just not sure what, exactly. I am finally getting around to webbing my Bella Nani documentation. While doing so, several photos I have that didn't make it into the competition paper were being prepped for uploading when it hit me: the pattern on those sleeves were finally familiar.
I had recently flipped through several digitised lacemaking and embroidery pattern books. In particular, one German (dated 1527), one Venezia(dated 1561). I noted at the time the repeating knotwork motif that occurs. I have uploaded all these images onto a page: http://outoftheattic.homeip.net/Sleeve_Theory.html Please pardon the margin issues, it's rather late. For whatever reason, 2+2 suddenly added to 4: Veronese was possibly using those pattern books as embellishment inspiration. Some were so close that I could practically say with confidence that was the actual pattern used. I compared the other two with the same sleeve style, and sure enough, they too match with stunning familiarity. I thought perhaps that Veronese had designed some pattern books. It seemed logical, he has a tendancy toward strong architectural environments in his paintings. Upon a very cursory search of the net, there is no known connection between Paolo Caliari and embroidery designs. But... I did find out that his younger brother, Benedetto was the one who tended toward the grandiose architecture in the backgrounds. His sons, Carlo (or Carletto) and Gabriele, along with Benedetto, were all occupied with finishing Paolo's paintings after his death. I have to wonder if these paintings were not done entirely by Paolo himself, but his brother in particular had a hand in designing them, adding into them a geometric, architectural element by using embroidery pattern books? Benedetto in his own right has frescoes attributed to him at Villa Cornaro, and Villa Gradenigo, and shares attribution with Paolo for San Sebastiano, which accounts for each of these common sources. Having taken a look at Carlo and Benedetto's works, there are few differences in style and composition. Maybe this is what accounts for the relative novelty of these paintings? Kathy Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert(Fieldless) On a rose Or barbed vert a lion's head erased gules. Its never too late to be who you might have been. -George Eliot Tosach eólais imchomarc. - Questioning is the beginning of knowledge. http://www.sengoidelc.com/node/131 _______________________________________________ h-costume mailing list [email protected] http://mail.indra.com/mailman/listinfo/h-costume
