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Pre-Raphaelite painting in the details on the outfits and armor (part 2)

“The dress of the lady of Shallots is absolutely fantastic, from the historical point of view it can not be considered.

— There is a round mirror behind the lady — but there were no such large mirrors in the middle Ages, and they were generally convex.
Above hang oil lamps-personally I am very interested in their availability and use in Europe XIV—XV centuries, because it is convenient for the reenactment life. However, although oil lamps were then, but they looked very different, not like the Eastern “aladdinki”depicted on the canvas.
Jan van Eyck. Portrait of the Arnolfini couple (fragment)
The famous mirror in Jan van Eyck’s painting the Arnolfini Couple»
John William Waterhouse “the Story from “the Decameron”»
“Decameron” by Giovanni Boccaccio was and remains one of the most famous works of the Renaissance, and on his canvas, John William Waterhouse shows us his version of what is happening in a remote Italian estate, where, according to the plot, hiding from the plague ten young people. Two weeks in a row they tell each other stories on a variety of topics — and Boccaccio in his book combines these stories in the form of novels, and Waterhouse in a sublime romantic style interprets what is happening in a country Villa.
John William Waterhouse. The Decameron
The Decameron
John William Waterhouse
1916, 101×159 cm
“There’s a hint of fifteenth-century Italy in the costumes here, but only a hint, and it’s more like a man’s clothes. In the foreground, young men have hairstyles and hats in the Italian fashion. One of them has striped chausses, which also correspond to it, and the second-a short form-fitting doublet not only with lacing in front, but also with slits on the sleeves, which are so loved by Italians.
But the ladies all fancy dresses, the girl on the right dress a little like the most elementary Italian, and then only cuts. In hairstyles, too, it is difficult to look for similarities-although hats in Italy XV century were not required, they were considered more fashionable decoration, but mostly ladies wove complex patterns of braids, and already they were placed in hats, turbans and nets.

Sandro Botticelli ” Portrait Of Simonetta Vespucci»

Antonio del Pollaiolo ” Portrait of a young woman»

Leonardo da Vinci’s Studio ” Portrait of Beatrice d’este»

Domenico Ghirlandaio ” Portrait Of Giovanna Tornabuoni»

Ambrogio de Predi ” Bianca Sforza»

Sandro Botticelli ” Portrait Of Simonetta Vespucci»

Antonio del Pollaiolo ” Portrait of a young woman»
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Women’s hairstyles in the paintings of Renaissance artists
Edmund Blair Leighton ” Accolade»
Accolade is the process of knighting, which is depicted on the eponymous canvas of Leighton. Until now, there are disputes about what events formed the basis of the picture. One of the most beautiful versions is that the Accolade depicts the knighting of Lancelot by Queen Guinevere.
Edmund Blair Leighton. Accolade
Accolade
Edmund Blair Leighton
– Clothing and armor of a warrior belong to the X—XII centuries. Chain mail of this type is known since the V century, but it is this kind of it called “hauberk”, tight to the body, appeared in the X century.
On top of the armor is a military cotta-according to legend, it first appeared during the Crusades to the East, during which the soldiers had to endure the heat, and they began to throw on the chain mail long painted cloth.
And here is helmet here quite not to community — this Italian barbute, he applies to XV century. In fact, such helmets were characteristic of Ancient Rome, but in the XV century they were “reincarnated” by Italian masters, and began to be made of steel, not bronze.

– Traditional female dress of the middle Ages was as follows: shirt shens, which was worn one or two dresses (depending on the occasion, the status of the ladies, the time of year), called “blio”, and on top — a cloak. Here same clothing heroine it seems on blio only broad sleeves-in the contestant era still not existed such a cut, landing on figure, sleeves with lanterns, such a cut neckline. Blio was very primitive clothing, which was sewn from squares and rectangles. And certainly blio could not be white and decorated like that.
A significant point: the lady is depicted with her hair down, and in the middle Ages a girl with a bareheaded, and even more bareheaded-is either a Saint or a wanton.

Woman in blio in medieval miniature

The frescoes in the castle of Appiano, located in South Tyrol

Sculptures Of Notre Dame Cathedral

Sculpture Of The Cathedral Of St. Mauritius

Woman in blio in medieval miniature

The frescoes in the castle of Appiano, located in South Tyrol
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Blio in the works of the middle Ages
Edmund Blair Leighton ” The Vanquished»
The plot of this picture is simple and clear — a young knight who has failed in battle leaves the battlefield at a jousting tournament. Behind is his winner and the cheering crowd — but the protagonist is clearly separated by a shadow from their sunlit world, he is broken and detached from everything that is happening.

Edmund Blair Leighton ” The Vanquished»
– Here that neither take on knightly vestments – everything is fine and pleasing to the eye. Maximilian developed tournament armor (named after Emperor Maximilian I) 30-35 years of the XVI century, very expensive, their value could be comparable to the value of several villages. The same armor is depicted in millet’s painting Joan of Arc in prayer. Most likely painted with exhibits of Museum or private collections, as the detail is very high quality.
Page dressed appropriately to the era and not poor. The only thing that confused — he’s holding a sword, which for some reason he took a bare hand. This blade — Espada Roper, and he, rather, intended for of Hiking battlefield, than for mounted. While the spear knight is: it is the responsibility of the servant behind. Then why is the sword here?
In the background we see the podium: everything is reliable, except the size of the tents. Too big.
Edmund Blair Leighton “the bride and groom or a call to arms»
In this work, Leighton depicted a young man and a girl leaving the Church after their own wedding. Just above them we can see the parents of a young couple looking on in horror as a knight in full armor informs the bride’s groom of the impending war and his need to fight. This work was the first of a series of large paintings showing different aspects of the life of the knights and their ladies of the heart (another of them was the famous “Accolade”), but the most interesting fact is that the artist collected armor and weapons and depicted in these paintings objects from his own collection.
Edmund Blair Leighton. The bride and groom or a Call to arms
The bride and groom or a Call to arms
Edmund Blair Leighton
= Excellent work! Very good drawing of costumes (about 30-ies of the XVI century) accessories, hats and corresponding armor in the Anglo-German fashion (also XVI century, most likely, the Netherlands). Everything is great, except for the bridesmaid dresses — it is made in the Italian style of the fifteenth century, and could exist is that a hundred years earlier. Besides, her clothes were white, and at that time white was only the cheapest unpainted fabric from which linen was made. Married in the same beautiful colored dress, and the fashion for white appeared after the wedding of Queen Victoria in 1840. In addition, the bride is depicted with her hair down, which was unacceptable, and with a XIX century handbag on her belt.

Queen Victoria in her wedding dress

Wedding on a medieval fresco

Queen Victoria in her wedding dress

Wedding on a medieval fresco
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John Everett Millais ” Joan Of Arc in prayer»
In the portrait of Millais Joan Of Arc kneeling, but holding a sword in both hands — the artist captured the moment when the maid of Orleans hears the voices of the saints, encouraging her and calling to fight against the British.
John Everett Millais. Joan of Arc in prayer
Joan of Arc in prayer
John Everett Millais
1865, 82×62 cm
– Armor here perfectly legible, in addition, Jeanne is depicted in a dress which matches traditions of the middle Ages. But the maid of Orleans lived in France at the beginning of the XV century, and the armor on it — German, and such that were distributed 150 years later the events shown.
John Everett Millais ‘ “Mariana»
Mariana-the heroine of Shakespeare’s play “Measure for measure”, which sailed on a ship to her future husband Angelo, but on the way was shipwrecked, lost her dowry, and was rejected by the groom. Because of this, the girl had to lead a lonely life, spending days longing for her lover. In the end, they did get married, but before that Mariana spent a lot of time alone — and about this period of her life wrote a poem Tennyson, lines from which Millais accompanied his picture. His Mariana is a woman suffering from abandonment by the world, the force of insurmountable circumstances and her own unspent sexual desire.
John Everett Millais. Marian
Marian
John Everett Millais
1851, 59.7 x 49.5 cm
“The red-upholstered Ottoman Mariana just got up from doesn’t match the rest of the furnishings — it’s from the nineteenth century.
Windows with glass began to spread from the end of the XIV century. Before that, instead of glass, there was cloth, a bullish cloudy bubble or cloth. On the Windows we see stained glass, one of them — with the knight’s coat of arms and motto. In fact, the mottos decorated fireplaces, furniture, and similar images on the Windows in medieval miniatures is not found.

– Mariana herself is wearing a classic cotardi dress, which was worn in XIV-XV in Europe.
“Millais, like his pre-Raphaelite friends, chose literary subjects to talk about modernity. These three are pretty shook up Victorian society, sometimes there are small as in tight corset, a set of rules and decorum. Literally, by the way, corsets also began to crack at the seams: in the paintings of the pre-Raphaelites, women appear without this part of the wardrobe and with their hair down — the dress code is valid only in the marital bedroom, but certainly not in the halls of the Royal Academy…” — from the description of the picture in Arthiva.

Stained glass Jesus carries his cross to Calvary. Fragment of stained glass in the Bourges Cathedral.
Photo source-Arzamas

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