DOI Artikel:
Kazubowska, Joanna: Dwaj książęta i moda: studium wartości poznawczej strojów i tkanin w malarstwie na przykładzie portretów autorstwa Bartłomieja Strobla (1591-ok. 1647)
Zitierlink:https://digi.ub.uni-heidelberg.de/diglit/modus2020/0082
of the first weaving mills in Lyon, fbunded by merchants from Piedmont, brought
therein at the turn of the sixteenth and seventeenth centuries by Henry iv.41 The
French merchant Claude Dangon played an important role in this proces as well,
having modernized and developed the production of silk fabrics.42 The Lyon in-
dustry also gained a protector in the person of Minister to Louis xiv, Jean-Baptiste
Colbert.43 It is worth mentioning here that the purchase of luxury goods by
wealthy townspeople in the Polish-Lithuanian Commonwealth was limited by
sumptuary laws, initially operating locally, and from 1613 functioning as a national
law. Although not foliowed very strictly, they somewhat inhibited the townspeople
from buying precious textiles.44
Apart from the possibility of direct interaction with the current European
fashion thanks to foreign travel and commercial contacts, all kinds of patterns
of garment cuts (including the famous pattern book of Juan de Alcega), the pattern
books of fabrics and lace, and publicity prints distributed throughout Europę, as
well as fashion books, were helpful in obtaining information.45 The most popular
“guide” of this type was the aforementioned book by Cesare Vecelli, which, in
a way, initiated the development of such publications.46 Some time later came
the series of 18 engravings by Abraham Bossę entitled: Le jardin de la noblesse
franęoise dans leąuel cepeut ceuillir leur manierre de Vettements from 1628, showing
how the current costumes were worn by the French elite.47 There are also known
prints showing contemporary womens clothing, by Czech engraver Vaclav Hol-
lar (1607-1677), who, after leaving Prague and traveling through Germany and
the Netherlands, ended up settling in London.48
The portraits of rulers, persons from courtly circles, wealthy townspeople
and church dignitaries, known both in their painted and graphic versions, also
provided inspiration for those citizens of the Crown of Poland and Grand Duchy
of Lithuania who wished to follow the latest Western fashion. It must be ac-
knowledged, however, that this was an elite tendency in Poland, present only in
the circles close to the royal court. This State of affairs was influenced not only
by the high price of garments imported from Western centres. The emotional
barrier seems to have been a morę significant factor, resulting from the reluctance
to innovate in the field of fashion, and the desire to emphasize the local tradition.
41 J. Chruszczyńska, E. Orlińska-Mianowska, Tkaniny dekoracyjne, p. 106.
42 Ibidem.
43 E. Świeykowski, Zarys artystycznego rozwoju, p. 91; M. Taszycka, Włoskie jedwabne tkaniny,
p. 14.
44 S. Estreicher, Ustawy przeciwko zbytkowi w dawnym Krakowie, “Rocznik Krakowski”, 1,1898,
p. 126-128; M. Taszycka, Włoskie jedwabne tkaniny, p. 25; Skarby z dawnej zakrystii, p. 53.
45 J. de Alcega, Libro de geometria [...], Madrid 1580; M. Gutkowska-Rychlewska, Historia, p. 309;
A. Bad’urova, L. Bartova, Odłvdm v tiscłch 16. stołetł, w: Moda a odev doby renesance. Sbornłk
prłspevku ze speciałizovane konference usporadane Ndrodnłm pamatkovym ustarem, uzemnim
odbornym pracoristem strednłch Cech ve społupraci s Knihovnou av ćr v Praze 19. rłjna 2017,
A. Nachtmannova, O. Klapetkova (eds.), Prague 2018, pp. 163-173.
46 C. Campana, Phabillement feminin a Venise dans łes płanches de Cesare Vecełłio, in: Paraitre et
se vetir au xvT siecłe. Actes du xnf Cołłoque du Puy-en-Vełay, M.E Viallon (ed.), Saint-Etienne
2006, pp. 69-76; M. Możdżyńska-Nawotka, Geopołityka mody, pp. 60-63.
47 A. Bossę, Le jardin de ła Nobłesse Franęoise dans łequeł ce peut Ceuiłłir leur manierre de Vette-
ments, Paris 1628.
48 J. Moućkova, Vdcłav Hołłar, odevnł detaiły v kresbe a grafice, in: Moda a odev doby renesance,
pp. 116-147.
82
ARTICLES
Joanna Kazubowska
therein at the turn of the sixteenth and seventeenth centuries by Henry iv.41 The
French merchant Claude Dangon played an important role in this proces as well,
having modernized and developed the production of silk fabrics.42 The Lyon in-
dustry also gained a protector in the person of Minister to Louis xiv, Jean-Baptiste
Colbert.43 It is worth mentioning here that the purchase of luxury goods by
wealthy townspeople in the Polish-Lithuanian Commonwealth was limited by
sumptuary laws, initially operating locally, and from 1613 functioning as a national
law. Although not foliowed very strictly, they somewhat inhibited the townspeople
from buying precious textiles.44
Apart from the possibility of direct interaction with the current European
fashion thanks to foreign travel and commercial contacts, all kinds of patterns
of garment cuts (including the famous pattern book of Juan de Alcega), the pattern
books of fabrics and lace, and publicity prints distributed throughout Europę, as
well as fashion books, were helpful in obtaining information.45 The most popular
“guide” of this type was the aforementioned book by Cesare Vecelli, which, in
a way, initiated the development of such publications.46 Some time later came
the series of 18 engravings by Abraham Bossę entitled: Le jardin de la noblesse
franęoise dans leąuel cepeut ceuillir leur manierre de Vettements from 1628, showing
how the current costumes were worn by the French elite.47 There are also known
prints showing contemporary womens clothing, by Czech engraver Vaclav Hol-
lar (1607-1677), who, after leaving Prague and traveling through Germany and
the Netherlands, ended up settling in London.48
The portraits of rulers, persons from courtly circles, wealthy townspeople
and church dignitaries, known both in their painted and graphic versions, also
provided inspiration for those citizens of the Crown of Poland and Grand Duchy
of Lithuania who wished to follow the latest Western fashion. It must be ac-
knowledged, however, that this was an elite tendency in Poland, present only in
the circles close to the royal court. This State of affairs was influenced not only
by the high price of garments imported from Western centres. The emotional
barrier seems to have been a morę significant factor, resulting from the reluctance
to innovate in the field of fashion, and the desire to emphasize the local tradition.
41 J. Chruszczyńska, E. Orlińska-Mianowska, Tkaniny dekoracyjne, p. 106.
42 Ibidem.
43 E. Świeykowski, Zarys artystycznego rozwoju, p. 91; M. Taszycka, Włoskie jedwabne tkaniny,
p. 14.
44 S. Estreicher, Ustawy przeciwko zbytkowi w dawnym Krakowie, “Rocznik Krakowski”, 1,1898,
p. 126-128; M. Taszycka, Włoskie jedwabne tkaniny, p. 25; Skarby z dawnej zakrystii, p. 53.
45 J. de Alcega, Libro de geometria [...], Madrid 1580; M. Gutkowska-Rychlewska, Historia, p. 309;
A. Bad’urova, L. Bartova, Odłvdm v tiscłch 16. stołetł, w: Moda a odev doby renesance. Sbornłk
prłspevku ze speciałizovane konference usporadane Ndrodnłm pamatkovym ustarem, uzemnim
odbornym pracoristem strednłch Cech ve społupraci s Knihovnou av ćr v Praze 19. rłjna 2017,
A. Nachtmannova, O. Klapetkova (eds.), Prague 2018, pp. 163-173.
46 C. Campana, Phabillement feminin a Venise dans łes płanches de Cesare Vecełłio, in: Paraitre et
se vetir au xvT siecłe. Actes du xnf Cołłoque du Puy-en-Vełay, M.E Viallon (ed.), Saint-Etienne
2006, pp. 69-76; M. Możdżyńska-Nawotka, Geopołityka mody, pp. 60-63.
47 A. Bossę, Le jardin de ła Nobłesse Franęoise dans łequeł ce peut Ceuiłłir leur manierre de Vette-
ments, Paris 1628.
48 J. Moućkova, Vdcłav Hołłar, odevnł detaiły v kresbe a grafice, in: Moda a odev doby renesance,
pp. 116-147.
82
ARTICLES
Joanna Kazubowska