Ferronnière. Hat badge. Cameo ...An unusual jewel in painting
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a jewel par excellence of the Renaissance ... a jewel purely decorative or with meaning religious or symbolic … a jewel appreciated for its beauty, its artistic, symbolic and even magical value …
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Ferronnière. Hat badge. Cameo ...An unusual jewel in painting
- 3. An unusual jewel in painting
- 4. ferronnière
- 5. jewel par excellence of the Renaissance ...
- 6. a jewel on a delicate chain across the forehead called a ferronnière ... Leonardo da Vinci or his Milanese circle. Léonard de Vinci et son atelier La Belle Ferronnière La Belle Ferronnière vers 1495 – 1499 Musée du Louvre, Paris
- 7. The title of the painting is due to an erroneous cataloguing in the French royal collection, when it was mistaken for a portrait of Belle Ferronière, the mistress of King François I. The misunderstanding was increased by the fact that the band on the forehead of the sitter was also named "ferronière" in the 16th century.
- 12. an unknown lady in the role of Flora offering the viewer a small bouquet of flowers with a self-assured gaze traditionally considered a portrait of Lucrezia Borgia, the scandal-ridden daughter of Pope Alexander VI ... Bartolomeo Veneto Idealized Portrait of a Courtesan as Flora Portrait idéalisé d'une courtisane en Flore 1520-25 Städelsches Kunstinstitut, Frankfurt
- 16. Cecilia Gallerani, the mistress of Ludovico Sforza ... a fine gauze veil with a woven border of gold-wound threads and a black band Leonard de Vinci The Lady with an Ermine (Portrait of Cecilia Gallerani) La dame à l’hermine c.1490 Muzeum Narodowe w Krakowie, Kraków
- 21. net of gold threads on a base of gauze set with pearls and browband of red silk and decorated with golden agraffes and pearls Giovanni Ambrogio de Predis Ritratto di dama Portrait of a Lady Portrait d'une dame 1490 Biblioteca Ambrosiana, Pinacoteca Ambrosiana, Milan
- 25. a conspicuous display of Sforza wealth … the portrait like the marriage commissioned by her future husband, Maximilian I, the Holy Roman Emperor Giovanni Ambrogio de Predis Bianca Maria Sforza Portrait de Blanche-Marie Sforza 1493 National Gallery of Art, Washington
- 28. a jewel in the shape of a scorpion, containing a precious stone … it may refer to Scorpio, the astrological sign linked to fertility, a good luck charm for the duchess, who was unable to have children due to her husband’s sterility Raphael Portrait of Elisabetta Gonzaga Portrait d'Elisabetta Gonzaga 1504-1505 Galleria degli Uffizi, Florence
- 33. purely decorative or with meaning religious or symbolic …
- 34. an young men dressed in the fashion … the hat badge depicts a winged ox, the symbol of Saint Luke, reference to the young man's name, or to his affiliation with a particular association or group Bartolomeo Veneto Portrait of a Man Portrait d’un homme 1512 The Museum of Fine Arts, Houston
- 37. Giovanni Paolo I Sforza, a legitimized son of Ludovico il Moro, duke of Milan … a boat-neck cut shirt and a hat with badge ‘in the French fashion’ Bartolomeo Veneto Portrait of a Gentleman Portrait de gentilhomme 1520 National Gallery of Art, Washington
- 40. a burgundy headdress a labyrinth reminiscent of that of Chartres a brooch representing a shipwreck and a hand touching a sword, as if preparing for battle Bartolomeo Veneto Portrait of a Gentleman Portrait de gentilhomme 1510-1515 The Fitzwilliam Museum, Cambridge
- 44. Christophle le More (Christopher the Moor), black archer at the court of the Habsburg emperor Charles V … an badge of the Virgin on his cap, would be a souvenir from a pilgrimage to Halle Jan Mostaert Portrait of an African Man Portrait d'un Africain 1525-1530 Rijksmuseum Amsterdam, Amsterdam
- 47. a brooch with the image of Mary with the Child and the inscription around it: O. MATER DEI.MEMENTO. MEI (O Mother of God, remember me) Jan Mostaert Portrait of a Man Putting On a Glove or Portrait of a courtier Portrait d'un courtisan 1520 Muzeum Czartoryskich, Kraków
- 51. a favourite of the King Henry VIII … a Comptroller of the Royal Household a Order of the Garter and a hat badge with a clock and geometrical instruments Hans Holbein the Younger Portrait of Sir Henry Guildford Portrait de Sir henry Guidford 1527 Royal Collection, Windsor
- 54. a einsegne with a cameo bearing the design of a black woman … (a reference to Southwell's participation in the final questioning of the Thomas More; the subject of the cameo, a black moor, reminiscent of Thomas More’s surname, at the time Moor) Hans Holbein the Younger, Hans Holbein le Jeune Portrait of Sir Richard Southwell Portrait de Sir Richard Southwell 1536 Galleria degli Uffizi, Florence
- 57. a badge of the order of the golden fleece and a brooch with the royal emblem of Burgundy between the doubled initial of his name Bernard van Orley Portrait of Charles V, Holy Roman Emperor Portrait de Charles Quint, Empereur du Saint-Empire romain germanique 1515-1516 Szépművészeti Múzeum, Budapest
- 60. a Carnelian intaglio with the Virgin in adoration before the Child Jean Clouet Francis I of France, king of France Portrait de François Ier, roi de France 1515 Musée Condé, Chantilly
- 64. cameo
- 65. appreciated for its beauty, its artistic, symbolic and even magical value …
- 66. an image of the cameo bust of Philip II. carved in alabaster Alonso Sanchez Coello Infanta Isabel Clara Eugenia and Magdalena Ruiz L'Infante Isabel Clara Eugenia et Magdalena Ruiz 1585-1588 Museo del Prado, Madrid
- 70. a cameo with the image of Faustina the Elder … the devoted wife of the Emperor Antoninus Pius and the embodiment of the perfect spouse Lorenzo Lotto Marsilio Cassotti and his Wife Faustina Marsilio Cassotti et son épouse Faustina 1523 Museo del Prado, Madrid
- 73. a cameo medallion ... known as “Nero's Seal", a famous antique carnelian (representing Apollo and Marsyas, which belonged to Lorenzo de'Medici) Sandro Botticelli Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph) Portrait idéalisé d'une dame (Portrait de Simonetta Vespucci en nymphe) 1480 Städelsches Kunstinstitut, Frankfurt
- 76. olga_oes Ferronnière. Hat badge. Cameo. An unusual jewel in painting Ferronnière. L'insigne. Le camée Un bijou insolite dans la peinture images and text credit www. Music The Piano Guys Pictures At An Exhibition (Piano Cello) created olga.e. thanks for watching
- 77. Ferronnière A ferronnière is a style of headband that encircles the wearer's forehead, usually with a small jewel suspended in the centre. The original form of the headband was worn in late fifteenth-century Italy, and was rechristened a ferronnière at the time of its revival in the second quarter of the nineteenth century. The ferronnière is often said to be named after a 1490s portrait attributed to the school of Leonardo da Vinci, the La belle ferronnière, where the sitter wears such an ornament. However, this painting's title was assigned in the 18th century, well after it was painted, under the erroneous assumption that it portrayed Madame Le Féron, a reputed mistress of Francis I of France; or another mistress who was allegedly an iron merchant's wife. The literal translation of ferronnière in English is "ironmonger." In their catalogue, the Louvre suggest that La belle ferronnière was so-called because of her forehead ornament, a theory that is supported by other scholars, but other sources conclude that the ornament was named after the painting, due to the term's specific application apparently not existing prior to the 19th century.
- 78. Enseigne, Hat Badge An enseigne was a sixteenth century badge displayed on a hat. Badges that were symbolic and decorated by the wearer’s portrait, monogram, patron saint or other mythological or Biblical imagery were referred to as enseigne. They were elaborately enhanced with enamels, gemstones and cameos and set within floral filigree frames. Usually loops along the edge or holes pierced through the medallion were used for sewing the badge onto a cap. Charles VIII of France wore this type of ornament wrought in gold on his cap while his men wore similar badges in lesser metals. The fashion spread throughout the European courts and from there to noblemen and those who emulated them. The enseigne remained in vogue until the late sixteenth century when aigrettes replaced them in popularity.
- 79. Cameo Cameo jewelry can be traced as far back as the 3rd century BC. Cameos were very popular during the Roman era, resurfaced during the Renaissance and then was once again popular in the 19th century. The cameos have not always been decorative jewelry for women. In fact, at different points in history they have been worn as frequently by men. In ancient times people used cameos to depict an ethic or moral, or to make a statement about their faith or loyalties. Early Greek and Roman carvings featured images of gods and goddesses, themes from mythology, beautiful women and biblical events. In the Hellenistic era young women used cameos as charms to express desire. A woman could wear a cameo depicting a dancing Eros as a seductive invitation to love. The technique has since enjoyed periodic revivals, notably in the early Renaissance, and again in the 18th and 19th centuries. The Neoclassical revival began in France with Napoleon's support of the glyptic arts, and even his coronation crown was decorated with cameos. In Britain, this revival first occurred during King George III's reign, and his granddaughter, Queen Victoria, was a major proponent of the cameo trend, to the extent that they would become mass-produced by the second half of the 19th century.