SASSANID CHARACTER BIZANTINE TEXTILE WITH WINGED LION MOTIF – 7TH CENTURY– MUSEO NAZIONALE, FLORENCE
Zoomorphic motifs are characteristic of Sassanid textiles: in this example the figures of rather stylised roaring lions are inscribed on the oval frames that follow one after the other forming horizontal strips; floral motifs stand out between stripes.
PART OF THE MOSAIC PORTRAYING THE EMPRESS THEODORA AND HER COURT”) – 546-548 – CHIESA DI S. VITALE, RAVENNA
The clothing of Empress Theodora’s ladies testify to the pomp of the Byzantine court.
Silk fabrics worked in gold can be seen on the closed mantles, as well as various fabrics draped on the arms; the second lady has a tunic embroidered with pearl motifs.
Rich jewelled headdresses, pearl pendant earrings, manaikion-type necklaces, that is, sewn into the fabric, and the fourth lady has a fringed rectangle kerchief in her hand.
6TH CENTURY MOSAIC – CHIESA DI SANT’APOLLINARE NUOVO, RAVENNA
Wonderful example of 6th century feminine fashion: the tunic is enriched by the central patagium; the dalmatic of a most rich, austere fabric, with its oblique lower line which breaks up the garment’s monotonous symmetry – an interesting attempt to differentiate between feminine and masculine clothing.
The ornate, jewelled neckline resembles the maniakion: belts and small crowns held in the hands are also jewelled: the large, white veil is solemnly fringed and decorated with gold.
EUFRASIO THE BISHOP, CLAUDIO THE ARCHDEACON AND HIS YOUNG SON” – 6TH CENTURY MOSAIC – BASILICA, PARENZO (ISTRIA).
The archdeacon is wearing the white dalmatic (tunic) decorated with red stripes running from the shoulders to the feet, and around the bottom of the sleeve, emphasising its amplitude; the baby has a hooded cape which is open at the front; the Bishop Eufrasio is surrounded by the closed planet which he wears draped from his arms.
St. Mauro has a wide cape draping over his tunic which resembles the classic pallium, preferred by philosophers and thereby Christians in sacred figures.
“OUR LADY OF MERCY” – FRAGMENT OF ANTIQUE MOSAIC– EARLY 8th CENTURY– CHIESA DI SAN MARCO, FLORENCE
The Virgin Mary is portrayed in the traditional sovereign pomp of the Byzantine Court and wearing a gleaming crown crenellated with jewels.
A gleaming belt of pearls, closed by a large circular buckle, is at her waist.
The traditional-type iconic figures, while insisting in certain details of clothing no longer used in Italy, however reflect the traditionalism that reigns in feminine clothing; the crown is probably of common use for women of elevated social conditions.
8TH CENTURY– SANTA MARIA IN ARACOELI, ROME
In the 8th century, women wore a type of closed, loose mantle with a hood that is put on over the head.
Under the mantle is a tight-sleeved tunic.
Precious golden embroideries adorn it.
MOSAIC RESTORED AT THE BEGINNING OF THE 1800S ALONG TRACES OF THE 6TH CENTURY ORIGINAL– BASILICA DI SANT’AMBROGIO, MILAN
The 6th century, masculine clothing is tightly tied to the late-Roman tradition.
The figure on the left has a cape resembling the draping of the pallium.
The other gathers the cloak to the right shoulder.
The tunics are ornately decorated with jewelled ribbons of gold; from the moderately wide sleeve appears the tight cuff of the inner tunic, tight trousers, and closed-toed shoes.
ANONYMOUS – IVORY DYPTICH KNOWN AS “THE BOETHIUS”- DATING FROM 487 – BRESCIA MUSEUM
The Toga Picta, consular garment par excellence, is handed down from the late antiquity to the beginnings of the medieval period.
The rich gold embroidery and heavy decorations with precious stones to replace the drapery or “sinus” of the classic period, only allow a semi rigid lapel on the chest.
Worthy of notice are the embroidered toga sleeves and the sandals with crossed straps (guigge).
The changes were applied and the second fitting of a more finished dress was fixed.
The last changes and then the final creation was going to be finished, adhesives, shoulder pads, horsehairs, buttons, buttonholes (which were absolutely hand-made and that were the test bench for the buttonhole makers).
This is the phase in which the finishers were fundamental, they could not leave even a thread after having taking off the whole tacking of the dress.
The great day of the delivery and of the bill to be paid arrived, a solemn and prestigious operation for the tailor’s house that delivered perfect and perfectly ironed dresses.
The clients had very often problems in paying the bill and, after all this work and the sleepless nights, the comparison with the reality was very cruel.
The Vulpinari firm has reached the third generation, it has not forgotten its glorious past and the photographed treadle sewing-machine dominates, as a relic, the centre.
This past makes them proud and at the same time responsible for having such an important role and to continue a tradition and an activity with many satisfactions and many problems too.
Shelves with fabrics were waiting for you together with models to be chosen, according to his very precious advice, listing the characteristics of all the fabrics, indicating the good and bad aspects of the model chosen for each member of the family; each of them was dedicated all the necessary time.
The second phase was dedicated to the measurements, that were very peculiar and scrupulous and they were reported on a book dedicated to the client that was kept under control and changed in case of size change.
As far as children are concerned, who were growing up, it was left an abundant edge for the future different lengthening.
In that occasion the date of the first fitting was fixed.
And here the actual work starts.
First phase: the creation of the model, the sign with the chalk on the fabric and the cut.
Second phase: the tacking.
At the first fitting in front of a huge mirror the sealing was the main aspect to be checked (the tailor’s house skill was well known) and the changes were carried out with pins and marking on the dress.
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