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Costume of Venice Citizens: THE COSTUMES PAINTED IN THE LATTER HALF OF the 16th century by the famous painter Veronese precede by a short time the descriptions which Bertelli and Titian have left us of dress between 1589 and 1591. In Veronese's time, the fashion for extreme elongation of the bodice had only just started - it ended up by changing the height of the waist, which itself was enlarged with the help of padding. Also not yet seen is the hairstyle in which the hair is crossed over on the top of the head and curled into points, or 'horns" as women called them. The costumes in this picture are of an intermediary period, between 1550 and the time of the painter's death in 1588; probably from the 10 years following 1575. Special magistrates enforced stern laws governing costume in Venice. One such law declared that black must be worn by everyone when in public. In the winter both rich and poor wore black wool, though in the summer months the nobility would substitute black silk. Nevertheless, this law meant that the nobility were almost indistinguishable from lowlier citizens. It served as a safe-guard in case of a riot by the mob, and also meant that ostentatious extravagance was held in check. However, in Venice, as in most places, there were periods of laxity when the magistrates neglected to enforce these laws strictly. It is possible that Veronese has chosen one of these periods as the setting for the scene opposite. It shows six beautiful women at- tended by a high government official, who is wearing a red robe and gold-coloured stole, and a typical Venetian civil servant dressed in black. Another theory is that the scene shows a group of courtesans. Such ladies were at the height of their power in the second half of the 16th century, and ambassadors and senior officials would think nothing of discussing the affairs of state in their boudoirs. After all, it was common for Venetian men to spend more time with their mistresses than with their wives. In Veronese's painting it seems likely that at least two of the four seated women on the left-hand side are wives. Yet, ironically, the gentlemen are paying attention, in a rather servile, obsequious way, to the two courtesans on the right of the painting. The courtesans' costumes are less modest and more decollete than those of the other women. One of them wears a small pointed bonnet, reminiscent of the corno of the Doge's wife. It is almost an allusion to her sovereignty. The costumes worn here are similar to those that Titian shows noblewoman wearing at public feasts, where indulgence was permitted. One such reception, given to Henri III, was attended by 200 of the most beautiful noblewoman of Venice. The value of the costumes was reckoned to be 50,000 ecus: collars, bodices and sleeves glittered with precious stones, pearls and gold, while necklaces and golden hair-ornaments gleamed in the candlelight. Titian tells us that all the robes were white on this particular occasion, but at other times the podestaresses and capitainesses wore robes of many different colours, made from brocade and silk and decorated with silver and gold. The hair was always blonde, whether natural or dyed. Venetians women also attached a great deal of importance to their lingerie - so much so that the expression: 'the chemise before the doublet' became a Venetian proverb. Lingerie was decorated with great care and in fine detail, embroidered with silken thread and trimmed with lace. Martin2001 Satisfaction Guaranteed Policy!
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