#17th Century Italy

[17thcenturylady]

Book Review: Costanza by Rachel Blackmore

The name of Bernini is one that all fans of Baroque sculpture instantly recognise. Gian Lorenzo Bernini, born in 1598 and died in 1681, is known for such works as The Rape of Proserpina (1621-22), the Ecstasy of Saint Teresa (1647-52), David (1623-24), among many others. His works are known for being highly expressive, dynamic, and passionate. Even his self-portraits convey an intensity that…

[fashionsfromhistory]

Knitted Jacket

1580s-1610s

Italy

LACMA (Accession Number: AC1995.1.1)

[thatshowthingstarted]

"The Release from Deception,"

Carved from a single block of marble, it depicts a fisherman being released from netting by an angel, allegorical to the man being liberated from his sins.

So intricate was the work that 18th-century philosopher Giangiuseppe Origlia described it as “the last and most trying test to which sculpture in marble can aspire.”

Queirolo worked alone on his magnum opus, without an assistant or even a workshop. Even other sculptors refused to touch the delicate net in case it broke into pieces in their hands.

The masterpiece is housed at the Sansevero Chapel in Naples, with several other miracles of marble. Namely, "The Veiled Christ" (1753) by Giuseppe Sanmartino and "The Veiled Truth" (1750) by Antonio Corradini.

Francesco Queirolo (1752-1759)

Credit: @Culture_Crit

[diemelusine]

Portrait of Francesco I d'Este, Duke of Modena (1638) by Diego Velázquez. Galleria Estense.

[jeannepompadour]

Portrait of a woman; North Italian School, second half of the 17th Century, c. 1670s

[enchanting-chit-chat]

Beetlejuice's Backstory and the Black Plague 💚🕷️🥀💀 PART 3

Good evening! As promised, here’s Part 3 of my series on Beetlejuice’s past and movieverse. Today, we dive deeper into historical fashion, analyzing the outfits of Beetlejuice and Delores to uncover their personal stories.

If you missed the earlier parts, check out PART 1 and PART 2.

Warning: This post contains SPOILERS for ‘Beetlejuice Beetlejuice’ (2024)... and many, MANY speculations.

Quick recap: In Part 1, we discussed the Plague. In Part 2, we delved into Beetlejuice’s past, questioning the claim that he died over 600 years ago.

I wondered: is that really true? Why does his clothing reflect the Baroque style, then?

That's right! In Part 3, I confirm my previous point: there are several clues suggesting that Beetlejuice most likely lived during the Baroque era - a cultural movement that began in Rome at the end of the 16th century and faded around 1750. Here is the list of the clues I noticed:

The lace neckband around BJ's neck.

His three-piece wedding suit.

Delores off-the-shoulder neckline and puffed sleeves.

The bird masks used by Delores and the undertakers.

AliveBeetlejuice first outfit (when he's stealing from corpses): specifically, the pirate shirt and the type of shoes.

Keep in mind that most of these elements were revolutionary novelties of the 16th-17th century. Here is proof for every. single. one of them.

The Lace Cravat

A behind the scenes still of Michael Keaton in 'Beetlejuice Beetlejuice' vs. the portrait of Jacob de Witte, Lord of Haamstede (Netherlands). The artwork was made by Jan Mijtens in 1660.

The first cravat, the predecessor of modern neckties and bow ties, originated in France during Louis XIV’s reign as a political and fashion statement. (Although the early idea comes from the Ancient Roman focale, used around 200 CE). The King was inspired by a particularly eye-catching necktie wore by Croatian mercenaries as part of their uniform. The new article of clothing quickly became a fashion staple for high-ranking men across Europe.

In its use, it represented the evolution of the common handkerchief, already popular in the 1500s as a practical tool, a flirty decoration, and a status symbol. I believe the variant Beetlejuice is wearing in the picture is called ‘jabot,’ and is one of the older, simpler versions.

Lace, often used in cravats, highlighted the wearer’s wealth. Italian lace, especially from Venice, was highly sought after by the European elite since the 15th century, when ruffs and collars were in vogue.

This detail suggests two possibilities:

Beetlejuice might have been an impoverished aristocrat (or a rich merchant) clinging to his title until the end. This could also explain the ring on his index finger, symbolizing power or family ties. Or both.

Alternatively, he may have been someone who strongly wished to be part of the elite.

Jacket and Breeches

Aristocratic fashion, 1630 (Victoria & Albert collection) vs. What Beetlejuice wore in the wedding scene.

Another standout innovation of the Baroque period was the introduction of the three-piece men’s suit, known as the ‘Habit à la française.’

This ensemble included a tailcoat (a calf-length jacket), a coat (a long waistcoat), and knee-length breeches. Like the cravat, this fashion was adopted across Europe. As you can see, Beetlejuice is perfectly embodying this fashion, which evolved and remained popular until the 19th century. Interestingly, one shoe is missing.

Pirate Shirt

Originating in the 16th-17th century, the ‘poet shirt’ or ‘poet blouse’ remained popular through the Romantic era. These multi-purpose shirts served as both underwear and nightwear, featuring long tails that reached mid-thigh or knee. The body and sleeves were gathered at the collar and cuffs, creating a full, loose fit.

Delores' Outfit

For comparison, I’ve included an illustration of noblewomen’s fashion at the court of Louis XIII (died 1643). His successor, Louis XIV, made France a cultural and fashion beacon for the next two centuries.

In the movie, Delores wears two nearly identical outfits: long dresses with puffed sleeves ending just below the elbow, a corset, and an off-the-shoulder neckline. This style aligns with 17th-century trends when fashion became more comfortable and relaxed.

The black color suits her character’s personality and role in the film, possibly hinting at a connection to the late Renaissance and the Spanish Court.

In fact, during the reign of Charles V (1500-1558) and his son Philip II (1527-1598), Spanish aristocracy particularly favored the black color, as it represented austerity and power for both men and women. Additionally, a deep shade of black was particularly difficult to achieve with the dyeing methods of the time, making those fabrics quite expensive to make.

However, The Spanish style was quite the opposite to what France later proposed: it consisted in a severe and somber luxury, which increased in opulence as the time passed. As Spain happened to be the beacon of fashion before Louis XIV came along, it's only natural that black rapidly became quite popular all around Europe as well. The color was particularly appreciated by the members of the middle class in Protestant nations and, apparently, in Italy as well.

Finally, keep in mind that 'Delores' is a variant of the more common 'Dolores'. Both names have Spanish origins and means 'sorrows'.

So what do we think? Was Beetlejuice from a rich family? Was Delores a Spanish witch?

Who knows! But I’m willing to dream and speculate!

Until the big reveal from Tim Burton himself in the now teased but not confirmed yet sequel, have a fantastic week!✨

[escapismsworld]

The beauty of Villa Contarini

In Villa Contarini's Ballroom, often referred to as the Stucco Room, one can find an extraordinary display of decorative richness that challenges established perceptions of interiors by incorporating non-structural elements, such as raised putti in the seventeenth-century style.

Adorning the walls are various paintings, among them "Shipwreck with the Liberation of a Slave," painted in 1620 by the Venetian artist Carlo Saraceni upon his return from Rome.

A fresco at the ceiling's center portrays "Virtue Expelling Vice," surrounded by allegorical representations like War (Mars and Venus), Justice (sword and balance), Peace (female figure with cornucopia and olive branch), and Nobility (female figure with crowns).

Positioned in Piazzola sul Brenta, within the Padova province of the Veneto region, Villa Contarini is one of the most extraordinarily beautiful Baroque rural palaces in northern Italy.

📷: Domenico Schiavo (mimmo.schiavo - IG)

[neapolis-neapolis]

Onofrio Palumbo e Didier Barra, S. Gennaro protegge Napoli (1652), Chiesa della SS. Trinità, Complesso Museale dei Pellegrini, Napoli.

[artthatgivesmefeelings]

Portrait of Roberto Castiglione, early 1600s Italy, Cremona, 17th century The Cleveland Museum of Art

[tragediambulante]

Allegory of Italy, Valentin de Boulogne, 1627-28

[calabria-mediterranea]

Taverna, Calabria, Italy

Taverna sits in an attractive position on a hill surrounded by green woods. Perched at an altitude of about 700 meters above sea level, Taverna offers visitors breathtaking panoramic views of the surrounding mountains and valleys.

Taverna is also hometown to 17th century artist Mattia Preti and the town also boasts  numerous of the artist’s masterworks.

Photos by Italy Review

Follow us on Instagram, @calabria_mediterranea

[fashionsfromhistory]

Knitted Jacket

c.1630-1670

Italy

This waistcoat is a rare example of early 17th century informal dress, which never appears in visual images and with few references in inventories and accounts. References to these garments in wills and wardrobe accounts show that they were worn by both men and women. They seem to have been produced in workshops, knit in ensembles of shaped pieces for the fronts, backs and sleeves. One of the latest references to them appears in a London paper of 1712 reporting the theft of 'a green silk knit waistcoat with gold and silver flowers all over it, and about fourteen yards of gold and silver lace thick upon it.' Similar jackets have survived in many parts of Europe and it is assumed that they came from one centre of production - Italy seems most likely as silk yarns were most easily obtainable there. It is possible that the knitted pieces were stitched together by the purchaser.

The waistcoat is hand knit with coral pink silk and yellow silk wrapped with silver-gilt thread. It is constructed of five shaped panels, one for the back, one each for the two fronts and the sleeves. The seams are hand-sewn with silk thread and the whole garment is lined with blue linen. A series of regular holes along the front edges of the lining on each front edge suggest that it originally fastened with silk ribbons and metal points. It was once thought that these waistcoats were produced on the early versions of the knitting frame. However research has shown that the frame was not developed enough in the early 17th century to produce purl stitches or such a fine gauge. Each panel of knitting bears a pattern of stylised scrolling floral motifs worked in yellow silk on coral. These may have been inspired by the designs of woven silks. A very similar pattern can be seen on knitted waistcoats in the Royal Ontario Museum, the Cleveland Museum of Art and the Museum der Stadt in Ulm. The design is further delineated by the use of reverse stocking stitch against a ground of stocking stitch. A border of basket stitch (squares of purl and stocking stitch) edges the lower hem and wrists. The knitting is very fine, about 17 stitches per inch.

The Victoria & Albert (Accession number: 807-1904)

[sgiandubh]

Sunday sounds: a spring madrigal

After roughly one week of dull, late autumn morosity, it would seem spring is back in town. Almost May and almost summer - the right time to hit the road to the seaside, a very different one from the Greek experience. More rustic and certainly less glamorous - although the beach is not only and not exactly what I set my mind to hit, this summer, as you will see in due time 😉. And if Steinbeck traveled with his poodle, Charley, well - I might as well travel with my boisterous lab, right?

Anyways, here is one fine Monteverdi madrigal for all of you who prepare to have a nice cuppa and enjoy this spring, sunny Sunday. Here it is absolutely glorious - and we are lazily cooking (yes, cooking!), Shipper Mom and I:

PS: nobody does Monteverdi as Nigel Rogers and Ian Partridge. Nobody else in the entire world.

[charlesreeza]

Examples of inlaid polychrome marble at the church of San Giuseppe dei Teatini in Palermo, Sicily

Photos by Charles Reeza

[jeannepompadour]

Marta Antonia Ghezzi Baldinotti (1649-1718) by Jacob Ferdinand Voet (c. 1639-1689)

[srednod]

Orazio Gentileschi Martha reproving her sister Mary ca. 1620