{"id":31399,"date":"2020-01-27T10:00:47","date_gmt":"2020-01-27T09:00:47","guid":{"rendered":"http:\/\/www.luigi-bevilacqua.com\/?p=31399"},"modified":"2020-01-27T13:14:33","modified_gmt":"2020-01-27T12:14:33","slug":"origins-luxury-fabrics","status":"publish","type":"post","link":"https:\/\/www.luigi-bevilacqua.com\/en\/origins-luxury-fabrics\/","title":{"rendered":"The Origins of Fine Fabrics in Venice"},"content":{"rendered":"

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The first fabrics produced in Venice were made of silk, woven with gold (or silver) threads via a manual procedure. The technique used to obtain these clothes of gold was revealed to La Serenissima thanks to the love of an emperor for a Venetian dame.\u200b<\/p>\n

From the Fabrics Trade to the Silk Production in Venice<\/h2>\n

Since the beginning of the Christian Era, the West imported silk from China and Persia. Under Justinian, the processing of this yarn came to Byzantium, capital of the Eastern Roman Empire, a city with whom Venice had a strong trading relationship.\u00a0<\/p>\n

Venice had gained special privileges from Byzantium, such as the freedom of tax-free trading of all sorts of goods from the East. For this reason, it had the exclusive right to import luxury products such as spices, ivory and silk fabrics.<\/p>\n

In addition to the trade of fine fabrics, local production of raw silk and its weaving later started, even if initially limited to simple patterns, without any embroidery.<\/p>\n

The Oriental Influence on Silk Fabrics<\/h2>\n

Silk weaving techniques improved through time thanks to contact with other civilisations, mainly Chinese and Arabic, that had already been processing the fine yarn for centuries.<\/p>\n

In particular, some fundamental processes for the production of clothes of gold were revealed to the local craftsmen by Antinope, an expert Greek weaver. He arrived in Venice with the court of the emperor Henry IV, who went there at the end of the XI century to venerate the relics of St. Mark\u2019s body.<\/p>\n

It is said that the emperor of the Holy Roman Empire fell in love with the noblewoman Polissena Michiel during his stay in Venice and he wanted to gift her with a beautiful silk and gold robe. For its realisation, he commissioned Antinope who, employing local artisans, taught them the technique.<\/p>\n

Another important contribution dates back to 1269 when the Polo brothers returned to Venice from their first journey to China. From this country they brought back several goods and fabrics, introducing Venice to certain technical weaving solutions and the typical Chinese decorations with plants and animals.<\/p>\n

During the 1300s, there was a change in the decorating style, which left behind the old patterns, very regular and symmetrical, and started experimenting with lively and realistic images, decorated with botanic elements. Traditional Chinese allegorical symbols were adopted, including the lotus flower and leaves, the peony and fantastic animals, together with those of Christian symbolism such as the calf, the peacock and the parakeet, with vegetable connecting elements.<\/p>\n

Also, the numerous skilful weavers who went to the Laguna from Lucca, between 1307 and 1320, largely contributed to the development of the Venetian silk art, especially regarding velvet making, of which they were true masters.<\/p>\n

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An example of a 12th-century fabric<\/p><\/div>[\/et_pb_text][et_pb_text admin_label=”Origins 2″ _builder_version=”4.2.2″]<\/p>\n

The Rise of Velvet as the Status Symbol of the Venetian Aristocracy<\/h2>\n

At the end of the 14th century, Venice witnessed the rise of velvet becoming one of the most requested luxurious fabrics. In particular, there was a type of decorated velvet called \u201cafigurado\u201d, in which the decoration is characterised by strong chromatic combinations and oriental elements such as the jagged leaf or the crowned palm frond. Artists like Jacopo Bellini and Pisanello contributed to the creation of such decorations.<\/p>\n

A typical Venetian speciality was the alto-basso or controtagliato: a velvet, generally of an intense scarlet red with a surface made of various levels of thickness, decorated with concentric roses alternated vertically and horizontally with heraldic crowns sustained by the junction of two twisted branches.<\/p>\n

This velvet, which remained unchanged for four centuries, became the status symbol of the highest social and political classes; the stoles worn by senators and the state prosecutor<\/a> were made with it.<\/p>\n

\"\"

An example of a 14th-century fabric<\/p><\/div>\n

\u00a0<\/h2>\n

Protectionist Policies Towards Venetian Textile Art<\/h2>\n

From the beginning of the 14th century, Venice began to regulate textile production, reaching a high level of quality. There was an institution, the Corte del Parangon, which was in charge of comparing the pieces of cloth used as a model and which had been carefully manufactured with the best materials available, with the new ones, before they were sold.<\/p>\n

Venice was not allowed to import velvets and clothes of gold, except those from the Levant. Venetian master weavers were not allowed to work outside of Venice and slaves were not permitted to learn the art of weaving.<\/p>\n

In 1366 a special commission was appointed, the so-called Sazo, in charge of monitoring the dyeing process. In particular, it set the rules for the production of the \u201cchermes\u201d, a unique nuance of crimson, later called scarlet or Venetian red. The dyers jealously kept the secret to obtain the particular colour brightness.<\/p>\n

The production of velvet was also subject to controls and rules. Not all techniques were allowed, the tools for its processing had to respect specific rules, and the pieces had to have pre-established measures and to be labelled, as a guarantee of conformity.<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”Origins 3″ _builder_version=”4.2.2″]<\/p>\n

16th \u2013 17th Century: Decorations, Fine and Upholstery Fabrics<\/h2>\n

Around the end of the 16th century, the upholstery fabrics began to be separated from the clothing fabrics. The former was mainly used to decorate walls, produce curtains, to cover backs, seats, headboards and canopies.<\/p>\n

Furnishing fabrics\u2019 decorations were inspired by frescoes, bas-reliefs, church stained-glass windows, sculptures, friezes, horizontal strips, harmonious borders and above all grotesque like decorations which embellished them.<\/p>\n

During the 17th century, the silk production in Venice began to diminish, even though the total turnover of the sector grew due to the shift of demand towards the beautiful fabrics, called \u201cganzi\u201d, embellished with gold and silver and with sophisticated decorations.<\/p>\n

\"\"

An example of a 17th-century Venetian fabric<\/p><\/div>\n

From the 18th to the 20th Century: Crisis and Rebirth of the Venetian Silk Art<\/h2>\n

The art of weaving maintained the refinement and sophistication of prestigious craftsmanship until the 18th century when the development of manufactures, mainly French, took over the European market.<\/p>\n

In fact, the protection of quality through a constant and strict control had somehow jeopardised the Venetian entrepreneurship and strengthened the foreign competition, so that many textile factories had to close down.<\/p>\n

The fall of the Venetian Republic in 1797 and, later on, the invention of the Jacquard loom, generated a deep crisis in the silk art sector, which nevertheless survived thanks to some historic manufacturers, until the 20th century, when it was restored to its former glory thanks to companies like Tessitura Bevilacqua.<\/p>\n

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This is the story of how Venetian textile art developed luxury upholstery and clothing fabrics such as silk-made \u201cclothes of gold\u201d and \u201calto-basso\u201d velvets.<\/p>\n","protected":false},"author":10,"featured_media":31444,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

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I primi tessuti pregiati prodotti a Venezia furono di seta, arricchiti con preziosi filati d\u2019oro e d\u2019argento. Si tratta della tessitura auroserica, la cui tecnica di realizzazione venne svelata alla Serenissima grazie all\u2019amore di un imperatore per una gentildonna veneziana.<\/p>

Dal commercio dei tessuti alla produzione serica veneziana<\/h2>

Fin dagli inizi dell\u2019Era Cristiana, la seta veniva importata in occidente dalla Cina e dalla Persia. Con Giustiniano, la lavorazione di questo filato arriv\u00f2 anche a Bisanzio, capitale dell\u2019Impero Romano d\u2019Oriente, citt\u00e0 con la quale Venezia aveva un\u2019intensa attivit\u00e0 commerciale.<\/p>

Venezia aveva ottenuto da Bisanzio privilegi speciali che altre citt\u00e0 non possedevano, come la libert\u00e0 di traffico esentasse di ogni sorta di merci proveniente dall\u2019oriente. Per questo importava in esclusiva prodotti di lusso quali spezie, avorio e tessuti di seta.<\/p>

Al solo commercio di tessuti pregiati, si aggiunse in seguito la produzione locale di seta greggia e la sua tessitura, seppur limitata inizialmente a stoffe semplici, non operate o ricamate.<\/p>

Le influenze orientali nella tessitura della seta<\/h2>

La tecnica utilizzata per la tessitura della seta si perfezion\u00f2 progressivamente, grazie al contatto con altre culture, prevalentemente cinese e araba che gi\u00e0 da secoli lavoravano il prezioso filato.<\/p>

In particolare, alcuni procedimenti fondamentali per la realizzazione dei tessuti auroserici vennero rivelati agli artigiani veneziani da Antinope, un esperto tessitore greco al seguito dell\u2019imperatore Enrico IV, giunto a Venezia alla fine dell\u2019XI secolo per venerare il corpo di San Marco.<\/p>

Si narra che l\u2019imperatore del Sacro Romano Impero durante la sua permanenza a Venezia si innamor\u00f2 della gentildonna Polissena Michiel, alla quale volle fare dono di una preziosa veste in seta e oro. Per la sua realizzazione incaric\u00f2 Antinope che, servendosi per il lavoro di maestranze locali, insegn\u00f2 loro il procedimento.<\/p>

Un altro contributo fondamentale risale al 1269, anno in cui i fratelli Polo ritornarono a Venezia dal loro primo viaggio in Cina. Da questo Paese essi portarono con s\u00e9 vari manufatti e stoffe, introducendo in citt\u00e0 alcune soluzioni tecniche per la tessitura e i tipici motivi ornamentali cinesi, fitomorfi e zoomorfi.<\/p>

Nel corso del 1300 si assistette cos\u00ec ad una trasformazione della decorazione, che pass\u00f2 da un\u2019impostazione compositiva molto regolare e simmetrica al naturalismo, con rappresentazioni realistiche dinamiche. Si imposero i simboli allegorici tradizionali cinesi tra i quali il fiore e le foglie di loto, la peonia e animali fantastici, insieme a quelli della simbologia cristiana come il vitellino, il pavone, i pappagallini, con elementi vegetali di collegamento.<\/p>

Un sostanziale apporto allo sviluppo dell\u2019arte serica veneziana venne dato anche dagli abili tessitori lucchesi, giunti numerosi in laguna tra il 1307 e il 1320, soprattutto per la lavorazione del velluto, di cui erano autentici maestri.<\/p>[caption id=\"attachment_3323\" align=\"aligncenter\" width=\"672\"]\"\" Un esempio di tessuto del XII secolo[\/caption]


[\/et_pb_text][et_pb_text admin_label=\"Origini 2\" _builder_version=\"4.2\"]<\/p>

La comparsa dei velluti, status symbol dell\u2019aristocrazia veneziana<\/h2>

Alla fine del Trecento, tra le stoffe lussuose pi\u00f9 richieste a Venezia, si fece largo proprio il velluto, incluso quello operato detto \u201cafigurado\u201d, in cui il decoro \u00e8 caratterizzato da accostamenti cromatici vistosi e da elementi stilistici orientali, come la foglia frastagliata e la palmetta chiomata. Alla creazione di tali decori collaborarono anche artisti quali Jacopo Bellini e Pisanello.<\/p>

Una specialit\u00e0 tutta veneziana era l\u2019alto-basso o controtagliato: un tessuto generalmente di intenso colore rosso cremisi, dalla superficie vellutata con una differenza di altezze del pelo, il cui decoro consiste in rosette concentriche alternate in verticale a corone araldiche sostenute dall\u2019unione di due rami contorti.<\/p>

Tale velluto, che rimarr\u00e0 fondamentalmente uguale nel corso di quattro secoli, divent\u00f2 lo status symbol delle pi\u00f9 alte categorie sociali e politiche; \u00e8 con esso infatti che si confezionavano le stole di senatori e procuratori della Repubblica<\/a>.\u00a0<\/p>[caption id=\"attachment_3347\" align=\"aligncenter\" width=\"672\"]\"\" Un esempio di tessuto del XIV secolo[\/caption]

\u00a0<\/h2>

Il protezionismo verso l\u2019arte tessile a Venezia<\/h2>

Alla fine del 1300 venne istituita la Corte del Parangon, un ufficio dove venivano conservate le pezze delle varie tipologie tessili, realizzate a regola d\u2019arte e con i migliori materiali. Queste servivano come riferimento per quelle di volta in volta prodotte, che dovevano avere stesse caratteristiche e livelli di qualit\u00e0 per poter essere messe in commercio.<\/p>

Si intensific\u00f2 l\u2019attivit\u00e0 legislativa protezionistica dell\u2019arte serica attraverso numerose norme quali il divieto di importare velluti e tessuti auroserici, tranne che dal Levante, il divieto per i maestri tessitori di andare a lavorare al di fuori di Venezia e per gli schiavi di apprendere l\u2019arte della tessitura.<\/p>

Il processo produttivo dei tessuti venne regolamentato per mantenere altissimi livelli qualitativi. Nel 1366 si nomin\u00f2 un\u2019apposita commissione di vigilanza sull\u2019Arte della seta, ormai in continuo sviluppo, e si istitu\u00ec il Sazo, un\u2019istituzione finalizzata al controllo delle tinture. In particolare, si prescriveva come produrre con l\u2019uso del \u201cchermes\u201d quel peculiare color cremisi, conosciuto in seguito come scarlatto o rosso veneziano. Il segreto per ottenere la particolare brillantezza del colore veniva custodito gelosamente dai tintori.<\/p>

Anche la produzione del velluto era soggetta a controlli e regole. Non tutte le tecniche erano ammesse, gli attrezzi per la sua lavorazione dovevano rispettare certe regole e le pezze dovevano avere misure prestabilite e venire bollate, come garanzia di conformit\u00e0.<\/p>

[\/et_pb_text][et_pb_text admin_label=\"Origini 3\" _builder_version=\"4.2.2\" hover_enabled=\"0\"]<\/p>

Secoli XVI e XVII: stoffe pregiate, decorazioni e tessuti per arredamento<\/h2>

Verso la fine del \u2018500, i tessuti per arredamento iniziarono a differenziarsi nettamente da quelli per l\u2019abbigliamento e vennero utilizzati per decorare le pareti, realizzare tendaggi, rivestire schienali e sedute, testiere e baldacchini.<\/p>

Le stoffe d\u2019arredo avevano decori che prendevano spunto da affreschi, bassorilievi, vetrate delle chiese, sculture. Si arricchirono di fregi, fasce orizzontali, bordi armoniosi e soprattutto di richiami alle decorazioni grottesche.<\/p>

Durante il XVII secolo inizi\u00f2 a diminuire la produzione serica a Venezia, ma aument\u00f2 il fatturato annuo complessivo del settore, perch\u00e9 la richiesta si spost\u00f2 decisamente verso le stoffe pregiate, chiamate \u201cganzi\u201d, impreziosite d\u2019oro e d\u2019argento e con un decoro complesso.<\/p>[caption id=\"attachment_3363\" align=\"aligncenter\" width=\"672\"]\"\" Esempio di tessuto veneziano del XVII secolo[\/caption]

Secoli XVIII e XX: crisi e rinascita dell\u2019arte della lavorazione della seta veneziana<\/h2>

Considerata a ragione un\u2019arte, la tessitura mantenne la raffinatezza e ricercatezza della prestigiosa lavorazione artigianale fino al XVIII secolo, quando lo sviluppo delle manifatture, soprattutto francesi, prese il sopravvento nel mercato europeo.<\/p>

In questo periodo numerose tessiture veneziane furono costrette a chiudere anche a causa della vigilanza costante e severa per la salvaguardia della qualit\u00e0 che and\u00f2 a scapito dell\u2019imprenditorialit\u00e0 veneziana e a vantaggio della concorrenza straniera.<\/p>

La caduta della Serenissima nel 1797 e l\u2019invenzione del telaio Jacquard poco tempo dopo, segnarono un punto di grave crisi dell\u2019arte serica artigianale, che riusc\u00ec per\u00f2 a sopravvivere grazie ad alcune storiche manifatture, e torn\u00f2 agli antichi splendori all\u2019inizio del \u2018900 quando la ripresa della tradizione si riafferm\u00f2 grazie all\u2019iniziativa di aziende quali la Tessitura Bevilacqua.<\/p>

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