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/modus2020/0087
often confused with embroidery. The brocading thread was often used to bring
out the motif in patterned satin. It was crafted using metal (often gold) or silk
thread, which appeared in the places where the ornament was formed.74 How-
ever, the meticulousness with which the artist depicted the threads running in
different directions within the linę of the golden ornament points to the pattern
on Ostrogskis outfit being undoubtedly embroidered. In brocading, the threads
would all be running in one direction.
The densely applied ornament covering the fabric is madę of intertwining
floral and geometrie motifs in a net arrangement (see: Fig. 3). Stylized flower
forms are surrounded by symmetrically arranged wavy motifs, approximating
the elongated letter “S.” Eugeniusz Iwanoyko described the embroidery pattern
as “stylized floral shapes, among which one can see the open calyxes of flowers
and ornamental leaves.”75 The style of the ornament evokes associations with
oriental design, though it is not a sufficient premise to determine the origin
of the fabric. It is a known fact that European workshops very often imitated
oriental produets.76
The colour of the fabric is also extremely characteristic, highlighting the silver-
-golden decoration. Iwanoyko defined it as purple, Możdżyńska-Nawotka as
cherry red, and Żukowski as lilac-cherry.77 According to Italian nomenclature,
this colour can be described as morello, which is an off-shade of purple.78 The
colours of this fabric, which can be morę generally described as a derivative
of dark purple, fell within the canon of fashion propagated by the Spanish royal
court, “in which, apart from black, other dark colours were also allowed.”79
An important clue for our considerations of the fabrics origin may be the in-
formation that Dominik Zasławski-Ostrogski was indebted to a Florentine mer-
chant, Filip Ducci, for an amount of 1041 złoty. We know that the trader offered
a very rich assortment of silk fabrics, including Venetian and Florentine satins,
as well as Dutch lace.80 Perhaps it was Ducci who bought the fabric, from which
the exquisite costume was madę for the prince. This hypothesis, however, must
remain in the sphere of speculation due to the lack of source confirmation.
The fabric from which the Wams caftan and the trousers worn by Prince Do-
minik were sewn in the portrait in question shows some similarities to the frag-
ment of the sleeve from the mens Wams, originating from the Discalced Carmelite
74 M. Michałowska, Leksykon włókiennictwa. Surowce i barwniki. Narzędzia i maszyny. Techniki
i technologie. Wyroby i dziedziny. Warszawa 2006, p. 43.
75 E. Iwanoyko, Bartłomiej Strobeł, p. 93.
76 For oriental influence, see, inter alia: M. Taszycka, Włoskie jedwabne tkaniny, pp. 10-14,52,72-75;
J. Chruszczyńska, E. Orlińska-Mianowska, Tkaniny dekoracyjne, pp. 87, 98-103, 260-273.
77 E. Iwanoyko, Bartłomiej Strobeł, p. 93; M. Możdżyńska-Nawotka, Geopołityka mody, p. 46;
J. Żukowski, “Tłuścioch wilanowski”
78 M. Taszycka, Włoskie jedwabne tkaniny, p. 49.
79 The information is contained in the yet unpublished catalogue of textiles by Maria Taszycka,
which is kept as manuscript in the Department of Textiles and Clothing of the National Mu-
seum in Kraków: The National Museum in Kraków (further mnk), Department of Textiles
and Clothing, M. Taszycka, Katałog tekstyłiów, TS; see also: F. Boucher, Histoire du costume,
pp. 225-229, 281-283; A. Quondam, Tutti i cołori deł nero. Moda e cułtura deł gentiłuomo nel
Rinascimento, Vicenza 2007, pp. 119-138; A. Bender, Czarna moda, pp. 193-211.
80 However, the details of the transaction between the prince and the Italian merchant remain
unknown. See: W. Łoziński, Patrycyat i mieszczaństwo lwowskie w xvi i xvn wieku, Lviv 1902,
pp. 187,189.
Two princes and the fashion...
87
out the motif in patterned satin. It was crafted using metal (often gold) or silk
thread, which appeared in the places where the ornament was formed.74 How-
ever, the meticulousness with which the artist depicted the threads running in
different directions within the linę of the golden ornament points to the pattern
on Ostrogskis outfit being undoubtedly embroidered. In brocading, the threads
would all be running in one direction.
The densely applied ornament covering the fabric is madę of intertwining
floral and geometrie motifs in a net arrangement (see: Fig. 3). Stylized flower
forms are surrounded by symmetrically arranged wavy motifs, approximating
the elongated letter “S.” Eugeniusz Iwanoyko described the embroidery pattern
as “stylized floral shapes, among which one can see the open calyxes of flowers
and ornamental leaves.”75 The style of the ornament evokes associations with
oriental design, though it is not a sufficient premise to determine the origin
of the fabric. It is a known fact that European workshops very often imitated
oriental produets.76
The colour of the fabric is also extremely characteristic, highlighting the silver-
-golden decoration. Iwanoyko defined it as purple, Możdżyńska-Nawotka as
cherry red, and Żukowski as lilac-cherry.77 According to Italian nomenclature,
this colour can be described as morello, which is an off-shade of purple.78 The
colours of this fabric, which can be morę generally described as a derivative
of dark purple, fell within the canon of fashion propagated by the Spanish royal
court, “in which, apart from black, other dark colours were also allowed.”79
An important clue for our considerations of the fabrics origin may be the in-
formation that Dominik Zasławski-Ostrogski was indebted to a Florentine mer-
chant, Filip Ducci, for an amount of 1041 złoty. We know that the trader offered
a very rich assortment of silk fabrics, including Venetian and Florentine satins,
as well as Dutch lace.80 Perhaps it was Ducci who bought the fabric, from which
the exquisite costume was madę for the prince. This hypothesis, however, must
remain in the sphere of speculation due to the lack of source confirmation.
The fabric from which the Wams caftan and the trousers worn by Prince Do-
minik were sewn in the portrait in question shows some similarities to the frag-
ment of the sleeve from the mens Wams, originating from the Discalced Carmelite
74 M. Michałowska, Leksykon włókiennictwa. Surowce i barwniki. Narzędzia i maszyny. Techniki
i technologie. Wyroby i dziedziny. Warszawa 2006, p. 43.
75 E. Iwanoyko, Bartłomiej Strobeł, p. 93.
76 For oriental influence, see, inter alia: M. Taszycka, Włoskie jedwabne tkaniny, pp. 10-14,52,72-75;
J. Chruszczyńska, E. Orlińska-Mianowska, Tkaniny dekoracyjne, pp. 87, 98-103, 260-273.
77 E. Iwanoyko, Bartłomiej Strobeł, p. 93; M. Możdżyńska-Nawotka, Geopołityka mody, p. 46;
J. Żukowski, “Tłuścioch wilanowski”
78 M. Taszycka, Włoskie jedwabne tkaniny, p. 49.
79 The information is contained in the yet unpublished catalogue of textiles by Maria Taszycka,
which is kept as manuscript in the Department of Textiles and Clothing of the National Mu-
seum in Kraków: The National Museum in Kraków (further mnk), Department of Textiles
and Clothing, M. Taszycka, Katałog tekstyłiów, TS; see also: F. Boucher, Histoire du costume,
pp. 225-229, 281-283; A. Quondam, Tutti i cołori deł nero. Moda e cułtura deł gentiłuomo nel
Rinascimento, Vicenza 2007, pp. 119-138; A. Bender, Czarna moda, pp. 193-211.
80 However, the details of the transaction between the prince and the Italian merchant remain
unknown. See: W. Łoziński, Patrycyat i mieszczaństwo lwowskie w xvi i xvn wieku, Lviv 1902,
pp. 187,189.
Two princes and the fashion...
87