Palazzo Vecchio: Medici Time Travel

On Wednesday, our class made a trip to Palazzo Vecchio, where we saw the house of the Medici Family; Eleonora and Cosimo's house to be exact. It was very interesting to learn about this couple and their love for each other and then being able to be in the place they once lived. I was very impressed with how lavish it all was. The ceilings were carved from wood and decorated in gold, and there were murals throughout all the rooms on the walls and on the ceilings. It was breathtaking. I did however find it very hard to take it all in because there was so much detail in every room tthat I became overwhelmed by it all.

I really enjoyed Eleonora's private chapel. It was beautifully painted. I thought it was very sweet that she had her own private chapel and that she could go there whenever she wanted/needed because it was in the comfort of her own home. I also liked the room that had her name painted high on the walls because it had little children painted all around each letter to symbolize fertility and to help her become pregnant easily. Which may have helped because she was pregnant for roughly eleven years with many children. It is sad to me how a person considers themselves lucky to have a few of your many children reach adulthood.

It was so cool to see the Medici map room. I was especially impressed to see that the maps were so accurate because they were created in the fifteenth century. Ideally I would now like to have a map room when I acquire a house, just because this one had such a sophisticated feel to it. It was so awesome to see the secret room and be able to go into it. I was shocked at how big it was. I believe it was the servent quarters, but I only expected to see a tiny room.

Eleonora was very interesting. I liked being able to see all the components that it took to make up her outfit. I however did not really like her personality because I found her to be very condescending towards our class when she found out that we were not married. And yet, in her time she was considered old when she got married at 17, instead of roughly 13. I did not like the aura she gave, but I did enjoy going back in time.

Ciao.

Palazzo Vecchio - The Medici Come Alive

View of Palazzo Vecchio from Piazza della Signoria.

Palazzo Vecchio is a truly impressive establishment.  Though massive, it appears somewhat unassuming from the outside - a fortress built more for function than for grandeur.  However, all of that changes the moment you step inside.

From the first sights inside the palace, it is clear that the wealth amassed over centuries by the Medici and the city of Florence was not hidden away, but was set on full display for all who entered to behold and observe with wonder.

Gold-leaf ceiling.

The ceilings are intricately carved wood meticulously covered in gold leaf that shines far beyond the span of time in which it was conceived.  Every detail of the palace sends a message to those who enter, from wealth and prosperity to power and might.  Massive frescoes adorn the walls, and ceilings in the lesser rooms depict allegorical scenes from ancient myths.

In one particularly poignant story, it was revealed that Cosimo I de Medici commissioned a ceiling to be decorated with a scene featuring the ancient Greek god, Zeus, as a young child.  This was supposed to have symbolized Cosimo's potential to become a great and powerful leader, as well as to imply his extreme power.

Perhaps what most made the story of the Medici come alive was our introduction to their typical fashion.  Being able to interact with historical reconstructions of their clothing provided us with an opportunity to really visualize and experience history come alive.

A dress in the style of Eleonora.

It was at this point in the tour that something struck me.  Of all the beautiful places that I've seen, this was the first that I could really appreciate the physical history.  I was overwhelmed by the fact that Cosimo and Eleonora had actually lived in the very place that I stood, and that so much had survived to tell their story.

Overall, our first site visit as a class was a grand success.  I adored the opportunity to explore the palace with the knowledge of everything that had happened there, and seeing real-life examples of the fashions we had learned about in class was an invaluable experience for us all.

Palazzo Vecchio - Eleonora di Toledo

Today we visited the Palazzo Vecchio in Piazza della signoria. I was literally blown away by the extravagance of Eleonora's apartments and all the frescoes, statues, and rooms. The entire apartment was so richly decorated and finely detailed, and of course every painting and statue had some sort of religious or moral story behind it.

I was most struck by the excellently preserved state of Eleonora's Chapel. The frescoes inside looked as though they had been painted last week. I cannot even begin to imagine the time and hard work that went into the artwork. Every face was so expressive, every color so deliberate, and every scene so carefully chosen for her Chapel. Despite not being particularly religious, I still found a certain sense of serenity in them and can only imagine the reverence someone more religious than myself might feel when seeing these biblical scenes.

Inside Eleonora's Chapel

My favorite room was the map room because of the secret door to Eleonora's personal chambers. I loved learning about the room's rich history in mapmaking, storing valuables, and secret passageways. The maps were displayed as the panels on the closets that once housed porcelain, maps, tapestries, paintings, and the Duchess' entire wardrobe. This room was so important and filled with so many riches that it even had it's own guard 24/7. There were (oddly) accurate maps of countries all over the world made by renaissance mapmakers on parchment with watercolor. This room also housed documents that meticulously recorded every day in the palace that date back to the 1400s. The best part of the room was that one of the cabinet doors (that I wrong assumed was just a cabinet) opened up to reveal a secret (if a little dingy looking) staircase that led to Eleonora's personal chambers.

Right before "meeting" the Duchess Eleonora we got to examine and touch replications of the Duchess' clothing and typical clothing of a royal court (aka her family). Most of the clothing was very heavy due to the large amount of fabric used and the extensive (and expensive) detailing with golden and silver thread, buttons, and fur. In the 16th century it was impossible to have a wardrobe of more than a few basic items unless you were very well off. The textiles for all of the replicas were donated, as the fabrics (silk, silk velvet, etc.) are still quite expensive. Despite the high price for high fashion garments, Eleonora kept a group of tailors and seamstresses on her regular staff to constantly improve her family's wardrobe. For Eleonora, fashion was not just a political investment that showed her wealth and power, but it was also a statement of individual beliefs and her personal religious beliefs. She could even be likened to Lady Gaga and her most recent antics with her "meat dress" and "meat corset" in the sense that she too had a message that she wanted to share with her audience - more specifically about proper dress as a Christian woman.

I especially enjoyed the Duchess' performance. It felt really special and intimate to learn about her life and life in the 16th century while actually in her chambers. I was lucky enough to actually help her get dressed in her everyday clothing. Her daily routine is so complex, with each piece of clothing going on in a certain order and way, and with her handmaiden continually reinforcing Eleonora's superiority and royal blood with her submissive tone, actions, and stature. I found it most interesting that she expressed a sincere interest in the well being of other less well off women. She created something that she referred to as a "dowry bank" for women in need. In her time, the first daughter of a family was usually the one who was married off and sent to her new husband with a sizable dowry. The more well off the family way, the larger the dowry was. The larger the dowry was, the better the match was (politically or otherwise). Eleonora would ask the other women in her court for donations for the women who could not afford their own dowries (and were most likely going to become nuns). Then she would host a party of sorts where every woman who attended received a gift that was for her dowry. I thought it was such a wonderful, philanthropic gesture for a woman of her power and prestige to make it a point to help other women find better marriages.

Room of Sabines

Room of Penelope

I also enjoyed learning about the dichotomy between room decorations and paintings for the Duke's wing and the Duchess' wing. The Duke's rooms glorify his strength and achievements and focus on his patronage and protection of artists and scholars. The Duchess' rooms clearly outline the expectations and duties as a mother, wife, and Duchess of Florence. The Room of Penelope has depictions from Homer's Odyssey telling the story of Odysseus and his ever faithful wife Penelope. The Room of Esther depicts the Queen of a Persian King disregarding the rules to save her people, the Jews, from destruction. The Room of Gualdrada is inspired by a Florentine girl named Gualdrada. Legend goes that she refused to let an emperor kiss her, saying that she would only kiss her future husband, providing an ideal example of purity in Florentine women. The Room of Sabines tells the story of King Romulus' abduction of all the female Sabines, a seemingly inevitable, bloody war, and the women of the Sabines acting as peaceful mediators and preventing the war. The rooms also are a tangible form of the Duke's respect and adoration for his wife. While he expected her to know the rules and her duties, he also used the frescoes and paintings to imply that if need be, she could defy the rules for her people, her children, or for the Duke himself. Despite being a woman in a time where women did not have many rights or much power over their own futures, Eleonora had a surprising amount of power. She was his regent, which meant that she could sign official documents in the place of her husband when he was away.

 
As a Greek history buff, I loved seeing the depictions of famous stories of the Greek gods in the apartment of the elements. What I found most interesting was that the rooms were strategically placed above certain family member's rooms on the floor below to associate the Medici family members (and popular, prominent members of the Florentine community) with the god like qualities emphasized in the frescoes. The Room of Hercules was placed above Duke Cosimo's father to link him to Hercules' heroism. The Room of Jupiter was placed about Duke Cosimo's room to link him to the gods. The Room of Opis was put above the Room of Lorenzo the Magnificent, who was known for his diplomacy.

Hercules as a child, fending off snakes with his super strength

On a sidenote, the ceilings were wood covered in REAL gold.

Visit to Palazzo Vecchio- Amalia

I really enjoyed our class trip to the Palazzo Vecchio. The intricate details of the walls and ceilings were so memorable and breathtaking. I was so amazed by the intricate gold work on the ceilings. My favorite murals on the walls were the ones with infants and animals. There were a few murals with babies and goats, which clearly had so much meaning to the Florentine people and their outlook on life and human growth.

By the far the best part of our visit to Palazzo Vecchio was the secret passage with the gorgeous replicas of Medici clothing, and of course, our surprise visit from Elenora de Toledo.  As we took a walk down the hallway with the replica clothing, one piece that struck a cord in my brain was the little boy’s red silk-velvet outfit. Not only was the color red, a color that defines high status, but this was an everyday outfit of a young boy to signify his future duties in the military.  I found it so interesting that  at no matter what age, a boy always represents his status in society with his military garments. I remember professor said that fashion embodies politics and society and I believe this piece of clothing does just that.

I had a great time with Elenora de Toledo today! It was crazy to here what the daily life of a duchess was like in the 1500's and how dependent they were on other people. Women had no rights, were married at a young age, and completely relied on their husbands. Their main duty was to produce children and care for their husband. When we were speaking on behalf of 21^st century women, she was amazed that none of us were married at the age of 20. In the 1500’s most women already had babies and were well over halfway through their expected life span.  Elenora’s daily attire consisted of a white undergarment, a tight satin corset, and a hoop satin skirt. Her sleeves were big, puffy with dark blue accents. The corset and skirt she wore for us today was blue with a gold trim. She told us that during the summer she wears satin (rather than velvet) to keep cool. She said that a women was identified by their clothing, and that a Christian women must be covered at all times.

Elenora referred to the Spanish style she brought to Florence. When she arrived in Florence from Naples, she wore a ton of leather and dark colors. She said that the Florentine’s did not approve of her attire, but that overtime, the leather and colors became a trend in Italy. It was interesting to see how her Spanish background translated into Florentine fashion that is still prominent today.

I had a great day at Palazzo Vecchio. That’s all for now!

The Importance of Quality

The Art of Silk: A History of Silk Manufacturing in Tuscany

From Lucca to Florence: The Importance of Quality

(Notes from Class Reading)

1. 15th Century:

-Master craftsmen of Lucca migrated to Florence, Siena, Bologna, and Milan, which were flourishing cities of production in silk. 

-1317-master craftsmen from Lucca enrolled in the Arte di Por Santa Maria, a Florentine guild of silk makers that was a major secular corporation controlling the arts and trade in Florence.

-1352-Lucca craftsmen were fully integrated into the guild.

-The know-how of the master craftsmen of Lucca, caused the Florentine silk market to develop.

-By second part of 15th Century, Florence was considered one of Europe’s “leading center of silk manufacturing excellence.”

2. The Silk Industry:An Entrepreneurial Model:

-The efficiency of the production process by segmenting the production cycle into stages was improved.

-A new corporation model centered around the figure of the silk manufacturer was promoted.

-Greatest consumers of Florence silk: the papal court, the court of Naples, the markets of Paris, Barcelona, and Valenza.

-sales and production of silk exponentially increased during the mid-1400s.

-Master weavers usually owned three looms, and employed his family in order to satisfy the demands of the silk manufacturer.

-Wages ranged from 5-8 piccioli for the weaving of taffetas and satins per arms-length to 100 piccioli per arms-length for weaving gold brocaded versions of zentano vellutato.

-The dyeing of silk was a specialization. The cost varied according to the concentration of colorants required to achieve the desired color and the duration of the dying process.

3.Ecclesiastical Luxury and Synthesis of the Arts:

-Main consumers of silk during the 15th century were he upper echelons of the church, royal courts and the merchant classes. 

-Production of the figured textile flourished in Florence (examples visible today in churches and museums throughout Tuscany).

-Master weavers began to produce figured silks.

-Contemporary master artists lent their genius to the art of silk making and embroidery by permitting the weavers to analyze their drawings ad engravings in their workshops.

4.Velvet:The Secrets of Leadership:

-Velvet was the most highly valued of all the silk textiles produced in Florence and the most highly demanded (15th and 16th centuries).

-Velvet had a lot of versatility therefore became very successful in italian/ northern European markets.

-Griccia System-characterized by a vertically arranged series of long, curvilinear branches crowned with lobed leaves with a pomegranate in the center.

-Velvet appreciated by clergymen and laymen alike.

-Voided Velvet-appearance to wrought iron window bars.

-Greatest masterpiece created in Florence during the 15th century: pile-on-pile velvet liturgical raiment commissioned by Pope Nicholas.

-High quality of the velvets manufactured by the Florentine silk industry ensured that its products were famous throughout central Europe but also highly prized in Turkey.

5.Quality Protection: A prevision of the Medici legislation:

-Economic policy pursued by the Medici dynasty undoubtedly favored Florentine silk manufacturing.

-Two fires (1563 and 1648) destroyed the entire archive of the Florentine guild of silk makers.

-In 1545 a law on gold-beaters, reelers, and dyers was a law designed to check the emigration of Florentine master craftsmen and thus prevent the exportation of their know-how to other textile centers and the granting of special privileges to specialized workers wishing to migrate to Florence.

-By he end of the 16th century, the guild of silk makers was the largest and most powerful corporation in the city of Florence.

-Rapidly expanding silk industry’s demand for raw materials could only be satisfied by importing raw and semi-manufactured silk products from Spain, Calabria, and Sicily.

6. International Commerce and the Ideology of Luxury:

-System of trading centers allowed for the distribution of Florentine silks to an elite international clientele possible for merchants.

-Textiles which most appealed to international luxury market were velvet cloths with gold or silver backgrounds, lampases, brocatelles and ogival trellis patterned damasks.

-The increaingly exotic cultural influences brought to Italy as a result of business and diplomatic relations with Hispanic-Moorish, Turkish, Persian, and Indian courts also introduced a wide range of stylistic translations.

7.Masterpieces of Iconography and Style:

-End of 16ht century, ladies’ and gentlemen’s clothing began to experiment with the cutting of rows of small holes in simple textiles such as satin in order to give the fabric a worn or used effect similar to that of the fabrics used to make military clothing.

Museum of Anthropology - Florence  

Bianca Minuto

During my visit to the Museum of Anthropology in Florence I couldn't help but constantly compare its pieces to other museums that I have visited in the past. I saw strong parallels between the Museum of Natural History in New York, but also the Metropolitan Museum of Art. It's strange that these drastically different locations would overlap in a place that is attempting to define past and present forms of society by its remains.

When looking through the costume and decorative pieces throughout the museum, I was increasingly more surprised by the level of intricacy and detail that was given to the jewelry, shoes, and "armor." Many of these garments were used for protection, but also adornment. Countless necklaces, bracelets, and hats were created in a very specific and patterned way. This reminded me of the elaborate Egyptian jewelry that I have seen at the Met. Though these ornaments are made with many different materials they maintain a similar attention to detail and design. The pieces range in purpose, meaning, and status.

I was reminded of the Museum of Natural History in that I saw many primitive, but highly detailed forms of many things that we see today. Early versions of instruments, purses, and protective garments were visible in many of the showcases. It's clear that the civilizations that created these had a strong understanding of materials and their potential uses. For example, the incredible preservation of the corpses in their handmade coffins left much of the remains for us to see today.

Another part of the museum that I particularly appreciated was the attention to photography. The many beautiful pictures captured people of an entirely different lifestyle, in a different age, in daily activities and during specific moments. I was specifically moved by the many photographs of the smiling subjects, which to me, really just highlighted the human spirit.

Anthropological Museum Visit - Miryea

When I entered the Museum, I was immediately struck by quite how much stuff was contained in a comparatively small space.  The Museum seemed to house artifacts from all over the world, with each room representing a different group of people in a different way.  From the clothing I observed, it was clear that fashion served a dual purpose even then: functional and sociological.

The functional aspect of the clothing was obvious from the numerous materials used between the different societies.  Each civilization had created a different solution to the ubiquitous problem of dealing with environmental differences.  Some had adapted long coats, others needed lighter fabrics to protect from the sun while still allowing airflow.  The multitude of materials and design present over the different civilizations shows a diversity in the function of fashion present from the very beginning.

The sociological aspect of fashion becomes evident when we recognize that not only did different societies employ different materials and styles, but they also differentiated within their own society.  The fashion of the common person was different than that of an elite member.  Fashion has always been one of the most visible markers of affluence and prestige in any society, and the societies on display in the Museum were no different.

Wandering the halls of the Museum led me to wonder what our civilization would look like if it were to be encased and preserved in the same way these people's lives had been.  The closest experience we have to this is the quickly changing fashions of the modern decades, where one minute something is 'in', and the next, it's 'out'.

Anthropological Museum - Eleanor

Of everything I saw in the Museo di Storia Naturale, the jewelry and accessories excited me most.  The chunky tribal necklaces with strategically placed turquoise beads were refreshingly simple and natural in comparison to today's jewelry trends.  I wondered if the turquoise beads and silver pendants were purely decorative, or if they were meant to highlight a certain rank within the society or part of the body.  I also considered if they were meant for ceremonies or similar occasions (this is my best guess), or merely everyday wear.  Additionally, I was interested in the beaded fringe belts, skirts and necklaces found in the "Is Engano" and "Is Mentawi" sections.  I definitely would have purchased a fringe necklace if the museum had been selling them.  Fringe has been a popular detail on clothing in the past year and a half, and while I have always known the current trends are very often derived from the past, I have never considered that statement to be true for items that are centuries old!  Along the same lines, it was interesting to see a shell medallion on display, as I have seen them for sale in tropical vacation spots.

I have never been to a museum that focused on anything besides art or science, so I have little basis of comparison for an anthropology museum.  However, I did find the display to be very cluttered.  No attention was given to individual objects, leaving me confused as to the purpose of many items.  However, this method forced me to consider societies' practices and values as a whole, instead of meditating on a material good.

Anthropological Museum- Amalia

I found the anthropological museum to be extremely eye opening.  This museum embodied the idea of studying humans from a naturalistic point of view.  Most of the articles of clothing and accessories represented the bond between humans and their environment. For starters, my favorite item in the museum was the Elk Dreamer Society Leggings from North and South Dakota in the late 19^th century. These leggings were made from the hooves of an elk and appeared to be knee length. The lining of the “leggings” was red, which may have symbolized that they belonged to the chief of a tribe. This article of clothing allowed humans to be one with their environment and embody the animal of which they were wearing.

Another fascinating part of the museum showed a man riding on top of a horse with a spear in hand. Not only does the rider have an intense and powerful face, but he is wearing an elaborate dress with red and black accents. This might mean he had an important role in his society and carried a high duty. His garments match the garments of the horse, also exemplifying the idea of man and animal interactions. The man and the horse must work together in order to achieve their goal, whether it be killing another person or protecting his land.

The last part of the museum I walked to was the room with the facial plaster casts.  These casts represented human variability. They were taken from humans with different facial features and portrayed the different morphologies of humans. At the museum, the individual casts were lined up against a wall. It was extremely interesting to note the difference between each individual cast.  Some humans were darker skinned than others, some had larger noses or larger eyes. This part of the museum showed the diversity within humans, despite the articles of clothing they may be wearing.

Museum of Anthropology--Samantha

 Over the past weekend, I travelled to Siena and Pisa. Then on Sunday, taking some time to re-cooperate from my travels, I found myself enjoying one of the many amazing museums that Florence has to offer. I went to the Museum of Anthropology. There, I was in awe of the materials, patterns, textures, and techniques that were so used to make tools, pottery, clothing and jewelry. 

I cannot speak italian at all, so I was not able to read or understand what certain objects were, or what they were used for. However, I felt that this lack in understanding of the objects allowed for me to focus all my attention on to the immense about of detail in these pieces. 

Throughout the museum, I noticed the lack in vibrant color used on these objects. Many pieces consist of dark earthy tones, such as browns, blacks, and dark reds. So, whenever I found something, such as a necklace that was made out of bright blue beads, it really caught my eye. I really appreciated it more because it stood out amongst the muted tones that completely encapsulated the museum. 

If it wasn’t for this class, I most likely would never have seen this museum, and for that, I am glad. Ciao.

Anthropologic Museum Visit - Kodia Baye-Cigna

 It was so interesting to see the variety of formal and informal dress of so many different cultures. The museum's collection ranged from extremely elaborate, decorative outfits to more functional, practical everyday dress wear (like for the Native Americans who lived in cold climates). I personally really enjoyed the exquisitely ornamental nature of the accessories from all of the cultures, specifically the work they did with beading and jewelry. It takes a lot of time, resources, and effort (as well as skill) to create something so beautiful with such miniscule detailing.

 I also enjoyed the segment on plaster face masks. This method of preserving someone's image is so detailed and is very resistant against the deteriorating effects of time.

Visiting this museum helped me better understand the concept of pulling fashion from the past. I saw many outfits that had styles that were similar to modern day fashion - both in clothing and jewelry.