Treasures of the Modern Renaissance: Venetian Berretta 1512

Venetian Berretta 1512: Suede and linen in a design of heraldic diamonds.

"Berretta" was a term used to describe any hat worn at an angle on the head which was rounded or conical and brimless. Venetians were fond of bright and ornamented clothing and were exposed to a great deal more variety of goods as Venice was a centralized shipping port. This hat may have been worn by a young male noble who was a member of the "Grande Case", the elite upper class of Venice.

About the Artist: Vandy Pacetti-Tune

Vandy Pacetti-Tune is a teacher/librarian and researcher residing in Auburndale, Florida. As a hatter, Ms. Tune recreates hats from Italian Renaissance portraiture. Vandy Pacetti-Tune is also known as Lady Franca Donato, a member of the Society for Creative Anachronism.

Treasures of the Modern Renaissance: 1450 Peasant Wedding Hat

Peasant Wedding Hat 1450: Felt, adorned with pheasant feathers and hand-woven scarf.

The young peasant women of Northern Italy would be responsible for making her own wedding attire. The sewing of personal attire indicated that she was ready to marry and had acquired some of the necessary skills to be a good wife. Wedding hats were tall with a wide brim and made from felt or woven straw and decorated with cloth and feathers.

About the Artist: Vandy Pacetti-Tune

Vandy Pacetti-Tune is a teacher/librarian and researcher residing in Auburndale, Florida. As a hatter, Ms. Tune recreates hats from Italian Renaissance portraiture. Vandy Pacetti-Tune is also known as Lady Franca Donato, a member of the Society for Creative Anachronism.

Treasures of the Modern Renaissance: A 1471 Girdle Book

A girdle book was a small and portable leather bound book that would have been carried in the middle ages and Renaissance by clergymen and nobles. These books are bound in leather and the cover extends below the edge of the book and tapers to a point where it is tied into a knot. This knot could be tucked into the belt or girdle of an individual and would leave the book hanging upside down and backwards. From this position the book could be lifted right side up and opened by the wearer for use. These books often contained liturgy or daily prayers and were popular from the 13th to the 16th century. Although hundreds of these books are represented in art of the time period, only 23 known girdle books survive to the present day.

This particular book is designed after a book dated to 1471 and owned by Hieronymus Kress. The artist, Jill Voss, started with paper and built the book from the inside out. First, pages were gathered and folded over into individual sections called quires. The quires were fastened with waxed linen thread and bound into a group with hemp cord. The cords were then pulled through holes in wooden cover boards and laced tightly together to form a book of pages between two wooden covers.

Once the excess cords were cut, the remaining holes were plugged with wood to create a smooth surface on the outside of the cover boards. The book was then fitted with a leather cover that was finished with a knot at its tapered end. Lastly, brass fittings were attached to hold down the leather at the corners, decorate the cover and create latches for the book to be properly closed. The artist used the technique of sand casting to cast the bronze fittings for the book.

About the Artist: Jill Voss

Jill Voss is a native Floridian. She studied at various Universities including Savannah College of Art and Design, University of Georgia, Cortona, Italy and graduated from Florida State University with a B.F.A specializing in papermaking and bookbinding. During her travels she has the opportunity to study at the Cartiera Magnani papermill and Istituto Centrale per la Patologia del Libro. This artist has participated in juried shows and museum displays such as Miami Beach Art Festival, Scholastic Art Awards and Diocesan Museum, Cortona. Jill currently teaches and displays medieval papermaking and bookbinding for the Society of Creative Anachronism (S.C.A.) where she has received the accolade of Laurel - Master of the Arts. She is known as Mistress Hyrrokin in the Society for Creative Anachronism.

Treasures of the Modern Renaissance: Titian’s white gown.

Based upon a 1553 painting by Titian entitled Portrait of a Lady in White, this gown was created by local artisan Maureen Cox. Also known as Girl with a Fan, the portrait by Titian shows a young woman dressed in a sumptuous white gown, wearing pearls and holding a dainty fan. Using silver threaded brocade, silks, ribbons, lace and hundreds of hand beaded pearls, Maureen has created a snowy masterpiece of a gown.

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Titian was born Tiziano Vecellio (c. 1473/1490 – 27 August 1576) was one of the finest painters of the Venetian school of painting of the Italian Renaissance. In his later years Titian created many portraits of women, several of which used his beloved daughter Livinia as the subject. He died a victim of the plague in ravaged Venice and was interred at Basilica di Santa Maria Gloriosa dei Frari in the same city.

The painting Portrait of a Lady in White has been connected with Titian’s daughter Lavinia who may be the model for the lady in white. The portrait is now housed at the Staatlichen Kunstsammlungen Dresden (Dresden State Art Collections).

About the Artist: Maureen Cox

Maureen Cox is currently pursuing a dual Masters Degree from the University of South Florida in Art History and Library Science and resides in Land O’Lakes. Interested in medieval and Renaissance costuming, illumination, calligraphy, portraiture, the history of makeup, and medieval cooking, Maureen is also a fan of modern arts and film of all sorts. Maureen is known as Mistress Muirenn ingen Ui Ceilleachair, OL in the Society for Creative Anachronism.

Treasures of the Modern Renaissance: Reichsadler-humpen

The Reichsadler-humpen: A test and a masterwork

The Reichsadler-humpen is a style of enameled German glass, which displayed the Heraldic representation of the parts of the Holy Roman Empire. It was an important piece to the patron, the recipient, and the artist. The double headed eagle was used as the centerpiece to represent the Holy Roman Empire and signified with its’ outstretched wings the embracing of all of its parts. “The breast bears either a crucifix, indication of the God-willed protectorate of the Emperor or, more frequently, the orb of state, the Emperor’s secular symbol.”

“The wings are usually covered by fifty-six shields; flaming coronal motifs, symbols of the Order of the Golden Fleece, are put along their edges. With the exception of the top row which includes the seven Electors and, for the sake of symmetry, the Apostolic See, they have shields are arranged in vertically oriented groups of four. They represent the Quaterniones Inperii, the ‘reichsständige Quatuorvirate.’ The idea was to have four representatives of each category and profession within the structure of the Holy Roman Empire, thus forming on great ‘democratic’ body”

The Quaterniones Inperii, the ‘reichsständige Quatuorvirate is a collection of engravings and woodcuts. The first known copy dates to 1460 in Peter von Andlau’s De Imperio Romano.

The ribbons above each shield are the names of those arms listed and the ribbons at the bottom of each row identify the particular group. The symbols of the Order of the Golden Fleece most often found are the flaming and crowned flint stone. Many Reichsadler pieces bear the names, coats of arms, initials and other designations of the owners. Ninety-five percent of the known pieces where enameled on the humpen style glass. The theme of these pieces was enameled with different stylistic motifs. Glass Curators can categorize the known period pieces by these features and can identify the location and/or school of origin.

To the artist, this was an important piece. As this piece was very difficult to complete, their Masters used it as a test for apprentices as a final piece. Glass enamellers were given the task of enameling the piece in one and a half days. If the piece was completed in time and to the expected level of expertise, the student was then elevated to the rank of Master Glazier (glass enameller).

Saldern, Axel von. German Enameled Glass. The Edwin J. Beinecke Collection and Related Pieces. New York: The Corning Museum of Glass, publ. 1965

About the Artist: Cyndi Maners

Cyndi Maners has been studying 16th century German art since 1999. Her love for German enameled glass began after viewing a private art collection in Worms, Germany. Mrs. Maners enjoys other art forms as calligraphy, illumination, enameling, beading, fiber arts and sewing. Cyndi is known as Frieherrin Adelheid Leinwater in the Society for Creative Anachronism.

Treasures of the Modern Renaissance: Beatrice d'Este Gown, 1480

Another item spotlight from Treasures of the Modern Renaissance, a collection of Renaissance art pieces created by modern Florida artists.

Beatrice d'Este Gown, 1480

This dress is based on the 1497 funerary sculpture of Beatrice d’Este and her husband, Ludovico Sforza by Cristoforo Solari. The dress was originally created for the occasion of the baptism of her son. The dress sleeves were designed in the trendy “Spanish style” of the time, and the gown was burgundy in color with gold couching and silver tassels. Instead of recreating the dress exactly, the design was modified for outdoor wear and machine laundering. The color black was the most popular color of the Spanish Court in that time.

Beatrice d’Este (1475-1497) was Duchess of Milan and one of the most well known patronesses of art in Renaissance Italy. Leonardo da Vinci presented Beatrice with a beautiful portrait of herself as a wedding gift in 1491. Rumors have suggested that Beatrice may have been the inspiration for da Vinci’s Mona Lisa. Beatrice d’Este was entombed at Santa Maria delle Grazie in Milan, the same church in which da Vinci painted his Last Supper.

About the Artist: Lisa Pompeo

Lisa Pompeo currently works at Aspire Financial Services in the Retirement Plan Implementation Department. She is a self-taught seamstress and began early in life doing needlecrafts with her mother and sisters. She does all of her sewing on her Grandmother’s 1950 Singer machine. Lisa is known as Mistress Lisabetta Maria da Firenze, OL in the Society for Creative Anachronism.

Treasures of the Modern Renaissance: Milanese Tall Hat

With Da Vinci: The Genius Exhibition opening to the public this weekend we are getting ready to transport you to another time: The Renaissance. In the Grand Lobby at MOSI you can find an exhibit entitled Treasures of the Modern Renaissance which is a collection of Renaissance art pieces created by modern Florida artists. We’ll be highlighting pieces and artists from this exhibit here during the run of the Da Vinci exhibit.

Milanese Tall Hat 1540: Stiffened Felt, adorned with pearls and feathers.

The Milanese were exposed to Spanish and German clothing styles as a city along a key trade route. This hat, worn at an angle over a coif, is an example of the Milanese attempt to incorporate the fashions of other regions. The geometric patterns of the beading are borrowed from Moorish designs found in Spain.

About the Artist: Vandy Pacetti-Tune

Vandy Pacetti-Tune is a teacher/librarian and researcher residing in Auburndale, Florida. As a hatter, Ms. Tune recreates hats from Italian Renaissance portraiture. Vandy Pacetti-Tune is also known as Lady Franca Donato, a member of the Society for Creative Anachronism.