touch up

Squeezed in a tattoo touch up yesterday  it now "pops"

tumblr famous

It seems I am tumblr famous last week a total stranger stopped me in a shop because he had seen my tattoo on tumblr, turns out it really had taken off on a lot of Deaf blogs. I have to say I love it too

This is it right after it was done, the colors have muted a bit so I am hoping to sit with my artist to see if we can outline the negative space better and pump up the colors before I leave

latest garb project

This garb will most likely be put on the back burner and finished after the move but I've joked for years about recreating the garb of a common prostitute, fit evening wear, just for fun and to show some differences between the upper and lower classes. I'm basing my outfit on this woodcut

And to add to the slightly naughty outfit I decided to make buttons based on this roman brothel coin

I'm pretty pleased with how they came out

Persona Challenge

So while scoping out my new kingdom I saw that they have a Persona Challenge happening. As some folks know Persona Research is something I love to do. It's not much as I didn't want to dive in to deep with the move coming up so fast putting a lot on my plate but I am glad I took it on. The challenge: To encourage all to explore their personas this challenge is to write a brief overview of your persona and include five historical facts with sources cited. It's not my best work but I thought I would give it a whirl.

Magdalena Lucia Ramberti [i]was born Oct 16 1551 to Helena and Nicolo da Canal, the 3rd surviving child of 5 pregnancies. Her mother a retired courtesan saved her money to have a good dowry so she could marry a gentleman who was rising among Pietro Lando’s [ii] household. Her two older brothers Domenico and Luca grew up to serve the mother church. Domenico become an honored solider in the church's Army and Lucca became a priest and traveled to raise money for the church's coffer's.

At age twelve Magda's father succumbed to sickness. With her son's gone Helena had to turn to the one trade she knew, to support herself and her daughter. With the dowry wars raging she knew she could never afford to marry Magda well[iii]. She began teaching her daughter[iv] what it took to become a courtesan and Magda flourished at her lessons. Her mother introduced her to all the right people and reminding her to not fritter away her hard earned money. She also encouraged Magda to use the name of one of her clients instead of the common Da Canal so she could move in higher circles[v].

Magda now lives in a lovely Casetta (small house) purchased by one of Magda's Patrons. It faces Rio d. Verona and Backs onto Calle Madona. One side of the casetta overlooks Rio di San Luca[vi]. It is a perfect location close to three large Churches and far enough away from the Grand Canal that her clients might come to her salon's without the distasteful looks of their wives.

---

[i] [Magdalena]: "Italian Renaissance Women's Names" by Rhian Lyth of Blackmoor Vale (http://heraldry.sca.org/heraldry/laurel/names/italian.html) lists this name as a feminine name from Florence dated to the 14th and 15th C. [Lucia]: "Italian Renaissance Women's Names" by Rhian Lyth of Blackmoor Vale (http://heraldry.sca.org/heraldry/laurel/names/italian.html) lists this name as a feminine name from Florence dated to the 14th and 15th C. [Ramberti]: "Italian Names from Imola, 1312" by Aryanhwy merch Catmael (http://www.ellipsis.cx/~liana/names/italian/imolafemalph.html)

[ii] Pietro Lando, Doge of Venice (1538–1545)
Setton, Kenneth M. The Papacy and the Levant, 1204-1571. Philadelphia: American Philosophical Society, 1976.

[iii] The dowry wars had grown to such an extreme that the price to be married became outrageous and out of reach for many middle and lower middle class women. Without marriage, income was limited, status difficult to come by and some women learned to use their minds and bodies for financial gain.
Brown, Patricia Fortini. Private Lives in Renaissance Venice: Art, Architecture, and the Family. New Haven: Yale University Press, 2004.

[iv] There are listings in the registry of Courtesans where a mother is listed as a courtesan and later she registers her daughter
Rosenthal, Margaret F. The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-century Venice. Chicago: University of Chicago Press, 1992.

[v] A common practice
Masson, Georgina. Courtesans of the Italian Renaissance. New York: St. Martin's Press, 1976.

[vi] Martin, John Jeffries. Venice Reconsidered the History and Civilization of an Italian City-state, 1297-1797. Baltimore: Johns Hopkins University Press, 2000. 

Moving

So after 18 years in the Kingdom of the Outlands I am moving. This is very sudden and I admit I'm a bit nervous about the move. Beyond the panic of trying to get the house ready for a move, It's very daunting to being going somewhere to start over again. It's a bit silly I know, but that is the truth of it.

I'll be going to the Barony of One Thousand Eyes, in the Kingdom of Artemisia. (Blackfoot, Idaho) To say that the outpouring kindness from my soon to be kingdom has be overwhelming is an understatement. Wow! Everyone has been so amazing. I'm not sure what the future holds for me but I am hoping that all will be looking up in my new Kingdom

Things not to do or say to a Deaf person

These are all things I have experienced. I'm pretty open about my Deafness and I am always willing to answer any questions but sometimes I am shocked at the things folks say or do often with the belief they are being funny

Don't shout at me, yes I can't hear but yelling at me isn't going to make it any better and if I am wearing my hearing aides that is just going to really hurt me

Don’t over-enunciate or speak slower.  “Helllloooo, mmyyyy naaaaammme iiiiisssss ...." I read lips and I was taught to do so at a normal speaking rate. slowing down and over-enunciating just makes that so much harder, your mouth doesn't move right and it gives me the impression you think I'm an idiot

Say you know sign language and then flip me off.  That’s lame.

Don’t cover your mouth and then ask if I can hear you.  Are you 5?  Apologies to 5-year-olds.

Don't ask me to read the lips of a private conversation thats rude

If I ask you to repeat something don't tell me it wasn't important or nevermind or I'll tell you later. It makes me feel like you want to exclude me.

Don't tell me to get a cochlear implant to cure my deafness- first it isn't a cure and second that is a very personal choice that not every deaf person wants. I am one of them and frankly I'm a bad canidate for one

“Wow, you don’t look deaf!”, "you're to pretty to be deaf", "you are to smart to deaf" and any variation thereof- ugh

When someone says they are Deaf don't answer with "what?" and think it is the best joke ever- it wasn't funny the first time and it isn't funny now

If I am signing to someone don't demand I voice my conversation, one it's hard to work two languages at the same time two it might not be a public conversation for you and three how rude!

Yes I speak well but it is a lot of work and sometimes I just want to be able to relax. You use your voice when you speak and it is second nature to you, I use my hands. I have a dream of one day attending an sca event and just enjoying myself without all the extra effort it takes to lip read and speak. we are getting to a point with silent heralds that I can almost do this. Don't be offended if I just don't want to talk, my brain can only take so much and with my health I find I'm getting tired faster

use what I identify as, if I say I'm hard of hearing then that is the way to describe my hearing loss, if I use deaf then that is what to use if I use Deaf (which I do) it is because I identify as such and I am asking you to respect my cultural identity as well. It is not for anyone else to decide what you are

terza rima

Lo my lord no more words! to deeds to actions!
Waste not one more line, not one more syllable
No odes to beauty to gain my attention

If it is love or lust you feel, be sinful
Attract with a touch and be rewarded
desire is not a time to be sensible

I can see it in your eyes you are tempted
to slip between the saintly and the bawdy
wishes to bend and entwine and be knotted

If you like I will say that you challenged me
And like a maid did try to resist thy chains
by skill alone I am yours loyally

My part is played now yours is all that remains
Come here and full of the most wicked desire
together we shall feel fire within our veins

Then to darkness fade until next we conspire

Dante Alighieri created this style and it is first seen in his Divine Comedy. Boccaccio and Petrarch soon followed, Thomas Wyatt and Geoffrey Chaucer brought terza rima into English poetry in the 14th century. Terza rima is a style of poetry written in three-line stanzas linked by end-rhymes patterned aba, bcb, cdc, ded, efe, and so on. There is no specified number of stanzas in this form, but poems written in terza rima usually end with a single line or a couplet rhyming with the middle line of the last stanza. The lines should be of the same length. There are no limits to the number of lines a poem composed in terza rima may have. Meter is not specified in terza rima, although many English poets use iambic pentameter.

Inspired by the poems of Italian Courtesan Veronica Franco, I wrote my own Tezra Rima. I used the hendecasyllabic (eleven-syllable) line common to Italian poetry and seen in the Divine Comedy. As my Italian isn't up to snuff yet I wrote it in English.

attempt at letter in persona

My dearest English lord,

It has been so long since you graced me with your loving glances and passionate words. Must I wait until the thaw to feel your arms around me again? Like Persephone I find myself dwelling in darkness longing for the spring to bring joy and light back into my world. Give me hope with promises you will find your way home to me. This winter has been too cruel, the void in my heart that only you can fill has brought a chill I cannot escape. I hold the memories of your laughter, wit and charm as they are the only things to bring a smile to my lips. I know our parting was not ideal and we found ourselves more married then lovers, but even then they are moments I cherish. The fire in my heart still burns for you, my nights are lonely and my thoughts are often of you. At the slightest word you would find me a slave to our love. As coy and wild as Artemis, As passionate as Aphrodite and as completely yours as the echos of my heart remind me that I am. With a word I would play the part of your dreams, cold and distant goddess, pliable maiden, wanton lover, obedient servant. Such roles are empty without you. Tell me you still think of me, that this pain is not just mine alone to bear. Be kind to me, do not have me wait for your reply to long.

Yours, body, heart and soul
Magdalena Lucia Ramberti
This 29th day of December
In Venice

embroidered pocket

I'm using silk thread on linen. The embroidery pattern is based on the embroidery found on a pair of drawers mentioned in "Dressed (or Undressed) for success" by Carol Tucker, while interviewing Margaret Rosenthal, itis mentioned  "how courtesans wore male-style clothing as undergarments - such as linen knickers, embroidered with phrases such as "I want the heart."

Drawers found in Moda a Firenze

a drawing of the embroiery by © Claudette Pomroy 2008

Finished pocket

Italian Renaissance Costuming Challenge

For the last 3 years the realm of venus, which is an incredible resource for costuming, has held a costuming challenge. We are in the middle of the 3rd annual challenge and I am busy sewing for it.

for those interested here are links to the challenge and pictures of my finished gowns

year 1

year 2

I was also very privileged to be featured in the Denver Post during the first year challenge

earlier handout

Courtesans

Magdalena Lucia Ramberti

I. What is a Courtesan?

Courtesans were not looked at as women nor were they as valued as men, instead they found

themselves in a grouping of their own. Within the male dominated society of 16th century Venice

courtesans were able to move outside the confines of the believed place reserved for women. “The

use of the term cortigiana (courtesan) confirms the recognition of a new category of public women.

Strictly speaking, of course, it simply means court lady- the female counterpart of cortigiano or

courtier.” (Brown, 2004)

Courtesans, came into being because of many social, political and religious influences. Italy proved to be the perfect breeding ground for their creation. The separate governing bodies, the lack of an overall monarch and the melting pot of cultures caused by trade opened the doors for this new class of women. Venice, being my main focus of study, had all of these factors and more. The dowry wars had grown to such an extreme that the price to be married became outrageous and out of reach for many middle and lower middle class women. Without marriage, income was limited, status difficult to come by and some women learned to use their minds and bodies for financial gain.

Yes, this sounds exactly like prostitution “the act or practice of engaging in sexual intercourse for money.” (Prostitution, 2012) Yet it was more then just sex, while it might be a tool in their toolbox it wasn't always a part of a working relationship. Courtesans offered social and intellectual refinement in return for patronage, very much in the same manner as the geisha before World War II in Japan. The

courtesan fulfilled societies need for a refined yet sexualized version of the noblewoman. Like her male counterpart the courtier, a courtesan had to be educated in playing music, singing, writing poetry, all the courtly graces, dancing, chess playing, current events, the classics and witty banter. This education and the fact she was also paid for these skills separate her from the lower classes of prostitutes. From the lowest class, the meretrice, picture a streetwalker type, to the cortigiana di lume (courtesan of the lamp) who worked in inn houses and brothels. Both solely dependent on selling sexual favors for their income. The cortigiana onesta (honest courtesan or honored courtesan) sold her intellectual and literary skills thus earned her income “honestly”. Cortigiana onesta never really dismiss the sexual aspects of their profession but it is far from the focus of it.

In same vein they were not classified as noblewomen, it was rare for a noblewoman to be educated beyond the basics. Rosenthal (1992) says of noblewomen, “Their education consisted of elementary reading and writing in the vernacular, rudimentary arithmetic, and also handiwork, such as embroidery and weaving.” For noblewomen it was also believed that “Woman’s voice lead to sexual temptation; eloquence in a woman lead to promiscuity.” (Masson, 1975) This belief most likely had ties to the first temptation of Adam in Eden, thus creating a society that felt the need to protect it's noblewomen from further education and sheltering them from perceived threats of corruption from outsiders. Libraries were closed to women as a whole but courtesans were seen as intellects and were granted access. Courtesans were able to afford many luxuries and dressed accordingly.

2. Identifying a Courtesan.

Imagine you are a male tourist in 16th century Venice; you have traveled here for business or a

pilgrimage, and you have high hopes of seeing one of the honest courtesans Venice is so well known

for. As you walk the canals you come upon a woman; she is lavishly dressed , obviously a woman of

money. Since courtesans dressed in a similar manner to a noblewoman, how would you know if this

woman was a courtesan or the doge's wife? The difference between the noblewoman and courtesan

of the 16th century were not often easy to spot with the eyes. Unless the courtesan was openly

advertising her presence, which could be very dangerous as they were often a target of violence,

she would often dress like a noblewoman. This caused many issues, making a senator in 1564 state:

“The prostitutes in this city of ours have so excessively increased in number, and having cast aside all modesty and shame, they publicly frequent the streets, churches, and other places, adorned and dressed so handsomely that often our noblewomen and our citizens are dressed in much the same way, so that not only foreigners but local people as well are unable to tell the good from the bad, thus setting a bad and most pernicious example for those who cross their paths and see them, in view of the many advantages enjoyed by such persons of a low and abject standing.” (Barzaghi, 1980)

This lead to the passing of sumptuary laws which were difficult to enforce and easily side stepped by bribery or paying a fine on the off chance they were caught. These laws tried to prevent prostitutes and courtesans alike from wearing silk, gold, silver, pearls, jewels- real or fake, and earrings. Sometimes the laws were written in such a way that they only referred to prostitutes giving courtesans a loophole as their profession was considered much more dignified. When the laws restricting what a could wear failed there was an “attempt to have courtesans identify themselves by require the wearing of a yellow veil.”(Robin, Lawson & Levin, 2007) Again this was easily side stepped by paying a fine.

So how would a courtesan advertise themselves? Often it came down to subtle signals and word of mouth. While it would be logical to think they would wear taller chopines, have longer trains or more lavish dress, this was not always reliable as Noblewomen tried to draw the eye in the same manner. The only sign I can trace is a move I have coined as the “courtesan peak”. Women when outdoors often wore veils that covered their faces, thus giving them protection not only from the sun but also gave them anonymity thus protecting them from them tempting influences. Yet we see time and time again drawings showing some women lifting and peaking out from under their veils. How provocative this might have been for a gentleman on the street, a touch forbidden, all the while revealing herself to be a courtesan in a subtle manner.

3. The drawbacks

While it may seem that courtesans led a charmed life, it was not without it's drawbacks. Courtesans like the male counterpart the courtier sought political and social advancement within the feudal system during the renaissance, thus facing them off to battle for the attentions of the same patrons. This made courtesans a target to their male counterpart, who wrote nasty satire about courtesans, endangering their reputations and thus their livelihoods.

Violence against courtesans could come in many forms, a jealous lover, a refused man, those who believed she was immoral and need to be punished just to name a few. One of the most shocking and distasteful violent acts dolled out upon a courtesan would be a tentuno (thirty-one) a gang rape that would then have the details of the attack spread around the court. Besides the physical nature of the attack, it also served to humiliate and increase the chance to contract a venereal disease

The noblewoman had no power over her own social advancement, whereas the courtesan had more freedom. Before a noblewoman married, her life and money were governed by her father or

brothers. Once married, all her property transferred to her husband. “From about 1100, the position

of property-holding males was enhanced further. Inheritance was confined to the male, or agnate line- with depressing consequences for women.” (Jones & Rosenthal, 1998) During the renaissance, a person was born and died in the same social class, there was very little movement nor was such movement expected. Courtesans were able to rise from the lower middle classes up into the aristocracy. The Courtesan made enough money to advance her class status and because she was outside of the bonds of

marriage she could manage her own money. In response sumptuary laws were passed in attempts

to recreate the social boundaries. Such laws were easily overcome as they were often not enforced.

In order to move into such circles an up and comer needed to be able to participate in social

networking. The women of respectful families found themselves shut away from the world around

them. Women found themselves to be “assigned to subordinate positions in the household and the

church, they were barred from significant participation in public life.” (Jones & Rosenthal, 1998) If you look at the design of homes in Venice you will discover often they contained amazing gardens that could only be entered by going through the house. This way the women and daughters of noble families could enjoy the outdoors without exposing them to the corrupting forces of the outside world.

Courtesans, on the other hand, depended on social networking. One of their key roles was to set up social exchanges for their clients to not only advance the clients standings but also themselves.

Courtesans were able to exert a significant amount of control over their own person. “Women possessed virtually no political power of their own, owing to an

oligarchy dominated by men, and the laws passed by men reveal not only a class bias but a special

arrogance towards women” (Rosenthal, 1992). Whereas a woman had no control over whom they would marry, courtesans could pick and choose their clientele. If a courtesan wished she could use the wealth she had amassed and had control over to choose her own husband. If marriage was not something she

wished to invest her time into she could invest her own money and live quite happily on her own

wealth. As a true mistress of her own house a courtesan made all the decisions of her own home

and she was subject to no man's whim unless that of her own choosing.

While the noblewoman did lead the rich life of the upper crust, it is the ability to be so educated and

being able to move within the class structure which makes the courtesan a fascinating

subject. There is much a modern woman can learn from the women of the past. Whereas the

noblewoman was the glue that held her household together; the courtesan was truly the first

feminist voice in a male dominated society. New documents are being found every day and as

scholars and translators decipher these documents our knowledge of these enigmatic women can

only grow.

References

Brown, P.F. (2004). Private Lives in Renaissance Venice. New Haven:Yale University Press

Barzaghi, A.(1980) Donne o courtigiane?. Verona: Bertani

de Heere, L. (Artist). (1584). Théâtre de tous les peuples nations et de la terre et avec leurs ornemens diverse habits: Venetian courtesan. [Drawing]. Retrieved from http://lib.ugent.be/fulltxt/RUG01/000/794/288/BHSL-HS-2466_2009_0001_AC.pdf

Jones, A.R. & Rosenthal, M.F. (1998). Veronica Franco: Poems and Selected Letters. Chicago: The University of Chicago.

Masson, G. (1975). Courtesans of the Italian Renaissance. London: Martin Secker & Warburg Limited

prostitution. (n.d.). Merriam-Webster's Dictionary of Law. Retrieved May 09, 2012, from Dictionary.com website: http://dictionary.reference.com/browse/prostitution

Robin, D.M., Larsen, A., & Levin, C.(2007). Encyclopedia of Women in the Renaissance: Italy, and England. Santa Barbara: ABC-CLIO.

Rosenthal, M.(1992). The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth Century Venice. Chicago: The University of Chicago.

Rosenthal, M, & Jones, A.R. (2008). The Clothing of the Renaissance World: Europe,

Asia, Africa, The Americas; Cesare Vecellio's Habiti Antichi et Moderni. London: Thames & Hudson.

unknown. (Artist). (1575). Mores italiae: A venetian courtesan (dressed as a widow) [Drawing]. Retrieved from http://realmofvenus.renaissanceitaly.net/wardrobe/MoresItaliae1.jpg

unknown. (Artist). (1595). Album amicorum of a german soldier: Venetian courtesan. [Drawing]. Retrieved from http://realmofvenus.renaissanceitaly.net/wardrobe/ManuVen5.JPG

Vecellio, C. (Artist). (1585). De gli habiti antichi et moderni di diverse parti del mondo: Venetian courtesan outdoors. [Drawing]. Retrieved from http://realmofvenus.renaissanceitaly.net/wardrobe/Vecellio15.jpg

Renaissance Pocket

Renaissance Pocket   

Magdalena Lucia Ramberti

Christa Gordon

Caerthe

Background:

            I started out this project with a need to keep my personal items safe and wondering if their might be a solution that would not take away from the more authentic look I was going for in my clothing. I looked for several ideas and came across tie on pockets. It was ingenious and simple. All the existing pockets I found were all dated just out of period and then I found two. The Bolso also known as Faltriquera, or Spanish pocket dated 1575-1600 just within period at Museo del Traje or Museum of costume in Madrid.

 

  It had the same shape as the tie on pockets except it was missing a method to tie it on. This example is silk satin with couched metal threads.

            I kept looking and came across Saccoccia, or Italian pockets. I could not find any existing pockets but I did find evidence in paintings and frescos.

A fresco called The Maiden's Quarter by Alessandro Allori dated 1588

  A closer inspection of the fresco reveals three women wearing what appears to be tie on pockets.

More paintings resulted in more examples:

"Woman at her toilet", 1575-78, Alessandro Allori

     

      

Birth of the Virgin by Alessandro Allori, 1595 

             

Sala di Penelope", 1561-62, Giovanni Stradano

           

It seems that these would be worn outside their clothes similar to a pouch when in informal situations. I did find a passage mentioning wearing a pocket under the skirt when wearing finer clothes “from the side openings of the skirt, corresponding to those of the bodice, it was possible to access the inside pockets, such as that found among the folds of the funeral dress.” (Orsi & Niccoli, 2005)

The pocket in Eleonora di Toledo's funeral dress skirt, 1562 (Palazzo Pitti, Florence), made of silk taffeta

With these examples in mind I set off to create my own.

Creation:

Pocket 1:

Because of its unusual nature, having buttons, I thought of giving the stripped pocket from The Maiden's Quarter by Alessandro Allori dated 1588 a try.

           

As the only extant pockets I could find from within our period of study was made of silk satin or silk taffeta I thought silk would be a good fabric choice to begin with.

            Silk was available and used for clothing within Italy. “The Por Santa Maria guild of Florence, which later came to be known as the Arte della Setta, was a multi-tiered guild. Originally established for the benefit of merchants who sold luxury silk goods, it was later dominated by the producers of silk fabrics, and regulated most activities associated with the production and sale of silk textiles. “(Frick, 2005) Several extant items of clothing from Italy are made from silk and linen. ("The Workbox - The Realm of Venus", n.d. ).

            I found a lovely silk with gold stripes woven into the fabric. It was appropriate for an approximate look of my original and fit within my budget.

As it is difficult to identify what material the buttons are made of I choose to make a pair of thread wrapped buttons based on the extant buttons shown on garments from Patterns of Fashion by Janet Arnold.           Such buttons were used on several garments; including the burial suit of Cosimo I de’Medici. Many of the buttons are discribed as “silk wrapped around a wooden core.”(Arnold, 1985)

Close up of button from Pattern of Fashion and the Doublet of Cosimo I de’Medici

My buttons

I used 12mm round wooden beads as my wooden core, I then used some burgundy thread I had on hand, as I was trying to keep this on a budget. I first wrapped five horizantal “spines” on each button then wove my thread verticaly across the bead and around the spine until the bead is covered.  Inspired by the button from Janet Arnold’s Patterns of Fashion (picture above) I used some gold metal thread to create non-woven sections echoing the look of the inspiration button.

To create the pocket itself I used a close up of the pocket from "Woman at her toilet", by Alessandro Allori (page 4). I blew up the close up until it was close to my proprotions, length just short of the distance from my waist to a chair when sitting, as seen in the painting. I then cut out my pattern and began assembly of the pocket. I first stitched the front and lining of the opening then stitched the body of the pockets. After contacting the Museo del Traje which is home to one of the only existing pockets from the 16^th century (page 1) I was told their pocket did have a lining of silk satin. I can’t say if it was common to line pockets or not as there really is no record to look at. I decided to line my pocket, like the existing pocket. I did this so the seams would be encased and protected as well as to prevent snagging of the seams with any objects I might keep in the pocket.

It’s difficult to see how the pockets were worn. The Spanish pocket is missing a string attached to it or some way to attach it to an apron. The Toledo pocket is hastily sewn to the inside of the bodice. From the portraits I looked at in my examples there are many worn with an apron and could possibly be somehow attached to the apron strings. There is one woman in The Maiden's Quarter who is brushing her hair who is not wearing an apron. Looking at 18^th century examples, while out of our period of study there are a large number of surviving pockets from this period, show a large number attached to their own strings or with a casing to lace a string through.

My pocket

References

Arnold, J. (1985). Patterns of fashion: The cut and construction of clothes for men and women, c1560-1620. London: Macmillan.

Frick, C. C. (2005). Dressing Renaissance Florence: Families, fortunes, and fine clothing. London: Johns Hopkins University Press.

Orsi, L. R., & Niccoli, B. (2005). Moda a Firenze, 1540-1580: Lo stile di Eleonora di Toledo e la sua influenza. Firenze: Pagliai Polistampa.

The Workbox - The Realm of Venus. (n.d.). The Realm Of Venus - Fashion and Style in Renaissance Italy. Retrieved from http://realmofvenus.renaissanceitaly.net/workbox/workbox.htm