtdvqEKDm-HBvL56QEpYVRgSJJGSfHScPXdaPzUCkFFwCF_asKv05_vRURsAdRXPbYEptyoi-UgbXXM__4Ig/s320/_lentate+sul+seveso%252C+figlie+con+freccia.jpg" width="210" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKFCJ0tftvK_MUg3viCCSxbrsThISOB9BXfh9-QiPVatQMN8vzx73i2iqu8twM8crCr2kRi6reQ3O2W_-UXtwddibZOrp8UChP9sVW1jZ1YkzCf9bcUK-1OJrtZDc7OJ53S5nTXt14CmE/s1600/_lentate+sul+seveso%252C+moglie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKFCJ0tftvK_MUg3viCCSxbrsThISOB9BXfh9-QiPVatQMN8vzx73i2iqu8twM8crCr2kRi6reQ3O2W_-UXtwddibZOrp8UChP9sVW1jZ1YkzCf9bcUK-1OJrtZDc7OJ53S5nTXt14CmE/s320/_lentate+sul+seveso%252C+moglie.jpg" width="152" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1365, Oratorio di Lentate sul Seveso (MI): Gli affreschi dell'Oratorio di Lentate sul Seveso, che raffigurano la famiglia Porro che ne è committente. Esempi di cipriane secondo la Pisetzky, stando a quanto dice De Mussis NON sarebbero invece cipriane, in quanto prive di maniche larghe. <br /><i>1365. Oratorio di Lentate sul Seveso (MI): the frescoes from the Oratorio in Lentate sul Seveso portray the Porro family, who payed for the frescoes. They are samples of cipriane according to Pisetzky, but, according to De Mussis' description, they are NOT cipriane, as they don't have wide sleeves.</i></span><span style="color: #0b5394;"> </span></td></tr>
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<span style="color: #0b5394;">It's been 3 years since I wore for the first time the pink dress that I thought was a "cipriana". Since then, I had the chance to collect more information about this dress and I think it's time to correct and upgrade what I wrote then.</span><br />
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<span style="color: #0b5394;">In my <a href="http://tacuinummedievale.blogspot.it/2014/01/la-cipriana-rosa-my-pink-cipriana.html" target="_blank">old post</a> I trusted what was written by R. L. (Enciclopedia della moda: Storia del costume in Italia, vol. II, 1964, p. 97) about "cipriane":</span></div>
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<span style="color: #0b5394;">1. "A peculiar kind of garment are the <i>cipriane</i>. In Naples, in 1351, they are included in the <i>robba </i>[robe], and it seems like the <i>cipriana</i> takes the place of the <i>guarnacca</i> [common name for the overdress]. [...] These dresses are closed in the front with a long row of buttons made of gilded silver or pearls, but scandalize the moralists with such big necklines that <i>hostendunt mamillas, et videtur, quod dicte mamillae velint exire de sino earum [show off the breast and it seems like said breast wants to exit from the dress]. </i>Inhonest garments, as De Mussis says when describing them. He looks willing to forgive other fashion oddities that are not against honesty, but not this one, because the dress is beautiful if it doesn't show the breast and the neckline is decent and moderate enough that <i>ad minus mamillae ab aliquibus non possent videri [at least breast can't be seen by other people]. </i>Clear samples of <i>Cipriane</i> with wide necklines (even if not so extremely wide) appear in the fresco with the Family Porro in the Oratory of Lentate (MI).<br />(the quotations from De Mussis are from: J. De Mussis, <i>Chronicon Placentinorum</i> in L.A. Muratori, <i>Antiquitates Italicae, </i>t. II, Diss. XXIII, col. 319 B.)</span></blockquote>
<span style="color: #0b5394;">In addition to the source from Naples, the only one talking about Cipriane is De Mussis, an historian from Piacenza who describes the costume of his fellow citizens in 1388.</span><br />
<span style="color: #0b5394;">When I wrote the article, I understood from Pisetzky that the typical features of the dress were:</span><br />
<span style="color: #0b5394;">- buttons from the neckline to the hem</span><br />
<span style="color: #0b5394;">- a wide neckline</span><br />
<span style="color: #0b5394;">and, using this parameter, I thought that a "cipriana" could be both a dress and an overdress.</span><br />
<span style="color: #0b5394;">Actually, reading the description by De Mussis in its entirety, the scenario is different. After the description of very rich ovedresses, he says:</span><br />
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<span style="color: #0b5394;">2. However, these garments are honest, because with these garments [women] don't show off their breast. But they also have inhonest garments,that are called Cipriane, that are wide towards the feet and tight fitting in the upper part, <b>with long and wide sleeves</b> like the aforementioned garments, of similar value, with similar jewels and precious decorations. And they are buttoned in the front from the neckline to the hem. And these Cipriane have such a big neckline that they show off the breast and it looks like the breast wants to come out from the dress. And this dress would be beautiful, if it didn't show off the breast, and if the neckline was moderate enough so that the breast wouldn't be visible to other people. (my translation, see Latin above)</span></blockquote>
<span style="color: #0b5394;">We can see that Cipriane were wide in the skirt and tight fitting in the bust, but there is another important element: the long and wide sleeves "like the aforementioned garments", described in the previous lines:</span><br />
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<span style="color: #0b5394;">3. And these garments are with wide sleeves from every side, both in the upper part and the lower part, and so long that they cover half of the hand and some of them hang to the ground, narrow in the lower part like the Catlana shield, a shield that is wide in the upper part and narrow in the lower part. (my translation, see Latin above)</span></blockquote>
<span style="color: #0b5394;">Considering the information provided about the long and wide sleeves, it is therefore clear that Cipriane must be overdresses and not dresses (a dress with wide sleeves would make the undergarments visible). Furthermore, the women of the Family Porro mentioned my Pisetzky are not wearing cipriane, because their sleeves are not wide but most likely tippets, thin stripes of fabric hanging to the ground.</span><br />
<span style="color: #0b5394;">Focusing on De Mussis' description, I think that, among the picture from the old post only the sources from Tacuina Sanitatis could be connected to the kind of garment that De Mussis wanted to describe, but they probably had even wider sleeves., Finally, my pink dress could not be called "cipriana". </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;"><span style="background-color: white; font-family: "times new roman" , "times" , "freeserif" , serif; font-size: x-small;">Tacuinum Sanitatis 1390-1400, Nouvelle acquisition latine 1673, fol. 3v: Raccolta delle pesche<br />Nouvelle acquisition latine 1673, fol. 9, Raccolta di ciliegie dolci<br />sotto.</span><i style="background-color: white; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 9.504px; line-height: 13.3056px;"><span style="font-size: x-small;">Fig. 6, 7: Tacuinum Sanitatis 1390-1400, Nouvelle acquisition latine 1673, fol. 3v: Harvest of peaches</span><br style="font-size: medium;" /><span style="font-size: x-small;">Nouvelle acquisition latine 1673, fol. 9, Harvest of sweet cherries</span></i></span></td></tr>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com1tag:blogger.com,1999:blog-2546372836301302865.post-86940322442456349952016-05-05T21:40:00.000+02:002016-05-05T21:41:05.309+02:00Presentazione del romanzo storico "I Segreti delle Madri" di Livio Gambarini a Imola<span style="color: #0b5394;">Per alcuni mesi, ho avuto l'occasione di cimentarmi in una nuova attività: sono stata "consulente" e <i>beta-reader</i> del romanzo di Livio Gambarini, "I Segreti delle Madri", romanzo storico che segue "Le Colpe dei Padri" all'interno di una trilogia ambientata in Lombardia nella prima metà del Trecento.</span><br />
<span style="color: #0b5394;">Il mio coinvolgimento è stato soprattutto legato alle conoscenze che ho acquisito nell'ambito dell'abbigliamento medievale, ma credo di aver potuto offrire un contributo anche sui piccoli dettagli della vita quotidiana che è raro trovare nei libri, ma che per un rievocatore possono essere qualcosa di molto familiare: che odore fa il guado? Quanto tempo occorre per cucire un abito? Quali acconciature si possono usare per i capelli?</span><br />
<span style="color: #0b5394;">Da rievocatrice che legge romanzi storici "con la penna rossa in mano", pronta a notare incongruenze e imperfezioni, mi ha resa felice poter dare il mio contributo a migliorare un romanzo che nasceva già con un solidissimo impianto storico e una ricchezza di dettagli che lo rendevano pienamente credibile. </span><br />
<span style="color: #0b5394;">Collaborare con Livio è stata un'opportunità interessante e un'esperienza piacevole, e, ora che il romanzo è finalmente pubblicato, ho deciso di organizzare una presentazione nella mia città, Imola, insieme alla mia associazione <a href="http://www.civitasalidosiana.org/" target="_blank">Civitas Alidosiana</a>. La location non poteva che essere la Biblioteca di Imola, luogo che mi è particolarmente caro per molti motivi, non ultimo il fatto che l'edificio che la ospita sia nato come una chiesa trecentesca e che ancora oggi conservi traccia degli antichi affreschi.</span><br />
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<span style="color: #0b5394;">L'appuntamento dunque è per martedì <b>17 maggio alle ore 20.30</b> presso la Sala di San Francesco della <b>Biblioteca di Imola</b>, in via Emilia 80: invito soprattutto gli amici rievocatori che non conoscono ancora questa saga a partecipare! </span></div>
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<b><span style="color: #0b5394;">Qualche link </span></b></div>
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<a href="http://liviogambarini.blogspot.it/" target="_blank"><span style="color: #0b5394;">Il blog di Livio</span></a></div>
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<span style="color: #0b5394;">Il blog su <i><a href="http://lecolpedeipadri.blogspot.it/" target="_blank">Le Colpe dei Padri</a>. </i>il primo volume della trilogia</span></div>
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<span style="color: #0b5394;">Potete acquistare l'ebook di <i>Le Colpe dei Padri</i> ora a soli 1,99 euro direttamente su <a href="https://www.amazon.it/colpe-dei-padri-Livio-Gambarini-ebook/dp/B00LVCM1TE?ie=UTF8&*Version*=1&*entries*=0" target="_blank">Amazon</a></span></div>
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<i><span style="color: #0b5394;">In the last few months, I've had the opportunity to take on a new activity: I've been a "consultant" and beta-reader of the historical novel "I Segreti delle Madri", written by Livio Gambarini. The novel follows "Le Colpe dei Padri" in a trilogy set in Lombardy in the first half of the 14th century. </span></i><br />
<i><span style="color: #0b5394;">I was involved mainly for my knowledge about medieval garments, but I think my help has been useful also for the small every day life details that are hard to find in books, but may be very familiar to re-enactors: how does woad smell like? How long does it take to sew a dress? Which hairstyle is most appropriate?</span></i><br />
<i><span style="color: #0b5394;">Since I'm a re-enactor that reads historical novels "with the red pen in my hand", ready to notice mistakes and flaws, I'm very happy I could help to improve a novel that already had a strong historical background and rich details that made it truly believable.<br />Working with Livio has been an interesting chance and a pleasant experience. Now that the novel is finally published, I decided to organize a presentation in Imola, together with my group <a href="http://www.civitasalidosiana.org/" target="_blank">Civitas Alidosiana</a>. The chosen setting is the Library of Imola, a place that I truly love, also because the building was originally a church built in the 14th century and still has a trace of its ancient frescoes.<br />The presentation will be on Tuesday, the 17th of may, at 20.30 in the Sala di San Francesco in the Library of Imola, via Emilia 80: I hope many friends re-enactors, who maybe don't know this saga yet, will come! </span></i></div>
Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com1tag:blogger.com,1999:blog-2546372836301302865.post-64439097569763670232016-04-02T22:24:00.000+02:002016-04-03T10:13:29.870+02:00Herjolfsnes Challenge: Nørlund 38 - D10580<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZ1ETjzv9gYvr9WCvdBG-uDUPxDWYDjsUSbrnJECcX_HTNEdbmPO-Ai07iQ1UyQSuXIPbMfKpe1-3OaDyOyTwCjFsWYF0WQXHCSbZKJMJNiHIpxdJW7DlTbHZZm936E67qBeMVA5cNyM/s1600/def_DSC_0103.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #351c75;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZ1ETjzv9gYvr9WCvdBG-uDUPxDWYDjsUSbrnJECcX_HTNEdbmPO-Ai07iQ1UyQSuXIPbMfKpe1-3OaDyOyTwCjFsWYF0WQXHCSbZKJMJNiHIpxdJW7DlTbHZZm936E67qBeMVA5cNyM/s640/def_DSC_0103.jpg" width="401" /></span></a></div>
<span style="color: #351c75;">Finalmente ci siamo: dopo quasi 4 mesi dal disegno del modello, il mio abito della “<a href="http://www.neulakko.net/?p=9988" target="_blank">Herjolfsnes Challenge</a>” è terminato. Il lavoro è stato lungo anche per il poco tempo che ho potuto dedicargli, ma sono davvero felice non solo del risultato, ma anche del percorso compiuto. Partecipare alla sfida insieme a tanti ricostruttori abili e competenti è stato un validissimo stimolo a studiare in dettaglio i due libi sui reperti di Herjolfsnes, Woven into the Earth e Medieval Garments Reconstructed, a migliorare le tecniche che già conoscevo e a sperimentarne anche di nuove.</span><br />
<span style="color: #351c75;">L'obiettivo che mi sono data è stato rimanere il più possibile fedele al modello, tentando comunque di non creare un abito inverosimile per un contesto italiano della metà del XIV secolo: le immagini di seguito vogliono solo rappresentare in generale il contesto di riferimento, e non sono naturalmente esattamente corrispondenti all'abito. </span><br />
<i><span style="color: #351c75;">Finally, 4 months after I have drawn the model, my <a href="http://www.neulakko.net/?p=9988" target="_blank">Herjolfsnes Challenge</a> dress is complete: it has been long work also because of the little time I could spare for sewing crafts during the day, but I'm really happy not only for the result, but also of my journey. Joining the Challenge, together with such skilled and expert re-enactors, has been a great incitement to study deeper the books about the Herjolfsnes finds, Woven into the Earth and Medieval Garments Reconstructed, to improve my skills and also to learn new ones.</span></i><br />
<span style="color: #351c75;"><i>My target was to be as faithful as possible to the original find, and at the same time non to make a dress that would look completely implausible in 14th century Italy</i>: <i>the following pictures are meant to show the general context and of course don't</i></span><i style="color: #351c75;"> perfectly</i><i style="color: #351c75;"> match the dress. </i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKd89XZPzr_WsNpJimNOj8xkJ59rJu3Tr1Sjd1A7xgq3gpSKmJaIv9S29r45-7SX2b3FB9-h3wbpV3j9DBIaVcQ_Yo9NyOtXyi1KSR_m0cIPPMh_uaPMThFwqJDJipCBli_OcL2NRgdc8/s1600/1355-58++Tomaso_da_Modena%252C_congedo_di_Sant%2527Orsola_dalla_madre.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #351c75;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKd89XZPzr_WsNpJimNOj8xkJ59rJu3Tr1Sjd1A7xgq3gpSKmJaIv9S29r45-7SX2b3FB9-h3wbpV3j9DBIaVcQ_Yo9NyOtXyi1KSR_m0cIPPMh_uaPMThFwqJDJipCBli_OcL2NRgdc8/s400/1355-58++Tomaso_da_Modena%252C_congedo_di_Sant%2527Orsola_dalla_madre.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #351c75;">1355-58, Storie di Sant'Orsola, Tommaso da Modena, Museo di S. Caterina, Treviso. La forma dei soprabiti, dotati di tasche e non troppo aderenti al corpo, mi sembra compatibile con la mia riproduzione. / <span style="font-size: 12.8px;"><i>1355-58, Storie di Sant'Orsola, Tommaso da Modena, Museo di S. Caterina, Treviso. The shape of the overdresses, featuring pocket slits too and not too close fitting, doesn't look very different from my reproduction. </i></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIv0KHQ1beSn2axd8M06x-pYfesvTnffrwOnUMcELywsXiu9tmlXNY4g4YkdW95sZ4TLOy1VAkVL0pnK1XD7sgsx0QOR7B_tuNRo0Uauv9NxHyFUZh3b8B_gritkZK9sFqFSU0_NB3sHA/s1600/1388+Bartolo_di_Fredi_-_The_Coronation_of_the_Virgin_%2528detail%2529_-_1388.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #351c75;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIv0KHQ1beSn2axd8M06x-pYfesvTnffrwOnUMcELywsXiu9tmlXNY4g4YkdW95sZ4TLOy1VAkVL0pnK1XD7sgsx0QOR7B_tuNRo0Uauv9NxHyFUZh3b8B_gritkZK9sFqFSU0_NB3sHA/s320/1388+Bartolo_di_Fredi_-_The_Coronation_of_the_Virgin_%2528detail%2529_-_1388.jpg" width="220" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #351c75;">1388, Incoronazione della Vergine, Bartolo di Fredi. La fanciulla vestita di rosa sullo sfondo ha un abito morbido, dotato di tasche./ <i>1388. Coronation of the Virgin, Bartolo di Fredi. The lady in pink has a not too fitted dress with pocket slits. </i></span></td></tr>
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<b><span style="color: #351c75;">La stoffa</span></b><br />
<span style="color: #351c75;">I reperti della Groenlandia sono realizzati in vadmal, un tipo di tessuto tradizionale realizzato su telaio verticale, che presenta una trama a saia non bilanciata, ovvero caratterizzata dalla presenza di fili in rilievo sul rovescio della stoffa, non piatta e uniforme come si trova abitualmente in commercio oggi. La lana che ho utilizzato io è stata acquistata in un negozio locale ed è una saia 2/2 di medio spessore, con circa 14 fili/cm, con trama bianca e ordito marrone, una caratteristica che spesso si ritrova anche nei tessuti della Groenlandia (ma anche di Londra, ad esempio).</span><br />
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<i><b><span style="color: #351c75;">The fabric</span></b></i><br />
<i><span style="color: #351c75;">Greenland's finds are made in vadmal, a traditional fabric woven on vertical loom, that is a non-balanced, weft-faced twill, different from the balanced, flat one we can normally find in shops today. The fabric I used was bought from a local shop and is a medium-heavy 2/2 woolen twill, with about 14 thread/cm, with white warp and brown weft, a common feature of Greenland finds (but also in some finds from London).</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRo2cTL4lgUIDv9nNPprTWRYvX3OMFsoas2Pc-jS0I-DOMvKHExyBmHdUjbJhp5nGKZO-QOlpklQKHNcrwL3Z3E0AbccIOZa1HgX5VZJWdbz6Jx6WXqapN5LfgmS_YxdWj_Kn2S2GBpM/s1600/def_DSC_0107.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #351c75;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRo2cTL4lgUIDv9nNPprTWRYvX3OMFsoas2Pc-jS0I-DOMvKHExyBmHdUjbJhp5nGKZO-QOlpklQKHNcrwL3Z3E0AbccIOZa1HgX5VZJWdbz6Jx6WXqapN5LfgmS_YxdWj_Kn2S2GBpM/s320/def_DSC_0107.jpg" width="206" /></span></a><b><span style="color: #351c75;">La costruzione dell'abito</span></b><br />
<span style="color: #351c75;">Il modello che ho scelto è il famoso Nørlund 38/ D10580: ho sempre amato particolarmente la complessità della costruzione, con 4 pannelli per ogni lato. Inoltre, la presenza di tasche sul reperto e soprattutto le maniche a ¾ lo rendono un abito da sopra, ed era esattamente quello che mi serviva da indossare sopra l'abito blu della<a href="http://tacuinummedievale.blogspot.it/2015/03/the-manuscript-challenge-il-vestito-blu.html" target="_blank"> Manuscript Challenge.</a></span><br />
<span style="color: #351c75;">Per prima cosa, ho riprodotto su carta lo schema da Medieval Garments Reconstructed, e ho realizzato un modello di prova in stoffa leggera, a partire dal quale ho modificato leggermente la larghezza dell'abito sul torso (-4 cm totali) in modo che si adattasse meglio a me, ma senza renderlo troppo aderente al corpo, un cambiamento che avrebbe stravolto il concetto originale. Ho anche deciso di farlo lungo fino a terra, a differenza probabilmente dell'originale (per questo problema, cf. Woven into the Earth p. 142s.). Una volta verificato di non dover apportare modifiche sostanziali, ho tagliato la lana, stando attenta che le linee della saia fossero tutte orientate nella stessa direzione, ovvero dalla spalla sinistra al piede destro, una “regola” osservata in tutti i reperti di Herjolfsnes. (Mi piacerebbe dirvi che è stato tutto perfetto fin dal primo istante, ma la verità è che una volta tagliato l'abito mi sono accorta di avere le linee del twill nella direzione opposta: per fortuna invertendo dritto e rovescio ho potuto sistemare tutto, con l'unico svantaggio di avere ancora qualche ombra di gessetto rosa sull'esterno).</span><br />
<span style="color: #351c75;">L'abito è composto da un telo anteriore e uno posteriore, entrambi ampliati con l'aggiunta di un gherone al centro (composto da due triangoli) e 4 pannelli per ogni lato, cuciti sul taglio diagonale: tutti i pannelli sono molto sottili sotto le braccia (2-5 cm) e si allargano andando verso terra, i due posteriori sono in realtà ricavati da un solo pezzo di stoffa, diviso da una cucitura finta per amore di simmetria. Le maniche invece sono ricavate da una pezza principale e un triangolo, che si colloca sotto l'ascella, per dare una maggiore ampiezza e mobilità.</span><br />
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<i><b><span style="color: #351c75;">The construction of the garment</span></b></i><br />
<i><span style="color: #351c75;">My chosen pattern is the famous Nørlund 38/ D10580: I've always loved its complex structure, with 4 panels on each side. Furthermore, the pocket slits and the ¾ lenght sleeves make it an overdress, without many doubts, and it was exactly what I needed to wear over my blue <a href="http://tacuinummedievale.blogspot.it/2015/03/the-manuscript-challenge-il-vestito-blu.html" target="_blank">Manuscript Challenge</a> dress.</span></i><br />
<i><span style="color: #351c75;">First, I drew on paper the pattern from Medieval Garments Reconstructed and I made a toile in scrap fabric. I altered the width on the chest to fit me better (-4 cm), but without close fitting it to the body, because this would have altered the original shape and concept too much. I made it long to the ground, while the original garment probably it's shorter (for this issue, cf. Woven into the Earth, p. 142s.) After I was sure I didn't had to make any big alteration, I cut the wool, being careful to put all the twill lines in the same direction, from the left shoulder to the right foot, a general rule that is always respected in Herjolfsnes garments. </span></i><br />
<i><span style="color: #351c75;">(I would love to tell you everything has been perfect from the beginning, but the truth is that once I had the dress cut I realized that I had all the twill lines going in the opposite direction: luckily, I could fix it inverting right and wrong sides of the fabric, with the only problem of having some pink traces of chalk on the now right side). </span></i><br />
<i><span style="color: #351c75;">The dress is made with a front and back, each with a central gore made with 2 triangles, and 4 panels on each side, cut on bias: all the panels are really narrow under the arms (2-5 cm) and become wider towards the ground, the 2 hindmost panels are actually cut from 1 piece of fabric divided by a false long seam, for love of simmetry. The sleeves are made with a main piece and a triangle put under the arm, to increase width and mobility.</span></i><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #351c75;">Filo di lana filato a mano da me./<br /><i>My hand-spun yarn. </i></span></td></tr>
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<b><span style="color: #351c75;">Le cuciture</span></b><br />
<span style="color: #351c75;">Tutte le cuciture sono realizzate a mano, utilizzando filo di lana.</span><br />
<span style="color: #351c75;">- Sottopunto per le cuciture lunghe: si tratta di un punto dato dall'esterno, che risulta quasi invisibile e più veloce di quanto non sembri a una prima occhiata. È il punto più usato nei reperti originali per questo tipo di cucitura.</span><br />
<span style="color: #351c75;">- I gheroni sono cuciti dall'esterno.</span><br />
<span style="color: #351c75;">I metodi per rifinire gli orli sono estremamente vari, e non sempre è indicato con precisione nei testi dove sono utilizzati. Del reperto Norlund 38, in particolare, era specificato solo che i margini delle cuciture lunghe erano:</span><br />
<span style="color: #351c75;">1) ribattuti (generalmente su un lato, risultano essere ribattute aperte solo sulla spalla)</span><br />
<span style="color: #351c75;">2) cucite insieme in modo che il margine rimanga sollevato</span><br />
<span style="color: #351c75;">3) rifinite con le “tablet-woven piped edges”, ovvero con due fili intrecciati su se stessi, con l'ausilio di tavolette o con le dita, cuciti con un terzo filo sul margine.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFxdGdmHpGWNK7fvssfeneu4o-QzWshWHicezcnlstyqVExwJp5vjfocVEkcyiqWmY14sI4Xxnga6NFQab_Nl2e8-K84LON-7-bljfVts2DUdxJKYhZgfLs_qYCx4u8clgJrx_tBd7lSA/s1600/def_20160131_190254.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #351c75;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFxdGdmHpGWNK7fvssfeneu4o-QzWshWHicezcnlstyqVExwJp5vjfocVEkcyiqWmY14sI4Xxnga6NFQab_Nl2e8-K84LON-7-bljfVts2DUdxJKYhZgfLs_qYCx4u8clgJrx_tBd7lSA/s320/def_20160131_190254.jpg" width="180" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #351c75;">Tablet-woven piped edge.</span></i></td></tr>
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<span style="color: #351c75;">Ho voluto riprodurre la varietà delle rifiniture, scegliendo arbitrariamente dove impiegarle in mancanza di ulteriori informazioni. Dal momento che nel frattempo ho anche avviato qualche esperimento di filatura, ho utilizzato, in alcune rifiniture, del filo di lana realizzato da me, in particolare per le cuciture al punto 2 e 3.</span><br />
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<i><b><span style="color: #351c75;">The seams</span></b></i><br />
<i><span style="color: #351c75;">All seams are hand-made with wool thread.</span></i><br />
<i><span style="color: #351c75;">- Long seams have been sewn from the right side, with invisible stitches (and quite fast too). It's the most common stitch for long seams.</span></i><br />
<i><span style="color: #351c75;">- Gores are sewn from the right side.</span></i><br />
<i><span style="color: #351c75;">There are many long seams finishing methods on n. 38, and in the books it's not always stated clearly where each one is used. About n. 38 we know that seams had:</span></i><br />
<i><span style="color: #351c75;">1) Overcast stitches that sew the seam allowance down to the cloth</span></i><br />
<i><span style="color: #351c75;">2) Up-right seams with overcast stitching</span></i><br />
<i><span style="color: #351c75;">3) Tablet-woven piped edges, made with 2 threads twisted together with the help of tablets or fingers, sewn down with a third thread.</span></i><br />
<i><span style="color: #351c75;">I wanted to reproduce the variety of seams, and I had to choose arbitrarily where to use each of them, because of the lack of specific information. Since I had also started some spinning experiments, I used some wool thread hand-spun by me for seams of type 2 and 3. </span></i><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #351c75;">Il filo di riempimento nell'orlo. /<br /><i>Filler thread in the hem line.</i></span></td></tr>
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<b><span style="color: #351c75;">I dettagli / <i>The details</i></span></b><br />
<span style="color: #351c75;">Le <b>maniche</b> sono state uno degli elementi più problematici. Era evidente, osservando le proporzioni del reperto, che non potevano essere maniche lunghe ma maniche a ¾, un elemento che raramente viene riprodotto da chi sceglie di ispirarsi al n. 38: dopo un'iniziale esitazione, ho deciso di restare fedele anche a questa caratteristica dell'abito. Questo è forse il dettaglio che trova meno riscontri nella moda italiana, ma maniche a ¾, anche se di forma un po' diversa, sono comunque attestate, soprattutto fino agli anni '60 del secolo. Lo spacco presente nell'originale si rivela particolarmente comodo perché arriva esattamente all'altezza del gomito e consente una grande mobilità. La rifinitura della manica presenta un piccolo margine di 7 mm fermato con sopragitto e 2 file di stab stitch, ho invece deciso di non aggiungere le trecce come decorazione ulteriore, nonostante fossero presenti nel reperto.</span><br />
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<i><span style="color: #351c75;">The<b> sleeves</b> have been one of the most puzzling elements. Looking at the original garment, it was clear that they couldn't have been long sleeves, but ¾ lenght sleeves, something that is very rarely reconstructed when making a n. 38: after some hesitation, I decided to reproduce it as well. This is probably the less “Italian” feature of the dress, even if there are some ¾ lenght sleeves in italian art too, with a slightly different shape, at least until 1360s. The slit reaches the elbow, and allows a great mobility. The sleeve has a 7 mm seam allowance cast down with overstitches and decorated with 2 rows of stab stitches. The original one also has braided chords that I decided not to reproduce.</span></i><br />
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<span style="color: #351c75;">Lo <b>scollo</b> è stato ridotto rispetto all'originale, che è molto più ampio forse anche perché è rovinato, in modo che si combinasse bene con il vestito blu. Presenta un margine di 8 mm ribattuto con sopragitto ed è completato da 2 file di stab stitches. Ho aggiunto anche 2 fili di riempimento, assenti sul n. 38 ma comuni in altri abiti, soprattutto nel collo.</span><br />
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<i><span style="color: #351c75;">The <b>neckline</b> is narrower than the original one (that is quite wide and quite damaged too) to match it with the blue dress I made for the Manuscript Challenge. The 8 mm seam allowance is sewn down with overcast stitches and has 2 rows of decorative stab stitches. I added 2 filler threads as well, that are not present in n. 38 but are quite common on other garments' necklines.</span></i><br />
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<span style="color: #351c75;">I <b>tagli delle tasche</b> si collocano nel primo dei 4 pannelli laterali, sono lunghi 17 cm e si trovano ad un'altezza molto confortevole per me. Dell'originale è specificato che sono rifinite con una treccia di cordini doppi a 5 fili chiamata “delle Faroe”, le cui istruzioni sono fornite in Medieval Garments Reconstructed: le mie sono realizzate con filo di lana filato a mano da me e doppiato. Una volta tagliata la stoffa, ho semplicemente cucito le trecce in modo da proteggere il taglio vivo. Ho fatto scomparire i fili in eccesso nella treccia stessa.</span><br />
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<i><span style="color: #351c75;"><b>Pocket slits</b> are in the 1st of the side panels, are 17 cm long, in a very comfortable position for me. They are trimmed with a braided cord, probably a Faroe's cord with 5 strands, as described in Medieval Garments Reconstructed: I made mine with hand-spun, 2 plied yarn and I sew them down on the edge to prevent it from fraying. I hid the extra threads in the braid itself.</span></i><br />
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<span style="color: #351c75; font-size: x-small;"> Il taglio della tasca visto dall'esterno e dall'interno. / <i>Pocket slit seen from the outside and from the inside.</i></span></div>
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<tr><td style="text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYYr0jKN0T9s3ogbfvfnRAF31lyuw7mxMhU3-68UYBE5Ij9UGdhx5qa-wmocbsSUoPBNTMxck5sXXEItXSwcu31LHt6Qmc7wAO-npv14NBqJsD0mibfExzOb4Ck_HXaqEUIN3pLauxH7g/s320/def+12767568_10201356468308953_1789489008_n.jpg" style="margin-left: auto; margin-right: auto;" width="187" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Test di prova con <i>singling</i> e tessitura<br />
con 3 tavolette e 2 fili di riempimento,<br />
come nel reperto. / <i>A sample with<br />singling and tablet woven edge with 3<br />tablets and 2 filler threads, like<br />in the original find. </i></td></tr>
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<span style="color: #351c75;"></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYYr0jKN0T9s3ogbfvfnRAF31lyuw7mxMhU3-68UYBE5Ij9UGdhx5qa-wmocbsSUoPBNTMxck5sXXEItXSwcu31LHt6Qmc7wAO-npv14NBqJsD0mibfExzOb4Ck_HXaqEUIN3pLauxH7g/s1600/def+12767568_10201356468308953_1789489008_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #351c75;"></span></a><span style="color: #351c75;">L'<b>orlo</b> dell'abito è uno dei punti in cui mi sono discostata maggiormente dal modello: il n. 38 ha un primo rinforzo con il singling, una serie di punti dati orizzontalmente sulla stoffa e quasi invisibili a occhio nudo, per un'altezza di circa 12 mm. In aggiunta, presenta un bordo tessuto a tavolette (3 tavolette con 2 fili ciascuna, con 2 fili di rinforzo sul rovescio) in cui la spoletta è l'ago, che attacca la banda alla veste mano a mano che si procede. Ho fatto comunque un piccolo test per vedere il risultato, ma ho poi deciso di limitare l'uso di tessitura a tavolette perché poco attestata in Italia in questo tipo di lavorazione. Così ho deciso di prendere come riferimento il n. 45, che ha l'orlo fissato da sopragitto con filo di riempimento, rinforzato da 1 fila di stab stitch a 2,5 mm dal margine inferiore.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT-gNIkA84rRLCPie9MXdKch_cTLYDAhHrIg2S-axYo7c-jleIooRwrNZSx-B2TTjQx7QwwNPcw26kECIBFEcW27uTzz_WqsWNjgBa0PAheVYYlOMPGblnZ12nrj9BmpWqTnNRyjNg-0s/s1600/def_DSC_0116.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #351c75;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT-gNIkA84rRLCPie9MXdKch_cTLYDAhHrIg2S-axYo7c-jleIooRwrNZSx-B2TTjQx7QwwNPcw26kECIBFEcW27uTzz_WqsWNjgBa0PAheVYYlOMPGblnZ12nrj9BmpWqTnNRyjNg-0s/s320/def_DSC_0116.jpg" width="320" /></span></a></div>
<i><span style="color: #351c75;">The <b>hem line </b>is probably the most different part from the model: n. 38 has a first reinforcement made with singling, stitches laying flat on the fabric and almos invisible, about 12 mm high. Furthermore, it has a tablet-woven edge (3 tablets with 2 threads each, plus 2 reinforcing threads on the back) sewn on the garment with the weft-needle. I made a small test to see how it looks, but I decided to avoid this kind of tablet-woven finishing, because we don't have any source for this use of tablet weaving in Italy. So I decided to make my hem line according to n. 45, that has overcast stitches over filler thread and has 1 row of stab stitches, 2,5 mm from the lower edge.</span></i><br />
<span style="color: #351c75;"><br />Ringrazio tutti i partecipanti della Herjolfsnes Challenge per i preziosi consigli e il sostegno, e in particolare Nini, che ha sempre la pazienza di assistermi a distanza.</span>
<span style="color: #351c75;">Al termine del lavoro, posso dire che sono soddisfatta del risultato: l'aspetto che apprezzo di più sono piccoli dettagli che lo rendono, credo, un abito “vero” e dotato di una sua personalità.</span><br />
<div>
<span style="color: #351c75;"><i>I want to thank all the partecipants to the Hejolfsnes Challenge for precious advice and support, and expecially Nini, who is always patient enough to help me even if we're far from each other.<br />In the end, I can say I am happy with the result: what I like most are all the small details that make it, I believe, an authentic </i><i>dress with its own personality. </i></span></div>
Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com1tag:blogger.com,1999:blog-2546372836301302865.post-12382419708139020672016-02-29T12:00:00.001+01:002016-02-29T12:19:43.523+01:00Il cappuccio "alla Todeschino" / Wearing the hood "Todeschino's style" <div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi184k7UH3zOe_IP8froV1BFG5aYvOHi8DUkcyGPo7VxsX2dT_GDFRGFKs-JIwGtqcNzAB3wFgzvOqdSDXXUn89ItP1XBJrmVsXdyrE7C313K15a75qdmdL3WcmmlgeAFr2j3q8EKUhW4c/s1600/1+affreschi+del+buon+governo+CUT.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi184k7UH3zOe_IP8froV1BFG5aYvOHi8DUkcyGPo7VxsX2dT_GDFRGFKs-JIwGtqcNzAB3wFgzvOqdSDXXUn89ItP1XBJrmVsXdyrE7C313K15a75qdmdL3WcmmlgeAFr2j3q8EKUhW4c/s320/1+affreschi+del+buon+governo+CUT.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1340, Ambrogio Lorenzetti, Allegoria del buon governo, Siena</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_a8NCH7SuwlYSetE_HNe2HZquU0V3XhyYHrHUjcnS8e9_2fgH7jZrVFjztSqVQWUd7-MYsVIJdG5FQ-jGT893dI9ZaVoEDu6_2pK9RvdzzX7-8VfH3W7H-Boz3rNsZnDXrCEmQK3djQ/s1600/Bonamico_Buffalmacco_Trionfo_della_Morte_dettaglio_I_vivi_incontrano_i_morti+CUT.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_a8NCH7SuwlYSetE_HNe2HZquU0V3XhyYHrHUjcnS8e9_2fgH7jZrVFjztSqVQWUd7-MYsVIJdG5FQ-jGT893dI9ZaVoEDu6_2pK9RvdzzX7-8VfH3W7H-Boz3rNsZnDXrCEmQK3djQ/s320/Bonamico_Buffalmacco_Trionfo_della_Morte_dettaglio_I_vivi_incontrano_i_morti+CUT.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1340, Buonamico di Buffalmacco, Incontro dei tre<br />
vivi e dei tre morti</td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRfrTVFf-Mj3HACvkU8qx_3IUIJr4RxxFITpD5HRgUCub23_R2hEgybXxn2H6XzSaNSggH3xTQjyi6JMouq3Mg1fZsIe4qtf-ey3p3rV89_S1ZJR2r4H5DVv3H7NdiW1GU596ga-xPsc/s1600/_+Nouvelle+acquisition+latine+1673%252C+fol.+81v%252C+Marchand+de+sucre+candi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRfrTVFf-Mj3HACvkU8qx_3IUIJr4RxxFITpD5HRgUCub23_R2hEgybXxn2H6XzSaNSggH3xTQjyi6JMouq3Mg1fZsIe4qtf-ey3p3rV89_S1ZJR2r4H5DVv3H7NdiW1GU596ga-xPsc/s1600/_+Nouvelle+acquisition+latine+1673%252C+fol.+81v%252C+Marchand+de+sucre+candi.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-size: 12.8px;">Fine XIV sec.,<br />NAL 1673,<br /> fol. 81v,</span><span style="font-size: 12.8px;"> </span><br />
<span style="font-size: 12.8px;">"Zucchero"</span></td></tr>
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Preparando il workshop sul cappuccio trecentesco, abbiamo ripreso in mano <a href="http://tacuinummedievale.blogspot.it/2014/01/uno-chaperon-per-domarli-tutti-one.html" target="_blank">il nostro articolo</a> e abbiamo cercato una soluzione più convincente per riprodurre un particolare stile con cui veniva indossato il cappuccio. Infatti ci siamo resi conto che solo una delle miniature esaminate per lo stile numero 6, "Lo chaperon con la cresta", presentava effettivamente una semplice cresta creata con la foggia infilata dentro al risvolto. Nelle altre fonti invece si trova in modo ricorrente un "giro di stoffa" intorno al risvolto, dello stesso colore della fodera. Questo stile, particolarmente diffuso nella prima metà del Trecento e solo occasionalmente attestato nella seconda metà, attribuito a personaggi di rango o a personaggi non più giovani, inizialmente ci è apparso di difficile interpretazione, ma che comunque non era sufficiente a spingerci ad interpretarlo come un copricapo differente dal cappuccio. Alla fine, Francesco ha proposto un'ipotesi che ci sembra plausibile per la somiglianza visiva con le immagini e per la facilità di realizzazione: per questo lo abbiamo chiamato ironicamente "lo stile di Todeschino".<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-1f-pEoVGp9YoUZ1l3R5ACHgImxUMhh6hf9Vw66HHx3NE99QAE7C_4n-uOpyRajK7P4yLsqouTlmp7CA-irD-0gGUQdqCtftbQRlEKfFhX5t75bLpejpsmgGXMMy_fOBhKtGXJrUvXs/s1600/2+affreschi+del+buon+governo+CUT.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-1f-pEoVGp9YoUZ1l3R5ACHgImxUMhh6hf9Vw66HHx3NE99QAE7C_4n-uOpyRajK7P4yLsqouTlmp7CA-irD-0gGUQdqCtftbQRlEKfFhX5t75bLpejpsmgGXMMy_fOBhKtGXJrUvXs/s400/2+affreschi+del+buon+governo+CUT.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">1340, Ambrogio Lorenzetti, </span><span style="font-size: 12.8px;">Allegoria del buon governo</span><span style="font-size: 12.8px;">, Siena</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2-xRM0mpGPsTK9BLgS9GrB7hyphenhyphenZDcqZ_dSt_t2QaGpRT97cFFNyuMm2Uu8Yatn_zRaGPRDfKZ5VIwwi5VmxwVYDD8QkwMjvD0IdSXRL1Vd3Rlf8qh1h3EuqVFWEz7UW3Aby5GoDVoQyL8/s1600/Nicol%25C3%25B2+da+Bologna+CUT.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2-xRM0mpGPsTK9BLgS9GrB7hyphenhyphenZDcqZ_dSt_t2QaGpRT97cFFNyuMm2Uu8Yatn_zRaGPRDfKZ5VIwwi5VmxwVYDD8QkwMjvD0IdSXRL1Vd3Rlf8qh1h3EuqVFWEz7UW3Aby5GoDVoQyL8/s200/Nicol%25C3%25B2+da+Bologna+CUT.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1350, Nicolò da Bologna, Il matrimonio</td></tr>
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<i>Preparing the workshop about 14th century hoods, we have been thinking again about <a href="http://tacuinummedievale.blogspot.it/2014/01/uno-chaperon-per-domarli-tutti-one.html" target="_blank">our previous article</a> about hoods and we have been looking for a better solution to reproduce a particular style. We realized that only one of the sources we considered for style 6, "Crest hood", actually has a simple crest, made with the shoulder part of the hood folded inside the face-opening fold: it's </i><i>the one from S. Maria Novella in Florence.</i><i> In the other sources there is often something that looks like fabric going around the face-opening fold, in the same colour of the lining. This style, quite common in the first half of the 14th century but barely seen in the second half, and only as a feature of high-status characters or old people, at the beginning seemed difficult to understand, but this wasn't enough to make us think it was a different headwear from the hood. Finally, Francesco made an hypothesis that looked convincing both for the resemblance to the sources and the ease of the realisation: that's why we ironically called it "Todeschino's style". </i><br />
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<b>Istruzioni / Instructions</b></div>
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<tr><td style="text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-UW5fQnKHZNAUOMywQe_VPZzUIRD1Wn8nlUaOrQwIKChE8MT2JynUh3usQaBcsTRHwhSwri-7W7ESfq-ZfoO8EclEAg0cM8ZEe-REGJSlC4hcpqsKSFz1q-lHGffPAFcMD7WV1FkEO5I/s320/c1.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">1. Prendere il cappuccio disteso / <i>Take your hood lying flat.</i></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">2. Fare un risvolto nell'apertura del viso. / <i>Fold the face opening.</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">3. Infilare la mano dall'apertura del viso e prendere la foggia nel punto più distante dall'apertura (in corrispondenza della cucitura posteriore.) <i>/ Put your hand inside the hood from the face opening and take the shoulder part in the opposite place from the face opening (about where the seam of the neck is).</i></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">4. Tirare fuori la foggia dall'apertura del viso. / <i>Pull out the shoulder part you are holding with your hand from the face opening.</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4oiZuUWUQX84ax0txJOBW-n6gSmvBrWeF5Tdtg3mPsRZ4K6YaB0t4QTLe_fKw0ABu5JVrK_oASToIdqKqBEoS4oixiD06w2PbZH5MyRwOpm3WCugKGHcUZl_sd7JjL8P7zXz464FObk/s1600/c5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4oiZuUWUQX84ax0txJOBW-n6gSmvBrWeF5Tdtg3mPsRZ4K6YaB0t4QTLe_fKw0ABu5JVrK_oASToIdqKqBEoS4oixiD06w2PbZH5MyRwOpm3WCugKGHcUZl_sd7JjL8P7zXz464FObk/s320/c5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">5. Piegare il lembo della foggia verso l'alto... / <i>Pull the shoulder part up...</i></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">6. ...e infilarlo dietro il risvolto dell'apertura del viso. / ...<i>and put it inside the face opening.</i><br />NOTA: la linea rossa che si vede nella piega è la ribattitura della cucitura del collo, che è assente nelle iconografie prese in esame. Inoltre il nostro cappuccio ha una coda molto più lunga dei cappucci di inizio Trecento che si vedono in queste iconografie. <i>/ Note</i>: <i>the red line visible on the fold is the finishing of the back seam, that is not visible in the sources we found. Our hood as a longer liripipe than the ones from the first half of the century shown in these sources.</i></span></td></tr>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwsrZ3yyF8fQhVmp33UIJdFHVY9xzgQTKJ3hVw-QPEEE4Q7cz23YAsYjzWIRYL9wWpKKGvm87Q7NYhzuuwpZg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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Questo è un breve video che illustra tutti i passaggi, per maggiore chiarezza. / <i>This is a short video that shows all the steps, to be more clear.</i></div>
<br />Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com2tag:blogger.com,1999:blog-2546372836301302865.post-25171529214359659032015-12-09T12:40:00.001+01:002016-02-25T10:51:32.810+01:00Herjolfsnes challenge: il cappuccio Nørlund 78 – D10606 / Herjolfsnes challenge: the hood Nørlund 78 – D10606<div class="MsoNormal">
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #073763;">La mia prima Herjolfsnes Challenge: il cappuccio Nørlund 78 – D10606 / <br /><i>My first Herjolfsnes challenge: the hood Nørlund 78 – D10606. </i></span></td></tr>
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<span style="color: #073763;"><span style="line-height: 18.4px;">Le sfide collettive mi piacciono particolarmente: durante la Manuscript Challenge, ho avuto la conferma che condividere i progressi del mio lavoro e allo stesso tempo seguire il processo creativo degli altri partecipanti è non solo un ottima occasione per imparare qualcosa di nuovo e migliorarsi, ma anche per lavorare con più entusiasmo sul progetto. Per questo, non ho esitato a partecipare alla nuova “sfida”, lanciata questa volta da Elina di Neulakko, la “</span><a href="http://www.neulakko.net/?p=9988" style="line-height: 18.4px;" target="_blank">Herjolfsnes challenge</a><span style="line-height: 18.4px;">” </span></span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #073763;">Piccoli cappucci erabo usati dalle donne anche in Italia. /<br />Small hoods wereused by women in Italy too.<br />351v, part Latin 757 Missale et horae ad usum<br />Fratrum Minorum. </span></td></tr>
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<span style="line-height: 18.4px;"><span style="color: #073763;">Lo scopo di questa sfida è riprodurre con un grado piuttosto alto di fedeltà uno dei reperti medievali rinvenuti in Groenlandia, uti</span></span></div>
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<span style="line-height: 18.4px;"><span style="color: #073763;">lizzando come fonti principalmente “Woven into the Earth” di Else Østergård (che ho recensito <a href="http://tacuinummedievale.blogspot.it/2013/02/recensione-woven-into-earth-else.html" target="_blank">qui </a> nel lontano 2013) e “Medieval Garments Reconstructed”, un libro realizzato dalla stessa autrice, che contiene gli schemi dettagliati con le misure dei reperti.</span></span></div>
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<span style="line-height: 18.4px;"><span style="color: #073763;">Per scaldare un po’ i muscoli prima di intraprendere un progetto più ambizioso, ho deciso di iniziare con un cappuccio, e ho scelto il Nørlund 78 – D10606. Il mio obiettivo, per questa sfida, era rispettare tutte le caratteristiche costruttive del reperto, cercando di aderire il più possibile alle forme e alle misure originali e di utilizzare i tipi di cucitura documentati dai reperti: rispetto all’opera di rievocatori e rievocatrici esperte, che si ripropongono di iniziare la sfida partendo dalla selezione della lana per poi procedere alla filatura e alla tessitura, il mio obiettivo è ben più modesto.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #073763;">La mia stoffa, twill 2/2. / <i>My fabric, 2/2 twill. </i></span></td></tr>
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<i><span style="color: #073763;">I really enjoy group challenges: during the Manuscript Challenge, I had the confirmation that sharing the progress of my work and at the same time following other participants creative process is not only a great occasion to learn something new and improving my skills, but also a good way to gain more enthusiasm for my project. Therefore, I didn’t hesitate to join a new challenge, introduced by Elina from Neulakko, the “<a href="http://www.neulakko.net/?p=9988" target="_blank">Herjolfsnes challenge</a>” . The goal is to reproduce one of the original garments from Greenland with a good level of accuracy, using as main sources “Woven into the Earth” by Else Østergård (you can check out <a href="http://tacuinummedievale.blogspot.it/2013/02/recensione-woven-into-earth-else.html" target="_blank">my review</a> from 2013 here but it’s only in Italian) and “Medieval Garments Reconstructed”, its twin, that features schemes, patterns and detailed measures of the garments. </span></i></div>
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<i><span style="color: #073763;">To warm up a bit before starting with a more ambitious project, I decided to begin with a hood, and I chose Nørlund 78 – D10606. My goal, for this challenge, was to respect all the features of the original find, matching as much as possible its shapes and measures and using the same seams: comparing it to the projects of skillful re-enactors, that are going to start their challenges from the selection of wool, to spin it and weave it, my goal is very humble. </span></i></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #073763;">Il disegno originale a matita, le alterazioni <br />con gli spilli.<br />The original pattern drawn with pencil, alterations<br />with pins. </span></td></tr>
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<span style="color: #073763;">Ho iniziato riproducendo su stoffa il cappuccio nelle dimensioni originali fornite da “Medieval Garments Reconstructed” (MGR), e ho dovuto apportare qualche modifica:</span></div>
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<span style="color: #073763;">1 - ho ridotto l’apertura del viso di un paio di centimetri, perché era troppo largo per me</span></div>
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<span style="color: #073763;">2 - ho rimpicciolito la parte posteriore in modo che fosse più stondato e più aderente alla testa: anche il reperto sembra avere questa forma</span></div>
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<span style="color: #073763;">3 - ho aggiunto 4 centimetri alla lunghezza della parte frontale della foggia, sotto il collo, per essere sicura che il cappuccio coprisse la scollatura del mio vestito blu</span></div>
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<span style="color: #073763;">4 - ho eliminato la punta prominente della foggia perché risultava troppo larga per me sulle spalle.</span></div>
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<span style="color: #073763;">Ho mantenuto invece la forma del cappuccio al centro della testa, in particolare la forma a “corno” della parte frontale, che si nota in gran parte dei reperti, l’ampiezza molto ridotta dell cappuccio sulle spalle (i due gheroni infatti sono solo 8,5 cm) e il collo molto aderente, nel quale riesco a passare grazie all’elasticità della stoffa. </span></div>
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<i><span style="color: #073763;">First, I reproduced the pattern on some scrap fabric in its original dimensions as given by “Medieval Garments Reconstructed” (MGR), and I had to make a few alterations (check out the figure for a clearer explanation):</span></i></div>
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<i><span style="color: #073763;">1- I reduced the face opening of 2 cm, because it was too large for me</span></i></div>
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<i><span style="color: #073763;">2- I reduced the back part of the head and made it more rounded and more fitted to the head: also the original hood seems to have this shape.</span></i></div>
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<i><span style="color: #073763;">3- I added 4 cm to the length of the shoulder part under the neck, to be sure the hood covers the neck of my blue dress</span></i></div>
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<i><span style="color: #073763;">4- I deleted the protruding part under the neck, because this way it was too big for me on the shoulders.</span></i></div>
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<i><span style="color: #073763;">I kept the shape of the top of the hood, expecially the “horn” in the front, since it’s typical of many finds, very narrow shoulders (the side gores are only 8,5 cm) and the fitted neck: I can pass through it thanks to the elasticity given by the twill. </span></i></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #073763;">Il cappuccio indossato: sicuramente apprezzate il mio<br /> maglione molto medievale! /<br /><i>The hood: I'm sure you appreciate my very medieval sweater!</i></span></td></tr>
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<span style="color: #073763;">Il reperto originale è di vadmal, una stoffa di lana prodotta in Groenlandia, con trama a twill 2/2: la lana che ho utilizzato io è piuttosto diversa dall’originale, ma è comunque un twill 2/2. Il colore è rosa, e l’ho trovata a un mercatino: in totale, ne ho consumati 100 x 65 cm, facendo combaciare la direzione del twill dei gheroni e del cappuccio (ma commettendo il peccato veniale di orientare le diagonali del mio twill da in alto a sinistra a in basso a destra per chi guarda, ovvero nella direzione opposta a quella dei reperti). La coda, o “liripipium”, è costituita da 4 parti come nell’originale, ma il punto di giuntura è determinato dalla lunghezza della mia stoffa e non coincide: è lungo circa 70 cm e argo 5,5 cm, come l’originale. </span></div>
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<span style="color: #073763;">Arrivata al momento di cucire, ho cercato di riprodurre in particolar modo le cuciture tipiche dei reperti della Groenlandia: per la prima volta ho anche usato il filo di lana, invece di quello di lino. </span></div>
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<span style="color: #073763;">- Cuciture principali: punto indietro (anche sei nei reperti non è specificato e probabilmente si tratta di un punto diverso), i margini, di 8-9 mm, sono stati aperti e schiacciati poi fissati con il sottopunto, senza aggiunta di filo di riempimento (filler thread)</span></div>
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<span style="color: #073763;">- Cuciture dei gheroni: dall’esterno con sottopunto, con i margini rifiniti all’interno con sottopunto</span></div>
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<span style="color: #073763;">- Apertura del viso: ho rispettato le specifiche informazioni del reperto. L’orlo è di 7 mm, fermato da sottopunto, ed è rinforzato e decorato da due file di “stab stitch”. In molti reperti l’orlo intorno all’apertura del viso è rinforzato dalla presenza di uno o due fili di riempimento: io ne ho utilizzati due di lana tinta da me con un secondo bagno di robbia, il cui colore è molto simile a quello della stoffa.</span></div>
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<span style="color: #073763;">- Finitura delle spalle: ho rispettato anche qui le caratteristiche del reperto, lasciando 9 mm di orlo, fissato da sottopunto, e completato da due file di “stab stitch”. Ho inserito anche qui due fili di riempimento, ma non è chiaro se nei reperti fossero presenti anche in questa posizione. </span></div>
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<span style="color: #073763;">Per la prima volta mi sono resa conto della diffferenza tra “running stitch” (punto filza) e “stab stitch”, osservando anche il lavoro di altri partecipanti alla Herjolfsnes Challenge: li ho schematizzati nella figura, che dovrebbe essere più comprensibile della mia spiegazione. La caratteristica principale dello “stab stitch” dei reperti della Groenlandia è che l’ago si muove sempre in diagonale attraverso la stoffa, creando sul dritto e sul rovescio due file di “running stitch”, in cui tutti i punti si toccano. È una finitura secondo me molto bella esteticamente, e anche molto robusta. </span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl0W_cgGqaETwkyL8O0a4zCIKr62EauzBYlHhyzzzkl6TpA3il2e11hXAFizsrJLH7v4xK7OMSPqv5z-ygy19O-wA_X9C3dMzkQBLv4DeqOcWSfLx-BkPuCM439wg7jSCTm-xyt2LOjJQ/s1600/_DSC_0099.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #073763;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl0W_cgGqaETwkyL8O0a4zCIKr62EauzBYlHhyzzzkl6TpA3il2e11hXAFizsrJLH7v4xK7OMSPqv5z-ygy19O-wA_X9C3dMzkQBLv4DeqOcWSfLx-BkPuCM439wg7jSCTm-xyt2LOjJQ/s400/_DSC_0099.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #073763;">La finitura dell'apertura del viso: due file di stab stitch (vista dall'interno in alto e dall'esterno in basso) con sottopunto che fissa il filo di riempimento, tinto con il secondo bagno di robbia. / <i>The face opening finishing: two rows of stab stitches (from the inside on top, from the outside below) with overcast stitches that secure the filler threads, plant dyed with a second bath of madder.<br /></i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYK4BKAmgp5NWNzTllOMvutvLdVSIuaDhelkULcTgK9qLUlcdRlP6j4q_g5pjhf5VvenNbMN509ygcrm1u10Cug44mygEGVesIMt2OTkwCpF-ql6ayAz-aAHLxCUawORcJDKgh4T5OY2Y/s1600/_20151019_152045.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #073763;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYK4BKAmgp5NWNzTllOMvutvLdVSIuaDhelkULcTgK9qLUlcdRlP6j4q_g5pjhf5VvenNbMN509ygcrm1u10Cug44mygEGVesIMt2OTkwCpF-ql6ayAz-aAHLxCUawORcJDKgh4T5OY2Y/s320/_20151019_152045.jpg" width="289" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #073763;">Rifinitura dell'orlo con la prima serie di "stab stitch". /<br />Finishing the hem with the first row of stab stitch. </span><div class="separator" style="clear: both; text-align: center;">
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<i><span style="color: #073763;">The original hood is made of vadmal, a typical Greenlandic wool fabric, woven in 2/2 twill: the woll I used is quite different from the original, but it’s still a 2/2 twill. It’s pink and I found it in a charity shop: I used 100 x 65 cm of it, matching the twill lines of the hood and the gores (but actually mistaking the direction of the twill, since my lines go from top left to bottom right for who watches, the opposite way than the finds). The liripipe is made in 4 pieces like the original, but they are joined according to the necessity of my fabric and doesn’t match the original, but it’s 70 cm long and 5,5 cm wide like the find. </span></i></div>
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<i><span style="color: #073763;">When time for sewing came, I tried to reproduce the typical seams of the Greenland finds, and for the first time I used woolen thread instead of linen thread. </span></i></div>
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<i><span style="color: #073763;">- Main seams: back stitch (it’s not explained in detail in the books, but probably a different stitch was used), the seam allowance is 8-9 mm and has been opened, pressed and folded with overcast stitches.</span></i></div>
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<i><span style="color: #073763;">- Gores: they were sewn from the outside with hem stitch, the seam allowance is folded on one side with overcast stitches.</span></i></div>
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<i><span style="color: #073763;">- Face opening: I respected the specific information about the find. The seam allowance is 7 mm, folded with overcast stitches and reinforced with 2 rows of stab stitches. In many finds the hem around the face is reinforced with filler threads, so I put 2 threads of pink wool, plant-dyed by me with a 2nd bath of madder whose color matches the fabric.</span></i></div>
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<i><span style="color: #073763;">- Shoulder finishing: I respected the original features of the hood here as well, leaving a 9 mm seam allowance folded down with overcast stitches and 2 rows of stab stitches. I decided to put here as well 2 filler threads, but it’s not clear if they were used in this position in any of the finds.</span></i></div>
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<i><span style="color: #073763;">For the first time I thought about the difference between “running stitch” and “stab stitch”, thanks to other partecipants’ work for the Challenge as well: I made a small scheme to show better. While stab stitching, the needle passes through the fabric in a diagonal line and makes 1 lines of running stitches on both sides of the fabric, because every stitch touches the next one. It’s a very good looking finishing, and very strong too.</span></i></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #073763;">Running stitch, stab stitch. </span></td></tr>
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<span style="color: #073763;">Il cappuccio è stato un piccolo “svago” nelle intense settimane che hanno preceduto l’evento di ricostruzione storica “La Spezieria di Diotaiuti”, un progetto al quale lavoro insieme al mio gruppo Civitas Alidosiana da più di un anno: grazie allo studio degli originali quaderni di bottega dello speziale imolese Diotaiuti, abbiamo potuto ricostruire la sua bottega e la grande quantità di merci presenti. Potete trovare ulteriori informazioni e una ricca galleria fotografica <a href="http://www.civitasalidosiana.org/?page_id=620" target="_blank">sul nostro sito</a></span></div>
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<span style="color: #073763;">Come vedete sono riuscita a completare il cappuccio in tempo per indossarlo durante l’evento! </span></div>
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<i><span style="color: #073763;">The hood has been a small diversion in the intense weeks before the historical reconstrucion event “La Spezieria di Diotaiuti” (Diotaiuti’s apothecary shop), a project I’ve been working on together with my group Civitas Alidosiana for more than a year: thanks to the original books of accounts written by the apothecary Diotaiuti, who lived in Imola in the 14th century, we could reproduce his shop and the great amount of wares he sold. You can find more information and a lot of pictures on our website, also in English <a href="http://www.civitasalidosiana.org/?page_id=663" target="_blank">here</a>. </span></i></div>
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<i><span style="color: #073763;">As you can see, I managed to complete the hood in time for the event!</span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlkhcihXXZY1gkTB_ij1u1M64fqfOheLaiczOL7M_AA-mpTBzE1IIJkM-vOtiWh0VB4bYR1STcLb25DWXQHxhEFC5rzOH9ogzyhHyWO6in8d6UQlUvtLF0RWvhoo5WndNeRz_qdk9br5k/s1600/_CBLH_2015_11_07_029.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlkhcihXXZY1gkTB_ij1u1M64fqfOheLaiczOL7M_AA-mpTBzE1IIJkM-vOtiWh0VB4bYR1STcLb25DWXQHxhEFC5rzOH9ogzyhHyWO6in8d6UQlUvtLF0RWvhoo5WndNeRz_qdk9br5k/s640/_CBLH_2015_11_07_029.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Le mie sfide: l'abito della Manuscript Challenge e il nuovo cappuccio. /<br />My challengese: the blue dress from the Manuscript Challenge and the new hood.<br />Foto di Camillo Balossini - tutti i diritti riservati.<br /><i>Photo by Camillo Balossini - All rights reserved. </i></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;">Foto di Camillo Balossini - tutti i diritti riservati.<br /><i>Photo by Camillo Balossini - All rights reserved.</i></td></tr>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com4tag:blogger.com,1999:blog-2546372836301302865.post-35942922733907235912015-09-24T22:47:00.000+02:002015-09-24T22:47:22.741+02:00Un banco da falegname del XIV secolo / A14th century carpenter's workbenchQuesto post non tratta cucito, ma è legato all’attività artigianale di Francesco, la falegnameria.<br />
<i>This post is not about sewing, but it talks about Francesco’s craft, woodworking. </i><br />
<i>… and we really hope our English will be understandable even if we don’t know very well specific words.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglKOAIUVQBzwvLJ5__kNiroGFbOc9JDlaJ-ZgEs427E3LDibUif3sK-6sUaDf-VgyFk6jJR2wzjtECivfR9F9QbYgB6B0hyphenhyphenPQ4sWvC5HXfHoE_emyN_zF0MXTFwxXyVlESRZwqLC7fhJk/s1600/_DSC_0212.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglKOAIUVQBzwvLJ5__kNiroGFbOc9JDlaJ-ZgEs427E3LDibUif3sK-6sUaDf-VgyFk6jJR2wzjtECivfR9F9QbYgB6B0hyphenhyphenPQ4sWvC5HXfHoE_emyN_zF0MXTFwxXyVlESRZwqLC7fhJk/s320/_DSC_0212.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Banco da lavoro / W<i>orkbench</i></td></tr>
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<b>La descrizione del banco / <i>The description of the workbench</i></b><br />
L’oggetto in questione è composto da due assi in castagno bloccate assieme tramite due pioli e da due traversi inchiodati e forati; nei fori sono poi inserite le gambe del banco fatte in legno di nocciolo. Per facilitare il trasporto con i nostri mezzi, due gambe sono estraibili mentre due sono fisse.<br />
Per fissare le assi o la legna sul banco, sono stati realizzati due tipi di fermi: 4 sono in ferro battuto in forgia mentre due in legno sono stati fatti al tornio (storico). <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitps7pNn_SuHz1EhYBYwiF3ka8HyCkxI-Ccj_vk9RZxSgRl685K5JLt_Hc5-gYuTT4STxBWEPeohNv7NJTG7rHFnRdZvO2oKSjGOfZ3YT8Ovcu3CJV83wK9knMcM2VqVCZ6BRiSMab6pU/s1600/_DSC_0210.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitps7pNn_SuHz1EhYBYwiF3ka8HyCkxI-Ccj_vk9RZxSgRl685K5JLt_Hc5-gYuTT4STxBWEPeohNv7NJTG7rHFnRdZvO2oKSjGOfZ3YT8Ovcu3CJV83wK9knMcM2VqVCZ6BRiSMab6pU/s320/_DSC_0210.jpg" width="320" /></a>I pioli in ferro hanno una parte appiattita in modo da potersi incastrare ancora meglio al legno. Tutti i fermi hanno lo stesso diametro di circa 1,6 cm e possono essere inseriti nei vari fori realizzati sul banco; sicuramente ne saranno fatti altri per poter utilizzare diverse misure di assi grezze.<br />
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<i>The workbench is made with 2 boards in chestnut, placed side by side and fixed together with 2 rods and 2 nailed transverse planks with holes, in which are put the legs of the workbench made in hazel. To make it easier to move with our car, 2 legs can be took off while the other 2 are secured.</i><br />
<i>To block the planks or the wood on the workbench, I realized 2 different kind of rods: 4 are in forged iron while 2 are in turned wood. The iron rods have a flattened part, useful to secure better the planks. All the rods have the same diameter (about 1,6 cm) and can be inserted in the different holes made on the workbench: I will make more of them so I can work with different sizes of planks. </i><br />
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<b>Le fonti / <i>Sources</i></b><br />
L’iconografia riportante questo tipo di strumento copre diversi secoli (XIV-XVI sec.) nonostante alternative al banco siano spesso utilizzate specialmente quando l’asse era molto lunga: un paio di cavalletti erano decisamente più comodi, così come due pali scavati erano sicuramente più versatili e adattabili a diversi tipi di tavole o assi.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSHafpir4zTaRzpg65PJiUeUhbR4oQqM7tcsRcuF-07AYUTO8wucHGOwjcitciE6eyN1ULSCpRB8Ah6IrrvGo_mL4a2Z9TDC9xLeJIUyXfWvEdVhkJ1vRCxFc9Ozsywr07pWbAedSsH4g/s1600/_Fran%25C3%25A7ais+2092%252C+fol.+75v%252C+Construction+de+Saint-Denis-de-l%2527Estr%25C3%25A9e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSHafpir4zTaRzpg65PJiUeUhbR4oQqM7tcsRcuF-07AYUTO8wucHGOwjcitciE6eyN1ULSCpRB8Ah6IrrvGo_mL4a2Z9TDC9xLeJIUyXfWvEdVhkJ1vRCxFc9Ozsywr07pWbAedSsH4g/s320/_Fran%25C3%25A7ais+2092%252C+fol.+75v%252C+Construction+de+Saint-Denis-de-l%2527Estr%25C3%25A9e.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Français 2092, fol. 75v, Construction de Saint-Denis-de-l'Estrée</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Latin 511, fol. 5, Construction du Temple</td></tr>
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<i>The sources showing this kind of tool are spread through many centuries (14th – 16th century), despite there are different options, expecially when the boards were very long: a couple of sawhorses are definetly more convenient, and also 2 poles with slots are more adaptable to different dimensions of boards and planks. </i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkvThPrUBzPrhTxoOren-2NUYgmjJ0ZsYfxJLn5D5E5lDdAxGjR6oebiZ0AntDXOAu-OeuIpVAciHNAs_kl2taTw028tY_wdhPdDvwdyAGB8HlfAMfiN0Dm1p1qOpAPIvn3675fyR6Nk/s1600/1423%252CNoah+building+the+Ark+in+the+Bedford+Hours%252C+British+Library%252C+London%252C+UK.+Manuscript+Add.+MS+18850%252C+folio15v+part1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkvThPrUBzPrhTxoOren-2NUYgmjJ0ZsYfxJLn5D5E5lDdAxGjR6oebiZ0AntDXOAu-OeuIpVAciHNAs_kl2taTw028tY_wdhPdDvwdyAGB8HlfAMfiN0Dm1p1qOpAPIvn3675fyR6Nk/s400/1423%252CNoah+building+the+Ark+in+the+Bedford+Hours%252C+British+Library%252C+London%252C+UK.+Manuscript+Add.+MS+18850%252C+folio15v+part1.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1423,Noah building the Ark in the Bedford Hours, British Library, London, UK. Manuscript Add. MS 18850, folio15v</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhOl9Gsd5rGcvzc-VJBjmiGcyzOXixjWxLnVuQrs21HDIHq3gytBPLHcoseLE0U6Emz-Pklm0R1ZvFs-aUkt0I-mV0OjXThZG9ofejmSCZrfDjt1TNq3LzHKsGkatYkc1AY4RjBOgm7LE/s1600/1461%252CSpanish+Book+of+Hours%252CThe+British+Library%252C+London%252C+UK.+Manuscript+Add.+18193%252C+folio+48v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhOl9Gsd5rGcvzc-VJBjmiGcyzOXixjWxLnVuQrs21HDIHq3gytBPLHcoseLE0U6Emz-Pklm0R1ZvFs-aUkt0I-mV0OjXThZG9ofejmSCZrfDjt1TNq3LzHKsGkatYkc1AY4RjBOgm7LE/s320/1461%252CSpanish+Book+of+Hours%252CThe+British+Library%252C+London%252C+UK.+Manuscript+Add.+18193%252C+folio+48v.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1461,Spanish Book of Hours,The British Library, <br />London, UK. Manuscript Add. 18193, folio 48v</td></tr>
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<b>Utilizzo del banco</b><br />
Per lavorazioni di assi più piccole questo tipo di banco risulta indispensabile poichè non è possibile fissare i pezzi di legno più corti su due cavalletti, che devono essere un minimo distanti tra loro, mentre con il banco si possono facilmente tenere fermi, realizzando pioli più bassi o spessori per alzare la tavola da lavorare alla giusta altezza e fissarla senza troppa difficoltà.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinVM2g8OKVdjUk3FgOq9Ju84X1r5Y1NI53QDlX3Nn6GCKXpXyNLCEgo9qBlQ0mDVPQlWEqSSiEr0841LIIWDDy3G0Mw_yy1BbYpwmrF73YPRyGtbmZo8BWQu5_d4WejU2JVhfDmXS0ug8/s1600/1444%252C+Mendel_I_066_v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinVM2g8OKVdjUk3FgOq9Ju84X1r5Y1NI53QDlX3Nn6GCKXpXyNLCEgo9qBlQ0mDVPQlWEqSSiEr0841LIIWDDy3G0Mw_yy1BbYpwmrF73YPRyGtbmZo8BWQu5_d4WejU2JVhfDmXS0ug8/s320/1444%252C+Mendel_I_066_v.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hausbuch der Mendelschen <br />Zwölfbrüderstiftung, Band 1. Nürnberg <br />1426–1549. Stadtbibliothek Nürnberg, <br />Amb. 317.2°</td></tr>
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Vediamo quindi come questo banco, realizzato in piccole dimensioni, si possa collocare in un ambiente “casalingo” o comunque chiuso, ma possa anche essere usato, se di dimensione adeguata, nei grandi cantieri, luoghi in cui le altre soluzioni trovano quasi esclusivamente il loro impiego.<br />
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<i>To work on smaller pieces this kind of workbench is necessary, because it’s not possible to secure shorter planks on 2 sawhorses, that have to be at least a little far from each other, while with the workbench they can be easily secured, making shorter rods or shims to lift the plank and easily fix it.</i><br />
<i>We can see that this workbench, which is made in small scale, can be used in a “domestic” or closed setting, but it can also be used, if it’s in an adequate dimension, in big building sites, places where the other tools are most commonly used. </i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl3jL7F5BHdf9bXAUqVfbPvyTaueg6HUWUAdN1MrKOvHe7MPAk1Sn-L6Z62eJ0FdjoQf3UK65E1EZkcGYWWmy9_FzaV1xQ0dLeO6HAFOGrJ8d9gHt1SD-VZat-i42LV-MkDMy8RmD1aek/s1600/1390%252C+Pietro+di+Puccio%252C+campo-santo+Pisa.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl3jL7F5BHdf9bXAUqVfbPvyTaueg6HUWUAdN1MrKOvHe7MPAk1Sn-L6Z62eJ0FdjoQf3UK65E1EZkcGYWWmy9_FzaV1xQ0dLeO6HAFOGrJ8d9gHt1SD-VZat-i42LV-MkDMy8RmD1aek/s320/1390%252C+Pietro+di+Puccio%252C+campo-santo+Pisa.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1390, Pietro di Puccio, campo-santo Pisa</td></tr>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com5tag:blogger.com,1999:blog-2546372836301302865.post-36842236039395712702015-09-12T19:51:00.001+02:002015-09-14T17:41:53.277+02:00Seta e perle per Damisella / Silk and pearls for Damisella <span style="color: #3d85c6;">Questo abito e i suoi accessori sono stati progettati e realizzati per ricostruire il personaggio storico di Damisella Gonzaga, ultima figlia di Luigi Gonzaga, primo capitano del popolo di Mantova: andò sposa a Alidosio Alidosi, detto il Todeschino, il 10 febbraio 1367, portando una cospicua dote, all’altezza della fama e della ricchezza della sua famiglia di origine.</span><br />
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<i><span style="color: #3d85c6;">This dress and its accessories have been planned and realized to re-enact the historical character of Damisella Gonzaga, last daughter of Luigi Gonzaga, captain of Mantua: she married Alidosio Alidosi, called the Todeschino, the 10th of February 1367, bringing a conspicuous dowry, up to the reputation and wealth of her family.</span></i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOMahYkYF9gW_kIyXhDdMeq9rPWINcy3cM6nhz46LuyiX6samNVifhKudHomw0wag7ZoukPqWJizCyx3yHhGuq9itdoPoj0Xlc8_JyEWkO2AEZSuRmvzayuWQMCReEllE333sH0bfMHA/s1600/DSC_0093_damisella.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #3d85c6;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOMahYkYF9gW_kIyXhDdMeq9rPWINcy3cM6nhz46LuyiX6samNVifhKudHomw0wag7ZoukPqWJizCyx3yHhGuq9itdoPoj0Xlc8_JyEWkO2AEZSuRmvzayuWQMCReEllE333sH0bfMHA/s640/DSC_0093_damisella.jpg" width="424" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">Di fronte al Castello San Giorgio di Mantova: "Damisella" è tornata a casa per un giorno.<br />In front of the Castle of Saint George in Mantova: "Damisella" is back home for a day. </span></td></tr>
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<b><span style="color: #3d85c6;">I materiali</span></b><br />
<span style="color: #3d85c6;">La protagonista dell’abito è sicuramente la seta verde: si tratta di una seta dupioni, venduta come tessuta a mano, che ho acquistato un paio di anni fa. Dal momento che la seta era troppo sottile e non cadeva bene, dopo molte indecisioni ho deciso di foderare il corpo e la gonna in lana, in modo che desse peso all’abito. Le maniche sono invece state foderate di lino, per non aggiungere troppo spessore e anche perché, indossandolo con la<a href="http://tacuinummedievale.blogspot.it/search/label/camisa" target="_blank"> camisa supportiva</a> senza maniche, non volevo avere la lana a diretto contatto con le braccia: la fodera in lino delle maniche sembra essere attestata anche nella “<a href="http://www.humanistportalen.se/artiklar/textilvetenskap/" target="_blank">gonna d’oro</a>” della regina Margareta di Danimarca, che presenta anche una fodera di lino sul busto, estesa anche per 40-50 centimeti della gonna. Per rifinire la scollatura e darle maggiore robustezza ho usato una sottile striscia di taffetà: finiture analoghe sono testimoniate anche da alcuni frammenti di Londra (Textiles and Clothing 1150- 1450, 158s.). Tutte le cuciture sono fatte a mano: quelle esterne in filo di seta, le cuciture della fodera di lino.<br /><b>NOTA</b>: la seta tessuta a dupioni probabilmente non è la scelta migliore: suggerirei invece di usare taffetà di seta. </span><br />
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<b><i><span style="color: #3d85c6;">The materials</span></i></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB4DBKNAsp-cqMZoHCDQ5POo0ZrJ_003srkrnhODnHy6oDbRZo5JQzkFh7fuN_NPi4sdvvwl7yLkOV3GnarhHSfUiZDXvi8p-dsYS0_qgLMO3rQQs49ATqK9LeacIiucMCmg71OT6l3SU/s1600/_DSC_0178.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #3d85c6;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB4DBKNAsp-cqMZoHCDQ5POo0ZrJ_003srkrnhODnHy6oDbRZo5JQzkFh7fuN_NPi4sdvvwl7yLkOV3GnarhHSfUiZDXvi8p-dsYS0_qgLMO3rQQs49ATqK9LeacIiucMCmg71OT6l3SU/s320/_DSC_0178.jpg" width="187" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">Allacciatura laterale a spirale. /<br />Side spiral lacing.</span></td></tr>
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<i><span style="color: #3d85c6;">The protagonist of this dress is for sure the green silk: it’s a dupioni silk which was sold as “hand woven”, and I bought it a couple of years ago. Since the silk was too thin and didn’t fall in a proper way, I decided to line the bodice and gown in wool, in order to get more weight. The sleeves have been lined in linen, to avoid too much thickness and to avoid direct contact with wool on the arms, since I wear this dress with the<a href="http://tacuinummedievale.blogspot.it/search/label/camisa" target="_blank"> sleeveless supportive underwear</a>. The linen lining in sleeves seems to be present also in the “<a href="http://www.humanistportalen.se/artiklar/textilvetenskap/" target="_blank">golden gown</a>” of Queen Margareta of Denmark, that is also lined in the bodice and in the gown for 40-50 cm.The neckline has a narrow silk facing in taffeta to strengthen it, according to some finds from London (Textiles and Clothing 1150- 1450, 158s.). All the dress is hand sewn: the external seams are in silk, the ones of the lining are in linen.<br /><b>NOTE</b>: dupioni silk is probably not the best choice. I would recommend to use silk taffeta instead. </span></i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZvanlxsfPkwgkHbn3doUqhTXYt4M4dgL_VYIrtNNTZXz5BNVLNYwGEND_lEmjoNNkx0EUwVKPHsYWxL3x5NuYjwCiam2ZdexrR_sxo2QfbkepwZVfzrbdq4irsKeo5IYJDp1M2raExWs/s1600/Nouvelle+acquisition+latine+1673%252C+fol.+8%252C+R%25C3%25A9colte+des+figues.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #3d85c6;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZvanlxsfPkwgkHbn3doUqhTXYt4M4dgL_VYIrtNNTZXz5BNVLNYwGEND_lEmjoNNkx0EUwVKPHsYWxL3x5NuYjwCiam2ZdexrR_sxo2QfbkepwZVfzrbdq4irsKeo5IYJDp1M2raExWs/s320/Nouvelle+acquisition+latine+1673%252C+fol.+8%252C+R%25C3%25A9colte+des+figues.jpg" width="250" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">Nouvelle acquisition latine 1673, fol. 8:<br />raccolta dei fichi / harvesting figs.</span></td></tr>
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<b><span style="color: #3d85c6;">Il modello</span></b></div>
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<span style="color: #3d85c6;">Il modello non è la riproduzione fedele di nessuno dei reperti esistenti: si basa in parte sulla “gonna d’oro”, in particolare per la divisione in quattro quarti del davanti e del dietro e per la scelta di non dare forma rettangolare ma trapezoidale a queste parti, richiamando la forma dell’originale, ma si differenzia per la presenza di 4 gheroni che partono dall’altezza dei fianchi, 2 frontali e 2 laterali, necessari per raggiungere l’ampiezza voluta (3.5 m). Le maniche sono ricavate da un’unico pezzo, senza l’inserimento di gheroni, e sul polso hanno la forma “a campanella”, comune per gli abiti ricchi del periodo: non possono mancare i bottoni, 15 per ogni manica. Alcuni dettagli sono stati scelti per renderlo il più coerente possibile con la moda italiana: </span></div>
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<span style="color: #3d85c6;">- la scollatura abbastanza pronunciata e rotonda (avrei potuto osare di più e renderla più a barca, ma non volevo rinunciare ad avere il supporto sulle spalle, a causa del peso del vesitito: per una bella analisi sulle scollature, <a href="http://cottesimple.com/fitted-dress/fitted-dress-neckline/" target="_blank">La Cotte Simple</a> );</span></div>
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<span style="color: #3d85c6;">- l’allacciatura laterale, testimoniata da alcune fonti iconografiche. Per avere una buona chiusura dell’abito, suggerisco di utilizzare un’allacciatura a spirale, testimoniata nelle fonti (a differenza dell’allacciatura a “x”) e molto efficace. Qui “<a href="http://www.festiveattyre.com/p/the-zen-of-spiral-lacing.html" target="_blank">The Zen of Spiral Lacing</a>” e qui l’articolo di <a href="http://cottesimple.com/lacing/spiral-lacing/" target="_blank">Tasha Kelly</a>. Il cordino è lungo 3 metri, per non doverlo sfilare e infilare ogni volta, ed è tessuto con filo di seta per le asole, con 4 tavolette. Grazie a Mervi per le istruzioni!</span></div>
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<span style="color: #3d85c6;">Il toile su cui si basa il vestito è quello fatto durante il <a href="http://tacuinummedievale.blogspot.it/2014/11/workshop-di-cucito-medievale-con-maria.html" target="_blank">workshop di cucito</a>.</span></div>
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<span style="color: #3d85c6;">L’abito è un “primo strato”, da indossare quindi sopra la biancheria intima, al quale spero di aggiungere il prossimo anno un secondo strato sufficientemente ricco.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzAXFFyDot4mdahV57WVo2ZEjO7zWcqErx7KzmwL3vimvVsYr6jaAEAGqtDL38mQu2CYiwqb_UKM3-AIfDJi-luAfNv9XEoNPRTDKxuH47VzfNSpTACPctwkNa8gNHZEAPs-JFA1FfLwQ/s1600/_DSC_0191.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #3d85c6;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzAXFFyDot4mdahV57WVo2ZEjO7zWcqErx7KzmwL3vimvVsYr6jaAEAGqtDL38mQu2CYiwqb_UKM3-AIfDJi-luAfNv9XEoNPRTDKxuH47VzfNSpTACPctwkNa8gNHZEAPs-JFA1FfLwQ/s320/_DSC_0191.jpg" width="212" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">Dettaglio del cordino dell'allacciatura. /<br />Detail of the string of the side lacing.</span></td></tr>
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<b><i><span style="color: #3d85c6;">The model</span></i></b></div>
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<i><span style="color: #3d85c6;">The model is not the faithful replica of any existant garment: it’s partly based on the “golden gown”, expecially for the division in 4 parts of the front and back and for the choice to give a trapezoidal shape instead of a rectangular one to these parts, more like the original, but it’s different because of the 4 hip-heigh gores I needed to have a proper hem size (3.5 m). The sleeves are made in a single piece, without inserting any gore, and have the “bell shape” common in some rich garments of the period: of course there are buttons, 15 for each sleeve. Some details have been chosen to match the Italian fashion best:</span></i></div>
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<i><span style="color: #3d85c6;">- the deep, rounded neckline (I could have dared more and made it more boat-like, but I wanted to have support on the shoulders because of the weight of the dress. For a nice analysis of necklines ,<a href="http://cottesimple.com/fitted-dress/fitted-dress-neckline/" target="_blank">La Cotte Simple</a> ) </span></i></div>
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<i><span style="color: #3d85c6;">- the side lacing, as shown in some Italian pictures. To have a good lacing, I really suggest to use the spiral lacing, which is portrayed in the sources (the “x” lacing is not) and very effective. Check out the “<a href="http://www.festiveattyre.com/p/the-zen-of-spiral-lacing.html" target="_blank">Zen of spiral lacing</a>” and here a nice <a href="http://cottesimple.com/lacing/spiral-lacing/" target="_blank">article by Tasha Kelly</a> about lacing. The string, which is 3 meters long so I don't have to insert and take it away every time, is tablet woven with 4 tablets, and it's made in buttonholes silk. Thanks to Mervi for the instructions!</span></i></div>
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<i><span style="color: #3d85c6;">The toile I used is the one we made during the <a href="http://tacuinummedievale.blogspot.it/2014/11/workshop-di-cucito-medievale-con-maria.html" target="_blank">medieval sewing workshop</a> I organized in February. </span></i></div>
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<i><span style="color: #3d85c6;">This dress is a “first layer”, to be worn over the underwear, and I hope I will give it a proper second layer next year. </span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHFyAIY5QTjYaJu7YxBf_kF6KNBZj8MrGzmbuhA2vKEo3kQQqzt0q6Fzaxc57DIn2Qa4h2Av_c0wyjs-wr_I6F6x0avM9uS5AYgwA8NnrHl12D5aBpd93tDnysB3l-Ecf-4fOSyC5FiyY/s1600/5215046906_6a98311f1a_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #3d85c6;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHFyAIY5QTjYaJu7YxBf_kF6KNBZj8MrGzmbuhA2vKEo3kQQqzt0q6Fzaxc57DIn2Qa4h2Av_c0wyjs-wr_I6F6x0avM9uS5AYgwA8NnrHl12D5aBpd93tDnysB3l-Ecf-4fOSyC5FiyY/s320/5215046906_6a98311f1a_o.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">1369, Oratorio di S. Stefano, Lentate sul Seveso. Le fanciulle,<br />figlie della famiglia Porro rappresentata nell'atto di donare<br />l'oratorio, hanno maniche a campanella e, guardando<br />attentamente, si vede che indossano anelli nell'indice e nell'<br />anulare. / <i>1369, Oratorio of S. Stefano, Lentate sul Seveso.<br />The young ladies are daughters of the Porro family, portrayed<br />when donating the oratory. They have bell-shaped sleeves and,<br />looking carefully, you can see they wear rings in index and<br />ring finger.</i></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCE7d93jrcnQJaR7W3syO5mLUD5WGOijR1e77uA20oxJikLdt65x5PDsylt8YDal71_eE1MlCmDIW1hJpWF9hcSDMFvmfOICQoIhQYII_RM_2PwuXT5kC0iv3FkqP8unupN6_Q0Q8ssSs/s1600/_DSC_0170.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #3d85c6;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCE7d93jrcnQJaR7W3syO5mLUD5WGOijR1e77uA20oxJikLdt65x5PDsylt8YDal71_eE1MlCmDIW1hJpWF9hcSDMFvmfOICQoIhQYII_RM_2PwuXT5kC0iv3FkqP8unupN6_Q0Q8ssSs/s320/_DSC_0170.JPG" width="289" /></span></a></div>
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<b><span style="color: #3d85c6;">Gli accessori</span></b></div>
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<span style="color: #3d85c6;">Un abito non è abbastanza per creare un’immagine coerente di un personaggio, quindi ho cercato di aggiungere anche alcuni accessori per arricchire l’insieme. </span><br />
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<b><i><span style="color: #3d85c6;">The accessories</span></i></b></div>
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<i><span style="color: #3d85c6;">A dress is not enough to create a coherent portrait of a character, so I looked for some accessories to improve the ensemble.</span></i><br />
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<b><span style="color: #3d85c6;">-<span class="Apple-tab-span" style="white-space: pre;"> </span>Collana di perle e corallo</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvxSTr3AP8ni7svHFV97-ufzI_NxwGoibAmb43iePhiw7Fmy3ZaduZtlN3Lb0_LHhNgsxo90LxGL8kKC4GcL8925tx4gCXDWubvqXItZRyGHB-azk713XVRIr6USokSf0JwznMhX_dlWM/s1600/258v.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #3d85c6;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvxSTr3AP8ni7svHFV97-ufzI_NxwGoibAmb43iePhiw7Fmy3ZaduZtlN3Lb0_LHhNgsxo90LxGL8kKC4GcL8925tx4gCXDWubvqXItZRyGHB-azk713XVRIr6USokSf0JwznMhX_dlWM/s320/258v.jpg" width="196" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">Missale et Horae ad usum<br /> Fratrum Minorum <br />(1385- 90, BNF Latin 757, 258v.) Fanciulla<br />con terzolla e collana. / <i>A lady with<br />a "terzolla" and necklace.</i></span></td></tr>
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<span style="color: #3d85c6;">Nelle fonti italiane, e molto meno in quelle straniere che mi è capitato di vedere, ricorrono collane di varie forme: sono le fonti documentarie però a venirci in aiuto informandoci sulle pietre preziose più usate. Io ho scelto corallo (madrepora) e perle, sia perché facilmente distinguibili anche nelle miniature, come quelle dei Tacuina Sanitatis, sia perché esplicitamente menzionati in un documento imolese del 1391, contenete la stima della dote di nozze di Rengarda Alidosi, figlia di Beltrando: «Item una collana di perle facta a poste con coragli in mezo in fili bianchi de seda che pesa onze 2 ½, estimat ducati 30». </span></div>
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<b><i><span style="color: #3d85c6;">- Necklace in pearls and corals</span></i></b></div>
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<span style="color: #3d85c6;"><i>In the Italian sources, and a lot less in foreign ones I stumbled upon, there are a lot of different necklaces: the written sources can tell us more about the most common gems in use. I decided to use coral (actually madrepore) and pearls, because they can be clearly seen in miniatures, like the ones from Tacuina Sanitatis, and also because they are mentioned in a document from Imola dated 1391, that includes the valuation of the dowry of Rengarda Alidosi, daughter of Beltrando: “A necklace of pearls, made for this occasion, with corals in the middle, on white silk threads: it weights 2 ½ ounces, it worths 30 ducats”.</i> </span></div>
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<b><span style="color: #3d85c6;">-<span class="Apple-tab-span" style="white-space: pre;"> </span>Anelli</span></b></div>
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<span style="color: #3d85c6;">Spesso menzionati negli inventari e nelle leggi suntuarie, dovevano essere un accessorio particolarmente apprezzato e diffuso. I due di cui dispongo al momento sono realizzati da Il Gatto e la Volpe sulla base di originali romagnoli: uno è in bronzo e granato, l’altro in argento e smeraldo. </span></div>
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<b><i><span style="color: #3d85c6;">-<span class="Apple-tab-span" style="white-space: pre;"> </span>Rings</span></i></b></div>
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<i><span style="color: #3d85c6;">Often mentioned in inventories and sumptuary laws, rings must have been very common and appreciated. The two I have now are made by Il Gatto e la Volpe, after some originals from Romagna: one is in bronze and garnet, the other one in silver and emerald.</span></i><br />
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<b><span style="color: #3d85c6;">-<span class="Apple-tab-span" style="white-space: pre;"> </span>La terzolla: un’ipotesi e un tentativo</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzJS3gZkTJEG9g7vAlplDHb6naBCyPnRfToIBDly0pQnyp1AFyL8A9g1iKIEYt4i6GayJwRGbbYsC3CK9L9wnJ8P3QaLNGef-fXFBGw1KOiPHvH4vNXhmcYdmSKO8DeVtnKqPjgCqZp0/s1600/_20150709_170323.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #3d85c6;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzJS3gZkTJEG9g7vAlplDHb6naBCyPnRfToIBDly0pQnyp1AFyL8A9g1iKIEYt4i6GayJwRGbbYsC3CK9L9wnJ8P3QaLNGef-fXFBGw1KOiPHvH4vNXhmcYdmSKO8DeVtnKqPjgCqZp0/s320/_20150709_170323.jpg" width="283" /></span></a><span style="color: #3d85c6;">La vera impresa di questo outfit è stata l’acconciatura. Da tempo desideravo cercare di ricostruire la misteriosa “terzolla”, copricapo che la Muzzarelli (Guardaroba Medievale, p. 361) definisce «acconciatura a ornamento del capo, così detta perchè fatta con 300 perle» e probabilmente a volte chiamata semplicemente dalle fonti “ghirlanda” o “ghirlanda con perle”. Non ho mai trovato il nome “terzolla” associato da autorevoli studiosi a qualche immagine, ma ho provato a ipotizzare che esempi di questo prezioso copricapo si possano trovare sia in alcune immagini del <i>Missale et Horae ad usum Fratrum Minorum</i> (1385- 90, Nord Italia, Bibliothèque nationale de France, Département des manuscrits, Latin 757) sia in Queste del Saint Graal Tristan de Léonois (1380-1385, Milano, BNF Français 343). Mi sono concentrata sul libro d’ore: dalle immagini mi sembrava di capire con sicurezza che sotto le perle si trovassero due ciocche di capelli, non intrecciati, che si incrociavano sulla fronte, cingendo il viso in modo da coprire le orecchie. Le perle inoltre apparivano separate da spazi regolari, formando delle piccole file, e apparivano semplicemente sospese sui capelli, senza particolari strutture a sostenerle. La prima, ingenua ipotesi che si è subito rivelata fallimentare è stata realizzare semplici file di perle da posare sui capelli, ma in questo modo veniva meno la regolarità mostrata dalla miniatura ed erano estremamente precarie. Serviva qualcosa di fisso a cui attaccarle: una retina. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">1380-1385 BNF Français 343 Queste del Saint Graal <br />Tristan de Léonois Folio 59. Un altro esempio di terzolla. /<br /><i>Another source for a terzolla. </i></span></td></tr>
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<span style="color: #3d85c6;">Le retine conservate (cf. Textiles and Clothing 145-149) sembrano essere sempre circolari, ma ho pensato che una retina lunga e stretta che contenesse i capelli si potesse comunque adattare alle mie necessità: facendola di seta scura, di un colore simile a quello dei miei capelli, avrei potuto renderla praticamente invisibile, e il risultato sarebbe stato molto simile alla miniatura. Fatti circa 70 cm di retina, è stato il momento di attaccare le perle: 550 perline di 3-4 mm. Risultano essere quasi il doppio rispetto alle 300 che sembrano dare il nome alla terzolla: probabilmente un maggiore spazio tra le file di perle avrebbe permesso di avvicinarsi al numero ipotetico previsto e di creare file di perle più distinguibili, ma con 38 gradi di temperatura e una settimana per completarla prima di partire per Azincourt non ho avuto cuore e tempo di rimaneggiarla. L’ultimo problema da risolvere era la difficoltà di tenere ferma la retina sulle due ciocche di capelli che, dovendo coprire le orecchie, non potevano essere cucite tutto intorno alla testa.</span></div>
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<span style="color: #3d85c6;">Alla fine la soluzione è stata cucire dietro alla retina una striscia di tessuto nero, che si potesse facilmente nascondere sotto i capelli scuri, per creare una solida struttura tubolare in cui andare a inserire i capelli (tramite un buco nel tessuto all’altezza della nuca), molto più stabile da fissare grazie a delle spille: grazie di cuore a Nini per il suggerimento! </span></div>
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<span style="color: #3d85c6;"><span style="font-size: 12.8px; text-align: center;">Missale et Horae ad usum </span><span style="font-size: 12.8px; text-align: center;">Fratrum Minorum </span><span style="font-size: 12.8px; text-align: center;">(1385- 90, BNF Latin 757, 380 r.): la miniatura di riferimento per la terzolla e il risultato finito. / <i>The main reference for the terzolla and the final result. </i></span></span></div>
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<span style="color: #3d85c6;"> <b><i>-<span class="Apple-tab-span" style="white-space: pre;"> </span>The “terzolla”: an hypothesis and a try</i></b></span></div>
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<i><span style="color: #3d85c6;">The really challenging part of this outfit was the headdress. I have been waiting for a long time to reproduce the mysterious “terzolla”, an headdress described by Muzzarelli ((Guardaroba Medievale, p. 361) as a “headdress and decoration for the head, so called because it was made with 300 pearls” (“terzolla” maybe recalls the Italian “trecento”, i. e. 300) and probably called in some sources only “garland” or “garland with pearls”. I never found any authoritative academic who associated this name to a picture, but I thought that maybe some samples of this precious headdress can be found in some pictures from Missale et Horae ad usum Fratrum Minorum (made in 1385- 90 in Northern Italy, Bibliothèque nationale de France, Département des manuscrits, Latin 757) and from Queste del Saint Graal Tristan de Léonois (1380-1385, Milano, BNF Français 343). I focused on the book of hours: from the pictures I would say that clearly under the pearls there were 2 locks of hair, not braided, crossed over the forehead, that framed the face all around, covering the hears too. The pearls seemed to be divided by equal spaces, making small rows, and simply looked suspended over the hair, without any particular structure underneath. The first, naïve try, that immediately became a failure, was making simple rows of pearls to lay over the hair, but this way they weren’t so regularly spaced and very precarious. I needed something fixed and more solid: a hairnet. </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHJhYj13LxvuFkST_n8awzxminn01qByJUkCe39TIG-qxETlO3ynzBRTRVVxYIYigP3_zbu22-CfbntmnPJfDGQAbj4fUitZaciVksQXdc7EwnCr7KhcDBxNR_4vsawQW22hZF-Yo8MlA/s1600/_DSC_0193.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #3d85c6;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHJhYj13LxvuFkST_n8awzxminn01qByJUkCe39TIG-qxETlO3ynzBRTRVVxYIYigP3_zbu22-CfbntmnPJfDGQAbj4fUitZaciVksQXdc7EwnCr7KhcDBxNR_4vsawQW22hZF-Yo8MlA/s320/_DSC_0193.jpg" width="320" /></span></a><i><span style="color: #3d85c6;">The surviving hairnets (cf. Textiles and Clothing 145-149) are always rounded, but I thought that a long and narrow hairnet that could cover and keep the hair in place would have been suitable for my work: making it in a dark silk thread, a colour that matched my hair, it would have been almost invisible, and the result would have been quite close to the miniature. After netting about 70 cm of hairnet, it was time to sew the pearls: 550 pearls of 3-4 mm each. They are about double the amount that seem to give the name to the “terzolla” (300): probably a bigger spacing between the rows would have worked better, providing an amount of pearls closer to the hypothetical original amount and making more distinguishable rows as well. But there were 38° C in July and only a week to finish it before Azincourt, so I didn’t have the strength or time to change it. </span></i></div>
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<i><span style="color: #3d85c6;">The last problem I had to solve was to keep the hairnet in place over the locks: since it had to cover the ears, I couldn’t sew it on the head. In the end, the key was to sew behind the hairnet a thin stripe of black fabric, easy to hide under the dark hair locks, to create a tubular structure in which I could put the hair (through a hole in the fabric over the nape): it’s a lot sturdier and easy to fasten using some pins. Thanks a lot to Nini for this suggestion!</span></i><br />
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<span style="color: #3d85c6;">Mi riempie di soddisfazione vedere questa foto e sapere finalmente che tutti i vestiti che indossiamo sono stati fatti da noi. / <i>It's really satisfying to look at this picture and finally know that all the clothes we are wearing have been made by us. </i></span></div>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com5tag:blogger.com,1999:blog-2546372836301302865.post-13429616886973326432015-06-02T23:02:00.003+02:002015-06-03T09:52:57.234+02:00I vestiti nuovi di Todeschino / Todeschino's new clothes<div style="text-align: center;">
<span style="color: #073763;">I vestiti nuovi di Todeschino, un lavoro a 4 mani portato avanti da me e Francesco :)</span><br />
<i><i><span style="color: #073763;">Todeschino's new clothes, a 4-hands work by me and Francesco :)</span></i></i></div>
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<tr><td class="tr-caption" style="text-align: center;">Nouvelle acquisition latine 1673, fol. 49,<br />
end of 14th century, Milano. </td></tr>
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<b><span style="color: #073763;">Il <i>pourpoint</i> o giubba</span></b><br />
<span style="color: #073763;">All’abito che abbiamo realizzato viene generalmente dato l’altisonante nome francese di <i>pourpoint</i>, termine che deriva probabilmente dal latino <i>perpunctus</i>, “cucito attraverso”, derivato dalla trapuntatura che lo caratterizza (ulteriori dettagli nell’articolo di <a href="http://cottesimple.com/articles/martial-beauty/" target="_blank">Tasha Kelly</a>). Attestato con questo nome anche negli inventari trecenteschi in francese di casa Savoia (Pisetzky II, 33), questo capo di abbigliamento ha in Italia nomi diversi: lo si può trovare indicato come “farsetto” soprattutto in area toscana, in riferimento alla farsa, cioè all’imbottitura, che lo caratterizza, mentre nell’Italia settentrionale è più spesso chiamato “zuppa”, “zupparello”, “giubba”. Volendo individuare una ulteriore sfumatura terminologica, sembra che i farsetti siano spesso bianchi, realizzati con panno di cotone o misto, raramente indossati a vista in quanto considerati un capo intimo, mentre le giubbe sono spesso realizzate in materiali più pregiati, serici, cioè sciamito, zetanino, velluto o più spesso zendado (Pisetsky II, 33s.). La nostra “giubba” dunque è un capo maschile piuttosto ricco, diffuso in tutto il ‘300, caratterizzato da un’imbottitura solitamente di bambagia che sottolinea la figura con il petto pronunciato tipica del Trecento, ed è l’indumento al quale si attaccano le calzabraghe.</span><br />
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<span style="color: #073763; font-size: x-small;">Guiron le Courtois, Milano, 1380-1390. </span></div>
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<b>The <i>pourpoint</i> or "giubba"</b><i><br />The garment we realized is usually called with the ranting name of </i>pourpoint<i>, a name that probably comes from the latin </i>perpunctus<i>, “pierced through”, due to its typical quilting (see </i><a href="http://cottesimple.com/articles/martial-beauty/" style="font-style: italic;" target="_blank">Tasha Kelly</a><i>’s article for more details). Attested with this name also in 14th century inventories of House Savoia (Pisetzky II, 33), written in French, in Italy this garment has different names: it’s called "farsetto" mainly in Tuscany, reffering to the "farsa", i.e. the padding material, while in Northern Italy it’s more often called “zuppa”, “zupparello”, “giubba”. Searching for a more specifical meaning for this words, it seems like "farsetti" were more often white, made in cotton fabric or mixed fabric (linen/cotton), rarely worn on-sight because they were considered undergarments, while "giubbe" where usually realized in expensive materials, i.e. different kinds of silks, like "sciamito", "zetanino", velvet, or, the most common, "zendado" (Pisetzky II, 33s). So our “giubba” is a quite rich male garment to which the hoses were fastened, used through the whole 14th century, usually padded with cotton tow to emphasize the dove-like male chest, so appreciated in that period.</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4xGmloQBRaJrTmu-43W1JTRNoN8hLbq-tk9d8e4riJ8M_l5szhTEjvKmpmkD-kg1F8I7e0823LL7xLsGdvsAD4pMQDa1kxea6idG37k2hO1m4gn4f9o70u0Bg7vtjxuiFw4QI1g9_RUU/s1600/20150225_103110_work+perpunto.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #073763;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4xGmloQBRaJrTmu-43W1JTRNoN8hLbq-tk9d8e4riJ8M_l5szhTEjvKmpmkD-kg1F8I7e0823LL7xLsGdvsAD4pMQDa1kxea6idG37k2hO1m4gn4f9o70u0Bg7vtjxuiFw4QI1g9_RUU/s320/20150225_103110_work+perpunto.jpg" width="180" /></span></a><b><span style="color: #073763;">Il modello, i materiali e la realizzazione</span></b></div>
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<span style="color: #073763;">Non essendomi mai confrontata con una sfida del genere, non me la sono sentita di progettare un pourpoint partendo da zero: abbiamo allora deciso di acquistare il <a href="http://www.lulu.com/shop/tasha-kelly/the-pourpoint-of-charles-de-blois/paperback/product-15326605.html" target="_blank">libro di Tasha Kelly</a> sul <i>pourpoint </i>di Charles de Blois, nel quale, oltre a una descrizione dettagliata dei passaggi da seguire, si trova anche il prezioso cartamodello. Una volta realizzato il provino e fatti i necessari aggiustamenti, abbiamo lasciato qualche centimetro di margine per l’imbottitura: se volete fare un calcolo più preciso, guardate <a href="http://cottesimple.com/new-feature/padding-quilting" target="_blank">qui</a>. Abbiamo poi tagliato i singoli tessuti, sovrapposto tutti i pezzi e iniziato il lavoro di trapuntatura, prima di cucire insieme le parti. L’imbottitura è costituita da un solo strato di bambagia su tutto il corpo, mentre è doppia sul petto.</span></div>
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<span style="color: #073763;">I materiali:</span></div>
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<span style="color: #073763;">- lino bianco per fodera del pourpoint</span></div>
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<span style="color: #073763;">- bambagia per l’imbottitura: dal reperto e dai molti statuti dei farsettai risulta che l’imbottitura dovesse essere fatta principalmente utilizzando proprio la fibra grezza del cotone.</span></div>
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<span style="color: #073763;">- seta per l’esterno: è seta sottile con tessitura piana, con trama gialla (con fili più spessi) e ordito bordeaux, con circa 36-40 fili/cm: le caratteristiche della seta sono simili a quelle riscontrabili in alcuni dei reperti di Londra. </span></div>
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<span style="color: #073763;">Le cuciture interne sono realizzate in filo di lino bianco, mentre quelle visibili in filo di seta.</span></div>
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<span style="color: #073763;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRY2o2AZeGr_D3Dh-k5d7rfKNNK0h8q867BewJW9QAeJ65JSe2QQ67SJ-U75M2Ziu1ay66fyEE_D64GnoRXf9gTQKH4Mdhakw9Dfqpo_XzpjvH4_e2rZ5f7lznT7ryZLDErBsDBDKnEb4/s1600/DSC_0270.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRY2o2AZeGr_D3Dh-k5d7rfKNNK0h8q867BewJW9QAeJ65JSe2QQ67SJ-U75M2Ziu1ay66fyEE_D64GnoRXf9gTQKH4Mdhakw9Dfqpo_XzpjvH4_e2rZ5f7lznT7ryZLDErBsDBDKnEb4/s640/DSC_0270.JPG" width="640" /></a></span></div>
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<i><b><span style="color: #073763;">The model, the materials and the process</span></b></i></div>
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<i><span style="color: #073763;">Since I never undertook such a challenge, I decided not to start the tailoring from the beginning. We bought T<a href="http://www.lulu.com/shop/tasha-kelly/the-pourpoint-of-charles-de-blois/paperback/product-15326605.html" target="_blank">asha Kelly’s book </a> about Charles de Blois pourpoint, which features the instructions and a really good pattern. We realized the toile, made some adjustments and left some extra fabric for the padding: if you want to know exactly how much fabric you have to leave, <a href="http://cottesimple.com/new-feature/padding-quilting/" target="_blank">see here</a>. We cut the different fabrics and padded them all together. The padding consists in 1 layer of cotton tow over all the body, while it’s 2 layers on the chest. </span></i></div>
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<i><span style="color: #073763;">The materials:</span></i></div>
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<i><span style="color: #073763;">- White linen for the lining</span></i></div>
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<i><span style="color: #073763;">- Cotton tow for the padding: from the original finds and many rules of the "farsettai" (doublet makers) guilds in Italy it’s known that cotton tow had to be used for the quilting.</span></i></div>
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<i><span style="color: #073763;">- Silk for the outer layer. It’s a thin tabby silk, with a yellow warp (with thicker threads) and a Bordeaux weft, with about 36-40 threads/cm: the features of this silk are quite similar to some of the findings from London.</span></i></div>
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<i><span style="color: #073763;">The inner seams are made in white linen, while the visible ones are in silk. </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifWk0Jk7IFkWEO7Xybqa2Req79DR37rDv1JI-1FNAAWYYANDvnkGBaNhnoYZ3Eo5Q5lls-n4Aheqssn82fPGJHt3Lb0DPnas1la-ExT-XiarR-ijL3mfrcmVKHmduH7UqNC1bqjDOHTsA/s1600/20141207_135402.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #073763;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifWk0Jk7IFkWEO7Xybqa2Req79DR37rDv1JI-1FNAAWYYANDvnkGBaNhnoYZ3Eo5Q5lls-n4Aheqssn82fPGJHt3Lb0DPnas1la-ExT-XiarR-ijL3mfrcmVKHmduH7UqNC1bqjDOHTsA/s320/20141207_135402.jpg" width="320" /></span></a><b><span style="color: #073763;">Bottoni speciali </span></b></div>
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<span style="color: #073763;">I bottoni del<i> pourpoint</i> di Charles de Blois sono in stoffa o in legno ricoperto, ma per questo aspetto ci siamo distaccati dal modello, e per “semplificarci la vita”, abbiamo realizzato i bottoni noi stessi, grazie alla progettazione e sotto la guida di Nicola Tonelli di “<a href="https://www.facebook.com/ilgatto.lavolpe.5?fref=ts" target="_blank">Il Gatto e la Volpe</a>”. A vederli, sembrano bottoni normali, ma la caratteristica che li rende speciali è che sono cavi: nascono infatti da due semisfere di lastra di bronzo, saldate insieme e completate dal gambo. Questa tipologia di bottone, anche se poco riprodotta nel mondo della rievocazione, sembra essere molto diffusa in Italia, come confermano anche alcuni ritrovamenti basso-medievali della nostra area. Nonostante i tempi di produzione siano molto più lunghi di quelli richiesti dai normali bottoni a fusione, permettono un notevole risparmio di materiale e hanno anche il vantaggio di non appesantire l’abito (ognuno dei nostri bottoni pesa meno di 1g). Sul <i>pourpoint</i> ne abbiamo messi 85.</span></div>
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<i><b><span style="color: #073763;">Special buttons</span></b></i><br />
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<i><span style="color: #073763;">Charles de Blois original buttons are made in fabric or have a wood core, but we decided to make them in a different way. To “make our life easier”, we made the metal buttons ourselves, thanks to the project and support of Nicola Tonelli from “<a href="https://www.facebook.com/ilgatto.lavolpe.5?fref=ts" target="_blank">Il Gatto e la Volpe</a>” . If you only look at them, they look like normal buttons, but their special feature is that they’re hollow: they are made from 2 hemispheres of bronze sheet, soldered together and completed with the loop. This kind of button, even if it’s not popular in the living history world, is very common in Italy, as some local late medieval finds from our area confirm. Despite the production time, that’s really longer than casted buttons, they allow to save a lot of material and don’t add much weight to the garment (every button weights less than 1g). On the pourpoint there are 85 of them! </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5FaQKL0jVeklocAObnyafm-OPk9FU-1Qb98sAg7zcZ-ODmFTFDHrHRuJ0__tw3HzS-NylADxax57SErUGRJSCZGYkoOI7hJBr5HTjBIOAKaliQ6dsoksBjZiJ-dMq8i3OmjDqiUmTeRg/s1600/20150513_221125_modello+calzabraga.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #073763;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5FaQKL0jVeklocAObnyafm-OPk9FU-1Qb98sAg7zcZ-ODmFTFDHrHRuJ0__tw3HzS-NylADxax57SErUGRJSCZGYkoOI7hJBr5HTjBIOAKaliQ6dsoksBjZiJ-dMq8i3OmjDqiUmTeRg/s320/20150513_221125_modello+calzabraga.jpg" width="180" /></span></a><b><span style="color: #073763;">Le calzabraghe</span></b></div>
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<span style="color: #073763;">All’interno del <i>pourpoint</i> originale sono ancora visibili i lacci ai quali erano attaccate le calzabraghe: sono 3 per ogni lato più 1 laccio al centro della schiena di cui non abbiamo capito precisamente lo scopo (forse serviva a tenere ferme al centro le due calzabraghe?). Nonostante l’idea iniziale fosse quella di rispettare la stessa posizione dei lacci dell’originale, non siamo riusciti a riprodurla fedelmente e le nostre calzabraghe quindi non coprono che parzialmente il sedere, mentre, a giudicare dai lacci, quelle indossate da Charles de Blois dovevano coprirlo quasi interamente. Un aspetto che ritenevo importante era che tra il <i>pourpoint, </i>corto per sua natura, e le calzabraghe non fossero visibili le braghe, dal momento che sono spesso a vista nelle ricostruzioni ma quasi del tutto assenti nelle fonti iconografiche. Ritengo che le critiche dei moralisti dell’epoca rivolte a queste “braghe” a vista siano più che altro da intendere come critica all’accorciarsi progressivo delle vesti a cui si assistè nella seconda metà del secolo, ma non ritengo che le braghe a vista fossero di per sè un elemento apprezzato, data la loro quasi completa assenza nell’iconografia (quando sono presenti inoltre identificano personaggi poveri, con gli abiti laceri). Per ottenere la massima aderenza possibile della calzabraga alla gamba, abbiamo tagliato la lana di sbieco, ma non essendo sufficientemente elastica abbiamo dovuto lasciare aperta la cucitura della parte inferiore del polpaccio, che viene dunque cucita ogni volta che le si indossa: pur non essendo una soluzione ottimale, non ci è sembrata del tutto improbabile, dal momento che la cucitura non è un processo così lungo come potrebbe sembrare (non più di un paio di minuti) e che alcuni reperti della Groenlandia presentano comunque un’apertura dietro la caviglia, probabilmente per facilitare il passaggio del tallone. In ogni caso, molto probabilmente questo stratagemma può essere evitato utilizzando un twill o una lana più cedevole. La forma del piede è basata sui reperti di Londra e su alcune fonti italiane.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KZbycZCJF8FiZZi0GPs_u2dbQ8XwfwLA9zhnTgzhnAqk02AF0QmP5sQKuQon7ayyjZS43pJNRiduZE5YnC7x3oz40YaGv3_D5uKMFYa3-kT007zr1EjIV4ot6BEdbGrz1t_hkTH9Y40/s1600/DSC_0033_piede.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #073763;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KZbycZCJF8FiZZi0GPs_u2dbQ8XwfwLA9zhnTgzhnAqk02AF0QmP5sQKuQon7ayyjZS43pJNRiduZE5YnC7x3oz40YaGv3_D5uKMFYa3-kT007zr1EjIV4ot6BEdbGrz1t_hkTH9Y40/s320/DSC_0033_piede.JPG" width="320" /></span></a><i><b><span style="color: #073763;">Hoses</span></b></i></div>
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<span style="color: #073763;"><i>Inside the original pourpoint are still visible the laces used to fasten the hoses: there are 3 on each side plus 1 in the middle of the back (we are not sure about its purpose, but maybe it was used to fasten both hoses together in the middle?). Despite the first aim was to reproduce the original placing of the original garment, we didn’t manage to and our hoses only cover the bottom partially, while, considering the placing of the original laces, Charles’ hoses must have covered his bottom almost completely. I wanted the braies not to be visible when wearing the short </i>pourpoint<i> and hoses: you can often see them during the living history events, but are never shown in pictures. I believe that the moralists who criticized these “visible braies” should be considered as a critic towards the upper clothes becoming shorter and shorter during the 2nd half of the century, but I don’t believe visible braies were themselves an appreciated element of fashion, since they are almost completely absent from sources (and also when they are shown they identify poor characters in rags). To have the hoses as fitted as possibile, we cut the fabric on the bias, but since it wasn’t enough stretchy we had to leave the seam open in the lower part of the calf, that is therefore sewn-on every time they are worn: even if it’s not the perfect solution, it didn’t seem completely impossible to us, since the sewing only requires a couple of minutes and some of the Greenland finds show an opening behind the ankle, probably to help the heel pass trough. Anyway, this opening would probably be unnecessary using a twill or a more elastic wool. The shape of the foot is based on the finds from London and some Italian sources. </i></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7dWDAs_4lqMJ6IBSe7gJA2gkKYKRq8zxQFZYDNfFtVUr0PVbuJIHZKbkeyDCJ9fgWx9vrJJl5Tx1cgGT2hljb32s3E3f2W0uD_hRKP6IgNRd4Ditadj4E9lSHq5WXaWnh5EfXx0EWdN8/s1600/DSC_0294_scarpe.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7dWDAs_4lqMJ6IBSe7gJA2gkKYKRq8zxQFZYDNfFtVUr0PVbuJIHZKbkeyDCJ9fgWx9vrJJl5Tx1cgGT2hljb32s3E3f2W0uD_hRKP6IgNRd4Ditadj4E9lSHq5WXaWnh5EfXx0EWdN8/s400/DSC_0294_scarpe.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #073763;">Le scarpe sono di <a href="http://www.historicalitalianshoes.com/grazianodalbarco.asp" target="_blank">Graziano Dal Barco</a> / The shoes are made by <a href="http://www.historicalitalianshoes.com/grazianodalbarco.asp" target="_blank">Graziano dal Barco </a></span></td></tr>
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<i><b><span style="color: #073763;"> Riferimenti e articoli correlati / References and related articles</span></b></i></div>
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<i><b><span style="color: #073763;">Tasha Kelly:</span></b></i></div>
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<i><span style="color: #073763;">Il libro di Tasha Kelly “<a href="http://www.lulu.com/shop/tasha-kelly/the-pourpoint-of-charles-de-blois/paperback/product-15326605.html" target="_blank">The Pourpoint of Charles de Blois”</a> / Tasha Kelly’s book “<a href="http://www.lulu.com/shop/tasha-kelly/the-pourpoint-of-charles-de-blois/paperback/product-15326605.html" target="_blank">The Pourpoint of Charles de Blois</a>” </span></i></div>
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<a href="http://cottesimple.com/articles/martial-beauty/" target="_blank">Martial Beauty: Padding and Quilting One’s Way to a Masculine Ideal in 14th Century France</a> </div>
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<a href="http://cottesimple.com/new-feature/padding-quilting/" target="_blank">Padding and quilting 14th and 15th century garments — how much extra fabric? </a></div>
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<a href="http://cottesimple.com/articles/tailoring-grande-assiette/" target="_blank">The tailoring of the grande assiette </a></div>
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<a href="http://cottesimple.com/articles/elbow-hinge/" target="_blank">The “elbow hinge” tailoring of the Charles de Blois pourpoint </a></div>
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<a href="http://cottesimple.com/articles/cut-to-pieces/" target="_blank">Cut to pieces by a determined tailor The piecing of the Charles de Blois pourpoint </a></div>
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<b>Altro / Other</b><br />
La pagina dedicata a <a href="http://www.civitasalidosiana.org/?page_id=291" target="_blank">Todeschino</a> sul nostro sito / The page about <a href="http://www.civitasalidosiana.org/?page_id=291" target="_blank">Todeschino</a> in our website</div>
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<a href="http://forums.armourarchive.org/phpBB3/viewtopic.php?f=16&t=164027" target="_blank">Forum</a> con discussione sulle calzabraghe e come evitare le braghe “a pannolone” / <a href="http://forums.armourarchive.org/phpBB3/viewtopic.php?f=16&t=164027" target="_blank">Forum</a> with discussion about hoses and how to avoid “diaper look”.</div>
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“<a href="https://www.facebook.com/ilgatto.lavolpe.5?fref=ts" target="_blank">Il Gatto e la Volpe</a>”, riproduzioni storiche di oggetti metallici / “<a href="https://www.facebook.com/ilgatto.lavolpe.5?fref=ts" target="_blank">Il Gatto e la Volpe</a>”, historical reproductions of metal items </div>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com5tag:blogger.com,1999:blog-2546372836301302865.post-24591685572725950542015-03-15T20:44:00.000+01:002015-09-12T10:40:17.702+02:00The Manuscript Challenge: il vestito blu dal Tacuinum Sanitatis / The Blue Dress from the Tacuinum Sanitatis<div class="MsoNormal">
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<span style="color: #0b5394;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxWU2N9UcSClSkAuBTeD9DdFtb0psCl_gd-kucuVBj2RrtZ5vXYqzlAHRhgslTlNKRSvDCD91zEJvjZSc6FqCMeBlBj2H_XvqL3TWRf0y0g6PZ0d2M9zMpz6yJ-TLre5LTnNJv5PxFVI0/s1600/_DSC_0058+.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxWU2N9UcSClSkAuBTeD9DdFtb0psCl_gd-kucuVBj2RrtZ5vXYqzlAHRhgslTlNKRSvDCD91zEJvjZSc6FqCMeBlBj2H_XvqL3TWRf0y0g6PZ0d2M9zMpz6yJ-TLre5LTnNJv5PxFVI0/s1600/_DSC_0058+.JPG" width="265" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcC0hmXRXkvVPNncuBgOcxC9dqrCToFmKgpHNG9ReVGJ-UwZHuQ4Kr8kZhg1hcMiVfGnPbfRurFHKlSOPuRMxxmqMGYzHt7Ops444JMyYNC1F5H3uRBOb-2ylGJD6Bu_DYZbZbk-S928/s1600/_+Ms.4182+tav.117.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcC0hmXRXkvVPNncuBgOcxC9dqrCToFmKgpHNG9ReVGJ-UwZHuQ4Kr8kZhg1hcMiVfGnPbfRurFHKlSOPuRMxxmqMGYzHt7Ops444JMyYNC1F5H3uRBOb-2ylGJD6Bu_DYZbZbk-S928/s1600/_+Ms.4182+tav.117.jpg" width="320" /></a></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 17.1200008392334px;">L'abito blu, basato sul </span></span><span style="background-color: white; font-family: 'Times New Roman', Times, FreeSerif, serif; font-size: 14.8500003814697px; line-height: 20.7900009155273px;">Theatrum Sanitatis from Biblioteca Casanatense, Ms.4182, tav.117, ricostruito per la <a href="http://tacuinummedievale.blogspot.it/2014/08/the-manuscript-challenge-io-ci-sto.html" target="_blank">Manuscript Challenge</a>, è finalmente completato: qui trovate tutte le informazioni sulla sua realizzazione.</span></span></div>
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modello</span></b></div>
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<span style="color: #0b5394; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Ho deciso di utilizzare il modello ricavato dai
reperti della Groenlandia Norlund 1b, prendendo come principale riferimento il
reperto <span style="background: white;">D10584</span> (<a href="http://www.personal.utulsa.edu/~marc-carlson/cloth/herjol42.html" target="_blank">Norlund n.42</a>). Nonostante i dubbi riguardo all’uso di</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Il primo modello con le "princess </span><br />
<span style="color: #0b5394;">seams". / the first toile with </span><br />
<span style="color: #0b5394;">the "princess seams"</span></td></tr>
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<span style="color: #0b5394;">modelli nordici per la moda europea
ed italiana (1), ritengo comunque che sia accettabile l’utilizzo di questi reperti
come riferimenti, sia perchè sono tra le pochissime fonti archeologiche
disponibili, sia perché, con le necessarie modifiche, si prestano ad adattarsi
anche allo stile continentale.</span><br />
<span style="background-color: white; color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Il modello è composto
da due parti principali, una anteriore e uno posteriore, ai quali sono aggiunti
due pannelli su ogni lato e due gheroni centrali, uno anteriore e uno
posteriore. Uno degli aspetti principali della sfida è stato dimostrare che è
possibile realizzare un abito aderente come quelli presenti nell’arte
figurativa del periodo senza allacciature o abbottonature sul busto: è stato
possibile farlo grazie al tipo di lana, un twill 2/2, che, probabilmente proprio
per questa sua caratteristica elasticità che lo rende adatto ad abiti aderenti,
è uno dei tipi di tessuto più diffusi del Trecento.</span><br />
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<span style="background: white; color: #0b5394; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Ho iniziato realizzando
un modello di prova di un sottile tessuto di cotone: nonostante il risultato
fosse piuttosto soddisfacente dal punto di vista del fitting, discutendone sul
gruppo Facebook della “Manuscript Challenge” mi è stato fatto notare che i miei
pannelli laterali erano nettamente più larghi (7-8cm) del reperto originale e
andavano ad allargarsi sul seno formando le “princess seams”, cioè cuciture
moderne, ben diverse come forma da quelle della Groenlandia. Ho rifatto un
secondo modello, riducendo i pannelli laterali a 5 cm e dandogli una forma più
rettangolare, come i reperti, in modo che le cuciture rimanessero sotto le
braccia e non modificassero la linea del busto. A questo punto ho trasferito il
modello su carta e ho infine tagliato la stoffa: una volta imbastito il
modello, sono riuscita a renderlo ancora più aderente grazie all’elasticità del
tessuto. Il gherone frontale parte poco sotto lo sterno, all’altezza dello
stomaco, mentre quello posteriore è attaccato leggermente più in basso. L’ampiezza
all’orlo è di circa 4 metri. <br /><o:p></o:p></span></div>
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<span style="background-color: white; color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Le maniche hanno di base una struttura rettangolare, nella quale ho inserito un
triangolo sulla spalla per garantire una buona mobilità: sono poi state
modellate sul braccio e sull’avambraccio per renderle aderenti ma comunque
confortevoli.</span></div>
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<span style="color: #0b5394;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;"><br />The blue dress from </span><i style="background-color: white; font-family: 'Times New Roman', Times, FreeSerif, serif; font-size: 14.8500003814697px; line-height: 20.7900009155273px;">Theatrum Sanitatis from Biblioteca Casanatense, Ms.4182, tav.117 reconstructed for <a href="http://tacuinummedievale.blogspot.it/2014/08/the-manuscript-challenge-io-ci-sto.html" target="_blank">The Manuscript Challenge</a> is finally complete: find out more about its construction here. </i></span></div>
<i><span style="color: #0b5394;">The model<br />I decided to use the model from Greenland finds Norlund 1b, and chose as main reference the garment D10584 (<a href="http://www.personal.utulsa.edu/~marc-carlson/cloth/herjol42.html">Norlund n. 42</a>). Despite of the doubts about the use of Greenlandic shapes for European and Italian fashion (1), I believe it’s acceptable to use these finds, because they are amongst the very few available sources and also because, with the necessary changes, they can be adapted to the continental fashion.</span></i><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">I pannelli laterali corretti. / </span><br />
<i><span style="color: #0b5394;">The fixed side panels.</span></i></td></tr>
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<span style="color: #0b5394;"><i><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">The model is made with
2 main pieces, front and back, plus 2 panels on each side and 2 central gores,
one on the front and one on the back. One of the main “challenges in the
challenge” was to demonstrate it’s possible to make a fitted garments, as the
ones shown in period pictures, without any lacing or buttoning on the body: it
was possible to make it thanks to the wool, a 2/2 twill, which is a very common
kind of fabric in the 14<sup>th</sup> century, due to its elasticity which is
very useful to make fitted garments.</span></i><i><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span></i></span></div>
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<i><span lang="EN-US" style="background: white; color: #0b5394; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">I<o:p></o:p></span><span style="color: #0b5394;"> started to make a toile with a thin cotton fabric: despite the fitting was quite satisfying, while discussing it on the Facebook group of the “Manuscript Challenge” it was pointed out that my side panels were definetly larger (7-8 cm) than the original ones and that they were even larger on the breast becoming the so-called “princess seams”, modern seams, totally different from the medieval ones. I started again and made a new toile, reducing the dimension of the side panels (5 cm) and giving them a more rectangular shape, as the finds, so that the seams stayed under the armpit and didn’t modify the shape of the body. Once happy with it, I drew the pattern on paper and cut the fabric. Once basted, I was able to fit it even more thanks to the elasticity of the twill. The front gore starts from the breastbone, on the stomach, while the back one it’s a little lower. The hem is 4m. <br /> The sleeves are based on a rectangular pattern, in which it was inserted a triangular gore to have a good mobility: they were modelled on the arm and forearm to make them fitted but comfortable.</span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyls6hXY3jSS3LyV_WPMuHqIQF2fdmt3bvewUTMmsEQIDhIjdjBegmFVyGF9J9A7VWnIcKdSxVqiupNadb8y3BP410PbwTaqAUbC6PPTQRQEvFbcn_qV9wqVeuErNkthQtGn6ws_DMPA/s1600/_IMG_20141031_184735.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyls6hXY3jSS3LyV_WPMuHqIQF2fdmt3bvewUTMmsEQIDhIjdjBegmFVyGF9J9A7VWnIcKdSxVqiupNadb8y3BP410PbwTaqAUbC6PPTQRQEvFbcn_qV9wqVeuErNkthQtGn6ws_DMPA/s1600/_IMG_20141031_184735.jpg" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Attaccando il gherone. /</span><br />
<i><span style="color: #0b5394;">Sewing the gore.</span></i></td></tr>
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<span style="color: #0b5394;"><b><b><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 17.1200008392334px;">Cuciture</span></b><span style="background: white; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 17.1200008392334px;"> (in filo di lino blu)</span></b><span style="background-color: white; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">- Punto indietro e punto filza: ho utilizzato il punto indietro per attaccare i
pannelli principali e quelli laterali dalle ascelle ai fianchi, mentre per la
parte inferiore della gonna ho ritenuto sufficiente usare il punto filza (con
punti molto piccoli, non ce n’è nessuno più lungo di 3-4 mm, like the originals).
Il punto indietro è stato utilizzato anche per le maniche e per unire i due
triangoli che compongono i gheroni anteriore e posteriore: uno dei due ha una
finta cucitura, come quelle presenti su alcuni dei reperti.</span></span></div>
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- Punti dati dall’esterno per attaccare i gheroni. Questa cucitura si trova nei
reperti della Groenlandia e permette di attaccarli in modo molto pulito e
stabile. <br />
- Sottopunto per rifinire le maniche e l’orlo.<br />- Rifinitura delle cuciture principali: ogni cucitura è stata stirata e
schiacciata. Le cuciture dei fianchi sono state ripiegate su un lato, solo
quelle delle maniche sono state aperte al centro e ripiegate su entrambi i
lati. In tutte le cuciture è stato utilizzato un doppio filo di riempimento di
lana perché il twill tende a sfilacciarsi molto: questa è stata senza dubbio la
parte più lunga del lavoro, ma fondamentale per garantire la sua durata.<br />
- Asole e bottoni: sull’abbottonatura ho inserito due strisce di rinforzo di
lino, con circa 17-18 fili/cm. In alcuni reperti è stata trovata traccia di un
rinforzo solo sul lato delle asole, ma sulla scorta di un affresco di Pomposa
ho deciso di applicarla su entrambi i lati. I bottoni sono ricavati da
quadratini di lana 4x4cm e cuciti con filo di seta, le asole sono fatte in filo
di seta e hanno forma rettangolare.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTPFJOo-VMiBknEls7_7-cvvZd5rNw47snQ648KQgyUTtZzCi0XRfcSZwXLzzUr72CHTxcytRMGKFrcgYgDm6aS6iJL8mLB_7FIWO_ZBll6mcNwIj2qO0i_5Z-FsKSe8aIbEcygc96dKE/s1600/10924627_10200156824838616_4330426674485362263_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #0b5394;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTPFJOo-VMiBknEls7_7-cvvZd5rNw47snQ648KQgyUTtZzCi0XRfcSZwXLzzUr72CHTxcytRMGKFrcgYgDm6aS6iJL8mLB_7FIWO_ZBll6mcNwIj2qO0i_5Z-FsKSe8aIbEcygc96dKE/s1600/10924627_10200156824838616_4330426674485362263_o.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Affresco dall'Abbazia di Pomposa, 1a metà XIV secolo. / </span><br />
<i><span style="color: #0b5394;">Fresco from Pomposa Abbey, 1st half 14th century.</span></i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKHVUHIkbNaHDncVSarYy2SZfU9rQtpO9FBbUghP7SXEvY_BJ53Xvi-VvY_UeHFCyXO9cXNI40usofvnVIViWeOyNH36DuJgWvmzsMgh1XL9508A9gXZtRGGC334HdYQHCz2uCl54oTM/s1600/_DSC_0068+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #0b5394;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKHVUHIkbNaHDncVSarYy2SZfU9rQtpO9FBbUghP7SXEvY_BJ53Xvi-VvY_UeHFCyXO9cXNI40usofvnVIViWeOyNH36DuJgWvmzsMgh1XL9508A9gXZtRGGC334HdYQHCz2uCl54oTM/s1600/_DSC_0068+.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Asole, bottoni e rinforzo in lino. / <i>Buttons, buttonholes and linen facing.</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBIO_NN31jGfNnz6mJep6xDYePTHyoZSoEk0MnszhcGJY36fWo4MdVnbc4CCRtwK31vcLytb8JXS_Woium-TTzTuPV8WmpwqhB0cmtHT8GF8L2a-v03ApcD6EndOLRe5FGF3No7K6OHrc/s1600/_DSC_0094+.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #0b5394;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBIO_NN31jGfNnz6mJep6xDYePTHyoZSoEk0MnszhcGJY36fWo4MdVnbc4CCRtwK31vcLytb8JXS_Woium-TTzTuPV8WmpwqhB0cmtHT8GF8L2a-v03ApcD6EndOLRe5FGF3No7K6OHrc/s1600/_DSC_0094+.jpg" width="211" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Cucitura con filo di riempimento. /</span><br />
<i><span style="color: #0b5394;">Seam with filler thread.</span></i></td></tr>
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<span style="color: #0b5394;"><i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #141823; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;"><b>Seams </b>(</span></i><i><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">in blue linen thread<b>)</b></span></i><i><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><b><br />
</b>- Backstitch and running stitch. I used backstitch to join the main panels
and the side panels from the armpit to the hips, while in the lower part of the
skirt I decided the running stitch was strong enough (I used very tiny
stitches, no longer than 3-4 mm, as the originals). I chose the backstitch also
for the sleeves and to join the triangles which make the front and back gores:
one of them includes a false seam, like in some of the preserved garments.<br />
- External stitches to sew the gores. This kind of stitch is found on
Greenlandic garments (and London???) and allows to attach them in a very clean
and strong way.<br />
- Hemming stitch for the hem and the sleeves.<br />
- Finishing of the seams: every seam has been ironed and pressed. The side
seams have been pressed on one side, only the ones on the sleeves have been
split open in the middle and finished on both sides. I put a double woolen filler
thread in every seam because this twill frayed a lot: this was certainly the
most time consuming part of the work, but it was necessary to make it durable.<br />
- Buttons and buttonholes: on the buttoning I decided to put 2 facings in
linen, a densely woven fabric with 17-18 threads/cm to reinforce it. In some
garments it was found a facing only on the buttonholes side, but I decided to
put it on both sides, after a fresco from Pomposa. The buttons are completely
in woolen fabric, from squares 4x4cm and sewn in silk thread; the buttonholes
are made with silk thread and are box-shaped.<o:p></o:p></span></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOaPFcTCL4xPFMQLU4HZyJpNksBbiYGfB4w6grEv8qE8RmSn3MjSRYvyaO89aQS5Z9G-JCLJVwdkQjvjw1oD_KwF3ujXzt1VCrBdJ01MGQsXVg5Y7BUUbMsuV97bYMckjUyndNM7yNN1w/s1600/_DSC_0073+.jpg" imageanchor="1" style="clear: right; float: right; font-family: 'Times New Roman'; font-size: medium; line-height: normal; margin-bottom: 1em; margin-left: 1em; text-align: center;"><span style="color: #0b5394;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOaPFcTCL4xPFMQLU4HZyJpNksBbiYGfB4w6grEv8qE8RmSn3MjSRYvyaO89aQS5Z9G-JCLJVwdkQjvjw1oD_KwF3ujXzt1VCrBdJ01MGQsXVg5Y7BUUbMsuV97bYMckjUyndNM7yNN1w/s1600/_DSC_0073+.jpg" width="260" /></span></a><span style="color: #0b5394;"><b><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Pettinatura e altri elementi</span></b><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;"><br />
Già alla fine dell’estate avevo fatto alcuni esperimenti per trovare una
pettinatura compatibile con quella della mia miniatura: alla fine ho optato per
una coda divisa in due parti e direttamente cucita sui capelli con un nastrino
di seta, seguendo questo <a href="https://www.youtube.com/watch?v=m01wsIn-6zA" target="_blank">tutorial </a><br />
L’abito è un primo strato, quindi lo indosso solo sopra la <a href="http://tacuinummedievale.blogspot.it/search/label/underwear" target="_blank">camisa supportiva </a>di cui ho modificato la scollatura in modo che non si vedesse sotto il vestito,
con le mie <a href="http://tacuinummedievale.blogspot.it/search/label/calze" target="_blank">calze</a> e le scarpe realizzate da <a href="http://www.historicalitalianshoes.com/" target="_blank">Graziano Dal Barco</a>. La donna della miniatura indossa anche un <a href="http://tacuinummedievale.blogspot.it/search/label/apron" target="_blank">grembiule</a>, per il quale ho usato
quello fatto l’anno scorso<o:p></o:p></span></span></div>
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<i><span style="background: white; color: #0b5394; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;"><b>Hairstyle and other elements</b><o:p></o:p></span></i></div>
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<i><span style="color: #0b5394;"><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Since
the end of summer I started to make experiments to find a suitable hairstyle:
in the end, I decided to go for a split ponytail directly sewn to the hair with
a silk ribbon, following this <a href="https://www.youtube.com/watch?v=m01wsIn-6zA" target="_blank">tutorial</a> </span><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br />
The dress is a first layer, so I wear it over the supportive<a href="http://tacuinummedievale.blogspot.it/search/label/underwear" target="_blank"> underwear</a> </span><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">(to which I changed the neckline to hide it under the blue dress), with
my <a href="http://tacuinummedievale.blogspot.it/search/label/calze" target="_blank">hoses </a></span><span style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span lang="EN-US">and the shoes made by <a href="http://www.historicalitalianshoes.com/" target="_blank">Graziano Dal Barco</a></span></span><span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">. The woman in the miniature wears also an <a href="http://tacuinummedievale.blogspot.it/search/label/apron." target="_blank">apron</a>, like the one I made
last year.</span></span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx8WtdSMcM39iO1_gXi5U7cpUtMhyphenhyphenvohI4EPNo1mULjYO60w7OM4tsuXaF0dlAr3j-3wY08mZctjV5GuFlMm5nXDcsk7m1vrMb7D8BlMTN1AHFVOsjGgaF-VO1wkzoJ0vYfIikRt4o6Mc/s1600/_anna+photoshoppata+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx8WtdSMcM39iO1_gXi5U7cpUtMhyphenhyphenvohI4EPNo1mULjYO60w7OM4tsuXaF0dlAr3j-3wY08mZctjV5GuFlMm5nXDcsk7m1vrMb7D8BlMTN1AHFVOsjGgaF-VO1wkzoJ0vYfIikRt4o6Mc/s1600/_anna+photoshoppata+.jpg" width="593" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Solo per divertimento :) Grazie a Francesco per aver elaborato la miniatura!</span><br />
<i><span style="color: #0b5394;">Just for fun :) Thanks to Francesco for editing the miniature!</span></i></td></tr>
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<span style="background: white; color: #0b5394; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;"><b>Ringraziamenti:</b></span><br />
<span style="background: white; color: #0b5394; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">
Sono state moltissime le persone che mi hanno aiutata nella realizzazione di
questo abito: grazie in primo luogo a Giulia, Giorgia e Vito che mi hanno
regalato la lana e hanno seguito con trepidazione ogni fase, a Francesco per
avermi aiutata nel modellare il vestito, a Nini per tutti i consigli sartoriali
che mi ha generosamente dispensato nel corso dei mesi, a Margherita per l’aiuto
a realizzare la pettinatura giusta, a Maria Neijman, Mary e tutti gli altri
partecipanti della Manuscript Challenge che sono sempre stati di grande aiuto.
Tutti gli errori e le imprecisioni sono naturalmente da imputare a me
solamente. </span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Times New Roman, serif;"><span style="background-color: white; color: #0b5394; line-height: 17.1200008392334px;">Questo vestito è dedicato alla memoria della mia nonna Maria (15.09.1931-3.3.2015): le nostre ultime ore felici insieme sono cucite qui. </span></span></div>
<i><span style="color: #0b5394;">Thanks<br /> There are many people who helped me while making this dress: first thanks to Giulia, Giorgia and Vito who gave me the wool as a gift and followed every step, to Francesco who helped me fitting the dress, to Nini who answered my questions and gave me a lot of useful suggestions during these past months, to Margherita who helped me to realize the proper hairstyle, to Maria, Mary and all the other participants of the Manuscript Challenge for their support. All the mistakes are of course all my fault.</span></i><br />
<div style="text-align: center;">
<i><span style="color: #0b5394;">This dress is in loving memory of my grandmother Maria <span style="background-color: white; font-family: 'Times New Roman', serif; line-height: 17.1200008392334px; text-align: center;">(15.09.1931-3.3.2015): our last peaceful hours together are sewn here. </span></span></i></div>
<div style="text-align: center;">
<i><span style="background-color: white; color: #0b5394; font-family: 'Times New Roman', serif; line-height: 17.1200008392334px; text-align: center;"><br /></span></i></div>
<div style="text-align: left;">
<div class="MsoNormal">
<span lang="EN-US" style="background: white; color: #141823; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><span style="color: #0b5394;"><b>Riferimenti bibliografici / <i>References</i></b><br />
(1) - The View from Herjolfsnes: Greenland's Translation of the European Fitted
Fashion, R. Netherton, Medieval Clothing and Textiles, Volume 4, 143-173.<br />
2 Woven into the Earth: Textile finds in Norse Greenland, Else Ostergaard<br />
3 Medieval Garments Reconstructed: Norse Clothing Patterns, by Lilli Fransen, Shelly
Nordtorp-Madson, Anna Norgard, Else Ostergard</span><o:p></o:p></span></div>
</div>
</div>
Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com8tag:blogger.com,1999:blog-2546372836301302865.post-10917868740598747302014-12-05T22:14:00.001+01:002014-12-05T22:15:42.859+01:00Il cappello a punta nell'abbigliamento femminile / The bycocket in women's garb<div class="separator" style="clear: both; text-align: left;">
<b style="text-align: justify;"><span style="color: #0b5394;">-<span class="Apple-tab-span" style="white-space: pre;"> </span>Il cappello a punta: un copricapo molto diffuso</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKaUdi72PSvaGHzQW_GueoBBgNxKwKiUeXU9wlpRe7Wnl-vog_rGbAa3i86uiZl7rC2sGfX3b1c8OttWAbYJEDYfP409FqDL_6HPif8dOP3oUIc0xUWI95QO2K9HQXiiE43J3fBCEzVUA/s1600/San+Pietro+benedicente+e+donatore+in+veste+di+pellegrino+da+Fondazione+Zeri.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKaUdi72PSvaGHzQW_GueoBBgNxKwKiUeXU9wlpRe7Wnl-vog_rGbAa3i86uiZl7rC2sGfX3b1c8OttWAbYJEDYfP409FqDL_6HPif8dOP3oUIc0xUWI95QO2K9HQXiiE43J3fBCEzVUA/s1600/San+Pietro+benedicente+e+donatore+in+veste+di+pellegrino+da+Fondazione+Zeri.jpg" height="320" width="179" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1a metà XIV sec, Bologna.<br />San Pietro benedicente e donatore in <br />veste di pellegrino da (<a href="http://www.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout_S2&apply=true&tipo_scheda=OA&id=9834&titolo=Vitale+da+Bologna+%2C+San+Pietro+benedicente+e+donatore+in+veste+di+pellegrino" target="_blank">Fondazione Zeri</a>) /<br />1st half of 14th century, Bologna.<br />Blessing Saint Peter and donor, </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI4zxe_tXNERYZggiTGg835Ib30aY1Ed7arSGlnR0oGbX6iEsxc7_yKeOcjMQEz25AdMnbBqcZdrJhJs3H7grrLrAR0XDp4_s47xdOczaJKHNFhH5yO6oKnBW2SfhNOoK4RagLCGYG8Gw/s1600/Allegory+of+Winter.+Ambrogio+Lorenzetti.+Siena.+Circa+1338-1340..jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: justify;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI4zxe_tXNERYZggiTGg835Ib30aY1Ed7arSGlnR0oGbX6iEsxc7_yKeOcjMQEz25AdMnbBqcZdrJhJs3H7grrLrAR0XDp4_s47xdOczaJKHNFhH5yO6oKnBW2SfhNOoK4RagLCGYG8Gw/s1600/Allegory+of+Winter.+Ambrogio+Lorenzetti.+Siena.+Circa+1338-1340..jpg" height="200" width="171" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1338-1340 Ambrogio Lorenzetti,<br />Siena: Allegoria dell'Inverno<br /><i>Allegory of Winter</i></span></td></tr>
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<span style="color: #0b5394;">Il “cappello a punta”, di una foggia così diffusa nel Trecento e dal nome così sfuggente, è da tempo diffuso nel mondo della rievocazione come accessorio maschile, ma la sua popolarità anche come accessorio femminile è in crescita.In mancanza di documentazione di un termine italiano coevo per designare questo cappello, mi limiterò a chiamarlo “cappello a punta”, ricordando che in inglese è anche chiamato “bycocket” e che in francese può essere definito anche “chapel à bec” (non serve ricordare che nell’immaginario collettivo è “il cappello di Robin Hood”). Le attestazioni di questo tipo di cappello, indossato da personaggi maschili, sono estremamente numerose nell’iconografia trecentesca (ne potete vedere alcune su <a href="http://larsdatter.com/bycokets.htm" target="_blank">Larsdatter</a>). Sembra essere particolarmente frequente nella rappresentazione di scene di caccia (ne parlano qui gli amici di <a href="https://themedievalhunt.wordpress.com/2014/11/25/a-hunter-in-green/" target="_blank">Exploring the Medieval Hunt</a>) ma compare anche come elemento ricorrente nelle scene di viaggio: è infatti il tipico cappello da pellegrino, a volte decorato dalla conchiglia, ed è spesso indossato da personaggi ritratti in climi avversi o piovosi. Sono forse meno frequenti, ma non assenti, le scene in cui questo cappello completa un abbigliamento elegante (particolarmente presenti nel Tacuinum Sanitatis di Pavia o Milano, Nouvelle acquisition latine 1673), a volte arricchito da inserti in stoffe contrastanti o piume.</span></div>
<br />
<div style="text-align: justify;">
<i><b><span style="color: #0b5394;">-<span class="Apple-tab-span" style="white-space: pre;"> </span>The pointed hat: a very common headwear</span></b></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg14NlHpG2BhClcGbniqVbIl7oHTgRX8aZlx8InjrlZBE_vPPSROAzRefsfK0j21c6ZPEEInpXmo-Bm0OPwURb5F0L_PUMeOmZ8shfGnqJ2cIR7oJkYUhbAAkqPg__hPHsAuFQU6qCC2gY/s1600/Ms.4182+tav.129.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg14NlHpG2BhClcGbniqVbIl7oHTgRX8aZlx8InjrlZBE_vPPSROAzRefsfK0j21c6ZPEEInpXmo-Bm0OPwURb5F0L_PUMeOmZ8shfGnqJ2cIR7oJkYUhbAAkqPg__hPHsAuFQU6qCC2gY/s1600/Ms.4182+tav.129.jpg" height="200" width="181" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Theatrum Sanitatis: Ms.4182 tav.129<br />Scena di caccia / <i>Hunting scene</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtCono8s3_vIP2Ok2sKbWz2K3EfO5kF1YzvKpKygACiq7YCUaiW0sRCzggOAczjP8NQZDA2mKa7FIj-O3Cg1mPBjC0gC7jHWtHJY0EPOQIbxh8IFJ2ge2OQ_WAM1Xn1lNqMc52eGjG0I/s1600/Nouvelle+acquisition+latine+1673,+fol.+20,+R%C3%A9colte+des+baies+de+laurier.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtCono8s3_vIP2Ok2sKbWz2K3EfO5kF1YzvKpKygACiq7YCUaiW0sRCzggOAczjP8NQZDA2mKa7FIj-O3Cg1mPBjC0gC7jHWtHJY0EPOQIbxh8IFJ2ge2OQ_WAM1Xn1lNqMc52eGjG0I/s1600/Nouvelle+acquisition+latine+1673,+fol.+20,+R%C3%A9colte+des+baies+de+laurier.jpg" height="320" width="180" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Nouvelle acquisition latine 1673,<br />fol. 20: abbigliamento elegante con<br />cappello a punta / <i>elegant clothing<br />with bycocket. </i></span></td></tr>
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<div style="text-align: justify;">
<i><span style="color: #0b5394;">The “pointed hat” it’s very common in the 14th century and has also a very elusive name: it’s been a well known male headwear in re-enactment for a while, but its popularity as a female accessory it’s growing more and more. Lacking period documentation of a proper Italian name for this hat, I will call it “cappello a punta” (pointed hat), but remember in English is also called “bycocket” and in French “chapel à bec” (it’s not necessary to remember that it’s commonly called “the Robin Hood hat”). There are many examples of male characters wearing this kind of hat in 14th century figurative art (you can find some here on <a href="http://larsdatter.com/bycokets.htm" target="_blank">Larsdatter</a>). It seems very common in hunting scenes (my friends from Medieval Hunt talk about it <a href="https://themedievalhunt.wordpress.com/2014/11/25/a-hunter-in-green/" target="_blank">here</a>) but appears also in travelling scenes: it’s actually the typical pilgrim hat, sometimes decorated with the shell, and it’s also worn commonly by characters represented in bad weather conditions. Probably are less frequent, but not totally absent, scenes where this hat comes with elegant clothing (expecially in the Tacuinum Sanitatis from Pavia or Milan, Nouvelle acquisition latine 1673), sometimes decorated with contrasting fabric inserts or feathers.</span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;"><br /></span></i></div>
<div style="text-align: justify;">
<b><span style="color: #0b5394;">- Il cappello a punta nell’abbigliamento femminile</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_xCWBf-KRJm59UwVTlDwNCBtH0QGsjlmX_57TVO7NE_zviULW5BMwJAlegWRXR9X-ZF5ANdN35v9t3X2_FSuLVaZXsvpGwtFYZCrZE_xvCgGmpfuuEwHSE9yDwl6N1OfQ3dHAUj_DNo/s1600/_1336-41,+Camposanto+di+Pisa,+Tebaide,+Anacoreti,+Buffalmacco.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_xCWBf-KRJm59UwVTlDwNCBtH0QGsjlmX_57TVO7NE_zviULW5BMwJAlegWRXR9X-ZF5ANdN35v9t3X2_FSuLVaZXsvpGwtFYZCrZE_xvCgGmpfuuEwHSE9yDwl6N1OfQ3dHAUj_DNo/s1600/_1336-41,+Camposanto+di+Pisa,+Tebaide,+Anacoreti,+Buffalmacco.jpg" height="320" width="309" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1336-41, Buffalmacco, Anacoreti nella Tebaide, Pisa</span></td></tr>
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<div style="text-align: justify;">
<span style="color: #0b5394;">Cosa dire invece dell’uso del cappello a punta da parte delle donne? Da quanto è emerso dall’iconografia e da studi precedenti, sembra che questo cappello fosse utilizzato dalle donne in circostanze ben precise. L’unica analisi in un testo di storia del costume che ho potuto individuare è quella di R. L. Pisetzky (Storia del Costume in Italia, vol. II, 1<span style="text-align: center;">964-69, p. 118) che, a proposito dei copricapi femminili, dice:</span></span></div>
<blockquote class="tr_bq" style="text-align: justify;">
<span style="color: #0b5394;"> “Spesso sopra il cappuccio, quando non è foderato di pelliccia, e anche su altre acconciature, le donne come gli uomini portano, in viaggio o cavalcando, il pesante cappello a tese rialzate”</span></blockquote>
<div style="text-align: justify;">
<span style="color: #0b5394;"> e rimanda alla tavola illustrata 54, dove commenta l’affresco pisano degli “Anacoreti nella Tebaide”: </span></div>
<blockquote class="tr_bq" style="text-align: justify;">
<span style="color: #0b5394;">“la bizzarria sgarbata del cappello maschile, a cupola alta e a tese risvoltate – usato anche dalle donne, di solito in viaggio o per cavalcare – acquista un fascino ambiguo, accompagnato dal soggolo trasparente, in capo alla bella ignota che nello sguardo tentatore, ancor più che nelle zampe artigliate, rivela la sua essenza diabolica”. </span></blockquote>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY5MKUqkItn1A2V40FJIJBuJIZyNNYYlMhbbh6AoY_vPkHtx4QAYw-6BwyGBNaQ4wW8RJBlwp45efWIeF8lDl2mS6fKmM1La4g2EEG_YcGewgoRB47kiQhR_hv8qIb-8RzwxKP1u0ZKW8/s1600/_1340,+Bibbia+Angioina,+Napoli,+fol,+278r.+part..jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY5MKUqkItn1A2V40FJIJBuJIZyNNYYlMhbbh6AoY_vPkHtx4QAYw-6BwyGBNaQ4wW8RJBlwp45efWIeF8lDl2mS6fKmM1La4g2EEG_YcGewgoRB47kiQhR_hv8qIb-8RzwxKP1u0ZKW8/s1600/_1340,+Bibbia+Angioina,+Napoli,+fol,+278r.+part..jpg" height="320" width="250" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1340, Bibbia Angioina <br /><i>1340, Angioina Bible</i></span></td></tr>
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<div style="text-align: justify;">
<span style="color: #0b5394;">Oltre a rilevare l’assenza di iconografie che mostrino donne indossare il cappello con sotto il cappuccio (a meno che con “cappuccio” non si intenda il mantello con cappuccio), forse sembra eccessiva la critica di questo accessorio nel commento della Pisetzky: la scena in analisi sicuramente mostra una donna mostruosa, ma non credo che questo carattere “demoniaco” sia proprio del cappello, dal momento che in tutte le altre scene risulta privo di ogni connotazione negativa.</span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;">Non ho resistito all’idea di realizzare una <a href="https://drive.google.com/file/d/0B_l6iPTamfB2NTlER1J1cVNLdDA/view?usp=sharing" target="_blank"><b>tabella</b></a> per illustrare i risultati della ricerca iconografica che ho compiuto, certo non esaustiva ma svolta su numerose fonti italiane, francesi e inglesi. </span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;">Una fonte particolarmente interessante sono stati gli “avori gotici”, visibili su questo sito: <a href="http://gothicivories.courtauld.ac.uk/index.html" target="_blank">Gothic Ivories</a> (se siete interessati a visionare in dettaglio le schede e le foto in alta risoluzione degli avori che ho qui analizzato, vi basterà inserire nel motore di ricerca il numero di inventario nella barra di ricerca), ma anche tra le opere d’arte italiane prodotte tra gli anni ’40 e la fine del Trecento sono emerse ulteriori significative attestazioni. </span><br />
<span style="color: #0b5394;"><br /></span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;">Le scene in cui sono inserite queste donne con cappello risultano di due tipi.</span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;">* Le <u>scene di caccia</u>, che risultano essere la maggioranza (14/19). Essendo un tema legato alla rappresentazione dell’amore cortese, è molto ben documentato dalla serie degli avori gotici, di produzione francese e risalenti prevalentemente alla prima metà del XIV secolo. Altre scene di caccia sono rappresentate nel noto ciclo degli “Affreschi del buon governo” dipinto a Siena da Ambrogio Lorenzetti, in cui, nell’allegoria del buon governo in campagna, è posta in primo piano una dama con il cappello. Negli affreschi del Camposanto di Pisa, sempre risalenti alla prima metà del XIV secolo, compaiono vicine 2 donne con il cappello, accanto alle quali è possibile vedere uomini con i falchi. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSiAy_N8JlnqMZjSxd7c-K9OFzUG-SbpwItbu9TY3l7xrcVYpszqluBO9swwicLLYEK0JfU5RnXOrSd3WzfQ4d1zsZTTsn2TbIGexbGkWUB41QDaMyBFrsNPtqISguJnjZcjfXDq7z_k/s1600/_1380,+leggenda+vera+croce,+agnolo+gaddi+regina-elena.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSiAy_N8JlnqMZjSxd7c-K9OFzUG-SbpwItbu9TY3l7xrcVYpszqluBO9swwicLLYEK0JfU5RnXOrSd3WzfQ4d1zsZTTsn2TbIGexbGkWUB41QDaMyBFrsNPtqISguJnjZcjfXDq7z_k/s1600/_1380,+leggenda+vera+croce,+agnolo+gaddi+regina-elena.jpg" height="320" width="236" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: #0b5394;">1380, Agnolo Gaddi, Storie della Vera Croce, Firenze<br /><i>1380, Agnolo Gaddi, discovery of the True Cross</i></span></td></tr>
</tbody></table>
<div style="text-align: justify;">
<span style="color: #0b5394;">* <u>Le scene di viaggio</u>. Meno rappresentate, ma comunque significative, sono le donne in viaggio: negli affreschi di San Gimignano, opera di Bartolo di Fredi, compare due volte Lot (in groppa a un cammello) con il cappello a punta, mentre un’altra donna lo indossa nella scena dell’attraversamento del Mar Rosso. Anche la “bella ignota” della Pisetzsky può essere considerata una donna in viaggio. Molto diversa da questo personaggio, eppure abbigliata in modo simile, risulta la regina Elena, raffigurata di una bellezza immortale da Agnolo Gaddi nella Chiesa di S. Croce, a Firenze: Elena, giunta fino in Terrrasanta per ritrovare la croce di Cristo, può ragionevolmente essere rappresentata come una viaggiatrice (o eventualmente una pellegrina). Se questo cappello è dunque attributo della regina Elena, risulta difficile pensare che possa di per sè presentare una connotazione negativa o troppo mascolina se indossato da una donna.Il cappello a punta ha probabilmente la forte funzione pratica di riparare dal sole e dalla pioggia, ed è dunque sempre associato a momenti di vita all’aria aperta, in particolare alla caccia e al viaggio: infatti non sono mai raffigurate donne di città o di campagna che lo indossano nello svolgimento delle mansioni quotidiane, nè tantomeno sembra fosse indossato da donne nobili o facoltose in occasioni mondane, in cui probabilmente erano preferite acconciature arricchite da pietre preziose o costosi veli di seta.</span></div>
<span style="color: #0b5394;"></span><br />
<span style="color: #0b5394;"></span>
<i><b><span style="color: #0b5394;">- The bycocket in female’s garb</span></b></i><br />
<i><b><span style="color: #0b5394;"><br /></span></b></i>
<i></i><br />
<div style="text-align: justify;">
<i><i><span style="color: #0b5394;">What can we say about women using bycocket? From what came to light from iconography and previous studies, it seems likely that this hat was used by women only in clear-cut circumstances. The only analysis I could find in a book about history of costume was by R. L. Pisetzky (Storia del Costume in Italia, vol. II, 1964-69, p. 118) who says about female hats: </span></i></i></div>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNGzU-dT4tMPKx0GQGyMMHTobCNKkVo8pVRUNQ5HAImmx8MUTiJlZIq0CixNooDZszCD-U4_8oFyzPTiRc1UTF-Pvp6H709zvnlf50ScMhmLG6yz0DcqK4KecQ_Coguvcdq4bYX6sgWOk/s1600/_Passage+de+la+mer+Rouge,+1367,+Bartolo+di+Fredi,+(San%2BGimignano%2C%2BColl%C3%A9giale)_2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNGzU-dT4tMPKx0GQGyMMHTobCNKkVo8pVRUNQ5HAImmx8MUTiJlZIq0CixNooDZszCD-U4_8oFyzPTiRc1UTF-Pvp6H709zvnlf50ScMhmLG6yz0DcqK4KecQ_Coguvcdq4bYX6sgWOk/s1600/_Passage+de+la+mer+Rouge,+1367,+Bartolo+di+Fredi,+(San%2BGimignano%2C%2BColl%C3%A9giale)_2.jpg" height="268" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1367, Bartolo di Fredi, Attraversamento del Mar Rosso<br /><i>1367, Bartolo di Fredi, Crossing of the Red Sea, </i></span></td></tr>
</tbody></table>
<blockquote class="tr_bq">
<i><span style="color: #0b5394;">“Often, over the hood, when it’s not lined in fur, and also with other hairdressings, women, like men, wear the heavy hat with lifted-up brims when travelling or hunting”. </span></i></blockquote>
<i><span style="color: #0b5394;">She talks again of this hat in the illustrated table 54 and comments the fresco from Pisa of the “Anacoreti della Tebaide”: </span></i><br />
<blockquote class="tr_bq">
<i><span style="color: #0b5394;">“the rude oddity of the masculine hat, with a high calotte and lifted-up brims – used also by women, usually when travelling or horse-riding – gains an ambiguous appeal, together with the transparent wimple, worn by the beautiful stranger who, in her tantalizing gaze even more than in her claws, reveals her diabolic essence”. </span></i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXvZGukfy7OMik1XC-71TkgCq7LERDIPMMxKlZj2a-c1RdclO9oZcj3k5ywP8N_mX1Pj-wlhW-EVMU5-GSA2NjZfSpMzJaSPI48NaewgcnZ6y9DzlSwDZDCOyxydovyLgqlzVqkOayEyg/s1600/_1336-41+Bonamico_Buffalmacco_Trionfo_della_Morte_dettaglio_La_coppia_con_la_bara_del_loro_bambino.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXvZGukfy7OMik1XC-71TkgCq7LERDIPMMxKlZj2a-c1RdclO9oZcj3k5ywP8N_mX1Pj-wlhW-EVMU5-GSA2NjZfSpMzJaSPI48NaewgcnZ6y9DzlSwDZDCOyxydovyLgqlzVqkOayEyg/s1600/_1336-41+Bonamico_Buffalmacco_Trionfo_della_Morte_dettaglio_La_coppia_con_la_bara_del_loro_bambino.jpg" height="210" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1336-40, Buffalmacco, trionfo della morte,<br /><i> 1336-40, Buffalmacco, Triumph of Death. Pisa</i></span></td></tr>
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<div style="text-align: justify;">
<i><span style="color: #0b5394;">I have to underline I wasn’t able to find any source showing women wearing hoods with the bycocket (unless with “hood” is meant a cloack with a hood) and I would also like to point out that in her comment Pisetzky seems to criticize too much this hat: in the analyzed scene the woman surely has monstrous features, but I don’t think the hat itself has any diabolic meaning, since in all other scenes it lacks of any negative characteristic. </span></i></div>
<div style="text-align: justify;">
<span style="color: #0b5394;"><i></i></span><br />
<span style="color: #0b5394;"><i></i></span></div>
<i><span style="color: #0b5394;">I couldn’t help myself and I had to make a <b><a href="https://drive.google.com/file/d/0B_l6iPTamfB2NTlER1J1cVNLdDA/view?usp=sharing" target="_blank">table </a></b>to show the results of my iconographical research: I can’t say I have seen all the possible sources, but I’ve been through quite a lot if Italian, French and English representations. You can see the table here.</span></i><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhkHuLlB11K3Z7kRF6kY5xX8e8uubgWNDhe_inVwu5xz1Nm-VJUomnbQDnvIvwAD8O_toR3-XC3V-_Uh9mQB48ePqlXAQouipgWniE-WlZo_cCwWZHuXytXyz5mbhMbcoAPe1KL-moMnY/s1600/14,+british+museum+PART,+prod.+francese.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhkHuLlB11K3Z7kRF6kY5xX8e8uubgWNDhe_inVwu5xz1Nm-VJUomnbQDnvIvwAD8O_toR3-XC3V-_Uh9mQB48ePqlXAQouipgWniE-WlZo_cCwWZHuXytXyz5mbhMbcoAPe1KL-moMnY/s1600/14,+british+museum+PART,+prod.+francese.jpg" height="200" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: #0b5394;">London, The British Museum<br />1878,1101.40</span></td></tr>
</tbody></table>
<i><span style="color: #0b5394;">A very interesting source are the gothic ivories, collected on this website: <a href="http://gothicivories.courtauld.ac.uk/index.html" target="_blank">Gothic Ivories</a> (if you wish to see more details or the high-quality pictures of the ivories I analyzed, you can just insert their inventory number in the “search” line), but I found other interesting depictions also amongst Italian sources from the 1340s to the end of the century.</span></i><br />
<div style="text-align: justify;">
<i><span style="color: #0b5394;">The scenes where women wear pointed hats are of two kinds:</span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;">- <u>Hunting scenes</u> (14/19). Since hunt is a theme strongly connected to courtly love, it’s very well attested in the gothic ivories, carved in France in the first half of the 14th century. Other hunting scenes can be found in the “Frescoes of the good government” by Ambrogio Lorenzetti, where a lady with a pointed hat is portrayed in the allegory of good government in the countryside. Also in the frescoes from the Camposanto of Pisa (first half of 14th century) 2 women with bycocket are represented together with men holding hawks. </span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbxycWOpDlQ_Q3licHf6gzyvPd4bB6Ewnxj_26zTH1oQIxr5HHD67JYsVJbX1zUYMVrkraL5sMi7ZzJNlOif_aeT3DkSfGf1TDi-yX9jWKjVnHDqdn-qfMXQpy0Dha_GQPtX-g8eTgGYs/s1600/_Abramo_separato_da_lot,_bartolo_big.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbxycWOpDlQ_Q3licHf6gzyvPd4bB6Ewnxj_26zTH1oQIxr5HHD67JYsVJbX1zUYMVrkraL5sMi7ZzJNlOif_aeT3DkSfGf1TDi-yX9jWKjVnHDqdn-qfMXQpy0Dha_GQPtX-g8eTgGYs/s1600/_Abramo_separato_da_lot,_bartolo_big.jpg" height="320" width="296" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">1367, Bartolo di Fredi, Abramo e Lot si separano <br />nella terra di Cana, <br /><i>1367, Bartolo di Fredi, Abraham and Lot separate <br />in the Land of Canaan'</i>, </span></td></tr>
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<div style="text-align: justify;">
<i><span style="color: #0b5394;">- <u>Travel scenes</u> (5/19). Travelling women are less represented but very significant: in the frescoes by Bartolo di Fredi Lot appears twice (riding a camel) with the bycocket, while it’s worn by a different woman in the crossing of the Red Sea. Also the “beautiful stranger” described by Pisetzsky can be considered a travelling woman: queen Elena, in Agnolo Gaddi’s frescoes about the discovery of the True Cross (Florence, Santa Croce church), is clearly a woman of a completely different kind, but wears similar garments. Saint Elena, who travelled to Jerusalem to find the True Cross, can reasonably be painted as a traveler (or, eventually, as a pilgrim). If this hat is attributed to que</span></i><i><span style="color: #0b5394;">en Elena as well, it seems hard to believe bycocket has itself a negative feature or is too masculine to be worn by women. </span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;">The bycocket has a strong practical purpose to protect by sun and rain, and it’s therefore always connected to open-air scenes, mainly travels or hunting: women living in the cities or in the countryside are never represented with this hat while attending their daily tasks, nor it seems likely it was worn my noble or wealthy women in mundane occasions, where elaborate hairstyles and expensive silk veils were probably preferred. </span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;"><br /></span></i></div>
<div style="text-align: justify;">
<b><span style="color: #0b5394;">- Veli e pettinature insieme al cappello a punta</span></b></div>
<div style="text-align: justify;">
<span style="color: #0b5394;">Dalle immagini si può vedere che il cappello a punta è raramente indossato da solo, ma è spesso accompagnato dal velo e/o dal soggolo, che insieme al cappello offrono una protezione ottimale dagli agenti atmosferici, possono riparare dalla polvere e rappresentano comunque un tocco di femminilità. Tra i diversi “outfit” rappresentati nelle immagini, ho scelto i 3 che preferisco di cui proporre la ricostruzione. </span></div>
<div style="text-align: justify;">
<i><b><span style="color: #0b5394;">- Veils and hairstyles with the bycocket</span></b></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;">From the sources it’s possible to see that the pointed hat is rarely worn alone, but it’s often worn with a veil and/or wimple, that together with the hat offer a perfect protection from sun, rain and dust and, nonetheless, give the outfit a touch of femininity. </span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;">I chose my 3 favorite outfits to reproduce. </span></i></div>
<div style="text-align: justify;">
<span style="color: #0b5394;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #0b5394;"><b>Stile 1: L’allegoria del buon governo (trecce)</b></span><br />
<span style="color: #0b5394;"><b>1344, Ambrogio Lorenzetti, Affreschi del buon governo,Siena </b></span><br />
<b style="color: #0b5394;"><i>Style 1: The Good Government (braids)</i></b><br />
<span style="color: #0b5394;"><b><i>1344, Ambrogio Lorenzetti, Good government, Siena</i></b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bDbx6ZfG2DBlASTOTSOWEnUFK82rUrvz6v-nxSFSMFLTTCiojstwb_I6Ks9CxOnXG2oG85iJutjdx2v9OQo4i35zwrtwqilYY7QbchCT1CdN-QjF11a-mKZNPhXQpkkmHGjXhnhZos0/s1600/_buon+governo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bDbx6ZfG2DBlASTOTSOWEnUFK82rUrvz6v-nxSFSMFLTTCiojstwb_I6Ks9CxOnXG2oG85iJutjdx2v9OQo4i35zwrtwqilYY7QbchCT1CdN-QjF11a-mKZNPhXQpkkmHGjXhnhZos0/s1600/_buon+governo.jpg" height="266" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYt99JCSNRWa6aqSNnK1tydV28q39msyAh60lSj8jd6tBqIiSLsd9Dx5rnrlLcHH5lezFeBnvWKE1Ym-DSo8eIL40FK2dLNSJ3qF6UqK-SqbOkDjAW5DaSPkdXsNt4j9GQ1twJoTDG7SA/s1600/_Ambrogio_Lorenzetti_014.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYt99JCSNRWa6aqSNnK1tydV28q39msyAh60lSj8jd6tBqIiSLsd9Dx5rnrlLcHH5lezFeBnvWKE1Ym-DSo8eIL40FK2dLNSJ3qF6UqK-SqbOkDjAW5DaSPkdXsNt4j9GQ1twJoTDG7SA/s1600/_Ambrogio_Lorenzetti_014.jpg" height="320" width="232" /></span></a></td></tr>
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<div style="text-align: left;">
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<div style="text-align: justify;">
<span style="color: #0b5394;">La donna di questo celebre affresco è l’unica che ho trovato che non indossa nè il velo nè il soggolo. Ipotizzando una pettinatura simmetrica, così frequente in tante fonti coeve, la donna porta i capelli raccolti in due trecce, che sembrano essere fatte a partire dalla nuca (non dalle tempie), portate in avanti sulle orecchie, ai lati del viso, e probabilmente fissate sulla testa, sotto il cappello (suggerimento: le trecce possono essere fissate “cucendole” con un ago grosso e del filo di lana direttame<span style="text-align: center;">nte ai capelli sottostanti).</span></span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;"><b>Note</b>: Nel caso non si volesse indossare il velo, questa pettinatura è l’unica attestata abbinata al cappello a punta: i capelli sciolti, una treccia che ricade sulla schiena o una treccia che scende sulla spalla sono forse pettinature che sposano meglio il gusto moderno ma non sono mai attestate, anche perché potrebbero essere poco pratiche durante la caccia o il viaggio. </span></div>
<div style="text-align: center;">
<span style="color: #0b5394;"><br /></span></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;">This woman is the only one I could find who doesn’t wear veil or wimple. I suppose she wears a symmetric hairstyle, frequent in many period sources: I think she has 2 plaits that look like starting from the nape (not from the temples), pulled ahead over the ears, framing the face. They may be fastened on top of the head, under the hat (tip: braids can be sewn directly on the hair with a thick blunt needle and some wool thread). </span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;"><b>Note</b>: In case you don’t want to wear a veil, this hairstyle is the only one attested together with the pointed hat: untied hair or a single braid over the back or over the shoulder can maybe match better modern taste but are not represented in period sources, also because may not be convenient while hunting or travelling.</span></i></div>
<div style="text-align: justify;">
<span style="color: #0b5394;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #0b5394;"><b>Stile 2: Il trionfo della morte (trecce, velo, soggolo)</b></span><b style="color: #0b5394;">1336-40, Buffalmacco, Trionfo della morte<i>, </i>Pisa</b><br />
<span style="color: #0b5394;"><span style="text-align: start;"><b><i>Style 2: The Triumph of Death (braids, veil, wimple)</i><br /><i>1336-40, Buffalmacco, Triumph of Death, Pisa</i></b></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiKPl3L2nPBgAA6coNBE_t6L4TbOm3_1PwPN-dTeYUKt-nSF2D7JEL156YdnqtSs_2rE2EwY0-sC4imtDD3O45u983xDihBL7iRE_A_HJXeLpgB2n6a-BL-Gej55JWiOn-KkvAcwERqXc/s1600/_trionfo+della+foca.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiKPl3L2nPBgAA6coNBE_t6L4TbOm3_1PwPN-dTeYUKt-nSF2D7JEL156YdnqtSs_2rE2EwY0-sC4imtDD3O45u983xDihBL7iRE_A_HJXeLpgB2n6a-BL-Gej55JWiOn-KkvAcwERqXc/s1600/_trionfo+della+foca.jpg" height="320" width="228" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXEpwI_OKdHG6GlJUrphuf7_4gvWITibWWGfxsbsGMTfErdzr26-afqfNYM1s2COQLO33xcQMhMDR-JG77s9y0uV6oZFvJAlLX6FgN3yEormQ0w0WmVWvACR_TtenBJVgJRzfvfJSEbc/s1600/camposanto_pisa_affreschi13_JPG-vi.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXEpwI_OKdHG6GlJUrphuf7_4gvWITibWWGfxsbsGMTfErdzr26-afqfNYM1s2COQLO33xcQMhMDR-JG77s9y0uV6oZFvJAlLX6FgN3yEormQ0w0WmVWvACR_TtenBJVgJRzfvfJSEbc/s1600/camposanto_pisa_affreschi13_JPG-vi.jpg" height="240" width="320" /></span></a></td></tr>
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<div style="text-align: justify;">
<span style="color: #0b5394;">Questa combinazione presenta sicuramente un’ottima protezione da pioggia, vento e sole. I capelli si intravedono appena sotto il velo: ho iniziato perciò facendo due trecce che partono dalle tempie (possono partire anche dalla nuca, ma io trovo più comoda questa soluzione) e le ho fissate dietro la testa. Da questo punto in poi, è possibile seguire il tutorial di <a href="http://www.neulakko.net/?page_id=912" target="_blank">Neulakko</a> (tralasciando le trecce finte, se non le avete). Anche io ho indossato la mia cuffia di S. Brigida, elemento fondamentale a cui attaccare i veli: ho poi indossato il soggolo (il mio è un rettangolo di lino di circa 80cmx60cm) ripiegandolo leggermente sotto il mento, andando poi a fissarlo con 2 spilli dietro la testa e tirandolo un po’, dal momento che tende a cedere. A questo punto ho indossato il velo vero e proprio (il mio è un rettangolo leggermente stondato di circa 100cmx70cm, ma consiglio la forma a semicerchio), fissandolo alla cuffia con uno spillo al centro della fronte: si possono aggiungere con altri 2 spilli all’altezza delle tempie e ripiegare leggermente la stoffa per farlo aderire meglio al viso o tenerlo più libero e metterlo in posizione semplicemente con il cappello. </span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;"><b>Note</b>: In molti casi in cui al cappello sono abbinati velo e soggolo i capelli non sono visibili, per cui è difficile stabilire quale sia l’acconciatura sottostante, anche se spesso sembra che si possa intuire la presenza delle due trecce sotto il velo. In alcuni casi, in particolare negli avori, i capelli sono rappresentati come delle piccole “onde” che non indicano una pettinatura precisa, ma ritengo sia comunque da escludere l’ipotesi che i capelli siano portati sciolti sotto al velo, dal momento che questa soluzione non compare mai nemmeno in altri contesti: potrebbero forse essere delle piccole ciocche sfuggenti. </span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;">Al posto del soggolo di lino, se ne può indossare uno di seta per uno stile simile a quello di Sant’Elena negli affreschi di Santa Croce di Agnolo Gaddi. </span></div>
<span style="color: #0b5394;"><br /></span>
<br />
<div style="text-align: justify;">
<i><span style="color: #0b5394;">This combination offers a very good protection from sun, rain and wind. The hair are barely visible under the veil, so I started making 2 braids starting from the temples (they can start from the nape as well, but I find the first solution more comfortable) and I fastened them behind the head. From now on, you can find <a href="http://www.neulakko.net/?page_id=912" target="_blank">Neulakko</a>’s tutorial (skip fake braids if you don’t have). I wore my Saint Brigit’s cap and then the wimple (mine is a linen rectangle, 80cmx60cm), folding it a bit under the chin and pinning it behind the head: pull it well since it loosens a bit. At this point I put on the veil (a linen rectangle with rounded edges, 100cmx70cm: choose a half-circle shape if you can), pinning it to the cap with a pin in the center of the forehead: you can add 2 more pins over the temples and fold the fabric a bit or you can just put it in place with the hat.</span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;"><b>Note</b>: Often it’s impossible to see the hair when women wear the veil and wimple, so it’s hard to tell what’s the hairstyle: sometimes it looks like there are the 2 braids under the veil. In some ivories the hair are represented as little waves that may not represent a true hairstyle: I don’t think the hair are untied under the veil, since this solution is never visible in other pictures, and I believe they may be curly locks left outside the braids.</span></i></div>
<div style="text-align: justify;">
<i><span style="color: #0b5394;">Instead of linen wimple, it’s possible to wear a silk wimple for a style closer to Saint Elena in the frescoes of Santa Croce by Agnolo Gaddi.</span></i></div>
<span style="color: #0b5394;"><br /></span>
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<b><span style="color: #0b5394;">Stile 3: La straniera degli “Anacoreti nella Tebaide” (trecce, soggolo trasparente)<br />1336-41, Buffalmacco, Anacoreti nella Tebaide, Pisa</span></b><br />
<i><span style="color: #0b5394;"><i><b>Style 3: The stranger from the “Anacoreti nella Tebaide” (braids, transparent wimple)</b></i></span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_shRG0JHpDQBd9CiTVcZwxms_6vsZIm_uBaCsWO89OVoJ3lMnY1hnEjRx0mAgllzDZhjSR504qFrxOnOWOQ63EVbOVG-GhM_lHqXEI_qu-HXuVchZ-l0lvZ8Gs0t1urke3zJ8CYhkqPw/s1600/_1336-41,+Camposanto+di+Pisa,+Tebaide,+Anacoreti,+Buffalmacco.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_shRG0JHpDQBd9CiTVcZwxms_6vsZIm_uBaCsWO89OVoJ3lMnY1hnEjRx0mAgllzDZhjSR504qFrxOnOWOQ63EVbOVG-GhM_lHqXEI_qu-HXuVchZ-l0lvZ8Gs0t1urke3zJ8CYhkqPw/s1600/_1336-41,+Camposanto+di+Pisa,+Tebaide,+Anacoreti,+Buffalmacco.jpg" height="200" width="193" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsGaZwnA475cO9r6yqWGCYAaCti-V8BIE9mIZm_U0cHN165npyEt7VA3j2UgvSMbOc4FEIkXZanK-Y7KAz8_fseNUwzjB4lU3ayy39MZUcAwb9bO6NHZWUC-S1O5nextTRF7Y8N3ORk4/s1600/_tebaide+lato.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsGaZwnA475cO9r6yqWGCYAaCti-V8BIE9mIZm_U0cHN165npyEt7VA3j2UgvSMbOc4FEIkXZanK-Y7KAz8_fseNUwzjB4lU3ayy39MZUcAwb9bO6NHZWUC-S1O5nextTRF7Y8N3ORk4/s1600/_tebaide+lato.jpg" height="253" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYBQKzci25spYzZda6GVf_ZChRunNuSny5jb1MjYriaGhc7faw9d9XeweOd3gLTWCUb3SmwdfIGksHDQtNCnd6sAaF5-80eqskyKQpZRveQaEQLu6QiUJs8RA0_mHilcQ_ibIU4KLpPfo/s1600/_tebaide+fronte.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYBQKzci25spYzZda6GVf_ZChRunNuSny5jb1MjYriaGhc7faw9d9XeweOd3gLTWCUb3SmwdfIGksHDQtNCnd6sAaF5-80eqskyKQpZRveQaEQLu6QiUJs8RA0_mHilcQ_ibIU4KLpPfo/s1600/_tebaide+fronte.jpg" height="320" width="212" /></a><span style="color: #0b5394; text-align: justify;"></span></div>
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<span style="color: #0b5394; text-align: justify;"><span style="color: #0b5394;">In alcune delle fonti, balza all’occhio la trasparenza del soggolo: è il caso degli affreschi di Bartolo di Fredi a San Gimignano o della “bella ignota” degli affreschi del Camposanto di Pisa. La mia interpretazione è che questi soggoli trasparenti siano veli di seta, portati con le trecce ai lati del viso: in mancanza di una cuffia a cui fissare il soggolo, l’ho fermato con uno spillo direttamente alle trecce, nel punto in cui sono cucite sopra la nuca. Per coprire meglio la parte posteriore del collo, si possono </span>fermare le due estremità del velo con uno spillo: in questo modo risulterà anche più aderente al collo sulla parte anteriore. Come soggolo ho usato il velo di seta, che è 80cmx60cm. </span></div>
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<i><span style="color: #0b5394;">In some sources, the transparent wimple is striking, like in the frescoes by Bartolo di Fredi or in the depiction of the “beautiful stranger” in the frescoes from the Camposanto of Pisa: my interpretation is that these wimples are made of silk and are usually worn with braids. Since there is not the cap to fasten the veil to, I pinned it directly to the braids, where they are sewn over the nape. To cover better the back part of the neck, you can fasten the edges of the veil with a pin: this way it will be more adherent to the front part. My wimple was my silk veil, a half-circle which measures 80cmx60cm.</span></i></div>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com9tag:blogger.com,1999:blog-2546372836301302865.post-9286759986394293452014-11-21T10:54:00.002+01:002015-09-11T15:12:15.115+02:00Workshop di cucito medievale con Maria Neijman e Mervi Pasanen<div class="separator" style="clear: both; text-align: left;">
<span style="color: #0b5394; text-align: justify;">Sono molto felice di poter annunciare ufficialmente che il 7-8 febbraio si svolgerà a Imola, la mia città, un corso di cucito medievale incentrato sul XIV secolo, tenuto da due insegnanti d'eccezione, rievocatrici e studiose di tessili e abbigliamento medievale: Maria Neijman (Svezia), Consulente tessile, collaboratrice del Museo Medievale di Stoccolma e organizzatrice dell'evento Battle of Wisby 1361 e Mervi Pasanen (Finlandia), Maestra artigiana specializzata in abbigliamento medievale. Trovate tutte le informazioni nella locandina dell'evento: le iscrizioni sono aperte, non esitate a contattarmi a tacuinum.medievale[at]gmail.com per ulteriori informazioni o per iscrivervi! </span></div>
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<span style="color: #0b5394;">Questo fine settimana (22-23 novembre) mi trovate inoltre alla fiera <a href="http://www.usiecostumi.org/" target="_blank">"Usi e Costumi"</a> a Ferrara presso il banchetto del mio gruppo, <a href="http://civitasalidosiana.org/" target="_blank">Civitas Alidosiana. </a></span></div>
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Se volete conoscere meglio le insegnanti:<br /><b>Maria Neijman</b><br /><a href="http://indemejarecristi.wordpress.com%20/" target="_blank">indemejarecristi.wordpress.com </a><br /><a href="http://www.battleofwisby.com/" target="_blank">http://www.battleofwisby.com/</a><br /><a href="http://tacuinummedievale.blogspot.it/2014/10/campfire-chats-maria-neijman.html" target="_blank">l'intervista a Maria per le "Campfire Chats"</a></span><br />
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<span style="color: #0b5394;"><b>Mervi Pasanen</b><br /><a href="http://hibernaatio.blogspot.it/" target="_blank">http://hibernaatio.blogspot.it/</a><br /><a href="http://turkudress.blogspot.fi/?m=1" target="_blank">http://turkudress.blogspot.fi/?m=1</a><br /><a href="http://tacuinummedievale.blogspot.it/2014/10/campfire-chats-mervi-pasanen.html" target="_blank">l'intervista a Mervi per le "Campfire Chats"</a></span></div>
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<br />Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com0tag:blogger.com,1999:blog-2546372836301302865.post-70362330077137768172014-11-13T10:24:00.003+01:002014-11-13T10:28:21.486+01:00Campfire chats - Anna Lindemark<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83pk30mrKer3j0k1WqwMx5QrUhwf3rH1fm6b89Uc58bBH2AIR54jLyae5XZV6ldCTO_krzy8dX77F2tnFfSJogjG8kceP6BNcRUsf_egJ45RS7wwva4voEjh0hn9zAh4phGRSLqjtLmc/s1600/80v_cut_title.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #0b5394;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83pk30mrKer3j0k1WqwMx5QrUhwf3rH1fm6b89Uc58bBH2AIR54jLyae5XZV6ldCTO_krzy8dX77F2tnFfSJogjG8kceP6BNcRUsf_egJ45RS7wwva4voEjh0hn9zAh4phGRSLqjtLmc/s640/80v_cut_title.jpg" width="640" /></span></a></div>
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<span style="color: #073763;">S</span><span style="color: #0b5394;">iamo partite dall'Italia, siamo arrivate fino alla Finlandia e ora siamo in Svezia per concludere questa serie di "Campfire Chats": ci siamo conosciute meglio, abbiamo condiviso le nostre esperienze e sp<span style="text-align: start;">ero che, per quanto piccola, questa iniziativa possa essere un punto di partenza per creare legami sempre più forti e poter costruire qualcosa di più grande tutte insieme.</span></span><br />
<i><span style="color: #0b5394;">We started from Italy, we reached Finland and now we're in Sweden to close this "Campfire Chats" serie: we've come to know each other best, we shared our stories and I hope these little chats could be a good starting point to create stronger connections among us and to build something bigger all together.</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwWD0sM6ZvIpP9LfDZmNwp5VPO6N9rKvnJK9txjs6CTgHhWwCb7RzPommVsihIybTukJoNpdth5WRjYcfjpYMiBqBbUBgXNyUmZuIqbF7kf7y8-OLnfq1cnQrtlIkiZaV_g8ZWY8M8pAE/s1600/80v.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #0b5394;"><img border="0" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwWD0sM6ZvIpP9LfDZmNwp5VPO6N9rKvnJK9txjs6CTgHhWwCb7RzPommVsihIybTukJoNpdth5WRjYcfjpYMiBqBbUBgXNyUmZuIqbF7kf7y8-OLnfq1cnQrtlIkiZaV_g8ZWY8M8pAE/s640/80v.jpg" width="640" /></span></a></div>
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Sono entrata in contatto con Anna quando ho mandato la prima e-mail per chiedere di partecipare a Battle of Wisby: da subito Anna è stata disponibile nel rispondere ai nostri dubbi, e presto abbiamo iniziato a chiacchierare del più e del meno nell'attesa di poterci finalmente incontrare di persona. A Visby abbiamo avuto occasione di chiacchierare, ma abbiamo ancora in sospeso un giro di shopping insieme... spero che capiterà presto l'occasione! Grazie per aver partecipato con tanto entusiasmo! Questo è il blog di Anna: <a href="http://jungfruburen.blogspot.se/" target="_blank">Jungfruburen</a>. </span></div>
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<i><span style="color: #0b5394;">I got in touch with Anna when I sent the first e-mail to ask if we could partecipate to Battle of Wisby: Anna was immediately very helpful answering our questions, and we soon started chatting about us, waiting to meet each other in person. In Wisby we had a chance to talk, but we still have to go shopping together, and I hope there will be a good occasion soon! Thank you for partecipating to the "Campfire chats" with such an enthusiasm! </span></i></div>
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<i><span style="color: #0b5394;">Don't miss her blog: <a href="http://jungfruburen.blogspot.se/" target="_blank">Jungfruburen</a>. [English follows]</span></i></div>
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<b><span style="color: #0b5394;">1. Di che periodo/i ti occupi e di che gruppo/i fai parte?</span></b></div>
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<span style="color: #0b5394;">Mi concentro sul periodo 1361-1415, e su un periodo in un certo senso meno specifico per la rievocazione vichinga. Faccio parte della <a href="http://albrechts.se/" target="_blank">Albrechts Bössor</a> 1364-1412 (artiglieri del re Albrecht di Meclemburgo) e del gruppo <a href="http://battleofwisby1361.wordpress.com/" target="_blank">Battle of Wisby 1361</a>. A volte partecipo a qualche evento anche con il gruppo Elvegrimarne, che si occupa di rievocazione vichinga e ha sede a Gothenburg.</span></div>
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<b><span style="color: #0b5394;">2. Da quanto tempo fai rievocazione storica e come è nata questa passione?</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLZ9X11zOWDLo_nh1tIrJ5OaQWCwgCXmb3DFu5vfykNDqEJraTg2py_3bLJjD7jJkg561eYbhPfoTW7uplPb6CT6HHpAAD9K6yAF-EwBFJYgIsU-6B7Henv9tt0EhFZwfBa5OeA6897Qo/s1600/984205_10152472351636884_987072044557263146_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #0b5394;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLZ9X11zOWDLo_nh1tIrJ5OaQWCwgCXmb3DFu5vfykNDqEJraTg2py_3bLJjD7jJkg561eYbhPfoTW7uplPb6CT6HHpAAD9K6yAF-EwBFJYgIsU-6B7Henv9tt0EhFZwfBa5OeA6897Qo/s640/984205_10152472351636884_987072044557263146_n.jpg" width="424" /></span></a><span style="color: #0b5394;">Sono stata coinvolta nel LARP tra il 1996 e il 2001, ma dopo mi sono presa una pausa per dedicarmi ad altri hobby. La mia storia d’amore con la rievocazione, comunque, è iniziata nel 2007, quando quello che allora era il mio ragazzo venne ad abitare con me e trovai un orribile – ma interessante – paio di braghe del XVI secolo mentre lo aiutavo a disfare gli scatoloni. “Tesoro, c’è qualcosa che vuoi dirmi?” Lui ormai stava abbandonando questo hobby, ma io vi sono stata selvaggiamente risucchiata. Sento che ho finalmente un hobby che combina molti degli elementi che ricerco nel mio tempo libero: attività artigianali - principalmente legate a fibre tessili -, socializzazione (ma con un robusto filtro che mi salva dal dover sostenere noiose conversazioni a proposito di argomenti di tutti i giorni insignificanti), studio, una punta di violenza, un po’ di tempo trascorso in modo non impegnativo all’aria aperta, una scusa per accumulare materiali, una pratica alternativa agli antidepressivi (filare) e il profumo della legna che brucia. Ma la vera scintilla, e la principale motivazione per proseguire in questo hobby così nerd, disperatamente poco pratico, costoso, scomodo e difficile da spiegare è il desiderio di provare la stessa sensazione che sperimentai l’estate in cui avevo 12 anni, e vidi due turisti tedeschi vestiti da barbari in un ristorante di Visby. “Voglio farlo anche io!”. Agisco continuamente in base a questo impulso.</span></div>
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<b><span style="color: #0b5394;">3. Di che attività di occupi principalmente in rievocazione e quali sono i tuoi maggiori interessi?</span></b></div>
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<span style="color: #0b5394;">Sono principalmente interessata nell’artigianato, e, dal momento che non ho una vera e propria istruzione formale in questo campo, sento che ho molto da imparare, sempre. Adoro imparare nuove attività in questo ambito, e sono molto grata ai miei amici e insegnanti “ufficiosi”, verso i quali ho un debito così grande. L’artigianato tessile è davvero l’attività che mi spinge avanti, mi mi piace anche combattere, la calligrafia, tingere con le piante e costruire fusi in modo sperimentale.</span></div>
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<b><span style="color: #0b5394;">4. Che ne pensi della situazione della rievocazione nel tuo Paese?</span></b></div>
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<span style="color: #0b5394;">La Svezia è scarsamente popolata, e per questo ci manca la possibilità di organizzare eventi in larga scala con la facilità che hanno gli altri, dal momento che, proporzionalmente, noi siamo pochi. Inoltre, ci sono pochi veri luoghi medievali di incontro per noi e spesso ci sistemiamo in un ambiente un po’ meno compatibile storicamente, che è un po’ una vergogna. Tra gli aspetti positivi, c’è da dire che la Svezia è un Paese relativamente emancipato, dove è largamente accettato che ciacuno faccia quello che vuole nel mondo della rievocazione, a prescindere dal genere, dall’etnia ecc., finché risponde alle specifiche esigenze di correttezza storica. Preferirei avere la libertà di lavorare come voglio con la storia in un gruppo più piccolo che godere del lavoro di squadra in un gruppo più grande di rievocatori in cui potrei essere limitata nelle mie attività da questioni di genere.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlhmtiieluPeekWLm2PO37j1bYYufd0s2NACybKE-NOR36xOKUvRrwl6Dpruj0Yyr9HAKfxn_-TuSj4mk8xPvULmIgdpHAsSej2lTzc_HVob6T0FE1SoWIMeBhjp1l9BVChGILbXc2a1Q/s1600/10399622_44418805993_9552_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><span style="color: #0b5394;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlhmtiieluPeekWLm2PO37j1bYYufd0s2NACybKE-NOR36xOKUvRrwl6Dpruj0Yyr9HAKfxn_-TuSj4mk8xPvULmIgdpHAsSej2lTzc_HVob6T0FE1SoWIMeBhjp1l9BVChGILbXc2a1Q/s400/10399622_44418805993_9552_n.jpg" width="400" /></span></a></div>
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<b><span style="color: #0b5394;">5. Pensi che le rievocatrici abbiano un ruolo significativo in questo ambiente?</span></b></div>
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<span style="color: #0b5394;">Sì! La mia risposta spontanea a questa domanda è: “cosa?!” perché preferirei non capirla nemmeno, anche se so esattamente perché è tristemente necessaria. La Scandinavia ha una posizione diversa sulle questioni di genere, rispetto a molti altri Paesi, e mi dispiace dirlo, ma è spesso deprimente uscire da questa bolla e trovarsi faccia a faccia un un patriarcato anormale e datato, che spesso dichiara che la sua struttura sociale esista per “proteggere” le donne. Sono furiosa e sconvolta quando sento che ci sono gruppi che non permettono alle loro donne di combattere. Sono stanca e sprezzante quando sento di gruppi in cui le donne sono membri di second’ordine e servono come unità di servizio: mi dispiace per tutti quelli che sono coinvolti. Ma questo non è il luogo adatto per fare una predica completa, scusami Anna! Credo fermamente che tutti siano necessari, con rispetto reciproco, prescindendo totalmente dal sesso. Un esempio: in Svezia sarebbero pochissimi a mettere in discussione la presenza di rievocatrici combattenti. Piuttosto, si va a un evento come un “foglio bianco” e poi decidi cosa ti interessa, e cosa ti interessa fare all’interno di questo hobby. Credo che questo sia un beneficio per tutti. C’è una pressione molto piccola o inesistente sugli uomini affinchè combattano, che li lascia liberi di specializzarsi in una certa attività artigianale, cucinare il proprio cibo o cucire i propri vestiti come ogni individuo capace e indipendente dovrebbe fare, e non ci sono particolari restrizioni per le donne per il solo fatto che sono donne. Ognuno vince!</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJob9DsvqJdAPk4lUFGRoq0XHs2i5V9kCCAIpNiME3z-E378e6e6v0YvgsExEwOBqOtRcZXZ8hMcM0qaGseSoOc0hp4lxkmnYQ4bD6tb-A4ecbGdi7W2j-Wz9kCHr2D1SIyymPG87a4Y/s1600/34451_437682280675_6960821_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #0b5394;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJob9DsvqJdAPk4lUFGRoq0XHs2i5V9kCCAIpNiME3z-E378e6e6v0YvgsExEwOBqOtRcZXZ8hMcM0qaGseSoOc0hp4lxkmnYQ4bD6tb-A4ecbGdi7W2j-Wz9kCHr2D1SIyymPG87a4Y/s320/34451_437682280675_6960821_n.jpg" width="320" /></span></a><b><span style="color: #0b5394;">6. Quali sono i tuoi progetti futuri?</span></b></div>
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<span style="color: #0b5394;">Imparare, e non smettere mai di imparare! Ci sono cose da imparare sufficienti per riempire numerose vite. E, se posso, insegnare a mia volta agli altri che desiderano realizzare cose belle e crescere in questo incredibile campo. La storia siamo noi, e credo che possiamo migliorarci se la comprendiamo, forse anche meglio se con un approccio concreto. La living history è anche azione, e praticarla mi rende più entusiasta di qualsiasi altra cosa (quasi). Inoltre, i miei piani per il futuro includono liberarmi di tutta la sporcizia della lana di pecora nel mio armadio, finire le maledette asole sul vestito viola, costringere i miei figli a soffrire attraverso una crescita imbarazzante come bambini rievocatori, e convincere finalmente quel papà turista che il nostro fuoco da campo era davvero reale e che la sua carrozzina stava andando a fuoco. </span></div>
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<b><i><span style="color: #0b5394;">1.Which period(s) do you work on and what group(s) do you belong to? </span></i></b></div>
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<i><span style="color: #0b5394;">I focus on the period 1361-1415, and on somewhat more loosely determined viking reenactment. I belong to <a href="http://albrechts.se/" target="_blank">Albrechts Bösso</a>r 1364-1412 (Gunners of King Albrecht of Mecklenburg), and to <a href="http://battleofwisby1361.wordpress.com/" target="_blank">Battle of Wisby 1361</a>. I am also a hangaround of the Elvegrimarne, a viking group based in Gothenburg. </span></i></div>
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<b><i><span style="color: #0b5394;">2. How long have you been re-enacting and how did this passion start? </span></i></b></div>
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<i><span style="color: #0b5394;">I was involved in LARPing between 1996 and 2001, after which I took a break to focus on other hobbies. My love affair with reenactment, however, started out in 2007 when my then boyfriend moved in with me, and I found a pair of interestingly offensive 16th century pants among his things as I helped him unpack. “Honey, is there something you wish to tell me?” He was on his way out of the hobby, but I got fiercely sucked in. I feel that I have finally found a hobby that combines most of the elements I wish for in my spare time; crafting – mainly within fiber arts, socializing (albeit with a firm filter that saves me from putting up with boring conversations about mundane shit), studying, a streak of violence, undemanding outdoor slacking, an excuse for hoarding, a practical alternative to antidepressants (spinning) and the smell of woodsmoke. But the real spark, and main motivation to pursue this nerdy, hopelessly impractical, expensive, unwieldy and difficult-to-explain hobby is to feel what I felt the summer when I was 12 years old, and spotted two German tourists dressed up as barbarians in a restaurant in Visby. “I want to do that, too!” I am still constantly acting on that impulse. </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim_miZu6DlDTzgYIuLy6ESQYlV1Mx2f94DsR_qZTMO4dTBfe4V97xStvxit4MpUkup8KBkkJykVb1XF9nzvhV3BR6Do4HxeTD305jAqLYLtmPyJRTFnEIKv5lASQ6pFRUmcymH26bYAt0/s1600/38980_414098105993_3614184_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #0b5394;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim_miZu6DlDTzgYIuLy6ESQYlV1Mx2f94DsR_qZTMO4dTBfe4V97xStvxit4MpUkup8KBkkJykVb1XF9nzvhV3BR6Do4HxeTD305jAqLYLtmPyJRTFnEIKv5lASQ6pFRUmcymH26bYAt0/s400/38980_414098105993_3614184_n.jpg" width="400" /></span></a><b><i><span style="color: #0b5394;">3. What kind of activity do you attend most in re-enactment and what are your major interests? </span></i></b></div>
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<i><span style="color: #0b5394;">I’m mainly interested in crafting, and since I have no formal education in that field, I feel I have a lot to learn, always. I love learning new things within this particular field, and feel the most profound gratitude toward my friends and informal teachers, to whom I am so deeply indebted. Textile crafts is what makes me really tick, but I also enjoy fighting, calligraphy, plant dyeing and experimental spindle making. </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim_miZu6DlDTzgYIuLy6ESQYlV1Mx2f94DsR_qZTMO4dTBfe4V97xStvxit4MpUkup8KBkkJykVb1XF9nzvhV3BR6Do4HxeTD305jAqLYLtmPyJRTFnEIKv5lASQ6pFRUmcymH26bYAt0/s1600/38980_414098105993_3614184_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><span style="color: #0b5394;"><i></i></span></a></div>
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<b><i><span style="color: #0b5394;">4. What do you think about the re-enacting situation in your country? </span></i></b></div>
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<i><span style="color: #0b5394;">Sweden is sparsely populated, and so we lack the continental possibilities to arrange large-scale events with the same ease as others, since there are comparatively few of us. Additionally, there are few authentic medieval venues available to reenactors here, and we often settle for a less authentic environment, which is a bit of a shame. On the bright side, Sweden is a relatively emancipated country, where it is widely accepted that everybody does what they please within reenactment, regardless of gender, ethnicity etc – as long as it adheres to local demands on period authenticity. I would rather have the freedom to work with history as I choose in a smaller group, than enjoy the synergy effect of a larger reenactment community while at the same time being limited by gender-related issues. </span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNGSn6gGv4M5f0eAxXV_8M688y24R4iFn1BCq-CQKGNLGwWfYABw1JB8aqRbPIR5_UvJBZK17z8dYzALqY11B8u_ue1Z5Whs42DWYx9Sg2rUtN4HyTXliKp3DsH4NGgRNY9zA4mpVk3rI/s1600/37033_10151142981482926_1982325333_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #0b5394;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNGSn6gGv4M5f0eAxXV_8M688y24R4iFn1BCq-CQKGNLGwWfYABw1JB8aqRbPIR5_UvJBZK17z8dYzALqY11B8u_ue1Z5Whs42DWYx9Sg2rUtN4HyTXliKp3DsH4NGgRNY9zA4mpVk3rI/s400/37033_10151142981482926_1982325333_n.jpg" width="225" /></span></a><b><i><span style="color: #0b5394;">5. Do you think female re-enactors have a significant role?</span></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNGSn6gGv4M5f0eAxXV_8M688y24R4iFn1BCq-CQKGNLGwWfYABw1JB8aqRbPIR5_UvJBZK17z8dYzALqY11B8u_ue1Z5Whs42DWYx9Sg2rUtN4HyTXliKp3DsH4NGgRNY9zA4mpVk3rI/s1600/37033_10151142981482926_1982325333_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="color: #0b5394;"><i></i></span></a><i><span style="color: #0b5394;">I do. My spontaneous answer to this question is “What??” because I would like to not even understand it, though I know exactly why it is sadly necessary. Scandinavia has a different take on gender issues than most other countries, and I am sorry to say that it is often depressing to go outside that bubble and confront the effects of a dysfunctional, outdated patriarchy, that often claims that its social structure is there to “protect” women. I am furious and devastated when I hear that there are groups that won’t let their women fight. I get tired and bored and utterly contemptuous when I hear of groups where women function as second-rate members and service units. I feel sorry for everybody involved. But this is not the place to preach in full, sorry Anna! I do believe that everybody is needed – in equal respects, completely regardless of their sex. One example: in Sweden, very few people would question the presence of female reenactment fighters. Rather, you come to the event as a “blank” and then decide what interests you, and what you wish to make of the hobby. I believe this is beneficial to everybody. There is little or no social pressure on men to fight, which leaves them free to specialize in a certain craft, cook their own food and sew their own clothes as any skilled, independent individual should, and there are no particular restrictions on women solely because they are women. Everybody wins. </span></i></div>
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<b><i><span style="color: #0b5394;">6. What are your plans for the future?</span></i></b></div>
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<i><span style="color: #0b5394;">To learn, and to never stop learning! There are innumerable lifetimes’ worth of knowledge to be had. And if I can, to teach, in turn, others who wish to make beautiful things and expand themselves within this amazing field. History is us, and I believe we can better ourselves by understanding it, perhaps all the more so by this hands-on approach. Living history is an action, too. Its practices makes me more enthusiastic than almost anything else. Also, my future plans include getting rid of all the clumps of shit in the sheep’s wool in my closet, to finish the damn buttonholes on the purple dress, to force my kids to suffer through an embarrassing upbringing as reenactor children, and to finally convince that tourist dad that our campfire was really real, and that his pram was on fire. </span></i></div>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com0tag:blogger.com,1999:blog-2546372836301302865.post-16354623040171194482014-10-30T10:50:00.001+01:002014-11-13T10:26:25.854+01:00Campfire chats - Maria Neijman<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83pk30mrKer3j0k1WqwMx5QrUhwf3rH1fm6b89Uc58bBH2AIR54jLyae5XZV6ldCTO_krzy8dX77F2tnFfSJogjG8kceP6BNcRUsf_egJ45RS7wwva4voEjh0hn9zAh4phGRSLqjtLmc/s1600/80v_cut_title.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83pk30mrKer3j0k1WqwMx5QrUhwf3rH1fm6b89Uc58bBH2AIR54jLyae5XZV6ldCTO_krzy8dX77F2tnFfSJogjG8kceP6BNcRUsf_egJ45RS7wwva4voEjh0hn9zAh4phGRSLqjtLmc/s1600/80v_cut_title.jpg" height="196" width="640" /></a></div>
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<span style="color: #0b5394;"><br />Torniamo fuori dall'Italia, lontano, a Nord, fino in Svezia... / <i>We're leaving Italy again: far North, until we reach Sweden...</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0NUCDe_JKDF0rmAcJPm8FMk3RVN6qsSGGZAWWEGSizCH_H0a7yWWEJ-uju3Dg7FRzBhp-wKkZFPkrknRZfbMcJ57Ku58rP-oJ_FOeS9IKKvnjPO3PDJp_0oxtQP9f43yzZMyt29a6F_c/s1600/80v_maria.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0NUCDe_JKDF0rmAcJPm8FMk3RVN6qsSGGZAWWEGSizCH_H0a7yWWEJ-uju3Dg7FRzBhp-wKkZFPkrknRZfbMcJ57Ku58rP-oJ_FOeS9IKKvnjPO3PDJp_0oxtQP9f43yzZMyt29a6F_c/s1600/80v_maria.jpg" height="100" width="640" /></a></div>
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<span style="color: #0b5394;">Ho scoperto chi è Maria nel 2013, quando mi sono imbattuta per la prima volta in questo video <a href="https://www.youtube.com/watch?v=HuvJxDuv5EU" target="_blank">The Reenactors - A documentary about medieval re-enactors</a>, che racconta come Maria e suo marito Thomas hanno organizzato nel 2011 la rievocazione della battaglia di Visby in occasione dell'anniversario dei 650 anni. Mentre nel video vedevo Maria tingere la stoffa di un vestito con la cocciniglia, nella cucina di casa sua, e cucire insieme a Thomas sul divano, ho iniziato a rendermi conto che alla fine, da qualche parte nel mondo, c'era qualcuno che viveva la rievocazione come anche io avrei voluto, ma che non osavo fare per paura di sentirmi dire che ero "esagerata". Quella settimana a Visby ha cambiato completamente il mio modo di vedere la rievocazione, dandomi la motivazione a impegnarmi al massimo per mantenere il più alta possibile la fedeltà ricostruttiva di quello che faccio, senza scorciatoie. Sarò sempre grata a Maria per l'ispirazione che mi ha dato e sono davvero felice che abbia partecipato anche lei alle Campfire Chats. </span></div>
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<span style="color: #0b5394;">Link al blog di Maria: <a href="http://indemejarecristi.wordpress.com/" target="_blank">In deme Jare Cristi</a>.</span></div>
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<i><span style="color: #0b5394;">I found out who Maria is in 2013, when I stumbled upon this video <a href="https://www.youtube.com/watch?v=HuvJxDuv5EU" target="_blank">The Reenactors - A documentary about medieval re-enactors</a> about Maria and her husband Thomas organizing in 2011 the re-enactment of the Battle of Wisby because of the 650th anniversary. While I was watching Maria dyeing some fabric with cochenille in her home-kitchen and sewing with Thomas on their sofa, I started to realize that actually there was someone, in the world, who was living re-enactment and living history just the way I wanted to do myself, but I didn't dare to because I was afraid to be told I was "going too far". That week in Visby changer everything I knew about re-enactment, giving me the motivation I needed to work hard to keep a high standard in reconstructions, without shortcuts. I will always be grateful to Maria for her inspiration and I'm really happy she took part to the Campfire Chats. [English Follows]<br />Maria's blog: </span></i><a href="http://indemejarecristi.wordpress.com/" target="_blank">In deme Jare Cristi</a>. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTzjtR6QAzq3n_C_16MUGKiImM6TWGokT-Ap0SgyKX6xOsfNwcmP9-36gFrAb1eiFnZDlgrkeePkuupwpmI92W8UKf0OMKk6GvhEo1OAXJGm1hPzJz7XlcM4i06OBM_LLEgOXngxnHYfo/s1600/Maria3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTzjtR6QAzq3n_C_16MUGKiImM6TWGokT-Ap0SgyKX6xOsfNwcmP9-36gFrAb1eiFnZDlgrkeePkuupwpmI92W8UKf0OMKk6GvhEo1OAXJGm1hPzJz7XlcM4i06OBM_LLEgOXngxnHYfo/s1600/Maria3.jpg" height="320" width="320" /></a><b><span style="color: #0b5394;">1. Di che periodo/i ti occupi e di che gruppo/i fai parte?</span></b></div>
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<span style="color: #0b5394;">Il period di cui mi occupo è quello che va dal 1361 al 1415. Faccio parte dei seguenti gruppi: <a href="http://albrechts.se/" target="_blank">Albrechts Bössor</a> 1364-1412 (artiglieri del re Albrecht di Meclenburgo), <a href="http://carnis.org/" target="_blank">Fraternis Militia Carnis </a>1364-1412 (Fratellanza Militare di Carnis), <a href="http://battleofwisby1361.wordpress.com/" target="_blank">Battle of Wisby 1361.</a></span></div>
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<b><span style="color: #0b5394;">2. Da quanto tempo fai rievocazione storica e come è nata questa passione?</span></b></div>
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<span style="color: #0b5394;">Ho iniziato nel 1994 all’interno della comunità svedese di LARPers (giocatori di ruolo dal vivo) e sono stata coinvolta nello SCA (Society for Creative Anacronism) nel 1997. Mi sono fermata nel 2001, poi ho ricominciato con la rievocazione storica nel 2007. Sono sempre stata molto interessata alla storia, ma devo ammettere che sono state le attività artigianali a coinvolgermi. Ho iniziato la mia educazione alle arti tessili nel 1994: ho studiato per 5 anni poter diventare insegnante e consulente tessile [in Svezia i consulenti tessili contribuiscono ad allestire mostre, organizzare laboratori e corsi e aiutano gli artigiani a scegliere cosa produrre nei loro negozi. In ognuna delle 60 contee esiste un consulente per le arti tessili e uno per lavorazione del legno e i metalli: il loro lavoro è assicurarsi che avvenga tramite dei corsi la diffusione delle arti tradizionali e l’introduzione di nuove.]</span></div>
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<b><span style="color: #0b5394;">3. Di che attività di occupi principalmente in rievocazione e quali sono i tuoi maggiori interessi?</span></b></div>
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<span style="color: #0b5394;">La realtà rievocativa di oggi è prevalentemente centrata sulle battaglie. In questi casi, rievoco la moglie di un cavaliere. In ogni caso, il mio maggiore interesse è l’artigianato: realizzare e imparare cose nuove e insegnare agli altri. Mi piacciono le battaglie ma mi sento sempre messa un po’ da parte perchè non combatto io stessa.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiiXjfkV7rhitlh5DrvmBKWYiv-XZWLkFkaPRmumEitEJ2dE5DGdSC31f2PHK1vf1UhIxXVFItKG6SeV50KkTa5eO3xDkEmR6R5gS1XKcjPfK5DxYWnKicWChY8W_G2mOngaGLUOO5ioY/s1600/Maria2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiiXjfkV7rhitlh5DrvmBKWYiv-XZWLkFkaPRmumEitEJ2dE5DGdSC31f2PHK1vf1UhIxXVFItKG6SeV50KkTa5eO3xDkEmR6R5gS1XKcjPfK5DxYWnKicWChY8W_G2mOngaGLUOO5ioY/s1600/Maria2.jpg" height="265" width="400" /></a><b><span style="color: #0b5394;">4. Che ne pensi della situazione della rievocazione nel tuo Paese?</span></b></div>
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<span style="color: #0b5394;">In Svezia, la rievocazione è ancora una cosa nuova e sono stata fortunate a essere io a fissare un po’ l’agenda. Questo significa che cerco di far sentire importanti tutte le persone che partecipano a un evento: donne, uomini, combattenti, artigiani, bambini e così via. A dire il vero preferisco il termine “living history”- altrimenti è semplicemente un focus sul combattimento e le battaglie.</span></div>
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<b><span style="color: #0b5394;">5. Pensi che le rievocatrici abbiano un ruolo significativo in questo ambiente?</span></b></div>
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<span style="color: #0b5394;">Siamo di più che cuoche e sarte! Senza le donne, la storia sarebbe solo la metà di quello che è ora. Oggi, spesso offriamo un “servizio di base”: cuciniamo per i nostri uomini mentre loro combattono, realizziamo per loro i vestiti se non li sanno cucire da soli. Fortunatamente, l’artigianato tessile è un insegnamento obbligatorio in Svezia e i maschi lo studiano tanto quanto le femmine [a partire dall’età di 8 anni], così gli uomini non possono sostenere di non essere in grado di fare da soli i loro vestiti.</span></div>
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<b><span style="color: #0b5394;">6. Quali sono i tuoi progetti futuri?</span></b></div>
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<span style="color: #0b5394;">Insegnare alle persone che la storia non è solo guerra e morte. È piena di aspetti luminosi e felici, come la danza, le arti, il cibo, la religione (sono atea, ma sono comunque interessata a studiare come la religione ha permeato ogni aspetto della società), l’arte e persone con una loro storia personale. Vorrei organizzare più eventi come Battle of Visby 1361 e assicurarmi che le donne abbiano uno spazio tutto dedicato a loro. Sono una femminista, e credo che sia necessario che noi portiamo sotto i riflettori la storia delle donne, e che la mostriamo in una luce diversa. Non eravamo solo una istituzione di supporto agli uomini. Avevamo un nostro proprio valore, come ora. Al momento sto organizzando il mio viaggio per Azincourt 1415 per la prossima estate. Spero di vedervi là! </span></div>
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<span style="color: #0b5394;"><b>Non è finita qui! Tra due settimane, non perdetevi l'ultima Campfire Chat con Anna Lindemark!</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisaONlD9B_NAeBpDA9sVlf0UViuG_419825StWKsXqIadQiyW9sSHdhc6T1MLtcoRF1b2BsC6a2tpAkkJEj4tjsVJOWIAiSS6OM99Tr23zKWWtYC0krNZcW-RNPBcaaQpQ5qnKZzl4aeU/s1600/Maria4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisaONlD9B_NAeBpDA9sVlf0UViuG_419825StWKsXqIadQiyW9sSHdhc6T1MLtcoRF1b2BsC6a2tpAkkJEj4tjsVJOWIAiSS6OM99Tr23zKWWtYC0krNZcW-RNPBcaaQpQ5qnKZzl4aeU/s1600/Maria4.jpg" height="320" width="212" /></a><span style="color: #0b5394;"><br /></span></div>
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<b><span style="color: #0b5394;"><br /></span></b></div>
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<b><span style="color: #0b5394;">***</span></b></div>
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<b><span style="color: #0b5394;"><i>1. Which period(s) do you work on and what group(s) do you belong to?</i></span></b></div>
<div style="text-align: justify;">
<span style="color: #0b5394;"><i>My main focus is on the period 1361- 1415. I belong to the following groups: </i></span></div>
<div style="text-align: justify;">
<i><a href="http://albrechts.se/" target="_blank">Albrechts Bössor</a><span style="color: #0b5394;"> 1364-1412 (Gunners of King Albrecht of Mecklenburg). </span></i></div>
<div style="text-align: justify;">
<i><a href="http://carnis.org/" target="_blank">Fraternis Militia Carnis </a><span style="color: #0b5394;"> 1364-1412 (Military Brotherhood of Carnis)</span></i></div>
<div style="text-align: justify;">
<i><a href="http://battleofwisby1361.wordpress.com/" target="_blank">Battle of Wisby 1361</a>.</i></div>
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<b><span style="color: #0b5394;"><i>2. How long have you been re-enacting and how did this passion start? </i></span></b></div>
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<span style="color: #0b5394;"><i>I started out within the Swedish LARPing community in 1994, and got involved in the SCA in 1997. Took a break in 2001, and then began re-enacting in 2007. </i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKp5l0jFN2dXbRe-px8WB8TOMCMoxVd4R4hkTx1N8kI4iJID1OqPQuQ7uQhCdC3mseiRLgoKCnYaTTwqoE8BTu6M7uRSd7PGPMvX-ZOPAwydNZM6y3wYyR0BZLIegIlRekHkqUJXbezqU/s1600/Maria.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><i><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKp5l0jFN2dXbRe-px8WB8TOMCMoxVd4R4hkTx1N8kI4iJID1OqPQuQ7uQhCdC3mseiRLgoKCnYaTTwqoE8BTu6M7uRSd7PGPMvX-ZOPAwydNZM6y3wYyR0BZLIegIlRekHkqUJXbezqU/s1600/Maria.jpg" height="320" width="240" /></i></a><span style="color: #0b5394;"><i>I’ve always been very interested in history, but I have to say it was the crafts that pulled me in. I began my first textile education 1994 and I have been studying textiles and craft leadership for 5 years. I’ve studied to become a crafts consultant.</i></span></div>
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<b><span style="color: #0b5394;"><i>3. What kind of activity do you attend most in re-enactment and what are your major interests? </i></span></b></div>
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<span style="color: #0b5394;"><i>The reenactment scene today is mainly centered on battles. In those cases, I re-enact a knight’s wife. However, my major interest is actually crafts. To make things, to learn more, and to teach other people. I like battles but I always feel a bit “ left out” because I’m not fighting myself.</i></span></div>
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<b><span style="color: #0b5394;"><i>4. What do you think about the re-enacting situation in your country?</i></span></b></div>
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<span style="color: #0b5394;"><i>In Sweden, reenactment is still a new thing and I have been fortunate to be able to set the agenda a bit. That means I try to make all the people participating in an event important. Women, men, fighters, craftsmen, children and so on. I actually prefer the term “living history” - otherwise it’s just focus on the fighting bit.</i></span></div>
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<b><span style="color: #0b5394;"><i>5. Do you think female re-enactors have a significant role?</i></span></b></div>
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<span style="color: #0b5394;"><i>We are more than just cooks and seamstresses!! Without women history would be only half of what it is now. Today, we are often providing “ground service”; we cook for our men when they are fighting; we supply them with clothes if they can’t sew themselves. Fortunately, textile crafts is a mandatory school Subject in Sweden, and boys study it to the same extent as girls, so they really cannot claim that they’re unable to make their own clothes.</i></span></div>
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<b><span style="color: #0b5394;"><i>6. What are your plans for the future?</i></span></b></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5IgMbIYscGbSVTEjWQ_YXd7u23cKnrA8j3gH99TiA8piT_R-c4qnYjF91oAQrzKGK_7XTK_RMtH_Nx7cONgt8iw6_3TsE8fXUltyMv7ucA3ei4C9ta18UUf2BTsIhAUon28POfo0BRbA/s1600/Maria5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><i><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5IgMbIYscGbSVTEjWQ_YXd7u23cKnrA8j3gH99TiA8piT_R-c4qnYjF91oAQrzKGK_7XTK_RMtH_Nx7cONgt8iw6_3TsE8fXUltyMv7ucA3ei4C9ta18UUf2BTsIhAUon28POfo0BRbA/s1600/Maria5.jpg" height="214" width="320" /></i></a><br />
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<span style="color: #0b5394;"><i>To teach people that history is more than just war and death. It is full of bright and happy things like dance, crafts, food, religion (I’m an atheist, but still interested in how religion has permeated all of society), art and people with a history of their own. </i></span></div>
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<span style="color: #0b5394;"><i>I would like to arrange more events like Battle of Wisby 1361, and make sure that women are given an arena of their own. I’m a feminist, and I belive that we need to bring women’s history into the spotlight, and show it in a different light. We were not just a service institution to men. We had a value of our own, just as we do now. </i></span></div>
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<span style="color: #0b5394;"><i><i>I’m currently making plans for my trip to Azincourt 1415, for the next summer. Hope to see you there!</i></i></span></div>
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<span style="color: #0b5394;"><i><br /></i></span></div>
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<span style="color: #0b5394;"><b><i>News! This is not the end! Don't miss the last Campfire Chat with Anna Lindemark!</i></b></span></div>
Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com0tag:blogger.com,1999:blog-2546372836301302865.post-81866020064149807232014-10-22T18:20:00.000+02:002014-10-22T18:20:31.508+02:00Una borsetta ricamata con il brick stitch / Brick stitch purse <div class="MsoNormal">
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<div style="text-align: justify;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="color: #3d85c6;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlBnme3ynS47GNCGZiurx5Z34PeLksm5gLnJKputxb1tOXNsHtbuSr4834ueH_ZEEWMbCLdglK6pwIncVgeZVsirHXnqzWqOUF_VehR8s_qKlmUQWbvvlrvIr6ecOqTfRqg0Md4A4QHvk/s1600/_TM_DSC08434.JPG" height="400" style="margin-left: auto; margin-right: auto;" width="372" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">La borsina finita: circa 9x11 cm più 3cm di nappine. /<br /><i>The finished purse: 9x11 cm plus 3cm of tassels.</i></span></td></tr>
</tbody></table>
<span style="font-family: 'Times New Roman', serif;"><span style="color: #3d85c6;">Si
ritorna al brick stitch, ma stavolta si fa sul serio.</span></span><br />
<span style="color: #3d85c6;"><span style="font-family: 'Times New Roman', serif;">Il brick stitch è un ricamo tipicamente tedesco, arrivato anche in altre zone,
quali ad esempio Belgio e Svizzera, ma forse anche in <a href="http://collections.vam.ac.uk/item/O129988/woven-textile-fragment-unknown/" target="_blank">Spagna</a> </span><span style="font-family: 'Times New Roman', serif;">, utilizzato tra il XIV e il XV
secolo per decorare borsine, reliquiari e anche manufatti più grandi, quali ad
esempio drappi ricamati con scene religiose utilizzati in conventi e chiese. Il
punto è di esecuzione piuttosto semplice: si tratta di un tipo di ricamo
contato in cui i punti vengono applicati, sempre verticalmente, uno accanto all’altro
e permette di realizzare prevalentemente motivi geometrici. In Italia non mi
risulta sia attestata la produzione di questo tipo di ricamo o il ritrovamento
di qualche reperto, ma non era insolito che piccoli oggetti preziosi venissero
importati anche da lontano (come le “burse franzische”, borsette francesi,
spesso menzionate negli inventari).</span></span></div>
<span style="color: #3d85c6; font-family: "Times New Roman","serif";">
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">Lo
schema che ho utilizzato è <a href="http://medievalartcraft.blogspot.it/2009/05/brick-stitch-pattern-14.html" target="_blank">questo</a> </span><span style="font-family: 'Times New Roman', serif;">: è stato ricavato da una
tappezzeria prodotta probabilmente in Sassonia intorno al 1400. Le dimensioni
della mia borsina sono 9 x 11cm circa + 3 cm di nappine e rispecchiano quelle
piuttosto ridotte di diversi reperti.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8qw9CzsHW4xhnkqtT4zD7v1m69FXBmkbk_YCzmbTgRvKwJ4PQIX-Tk8ZD1utsGPoqE7QqdTCBEJvxo1_XpMP4rwhGAnhLi5iaHOyViDhqZbV5YXi1Ez7cyD1Sx3y0PxF-Qq0uVsBi1iI/s1600/_20140820_233846.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8qw9CzsHW4xhnkqtT4zD7v1m69FXBmkbk_YCzmbTgRvKwJ4PQIX-Tk8ZD1utsGPoqE7QqdTCBEJvxo1_XpMP4rwhGAnhLi5iaHOyViDhqZbV5YXi1Ez7cyD1Sx3y0PxF-Qq0uVsBi1iI/s1600/_20140820_233846.jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">L'inizio del ricamo. / <i>The beginning of the embroidery. </i></span></td></tr>
</tbody></table>
<b style="font-family: 'Times New Roman', serif;"><span style="color: #3d85c6;">Materiali
utilizzati</span></b><br />
<span style="color: #3d85c6;"><span style="font-family: 'Times New Roman', serif;">- Supporto per il lavoro: telaio quadrato di legno. <a href="http://tacuinummedievale.blogspot.it/search/label/telaio%20da%20ricamo" target="_blank">Qui</a> in un mio vecchio post </span><span style="font-family: 'Times New Roman', serif;">e <a href="http://historiskgarderob.blogspot.it/2014/03/medeltida-broderiram.html" target="_blank">qui </a></span><span style="font-family: 'Times New Roman', serif;"><a href="http://historiskgarderob.blogspot.it/2014/03/medeltida-broderiram.html">s</a>u Historisk Garderob</span><span style="font-family: 'Times New Roman', serif;"> potete trovare qualche
attestazione di telai.</span></span></div>
<span style="color: #3d85c6;"><span style="font-family: "Times New Roman","serif";">
</span><span style="font-family: "Times New Roman","serif";"><div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Lino per il ricamo contato, con 11-12 fili per centimetro, 2 pezzi di circa
15x15 cm.</span></div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Lino azzurro pallido per la fodera: 2 pezzi di circa10x13 cm.</span></div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Seta a filamento proveniente da <a href="http://www.devereyarns.co.uk/" target="_blank">Devere Yarns</a></span><span style="font-family: 'Times New Roman', serif;">, 1200 denier (60 fili) per il
ricamo e per la copertura decorativa delle cuciture. I colori sono: Midnight
(40) per il blu, Beeswax (55) per il giallo e Glace (67) per il rosso. Nel mio
caso, sono serviti 2 rocchetti da 25m del colore principale (il blu) per
completare la borsa, mentre per gli altri colori è stato sufficiente 1 solo
rocchetto. </span></div>
</span><span style="font-family: "Times New Roman","serif";"><div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">Due parole sulla scelta dei materiali. Non esitate a scegliere la seta per i
vostri ricami: su <a href="http://m-silkwork.blogspot.it/2013/10/silk-yarns-comparison.html" target="_blank">Medieval Silkwork</a> </span><span style="font-family: 'Times New Roman', serif;">Isis Sturtewagen spiega perché
la seta “a filamento”, non ritorta, è il materiale giusto per questo tipo di
riproduzione. Il costo dei filati di Devere Yarns non è così alto da spingere a
optare per dei ripieghi: 25 metri costano meno di 2,50 euro, i colori sono
tantissimi e trovarne di compatibili con i colori documentabili nel medioevo
non è difficile. Non avete scuse: il segreto è trovare un’amica rievocatrice
che voglia di fare un ordine e dividere con voi le spese di spedizione, e
fidatevi, non farete fatica a trovarla!</span></div>
</span><span style="font-family: "Times New Roman","serif";"><div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Filo di lino blu 33/2 per cucire la fodera</span></div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Filo di seta giallo molto fine per la copertura decorativa delle cuciture. </span></div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Filo da asole di seta 24/3 giallo per intrecciare i cordini e per le nappe
gialle</span></div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Filo di seta blu 70/3 per le nappine</span></div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">- Tempo: ho calcolato approssimativamente che per l’intero lavoro ho impiegato
almeno 45 ore.</span></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAxrP1lQvH3n_pDk3Fl6oWaSGdPsu6p9qu2hk_oAWNvSqbtvb1fuZQJZbB1l7BlwbWFOcopg1tAzTSB3MbVH7-Lf1FcghI3QuFh2wyr9EZg5ntQjn2G81VWU-b8-kwQR9wXoxpYc_xqE/s1600/_20140930_164815.jpg" imageanchor="1" style="clear: left; font-family: 'Times New Roman'; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAxrP1lQvH3n_pDk3Fl6oWaSGdPsu6p9qu2hk_oAWNvSqbtvb1fuZQJZbB1l7BlwbWFOcopg1tAzTSB3MbVH7-Lf1FcghI3QuFh2wyr9EZg5ntQjn2G81VWU-b8-kwQR9wXoxpYc_xqE/s1600/_20140930_164815.jpg" height="198" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">A questo punto della seconda metà della borsa ho finito il<br />primo rocchetto. / <i>At this point of the second piece of the bag<br />I finished the first 25m of blue silk. </i></span></td></tr>
</tbody></table>
<b style="font-family: 'Times New Roman', serif;">Procedimento</b></div>
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif;">Dopo
aver scelto le dimensioni della borsa, ho tagliato i due pezzi di lino per il
ricamo contato e ho messo il primo sul telaio. Ho iniziato il ricamo facendo
una piccola prova con tutti i colori, poi ho continuato procedendo sulle linee
orizzontali del disegno, cercando di utilizzare fili abbastanza lunghi (la
lunghezza di un braccio) per rendere il lavoro più resistente. </span><span style="font-family: 'Times New Roman', serif;">Una volta ultimati i ricami, ho foderato ogni metà singolarmente con il lino
azzurro e le ho poi attaccate con una cucitura “a vista”, che ho poi ricoperto con
</span><a href="http://m-silkwork.blogspot.it/2007/04/finishing-seams-of-14th15th-century_29.html" style="font-family: 'Times New Roman', serif;" target="_blank">questa tecnica</a><span style="font-family: 'Times New Roman', serif;"> in cui si utilizzano due fili della stessa tipologia di seta usata per il
ricamo (io ho scelto rosso e giallo) e si fanno passare uno dentro l’altro,
fissandoli con un terzo filo generalmente più sottile. Questo tipo di finitura
è presente anche in alcuni reperti (ad esempio </span><a href="http://www.wymarc.com/asoot/german/patterns/jpg/Y011B.gif" style="font-family: 'Times New Roman', serif;" target="_blank">questo</a><span style="font-family: 'Times New Roman', serif;">):
ho eseguito la copertura decorativa sia sulle cuciture laterali che sui bordi
inferiori e superiori della borsa. Ho realizzato i laccetti per chiudere la
borsa e quello per appenderla alla cintura con un intreccio a due fili e, per
concludere, ho realizzato le nappine (</span><a href="http://www.wymarc.com/asoot/german/stitch_article/images/gerfig11.gif" style="font-family: 'Times New Roman', serif;" target="_blank">qui</a><span style="font-family: 'Times New Roman', serif;"> potete trovare le istruzioni). </span><br />
<b style="text-align: left;">Siti Utili</b></div>
</span></span><div style="text-align: justify;">
<span style="color: #3d85c6;"><span style="text-indent: -18pt;"><b><span style="font-family: Times New Roman, serif;">* </span></b><a href="http://m-silkwork.blogspot.it/" style="font-family: 'Times New Roman', serif;" target="_blank">MedievalSilkwork</a><span style="font-family: Times New Roman, serif;">: </span></span><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;">sito fondamentale, utili in
questo caso gli articoli sotto le etichette “pouches” e “embroidery”</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #3d85c6;"><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;">* Wymarc.com:
potete leggere <a href="http://www.wymarc.com/asoot/german/stitch_article/stitchArticle.php?show=history" target="_blank">qui </a>un articolo sul contesto storico in cui si sviluppa il brick stitch e <a href="http://www.wymarc.com/asoot/asoot.php?show=germanPatterns" target="_blank">qui</a></span><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;"> potete trovare qui alcuni schemi
per il ricamo e l’analisi dettagliata di alcuni reperti (mi risulta sia l’unico
sito ad avere anche schemi sulla struttura complessiva delle borsine.)</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #3d85c6;"><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;">* Medieval
Crafts: potete trovare sotto l’etichetta “<a href="http://medievalartcraft.blogspot.it/search/label/brick%20stitch" target="_blank">brick stitch</a>” </span><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;"> numerosi schemi, ricavati non
solo dalle borsine esistenti ma anche da alcuni pezzi più grandi, e le immagini
di diversi originali e riproduzioni.</span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 0px;">
<span style="color: #3d85c6;"><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;">* Alcune immagini ravvicinate di
reperti </span><a href="http://www.silverdragon.org/SABINE/cloistext.html" style="font-family: 'Times New Roman', serif; text-indent: -18pt;" target="_blank">qui</a><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;">.</span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 0px;">
<span style="color: #3d85c6;"><span style="text-indent: -18pt;"><span style="font-stretch: normal;"><span style="font-family: Times New Roman, serif;">*</span></span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;">La
Cotte Simple: articolo sulle borsine “<a href="http://cottesimple.com/articles/aumonieres/" target="_blank">aumoniere</a>” </span><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;"> con una panoramica generale
sulle diverse tipologie esistenti.</span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="color: #3d85c6;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_r0OaKNKpGHWD95GykzE-De-1yiaO6bsvi_VeIC21bs-qn4Jp8T3yqQsdmrmtazvRrAeIvuRMidgEJT0Y-4TXCkLEV2j2pfhT0L679AOM_VhDU75Tq4A7v_0MXkLEM8mTtv34mgkwgls/s1600/_DSC08422.JPG" height="368" style="margin-left: auto; margin-right: auto;" width="640" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #3d85c6;">Nappine: non hanno un'aria felice? / <i>Tassels: don't they look happy?</i></span></td></tr>
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<span style="color: #3d85c6; font-family: 'Times New Roman', serif;"><i>Back to brick stitch, and this time for real.</i></span><br />
<span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">Brick stitch is a German embroidery technique that reached also other
territories, like Belgium, Switzerland and maybe also </span><span class="MsoHyperlink" style="font-family: 'Times New Roman', serif;"><a href="http://collections.vam.ac.uk/item/O129988/woven-textile-fragment-unknown/" target="_blank">Spain</a>. </span><span lang="EN-US" style="font-family: 'Times New Roman', serif;">It was used between 14<sup>th</sup>
and 15<sup>th</sup> century to decorate purses, relic purses and bigger
textiles, like hangings used in convents and churches. The stitch is quite
simple in its execution: it’s a counted work where stitches lye vertically one
close to the other, to realize geometrical figures. I’m not aware of any
finding documenting tge production or the import of this kind of embroidery in
Italy, but what I can say is that it wasn’t unusual that small, precious items
were imported from far countries (like the “French purses” often mentioned in
Italian inventories).</span></i></span></div>
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<span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;">The pattern I used is <a href="http://medievalartcraft.blogspot.it/2009/05/brick-stitch-pattern-14.html" target="_blank">this one</a></span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;">:
it comes from a hanging probably made in Saxony around the year 1400. The purse
is 9x11cm plus 3cm of tassels: its small dimension reflects the size of some
findings.</span></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxb2-hWgBzPFujxBwLa4EM3K8mz3Z8FS3yksEfS8O8AkjTAOKLqhZujOBgXwMv6yzFpFgmmZcBRbzHnMZAp3jbwgCvOmOgOGZMcEvBylIqF7VIV6nqX5ArsnC4gdJUJtIWakxnwOG9U0/s1600/_fili.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #3d85c6;"><i><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxb2-hWgBzPFujxBwLa4EM3K8mz3Z8FS3yksEfS8O8AkjTAOKLqhZujOBgXwMv6yzFpFgmmZcBRbzHnMZAp3jbwgCvOmOgOGZMcEvBylIqF7VIV6nqX5ArsnC4gdJUJtIWakxnwOG9U0/s1600/_fili.JPG" height="400" width="141" /></i></span></a><b style="font-family: 'Times New Roman', serif;"><span style="color: #3d85c6;"><i>My materials</i></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxb2-hWgBzPFujxBwLa4EM3K8mz3Z8FS3yksEfS8O8AkjTAOKLqhZujOBgXwMv6yzFpFgmmZcBRbzHnMZAp3jbwgCvOmOgOGZMcEvBylIqF7VIV6nqX5ArsnC4gdJUJtIWakxnwOG9U0/s1600/_fili.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><i><span style="color: #3d85c6;"></span></i></a><span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">- As a working tool: a wooden frame. <a href="http://tacuinummedievale.blogspot.it/search/label/telaio%20da%20ricamo" target="_blank">Here </a></span><span style="font-family: 'Times New Roman', serif;"> <span lang="EN-US">on my previous post and <a href="http://historiskgarderob.blogspot.it/2014/03/medeltida-broderiram.html" target="_blank">here</a> </span></span><span style="font-family: 'Times New Roman', serif;"><span lang="EN-US">on Historisk Garderob you can find some more information about medieval
frames.</span></span></i></span></div>
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<span style="color: #3d85c6; font-family: 'Times New Roman', serif;"><i>- Evenweave linen for counted embroidery, with 11-12 threads/cm, 2 pieces of
15x15cm.</i></span></div>
<i><span lang="EN-US" style="color: #3d85c6;"></span></i><br />
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<span lang="EN-US"><span style="color: #3d85c6; font-family: 'Times New Roman', serif;"><i>- Pale light blue linen for the lining: 2 pieces of 10x13cm.</i></span></span></div>
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<span style="font-family: 'Times New Roman', serif;"><span lang="EN-US">- Filament silk from <a href="http://www.devereyarns.co.uk/" target="_blank">Devere Yarns</a></span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;">,
1200 denier (60 threads) for the embroidery and for the decorative braided seams.
The colours I chose are: Midnight (40) for the blue, Beeswax (55) for the
yellow and Glace (67) for the red. For my purse I needed more than 25m of the
main colour (blue), while 1 bobbin of 25m of lenght was enough for the other
colors. </span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">A couple of words about the materials. Don’t hesitate to choose silk for your
embroideries: here <a href="http://m-silkwork.blogspot.it/2013/10/silk-yarns-comparison.html" target="_blank">on Medieval Silkwork</a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> Isis explains why filament silk is the right choice for this kind of
reproductions. Devere Yarn’s threads are actually affordable: 25 meters cost
less than 2,50 euros, there’s a lot of beautiful colors that can be searched to
find the ones more appropriate for the Middle Ages. You have no excuses: the
trick is to find a re-enactor friend who wants to place and order with you and share
with you the shipping costs, and trust me, you’ll easily find one!</span></div>
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<span style="font-family: 'Times New Roman', serif;">- Blue linen thread 33/2 to sew the lining </span></div>
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<span style="font-family: 'Times New Roman', serif;">- Thin silk thread for the decorative braided seams</span></div>
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<span style="font-family: 'Times New Roman', serif;">- Yellow buttonhole thread 24/3 to make the strings and for the yellow tassels</span></div>
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<span style="font-family: 'Times New Roman', serif;">- Blue silk thread 70/3 for the tassels</span></div>
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<span style="font-family: 'Times New Roman', serif;">- Time: it took me approx. at least 45 hours to complete the work.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFD6A1HSPSqZM2EHcBqcbjNeZdTvPUwMDgdRKGrmEtZNfdISchOidL_R05vo86X-xsCLmGa2fOgxbC2CDIvHIXmxoIvsjFi6jEk-4XPyppZzv0zYfKjy6CekDEQzRjUS3wZWDkKCBqsLg/s1600/_DSC08416.JPG" imageanchor="1" style="font-family: 'Times New Roman'; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFD6A1HSPSqZM2EHcBqcbjNeZdTvPUwMDgdRKGrmEtZNfdISchOidL_R05vo86X-xsCLmGa2fOgxbC2CDIvHIXmxoIvsjFi6jEk-4XPyppZzv0zYfKjy6CekDEQzRjUS3wZWDkKCBqsLg/s1600/_DSC08416.JPG" height="164" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #3d85c6;">Finitura decorativa sull'apertura. / Decorative braided seam on the opening.</span></i></td></tr>
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<span style="font-family: 'Times New Roman', serif;"><b>Process</b></span></div>
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<span style="font-family: 'Times New Roman', serif;">First I decided the approximate dimensions of the purse, I cut the 2 pieces of
linen for the counted embroidery and put the first in the frame. I started the
embroidery making a small attempt with all the colors I chose, then I continued
working on the horizontal lines of the pattern, trying to use quite long
threads (a arm’s lenght) to make the work more resistant.</span></div>
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<span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">After I finished both pieces, I lined every piece individually with the light
blue linen and then I sew the 2 halves with a visible seam. I covered it with
<a href="http://m-silkwork.blogspot.it/2007/04/finishing-seams-of-14th15th-century_29.html" target="_blank">this technique</a>:</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> 2 threads of silk (of the same kind you use for the embroidery) are
braided one into the other and are sewn to the bag with a thinner thread. This
kind of finishing technique is seen also on some findings (like <a href="http://www.wymarc.com/asoot/german/patterns/jpg/Y011B.gif" target="_blank">this one</a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;">):
I made the decorative braid on the side seams and on the lower and upper sides
of the bag. I made the strings to close the purse and to hang it to the belt
with a 2-threads braiding technique and, finally, I cut the tassels and
attached them (you can see how to do it <a href="http://www.wymarc.com/asoot/german/stitch_article/images/gerfig11.gif" target="_blank">here</a> </span><span lang="EN-US" style="font-family: 'Times New Roman', serif;">)</span></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06Uth97ktWDAXVk_6AexzOObRCLi9Vl5SRlsWmQ0kVW9f5DBF8qLNhwC7pWbzrGe2oa_bFnSMhuDtMms1bX9satC7H561aXwTgpnObtxG8AsNp5u0-xiia5gjzPAkzMbCF6kT__CjeNk/s1600/_DSC08432.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #3d85c6;"><i><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06Uth97ktWDAXVk_6AexzOObRCLi9Vl5SRlsWmQ0kVW9f5DBF8qLNhwC7pWbzrGe2oa_bFnSMhuDtMms1bX9satC7H561aXwTgpnObtxG8AsNp5u0-xiia5gjzPAkzMbCF6kT__CjeNk/s1600/_DSC08432.JPG" height="320" width="250" /></i></span></a><b style="font-family: 'Times New Roman', serif;"><span style="color: #3d85c6;"><i>Useful websites</i></span></b></div>
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<span style="color: #3d85c6;"><i><span lang="EN-US" style="text-indent: -18pt;"><span style="font-family: Times New Roman, serif;">* </span><a href="http://m-silkwork.blogspot.it/" style="font-family: 'Times New Roman', serif;" target="_blank">Medieval Silkwork</a><span style="font-family: Times New Roman, serif;">: </span></span><span class="MsoHyperlink" style="text-indent: -18pt;"> </span><span lang="EN-US" style="font-family: 'Times New Roman', serif; text-indent: -18pt;">this is a fundamental
website, the most useful articles about purses are under the tags “pouches” and
“embroidery”.</span></i></span></div>
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<span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif; text-indent: -18pt;">*Wymarc.com: you can find <a href="http://www.wymarc.com/asoot/german/stitch_article/stitchArticle.php?show=history" target="_blank">here</a> an article about the historical context
of brick stitch and <a href="http://www.wymarc.com/asoot/asoot.php?show=germanPatterns" target="_blank">here</a> </span><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;"> <span lang="EN-US">many embroidery patterns and the detailed analysis of some findings
(this is the only place where you will find the details about the construction
of the extant pouches, as far as I know)</span></span></i></span></div>
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<span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif; text-indent: -18pt;">* Medieval Crafts: under the tag “<a href="http://medievalartcraft.blogspot.it/search/label/brick%20stitch" target="_blank">brick stitch</a>” </span><span class="MsoHyperlink" style="text-indent: -18pt;"><span style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;"> </span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; text-indent: -18pt;">you’ll find many patterns
from both extant purses and hangings, together with some pictures of the
original findings and reproductions.</span></i></span></div>
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<span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif; text-indent: -18pt;">* <a href="http://www.silverdragon.org/SABINE/cloistext.html" target="_blank">Here</a> </span><span style="font-family: 'Times New Roman', serif; text-indent: -18pt;"><span lang="EN-US">some detailed close-ups of extant pieces</span></span></i></span></div>
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<span style="color: #3d85c6;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif; text-indent: -18pt;">* La Cotte Simple: article about the “<a href="http://cottesimple.com/articles/aumonieres/" target="_blank">aumoniere</a>” pouches
</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; text-indent: -18pt;">with a general introduction about the different extant shapes.</span></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83pk30mrKer3j0k1WqwMx5QrUhwf3rH1fm6b89Uc58bBH2AIR54jLyae5XZV6ldCTO_krzy8dX77F2tnFfSJogjG8kceP6BNcRUsf_egJ45RS7wwva4voEjh0hn9zAh4phGRSLqjtLmc/s1600/80v_cut_title.jpg" imageanchor="1" style="font-family: 'Times New Roman', serif; font-size: 16px; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83pk30mrKer3j0k1WqwMx5QrUhwf3rH1fm6b89Uc58bBH2AIR54jLyae5XZV6ldCTO_krzy8dX77F2tnFfSJogjG8kceP6BNcRUsf_egJ45RS7wwva4voEjh0hn9zAh4phGRSLqjtLmc/s1600/80v_cut_title.jpg" height="196" width="640" /></a></div>
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<span style="color: #0b5394; font-family: Times New Roman, serif;">Con la terza intervista, torniamo in Italia ma ci spostiamo nel tempo: infatti parleremo anche di rievocazione longobarda, forse non ancora molto diffusa in Italia ma sicuramente fondamentale per far conoscere la storia di questo popolo forse poco noto al grande pubblico.</span></div>
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<span style="color: #0b5394; font-family: Times New Roman, serif;"><i>With our third interview, we come back to Italy but we move back in time: we're going to talk also of Lombard re-enactment, maybe not yet very common in Italy but surely important to spread the history of this population, often not very-well known by the public.</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglDdfWkQbbwditVlhaPe7i1HpMWas7SS5HzyaNqq7i6M2dKBOzj-RKdlhvl1SDnaD_y6iJI4bLuPMBv3MCPA5qii0SjPZb5PE4-uQ8ubdh5FueFVp4sQkRG_5W8SOsTkAUbk_snHJTNXg/s1600/80v_Nini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglDdfWkQbbwditVlhaPe7i1HpMWas7SS5HzyaNqq7i6M2dKBOzj-RKdlhvl1SDnaD_y6iJI4bLuPMBv3MCPA5qii0SjPZb5PE4-uQ8ubdh5FueFVp4sQkRG_5W8SOsTkAUbk_snHJTNXg/s1600/80v_Nini.jpg" height="99" width="640" /></a></div>
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<span style="color: #0b5394;">Ho conosciuto Nini parlando su Facebook di tintura con le piante, ma "galeotto fu lo shopping":ci siamo conosciute meglio, parlando di rievocazione a tutto tondo, quando abbiamo deciso di fare insieme un ordine di fili di seta da ricamo. Anche se siamo distanti nello spazio (e un po' anche nel tempo, in termini di rievocazione), spesso condividiamo gli stessi pensieri, quindi sono molto felice di avere Nini accanto al mio focolare. </span></div>
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<span style="color: #0b5394;"><i>I met Nini talking on Facebook about plant dyeing, but in the end we became friends thanks to some shopping: we had the opportunity to know each other best, talking about many aspects of re-enactment, when we decided to make an order of silk embroidery threads together. Even if we are distant in space (and in time, speaking about re-enactment), we often share the same thoughts, so I'm very happy to have Nini at my campfire. [English follows]</i></span></div>
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<b style="color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt;">1. Di che periodo/i ti occupi e di
che gruppo/i fai parte?</b></div>
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<span style="color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt; text-align: justify;">Investo la maggior parte delle mie energie in un'associazione che rievoca la
prima generazione longobarda immigrata in Italia e stabilitasi a Cividale nel
568 dC, ma sono anche tra i fondatori dei un progetto che mira a ricostruire le
arti ed i mestieri del Friuli patriarcale attorno all’anno 1350.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMUwcJO34t1M5vCFAgo5xynLViFeOUIudUDF3PV5XCzczoeGsgF-bVqng_DGcE0bSdJncFrKn4Le1yOQa_H_YHdC8PsIfeLTRpd0c0o_6XqAjslM_-vaLa4v7a0uHyQAzdF4n1tYmrlOo/s1600/10421178_10204212755342658_1366659998548549566_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><span style="color: #0b5394;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMUwcJO34t1M5vCFAgo5xynLViFeOUIudUDF3PV5XCzczoeGsgF-bVqng_DGcE0bSdJncFrKn4Le1yOQa_H_YHdC8PsIfeLTRpd0c0o_6XqAjslM_-vaLa4v7a0uHyQAzdF4n1tYmrlOo/s1600/10421178_10204212755342658_1366659998548549566_n.jpg" height="266" width="400" /></span></a><span style="color: #0b5394;"></span><br />
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><b style="font-family: 'Times New Roman', serif; font-size: 12pt;">2. Da quanto tempo fai rievocazione storica e come è nata questa passione?</b><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> </span></span></div>
<div style="text-align: justify;">
<span style="color: #0b5394;"><span style="font-family: 'Times New Roman', serif; font-size: 12pt;">Ho iniziato nel 2003, entrando in un’associazione di scherma storica nella
quale sono rimasta un paio d’anni senza tuttavia trovare una collocazione
soddisfacente. Ho avuto contatti con diversi gruppi ma ho faticato a trovare
persone che condividessero il mio amore per la ricostruzione storica e
condividessero la mia mentalità finchè, nel 2010, ho conosciuto </span><a href="http://www.lafara.eu/" style="font-family: 'Times New Roman', serif; font-size: 12pt;" target="_blank">la Fara</a><span style="font-family: Times New Roman, serif;"> (qui il link alla loro <a href="https://www.facebook.com/groups/109666079052962/" target="_blank">pagina Facebook</a> e qui invece il link alla pagina dell'evento da loro organizzato, <a href="https://www.facebook.com/eventoAD568?fref=ts" target="_blank">Anno Domini 568</a>)</span></span></div>
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<div style="text-align: justify;">
<b style="color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt;">3. Di che attività di occupi
principalmente in rievocazione e quali sono i tuoi maggiori interessi? </b></div>
</div>
<div style="text-align: start;">
<div style="text-align: left;">
<div style="text-align: center;">
<div style="text-align: left;">
<span style="color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt; text-align: justify;">In
associazione mi occupo della ricerca storica e della didattica riguardo alle
fasi della produzione tessile quali filatura, tintura e tessitura, nonchè della
realizzazione pratica delle ricostruzioni dell’abbigliamento. Cerco di portare
avanti le prime tre entro canoni di archeologia sperimentale e di living
history mentre perfeziono la tecnica sartoriale presso una scuola per sarti
professionisti nella mia città. In accampamento mi occupo della didattica
relativa alle arti muliebri cercando di appassionare ad esse un pubblico che
(lo sappiamo) normalmente si sente più attratto dagli aspetti bellici della
rievocazione, cercando soprattutto di eradicare la convinzione diffusa che il
medioevo (sia esso alto o basso) fosse un periodo di oblio delle tecniche e
dell’arte per sostituirla con una comprensione seppure minima della grande
abilità e raffinatezza di pensiero che alcuni reperti sono ancora in grado di
veicolare.</span><span style="color: #0b5394; text-align: justify;"> </span><span style="color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt; text-align: justify;">In campo mi occupo anche di cucinare, per quanto mi senta in dovere di
specificare che i ragazzi mi sono di grande aiuto (e che non morirebbero di
fame in mia assenza), e di gestire la dispensa combinando accuratezza storica e
praticità culinaria.</span><br />
<span style="color: #0b5394; font-family: 'Times New Roman', serif; font-size: 12pt; text-align: justify;"><br /></span></div>
</div>
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<span style="color: #0b5394;"><span lang="EN-US" style="font-family: 'Times New Roman', serif;">
</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"></span></span>
<br />
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><b style="font-size: 12pt;">4. Che ne pensi della situazione
della rievocazione nel tuo Paese?</b></span></span></div>
</div>
<span style="color: #0b5394;"><span style="font-family: 'Times New Roman', serif; font-size: 12pt;">
</span></span>
<br />
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><span style="font-size: 12pt;">Credo che in Italia la situazione sia molto complessa. Da un lato ci sono
realtà decennali ancora aggrappate ad un atteggiamento da Pro loco (e che
spesso lo sono) che continuano a proporre grandi feste animate che di
medioevale hanno solo il nome e che sono caratterizzate da un vago sapore
fiabesco privo di una concreta base storica e che, per quanto le rispetti per
lo sforzo che compiono nel valorizzare il proprio paese o la propria città,
hanno un’immagine che resta fortemente impressa alle autorità che non sono poi
in grado di distinguere un figurante da un rievocatore.</span></span></span></div>
</div>
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</span></span>
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<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><span style="font-size: 12pt;">Dall’altro stanno invece concretizzandosi ed ottenendo una meritata fama
numerosi buoni gruppi di rievocatori esperti focalizzati su una ricostruzione
di qualità e che sono consci della responsabilità che il rievocatore ha
(volente o nolente) nei confronti delle persone con cui si interfaccia e che,
anche solo passivamente, terminano la visita al campo con qualche nozione in
più. </span></span></span></div>
</div>
<span style="color: #0b5394;"><span style="font-family: 'Times New Roman', serif; font-size: 12pt;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsgLkT2HA4k1AAZV_XF8JVfrN8r1xGMCwbAeFR2LYm2QKnRdEOIg-zNIRxYtZX27hU9e3aFWa1QURhBLzn12MaUS324v5iPy340b3V824gh-gRmNu_Ls7MFiVrUm_thhep94SpNs5POkE/s1600/1236374_10201248809775640_2112615858_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsgLkT2HA4k1AAZV_XF8JVfrN8r1xGMCwbAeFR2LYm2QKnRdEOIg-zNIRxYtZX27hU9e3aFWa1QURhBLzn12MaUS324v5iPy340b3V824gh-gRmNu_Ls7MFiVrUm_thhep94SpNs5POkE/s1600/1236374_10201248809775640_2112615858_n.jpg" height="400" width="300" /></a><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"></span><br />
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><b style="color: #0b5394; font-size: 12pt;">5. Pensi che le rievocatrici
abbiano un ruolo significativo in questo ambiente?</b></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><span style="color: #0b5394;"><span style="font-size: 12pt;">Penso che stiano gradualmente e finalmente ritagliandosi un ruolo di grande
dignità dopo anni di rievocazione incentrata sulle attività belliche e di
conseguenza spesso un po’ machista. Con la fondazione e la crescita di nuovi
gruppi incentrati sulla living history e sulla ricostruzione si sono creati
degli spazi in cui menti femminili possono finalmente esprimere le proprie
capacità ed inclinazioni per il beneficio del proprio gruppo e dell’ambiente
generale. Per mia esperienza le donne sono molto spesso più inclini al dialogo
ed al confronto e la rete che si sta creando tra le rievocatrici (grazie anche
ad iniziative come questa o come il manuscript challenge, che mette in
comunicazione le persone in tutta Europa) sarà probabilmente la chiave di
un’ulteriore e diffusa crescita qualitativa.</span></span></span></div>
</div>
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</span></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><b style="color: #0b5394; font-size: 12pt;">6. Quali sono i tuoi progetti futuri?</b></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><span style="color: #0b5394;"><span style="font-size: 12pt;">A livello personale vorrei consolidare le tecniche di produzione tessile,
iniziando un più serio percorso di analisi e riproduzione dei (pochi) reperti tessili
cividalesi relativi sia agli scavi ed alle ricerche più recenti, sia a quelli
più noti, in broccato d'oro. Come Fara, invece, ci proponiamo di stringere
ulteriormente i rapporti con i gruppi esteri con cui ci sentiamo in sintonia e
dai quali stiamo imparando molto, continuando a portare in Italia il loro modo
di rievocare e ricostruire, contemporaneamente mantenendo salda la rete già
creatasi tra i rievocatori altomedioevali italiani con cui collaboriamo.</span></span></span></div>
</div>
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</span></span>
<br />
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<div style="text-align: justify;">
<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><span style="color: #0b5394;"><span style="font-size: 12pt;">Su un piano più strettamente pratico prevediamo di affiancare le collaborazioni
già consolidate negli anni a nuovi progetti che stiamo attualmente definendo
con il direttore del Museo Archeologico Nazionale di Cividale, il dott. Fabio
Pagano e col professor Marco Valenti dell'università di Siena, e che
divulgheremo appena possibile.</span></span></span></div>
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<b><span style="color: #0b5394;">Tra due settimane, non perdetevi l'intervista con Maria Neijman!</span></b><br />
<b><span style="color: #0b5394;"><br /></span></b></div>
</div>
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<b><span style="color: #0b5394;">***</span></b></div>
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<i style="color: #0b5394;"><span lang="EN-US"><b>1. Which period(s) do you work on and what
group(s) do you belong to? </b></span></i></div>
</div>
<div style="text-align: left;">
<i style="color: #0b5394; text-align: justify;"><span lang="EN-US">I spend most of my
energies in an association that re-enacts the first Lombard generation who
immigrated in Italy and settled in Cividale in 569 A.D., but I’m also a
founding member of a project that aims to reconstruct the arts and crafts of
Friuli around the year 1350.</span></i><span style="color: #0b5394;"></span></div>
<span style="color: #0b5394;">
<i></i></span>
<br />
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><i><br /></i></span></div>
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<span style="color: #0b5394;"><i>
</i></span></div>
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<i style="color: #0b5394;"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><b>2. How long have
you been re-enacting and how did this passion started?</b></span></i></div>
</div>
<div style="text-align: left;">
<i style="color: #0b5394; text-align: justify;"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;">I started in 2003, when I entered a medieval fencing association in which I
stayed for a couple of years, however without finding a satisfactory
arrangement. I had contacts with different groups but it was difficult to find
people who shared my love for historical reconstruction and who shared my
attitude, until I met <a href="http://www.lafara.eu/" target="_blank">La Fara</a>, in 2010 (here's the Facebook page of the group and here the <a href="https://www.facebook.com/groups/109666079052962/" target="_blank">Facebook page</a> of the event they organize, <a href="https://www.facebook.com/eventoAD568?fref=ts" target="_blank">Anno Domini 568</a>)</span></i><span style="color: #0b5394;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaNI4hcVqFD_DpeDOZFoz6qjCDSjQjEW6Q-3Df7z_Iip0HGLcAGhcCmbSmGnBIG2k3JO3CqVy7EGwg4gc5xoVXzo4qPCv-4IhjW-TkaIIVeY_NoenBQ6q9LPYX_r2PTW3-6-gcdXtG0fE/s1600/1236756_10201437661077349_106387684_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><span style="color: #0b5394;"><i><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaNI4hcVqFD_DpeDOZFoz6qjCDSjQjEW6Q-3Df7z_Iip0HGLcAGhcCmbSmGnBIG2k3JO3CqVy7EGwg4gc5xoVXzo4qPCv-4IhjW-TkaIIVeY_NoenBQ6q9LPYX_r2PTW3-6-gcdXtG0fE/s1600/1236756_10201437661077349_106387684_n.jpg" height="400" width="300" /></i></span></a><span style="color: #0b5394;"></span><br />
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><i><span lang="EN-US"><b>3. What kind of activity do you attend
most in re-enactment and what are your major interests?</b></span></i></span></div>
</div>
<div style="text-align: left;">
<i style="color: #0b5394; text-align: justify;"><i><span lang="EN-US">In my association I focus on the
historical research, on the educational activities about textiles, like
spinning, dyeing and weaving, and on the actual reconstruction of garments. I
try to work on spinning, dyeing and weaving within experimental archaeology and
living history standards, while I’m improving my tailoring skills in a
professional school for modern tailors in my town. During the events I lead
educational activities about female crafts: I try to make them interesting for
an audience who – we know – usually feels more attracted by the military
aspects of re-enactment. My goal is to eradicate the common belief that Middle
Ages (early or late) were a period when arts and crafts were forgotten: I hope
to help people gain, at least a little bit, the understanding of the great
ability and refinement of thought that some findings can still prove. </span></i></i></div>
<span style="color: #0b5394;"><i>
<span lang="EN-US"></span></i></span>
<br />
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><i><span lang="EN-US"><i><span lang="EN-US">In the camp I usually take care of the cooking too, but I have to say that </span><span lang="EN-US">other male group members help me a lot (and
they won’t die starving in my absence) and I manage the pantry combining
historical accuracy and convenience. </span></i></span></i></span></div>
</div>
<span style="color: #0b5394;"><i><span lang="EN-US">
</span><span lang="EN-US"></span></i></span>
<br />
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<div style="text-align: justify;">
<span style="color: #0b5394;"><i><span lang="EN-US"><br /></span></i></span></div>
</div>
<span style="color: #0b5394;"><i><span lang="EN-US">
</span></i></span></div>
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<div style="text-align: justify;">
<i style="color: #0b5394;"><span lang="EN-US"><b>4. What do you think about the re-enacting
situation in your country?</b></span></i></div>
</div>
<div style="text-align: left;">
<i style="color: #0b5394; text-align: justify;"><span lang="EN-US">I think the situation in Italy is very complex. On one side there are
long-living organizations </span><span lang="EN-US">still sharing the frame of mind of
those local associations who promote tourism rather than culture and continue to set up big festivals that only have medieval
names but feature a fairy-tale taste without any real historical support. I
respect them because of the effort they put in increasing the value of their
town, but their festivals give the local authorities a vivid image that
confuses them, since they’re unable to distinguish a real re-enactor from a
person who only dresses-up in “medieval clothes” once a year. On the other side
many good re-enacting groups are gaining good repute: they’re focused on a
high-level reconstruction and aware of the responsibilities a re-enactors have,
willing or not, towards the people they meet, who always learn a few more
information after their visit at the camp, even if only passively.</span></i><span style="color: #0b5394;"></span></div>
<span style="color: #0b5394;">
</span></div>
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<i><br /></i></div>
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<span style="color: #0b5394;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><b>5. Do you think
female re-enactors have a significant role?</b></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span></i></span></div>
</div>
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<span style="color: #0b5394;"><i><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;">I think they are gradually and finally achieving a
role of great dignity, after many years of re-enactment focused on military
activities and therefore often carachterized by a masculinist frame of mind.
With the foundation and the growth of new groups focused on living history and
reconstruction, women can finally express in new spaces their abilities and aptitudes,
for the good of their group and the whole environment. According to my
experience, women are often disposed to the dialogue and the discussion: the
network that i<o:p></o:p></span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: center;">s now developing amongst female re-enactors (thanks to ideas like
this or the Manuscript Challenge, that links people from all Europe) will
probably be the key to a further and widespread growth.</span></i></span></div>
</div>
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<br /></div>
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<div style="text-align: justify;">
<i style="color: #0b5394;"><span lang="EN-US"><b>6. What are your plans for the future?</b></span></i></div>
</div>
<div style="text-align: left;">
<i style="color: #0b5394; text-align: justify;"><span lang="EN-US">Personally, I would like to improve the textile crafts, starting a more
accurate analisys and reproduction of the (few) textiles findings from
Cividale, both the ones from more recent excavations and researches and the
most renown, in golden brocade. With the group “La Fara”, our aim is to tighten
up our relationship with the foreign groups: we feel in syntony with them and
we’re learning a lot from them, so we wish to keep spreading to Italy their
attitude towards re-enactment. At the same time, we want to keep firm the
network that already exists amongst Italian re-enactors of the early
middle-ages with whom we co-operate. </span></i><span style="color: #0b5394;"></span></div>
<span style="color: #0b5394;">
<i></i></span>
<br />
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="color: #0b5394;"><i><i><span lang="EN-US">We are also planning to add to the well strengthened partnerships new projects
we’re currently working on with the director of the National Archaeological
Museum of Cividale, dott. Fabio Pagano, and with Prof. Marco Valenti from the
University of Siena: we’ll spread them as soon as possible.</span></i></i></span></div>
</div>
<span style="color: #0b5394;"><i>
</i></span>
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<span style="color: #0b5394;"><i><span lang="EN-US"><br /></span></i></span>
</div>
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<span style="color: #0b5394;"><i><b>In two weeks, don't miss the new interview with Maria Neijman!</b></i></span></div>
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<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F3.bp.blogspot.com%2F-zdTmpifc9QE%2FVD48jrSZhZI%2FAAAAAAAABkw%2F_J-JjJCaej0%2Fs1600%2F1236374_10201248809775640_2112615858_n.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsgLkT2HA4k1AAZV_XF8JVfrN8r1xGMCwbAeFR2LYm2QKnRdEOIg-zNIRxYtZX27hU9e3aFWa1QURhBLzn12MaUS324v5iPy340b3V824gh-gRmNu_Ls7MFiVrUm_thhep94SpNs5POkE/s1600/1236374_10201248809775640_2112615858_n.jpg" -->Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com0tag:blogger.com,1999:blog-2546372836301302865.post-22345030425646115232014-10-02T10:40:00.001+02:002014-10-02T10:45:26.372+02:00Campfire chats - Mervi Pasanen<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWQf_aAktYayPe8IYZ_fB05BL04LaTMQCe2_lOVYyyCDUyEQ1rYCX23FM5GsmUcp_CfeD4BQ5ggZFpOaB4zySHhPaa0MMirFxpUG7-puTaoZLof2G1eyBxocHvY0H6Ju-rBsF7L3MyaBs/s1600/80v_cut_title.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWQf_aAktYayPe8IYZ_fB05BL04LaTMQCe2_lOVYyyCDUyEQ1rYCX23FM5GsmUcp_CfeD4BQ5ggZFpOaB4zySHhPaa0MMirFxpUG7-puTaoZLof2G1eyBxocHvY0H6Ju-rBsF7L3MyaBs/s1600/80v_cut_title.jpg" height="196" width="640" /></a></div>
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<b><span style="color: #0b5394;"><b><span style="color: #0b5394;"><br /></span></b></span></b></div>
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<b><span style="color: #0b5394;">
Siamo dunque arrivate alla seconda intervista, e questa volta ci spostiamo molto lontano dall'Italia... se le nostre interviste vi piacciono, condividetele e fatele girare!</span></b></div>
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<b><span style="color: #0b5394;"><i><b><i>It's time for the second interview now, and we're moving very far from Italy... if you like our interviews, please share!</i></b></i></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkvU1CmfY-CTUh08FMvKJC2esECHNR4O7hKskmmHkuPZhEoUDivYcS2UrDXvPKFY_AfCaC5pO_s-HLYJ7dInrz6suU2WLQCgxZLaK5eDKeTRnUbfynGLRvp6OHB1-CexMrx0FCqbYLtU/s1600/80v_Mervi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkvU1CmfY-CTUh08FMvKJC2esECHNR4O7hKskmmHkuPZhEoUDivYcS2UrDXvPKFY_AfCaC5pO_s-HLYJ7dInrz6suU2WLQCgxZLaK5eDKeTRnUbfynGLRvp6OHB1-CexMrx0FCqbYLtU/s1600/80v_Mervi.jpg" height="100" width="640" /></a></div>
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<span style="color: #0b5394;">Ho seguito per molto tempo il blog Mervi, osservando in dettaglio i vestiti meravigliosi, le tinture e le cinture tessute a tavolette, ma ho avuto il piacere di incontrarla di persona a Battle of Wisby 2013 (dove sono stata sua allieva di nailbinding-probabilmente la peggiore allieva della storia!): non siamo solo diventate amiche, ma "madre e figlia", dal momento che Mervi impersonava mia madre mentre rappresentavamo i civili del Gotland in fuga all'arrivo dei Danesi sull'isola. Sono davvero felice che si sia seduta anche lei accanto al fuoco a chiacchierare con noi!</span></div>
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<span style="color: #0b5394;"><i>I've been following Mervi's blog for a long time, looking at the wonderful garments she makes, plant-dyeings, tablet woven bands... and I finally met her at Battle of Wisby 2013 (where I was her nail-binding student, probably the worst student on earth!). We not only became friends, but "mother and daughter", since Mervi embodied my mother when we were representing Gotland's population escaping from the Danes. I'm really happy she sat by the campfire too to chat with us! </i><i style="background-color: white; font-family: 'Times New Roman', Times, FreeSerif, serif; font-size: 15px; line-height: 20.7900009155273px; text-align: justify;"> [English follows]</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIOjFZlPSifKEHUoPi38tG9fs7lhirToBv9y6JqiygNKK0UyuyHwauOsDmErI9fxv5qEl3N1vYizMYiGhbciKbsQoLFKRTyudetCu1wOYqM5B0c1kT3OqRDI_z-4TuiE5THfZn5-7s6fI/s1600/kuva.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIOjFZlPSifKEHUoPi38tG9fs7lhirToBv9y6JqiygNKK0UyuyHwauOsDmErI9fxv5qEl3N1vYizMYiGhbciKbsQoLFKRTyudetCu1wOYqM5B0c1kT3OqRDI_z-4TuiE5THfZn5-7s6fI/s1600/kuva.JPG" height="213" width="320" /></a><i><span style="color: #0b5394;"><span lang="EN-US"></span></span></i><b><span style="color: #0b5394;">1.Di che periodo/i ti occupi e di
che gruppo/i fai parte?</span></b></div>
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<span style="color: #0b5394;">Il mio periodo principale è il XIV secolo, ma mi occupo anche dell’età del ferro in
Finlandia ( il periodo che va dal 900 al 1200). Sono fondatrice del gruppo “Merry
Swan”, membro di </span><span style="color: #0b5394;">Medium Aevum Hollolense e
del gruppo Suomen Keskiaikaseura che fa parte dello SCA (Society fo Creative
Anacronism).</span></div>
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<b><span style="color: #0b5394;">2. Da quanto tempo fai rievocazione
storica e come è nata questa passione?<o:p></o:p></span></b></div>
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<span style="color: #0b5394;">Faccio questa attività da 10 anni. Tutto è iniziato alla “Medieval Week” di Visby, sull’Isola del Gotland, in
Svezia. Potete leggere tutta la mia storia qui: <a href="http://hibernaatio.blogspot.fi/2014/08/kymmenen-ensimmaista-vuotta-my-first.html">My First Ten years</a>. <o:p></o:p></span></div>
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<b><span style="color: #0b5394;">3. Di che attività di occupi
principalmente in rievocazione e quali sono i tuoi maggiori interessi?<o:p></o:p></span></b></div>
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<span style="color: #0b5394;">Mi piace cucinare, ho pubblicato
un libro di cucina medievale con i miei amici,
inizialmente in finlandese e poi in inglese: si chiama <i>Saffron, Eggs
and Almond Milk</i>. Mi dedico alle attività
artigianali, e il “Merry Swan” è principalmente un negozio di sarti: ai mercati
medievali abbiamo una piccola bancarella, ma principalmente organizziamo dei
laboratori. Cerchiamo di diffondere informazioni a proposito dell’abbigliamento
medievale al pubblico.<o:p></o:p></span></div>
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<b><span style="color: #0b5394;">4. Che ne pensi della situazione
della rievocazione nel tuo Paese?<o:p></o:p></span></b></div>
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<span style="color: #0b5394;">Penso che stia migliorando: anche
se la Finlandia oggi è piena di mercati medievali che non hanno niente a che
vedere con il Medioevo, ci sono sempre più persone che sono interessate alla <i>living history</i>, che vogliono fare ricerca
su questi argomenti e apprezzano le ricostuzioni corrette. Quest’anno abbiamo
organizzato un accampamento militare, piccolo ma carino, al mercato di Hollola ed
è stato un grande successo: molte persone hanno detto che è questo il tipo di
attività che vogliono fare maggiormente.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwrgmeE2PVRMvf9rIAFWIXjmrwPPYG9jWzu-153-IbIsAZUwckNXtuO-tPcZr7N5Zt-9inEmYFUj9pjC_y4hjJSBMRR377ETfENf179fFyAWusOmiXIJH_Y1lY87MMLkyjw_M3O1YyJK4/s1600/IMG_4849.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwrgmeE2PVRMvf9rIAFWIXjmrwPPYG9jWzu-153-IbIsAZUwckNXtuO-tPcZr7N5Zt-9inEmYFUj9pjC_y4hjJSBMRR377ETfENf179fFyAWusOmiXIJH_Y1lY87MMLkyjw_M3O1YyJK4/s1600/IMG_4849.jpg" height="320" width="188" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Mervi che fila. / <i>Spinning!</i></span></td></tr>
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<b><span style="color: #0b5394;">5. Pensi che le rievocatrici
abbiano un ruolo significativo in questo ambiente?</span></b></div>
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<span style="color: #0b5394;">Sì, penso che le donne
siano davvero significative e abbiano un ruolo importante nel mondo della
rievocazione. Cuciniamo, cuciamo, rammendiamo, montiamo il campo (almeno noi
donne finlandesi), lavoriamo tanto. Sì, lo so che ci sono persone che pensano
che l’artigianato non abbia niente a che fare con gli accampamenti militari, o
che le donne siano utili solo quando è il momento di mangiare o cose del
genere. Ma sinceramente, le donne che si dedicano all’artigianato sono il sale
di questo hobby: usano le loro abilità, il loro entusiasmo e la loro energia
per migliorarlo. Le donne fanno tantissima ricerca, che va oltre l’accumulare
stoffa. Personalmente, non posso immaginare tutto questo senza noi donne.</span></div>
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<b><span style="color: #0b5394;">6. Quali sono i tuoi progetti
futuri?<o:p></o:p></span></b></div>
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<span style="color: #0b5394;">I miei piani.... organizzare
fantastiche attività legate al XIV secolo qui in Finlandia. Incontrare vecchi
amici e nuove persone agli eventi all’estero: siamo lontani quindi dobbiamo
viaggiare, ma non mi dispiace farlo. Speriamo di partecipare alla festa a
Morimondo nel 2015, di andare a Ronnenburg, magari andare ad Azincourt se tutto
va bene. Ho in programma di scrivere la seconda parte del libro di tessitura a
tavolette finlandese, la prima parte è stata pubblicata nel 2013. Sto anche
progettando di dedicarmi ad altre attività artigianali, tessere stoffe e
naturalmente sostenere un’idea brillante come la Manuscript Challenge!</span></div>
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<span style="color: #0b5394;"><b>Con la prossima intervista, torniamo in Italia con Nini: non mancate!</b></span></div>
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<span style="color: #0b5394;">***</span></div>
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<span lang="EN-US" style="color: #0b5394;"><i><span lang="EN-US"><b>1. </b></span><span lang="EN-US"><b>Which
period(s) do you work on and what group(s) do you belong to?</b></span></i></span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><i>My
main period is 14th century, but I also do finnish iron age (years 900-1200) I
am founding member of Merry Swan, member of Medium Aevum Hollolense and also
Suomen Keskiaikaseura, which works under SCA.<o:p></o:p></i></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_Jwmdrh9cZfZiEWrETwL-mPol1QO7PliKVfiQKjNlWK_OCa8tuVZdNWSeSlRd7LJobI1MiSRKdRgChaoXiaaza1RELiClUXbXSn1INzUBlX_KE_jN7zPeGSV9Se5LTyk3kscHQVCcGc/s1600/IMG_5266.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_Jwmdrh9cZfZiEWrETwL-mPol1QO7PliKVfiQKjNlWK_OCa8tuVZdNWSeSlRd7LJobI1MiSRKdRgChaoXiaaza1RELiClUXbXSn1INzUBlX_KE_jN7zPeGSV9Se5LTyk3kscHQVCcGc/s1600/IMG_5266.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Mervi e suo marito Riku. / <br /><i>Mervi and her husband Riku</i></span></td></tr>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><b><i>2.
How long have you been re-enacting and how did this passion started?<o:p></o:p></i></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwrgmeE2PVRMvf9rIAFWIXjmrwPPYG9jWzu-153-IbIsAZUwckNXtuO-tPcZr7N5Zt-9inEmYFUj9pjC_y4hjJSBMRR377ETfENf179fFyAWusOmiXIJH_Y1lY87MMLkyjw_M3O1YyJK4/s1600/IMG_4849.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><i><span style="color: #0b5394;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I
have been doing this for 10 years now. It all started from Visby Medieval Week
in Gotland Sweden. You can read all about it here: </span></span></i><a href="http://hibernaatio.blogspot.fi/2014/08/kymmenen-ensimmaista-vuotta-my-first.html">My First Ten years</a><span style="color: #0b5394;">. </span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><b><i>3.
What kind of activity do you attend most in re-enactment and what are your
major interests?<o:p></o:p></i></b></span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><i>I
like cooking, I have published a cook book about medieval food with my friends,
in finnish first and also in English, it is called Saffron, Eggs and Almond
Milk. I do crafts, and Merry Swan is specially a tailor shop. At medieval
markets we have small shop but mostly we do workshops too. We try to spread
information about medieval clothing to public. <o:p></o:p></i></span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><b><i>4.
What do you think about the re-enacting situation in your country? <o:p></o:p></i></b></span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><i>I
think it is getting better: also Finland is nowadays full of medieval markets
which does not have anything to do with medieval times. But there is more and
more people who are interested in living history and who want to research the
subject and value authentic things. We had a nice small war camp in Hollola
market this year and it was a huge success: many people said that this is what
they want to do more.<o:p></o:p></i></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3SJnZQdkvnVS3PH40gwRidZMrSL3FeRxn1ijsps-TJiaa2bvJJLrXiwxGHsyBSc9BTIbZXZcdJmDGP1ilysSyFbHOvQWhapEZ4s4yI1HsgN9g-civsDj-ajKs-_WDpxXK45gPNswqNkc/s1600/IMG_6667.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3SJnZQdkvnVS3PH40gwRidZMrSL3FeRxn1ijsps-TJiaa2bvJJLrXiwxGHsyBSc9BTIbZXZcdJmDGP1ilysSyFbHOvQWhapEZ4s4yI1HsgN9g-civsDj-ajKs-_WDpxXK45gPNswqNkc/s1600/IMG_6667.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;">Mervi e Riku con abiti dell'età del ferro. /<br />Mervi and Riku with Iron Age clothing.</span></td></tr>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><b><i>5.
Do you think female re-enactors have a significant role? </i></b></span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><i>Yes I do think that
women are very significant and have important role in re-enacting. We cook, we
sew, we mend, we build (at least we finnish women), we work hard. Yes, I know
that there are people who think that crafts don´t belong in war camps, or that
women are only useful when it is time to eat and so on. But honestly; women who </i></span><i><span style="color: #0b5394;">do crafts are the salt of this hobby: they use their skills, their enthusiasm
and energy to make it better. They do a lot of research also outside fabric
stash. I personally can not imagine this without us women.</span></i></div>
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<i><span style="color: #0b5394;"><b>6. What are your plans for the futu</b><span lang="EN-US"><b>re?</b></span></span></i></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><i>My
plans… to arrange awesome 14th century activities here in Finland. To meet old
friends and new people in events abroad: we are far so we need to travel but I
don’t mind doing so. We hope to take part to Morimondo 2015, to go to
Ronneburg… maybe to Acincourt if all thing go well. I´m planning to write a
Finnish Tablet weaving book part 2, part one was published 2013. I´m also
planning to do more crafts; weaving fabrics and of course supporting such a
brilliant idea as Manuscript Challenge!</i></span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><i><br /></i></span></div>
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<span lang="EN-US" style="color: #0b5394; mso-ansi-language: EN-US;"><i><b>With next interview we're back in Italy with Nini: don't miss it!</b></i></span></div>
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Anna Attilianihttp://www.blogger.com/profile/02603078413066568540noreply@blogger.com2