Italian
Renaissance
Dress
1490-1580
Italian Renaissance Dress?
• The types of clothing worn by women in the city
states and provinces of what is now considered
Italy.
• I have chosen to focus on Venetian and Florentine
– good chronology of images due to wealth of
cities and prominence of the artists operating at
this point in time e.g. Raphael, Bronzino, Titian,
Tintoretto etc
• Have divided by decades which is very arbitrary
but helps to provide an overview. Have not
discussed variations of which there were many…
Layers of dress
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Chemise
Undergown
Often a partlet
Overgown
1490s - Venetian
Vittore Carpaccio, 1495: Meeting of
the Betrothed Couple (detail)
Key features:
- High waisted – sits under bust
- Under dress and over dress – with the
overdress cut into a V at the front so the
underdress is visible underneath. Some
have a V at the back as well.
- Bodice sits on edge of shoulder or even
off shoulder (see Durer image)
- Two part sleeves. Bottom half may be
cut open in places to allow the chemise
to ooze through. Chemise also visible at
shoulder and elbow. Laced in place.
Some one part ones as well
- Hair – big knot on top of head
1480-90s Florentine
Domenico Ghirlandaio: Resurrection of the
Notary's Son
Domenico Ghirlandaio: Birth of the Virgin
1480-90s Florentine continued
• Underdress is laced at the front with either a version of
ladder lacing or cross-laced. Is often seen worn by
itself (or two dresses of a similar style are worn.)
• Bodice slightly lower than Venetian – natural waist
• The overdress layer can be either quite loose or even
open down the sides or fitted to the bodice area.
• Varieties of sleeves – two part, one part with gap at
elbow etc
• Hair – bun at back and loose curls around the ears
popular. Some caps worn around head.
• Some have sheer partlets around neck
that come to a point at the front over dress.
1500s Venetian
Vittore Carpaccio,
1505: Two Venetian
Courtesans
• Similar idea to
1490s – high
waisted.
• One part sleeves
open down
outside laced at
some points to
show off chemise.
• Variation of
colour between
bodice and skirt.
Vittore Carpaccio,
1502 - 07: The
Departure of Ceyx
1500s Florentine
Raphael: The Woman
with the Unicorn, 1505
• Bodice sits on
natural waist line
• Use of guards –
often look to be
velvet.
• ‘Wine bag’ sleeves
• Sheer partlet
around shoulders –
pinned over dress.
• Hair in hairnet
hanging down back
Raphael, c1506:
Portrait of Maddalena
Doni
Unusual in buttons
down front and guards
1510s Venetian
Titian, 1511: Portrait of a
Woman Known as La
Schiavona
• Waist has
dropped to
natural waist
level
• Large sleeves –
some gather
back in at wrist,
others are open.
Split the entire
length of arm
• Scuffia – hair
‘bag’ often seen
Titian, 1511: Miracle of
the Newborn Child
1510s Florentine
Andrea del Sarto: Birth of the Virgin, 1513
• Bodice similar
to 1500s.
• More guards
on dress
• Variety of
sleeves from
large drapey
ones to much
more fitted.
Still some
‘wine bags’
around.
1520s Venetian
Palma Vecchio, 1520s:
Woman In Blue
• Transitional.
• Bodices have
ladder laced front
with ties.
• Tight highly
decorated
undersleeves and
large hanging
oversleeves.
Others loose then
tight
• Rise of the balzo
Anon, 1520s:
Portrait of a Lady
Bernardino Licinio,
1520s: Portrait of a
Lady
Paris Bordone, 1520s: Venetian
Lovers
1520s Florentine
Bacchiacca, c 1520: The
Preaching of St John the
Baptist
• Transitional
• Waistlines move up
• Early 1520s is a
continuation of
1510s fashion
• 1525 onwards
moves into the style
common in 1530s –
similar to later
1520s Venetian
Domenico Puligo, c
1520s: Portrait of a
Lady
1530s Venetian
Bernadino Licinio, 1533:
Portrait Of A Woman
• Bodices become
much more rigid.
• Sleeves – puffy
top section – rest
straight.
• Partlets worn
over shoulders.
• Some front laced.
• Change later (?)
to much slimmer
sleeves – vestigial
puff tops.
• More front lacing.
Bernadino Licinio,
1530s: Portrait of a
Lady
1530s Florentine
Ridolfo Ghirlandaio:
Lucrezia Sommaria,
1530-1532
• High waisted
bodice – under
bust.
• Two part sleeves
– top half to
elbow puffy, rest
straight.
• High necked
chemise
• Balzos!! But only
small..
Agnolo Bronzino: A
Daughter of Matteo
Sofferoni, 1530-1532
1540s Venetian
Unknown artist of the
Venetian School, 1540s:
Portrait of a Young Woman
• Bodice much
more rigid and
starts to finish
further down the
torso.
• Some front laced
others not!
• Sleeves often
straight, some
puffs at top, some
slashed.
• Partlets around
neck, open at
front
Paris Bordone, 1545-50:
Balia dei Medici
1540s Florentine
Agnolo Bronzino:
Portrait of Lucrezia
Pucci Panciatichi, 1540
• Bodices become
rigid and much
longer.
• Sleeves – gathered
puffs at top, rest
straight and
decorated with
slashes.
• Partlet around neck.
• Move to Eleanor of
Toledo dress
towards end of
decade
Agnolo Bronzino: Portrait
de la duchesse Eleonore
1550s Venetian
Cesare Vecellio,
Costume of
Venetian women,
1550
• Bodice forms a
point at the front
(sometimes
back?)
• Some front laced
• Sleeves often a
small panelled
cap at the top
with tight lower
sleeve
• Partlet around
neck – open at
front.
Titian, 1553: Portrait Of A
Lady In White
1550s Florentine (more like 1545 on)
Agnolo Bronzino: Eleonora
of Toledo with her son
Giovanni de' Medici, 1550?
• Bodice sits lower
on body
• Sleeves – 4
panelled joined
together with
buttons with fold
at top. Or just
with puff at top
and braid
spiralled down
arm
• Hairnets – gold
net.
• Partlet over
shoulders
Tommaso Manzuoli, Elena
Gaddi Quaratesi, 1550-55
1550s and 1560s Florentine – rise of
the overdress/gown
Florentine school,
Eleanor of Toledo,
1557-8
• Could be fitted or
loose.
• Worn with a sottana
(petticoat bodies) or
sometimes a doublet
underneath
• The loose variety often
had long sleeves with
the fitted versions had
cap sleeves with the
undergown or doublet
sleeves underneath
Alessandro Allori, Isabella
or Maria de Medici, 15558
1560s Venetian
Veronese, 1561: Detail
from fresco
• Still variations
between front
lacing and not.
• Start to see loose
gowns appearing
some with sleeves,
some without
• Hair in bun at back
of head sometimes
with plaits.
Follower of Titian, 1560:
Emilia di Spilimbergo
1560s Florentine
Jacopo Zucchi, Portait of
a Woman, 1560-1565
• Similar to 1550s.
• Some bodices
lower still
• One piece sleeve
which has 4
rows of braid
down length of
sleeves with
cuttes in
between.
• Distinctive braid
placement
Red dress from Pisa.
Other 1560s Florentine overgowns
Allori, Maria de’ Medici?,
1560?
• A fondness
for high
standing
collars
• Usually worn
over a sottana
• See a number
with puffy
sleeves
Florentine school, Portrait of
a Woman, 1560?
1570s Venetian
Francesco Montemezzano,
c1570s: Portrait of a Woman
(possibly Picabella Pagliarani,
wife of Giacomo Ragazzoni)
• Similarities to
1560s but front
lacing becomes
wider
• Towards the
end of the
decade
waistlines drop
and standing
collars become
more common
Andrea Michiel (Il
Vicentino), 1574: Detail Henry III Arriving at the
Lido
1570s Florentine
Workshop of Allori, Women
of the Cini Family, 1577
• Very similar to
1560s
overgown
combos
• Developing a
liking for ‘clown
collars’
• Doublet or
sottana
underneath
Allori, Woman with
dog, 1570?
1580s Venetian
Domenico Robusti, 1581-84:
Portrait of a Lady in White
• Bodices sitting
lower at bust
and torso
• Shoulder ruffs
become more
common
• Standing collars
still popular
Domenico Robusti,
c1580s: Portrait of a
Gentlewoman with her
Daughter
1580s Florentine
• Hanging over
sleeves become
popular
• Undersleeves
often white with
gold trim
Allori, Portrait of a
Woman, 1580s
Allori, Bianca Cappello,
1580?
Good website to view:
• Realm of Venus:
http://realmofvenus.renaissanceitaly.net.
For all Venetian and Florentine up to 1540
• Festive Attyre:
http://festiveattyre.com
For Florentine 1490-1550
• Anea Files
http://aneafiles.webs.com/renaissancegallery/tusca
ny.html
For Florentine but sadly pics are not captioned!!
• Purple Files:
http://katerina.purplefiles.net
THL Katerina de Brescia’s website. Good articles
• Mode historique:
http://www.modehistorique.com/blog/?page_i
d=179
Some lovely Italian gowns
Fabrics to look out for
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Velveteens
Brocades – try Spotlight
Silks – if you are lucky!
Canvas for interlining – try Kutwells
Lining – calico or linen